Posted by: Kathy Temean | August 3, 2013

Illustrator Saturday – Randy Gallegos


randy280Randy Gallegos grew up in San Jose, CA, and has lived there, as well as in Italy, England, Spain, North Carolina, and now New York City. 

Since beginning in 1994, Randy has produced hundreds of illustrations, primarily within the fantasy gaming realm. He has worked almost exclusively in Oils, with plenty of digital preliminary work in the preparatory phase. When needed, however, does produce final digital  illustrations. Though when he can he uses physical media, enjoying the challenge, the artifact that is left where an artist has put himself, where his hands actually went, where his ability could take him without digital shortcuts.

Most of his work is for commercial clients, but he also does commissioned work and produces paintings specifically for collectors to own. However, he does work with plenty of small and self-publishers. 

He enjoys jogging, having completed in his first marathon in 2008, as well as all manner of reading. He speaks Spanish fairly well, and is slowly learning Japanese.

Here is Randy:

I believe that the vividness with which a creator holds their vision should not be dulled when the viewer sees it. Everyone who brings their project to me to illustrate, in whatever medium, has been meticulous and labored hard over it. You’ve put blood, sweat and tears into your project, and you deserve an illustrator who will do the same.

I believe that viewers deserve the highest quality in terms of craft. Painting, at its best, creates artifacts of worth. When hung on a wall, a great painting can be a precious thing, full of life, detail, and care.

I’ve been blessed with an incredibly supportive wife, opportunity, and some measure of success. The pursuit of greatness in art is a solitary, slow, all-consuming task, with few encouragements available on the average day. Because of this I am so very grateful to the many people who have liked my work enough to support it, either through commissioning me for their projects, or collecting prints and original artwork.

Here is Randy’s Process:


In creating “Emperor of the Merfolk,” I began as I often do: small thumbnails, 2″ tall each or so.

I layout a sheet of paper with appropriately-scaled squares and just go about laying in ideas. Each sheet often ends up with thumbs for multiple projects on it, and if I’m concepting more than one piece at once, I sometimes jump around between pieces.

These 6 in particular were all grouped together (the upper-right one actually belongs to another illustration).

These were done with white/black charcoal and brush pen. Essentially, the ones I like more I develop a little further.

I ended up choosing the middle right, although the lower-left was a strong contender: in it the Emperor rises up, gigantic between two cliffs, as in a fjord.


A slightly more detailed sketch is scanned and I do some work with value to get me a good road-map for a final. This is the stage that is presented to the art director for approval. In portraying the Emperor as menacing and huge, I preferred showing the remnants of a prior-destroyed vessel on the water than an active scene of the creature attacking the next ship, though he’s certainly about to!

With approval, I gather additional reference as needed. Obviously, given the physique this fellow would have, I just photographed myself. 🙂 Above a certain size, I work on primed masonite. Sometimes I begin with acrylic as an underpainting, then move to oils, as I did here.


(Forgive the reflected lamplight above), Here the water is left-over from the acrylic underpainting, and the background is moving along in oil already.


I don’t always paint a full background underneath a figure, but the cloud shapes with heavy amounts of filigree were passing behind the figure and needed believable continuity, so in this case I rendered out the sky completely first. Then, using a printed out enlargement of the sketch, cleaned up a bit, I transfer down the figure using graphite transfer paper.


I tend to work from big to small shapes, and adjust a lot along the way. Here you can see that the striping on the figure was done later, and the shadows deepened and water adjusted by the end.


Here is the finished piece 18×24″ Acrylic and oil on Masonite © Applibot, Inc. for Emperor of the Merfolk Evolved

Emperor of the Merfolk, sketch – underwater scene.

When you’re deep underwater, you don’t really see water anymore. Since it fills up the environment, you just see color and haze. So that meant I didn’t have to do a wave treatment this time, which was nice. I would have to for the advanced version, which I’ll talk about before too long.

So, because I had an opportunity for some variety here, I decided to close in the camera for this one. One thing I wanted to emphasize in the progression was just how large this creature actually was. As you’ll be able to tell comparing the sketch to the final, I was asked to pull out the camera a tad more, to get more of the creature in.

In illustration, at least in this genre, there is the compositional tool known as, “Scale birds.” Essentially, when you want to show the relative size of something, put something in the piece that helps to give a sense of relative scale. Often, that consists of birds flying by. You can use other cues of universal scale: trees, buildings. Whatever makes Godzilla look big, y’know?

When you close up on something, it’s a little hard to tell how large it is without other objects of scale. Underwater, there aren’t many options. I could use small schools of fish, but if this guy is really large, those fish would look like specks. So, I decided to include some scale-whales. ‘Cause whales are big. They aren’t included on this version of the sketch. Instead, I drew them separately and overlaid them digitally for submission, so I could play with their size and placement.

On a technical note, below 16×20″, I typically paint on paper. Masonite is thick and heavy, and if you do enough paintings, storage becomes an issue, as does portability for shows and things. I used to do smaller paintings on masonite, for years. Those same years of carrying around a crazy-heavy backpack of small paintings while traveling broke me of the habit. Once, while at an airport, I carelessly grabbed my heavy backpack off the floor and pulled a back muscle. I recovered fine after a week or two, but yeah, that’s part of why.


Emperor of the Merfolk, 12×16″ Oils on watercolor paper

My standard size below 16×20″ has been 12×16″, as this painting is. When I go that route I typically use Arches Watercolor paper, hot press. It’s pretty sturdy and has a nice surface quality. Of course for oils you have to prepare the surface. I’ve used various things, but sometimes I still just go the acrylic gesso route as on this one. On the back, a coat of PVA size is applied, in case the backside comes in contact with wet paint along the way. Sometimes I use PVA on the front and just go to town, too. But if you’re going to underpaint in acrylics–as I often do, but not on this piece, I don’t think–acrylics don’t sit well on PVA size.

Vero Rising

I love this cover that Randy did for The Ether: Vero Rising (Ether Novel, An) by Laurice Elehwany Molinari, a veteran film and TV writer in Hollywood. It is coming out on February 4, 2014. You can pre-order it on Amazon. I’d buy it just for the cover, but it sounds like an interesting story, too.

randybookStrange happenings begin to plague the everyday suburban life of 12-year-old Vero Leland. To the surprise of his classmates and himself, while running track and field, Vero effortlessly clears two hurdles at a time. He sees hideous frightening creatures that no one else can see. But it’s when he views his imprint after making a snow angel; he can no longer deny he’s different. Because after sweeping his limbs across the fresh snow, there, in the snowy depression lays the impression of two massive wings so beautiful Michelangelo could have fashioned them himself! Only when a stranger takes him to the ‘Ether,’ does Vero finally understand whom he is. The Ether, a concept theorized by the ancient Greeks, and later hypothesized by scientists like Sir Isaac Newton, is the spiritual realm that surrounds the earth. It is there that Vero learns he is, indeed, a budding guardian angel – the fiercest of all warriors. He begins his training under the tutelage of the mighty archangels, Vero. Until his training in the Ether is completed, he must continue his life on earth as an average boy where he often falls prey to school bullies and his own insecurities around 12-year-old girls. But Vero is fated to play a decisive role in the war of good versus evil and fulfill his destiny.

How long have you been illustrating?

It’s frightening for me to realize, but I started in 1994, so I’m nearing my 20th anniversary!


Tell us about the type of art you did as a kid, before you had any training.

As a kid I spent most of my drawing time copying great illustrations I saw, including from comic books, video game packaging, book covers and the like. It was mostly fantasy and science-fiction.


Avarice  –  12×16″ Acrylic and oil on watercolor paper – Published in Legend of the Cryptids© Applibot, Inc.

I see you graduated from California College of Arts. Can you tell us a little bit about that school?

Well I didn’t actually graduate! I left after 3 years. It’s an art school with two campuses: design in San Francisco, fine art across the bay in Oakland. It often gets overshadowed by The Academy of Art in SF.


Bluebeads – Unpublished – Publishing rights available – To be published in Spectrum 20: The Best in Contemporary Fantastic Art

What types of classes did you take?

I knew the art I wanted to do would require high technical ability so spent my time in the fine arts department. I would have been a Drawing major had I graduated. The illustration department at the time was more concept-based, which is appropriate but I needed to learn how to draw and paint well first and foremost.

Elven Warlock

 Elven Warlock, 11×14″ oils on masonite

Did college give you have a focus on a specific area of art?

I did most of my studio coursework in figure drawing, anatomy and related topics. Sadly, I didn’t know any painting instructors who could actually teach painting in any technical fashion so I ended up having to teach myself to paint with advice from some of my drawing instructors on occasion! The best painters, technically, tended to teach non-painting courses like color and such, oddly.


Attila the Hun  18×24″ Oils on Masonite – Image courtesy of Imagine, Ltd. from an as-yet unpublished project.

Did you study fantasy art?

Only on my own. My main mentor in college was supportive of and knew the genre, and brought in visiting artists who’d attended CCAC in the past, such as Dan Brereton and Gary Ruddell. I spent considerable time in used bookstores (remember those?), learning about the history of genre illustration from the mid 60s on, and also studying the careers of those who worked in the field at that time. I’d sometimes buy used books just to clip and file the old covers. Many yellow-spined DAW books met their end this way, I’m sad to say…but I also read a lot of out-of-print books as a result!


Grizzled Outcasts   –    16×20″ Oil on masonite

What type of things helped you develop your style?

Early on I was keenly interested in having a style, but after much hand-wringing decided that anything I tried to be felt wrong. Perhaps some can create a style but I have instead focused on the work and have allowed my art to develop whatever style it has on its own, much like a signature. As a youngster I’d try to develop a cool signature. In the end, they all sucked. But over time, through not trying, I developed what some have found to be an interesting one.


Magic Innistrad: “Dead Weight”  Bristol paper, treated to accept oils

What was the first thing you did where someone paid you for your artwork?

The parents of a friend of mine, who liked fantasy art, bought some of my student paintings while in college. That was my first sale and I was thrilled. My first illustration commission was some card game illustrations for Wizards of the Coast’s Vampire: the Eternal Struggle game (called “Jyhad” at the time, then renamed later). I completed those during finals my last year at CCAC.


Balance  Published in Magic: the Gathering “From the Vault: Exiled” Published in Spectrum 16: The Best in Contemporary Fantastic Art

Do you think being born on Halloween influenced you and your art?

To be honest, not really, though it does fit the mold of what I do and is a nice coincidence. As a small child it meant my parents threw me costume birthday parties, when all I really wanted to do was go to Chuck E. Cheese and play videogames with my friends. I actually never really took to Halloween, probably because my birthday took precedence in my mind.


The Balance of Power  –  18×24″ Oil on paper over Masonite.

Did California College of Arts introduce you to clients in the gaming community? If not how did you make that connection?

Not really, I wasn’t able to network, particularly on the fine arts campus. My mentor (professor Vincent Perez) would have wanted me to join the local chapter of the Society of Illustrators, and I might have had I stuck around longer. Instead the WotC Art Director at the time—himself an illustrator on early Magic: the Gathering art—was doing a store signing in San Francisco for the newly-popular game (in 1994), so I took my original paintings to show him as I didn’t have a portfolio prepared yet, and was hired basically on the spot for Vampire, then “promoted” to Magic by year’s end.


Balance 2  –  2 Editions, each signed and numbered to 100. This painting was a private commission, and background info on the process for this illustration and How To Commission an Original Oil Painting can be found here.

What was your first big break?

That was it! WotC was just starting to boom and being near the beginning of what became a powerhouse company in the industry was hugely influential going forward. Right place, right time.


What are some of the fantasy games you have provided illustrations for?

Besides the above two, Dungeons & Dragons, World of Warcraft’s card game, and many many games that came and went during the 90s and early 00s. Lately, it’s also included work with Japanese mobile games developers, although the work is more anonymous in that sphere for games like Legend of the Cryptids and Rage of Bahamut.


Mesa Enchantress – Collectible Cards

Have you done any work for a graphic novel? If not, have you ever considered getting involved in that area of publishing?

I have not. I think it would be fun to do but it would either have to be something self-generated, which would be a huge labor of love I don’t see on my horizon at the moment, or paired with a good story and a reputable publisher probably, for funding purposes. That said, I was approached just this week with a possible graphic novel project through a European publisher. We’re in discussions and there are many factors involved,so time will tell if it happens.


Your fantasy illustrations are so good. Have you done any work for the folks in Hollywood?

I have not, though I know a few artists who are doing it. Most of them are in the Los Angeles area working on-site. It’s another area that would be great, and I’d love the chance to travel and work on-site on a project for a time. I was just out of school when the Star Wars prequel pre-production started up. Vince Perez got me an in to submit my portfolio for consideration. I was too young and just not inexperienced and just not good enough at the time so had no chance. With another set of films coming up, it’d still be a dream gig, though. I’m much better now!

The Red Knight and the Curse of Malfrat

16×20″ Acrylic and oil on Masonite – Cover to The Red Knight and the Curse of Malfrat – novel by Marc Legendre

I see you are represented by Good Illustration? How did you make that connection?

They reached out to me. I had always shied away from representation because of some of the contractual restrictions or requirements, but GI has been extremely flexible and fair in their terms and expectations, and good partners.


Would you be willing to work with a fantasy book writer who wanted to self-publish a graphic novel?

Yes, however the costs involved might be prohibitive. I’ve worked with self-published authors in the past for single of multiple illustrations, but a graphic novel is a whole other beast! Perhaps in this era of crowdfunding it’d be more possible to commission a few pages, then try to crowdfund the rest.


Embryonic  18×24″ Oils on Paper over Masonite Publishing rights available for this image.

Have you ever had any desire to illustrate a book?

Book illustration has always been my end-goal, particularly cover illustration, although in the years since I’ve begun illustrating the field has changed dramatically, even as I am just starting to make inroads! I love reading and interpreting stories, and this is still my focus going forward, whether covers alone or with interiors (which is rare but occasionally still happens.

Elemental Anchorite

Elemental Anchorite 18×24″ Oils on Masonite From Dungeons & Dragons, “Player’s Option: Heroes of the Elemental Chaos”

Have you done illustrations for fantasy magazines or other types of magazine?

Yes, I’ve worked with the late Realms of Fantasy magazine, and did some work for a run of Cricket Magazines a few years back.


Has anyone approached you to do an album cover?

Just recently! I have a client through my agent for whom I’ll be doing some album art in the near future, as soon as scheduling lines up.


Anne Bonny  18×24″ Oil on paper mounted on panel – Cover to the novel, “Heart of a Pirate: A Novel of Anne Bonny” by Pamela Johnson. Publishing rights available

Do you work in Photoshop? Do you touch up your oils digitally?

I do a lot of my preliminary work in Photoshop, and also touch up paintings as needed, or if a post-submission tweak is needed that is easier to do digitally.


Do you use a Graphic tablet to draw?

Yes, I use an older wireless Wacom tablet, though I am looking to get one of the smaller Yiynova tablets soon. I have a tiny studio so have no room for a large Cintiq or similar.


The Sacrifice Unpublished, a continuation of an illustration published in the Dungeons & Dragons Player’s Handbook 3 – Judge’s Choice, World Fantasy Convention 2010

Do you ever do a whole illustration digitally?

Yes. I find that the best digital solutions still start with some traditional, even if just actual pencils. I’ve done a lot of hybrid work this year, starting with charcoal or Copic marker drawings and then transitioning to digital. It keeps the final from looking too synthetic.


Sea Servant sketch 6.25″ x 8.5″ Pencil on paper © Applibot, Inc.


Step 2 Background


Sea Servant, 16×20″ Oils on Masonite

When asked to paint something with similar elements to past pieces, you do have to mix it up a little. In this case,I had the benefit of this sea hunter character being outfitted more than Semhyr’s brazen exhibitionism. As well, water is a substance which lends itself to many treatments. In this case, I sought to exploit the sudsy whitewater left in the wake of waves near a shore, which roll endlessly between the shore and the next wave.

Light coming through a wave is something that both happens, and is very visually beautiful, but is often associated–at least in my mind–with thrift store landscapes. So, putting it in my own piece was something I was unsure of at first. I suppose that’s unfair–thrift store paintings also feature trees, and the sun. I don’t think twice when I paint those.

In the end, it wasn’t so much of a concern, since the figure covered up a lot of it. However, as mentioned this past year, with some of these clients I am asked to provide the illustration in layers. In this case, I actually painted the entire background first, scanned the image, then continued on.


Magic Innistrad: “Ghoulcaller’s Chant”

How long does it take you to do a painting?

Depending on size and complexity, a week minimum. That’s just the execution, not counting the reference preparing, thumbnailing, preparing comps for review. All told a job takes a minimum of 1.5 weeks if it’s purely painted. The level of detail and finish I prefer takes time, unfortunately!


What types of jobs do clients contact you for?

Clients seem to be drawn to a certain dreamlike and mystical quality in my work, that is still rooted in reality. They seem to appreciate my color sense and, when I am called to use it, my interpretive ability with story.

Forbidden Alchemy

Forbidden Alchemy  –  16×20″ Acrylics and oils on Masonite – Process pictures here

Have you ever studied any animation?

I have not.


Eschaton “24×36” Oil on Masonite – Cover, “Redemption: the Quest to Recover the Book of Life” by Dady Johnson, Westbow Press

Do you think your art was influenced by any other illustrators?

Certainly cover artists like Keith Parkinson and Michael Whelan were huge influences on me as a teenager. Post college I have been completely taken with the 19c academicians like Waterhouse, Gerome, Alma-Tadema and the like.


Gideon’s Avenger   –   16×20″ Acrylic and oil on Masonite.

Is there a piece of your art that is your favorite?

Some 500+ illustrations in that gets harder and harder to answer, and changes, but my portfolio is always a good reflection of my favorite recent twelve.


Fafhrd   –   24×30″ Oil and acrylic on canvas panel – Publishing rights available for this image.

What job gave you your biggest challenge?

I was asked recently to do some pen-and-ink comic-book style illustrations for an unreleased product. I haven’t done pen-and-ink in well over ten years, and it needed to be amenable to being colored by a colorist in a typical comic-book fashion, which means you can’t detail and hatch your drawings as you might. It ended up being a lot of fun, helped by spending some time beforehand just doing some pen-and-ink drawings unrelated to the project to get a feel for the medium again.


The Gray Mouser   –   11×14″ signed open edition print

Do you try and spend a certain amount of hours every day working on your art?

Most days, deadlines take care of that part for me and I have to try and spend a certain amount of hours not working on art! If I’m between projects I’m fine taking a few days to do something else. I actually just got back from a 9 day trip to celebrate my 15th wedding anniversary. I spent two mornings plein-air painting, but that was it and it was enough.


Windflight   –   18×24″ Oils on Masonite – From Dungeons & Dragons, “Player’s Option: Heroes of the Elemental Chaos”

What made you move to NYC?

That is a very long story without a simple answer, but the short one is: whim. We had been moving about frequently in that time, including spending some time living in Europe. We really kind of ended up in NYC. It wasn’t part of a grand plan, and even 2 years before doing so I never would have thought I’d be here.


Since you live in NYC, do you have space to do your artwork where you live or do you have a studio outside your home?

I work in a corner of a 500 square foot studio apartment I share with a wife and cat. The time spent moving prior to NYC prepared us for tight living and small workspaces. This isn’t the smallest place I’ve had to live and work in!

Specter (Unevolved)

Stalking Specter  –  12×16″ Oils on heavyweight watercolor paper

Do you take pictures or research before you start a project?

As much as possible. Time and budget limits the amount I might like to do, but the more authenticity I can inject into the work, the better it will be.


The Unknown God   –   18×24″ Oil on paper over Masonite. Cover to “Realms of Fantasy” Magazine, Feb. 2010

Voted as Reader’s Choice by Realms of Fantasy Magazine readers, among 2010’s illustrations done for the magazine -Publishing rights available.

Do you think the Internet has opened doors for you?

Absolutely, in every way. From client-reach, to being able to move around and live abroad, to your finding my work and kindly inviting me to do this interview, I am happy to live in the internet age, and also very happy it didn’t exist prior to me leaving college!


Winter’s Grip –  18×24″ Oil on masonite. Image courtesy of Imagine, Ltd. from an as-yet unpublished project.

Do you think your style has changed over the years? Have your material changed?

I began as an acrylic painter because, not knowing any better in high school, I saw that Michael Whelan used acrylics and oils seemed “hard” with all the chemistry involved: thinners, oils, drying agents, varnishes. I made the switch permanently in 1998 since I reasoned I was trying to make my acrylics look like oils anyway, and by then I finally had a handle on oils. I don’t know if my style has changed; as I see it, it’s simply progressed and improved in a fairly linear trajectory.


How do you market yourself?

Not as well as I should! I do try to do the online/social parts of it regularly, including regular weekly blogging, as well as sending out promotional materials and trying to meet Art Directors in person. Thankfully I also have Good Illustration now to help with these efforts.


Do you have any career dreams that you want to fulfill?

Well, I’m still working towards having cover work become a regular part of my calendar year; it seems there’s not enough out there to make a full-time career likely doing just cover work, but I’d love to just have a regular dose of it. My first love is still story illustration, and I’m glad to be moving in that direction. Oh yeah, and that Star Wars film concepting gig.


What are you working on now?

I have a very large canvas that arrived while I was away that I need to unbox. If all goes well it’ll become a gallery-type painting and my largest to date.


Krallenhorde Wantons   –   11×14″ Oil on paper over Masonite From Magic: the Gathering Innistrad Set

Do you have any digital creative tips you can share with us?

I often shoot HD video of models when posing them for illustrations. The slight movements between frames often create a better and livelier feel than single-shot posed images. Also, the model can move through a pose naturally that way.

randy sketchrg_s_gruul_guildgate

“Gruul Guildgate” sketch

Ruins. And in this case, reclaimed ruins. Not reclaimed as in remodeled to look as-new, but just reclaimed enough to make them functional. So, use a giant gaping hole in the wall as your entrance, prop up the crumbling archway with a fat stump, and chop the gnarly roots that were impeding your access. Hang some banners and–voila!–home sweet home. Gruul.

Over the last few years, a legion of concept artists has arisen, who generally have provided the go-to look for environments which is favored these days. Whereas the taste these days is for that kind of speed-painting look: minimal detail, focus on silhouette, extreme atmospherics, I’m still old-skool enough that I like to see a bit more than that. Ok, maybe a lot more.


In-progress photo, with acrylic underpainting

There was a lot to cover, so I did this one a little larger than usual, at 16×20″. I started out with a full acrylic underpainting on this one, as I wanted everything to have a uniform shadow undertone. And whereas sometimes I only transfer down important details of drawings as-needed, so as not to lose the drawing in early stages of a painting, in this case I was happy to have all my drawing there at once. In this case, the opposite was needed–I wanted the freedom to have edges come and go as needed, and wanted a more organic feel, overall.

I ended up using a pretty limited palette to convey a sense of decay, and a little bit of the inhospitable. All in all, I was pleased with the piece.


Any words of wisdom on how to become a successful illustrator?

My oddest advice is to date intentionally while you’re young and find your life partner as soon as you can (presuming you want to have one). I would even put aside some effort on the art side early on to make sure one is devoting ample time and effort to this. Nothing will make the rest of your career and life go as smoothly as this. I met my now-wife when I was 14, and though that was incredibly lucky, I see how much time and effort it saved me, how much support and freedom it has allowed me to continue in an incredibly difficult field. If that hadn’t happened, I still would have wanted to date and marry young, but I’m also a hopeless romantic!

Exit Within 5

Exit Within 5   –  24×30″ Oil and acrylic on canvas panel – Publishing rights available for this image.

I want to thank Randy for sharing his gorgeous artwork with us and giving us some insight into his process and journey. I know I am very impressed and will be following him in the future. Randy please remember that once you are featured, we want to know to be kept up-to-date on all your successes.

If you would like to visit Randy’s website here is the link: His email is if you would like to commission a piece of art or buy a print for your collection.

Please take a minute to leave a comment for Randy. Maybe pick a favorite illustration. I would have to pick The Ether book cover, Avarice, The Balance of Power, Gideon’s Avenger, Mesa Enchantress. I guess I didn’t do a great job of picking a favorite, but I did try. 

Talk tomorrow,



  1. Wow, Kathy, you were right! You told me about Randy and you weren’t exaggerating! This work is amazing!

    I wasn’t just moved by your work, Randy but by your passion for doing it. I was especially touched by your advice about a life partner. How wonderful you found your true love at only 14. My son was just as lucky at 16 🙂

    As far as favorites, surprisingly I was able to narrow it down: my first one is “Winter’s Grip,” because I love the colors and composition, love capes and am always drawn to winter scenes 🙂 Regardless of your aversion and concern about light through waves, I think “Sea Servant” is magnificent along with the first painting of “Emperor of the Merfolk Evolved” in which you explain your process and choice on what to include to depict the scene, and along with Kathy, the “Ether” cover. This was SO enjoyable! And good luck getting the work you really want to do, Randy 🙂 Kathy, thanks for all your hard work on this!


  2. exquisite work!


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