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Galleria is a Synonym for Mall
Gal is not, however, a synonym for Moll
Prior to the overview material to come, which will cover not only the DRAGONIA Trilogy but the darker DRAGONS AMONG US series as well, I should say a word or two (maybe three) about the dragalleries to be found in DRAGONOMICON. By the way, the following “rules-of-engagement” apply equally to all the galleries exhibited in every department -- just so you know.
You may have already noticed the Galleries pages listed in the drop-down menu associated with this department, DRAGONOMICON. Though somewhat self-evident in terms of the images being portaits of the novels’ main dragon characters, some additional explanations might prove helpful and interesting. Especially as concerns the fact that many if not most of the works on display are available for purchase as decent quality, hand-signed, serialized art prints.
You may have already noticed the Galleries pages listed in the drop-down menu associated with this department, DRAGONOMICON. Though somewhat self-evident in terms of the images being portaits of the novels’ main dragon characters, some additional explanations might prove helpful and interesting. Especially as concerns the fact that many if not most of the works on display are available for purchase as decent quality, hand-signed, serialized art prints.
Fig. 1. Boja and Shelldon. A dragle and dragurtle.
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Fig. 2. Cora the dragonicorn. See a pattern?
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Fig. 3. Brimstone. A full Trueblood dragon.
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POD is not Pig-On-Demand. Well, not exactly.
The ART of PRINT-ON-DEMAND (POD)
One of the more noteworthy aspects of all my galleries, regardless of what department they reside in, is the relatively innovative Print-On-Demand feature by which they are sold exclusively via this website. Due in large part to the advent of what are called giclee (zgee-clay) prints (high-quality inkjet printing) artists and distributors no longer need to maintain expensive, pre-printed inventories of reproductions of an artist's work. In the case of limited editions, small orders can be filled (on demand) until such time that the total number of prints in a given edition reaches its stated limit. As an added benefit to this process, artists who expect to produce very small quantities of their work, can offer a more personal, more direct relationship with patrons of their wares. The net result is comparable quality with the best products available elsewhere, but at rock-bottom prices and one-on-one contact with the artist -- with me, that is.
Except for what are termed "artist proofs" -- meaning I need to see a few of them first and make adjustments where necessary -- no amount of prints [of any image] exists prior to an order being placed for them. Although the principle involved is simple, it bears repeating as to precisely how this system works. And how my approach differs from other so-called POD services designed for both artists and consumers of fine art.
For those already familiar with Print-On-Demand (POD) books, the exact nature of what I’m describing will be very easy to appreciate. I say “appreciate” because while most art buyers and collectors, whether large or small, are familiar with what are called limited editions, the notion of a one-at-a-time, singly produced print via an individual purchase order -- with direct involvement by the artist -- adds an extraordinary personal touch to the whole business.
Speaking of specialized services, it should be noted at this point that many internet facilities exist which allow an artist to upload their work to an independent print-house, which then prints the work and sends it directly to a buyer. The artist is often not part of the process, nor are any of the purchased prints necessarily signed or accompanied by an artist-signed Certificate of Authenticity. This is an extremely important distinction. None of the art prints sold through this website are unsigned. All of my prints are hand-signed, all are numbered and labeled, and the printing of each is done under my personal supervision and involvement. From beginning to end. Period. Add to this the fact that both patron and artist are in direct contact (as little or as much as necessary) and the contrast between my POD prints and those typically available elsewhere is both striking and exceptional. In other words, for the money and in terms of quality, mine are simply better than most. Certainly more collectible in many cases. In case that's important to you -- or to anybody else besides me.
One other relatively unique feature I offer is a Certificate Of Authenticity that is also POD and is individually matched to the print for which it is issued. Thus the certificates are not transferable and can only be used with their corresponding artwork. Each COA is dated, also hand-signed, and carries the serialized catalog reference assigned to its matching print. While not foolproof (what is nowadays?) such a setup virtually guarantees your purchase as the real deal, thus increasing its collectibility. Plus it's just a really nice, very personal (warm and fuzzy) way to buy prints. But is it important and do you pay extra because of it? A conditional "yes" to the first question, and "no" to the second. For the person who goes to the trouble of actually ordering one print or more, I think they'll really enjoy the extra added touches. To them it will be important, as it is to me. As a gift, the added documentation also distinguishes my prints as something special and almost entirely unique in the art field. Talk about a conversation item (I think that's redundant, but you get the idea).
Except for what are termed "artist proofs" -- meaning I need to see a few of them first and make adjustments where necessary -- no amount of prints [of any image] exists prior to an order being placed for them. Although the principle involved is simple, it bears repeating as to precisely how this system works. And how my approach differs from other so-called POD services designed for both artists and consumers of fine art.
For those already familiar with Print-On-Demand (POD) books, the exact nature of what I’m describing will be very easy to appreciate. I say “appreciate” because while most art buyers and collectors, whether large or small, are familiar with what are called limited editions, the notion of a one-at-a-time, singly produced print via an individual purchase order -- with direct involvement by the artist -- adds an extraordinary personal touch to the whole business.
Speaking of specialized services, it should be noted at this point that many internet facilities exist which allow an artist to upload their work to an independent print-house, which then prints the work and sends it directly to a buyer. The artist is often not part of the process, nor are any of the purchased prints necessarily signed or accompanied by an artist-signed Certificate of Authenticity. This is an extremely important distinction. None of the art prints sold through this website are unsigned. All of my prints are hand-signed, all are numbered and labeled, and the printing of each is done under my personal supervision and involvement. From beginning to end. Period. Add to this the fact that both patron and artist are in direct contact (as little or as much as necessary) and the contrast between my POD prints and those typically available elsewhere is both striking and exceptional. In other words, for the money and in terms of quality, mine are simply better than most. Certainly more collectible in many cases. In case that's important to you -- or to anybody else besides me.
One other relatively unique feature I offer is a Certificate Of Authenticity that is also POD and is individually matched to the print for which it is issued. Thus the certificates are not transferable and can only be used with their corresponding artwork. Each COA is dated, also hand-signed, and carries the serialized catalog reference assigned to its matching print. While not foolproof (what is nowadays?) such a setup virtually guarantees your purchase as the real deal, thus increasing its collectibility. Plus it's just a really nice, very personal (warm and fuzzy) way to buy prints. But is it important and do you pay extra because of it? A conditional "yes" to the first question, and "no" to the second. For the person who goes to the trouble of actually ordering one print or more, I think they'll really enjoy the extra added touches. To them it will be important, as it is to me. As a gift, the added documentation also distinguishes my prints as something special and almost entirely unique in the art field. Talk about a conversation item (I think that's redundant, but you get the idea).
The ART of LIMITED EDITIONS
Generally speaking, LE’s (limited editions) are the highest quality form of reproduction (or ought to be) that an artist can produce when the market for his or her work makes the effort worthwhile and cost effective. Usually the artist is satisfying a demand that either already exists or in the near future is expected to. Such editions are also routinely printed beforehand in small batches (even one-at-a-time) ordered by a gallery or distributor who then has the print(s) signed by the artist. If you love the art, this is a great way to obtain a quality piece without going broke buying an original.
Once again, allow me to reiterate that in my galleries, there are no limited editions. There are no editions period. The scarcity (rarity) of a printed piece of my work is dictated solely by the number of orders placed for it. I do, however, number each of the prints both for my own accounting purposes and so a customer will know exactly how many prints of that particular item were already produced. This number also accompanies each of the images on display, such that visitors (and potential patrons) will know how many of that image have, to date, been ordered. In no event, however, will the total number of prints produced for any given print exceed one-hundred in number. Upon sale of the one-hundredth print of any image, the edition of that same print will become permanently "closed".
One other fascinating attribute of my POD artworks (versus the competition) is the added ability to personalize a given piece for a specific customer (I prefer the terms client or patron myself) Did you know that books which are signed by an author who addresses the volume to the buyer by name, are worth less than those which carry the author’s signature alone? In this sense, you may or may not want a signed print personalized to you by name. So let me be clear that this is not necessarily what I’m referring to. A better choice of word is custom, or customized in some way that makes one print different from all others, regardless of how many are eventually produced. My intention, again for the sake of clarity, is to create as unique a product as possible based on the technology employed. As close to a one-of-a-kind artwork as feasible and just short of being an “original”.
Once again, allow me to reiterate that in my galleries, there are no limited editions. There are no editions period. The scarcity (rarity) of a printed piece of my work is dictated solely by the number of orders placed for it. I do, however, number each of the prints both for my own accounting purposes and so a customer will know exactly how many prints of that particular item were already produced. This number also accompanies each of the images on display, such that visitors (and potential patrons) will know how many of that image have, to date, been ordered. In no event, however, will the total number of prints produced for any given print exceed one-hundred in number. Upon sale of the one-hundredth print of any image, the edition of that same print will become permanently "closed".
One other fascinating attribute of my POD artworks (versus the competition) is the added ability to personalize a given piece for a specific customer (I prefer the terms client or patron myself) Did you know that books which are signed by an author who addresses the volume to the buyer by name, are worth less than those which carry the author’s signature alone? In this sense, you may or may not want a signed print personalized to you by name. So let me be clear that this is not necessarily what I’m referring to. A better choice of word is custom, or customized in some way that makes one print different from all others, regardless of how many are eventually produced. My intention, again for the sake of clarity, is to create as unique a product as possible based on the technology employed. As close to a one-of-a-kind artwork as feasible and just short of being an “original”.
Fig. 4. The Limited Edition version.
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Fig. 5. 24"x 36" posters.
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The BONFIRE of the VAIN
Imagine for a moment that you bought a nice, somewhat valuable, limited edition print that was reproduced from an original painting or other work, depending on the medium used by the artist. Now suppose that the original work is suddenly destroyed in a fire. Burned up. Gone forever. All that remain are the relatively few art prints which survive the deceased original. The question arises as to what impact, if any, this circumstance has upon the value of your print. Do we even care? I think so. Any good art that is relatively scarce, usually retains some level of investment worth. A lot of art is purchased largely for its potential return investment if sold at some point in the future. If the monetary value of your art increases, you should be aware of that fact. And even if you don’t care, others probably will.
So what does this have to do with my website, its galleries, and the rather unique POD process I offer? I’m glad you asked. In a nutshell, all the original paintings from which my art prints are made, were destroyed before they were ever created. What did he just say? Other than a few, very rare exceptions, there simply are no original works involved, nor were there ever. It’s as if they were all originals at one time, then collected into a single heap and set ablaze. Gone but not forgotten.
If you will kindly indulge me further, allow me to emphasize that, other than photos of older, original paintings (all of which are clearly labeled as such), there are no original artworks from which any of the DRAGONIA or DRAGONS AMONG US images were culled or reproduced. Pardon me while I repeat myself, but this is kind of important to folks who care about such things. Virtually no original art exists from which any of the dragon-related images (and numerous others) were subsequently made.
All of the artworks rendered exclusively for the DRAGONIA Trilogy and DRAGONS AMONG US series were created on a computer and remain entirely as digital files only. The sole exception to this are the bare-bones, black and white ink-line drawings initially scanned and used as the basis for many of the finished pieces, but all of which were, afterward, still years in the making. These same ink drawings, cutely crude compared to their final versions, are still with me and will one day be posted on this website.
In summation of my earlier comments, the exact procedure by which a proposed process of customization will work has yet to be determined. Since I will personally oversee the printing of every piece sold, the potential variables that POD affords are very tempting to explore. My current guess is that a selection of the many small badges, tiny logos, icons and other relatively inconspicuous designs will be made available as custom “add-on’s” to a given print. And once used, no print can ever again bear that specific design. Another way to think of this is that any print could conceivably carry an additional signature by the artist. But one signed differently than any other. With no two alike.
In the book business, authors can sign their works retroactively. This is a common practice and uses what are called "book plates". An author typically signs a self-adhesive label of some sort which is then sent to the person who already owns an unsigned copy. Once received, the label is then placed inside the front of the book. Voila! A signed book. I mention this because there is currently no similar or equivalent process in the art world. And yet there's no reason why "art plates" for art prints shouldn't or couldn't be made available. The implications of this topic are intriguing and deserving of more thought. Although I'm not yet sure how exactly the system would work, I do like the concept.
By the way, the image of the Harp seal as shown above is a traditional (pre-giclee) four-color limited edition print (350) produced from an original painting. 2000 lesser quality, unsigned posters were also printed. Though only a scare few of either remain, it represents a perfect example of how an original work can be either destroyed or altered in such a way that limited edition prints and posters may be all that "survive" the original piece. Subsequent its reproduction in the form of said high quality prints, and upon the request of the owner, I was re-commissioned to completely change the look of the original painting. The interior images were removed from the eyes and the hair of the pup was made to appear wet and matted. The end result was a "new" painting that emerged as an entirely different work. The reasons for the changes are unimportant, but the fact that only a small number of residual reproductions still exist is...interesting. In the absence of a parent work from which more prints could have been made, the few "orphans" still in the world are all there is. Or ever will be.
Once the DRAGONOPOLIS website becomes operational (not unlike the Death Star in STAR WARS) and the sale and production of art prints (POD) is underway, all merchandise (I hate that word) will carry a small, unobtrusive stamp that identifies each as a product of the DRAGONOPOLIS Mall & Emporium. Regardless of what other adornments may or may not be added to any given print, each will always carry the “official” DRAGONOPOLIS logo. In the future, therefore, any print in circulation that does not bear this specific identifying mark, and is unsigned, should be regarded as an unauthorized reproduction of dubious monetary worth.
So what does this have to do with my website, its galleries, and the rather unique POD process I offer? I’m glad you asked. In a nutshell, all the original paintings from which my art prints are made, were destroyed before they were ever created. What did he just say? Other than a few, very rare exceptions, there simply are no original works involved, nor were there ever. It’s as if they were all originals at one time, then collected into a single heap and set ablaze. Gone but not forgotten.
If you will kindly indulge me further, allow me to emphasize that, other than photos of older, original paintings (all of which are clearly labeled as such), there are no original artworks from which any of the DRAGONIA or DRAGONS AMONG US images were culled or reproduced. Pardon me while I repeat myself, but this is kind of important to folks who care about such things. Virtually no original art exists from which any of the dragon-related images (and numerous others) were subsequently made.
All of the artworks rendered exclusively for the DRAGONIA Trilogy and DRAGONS AMONG US series were created on a computer and remain entirely as digital files only. The sole exception to this are the bare-bones, black and white ink-line drawings initially scanned and used as the basis for many of the finished pieces, but all of which were, afterward, still years in the making. These same ink drawings, cutely crude compared to their final versions, are still with me and will one day be posted on this website.
In summation of my earlier comments, the exact procedure by which a proposed process of customization will work has yet to be determined. Since I will personally oversee the printing of every piece sold, the potential variables that POD affords are very tempting to explore. My current guess is that a selection of the many small badges, tiny logos, icons and other relatively inconspicuous designs will be made available as custom “add-on’s” to a given print. And once used, no print can ever again bear that specific design. Another way to think of this is that any print could conceivably carry an additional signature by the artist. But one signed differently than any other. With no two alike.
In the book business, authors can sign their works retroactively. This is a common practice and uses what are called "book plates". An author typically signs a self-adhesive label of some sort which is then sent to the person who already owns an unsigned copy. Once received, the label is then placed inside the front of the book. Voila! A signed book. I mention this because there is currently no similar or equivalent process in the art world. And yet there's no reason why "art plates" for art prints shouldn't or couldn't be made available. The implications of this topic are intriguing and deserving of more thought. Although I'm not yet sure how exactly the system would work, I do like the concept.
By the way, the image of the Harp seal as shown above is a traditional (pre-giclee) four-color limited edition print (350) produced from an original painting. 2000 lesser quality, unsigned posters were also printed. Though only a scare few of either remain, it represents a perfect example of how an original work can be either destroyed or altered in such a way that limited edition prints and posters may be all that "survive" the original piece. Subsequent its reproduction in the form of said high quality prints, and upon the request of the owner, I was re-commissioned to completely change the look of the original painting. The interior images were removed from the eyes and the hair of the pup was made to appear wet and matted. The end result was a "new" painting that emerged as an entirely different work. The reasons for the changes are unimportant, but the fact that only a small number of residual reproductions still exist is...interesting. In the absence of a parent work from which more prints could have been made, the few "orphans" still in the world are all there is. Or ever will be.
Once the DRAGONOPOLIS website becomes operational (not unlike the Death Star in STAR WARS) and the sale and production of art prints (POD) is underway, all merchandise (I hate that word) will carry a small, unobtrusive stamp that identifies each as a product of the DRAGONOPOLIS Mall & Emporium. Regardless of what other adornments may or may not be added to any given print, each will always carry the “official” DRAGONOPOLIS logo. In the future, therefore, any print in circulation that does not bear this specific identifying mark, and is unsigned, should be regarded as an unauthorized reproduction of dubious monetary worth.
Fig. 6.
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Fig. 7.
Fig 9.
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Fig. 8.
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DRAGONS of a DIFFERENT COLOR
At this juncture (if not a lot earlier) readers can now allow me to take them deeper into the five novels around which much of the displayed artwork is devoted. Or you can skip around, go wherever you please, or just skip out altogether. If viewing more artworks seems appealing, walking tours of the ASTRONOMICON and IMAGINOMICON gallerias are among the options available. Listed separately under Directory, two other locations, however, might also be worth a quick pop-in or a longer stay if you like dogs and baby dragons. And who doesn’t? Baby dragons, that is.
Timtu's Place is its own small gallery. Timtu is one of the main characters who appears in both DRAGONIA: Tales of the Golden Talon, and DRAGONS AMONG US: The Series. Since I was fairly pleased with how the little guy turned out, artistically, it seemed only proper to give him a prominent spot to show off his many moods, temperaments, and colors. Timtu is a natural poster child, rather poster dragon. This fact is immediately evident to anyone who steps into his poster shop and takes a quick (or longer) look around. Of special interest to the curious might be the many variations-on-a-theme which were largely experimental in nature, and never intended as serious offerings.
Timtu's Place is its own small gallery. Timtu is one of the main characters who appears in both DRAGONIA: Tales of the Golden Talon, and DRAGONS AMONG US: The Series. Since I was fairly pleased with how the little guy turned out, artistically, it seemed only proper to give him a prominent spot to show off his many moods, temperaments, and colors. Timtu is a natural poster child, rather poster dragon. This fact is immediately evident to anyone who steps into his poster shop and takes a quick (or longer) look around. Of special interest to the curious might be the many variations-on-a-theme which were largely experimental in nature, and never intended as serious offerings.
Del's Lair is also a tiny gallery whose scope is, let’s say, fun but limited. All kidding aside, there’s an interesting story behind Del’s origin as a character, although he never appears in any of my books, as a character. Suffice it to say that were it not for Del, however, none of the other books (or art) would have ever existed. If this perks your curiosity, please drop by Del's Lair and check out his digs. If his gallery looks like a cross between a dog house and a cave, well, you’ll understand when you get there.
How to Read and Interpret the Identification Letters & Numbers
that are Printed Below most Images on Display:
Not all pictures have serial identification letters or numbers.
Those that don't are not intended for sale.
I am, however, a push-over and easily persuaded.
As is the same for all images in all departments, the letters and numbers printed below a given picture mean the following:
1) That the artwork is for sale. 2) The letter and number combination identifies a specific image for cataloging/accounting purposes.
3) The last numbers separated by dashes represent the total number of (authorized) prints produced and in circulation.
In the following example: D1 stands for Del-One, while -001 stands for Del-One with one print sold, and -300 represents the edition total.
In this particular case, the number 300 indicates that 300 is the self-imposed edition limit.
Once reached, absolutely no more prints will be issued, and the edition closed.
The final identification looks like this: D1-001-300.
1) That the artwork is for sale. 2) The letter and number combination identifies a specific image for cataloging/accounting purposes.
3) The last numbers separated by dashes represent the total number of (authorized) prints produced and in circulation.
In the following example: D1 stands for Del-One, while -001 stands for Del-One with one print sold, and -300 represents the edition total.
In this particular case, the number 300 indicates that 300 is the self-imposed edition limit.
Once reached, absolutely no more prints will be issued, and the edition closed.
The final identification looks like this: D1-001-300.
Please note: Since the decision was recently made not to include a shopping cart at this time, all sales and marketing information is for future use only. No prints or other merchandise is currently available except by special arrangement with the artist (me). Please drop me a quick note for additional details. Thanks.
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