RGG: We have already given a nice little intro to you, but would you be so kind as to introduce yourself on a more personal level with the RGG readers?

 

Mike: My name is Mike Winterbauer and I have been a working artist for thirty years.

 

I am most notably known for my work in illustration having done a string of classic computer game covers in the 80’s and 90’s.

 

You may have seen some of the covers I painted which included Might and Magic Clouds of Xeen and Darkside of Xeen and interior maps, Wing Commander, Solstice, Wolf Child and Power Blade to name a few.

 

Recently, my work received worldwide attention after I self published my book Classic Game Covers about my experiences being an artist. It is an honest and fascinating read about being an artist and how I created my art. I made the eBook available for free on my website in 2014 and the response was overwhelming. It got written up on websites all over the world and was read in over eighty countries and was also an Ars Technica's editors pick for "The Web Worth Reading".

 

I was very happy to finally get recognised for my work after working in the shadows for decades.

 

 

RGG: Prior to jumping into the world of cover art specifically, you must've been artistically inclined. When did you realise you wanted to become an artist, what spurred you on in the early days?

 

Mike: I remember as a kid sitting in the playroom of my parents house where I grew up admiring the art on the record albums and thinking to myself "Wow that is really cool and I bet these album covers will become collectible some day". I thought if the album did well you would be a famous artist because you did the cover.

 

The other thing that got to me growing up was seeing so many older people unhappy with what they did for a living. I was full of vigor and energy and decided early on I would try something different, enjoy what I do for a living and get recognized for it.

 

Thanks to my Mom who took me to be tutored by a professional artist when I was ten. I used to really look forward to weekly lessons going to his studio and seeing all his beautiful drawings and paintings. His house was a wonderful combination of a home and a museum. I thought it was a great place to live and I liked his lifestyle.

 

It was then that I seriously contemplated becoming an artist.

 

 

RGG: What was it like back in the day, being a cover artist? How did you get noticed and what was the creative process like?

 

Mike: Honestly it was rough. Being a cover artist had dramatic highs and lows. I remember feeling ecstatic when my art appeared on box covers and on magazines all over the world.

 

It really is an awesome feeling when your art gets noticed and seen on a classic game cover all over the world. On the flip side I remember feeling very low in between jobs and wondering when my next big job was coming my way. I was entirely the creator of my destiny, I continually was looking for the next job to keep my momentum and income steady.

 

Having done it, I would not change a thing, my goal was to do projects that would have staying power, meaning they would be appreciated in the years to come. There is nothing sadder than doing something you believe in and not get the recognition.

 

Getting noticed in the 80-90s was easier I think than now. Most people that would hire cover artists you could call on the phone and set up an appointment to show your portfolio.

 

And call people I did, as in hundreds of cold calls and leads done on a very regular basis, I also did mailings and took ads out. But the telephone was my best way to get a job. If I could set up a personal interview where I could meet the art director and show my work, I knew there was a good chance I would get the job.

 

I use to set up three to four interview showings in a day in the Los Angeles area. My little red Mazda GLC hatchback and I became very familiar with the roads of Los Angeles. Through it all I realized the only person who is going to make your dreams come true is yourself. I am a highly motivated individual and the experience also taught me if you want to be an artist you better have thick skin and believe in yourself.

 

The creative process was really fun doing box cover art. You were the creator of the first point of contact with the consumer for the game. The art had to draw the viewers attention from the cover of a magazine, poster or box.

So the concept was very important, but the concept has to lend itself to a visually dynamic cover that people like to look at. Cover artists were always going after the WOW reaction when painting this kind of art. I designed covers that hopefully made people want to imagine and play the game. This was a very fun creative approach. When the concept was approved you started drawings comps to narrow in on the final design.

 

After the final drawing was approved I did color comps in prisma color pencil to show clients what the final cover could look like. Once the color comp was approved I would transfer the drawing to the board and start my painting. The painting process is always exciting as I thought of it like try to breath life into the picture so it would come alive and be exciting to look at.