Forest Banshee. Private commission. WIP. Oil and pencil on paper. 11”x17”.

Trick or Treat? 2014. Pencil on parchment. 11”x14”. Illustration for a Halloween card set.

A set of Christmas cards I illustrated in 2014. Pencil on parchment. 11”x14” each. I modeled for Krampus and the elf and my friend Curtis modeled for Santa. All the names on Santa’s list have personal significance. My dad, grandma, sister, exes, other artists that’ve inspired me.

Eldritch Medusa. 2025. Pencil over watercolor wash with oil border on paper. With details and progress. 11”x17”. SOLD. This is so many light layers of pencil layered the same way oil glazes are used. I’m not sure why I decided on the bronze/patina instead of stone, but I’m still happy with her.

The Last Day of September. Private commission. 2010. Oil on canvas. 16”x20”.

Some shots at the barn from last year.

The only two finished illustrations I created for a children’s book I was writing in 2010. The Nightmare Tree: 2006. Oil, pencil and charcoal on paper. 16”x20”. Slithering Shadows: 2010. Prismacolor pencil and charcoal on toned paper. 9”x12”.

Lovecraft sideshow poster set. Private commission. 2013. Oil and pencil over watercolor on paper. 11”x17” each. I like the approach to Wilbur, but I wish I’d made him more goatish, more grotesque. He looks too ‘human’ and not off-putting enough here.

Still not done… I’m nauseatingly slow. Have a good weekend, mongrels.

Shannon Stamey@wsstamey.bsky.social · last mo.

My work week has consisted entirely of this nouveau line work in my client’s hair. But it’s turning out nicely. Private commission. Derwent lightfast pencil on sage green Canson paper.

The Thin Man. Study. 2024. Pencil on Strathmore toned paper. 11”x17”. This was a prelim drawing for a larger, oil painted poster commission that fell through. Still, I fucking adore this drawing and it’s probably one of the best things I’ve ever done. I really wanted to paint that poster though.

Major Tom. 2019. Pencil and oil on toned paper. 11”x17”. With details. The figure is all pencil. That 1/4 sliver of moon is oil.

The Moon and June. 2007. Pencil, oil and charcoal on Canson paper. 18”x24”. SOLD.

The seafoam moon just felt like the way to go here. It's got a vintage feel to it that I like. I laid his base down in oil and tidied him up with indigo pencil. The paper is toned with a heavy wash of Payne’s gray and indigo blue watercolor. Once that dries, I can draw and paint on top of it.

Skeksis sketch. Detail. 2019. Watercolor and pencil on paper.

GI Robot. 2024. Oil and pencil on paper. 18”x24”. SOLD.

A smattering-of-work slideshow. Some old. Some new. All hand-drawn and painted in traditional mediums. Oil, pencil, pastel, watercolor, charcoal. Some good. Some, eh. Some very personal. Some just because. All deeply valuable to me on some level.

Working on a private commission from 2022. I’m ridiculously near-sighted, so I take my glasses off when I work. It’s not this intense, artistic moment, I just have shitty eyesight for anything a foot away from my face.

A smattering-of-work slideshow. Some old. Some new. All hand-drawn and painted in traditional mediums. Oil, pencil, pastel, watercolor, charcoal. Some good. Some, eh. Some very personal. Some just because. All deeply valuable to me on some level.

Atropos. Private commission. 2024. Derwent lightfast pencil over watercolor wash on paper with an oil border. 11”x17”. Finished artwork, progress & details with a shot of the print sets once the triptych was completed.

Monsters on canvas. -The Creature. 2023. Oil on canvas. 18”x24”. SOLD. -The Vault-Keeper. 2024. Oil on canvas. 11”x14”. SOLD. -Tombs of the Blind Dead. 2019. Oil on canvas. 8”x10. SOLD. -Zombie Fosse. 2022. Private commission. Oil on canvas. 18”x24”.

-The Astronomer. 2011. Oil and pencil on paper. 18”x24”. -The Seamstress. 2011. Oil and pencil on paper. 18”x24”. -The Painters. 2012. Oil and pencil on paper. 18”x24”.

Still not done… I’m nauseatingly slow. Have a good weekend, mongrels.

Shannon Stamey@wsstamey.bsky.social · last mo.

My work week has consisted entirely of this nouveau line work in my client’s hair. But it’s turning out nicely. Private commission. Derwent lightfast pencil on sage green Canson paper.

The barn isn’t properly insulated, so it tends to get toasty in here.

Prismacolor Verithin pencil and charcoal over watercolor wash on Canson paper. 11”x17”. SOLD.

#JohnPhilipFalter I Wish I Were Like You, (1938)

This is how far away my face is when I’m rendering. I want to see the grain of the part and how each color is laying down and mixing. Up close it looks a little messy, but when you pull back, it comes together and all those effects make sense.

Private commission. WIP. Derwent lightfast pencil on Canson toned paper. “That looks like a lot of work for such a small area of an illustration…” It is. “Are so many colors really necessary?” Yes. It’s not a particularly broad palette, but it’s the one that’s necessary to do what I want.

My work week has consisted entirely of this nouveau line work in my client’s hair. But it’s turning out nicely. Private commission. Derwent lightfast pencil on sage green Canson paper.