— Pictured below are two of Tom Bunk's early GPK Color Roughs that were finished in 1987 with the character for cards 427a Ripped FLETCH and 427b Taped TATE where the shirt color has been changed, the diaper replaced for pants, the background color changed and the tape dispenser design switched along with the character for cards 434a HOLLY Daze and 434b Joyous NOEL where the image is mirror-flipped, the stocking colors changed and the clothing color changed. More information on Bunk can be located within the Artwork Gallery page further above.



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— According to James Warhola's Case Study in dinosuars for cards 425a DENNY Saur and 425b RIP Tile a thumbnail sketch shows the Kid and a note by Warhola that the urine should be 'very green pee'. James would oftentimes meet up with Art Spiegelman, who also lived in New York, to go over concepts in person over food and drink. The character in the boat scenerio, riding the wave of pee, stayed in the scene from start to finish. Spiegelman questioned whether the urine should be green or blue; as the color rough demonstrates, the color blue was chosen and the dinasuar was initially the color green. Spiegelman also noted that one of the buildings should look like a fire hydrant (a canine gag) and the building does take this form for the final artwork. In the end, the dinasuar Kid became a brown and flesh-colored 'reptile' where the tail is not in view and the character's face became cheerful. More information on Warhola can be located within the Artwork Gallery page further above.



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— The GPK Flick It! section artwork on the reverse card backs emulates a flipbook-style effect was completed by artist Richard McGuire. The Puzzle Puke artwork on the back of the cards was completed artist Jay Lynch who finished the written gags, color roughs, and the final artwork assisted by artist and friend Gary Whitney.



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— Pictured below is a John Pound Color Rough and sample for cards 419a MEG-A-Volt and 419b Charged MARGE. Since very few unrevised thumbnail sketches by Pound have been available to the public there are very few changes, if any, that can be found between the tight pencil, color rough and final artwork since they are photocopied and colored and painted over. Also pictured below is the Pencil Art for cards 458a Dental Hy GENE and 458b RUDY Canal; since John Pound uses a scan from the pencil artwork to create the later color rough and final artwork, the pencil art can be seen with the title of the character backwards, and the artwork reversed before the revision. The new title can be seen re-written as 'PULLING TOOTH + SKELETON', whereas the original title was 'PULLING TOOTH, SKELETON'. More information on Pound can be located within the Artwork Gallery page further above.



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— Newcomer Artist James Bennett joined the GPK ranks by completing the artwork for cards 426a Quenching QUINCY and 426b Squirtin' BURTON. Bennett would go on to paint additional artwork for the OS12 set.

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— The same café environment used within the 1986 GPK Poster Set, for poster #1 Drink Garbage Pail Kola, is found within the OS11 cards 422a SHERI Cola and 422b All-Night DINAH—both painted by John Pound picturing the same toilet-drink and contents, tablecloth, booth, window curtain and the girl's clothes and ribbon style. Only the corner of the 'HOUSE SPECIAL' sign is shown in the card background which now reads 'SODAS' instead.




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— According to the Color Rough completed by artist James Warhola the type of Frisbee used for the artwork was in question, the notation — a 'razor sharp / maybe sawblade or just (a) regular Frisbee?' can be seen on the artwork as feedback from Topps. A normal Frisbee was chosen in the end, pretty much the same type as the color rough and the Kid's clothing changed a bit with a 'GPK' acronym added to the baseball cap. The nomenclature for cards 437a Sliced BRAD and 437b Dead LEE was used as suggested by the artist. More information on Warhola can be located within the Artwork Gallery page further above.



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— This would be the only GPK release where the Uncut Sheet format was changed from a more archaic Topps set layout of 88 x 176 (8 columns x 11 rows) for the first production run to the regular 132 x 264 sheet (11 columns x 12 rows) for the second production run. Thanks to Lonnie Cummins for the additional information on the uncut sheet variations.



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— GPK Flowcharts were created for the later sets which showed the art director how the progress of the new set was going. It displayed what artist was working on which concept piece and the stage in which the painting had been completed. Oftentimes, concept pieces were denied and the department tried to work them into later sets. A list of additional concept pieces was located at the bottom of the flowchart in case pieces could not be used. The OS11 set contained the following ideas which either replaced denied concept pieces within the set, were saved for a later series or never saw the light of day: bagpipe (OS15), justice and scales, Nancy Reagan, kid as mop (Trash Can Trolls), VCR (OS15), mace steele head (OS11), hand puppet pet (OS15), flexing muscle - head as muscle (unpublished Bill Wray concept), Jack-in-the-box assassin.