Here we see the Wizard: An Interview with Lorenzo Sperlonga
It's hard to believe that Heavy Metal is almost 50 years old. When you look at the magazine’s history in the fullness of time, distinct eras emerge. Back in 1999, Lorenzo Sperlonga created his first cover for Heavy Metal and his presence became a mainstay in the magazine during the Eastman era. Lorenzo is an artist who not only paints with technical precision but does so with the unapologetic swagger of a pulp warlock. With a brush dipped in sex, guns, and surrealism, his contributions helped define the visual DNA of this magazine. So when we relaunched Heavy Metal, Lorenzo didn’t just cheer from the sidelines—he stood up in the magazine’s fan community, waved his flag high, and made it clear: this world is better with a little more skin, style, and chaos in it.
We caught up with Lorenzo to talk about everything from his wild Roman beginnings and brushes with fly-by-night porn publishers, to the rich legacy of Heavy Metal, and what it really means to be an artist in a time of algorithms. Come and get your medicine.
HM: You've been blending pin-up and fantasy art for decades—what first drew you to this intersection of glamour, fetish, pulp, and fantasy?
LS: Honestly, I’ve always loved both sides of it—the bold, over-the-top energy of fantasy and the playful, stylish vibe of classic pin-up art. And then, of course, I adapted that mix to what publishers were asking for. Before Heavy Metal, I was doing comic magazine covers in Italy, and the combo of hot girls and big weapons was basically a guaranteed win. These were weekly publications, so I had to crank out three or four covers a month—no time to overthink, just go with what worked!
There’s something really fun about taking a glamorous character and dropping them into a wild, fantasy setup. For me, the line between pin-up and fantasy was always blurred—they just naturally lived in the same space.
And yeah, still in Italy, in the early '90s, I worked for another publisher that was basically putting out porn comics! My job was to make the covers edgy and appealing—which, considering the loose censorship at the time, meant I didn’t really have to hold back on the naughtiness. It was wild, but it gave me a lot of freedom to draw and paint what I wanted.
HM: Your work captures provocative, iconic femininity with incredible technique. How did your early experiences in Rome and your move to Los Angeles shape your artistic voice?
LS: When I moved to L.A. in 1997, I had 400 bucks in my pocket and a suitcase full of brushes and pencils. I was actually pretty busy back in Rome, but the paychecks weren’t exactly amazing. Eventually, I just decided it was time to go where I knew there was a real market—and a better shot at making a living with my art. By then, I had built up a decent portfolio, so I started knocking on the doors of any publisher I thought might be into what I was doing.
HM: You’ve stayed committed to traditional mediums like acrylics, watercolors, and pencil—even occasionally oils—when so many others have gone digital. What keeps you rooted in those techniques?
LS: At 18, I jumped straight into a small advertising agency in Rome and learned the tricks of the trade the old-school way—and I mean really old-school. This was before computer design was even a thing. Yes, I’m that old! Everything was done by hand—gouache, inks, rulers, X-Acto knives—and even the lettering was done with those rub-on Letraset sheets that never lined up quite right. Then one day, someone rolled in a computer with the very first version of Photoshop, and we all just stood around it like it was a spaceship. Fascinating... and also kind of terrifying.
But by that time, I already knew I wanted to be an illustrator, and honestly, I couldn’t have imagined digital art ever reaching the level it has today. Still, sticking with traditional techniques ended up being a great move. Most of my business now actually comes from selling original pieces—which you just don’t get with digital. I mean, digital art is beautiful, but there’s something special about holding a one-of-a-kind painting in your hands. Plus, it smells like paint and not pixels!
HM: Over the years you’ve painted for publications like Hustler, Playboy, Penthouse, and of course Heavy Metal. How do you approach adapting your style for each of those platforms?
LS: Penthouse and Playboy were very short experiences back in Italy.
In Los Angeles, as the early 2000s came around, I started contributing to Hustler magazine and other Larry Flynt publications, painting whatever would help me make ends meet: from sultry ladies for articles to poking fun at society and politics.Then in 2006 I pitched an idea to the editorial director of Hustler.
Inspired by the classic pin-up art of Playboy, I suggested we dedicate a page in the magazine to showcase a monthly pin-up, but with a twist: something bolder. Basically, "naughtier"!
HM: You’ve been a top-selling cover artist for Heavy Metal since 1999—what does that legacy mean to you, and how has your relationship with the magazine evolved over time?
LS: HEAVY METAL was the ride of a lifetime—two decades of pure joy, chaos, and creative freedom. I still remember the first time I met Kevin Eastman, the publisher of Heavy Metal (Eastman owned Heavy Metal from January 1992 until January 2014) and co-creator of Teenage Mutant Ninja Turtles. It was summer '95, inside Golden Apple Comics on Melrose in L.A.—I was just visiting at the time, had no idea I’d end up living there. Who knew that random encounter would turn into a wonderful friendship and creative partnership full of wild projects and crazier stories? We still laugh about all the madness from those years.
Kevin saw my portfolio, liked the vibe, and asked me to do a cover for the magazine. That kicked off a long run—I think people might remember the 14 covers I did, but there was a lot more behind the scenes. I also helped lay out books for other artists, like Simon Bisley. That's when my background in graphic design really came in handy—remember, that was my original trade before going full illustrator!
I can say without a doubt that Heavy Metal opened a ton of doors for me—and I like to think I threw in my two cents to help with the magazine’s success along the way. It was definitely a win-win: they gave me a platform, and I gave them my weird, wild, sexy art!
HM: Can you talk about the creative process behind your covers for Lady Death and Hellwitch with Coffin Comics? Those characters seem like a perfect match for your aesthetic.
LS: I absolutely love all the characters Brian Pulido has masterfully created for Coffin Comics—he’s built this wild, ever-growing universe that just keeps getting better every year. The process is pretty straightforward: Brian reaches out about an upcoming issue, I put together a sketch, send it over for approval, and if he gives me the thumbs up, I dive into the final painting. It’s a smooth, fun collaboration—and honestly, it’s always a blast working on those covers.
HM: Creating original photo references with models has been a big part of your creative process, and you often share some fun behind-the-scenes content from those shoots. Tell us a bit about how a photoshoot fits into your workflow.
LS: Honestly, I could think of worse jobs than mine! I’ve had the privilege of working with so many amazing, beautiful models who’ve brought my artwork to life with their poses. Whenever I can, I love to take the photo references myself—photography’s another passion of mine, and it really helps shape the final image. Without these incredible women, it’d be way harder to do what I do. I’ve worked with iconic beauties like Julie Strain, Tera Patrick, Masuimi Max, Veronika Kotlajic, Jenna Jameson, Claire Sinclair… just to name a few. And hey, sometimes you even end up marrying one of them—that’s actually how I met my wife, Tania!
HM: There is a pervasive cultural meme asserting that mainstream entertainment—comics, movies, even games—have pulled back from sexualized depictions of female characters over the last decade. Some say that shift has even touched publications you've worked with, especially when it comes to covers. Have you noticed this trend?
LS: Well... yes and no. If we’re talking specifically about Heavy Metal, then yeah—I did notice a shift about ten years ago where the covers started leaning more toward the 'metaphysical' and less toward the wild, sexy pulp vibe they were known for. Maybe I’m biased, but in my experience, the 'big boobs/big guns' combo has always been a winning formula for a cover! If they ever decide to bring the sexy back, I’ve got my brushes ready—I’d love to paint something special for them again.
I’m not really a gamer, but I have been seeing a lot of new sexy characters popping up lately… or maybe they’re just new to me! The great thing about self-publishing and direct sales is that I don’t have to worry about toning things down if I don’t want to. That’s why platforms like Kickstarter have been such a game-changer—it lets you go all-in on your own vision without worrying about censorship.
HM: Since Heavy Metal’s return, there’s been a lot of debate about AI-generated art. The magazine made the call to bar AI art from print. What’s your take on the rise of AI imagery in the fantasy and pin-up scene, and where do you think it’s headed?
LS: I’m really glad Heavy Metal decided to ban it. I have to laugh when I see people calling themselves 'AI artists' in their Instagram bios. I mean, maybe they’re great prompters—but let’s be real, that’s not the same as being an artist. That said, I’m not blind to where this is going. The ship has sailed, and AI is still in its infancy. In five years, I’m sure it’ll be able to crank out insanely detailed stuff that’ll blow people’s minds. But even then, for me, the words ‘AI’ and ‘art’ just don’t belong in the same sentence. There’s no soul in it. Human imperfections are what make a piece of art unique.
HM: Finally, what are you working on now? Any upcoming projects fans should keep their eyes peeled for?
LS: Over the past couple of years, I’ve self-published and released two new art books—"Muses" and "Femmes Fatales"—along with two brand-new playing card sets, Nymphs and Vamps, which are about to be released. Coming up next, I’ve got my 2026 Pin-Up Art Calendar on the way, and probably a second sketchbook not far behind.
LS: If you want to keep up with what I’m working on—or just enjoy some bold and sexy art—you can check out my official websites, LorenzoArt.com and LorenzoSperlonga.com, or follow me on social media. There’s always something new in the works!
Here we see the Wizard: An Interview with Lorenzo Sperlonga
It's hard to believe that Heavy Metal is almost 50 years old. When you look at the magazine’s history in the fullness of time, distinct eras emerge. Back in 1999, Lorenzo Sperlonga created his first cover for Heavy Metal and his presence became a mainstay in the magazine during the Eastman era. Lorenzo is an artist who not only paints with technical precision but does so with the unapologetic swagger of a pulp warlock. With a brush dipped in sex, guns, and surrealism, his contributions helped define the visual DNA of this magazine. So when we relaunched Heavy Metal, Lorenzo didn’t just cheer from the sidelines—he stood up in the magazine’s fan community, waved his flag high, and made it clear: this world is better with a little more skin, style, and chaos in it.
We caught up with Lorenzo to talk about everything from his wild Roman beginnings and brushes with fly-by-night porn publishers, to the rich legacy of Heavy Metal, and what it really means to be an artist in a time of algorithms. Come and get your medicine.
HM: You've been blending pin-up and fantasy art for decades—what first drew you to this intersection of glamour, fetish, pulp, and fantasy?
LS: Honestly, I’ve always loved both sides of it—the bold, over-the-top energy of fantasy and the playful, stylish vibe of classic pin-up art. And then, of course, I adapted that mix to what publishers were asking for. Before Heavy Metal, I was doing comic magazine covers in Italy, and the combo of hot girls and big weapons was basically a guaranteed win. These were weekly publications, so I had to crank out three or four covers a month—no time to overthink, just go with what worked!
There’s something really fun about taking a glamorous character and dropping them into a wild, fantasy setup. For me, the line between pin-up and fantasy was always blurred—they just naturally lived in the same space.
And yeah, still in Italy, in the early '90s, I worked for another publisher that was basically putting out porn comics! My job was to make the covers edgy and appealing—which, considering the loose censorship at the time, meant I didn’t really have to hold back on the naughtiness. It was wild, but it gave me a lot of freedom to draw and paint what I wanted.
HM: Your work captures provocative, iconic femininity with incredible technique. How did your early experiences in Rome and your move to Los Angeles shape your artistic voice?
LS: When I moved to L.A. in 1997, I had 400 bucks in my pocket and a suitcase full of brushes and pencils. I was actually pretty busy back in Rome, but the paychecks weren’t exactly amazing. Eventually, I just decided it was time to go where I knew there was a real market—and a better shot at making a living with my art. By then, I had built up a decent portfolio, so I started knocking on the doors of any publisher I thought might be into what I was doing.
HM: You’ve stayed committed to traditional mediums like acrylics, watercolors, and pencil—even occasionally oils—when so many others have gone digital. What keeps you rooted in those techniques?
LS: At 18, I jumped straight into a small advertising agency in Rome and learned the tricks of the trade the old-school way—and I mean really old-school. This was before computer design was even a thing. Yes, I’m that old! Everything was done by hand—gouache, inks, rulers, X-Acto knives—and even the lettering was done with those rub-on Letraset sheets that never lined up quite right. Then one day, someone rolled in a computer with the very first version of Photoshop, and we all just stood around it like it was a spaceship. Fascinating... and also kind of terrifying.
But by that time, I already knew I wanted to be an illustrator, and honestly, I couldn’t have imagined digital art ever reaching the level it has today. Still, sticking with traditional techniques ended up being a great move. Most of my business now actually comes from selling original pieces—which you just don’t get with digital. I mean, digital art is beautiful, but there’s something special about holding a one-of-a-kind painting in your hands. Plus, it smells like paint and not pixels!
HM: Over the years you’ve painted for publications like Hustler, Playboy, Penthouse, and of course Heavy Metal. How do you approach adapting your style for each of those platforms?
LS: Penthouse and Playboy were very short experiences back in Italy.
In Los Angeles, as the early 2000s came around, I started contributing to Hustler magazine and other Larry Flynt publications, painting whatever would help me make ends meet: from sultry ladies for articles to poking fun at society and politics.Then in 2006 I pitched an idea to the editorial director of Hustler.
Inspired by the classic pin-up art of Playboy, I suggested we dedicate a page in the magazine to showcase a monthly pin-up, but with a twist: something bolder. Basically, "naughtier"!
HM: You’ve been a top-selling cover artist for Heavy Metal since 1999—what does that legacy mean to you, and how has your relationship with the magazine evolved over time?
LS: HEAVY METAL was the ride of a lifetime—two decades of pure joy, chaos, and creative freedom. I still remember the first time I met Kevin Eastman, the publisher of Heavy Metal (Eastman owned Heavy Metal from January 1992 until January 2014) and co-creator of Teenage Mutant Ninja Turtles. It was summer '95, inside Golden Apple Comics on Melrose in L.A.—I was just visiting at the time, had no idea I’d end up living there. Who knew that random encounter would turn into a wonderful friendship and creative partnership full of wild projects and crazier stories? We still laugh about all the madness from those years.
Kevin saw my portfolio, liked the vibe, and asked me to do a cover for the magazine. That kicked off a long run—I think people might remember the 14 covers I did, but there was a lot more behind the scenes. I also helped lay out books for other artists, like Simon Bisley. That's when my background in graphic design really came in handy—remember, that was my original trade before going full illustrator!
I can say without a doubt that Heavy Metal opened a ton of doors for me—and I like to think I threw in my two cents to help with the magazine’s success along the way. It was definitely a win-win: they gave me a platform, and I gave them my weird, wild, sexy art!
HM: Can you talk about the creative process behind your covers for Lady Death and Hellwitch with Coffin Comics? Those characters seem like a perfect match for your aesthetic.
LS: I absolutely love all the characters Brian Pulido has masterfully created for Coffin Comics—he’s built this wild, ever-growing universe that just keeps getting better every year. The process is pretty straightforward: Brian reaches out about an upcoming issue, I put together a sketch, send it over for approval, and if he gives me the thumbs up, I dive into the final painting. It’s a smooth, fun collaboration—and honestly, it’s always a blast working on those covers.
HM: Creating original photo references with models has been a big part of your creative process, and you often share some fun behind-the-scenes content from those shoots. Tell us a bit about how a photoshoot fits into your workflow.
LS: Honestly, I could think of worse jobs than mine! I’ve had the privilege of working with so many amazing, beautiful models who’ve brought my artwork to life with their poses. Whenever I can, I love to take the photo references myself—photography’s another passion of mine, and it really helps shape the final image. Without these incredible women, it’d be way harder to do what I do. I’ve worked with iconic beauties like Julie Strain, Tera Patrick, Masuimi Max, Veronika Kotlajic, Jenna Jameson, Claire Sinclair… just to name a few. And hey, sometimes you even end up marrying one of them—that’s actually how I met my wife, Tania!
HM: There is a pervasive cultural meme asserting that mainstream entertainment—comics, movies, even games—have pulled back from sexualized depictions of female characters over the last decade. Some say that shift has even touched publications you've worked with, especially when it comes to covers. Have you noticed this trend?
LS: Well... yes and no. If we’re talking specifically about Heavy Metal, then yeah—I did notice a shift about ten years ago where the covers started leaning more toward the 'metaphysical' and less toward the wild, sexy pulp vibe they were known for. Maybe I’m biased, but in my experience, the 'big boobs/big guns' combo has always been a winning formula for a cover! If they ever decide to bring the sexy back, I’ve got my brushes ready—I’d love to paint something special for them again.
I’m not really a gamer, but I have been seeing a lot of new sexy characters popping up lately… or maybe they’re just new to me! The great thing about self-publishing and direct sales is that I don’t have to worry about toning things down if I don’t want to. That’s why platforms like Kickstarter have been such a game-changer—it lets you go all-in on your own vision without worrying about censorship.
HM: Since Heavy Metal’s return, there’s been a lot of debate about AI-generated art. The magazine made the call to bar AI art from print. What’s your take on the rise of AI imagery in the fantasy and pin-up scene, and where do you think it’s headed?
LS: I’m really glad Heavy Metal decided to ban it. I have to laugh when I see people calling themselves 'AI artists' in their Instagram bios. I mean, maybe they’re great prompters—but let’s be real, that’s not the same as being an artist. That said, I’m not blind to where this is going. The ship has sailed, and AI is still in its infancy. In five years, I’m sure it’ll be able to crank out insanely detailed stuff that’ll blow people’s minds. But even then, for me, the words ‘AI’ and ‘art’ just don’t belong in the same sentence. There’s no soul in it. Human imperfections are what make a piece of art unique.
HM: Finally, what are you working on now? Any upcoming projects fans should keep their eyes peeled for?
LS: Over the past couple of years, I’ve self-published and released two new art books—"Muses" and "Femmes Fatales"—along with two brand-new playing card sets, Nymphs and Vamps, which are about to be released. Coming up next, I’ve got my 2026 Pin-Up Art Calendar on the way, and probably a second sketchbook not far behind.
LS: If you want to keep up with what I’m working on—or just enjoy some bold and sexy art—you can check out my official websites, LorenzoArt.com and LorenzoSperlonga.com, or follow me on social media. There’s always something new in the works!
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It's hard to believe that Heavy Metal is almost 50 years old. When you look at the magazine’s history in the fullness of time, distinct eras emerge. Back in 1999, Lorenzo Sperlonga created his first cover for Heavy Metal and his presence became a mainstay in the magazine during the Eastman era. Lorenzo is an artist who not only paints with technical precision but does so with the unapologetic swagger of a pulp warlock. With a brush dipped in sex, guns, and surrealism, his contributions helped define the visual DNA of this magazine. So when we relaunched Heavy Metal, Lorenzo didn’t just cheer from the sidelines—he stood up in the magazine’s fan community, waved his flag high, and made it clear: this world is better with a little more skin, style, and chaos in it.
We caught up with Lorenzo to talk about everything from his wild Roman beginnings and brushes with fly-by-night porn publishers, to the rich legacy of Heavy Metal, and what it really means to be an artist in a time of algorithms. Come and get your medicine.
HM: You've been blending pin-up and fantasy art for decades—what first drew you to this intersection of glamour, fetish, pulp, and fantasy?
LS: Honestly, I’ve always loved both sides of it—the bold, over-the-top energy of fantasy and the playful, stylish vibe of classic pin-up art. And then, of course, I adapted that mix to what publishers were asking for. Before Heavy Metal, I was doing comic magazine covers in Italy, and the combo of hot girls and big weapons was basically a guaranteed win. These were weekly publications, so I had to crank out three or four covers a month—no time to overthink, just go with what worked!
There’s something really fun about taking a glamorous character and dropping them into a wild, fantasy setup. For me, the line between pin-up and fantasy was always blurred—they just naturally lived in the same space.
And yeah, still in Italy, in the early '90s, I worked for another publisher that was basically putting out porn comics! My job was to make the covers edgy and appealing—which, considering the loose censorship at the time, meant I didn’t really have to hold back on the naughtiness. It was wild, but it gave me a lot of freedom to draw and paint what I wanted.
HM: Your work captures provocative, iconic femininity with incredible technique. How did your early experiences in Rome and your move to Los Angeles shape your artistic voice?
LS: When I moved to L.A. in 1997, I had 400 bucks in my pocket and a suitcase full of brushes and pencils. I was actually pretty busy back in Rome, but the paychecks weren’t exactly amazing. Eventually, I just decided it was time to go where I knew there was a real market—and a better shot at making a living with my art. By then, I had built up a decent portfolio, so I started knocking on the doors of any publisher I thought might be into what I was doing.
HM: You’ve stayed committed to traditional mediums like acrylics, watercolors, and pencil—even occasionally oils—when so many others have gone digital. What keeps you rooted in those techniques?
LS: At 18, I jumped straight into a small advertising agency in Rome and learned the tricks of the trade the old-school way—and I mean really old-school. This was before computer design was even a thing. Yes, I’m that old! Everything was done by hand—gouache, inks, rulers, X-Acto knives—and even the lettering was done with those rub-on Letraset sheets that never lined up quite right. Then one day, someone rolled in a computer with the very first version of Photoshop, and we all just stood around it like it was a spaceship. Fascinating... and also kind of terrifying.
But by that time, I already knew I wanted to be an illustrator, and honestly, I couldn’t have imagined digital art ever reaching the level it has today. Still, sticking with traditional techniques ended up being a great move. Most of my business now actually comes from selling original pieces—which you just don’t get with digital. I mean, digital art is beautiful, but there’s something special about holding a one-of-a-kind painting in your hands. Plus, it smells like paint and not pixels!
HM: Over the years you’ve painted for publications like Hustler, Playboy, Penthouse, and of course Heavy Metal. How do you approach adapting your style for each of those platforms?
LS: Penthouse and Playboy were very short experiences back in Italy.
In Los Angeles, as the early 2000s came around, I started contributing to Hustler magazine and other Larry Flynt publications, painting whatever would help me make ends meet: from sultry ladies for articles to poking fun at society and politics.Then in 2006 I pitched an idea to the editorial director of Hustler.
Inspired by the classic pin-up art of Playboy, I suggested we dedicate a page in the magazine to showcase a monthly pin-up, but with a twist: something bolder. Basically, "naughtier"!
HM: You’ve been a top-selling cover artist for Heavy Metal since 1999—what does that legacy mean to you, and how has your relationship with the magazine evolved over time?
LS: HEAVY METAL was the ride of a lifetime—two decades of pure joy, chaos, and creative freedom. I still remember the first time I met Kevin Eastman, the publisher of Heavy Metal (Eastman owned Heavy Metal from January 1992 until January 2014) and co-creator of Teenage Mutant Ninja Turtles. It was summer '95, inside Golden Apple Comics on Melrose in L.A.—I was just visiting at the time, had no idea I’d end up living there. Who knew that random encounter would turn into a wonderful friendship and creative partnership full of wild projects and crazier stories? We still laugh about all the madness from those years.
Kevin saw my portfolio, liked the vibe, and asked me to do a cover for the magazine. That kicked off a long run—I think people might remember the 14 covers I did, but there was a lot more behind the scenes. I also helped lay out books for other artists, like Simon Bisley. That's when my background in graphic design really came in handy—remember, that was my original trade before going full illustrator!
I can say without a doubt that Heavy Metal opened a ton of doors for me—and I like to think I threw in my two cents to help with the magazine’s success along the way. It was definitely a win-win: they gave me a platform, and I gave them my weird, wild, sexy art!
HM: Can you talk about the creative process behind your covers for Lady Death and Hellwitch with Coffin Comics? Those characters seem like a perfect match for your aesthetic.
LS: I absolutely love all the characters Brian Pulido has masterfully created for Coffin Comics—he’s built this wild, ever-growing universe that just keeps getting better every year. The process is pretty straightforward: Brian reaches out about an upcoming issue, I put together a sketch, send it over for approval, and if he gives me the thumbs up, I dive into the final painting. It’s a smooth, fun collaboration—and honestly, it’s always a blast working on those covers.
HM: Creating original photo references with models has been a big part of your creative process, and you often share some fun behind-the-scenes content from those shoots. Tell us a bit about how a photoshoot fits into your workflow.
LS: Honestly, I could think of worse jobs than mine! I’ve had the privilege of working with so many amazing, beautiful models who’ve brought my artwork to life with their poses. Whenever I can, I love to take the photo references myself—photography’s another passion of mine, and it really helps shape the final image. Without these incredible women, it’d be way harder to do what I do. I’ve worked with iconic beauties like Julie Strain, Tera Patrick, Masuimi Max, Veronika Kotlajic, Jenna Jameson, Claire Sinclair… just to name a few. And hey, sometimes you even end up marrying one of them—that’s actually how I met my wife, Tania!
HM: There is a pervasive cultural meme asserting that mainstream entertainment—comics, movies, even games—have pulled back from sexualized depictions of female characters over the last decade. Some say that shift has even touched publications you've worked with, especially when it comes to covers. Have you noticed this trend?
LS: Well... yes and no. If we’re talking specifically about Heavy Metal, then yeah—I did notice a shift about ten years ago where the covers started leaning more toward the 'metaphysical' and less toward the wild, sexy pulp vibe they were known for. Maybe I’m biased, but in my experience, the 'big boobs/big guns' combo has always been a winning formula for a cover! If they ever decide to bring the sexy back, I’ve got my brushes ready—I’d love to paint something special for them again.
I’m not really a gamer, but I have been seeing a lot of new sexy characters popping up lately… or maybe they’re just new to me! The great thing about self-publishing and direct sales is that I don’t have to worry about toning things down if I don’t want to. That’s why platforms like Kickstarter have been such a game-changer—it lets you go all-in on your own vision without worrying about censorship.
HM: Since Heavy Metal’s return, there’s been a lot of debate about AI-generated art. The magazine made the call to bar AI art from print. What’s your take on the rise of AI imagery in the fantasy and pin-up scene, and where do you think it’s headed?
LS: I’m really glad Heavy Metal decided to ban it. I have to laugh when I see people calling themselves 'AI artists' in their Instagram bios. I mean, maybe they’re great prompters—but let’s be real, that’s not the same as being an artist. That said, I’m not blind to where this is going. The ship has sailed, and AI is still in its infancy. In five years, I’m sure it’ll be able to crank out insanely detailed stuff that’ll blow people’s minds. But even then, for me, the words ‘AI’ and ‘art’ just don’t belong in the same sentence. There’s no soul in it. Human imperfections are what make a piece of art unique.
HM: Finally, what are you working on now? Any upcoming projects fans should keep their eyes peeled for?
LS: Over the past couple of years, I’ve self-published and released two new art books—"Muses" and "Femmes Fatales"—along with two brand-new playing card sets, Nymphs and Vamps, which are about to be released. Coming up next, I’ve got my 2026 Pin-Up Art Calendar on the way, and probably a second sketchbook not far behind.
LS: If you want to keep up with what I’m working on—or just enjoy some bold and sexy art—you can check out my official websites, LorenzoArt.com and LorenzoSperlonga.com, or follow me on social media. There’s always something new in the works!
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