Laszlo's website Hot Lead, which includes some great tutorials, can be found here:
Prophet Miniatures: So tell us about some of your painting accomplishments.
Laszlo: I don't actually keep track of the total or anything, but I've won awards at most of the major Bay Area cons: Dundracon, Pacificon, Kublacon and ConQuest. I've also won prizes at Origins, GenCon and Gamesday Chicago. In the early days it was 2nds and 3rds, but about '93 I started consistently taking 1sts, with the occasional Best of Show. I was a regular at the Dundracon contest until they stopped holding it and at Pacificon until the con was mismanaged into the ground...
One of my most memorable wins was the 1st Online Reaper painting contest, for which I got a mini sculpted from my design as the prize (#2217 Rollergirl, now OOP). That was very cool! But my most meaningful award was probably the 1st place I won at Polycon IX in '91 (down at CalPoly in San Luis Obispo, Ca). That was the first time I entered a con painting contest and it really got me hooked on painting! ;^)
Other credits include: an article in issue #3 of the short-lived FORGE magazine (on assembling and painting a diorama using "Hyppogryffe Rescue" by Thunderbolt Mountain Miniatures) and painting Gauth as a display piece for Reaper Miniatures at GenCon 2000.
PM: So how were you first introduced into the wide, wide world of minis?
LJ: convention, with judging on the last day. Guess it helped that the convention was so-so in gaming terms: I spent the whole time painting and listening to Guns 'n' Roses on my Walkman! ;^) I took first place 'Character', and my girlfriend (soon to be wife), won 1st in 'Monster'.
That got the ball rolling and I found I was having fun just painting the minis, whether or not I played with them. Some of that stuff is pretty nasty to look at nowadays, but there's a detail here and there I'm still proud of...
When we moved to the Bay Area, Dundracon was the big RPG con, so I started going and entering the contest. Got my first tips and embarrassing moments from the judges there (yes, cleaning mold lines is a must!) I learned a lot from the judge's seminar the con used to have: they would go over what won and why. But I also learned about judging biases, as the 'bigger-is-better' theory always crept up in the Monster category. I usually couldn't take a 1st there, no matter how well I painted!
The second biggest influence on me, after painting contests, was the internet. I think it has literally changed our society, but has made an especially amazing difference to mini-painters. When I started out I had few friends who were into painting above 'gaming' quality (mostly Jaime). After a few years I was the only one getting more and more into it, so I was on my own in terms of a support group! Even my wife quit painting in preference to her 2D fantasy painting, so I had to develop and practice my technique without any other painters around, except for reading White Dwarf articles and talking with the odd painter at a con.
That was until the late-90's when the internet painting community as we know it started to develop. It's amazing what a difference it's made in painting standards, as well as ramp-up speed. Painters have a great resource that just didn't exist back when I started out. Hundreds - or thousands - of folks willing to share techniques, discuss style and critique each other's work can't help but push the standards higher. And I know I've had to push myself to improve my own painting in light of all the heavy hitters one sees cropping up daily on the 'net! ;^)
PM: Looking back on your work, are there any particular miniatures that stand out as milestones in your development?
LJ: I have my personal favorites of course, but here are some that show my development as a painter, or in some cases where I mastered a particular technique:
Judge Dredd (1990?):
I tossed this in to show that everyone has to start somewhere! This old GW mini was my first attempt at blending. It ended up as really bad layering: I was trying to emulate the coloring done on the comic covers. Jaime said "that's not the way you should do it!", but it got the ball rolling...
Fire Giant (1991):
This is the mini I took my first 1st place with at Polycon IX. Not much to look at now, with all the drybrushing of the flesh, etc. but I was rather proud of this mini for a few years afterwards. I really nailed the technique of using multiple washes and drybrushes here, as the flesh and armor must have something like 10 layers on them!
Lightning Mage (1993):
I finally got the hang of blending on this mini, though it's still a little like layering at this point. Also my first use of a natural rock base - I used to love doing these, but nowadays it probably looks silly...
Efreeti (1994):
I used to have a rep on the mini-painter Yahoo! group for being a proponent of the "real fire" painting style. I perfected the look on this one. Oddly enough, however, this is the *second* efreeti I painted like this! I sold the original and immediately regretted it, so I painted up another one with the addition of the brazier - made the fire effect even more pronounced!
RP AD&D Djinni (1998):
The first time I used extender on a mini (Liquitex Slow-Dri). The difference it made was so astounding I never looked back!
Reaper's Abyst VIC #2 (2000 ):
First time I ever cast anything in resin for a diorama (the pentagram) and (gasp!) used black primer... Though thank god I had the sense to spray white over the black (to simulate the lighting). ;^)
PM: Do you think being married to an artist helps you in your own work?
LJ: Well, we're actually both artists (I have a BA in Fine Art), though Leah is much more active in pursuing it as a career than I am. It can be *interesting* for us, given that we have a weird dynamic when critiquing each others' work (we're both very protective ;^). She comes at my minis from a totally different perspective than I do sometimes, and often comments on things I never asked her about. Typical example is:
"What do you think about this shield?"
"Well, the hair needs some serious work!"
I used to joke that all she ever told me to do was darken everything and use less colors, but I've come to rely on her as my main critique partner. She has a keen eye for color and it's good to have someone like that around when my natural inclination is to just use complimentary colors. Complimentaries aren't always suited to the particular piece's mood, and she's helpful at suggesting better colors in such situations.
Leah has a good eye for the 'flow' of things too and makes useful suggestions when I'm having trouble getting a sculpted detail to look right (like the drapery on my Gamesday seraphim entry).
And she puts up with me yacking on and on about mini-painting about as well as I put up with her going on about Lord of the Rings and hobbit fandom! ;^) It doesn't hurt to have someone who's as crazy about art supplies as I am, either: she's willing to go to the local art supply or gaming shop at the drop of a hat. Besides, she supports my Rackham habit!
PM: So now that you've entered a couple Golden Demon competitions, what's the experience been like?
LJ: A lot of it was what I expected: 'WAARGH!' yells and all that childish stuff... The events themselves were a great place to see lots of painted models and some seriously cool scenery used for the various official games. Especially things like the giant LOTR display games. GW put a lot of effort into those and it showed. I'm always floored by the display dioramas they make too - the monstrous army of Tyranids invading an Imperial Guard outpost at Baltimore 2002 was just stunning
One thing I *don't* recommend to prospective Golden Demon painters is painting non-stop beforehand, or even worse, at the convention (which I did). It's just not worth it! I typically became a virtual hermit for over a month before the con. All that resulted in at my first GD was first cut and a zombie-like perspective on the whole day...
As a painter and not really a GW gamer, I went primarily for the Golden Demon contest. The Demons themselves are a mixed bag for me. I expected the huge crowds and a lot of tough competition. The overall painting level was lower than I expected the two years I went, though long-time attendees said there seemed to be less entries and the opening of multiple Gamesdays across the US no doubt contributed to this. I was surprised by the 'on the fly' judging with spectators watching, though. I'm used to local cons keeping this 'hush hush' until the final announcement. Then again, with the number of minis and location of the contest right in the thick of things, there is no real 'privacy' for the judges! ;^)
I'm always surprised at the speed of the judging too - each category has about 10-15 minutes worth of decisions to come up with the final 3, sometimes even less. The judges presumably have done many such stints in the past so they probably knew what to look for right off, but having judged myself it still a little fast. The judging choices have been discussed to death online, but they are never without controversy. Having seen it first hand I often wonder at some of the arbitrary decisions being made, more in keeping with GW's marketing goals than what good painting is. For example, at Baltimore 2002 Bronze in both Single Mini categories (WHFB and WH40K) went to unconverted minis to "show that stock minis could win a Demon too". Kind of disappointing to me personally as, at the risk of sounding immodest, I felt my WH40K entry (Seraphim) was better painted than the Bronze winner. I'll never know if my entry was passed over due to my paint job or just that I'd converted it...
I also saw the 'politics' I was warned about before I started competing - a fair number of winners are newly-released models or armies GW is pushing that particular year. It's unfortunate, but it's their show and I can understand that they want to "pimp" their new minis (in the immortal words of C.J. Cummings ;^) But with that, the changing of categories seemingly annually, basing size discrepancies over the last several years, and some other questionable things made the contest seem less evenhanded than I expected.
I've learned to have a thicker skin about it and realize the contest is definitely partly flash, partly talent and partly judging caprice. A tough audience to please on any given day... You pretty much have to toe the company line too in your entries (my seraphim was too different from a normal Sister of Battle). Also, it pays to enter multiple categories to have a better chance of placing. Most of all, just don't kill yourself doing it!
The most fun I had at any GD, though, was meeting the other painters I knew from the internet, both the 'big names' (Bobby Wong, Jason Richards, Brett DeWald, Chris Borer, Matt Verzani, etc.) and friends from the mini-painter and local groups. It's always fun to just hang out around the Demons (and the impromptu painters' dinner afterwards) to talk shop. Being able to put a face to a name and learning that, apart from one or two, painters are an unassuming lot who just enjoy painting for it's own sake. I didn't get a real sense of cutthroat competitiveness from most of the painters, and usually got a lot of sympathy and kind words if my entry didn't make it past first cut. (Including Bobby Wong saying 'Dude, you were *bleeped*!' when my seraphim was passed over. ;^)
PM: Where do you find your inspiration?
LJ: You know, this question usually comes up and I rattle off a stock set of artists I admire, but I was thinking recently and realized I don't really draw directly from fantasy/science fiction artists. I don't have a Michael Whelan shot hanging by the painting area or anything... I mostly see what's out there on the 'net in terms of mini-painting and use that as my inspiration. Puzzling out how someone did an effect on their mini helps me improve my own painting directly.
But it's important to have sources of inspiration just to get some new possibilities in your vocabulary. Personally I like viewing 'clean' and realistic painting styles in both fantasy art and mini painting, which in turn has shaped my personal style. I shy away from 'looser' painters, like Frazetta, Boris Vallejo, etc.) It's a give and take when you adopt one kind of style, though - in exchange for developing a stronger handle on one path you lose some versatility, but gain certainty in the approach.
Being super clean does limit your subject matter sometimes. I don't like painting chaosy or Cthuloid minis for example, as I just can't abide messy imagery and the kind of flowing, organic, well... 'chaotic' painting often associated with it. For this reason I am not a fan of John Blanche (*gasp*). At the risk of getting slings and arrows lobbed at me I never had much use for his mini-painting or artwork, even though it's worshipped by some.
PM: So besides the obvious, like Victor Hardy's conversion work, who among painters do you admire most?
LJ: Ohhh boy, not opening up that can of worms here... ;^)
Well, the big daddy of them all for me is definitely Mike McVey - his meticulous painting and clean work opened my eyes to the possibilities of painting something beyond 'table quality'. He's still the touchstone by which I judge other painters.
In general I lean toward those with 'clean' painting styles: Bobby Wong is definitely one of my favorites! His layering is simply flawless. I am also floored (as are most people) by the painters employed by Rackham - esp. Cyril Abatti. His amazing technique is an inspiration in itself. Jen Haley is another definite favorite; she's helped advance miniature painting toward an accepted art-form.
I've always liked Dirk Stiller's excellent layering and playful sensibility. Chris Borer is a master of clean work and detail. Brett DeWald manages to have a naturalistic sense to all his minis (even the scifi ones) while keeping a vibrancy in his colors.
There's so many people I appreciate I could go on and on, but I'll name a personal favorite who may *not* be household name to everyone: Derek Schubert. He's a painter of great talent who is less well known than many others, due to his limited web presence, but is a wonderful master of details and colors. I was hooked on his work since I first saw his minis in FORGE magazine years ago. He's been doing a series of step-by-steps on Reaper's web site recently, along with painting for their online gallery, which gives an inkling of what he can do.
PM: There have been a few trends that have really swept up the online painting community: Non-metallic metal(NMM) in 2000 and Sky-Earth NMM in 2002 for example. . Do you see any new trends on the horizon?
LJ: Sky-earth. God, I hate that name! Airbrushed chrome is much more descriptive ;^)
I've never claimed to be a fortune teller, but judging by what's going on currently we're likely to see an artistic flair continuing in the hobby. I think the efforts of painters like those from Rackham have opened mini-painters' eyes to the possibilities of making miniatures into 'artwork', not just painted metal gaming accessories. That path isn't for everyone, but I see a growing trend in painters who paint for it's own sake.
I also see a continued trend by some painters toward darker, more 'naturalistic' painting, led by GW's new 'eavy Metal team style and people rebelling against what they see as the 'cartoony' Rackham paint jobs (NMM, etc). There's room in the community for both camps, I think, however.
PM: Where do you see mini-painting heading, both for you personally and as a community/hobby in general?
LJ;Personally I plan to spend more effort improving my skills. I want to win some Golden Demons someday (to add to my Bronzes), and with luck, a sword, axe, hammer, or whatever ;^) To do that I've got to do some serious painting practice - due to life challenges the last few years I've found myself with less time than ever to paint, so it's going to be tough for me to carve out time for it!
I'm also trying my hand at painting commissions for the first time in years. I've been hesitant to do so, but with the rise of the internet painting community and the strong presence of talented painters on eBay, mini-painting is become more appreciated, both in terms of artistic and monetary value. I doubt I'll get rich off of it, but ultimately I'd like my hobby to be self-sustaining.
For the community itself, I see a continuation of natural fracturing into smaller interest groups - for the mini-painter Yahoo! group specifically and the 'net as a whole. There's just too many of us out there now to remain a small, tight-knit group. Like-minded painters will drift to like and some of the 'old guard' (geez, never thought I'd say that about a group that's only 5 years old! ;^) move on to form new groups of greater interest to them. I imagine this is a natural occurrence in any large community, with specialist factions (not used in a negative connotation here) arising from the larger whole. The rise of local painting clubs is also a trend that will definitely continue, as more painters look for face to face contact and assistance - there's only so much you can learn on the internet without seeing it done firsthand!
One thing I fervently hope to see, and which there are steadily-increasing signs of, is the growth of mini-painting into an accepted art form. I've seen this occur in other hobby-related painting groups, such as historical modelers and garage kit painters. I think figure painters as a whole (at least on the net) seem interested in going beyond just utilitarian painting, and spending greater efforts on pushing the limits of the medium.
As a sign of this, there's a growing market for companies which sculpt minis designed to cater to the display-painter. This cottage industry of companies like Heresy, Spyglass, FreeBooter, Hasslefree, etc. are putting out designs made for painting, not necessarily gaming with. Rather than just sculpting average pieces to fill out an army roster, they are producing minis that would make excellent one-off display pieces.
PM: Thanks for your time Laszlo!