Why I Keep Making Art

There’s a question I get asked a lot - sometimes directly, sometimes in the spaces between comments on my work: Why do you keep doing this?

The honest answer: because I have to.

Sure, I get to make art as part of my profession - it’s an unbelievably important element for me, but when I say ‘I have to make art’, it’s not in the sense that it’s a chore - more in the sense that I have to breathe. Art for me isnt about chasing anything tangible. It’s not about follower counts or engagement rates. It’s not about making commissions or selling prints (though it does help keep the proverbial lights on). It’s about honoring. It’s about putting on paper what words sometimes can’t carry.

As a Marine, I’ve seen things most people haven’t (that’s not to boast or say that I’ve seen things most Marines haven’t, but less than 1% of the population has served in the military, so statistically speaking, I think it’s fair to say). I’ve stood in moments that have demanded silence, strength, and sometimes surrender to the weight of what we’ve witnessed. As an artist, I’ve tried to give those moments form, so that they dont vanish. In hopes that someone else might see and perhaps even understand. That’s what combat art is to me: storytelling through observation, shaped by discipline, and forged in respect.

Wheter I’m sketching a marine training in the cold of Norway, capturing a split-second moment of leadership, or simply trying to interpret the way light hits a rifle on a range, I’m trying to preserve something real. Something lived.

Unless it’s a field sketch, most of my artwork is made in a spare bedroom, usually with charcoal-stained fiingers and a head full of images I’m still trying to understand. Some pieces go to galleries or magazines. Some stay right here with me. All of them are part of the same mission: to document, to remember, and to share.

So if you’re here - -reading this, looking at the work, considering a print - I want to thank you. You’re a part of this story, too. And if you are an artist, or just someone trying to keep a creative flame alive while serving a greater purpose - I see you. Keep going!

Semper Fidelis,

Mike

Beyond the Medium - By Mike Reynolds

Earlier this year I set out on a journey to interview creative minds from all different creative disciplines and get after some of the burning questions I had for them, the lessons they’ve learned, and the stories behind their work. My goal was to interview 20 creatives and publish one episode per week. Though I fell a bit short, I still believe that the project was a huge success. I’d like to offer a sincere ‘thank you’ to all of the creatives that participated in the interviews including:

Episode 01: CJ Baumann Active Duty Marine Corps Combat Artist Officer

Episode 02: Aaron Courts Marine Corps Veteran turned Creative Writer

Episode 03: Nick Romer Active Duty Marine and Shodow Box Builder

Episode 04: Mike Fay Marine Corps Veteran and Marine Corps Combat Artist Officer

Episode 05: Justin Eggan Marine Corps Veteran, Writer and Poet

Episode 06: Cliint Runyon Marine Corps Veteran turned Surfboard Builder

Episode 07: Victor Juhasz Marine Corps Combat Artist and Award winning visual artist

Episode 08: Mason Rodriguez Marine Corps Veteran and Poet

Episode 09: Pat Tozzi US Navy Seal Veteran and Motorcycle Builder/Sculptor

Episode 10: Paul Heaston Art Educator, Urban Sketcher, and Visual Artist

Episode 11: Adam Walker Marine Corps Veteran and Creative Writer

Episode 12: Marc Poole Marine Corps Combat Artist and Art Educator

Episode 13: Elize McKelvey Marine Corps Veteran and Marine Corps Combat Artist

In addition, I’ve recorded but still need to edit and publish the following episodes with

Ben Cantwell Marine Corps Veteran and Artist

Kris Battles Marine Corps Veteran, Marine Corps Artist in Residence

A very special thanks to anyone who may have tuned in to listen to or watch the interviews - this project was made specifically with you in mind - and i sincerly hope that you were able to take something of value away from our discussions.

Stay tuned for future episodes! In the meantime, you can find Beyond the Medium on Spotify (search “Beyond the Medium Mike Reynolds”) or use the link here:

https://open.spotify.com/show/6pEELFCOeg7jMNdYfYIwxP?si=ugqdiGvsSYiZO3OeeoyNjQ

Until next time, keep creating, keep exploring, and we’ll see you Beyond the Medium!

Guide to Making Art Prints

Lessons Learned from My Own Experience

If you’re an artist considering selling prints of your work – congratulations!  That’s an exciting step toward making your art more accessible.  I only started selling prints when friends reached out and asked if they could purchase my work - I dont ever want to seem like i’m pushing sales on anyone, but if someone is interested in purchasing my [avaialbe] art, they can do so through my website. This guide is based on my personal experiences and is intended to offer some helpful tips as you navigate the process. Every artist’s business is different, and your decisions should reflect your goals and comfort level. I don’t sell prints at markets or in a physical storefront; my model is based entirely on online, print-to-order fulfillment.

Why Sell Prints?

Prints are a fantastic way to offer more accessible options for clients who may not be ready to invest in original work or who missed out on a sold piece. While a print is not the same as an original, it should aim to faithfully represent the original work. High-quality reproductions can provide meaningful value for collectors, especially when thoughtfully produced.

Print-to-Order vs. Bulk Inventory

One of the biggest mistakes I made early on was trying to predict demand and ordering prints in bulk. It left me with unsold inventory - some of which I couldn't give away. Now, I only create prints after they’ve been ordered. This print-to-order model eliminates waste and upfront costs, though it does introduce a delay between purchase and delivery. Most customers shopping online are accustomed to this, and I’ve found it to be the best balance between quality control and cost efficiency.

Creating the Image

Start with original artwork - digital or traditional. You’ll need a high-resolution image to produce your prints. I’ve found that when I use my phone’s RAW photo mode in natural lighting it works well, but for studio work or larger pieces, I use a DSLR with a polarizing filter and lights. Professional scanning services are also an option. Once you’ve got the image, edit and crop carefully. The goal is fidelity, not enhancement.

Printing: In-House vs. Outsourcing

When I began, I tried several third-party printers (Vistaprint, Printify, etc.) before landing on The Stackhouse Printery (This post isn’t sponsored, but it is an honest review). Their quality and turnaround were excellent, but expensive. Eventually, I brought the entire process in-house using an Epson SureColor P900 and Epson Hot Press Bright papers. This move allowed me to control quality and reduce costs, which helped me keep pricing accessible to my audience. No matter what route you decide, I cannot emphasize enough that quality in terms of product and process are absolutely necessary. A archival-grade Giclee print should last at least 100 years.

Packing & Shipping

Packing is a hidden cost and art form of its own. I started with rigid flat mailers, but they weren't durable - carriers bent them to fit mailboxes. I now use poly sleeves and ship prints rolled in 2" or 3” mailing tubes. The prints flatten perfectly when framed, and this method has proven the most reliable and professional-looking.  I polled a select group of my collectors, and for the most part, they weren’t interested in additional costs associated with fancy or custom packaging, stickers, containers – the art was the experience they were seeking. I’ve also experimented with shipping framed prints, and found the cost was too high. Instead, I provide collectors with more economical solutions for a half-DIY/half-professional way to get their art framed and matted locally - which saves them a ton of money in the long run.

Drop Shipping?

If you use a third-party printer, you may have the option to drop ship directly to clients. That’s convenient - but I personally prefer to inspect and hand-sign each print before it leaves my studio. This is a non-negotiable element for me. If you aren’t concerned with hand-signing or limited editions, drop shipping can be a time-saving option.

Limited Editions

Offering limited edition prints can add perceived value - but it also requires discipline and organization. If you promise 10 prints in an addition, sell only 10 [Sans Artists’ Proofs, but thats another topic]. Track serial numbers carefully to avoid duplication. I use a Google Sheet to maintain a registry of every print sold, including client details and edition numbers.  As a general note and my personal opinion, an edition that exceeds 250 isn’t really limited. I always chuckle when I see the work of Thomas Kinkaid in a “limited edition” of 25,000 prints. If you think you’ll sell more than 250 prints, consider an Open Edition of unlimited prints, which may significantly devalue the individual prints, but allow you to sell more in terms of quantity.

Pricing Strategy

Print pricing is a complex and often sensitive topic. A general rule of thumb is 10–40% of the original’s value, depending on availability. A $100 original might justify a $10–40 print, but don’t forget your Costs of Goods Sold (COGS). Ink, paper, sleeves, shipping, transaction fees—all of it adds up. Price too low, and it costs you to sell a print. Price too high, and you may deter collectors. Your time has value—respect it.  It’s worthwhile to do market research to see what similar artists (in terms of notoriety, skill, and subjects) are selling prints for - or if they are even selling prints at all.

Is Selling Prints Right for You?

Only you can decide that. Producing and selling prints is doable—but it requires time, attention, and patience. Every hour spent printing, packing, and tracking is an hour not spent making art. But if you’re ready to take that step, I can confidently say it’s possible to do it well.

I hope this helps, and feel free to reach out if you have questions—I’m always happy to help fellow artists or answer questions from potential clients.

shoot me a DM on IG @Forty_mike_mike_art or send an email to 40mmArt@gmail.com

Nordic Response 2024

In early 2024, NATO’s largest military exercise, Nordic Response, unfolded north of the Arctic Circle, bringing together 20,000 troops from 13 countries. Among them was the II Marine Expeditionary Force, entrusted with the role of exercise Land Component Command. As an Ammunition Officer within this unit, I eagerly anticipated the opportunity to participate in this challenging environment.

Balancing my responsibilities as an ammunition officer with my passion as a combat artist presented unique challenges. While my primary duty always took precedence, I seized every opportunity to refine my artistic skills and capture the stories unfolding around me.

To fully immerse myself in the exercise, I requested to deploy early and embed with the 1st Battalion, 2d Marine Regiment during their preparatory Cold Weather Training. Supported wholeheartedly by my command, I embarked on this journey alongside Richard Johnson, a fellow Combat Artist whose talent I deeply admire.

From the moment Richard arrived at the airport, we wasted no time. Sketching the Norwegian gate guards outside our camp, we found inspiration in each other’s company and shared passion for our craft.

Over the next 10 days, we braved temperatures plunging to -11°F, witnessing the Marines of 1/2 navigate the unforgiving Arctic terrain. Despite the physical challenges, their spirits remained high, fostering a sense of camaraderie forged in adversity.

As I attempted to capture the essence of their training through sketches, I encountered obstacles, from freezing pens to numbed fingers. Yet, amidst these struggles, I witnessed the unwavering dedication of the Marines to their mission and to each other.

During a reconnaissance patrol, I had the privilege of witnessing their professionalism firsthand. As we sketched from the sidelines, the Marines swiftly transitioned from casual conversation to tactical engagement, showcasing their adaptability and readiness.

Nordic Response was more than just a military exercise; it was a testament to the resilience and camaraderie of those who serve. Working alongside Richard and meeting these remarkable individuals reaffirmed my belief in the power of art to capture the human experience, even in the most challenging environments.

In the end, Nordic Response left an indelible mark on me, reminding me of the courage and dedication exhibited by those who stand ready to defend freedom, regardless of the circumstances.

You can see our artwork and read our stories on Instagram:

@Forty_Mike_Mike_Art

@NewsIllustrator

On assignment…

The Marine Corps Combat Art collection is curated by the National Museum of the Marine Corps in Quantico, Va. it contains more than 14,000 works contributed by nearly 400 Artists, pre-dating WWII.

New additions are accessioned frequently, and the Marine Corps uses it’s own Marines to help with artifact collection. A select few have the distinction of F[ree]MOS: 4606; Marine Corps Combat Artist. These Artists may embed - on assignment - with Marine Corps units to document what Americas’ Marines are doing.

Because the originals of these works are accessioned and curated by the National Museum of the Marine Corps, they -in some circumstances - may not be available for print reproduction by me via this site.

However, if you’ve seen something and would like to request a print - please don’t hesitate to reach out - I want you to have the art that helps tell your story!

To frame or not to frame?

There’s a subtle distinction between art and posters… both deserve to be framed and proudly displayed in your spaces.

Frame and mat it. It’s not as expensive as you might think, and it absolutely makes great artwork better!

I’d love to help make any recommendations, but have found the best help from frame shops at Hobby Lobby. They discount the cost of any off the shelf frame by 50% if you elect to have it matted with them.

By taking your artwork to a frame shop, you can significantly reduce costs in shipping. Again, I’m happy to shipped framed artwork, but I’m always looking to pass any savings to you!

Why choose Forty Mike Mike?

There are several phenomenal artists out there, creating some really exceptional pieces of artwork. Their own life experiences fuel their passion; mine stems from my service as a United States Marine in an effort to share some of our experiences and stories.

If you’d like to commission a specific piece from me, please shoot me a message or read the ‘Commissions’ page of this site. I also attempt to make affordable prints available to everyone at an economical price. When you purchase a print from FortyMikeMike, you are fueling a passion. In return, I provide you with a piece of artwork that I consider the highest possible quality. I use thick matte finished art paper, and inks that won’t fade over time - these are not photographs or cheap replicas. EVERY piece is signed by me and serialized. No print purchased from me will ever exceed 200 in the series - my belief is that to do otherwise, you’re buying a poster, not a fine art print.

Each piece is printed with the idea that you’ll elect to frame it and proudly display it as a conversation piece. I’m happy to pass on any information or suggestions in terms of framing options, but know that taking a print to a local Hobby Lobby will be the most cost effective solution for framing options. If you’d rather not deal with the hassle and would prefer I have the piece(s) framed for you, I’m glad to do so at cost + shipping.

Thanks so much for your support over the last year as I’ve started FortyMikeMikeArt - it truly means more than I know how to express!