Illustrator at La courte échelle
Montreal, Canada Area
- Past
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- Artist at IDW Publishing
- Illustrator on K, by Sophie Bienvenu at La courte échelle
- Currently a freelance Illustrator, Designer & Comix Artist. at , well not at, as SalgoodSam.com (Self-employed)
- Illustration: Long Term Client: at /w Appelberg Publishing
- Artist - B&W inked art, lettering, color design, and script adaptation for Therefore Repent! at IDW Publishing & No Media Kings
- Illustration at Kitchen Sink magazine
- Mural Designer at Mosaika Art & Design
- Artist - B&W inked art, and some coloring on Revolution on the Planet of the Apes at Mr Comics
- Artist - B&W inked art, washes, & 2 color separations for printing on Sea of Red, at Image comics
- Inker on Terminator 3: Before the Rise at Beckett Comics
- Staff Art Director // Designer at Grenadine Records
- Artist - B&W inked art, layouts, and colour design on Muties #1 & #6 at Marvel Comics
- Live action props and set designer, prop fabrication & storyboard artist: at Fox Network/Telescene
- Sign Painter / Trade Sign fabrication / sculptor at Casa del Popolo
- Chief Location Designer at h2ventertainment
- Storyboard Cleanup Artist on 'Franklin' at Nelvana
- Illustrator for interactive children's CD at Scholastic
- Artist - B&W inked art on the The Big Book of series at DC Comics - Paradox press
- Artist - B&W inked art and color design on 'Realworlds: Wonder Woman vs. the Red Menace' at DC Comics
- Key Location and Prop Designer on Heavy Metal 'FAKT2' at CINE GROUPE Inc
- Muralist at Tequila Communication & Marketing Inc.
- Freelance Illustrator at Byron Preiss Multimedia
- Background art, finishing/inking on Sam and Max at Nelvana
- Artist - B&W inked art on Spiderman 2099 at Marvel Comics
- Background & prop designer on 'EEK the CAT' and 'Waynehead' at Nelvana
- Artist - B&W inked art on Doctor Strange at Marvel Comics
- Artist - B&W inked art for a DC’s Showcase ’94 story, staring Bloodwynd at DC Comics
- Artist - B&W inked art on Ghost Rider 2099 at Marvel Comics
- Artist - B&W inked art for Morbius the Living Vampire at Marvel Comics
- Artist - B&W inked art on Saint Sinner at Marvel Comics - Epic
- Artist - B&W inked art on Night Breed at Marvel Comics - Epic
- Designer / Illustrator at Liquid Programming
- Artist/Co-creator of Nature of the Beast at Caliber Comics
- Assitant to the penciler at Marvel Comics
- Creature Designer at Works of Imagination
- Education
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Salgood Sam’s Summary
Salgood Sam is Max Douglas. An artist for about 20 years I’ve worked in many areas of picture making and story telling.
Started drawing comics; independent B&W books with Calibre, & Horror & Sci-Fi comics at Marvel. As a Designer in Animation, at Nelvana in Toronto, CINE GROUPE Inc in Montreal. I’ve also done storyboarding.
Expanded into Illustration and Design in other areas, and in 2000 started perusing Editorial Illustration work. Some limited success in this, currently on the lookout a Rep.
Media; Spent about 6 yrs working in FM radio in the early 90’s as producer, host & DJ. I’ve been on the web since 96 generating graphics and content, & doing light coding. In the music industry I was pt Graphic Designer for Grenadine Records, did poster work for local acts, and carved & painted the sign at legendary Casa del Popolo. I have public art permanently on display at a few Restaurants, including a mural @Dusty’s on Park Ave + Ave Mont-Royal Ouest looming over breakfast eaters.
Comics remain my 1st love, after my early experience with commercial publishers I’ve moved to mostly creator owned material, acting as writer as well as artist as well. I've had about 30 books published, early on with Marvel and DC, and in the last 8 years with Image & IDW.
My Graphic Novel with Jim Monroe, Therefore Repent! has been a critical and moderate popular success. For 09’ I’ve short stories coming out in anthologies, Popgun 3 and Comic Book Tattoo and more. And last but not least, my Solo project RevolveR in Oct of '09.
Was fortunate to receive recognition from the Canada Council for the Arts, a grant allowing me to complete a Novel length project. And was honoured to be amongst the first Nominated for a Doug Wright Award in 2005 as Best Emerging Talent.
I’m looking for Illustration work, editorial and some advertising. And have an unsatisfied fetish for book design. Please, do contact me with any questions.
Salgood Sam’s Specialties:
Sequential Art, ie Comics. Illustration, occasionally presentation & production storyboards for Film and TV.
Can use Photoshop, Dream weaver, In Design, Movie Maker, Illustrator and working on getting familiar with Flash when i can spare the time.
Web design: Some basic HTML, basic CSS, XML, JAVA, and a few CMS platforms. Available for light coding and heavy design work.
Salgood Sam’s Experience
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Artist
IDW Publishing
(Privately Held; Publishing industry)
November 2009 — December 2009 (2 months)
Drew and lettered 'Tainted Love', a 22 page valentines special Ghostbusters comic.
Scripted by Dara Naraghi
<a href="http://www.ferretpress.com/" rel="nofollow">www.ferretpress.com/</a>
Colors by my man, Bernie Mireault.
<a href="http://bem.spiltink.org/" rel="nofollow">bem.spiltink.org/</a>
GHOSTBUSTERS HOLIDAY SPECIAL: TAINTED LOVE
Written by Dara Naraghi, art by Salgood Sam.
Covers by Salgood Sam [seen right] and Nick Runge.
Love is in the air - literally! - as Winston befriends an attractive woman with a ghostly problem in her apartment. But trapping the love-struck apparition proves to be more complicated than the Ghostbusters originally thought. Can Winston step up and save the day? Just how far will Peter go to find a date? And do Ray and Egon ever stop to think about girls, or is it always about trans-dimensional ectoplasmic anomolies with those two? -
Illustrator on K, by Sophie Bienvenu
La courte échelle
(Publishing industry)
December 2008 — October 2009 (11 months)
Initialy designed the cover treatment and interiour layout for K, a romance serieal for Tween's published by Montreal's La courte échelle.
http://www.epizzod.com/episode/1747
There are 13 in the series, i do new cover art and interior 2 page comic summaries of the previous novella in each new book in the series.
http://www.flickr.com/photos/salgood/sets/72157608524369852/ -
Currently a freelance Illustrator, Designer & Comix Artist.
, well not at, as SalgoodSam.com (Self-employed)
(Self-Employed; Myself Only; Publishing industry)
September 1988 — December 2008 (20 years 4 months)
For over 19 years I've worked as a freelance artist, making my living almost entirely with my pens, pencils and wits.
At this time i enjoy a verity of illustration work, and I'm always available for commissions for magazines, advertising and privet customers.
In addition i have some decent Design chops and have worked up Logos, Posters, Web pages and other assorted bits of Graphic Design over the years. I also have a fair bit of experience as a Designer for Animation and enjoy that work quite a bit as well.
And I manage to spend most of my time drawing, and lately writing my first love, Comics.
I have done that in a Work for Hire capacity in the past for Marvel, DC and other major companies. And while I'm picky about the sort of work i take on in comics now, i am available for commissions in that form as well.
Please, feel free to contact me about rates and services at anytime.
www.salgoodsam.com -
Illustration: Long Term Client:
/w Appelberg Publishing
(Publishing industry)
January 2001 — November 2008 (7 years 11 months)
On magazine (Ericsson´s customer magazine); For this magazines 4 year life span I was the regular illustrator for one of the OP-ED slots. I did approximately 14 illustrations for the publication until it was shelved after being transferred to a new publisher.(2001-2005)
Around the same time, i began getting work for Impeller magazine, and ABB Magazine. Pumps and turbines, and Robotics.
Mosty illustrating semi editorial or technical articles about advances in the engineering or changes in the business markets.
Involved a enjoyable amount of random research in fact. In the end often very dry stuff usually but i tried and i think succeeded in finding interesting ways to illustrate the subject matter.
I had a pretty long and prosperous and positive relationship with the editors of the Stockholm based publishing company until the company signed an exclusive contract with an agency. -
Artist - B&W inked art, lettering, color design, and script adaptation for Therefore Repent!
IDW Publishing & No Media Kings
(Privately Held; 1-10 employees; Publishing industry)
August 2006 — June 2007 (11 months)
Therefore Repent! is a 160 page Graphic Novel written by Jim Monroe, adapted for sequential art and drawn, lettered, and designed by me.
My longest and most independent project to date, Therefore Repent! was first published in Canada in August of 2007 to rave reviews and will be released in the US in January of 2008 by IDW Publishing.
for more info about this project see my blog here
http://www.salgoodsam.com/blog/labels/Therefore%20Repent.html
a 60 pg preview of the book can be found here
http://www.comicspace.com/salgood_sam/comics.php?action=gallery&comic_id=1612 -
Illustration
Kitchen Sink magazine
(Privately Held; 1-10 employees; Publishing industry)
December 2002 — September 2006 (3 years 10 months)
I was a regular contributor to SF based culture mag, Kitchen Sink magazine www.kitchensinkmag.com
Work in issues 2, 4, 5, 8, & 9. 10, 13, 14, & 15. (12/2002-6)
Many of the illos are viewable here
http://spiltink.dreamhost.com/salgood/Illustration.html -
Mural Designer
Mosaika Art & Design
(Privately Held; 1-10 employees; Arts and Crafts industry)
February 2006 — March 2006 (2 months)
Worked with Montreal Mosaic company mosaika art & design My duties included helping to develop and render art for large format murals and produce proposal packages for clients, and i also worked on the floor tiling in glass smalti tile.
http://www.mosaikadesign.com/ -
Artist - B&W inked art, and some coloring on Revolution on the Planet of the Apes
Mr Comics
(Privately Held; 1-10 employees; Publishing industry)
August 2005 — February 2006 (7 months)
Revolution on the Planet of the Apes: Mr Comics
I'm not a the biggest sci-fi film fanatic, but I watch way more than the average monkey. Of all the properties I'd choose to work on, this is one of the top three I would've picked. Fun stuff as WFH gigs go!
I worked with an old roll model, artist and writer Ty Templeton, and drew 4 stories in this Slim Line style comic. One of which i was able to color as well. Very enjoyable job.
The book was extremely well received by POTA fans and critically acclaimed in general.
you can see the art here
http://salgoodsam.com/comix/goape/ -
Artist - B&W inked art, washes, & 2 color separations for printing on Sea of Red,
Image comics
(Privately Held; 1-10 employees; Publishing industry)
September 2004 — April 2005 (8 months)
Sea of Red #1–4 [22pg ea] & SOR:Vl 1,‘No Grave But the Sea’ 100pg Graphic Novel Published with Image comics 2005 collecting 4pt Horror story with Rick Remender & Kieron Dwyer. For this series I got layouts from Kieron; was fun, freed me from a lot of the heavy thinking at that first stage. I was free to work them, make appropriate changes. It was a very comfortable approach, and having Kieron as sometimes foil to bounce things off of was rewarding.
For the stylized rendering in this book I used Inda ink & wash predominantly, and developed a method from separating the art for 2 color printing - the book was printed on yellowish paper and in a deep, dried blood like red brown; and black ink. Successfully achieving a very intense moody feel.
Art by Salgood Sam, Scripted by Rick Remender & Kieron Dwyer, Layouts buy Kieron Dwyer. Co-owned & created by Rick Remender, Kieron Dwyer & Salgood Sam.
you can see the art here
http://salgoodsam.com/comix/redsea/ -
Inker on Terminator 3: Before the Rise
Beckett Comics
(Privately Held; 51-200 employees; Publishing industry)
June 2003 — October 2003 (5 months)
Terminator 3: Before the Rise: Beckett Comics : book #1 & #2 - 2003
Scripted by Ivan Brandon, Pencils by Goran Pavlov.
The largest inking job I've ever done at 80+ pages. And though there we a few hiccups in the schedule as pencils were interrupted by disruptions in artist Goran Pavlov's life, when the pace was steady I found that it wasn't to hard to do 2 pages a day minimum, & often I was doing 3 to 4.
88pages of art in all
samples
http://spiltink.dreamhost.com/salgood/comix/terminator/t3.html -
Staff Art Director // Designer
Grenadine Records
(Privately Held; 1-10 employees; Music industry)
January 1999 — December 2002 (4 years )
I was a co founder and the first employee of this small Montreal label.
I was charged with responsibility for the complete visual look and feel of the label. Worked with the bands, fixed bad files, re-designed and rebuilt, pre-press prepped and dealt with printers. drew & designed posters and stickers, drew album art for 3 albums, and built the first incarnation of their web site.
All for a song and a medical plan. -
Artist - B&W inked art, layouts, and colour design on Muties #1 & #6
Marvel Comics
(Public Company; 201-500 employees; MVL; Publishing industry)
June 2002 — September 2002 (4 months)
In 2002 i revisited the halls of Marvel comics, and worked on two books in the experimental Muties line, stories about mutants who are not superheros.
I worked on 48 pages in all and did the painted cover art for the last book. For the first on book one of the series, Muties #1of6 'The Changeling', I did brake downs for illustrator Peter Ferguson who painted the book. There my prime job was to work out the story telling and flow of the pages here. the series was all Scripted by Karl Bollers - http://salgoodsam.com/thumbs.html
On the last, sixth issue of Muties #6 of 6 'The Patriot Game', I did full art chores. I worked closely with Bernie Mireault again to come up with the color pallet and feel of the book. I also got to do an extensive re-write with the writer on this issue, and remain exceptionally pleased with the issue.
Art by Salgood Sam, colors by Bernie Mireault, Co-Scripted by Karl Bollers & Salgood Sam
http://spiltink.dreamhost.com/salgood/comix/muties/Mut6.html -
Live action props and set designer, prop fabrication & storyboard artist:
Fox Network/Telescene
(Public Company; 10,001 or more employees; Motion Pictures and Film industry)
January 1998 — December 2001 (4 years )
Worked for art director Steeve Hennry (AD) on several commercials, movies and TV shows, including cheesy Fox shows 'Big wolf on campus' & 'Misguided Angels'
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Sign Painter / Trade Sign fabrication / sculptor
Casa del Popolo
(Privately Held; 1-10 employees; Restaurants industry)
August 2001 — September 2001 (2 months)
Carved 6ft long wrench out of plywood, painted it to look like an old wrought iron wrench, and painted a bar's name on it.
Also painted the name on the building itself out front over the door.
this is a picture of it - http://www.salgoodsam.com/wrench.jpg
fun work, be happy to do it again! :)
http://www.casadelpopolo.com/ -
Chief Location Designer
h2ventertainment
(Privately Held; 11-50 employees; Animation industry)
August 2000 — October 2000 (3 months)
I was the Chief Location Designer working to develop a Latino oriented series tittled "MANGA LATINA" - My responsibilities included establishing look and feel for the neighborhood depicted in the series, based on the Montreal Little Italy area. The project remained in development for some time after i completed my contract.
http://www.salgoodsam.com/Mangalatina.html -
Storyboard Cleanup Artist on 'Franklin'
Nelvana
(Public Company; 201-500 employees; Animation industry)
April 2000 — April 2000 (1 month)
Working with the director and assistant director mostly, I cleaned and corrected story boards for 2 weeks on a short contract.
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Illustrator for interactive children's CD
Scholastic
(Public Company; 5001-10,000 employees; SCHL; Publishing industry)
January 2000 — February 2000 (2 months)
‘Clifford the Big Red Dog’ : 700 Illos on educational CD ROM for children
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Artist - B&W inked art on the The Big Book of series
DC Comics - Paradox press
(Public Company; 201-500 employees; Publishing industry)
September 1998 — February 2000 (1 year 6 months)
I contributed 5 stories to 4 of these large cool factoid books.
samples of the art are here from 3 of the stories.
http://spiltink.dreamhost.com/salgood/bigbooks.html
The Big Book of the Seventies : Paradox press/DC comics - 2000.
'Monsters of ROCK' Scripted by Jonathan Vankin
3 pages of the history of corporate pop, from the Beetles to the Boss.
The Big Book of Vice : Paradox press/DC comics - 1999
'Reefer Madness' Written by Steve Vance and Dave Stern
3 pages of the history of the demonization of marijuana.
The Big Book of Vice : Paradox press/DC comics - 1999
'The New Buffalo' Scripted by Steve Vance and Dave Stern
Story of native reserve casinos in the USA in 3 pages
The Big Book of the Weird Wild West : Paradox press/DC comics - 1998
'The Wire that Tamed the West' Scripted by John Whalen
3 pages of the history of barbed wire. -
Artist - B&W inked art and color design on 'Realworlds: Wonder Woman vs. the Red Menace'
DC Comics
(Public Company; 201-500 employees; Publishing industry)
May 1999 — October 1999 (6 months)
'Realworlds: Wonder Woman vs. the Red Menace'
48 page graphic novella
Art by Salgood Sam,
Scripted by Glen Hanson & Allan Neuwirth
This 48pg trade was my First Graphic Novella. Done entirely with a Brush, the art is an intentional stylistic echo of 40's comic art and the drawing traditions of H.G. Peter's original comic. Bernie Mireault & I worked closely to choose a color palate for this book that captured the saturated colors of early comics, & the first Technicolor films.
The original script would have called for a book that was several times longer to do justice to, and sadly had to be cut short due to preset page counts. The plot shows some odd brevity as a result, the missing development is missed. But despite that it reads well and I feel this book is an overall successes. Took a little longer to get done due to the delays from the script but it all got done in time in the end.
view the art here
http://spiltink.dreamhost.com/salgood/comix/wonderwoman/ww.html -
Key Location and Prop Designer on Heavy Metal 'FAKT2'
CINE GROUPE Inc
(Public Company; 5001-10,000 employees; Animation industry)
March 1998 — September 1998 (7 months)
Worked directly with Director George Unger on Heavy Metal 'FAKT2', as a Key Location and Prop Designer while the film was in pre-production. He had tasked me to develop the look and feel of the Holy Lands and the Great Temple for the finally with him. And had me working on the Lava Pits as well, finishing the work of another artist who left before i started.
I Left the project shortly after George did during the last months of an extended and problematic pre production period and happily had little to do with the final film produced, other than the Lava pit fight scene
http://www.salgoodsam.com/anim/Fakkt2-areena.gif
And the temple from the finally which was a bastardization of some of my work.
http://www.salgoodsam.com/anim/Fakk2-hollylands-tempol.gif
Notably not credited on the film either. hmf.
I did not enjoy working for this company. Bad office culture.
You can see some of the art here
http://www.salgoodsam.com/Fakk2.html -
Muralist
Tequila Communication & Marketing Inc.
(Public Company; 51-200 employees; Design industry)
January 1998 — January 1998 (1 month)
Freelancing for Tequila I worked on a small crew that painted Murals in the arrivals area, following an illustrators design during the Ice Storm of 1998, at the Dorval Airport.
While waiting for the bus i watched the transformers blow out in a blaze of sparks and lighting.
http://www.tequila.qc.ca/ -
Freelance Illustrator
Byron Preiss Multimedia
(Public Company; 5001-10,000 employees; Publishing industry)
January 1996 — January 1998 (2 years 1 month)
worked on a number of WFH jobs for Byron Preiss Multimedia, mostly illustrating books.
15 illustrations in 'X-MEN:Law of the Jungle'by Dave Smeds
14 illustrations in 'Daredevil The Man Without Fear:Cutting Edge'by Madeleine E. Robins
1 illustration in 'The Ultimate Super-Villains'by Stan Lee(Editor)
33 illustrations in 'The Essential Phantom of the Opera'by Leonard Wolf(Editor)+Gaston Leroux;
6 illustrations in 'Blood Thirst: 100 Years of Vampire Fiction' by Leonard Wolf(Editor)+Stephen King(Contributor)+Ray Bradbury(Contributor)+Richard Matheson(Contributor) -
Background art, finishing/inking on Sam and Max
Nelvana
(Public Company; 201-500 employees; Animation industry)
December 1996 — October 1997 (11 months)
I had the pleasure to work with lots of charmin' folks doing very unique looking background art for the TV version of Sam & Max for the 1st season of the series. Directed by Steve Whitehouse [http://www.whitehouseanimationinc.com], i worked directly with the Layout dept, which provided the standard clean layout art for use to ink and finish - and in close contact with the design dept, which acted as our quality control dept on this stage of the art. I was fortunate to have a previous working relationship with the head designer, Goran Delic, who put my name in the hat for the gig.
I received clean-line layouts and was responsible for heavily rendering them with very stylized heavy brush lines, adding a large amount of additional rendering to the art with textures, feathered shading, and a lot of general ink work.
you can see some of the art here
http://www.salgoodsam.com/SamMax.html -
Artist - B&W inked art on Spiderman 2099
Marvel Comics
(Public Company; 201-500 employees; MVL; Publishing industry)
September 1996 — September 1996 (1 month)
Drew a 10 page sci fi Spidy story in the anthology series, 2099 Unlimited # 8. Titled 'Behind the EightBall' and scripted by Terry Kavanagh
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Background & prop designer on 'EEK the CAT' and 'Waynehead'
Nelvana
(Public Company; 201-500 employees; Animation industry)
March 1995 — August 1996 (1 year 6 months)
Worked on these two TV series as my first job with Nelvana, happily doing background & prop design. Took to the work quite well i think, and enjoyed it quite a bit.
Also was asked by my dep. supervisor to do clean up work on designs done out of studio by a sub contractor who failed to properly finish the art on their end.
You can see some of this art here
http://www.salgoodsam.com/EEKtheCAT.html
http://www.salgoodsam.com/Waynehead.html -
Artist - B&W inked art on Doctor Strange
Marvel Comics
(Public Company; 201-500 employees; MVL; Publishing industry)
August 1994 — August 1994 (1 month)
'Song of he Blood Opal' : A fill in issue of Doctor Strange Scripted by David Quinn that i drew after leaving Saint Sinner. It was only ever a one off, but it got favorable reviews and many fans expressed a hope I'd do more at the time. Strange is a character I'd like to revisit one day, but only if i can have it on my terms.
Doctor Strange 63
Marvel Comics/Midnight Sons - 1994
22 page Book -
Artist - B&W inked art for a DC’s Showcase ’94 story, staring Bloodwynd
DC Comics
(Public Company; 201-500 employees; Publishing industry)
August 1994 — August 1994 (1 month)
Drew the 10 page Bloodwynd story 'Hero of Choice' Scripted by Ruben Diaz for DC’s Showcase ’94
[ http://en.wikipedia.org/wiki/Bloodwynd ] -
Artist - B&W inked art on Ghost Rider 2099
Marvel Comics
(Public Company; 201-500 employees; MVL; Publishing industry)
May 1994 — July 1994 (3 months)
I drew two file stories for the Sci Fi version of Ghost Rider that sadly did not ever get used. they were completed, lettered and colored and everything, but the title was canceled before they got a chance.
Ghost Rider 2099 'Horrorshow' :
Art by Max Douglas
Script by Warren Ellis
Marvel Comics / 2099
22 page Book
Ghost Rider 2099 'Daddy Dearest'
Art by Max Douglas
co-Scripted by Scott Andrews & Max Douglas
Marvel Comics/2099
22 page Book -
Artist - B&W inked art for Morbius the Living Vampire
Marvel Comics
(Public Company; MVL; Publishing industry)
June 1994 — June 1994 (1 month)
Morbius the Living Vampire #25 : Marvel Comics/Midnight Sons - 1994.
I drew a 10 page Vampire story tittled 'Drainage System' Scripted by Karl Bollers -
Artist - B&W inked art on Saint Sinner
Marvel Comics - Epic
(Public Company; 201-500 employees; MVL; Publishing industry)
October 1993 — May 1994 (8 months)
This was very early on in my WFH days, after the 2 Night Breeds I was asked on to a new Series - part of the Razorline, a sub imprint consisting of 4 books that were outlined at the concept stage by Clive Barker.
My book was Saint Sinner, the flag ship title of the line.
Was very excited, a prestigious gig to get so soon in my carrier. I was not happy with the way things went in the end, but it was a major learning experience for me and I'm proud of much of the art I contributed to the books.
'World Without End' Saint Sinner 1 :
Art - Max Douglas, Script - Elaine Lee
18pg story
'Earthangel' Saint Sinner 2
Art - Max Douglas, Script - Elaine Lee
22pg Book
'It's a Jungle In Here' Saint Sinner 3
Art - Max Douglas, Script - Elaine Lee
22pg Book
'The Fear Monger' Saint Sinner 4
B&W Art - Max Douglas, Script - Elaine Lee
22pg Book
'Arcadia pt2' Saint Sinner 5
Inking - Max Douglas, pencils - Richard Pace, Script - Elaine Lee
22pg Book -
Artist - B&W inked art on Night Breed
Marvel Comics - Epic
(Public Company; 201-500 employees; MVL; Publishing industry)
November 1992 — February 1993 (4 months)
My First official WFH in mainstream Comics. I was hired on first to compleat an unfinished issue of Clive Barker’s Night Breed, #20 : Circle of Vengence pt3. It was the fastest i ever drew i think, did 19 full size [11x17"] pages of art in 10 days. Amazed me and impressed the editors who a month latter asked if I'd like another.
That was 'THE ONE THAT GOT AWAY' in Clive Barker’s Night Breed #23, a 32 page story. This one also went fast and i'm still very pleased with a lot of the art i did on it.
'THE ONE THAT GOT AWAY'
Clive Barker’s Night Breed #23
Art by Max Douglas, Scripted by James Moore
Marvel Comics/Epic - 1993
32 page Book
'Circle of Vengeance pt3.'
Clive Barker’s Night Breed, #20
Art by Max Douglas, Scripted by Gregory Wright
Marvel Comics/Epic - 1992
19 pages of a 32 page Book -
Designer / Illustrator
Liquid Programming
(Computer Games industry)
August 1991 — September 1991 (2 months)
Drew 30 Creatures and a variety of large illustrations of Si-Fi locations for CD ROM role playing game called ‘Mutation’
The same project also later employed Kalman Andrasofszky, a fellow doodler from old T.O. -
Artist/Co-creator of Nature of the Beast
Caliber Comics
(Publishing industry)
October 1990 — August 1991 (11 months)
Nature of the Beast / written by Al Roy ; illustrated by Max Douglas.
My first published B&W book. I drew two issues, and half of a third for this fantasy series. Unfortunately what i had proposed was a Sci Fi story inspired by Larry Niven's 'The Integral Trees' and what i got was a violent furry version of "Lord of the Rings". When i got the script for the end of book three and a scene in it included one of the prime players gratuitously having a breast bitten off, and the author was adamant it had to go in, i decided i needed to back away from this project. -
Assitant to the penciler
Marvel Comics
(Public Company; MVL; Publishing industry)
April 1991 — April 1991 (1 month)
For a few days i assisted/apprenticed with Dave Ross, a professional comic artist i came to know via comic conventions. Not sure how it came about, if i bugged him for a chance to work with him or he asked, but it worked out well for both of us; he had a book behind schedule and i wanted to get a closer look at how you made a comic professionally. He paid me a little for each page to help out at first filling in just some backgrounds and secondary figures, and then let me draw larger portions of a few pages near the start of the book in Cloak and Dagger #18. Plot: Cloak, Dagger, Spider-Man and Ghost Rider are drawn into Mephisto's realm in Hell to fight him on and free the victims of a Neo-Nazi he manipulated. I worked over loose sketched layouts and did my best to affect Dave's work, and he seemed especially pleased with my drawings of the caves in Hell and Mephisto and let me render a few more panels of him as i recall. It was fun though i found this first early exp in someone else's work environment slightly unnerving.
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Creature Designer
Works of Imagination
(Privately Held; 1-10 employees; Motion Pictures and Film industry)
October 1990 — November 1990 (2 months)
One of my first Freelancing gigs. For a short time, I designed creatures and monsters for old school practical F/X studio Works of Imagination. Mostly Aliens and Mutants for B Movies.
Salgood Sam’s Education
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life
Largely self taught endlessly active autodidact. Drawing compulsively and making things since I was a child, I attended Wexford CI for 3.5 yrs for their Advanced Arts program.
Ultimately I have no diplomas, but I come from a family of artists, and have enjoyed the privilege of having many mentors. I've also happily snapped my vintage Nikon F at stuff for over 17yrs, taken repeated and slowly improving stabs at writing, played in B&W dark rooms, cut up collages, produced radio and audio plays, messed with clay, painted paint, and yes, drawn ceaselessly for all my life.
I’m always open to learning how to use new media and tools, so on the job training is always welcomed as well.
Additional Information
Salgood Sam’s Websites:
Salgood Sam’s Interests:
Comics, Illustration, Film, SHort Video, T-shirts and boards type stuff, Design, for print, books, web, set design, game design, portraiture, murals. Sings and posters, Logos...etc.
Salgood Sam’s Groups:
DC comics, Comics!, the Engine, Panel and Pixel, Marvel, The MMCJ, Montreal Mirror, Nelvana, Appleberg Publishing
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SCANDINAVIAN DESIGN - MODERNA -
Comicbook Artists Guild -
Cryptarchy VFX
Salgood Sam’s Honors:
Awarded a grant from the Canada Council for the Arts in early 2006: Grants for Professional Writers: Creative Writing
Nominated for the 2005 Prix Expozine in the English Comics category. www.expozine.ca
Nominated for Best Emerging Talent for the 2005 TCAF Doug Wright Awards in Toronto. www.wrightawards.ca
Salgood Sam’s Contact Settings
Interested In:
- career opportunities
- consulting offers
- new ventures
- job inquiries
- expertise requests
- business deals
- reference requests
- getting back in touch
