Cards Signed By Mail and Artist Proofs

Update April 2019: signing details updated, card alterations added

Artist Proofs:

I am not presently offering a shopping cart-style method of buying whiteback cards, but I do have a list which will live here. I'll update it at this link, so if you download a fresh copy, it's always the latest.

Inventory and instructions in the PDF here!

Card Signings and alters:

In-person signing fee: $2/card normal single signature, $3/card for double signatures. The best way to know what events I'll be at is to get on my once-per-month mailing list. You can do that here.

By mail: $2/card normal single signature, $3/card for double signature, return shipping included.

I also work with a couple of go-betweens for artists who have signing services. Neither Jack Stanton nor Mark Aronowitz are my agent, but if you use either of their signing services I've worked with them both, so you can go that route if you prefer.

Click that image and get started!

Hearts for Hardware

Friends, I'm happy to introduce you to a new side project I've been working on. It's a series of paintings called, "Hearts for Hardware."

"The New Standard, Player Two" 8x8" oils over acrylic on panel Sold

"The New Standard, Player Two" 8x8" oils over acrylic on panel

The genesis (ahem) of it was rooted in my dabbling with still life paintings the past couple of years, which itself was an outgrowth of having spent dozens upon dozens of hours working on my painting Alieis. One thing I've really enjoyed about still life painting is the way in which, as an artist, painting objects really causes you to see them for the first time again, in ways you never did, as I seek to document using paint. But, what is maybe more interesting is that once a thing is painted and hung on a wall, the viewer also experiences a change in how they view the object.

The act of painting, and then framing and hanging as a work of art disrupts the way you normally view the thing painted in real life. Suddenly the viewer is also confronted with the object, perceived for its own qualities. If there are emotional attachments to the object, they are considered anew.

All this led to me pulling out video game hardware I had on-hand, and applying the above to another area of life I really enjoy but get decreasing amounts of time to pursue. :-(


Ever since I was very young, I not only played video games but also devoured magazines and the like devoted to games--and we're talking in the early 80s, before all the magazines most of you are thinking of. I was a fourth grader conversant on raster vs. vector-based graphics, I had a catalog in my mind of developers and what games they were responsible for, and many, many other geeky things. I should not know as much about old Japanese hardware that never made it to the west as I do.

(L:) 9-year old me picked up this and other magazines at the grocery store. My mom was nice and let me buy them. They kept me occupied while we shopped at Alpha Beta. There were no mobile devices to distract your kids back then.

I never owned even a fraction of all that was ever produced (but secretly I wanted it all), but I've been a gamer starting with those old black-and-white pong clones that had the games built into the controllers, then with the Atari 2600 and all the way through the generational history of gaming, stopping with the last gen as I have not upgraded to anything since--my backlog of games is so incredibly high that it seems futile currently.

So, Hearts for Hardware has turned into a side project that allows me to touch base with this abiding love I have for games. It even has its own website:

I'll be posting there regularly, and will maybe do some roundup posts here or as news relates, but I won't be muddying the waters here from my usual fare. I'll also report on new works in this series in my email newsletter, which you can sign up for at left. I currently have three other pieces up at the new site, so go take a look!

The works presented will be on display and for sale as part of my solo exhibit, "Level Up," held at Krab Jab Studio in September. I'll be peppering the new site with new images between now and the show, and leaving a few for view there first.

I hope you enjoy the series and that it also brings back as many fond memories as it does for me. Game on.

Level up All the Things

Greetings from California! A new show, a bigger home, a better studio, better pricing on signings. Truly, I've managed to level up a lot of things recently.

Solo Exhibition: "Randy Gallegos: Level Up"
Krab Jab Studio, Seattle WA
September 12th - October 3rd, 2015

Opening Reception: Saturday, Sept. 12th, 6-9pm
Artist Talk at 7:30pm

I am super excited to announce this Solo Exhibition. Krab Jab Studio is an exciting working studio and exhibit space, that I had the privilege of showing at a few years ago as part of a group show on role-playing game art. I visited Seattle for the opening and wrote about it here. With the help of the indefatigable and talented Julie Baroh, we are putting together a show I'm very excited about. I haven't hung a show this large in ever--the nearest was my Guest of Honor stint at LunaCon in 2014. In a sense, my recent show in NYC was a smaller dry run for how to manage and make sense of a show that hangs art of disparate subject matter in a cohesive way.

Krab Jab has been mounting increasingly impressive shows the past few years. With a lot of work, I hope to help them keep their momentum going.

There will be much more about this show in coming weeks, and I will also explain shortly why there is a Dual Shock Controller hanging there in between Glossai Pyros and Embryonic, incongruously.

The point for now is this: put it on your calendar. Tell your friends. Save your money.

Card Signing Price Reduction

Cheap Ass approves of this offer.

Cheap Ass approves of this offer.

When I started signing cards again, I started charging. Part of the cost wasn't necessarily the time to sign them, but the time to send them back. Heading to the Post Office back in Manhattan was not fun and, on foot, not that close either. It punched a hole in my day, and depending on the size of the line, that hole could be significant. So I charged enough to cover that particular issue.

But, now that I have moved back to California, it turns out that the rural post office is not terribly far and is usually very quiet. So, that translates into reduced prices for signing going forward because I am not smart enough to enjoy the extra margin at your expense. Everything about how to get it done and how to get me to cover shipping is the same, but you can now get twice as many cards signed as before for the same price. So, go do it!

Artist Proofs Update

I finally sat with my Big Box of artist proofs and cataloged them anew. That means prices have changed on quite a number of them as there are fewer of many than I thought. That means the prices have gone up, in case you were wondering. 

A few I discovered I had never added (6th Ed., M2014, Grimoire Thief). A few I had four or less of: I pulled those off the site. I'll do 2x2 or whatever size drawings on the backs and auction them off at some point. Also, I am officially caught up on my backlog of sketches as of this post.

(L: New whiteback sketch, fresh from CA)

Due to the aforementioned solo show and the referenced move, I am however upping the turnaround time for the summer to 60 days for sketches on whitebacks. I hope to go back to 30 days in the fall once I am past IlluXCon.

UPDATE 8/2016: I am not currently doing whiteback sketches.

I Moved

It was ambitious to mount that smaller solo show in NYC right before taking a few days off with some friends, and then tearing down seven years of life in the Big Apple and moving back to my native California. When we left CA ten years ago in total, we got rid of most of our furniture and things and stored just one pod's worth of stuff, which included lots of art books and art supplies along with other household items we wanted to save. That means that moving back, we've been starting with very little again as we didn't ship back most of our furniture from our NYC apartment.

(L: The new studio before beginning work in it. And kitteh.)

This has resulted in a very significant logjam, time-wise, trying to get outfitted again to produce art. I'm just at the point where I can, and I still have a lot to do to get my studio where I want it, but I am back to having a sufficiently large and efficient studio after a decade. I'm very, very happy about that. I'm going to art so hard in this space. I'll write more about that as I get the space set up. But I already caught up on my sketch backlog, so that's a good start.

"Of Three Minds" In Review

I thought I would take a post to review the solo show from May. I counted it a success--thank you to those of you who purchased original art from the show. By the time I get to this review now it might be August. Hopefully you'll still find it interesting then.

One Fantastic Week, Ep. 76

I didn't get a chance to mention it here before, but I spent an hour with Pete and Sam on this video podcast chatting illustration and art and hotdogs at the end of May. If you haven't seen it, you can totally do that right now, right here, if you can get past the goofy cover frame:

Ok people, that's all for today. Though the last blog post, which was the catalog for "Of Three Minds" was intended to last a month while a lot of this stuff went on, it was dated May 9th. Hopefully this summary post makes it clear that I have not been sitting around sipping the vino out here in wine country. Well, I did sip some vino, but you know what I mean. I'll expand on this stuff soon! It's nice to see you again.

Parthenope: Interiors, Pt.2

(To read this series of articles in order, start here)

This is the last week I'll be discussing this project, having now shown half the illustrations to be found in the book. After all, I need to leave you something to look forward to and motivate you to pick up a copy!

"Home in the Bay of Naples" digital over pencil

"Home in the Bay of Naples" digital over pencil

When I agreed to the project, it was certainly before producing sketches, and may have been before really reading the manuscript. As it turned out, the illustrations all called for multi-figure scenes, and took a bit longer as a result. One problem of course was then finding models for the various characters!

Marc Scheff, 2.5x3" pencil

Marc Scheff, 2.5x3" pencil

When possible I try to use friends or family, whether for pay or as a favor I might be called to return someday. Marc Scheff, probably the most-used model of the past year in my illustration circles-- sort of the Fabio of fantasy illustration--graciously posed as my Poseidon, even cajoling someone into allowing him to lift her in the illustration shown last time, to get that pose (I swapped her out for my actual Parthenope later). I paid him back in a small pencil portrait which I did on-the-spot in his studio, and an unspoken IOU I figure he'll cash in down the road.

The story is told by the narrator Papa Sam, who recounts the story of pasteira to his granddaughters while making a pan of it. This allowed me to bookend the myth with real world scenes. I don't do a lot of what I might call, "Everyday Art," scenes with nothing fantastical in them. Having a collaborator in the author, I also asked him to think of people I might use for the various roles. It was a lot of fun, using Bruce and his lovely granddaughters as models. A friend of Bruce's came down to the studio for a long session of photographs as Parthenope. Having never modeled for an artist before, she still did a great job. Other friends came over on a moment's notice with their young son to pose for the cover painting. And as usual I roped my wife and self into it as well. An ensemble cast, to create ten illustrations for a fun project.

"Papa Sam Starts Storytelling" digital over pencil

"Papa Sam Starts Storytelling" digital over pencil