ABOUT THE DIGITAL ART
Back in the day, I discovered that drawing on the brand-new 128K Macintosh computer was exactly like drawing on an Etch-A-Sketch. In other words, I could do it and few others could.
You drew with a mouse, you had black, you had white, you had a few tools. Bill Atkinson had given us MacPaint, and I used that. I didn’t know the difference between the software and the desktop. There were rudimentary scanners but I never used them. I thought the whole world knew how to draw directly onscreen using a mouse and MacPaint, so that’s what I did. Actually there were about four of us.
Because of this rare ability, I created several volumes of popular clip art, the first underground comic on the Mac, and got to speak at a lot of trade shows. This early black-and-white work was painstakingly created a pixel at a time, and must be used at 100 % or turn to mush.
The whole world was converting to computers. I was hired by studios to teach legendary artists how to create art on a computer. Get good and tired, I said, because your adult mind will forget that it can’t do what you’re asking it to do. By the end of the decade I was working all over the industry, including Disney, Paramount, BBDO (Apple’s ad agency at the time) and building game art for the likes of Super Mario Brothers and Barbie.