Q: What do the telephone poles represent?
A: It’s an icon that has survived with me over the years. Its title, ‘Messengers of a Higher Power’, enforces a theory that ideas are energy and in the air all around us. Telephone poles and power lines are wranglers and deliverers of those ideas. Plus, they’re cool looking… all industrial and antiquated.
Q: What does your signature, “Winton 3”, mean?
A: It’s my name, I’m Byron Winton III. Actually, there are four of us now… my son is the fourth. I guess I could leave off the 3, but it just kinda stayed with me.
Q: What kind of commissions do you accept?
A: As an artist, it’s often suggested that you don’t turn down ANY work. I beg to differ. It’s easy to be inundated by jobs that you don’t enjoy to do. Sure, I CAN do portraits, websites, and logo designs, but prefer not to. My goal for my freelance work is to be focused on illustration alone… usually dark natured fantasy.
Q: How do you paint these?
A: Generally speaking, with acrylics and lots of time. With each painting, it may take a different course of action. It really depends on the image and tone I’m going for. It usually starts with a crazy idea that I spit-ball in my head for a while. I try to visualize as much of it as possible before I put it down on paper. That of which is a rough looking sketch. Then it’s off to do research and take some reference photos. From there, I’ll finalize a tightly rendered pencil drawing. With that, I’ll transfer an enlarged version onto a primed sheet of masonite board. Finally, the painting process begins. Fortunately, I’ve been documenting a lot of my work’s detailed processes in the Process section HERE.
Q: What tools do you use?
A: I wrote an article about this. Have a read HERE.
Q: Why are you so slow?
A: I would love to complete more personal pieces more frequently. However, it’s about satisfying client demands first. After that, I’ll put some time into fun pieces to share.
Q: Do you have a favorite painting?
A: Not really. Like most artists, I tend to be very unsatisfied with many of my finished works. Maybe it’s because they don’t size up to what I initially envisioned or perhaps it’s because I couldn’t master a likeness or effect. However, there are a couple pieces of mine that I surprised myself with. Paintings that surpassed my expectations. ‘Creature Feature’ is one that stands out the most. It was a labor of love and patience.
Q: Where did you get your education?
A: I had a great high school art teacher who valued my talent and passion. Scott Walroth challenged me to see things differently and he allowed me to pursue art with no boundaries. I spent 3-5 periods a day my senior year in the art room perfecting the latest masterpiece. After graduation, I was sought after by The Art Institute of Pittsburgh. I spent 2 years there and received an Associates degree in Visual Communication. Informally, I learn techniques and tricks from other artists and pick up other skills from the internet. Like prop building or 3D software.
Q: Who are your inspirations?
A: Lots and lots of different types of people. Artists, directors, writers, musicians, and friends. As for artists, specifically, I love those that have a unique stylistic flare to their work. Drew Struzan, Dave Dorman, Michael Whelan, Gustave Doré, Simon Bisley, Brom, Dan Brereton, Alex Ross, Jae Lee, Alphonse Mucha, HR Giger, Hajime Sorayama, Travis Charest, Geoff Darrow, Tim Vigil, and Gary Gianni.