Schenck's art is widely recognized for its strong themes and rigorous structure applied to fantastic subjects that is reminiscent of the work of members of the Pre-Raphaelite Brotherhood.
His early work displays Schenck's strong sense of scene composition, dramatic shading, and effective use of line weight.
During this time, his pieces often presented moody scenes of stylized Celts in dramatic landscapes, as opposed to his earlier compositions of fairly conventionalized high fantasy motifs.
[1] A major commercial project for Schenck in the mid-1980s was the layout, design, and art of the songbook Cold Iron, in which Leslie Fish sets Rudyard Kipling's poems to music.
His involvement with the gaming community became very deep very quickly, and is displayed in various ways, including his Emily Patella comic for the New Zork Times of Spring 1989.
The IBM-PC's CGA graphics were significantly less sophisticated, yet Brad managed to create stunning images for this system for the game Mind-Roll by Epyx.
His harps were known for their excellent sound and beautiful decoration, but Schenck decided to leave the business as too much of the work was rote manufacturing that did not allow him to express himself artistically as much as he hoped to do.
He won the contest for three years running, obtaining better hardware with which to work as well as opportunities to apply his art to computer games for a number of different developers.
The game was published by Electronic Arts and received moderate success, though it earned little revenue for the partners of Terra Nova Development.
It is considered a classic today, both for its story line and for Schenck's art, and has been ported to current systems and re-released by Wyrmkeep Entertainment.
Schenck has gone on to do further computer graphics work, including Star Trek: Starfleet Command III, Halls of the Dead: Faery Tale Adventure II, Dinotopia, I Have No Mouth, and I Must Scream, Return to Zork and Spirit of Excalibur.