Artist Spotlight: The Art, Partnership and Passion of Stef Wilson, Kerry Anne & Bad Kerry Studios

For comic book fans and collectors, few artistic styles are as instantly recognizable as the bold, expressive pin-up illustrations of Bad Kerry Studios. Behind that signature look is artist Stef Wilson, whose dynamic pencils, combined with the vibrant coloring and creative vision of Kerry Anne, have helped establish one of the most distinctive brands in modern comic book cover art. Together they have produced hundreds of published covers, original art books, calendars, and exclusive collectibles while building a loyal fanbase that appreciates both their unmistakable style and their commitment to independent creativity. In this exclusive interview, Serpentor’s Lair sits down with Stef and Kerry Anne to discuss their artistic journey, creative partnership, comic book career, the evolution of Bad Kerry Studios, and the philosophy that continues to drive their success.

1 – For the readers discovering your work for the first time, how would you describe your artistic style?

Obviously pin-up. I like to think I have an easy fun style – exaggerating shapes, gestures, poses and expressions to tell a quick little story. I have been told so many times that my work is unique. I’m proudest of that. – that people can look at a work and know it’s mine. It’s not easy to create a unique look among so many many talented artists in comics.

2 – What first inspired you to pursue art professionally and which artist, comics, films or other influences helped shape your work?

Kerry Anne pushed me into it – as she always does. She’s the dreamer. I’m more of a stick in the mud kinda person. My mom encouraged art when I was young. Patrick Nagel made a huge impression on me with his work. Heavy metal Magazine was also an inspiration. I learned to draw pin-up from Elias Chadzoudis’ art books – I told him that when we became friends – he’s such an amazing person.

3 – Can you walk us through your creative process, from the first idea or sketch to the completed process?

Having drawn thousands of images – no exaggeration, there are over 5000 works on my instagram profile. My process has become very simple. I think of an image and I just draw it. I’m not trying to be glib about it. I think what I’m trying to say is – I’ve drawn so much that the “how to” or “how to make it look right” is just part of me now. I lay out the figure or pose or expression as I go, maybe changing or tweaking a bit. Then it’s right for hard lines for Kerry Anne to work her digital inking and coloring magic – or pencil shading and coloring.

It’s really about scale. About 8 or so 40+ page art books in a year, plus all the comic covers, calendars, commissions, original art conventions.

My advice to artists is to always draw a LOT – more than you think. Then what/how you draw becomes fluid from thoughts to paper.

4 – Your art work often features expressive characters, dynamic poses, and strong personalities. What elements are most important to you when creating a successful illustration?

This goes back to a previous question in a way. A successful illustration “looks right”. The pose/expression should FEEL right – otherwise there is an awkwardness to it.

For example some artists find hands challenging. I always say if you want to draw a hand correctly – don’t try to draw “how it should look” – draw what the hand is DOING. FEEL what the gesture/expression/pose feels like in your mind before putting it on paper. Then the image will look “right”.

So a successful illustration is one that is composed thoughtfully. A character’s pose or expression or gesture feels natural and connected to the other elements of the work.

Remember to think about what action the hand is doing – visualize it – and it will come out right. Now apply that to the entire work.

5 – How did you begin working professionally in comic book cover art and what do you remember about seeing your first published cover?

Back when I was drawing fan art someone reached out to me about “doing a cover”. I turned them down – saying “I don’t do sketch covers”. (since I didn’t do them back then) The guy messaged me back saying “I’m looking for a cover for a comic”. I think I freaked out quite a bit. I wasn’t trying to get into comics. I didn’t think I was good enough, so it was a shock.

6 – Is there one published cover, commission, or original artwork that represents an important milestone in your career?

Kerry Anne and I did an homage of Simon Bisley’s “Snow Leopard” painting – our style take on his theme. When we brought a copy to his table at a convention for a signature – he asked if he could have a copy to put in his studio. He liked how in our style, it really was a tribute to his original work. Having grown up with Simon’s Heavy Metal artwork – this was a big honor.

7 – How did your creative partnership with Kerry Anne begin and when did you realize that your artistic styles worked especially well together?

Actually that question works better reversed. I was submitting pencils to publishers at first. So Kerry Anne bought an IPAD so she could digitally ink and clean up my submissions.

A bunch of different people were assigned to color my work back then. Some did a great job
and others probably struggled with my unique style elements.

Kerry Anne saw how frustrated I was that some colorists didn’t “understand” my work.

You have to understand that Kerry Anne fears no obstacles or challenges. Since I was often unhappy with how my work was being finished for publishing – she taught herself how to digitally color.

It’s wild. It took her like a month to learn. And she’s practicing. Then Vince Henandez over at Aspen needed a cover for a project. But he was like – I need it Monday

Kerry Anne saw how frustrated I was that some colorists didn’t understand my work – here it was Saturday. Kerry and I always say “never say no”. So I say no problem. He says – I need a finished file. So I send some of Kerry’s practice images to him and say if he has her color it he can have it Monday. Vince said “let’s do it”. That was our first published cover together.

The reason that Kerry and I work so well together is that she always understood what I was doing with pencils – and she could brainstorm it through digital color, enhance it, and bring it to life.

One day about a year later a publisher I had been working with for a while wanted to assign my work to another colorist. I said no, I want Kerry Anne to color my work on this cover. He pushed back;

This was our first “Ah-ha” moment. This was where Kerry Anne and I decided that our work was our brand. It was what our fans were asking for and how we wanted our work to look when published.

8 – What does Kerry Anne bring to your artwork through her coloring, inking, and creative interpretation?

Kerry Anne brings a dynamic “Pop!” to my art work – using her talent to enhance and bring energy to any work she does. Her style has created the unique look of our brand. I have always been a big fan of pop culture art – say Lichenstein or Haring – and Kerry Anne brings that BAM factor to our images. She has always given her own interpretation to my work – and that’s what makes it stand out.

A special thank you to Stef Wilson and Kerry Anne of Bad Kerry Studios for taking the time to share their creative journey with Serpentor’s Lair. Their passion for storytelling through illustration, dedication to their fans, and commitment to producing artwork entirely on their own terms are inspiring reminders of what independent creators can accomplish. Whether through breathtaking comic book covers, stunning pin-up collections, or ambitious original projects, Bad Kerry Studios continues to push its artistic vision forward. We encourage everyone to visit their website, follow their social media channels, and keep an eye on their upcoming releases—you won’t want to miss what’s coming next.

Follow and support Stef Wilson and Kerry Anne at the links below!

WEBSITE: BAD KERRY STUDIOS

INSTAGRAM: @thestefwilson

FACEBOOK: Stef Wilson

FACEBOOK: FANS OF STEF WILSON