For four wonderful years I created fine art for other studios, painting licensed works for Disney Parks, Marvel, and other beloved franchises—including artwork celebrating Disneyland's 70th Anniversary.

Today I'm continuing that adventure under my own name, creating limited-edition fine art inspired by Disney, Harry Potter, Marvel, DC Comics, Scooby-Doo, The Powerpuff Girls, and many more.

There are plenty of new paintings on the easel, so if one of your favorite characters isn't here yet... give me a little time.

I grew up in a place without art galleries, so most of my early exposure to art came through superhero comics and Disney animation. When I moved across the country for college, I encountered exquisite paintings from a well known artist in a gallery for the first time. Thirty-one years later, that famous artist’s fine arts studio offered me a remarkable—and intimidating—opportunity: painting Spider-Man and Disney art.

I failed a lot (or perhaps I should say, learned a lot) during those first few paintings. I went from completing a book cover in two weeks to spending twelve weeks on my first major Spiderman piece. Fortunately, several people who had worked with the original artist behind this well known fine arts studio in the 1990s were still there. They patiently taught me how he approached certain visual problems. After three or four paintings, I began to find my rhythm. Then the studio presented me with an even greater challenge: painting the Disney castles.

The thought of painting such famous and intricate architecture terrified me. I believe my first answer was “No,” but the patient people at the studio believed I could do it. So I did—and those castle scenes have become some of my most popular paintings. This studio’s work first introduced me to fine art as a student; and decades later, the same studio pushed me to expand my ambitions as a seasoned illustrator.

As a boy, I was convinced I couldn’t draw. Comic-book pencilers seemed to me among the finest draftsmen in the world—they could draw anyone, from any angle, in any setting. I drew constantly, but my work never looked like the comics I admired. Strangely, it never occurred to me that drawing was something I could learn.

That changed during my third year of college, when I wandered into an obscure campus building and discovered its walls covered with beautiful, realistic chalk figure drawings. I immediately found the office and asked what they taught. Their answer was simple: they taught students how to draw properly and how to make a living as artists.

Learning to draw the human form has been both the most difficult and the most rewarding part of my artistic development. I have drawn thousands of small figures from imagination, practicing every conceivable pose and angle until human proportions became instinctive. I also continue to work from models and photographs, building on the excellent training I received at Brigham Young University. I hope my professors would be proud.