Over the years I’ve had the privilege of working with some of the best artists in the world. From concepts and fine arts, to animation and digital arts, I’ve been blown away (and frankly quite jealous) of the amazing talent that rests in these individuals. Mark Behm is one of those individuals.

Mark is currently at Valve Studios, and previously worked at Blue Sky, Dreamworks, and others. He has also been an active mentor with Animation Mentor for several years. While animating at PDI/Dreamworks a few years ago, STRUT was able to interview Mark and get a glimpse of his story. When I found out he published a book I had to know more about it, so Mark has graciously taken another brief moment to talk with Strut about his newly published book “Nightwork”.

View Mark Behm’s Previous STRUT Interview

I encourage the entire STRUT community to order Mark’s book as soon as you can! This book should be in every serious artist’s library. All you beginning artists out there should definetly pick up Mark’s book as a great way to learn more about great art. You can order, “Nightwork” directly from Mark by visiting his website.

Visit Mark Behm’s Website to Order “Nightwork” Today!

STRUT: What is the history behind “Nightwork”? Why did you publish it, and how did you go about doing it?

Mark: First I wanted to say thanks for the interview!

Most of my work was never intended to be published beyond portfolio, my blog, maybe an online drawing forum or two. I went to WonderCon 2008 and Alberto Ruiz, founder of BrandStudio Press recognized my name. He pulled me aside, showed me the first few books he had and basically said “Get your stuff together”. After that it was an every night affair painting new material for it. The title seemed to fit.

STRUT: Do you use reference for your work?

Mark: There was a time right out of school where I wouldn’t paint anything without reference. It was very limiting. I knew it was possible to paint convincingly without it, so I set to understanding form and light better so that I could be free of that limitation. For this book, there are a couple older oil pieces that are heavily referenced but most of it is purely from my imagination, working out the form as I go. I think this helps explain my resistance to using much video reference in my animation.

I’m finally starting to freely use photo reference again. Not to ape, but to inspire and inform. Balance is good.

STRUT: How would you describe your style of illustration, and who or what is the influence for your style?

Mark: I feel like have a zillion influences. I grew up surrounded by art from giants like Frazetta and Berkey and Vallejo. That whole scifi/fantasy scene was huge in the 70s and my Dad, who was an artist himself, freely fed my appetite for it with art books and posters and comics. Later I was heavily influenced by a handful of golden age illustrators and orientalist painters. In the animation industry, a whole new set of influences and ways of thinking pushed me in other directions. I’m picking up new influences every day.

STRUT: When you work, how much of it is spontaneous, and how much of it is planned in your head?

Mark: I’d say these days it’s a pretty even mix. I might have anything in my head from a fairly clear picture of a finished piece, to a fuzzy idea, to no idea whatsoever- picking shapes out of an abstract field of value and color. I’m actively working on being better at seeing things more completely in my head first, and then recording them, leaving enough room for serendipity along the way.

STRUT: This book shows what an amazing illustrator you are, but your full-time job is as a professional animator. Why do animation instead of illustration?

Mark: It’s bringing something to life. Telling a story. Very close to illustration, but with time! I was also very much into StarWars and the old Harryhausen movies as a kid. I wanted to be a practical special effects guy. I was into it all, model building, 3d makeup, miniature pyro, stop motion, etc. It was a natural outlet for me. When I was working in multimedia, Toy Story came out. I knew I had to jump in and try it.

STRUT: Please pick 2-3 of your favorite illustrations and briefly describe your process, mindset, and motivation for working on the pieces. I personally like the cowboy that fell off his horse, and the chick falling into a beast and pointing her gun down. Does she die?

Mark: Ha! I dunno, does she? It would loose it’s charm if I told the entire story in the image. I love how people like Frazetta and Rockwell could capture both an iconic image and put you at the pinacle of the action and yet hold enough back to make you feel like the world in that painting is much bigger than what you see. Like there’s more story to come! As a kid I remember watching Journey to the Center of the Earth. They just showed these worlds and civilizations from a distance, just for a moment. Just teased you with many untold adventures and stories.

Girl From Above

This started as a pencil drawing of the girl and a completely different and more realized creature below. After it was 90% painted and re-did the creature to leave more up to the viewer. Done mostly in Corel Painter with some Photoshop texture work. on top

Seargent Rock

This piece was done for an online drawing group called Drawergeeks that I’ve been involved with for nearly 8 or 9 years. It was what started me painting digitally on a regular basis.

I wanted it to be pushed and cartoony at the same time lending him a deeper more haunted back story. It’s the typical sgt rock tough guy in a moment of gore-spattered vulnerability and introspection. All the men he’s lost hang around his neck as the fires of his most recent battle still smoulder behind him. I find details can help flesh out story without being too heavy handed.

This was start to finish digital, done in Corel Painter.

Lightning Bolt

This was more about mark making, composition and pose for me than story. I wanted the confident hero coming around, ready to strike, not worried about turning his back on the giant villian, who is at the apex of the anticipation of his own an attack. For me, animation and drawing are this circular thing where each teaches me about the other. Animation has taught me a ton about gesture and pose.

This began as a pencil sketch before bringing it into Painter.

I wanted to play with triangles to move the viewer’s eye around. I was also after a deeper, more textural feel in the shadows while keeping the lights more opaque, much like what often happens in traditional media.

Visit Mark Behm’s Website to Order “Nightwork” Today!