Whether it be firebirds, fairies, pinup boys during the holidays, or dragons among the stars, Paul Richmond‘s covers have never failed to fire our imaginations, heat up our libidos, or just plain make us laugh.  Often glorious in color, sweeping in composition and style, there is just something so amazing, so special, so well, Paul Richmond about everything he does that it’s so easy to pick out a Paul Richmond cover by their distinctive artwork.

I regularly haunt his website to see what new original paintings he has finished so I can gawk and sigh over the  sheer vibrancy and beauty each conveys.  I recommend you all do the same.  You can find his website along with all his media connections below.

For his covers?  Well, they are so many.  From all the R Cooper Being(s) in Love Series (a favorite of mine) to T.J. Klune, to the many Advent Calendar stories to a multitude to authors in between, Paul Richmond has done covers for them all.  I’m only sorry we have room for so few.

I am delighted that Paul was able to take time out of his hugely busy schedule  to answer our questions about being an artist, book covers and much more.  I hope you enjoy his insights.  Here is Paul Richmond, up close and personal!

Scattered Thoughts and Rogue Words Interviews Paul Richmond…

How long it takes to put together a cover draft and whether or not they make multiple drafts to show authors/publishers?

I can never predict how long a cover will take because there are a lot of variables that affect it. I do always like to show multiple drafts and work closely with the author to ensure that the cover is a good fit for the story they’ve written.

How much of your covers are original art and how much do you rely on using content purchased elsewhere (like Shutterstock

When I first started doing covers, most of mine were hand-painted, but the trends in our genre have shifted a bit and now I find myself doing mostly photo-based covers except for an occasional fantasy/sci-fi where illustration is still prevalent. Even though a photo-based cover uses stock images, I still consider them to be works of original art because there is often a large amount of photo-manipulation work that gets done in order to make the composite image cover-worthy. Ultimately, no matter how a cover was made, I think the most important thing is how effectively it draws in new potential readers.

How much input comes from  the author and/or storyline?

I work closely with authors because their input is invaluable in the process. I will also make suggestions if they are presenting a concept that won’t work well on a cover. Simple, bold covers work best and sometimes it is necessary to edit down a concept in order to make it work well as a cover image. It’s important to me and everyone at Dreamspinner that authors are happy with their covers and that we create covers that are going to help their books reach new readers.

How did you get to become a cover artist?

My friend Jane Seville was having a book (Zero at the Bone) published by Dreamspinner and she asked me to illustrate the cover. I studied illustration in college and did a lot of freelance work so it was a natural fit. Dreamspinner liked the cover and asked if I’d like to do more. Now I work full time as their Associate Art Director.

What mediums do you use?  

Originally I did my covers as oil paintings, and gradually shifted to working in Photoshop. It’s easier to make changes and more efficient overall. Plus the tools have been greatly enhanced to allow so many different styles of covers to be created digitally.

Do you have a favorite cover you have done?  

I’ve enjoyed all the covers I’ve had the privilege of making, but some of the ones I look forward to the most are the annual Advent anthologies because I get to paint my Cheesecake Boys pinups into hilarious holiday scenes.

Do you have a favorite cover artist yourself?

We have so many wonderful cover artists working with us at Dreamspinner I couldn’t possibly pick one favorite. I am constantly amazed and inspired by the diverse styles and creativity of all our artists.

Did you look at book covers or were influenced by book covers as a child?

Yes, books were a huge part of my childhood. I was always reading and always dreaming of making books myself one day. I won a local art competition as a kid and used my $25 earnings to buy a toy typewriter that I used to “make books.” This was always something I wanted to do.

What do you find most rewarding as a Book Cover Artist?

I love art that tells stories, so it is really fun for me to learn about the concept of a novel and then work out how to relay a glimpse of that narrative visually.

For  Cover Artist:

What or how do you see the role of the Book Cover?

I think the role of a book cover is to entice readers, tease them with imagery that suggests the narrative of the story and make them want to start reading.

How has the eBook format changed that , if any?

Simplicity of imagery and clarity of text is very important now because most readers will first interact with a cover as a small thumbnail image as they scroll through covers digitally. If it doesn’t grab them at that scale and entice them to click, it might get passed by.

What trends do you see in Book Covers in the industry? Past, present, and future?  {for example the rise of the naked half male torso, model overuse ,generic covers ,etc.)

Photo-based covers are the norm now in most genres. Striking, simple imagery with bold, clean text is also important. In gay fiction, readers are tired of the two-models-cut-out-over-a-landscape look, especially when it’s obvious that the two models were shot separately because they are in different lighting scenarios. If there are multiple models, the interaction or connection between them needs to be believable. And single model covers often work really well too. 

How do you feel about them?

I like the way our covers are evolving, especially as readership continues to grow and we see gay fiction being added to more mainstream bookshelves.

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