One of the best things about getting new He-Man toys as a kid was the box art. The toys were of course amazing and fun, but personally I spent almost as much time staring at the boxes as playing with the toys. I remember being pretty heartbroken when my mother made me throw away my Castle Grayskull and Battle Ram boxes. She saw them as clutter, but for me they were almost stories in and of themselves. You could see whole adventures unfolding in a single painted scene.
Unfortunately, good photographs or scans of the original art are not available for every piece. If you happen to have a nicer images than I do (higher resolution, better composition, etc), please do feel free to share, and I’ll make an update! For pictures of the packaging itself, a neutral (white or black) background is preferred. High resolution scans of the artwork, where it appears without logos, would be ideal. Bottom line – if you have better images than I do, please share them!
One final note: I’m defining box art as the front-facing painted artwork that appeared on boxed Masters of the Universe toys. The illustrations on blister card packaging, then, are outside the scope of this series.
Part Four: 1985
Name: Bashasaurus Year: 1985 Artist: William George Description: Battle Armor He-Man attacks Battle Armor Skeletor using the Bashasaurus’ “basher ball” as a small dragon-like creature looks on. In the distance, Clawful and Trap Jaw run down the winding path from Snake Mountain.
Name: Battle Bones Year: 1985 Artist: William George Description: Battle Armor He-Man, Teela, Fisto, Man-At-Arms, Man-E-Faces, Buzz-Off, Battle Armor Skeletor, Beast Man, Kobra Khan, Jitsu, Whiplash and Evil-Lyn pose next to Battle Bones. In a separate scene, Battle Armor He-Man, Fisto, Man-At-Arms, Man-E-Faces, and Mekaneck use Battle Bones to attack Battle Armor Skeletor, Tri-Klops, and Beast Man.
Name: Dragon Walker (Euro Edition) Year: 1985 Artist: William George Description: Battle Armor He-Man pilots the Dragon Walker over rocky, volcanic terrain. Beast Man and Tri-Klops are ready to attack but seem unsure how to proceed. In the foreground, a small pterodactyl-like creature seems ready to take flight. In a separate scene, Battle Armor Skeletor (riding in Land Shark) and Beast Man lurk in the background.
Name: Fright Zone Year: 1985 Artist: William George Description: In the fearsome Fright Zone, Battle Armor He-Man fights the dreadful dragon, while Hordak snares Battle Armor Skeletor with his tree trap. Buzz-Off is held captive in Hordak’s prison. Dead trees and craggy mountains surround the lair of the Evil Horde, and twin moons hang in the sky.
Name: Hordak Grizzlor Year: 1985 Artist: William George Description: He-Man approaches Grizzlor and Hordak, his sword and shield at the ready. The sinister Fright Zone stands in the background.
Name: Jitsu & Night Stalker Year: 1985 Artist: William George Description: in the middle of a desolate and rocky landscape, Jitsu and Night Stalker attack Fisto, who seems to have been caught without backup.
Name: Land Shark Year: 1985 Artist: William George Description: Skeletor drives Land Shark over a cracked and rocky desert. A vicious looking dragon-like creature looks on.
Name: Land Shark & Battle Armor Skeletor Year: 1985 Artist: William George Description: Battle Armor Skeletor, driving Land Shark, races across the cratered desert floor. From his vantage point on a rock, Man-At-Arms seems ready to leap into battle. A vicious-looking winged dragon creature watches from a gnarled tree branch.
Name: Modulok Year: 1985 Artist: Unknown Description: Modulok is shown in fifteen body configurations and poses.
Name: Night Stalker Year: 1985 Artist: William Garland* Description: Charging down the narrow path from Snake Mountain, Battle Armor Skeletor and Night Stalker attack Battle Armor He-Man and Mekaneck. A reddened sky and strange rocky formations are the prominent features of Skeletor’s domain. (*Artist name not confirmed for this particular piece, but the art seems to match the style of the Panthor illustrations.)
Name: Spydor Year: 1985 Artist: William George Description: Battle Armor Skeletor looms large over Battle Armor He-Man as he uses Spydor to attack the most powerful man in the universe. In the background, tooth-like volcanoes belch smoke. Three moons hang in the alien sky.
The last Masters of the Universe figures I would ever get as a kid were Rokkon, Stonedar and Modulok, for my birthday in 1986. By this point I was really getting into G.I. Joe. Colorful characters like the B.A.T. (which was kind of a Roboto clone), Viper, and Serpentor (he fit right in with the MOTU Snake Men) had finally pulled me over to the Joe side. Despite that, I was always happy to get a few more He-Man characters to add to my collection. Modulok had come out in 1985, of course, but the figure was new to me.
Modulok was given the most metal toy commercial possible. Compared to most 1980s toy ads, this was like Slayer meets Black Sabbath:
Over the years, Mattel designers toyed with several centaur-type designs, with four to six legs, and in at least one case, four arms.
Modulok could be configured like the either of the above designs, but he was much more insect-like than previous concepts, as shown below:
Often in the development of Masters of the Universe toy designs, prototypes and concepts ended up appearing in mini comics and cartoons, due to the long lead time required to produce them. While comic artists were busy putting together mini comics, Mattel’s toy design team would continue to develop the figures. Often the finished product was noticeably different from early concepts, and that is certainly the case with Modulok. In the comic book that shipped with the figure, The Treachery of Modulok!, Modulok is based on that original concept look:
The concept/mini comic Modulok featured a set of crab-like pincers, a set of He-Man-like legs, a set of Skeletor-like legs, and a set of insect-like legs. It may be that the designer (which I believe was Ted Mayer) intended for Modulok to reuse these parts to cut down on costs.
Another Ted Mayer design, Brainiac, demonstrates a similar design philosophy:
The final toy came with no shared parts at all (unusual for MOTU at the time, but characteristic of Evil Horde figures), and his build was much slimmer than any figure that had come before, with the exception of Teela and Evil-Lyn.
Rather than crab-like pincers, Modulok was given three and two-fingered claws, in addition to his set of human-looking arms. Rather than Skeletor or He-Man legs, he was given one set of human-like legs with green knee pads, one set of legs with a kind of grasshopper-like design, and another set of legs that recalled the design used on Clawful and Buzz-Off. His overall look is something like a Martian crossed with an ant.
Modulok included several segmented thorax pieces, giving him an ant-like look when they were connected. He included the two heads from the concept drawing, along with five two-pronged connectors that could be used to give the figure various head, arm and leg combinations. He came with two tails, one of which could support legs or arms. He also came with a double-sided laser rifle that could be split into two pistols.
Modulok has one of the more clever names in the MOTU toyline. It’s a marriage between the words “modular” and “lock”. His construction is modular, his pieces lock together, and the hybrid word certainly sounds like a credible name for a villain.
The artwork on the box Modulok came in was very true to the overall design of the toy. However, where the action figure featured dark blue paint on some of his arms and legs, those parts were colored light purple in the box art.
The front and back of the packaging featured illustrations of Modulok in dozens of different configuration. The idea, I’m sure, was to help kids engage with the toy more by giving them many different ideas for play. I think I eventually tried out all of them.
The scene on the back of the packaging shows Modulok transforming into various configurations mid-combat as he confounds Skeletor’s Evil Warriors:
The instruction manual that came with Modulok provided even more ideas for putting him together in bizarre new ways, including some ideas that would require purchasing multiple copies of the toy. It was a bold attempt by Mattel’s marketing department to move more units, I’m sure, but I don’t know that many parents would have been convinced to buy the same toy two or three times over.
Argentinian manufacturer Top Toys produced a version of Modulok that was packaged on the standard sized blister card. Since there was no such card set up for Modulok, Top Toys reused the cardback from Kobra Khan. The figure itself came with green limbs and is highly sought after today.
The Treachery of Modulok! mini comic was included with the toy (although not in the Top Toys example above), and as mentioned previously, depicted Modulok with his concept design rather than his final form. In the story, Modulok is a defector from Skeletor’s crew. He approaches Hordak with a plan to infiltrate Castle Grayskull. In a rather gruesome and devious plot, he mails his body parts to the heroic warriors, who are baffled by them. After the heroes leave his parts unattended, Modulok assembles himself and wreaks havoc on the unsuspecting heroes.
Modulok is the only member of the Evil Horde without the Horde bat insignia (with the exception of Multi-Bot, who was something of a robotic sequel to Modulok). It may be that his inclusion in the Horde faction was something of an afterthought. And indeed, that may also be the reason he is depicted as non-original member of the group in the mini comic and other media.
Modulok’s back story is spelled out succinctly in Mattel’s official style guide (with artwork by Errol McCarthy). These origins don’t appear to have anything to do with the story in the mini comic.
Formerly Galen Nycoff, evil scientist. He constructed a device while in prison to help him become the most deadly villain on Eternia, and emerged… Modulok! He has since allied himself with Hordak and the Evil Horde.
The Filmation series origin for Modulok follows the same basic formula, expanding upon it and giving pre-transformation Galen a pretty standard evil scientist look.
Filmation’s take on the character design was created by Fred Carillo and Lou Ott. (Fred also did artwork for quite a few Masters of the Universe Golden Books story books and coloring books.) Here Modulok has been given purple shorts, a green belt, black markings on his legs, and some modifications to the design of his chest and hands.He is always depicted with three legs.
Modulok makes several appearances in the UK Masters of the Universe comic book series, albeit with an altered backstory (images via He-Man.org):
Modulok also makes several appearances in posters by William George, Earl Norem, and others. Notice in the last example below (from William George’s Eternia poster) that Modulok has been combined with Multi-Bot to form “Megabeast”.
Leech is one of those figures that that is permanently etched in my memory. I got Leech and Mantenna for Christmas of 1985 (my brother got Grizzlor). At the time I was just starting to get distracted away from Masters of the Universe by G.I. Joe. I remember my cousin making the argument that G.I. Joe was cooler than He-Man because you could “put them in better poses.” I wasn’t terribly interested in army toys, but I looked up to my cousin and was easily swayed by his opinions. By 1986, Hasbro was putting out G.I. Joe figures that were much more colorful and weird, maybe in an effort to attract the attention of He-Man fans (it certainly worked on me). In any case, getting Leech and Mantenna sucked me right back in to the world of He-Man.
Masters of the Universe had long been a toyline filled with colorful, freakish monsters, but the Evil Horde took the bizarro factor to a whole new level, and Leech was an instant favorite. An evil green monster with suction cups for hands and a suction cup mouth? Sold! Leech reminded me of the salt vampire from the original Star Trek series – the creature also had a sucker face and suckers on its hands. That episode gave me a serious case of the creeps as a kid, so to have something a little like it in figure form was thrilling.
Leech was not the first suction cup monster to be sold by Mattel. In 1980, Mattel released a character called Suckerman (invented by Roger Sweet), covered head to foot in suction cups and made from a flexible vinyl material:
There are a couple early concepts for Leech, one from Filmation and the other from Mattel. My understanding is that the Evil Horde concepts originated from Filmation, and Mattel took those concepts and often took them in a different direction.
Several years back, James Eatock shared an early Leech concept created by Charles Zembillas. This incarnation of Leech was not quite the freak show character he ended up being. In fact stylistically he fits right in with the type of character designs Mattel had put out in 1984 for the Evil Warrior faction:
Image source: James Eatock/The Power and the Honor Foundation
Back at Mattel, designer Ted Mayer took the concept in a much different direction. Ted’s concept (below) presents a character that is much more alien looking, with more prominent suction cup hands and a face also dominated by a giant suction cup. Leech’s limbs here are much slimmer than the actual figure, but this design is otherwise much close to the toy design than the Zembillas drawing.
As noted in The Power and the Honor Foundation catalog (image above), the Horde insignia on Leech and the rest of the Evil Horde was originally envisioned as an alien creature that controlled the actions of these monsters. It was an interesting idea, but was ultimately dropped.
This close to final prototype (sculpted by Eddy Mosqueda, who also worked on Grizzlor, Sssqueeze and Eldor) appeared in the 1985 Mattel Dealer Catalog. The sculpt is final, and the figure appears to be hand-painted. As you can see, the prototype lacks the painted teeth on tongue inside his suction cup face. The suction cup itself is shallower than the final version, and lacks the wide rim on the toy (thanks to Manic Man for pointing that out). Unlike the final toy, the armor covering his left shoulder is painted orange, and the Horde bat insignia on his left arm is painted red. He also has black nostrils.
Compared to most other MOTU figures, leech was much more solid and bulky. His action feature required a fairly large torso. The suction cups on his hands (which never seemed to work all that well) were typical suction cups other than the sculpted finger details, but the suction cup on his mouth actually had a hole in the middle of it, with a tube leading down to a rubber bladder in the center of Leech’s torso. A button on the figure’s back would force the air out of the bladder through the hole in Leech’s mouth. This would create a vacuum in the bladder, resulting in a stronger suction force to better keep the figure attached to smooth surfaces.
In this scene Man-At-Arms is holding Mekaneck’s club. Leech is based on his prototype, with black belt buckle and painted orange shoulder armor.
There are a several different production variants for Leech, the most notable being the version with a black belt buckle and light green abs. This is likely the first release version of Leech, as it is closest to the cross sell artwork (and the prototype figure that the artwork was based on):
Aside from his single carded release, Leech was also sold in a J.C. Penny two-pack with Mantenna. There was also a planned three-pack with Hordak and Mantenna, but as far as I know no one has seen one in the wild.
The mini comic that came with Leech is no doubt the strangest piece of the entire series. In the story, Mer-Man (who is inexplicably bearded) is running from terror from Leech, who in this story is the size of the mountain, but has undersized two-fingered hands. Sy-Klone manages to temporarily defeat Leech (delivered with one of the best quips of all time – “Try a taste of knuckle sandwich, blubber gut!”), and the heroes take the frightened Mer-Man back to the palace to discuss the new threat with King Randor (who for some reason has a pink beard here).
As I said before, Leech is a giant behemoth in this comic. When he returns to Hordak empty-handed, it’s clear that Hordak is human-sized. However, when He-Man takes on Hordak in the Talon Fighter, Hordak is also giant-sized. Reading this comic as a kid, I assumed that both Leech and Hordak had the power to grow or shrink at will. I’m not sure if that was actually a power they were intended to have, or if this comic book can best be explained by the effects of a bad acid trip. Either way, I was left scratching my head. Still, for some time afterward I believed that Leech had this ability, and when I had him facing off against the Heroic Warriors, I would often pretend that he was a giant.
I wasn’t aware until some time later that Leech was actually a frequent character on the Filmation-produced She-Ra cartoon. Certainly there was nothing on Leech’s packaging that connected him to She-Ra in any way.
His appearances were enough to get me interested enough to watch a couple of episodes. It was fun to see Leech in action, but it was also tough as a little boy in the ’80s to admit to being into something that was branded for girls.
The Filmation version of Leech was a bit different from the toy version (and radically different from the Charles Zembillas concept). Compared to the toy he had a more realistic mouth, a yellow belt, and symmetrical yellow shoulder armor.
Errol McCarthy’s depiction of Leech was based on the cartoon incarnation:
Leech didn’t make any appearances on box art, but he was a background character in several posters by William George, Earl Norem, and others (images courtesy of Jukka Issakainen):
I won’t say that Leech is my all-time favorite Masters of the Universe figure, but he’s definitely in the top 10. He left a big enough impression on me that he was the first vintage MOTU figure that I repurchased as an adult.
Mini comic images and Errol McCarthy artwork are from He-Man.org.
Ted Mayer is one of the original creators of the Masters of the Universe toyline. He designed many beloved MOTU toys, including the Battle Ram, Wind Raider, Attak Trak, Eternia, Slime Pit, and others. He has also worked on the Star Wars and Teenage Mutant Ninja Turtles properties.
Ted was gracious enough to answer my questions about his work on He-Man. He also provided a number of photos and illustrations for this interview, some never published before now.
Battle Ram: How did you get into the design business?
Ted Mayer: I originally was trained as an aeronautical engineer in England. I did not like that, so I went on to study illustration. I came to the US and worked in the aircraft industry. I went back to school to study automotive design, but after graduation, I did not want to go to Detroit.
Eventually I got the job with Mattel. I loved working there. So many talented people of all kinds, painters, sculptors, etc. I could not wait to go to work each morning. That’s where I met Mark Taylor. We had cubicles next to each other. We found we had so many things in common. To this day he is my best friend. We see each other often. Mark was/is such a wonderful classic illustrator.
BR: Before He-Man, you worked on the set of the first Star Wars movie. Can you describe what that was like and what some of the projects you worked on were?
TM: I got the job there before Mattel. A friend of mine was working at ILM [Industrial Light & Magic], and got me a job as a set designer.
I was working under Joe Johnson. I was just laying out background scenes, then I started to do some illustrations of the vehicles for the model makers and for publications. At that time most sci-fi movies were low budget, and we all felt this was going to be just another one, even though we saw some of the new technology developing. It was not until we saw the final cut were we blown away!!
BR: How did you come to work on the Masters of the Universe toyline at Mattel? Can you talk a little bit about how it started and what your involvement was early on?
TM: The two design sections at Mattel were divided in two departments. There was Preliminary Design that was supposed to come up with ideas for toys, and Visual Design that actually did the design work (visualization). I was in Visual Design. We had about twenty designers, so each designer had many projects that we managed.
He Man came about because Mattel had turned down Star Wars, and was desperate to come out with an action figure line to rival [Kenner’s] Star Wars line.
Mark (who was a comic book maniac, and constantly sketching in his sketch book) was asked by a marketing person, who saw some of his sketches, to come up with something he could present. This was because prelim could not come up with anything. He presented the “Torac” drawing. It was accepted to go to the next stage. That’s when Roger Sweet came in, as he was the one who failed to come up with anything, he was selected to help Mark with the final presentation.
Mark did all the sketches of the various characters and Roger dressed up a GI Joe to look like Mark’s sketch for the big presentation. Meanwhile Mark and I had 5-6 other projects we were working on.
When the go ahead was given to go to production, Roger was out of it and it moved in to Visual Design. It was then that I was asked to come in and help Mark. We split the design chores up. Mark would do the figures, and I would do the vehicles, and we both would do the weapons and accessories that went with Castle Grayskull, including all the artwork for the decal sheets
BR: Tell me a bit about how you went about designing the Battle Ram. What influenced you at the time? Where there any challenges in designing it?
TM: Its been a long time to remember what I was thinking! As I mentioned, all the visual designers were grouped together in a big bullpen. All the guys were either into cars or planes. We used to go to air shows, car concourse and hot rod shows as a group — a lot of testosterone going round.
So the six big fat wheels, multiple exhaust pipes, Recaro-type seat, came out of that. Also recently coming out of working on Star Wars, I added all the surface detail that we put on all the vehicles. Added to that we wanted a shoot-out rocket. Mattel had just been sued over the missiles on the Battlestar Galactica vehicle, so they did not want a shooter. I had to design a missile that was big enough that would not choke a kid and would pass the safety department. And of course it had to be really, really bad ass!
Because the stuff Mark and I came up with was out of the realm of the engineering department (they were lazy and wanted everything to be simple, and a square box if possible!), we had to take them on and come up with our own solutions. I was assigned my own model maker (Jim Openshaw), and we worked to make my sketch come to life.
I think the two vehicles in one, was an idea both Mark and I came up with, while discussing the whole line. Mark and I worked closely together, we sat next to each other and had a lot of fun. Jim eventually did all the tooling models for production.
One other thing about working with the engineers. After the He-Man sculpt was done (by Tony Guerrero) Mark wanted the arms to swing across his chest, the engineers wanted them to just swing back and fourth, so I had the do all the engineering to prove it could be done.
On the same subject, we wanted tons of detail molded in to the interior of Castle Grayskull, but because it would take so much work and creativity on their part, they would not do it. We lost that fight!
BR: What was your design process on the Wind Raider? What influenced you?
TM: Just a lot of sketching with input from Mark
BR: Was the Wind Raider meant to be something of a seaplane? It looks a bit like a flying boat.
TM: Yes, it was loosely based on a sea plane, but the dominant thing was the big engines so it could skim across the water and also take off and fly. We added the anchor later as we needed an action feature. The front monster was later changed to resemble a crocodile. Jim also did the models and tooling patterns on the Wind Raider.
BR: Did you also create the stickers for the vehicles you designed? They featured some interesting creature designs.
TM: Mark did the stickers based on the shapes I gave him. His wife Rebecca, who is a graphic designer, did the final art.
BR: Can you talk about how you went about designing the Attak Trak? What influenced you at the time? I notice it originally had a canopy that was dropped from the final toy (but was included in a Monogram model kit version of the vehicle).
TM: It started out as a mechanical toy submission that Mattel bought from an outside inventor. It was given to me, to make in to a He-Man vehicle. I did about four different design directions , of which they picked one.
The canopy was dropped because it costed out quite high, so they looked at dropping as many extras as possible. By this time I was also doing all the control drawings, so when they went to the engineers, things were final.
BR: Can you tell me a little about some of the other concept vehicles for Masters of the Universe that you have on your website? I see there is a green vehicle with a yellow bird head that drops down to reveal a disc shooting mechanism. What’s the story behind that?
TM: Marketing was always trying to resurrect old Mattel toys and put them in current lines. I was asked to design a He-Man vehicle with this feature. That’s the vehicle I presented. I remember that I was always trying to come up with different types of illustrations. On this one I did the line drawing and had a cell made of it, then colored a background. The cell line drawing was then an overlay, just like animation.
The pencil sketch [below] was based on a swamp buggy.
BR: It looks like you also designed the Jet Sled vehicle, which got released in 1986. Can you talk a bit about that one?
TM: Mark left after the first year of He-Man. The line was such a success, but he/we got nothing, maybe a 2% raise! Mark was pissed, and left to go to Playmates where he developed the TMNT toy line. Mattel decided to reorganize, and combine Prelim and Visual Design.
At that time the Intellivision video game started to take off. I was promoted to design director and selected to be in charge of that division. That was when Roger was chosen to head up the He-Man group.
For that year Intellivision hit the roof. The next year, because of marketing and bad direction, it failed. They closed that division, and I was out of a job! Because I knew so many people there, Mattel offered me a job – in the He-Man group, under Roger! It was at that time I designed the other vehicles.
By this time there were about five other designers in this group. We would have group concept meetings, and out of those came the ideas for new figures and vehicles. That’s when I also started to do the figures. All the sketches we did belonged to Mattel and we were not allowed to take them. However some of us managed to get copies.
Here are some prototypes I did:
BR: Did you also design the Talon Fighter vehicle (a yellow/blue/red bird-shaped vehicle that perched on top of Point Dread)?
TM: Yes, That was just something that came out when I was doing the Eternia Sketch.
BR: Can you talk a bit about how Castle Grayskull came into existence?
TM: Mark did the original sketch. That was then be sent to the sculpting department. When we saw their rendition, it was awful. It was a square castle, just like you would find in the English countryside! We made a fuss and it was sent back for revision. The second go round was almost as bad. As I remember, it was square with turrets on the corners, very symmetrical.
Somehow Mark persuaded the powers in charge to let him sculpt it. The sculpting department was pissed! Mark set up a board in his office and with a bunch of Chevaler sculpting clay, set about modeling it. I took turns helping him, even my nine year old son had a go. When that was finished it went back to sculpting for molding and engineering.
BR: It looks like you came up with or at least worked on quite a few figure designs, some of which became toys (Snout Spout, King Hiss, Hordak, Leech, etc.). What was your favorite figure design?
TM: I worked on a lot of figures after I came back. I guess my favorite was Brainiac, but I don’t know if that was ever made. [Editor’s note: it was never produced]
BR: Can you talk a bit about your work on the Eternia playset?
TM: I was given the project to design a playset that would dwarf Grayskull. I just stood at my drawing board and started sketching. I remember for some reason that I wanted to do a big drawing. It came out at 40″ x 40″.
Everyone liked the design, and it was decided, by someone, to do a size mock-up. We started hacking foam and the result was the photo you can see on my website.
I left Mattel around that time so I never knew until recently, that that actually produced it.
BR: What is your fondest memory of working on the Masters of the Universe toy line?
TM: Just a lot of fun. It was a great learning experience because there were so many talented people to learn stuff from
BR: If you could design a new vehicle or figure or playset for He-Man, what would it be?
TM: That I would have to think about. Its been a long time since I was involved in that area. The things that I see being done by some of the up and coming generation are terrific, and I think they could do a better job than I!
BR: What are some highlights of your career after you left Mattel?
TM: I left Mattel to work for LJN Toys in New York. I ended up being VP in charge of design for the whole product line. We moved the design department back to California, and I hired Mark back to work for me. That was a great experience.
After that, Universal pictures bought out LJN. Later Mark again got hired as VP of Design for Playmates Toys. He then asked me to come work for him on the TMNT line where I designed a bunch of stuff, as you can see just a bit on my website. That was fun too!
I am still designing for other toy companies, and still enjoy it.
BR: Can you talk a bit about your jazz guitar playing? Is there any way for interested people to listen to your music?
TM: I have been playing jazz guitar since I was 13 years old. I practice two hours every day. I am now 75, so that’s a lot of hours!!! I have become good enough to play with some of the top jazz musicians in LA, I am very lucky.
Just like music, drawing and illustrating, practice makes perfect. I am still practicing and improving in both areas. You can hear some of my stuff on my website and there is some on Youtube I think.
Many thanks to Ted Mayer for taking the time to answer these questions, and for providing the wonderful illustrations and photos of these classic Masters of the Universe designs.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.