Ballistic Publishing Artist Profiles show all

By Leonard Teo

While I sit here trying to write about Craig Mullins, I just keep staring at his artwork, awestruck. Every single time I gaze at his images, I find something new and profoundly interesting. It is said that a picture is worth a thousand words. If this is so, Mullins' work holds a few million, maybe more.

When the EXPOSÉ 1 jury set out to select a Grand Master for the premiere edition of the CG art book EXPOSÉ 1 in June 2003, it was unanimously voted that Craig Mullins should be the recipient of this first award. While we could fill an entire monograph with Mullins' astounding imagery, Craig chose a few of his favorite pieces to share with CGNetworks readers.

A few years ago, Craig realized that the digital era freed him from all geographical constraints, so he moved to Hawaii with his wife Jennifer where he continues to work as a concept artist and illustrator for many feature films and high profile projects.

It is with great pleasure that we celebrate the talent that is Craig Mullins and the contribution that he has made to the digital art world by honoring him with the inaugural EXPOSÉ Grand Master Award. You can also see more of his work at .

The 39 year old Californian native attended Pitzer College in Claremont for two years before studying product design at the Art Center College of Design. Mullins soon found that he was better at drawing cars, which led to 6 months at Ford in Detroit. He also discovered that his design sense was a little too weird to be of value to the car design industry and returned to Art Center to study illustration, where he finally finished his degree in 1990.

Craig Mullins: "I had first used Photoshop to touch up some physical mattes for a British Petroleum commercial, and remarking what a cool program Photoshop was. John Knoll (the co-creator of Photoshop) suggested that I try to do the whole thing in Photoshop. Just having started with it, I had no idea of how to paint with it, or even if you could. It was an experiment for all concerned. It was pretty much kluged photos, but it worked OK.

I bought a 33MHz Apple Quadra 700 with 36 MB RAM back in 1993. My idea was to scan in color roughs (I did little paintings before committing to blocking in a huge final piece) and play with them in Photoshop. You can try so many variations so quickly.

Eventually, the computer took over more and more of the task. At first it was very hard convincing clients to accept digital illustration work. I think they had visions of a contrasty mess of procedural textures, but I kept at them. I remember driving into town to set up a clients AOL account so I could send them works in progress.

Now I am trying to stay in as many areas of illustration that I can. I think it is better for me as an illustrator and it makes good business sense as well. There is a lot of mutually supporting aspects to the different areas of work that I do."

Image Credits :
Captain Evil
(Top Right)



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