Written descriptions of characters, whether in stories or as documents in their own right, often conjure different visualizations in the minds of different readers. For some people, particularly if they are not visually oriented, it may be difficult to arrive at any clear mental images. Even the author may have only a hazy or general idea of what his (or her) creations look like.

In some degree that’s the situation with the main characters of Anasazi’s Road. To help me clarify their appearance in my own mind, I’ve commissioned portraits from a variety of artists and looked at the results. Sometimes an artist suggests, through details in an image, a new idea I hadn’t considered previously. Sometimes an artist misses the mark—but even that can be useful, because it forces me to figure out why, dredging thought processes up from my subconscious into the light where I can examine them.

This is one of six model sheets ordered from  coonkun to serve as guides for me when I begin illustrating the stories. They are as close to my direction as one reasonably can expect from another individual not privy to one’s internal thoughts and impressions. I may make alterations when it comes time to create my own artwork, but that is not the fault of the artist; it is more that I may pursue a slightly different approach to the design and construction of the characters’ heads, in particular the ears, to accommodate headgear such as hats and caps.

The primary reason for selecting coonkun is his specialization in the age and build represented by Ana after she has reached a healthy weight. I particularly want to capture that leggy coltishness of a teenage girl on the cusp of womanhood, which is a goodly part of Ana’s initial attractiveness to Tom. The other two characters, particularly Tom, are farther from this specialization, but it’s good for any artist to stretch beyond familiar ground.

The final art was a year late, due to the artist’s underestimation of the scope of work, carelessness with equipment, and lack of communication; in fairness, the 50% balance payment was waived in compensation. This illustrates the necessity for a professional artist to take good care of tools, to be certain what a commission entails before embarking on it, and to stay in touch with clients!