Science Fiction and Fantasy Artists of the Twentieth Century: A Biographical Dictionary
Author: Jane Frank
Date: 2009-01-01 05:00:00+00:00
Keywords: Art; General; Literary Criticism; Reference; Dictionaries
Description: This biographical dictionary presents information on 400 artists whose influence and illustrative contributions to the fields of science fiction and fantasy literature helped define the 20th century as the "Science Fiction Century" and helped established science fiction and fantasy as unique and identifiable genres. In addition to providing basic, inclusive biographical data on venerable artists from Chris Achilleos to John Michael Zeleznik, each entry also includes a bibliographic listing of each artist's published work in the genre. Designed as a comprehensive, up-to-date reference guide for
Publisher: McFarland

Science Fiction and

Fantasy Artists of the

Twentieth Century

Science Fiction and

Fantasy Artists of the

Twentieth Century

A Biographical Dictionary

JANE FRANK

McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London

LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Frank, Jane, 1942–

Science fiction and fantasy artists of the twentieth century : a biographical dictionary / Jane Frank.

p.

cm.

Includes bibliographical references and index.

ISBN 978-0-7864-3423-7
illustrated case binding : 50# alkaline paper

¡. Science fiction illustrators — Biography — Dictionaries.

2. Art, Modern — 20th century — Dictionaries.

I. Title.

NC961.6F73

2009

700'.415 — dc22

2008041727

British Library cataloguing data are available

©2009 Jane Frank. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher.

Cover art by Robert Fuqua, from the cover of the April 1939

Amazing Stories (Wood River Gallery) Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 6¡¡, Je›erson, North Carolina 28640
www.mcfarlandpub.com

For Howard,
my loving partner in passion for the genre, and for all the other enthusiasts
and collectors of science fiction and fantasy art who came before me and will surely follow after.

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Table of Contents

Preface

1

How to Use This Book

5

Abbreviations

9

PART I. A CENTURY OF SCIENCE FICTION ART

11

Historical Overview, to About 1975

(by Robert Weinberg)

13

Historical Overview, from the 1970s to 2000

(by Jane Frank)

35

PART II. THE BIOGRAPHIES

69

PART III. APPENDICES: ART AWARDS

497

1. The Hugo Awards

499

2. The World Fantasy Awards

501

3. The Chesleys

502

4. The British Science Fiction Association Awards 506

5. The British Fantasy Awards

507

Index

509
vii

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Preface

This book had an excellent predecessor in thus provided the inspiration and model, but it Robert Weinberg’s pioneering Biographical Dic-was time and retrospection that triggered the tionary of Science Fiction and Fantasy Artists, need to refine and expand his good work: a published in 1988. Weinberg is a world author-challenge this writer could not refuse.

ity on classic science fiction, fantasy and horror, No book of this nature can ever be coma rare art and book dealer and collector, and plete; nevertheless best efforts were made to in-author of fiction and nonfiction books in the clude all the major American and British artists genre. His keen sense of history, knowledge-of the twentieth century, as well as many inter-ability, and love of the field brought needed at-national and lesser known artists. Size and time tention to a long neglected area of scholarship.

limitations made it impossible to include every Yet by the turn of the millennium it had already artist who has ever done any work in science become clear there would not only need to be fiction. Further, the global popularity of sci-another edition, but a different one. Why?

ence fiction literature and imagery in the last

“The twentieth century was the Science quarter of the century guarantees that a num-Fiction Century,” to quote Charles N. Brown, ber of deserving artists may have been inadver-publisher. “Science fiction affected everything, tently omitted. For the purposes of this book, and we now live in a science fiction world,” he artists considered to be belong more properly wrote in Locus in 2002. “It won’t be quite the to the nineteenth century were dropped. The same in the 21st century. Science fiction will be same considerations were brought to bear when just as important, but things will probably be judging whether to include artists entering the different.” Brown, and others, when speaking of field close to the end of the twentieth century; such things, are speaking in terms of book pub-those artists whose contributions could not yet lishing and the ways ideas are disseminated. In be honestly assessed, or whose styles or art ca-their view, the last century was, for authors and reers suggested they would more properly be-editors, science fiction’s period of greatest long to the twenty-first century, were similarly growth. This is just as true for science fiction art excluded. It is hoped this dictionary will serve and artists, who have been inextricably associas the catalyst for future separate projects deal-ated with illustrating all things literary. The last ing with those, and possibly other, historical quarter of the twentieth century brought ex-time frames.

plosive growth and opportunity to artists in the The basic criteria used to select artists were field, as well as bringing massive changes and

“importance to the field, influence in the field, dislocation, to such an extent that we can say of amount of work done in the field, and histor-the genre “[Art] won’t be quite the same in the ical importance.” To confirm the validity of twenty-first century. Science fiction art and choices made, a working list of artists was pre-artists will be just as important, but things will pared and circulated among several respected certainly be different.” Weinberg’s seminal book science fiction historians, artists and collectors.

1

Preface

2

The basic list consisted of all those twentieth an illustrator who was working in an earlier pe-century artists appearing in Weinberg’s volume riod; but in others additional information was plus those to be added. After further research required. From missing or incorrect birth or and feedback the list was refined and revised, death dates, or both, to misspellings of artists’

with a view towards being as inclusive as space names, wherever feasible, entries have been cor-would allow. By and large, mainstream illustra-rected. All artists’ entries were checked for factors who worked in a fantastic vein but had not tual accuracy and then revised and expanded, as ever illustrated science fiction were not in-needed, to bring them up to date.

cluded. The same judgment also applies to Living artists or their official websites or children’s illustration and fantasy artists work-both, were used as primary sources for bio-ing in the twentieth century whose names are graphic and bibliographic information. In lieu primarily associated with children’s literature, of that, their families, relatives, friends, agents, such as Arthur Rackham. No artist was granted or estates were contacted. Several online data-an entry based on his own statements of wor-bases were also accessed to augment, or serve thiness, nor was any artist left out simply be-as secondary sources of artists’ bibliographic in-cause he claimed not to be a “science fiction formation: these include (but were not limited artist,” or did not want to be classified as such, to): The Locus Index to Science Fiction by but whose work has appeared in the field.

Charles N. Brown and William G. Contento; While bibliographic listings are in the The Internet Speculative Fiction Database main confined to genre–specific publications, (hosted by The Cushing Library Science Fiction artists’ entries include pulp artists, whose works and Fantasy Research Collection and Institute were not published in science fiction or fantasy for Scientific Computation at Texas A&M Uni-magazines (but who created as much if not versity); The Visual Index of Science Fiction more science fiction art than many of the peo-Cover art (VISCO) created and maintained by ple normally included in such histories), movie Terry Gibbons (U.K.); Phil Stephensen-Payne, designers, role-playing and video game artists, Galactic Central Publications; AddALL book sculptors, and some important comic and car-search engine for rare and out of print books; toon artists, if the basic criteria were met. Given and, last but not least, the invaluable genealog-that so little information has been available in ical resource, ancestry.com. Additionally, to ex-the past on early science fiction artists, this amine trends and changes to the industry af-writer felt it was important to honor Weinberg’s fecting artists in the last decades of the bias by including lesser artists who worked be-twentieth century, dozens of well-known sci-tween 1930 and 1960, even if it meant leaving ence fiction and fantasy artists were asked to out prolific, rapidly rising young artists in high-participate in an anonymous “state of the in-growth segments of the field (e.g., role-playing dustry” survey undertaken in 2003, and car-and video gaming). I hope that a revised volume ried out via mailed questionnaire. The survey some time in the future will correct such omis-focused on markets, fees, volume and type of assions, and welcome suggestions and corrections signments, income, relationships with clients, to this one.

career changes and so on, of 1983, 1993, 2003.

A project of this scope is necessarily a No project such as this can be accom-labor-intensive one, taking years of work and plished without the help of particular individ-much research. Fortunately, and thanks to uals who stepped up and contributed special Weinberg’s generosity in giving me permission expertise or information. The author is espe-to build upon his labors, I had access to all his cially indebted to those artists, artists’ agents, source materials, including his notes, docu-writers, book dealers, publishers, art collectors ments, letters and correspondence. In some and even artists’ childhood friends, who pro-cases, Weinberg’s information was sufficient for vided biographical details and contact infor-

3

Historical Overview (Frank)

mation for artists’ families and estates. Among Lastly, I must thank the numerous artists the many I would like to single out, in the who, despite busy professional lives, responded United States: Vincent Di Fate, Doug Ellis, to my requests for information, from those who Arnie Fenner, Logan Kaufman, Jerry Weist, Pat were delighted to hear from me, to those who Wilshire; in the United Kingdom: Alison El-agonized over their bibliographies, to those dred, Philip Harbottle, Mike Ashley, Rog Pey-who — like artist Jack Coggins — thought well ton, Andy Sawyer, Dave Langford. Sincere enough of the project to dictate his thoughts thanks also to the author’s family, especially her to his caregiver a short time before his death.

husband, Howard, friends, and clients, who de-Without the artists’ enthusiasm and cooperation serve special awards for their patience, toler-this book would have been much less complete.

ance, and expressions of interest through those years when it seemed impossible that the project would ever be completed.

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How to Use This Book This volume is divided into three parts.

name, last name first. Thus Rowena Morrill, The first part is a brief overview of twentieth who signs her art “Rowena,” and who is re-century science fiction art, concentrating on the ferred to professionally in the field by her first economic, social and cultural history of the sci-name, is listed under Morrill. However, in this ence fiction and fantasy field and how these case and similar situations, cross-references are events shaped the growth of illustration art in entered from the first name or pseudonym as that genre over the past century. Major trends needed to aid identification. An asterisk (*) next and important figures are noted as well as to an artist’s name is used in the entries to sig-specific turning points in publishing that af-nal that the artist so marked also has a biogra-fected the art field. The historical overview phical entry in the Dictionary. If known, the written by Robert Weinberg, which comprised artist’s birth (and if deceased, death) date is the first part of his pioneering Biographical Dic-given; the notation ? signifies that the date tionary of Science Fiction and Fantasy Artists specified is in question. If no information on (1988), with his kind permission, is duplicated any date is available, a single question mark (?) here. There seemed no point to any attempt to is given. Following the date, the artist’s nation-improve upon his scholarship and memory, and ality is listed. Next, a biographical sketch is pre-so with only minor revisions provided by Wein-sented, using, whenever possible, information berg, it is his observations and discussion of the provided directly or indirectly (via official web-field that will take you through the twentieth site) by the artist, or the artist’s family, relatives, century until approximately 1975 to 1980. Then or estate.

follows a continuation of the discussion, with a Following the biography, sources of the in-new section treating the concluding decades of formation are provided. Where Weinberg is the century, with some consideration of how cited as a source, the content of the biography late twentieth century trends and issues may af-is based in some measure on his writing and infect science fiction art in the twenty-first cen-formation, both that found in the versions pub-tury. The overview section is meant to supple-lished in the 1988 volume as well as material ment the biographical entries in this volume by coming from his personal files of notes, corre-providing an historical framework for under-spondence and publications. In some cases standing the artistic contributions of artists in Weinberg’s information is sufficient for an il-the field, as well as additional information about lustrator who was working in the previous pe-the field in general, that would not be covered riod, while in others additional information was in specific biographies.

required to bring the biography up to date or to The second part contains biographical correct factual inaccuracies. Where material is sketches of more than 350 science fiction and quoted directly, and represents undocumented fantasy artists, arranged in alphabetical order information collected personally by Weinberg, by artist. Each entry begins with the artist’s attribution is made clear, as appropriate. Entries 5

How to Use This Book 6
written in whole, or in substantial part, by Cover art, usually referred to as Visco (www.sf-other contributors are credited under “sources”

covers.net); Phil Stephensen-Payne’s “Galactic at the end of the biography; all other entries are Central List of Magazine Indexes”

my own. As relevant, other primary or second-

(www.philsp.com). Also invaluable for the pur-ary sources are also cited, whether they are gen-pose was the online book search service Aderal/encyclopedic in nature or derived from a dALL (www.addall.com), for books out of print specific informant. If pertinent, the category and, for books in print, Amazon.com.

“Collections and Anthologies (various con-In the bibliographies, entries are listed first tributing artists)” appears, to document and for book appearances (no distinction is made credit the publication of single or multiple artist between hardcover or softcover/paperback for-compendium art books, portfolios, retrospec-mats for publications); game-related illustratives, anthologies, and the like.

tions (fantasy or science fiction role-playing Accompanying each entry is a bibliograph-game, computer or video game, or trading card ical listing of the artist’s work in the science game); magazine appearances (each listed by fiction and fantasy field. Artwork not relating to magazine title); and miscellaneous (to include, adult science fiction or fantasy is not listed. Cat-but not limited to, such publications as calen-egories of publications under “Published Work”

dars, collector card sets, record album covers, will vary depending on the artist’s life and ca-and so on that are relevant by virtue of histor-reer; entries may list books written and illus-ical interest, or cultural importance). Books are trated; books illustrated (literary and game-re-listed alphabetically by title, followed by publated illustrations); magazines illustrated; and lisher and publication date of the relevant edi-miscellaneous publications. Although maga-tion. In certain cases, when reissues or reprints zine entries are fairly complete through the turn of books might be confusing, further publica-of the century, the book listings and related tion information is supplied.

publications, by necessity, are not. To make list-Magazine listings are for an appearance in ings manageable in number, yet not eliminate the magazine, either a cover or interior illus-a useful guide for comparing artists’ relative tration. Months are abbreviated by numbers contributions, book and game titles were each (i.e., 6 = June, 9 = September). Bimonthly pub-limited to two hundred per artist. In cases lications are listed by the first month’s number where an artist’s work is prolific, a judicious (i.e., 1 = January/February). Where magazines sampling of titles across periods brought the have inconsistent publication schedules within number down. Otherwise, efforts were made a year, bimonthly issues are differentiated by to be inclusive but not exhaustive. Living maintaining the split-month system. Quarterly artists, agents, relatives or estates were asked to magazines are listed by season. When maga-provide bibliographical information, and zines appeared as numbered as well as dated, whenever supplied, this information was used.

issues, in the interest of clarity an attempt was Where such sources were unavailable, and to made to convert every issue number to the augment incomplete artist records, other cred-monthly system. In cases where magazines apitable sources were accessed. Among the most peared solely as numbered, undated issues an useful of these were artists’ art books and dig-attempt was also made to list them in this man-itally available databases such as: the Internet ner, or at the least, distinguish between the Speculative Fiction Database (www.isfdb.org); years of publication. Professional, nationally the online Locus Indexes to Science Fiction (see distributed magazines in English, serving the www.locusmag.com/index, various indexes and science fiction and fantasy market, comprise checklists by Charles N. Brown, William G.

the preponderance of magazines sourced for Contento, and Stephen T. Miller); Terry Gib-published illustrations, augmented by a small bons’ “The Visual Index of Science Fiction number of specialty and semiprofessional mag-

7

How to Use This Book
azines which have provided substantial markets awards bestowed upon artists by professional for science fiction and fantasy artists. A full list-and fan-based societies in the science fiction ing of abbreviations for magazine titles used in field in the United States and United Kingdom: the bibliographies is found in the following sec-the Hugo, World Fantasy Award, and Chesley tion. Researchers interested in the publication for Best Artist, and the British Science Fiction histories of the magazines are referred to the Award and British Fantasy Award for Best numerous detailed surveys and indexes of the Artist. Due to their sheer number, awards based science fiction and fantasy field published in the in countries other than the United States and past few years (see above), many of which have United Kingdom are not included, nor are win-supplanted earlier printed publications, such as ners of specific or named awards such as the Science Fiction, Fantasy, and Weird Fiction Mag-New England Science Fiction Association’s Jack azines, edited by Marshall B. Tymn and Mike Gaughan Award for Best Emerging Artist, or Ashley (Greenwood Press, 1985).

the Illustrators of the Future Contest.

Lastly, following the artist biographies, Throughout the book, unless otherwise there is an appendix which contains a chrono-stated or attributed, the information stems from logical listing of the award winners for the my own research.

longest running and most important of the

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Abbreviations

The following periodical abbreviations are used in the lists of published work for each artist.

2CSAB

Two Complete Science Adventure

FU

Fantastic Universe

Books

FTSP

Footsteps

ABO

Aboriginal Science Fiction

FUT

Future

ABM

Absolute Magnitude

FUTL

Future Life

AA

Amazing Stories Annual

FUTSS

Futuristic Science Stories

AKS

Arkham Sampler

GAL

Galileo

AMF

A. Merritt Fantasy

GAM

Gamma

AMZ

Amazing Stories

GXY

Galaxy Science Fiction

AQ

Amazing Quarterly

GXYN

Galaxy Science Fiction Novels

ASF

Astounding (later Analog) HM

Heavy Metal

ASF&FR

Avon Science Fiction and Fantasy

HPLMH

H.P. Lovecraft’s Magazine of

Reader

Horror

ASFR

Avon Science Fiction Reader

IASFA

Isaac Asimov’s Science Fiction

ASH

Astonishing

Adventure Magazine

AUTH

Authentic Science Fiction

IASFM

Isaac Asimov’s Science Fiction

AW

Air Wonder Stories

Magazine

BEY

Beyond

If

If

CF

Captain Future

IMG

Imagination

CEM

Cemetery Dance

IMGT

Imaginative Tales

COM

Comet Stories

IMP

Impulse

COS

Cosmic Stories

INF

Infinity

CSF

Cosmos Science Fiction

INQ

Inquest/Inquest Gamer

DEST

Destinies

INT

Interzone (British)

DRA

Dragon Magazine

MIR

Miracle Science Stories

DW

Dream World

MOH

Magazine of Horror

DUN

Dungeon Magazine

MSS

Marvel Science Stories

DYN

Dynamic Science Fiction

MZB

Marion Zimmer Bradley’s Fantasy

EXT

Extro

Magazine

F&SF

Magazine of Fantasy and Science

NC

Night Cry

Fiction

NEB

Nebula

FA

Fantastic Adventures

NW

New Worlds

FANTASY (BR) Fantasy (British) NWU.S.

New Worlds (U.S. edition)

FB

Fantasy Book

OMNI

Omni

FF

Fantasy Magazine

ONS

On Spec

FT

Fantasy Tales (British)

ORB

Orbit Science Fiction

FFM

Famous Fantastic Mysteries

OTW

Out of This World (British)

FgF

Forgotten Fantasy

OTWA

Out of This World Adventures

FN

Fantastic Novels

OW

Other Worlds

FMSF

Famous Science Fiction

PS

Planet Stories

FSQ

Fantastic Story Quarterly (later PFS

Pulphouse Fiction Spotlight

Magazine)

ROF

Realms of Fantasy

FTC

Fantastic

RS

Rocket Stories

9

Abbreviations

10

SAT

Satellite Science Fiction

TofT

Tales of Tomorrow

ScF

Science Fantasy

TofW

Tales of Wonder

SFA

Science Fiction Adventures

TOM

Tomorrow

SFA (BR)

Science Fiction Adventures (British) TOPS

Tops in Science Fiction

SFAge

Science Fiction Age

TRE

Treasury of Great Science Fiction SFD

Science Fiction Digest

TSF

10 Story Fantasy

SFM

Science Fiction Monthly (British) TWS

Thrilling Wonder Stories

SFQ

Science Fiction Quarterly

TZ

Twilight Zone

SF+

Science Fiction +

UNC

Uncanny

SFS

Science Fiction Stories

U.K.

Unknown (later Unknown Worlds) SFYBK

Science Fiction Yearbook

UNI

Universe

ScS

Science Stories

VAN

Vanguard Science Fiction

SILW

The Silver Web

VEN

Venture Science Fiction

SMS

Startling Mystery Story

VER

Vertex

SpS

Space Stories

VoT

Vision of Tomorrow

SpSF

Space Science Fiction

VOR

Vortex Science Fiction

SpTr

Space Travel

VORTX

Vortex (British)

S&T

Space and Time

WB

Worlds Beyond

SPWY

Spaceway

WD

White Dwarf

SRN

Saturn

WOF

Worlds of Fantasy (British)

SS

Startling Stories

WFH

Worlds of Fantasy & Horror

SSF

Super Science Fiction

(formerly Weird Tales)

SSS

Super Science Stories

WC&S

Witchcraft and Sorcery

SUPS

Supernatural Stories

WOT

Worlds of Tomorrow

ST

Strange Tales

WQ

Wonder Stories Quarterly

STAR

Star Science Fiction Magazine

WS

Wonder Stories

STI

Stirring Science Stories

WSA

Wonder Stories Annual

StrS

Strange Stories

WON

Wonders of the Spaceways

SW

Science Wonder Stories

WT

Weird Tales

SWQ

Science Wonder Quarterly

PART I

A Century of

Science Fiction Art

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Historical Overview, to About 1975
by ROBERT WEINBERG

Science fiction and fantasy, by the very na-ing French illustrators. Many of these artists ture of the material presented, is a visual would be forgotten if not for their work for medium. Illustration has always accompanied Verne, which was reprinted in hardcover vol-text from the earliest novels recognized as sci-umes published throughout the world. The best ence fiction until the present. Unfortunately, of these artists included Georges Roux, although art has remained a common denom-Alphonse Marie de Neuville, Leon Benett, inator in the field, it often has been considered Henri de Montaut, and Edouard Riou. The art almost unnecessary to the text. The fortunes of done by these men, especially for the Hetzel science fiction illustration have risen and fallen editions of the Verne novels, endured until within the broader history of science fiction.

modern times. De Montaut’s illustrations of the Rarely, though, have the artists working in the interior of the projectile used in From the Earth field been given the credit they deserve.

to the Moon are among the most famous in all Although science fiction is generally conscience fiction. Jules Ferat’s studies of the Nau-sidered to be primarily of American (or British) tilus are equally famous. Emile Bayard pro-origin, the earliest artists of note in the field duced famous illustrations for From the Earth to were French. The most famous of these artists the Moon … and a Trip Around It, including an was Albert Robida, whose work in the late oft-reprinted weightlessness engraving, a survey 1800s is considered the first modern science of the moon illustration, and a famous splash-fiction illustration. Robida produced a long saga down piece.

of the mid-twentieth century, Voyages tres ex-Modern students of science fiction history traordinaires de Saturnin Farandoul, which he often fail to realize the popularity and influence wrote as well as illustrated. These stories first of Verne’s novels. One can grasp some meas-appeared in magazine form and then were ure of his importance by looking at the care reprinted in book form. Robida was particu-given to the production of his books. Leon larly noted for his huge buildings, ironclad Benett was commissioned by Hetzel, Verne’s ships, submarines, and even flying machines.

publisher, for nearly two thousand engravings He was the first artist actively to predict the fu-and illustrations for Voyages extraordinaires, and ture of war in illustrated form.

although he was the most prolific of all Verne il-At the same time, the fiction of Jules Verne lustrators, many other artists contributed work was extremely important in the development to the series as well. It was not unusual for one of French science fiction art. Verne’s long nov-of Verne’s books to contain more than a hun-els originally appeared as serials in leading dred illustrations.

French magazines, and all of the stories were Whereas Verne was the most popular and published with numerous illustrations by lead-important science fiction author in Europe, 13

Part I. A Century of Science Fiction Art 14

H.G. Wells soon occupied that same position in tions by technically competent artists. How-England. Unfortunately, although most of ever, none of the art was particularly notable, Wells’s early novels and stories appeared in and most of it was executed by staff artists who magazine form, they were not as extensively iltreated the work as just another assignment. No lustrated as those by Verne. Much of Wells’s one specialized in science fiction or fantasy art.

work was printed in the Strand, and the illus-However, popular publishing in America trations by artists such as Alfred Pearse, Claude took a step in another direction in the late Shepperson, Edmund Sullivan, and Paul Hardy 1880s. Frank A. Munsey, publisher of The were less than spectacular. However, Henri Golden Argosy, a fiction magazine aimed at chil-Lanos produced eighteen very fine illustrations dren, came up with the concept of an inexpen-for When the Sleeper Wakes which appeared in sive magazine aimed at mass readership. Until the Graphic Magazine. These plates have been then, magazines were printed on glossy paper, reproduced many times since their original ap-featured lots of illustrations and cost more than pearance, usually without indication of the most blue-collar workers could afford. Instead, artist’s name.

the common people were left with dime novels, The most important and famous of all
which were adventure and detective novels usu-Wells’s illustrators was Warwick Goble. A ally featuring continuing series characters like prolific artist who contributed to most of the Buffalo Bill or Nick Carter, printed in large-English monthly magazines, he did sixty-six il-size newspaper-like format on the least expen-lustrations for the 1897 serialization of The War sive paper available. Munsey combined the two of the Worlds in Pearson’s Magazine. His depic-concepts. He used the least expensive paper tions of the Martian war machines were among available and stayed away from expensive re-the most famous science fiction illustrations production of illustrations, using plain, heavy-ever to appear in print. Like many science stock covers. But he offered the magazine for-fiction artists who followed him, Goble later mat, with a number of stories, including abandoned the field for the more lucrative fine-serialized novels, instead of one long juvenile arts market.

adventure. He could keep the price per issue Another important science fiction artist low because of the inexpensive paper. His reworking in England at that time was Fred T.

named Argosy magazine became a tremendous Jane. One of the major science fiction writers of success. This new-style magazine, dubbed that period, Jane was also an excellent illustra-

“pulp” because of the inexpensive wood paper tor who did work for both popular magazines it used, revolutionized publishing in the United and hardcover books. He illustrated a number States. Within a few years, dozens of other pulp of his own novels as well as George Griffith’s magazines were being published, and by the late best-selling epics, The Angel of the Revolution 1920s hundreds of titles filled the newsstand and Olga Romanoff.

racks.

However, after the flurry of activity at the The pulps, at first, rarely featured any art-turn of the century, science fiction illustration work and used plain, unobtrusive covers. But as in England disappeared for nearly thirty years.

competition increased, the importance of a Novels continued to be published, but due to catchy cover illustration became obvious. At rising costs and changing interests, lavishly il-first, most pulp magazines featured covers de-lustrated science fiction hardcovers vanished.

signed to appeal to women, who were recog-In the United States early science fiction nized as the largest group of buyers of such appeared in various newspapers and quality fiction magazines. However, as the magazines magazines. Often, these early stories, includ-grew more specialized and adventure and acing reprints of British novels as well as new tion stories dominated the contents more and works, were published with attractive illustra-more, the covers changed to match the contents.

15

Historical Overview to 1975 (Weinberg) The arrival of Edgar Rice Burroughs helped doubt, the most popular, prolific, and influen-change the pulp-art field even more. Burroughs’

tial was J. Allen St. John. To this day, St. John Tarzan and Mars novels were so popular that is still considered the definitive Burroughs il-all of the major fiction publications soon started lustrator.

publishing material by Burroughs or by authors Because of the inexpensive paper used for writing in a similar vein. These fast-paced sci-the pulp magazines, interior illustrations rarely entific romances needed cover art that pro-reproduced well. At first small story headings claimed their unusual nature to an eager buy-were all that appeared in the magazine to break ing market. As more and more covers in this the continual roll of print. However, as the bat-vein were needed, certain staff artists working tle to win readership continued, magazines for the pulps became noted as specialists in such strived for improvement, and interior art be-work. These men were specifically assigned cov-came a feature in many of the better pulps.

ers based on their expertise. Thus the first true Bluebook magazine used a slightly better qual-science fiction artists in the United States were ity of pulp paper and began running numer-born. Among these earliest pioneers in the field ous illustrations in each issue. Halftones were were P.J. Monahan, Clinton Peetee, Herbert impractical on pulp stock, but well-delineated Morton Stoops, and J. Allen St. John.

line work reproduced fairly well if care was Hardcover publishing of science fiction taken with the printing.

and fantasy continued, but the books rarely Many of the top pulp illustrators came matched the lavishly illustrated volumes of the from the newspapers, put out of a job when im-late nineteenth century. A few artists became provements in printing techniques made it pos-famous for their work in the fantastic fiction sible for the daily papers to use photographs field, but in most cases they transcended the instead of line sketches of major news events.

label of genre artist. These men included Newspaper artists, trained at producing accu-Frank Pape and Mahlon Blaine in America rate, crisp illustrations for reproduction on in-and Sidney Sime and Harry Clarke in En-expensive paper, fit in perfectly with the re-gland. But they were the exceptions, and most quirements of the pulps. Probably the most genre illustration was ignored by all but the famous artist for the pulps to emerge from the readers.

ranks of newspaper artists was Joseph Clement Science fiction was not yet thought to be a Coll. His fine line illustrations attracted enough distinct branch of modern fiction, and from attention so that often his art for serials was time to time, novels in the field were published reprinted in hardcover editions of the works.

as original works in hardcover or reprinted from Coll’s art influenced a new generation of pulp-the pulp magazines. Often, when a serial was magazine illustrators.

reprinted from Argosy (or its companion mag-Magazines grew more specialized as the azine, All-Story), the original cover illustration reading market grew ever larger. In 1919 there used for the serialization was also used for the appeared The Thrill Book, a magazine devoted book jacket.

entirely to “different” stories. Although not ac-In the case of Edgar Rice Burroughs, his tually a science fiction or weird-fiction magazine work continued to gain in popularity through-in content, it published a significant amount of out the teens and twenties, and nearly all of his both genres in its limited run. Due to limited novels appeared first as magazine serials and distribution and a vague editorial policy, the then as hardcover volumes. The first editions magazine lasted for only sixteen issues.

of the Burroughs novels often were illustrated Shortly after that, in 1923, Weird Tales ap-with a number of interior plates commissioned peared. A magazine devoted exactly to what the especially for the volume. A number of artists title proclaimed, it featured fantasy, horror, su-worked on the Burroughs novels, but without a pernatural, and science fiction stories. Despite

Part I. A Century of Science Fiction Art 16
poor management decisions during its first year, ishing inventions. Paul handled the interior il-the pulp continued publication and became a lustrations for the magazine as well.

mainstay of the fantasy-fiction field. Unfortu-Although Paul was not as artistic as Robert nately, to keep costs down, the earliest artists Graef or Paul Stahr, his often crudely done cov-who worked for Weird Tales were mostly hack ers possessed a unique charm and flavor not illustrators chosen not for their talent but for shared by the slicker paintings. The term sense their willingness to work for little money.

of wonder was used years later to describe the Among these artists were Andrew Brosnatch, stories published in the early years of pulp sci-Joseph Doolin, and Curtis C. Senf. It was not ence fiction, stories that thrilled and excited the until the arrival of Hugh Rankin in the late imaginations of the readers. That same term 1920s that a fairly competent artist began work-applied equally well to Paul’s covers. They may ing for Weird Tales.

not have been art, but they worked, conveying Science fiction continued to be popular in the mystery and excitement of the stories they the major pulp-fiction magazines. Argosy All-illustrated.

Story featured numerous science fiction serials As an experiment, Gernsback had Paul
by top name writers, including A. Merritt, paint a cover for the December 1926 Amazing Ralph Milne Farley, and Edgar Rice Burroughs.

Stories that did not illustrate any story. The Novels by these men always received the cover artist came up with an unusual painting that illustration, usually done by Paul Stahr or showed a group of strange aliens on another Robert Graef. Although forgotten today, Stahr world observing a spaceship transporting a and Graef were probably the most talented all-modern ocean liner in some sort of force field.

around science fiction illustrators working in Gernsback invited his readers to base a story the early days of magazine publishing.

on the cover, offering a $250 prize for the best Amazing Stories, the first magazine featur-story. Astonishingly, more than 360 manu-ing only science fiction stories, appeared in scripts were submitted, emphasizing the im-April 1926. It was the creation of Hugo Gerns-portance of cover art on science fiction readers.

back, who had been publishing a number of In 1927, flushed with the success of Amaz-other magazines on science and electronics for ing Stories, Gernsback published the Amazing years. Gernsback ventured into the science Stories Annual, a thick magazine featuring a fiction market encouraged by the popularity of complete novel and short stories, all illustrated similar stories he had been printing for years in by Paul. The annual sold out immediately and his magazine Science and Invention. From that prompted Gernsback to publish Amazing Sto-publication, Gernsback brought the artist who ries Quarterly beginning in 1928. Again, Paul had been handling most of the fantastic illustra-did all of the art for this magazine. In the mean-tions, Frank R. Paul.

time, he continued to produce art for Science Born in Austria, Paul worked as a cartoon-and Invention. Not only was Paul the first major ist for the Jersey Journal and did his science star of science fiction magazine art, he was the fiction illustrating as a sideline. Trained in ar-busiest.

chitecture, he brought with him a strong feel-Major changes occurred in the science ing for huge buildings and complex machinery fiction field in 1929 and therefore in the science that perfectly fit the strongly scientific slant of fiction art field. Gernsback lost control of the first all-science fiction magazine. Amazing Amazing Stories through an unusual bankruptcy Stories was published as a large eight-by-eleven-suit pushed through by Bernarr MacFadden.

inch magazine, so the covers gave Paul plenty Almost immediately, Gernsback began two new of room for work. His people were less than be-science fiction magazines, Science Wonder Sto-lievable, but they were dwarfed by an array of ries and Air Wonder Stories. Within a short time, bizarre machines, alien landscapes, and aston-he began Science Wonder Quarterly. Again, the

17

Historical Overview to 1975 (Weinberg) magazines were large size and featured covers eral artists from outside the field, including and interior art by Paul.

John Fleming Gould. Even Paul did some in-Amazing, under its new publisher, Radio-teresting interior artwork for the new maga-Science Publications (later Teck Publications), zine.

found itself without a steady artist. Several In late 1931 the Clayton chain added an-magazine illustrators were used, most notably other magazine, Strange Tales. Aimed at the H.W. Wessolowski (Wesso), but after a short same weird-fiction market that was served only while the art assignment was given to Leo by Weird Tales, the new pulp featured excellent Morey. Although his paintings were not as col-paintings by Wesso for the covers. Most of the orful or imaginative as Paul’s, Morey handled interior art was handled by Wesso, along with the cover and interior art for Amazing reason-other artists who worked for Weird Tales as well ably well. The magazine was produced at lower as the non-fantasy pulps of the time.

cost under the new publisher, and brightly col-Farnsworth Wright, the editor of Weird ored covers were no longer used. A lesser grade Tales, realized that he had to fight back. Not of paper inside meant that the art reproduced only was he hurt by Strange Tales, but the sci-poorly, and Morey never equalled Paul’s intri-ence fiction magazines also cut into his sales.

cately detailed black-and-white illustrations.

When Amazing Stories first began, it probably Paul’s art for the Wonder group (as Gerns-boosted the sales of Weird Tales. Fans looking for back’s new magazines were called) equalled and more science fiction could find it only in the often topped his earlier work for Amazing Sto-general adventure magazines like Argosy or in ries. Again, machinery and giant spaceships Weird Tales. Wright ran science fiction very sim-dominated his paintings, and the people ap-ilar to the stories published in the early Amaz-pearing in the art had a crude, stiff look. Bright ing Stories, and for a while he even advertised his colors dominated the art.

magazine in the back pages of the other pulps.

At the end of 1929 yet another science However, with the appearance of Astounding, fiction magazine appeared on the newsstands.

Strange Tales, and Wonder Stories (a combined This was Astounding Stories of Super Science, a version of the two earlier Wonder titles), Wright member of the Clayton chain of magazines and faced much greater competition. No longer did the first all-science fiction magazine to be pub-fans have to search for science fiction. There lished in pulp format. Instead of the larger sized were three magazines totally devoted to the sub-magazines that had appeared until then, the ject, as well as several quarterlies.

Clayton magazine was standard pulp size, ap-The Depression saw a huge rise in the proximately seven by ten inches, and was number of pulp magazines published. Printers printed on very inexpensive pulp paper. Cover were eager to keep printing, and credit was easy art was handled by Wesso and consisted of to obtain. Magazines were floated on little if bright, imaginative pieces painted in watercol-any real cash. Titles often ran for only a few isors. Clayton specialized in magazines that fea-sues; if they did not catch on with the reading tured fast-paced adventure stories, and As-public, they were dropped. Long-running mag-tounding Stories was the first attempt to publish azines found themselves fighting for space at a science fiction magazine in that category.

crowded newsstands. Covers became increas-Wesso was able to paint people much better ingly garish as each publisher tried to attract than Paul or Morey, and his covers featured lots new readers.

of action. The first cover for the new magazine For years Wright had been using hack
depicted aviators fighting giant bugs. Future artists for interior and cover work on his mag-covers followed in the same vein, with conflict azine. They worked for little money but rarely between man and monster the primary theme.

were worth even the small sums they earned.

Interiors were well done by Wesso and by sev-Wright abandoned this policy in 1932 and

Part I. A Century of Science Fiction Art 18
began paying higher prices for cover art, exper-and his exploits around the world. Although it imenting with the work of two artists. He ob-was basically an adventure magazine, the nov-tained several paintings by J. Allen St. John, els frequently drifted into science fiction. Cover who lived and taught art in Chicago where art was well handled by Walter Baumhofer. The Weird Tales was edited. St. John, who had great success of these two Street & Smith “char-gained fame as illustrator for many novels by acter pulps” spawned a vast number of imita-Edgar Rice Burroughs, was looking for work tions. Soon the newsstands were filled with since Burroughs had begun using new artists magazines such as The Spider, G-8 and His Bat-to illustrate his books. At the same time, tle Aces, Operator 5, and The Mysterious Wu Wright tried several covers by fashion designer Fang. Most featured some pseudoscience as part Margaret Brundage, who had brought her port-of the story line, and many used cover and in-folio of illustrations to his office some months terior art that ventured into the science fiction earlier. St. John’s paintings were fine pieces of field.

fantasy art, but Brundage caught the readers’

In the fantasy genre, Popular Publications attention with voluptuous women clad in scored big with three magazines that featured scanty garments. She was unable to paint a truly fast-paced action stories with seemingly super-weird scene, but Brundage’s near nude and to-natural menaces that invariably turned out to be tally nude women were a complete change from hoaxes or mad schemes. These “weird menace”

anything previously seen on a science fiction or pulps rose in only a few months to the ranks of fantasy magazine. She quickly became the pre-the best-selling pulp magazines on the strength mier cover artist for Weird Tales.

of their bizarre stories and the superlative cov-The Clayton chain went bankrupt in 1933.

ers that illustrated them. Horror Stories, Terror Astounding Stories and several other titles were Tales, and Dime Mystery Magazine all featured bought by the Street & Smith publishing chain.

unbelievably gruesome covers by John Newton Better financed, and with a new editor, the Howitt. A well-known landscape and portrait magazine soon established itself as a leader in the painter, Howitt had been forced by the Depres-field. Howard V. Brown, an established illus-sion into magazine cover art. He did numer-trator who had been working the pulps for years ous covers for the pulps. Although he was never doing covers for a variety of magazines, was closely associated with the science fiction or brought in as principal cover artist. Brown was fantasy fields, his covers for the “weird-menace an excellent artist who was capable of painting pulps” were among the finest masterpieces of believable people, interesting monsters, and the horror art published during the entire pulp era.

usual fantastic machinery that populated sci-Interior art for the magazines was capably han-ence fiction stories of the time.

dled by Amos Sewell and John Fleming Gould.

Elliott Dold dominated the interiors. Dold Changes in magazine publishing philoso-had done some science fiction art for the only phy took place in the 1930s. Originally, when two issues of Miracle Stories in 1931 and soon a novel was serialized in a magazine, the cover became one of the most popular interior artists painting normally illustrated some episode in in the field. Brown also did a fair amount of in-the section of the novel appearing in that par-terior work for Astounding and produced a ticular issue. Readers complained if the cover il-number of interesting pieces.

lustration revealed some detail of the novel that Science fiction and fantasy spread beyond took place in a section of the story not imme-the genre magazines in 1933. Street & Smith diately available. However, as serials became began publication of Doc Savage as a monthly longer and covers more garish, publishers began companion to its already popular magazine The ignoring this complaint. A cover painting illus-Shadow. The Doc Savage pulp featured a com-trated a dramatic scene from the novel, not nec-plete novel about a superhero-style adventurer essarily from a chapter appearing in that issue.

19

Historical Overview to 1975 (Weinberg) As most serial novels were illustrated on the fiction field. For a change, an artist entered the cover for the first issue of that serialization, and field not as a general pulp artist but as a special-the most exciting parts usually were near the ist in science fiction art. Since the mid–1930s, end, the cover often provided readers with clues the science fiction field has remained a mix of to the most dramatic scenes to come.

the two waves — artists who begin as illustra-Symbolic covers were featured on pulp tors and then enter science fiction, and artists magazines throughout their history. If an artist who aim their work specifically at the science could not find a suitable scene for a cover (or if fiction field and have little interest in illustration it might reveal too much about the story), he in-outside the genre.

stead painted a cover capturing the feel of the Finlay brought a new excitement to sci-novel instead of one particular scene. In the science fiction and fantasy art. Frank R. Paul was ence fiction field, this soon became common, popular with fans of science fiction, but his with contents-page listings stating “Cover il-forte was giant cities and unusual spaceships.

lustration suggested by” instead of implying His people were crude and sticklike, and his that the art dramatized one particular event.

aliens misshapen and grotesque. Finlay could This trend was accentuated in the 1930s.

not match Paul’s vast scenarios, but he filled his Popular Publications magazines were
art with beautiful women and heroic men. His among the first to feature covers with no tie-in monsters were suitably monstrous and yet had to the stories in the issue. Many of the Howitt a bizarre sense of beauty. Finlay drew sensu-covers for Horror Stories and Terror Tales were ous, desirable nudes and wonderfully menacing symbolic of the contents of the magazines in vampires and werewolves. Although he began general. Art became independent of the actual his career in Weird Tales, it was not long before contents of the magazine, heralding even more he was doing art for nearly all the major sci-unusual changes to come in the later part of ence fiction magazines. Paul was the most pop-that era.

ular artist of the 1920s. Finlay dominated the In 1935 an important newcomer began il-late 1930s and 1940s.

lustrating for Weird Tales. Virgil Finlay was the In the 1930s and early 1940s the magazine first important artist of what might be termed field was science fiction, and thus magazine art the “second wave” of science fiction illustrators.

was science fiction art. A few hardcover books When science fiction magazines began publi-appeared from time to time, but they were rare cation in 1926, artists were recruited from other exceptions and were not packaged as science magazines and pulps. Although a number of fiction novels, which were considered juvenile them had, some previous experience with sci-pulp literature. So changes in the magazine field ence fiction or fantasy, they were pulp illustra-had an immediate effect on the science fiction tors first and science fiction illustrators second.

art field.

They were the “first wave” of illustrators of the Originally, the science fiction magazine in-science fiction magazines. The “second wave”

dustry was little more than a “ma-and-pa” op-of illustrators were artists who emerged from eration. The Gernsback Amazing Stories and the growing ranks of science fiction readers.

later Wonder Stories group were controlled by a They were fans of the magazines who believed small publisher with limited funds. When they could do a better job of illustrating the Amazing Stories was taken over by Teck Publi-stories than the men who were working for the cations, nothing much changed. However, lit-pulps. Finlay was a reader of the science fiction tle by little, the small publishers in the pulps magazines and Weird Tales and knew his art was found themselves pushed out by competition better than anything appearing in that maga-from the large chains. Well financed and well zine. He was right, and within a short time, he distributed, the chains dominated sales. Science became the sensation of the fantasy and science fiction buyers, while consisting of a strong core

Part I. A Century of Science Fiction Art 20
of loyal fans, were not a very profitable market sometimes artists were told to produce a paint-when compared to that for mysteries, love sto-ing without any story behind it. Then the art ries, or general adventure.

was shown to an author and a story was writIn 1936, bowing to the pressures of de-ten around the painting. Born of the desire to creasing sales and lack of distribution, Gerns-keep staff artists working continually, this un-back sold Wonder Stories to the Standard Mag-usual concept of having the cover before the azine chain. In 1938 Amazing Stories was bought story is still used in today’s magazine field.

by Ziff-Davis. Astounding was already pub-An interesting sidelight of this practice was lished by the Street & Smith chain. Even Weird the introduction of back cover illustrations to Tales was bought by the publisher of Short Sto-the science fiction field. Artists at Ziff-Davis ries and moved to New York City.

were given free rein to paint a series of science Chain ownership brought about more
fiction illustrations on a particular subject.

changes in the art field. The major publishing These paintings were featured for a period of chains had more money and, in general, art months on the back cover of the magazine, and rates went up. However, at the same time, the a short article was printed inside the magazine, chains were run as one large business. Science giving some background to what the cover rep-fiction magazines received the same attention resented. These paintings were published with-and treatment as any other pulp. Chains like out any printing other than the title of the art Ziff-Davis had a full-time staff of artists work-and were an attractive addition to the maga-ing for their magazines. In a sense, the chains zine. Series on the back covers included “Men brought a return to the “first wave” of artists. Il-from Other Planets” and “Stories of the Stars”

lustrators who were already working for pulp by Frank R. Paul, “Warriors of Other Worlds”

chains illustrating westerns, romances, and by Malcolm Smith, and “Impossible but True”

mysteries suddenly found themselves responsi-by James B. Settles. Some of the best art for the ble for science fiction art as well. When Ziff-Ziff-Davis science fiction pulps appeared on Davis first took over publication of Amazing their back covers. This practice was dropped in Stories, the first few issues featured photo-the late 1940s, probably due to the extra cost.

graphic covers, until their house artists could In the meantime, science fiction overseas start producing paintings.

remained barely alive. In the 1930s a weekly Fortunately, most of the chain-magazine boys newspaper in England featuring science artists were strong craftsmen and handled their fiction stories. Scoops ran for twenty-one issues new assignments competently if not exception-before dying, and its illustrations could best be ally. Some of the many artists who entered the termed “forgettable.” In 1937 Worlds Work science fiction field in this manner included Ltd. launched a new magazine, Tales of Wonder.

H.W. Scott, Rod Ruth, Rudolph Belarski, Earle This well-produced magazine featured some Bergey, Malcolm Smith, and Graves Gladney.

excellent covers during its sixteen-issue run.

At the same time, several very fine artists Unfortunately, wartime economics killed the emerged from their ranks including Edd publication. Science fiction publishing in Britain Cartier and Hubert Rogers.

remained in a fairly dormant stage until 1946.

Ziff-Davis publishers produced magazines through the use of a full-time staff. A group of A Time of Growth
writers on payroll created most of the stories for the pulps. Another group of artists did all of The war in Europe brought new prosper-the artwork. Very little was done by outside ity to America, and in 1939 there was an ex-help. Most story illustrations were done by the plosion in the number of pulp magazines being staff artists based a brief summary of the story published. Every major chain increased its line, or a quick reading of the manuscript. However, and many new publishers entered the market-

21

Historical Overview to 1975 (Weinberg) place. In a few short months, the science fiction for his bizarre aliens and unusual people. Bok field suddenly went from only a few titles to improved with each illustration, and his work nearly two dozen publications.

grew more and more polished throughout the Street & Smith brought out Unknown.

1940s. Finlay brought beauty to science fiction.

Standard Magazines issued Startling Stories, Bok brought style.

Strange Stories, and Captain Future. A compan-One other artist rivaled Bok and Finlay as ion magazine to Amazing Stories, titled Fantas-the most popular craftsman for the science tic Adventures, was launched by Ziff-Davis. Red fiction pulps. Edd Cartier was a staff artist Star Publications, an offshoot of the original working for Street & Smith as one of the inte-Munsey chain, entered the field with Famous rior artists for The Shadow single-character pulp Fantastic Mysteries and Fantastic Novels, two magazine. However, as was the custom with reprint magazines that used new artwork.

the chain publishers, Cartier was also given Other magazines included Super Science Stories, some assignments for their other magazines, in-Astonishing, Cosmic, Comet, Future, Science Fic-cluding Astounding Stories. Cartier showed a tion Stories, Planet Stories, Marvel Stories, and flair for science fiction, and when the publisher Dynamic Science Stories. Suddenly, a market ex-began a new magazine featuring fantasy fiction, isted for science fiction art.

Unknown, Cartier was given a number of as-Both new and veteran artists found work.

signments.

Frank R. Paul, Leo Morey, Alex Schomburg, It was a perfect match. Cartier possessed and a number of other artists from the 1930s a clear, sharp line style that reproduced ex-found their work more in demand than ever tremely well in the pulps. He had a fine eye for before. Paul, hardly visible since the collapse of detail, but, more important, he could capture Gernsback’s Wonder Stories in 1936, suddenly expressions as no other artist working in the found himself in demand by a number of pub-pulp field could do. The faces of his characters lishers, all looking for an artist whose name the often conveyed more emotion and feeling in a fans would immediately recognize. Virgil Fin-few lines than the writers put in their work.

lay, long a mainstay of Weird Tales, abandoned Cartier was especially skilled at humorous il-that magazine when a new publisher dropped lustration and was unsurpassed at drawing the art rates. Other magazines wanted his art funny characters. His work was not cartoonish and were willing to pay competitive prices for but actually funny. His illustrations were filled it. Finlay soon became a fixture in Famous Fan-with whimsy and good humor and were unlike tastic Mysteries and branched out to produce art anything else being published in the pulp field.

for nearly all the major magazines in the field.

Along with Finlay’s beauty and Bok’s style, Finlay’s replacement at Weird Tales was Cartier added humor to the science fiction art Hannes Bok. Samples of Bok’s work were field of the early 1940s.

shown to Farnsworth Wright in 1939 by a The boom in science fiction magazine
young Ray Bradbury, who was attending the publishing did not spread to book form. Henry first World Science Fiction Convention in New Holt Publishers experimented with reprinting York. Wright liked what he saw and began several excellent fantasy novels from Unknown using Bok’s work. The artist soon moved to magazine in hardcover in the early 1940s, with New York and, within a short time, was doing a notable lack of success. Other science fiction work for most of the New York-based science and fantasy novels published during the war fiction pulps.

years were packaged as general fiction. The pulp Bok did not have the control and clarity field remained science fiction’s ghetto. Unfor-of Finlay. However, his work was much more tunately, editorial attitudes of many of the ed-stylized and had a unique, distinct flair all its itors and publishers shaped the art as well as own. He soon became a favorite with many fans the story content of the magazines.

Part I. A Century of Science Fiction Art 22

Many of the decision makers involved in away from the juvenile pulp image that was the pulp field thought that science fiction ap-starting to haunt the science fiction genre.

pealed primarily to adolescents and slanted their The other magazine chains didn’t seem magazines to that audience. This was particu-bothered by the pulp label. Ziff-Davis started larly true of the Ziff-Davis chain, the Standard using the work of Robert Gibson Jones for cov-Magazine chain, and Planet Stories. Since the ers for Amazing Stories and Fantastic Adventures.

magazines were aimed at a youthful, mostly Jones, a particularly fine craftsman, was not male readership, covers were commissioned to noted for his subdued imagery. Women in peril appeal to the taste of such an audience.

and alien monsters dominated his work.

Farnsworth Wright had instructed Mar-

Planet Stories, a new magazine published garet Brundage to use provocative nudes on the by the Fiction House chain, experimented with covers of Weird Tales in the 1930s to attract at-a number of cover artists, including Paul and tention to his magazine. However, the covers Finlay. However, the publisher finally settled did not accurately reflect the fairly high qual-on art by H. W. Ward and Parkhurst, two vet-ity of fiction inside that pulp. In the 1940s, al-eran pulp artists from outside the science fiction though covers were somewhat more subdued, field. Both men contributed attractive but they much more accurately mirrored the con-generic-style science fiction illustrations. Again, tents of the magazines.

every issue usually featured a woman in peril, Street & Smith maintained a certain dig-usually being attacked by a horde of alien mon-nity about their pulps. Even the most action sters, with a heroic spaceman in the back-oriented publications did not feature the wild ground. Later, comic artist Allen Anderson action scenes used on most other pulp maga-took over the cover responsibilities for Planet zines. At Astounding Stories, where editor John and maintained the same traditions. Anderson W. Campbell believed he was publishing a mag-was another chain artist who produced art for azine aimed at an adult readership, art remained western, adventure, and romance pulps for Fic-moderately low key. Hubert Rogers, a Cana-tion House as well as for its science fiction tidian artist with a background in the pulps, did tles.

most of the prewar covers for Astounding from Earle Bergey, working steadily for Startling late 1939 on. Rogers’ paintings rarely featured Stories and Thrilling Wonder Stories, produced violent action scenes but instead focused on one carbon-copy cover paintings, each one featur-or more figures or a spaceship. A number of his ing a threatened beautiful woman, clad in an covers were almost portrait like in composition, impractical outfit including a cast-iron bra right the most famous of them being his painting of out of Wagnerian opera. An accomplished Kimball Kinneson, done for the serialization of artist, Bergey soon became so associated with

“Grey Lensman.” Rarely was there any major this “girl-in-peril” style of cover that many fans conflict on the cover. Inside illustrations were later thought he was to blame for the juvenile handled by Edd Cartier, the Isip Brothers, and approach to art that the magazines favored. It Charles Schneeman. Again, the focus was on was the usual case of blaming the messenger for figures and setting, rarely on action scenes.

bad news. Bergey was only one of a number of The early covers for Unknown were not artists who painted what the art directors overly violent, with a number of them sym-wanted.

bolic. In an even more startling departure, in Entry of the United States into the Second July 1940 Unknown switched from paintings to World War changed the face of science fiction.

all print on the cover. Each issue featured a list-The boom of 1939 and 1940 was already coming of the main stories in the issue along with ing to an end. There were too many magazines, a capsule summary (usually accompanied with with most of them being published on ex-a tiny illustration). It was an attempt to get tremely limited budgets. With rare exceptions,

23

Historical Overview to 1975 (Weinberg) the stories matched their finances. Pulps began matically, with a horde of unknown artists to die with increasing frequency. At the same dominating the inside pages.

time, the war mobilization forced cutbacks on The end of the war signalled the beginning paper. Chains were forced to reduce their num-of a new era for science fiction art. Ever since the bers of magazines and frequency of publication.

publication of Amazing Stories, science fiction In 1940 and 1941 thirty-seven issues of science had been trapped in a ghetto of its own mak-fiction magazines appeared on the stands. By ing. Artists interested in working in the SF field 1944 fifteen were available, and by 1945, only were bound by the narrow constraints and lim-twelve.

ited size of the pulp field. This all changed in the Other changes came about as well. Finlay late 1940s. New markets opened for science and Cartier were both drafted, and Rogers fiction and thus for science fiction art. A rapidly stopped working on American magazines. A expanding economy brought about rapid number of other artists also found themselves changes in the fiction marketplace, and science in the service.

fiction sales were dramatically altered.

Astounding was hit the hardest in the art A thriving SF small-press movement
department. Working as Rogers’s replacement, started in 1946. In 1939 August Derleth and William Timmins did covers and most interi-Donald Wandrei had begun Arkham House ors for the magazine. Timmins produced unin-Publishers, in an effort to publish all of H.P.

spired art that rarely caused a stir. Astounding’s Lovecraft’s fiction in book form. The two au-art sank into mediocrity. In late 1943, trying to thors did so after most major publishers ex-escape the pulp stigma and bowing to paper re-pressed no interest in such a project. Arkham quirements, Astounding shrunk from pulp size House was successful enough with its first few to five-by-eight-inch size, which became ventures that in time it became a small but known as “digest-magazine” format. At the steady publisher of quality fantasy and weird same time, Unknown Worlds (earlier Unknown) fiction books. Virgil Finlay provided the art for was quietly dropped.

the first Arkham House book, The Outsider, Famous Fantastic Mysteries found itself and later art was done by Ronald Clyne, without the services of Virgil Finlay. With full-Hannes Bok, and other well-known science page illustrations an integral part of the reprint fantasy illustrators. Unfortunately, Arkham had magazine’s format, the editors at Popular Pub-a very limited budget and modest illustration lications quickly sought a replacement. They schedule. It never offered SF artists much in the found him in Lawrence Sterne Stevens, an older way of a market.

artist on their staff, who had been trained as a However, the success of Arkham House
newspaper artist. Stevens, who worked under was not unnoticed in the science fiction field.

the name “Lawrence,” was an exceptionally fast After the war, several groups of fans launched artist who could produce detailed line illustra-their own publishing ventures, modelled at least tions in a style similar to Finlay’s, although by in part on Arkham House. Major publishing no means a copy of it. Stevens soon was doing houses had ignored the pulps, so these new nearly all of the art for Famous Fantastic Myster-presses—Fantasy Press, New Collectors Group, ies. Although not as popular as Finlay, he was Shasta Books, and Prime Press, among others—
better than most of the artists working in the found themselves with a vast array of excellent field at the time.

material to draw upon. Teenagers who had Covers for the other remaining pulps, in-grown up with the pulps were now adults with cluding Planet Stories, Amazing, Fantastic Ad-money to spend on hardcover editions of their ventures, Thrilling Wonder, and Startling Sto-favorite novels. The books reflected the tastes of ries, remained bright and colorful. However, the organizers of the presses, which, in turn, interior art on all of the magazines suffered dra-reflected the general taste of science fiction fans

Part I. A Century of Science Fiction Art 24
of the period. E.E. Smith, A.E. Van Vogt, Jack added basic colors. A color calendar was done Williamson, and other very popular authors of by Gnome in the same manner.

the time were soon appearing in hardcover edi-Although Cartier did a great deal of work tions that sold extremely well. The small presses for Gnome Press, he also worked for Fantasy flourished.

Press. Like Bok, he was extremely popular with Although organized to make money, the the small publishers. Several new artists, in-small presses also worked hard to give their cluding Ric Binkley and Mel Hunter, did out-customers the full worth for their dollar. Not standing work for the small-press field. Surpris-only did they publish the best available mate-ingly, the most popular of all science fiction rial from the magazines in book form, the small artists at the time, Virgil Finlay, did very little presses issued them in attractive, illustrated work for the small-press field. Finlay was capa-format. Art always played an important role in ble of doing exceptional jacket work but was all of the small-press editions. Early Fantasy never called upon by the fan publishers. Some Press hardcovers featured the jackets in one or years later, he did a series of very good jackets two colors but also contained four or more full-for the Andre Norton young adult science page interiors, often done on coated stock.

fiction novels published by World Publishing Later editions sometimes were published with Co.

illustrated endpapers, and many had full color It was in part the success of the small-press jackets.

hardcovers that motivated trade publishers to Hannes Bok became a favorite artist of enter the science fiction hardcover field in the many of the small presses because of his adapt-early 1950s. That occurrence, although a major ability to their needs. To help the publishers step forward for the field, badly hurt the sci-save money, Bok often did several renderings ence fiction art market.

of his paintings, each in one particular color Another new area of growth for science scheme, so that the printer did not have to do fiction was in the paperback field. Paperback color separations. Working for Shasta Books, publishing started as an experiment by Pocket Bok produced some of the finest jacket art ever Books in 1939 and soon mushroomed into the done in the field. Perhaps his greatest cover was biggest boom of the 1940s. The early paperback for the novel Kinsmen of the Dragon, but his lines rarely published any science fiction other paintings for Slaves of Sleep and The Wheels of If than an occasional H.G. Wells reprint. In 1944
were also exceptional.

Donald Wollheim edited the first science fiction Although the small presses tried hard to paperback, The Pocket Book of Science Fiction, for give the fans more, they usually worked on a Pocket Books. It was just a matter of time be-limited budget. Color jackets were impressive fore science fiction became part of the paperback but cost more money for separations and re-marketplace.

production. As mentioned, Bok did multiple Wollheim became editor of Avon Books
paintings to cut out the cost of separations. At in the late 1940s and immediately started a sci-Gnome Press, artists including Edd Cartier and ence fiction line, reprinting old novels with Kelly Freas often did paintings in monochrome pulp-style paperback art. Paintings were done and provided the printers with color guides for by staff artists for the company, although at least the work. The extra color was added by the one cover, for The Lurking Fear, was done by a printer according to the artist’s directions, pro-Weird Tales magazine veteran, A.R. Tilburne.

ducing a color cover from a monochrome Still, it was not until the early 1950s that painting. For Travelers of Space, a Gnome Press science fiction became a major force in paper-hardcover that featured sixteen pages of slick back publishing. Avon remained alone as the color illustrations, Cartier did the art as black-only regular publisher of fantasy material in the and-white illustrations and again the printer 1940s.

25

Historical Overview to 1975 (Weinberg) The pulp magazine market literally erupted edited by Groff Conklin. The books sold well, after the end of the war. With paper restric-especially to libraries.

tions eased, magazines switched from quarterly The pulp field continued to expand. New to bimonthly to monthly schedules in a year or magazines included Future, SF Quarterly, Mar-less. Better paper became available, providing vel Stories, Space Stories, A. Merritt’s Fantasy, better reproduction for interior as well as cover Dynamic Science Fiction, and Two Complete Sci-art. New magazines appeared. In 1948 Popular ence Adventure Books.

Publications revived Fantastic Novels, and in At the same time, new digest magazines 1949, Super Science Stories. Their resurrection appeared. Astounding had been the first and was merely a signal of the huge boom to fol-only science fiction magazine in digest format low.

until 1947, when Avon Books published the Finlay was back, working for many of the Avon Fantasy Reader edited by Donald Woll-science fiction pulps. Rogers returned to As-heim. Digests took up less space on the news-tounding, as did Edd Cartier. Interior art im-stand and were easier to handle. While the proved noticeably in all of the science fiction pulps continued to flourish, digests emerged as magazines.

a new force in the science fiction field.

In England several fans and professionals In late 1949 The Magazine of Fantasy banded together to start New Worlds and, later, (shortly changed to The Magazine of Fantasy & Science Fantasy. The new magazines provided a Science Fiction) and Other Worlds appeared as small but steady market for English science digests. In 1950 there appeared Galaxy Science fiction artists. It was a boom period for all of Fiction, Imagination, and Worlds Beyond. In 1951
science fiction fandom.

and 1952, If, Space, Galaxy Science Fiction Novels, Science Fiction Adventures, and Fantastic A Futher Expansion
came into being. The boom was on in both pulp and digest format.

The science fiction market experienced its In the paperback field, a number of com-second major boom at the end of the 1940s.

panies began publishing science fiction. Ban-Public interest in the field blossomed, and sud-tam, Pocket Books, Dell, and Signet all started denly science fiction stories were appearing issuing paperback science fiction novels and everywhere. In 1947 Robert Heinlein sold “The collections. New companies were entering the Green Hills of Earth” to the Saturday Evening paperback marketplace continually, and most Post. Other science fiction stories had appeared were experimenting with a few science fiction earlier in high-quality magazines (generally re-novels as part of their lineup.

ferred to as “the slicks” because of their slick Science fiction art flourished as never becoated paper, as opposed to the wood-pulp fore. Finlay and Bok were in constant demand paper of the pulps) but were usually packaged and found themselves with more work than as novelty items or borderline espionage-style they could handle. Cartier continued to do a fiction. There was no attempt at disguise this great deal of work for Astounding while branch-time. It was science fiction. Heinlein contin-ing out into the small-press field as well as to ued to sell to the slicks, as did Ray Bradbury, other magazines. Even Frank R. Paul returned opening the way for a number of other authors.

for a short while in the pulps. Vincent Napoli, The field was gaining some measure of respect.

who had worked for Weird Tales in the 1930s, Hardcover anthologies appeared. Random became a pulp regular, while Lawrence Sterne House published a huge collection of science Stevens, Paul Orban, Earle Bergey, Allen Ander-fiction, Adventures in Time and Space, edited by son, and Alex Schomburg continued to pro-Healy and McComas. Crown Books soon fol-duce excellent work.

lowed with an entire series of thick anthologies The pulps were not a closed market for

Part I. A Century of Science Fiction Art 26
new artists. They did not pay very high rates, ented magazine art in 1949. F&SF was pub-but fresh faces and talent were always welcome.

lished by the Mercury Press, the publisher of The slicks paid much better but wanted pol-American Mercury and Ellery Queen’s Mystery ished art and often employed staff artists who Magazine. The new SF magazine was patterned had been working at the publication for years.

after Queen’s magazine, which had been appear-Breaking in with the major magazines was ing as a digest since 1943. It featured both new nearly impossible. The pulps served as a spring-stories and reprints, all of high literary quality board for many artists just beginning their pro-and not the least bit in the action-pulp tradi-fessional careers. Many went on to bigger and tion. Covers matched the contents. The first better things, but an equal number remained issue featured an attractive photo by Bill Stone.

for years in the science fiction field. Advertising For the next few years, covers featured unusual and commercial art offered more money, but surrealistic scenes by noted book designer the science fiction field offered greater freedom.

George Salter, who served as the magazine’s art Ed Emsh, Frank Kelly Freas, and Ed Valig-director. From time to time, F&SF featured in-ursky began working for the science fiction terplanetary landscapes by Chesley Bonestell.

magazines in the early 1950s. All of them were Doubleday Books, Simon and Schuster,
exceptionally prolific, and their art attracted and several other major hardcover publishers immediate fan attention. Each man was adept entered the SF marketplace in the early 1950s.

at both interior art and cover illustration.

Genre hardcovers sold well to libraries, and the Within a few years, their work dominated the expanding science fiction field offered a new science fiction magazine scene.

area of growth. However, librarians refused to Science fiction art split into two directions buy books with garish, pulp-style covers.

in the early 1950s. This was the direct result of Gnome Press, one of the more aggressive small-the field itself experiencing growing pains. Ever press publishers, had discovered this when sev-since 1926 the genre had been labeled “pulp literal Gnome Books were rejected by libraries erature.” Safe within this classification, the field because of their cover art. New, less pulplike had managed to evolve and grow as a distinct covers were done for the books and only then classification of fiction, like mysteries and west-did the books sell. The major houses knew how erns. However, in the early 1950s many writers to package their books from many years of exand readers thought that the pulp label no perience. They bypassed popular science fiction longer fit. Science fiction was growing up. Not artists and instead went with artists new to the every story was juvenile pulp adventure. If SF
field who could produce dignified, conservative was to be accepted as literature, it had to be covers without a trace of pulp influence.

packaged and presented in a new, more adult Leading this group was the most influen-manner. Wild covers of women in metallic bras tial science fiction artist of the 1950s, Richard threatened by huge bug-eyed monsters no Powers. Powers, more than any other artist, longer served any purpose. If anything, they changed the perception of science fiction from served as a positive reminder of all that was space opera to real literature. He ranks as the wrong with the field. A new style of art was most influential illustrator in science fiction in needed to match the more serious science terms of setting a standard and style that many fiction being written.

other artists, such as Vincent Di Fate, Paul For years Astounding Science Fiction had Lehr, and Jack Gaughan, continued.

been featuring much more dignified covers than Although never honored by science fiction any other magazine in the field. However, the fandom with awards, Powers changed the face art still remained firmly grounded in the pulp of science fiction art. He was one of the earli-tradition. It was the Magazine of Fantasy & Sci-est of what can be considered a “third wave” of ence Fiction that broke the grip of action-ori-science fiction artists. Powers did not come

27

Historical Overview to 1975 (Weinberg) from the pulp magazines into science fiction.

were few artists working in the paperback field He had no contact with pulp art and was not who wanted to do science fiction covers all of influenced by it. Nor was he a science fiction the time. Powers himself stated in an interview fan who moved into the SF art field. Instead, his published in Algol magazine: “If the number of influences were classical painters as well as good artists who are painting good SF now were Matta, Miró, Tanguy, and other European sur-working in the early ’50s when Ballantine ap-realists. Thus his work was entirely his own. It proached me to do the work, he might not have was surrealistic and symbolic, done in one or approached me. He might have approached two colors due to the demands of the publish-somebody else and the competition would have ers.

been a hell of a lot stronger than it was.”

Powers studied art at the School for Illus-Powers earliest pieces for Ballantine fea-trators, run by Dan Content. Afterwards, he tured spacemen and spaceships done in the attended the New School, where he studied style of Chesley Bonestell but without the near painting, and then worked with artist Jake photographic clarity of that artist’s work. In-Conoway in New England, studying landscape stead, Powers combined his own surrealistic use and marine painting. His earliest science fiction of colors with the stock images of space travel.

work came from Doubleday as part of a general The covers were popular, and Ian Ballantine assignment doing dust jackets for that com-permitted Powers to experiment with more ab-pany. Those paintings attracted the attention stract pieces. His work for Childhood’s End was of Horace Gold, editor of Galaxy magazine, much more symbolic and abstract but still was who was looking for new artists. Magazine as-popular. After a while Powers was left on his signments followed and then more jacket art.

own to create covers in his own style. Ballantine Powers found himself being offered science science fiction and Powers’s covers became an fiction assignments more frequently. Hardcover accepted standard in the science fiction field.

publishers did not want jacket art that reflected The combination was extremely impor-the pulps. They needed more respectable cov-tant. Ballantine’s line stressed important, inno-ers. Powers’s art was much more commercial vative works of science fiction. The emphasis and practical. He soon became one of the most was on modern, thoughtful literature instead widely used artists in the fast-growing science of pulp action stories. The books were aimed at fiction book field.

a more adult reading audience, and the Pow-Often Powers was not even given the man-ers’ covers were an integral part of that package.

uscript to read but was just given a title and the More importantly, the art set science fiction off author’s name. Art had little to do with the from other pulp-type literature as the realm of story but tried to catch the essence of the mood imagination. Although Powers’s covers rarely of science fiction. Powers’s work was totally dif-reflected the actual contents of the books, they ferent from the usual straightforward illustra-made it clear that they were works of imaginations that had been appearing until then in tion and the mind. It is impossible to conceive hardcover books and paperbacks. It set off sci-of a surrealist paperback western cover, but ence fiction from other works and yet did not through Powers’s influence, the combination of give the books a garish, pulp appearance.

surrealism and science fiction seems natural.

When Ian Ballantine began Ballantine

At the same time, Signet Books began a Books, Powers was approached by an agent who short-lived but very influential science fiction promised that he could get the artist a great deal paperback line. Among the books published of work if he let the agent represent him. Pow-were important works by Heinlein, Asimov, ers agreed and soon was handling all of the cov-and A.E. Van Vogt. Again, the art director at ers for the important Ballantine SF series.

Signet stayed away from pulp-style covers. In-Again, Powers got the assignment because there stead, covers were commissioned by Robert

Part I. A Century of Science Fiction Art 28

Schulz, Stanley Meltzoff, and Jack Farragaso, covers for both the paperback and magazine among others. All were artists new to the science market.

fiction field, and again, all were members of this The boom in science fiction came to an new “third wave” of science fiction artists — il-abrupt end in the mid–1950s. There was no lustrators from outside the pulp or science clear explanation why it happened; the field just fiction field who entered the field without any began to shrink. Magazines died one after an-preconceived notions about style or substance other, with the pulps going fast. Paperback lines of their paintings. Meltzoff was especially im-were cut back or dropped entirely by publish-portant because he taught at Pratt Institute, ers. The small presses, always run on a small where he instructed both Paul Lehr and John margin of profit, could not compete with the Schoenherr. Covers done by Meltzoff for books large publishers and faded away. Then the by Robert Heinlein included The Puppet Mas-major publishers cut back their lines, aiming ters, The Green Hills of Earth, and Tomorrow the what little science fiction they published for li-Stars. Schulz and Faragasso both taught at the braries. Many artists abandoned the shrinking Art Students League, and although not as field: Edd Cartier went into commercial art, influential as Meltzoff, they also worked with and Hannes Bok pursued other interests. By a number of students who later went on to ca-the late 1950s science fiction was at a low ebb, reers in the science fiction art field.

causing one well-known fan to publish a survey Paul Lehr, following Meltzoff ’s lead, be-entitled “Who Killed Science Fiction?”

came noted as a specialist in science fiction book illustration and has remained a prolific A Down Time
contributor to the field since the early 1960s.

His earliest work, for The Door into Summer, The late 1950s and early 1960s were a dis-No Place on Earth, and The Deep Range, shows mal time for science fiction. The small presses the strong influence of Meltzoff ’s Signet paint-had come and gone. Magazine publishing was ings.

down to only a few regulars. Analog (a name Signet published only a few books a year change for Astounding) led the pack, with into the 1960s, but the books were widely dis-Galaxy and The Magazine of Fantasy & SF close tributed and presented an image of science behind. Further back were If, Amazing, Fan-fiction much different from mere pulp enter-tastic, and Fantastic Universe. During the time, tainment. The packaging of the books, prima-a number of other short-lived magazines came rily the cover art, strongly reinforced this and went, victims of a flat market.

image.

Art was handled by relatively few illustra-Pulp art was not dead, however. Ace Books tors. In the late 1950s Kelly Freas and Henry maintained a strong science fiction line through-Van Dongen were the mainstays for Astounding.

out the 1950s. Under the ownership of A.A.

In 1958 John Schoenherr began working for the Wynn, once publisher of the Ace pulp line, and magazine as an interior artist. He rose to promi-the editorial guidance of Donald Wollheim, nence in the early 1960s when his work ap-Ace Books featured pulp-style fantasy with peared on the cover of Analog. Another artist pulp-style covers. A number of artists from the who came from outside the science fiction field, pulps, including Paul Orban and Norman Schoenherr also painted a number of excellent Saunders, did early covers for the Ace science covers for paperbacks, doing most of his work fiction line. However, by the mid–1950s Ed for Ace Books and Pyramid Books. His art-Emsh and Ed Valigursky had taken over as the work for the serialization of Frank Herbert’s cover artists for the monthly books. Both illus-epic Dune novels further enhanced his reputa-trators were particularly good at producing pol-tion in the science fiction community. Schoen-ished art fast and painted literally hundreds of herr left the SF field at the height of his popu-

29

Historical Overview to 1975 (Weinberg) larity to concentrate on his nature paintings and was not suited for paperback book covers, nor rose to new heights of success in that speciality.

was there any room for him as a hardcover At Galaxy and If (both owned by the same jacket artist. Magazine rates were low, and Fin-publisher), art was handled by a number of lay normally took many hours to complete one artists including Ed Emsh, Virgil Finlay, Mel illustration. The artist was forced to change Hunter, and Jack Coggins. Covers rarely illus-with the times. He refined and revised his tech-trated a particular story. They were often space-niques, losing much of the fine detail for which ship studies or humorous scenes. Emsh was the he was famous, so that he could produce master of such “fun” art, and his series of finished pieces at a faster rate. During the 1950s Christmas paintings for Galaxy featuring a and 1960s Finlay did work for the Ziff-Davis four-armed Santa Claus became one of the magazines as well as for Galaxy and If. How-trademarks of the magazine. In the astronom-ever, his most lucrative assignment was a series ical vein, Coggins, Dember, and John Pederson, of covers for Fantastic Universe that appeared Jr., produced the best work. On the inside, in the late 1950s. Unfortunately, the magazine Wally Wood and Jack Gaughan were the two folded in 1960. Finlay continued to work in the most prolific artists. As the 1960s began, SF field but, like many other artists, looked for Gaughan started to dominate the interiors of work elsewhere. He soon found a better paying both magazines.

market in the astrology magazine field.

The Magazine of Fantasy & SF did not use Only a few artists were able to make a de-any interior artwork. Covers were done prima-cent living as science fiction artists. Ed Emsh, rily by Emsh and Hunter. From time to time, Kelly Freas, and Ed Valigursky worked for both Chesley Bonestell paintings scheduled for book the magazine and paperback fields. Richard appearance were used as covers as well.

Powers continued to dominate much of the pa-The Ziff-Davis magazines Amazing and perback and hardcover market. Mel Hunter Fantastic featured covers by Ed Valigursky. Alex produced work for both magazines and hard-Schomburg took on some of the cover respon-covers. Most artists worked in other areas of il-sibilities in 1960, sharing the duties with several lustration outside the science fiction genre. No other artists. Interiors were primarily handled by one got rich as a science fiction artist.

Leo Summers and Virgil Finlay.

The early 1960s brought more changes to In England, science fiction in paperback the fantasy art world. Kelly Freas left science was nearly nonexistent. New Worlds and Sci-fiction illustration in 1960 and did not return ence Fantasy were steady publishers of good sci-until nearly five years later. Valigursky also left ence fiction, along with Nebula and Science Fic-the field about this time, turning to the more tion Adventures. Art was not up to the level of profitable area of aviation illustration. Emsh re-American publications but was fairly well han-tired from painting in 1964 to devote all of his dled by Brian Lewis and Gerard Quinn.

time to experimental filmmaking. In a few In America most of the other magazines of short years, the most prolific trio of artists of the period, including Infinity, Satellite, Science the 1950s were gone.

Fiction Stories, and Super Science Fiction relied Other artists quickly filled the vacuum cre-on Ed Emsh and Kelly Freas for most of their ated by their departure. Most prolific was Jack art. Both men were so talented and worked so Gaughan. Working in the surrealistic style of fast that they were able to produce huge Richard Powers, Gaughan took over much of amounts of high-quality art for nearly every the cover work for Ace paperbacks, the leading publication in the science fiction field.

SF publisher of the time. Alex Schomburg also Virgil Finlay was only one of many artists did a number of fine covers for Ace. John whose career went into a sharp decline with the Schoenherr, already popular at Analog, became fading fortunes of science fiction. Finlay’s style a prolific paperback cover artist. Other artists,

Part I. A Century of Science Fiction Art 30
including Ralph Brillhart and Gray Morrow, fanzine Amra. Krenkel had been a Burroughs produced creditable work.

fan most of his life and produced cover paint-It was a slow and steady period for science ings in the tradition of J. Allen St. John. His fiction. Magazine sales were stable while paper-first cover, for At the Earth’s Core, reproduced in backs sold to a fairly unchanging audience.

color the same scene done by St. John as one of Lancer Books, a new softcover publisher, the lead illustrations for the first edition of the started a science fiction line featuring attrac-novel in hardcover many years earlier. Krenkel tive, colorful covers. Ace and Ballantine were also did covers for The Moon Maid and Pellu-still the major SF paperback lines, with the cidar. At the same time, Wollheim had Emsh other major publishers maintaining small SF
paint one Burroughs cover for The Moon Men.

lists. Science fiction was genre literature and Fan response favored Krenkel, and Wollheim not considered a major market. Hardcover sci-wanted to maintain a St. John image on the ence fiction was aimed primarily at libraries.

covers. Ace continued using Krenkel for its Science fiction art remained a dead end propo-reprint covers.

sition for most artists.

However, Krenkel was primarily a pen-

However, in 1962 the entire field changed.

and-ink illustrator. He did not have confidence Several years passed before the true impact was in his own work and often found himself at a felt, but from a quiet beginning, a revolution in loss as to how to finish a piece. Krenkel soon science fiction publishing and science fiction asked his friend comic artist Frank Frazetta for art took place. In an odd quirk of fate, copyright some help. Frazetta, who had been ghosting the law played a major role in revitalizing the en-Lil Abner daily comic for nine years, had just tire field and changing the face of science fiction left the strip and wanted to make his mark in the illustration.

book field. Krenkel suggested to Donald Woll-An employee working for the Edgar Rice heim that Ace would be better served on the Burroughs estate forgot to renew copyrights on covers by Frazetta, a fast worker who captured several of Burrough’s fantastic adventure novels.

all of the spirit of the Burroughs novels.

It seemed that the stories were in the public do-At first Wollheim was leary of using
main. Dover Books, a reprint house specializ-Frazetta’s work because he was a “comics” artist.

ing in publishing public domain books, dis-His first cover for Ace was for Tarzan and the covered the oversight and quickly issued trade Lost Empire. Krenkel and Frazetta continued to paperbound reprints of the novels. Most of alternate on the covers and often worked to-Burroughs work had never appeared in paper-gether, with Frazetta finishing paintings back, and all but a few of the Tarzan novels had Krenkel had started. Within a short time, fan been out of print for decades.

reaction convinced Wollheim that Frazetta was At Ace Books, Donald Wollheim saw the attracting a large following and that he was tremendous sales potential in the novels. Bur-much more than a mere comic-book illustra-roughs had been one of the most popular pulp tor.

authors of all time. His work had always ap-The Burroughs paperbacks were tremen-
pealed to teenagers and young adults looking dous sellers. A muddled copyright situation led for exciting fantasy adventure. The baby-boom Ace Books to settle out of court with Edgar generation fit right into that age group. It was Rice Burroughs, Inc., on the earlier reprints and perfect timing. The novels were available, and to buy the rights to many more Burroughs a huge audience existed for them. Ace started books. Ballantine Books also signed contracts reprinting public-domain Burroughs novels in with the Burroughs estate and issued its own paperback.

Tarzan and Mars reprints. All of the paperbacks To do the cover art, Wollheim selected Roy sold extremely well. For several years the BurG. Krenkel, whose work he had seen in the roughs books dominated softcover sales.

31

Historical Overview to 1975 (Weinberg) Frazetta continued to do covers for the Ace perb cover by Frazetta. It was followed shortly series. However, there was only a limited num-in 1967 by Conan the Warrior, Conan the Con-ber of Burroughs books available for reprint-queror, Conan the Usurper, and Conan. All of ing. By late 1964 Ace was at its limit on the the books had spectacular sales. Each featured Burroughs novels. But there were plenty of a tremendous Frazetta cover. Although Howard’s other old fantasy novels in a similar vein, and writing obviously had something to do with other authors could write Burroughs-style nov-the books’ great reception, the cover art played els to feed the market. Ace soon began an am-a major part in selling the paperbacks. The bitious line of other books in the Burroughs Conan novels helped thrust Lancer into the tradition. To help promote the books as Bur-limelight as one of the leading publishers of roughs-style works, covers were by Frazetta.

fantasy and science fiction paperbacks in the Early titles in this new series included Warrier late 1960s. The success of the Howard books of Llarn by Gardner Fox, Gulliver of Mars by brought forth a flood of imitations. Science E.L. Arnold, and Swordsmen in the Sky, an an-fiction entered a swords-and-sorcery boom.

thology edited by Wollheim. All of the books Already, Frazetta commanded top dollar featured Frazetta covers. After a while, it befor his work. It was obvious to everyone in the came apparent that the books were selling not field that a painting by Frazetta, if not guaran-only because they were Burroughs imitations teeing success for a book, definitely helped its but also because they featured Frazetta artwork.

chances a great deal. When Lancer refused to Frazetta was never happy with Ace. He pay a higher price for his work and used an-thought they had little respect for his art and other artist on several Conan paperbacks, cries paid him low rates because of his background of outrage from the fans greeted the move.

from the comics. Lancer Books, noting Frazetta was brought back despite his cost. But Frazetta’s popularity, hired him at a better rate even for more money, Frazetta could produce to do covers for its line. His first work for the only so many paintings. Other artists quickly smaller company was The Reign of Wizardry by entered the field, working in the “Frazetta Jack Williamson published in late 1964. The style.” Most popular was Jeffrey Jones, whose cover, one of Frazetta’s finest, attracted a great early paintings were very much in the Frazetta deal of attention. However, Lancer offered tradition, with their heroic muscular heroes and Frazetta little work until 1966. He continued beautiful, near-naked heroines. Over a period to do paperback covers for a number of other of years, Jones developed much more of his own companies, as his reputation as an artist whose look, and now his paintings are uniquely his paintings sold books continued to grow.

own.

In late 1966 Lancer called on him again.

Boris Vallejo was another artist whose His first new assignment was for Phoenix Prime work was strongly influenced by Frazetta. and by Ted White. A science fiction adventure novel his earlier art was often compared with Fra-with swords-and-sorcery trappings, the book zetta’s. The same was true of Ken Kelly. As with did exceptionally well, at least in part due to Jones, both artists have since their earliest days the Frazetta cover. His next book had a much forged their own claim to fame, though often greater impact. Again, Frazetta was the right the Frazetta influence still shows in some of choice for the right series of books at the right their paintings.

time.

The world of science fiction was expand-For years the Conan books by Robert E.

ing and changing, and so was the science fiction Howard had been tied up in an involved copy-art marketplace. The huge Edgar Rice Bur-right lawsuit. Lancer Books finally obtained roughs and swords-and-sorcery explosions had rights to the novels in 1966 . Conan the Adven-created ripples that spread among all of the turer was published late that year, with a su-major publishers. At the same time, other

Part I. A Century of Science Fiction Art 32
books created big waves in a somewhat differ-Frazetta flavor. Beautiful unclad women and ent area.

extremely muscular heroes dominated the The infamous baby-boomer generation
paintings, with one or more monsters in the was just entering college in the 1960s. Here was background.

a vast buying market that had been raised in a At the same time, the surrealist movement world where the advances of science were not strongly entered the science fiction art field. The looked upon with the same amazement as was

“third wave” of artists — men who were not the case twenty or thirty years before. It was a originally science fiction fans and thus worked market ripe for science fiction. However, even without any preconceived notions of what sci-more so, it was a restless group of young adults ence fiction art should be — brought unusual that embraced values and ideas different from and exciting new imagery to the field. Artists those of the past. The counterculture move-like Powers, Paul Lehr, and John Schoenherr ment of the 1960s provided a huge boost to sci-had cleared the way for symbolic, surrealistic ence fiction and fantasy. Fueling the interest in paintings. In science fiction writing, there was science fiction as an alternative to “safe” read-a new emphasis on character development over ing was Robert A. Heinlein’s novel Stranger in plot. Many writers explored subjects and no-a Strange Land. The controversial story was em-tions rarely considered in traditional, conser-braced by the hippie movement and became a vative science fiction. Since this “new wave”

campus best-seller.

sweeping through the field was aimed at a much At the same time, Ace Books discovered more sophisticated reading audience, books that Tolkien’s Lord of the Rings trilogy was in were packaged to appeal to that audience. Pulp-public domain in the United States due to a style science fiction illustration was out.

copyright slip by the publisher. Both Ace and Swords-and-sorcery art did not work on books Ballantine brought out editions of the novels.

by Harlan Ellison or Michael Moorcock.

Ace did the books without permission of Foremost among the artists who emerged Tolkien, while Ballantine published authorized as leaders in the SF illustration field were Don versions. Both sets did very well, with the Bal-Ivan Punchatz, Leo and Diane Dillon, Robert lantine books becoming huge best-sellers. The Lo Grippo, Gervasio Gallardo, Gene Szafran, success of Tolkien led Ballantine to experiment and Robert Pepper. For several years, this new with other novels in the same adult-oriented wave of surrealism held sway over the science fantasy market. The books also sold well, and fiction paperback marketplace. Then reality in-Ballantine shortly began its Adult Fantasy Se-truded.

ries.

Science fiction entered a recession of sorts, Science fiction in paperback experienced a and a number of publishers dropped or cut flurry of activity. Every major publisher had a back their science fiction lines. Although the line of science fiction or fantasy novels. Emsh, new wave of SF writing might have been con-Valigursky, and Freas no longer dominated the troversial and more adult in approach, it didn’t market. Powers was still working, but even he sell very well. Surrealistic art, strongly linked could not keep up with all of the books being with the new wave style of writing, shared the issued. In the late 1960s John Schoenherr all blame when the books stopped selling. Whether but left the market, leaving another gap to be valid or not, the perception existed that the cov-filled. Attracted by the freedom of expression ers had turned away buyers. Many of the artists and the openness of the market, a number of who had entered the field during the brief fling new artists entered the field.

at surrealism left it soon after.

Book covers split into two main categories.

At the same time, in England, Christopher As mentioned, swords-and-sorcery and high-Foss broke into the science fiction paperback adventure SF novels had a distinct Frank art market with a remarkable series of paint-

33

Historical Overview to 1975 (Weinberg) ings. Foss’s work was obviously strongly influ-While the magazines faded quietly into the enced by the 1968 film 2001: A Space Odyssey.

background, Stephen Fabian, a fan artist who His paintings featured huge spaceships that made the transition from fan to professional were complex, bizarre creations unlike any seen without the benefit of formal art training, be-before in the field. The paintings were done in came a popular black-and-white as well as cover near photographic detail and featured numer-artist. A number of other new interior artists ous tiny portholes and lettering that empha-entered the field, as the low rates paid by most sized the immense size of the machinery. Foss magazines attracted only talent willing to work was equally adept at painting huge buildings, for little money to gain exposure.

alien landscapes, and gigantic machines, giving Hardcover publishing in science fiction re-them all a clarity and size that was never before mained constant, with most books still aimed realized in science fiction artwork. Other science at the library market. Cover art did improve as fiction artists, from Paul to Bonestell, had done publishers used the same artists who did most space scenes featuring spaceships, but none had paperback art.

painted ships that totally dominated the landscape in the way that Foss’s creations did. The The Next Change
slick, metallic look of airbrush art immediately took over the covers of British paperback science Change came to the science fiction art field fiction. Covers for science fiction books were almost unnoticed. Hardware science fiction art done either by Foss or by artists painting in the lost its appeal in the middle 1970s, and-tradi-

“Foss style.” In many ways, Chris Foss became tional illustration again returned to most cov-the Frank Frazetta of the early 1970s.

ers. Laser Books was born, an extension of HarThe same wave of “heavy-metal” hardware lequin Romances, featuring fast-action science art soon reached America. Spaceships no longer fiction novels. In an unusual move, Laser com-looked as if they were new, perfectly made ve-missioned Kelly Freas, always popular and de-hicles. Instead, they were battered and beaten, pendable for good cover art, to do all of its showing all of the details of years in service.

cover art. The paintings were done by strict John Berkey rose to prominence as the Ameri-guidelines, giving the paperbacks a uniform can master of science fiction hardware art. For-look. Unfortunately, the packaging made the tunately, most American artists kept away from books look too similar, and the novels them-the absolute totality of giant ships that filled selves reflected the low payment rates paid by Foss’s work and instead produced excellent the publisher. Laser did not last.

space scenes. Among the notable artists who DAW Books continued to publish enter-began work during this period were Dean Ellis, taining science fiction featuring covers by al-Vincent di Fate, and Rick Sternbach.

most every artist working in the field. Gaughan Science fiction publishing ebbed and flowed and Freas were prominent among artists workin the 1970s, with a number of new markets ing for the company, but Wollheim was not opening. Donald Wollheim left Ace Books and hesitant about using new artists. Michael Whe-formed his own publishing house, DAW
lan, who began his career at Ace Books, soon Books, printing four science fiction titles a became a regular at DAW.

month. Ballantine Books, noting the success of The 1976 World Science Fiction Conven-the DAW imprint, created Del Rey Books, with tion in Kansas City was a watershed in modern Lester and Judy-Lynn Del Rey in charge of a science fiction art history. At that convention, large science fiction and fantasy line. Ace con-Laser Books mounted a huge display of its tinued to publish a large number of paperbacks, books and the matching Freas covers. There and the programs at Berkley, Dell, and several was a Star Wars display, heralding the new other publishers remained competitive.

movie that brought life and believability to

Part I. A Century of Science Fiction Art 34

Chris Foss’s art. George Barr, a popular fan for DAW reissues of the Elric novels by Michael artist who had become an equally popular pro-Moorcock in late 1976 were immediately hailed fessional, was the art guest of honor. Michael as the definitive version of that tragic hero. His Whelan and his wife, Audrey, set up the first paintings done for the Dragonriders of Pern se-major display of his work at a world conven-ries by Anne McCaffrey received the same tion.

praise. His cover paintings for the Little Fuzzy The Freas art was well regarded, but the Books by H. Beam Piper were hailed by critics interest in Laser Books was negligible, foreshad-and fans alike as perfectly capturing the spirit owing the failure of the series with science of the novels.

fiction readers. The Star Wars exhibit and slide As if spurred on by Whelan’s success, a new show generated some excitement, but no one wave of artists flooded the science fiction field.

suspected the impact that the movie would have The only problem with such an influx of talent on science fiction. One of George Barr’s paint-was that there were not enough books being ings sold for $450 at the art auction, a near published for each artist to be fully appreciated.

record price and an indication of the intense Rowena Morrill became a fixture at Timescape fan interest in science fiction art. Whelan’s art Books. Darrell Sweet took over much of the was the hit of the show, attracting widespread work at Del Ray paperbacks. Don Maitz did a attention from both publishers and fans.

great deal of work for Popular Library, as did Within a short time, Whelan’s career was on a Carl Lundgren.

swift rise to the top of the field.

In England, Jim Burns rose to the top of Whelan was the first of a new group of sci-the field with covers that showed the Foss ence fiction artists to emerge in the late 1970’s.

influence but were not slavish imitations.

Their art had a polished, slick look rarely seen Burns’ distinctive style featured stylish humans before on covers. Whelan combined all of the and spectacular spaceships. Like most of the best features of preceding science fiction art.

British artists, he was a master at a hard, His people were larger than life but did not finished look. Equally good, with work again have the exaggerated muscles and barbarian fea-featuring a polished, almost metallic look, was tures of the typical Frazetta painting. At the Peter Andrew Jones. In the swords-and-sorcery same time, Whelan’s faces had all of the char-market, Chris Achilleos painted a number of acter of the best of Kelly Freas’s work. Detail fine pieces featuring larger-than-life heroes and was not neglected. Machinery was done with heroines but with more style and less photo-the same technical skill of Chris Foss and oth-graphic realism than his American counterparts.

ers of the heavy-metal science fiction school.

The impact of these artists was immense.

More importantly, Whelan worked hard on Important talents such as Whelan, Rowena, every detail of his background. The main Boris Vallejo, Don Maitz, and Carl Lundgren figures were technically brilliant, and the sur-served not only as artistic influences but as role roundings in which they interacted were equally models for new artists. The artists of the late detailed. There was no skimping on detail.

1970s and early 1980s proved that cover art An excellent science fiction illustrator, could be challenging and rewarding for those Whelan also excelled at fantasy art or science willing to work at perfecting their craft.

fiction art with a fantastic element. His covers

Historical Overview, from the 1970s to 2000
by Jane Frank

The 1970s was a critical decade in the his-selves chafing under the constraints of the label tory of science fiction art. As Robert Weinberg and seeking opportunities to gain exposure, observed, there was the perception that the field recognition, and credit for their role in the had expanded to accommodate non-traditional commercial success of products and ideas.

styles of illustration, and many new talented The ebb and flow in science fiction pub-artists were drawn to the field. At the same lishing that marked the 1970s, noted by Wein-time, and beyond the discontinuities of book berg, was brought on by several factors that and magazine publishing, there were several would have far-reaching impact. These in-emerging social and cultural trends that many cluded the rising domestic costs of paper and established artists and fans ignored at the time.

printing, changing methods and channels of In a span of less than 20 years, these events distribution, and the diversification and frag-would transform the industry, and cause mentation in consumer tastes. Just as in previ-Charles Brown to solemnly proclaim in the ous decades, slumps in genre art markets drove 50th anniversary edition of Locus magazine that illustrators to seek other ways to pay the bills,

“The twentieth century was the SF century”

whether it was comic art or advertising. But (September 2002).

those ebbs and flows also primed the parochial After about fifty years of determined ef-and insular science fiction art field to exploit fort to set themselves apart as a fan base unlike wider cultural changes. Seeds sown in the 1970s any other, it is no surprise that (to quote Wein-would bring new life to flagging markets in the berg) “change came to the science fiction art 1980s, and draw new fans with hybrid tastes.

field almost unnoticed” in the 1970s. Science The huge appeal of movies like 2001: A Space fiction “as we knew it” had to be resistant to Odyssey (1968) and Stars Wars (1977), tell only change, in order to survive as a thing unto it-part of the story of this expansion. Other in-self. But change was in the air, and quite apart ventions in the 1970s would come to generate from the rise and fall of publishing houses, or equally intense fan interest and bring tremen-the artistic freedoms being offered artists dur-dous opportunities, as well as unprecedented ing one decade — and denied them in the stress, to illustrators by the end of the century.

next — new technologies would have critical The burgeoning of new, data based tech-impact on how we defined art in the genre. For nologies, made possible by the home computer, perhaps the first time, science and fantasy artists by the 1980s had already begun to impact the who had never had difficulty in defining them-way commercial art was commissioned, created, selves as such would within a decade find them-delivered, printed, and used for marketing pur-35

Part I: A Century of Science Fiction Art 36
poses. The invention of VHS and Betamax led had defined themselves that way, as well. A ded-to new markets for cover art, and then to pack-icated and enthusiastic core of fans and collec-aging art for all sorts of related products like tors of genre material retrieved and preserved video games and CDs. Synergies created by and exhibited those artworks which otherwise these advances in technology, in combination would have been discarded, destroyed, or abused with the explosive growth in entertainment beyond restoration. Indeed, well through the media and “collectible” artifacts of popular cul-1960s, few publishers were returning the art to ture by the early 1990s, were powerful enough artists, nor were artists expecting it to be re-to alter forever the world of science fiction. For turned. In the 1970s the fortunes of artists twentieth century enthusiasts raised on pulps, changed for the better. By the end of this im-fanzines, SF conventions, digest magazines and portant decade the genre’s borders had greatly paperbacks, painted or drawn illustrations had expanded, freeing the artists from the tyranny been an inextricable part of the science fiction of verbal contracts and non-return of the art.

experience. The idea that in the twenty-first Frank Frazetta is said to have led the way in century “Books will still be important, but will terms of demanding that he get his artwork re-probably be a smaller part of the field,” as Don-turned, but other artists also were beginning to ald Wollheim speculated ( Locus, 2002), was fight back. Almost all the artists were now sign-hard to swallow. Hard to swallow, because con-ing their art, figuring out clever ways to keep current with an explosion of new writing talent their signatures from being cropped out of the in the 1980s, there had also emerged a new gen-printed image, and demanding that they be eration of science fiction artists, ones who credited for the cover art by name on the copy-would come to dominate the mainstream of right page. Almost all publishers by the end of genre art through the 1980s and 1990s, produc-the 1970s were giving them that credit. The arting a new “golden age” in science fiction book work, and artists’ names, started to become rec-and magazine art. And now, just as Michael ognizable to fans, as distinct from the books Whelan and Frank Frazetta and Chesley Bon-they appeared on. Increased socializing among estell and Virgil Finlay and Frank R. Paul are fans and artists also increased exposure of the beginning to get their due, we are told that it art.

was “the end of an era.”

A new literary genre became popular in How illustrators navigated a playing field the 1970s, the horror genre. Early best-sellers in large part dominated by non-literary media were The Exorcist by William Peter Blatty in by the end of the century and earned a living in 1971 and the sensational Amityville Horror by spite of forces driving the field farther and far-Jay Anson in 1977. In 1979, Stephen King first ther away from its literary roots forms the core made the fiction top ten with The Dead Zone, of the story of science fiction and fantasy art in and from there horror grew into a hugely pop-the last quarter of the century.

ular and profitable area of fiction in the 1980s.

Its appeal to mainstream readers was such that Highlights of the 1970s
stories about vampires, werewolves and ghosts filled the shelves of bookstores while at the same Until the 1970s, science fiction and fantasy time providing huge amounts of freedom to the artists’ fortunes largely rose and fell based on artists who depicted supernatural and horrific publishing industry “booms” and “busts”—well themes. The Swiss artist Hans Rudi Giger fol-documented by Weinberg in the previous sec-lowed in the tradition of big screen slasher tion. The genre was defined by its associations movies such as the Texas Chainsaw Massacre with printed, published, literary forms of science (1974), unseen monsters in Jaws (1975), satanic fiction and fantasy. And artists — although not rock groups such as Black Sabbath (1970), and always seeing the benefits in that association —
campy theatrical events such as The Rocky Hor-

37

Historical Overview, 1970s to 2000 (Frank) ror Show (1973). Giger’s “Necronomicon I” ex-prominent SF artists — just as Playboy did —
hibition in Europe attracted much attention for and bring their work to the attention of a large the quality of its horrific and macabre content, audience.

and led to his particularly successful role in the At the same time, artists’ newly acquired concept design for the film Alien (1979). Artists confidence had limits, and those limits were were given license to scare, disturb, or some-being imposed by an equally powerful trend in how invoke fear in the reader at an unprece-publishing: the consolidation and merging of dented scale. Entire careers of artists were de-publishing houses and acquisition of many es-toured by the success of Jim Warren’s magazines tablished publishers by large corporations and such as Creepy, Eerie, Vampirella, Spirit, Famous conglomerates. The power of art directors to Monsters of Filmland. There was a surge in dark impose their tastes on book covers eroded. In its fantasy novels, beginning with Anne Rice’s In-place came committees composed of art direc-terview with a Vampire (1976), and while it was tors, editors, marketers and buyers from major too soon for artists to be strongly identified with retail books chains who together decided what the subgenre, this would change shortly. Lee should go on a book’s cover. The “colonization Brown Coye was still being honored at annual of the U.S. publishing industry by Bertels-World Fantasy Conventions toward the end of mann,” a German printing and publishing the decade, but Arkham House cover art paled house founded in 1835, for example, could in comparison to the artwork found on Scream stand as the exemplar for how the publication Press dust jackets in the 1980s.

of so many books could be controlled by so few With the recognition that readers of sci-publishing entities. Random House had pur-ence fiction were also pro-technology, the mag-chased Alfred A. Knopf in 1960. In 1965 Ran-azine Omni came on the market in 1978. As an dom House was bought by RCA. Then in 1973
example of the diversification prevalent in the Random House bought Ballantine Books and 1970s, Omni was both a science magazine and in 1980 bought Bantam Books—the largest pa-science fiction magazine, containing articles on perback publisher in the world at that time. In science fact and short works of science fiction 1980, RCA sold the Random group (Knopf, that its publisher, Bob Guccione (publisher of Ballantine, Bantam) to Advance (run by the Penthouse), described as “an original if not con-Newhouse family, which had global magazine troversial mixture of science fact, fiction, fan-interests, along with holdings in U.S. newspa-tasy and the paranormal.” The magazine was pers, etc). In 1982 Random expanded, and hugely successful, reportedly generating more bought Fawcett Books, followed by the pur-than one million newsstand sales within a chase of Times Books in 1984. Then came month of beginning operations. It had beauti-along Bertelsmann, which, in 1985 merged their ful full color reproductions and was edited by worldwide music business with RCA. In 1986

Ben Bova from 1978 until 1981. After Bova left, Bertelsmann then buys Doubleday, and in 1987

Omni was edited by at least five people, none of Random buys the publishing houses Chatto, whose names would be immediately identifiable Virago, Bodley Head & Jonathan Cape. In to SF fans, although Ellen Datlow was fiction 1988 Random House buys Crown Publishing editor of the magazine from the time Bova Group and —finally — in 1998 Bertelsmann stepped down in 1981 until the magazine folded buys Random House from Advance, and
in 1998. Like Playboy and Penthouse, Omni merges it with Bantam, Doubleday, and Dell.

was open to speculative literature, and its high The history of Tor Books, founded by Tom circulation (permitting payment for stories Doherty in 1980, follows a similar trajectory.

many times higher than that of other science Tom Doherty Associates, LLC, with imprints fiction magazines), coupled with some out-Tor and Forge, was sold to St. Martin’s Press in standing fiction editors, allowed it to attract 1986, and then subsequently — along with St.

Part I: A Century of Science Fiction Art 38

Martin’s Press and Henry Holt and Winston —
focused on works from the collections of indi-became part of the Holtzbrinck Publishing viduals who might be considered tastemakers, Group, which by 1994 also owned Scientific the Deans took on the role themselves, and American magazine, a majority interest in Far-were singularly successful at it. By the early rar Straus Giroux publishers and 70 percent of 1980s, Dragon’s World Ltd., through their Macmillan Books. By the end of the century Paper Tiger imprint, had become the pre-em-there was a dearth of strongly independent inent source for art books in the field, and they book publishers, and an unpredictable market-dominated that niche until the end of the cen-place. The market was controlled by decision tury.

makers whose interests were in profitability, Beginning with British artists such as shelf space and moving product.

Patrick Woodroffe, Peter Andrew Jones, Bruce In such way, “hardware science fiction” lost Pennington, Tim White, and Ian Miller, soon its appeal in the 1970s, and traditional art re-dozens of fantasy artists, British and American, turned. In part this was due to weaker sales of became beneficiaries of their publishing ven-New Wave “cerebral art” on book covers and a ture. While their earliest choices seem to have more conservative marketing approach, which been influenced by Roger Dean’s visionary favored the “safer” look of strongly narrative, dreamscapes, or British fantasy artists who en-fully representational cover illustrations, a pattered the field during the mid to late 1970s and tern established by the pulps. But other markets seemed to share much the same palette and at-were opening which eventually would siphon traction to fantastical surrealism, this early bias off a fair number of talented artists, and other did not seem to dampen the ardor of fans. By factors were also working to affect artists’ ex-1981 the Dean brothers left the company, and posure and popularity. These factors had al-management was turned over to Hubert
most nothing to do with what images were sell-Schaafsma, and the book list continued to exing what books for DAW, Ballantine, Tor, or pand. Books were printed on heavyweight Baen, or which publisher was choosing to pub-paper, with the color reproductions always of lish them.

top quality. Apart from an unfortunate ten-Typically, museum exhibitions and the cof-dency of the books’ pages to separate from the fee table books that accompany them bring art binding and fall out, it was a beautiful product.

world legitimacy to a field of collecting. Sci-Regrettably, artists rarely saw any money out ence fiction and fantasy art did not yet have these projects (which triggered some court cases museum exhibitions, but thanks to Roger and and the eventual ouster of Schaafsma) but what Martyn Dean, who established the publishing artists did get out of them was priceless: the op-house Dragon’s Dream in 1975, and then its portunity to have their art set the standard of sister imprint, Paper Tiger in 1976, the genre quality for an entire field. Among some of the for the first time was able to boast of having artists whose work was published as solo art-beautifully produced, large format art books.

books (in no special order): Chris Achilleos, Originally established to publish Roger Dean’s Josh Kirby, Rodney Matthews, JK Potter, Bob The Album Cover Album, a visual history of Eggleton, Fred Gambino, Jim Burns, John record albums, following the success of his art Harris, Jael, Boris Vallejo, Julie Bell, Josh Kirby, book Views—with a square format just like that Ciruelo Cabral, David De la Mare, Danny of record album sleeves — the publishers soon Flynn, Wayne Anderson, Tim White, Chris expanded their range to include not only art Moore, Mark Harrison, Ron Walotsky, John connected to music, but also “the visionary, the Berkey, Richard Powers. When they weren’t fantastic, science fiction and radical design.”

publishing single artist collections, Paper Tiger (www.rogerdean.com, official website). In the (Dragon’s World Ltd.) invented ways to pro-same way publishers of art books have typically mote groups of artists at a time, via art “con-

39

Historical Overview, 1970s to 2000 (Frank) cepts” such as Dream Makers: Six Fantasy Artists (Ariel Books, 1978). In 1975, Random House at Work (Melvyn Grant, Julek Heller, Chris published Fantastic Science-Fiction Art 1926–

Moore, Michael Kaluta, Berni Wrightson, 1954 edited by Lester Del Rey, by then well-Charles Vess, 1985) or Heroic Dreams (featuring known for his association with SF art via Ballan-the work of 21 artists, and heroic-fantasy tine/Del Rey Books. Doubleday promoted its themed art, 1978).

widely popular book club editions by promot-What made Dragon’s World/Paper Tiger
ing the cover artists with The New Visions: A remarkable was not the fact that they published Collection of Modern Science Fiction Art, in 1982.

books which featured fantasy art, but that they These books were more than collections of were art books foremost with text added — as reproductions of magazine covers shown to opposed to the reverse. Other publishers im-demonstrate some point in the history of science mediately saw the benefits of promoting com-fiction as a literary genre. These were art books mercial art this innovative way, and jumped in.

meant to focus attention on science fiction and In England, artists appearing on Science Fiction fantasy art as Art (with a capital “A”). In the Monthly magazine, published by New English 1980s, games publishers like TSR Hobbies, Library, were championed in Visions of the Fu-Inc., (U.S.) and Games Workshop (England) ture (edited by Janet Sacks, published in the would see the marketing advantages in publish-U.S. by Chartwell, 1976), Brian Aldiss had ing books devoted to the commercial artists found a publisher willing to memorialize no-who illustrated the games. In the 1990s this table past “greats” in his Science Fiction Art continued, with game publishers Chaosium, (Bounty, 1976), and with the assistance of New FASA, and even publishers of print reproduc-York publishers and editors and agents, Ian tions, and calendars, such as Greenwich Work-Summers put together the comprehensive Toshop, Pomegranate and others going into the morrow and Beyond: Masterpieces of Science Fic-art book/art portfolio publishing business. Still, tion Art (Workman, 1978). Book publishers in to the end of the century, it would be Paper England worked with the major agencies of the Tiger Press that held sway in the genre. For day, John Spencer’s Young Artists, and Artist’s some, this could seem problematic; the choices Partners, to develop projects like Alien Land-made by one publishing house tell only part of scapes (Mayflower, 1979), Tour of the Universe the story. It cannot provide a balanced perspec-

(Pierrot, 1980), and Realms of Fantasy (Paper tive of the field. But at the same time, rarely Tiger, 1983). They hired professional writers does the cream not rise to the top when it like Robert Holdstock and Malcolm Edwards to comes to such classically non-profitable ven-write the text, or forged long-term relationships tures as art books, no matter who is the pub-with editors well-suited to the job, like Nigel lisher. Art books provide a historical frame-Suckling. In the U.S. the love affair with space work, essential credentialing for artists, and exploration, begun with Life and Collier’s mag-necessary vetting, for collectors. Both scholars azine articles illustrated by Chesley Bonestell and fans could now begin to develop reference in the 1950s, had already begun spawning books libraries of science fiction and fantasy art books, on space art. Eyewitness to Space (Abrams, 1970), just as they did in other fields of collecting.

which showed examples of the art commis-Artists could now have validation of their “best”

sioned by NASA’s Fine Arts Program, and Ron works. The history of late twentieth century Miller’s Space Art (1975), are two examples. A fantasy art was radically altered by the Deans’

series of four compilations of fantasy art, the publishing venture.

Ariel Books, edited by Thomas Durwood, were Another factor having incalculable impact published in the late 1970s, as were collections on artists by the end of the century was the with “themes” (historical and other) such as tremendous impetus given to science fiction Ken Kesey’s Sorcerers: A Collection of Fantasy Art and fantasy art by the rise of popular media and

Part I: A Century of Science Fiction Art 40
the associated gift, novelty, and souvenir mar-memorative stamp publishers) hired fantasy ketplace. Major companies like Hallmark, and science fiction artists. But MBI’s Easton Spencer Gifts, and Disney Stores were already Press division, publisher of specially bound edi-supplying specialty figurines and fantasy gift tions of classic SF titles, and their Danbury items when science fiction movies and charac-Mint, publisher of collector plates, among other ter and theme related collecting came on the products, hired the largest number of illustra-scene. The impact of the pop culture industry tors.

on artists in the SF genre cannot be overstated.

Within twenty years, all sorts of products In 1968 there was Kubrick’s 2001: A Space became vehicles for science fiction and fantasy Odyssey, but nothing in the history of fandom, art: Star Wars wall paper (Chris Moore); Color the history of merchandising, could com-lectible pocket watches and knives (Boris pare with the 1977 Star Wars. Not only did film Vallejo); jigsaw puzzles (Dean Morrissey, Steve and television provide direct job opportunities Crisp); collectible phone cards (Boris Vallejo, for illustrators, as concept designers, back-Julie Bell, Michael Whelan); three-dimensional ground matte painters, or character developers, cast sculptures of dragons, or characters like but they provided indirect employment Wonder Woman, Batman, C’thulhu, Doc Sav-through the rampant growth of licensed prod-age, creatures (Michael Whelan, Joe DeVito, ucts related to those entertainment properties.

Ken Kelly, Dan Horne); collector plates (Dar-New markets for artists opened as the appeal ryl K. Sweet, Ken Barr, Morgan Weistling, of manufactured “rarities” spread, worldwide.

many others); chess sets (Steve Hickman); Every major literary hero, every famous cartoon screen savers (more than two dozen artists pub-character, every popular movie, all science lished through Second Nature Software alone); fiction television series, were marketing oppor-calendars, notecards, tee-shirts (everybody).

tunities. Starting in the late 1970s, leading The independent and semi-independent
artists in the field were hired to produce art for book publishers upon which rising book illus-toy packaging, movie posters, videocassette trators in the 1970s were reliant by the 1980s covers, calendars, and what later would simply were vying with extra-literary markets for the be called “collectibles” (as opposed to those ob-services of leading artists. At the same time that jects that might be “collectible”). Just like publishers such as Del Rey (Ballantine), Tor Brown & Bigelow in the 1960s, plate manufac-

(Tom Doherty), Baen ( Jim Baen), Timescape turers started licensing the artwork of well-

(Pocket Books), Avon/Nova, Spectra (Bantam) known artists, such as Norman Rockwell, to and Aspect (Warner) and DAW (established by create new lines. Disney, Lucasfilm, and Para-Donald Wollheim after leaving Ace, 1971) were mount, began licensing manufacturers to pro-the only games in town, and that specialty press duce everything from Christmas ornaments to publishers like Arkham and Phantasia Press dinnerware. In 1973 The Bradford Exchange were paying a pittance for illustrations, the frag-was founded, and the company helped organ-mentation and diversification of the field had ize the collector’s market. It even opened a trad-begun. These new markets rarely established an ing floor for the buying and selling of collec-artist’s reputation in the way book publishing tor’s plates. MBI, Inc., one of the largest direct did, hewing to exacting rendering standards for marketers of licensed collectibles, started in trademarked images was necessary, and copy-1969 with a series of 21 medals commemorat-right ownership—when it came to movie work, ing the historic 1969 moon landing. Some were and licensed entertainment properties — was designed by the space and SF illustrator Paul often off the table. What the best of these as-Calle. Next came their Postal Commemorative signments could offer was money: fees that were Society, in 1970, the world’s largest philatelic higher, the potential for royalties, as opposed organization. They (and other private com-to simply flat fees, and at the least, a buffer

41

Historical Overview, 1970s to 2000 (Frank) against lean times in the publishing industry.

exclusive three-year European distribution By the 1990s, it was not uncommon for artists agreement with TSR. TSR Hobbies brought to have more than one agent: commissioning out its own Dragon Magazine to cover D&D, agents to bring in jobs for book and magazine and GW brought out White Dwarf magazine, work, and licensing agents to bring in jobs for featuring GW and other manufacturer’s prod-everything else.

ucts.

Another influential socio-cultural devel-TSR Hobbies promoted Dungeons &
opment of the 1970s was the rise of fantasy Dragons and then Advanced Dungeons & gaming. Hardly any fan of science fiction and Dragons, from the start fiercely protecting its fantasy art in the latter part of the twentieth trademark, and then expanded into a series of century would not recognize the initials “TSR.”

entirely new game worlds, beginning in 1984

Standing for “Tactical Studies Rules,” these with Dragonlance. GW did the same. From three letters would almost immediately become 1978 it sold all the major RPG titles, such as separated from the partnership formed in 1973

Traveller, RuneQuest, Middle Earth Roleplay, between Gary Gygax and Don Kaye as a means and then in 1983 brought out Warhammer, a to publish formally and sell the rules of Dun-Tolkien-based fantasy RPG. Dragon magazine geons & Dragons, one of the first modern role-had fiction (Andre Norton was first), reviews, playing games. D&D, as the first commercially opinions, and cartoons and provided support available role-playing game (RPG), revolution-for the world’s most popular role-playing game.

ized tabletop gaming. An RPG like D&D has White Dwarf did the same. When TSR brought a “world”— the fictional setting in which the out a second magazine, Dungeon, the support game takes place — defined in a set of hand-doubled, with complete adventures and sup-books. Players define and control “characters,”

port for Dungeon Masters (who led and di-with whom they often identify closely. You rected the role-play for players). TSR sold its could use lead figurines as character position products through comic and hobby shops and markers and so on, but in the early RPGs the through gaming conventions. GW established real interest for the players was in the scenario its own chain of stores, beginning 1978, with and the extendable rule sets. The developmen-specialists on staff to help fans learn the games tal history of the game is complex, and its and provide a “hobby” atmosphere. TSR, Inc., inception was rooted in other American socio-practically single-handedly made the concept cultural phenomena of the time (see Renais-of fantasy role-playing games part of American sance Festivals and SCA, mentioned later), but culture. GW did the same for players in the what is important to know is that TSR Hobbies, U.K. Gaming, in tandem with other popular Inc., which evolved into TSR, Inc., would by culture trends, would play a major role in the the end of the 1980s be established as a major careers of artists competing with established SF
employer of artists skilled in the depiction of illustrators for assignments in the 1980s.

heroic-fantasy themes. Games Workshop (GW) Increased mobility of fans and the success was the British equivalent, started in southwest of fan-organized clubs and conventions also London in 1975 by a group of enthusiasts, in-helped to set in motion major changes that cluding Steve Jackson and Ian Livingstone, who would affect artists and public perceptions of were involved in wargaming as undergraduates.

their art. Commercially oriented, multimedia-To publicize GW the friends began a fanzine supporting conventions that have become cen-called Owl and Weasel. A copy of this fell into tral to the science fiction social scene had their the hands of Gary Gygax, who sent over for re-roots in game and fan run social clubs of the view a new game called Dungeons and Dragons.

1960s. The 1970s saw the establishment of con-Jackson and Livingstone, immediately enthu-ventions as central to the expansion of promo-siastic about D&D and other RPGs, signed an tional and marketing opportunities for artists

Part I: A Century of Science Fiction Art 42
and the development of collecting art in the weekend at these “festivals” or gaming conven-genre. New types of conventions sprang up in tions than they would ever see in a year’s worth the 1970s that would greatly affect artists’ ca-of traditional fan-based, not-for-profit science reers and the growth of interest in their work.

fiction conventions.

Renaissance Festivals (Faires), based on Comic and popular culture conventions historical reenactment, and a love affair with also arose in the 1970s. With the changing inKing Arthur, knights, and all things medieval terests of fandom, driven by movies and other first came on the scene in the 1970s. With roots popular culture trends, subcultures grew to in the Society for Creative Anachronism (SCA), form and maintain their own identities. The begun by like-minded fans in California in the first Star Trek convention was held in New York 1960s who were also fans of tabletop wargamin January 1972. Through the decades many ing, “Ren Faires” and their first cousins, war similar character or story driven conventions gaming conventions, encouraged visitors to followed, such as Dr. Who (1990), and Xena enter into the spirit of things with costumes (1997). Creation Entertainment, which started and audience participation. All tolerated, and with “comic-cons” in 1971, crossed literary and many welcomed, fantasy elements such as wiz-comic boundaries by advertising artists in at-ards and elves. These events attracted a differ-tendance such as Michael Whelan, Charles ent sort of participant than might attend a local Vess, Jeff Jones, Robert Gould, Roy Krenkel, or regional science fiction convention hosted by and Wendy Pini, along with comic artists such a local club. But they gained exposure for fanas Stan Lee. Creation was also responsible for tasy art, especially art featuring Celtic and the first Star Trek conventions and many media-Norse mythology and dragons. If Ren Faires driven cons. Also established in 1970 was attracted families and mainstream folk out for Comic-Con International, commonly known a good time, “war gaming” and fantasy “role-as Comic-Con or the San Diego Comic-Con, playing” games were a more rigorous form of an annual multigenre fan convention founded the same thing. The “re-enactments” were as the Golden State Comic Book Convention.

transformed into round-robin role-playing Originally showcasing comic books, science game competitions, and the accessories, rule fiction-fantasy and film, television and related books, game manuals, box covers and the like popular arts, the convention expanded over the were painted by a stable of commercial artists years to include a larger range of pop culture hired by the companies to illustrate the games.

elements, such as horror, anime, manga, anima-Artists were peripheral but necessary to the ention, toys, collectible card games, and video vironment at both gaming conventions and fes-games. By 2000, the convention was touted as tivals, and dealt directly with the public there.

being the largest of its kind in the world. By The game publishers encouraged artists, as 2007 it filled the San Diego Convention Cen-spokespersons for the product lines, to become ter, with over 125,000 attendees.

involved in the merchandising of the games.

Renaisssance Faires, gaming conventions Artists connected with RPGs in the earliest and media-driven conventions continued to years did not become well known. Later, dur-proliferate in the 1980s and 1990s, drawing new ing what would be called the TSR glory years audiences of fans and artists who showed and by fans, the house artists called the “Fab Four”

sold their work there. These conventions helped came to be considered practically synonymous to establish artists as key to the process of cre-with the genre: Clyde Caldwell, Larry Elmore, ating artifacts of popular culture. All of a sud-Keith Parkinson and Jeff Easley. The commer-den it wasn’t all about the writers — artists also cial opportunities inherent in such events be-were celebrities. DragonCon, launched in 1987, came immediately apparent because sculptors for example, quickly came to dominate the and painters had access to more buyers at one Southeast in gaming, comics and media-related

43

Historical Overview, 1970s to 2000 (Frank) celebrity guests, with 30,000 attendees now artists’ estates, that made Weinberg’s history claimed for its annual convention in Atlanta, possible — just as it allows me to add to his his-Georgia. To keep these numbers in perspective, tories of specific artworks now.

as a comparison, a typical SF Worldcon would

“It was in the pulps,” Weinberg wrote, be thrilled with 6,000 attendees, and rarely has

“that science fiction art first became available exceeded that number. Unlike fan-run cons, to the general fan and collector.” Early pulp artists could rent tables and display space in magazines bought all rights and kept the orig-main selling areas and sell directly to the pub-inals as well. Only under special circumstances lic. Traditional science fiction conventions, or arrangements, and only reluctantly, did mag-which also were expanding and evolving in the azines return the artwork to artists; it was all 1970s, accomplished the same thing but in a considered the property of the magazine and more focused and less commercial way. Always

“work for hire.” As a result, if publishers did referred to as simply “cons” among fans, these not have adequate storage space, or interest, weekend get-togethers became premier venues they either threw it out, auctioned it off to fans, for artists to show off their talent, win awards, or gave it away to authors. At Street & Smith, and sell original art.

for example, if the authors were not interested It wasn’t always this way. Before the 1970s in taking possession of the art that went along many artists were at the mercy of publishers to with their stories (and they were often given return their art, and most was either sold to the that option), the art went into basement stor-authors, given away by the publishers, or de-age rooms. When the company was sold to stroyed. The “liberation of artists from com-Condé Nast in 1959, original paintings by pany control,” as Weinberg puts it, not only known mainstream artists (such as N.C.

meant the return of the artwork but a new-Wyeth) were pulled from the inventory and the found means for artists to gain further revenue rest given away to Street & Smith employees.

from their art through sales of the originals.

Edgar Rice Burroughs was one of the first Convention art shows, small affairs, grew to be-authors to express interest in obtaining all the come major entertainment centers at conven-paintings illustrating his work. He was success-tions, and important venues for artists work-ful in purchasing (from the publisher, not the ing in the field. Prices for the art were low, and artist) many fine paintings by J. Allen St. John.

artists had little idea of what the prices should St. John also obtained some of his own works, be. With no secondary market, contemporary by requesting them, although many had disap-artists pegged their prices to the fees they had peared from the McClurg Co. offices. Most received for creating the art when it was origi-originals done for the Munsey magazines Ar-nally commissioned. As an emerging field of art gosy and All-Story that related to science fiction collecting, collectors were similarly stymied; disappeared. The earliest known to have sur-what should the prices be? At that point there vived is “My Lady of the Nile,” from 1921. A simply were no “comparables.” There were were very few other original paintings for Munsey, no art galleries specializing in the art, no pub-by Otis Adelbert Kline, Paul Stahr and Robert lic auctions, no art dealers, no price guides, no Graef, also survived in private hands. When history of sales.

Munsey was bought by Popular Publications in Bob Weinberg describes the circumstances 1942 no paintings were made part of the trans-that led to this unusual state of affairs (“What action. They had either been destroyed or given Still Exists,” 1988). As he wrote, “no attempt away. No artwork from Amazing Stories during had been made to establish what originals had the early days when it was published by Hugo made their way into private hands.” It was the Gernsback is known to exist.

insular nature of the field, and the close rela-The few surviving paintings moved from tionships between collectors, book dealers, and hand to hand, estate to bookshop to collector.

Part I: A Century of Science Fiction Art 44

As for prices, Weinberg relates the story of Sooner or later, publishers had warehouses full how — at the first World Science Fiction Con-of art they had no interest in or interest in keep-vention in 1939 — an attempt was made to raise ing. Art moldered in dirty, damp warehouses, money for convention expenses. An auction was was eaten by bugs, and on the best of days got held, featuring items donated by editors, and sold to book dealers who did the only thing attending authors and artists. Original pieces they could do, and sold them “on the cheap.”

of art by Virgil Finlay, Paul, and other major One such well-known sell-off involved a ware-artists were sold — for a dime. Paintings went house full of Ace covers in 1978 (with art by for a dollar or two. “Art was considered an in-artists such as Emsh, Valigursky, Freas, and teresting bit of science fiction memorabilia but Gaughan), which sold for an average price of nothing more,” says Weinberg. Fans could visit $150. Pyramid Books in the early 1980s released editor Ray Palmer in his offices in Chicago, more than a thousand paintings in all fields to after Ziff-Davis took over the publication of a Florida-based art dealer. Paintings included Amazing in 1938, and get art for free. Even as those by Emsh, Schoenherr, Engel and Jeff recently as the mid–1990s artists were still am-Jones. Inventories of art continue to show up, bivalent about getting their earlier work back.

most recently that of Signet/New American Li-When a collector pointed out to artist Ron brary (Penguin), circa 2005. Thanks to efforts Walotsky that a New York gallery and auction by publisher and collector Robert Wiener, most house was offering for sale art from the 1970s of the art was able to be identified and returned that should properly have been returned to him to the artists or their estates. Nevertheless, the from the publisher after its use, Walotsky was hoard comprised over a hundred cover paintings indifferent, despite the fact that the sellers going back to the 1950s that had languished in would be profiting from a sale that rightly be-back offices.

longed to him.

Fans living in and around New York, New Through the 1950s magazines continued Jersey or Connecticut or in the Chicago area —
to keep the art whenever possible. Galaxy and traditional centers for publishing companies —

If never returned art. When Fiction House went have long had opportunities for acquiring art out of business in the late 1960s, all of the orig-that other fans have not. There were bookdeal-inal art stored in its warehouse was burned. Eders like Gerry de la Ree, who collected and itor John W. Campbell, Weinberg relates, kept championed the art of Hannes Bok, Virgil Fina Henry R. Van Dongen painting for a favorite lay, George Barr, Steve Fabian, and many oth-Astounding cover hanging on the wall of his ers. Likewise, Stuart Schiff, Robert Weinberg, office for years before finally returning it to the Malcolm Willits, Phil Weiss, Grover de Luca, artist. Thus, that kind of behavior was still in Jerry Weist, Bob Madle, Roger Hill, Ray force circa 1999, when Jim Baen was similarly Walsh, Dick Wald, and dozens of others who reluctant to return a favored painting by Gary loved the art promoted it. Out West, Forrest J

Ruddell that he had been hanging over his desk Ackerman (Forry to anyone who knew him), for two years. Only when faced with the choice with his “Ackermansion” tours, introduced to either match the buyer’s offer or give up the hundreds of potential collectors to the addic-art did Baen acquiesce.

tion. With the rise of genre convention art The small presses of of the 1940s and 1950s shows came venues for the exhibition and sale were only a little better than the magazines in of art that previously would have been unob-their dealings with artists. Many artists gave tainable. As well, there now was an opportu-publishers the art, or were perfectly willing to nity for artists to exhibit and sell their own give up title to the originals for a nominal adwork. It was an uncertain marketplace, but it ditional payment. Paperback publishers fol-provided an additional means for tracking sales.

lowed in the footsteps of digest magazines.

For example, the first piece of final color art to

45

Historical Overview, 1970s to 2000 (Frank) sell for more than $100 occurred at Discon I, appreciators to work together to “effect change the 1963 Worldcon art auction. The piece was in the way artist’s livelihoods were governed by Ed Emshwiller’s “Glory Road,” a cover for the people who bought and sold their art.” It was June 1963 issue of Fantasy and Science Fiction not a trade organization, and at the start had magazine, which sold (per Andrew Porter) for little clout when it came to setting art show $110. Between 1963 and 1988 the painting’s lo-standards or providing guidance for artists recation was unknown, but it never again changed garding contracts, pricing and promoting their hands via a convention artshow. In 1988, book art. It was, however, a needed start in that di-dealer and publisher Stuart Schiff sold it pri-rection, and provided a forum for an educa-vately to a collector for $1,350, and that collec-tional exchange of ideas.

tor sold it in 2005 for $3,500. The rise between Unfortunately, convention art shows did 1963 and 1988 is emblematic of the kind of at-not allow owners to resell art. It was thought tention SF illustration was getting since 1970.

that resales would provide unfair competition Hugo Awards for Best Artist, which were to artists. Once in a rare while an author, an not established until 1953, by the 1970s had be-artist, or similarly well-known person, was al-come a popularity contest, with Kelly Freas lowed to display art he owned with the idea of dominating the awards. An award for best fan selling it. For example, a painting by Hannes artist was created in 1967. Outgoing and gregar-Bok from Marvel #39 (November 1951) was ious, Freas made the idea of owning one of his sold at a 1976 Star Trek convention held at the impromptu sketches or caricatures something Playboy Club in Great Gorge, New Jersey, as that every fan needed. Artists who formerly had

“from the collection of Jack Gaughan.” Wein-discounted the value of their originals started berg relates that Virgil Finlay and Hannes Bok offering them for sale, and conventions made were among the few artists who consistently it easy and fun through silent auctions. Fan-asked publishers for their art. When Finlay dom-originating rules and rituals made such needed money for cancer treatments, he con-events at times infuriating for artists and collec-tacted well-known book dealer and art collectors, but the affair was an entertaining specta-tor Gerry de la Ree and asked him to sell the cle for everyone else. The system of written bids originals Finlay had accumulated. In 1969 and made public exactly who was bidding and how 1970 de la Ree sold hundreds of Finlay black-much. Artists who were clueless as to what and-white illustrations as well as a number of prices to put on their art would put a ridicu-paintings. Weinberg observes that it was prob-lously low amount as the starting price and then ably the largest single offering of quality art ever sit back and wait. In such way, fine pencil draw-conducted in the science fiction field (p. 313).

ings by Thomas Canty would start at $25.00

But Bok, who during the 1950s also sold many and reach $500.00 within four bids. With of the originals he had painted for book and enough written bids, pieces would go to voice magazine covers in the previous decade, had auction, where excitable amateur auctioneers difficulty in finding a market. Where de la Ree would attempt to drive up the bidding five had access to collectors by 1970, in the 1950s cents at a time.

science fiction fandom was a small group, and Founded at a science fiction convention in the art was considered a novelty without much 1976, the Association of Science Fiction and value. Thus, most of Bok’s originals went to Fantasy Artists (ASFA) allowed artists, both close friends whom he contacted by letter. It is professional and amateur, to express their sol-speculated that Gaughan came to own the art idarity and share information. The non-profit in that way, then put it up for sale in the art show organization was founded by Carl Lundgren at a “quick sale price” of $300. As is often the and other artists to provide a focal point for case (Bok died in 1964), the $300 was likely far artists’ concerns and a means for artists and art beyond the amount Bok was able to obtain

Part I: A Century of Science Fiction Art 46
when he was alive and needed the money. It in attendance and it quickly became known for sold at that price to incredulous, but joyous colits high caliber art show and for attracting the lectors Jane and Howard Frank (the author and most serious collectors of fantasy art and liter-her husband). Thirty years later it sold for the ature. Interest in recognizing the artists spread third time for well over one hundred times that to British conventions as well: The British Sci-amount to another collector. Many paintings ence Fiction Association Awards, established in in the hands of private collectors have similar 1958, made its first art award in 1979. The histories.

British Fantasy Society, begun in 1971 as the Long term resistance to convention art British Weird Fantasy Society, an offshoot of shows as a venue for secondary sales helped re-the British Science Fiction Association, granted tard the growth of the field by preventing the art its first art award in 1977. The same propensity from circulating beyond a small universe of col-for honoring the most popular and visible lectors. As Weinberg noted, even when an au-artists that marked American awards were a fea-thor or collector died, his family usually knew ture of the British awards as well. Jim Burns enough about his or her hobby to sell the items dominated the British SF awards in the 1990s, to other collectors or bookdealers — who then for example, in the same way that Michael offered them to clients on their “short list.”

Whelan dominated the U.S. awards.

Once in a while collectors might advertise their At the same time, in America, science desire to sell in magazines, but for the most part fiction conventions historically were primarily it was a closed circle, and when an owner de-a phenomenon of the northeast part of the cided to sell, the art was offered to other collec-United States, fueled by strong, long existing tors the owner knew personally, and not placed fan clubs and the New York publishers who in “free play” or offered in the general art mar-provided artists with most of their work. In the ketplace. There were no public auction houses 1970s fandom started moving westward, south-taking on this material, and the few early at-ward and internationally. In the mid–1970s the tempts to establish retail galleries specializing Los Angeles science fiction society established in contemporary SF art failed: Earthlight in their own convention, Loscon. It was held in a Boston, 1978; Pendragon Gallery in Annapo-hotel over a weekend, with attendance of about lis, Maryland, early 1990s; Brandwine Gallery, 1000 “members.”

in Chicago Illinois, late 1990s.

Many activities can fill Loscon weekends, The popularity of fantasy art prompted the from panel discussions with professional authors, establishment of the World Fantasy Conven-editors and artists discussing topics of interest, tion in 1975, held in Providence, Rhode Island, to opportunities for “filking” (singing fannish and held annually thereafter in various venues.

songs) and fantasy role-playing. Dealers set up Now there was not just a Hugo Award for Best tables in a separate space, to sell memorabilia, Artist, but a World Fantasy Award for art. His-crafts and books, but unlike media conventions, torically, conventions that were nominally sci-and as an indicator of the anti-commercialism ence fiction conventions such as the Worldcon that’s part of these events, fans refer to it as the were also fantasy conventions in all but name; Huckster Room. Artists sell their art through an the terms were used interchangeably. This art show managed by representatives of the con-changed with the inception of the World Fan-ventions. The art show controls the sales of orig-tasy Convention, which was more oriented to-inals and prints, the former through silent auc-ward writers, editors, publishers, and other pro-tions followed by voice auction, if there are fessionals. Many of those who attend World sufficient numbers of bidders. The managers of Fantasy also attend Worldcon. However, the the art show charge for the panel space or take emphasis on authors and publishing meant a a nominal commission on sales made. Cons be-much higher proportion of professional artists came family affairs, with spouses becoming busi-

47

Historical Overview, 1970s to 2000 (Frank) ness managers and even their children acting as In the 1980s it really mattered whose art sales assistants. Within a decade, conventions was on an author’s book. There was tremen-had active “print shops” where fans could buy dous competition for shelf space. Unless the reproductions for $15 to $25.

reader was specifically looking for a book by a The new entertainment and pop culture-particular author, the cover became the single driven markets rising in the 1970s, reinforced by most important factor in convincing someone new technologies in the 1980s, had far-reaching to pick up and buy the book. Publishers of sci-effects. At first providing a buffer for artists in ence fiction, fantasy and horror were keenly lean times, as well as opportunities for those aware that their audience expected their books who tired of the constraints of book cover art, to have that genre “look.” Covers of fantasy, these markets in time would move artists away science fiction and horror novels had to be as in-from the isolating, competitive environment of stantly identifiable.

free-lance illustration and bring them closer to The boring covers of the 1970s, with focal the respectability denied them by the so-called points centered and the rest of the painted field

“fine art” establishment. At the same time, the largely blank, were replaced by fully painted perception that this area of commercial illus-canvases and believable imagery. While the cov-tration was amenable to inventiveness — if it ers were “art directed,” there was a high toler-could sell books — made the SF/F market an ance for originality in style, and several artists exciting, but unreliable one for artists and made were easily identifiable on the basis of their vi-artists dependent on access to new markets.

sual signature. Gary Ruddell’s covers for the Ace Thieves’ World series of fantasy novels Highlights of the 1980s
brought a level of dynamism to covers that had not been seen before. There was an effort to in-Most publishing professionals have long volve the audience, an “immediacy” to the agreed that packaging is the second most impor-cover art that made it stand out on bookshelves.

tant marketing tool next to the author’s name.

Fantasy artists became known for particu-Established, well-known, or famous writers lar strengths: kindly, bearded wizards or color-may be able to overcome a “bad” cover, but ful dragons, or appealing young heroes and good cover art sells more books, and for new heroines. Whelan’s swooping dragons for Anne writers or products, packaging decisions are McCaffrey’s Pern novels helped make DAW
even more critical. If the 1980s can be consid-books into bestsellers, just as Tom Kidd’s and ered a “golden age” for speculative literature, Dean Morrissey’s appealing elderly wizards and for science fiction in all its myriad manifes-worked for Tor and Baen. Darrell K. Sweet detations, then the “new golden age” in illustra-veloped a “look” for Ballantine Del Rey, mak-tion art helped make that possible.

ing the Piers Anthony Xanth series a standout.

Talented artists drawn to the field by the In England, Jim Burns worked for Gollancz, rise in popularity of science fiction, good pay, and for Ballantine and Bantam in the United and the opportunity to be recognized for their States, producing science fiction covers as dis-skills, quickly rose in the field, and thrived.

tinctive as any American artist. There were New themes in the literature were flourishing, dozens of similar examples, with artists rou-while classics were receiving new treatments. It tinely assigned to continuing series of books by was an exciting decade marked by an explosion new authors, so as to make the series instantly of originality in artistic expression, backed by identifiable to readers. As costs rose in the pub-the degree of freedom for art directors, on a lishing industry and profits margins became scale not seen since the “good old days.” By the paramount, it became even more desirable for end of the decade, public acceptance for the art readers to associate artists’ styles with whole seemed right around the corner, too.

categories of books. Walter Velez, for example,

Part I: A Century of Science Fiction Art 48
applied his unique style to the long-running Whelan’s artwork appeared not only on book tongue-in-cheek Myth series of fantasy adven-covers, magazines, and music albums, but also tures by Robert Asprin. After a few novels, in books published specifically to honor the best readers no longer needed to see the title or au-of his work: Michael Whelan’s Works of Wonder thor to know that this was another “Myth-Ad-and The Art of Michael Whelan. Possibly the first venture.” In similar fashion, Tom Canty pro-artist to be so honored, advertisements for hard-duced finely drawn romantic images for several cover and paperback novels often highlighted fantasy series by Signet, Tor, Avon and others, the fact that the cover art was by Michael Whe-and his distinctive style helped readers to pre-lan, and fans collected the books for that reason.

dict books’ contents. Trilogies appeared where He was the cover artist most in demand by best-formerly single books would suffice, and artists selling authors in the genre, who were willing to developed formats and characters that made it wait months for the advantage of having his art easy for readers to buy a book, whether or not on their books. Only the most successful of illus-they knew the name of the artist, or the author.

trators had backlogs of assignments equal to It was target marketing, followed by associative Whelan’s. He was known to every reader and purchasing, and it was a successful strategy.

collector of science fiction art. In time, his name Sophisticated writers who created “cross-would be associated with entire series of books genre” books, combining aspects of fantasy and by well-known authors, and he would win more science fiction, were being published by all the Hugos than any other artist in the history of the major publishing houses, Avon, Tor, Baen, award, in addition to numerous other honors.

Simon & Schuster, Ace. For authors in that Throughout much of the 1980s, the insu-class, such as Gene Wolfe, Orson Scott Card, lar nature of science fiction-dom, combined Larry Niven, Ursula K. Le Guin, Michael with general low regard for illustration art by the Swanwick, J. G. Ballard, and Stephen King, art establishment, prevented science fiction and there was a need for artists equally versatile in fantasy artists from reaching mainstream audi-style yet able to communicate the “look” that ences through the usual means of retail galleries said “this is genre fiction.” The result were cov-and museum exhibits. Science fiction conven-ers that were colorful, well-painted, and attractions filled the gap, and for much of the decade tive, and yet clearly belonging to fantasy/sci-were the main means for artists to connect with ence fiction. Artists like Don Maitz, James publishers, art directors, collectors and fans.

Warhola, Ron Walotsky, Michael Whelan, and The sixth World Fantasy Convention, held in Gary Ruddell in the United States, and Jim Baltimore, Maryland, in 1980, started off the Burns, Bruce Pennington, Melvyn Grant in the decade — and demonstrates the way the more United Kingdom had styles that could do jus-important of these conventions worked.

tice to books by Gene Wolfe, yet still preserve World Fantasy Conventions limited the the artist’s distinctive style of expression.

number of memberships, and attendees were The most influential and successful artist in science fiction professionals. Few members wore science fiction cover art in the 1980s was Michael costumes, there was no gaming or masquerade, Whelan. He dominated the Hugo Awards for and if any films or videos were shown they were Best Professional Artist, winning every year from tied directly into the literature. The guest artist 1980 to 1989, excepting 1987. In that year, the in 1980 was Boris Vallejo, who attracted more Worldcon was held in Brighton, England, and attention than the guest of honor, author Jack Jim Burns — dubbed “The British Michael Vance. As well-known fan artist Joe Mayhew Whelan” because of the quality of his painting—
observed in his report of the convention, “it was accorded the honor, establishing the tradi-was an art show with rumors of other things tion of awarding the Hugo to a British artist going on elsewhere.” Vallejo displayed ten of whenever the Worldcon was held in the U.K..

his original paintings and sketches, and it was

49

Historical Overview, 1970s to 2000 (Frank) so unusual an opportunity for fans to see his sale, and of the 472 that were for sale, only 110
art in person that sales were not considered a pieces sold, for a total of $6,533 — making the goal of the exhibit. Mayhew reported “sketches average price per piece of art sold only $59.00.

have gone for more than $1,000.00 each, so the The exposure garnered by commercial
fact that his pictures were NFS [not for sale]

artists through art books, genre conventions, was only a formality.” The idea that SF con-and especially through their association with ventions might be a viable, and valuable, means best-selling authors’ continuing series of books for artists to sell their art was slow in coming, encouraged the more entrepreneurial of them as his comment suggests. Science fiction conto exploit their popularity through independ-ventions in general, and art shows in particular, ent merchandising activities. Artists published were not designed to be centers of commercial reproductions of well-known book cover illus-activity. Rather, visiting the art shows was just trations, notecards, postcards, bookmarks, and one of many possible fan activities, with bidding all manner of products either on their own or on art seen as an entertaining diversion. High through small publishers and distributors. Todd quality illustration art was thus seen as more Adams and Glimmer Graphics published lim-like an opportunity to visit a museum exhibi-ited edition prints and posters by Stephen tion, than as an opportunity to purchase fine Hickman and Barry Windsor Smith. Peter An-examples of science fiction art. Art show man-drew Jones in England was among the earliest agers encouraged that way of thinking through of artists to capitalize on public interest in their poor lighting, the use of inexpensive display art through licensing of their images. Some methods and materials, and by giving as much artists would take booths in the dealer’s rooms attention and space to “fan art” (art by hobby-at conventions or share table space with book ists) as to art by professional artists.

dealers. Distributors of modestly priced offset In time, those interested in collecting the reproductions might take a corner of a dealer art discovered that conventions, and especially room and set up a display of prints, giving buy-World Fantasy Conventions and Worldcons, ers far more many choices than could be found were the places to find it. But in the meantime, in the art show print shop. Michael Whelan the 1980 WFC convention in Baltimore high-and his wife, Audrey Price, taking a page from lights the way talented artists of the day were the Frazettas, founded Glass Onion Graphics using these venues to enhance their status.

to publish and sell a variety of merchandise fea-Rowena Morrill, whose first publication in the turing Whelan’s art.

fantasy field had been in 1979, was exhibiting At the start of the decade, interest in orig-her art at a genre convention for the first time.

inal art at science fiction and fantasy conven-Tom Canty was displaying work, as was tions spurred the creation of Earthlight Gallery Michael Whelan. None of these artists lived in on Boston’s fashionable Newbury Street. Artists Maryland, but had traveled from Massachu-such as Whelan were exhibited, and the prices setts, Connecticut, and New York. Other artists for his originals climbed. Art museums began to showing work included Don Maitz (who won host group shows of science fiction art, among the Best Fantasy Artist Award), Carl Lundgren, them the New Britain Museum of Art in Con-and Alicia Austin. It was so successful an art necticut, the Bronx Museum, and science mu-show that it set the bar for quality for many seums around the country. Another fantasy art years. The opportunity for artists to meet other gallery, the Pendragon Gallery also opened in artists in the same profession, enhance their Annapolis, Maryland, in the early 1980s, and reputation among fans, and exhibit art for the the artists they showed brought more collectors publishers and editors to see was a great lure. At into the field. Boris Vallejo, Real Musgrave, the same time, only two-thirds of the 663

Allan Lee, Dean Morrissey, Daniel Horne, John pieces of art on display, by 93 artists, were for Howe and Michael Whelan were given solo

Part I: A Century of Science Fiction Art 50
shows and openings. Both galleries were out of main selling floor, each day of the action. The business by the 1990s, but opportunities for auction catalog consisted of over 900 lots, all gaining exposure for SF art was increasing and illustrated, with all lots described in detail.

artists were taking more seriously fact that sales Practically every painting offered for sale was of their original artworks, and prints, could sold, establishing historical benchmarks for gain them significant additional income. For many well known artists in the field. Included example, during the same period that Whelan in the sale were paintings by Margaret Brund-was producing numerous cover paintings for age, Virgil Finlay, Frank R. Paul, Lawrence DAW and Del Rey and creating illustrations Stevens, Harold McCauley, Chesley Bonestell, for the first Dark Tower book by Stephen King and dozens of other artists. The paintings of-and covers for Isaac Asimov, the Lovecraft fered directly by Frazetta were widely adver-books, and Arthur S. Clarke’s 2010, Whelan tised prior to sale as having six-figure reserves.

was also selling original paintings. His original No one really believed that such a price could art for Friday, by Robert Heinlein, sold for be achieved in the field, and there was palpable $15,000.00 at the Pendragon Gallery in 1984, excitement in the room when the bidding setting a record for the gallery and for Whelan.

stalled at $42,000 … and the piece went unsold.

By the end of the decade, sales of art for thou-The next one up reached about $40,000 before sands of dollars were occurring at the larger it, too, was passed. But the fact that any Frazetta conventions, as well.

had reached those heights was deemed remarkIn December 1987, a critical event ocable by collectors, and a harbinger of things to curred: the first major public auction of science come. The sale established science fiction art as fiction and fantasy art. Guernsey’s auction an “emerging market” and by the 1990s Frazetta house, a small but innovative auction firm in paintings would indeed command those six New York, was chosen to host the three-day figures.

live auction billed as “The World of Forrest J

In the 1980s, and also for the first time, Ackerman at Auction.” Forced to sell a signi-science fiction as a genre became “research wor-ficant portion of his collection to pay for med-thy” and relevant to academe. Journals devoted ical bills stemming from his wife’s long time ill to explorations of contemporary culture, both health, the sale comprised photographic movie refereed and not, gained respectability for the stills, props, costumes, movie posters, letters literature, and suddenly there were science and correspondence, comic books and hun-fiction and science fiction-related courses in dreds of pieces of original art. To fill out the colleges and universities and a proliferation of three-day event, additional material from pri-cultural studies of science and cyberculture that vate collectors and contemporary artists were routinely included references to science fiction.

sought. As a result, added to the offerings of Outside the academic arena, publications like important classic and pulp paintings by major Science Fiction Eye and The New York Review of artists were several paintings by Frank Frazetta Science Fiction, as well as the continuity of mag-and Boris Vallejo. The extravaganza was held azines like Asimov’s, Analog, and the British In-at the Puck Building in lower Manhattan and terzone provided ongoing commentary by SF
was heavily promoted by Arlan Ettinger, owner writers, readers, and fans. While there was a di-of Guernsey’s. So remarkable was the opportu-vision between academic and popular commen-nity to purchase the art, and so unusual the taries in the field, readers had choices and could event, that collectors and fans flew in for the read widely on the genre.

sale from all over the United States. Hundreds Several new art awards were established of people came to view the items during the during this decade. In honor of fantasy illus-preview days and were interviewed by televi-trator and “long time friend of fandom” Jack sion news programs. Hundreds crammed the Gaughan, the New England Science Fiction As-

51

Historical Overview, 1970s to 2000 (Frank) sociation (NESFA) founded the The Gaughan collector card games, and film. In such a way, Award “to encourage and recognize new blood for example, artist Ian Miller could simultane-in the field.” The award is presented annually to ously be tapped to created the cover for the first an emerging artist who has become a profes-edition of William Gibson’s and Bruce Ster-sional within the past five years and is chosen by ling’s alternate history novel The Difference En-a panel of judges. The first recipient, in 1986, gine (Gollancz, 1990), a prime example of was Stephen Hickman, followed by Val Lakey

“steampunk,” while also achieving fame for his Lindahn (1987), Bob Eggleton (1988), and Dell game-related art for Warhammer and Realms of Harris (1989).

Chaos (Games Workshop, 1985). “Cyberpunk,”

The Association of Science Fiction and launched by William Gibson’s Neuromancer in Fantasy Artists (ASFA) established the Chesley 1984, also prompted a resurgence of “hard SF”

Award in 1985, named for science-fiction artist and renewed interest in space opera, which fo-Chesley Bonestell. The Chesleys are given in cused attention on stories and characters. In the several categories, among them for Best Illustra-United States there was emphasis on realism, tion, Hardcover; Best Illustration, Paperback; representing characters and scenes, while the Best Illustration, Magazine; Best Interior Illus-British covers were more apt to be atmospheric tration, Best Color Work Unpublished, Best and symbolic, or both, with a palette that was Monochrome work, unpublished, Best Three muted, austere or pastel. Spaceships depicted Dimensional Work; Best Gaming Related by artists such as Richard Hescox, David Cherry, Work; plus awards for Art Director; Artistic Bob Eggleton, David Mattingly and others Achievement; Contribution to ASFA.

looked like they could fly; there was the antic-Related to these developments, a new cat-ipation of functionality. Spaceships depicted by egory was added to Hugo Awards in the 1980s, British artists, in the tradition of Chris Foss, for “Semi-Prozine.” Previously, there had been were not envisioned as actual space machines.

awards only for fanzines and professional mag-Jim Burns made his ships into intricately de-azines. The category opened up another mar-tailed but sleek, sensual, and organic shapes, ket for emerging and established artists. While while Tim White made them intricately de-Locus magazine remained a trade publication, tailed but odd-shaped contraptions.

other prozines began to feature art, such as Abo-With movies like Blade Runner (1982), riginal Science Fiction (U.S.), Whispers (U.S.) Aliens (1986) and Mad Max and Mad Max 2
and Interzone (U.K.).

(1979, 1981) setting the tone, fantasy art headed Contemporary science fiction and fantasy in new and at times graphically violent direc-art in the 1980s moved in new directions, with tions. The trend went into high gear in the the horror genre, “steampunk” and fantasy 1980s with the novels of Clive Barker. The gaming intertwining, resulting in a darker, Vic-spectrum of “terror” broadened from “quiet” to torian driven gothic sensibility in art. “Steam-explicit depictions of gore, and ranged from the punk,” fiction set in an era or world where provocatively realistic dark fantasies of Anne steam power is still widely used, usually 19th-Rice’s Vampire Chronicles, to the atmospheric century Victorian era England, variations of the supernatural horror of Stephen King, to the subgenre (alternate histories) and two other re-dreamlike erotic horror of Ramsey Campbell, to lated movements in fiction, “cyberpunk” and the intensity of “splatterpunk” masters like

“splatterpunk,” became popular during the Clive Barker and Joe R. Lansdale. A group of same period. As a consequence, a cadre of diverse writers specialized in tales that were artists, catering to either British or American emotionally disturbing, that pushed the limits audiences, were able to satisfy publishers’ de-of what could or should be considered litera-mands across the board, in multiple market cat-ture, but zombies, vampires, werewolves and egories: books, graphic novels, role-playing and serial killers captured readers’ imaginations, and

Part I: A Century of Science Fiction Art 52
artists were needed to visualize the grotesque, Heart) and “newcomer” horror writer Dan Sim-the scary and the bizarre.

mons ( Carrion Comfort). JK Potter used his As horror darkened into “splattergore,” it photographic skills to create bizarre photo-col-expanded to include visually graphic cover art lages, morphing hands to heads in grotesque on a scale not seen before. Tor Books came out but totally believable ways, as in his cover for Joe with Brian Lumley’s vampiric Necroscope series, R. Lansdale’s collection of stories By Bizarre beginning in 1986, with each cover featuring a Hands, published by small press publisher Mark single, simple and horrific bat/vampire/skull by V. Zeising. Potter also illustrated several books Bob Eggleton on each embossed cover. Amer-for other specialty publishers, such as Arkham ican horror writers like Richard Laymon House and Scream Press, for which he illus-

(1947–2001), who published most of their trated King’s second collection of short stories, books in the United Kingdom, and British Skeleton Crew and Campbell’s The Face That writers like Guy N. Smith used British artists Must Die for Scream Press in the mid–1980s.

whose reputations then became inextricably Additional markets aided by the growth of linked to this subgenre, including Les Edwards the horror genre included packaging art for and Steve Crisp. In England, New English Li-movies on videotape. Video technology for brary, Sphere, Arrow, Fontana and Hamlyn home use had been available since the late published books with titles such as Cannibals, 1970s, and by 1985 had started becoming an Fiend and the Undead, with cover art to match.

option for movies not deemed worth a cinema British horror art was more intense than its release. Obscure, low budget, horror and science American counterpart, there was no shying fiction movies began to be designed explicitly away from animals and humans being disem-for the video market, in addition to the release bowled, from faces being eaten away by mold of sequels and remakes of movies, and movies and parasites, from birds plucking at corpses.

packaged for foreign vs. domestic markets. This When Clive Barker released his short story colis how British artist Steve Crisp came to paint lection The Books of Blood in 1984, the limits the video cover art for Creepozoids (1988) and of horror were expanded further. The Books Slave Girls from Beyond (1991).

were followed by Weaveworld (1987), the first From the 1980s through about 1990, com-of a number of dark fantasy novels. Tim White panies began publishing role-playing games, did the English cover for Collins and Jim War-based on science fiction, fantasy, horror, even ren did the American version for Pocket Books comic heroes. West End, White Buffalo, Last in 1988. Both artists would continue in the hor-Unicorn Games, Atlas, FASA, Chaosium, Iron ror genre for years, in demand due to their abil-Crown Enterprises, Mayfair Games, Thunder ity to depict horrific scenes in colorfully realis-Castle, and Game Designers Workshop were tic ways.

only a few of the names in the mid–1980s. In Along with literary illustration, artists spe-England, Games Workshop was the premier cializing in horror art worked in multiple mar-game publisher. Many of the game artists were kets. Les Edwards painted the original art for called upon to visualize the environments and Barker’s film posters, for Nightbreed and Hell-elements in which role-playing games took raiser, for example, and would go on to illustrate place. For example, in the Monster Manuals, graphic novel versions of Barker’s Tapping the early Dungeons & Dragons artists created visual Vein and Rawhead Rex, for Eclipse. Jim War-representations of the monsters players might ren, after producing several covers for Barker’s encounter while “adventuring” in the role of novels, created the poster art for movies such their fictional character. The style and look of as Night of the Living Dead. Steve Crisp, in ad-many games were influenced by the artists who dition to illustrating books by Smith and Lay-first worked on the game settings. Ian Miller mon, also did cover art for Barker ( Hellbound and John Blanche, for example, did much to

53

Historical Overview, 1970s to 2000 (Frank) set the heavily gothic Victorian look of Games (Generic Universal Role Playing System), a Workshop’s Realms of Chaos and Warhammer role-playing game system designed to adapt to games. Those illustrations influenced the ap-any imaginary gaming environment. GURPS
peal of the games. In that regard, game pub-won the Origins Award for Best Roleplaying lishers were as reliant on artists for marketing Rules of 1988. It also had the distinction of hir-success as were book publishers, but with one ing Michael Whelan to create the cover art for important difference: games were far more of a its first rule book, GURPS Humanix, in 1987.

team effort, with several artists contributing to The volume of art that role-playing games single game lines. To increase a game’s popular-

(RPGs) and, beginning in 1993, collectible card ity and broaden its appeal, money must be con-games (CCGs) supported was staggering. As tinually spent on game development, which only one example, FASA’s Shadowrun game requires art development, which means ex-triggered forty novels and “sourcebooks,” expanding the pool of artists. Literally hundreds pansion materials, four editions of the game of artists were involved with the creation of rules, the companion game Earthdawn (set in game-related art, from pencil drawings, to pen the past), four video games, and a Shadowrun and ink illustrations, to oil paintings or even CCG. In addition, there were foreign editions 3D models created with a computer. The top (including translated and original sourcebooks) game publishers remained in business for years, published in Germany, France, Hungary, Spain, expanding their lines and continuing to hire Italy, Japan and (in 2006) Czecheslovakia.

leading freelance artists. The weakest of the More than twenty artists were hired to produce publishers went out of business in a short time, art for this game alone. As another example, owing artists both money and the return of the FASA wargame and role-playing game, Bat-their art.

tletech, which was released in 1984, subse-Almost immediately, therefore, the popu-quently spawned more than fifty full-length larity of the horror genre expanded into the rel-BattleTech novels (originally published by FASA atively new field of role-playing games with and later by ROC Books) which have been Call of Cthulhu, based on H. P. Lovecraft’s translated into at least fifteen languages. There fiction, and with D&D’s Ravenloft, a dark fan-were also spin-off RPGs: MechWarrior (with tasy role playing game in a gothic horror setting, around another thirty related novels), and a published by TSR, Inc. (and later, White Wolf BattleTech CCG. Each novel, of course, re-Game Studios). Several of TSR’s artists con-quired its own cover art.

tributed art to the game modules, novels, and For many artists, the influence of British game accessories, foremost among them Clyde and American illustrators such as Frank Caldwell. FASA Games was launched in the Frazetta, Richard Powers, Chris Foss, Michael early 1980s, to provide additional gaming ma-Whelan, John Berkey created molds for pub-terials for Traveller, the first SF role-playing lishable illustration. For those artists unhin-game, which was developed by Games Designer dered by a signature style, but yet skilled in Workshop. FASA’s contribution to the horror technique, working like Foss or Frazetta was genre came in 1989, with the Blade Runner-in-simply a way to get work. Or, as Peter Jones spired game Shadowrun. Mixing magic with put it, just a matter of “figuring out what makes high technology in a futuristic urban/cyber-an acceptable book cover” (to the book buying punk environment, the game was set about 60
public). The field also attracted a fair share of years in the future. Other popular fantasy role-talented but transient artists who stayed only playing games were based on magic, such as Ars briefly within the genre before moving on to Magica, the universe of DC comics (Mayfair other commercial markets, or to careers as Games’ “DC Heroes”), or Star Trek (FASA). In gallery artists. The global appeal of role-play-1986, Steve Jackson Games invented GURPS
ing and card games provided jobs, but did not

Part I: A Century of Science Fiction Art 54
result in particularly good sources of income The Ackerman auction of 1987 was a piv-for artists, and the quality of their art suffered.

otal point, not just because it was the first time Intense competition for market share prompted such material had ever appeared at a major pub-publishers to become increasingly conservative lic auction, but because it opened the field to a at a time when new media were spurring young world that didn’t know such art existed.

artists to experiment. All artists suffered when Sotheby’s held its first live auction of “Comic market forces began driving down licensing and Book Collectibles” in New York on December commissioning fees. Bankruptcies, reorganiza-18, 1991. This auction offered original illustrations, mergers and consolidations interrupted tions for books and magazines by Krenkel, the flow of work, and at times ended hope of Boris, and Frazetta. The catalog was beautiful any payment at all.

and hardbound, and comics expert Jerry Weist was the consultant managing the sale. Weist Highlights of the 1990s
took a full page to explain why the area of popular culture was important, and one that The beginning years of the decade were Sotheby’s considered salesworthy. The next marked by signs that science fiction and fan-year, Christie’s (New York) entered the market, tasy art were gaining public attention and in-with its inaugural sale of comic collectibles, creased acceptance as a field of collecting. New held on Halloween night, and the race was on!

technologies that had begun impacting the field In a full-page advertisement for the sale in Sep-in the 1980s were moving the business of illus-tember in the Comic Buyer’s Guide, the space tration art in other ways. The 1990s were was devoted to a cover painting for Amazing marked by instability, change, a fragmentation Stories, January issue, 1944. The headline read: of markets, and increased efforts to move the

“The Greatest Robot Painting of them all …

art closer to fine art standards and levels of re-

‘The Mad Robot’” by Robert Fuqua. The art-spectability, as science fiction and fantasy art work had come from the collection of Malcolm transitioned to a multimedia driven genre.

Willits (who ran the Collector’s Corner book-The growth of the market for collecting il-shop), and sold for a healthy $13,000 (plus pre-lustration art in many ways paralleled the mium). The top price went to Frank Frazetta’s growth of other niche collecting markets. It was

“Fighting Man of Mars,” which sold for a small world, and those who had been in it for $82,500 (with premium). Joe Mannarino ran a while (in my case thirty-five years) knew most the auctions for Christie’s, and the success of of the other players. Some were publishers, the sale enabled him to offer an equally fine some were dealers in books or art or both, while Frazetta the following year, which went for others were simply enthusiasts who became col-

$90,500.

lectors. Some had specialized interests, such as The two auction houses battled it out for collecting only pulp art from the 1930s to the the rest of the 1990s, holding semi-annual and 1940s, or only vintage art from the 1950s, while then annual sales, each of them vying for the others were eclectic. Some were interested in best material. There were occasional sales of amassing as many works in a category as pos-fantastic art by Sotheby’s in London. Other sible, others might acquire only one or two auction houses in the United States played sec-pieces a year. By the end of the 1990s there was ondary roles in this emerging market. Superior a core group that would host dinners at their (in California, known previously for coin auc-homes whenever a convention brought them tions) ran several “Space Memorabilia” sales, close enough to meet. We all knew and dealt which included artifacts, “flown” objects and with the same group of dealers, and we all knew art by artists such as Robert McCall. Phil Weiss when someone had added something new to in New Jersey offered more obscure material in his collection.

mail order auctions, which included a broad

55

Historical Overview, 1970s to 2000 (Frank) spectrum of comics and illustration art. But-But the event that most clearly altered the di-terfield & Buttterfield, in California, tried rection of auction sales occurred in 1995, when adding illustration art to their auctions of movie AuctionWeb, the first online auction web site posters and memorabilia. Guernsey’s second was founded. The company officially changed auction, in 1993, was a jumbo-sized sale billed its name to eBay in 1997, and when the comas “film, animation and comic art.” It included pany went public in 1998, the owners became several cover paintings by Boris Vallejo, and instant billionaires.

others by Krenkel, Hickman, and Michael Where live auctions could reach only a Whelan. There was also a fine oil painting by finite number of buyers, and appeal to a finite Frank Frazetta, which ended up selling for number of sellers, eBay democratized the auc-

$88,000 (including premium). In 2000, tion market. Items of high value and low value Sotheby’s was still calling it “Comic Books and were equally available, without prejudice. Pre-Comic Art,” but the nomenclature no longer miums were lower, payment could be instanta-mattered. Both Christie’s and Sotheby’s exited neous (through BidPay, later PayPal) and where the comic book and art business that year.

Sotheby’s or Christie’s might have had an active Live auctions initially provided collectors list of 200 collectors of the genre art, in 2000, with a new marketplace for acquiring and dis-which they relied on to bid on art, in the year posing of art. Sotheby’s and Christie’s not only 2000 eBay was reported to have over 7 million attracted the highest quality SF art but also pro-registered users, with 600 bids per minute being vided a public record of sales prices for placed on almost 3 million items, and over significant pieces, and historically important 400,000 new items being added to the site artists, at a time when no benchmarking ex-every day. Almost overnight, online auctions isted. They worked wonderfully to generate in-replaced live auctions, and while there were terest, and provided a competitive forum for significant problems with fraud, deception and consignors to offer rare and desirable pieces.

shill bidding, these practices largely occurred But, by 1997 it became clear that there was a outside the arena of science fiction art sales.

shortage of “high end” material, and that the Huge amounts of low-end material passed from prices set by auctions represented only one small seller to buyer, bypassing the traditional auc-part of the market that had developed for the tion process.

art. Some believed that the higher prices were The move to online auctions was preceded motivating collectors to hold on to certain by an equally momentous event: the opening pieces. Another group was convinced that the of the worldwide web to personal and commer-art was selling for both much higher and much cial websites in 1991. While first underappreci-lower amounts than were being seen at auc-ated by everyone involved in the business of tions, and distrusted the outcomes. In any buying and selling and reproducing art, the imevent, by the end of the century, it had become pact of Internet marketing and e-commerce clear that while major houses were out of the would be astounding. Netcraft, an Internet market, it was not the end of auctions, per se.

monitoring company that has tracked Web Illustration House, in New York, previ-growth since 1995, reported that there were ously a retail gallery offering a wide range of il-106,875,138 Web sites with domain names and lustration artworks (with science fiction only content on them in 2007, compared to just one among the mix of genres), began holding 18,000 Web sites in August 1995. The changes mail order auctions. Joe Mannarino went from brought by computer technologies changed for-Christie’s to running his own mail and phone-ever the way commercial art is produced, used, in auctions, “All-Star Auctions.” Jerry Weist bought and sold.

began privately selling higher priced artworks The overproduction of SF genre literature that formerly would have gone to Sotheby’s.

during the booming 1980s demonstrated its rise

Part I: A Century of Science Fiction Art 56
in popularity, but not its rise in status. SF fan-magazine where people can see it, than in a mu-dom supported genre literature, but for others seum where they don’t” (quoted from Unknown it stayed the sort of literature that one “grew Arts: The Life and Art of Lee Brown Coye).

out of.” No longer merely the province of teen-Museums and public spaces were occa-
age boys, perhaps, but yet — it still astounded sional venues for exhibits devoted to science fans and collectors that at the turn of the 21st fiction and fantasy art, and whenever such ex-century the SF genre had not moved much be-hibits were held they were invariably successful yond the 1940s in terms of its social acceptance.

and well attended. In 1990 a major exhibition, In 1940, the pulps were selling millions of

“The Art of Fantasy and Science Fiction,” was copies a month, yet most educated people did held at the Delaware Art Museum in Wilming-not want to be caught reading one. To the end ton. Known for a collection that focuses on of the century this view pervaded the art estab-American art and illustration, as well as the lishment who policed the tastes of hoi polloi.

British pre–Raphaelites, this was a perfect Critics extolled the originality of conceptual art choice of venue for showing off the best in sci-that was designed not to last (such as Damien ence fiction art, although their permanent Hirst’s infamous rotting dead shark in a tank holdings were not in the exhibit. Seventy-four of formaldehyde, 1991), and the freshness of artists were invited to participate in the group

“outsider art” (created by self-taught artists who show, with funding from the Franklin Mint, have had little or no contact with the institu-the Philadelphia Science Fiction Society, and tions of the mainstream art world), while ig-the Association of Science Fiction and Fantasy noring the aesthetics of illustrative art that tran-Artists (among others). The museum had pre-scended its origins, and was disposable by viously hosted the first invitational exhibition of decree.

the National Academy of Fantastic Art, in 1986, By the 1990s, movies, television, video and several of the artists participated in both games, and best selling authors such as Brad-exhibitions, among them David Cherry, Don bury, Heinlein, Asimov and Clarke had made Maitz, Vincent di Fate, Michael Whelan and

“sci-fi” into a twentieth century cultural phe-others. The 1990 show, however, with its nicely nomenon, yet many people still didn’t know printed catalog, was so successful that the mu-that for most of that time paintings had been seum declined requests to repeat it four years photographed to make the covers of magazines later, for fear of alienating patrons interested in and books. This was partly because there were

“fine art.” A similar explanation was given a few so few opportunities to see the original art. But years later, when in 1996 The Canton Museum it was also partly due to the attitudes of the (Canton, Ohio) hosted a group show, “Pavilions artists themselves, who remained envious of of Wonder,” featuring the art of forty-two gallery artists.

artists. More than half of the forty-two artists Weinberg’s observation that “as of early chosen to exhibit their work had been previ-1987 there were no major holdings of science ously selected for the Delaware exhibit. “Pavil-fiction art in public or private institutions in ions of Wonder” had the largest turnout in the the United States” remained true until the end museum’s history, attracting young families and of the century. By and large, attempts to break teens to the museum for the first time. Impetus through the barrier of public acceptance in the for the exhibit came from well-known artists main only served to demonstrate how what is in the field, including Janny Wurts, who was kept physically inaccessible will remain obscure, quoted in the exhibition catalog saying: “We regardless of real merits. Most artists who are indeed living in the golden age of fantastic worked in the field circa 1999 would have art. Never before have so many artists been in-agreed with Lee Brown Coye, circa 1940, when volved in painting in the genre, and never has he wrote “I’d rather have my stuff in a pulp such a level of excellence been achieved by so

57

Historical Overview, 1970s to 2000 (Frank) many.” Concerned that “so much art is pro-tion. The exhibit attracted nearly 900,000 vis-duced with the mouse and drawing pad [so itors and its initial six-month run had to be ex-that] old hand skills that render surfaces tended because of the crowds. Each day for 11
through the brush, in bronze, or clay might months many lined up before the museum soon be difficult to find, even lost forever,” the opened. Thus, curators suspected how popu-enthusiastic guest curator, Sam Vasbinder, en-lar their planned Star Wars exhibit would be deavored to mount “a survey of the best fantas-when the museum announced it would mark tic art being produced today.” The museum, its twentieth anniversary in November 1997 by decided not to make it a regular event, for fear showcasing 250 original movie props, artwork, of being associated with “pop culture.”

models and costumes. Even before the exhibit The Museum of American Illustration at opened, and although workers were hidden by the Society of Illustrators in New York main-a six-foot partition, visitors reached up and tains a large collection of original illustrations.

blindly pointed their cameras over the barrier, Amassed over several decades, the collection is hoping to take pictures of the life-size model comprised of well over two thousand works by of C-3PO, the robot that accompanied Luke many of the biggest names in the field of illus-Skywalker around the galaxy. The “Star Wars: tration, although the proportion of SF genre The Magic of Myth” exhibition closed on Jan-works to more general institutional, editorial, or uary 31, 1999, and then went on to tour the advertising artworks is relatively smaller than country as a traveling exhibit. “You can tell how the popularity of the genre would suggest. The popular it’s going to be just by looking at the National Museum of American Illustration, kids’ faces when they see R2-D2,” said Kim founded in 1998 in Rhode Island by Judy Goff-Riddle, spokeswoman for the museum. “They man Cutler and Laurence S. Cutler to house love it” (as reported by the Associated Press in their personal art collection from the “Golden a January 2, 1997, article titled “Smithsonian Age of American Illustration” (1895–1945), is

‘Star Wars’ exhibit Honors Series’ gifts to the not a useful resource for this kind of art, nor is imagination”). Nevertheless, almost immedi-the New Britain Museum of American Art, de-ately after the exhibit closed, the Air and Space spite its notable holdings in illustration art. The Museum was re-organized, and the Department first exhibition of science fiction and fantasy of Art and Culture (which had organized the paintings at an American art museum occurred Star Wars and Star Trek exhibits) was perma-in 1980, when artist Don Maitz organized a nently disbanded. The staff, including its head show at the museum in New Britain, Connecti-and curator of the exhibits, Mary Henderson, cut. The pioneering exhibit broke all previous was encouraged to seek other employment.

attendance records, but although the museum The Air and Space Museum and other or-has remained positively disposed toward fan-ganizations such as NASA’s Marshall Space tasy and science fiction illustration, its hold-Flight Center art collection in Huntsville, Alings, like that of Delaware, are very limited.

abama, and the long established U.S. Air Force Nor did New Britain sponsor a similar exhibit art collection, have holdings of “space art,” pri-for the next twenty years.

marily astronomical art, donated to these in-The United States Smithsonian Institution stitutions or painted on consignment to com-paid its first tribute to a pop-culture phenom-memorate historically important space enon in 1992, when its National Air and Space exploration projects. The Smithsonian collec-Museum displayed props and costumes from tions are not open to the public. Major objects Star Trek. Martin Harwit, the director of the such as Chesley Bonestell’s magnificent 40' ×
museum, noted at the time that Star Trek in-8' canvas mural originally installed in the spired many people in the field of space explo-Charles Hayden Planetarium in the Museum ration” and hence justified the museum’s atten-of Science, Boston, in 1957, have remained in

Part I: A Century of Science Fiction Art 58
storage for years, awaiting funds for its restora-and golden age illustrators. Another exhibit, tion.

“Blueprint for Space,” featured astronomical art The groundswell of interest in the genre by Chesley Bonestell and Fred Freeman, among that had prompted talk in the 1980s of establish-others. Several of the works had been previ-ing a true science fiction museum, which ously published in magazines and books among its major exhibits would have a collec-Exhibits of work from private collections, tion of science fiction art, continued into the or works by American “golden age” illustrators, 1990s. These dreams have been incompletely or classic space or pulp art in general were also realized to date, although there have been some becoming more frequent. The older the illustra-ambitious efforts in that direction. Kevin East-tion art, the more it was viewed with respect, as man, co-creator of the wildly successful Ninja an artifact of history. Bowling Green (Ohio) Turtles comic franchise, in 1992 founded the University’s Popular Culture Library in 1994

Words & Pictures Museum, with the perma-mounted an exhibit of paintings owned by well-nent loan of his private art collection. Situated known art collector Bob Lesser. This featured on a main street in the small town of NorthJ. Allen St. John’s original artwork for Tarzan, hampton, Massachusetts, located ninety min-Lord of the Jungle and other works. And in 1999, utes north of Boston, the museum took up four Jane and Howard Frank loaned sixty original floors of a redesigned commercial building.

works from their collection to the University Touting an archive of over 10,000 illustrations, of Maryland Art Gallery for an exhibition titled with artists such as Chris Achilleos, Richard

“Possible Futures” commemorating the millen-Corben, Dave Dorman, Enrich Torres, A.C.

nium. The catalog accompanying the exhibit Farley, and Frank Frazetta, its location was was the first scholarly publication to examine sufficient to guarantee that this museum would science fiction art in relation to fine art, art his-not succeed. Seven years later, comic and illus-tory, the sciences and American culture and tration art, plus other property from Kevin contained essays that analyzed the images from Eastman’s collection, was auctioned at Sotheby’s an historical perspective. Strong supporters of in a sale that included the sell-off of the Sam the genre, the Franks had also loaned works Moskowitz Collection of Science Fiction ( June shown at the Delaware Museum of Art and the 28–29, 1999). A bit past the century mark, The Canton Museum of Fine Art exhibits. The Science Fiction Museum and Hall of Fame

“Possible Futures” collection traveled for a year, opened in Seattle, Washington, in 2004. It was and was seen at the Society of Illustrators in founded by Paul Allen and Jody Patton and had New York, Bowling Green Fine Arts Center, as members of the museum’s advisory board Ohio, and the Widener University Arts Col-such luminaries as Steven Spielberg, Ray Brad-lection and Gallery in Pennsylvania.

bury, James Cameron, George Lucas, and Another major opportunity for exhibiting Arthur C. Clarke. Fans were gratified to see the art, from 1990 to 1994, came from an unex-attention paid to the field, although the mu-pected source. Olympia and York, corporate seum’s focus is not art.

owners of commercial space in New York City, Other exhibitions added exposure: Virgina to the surprise of many artists, decided to use Artist Charles Vess was instrumental in organ-the property known as the Park Avenue izing an exhibit titled “Dreamweavers” at the Atrium, on Park Avenue, for a series of exhibits.

William King Regional Arts Center, in Abing-These exhibits were an easy way to fill unoccu-don, Virginia, in 1994 and 1995. Many of the pied commercial space. Thanks to the prop-artists in the group show, such as Alan Lee, erty manager who was a science fiction enthu-John Howe, Brian Froud and Vess, were known siast, the unrented window display space which for illustrating folk and fairy tales in contempo-existed on either side of a long passageway link-rary styles that were influenced by Victorian ing one street entrance of the building to an-

59

Historical Overview, 1970s to 2000 (Frank) other for four years was devoted to a series of in-Art Gallery, in Chicago, Illinois, chose a dif-novative exhibits, several of them devoted to ferent approach. The gallery was located in science fiction art. These ranged from exhibits commercial space, in a part of the city filled titled “In Dreams Awake: The Art of Fantasy”

with factory buildings that were being refitted (1990) and “Into the Future: The Art of Sci-for retail use. The choice, in the end, proved ence Fiction” (1991) to “Myth and Deception”

no better than a storefront in terms of increased (1993), and “Paperback Book Cover Retrospec-profitability and the gallery was out of business tive” (1994). Dozens of well-known SF illus-by the mid–1990s.

trators participated in these exhibits and en-One very important promotional vehicle joyed the publicity they generated. The exhibits for the field arrived on the scene in 1993, the were not like museum shows. There was no result of an effort by Arnie and Cathy Fenner to signage to explain the works, and there was expand artists’ markets. Originally conceived no attempt to be educational. However, thou-as a form of “black book” to showcase the sands of people were exposed to this special-genre, charging a nominal fee for submissions, ized art form, and artists jumped at the oppor-the juried competition (to ensure quality) tunity.

quickly became synonymous with excellence in At the beginning of the decade there was the field. It was an annual competition founded also notable art gallery activity. The Pendragon to attract art directors and production design-Gallery in Annapolis, Maryland, which had ofers to available talent. But within a year, it be-fered art by Boris Vallejo, Dean Morrissey, John came “a proverbial ‘who’s who’ in the contem-Howe, Alan Lee, Ray Harryhausen and numer-porary field of science fiction and fantasy,”

ous other artists went out of business. After an according to Donato Giancola, one of the rap-unsuccessful attempt to expand to the West idly rising artists in the field. His art was se-Coast and inability to offset increased rent and lected for inclusion in the first edition. He overhead costs with sales of art at their original added, “I’ve done my best to make sure my art location, they went bankrupt in 1991. In the has appeared in every issue since” (quoted from same year, art collector Jane Frank founded

“Spectrum on Display” in Realms of Fantasy, Worlds of Wonder Gallery, in Washington, August 2005). The only route to selection, D.C. (later relocated to Virginia). Envisioned as however, in a situation where hundreds are a direct marketing business from the outset, chosen from a pool of thousands by a panel of with catalogs distributed via videotape, the experts is to submit the best of the best, and gallery had a storefront presence for six months, that is why Spectrum: The Best in Contemporary for the sole purpose of gaining credibility and Fantastic Art almost overnight became the gold garnering reviews and attention from local news standard for quality in illustration art in the media. As a marketing medium, videotape was genre. Spectrum may have been founded in re-associated with higher priced goods, and al-sponse to genre art being overlooked, but it rap-lowed the art, both paintings and sculptures, idly became a form of advertising that had no to be shown at varying distances and angles.

equal. Being chosen for inclusion could result The marketing method was innovative, and in referrals, licensing of commercial reproduc-successful in gaining attention and sales, but by tion rights, new commissions, and sales of orig-1995 traditional printed catalogs replaced the inal art. As for collectors, Spectrum cannily filled tapes, when foreign sales meant conversion to the need for leadership in a niche that was des-non–VHS video formats, and those conversions perate for “tastemakers.”

were excessively costly. Recognizing that the Some observers have suggested that the costs associated with traditional storefront gal-reason it’s taken so long for the field to gain leries would be difficult to support through sales respect is terminology. If only we insiders of SF illustration art, the Brandywine Fantasy would stop calling it science fiction art, or fan-

Part I: A Century of Science Fiction Art 60
tasy art, then the art establishment would be pictures of spaceships, dragons, and vampires.

more apt to accept it. Mainstream art publish-Another important reason for the difficulty ers called it “whimsical art” or “art of the imagin promoting the art was the economic down-ination.” Terry Booth, founder of the relatively turn of the early 1990s. It was a recessional pe-short-lived Brandywine Gallery, believing la-riod that had the U.S. publishing industry reel-bels were a critical factor, opted for “magical re-ing and that had already taken its toll in the alism.” Like many enthusiasts of emerging col-United Kingdom in the late 1980s. The reces-lectibles, Booth saw potential in fantasy art and sion wreaked havoc in art markets, making art re-labeled it, hoping to catch the eye of col-publishers inordinately cautious about gam-lectors who ordinarily would be attracted to bling on unknown artists and unproven col-Brandywine artists like Leyendecker or lecting markets. The boom that had produced Schoonover and might be persuaded to pur-books in the 1980s had also spurred art pub-chase high-quality contemporary illustrative lishers to develop ambitious programs for mar-art as long as it wasn’t called “science fiction.”

keting limited edition prints and artists to self-He took in on consignment excellent works publish reproductions of their work. Now there from top artists such as Michael Whelan, was a glut on the market of art prints of all Richard Hescox, James Warhola, Darryl K.

kinds in the early 1990s that was sinking the Sweet, The Hildebrandts, and others and best of the art publishers who had staked their priced them below that of American illustra-chances on fantasy art.

tors, around $8000 to $20,000. He still sold The economic recession also arrived just practically none of them.

as cultural trends and events of the past two Within the field, there was as great a chal-decades were catching up with artists and pub-lenge when it came to broadening perspectives.

lishers. The results would transform the indus-

“Speculative art” was used to refer to works of try. There began to be intense pressure on art that focused on themes similar to those booksellers to “sell through” the product in the found in speculative fiction. So, when the late 1980s and by the 1990s it was having a se-Magicon (1992 Worldcon) art show sponsored vere impact on how cover art was produced.

a major retrospective of art, curated by guest The average paperback book had about six of honor Vincent Di Fate, in collaboration with weeks on the shelf, and new hardcover books art curator Roger Reed, they called it a retro-could only be promoted for a few weeks before spective of speculative fiction illustration, pub-they were returned and remaindered. This was lished between 1880 and 1970. The retrospec-not good for the author, and impacted the tive, “Looking Back at Looking Beyond,”

artist. Where once books could linger on covered the vast spectrum of speculative art, shelves long enough for the artist to attract an from the dinosaur paintings of the late nine-appreciative audience, they now had to have an teenth century, to pulp magazine covers of the immediate impact or risk having none at all.

’30s, to movie posters of the ’50s, to comic art, In 1993, retailers returned 28 percent of all and to art created for NASA. “We want to pay adult hardback books, many of them to be sold tribute to those artists whose work is recognized at cut-rate prices. The rest had their spines in the field, but whose name may not be,” Di sliced off before being piled into a recycling bin.

Fate explained. “We want to acknowledge the In most other industries, manufacturers don’t early SF artists.” Except that calling it “specu-have to take back products that don’t sell. Relative art” would not help in that effort. For turns also existed in the DVD and music busi-those who appreciated the art, the label “sci-ness, and later would impact videogames, as ence fiction and fantasy” was fine. For those well. But the high cost of manufacturing and who did not, no amount of market reposition-distributing books meant that the increasing ing would make up for the fact that these were rate of returns promoted a destructive cycle:

61

Historical Overview, 1970s to 2000 (Frank) publishers raised prices to compensate for the tors of adult science fiction, expanded expo-lost revenue, which in turn made them harder nentially after the first Harry Potter book was to sell, creating more returns.

published (1997). YA breathed new life into the The “drought” of the 1990s particularly af-market but it forced artists into a flatter, sim-fected publishers who had flooded the market plistic and less intense style. The art did not with books that matched certain formulas, try-appeal to collectors who valued an “adult” look, ing to give readers more and more of what they and was only of limited interest to book col-demanded. There was a proliferation of series lectors who saw little of distinction. If there was novels, game world-tie-ins and movie novel-value, it was through association with the title, izations. There were dozens of “choose your and not because of the quality of the art.

own adventure” multiple-ending stories in the Artists complained that they were having young adult market, with set formats for the less and less influence on the art appearing cover art. There was an explosion of entrepre-on their books, without compensation for that neurial authors and small-press publications loss of authority. Even comic books had got-made possible by changes in the publishing inten out of that rut by the end of the 1970s, dustry, foremost those made possible by new when publishers began to institute the direct computer technologies. Among those most af-sales system, and books were distributed to fected were artists working in the horror genre, comic book specialty shops on a non-return-which by 1993 had become a distinctive modable basis. Relieved of the threat of returns, ern publishing category, along with science comic book companies did not have to print as fiction and fantasy. Small magazines like the many copies of a book to guarantee sales. It also Canadian publication Rue Morgue, founded in meant the retailer could choose what books to 1997, and specialty presses like Cemetery Dance sell and not the distributor. Out of this sprang Publications, founded in 1988 by horror author the creator-owned comic book, with the artist Richard Chizmar, either used photographs or owning all rights, and from that came the con-did not pay high rates for art. Numerous other cept of the “hot” artist — turning comic artists magazines and publishers simply did not suc-into celebrities and their art into market com-ceed, and horror art became more “cultish.” In modities that were speculated upon, traded, the late 1980s, a growing number of horror pro-bought and sold on a strong secondary market.

fessionals and fans who attended the World Nothing like this existed for book and magazine Fantasy Convention (at that time one of the illustrators.

only conventions for horror fans) felt that they The book business was in trouble. Inde-needed a convention of their own. Founded by pendent bookstores were going broke from author Beth Gwinn (who had the idea) and overexpansion, the Internet and mega-book-others, the first World Horror Convention was stores. Publishers became dependent on a few held in Nashville, Tennessee in 1991. There has big distributors who could guarantee their been a World Horror Convention every year books would get the attention of powerful book since, in cities all over the United States and, as buyers from Crown, Books-A-Million, Bor-of 2007, in Canada. Yet, the first convention ders, Barnes & Noble. The tastes and judg-drew about 300 attendees, and the convention ments of one person, the science fiction buyer has remained small since, rarely rising above for Barnes & Noble, for example, dictated what 500 or so members. Guests of honor have inwas offered for sale at dozens of stores. And cluded virtually every living legend in the hor-then the chain stores became superstores, with ror field, including artists, but there were no coffee bars and comfy sofas, so that people specific art awards.

would linger. Between 1989 and 1999 Barnes Young adult (YA) fiction, already taking

& Noble grew from 23 to 542 superstores, up a large part of the slack for many illustra-while Borders Group Inc. went from seven to

Part I: A Century of Science Fiction Art 62

300. Crown books, once the third largest book ences not notice a new title in a series. The re-chain with 179 stores, filed for bankruptcy in sulting art either failed to sell through the prod-July 1998 and then again in February 2001, uct, or did the job, but accomplished no more when it was down to 90 stores. Everyone fo-than that. There was no room for artists’ input.

cused on the numbers, and what books were Artists with years of experience in composing, going to be “hot,” because that meant massive designing, and executing book cover art were numbers of books could be sold of those few turned into “hired wrists,” while authors had titles that were “hits.” Discounters like Walto make “cover consultations” part of their con-Mart added to the problem. Like the super-tracts in order to have a voice in how their work stores, they, too, needed a constant supply of would be visualized. There would be rounds of new offerings to replace slow-selling titles, in

“tweaking” while marketers advised changes to order to maintain profitability. Potential best-a logo or format used in a series. Digital files sellers had only a short time to make an im-made changes easy, and where once requests to pact. That meant huge stacks of books at the alter an image might have meant hours of refront of stores to make sure they got noticed.

painting, changes could be made in a matter of And an ever increasing number of books that minutes. This had repercussions for book col-had to get published, in order to stock all the lectors as well; some books were published with stores, and keep them freshly supplied, in hopes up to six different covers, as publishers tested of striking it rich every once in a while.

formats for greatest sales potential. In blatant atThe recession made publishers nervous tempts to compel repeat business, publishers and cautious. They were chasing dollars on made trilogies out of single narratives, with every side: competing with publishing entre-stylized cover formats that would make the se-preneurs, small presses that could attract suc-ries memorable, but which condemned the art cessful authors whose books larger publishers to simply competent renditions that did the job couldn’t afford to backlist; chasing sales to book of selling. Publishers cashed in on so-called collectors who were depleting their budgets by

“media novels” based on movies, television, buying attractively packaged “first editions”; comic books, and computer and role-playing and chasing sales to discount chains and dis-games. The genre became littered with cover tributors. In turn, art directors no longer had paintings that looked like photographs, because the freedom to hire artists they knew, and trademarks prevented artists from interpreting whose work they liked, nor could they gamble the way characters and objects looked.

a product line on an unproven talent. The “dig-Magazines fared even worse. SF magazines, ital revolution” invaded publishing, and by the virtually the only print source for new short end of the decade practically 50 percent of fiction and reviews, lost readers and advertisers artists were creating or submitting images or to other media. Analog Science Fiction and Fact, both via computer files. Art directors became initially published in 1930 as pulp magazine As-administrators as the management of digital tounding Stories, changed its name to Analog files replaced the need for photography and Science Fact & Fiction in 1960, then changed communication with the artist.

their logo in November 1992 to read “Fiction Artists grumbled that clients demanded and Fact” rather than “Fact & Fiction.” It con-round after round of preliminary sketches, then tinued to publish reprints of stories by major demand further changes after the final art was SF authors and to use mediocre work on its submitted. The function of the art director was covers.

being taken over by “marketing committees”

Other long established brand-name mag-who would turn back art for further changes at azines, like Weird Tales, had a difficult time stay-the artist’s expense. Publishers were conserva-ing in publication. Weird Tales, founded in tive, and fearful of altering formats, lest audi-1923, had distinguished itself from other pulp

63

Historical Overview, 1970s to 2000 (Frank) magazines by focusing on horror and by print-lishing effort attracted some of the world’s top ing famously racy covers by Margaret
science fiction writers, who wrote collaborative Brundage, the “Queen of the Pulps,” who spe-fiction pieces for Omni’s readers live online.

cialized in painting nearly naked women being When Kathy Keeton, whose vision inspired attacked by fiends and monsters. In 1954, Weird Omni, died from complications of breast can-Tales died, in financial trouble, and after losing cer in 1998, the staff of Omni Internet was laid authors and artists to better paying publishers.

off and no new content was added to the web-It was resurrected briefly in 1973, but lasted site. General Media shut the site down and re-only four issues. In 1981, 1984, and 1988 the moved the Omni archives from the Internet. In magazine was brought back to life, only to November 1998, Datlow collaborated with founder after a few issues. In 1998, once again three former colleagues to publish the online a new licensee resurrected the property. As of magazine Event Horizon. Following the typical this writing it is semicomatose after being sold business model for such ventures, survival de-by Warren Lapine’s DNA Publications to Wild-pended on selling advertising on the site. When side Press in 2005. Amazing had the same pub-that failed to materialize the business folded a lishing difficulties after being published more year later. In 2000, Datlow was again hired as or less continuously from 1926 until the 1990s fiction editor for the Sci-Fi Channel’s online under various editors, publishers and formats.

magazine Sci Fiction. The magazine enjoyed During its final decade it was published errat-unparalleled success (the webzine and its editor ically, and eventually Wizards of the Coast can-earned three Hugo Awards, four Nebula Awards celled a version published by Pierce Watters.

and a World Fantasy Award), but lasted only Science Fiction Age, popular with fans because until 2005, when it was deemed insufficiently of its high production values and excellent use profitable for its new owners, NBC (“The rise of artwork, and for establishing a continuing of the genre ezine: Will it ever find a profitable

“gallery” article each issue, highlighting a well-model?” by Simon Owens, published February known artist or art-related topic, began publi-10, 2008, at http://bloggasm.com).

cation in November 1992 and ceased publica-To those who previously had blamed the tion with its May 2000 issue. The publishers Internet for the demise of all but a handful of explained that it was failing to meet profit ex-traditional fiction magazines, the lack of online pectations. Its sister publication, Realms of Fan-profitability came as a surprise. Although none tasy, begun in 1994, was still being published.

of the magazines still surviving at the end of The number of subscribers to Fantasy and Scithe century in the United States ( Analog, Asi-ence Fiction and other established magazines mov’s Science Fiction, The Magazine of Fantasy dropped as readers aged and younger ones and Science Fiction, and Realms of Fantasy) had turned to less demanding media.

more than 40,000 subscribers by 2000 and had Numerous webzines (magazines on the In-been in (sometimes steep) decline since 1990
ternet) were started up and died. They gener-

( Locus Magazine “2003 Magazine Summary,”

ated traffic but no profit. After the print mag-February 2004), it had been widely assumed azine folded in 1996, the Omni Internet webzine that readers were flocking to webzines. Not only was quickly launched in September of that year.

were such ventures not succeeding, but — and Free of pressure to focus on fringe science areas, unlike printed publications — once their online and with the capable Ellen Datlow still serving archives were taken down and “wiped clean,”

as fiction editor, Omni Internet returned to cov-beyond an occasional Google cache all record of erage of major science events and featured chats their existence was gone. And with that, all and blogs with scientific luminaries and inter-record and remembrance of the art.

active experiments that users could join. One of To offset market instabilities, and declin-the first speculative fiction “ezines,” the pub-ing numbers of clients, artists sought new mar-

Part I: A Century of Science Fiction Art 64
kets and sources of income outside the publish-company realized what a huge success the game ing industry, where the fees were stagnant, and was. Where there once were only a few card dropping. The need for non-literary commis-makers, such as Topps and Fleer producing sions was especially acute among artists first en-sports-related trading cards, there were sud-tering the field in the 1990s and artists who had denly dozens of manufacturers in the collector entered in the late 1980s working for magazines, card business, producing a dizzying array of hoping to move up to jobs in the hardcover and cards. Some were linked to comic heroes or as-paperback market. The most highly skilled and sociated with entertainment or pop culture imaginative of these artists were able to compete ( Star Wars, Star Trek), and some were associ-successfully with already established artists in ated with science fiction, fantasy, or dark fan-the field, while those who were merely compe-tasy games. Still others were published simply tent or were too innovative or experimental for as promotional vehicles for artists, without any the market were compelled to seek alternative function other than satisfying collectors’ desire markets.

for inexpensive items to collect. Comic Images Collectible card games (CCGs), also
and FPG, Inc. (Friedlander Publishing) pub-known as trading card games (TCGs), com-lished collectible decks of trading cards devoted bined the appeal of collecting and the fun of solely to fantasy and science fiction artists. It playing a game. In their modern form they was rare for any artist of repute not to have such came into existence with the invention of

“collections” of their publishing careers. These Magic: The Gathering, published by Wizards helped to widen an artist’s fan base, as well as of the Coast (WoTC) in 1993. The game was serving as mini-anthologies of their works. To overwhelmingly popular. Soon dozens of artists heighten their value and appeal, the manufac-were being conscripted to produce art for the turers used limited editions, specially coated cards, at very modest rates ($50 to $200 aver-cards (Mylar, chromium/foil stamping, holo-age). These kinds of fees were appealing be-grams), and sketch cards (with near one-of-a-cause companies typically contracted for sev-kind artists’ sketches packaged with ordinary eral at a time, the time for completion was packs of cards) as surprise premiums. The usually short, and the paintings could be small, hobby drew even more collectors when pub-which meant that little time or effort was lishers added “chase cards,” specially designed needed to produce art of high quality. The cards that featured limited edition artwork or work was heavily art directed: artists had to signatures. Uncut sheets of cards were sold as conform to strict rules governing the content separate collector’s items.

of the images, and the size (for reductions) but By the middle of the decade, the market-the quality of the execution was secondary. Bear ing of nonsports, collectible and/or game-re-in mind up to a dozen or more artists were con-lated trading cards was such that hardly any tributing art, so that no one artist was respon-artist was untouched by their manufacture.

sible (nor credited) for its success or failure. As Artists “coming up” in the genre could spend al-an example, here is the “art description” for one most their entire illustrative careers in the indus-piece of card art, for a game published by Wiz-try of producing gaming card art, and many ards of the Coast: “This card represents Blue talented artists did: Rob Alexander is one fine magic. The image must include at least one example, and there are several more. Well-estab-major element in Blue. Location: view from lished artists of the 1970s and 1980s who saw space. Satellite shot of radiating ripples of en-the literary and advertising market weakening ergy covering the globe.”

or were seeking new opportunities and chal-In an effort to reward artists for taking the lenges in emerging markets or both jumped in.

gamble, Wizards of the Coast paid royalties to Three examples are Ken Barr, Vincent Di Fate, the artists, a practice that ended as soon as the and Ron Walotsky. Keith Parkinson, in an en-

65

Historical Overview, 1970s to 2000 (Frank) trepreneurial move, developed his own game, mercial publishers of fantasy art prints, but if The Guardians, and his reputation ensured that artists could not get their representation, that the best of artists were enlisted to produce the didn’t stop them from publishing prints on their art for the cards (e.g., Don Maitz, Jim Warhola, own. Despite the lesser popularity of fantasy Den Beauvais, Rowena Morrill). The game themes among mainstream buyers, Greenwich foundered, primarily because of the marketing Workshop’s success in representing Jim Chris-and distribution failures by FPG, Inc.

tensen and James Gurney did much to encour-Off beat, short-lived products driven by so-age other publishers to follow their lead. Ancial trends, new technologies or economic pros-other main source was Mill Pond Press, which perity also provided artists with a way to license published limited edition art prints by Don their work: computer screen savers, pogs (a Maitz, Michael Whelan, and Dean Morrissey.

game based on bottle caps), and phone cards are Despite established methods of distribution the three examples. When cell phones became pop-sales were not sufficient to provide the profits ular, phone cards began to be phased out. But needed, and soon ambitious programs to de-before that happened, and as with all things that velop the fantasy art market were abandoned.

start out being utilitarian, once someone de-Novagraphics, founded by artist Kim Poor, was cides to make the product a bit more decora-ahead of its time, and offered limited edition tive, someone, somewhere, will want to keep it, prints by popular SF and space artists online, for the artistic value. In such way, phone cards circa 1995. Among the artists they represented became another “collectible” arena for artists to were Bob Eggleton, Bob McCall, and David A.

license their art. Phone cards came in many de-Hardy. Glimmer Graphics and other small signs and issues: Disney and movie stars are just publishers also published art by fantasy artists.

two. They became popular advertising and pro-Several artists started their own print busi-motional vehicles, as well as products to entice nesses after being frustrated by the review cross-collectors of popular media properties or process demanded by large publishers. It was themes. Fans of the art of Boris Vallejo and Julie not difficult for artists to find printers and self-Bell wanted phone cards impressed with their publish small editions of inexpensive offset lith-art. Other collectible phone cards had art by ographic reproductions. Artists distributed Luis Royo, Michael Whelan, or Jeff Easley. Sec-these “prints” at conventions, or directly to fans, ond Nature Software, licensor of several collec-through magazine ads and websites. The prints tions of fantasy or science fiction related art, also were decorative but not up to fine art standards packaged screen saver and desktop wallpaper and did not sell in large number. Artists did products for “The Art of Guardians” (see above, not have good distribution channels; science CCG). Landmark General, Random House, fiction conventions sold prints by dozens of and Workman Publishing produced numerous artists sized 16" × 20" for $25 each at the same calendars, licensing the work of many fantasy time that Mill Pond Press was selling prints 30"

and science fiction artists. However, with the

× 40" for Dean Morrissey for $175. Mithril widespread use of home computers the need for Press in Atlanta, Georgia, conceived of market-wall calendars soon dwindled. Meanwhile, Gary ing a series of prints by subscription, to mem-Ruddell created designs for wine labels for bers of what they called the Fantasy 500 Col-wineries in California, a growing niche market.

lectors Consortium. It was a short-lived Aware of the rising popularity of “prints”

attempt: their first series of three Michael Whe-produced via photo-reproduction techniques, lan original lithographs were offered at $450
many illustrators were attracted to the idea of each and went largely unsold. The editions were publishing limited editions based on their orig-later brokered and offered through Sovereign inal artworks. Greenwich Workshop, Mill Media, publishers of Science Fiction Age and Pond Press and Apple Jack were the main com-Realms of Fantasy magazines, for $75 each.

Part I: A Century of Science Fiction Art 66

For artists who believed the buoyant years in 1996. Artists sought and garnered licensors for of innovation and experimentation were over video game packaging, jigsaw puzzles, note in book publishing, the idea of going into busi-cards, tarot decks, and tote bags. They acquired ness for themselves, or finding other outlets for licensing agents and attended licensing expo-their original ideas, was irresistible. Some artists sitions. Some entered the film business, making lived double lives: one solidly within the com-props or working on animated movies.

mercial art field, and the other on the fringes Working in diverse markets, however,
of the fine art market. By the end of the century came at a price. Artists must contend with a number of artists had moved away from pub-lower fees and the probability that promised lishing centers in the Northeast (familiarly re-royalties will never appear. While the right to ferred to as the Connecticut Ghetto), no longer inspect financial records is part of most con-needing to be near their clients. Ron Walotsky tracts, artists rarely made that effort. Outside showed a completely different “abstract” side of the literary field, especially in product and toy his talents in the art he produced for fine art packaging, publishers still frequently did not galleries on Long Island, New York, and then credit the cover artist. The rise of self-pub-Florida, after his move there. Jim Gurney came lished and print-on-demand books made cover up with the idea of Dinotopia, and his success art much less important. Small press and spe-with the concept largely eliminated the need to cialty publishers could not hew to industry paint book covers for other authors. James standards for commissioning new works, or Christensen moved entirely into the gallery even fees for secondary rights, nor could they sphere, and Greenwich Workshop, representing offer the same prospects for exposure to artists’

him in the sales of originals and lithographic work as major publishers. Employment
prints, also produced limited editions of cast prospects for artists who work mostly on a free-figures based on his ideas. Dean Morrissey lance or commission basis found it difficult to began writing and publishing children’s books, earn a living solely by selling their artwork.

as did James Warhola. Paul Lehr exhibited his Only the most successful received major com-driftwood and wrought iron sculptures at gal-missions for their work, while competition leries and colleges, and numerous artists began among artists for the privilege to be shown in teaching and lecturing in art. Some artists galleries was acute.

turned to illustrating graphic novels (Ian Miller, A mailed survey conducted in 2003 by

Les Edwards) or to pop-up books for children, Jane Frank asked one hundred artists various while others began working in three dimen-questions about the state of their professional art sions, producing open and limited edition careers in 1983, compared to 1993, and then in sculptures for Graphitti, DC Comics, Franklin 2003. The survey was not designed to provide Mint, and other publishers.

statistically significant results but to learn more Some artists, wanting more of a challenge about artists’ situations, and how they were refor their talent, took “vacations” from the book acting to industry changes. The sampling in-cover field. Michael Whelan declined literary cluded fair proportions of British and female illustration assignments at the end of the 1990s artists, and all the artists were already working to focus on his fine art, which he exhibited and professionally in the field in 1983. The rate of sold through galleries. Dan Horne entered the returns was almost 40 percent, a high number world of 3-D, creating a line of action figures for surveys of this kind. The pattern of re-based on Tolkien’s characters in Middle Earth, sponses underscored how changes in the pub-for Toy Vault. Tom Kidd worked devotedly on lishing industry and the use of the computer his book project Gnemo, declining commercial was affecting artists whose livelihood, in 1983, commissions, while Stephen Hickman pro-came almost exclusively from producing illus-duced a figure of C’thulhu for Bowen Designs, trations for books and magazines. In 1983 none

67

Historical Overview, 1970s to 2000 (Frank) of the 38 artists were using computers to create tury knew that digital technologies were unart. By 1993 about 15 percent were using the avoidable. We all were witnesses to the death computer to produce art, with the British artists of painted illustration as we’ve known it while slightly ahead, at 18 percent. But by 2003, al-simultaneously being present at the birth of most half were creating art that way, and for something entirely new and exciting. While old British artists the number was seventy percent.

markets for commercial art were in decline, new Moreover, 30 percent of the artists working in avenues were opening, and more importantly, 1983 reported having the same number or more due to the digital revolution which brought clients than they did in 1993, and more in 1993
those changes, veneration for what once was than in 2003. A third of the artists reported considered art with a small “a,” not “Art.” A making more money in 1983 than in 1993 and move toward neo-conservatism in fine art made a majority made more in 1993 than in 2003.

the realism in science fiction art all the more The average fee for cover art remained the same attractive. Explosively increasing prices paid for over twenty years, $1500 to $2500. A small articles associated with popular culture —
number of artists welcomed the downturn in comics, movie posters, props, costumes, along publishing work, noting that it was in part off-with consumer demand for nostalgia — also set by work in other arenas, or was a good ex-brought a newfound respect for the field. The cuse to pursue more personal work and sales of schism between illustration and fine art re-originals. The sampling of artists was small, but mained through the end of the century, as did overall the pattern of responses clearly rein-the bias against artists who worked in applied forced the view that that computer graphics art fields; artists who strived for acceptance in packages and stock art web sites were making it the fine art world did not divulge their back-easier for writers, publishers, and art directors grounds. But while the methods and media dif-to create their own illustrations. As Rodney fered from those of J. Allen St. John, they still Matthews put the matter succinctly, when

“told a story.”

asked in a survey in 2005 “where am I going Changes within the illustration field spread with my career?” He responded, “in time I rapidly in the last decades of the century. Sci-could see myself as decently paid.”

ence fiction had a much more pervasive Fandom largely dictated the popularity influence, and millions more people than read (perceived success) of science fiction artists until books had seen the movies. The genres blurred, the 1990s. Artists received acclaim, got hired and as Terry Pratchett observed, “Romance, for commercial jobs, and became worthy of col-western, fantasy, science fiction, are now flavors lecting, through fans’ perceptions of their excel-rather than substances” ( Locus, December lence. Fanzines’ and magazines’ letters to the 1999). Few illustrators remained untouched by editors columns, genre conventions, and peer-the challenges of incorporating the computer and organization-sponsored awards all provided into their commercial art careers. At the same a way for artists to gain visibility. With the di-time, few artists did not take advantage of dig-versification of opportunities, digitization of ital photography for documenting and archiv-the medium, and exposure via the Internet, that ing their work or use computer applications for changed. The digital revolution had a profound directly converting paintings or film to digital impact on the creation and consumption of art, form for easier handling. Some were already with significant implications for everyone who creating digital art by taking images from an had a stake in the outcome.

outside source, such as a scan of a drawing or Those involved in the book and magazine painting or photograph. A few created digital publishing industry, or whose interests are de-images using vector graphics software using a pendent on the continuing production of com-mouse or graphics tablet, or created art that was mercial illustrative art, by the end of the cen-purely computer-generated (fractals). For pub-

Part I: A Century of Science Fiction Art 68
lishers and art directors, it was a matter of eco-generation of illustrators who were comfortable nomics. While there may always be a niche re-with the idea of adopting new techniques and served for traditional media, the days of review-excited about expanding their careers by using ing slides on a light table were over.

the computer. Yet for those whose income still For artists, there was easy access to soft-came primarily from book illustration it was a ware which allowed manipulation of photo-steep learning curve, and most commercial graphs, drawings, paintings and even naturally artists saw themselves as part of a generation in found objects to create new works bearing lit-transition. They were not entirely uncomfort-tle resemblance to the original. The applica-able with the new techniques, yet not con-tions also simulated electronic versions of artis-vinced that digital technology would open new tic techniques and surface textures formerly horizons of artistic possibility. It was the time accomplished only by hand painting. As a result, for cautious optimism.

there was, by the turn of the century, a new

PART II

The Biographies

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71

Achilleos

Achilleos, Chris
trations. Soon, he withdrew from commercial ad-

(b. 1947) British artist. Born in Famagusta, vertising to focus solely on fantasy art.

Cyprus, Achilleos grew up in rural countryside be-In 1977, the year his second daughter, Anna, was fore moving to England with his mother and three born, Achilleos was approached by Dragon’s World sisters in 1960, after his father’s death. Feeling very Ltd about publishing a collection of his work in much an outsider, Achilleos became a fan of the book form. The result was Achilleos’ first published comics — which he credits for helping him learn En-collection, Beauty and the Beast, featuring a mixture glish. He began drawing shortly after he moved to of his fantasy, cover and erotic pin-up art. It was a London, and was particularly impressed with the huge success, selling over 100,000 copies worldwide.

heroic characters he saw depicted by his favorite This was soon followed by the Amazons Portfolio, comic artist, Frank Bellamy. He decided that he containing prints of eight Amazonian women. In wanted to become a professional artist and study il-retrospect, however, Achilleos felt the book had a lustration, but his academic qualifications were few.

negative impact, as it prompted him to produce His art teacher helped him to apply to the local paintings that were much more difficult to use for school, Hornsey College of Art, and he was accepted book or paperback illustrations. At the same time, the in 1965. Forced to choose between Scientific and British SF market went into a long slump, and many Technical Illustration and Fine Art as a course of artists found themselves without much work, study, he chose Technical Illustration because it in-Achilleos included. He turned to men’s magazines volved learning about various drawing disciplines, and film, doing cover art for the novelizations of airbrushing and perspective. While at Hornsey, movies and promotional work for the movies them-Achilleos discovered American comics and paper-selves. His first major commission was for the 1980
back books in local bookstores. He was impressed by animated fantasy film Heavy Metal, for which he the dynamism of the graphics and the cover art of painted the movie poster, and designed the look of Frank Frazetta* on books such as Conan the Con-the female heroine, Taarna, and her faithful winged queror, and began illustrating scenes of heroic fan-steed.

tasy on his own. In 1968, Achilleos gained his first il-In the 1980s, with England in a recession, lustration job, assisting one of his professors, Colin Achilleos worked mostly outside the field, doing ad-Rattray, in illustrating The Moon Flight Atlas by vertising art and pinup illustration. In 1984, he was Patrick Moore (1969).

commissioned to paint a series of Star Trek paperback Achilleos graduated in 1969, and shortly after covers, and the revival of fantasy art in England, began work as a science fiction and fantasy artist.

driven by role-playing games, brought Achilleos He called publishers for work, and Tandem Books back to fantasy art working for Games Workshop. In referred him to their studio, Brian Boyle Associates.

1985–1986 Achilleos went through a painful divorce He submitted his portfolio and they gave him his from his wife of eighteen years and has been single first cover assignments: U.K. reprints of a trilogy of ever since. At the same time, fan demand resulted in American paperbacks, including a replacement for a a second art book, Sirens, in 1986. In addition to Frazetta cover. The studio hired him as a full-time showing paintings, Sirens also included many pen-illustrator, and in addition to painting dozens of cil drawings, which caught the attention of art stu-book covers he learned about book design, camera-dents who wanted to learn how to achieve a similar ready artwork and typography. He also married his realism. The result, Medusa, a collection of his draw-girlfriend, Angie. and they had a daughter, Esther.

ings and a display of his art technique, was pub-After two years Achilleos left to freelance, but for lished in 1988. By chance, a young artist using the economic security soon joined another studio, Arts book as reference material was working in the pro-of Gold/The Illustrators, based in Covent Garden.

duction office of Lucasfilm, and showed it to his em-With access to advertising agencies and publishers, ployers. Achilleos was subsequently hired as a con-he began working on cover paintings for the highly ceptual artist to work on the film Willow (1988). He popular novelizations of the Doctor Who television also worked as a visual consultant on King Arthur, di-series, published by Target Books, and the Pelluci-rected by Antoine Fuqua (2004). His film poster dar series by Edgar Rice Burroughs, commissioned work has included SuperGirl (1984), Blade Runner by Brian Boyle, his former employer. In 1975 there (1982), and Jackie Chan’s The Protector (1985).

were two disasters at Arts of Gold: a fire which de-Achilleos’ books were an international success, sell-stroyed most of Chris’s original artwork, and the ing in many countries, but the expected level of roy-founder of the studio died in a motorcycle accident.

alties never materialized, which left him wondering The studio disbanded, and Achilleos returned to why. After speaking to some of Dragon’s World’s freelancing, specializing in science fiction. He also major artists, he discovered he was not alone in this, took assignments from British men’s magazines, such and together they confronted the publisher, but to as Men Only, painting women and “glamour” illus-little effect. Achilleos decided never to publish an-

Achilleos

72
other book with the company. This resulted in no Published Work
further new books until Amazona, sixteen years later.

BOOKS ILLUSTRATED INCLUDE: The Best Horror In the 1990s, he took legal action against Dragon’s from Fantasy Tales (Robinson, 1988), The Black Moon World and eventually won a settlement which re-

(Corgi, 1978), Blood Risk (Futura, 1975), Brothers of turned to Achilleos the rights to his previous books.

the Dragon (NEL, 1992), The Cabal (Corgi, 1978), In 1991 American publisher Michael Friedlander Captive of Gor (Star, 1979), Chariots of Fire (Futura, and his company FPG provided Achilleos with an 1974), Darkness Weaves (Coronet, 1978), Darkness opportunity to gain wide exposure for his art via the Weaves with Many Shades (Roc U.K., 1993), Doctor burgeoning trading card market. His first card se-Who and the Ark in Space (Allan Wingate, 1977), ries proved to be a big hit and Achilleos credits his Doctor Who and the Auton Invasion; Doctor Who and decision to publish his art in this way as a life-chang-the Cave Monsters (Target, 1983), Doctor Who and ing event. Trading card paintings made up the bulk the Claws of Axos (Target, 1977), Doctor Who and the of Achilleos’ work in the early 1990s. His favorite Crusaders; Doctor Who and the Curse of Peladon; Doc-subject was detailed, figurative paintings of strong, tor Who and the Daemons (Target, 1973, 1974, 1975), beautiful females, based on live models —“Amazon-Doctor Who and the Dalek Invasion of Earth (Target, ian” women — epitomized in pieces such as “Chain 1984), Doctor Who and the Day of the Daleks; Doc-of Fools” and “Paws & Claws.” Achilleos gained tor Who and the Doomsday Weapon (Target, 1979), many new fans, who could now put a name to his Doctor Who and the Loch Ness Monster; Doctor Who distinctive trademark logo, the “A” in a circle, which and the Planet of the Daleks, Doctor Who and the Re-appears on all his paintings instead of his signature.

venge of the Cybermen (Target, 1976, 1981), Doctor The artist’s style is based on strong attention to de-Who and the Sea-Devils, Doctor Who and the Seeds of tail, beginning with pencil roughs which develop Doom (Target, 1979, 1977), Doctor Who and the Space into full paintings over the course of one to four War; Doctor Who and the Tenth Planet, Doctor Who weeks. He has used various media: inks, watercol-and the Zarbi (Target, 1976, 1984), Elric and the End ors, and fabric dyes. For his graphic works he uses an of Time (NEL, 1984), Encyclopedia of Science Fiction airbrush, but for large paintings he uses acrylics on (Cathay, 1983), Evangelist (Corgi, 1979), The Eve of canvas, or oils. He is constantly experimenting with Midsummer (Corgi, 1977), Farewell, Earth’s Bliss new techniques and different materials. Although (Tandem, 1971), The Final Quest (Sphere, 1982), he continues to accept commercial commissions, he Flinx in Flux (NEL, 1989), Frozen God (Corgi, has largely turned to creating personal works. In 1978), The Grail War (Sphere, 1981), The Hounds of 1993 he painted “The Dark Angel,” an experiment Skaith (NEL, 1985), Hunters of Gor (Star, 1980), done in oil on heavy canvas that displayed a looser, Kuldesak (Orbit/Quartet, 1976), Land of Terror more painted style he calls “Symbolism.” Under the (Tandem, 1974), The Making of Doctor Who (Target, aegis of Iconia publishers, Achilleos has developed a 1976), Mammoth Book of Fantasy All-Time Greats range of product lines including posters and limited (Robinson, 1990), Nightwinds (Coronet, 1979), Out edition figurines taken from his paintings.

of Phaze (NEL, 1989), Palace of Souls (NEL, 1995), Sources: Introduction on Chris Achilleos, in Amazona Phaze Doubt (NEL, 1991), Picnic on Paradise (Star, (2004); artist website www.chrisachilleos.co.uk; “Chris 1976), Robert E. Howard’s World of Heroes (Robinson, Achilleos” The Preston SF Group, July 5, 1994, in the KI-MOTA newsletter at www.hairy1.demon.co.uk/psfg [accessed 1989), Robot Adept (NEL, 1989), Skull-Face Trilog y/

May 2007]; Weinberg, 1988.

Omnibus (Panther, 1976), Star Trek 4; 5; 6; 7; 8; 9; 10; 11 (Corgi, 1984, 1985), A Storm of Wings (Sphere, Art Collections and Anthologies

1980), Straight on til Mourning (NEL, 1993), The (various contributing artists)

Strickland Demon (Corgi, 1977), Suns of Scorpio (Fu-Achilleos, Chris. Amazona (Titan Books, 2004), tura, 1974), Swordmistress of Chaos (Corgi, 1978), Achilleos, Chris. The Art of Chris Achilleos: Heroes, Swords of Shahrazar (Orbit, 1976), Swordships of Angels & Amazons (Friedlander Publishing Group, Scorpio (Futura, 1975), Tales From the Forbidden 1998), Achilleos, Chris. Beauty and the Beast (Paper Planet (Titan, 1987), Tanith (Corgi, 1977), To Die in Tiger, 1978), Achilleos, Chris. Medusa (Paper Tiger, Italbar (Corgi, 1977), To Ride Pegasus (Sphere, 1988), 1988), Achilleos, Chris. Sirens (Paper Tiger, 1986), Transit to Scorpio (Futura, 1974), Trolltooth Wars Suckling, Nigel. Heroic Dreams (Dragon’s World (Puffin, 1989), Tros of Samothrace: #1 Tros; #2 Helma; Ltd, 1987), Jackson, Steve & Livingstone, Ian, Gas-

#3 Liafail; #4 Helene (Tandem, 1971), Twilight of coigne, Marc ed. Out of the Pit: Fighting Fantasy Briareus (Orbit/Quartet, 1976), Unicorn Point Monsters: 250 Monsters from the Wild and Dangerous (NEL, 1990), Vengeance of She — Ayesha (Sphere, Worlds of Fighting Fantasy (Puffin, 1985), Mechanismo 1978), Vornan-19 (Tandem, 1972), War of the Wing-

(Reed Books, 1976), Diva: Satanica (Italy: Glitter-Men (Sphere, 1976), The War Hound and the World’s ing Images, 1990).

Pain (NEL, 1989), War of Powers: Part II: Istu Awakened (NEL, 1993), Will-o-the-Wisp (Corgi, 1976).

73

Adkins

MAGAZINES ILLUSTRATED INCLUDE:

in his name in 1991 to give a student from Westfield FT: 1988 (autumn)

High School assistance in furthering their careers.

GXY (U.K.): 1973 (7/8)

In his spare time Addams enjoyed collecting vintage HM: 1980 (11, 12); 1981 (9); 1982 (7); 1983 (4, 12); automobiles, so it was ironic that he died of a heart 2005 (1)

attack inside his parked car. His first two marriages IASFM: 1989 (5)

ended in divorce; his third wife, Tee Addams later es-WD: 1985 (6); 1986 (9); 1987 (5, 7, 10); tablished the Tee and Charles Addams Foundation, Misc.: Chris Achilleos Fantasy Art card set I, II, 1999. Several books of drawings have been pub-Colossal cards (FPG, 1992, 1994, 1995); Amazona lished, showcasing his cartoons — from Drawn and 2007 calendar (Tide-Mark, 2006); Heavy Metal Quartered in 1942 to The World of Charles Addams in special issues: One Step Beyond; 25 Years of Classic 1991, published posthumously.

Covers (Heavy Metal, 1996, 2002) Sources: www.charlesaddams.com [accessed July 2007];

“Charles Addams” tribute by Ron MacCloskey, Founder of the Addams, Charles

Charles Addams Art Scholarship Fund, online at http://www.

westfieldnj.com/addams; Davis, Linda. Charles Addams: A ( January 7, 1912–September 28, 1988) American Cartoonist’s Life (Random House, 2006); “The Father of the artist. Charles Samuel Addams, or “Chill” as his Addams Family” NPR morning edition October 31, 2006 on-friends called him, was born in Westfield, New Jer-line at www.npr.org [accessed July 2007]; “The Lurch Files”

online at www.geocities.com/~cousin_itt/charles.htm; Wein-sey. By all accounts a mild mannered man, with an berg, 1988.

unremarkable childhood — apart from his fondness for visiting a local Presbyterian Cemetery—Addams Published Work
became famous for his bizarre and macabre cartoons Addams and Evil (Random House, 1947), After-which appeared in The New Yorker, beginning in noon in the Attic (Dodd-Mead, 1950), Black Maria 1935. He was the first modern artist to successfully (Simon & Schuster, 1960), Charles Addams Mother blend humor and horror together, mostly through Goose (Simon & Schuster, 1967), Creature Comforts sight gags that needed little dialogue or a punch line (Simon & Schuster, 1981), Dear Dead Days (Put-to make the point. His highly popular Addams Fam-nam, 1959), Drawn and Quartered (Random House, ily cartoons, which first appeared in the magazine in 1942), Favorite Haunts (Simon & Schuster, 1976), 1937, were the basis for a hit TV series (1964), a Sat-The Groaning Board (Simon & Schuster, 1964), urday morning cartoon series (1973, and again in Homebodies (Simon & Schuster, 1954), Monster Rally 1992) and two successful feature films (1991, 1993).

(Simon & Schuster, 1950), My Crowd (Simon & After graduating in 1929 from Westfield High Schuster, 1970), Nightcrawlers (Simon & Schuster, School, where he was art editor for the Weather Vane 1957), The World of Charles Addams (Knopf, 1991).

(the school newspaper) and drew many cartoons, he attended Colgate University for one year, then the Adkins, Dan L.

University of Pennsylvania (1930–1931), and finally (b. March 15, 1937) American artist. Adkins, a the Grand Central School of Art in New York City prolific artist who is best known today for his comic (1931–1932), dropping out of all three schools. His art, worked for a short time in the science fiction dream was to work for The New Yorker magazine field during the early 1960s. He was one of a num-and he began submitting cartoons to them in 1935.

ber of artists hired by the Ziff-Davis chain in its at-In 1940 he submitted “Downhill Skier” and that re-tempt to upgrade the quality of its SF line from sulted in an offer to work for the magazine full time.

1961–1965.

He worked for The New Yorker for 53 years, until Adkins was born in Midkiff, West Virginia, a rehis death in 1988, drawing over 1300 cartoons. His mote rural area and lived there and in West Hamlin work also occasionally appeared in Colliers, Life, and as a child before moving to East Liverpool, Ohio. A T.V. Guide.

bout with rheumatic fever at the age of eleven, in As Weinberg writes (1988), “Addams succeeded 1948, left him paralyzed from the waist down for six in taking the monstrous and making it funny …

months, and this provided the incentive for him to (his) monsters were creatures trying to cope with the spend time reading comic books. He served in the modern world. They lived lives and enjoyed simple Air Force in the mid 1950s, as a draftsman, and after pleasures — albeit somewhat different ones than did being awarded his second strip as Airman Second normal families.” His work has been exhibited at Class, he became an illustrator. In an effort to spend several museums including Fogg Art Museum, the the money alloted per month for services, Adkins Rhode Island School of Design, and the Museum started a fanzine in 1956, Sata, filled with fantasy il-of the City of New York. He was a member of the lustrations. Adkins also contributed to other fan Society of Illustrators (NY), and was given a special publications, including Amra, Vega and Xero. After award by the Mystery Writers as well as the Yale leaving the military, Adkins moved to New York Humor Award (1954). A Scholarship was founded City and began working for science-fiction maga-

Adragna

74
zines along with working for several commercial stu-him to replace Stephen Marchesi, and create cover dios. He was an art director for Hearst’s American art for the new titles being written in the Hitchcock Druggist and New Medical Material, and then went

“Three Investigators” series. The styles of the two into advertising. Inspired by Wallace Wood* and artists were very different, with Adragna’s style being John Schoenherr*, in 1964 Adkins joined the Wally the more realistic of the two. Beginning with #29

Wood Studio as Wood’s assistant, and worked on The Mystery of the Sinister Scarecrow in 1979, Adragna the first issue of Tower Comics’ T.H.U.N.D.E.R.

became the exclusive cover artist for the original se-Agents. Wood and Adkins collaborated on stories ries until its end in 1987. Later printings of the for Warren’s Creepy and Eerie magazines, and Ad-Marchesi paperbacks also received Adragna covers kins did cover paintings in 1967 for two issues each in 1981–1983, giving the series a uniform look for of Erie (#9, #12), and Famous Monsters of Flimland the 1980s — so that, in the end, Adragna created new (#44, #46). Adkins did magazine covers for Amaz-cover art for all for all forty-three books in the se-ing Stories, Argosy (with Wood), Fantastic, Galaxy, ries. These are called the “Hitchcock covers” because Infinity, Monster Parade, Science-Fiction Adventures, all the books had Hitchcock’s silhouette on the front Spectrum, Worlds of If and other magazines. With cover.

the sale of Ziff-Davis, Adkins devoted his attention Sources: www.threeinvestigatorsbooks.homestead.com to comic art. He worked for Marvel, and in addition

/TheThreeInvestigators.html; Weinberg, 1988.

to his many pages for Dr. Strange and other Marvel Published Work
titles, he has worked for Charlton, DC, Dell, BOOKS ILLUSTRATED INCLUDE: Alfred Hitchcock’s Eclipse, Pacific and Western Publishing. His illustra-Ghostly Gallery (Random House, 1984) Alfred Hitch-tions for Xero were recently reprinted in the hard-cock’s Haunted Houseful (Random House, 1985), An back The Best of Xero (Tachyon, 2004).

Old Friend of the Family (Ace, 1979), The Black Sources: “A Dream Come True: A Candid Conversation Flame (Ace, 1981), Daughter of the Bright Moon (Ace, with Dan about Wally Wood and Other Phenomena!” Interview by Roy Thomas in Alter Ego Vol. 3, #8 at http://twom-1980), The Demon Breed (Ace, 1979), The Dracula orrows.com/alterego/articles/08adkins.html [accessed July Tape (Ace, 1975), Falcons of Narabedla (Ace, 1979), 2007]; “Dynamite Dan Adkins” interview conducted by Jon Far Call (Dial Press, 1978), Holmes-Dracula File B. Cooke, January 11, 2001 in Comic Artist #14 online www.

(Ace, 1980), Legacy/A Tale of Two Clocks (Ace, 1979), twomorrows.com/comicbookartist/articles/14adkins.html [accessed July 2007]; Weinberg, 1988.

omeLord Darcy Investigates (Ace, 1981), The Lost Traveller (Ace, 1978), Love Conquerors All (Ace, Published Work

1979), Malzberg at Large (Ace, 1979), Miracle Visi-AMZ: 1961 (1, 8, 9, 10, 11, 12); 1962 (1, 2, 3, 6, 7, tors (Ace, 1978), Murder and Magic (Ace, 1979), 10); 1963 (2, 7, 12); 1964 (1, 2, 5); 1968 (9, 11); 1969

Retief At Large, Retief Unbound (Ace, 1978, 1979), (1, 3, 5, 7, 9); 1971 (7, 9)

Ten Years to Doomsday ( Jove, 1977), Too Many Ma-FTC: 1961 (2, 3, 4, 6, 7, 8, 9, 10, 11, 12); 1962 (2, gicians (Ace, 1979), Transformations: The Story of the 4, 5, 6, 7, 8, 10, 12); 1963 (2, 3, 4, 6, 7, 9); 1964 (1, Science-Fiction Magazines from 1950 to 1970 (Liver-2, 6); 1968 (12); 1969 (4); 1970 (8, 10); 1971 (6) pool University Press, 2005), Vertigo (Ace, 1979).

GXY: 1966 (8); 1968 (4, 11); 1969 (7) If: 1965 (11); 1966 (1, 3, 5, 6, 9, 10, 11, 12); 1968 (2, MAGAZINES ILLUSTRATED INCLUDE:

3, 4, 8, 9, 10); 1969 (4, 5, 7)

AMZ: 1963 (3); 1964 (1, 8, 9, 10, 11, 12); 1965 (3) INF : 1958 (10, 11)

DEST: 1978 (11/12)

OW: 1957 (1, 3)

FTC: 1962 (12); 1964 (3, 4, 6, 7, 9, 10, 11) HM: 1980 (9)

Adragna, Robert J.

Alejandro see Canedo, Alejandro (?) American artist. “Bob” Adragna first began working in the science fiction field in the early 1960s, Alexander, Paul R.

when Ziff-Davis tried to revive Amazing Stories and (b. September 3, 1937) American artist. Born in Fantastic. He was one of several new artists includ-Richmond, Indiana, Alexander graduated from Wit-ing Lloyd Birmingham* and Vernon Kramer*, who tenberg University (Ohio) in 1959, and later from the worked for the two magazines, giving them a Art Center College of Design, Los Angeles, Califor-sharper, less pulp-like look. Unfortunately, and like nia in 1967. He first found work in the art field with these two artists also, almost nothing is known of architectural firms and then moved into advertising, Adragna’s art career either before or after they concentrating mostly on still-life and men-and-ma-worked for this magazine chain. After the magazines chines subject matter. In 1976 he began working were sold in 1965, Adragna — like Birmingham and with an art representative in New York who brought Kramer—left science fiction. He returned in the late his work to the attention of Ace Books. Impressed by 1970s to do a number of paperback covers, most no-his command of hardware and machinery illustra-tably for Ace Books. In 1979 Random House hired tion, Ace gave Alexander some assignments. His first

75

Alexander
published cover was for Ace’s Best from F&SF an-Interface (Ace, 1977), Intergalactic Empires (Signet, thology, in 1977. He also created the cover for the first 1983), Invasion of the Mutants (Pocket Books, 1985), issue of Asimov’s Science Fiction magazine, 1978. Al-Islands of Terror (Pocket Books, 1985), Jaws of Menx though Alexander became as proficient at illustrat-

(Signet, 1981), Jehad (Signet, 1983), Jester at Scar ing people as he did machines, he is still best known (Ace, 1982), Jesus Incident (Berkley, 1981), Lallia for his high-tech illustrations —“one of the top (Ace, 1982), The Lion of Farside (Baen, 1995), Man

“gadget” artists currently working in the American Who Used the Universe (Warner, 1983), Meteorite paperback market” (Di Fate, 1997).

Track 291 (Dell, 1979), The Monadic Universe (Ace, Alexander works in gouache on illustration board, 1977), Moon of Three Rings (Ace, 1978), Multiface airbrush and handbrush. Concept sketches are done (Ace, 1978), Mutineers’ Moon (Baen, 1991), Night of after reading the complete manuscript. He prefers Kadar (Avon, 1980), Orion Shall Rise (Baen, 1991), to submit his own ideas for covers rather than hav-Our Ancestors Came From Outer Space (Dell, 1979), ing an art director select the scene. While still doing Path of the Fury (Baen, 1992), Patterns of Chaos (Ace, some corporate and advertising art in the 1980s, and 1978), Planet of Exile (Ace, 1976), Prisoner of SF art into the 1990s for Baen, he considers the com-Zhamanak (Ace, 1983), Queen of Zamba (Ace, 1982), mercial part of his art career to be behind him, now.

Road to the Rim (Ace, 1978), Rolling Hot (Baen, He currently paints for his own enjoyment and oc-1990), The Science Fictional Olympics (Signet, 1984), casionally for local church, civic and charitable or-Solo Kill (Berkley, 1977), Soul Eater (Signet, 1981), ganizations.

Space Mail II (Fawcett, 1982), Space Visitor (Ace, Sources: correspondence from the artist September 2007; 1977), Starliner (Baen, 1992), Starshadows (Ace, Weinberg, 1988.

1977), Stars in Shroud (Berkley, 1978), The Steel Art Collections and Anthologies

(Baen, 1993), Stone Dogs (Baen, 1990), The Sword (various contributing artists)

(Baen, 1995), Systemic Shock (Ace, 1981), Technos Di Fate, Vincent. Infinite Worlds: The Fantastic (Ace, 1982), Those of my Blood (St. Martin’s Press, Visions of Science Fiction Art (Wonderland Press/ Pen-1989), Those Who Watch (Signet, 1982), Thunder-guin, 1997), Summers, Ian. Tomorrow and Beyond: world (Signet, 1982), A Time of Changes (Berkley, Masterpieces of Science Fiction Art (Workman, 1978).

1979), Time of the Great Freeze (Ace, 1980), To Live Again (Berkley 1978), To Open the Sky (Berkley, Published Work

1978), Unfamiliar Territory (Berkley 1978), Veruchia BOOKS ILLUSTRATED INCLUDE: After the Fall (Ace, (Ace, 1982), Very Slow Time Machine (Ace, 1979), 1980), After Things Fell Apart (1970), Age of the Pussy-Virgin of Zesh/Tower of Zanid (Ace, 1983), Volteface foot (Del Rey/Ballantine, 1977), Algorythm (Berkley, (Ace, 1978), War Games (Playboy Press, 1981), Were-1978), The Anvil (Baen, 1993), Allies & Aliens (Baen, wolf ’s Tale (Fawcett, 1988), Whipping Star (Berkley, 1995), At Any Price (Baen, 1985), Bavarian Gate 1977), Witches of Karres (Ace, 1981), Windchild (Baen, 1997), Best from F&SF (Ace, 1977), Best of (Signet, 1982), Wind Dancers (NAL, 1981), Wind Robert Silverberg (Baen 1986), Best of Trek: #6, #8, From the Sun (Signet, 1972), Winds of Gath (Ace,

#10, #11 (Signet, 1983, 1985, 1986), Bolos: #1 Honor 1982), Wing Commander: Action Stations; End Run; of the Regiment; #2 The Unconquerable; #3 The Tri-Fleet Action; Freedom Flight (Baen, 1992, 1994, 1998), umphant; #4 Last Stand (Baen, 1993, 1994, 1995, Worlds of Frank Herbert (Berkley, 1977).

1997), Born with the Dead (Berkley 1979), Crown of MAGAZINES ILLUSTRATED INCLUDE:

Empire (Baen, 1994), Crusade (Baen, 1992), Derai IASFA: 1979 (spring, summer)

(Ace, 1982), Destination Void (Berkley, 1978), The IASFM: 1978 (1/2, fall)

Disinherited (Baen, 1993), Dosadi Experiment (Berkley, 1977), Downward to the Earth (Berkley Alexander, Rob

1979), Enemy of My Enemy (Baen, 1995), The Feast (b. June 15, 1966) Canadian artist. Robert James of St. Dionysus (Berkley 1979), The Forge (Baen, Alexander was born in London, (Southern) Ontario, 1991), Get Off the Unicorn (Ballantine, 1977), Gifts of Canada and moved to Alberta, Canada at age 12, the Gorboduc Vandal (Del Rey/Ballantine, 1989), where he lived until he married and moved to the Godmakers (Berkley, 1978), Guardian (Fawcett, United States. Just as he was graduating from high 1981), The Hammer (Baen, 1992), Hammer’s Slam-school, he realized there was nothing he enjoyed as mers: Counting the Cost; The Warrior (Baen, 1987, much as artwork, so he canceled his engineering 1991), Hand of Ganz (Signet, 1985), Hand of Zei classes at the university, and switched his major to (Ace, 1982), Hawksbill Station (Berkley 1978), An art. Alexander attended the Alberta College of Art in Honorable Defense (Baen, 1988), Hostage of Zir (Ace, Calgary (1988–1989) in the graphic arts program, 1982), House of Zeor (Berkley, 1985), Identity Plun-then married and moved to Seattle. He studied illus-derers (Signet, 1984), The I Inside (Warner, 1984), tration at the School of Visual Concepts until offers In Solitary (Avon 1979), Insurrection (Baen, 1990), for freelance assignments during his second year per-

Alexander

76
suaded him it was better to “get paid to learn than the Change (Scorpius Digital, 1998), Cat’s Paw (Pulp-pay to learn.” His art is heavily influenced by J. R.

house, 1991), Citadel of Shadows (HarperPrism, R. Tolkien’s works, and by what he calls “old, beau-1997), The Crow: Shattered Lives and Broken Dreams tiful art … the really good pieces that you see in mu-

(Donald M. Grant, 1998, Del Rey, 1999), Dance of seums and art history books,” and he strives to make Knives (Tor, 2001), The Dark Country (Pulphouse, his illustrations subtle, beautiful and emotionally 1991), Deathscape (Berkley, 1992), The Knights of evocative. Alexander’s preferred medium is water-Cawdor (HarperPrism, 1995), The Last Continent: colors, which through his technique at times emu-New Tales of Zothique (Shadowlands, 1999), Merlin: late oils or acrylics.

the Lost Years (Deutscher Taschenbuch Verlag, Alexander entered the field doing covers and in-2007), The Perfect Crime (Pulphouse, 1992), Pink teriors for books and magazines, and works well in Elephants and Hairy Toads (Wildside Press, 1991), a number of diverse genres and markets, although he Schrödinger’s Kitten (Pulphouse, 1992), The Shadow has come to be chiefly known for the many artworks Hunter (Tachyon, 2002), Stopping at Slowyear (Pulp-he’s produced for popular fantasy games based on house/Axolotl, 1992), West of the Sun (Old Earth, trading cards. He was one of the original artists of the 2001), Where the Summer Ends (Pulphouse, 1991).

Magic the Gathering trading card game phenome-MAGAZINES ILLUSTRATED INCLUDE:

non and has done well over 130 images for the proj-AMZ: 1992 (1, 7); 1993 (2, 8)

ect to date. His work has appeared in eight other DRA: 2000 (2, 3, 5, 7); 2002 (10); 2003 (3) trading card games, including over 40 images for F&SF : 1999 (6); 2000 (6); 2004 (12) one based upon The Lord of the Rings, depicting MZB: 1991 (#14); 1992 (#15, #16, #17); 1994 (#24) many of the major characters and significant places ONS: 1989 (spring, fall); 1990 (fall); 1992 (win-from Tolkien’s world. Alexander enjoys genre conter); 1993 (summer)

ventions and is very generous with fans who want their game cards signed. He has painted high fantasy, GAME-RELATED ILLUSTRATIONS INCLUDE (ALL
landscapes, action adventure, gothic horror and chil-WIZARDS OF THE COAST EXCEPT WHERE NOTED): Anachronism card art (TriKing Games, 1995), Don-dren’s stories, and works in the publishing industry jon (Anvilwerks, 2002), Eternal Struggle: A Player’s doing book covers for TOR, Harper Collins, Berkley Guide to Jyhad: Vampire (White Wolf, 1994), Houses and Del Rey. His images have been published in of Hermes: Ars Magica module cover (Wizards of the Amazing Stories, Fantasy and Science Fiction, and Coast, 1994), Lost Souls, 2nd Ed. cover (Sage Lore, Cricket magazine and gaming magazines The Du-1992), Magic: The Gathering card art for Alliances elist, Dragon and Inquest and numerous covers for (1996); Alpha (1993); Apocalypse (2001); Arabian gaming books. In the past few years he has won Nights (1993); Beatdown (2000); Beta (1993); Be-awards such as Best of Show at World Fantasy Con-trayer’s of Kamigawa (2005); Champions of Kami-vention and World Science Fiction convention, a gawa (2004); Chronicles (1995); Cold Snap (2006); Chesley Award from the Association of Science Fic-The Dark (1994); Darksteel (2004); Dissension tion and Fantasy Artists, and his art has appeared in (2006); Exodus (1998); Fallen Empires (1994); Fifth Spectrum, the book series on the best in contempo-Dawn (2004); Guildpact (2006); Homelands (1995); rary fantastic art. Alexander has produced concept art Ice Age (1995); Invasion (2000); Judgement (2002); for Wizards of the Coast, and for video game clients Legends (1994); Mecadian Masques (1999); Mirrodin such as Microsoft and Sony Online Entertainment.

(2003); Odyssey (2001); Onslaught (2002); Portal: He authored Drawing & Painting Fantasy Landscapes Second Age (1998); Prophecy (2000); Ravnica (2005); and Cityscapes, a collection showing how artists cre-Revised (1994); Saviours of Kamigawa (2005); Scourge ate their fantasy worlds (Barron’s Educational Se-

(2003); Starter (2000); Stronghold (1998); Time Spiries. 2006) and an art book. Alexander lives in Oreral (2006); Torment (2002); Urza’s Saga (1998); gon with his wife, Susan Stejskal, and has one son, Urza’s Legacy (1999); Visions (1997); 4th edition Nicholas.

(1995); 5th edition (1997); 6th edition (1999); 7th Sources: email from the artist March 2007; www.robal Edition (2001); 8th edition (2003); 9th Edition exander.com/

(2005), 10th edition (2007), Harry Potter (Wizards of Collections and Anthologies
the Coast/Warner Bros., 2002), Heresy card art (Last (various contributing artists)

Unicorn Games, 1995), Judge Dredd card art (Round Alexander, Rob. Welcome to My Worlds: The Art of Table Productions, 1999). Legend of the 5 Rings card Rob Alexander (Paper Tiger Press, 2002). Grant, John art (Alderac Entertainment, 1995), Middle Earth: and Humphrey, Elizabeth with Scoville, Pamela.

The Wizards card art (Iron Crown Enterprises, 1995), The Chesley Awards: A Retrospective (AAPL, 2003).

Shadowfis t card art (Daedelus Games/Z-Men Games, 1999), Spherewalker: Everway sourcebook (Rubicon Published Work

Games, Inc., 1996), Magic: The Gathering card art BOOKS ILLUSTRATED INCLUDE: Ariel — A Book of for: Sphere Walker (1996), Vampire: The Eternal

77

Anderson

Struggle (1995), Vampire: the Masquerade card art That year he set up his studio in Paris. He moved to (White Wolf, 1995), Warlord card art (Alderac En-New York in 1997 where he held a much-admired ex-tertainment, 2001), XXXenophile card art (Slag Blah hibition “Think Like Amano,” followed by another Enterprises, 1996).

“Think Like Amano” exhibition at the Uenonomori Misc. : Ars Magica promotional poster (Wizards of Museum of Art in Tokyo. He did stage, costume, the Coast, 1994), Dredd Pirates board game cover and set design for Les Cherubins and continued his (Front Porch Classics, 2005), T he Gates of Delirium, work on Vampire Hunter D with the Takarazuka Out of the Darkness CD cover art (Midnight Syndi-Theatrical Company Snow Troupe. His illustrations cate, 2006), Legend of the 5 Rings— 8 box covers of The Tale of Genji, the classic Japanese novel, were (Alderac Entertainment, 2000), Melancholy Beast published by Anzudo in 1997. In 1998 he had a one-CD cover art (Pyramaze, 2004).

man exhibition in Brussels, and worked in collaboration with David Newman and the Los Angeles Amano, Yoshitaka

Philharmonic to produce an animated short film (b. July 28, 1952) Japanese artist. Known to fans 1001 Nights.

primarily as game concept and character designer, Amano has continued to create in various media, for the popular Final Fantasy role-playing video as well as produce illustrative work. In 2000, Amano game, Amano’s distinctive, delicate painting style illustrated for The Sandman: The Dream Hunters, has made him widely known in both Japan and which was nominated for a Hugo Award and won America. Science fiction fans and others alike are several other awards. Shortly after, he also provided fascinated with the beautiful worlds he draws, and character designs for the Vampire Hunter D: Blood-in the anime and video game communities, Amano lust movie, and worked with Marvel Comics on is well-known for adding profound life to the works Elektra and Wolverine: The Redeemer. In 2006, Final that he creates.

Fantasy series creator Hironobu Sakaguchi asked The artist was born in Shizuoka City, Japan and Amano to illustrate for video games at his new com-began his art career in 1967, at the age of 16, work-pany Mistwalker, and the artist continues to work on ing in the animation department at Tatsunoko Pro-installments for the game, most recently Final Fan-ductions. He became involved in the early Japanese tasy XIII.

anime movement, with The Speed Racer anime as his Amano works in acrylics and colored inks, pro-first project — and other anime character design ducing drawings that are notable for their “delicate assignments followed. In 1982 left Tatsunoko Pro-linework, elongated figures, colorful patterns and ductions and in the following year was hired to il-poignant emotion.” He is considered one of the pre-lustrate the Vampire Hunter D novel series for Haya-mier fantasy artists of Japan, and works from a large, kawa Publishing, and served as character designer glass and steel futuristically designed studio, largely for the movie adaptation in 1985. At the same time in creative isolation from his adoring fans. Writer he began his Twilight Worlds series in Hayakawa’s Michael Moorcock, an admirer of Amano’s work, SF magazine, and was engaged in various projects writes “At some stage in the post-war period Japanese including Katen, and Imagine. During this period painters and writers began to rediscover or re-invent Amano was studying art styles found in Western their own culture. Yoshitaka Amano is one of the comic books and American pop art, and in his twen-vanguard Japanese artists bringing a wholly fresh ties, he became interested in studying early twenti-and ethereal sense of wonder to his world.” (Moor-eth century European arts and Japanese ancient hand cock tribute to Amano).

woodblock printing.

Sources: “Game artist profile: Yoshitaka Amano” at www.

In 1987, Amano ventured into video game concep-creativeuncut.com/profile_amano.html; Moorcock, Michael.

“Yoshitaka Amano” Nippon 2007 Worldcon Artist Guest of tual design, joining the struggling Squaresoft Com-Honor tribute online www.nippon2007.us/GOH/Moorcock pany to illustrate for what was believed to be their last _tribute_to_amano.php [accessed December 2007]

video game, Final Fantasy. His fantasy themed illustrations proved to be extremely popular, and Collections and Anthologies
brought the game’s unprecedented fame. While after (various contributing artists)

installment VI of the game another artist took over Coffin: The Art of Vampire Hunter D (DH Press the series, Amano continued his involvement, re-2006), Hiten: The Art of Yoshitaka Amano (Nippan/
turning to provide promotional artwork and his own Asahi Sonorama, 1990),
impressions of the characters. Expanding his talents to other media, in 1993 Amano produced stained Anderson, Allen G.

glass for the Kimie Imura Fairy Art Museum in ( January 31, 1908–October 23, 1995) American Fukushima Prefecture, Japan. His first lithographic artist. Allen Gustav Anderson was born in Min-exhibition was held in Tokyo in 1994, and his sec-neapolis, Minnesota the younger of two sons born to ond in Orléans Art Museum in France, in 1995.

working class Swedish and German immigrant par-

Anderson

78
ents. Poor at schoolwork and sports, and taunted for women at the center of her own heroic action” and his Swedish background and lack of social skills, An-was the top cover artist at Fiction House. Anderson derson “preferred to sit apart from life and watch …

served in the Army (as did Saunders) from 1942–
drawing what he saw.” (Saunders. p. 8). Needing to 1945, and then both resumed their freelance careers.

help support his family, at seventeen he went to work Anderson’s marriage to his long time girlfriend, as a mail sorter for Federal Schools Inc., at that time Aline, in 1942, ended in divorce at the end of the the largest correspondence art school in the world.

war. Anderson also worked for the Ziff-Davis chain, As an employee, Anderson was entitled to free enroll-producing work for men’s magazines. When the ment in the art courses, although he still had to pay pulp market cooled, and paperbacks took their for art supplies. In 1928, after two years of daily place, Anderson was able to get a few assignments studies after work, and the kind-hearted encourage-from Ace, as well as small fees for the re-use of his ment of the instructors who supervised his work, pulp cover art on their books. His marriage in 1953
themselves professional illustrators, Anderson was to Joan Smith, a secretary at Ace Books, was more granted an official Certificate of Attainment, and successful, and lasted until she died, in 1980. Rather joined the ranks of other successful graduates of the than endure “bohemian poverty” when the market program, among them the cartoonist Charles M.

stagnated, Anderson left his freelance art career be-Schulz ( Peanuts), Ward Kimball and Floyd Gottfred-hind and moved to upstate New York where he esson ( Mickey Mouse), and Norman Saunders*— who tablished a one-man shop, Anderson Advertising became Anderson’s lifelong friend. With a letter of Agency, creating signage for local businesses. A shy introduction from Walter J. Wilwerding, a success-man to the end, Anderson died of heart problems, in ful commercial artist who was one of his instructors, virtual anonymity, at Benedictine Hospital in Anderson became a staff artist at Fawcett Publishing, Kingston, New York. A warehouse fire destroyed the working alongside Saunders, who was top artist on majority of the illustrations he produced for Fiction the staff. To distinguish Anderson from other artists House, so that currently only three science fiction who had similar names, Saunders gave Anderson the pulp covers for Planet Stories are known to exist.

nickname “Little Joe.” Anderson rarely signed the Sources: Saunders, David. “The Art of Allen Anderson.”

work that appeared in Fawcett Publications, includ-Illustration Magazine, Issue #18, Winter 2007, pp. 7–49; Weinberg, 1988.

ing his first cover illustration — which appeared on Captain Billy’s Whiz Bang, November 1933.

Published Work

When Saunders moved on to New York for work, 2CSAB: 1950 (winter); 1951 (spring, summer, Anderson remained with Fawcett, producing undis-winter); 1952 (spring, summer, winter) tinguished work, and taking night classes at the PS: 1942 (winter); 1947 (spring, summer, fall, Minneapolis School of Art. By the summer of 1939, winter); 1948 (spring, summer, fall, winter); 1949

Anderson had succumbed to his friend’s entreaties to (spring, summer, fall, winter); 1950 (spring, summer, become a freelance artist and he moved to New York fall); 1951 (1, 3, 5, 9, 11); 1952 (1, 3, 7, 11) 1953 (1, 3, City. He developed solid working relationships with 5)

Culture Publishing and the Fiction House magazine chain, where he worked on both its comic books Anderson, David Lee
and pulp magazines. He painted numerous covers (b. July 29, 1953) American artist. Born in Nor-for all the pulps published by Fiction House, in-man, Oklahoma, Anderson received a BA in Com-cluding its western and detective magazines. Refer-mercial Art from Central State University (now ence books often confuse Anderson with Murphy University of Central Oklahoma) in Edmond, Okla-Anderson*, who worked for Fiction House for a homa, 1984. However, he had already been work-short time during World War II; either because Allen ing in commercial art for ten years as a paste-up Anderson did not sign his work, he signed “AA” in artist, designer and illustrator. He was a one-person very small letters that could be overlooked, or he art department for several printing companies and signed (later) only as “Anderson.” Allen Anderson did freelance work for a number of clients including was the regular cover artist for Planet Stories from Johns Hopkins University Press in Baltimore.

the late 1940s through the early 1950s.

Anderson entered the field of science fiction il-Anderson worked with vivid colors, usually using lustration indirectly. Interested in SF writing, he acrylics, and his cover illustrations were notable for took a class from author C. J. Cherryh, who — after featuring a beautiful, sexually powerful woman —
seeing his work — suggested he display his work at most memorably, a “Sex Queen” likened to a blonde, science fiction convention art shows.

Scandinavian goddess, although the artist was Anderson is a fan of SF hardware artists, but cites equally adept in portraying monsters or heroic male influences as diverse as Robert McCall*, Syd Mead*, figures. By 1941, Anderson had come up with the N. C. Wyeth, Roger Dean* and the Brandywine il-winning formula of “a scantily clad, independent lustrators. As an artist who is both a reader and

79

Anderson
writer, he tends to see the writer’s viewpoint and Misc. : Atlantis to the Stars CD collection (1995), tries to remain faithful to the writer’s intentions. Ini-L5 Promotional brochure poster (L5 Society, 1985).

tially working in comics ( XXXenophile, 1992, others) and gaming, primarily for Mayfair Games, by the Anderson, Murphy C.

late-1980s Anderson had begun getting jobs illus-

(b. July 9, 1926) American artist. Murphy Clyde trating genre magazines and books. He works in Anderson Jr. was born in Ashville, North Carolina acrylics on gessoed masonite, using airbrush in back-and moved to Greensboro, North Carolina at age ground rendering and effects, and works with small eight. After graduation from high school in 1943, brushes over luminous colors.

he attended the University of North Carolina for Active in science fiction fandom as well as the two quarters, then moved to New York to become an professional field, Anderson has done the art pro-artist. He landed a job with as a staff artist at Fiction gramming for the World Science Fiction Conven-House in 1944, working on several of its comic tion in 1984, the North American Science Fiction books ( Star Pirate, Buck Rogers) as well as its pulp Convention and the World Fantasy Convention in line, including Planet Stories. Primarily an interior 1985. He was vice president of the Association for artist for the pulps, Anderson was often confused by Science Fiction and Fantasy Artists from 1986–88
science fiction fans as the artist who did the covers and president of the organization from 1990–92.

for Planet Stories, Allen Anderson*. While living in Anderson taught illustration at Oklahoma City New York, Murphy Anderson attended the Art Stu-University from 1990–96. He was an adjunct prodents League at night.

fessor at Oklahoma City University teaching illus-In early November 1944 Anderson was drafted tration from 1990–1996, and taught comic illustra-into the U. S. Navy, but continued to freelance for tion, for the Moore–Norman Technology Center Fiction House as an illustrator moonlighting with 1994–1999 for adult classes, and comic art at their assignments acquired through a contact with editor Summer Youth Academy beginning 1998. His art and science fiction writer Ray Palmer. Stationed in has been displayed at over 440 science fiction con-the Chicago area, he met his future wife, Helen.

ventions since 1980, and he continues to exhibit and During his enlistment he continued to contribute market his art prints and originals that way. Ander-to the Buck Rogers strip via the post office, After his son has been the Artist Guest of Honor at twenty discharge in late 1945, he rejoined the art staff at conventions, Toastmaster twice and Fan Guest of Fiction House. However, after a short time, he de-Honor once, demonstrating his lifelong enjoyment cided to freelance and moved to Chicago. He at-in entertaining and/or educating fans. He is married tended the Chicago Art Institute for a while, but to Carolyn Novotny-Anderson and is the father of dropped out after finding the class sizes too large to Nathan, Julia and Emma.

be beneficial.

Sources: email from the artist, June 2006; www.davidlee-In Chicago, took over art chores on the syndi-anderson.com
cated Buck Rogers comic strip, in 1947. He also rePublished Work
turned to publishing through his work for Ziff-BOOKS ILLUSTRATED INCLUDE: All the Marbles (Yard Davis, as an illustrator of science fiction magazines.

Dog Press, 2003), Almost Human (Yard Dog Press, In 1948 he and Helen were married and eventually 2001), Coils (Tor, 1988), Deathkiller (Baen, 1996), had three children, Sophie, Mary and Murphy An-Guided Tour (Tor, 1988), Of Stars and Shadows (Yard derson III — who is also an artist. In 1949 Anderson Dog Press, 2004), Lifehouse (Baen, 1998), L. Ron Hub-left Buck Rogers to freelance again, and when Ziff bard Presents Writers of the Future Vol. 5 (Bridge, 1989 ), Davis moved their offices to New York, Anderson Marriages Between the Zones Three, Four and Five and his wife moved back there as well, around 1950, (Roman, 1984), Science Fiction Yahrbook (Moewig, to work on comic book lines the company was plan-1984), Space Folk (Baen, 1989), The Stranger (Tor, ning. Anderson worked with Jerry Siegel (co-cre-1987), Tango Charlie & Foxtrot Romeo (Tor, 1989), ator of Superman) who was their editorial director, concentrating on comic books until the early 1950s MAGAZINES ILLUSTRATED INCLUDE:

when he became one of the mainstays for DC

IASFM: 1989 (4, 7);

Comics.

TOM: 1993 (10); (1996 (4)

While he was a minor science fiction pulp artist, GAME-RELATED ILLUSTRATIONS INCLUDE: Arena and is far better known today to fans as a comic book rule book (Bethesda Softworks, 1993), DC Super-penciller and inker, Anderson nevertheless was heroes illustrations (Mayfair Games, 1984), Fantasy influential through his science fiction work done for Adventures, Warbots, Wing Commander: Mag Force DC. Anderson’s first contributions to DC were to 7 card art (Mayfair Games, 1985, 1995), Galactic Mystery In Space and Strange Adventures, two fifties-Empires card art (Companion Games, 1996), Urth era science fiction titles, and he returned to science illustration (Dragon Multimedia, 1997).

fiction material during every decade of his fifty-year

Arfstrom

80
comics career. He worked on such characters as field that way, illustrating pulp magazines before Hawkman, Batgirl, Zatanna and the Spectre, as well their demise in the 1950s. He sold an unsolicited as on series such as Atomic Knights. He worked on cover piece to Weird Tales in 1951, and worked for Captain Comet stories (1950s), Adam Strange and the that magazine, doing both color work and interior science-fiction version of Hawkman (1960s), and pieces, until it folded in 1954. He went on to adver-DC’s interpretation of Burroughs’ “John Carter of tising, taking all manner of assignments and for a Mars” stories. (1970s). In 1985 he again returned to while was a staff artist for the well-known Brown & DC for a new interpretation of the Buck Rogers strip.

Bigelow calendar company.

Anderson’s crisp, sharp line work helped made Known for surreal fantasy, and lacking a signa-1950s-1960s science fiction comics memorable, An-ture style (he enjoyed his ability to echo, often derson frequently teamed with another artist, whimsically, the characteristics of other popular il-Carmine Infantino, inking Infantino’s pencils—now lustrators of the day), Arfstrom’s versatility enabled considered classic works of DC’s Silver Age. Ander-him to work in a variety of painting styles, using a son is a multiple winner of Comics Fandom’s Alley range of mediums, although he has said that water-Award for Best Inker, was inducted into the Jack color was always his first choice. After working for Kirby Hall of Fame in 1988 and received the Kirby the pulps, Arfstrom became a major mid-western Award for Lifetime Achievement in 1998. He was artist, having more than thirty one-man shows, and inducted into the Eisner Award Hall of Fame in winning numerous awards and placing work in 1999.

many institutions and private collections. In the Anderson retired from comics and founded Mur-1990s Arfstrom returned briefly to the field, with phy Anderson Visual Concepts, a company that pro-cover illustrations for small press publishers Haffner vides support services for comics production, special-Press and Fedogan & Bremer and one cover for a izing in color processing. The Life and Art of Murphy semi pro-zine, Tales of the Unanticipated, 1997. Now Anderson, an illustrated autobiographical memoir retired, Arfstrom keeps an art studio on the banks of with samplings of work from every phase of his ca-the Rurm River, in Minnesota. He is past President reer, was published in 2003 by TwoMorrows Pub-of the Northstar Watercolor Society, an associate of lishing.

the American Watercolor Society, and member of Sources: Comic Art and Graphix Gallery. “With the Stars the Transparent Watercolor Society of America.

Interviews: Interview with Murphy Anderson” 1994, Part I, II Sources: “November Demo Artist: Jon Arfstrom” in: Brush at www.comic-art.com/interviews/anderson.htm [accessed Strokes, Minnesota Watercolor Society, Vol. 25, #3, Novem-May 2007]; The Quarter Bin: Talent Pool 24. “Murphy Anber 2005 www.minnesotawatercolors.com/newsletters/200511.

derson,” June 5, 2001 www.fortunecity.com/tatooine/niven/
pdf; “Interview with Jon D. Arfstrom” in: Etchings & Odysseys 142/talentpo/tp24.html; [accessed April 2007]; Weinberg,

#3 The Strange Company, 1983; Weinberg, 1988.

1988;

Published Work

Published Work

BOOKS ILLUSTRATED INCLUDE: Colossus: The Col-AMZ: 1949 (6, 7); 1950 (5, 7); 1951 (7) lected Science Fiction of Donald Wandrei (Fedogan & FA: 1947 (10); 1949 (4, 10); 1950 (1, 4); 1951 (7) Bremer, 1999), Don’t Dream: The Collected Horror PS: 1944 (winter); 10=945 (spring, summer); 1946
and Fantasy Fiction of Donald Wandrei (Fedogan & (fall)

Bremer, 1997), The Dark Other (FPCI, 1950), The Arfstrom, Jon D.

Early Fears (Fedogan & Bremer, 1994), Kaldar: (b. November 11, 1928) American artist. Arfstrom World of Antares (Haffner Press, 1998), The Omnibus was born in Superior Wisconsin, the son of Swedish of Time (FPCI, 1950), Smoke of the Snake (Fedogan parents, but his parents soon moved to Minnesota,

& Bremer, 1994), The Vampire Master & Other Tales where he has lived most of his life. Arfstrom was al-of Horror (Haffner Press, 2000), ways interested in fantasy art and is largely self-MAGAZINE ILLUSTRATIONS INCLUDE:

taught, but also studied with the Famous Artist OW: 1950 (11); 1951 (10); 1952 (6)

Schools, and Birney Quick at the Minneapolis SPWY: 1954 (2)

School of Art. He’s attended the workshops of artists WT: 1951 (11); 1952 (1, 3, 5, 7, 9, 11); 1953 (1, 3, Zoltan Szabo, Phil Austin, Milford Zormes, Richard 5, 7, 9, 11); 1954 (3, 5, 7)

Yip, Don Andrews and Robert E. Wood. In the late 1940s he became involved with science fiction fan-Arisman, Marshall
dom, contributing to numerous fanzines such as (b. October 14, 1938) American artist. Born in Space Trails, Fantasy Advertiser, Scientifantasy. He Jamestown, New York, Arisman attended Pratt In-corresponded with another fan artist of the time, stitute from which he received the BFA in 1960. He Jack Gaughan* and the two collaborated on several began working as a freelance illustrator in advertis-pieces. Arfstrom worked in a factory and submitted ing, and his first published piece was a promotional art to pulps in his spare time. He got his start in the ad for Time-Life. Arisman’s work is intense and has

81

Armata
a strong psychological effect on viewers, with themes Vision, 1996), Education of an Illustrator (Watson-that often explore the connections between hu-Guptill, 1991), Inside the Business of Illustration (Wat-mankind and violence and the resulting spiritual son-Guptill, 2004), Teaching Illustration (Allworth impact. He is known for his harshly abstracted and Press, 2006). Arisman has won numerous awards for vividly dark collages, some with grossly distorted fa-his work, as artist and as educator, among them: cial or body elements.

Gold Medal, Society of Publication Designers; Sil-Arisman entered the science fiction field when ver Medal, Society of Illustrators; American Artist, some of his personal paintings were picked up by Teacher of the Year Award; Distinguished Educator Omni Magazine. The paintings were of large heads of the Year, Friends of Young Artists Award, Art with metal fragments, a combination of metal and League of New York; Hamilton King Award, Soci-flesh, with both human and robot qualities. It is im-ety of Illustrators; Distinguished Educator in the agery that is gritty and disturbing, with a visceral, Arts Award, Communication Arts Annual; Print Case-surreal/impressionistic quality that lends itself to sci-books; Masters Series Award, School of Visual Arts; ence fiction, thrillers and the interpretation of soci-honorary doctorates, Cincinnati Academy of Art, ological phenomena that are not easily described Maryland Institute College of Art, Pennsylvania with words. He says of his commercial work, “I don’t College of Art and Design. Arisman is married, with see illustration as a profession. I see it as an outlet for no children, and continues to be active as both au-figurative artists who want to tell stories.” (Night thor and artist across a variety of media; animated Watchman interview, 2005). Arisman works in oil film, illustrated fiction and non-fiction.

on paper or canvas, and his paintings frequently are Sources: www.marshallarisman.com; www.schoolofvisu-large-scale. His magazine clients have included Pent-alarts.edu/ Interview by Night Watchman (Erik Rose) Interview vol 8 — issue 01 (Sept 2005) at www.tlchicken.com/view house, Rolling Stone, Playboy magazine and Time, for _story.php?ARTid=3278; Weinberg, 1988.

which he created the cover for their issue on violent A
crime. The cover painting has a horrific quality that NTHOLOGIES AND COLLECTIONS: Frozen Images: Drawings by Marshall Arisman (Visual Arts Press, is reminiscent of the works of artist Francis Bacon, 1973), Heaven Departed (Tokyo Designer School, showing a melting of overlapping facial features —

1989), Marshall Arisman: Paintings and Works on and Arisman concedes that Bacon was a major early Paper (Harcourts Gallery, 1981) influence (Night Watchman Interview, 2005). Other artistic influences would include Velázquez, Goya, Published Work
and El Greco. Arisman’s political drawings are reg-Best of Omni Science Fiction #4 (Omni Magazine, ularly seen on the Op-Ed page of the New York 1982), Dark Voices 2 (Pan, 1990), Edge (Vanguard, Times, The Nation, and Time magazine. His original 2003).

graphic essay, “Heaven Departed,” in which paintings and drawings describe the emotional and spir-Armata, Barb
itual impact of nuclear war on society, was published (b. November28, 1958) American artist. Born in in book form by Vision Publishers (Tokyo, 1989).

Adams, a small town in the Berkshire Hills of west-Arisman’s art was also featured in Juxtapoz maga-ern Massachusetts, Armata grew up strongly influen-zine, March/April issue, 2004.

ced by her rural roots and Polish ethnic background.

Arisman has been widely exhibited, both nation-She received an Associates Degree in Visual Art from ally and internationally. His work is in the perma-Berkshire Community College, but considers herself nent painting and drawing collection of the Brook-self-taught. Her interests in myth, legend and folk-lyn Museum, the National Museum of American lore came early, and were influenced by the prehis-Art and the Smithsonian Collection as well as many toric art of Charles Knight, wildlife and animal art private and corporate collections. He was the first in general, the Pre–Raphaelites, and the line work of American invited to exhibit his artwork in main-Franklin Booth and Virgil Finlay*. She tried a career land China. His series, “Sacred Monkeys,” appeared in comic art, but realized she did not work quickly at the Guang Dong Museum of Art in April 1999. He enough and began sending samples to small press is also the subject of a full-length documentary film magazines. Her first freelance assignments were in directed by Tony Silver titled “Facing the Audience: the early 1980s, black-and-white drawings for the The Arts of Marshall Arisman,” which premiered at small press magazines Pandora, and Space and Time.

the 2002 Santa Barbara Film Festival. Arisman is A friend suggested she show her work at Science Fic-the chairman of the MFA degree program “Illustration convention art shows, and since 1985 she has tion as Visual Essay” at the School of Visual Arts in participated in these venues, most often Boskone New York City. He has provided illustrations for a (Massachusetts). Another early recommendation was children’s book, The Wolf Who Loved Music (2003), to try gouache (opaque watercolor) and this became and with Steven Heller, co-authored books on the her medium of choice for color work. For line draw-field of commercial art: Editorial Illustration (Roto-ings, Armata uses pen and ink on Bristol paper.

Artzybasheff

82

Armata’s oddly vivid color sense and attention to bery Medal in 1928 for his illustrations for Dhan extreme detail lend themselves to fantastic subject Gopal Mukerji’s Gay-Neck. In 1931, Boris Artzybash-matter, with an idiosyncratic cast that suggests East-eff wrote his first book Poor Shaydullah and in 1937
ern European art traditions. The consistency and published Seven Simeons: A Russian Tale. which was originality of her style makes it difficult to categorize, awarded a New York Herald Tribune Spring Book and some of her best works are those which she has Festival award and was a Newbery Honor Book the shown and sold at conventions. Armata’s major following year. He ultimately illustrated more than client in the children’s market has been Cicada Mag-fifty books, some of which he wrote, or edited.

azine and in the adult market, for White Wolf col-However, Artzybasheff was probably best known for lector card games, as well as a small number of cov-his magazine art; he painted more than two hun-ers for the Classic Fright series for Books of Wonder dred covers for Time, between 1941 and 1965, and (1998). While sometimes credited as “Barbara Ar-also worked for Life and Fortune magazines. Dur-mata,” she uses the shortened from of her name pro-ing World War II, he also served an expert advisor fessionally, and signs her work using initials, “BA.”

to the U.S. Department of State, Psychological War-Armata’s involvement in the genre has fallen off in re-fare Branch. After 1940, he devoted himself to corcent years owing to family caregiving responsibilities porate commercial art, including advertisements for but she intends to resume her participation in the companies such as Xerox, Shell Oil, Pan Am, Alcoa future.

Steamship lines, Parke Davis, World Airways, and Sources: correspondence from the artist April 29, 2005; Parker Pens.

“Artist Spotlight on Barbara Armata” White Wolf, 2002, Issue Much of Artzybasheff ’s work, especially for mag-

#37 p. 46)

azines, had a fantastic flavor, and his work is said to Published Work
be reminiscent of Hirschfeld, Disney, Dalí, Wolver-GAME-RELATED ILLUSTRATIONS INCLUDE: Arca-ton, and Wally Wood*. His images were carefully dia: Wyld Hunt, Arcadia 2: King Ironheart’s Madness composed, and surreally satirical in style, unusual and game card art (White Wolf, 1996), Drums Around unique. Artzybasheff ’s 1954 book As I See, containing the Fire book cover (White Wolf, 1993), Rage: Legacy a sampling of his idiosyncratic and fantastical detailed of the Tribes, War of the Amazon, Umbra, Wyrm game pencil drawings on the subject of war, mental illness, card art (White Wolf, 1995, 1996), Warriors of the and the strangeness of the human condition, includ-Apocalypse (White Wolf, 1996), Mage: Sorcerer’s Cru-ing his Mechinalia— anthropomorphic tools — was sade, The Sorcerer’s Crusade Companion gaming reissued in 2006 by Ken Steacy Publishing. Mechan-sourcebook (White Wolf, 1998, 1999), Stormhaven ics Illustrated also profiled him with a cover story in game book (Flying Buffalo, 1983), World of Dark-the October 1954 issue, “When Machines Come to ness: Bygone Bestiary (White Wolf, 1998).

Life.” The artist died of a heart attack at age 66. His MAGAZINES ILLUSTRATED INCLUDE:

papers are collected at Syracuse University.

MZB: 1991 (#12, #13); 1992 (#15, #16, #17,#18, Sources: http://www.bpib.com/artzybas.htm; Weinberg, 1988.

#19, #20); 1993 (#21, #22); 1994 (#24, #26); 1995

(#27, #30); 1997 (#36, #37, #38); 1999 (#43); 2000

Published Work

(#49, #50)

The Circus of Dr. Lao (Viking, 1935), Fantasy and Terror 14 (Fawcett, 1992), The Incomplete Enchanter (Henry Holt and Company, 1942), Land of Unrea-Artzybasheff, Boris
son (Henry Holt and Company, 1942), The Saint (May 25, 1899–July 16, 1965) American artist.

and the Hunchback (Simon & Schuster, 1946).

Notable for his strongly worked and often surreal designs, Artzybasheff was born in Kharkov, Russia Ashman, William

(now in Ukraine), the son of the novelist Mikhail (?) American artist. A prolific interior artist, “Bill”

Petrovich Artzybashev, and graduated from the Ashman produced art for most of the major science Prince Tenisheff School in St. Petersburg. He is said fiction magazines from 1952 through 1956, although to have fought as a White Russian before escaping on nothing is known of his personal life or career before a freighter after the Revolution, ultimately landing or after the short period of time he worked in the in New York in 1919, where he worked in an engrav-field. Ashman “had a “murky, surrealistic style, often ing shop. He began working as a book illustrator in achieved by using a grease pencil and large patches the early 1920s, and in 1922 he illustrated his first of blacks and grays, (and) many of his figures were books, Verotchka’s Tales by Dmitrii Narkisovich done with thick black lines and exaggerated features Mamin, and The Undertaker’s Garland, by John

… (his) style worked better with fantasy than hard Peale Bishop. Throughout his career he illustrated science fiction, and the best of his work appeared in children’s books, including many fairy and folk tales Beyond Fantasy Fiction.” (Weinberg, 1988).

from around the world. He was awarded the New-Sources: Weinberg, 1988

83

Asplund

Published Work
script illuminator, in which he is also a self taught.

AMZ: 1952 (10); 1953 (4, 6, 8); 1954 (3); 1965

He uses authentic medieval techniques and materi-

(12); 1967 (6)

als whenever possible. Asplund consults about me-BEY: 1953 (7, 11); 1954 (1, 7, 9); 1955 (10) dieval book production and gives workshops the FA: 1952 (7, 9)

craft and methods he employs; he is considered one FTC: 1952 (11); 1953 (1, 3, 7, 11); 1954 (4) of the leaders in the arts of medieval manuscript pro-GXY: 1952 (8, 9, 10, 11, 12); 1953 (1, 2, 3, 4, 7, 8, duction. In 2007 he taught at a scribal and heraldic 12); 1954 (3, 4, 5, 6, 8, 9); 1955 (3, 4, 6, 7, 8, 9, 11); symposium hosted by the SCA (Society for Creative 1965 (1, 3)

Anachronism), of which organization Asplund has been a member of the Order of the Laurel since 1988.

Asplund, Randy

He has won commensurate awards in the SF field, (b. December 12, 1960) American artist. Born with his work included in exhibits ranging from Randall Craig Asplund, in Ann Arbor, Michigan,

“Magic: The Gathering” at the Art Institute of Seat-Asplund attended private secondary school before tle, to the International Association of Astronomical enrolling at Eastern Michigan University. He at-Artists, and The Arteventi Tolkien Art traveling extended the school for two years, then transferred to hibit in Europe. As his schedule permits, he contin-the University of Michigan, where he graduated cum ues to make appearances and show work at genre laude with a BFA in Drawing and Painting, and conventions.

teaching certification, in 1984. He considers himself Sources: e-mail and telephone interview with the artist, self-taught as a science fiction illustrator, and en-August 2007; artist website www.randyasplund.com tered the field in 1985 when Phantasia Press com-BOOKS ILLUSTRATED INCLUDE: The Anguished missioned him, to paint the cover for C.J. Cherryh’s Dawn (Baen, 2003), Boundary (Baen, 2006), Cat-novel Cuckoo’s Egg. From there, Asplund went on to astrophes, Chaos & Convolutions (Baen, 2005), produce several magazine interiors for Analog, and Cuckoo’s Egg (Phantasia Press, 1985), The Dance of some work for “new age” publishers before moving Time (Baen, 2006), A Desert Called Peace (Baen, almost entirely into the gaming industry. He was 2007), Destiny’s Shield (Baen, 1999), Echoes of An married when his commercial art career began, and Alien Sky (Baen, 2007), Exodus (Baen, 2007), For-used the hyphenated name Asplund-Faith for pro-tune’s Stroke (Baen, 2000), Hell Hath No Fury (Baen, fessional credits. Upon divorce in December 1988, he 2007), Helverti Invasion (Baen, 2003), A Mankind reverted to “Asplund”— however, because he was Witch (Baen, 2005), Mission To Minerva (Baen, became active in the field during the time he was 2005), The Notebooks of Lazarus Long (Baen, 2003), married, for many years he continued to be credited Pyramid Power; Pyramid Scheme (Baen, 2007, 2001), with the hyphenated name.

Rats, Bats and Vats (Baen, 2000), Ring of Fire (Baen, Asplund is mainly known today for his collector 2004), Ritual Magick (Llewellyn, 1992 ), Russian card art for Magic: The Gathering and model kit Amerika (Baen, 2007), The Shadow of Saganami cover art for Star Trek, Babylon 5, and Star Wars. He (Baen, 2004), The Shadow of the Lion (Baen, 2002), has illustrated products for Battlestar Galactica, Judge This Rough Magic (Baen, 2003), Tide of Victory Dredd and Dune and shows his work at art galleries (Baen, 2001), The 21 Lessons of Merlyn (Llewellyn, and science fiction conventions. He also has done a 2002), The Tyrant (Baen, 2002), Warp Speed (Baen, few illustrations for novels published by Baen, inte-2004), 1632: Assiti Shards; Baltic War; The Canon riors and maps. A versatile artist, Asplund has done Law; The Galileo Affair; The Ram Rebellion (Baen, artwork for advertising, museum events, and more.

2000, 2001, 2004, 2006, 2007).

He works in a variety of mediums, using whatever M
tool is most appropriate, from pencil to paint, plus AGAZINES ILLUSTRATED INCLUDE:

AMZ: 1993 (1, 6, 9)

digital tools. For SF illustrations he usually works ASF : 1987 (12); 1988 (4, 7, 10); 1989 (5, 12); 1990
on illustration board or acrylic gessoed masonite.

(5); 1991 (1, 9); 1992 (2, 4, 9, 10, 11, 12); 1993 (2, 7, He usually signs his works “Randy Asplund,” often 8); 1994 (3, 4); 1995 (1, 2, 4, 5); 1997 (2, 9); 1998 (3, in script. On occasion he signs using the initials 4, 9, 10); 1999 (4, 5, 10, 11); 2000 (1, 6); 2001 (2, 10);

“RA” where the tail of the R and the left arm of the 2002 (6, 7, 10, 11); 2003 (9); 2004 (1/2) A extend downward in a sweep to cross each other IASFM: 1993 (10)

below (and when married, his style was similar in design). He also has signed using odd calligraphic GAME-RELATED ILLUSTRATIONS INCLUDE: Bat-devices representing faux runes, faux oriental chop, tleTech: Mercenaries; Mechwarrior card art (Wizards of or as “Ranthulfr me fecit.” Signatures are usually in the Coast, 1997), Birthright: Blood Enemies/Abomi-the open but subtle.

nations of Cerilia (TSR, Inc., 1995), Book of Magic; Around 2003, Asplund largely left commercial il-Tools and Trade book cover (Agents of Gaming, lustration to focus on a career as medieval manu-2000). Catalyst: Citybook V, VI -Sideshow game mod-

Aulisio

84
ule (Flying Buffalo, 1991, 1992), Doomtown card art Design in New York City for two years, learning (Alderac, 1997), Dragon Storm card art (Black Dragon practical skills in preparation for a career in illustra-Press, 1996), Dune: Eye of the Storm; Judge of The tion, but then switched to the Ridgewood School Change; Thunder of Twilight Expansion card art (Five of Art in Ridgewood, New Jersey so as to further her Rings/Last Unicorn Games, 1997, 1998), Galactic education in fine arts. During this period she worked Empires: New Empires; Piracy Expansion; Powers of the at a second-hand bookstore in Hackensack, where Mind; Time Gates Universe Expansion card art (Com-her love of beautifully illustrated books began. Her panion Games, 1995), GURPS Traveller: Behind the first professional assignment was for Analog maga-Claw gamebook (Steve Jackson Games, 1998), In zine, doing the interior illustrations for a story by Nomine: Superiors 2 Pleasures of the Flesh game book Orson Scott Card, for the May, 1978 issue. In 1979, (Steve Jackson Games, 2000), Judge Dredd card art her works were exhibited at the American Cultural (Round Table Productions, 1999). Legend of the Burn-Center in Paris, along with those of Mike Hinge*, ing Sands-Black Hand-Black Heart; Blood and Ivory Richard Powers*, and Ron Walotsky*, for a retro-card art (Alderac Entertainment, 1998, 1999), Legend spective of American science fiction art. After her of the Five Rings: Hidden Emperor; Gold Edition; Oto-marriage to the artist John Dannheiser around 1980, san Uchi Boxed Set, card art; Pearl card art (Alderac Aulisio began being credited as Janet Aulisio Entertainment, 1997, 1999, 2000), Middle Earth: The Dannheiser.

Wizards Player’s Guide cover, The Wizards card art Aulisio is better known for her highly detailed (Iron Crown Enterprises, 1996) NeverWorld: Culture-black-and-white interior illustrations than for color book/Hourani; Tome of NeverWorld (ForEverWorld work, which for the most part have the earmarks of Books, 1996 ), Pendragon: Tales of Magic and Miracles colored pen-and-ink drawings. Aulisio was a contrib-game book (Green Knight, 1999), Star Trek game utor to magazines, mainly Amazing, Analog and Asi-book (Last Unicorn Games, 1999), Magic: The Gath-mov’s until the early 1990s, when she began free-lancering collectible card art: Alliances; Antiquities; T he ing for gaming companies, primarily as an interior Dark; Fallen Empire; Legends, Time Spiral (Wizards of artist for role-playing games, and to a limited ex-the Coast, 1994, 1996, 2006); Mystara: Dungeon Mastent, an illustrator for collector card games. She also ter Survival Kit, Glantri: Kingdom of Magic; Mark of has done excellent interior B/Ws for books, most reAmer; Karameikos, Kingdom of Adventure; Monstrous cently for a George R. R. Martin Retrospective, for Compendium Appendix; Night of the Vampire (TSR, Subterranean Press, 2003. Aulisio’s illustrations have Inc., 1994, 1995), Mythos: Dreamlands collectible card been seen far less frequently after 2000. She was art (Chaosium, 1996 ), Pax Draconis gamebook (Tech-nominated for a World Fantasy Award in 1991, and nicraft, 2003), Shadowfist: Boom Chaka Laka expansion; Dark Future expansion; Netherworlds 2 expan-has won a Chesley Award in 1988 for best interior il-sion; Shaolin Showdown expansion card art (Z-Man lustration, and two Asimov’s Readers Awards in 1989

Game, 2001, 2002), Star Trek Role Playing Game in-and 1990.

Sources: Grant, John, Humphrey and Scoville. The Ches-teriors (Last Unicorn games, 1999), Tales of Chivalry ley Awards: A Retrospective (AAPPL, 2003); Klein, Jay Kay.

& Romance; Tales of Magic & Miracles book cover

“Biolog: Janet Ausilio” Analog magazine, July 1982.

(Green Knight Publishing, 1999), Vampire: The Eternal Struggle-Gehenna Expansion card art (White Wolf, Collections and Anthologies

2004), Wheel of Time card art (Precedence Publish-

(various contributing artists)

ing, 2000), Xxxenophile card art (Slag-Blah Enter-Grant, John and Humphrey, Elizabeth with Scov-tainment, 1998).

ille, Pamela. The Chesley Awards: A Retrospective

Misc: Model kit covers: Babylon 5 Starfury; Bat-

(AAPL, 2003).

tlestar Galactica; Colonial Viper; Cylon Basestar, Cylon Raider; U.S. Voyager (Revell/Monogram. 1997, 1998).

BOOKS ILLUSTRATED INCLUDE: The Body Bank Model kit covers: Star Trek-Legendary Space En-

(Berkley, 1990), Caverns (Berkley, 1981), Cliffs counter; Star Wars-Darth Vader; Star Wars-Emperor (Berkley, 1986), Death Game 2090 (Berkley, 1990), Palpatine; Star Wars-Han Solo; Klingon Bird of Prey; Death Valley Free Prison (Berkley, 1990), Dragons of Star Wars-Luke Skywalker; Star Wars-Tie Fighter Darkness (Ace, 1981), GRRM: A RRetrospective (Sub-Flight Display; U.S.S. Enterprise Flight Display; terreanean Press, 2003), Infinite Kingdoms (Owl-U.S.S. Enterprise N.C.C. 1701-B (AMT/ERTL Com-swick Press, 1990), Lava (Berkley, 1982), Mage: Such pany, 1995, 1996), Gravity’s Edge audio cover (DAG

Pain; The Ascension (White Wolf, 1993, Harper-Productions. 1989).

Prism, 1995), Reefs (Berkley, 1981), Space 1889 (Heliograph, 2000), Gravity’s Angels (Arkham, 1991), Tuf Aulisio-Dannheiser, Janet Elizabeth Voyaging (Meisha Merlin, 2003), The Water of (?) American artist. Born in Hackensack, New Thought (Pinnacle, 1981), World of Darkness (Harper-Jersey, Aulisio began working for SF magazines in Prism, 1995).

the late 1970s. She studied at the Phoenix School of

85

Austin

MAGAZINES ILLUSTRATED INCLUDE:

completed her education as a cytotechnologist. After AMZ: 1986 (11); 1987 (1, 7, 8); 1988 (5, 7); 1989
graduation, she was offered her first job in Canada, (11); 1990 (1, 3, 7, 9); 1991 (3);
where a college club science fiction and fantasy mag-ASF : 1978 (1, 3, 4, 10, 11); 1981 (4, 8); 1982 (3, 9, azine “coerced” her in doing their illustration. Austin 10); 1983 (4, 5); 1985 (11, 12); 1986 (3, 12); 1987 (1, first displayed her art at the World SF convention in 2, 5, 8); 1988 (5, 7); 1989 (6, 10, 11, 12); 1990 (5, 6, St. Louis (1969), where she was approached by a pro-10, 11), 1992 (3, 8, 7, 11); 1993 (5, 7, 10, 11); 1994 (3, fessional editor who published her work in the 1971

6); 1995 (11); 1996 (12); 1997 (1, 10); 1998 (2) issue of New Worlds of Fantasy 3. In 1970 Austin IASFM: 1980 (1); 1983 (1, 2, 4, 5); 1987 (4); 1988
moved to Los Angeles, California where she lived (6, 9); 1989 (6, 8, 10); 1990 (1, 3); 1991 (8); with fans John and Bjo Trimble for some years, while DRAG: 1988 (11); 1989 (1, 8, 10),
making the transition from a fan artist to a profes-DUNG: 1988 (11/12)

sional illustrator. During this time Austin won a DEST: 1980 (#1, #2, #3); 1981 (#1, #2) Hugo Award for Best Fan Artist (1971), the first GXY: 1977 (6, 7, 8)

woman artist to win a Hugo.

ROF : 1997 (2, 10, 12); 1998 (4)

Austin’s traditions are those of the late Victorian-SFAge: 1997 (9); 1999 (7);
early twentieth century artists like Arthur Rackham, WT: 1990 (spring)

Edmund Dulac, and Alphonse Mucha, whose vi-G
sionary fantasies inspire her love of fairy tales, folk-AME-RELATED ILLUSTRATIONS INCLUDE: Ars Magica : Festival of the Damned, Anniversary Ed.

lore and mythology. Stylistically, her delicate line (Atlas Games, 1998), Aria Roleplaying: Canticle of the work also shows the decorative influences of the Monomyth (Last Unicorn Games, 1994), Art of Vam-Symbolist artist Aubrey Beardsley. In her illustra-pire: The Masquerade (White Wolf, 2001), Battle Tech tions for children’s stories, the stories of Native collector card art (Wizards of the Coast, 1996), Americans and in personal works, Austin strives to Cloud Call of Cthulhu: Mansions of Madness (Chao-interpret the spiritual and metaphysical aspects of sium, 1990), Captains of Mars & Conklin’s Atlas of the mythologies themselves. Over the years, Austin the Worlds (Heliograph, 2000), Dark Conspiracy: has moved beyond the boundaries of “illustration Player’s Handbook, 2nd Ed.. Referee’s Guide, 2nd Ed.

art” into the world of fine art, producing original (1998), Earthdawn: Gamemaster’s Compendium; paintings with a unique, original embossure, and Player’s Compendium (RedBrick Limited, 2005), high quality limited edition reproductions for col-Denizens of Earthdawn Vol. 1, 2 gamebook; Earth-lectors. Early works were in pencil and ink, and then dawn Companion (FASA, 1993, 1994), Fantastic Sto-watercolor. Later she expanded her techniques by ries Tales of the Weird & Wondrous (TSR, Inc., 1987), working with printmaking. Later works make use On the Edge collector card art: Arcana; Surviving of prismacolor, pastels, charcoal and “found mate-

(Atlas Games, 1995), Shadowrun: 2nd Edition; 3rd rials,” frequently combining one or more of these Edition; Barsaive at War; Corporate Download; Elven with watercolor, which includes the less used opaque Fire;Grimoire, 2nd Ed. ; Man & Machine: Cyber-watercolor technique. A typical original today may ware; Native American Nations, Vol. 1, 2; New Seat-easily have thirty or more layers before it is finished.

tle; Path of Deception; Rigger 2; Target: Matrix; In addition to commercial assignments, in recent Threats ; Tir Na Nog ; Wake of the Comet (Fantasy years Austin discovered a strong market for her art Productions/FASA, 1991, 1992, 1993, 1996, 1997, via commercial products (prints, note cards, and the 1999, 2000, 2001, 2002), Vampire: The Masquerade: like) as well as actively selling her work privately and Alien Hunger; Blood Nativity; Hunters Hunted; Mil-through exhibit at conventions in the field. She was waukee by Night; Succubus Club (White Wolf, 1991, chosen to be the first woman artist to be named solo 1992), Van Bek, Eternal Champion Vol 2 (White Wolf Guest of Honor at the 51st World Science Fiction 2005).

Convention (San Francisco, CA). Austin also has worked in collaboration with long-time friend and Austin, Alicia
artist George Barr* who wrote the introduction for (b. November 24, 1942) American artist. Born in her art book Age of Dreams (1978), published by Providence, Kentucky, Austin spent her formative Donald M. Grant, which has commissioned some years as an “army brat,” traveling and attending of her best works for their books. In 1979 Austin schools in Arkansas, California, Germany, Japan and won the Balrog Award for Best Professional Publica-Canada. She attended Sacred Heart Dominican Col-tion for this book, and the Howard Award for Best lege in Houston, Texas on an art scholarship, and Fantasy Artist, followed in 1991 with the Inkpot studied art, biology and comparative Anatomy at Award for Outstanding Achievement in Illustration.

the University of Houston with thoughts of becom-Austin created a portfolio of illustrations for Patri-ing a medical illustrator. Instead, she enrolled in the cia McKillip’s The Forgotten Beasts of Eld (Schanes M.D. Anderson Hospital’s cytology program and and Schanes, 1981). In 1982 her work was added to

Avon

86
the permanent collection of the New Britain Mu-lowed by years of cover work in various genres: Fan-seum of American Art (Connecticut).

tasy, Sci Fi, Thrillers, Horror and Crime. In the mid Sources: correspondence from the artist June, 2005; Age of 1980s, Avon’s personal interests in all aspects of Dreams: The Illustrations of Alicia Austin. Donald M. Grant, human behavior, especially psychology, were matched 1978.

by book jacket assignments for Arkana, and Cru-Published Work
cible — specialty press U.K. publishers of “mind, BOOKS ILLUSTRATED INCLUDE: Black Gods Shadow body and spirit” titles. He worked for small and large (Donald M. Grant, 1977), Bridging the Galaxies (San paperback publishers through the 1980s into the Francisco SF Convention, 1993), A Christmas Carol 1990s, and created all the covers for the Dorothy (Tempo, 1981), Cobblers Rune (Cheap Street, 1982), Sampson mystery series for Sphere before adding Copper Star (Wadsworth, 1991), Demon of Scattery science fiction to his assignments for that publisher.

(Ace, 1980), Destinies (Ace, 1980), Dragons of Light Avon began painting in oils then changed to (Ace, 1980), Durandal (with G. Barr: Donald M.

acrylics to reduce the drying times. For a while he Grant, 1982 ), Echoes from an Iron Harp (Donald M.

used the airbrush for blending but disliked the mask-Grant, 1972), The Edges of Things (WSFA Press, ing and cleaning involved in the process, and shifted 1991), The Enchanted World Series: Spells and Bind-to using a computer c. 1995 to gain the same effect ings (Time-Life Books, 1986), Fantasy Book (Dennis and increase his productivity. While still enjoying Mallonee, 1983), Fur Magic (Donald M. Grant, the tactile nature of paint, commercial deadlines 1993, Ace, 1993), Gummitch & Friends (Donald M.

make a return to that media unlikely. In the early Grant, 1993), In the Beginning (Cheap Street, 1983), 1990s Avon was picked up by American publishers The Last Castle (Underwood Miller, 1980), The Warner, Bantam, Doubleday and in 1994 started Magic Goes Away — And the Magic Returns (Ace, working on the popular collectible card game Magic: 1981), The Mask of Circe (Donald M. Grant, 1971, The Gathering (M:TG) published by Wizards of the Ace, 1971), More Magic (Ace, 1984), New World of Coast, producing dozens of fantasy environments Fantasies 2 (Ace, 1971), Night’s Master (Meulenhoff and other worldly landscapes. By 1999 his card art NED, 1982), Nirwana (Meulenhoff NED, 1981), On was traveling worldwide, to locations as distant as Saint Hubert’s Thing (Cheap Street, 1982), Proteus Kuala Lumpur, Malaysia and Capetown, South (Ace, 1981), Quicks Around the Zodiac (Cheap Street, Africa, to M:TG events and he has often been voted 1983), The Red Hawk (Cheap Street, 1983), The Sea a favorite artist from this card game. A noteworthy of Ravens (with G. Barr: Donald M. Grant, 1983), assignment was a Poster for the Champions of Kami-Scarlet Dream (Donald M. Grant, 1981), Solomon gawa advertising promotion for M:TG worldwide.

Leviathan’s 931st Trip Around the World (Cheap During the same period, he continued to produce Street, 1981, Philomel, 1988), The Unhappy Princess some of his best works for U.K. book publishers The (Cheap Street, 1983), Universe #1, #2 (Ace, 1971, Immaculate, Hammer of God, The Dark Tower.

1972), Voorloper (Ace, 1980), A Witch Shall Be Born Avon’s work appeared in the art collection Lost (Donald M. Grant, 1975),

Realms (Paper Tiger, 1984). His cover artwork for M

Interzone magazine (Autumn, #17, 1986) was nom-AGAZINES ILLUSTRATED INCLUDE:

AMZ: 1981 (5, 7, 9); 1982 (1)

inated for the 1986 British Science Fiction Award.

DEST: 1979 (8, 10); 1980 (2, Spring)

Avon is married to Patricia Avon (Patricia Mac-IASFM: 1981 (8, 11); 1982 (3)

Carthy), a children’s book illustrator, and has two MZB: 1988 (#2); 1989 (#5); 1990 (#5); 1991 (#9); sons, Laurie and James.

Sources: www.johnavon.com; Wachter, Toby. Behind the 1993 (#18); 1994 (#22, #26); 1997 (#36) Canvas: John Avon. MagicTheGathering.com Feature 72 (
www.wizards.com/default.asp?x=mtgcom/feature) Avon, John

BOOKS ILLUSTRATED INCLUDE: AEg ypt (Gollancz, (b. March 7, 1961) British artist. Avon attended 1987), By Bizarre Hands (NEL, 1992), The Dark school in Penarth (South Wales, U.K.) and spent a Caller (Headline Books, 1997), The Dark Tower foundation year at Cardiff in 1979 followed by a 3

Vol.2 The Drawing of the Three, Vol.3: The Gun-year degree in Graphic Design at Brighton Polytech-slinger (Sphere, 1987, 1989), Dark Future: 1 The Re-nic (England, U.K.). As a boy the “Rupert Annual”

venge, 2 Beyond the Grave, 3 The Horned God, 4 The illustrated by Alfred Bestall was a major influence, as Plague (Bantam, 1992), Daughter of Storms (Hod-was the box art for Airfix Model Kits. At school, the der, 1996), Double Helix Fall (Abacus, 1990). The Surrealists, the illustrations of Maxfield Parrish, and Electric Kid (Bantam, 1994), Freak (New English Li-SF artist Tim White* impressed him. Initially, Avon brary/Hodder and Stoughton, 1994). The Hammer took on local advertising jobs, leading to extensive of God (Orbit, 1994), The Immaculate (Corgi, 1993), illustrations in brochures. In 1984 his first cover The Instrumentality of Mankind (Gollancz, 1989), painting appeared, Waterhole (Futura Books), fol-Invasion: Earth (Orbit, 1991), Jackals (NEL, 1995),

87

Baker

Johnny and the Dead (Doubleday, 1993, Corgi, 1996), Baker went on to work with Steven Spielberg. Since Left to His Own Devices (Orbit, 1994), Norstrilia then all of his work has been in the film industry (Gollancz, 2000), Piratica, Piratica 2 (Hodder, with much of it in the fantasy and science fiction 2004, 2005), Plague from Space (Orbit, 1991), Planet genre. Recent projects include The Time Machine of No Return (Orbit, 1987), Prime Number (Orbit, (2000), The Road to Perdition (2001), Big Fish 1989), Raven (NEL, 1993), The Rediscovery of Man (2002), Tim Burton’s Corpse Bride (2003), Charlie (Gollancz, 1988), Savage Season (NEL, 1992), Sweet and the Chocolate Factory (2004), War of the Worlds Heart (Sphere, 1991). Two Tales and Eight Tomorrows (2005), and The Golden Compass (2007), based on (Orbit, 1991), The Wanderer (Penguin Books, 1987), Philip Pullman’s highly successful young adult tril-The Waste Lands (Warner, 1991), World of the Sticks ogy His Dark Materials. “Moving into film forced (Bantam, 1992).

me to start producing more work digitally,” he says, GAME-RELATED ILLUSTRATIONS INCLUDE (ALL

“I use the 3d environment for composing shots or WIZARDS OF THE COAST, CCGS): Magic: The Gath-mockups and on occasion finished art. For illustra-ering: Mirage, 5th Edition (1996); Portal, Visions, tion I will quite often work from scans of my orig-Weatherlight (1997); Portal 2nd Age (1998); Urzas inal sketches and complete them in Photoshop.”

Saga / Legacy / Destiny (1998–99); Invasion (2000); More often described now as a Concept Designer Apocalypse, Odyssey Planeshift, 7th Edition (2001); and Storyboard artist, Baker’s aim is to eventually Torment, Judgement, Onslaught (2002); Legions, Mir-move on to direct a feature film, and he is currently rodin, Scourge (2003); Champions of Kamigawa, developing an original screenplay. He also wants to Darksteel, Fifth Dawn (2004); Betrayers of Kami-produce more personal works that include etching gawa (2005); Dungeons & Dragons : Eberron Cam-and sculpting. He won a 2007 BSFA Award for Best paign manual (2004).

Cover Art, and in 2002 had a one-man exhibit of his MAGAZINES ILLUSTRATED INCLUDE:

original art for Kubrick’s A.I. in a Soho gallery, Lon-INT: 1986: (#17)

don. He has been interviewed with regard to his work on Spielberg’s Artificial Intelligence on the A.I.

Baker, Chris

DVD TV documentary “Stanley and Steven.”

(b. August 17, 1960) British Artist. Christopher Sources: e-mail from the arist, May 2007; www.fangorn.

Baker, better known to fans by his pseudonym “Fan-pwp.blueyonder.co.uk/CharmaWow
gorn” was born in Birmingham, England. He stud-BOOKS ILLUSTRATED INCLUDE: Another Fine Myth ied graphic design at the Bournville School of Art, (Little Brown/Orbit, 1999), Dinosaur Summer but considers himself largely self-taught. His earli-

(HarperCollins, 1998), First Chronicles of Druss the est influences were Frank Frazetta*, George Barr*, Legend (Book Club Associates/U.K., 1991), Gods in Richard Corben* and other comic artists, he says Anger (Unwin, 1988), Hit or Myth (Legend, 1990),

“too numerous to mention!” Baker’s earliest art was Jovah’s Angel (Harper Collins, 1997), King of Light produced in ballpoint pen with ink washes, similar and Shadows (Unwin, 1988), Ladylord (Harper in technique to that used by Barr. He then moved to Collins, 1997), Little Myth Maker (Legend, 1991), gouache and ultimately acrylic paint, which remains Mammoth: #1 Longtusk; #2 Silverhair (Gollancz/
his medium of choice, but he is not “a slave to any Orion, 1999, HarperCollins, 2001), Myth Concep-process or technique,” he says and occasionally uses tions (Little Brown/Orbit, 1999), Myth Directions oils. As for “Fangorn,” he says “many people assume (Orbit, 1999), Myth-ing Persons (Legend, 1991), Myth that I am a fan of Tolkiens’ classic, but the name Inc. In Action (Legend, 1991), Myth-Nomers and Im-Fangorn was chosen on a whim.” At a young age he Pervections (Legend, 1991), Orcs: First Blood #1 Le-came across the name in the book A Guide to Midgion of Thunder; #2 Bodyguard of Lightning; #3 War-dle Earth. He liked the sound of it and has used it riors of the Tempest (Orion/Gollancz, 1999, 2000), ever since for all his published work, although he Phule’s Company (Legend, 1991), Phule’s Paradise adds “I haven’t picked up a paintbrush since 2002 so (Legend, 1992), A Place Among the Fallen (Unwin, I haven’t really used it much in recent years.”

1987), The Riddled Knight (Orion, 2001), Throne of Baker’s first professional job was for a gaming Fools (Unwin, 1987), Time-Elapsed Man & Other company, but his first fantasy book cover was in 1987

Stories (Drunken Dragon Press, 1990), The Web: Spi-for A Place Among the Fallen, a novel by Adrian Cole.

derbite (Orion, 1997).

He is most well known for the U.K. editions of MAGAZINE ILLUSTRATIONS INCLUDE:

Robert Asprin’s “Myth” series and Brian Jacques’

WD: 1977 (#1), 1980 (#20)

Redwall series of children’s books. Many of his il-Misc.: Fiend Folio (TSR, Inc., 1981), Inquisitor: lustrations have been used on German editions of Warhammer 40000 series #1 (Games Workshop, books originally published in the U.K.. In 1994 he 1990), Wolf in Shadow graphic novel (Legend, 1994) was hired by Stanley Kubrick to produce concept designs for the film project A.I. After Kubrick’s death

Balbalis

88

Balbalis, John

Football and Baseball Halls of Fame, and the U.S. Air (September 23, 1929–October 15, 1991) Ameri-Force. Bama did the original artwork for Star Trek for can artist. Born in Manhattan, Balbalis was a life-NBC Television in 1965. He also painted the box long New Yorker, who worked for Galaxy magazine cover art for Aurora’s monster model kits, including throughout the 1950s and 1960s, as well as that mag-King Kong, Frankenstein, Dracula and the Mummy.

azine’s short-lived fantasy companion publication A trip to a friend’s ranch in 1966 convinced Bama Beyond. He graduated from New York University to move West, and he now lives and works at a with a degree in Art Education in 1953, and even Wyoming studio on his ranch, twenty miles from before graduating was already producing interiors, the nearest town. Since 1971 Bama has focused enusing a stippling technique for his black-and-white tirely on easel paintings, specializing in scenes of the work. His artistic influences were the surrealists, es-American West. He is recognized as one of the lead-pecially De Chirico and Dalí and like that artist he ing “American Realist” artists in this very popular was known professionally only by his last name, American art field. Many of his paintings are in pri-signing works either “Balbalis” or “JBal.” As prolific vate collections and major museum collections in-as Balbalis was in the SF magazine field, the work cluding the Cowboy Hall of Fame and the Whitney simply did not pay enough to hold him, and he soon Museum of Western Art.

started working for John Wiley and Sons, as a science Bama’s fame in the science fiction field rests on a education illustrator. During his thirty-six years with series of sixty-two cover paintings he did for the Doc Wiley and Sons, Balbalis planned and illustrated Savage paperbacks published by Bantam books. His hundreds of titles in astronomy, biology, biochem-covers for the this series featuring a bronze super-istry, chemical engineering, economics, geology and hero reprinted from 1930s pulp magazines were cred-the like. Shortly before he died, Wiley published his ited with establishing the books as major sellers in copywritten poster explaining the “Big Bang” theory.

the crowded superhero field. Bama used Steve Hol-At the time of his death he was working on a book land, a close friend and one-time actor, as his model The Art and Architecture of Chichen Itza.

for Savage. A conscious decision was made by Bama Sources: personal correspondence with Irene Balbalis, and Bantam art director Len Leone to update the widow, February 2007.

look of Doc Savage. This new paperback look for Published Work

Doc Savage sold the series, and set the look of the BEY: 1953 (7, 9); 1954 (5)

character for generations of fans. Of the first sixty-GXY: 1953 (5,6, 8, 9); 1956 (2, 3, 4, 5, 6, 7, 8, 9, seven novels, Bama did all but the covers for books 10, 11, 12); 1957 (1, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1958 (1, 3, 4, 5, 6, and 8; marriage to his wife, Lynne Klepfer 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1959 (2, 4, 6, 8, 10, in 1964, and their honeymoon, were the reasons 12); 1960 (2, 4, 6, 8, 10, 12); 1961 (2, 4, 6, 8, 10, 12); Bama was not able to do those covers. He completed 1962 (2, 4, 6, 8, 10, 12); 1963 (2, 4, 6, 8, 10, 12); 1964
his last cover in the series July 7, 1971, a point in his (2, 4, 6, 8, 10)

long artistic career, he notes, that now seems very distant to him.

Bama, James Elliot

Bama’s second career as a Western artist brought (b. April 28, 1926) American artist. Born in New him wider recognition than his first, although his York City, Bama attended the High School of Music portraits of real people of the new West display the and Art, and then studied for four years with Frank same eye for detail, texture, and characterization —

Reilly at the School of Art and Design in that city and the same distinctive style — that brought his and later attended the Art Students League for three renown as a commercial artist. Virtually every artist years. He got into paperback cover art in 1950 with who has illustrated Doc Savage books since Bama A Bullet for Billy the Kid for Avon Books. In 1951 he has followed his style of portraying the lead charac-joined the now famous Charles E. Cooper Studio, ter, described by one critic as “a cross between a Nazi producing paperback book covers, movie posters Storm Trooper and the Jolly Green Giant, but in and illustrations for such publications as The Satur-bronze.”

day Evening Post, Argosy, and Reader’s Digest. He Sources: correspondence from the artist April/May 2005; worked for the advertising agency for fifteen years, Di Fate, Vincent. “Interview with James Bama” Science Fiction Chronicle August 1988; Kane, Brian M. “The Making of James alongside other studio artists such as Murray Tinkel-Bama: American Realist” Illustration Magazine #16, 2006; We-man* and was a highly successful commercial artist naha Gallery Online www.wenaha.com July 2005; Weinberg, creating illustrations in a wide range of genres. From 1988.

1955 through 1971 he worked primarily for Bantam Books, doing 450 cover paintings. He also produced Collections and Anthologies
some artwork for Avon, Signet, and Berkley Books (various contributing artists)

and served as the official artist for the New York Gi-Di Fate, Vincent. Infinite Worlds the Fantastic Viants football team, as well as doing work for the sion of Science Fiction Art (Penguin/Wonderland,

89

Barlow

1997), Kane, Brian M, Ellison, Harlan and Leone, Books. During this time he also created art for a few Len. James Bama: American Realist (Flesk, 2006), of the album covers for a short-lived but notable se-Kelton, Elmer. The Art of James Bama (Bantam, ries of spoken word recordings, by famous authors in 1993.

the SF genre (e.g., Harlan Ellison, McCaffrey, LeGuin, Bloch) produced by Alternate World Published Work

Recordings (AWR). He was voted Best Professional BOOKS ILLUSTRATED INCLUDE: (all published by Artist at the New England Science Fiction Conven-Bantam, Doc Savage series) The Annihilist #31 (1968), tion in Boston, 1976. His first few covers were Cold Death #21 (1968), Czar of Fear #22 (1968), Dag-painted in acrylics, and then his first agent convinced ger in the Sky #40 (1969), Deadly Dwarf #28 (1968), him to paint in oils, which was good advice: Barber’s Death in Silver #26 (1968), Devil on the Moon #50
heroic fantasy cover paintings for Zebra Book’s Tros (1970), Devil’s Playground #25 (1968 ), Dust of Death of Samothrace series were among the most attractive

#32 (1969), Evil Gnome #82 (reprint, 1976), Fantas-and lively of the time.

tic Island #14 (1966), Fear Cay #11 (1966), Feathered A highly talented artist, with a gift for depicting Octopus #48 (1970), Flaming Falcons #30 (1968), the memorably intense characters and environments Fortress of Solitude #23 (1968), Freckled Shark #67
that fantasy literature demands, Barber stayed in the (1972), Giggling Ghosts #56 (1971), Gold Ogre #42
field for a relatively brief period of time before mov-

(1969), Golden Peril #55 (1970), Green Death #65
ing on to pursue western art, and then non-represen-

(1971), Green Eagle #24 (1968), Haunted Ocean #51
tational, fine art, in a wholly different visionary style.

(1970), He Could Stop the World #54 (1970), Hex Sources: correspondence with the artist October, 2005

#37 (1969), Land of Always Night #13 (1966), Land of Long JuJu #47 (1970), Living Fire Menace (1971), Published Work

Mad Eyes #34 (1969), Mad Mesa #66 (1972), Mer-BOOK ILLUSTRATIONS INCLUDE: Black Vulmea’s chants of Disaster #41 (1969), Majii #60 (1971), Man Vengeance (Zebra, 1977), Chrysalis, Chrysalis 2, of Bronze #1 (1964), Man Who Shook the Earth #43

Chrysalis 4, Chrysalis 6, Chrysalis 7 (Zebra, 1977, (1969), Man Who Smiled No More #45 (1970), Men-1978, 1979), Chrysalis 9 (Doubleday, 1981), The tal Wizard #53 (1970), Midas Man #46 (1970), Mon-Dream Lords: #1 The Plague of Nightmares, #2 Bane sters #7 (Bantam, 1965), Motion Menace (1971), Mu-of Nightmares, #3 Lord of Nightmares (Zebra, 1976, nitions Master #58 (1971), Murder Melody #15 (1967), 1977), Jack of Swords (DAW, 1976), Mysteries of the Mystery Under the Sea #27 (1968), Mystic Mullah #9

Worm (Zebra, 1981), Science and Sorcery (Zebra, (1965), Other World #29 (1968), Phantom City #10

1978), The Sign of the Moonbow (Zebra, 1977), Tros (1966), Pirate of the Pacific #19 (1967), Pirate’s Ghost of Samothrace: #1’Lud of Lunden, #2 Avenging Li-

#62 (1971), Poison Island #57 (1971), Quest of Qui afail, #3 The Praetor’s Dungeon, #4 The Purple Pirate,

#12 (1966 ), Red Skull #17 (1967), Red Snow #38

#5 Queen Cleopatra (Zebra, 1976, 1978), Weird Tales (1969), Resurrection Day #36 (1969), Sargasso Ogre

#1 (Zebra, 1980), A World Called Camelot (DAW,

#18 (1967), Sea Angel #49 (1970), Sea Magician #44

1976).

(1970), Secret in the Sky #20 (1967), Spook Legion #16

MAGAZINES ILLUSTRATED INCLUDE:

(1967), Squeaking Goblin #35 (1969), Submarine HM: 1977 (11); 1978 (5); 1979 (3, 11) Mystery #63 (1971), Terror in the Navy #33 (1969), AMZ: 1976 (3, 12),

Thousand-Headed Man #2 (1964), Vanisher #52

GAL: 1976 (#1, #2); 1977 (#3, #4); 1979 (#11/12) (1970), World’s Fair Goblin #39 (1969), Yellow Cloud Misc. : Heavy Metal Calendar page for March,

#59 (1971).

1979; Blood! The Life and Future Times of Jack the MAGAZINES ILLUSTRATED INCLUDE:

Ripper album cover (Alternate World Recordings, TSF : 1951 (Spring)

1977), Gonna Roll the Bones album cover (Alternate World Recordings, 1976), Joanna (Russ) album cover Barber, Thomas

(Alternate World Recordings, 1976), Frankenstein (b. July 24, 1946) American artist. Born in New Unbound album cover (Alternate World Recordings, York City, Barber attended the Art Institute of 1976).

Boston (MA) from 1965–1967, majoring in illustration. His early influences were Monet, N.C. Wyeth Barlow, Wayne Douglas
and “of course,” he says, “Frazetta.”* He entered the (b. January 6, 1958) American artist. Born in Glen science fiction field in 1976, with a cover for Amaz-Cove, New York to well-known natural history ing Science Fiction magazine, for their March issue —
artists Sy and Dorothea Barlowe, Barlowe attended and remained active in the field until 1979. He did the Art Students League and The Cooper Union in three additional covers for Amazing, plus cover art for New York City. Along with his instructors, Barlowe Heavy Metal and other genre magazines, along with was strongly influenced by Zdenek Burian, A Czech work for two book publishers: DAW, and Zebra painter known for his work of dinosaurs and cave-

Barlow

90
men. Other influences included Pyle, Ingres, Par-tological assignments. In 1995, Barlowe’s first book rish, and the Wyeths. While in college he apprenticed of dinosaur illustrations, written by Peter Dodson, in the Exhibition Department of The American Mu-An Alphabet of Dinosaurs (Scholastic Books), was re-seum of Natural History. During this period Bar-leased to great critical acclaim. By 2006 there had lowe collaborated with his parents on his first pro-been nine printings of the book with 130,000 copies fessional book assignment, The Instant Nature Guide sold, in addition to dinosaur prints, and a calendar to Insects (Grossett & Dunlop). A long time SF

(Portal Publications, 1999).

reader, Barlowe naturally gravitated to the field when In 1996 Barlowe and James Cowan, publisher of he became a professional illustrator; his first pub-Morpheus, created a development company called lished piece was painted for Cosmo for a story by Xenophiles, Inc. with the purpose of developing Michael Bishop. He soon began producing artwork imaginative multi-media properties. Its first creation, for Berkley Books, and thereafter all the major SF

Xenozoo, was sold first to Playmates Toys, and then magazine and book illustrators.

to Fox Kids Network. Barlowe designed the Arti-Barlowe’s first self-generated art book, Barlowe’s fact, the principal aliens and their homeworld for Guide to Extraterrestrials, was published by Work-the two-hour TNT Babylon 5 movie, Thirdspace man Publishing, 1979. The Guide, which Barlowe (1998). He contributed alien creature and character conceived, illustrated and co-authored, established designs for several films, including the animated his reputation for rendering unusual, organic alien Titan AE (2000), Galaxy Quest (1999 ), Blade 2
creatures. The Guide was nominated for The Amer-

(2000), Hellboy (2002), and two Harry Potter ican Book Award and the Hugo. It was chosen Best movies, Harry Potter and the Prisoner of Azkaban Illustrated Book of 1979 by the Locus Poll, and a (2004) and Harry Potter and the Goblet of Fire Best Book For Young People by the American Li-

(2005). In 1999 Barlowe produced a screenplay In-brary Association. The Guide, considered by many to ferno: Rebellion in Hell to accompany his art book be a contemporary classic SF work, has 270,000
and sold it to Fox Feature Animation. Barlowe con-copies sold to date. Barlowe’s second book, Expedi-tributed creature designs for Activision’s console tion (1990), a natural history journey to another game Dead Rush in 2003. In 2004 Barlowe’s book world, was nominated for the 1991 Chesley Award, Expedition was sold to the Discovery Channel for a and voted a 1991 Best Book for Teenagers by The two hour presentation. He is one of the show’s ex-New York Public Library. Since Expedition there ecutive producers, writer and art director.

have been three more books, The Alien Life of Wayne Barlowe is included in the Society of Illustrator’s Barlowe, an art retrospective (1995), and Barlowe’s prestigious book, The Illustrator in America 1860–

Guide to Fantasy (1996), a sequel to Barlowe’s first 2000. He has been, at various times, a member of the book. His most recent art books, published by Mor-Society of Illustrators, The Society of Vertebrate Pa-pheus International, are Inferno (1999), an interpre-leontologists and The Science Fiction Writers of tation of the demonology contained in the Grimoire America. Barlowe’s paintings have been exhibited at of Honorius, and a bound portfolio published as a The Bronx Museum of the Arts, The Orlando Sci-sequel, Brushfire: Illuminations from the Inferno ence Center, The New Britain Museum of Ameri-

(2001). Barlowe’s dark and unique visions of Hell can Art, The Society of Illustrators (NY), The show a shift in his thinking and rendering toward a Atrium at Park Avenue, The Discovery Museum in more classical, less narrative, approach. In concert Bridgeport, Connecticut and the Hayden Planetar-with the release of Inferno, Morpheus published a ium in New York. In 1984 he was instrumental in or-limited edition giclee, a poster and a bronze created ganizing and co-chairing the first SF art show in the by Barlowe.

history of the Society of Illustrators. Barlowe works Since his beginnings in illustration, Barlowe’s art at home with his wife Shawna McCarthy, an editor career has expanded in several different directions. He and literary agent, and their two daughters Cayley has created editorial paintings for Life, Time and and Hillary.

Newsweek, and his artwork has been seen on televi-Sources: www.waynebarlow.com; Frederik Pohl. “Extra-sion on Walter Cronkhite’s Universe and Connie Terrestrial Michelangelo” Science Fiction Age, May 1993; Tanith Lee. “Paint’s Master” Realms of Fantasy, Feb 1997.

Chung’s Saturday Night as well as on the Discovery Channel. An interview with Barlowe appeared on Published Work
the Sci-Fi Channel’s Inside Space program. Portfolios BOOKS WRITTEN AND ILLUSTRATED INCLUDE: The and interviews in print have appeared in TV Guide, Alien Life of Wayne Barlowe. U.S.: Morpheus Inter-Starlog, Realms of Fantasy, Future Magazine, Science national, 1995; Barlowe’s Guide to Extraterrestrials Fiction Age, Starburst, TV ZONE (U.K.) and Film-

(with Ian Summers, Beth Meacham) U.S.: Work-fax. His line of SF toys, The PowerLords was manu-man Publishing, 1979; Barlowe’s Guide to Fantasy factured by Revell (1983). In 1991 Barlowe began U.S.: HarperPrism, 1996; Brushfire: Illuminations painting dinosaurs, which resulted in many paleon-from the Inferno. U.S.: Morpheus International, 2001;

91

Barnard

Expedition: Being an Account in Words and Artwork tude, Retief in the Ruins, Retief of the CDT, Retief ’s of the 2358 A.D. Voyage to Darwin IV . U.S.: Work-War (Baen, 1985, 1986), Return of Retief (Baen, man Publishing, 1990; Barlowe’s Inferno U.S.: Mor-1984), Rule Golden & Double Meaning (Tor double, pheus International, 1998.

1991), Saga of Fafhrd and the Gray Mouser (Gregg Press, 1977), Secret Books of Paradys IV: The Book of BOOKS ILLUSTRATED INCLUDE: Acts of Conscience the Mad (Overlook Press, 1993), The Silkie (DAW, (Warner Aspect, 1997), Alien Bootlegger (Tor, 1993), 1982), Specimens (Tor, 1990), Star Rebel (Bantam, Alien Debt (Bantam, 1984), Aliens Among Us (Ballan-1984), Star Wars Hans Solo Series: Han Solo at Stars’

tine/Del Rey, 1981), Aliens From Analog: Anthology #7

End (Ballantine/BCE, 1979), Transatlantic Tunnel, (Davis, 1983), All Judgement Fled (Ballantine/Del Hurrah (Tor, 1991), Unquenchable Fire (Overlook Rey, 1979), Ancient Light (Penguin/Roc, 1990), Any-Press, 1992), The Ultimate Dinosaur (Bantam Spec-when (Avon, 1983), Battle of Forever (DAW, 1982), tra, 1992), Well-Favored Man (Tor, 1994). Wild Seed Being Alien (Tor, 1989), Beyond the Blue Event Hori-

(Popular Library, 1988), The Wizard of Linn zon (Del Rey/Ballantine, 1980), Black Easter — Faust (Timescape, 1983), Worthing Saga (Tor, 1990).

Aleph-Null (Avon, 1982), Book of the Beast; Book of MAGAZINES ILLUSTRATED INCLUDE:

the Damned (Overlook Press, 1990, 1991), Bridge-ASF : 1980 (12); 1981 (3/2, 3/30, 7, 8, 9, 11); 1982
head (Tor, 1986), A Century of Fantasy 1980–1989

(1, 5, 11); 1984 (2)

(MJF Books, 1996), China Mountain Zhan (Tor, CSF : 1977 (1)

1993), Chrestomathy (Baen. 1984), Contact and Com-FTC: 1980 (7)

mune (Popular Library/Questar, 1990), Dawn for a F&SF : 1985 (10); 1986 (9)

Distant Earth (Tor, 1987), The Day After Judgment IASFM: 1980 (11); 1982 (12); 1983 (10); 1984 (6); (Avon, 1982), Deathwish World (Baen, 1986), Di-1985 (3, 11); 1989 (11); 1990 (4, 8); 1991 (5, 11); nosaur Empire (Avon, 1995), Dragon’s Plunder (Byron Misc.: The Alien World of Wayne Barlowe collec-Preiss/Atheneum, 1992), Earth in Twilight (DAW, tor card set (Comic Images, 1994), The Pop-Up Book 1981), Ecologic Envoy (Tor, 1999) Emissary to the Stars (Baen, 1986),
of Star Wars (Random House, 1978), Empire & Ecolitan Omnibus (Tor, 2001), Escape from Kathmandu (Tom Doherty As-Barnard, Bryn
sociates, 1994), The Entropy Effect (Pocket, 1981), Es-

(b. February 2, 1956) American artist. Barnard cape Orbit (Ace, 1983), Fallen Star (Avon, 1983), was born in Los Angeles and raised in La Mirada Falling Torch (Baen, 1991), The Forever Hero (Tor, and Laguna Beach, California, the son of Ernest 1999), Future Boston (Tor, 1994), Galactiad (DAW, Raymond (an electrical engineer) and Elaine (an ac-1983), Heritage of Flight (Tor, 1989), Home Is the tress and playwright). His participation in a high Hangman/We, In Some Strange Power’s Employ, Move school exchange program, which involved living in Along a Rigorous Line (Tor double, 1990), The House: Blackwater #3 (Avon, 1983), Human to Human (Tor, a Malaysian village for a year, and learning to speak 1990), Imago (Warner, 1989), In Another Country/

Malay, proved to be a life-shaping experience. In Vintage Season (Tor, 1990), In the Cube (Tom Do-1977 Barnard studied anthropology at Universiti herty Associates, 1994), Isaac Asimov’s Aliens (Ace, Sains Malaysia in Penang, doing research for his de-1991), Lifeship (Pocket, 1977), Lion Game (Ace, gree in art and anthropology from the University 1985), Lucky Starr and the Big Sun of Mercury of California, Berkeley, Phi Beta Kappa, in studio (Twayne, 1978), Lucky Starr and the Moons of Jupiter art and Asian studies. Afterward, he attended the (Gregg Press, 1978), Lucky Starr and the Pirates of Art Center College of Design in Pasadena (1979–
the Asteroids (Twayne, 1978), Lucky Starr and the 1981) where he honed his illustration and design Rings of Saturn (Gregg Press, 1978), Major Opera-skills. He lived and worked in Kuala Lumpur, tion (Ballantine, 1981), Mercenary (Pocket, 1977), Malaysia from 1981–1983, and then in Jakarta, In-The Monitor, the Miners and the Shree (Ballantine donesia from 1983–1985, where his employment Del Rey, 1980), Moving Mars (Tor, 1993), Next En-ranged from being a member of a shadow puppet counter (Fawcett, 1982), Night’s Black Agents theater troupe to a creative consultant to (and in-

(Berkley, 1978), Nightwatch (Dell, 1979), Not in Our house illustrator for) several Southeast Asian ad Stars (Avon, 1984), Operation StarHawks #1: Space agencies. During this time Barnard became a Fellow Hawks, #2: Code Name Peregrine, #3: Beyond the of the Institute of Current World Affairs in Malaysia Void (Ace, 1990, 1991), Orson Scott Card Set of 3
and Indonesia, and he has been on their board of di-

(Tom Doherty Associates, 1988), Quarreling, They rectors since 1995. As a Fulbright fellow, Barnard Met the Dragon—Chronicle of Senruh Hero of Naphar taught at Universiti Sains Malaysia, in Penang (Avon, 1984), Princes of the Air (Pocket, 1982), Ray 1999–2000, and he retains strong connections to Bradbury Chronicles 5 (Nantier Beall Minoustchine, Southeast Asia.

1993), Ray Bradbury Presents Dinosaur World (Avon, Barnard became a freelance illustrator after his 1992), Retief and the Pangalactic Pageant of Pulchri-return to the U.S. in 1984. His first science fiction

Barr

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cover assignment came in the same year, from Baen Farewell Horizontal (St. Martin’s, 1989, Signet, Books: Valentina, Soul in Sapphire. There came a 1990), Galactic Dreams (Legend, 1994), Heart-Beast brief interruption when he returned to Jakarta for a (Dell/BCE, 1989), The Illegal Rebirth of Billy the Kid brief time in 1985 to work on an advertising cam-

(Tor/BCE, 1988), Invaders (Baen, 1985), Jade Darcy paign for Bir Bintang, Indonesia’s national beer.

and the Zen Pirates (Roc, 1990), Kipling’s Fantasy When he returned to the States in June, 1985 he Stories (Tor, 1992), Legacy of Heorot (Pocket, 1988), married Rebecca Parks and continued his career in Madlands (St. Martin’s, 1991), Master of the Game book illustration. He started painting documentary (Putnam 1991), Megalomania (DAW, 1989), Neme-science paintings for the NASA art program in 1987, sis From Terra: Battle for the Stars (Tor, 1989), Pen-and completed five commissions from 1987–1994, terra (Putnam/BCE, 1986), The Rod of Light (Arbor all now in the permanent collection of the National House, 1987), Seven American Nights (Tor,, 1989), Air and Space Museum and Stennis Space Center.

The Stainless Steel Rat (Ace, 1986), The Stainless Steel In 1987, Tom Eigner, the art director at Avon Rat’s Revenge (Ace, 1986), Stainless Steel Rat Saves the Books suggested that Barnard try illustrating chil-World (Ace, 1987), Stainless Steel Visions (Tor, 1994), dren’s books, and in 1994 he got his first job with Striped Holes (Avon, 1988), Time Capsule (Putnam, Crown Books for The Iceman. At that point he not 1987), Well of Sacrifice (Clarion, 1999), Unicorn only began illustrating fantasy-based children’s nov-Mountain (Arbor House/William Morrow, 1988), els, but also switched to fact-based nonfiction for Valentina, Soul in Sapphire (Baen, 1984), Vector younger readers. In 2001 he wrote and illustrated his (Bluejay, 1986), Wadjet Eye (Clarion, 2000), Widow’s first children’s book Dangerous Planet: Natural Dis-Son (Bluejay 1986), Wings of Power (Ace, 1989), You asters That Changed History (Crown, 2003).

Can Be the Stainless Steel Rat (Ace, 1988).

Most of Barnard’s paintings are in oil on panel. He MAGAZINES ILLUSTRATED INCLUDE:

also works digitally, mostly in Photoshop, Illustra-F&SF : 1986 (8); 1987 (4, 8); 1989 (1, 11); 1992
tor and Quark, particularly in the creation of maps.

(7); 1994 (3, 12); 1996 (9); 2001 (1); 2003 (11); 2004

His mixed-media art incorporates acrylic, oil, trans-

(11); 2005 (12)

fer, and digital imagery. Profiles of his work and ca-IASFM: 1986 (11);
reer have appeared in Time, Step-by-Step Graphics, International Artist, International Studio, the Christian Science Monitor, the Malaysian Tatler and the Barr, George Edward

Philadelphia Inquirer. He has received awards from (b. January 30, 1937) American artist. Born in the both Society of Illustrators New York and Los Tucson, Arizona, Barr was raised in Salt Lake City, Angeles and his second children’s book Outbreak: Utah, having as influential teachers during his years Plagues That Changed History was chosen as cover in public school two well-respected Utah artists: wa-of the week by Publisher’s Weekly and was listed as tercolorist Mary Kimball Johnson and landscape one of the best books of 2006 by the New York Pub-painter Jack Vigos. He attended a commercial art lic Library. His work is held in private and corporate class for fourteen months at the Salt Lake Area Vo-collections; two of his commissioned Murals are incational School and began, but did not finish, the Fa-stalled at the Children’s Hospital, Seattle.

mous Artists Correspondence Course.

Barnard has frequently been a guest speaker and In 1958, George discovered the world of science lecturer, and has taught art at several colleges and fiction fandom. He had been a fan since age 13 and universities since 1991. He is a consultant for Univeras with many SF fans interested in art, Barr’s first sities Field Staff International, and lectures for them illustrations were done for fanzines. His first profes-at college and university campuses across the United sionally published artwork was two covers for Fan-States. Barnard lives on an island in Puget Sound, tastic magazine (1960) and a few B&W pieces for Washington with his wife Rebecca, a writer, de-Famous Monsters of Filmland, in 1960 and 1961. For signer, and color consultant, and two children, the next eight years his published output consisted Wynn and Parks.

mostly of covers and fillers for some of the top Sources: e-mail from the artist May 2007; www.bryn-fanzines of the time, for which he was nominated barnard.com
for the first Fanart Hugo Award in 1967, and won it Published Work
in 1969. His work for Tom Reamy’s Trumpet fanzine BOOKS ILLUSTRATED INCLUDE: Annooka’s Answer was particularly memorable (1965–1968).

(Clarion, 1988), Buying Time (Easton Press, 1989), Moving to Los Angeles in 1968, he attended con-Contrarywise (Ace, 1989), Crimson Goddess (Ace, ventions, met editors and publishers, and began a 1990), Crisis: The Fleet, Book 6 (Ace, 1990), Death full-time career with sales to Ballantine Books, Ace, Arms (St. Martin’s, 1989), Deathworld I, II, III (Ace, and the DAW Books when that company was es-1987), D’Shai (Ace/BCE, 1989), Dune (Putnam/
tablished. After four years in Los Angeles, he moved BCE, 1994), The Earth Will Shake (Bluejay, 1985), to San Jose, California and finally to Livermore, Cal-

93

Barr
ifornia where he resides with photographer/artist coeur, Jr., Jim (2001) The Vadeboncoeur Collection of Knowl-Jim Bearcloud.

edge [www.bpib.com/illustra2/barr.htm, accessed August, Barr is very careful in constructing his cover 2005)

paintings. He reads the books to be illustrated very Published Work
thoroughly and takes notes on characters, locales, Collections/Anthologies
and every description given by the author. He tries (various contributing artists)

to make his illustrations as accurate as possible, be-Kesey, Ken. Sorcerers: A Collection of Fantasy Art.

lieving anything else would be “cheating: false ad-Ariel Books, 1978; Schiff, Stuart David. Upon the vertising.” A prolific and popular artist, his images Winds of Yesterday and Other Explorations: The Paint-have appeared on a wide variety of genre books and ings of George Barr. RI: Donald M. Grant, 1976).

magazines, record albums, game packaging and movie posters. Barr also is an author, with publica-BOOKS ILLUSTRATED INCLUDE: Adventures in Un-tions ranging from Endless Quest novels and game history (Owlswick Press, 1993), The Adventures of books for role-playing games (TSR, Inc.) to short Doctor Eszterhazy (Owlswick, 1991), Alternate World-stories for fantasy semi-pro and pro magazines ( Marcons (Pulphouse, 1994), At the Seventh Level (DAW, ion Zimmer Bradley, Adventures in Sword and Sor-1972), Before…12:01…After (Fedogan & Bremer, cery, Weird Tales as examples) to illustrated limer-1996). Beggars in Spain (Pulphouse/Axolotl, 1991), icks published in Weird Tales magazine (2003).

The Birthgrave (DAW, 1975), Blossoms (Pulphouse, Barr’s style was greatly influenced by Arthur 1991), The Broken Sword (Ballantine, 1971), Bully!

Rackham and Maxfield Parrish, the one in line and (Pulphouse/Axolotl, 1990), By the Light of the Green design, and the other in color and detail. Much of Star (DAW, 1974), The Conan Swordbook (Mirage, his art has a grace and style that fits fantasy much 1969), Countersolar! (Arbor House, 1987, Ace, 1989), better than hard SF, so much so that he has been Cry Silver Bells (DAW, 1977), Damnbanna (Pulp-quoted as saying “If I don’t include a rocketship or house/Axolotl, 1992), Darkness Landfall (DAW, a ray gun, no one even recognizes it as science 1972), Darkover Landfall (DAW, 1993), The Day Star fiction.” While a majority of Barr’s recent work for (DAW, 1972), Dinosaurs (Pulphouse, 1991), Dreams Weird Tales and Marion Zimmer Bradley’s Fantasy and Ghosts (Newcastle, 1972), Dumarest of Terra se-Magazine, as well as many of his early illustrations, ries: #12 Eloise, #13 Eye of the Zodiac, #14 Jack of were black-and-white interiors, he is well known for Swords, #20 All of the Dumarest of Terra, #25 Web of his color work, which is done primarily in water-Sand (DAW, 1975), The Dying Earth (Underwood/
color applied over a careful rendering in ballpoint Miller, 1976), Elidor (Ace, 1965), Embracing the pen. It is written that he was once encouraged, as a Dark (Alyson, 1991), Eye of the Zodiac (DAW, 1971), teenager, to try to sketch in pen to avoid the temp-The Family D’Alembert series: #1 Imperial Stars, #2
tation of erasures — to which he was prone. His Strangler’s Moon, #3 Clockwork Traitor (Pyramid, unique technique, which are “inkings” done in ball-1976, 1977), The Fates of the Princes of Dyfed (New-point pen, were the result. A few noted experiments castle, 1978), The Forest of Forever (Ace, 1971), Games with colored ballpoint pens so impressed viewers Psyborgs Play (DAW, 1973), The Gates of Creation that the legend persists that all of his work is done (Phantasia, 1981), Getaway World (Pyramid, 1977), that way, although he swears he has not used them The Gods Abide (DAW, 1976), The Golden Gryphon in over thirty years.

Feather (DAW, 1979), Green Magic (Underwood/

Barr has been a guest of honor at eleven conven-Miller, 1979), Green Phoenix (DAW, 1972), Hasan tions: Fan guest at the Westercon in 1972 and at SF

(Borgo Press, 1977), Heritage of Hashtur (DAW

Worldcon in 1976, then Artist guest at the Wester-1975), How Are the Mighty Fallen (DAW, 1974), con in 1993 and at SF Worldcon in 1994, making Hunters of the Red Moon (DAW, 1973), Isaac Asimov’s him the first to be honored as both fan and then a pro Science Fiction Antholog y #1 (Davis Pub., 1979), at both conventions. He was twice nominated for a Jaufry The Knight and the Fair Brunissende (Newcas-Hugo for Best Professional Artist, 1976, 1977, and tle, 1979), Joris of the Rock (Newcastle, 1976), Jour-was the winner of a Lensman Award, an award that ney to the Goat Star (Pulphouse, 1991), Lallia (Ace, is voted on by his professional peers.

1971), Louisa the Poisoner (Wildside, 1995. SFBC, Sources: correspondence from the artist, August, 2005; 1996), The Metallic Muse (DAW, 1974), The Minikins The Enchanted Thingamajig: The Art of George Barr [http://
of Yam (DAW, 1976), The Minotaur Trilogy (Mathew members.fortunecity.com/khorah, accessed August, 2005]; Gustafson, Jon, ed. Biography and Art. MosCon X Program D. Hargreaves, 1996), Moonstone and Tiger Eye Book, Moscow SF Convention, Inc. 1988; “The Cover — An (Pulphouse, 1992), Nada the Lily (Newcastle, 1979), Inside Story” MZBFM Summer, 1989; “ On Art: George Barr”

Night’s Master (DAW, 1978), The Not-So World On Spec. Fall, 1994 Vol. 6 No. 3 (#18); “On Exhibit” Amaz-

(DAW, 1975), No Way Street (Pulphouse, 1991), The ing, September 1986; Rotsler, William. “The Art of George Barr” Vertex Vol 1, #5: Schweitzer, Darrell. “Darrell Schweitzer Pear-Shaped Man (Pulphouse, 1991), Perilous Dreams Interviews George Barr” MZBFM Spring, 1989; Vadebon-

(DAW, 1976), A Quest for Simbilus (DAW, 1974),

Barr

94

The Quickening (Pulphouse, 1991), Red Nails (Don-Dragonlance Adventures (TSR, Inc., 1987), Dungeon ald M. Grant, 1975), Science Fiction and Fantasy Master’s Design Kit AD&D (TSR, Inc., 1988), For-Writers of America Handbook (Fat Puppy Press, gotten Realms Campaign Setting, 2nd Ed. (TSR, Inc., 1995), Seven Views of Olduvai Gorge (Pulphouse/Ax-1993), Knight of the Living Dead: Catacombs Solo olotl, 1994), The Shade of Lo Man Gong (Pulphouse, Quest #4 (TSR, Inc., 1989), Legend of Huma: Drag-1991), The Shattered Chain (DAW, 1976), Shy Leop-onlance (TSR, Inc., 1988), Legends & Lore: AD&D
ardess (Newcastle, 1977), Shaunessy Fong (Pulphouse, (TSR, Inc., 1990), Queen of the Spiders AD&D

1992), Slab’s Tavern and Other Uncanny Places (W.

(TSR, Inc., 1986), Sceptre of Power: AD&D Adven-Paul Ganley, 1990), The Sorcerer’s Crown: Kingdom ture Game Book (TSR, Inc., 1986), The Sorcerer’s of Sorcery Vol 2 (TSR, Inc., 1986), Space War Blues Crown: AD&D Adventure Game Book (TSR, Inc., (Dell, 1978), Spaceling (DAW, 1979), The Spell Sword 1986), Tales of the Lance: Dragonlance (TSR, Inc., (DAW, 1974), Star (DAW, 1975), Star-Begotten 1992), Trail Sinister: AD&D Adventure Game Book (Leisure, 1970), Steam (Alyson, 1991), The Steel (TSR, Inc., 1987), Vision of Doom: Endless Quest Valentine (Pulphouse, 1991), The Sword and the Stone

#35 (TSR, Inc., 1986), The Wrath of Olympus: D&D

(Pulphouse, 1991), Trail Sinister (TSR, Inc., 1987), classic (TSR, Inc., 1987)

The Tritonian Ring (Owlswick Press, 1977), The MEDIA AND FILM ILLUSTRATIONS INCLUDE: Alien Unfinished (Alyson, 1993), Worlds Apart (Alyson, Logic PC Computer Game (SSI, 1994), Archon Ultra 1986), The Weathermonger (DAW, 1974), Whispers PC Computer Game (SSI, 1994), Flesh Gordon film

#1 (Doubleday, 1977), The Wildings of Westron poster (1972), Go Go the Blue Gorilla record jacket (DAW, 1977), The Witling (DAW, 1976), The Won-

(1978), The Horde PC Computer Game (Buka En-derful Adventures of Phra the Phoenician (Newcastle, tertainment, 1994), The Ones Who Walk Away From 1977), Wong’s Lost and Found Emporium and Other Omelas: Ursula K. Le Guin record jacket (Alternate Oddities (Pulphouse, 1992), Worlds Apart (Alyson, World, 1976) Star Control II: PC Computer Game 1994), The Year’s Best Fantasy Stories #1, #2 (DAW, (Accolade, 1992).

1975, 1976), Yours Truly, Jack the Ripper (Pulphouse, 1991), Zothique (Ballantine, 1970).

Barr, Kenneth John

(b. March 17, 1933) Known as an American artist, MAGAZINES ILLUSTRATED INCLUDE:

Barr was born in Glasgow, Scotland and emigrated ABM: 2001 (#15); 2002 (#19)

to the United States in October, 1967. He served in AMZ: 1961 (5); 1965 (8); 1981 (11); 1982 (11); 1985
the British Army in North Africa, and had moved to (9); 1986 (9); 1990 (7)

London after his tour of duty to start work in com-AUTHCHOM: 1989 (12); 1990 ( 1, 2, 3, 4, 5, 6, mercial art. Barr was drawn to science fiction be-7, 8, 9, 10, 11, 12); 1991 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, cause of the lack of restriction on his imagination, 12); 1992 (1, 2)

and his first science fiction cover was for Nebula, a DRA: 1989 (March/#143)

British SF magazine, in 1958 (he also provided cover DUN: 1989 (#15, #17, #19)

art for its final issue, June 1959)

FgF : 1970 (12)

After arrival in the U.S., he almost immediately F&SF : 1960 (8); 1971 (3)

started working for DC Comics, inking titles like FTC: 1961 (3, 5); 1962 (4, 6, 8, 11); 1963 (7)

“Star Spangled War Stories” and “Tales of the GXY: 1969 (4)

Haunted and Damned.” An early apprenticeship as HPLMH: 2004 (#1/Spring, #1.5/Fall)

a sign-maker in Glasgow, beginning at age 14, had IASFA: 1979 (Spring, Summer, Fall)

given him a steady hand, and he worked for most of IASFM: 1978 (1, 3, 7, 9, 11); 1979 (2, 4, 6, 7, 9, 10, the leading comic book publishers, notably Marvel 11); 1980 (2, 3, 4, 5, 7, 9 11); 1981 (1, 2, 8, 9, 10, 11, 12); and DC through the early 1970s, and created cover 1982 (3, 4, 6, 7)

art for the legendary Warren magazines ( Doc Savage, IF : 1969 (3, 7)

The Hulk, Thor, Creepy, Eerie, Vampirella) as well as MZB: 1989 (Spring); 1990 (Winter); 1991 (Win-interiors for popular men’s magazines ( True, Men ter, Spring); 1992 (Fall); 1997 (Winter) 1999 (Au-Only) before turning to paperback covers. In 1966, tumn)

Barr during his first visit to the States, Barr also met ONS: 1996 (Summer)

and married an American girl, Katharine Griffin.

PFS: 1992 (4, 7); 1993 (9)

A versatile freelance artist, Barr has produced WT: 2001 (#323/Spring)

hundreds of covers, working in a variety of genres: GAME-RELATED ILLUSTRATIONS INCLUDE: Cam-action adventure, commando/military, horror, sci-paign Sourcebook and Catacomb Guide: AD&D
ence fiction, advertising, and even projects such as (TSR, Inc., 1990), Clash of the Sorcerers: AD&D Ad-a Lone Ranger pop-up book and coloring books for venture Game Book (TSR, Inc., 1986), The Com-The Wizard of Oz, and Indiana Jones. He was partic-plete Thief ’s Handbook: AD&D (TSR, Inc., 1989), ularly adept at interpreting fast moving and action-

95

Barr
packed science fiction adventure stories and heroic Dread Companion (Fawcett, 1980), The Dueling Ma-characters, and for capturing the gripping action and chine (Ace, 1978), Dushau #1: Fugitives, #2: Farfetch excitement of the chase. He worked for all the major

, #3: Outreach (Questar/Popular Library, 1982, 1985
book publishers, including Dell, Avon, St. Martin’s, 1986), The Emperor of the Last Days (Popular Library, Zebra, Random House, Playboy Press, Signet, Faw-1977), Eric Brighteyes: A Witches Welcome (Zebra, cett. In the 1990s, he extended his long list of com-1979), Fox Woman (Avon, 1977), Frankenstein (Ran-missions to fantasy calendars, a fantasy collectible dom House, 1980), Golden Girl #1: Golden Girl and plate series featuring unicorns for Danbury Mint, the Vanishing Unicorn, #2: In the Land of Dreams, #3: and super hero and card gaming art for Marvel/Fleer Stone Warrior and the Crystal of Doom (Ballantine, (Starquest Ultra Spiderman series) and Thunder Cas-1985, 1986), Golden Man (Doubleday, 1980), Gom tle ( Star of the Guardians game). Several of his paper-on Windy Mountain (Dell, 1985), The Gryphon King back cover paintings were later reproduced on series (Avon, 1988), Hell’s Feast: Bloodshadows (West End of horror and science fiction comics, distributed by Games, 1994), Hell Train (St. Martin’s Press, 1987), Fleetway, in the early 1990s (i.e., Mark of the Beast Huon of the Horn (Fawcett, 1978), The Iceworld Con-666, Nightwalker, Cybercrush). Barr’s work in film nection: Spaceways #11 (Berkley, 1983), Ion War (Ace, includes (as examples) poster art for Clint East-1978), Jonuta Rising: Spaceways #13 (Berkley, 1983), wood’s Thunderbolt and Lightfoot, George Segal’s Judgement on Janus (Fawcett, 1979), King of the The Terminal Man and Sean Connery’s Wind and Slavers: Spaceways #19 (Berkley, 1985), Kyrik #1 War-the Lion. A collection of some of his best comic and lock Warrior, #2 Kyrik Fights the Demon World, #3
book cover art was published in a card set in 1994

Kyrik and the Wizard’s Sword #4: Kyrik and the Lost (Comic Images).

Queen (Leisure, 1975, 1976), Lallia (Ace, 1971), The In 1997 Barr retired back to his native Scotland, Last Alien (Byron Preiss, 1986), The Last Defender of to continue work on a graphic novel that’s become Camelot (Pocket Books, 1980), Liege Killer (St. Mar-his magnus opus: the life of Dracula. He is very much tin’s Press, 1988), Lord of Thunder (Fawcett, 1976?), involved with the Dracula Society in England and is The Man Who Pulled Down the Sky (Worldwide Li-an honorary life member. He continues to take on brary, 1987), The Many Colored Land (Houghton occasional freelance illustration jobs, but primarily Mifflin, 1981), Masque: Thaery (Berkley, 1977), is painting for himself. In 2007 a collection of some Maxwell’s Demons (Baronet, 1978), Mirror Friend, of his best art was published by his long-time friend Mirror Foe (Playboy Press, 1979), Moorstone (St. Mar-and publisher, Sal Quartuccio The Beast Within: The tin’s Press, 1988), The Movement of Mountains (St.

Art of Ken Barr (SQP, Inc). His marriage to Griffin Martin’s Press, 1988), Nightmare Garden (Manor, ended in divorce but they remain good friends; they 1976), Night of Masks (Fawcett, 1981), The Pact (St.

had no children.

Martin’s Press, 1988), Pawn of the Omphalos (Gold Sources: e-mail from Katherine Barr, May 12, 2005; Ken Medal (1980), Planet Murderer: Spaceways #16

Barr; Artist Profile in Questar Science Fiction/Fantasy Adven-

(Berkley, 1984), Postmarked the Stars (Fawcett, 1980), ture, Vol. 3, No. 2, 1980 (December); The New Visions: A Collection of Modern Science Fiction Art. NY: Doubleday & Co, The Power of the Serpent (Bantam, 1976), Race Across 1982.

the Stars: Spaceways #18 (Berkley, 1984), The Riddle Collections and Anthologies
and the Rune (Dell, 1989), Sea Seige (Fawcett, 1980), (various contributing artists)

Serpent’s Reach (Doubleday, 1980), Space Merchants (St The Beast Within: The Art of Ken Barr (SQP, Inc., Martin’s Press, 1986), The Starcrossed ( Jove, 1979), 2007), Frank, Jane and Howard. Great Fantasy Art Star Gate (Fawcett, 1980), Star Guard (Fawcett, Themes From the Frank Collection (Paper Tiger, 1978), Star Rangers/The Last Planet (Fawcett, 1953), 2003).

Stars and Planets (Random House, 1989 ), Star Sapphire: Spaceways #15 (Berkley, 1984), Star Slaver: Published Work

Spaceways #12 (Berkley, 1983), Swords of the Barbar-BOOKS ILLUSTRATED INCLUDE: Assignment Hell-ians (Belmont, 1970), The Swords Trilog y (Berkley, hole: Spaceways #14 (Berkley, 1983), Beastmaster (Ace, 1977), Tark and the Golden Tide (Leisure, 1977), 1981), A Billion Days of Earth (Bantam, 1976), The Timefall (St. Martin’s Press, 1985), The Timeliner: #1

Birthgrave (DAW, 1981), The Brass Dragon (Ace, At the Narrow Passage, #2 No Brother, No Friend, #3

1982), The Carnadyne Horde: Spaceways #17 (Berkley, Vestiges of Time (Playboy Press, 1979), The Vultures 1984), Catseye (Fawcett, 1980), The Chronicles of of Whapeton (Zebra, 1978), The Wanderer’s Necklace Amber: Guns of Avalon (Avon, 1974), The City Out-

(Zebra, 1978), Watchers of the Dark (Leisure, 1966), side the World (Berkley, 1977), The Crone (St. Martin’s Zombie (St Martin’s Press, 1987).

Press, 1986), The Crystal Stair (Dell, 1989), Dark Piper (Crest, 1968), Disembodied (St Martin’s Press, MAGAZINES ILLUSTRATED INCLUDE:

1987), Dracula (Random House, 1980), Dragon Tales NEB: 1958 (32, 33, 34, 35, 36, 37); 1959 (38, (Fawcett, 1982), The Dragon Waiting (Avon, 1987), 39, 41)

Barth

96

Misc. : Dragon Warriors calendar for 1996 (Land-Bauman is one of the best known of fantasy artists mark General Corp, 1995), The Enchanted Forest col-working in the field, and has been nominated five lector plate series (Danbury Mint, 1993), Ken Barr: times for the World Fantasy Award for Best Artist.

The Beast Within Collector Card series (Comic Im-She is known for her strong visual concepts and care-ages, 1994), Star of the Guardians collector card game fully executed compositions, which carry an inten-

(Thunder Castle, 1995), Star Quest: The Regency sity belied by their seeming simplicity of design.

Wars (White Buffalo Games, 1995), Star Wars Ques-Bauman works in acrylics on canvas, or board and tion and Answer Book About Computers (Random she has produced hundreds of book covers, and House, 1983), Torg: The Possibility Wars/The World many more hundred interior illustrations across sev-Below role-playing game supplement (West End eral genres: horror, mystery, science fiction, fantasy, Games, ), Ultra Spiderman gold foil signature series children’s books and mass media. Her early influ-cards (Marvel/Fleer, 1995).

ences were Rene Magritte, Dalí, and the Surrealists, as well as the Pre–Raphaelites and Renaissance Barth, Ernest Kurt
artists, but early and continued participation in sci-

(May 23, 1929–March 28, 2001) American artist.

ence fiction conventions in the New York area ex-A prolific interior artist, Barth was born in Rockville posed her to other illustrators, publishers and editors.

Center, Hampstead, NY and graduated from the These connections gave her confidence and strength-Pratt Institute with a degree in Fine Arts (sculpture) ened her own highly original style. Bauman writes in 1952. He worked for the digest science fiction that she’s drawn to the mysterious and fantastic, and magazines in the 1950s and then for Dell, Harper she has been dubbed the “Queen of the Poisonous

& Row, Random House and other publishers on a Palette” by her fans in the horror genre. Often, her variety of non SF and non-fiction publications into more fantastically horrific paintings have a super-the 1960s, producing interior illustrations for classics ficially entertaining cast, a sort of overlay of child-in American literature. He was married to Joan like wonderment that contrasts with the subject mat-Barth.

ter. Her first assignment came in 1978 when Marvel Sources: correspondence with Joan Barth, July 2005; Comics purchased the rights to six paintings called Weinberg, 1988.

the “Bee Family,” but they never went to publica-Published Work
tion; her first published cover appeared on Future MAGAZINES ILLUSTRATED INCLUDE:

Life Magazine (#15, 1979).

AMZ: 1953 (3, 8, 12); 1954 (3, 7, 9, 11); 1955 (1); Bauman has been continuously active in the sci-1956 (7); 1957 (4)

ence fiction field; she has attended and been artist BEY: 1953 (7, 9); 1954 (1)

Guest of Honor at several conventions, including FA: 1953 (1)

the World Fantasy Convention (New Orleans, LA FTC: 1953 (5, 9, 11); 1954 (1, 8, 10 12); 1955 (2); 1994). She is a Life Member of the Art Student’s 1956 (12); 1957 (2. 6); 1966 (11); 1967 (5); 1968 (1) League in NY, and has exhibited work at the New GXY: 1953 (9); 1954 (3, 9, 10. 12)

York Society of Illustrators (1981, 1983), The IF : 1953 (5); 1955 91, 7); 1957 (12) Delaware Art Museum (19901987), Moore College of Art, Lever House (NY, 1984), and in a traveling Bauman, Jill
exhibit of science fiction illustration hosted by the (February 18, 1943) American artist. Born in University of Maryland, College Park (The Frank Brooklyn, New York Bauman grew up on Long Is-Collection, 1999). Her work was selected for inclu-land and graduated from Adelphi University in Gar-sion in each of the first six editions of the Spectrum den City, NY with a degree in Art Education. She annual anthology. Bauman teaches part time, and taught art in the East Meadow Public Schools, NY
also writes, and has had her poetry published in nu-for five years before retiring to raise a family. After merous magazines such as Silver Web, Weird Tales, a divorce, she shifted directions and ran a successful Space and Time and others. She is readying for pub-antique business for ten years while raising her two lication a collection of dark poetry titled Inkblots daughters on her own. In the 1970s she decided it was and is developing a series of personal paintings for time to “follow her dream” and began painting again.

gallery representation: Nighthings, in which she exHer introduction to commercial art came in 1978 as plores a new technique combining painting and clay a result of meeting Walter Velez*, already an estab-to create three-dimensional fantasy imagery. She has lished illustrator. In return for helping her develop two daughters, Tara, a Chief Warrant Officer/Intel-her art for a commercial market, she agreed to be his art ligence in the U S Army, and Lia, married to a free-agent. The relationship continues, and has proven to be lance film editor in the music industry.

a long and successful one for both artists. Bauman also Sources: www.jillbauman.com; e-mail from the artist May, has represented other artists, among them Richard 2005.

Bober*, Alan Clark*, Doug Beekman* and others.

97

Bayless

Collections and Anthologies

(Easton Press, 1995), Midnight (Tor, 1984), Mon-

(various contributing artists)

tauk Book of the Dead (Sky Books, 2005), Mort Frank, Jane and Howard. The Frank Collection: (SFBC, 1989), Murder on Usher’s Planet (Avon, A Showcase of the World’s Finest Fantastic Art (Paper 1986), Mythago Wood (Easton Press, 1996), Native Tiger, 1999), Frank, Jane and Howard. Great Fan-Tongue (DAW, 1984), Nightshow (Tor, 1985), Ques-tasy Art Themes From the Frank Collection (Paper tioner Trilog y #3: Dark Paradise (Ace, 1990), Quiet Tiger, 2003).

Night of Fear (Berkley, 1980), Parallelities (SFBC, 1998), Pelts (Footsteps Press, 1990), Perpetual Light Published Work

(Warner, 1982, SFBC, 1982), The Pines (Leisure, BOOKS ILLUSTRATED INCLUDE: After Midnight 1988), Pole Shift (Berkley, 1982), Practice Effect (Tor, 1985), Animus (Leisure Books, 1992), Attack (SFBC, 1984), Rensime (DAW, 1984), Rogue Queen of the Giant Baby (Berkley,1981), Beggars in Spain (Easton Press, 1995), Sardonyx Net (Berkley, 1981), (Easton Press, 1993), Black School (Dell, 1988), Bliz-Second Contact (Easton Press, 1990), Secret Garden zard (Leisure, 1988), Bogg yman (Tor, 1986), Buried (Long Meadow Press, 1994), Seven Spears of the W’d Blossoms ( Jove, 1981), Café Purgatorium Collection Ch’ck (Tor, 1988), Shadow’s End (Easton Press, 1994), (Tor, 1988), Captains Outrageous (TSR, Inc., 1993), Shelter (Tor, 1987), Silverhair (Easton Press, 1999), Carlisle Street (Tor, 1982), Cast a Cold Eye (Tor, 1983, Sinister Twilight (Dell, 1983), Slippage (Mark V. Zeis-The Charming (Bantam, 1984), Child of Venus (Easing, 1997), Something Answered (Tor, 1983), Song of ton Press, 2001), Chronicles of Pern (Easton Press, Kali (Bluejay Books/Tor, 1985), Spider Kiss (Myste-1994), Cold Blue Light (Charter, 1983), Crystal World rious Press, 1990), Spree (Cemetery Dance, 1998), (Easton Press, 1991), Dark Companions (Tor, 1984), Stainless Steel Rat is Born (SFBC, 1985), Stand and Darker Than You Think (Collier, 1989, Easton Press, Deliver (Tor, 1983), Such a Good Baby (Tor, 1988), 1998), Dark Harvest (Ace, 1984), Dark Paradise (Ace, Sundrinkers (DAW, 1987), Tales By the Moonlight II 1990), Dead Zone (Easton Press, 1992), Deathbird (Tor, 1988), Tales From the Nightside (Tor, 1987), Stories (Easton Press, 1989), Demon Fire (Leisure Talking Man (Avon, 1987), Tangerine (Tor, 1987), Books, 1994), Demonsouled (Five Star/Thorndike, Thumbprints (Easton Press, 2004, Golden Gryphon 2005), Deriyni Rising (Easton Press, 1997), Doll Who Press, 2004), Transition (Easton Press, 1990), Tread Ate His Mother (Tor, 1985), Dunwich Horror (Easton Softly (Tor, 1986), Under the Fang (Borderlands Press, Press, 1993), Edgeworks I, III, V, VII (White Wolf, 1991), Vamps (DAW, 1986), View From Hell (Subter-1995, 1996, 1997, 1998), Eternity Road (Easton Press, ranean Press, 2000), Wanderer (Easton Press, 1991), 1997), Evil Reincarnate (Tor Books, 1994), Eyes of Way Station (SFBC, 1985), When Darkness Loves Us the Tarot (Bantam, 1983), Face That Must Die (Tor, (Tor, 1985), Witch Honour (Five Star/Thorndike, 1985), Fall Into Darkness (Berkley,1981), Fetish (Pulp-2004), Who Censored Roger Rabbit (SFBC,1988), The house, 1991), Fine Frights (Tor, 1986), Fourteen Vi-Wilds (Dell, 1989), Yor’s Revenge (TSR, Inc., 1994).

cious Valentines (Avon, 1987), Garden of Evil (Leisure, 1988), Gather, Darkness (Easton Press, MAGAZINES ILLUSTRATED INCLUDE:

1996), Glory Season (Easton Press, 1993), Glow of AMZ: 1992 (8)

Candles (Berkley, 1981), Gormenghast Trilogy (Easton F&SF : 1986), (5); 1987 (7); 1988 (1, 11); 1989 (4); Press, 1997), Green Millennium (Berkley, 1982), 1990 (6); 1991 (1); 1992 (2); 1993 (3, 8); 1994 (10/11); Grimm Fairy Tales: The Brothers Grimm (Long 1995 (4, 12); 1996 (12); 1997 (1, 10/11); 1998 (3, 7); Meadow Press, 1995), Harvest Bride (Tor, 1986), His-1999 (6, 12); 2000 (10/11); 2001 (4); 2002 (6) tory of the Runestaff: Jewel in the Skull, Mad God’s FTSP: 1990 (#9/July)

Amulet, Sword of the Dawn, Runestaff (Ace, 1989, FUTL: 1979 (#15)

1990), Hungry Moon (Tor, 1986), Incarnate (Tor, MZB: 1994 (#25/Fall) S&T: 1993 (#82); 1997

1984), Iron Dragon’s Daughter (Easton Press, 1993), (#87)

Journey From Flesh (Berkley,1980), The Judas Rose SILV: 1993 (#10/Fall-Winter)

(DAW, 1986), Kalifornia (St. Martin’s Press, 1992), CEM: 1996: (Spring); 1998 (#30)

The Kill (Tor, 1982), Kill the Editor (Pulphouse, WT: 1992 (spring, winter)

1991), Kiteworld (Arbor House, 1985), Kreativity For Misc.: Star Trek: Balance of Terror/Mirror Mirror Kats (Wildside Press, 1992), Last Communion videodisc album cover (RCA, 1981).

(Berkley, 1981), Long Night of the Grave (Don Grant, 1986), Lost in Translation (Five Star/Thorndike, Bayless, Raymond

2004), Love and Sleep (Easton Press, 1994), Magic (February 13, 1920–May 25, 2004) An American Wagon (Borderlands Press, 1990), Man Who Used the artist, born in Oakland, California, Bayless resided Universe (SFBC, 1983), Maps in the Mirror (Easton for most of his life in Los Angeles. He was a self-Press, 1990), Master and Margarita (SFBC, 1985), taught landscape painter and avid H.P. Lovecraft en-Melancholy Elephants (Tor, 1984), Memory Cathedral thusiast. As a teenager, Bayless submitted and sold

Beecham

98
drawings to August Derleth, editor and publisher of Beecham, Tom A.

Arkham House, who published his work. In addition ( July 7, 1926–February 6, 2000) American artist.

to painting, Bayless was a long-time student of, and Born and raised on a ranch in rural, western Kansas, believer in, parapsychology and psychic phenom-Beecham’s family moved to Colorado when he was ena — eventually authoring six books on the para-about thirteen. He graduated from Grand Junction normal, with titles such as Animal Ghosts (1970), High School in 1944, joined the Navy, and served as Phone Calls from the Dead (1979) and The Enigma of a corpsman in the South Pacific during World War the Poltergeist (1967). His other writing projects were II. In 1947 he was accepted at the St. Louis School of less successful; over a period of years he wrote sev-Fine Arts, Washington University in St. Louis, Miseral short stories and a novel, all heavily influenced souri, where he decided to be an illustrator. He by Lovecraft’s style of weird fiction, none of which moved to New York in 1951, and like many artists were published during his lifetime.

who worked in the science fiction field for a short Bayless began showing his romantic, large-scale time, Weinberg notes (1988), “he entered the field works, based on Dutch and English painting tradi-during the boom years of the early 1950s when New tions and reminiscent of painters Thomas Cole and York publishers were looking for artists who would Alfred Bierstadt, in various galleries in California in work for little money and could prepare art quickly.”

the 1960s. He would later write that his memories After he left the SF genre, Beecham went on to be-and imagination drew him to create “unique, bizarre come a successful illustrator, working for major pub-and other-worldly … portrayals of the fantastic and lishing companies such as Random House, Harcourt the terrible.” But, he found it difficult to achieve the Brace, McGraw-Hill, and others. Drawing on his recognition he desired, despite a well-developed childhood and adolescent contacts with ranchers, post–Hudson River style, and continued encourage-old soldiers and Indian fighters, by the early 1970s ment from friends and associates, such as Ray Brad-

“Tom” Beecham had become a respected represen-bury, who knew of his Lovecraft-inspired writings tational painter of historical scenes of the American and paintings.

west. As a western and wildlife gallery artist and il-Bayless worked in oil on canvas, and because of lustrator he worked for magazines such as Reader’s his painterly style produced memorable cover paint-Digest, National Geographic, Argosy, Outdoor Life, ings for the four-volume critical edition of Lovecraft Field and Stream, and Remington Arms Calendars.

fiction in the late 1980s. His nongenre works are held During this part of his career, he painted about 360
in several corporate, private, and U.S. government paintings, with twelve published each year as prints collections, including the U.S. Air Force Art Collec-and calendars. He was a member of the Society of tion and the Navy Art Collection. He is listed in Animal Artists and a past president and member of Artists in California 1786–1940 (Hughes Publishing the Society of American Historical Artists. A long-Co., 1986). He had no children, and was married for time resident of Saugerties, New York, and out-43 years to Marjorie.

doorsman, Beecham was a member of the Saugerties Sources: Correspondence with the artist and later, his Fish and Game Club and former member of the widow 1996–2006.

Ridge Runners Rod and Gun club of Saugerties.

Collections and Anthologies

Sources: www.archerexchange.com; Beecham biography by Jo Beecham Dallas (daughter) at www.askart.com; e-mail (various contributing artists)

from Greg Beecham, son, April 2007; National Cemetery Ad-Frank, Jane and Howard. The Frank Collection: ministration. U.S. Veterans Gravesites, ca.1775–2006 [data-A Showcase of the World’s Finest Fantastic Art (Paper base on-line]. Provo, UT, USA: The Generations Network, Tiger, 1999).

Inc., 2006; Weinberg, 1988.

Published Work

Published Work

BOOKS WRITTEN AND ILLUSTRATED: Nine Fantasy AMZ: 1951 (11); 1952 (5, 7, 8, 9, 10, 12); 1953 (1); Tales of Other Worlds (Timeless Voyager Press, 2007) 1955 (3, 5, 7, 9, 12); 1956 (2, 4, 70; 1969 (3) BOOKS ILLUSTRATED INCLUDE: At the Mountains DYN: 1954 (1)

of Madness and Other Novels (Arkham House, 1985); FA (1951 9120; 1952 (1, 4, 6, 10)

Dagon and Other Macabre Tales (Arkham House, FF : 1953 (6)

1986); The Darkling (Arkham House, 1982); The FSQ: 1954 (spring)

Dunwich Horror and Others (Arkham House 1984); FTC: 1952 (fall, 11); 1953 (1); 1955 (2, 6, 8, 10); The Horror in the Museum (Arkham House, 1989); 1956 (4); 1966 (7); 1969 (8)

One Winter in Eden (Arkham House, 1984).

FUT: 1953 (3, 5, 9, 11)

Misc. : H.P. Lovecraft’s Dreamlands: Call of GXY: (1953 (2)

C’thulhu Beyond the Wall of Sleep role-playing manIF : 1952 (11); 1953 (1, 3, 7, 9)

ual, (Chaosium Games, 1988).

PS: 1952 (5)

RS: 1954 (4, 7)

99

Beekman

Beekman, Douglas L.

Sources: www.northernstarart.com; Stover, Matthew (b. November 29, 1952) American artist. Born in Woodring. “Gallery: The Wizard of Character (Douglas Beek-Findlay, Ohio, “Doug” Beekman exhibited early tal-man)” Realms of Fantasy December 1998; Klein, Jay Kay. “Biolog: Doug Beekman” Analog, July 1985, Weinberg, 1988.

ent in the arts and attended the Columbus College of Art and Design in Columbus, Ohio on a full Published Work
scholarship from 1971 through 1972. He grew dis-BOOKS WRITTEN AND ILLUSTRATED: Such a Pretty enchanted with the program and at age nineteen Face (Meisha Merlin, 2000).

moved to New York City, where he enrolled at the BOOKS ILLUSTRATED INCLUDE: A Coming of Age School of Visual Arts and then the Art Students (Bluejay, 1985), Another Round at the Spaceport Bar League of New York, where he studied with James (Avon, 1989), Araminta Station (Tor, 1988), Being Bama*, and Carl Hantman, both students Frank Alien (Tor, 1989), Beyond Sanctuary (Simon & Reilly. He also studied briefly with Jack Farragasso Schuster, 1985), Beyond the Veil (Simon & Schus-and the late Robert E. Schulz*. After completing his ter, 1985), Beyond Wizardwall (Baen/Simon & studies, Beekman became a freelance illustrator, spe-Schuster, 1986), The Blal (Zebra, 1978), Blood of the cializing in fantasy subjects. His first art assignment Colyn Muir (Morrow/Avon, 1988), Bone Dance was for “Sierra Maestra” by Norman Spinrad, pub-

(SFBC, 1991), Book of Morgaine (Doubleday/BCE, lished in Analog, in 1975. Since that time, he has 1979), Cascade Point (Baen, 1987), Chess With a produced at least 300 book covers and even more Dragon (Avon, 1988), Conan & The Grim Grey God magazine and commercial illustrations. His fantasy (Tor, 1996), Conan: Lord of the Black River (Tor, book covers are colorful and sharply rendered, a mix 1996), Critical Threshold (DAW, 1977), Crown of Si-of pulp and 1980s slick style that’s well-suited to stolence (Tor, 2001), Curse of Chalion (Harper Torch.

ries of dragons, witches and warlocks. In 1987 Beek-2002), Darkling Wind (Bantam, 1985), Darkmage man produced ten covers for Tor Books’ Crossroads (Doubleday/BCE, 1988), Death Gods Citadel (Bal-adventure gamebooks based on a popular series of lantine, 1980), Devil’s Day (SFBC, 1990), Drawing fantasy novels inspired by the role-playing game of the Dark (Del Rey/Ballantine, 1979), Dreams of Dungeons & Dragons(™), and by then had already Dawn (Del Rey/Ballantine/BCE, 1988), Garden of produced many covers for publishers such as Baen, Salt (SFBC, 1996), The Grand Decision (Bantam/

Bantam, DAW and others. Beekman’s art has been Spectra, 2000), The Grand Design (Bantam/Spec-selected to appear in Spectrum anthologies (1996, tra, 2001), Heroes Die (SFBC, 1998), Homecoming: 1997), Communication Arts, and he holds awards Earth (GuildAmerica/BCE, 1995), Human to from World Fantasy Conventions, the Overseas Press Human (Doubleday/BCE, 1990), Imperial Stars Club and others.

(Baen, 1986), Jandrax (Del Rey, 1979), Jackal of Nar Working primarily in oils, and with a strong sense (Bantam Spectra, 1999), Kirith Kirin (Meisha Mer-of narrative, Beekman has maintained a steady pres-lin, 2000), The Last Immortal (Fawcett/Crest, 1981), ence in the field. His art has been exhibited at the The Last Unicorn (Easton Press, 1996), The Maker Delaware Art Museum, the Canton Museum of Art, of Universes (Phantasia Press, 1980), Midnight Falcon the Society of Illustrators of New York, Salmagundi (Ballantine/Del Rey, 2001), Mordred’s Curse (Avon/

Club, Words and Pictures Museum, and in numer-BCE, 1996), Motherlines (Berkley, 1979), National ous gallery exhibits. He has also had a one-man show Lampoon’s Doon (Pocket Books, 1984), The Parasite at the Wistarihurst Museum of Massachusetts in War (Avon, 1989), Red Orc’s Rage (Tor, 1991), Saints 1998. A portfolio, The Conan Classics, set four was of the Sword (Bantam/Spectra, 2001), Sea Dragon published by SQP, Inc. in 1990.

Heir (Tor/BCE, 2000), Second Experiment (Faw-In the early 1990s, and on the strength of his pro-cett/Crest, 1974), Source of Magic (Del Rey, 1979), fessional contacts, Beekman founded his own art Sorcerer’s Shadow (Zebra, 1978 ), Stars at War (Baen, agency, Buckhorn Studios, Inc., and for a time rep-1986), Storm of Dust (Tor, 1987), Swords Against resented other fantasy artists, among them Bob Darkness #2 (Zebra, 1977), Sword in the Stor (Ballan-Eggleton*, Richard Bober*, J.K. Potter* and Linda tine/DelRey, 2001), The Sword of Shannara (Easton Burr*. The venture was relatively short-lived, and Press, 1997), Sword of Truth (Tor, 1994), To Walk the Beekman returned to what he does best — which is Night (Ballantine/Del Rey, 1980), Tweedlioop (Tor, to paint. As he puts it: “Passion is key to my art.

1986), Universe 13 (Tor, 1985), The Vision of Stephen When I experience a strong internal sense evoked by (Ace, 1979), Voyage of the Shadowmoon ((Tor/BCE, a special place or visualized scene, then capturing 2002), Warhorn (Tor, 1987), Warlock’s Blade (Tor,l and conveying that feeling becomes my goal. It’s an 1987), Way of the Light (Tor, 2002), The Winged evocative quality that draws me to want to paint a Man (DAW, 1980), The Witling (Bluejay, 1986), given subject — out of the thousands of images I Wizards First Rule (Tor, 1994).

could put on canvas — that I want share with the MAGAZINES ILLUSTRATED INCLUDE:

person looking at it.”

AMZ: 1976 (9)

Belarski

100

ASF : 1975 (10, 12); 1976 (7, 8); 1977 (1, 2, 3, 8, 9, magazines, such as Aces, War Birds, G-8 and His Bat-11); 1978 (1, 4, 5, 6, 7, 11); 1979 (4, 6); 1983 (7, 11, tle Aces, and most notably, for the magazine Wings.

12); 1984 (4, 6); 1985 (7); 1986 (6, 10); 1988 (4); 1989

Along with his war paintings, Belarski did several (6)

fine covers for the Munsey chain, publisher of the CSF : 1977 (7, 11)

best-selling pulp Argosy. It was for Argosy in the late FTC: 1976 (11)

1930s that Belarski did many of his most memorable HM: 1978 (8)

science fiction paintings, among them his cover illus-ROF : 1997 (12); 1998 (12); 2001 (4)

trations for Edgar Rice Burroughs’ novels such as WFH: 1996 (winter)

Synthetic Man of Mars, The Red Star of Tarzan, Car-G
son of Venus, Escape on Venus as well as the strongly AME-RELATED ILLUSTRATIONS INCLUDE: Crossroads series : Dragonfire (Tor, 1988), Dragonharper painted and realistic Lords of Creation and Minions (Tor, 1987), Dragon Lord: Storm of Dust (Tor, 1987), of the Moon, in 1939. Unlike his later paintings, cre-Incomplete Enchanter: Prospero’s Isle (Tor, 1987), ated to suit the assignment in size and content, these Jhereg: Dzurlord (Tor, 1987), Majipoor: Revolt on Ma-and earlier paintings were done on large canvases as jipoor (Tor, 1987), Morgaine: Witchfires of Leth (Tor, more or less complete paintings, and carried very 1987), Rif kind: Daughter of the Bright Moon (Tor, powerful visual images. Belarski also was a regular 1987), Warlock of Gramarye: Warlock’s Blade (Tor, contributor to the detective pulp Black Mask in the 1987), Xanth: Encyclopedia of Xanth (Tor, 1987), 1930s, and was excellent in depicting rugged square-Dune: Chronicles of the Imperium (Last Unicorn jawed heroes and helpless red-haired young women.

Games, 2000), Maztica Campaign: Forgotten Realms He was a master at attracting readers to stories in (TSR, Inc., 1991).

magazines through his dramatic perspectives, figure

Misc. : Artist Choice collector card set (Comic Im-work and color. An avid outdoorsman, Belarski diages, 1997), Doug Beekman chase cards for collector vided his time between New York, Maine and set (Comic Images, 1997).

Canada. He would get sketches approved in New York and then go to the woods to stay in a cabin and Belarski, Rudolph
paint. Exploiting his love of camping and fishing, (May 27, 1900–December 24, 1983) American Belarski also painted a number of covers for Out-artist. Born in Dupont, Pennsylvania, the son of Pol-door Life.

ish immigrants, Belarski was one of the most popu-During World War II, Belarski joined the USO
lar pulp fiction and paperback cover artists of the and was sent overseas to entertain troops in the Lon-1940s-1950s, although his output strictly within the don Hospitals. He did sketches and portraits of sol-confines of the science fiction and fantasy genre were diers during this period. After the war, he began relatively low. At the age of twelve, he was working working for Pines Publications (Standard Maga-in a coal processing plant as a slate picker and mule zines), one of the larger pulp publishers, and moved driver when a foreman, noticing him drawing on from New York to New Rochelle, New York, where walls, put his talent to work painting safety posters many artists were then living. In the late 1940s he met for the company. Belarski was self-taught, learning and married Gladys Bell, who served as the model for from books during what little free time he had, until many of the women in his paintings during the next he quit his job and left for New York City at age few years. The marriage was not successful, and they nineteen. He studied art at Pratt Institute in Brook-were divorced in the 1950s. By 1948, however, Be-lyn, paying for his classes by working at odd jobs, and larski had transitioned to paperbacks, and became returned to his hometown in Pennsylvania during well-known as one of the leading paperback cover the summers to finish his grade school education.

artists of the 1950s. He worked almost entirely for His painting instructor at Pratt was Max Hermann, Churchill Ettinger, the art director for Pines’ Pop-and Belarski won a number of prizes in art compe-ular Library. Belarski’s “action packed” scenes and titions while he studied there. After graduating from distinctive perspective influenced the entire Popu-the school he was invited back, in 1929, to teach lar Library line, far beyond the fifty or so covers he specialized courses in commercial art and he stayed did for them. When Ettinger was fired suddenly, Be-on as a teacher for some time. Years later, in 1957, he larski left shortly afterward. He did a few more pa-joined the faculty of the Famous Artists School in perback covers and then worked for men’s adven-Westport, Connecticut and remained there until his ture magazines. By 1957 he had tired of freelancing retirement in 1973.

and left the field, to join the staff at the Famous Belarski’s career as a freelance illustrator began in Artists School, teaching courses in commercial art the 1920s, with assignments to create a number of and figure illustration. He left teaching in 1972, paintings for Delacorte, for its war pulp magazines.

when he was let go due to a staff reduction at the These were the pioneering days of American aviation school, but remained in Westport. He died on and he soon was doing air-war covers for a variety of Christmas eve, 1983, survived by his wife, the for-

101

Bell
mer Barbara Holzhausen, whom he married in later translated into a hyper-realistic style of paint-1960.

ing that meshed perfectly with sexy, powerful im-Sources: Lesser, Bob. Pulp Art (Gramercy Books, 1997); ages of warriors and amazons.

Reed, Walt. The Illustrator in America, 1860–2000 (Society In 1989 Bell met Boris Vallejo* and her physique of Illustrators, 2001); Weinberg, 1988; Ancestry.com. World War I Draft Registration Cards, 1917–1918; Social Security and art talents made her a “natural” choice as model Death Index [database on-line]. Provo, UT, USA: The Gen-and eager student. Under Vallejo’s tutelage, Bell imerations Network, Inc., 2005, 2007.

mediately tried her hand at fantasy art, and by the Published Work
next year had succeeded in making her first sale to CF : 1942 (summer, fall)

Heavy Metal magazine. Her painting Beauty and the FUT: 1955 (#28)

Steel Beast was used for the cover of the January 1990

SS: 1941 (5, 7, 9, 11); 1942 (1, 9); 1943 (1); 1947
issue, and broke ground for other illustrators with the (3)

introduction of her now legendary Metal Flesh. Bell StrS: 1939 (2); 1940 (4)

and Vallejo bought a house together in eastern Penn-TWS: 1941 (8, 10); 1942 (2, 8, 12)

sylvania in 1990, and established a studio there. She took Life Drawing classes at The Baum School in Bell, Julie

Allentown, PA. Bell’s first marriage ended in divorce, (b. October 21, 1958) American artist. Born in and she married Vallejo in 1994. She brought her Beaumont, Texas, Bell moved with her mother and two children with Palumbo, sons Anthony and sisters to Atlanta, GA when she was thirteen. She David, to live with her in Pennsylvania “to begin was always thought of as “the artist” in school and their journey into the art world” and both became worked on projects like comic books, school news-artists as well.

papers, and “tattoos” with her friends. Her teenage While stylistically Bell’s technique shows the clear years were a bit chaotic, marked by her family’s fre-influence of Vallejo, her paintings show a more quent moves to new locations in the Atlanta area; refined, and sensitive use of color and texture. In ad-Bell attended five different high schools. Neverthe-dition to numerous cover paintings for books, inless, she skipped 11th grade and graduated early (at clude creating advertising illustrations for compa-age fifteen), having taken her first art class when she nies such as Nike, Coca-Cola and The Ford Motor was in her last year of high school. She completed her Company, and doing album covers for artists such as first two years of college at DeKalb Community Col-Meat Loaf. She is credited as the first woman to paint lege in Decatur, GA, majoring in art, before mov-Conan for Marvel Comics, which paved the way for ing back to Texas to be with her father. There, she many other commissions in the 1990s from Marvel, enrolled at Lamar University (Beaumont, Texas) as Topps Comics ( Lady Death, Zorro), DC, and Image an art major, and took her first Life Drawing class Comics to illustrate superheroes in fully rendered with wildlife artist Jerry Newman, working with a paintings. Bell has also sculpted and/or produced model. This was a turning point for Bell, and she art designs for several limited edition collectibles realized she wanted to be an artist as a profession. It lines for The Franklin Mint, and other publishers.

was also the beginning of her passion for the human In addition to commercial assignments, however, body—which later included competitive bodybuild-

“Julie and Boris” as their fans know them, have in re-ing. During this time Bell was introduced to the art cent years developed highly successful careers as col-of Mucha and the Art Nouveau period of illustration.

laborators on a number of art books. These popu-Bell’s first marriage, to Donald Palumbo, with whom lar books are a natural outgrowth of Vallejo’s earlier, she would have two sons, brought discontinuity to ground-breaking solo anthologies, which demon-her art career as she started — then interrupted — her strated that imaginatively conceived sensual art con-education during several moves. When living in sidered too provocative for genre book covers can Michigan she attended Northern Michigan Univer-nonetheless find international commercial publica-sity (Marquette, Michigan) she expanded her stud-tion success.

ies to include illustration, and this “opened her Sources: e-mail and telephone interview with the artist mind” to a more commercial aspect of art. While November 2007; artist website www.imaginistix.com/
living in Marquette, Bell illustrated a children’s Collections and Anthologies
book, The Mystery of Kawbawgam’s Grave by Clifford (various contributing artists)

S. Cleveland (1979). She would subsequently attend Boris Vallejo and Julie Bell Fantasy Workshop: A colleges in Ohio (Lorain County Community Col-Practical Guide (Thunder’s Mouth Press, 2003), lege, in Elyria), and Pennsylvania (Shippensburg Boris Vallejo and Julie Bell Sketchbook (Paper Tiger, University, in Shippensburg)— six different colleges 2001), Boris Vallejo and Julie Bell: The Ultimate Colin all. While living in Ohio she became very in-lection (Collins, 2005), The Fabulous Women of Boris volved in competitive bodybuilding, and this —

Vallejo and Julie Bell (Collins, 2006), Imaginistix: combined with her artistic focus on Life Drawing —

Boris Vallejo and Julie Bell (Collins, 2007), Julie Bell

Bennett

102

Portfolio (Paper Tiger, 1994), Hard Curves: The Fan-Calendar 1992, 1994, 1995, 1999 (Heavy Metal, 1991, tasy Art of Julie Bell (Paper Tiger, 1995, Thunder’s 1993, 1994, 1998), Meatloaf: Bat Out of Hell III Mouth Press, 1996), Soft as Steel: The Art of Julie Bell album cover (Virgin/Mercury Records, 2006), (Paper Tiger/Thunder’s Mouth Press, 1999), Super-Undiscovered: The Quest for Adventure RPG manual heroes: The Heroic Visions of Boris Vallejo and Julie cover (Eilfin Publishing, 2001).

Bell (Thunder’s Mouth Press, 2001), Titans: The Heroic Visions of Boris Vallejo and Julie Bell (Thun-Bennett, Harry R.

der’s Mouth Press, 2000), Twin Visions: The Magi-

(b. May 15, 1919) American artist. One of the cal of Boris Vallejo and Julie Bell (Thunder’s Mouth major paperback cover artists of the 1950s, Harry Press, 2003).

Raymond Bennett was born in Lewisboro, New York, and grew up in Ridgefield, Connecticut — a BOOKS ILLUSTRATED INCLUDE: The Amazon and town where the Bennett family has a history going the Warrior (Tor, 2004), Ariadne’s Web (Tor, 2000), back to the 18th century. He studied painting and il-Arms of Hercules (Tor, 2000), Ascendant Sun (Tor, lustration at the Art Institute in Chicago after re-2001), Atlantis Endgame (Tor, 2002), Blood Jaguar turning from a four-year tour of duty in the South (Tor, 1999), Centurion’s Empire (Tor, 1999), Conan Pacific during World War II. In 1947 he began his and the Treasure of Python (Tor, 1993), Conan of Ve-professional career creating advertising illustrations narium (Tor, 2003), Daughter of Ireland (Tor/Forge, for clients such as Pepsi-Cola and U.S. Ked. Then, 2003), Dead in Dixie (SFBC, 2003), Deep Secret in the early 1950s Bennett turned to painting covers (Tor/SFBC, 1999), Dragon and the Fair Maid of Kent for paperbacks.

(Tor/SFBC, 2001), Dragon in Lyonesse (Tor, 1998, Extremely prolific and versatile, Bennett created SFBC, 1999), Dragon of Despair (Tor, 2003), Earth well over a thousand cover paintings over a 35-year Logic (Tor, 2004), Echoes in Time (Tor, 1999), Elven-career, working in multiple genres, in a variety of born (Tor/SFBC, 2002), Face of Apollo (Tor, 1998), styles, and taking assignments from all the major Falling Stars (Tor/SFBC, 2001), First Meetings in publishers, including Simon & Schuster (Pocket Ender’s Universe (Tor Teen, 2004), GammaLAW: To Books), Berkley, Avon, Fawcett, Dell, and Ballantine.

Waters’ End (Ballantine Del Rey, 1999), Generation He and his art director at Simon & Schuster, Sol X: Genogoths (Berkley Boulevard, 2000), Gen13: Netherwar (Ace, 1999), Gods of Fire and Thunder Immerman, developed the style of illustration best (Tor, 2002), God of the Golden Fleece (Tor, 2001), associated with the Gothic novel genre, for which Hedge Knight (with Boris Vallejo: Dabel Brothers, Bennett became very well-known. His fantasy and SF

2004), A Hunger in the Soul (Tor, 1998), King’s Name covers were largely impressionistic in style. Bennett (Tor/SFBC, 2001), King’s Peace (Tor/SFBC, 2000), often used razor blades as a technique to create spe-Knight Errant (Tor, 2003), Lodestar (Tor/SFBC, cial effects in certain styles of painting, in conjunc-2000), Operation Luna (Tor, 1999), Quantum Rose tion with inks on gesso. Bennett was a facile techni-

(Tor, 2000), Radiant Seas (Tor, 1999), The Sharing cian, and used a variety of mediums over the years, Knife: 1 Beguilement; 2 Legacy; Passage (Harper-including casein, acrylic, inks, oil, egg tempera, and Collins/Eos, 2006, 2007, 2008), Sister to the Rain oil emulsion, among others. He was fascinated with (Penguin/Roc, 1998), Solar Queen (Tor, 2003, the old masters’ techniques and mediums SFBC, 2004), Spiderman: Carnage in New York Bennett produced over one hundred paintings for (Boxtree, 1996), Spider-Man: Goblin’s Revenge; Val-an award-winning translation of The Divine Comedy ley of the Lizard (Boulevard, 1996, 1998), Stainless by Dante Alighieri, published by Washington Square Steel Rat Joins the Circus (Tor/SFBC, 1999), Stainless Press, 1966. He spent well over a year focused solely Steel Trio (Tor, 2003), Steel Rose (Penguin/Roc, on the production of the monochromatic ink on 1997), Stonehenge: Where Atlantis Died (Tor, 1992), gesso interiors illustrations for the edition. With Three of Swords (SFBC, 2002), Through Wolf ’s Eyes these he used the razor blade to carve out form in a (Tor, 2001), Timecop: The Scavenger; Viper’s Spawn; reductive fashion. The originals were exhibited in Blood Ties (Ballantine Del Rey, 1998, 1999), Wolf several locations in New York City, including the Captured (Tor, 2004), Wolf ’s Head, Wolf ’s Heart New York Public Library and the Society of Illustra-

(Tor, Aug,2003), X-Men & the Avengers: Gamma tors. The project was a highlight of his career until Quest: I Lost and Found; 2 Search and Rescue; 3
that point. Bennett has won awards from the Soci-Friend or Foe? (Berkley Boulevard, 1999, 2000).

ety of Illustrators, the Art Directors Club, and Com-Misc.: Boris Vallejo & Julie Bell’s Fantasy Calen-munication Arts, among others.

dar 2001, 2002, 2003, 2004, 2005, 2006, 2007, Bennett retired from the world of commercial art, 2008 (Workman, 2000–2007), Complete Ranger’s and his last assignment was in the mid–1980s. He still Handbook: Advanced Dungeons & Dragons (TSR, paints, however and divides his time between homes Inc., 1993), Jeff Greene: Dark Nite of the Soul album in Oregon and New York. The Bennett family is an cover (Windmill Lane Studios, 2007) Heavy Metal artistic one: Bennett’s wife is a fine watercolorist,

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and of the five children four have pursued careers in shown both in group and solo exhibitions in Aus-the arts. Bennett’s daughter Deborah is a painter liv-tralia, the United Kingdom and The Netherlands, ing in Uruguay, his daughter Pam is a costume de-where he now lives.

signer and of the three sons, Harry, Jr was an actor Sources: artist profile on www.members.madasafish.com and Tom is a painter, working in New York. Bennett

[accessed April 2007]; Weinberg, 1988.

and his son Tom show their work in the same gallery Published Work
there.

BOOKS ILLUSTRATED INCLUDE: Arthur C. Clarke’s Sources: e-mail from Tom Bennett, son May 2005 and Venus Prime Volume 1: Breaking Strain (Pan, 1990), www.tombennett.com

The City, Not Long After (Pan, 1990), Chronicules Published Work

(Arrow, 1976), Cormac: The Seers (Pan, 1992), Drac-BOOKS ILLUSTRATED INCLUDE: The Best of A.E.

ula (Penguin/Puffin, 1995), Dreamside (Pan, 1991), Van Vogt (Pocket, 1976), The Best of A.E. Van Vogt The Earthsea Quartet (Puffin, 1993), A Far Sunset Vol. 1 (Sphere, 1979), Beyond Time (Pocket, 1976), (Ace, 1977), The Farthest Shore (Puffin, 1992), Food The Carefully Considered Rape of the World (Ace, of the Gods (Popular Library, 1974), Greenmantle 1965), Eye in the Sky (Ace, 1975), Floating Worlds (Pan, 1991, Tor, 1998), Herovit’s World (Arrow, 1976), (Pocket, 1977), The Game Players of Titan (Ace, Hide and Seek (Pan, 1991), The History of the World 1972), The Golden Unicorn (Ballantine, 1981), In-in 10 1/2 Chapters (Picador, 1990), Incident on Ath ferno (Pocket, 1976), The Lomokome Papers (Pocket, (DAW, 1978), The Journey of Joenes (Ace, 1979), Leap 1968), Monsters Galore (Fawcett, 1965).

For the Sun (Pan, 1978), Maelstrom (Pan, 1991), Man-root (Headline, 1994), The Medusa Encounter (Pan, MAGAZINES ILLUSTRATED INCLUDE:

1991), The Men Inside (Arrow, 1976), Men Like Gods ASF : 1967 (12)

(Sphere, 1977), Moonheart (Pan, 1990), Ocean on Top (Sphere, 1976), The Rituals of Infinity (Arrow, 1979), Bergen, David

Sea-Horse in the Sky (Ace, 1978), Sorrow’s Light (Pan, (b. 1947) British artist. Bergen was born in Lon-1993), Spirit Walk (Tor, 1992), Star-Begotten (Sphere, don, and received his education in Australia. He 1975), Star Winds (DAW, 1978), Stone That Never studied art and design at the Western Australian In-Came Down (1976), The Strange Case of Dr. Jekyll stitute of Technology (Curtin University) from and Mr. Hyde/The Suicide Club (Penguin/Puffin, 1964–1970, and graduated with an Associateship in 1997), Syzygy (Arrow, 1975), Tales of Mystery and Ter-Design, with honors in design and typography. He ror (Penguin/Puffin, 1995), Tehanu: The Last Book was senior exhibits designer at the Western Aus-of Earthsea (Puffin, 1992), The Tombs of Atuan tralian Museum, which exposed him to a range of (Puffin, 1992), The Twisted Sword (Pan, 1991), War-scientific disciplines and enabled him to participate lock: To the Magic Born (Pan, 1990), The Waterborn in several marine biology field trips. Following an (Legend, 1997), Wind’s Twelve Quarters Vol. 1 (Pan-extended leave from the position, during which ther, 1978), A Wizard of Earthsea (Puffin, 1992), Bergen traveled through Europe, the United States, Yarrow (Pan, 1992).

Mexico and Peru, he returned to England to begin MAGAZINES ILLUSTRATED INCLUDE:

his career as freelance illustrator. Bergen has pro-SFQ: 1976 (#1)

duced cover art for mysteries, romance novels and science fiction, for publishers in the U.K. as well as Bergeron, Joe

U.S., for authors such as Julian Barnes, Ursula Le (b. June 9, 1955) American artist. Joseph Arthur Guin, Bruce Chatwin, and Peter Matthiessen. His Bergeron was born in upstate New York, and grew interest in the artifacts of ancient cultures, and fa-up in the twin hamlets of Endicott and Endwell in miliarity with marine life is shown in his science the days when night skies seen from small rural fiction paintings, which often depict naturalistic el-towns were clear enough for him to teach himself ements in other-worldly environments, as in the the constellations using a cardboard star wheel, Great Pyramid in Laser Beams from the Stars and the

“watching in awe as stars he had never before identi-coral-like objects in The Deep Range and Syzyg y fied rose according to prediction.” Later, he learned (Arrow, 1975)— three of six paintings of his featured more about astronomy using various small tele-in the art anthology edited by Martyn and Roger scopes, and in high school produced planetarium Dean The Flight of Icarus (Paper Tiger, 1977).

shows during a summer job — then forced himself Bergen also illustrated a series of archaeological and to paint to create visuals for the shows. By 1976 he fossil human reconstructions for Time-Life Books, was selling paintings and drawings at science fiction as well as preparing topographic maps and title deart shows, and says the space artists Chesley Bon-signs for the award-winning wildlife documentary estell*, Ron Miller*, and Rick Sternbach* inspired company Partridge Films, and other commissions him the most when he was starting out. Bergeron in animation and film design. His work has been attended Binghamton University from 1974 to 1981,

Bergey

104
earning a BA in studio art, but is self-taught in il-Published Work
lustration techniques.

BOOKS ILLUSTRATED INCLUDE: Analog Reader’s Known as an astronomical artist, Bergeron has Choice (Dial Press, 1981), Anthonolog y (Tor, 1985), done a small number of covers for science fiction Brightness Falls from the Air (Tor, 1985), Escape Plus books and magazines, and illustrations for the Time-

(Tor, 1984), In Alien Flesh (Tor, 1986), Memory of Life book series “Voyage Through the Universe”

Whiteness (Tor, 1985), Soft and Others: 16 Stories of (1988–1990). His first commercial SF job was a cover Wonder and Dread (Tor, 1990), The Stars Like Dust for an anthology called Analog Reader’s Choice, pub-

(Doubleday/BCE, 1983), Starswarm (Baen, 1985).

lished 1981— a commission he says he received by MAGAZINES ILLUSTRATED INCLUDE:

accident, because he “happened to walk into the Art IASFM: 1987 (7)

Director’s office while he was wondering who to assign it to.” However, most of his book illustrations Bergey, Earle Kulp
were not commissioned, but rather used pre-existing (August 16, 1901–September 30, 1952) American art. Bergeron’s space art was seen on the German artist. One of the most talented and versatile of pulp magazines Terra Astra and Der Hexer in the 1980s, artists, “(A) grand draftsman with a flair for glam-and has been used in advertising, textbooks, and by our,” as Di Fate puts it in Infinite Worlds (1997), aerospace companies. In the 1980s he worked for Bergey achieved fame for his pioneering depictions planetariums: as Director for the Roberson Museum of heroines in space stories wearing a space helmet and Science Center, in Binghamton, New York and a tiny, sometimes transparent outfit with brass (1983–1984), and as artist/photographer for the breastplates, which earned him memorability as “the Morehead Planetarium in Chapel Hill, North Car-principal proponent of the brass brassiere” (p. 115).

olina (1984–1987). Among his clients are Astronomy Bergey is often cited as the inspiration for Princess Magazine, Sky and Telescope, Microsoft. World Book Leia’s slave girl costume in George Lucas’ Star Wars and Grolier’s. Tiring of having to continually and film Return of the Jedi (1983).

aggressively compete for commercial assignments in The seventh of eight children of A. Frank and Ella the SF field, with only modest success, by the late (Kulp), Bergey was born in Philadelphia, Pennsylva-1980s Bergeron had largely dropped out of commer-nia. His father was a well-known musician and concial illustration, preferring to create personal works.

ductor of the Philadelphia Municipal Band. Bergey’s Bergeron’s paintings are usually acrylics on illus-talent, though, was in art, and after graduating from tration board, but he also has worked in gouache, Northeast High School in 1919, he entered the Acad-and oils, and occasionally will paint on canvas or emy of Fine Arts in Philadelphia, where he studied canvas board. Bergeron began to make the transi-art from late 1921 until 1926, winning a European tion to digital techniques in the early 1990s, and Competition while there. After graduating, Bergey’s worked as a computer artist for Mythic Entertain-first job was in the art department of the Philadel-ment Co. from 1992–1996 rendering 3-D graphics phia Ledger newspaper. About the same time, he and animations, but it wasn’t until 1997 that he had began working in the pulp magazine field, preparing a full enough grasp of technology to start making artwork primarily for the Fiction House chain. His digital pieces intended for print and not just screen skill at drawing beautiful women earned him a niche viewing. Bergeron usually (but not always) signs his as a contributor to the so-called girly pulps where paintings with a colophon he designed many years his glamorous cover paintings appeared on such ti-ago, consisting of a stylized J and B, merged, with a tles as Pep, Gay Broadway, Snappy and Breezy. In snowflake usually in the middle (his digital pieces 1935 he married, and became a full-time freelance lack that signature). By 2007 he was producing artist. While continuing to paint for Fiction House, about 90 percent of his work digitally, as well as he also went to work for The Saturday Evening Post painting landscapes and nature art. Bergeron contin-and in the 1930s painted for a number of mainstream ues to participate in genre conventions, and has won

“slick” magazines. He moved his family to rural many awards over the years from exhibiting his Bucks County, Pennsylvania and maintained an works there; he was artist guest of honor at Balti-apartment/studio in New York City. He used many con 41 (Baltimore, MD 2007). A long time amateur of the local people for models for his cover art.

astronomist, and “notoriously single,” Bergeron cur-Bergey was noted for his pinup-style art but did rently lives near Binghamton, and travels widely. At not do science fiction art until 1939, when he began the end of 2001, Bergeron was elected a Fellow of doing the artwork for covers for the Standard mag-the International Association of Astronomical azine chain — Strange Stories, Startling Stories, Artists.

Thrilling Wonder, and Captain Future. Later Bergey Sources: e-mail from the artist July 2007 and ; Solar Voy-painted for Fantastic Story Quarterly and Planet Sto-ager interview April 223, 2003 online at http://www.solar-ries and others. Bergey was brought in with Rudolph voyager.com/jbergeton-01.asp

Belarski* to help enliven the covers of the Standard

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Berkey
publications. Until then covers had been done by Worlds: The Fantastic Visions of Science Fiction Art Howard V. Brown*. Brown did exceptional work (Wonderland Press/Penguin, 1997), Frank, Jane and with aliens and space ships, but his covers were not Howard. The Frank Collection: A Showcase of the slanted to attract the typical newsstand buyer; they World’s Finest Fantastic Art (Paper Tiger, 1999), appealed primarily to the longtime science fiction Lesser, Robert. Pulp Art (Gramercy, 1997); Mar-fan. With the increase of competition during the tignette, Charles. Et. al. The Great American Pin-early 1940s, Standard slanted its magazines to a Up (Taschen, 2002).

younger, some would say pubescent, audience.

Heroic figures and beautiful women seemed one way Published Work
to attract such a readership. Bergey’s earliest covers BOOKS ILLUSTRATED INCLUDE: Behind the Flying featured monsters much like those of Brown, but Saucers (Popular Library, 1951), The Big Eye (Popu-this quickly changed, and after a short time, the lar Library, 1950), Dragon’s Island (Popular Library, cover paintings invariably featured a beautiful 1952), Revolt of the Triffids (Popular Library, 1950), woman in some sort of terrible danger. Science Space Platform (Pocket Books, 1953).

fiction magazines received a great deal of negative MAGAZINES ILLUSTRATED INCLUDE:

publicity due, in part, to work of cover artists like ASFR: 1952 (3)

Bergey, but it sold magazines and other artists like CF : 1940 (summer, fall); 1941 (winter, spring, Allen Anderson* carried on the Bergey “brass summer); 1943 (winter, summer); 1944 (winter, brassiere” tradition well into the fifties.

spring)

In 1948 Bergey made the transition to the rapidly FSQ: 1950 (spring, summer, fall); 1951 (winter, expanding paperback book industry. He worked first spring, summer); 1952 (11); 1953 (1)

for Popular Library, which in the early 1950s was FUT: 1940 (5, 7)

owned by Standard Publications, the same company SFA: 1953 (2)

that owned Standard magazines. Again, Belarski was SpS: 1952 (12)

brought in to help with the paperback line, along SpSF : 1952 (9, 11)

with Bergey, just as he had been brought in with SS: 1940 (7, 9, 11); 1941 (1, 3); 1942 (3, 5, 7, 11); Bergey to help spice up the magazine line in 1940.

1943 (3, 6, fall); 1944 (winter, spring, summer, fall); With Bergey and Belarski creating the art, Popular 1945 (winter, spring, summer, fall); 1946 (winter, Library soon turned from its formerly tastefully 3, spring, summer, fall); 1947 (1, 5, 7, 9, 11); 1948
done, symbolic covers to those featuring scantily (1, 3, 5, 7, 9, 11); 1949 (1, 3, 7, 9, 11); 1950 (1, 3, 5, 7, clad women in perilous situations. His art graced 9, 11); 1951 (1, 3, 5, 9); 1952 (1, 2, 3, 6, 8) the covers of dozens of novels, and helped to sell StrS: 1939 (8, 10, 12); 1940 ( 2, 6, 8, 10, 12); 1941
millions of volumes.

(2)

In the early 1950s Standard, in a switch in edito-TWS: 1940 (9, 10, 11, 12); 1941 (2, 3, 4, 12); 1942
rial policy, tried to upgrade its magazines when faced (4, 6, 10); 1943 (2, 4, 6, 8, fall); 1944 (spring, sum-with the more sophisticated challenge of publica-mer); 1945 (winter, spring, summer, fall); 1946
tions such as Galaxy and The Magazine of Fantasy (winter, spring, summer, fall, 12); 1947 (2, 4, 6, 8, and SF. Among other changes it made, it dropped the 10, 12); 1948 (2, 4, 6, 8, 10, 12); 1949 (2, 4, 10); 1950
girls on the covers. However, Bergey met the chal-

(6, 8, 10, 12); 1951 (6, 8); 1952 (2, 6, 10) lenge, and his last few covers showed that he could paint other science fiction themes with the same talent.

Berkey, John Conrad

Bergey died suddenly in September 1952, while (August 13, 1932–April 29, 2008) American artist.

visiting a doctor’s office. While he is primarily re-A well-known illustrator, perhaps best known for his membered for his damsels in distress, he helped impressionistic depictions of space ships and popu-move the genre toward a greater focus on people lar science fictional themes, Berkey was born in Ed-than gadgets, and was starting to break away from his gley, North Dakota, then lived in Aberdeen, South more sensational pulp image when he died.

Dakota, before moving to St. Joseph’s, Missouri, Sources: Clute, John and Nicholls, Peter, Eds. The Ency-when he was six. He later moved to Minnesota, and clopedia of Science Fiction. (St. Martin’s Press, 1993); Page, after graduating from the Minneapolis School of Art Gerald W. and Burge, Jerry. “Great Unsung Heroes of the Space Age: Earle K. Bergey and the Development of the Lady (although he considers himself self-taught) and tak-Space Captain’s Uniform” in Planetary Stories: The Return of ing various studio jobs, he became a staff artist at the the Space Opera Vol. 1 #3, 2006 e-zine at www.planetarysto-Brown & Bigelow advertising firm for eight years.

ries.com/bergey.htm; Weinberg, 1988

During those years Berkey produced more than 500

Collections and Anthologies
calendar images, featuring everything from pastoral Aldiss, Brian. Science Fiction Art: The Fantasies of scenes to historic sites and scenes from American his-SF. (Bounty Books, 1975), Di Fate, Vincent. Infinite tory to farm equipment, and in the process honed

Berkey

106
his drawing skills and unique realistic style before ferred to work with familiar tools and mediums, turning to free-lance illustration in 1963. Berkey’s using systems and processes he’d developed over a straightforward American brand of impressionism lifetime of painting. He spent hours mixing his own was ideally suited to depicting whatever calendar se-pigments from scratch, invented the use of acrylic ries he or Brown & Bigelow might conjure up, and pigment mixed with extremely durable casein, and those years may be remembered as the last period kept his paints in a vacuum box, which prevented his during which such companies could truly depend on palette from drying out overnight. He worked on talents such as Berkey’s for their success.

illustration board at a drafting table in a studio As a free-lance artist, Berkey’s career was a long outfitted with reduction mirrors, which enabled him and impressive one, spanning a range of subject mat-to view his work in progress in reverse and also at a ter and several arenas. He was extremely prolific, distance of several feet, as they would appear when with over 3000 commissioned paintings; his bibli-reproduced. This allowed him to quickly detect flaws ography, even for science fiction works, cannot be in his compositions.

exhaustive, for that reason. His robust, impression-Always a fan of sophisticated sound systems and istic but realist style quickly brought him clients recording equipment, in the early 1990s, Berkey across a range of publications: book covers, movie started producing dynamic video wall art and ex-posters, advertisements and publications such as Na-panded more strongly into vivid, emotionally tional Geographic, Life, Time, Road and Track, Sports charged abstract expressive figurative and landscape Afield, the Eddie Bauer catalog and TV Guide. Dur-paintings. This innovative and experimental side of ing the 1970s he was commissioned to produce movie Berkey, which had roots in abstract personal works poster work for Universal, Twentieth Century Fox, beginning in the 1980s, was not as familiar to his Lucasfilm and Paramount. He produced publicity fans as his illustration works, but both have been posters and advertising for The Neptune Factor (1973), seen in museum shows and galleries. Berkey won Towering Inferno (1974), King Kong (1976), Orca many awards, including the Grand Master award (1976), S tar Trek (1979), and Airport (1979), among from Spectrum and Expose 5 (2007). He received others. Among those attracted to his science-fiction awards from the Society of Illustrators of New York illustrations was the young George Lucas, who com-and of Los Angeles and the Art Directors Club of missioned him to work on the pre-production de-New York and of Philadelphia. In 2004 Berkey was signs for Star Wars (20th Century Fox, 1977). Dur-inducted into the Society of Illustrators Hall of Fame ing this fertile period, Berkey also created advertising (NY). He was nominated by the Association of Sci-art for major U.S. companies: Gulf Oil, General Mo-ence Fiction and Fantasy Artists for the Chesley tors, Sperry, Honeywell, Lockheed, IBM, to name Award for Artistic Achievement and twice nomi-only a few. He did recruiting posters for the U.S.

nated for a Hugo for Best Professional Artist, in 1996

Army and U.S. Navy. His client list well into the and 1997, and has been a guest of honor at a num-1980s read like a who’s who of U.S. business, and his ber of science fiction conventions. A series of severe literary publishing list was even longer, with over health setbacks in the 1990s and the loss of his twenty major publishing houses employing his talent.

daughter slowed his commercial output but did not His images appeared on sixteen U.S. postage stamps diminish his interest in painting. After retirement and he was the illustrator of the “elder Elvis” in the from commercial work, Berkey remained active in Elvis Presley stamp competition of the early 1990s.

creating art well past the millennium mark. He was Berkey’s strongly individualistic and confident a long-time resident of Excellior, Minnesota, and style makes his paintings instantly identifiable as on March 22, 2007, the city honored him with John

“Berkey” paintings, regardless of the subject matter.

Berkey Day. Berkey was survived by his wife of His style of expression was perfectly suited to nearly 52 years, Demaris (Demi), their sons Brian, strange, futuristic, and “space opera” story lines and Kevin and John, and seven grandchildren. His appealed to fans because his representational and daughter, Sharon, died in 1997.

more painterly technique was easygoing while offer-Sources: correspondence from the artist May 16, 2006; ing a wholly original take on the subject matter.

Haldeman, Joe. “Architect of Space” gallery feature, Science Fiction Age, April 1994; Kirby, Sam, “The Imagery of John Many of his published book covers from the very Berkey,” The American Artist, December 1985; “Light Voy-late 1960s and early 1970s relied heavily on figure ager: Paintings by John Berkey,” Omni magazine feature, 1982; work and made full use of his skill, well-honed be-

“John Berkey’s art inspired the Death Star in ‘Star Wars,’” Ben fore he became an independent free-lance illustrator, Cohen, Star Tribune obituary May 5, 2008.

in depicting a variety of culturally familiar images.

Collections and Anthologies

Later, in the 1980s and into the 1990s, Berkey ex-

(various contributing artists)

celled in depicting majestic space ships moving Di Fate, Vincent. Infinite Worlds: The Fantastic through the vastness of space or in the throes of Visions of Science Fiction Art (Wonderland Press/Pen-deadly battles. An old-fashioned painter, Berkey pre-guin, 1997), Frank, Jane. The Art of John Berkey

107

Berry

(Paper Tiger, 2003), Frank, Jane and Howard. The Last Sunrise (Berkley, 1984), Left Hand of the Electron Frank Collection: A Showcase of the World’s Finest (Dell, 1974), Lucky Starr and the Moons of Jupiter; Fantastic Art (Paper Tiger, 1999), Frank, Jane and Lucky Starr and the Oceans of Venus; Lucky Starr and Howard. Great Fantasy Art Themes From the Frank the Pirates of the Asteroids; Lucky Starr and the Rings Collection (Paper Tiger, 2003), John Berkey: Painted of Saturn (Fawcett, 1978), Madwand 1, Madwand 2

Space (Friedlander Publishing, 1991), The New Vi-

(Nelson Doubleday/Ace, 1981), Magic May Return sions: A Collection of Modern Science Fiction Art (Ace, 1981), A Maze of Stars (Ballantine, 1990, Ran-

(Doubleday & Co, 1982), Reed, Walt. The Illustra-dom House, 1992), The Mercenaries (Warner, 1991), tor in America 1860–2000 (Society of Illustrators, Miracle of Rare Design (Tor, 1994), Mind Changer 2001).

(Tor, 1999), Mindwarpers (Lancer, 1972), Muddle Earth (Ballantine, 1993), Nightrider (Berkley, 1981), BOOKS ILLUSTRATED INCLUDE: 20–20 Vision (Bal-Night We Buried Road Dog (DreamHaven, 1998), lantine, 1980), And Not Make Dreams Your Master People Maker (A is for Anything) (Fawcett, 1972), (Fawcett, 1981), Ariel: The Book of Fantasy, Vol. 4

Prometheus Crisis (Doubleday, 1975), The Rift (Durwood, 1978), Armada (Popular Library, 1980), (HarperPrism, 1999), Norstrilia (NESFA, 1994), Ascent of Wonder: The Evolution of Hard SF (Orbit, Outpassage (Pageant, 1988), Passage at Arms (Popu-1994), Best of Frederik Pohl (Nelson Doubleday, lar Library, 1985), Pick up (Harper Collins, 1992), A 1975), Best of Omni Science Fiction, # 4 (Omni, Plague of Pythons (Ballantine, 1973), Planets of Space 1982), Birth of Fire (Pocket, 1978), Black Hole (Bal-

(Ballantine, 1993), Redline the Stars (Tor, 1993), Ren-lantine, 1979), Blizzard (Dell, 1979), Bright Islands dezvous (Ace, 1988), Run to the Stars (Berkley/Ace, in a Dark Sea (Del Rey, 1993), Brighton Rock (Play-1986), Saved (Bantam/SFBC, 1980), Secret of the boy Press, 1980), Bronwyn’s Bane (Bantam, 1983), Sunless World (Dell, 1969), Shattered Sphere (Double-Cannon’s Orb (Del Rey, 1994), Catastrophy (Fawcett, day, 1986), Shattered Stars (Bantam, 1983), The Siege 1981), Caves of Steel (Fawcett, 1971), Challenges (Tor,

#6 in series (Warner, 1994), Space Mail (Fawcett, 1993), Childhood’s End (Del Rey, 1995), Chronicles of 1980), Space Merchants (Ballantine, 1969), Space Trek: the Lensman Vol. 1, 2 (SFBC, 1997, 1998), Cloud The Endless Migration (Warner, 1980), Spartan Walker (Ballantine, 1973), Code of the Lifemaker Planet (Dell, 1969), Star Fire (Dell, 1969), Starfishers: (Ballantine, 1983), Colonies in Space (Warner, 1977),

#1 Shadowline; #2 Starfishers; #3 Star’s End (Warner, Control Tower (Fawcett, 1981), Counterparts (Dial, 1982), Starman Jones (Dell, 1969), Starrigger: #2 Red 1970), Cross the Stars (Baen, 1999), Day Before For-Limit Freeway (Ace, 1984), Star SF 1, 2, 3, 4, 5, 6
ever and Thunderhead (Dell, 1969), Deathworld 3

(Ballantine, 1972), Star Wars (Random House, 1979), (Dell/Canada, 1968), The Defenders #5 in series Star Wars From the Adventures of Luke Skywalker (Warner, 1992), Demon Four (Berkley, 1986), Derelict (Ballantine, 1976), Tiltangle (Ballantine, 1970), To (Ace, 1988), Dinner at Deviants Palace (Berkley/Ace, Fear the Light (Tor, 1994), To Save the Sun (Tor, 1985), Double Contact (Tor, 1999), Dream Millen-1992), Tornado (Berkley/Franklin Watts, 1983), Total nium (Ballantine, 1974), Drunkards Walk (Ballan-Recall (Morrow/Avon, 1989), Trophy (Popular Li-tine, 1973), Ecowar (Harper Collins, 1993), Elluvon brary, 1990), Tsumami (Bantam, 1983), Under Pres-Gift (Avon, 1975), Elvissey (Tor, 1993), Empire Nov-sure (Ballantine, 1973), Valis (Bantam, 1981), Vam-els (SFBC, 2002), Endless Frontier (Ace, 1981), Final pire Junction (Berkley, 1985), Vengeance is Mine (Dell, Diagnosis (Tor, 1997), Foundations Edge (Doubleday 1986), Void Captain’s Tale (Tor, 2001), Way Back SFBC, 1982), Fourth Omni Book of Science Fiction (DAW, 1978), Way of the Pilgrim (Ace, 1987), We All (Zebra, 1985), Free Space (Tor, 1997), Future of the Died at Breakaway Station (Ballantine, 1969), White Future (Ballantine, 1971), Galactic Convoy (Warner, Plague (Berkley, 1982), World’s Best SF Stories #1

1987), Galactic Gourmet (Tor, 1996), Ganymede Club (DAW, 1972).

(Tor, 1995), Garbage Chronicles (Berkley, 1985), Gen-MAGAZINES ILLUSTRATED INCLUDE:

esis Rock (Popular Library, 1980), Ghost Boat (Dell, ASF : 1995 (9); 1997 (5); 1998 (1)

1975), Gladiator at Law (Ballantine, 1969), Gold at Omni: 1995 (10/11)

the Starbows End (Ballantine, 1972), Green Gauntlet ROF : 1996 (4); 1998 (6); 2001 (6, 12); 2003 (2) (Ballantine, 1973), Groupmind (Berkley, 1984), Hells SFAge: 1993 (9); 1994 (3, 11); 1995 (11); 1996 (7); Pavement (Fawcett, 1971), Helmsmen #1 in series 1997 (3, 5, 9); 1998 (1, 5, 7, 9); 1999 (1, 3, 8, 11) (Warner, 1984), High Voltage (Berkley/Jove, 1981), Misc.: Art of John Berkey 1, 2, collector trading Homecoming (Ace, 1990), House of Lions (Bantam, card sets (FPG., 1994, 1996).

1983), Humanoid Touch (Bantam, 1980), Hunter of Worlds (DAW, 1977), Immortality Option (Del Rey, 1994), If the Stars Are Gods(Ace, 1981), Inferno (Tor, Berry, D. Bruce

1993), Interstellar Travel: Past, Present and Future (b. January 24, 1924) American artist. Born in (Avon, 1978), I, Robot (Fawcett, 1970), Jerusalem Di-Oakland, California, Berry is a self-taught artist who amond (Fawcett, 1981), Jupiter (Ballantine, 1973), acquired skills through practice. At seventeen he

Berry

108
worked as a draftsman for the U. S. Engineering De-digital cover illustration for a work of fiction, for partment, and at eighteen he worked as an editorial William Gibson’s Neuromancer, 1984.

cartoonist for a California paper. He was a sign Without formal training in art, Berry left school painter for the Air Force during the Second World at the age of seventeen to begin a career in under-War, stationed in England. After the war he took ground comics. He learned art through museum vis-

“the only type of art job that was available” to him, its, collaboration with peers and extensive, contin-and entered the advertising business working for an uous study. Berry lived for a while in Colorado, and agency as a merchandise “hard lines artist,” draw-then in 1977 moved east to Boston, Massachusetts, ing anything made of metal: jewelry, machinery, and shifted his interest to creating illustrations for pots and pans, etc. A science fiction fan most of his books, magazines, games and CDs. Breaking with es-life, he also got involved in fandom after meeting tablished styles in illustration for his oil paintings writer Richard Kyle, then working in a bookstore in on canvas, and later using innovative digital tech-Oakland. In the 1950s he moved to Chicago where niques, Berry gained a long list of awards and pub-he teamed up with a freelance art director doing lishing credits. He was one of the first artists in the photo-retouching, paste-ups and finished layouts, SF genre to experiment with new digital technolo-and also continued his “somewhat erratic” connec-gies, manipulating works that had been scanned into tion with fandom. By the late 1950s, through those the computer to create original images that were a connections, he began illustrating for William Ham-mixture of both electronically generated and hand ling’s Greenleaf magazines, Imagination, Imagina-generated images. His ground-breaking digitally tive Tales, and Space Travel. Unfortunately, the painted cover for Neuromancer was created using magazines were already on their way out (Berry il-new, powerful computers at MIT Architectural Ma-lustrated Imagination in its last year of existence).

chine Group & MassArt. Berry’s style is fluidly figu-He continued with advertising work and contributed rative, often showing the human figure in motion.

to fanzines, until the art director moved to a differ-His portraits and figure studies are often compared ent city in the late 1960s and Berry returned to Cal-to those of the artist Francis Bacon in terms of their ifornia. He got involved in comics fandom, again visual intensity, dark mood and distortion of human with the help of Richard Kyle, and went on to be a character and shape. In 1991, Communication Arts letterer and inker for much of Jack Kirby’s 1970s showcased several of Berry’s oil paintings from Peter work for DC. When Kirby went to work for Mar-Straub’s Mrs. God (1990).

vel, the company decided to have the inking done in Berry works also under a pseudonym, “Sam New York, and Berry’s job ended. He worked for an Rakeland.” which he invented in the late 1980s in educational publisher and later returned to work on order to pursue other efforts outside the genre. Using a reprint of Kirby’s New Gods Finale in the 1980s.

this “fantasy brand,” as Berry calls it, he has pro-Berry was also an occasional writer of horror fiction, duced several book covers for Tor Books, and num-using the pseudonyms Jeff Douglas and Morgan ber of artworks for the game industry.

Drake. Examples of his published work include Berry believes strongly in working collaboratively, Sacrifice (Leisure, 1990) and Genetic Time Bomb and with artist Darrell Anderson founded Braid written with Andrew Offutt (Warner, 1975). Mar-Media Arts in the 1980s. Phil Hale* also joined the ried, with a daughter, Berry retired in 1997.

studio, and together the three exhibited their work Sources: “D. Bruce Berry Speaks” interview with D. Bruce in a show “Synergy” at the University of Maine, Berry, conducted by John Morrow, August 1997, In: The Col-1987. In 1993 Berry and Phil Hale* collaborated on lected Jack Kirby Collector. TwoMorrows Publishing, 2006, p.

106–107; Weinberg, 1988.

the art book Double Memory, published by Donald M. Grant. Berry has worked closely with that spe-Published Work
cialty publisher, and produced thirty mixed media IMG: 1958 (4, 6, 8, 10)

paintings for Stephen King collector edition novels, IMGT: 1958 (1, 5)

2002–2004. Recently, Berry and Anderson formed OW: 1951 (10)

Braid Art Labs, for the purpose of creating digital SpTr: 1958 (7, 9, 11)

art, designs and applications for commercial applications. Berry worked with William Gibson in 1995

Berry, Rick
under the auspices of Braid Media Arts (Berry, Dar-

(b. June 2, 1953) American artist. Born Richard rel Anderson, and Gene Bodio) to design and exe-Riley in San Bernadino, California, Berry is an ac-cute the CGI cyberspace climax of TriStar/Colum-complished oil painter and draftsman, and a pio-bia’s Productions’ film, Johnny Mnemonic. Berry now neer in new media, who entered the field just at the produces few fully hand-painted illustrations; al-point where his talent would be the perfect comple-most all his output now is mixed/photographic or ment to a new sub-genre of literature, called “cy-digital media, with some images produced as origi-berpunk.” He is credited for creating the world’s first nal multiple prints, embellished with handwork. He

109

Berry
shows his fine art work in galleries in the U.S. and 1989), How Like a God (Tor, 1997), The Machiavelli internationally, and has exhibited his illustrative Interface (Ace, 2003), Matadora (Ace, 2002), Moon work widely. Berry teaches Digital Art: A Collabo-Dogs (NESFA Press, 2000), Mrs. God (Donald M.

rative Approach at Tufts University, and conducts Grant, 1990), Mythos: The Final Tour: #1 Shut lectures and workshops at colleges and corporations Heaven (w/ David Seeley); #2 Uncut (DC Comics nationally on the nature of creativity. For Tufts Uni-Vertigo, 1996, 1997), Narrow Houses (Warner As-versity Institute for Global Leadership he painted a pect, 1994), Neuromancer (Ace/BCE, 1984), Queen series of works for several annual international sym-of the Amazons (Tor, 2004), Ports of Call (Under-posia. Among his awards are: Best Book Cover, 9th wood, 1998), “Repent, Harlequin!’‘ Said The Tick-Annual Publish Design Contest; work selected for tockman (Underwood, 1997), Sailing to Utopia the Society of Illustrators Traveling Exhibition: The (White Wolf, 1997), Scenting Hallowed Blood Illustration: Past, Present and Future; featured in (Meisha Merlin, 1999), The Shades of Time and Computer Art and Design Annual from Print; and Memory (Tor, 2004), Shadows of Dreams, Poetry of Gold Medal Winner in the 1997 Spectrum Art An-Robert E. Howard (Donald M. Grant, 1989), Stalk-nual. He exhibited work at the Delaware Museum of ing Tender Prey (Meisha Merlin, 1998), Star Wars: Art, 1990 “The Art of Fantasy and Science Fiction,”

Hero’s Trial; Jedi Eclipse (Del Rey/Ballantine, 2000), The Museum of American Illustration, NY—“Spec-Stealing Sacred Fire (Meisha Merlin, 2001), Still Dead trum” 2005; “Illustrators” shows at the Society of (Mark V. Ziesing, 1992), The Talisman & Black Illustrators, 1987, 1991, 1993, 2003.

House (Donald M. Grant, 2003), The Thorn Boy (Ei-Sources: e-mail from the artist October 2007; artist dolon, 1999), The Wraiths of Will and Pleasure (Tor, website www.rickberrystudio.com; www.braid.com; Rick 2003).

Berry Bio at www.artic.com/cm/art/artists/braid/braidrrbio.

htm.

BOOKS ILLUSTRATED AS BY SAM RAKELAND: Death Hunt on a Dying Planet (Signet, 1988), Echoes of Collections and Anthologies

Valor II, III (Tor, 1991), The Enchantments of Flesh (various contributing artists)

and Spirit (Tor, 1990), Five Hundred Years After (Tor, Berry, Rick and Hale, Phil. Double Memory 1994), The Fulfillments of Fate and Desire (Tor, 1991), (Donald M. Grant, 1992); DiFate, Vincent. Infinite Svaha (Tor. 1994), The Gypsy (Tor, 1993), Ill Met in Worlds: The Fantastic Visions of Science fiction Art Lankhmar (Tor Double, 1990), Life on the Border (The Wonderland Press/Penguin, 1997); Frank, Jane (Tor, 1991), The Phoenix Guards (Tor, 1992), The and Howard. Great Fantasy Art Themes From the Tainted Sword (TSR, Inc., 1993), Wraiththu Frank Collection (Paper Tiger, 2003), Grant, John (Tor/Orb, 1993).

and Humphrey, Elizabeth with Scoville, Pamela.

The Chesley Awards: A Retrospective (AAPL, 2003), MAGAZINES ILLUSTRATED INCLUDE:

Jude, Dick. Fantasy Art Masters (Watson-Guptil, AMZ: 1992 (11)

1999).

WT: 1999 (fall)

SFAge: 2000 (5)

Published Work

BOOKS ILLUSTRATED INCLUDE: The Arbitrary Placement of Walls (DreamHaven, 1997), At the City Role-Playing Game Art Includes

Limits of Fate (Edgewood Press, 1996), Black Bouse (*denotes as by Sam Rakeland)

(Donald M. Grant, 2002), Bloom (Del Rey/Ballan-

*AD&D: Complete Book of Humanoids (TSR, tine, 1998), The Blue Helix (Donald M. Grant, Inc., 1995), *D&D: Assault on Raven’s Ruin mod-1999), Burning Chrome (Ace, 1987), Burying the ule; The Fall of Magic novel (TSR, Inc., 1992, 1993), Shadow (Meisha Merlin, 2002), The Carpet Makers Earthdawn (FASA, 1993), Earthdawn: Gamemaster’s (Tor, 2005), City Come A-Walkin’ (Eyeball Books, Compendium; Player’s Compendium (RedBrick Ltd., 1996), The Coming of the Quantum Cats (Bantam, 2005), Everway (Wizards of the Coast, 1995), 1986), The Crow: A Murder of Crows (SFBC, 1998),

*Gamma World: Overlord of Bonparr (TSR, Inc., The Crow: Shattered Lives and Broken Dreams (Don-1993), High Tech & Low Life: The Art of Shadowrun ald M. Grant, 1998), Count Zero (Ace, 1987), Dae-

(FASA, 1997), *Planescape: Fires of Dis; Plane-mons, Inc. (SFBC, 1998), Darker Than You Think walker’s Handbook; Well of Worlds (TSR, Inc., 1994, (SFBC, 1999), Death: The Time of Your Life (DC

1995, 1996), Planescape Eternal Boundary (TSR, Comics/Vertigo, 1997), Dirty Work (Mark V. Ziesing, Inc., 1994), *Ravenloft: The Awakening Game mod-1993), Embraces: Dark Erotica (Venus or Vixen Press, ule(TSR, Inc, 1994), Shadowrun: Bug City; Eye Wit-2000), Exploded Heart (Eyeball Books, 1996), The ness; Lonestar; Shadowfiles; Tir Na Nog (FASA, 1993, Furies (Tor, 1994), The Extremes (Warner Aspect, 1994), Shadowrun: Character Dossier (Fantasy Pro-2000), Ghosts of Blood and Innocence (Tor 1990), ductions, 2003), Trinity: Luna Rising (White Wolf, Going Home Again (Eidolon, 1997), Halo (Marvel 1998).

Comics, 1999), Hong on the Range (Walker & Co, Misc. : Dark Age: Feudal Lords card art (FPG,

Binder

110

1996); Heresy: Kingdom Come card art (Last Unicorn Comic Art. Vol. 4, 1946 and online at www.bailsprojects.com; Games, 1995).

Hogan’s Alley the online magazine of the cartoon arts accessed 6/7/05 from HA3: Volume 1, Number 3.interview with C.C.

Beck at www.cagle.com/hogan/interviews/beck/home.asp; Binder, Jack (John) R.

Schelly, Bill. Preface to: Words of Wonder, The Life and Times (August 11, 1902–March 6, 1986) American artist.

of Otto Binder. Hamster Press, 2003 online at www.billschelly The elder brother of Earl and Otto Binder (who col-

.com/pages/binderintro.html; The Man Behind Torchy: Bill Ward online at http://womenofward.net/bio.htm; Weinberg, laborated on science fiction stories as Eando Binder), 1988.

Jack Binder was born in Austria-Hungary but immigrated to the United States when he was eight years Collections and Anthologies
old. He attended the Art Institute of Chicago, earn-

(various contributing artists)

ing a bachelor’s degree, and later studied with J.

Aldiss, Brian. Science Fiction Art: The Fantasies of Allen St. John* and at the Art Students League in SF (Bounty Books, 1975),

New York. He later did art research at the Field Mu-Published Work
seum in Chicago, although he lived for the major-ASF : 1936 (12); 1937 (4, 6, 11, 12); 1938 (1, 2, 3, ity of his pro-fessional life in New York. Married, 5, 6, 8, 10, 11, 12); 1939 (1, 2, 3, 4); 1941 (2, 4) with at least three children (accounts vary), Binder ASH: 1940 (2)

worked at a number of odd jobs, including lumber-CF : 1940 (summer)

jack, miner, blacksmith, boxer and wrestler, before DYN: 1939 (2, 4)

settling down as an illustrator. He was an “all-FUT: 1939 (11)

around” artist, working as an interior artist for SFQ: 1940 (summer)

Thrilling Wonder Stories and Startling Stories in the SS: 1939 (1, 3, 5, 7, 9, 11); 1940 (1, 3, 5, 7, 9, 11) late 1930s while also working for the Harry Chesler StrS: 1939 (6)

Studio as art director in the comic field, which he TWS: 1937 (1, 6, 8, 10, 12); 1938 (2, 4, 6, 8, 10, joined in 1937.

12); 1939 (2, 4, 6, 8, 10, 12); 1940 (1, 2, 3, 4, 5, 6, 7, In 1940 Binder left Chesler and formed his own 8, 9); 1941 (2)

comic shop, ultimately producing thousands of pages of art for all the major comic books, in what some artists later would liken to a factory atmos-Binkley, Ric
phere. At first, Binder worked out of his apartment (?) American artist. According to Weinberg in the Bronx, along with an assistant, Pete Riss, using (1988), Binkley began his career in the fantasy field the pen name “Pete Neberd” for work they did to-when he found that no regular publisher would look gether. When the workload increased, Binder hired at his portfolio because he had nothing published.

artist Bill Ward as a layout artist and moved his Stu-His earliest work appeared on jackets done for Fan-dio to a barn in Englewood, New Jersey. At times, tasy Press. He later moved to New York City, where Binder had up to forty men working for him, many he prepared a number of paintings for Gnome Press of them recent graduates of Pratt Institute, who were and Avalon Books. Among the best known of these delighted to have employment. His shop produced are Binkley’s dust jacket art and interiors for the four comic material for companies like Fawcett, Pines, Edward E “Doc” Smith Lensman novels he did for Street and Smith, New Friday, and Marvel. Binder Fantasy Press 1950–1953: Galactic Patrol, Gray Lens-had a special relationship with Fawcett thanks to his man, Second-Stage Lensmen and Children of the Lens.

brother Otto, who was not only a prolific science All four books in the basic series had previously been fiction writer but also Fawcett’s foremost writer, and serialized in the SF pulp, during the period 1937 to wrote the Captain Marvel line of comic books for 1948, and the general consensus is that Binkley’s de-them from 1941 to 1953. The shop shut down in signs were strongly influenced by the artists who il-1943 when most of the staff was drafted into World lustrated the stories originally, in particular Charles War II, although Binder remained. He continued to Schneeman* and Hubert Rogers*. The Lensman produce work for such titles as Mary Marvel, work-books were reissued with the original Binkley cov-ing for the studio of C.C. Beck, who produced Capers by Old Earth Books, 1998. Like several other tain Marvel, until Fawcett discontinued all its comics artists from this time period who worked almost ex-in 1953. He stopped working for Beck in 1946, and clusively for specialty publishers, and spent only a in 1953 retired completely from the comic book in-limited number of years in the field, little to noth-dustry. Binder returned to the commercial art field ing is known about Binkley apart from his published and started a studio to produce commercial outdoor credits. Queried via correspondence in 2005, Mar-sculptures. He died in Chestertown, New York, pretin Greenberg, founder of Gnome Press, could not ceded by both brothers, Earl Andrew Binder (1904–
recall ever meeting Binkley, and Weinberg reports 1965) and Otto Binder (1911–1974).

only that “(A)ccording to Fantasy Press founder Sources: Bails, Jerry and Ware, Hames. Who’s Who in Lloyd Eshbach, Binkley died young.”

111

Birmingham

Sources: Weinberg, 1988; correspondence with Martin career in the SF field due to that effort. Top-name Greenberg, 2005; www.chronology.org/noframes/lens/
artists including Ed Emshwiller* and Alex Schomburg* shared the art assignments with newcomers, in-Published Work
cluding Birmingham, Vernon Kramer*, and George BOOK ILLUSTRATIONS INCLUDE: Aliens from Space Schelling*.

(Avalon, 1958), Assignment in Eternity (Signet, 1953), During this time, writing and cover paintings Ballroom of the Skies (Fawcett, 1952), Black Star Passes often overlapped. Many cover paintings were done (Fantasy Press, 1953), Blue Barbarians (Avalon, to illustrate specific stories. In those instances, Birm-1958), Children of the Lens (Gnome Press, 1954, Old ingham would do preliminary sketches the size of Earth, 1998), Conquest of Earth (Avalon, 1957), Edge the actual cover, detailed in full color. The final of Time (Avalon, 1958), Fire in the Heavens (Avalon, painting would then be worked in tempera on illus-1958), Flight into Yesterday (Bourregy & Curl, 1953), tration board about twice the size of the printed Foundation (Gnome Press, 1951), Future Tense cover. However, in many cases, artists were told to (Greenberg, 1952), Galactic Patrol (Fantasy Press, do a painting, and then authors were asked to cre-1950, Old Earth, 1998), Gray Lensman (Fantasy ate a story based on the painting. Birmingham’s first Press, 1951), Heads of Cerberus (Polaris Press, 1952), cover, “The Hatchery of Dreams,” ( Fantastic, issue Hidden World (Avalon, 1957), Iceworld (Gnome for November 1961), was a concept painting done Press, 1953), Immortality Delivered (Avalon, 1958), by the artist for which Fritz Leiber wrote a story.

Invisible Barriers (Avalon, 1958), Islands of Space When a story was to be based on a painting, a pho-

(Fantasy Press, 1957), Languages of Pao (Avalon, tostat was sent to the author as soon as the painting 1958), Lost Continents (Gnome Press, 1954), Mixed was completed. Birmingham took three to five days Men (Gnome Press, 1952), Mutant (Gnome Press, 1953), Northwest of Earth (Gnome Press, 1954), Out on a painting. Editorial freedom allowed him to vary of This World (Avalon, 1958), Robot and the Man style and technique. The cover for “It’s Magic, You (Gnome Press, 1953), Robots Have No Tails (Gnome Dope” ( Amazing Stories, August 1962) was done en-Press, 1952), Second Stage Lensman (Fantasy Press, tirely in pen and ink, with a transparent color over-1953, Old Earth, 1998), Seeds of Life (Fantasy Press, lay.

1951), Sentinels from Space (Bourregy & Curl, 1953), In 1965 Ziff-Davis sold its SF magazines to Sol Shambleau (Gnome Press, 1953), Solomon’s Stone Cohen. The new publisher was interested in only (Thomas Bouregy & Co., 1957), Space Egg (Avalon, reprint art for his covers. By that time, Birmingham 1958), Space Lawyer (Gnome Press, 1953), Starhaven had already created what was to be the long-run-

(Avalon, 1958), Starmen (Gnome Press, 1952), Tower ning daily comic strip “The Handy Family” (1960–
of Zanid (Avalon, 1958), Troubled Star (Avalon, 1976) and had published a book based on the strip, 1957), Twice in Time (Avalon, 1957), Tyrant of Time Do it yourself with the Handy family— Do-it-yourself (Fantasy Press, 1955), Wasp (Thomas Bouregy & ideas in comic strip form (Fleet, 1960). With the Co., 1957).

success of the strip and the increase in assignments in scientific illustration, Birmingham left the science Birmingham, Lloyd P.

fiction field. He produced another strip “Helen (b. August 23, 1924) American artist. Birming-Homemaker” (1969–1973) and continued in illustra-ham was trained in painting and illustration at the tion as a freelancer, taking on assignments ranging Parsons School of Design, 1946–1947, and the from encyclopedias and science oriented magazines School of Art Studies in New York. After service in to children’s books and “how-to” non-fiction titles.

the Army during World War II, 1943–1946, he be-As a hobby, Birmingham paints subjects connected came a freelance illustrator specializing in aerospace with the sea and oceanography. He designed a sheet-and industrial artwork. A client recommended that let, issued by Palau (Oceania) “World of Sea and he try Flying Magazine, a Ziff-Davis magazine, for Reef ” in 1986, to commemorate “Ameripex ’86,” the assignments. The editor there explained that Flying International Stamp Exhibition, in Chicago, IL
did not use illustrations but referred him to Amaz-Birmingham also was one of twelve painters whose ing magazine, which was looking for new artists.

color works were included in The Secret Oceans The Ziff-Davis publishing chain was trying to im-

(Bantam, 1994), about undersea explorers who dis-prove its science fiction magazines Amazing and Fan-cover a dolphin-like species. His works are held in tastic in order to make them competitive with best-the U.S. Air Force Art Collection, and have been selling SF publications. To that end, in October 1960
shown by the American Artists Professional League, the two magazines were completely reworked and the Society of Illustrators (NY) and the Westport the editor Cele Goldsmith brought in many authors Artists Group, Westport Connecticut. Birmingham’s who had never before written for the magazines and studio and home is in Putnam Valley, NY.

changed the entire art focus. Birmingham became Sources: U.S. Air Force Collection online biography at one of several artists who had a short but productive www.afapo.hq.af.mil; River Wind Studios www.artworkorig-

Blaine

112
inals.com; http://lambiek.net/artists/b/birmingham_lloyd.

side. Another Portfolio of 50 drawings Colours (Blue htm; http://pop-arts.com; Weinberg, 1988.

Faun, 1929) and an art folio, Nova Venus, limited to Published Work

300 hundred copies, was published by Jake Brussel B
in 1938. His artworks were often theatrically bizarre, OOKS ILLUSTRATED INCLUDE: Envoy to the Dog Star (Ace, 1967)

variously described as “sensuous, sadistic, bawdy.”

A typical theme would be cloven-hooved women MAGAZINES ILLUSTRATED INCLUDE:

with sinuous tails in dominating situations. When il-AMZ: 1961 (12); 1962 (3, 4, 7, 8, 9, 10, 12); 1963
lustrated books virtually disappeared during the De-

(1, 3, 8, 9, 10)

pression, Blaine fell on hard times and he made a ASF : 1962 (1, 2, 4)

living producing drawings for the erotic book trade, FTC: 1961 (11, 12); 1962 (1, 3, 9, 11, 12); 1963 (2); and doing private commissions for patrons, among 1964 (12)

them the professional magician Joseph Dunninger.

Blaine created all the interior illustrations and color Blaine, Mahlon Carradin
cover for Dunninger’s Magic Tricks (1951), and Gerry ( June 16, 1894–January 1969) American artist.

de la Ree’s The Art of the Fantastic reproduces two Born Mayborn C. Blain in Albany, Oregon, the son Blaine pieces inscribed to Dunninger.

of a men’s clothing salesman, Wilson Blain and his At some point during the 1940s he is supposed wife, Carrie, Blaine was an elusive figure for most to have moved to Arizona where he worked as of his life. He frequently invented details about his art editor of the state-supported magazine, Arizona life when providing biographical information, and Highways. At other times, he was reputedly living blurbs on books illustrated by Blaine often gave in “hidden lofts” above bookstores in New York conflicting information on his birthplace, educa-City, and depending on friends for food and cloth-tion, and age. For example, the monograph by his ing. What can be confirmed is that Blaine was liv-longtime friend, Gershon Legman, The Art of Mah-ing in New York, late in life, when he produced illon Blaine (Peregrine, 1982), states incorrectly that lustrations for the Canaveral Press hardcover reprints Blaine was born in California, did set design for early of Edgar Rice Burroughs novels, for which his style Hollywood films (for which there cannot be found of expression, most observers agree, was completely any published credits), and served in World War I —
unsuited. His “bohemian lifestyle” was such that no where he received some severe wounds. While he one really knew when he died, until recent research registered for the draft in both World War I and of government records brought the date to light.

World War 2, there is no record of military service; Sadly, although Blaine’s work appeared in over 150
moreover, on the World War I draft form he claimed books and magazines, he received little acclaim dur-he was blind in one eye from a childhood accident ing his lifetime, nor much beyond it, although there chopping wood, making his induction unlikely (he are a number of collectors who praise his diverse tal-also signed the form as “Blaine,” adding the “e”).

ents and unconventional imagination. “His output What seems true is that he was an illustrator for the over the five decades of work was prodigious and local newspaper in his native city until about 1914.

eclectic … what most weighs against his general By 1916, he had moved to San Francisco to establish popular acceptance is, I’m sure, due to the relatively a studio-home at 915 Van Ness and lived in Los An-erotic nature of some of his creations.” (Trenary, geles in the 1920s. However, the 1920 Census lists 2000)

him as living in Oregon with his mother (now remar-Sources: Hughes, Edan. Artists in California 1786–1940 by ried) and stepfather, C. D. Jack, in Portland. It is Edan Hughes (Crocker Art Museum, 2002); Mahlon Blaine unknown whether he was self-taught, as he has Biography by Jim Vadeboncoeur, Jr., 2000 at The Vadeboncoeur claimed, or if he used “Carradin” after his mother’s Collection of Knowledge online www.bpib.com/illustra2/blaine.

htm; Roland Trenary Mahlon Blaine web pages and Roland name, Carrie C. Blain.

Trenary’s Mahlon Blaine Tribute Site, 1999/2000 at http://home A major book illustrator of horror and fantasy

.att.net/~rolandtrenary/index.html [accessed August2007]; fiction in the 1920s, with an unusual style strongly Ancestry.com: 1930 U.S. Census; U.S. World War II Draft influenced by the artist Aubrey Beardsley, Blaine was Registration Cards 1942: World War I Draft Registration Cards 1917–1918; Social Security Death Index; Weinberg, mainly known for his interior illustrations. He 1988.

worked in oils, tempera, gouache, but primarily in pen and ink, and many of his paintings and draw-Published Work
ings — particularly his personal works — were erotic A Fighting Man of Mars (Canaveral Press, 1962), and macabre. His interior illustrations for Vathek Alraune ( John Day, 1927), The Art of the Fantastic (1928) and Alraune (1929), both published by John (Gerry de la Ree, 1978), At the Earth’s Core Day publishers, in New York, as well as those seen (Canaveral Press, 1962), Fantasy Collectors Annual 1, in Blaine’s own Venus Sardonicus Portfolio (1929, re-2 (Gerry de la Ree, 1974, 1975), The Land That Time issued 1938) were the first to show his “decadent”

Forgot (Canaveral Press, 1962), Limehouse Nights

113

Blanchard

(McBride, 1926), The Man Who Was Born Again After he reportedly badmouthed publisher James ( John Day, 1927), The Monster Men (Canaveral Warren in public, and was blacklisted from his mag-Press, 1962), The Moon Men (Canaveral Press, 1962), azine, Famous Monsters of Filmland. Blaisdell started Pellucidar (Canaveral Press, 1962), Salammbo ( John up his own magazine with Bob Burns, Fantastic Day, 1927), The Sorceror’s Apprentice ( John Day, Monsters of the Films. The magazine ran for only 1927), Tanar of Pellucidar (Canaveral Press, 1962), seven issues 1962–1963.

Vathek ( John Day, 1928), The Wolf Leader (Prime Blaisdell left the movie business in 1959 to con-Press, 1950).

centrate on more conventional design work and car-pentry. Had he not died of cancer just short of his Blaisdell, Paul

55th birthday, his illustrative and film work would ( July 21, 1927–July, 10, 1983) American artist.

likely have brought him greater memorability. In Perhaps better known among science fiction fans as the 1980s and 1990s there was a resurgence of inter-the “man behind the monsters” in low-budget Best in 1950s horror movies, which triggered “Mon-movies in the 1950s than for his illustrations for SF
sters of Filmland” and “Chiller” genre conventions magazines, Blaisdell was born in Newport, Rhode (among others), bringing a new generation of fans Island and grew up in Quincy, Massachusetts. After eager to honor Forry Ackerman and Ray Harry-high school he was drafted into the Army, and after hausen, and buy specially fabricated monster model returning from military service in 1947, he attended kits and masks.

the New England School of Art and Design on a GI Sources: All Movie Guide biography by Bruce Eder at Bill. After graduation, he married and moved to www.allmovie.com; Palmer, Randy. Paul Blaisdell, Monster Maker: A Biography of the B Movie Makeup and Special Effects Topanga, California where he took a job with Doug-Artist (McFarland & Co., 1997); www.scifipedia.scifi.com [ac-las Aircraft Company as a technical illustrator and cessed August 2007].

worked on his sketching and painting in his spare time.

Published Work

Blaisdell’s first commercial sale was to Spaceway F&SF : 1957 (1)

magazine in 1954 and soon he was getting semi-reg-IMG: 1955 (10)

ular work from various pulp magazines — thanks to OW: 1956 (9); 1957 (1)

Forrest J Ackerman, a science fiction writer who later SPWY: 1954 (4, 6, 12); 1955 (2, 4. 6); 1969 (1); become famous as the editor of Famous Monsters of 1970 (5/6)

Filmland magazine. Blaisdell met Ackerman in the early 1950s and he became Blaisdell’s agent; this led Blanchard, N. Taylor
to his entry into movies. The artist had produced (b. May 16, 1955) An American artist, born and only one book cover, for a “juvenile” SF novel The raised in Lawrence Township (a suburb of Trenton, Antmen, for John C. Winston Company in 1955, New Jersey), Blanchard went through the Lawrence when Ackerman learned that the “fledgling” pro-School System and as an adult still occasionally ducer/director Roger Corman needed a monster for teaches part time at the elementary school he athis new movie, The Beast with a Million Eyes, but tended as a child. Unlike most artists in the field of could pay practically nothing for the work. He rec-Fantasy and Science Fiction, Blanchard is primarily ommended Blaisdell.

self-taught. He received a BA in Astrophysical Sci-Over the next couple of years, Blaisdell worked ences from Princeton University (1977) and an MFA on more than a dozen low-budget features, either in Stage Design from New York University (1980) be-appearing inside his own cheaply-created monster fore starting to paint in late 1980. Blanchard was a suits, or producing inventive special effects “on a stage designer off-off Broadway and regional theatre shoestring.” Among these were cult favorites such 1980–1985, and his simply composed and intensely as: Voodoo Woman (1956), It Conquered the World colored paintings show those theatrical influences.

(1956); The Day the World Ended (1956); The She He paints in acrylics on masonite, which amplifies Creature (1956); From Hell It Came (1957); Invasion the brilliance of the colors and gives his work a dis-of the Saucer Men (1957); The Amazing Colossal Man tinctive and dramatic look, regardless of the subject (1957); Not of This Earth (1957); Attack of the Pup-matter.

pet People (1958); and How to Make a Monster (1958).

Blanchard’s first professional assignment was for In 1958 his screen career ended, however, as a result a game box cover for Phantasy Conclave, 1983, and of a series of unfortunate incidents; several of his he has been working as a professional illustrator since creations were destroyed in a fire during the shoot-1986. He has freelanced for several major publishers ing of How to Make a Monster, and his proposed (Tor, Houghton Mifflin, Doubleday) and well as budget for the movie Beast from the Haunted Cave small independent presses and genre magazines, in was rejected. His last “creature” was for the United the United States, Germany and Italy, and is Art Di-Artists film It! The Terror from Beyond Space (1958).

rector and Primary Artist for Science Fiction pub-

Blanche

114
lisher FoxAcre Press. In recent years Blanchard playing games the British equivalent of TSR, Inc.

changed his primary focus to Wildlife and Nature in popularity, John Blanche’s name is not as well art, focusing on North American predators, and known to American fans as it is to those in England.

hopes to continue that career while developing into He attended Nottingham Art College in 1966–1967, a children’s book author and illustrator. Taylor resides and then Loughborough Art College 1967–1969.

in Central NJ with his wife Kathei Logue and their Blanche’s unique style is influenced by 19th and cats Agate and Onyx.

turn-of-the-century British fantasy and children’s Sources: www.ntaylorblanchard.com; e-mail from the illustrators such as Arthur Rackham, Aubrey Beard-artist, May 2005.

sley, Edmund Dulac, Kai Nielson, Charles and Published Work

William Heath Robinson. Dreamlike and detailed, BOOKS ILLUSTRATED INCLUDE: Barbary (Houghton and characterized by sharp line work and often Mifflin, 1986), Barrayar (Easton Press, 1991), A Book horrific imagery, Blanche has been a driving force in of Troth (Llewellyn, 1989), Casting Fortune (Tor, the appeal of Games Workshop’s games and minia-1989), Clan of the Shape-Changers (Houghton tures both through his own paintings and sketches, Mifflin 1994), The Crystal Crown (FoxAcre, 2004), and as the long-time Art Director of GW’s design Escape from Exile (Houghton Mifflin 1993), Enochian studio. Blanche became known in the fantasy gam-Yoga (Llewellyn, 1990), Evoking the Primal Goddess ing world when his work appeared as the first full-

(Llewellyn, 1989), Fire and Ice (Llewellyn, 1990), In-color cover of White Dwarf magazine in June/July vaders from Earth (FoxAcre, 2001), Lifeboat Earth 1978. Since then he has produced many covers for (FoxAcre, 2000), The Misfit Apprentice (Houghton gamebook, boxes, books and record album covers, Mifflin 1995), The Nine Doors of Midgard (Llewellyn, and his distinctive “Punk Fantasy” style has been 1990), Orphan of Creation (FoxAcre, 2000), Polter-imitated by other artists in the field. Blanche’s char-geist (Llewellyn, 1993), The Prince of Morning Bells acters are darker, more dangerous and “twisted” and (FoxAcre, 2000), The Sins of the Fathers (FoxAcre, less innocently, if exaggeratedly, sexual — than their 2000), The Sword of Rhiannon (Tor,1990), Tweedl-American counterparts, in that regard closer to Ger-ioop (FoxAcre, 2002), The Widget the Waget and Boff ald Brom* than Boris Vallejo*. Blanche is known (Tor, 1989) 1992 Daily Planetary Guide & Astrologer’s primarily for his interior illustrations for the Steve Datebook (Llewellyn, 1992).

Jackson and Ian Livingstone Fighting Fantasy role-MAGAZINES ILLUSTRATED INCLUDE:

playing gamebooks and the well-known Warham-AMZ: 1991 (#2)

mer and Warhammer 40,000 games by Games Work-ABO: 1987 (2/3, 5/6); 1992 (Fall, Winter); 1993
shop.

(Spring, Summer, Winter); 1994 (Spring); 1996

Blanche is also one of the world’s finest fantasy (Summer, Fall); 1998 (Summer)

miniature painters, and has won several awards for ASM: 1989 (6, 9, 10); 1990 (11); 1991 (11); 1992 (
his individual figures and dioramas as well as edit-Fantasy Gamer: 1984 (2/3)

ing a miniatures column in White Dwarf magazine.

Fate Magazine: 1990 (6, 11); 1991 (5, 9) He illustrated a large format children’s book The Prince and the Woodcutter (Paper Tiger, 1979), and GAMES ILLUSTRATED INCLUDE: Galactic Empires his work has been featured in anthologies and col-CCG: Empires, Piracy (Companion Games, 1995, laborative works, most notably Ratspike (1990), 1996), Gatecrasher game book (Grey Ghost Games, which jointly featured Ian Miller* another British 1995), Middle Earth: The Wizards (Iron Crown En-artist whose unique style Blanche has long admired.

terprises, 1995), Phantasy Conclave Game Box A retrospective John Blanche Art Exhibition featur-

(1983), Places of Mystery IV: The High Road game ing his art, sketchbooks and miniatures was spon-book (The Companions, 1984), T imemaste r: Whom sored by Games Workshop at their Warhammer the Gods Destroy game book (Pacesetter Games, World Gaming Hall, Nottingham England April-1985)

June 2007.

Misc.: BookWyrms (Science Fiction book Club, Sources: www.abandonart.co.uk/artists/biog_job.html; 2001), Ironweed: The King’s Favorite CD cover Hayley, Guy. Interview John Blanche: The Illustrated Man”

(1993); SF Book Club advertising circular (May in White Dwarf #300, June 2006 in The Black Library online 1984), SF Book Club Special Collector’s Issue: Mid www.blacklibrary.com/

Summer 1997; 1992 Calendar: Isaac Asimov’s SF

Collections and Anthologies

Magazine presents “The Art of N. Taylor Blan-

(various contributing artists)

chard.”

Blanche, John. The Inquisitor Sketchbook (Black Library, 2000), Blanche, John. Inquis Exerminatus: Blanche, John

Images from the Dark Millenium (Black Library, (b. 1948) British artist. Known for the dark vi-1999), Blanche, John and Miller, Ian. Ratspike sionary imagery that made Games Workshop’s role-

(Games Workshop/GW Books, 1990), Day, David.

115

Bober

The Tolkien Bestiary (Ballantine, 1978), Dean, Mar-riod in which he works, in both style and execution.

tyn and Roger, ed. Flights of Icarus (Paper Tiger, Bober excels in creating highly detailed, and heav-1977), Jackson, Steve & Livingstone, Ian, Gas-ily embellished compositions in a romantic 19th cen-coigne, Marc ed. Out of the Pit: Fighting Fantasy tury style reminiscent of the famous English land-Monsters: 250 Monsters from the Wild and Dangerous scape painter J.M.W.Turner. He works in oil on Worlds of Fighting Fantasy (Puffin, 1985), Ralphs, canvas or masonite, but often combines media, un-Matt. The Art of Warhammer 40,000 (GW, 2006) derpainting with oil and alkyd glazes to create layG
ered coats of paint for affect, and surface texture.

AME-RELATED ILLUSTRATIONS INCLUDE: Call of Cthulhu: Green and Pleasant Land (Hogshead Pub-He has created fantasy cover art for most of the lishing, 1987), Chaos Marauders card game (GW, major paperback publishers, including Dell, Avon, 1987), Dark Future: Demon Download; Ghost Berkley, Bantam, Tor, and the New American Li-Dancers; Krokodil Tears (GW Books, 1990, 1991); brary (NAL) among others. A memorable early se-Fighting Fantasy: Sorcery! 1, 2, 3, 4 (Puffin, 1983, ries were the Hitchcock Presents paperback reissue 1984, 1985); Clash of the Princes (Puffin, 1986); Sagas covers for Dell in the 1970s. In the 1980s to 1990s he of Demonspawn (Fontana, 1985), Warhammer box also created a series of covers for the Inspector Jurnet cover, Warhammer: Forces of Fantasy (Games Work-mysteries for Bantam, the Scene of the Crime myster-shop, 1983), Warhammer: Fantasy Roleplay, 2nd ed; ies for Dell, and Nancy Pickard mysteries for Pocket Old World Armoury (Black Industries, 2005), Books and Simon & Schuster. Bober also has done Warhammer: Apocrypha Now; Apocrypha 2 Charts of work for YA novels, notably Janet Taylor Lisle’s In-Darkness; Dying of the Light (Hogshead Publishing, vestigators of the Unknown series (Avon), and some il-1995, 2000), Warhammer 40,000: Inquisitor (GW, lustrative works for mainstream magazines ( Cos-1990). Warlock #4, #5, #10 (GW/Penguin, 1985, mopolitan, Datamation), in addition to clients 1986).

ranging from Franklin Mint and the Bradford Exchange (for collector plate art) to TSR, Inc. game MAGAZINES ILLUSTRATED INCLUDE:

art. His covers for

WD: 1978 (6/7); 1983 (3, 4, 5, 6, 11); 1986 (7); Dragon Fall (Avon), series such as

1987 (9); 1988 (3, 12); 1990 (1); 1993 (10); 1997 (5, The Parsina Saga (Bantam), and Night of the Long 7); 1998 (11); 2000 (2)

Sun, along with other Gene Wolfe titles (Tor), are notable examples of his craft. The cover painting for Fantastic Alice (1995) is 60" × 72" on stretched Bel-Bober, Richard
gian linen canvas took months to complete, and (b. August 18, 1943) American artist. Bober was showed his skill in fine art applied to commercial born and grew up in Elizabeth, New Jersey. He stud-use.

ied with Lee Gaskins (1957–1958) and then won a Ever his own man, since 1995 Bober has largely re-scholarship to the Pratt Institute in 1961, where he tired from commercial assignments and turned more

“caused general havoc and aggravation to many Proto numerous private commissions, including por-fessors.” As Bober describes it, he was a “die-hard traits of both humans and animals, and landscape reactionary forced to study under a series of tenth paintings — in part to finally escape from the op-rate DeKoonings and Jackson Pollack clones,” who pressive deadlines that inevitably interfered with his was “booted out in 1966, after flunking gym, and quest for artistic perfection. He earlier participated holding the school record for cutting classes.” Of in the National Academy of Design 157th Annual this and other actions which show his continued dis-Exhibition (1982), and won their Issac N. Maynard dain for the art establishment, he remains inordi-Prize for Portraiture and the Henry Ward Ranger nately proud. He later studied at the Art Students Fund Purchase Award, so that his work is in their League with Lennart Anderson (New York, 1969).

permanent collection. Other Awards include the 15th His first commercial assignment was in 1959, for an Annual Chesley (2001), for Best Product illustration industrial magazine print advertisement, but before for Cleopatra, his design for one in a series of collec-officially beginning his professional art career in the tor plates commissioned by the Franklin Mint. His late 1960s as a freelance medical illustrator for Roche work has also been shown at the Delaware Art Mu-and Upjohn, he took on a series of jobs, including seum (1987) Canton Museum (Ohio, 1996), and the auto worker at General Motors, carpet mechanic, University of Maryland Art Gallery (2004) and is stockroom worker at E.J. Korvette, and ditch digger in many private collections.

in Puerto Rico. Since the 1970s, he has applied his Sources: correspondence from the artist, March 2005; talents to literary commissions and portraiture.

Frank, Jane. Modern Classicism: The Gilded World of Richard Bober. Realms of Fantasy Magazine, February, 1998.

Bober claims as his artistic influences “anything that predates Impressionism and nothing that comes Collections and Anthologies
afterward.” His paperback cover work is classical in (various contributing artists)

influence, and entirely anachronistic for the time pe-Frank, Jane and Howard. The Frank Collection:

Bok

116

A Showcase of the World’s Finest Fantastic Art (Paper was also one of the unique personalities of early SF

Tiger, 1999),Frank, Jane and Howard. Great Fan-and fantasy illustration. His parents divorced when tasy Art Themes From the Frank Collection (Paper he was five, and neither his father nor stepmother Tiger, 2003), Grant, John and Humphrey, Eliza-encouraged his art interests. After graduating from beth with Scoville, Pamela. The Chesley Awards: A high school in Duluth, Minnesota, he moved to Retrospective (AAPL, 2003).

Seattle, Washington, to live with his mother, and there became friends with science fiction fans in the Published Work
area and involved with fanzines. He began using his BOOKS ILLUSTRATED INCLUDE: Blood of the God-pseudonym at that time; at first “Hans,” and then dess series: Goa, Bijapur, Bhagavati (Tom Doherty,

“Hannes,” Bok — it is believed, in honor of the com-1997, 1998), The Book of the Long Sun: #1 Nightside poser Johann ( Johannes) Sebastian Bach. A self-the Long Sun, #2 Lake of the Long Sun, #3 Calde of taught artist, Bok was a strong admirer of Maxfield the Long Sun, #4 Exodus from the Long Sun (Tor, Parrish and considered himself a student of the Par-1994, 1996), Castle of Days (Tor, 1991), Castleview rish school of illustration, although he never actually (Tor, 1990), City of Bones (Tor, 1995), Cloven Hooves studied with the artist; he only visited Parrish’s farm (Bantam, 1989), A College of Magics (Tor, 1995), in New Hampshire during the 1930s and corre-Cross and Crescent (Tor, 1997), The Crystal Keep sponded with him in subsequent years. While Bok’s (New American Library, 1988), The Devil in a For-work evidences strong Parrish influence in painting est (TOR, 1996), Dragondoom (Bantam Spectra, techniques, use of color, and some stylistic choices 1990), Dragon Fall (Avon, 1984), Duchess of Kneedeep (his mountains used as background elements, for ex-

(Avon, 1986), Earthman’s Burden (Avon, 1984), The ample), those influences were overshadowed by Bok’s Enchantment (Pocket Books, 2001), Fairy Lair distinctive approach to fantasy subject matter.

(Simon & Schuster, 1997), Fantastic Alice (Ace, Bok moved from Seattle to Los Angeles in 1938, 1995), Finder: A Novel of the Borderlands (Tor, 1994), where he painted murals for the WPA, and shared an The Fifth Head of Cerberus (Tom Doherty, 1994), apartment with Emil Petaja, a science fiction and The Greenbriar Queen (Signet, 1987), The Green fantasy author with whom he would form a lifelong Kingdom (Avon, 1977), The Guardians of the Flame: friendship. Bok had met Petaja in 1936, and did il-

#4 The Heir Apparent (Signet, 1987), The Hypnotist lustrations for his Chapbook, Brief Candle. Bok soon (Dell, 1979), Litany of the Long Sun (Tor, 2000), Lost was involved in the active science fiction fan commu-World II: The End of the Third World (Avon, 1997), nity there. He and Petaja attended a meeting of the The Mennyms, Mennyms in the Wilderness (Avon, Los Angeles Science Fiction Society, and Bok be-1994, 1996), Pandora by Holly Hollander (Tor, 1990), came good friends with Ray Bradbury. Bradbury The Parsina Saga; Shrine of the Desert Mage, The Sto-showed some samples of Bok’s work to Farnsworth ryteller and the Jann, Crystals of Air and Water (Ban-Wright, the editor of Weird Tales, during his trip to tam, 1988, 1989), The Phoenix Bells (Ace, 1987), Rit-New York in 1939 for the first Science Fiction Con-nym’s Daughter (Signet, 1989), Shards of Empire (Tor, vention. Wright liked what he saw, and Bok soon 1996), The Silver Call Duology: Trek to Kraggen-moved to New York to work for the pulp magazine, Cor, The Brega Path (Signet, 1987), Spells of Mortal where he lived for the rest of his life. His first pro-Weaving (Avon, 1983), Spider’s Web (Headline, fessionally published painting was the cover for the 1997), The Stars Dispose (Tor, 1998), Strong Spirits December 1939 Weird Tales.

(Avon, 1994), A Tale of Time City (Knopf, 1987), Although Bok remains best known for his art, he There are Doors (Tom Doherty, 1988), The Thread was an innovative and multi-talented artist, not only That Binds the Bones (AvoNova, 1993), Ties of Blood producing work for Weird Tales and other science and Silver (NAL, 1984), The War of the Worlds fiction pulps, but also writing novels, short stories, (Pocket Books, 1969),
and poetry, and creating wood carvings and masks Misc., Dimension X comic cover, 1st and only in papier mache.’ Bok’s pen-and-ink work appeared issue (Karl Art, 1992), Fantasy Dragon Figural display in more than fifty issues of Weird Tales, in addition (MBI, Inc./Danbury Mint, 2001), Glorantha: Rune to six color covers, between 1939 and 1942, and the Quest game box cover (Monarch/Avalon Hill, 1994).

magazine also published five of Bok’s stories and two of his poems between 1942 and 1951, making him Bok, Hannes Vajn
the only artist for the magazine who was also an au-

( July 2, 1914–April 11, 1964) American artist. Born thor. He wrote two complete novels, The Sorcerer’s Wayne Woodard in Kansas City, Missouri, the artist Ship, originally published in the December 1942
used the name Hannes Bok for most of his profes-issue of the fantasy magazine Unknown, and The sional career. Considered one of the few stylists in the Blue Flamingo, which first appeared in the January pulp magazine field, and on par with Virgil Finlay*

1948 issue of Startling Stories, which later — after ex-as one of the greatest SF artists of the 1940s, Bok tensive revision — was published posthumously as

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Bok

Beyond the Golden Stair (1970). Both novels have which did not contain figures. In any event, only been reprinted several times, among the re-issues the three sections of the original painting, ones contain-Ballantine Adult Fantasy series. Also published ing Bok’s whimsical creatures, are known to exist.

posthumously was a collection of Bok’s poetry, Spin-Bok also got involved with the publishing field, ner of Silver and Thistle (1972).

joining with several other fans to form the New Col-For all his talents, biographers generally agree, lectors Group. A lifelong fan of A. Merritt, Bok Bok’s major problem was a lack of discipline in both completed two novellas left unfinished when Merhis professional and private life. Weinberg observed, ritt died in 1943, which the house published in hard-with some understatement “He lived the way he cover editions with Bok’s illustrations. These were wanted with little worry about convention. He never published as The Blue Pagoda (1946) and The Black let editors dictate to him what he should do in terms Wheel (1947). Some questionable business activities of illustration, and this cost him a number of as-by one of the other members of the group caused signments during his career.” (p. 59, 1988). As an the company to cease publication, with Bok losing example, Weinberg cites Bok’s attempt to organize money in the deal; it was his first and last taste of a boycott of Weird Tales when Farnsworth Wright the publishing end of science fiction.

was fired as editor of the magazine, even though the Meanwhile, Bok continued to work for the many publication was Bok’s main source of income. Wein-science fiction magazines in the field. At times he berg also notes Bok’s inability to break into the pages collaborated with fellow artist Boris Dolgov*, and of Astounding Science Fiction, which he attributes to these works are signed with the name Dolbokgov.

Bok’s inability to depict machinery or people real-His art was in demand by all of the smaller compa-istically. Again, Weinberg understates the case; Bok’s nies, although he never seemed to be able to sell to highly stylized and angular figures, some with un-the best markets. He won the Hugo Award for Best usual sexual overtones by the standards of the day, Cover Artist in 1953, and also was a member of the cost him commissions from editors, although they Futurians, but ultimately his lack of discipline and would be considered mildly racy now. In any event, fannish habits worked against him. As he grew older his eccentric personality, refusal to hew to editors’

his conflicts with editors became more problematic; directives, and inability to meet deadlines probably he started to withdraw and become more engrossed did as much to interfere with his getting work as his in his interest in the occult. When the market suf-continual disagreements with editors over money fered major reversals in the 1950s, Bok left illustra-and artistic issues.

tion and became an astrologer, maintaining only a After World War II, Bok found a new market for few contacts in the SF community. He believed in, his art when several new science fiction and fantasy and actively practiced, astrology, writing at least 13
small press specialty publishers went into business.

articles about astrology for Mystic Magazine. His inHis imaginative paintings worked well on book dust terests also included the music of Finnish composer jackets. Bok did some of his finest work for Shasta Jean Sibelius, with whom Bok corresponded. Bok Books, which produced some of the finest jacket art died of an apparent heart attack in Manhattan, New in the fantasy field using Bok paintings for Sidewise York, living reclusively in poor conditions and poor in Time, Slaves of Sleep, and Kinsmen of the Dragon..

health among his art and books.

Many of the small-press publishers could not afford After his death, Emil Petaja took responsibility expensive color separations and had the artists do for his estate, and founded the Bokanalia Founda-paintings in monochrome to which the printers tion, to keep Bok’s memory alive by keeping his added color. Bok went a step further, by supplying work in the public eye. Petaja published several port-acetate overlays for many of his paintings with folios of Bok’s artwork, a book of his poems, and specific colors for each overlay; in effect, doing four wrote a commemorative novel. Bok’s art was unique color separations himself to ensure that the paint-and unforgettable; a very personal take on horror ing would turn out the way he intended. Bok also did and fantasy themes. His animal and human figures exceptional work for Arkham House, Gnome Press were free flowing but exaggerated in form and detail: and Fantasy Press — to the point where Bok painted at times they were bizarrely sensual. His figures were a mural, oil on masonite panel about 5' × 7', to grace not realistic, but pixyish, and sometimes grotesque, the Associated Fantasy Publishers display at the Book but rarely frightening. Along with Virgil Finley*, Festival held at the Museum of Science and Indus-Bok was considered the greatest SF artist of the try, New York City, 1948 (see photo in Arthur Lloyd 1940s. In recent decades his art has become a favorite Eshbach’s Over My Shoulder, 1983). It has been spec-of collectors in the genre, although he has received ulated that Bok — perhaps believing that the art-little recognition outside the field either before or work’s value lay only in those parts that depicted his since his death.

colorful creatures—sawed the mural into pieces after Sources: Brooks Jr., Cuyler W. The Hannes Bok Illustration the work was returned to him, discarding those Index. Purple Mouth Press, 3rd edition, 1994 online: http://

Bonestell

118
home.sprynet.com/~nedbrooks/BOKINDEX.htm [accessed Skullface and Others (Arkham House, 1946), Slaves 5/15/05]; Eshbach, Lloyd Arthur. Over My Shoulder: photo of Sleep (Shasta, 1948), The Sphinx Child (New Col-of backdrop for November 1948 Book Festival booth of the As-lector’s Group, 1948), Stardrift (Fantasy Publishing sociated Fantasy Publishers at the Radio City Museum of Science and Industry ( Train, 1983), Reed, Walt. The Illustrators Co, 1971), Strange Glory (St. Martin’s, 1977), The in America 1860–2000 (Society of Illustrators, 2001); Riddle, Titan (Fantasy Press, 1952), Under the Triple Suns Mark. “A Fan’s Perspective” American Art Archives online (Fantasy Press, 1955), The Wheels of If (Shasta, 1948), www.americanartarchives.com/bok.htm; Willick, George C.

Who Goes There? (Shasta, 1948).

Spacelight: Hannes Bok online www.gwillick.com/Spacelight/
bok.html; Weinberg, 1988.

MAGAZINES ILLUSTRATED INCLUDE:

2CSAB: 1954 (spring)

Collections and Anthologies

ASH: 1940 (4, 6, 8, 12); 1941 (2, 4, 9, 11); 1942

(various contributing artists)

(3, 6); 1943 (4)

The Art of Horror Stories (Chartwell, 1976), Art-COS: 1941 (3, 5. 7)

folios: Bok I, Bok II (Gene Nigra, 1975), Blind Spot/

F&SF : 1963 (11)

Spot of Life Portfolio (Prime Press, 1951), Bokanalia FF : 1953 (3, 6. 8. 11)

Foundation Folio # 1, 2, 3, 4, 5 (1965–1967), Certo, FFM: 1941 (2); 1943 (9, 12); 1947 (8, 10); 1949

Nick. Hannes Bok: Drawings and Sketches by Hannes (8); 1950 (2, 4, 6); 1951 (12); 1952 (6, 12); 1953 (4) Bok (Mugster Press, 1996), De la Ree, Gerry ed. Art FN: 1940 (11); 1941 (1); 1950 (11); 1951 (1, 6) of the Fantastic (De la Ree, 1978), De la Ree, Gerry FU: 1956 (10, 11, 12); 1957 (1)

ed. Beauty and the Beasts: The Art of Hannes Bok (De FUT: 1940 (11); 1941 (4, 8, 10, 12); 1942 (2, 4, 8.

la Ree, 1978), De la Ree, Gerry, ed . Bok (De la Ree, 10, 12); 1943 (2, 4, 7)

1974), De la Ree, Gerry, ed. A Hannes Bok Sketch-IF : 1968 (12)

book (De la Ree, 1976), Di Fate, Vincent. Infinite IMG: 1950 (10); 1951 (6, 9)

Worlds: The Fantastic Visions of Science Fiction Art MSS: 1951 (8, 11)

(Wonderland/Penguin, 1997), Frank, Jane and OW: 1950 (7, 10, 11); 1951 (5); 1952 (4); 1953 (1, Howard. Great Fantasy Art Themes from the Frank 3, 6); 1956 (2, 6)

Collection (Paper Tiger, 2003), Frank, Jane and PS: 1940 (winter); 1941 (spring, summer, fall, Howard. The Frank Collection: A Showcase of the winter)

World’s Finest Fantastic Art (Paper Tiger, 1999), Ko-ScS: 1953 (10)

rshak, Stephen ed. A Hannes Bok Treasury (Under-SF : 1941 (3, 6, 9)

wood-Miller, 1993), Korshak, Stephen ed. A Hannes SFQ: 1941 (spring, summer); 1942 (winter, Bok Showcase (Charles F. Miller, 1995), Petaja, Emil.

spring, fall); 1943 (winter)

The Hannes Bok Memorial Showcase of Fantasy Art SpSF : 1953 (3)

(SISU, 1974), Petaja, Emil. And Flights of Angels: SS: 1941 (5)

The Life and Legend of Hannes Bok (Bokanalia STAR: 1941 (2, 4, 6); 1942 (3)

Memorial Foundation, 1968), The Powers Litho-StrS: 1940 (6, 8)

graphs (1945, reprinted by Bokanalia Foundation, TSF : 1951 (spring)

1969), Set of Prints (Utopia Publications, 1948).

UK: 1942 (12)

Published Work

WS: 1972 (8)

BOOKS ILLUSTRATED INCLUDE: Alien Minds (Fan-WT: 1939 (12); 1940 (1, 3, 5, 7, 9, 11); 1941 (1, 3, tasy Press, 1955), Beyond Infinity (Fantasy Press, 5, 7, 9, 11); 1942 (1, 3, 5, 7, 11); 1943 (7, 9, 11); 1944

1951), The Black Wheel (New Collector’s Group, (1, 3, 5, 7, 11); 1951 (1, 3)

1947), Bradbury, An Illustrated Life (William Morrow, 2002). The Castle of Iron (Gnome Press, 1950), Bonestell, Chesley

The Checklist of Fantastic Literature (Shasta, 1948), ( January 1, 1888–June 11, 1986) American artist.

The Crystal Horde (Fantasy Press, 1952), Escape From Born in San Francisco, by his twelfth birthday Ches-Tomorrow (Necronomicon Press, 1995), The Fox ley had won so many school prizes for his artwork Woman & The Blue Pagoda (Arno, 1946), The Green that he was given permission to start serious art in-Man of Graypec (Greenberg, 1950), The Hounds of struction, Regrettably, the great earthquake and fire Tindalos (Arkham House, 1946), The House on the of 1906 would not only destroy the house he lived in, Borderland (Arkham House, 1946), Kinsmen of the on Nob Hill, but also all of Chesley’s earliest draw-Dragon (Shasta, 1951), Lest Darkness Fall (Prime ings and paintings. Bonestell attended St. Ignatius Press, 1949), Monster Book of Monsters (Bonanza, College and George Bates University in San Fran-1988), The Moon Is Hell (Fantasy Press, 1951), Out of cisco, and attended Hopkins Art Institute in the Space and Time (Arkham House, 1942), Out of the evenings. He later entered Columbia University in Storm (Donald M. Grant, 1975), The Secrets of Dr.

New York as an architecture major. After three years Tavernier (Llewellyn, 1962), Seven Out of Time (Fan-he left, intending to return after gaining some prac-tasy Press, 1949), Sidewise in Time (Shasta, 1950), tical experience, but he never received a degree. He

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worked as a designer for prominent San Francisco sented annually at the World Science Fiction Con-architect Willis Polk and helped design many fa-vention (Worldcon).

mous landmarks. Bonestell married Mary Hilton in Mary Hilton Bonestell died in 1961, and in the November 1911 and was separated in 1918. In 1918 he Fall of 1962 he married Hulda von Neumayer Ray.

moved to New York, where he again worked as an ar-She took an active role in cataloging his work that has chitectural designer and renderer.

proved invaluable to later researchers. Bonestell died In 1922, Bonestell married Ruby Helder, an En-at age ninety-eight, perhaps the most respected and glish concert singer, and moved to London, where he famous space artist of all time, whose career spanned worked for the Illustrated London News, creating ren-the first century of the history of aviation and derings of famous buildings and other landmarks spaceflight.

for the magazine. He returned to the United States Sources: Benford, Gregory. “Interplanetary Pioneer.” Sci-in 1927, where he continued working on architec-ence Fiction Age Magazine, March 1995; Di Fate, Vincent.

Infinite Worlds. NY: Wonderland Press/Penguin, 1997; Miller, tural projects, including the design of the Chrysler Ron. “Chesley Bonestell” Outre Magazine, Fall/Winter, 1997, Building and the Golden Gate Bridge. In 1938, he Spring 1998; Miller, Ron. “Chesley Bonestell.” American Her-began working as a matte artist for the motion pic-itage, Science and Technology, Spring 2002; Miller, Ron. “The ture industry, and in 1939 his second wife died. The Worlds of Chesley Bonestell” Starlog Magazine, August 1982.

following year he remarried his first wife, Mary.

Collections and Anthologies

During this time Bonestell contributed matte paint-

(various contributing artists)

ings to many classic films, from Citizen Kane to The Aldiss, Brian. Science Fiction Art: The Fantasies of Hunchback of Notre Dame. He eventually became SF (Bounty Books, 1975), Grant, John and Humph-the highest-paid matte artist in Hollywood.

rey, Elizabeth with Scoville, Pamela. The Chesley In the early 1940s Bonestell, after reviving an in-Awards: A Retrospective (AAPL, 2003). Frank, Jane terest in astronomy he had since boyhood, began and Howard. The Frank Collection: A Showcase of the painting a series of space illustrations, most of which World’s Finest Fantastic Art (Paper Tiger, 1999), were published in Life. These major paintings com-Frank, Jane and Howard. Great Fantasy Art Themes bined technical realism and a stunning photo-From the Frank Collection (Paper Tiger, 2003), graphic technique — mainly learned during his work Miller, Ron and Fred Durant III. Worlds Beyond: The as a matte painter. Bonestell specialized in astro-Art of Chesley Bonestell (Donning, 1983), Miller, Ron nomical art for the rest of his career. His most no-and Fred Durant III. The Art of Chesley Bonestell table achievements were illustrations for ten books (UK: Collins & Brown/Paper Tiger, 2001).

on space science, including the influential The Conquest of Space, published between 1949 and 1972.

Published Work

Many of these paintings were printed as covers for BOOKS ILLUSTRATED INCLUDE: Across the Space science fiction magazines before their inclusion in Frontier (Viking 1952), Best from F & SF #1 (Little, the books. His collaboration on a series of Brown, 1952), Best from F & SF #2 (Doubleday, spaceflight articles in Collier magazine in the early 1953), Best from F & SF #3 (Doubleday, 1954), Be-1950s is considered a seminal influence on the evo-yond Jupiter (Little, Brown, 1972), Beyond the Solar lution of the American space program. Bonestell System (Viking, 1964); The Complete Book of Outer also painted several large murals, the most outstand-Space (Maco, 1953), Conquest of the Moon (Viking, ing of which was a 40-foot-wide depiction of the 1953), The Conquest of Space (Viking, 1952), The Ex-surface of the moon for the Boston Museum of Sci-ploration of Mars (Viking, 1956), Man and the Moon ence (the painting now resides in the National Air (World Publishing Co., 1961)

& Space Museum).

MAGAZINES ILLUSTRATED INCLUDE:

In 1950 Bonestell contributed preproduction art ASF : 1947 (10); 1948 (4, 7); 1949 (6); 1950 (1); and matte paintings for the first realistic science 1951 (11); 1954 (12)

fiction space film, Destination Moon. He later preF&SF : 1951 (12); 1951 (8); 1952 (2, 10, 12); 1953
pared matte paintings for the important SF films (3); 1954 (2, 10, 11, 12); 1955 (4, 9, 12); 1956 (2, 4, When Worlds Collide (1951), War of the Worlds (1953) 7); 1957 (9); 1959 (2); 1960 (10); 1961 (10); 1962 (12); and Conquest of Space (1953). Winner of numerous 1963 (10); 1964 (10); 1965 (10); 1966 (7); 1967 (2, prestigious awards for his art, Chesley Bonestell was 10); 1968 (9); 1969 (9, 10); 1970 (4, 10); 1971 (11); awarded the Special Achievement Hugo in 1974 and 1972 (3); 1973 (8); 1975 (3); 1976 (10); 1977 (10); a Retro Hugo in 2004 for Best Artist of 1953. The 1978 (3)

Association of Science Fiction and Fantasy Artists GXY: 1951 (2, 5)

(ASFA) established a peer award in 1985 to recognize individual works and achievements during a given Bowman, William R.

year, re-named the “Chesley” in 1986 to honor Bon-

(?) American artist. Little is known of this excel-estell after his death in that year. The awards are prelent black-and-white illustrator, who worked pri-

Brandt

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marily for the smaller science fiction magazines for older brother’s model, appearing in several photo-a brief period from 1956 through 1958. He served graphs, and attended drawing classes in London with as art associate for Infinity and Science Fiction Ad-Ozenfant, and in Paris with Paul Colin. Rolf ventures from August 1956 through October 1957, Brandt’s drawings for Rabelais’s Gargantua and Pan-contributing color work for the latter magazine that tagruel, published in 1945, were influenced by his showed some imagination as well as skill in design.

brother’s experiments with the Kodak Wide Angle camera he used to photograph nudes (England & Published Work

Co. retrospective, citing the London exhibition cat-AMZ: 1957 (7)

alog for Brandt’s show Apparitions, 1981). His draw-GXY: 1957 (8. 9, 11, 12)

ings were first published in the early 1940s and were INF : 1957 (2, 4, 9, 10, 11); 1958 (1, 3, 6, 8) reminiscent of both Sidney Sime* and Mervyn SAT: 1958 (10)

Peake*, and “noteworthy for its powerful imagery SFA: 1956 (12); 1957 (2, 4, 6, 8, 9, 10, 12); 1958
and strong overtone of the macabre.” (Dalby, in (1)

Weinberg, 1988, p. 63). The drawings and color il-SFA (BR): 1958 (1, 4)

lustrations exhibited in “Apparitions,” at the Royal SSF : 1957 (6, 8, 10, 12); 1958 (2, 4, 6, 8, 10, 12); Festival Hall in London, 1988 were published by in 1959 (2)

a catalog by Wigwam Press, in 1984.

Brandt taught at the London College of Printing Brandt, Rolf A.

in the 1950s through to the 1970s. He had one-man (1906–January 30, 1986) British artist. A British shows of his paintings and drawings in the Paris subject, Brandt was born in Hamburg, Germany gallery, as well as the Institute of Contemporary Art and moved to London in 1933 after Hitler’s rise to in London and the Pater Gallery in Milan. The last power, and remained in Britain for the rest of his significant exhibition in his lifetime was at the Lis-life. The brother of famed British photographer Bill son Gallery in 1970.

Brandt, Rolf was a distinguished artist in his own Sources: Brandt: Known & Unknown — Exhibition cata-right, remembered by collectors of bizarre and fan-log archive 7th December 2005–25th January 2006 at www.21stcenturyvillage.com/england-and-co-gallery-archive-tasy illustration for his haunting drawings and book exhibitions.html; Rolf Brandt (1906–1986) Retrospective Ex-illustrations published in London during the 1940s.

hibition. Jane England Gallery, London www.englandgallery His art appeared under the byline of R. A. Brandt

/RBrandt_BIOG.htm; Rolf Brandt Obituary, Locus v19:4
and included Come Not Lucifer, an anthology of hor-No.303 Apr 1986; Victoria and Albert Museum online at www.vam.ac.uk/collections/; Warburton, Nigel. Brandt’s Pic-ror stories, and other publications; these established torialism. The Open University at http://nigelwarburton.type-his reputation for delicate pencil drawings with an pad.com [accessed August 2007]; Weinberg, 1988.

elusive, often eerie quality, that have been described as “absurd as dreams and as mysterious.” (RA Rolf Published Work

Retrospective. 2005). In the fine art field the artist Come Not, Lucifer ( John Westhouse, 1945), The was known for his early surrealist paintings and Devil;’s Heir and Other Tales from “Les Contests Dro-drawings, and later, for his abstract paintings in the laticques” ( John Westhouse, 1945), The Earth-Owl 1950s; his drawings and collages in the 1960s and and Other Moon-People (1963).

1970s, and ultimately, for his final major series of works-painted wooden constructions which ex-Brautigam, Donald P.

plored color theory and optical art, created in the (b. September 12, 1946) American artist. Born in 1960s and 1970s.

Paterson, New Jersey, Brautigam has been a freeIn the 1920s, Brandt became interested in Dada lance illustrator since graduating The School of Vi-and Surrealism, and when his brother Bill Brandt sual Arts (NY) in 1971. His artistic influences in-worked in Man Ray’s Paris studio in 1930, Rolf fol-clude Gilbert L. Stone and Doug Johnson, fellow lowed him into that scene. The brothers were born illustrators and teachers at the School of Visual Arts, two years apart, and remained close throughout their and most importantly, his father, Curtis.

lives. When young, they both learned drawing at Brautigam’s art is a mix of sharply defined images the Kunstgewerbeschule in Hamburg from a Czech and arresting graphic design, made distinctive by a architect named Karl Ort. Rolf later attended the startling use of colors and symbology. He works Bauhaus at Dessau. In Berlin in the late 1920s and with acrylics on boards, with a mixture of airbrush early 1930s Rolf Brandt created several albums of and brush combined. Brautigam is also well known collages, one of which was donated to the Victoria for being a pioneer in using black paint on book iland Albert Museum (England Gallery retrospective, lustrations, which revolutionized the illustration in-2005). In London, the Brandt brothers became part dustry. More than thirty years later, his original of an intellectual and artistic milieu in Hampstead method is still the archetype upon which innumer-in the late 1930s and ’40s. Rolf at times served as his able contemporary illustrations are based. Over a

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Brillhart
wide-ranging career, Brautigam has produced paint-

(DAW, 1996), Man Who Would Not Die (NAL, ings for many advertisements, magazine covers, 1982), The Mask (Berkley, 1990), Michaelmas record/CD covers, and books — both hardcover and (Berkley/Putnam, 1977), Mind Bend (NAL, 1985), paperback. His list of clients includes some of the Mutation (Putnam, 1989), Night Chills (Berkley, largest names in the music industry, Metallica, 1986), Night Shift (NAL, 1978), Outbreak (Putnam, AC/DC, ZZ Top, Mötley Crüe, and The Rolling 1987), Phantoms (Berkley, 1983), Raven (DAW, Stones, as well as well-known authors like Dean R.

1996), Red Sands (Warner, 1993), Retribution (DAW, Koontz, Stephen King and Robin Cook, whose pop-1998), The Revelation (NAL, 1989), The Running ular thriller/suspense books blend science with Man (NAL, 1982), Second Skin (Pocket, 1995), Shat-fiction, on the edge of the SF genre. His corporate tered (Berkley, 1986), Skeleton Crew (Putnam, 1985), clients have included companies like Pepsi, and Slipt (Ace, 1991), The Stand (NAL, 1976), TEEK

Warner Communications. Brautigam’s mass-mar-

(DAW, 1999), There’s No Place Like Home (Troll/Wa-ket cover for Stephen King’s The Stand was awarded termill, 1997), Three Complete Novels by Dean Koontz Cover of the Year by Marketing Bestsellers in 1980, (Putnam, 1993), Tommyknockers (NAL, 1988), Twi-and he has received numerous other awards and light Eyes (Berkley, 1985), Up the Walls of the World commendations for his art. He has worked for many (Berkley/Putnam, 1974), Vampire Nations: Red Moon icons in the science fiction, fantasy and horror field, Rising, Malachi’s Moon (DAW, 2001, 2002), Virtual and numbers his covers for Koontz (at least eleven) Light (Spectra/Bantam, 1993), The Vision (Berkley, and King (at least ten) among his favorites, but con-1986), Voice of the Night (Putnam, 1992), Whispers fesses he has lost count of the total number. He be-

(Berkley, 1980), Winter Lord (NAL, 1982).

lieves there are “a few hundred,” most of them MAGAZINES ILLUSTRATED INCLUDE:

thrillers and mysteries, and contemporary mass mar-IASFM: 1983 (2)

ket science fiction and fantasy/horror, for which his DEST: 1978 (#1); 1979 (#2)

stark, non-narrative designs are particularly well suited. He also has enjoyed long-lasting relation-Brillhart, Ralph
ships with people in the field, as well: people such as Ann Spinelli, Art Director for Putnam Publishing, (?) American artist. A prolific paperback cover and Dean Koontz, of whom Brautigam says “both artist during the 1960s, practically nothing is known had great ideas, and are good friends.” Brautigam is of this artist beyond his credits for the books he il-married to Diane, with two sons, Daniel and James, lustrated. Brillhart produced competent, surrealistic who is also an Artist. An art book compendium of artwork in gouache for several paperback publishers, some of Brautigam’s best works,
primarily for Monarch’s science fiction line. He also Don Brautigam
produced a few covers for Belmont Books, Pyramid Portfolio, with an introduction by Dean Koontz, was published by Centipede Press, 2007.

and Ballantine. He seems to have largely left the field Sources: e-mail from Daniel Brautigam, June 2007; Sem by mid 1960s, only to return for one or two titles in Hadland interview, at Encyclopedia Metallica, www.encycmet.

1981–1982.

com/news/2002-06-13b.shtml [accessed June 2006]; Wein-Sources: Weinberg, 1988.

berg, 1988.

Published Work

Published Work

After Doomsday (Ballantine, 1962), The Ayes of B

Texas (Del Rey, 1982), Caves of Steel (Pyramid, 1962), OOKS ILLUSTRATED INCLUDE: Ancient Images (SFBC, 1990), The Bachman Books (NAL, 1985), A Choice of Gods (Ballantine, 1982), Colors of Space The Bad Place (Berkley, 1990), Billy (Macdonald, (Monarch, 1963), Day the Earth Froze, Day the Ma-1991), Blood Music (Ace, 1986), Bright Shadow chines Stopped, Day the Oceans Overflowed (Monarch, (DAW, 1997), Bug Jack Barron (Berkley, 1987), Car-1963, 1964 ), D-99 (Pyramid, 1962), The Ends of the rion Comfort (Warner, 1990), Cold Fire (Putnam, Circle (Ballantine, 1981), Invasion From 2500 (Mon-1991), Creature (Bantam, 1989), Dark Companions arch, 1964), Martian Time-Slip (Ballantine, 1964), (Tor, 1985), Dark Fall (Berkley, 1986), The Dark Masters of Science Fiction (Belmont, 1964), Memory Half (NAL, 1987), Dark Matter (Doubleday, 1990), Bank (Airmont, 1962), Mr. George and Other Odd Dark Tide (DAW, 1993), The Dark Tower III: The Persons (Belmont, 1964), My Name is Legion (Bal-Waste Lands (w/ Phil Heffernan, Penguin/Plume, lantine/Del Rey, 1981), A Plague of Pythons (Ballan-1992), The Difference Engine (Spectra/Bantam, 1991), tine, 1965), Planet Big Zero (Monarch, 1964), The Different Seasons (NAL, 1982), Dolores Claiborne Red Planet (Monarch, 1962), Rest in Agony (Mon-

(NAL, 1993), Dragon Tears (Putnam, 1993), Dreamer arch, 1963), Running Man (Monarch, 1963), Selected (St. Martin’s, 1991), Family Trade (NAL, 1983), The Stories and Poems (Airmont Classics, 1962), Space by Flesh, the Blood, and the Fire (DAW, 1998), Hide-the Tale (Ballantine, 1964), Space Prison (Pyramid, away (Putnam, 1992), House of Shards (Tor, 1988), 1962), Star Bridge (Ballantine/Del Rey, 1982), Sten The Judas Cross (Warner Aspect, 1994), Killjoy Adventure #1 (Del Rey, 1982), Ten from Infinity

Brom

122

(Monarch, 1963), Their Majesties’ Bucketeers (Bal-colors are deep, saturated and intense. Some of his lantine Del Rey, 1981), The Third Eye (Belmont, best imagery has been collected in art books, no-1968), Unending Night (Monarch, 1964), Witch tably Darkwërks (2005). Brom has appeared in Spec-House (Monarch, 1962), Wolfhead (Berkley, 1978), trum Anthologies 1, 5, 11, 12 (Underwood-Miller/

World Grabbers (Monarch, 1964), The Year’s Best SF

Underwood, 1994–2005). He frequently attends 7th Annual (Dell, 1963).

comic book, gaming and fantasy conventions such as GenCon, Origins, San Diego Comic Con and will Brom, Jerold
be Artist Guest of Honor at the World Horror Con-

(b. March 9, 1965) American artist. Born in Al-vention, 2006. Brom currently resides with his fam-bany, Georgia, Brom is the son of a U.S. Army pilot, ily in the Seattle area of Washington State.

and spent his school-age years living in various lo-Sources: www.wizards.com; en.wikipedia.org/wiki/Brom cales, among them Japan, Alabama, and Hawaii. He

[accessed 10/27/05]; Art of Brom: The Darkwërks. FPG Inc., 1997; “Artist Spotlight on Brom” White Wolf Magazine, #46 p.

graduated from high school in Frankfurt, Germany.

60; Offerings: The Art of Brom. Paper Tiger/Chrysalis, 2003; A self-taught artist, he became a commercial illustrator at the age of 20, and within two years had ac-Collections/Anthologies
quired art representation and was doing work for (various contributing artists)

clients such as Coca-Cola, IBM, Columbia Pictures Frank, Jane and Howard. The Frank Collection: and CNN. In 1989 Brom entered the fantasy field, A Showcase of the World’s Finest Fantastic Art (Paper working for TSR, Inc.’s Dungeons & Dragons role Tiger, 1999), Grant, John, Elizabeth Humphrey, playing games and book lines, notably their best-with Pamela D. Scoville. The Chesley Awards for Sci-selling Dark Sun world. He has since been known ence Fiction and Fantasy Art: A Retrospective U.K.: professionally by his last name only, and signs his (AAPPL, 2003), Heeszel; Marlys (ed). The Worlds of work “Brom.” With an early interest in dark fantasy, TSR (TSR, 1994); Jude, Dick. Fantasy Art Masters.

the artist was inspired at first by Frank Frazetta*, (HarperCollins, 1999), High Tech & Low Life: The Boris Vallejo* and artists then working in the TSR, Art of Shadowrun (FASA, 1997). Masters of Drag-Inc. studio, such as Jeff Easley* but in time he deonlance Art (Wizards of the Coast, 2002).

veloped his own intense, dark and distinctive style Published Work
of expression.

BOOKS WRITTEN AND ILLUSTRATED: Brom’s Little In 1994, after four years at TSR, Brom returned Black Book graphic novel (Sirius, 2001), The Plucker to the freelance market. In addition to producing (Abrams, 2006).

cover art for novels and games, he has been a designer for character and concept development for BOOKS ILLUSTRATED INCLUDE: Abyss (Global movies, computer games and toys. Brom created ilGames, 1997), Arcanis: Blood Reign of Nishanpur, lustrations for comics by DC, Chaos, and Dark Spear of the Lohgin (Paradigm Concepts, 2000, Horse and computer games for iD, Blizzard, Sega 2001), The Banned and the Bannished (1) Wit’ch Fire and Activision computer games ( Doom II, Diablo II, (2) Wit’ch Storm, (3) Wit’ch War (4) Wit’ch Gate (Del Heretic, Skyborg: Into the Vortex). He was a concep-Rey/Ballantine, 1999), The Compleat Dying Earth tual artist on movies such as Van Helsing (2004), (BCE/SFBC, 1998), A Knight of the World (Del Rey, Scooby-Doo (2002), The Time Machine (2002) (un-1998), Masquerade of the Red Death: (1) Blood War (3) credited), Ghosts of Mars (2001), Bless the Child The Unbeholden (White Wolf, 1995), MasterHarper (2000), Tim Burton’s Sleepy Hollow, and Galaxy of Pern (Del Rey/Ballantine, 1998), The Roads Be-Quest (1999). There has also been a line of Brom tween the Worlds: Vol 6 The Eternal Champion (White fetish toys from Fewture and a series of bronzes from Wolf, 1996), Running with the Demon (Del Rey/Bal-the Franklin Mint. He continues to work for TSR, lantine, 1997), Tarzan at the Earth’s Core/Tarzan the Inc.’s successor, Wizards of the Coast producing col-Invincible (Del Rey, 1997).

lector card art for their fantasy role playing game GAME-RELATED ILLUSTRATIONS INCLUDE: Against Magic: The Gathering and cover paintings for their the Giants: The Liberation of Geoff (TSR, Inc., 1999), War of the Spider Queen series and reprints of The Arena of Thyatis (TSR, Inc., 1990), Armies of the Avatar series. His art is seen on a range of specialty Abyss d20 System (Green Ronin, 2002), Book of gaming magazines ( Rifter, Shadis, White Wolf, oth-Fiends d20 System (Green Ronin, 2003), Cloud Peo-ers).

ple (TSR, Inc., 1991), Complete Book of Dwarves Brom’s paintings are marked by strong composi-

(TSR, Inc., 1991), Complete Book of Elves, Complete tion and anatomy, and a stylized yet highly original Spacefarer’s Handbook (TSR, Inc., 1992), Complete gothic interpretation of fantasy game concepts and Book of Gnomes and Halflings (TSR, Inc., 1993), characters. His specialty is heavily muscled warriors, Complete Book of Necromancers (TSR, Inc., 1995), fetishistic females, and bizarre creatures with a some-The Created (TSR, Inc., 1993), Encyclopedia Mag-what sinister cast. He paints primarily in oils, and the ica Vol 1, 3 (TSR, Inc., 1994, 1995), Dark Ages: Tran-

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Brosnatch
sylvania by Night (White Wolf, 1997), Dark Sun: Ronin, 2001), Legions of Thyatis (TSR, Inc., 1990), Freedom, Dark Sun World Boxed Set, Dark Sun: Prism Masters of Eternal Night (TSR, Inc., 1998), Monster Pentad (1) Verdant Passage (2) Crimson Legion (3) Compendium: Monsters of Faerûn (Wizards of the Amber Enchantress (TSR, Inc., 1991), Dark Sun: Ar-Coast, 2001), Nightbane RPG (Palladium, 1995), cane Shadows, Asticlian Gambit, Dragon Kings, Dune Planescape: The Inner Planes (TSR, Inc., 1998), Pulp Trader, Monstrous Compendium Appendix: Terrors of Dungeons: Amazon’s Gold, An Infestation of Kobalds, the Desert, Road to Urik, Slave Tribes, Valley of Dust Caves of the Accursed Wings, Dragon’s Fountain, and Fire, Veiled Alliance (TSR, Inc., 1992), Dark Dwarf Hold, Forsaken Elves, Halls of the Coven, Ogre Sun: Black Flames, Cerulean Storm, City-State of Tyr, Smash!,Orc’s Lair, Shaman’s Totem, Zombie’s Curse Complete Gladiator’s Handbook, Dark, Dragon’s (Corsair, 1996), Return to the Temple of Elemental Crown, Earth, Air, Fire, and Water, Elves of Athas, Evil (Wizards of the Coast, 2001), Rifts World Book Ivory Triangle, Marauders of Nibenay, Merchant Six: South America (Palladium, 1994), Shadowrun: House of Amketch, Obsidian Oracle (TSR, Inc., Harlequin’s Back (FASA, 1994), Spelljammer: Lost 1993), Dark Sun: Black Spine, Brazen Gambit, City Ships, Wildspace (TSR, Inc., 1990), Star*Drive: Alien by the Silt Sea (TSR, Inc., 1994), Dark Sun: Tribe of Compendium, On the Verge, Starfall (TSR, Inc., One —(1) Outcast (2) Nomad, (3) Seeker (TSR, Inc., 1998, 1999), Starships (TSR, Inc., 1999), Stormrid-1994), Dark Sun: Cinnabar Shadows, Dark Sun ers (TSR, Inc., 1990), Stronghold Builder’s Guidebook Chronicles of Athas: (2) Darkness Before the Dawn (3) (Wizards of the Coast, 2002), Terra Verde (White Broken Blade (TSR, Inc., 1995), Dark Sun: Rise and Wolf, 1994, 2001), Tome of Magic, Tree Lords, Under Fall of a Dragon King (TSR, Inc., 1996), Deadlands: the Dark Fist (TSR, Inc., 1991), Vampires & Liches Hell on Earth — Monsters, Muties & Misfits (Pinnacle, d20 System (Necromancer Games, 2003), Vampire: 1999), Deadlands: The Weird West—Book o’ the Dead, The Masquerade: Bloodwar, Unholy Allies (White Rascals, Varmints & Critters, Tales o’ Terror: 1877

Wolf, 1995), Vampire: The Requiem—Nomads, Vam-

(Pinnacle, 1996, 1997, 1998), Death in Freeport, Hell pire Storyteller’s Screen Art (White Wolf, 2004), War in Freeport, Madness in Freeport, Terror in Freeport of the Spider Queen: (1) Dissolution (2) Insurrection (Green Ronin, 2000, 2001), Deep Horizon, Defend-

(3) Condemnation (Wizards of the Coast, 2002, ers of the Faith (Wizards of the Coast, 2001), Drag-2003), Wheel of Time RPG (Wizards of the Coast, onlance: Oak Lords, Dragonlance Saga: Elven Nations 2001), Wild Elves (TSR, Inc., 1991), Winterheim Trilog y (1) Firstborn (2) Kinslayer Wars (3) Qualinesti (Wizards of the Coast, 2003), Wraith: The Obliv-

(TSR, Inc., 1991), Dungeons and Dragons Rules Cy-ion — Necropolis: Atlanta (White Wolf, 1994).

clopedia (Wizards of the Coast, 1991), Elric: Tales of MAGAZINES ILLUSTRATED INCLUDE:

the White Wolf (White Wolf, 1994), Epic Level Hand-DRA: 1990 (6, 7); 1991 (9); Issue #185. 1993 (6, book (Wizards of the Coast, 2003), Fading Suns Play-9); 1994 (8, 10); 1999 (9,10); 2000 (#272); 2001
ers Companion, Fading Suns: d20 (Holistic Design, (#279, 3); 2002 (12); 2003 (10); 2004 (8) 1997, 2001), Faiths and Pantheons (Wizards of the DUN: 2002 (1/2)

Coast, 2002), Fiend Folio (Wizards of the Coast, ROF : 1996 (4); 1998 (8); 1999 (6)

2003), Firstborn (Wizards of the Coast, 2004), For-Misc. : Dark Knight Dynasty (DC Comics, 1997), gotten Realms: Black Courser, Blood Charge, Draco-Dark Age: Feudal Lords card Art (FPG, Inc., 1996), nomicon, Dwarves Deep, Old Empires, Stormriders Dragonlance Calendar 1992 (TSR, Inc.), Guardians: (TSR, Inc., 1990), Forgotten Realms: Anauroch, Ruins Dagger Isle card Art (FPG, Inc., 1995), Heresy: King-of Undermountain (TSR, Inc., 1991), Forgotten Realms: The Twilight Giants (1) Ogre’s Pact, Forgotten dom Come card art (Last Unicorn Games, 1995), Realms: Avatar Series (4) Prince of Lies (TSR, Inc., Lord of the Rings collector cards (ICE, 1996), Magic: 1993), Forgotten Realms: Thornhold (TSR, Inc., The Gathering card art: Mirrodin (Wizards of the 1998), Pool of Radiance: Attack on Myth Drannor Coast, 2003), Postcards from Brom: Dark Fantasy (TSR, Inc., 2000), Ghostwalk (Wizards of the Coast, postcard series (Cartouche Press, 2001).

2003), Golden Orb (Wizards of the Coast, 2002), A Guide to Hell (TSR, Inc., 1999), GURPS Character Brosnatch, Andrew, Jr.

Sheets (Summer of Horror Edition), GURPS Dead-

(October 24, 1896–December 26, 1965) Ameri-lands: Wanted Undead or Alive, Aces and Eights, can artist. An early illustrator for Weird Tales mag-GURPS Magic Items 3; GURPS Traveller Heroes: azine, Brosnatch (birth name Andrej Brosnac) was Bounty Hunters (Steve Jackson Games, 2001, 2002, born in Fayette, Pennsylvania of parents who emi-2003), Hero Builder’s Guidebook (Wizards of the grated from a small coal-mining village in Slovakia.

Coast, 2000), Legacy of the Drow (Wizards of the Little is known of the early history of this artist, Coast, 2003), Legend of the Five Rings — Clan War other than the interesting fact that he is likely closely Book: #1 The Scorpion, #2 The Unicorn, #3 The Crane related to the American abstractionist artist Steve (Wizards of the Coast, 2000), Legions of Hell: Vol. 1

Wheeler (born Stephen Brosnatch Jr., 1912, Slovakia, The Book of Fiends d20 System game module (Green and raised in the same coal-mining area in Pennsyl-

Brown

124
vania), whose career appeared to have followed quite first cover for a science fiction magazine proper was a different path than Andrew’s, and is better known.

for that magazine, in October, 1933, and he domi-Andrew Brosnatch illustrated many famous horror nated the magazine from 1933 through 1937. He cre-and fantasy stories in the 1920s, but, as Weinberg ated every cover from January 1934 through May notes, he “proved unequal to the task … (H)is 1937, and about half of the covers through Novem-mediocre covers were surpassed only by his equally ber 1938. While Brown’s execution at first was sim-terrible interior illustrations.” (1988, p. 64). Wein-ple and childish, he rapidly developed into an artist berg goes on to relate how Brosnatch was consid-noted for his striking use of colors and willingness ered a “bargain artist”—working for Weird Tales dur-to portray fantastic monsters; he was one of the ing a period when the magazine was on shaky greatest of the BEM (bug-eyed monster) painters for financial ground, and payment to artists was among the pulps. His interiors, done in charcoal pencil, the lowest of all pulp magazines. Brosnatch appar-were much more subdued but equally well done. In ently left the pulp field once he left that magazine, 1936 Brown prepared a series of highly acclaimed il-at some point in 1926. However, he remained a com-lustrations for two H.. P. Lovecraft novels, The mercial artist, living in Chicago, Illinois and work-Shadow Out of Time and At the Mountains of Mad-ing in advertising according to the U.S. census of ness. However, when John W. Campbell became ed-1930. He died in Los Angeles, California.

itor of the magazine, he wanted a different look, Sources: Ancestry.com. U.S. World War II Draft Regis-something less garish, and Brown’s “wild” covers tration Cards, 1942; 1930 United States Federal Census Cal-were out.. By 1937–1938 Brown was alternating with ifornia Death Index, 1940–1997 [database on-line]. Provo, UT, USA: The Generations Network, Inc., 2000, 2002, 2006; Wesso (who made a brief comeback) and other Morphological Totems — American painter Steve Wheeler artists for covers. Meanwhile, Brown had already works shown Art in America, Dec, 1998 by David Ebony (ar-begun painting covers for Thrilling Wonder Stories ticles online); Weinberg, 1988.

and Startling Stories, published by Standard maga-Published Work
zines. After Gernsback lost Wonder Stories and his BOOKS ILLUSTRATED INCLUDE: The Brain in the Jar main artist Frank R. Paul stopped doing covers for and Others: Collected Stories and Poems (Necronom-that magazine, Brown did every cover from August icon Press, 1992).

1936 through August 1940, with the exception of the August 1937 issue, which was done by Wesso.

MAGAZINES ILLUSTRATED INCLUDE:

The Standard pulps were aimed at a somewhat more WT: 1924 (11, 12); 1925 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10.

juvenile audience than Astounding, and Brown’s dra-11, 12); 1926 (1, 2, 3, 4)

matic monster covers art matched the contents perfectly. His pictures of “huge scientific machines Brown, Howard V.

dwarfing humanity” also were popular with readers ( July 5, 1878–1945) American artist. One of the who “preferred rampant technology to rampant sex-most popular early science fiction illustrators, uality.” (Haining, p. 168) Although he produced Howard Vachel Brown was born in Lexington, Ken-more art for Astounding, he did his finest work for tucky, and received his art education at the Chicago Thrilling Wonder and Startling.

Art Institute, and later the Art Students League, in Considered one of the “Big Four” science fiction New York. He was a prolific artist, with his science illustrators of the 1930s (with Leo Morey*, H. W.

fiction art representing only a small part of his total Wesso, and Frank R. Paul) Brown painted ninety output. From 1913–1931 Brown was the cover illus-covers in all by 1940, even though he was in late 50s trator for Scientific American, and he also illustrated before he started. Brown’s paintings were exhibited for Gernsback’s Electrical Experimenter (1916–1917), at the National Academy and featured by the Interand painted over fifty cover paintings for Science national Exhibition of American Illustrators. He was and Invention (1919). However, his earliest science a member of the Society of Illustrators (NY) from fiction art was done not for science fiction maga-1910, Brown was a long time resident of New Jersey, zines ( Amazing being the only genre SF magazine was married to Pearl P. Brown (1878–1974) and had published at the time, and it was dominated by the one daughter, Margaret (b. 1911).

work of Frank R. Paul*), but for Argosy— which Sources: Clute, John and Nicholls, Peter, Eds. The Ency-published a great deal of science fiction in the late clopedia of Science Fiction (St. Martin’s Press, 1993); Haining, Peter. The Classic Era of American Pulp Magazines (Prion 1920s. Brown painted covers for SF stories such as Books, 2000), Weinberg, 1988. www.Ancestry.com 1910

“Darkness on Fifth Avenue” (1929), “Rain Magic”

United States Federal Census; 1920 United States Federal Cen-

(1928), and “The Girl in the Moon” (1928).

sus; 1930 United States Federal Census; World War I Draft When Astounding Stories of Super Science was Registration Cards, 1917–1918; U.S. World War II Draft Registration Cards, 1942 [database on-line]. Provo, UT, USA: bought by Street & Smith, and re-launched as As-The Generations Network, Inc., 2006, 2005, 2002, 2007.

tounding Science Fiction, Brown was brought in to handle the covers, displacing Hans Wesso*. Brown’s

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Brundage

Collections and Anthologies
sought magazine work, saying “I was trying to get out (various contributing artists)

of the black & white, and if possible, into color.”

Aldiss, Brian. Science Fiction Art: The Fantasies of She looked up Weird Tales— at that time the only SF (Bounty Books, 1975), Di Fate, Vincent. Infinite publishing house with editorial offices in Chicago —

Worlds: The Fantastic Visions of Science Fiction Art without any knowledge of the contents of the pulp (Wonderland Press/Penguin, 1997), Kyle, David. A or familiarity with fantasy or science fiction. “I didn’t Pictorial History of Science Fiction (Hamlyn, 1976).

know that they published Oriental Tales, but I just happened to have a drawing of an Oriental dancer Published Work
in my samples, and they … decided to give me a ASF : 1933 (11, 12); 1934 (1, 2, 3, 4, 5, 6, 7, 8, 9, job, even though they knew I knew nothing about 10, 11, 12); 1935 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1936
color reproduction.” (Everts, ibid. ) The artwork in (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1934 (1, 2, 3, 4, 5, her portfolio had caught the eye of Farnsworth 6, 7, 8, 9, 10, 11, 12); 1938 (2, 4, 5, 6, 7, 10, 11); 1939

Wright, editor of both Weird Tales and a companion (2)

magazine, Oriental Tales (later Magic Carpet) and he SS: 1939 (1, 5, 7); 1940 (1, 5)

hired Brundage to paint a cover for the latter mag-TWS: 1936 (8, 10, 12); 1937 (2, 4, 6, 10, 12); 1938
azine. The art proved so popular that Wright gave her (2, 4, 6, 8, 10, 12); 1939 (2, 4, 6, 8, 10, 12); 1940 (1, a Weird Tales cover assignment. Soon she crowded all 2, 3, 4, 5, 6, 7 8)

other artists from the cover of the magazine.

Her first cover for Weird Tales appeared on the Brundage, Margaret Johnson

September 1932 issue of the magazine, and she went (December 9, 1900–April 9, 1976) American on to create covers for 39 straight issues from June artist. The first and only female illustrator to suc-1933 to August 1936. Her last original cover was for ceed as a pulp cover artist in a field dominated by the January 1945 issue, for a total of 66 original cov-men, Brundage made an indelible mark on the hisers (the total of 67, often cited in sources, includes tory of magazine art. She was the leading cover artist a repeat of that final 1945 cover on the November for Weird Tales during the height of the pulp’s pop-1953 issue). As Weinberg observed “(her) earliest ularity and strongly influenced the style and con-covers showed the strong influence of fashion detent of the work of many other artists who followed.

sign, featuring a prominent female figure, usually Born Margaret Hedda Johnson in Chicago, Illi-partially clothed, with a vague menace hinted at in nois, of Scottish and Swedish ancestry, the artist was the background. She was very good at painting a lifelong resident of that city. Her father died when women, but was not very good at portraying men-she was eight years old, and she was raised by her aces or monsters.” (1988, p. 67). Her first cover, il-mother (Margaret Jane Loutit Johnson) and grand-lustrating “The Altar of Melek Taos” presaged the mother in a Christian Science household. She at-look of those to follow: a semi-nude young woman, tended McKinley High School in Chicago and Walt one breast exposed, being grasped from behind by an Disney was coincidentally, a classmate. “Of course, awkwardly posed “Rudolph Valentino’–type model.

I finished; he didn’t,” she remarked in an interview This was not surprising; as she could not afford with R. Alain Everts, conducted three years before models, she used magazine photos as reference.

her death, “He lied about his age to get into the What was surprising, was her talent for producing Army in World War I. But we both went to art strikingly erotic images — a talent which Wright en-school together, to the Chicago Academy of Fine couraged because even in the 1930s, sex sold maga-Art. I was there, I think, about 1921–1922–1923 or zines. Soon, Brundage’s women had less and less so …(and) was considered one of their better stu-clothing, the poses became increasingly provocative, dents. I don’t think I ever got their certificate of grad-and the erotic aspects of the pictures increased (her uation, because I could never letter. Never! My let-whipping scenes attracted the highest attention).

tering is the world’s worst.” (Everts, 1983). After Brundage worked in pastel chalks on illustration completing their two-year course, she began to free-board or paper, and the colors gave her work a soft lance, doing fashion designs for various newspapers.

beauty that was unlike anything else being published She married in 1927 to Myron “Slim” Brundage, by in the magazine field. At the same time, the themes all accounts a philanderer with tendencies toward of her paintings were thrilling, depicting sensual radical politics and alcohol, and had one son, born scenes of beautiful women and “unspeakable threats shortly thereafter [Kerlyn Byrd Brundage (1927–
to their virtue.” While other cover artists offered su-1972)]. The marriage led to her art career since a pernatural thrills, like the powerful covers by Hans wandering husband who disappeared for weeks at a Wesso* for Strange Tales, Brundage was the first of the time, a baby son, and an invalided mother (from a pulp artists to depict torture and bondage. At first, broken hip suffered from a fall), forced her to work.

her covers were well received, with many readers When the Depression made fashion jobs scarce, she writing in enthusiastic praise. However, as the nudes

Brundage

126
grew bolder, reader sentiment began to change. Her lived on the East Coast, took over cover assignments covers became a focus of extreme attention and confor Weird Tales. Brundage found little market in troversy after October 1934 when Wright revealed, Chicago for her pastel nudes and left the fantasy art that the covers were being done by a woman (Since field, although she did sell a few more paintings to she signed her work “M. Brundage,” many of the Weird Tales in the 1940s. By this time she was di-magazine’s readers were unaware that the artist was vorced from her husband and was forced to take var-female.) Complaints filled the letter column of Weird ious low-paying jobs — a far cry from the handsome Tales: it was all right to feature nudes on the cover but $90 per cover she had been paid for her cover paint-not nudes that were painted by another woman.

ings. Brundage appeared at a number of science (Weinberg, p. 66). Wright continued to use Brun-fiction conventions and art fairs in subsequent years, dage, however, despite the complaints, because at where (it is said) some of her original period works the height of the Depression magazines were com-were stolen. Largely forgotten by most science fiction peting fiercely for readers and the covers and the and fantasy fans, she died in near poverty after a controversy helped sell Weird Tales to those who long illness.

might otherwise have never looked at his magazine.

Weinberg, an authority on pulp magazines, who Her name became virtually synonymous with that of knew Brundage and interviewed her in Chicago the magazine in the minds of readers.

prior to writing his biography, said of her impact on Several authors, seeing the slant that Brundage the field: “Brundage’s nudes brought sex to the cov-covers had taken, made sure that their stories fea-ers of science fiction and fantasy magazines. Most tured at least one scene with a nude woman in jeop-covers before hers had featured either giant machin-ardy. Seabury Quinn freely admitted that he aimed ery, spaceships, or monsters. Brundage’s work proved his stories for the cover of Weird Tales by featuring that the same type of cover that sold many other naked women in his work no matter what the main pulp magazines would also work for the SF-fantasy theme of the tale was (Weinberg, ibid. ). When Vir-lines. She was the first of many artists to become gil Finlay* first began illustrating covers for Weird known for women-in-peril-style covers.” (1988).

Tales, many of his paintings showed a strong Today, with both Weird Tales and her covers revered Brundage influence. Wright thought that Brundage-by pulp fans, it’s a shame that so few of her original style nudes sold the magazine.

cover paintings have survived; it appears that time, When Weird Tales was sold in late 1938, and the and the fragility of her medium, have taken their editorial offices moved to New York, Brundage toll. Newfound collector interest in her work re-found herself without a job. She worked only in pas-vealed that only about fourteen Brundage Weird tels, a fragile medium that presented practical prob-Tales cover originals still exist, making them exceed-lems with shipping the art from Chicago to New ingly rare and valuable.

York. Her artwork, usually painted twice or three Sources: Everts, R. Alain. “Woman of Weird Tales: An Intimes the size of the published cover (i.e., approxi-terview with Margaret Brundage” Conducted in Chicago on August 23, 1973 originally published in Etchings & Odysseys #2, mated 20" × 16") had to be kept under glass at all 1983, and later Lovecraft’s Weird Mysteries #4, 2001 and on-times, and shipping glass to New York was expensive.

line at http://members.aol.com/weirdtales/brundage.htm [ac-She knew the disadvantages of pastels, and knew she cessed Nov 2007]; Weinberg, 1988.

would have to go into another medium to keep the Collections and Anthologies
contract, but she could not, or would not, switch: (various contributing artists)

“After Mr. Wright died, the new editor contacted Frank, Jane and Howard. The Frank Collection: me and I did one cover in oil — but it wasn’t as good A Showcase of the World’s Finest Fantastic Art (Paper as my best. Well, I guess they didn’t like it very well.

Tiger, 1999), Haining, Peter. The Classic Era of They paid me for it, but I never heard from them.”

American Pulp Magazines (Chicago Review Press, (Everts, 1983). There was also a time limit; Brundage 2001), Martignette, Charles and Meisel, Louis K.

worked two months in advance, and that left little The Great American Pin-up (Taschen, 1996).

time for corrections at long distance. Brundage used to visit Wright at his office every week to discuss Published Work
cover ideas after she had read the story, and that was FA: 1945 (4)

now impossible. Another reason for her losing the WT: 1932 (9, 10); 1933 (3, 6, 7, 8, 9, 10, 11, 12); contract, however, was the new “decency” standard 1934 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1935 (1, 2, 3, being imposed (primarily through the efforts of 4, 5, 6, 7, 8, 9, 10, 11, 12); 1936 (1, 2, 3, 4, 5, 6, 7, 8–9, then-mayor of New York Fiorello La Guardia) on 11); 1937 (1, 3, 5, 6, 8, 9, 10, 11); 1938 (1, 3, 5, 6, 8, pulp magazines sold at newsstands, and the nude or 9, 10); 1940 (3, 7, 11); 19441 (3, 7, 9); 1942 (7), 1943
semi-nude young women that had been the primary (5, 9); 1944 (5); 1945 (1); 1953 (11) subjects of Brundage’s covers were not acceptable.

Therefore, Virgil Finlay, her chief competitor, who

127

Burns

Bull, Reina M.

Sphere, Panther, Corgi, Orbit, Coronet, Methuen, (?) British artist. Little is known of Bull’s life or Pierrot and others. Increasingly drawn to science career apart from four distinctive cover paintings she fiction material, he did little other work outside the created for John Carnell’s magazines Science Fantasy genre. He originally worked in watercolors, then and New Worlds in 1951–1952. As Aldiss observed, gouache. By 1980 all his illustrative work was in oils, Bull was “one of the most remarkable artists to enter including the largest projects at the time, his collab-the British field” ( Science Fiction Art, p. 100–101), yet orations with Harry Harrison. He spent two years it remains a mystery why she left the field so soon.

creating about thirty large oil paintings for the il-With anatomy less delicately sensuous and graceful lustrated novella by Harrison called Planet Story, than Margaret Brundage’s* earlier femmes, and fea-published by the now defunct Pierrot Publishing, tures less attractive than Rowena Morrill’s* later in 1979. In retrospect, he considers that publication ones, Bull’s sexually charged and stylishly posed to have been pivotal in the development of his career.

women seem to relate to both artists in terms of their Other collaborations included Mechanismo (1977) power to convey emotional intensity. Bull’s paint-and Great Balls of Fire (1978). In 1980 Burns was ap-ings, according to Mike Ashley (Weinberg, 1988) proached by the film director, Ridley Scott, and

“were full of action, power, and menace … (per-ended up working on his movie Blade Runner. Burns haps) these qualities were too strong for the modest spent “ten very interesting and exciting weeks in English readership…” (p. 67). Bull’s cover for the Hollywood” and at the end found he had made a Winter issue of Science Fantasy 1951–1952, for ex-switch from oils to acrylics. His involvement with the ample, shows a caped, helmeted art moderne inspired American publisher, Bantam Books, led to a series futuristic ebony man winging over a stylized me-of covers for novels by author Robert Silverberg, tropolis with a familiarly posed and scantily clad which were very well received. This was followed by redheaded damsel clutched in his arm. Nor was all dozens of assignments from Dell, Avon, Ace and the “sizzle” driven solely by her imagination, for as Berkley, while at the same time he continued work-Aldiss points out, “(T)he phallic symbols in the ing for British publishers such as Gollancz. In short, background (of her painting for New Worlds, Au-over the course of thirty years, Burns has produced tumn 1951) are strictly contemporary with the paint-book jackets and covers for hundreds of books both ing: the Skylon and the Dome of Discovery in the in the U.K. and the U.S.A., and in the process has 1951 Festival of Britain.” Her paintings were signed become among the best known and important of

“RMB.”

British science fiction illustrators to have entered the Sources: Aldiss, Brian. Science Fiction Art. Bounty Books/
field in the last quarter of the twentieth century.

Crown, 1975. Pp. 100–101; Weinberg, 1988.

Largely uninfluenced by the boxy, mechanistic rePublished Work
alism of Chris Foss*, whose “look” inspired many NW: 1951 (fall); 1952 (11)

artists in the early 1980s, Burns instead perfected his ScF : 1951 (winter); 1952 (spring)

own style. He became known for detailed, photorealistic interpretations of futuristic scenes, and in particular for his fantastic sleek and gleaming “hard-Burns, Jim
ware.” His heroic characters where always believable, (b. April 10, 1948) British artist. Born in Cardiff, and he often featured beautiful — and frankly sen-South Wales Burns was obsessed from an early age sual — females (both human and alien) as central with flying machines and airplanes, and was a de-figures, set against imaginary, but intricately devoted fan of Frank Hampson’s* Dan Dare comic-signed machines or spaceships. “Dark, moody land-strip series in Eagle magazine. To fulfill his dreams, scapes, interiors of spaceships, sterile laboratories —
in 1966 he joined the Royal Air Force as a trainee all can be the perfect setting for the mysterious pilot. Falling short of RAF standards, and not con-beings that inhabit writers, and therefore Burns’ cretent to stay on in a non-flying capacity, after two ations,” says Frank in her article on the artist, 1993.

years he left the service and applied to Newport What his otherworldly images share in common is School of Art for a year’s foundation course. He was their unique visual appeal. His airbrush technique accepted and went on to complete a three-year enabled him to depict land, sky and shiny metallic Diploma in Art and Design course at St. Martin’s space vehicles so perfectly painted that you felt you School of Art in London, 1969 to 1972. By the time could reach out and feel the touch of chrome.

he left St, Martin’s he had already been signed up

“Everything — and everyone — looks sleek, sexy, by John Spencer’s recently established illustration slippery and built for speed,” writes Haber, in her agency, Young Artists, and he has remained with that 1998 article describing how Burns walks the fine line agency, later re-named “Arena Agency,” ever since.

between artistic and commercial art. “There are no The years between 1973 and 1980 were spent ex-hard angles,” she notes, while at the same time his vi-clusively on work for British publishers, including sual inventiveness and sense of composition lends

Burns

128
an importance to even the tiniest of details. “A par-

(Pierrot, 1980), Evans, Chris. Lightship: Jim Burns adox of (Burns’) work is its depiction of delicacy bal-Master of SF Illustration (Paper Tiger, 1985), Frank, anced against massive power,” adding “Burns is Jane and Howard. The Frank Collection: A Showcase known for his “baroque organic touches, with their of the World’s Finest Fantastic Art (Paper Tiger, 1999), antique and art-historical references.… Even his ma-Frank, Jane and Howard. Great Fantasy Art Themes chinery has a rococo anthropomorphic feel, as if it’s from the Frank Collection (Paper Tiger, 2003), Jim about to morph into some strange and provocative Burns Portfolio (Paper Tiger, 1990), Jim Burns in new life form.… It’s as though he wedded art nou-Miniature: portfolio (Paper Tiger, 1994), Jude, Dick.

veau to super realism.” (p. 42)

Fantasy Art Masters. (HarperCollins, 1999), Harrison, Burns has won the Hugo award for Best Pro-Harry. Great Balls of Fire (Pierrot, 1977), Harrison, fessional Artist three times — the first, and only Harry Mechanismo (Pierrot, 1978), Harry Harrison.

non–American to date to ever have won it — and has Planet Story (Pierrot, 1979), Sacks, Janet. Visions of won the BSFA (The British Science Fiction Award, the Future (Chartwell/New English Library, 1976), equivalent to the U.S. Hugo) sixteen times — more Suckling, Nigel. Heroic Dreams (Dragon’s World, times than anyone else in the history of the award, 1987).

including writers. He has been nominated as Best Artist in the annual Locus polls more than fifteen Published Work
times, and for Chesley awards more than ten times.

BOOKS ILLUSTRATED INCLUDE: Ag yar (Tor, 1993) His popularity and reputation was such that in the An Earthly Crown (DAW, 1993), Amtrak Wars early 1990s he began to be referred to by fans as the (Sphere, 1983), Ancient Light (NAL, 1988), Ancient

“British Michael Whelan*”— not only because his Shores (HarperCollins, 1995), Aristoi (SFBC/Tor, style was similarly realistic and “slick” but because 1991, Grafton, 1993), Armageddon Blues ( Armor Burns was the only artist whose skills were great (DAW, 1996), Artificial Things (Bantam, 1989), Best enough to compete with Whelan’s hold on the SF au-of Arthur C. Clarke Vol 1, Vol 2 (Sphere, 1981), Best dience. Burns’ work has been included in several SF Stories from New Worlds 7, 8 (Panther, 1971, 1974), Beyond Bedlam (Sphere, 1973), Beyond the Farthest traveling exhibitions and group shows in England Star (Tandem, 1976), Big Planet (Coronet, 1977), and the U.S., and has appeared in Spectrum antholo-Bio of a Space Tyrant trilog y: 1 Bio of a Space Tyrant; gies. The artist was also the subject of a special doc-2 Mercenary; 3 Politician (Avon, 1984), Bios (Tor, umentary that was aired on Wales BBC.

1999), Black Mist/Japanese Futures (DAW, 1997), Since the late 1990s an increasingly significant Blind Lake (Tor, 2003), Blown (Quartet, 1975) Book proportion of Burns’ commercial work has been of Manna: 1 Lucky’s Harvest; 2 The Fallen Moon (Gol-completed on a computer — a development he finds lancz, ), Book of Skulls (Bantam, 1982), Book of the exciting and challenging. This development has mo-Short Sun Trilog y (Tor, 2001), Born with the Dead tivated collectors’ interest in private commissions, (Bantam/Coronet U.K., 1983), Bouncing Off the which in turn has enabled him to explore new Moon (Tor, 2002), Bronze of Eddarta (Bantam, themes — a development he finds equally exciting 1983), Brother to Demons, Brother to Gods (Panther, and challenging. Burns lives in Wiltshire with his 1980), Burning Heart of Night (DAW, 2002), Cere-wife Sue, who is also an artist (they met art college).

monies (Bantam, 1985), Chantry Guild (Ace, 1988), He has four children — Elinor, Megan, Gwendolen, The Chosen (Bantam, 2000), Chronoliths (Tor, and Joseph.

2000), Chung Kuo: 1 The Middle Kingdom; 2 Broken Sources: e-mail from the artist and artist biography at Wheel; 3 White Mountain; 4 Stone Within; 5 Beneath www.alisoneldred.com; Barnet, Paul. “Burnsing Passions: Jim Burns Interviewed” at SF Crows Nest e-zine at www.com-the Tree of Heaven (Dell, 1990, 1991, 1993, NEL, putercrowsnest.com; Foyles Bookshop art gallery exhibit, July-1993), Claw of the Conciliator (SFBC, 1999), Clone August 2000 artist supplied biography at www.sflink.net/

(Quartet, 1974), Confluence (SFBC, 2000), Confed-events/artgallery/jim_burns.htm; Frank, Jane “Jim Burns: Bio eration Handbook (Warner Aspect, 2002), Conglom-of a Space Artist” Gallery in: Science Fiction Age, July, 1993; Haber, Karen. “Jim Burns: Images Burned into Our Mind,”

eroid Cocktail Party (Gollancz, 1989, Bantam, 1984), Gallery in: Realms of Fantasy, June, 1998.

Context (Transworld, 2000), Crossfire (Tor, 2003), Crucible (Tor, 2003), Crystal Singer Omnibus (Corgi, Collections and Anthologies

1999), Cyberiad (Futura, 1976), Damiano trilog y: 1

(various contributing artists)

Damiano; 2 Damiano’s Lute; 3 Raphael (Bantam, Barnett, Paul ed. Paper Tiger Fantasy Art Gallery 1984), Darwinia (Tor, 1997), Deathbird Stories (Paper Tiger, 2002), Burns, Jim . Imago (Heavy (Macmillan Collier Nucleus, 1990), Devil’s Armour Metal, 2007), Burns, Jim. Transluminal (Paper (Gollancz/Orion, 2004), Downward to the Earth Tiger, 2000), Caldwell, Steven. Worlds at War (In-

(Bantam, 1984, Gollancz, 1990), Dream Archipelago tercontinental, 1980), Dean, Martyn, ed. The Guide (Simon & Schuster U.K.), Dream Park (Bantam, To Fantasy Art Techniques (Arco, 1984), Edwards, 1983), Dreamthief ’s Daughter (Simon & Schuster Malcolm and Holdstock, Robert. Tour of the Universe U.K., 2001), Durdane Trilogy (Coronet, 1974), Dying

129

Burns

Inside (Bantam, 1983), Dying of the Light (Mille-Mother of Plenty (Harper Collins, 1997), Mountains nium, 2000), Emergence (Bantam, 1984), Emperors of Majipoor (Bantam, 1995), Mutant Legacy (Ban-of the Twilight (DAW, 1994), Engines of God (Harper tam, 1993), Mutant Prime (SFBC/Bantam, 1990, Collins, 1996), Eon (Gollancz, 1986), Exordium: 1

1991), Mutant Season (Bantam, 1990), Mutant Star Phoenix in Flight; 2 Ruler of Naught; 4 Rifter’s (Bantam, 1992), Naked God (McMillan, 1999), Nano Covenant; 5 Thrones of Kronus (Tor, 1992, 1994, Flower (Tor, 1998), Neutronium Alchemist (Macmil-1995), Expendables: 1 Deathworm/Kratos (Coronet, lan, 1996), New Worlds 2 (Gollancz, 1992), Night 1979), Eye of the Tiger, (2003, ), Eyes of God 1, 2

Train to Nigel (Tor, 2004), Nightwings (Avon, 1983), (Orion, 2001), Explorers of Gor (Star, 1980), Face of Nimisha’s Ship (Bantam, 1998), Northwest Smith the Waters (Grafton, 1991), Fallen Dragon (Macmil-

(Ace, 1982), On Blue’s Waters (Tor, 2000), O Pio-lan, 2001, Warner Aspect, 2002), Farnham’s Free-neer (Tor, 1997), Orcs: First Blood: Bodyguard of hold (Panther, 1979), The Fetch (Orbit, 1991), Forests Lightning (Gollancz, 2001), Other Edens I, II, III of the Night (DAW, 1992), Forever War (Harper-

(Unwin Hyman, 1987, 1989), Our Friends From Collins, 2003), Futurological Congress (Futura, 1976), Frolix 8 (Panther, 1984), Out of the Silent Planet Gate of Worlds (Magnum, 1979), Giant Book of Sci-

(HarperCollins, 2000), Pandora’s Star (Macmillan, ence Fiction Stories (Magpie, 1992), Gilgamesh the 2003), Paradox (Bantam, 2000), Pasquale’s Angel King (Bantam US, 1985), Gilgamesh the King (Ban-

(Gollancz, 1993), Pavane (Orion, 2000), Perelandra tam/Gollancz U.K. 1984), Glass of Dyskornis (Ban-

(HarperCollins, 2000), Phoenix in Flight (Tor, 1993), tam, 1982), Godwhale (Methuen, 1976), Gray Prince Plenty Principle (HarperCollins, 1997), Quicker Than (Coronet, 1976), Green and the Gray (Tor, 2004), the Eye (Earthlight, 1997), Reality Disfunction Guide to the Uplift Wars (Bantam, 2001) Gwen in (Macmillan, 1995), Red Dust (Gollancz, 1992), Re-Green (Coronet, 1975), Handful of Men: 1 Cutting turn to Eddarta (Bantam, 1984), Return to the Whorl Edge; 2 Upland Outlaws; 3 Stricken Field; 4 Living (Tor, 2002), Quiet of Stone (Bantam, 1983), Red Dust God (Ballantine/Del Rey, 1992), Hawksbill Station (Gollancz, 1993), Robots (Robinson, 1989), Salt (Warner, 1986), Hearts, Hands and Voices (Gollancz, (Sterling Publishing/Gollancz, 2002), Search for KA 1991), Heaven’s Reach (Bantam, 1997), Helm (Tor, (Bantam, 1984), Seasons of Plenty (Harper Collins, 1999), Heretics of Dune (Gollancz, 1983), His Con-1994), Second Chance at Eden (Macmillan, 1998), quering Sword (DAW, 1992), Homeward Bound (Bal-Seed of Light (Coronet, 1977), Silverheart (Simon & lantine/Del Rey, 2004), Hostile Takeover: 1 Profiteer; Schuster/Earthlight, 2000), Soothsayer (Ace, 1991), 2 Partisan; 3 Revolutionary (DAW, 1994), House on Sorcerers of Majipoor (Harper & Row, 1997), Stain-the Borderland (Orion/Gollancz, 2002), Ice Schooner less Steel Rat For President; Stainless Steel Rat Gets (Panther, 1985), Illustrated Man (Bantam, 1988), Drafted; Stainless Steel Rat Is Born; Stainless Steel Rat’s Image of the Beast (Playboy Press, 1980), Imajica Revenge; Stainless Steel Rat Saves the World; Stainless (HarperCollins, 2000), Infinity’s Shore (DAW, 1996), Steel Rat Wants You (Bantam, 1985, 1989), Standing In Green’s Jungles (Tor, 2000), Jaran (DAW, 1992), Dead (Transworld, 2000), Stand on Zanzibar (Gol-Jewels of Aptor (Sphere, 1983). Jumping Off the Planet lancz, 1999), Star of Gypsies (Warner, 1988), Sword (Tor, 2001), Kaeti on Tour (Sirius, 1992), Karma Born; Sword Sworn (DAW, 1998, 2002), Tales of Sec-

(Sphere, 1980), Kiln People (Tor, 2001), Kingdoms of tor General (SFBC, 2003) Tangents (Popular Library the Wall (Harper Collins, 1992), King of Dreams US/Gollancz, 1990), Tenebrea Rising (Pocket, 2002), (Voyager, 2001), Leaping to the Stars (Tor, 2002), Third Eagle (Bantam Spectra, 1990), Thorns (Bantam, Less Than Human (Warner, 2003), Let the Fire Fall 1983), A Time of Changes (Warner, 1986), Time’s (Panther, 1977), Lifeburst (Sphere, 1985), Longest Arrow trilog y (Byron Preiss, 1998), To Live Again Way Home (Orion/Gollancz, 2001), Long Run (Ban-

(Warner, 1986), To Open the Sky (Bantam, 1984), tam, 1989), Long Way Home (Panther, 1975), Lord Tom O’Bedlam (Warner, 1986), To the Land of the Prestimion (Harper & Row, 1999), Lord Soho (Simon Living (Gollancz, 1989), Tower of Glass (Bantam

& Schuster/Earthlight, 2001), Lord Valentine’s Cas-1983, Gollancz, 2000), Valentine Pontifex (Bantam, tle (Bantam, 1981, Voyager, 1999), Mage of Clouds 1984), Venus Prime: 1 Breaking Strain; 2 Maelstrom; (DAW, 2003), Majipoor Chronicles (Bantam, Gol-3 Hide and Seek; 4: The Medusa Encounter; 5: The lancz, 1982), Man in the Maze (Avon, 1981), Manseed Diamond Moon; 6 The Shining Ones (Avon, 1987, (Sphere, 1982), Man Who Fell to Earth (Bantam, 1988, 1989, 1990, 1991), The Wanderer (Sterling/Gol-1981), Man Who Melted (Bantam, 1985), Marcus De-lancz, 2002), Wasp (Sterling /Gollancz, 2002), vice (Bantam, 1981), Martian Rainbow (Ballantine Watching Trees Grow/Tendeléo’s Story (Orion/Gol-Del Rey, 1981), Masks of Time (Bantam, 1983), lancz, 2002), When Gravity Fails (Bantam U.K., Marune (Coronet, 1978), Master of Life and Death 1991), Windhaven (Millenium, 2000), World Inside (Tor, 1986), Microcosmic Tales (DAW, 1992), Mis-

(Bantam, 1982), World of 1000 Colors (Bantam, spent Youth (Macmillan, 2002), Mockingbird (Ban-1983), Worlds Apart (Ace, 1984), The 1990 Annual tam, 1984), Moonbane (Bantam, 1989), Monster Men World’s Best SF (DAW, 1990).

(Tandem, 1976), Mortal Gods (Panther, 1980),

Burr

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MAGAZINES ILLUSTRATED INCLUDE:

fans of their father’s writing, according to Danton ASF : 1992 (12); 1993 (4, 5, 12); 1995 (7); 1996 (7, Burroughs, only his father “JCB” ( John Coleman 8, 10); 1998 (4, 7/8)

“Jack” Burroughs), the third child, in his opinion HM: 1981 (2); 2004 (3)

“added significantly to Burroughs’ works with new IASFM: 1992 (4); 1993 (4, 5); 1994 (7); 1998 (6); creative material, although Hulbert was very in-1999 (10/11)

volved in photography and ERB, Inc. business mat-INT: 1992 (12); 1993 (4); 2000 (4)

ters and Joan starred as Jane in the 1932 Tarzan radio SFAge: 1993 (1)

serial.” ( JCB Tribute). “Jack” Burroughs was trained WD: 1982 (8); 1983 (7); 1988 (7, 9); 1991 (2) as an artist and illustrator and graduated Phi Beta Misc.: Discworld Calendar 2002 (Orion, 2002), Kappa , magna cum lauda from Pomona College in Warhammer 40,000: Space Marine box cover (Box-1934. Afterward, he studied art under Russian/Amer-tree, 1993).

ican artist Nicolai Fechin (1881–1955). Because he had grown up in an atmosphere “saturated by his fa-Burr, Linda J.

ther’s famous creations,” it is not surprising he would (b. January 6, 1951) American artist. Burr at-be influenced by J. Allen St. John*, who illustrated tended the Memphis College of Art and the Uni-most of Edgar Rice Burrough’s early works, nor that versity of Tennessee in Knoxville, Tennessee as a he would want to illustrate his father’s works.

graduate student, 1976–1979. She worked for the At age 23, he produced the cover and two interior Missouri Mines Historical Site and as an art instruc-illustrations for his first ERB book: The Oakdale Af-tor for the Mineral Area College, and remains a fair and the Rider, published in 1937. The illustrations long-time resident of that state. One of a few tal-were a success, and John Coleman went on to illus-ented women who made efforts to become known in trate all future ERB books published during his fathe field in the early 1980s, Burr got jobs from mag-ther’s lifetime — a total of thirteen books and over azines and book club editions but failed to fully re-125 illustrations—beginning in 1937 and continuing alize her talents. Her style was influenced by the im-until Edgar Rice Burroughs death in 1950. He also pressionists, particularly clued Monet and by wrote several science fiction stories and novels in twentieth century surrealists, including Ernst and collaboration with his brother Hulbert (“Hully”), Dalí. She painted with oil on canvas, frequently over published in Thrilling Wonder, Thrilling Mystery, air-brushed acrylic underpainting. In black-and-Amazing Stories magazines. Jack’s last novel, Trea-white work, she used pencil. With regard to her phi-sure of the Black Falcon, was published by Ballantine losophy of art, she believes that “art is the continu-Books in 1967, although it had been written twenty ous remixing of the imagination and observation, years earlier. He also illustrated an ERB miniature to the result of expressing the vision that exists in book — Tarzan, Jr. — for Colleen Moore’s Fairy Cas-my mind’s eye. To do this successfully is the great-tle Collection in Chicago, 1937, created a John Carter est of satisfactions.” Burr was a member of Buck-of Mars Sunday strip for Dell’s The Funnies comics, horn Studios in the early 199s, a relatively short-and produced a 32-page comics adaptation of David lived attempt by artist Douglas Beekman* to Innes of Pellucidar, as well as illustrating several Big represent other artists in the field. She is known prin-Little Book covers.

cipally for her covers for Zelazny’s Amber series, for After the death of his father, Burroughs turned Arbor House and Morrow’s Book Club editions.

to fine art and became a painter of scenes of the Sources: Weinberg, 1988.

Southwest. He did many character studies of Indi-BOOKS ILLUSTRATED INCLUDE: Blood of Amber ans and cowboys and had many successful one-man (Arbor House/SFBC, 1987), The Cult of Loving shows and gallery exhibits throughout the West.

Kindness (Morrow, 1991), Frost & Fire (Morrow, Burroughs was married twice: first to a Pomono Col-1989), Knight of Shadows (Morrow/SFBC, 1989).

lege classmate, Jane Ralston (December 12 1936), A Place Among the Fallen (Arbor House, 1987), who later served as his model and art assistant. They Prince of Chaos (Morrow/SFBC, 1991), Sign of Chaos had three children, John Ralston Burroughs, Dan-

(Arbor House/BCE, 1987 ), The Wine-Dark Sea ton Burroughs, and Dian Burroughs. The marriage (Arbor House, 1988).

ended in divorce in 1961. Burroughs married his sec-MAGAZINES ILLUSTRATED INCLUDE:

ond wife, Mary, in December, 1962; this marriage ASF : 1987 (10)

ended in divorce c. 1972.

IASFM: 1983 (7, 10); 1984 (12); 1988 (1); 1990 (12) Sources: John Coleman Burroughs Tribute Site www.john-colemanburroughs.com/intro/; Weinberg, 1988.

Burroughs, John Coleman

Published Work

(February 28, 1913–February 22, 1979) American BOOKS ILLUSTRATED INCLUDE (ALL BOOKS PUB-artist. Although all Edgar Rice Burroughs’ chil-LISHED BY TARZANA/ERB, INC.) Back to the Stone dren — Joan, Hulbert, and John Coleman — were Age (1937), Carson of Venus (1939), The Deputy Sher-

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Caldwell
iff of Comanche County (1941), Escape on Venus The Art of Ciruelo (Bast Editorial, 1997). Magia: The (1946), The Lad and the Lion (1938), The Land of Ciruelo Sketchbook (DAC, 2000). Cuaderno de Via-Terror (1944), Llana of Gathol (1948), The Oakdale jes de Ciruelo ( Journeys notebook (DAC, 2005).

Affair and the Rider ( 1937), Synthetic Men of Mars (1940), Tarzan and the Forbidden City (1938), Tarzan Published Work
and the Foreign Legion (1947), Tarzan the Magnificent BOOKS ILLUSTRATED INCLUDE: Athyra (Ace, (1939).

1993), Brian Boru: Emperor of the Irish (Tor, 1995), Bruce Colville’s Chamber of Horror: #1 Amulet of MAGAZINES ILLUSTRATED INCLUDE:

Doom; #3 Eyes of the Tarot (Archway/Pocket Books, SS: 1941 (9)

1996), Corsair (Warner, 2001), The Crimson Shadow: Cabral, Ciruelo

#1 Sword of Bedwyr; #2 Luthien’s Gamble; #3 The Dragon King (Warner, 1995, 1996, 1997), Chronicles (b. July 20, 1963) Argentinian artist. The artist of the Shadow War: #1 Shadow Moon; #2 Shadow known professionally as “Ciruelo,” was born in Dawn (Bantam Spectra, 1996, 1998), Dark Glory Buenos Aires, Argentina. His formal art training was War (Bantam, 2000), A Dragon-Lover’s Treasury of the limited to a few courses in drawing and advertising Fantastic (Warner, 1994), The Dragon Sorcerer design, after which, at the age of 18, he immediately (ibooks, 2003), The Dungeon (ibooks, 2003), Elmin-found work as an illustrator in an advertising agency.

ster in Myth Drannor (Wizards of the Coast, Inc., At 21 he became a freelance illustrator, and has never 1998), Evermeet: Island of Elves (TSR, Inc., 1999), desired any other career. In 1987, Argentina’s eco-Fortress Draconis: Book 1 of the DragonCrown War nomic problems combined with a desire to be Cycle (Bantam, 2001), Hel’s Crucible: Into the Forge; among other artists interested in fantasy art, drove Into the Fire (ROC, 1998), Rider At The Gate Cabral to travel to Europe and settle in Sitges, “a (Warner, 1995). Saltflower (Avon, 1971), Shadow-quaint and magical town near Barcelona, on the born: Ravenloft Book 16 (TSR, Inc., 1998), The True shores of the Mediterranean Sea”— well-known as Knight (Ballantine, 1996), The Watershed Trilog y: #1
an artist’s community. He worked for publishers in A Breach in the Watershed; #2 Darkenheight; #3 War Spain, England, the United States and Germany, of Three Waters (Berkley/Ace, 1996, 1997), When and he continues to work for the U.S. market, cre-Dragons Rage (Bantam, 2002), A Wizard in Absen-ating strong and realistic fantasy images. He has tia (Ace, 1993).

worked for TSR, Inc., Berkley, Tor, Warner, Bal-GAME-RELATED ILLUSTRATIONS INCLUDE: HARP: lantine, and magazines — Heavy Metal, and Playboy.

High Adventure Role Playing source book, HARP reFor Bantam, he did the trilogy written by George vised 2nd ed. system manual (Iron Crown Enter-Lucas, Chronicles of the Shadow War. He created a prises, 2003, 2004), Magic: The Gathering, 7th Ed.

number of rock album covers outside the genre, as card art (WoTC, 2001), Netheril: Empire of Magic well as fantasy role-playing game art for Wizards of Forgotten Realms game module (TSR, Inc., 1996).

the Coast ( Magic cards).

One of a handful of internationally known artists,

“Ciruelo” has accomplished that feat through a com-Caldwell, Clyde
bination of talent and a rigorous exhibition and (b. February 20, 1948) American artist. Caldwell travel schedule to promote his publications and origis a native of North Carolina, and by the time he inal artworks. Cabral works in acrylics, handbrush had earned his MFA from the University of North or airbrush, on canvas or illustration board. Since Carolina at Greensboro, he had already decided on 1995 Cabral has produced three-dimensional works a career in illustration. Frank Frazetta* and Roy he calls “Petropictos”—paintings on stone—and ex-Krenkel* were early influences, as were Wally hibits and sells them in galleries. He paints directly Wood*, Jeff Jones*, and others. Caldwell’s father was onto the surface of stones, using acrylics, following a printer, and worked for a company called Radia-their natural configurations to discover images of tor Specialty, where Sam Grainger — an artist who animals and human figures. Through DAC Edi-did comics work for Marvel—also worked. As child, tions, Ciruelo self-publishes a variety of products, Caldwell would do drawings of super heroes and including prints, paintings, calendars, posters, port-them to Grainger for critiquing. Later on, after he folios, and reproductions of his sketchbooks. He had graduated from college, Caldwell began free-lives with his wife Daniela and two children, An-lancing for Grainger who by then had begun his own gelo and Lys, in Sitges.

commercial animation studio in Charlotte, NC.

Sources: email from the artist February 2007; www.dac-After doing some Dragon magazine covers on a free-editions.com/
lance basis, TSR, Inc. offered him a staff job in the COLLECTIONS AND ANTHOLOGIES: Ciruelo: The early 1980s, and he moved to Lake Geneva, Wiscon-Art of Ciruelo (Paper Tiger, 1990), The Book of the sin headquarters of the company.

Dragon (Timun Mas, 1990, Paper Tiger, 1992), Luz: Few artists have had the opportunity to see their

Caldwell

132
names, and their artistic styles, become practically Art Collections and Anthologies
synonymous with an entire art movement. Such is (various contributing artists)

the case with artists who spent the bulk of their early Blashfield, Jean (ed). The Art of Dragon Magazine years in the illustrative field working for what histor-

(TSR, Inc., 1988); Weis, Margaret (ed). The Art of the ically is the most dominant fantasy role-playing Dungeons & Dragons Fantasy Game (TSR, Inc., 1985); game company,TSR, Inc. For almost ten years Cald-Kirchoff, Mary (ed). The Art of the Advanced Dun-well worked side by side with other early staff artists geons & Dragons Fantasy Game (TSR, Inc., 1989); Kirin TSR’s art department — Easley*, Parkinson*, and choff, Mary (ed.) The Art of the Dragonlance Saga Elmore*— to visualize “sword and sorcery” and fan-

(TSR/Wizards of the Coast, 1998); Heeszel; Marlys tasy adventure gaming products and publications.

(ed). The Worlds of TSR (TSR, Inc., 1994).

Caldwell uses live models, both male and female, and usually photographs them in costumes appro-Published Work
priate to the specific assignment. He works in tradi-BOOKS ILLUSTRATED INCLUDE: Allies of Antares tional media, primarily oil, but also acrylic and pen-

(DAW, 1981), Bedlam’s Bard (Baen, 1997), The cil, and is perhaps best known for his colorful Chrome Borne (Baen, 1999), Chrysalis 4 (Zebra, portrayals of strong, sexy female characters — his 1979), The Devil and Dan Cooley (Baen, 1996), Ex-self-professed favorite subject matter.

iles at the Well of Souls (Baen, 2001), Fiddler Fair His colorful and recognizable imagery appeared on (Baen, 1997), Glenraven, Glenraven 2: In the Mist covers and interiors of TSR, Inc.’s game and book (Baen, 1996, 1997), Glory Road (Baen, 1995), Hadon lines, including paintings for calendars 1985 through of Ancient Opar (DAW, 1981), Hell on High (Baen, 1993. He was cover artist for the Dungeons & Drag-1996), The Hunter (Warner, 1989 ), King’s Son, Magic’s Son (Baen, 1993), Martian Nightlife (Baen, ons(™) Gazetteer game module series and the 2001), Midnight at the Well of Souls (Baen, 2001), Ravenloft(™) series, and his work was included in Mind of the Magic (Baen, 1994), Minerva Wakes several TSR art books (see for example: The Art of (Baen, 1993), On Arena (Warner, 1991), The Other-Dungeons & Dragons, 1985 and The Art of Advanced world (Baen, 1999), The Rose Sea (Baen, 1993), The Dungeons & Dragons, 1989).

Sherwood Game (Baen, 1994), Sight of Proteus (Ace, In 1992, Caldwell left TSR, Inc. to pursue a free-1978), Silverlight: The Arcana (Baen, 1995), Sympa-lance career. His clients are diverse but focused in thy for the Devil (Baen, 1995), There Will be Dragons the genre, and have included major book publishers (Baen, 2004), Virgin Planet (Baen, 2000), Wiz Biz (e.g., Baen, Ace, Avon, Warner), several genre mag-2 (Baen, 2000).

azines ( Heavy Metal, The Savage Sword of Conan, Epic Illustrated, Dragon and Dungeon, among others), MAGAZINES ILLUSTRATED INCLUDE:

and gaming companies. Caldwell also has published DRA: 1982 (#58, #65); 1983 (#69, #71, #72, his art in posters, limited edition prints, a resin figure

#80); 1985 (#94); 1988 (#134, #139); 1989 (#145, based on one of his paintings, and portfolios, and

#147, #150, #151); 1991 (#172); 1994 (#205) he maintains an active exhibition schedule at gam-DUN: 1986 (#2)

ing and comic conventions. A collection of his imPOLY: 1990 (9); 1992 (2, 4)

ages was published in a trading card series, 1995.

InQ: 1998 (#41, #47); 1999 (#54); 2000 (#68); Caldwell has one daughter, Kelly, and lives in 2005 (#120)

Wisconsin with his wife, Sharon.

GAME-RELATED ILLUSTRATIONS INCLUDE: AD&D

Sources: www.clydecaldwell.com; Caldwell, Clyde. The Art of Clyde Caldwell. US: SQP, 2002; McMahan, Scott, Ed.

Dungeon Master’s Guide, 2nd Ed. (TSR, Inc., 1989), Cyber Reviews: The Lost Art of Clyde Caldwell. Online cyber-Allisa of the Mists Forgotten Realms Adventures(™) reviews.skwc.com (accessed May 12, 2005); Ness, Alexander.

(TSR, Inc., 1990), Artifact of Evil Greyhawk Adven-

“An interview with the artist Clyde Caldwell” in Thoughts tures(™) (TSR Inc., 1986), The Atruaghin Clans From the Land of Frost. Special Edition, April 2005 Online Gazetteer module (TSR, Inc., 1991), Azure Bonds www.robingoodfellow.com (accessed May 17, 2005).

(TSR Inc., 1988), Blade of the Young Samurai PORTFOLIOS INCLUDE: Death Angels (Caldwell, D&D(™) (TSR, Inc., 1984), The Book of Lairs Ad-1991), Kingdom of Knives Set 1, 2 (SQP, 1993, 1994); vanced Dungeons & Dragons(™) (TSR, Inc., 1986, Savage Hearts: The Clyde Caldwell Sketchbook, Vol-The Book of Marvelous Magic Dungeons & Drag-ume 1 and 2 (SQP, 1997, 2002), Warrior Queens ons(™) (TSR, Inc., 1984), Captive Planet Star Fron-

(SQP, 1994).

tiers novel (TSR, Inc., 1984), Castle Caldwell and Beyond Dungeons & Dragons(™) (TSR, Inc., 1985), Castle of the Undead (TSR Inc., 1994), The Complete Barbarian’s Handbook (TSR Inc., 1995), The Complete Bard’s Handbook (TSR, Inc., 1992), The Complete Book of Dwarves (TSR, Inc., 1991).

The Complete Book of Gnomes and Halflings (TSR

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Caldwell

Inc., 1993). The Complete Book of Humanoids (TSR

Rose Ravenloft(™) (TSR Inc., 1991), Lankhmar: City Inc., 1993). The Complete Ranger’s Handbook (TSR
of Adventure, Revised Ed. (TSR, Inc., 1993), Legacy Inc., 1993), The Complete Wizard’s Handbook (TSR, of Blood: Dungeons & Dragons(™) (TSR, Inc., Inc., 1990), Conan the Buccaneer (TSR, Inc., 1985), 1987), The Spindle: Master Player Screen Dungeons Coral Kingdom Forgotten Realms(™) (TSR Inc.,

& Dragons(™) (TSR, Inc., 1985), Master Wolf 1992), Dance of the Dead Ravenloft(™) (TSR Inc., (TSR Inc., 1987), The Minrothad Guilds: Gazetteer 1992), Dark Heart (TSR Inc., 1992), Dawn of the module (TSR, Inc., 1984), Mordenkainen’s Fantastic Emperors Gazetteer Boxed Set (TSR, Inc., 1989), Adventure: Greyhawk (TSR, Inc., 1984). Name of The Demon Hand Greyhawk Adventures(™) (TSR
the Game (TSR Inc., 1988), Needle game module Inc., 1988), Dragon of Doom (TSR Inc., 1983), Drag-

(TSR, Inc., 1987). Night of the Seven Swords Orien-onlance Campaign Player’s Guide (TSR, Inc., 1993), tal Adventures(™) (TSR, Inc., 1986), The North-Dragonlance Fifth Age supplement (TSR Inc., 1996), ern Reaches Gazetteer module (TSR, Inc., 1984), The Dragons (TSR Inc., 1988, 1995), Dragons of Despair Oath and the Measure: Dragonlance(™) (TSR Inc., Dragonlance(™) module (TSR, Inc., 1984), Drag-1992), The Orcs of Thar (TSR, Inc., 1988). Pirates!

ons of Dreams Dragonlance(™) (1985), Dragons of d20 System rule book (Living Imagination, Inc., Triumph. Dragons of Truth Dragonlance(™) sup-2003), Pirates of the Fallen Stars Forgotten plement (TSR Inc., 1986), The Dragon’s Ransom Realms(™) module (TSR, Inc., 1992), Pool of Ra-Endless Quest(™) (TSR Inc., 1984), Dreams of the diance (TSR Inc., 1989), The Price of Power: Grey-Red Wizards supplement (TSR, Inc., 1988), The hawk Adventures(™) book (TSR Inc., 1987), Prince Druid Queen (TSR Inc., 1993), The Duchy of Ten of Lankhmar module (TSR, Inc., 1991), The Princi-Dungeons & Dragons(™) module (TSR, Inc., palities of Glantri Gazetteer module (TSR Inc., 1987), Duel of the Masters (TSR Inc., 1984), Earth-1987), Prophet of Moonshae Forgotten Realms(™) shaker! Dungeons & Dragons(™) (TSR, Inc., 1985).

(TSR Inc., 1992), Ravenloft(™) module (TSR, Inc., The Elixir of Life Advanced Dungeons & Drag-1983). Ravenloft Campaign Setting, 2nd Ed. (TSR, ons(™) (TSR, Inc., 1983), The Elves of Alfheim Inc., 1994), Ravenloft(™) II: The House on Gryphon Gazetteer module (TSR Inc., 1988). The Emirates of Hill

(TSR, Inc., 1986), Realm of Terror Ylaruam Gazetteer module (TSR, Inc., 1987), En-Ravenloft(™) (TSR, Inc., 1990), Realms of Valor cyclopedia Magica Volume 1, 2, 3, 4 and index (TSR, Forgotten Realms(™) (TSR Inc., 1993) Red Sands Inc., 1993, 1994), EverQuest Game Master’s Guide (TSR, Inc., 1988), Red Sonja module cover (TSR, (Sword & Sorcery Studios, 2002), Faerie Mound of 1986), Red Sonja Unconquered: Conan (TSR, Inc., Dragonkind game book (TSR, Inc., 1987), Fallen 1986). The Republic of Darokin Gazetteer module Angel Magic the Gathering(™) comic cover (Wiz-

(TSR Inc., 1989), Road to Danger (TSR Inc., 1998), ards of the Coast, Inc., 2002), A Feast of Goblyns Rogue’s Gallery game supplement (TSR, Inc., 1992), Ravenloft(™) module (TSR Inc., 1990), Flint the Ruins of Adventure: Forgotten Realms (TSR, Inc., King (TSR Inc., 1990), Forbidden Lore Ravenloft(™) 1988). Saga of the Old City Greyhawk Adven-

(TSR, Inc., 1992), Forgotten Realms(™) Adventures tures(™) (TSR, Inc., 1985). Secrets of the Dread (TSR Inc., 1990), The Forgotten King Advanced Realms (Sword & Sorcery Studios, 2001), Selene, Dungeons & Dragons (TSR, Inc., 1983). Forgotten Guardian of the Sanctuary Grenadier Model Kit Realms(™) Campaign Set (TSR, Inc., 1987), For-

(Wizards of the Coast, Inc., 2002), The Shadow Elves gotten Realms Campaign Setting, 2nd Ed. (TSR Inc., Gazetteer module (TSR, Inc., 1990). Ship of Horror 1993), The Fourth Nail Indiana Jones(™) (TSR, Ravenloft(™) module (TSR Inc., 1991). Song of the Inc., 1985). From the Shadows Ravenloft(™) mod-Saurials Forgotten Realms(™) (TSR Inc., 1991), ule (TSR, Inc., 1992). Gaming Unconquered: Touch Spellbound Forgotten Realms(™) (TSR, Inc., 1995), of Death Ravenloft(™) module (TSR, 1991), Spellfire (TSR Inc., 1988), Steel and Stone (TSR, Inc., Gamma World, 4th Ed. (TSR, Inc., 1992). The 1992), Streams of Silver: Forgotten Realms(™) (TSR

Golden Khan of Ethengar Gazetteer #12 (TSR Inc., Inc., 1989), Sundown on Starmist Star Frontiers mod-1989), The Grand Duchy of Karameikos Gazetteer ule (TSR, Inc., 1983), Tales of Lankhmar module module (TSR, Inc., 1987). Heart of Midnight (TSR

(TSR, Inc., 1991), Tanis, The Shadow Years Drag-Inc., 1992), The History of Dragonlance (TSR Inc., onlance(™) book (TSR, Inc., 1990), Tantras Forgot-1995), House of Strahd: Ravenloft(™) module (TSR, ten Realms(™) (TSR Inc., 1989), Tapestry of Dark Inc., 1993), The House on Gryphon Hill module Souls (TSR Inc., 1993), The Temple of Elemental Evil (TSR, Inc., 1986). Island at the End of the World (Pal-Advanced Dungeons & Dragons(™) (TSR, Inc., ladium, 1993). I, Strahd: The Memoirs of a Vampire 1985), Test of the Token of Dragonsblood (TSR, 1991), (TSR Inc., 1993), The Jewels of Elvish (TSR, Inc., Tome of Magic Advanced Dungeons & Dragons(™) 1989). Kindred Spirits: Dragonlance(™) book (TSR

(TSR, Inc., 1991), Touch of Death Ravenloft module Inc., 1991), The Kingdom of Ierendi: Gazetteer mod-

(TSR, Inc., 1991), Warlords Dungeons & Drag-ule (TSR, Inc., 1987), Knight of Illusion Endless ons(™) (TSR, Inc., 1984), Top Secret/S.I., 3rd Ed.

Quest(™) (TSR, Inc., 1986). Knight of the Black (TSR, Inc., 1987). Unsung Heroes (TSR, Inc., 1992).

Calle

134

Unconquered: Red Sonja module (TSR, Inc., 1986).

was shown at the National Air and Space Museum Vampire: Ravenloft(™) Boxed set (TSR, Inc., 1990), in 1989 as part of an exhibition commemorating the Vampire of the Mists (TSR Inc., 1991), Vampire Play-twentieth Anniversary of Apollo 11.

ers Guide, 2nd Ed., Vampire: The Masquerade (White Calle works primarily in oils or pencil, sharing Wolf, 1993), Wanderlust (TSR Inc., 1991), Warlords his skills for that medium in his book, The Pencil.

Oriental Adventures 1 on 1 Gamebook (TSR, Inc., Another book of his art, Paul Calle: An Artist’s Jour-1986); Waterdeep Forgotten Realms(™) (TSR Inc., ney, was awarded the prestigious Benjamin Franklin 1989), Werewolf Storytellers Guide. Werewolf: The Award for Fine Arts in 1993.

Apocalypse (White Wolf, 1994), Wild Things Ad-Calle now does historical paintings, with the sub-vanced Dungeons & Dragons(™) (TSR, Inc., ject matter primarily Western heritage — Native 1990). Wizard’s Challenge II Advanced Dungeons & Americans, trappers and mountain men, and the Dragons(™) (TSR, Inc., 1994), The Wyvern’s Spur trailblazers of North America’s uncharted territories, Forgotten Realms(™) (TSR, Inc., 1990).

which have won him a large following. In addition Misc.: Amazing Stories Calendar for 1986 (TSR, to major corporate and private collections, Calle’s Inc.), Amazon (Doubleday Book club advertising, artwork is in the permanent collections of numerous 1982), Art of Clyde Caldwell Collector Card series prestigious institutions including The National (FPG Pub, 1995), Dragonlance(™) Calendar for Aeronautics and Space Administration, The Na-1985, 1986, 1987, 1988 (TSR, Inc.), Dragonlance fan-tional Portrait Gallery, the National Air and Space tasy card art (InQuest, 2002), Forgotten Realms(™) Museum, the U.S. Department of the Interior and Calendar for 1989, 1990 (TSR, Inc.,), Heartbreakers the Gilcrease Museum. The artist received the dis-postcard editions (Steve Jackson Games, 2002), tinguished Nona Jean Hulsey Buyer’s Choice Award Heavy Metal Calendar (1974), Magic the Gathering at the Prix de West Invitational, presented by the card art: Mercadian Masques, Odyssey, Torment National Cowboy Hall of Fame and Western Her-

(Wizards of the Coast, 1999, 2000, 2001), Tribunal itage Center. His drawings and paintings have been video game cover (Bethesda Softworks, 1996), widely exhibited in the United States as well as in Women of Fantasy Calendar for 1993 (TSR, Inc., the former Soviet Union, Sweden and Poland.

1993), Wheel of Time card art (Precedence Games Sources: Correspondence with the artist, March, 2005; 1999).

James Dean and Pam Hait, Paul Calle: An Artist’s Journey (Mill Pond Press, 1992); Hereward Lester Cooke with James D.

Dean. Eyewitness to Space: From the Art Program of the Na-Calle, Paul
tional Aeronautics and Space Administration, 1963 to 1969 (New (b. March 3, 1928) American artist, well known York: Henry N. Abrams, 1971); Dr. Roger Launius and and highly regarded for his art of the American fron-Bertram Ulrich, NASA and the Exploration of Space (New York: Stewart, Tabori & Chang, 1998); Hereward Lester Cooke and tier and, at the other end of the spectrum, manned James Dean, The Pencil (New York: Watson-Guptill, 1974); space flight. Born in New York City, Calle attended The Postal Service Guide to U.S. Stamps, 28th Edition (New Pratt Institute in Brooklyn and was impressed by York: Harper Collins, 2001)

the figure work of Thomas Hart Benton. He sold Published Work
his first illustration to Liberty magazine at the age of BOOKS ILLUSTRATED INCLUDE: The Amphibians—

19, and by the late 1940s had begun working for the Galaxy Science Fiction Novel (4) (World Editions, pulps. After a few years he moved on to better pay-1949), The Legion of Space— Science Fiction Novel ing markets, producing illustrations for McCall’s, (2) (World Editions, 1950), The Star Seekers ( John The Saturday Evening Post, National Geographic, and C. Winston Company, 1953) The Warriors of the Fortune, among others. Calle published work under Day— Galaxy Science Fiction Novel (16) (Galaxy his own name and also “Paul Pierre” and “Peter Publishing, 1953)

Paulino.”

Calle was selected as official artist for the NASA MAGAZINES ILLUSTRATED INCLUDE:

Fine Arts Program and served as the official artist AMF : 1949 (12); 1950 (4, 7, 10)

covering the Apollo-Soyuz training for NASA GXY: 1953 (3)

(1975). He has designed 37 stamps for the U.S.

GXYN: 1950 (2)

Postal Service, among them the highly popular First IMG: 1953 (7); 1954 (3)

Man on the Moon tribute, a 10 cent airmail stamp SSS: 1949 (11); 1950 (1, 3, 5, 7,9, 11); 1951 (8) first issued September 9, 1969. Two paintings com-WB: 1950 (12)

memorating the 25th anniversary of the Moon landing, and the first twin stamp to commemorate the Canedo, Alejandro
successful Gemini Space Walk (1967) are also among (December 26, 1901–February 20, 1978) Ameri-his memorable designs. With no photograph in ex-can artist. Born in Mexico, Canedo worked for Asistence of this event, the painting has become the tounding Science Fiction in the late 1940s using the most authoritative visual record for posterity, and pen name “Alejandro.” His work was striking, some-

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Canty
what surrealist, and done in a post–World’s Fair, Art Morrissey*), Canty early in his commercial career Moderne graphic style. Earlier, Canedo illustrated developed a distinctive style of expression that im-Francis de Miomandre’s 1929 book Orientale mediately brought him attention in the field of fan-

(L’Aventure de Therese Beauchamps) and his 1930
tasy art. He began working out of the Newbury Stu-The Love Life of Venus (La vie amoureuse de Venus) dio, above a bookstore on Boston’s Newbury Street published by Bretano’s, in New York. The latter sometime in the 1970s — partnering with poet/car-book included several art nouveau-styled erotic art toonist Eric Kimball. Other illustrators later would illustrations, for which Canedo today is perhaps join the Studio for a while, among them Dean Mor-more widely known. Little is known of his career rissey*, Richard Salvucci, Robert Gould*, Phil beyond these few credited magazine and book illus-Hale*, and Rick Berry* but within the group were trations. From time to time, unpublished fine-art a few who were especially interested in exploring drawings and paintings surface, signed “Canedo.”

what Windling (1993) has called the second branch By the early 1960s he had moved to the west coast, of fantasy illustration, “New Romanticism”— ro-and showed work at the Gallery Gianni in Los An-mantic imagery updated for a contemporary audi-geles, in 1963.

ence. It was a style of art founded on 19th century Sources: Social security death index at www.ancestry.com; Arts and Crafts ideals, and more European in its Weinberg, 1988.

roots. Influenced by the Pre–Raphaelites, Mucha, Beardsley and Klimt. and Golden Age illustrators Published Work
such as Rackham, Nielson, and Dulac, the style is ASF : 1946 (12); 1947 (9, 12); 1948 (2, 5, 8); 1949
notable for its delicate line work and meticulous de-

(3, 10); 1952 (9); 1954 (7)

tailing. While this type of romantic fantasy art had been seen on children’s books and small press edi-Cantor, Ann
tions, Canty and Gould were “instrumental in (?) American artist. Research has uncovered noth-changing the bias against Romantic art for fantasy ing more than what Weinberg supplied in the way of books — which in turn assisted the commercial via-information about Cantor, a staff artist for Avon pability of a more Romantic brand of fantasy fiction,”

perbacks during the 1940s and early 1950s. As Wein-according to Windling.

berg notes, “During this period, art was not credited In the late 1970s, Canty’s drawings in graphite on covers, but a search of copyright records by paper-and watercolor paintings began to appear in books back collector Michael Barson uncovered Cantor as and prints. His Celtic inspired patterns and designs one of the mainstays of the Avon line.” A further featuring roses and trailing ivy vines made a strong search of copyright re-registrations uncovered one impact on a field used to seeing Frazetta-like mus-more, placed by Eleanor Merritt in 1977, for The Fox cular heroes on fantasy book covers, and not this Woman, identifying Cantor and associating her with sort of delicate romantic imagery. By the early 1980s, the story “The White Road”; this reinforces Wein-Canty had received his first commissions from New berg’s contention that Avon printed many of the ear-York publishers and from that point swiftly rose to liest science fiction paperbacks, and “Cantor was re-become one of the most accomplished and prolific sponsible for the art in several important books in book artists in the field of fantasy literature. He that line.” Since many of the Avon covers were not turned from watercolor to oil on paper and illustra-credited even in the copyright registrations,” Wein-tion board, but in his oil technique retained his berg writes, “it is likely that Cantor did many other trademark “look” by layering the paints in extremely books in the Avon science fiction line; covers such as thin washes and glazes, delicately applied. His artis-The Green Girl, Princess of the Atom, and Perelandra tic goal was to illuminate a mood, not illustrate the feature art very similar to those definitely identified story through a narrative, literal depiction of a scene.

as Cantor’s work.” (Weinberg, p. 69).

He writes “I despair when writers or art directors Sources: Weinberg, 1988.

want me to illustrate some particular scene — it seems to me that it is the writer’s job to paint imagery Published Work
in the reader’s mind. As the artist/designer, it’s not Daughter of Fu Manchu (Avon, 1950), The Fox my job to tell, or re-tell the story. It’s to attract the Woman and other Stories (Avon, 1949), Girl With the reader and then, once the book is in their hands, to Hungry Eyes (Avon, 1949), Out of the Silent Planet put them in the mood for a story — receptive, open (Avon, 1949).

to magic and Romanticism.” (The Endicott Studio, biography). He also has said “Books should be like Canty, Thomas
magical jewelled boxes.… My job is to make you (b. 1952) American artist. Raised in a working-want to pick up the box, and to peer inside.” (Win-class neighborhood in New England (where one of dling, “Rose and Thorn”).

his earliest childhood friends was the artist Dean In the mid–1980s Canty moved to New York

Canty

136

City, working out of a loft. During this period he cre-minosity of color.”

ated two children’s book series ( Goblin Tales and Sources: e-mail from the artist March, 2005; Terri Win-Nightlights) and worked an as art director and dedling: The Endicott Studio for Mythic Arts online at www. Endicott-studio.com; Windling, Terri. “Rose and Thorn: The Art signer for Donald M. Grant Publisher. For Grant, of Thomas Canty” Gallery article in Realms of Fantasy, Aug Canty wrote the text for a children’s book, A Mon-1995; Ketter, Greg. Thomas Canty feature in American Fan-ster At Christmas (1985), with color illustrations by tasy Spring, 1987.

Phil Hale. With author Terri Windling, Canty collaborated on an adult “Fairy Tales” series of novels, Collections and Anthologies
as well as the Snow White, Blood Red anthology se-

(various contributing artists)

ries inspired by the darker side of fairy tales. He has Frank, Jane and Howard. Great Fantasy Art illustrated books by leading writers of fantasy liter-Themes From the Frank Collection (Paper Tiger, ature, including John Crowley, Jonathan Carroll, 2003), Grant, John and Humphrey, Elizabeth with Robert Holdstock, Jane Yolen, Ellen Kushner, Peter Scoville, Pamela. The Chesley Awards: A Retrospective Straub, and Stephen King. During this time Canty (AAPL, 2003).

also began developing ideas for book packagers, Published Work
which led to work designing books — and an expan-B
sion of his interest in all facets of book publication, OOK ILLUSTRATIONS INCLUDE: Alamut (SFBC/

Bantam, 1989, 1990), The Alternative Detective (Tor, from cover and interior illustrations to lettering, 1993), Arachne (Avon, 1997), Ariel, the Book of Fan-binding, design, and decoration. When it comes to tasy, Vol. 3 (Ballantine, 1978), The Awakeners (Tor, his own art, he is a very careful draftsman, and pre-1994), Beaker’s Dozen (Tor, 1998), Beggars Ride pares many pencil studies, followed by detailed (Tor/SFBC, 1996, 1997), Beloved Exile (Avon, 1994), drawings in graphite on vellum, before completing Best of Pulphouse: The Hardback Magazine (St. Mara final painting. These drawings are fine enough to tin’s Press/SFBC, 1991, 1992), The Big Lifters (Tor, have attracted as many collectors to his drawings as 1994), Black Heart, Ivory Bones (Eos, 2000), Black to his finished art. Outside the genre, however he Swan, White Raven (Avon, 1998), Black Thorn, has become equally as well known for his unique, White Rose (Morrow/AvonNova, 1994, Eos, 1995), award-winning book designs for mainstream and The Blending: #1 Convergence, #2 Competitions; #3
mystery books, which utilize computer techniques.

Challenges (Avon Eos, 1996, 1997, 1998), The Blend-These designs are very different from his romanticized ing Enthroned: #1 Intrigues; #2 Deceptions (Avon Eos, fantasy book cover style.

2000), The Bone Forest (AvoNova, 1992), Boneman In the late 1980s, Canty moved to a small town in (Tor, 1995), Bone Music (Longmeadow Press, 1995), New England and became increasingly shy and Book of Kings (Penguin/Roc, 1995 ), Book of Westria reclusive, so as to focus entirely on his art. He made series (Tor, 1991), Borderland (Tor, 1992), Border-fewer and fewer public appearances, although he town (Tor, 1996), Bradbury Chronicles: Stories in continued to exhibit art at genre conventions and Honor of Ray Bradbury (Penguin/Roc, 1991), Brain kept up a high artistic output.

Child (Morrow/SFBC, 1991), Branch and Crown When asked to provide information about him-

(Penguin/Roc, 1996), Briar Rose (Tor, 1993), Chil-self, he almost always declines, saying “honestly, the dren Of Enchantment (Warner, 1996), Complicity lack of information speaks volumes about who I am (Bantam, 1996), Copper Crown (Grafton, 1992), FAR more than a complete bio EVER could!” (pri-Count Giger’s Blues (Tor, 1992), The Crow (Donald vate correspondence, March, 2005). Canty’s work M. Grant, 1998), Dagger and the Cross (Bantam/
has been featured on several annual editions of the Doubleday SFBC, 1991), Dancers at the End of Time Year’s Best Fantasy and Horror volumes published (White Wolf, 1998), Dandelion Wine (Bantam, by St. Martin’s Press. He was a Hugo nominee in 1990), Daughter of Prophecy (Warner, 1991), Demons 1992 and 1994, and was nominated as Best Artist for and Dreams (Legend, 1990), The Dove Looked In the World Fantasy Awards nine times, beginning in (Penguin/Roc, 1996), Draconian New York (Tor, 1981, and twice received an Award for his contribu-1996), Dream Baby (Tor, 1989), Dream time tions to the fantasy field, in 1986, and 1990. His work (Houghton Mifflin, 1991), The Eternal Champion is included in the permanent collection of the New (White Wolf, 1994), The Fall of Kings (Bantam, Britain Museum of American Art and has been ex-1992), Fields of Sleep (Donald M. Grant, 1980), hibited in museums and galleries across the U.S. and Fitcher’s Brides (Tor, 2003), Forerunner Foray (Pen-abroad, although in recent years few originals have guin/Roc, 1992), Foundations of Fear: 1 Shadows of been made available for sale. As Windling observes Fear, 2 Worlds of Fear (Tor, 1992, 1994), The Gift

“His work is so unique, memorable, and instantly (Tor, 1997), Glass Houses (Tor, 1992), Great work of recognizable, that “the Canty look” has become a Time (Bantam, 1991), Green Pearl (Berkley, 1985), shorthand phrase among New York editors and art Hallowed Isle series (Avon, 1999), Hawk’s Gray directions — meaning a delicate, fluid line and lu-Feather (NAL/ROC, 1990, Grafton, 1992), Heart

137

Cartier

Readers (Penguin/Roc, 1993), Hedge of Mist (Harper-Annual, 20th Annual (St. Martin’s Griffin, 1989, Prism, 1996), Hound and the Falcon series (Tor, 1990, 1991, 1992, 1993, 1994, 1995, 1996, 1997, 1998, 1985), Ice Crown (Penguin/Roc, 1993), Innerverse 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, (AvoNova, 1996), Iron Cage (Penguin/Roc, 1992), 2007).

Jack of Kinrowan (Tor, 1995), Jewel of Fire (Tor, MAGAZINES ILLUSTRATED INCLUDE:

1992), The Keltiad series (ROC, 1991), Knight and IASFM: 1990 (3, 10)

Knave of Swords (Morrow, 1988), Lavondyss (Avon, F&SF : 1992 (6); 1993 (10/11); 1997 (8); 2002 (8) 1991), Little, Big (Bantam, 1994), Madame Two ROF : 1995 (3)

Swords (Donald M. Grant, 1988), Master of Lies (Tor, Misc.: Thomas Canty Fantasy Art collector card 1995), Masterpieces of Fantasy and Enchantment set (FPG, Inc., 1996), Vintage Art Cards (Archival (Doubleday, 1988), Masterpieces of Fantasy and Won-Press, 1978)

der (SFBC, 1989, St. Martin’s Press, 1994), Mattimeo (AvoNova, 1991), Maximum Light (Tor, 1998), Maze Cartier, Edd
of Moonlight (Penguin/Roc, 1993), Merlin’s Booke (August 1, 1914–December 25, 2008) American (Ace, 1986), Metahorror (Donald M. Grant, 1992), artist. One of the most influential artists in the sci-Misbegotten King (Warner, 1997), Mistress of the Jew-ence fiction pulps, Cartier helped establish humor els (Tor, 1991), Moon’s Fire Eating Daughter (Donas one of the major ways to illustrate a science fiction ning, 1981), Moonwise (Penguin/Roc, 1991), Moss-or fantasy story. Born Edward Daniel Cartier in flower (Avon, 1990), Mythago Wood (Avon, 1991), North Bergen, New Jersey, he attended Pratt Insti-The Nightingale (Ace, 1991), Nothing Burns in Hell tute in Brooklyn, where one of his teachers was pulp (Tor, 1998), Oak Above the Kings (HarperCollins/
artist H. W. Scott*. Cartier graduated with a three-Roc, 1994, 1995), Of Water Trilog y (ROC, 1995), O
year certificate from Pratt in 1936, and was immedi-Greenest Branch! (Penguin/Roc, 1995), Philip K. Dick ately hired by the Street & Smith publishing chain Is Dead, Alas (Tor, 1994), Prime Evil (Donald M.

and put to work illustrating stories in the various Grant, 1988), Protector (Avon, 1996), Redwall, Mariel Street & Smith pulp magazines. Soon after starting of Redwall (Avon, 1990, 1993), Revelations (Harper-work for the company, Cartier found himself as-Prism, 1997), Ruby Slippers, Golden Tears (AvoNova, signed to providing illustrations for the biweekly 1996), Scare Care (Tor, 1989), Secret Passages (Tor, single-character detective pulp The Shadow.

1997), Seeing Red (Tor, 1990), Serpent’s Tooth (MorAt first Cartier followed the lead of previous row, 1991), Seven Tales and a Fable (Edgewood Press, artists who had illustrated that pulp and produced 1995), Shadow of Albion (Tom Doherty, 1999), Sil-dark and murky drawings, tying in with the theme ver Birch, Blood Moon (Eos, 1999), Silver Branch of the novels, that of a mysterious crime fighter who (Grafton, 1991), Silver Gryphon (Golden Gryphon Press, 2003),
stayed in the shadows. However, Cartier began de-Single Combat (Tor, 1993), Snow White and Rose Red (Tor, 1990), Snow White, Blood Red veloping a style of his own for the magazine and by (Doubleday SFBC, 1993, Avonova, 2000), Soma 1937 had changed the focus of the art in the pulp.

Blues (Forge, 1997), Spires of Spirit (Penguin/Roc, Light replaced dark, and instead of mood pieces, ac-1997), Spirits of Cavern and Hearth (St. Martin’s, tion dominated. Strong characterization pieces for 1988), The Sun the Moon and the Stars (Ace, 1988), all of the major players were used. Using a brush Swordspoint (Tor, 1991, Bantam/Spectra, 2003), Sys-and lithographic pencil, Cartier became the temic Shock (Tor, 1983, 1992), The Talisman (Don-Shadow’s definitive illustrator, producing more than ald M. Grant, 1984), Tam Lin (Tor, 1992), Tempo-eight hundred illustrations for that magazine.

rary Walls (Dreamhaven, 1993), They Fly at Ciron John W. Campbell, Jr., who edited Astounding (Tor, 1995, HarperCollins, 1998), Thomas the Stories for Street & Smith, recognized Cartier’s tal-Rhymer (Tor, 1991), The Throne of Scone (Grafton, ents and approached him with an assignment for a 1992), The Totem (Donald Grant, 1994), Traitors new Street & Smith magazine. Unknown was an in-

(Penguin/Roc, 1994), Travellers in Magic (Tor, 1994), novative new pulp, a fantasy magazine printing log-A Whisper of Blood (Morrow, 1991, BOMC, 1992), ical fantasy stories, often with strong humorous el-White Mists of Power (Penguin/Roc, 1991), The White ements. Cartier illustrated Sinister Barrier, the lead Raven (Avon, 1989), Wild Country (Tor 1993), The novel in the first issue of Unknown, as well as “The Wild Hunt: Vengeance Moon (Eos, 1998), The Wind Trouble with Water,” an influential short humor Crystal (Tor, 1990), White as Snow (Tor, 2001), Year’s story. A perfect match had been formed. Cartier’s Best Fantasy 1st Annual (St. Martin’s Griffin, 1988), illustrations became an integral part of the maga-Year’s Best Fantasy and Horror: 2nd Annual; 3rd Anzine. His exceptional cover paintings were master-nual, 4th Annual, 5th Annual, 6th Annual, 7th An-pieces of fantasy artwork, and authors and fans alike nual, 8th Annual, 9th Annual, 10th Annual, 11th An-lavished praise on his black-and-white interiors. His nual, 12th Annual, 13th Annual, 14th Annual, 15th Shadow characterizations had shown that he could Annual, 16th Annual, 17th Annual, 18th Annual, 19th give life and depth to the most bizarre criminals.

Cartier

138

Therefore, Cartier was given full range to show what small-press field, creating a number of fine pieces he could do with a vast array of fantastic beings.

for Fantasy Press and Gnome Press. He also prepared Subtle nuances became full-blown whimsy. His some fine black-and-white interior pieces for Fantasy gnomes, elves, goblins, and bemused humans per-Press. When Gnome Press published a series of fan-fectly fit the stories they illustrated. For the first time tasy calendars, Cartier was their choice for artist for in the history of science fiction, an artist had most of the illustrations. Later, he designed a series emerged who specialized in humor. In the thirty-of bookplates for Fantasy Press that were very pop-nine issues of Unknown (later retitled Unknown ular. Beginning in the mid 1940s, Cartier also did Worlds) Cartier contributed more than two hundred work for comic companies, Harvey and Street & illustrations.

Smith (e.g., Red Dragon Comics).

Cartier entered the army in 1941 and was sent Increased work did not seem to mean greatly in-overseas shortly after he met and married his wife, creased revenue for Cartier. With his wife and two Georgina, in 1943. He was gravely wounded at the sons, Dean and Kenn, born in the 1950s, to support, Battle of the Bulge and did not return to illustrating Cartier returned to Pratt part time and obtained a de-until 1946. Back at Street & Smith, Cartier found gree in fine arts in 1953. He left the science fiction Unknown had been dropped in 1943, due to a com-field for the more lucrative field of graphic art and de-bination of poor sales and the paper shortage, but sign. It was not until 1988, at the Writers of the Fu-that Astounding SF was still being published. Cartier ture awards event held at the United Nations in New had done a few illustrations for that magazine be-York City, that Cartier was finally presented the first fore the war, although his style was less suited for in what was to become a series of awards, the L. Ron the straight-forward science fiction printed in that Hubbard Lifetime Achievement Award for Out-pulp. During the war, Astounding had shrunk from standing Contributions to the Arts. He has been an pulp to digest size. By late 1946 Paper quality had im-Illustrators of the Future judge since 1989. In 1992, proved, and Cartier’s illustrations reproduced better Cartier was recognized with a Lifetime Achievement in this form.

Award by the World Fantasy Convention. He is also Cartier’s postwar art featured a tighter style and a recipient of First Fandom’s Hall of Fame Award greater concentration on fine detail. More humorous and was twice nominated for a Retro Hugo for the fiction began appearing in Astounding, and Cartier Best Professional Artist, in 1996, and 2001 (covering was given total control over such stories. Editor the years 1945, and 1950, when Hugos were not Campbell made sure that any story featuring ani-awarded).

mals, mutants, robots, or bizarre extraterrestrials was Weinberg wrote, in 1988, “Cartier was the first given to Cartier.

science fiction artist to demonstrate that there was a The Shadow had been cut back from a biweekly to place for humorous illustration in the field, and in a monthly magazine during the war. To make up for this he set the standard by which all others were to the loss of work, Cartier contributed art work for be judged. More important, in larger terms, Cartier another Street & Smith pulp, Doc Savage, for which along with Virgil Finlay* and Hannes Bok* brought he did more than one hundred illustrations. Look-about a revolution in science fiction and fantasy. Being to expand his markets, Cartier also went outside fore this trio began working in the late 1930s, art in the Street & Smith chain and produced a number of science fiction magazines was considered a waste of illustrations for other science fiction magazines, in-paper by most readers. SF art rarely contributed to cluding Fantastic Adventures, Other Worlds, Planet the stories illustrated. The spectacular art of Finlay, Stories, and Universe SF. Astounding, however, re-Bok and Cartier, however, convinced fans and au-mained his major magazine market. Cartier illus-thors alike that illustrations would enhance stories trated covers for virtually every major author of his and improve the magazines in which they appeared.

time including L. Ron Hubbard, Isaac Asimov, Their work generated the first fan mail for artists. It Theodore Sturgeon, Jack Williamson, Gordon R.

was their contributions that changed magazine sci-Dickson and many others.

ence fiction from a print medium to a more graphic Among the science fiction small-press publishers, form.”

Cartier found another market. The publishers of Sources: www.writersofthefuture.com 10/05 Edd Cartier; these hardcover reprints from the SF magazines were Bail, Jerry. Who’s Who of American Comic Books 1928–1999
online www.bailsprojects.com; Weinberg, 1988.

all fans of Cartier’s work, and they knew that other science fiction fans closely identified the artist with Collections and Anthologies

Astounding and Unknown. He was the top choice to (various contributing artists)

illustrate books reprinting stories from those maga-Aldiss, Brian. Science Fiction Art: The Fantasies of zines. His broad, sharp strokes and sweeping line SF (Bounty Books, 1975), Cartier, Dean. Edd work produced dramatic and striking cover art.

Cartier: The Known and the Unknown (Gerry de la Cartier became one of the leading cover artists for the Ree, 1977).

139

Cawthorn

Published Work
being a devoted fan of the works of Edgar Rice Bur-BOOKS ILLUSTRATED INCLUDE: The Annotated roughs, and he began drawing illustrations for two Guide To Unknown and Unknown Worlds (Starmont ERB fanzines in the mid 1950s, one published by House, 1991), Bridge of Light (Fantasy Press, 1950), Peter Ogden, Erbania, and the other by Moorcock, The Cometeers (Fantasy Press, 1950), Cosmic Engi-Burroughsania. Many of his black-and-white illus-neers (Gnome, 1950), Darker Than You Think (Fantrations appeared in Tarzan Adventures, edited by tasy Press, 1949), Dreadful Sanctuary (Fantasy Press, Moorcock. In 1962 Cawthorn produced two port-1951), Earthman’s Burden (Gnome, 1957), Foundation folios based on The Lord of the Rings, the first illus-and Empire (Gnome, 1952), From Unknown Worlds trations of their kind after Tolkien’s own. During (Street & Smith, 1948, Atlas, 1952), Galactic Patrol this time he became a lifelong friend and sometimes (Fantasy Press, 1950), Genus Homo (Fantasy Press, collaborator with noted science fiction author 1950), A Gnome There Was and Other Science Fiction Michael Moorcock, who has said of their friendship, and Fantasy (Simon and Schuster, 1950), The Hand

“Jim Cawthorn and I have been inseparable for over of Zei (Owlswick Press, 1981, Baen, 1990 w/ Thomas twenty-five years, sometimes to the point where I Kidd), I Robot (Gnome, 1950), Journey to Infinity can’t remember which came first — the drawing or (Gnome, 1951), Masters of Time (Fantasy Press, the story. It is his drawings of my characters which 1950), Men Against the Stars (Gnome, 1950), Min-remain for me the most accurate, both in detail and ions of the Moon (Gnome, 1950), The Moon is Hell in atmosphere.” (Savoy People interview). Moor-

(Fantasy Press, 1957), Operation: Outer Space (Fan-cock dedicated his non-fictional review of epic fantasy Press, 1954), Pattern for Conquest (Gnome, tasy, Wizardry and Wild Romance, to the artist (Gol-1949), Seetee Ship (Gnome, 1951), Sinister Barrier lancz, 1987).

(Fantasy Press, 1948), Sixth Column (Gnome, 1949), Cawthorn did cover illustrations for a number of Travelers of Space (Gnome, 1951), The Unknown Moorcock’s swords and sorcery novels, and line draw-

(Pyramid, 1963), Unknown Five (Pyramid, 1964), ings for his original Elric stories. Cawthorn illustrated Vortex Blaster (Fantasy Press, 1962).

the first appearance of Elric in the story “Flame-MAGAZINES ILLUSTRATED INCLUDE:

bringers” in Science Fantasy magazine, 1962. A few ASF : 1939 (6, 8); 1940 (8, 10, 11); 1941 (2, 12); years later when Moorcock was editor of New Worlds, 1942 (2); 1947 (1, 2, 3, 5, 6, 7, 8, 9, 10, 11, 12); 1948

Cawthorn became part of the regular staff. He also (1, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1949 (1, 2, 3, 4, 6, 7, collaborated with Moorcock on the screenplay of 8, 9, 10, 11, 12); 1950 (1, 2, 3, 4, 5, 7, 8, 9, 10, 11, 12); Burrough’s fantastic adventure The Land That Time 1951 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1952 (1, 2, 3, Forgot, filmed in 1974 by Amicus Productions. In 4, 5, 6, 7, 8, 9, 10, 11, 12); 1953 (1, 2, 3, 4, 5, 6, 7, 8, 1978, Cawthorn adapted Moorcock’s The Jewel in the 9, 10, 11, 12); 1954 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); Skull into a graphic novel for Savoy publishers—con-1955 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); sidered to be the first British “homegrown” example FA: 1951 (9)

of the kind. His illustration style has been called “vig-OW: 1951 (5, 7, 9); 1952 (1, 3, 4, 7); 1953 (6); orous and entertaining” (Dalby, in Weinberg, 1988), 1956 (2)

and artist John Coulthart, writes “ (Cawthorn’s) fan-PS: 1951 (3, 5)

tastic scenes are given their power not merely by the UK: 1939 (3, 4, 5, 6, 7, 8, 9, 12); 1940 (2, 3, 4, 5, imagination on display but also by the degree to 6, 7, 8, 9, 10, 11, 12); 1941 (2, 4, 6, 8, 10, 12); 1942 (2, which they seem representations of authentic loca-8, 12); 1943 (2, 8)

tions. Decoration is always functional, never florid, UNI: 1953 (3)

armour looks as though it is there to serve a purpose Misc: Gnome Press Calendars 1949, 1950, 1952;

… like the paintings of Frank Frazetta (his work) ac-Fantasy Press Bookplates 1952 (four designs) cumulates much of its power from what it leaves out as much as from what it depicts.”

Cawthorn, Jim

Cawthorn, who is also a critic in his own right, (b. December 21, 1929) British artist. Born James collaborated with Moorcock on a non-fictional re-Philip Cawthorn, the artist entered the field like view of the field Fantasy: The 100 Best Books (Carroll many of his peers, as an amateur artist contributing

& Graf, 1988) and an Elric story by Cawthorn and to fanzines. He had been was active in fandom since Moorcock were featured in Mike Ashley’s The Mam-1953, and his first illustrations were done for the En-moth Book of Fantasy, published by Carroll & Graf, glish fanzine Satellite. In the early 1970s, Cawthorn 2001.

provided illustrations for a number of small, lim-Sources: Britton, David . James Cawthorn interview ited edition specialty books for George Locke (Fer-

(printed in the Savoy edition of Jewel in the Skull, 1979) on Savoy people online at www.savoy.abel.co.uk/HTML/cawth.

ret Fantasy) and others, which reprinted early exam-html [accessed February 2007]; Weinberg, 1988 .

ples of weird fiction.

Cawthorn was known primarily, however, for

Chaffee

140

Published Work
other major conventions, including Dragon*Con/

BOOKS ILLUSTRATED INCLUDE: The Conan Gri-Origins convention in Atlanta Georgia in 1990.

moire (Mirage, 1972), The Crystal and the Amulet Sources: artist website www.chaffeestudios.com (Savoy, 1986), Distant Suns (Unicorn Science Fic-Published Work
tion, 1975, NEL, 1989), The Golden Barge (Savoy, BOOKS ILLUSTRATED INCLUDE: Endgame Enigma 1979), Hawkmoon (White Wolf, 1995), The Jade (Baen, 1997), Falcon Rising (Roc, 1999), The Exiles Man’s Eyes ( Unicorn, 1973), Jewel in the Skull (Savoy, Trilog y (Baen, 1994), The Gatekeepers (Baen, 1995), 1979), The Land of the Unseen (Ferret Fantasy, 1973), Ghost of Winter (Roc, 1999), Initiation of War (Roc, Mad God’s Amulet (White Lion, 1973), New Worlds 2001), Measure of a Hero (Roc, 2000), Test of

#8; #9; #10 (Corgi, 1975, 1976), The Runestaff Vengeance (Roc, 2001), Twilight of the Clans VIII (White Lion, 1974), Sojan (Savoy, 1977), Storm-

(Roc, 1999).

bringer (Savoy, 1976), Sword of the Dawn (White Lion, 1973), Tales From the Scientific Crime Club GAME-RELATED ILLUSTRATION INCLUDE: The (Ferret Fantasy, 1979), The Tritonian Ring (Owlswick Alien Dark (TSR, 1990), Buck Rogers: Nomads of the Press, 1977) Warlord of the Air (Ace, 1973), Warrior Sky (TSR, 1992) Conan the Undaunted (TSR, Inc., of Mars trilogy (Compact, 1965), The Wrecks of Time 1984), The Dragon’s Ransom (TSR, Inc., 1984), Mis-

(Roc, 1994).

sion Critical Computer game box (Legend, 2004) Moonstruck (Baen, 2007), Mystery of the Ancients MAGAZINE ILLUSTRATIONS INCLUDE:

(TSR, Inc., 1985), Outbanker (TSR, Inc., 1990) NW: 1964 (5/6, 7/8)

ScF : 1962 (10; 1964 (2)

MAGAZINES ILLUSTRATED INCLUDE:

AMZ: 1992 (10)

Chaffee, Douglas S.

(b. January 24, 1936) American artist. Born in Chaykin, Howard Victor

Mountour Falls, New York. Chaffee worked as head (b. October 7, 1950) American artist. Born in of IBM’s Art Department during the early years of Newark, New Jersey, and raised in Brooklyn, New the space race before becoming a commercial free-York, Chaykin — while known primarily for his inlance artist. Chaffee began illustrating space related novative work as a comic book writer and artist —
subjects during a time when the space program was early in his career gravitated to the SF field “because young and at a time when few artists knew how the he had been a science fiction fan ever since reading Earth looked from space. He illustrated a National Space K’at at age eight, and because it was easier to Geographic article about the Red Planet, and cre-get work there.” (Weinberg, 1988). He attended Coated illustrations for NASA, and the military, before lumbia College in Chicago for eight months, major-turning to the book and gaming industry. Chaffee ing in radio broadcasting, but felt he was a terrible did the official program painting for the Trident student and quit. He later took art courses at the submarine and his work has hung in the Smithson-School of Visual Arts in New York. Chaykin appren-ian, and the American Airlines museum and has ticed himself to comic artist Gil Kane, at the age of been featured in Air Force, Think, Newsweek, and nineteen, and then Neal Adams and Gray Morrow*, U.S. News as well as several military and science but it was Wally (Wallace) Wood* who offered him magazines. Chaffee has won awards from the Na-his first publishing opportunity, pencilling Shattuck, tional Association of Industrial Artists and the a western strip that Wood then inked for the Over-World Military Gaming convention. He won the seas Weekly, a newspaper for sale to the military only.

Frank R. Paul award for science fiction and received His apprenticeships as “gofer” for established artists a nomination for a Chesley. Chaffee’s personal work led to penciling romance comics for DC. In 1972, illustrating Tom Clancy’s Hunt for Red October was when DC Comics launched Weird Worlds, a SF/F
purchased by the author, and when the artist re-comic showcasing characters created by Edgar Rice produced it in a limited edition; it quickly became Burroughs, Chaykin was given his first opportunity a popular print.

to develop his own concept, featuring a science Chaffee began freelancing for role-playing and fiction hero, Iron Wolf, He prepared art for Atlas computer game companies in the mid 1980s, and Comics for a short time as well as National Lampoon, has worked for TSR, Inc., and FASA Corp. He has and then wrote and drew his adult themed creation illustrated Battletech and Magic, Netrunner, Shad-Cody Starbuck (1974), with some images later col-owrun and other CCG games. Chaffee’s paintings lected into a Cody Starbuck Portfolio (SQP, Inc. 1980).

have appeared in Inquest, Duelist, Scrye and on cov-In 1976 Chaykin started working for Marvel Comics, ers for Strateg y & Tactics magazines, as well as many rendering the comic version of Star Wars— which game box and module game covers. Doug Chaffee proved to be among the best-selling comic-book se-was the Guest of Honor at the World Gaming Conries of all time. He was also the artist for one of the vention as well as Artist Guest of Honor at several Luke Skywalker movie posters for the film.

141

Cherry

In the late 1970s Chaykin turned to freelancing in acrylics, but often using markers, pens, and so on the science fiction field as well as comic art.

in the same piece. He still lives on the California Chaykin’s financial situation was weak at the time, coast.

as it was for most comic artists, and illustration Sources: Interview conducted by Alan David Doane, 2004
promised to be more lucrative. One of the early pi-for Comic Book Galaxy online www.comicbookgalaxy.com

[accessed July 2004]; Jim Lee-a-Rama: Howard Chaykin in-oneers in the graphic novel format, Chaykin created terview 2004, at Graphitti Designs Presents: www.newsarama.

an original graphic novel called with writer , 1978.

com [accessed July 2007]; Howard Chaykin: Back to the Then, working with book packager and publisher Drawing Board Interview by Philip Schweier, March 13, 2006

Byron Preiss, Chaykin drew graphic novel adapta-online at www.comicbookbin.com/bubble072.html; Weinberg, 1988.

tions of science fiction books such as Alfred Bester’s The Stars My Destination and Samuel R. Delaney’s Collections Published Work

Empire, as well as illustrating works by Roger Ze-BOOKS ILLUSTRATED INCLUDE: Coils (Tor, 1982), lazny. While acclaimed for their artwork, the books The Descent of Anansi (Tor, 1982), Dominion (Tor, were commercial failures, and Chaykin ended up 1982), Empire (Berkley, 1978), First Book of Swords working for DC and Marvel again, for various proj-

(Tor, 1984), Greatheart Silver (Tor, 1982), The Tak-ects, as well as doing covers for Western and romance ing of Satcon Station (Tor, 1982), McSweeney’s Mam-paperbacks. He produced a number of covers for moth Treasury of Thrilling Tales (Vintage Books, Tor, beginning 1982, and seemed to be headed more 2003), The Purple Book (Tor, 1982), A Rebel in Time toward book illustration than comics when First (Tor, 1983), Second Book of Swords (Tor, 1985), The Comics, a new comic-book publisher, came along Stars My Destination (Baronet, 1979), Test of Fire and gave him the chance to develop his own comic (Tor, 1982), Third Book of Swords (Tor, 1985), Weird and characters, in his own dynamic and expressive art Heroes #8 ( Jove, 1977), World of Krypton—The Home style. The product of Chaykin’s efforts was the of Superman (Tor, 1982), Worlds of the Imperium groundbreaking comic book series American Flagg!

(Berkley, 1977).

(published 1983–1989). A mix of satire and science MAGAZINE ILLUSTRATIONS INCLUDE
fiction, the landmark series dealt with mature themes AMZ: 1974 (8)

not common in comics at the time—winning Chay-H HM: 1978 (11); 1979 (3, 4, 11); 1982 (1) kin numerous awards, and helping to redefine comics for readers in the 1980s. The comic’s success also brought to an end Chaykin’s brief involvement Cherry, David Alan
with literary illustration.

(b. December 14, 1949) American artist. Born in In the mid 1980s, Chaykin moved to Southern Lawton, Oklahoma, Cherry was raised in Oklahoma California, with the intention of working in film.

City, and has lived and worked in that state for most Among his earliest efforts was the animated film of his life. He received a B.A. in Latin, Phi Beta Heavy Metal, for which he provided character de-Kappa with General Honors, from the College of signs. Since that time, Chaykin has moved on to Arts and Sciences at the University of Oklahoma in other graphic and movie/TV projects, leaving sci-1972, and then a J.D. from the same institution in ence fiction behind. Weinberg (1988, p. 74) quotes 1975. Cherry was working happily for the law firm him as wishing that “science fiction art was as inter-Morgan & Brown, when in 1976 his sister — the esting as the writing. There is a tremendous desire well-known science fiction author C. J. Cherryh to reduce the sense of wonder to television terms.”

(pen name)— talked him into going with her to a At times controversial for his “adult only” explicit

“Worldcon” (the annual, and largest convention ded-depictions of sex and violence, as in his popular icated to the genre, the World Science Fiction Con-comic Black Kiss (Vortex, 1988), Chaykin is equally vention). “She [Carolyn} had just sold her first book, known for his post-modern graphic novel Time2

The Gate of Ivrel, “ Cherry recalls, “ and she wanted (First Comics, 1987), which was inspired by his love me to go along to keep her company … I had no for jazz and New York. He worked on staff as writer/
idea what we were getting into.” This was a turning producer for such TV series as The Flash, Viper TV, point for Cherry, for although he had read SF and Earth: Final Conflict and Mutant X, as well as free-fantasy voraciously, and had “dabbled” with art, lancing in feature films, pilots, and episodic televi-doing realistic depictions of myth and fantasy as a sion. In 2000 he returned to comics to write Amer-hobby, it had not struck him until then that there ican Century, a pulp adventure strip for Vertigo/DC, were professionals out there “making a living doing and then a graphic novel Mighty Love (2004), among the kind of art I had always wanted to do.”

other projects. He continues to work for both Mar-By 1980 he had accepted his first professional il-vel and DC, writing and drawing for new series, lustration assignment, and in 1982 he left his law while some older comic series are being re-issued.

firm and began to work part time as an illustrator.

Chaykin works in mixed media, using a lot of By 1984 he decided to leave the practice of law alto-

Cherry

142
gether, and went into art full time. His first paper-Collections and Anthologies
back cover assignment came in 1981, to illustrate (various contributing artists)

Ealdwood, a novel written by his sister. In 1986 his Grant, John and Humphrey, Elizabeth with Scov-art won two Chesley Awards [see Appendix] and in ille, Pamela. The Chesley Awards: A Retrospective the following year his art book Imagination: The Art (AAPL, 2003), Imagination: The Art and Technique and Technique of David A. Cherry was published and of David A. Cherry (Donning, 1987).

subsequently nominated for the Hugo Award for Best Non-fiction Book of 1987, the first year Cherry Published Work
himself was nominated for the Best Artist Hugo. He BOOKS ILLUSTRATED INCLUDE: Annals of the was nominated a total of nine times over the next Witchworld trilogy (Guild America, 1965), Arthur Sequence 1, 2 (TSR(™) New Infinities, 1987), The ten years but never won the Hugo, although he has Big Losers (TSR(™) New Infinities, 1988), The Birth won almost every other award available in the field of the Blade (Ballantine/Del Rey, 1993), The Black of SF and fantasy illustration.

God: Chosen of the Changeling (Ballantine/Del Rey, Cherry has done covers and illustrations for the 1997), The Bloody Sun (DAW, 1994), The Bromeliad works of such notable authors as Stephen R. Don-

(Guild America, 1993), Chanur’s Venture (DAW, aldson, Poul Anderson, John Brunner, David Brin, 1985), A Crossroads Adventure in the World of Piers Piers Anthony, but over the years he devoted as much Anthony’s Xanth (Tor, 1988), The Cursed (Ballan-time to totally original works as he did to covers and tine/Del Rey, 1996), Daughter of Regals (Donald M.

illustrations. In contrast to the realism of his illustra-Grant, 1984), Deryni Challenge (Tor, 1988), The tive work, his personal works generally echo the Dreamstone (DAW, 1983), Ealdwood (Donald M.

“fine-art” look of Victorian neo-classicism. Because Grant, 1981), Earthwind (DAW, 1983), Faery in he is allergic to oil paints and turpentine, Cherry Shadow (Ballantine, 1993), Fates Trick (Tor, 1987), uses acrylic underpainting, overpainted with alkyds The Gates of Hell (Baen, 1986), The Goblin Mirror (fast drying, water-based oil media).

(Del Rey, 1992), A Handful of Stars (Ace, 1991), The By the mid 90’s Cherry all but left the book cover Kif Strike Back (DAW/Phantasia Press, 1985), The market in favor of making a name in gaming art.

Last Knight of Albion (Ace, 1987), Lord of the Two He did everything from game card art, game board Lands (Tor, 1993), Marion Zimmer Bradley’s Darkdesigns, and box covers to character and screen con-over (DAW, 1993), New Destinies Vol. 6 (Baen, 1988), cept and design for computer games. He also man-Operation Starhawks #4, #5, #6 (Ace, 1991, 1992), aged to fit in designs for collectible plates, t-shirt Robotech Art 2 (Donning, 1987), Ruby Flames designs, magazine covers, interior art for books (no-

(Pocket Books, 1999), Second Star (Ace, 1994), Ser-tably, maps for the Cyteen series, Doubleday 1983, pent Waltz (DAW, 1994), Shattered Light (Pocket Chanur series Daw 1985, and the Uplift War, Phan-Books, 1999), Startide Rising (Phantasia Press, 1985), tasia Press 1987).

Sung in Blood (NESFA Press, 1990), Sword and Sor-The year 2000 brought a big change for Cherry.

ceress 7, 8, 9, 10, 11 (DAW, 1990, 1991, 1992, 1993, He left Oklahoma, and the world of freelance art, 1994), Tamar (Tom Doherty, 1994), Thieves’ World and went to work full time for a Microsoft-owned Graphics Vol. 1 (Donning-Starblaze, 1986), PC game developer, Ensemble Studios. Among his Timescoop (DAW, 1984), Twilight’s Kingdoms (Baen, projects: creating marketing art for an expansion of 1987), Visible Light (Phantasia Press, 1986), A Wiz-their bestselling game, Age of Mytholog y. Cherry’s ard Abroad (Guild America, 1993); World of Shannara last freelance project before signing on with Ensem-

(Ballantine/Del Rey, 2001)

ble Studios was The World of Shannara, an illustrated M
guide to Terry Brooks’ popular fantasy series.

AGAZINES ILLUSTRATED INCLUDE:

ASF : 1994 (12)

In addition to being a member of the Oklahoma ABO: 1991 ( Jan/Feb)

Bar Association since 1975, Cherry has long been AMZ: 1991 (7)

active in various arts organizations; he was a Mem-ASM: 1992 (12)

ber of the Board of the National Academy of Fantas-MZB: 1992 (Winter); 1994 (Summer); 1995
tic Art (1986–1987), and has been a member since (Spring); 1998 (Spring)

1983 of the Association of Science Fiction and Fantasy Artists, serving that organization also as Presi-GAME-RELATED ILLUSTRATIONS INCLUDE: Aesheba: dent (1988–1990) and Vice-President (2004–2006).

Greek Africa/Fantasy Master (New Infinities, 1987); He is also a member of the Science Fiction Writers Lost Angels: Deadlands/The Weird West (Pinnacle En-of America.

tertainment, 1998); Unglued: Magic The Gathering Sources: Imagination: The Art and Technique of David A.

(Wizards of the Coast, 1998)

Cherry (The Donning Co., 1987); www.davidherryart.com; Misc.: The Art of David A. Cherry Collector Trad-correspondence from the artist April, 2005.

ing Cards (FPG Publishing, 1995); Legendary Visions Screensaver (Second Nature Software); Piers

143

Christensen

Anthony Question Quest calendar page “Awghost”

While garnering more renown for his many non-

(Valet Pub Co., 1991)

commissioned works of high fantasy than for his rel-Exhibitions include: “Into the Future” (Charles atively few genre illustrations, Christensen has B. Goddard Center, Ardmore, Oklahoma 1994), worked for Time/Life Books “The Enchanted World

“Art of the Cosmos” touring exhibit (International Series” and Omni magazine, and his illustrated ap-Association for the Astronomical Arts, 1992–1993), peared in the American Illustration Annual and

“In Dreams Awake: The Art of Fantasy,” and “Into Japan’s Outstanding American Illustrators. His art is the Future: The Art of Science Fiction (Park Avenue in many private collections in the U.S. and Europe, Atrium, Olympia and York 1990), “The Art of Fan-and he has had one-man shows in galleries in the tasy and Science Fiction” (Delaware Art Museum, West and Northeast. Christensen has won awards Wilmington, Delaware 1989).

from the World Science Fiction Convention, and has been nominated for several Chesley Awards from Christensen, James C.

the Association of Science Fiction and Fantasy (b. September 26, 1942) American artist. Chris-Artists, winning in 2002 for Best cover illustration, tensen was born and raised in Culver City, Califor-magazine for his fairy art for The Leading Edge #41
nia, the son of Sibyl and Harry Christensen, two (April). His art was featured on the cover of Spec-blocks from the M.G.M. studio where he and his trum 4 (Underwood, 1997). Beginning in 1985, friends played in the back lot of the studio in when the Greenwich Workshop Collection pro-Tarzan’s pond or on sets for movies such as Gone duced a porcelain figurine of a painting he did of With the Wind. He loved to tell stories and use his Santa Claus, Christensen’s fine art has been repre-imagination while playing and drawing. Christensen sented and published by the company, appearing in studied painting at the Santa Monica City College, limited edition prints, porcelain, and artist-inspired University of California, Los Angeles, and Brigham products such as note cards, silk ties and books. His Young University, and received an MFA from second illustrated book, the adventure fantasy Voy-Brigham Young. A devout Mormon, who later age of the Basset, written by Renwick St. James and would illustrate several books related to his religion, Alan Dean Foster was published in 1996 and has during this period Christensen took time to serve a more than 75,000 copies in print. His third chil-mission for the Church of Jesus Christ of Latter-day dren’s book, an annotated collection of nursery Saints (L.D.S.) in Uruguay and became a member of rhymes, Rhymes & Reasons, was published in 1997
the Mormon Mods, a performing group that toured (both books by Greenwich Workshop Press).

Chile, Argentina, Brazil, and Paraguay. A long-time In 2007, Christensen was designated a “Utah Art member of the faculty at Brigham Young’s art depart-Treasure”— one of Utah’s Top 100 Artists — by the ment, from 1976–1997, Christensen first taught for Springville Museum of Art and received the Gover-five years in the California secondary schools and nor’s Award for Art awarded by the Utah Arts Coun-then at Alan Hancock College. His paintings show cil, and was inducted into the U.S. Art Magazine’s the influences of local art seen in early travels to Hall of Fame. He and his wife, Carole, co-chair the South America, and later travels with students in Mormon Arts Foundation. Christensen lives in Mexico and Europe. They frequently display Chris-Orem, Utah, with his wife, Carole Larsen, and his tensen’s wry humor, and depict imaginary people five children.

and animals, in environments based on fairy tales Sources: Biography: James Christensen, Springville Mu-and mythology.

seum of Art, Utah Artists Project, 2005 at www.lib.utah.edu

/fa/UtahArtists/artists/christensenj/index.html [accessed July In 1972, Christensen moved to American Fork, 2007]; Meyers, Richard S. Gallery: “Out of the Corner of Utah, and became an associate art director for the Your Mind” gallery feature on James C. Christensen, in: New Era, a teen magazine published by the L.D.S.

Realms of Fantasy June 1997; Wenaha Gallery Online, July Church. By the early 1980s he was also working as 2005, at www.wenaha.com; Weinberg, 1988.

a freelance artist, producing fantasy book interiors Collections and Anthologies
and covers, but continually worked on his own (various contributing artists)

paintings. He is known equally well for his highly de-Christensen, James/ St. James, Renwick. The Art tailed and realistic large-scale fantasy landscapes as of James Christensen: A Journey of the Imagination for his more symbolist works with a surreal or whim-

(Workman, 1994), James Christensen: The Greenwich sical edge. His larger “Shakespearean” landscapes, Workshop’s New Century Artists Series (Workman, based on fables and folklore, are often filled with 2002), Grant, John and Humphrey, Elizabeth with multitudes of uniquely depicted people and objects, Scoville, Pamela. The Chesley Awards: A Retrospective filling large canvases with busy detail. In smaller, (AAPL, 2003).

richly colorful works Christensen excels in depicting human emotions through animal forms, often fish or Published Work
birds, or plump jesters.

BOOKS ILLUSTRATED INCLUDE: Changing Earth

Clark

144

Trilog y: 1 Earth Rising (Lightstream, 1999), Dervish work includes covers and interiors for Amazing Sto-Daughter (Tor, 1986), Dragons of Darkness (Ace, ries, Ellery Queen’s Mystery Magazine, Realms of Fan-1983), Dragons of Light (Ace, 1980), Green Sky Tril-tasy, Cemetery Dance, and Weird Tales.

og y: 1 Below the Root; 2 And All Between; 3 Until the Clark paints mainly in acrylic on hard board, and Celebration (Tor, 1985) , Jinnian Footseer, Jinnian is fond of exploiting a technique that he calls “con-Stareye (Tor, 1985, 1986), Lyonesse: The Green Pearl trolled accidents” which includes the possibility of (Underwood, 1985), Lyonesse: Madouc Underwood-

“finding” images within the paint. In this regard, he Miller, 1989), Lyonesse: Suldrun’s Garden (Berkley, emulates the Dadaists, who embraced Chance as an 1983), The Awakeners: 1 Northshore; 2 Southshore avenue to expression in their works of art. Clark has (Tor, 1987, 1988), Seventh Son (Tor, 1987), The True illustrated the writing of such authors as Ray Brad-Game: 1 King’s Blood Four; 2 Necromancer 9; 3 Wiz-bury, Robert Bloch, Joe R. Lansdale, Richard Lay-ard’s Eleven (Ace, 1983, 1984), The Zanzibar Cat mon, Stephen King, George Orwell, Manly Wade (Arkham House, 1983).

Wellman, Greg Bear, Spider and Jeanne Robinson, MAGAZINES ILLUSTRATED INCLUDE:

and Lewis Shiner, as well as his own. Short fiction DEST: 1980 (spring)

by Clark has appeared in More Phobias, The Silver ROFM: 1997 (6)

Web, and The Thackery T. Lambshead Pocket Guide to Eccentric & Discredited Diseases, among others.

Ciruelo see Cabral, Ciruelo A great advocate of collaboration, Clark has worked with many others in literary and visual art.

Clark, Alan M.

In 1999, he created IFD publishing to further his (b. May 10, 1957). American artist. Born and own, and collaborative, literary ventures, based on his raised in Nashville, Tennessee, Clark returned there commitment to the idea that “art is never the prod-after receiving a BFA from the San Francisco Art In-uct of a single mind but occurs instead when imag-stitute in 1979. He was an indifferent student before inations meet.” Through IFD Publishing and other pursuing his talent in art, although his father was a small publishers he has designed and illustrated sev-neurologist, his grandfather a head of the anatomy eral books containing stories inspired by his paint-department at Vanderbilt University for many years, ings. An early notable collaboration with Randy Fox, and there were several medical doctors in the fam-Pain Doctors of Suture Self General (1995), was folily. These early associations would later influence his lowed by an anthology based on Clark’s works Imag-writing, and art. He became a freelance artist in the ination Fully Dilated (1998), and Pain and Other mid ’80s, and his first commercial assignment was in Petty Plots to Keep You in Stitches (2003), a collec-1986 — a color interior for Nashville Magazine aption of stories set in the same “Facility” environment pearing with the story, “The Comet’s Tale,” about of Suture Self General. These and other books dis-three prominent Nashvillians who saw Halley’s play Clark’s sly sense of humor and continuing fas-Comet in 1910 and were alive to see its return.

cination with horrific, medically-related themes, all A versatile artist, Clark has worked in the Young of which demonstrate “a talent for finding the dis-Adult and Children’s book markets, as well as pro-turbingly surreal, yet human, element in his art”

ducing biology illustrations on the cellular and mo-

(VanderMeer, 2004). Clark has won several artists’

lecular level for research publications and college awards in the field, among them the World Fantasy textbooks. However, he is best known for his illus-Award (1994), The International Horror Guild trations in the fantasy, science fiction, horror and Award (1994), the Deathrealm Award (1995) and mystery genres of fiction, bringing to his art a dis-several Chesley Awards (1992, 1993, 1994). He is tinctly different style and approach that might best married to married to Melody Kees Clark, and en-be described as “southern gothic”: that is, just like joys collecting bones and mummified animals, and many writers of the American South, whose stories gardening — raising bonsai and cacti/succulents.

are set in that region, Clark’s paintings are character-Sources: Artist website at www.ifdpublishing.com; Reed, ized by grotesque, macabre or fantastic elements.

Dan. “Controlled Accidents: An Interview with Alan Clark”

Silver Web, issue 7, 1991; Wiater, Stanley “Artist Profile: Fea-Or, as he likes to put it, “spooky art.” The artist cites turing Alan Clark” Scream Factory, issue 14 1994; Vander-as influences Hieronymus Bosch, the surrealists Max meer, Jeff. “The Paint in his Blood: A Conversation with Alan Ernst and M.C. Escher, and other contemporary M. Clark” SF Site, November 2004 online (www.sfsite.com/
artists who work within and outside the illustration 12b/ac190.htm
field, among them the photographer, Joel Peter Collections and Anthologies

Witkin and Rick Berry*, Richard Powers*, and Paul (various contributing artists)

Lehr*. Clark’s artwork has appeared on books for Clark, Alan. The Paint in my Blood (IFD, 2004), publishers as diverse as Ace Books and Night Shade Frank, Jane and Howard. The Frank Collection: A Books, ROC and Cemetery Dance Publications, Showcase of the World’s Finest Fantastic Art (Paper McGraw-Hill and Borderlands Press. His magazine Tiger, 1999), Frank, Jane and Howard. Great Fan-

145

Clarke
tasy Art Themes From the Frank Collection (Paper (Cemetery Dance, 1998), Mines of the Behemoth Tiger, 2003), Grant, John and Humphrey, Eliza-

(Darkside, 1994), More Phobias (Pocket Books, beth with Scoville, Pamela. The Chesley Awards: A 1995), Nifft the Lean (Darkside, 1994), Night in the Retrospective (AAPL, 2003).

Lonesome October (Cemetery Dance, 2001), Nightmare Flower (Tor, 1992), Night Shapes (Cemetery Published Work

Dance, 1995), Night Visions 10 (Subterranean, 2001), BOOKS ILLUSTRATED INCLUDE: The Alchemy of Not Broken, Not Belonging (Road Kill Press, 1994), Love (Triple Tree, 1998), American Beauty (Gale October Gethsemane (Darkside, 1996), Once Upon a Group/Five Star, 2003), The Astonished Eye (PS Pub-Halloween (Cemetery Dance, 2000), Orangefield lishing, 2001), Batman, Captured by the Engines (Cemetery Dance, 2002), Pain and Other Petty Plots (Borderlands Press, 1992), Beast House (Cemetery to Keep You in Stitches (IFD, 2003), Quietly Now Dance, 1998), Bedtime Stories to Darken Your Dreams (Borderlands Press, 2004), Really, Really, Really Re-

(IFD, 1999), The Best of Cemetery Dance (Cemetery ally Weird Stories (Night Shade, 1999), Redshift RenDance, 1998), Black Fire (Cemetery Dance, 2004), dezvous (Ace, 1990), Roll Them Bones (Cemetery The Blind God is Watching (Salamander Press, 1994), Dance, 2003), Safety of Unknown Cities (Darkside, Blood of the Lamb (Ace, 1991), The Bottoms (Subter-1997), Santa Steps Out (Dark Highways Press, 1998 ), ranean, 2000), Brightness Reef (Easton Press, 1995), Scissors (Cemetery Dance, 2004), Shadow Games, Camp Pleasant (Cemetery Dance, 2001), The Cellar Slippin’ Into Darkness (Cemetery Dance, 1994 ), Siege (Cemetery Dance, 1997), The Christmas Thing y of Arista (Roc, 1991), Silent Warrior (Tor, 1991), Siren (Cemetery Dance, 2000), Covenant (Delirium, Promised (Bloodletting Press, 2005), Sleepwalker 2004), Cuts (Cemetery Dance, 1999), Dancing with (Delirium, 2004), Soul Drinker (Doubleday/BCE, Demons (Obsidian, 1998), Darkness Darkness, Forever 1989), Spares (Overlook, 1999), The Stephen King Twilight Book 1 (Cemetery Dance, 2002), Darkness Universe (Cemetery Dance, 2001), Strange Monsters Demands (Cemetery Dance, 2001), Dead Cat Trav-of the Recent Past (Ace, 1991), Terminal (Bloodlet-eling Circus of Wonders and Miracle Medicine Show ting Press, 2004), Things Left Behind (Cemetery (Bedlam Press, 2005), Dead on Demand (Triple Tree, Dance, 1997), Time Travelers, Ghosts, and Other Vis-2001), Death’s Door (Cemetery Dance, 2003), Death itors (Gale Group/Five Star, 2003), Towing Jehovah Stalks the Night (Fedogan & Bremer, 1995), Devil’s (Easton Press, 1994), Toybox (Cemetery Dance, Day (Easton Press, 1996), The Devouring Void (Ace, 1999), The Traveling Vampire Show (Cemetery 1991), Door Below (Fedogan & Bremer, 1997), Dance, 2000), Trick or Treat (Cemetery Dance, Dream Maker (Walker, 1992), Enemy Papers (Dou-2001), Troika (Ministry of Whimsey Press,1997), bleday/BCE, 1996), Escaping Purgatory (IFD, 2001), 1984 (Easton Press, 1992 ), Twilight Gate (Walker, Eternal City (Gale Group/Five Star, 2003), Exit at 1993), The Ushers (Obsidian, 1999), Wizardspawn Toledo Blade Boulevard (Obsidian, 1998), The Far (Gale Group/Five Star, 2003), Wolf of Winter (Dou-Stars War (Roc, 1990), Ferryman (Cemetery Dance, bleday/BCE, 1993).

2003), Flaming Arrows (IFD, 2000), Flirting With MAGAZINES ILLUSTRATED INCLUDE:

Death (Deadline Press, 1995), Friday Night in the ASF: 1974 (9); 1996 (1, 3, 4, 8); 1997 (3); 2000 (2) Beasthouse (Subterranean, 2001), Fugue on an G-IASFM: 1994 (2);

String (Subterranean, 1998), Geckos (Roadkill Press, CEM: 1993 (winter, spring); 1994 (winter); 1995

1994), Ghosts (Pocket Star, 1995), Ghosttide (winter); 1996 (summer); 1998 (#28); 1999 (#32); (Revenant, 1993), Gifted Trust (Biting Dog Press, 2000 (#33); 2001 (#34, #35); 2003 (#42, #43, #44), 2005), Goon (Necro, 1996), Heaven’s Reach (Easton 2006 (10) w/ Glenn Chadbourne

Press, 1998), Helltracks (Cemetery Dance, 2000), Halloween Mouse (Cemetery Dance, 2001), The GAME-RELATED ILLUSTRATIONS INCLUDE: Mythos Homecoming (Byron Preiss, 1989), Honey is Sweeter Project; Mythos Now; Dreamlands supplement card Than Blood (Delirium, 2004), Horror for the Next game (Chaosium, 1996, 1997), Tempest of the Gods Millenium (Darkside, 1996), Imagination Fully Di-card art (Black Dragon Press, 1995).

lated 1, 2, 3 (IFD, 1998, 2000, Fairwood, 2003), In Endless Twilight (Tor, 1992), Infinity’s Shore (Easton Clarke, Harry

Press, 1997), I, Vampire: Interviews with the Undead (March 17, 1889–January, 1931) British artist.

(Longmeadow Press, 1995), John the Balladeer (Dou-Clarke was one of a select group of artists from the bleday/BCE, 1988), Jupiter War (Roc, 1991), Lamb-golden age of book illustration whose work is best re-shead Pocket Guide to Discredited and Eccentric Dis-membered today both for his exceptionally detailed eases (Night Shade, 2004), Little, Big (Easton Press, and imaginative horror-fantasy style and for his 1997), The Longest Single Note (Cemetery Dance, beautiful illustrations for the fairy tales of Andersen 1999), Love Bite (Transylvania Press, 1994), Madman and Perrault. Clarke illustrated only a few books but Stan and Other Stories (Cemetery Dance, 2004), his graphic output was considerable, and, like other Midnight Promises (1996), The Midnight Tour contemporary illustrators such as Arthur Rackham

Clarke

146
and Edmund Dulac, his works have become highly Poe. In commenting on their holdings of Clarke’s prized by collectors. Clarke worked in the tradition original works for Tales of Mystery and Imagination—
of Beardsley, and like his peers the illustrators Kay the best known, most successful and often reprinted Nielsen and Sidney Sime*, he “exhibited a similar of Clarke’s illustrated books — the Crawford Gallery fascination with a decadent sexuality and tales of (Cork, Ireland) wrote “Clarke’s antithetical, funda-horror producing highly decorated and textured mentally medieval predilection for both the sub-work.” (Horne, 1994).

limely beautiful and macabrely grotesque (some-Born on St. Patrick’s Day in Dublin, Ireland, times in the same context) is often most marked in Harry Patrick Clarke became a stained-glass appren-his book illustrations, where his love of detail can tice at age fourteen, studying in his father’s studio.

be examined more closely than in many of his win-He attended the Dublin Metropolitan School of Art dows … (S)adly, few of his original coloured illus-from 1910 to 1913, where he won 3 gold medals and trations have survived, for it is only these, rather than 2 scholarships in stained glass. Clarke’s first entry to their reproductions, which reveal the microscopic the Board of Education National Competition, held delicacy and subtle detail of an artist whose graphic in the Victoria and Albert Museum in London in work is essentially that of a miniaturist.” The emi-1910, The Consecration of St. Mel, Bishop of Longford, nent art critic Malcolm Salaman of the day wrote by St Patrick, won a gold medal. This was his earli-

“(Clarke has) tremendous imagination vitalizing pic-est extant work in stained glass, created during his torially with amazing power and invention, the Tales first year as a full-time student. Ultimately Clarke of Mystery and Imagination. Never before, I think, would design and craft more than 130 stained glass have these marvelous tales been visually interpreted windows in the British Isles, Australia, and Africa with such flesh-creeping, brain-haunting, illusions and was considered the greatest stained glass artist of of horror, terror and the unspeakable.” (The Stu-his generation. In 1913 after completing his art train-dio, 1923). The book was so well received that a ing he moved to London to begin his illustrative ca-completely new and reedited version was produced reer. In 1914 he married art teacher Margaret Cril-in the autumn of 1923. This edition had eight new ley.

plates in color, tipped in on grey paper. The first Clarke’s first two important illustrative efforts edition of 1919 was illustrated in black and white.

were not published. In 1913 he was privately commis-Many further reprints have appeared, including a sioned by his patron, Lawrence Ambrose Waldron, pirated edition by the Tudor Company of New York to create six pen and ink drawings to illustrate The in 1933 and the latest British edition of 1985, by Rape of the Lock. The black and white drawings il-Chancellor Press. It has remained the most popular lustrated the same scenes as Beardsley, twenty years edition of Poe’s Tales ever printed.

earlier, and were derivative in style. He next was Clarke was elected member of the Royal Irish commissioned to illustrate Coleridge’s Rime of the Academy in 1922. There followed a major exhibi-Ancient Mariner, by the Dublin firm of Maunsel and tion of Clarke’s work, opened by President Cosgrave Co, but the project was abandoned when all but the in Dublin on August 3, 1925. The occasion marked eight full page drawings were destroyed by fire; the peak of the artist’s career. His final book was Se-these, executed in 1913, also were long thought to lected Poems of Algernon Charles Swinburne, which be lost but were discovered in Dublin seventy years was published in 1928. By that time, the intensity later.

and long hours required to maintain the stained glass Clarke’s five most important books were all com-studio that he and his brother, Walter, had taken missioned by the London publisher George Harrap.

over after their father’s death in 1921, had taken its These featured both pen and ink and pen and wash toll. It has been conjectured that the toxic chemi-drawings and works in color, signed “HC” or Harry cals used in stained glass production, as well as the Clarke. His first printed work was Hans Christian exhausting pace of work, may have affected both Andersen’s Anderson’s Fairy tales in 1916, followed by brothers, as they died within a year of each other.

his brilliant illustrations for Poe’s Tales of Mystery Clarke suffered from agonizing headaches, a severe and Imagination in 1919 — which made his name as eye infection, and recurrent bouts of tuberculosis, a book illustrator. Other books followed, The Years and this resulted in his premature death in Coire, at the Spring in 1920, and The Fairy Tales of Perrault Switzerland, two months before his forty-second in 1922, both for the children’s market. His last book birthday.

for Harrap was Goethe’s Faust in 1925, considered by Often called “the outstanding Symbolist of Ire-many critics to be his graphic masterpiece, prefigur-land” Clarke’s influence on later twentieth-century ing the bizarre psychedelic imagery of 1960s.

fantasy, horror, and science fiction illustrators was It is now generally acknowledged that Clarke was monumental. Virgil Finlay*, Lawrence Sterne the greatest and most successful of all artists who Stevens*, Vincent Napoli*, and Wallace Smith* were have attempted to illustrate the stories of Edgar Allan a few of the many artists whose work showed a

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Clifton-Dey
strong Clarke influence. His strong line work and and in 1969 they sold it and moved with their masterful black-and-white illustrations were so pop-daughter to England.

ular and well known that virtually every major mod-Much of Clifton-Dey’s work was for book covers, ern artist after him was exposed to Clarke’s works.

either for science fiction, fantasy, war books, ro-And his illustrations for Poe’s short stories are still mances or westerns but his reputation was founded considered the definitive art for these works. Clarke’s on the fact that he could paint anything. His train-drawings were included in the exhibition “Land of ing at the Royal Academy gave him an excellent skills Enchantment: British Fantasy Illustration in the in anatomy, and handling of detail, and that plus Golden Age,” held 1997–1998 at the Watkinson Li-his linguistic and historical knowledge, made him brary at Trinity College, CT. An award-winning one of the most highly respected illustrators work-documentary (2004) was produced by Camel Pro-ing in the U.K. during the 1970s and 1980s. Clifton-ductions (Dublin, Ireland) titled Harry Clarke —

Dey worked primarily in gouache on illustration Darkness in Light. Of their subject, the producers (pressed paper) board, and like many other illustra-write “He created a stunning and often bizarre world tors of the time, rarely signed his works; those rare in stained glass and book illustration. The work is a few are signed Clifton-Dey. All original works sold heady mix of the beautiful and the grotesque, the after his death are provenanced by his widow, and ethereal and the demonic, the romantic and the ob-carry an estate label.

scene.”

The artist’s first big client in the U.K. was New Sources: Bowe, Nicola Gordon. Harry Clark: His Graphic English Library (NEL,). At this time, their art di-Art (Dolmen Press, 1983); Bowe, Nicola Gordon. The Life rector was Cecil Smith and he became Cecil’s reli-and Work of Harry Clarke (Irish Academic Press, 1994); Camel Productions at www.camelproductions.net/; Collection notes: able solution for any problem cover, although Crawford Municipal Art Gallery, the city art museum for Clifton-Dey always preferred science fiction and Cork at www.crawfordartgallery.com/OtherMedia/HClarke.

fantasy. Shortly after that he met John Spencer html; Harry Clarke biography by Jim Vadeboncoeur, Jr. 1998, (founder of Young Artists, London), and joined that online www.bpip.com/illustrat/clarke.htm; Horne, Alan. Dictionary of twentieth Century British Book Illustrators (Antique agency. He worked consistently with them on book Collector’s Club, 1994), Salaman, Malcolm C. British Book covers for publishers in the U.K. and the US, as well Illustration Yesterday and To-day. London: The Studio, as on advertising, and a wide variety of other proj-1923.

ects, among them children’s three-dimensional Published Work

(pop-up) books, one of which was titled Space (Dial Faust (Harrap, 1925), Tales of Mystery and Imag-Books, 1991).

ination (19), Tales of Mystery and Imagination (23) Sources: personal correspondence 2004–2005 with Alison Eldred, Ciftton-Dey’s former agent (Arena Agency).

Art Collections and Anthologies

(various contributing artists

Clifton-Dey, Richard

The Immortals of Science Fiction (Pierrot, 1980), (May 29, 1930–April 5, 1997) British artist.

Suckling, Nigel. Heroic Dreams (Paper Tiger, 1987), Born Edward Michael Clifton-Dey, the artist used Tour of the Universe (Pierrot/UK, Mayflower/US, the forename Richard both personally (since child-1980).

hood) and then professionally; there are only two known instances where he was credited for illus-Published Work
trative works as E. M. Clifton-Dey (both maga-BOOKS ILLUSTRATED INCLUDE: Agent of Chaos zine covers). Clifton-Dey was born in Yorkshire in (NEL, 1972), Almuric (NEL, 1971), Anubis Gates the north of England, but grew up in the seaside (Grafton, 1986). Armageddon 2419 AD (Panther, town of Blackpool where he went to the Grammar 1975), Asimov on Science Fiction (Granada, 1983), School and the School of Art. He studied at the Book of the Beast 1, 2, 3 (Granada, 1982, 1983), Car-Royal Academy in the 1950s, during which time son of Venus (NEL, 1976), Clients of Omega (Pan-he spent six months in Spain. In 1958 he went to ther, 1975), Concrete Island (Panther, 1975), Cyborg Paris for a visit and stayed for eleven years. He ini-I, II, III (Mayflower, 1974, 1975), Doc Savage (Pan-tially worked for Berlitz, teaching English, but then ther, 1974), Druid’s Blood (Headline, 1989), Fight-worked as a freelancer for Hachete for eight years ing Man of Mars (NEL, 1973), A Flight of Chariots producing illustrations of various kinds, but most (Fontana, 1976), Flow My Tears (Panther, 1976), notably for L’Histoire Française. He and his wife, Giant Rat of Sumatra (Star/Wyndham, 1977), Gods Inge, met during that time, and they lived a Bo-of Riverworld (Granada, 1984), History of the hemian life in one room in the center of the city, Runestaff series: #1 Jewel in the Skull, #2 Mad God’s where they lived, worked, ate and slept. They Amulet, #3 Sword of the Dawn, #4 Runestaff (DAW, bought a small primitive house in Normandy to 1977 also Panther/Grafton U.K. 1981), Jizzle (NEL, which they could escape when they had the time, 1979), Lord of the Spiders (NEL, 1975), Lord Tyger

Clothier

148

(Panther, 1984), Malfrena (Granada, 1980), Master-noted; however there is the possibility, unverified at minds of Mars (NEL, 1974), Masters of the Pit (NEL, present, that Robert Alan Clothier, the Canadian 1971), Menace Under Marswood (Grafton, 1985), actor and artist and Clothier the illustrator are one Monsters (Robinson, 1989), Night of the Griffin and the same man. Clothier, born in Prince Rupert, (NEL, 1973), Night of the Vampire (NEL, 1969), British Columbia, Canada (October 21, 1921-Febru-Odan the Half-God #1 Dream Chariots (Daw, 1977), ary 10, 1999) was an accomplished stage and televiOn Stranger Tides (Grafton 1988), Philip Jose Farmer sion actor who, when he wasn’t acting, pursued his on Science Fiction (Granada, 1983), The Poison Ora-passion for art as an award-winning sculptor. After cle (London Book Club, 1974), Rebel in Time his service in World War II it is known that Cloth-

(Granada, 1983), Small Assassin (NEL, 1970), A ier studied architecture at the University of British Spectre is Haunting Texas (Mayflower/Granada, Columbia (UBC) and also attended the Royal Acad-1971), Swords of Mars (NEL, 1972), Swords of the Bar-emy of Dramatic Arts in London— during a time pe-barians (NEL, 1977), Tarzan Alive (Panther, 1973), riod that would coincide with his British SF publi-Threshold (Granada, 1982), Time’s Dark Laughter cations. After he returned from England he became (Granada, 1984), Unforsaken Hero (Granada, 1985), well-known in the Vancouver area as a stage actor The Usurper (Grafton, 1988), Virility Gene (NEL, and an accomplished sculptor and painter. His first 1975), The War of the Worlds (with Roger Dean; exhibition was at UBC in 1956 when he won first Signet, 1986), Wasteworld 1, 2, 3, 4 (Granada, 1983), place in an arts competition for his sculpture “Three Wizard of Venus (NEL, 1975).

Forms.”

MAGAZINES ILLUSTRATED INCLUDE:

Sources: Weinberg, 1988; Northern Stars: Canadians in SFM: 1975 (5, 12)

the movies at www.northernstars.ca/actorsabc/clothier.html; www.lancastermuseum.ca/s,robertclothier.html Published Work

Clothier, Robert

NEB: 1953 (#3, #4, #5, #6); 1954 (#7, #8, #9, (?) British artist. The first regular cover artist for

#10); 1955 (#12)

New Worlds Magazine, starting with the fifth issue in NW: 1949 (#5); 1950 (#6, #7, #8); 1951 (#9, #10, 1949, “Bob” Clothier painted ten covers for that

#11, #12); 1952 (#13, #14, #16, #18); 1953 (#19, #20, magazine as well as six for Nebula, along with many

#21)

interior illustrations. Other regular Although Cloth-ScF : 1952 (winter, spring, fall); 1953 (spring); ier’s art was respectable enough for its intended use, 1954 (7)

and to the modern eye seems charmingly of the period rather than merely “crude,” as Ashley described Clyne, Ronald S.

his portrayals of people, saying “the picture relied (December 28, 1925-February 26, 2006) Amer-mostly on the depth and breadth of his imagination ican Artist. One of the few fantasy artists who made to bring them alive. He concentrated predominantly the leap from the narrow confines of the genre to on simple scenes of spaceships on alien landscapes —
major success as a commercial artist and graphic de-his stark portrayal of a rocket on the moon for Neb-signer, Clyne was a Chicago fan in the early 1940s ula issue #9 (August 1954) was considered to be his and contributed to a number of fanzines published best work—but he had a tendency to spoil his paintin the Midwest (which continued through the early ings by incorporating too much in them.” (Wein-1950s). His popularity in fanzines prompted him to berg, 1988) Among the things he incorporated was contribute to SF pulps, and he sold art to Famous his name; it was a feature of Clothier’s covers for Fantastic Mysteries and others. In 1945, encouraged him to hide his name somewhere in the painting, by sales to the pulps, he submitted a sample of his such as on the side of a vehicle or on a billboard/sign.

work to August Derleth, editor and publisher of Others Ashley cites, such as New Worlds editor John Arkham House books, the only specialty press pub-Carnell, were kinder, who wrote: “In Britain, where lishing weird and fantasy fiction at that time. Der-fantasy art has not been developed at all in the past, leth liked Clyne’s work and commissioned him to it is extremely difficult to find artists with any flair paint the cover for Something Near, a collection of for the medium at all. Both Clothier and (Alan) Derleth’s short stories, 1945. During that same year Hunter* are improving, but, like authors, need prac-Clyne produced several more dust-jacket illustra-tice and guidance before they produce their best.”

tions and was also commissioned to design the However, the rising popularity of Gerald Quinn*
colophon for a new imprint published by Arkham, soon resulted in his replacement of Clothier as the Myrcroft and Moran, which specialized in Sherlock-regular cover artist, and Clothier disappeared from ian type works, but also published fantasy.

the magazines.

In 1946, a book jacket Clyne had produced for Nothing can be discovered of Clothier’s history Fearful Pleasures was seen by an art director who sub-beyond his credits for the magazine illustrations sequently hired him to illustrate a collection of short

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Cobb
stories Shorter Writings of Voltaire (Emmaus, 1949), Clock Strikes Twelve (Arkham House, 1946), The featuring Clyne’s pen and ink drawings. This was Curse of Yig (Arkham House, 1953), A Day In The the artist’s first venture into the commercial art field.

Life (Harpercollins, 1972), The Doll and One Other When his illustration for This Mortal Coil (1947) (Arkham House, 1946), Fearful Pleasures (Arkham was listed as one of the fifty best jackets published House, 1946), The Fourth Book of Jorkens (Arkham that year, the honor helped push Clyne even further House, 1948), The Green Round (Arkham House, into the commercial art field. He continued to work 1968), Green Tea and Other Ghost Stories (Arkham for Arkham House, but his interest in fantasy fiction House, 1945), The Intruder (Putnam, 1959), In Re: declined as his career in commercial design ex-Sherlock Holmes (Mycroft and Moran, 1945), Lurker panded. His last work for that publisher was in 1968, at the Threshold (Arkham House, 1945), Night’s Black for their first U.S. edition of Arthur Machen’s last Agents (Arkham House, 1947 ), Nightmares And Day-novel The Green Round (1933). When later asked dreams (Arkham House, 1968), Not Long for This why he abandoned fantasy art, he said in an interWorld (Arkham House, 1948), The Opener of the Way view published in Xenophile (1975) “because I didn’t (Arkham House, 1945), Revelations in Black want to end up doing hack work for five to ten dol-

(Arkham House, 1947), Satellite! (Hanover House, lars for the rest of my life.” Never paid more than 1956), Something About Cats (Arkham House, 1949), about fifty dollars for his art, Clyne — according to Something Near (Arkham House, 1945), The Sur-his widow, Hortense — always considered his work vivor and Others (Arkham House, 1957), Tales From for Arkham House to be a labor of love.

Underwood (Arkham House/Pellegrini & Cudahy, Outside the genre, Clyne is perhaps best known 1952), This Mortal Coil (Arkham House, 1947), as a visual artist who formulated more than 500

Three Problems for Solar Pons (Mycroft & Moran, album jackets for Moses Asch’s Smithsonian Folk-1952), Throne of Saturn (Arkham House, 1949), Voy-ways record label from 1951 to 1981, nearly the enages to the Moon (Macmillan, 1948), War Against the tire time the label existed as a private company. His Rull (Simon & Schuster, 1959), West India Lights identifiable design style contributed much to the dis-

(Arkham House, 1946), Witch House (Arkham House, 1945), Worlds Of Science Fiction (Dial Press, tinctive Folkways look, although the company’s 1963), Worlds of Tomorrow (Pellegrini & Cudahy,

“shoestring budget” meant that Clyne’s designs often 1953).

were limited to two colors. “A record cover should be seen in a glace,” he once said “You should see the MAGAZINES ILLUSTRATED INCLUDE:

total, instantly.” The Clyne look —“cryptic, surreal AKS: 1948 (winter, spring, summer, fall); 1949
imagery”— was strongly influenced by the curvilin-

(winter, spring, summer, fall)

ear lines found in Papua New Guinean sculpture, AMZ: 1943 (7, 11); 1944 (1); 1948 (4) which he called “the purest art in the world.” (Dr.

FA: 1941 (11); 1943 (8); 1945 (7); 1949 (3) Atesh Sonneborn, Smithsonian Center for Folklife, FFM: 1944 (9, 12); 1945 (12); 1946 (4); 1948 (10) reported in Spiewak, 2006). Clyne’s long associa-PS: 1944 (spring, summer)

tion with Folkways fueled his equally long fascina-WT: 1944 (3); 1946 (5)

tion with Oceanic art, which he and his wife collected and displayed in their home. Clyne’s Folkways Cobb, Ron
designs are preserved in the Smithsonian Institute (b. September 21, 1937) American artist. A car-and the Center for Ethnomusicology in Alberta, toonist, artist, writer, film designer, and film direc-Canada. Clyne died of a heart attack in New York, tor, Cobb has had a varied career, but it for his sci-His wife of many years, Hortense K Clyne, survives ence fiction film design that he has made his greatest him.

mark in the art field. Born Ronald Ray Cobb in Sources: telephone interview with Hortense Clyne, July Echo Park, Los Angeles, California Cobb grew up 9, 2006; “Art and Soul” by Monica Geran in Interior Design, in the Burbank area. He attended Burbank High August 1, 2000; Gary Kenton Collection, Interview with School and upon graduating in 1955, without any Ronald Clyne June 28, 1983 Univ of North Carolina library;

“Ordinary Things” Sam Spiewak online arts column June 15, formal training in graphic illustration, began work-2006 [accessed July 2006], Port Reyes Light, Tomales Bay Pub-ing at Disney Studios as an animation in-between-lishing Company, CA; “In Memoriam: Ronald Clyne 1925–
er and breakdown-artist at the age of 17. He worked 2006” Smithsonian Institution website www.Folkways.si.edu on the animated feature Sleeping Beauty (1959), the

/learn_discover/ronald_clyne.html; Weinberg, 1988; Xenophile

#18 (1975).

last Disney film to be produced with hand-inked cels, until Disney laid him off when the film was Published Work
finished, in 1957. For the next three years he held BOOKS ILLUSTRATED INCLUDE: The Abominations various jobs until he was drafted into the U.S. Army Of Yondo (w/ Wynn Bullock, Arkham House, 1960), Signal Corps, and served from 1960 to 1963. On his The Arkham Sampler (Arkham House, 1949), Beach-discharge from the Army in 1964 he decided to be heads in Space (Pellegrini & Cudahy, 1952), The a freelance artist and by 1965 was contributing to the

Cochran

150

Los Angeles Free Press (the Freep) as a political car-ence Games, designing interactive video games for toonist. By 1970, Cobb’s cartoons — known for their Loadstar (Sega Corp) and others, and from detailed draftsmanship and acute social satire —

1994–1996 he was Creative Director for the com-were appearing dozens of college newspapers and a pany. In 1990–1991 he directed his first feature film number of daily newspapers, although he was never Garbo, an Australian Comedy shot entirely in and able to earn a living from it. He had an exhibit of around Melbourne, Australia. Cobb also co-wrote his work at the Encore Theater, including art, pho-with his wife, Robin Love, “Shelter Skelter” one of tos, and cartoons. During this stage of his career, the Twilight Zone TV episodes (1987). Several books Forrest J Ackerman, who served as his agent, intro-have collected his cartoons from the 1960s and 1970s, duced him to Ray Bradbury, who helped Cobb with most long out of print, the most recent published his advice and connections. To help pay the bills, by independent publishers Wild & Woolley, The in addition to cartooning and designing record Cobb Book (1975) and Cobb Again (1978).

album covers ( Jefferson Airplane, 1967), Cobb Cobb continues to work in film while preparing painted a number of covers for Famous Monsters of to resurrect his editorial cartooning on this web site Filmland magazine, ten issues spanning the years as, possibly, a series of short animated clips. As work 1965-1970.

dictates, he divides his time between Santa Monica, In 1972, Cobb moved to Australia, where he California and his permanent residence in Sydney worked as a political cartoonist for The Digger, a Australia where he lives with his wife and son Nicky.

paper in Sydney, and met and married his wife, Sources: www.roncobbdesigns.com; Watson, Nick, with Robin Love. In 1973 he began work as a film de-Ron Cobb “The Cartoons of Ron Cobb” Shimmery Timbers June 2005 online www.shimmerytimbers.com [accessed Feb-signer, working on the cult film Dark Star. As he ruary 2007]; Weinberg, 1988.

became more involved with concept design for the film industry the political cartoons stopped. He soon Published Work
became one of the most important and innovative F&SF : 1959 (7)

workers in the science fiction film-design field, over the next two decades working on many of the major Cochran, Connor Freff
films in the genre. He helped design some of the (October 15, 1954) American artist. Born Jeffrey elaborate aliens in the Cantina scene in Star Wars Scott Cochran in Miami, Florida, Cochran moved (1977), created the concept for the ship Nostromo for with his family at age three to Prairie Village, Kansas, Alien (1979), and was Production Designer for a suburb of that city. At fourteen, he and his family Conan the Barbarian (1982), the first feature for moved to Placentia, California, east of Los Angeles, which he received that credit. His design work for where he graduated from El Dorado High School a these films was collected in Colorvision, a full-color year ahead of the normal schedule. One of his fellow large-format monograph (1981). He served as art di-students had combined the words “friend” and “Jeff ”

rect for Digital Productions in 1982–1983, and be-to coin the name “Freff ”— and while at first this re-came captivated by the computer. In 1984 he de-mained only a nickname, by 1970 he had started signed the alien spaceman for the Los Angeles signing his artwork that way, as well.

Olympics Closing Ceremony. Other movies to Like many artists, Cochran entered the science which he contributed production designs include: fiction field doing “freebie” drawings for fanzines.

Close Encounters of the Third Kind Special Edition His first paid job were pen and ink drawings for An-

(1980, uncredited for design work on the alien drew Porter’s semi-prozine Algol, done in 1972. In the mother ship), The Last Starfighter (1984), Leviathan same year he dropped out of Fullerton Junior Col-

(1989), Real Genius (1985), My Science Project (1985), lege after two months of art classes to live on his Back to the Future (1985), Aliens (1986), The Abyss own. He worked in various fields to make a living (1989), Total Recall (1990), Rocketeer (1991), True Lies and “The rest was all just self-directed study and ex-

(1994), The Sixth Day (2000), and others. He was co-perimentation,” he says, adding “as a young pro, just designer and director on the opening sequence for starting out, I was lucky enough to be mentored Steven Spielberg’s Amazing Stories TV series.

ever-so-slightly by two of my early faves in the field: In 1982 Cobb was one of the ten official artists Kelly Freas* and Jack Gaughan*.

chosen by NASA to document the launch and land-At Kelly Freas’s suggestion Cochran moved to ing of the STS4. Two of these paintings are on ex-New York in September 1973 and started looking hibit in the Smithsonian Aerospace Museum. An for work as an illustrator. When that was not forth-enthusiastic admirer of space artist Chesley Bon-coming, Cochran attended the Ringling Brothers estell, he also wrote a tribute to the artist published and Barnum & Bailey Clown College — class of in Worlds Beyond: The Art of Chesley Bonestell (Don-1974. In that year he got his first big break from Jim ning, 1983)

Baen, the new editor of Galaxy and If. Baen needed In the early 1990s, Cobb worked with Rocket Sci-people who would work fast and cheap and put up

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CoConis
with being paid late — in other words, the perfect work for Two Hearts, a collector’s hardcover edition opportunity for beginning artists like Cochran. By of Peter S. Beagle’s award-winning novelette. Pre-this time he was aware that other professional artists viously married to Amelia Sefton (1975–1985) and and cartoonists were named “Cochran”— and feel-Gloria Cheng (1996–1999), Cochran is now mar-ing that using his initials “JC” would be presump-ried to Terri Kempton, and has no children. He retuous — the artist in 1976 went to court and legally sides in San Francisco, and spends about a third of adopted “Freff ” as his professional nom de brush, and his time elsewhere working on various projects.

kept it during his years of magazine illustrating.

Sources: e-mail from the artist July 2007; www.greenman-Baen was so taken with the name that he put it on review.com/bio/bio_connorfre›cochran.html.

the cover of Cochran’s first cover for IF, as if Published Work

Cochran was an author with a story in the maga-BOOKS ILLUSTRATED INCLUDE: Asimov’s Choice zine. After that “Freff ” did a lot of work for Baen, (Dale Books, 1978), Bare Bones: Conversations on primarily interiors in black-and-white. He also did Terror (Underwood-Miller, 1988), Berkley Showcase: drawings for Cosmos, Isaac Asimov’s SF, and did cover New Writings in Science Fiction and Fantasy: Vol. 5
work for publishers such as Dell, Berkley, and Dou-

(Berkley, 1982), Binary Star No. I: Destiny Times bleday. Cochran was selected to be one the artists in Three; Riding The Torch (Dell. 1978), Courts of Chaos the special 1975 NASA/Smithsonian Artists Tour.

(Doubleday, 1978), Dragons of Darkness; Dragons of After early success illustrating Zelazny’s “Amber”

Light (Ace, 1983), Isaac Asimov’s Science Fiction An-novels for Galaxy, followed by cover art and inte-tholog y #1, #2 (Davis, 1979), Keepers of the Earth rior illustrations for a set of hardcover novels by Ze-

(Dell, 1978), Keepers of the Gate (Dell, 1978), Lord of lazny for Gregg Press in the early 1980s, Cochran Light (Gregg Press, 1979), The Snow Queen (Dial became disgruntled over nonpayment for the use his Press, 1980), Stainless Steel Rat for President (Dou-art in foreign editions of John Varley’s novel Titan, bleday/BCE, 1982), Titan (Putnam, 1979), What’s for which he had done a frontispiece and 16 illustra-a Sampler? (Omnibus Press, 1991), Whispers #4
tions—and the argument led to the end of Cochran’s ( Jove, 1988) Whispers #5 (Schiff, 1982), Wizard illustrating in the field. He turned to other endeav-

(Berkley, 1983).

ors, but briefly “dipped a toe back into the waters MAGAZINES ILLUSTRATED INCLUDE:

by collaborating on the first (and only) issue of an SF

AMZ: 1982 (11)

comic book called D’Arc Tangent” in 1982–1983. He CSF : 1977 (9)

did inking and penciling for DC and Marvel comics: F&SF : 1980 (2)

Star Trek and Tomb of Dracula. Through the 1980s GXY: 1974 (9, 10, 11); 1975 (1, 2, 3, 4, 6, 8, 9, 10); Cochran produced artwork for many different 1976 (1, 2, 3, 7, 9); 1977 (7); 1979 (4) clients: the U.S. Army, advertising billboards, event IASFM: 1977 (fall); 1978 (fall, 1/2, 11/12, 11/12); illustrations, corporate logo and packaging designs, 1979 (3); 1980 (1, 3); 1981 (2)

and cover art and interiors for various magazines, IF : 1974 (8, 10, 11/12); 1975 (1, 2); 1977 (7) including Frets, Electronic Games, Defenders of Wildlife. Cochran also supplied pre-production drawings for a planned animated production of Anne CoConis, Ted

McCaffrey’s Dragonflight. He briefly wrote an SF art (b. Aug 31, 1927) American artist. Born in column for Richard Geis’s SF Review called “Angel Chicago, Illinois, Konstantinos (Ted) CoConis was Fear.” Cochran was one of the founders of ASFA awarded a scholarship to the Art Institute of Chicago (the Association of Science Fiction and Fantasy during his grade school years, but he abandoned his Artists) and designed the organization’s logo.

formal education at age 15 and instead, set off to ex-In 1990 Cochran’s views changed; he took his perience grand adventures —first as a cadet with the family surname back and replaced his first name Army Air Corp, and then as a seaman with the Mer-with “Connor,” a name that had personal meaning chant Marines. By the age of 20 he committed him-to him, while keeping “Freff ” as his middle name self to his true calling and began work as an artist, for professional continuity. He turned more to busi-starting in Chicago and ending up in San Francisco, ness endeavors and fine art (mostly digital), and es-where he landed his first free-lance commission. His tablished a publishing company, Conlan Press. He is first published illustration was in Sunset magazine in business manager for Peter S. Beagle, Parke God-1954. It wasn’t long before a major art studio in New win, Algis Budrys, Peter Gillis, Rebekah Naomi Ox, York recognized his talent. He heeded the call, the Edgar Pangborn estate, and the Avram Davidson moved east and quickly established himself as one estate. He is also the film producer for Changeling of this country’s preeminent illustrators, gaining in-Films and Avicenna Development, and record pro-ternational recognition and fame for his outstanding ducer for Ace-Kobata Music. As “Connor Cochran”

film posters, magazine and story illustrations, and he recently returned to illustration, producing art-record album and book covers. Notable among these

Coggins

152
was the poster for Labyrinth, the movie produced followed by 14 other books on naval themes and his-by Jim Henson and George Lucas that starred David tory. He worked in gouache (for his commercial art) Bowie, Jennifer Connolly and a host of Henson cre-and pastel and his realist/representational style lent ations (1986). While few of his commercial assign-itself to a variety of traditional genres.

ments were for genre-related publications, many of Coggins enjoyed a long career in academia, begin-his cover paintings and other illustrative works were ning in 1947 to 1952 when he was a member of the distinctly fantastic and surreal.

Art Department at Hunter College (NY). In May About thirty years ago he decided to concentrate 2001, at the age of 91, Coggins retired after 50 years on his own art while living in Paris and the Greek Is-of teaching master classes at The Institute of the Arts lands. The first paintings born of this effort were a in Wyomissing, PA. His paintings are in the collec-series of winged women, most of which have since tions of the Philadelphia Maritime Museum, the been acquired by private collectors. Though very National Air and Space Museum of the Smithson-different from those early works, Ted’s most recent ian Institute, the Reading (PA) Museum, The Brown paintings of women in Paris are rendered in a lyri-University Museum, The U.S. Navy and The U.S.

cal style that reflects his continued fascination with Coast Guard, and private collections worldwide. He the fantastic and surreal.

is a member of nearly every American art society: Ted and his wife Kristen live and work in a an elected artist member of the Pastel Society of small fishing village on the Gulf coast of Florida and America and the American Society of Marine in an even smaller fishing village on the coast of Painters. He is also a member of the Berks Art Al-Maine.

liance, the Art Alliance of Harrisburg and the Sources: e-mail from the artist, April 11, 2005,; www.ted-Chester County Art Association.1952. In 1985 he coconis.com
received the Americanism Award from the Daniel Published Work

Boone National Foundation. Coggins was married BOOKS ILLUSTRATED INCLUDE: Camber of Culdi to the artist Alma Woods (b. 1924), who helped him (Ballantine/Del Rey, 1976); Princess Bride (Ballan-with all his publications by typing, doing research, tine, 1975)

editing and working with publishers. His original manuscripts and illustrations are collected by the Coggins, Jack Banham

University of Southern Mississippi.

( July 10, 1911–January 31, 2006) American artist.

Sources: correspondence from the artist, October 2005; Coggins was born in London and came to the Miller, Ron. “Jack Coggins” Outré Magazine, February 2001, pp. 42–49; Obituary, Reading Times/Reading Eagle online United States while still a child. After studying at (Feb/2/2006).

the Grand Central School of Art and the Art Students League in New York, he devoted most of his time Art Collections and Anthologies
to marine painting, a genre to which he would re-

(various contributing artists)

turn after spending many years as a commercial Miller, Ron. Starlog Photo Guidebook to Space Art artist. During World War II he did many war illus-

(Profile Entertainment, 1978).

trations for Life magazine, and other commercial clients. From 1943 until the end of the war he served Published Work
as a U.S. Army correspondent in Europe. Starting BOOKS ILLUSTRATED INCLUDE: All About Rockets in the 1950s he began painting science-fiction mag-and Jets (Random House, 1955), By Spaceship to the azine covers for Galaxy and Fantasy & SF, specializ-Moon (Random House, 1952), Rockets, Jets, Guided ing in spaceships and astronomical art. In 1951 and Missiles and Space Ships (Random House, 1951), 1952, Coggins collaborated with the late author Rockets, Satellites, and Space Travel (Random House, Fletcher Pratt on now classic books about space 1958), The Science Book of Space Travel (Pocket travel, Rockets, Jets, Guided Missiles and Space Ships Books, 1956), Untouched by Human Hands (Ballan-and By Spaceship to the Moon (both published by tine, 1954).

Random House). The books made the prospect of MAGAZINES ILLUSTRATED INCLUDE:

space exploration seem a very practical possibility, AMZ: 1953 (4)

and were released amidst the great wave of national F&SF : 1953 (5, 8, 9); 1954 (5)

interest in space travel that swept the country at that FSQ: 1954 (Spring, Fall)

time. His work was also featured in Ron Miller’s GXY: 1952 (5, 7, 9, 11); 1956 (7, 9); 1957 (2, 4, 8) Starlog Photo Guidebook to Space Art (Profile Enter-SFQ: 1953 (11)

tainment, 1978).

SS: 1952 (10)

After leaving science fiction and astronomical art, TWS: 1953 (2, 4, 8); 1954 (winter, summer, fall) Coggins wrote and illustrated books on military and naval history. In 1962 he wrote and illustrated Arms and Equipment of the Civil War (republished 1999)

153

Coll

Coll, Joseph Clement

Coll’s innovative drawings for Conan Doyle’s ( July 2, 1880-October 19, 1921) American artist.

novel Sir Nigel for the Associated Sunday Magazines

“One of the last men to stick exclusively to pen and immediately received attention in the illustration ink as an art medium” according to his obituary in field and it wasn’t long before he was drawing for the New York Times, and now generally considered Colliers, which became the primary market for his one of the greatest virtuosos in the use of pen and work. At that time, Collier’s was a weekly magazine, ink, Cole was an excellent artist who “brought art to and was publishing stories by the most popular au-a rare degree into the field of illustration,” according thors of the day — Conan Doyle, Edgar Wallace, Sax to a review of an exhibition of his work sponsored by Rohmer — many in serialized form. Since many sto-the American Institute of Graphic Arts, after his ries Coll illustrated had a fantasy element, he was death. Many of his finest illustrations were done for the perfect artist for them: the first several Sax science fiction and fantasy stories, by Sax Rohmer Rohmer’s Fu Manchu stories (published as a series of and Arthur Conan Doyle, among many others.

short stories instead of a novel); “Fire Tongue” also Coll was born in Philadelphia, Pennsylvania, the by Rohmer; serial versions of Conan Doyle’s “The son of Irish immigrant parents. His father was a Lost World,” many stories by Talbot Mundy, includ-bookbinder, so Coll was exposed to books and illus-ing “King — of the Kyber Rifles” (1916); A. Merritt’s trations all of his life. Born during a period when

“The Moon Pool” (1919); and “The Messiah of the pen-and-ink illustration was at one of its highest Cylinder” by Victor Rousseau. Coll also did illus-points, Coll was most strongly influenced by the trations for The Red Magazine, Woman’s World, Spanish artist Daniel Vierge. He also thought highly Everybody’s pulp magazine, owned by Street & of American illustrators Edwin Austin Abbey, Smith, and the most prestigious of all pulps, Blue-Howard, Pyle, and A.B. Frost. These artists worked book. Coll was prolific, and advertisers, seeing the for the leading magazines of the day, such as Harpers, effect of his work, also used him to illustrate impor-McClure’s, and The Century Magazine. Coll studied tant magazine ad campaigns. Most of Coll’s works their examples closely and worked in a similar fash-in the small number of books published were ex-ion. As Weinberg notes (1988), “Vierge used strong cerpted from the large number of drawings that ap-contrasts with the white of the paper to offset strong, peared in the serialized versions.

bold, black lines, and this technique was to high-Married to Nellie Coll with a daughter, Eleanor light much of Coll’s work as well.”

(b. 1915), Coll died suddenly at the age of 41 from ap-Coll graduated from Boys Central High School pendicitis in 1921. Since most of his work was done with no formal art training, but nevertheless man-for magazines that have long been forgotten, his aged to obtain a job as an apprentice newspaper artist work had drifted into obscurity — remembered only for the New York American. Before the advent of in-by succeeding generations of illustrators who had expensive newspaper photo techniques, newspaper been influenced by his work, and those few collec-artists had to work quickly to capture events as they tors who prized it — until the recent publication of were happening. Coll covered all sorts of stories and some reference books which recognized his impor-learned fast, and was sent to the Chicago paper tance. The pulp magazines in the 1920s and 1930s owned by the American to further his training. He were full of artwork that owed its debt to his de-returned to Philadelphia in 1901, and joined the staff signs; nearly all the art in Bluebook magazine, for of the new North American. His editor there, J.

example, one of during that time period, resembled Thomson Willing, recognized his talents and gave Coll’s work. Many of the top pen-and-ink illustra-him special assignments. He and Coll remained tors such as Austin Briggs, and J.R. Flanagan*
friends long after the artist left the paper. From worked in the Coll style, and these artists influenced newspaper work, in 1905 Coll moved on to maga-the next generation, like Charles Schneeman* and zines, where for twenty years his drawings would Vincent Napoli* so that Coll’s illustrations helped define the look of adventure illustration. He had an mold generations of artists who learned from his ge-exceptional imagination, and although he later nius. Coll was a member of the Society of Illustra-would use models, much of his work was based on tors (NY) and was inducted into their Hall of Fame his own ideas and feelings. His drawings were “crisp in 1995, seventy-five years after his death.

and brilliant, full of the freshness and spontaneity Sources: Ancestry.com. World War I Draft Registration that one asks for and seldom finds in a drawing made Cards, 1917–1918 [database on-line]. Provo, UT, USA: The Generations Network, Inc., 2005. Difate, Vincent. Infinite with pen and ink. His studies of character are done Worlds: The Fantastic Visions of Science fiction Art. Wonder-with an athletic humor, an honest, buoyant zest that land, 1997; New York Times obituary, October 20, 1921; Biwent out of fashion with Dickens, and with Dick-ography of the artist, The Vadeboncoeur Collection of Knowl-ens is today longingly appreciated by a generation edge, Jim Vadeboncoeur, Jr. 1998 online at www.bpip.com

/illustrat/coll.htm; “The World of Art: Exhibition of Recent that has lost the knack of it.” (“The World of Art”

Accessions at the Brooklyn Museum” review in The New York Review, 1922).

Times, September 17, 1922, p. 53; Weinberg, 1988.

Corben

154

COLLECTIONS AND ANTHOLOGIES: Fleskes, John.

started submitting stories to them, and continued Vol 1: Joseph Clement Coll: The Art of Adventure, Vol his work for the franchise in the U.S. where the mag-2, Joseph Clement Coll: A Legacy in Line (Flesk Pub-azine was called Heavy Metal. Among the most lications, 2003, 2004); Reed, Walt. The Magic Pen memorable Corben stories to appear in the maga-of Joseph Clement Coll. Donald M. Grant, 1978.

zine was Den (1978), which became his most famous character. Den (acronym for “David Ellis Norman”) Published Work
was a fantasy saga telling the adventures of an unas-The Annotated Lost World (Wessex Press, 1996), suming, skinny young man in another dimension/

Blood of the Gods and Other Stories (Girasol, 2005), world (“Neverwhere”), a universe where he is trans-Fire Tongue (Doubleday, 1922), King of the Kyber formed into a naked, muscular giant of a man bat-Rifles (Bobbs Merrill, 1916 and Donald M. Grant, tling dangerous creatures and lusted after by beau-1978), The Lost World (Hodder and Stoughton/
tiful, naked, large breasted women. The character George H. Doran Company, 1912), Messiah of the first appeared in his earlier film Neverwhere, and then Cylinder (McClurg, 1917), The Moon Pool (G. P. Put-was a short feature in the American underground nam’s, 1919).

comic Grim Wit. The story was later adapted in a highly abridged form in the animated cult-classic Corben, Richard Vance
film, Heavy Metal (Columbia, 1981. At times mis-

(b. October 1, 1940) American artist. A comic understood for creating such a character (somewhat book artist, illustrator, film maker. and publisher, an alter-ego), Corben nevertheless won recognition Corben was born on a farm in Anderson, Missouri for his work, including Shazam Awards for Out-and grew up in Sunflower, Kansas, a work force standing New Talent in 1971, and for Superior community of Sunflower Ordinance Works which Achievement by an Individual in 1973.

made bombs for World War II. He studied at the In the 1980s Corben began self-publishing Den Kansas City Art Institute, graduating with a BFA through Fantagor Press, a publishing company degree in 1962. At school, he became interested in an-mainly devoted to publishing his comics and col-imation art, and made his own animated short films, lected editions. The Press was active through 1994, which helped him get a job at Calvin Productions, although revenues were never enough to support his an industrial film company in Kansas City. He family, and since the 1980s he had been drawing for worked in their animation department from 1963–

American comics. mainly D.C., Marvel, and Dark 1972, while at night he began doing artwork for Horse, which he continues to do. In the late 1970s underground comics, continued his film making, through the 1980s, Corben also branched out into and did science fiction paintings which he began film posters, record album covers (he did the cover submitting to magazines. In 1968 Corben produced for Meat Loaf ’s Bat out of Hell album, for CBS
a short animated film Neverwhere, which won a Records, 1977), and illustrated several books, priC.I.N.E. Golden Eagle and President of Japan Cul-marily ones relating to fantasy role-playing games.

tural Society trophy. His first professional sale was to During the same period, his comic work was syndi-Fantasy and Science Fiction, a spaceship painting that cated in Spanish, French, German, Italian, Dutch appeared on the September 1967 cover. He displayed and Swedish magazines.

his paintings at the World SF Convention in St.

Den’s last adventure appeared in Penthouse Comics Louis, in 1969, where they caught the eye of the art under the name “Denz” (1996).

director of Doubleday Books, and Corben soon While Corben’s versatility and diverse interests found himself getting assignments from Doubleday.

have led to a less concentrated and unified body Many of his science fiction paintings were done for of work in the SF illustration field, he continues to the Science Fiction Book Club.

successfully balance his interests in comic work During the same time period, Corben was be-and illustration. In the late 1980s he began drawing coming a major force in the underground comic for graphic novels, such as Vic and Blood, with Har-field. In 1968 his first comic art was published in the lan Ellison (St. Martin’s Press, 1989) and The Voyage fanzine Voice of Comicdom. Two years later, Corben of Sinbad (Titan, 1988) and has continued to pub-wrote, drew and published his own underground lish in that field, with such recent titles as Bigfoot comic book Fantagor, while also starting to do work (IDW, 2005), Werewolf (Del Rey, 2005), House on the for underground comics such as Slow Death and Borderland (DC/Vertigo, 200), Fall of the House of Skull, sometimes using the pseudonym “Gore.” In Usher and Other Tales (Del Rey, 2005), and other 1971, Corben left the underground scene and started classics reissued as graphic novels. He contributed illustrating horror comics for Warren Publishing, for to several small press and literary magazines in the their magazines Creepy, Eerie and Vampirella. Then, 1990s, Crypt of Cthulhu, Tales of Lovecraftian Horror, in 1975, when Moebius, Druillet, and Dionnet Fungi, and others. By 1991 Corben also had turned started publishing Métal Hurlant in France, Corben to computers as his main artist’s and production tool

155

Coye
and he combined 3D applications with his graphics.

was already training himself to be an artist — he had In 1989, Fantagor Press produced a video, The Dark borrowed Suggestions for a Course of Instruction in Planet, and Corben later created animation and vi-Color and Free Hand Perspective and Drawing from sual effects for the films Return to Innsmouth (1999) the school library, and both books were long over-and Darkstar (2006). Corben is married and has one due. At the age of twenty-one, already married to daughter; he lives with his wife Dona (a fine art and Ruth, a girl he met on a high school blind-date, professional photographer) in Kansas City.

Coye moved to Leonia, New Jersey against his fa-Sources: www.corbenstudios.com; www.muuta.net/Cor-ther’s wishes. For a short time he was part of the art ben/HisStory.html, reprinting information taken from Cor-colony there, and took lessons from the woodcut ben’s original web site, dated 11/10/98, updated [accessed 1/28/07]; Lambiek Comiclopedia online www.lambiek.net master illustrator Howard McCormick. Up until the

/artists/c/corben.htm; Cooke, Jon B. and David A. Roach stock market debacle in October 1929, Coye had an

“The Odd World of Rich Corbin” In: The Warren Compan-idea of becoming a cartoonist or children’s book ilion : the definitive compendium to the great comics of Warren lustrator. After the crash he was without job Publishing (Warren Publishing, 2001), Fenner, Arnie. “Richard Corben Profile” Fantasy Review, June 1985, pp. 6–9.

prospects or money, and was forced to return home to upstate New York. Coye soon set up a studio in COLLECTIONS AND ANTHOLOGIES: Ariel I: Book of Cortland, NY in partnership with recent art school Fantasy (Morning Star Press, 1976). Great Masters of graduate Leo Kaplan, and published a children’s Fantasy Art (Taco, 1986), The New Visions: A Col-book, The Seventh Ogre, based on an old East In-lection of Modern Science Fiction Art (Doubleday, dian tale, written and illustrated by Coye and de-1982); Richard Corben’s Artbook (Fantagor, 1991), signed by Kaplan. This was his first foray into fan-Richard Corben: Flights into Fantasy (Thumb Tack tasy art, although by 1930 he had made his first Books, 1981).

appearance in a pulp magazine, the July issue of Published Work

Golden Book.

BOOKS ILLUSTRATED INCLUDE: The Best of Damon Through most of the Great Depression Coye was Knight (Doubleday/BCE, 1976), The Best of Fred-forced to labor as a malcontented advertising agency erik Pohl (Doubleday/BCE, 1976), The Best of L.

art director working on small town accounts appear-Sprague de Camp (Doubleday/BCE, 1978), Best Time ing in places like the trade magazine The Milk Travel Stories of All Time (Simon and Schuster, Dealer. In 1934, under the aegis of the WPA, the 2003), The Centrifugal Rickshaw Dancer (Warmer, first federal public works for artists program, he de-1985), City of Thieves (Dell, 1983), Day of Their Resigned and painted (from a 20-foot ladder) a large turn (Doubleday/BCE, 1973), A Feast Unknown historical mural in Cazenovia, New York. The mural (Fokker, 1975), Flashing Swords #5: Demons and exhibited the strong influence of Thomas Hart Ben-Daggers (Dell, 1981), Forest of Doom (Dell, 1983), ton, and was later destroyed when the style of the Llana of Gathol & John Carter of Mars (Doubleday/
work was deemed too primal for its intended audi-BCE, 1977), Midworld (Doubleday/BCE, c. 1975), ence of middle-school children.

Ox (Avon, 1976), The Point Man (Dell, 1981), Spacel-Coye seemed all set to make a career breaking (Doubleday/BCE, 1978), The Space Prodigal through when the Whitney Museum accepted some (Dell, 1981), Twisted Tales (Blackthorne, 1987), of his watercolors for its annual exhibitions in 1939

Warchild (Warner/Questar, 1986), West of the Sun (his work appeared alongside Reginald Marsh, Ed-

(Dell, 1980), 1975 Annual World’s Best SF (Daw/
ward Hopper, and Peggy Bacon). After the show BCE, 1975), 1977 Annual Worlds Best SF (Daw/

Coye was surprised to hear that the New York’s Met-BCE, 1977).

ropolitan Museum of Art had brought one of his MAGAZINES ILLUSTRATED INCLUDE:

paintings from the exhibit for its permanent collec-F&SF : 1967 (9)

tion. By then, however, the fine art world was mov-Misc.: Phantom of the Paradise movie poster ing in a different direction with the arrival of ab-

(1974), Spookies video cover and movie poster (Sony, stractionists fleeing war-torn Europe. While Coye 1986).

dabbled in abstract paintings, and worked as a medical artist and cartoonist, he always considered him-Coye, Lee Brown
self primarily an illustrator. Many of his paintings ( July 24, 1907–September 5, 1981) American during this period were based on books, including artist. Born in a house on Sabine Street in Syracuse, Treasure Island and stories by Washington Irving. By New York, Coye was brought up in Tully, New York, this time all of Coye’s illustrations were done on the small town eighteen miles south of Syracuse his scratchboard, although he worked in a variety of parents had moved to before Coye had reached the media throughout his career, including watercolor, age of one. Growing up, Coye was considered a oil, tempera. He also created carefully crafted sculp-

“holy terror,” although his mischief chiefly ran to tures, and jewelry.

Tom Sawyerish tricks and retorts. By age thirteen, he In 1944 Coye stumbled into illustrating a book

Coye

156
of horror stories published by Farrar & Rinehart and While Coye’s style was not for everyone, it was edited by August Derleth. Coye, who was a fan of original, unique and identifiable. His images were ghost tales and fascinated by folk superstitions, fell stark, and powerful, and took those strengths in part under the spell of the stories in Sleep No More and from the contrast of black fields of color against created twenty-five illustrations, dust-jacket art, and white. He twice won the World Fantasy Award for an unknown number of drawings that did not make Best Artist, in 1975 and 1978.

it into the book — because the publisher thought Coye died in 1981, after a stroke that had partially some too gruesome — including one piece showing paralyzed him and kept him in nursing homes and a pair of hanged men, audaciously detailed in death.

hospitals for the last four years of his life. He was While working on the drawings he told an inter-

“enormously talented and possessing the unsettling viewer for a Syracuse newspaper, “I love horrific pic-combination of a certain morbid genius with a tures.” Two more horror collections from Derleth whimsical sense of humor.” (Karl Edward Wagner, would follow in 1946 and 1947. For these books in Arts Unknown, p. 156). He left behind a body of Coye designed dozens of diabolic illustrations that work that jibed with much of the morbidity of the veered from childish whimsy to disturbing mod-twentieth-century.

ernistic freakishness and established him as a horror Sources: Biographical entry provided by Luis Ortiz, Oc-specialist.

tober 2007; Ortiz, Luis. “Sticks and Bones: The Life and Art of Lee Brown Coye” in: Illustration, Vol. 4, #15, spring 2005; Coye was creating horror art while studying med-Lee Brown Coye interview, May 26, 1964 conducted by Joseph ical anatomy and his studio was a gothic chamber Travato, Morrisville State College Libraries online at http://li-filled with skeletons, dead animals, live rats, and brary.morrisville.edu/coye/interview.html [accessed October human body parts from a medical college. Not hav-2007]

ing copies of the stories to work with, when creat-Collections and Anthologies
ing the drawings for Sleep No More, in the summer (various contributing artists)

of 1944 Coye had visited the Rockefeller Center Ortiz, Luis. Arts Unknown: The Life and Art of offices of the pulp magazine Weird Tales, from which Lee Brown Coye (NonStop Press, 2005); Gothics art many of the stories were selected. He met Lamont portfolio, 16 prints of Weird Tales, Fantastic and Buchanan, art director of the pulp, who was im-Reinhart art (New Albion Books, 1967) pressed by Coye’s art and the artist found himself making some drawings for quick money ($5-$10 for Published Work
a black-and-white drawing). Coye quickly became BOOKS ILLUSTRATED INCLUDE: At the Mountains a popular and prolific Weird Tales artist, appearing of Madness (Arkham House, 1964), The Best of Whis-in many issues from 1945 to 1952 — sometimes four pers (Borderlands Press/Whispers Press, 1994), Black and five times in a single issue, and created a running Medicine (Arkham House, 1966), Dagon and Other full page illustration titled “Weirdisms.” Many times Macabre Tales (Arkham House, 1965), The Dark his illustrations in Weird Tales managed to mix the Brotherhood and Other Pieces (Arkham House, 1966), macabre with humor. The exposure his art received Death Stalks the Night (Fedogan & Bremer, 1995), in the horror anthologies and his work for Weird The Dunwich Horror & Others (Arkham House, Tales soon had Coye in the forefront of fantasy il-1963), Dying of Fright: Masterpieces of the Macabre lustrators.

(Scribners, 1976), Far Below and Other Horrors (FAX

When Weird Tales fell on hard times, Coye re-Collector Editions, 1974), HPL (Frierson, Meade & turned to fine art and other magazine and book illus-Penny, 1970), The Murgunstruum & Others (Cartration. He returned to horror illustration, after a cosa, 1977), The Night Side (Farrar & Rinehart, ten-year hiatus, in 1962 when he contacted Arkham 1947), Other Dimensions (Arkham House, 1970), The House, Derleth’s publishing concern (specializing in Seventh Ogre (House of Leo Hart, 1932), Sleep No the writings of H.P. Lovecraft), with the aim of doing More (Farrar & Rinehart, 1944), Strange Gateways dust jacket art. During the same period, when Ziff-

(Arkham House, 1967), Tales of the Cthulhu Mythos Davis publications revamped Fantastic magazine in (Arkham House, 1969), Three Tales of Horror the early 1960s, he was lured back to work for that (Arkham House, 1967), Whispers 1, 2, 3 (Double-magazine, and his artworks were among the best ever day, 1977, 1979, 1981), Who Fears the Devil (Arkham done in macabre illustration. Coye’s second associa-House, 1963), Who Knocks (Farrar & Rinehart, tion with Derleth culminated in the illustrated mas-1946), Worse Things Waiting (Carcosa, 1973).

terpiece: Lovecraft’s 3 Tales of Horror (1967). Exe-MAGAZINES ILLUSTRATED INCLUDE:

cuted over the span of four years, his drawings for AMZ: 1963 (4)

the book seem to give off a visceral menace. After FTC: 1962 (12); 1963 (1, 2, 3, 4, 6, 8, 10, 11, 12); Derleth’s death in 1971, Coye illustrated books pub-1964 (1, 4)

lished by Carcosa, a small press run by Karl Edward SAT: 1959 (3)

Wagner, Jim Groce and David Drake.

WT: 1945 (3, 7, 9, 11); 1946 (3, 7, 9, 11); 1947 (1,

157

Craddock

3, 5, 7, 9, 11); 1948 (1, 3, 5, 7, 9, 11); 1949 (1, 3, 5, 9, concentrating on the British market. Craddock work 11); 1950 (1, 3, 7, 11); 1951 (3, 5, 7, 9, 11); 1952 (7) on Dr Who for the Radio Times (a weekly U.K. TV
guide), completed almost a hundred issues of Action Craddock, Alan

Man for Panini (Marvel U.K.), and worked on many (b. June 23, 1956) British artist. Craddock was strips for 2000AD (Fleetway). He was the first com-born in Blyth Northumberland, the son of a coal puter colorist to work for 2000AD and the first to miner, who was “(L)ucky enough to get a Grammar work on Judge Dredd. He has had at least one mag-School education, and the opportunity — combined azine with his work published each month since with a little talent — to be an artist all my working 1993. Craddock is happily married with three chil-life.” He began drawing and painting as a child, and dren.

loved reading and collecting U.S. comics. He grad-Sources: e-mail from the artist and telephone interview uated from Blyth Grammar School in 1974 with “A”

August 2007.

level in Art, and credits his art teacher, Mr. Green, Art Collections and Anthologies
for teaching him oil painting, watercolor and art (various contributing artists)

history. He then attended Newcastle Polytechnic, Ghastly Beyond Belief (Arrow, 1985), Jackson, taking a degree in Business Studies with Graphic Steve & Livingstone, Ian, Gascoigne, Marc ed. Out Design, graduating 1977. There he met fellow illus-of the Pit: Fighting Fantasy Monsters: 250 Monsters trator and artist Angus Mckie* from whom he from the Wild and Dangerous Worlds of Fighting Fan-learned type, airbrush and acrylic painting, and with tasy (Puffin, 1985), The Immortals of Science Fiction whom he later collaborated on a number of proj-

(Pierrot Publishing, 1980), Suckling, Nigel. Heroic ects.

Dreams (Dragon’s World, 1987).

Craddock’s first commercial work was for a two-page science fiction comic strip 2000AD, for a 1979

Published Work

“Sci fi” special issue. He got the job by making an apBOOKS ILLUSTRATED INCLUDE: Arachne (William pointment with an editor and traveling the 300 miles Morrow, 1990), Best of Harry Harrison (Futura, down to London to show his portfolio. It was his 1980), Bill, the Galactic Hero (Futura, 1984), Bio of first and last strip for 2000AD, because by the time a Space Tryrant: #1 Refugee; #2 Mercenary; #3 Politi-he realized that an artist has to ask for more work if cian; #4 Executive #5 Statesman (Grafton, 1985, he’s going to get it — he had already joined Young 1986, 1987, 1988), Caves of Klydor (Gollancz, 1984), Artists (now called Arena), an agency known for pro-Cerberus: A Wolf in the Fold (Penguin, 1991), Chanur’s moting several talented young British artists of the Venture (Methuen, 1986), Charon: A Dragon at the day, including McKie. Starting in 1979, and contin-Gate (Penguin, 1991), Conan the Barbarian, Conan the uing for the next fourteen years, Craddock produced Buccaneer, Conan the Rebel (Sphere, 1989, 1990), Cy-several hundred paintings in oils and acrylic. His berweb (AvoNova, 1995), Exiles of Colsec (Gollancz, first published book cover was Lady of the Haven, 1984), Fires of Azeroth (Magnum, 1982), Lady of the done for Magnum Books, 1980. In addition to sign-Haven (Magnum, 1980), Last and First men (Pening his paintings with his full name, Craddock also guin, 1988), Less Than Human (Grafton, 1987 ), has signed his work at various times as “Alan,” or Lilith: A Snake in the Grass (Penguin, 1990), Little initials “A” or “AC.”

Heroes (Grafton, 1989), The Man in the Moon Must Over the years Craddock has produced art for Die (AvoNova, 1993), Medusa: A Tiger by the Tail video covers, magazine covers, children’s books (Penguin, 1991), The Merchants’ War (Gollancz, (mainly covers), computer games and paintings for 1985), Midas World (New English Library, 1985), Of fantasy games. Craddock worked with Angus Mckie Time and Stars (Penguin, 1990), Penguin World Om-on films and TV programs (for ITV and the BBC) nibus of Science Fiction (Penguin, 1987), Planet of the produced many paintings of superhero characters Damned (Futura, 1980, Methuen, 1987), Rainbow magazines in the early 1980’s; he collaborated with Cadenza (AvoNova, 1989), Sentinels from Space Mckie on Superhero— a short comic strip in Heavy (Methuen, 1987), Stainless Steel Rat (Futura, 1987), Metal, 1981. When illustrative assignments dried up Star Smashers of the Galaxy Rangers (Futura, 1981), in the late 1980s, Craddock turned to painting on a Technicolor Time Machine (Futura, 1980), The Ter-computer. Again collaborating with McKie, who ror Cubes (Dragon Books, 1982; War Against the had already become comfortable using computer ap-Chtorr Vol. I, II (Futura, 1987), Well of Shiuan (Mag-plications to “airbrush” color into comics, the duo by num, 1981).

1993 was making top rates doing color work for GAME RELATED ILLUSTRATIONS INCLUDE: Battle Tekno Comics. Craddock became so busy he no Cards game card art (Merlin Publishing, 1993).

longer missed the sporadic assignments for SF illus-Fighting Fantasy gamebook cover: The Crimson Tide tration coming from Young Artists, and has been

#47 (Puffin, 1992), Rebel Planet #18 (Puffin, 1985) working as a colorist using computers ever since, Star Strider #27 (Puffin, 1987), Golden Heroes RPG

Craft

158
cover (Games Workshop, 1984), Warlock magazine desses and enchanted landscapes to a higher degree cover: #1, #4. (Penguin, 1984, 1985). You Can Be the of perfection.

Stainless Steel Rat gamebook cover (Grafton, 1985).

Craft has won more than one hundred graphic MAGAZINES ILLUSTRATED INCLUDE:

arts awards, including a silver medal from the So-HM: 1988 (spring)

ciety of Illustrators (Los Angeles) and five gold and WD: 1985 (11)

three silver medals from the Society of Illustrators (NY), and the Hamilton King Award from the Society, in 1987. She has won four Chesley Awards Craft, Kinuko Y

(1999–2002) and her work was featured in several (?) American artist. Born in Kanazawa, Japan, Spectrum anthologies, where she has been honored Craft developed an interest in art at a very early age.

with two Gold Awards, one Silver, and the Grand She received a BFA in 1962 from The Kanazawa Mu-Master Award in 2002. Her work was judged Best nicipal College of Fine and Industrial Art (known in in Show at the Renaissance 2001 exhibit, The Japan as The Kanazawa Bidai). After finding a spon-Franklin Mint Museum. Craft’s paintings are in the sor, She moved to the United States in the early six-permanent collections of The National Geographic ties to continue her studies in design and illustra-Society, Time, Incorporated, The Museum of tion at the School of the Art Institute of Chicago.

American Illustration, New York City, The National Following a year and a half of study she worked for Portrait Gallery at the Smithsonian, and other cor-several years in well-known Chicago art studios. By porate and private collections in the United States the end of the decade her work was in wide demand and Italy, Japan and Greece. Craft lives in Norfolk, and in 1970 she became a full time freelance illustra-Connecticut with her husband Mahlon F. Craft, tor, working in editorial and advertising markets who collaborated with her as the author of the “re-where her work regularly appeared in newspapers told” fairytale classic Sleeping Beauty (SeaStar, and national magazines such as Time, Newsweek, 2002).

Playboy, Sports Illustrated and National Geographic.

Sources: artist website www.kycraft.com; Haber, Karen.

Craft’s range was wide, and her versatility enabled her

“Art and (Kinuko Y.) Craft” interview Locus August, 2002 online www.locusmag.com/2002/Issue08/Craft.html; Haber, to work in several styles, illustrating for the mass Karen. “Kinuko Y. Craft: The Art of Enchantment” Realms of market, classic literature, science fiction, fantasy and Fantasy, #29, June, 1999; Artist Interviews 2003 online mag-children’s books. Over the years her range of clients azine www.artistinterviews.com/art/kinukoycraft.htm_·
expanded, and since the mid 1990’s she has concen-Collections and Anthologies
trated on children’s picture books, fantasy book jack-

(various contributing artists)

ets and poster designs. She has illustrated the works Kinuko Craft: Drawings & Paintings (Imaginosis, of many well-known authors, among them Patricia 2006), Grant, John and Humphrey, Elizabeth with A. McKillip, Ursula Le Guin, C.S. Lewis and Scoville, Pamela. The Chesley Awards: A Retrospective Stephen King, and many classic stories for children, (AAPL, 2003).

including two books of fairy tales as told by her daughter [Marie] Charlotte Craft: Cupid and Psy-Published Work
che (1996), and King Midas and the Golden Touch BOOKS ILLUSTRATED INCLUDE: Alphabet of Thorn (1999).

(Ace/SFBC, 2004), Beauty Sleep (Simon Pulse, During her career Craft has become known for 2002), Beginning Place (Harper Paperbacks, 1991), meticulous attention to detail, and a technique of Biting the Sun (Bantam Spectra, 1999), Blood Alone over-painting watercolor with oil paints that gives (Ace, 1994), Book of Atrix Wolfe (Ace, 1995), Book her paintings a mystical quality and a special depth of Taltos (SFBC, 2002), Bronze Mirror (Holt, 1991), of color and luminosity. In a recent interview with Circle of Stones (St. Martin’s, 1999), Compass Rose Locus magazine, Craft said, “Stories have a color, a (Harper, 1991), Cry of the Icemark (Scholastic/, certain smell and taste. I have to spend time with 2005), Cupid and Psyche (Morrow, 1996), Daughter that, inhabit it, taste it, know it. I want to bring out of Exile (Tor, 2004), Destiny Dice (Signet, 1985), my fantasy about that flavor.” She is particularly Dispossessed (Harper Paperbacks, 1991), Divided noted for her narrative fairytale and fantasy paintings Crown (Tor, 2005), Door in the Hedge (Ace, 1997), which are extremely elaborate, and rich with classi-Dragonfly in Amber (Delacorte, 1992), Drums of Aucal influenced details and embellishments. In their tumn (Delacorte/Dell, 1997), Eye of the Heron coloration, graceful composition and fineness of (Harper Paperbacks, 1991), Fiery Cross (Random technique, they are reminiscent of traditional deco-House/Delacorte/SFBC, 2001), Firebird (Tor, rative Russian papier mache’ lacquered boxes, fea-2006), Firelord (AvoNova, 1994), Foxmask (Tor, turing hand painted mythological scenes — only 2004), Golden (Simon Pulse, 2006), Golden Naginata Craft’s paintings portray mythic heroes and hero-

(Ace, 1984), Harrowing the Dragon (Ace, 2005), ines, fairy princesses, historic figures, gods and god-Hero and the Crown (Ace, 1998), Horse of Flame

159

Crandall

(Avon, 1990), Horses of Heaven (Doubleday, 1991), where he could benefit from the dryer climate. It Hounds of the Morrigan (HarperTrophy, 1999), In was in Newton that Reed continued to study art and Pursuit of the Green Lion (Delacorte, 1990), In the his talent was able to blossom.

Forests of Serre (Ace/SFBC, 2003), Master of all De-After graduation from high School in Newton, sires (Viking, 1999), Metallic Love (Bantam Spectra, Kansas, and winning a four-year scholarship during 2005), Midnight Pearls (Simon Pulse, 2003), Night a national scholastic art contest, Crandall attended Dance (Simon Pulse, 2005), Od Magic (Ace/SFBC, the Cleveland School of Art from 1935 to 1939. He 2005), Ombria in Shadow (Ace/SFBC, 2002), Out-majored in illustration art, and upon graduation was lander (Delacorte, 1991, Dell, 1992), Out of the Silent voted the “best artist in the school.” Even before that Planet (Simon & Schuster/Scribner, 1996), Out of final year of school was up, Crandall secured a job the Silent Planet/Perelandra/That Hideous Strength with the Dodd, Mead and Company of New York, (SFBC, 2000), Pegasus (Morrow Junior, 1998), Perto provide the cover and interior illustrations for a chance to Dream (DAW, 2000), Perelandra (Simon & children’s book written by Lucille Fargo. After hir-Schuster/Scribner, 1996), Perfume (Simon & Schus-ing on with the NEA Syndicate headquarters in ter/Washington Square Press, 1991), Priestess of Cleveland and working though the summer months Avalon (Viking/SFBC, 2001), Riddle-Master (Ace, of 1940, the artist struck out for New York to find a 1999), Scarlet Moon (Simon Pulse, 2004), Scent of permanent position as an illustrator. As sometimes Magic (Avon Eos, 1999), Shattered Glass (Ace, 1994), happens to the best intentions, Crandall found the Sherwood (AvoNova, 1992), Silver Metal Lover (Ban-illustration field already well supplied with talented tam Spectra, 1999), Snow (Simon Pulse, 2003), A artists and, needing a job to sustain himself, walked Song for Arbonne (Crown, 1993), Song For the Basilisk into the Jerry Iger Comic Shop, where he was hired (Ace, 1998), Sunlight and Shadow (Simon Pulse, immediately at a salary of $30 a week. He soon 2004), Storyteller’s Daughter (Simon Pulse, 2002), proved himself adept at drawing any kind of figure, Taltos (Ace, 1988), That Hideous Strength (Simon & animal or object with extreme detail and perfect re-Schuster/Scribner, 1996), Thomas the Rhymer (Ban-alism.

tam Spectra, 2004), Thousand Shrine Warrior (Ace, Crandall seemed confortable working in the 1984), To Weave a Web of Magic (Berkley, 2004), comics field and during his first twenty years of liv-Tower at Stony Wood (Ace/SFBC, 2000), Two Crowns ing in New York he provided his services to many For America (Bantam Spectra, 1996), Voyager (Dell, different companies. One of the publishers he settled 1994), The Warlock’s Companion; The Warlock In-in with for a four year stretch was the popular EC —
sane (Ace, 1995, 1996), Water Song (Simon Pulse, Entertaining Comics Company. While working 2006), Wealdwife’s Tale (Morrow AvoNova, 1993), there Reed became one of the popular “EC stars”

Wildwood Dancing (Macmillan/Tor U.K., 2006), Wind in the Stone (Avon Eos, 1999), Winter Rose contributing to their crime, horror and science (Ace/SFBC, 1996), Wolfskin (Tor, 2003), Voyager fiction titles. For EC’s December, 1953 issue of (Delacorte, 1994).

Weird Fantasy, Crandall drew an adaptation of Ray Bradbury’s “The Silent Towns.” He also provided MAGAZINES ILLUSTRATED INCLUDE
some of the art for a “special flying saucer” issue of IASFM: 1994 (10); 1995 (12); 1996 (3); 1997 (8); Weird Science-Fantasy #26, published a year later.

2006 (6)

His achievements at EC are arguably the high-point ROF : 2003 (6); 2005 (4); 2006 (4)

of his career.

Misc.: Women of Enchantment 2008 Wall Calen-During the 1960s Crandall took over the job of dar (Sellers Publishing, 2007)

drawing the Flash Gordon comic book for King Features Syndicate after fellow EC alumni artist Al Williamson gave it up to pursue other work. Also Crandall, Reed Leonard, Jr.

during the 1960s Canaveral Press began a series of (February 22, 1917–September 13, 1982) Ameri-reprints of Edgar Rice Burroughs novels in hard-can artist. Crandall was born in a little log cabin on cover. After beginning with the unusual art by a farm near Jasper, Indiana and by the age of four as-Mahlon Blaine* that was universally condemned by tounded his parents and relatives with a natural-both fans and critics, Canaveral turned to Roy born talent to draw just about anything he saw on Krenkel* and Frank Frazetta*, who were painting the farm and nearby countryside. In 1924, the Cran-Burroughs covers for Ace paperbacks. In a contin-dall family moved to Bloomington, Indiana, to inuing search for other artists, Richard Lupoff, editor sure that Reed and his siblings received the best ed-of the Canaveral line, contacted comic artist Al ucation possible. Unfortunately, Reed’s father, Williamson. When Williamson was too busy to Rayburn, was diagnosed in 1927 with Hodgkin’s dis-complete his assignments for Canaveral, he suggested ease. In 1931, doctors recommended the family move Crandall. Crandall was living in Wichita, Kansas at back to Rayburn’s home town of Newton, Kansas the time and was able to do his assignments by mail.

Crisp

160

After Williamson sent Crandall some examples of J.

some awards for his art, and all through his teens he Allen St. John’s* art for reference, Reed worked up had a steady stream of commissions from clients, two pen and ink sample drawings to send to mainly consisting of landscapes and portraits. He Canaveral with hopes of landing the job. They were attended East Ham College in 1974 for foundation overjoyed to have him and used one of his sample courses in art, and completed a three-year degree in drawings on the dust-jacket for the first edition of Graphic Design and Illustration at St. Martins Tarzan and the Madman (1964).

School of Art in London, winning the Student of Crandall’s sharp, clean line work and composi-the Year Award in his last year. He immediately tional talents made interesting and attractive illustra-joined the Artist Partners Agency in Soho, and entions for the Burroughs novels. He also collaborated tered the world of commercial art. He stayed with the with Al Williamson on several illustrations for agency for ten years before striking off on his own as Lupoff ’s Edgar Rice Burroughs’ Master of Adven-a freelancer.

ture, published by Canaveral in late 1965. This book Crisp is a versatile artist, working on books, contained Crandall’s masterful fontispiece depiction magazines, film and video. His jobs have covered a of Burroughs himself, surrounded by many of the very diverse range of subject matter including hor-characters found in his stories. In addition to illus-ror, fantasy, adventure, sea faring, disaster, chil-trating Canaveral’s Madman and John Carter of dren’s fiction and advertising. Some memorable ex-Mars, Crandall also completed illustrations for The amples are his film posters for Aliens, and The Gods of Mars, A Fighting Man of Mars, and The Moon Princess Bride, the UB40 Album Cover titled Men. Unfortunately, before they could be published, UB44, and his several book covers for Stephen Canaveral suspended publication of all Burroughs King novels, among them Insomnia, Cujo, Salem’s titles in late 1965. A few of these illustrations wound Lot, Nightshift, Needless Things. Crisp enjoys paint-up in ERB and comic related fanzines over the years ing dark gothic horror covers, for authors such as until finally the majority of them were published in Richard Laymon and Clive Barker, as much as he Russ Cochran’s Edgar Rice Burroughs — Library of Il-likes creating romantically hued works featuring lustration (Vol. 3) issued in 1984.

unicorns, dragons, and castles. The horror covers Crandall died after suffering a heart attack while

“have loads of atmosphere … sometimes sinister, living in a retirement center in Wichita, Kansas.

sometimes gory,” Crisp says, and are striking images Influences on Crandall include Joseph Clement with immediate impact. He typically chooses to Coll*, Herbert Morton Stoops*, and Howard Pyle.

depict moody scenes such as graveyards, or star-Sources: Biographical entry and information provided tling images of rotting hands, skulls and vegeta-2007 by Roger Hill, from his personal research and interviews tion, in close-up. In his “light” or heroic adven-conducted with Crandall family survivors; Weinberg, 1988.

ture fantasy covers, for series by authors such as Collections and Anthologies

Mickey Zucker Reichert, Hugh Cook, or Carole (various contributing artists)

Nelson Douglas, he uses a pastel palette, present-Edgar Rice Burroughs Fantastic Worlds ( James Van ing idealized images in a grand landscape as if seen Hise, 2005), Edgar Rice Burroughs — Library of Il-from a great distance. Crisp paints in oils, gouache lustration Vol. 3 (Russ Cochran, 1984).

(opaque watercolors) and acrylic, using an airbrush and handbrush technique. He also uses crayons, Published Work
ink and pencils in his sketching work. Since the Edgar Rice Burroughs’ Master of Adventure late 1990s he has used computer technology for (Canaveral, 1965), John Carter of Mars (Canaveral, digital editing and creative work.

1964), Tarzan and the Madman (Canaveral, 1964).

In addition to book covers, Crisp’s images have been seen on exhibition and convention material, Crisp, Steve
advertising, posters, jigsaw puzzles, greeting cards, (b. August 27, 1955) British artist. Born in Ton-and prints. His list of clients ranges from CBS, bridge, Kent, Crisp from an early age showed an in-RCA, Euro-Dollar Rentacar, Thompsons Direc-terest in drawing and painting. At seven, the family tory, Singapore Airlines, and Euro-Disney, to the moved to a more rural environment and he became portraits of sporting greats for soccer and Rugby fascinated by landscape and the paintings of Consta-clubs, such Wigan Warriors Rugby Club, and pas-ble and Turner. He loved creating imaginary land-toral scenes of small English villages — which have scapes using sketches he produced on location in the become a specialty. Crisp has exhibited his work surrounding countryside, ranging from old trees to internationally and has won awards for his fantasy barns. By the age of twelve, Crisp had gained a rep-work. He has been featured in a number of books utation at school for his artistic endeavours, which on fantasy and landscape artists, and in the Spec-led to commissions and illustration jobs such as pro-trum Antholog y of Contemporary Fantasy Art. Crisp ducing film posters for the school film club. He won is married with four children, and reports with

161

Crisp
pride that his eldest son has just been accepted into Orphans (Gollancz, 1996), Fate (Millennium/Orion, art college.

1995), Fahrenheit 451 (Grafton, 1990), Fear Itself Sources: www.crispart.co.uk; e-mail from the artist De-

(Warner Aspect, 1995), Fiends (Headline, 1997), A cember 2005; “Interview with Steve Crisp” in Richard Laymon Fisherman of the Inland Sea (Gollancz, 1996), Flight-Kills ezine, April 2000 www.ains.net.au/ [accessed December 2005]

less Falcon (Orion/Gollancz, 2001), The Flight of the Mariner (Hodder & Stoughton, 1997), For Love of Published Work

Evil (Grafton, 1989), Four Ways to Forgiveness (Gol-Collections/Anthologies
lancz, 1996), Fractal Mode (HarperCollins, 1992), (various contributing artists)

Frankenstein (Penguin/Puffin, 1990), The Fury John Grant and Ron Tiner. The Encyclopedia of (Grafton, 1992), The Golden Apples of the Sun Fantasy and Science Fiction Art Techniques. Running (Grafton, 1993), Guests (Headline, 1997), Hard Press Book Publishers, 1996; Paul Barnett, ed. Paper Shoulder (NEL, 1996), Homegoing (Gollancz, 1991), Tiger Fantasy Art Gallery. U.K.: Paper Tiger Press/

The Hoodoo Man (Headline, 1992), Houses (Head-Collins & Brown, 2002.

line, 1997), How Few Remain (Hodder & Stoughton, 1998), The Illustrated Man (Grafton, 1990), Imper-BOOKS ILLUSTRATED INCLUDE: After Alice Died ial Light (Millennium, 1994), In Darkness Waiting (Grafton, 1988), After Midnight (Headline, 1987, (Grafton, 1991), Insomnia (Hodder & Stoughton, 1997), A Graveyard for Lunatics (Grafton, 1991), QPB 1994, NEL, 1995), In the Dark (Headline, Alarums (Headline, 1994), Allhallow’s Eve (Head-1994), In Still and Stormy Waters (Headline, 2002), line, 1994), Amara (Headline, 2003), Among the Island (Headline, 1996), I Sing the Body Electric!

Missing (Headline, 1999), And Eternity (Severn (Grafton, 1991), King Blood (Hodder & Stoughton, House, 1990, Grafton, 1991), Angels (Headline, 1997), Lady Pain (Gollancz, 1998), The Lake (Head-1993), Angelus (Sphere, 1985), Bad to the Bone line, 2004), The Late Show (NEL, 1994), Letters from (Headline, 1996), The Beast House (Headline, 1994), the Dead (Grafton, 1987), Lies and Flames (Head-Being a Green Mother (Severn House, 1989), The Best line, 1992), Lethal Kisses (Millennium, 1996), Little Fantasy Stories from The Magazine of F&SF (Octo-Deaths (Millennium, 1995), Long After Midnight pus, 1985), Beyond Freedom (Hodder & Stoughton, (Grafton, 1993), Looking for the Mahdi (Vista, 1996), 1998), Beware (Headline, 1994), Bite (Headline, Master of the Sidhe (Bantam, 1988), Mercycle 1996), Black Rock (Gollancz, 1996), Blood Crazy (Grafton, 1993), Midnight’s Lair (Headline, 1992), (NEL 1995), Blood Games (Headline, 1992), Body The Midnight Tour (Headline, 1998), Mona Lisa Rides (Headline, 1996), The Broken Goddess (Pen-Overdrive (Grafton, 1989), The Monarchies of God: 1
guin, 1993, ROC, 1994), Carrion Comfort (Head-Hawkwood’s Voyage, 2 Heretic Kings, 3 Iron Wars, 4
line, 1990), Chaos Mode (HarperCollins, 1994), Second Empire, 5 Ships From the West (Gollancz, Charmed Life (Grafton, 1991), Children of the Night 1995, 1996, 1999, 2001, 2003), The Moorstone Sick-

(Headline, 1992), Chronicles of an Age of Darkness: 1
ness (Grafton, 1990), Mother of Storms (Millennium, Wizards and the Warriors, 2 Wordsmiths and the War-1994), Nailed by the Heart (Hodder & Stoughton, guild, 3 Women and the Warlords, 4 Walrus and the NEL, 1995), The Nameless (Granada, 1985), Warwolf, 5 Wicked and the Witless, 6 Wishstone and Narabedla, Ltd. (Gollancz, 1991), Neuromancer the Wonderworkers, 7 Wazir and the Witch, 8 Were-

(Grafton, 1989), Night in the Lonesome October wolf and the Wormlord, 9 Worshippers and the Way, (Headline, 2001), Night Show (Headline, 1994), One 10 Witchlord and the Weaponmaster (Corgi, 1989, Rainy Night (Headline, 1991), Only Begotten Daugh-1990, 1991, 1992), City of Illusions (Vista, 1996), City ter (Legend, 1991), Outnumbering the Dead (Legend, of Truth (Legend, 1991, St. Martin’s, 1992), Come 1991, St. Martin’s, 1992), Paradise (Hodder & Out Tonight (Hodder Headline, 2000), Cursed Stoughton/NEL, 1994), The Penguin Book of Ghost (Hodder & Stoughton/NEL, 1995), Dandelion Wine Stories (Penguin, 1984), Prayers to Broken Stones (Grafton, 1991), Dangerous Games (Hodder & (Headline, 1992), Psychlone (Gollancz, 1993), Raven Stoughton, 1994), Dark Ashram (Grafton, 1991), of Destiny (Methuen, 1984), The Renshai Chronicles: Darker (NEL, 1996), Darkfell (Orion, 1997), Dark Beyond Ragnarok, Prince of Demons, Children of Love (Hodder & Stoughton, 1995, NEL, 1996), Wrath (Orion/Millennium 1996, 1997. 1998), The Dark Mountain (Headline, 1992), Death Arms Renshai Trilogy: Last of the Renshai, The Western Wiz-

(Grafton, 1989), Deathstalker Rebellion (Vista, 1996, ard, Child of Thunder (Orion/Millennium, 1993, Gollancz 2001), The Devil on May Street (Gollancz, 1998, 2001), Scion’s Lady (Gollancz, 1997), Serpent’s 1997), Dolores Claiborne (NEL, 1995), Down to Blood (Legend, 1995), The Seventh Son (Headline, Heaven (NEL, 1997), Dreadful Tales (Hodder Head-2002), Skyfire: The Chronicles of the Keeper (Sphere, line, 2001). Ecce and Old Earth (NEL, 1992), Echoes 1988), The Sky Lords, War of the Sky Lords, Fall of the (Fontana, 1992), The Edge of Vengeance (Headline, Sky Lords (Gollancz, 1989, 1990, 1991), Slambash 1991), Empress (Ace/UK, 2001), Endless Night (Head-Wangs of a CompoGormer (Collins, 1987), Spirit Mir-line, 1993), Fairyland (Gollancz, 1995), Faraday’s ror (Fontana, 1988), Straker’s Island (Gollancz, 1998),

D’Achille

162

Strange (Warner U.K., 1994), Sweetheart, Sweetheart Raiders of Gor, #9 Marauders of Gor (Ballantine, (Grafton, 1990), Sword & Circlet: 1 Keepers of Edan-1973, DAW 1975), Demon Princes: #1 The Star King, vant, 2 Heir of Rengarth, 3 Seven of Swords (Corgi,

#2 Killing Machine, #4 The Face (DAW, 1978, 1979), 1988, 1989, 1990), Take Back Plenty (Unwin, 1990), Dragonflight (Ballantine, 1971), The Drawing of the The Talisman (NEL, 1996), This Side of Judgement Dark (Granada, 1981), Emphyrio (DAW, 1979), Faded (NEL, 1995), Tigana (Viking Penguin, 1990), To the Sun: The Shonjir (DAW, 1979), First Armada Ghost Land of the Living (Gollancz, 1990), The Tough Book (Ballantine, 1979), Ghost Dance (DAW, 1979), Guide to Fantasyland (Gollancz, 1996), The Toynbee Killing Machine (DAW, 1978), Llana of Gathol (Bal-Convector (Grafton, 1990), The Travelling Vampire lantine, 1976), The Lucifer Comet (DAW, 1980), The Show (Hodder Headline, 2000), Unicorn Mountain Luck of the Spindrift (Pocket, 1973), Martian Tales: (Grafton, 1989), Virtual Mode (HarperCollins, 1991),

#1 A Princess of Mars, #2 Gods of Mars, #3 Warlord Warrior (Legend, 1991), Wizrd (Headline, 1994), of Mars, #4 Thuvia Maid of Mars, #5 Chess of Mars, Wulf (Headline, 1991), Zoo Event (Hodder &

#6 Mastermind of Mars, #7 Fighting Man of Mars, Stoughton, 1996). 65 Great Spine Chillers (Octopus,

#8 Sword of Mars, #9 Synthetic Men of Mars (Bal-1985), 1999 (Headline, 1997).

lantine, 1973, 1977, 1979), Oath and the Sword (Bal-MAGAZINES ILLUSTRATED INCLUDE:

lantine, 1973), Quest for the White Witch (DAW, IASFM: 1991 (6)

1978), People Beyond the Wall (DAW, 1980), Pursuit Misc. : The Village of Briarton computer game of the Screamer (DAW, 1978), Saga of Tarl Cabot: #8
sourcebook cover (Gold Rush Games, 2003) Hunters of Gor, #10 Tribesman of Gor, #12 Beasts of Gor, #13 Explorers of Gor (DAW, 1974, 1976, 1978, D’Achille, Gino

1979), The Storm Lord (DAW, 1976), Time Slave (DAW, 1975), Trial by Fire (Pan, 1990), Uller Upris-

(b. 1935) British artist. Born in Rome, Italy, ing (Ace, 1983), Undersea City (Ballantine, 1971), D’Achille began his art studies at the Liceo Artis-Vazkor, Son of Vazkor (DAW, 1978), The Warlord of tico in Rome at the age of thirteen. At the age of 19
the Air (DAW, 1978), West of Eden (Granada, 1984), he enrolled in the University there, studying Archi-Winter in Eden (Grafton, 1986).

tecture for three years while simultaneously working in an advertising company producing film Dameron, Ned
posters and illustrations. He then moved to Milan (b. May 7, 1943) American Artist. Born Edward where he became a fulltime freelance commercial Palfrey IV, Dameron is a native of Louisiana; he was artist. In 1964 he moved to London, after being re-born in Rio, and grew up in Hammond and Baton cruited to illustrate David Kossof ’s Bible Stories (Fol-Rouge. He began college in 1961 at The Tulane Uni-lett Publishing, 1969), an extremely popular book versity School of Architecture, in New Orleans, but that established his credentials as a top illustrator in by 1963 was studying painting with the Abstract Ex-England. He stayed in England, primarily working pressionist painter Ida Kohlmeyer at Tulane’s Newas a book cover artist, and has since done hundreds comb School of Art. After studying sculpture and of paintings for book jackets in England and the figurative realism with major artists at the school, United States. D’Achille first became known to he graduated with a BFA in 1970, with sculpture as American fans with his paintings for the John Carter his major. During this period he was Art Director for of Mars series by Edgar Rice Burroughs, published by a small intermedia theater, designing costumes, giant Ballantine Books in 1973. He has produced cover puppets and sets. Dameron’s mother in 1969–1970
art for over a hundred SF titles for DAW Books, had an art gallery in New Orleans, and dealt in con-Ace, Ballantine and other publishers. He is also temporary European paintings many of which were known for his series of Flashman cover paintings and of the fantastic school; this gave him the idea that he for his paintings for western adventure stories and might similarly in that direction. After graduation he war stories, historical romances, and adventure worked for an advertising agency then turned to thrillers. He has also done some young adult science easel paintings for local galleries, and freelance il-fiction mysteries, children’s books and advertising lustration painting under the name “Arthur Amber.”

art, and has worked for animation companies in Dameron lived and painted in San Francisco 1977–

London, Germany and France.

1979, and was influenced by the then emerging style Sources: “Scoop e-Newsletter: Gino D’Achille Paintings in Cochran Auction,” March 3, 2006 online http://scoop.dia-sometimes called “California Visionary.” He re-mondgalleries.com/scoop_article.asp?ai=11357&si-123; Wein-turned to Louisiana, and since the 1980s has exhib-berg, 1988.

ited his personal works, while taking freelance assignments in the SF genre.

Published Work

Dameron’s mix of romanticized architectural Armageddon Run (Pan, 1990), Avengers of Carrig backgrounds, old-world style, and colorful palette (DAW, 1980), is Chronicles of Counter Earth: #6
lends itself to the kinds of literary projects under-

163

Dameron
taken by specialty house publishers, the fully illus-derwood-Miller, 1986), The Dark Tower III: The trated high quality hard-cover book, published in Waste Lands (Donald M. Grant, 1991, NAL, 1992), limited quantities for collectors. Only rarely has he Emperor of Dreams: A Clark Ashton Smith Bibliogra-taken commissions for single “flat” covers, and almost phy (Donald M. Grant, 1978), Emphyrio (Charles F.

all his commissions have come from two publishers, Miller, 1995), The Face in the Abyss (Donald M.

Donald M. Grant and Underwood-Miller. To give Grant, 1991), The Faceless Man (Underwood-Miller, examples of the scope of these publications, Stephen 1983), Gold and Iron (Underwood-Miller, 1982), King’s Dark Tower III: The Wasteland (1991) con-Hand of Kane (Centaur Press, 1976), Kull (Donald tained twelve full color plates (interior illustrations), M. Grant, 1985), The Last Adventurer (Donald M.

ten of which were double page spreads, plus duo-Grant, 1984), Lost Moons (Underwood-Miller, 1982), tone end sheets and a full color dust jacket, all Marcia of the Doorstep (Donald M. Grant, 1999), painted by Dameron, and The Coelura by Anne Mc-Marune (Underwood-Miller, 1984), Messenger of Des-Caffrey (1987) contained fifty black-and-white inte-tiny (Donald M. Grant, 1983), Moreta, Dragonlady of rior illustrations. Many other books involve simi-Pern (Underwood-Miller, 1985), Prince of Lies: For-larly impressive numbers of illustrations.

gotten Realms (TSR, Inc., 1993), Realms of Infamy: Dameron works in oil on canvas or illustration Forgotten Realms (TSR, Inc., 1994), Realms of Valor: board, pen/ink on scratchboard, sometimes with ac-Forgotten Realms (TSR, Inc., 1993), Sailing to Byzan-etate overlays, to gain the effect desired. Among his tium (Underwood-Miller, 1985), Science Fiction in artistic influences are Maxfield Parrish*, Virgil Fin-Old San Francisco: Vol. 1 Into the Sun, Vol. 2 History lay* and Frank Frazetta*. and in general he aims for of the Movement from 1854 to 1890 (Donald M. Grant, a personalized style in the manner of 19th century ac-1980), Screams: Three Novels of Suspense (Underwood-ademic and twentieth century art nouveau and sur-Miller, 1989), The Second Generation: Dragonlance realist painters. In the mid 1990s he moved into (TSR, Inc., 1994, Wizards of the Coast, 2001), Show-gaming, finding the same opportunity there to build boat World (Underwood-Miller, 1983), The Stand a freelance relationship with one major client (TSR, (Signet, 1991), Son of the Tree (Underwood-Miller, 1983), Take My Face (Underwood-Miller, 1988), The Inc.), and work on projects, which similarly de-Talisman (Donald M. Grant, 1984), Terrors of the Sea manded a high volume of interior illustrations.

(Donald M. Grant, 1996), To Live Forever (Charles F.

Dameron is relatively uninterested in fandom, how-Miller, 1995), Trullion (Underwood-Miller, 1984), ever. He sculpted the base for the 1988 Hugo Award, Trumps of Doom (Underwood-Miller, 1985), Tschai: for the World Science Fiction convention in New The Dirdir, The Pnume (Underwood-Miller, 1969, Orleans, an honor usually accorded an artist who 1970, 1981), Wyst (Underwood-Miller, 1984), You resides in the host city. Dameron’s work was in-Lucky Girl! (Donald M. Grant, 1999).

cluded in the exhibition “Science Fiction and Fantasy Painters,” and in the illustrated catalog for that GAME-RELATED ILLUSTRATIONS INCLUDE: (ALL
show, at the New Britain Museum of American Art TSR, INC.) AD&D Dungeon Master Guide, 2nd ed (1980). His science fiction and fantasy work, and (1995), AD&D Player’s Handbook, 2nd ed revised easel paintings, have been shown at several galleries (1995), Arms and Equipment Guide: AD&D (1991), across the United States, and the New Britain Mu-Aurora’s Whole Realms Catalogue: Forgotten Realms seum of American Art (CT), who holds several (1992), Beyond the Prism Pentad: Dark Sun (1995), paintings in their collection. An unpublished work, Complete Book of Gnomes and Halflings (1993), Demi

“Mortality of the Proton,” was featured in a Spec-Human Deities (1998), The Eternal Boundary: trum Antholog y of Fantasy Art (1992). In recent years Planescape (1994), Fires of Dis: Planescape (1995), he has worked from a woodland studio painting and Forgotten Realms Adventures (1990), Hall of Heroes producing figurative bronze sculpture based on Old (1989), Harbinger House: Planescape (1995), In the and New World myths.

Abyss: Planescape (1994), In the Cage: A Guide to Sigil Sources; correspondence from the artist, July 2005; (1995), Masque of the Red Death and Other Tales: www.grantbooks.com

Ravenloft (1994), Neither Man Nor Beast: Ravenloft Published Work

(1995), Pages from the Mages (TSR, Inc., 1995), BOOKS ILLUSTRATED INCLUDE: The Asutra (Un-Planewalker’s Handbook: Planescape (1996), Raven-derwood-Miller, 1983), The Augmented Agent (Un-loft: A Guide to Gothic Earth game accessory (1994), derwood-Miller, 1986), Black Colossus (Donald M.

Sea of Fallen Stars (1999), Shadowdale: Forgotten Grant, 1979), Blood of Amber (Underwood-Miller, Realms (1989), Thri-Kreen of Athas: Dark Sun Game 1986), Blue Rose (Underwood-Miller, 1985), The Accessory (1994), Time of the Dragon: Dragonlance Brave Free Men (Underwood-Miller, 1983), The (1989), Vikings Campaign Source Book (1991), War-Coelura (Underwood and Miller/Tor, 1987, SFBC, lord’s Tactical Manual Reference Guide: Blood Wars 1988), The Curious Quests of Brigadier Ffellowes (Don-

(1996), Warriors and Priests of the Realm (1996), Wiz-ald M. Grant, 1986), The Dark Side of the Moon (Un-ards and Rogues of the Realm (1995).

Davies

164

MAGAZINES ILLUSTRATED INCLUDE:

ren, 1953), Atoms in Action (Panther, 1953), Atom-HM: 1980 (6)

War on Mars (Panther, 1952), Ayron IV (Bailey DRAG: 1989 (3, 4, 5, 8); 1990 (1)

Brothers & Swinfen, 1975), Beyond Geo (Curtis War-Misc: Nolacon II — SF Worldcon program and ren, 1953), Beyond These Suns (Curtis Warren, 1952), souvenir book (1988), Ned Dameron’s Waste lands Beyond This Horizon (NEL, 1978), Beyond Zoaster portfolio: Illustrations from the Donald M. Grant, (Curtis Warren, 1953), Bio-Muton (Curtis Warren, Inc. hardcover edition of Stephen King’s The Dark 1952), Biolog y “A” (Curtis Warren, 1952), Blue Asp Tower III: The Waste Lands (1991).

(Curtis Warren, 1952), Blue Peril (Curtis Warren, 1953), Brain Palaeo (Curtis Warren, 1953), Caltraps Davies, Gordon Charles H.

of Time (NEL, 1976), Cauldron of Witches (Bailey Brothers & Swinfen, c. 1973), Challenge (Curtis (May 6, 1923–May, 1994) British Artist. Davies Warren, 1954), Childhood’s End (Pan, 1956). Chloro-began painting science fiction paperback covers in plasm (Curtis Warren, 1952), Cosmic Conquest (Cur-1952, when he was working for an art studio. Betis Warren, 1953), Cosmic Echelon (Curtis Warren, sides his paintings of bug-eyed monsters for U.K.

1952), Cybernetic Controller (Hamilton & Co., publishers, during the 1950s-1970s Davies was one 1952), Damnation Alley (Sphere, 1973), Daughter of of England’s foremost automobile illustrators, work-Time (Peter Davies, 1955), Destination Alpha (Curing for car manufacturers as well as private compa-tis Warren, 1952), Dread Visitor (Panther, 1952), nies. His most notable contribution to that genre is Dwellers in Space (Curtis Warren, 1953), Earthlight probably the Profile booklets of vehicle marque his-

(Pan, 1957), Encounter in Space (Panther, 1953), tory, a series that began April 1966 and ran for 96

Ferry Rocket (Curtis Warren, 1954), Flight into Space publications. Davies also did illustrations for Eagle (Pan, 1956), Forbidden Planet (Badger, 1961), For-Comics, and children’s books and worked for pot-gotten Race (Brown Watson, 1963), From What Far tery companies such as Coalport.

Star (Panther, 1953), Gamma Product (Curtis War-Like Frank R. Paul*, Davies created human figures ren, 1952), Green Hills of Earth (Pan, 1956), House that were initially unconvincing, and so his covers of Many Changes (Curtis Warren, 1952), Ionic Bar-tended to feature imaginative monsters, machines, rier (Curtis Warren, 1953), Legion of Time (Brown and alien landscapes. His art was in constant de-Watson, 1952), Lost Aeons (Curtis Warren, 1953), mand from several publishers, including Hamilton, Lost World (Curtis Warren, 1953), Mammalia (Cur-and John Spencer, until he became the mainstay of tis Warren, 1953), Menacing Sleep (Panther, 1952), Curtis Warren. Unlike most regular cover artists of The Moon (Macdonald, 1971), The Moon is Hell the time, Davies was rarely given a manuscript to (NEL, 1975), Mortals of Reni (Curtis Warren, 1953), read and then illustrate, instead he created his own Mutants Rebel (Panther, 1953), North Dimension images for the covers. When Davies began working (Brown Watson, 1954), Operation Orbit (Curtis for Curtis Warren, their main author, Dennis Warren, 1953), Organic Destiny (Curtis Warren, Hughes, was writing mundane space operas based 1953), Out of the Silent Places (Curtis Warren, 1952), on covers by Ray Theobald*. In 1952, Hughes was Overlord New York (Curtis Warren, 1953), Pacific asked to write a science fantasy novel based on Advance (Curtis Warren, 1954), Paradox Men (NEL, Davies’ more bizarre paintings and Hughes’ work 1976), People of Asa (Curtis Warren, 1953), Photome-was so improved that the Curtis line of books—then sis (Curtis Warren, 1952), Podkayne of Mars (NEL, floundering — prospered until the end of the British 1978), Pre–Gargantua (Curtis Warren, 1953), Pre-paperback boom in 1954. He continued to work in lude to Space (NEL, 1980), Puppet Masters (NEL, the field into the 1970s, for Pan and New English 1987), Red Planet (Pan, 1967), Research Opta (Cur-Library, for whom he provided covers for Robert A.

tis Warren, 1953), Return to Mars (Brown Watson, Heinlein titles. His book credits appear as Gordon 1954), Revolt in 2100 (Brown Watson, 1953), Rock-C. Davies. Davies worked from his home in ets and Missiles (Hamlyn, 1970), Sands of Mars Lyminge, Kent, where he lived with his wife until his (Sedgwick & Jackson, 1976), Satellite B.C. (Curtis death,

Warren, 1952), Seeing Knife (Curtis Warren, 1954), Sources: Mike Ashley corrections to the Locus index on-The Seventh Dimension ( John Spencer, 1953), Solar line http://www.locusmag.com/index/sfmaged.htm (Wed, 24

Gravita (Curtis Warren, 1953), Space Cadet (NEL, May 2000); www.Ancestry.com; Janet Sacks. Visions of the 1986), Space Family Stone (NEL, 1971), Space Sal-Future (Chartwell, 1976), Antique Fine Art Gallery (UK) online www.antique-fine-art.com; Weinberg, 1988.

vage (Panther, 1953), Space Treason (Panther, 1952), Spykos 4: Strange Life-Forms on Unexplored Planets Published Work

(Brown, Watson, 1962), Stained Glass World (NEL), BOOKS ILLUSTRATED INCLUDE: Alien Worlds (Lon-Starship Troopers (NEL, 1979, 1986), Stella Radium don Mews, 1976), “A” Men (Curtis Warren, 1952), Discharge (Curtis Warren, 1952), Suns in Duo ( John Amateurs in Alchemy (Panther, 1953), And the Stars Spencer, 1953), Third Mutant (Curtis Warren, 1953), Remain (Panther, 1952), Asteroid Forma (Curtis WarTime and Space (Curtis Warren, 1952), Time Drug

165

Dean

(Curtis Warren, 1954), To the Ultimate (Scion, 1952), in the mid 1950s. His color work had a bold sim-Tri-planet (Curtis Warren, 1953), Twenty-Four Hours plicity, but his black and white illustrations, often (Curtis Warren, 1952), Underworld of Zello (Pan-executed on scratchboard, were pleasantly intricate ther, 1952), Valley of Terror (Curtis Warren, 1953), and comparable to the best art in the field.” (Wein-War of Argos (Curtis Warren, 1952), World of Gol berg, 1988). Little else is known about his work or (Curtis Warren, 1953), Zenith D (Curtis Warren, career, other than the possible connection to John 1952), Zero Point (Curtis Warren, 1952).

Richards*, pointed out by Mike Ashley in his biog-MAGAZINES ILLUSTRATED INCLUDE:

raphy of Richards. Ashley conjectures that Davis and AUTH: 1952 (5/#21, 6/#22, 7/#23, 8/#24, Richards may have been the same person. Harbot-11/#27)

tle notes that Davis “drifted into ‘gangster’ covers, FUTSS: 1953 (summer) 14 and 16
and was lost to the science fiction field” (Weinberg, TofT: (8, 9, 10, 11)

pp. 87–88), and while Harbottle does not provide WofS: 1952 (11) #4,5
further information, this would have been the same WofF : 1953 (#10/summer); 1954 (#13/spring) period when Richards was working full steam for Authentic magazine.

Davis, Patricia A.

Sources: Philip Harbottle biography in Weinberg, 1988, pp.

87–88.

(b. 1947) Born in Indiana, Pennsylvania, and now a long time resident of Oakland, California, Davis Published Work
is largely self-taught. She is chiefly known for the BOOKS ILLUSTRATED INCLUDE: Decreation (Scion, hundreds of paintings she has displayed and sold at 1952), The Time Trap (Scion, 1952) science fiction conventions throughout the country, MAGAZINES ILLUSTRATED:

and one-woman shows locally in Oakland, during Weird World: 1955–1956 (#1, #2)

the 1970s through the mid 1990s. She does very little commercial illustration, and prefers to create her own personal works. These are often symbolic/vi-Dean, Malcolm Fred
sionary fantasy works in content, with science (April 15, 1941-February 24, 1974) British artist.

fictional elements. At times, they feature delicately

“Mal” Dean was born in Widnes, near Liverpool, beautiful women as central figures portrayed against and studied at Liverpool School Of Art from simple, starkly photorealistic backgrounds that have 1959–1961. He was equally well known in science an alien cast because of the atypical placement of fiction and the jazz world, the latter through his natural elements, like rocks, trunks of trees, a stone weekly cartoons for Melody Maker magazine. Dean wall. In the 1980s Davis began her Gateway Series of was part of the renaissance in music, poetry and art acrylic paintings, based on her belief that gateways which arose in Liverpool in the 1960s, as SF author to other dimensions or realities exist in our world. In Michael Moorcock recalled in his Tribute to the these works, a monumental stone doorway replaces artist ( New Worlds Quarterly 8, 1975), although the central figure, and the entrance creates a portal Dean’s highly individualistic talent, and inability to to another world, typically depicted as planetary compromise when it came to using that talent, may bodies in outer space. Davis has done many astro-also have prevented him from sharing in the success nomical paintings and planetscapes based on photo which came to many of his contemporaries. Dean references; The Pleiades star group and Horsehead was founding member of the Amazing Band, an un-Nebula are among her favorite subjects. Davis was the derground group which recorded an album at Path-recipient of a Chesley Award, 1988 for in the category way Studios, London in 1970. His art was inspired of color work, unpublished for her painting “To-by graphic artists of the late Victorian and Edwar-morrow.”

dian periods — Tenniel and Heath Robinson.

Sources: www.patriciadavisfineart.com/Paintings.html ; During his brief commercial career, Dean demon-

“The Art of Science Fiction and Fantasy” Delaware Art Museum strated his versatility in formats ranging from Catalog, 1990.

posters, to comic strips and cartoons, to caricatures Published Work
accompanying record reviews, to album covers and Hothouse (Easton Press, 1987), Memories and Vi-book illustrations. He preferred working in black-sions: Women’s Fantasy & Science Fiction (Crossing and-white, and his style was vivid, strong, and sur-Press, 1989)

real with — it’s said — a heavy dose of irony. He is best remembered for his illustrations for Moorcock’s Jerry Cornelius stories, and some memorable covers Davis, Roger
for New Worlds in the late 1960s and early 1970s.

(?) British artist. “A very talented artist,” accord-Dean’s very promising career was cut short when ing to Phil Harbottle, SF historian and scholar, he discovered he had cancer in 1973—the same kind

“Davis appeared briefly in the science fiction field that his sister had died from a few months previ-

Dean

166
ously, as Moorcock noted in his Tribute (1975). In form to the sitter, was exhibited at the Design Cen-February 1974 Dean contracted pneumonia as the tre in the Haymarket, where it became the focus of result of treatments which had weakened him, and media attention and led to his designing seating for was sent home from the hospital; he was only 32

“Upstairs” at musician Ronnie Schott’s jazz club in when he died. His last published drawings appeared London. The manager of a rock group called “Gun”

in New Worlds 8 (1975), for the story “Slow Drag,”

saw a drawing by Dean (at the club) and this led to and in a magazine which lasted for only two issues: the artist’s first record album cover work, in 1968

Other Times Vol. 1, #1 (P.P.Layouts Ltd 1975). A the their album “Race with the Devil.” The job major retrospective of Dean’s work was mounted in launched his career as foremost illustrator of record 1993 at the Bryan Briggs Bluecoat Gallery, Liver-album covers in Britain. His design for the cover of pool, the first exhibit since memorial exhibitions the first album by the African/Caribbean band, Os-were held in 1974 in Liverpool, Widnes, and Lon-ibisa, in 1971, which featured a flying elephant, drew don. Dean was survived by his wife, Libby and two major attention to his work. Later that year he de-children, Sam and Alice.

signed his first album cover for the progressive rock Sources: e-mail from Michael Moorcock 2/6/06; Moor-band “Yes,” and it is his work for that group that he cock, Michael “Mal Dean” Tribute in: New Worlds 8, ed. Hi-is perhaps best known.

lary Bailey, London: Sphere 1975 , p. 151–155 [provided by Mark Young]; Mal Dean, 1941–74: Cartoons, Illustrations, In 1975, with his brother, Martyn, Dean founded Drawings and Paintings (Blue Coat Gallery and Halton Bor-the publishing company Dragon’s Dream — named ough Council, 1993).

after the Chinese “Year of the Dragon”— to publish Published Work

Views, a compilation of Dean’s album cover art. It A Cure for Cancer (Allison & Busby, 1971), Enwas conceived to be a large format, colorful and high glish Assassin (w/ R. Glynn Jones: Harper & Row, quality picture book, formatted to emulate the size 1972), Freelance Pallbearers (MacGibbon and Kee, and shape of a record album sleeve. The square for-1968), Lives and Times of Jerry Cornelius (Harrap, mat established the “look” of the imprint, and in 1987), My Experience in the Third World War (w/ R.

1976 Views was followed by “Album Cover Album,”

Glynn Jones et.al: Savoy, 1980), Nature of the Cata-a visual history of record covers, the first of a series strophe (w/ R. Glynn Jones: Hutchinson, 1971), New of books which collected hundreds of examples of Nature of the Catastrophe: Vol. 9, The Tale of the Eter-outstanding album cover artworks. That same year, nal Champion (Orion, Plain Clothes (Allison & Dean and partner Hubert Schaafsma set up a second Busby, 1971), A Stained Glass Raree Show (Allison &

“sister” company, Paper Tiger, a specialist imprint Busby, 1967).

for science fiction and fantasy art books. Almost all the books published were in the same distinctive square format. By commissioning single artist collec-Dean, Roger
tions and anthologies featuring the art of the best (August 31, 1944). British artist. One of the best fantasy artists of the day, Dean and his brother were known fantasy artists to emerge during the early psy-highly influential in establishing the credibility of chedelic period of the 1970s, Dean is probably most the art and the artists. Among the artists whose famous for his “other worldly” designs for record books Paper Tiger published in early years were album covers, for bands such as “Yes” and “Asia.”

those of Chris Foss*, Patrick Woodruffe*, Frank Also important, however, although less recognized, Hampson*, Chris Moore* and Peter Elson*. In 1979
have been his innovative contributions to commer-Dean became a director of Magnetic Storm, a design cial design in a number of creative fields, and his company he formed with his brother and Robert influence on British fantasy illustration has been sub-Fitzgerald, to specialize in product research and de-stantial.

velopment. The name of the company then also be-Born in Ashford, Kent, England, Dean’s father came the title of the successor to Views, a second was an engineer in the British army who took the compilation of projects, stage designs and illustra-option of going abroad, so most of the artist’s child-tions by Martyn and Roger Dean, Magnetic Storm hood was spent away from England — in Greece, (Paper Tiger, 1984). By 1981 the Deans had sold their Cyprus and Hong Kong. The family returned to interest in the publishing company, and Schaafsma Britain in 1959, and after attending Ashford Gram-took over Paper Tiger, although they continued to mar School, he took a three-year course in Industrial be involved with the company as editors, artists and Design (first silversmithing, and then furniture de-authors.

sign) at Canterbury School of Art, 1961 to 1964, During the 1980s, Dean also expanded his inter-leading to a National Diploma of Design. He then ests in other fields. He continued producing innova-spent three years at the Royal College of Art Furnitive concepts for modern house design, a lifelong in-ture School, graduating in 1968. His invention of a terest rooted in his first “Design for Living”

foam-based Sea Urchin Chair, which would con-exhibition in 1970. The first full size prototype of

167

Delamare

Dean’s curvilinear house design was built in 1982, in of three with his mother Una to the United States, fiberglass, for an exhibition at the International Ideal settling permanently in the city of Portland, Ore-Home Exhibition, in Birmingham, England. In gon. Una, an amateur painter, hailed from a family 1985, Dean began his long association with the game of artists, and was supportive of her son’s artistic sen-company that later became known as “Psygnosis.” In sibilities from the start, furnishing him with art sup-addition to creating game box cover designs for sev-plies, imaginative stories, and hand-sewn costumes.

eral video computer games from that company, he Delamare’s maternal grandmother, an eccentric and also has done box covers for games by Electronic iconoclastic British vaudevillian dancer known for an Arts, Hasbro Interactive and THQ. In the mid act called “Leg Mania,” also encouraged by example.

1990s, he collaborated on developing the computer As unconventional as his forbears, Delamare has game Black Onyx. In recent years, Dean has inte-never driven, never held a “real” job, seldom wakes grated various aspects of his work to design homes before 11 AM, and rarely agrees to appear in public.

and sustainable villages “for life in the 21st century”

And, while his work has appeared on record covers using new building methods based on his “Home and in numerous books and films, he generally es-For Life” concept — a creative extension of architec-chews commercial income for the pleasure of produc-tural principles that yield houses that are “artistically ing material that directly reflects his own interests beautiful, environmentally kind, but cheap and and sensibilities.

quick to build” (Dean, “On Architecture” at his After graduating from Portland State University website).

in 1978, with a degree in fine arts, graphic arts and Dean produces large-scale landscape paintings, printmaking, Delamare in 1980 established a graph-with dimensions as large as 6' × 9', that remain char-ics studio, with a partner. This led to private and acteristically fantastic/science fictional in theme, commercial commissions, and gallery exhibits, with a dreamy, graceful and visionary style. His sufficient to persuade Delamare to continue his art paintings are exhibited in galleries in the U.S. U.K., career on his own, in 1983. At first glance, Dela-and Australia, and he has reproduced several of them mare’s paintings appear oddly diverse-ranging from as limited edition fine art prints, calendars, cards, characters in children’s books, and mermaids and and other products. In 2005, Dean announced plans fairies, to sophisticated figurative or abstract images.

for a feature film called Floating Islands, to be based But in fact, according to Wendy Ice, Delamare’s on his famous “floating islands” imagery that first agent and publisher, “all of these narratives reflect a appeared on his album cover art for Pathways, for consistent philosophical perspective that revels in the rock band “Yes” in 1973. In addition to his artifice, wit, theatricality, eccentricity, and absurd-brother, Dean has two sisters, Penny and Phillipa. He ity.” Although he has illustrated nine children’s is married, with children, and has lived on England’s books, two of which were his own original stories, south coast, in Brighton, since 1972.

Delamare writes not for children but for his own Sources: Artist website at www.rogerdean.com; Profile at entertainment. His paintings have appeared in films www.artistsuk.com.uk/acatalog/Deanprofile.htm.

and television documentaries as well as on book and Collections and Anthologies
record covers. Commissions have included work for (Various contributing artists)

Francis Ford Coppola and Warner Brothers Ani-Dean, Roger and Dean, Martyn. Magnetic Storm mated Features, and a collection of mermaid images (Paper Tiger, 1984, reissued 1993 by Pomegranate for Landmark Calendars. Among his children’s U.S.), Dean, Roger. Views (Dragon’s Dream, reis-books are Midnight Farm, a collaboration with Carly sued 1993 by Pomegranate U.S.), Lehmkuhl, Don-Simon (Simon & Schuster, 1997), and The Man in ald. The Flights of Icarus (A & W visual library, the Moon and the Hot Air Balloon, which Delamare 1977). Sacks, Janet. Visions of the Future (New En-wrote and illustrated (Dragon’s World, 1995). The glish Library, 1976).

artist’s preferred media are acrylics, oils and occasionally colored pencils or oil pastels, but he also Published Work
writes, and dabbles in musical composition. He BOOKS ILLUSTRATED INCLUDE: Hour of the Thin never uses professional models for the characters he Ox (Unwin, 1987), Other Voices (Unwin Hyman, paints; instead he hires individuals that he spots on 1988), The View Over Atlantis (Ballantine, 1973), the street. His latest ambitions include making short War of the Worlds: Global Dispatches (w/ Tim White: films and returning to etching, which was a partic-Bantam Spectra/SFBC, 1996), The World Fantasy ular focus when he was a student at Portland Uni-Awards: Vol. 2 (Doubleday, 1980).

versity.

Delamare’s favorite book project to-date, Ani-Delamare, David J.

merotics: A Forbidden Cabaret in 26 Acts (Collector’s (b. December 9, 1956) American artist. Born in Press, 2001) incorporates many favorite themes and Leicester, England, Delamare immigrated at the age images: animals, stage sets, the nude figure, and a

Dember

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story (co-written with Wendy Ice) involving an ec-In 2005 Dember was invited by the United States centric turn-of-the century impresario, a role Dela-Mint to design medals and coins to be issued as col-mare himself probably would have enjoyed playing.

lector’s items. His work has received more than 50

In addition to serving as Delamare’s licensing agent ribbons and awards in national exhibits. “I feel the for various products, Ice exclusively publishes his accomplishment in doing things,” Dember ex-cards and prints through her company Bad Monkey plained, at 82, when interviewed for his achieve-Productions. The artist is currently working with ments in a local newspaper ( Simi Valley Acorn, p.

Ice on his next original book project A Journal of 13).

Unexpected Vices and she is writing the text for a new Sources: correspondence with artist Feb -March 2006; retrospective book to replace Delamare’s now out-of-Jann Hendry “Timeless Beauty — Artist Sol Dember” Simi Valley Acorn Newspaper, August 19, 2005.

print art volume, Mermaids & Magic Shows.

Sources: biographical information provided by Wendy Ice, Published Work
via e-mail June 2007 and artist website www.daviddelamare.

B
com; telephone conversation with the artist, June 2007.

OOKS ILLUSTRATED INCLUDE: The Cosmic Puppets (Ace, 1956)

Collections and Anthologies

MAGAZINES ILLUSTRATED INCLUDE:

(various contributing artists)

GXY: 1958 (3, 4, 7, 9, 10); 1961 (12); 1962 (12); Riche, David. The Art of Faery (Paper Tiger, 1963 (10); 1964 (4); 1966 (10, 11); 1967 (8); 1968 (11) 2003); Suckling, Nigel. Mermaids and Magic Shows: IF : 1961 (7); 1964 (5), with John Pederson*

The Painting of David Delamare (Dragon’s World, WOT: 1963 (8); 1966 (11)

1994).

Dember, Sol

De Soto, Rafael M.

(b. November 8, 1922) American artist. Dember (February 18, 1904–December 24, 1992) Hispanic graduated from the New York School of Industrial American artist. Don Rafael Maria de Soto y Her-Art and studied at the Beaux Art Institute in Paris, nandez was born in Aguadilla, Puerto Rico, to a France. He entered the commercial field as a noble Spanish banking family descended from the fa-scientific illustrator, specializing in astronomical mous conquistador Hernando de Soto. During his paintings. His work has appeared in encyclopedias, teenage years, DeSoto was raised at a Catholic sem-dictionaries, books, magazines, greeting cards and inary in San Juan to become a priest, but instead record jackets, but most of his SF work was pub-became fascinated with the iconic religious paint-lished in Galaxy or its companion magazines. Dem-ings of the Spanish masters Ribera, Zubaran, and ber was an art director and in-house technical illus-Murillo. To encourage this vocation, the seminary trator at Rockwell Scientific for many years, drawing priests arranged for private art lessons with a local over 500 illustrations of space vehicles, machinery artist, Diaz McKenna. In 1923, the 19 year-old DeS-and surfaces of imaginary planets. His art is hang-oto moved to New York City and lived with an uncle ing in the Pentagon in Washington D.C., the Amer-while pursuing a career as an artist. After seven years ican Embassy in London, and the Air Force Academy of odd-jobs with various graphic-art studios, DeS-in Colorado, as well as offices, homes, and galleries.

oto found a steady job as a staff artist at Street & Dember’s King Tutankhamun and Nefertiti paintings Smith publications, where he produced black and traveled the country with the 1978 King Tut exhibit.

white pen & ink story illustrations for pulp maga-Dember taught art at Pierce College for 22 years zines. The artist worked for two years under the art and has been teaching at Moorpark College, Califor-direction of William “Pop” Hines, who taught DeS-nia for 18 years, where he continues to give classes in oto how to draw and construct a powerful narrative airbrush and related commercial art techniques as a composition. By 1932 the artist had advanced to member of their adjunct faculty. Dember produced painting magazine covers, and began his prolific ca-and distributed a series of eleven instructional video reer as a freelance cover artist.

tapes on airbrush techniques, illustration, and other DeSoto painted covers for Dell Publishing, Ace art media as “The Dember Arts Video Library.’ He Magazines, the Thrilling Group, and Popular Pub-co-authored four books about art technique, publications. He became the major cover artist at Pop-lished by Howard W. Sams & Co.: Complete Air-ular, which published the bulk of the artist’s 704
brush Techniques (1974), Complete Art Techniques and pulp magazine covers, most memorably for The Spi-Treatments (1976), and two volumes of Drawing and der, Dime Detective, Ace G-Man, Black Mask, and Painting the World of Animals (1977). Dember is New Detective. DeSoto’s dominance of the field in-listed in the California State Library in the Who’s creased during the war years, when he was one of Who of California History of Art, the Who’s Who in the the very few highly-skilled professionals to remain at West, the International Who’s Who of Contemporary work in his studio, after he was disqualified from Achievement and the International Gold Award Book.

military service (because his exhausting work-sched-

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DeVito
ule had produced the symptoms of type-2 diabetes).

horizon keeps receding all the time as I get closer to De Soto worked quickly and did fine work; his the art I am trying to make. I am still looking for-paintings so dominated the look of Popular pulps ward to doing the most interesting painting I have that, for the first time, authors were commissioned ever made. I have some more to do. I’ll be going to write stories to illustrate his finished paintings, after it until I die.”

which was a complete role reversal of the industry DeSoto painted in his studio every day of his life, standard. DeSoto’s science-fictional paintings ap-right up until his peaceful death at the age of 88.

peared on Famous Fantastic Mysteries, Terror Tales, His first wife, the former Frances Mason, died in Fantastic Novels, and Eerie Mysteries. Like Howitt*, 1948. He was survived by his second wife, the forDe Soto was not thought of as a science fiction artist, mer Audrey L. Skarre. and four children.

but many of his covers had a strong science fiction Sources: Biography provided by David Saunders, Septem-element, such as his cover for “Earth’s Last Citadel”

ber 2007; Saunders, David. “The Art & Life of Rafael M.

DeSoto” Illustration Magazine, Issue #10, 1994.

published in Argosy in 1943. His covers for The Spider pulp magazine, created by Harry Steeger at Pop-Published Work
ular as competition to Street & Smith’s The Shadow, BOOKS ILLUSTRATED INCLUDE: Haploids (Lion, at times also reflected the fantastic nature of the sto-1953) Human? (Lion, 1954), The Island of Dr.

ries — they had such wildly imaginative super-vil-Moreau (Ace, 1958)

lains with futuristic weapons that they crossed over MAGAZINES ILLUSTRATED INCLUDE:

from detective stories into science-fiction/fantasy.

FFM: 1950 (10)

As the post-war audience drifted away from read-FN: (1950 (11); 1951 (1)

ing pulps, DeSoto followed public tastes into illustrating for The Saturday Evening Post, Liberty, Coro-DeVito, Joseph
net, Redbook, and Ladies Home Journal, as well as (b. March 16, 1957) American artist. DeVito was men’s magazines, such as Male, Action For Men, Ad-born in New York City, and later moved to New Jer-venture, Sportsman, Argosy, and Man’s Life. DeSoto sey where he grew up in the town of Berkeley also painted covers for many paperback books and Heights. A frequent visitor to the Museum of Nat-even a few comic books produced by Ziff-Davis. All ural History as a boy, he developed a life-long love of De Soto’s early works were in oil on canvas; when of dinosaurs and all animals, fantastic and real. He he began working for “slick” magazines and paper-graduated with honors from Parsons School of De-back publishers, in the early 1950s, his style became sign in 1981, studied at the Art Students League in more realistic, and he switched to gouache, and later, New York City in 1982, and took several workshops casein. He worked from photographs, using live in human and animal anatomy with the artist John models: himself as well as his wife, or paid models.

Zahourek, founder and past president of the SociAs the publishing industry evolved away from ety of Artists and Anatomists. He began illustrating classic illustration and grew to depend on photogra-and sculpting professionally immediately after grad-phy and “pop” graphic design, DeSoto found work uation and produced covers in the romance, mystery, teaching classical painting techniques at the State and horror genres before turning almost exclusively University of New York at Farmingdale, where he to fantasy illustration. His technical excellence and taught from 1964 to 1974. After retiring, the artist warmth in depicting a wide range of subject matter continued to teach private lessons at his home stu-brought him to publishers’ and collectors’ attention dio on Long Island. He also received a constant in the late 1980s into the 1990s.

stream of commissions to paint formal portraits of In the fantasy illustration field DeVito is perhaps politicians, corporate and religious leaders. These best known for his memorable book covers for the paintings were exhibited at Lincoln Center’s Avery re-issued series of Doc Savage fantastic adventure Fischer Hall, The Parrish Art Museum, Guild Hall novels, published by Bantam Books, and his comic in Southampton, Long Island, The Bishop Museum book character depictions for books, posters and in Florida, El Museo de Arte de Ponce in Puerto trading cards for Superman, Batman, Robin, Spider-Rico, and other public collections around the world.

man, Doc Savage, Lobo, and Wonder Woman for DC

Throughout his life, DeSoto continued a faithful Comics and Fleer. He also created several covers for practice of painting in his studio every day. As he MAD Magazine; movie posters, packaging for toys grew older, he painted visionary scenes of religious (Hasbro and Kenner), and video covers (Warner subjects, which harkened back to his earliest inspi-Bros). His clients have included virtually all of the ration to follow Ribera, Zurburan, and Murillo. “I major publishing houses in New York City, among haven’t been the ‘great artist’ I wanted to be,” he said them: Avon, Ballantine, Berkeley, Bantam, Simon in an interview with David Saunders ( Illustration,

& Schuster, Tor, Warner, Zebra, Scholastic. He has 2004), “My early ambition was to be a ‘big artist,’ but also worked for the Bradford Exchange, Dark Horse I don’t think I’ve been so successful. Instead, the Comics, Friedlander Publishing Group, Graphitti

DeVito

170

Design, Topps, and Newsweek, among many others.

Collections and Anthologies

DeVito paints in acrylics or oil, and uses graphite (various contributing artists)

or colored pencils for his drawings.

Ballantine, Betty. The Secret Oceans (Bantam, In three dimensions, he has sculpted Doc Savage 1994 ), Barnett, Paul. Paper Tiger Fantasy Art Gallery battling a giant python for Graphitti Design; the (Paper Tiger, 2002), DiFate, Vincent. Infinite first authorized Tarzan statue in association with Worlds: The Fantastic Visions of Science Fiction Art Burne Hogarth and the Edgar Rice Burroughs (Wonderland Press/Penguin, 1997 ), Evanier, Mark.

Foundation; Superman, Batman and Wonder Woman Mad Art (Watson Guptill, 2002), Frank, Jane and Masterpiece Editions for Chronicle and Wonder Howard. The Frank Collection: A Showcase of the Woman for DC Comics, U.S. and Canadian trophies World’s Finest Fantastic Art (Paper Tiger, 1999), for Land Rover Vehicles; scientifically accurate di-Gerani, Gary. Art of Star Wars Galaxy vol. 2 (Topps, nosaurs with Saurian Studios; the Spectrum award 1994), Mad: Cover to Cover (Watson Guptill, 2000), which is given out to entry winners each year; and Morrison, Ruth. Batman Masterpieces: Portraits of religious, wildlife and fantasy themed pieces for the the Dark Knight and his World (Watson Guptill, Bradford Exchange. He also designed the sculpting 1998), Mytholog y (Watson Guptill, 2004 ), Super-input drawings for several of the major dinosaur toys man: The Complete History (Chronicle Books, 1998).

for The Lost World: Jurassic Park II. DeVito has created two twice-life size statues of the Madonna and Published Work

Child. The first was placed at the Blue Army Shrine BOOKS WRITTEN AND ILLUSTRATED INCLUDE: in Washington, NJ. He also designed the ninety foot KONG: King of Skull Island (Dark Horse, 2004); wide site on which the statue resides. The second, Merian C. Cooper’s King Kong (St. Martin’s/Griffin, identical sculpture, has been placed in Fatima, Por-2005)

tugal.

An avid writer as well, DeVito created and illus-BOOKS ILLUSTRATED INCLUDE: Animals (Bantam, trated his first book, KONG: King of Skull Island, 1993), Batman: No Man’s Land (SFBC, 2000), Bat-co-written with Brad Strickland, in 2004. This tle Circle (Avon, 1983), Bloodletter (Tor, 1994), Bones mag-of the Earth (Eos, 2002), Butcher Bird (Tor/Forge, nus opus, over thirteen years in the making, drew on 1993) , The Cold One (Tor, 1995), Crystal Memory a life-long love of storytelling, dinosaurs, adventure, (Avon/BCE, 1987), Crystal Sorcerers (Avon, 1991), and of course, King Kong. His second book, also co-The Crystal Warriors (Avon, 1988), Dark Reunion written with Strickland, is a full rewrite of the 1932

(Harper, 1990) Doc Savage: Flight into Fear, Doc Sav-story itself, Merian C. Cooper’s King Kong (2005).

age: Flight Into Fear; Forgotten Realm; Frightened Fish; DeVito has won numerous awards from regional to Jade Ogre; Python Isle; The Whistling Wraith; White worldwide genre related art shows, competitions and Eyes (Bantam Spectra/Bantam Falcon, 1991, 1992, conventions. His work has been featured in every 1993), Double Blind (Ace, 1990), Dragonstar Destiny edition of the well-respected annual Spectrum an-

(Ace, 1989) Earthfall (Ace, 1990) Eclipse (Popular thology, since its inception (1993), and he won a Library/Questar, 1987), Eclipse Corona (Popular Li-1994 Silver Award for his Doc Savage/Giant Python brary/Questar, 1990), Eclipse Penumbra (Popular Li-sculpture, and a 1996 Gold Award—Dimensional—
brary/Questar, 1988), Fatal Secrets (Tor, 1994), for his “The Hogarth Tarzan” (in bronze). He has Fiends (Tor, 1990), Lords of Creation (Avon, 1992), been invited Guest-of-Honor at several conventions Final Command (Bantam, 1986), Fire on the Moun-dedicated to theSFand horror field, and his paint-tain (Avon, 1990), Forever King (Tor, 1992), Forgot-ings were juried into a Society of Illustrators (NYC) ten Realm (Bantam, 1993), Further Adventures of paperback cover retrospective His work has been ex-Batman: 2: Featuring the Penguin; 3 Featuring Cat-hibited in museums and galleries throughout the woman (Bantam Spectra, 1992, 1993), Further Adven-U.S. and abroad, including simultaneous openings tures of Wonder Woman (Bantam Spectra, 1993), of the first ever dinosaur only art galleries in Tokyo Goblins (Pinnacle, 2000), Here I Stay (Souvenir and Beverly Hills; the Canton Ohio Museum of Art; Press, 1985) The Kill Riff (Tor, 1988), Legacy of Lehr and a one man show of the “The Art of KONG: (Avon, 1988), The Listeners (Tor, 1995), Lords of Cre-King of Skull Island” at New York’s Museum of ation (AvoNova, 1992), Monsters in Our Midst (Tor, American Illustration at the Society of Illustrators.

1993), Moon Dance (Tor, 1989), Nemesis Mission DeVito lives with his wife and their two daughters (Tor, 1991), Nightworld (Tor, 1986) An Old Friend of in Chalfont, Pennsylvania.

the Family (Tor, 1987), Omega Sub 1–4 (Avon, 1991, Sources: correspondence from the artist 2004, and artist 1993, 1994), Psycho House (Tor, 1990), Psycho II (Tor, website at www.jdevito.com; Lasiuta, Tim. “The Art of Joe 1989), Silent Thunder/Universe (Tor, 1991), Software DeVito” in Illustration ’05, Spring 2005.

(Avon, 1987), The Stepford Wives (Bantam, 1991), A Thin Dark Line (Bantam, 1997), Tool of the Trade (Avon, 1988), Tyrannosaur (Tor, 1993), Valentine

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Di Fate

(Tor, 1992), Vampire Junction (Tor, 1995), Vanitas book imprints and genre publications. Other clients (Tor, 1995), Voice of Our Shadow (Ace, 1984), Walk-for his science fiction, astronomical, and aerospace ers (Tor, 1990), Watersong (Warner, 1987) Webs (Tor, subjects include organizations such as IBM, Reader’s 1989), Wetware (Avon, 1988), Wonder Woman: Gods Digest, the National Geographic Society, and NASA.

and Goddesses (Prima, 1997).

Di Fate has done educational filmstrips and several M
planetarium shows for the Andrus Space Transit AGAZINE ILLUSTRATIONS INCLUDE:

AMZ: 1999 (winter)

Planetarium. He participated as a NASA artist in Misc.: Doc Savage ltd ed. sculpture(Graffiti, the Apollo/Soyuz program and has done many astro-1993), Earth X Hulk & Banner Ltd. Ed. Resin Bust nomical and space paintings. In 1976 Di Fate began (Marvel/Dynamic Forces, 1994), Eternal Enemies a column on science fiction art, which he called collector cards (Fleer); Goblin Chronicles collector

“Sketches, “ in Algol magazine. These consistently cards (Fleer, 1995), The Fantasy Art of Joe DeVito entertaining interviews and observations on the his-trading card set (FPG, 1995), Forged In Steel: Super-tory of science fiction illustration, and critiques of man Platinum Series’ collector cards (Skybox, 1994); modern science fiction art, written by an art “in-Dark Judgment—DC Villains collector cards (Skybox, sider” ultimately led to Di Fate’s deep involvement 1995 ); Skybox Master Series collector card art (DC
with the field as scholar, writer, teacher, lecturer, Comics, 1994), Skybox Batman Master Series collec-and promoter of artists’ rights. He has taught at FIT
tor card art (DC Comics, 1995), Ultra Spiderman, (Fashion Institute of Technology, NYC) since 1993, Spiderman Premium collector card art (Fleer, 1995, and is an Associate Professor and current Chair of the 1996); Star Wars Galaxy series 2 card art (TOPPS, Master of Arts degree program at the college. Di 1994), Tarzan Adventures card art (FPG, 1995) Fate has written approximately 300 articles on a variety of subjects, from art and illustration, to soci-Di Fate, Vincent
ology and quantum physics, and has authored four (b. November 21, 1945) American artist. An ad-books, among them the highly praised and richly il-mired and prolific science fiction artist as well as se-lustrated survey of science fiction art, Infinite Worlds rious scholar of the genre, Di Fate was born in (1997). Di Fate was President of the Society of Il-Yonkers, and raised in Mt. Vernon, New York. He lustrators (NY) from 1995–1997, and has been in-attended the Phoenix School of Design from 1963 to volved with organizing and curating exhibitions of 1967 on scholarship, winning over fourteen awards SF art, such as the group show hosted by the New during that time, and earning a BFA in illustration.

York Academy of Sciences, in 2004 “From Imagi-Later, Di Fate attended Syracuse University nation to Reality: The Art of Science Fiction”

(2001–2003) where he earned a Master’s degree in il-In addition to exhibiting his own work at many lustration. His artistic influences were a mix of solo and group exhibitions Di Fate has received Golden Age and contemporary illustrators: John many awards within the science fictional commu-Singer Sargent, Howard Pyle, Dean Cornwell, Mead nity for his paintings, including the Frank R. Paul Schaeffer, Tom Lovell, Chesley Bonestell*, and Fred Award for Outstanding Achievement in Science Fic-Pfeiffer*. Almost immediately after graduation, Di tion Illustration (1978), the Hugo Award for Best Fate began working for Krantz Films on the ABC-Professional Artist (1979), the E. E. Doc Smith “Sky-TV animated superhero series Spider-Man, first as lark” Award for Imaginative Fiction (1987), the a background artist, then as an in-betweener (assis-Lensman Award for Lifetime Contribution to the tant animator). When the show received a bad review, Science Fiction Field (1990), the Chesley Award Di Fate and most of the staff were let go. While seek-from the Association of Science Fiction/Fantasy ing other employment, in 1968 Di Fate tried his Artists for Lifetime Artistic Achievement (1998). and hand at freelance illustration. John W. Campbell, the Rondo (Rondo Hatton Classic Horror Award) for Jr., editor of Analog magazine, gave him seventy-Best Cover Art — 2003, plus numerous Best Cover five assignments in his first year, and Di Fate says, “I awards from Analog. His art was selected for Spec-never looked back.”

trum: The Best in Contemporary Fantastic Art #9

At first Di Fate produced both black-and-white (Underwood Books, 2002). In addition he was interiors and cover paintings, but over the years he Guest of Honor at the 50th World Science Fiction dropped the interior work to concentrate on color Convention in Orlando, Florida in 1992 and has work. He worked in pen-and-ink on scratchboard been an honored guest at numerous regional science for the interiors, and used acrylics for the color fiction and fantasy conventions throughout the U.S.

paintings. Most of his b/w works are unsigned; the since the late 1960s. He was interviewed by Locus color illustrations are usually signed lower right “Di-magazine, February 1998.

Fate.” He estimates he’s produced approximately Di Fate continues to produce illustrations for 4,000 images for publication since 1969, with art Analog and F&SF, and is working on character defor paperbacks and magazines that includes all major signs for Universal Pictures. His book, The Art of

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172

Science Fiction Films, is forthcoming. Di Fate has (DAW, 1994), Dune Encyclopedia (Berkley, 1984), been married since 1968 to Roseanne, and has two Ecce and Old Earth (Tor/BCE, 1991), Empire of Isher sons, Christopher and Victor.

(Orb, 2000), Endless Frontier (Ace, 1979), Eternal Sources: artist website www.vincentdifate.com; Bova, Ben.

Enemy (Morrow, 1990), The Expediter (DAW, 1990),

“Future Di Fate” Science Fiction Age Mar 1994; Gallo, Irene.

Explorations (Tor, 1981), Fabulous Riverboat (Berkley,

“Thumbnails: Vincent Di Fate” The Art Department blog August 8, 2006 at http://igallo.blogspot.com/2006/08/thumb-1971), Firestar (Tor, 1996), Five Fates (Warner, 1970), nails-vincent-di-fate_08.html; Weinberg, 1988.

Fleet of Stars (Tor, 1997), Flying Sorcerers (Ballantine, 1971), Flying to Valhalla (Morrow/AvoNova/

Collections and Anthologies

SFBC, 1993), For Love and Glory (Tor, 2003), For-

(various contributing artists)

ward in Time (Popular Library), Frankenstein Factory Di Fate, Vincent. Infinite Worlds: The Fantastic (Warner, 1975), Frontera (Baen, 1984), Future Quar-Art of Science Fiction (Viking/Penguin, 1997), Di tet (Morrow AvoNova, 1984), Galaxies Like Grains of Fate, Vincent. The Science Fiction art of Vincent Di Sand (Panther, 1979), Getaway Special (Tor, 2001), Fate (Paper Tiger, 2001), Eisler, Steven (Robert Giants From Eternity (Nightshade, 2004), Godspeed Holdstock). Space Wars, Worlds and Weapons (Oc-

(Tor, 1993), Going for Infinity (Tor, 2002), Good topus, 1979), Grant, John and Humphrey, Elizabeth Stuff (SFBC, 1999), Ground Zero Man (Avon, 1971), with Scoville, Pamela. The Chesley Awards: A Retro-Guns of Terra 10 (Pinnacle, 1970), Hellfire Files of spective (AAPL, 2003), Miller, Ron. Starlog Photo Jules de Grandin (Popular Library, 1975), Higher Ed-Guidebook to Space Art (Profile Entertainment, ucation (Tor, 1996), Harvest of Stars (Tor, 1993), 1978), Summers, Ian and Di Fate. Di Fate’s Catalog Harvest the Fire (Tor, 1995), Horror Chambers of Jules of Science Fiction Hardware (Workman Publishing, de Grandin (Popular Library, 1977), Human Voices 1980), Summers, Ian. Tomorrow and Beyond: Master-

(Gale Group, 2002), It Came From the Drive-In pieces of Science Fiction Art (Workman, 1978).

(DAW, 1996), Jandar of Callisto (Dell, 1972), Jay-dium (DAW, 1993), JEM (Easton Press, 1995), John Published Work

Grimes: Lieutenant of the Survey Service (SFBC, BOOKS ILLUSTRATED INCLUDE: 1984 Annual 2000), Joyleg (Berkley, 1973), Killer Pine (Berkley, Worlds Best SF (DAW, 1984), 50 in 50 (Tor, 2001), 1974), Killing Star (Morrow/AvoNova, 1995), Abandon in Place (Tor, 2000), Adventures of Jules de Lankar of Callisto (Dell, 1975), Last Orders and Other Grandin (Popular Library, 1976), After Utopia (Ace, Stories (Granada/Panther, 1985), Last Recall (DAW, 1977), Alien Horizons (Pocket Books, 1974), Alien 1991), Limbo Search (AvoNova, 1995), Lost Worlds of Salute (DAW, 1989), All One Universe (Tor, 1996), Cronus (DAW, 1983), Lunar Activity (Baen, 1990), And Having Writ … (Ace, 1979), Antibodies (World-Mad Empress of Callisto (Dell, 1975), Magic wide Library, 1989), Backlash Mission (DAW, 1986), Labyrinth (Berkley, 1980), Manna (DAW, 1984), Best of Philip K. Dick (Ballantine/Del Rey, 1977), Marked Man (DAW, 1991), Masque World (Ace, Big Planet (Ace, 1978), The Big Time (Ace, 1982), 1978), Mayflies (Berkley, 1979), McAndrew Chroni-Billion Dollar Boy (Tor, 1997), Black Legion of Cal-cles (Tor, 1983), Medusa; A Meeting with Medusa listo (Dell, 1972), Blue World (Ballantine, 1977), Boat (Tor, 1986, 1988), Melome (DAW, 1983), Metropolis of a Million Years (Tor, 1989), Book of Frank Herbert (Ace, 1970), The Mind Cage (Pocket Books, 1978), (Berkley, 1981), Borrowed Tides (Tor, 2001), Bright Mind-Riders (Pocket Books, 1976), Mind Wizards Angel (Ballantine/Del Rey, 1992), Bushido Incident of Callisto (Dell, 1975), Mister Da V (Berkley, 1973), (DAW, 1992), Caesar’s Bicycle (HarperPrism, 1997), New Hugo Winners (Baen, 1991), Nova (Bantam, Callahans —Time Travelers Strictly Cash (Ace, 1981), 1969), Orion’s Sword (Ace, 1980), Other Log of Phileas Carve the Sky (Morrow/AvoNova, 1991, 1992), Case-Fog (Tor, 1982), Other Side of Time (Signet, 1972), book of Jules de Grandin (Popular Library, 1976), Outcasts of Heaven’s Belt (Signet, 1978), Outward Cemetery World (Putnam/SFBC, 1973), Ceres Solu-Bound (Tor, 1999), Path of Fire (DAW, 1992), Pat-tion (DAW, 1984), Chaos Weapon (Ballantine/Del ton’s Spaceship (HarperPrism, 1997), Phases (Baen, Rey,1977), Children of Dune (Berkley, 1977), Cobra, 1997), Plan[e]t Engineering (NESFA Press, 1984), Cobra Bargain, Cobra Strike (Baen, 1985, 1988, Plunder (Beagle, 1972), Prelude to Foundation (Ban-1986), Cold as Ice (Tor, 1992), Cold Victory (Tor, tam, 1989), Psychotechnic League (Pinnacle/Tor, 1982), Combat SF (Ace, 1981), Complete Hammer’s 1981), Putting Up Roots (Tor, 1993), Quicksilver Slammers Vol. 1 (Nightshade, 2005), Continuum 2

Screen (Ballantine/Del Rey, 1992), Radius of Doubt (Berkley, 1974), Corridors of Time (Berkley, 1978), (DAW, 1991), Rings of Ice (Avon. 1974), Rogue Bolo Dangerous Visions (Berkley, 1972), Dark Design (Baen, 1986), Sand Wars #6: Challenge Met (DAW, (Berkley, 1977), Dayworld Breakup (Tor, 1991), De-1990), The Schimmelhorn File: Memois of a Dirty Old molished Man (Easton Press, 1986), Demu Trilog y Genius (Ace, 1979), Search for the Sun (DAW, 1983), (Pocket Books, 1980), Devil’s Bride of Jules de Seed of the Gods Berkley, 1974), Seed of Stars (Bal-Grandin (Popular Library, 1976), Downfall Matrix lantine, 1972), Seven Conquests (Baen, 1984), Shield

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Dillon
of Time (Tor, 1990), Ship of Strangers (Ace, 1979), MZB: 1994 (spring); 1997 (spring); 1999 (winter) Showboat World (Pyramid, 1975), Silent Stars Go By Omni: 1981 (5)

(Ballantine/Del Rey, 1991), Sin of Origin (World-SFAge: 1996 (5); 1997 (5)

wide Library, 1989), Skeleton Closet of Jules de VER: 1973 (4)

Grandin (Popular Library, 1976), Sky Pirates of Cal-WT: 1989/90: (winter)

listo (Dell, 1974), Sky Ripper (Tor, 1983), Soulfire Misc.: Batman Master Series card art (Skybox, (DAW, 1995), Space Cadet (Orb, 2006), Space Opera 1995); Blueprints of the Future collector trading card (Berkley, 1977), Spinneret (Baen, 1992), Starcrossed set (Comic Images, 1994); Star Quest Regency Wars (Pyramid, 1976), Starfire (Tor, 1988), Star Prince game card art (White Buffalo, 1995).

Charlie (Berkley, 1976), Star Search (DAW, 1984), Star-Spangled Future (Ace, 1979), The Stars are Also Dillon, Leo and Diane
on Fire (Tor, 1994), Starship (Tor, 1982), Starswarm (b. March 1933). American artists. Lionel John (Panther, 1985, Tor, 1998), Star Treasure (Baen, Dillon, Jr. and Diane Dillon (née Diane Claire Sor-1986), Steam Bird (Tor, 1988), A Step Farther Out ber) were born 11 days apart in March 1933, on op-

(Ace, 1980), Strangers from Earth (Baen, 1987), Star posite coasts. He grew up in Brooklyn, she near Los Well (Ace, 1978), Supermind (DAW, 1977), Symbol of Angeles, California, but when they met in 1954

Terra (DAW, 1984), Thongor and Dragon City; Thon-while attending Parsons School of Design in New gor and the Wizard of Lemuria (Berkley, 1976), Thor’s York City each already aspired to a life of art. Meet-Hammer (Ace, 1979), Through Darkest America ing first through each other’s artwork, each imme-

(Worldwide Library, 1988), Throy (Tor, 1993), Ties diately recognized the talent and mastery of the of Blood and Silver (Signet, 1984), Time Enough for other. They married in 1957, a year after graduation Love (Putnam, 1973), Timeline Wars (SFBC, 1997), and have one son, Lee (Lionel John Dillon III), born Timemaster (Tor, 1992), Timetracks (Ballantine, in 1965, who also became an artist.

1972), To Your Scattered Bodies Go (Berkley, 1971), At first the Dillons worked separately, but over Twilight World (Tor, 1983), Tyrant of Hades (DAW, the years their competitive friendship evolved into an 1983), Voyage to the Red Planet (Morrow, 1990, Avon, artistic partnership, and they decided to blend their 1991), Warrior at World’s End (DAW, 1974), Wind-two styles into one—both to avoid problems of pro-haven (Timescape/Simon & Schuster 1981), Worlds; fessional jealousy as well as direct their competiti-Worlds Apart (Avon/AvoNova, 1990, 1992), World’s tiveness toward the greater goal of excellence in the Desire (Ballantine, 1972), Wyrms (Arbor House, artwork they created together. Leo gave up a job as 1987).

an art director for a men’s magazine, and Diane a position as an advertising agency, in order to com-MAGAZINES ILLUSTRATED INCLUDE:

mit themselves to a career as freelance artists. Their AMZ: 1981 (7); 1986 (7); 1999 (fall, winter); 2000
earliest work was primarily done in the magazine (winter)

field, illustrating for whatever markets were avail-ASF : 1969 (8, 10, 11, 12); 1970 (1, 3, 4, 5, 6, 8, 11, able, which included the numerous men’s magazines 12); 1971 (1, 2, 4, 7, 8, 9); 1972 (3, 4, 9, 10, 12); 1973
of the late 1950s and the science fiction magazine (2, 3, 4, 8, 10); 1975 (1, 5, 10, 11); 1976 (1, 3, 4, 10, an-and book field, where they soon found a niche for nual); 1977 (1, 3, 4, 5, 6, 7, 10, 11, 12); 1978 (2, 3, 4, themselves. Using a woodcut style of art, the Dillons 5, 7); 1979 (10, 11, 12); 1980 (3, 4, 5, 10); 1981 (2); provided a number of dust-jacket illustrations for 1982 (3, 9, 11); 1983 (5, 10); 1984 (1, 5, 8); 1985 (3, Gnome Press, and interiors for Galaxy magazine.

6, 12); 1986 (2, 7); 1987 (1, 12); 1988 (2, 7, 8, 9, 10, They also created movie poster and advertising art, 11); 1989 (2, 10, 12); 1990 (6, 12); 1991 (8, 11); 1992 (1, illustrations for Time-Life Books, covers for juve-8); 1993 (1, 2, 10); 1995 (2, 4, 5, 9, 11, 12); 1996 (2, nile novels, artwork for Caedmon records, greeting 4, 5); 1997 (3, 4, 7, 11); 1998 (1, 2, 3, 7, 12); 1999 (2, cards and corporate logos.

3, 9); 2000 (11); 2001 (1, 5, 7, 9, 10, 11); 2002 (1, 2, In the late 1960s the Dillons were given the cover 3, 4, 5, 7); 2003 (7/8, 9); 2004 (7/8); 2005 (1/2, 5); assignments for a new series of major novels to be 2007 (6)

done by Ace Books: the Ace Science Fiction Specials.

CSF : 1977 (5, 7, 11)

These Ace “specials” included a number of impor-DEST: 1980 (spring, fall)

tant works that won many awards in the science F&SF : 1971 (9); 1972 (9); 1985 (1, 7); 1999 (9); fiction field. The Dillon covers gave that series a dis-2000 (12); 2001 (12)

tinctive look and firmly established them as major GXY: 1976 (9, 10, 11, 12); 1977 (3, 4); 1978 (7); artists in the SF field, even though they had begun 1995 (1/2)

working in the genre more than ten years earlier.

IASFM: 1977 (fall, winter); 1978 (3, 5); 1979 (1, The seeds for the Ace assignments had been planted 5, 8, 9, 11); 1980 (5); 1982 (12); 1983 (11); 1988 (8); years earlier, when they met Harlan Ellison in 1959, 1989 (12); 1990 (12); 1992 (8)

after doing illustrations for Rogue, the men’s maga-

Dillon

174
zine he was then editing in Chicago. That meeting

“Computer art is so much image and too much color would eventually have major consequences for the at this point. I think in time, once the newness wears Dillons’ career, thanks to their illustrations for El-off, that people might find their own personal image lison’s Dangerous Visions (1967), and a subsequent or voice, and not try to put in everything they can, meeting with Terry Carr, who then recruited them plus the kitchen sink.” The Dillons taught classes as artists for every Ace Special that was published in in art technique at the School of Visual Arts from the 1960s and 1970s. Nominated for the Hugo 1969 through 1977. Diane served for two years as Award as best science fiction artists, the Dillons won president of the Graphic Artists Guild (October 1981
in 1971, primarily because of their work on the Ace through October 1983), and two years as President specials. Later, in 1982, they also received the Bal-of the Society of Illustrators. They have been Illus-rog Award for their Lifetime Contribution to Sci-trators of the Future judges since 1998.

ence Fiction and Fantasy Art, and in the same year, Although more heavily involved in children’s pic-the Lensman Award.

ture books in recent years, the Dillons still do some During the same period, the Dillons began work-work in the field. Among their most notable SF and ing on a series of illustrated children’s books, includ-fantasy books are Joan D. Vinge’s The Snow Queen ing The Ring in the Prairie, Gassier’s Lute, Whirlwind (1979), Ray Bradbury’s The Halloween Tree (1988), is a Ghost Dancing and The Hundred Penny Box. In and many of C.S. Lewis’s “Narnia” books in 1994. A 1976 they received a Caldecott Medal for their book major collection of their work was published by Bal-Why Mosquitoes Buzz in People’s Ears, which was a lantine in 1981, The Art of Leo & Diane Dillon, ed-particular honor for Leo who was the first (to date) ited by Byron Preiss. One of the most highly ac-African-American to have won the Medal. In 1977
claimed art collections of the year, the book was their next picture book, Ashanti to Zulu, won them nominated for a Hugo Award for Best Related Non-an unprecedented second Caldecott Medal. Along Fiction Book in 1982. The Dillons have also collab-with the Hamilton King Award from the Society of orated with their son Lee on several projects, includ-Illustrators (NY) in 1976, these awards firmly estab-ing the illustrations for Pish, Posh, Said Hieronymous lished them as major modern American illustrators.

Bosch by Nancy Willard (1991), In 1997 the Dillons The Dillons work in many mediums, and in a received the Grand Masters Award for their body of wide range of styles. Indeed, says Diane “We’ve work from Spectrum: The Best in Contemporary Fan-never specialized. At the very beginning we had trou-tastic Art (Underwood) and in the same year were ble with that. Art directors kept telling us we had inducted into the Society of Illustrators Hall of too many styles in our portfolio and that they Fame.

needed to know a specific style so they could reSources: correspondence from the artists, May 2005; member us. We even split our portfolio up into three Haber, Karen. “The Third Artist Rules” interview with Leo & Diane Dillon, Locus, April 2000); Weinberg, 1988
portfolios just so we could simplify. And at one point, very early on, we called ourselves “Studio Collections and Anthologies

Two.” We thought that would be more acceptable (various contributing artists)

with so many styles.” (Haber, 2000). Nevertheless, Dillon, Leo and Diane. The Art of Leo & Diane and surprisingly (even to the artists themselves) their Dillon (Ballantine, 1981), DiFate, Vincent. Infinite blend of symbolist-realist style, which often displays Worlds: The Fantastic Visions of Science Fiction Art a mix of diverse artistic traditions and techniques, still (Wonderland Press/Penguin, 1997).

results in richly detailed and decorative artwork that BOOKS ILLUSTRATED INCLUDE: 20,000 Leagues can be called the “Dillon style.”

Under the Sea (HarperCollins/Books of Wonder, Each illustration is the result of careful research 2000), After Things Fell Apart (Ace, 1970), And and collaboration, to yield what the Dillons refer to Chaos Died (Ace, 1970), Approaching Oblivion as “wholly the work of the “third artist.” As they put (Signet/SFBC, 1976), Barefoot in the Head (Ace, it, “What takes form on paper is a surprise to both 1972), Beast That Shouted Love at the Heart of the of us and something neither of us would have come World (Avon, 1969), Beginning Place (Bantam, 1983), up with individually.” The Dillons have mastered Black Corridor (Ace, 1969), Canary in a Cat House an impressive variety of materials and techniques, (Fawcett/Gold Medal, 1961), Cautionary Tales including woodcut, inlaid wood, stencil and frisket, (Warner, 1980), Chronicles of Narnia: Frame; Horse collage, watercolor, gouache, acrylics, oils, alkyds, and his Boy, Last Battle, Lion Witch and the Wardrobe; pastels, pochoir, and crewelwork, and have devised Magician’s Nephew; Prince Caspian; Silver Chair; The methods of simulating mosaic, stained glass, and Voyage of the Dawn Treader (HarperPaperbacks, painted silk. Neither artist, however, is interested in 1994), Chronocules (Ace, 1970), Dangerous Visions pursuing digital art, because they want to retain what (Dell/SFBC, 1967, Berkley, 1983), Deadly Streets Leo calls “that eye-to-mind-to-hand thing,” adding (Pyramid, 1975), Deathbird Stories (Dell, 1976),

“it lacks brushstrokes … feeling.” Diane adds Demon Breed (Ace, 1968), Devil’s Children (Dela-

175

Dixon
courte, 1985), Earthsea Trilogy (SFBC, 2005), Eclipse divorce, and then to New Jersey, after her remar-of Dawn (Ace, 1971), Eleventh Commandment (Bal-riage, where he spent summers at his stepfather’s lantine, 1962), Essential Ellison (N.E.M.O. Press, parent’s farm. He attended kindergarten in Sault Ste.

1987), Floating Dragon (Underwood Miller, 1983), Marie, Ontario, Canada then moved to Michigan, Fourth Mansions (Ace, 1969), Furthest (Ace, 1971), New York, Ohio and eventually back to California Gentleman Junkie and Other Stories of the Hung-Up when he was around ten. California has been his Generation (Regency, 1961), Glass Teat (Pyramid, home since then.

1975), Left Hand of Darkness (Ace, 1969), Halloween Dixon began painting as a hobby during his teens, Tree (Bantam, 1988), Heartsease (Delacourte, 1986), and as a result of his love of seeing stars from a rural House of Spirits (Bantam, 1986), I Have No Mouth, vantage point, built a number of telescopes on his and I Must Scream (Pyramid, 1967), Illustrated Har-own. He was a fan of space artist Chesley Bonestell*, lan Ellison (Baronet, 1978), Iron Tears (Edgewood and like that artist, believes in scientific accuracy Press, 1992), Island Under the Earth (Ace, 1969), Isle and realistic depictions. Dixon majored in Physics at of the Dead (Ace, 1969), Jagged Orbit (Ace, 1969), the University of California at Berkeley, but changed Juniper (Knopf, 1990), Left Hand of Darkness (Ace, his career plans after learning that the activity he 1969), Lincoln Hunters (Ace, 1968), Lirael Daughter most liked — observing the sky — was a fairly rare of the Clayr (HarperCollins/Allen and Unwin, 2001), activity in modern astronomy. Instead, he bought a Love Ain’t Nothing But Sex Misspelled (Pyramid, small ad in Sky and Telescope magazine and began 1976), Magic Circle (Dutton, 1993, Penguin/Puffin, selling his astronomical paintings through color 1995), Mechasm (Ace, 1969), Memos from Purgatory slides of his work. From 1972–1974 he supported (Pyramid, 1975), Methuselah’s Children (Gnome, himself that way, selling his “Spacescapes” to schools, 1958), Midnight Robber (Warner Aspect/SFBC, planetaria and space art fans. He began submitting 2000), Nine Hundred Grandmothers (Ace, 1970), slides to various magazines, and his first cover ap-One Million Tomorrows (Ace, 1970), Paingod and peared on the Sunday supplement magazine Family Other Delusions (Pyramid1975), Palace of Eternity Weekly in November, 1974. In the same year, Dixon (Ace, 1969), Past Master (Ace, 1968), Pavane (Ace, received a call from George Van Valkenberg, a pro-1969), Picnic on Paradise (Ace, 1968), The Preserving ducer of documentary films, to help make a short Machine (Ace, 1969), Psion (Delacourte, 1982), Re-film for NASA about the Pioneer mission to Jupiter.

volving Boy (Ace, 1968), The Ring (Ace, 1968), Rite Over the course of working on several projects with of Passage (Ace, 1968), Sabriel (Harper-Collins, Don Piccolo, an animator who had worked on pre-1996), San Diego Lightfoot Sue and Other Stories vious Van Valkenberg projects during the mid to (Earthlight, 1979), Secret Sacrament (HarperCollins, 2001), Seedling Stars (Gnome, 1957), Shatterday late 1970’s, Dixon learned most of the techniques of (Houghton Mifflin, 1980), Silent Multitude (DAW, commercial illustration as well as animation. For this 1969), Snow Queen (Dial Press, 1980), Some Will Not

“ priceless education,” Dixon says, “I will be forever Die (Regency, 1961), Stargate (Dial/Dell, 1981), Steel in Don’s debt.” Dixon became the Designer of the Crocodile (Ace, 1970), Synthajoy (Ace, 1968), Spider NASA logo for the Pioneer mission to Saturn and re-Kiss (Pyramid, 1975), Strange Wine (Warner, 1979), ceived a NASA Certificate of Appreciation for Pio-Sweet Whispers, Brother Rush (Putnam, 1983), Switch neer-Venus special effects animation.

on the Night (Knopf, 1993), Time Quartet (SFBC, During the 1980’s Dixon branched out into the 2003), A Torrent of Faces (Ace, 1968), Traveler in science fiction field, doing concept design, models Black (Ace, 1977), Two Sought Adventure (Gnome, and serving as art director for Roger Corman’s movie 1957), Two-Timers (Ace, 1968), Water is Wide (Pen-Battle Beyond the Stars. Other film and TV projects dragon, 1976), Way of the Shaman (Bantam, 1981), include Cosmos, Airplane, Nova, Planet Earth, 20–20, Weathermonger (Delacourte, 1985), Why Call Them The Astronomers, Project Universe, Asteroid, and sev-Back From Heaven? (Ace, 1968), Wise Child (Knopf, eral NASA films. In 1983, the artist Rick Sternbach*

1987), Witches of Karres (Ace, 1968), Wizard of put Dixon in touch with the art director at Ballan-Earthsea (Ace, 1970), A Woman of the Future (Ban-tine Books, who hired him to do his first science tam, 1983), Year of the Quiet Sun (Ace, 1970), World’s fiction book cover: John Brunner’s The Crucible of End (Tor, 1984).

Time. There followed several years of freelance art assignments, including magazine cover art for OMNI, Dixon, Don

Smithsonian World Astronomy, Sky and Telescope, Sci-

(b. 1951) American artist. A free-lance astronom-entific American, and other magazines, and book ical artist since 1972, specializing in astronomy, sci-covers for Random House, Berkley, Warner, Dou-ence fiction and astronautics, Dixon was born in bleday, National Geographic and other publishers.

Easton, Pennsylvania, “six years before Sputnik.”

Additionally, Dixon was concept designer for theme Dixon moved frequently during his childhood, first attractions at Epcott Center, Caesar’s Palace, Las to California, at the age of three, after his mother’s Vegas Hilton, and has done artwork featured in ad-

Dold

176
vertising campaigns by Omni, Miles Laboratories, I, Robot (Del Rey, 1984), Isaac Asimov’s Science Fic-Universal Studios, The National Space Institute, tion Treasury (Bonanza, 1980), Lifeburst (Ballantine Book of the Month Club, and others.

Del Rey, 1985), The Martians (Bantam Spectra, Dixon has participated in many exhibitions of (1999). Mazeway (Ballantine/Del Rey, 1990), Neme-space art and has received a New York Society of Il-sis (Bantam /SFBC, 1990), Neverness (Bantam Spec-lustrators Award of Merit, and a Bausch and Lomb tra, 1990), Nightfall (Doubleday/SFBC, 1990), Nine Honorary Science Award. He is a Charter member, Princes in Amber (Ace, 1988), Nine Tomorrows (Del and Fellow, since 2000, of the International Associ-Rey, 1985), Procyon’s Promise (Ballantine/Del Rey, ation of Astronomical Artists, and was the original 1985), Red Mars (Bantam Spectra, 1993), Rocket to co-editor of the IAAA newsletter Parallax. Dixon’s Limbo (Ace, 1986), The Sails of Tau Ceti (Ballantine early work was executed in oil paints, but to obtain Del Rey, 1992), Shivering World (Bantam Spectra, the fine detail required for animation projects, he 1991), Star Surgeon (Ace, 1986), Still River (Ballan-turned to acrylic and gouache. His recent purely sci-tine/Del Rey, 1987), Stopping at Slowyear (Bantam entific illustrations incorporate traditional media, Spectra, 1992), The Sunborn (Warner Aspect, 2005), such as detailed pencil drawings, which he then scans Tides of Light (Warner Aspect, 2004), Tides of Time and manipulates digitally Since 2001, he has re-

(Del Rey, 1984), Toward Distant Suns (Stackpole, turned to oil painting for non-commercial projects.

1979), Transition (Bantam Spectra, 1991), The Uni-In 1991 Dixon left the field of freelance illustration verse Between (Ace, 1987), Winds of Change and to become Art Director of the Griffith Observatory Other Stories Ballantine/Del Rey, 1984).

in Los Angeles, designing graphics for planetarium MAGAZINES ILLUSTRATED INCLUDE:

shows and publications.

F&SF : 1974 (6); 1977 (9);

Sources: Don Dixon website at www.cosmographica.com; Maddox, David. “A Conversation with Don Dixon” Inter-IASFM: 1997 (12); 1999 (4); 2001 (4)

view May, 2004 online at www.sfsite.com [accessed July 2007]

Omni: 1979 (6); 1983

Misc, “Milestones in Space” collector plate se-Art Collections and Anthologies
ries, Hamilton Collection Commemoratives (various contributing artists)

(Hamilton Mint, 1994)

Universe: Text and Paintings by Don Dixon (Houghton Mifflin, 1981), Miller, Ron. Space Art (Starlog Press, 1979). Miller, Ron. Starlog Photo Dold, (William) Elliot, Jr.

Guidebook to Space Art (Profile Entertainment, (October 3, 1889–1957) American artist. At one 1978).

time considered one of field’s most important contributors to science fiction magazine illustration, Published Work

Dold was born in Long Island, but his parents were BOOK ILLUSTRATIONS INCLUDE: Across the Sea of from Virginia. He attended William and Mary Col-Suns (Warner Aspect, 2004), The Alexandrian Ring lege in Virginia to 1912, and after graduation received (1987), Alien Legion (Titan, 2004), Antares Dawn, a scholarship to the Art Students League in New Antares Passage (Ballantine/Del Rey, 1986, 1987), The York, where he studied with George Bridgeman.

Assassin Gambit (Ballantine/Del Rey, 1988)\, The Dold’s mother died in 1902, and his father, a noted Awakeners (Doubleday/BCE, 1987), Beyond Infinity psychiatrist, was supervising River Crest sanitarium (Warner Aspect, 2004), Bicentennial Man (Ballanin Queens, New York — making it possible for Dold tine/Del Rey, 1985), Blue Mars (Bantam Spectra/

Jr. to list this as his residence, for at least some SFBC, 1996), Central Heat (Ace, 1988), Charon’s Ark lengths of time — as did his brother. Dold Jr. was (1987), Circuit Breaker (Berkley 1987), The Clouds of the younger brother of Douglas Meriwether Dold, an Saturn (Ballantine/Del Rey, 1991), Colonies in Space editor and writer of some renown (February 7, (Stackpole Books, 1977), Combat Command (Ace, 1888–1932?). It has been reported that in 1915 both 1987) Crashlander (Ballantine/Del Rey, 1994), Cres-brothers joined the Serbian Army, and that as a recent in the Sky (Ballantine/Del Rey, 1990), The Cru-sult of injuries sustained in combat there, Douglas cible of Time (Ballantine, 1983), Cut by Emerald gradually became blind (Clute and Nichols, p. 347).

(Berkley, 1987), The Early Asimov (Ballantine/Del Travel records support the fact that both brothers Rey1985), The End of Eternity (Bantam Spectra, were returning from Europe, via Rotterdam, Nether-1990), The Gamester Wars (w/ David Mattingly, Bal-lands, in December of 1915. The ship manifest lists lantine/Del Rey, 1995), A Gathering of Stars (Ballan-Douglas as “Dr. Douglas Dold,” and “blind”—
tine/Del Rey, 1990), Geodesic Dreams: The Best Short which suggests their military involvement lasted only Fiction of Gardner Dozois (Ace, 1994), The Gods a short time, and ended with a need to bend the Themselves (Bantam Spectra, 1990), Green Mars truth so as to (perhaps) have Douglas receive spe-

(Bantam Spectra/SFBC, 1994), Hidden Fires (Warner cial treatment on the journey home. They listed the Questar, 1991 ), Into the Sea of Stars (Del Rey, 1986), Sanitarium as their address in the States.

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Dollens

In New York, Elliot Dold started in his career in in Charlottesville, c. 1947, and lived there until his advertising art, and after the First World War (both death.

brothers registered for the Draft, but there is no Sources: Albemarle Charlottesville Historical Society Li-record of service) he started painting magazine cov-brary correspondence October 2007; Aldiss, Brian. Science Fiction Art: The Fantasies of SF (Bounty Books, 1975); Clute, ers. In 1923 Dold produced interior illustrations for John and Nichols, Peter. The Encyclopedia of Science Fiction the publisher Harold Hersey, for a book of poems by (Little, Brown, 1993); Difate, Vincent. Infinite Worlds: The Harold Brainerd, Night. These were beautifully done Fantastic Visions of Science fiction Art. (Wonderland, 1997); pen-and-ink drawings in an art nouveau style, rem-Weinberg, 1988.

iniscent of Beardsley. Dold created numerous illus-Published Work
trations for Hersey’s publications, and throughout ASF : 1934 (3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1935 (1, the 1920s Dold did air and western pulp paintings for 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1936 (1, 2, 6, 7, 8, 9, magazines such as Cowboy Stories, The Danger Trail, 10, 11, 12); 1937 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1938
and Eagles of the Air. According to an interview with (1, 2, 3, 4, 5, 6, 7, 8, 9, 10); 1939 (1) Dold published in Fantasy Magazine (Oct/Nov COS: 1941 (7)

1934), by 1930 the artist was pressing Hersey to start MIR: 1931 (4, 6)

a science fiction magazine. As a result, Miracle Sci-STI: 1941 (6)

ence and Fantasy Stories was launched in 1931, with Dold as editor. He also painted the covers for both Dolgov, Boris
issues of the magazine and produced the illustra-

(?) American artist. Little is known about this artist tions; his brother Douglas, also a Hersey employee, other than that he was a New York City fan and friend wrote the lead novel for one issue. The magazine of Hannes Bok*, who did some fine illustrations for died when Dold was not able to continue working the pulp magazines edited in the New York area. Dol-for it due to a serious illness.

gov and Bok collaborated on a small number of inte-Dold began working for Astounding SF in late rior pieces and signed them “Dolbokgov.” Legend has 1933 when Street & Smith purchased the magazine it, among some book dealers, that Dolgov died in the from the bankrupt Clayton magazine chain. From late 1940’s when, after being locked out of his apart-1934 through 1937 he was the leading artist for As-ment, he attempted to gain re-entry via the fire es-tounding, and while he did some work in color, his cape and fell to his death. However, this has not been most notable contributions to that magazine con-confirmed, nor can his birth and death dates be ascer-sisted of high contrast black-and-white interior tained. Dolgov produced a large number of black-drawings, rendered with no greys. Pieces were pre-and-white interiors for Weird Tales as well as several pared double the size of the actual illustration on il-excellent covers, and he is considered one of the bet-lustration board. Although not very good at illuster artists to work for that magazine during its long de-trating people, Dold was a marvelous detailer of cline in the 1940s. His art was featured in Peter Hain-machinery and interpreter of grand concepts, “de-ing’s history of horror illustrations from the pulp picting huge machines, great ships, and complex magazines, Terror! (Souvenir Press, 1976).

technological cultures in a style that was an unusual

Sources: Weinberg, 1988.

marriage of marginal primitivism and art deco ele-Published Work
gance.” (Di fate, p. 152). As Aldiss notes in Science BOOKS ILLUSTRATED INCLUDE: Destination Uni-Fiction Art, Dold was a perfect match for a SF writer verse (Pellegrini and Cudahy, 1952) like E. E. “Doc” Smith, whose Skylark of Valeron novel Dold illustrated for Astounding, in installments MAGAZINES ILLUSTRATED INCLUDE:

from August 1934 to February 1935. Smith “wrote ASH: 1942 (12)

big. He specialized in inexplicable machines and inCOS: 1941 (7)

scrutable forces (and) Dold was ideal for Smith’s FUT: 1941 (8, 10, 12); 1942 (2)

sagas” (1975, p. 19).

SSS: 1942 (8); 1943 (2)

While not as well remembered as Frank R. Paul*

SFQ: 1941–1942 (winter)

or Hans Wesso*, most fans of the genre would conSTI: 1941 (6); 1942 (3)

sider Dold to be their equal in terms of the quality WT: 1941 (9, 11); 1942 (1, 3, 5, 7, 9, 11); 1943 (1, of his art, and the strength of his artistic vision.

3, 5, 7, 9, 11); 1944 (1, 3, 5, 7, 9, 11); 1945 (1, 3, 5, 7, By 1940, Dold had returned to Virginia, and was 9, 11); 1946 (1, 3, 5, 7, 9, 11); 1947 (1, 3, 5, 9, 11); 1948
living in Charlottesville in his father’s house, listing (1, 3, 7, 9, 11); 1949 (1, 3, 7, 11); 1950 (1, 3, 5, 9); 1951
himself as a commercial artist and “self-employed”

(3, 7); 1952 (1, 3, 11); 1954 (1, 7)

when he registered for the Draft in 1942 — at the age of fifty-two. Dold’s last illustration in the field was Dollens, Morris Scott
a black-and-white illustration for the cover of Cos-

(April 14, 1920–August 14, 1994) An American mic Stories in 1941. He moved to his own residence artist, Dollens was one of the best-known of science

Donnell

178
fiction fans and semi-pro fan artists, selling his paint-Donnell, A. J.

ings at dozens of SF conventions beginning in the (?–October 2001) American artist. One of the early 1950s. He was born in Indiana, moved to Min-four founding members of the specialty publisher nesota in 1922, and then to California in the 1940s, Fantasy Press, Andrew Julian Donnell worked for working for MGM studios. He first discovered sci-Glidden Paint in the 1940s as the staff artist for The ence fiction reading Buck Rogers comic strips, and Wilhelm Ambassador. When Lloyd Arthur Esbach, then turned to science fiction magazines. By the mid science fiction author and fan, as well as Glidden 1930s he had begun publishing one of the first, and Employee, established Fantasy Press in late Novem-by one account (Madle, Mimosa 29) most amateur-ber 1946 he chose A.J. Donnell as Art Director, along ish of fan magazines published to that time, the Sci-with G.H. MacGregor as sales manager, and Leman ence Fiction Collector. It was hand-written, and had H. Houck as accountant. Donnell worked closely illustrations produced in a blue color — the result of with Eshach for Fantasy Press, until Eshbach bought a process called hectography (a now-antique copying out his partners in 1950, and nothing is known of process using a gelatin bed, called a “Ditto”). After Donnell’s art career beyond that. Donnell did most 13 issues, Dollens announced the “last one” would of the jackets and illustrations for Fantasy Press, pro-be in June, 1937 although there was one more, in ducing some excellent pieces of art until 1950, when July. Then publication was taken up by John Belta-the company was sold, although he had no special in-donis, a fan artist who had contributed to Philadel-terest in science fiction, according to Weinberg phia’s first fan magazine (not counting the carbon-

(1988). In 1950 Eshbach bought out his partners, copied ones), called Fantasy Fiction Telegram, begun and nothing is known of Donnell’s art career be-in October 1936. In late August of 1937, the first issue yond that. According to rare book dealer Barry of the new Science Fiction Collector appeared under Levin, who learned of the artist’s date of death the editorship of Baltadonis and staffed by Oswald through his agent, “Donnell originals are very scarce, (Ozzie) Train, Bob Madle, and Sam Moskowitz, most of them having been lost when the artist’s base-names well-known to the science fiction community ment flooded.”

today as members of the first generation of fans, or Sources: Barry R. Levin e-mail correspondence, August

“first fandom.” The new magazine surpassed Dollen’s 2007, see www.raresf.com/bhome.html; Weinberg, 1988.

earlier hectographic methods of reproduction, Published Work (all Fantasy Press) unified a fragmented field of amateur attempts, and Black Flame (1948), Book of Ptath (1947), Divide had leading fans of the time as contributors; in the and Rule (1948), First Lensman (1950), Forbidden space of one issue, the Science Fiction Collector became Garden (1947), Incredible Garden (1948), The In-the leading representative fan journal.

credible Planet (1949), A Martian Odyssey (1949), Of Most of Dollen’s was astronomical in theme, and Worlds Beyond (1947), Seven Out of Time (1949), Sinhe acknowledged a stylistic debt to Bonestell*. Typ-ister Barrier (1948 ), Skylark Three (1948), Skylark of ically, his paintings were diminutive in size, rarely Valeron (1949), Spacehounds of IPC (1947), Triplan-exceeding 16" × 20", and priced very reasonably so etary (1950).

that other fans could enjoy owning them. Many were variations on conventional planetary land-Donato see Giancola, Donato scapes, painted in acrylics but with no efforts to eliminate surface texture. He also contributed to the Doolin, Joe
fan community through photography, with portraits (March 22, 1896–August, 1967) American artist.

of authors and fans. A non-genre book illustrated Born Joseph Patrick Doolin in Chenoa, Illinois, by by photographs by Dollens was published in 1987

1930 the artist was living in New York and working (“Everyday Cats,” Diamond Desert Publishers).

as a commercial artist. Doolin worked for many Sources: Madle, Robert A. “My Pal Johnnie.” (In) A Mi-years illustrating the pulp magazines for Street and mosa Fantholog y (Part 2), a.k.a. Mimosa 29, Maryland: Rich and Nicki Lynch, publishers, December 2002.

Smith and Fiction House, and, later, comic books—
notably, Planet Comics, one of the most influential Published Work
science fiction comics of the 1940s. He sometimes BOOKS ILLUSTRATED INCLUDE: The Future is Now: was credited as “JPD” for his illustrations for Strange All-New, All-Star Science Fiction Stories (Sherbourne Stories magazine. Doolin was a friend of Seabury Press, 1970), The Trek Celebration, Trek: The Next Quinn and consulted Quinn on his illustrations for Generation (Pioneer Books, 1994) Weird Tales featuring that author’s character, Jules de Grandin. Less well-remembered than other artists MAGAZINES ILLUSTRATED INCLUDE:

for his sexy “well-built” pin-up covers for comics in ABO: 1987 (7/8)

the 1940s–1950s, his style nevertheless was influen-Gamma: 1963 (issue 1, 2); 1964 (issue 3) tial. Doolin died in Flushing, Queens New York.

SF&F : 1957 (11)

Sources: Weinberg, 1988; www. Ancestry.com: Social Se-

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Dorman
curity Death Index, 1930 United States Federal Census, U.S.

available as a series of popular, limited edition, Star World War II Draft Registration Cards, 1942 [database onWars lithographs from Rolling Thunder Graphics.

line] Provo, UT, USA, The Generations Network, Inc., 2002, His many continuing projects include the ongoing 2007.

Young Jedi Knights and Han Solo series’ of paper-Published Work
backs, and toy design for the Aliens 4: Resurrection PS: 1942 (winter); 1943 (3, 5, fall); 1944 (spring, movie. Dorman is married, and lives in Geneva, Illi-summer, fall, winter); 1945 (spring, summer, fall, nois with his wife, Denise and son, Jack.

winter); 1946 (spring, summer)

Sources: artist website at www.dormanart.com; Gallery 1947 (spring)

28 biography at http://gallery28.biz/DaveDorman.html SS: 1940 (3)

Published Work

StrS: 1940 (4, 6, 12); 1941 (2)

BOOKS ILLUSTRATED INCLUDE: Aliens: #2 Night-WT: 1925 (12); 1926 912); 1931 (10, 11, 12); 1932
mare Asylum; 3: The Female War; Genocide (Bantam (1, 2, 3, 4, 5, 6);

Spectra, 1993, 1994), Aliens Omnibus Edition (w/

1935 (3, 4, 5, 6); 1938 (11)

Denis Beauvais; Millennium, 1995), Aliens: Tribes Dorman, David E.

(Boxtree, 1996), Atomic Chili: The Illustrated Joe R.

Lansdale (Mojo Press, 1996), Batman: To Stalk (b. October 1958) American artist. Dorman was Specter; Captured by the Engines (Warner, 1991), Bat-born in Michigan, the child of a military family, and man M urders (Warner, 1990), Catwoman(™) lived in various places while growing up, including (SFBC, 1993), Dead in the West (Crossroads Press, the Azores and Washington DC. After two years of 1995), Journey to Rilla (Ace, 1990), Norby and the college, Dorman enrolled in the Joe Kubert School Court Jester (Ace, 1996) Norby and the Oldest Dragon of Comic Art. After one year, he realized he would (Ace, 1993), Pale Companion (Ace, 1994), Practice not be taught the painting techniques in which he Effect (Bantam Spectra, 1994), Sounding Stillness was interested, and through practice became self-

(Ace, 1993), Star Wars: Young Jedi Knights: Shadow trained in his oil painting style. He began work as a Academy (Boulevard, 1995), Star Wars: Young Jedi professional artist in 1979, and first worked in the Knights: Heirs to the Force (Boxtree, 1996), Star Wars: field as a comic artist, and won an Eisner award in Young Jedi Knights: The Lost Ones (Boxtree, 1996), 1993. Through work for Dark Horse Comics, Dor-Surfing Samurai Robots (Penguin/Roc, 1991), Weird man began doing Star Wars comics, which had been Business (Mojo Press, 1995).

discontinued under Marvel. The first comic came out in 1989, and Dorman has been doing Star Wars GAME-RELATED ILLUSTRATIONS INCLUDE: AD&D
art ever since. He was voted “The No. 1 Star Wars Dungeon Master’s Guide, 2nd Ed. (TSR, Inc., 1989), Artist of All Time” by Star Wars Galaxy Magazine Aliens: Chill (Pacesetter, 1985), Arena of Thyatis in 1996.As a game and book illustrator he is best (TSR, Inc., 1990), Blood of Heroes: Special Edition known for his photo-realistic renderings of action (Pulsar Games, 2000), Book of Crypts (TSR, Inc., and fantasy subjects.

1991), Champions in 3-D (Hero Games, weHer1990), Dorman has done artwork for comic, book, and Commando (TSR, Inc., 1988), Complete Priest’s game publishers, including The Batman for DC

Handbook; Complete Wizard’s Handbook (TSR, Inc., Comics and the Indiana Jones and Star Wars series’

1990), Dark Empire Sourcebook (West End, 1993), for Dark Horse Comics. In addition he has done a Destiny Map (West End, 1990), Draconomicon (TSR, wide range of book and magazine covers. Some of Inc., 1990), Dreamchipper (FASA, 1989), Duchy of these include the Aliens paperback series, the Lone Ten (TSR, Inc., 1987), Eastern Territory (Palladium, Wolf series, the Surfing Samurai Robots series and 2001), Forever City (West End, 1990), Gargoyle (TSR, many other single book covers. His work is also Inc., 1989), High Tech & Low Life: The Art of Shad-showcased in the Bram Stoker nominated, illustrated owrun (FASA, 1997), Knight of Newts (TSR, Inc., novel Dead Heat from MoJo Press, and a book collec-1993), Monstrous Compendium Ravenloft Appendix tion of his art, Star Wars: The Art of Dave Dorman.

II: Children of the Night (TSR, Inc., 1993, Possibil-Recent trading card art includes the Star Wars ity Chalice (West End, 1990), Psionics Role Aids (Mayfair Games, 1991),

Galaxy sets, Universal Monsters’ Incredible Shrink-Rifts Game Master Guide

(Palladium, 2001), Rifts Siege on Tolkeen Four: Cyber-ing Man subset, Star Wars Galaxy card art sets, Uni-Knights (Palladium, 2000), Rifts Siege on Tolkeen versal Monsters’ Incredible Shrinking Man subset, Three: Sorcerers’ Revenge (Palladium, 2000), Tales of and many others. He did a complete set of 98
the Jedi Companion (West End, 1996), Thutmose’s painted trading cards for the Skybox Masterseries: Night: Chill (Pacesetter, 1985), World Book 23: Xiti-Malibu Ultraverse, nine cards in the Skybox/DC
cix Invasion (Palladium, 1999).

Masterseries, a 25 card subset in the Skybox Masterseries and Creators Edition and artwork for the ac-MAGAZINE ILLUSTRATIONS INCLUDE:

companying CD-ROM game. Dorman’s work is DRA: 1999 (12); 2000 (2, 6, 7); 2006 (6)

Drigin

180

Misc.: The Best of Dave Dorman: Chromium

& Illustrators, based in central London, which sup-

(FPG, Inc., 1996), Dark Age: Feudal Lords card art plied material to War Illustrated and Sphere Books, (FPG, Inc., 1996), Magic: The Gathering: Dark Steel; among others. After the war, 1947–1948, when paper Fifth Dawn; Mirrodin; Scourge; 7th Ed.; 9th Ed Card shortages forced illustrators to seek work in related art (Wizards of the Coast, 2001, 2003, 2004, 2005), fields, Drigin illustrated a variety of mystery, and war and adventure novels for book publishers and Drigin, Serge R.

produced numerous one-off comic strips, mostly for (?) British artist. A Russian-born artist, Drigin Scion Ltd. In 1948, Drigin began drawing strips for illustrated many boys’ action stories in British mag-Manchester-based J. B. Allen, producing a number azines of the 1920s and 1930s. He was a sailor before of series for Allen’s Comet, Sun and Merry-Go-Round moving to London, and joining the staff of Pearsons comics until 1949. In the 1950s, Drigin was still ac-

(London). Drigin illustrated dozens of stories for tive, contributing features and artwork to various The Detective Magazine, Modern Boy and Chums and annuals, including Swift and Eagle, but by the produced many covers for various magazines pub-mid–1950s HE seems to have disappeared from the lished by George Newnes in the 1930s, including scene. It has been conjectured that he died or left Scoops, Air Stories, War Stories, Fantasy, and others.

England around that time, as addresses thought to Although he was one of many artists of the day who have been his residences in various South London were destined to fade almost entirely from view …

locations from the 1930s onward disappeared from overshadowed by the better illustrators in the field,”

phonebook records in 1953.

(Ash, p. 287–288), Drigin had the distinction of il-Sources: Ash, Brian, ed. The Visual Encyclopedia of Science lustrating all twenty covers for Britain’s first science Fiction (Crown/Harmony Books, 1977); Steve Holland’s blogspot: Bear Alley: “Serge Drigin” December 11, 2006
fiction magazine, C. A. Pearson’s Scoops, published http://bearalley.blogspot.com/2006; Weinberg, 1988.

weekly from February to June 1934. Scoops was the successor to Boy’s Magazine, which had first begun Published Work
publishing imaginative stories about prehistoric Space Ship to Venus (Venture Books, 1948).

monsters and spaceships in 1923. However, to the surprise of its Editor, most of Scoop’s readers turned Easley, Jeff
out to be grown men. The magazine was done as a (b. February 14, 1954) American artist. Easley was tabloid newspaper. Covers were line drawn, tinted born in Nicholasville, Kentucky, and attended Mur-usually in red — and Drigin’s illustrations were strik-ray State University in that state, graduating with a ing when seen that way — although in retrospect, his BFA in 1976. Frank Frazetta* was a major artistic work was routine and unimpressive. The lack of influence, so not unsurprisingly, his first commercial quality is not surprising: Drigin once admitted in work was for Warren Publishing Company and the an interview that he never had an art lesson in his life.

Marvel Magazine Group, for which he did pencils, (Weinberg, p. 97) However, although it lasted only inks, and cover art. In March of 1982, Easley was twenty weeks, Scoops was an important landmark in hired by TSR, Inc. and called it “a dream job for a the science fiction field in Britain, and today all is-fantasy illustrator.” One of the few, and likely the sues are rare collectors items. Later, in 1937, in an at-last, of those companies who had artists working on tempt to recoup their losses, Pearson’s issued a boy’s a salary, the unassuming Easley was happy to work annual, The Boy’s World of Adventure, to which Dri-and share ideas with a close-knit group of artists in gin also contributed color plates and line drawings.

studio. While the “work for hire” terms eventually led In the interim, 1934–35, he briefly turned to comics to conflicts with the company, Easley enjoyed work-and drew various episodes for Film Picture Stories ing with the other members of TSR’s famous “sta-and the serial “The Flying Fish’“ in Sparkler (pub-ble.” Called “the fabulous four” during TSR’s glory lished 1934–1939).

days — Jeff Easley, Clyde Caldwell*, Keith Parkin-Four years after Scoops folded, Drigin was commis-son*, and Larry Elmore*—these artists will always be sioned to illustrate the three issues of Fantasy mag-associated with the granddaddy of all role-playing azine, published by Newnes during 1938 and 1939.

games, Dungeons & Dragons(™). Easley traveled Unlike Scoops, these color designs were in color, Dri-overseas to gaming conventions, representing the gin also did interior artwork for the magazines. Of company, and also maintained a presence at every these illustrations, Weinberg writes “His paintings annual GenCon convention, hosted by TSR, Inc.

for the first and third issues were typical of his The job lasted until December of 2002, when the mediocre work. The cover of the second issue, fea-last of TSR’s permanent art staff (by that time em-ture giant insects attacking Piccadilly Circus, as de-ployees of Wizards of the Coast(™)/Hasbro, Inc., scribed in “Winged Terror,” was highly effective and who bought TSR, Inc.) were terminated — making easily the best thing he ever did.” (p. 98). By around Easley the longest employed TSR artist.

1941, Drigin was working for the agency War Artists Right from the start Easley’s darkly moody fantasy

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Easley
style captured the spirit of the game and set him The Art of the Dungeons and Dragons Fantasy Game apart from the more vivid and muscular depictions (TSR, Inc./Wizards of the Coast, 1998).

of his co-artists in the TSR(™) stable. He painted only in oils at a time when acrylics were favored (be-Published Work
cause of their quick drying time), and in a classical, BOOK AND GAME-RELATED ILLUSTRATIONS IN-fluid style more reminiscent of the 17th century, and CLUDE: (ALL TSR(™)/WIZARDS OF THE COAST PUB-Rembrandt, than the end of the twentieth. Yet the LICATIONS UNLESS NOTED): Adventures in Blackmoor paintings were always identifiably “Easley” whether (1986), Adventure Pack I (1987), Age of Mortals the product was calendars, gaming modules, books, (2003), American Knights (1995), Arabian Adven-manuals or collections of the artwork associated with tures (1992), Artifact of Evil (1986), Assassin Moun-fantasy gaming that have been published by TSR, tain (1993), Astromundi Cluster (1993), Bastion of Inc. His interpretations had great power and effect, Broken Souls (2002), Before the Mask (1993), Bestiary and always suited the characters, the environments of Krynn (Sovereign Press, 2004), Best of Intentions and the themes envisioned in TSR’s fantasy (1987), Beyond the Moons (1991), Bigby’s Curse (1995),

“Realms,” especially the Dragonlance Saga(™).

Bimbos of the Death Sun (Penguin, 1989), Birthright Some of his notable works include the cover for Campaign Setting (1995), Blood Enemies (1995), Player’s Handbook and Dungeon Master’s Guide, 2nd Blood of the Yakuza (1987), Bloodstone Pass (1985), edition, and the Monstrous Manual. His strong nar-Book of Vile Darkness (2002), Brothers Majere (Pen-rative style also influenced other artists who joined guin, 1989), Canticle (1991), Castle Greyhawk (1988), the TSR studio in the later years: Robh Ruppel*, Challenge of Druid’s Grove (1985), The Chaos Curse Gerald Brom* and Fred Fields*.

(1994), City of Skulls (1993), College of Wizardry The job so perfectly suited Easley’s imagination (1998), Complete Barbarian’s Handbook (1995), Com-and temperament, that when the end came, it was plete Fighter’s Handbook (1989), Complete Book of not easy for him to take up the competitive, free-Necromancers (1995), Complete Book of Villains lancer’s life. “There were certainly highs and lows, as (1994), Complete Druid’s Handbook (1994), Complete would be expected,” he said, “(but) I would never Spacefarer’s Handbook (1992), Conan Against Darkness! (1984), Conan Role-Playing Game (1985), Cor-have left, had it been my decision.” When TSR, Inc manthyr: Empire of the Elves (1998), Council of Wyrms was purchased by Wizards of the Coast, Easley, who (1994), Creative Campaigning (1993), Crucible: The (unlike other employees) had never been forced to Trial of Cyric the Mad (1998), Dancing Hut of Baba relocate to Seattle, Washington, was still living in Yaga (1995), Dark Elf Trilog y Collector’s Edition Wisconsin, and after leaving their employ was free (SFBC, 2000), Darkness & Light (1989), Dancing to take on whatever freelance jobs might be avail-Hut of Baba Yaga (1995), Dark Queen (1994), Darkable. His reputation has made it possible for him to well (1989), Dawning of a New Age (1996), Dawn of stay put, painting the high fantasy themes he prefers the Overmind (1998), Day of Al’Akbar (1986), Day and his inimitable flying dragons, in oils, have since of the Tempest (1997), Death’s Ride (1984), Deities appeared on products such as snowboards and on sci-and Demigods (2002), Dezra’s Quest (1999), Dogs of ence fiction and fantasy books. Yet the freelance life War (1989), Doom of Daggerdale (1993), Dragonlance is not really for him. His most recent plan is to build Adventures (1987), Dragonlance Campaign Setting and maintain a permanent booth at a Renaissance (2003), Dragon Magic (1989), Dragons of Despair Faire, which will enable him to paint every day with (1984), Dragons of Faith (1986), Dragons of Flame people around, and provide the kind of stability, per-

(1984), Dragons of Glory (1985), Dragons of Triumph manence and interaction with fans he most enjoys.

(1986), Drow of the Underdark (1991), Dungeon Mas-Sources: e-mail from the artist February 2005; www.Jef-ter Guide, 2nd Ed. (1989, 1995), Dungeon Master fEasley.com

Screen & Master Index (1989, 1995), Dungeon of Fear Collections/Anthologies

(1994), Dungeoneer’s Survival Guide (1986), Elmin-

(various contributing artists)

ster: Making of a Mage (1994), Emperor of Ansalon Frank, Jane and Howard. The Frank Collection: (1993), Encyclopedia Magica Vol. 1, 2, 3, 4, index A Showcase of the World’s Finest Fantastic Art (Paper (1994, 1995), Endless Catacombs Endless Quest #22

Tiger, 1999), Kirchoff, Mary, and Parker, Roy (eds.) (1984), Epic Level Handbook (2002), Eve of the Mael-The Art of the Advanced Dungeons and Dragons Fan-strom (1998), Evil Eye (1995), Exile (Penguin, 1990), tasy Game (Wizards of the Coast, 1989), Kirchoff, Fallen Fortress (1993), Famine in Far-Go (1982), Mary (ed.) The Art of the Dragonlance Saga (TSR, Fiend Folio (2003), First Quest (1994), Fistandantilus Inc./Wizards of the Coast, 1998), The Art of Dragon Reborn (1997), Forest of Darkness (1994), Forest Or-Magazine (TSR, Inc., 1988; Artists of TSR portfolio acle (1984), Forgotten Realms Adventures (1990), For-

(RPGA, 1982), Heeszel, Marlys ed. The Worlds of gotten Realms Campaign Set (1987), From the Ashes TSR: A Pictorial Journey Through the Landscape of (1992), Galen Beknighted (1990), Gamma World, 4th the Imagination (TSR, Inc., 1994), Weis, Magaret, Ed. (1992), Gates of Firestorm Peak (1999), Gates of

Ebel

182

Thorbardin (1990), Golden Voyages (1992), Halfling’s of the Djinn (1994), Skarda’s Mirror (1987), Shadow-Gem (Penguin, 1990), Hall of Heroes (1989), Heart of dale (Penguin, 1989), Siege of the Tower (1994), Sil-Nightfang Spire (2001), Hederick the Theocrat (1994), ver Marches (2002), Silver Stair (1999), Sojourn (Pen-Heroes of Defiance (1997), Heroes of Steel (1996), Hero guin, 1991), Song of the Dark Druid (1987), Spawn of of Washington Square (1983), A Hero’s Tale (1996), Dragonspear (1988), Speaker in Dreams (2001), Spell-History of Dragonlance (1995), Homeland (Penguin, jammer: AD&D Adventures in Space box cover (1989), 1990), In Search of Dragons (1989), Interstellar Pa-Spirit of the Wind (1998), Standing Stone (2001), trol II: The Federation of Humanity (Baen, 2005), Stowaway to Mars (Severn House, 1989), Sword and Into the Maelstrom (1985), Islands of Terror (1992), Fist (2001), Swords of the Daimyo (1986), Tales of the Isle of the Ape (1985), Kara-Tur: Eastern Realms Lance (1992), Tales of the Outer Planes (1988), Tales (1988), Kaz, the Minotaur (1990), Kendermore (Pen-of the Swords of the Daimyo (1986), Tales of Uncle guin, 1990), Key of Destiny (Sovereign Press, 2004), Trapspringer (1997), Tarzan and the Tower of Dia-Knights of the Crown (1995), Knights of the Rose monds: Endless Quest #31 (1985), Temple of Elemental (1996), Knights of the Sword (1995), Labyrinth of Evil (1985), Test of the Warlords (1984), Theros Iron-Madness (1995), Lair of the Lich (1985), Last Tower: feld (1996), Thief ’s Challenge (1993), Thief ’s Challenge The Legacy of Raistlin (1996), Lathan’s Gold (1984), II: Beacon Point (1995), Tome of Magic (1991), Too, Too The Legacy (1992), Legacy of Steel (1998), Legend of Solid Flesh (1989), Tower of Darkness (1985), Trea-Huma (1988), Legend of Spelljammer (1991), Libris sure Hunt (1986), Trouble On Artule Endless Quest Mortis: Book of Undead (2004), Lord Soth (1997),

#24 (1984), Unearthed Arcana (1985), Under Illefarn Lord Toede (1994), Lost Island of Castanamir (1984), (1987), Unsung Heroes (1992), Van Richten’s Guide Lost Caverns of Tsojcanth (1982), Making of a Mage to the Lich (1993), Vecna Lives! (1990), Vengeance of (1996), Manual of the Planes (1987), Marklands Alphaks (1986), Warsprite (1990), Web of Futures (1993), Maquesta Kar-Thon (1995), Master of the (1991), Wilderness Survival Guide (1986), A Wild Ride Desert Nomads (1983), Masters of the Wild (2002), (1994), World of Greyhawk (1983).

Maztica Campaign Set (1991), Menzoberranzan MAGAZINE ILLUSTRATIONS INCLUDE:

(1992), Midnight on Dagger Alley (1984), Mission to AMZ: 1984 (7); 1986 (1); 1990 (7)

Alcazzar (1984), Monster Manual II (1983), Mon-DRA: 1988 (10); 1989 (10); 1990 (10); 1991 (6); strous Compendium (1992), Monstrous Compendium 1994 (6, 8); 1995 (4); 1996 (1, 3, 12/Annual); 1998 (9, Annual, Vol. 1, 2, 3 (1989, 1994, 1995, 1996), Mon-12); 1999 (6)

strous Compendium: Al-Qadim Appendix; Drag-POLY: (1991 (7); 2000 (10)

onlance Appendix; Fiend Folio Appendix; Forgotten Misc: Magic: The Gathering: Darksteel; Fifth Realms Appendix II; Greyhawk Appendix; Kara-Tur Dawn; Mirrodin; 7th Ed. game card art (Wizards of Appendix; Mystara Appendix; Outer Planes Appen-the Coast, 2001, 2003, 2004)

dix, Ravenloft Appendix;Ravenloft Appendix II; Children of the Night; Spelljammer Appendix; Spelljam-Ebel, Alex
mer Appendix II (1989, 1990, 1991, 1992, 1993, 1994), Mordenkainen’s Fantastic Adventure (1984), Monstrous (b. November 14, 1932) American artist. The son Manual (1993), Music to My Sorrow (SFBC, 2006), of German parents, Ebel was born in Mexico City, New Beginnings (1991), Night of the Shark (1997), where his father, a bridge engineer, was working on Night Masks (1992), Nightmare Realm of Baba Yaga assignment and had brought his wife with him. Soon (1986), Ochimo: The Spirit Warrior (1987), Odyssey of another job brought the family to Houston, Texas, Gilthanas (1999), Once Upon a Murder (1987), Ori-and it was there that he started to draw; his first re-ental Adventures (1985), Pages from the Mages (1995), membered picture that of a locomotive done on the Player’s Option: Combat & Tactics, Skills & Powers sidewalk in front of his house. The Ebel family set-

(1995), Prisoner of Elderwood (1986), Quest for the tled in Mexico City, where Ebel’s enthusiasm for the Heartstone (1984), Quest for the Silver Sword (1992), Buck Rogers comic strip in the Mexican Sunday paper Raid on Nightmare Castle Endless Quest #14 (1983), soon had him sketching science fiction, while a copy Rahasia (1984), Realms of the Underdark (1996), of Amazing Stories helped him to perfect his English.

Reavers of the Blood Sea (1999), Red Arrow, Black Ebel attended the Fine Art Academy and Graphic Shield (1985), Relics and Omens: Tales of the Fifth Age Arts School in Mexico City and there came into con-

(1998), Reunion (1998), Revenge of the Rainbow Drag-tact with famed artists Diego Rivera and Gonzalez ons Endless Quest #6 (1983), Ring, the Sword, and the Camarena. He first worked for printing firms and Unicorn (TSR, Random House, 1983), Rod of Seven then advertising companies, doing freelance illus-Parts (1996), Roots of Evil (1993), Ruins of Myth tration. In 1951 he got his first job in the United Drannor (1993), Ruins of Rangar (TSR/Random States, working for a printing company in Illinois. He House, 1983), Ruins of Undermountain (1991), Saga soon moved to New York and became established as Companion: Fifth Age (1998), Savage Species (2003), a successful commercial illustrator. In 1956 he be-Sea of Blood (1997), Sea of Fallen Stars (1999), Secret came an American citizen.

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Edwards

Ebel’s first science fiction illustration was for Es-berg’s The Weird Tales Story, which was illustrated quire magazine in March 1953. He followed this throughout with many examples of art from the his-with covers for SF magazines and then paperback tory of Weird Tales magazine (FAX Collectors Edi-novels, working for major companies such as Ace, tions, 1977). Eberle received film credit as graphic Avon and Fawcett. He also produced illustrations artist on the Romero film Dawn of the Dead (1978).

for most major magazines including Playboy, Pent-A lifelong resident of Pittsburg, and active member house, Science Digest and Boy’s Life. In addition to of St. Titus Catholic Church, Eberle also served in fantasy works, he illustrated for World Book and the U.S. Army in World War II, enlisting in March various other non-fiction publications, including the 1944. He was predeceased by his wife, Dorothy J.

Follett Beginning Science Books Series by Isaac Asi-Eberle (1932–2006) by four months.

mov: Galaxies, The Moon (1968), The Sun (1972).

Sources: Joseph R. Eberle obituary, 7/18/2006 Beaver Ebel works in inks and dyes in a photo-real, sur-County Times Allegheny Times online [accessed August 2006]; 2006 Weinberg, 1988;
real style that is reminiscent of Roger Dean* and he prefers assignments where he has complete freedom Published Work
of expression. He has won numerous awards from FF : 1953 (6, 8)

art organizations including The Art Directors Club, IF : 1953 (9)

Society of Illustrators (Los Angeles), and The Amer-OW: 1953 (7)

ican Institute of Graphic Arts. Ebel and his wife, PS: 1953 (9); 1954 (5, summer, fall); 1955 (win-Bertha, live in the New York suburbs in a house he ter, spring, summer)

designed and built. They have three children, Xenia, RS: 1953 (7, 9)

Roldk, and Eldryk.

ScS: 1954 (2)

Sources: telephone conversation with the artist August SFA: 1953 (5, 7)

2006; Weinberg 1988.

SpSF : 1953 (7)

Published Work

UNI: 1953 (3); 1954 (4)

BOOKS PUBLISHED INCLUDE: Ability Quotient WT: 1952 (3); 1953 (1, 5, 11); 1954 (1) (Ace, 1975), The Art of Playboy (Alfred van der Marck, 1985), Barnstormer in Oz (Phantasia Press, Edwards, Les

1982), Behind the Walls of Terra (Phantasia Press.

(b. September 1949) British Artist. Edwards began 1982), Best Science Fiction Stories of the Year ( Ace his illustration career immediately on leaving the Books, 1977), Coriolanus, The Chariot (Ace, 1978), Hornsey College of Art in 1972, and from the start Droplette’s Amazing Journey Through the Ages (Alex the influences of visionary artists such as Bosch, Ebel Studios, 1999), Evil Earths (Avon, 1979), Galac-Blake, Fuseli and the graphically macabre works of tic Empires Vol 2 (Avon, 1979), Homefaring (Phan-Goya put him solidly on the shortlist of artists spe-tasia Press, 1983), Planet of Exile (Harper, 1978), The cializing in gothic horror. His first agent was John Planet Wizard (Ace, 1977), The Left Hand of Dark-Spencer, who had established a small illustrator’s ness (Walker, 1994), Stark and the Star Kings (Haffner agency, Young Artists (now Arena agency). Spencer Press, 2005), When the Star Kings Die (Ace, 1978).

is credited for recruiting many talented British il-M
lustrators of that day, who today continue to work in AGAZINES ILLUSTRATED INCLUDE:

FF : 1953 (2, 6, 8, 11)

the SF genre. In the years that followed Edwards be-FSQ: 1954 (winter)

came a stalwart of the U.K. illustration scene, ac-HM: 2003 (5)

knowledged for both his versatility and his profes-RS: 1953 (4, 7, 9)

sionalism and, peers would say (not without tongue SFA: (1953 (2, 3, 5, 7, 9); 1954 (2, 4) in cheek), “cutting edge” sense of humor.

SpSF : 1952 (11); 1953 (2, 3, 5, 9)

Best known for his heroic fantasy and horror im-Misc.: Friday the 13th movie poster art (Para-agery; the latter (he jokes) sometimes being known mount, 1980),
as his “Red Period,” Edwards in fact has worked in Starcastle album cover (Epic, 1975) a variety of genres and still seeks to do as wide a variety of work as possible. He has worked for all the major U.K. publishing houses and for many in the Eberle, Joseph R., Jr.

U.S. and his art has been used in major advertising (March 3, 1926–July 14, 2006). American artist.

campaigns, and on gaming, record and CD covers Born in Pittsburgh, Pennsylvania, Eberle was an-and movie posters. Through the 1980s, Edwards was other of the prolific freelance interior artists who en-producing genre paintings for noted British fantasy tered the science fiction field during the boom years game publisher Games Workshop and the now clas-of the 1950s, when the pulps and digest magazines sic “Fighting Fantasy” series by Ian Livingstone and were looking for competent artists to work at low Steve Jackson. His work has included movie posters cost. Eberle’s work was featured in Robert Wein-for films including John Carpenter’s The Thing

Edwards

184

(1982), Clive Barker’s Nightbreed (1990) among oth-have a graceful, romantic appeal that is well suited ers, as well film production and concept work.

to historical fantasy and mythical landscapes.

Beyond cover art, he has also produced two fully

“When he is not chained to his easel,” he reports, painted graphic novels based on the stories of Clive

“his spare time is taken up with half building plas-Barker, Son of Celluloid and Rawhead Rex (Eclipse tic model kits and allowing them to gather dust in 1990, 1991) and the cover for Tapping the Vein (book an appropriately artistic fashion, playing the guitar 5). He has also created sexy strip art for Penthouse in a uniquely unmusical manner and fencing, a sport Comix (1994–1995).

at which his enthusiasm is surpassed only by his al-While he began his career working in gouache most supernatural lack of ability.”

(opaque watercolors), Edwards swiftly abandoned His paintings are to be found in private collec-this medium in favor of oil paint, which he found to tions in both Europe and the U.S. He lives just out-be both more flexible and more subtle. He applies the side London, England with his wife, Valerie.

paint to a smooth, gessoed board and uses various Sources: e-mail from the artist August 2004; Artist’s web-media to aid rapid drying. He does not use an air-sites: www.lesedwards.com and www.edwardmilleer.co.uk; Frank, Jane. “Split Infinities: the Art of Les Edwards/Edward brush, an instrument that he describes as “The work Miller” Realms of Fantasy magazine August 2004; Frank, Jane.

of the Devil.” There is a good deal of preparatory

“Les Edwards’ Evil Twin” Realms of Fantasy magazine June work involved in the form of drawing, not only to 1995; “Les Edwards Gallery” Heavy Metal magazine. Septem-establish a composition but, also to define character, ber 1991; “Blood Magic” Fear magazine. January 1991.

if that is necessary. His fascination with the human Collections/Anthologies
figure and portraiture clearly permeates all his work (various contributing artists)

and he pursues this interest with regular attendance Caldwell, Steven. Worlds at War (Intercontinen-at a life class. Edwards seeks to create pictures with tal, 1980), Edwards, Les. Blood and Iron (Games an immediate eye catching impact, often eschewing Workshop, 1989), Edwards, Malcolm and Hold-the ever more elaborate style of some of his contem-stock, Robert. Tour of the Universe (Pierrot, 1980), poraries in favor of simpler, more direct images. This Frank, Jane and Howard. The Frank Collection: A is an approach emphasized by his formal composi-Showcase of the World’s Finest Fantastic Art (Paper tional sense, and is well-suited to the subject matter Tiger, 1999), Frank, Jane and Howard. The Great he’s often asked to illustrate. There is always a strong Fantasy Art Themes from the Frank Collection (Paper central image that creates a powerful emotional reTiger, 2003), Holdstock, Robert; Edwards, Mal-sponse.

colm Alien Landscapes (Pierrot, 1979), Suckling, He is a five time recipient of the British Fantasy Nigel. Heroic Dreams (Dragon’s World, 1987), Award for Best Artist (he has been nominated in that category every year since 1994) and has twice been Published Work
nominated for a World Fantasy Award. He has been BOOKS ILLUSTRATED INCLUDE: 1610: A Sundial in a Guest of Honor at a World Science Fiction Cona Grove (Gollancz, 2003), After the Zap (Warner, vention (1995), and in 2004 he was nominated for 1987), Alfred Hitchcock Presents: Grave Business a Chesley Award for his painting “The Snow Witch.”

(Mayflower, 1977), Battle Magic (DAW, 1998), Best As “(A)n enthusiastic member of the British Fantasy New Horror 1990 (Robinson, 1990), Best New SF 7

Society,” he says, commenting on his continued par-

(Robinson, 1993), Best of Frank Herbert 1965–1970
ticipation in these fan-based organizations, “he may (Sphere, 1982), Best Short Novels of 2004 (SFBC, often be found reclining gracefully under a table at 2004), Blue Ice Pilot (Warner, 1986), Boats of Glen one of their many functions.” Additionally, his Carrig (Sphere, 1982), Brotherly Love & Other Tales works have been consistently juried into the “Spec-of Trust & Knowledge (Pumpkin, 1999), Cadre Mes-trum” anthology of fantasy art (1994–) siah (Ace, 1988), The Camp (Sphere, 1989), Car-In recent years Les has taken to painting under tomancy (Orion/Gollancz, 2004), Castle Keeps (Mag-the pseudonym “Edward Miller” in order to do a num, 1978), Cavern of the Snow Witch (Wizard, different kind of work and use a different, more ro-2003), Charnel House (Sphere, 1979), Chiller mantic style. In doing so, he joined a very small (Sphere, 1986), Christopher Lee’s Archives of Evil handful of genre artists who have been pressed to (Granada, 1979), Christopher Lee’s New Chamber of adopt “alter-egos” in order to explore wider avenues Horrors (Mayflower, 1976), City Jitters (Sphere, in illustration art. His creations as Edward Miller 1983), Clive Barker: Mythmaker for the Millennium were so well received, that the British Fantasy Award (The British Fantasy Society, 1994), Conan and the for Best Artist in 2003 was awarded jointly to Miller Spider God; Conan Road of Kings; Conan the De-and Edwards. Miller’s” paintings show the influence fender; Conan the Liberator; Conan the Triumphant of British Pre–Raphaelites such as J.W. Waterhouse, (Sphere, 1984, 1980, 1985, 1979), Conan the Valor-and have a very different “visual signature” than ous (Tor, 1992), Conan the Victorious (Sphere, 1987), those painted under the name Les Edwards. They Creature of Havoc (Wizard, 2002), Cretaceous Sea

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Edwards

(Ace, 2002), Crypt of the Sorcerer (Wizard, 2002

Books, 1992), Robot Blues (Gollancz, 1997), Rotten Daggers of Darkness (Puffin, 1988), Dagon’s Bell Relations (DAW, 2004), Sea Kings of Mars (Gollancz, (NEL, 1994), Dark Detectives (Fedogan & Bremer, 2005), Second Wish & Other Exhalations (NEL, 1999), Dark is Rising (Puffin, 1995), Dark Terrors 4

19950, Shadows 4 (Berkley, 1985), Shadows of Light (Gollancz, 1998), Dark Voices 4: The Pan Book of

& Dark (The Alchemy Press, 1998), Shudder Again Horror (Pan, 1992), Desolation Road (Bantam, U.K., (Penguin, 1994), Silver on the Tree (Puffin, 1994), 1989), Devil In Green (Orion/Gollancz, 2002), Silver Stallion (Unwin, 1983), Skies of Pern (Corgi, Devil’s Footsteps (Coronet, 1978), Devils of D Day U.K./Del Rey USA, 2002), Star Horror 2 (Star (Sphere, 1979), Don Sebastian Vampire Chronicles Books, 1976), Star Maker (Orion/Millennium, (Raven, 1994), Double Edge (Pumpkin, 1998), 1999), State of the Art (Night Shade Books, 2004).

Dragon’s Kin (Transworld/Bantam U.K., 2003), Stone & Sea; Stone & Sky (Harper Collins/Voyager, Dragon’s Treasure (Ace, 2004), Dragonmaster: #1

2000, 1999), Sunglasses After Dark (Kinnell, 1990), Storm of Wings; #2 Knighthood of the Dragon; #3 Last Tau Zero (Gollancz, 1989), Thing in Bablock Dip Battle (Times Warner U.K./ Orbit, 2002, 2003, (Yearling, 1994), Thirsty (Walker U.K., 1997), Thou-2005), Dragonsblood (Bantam U.K./Del Rey USA, sand Eyes of Night (Yearling, 1993), Time Ships 2005), Dragonshadow (Harper Collins/Voyager, (Harper Collins, U.K., 1995), Timesnatch (Double-1999), Dragonsong (Corgi, 2001), Earth Abides day U.K., 1994), Tomb From Beyond (Panther, 1977), (Orion/ Millennium, 1999), End as a Hero (Ace, Twisted Root of Jaarfindor (Crowswing, 2004), Vam-1985), Escardy Gap (Simon & Schuster/Earthlight, pire Stories of R. Chetwynd-Hayes (Fedogan & Bre-1998), Fall of the House of Usher (Longman, 2000), mer, 1997), Vault of the Vampire (Puffin, 1989), Vic-Fantasy Stories (Kingfisher, 1998), Fifth Fontana Book torian Ghost Stories (Usbourne, 1996), Villains of Great Ghost Stories (Fontana, 1977), First; Second; Victorious (DAW, 2001), Villains! (ROC U.K., 1992), Third; Fourth; Fifth Mayflower Book of Black Magic Werevolves (DAW, 1995), White Crow (Orion/Gol-Stories (Mayflower, 1974–1976), Fortress of Eagle s lancz, 2003), White of the Moon (Pumpkin, 1999), (Voyager, 1999), Fortress of Owls (Harper Collins/

Windrider (DAW, 1985), Wine of Violence (Holt, Voyager, 2000), Frost (Fedogan & Bremer, 2000), Rinehart & Winston, 1981), Wishmaster (Pumpkin, Ghosts & Grisly Things (Pumpkin, 1998), Ghosts Over 1999), Wizard of Earthsea (Puffin, 1991, Bantam, Britain (Sphere, 1979), The Ghoul (Hamlyn, 1980), 2004), Year’s Best Horror Stories XVIII, XIX, XXI, Grail Quest 1– 6 (Fontana (1984, 1985, 1986), Great XXII (DAW, 1990, 1991, 1993, 1994), Yellow Fog Ghost Stories Cemetery Dance Publications, 2004), (Constable & Robinson, 1995).

Grunts! (Bantam, U.K., 1992), Hounds of Avalon GAME-RELATED ILLUSTRATIONS INCLUDE:

(Gollancz, 2005), House of Hell (Wizard, 2002), The Clive Barker: Imagica (Zara, 1997), Dark Future Humanoid Touch (Bantam US, 1985), Hung Out (Games Workshop, 1989), Doomtrooper: Mutant (Gollancz, 1998), Hydra (Yearling, 1993), Illario Chroni cles (Target Games, 1992), Forgotten Realms: (Gollancz, 2005), The Inquisitor (DAW, 1992), In-The Shadow Stone (TSR, Inc., 1998), Heroquest: side the Worm (Yearling, 1994), Isaac Asimov’s Christ-Kellers Keep; Legion of Heroes; Ogre Pack; Return to the mas (Ace, 1997), Knight of the Demon Queen (Harper Witchlord (MB Games, 1988, 1989 ), Parlainth: The Collins/Voyager, 2000), Knights of the Black Earth Forgotten City (FASA, 1994), Shadowrun: Rigger 2

(Gollancz, 1995), Last & First Men (Orion/Millen-sourcebook (FASA, 1997), Wand of Archeal (TSR, nium, 1999), List of Seven (Arrow, 1994), Lost Child Inc., 1999), Warhammer: Plague Daemon (GW

(Gollancz, 1998), Lurker at the Threshold (Gollancz, Books, 1990), Valley of the Four Winds (Games 1989), Mammoth Book of Best New Horror 14, 15, 16

Workshop, 1981).

(Robinson/ Carroll & Graf, 2003, 2004, 2005), Mammoth Book of Vampire Stories by Women (Con-MAGAZINES ILLUSTRATED INCLUDE:

stable & Robinson, 2001), Man Plus (Bantam US, SFAge: 1993 (3)

1985), Mania (Sphere, 1989), Manitou Man: The INT: 1985 (#13/autumn)

Worlds of Graham Masterton (BFS, 1998), Messenger WD: 1982 (11)

of Zhuvastou (Magnum, 1977), More Weird Tales Misc.: Abominog: Uriah Heep album sleeve (Sphere, 1978), Mutants Amok, Mutants Amok: 2

(Bronze Records, 1982), Alive & Screamin’: Krokus Mutant Hell; 3 Rebel Attack; 4 Holocaust Horror; 5
album sleeve (Arista Records, 1986), Clive Barker’s Christmas Slaughter (Avon, 1991), My Favorite Fan-Books of Blood graphic novel (Eclipse 1990), The tasy Story (DAW, 2000), No Blood Spilled (Raven, Final Rip Off: Monty Python album sleeve (Virgin, 1996), Pendragon Chronicles (Robinson, 1990), Ports 1988), Heavy Metal Calendar (1995), Into the Pande-of Call (Harper Collins/Voyager, 1999), The Priest monium: Celtic Frost CD cover (Noise International, (Millennium, 1994), The Raven Waits (Hodder, 1987), Jump Into the Fire: Metallica album sleeve 2001), Reborn (Pumpkin. 1998), The Reel Stuff (Music For Nations, 1983), Music for the Jilted Gen-

(DAW, 1998), Return to Firetop Montain (Puffin eration: The Prodig y album sleeve (XL Recordings,

Egge

186

1994), Penthouse Men’s Adventure Comix (Penthouse Egge, David W.

International, 1994–1995), The Priestess Heavy Metal (b. August 8, 1958) American artist. Egge (pro-Calendar 1987 (Heavy Metal Magazine, 1986), Raw-nounced egg-ee), born in St. Paul, Minnesota, enhead Rex graphic novel (Eclipse, 1993), Son of Cel-tered the science fiction genre by way of his color-luloid (Eclipse, 1991), Sir Gawain British Fantasy So-ful and detailed airbrushed astronomical paintings ciety’s 2005 Calendar (BFS, 2004), Tapping the Vein depicting extraterrestrial landscapes and space Bk 5 graphic novel (Eclipse. 1993), Terry Pratchett’s scenes. Self-taught, Egge began drawing at the age Discworld Collector’s Edition 2003, 2004, 2005
of seven, and studied art in high school. He also (Gollancz, 2002, 2003, 2005), The Wish: Legs Dia-studied the works of Chesley Bonestell*, Ludwig mond CD cover (Music For Nations, 1993).

Pesek* and Mel Hunter*, and became friends with B

John Berkey* who lived near him and gave him ad-OOKS ILLUSTRATED INCLUDE (AS BY EDWARD

MILLER) Banquet for the Damned (PS Publishing, vice on perspective and approach. By dint of his tal-2004), Blood Follows (PS Publishing, 2002), By ents, Egge was taking commercial assignments by Moonlight Only (PS Publishing, 2003), Cities (Gol-the age of twenty-three. Egge has worked for major lancz, 2003), Clock King & the Queen of the Hour-book publishers as well as national magazines like glass (PS Publishing, 2005), Cuckoo’s Boys (Golden Future Life, Starlog, Analog, Omni, and Astronomy, Gryphon, 2005), Darkest Part of the Woods (PS Pub-among others. He also has produced art for national lishing, 2002), Deadly Side of the Square (Pocket advertising programs for companies such as Hon-Books, 1994), Dear Abbey (PS Publishing, 2003), eywell, Comsat, and Control Data Corporation.

Devil Delivered (PS Publishing, 2005), Don’t Turn Egge was among a group of artists that designed and Out the Light (PS Publishing, 2005), Eagles’ Brood produced art for Sagan’s Cosmos TV series (1980).

(Tor, 1998) Exorcising Angels (Earthling Publications, His work was featured in the book Cosmos, and the 2003), Extraordinary Voyage of Jules Verne (PS Pub-record album cover. At the same time, he was pur-lishing, 2005), Floater (PS Publishing, 2003), Fort suing more surrealistic works in his personal art, at River’s Bend (Tor, 1999), Fourbodings (Cemetery which as he put it, tended to take on “a form of proDance, 2004), Frights & Fancies (Robert Hale, gressive perversity” which he called “excelsioreal-2002), Ghosts in the Snow (Bantam, 2004), Grendel ism.” (Miller, 1981). Egge works mainly in acrylics, (Gollancz, 2004), Haunting of Alaizabel Cray but also has used gouache, tempera and colored pen-

(Scholastic U.K., 2001), The Healthy Dead (PS Pub-cils.

lishing, 2004), In Springdale Town (PS Publishing, A variety of ambitious projects, including song-2003), Jupiter Magnified (PS Publishing, 2003), Keep writing and book projects, in addition to Egge’s ex-Out the Night (PS Publishing, 2002), The Lance panding freelance career, was interrupted (if not de-Thrower (Tor, 2004), Light Ages (Simon & Schus-railed), by the onset of schizophrenia in his late ter/Earthlight, 2003), Light Stealer (PS Publishing, twenties. He would later put part of the blame for his 2003), Martian Chronicles (Hill House Publishers, debilitating illness on his use of certain toxic paint 2005), Mayflower II (PS Publishing, 2004), Night pigments, the use of which he strongly admonished of Knives (PS Publishing, 2005), Night Visions 11
other artists not to use. The disease did not totally (Subterranean Press, 2003), Nightscape (Subter-curtail his career, but his publications in recent years ranean Press, 2004), No Traveller Returns (PS Pub-have been sporadic. His illustrations appeared in a lishing, 2004), Perdido Street Station (Macmillan few non-fictional books on space, such as Exploring U.K., 2000, Night Shade Books, 2005), Phantoms & the Night Sky: The Equinox Astronomy Guide for Be-Fiends (Hale, 2000), The Scar (Pan Macmillan U.K., ginners (Firefly, 1987) and Comet and Asteroid Im-2003), Singing Sword (Tor, 1999), Skystone (Tor, pact Hazards on a Populated Earth: Computer Mod-1996), Songs of Leaving (Subterranean Press, 2004), eling (Academic Press, 1999). He occasionally attends Sorcerer: Metamorphosis (Tor, 1999), Starlight 3 (Tor, Midwest genre conventions; most recently he was 2001), The Tain (PS Publishing, 2002), Threads of AGOH at Windycon 28, in Illinois, 2001. Egge also Malice (Bantam, 2005), Turns & Chances (PS Pub-contributed art to the website and book for Perma-lishing, 2004), Uglimen (P S. Publishing, 2002), nent, the project founded in 1985 by Mark Prado, a Under the Penitence (PS Publishing, 2004), Uther space systems physicist, to support near future, large (Tor/Forge, 2001), V.A.O. (PS Publishing, 2002), scale development of space using materials already in Year in the Linear City (PS Publishing, 2002), Year space. Reproductions of Egge’s works, and some of Our War (Orion/Gollancz, 2004).

original paintings, have been available through Kim Misc.: Terry Pratchett’s Discworld Collector’s Edi-Poor’s Novagraphics, and Novaspace Galleries.

tion 2005 Calendar (Gollancz, 2004).

Sources: Miller, Ron. “David Egge and his art of excelsiorealism.” Future Life #28, August, 1981; Egge profile at www.permanent.com/version2/v-player.htm ( June 23, 2001).

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Eggleton

Collections and Anthologies
for a local magazine. He began working in the sci-

(various contributing artists)

ence fiction genre in 1983, and by the end of the Miller, Ron. Starlog Photo Guidebook to Space Art decade had started winning awards. At the begin-

(Profile Entertainment, 1978). Miller, Ron. Space ning of his career, Eggleton was fascinated with pro-Art Poster Book (Stackpole, 1979).

ducing “ultra slick” images that seemed perfect for book covers. Airbrush was a popular tool at the time, Published Work
and he used it frequently. He developed an interna-BOOKS ILLUSTRATED INCLUDE: Act of God (Baen, tional reputation as a painter of space and astronom-1985), Asimov, Tomorrow’s Voices (Dial Press, 1984), ical scenes, painted in acrylics and airbrush. After Berserker Throne (Simon & Schuster, 1985), Best of about twelve years Eggleton turned from “hard” sci-Destinies (Ace, 1980), Crash of Empire (Baen, 1989), ence fiction to fantasy themes, using traditional Dark Between the Stars (Berkley, 1981), Doomsday Ef-media and painting techniques. The change was fect (Baen, 1986), End of Summer (Ace, 1979), Far prompted by a loss of interest in photorealistic tech-Frontiers Vol. IV, V (Baen, 1986), The Fathergod Ex-niques that could be best accomplished by airbrush, periment (Allau Press, 1999), Man From Earth (Tor, and a growing realization that some health concerns 1983), Millenium (Ballantine, 1982), Mote in God’s were being exacerbated by using the airbrush and Eye (Pocket, 1986), Oath of Fealty (Pocket Books, breathing in aerisolized paint particles. Eggleton 1982), Science Fiction Yearbook (Baen, 1985), Shield missed the lack of tactile contact he receieved work-

(Berkley, 1982).

ing with the handbrush, and began working in oil on MAGAZINES ILLUSTRATED INCLUDE:

canvas, and creating paintings of dragons and other ASF : 1980 (12); 1982 (5); 2001 (4, 6) large creatures. Eggleton was also inspired by the DEST: 1979 (#1, #2, #3); 1980 (#2/spring) more “painterly” approach some artists were taking FUTL: 1981 (8)

and sought out classical art to gain influence from GAL: 1978 (5, 7, 9); 1979 (9)

this. He took to using watercolors and other “soft”

IASFM: 2000 (9)

media, including pastels and colored pencils, that Misc.: Space Art Fantastic collector trading card art enabled to create paintings that were more textured, (Lime Rock, 1993), The Space Art Calendar, 1980
softer and subtler in their coloration and execution.

(Starlog Press, 1979).

His desire to paint illustrative works that look increasingly less commercial drives him to continue Eggleton, Bob
experimenting with different techniques.

(b. September 13, 1960), American artist. One of Since becoming a freelance artist, Eggleton has the most successful artists to have entered the field worked in multiple markets, and for all the major in the late 1980s, Eggleton was born in Concord, publishers. His versatility has enabled him to succeed Massachusetts, and grew up in Rhode Island, Cali-in science fiction, fantasy, horror, and as a landscape fornia, and Pennsylvania before moving back to artist. His art can be seen on the covers of maga-Rhode Island, where he resides today. Like many zines, books, posters and prints, and beginning in artists of his generation, Eggleton was interested in the 1990s, trading cards, stationery, drink coasters, science fiction at an early age and took courses in journals, and jigsaw puzzles. He also works as a con-commercial art at the Community College of Rhode ceptual illustrator for movies and thrill rides. The Island in 1981 while also studying art and astronomy most recent movie work includes concept and char-at Rhode Island College, from 1979 to 1981. He then acter design for the animated feature The Ant Bully took further classes in drawing, painting, and art for DNA Productions/Playtone Co./Warner Bros history at the Rhode Island School of Design from (2006). Previously, he did conceptual art for the 1984 to 1988, but like many talented artists headed Academy Award nominated animated film Jimmy for a commercial art career found academic life did Neutron: Boy Genius (2001). Other film work in-not stress “real world’ views. His artistic influences cludes: Sphere (Warner Bros, 1998), and The Idol however were of the classical sort: Hudson River (The IDol Productions, Japan, 2005). In 1996

Valley Artists of the 19th century, the Orientalist Eggleton was concept artist for Paramount’s Star Trek movement of the late 19th century and early twen-the Experience thrill ride, in Las Vegas, Nevada.

tieth century, The Romantics including Waterhouse Eggleton has been sole illustrator on several fully and English landscape artists like J.W.M. Turner and illustrated books, beginning with H. G. Wells’s First Constable, and Swiss symbolist Arnold Bocklin. In Men in the Moon, in 1988, and other recent efforts in-the science fiction Field, he was inspired by the art clude Brian Lumley’s The Illustrated Necroscope and of well-known artists Frank Kelly Freas*, Frank Screaming Science Fiction, both published by Sub-Frazetta*, and Virgil Finlay*.

terranean Press, 2006. Eggleton is also a very active Eggleton entered the world of commercial art in writer and collaborator on books which showcase January 1981, when he produced some illustrations his artwork. Two books about dragons, Dragonhenge

Eggleton

188

(2002) and The Stardragons (2005), gave Eggleton ianne Plumridge and they live in Rhode Island sur-he opportunity to demonstrate his talents in a range rounded by a legion of Godzilla toys, books and art.

of mediums. Both contained narrated dragon-myth The artist was particularly pleased to appear as a original stories conceived and written by the award

“fleeing” extra in the 2002 film Godzilla against winning author, John Grant. Other books of Eggle-Mechagodzilla.

ton’s artwork are compilations of the best of his pub-Sources: Correspondence from the artist February 2, 2007; lished illustrations, spanning space paintings, fan-artist website www.bobeggleton.com; “Bob Eggleton” profile and interview in Locus, August 2001; Benford, Gregory. “A tasy and horror. His art book Greetings from Earth Lyrical Hardness” Gallery article in Science Fiction Age, May, won the Hugo Award in 2000 in the Best Related 1994; Haber, Karen. “Pigments of His Imagination” Gallery Book category.

article in Science Fiction Age, November 1999; Rusch, Kathryn.

Eggleton received the Jack Gaughan Award for

“The Fantasy Art of Bob Eggleton” Gallery article in Realms of Fantasy, April 1997.

Best Emerging Artist in 1988, followed by several Chesley Awards, beginning with the Award for Best Collections and Anthologies

Magazine Cover in 1987, 1988, 1990, 1994, 1995, (various contributing artists)

1996, 1998, 1999, and 2004. He additionally won Eggleton, Bob. Primal Darkness: The Dark Fan-awards for Best Paperback Book in 1993, Best Hard-tasy Artwork of Bob Eggleton (Cartouche Press, 2002), back Book in 1997, and for Artistic Achievement in Eggleton, Bob and Grant, John. Dragonhenge II: The 1998. He was nominated in l988 for the Hugo Stardragons (Paper Tiger, 2005), Frank, Jane and Award and since that year has won the award for Howard. The Frank Collection: A Showcase of the Best Professional Artist multiple times, in 1994, World’s Finest Fantastic Art (Paper Tiger, 1999), 1996, 1997, 1998, 1999, 2001, 2003, 2004.

Frank, Jane and Howard. Great Fantasy Art Themes Eggleton was the recipient of 1999 Skylark Award, From the Frank Collection (Paper Tiger, 2003), The Edward E.”Doc” Smith Memorial Award for Grant, John. Bob Eggleton’s Dragonhenge (Paper contributions to the field and spirit of SF and Fan-Tiger, 2002), Grant, John. The Paper Tiger Fantasy tasy, as voted by the members of The New England Art Gallery (Paper Tiger, 2001), Grant, John and Science Fiction Association, Inc.. He was also nom-Humphrey, Elizabeth with Scoville, Pamela. The inated for the Howard Award, the World Fantasy Chesley Awards: A Retrospective (AAPL, 2003), Suck-Convention’s Annual Award, in l995 and 1996, and ling, Nigel. Book of the Sea Monsters (Paper Tiger, was Artist Guest of Honor at the convention in l997

1998), Suckling, Nigel. Alien Horizons: The Fantas-held in London. The artist also won Analog and Asi-tic Art of Bob Eggleton (Paper Tiger, 1995), Suckling, mov magazine annual reader awards, numerous Nigel and Eggleton, Bob. Greetings From Earth: The times. Eggleton’s outgoing, “free-spirited” and gre-Art of Bob Eggleton (Paper Tiger, 2000).

garious personality has made him a favorite among Published Work
fans, and he has frequently served as emcee during BOOKS ILLUSTRATED INCLUDE: Against Infinity the Hugo Award ceremonies at Worldcons. He won (Bantam Spectra, 1991), Aggressor Six (Penguin/Roc, the Locus Award for Best Artist in 2001, 2003 and 1994), Aliens and Alien Societies (Writer’s Digest, was profiled by the magazine in August 2001. In the 1996), All-American Alien Boy (Old Earth Books, interview he said, “I can’t imagine not having an 1996), All the Way to the Gallows (Baen, 1996), Anti-imagination, not being creative, and I don’t know Ice (HarperPrism, 1994), Anvil of Stars (Warner how people who aren’t creative function.”

Questar/SFBC, 1992), Asimov Chronicles: Vol. 1, 2, 3, Eggleton has been elected as a Fellow of The In-4, 5, 6 (Ace, 1990, 1991), Balshazzar’s Serpent (Baen, ternational Association of Astronomical Artists 2000), Barrayar (SFBC, 1993), Battlestation (Ace, (FIAAA), and is a Fellow of The New England Sci-1992), Beggar’s Banquet (Ace, 1997), Beluthahatchie ence Fiction Association (NESFA). An asteroid, or and Other Stories (Golden Gryphon Press, 2000), minor planet, was named after Bob Eggleton: Between the Strokes of Night (Baen, 1992), Beyond the

“13562 Bobeggleton,” which was discovered in 1992

Fall of Night (Ace, 1991), Best of Weird Tales (Barnes by Spacewatch at Kitt Peak.

& Noble, 1995), Blood Brothers (Tor, 1992), Blood-An avid fan of Japanese movies and artists, Eggle-hype (Ballantine Del Rey, 1995), Bloodwars (Tor, ton has written children’s books on “Godzilla” (e.g., 1995), Bone Wars (Baen, 1998), Bootcamp 3000 (Ace, Who’s Afraid of Godzilla and Godzilla Likes to Roar, 1992), Cave of Stars (HarperCollins/Eos, 2000), Ce-both for Random House, 1998) and also lectures lestial Matters (Tor/SFBC, 1996), Children Star (Tor, on the subject of movies. He contributed an essay 1998), Chronosequence (Tor, 1990), Convergent Se-to The Encyclopedia of Science Fiction and Fantasy ries (Baen, 1998), Coven of Vampires: The Collected edited by Gary Westphal (Greenwood Press, 2005) Vampire Stories of Brian Lumley (Fedogan & Bre-on “Godzilla” and his essay “Making of King mer, 1998), The Crow: Shattered Dreams, Broken Kong” appeared in King Kong Is Back. edited by Lives (Donald M. Grant, 2001), Crufix Autumn David Brin. He is married to Australian Artist, Mar-

(1987 Dark Harvest), Cthulhu 2000: A Lovecraftian

189

Eggleton

Antholog y (Arkham House, 1995), Dangerous Veg-ries (Tor, 1998), Mother of Storms (Tor, 1994), Mur-etables (Baen, 1998), Darker Geometry (Baen, 1996), der in the Solid State (Tor, 1996), Navatar (Wheat-Darkness Descending (Simon & Schuster/Earthlight, land Press, 2006), Necroscope (Tor, 1991), New Hugo 2000), Dark Terrors 1, 2 , 3 (Gollancz/Vista, 1995, Winners Vol. II, III, IV (Baen/SFBC, 1992, 1994, 1997, 1998), Deadspeak (Tor, 1990), Defilers (Tor, 1997), One Foot in the Grave (Baen, 1996), Orbital 2000), Dinosaurs II (Ace, 1995), Dilemma (NESFA Resonance (Tor, 1991), Orphan Star (Ballantine Del Press, 1996), Dragon & Phoenix (Simon & Schuster/

Rey, 1995), Pirates of the Universe (Tor, 1996), Pit Earthlight/Tor/SFBC, 2000), Dragons! (Ace, 1993), Dragon Trilog y (SFBC, 1998), PRESS ENTER []

Dragon Weather (Tor, 2000), Dreamweaver’s (SFBC, 1997), Planets (Bantam 1985). Probability Dilemma (NESFA Press, 1997), Earth Saver (Ballan-Moon (Tor/SFBC, 2000), Queen of Angels (Warner, tine Del Rey, 1993), Echoes of the Well of Souls (Bal-1990), Rainbow Mars (Tor, May,2000), Raft (Pen-lantine Del Rey, 1993), Eleg y for Angels and Dogs/The guin/Roc, 1992), Rats, Bats & Vats (Baen, 2000), Graveyard Heart (Tor, 1990), Encounter with Tiber Receive the Gift (Ace, 1997), Ring (HarperPrism, (Warner Aspect, 1996), End of the Matter (Ballan-1996), Rude Astronauts (Ace, 1995), Sacred Visions tine Del Rey, 1995), Engines of God (Ace, 1994), Eter-

(Tor, 1991), Sailing Bright Eternity (Gollancz, 1995), nity (Warner Aspect, 1994), Faces of Ceti (Houghton Saturn Game (SFBC, 1997), Saturn Rukh (Tor, Mifflin, 1991), Falling Free (SFBC, 1994), False House 1997), Saturn’s Race (Tor/SFBC, 2000), Scales of Jus-

(Warner Aspect, 2000), Familiar Dragon (SFBC, tice (Ace, 1998), Science Fiction and Fantasy Writer’s 1997), Fanuilh (Ace, 1994), Far Futures (Tor, 1995), Sourcebook (Writer’s Digest, 1996), Science Fic-Feast of the Trickster (Houghton Mifflin, 1991), First tionisms (Gibbs Smith, 1995, SFBC, 1996), Scream-Men in the Moon (Donning, 1990), Flinx in Flux ing Science Fiction (Subterranean Press, 2006), Sing (Ballantine Del Rey, 1995), Flux (HarperPrism/
the Warmth (Ace, 1996), Song of Time (HarperPrism, SFBC, 1995), For Love of Mother-Not (Ballantine 1996), Source Necroscope III (Tor, 1998), Spirit Ring Del Rey, 1995), Foreigner (Ace, 1994), Forever Free (Baen, 2000), Stardance (SFBC, 1997), Star Rigger’s (Orion/Gollancz, 2000), ), Forge of the Elders (Baen, Way (Tor, 1994), Stranger Suns (Bantam Spectra, 2000), Fortress on the Sun (Penguin/Roc, 1997), Fos-1991), Strength of Stones (Warner Questar, 1991), Sun-sil Hunter (Ace, 1993), Foundation and Earth (SFBC, spacer Trilog y (White Wolf, 1996), Synthesis and 1993), Fruiting Bodies and Other Fungi (Tor, 1993), Other Virtual Realities (Arkham House, 1996), Tale Genellan: First Victory; In the Shadow of the Moon; of the Fox (Baen, 2000), Telzey Amberdon (Baen, Planetfall (Ballantine Del Rey/SFBC, 1995, 1996, 2000), Think Like a Dinosaur and Other Stories 1997), Golden Fleece (SFBC, 1991), Grandmasters’

(Golden Gryphon Press, 1997), Time Ships (Harper-Choice (Tor, 1991), Hair of the Dog (Baen, 1997), Prism, 1996), Time Travel (Writer’s Digest, 1997), Hard Landing (SFBC, 1993), Heads (Tor, 1992), Titus Crow: Vol. 1, 2, 3 (Tor, 1997, 2000), To a High-Heart of the Comet (Bantam Spectra, 1994), Hello land Nation (Ballantine Del Rey, 1993), Torments Out There (Meisha Merlin, Aug,2000), Heritage (Tor, 1990), Trade Secrets Mark V. Ziesing, 1990), Universe (SFBC, 1992), High House (Warner As-Tranquillity Alternative (Ace, 1996), Transmigration of pect/SFBC, 1998), Hobgoblin (Warner, 1990), Home Souls (Warner Aspect, 1996), Trigger & Friends (Baen, Is the Hangman (SFBC, 1996), Houston, Houston, 2001), Turing Option (Warner Questar, 1993), Two Do You Read? (SFBC, 1996), Howling Stones (Bal-Georges (Tor/SFBC, 1996), Two Tiny Claws (Baen, lantine Del Rey/SFBC, 1997), Ill Met in Lankhmar 1999), Ultimate Dinosaur (Bantam, 1992), Ultimate (SFBC, 1996), Illustrated Necroscope (Subterranean Mallworld (Meisha Merlin, 2000), Universe (Ban-Press, 2006) In the Ocean of Night (Vista, 1997), Into tam, 1987), Vacuum Diagrams (HarperPrism, 1999), the Darkness (Tor, 2000), Invaders (Tor, 2000), Vamphyri! (Tor, 1996), Vanguard (Ace, 1993), Weird Jupiter Project (Bantam Spectra, 1990), Kaleidoscope Tales: Seven Decades of Terror (Barnes & Noble, 1997), Century (Tor, 1995), Labyrinth of Night (Ace, 1992), Wheelers (Warner Aspect/SFBC, 2000), Why Do Last Aerie (Tor, 1993), Last Dragonlord (Earthlight/

Birds (Tor, 1992), Wizard’s Heir (Ace, 1995), World-Tor/SFBC, 1998), Legacy (Tor/SFBC/Legend U.K., Building (Writer’s Digest, 1996), Worldwar: In the 1995), Leiber Chronicles (Dark Harvest, 1990), Life-Balance (Ballantine Del Rey, 1994), Year’s Best Sci-line (Bantam Spectra, 1990), Lost Years (Tor, 1996), ence Fiction: 9th annual; 10th annual; 12th annual; L. Ron Hubbard Presents Writers of the Future Vol-13th annual (St. Martin’s/SFBC, 1992, 1993, 1995, ume XII (Bridge, 1996), Lucasfilm’s Alien Chronicles: 1996), Year’s Best Science Fiction (HarperPrism, 1996), 1 Golden One; 2 Crimson Claw (Ace, 1998), Lunar Year’s Best SF 2 (HarperPrism/SFBC, 1997).

Descent (Ace/SFBC, 1991), Major Ingredients (NESFA Press, 2000), Man O’ War (Ace/Putnam, MAGAZINES ILLUSTRATED INCLUDE:

1996), Matter’s End (Gollancz, 1996), Microverse ABO: 1990 (1)

(Bantam, 1988), Mid-Flinx (Ballantine Del Rey, ABM: 1995 (spring); 1997 (fall/winter) 1995), Mistwalker (Ballantine Del Rey, 1994), Moon AMZ: 1991 (1); 1992 (3); 1993 (6); 1994 (winter); Is a Harsh Mistress (Tor, 1996), More Amazing Sto-1998 (summer)

Ellis

190

ASF : 1992 (7, 11); 1993 (6, 8); 1994 (3); 1995 (1, A prolific and versatile artist, his striking images 11); 1996 (9); 1997 (1, 10, 12); 1998 (7, 12); 2000 (3, had appeared on covers for mysteries and best-sell-5); 2001 (7); 2004 (10)

ing novels before he was asked by Bantam Books to F&SF : 1991 (9); 1992 (9); 1995 (10); 1996 (5); produce cover art for their Ray Bradbury books in 1997 (7); 1998 (5); 1999 (8); 2003 (7); 2004 (2) the 1960s, and that assignment led to his working IASFM: 1991 (1); 1992 (1, 3, 5, 9); 1994 (6, 8); with all the major publishers in the science fiction 1995 (7); 1996 (9); 1997 (1); 1998 (7, 12); 2000 (12) field. Unlike some artists, Ellis never viewed his INT: 1995 (11)

commercial jobs as opportunities to explore his per-MZB: 1995 (summer)

sonal preferences; he always tried to give art direc-ROF : 1995 (2, 10); 1997 (4)

tors, and in particular Len Leone (legendary art di-SFAge: 1995 (3); 1997 (5, 7, 9)

rector for Bantam during the 1960s-1970s) exactly WT: 1991 (fall)

the image that was wanted in an illustration, while delivering attractive, clean, well-crafted images that Ellis, Dean
stressed convincing details and natural coloration.

(b. December 25, 1920) American artist. Born in As a consequence, Ellis was kept busy by Leone for Detroit, Michigan, Ellis graduated from high school many years, producing dozens of cover paintings of in Cleveland, and then began his formal art educa-a variety of kinds.

tion in 1941 at the Cleveland Institute of Art. He in-By 1980, he had largely turned to advertising terrupted this training to spend four years as an in-work, doing editorial work for Popular Science, Read-fantryman in the Pacific Theater during World War ers Digest, Life Magazine, Saturday Evening Post and II, but then returned to that school to complete his Popular Mechanics, among others.

BFA degree — using a $1000. Agnes Gund TravelIn addition, Ellis designed stamps for the U.S.

ing Scholarship for additional study at the Boston Postal Service and several foreign governments. The Museum of Fine Arts School. His training prepared first of his many U.S. stamp designs was created him to be a fine artist and not an illustrator, but when postage was just six cents, and include the when he returned to Cleveland he took a job in a

“Navigation of the Arkansas River” (1968), “Amer-commercial studio to gain some experience in prepa-ica’s Hospitals” (1970), “Natural History” (1970), ration for a freelance career, while working to de-the “Jefferson Memorial” (1973), the “Flag over the velop his reputation as a painter.

Supreme Court” (1981), “150th Anniversary, U.S.

In 1950, Life magazine included him among nine-Naval Academy” (1995), and “Riverboats,” five teen of the most promising American painters, and stamps issued 1996. His most recent designs were over the years he has been the recipient of numerous for “Celebrate the Century —1950’s” (11 stamps in awards. His work has been shown at the Whitney the series, 1999). In the 1980s, Ellis completed an Museum, New York (1949, 1951, 1954), the Metro-astounding sixty oil on masonite portraits of promi-politan (1949, 1951), the National Academy (1957, nent people, “Shapers of America,” for a series of 1959, 1960) and are in the collections of several mu-first-day covers commissioned by the Unicover Cor-seums and public institutions, including The Amer-poration, Cheyenne, Wyoming, a major client for ican Academy of Arts and Letter, New York, The Ellis.

Cleveland Museum of Art, the Atlanta Art Museum, Ellis works in all mediums, including oil and tem-Atlanta, Georgia, the Dallas Museum of Fine Arts, pera, although for his book cover illustrations he Dallas Texas, Cornell University, the University of prefers gouache (opaque watercolor) or acrylic on Illinois, the U.S. Coast Guard Collection, the U.S.

paper or masonite. He often uses acrylic for under-Parks Department, and the U.S. Air Force Art Col-painting, with oil for fine touches, a combination of lection—to name only a few. Settling in New York in media used also by other illustrators who worked 1956, he was awarded a MacDowell fellowship for during the ’60s–’70s period (e.g., Paul Lehr*, work at the McDowell Colony in New Hampshire.

Richard Bober*).

His many awards have included purchase prizes from Ellis is married and lives with his wife, Lois and the Butler Art Institute, the University of Illinois, and daughter Tracey in Amagansett, New York.

the Childe Hassam Fund. Portraits painted by Ellis Sources: Di Fate, Vincent. American Artist. NY: Watson-hang in the Metropolitan Club, the Union League, Guptill, Volume 27 Number 6 Issue 266, June 1963; Di Fate, Vincent. Infinite Worlds. NY: Wonderland Press/Penguin, Columbia University in New York City, and the Mote 1997; correspondence from artist 3/26/05; National Postal Marine Laboratory in Sarasota, Florida. Exhibitions Museum website: www.postalmuseum.si.edu of his work have been held in New York, Philadelphia, Atlanta, and Cleveland; the most recent show-Published Work
ing featured works from major illustrators, “From BOOKS ILLUSTRATED INCLUDE: Alien Embassy Imagination to Reality: The Art of Science Fiction”

(Ace, 1978), Alph (Ballantine, 1972), All Judgment (New York Academy of Sciences, 2004–2005.

Fled (Ballantine, 1970), All the Myriad Ways (Bal-

191

Elmore
lantine, 1971), Ambulance Ship (Ballantine, 1979), from two inch wide tin boxes to one-hundred foot Another End (Ballantine, 1971), Armageddon 2419
billboard signs, according to her gallery profile (Kyle A.D. (Ace, 1978), The Best of C. M. Kornbluth (Bal-Gallery online) so it isn’t clear whether she simply lantine, 1977), The Best of Frederik Pohl (Ballantine, tired of the subject matter, or the demands of the 1976), The Best of Fritz Leiber (Ballantine, 1974), book publishing field were such that she could not The Best of Stanley G. Weinbaum (Ballantine, 1974), accommodate them. Her work was featured in one Candy Man (Ballantine, 1971), Childhood’s End (Bal-of the earlier compendiums of genre art, Once Upon lantine, 1973), Close to Critical (Ballantine, 1975), a Time: Some Contemporary Illustrations of Fantasy Cycle of Fire (Ballantine, 1970), Deadly Litter (Ballan-

(Peacock Press/Bantam, 1976), and she seemed tine, 1970), Destinies Vol.1 #3, #4 (Ace, 1979), Earth-poised to continue in the field. In the 1980s she got light (Ballantine, 1966), The Eleventh Commandment commissions from Time-Life, for their fantasy se-

(Ballantine, 1970), The Flight of the Horse (Ballantine, ries, and also had a few commissions from Bantam 1973), Han Solo at Star’s End (Ballantine, 1979), Han Books. For a time, in the mid 1980s, she showed her Solo’s Revenge (Ballantine, 1979), A Hole in Space illustration art through Pendragon Gallery in the (Ballantine, 1974), Houses of Iszm (Ace, 1971), Icerig-United States. In recent years she has turned her atger (Ballantine, 1974), Isle of the Dead (Ace, 1969), tention toward a long standing botanical interest in The Last Planet (Ace, 1970), A Little Knowledge plants and gardens, and exhibits personal works (Berkley/Putnam, 1977–1978), Lost Continent (Bal-based on those interests in galleries in England; most lantine, 1972), The Magazine of Fantasy and Science recently the Francis Kyle Gallery (2005). She lives in Fiction Vol. #46 (Mercury, 1974), Major Operation Kent, near London with her husband and two chil-

(Ballantine, 1971), The Man Who Awoke (Ballantine, dren.

1975), The Martian Chronicles (Bantam, 1970), The Sources: Artist profile from Francis Kyle Gallery at www.

Mask of the Sun (Ace, 1979), The Mightiest Machine franciskylegallery.com/sites/Ellison.htm; (Ace, 1972), Moon of Destiny (Ace, 1968), Mutant Weapon (Ace, 1971), Mysterious Planet (Ballantine, Published Work

1978), Natives of Space (Ballantine, 1965), Nerves The Dark Lord of Pengersick (Farrar Straus and (Ballantine, 1975), Neutron Star (Ballantine, 1968), Giroux, 1980),T he Drastic Dragon of Draco Texas Outpost of Jupiter (Ballantine, 1978), People of the (Bantam, 1986), Dwarfs: The Enchanted World Mist (Ballantine, 1973), Perchance to Dream (Ace, (Time-Life Books, 1985), Earthsea Trilogy: #1 A Wiz-1977), Projections (Ace, 1979), Protector (Ballantine, ard of Earthsea; #2 The Tombs of Atuan; #3 The Far-1973), Rescue Mission (Avon, 1968), Ringworld (Bal-thest Shore (Bantam, 1975), The Evil People (Leslie lantine, 1970), Space Angel (Ace, 1988), Science Fic-Frewin, 1968), Grimm’s Fairy Tales (Routledge & tion Emphasis #1 (Ballantine, 1974), Space Skimmer Kegan Paul, 1981), The Songkiller Saga: Phantom (Ballantine, 1972), Star Light (Ballantine, 1971), The Banjo; Picking the Ballad’s Bones; Strum Again (Ban-Starmen of Llyurdis (Ballantine, 1976), Star Surgeon tam Spectra, 1991, 1992), Tea with the Black Dragon (Ballantine, 1981), Tar Aiym Krang (Ballantine, (Bantam, 1983), The Unicorn Creed (Bantam, 1983).

1972), The Third Ear (Putnam, 1971), A Thunder of Stars (Ballantine, 1970), Tomorrow Is Too Far (1971), Elmore, Larry D.

Transit (Ace, 1964), The Veils of Azlaroc (Ace, 1978), (b. August 5, 1948) American artist. Born and The Wanderer (Ballantine, 1964), Universe #2 (Ace, brought up in rural Kentucky, Elmore is perhaps 1972), The Watch Below (Ballantine, 1966), A World best known for being one of the first staff artists of Trouble (Ballantine, 1973), The Worlds of Frank working for TSR, Inc., publishers of Dungeons & Herbert (Ace, 1971), 1,2,3 Infinity (Bantam, 1965), Dragons(™), and for his key role in developing the 2010: Odyssey Two, Reach for Tomorrow (Del Rey,

“look” of the art associated with their pioneering 1984)

fantasy role-playing games. Elmore attended Western Kentucky University and received a Bachelor’s MAGAZINES ILLUSTRATED INCLUDE:

degree in Fine Arts in 1971. He married and was ASF : 1977 (11); 1978 (8); 1979 (2)

drafted into the army within four months of graduation. After military service, in 1973, Elmore began Ellison, Pauline
his art career working as an illustrator for the U.S.

(b. 1946) British artist. Born and brought up in government. His first commercial work was for Na-Yorkshire, in the North of England, Ellison received tional Lampoon and Heavy Metal magazines. In 1981, her art training at Bradford College of Art (1981) he moved to Lake Geneva, WI, and went to work for and Cambridge School of Art. Over a long career as TSR, and stayed until 1987. While at TSR, he crea freelance illustrator, Ellison’s contributions to fan-ated covers for Dungeons & Dragons (D&D(™)), tasy illustration have been modest, but gracefully AD&D(™) and other gaming books, and most no-designed and appealing. Ellison reportedly enjoys tably artworks related to the world of Drag-diversity, and has designed many unusual items —
onlance(™). Elmore designed the cover art for the

Elmore

192
first six books and oversaw the artistic aspect of the Coast, 2002); Women of the Woods (Elmore Produc-novels. Elmore, along with Easley*, Parkinson*, and tions, 2003)

Caldwell* defined the “feel” of classic role-playing games through their stylized, heroic characters with Published Work
exaggerated sensuality and brawn.

BOOKS ILLUSTRATED INCLUDE: The Bard’s Tale: Since 1987, Elmore has been working as a free-

#1 Castle of Deception; #2 Fortress of Frost and Fire; lance illustrator, doing covers for comics, computer Prison of Souls; #4 Chaos Gate (Baen, 1992, 1994), games, magazines, fantasy and science fiction books Bones of the Past (Baen, 1993), Born To Run (Baen, and many other projects. He has done paperback 1992), Buck Rogers: A Life in the Future (TSR, Inc., covers for Baen, Bantam, Warner Books, ACE/

1995), Book of the Kingdoms: #1 Wrath of Ashar; #2

Berkley, Doubleday, and Del Rey. He also is the co-The Usurper #3 The Way Beneath (Bantam Spectra, author of Runes of Autumn and creator of the Sover-1990, 1991), Call of the Wendigo (Bantam, 1994), eignStone series, for Sovereign Press, 2001). In the Cathouse (Baen, 1990), Caught in the Crossfire (Baen, gaming and comic industries, he has freelanced for 1998), Changeweaver (Baen, 1993), Chicks in Chain-TSR, Inc, FASA, Mayfair Games, Game Designer’s mail (Baen, 1995), A Child of Elvish (Ace, 1992), Workshop, White Wolf, Iron Crown Enterprises, Children of the Drake (Warner Questar, 1991), The Dragon Magazine, Amazing Magazine, Wizard Children’s Hour (Baen, 1991), The Crystal Dragon Press, D. C. Comics, First Comics, Eclipse Comics (Warner Questar, 1993), Dangerous Journeys Mythus: and Frank Frazetta’s Fantasy Illustrated. He also has

#1 Anubis Murders; Samarkand Solution; 3 Death in produced product and packaging art for companies Delhi (ROC/SFBC, 1992, 1993), Darksword Se-such as LJN Toys, Mattel, Lucas Films, Tonka, quence: 1 Forging the Darksword; #2 Doom of the Monogram Models, Western Publishing, Sony En-Darksword; #3 Triumph of the Darksword; #4 Dark-tertainment’s Ever Quest, and various computer game sword Adventures (Bantam Spectra, 1988), Day the covers. Elmore created his own comic series, Snarf-Magic Stopped (Baen, 1995), Demon Blade (Baen, Quest, which ran in Dragon magazine and was also 1994), Did You Say Chicks? (Baen/SFBC, 1998), later published in book form by Random House, in Dragon Crown (Warner Questar, 1994), Dragonlance 1987.

Book of Lairs (TSR, Inc., 1993), Dragonlance: De-Elmore is an active participant in the industry and fenders of Magic #1 Night of the Eye; #2 The Medusa he attends several Fantasy & Science Fiction con-Plague; #3 The Sentinel (TSR, Inc., 1994), Dragons ventions held in the United States, and on some oc-of Mystery game module (TSR, Inc., 1984), Drag-casions, in Europe. He self-publishes lithographic onlance: Dragon Dawn; Dragon Night (TSR, Inc., reproductions of his original oil paintings, and his 1990), DragonLance Heroes: #2 Stormblade; #3
original paintings are in private collections through-Weasel’s Luck (TSR, Inc., 1988), DragonLance Leg-out the United States, and in Europe. Recently, he ends: #1 Time of the Twins; #2 War of the Twins; #3
has begun giving art classes out his studio, and or-Test of the Twins (TSR, Inc., 1985, 1986), Drag-ganizing art tours in Ireland and France. He lives in onLance: The Lost Histories #1: The Kagonesti; #2 The Leitchfield, Kentucky, with his wife, Betty and two Irda; #3 The Dargonesti; #4 Land of the Minotaurs; children, Jennifer and Jeremy.

#5 Gully Dwarves; #6 The Dragons (TSR, Inc., 1995, Sources: artist website ; artist bio at www.dragoncon.org; 1996), Dragonlance novels : Dragons of Summer Ancestry.com. Kentucky Birth Index, 1911–1999 [database Flame; Doom Brigade; Murder in Tarsi; The Second on-line]. Provo, UT, USA: The Generations Network, Inc., 2006.

Generation; Soulforge (TSR, Inc., 1994, 1996, 1998), DragonLance Tales of the Lance box cover (TSR, Inc., Collections and Anthologies

1992), DragonLance Tales I: 1 Magic of Krynn; 2

(various contributing artists)

Kender, Gully Dwarves, and Gnomes; 3 Love and War Artists of TSR Portfolio (RPGA, 1982), Elmore’s (TSR, Inc., 1987), DragonLance Tales II: 4 Reign of Big Book of Babes Vol 1, Vol 2, Vol 1&2 compiled Istar; 5 Cataclysm; 6 War of the Lance (TSR, Inc., (Elmore Productions, undated); Twenty Years of Art: 1992), The Dragonrealm: Ice Dragon; Shadow Steed; Elmore (Elmore Productions, 2001); Mythical Lands: Wolfhelm (Popular Library Questar, 1989, 1990), Arthography (Dynasty Presentations, 1999), Elmore: The Dragonrealm: Firedrake (Orbit, 1990), Dragon Back to the Drawing Board sketchbook (Elmore Tome (Warner Questar, 1992), Forgotten Realms: Em-Productions, 2003); Reflections of Myth Vol. 1, 2
pire’s Trilog y #1 Horselords; 2 Dragonwall; 3 Crusade sketchbooks (SQ Productions, 1993, 1997), High (TSR, Inc., 1990), Forgotten Realms: City of Splendors, Tech & Low Life: The Art of Shadowrun (FASA, Spellbound (TSR, Inc., 1994, 1995), Forgotten 1997) Kirchoff, Mary (ed.) The Art of the Drag-Realms: Murder in Cormyr; Murder in Halruaa onlance Saga (TSR, Inc./Wizards of the Coast, (TSR, Inc., 1996), The Crystal Shard (TSR, 1988), 1998); The Art of Dragon Magazine (TSR, Inc., Dungeons & Dragons: The Tainted Sword (TSR, Inc., 1988); Masters of Dragonlance Art (Wizards of the 1992), Domes of Fire (Ballantine Del Rey/SFBC,

193

Elson

1993), The Duke of Sumava (Baen, 1997), Erling’s Elson’s work appeared on the covers of numerous Word (Baen, 1997), Elvendude (Baen, 1994), Exiles to science fiction paperback novels, as well as in the Glory (Baen, 1993), The Faery Convention (Baen, Terran Trade Authority series of six illustrated books, 1995), The History of Dragonlance (TSR, Inc., 1995), 1978–1980. When demand for cover art slowed in the Hidden War (TSR, Inc., 1994), The Hunter Victori-1980s, Elson did backdrop paintings for theater pro-ous (Warner Questar, 1992), Inconstant Star (Baen, ductions and amusement park rides. Unlike his 1991), Iron Dragons: Mountains & Madness (Baen, peers, Chris Moore*, Angus McKie*, Jim Burns*

1993), Legacy; The Legacy of Gird (Baen, 1995, 1996), and others, Elson did not adapt to the changing Legacy of the Darksword (Bantam Spectra/SFBC, times by developing computer skills. Nor does it ap-1997), Lion’s Heart; Lion’s Soul (Baen, 1991), Math-pear he sought work in the budding video game in-emagics (Baen/SFBC, 1996), Mother of Demons dustry, although later the character “Captain Elson”

(Baen, 1997), Night-Threads: #1 The Calling of the in the popular PC computer game “Homeworld”

Three; #2 The Two in Hiding; #3 One Land, One (1999) would be named in his honor because — ac-Duke (Ace, 1990, 1991, 1992), Oath of Swords (Baen, cording to the game’s designers — Elson’s illustra-1995), Old Nathan (Baen, 1991), Operation Chaos tions of the 1970s and 1980s had inspired the game’s (Baen, 1992), Prince of the North (Baen, 1994), Rose ship designs and art style (he is also listed in the Spe-of the Prophet: #2 The Paladin of the Night; #3 The cial Thanks section of the game’s manual). Accord-Prophet of Akhran (Bantam, 1990), Runes of Autumn ing to one of the early designers of the game, Elson (TSR, Inc., 1996), Runesword: #1 Outcasts; #2
was originally slated to create the game’s box art, but Skryling’s Blade; #3 The Dreamstone; #4 Horrible at the last moment was pre-empted by the pub-Humes; #5 Dark Divide; The Stone of Time (Ace, lisher’s decision to use a 3D rendered scene.

1990, 1991, 1992), Saber and Shadow (Baen, 1992), When Elson’s career stalled in the 1990s, he again Shadow’s Daughter (Baen, 1991), Snowbrother (Baen, turned to working on fairground decorations. He 1992), The Sharp End (Baen, 1993), The Shrouded was working on a mural painting for a merry-go-Realm (Warner Questar, 1991), Spell Bound (Ace, round (carousel in the U.S.) for Butlins, an amuse-1990), Spiritride (Baen, 1997), Strange Deliverance ment park in Skegness, Lincolnshire, so the story (Baen, 1997), Surrender None (Baen, 1990), The Tank goes, when he died unexpectedly of a heart attack Lords (Baen, 1997), The Tery (Baen, 1990), Tran during an evening with his friends at a local pub.

(Baen, 1996), Visions of Fantasy: Tales from the Mas-Sources: Oleastri, Luca. The Worlds of Peter Elson: Unoffi-ters (Bantam Starfire, 1991), The War God’s Own cial Peter Elson Tribute site at www.innovari.it/peter%20elson

%202.htm [accessed May 2007]; correspondence with Jim (Baen, 1998), Warriorwards (Baen, 1990), Werenight Burns Oct 2002; Ancestry.com. England & Wales, Death (Baen, 1994), Wheels of Fire (Baen, 1992), When the Index: 1984–2005 [database on-line]. Provo, UT, USA: The Bough Breaks (Baen, 1993), Wolf Justice (Baen, 1998).

Generations Network, Inc., 2007

MAGAZINE ILLUSTRATIONS INCLUDE:

Anthologies and Collections

AMZ: 1985 (3); 1987 (3)

(various contributing artists)

DRA: 1988 (12); 1989 (10); 1990 (11); 1992 (3, 12); Caldwell, Steve. Space Patrol: The Official Guide 2000 (3); 2001 (7); 2003 (8)

to the Galactic Security Force (Intercontinental, 1980), Misc: AD&D(™) Dragonlance Calendar 1988, Caldwell, Steven. Star Quest. An Incredible Voyage 1991 (TSR, Inc., 1987, 1990), Magic the Gathering: Into the Unknown (Intercontinental, 1978), Eisler, 7th Ed. Card art (Wizards of the Coast. 2001, El-Steven. Space Wars: Worlds and Weapons (Octopus, more New Beginnings Collector Game Cards (Elmore 1979), Flight of the Icarus (Dragon’s Dream, 1977), Productions, 2003), The Fantasy Art of Elmore col-Parallel Lines: The Science Fiction Illustrations of Peter lector card set (FPG, 1994).

Elson and Chris Moore (Dragon’s Dream, 1981).

Published Work

Elson, Peter George

BOOKS ILLUSTRATED INCLUDE: After the Fall ( January 13, 1947–April, 1998), British artist.

(Sphere, 1980), Andromeda 2 (Orbit, 1977), Antarc-One of many excellent British science fiction artists tica (HarperCollins, 1997), Bad Voltage (Orbit, specializing in space hardware, Elson was born in 1990), Best of A.E. Van Vogt Vol. 2 (Sphere, 1979), Ealing, West London and studied at Ealing Art Best of Harry Harrison (Orbit, 1991), Boat of a Mil-School. He won a Science Fiction Monthly art com-lion Years (Orbit, 1990), Book of Ptath (Granada, petition in 1975, and soon after became a commer-1973), Born to Exile (HarperCollins/Grafton, 1992), cial artist. As did many of his contemporaries in the A Cage of Ice (Fontana/Collins, 1980). A Canticle for 1970s, Elson initially made his reputation by work-Leibowitz (Orbit, 1990), Carnival of Destruction ing in the tradition of British artist Chris Foss*, who (Pocket U.K., 1994), A Circus of Hells (Sphere, 1987), was known for his paintings of massive, vividly col-Cloud Castles (Gollancz, 1994), Coelestis (Harper-ored and detailed spaceships. Through the 1980s, Collins U.K., 1993), Coils (Penguin, 1984), Cold Al-

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lies (NEL, 1995), Cold Print (Grafton, 1987), The The Smoke Ring (Futura/Little Brown, 1989), Soldiers Cometeers (Sphere, 1977), The Committed Men (Gol-of Paradise (Grafton, 1989), Some Will Not Die lancz, 1989), Cold Allies (NEL, 1995), The Crystal (Methuen, 1986), Sorcerer’s Son (Grafton, 1990), Palace (Grafton, 1991), Cult of Loving Kindness Space 1, 2 (Beaver/Hamlyn, 1979, 1980), Space (Grafton, 1993), Daggerspell (Grafton, 1987), Death-Ranger (NEL, 1973), Spaceways (Oxford University world 1, 2, 3 (Sphere, 1979), Deep Space (Mandarin, Press. 1986), Stainless Steel Rat, Stainless Steel Rat 1989), Divergence (Gollancz, 1992), Doctor Who: for President, A Stainless Steel Rat Is Born, Stainless Birthright; Eternity Weeps; GodEngine; The Highest Steel Rat Needs You, Stainless Steel Rat Saves the Science; Legacy; Sanctuary Shakedown; Tempest; Toy World (Sphere/Severn House, 1983, 1986), Star Soldiers; Tempest; Transit; White Darkness (Doctor Watchman (Sphere, 1977), Starshine (Sphere, 1978), Who Books, 1993, 1994, 1995, 1996, 1997, 1998), Status Civilization (Methuen, 1986), Stepsons of Doctor Who Cat’s Cradle: Time’s Crucible; Warhead; Terra (Sphere, 1979), Stowaway to Mars (NEL, Witch Mark (Doctor Who Books, 1992), Earth Cult 1987), Sugar Rain (Grafton, 1990), Summertide (Panther, 1979). Earthworks (Panther, 1984). Elf De-

(Gollancz, 1991), The Tenth Victim (Methuen, fense (Headline, 1989), Enchanted Pilgrimage 1987), Terror’s Cradle (Fontana/Collins, 1980), Time (Methuen, 1985), Eternal Light (Orbit, 1993), Ethan Patrolman (Sphere, 1986), To Die in Italbar of Athos (Headline, 1989), Eye of the Heron and Other (Methuen, 1986), To Open the Sky (Sphere, 1983), Stories (Panther, 1980), Falling Free (Headline, 1989), To the Dark Tower (Red Fox, 1994), The Universe Fall of the Towers (Sphere, 1979), Fantasms and Mag-Maker (Sphere, 1977), Urban Prey (Arrow, 1984), ics (Grafton, 1987), A Feast Unknown (Grafton, Victim Prime (Methuen, 1987), Warrior of Mars 1988), Finity’s End (Hodder & Stoughton, 1997), (NEL, 1989), Welcome to Mars (Sphere, 1979), When The Fire Worm (Grafton, 1990), Fool’s Hill (Sphere, the Dream Dies (Sphere, 1981), When the Gods Slept 1978), Freedom’s Choice (Bantam/Corgi, 1997), Free-

(Hodder & Stoughton/NEL, 1997), Where Evil dom’s Challenge (Bantam U.K., 1998), Fritz Leiber’s Dwells (Methuen, 1985), The Wind’s Twelve Quar-Complete Swords Series (Granada /Mayflower, 1979), ters (Panther, 1978), The Winged Man (Sphere, Galactic Cluster (Panther, 1980). The Ganymede 1977), With a Strange Device (Mandarin, 1989), Takeover (Arrow, 1980), Gates of Noon (Gollancz, Wizard of Woodworld (Dragon, 1987), Wolves of the 1992), Gold Coast (HarperCollins U.K., 1995), Green Gods (Hodder & Stoughton, 1998), Yon Ill Wind Mars (HarperCollins U.K., 1993), A Hidden Place (Hodder & Stoughton, 1996).

(Orbit, 1990), A Hole in Space (Orbit, 1974), Hothouse (Gollancz, 1990), Hunter/Victim (Methuen, Elwell, Tristan A.

1988), Ice and Iron (Arrow, 1977), Icehenge (Harper-

(b. April, 1968) American artist. Elwell was born Collins/Voyager, 1997), In the Red Lord’s Reach (HarperCollins U.K., 1992),
and raised in New York City, where he graduated Invasion Earth (Sphere,

1984), Jizzle (NEL, 1973), Keepers of the Peace (Corgi, from the High School of Music and Art. He at-1991), Knight and Knave of Swords (Grafton, 1990), tended the School of Visual Arts on a full scholar-The Legion of Space (Sphere, 1977), Lifeboat (Orbit, ship, graduating in 1990 at the top of his class. While 1977), The Listeners (Arrow, 1978), Long Arm of Gil at SVA he also worked as a painting assistant to Hamilton (Orbit, 1976), The Long Result (Fontana, noted photo realist Charles Bell, whose style 1979), A Martian Odyssey and Other Stories/The Best influenced Elwell’s work. After college he quickly of Stanley G. Weinbaum (Sphere, 1977), Martians established his career as an illustrator. In 1994 he (HarperCollins, 2001), Mutant (Hamlyn, 1979), joined the staff at SVA, where he teaches illustration Naked to the Stars (Sphere, 1978), Of Time and Stars and painting.

(Roc U.K., 1993), Orion Shall Rise (Sphere, 1984), Elwell’s oil paintings combine meticulous tech-The Outposter (Sphere, 1978), The Patchwork Girl nique with a flair for depicting fantastic images that’s (Orbit, 1980), Planet of the Damned (Orbit, 1991), Pi-touched at times by Elwell’s sense of humor, which rates of the Asteroids (NEL, 1983), Planet of No Re-can be darkly sarcastic. His “cozy mystery” covers turn (Sphere, 1983), Podkayne of Mars (NEL, 1974), for Avon, for example, with skulls as the theme, are Port Eternity (Gollancz, 1989), Power Lines (Bantam literarily woven, knitted, or crocheted, into every U.K., 1994), Power Play (Bantam U.K., 1995), Pow-cover design — his unique concept. Those qualities ers That Be (Corgi, 1994), Prime Number (Sphere, brought him assignments from all the major pub-1983), Project Pendulum (Hutchinson, 1989), Red lishing houses, among them Avon, Bantam, Harper-Mars (HarperCollins U.K., 1993), Secret Harmonies Collins, Penguin, Pocket Books, Scholastic, and Tor.

(Orbit, 1991), The Secret People (NEL, 19087), A His client list also includes Children’s Television Sense of Wonder (NEL, 1987), Shadow of the King Workshop, Conference Board, American Kennel (Heinemann, 1998), Shift Key (Methuen, 1987), Club, and Forbes, U.S. News & World Report, Yan-Showboat World (Gollancz, 1990), Silent Laughter kee magazines. Elwell has appeared in Print and (Arrow, 1985), The Sirens of Titan (Gollancz, 1986), Communication Arts, Society of Illustrators Annual,

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and Spectrum anthologies, and has won awards from and by 1934 the family had moved to Chicago. That the Society of Illustrators (NY).

summer he went to see the Century of Progress Sources: correspondence with the artist, 2005; agency bi-World’s Fair, and was attracted to the futuristic ex-ography at www.shannonassociates.com
hibits, and to a “transparent man” that stood just Published Work
beyond the entrance to the Hall of Medicine; the BOOKS ILLUSTRATED INCLUDE: Arctic Incident clear skin was made out of “cellon” (the same mate-

(Hyperion, 2002), Ashling (Tor/Starscape, 2003), rial used for film stock), every organ, bone and mus-Beyond the Hanging Wall (Tor, 2006), Briar Rose cle was visible, and the whole thing was seemingly (Tor/Starscape, 2002), Cold Heart of Capricorn (St.

mechanically operational (A Galaxy Magazine cover Martin’s, 1997), Cat and Mouse (Pocket, 1995), that he would paint twenty years later would show Curses, Inc. (Harcourt Brace, 1997), Dragonfly (Absey a woman with her synthetic flesh removed to expose

& Co, 2000), Dragon Mage (Tor, 2008), Elidor the gears and metal-works). After the fair, Emsh-

(HarcourtBrace/Magic Carpet, 1999), Dreamland willer was inspired to create flipbooks and animated Lake (Penguin, 2000), Face in the Mirror (Harper, his own little movies, including one of an egg 2000), Fall of Knight (Ace, 2006), Farseekers (Tor, sprouting arms and legs. He was considered preco-2003), Goddess of Yesterday (Random House/Delacious enough to take a special art class for gifted corte, 2002), Gutbucket Quest (Tor, 2000), Hope of schoolchildren given at the Art Institute of Chicago.

Earth (Tor, 1997), King and Raven (Tor, 1995), King-In the summer of 1938, he was selling magazine sub-dom of Kevin Malone (Harcourt Brace/Magic Carpet, scriptions door-to-door and bought a used 16mm 1997), Knight Life (Ace/SFBC, 2002), Ladylord projector with the money he had saved. He tried his (Tor, 1996), Last Hot Time (Tor, 2000), Lavender-hand at making movies by drawing on strips of paper Green Magic (Starscape, 2006), Legend of Lady Ilena and when that failed, drew on clear leader film.

(Random House/Delacorte, 2002), Magic Can Be Emshwiller enlisted in the Army on June 25, 1943

Murder (Penguin/Puffin, 2002), Mother Ocean, right after graduating high school, and after being re-Daughter Sea (Tor, 2001), Murder in Scorpio (St.

jected by the Rangers branch of the army (His eye-Martin’s, 1995), Muse of Art (Tor, 1999), Never Trust sight was not considered sharp enough) he went a Dead Man (Harcourt Brace, 1999), Obernewtyn through officer school and was sent to the Italian (Tor/Starscape, 2003), Off the Road (Clarion, 1998), war zone. By that time the European war had come One Knight Only (Ace, 2003), Patriots (Tor, 1996), to end, and he left active service in 1946 to enter the Quest for the Fallen Star (Tor, 1998), Rebel Sutra (Tor, University of Michigan Art School under the G.I.

2000), Rocket Ship Gallileo (Ace, 2004), Scare School Bill, at the age of twenty-one. He majored in paint-

(Avon, 2001), Sea Lark’s Song (Tor, 2002), Secret of ing and illustration, studying under a curriculum —

Spring (Tor, 2000), Sister Light, Sister Dark (Tor, the Bauhaus school of modernism and contemporary 2002), Stars Compel (Tor, 1999), Sword in the Stone design — that let him avoid traditional notions of (Dell Laurel-Leaf, 1999), A Taste of Magic (Tor, classical art. In the 1960s Emshwiller would be ac-2006), There’s a Dead Person Following My Sister cused of taking LSD to paint some of his wilder ab-Around (Harcourt Brace, 1999), Third Magic (Forge, stractions, but he always told people that he had 2003), Three Hands for Scorpio (Tor, 2005), Tooth learned this style of art as a college student. In the and Claw (Tor, 2004), Touched by the Gods (Tor, fall of 1947 he was in a life drawing class where, dur-1997), Twilight Rising, Serpent’s Dream (Tor, ing a model break, he struck up conversation with 2004), Warrior Princesses (DAW, 1998), Willing Spirit a fellow classmate, Carol Fries. They were married (Tor, 1996), A Wolf at the Door (Simon & Schuster, August 30, 1949, on the artist’s parents back porch 2000), Year of the Hangman (Penguin/Dutton, in Silver Springs, Maryland, two months after both 2002).

had received bachelor of art degrees. From the Uni-Misc. : Magic: The Gathering game card art (Wiz-versity of Michigan. Carol had won a Fulbright ards of the Coast, 2000).

scholarship, and Ed had a year of paid education left Emsh, Ed see Emshwiller, Edmund on the G.I. Bill, so they decided to go to Paris where they both continued to study art at the Ecole des Alexander

Beaux-Arts. At the end of their year overseas, just before boarding the ship back home, Emshwiller Emshwiller, Edmund Alexander
bought some American periodicals in a Paris book-

(February 16, 1925–July 27, 1990) American artist.

stall to read during the trip — including a few sci-One of the most prolific and popular artists ever to ence fiction magazines. His father had read pulp work in the science fiction field, Emshwiller, along magazines, and copies of Amazing Stories and As-with Kelly Freas* dominated that field throughout tounding Science Fiction would find their way into the 1950s.

his son’s hands. A child of the Great Depression, Emshwiller was born in East Lansing, Michigan, Emshwiller had already decided that fine art was too

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risky a proposition, but he also realized that slick gantic rockets dwarfing the landscape for Thrilling magazines like the Saturday Evening Post, Look, and Wonder Stories; the witty use of SF tropes for Galaxy Colliers would allow him little freedom. But he and Rocket Stories. For many of these paintings he thought that in smaller venues, like pulp magazines, used his wife as a model whenever a woman was he would be free to explore his own ideas. “I let the needed.

obvious idea grow. As soon as I hit shore I started The primary ingredients of Emshwiller’s art were knocking out samples.”

the inventive hardware of space travel, the juxtapo-In 1950, the Emshwillers returned to the States sition of large foreground figures with smaller back-and settled in New York City. Emshwiller’s debut ground figures to show depth, abstract elements as a commercial artist was in the June 1951 Galaxy, used as science fictional leitmotivs, and imagina-with a gouache pulled from his portfolio by the art tive backgrounds. He followed the directives of var-editor Washington Van der Poel. He then sold the ious magazine art editors: W.I. van der Poel at same magazine a cover painting, and soon became Galaxy, and George Salter at F&SF. Both men were one of the most prolific artists ever to work in science both creative professionals and not really science fiction. As example, in the year 1952 twenty-nine fiction fans. Emshwiller’s early paintings for F&SF
different American science fiction titles appeared reflected a more sophisticated approach, and a gen-with a total of 153 individual issues — Ed’s art aperal shunning of pulp clichés, and his art established peared in a third of all those magazines. During the the visual style of F&SF for most of 1950s and next thirteen years, he did more than four hundred 1960s. Other art directors, like Milton Luros at Co-science fiction cover paintings for magazines, paper-lumbia Publications, came out of the pulp field, and back, and hardcovers. Early in 1953, Marty Green-Emshwillers’ work for Luros reflected this pulpish-berg, publisher of Gnome Press, most successful of ness.

the science fiction specialty houses, ordered four While working on science fiction art, Emshwiller hardcover dust jackets from Emshwiller. These were continued to do fine art graphics and paintings, ex-to be painted as black and white paintings that hibiting at several group shows and one solo show, would be converted into color by the printer. The largely featuring his abstract expressionist work. Also artist used overlays to indicate where particular color during this time he began making 16mm films. He inks would appear on the monochromatic painting made regular trips into Manhattan to meet with art to give it full color look when printed. Before long directors and also to take in movie screenings. In he was doing book jacket art for most of the SF spe-October 1954, Emshwiller saw a documentary of cialty publishers. He also did many hundreds of George Braque, showing the cubist artist painting black-and-white illustrations for all of the science on a glass surface. This gave him the idea to film the fiction magazines of the period.

creation of some of his paintings. He brought a used During this time, the Emshwillers moved to 16mm Bolex camera, with single frame capabilities, Levittown, Long Island. Carol stopped painting and and built a camera brace over his drawing table; a began writing science fiction, some of which Ed il-cable release was connected to a foot pedal, which he lustrated. They had three children: Eve in 1955, would use to trigger the shutter while he would re-Susan in 1957, and Peter in 1959. Emshwiller did so load his brush with paint. This interest in filmmak-much work in so many different styles that he used ing would drastically change the direction of his ca-several names including Emsh (the most popular, reer.

and the pseudonym most associated with him), Ed Emshwiller began by experimenting with clay an-Emsler, Ed Alexander, Ed Emsch, EAE, Ensh, Harry imations, and using animation cels, stop motion and Gars, and Willer. On Sunday, September 6, 1953
additive animation. “I worked at what I called doo-Emshwiller served as one of the judges for the cos-dles, which were film exercises. Almost anything that tume masquerade at the Eleventh World Science FicI had seen done in film I tried my hand at. I’m a tion Convention, held in Philadelphia. Later that great one for making tests. Any time a technical night, the first ever Hugo Awards were handed out problem comes up that I think in theory should (though they were only called achievement awards work, then I make a series of exhaustive tests. I think that night) and there was a tie for cover artist: be-in that way I developed whatever technical abilities tween Ed “Emsh” and longtime fan favorite Hannes I have. That carried over into art. I believe that tech-Bok*. Emshwiller was nominated for the Hugo nique simply helps one to be a better artist.” ( Infinity Award as best SF artist eight times, and won the x Two, 2007). Since the drafting table where Emsh-statue in 1953, 1960, 1961, and 1964.

willer created art was also an animation stand, he During the fifties Emshwiller created many so-began recording the stage-by-stage development of phisticated, artistic scenes for the Magazine of Fan-many paintings, including the abstractions he did tasy & Science Fiction; monsters threatening spacemen when not working on commercial arts jobs. The for Space Stories; sexy girl art for Startling Stories; gi-run-through would usually take two minutes on

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each film. These films were popular at science fiction Destination (which he had illustrated when it first conventions, where Emshwiller was a guest.

appeared in Galaxy) as the basis for a film. The By 1959 science fiction, as a field, was experienc-bleak, claustrophobic settings of the novel — a crip-ing a slump. Even with many SF magazines folding, pled spaceship and underground prison — would technically accomplished art with narrative content have involved an inventive adaptation. This project and a contemporary feel still sold. Emshwiller broad-was never realized, to many SF fans’ regret, though ened his client base by doing art for mystery and there are visual elements of the story that would ap-men’s magazines including Sportsman, Ellery Queen’s pear in Relativity. The film had two screenings dur-Mystery Magazine, Untamed, Lion Adventure, Man’s ing Briscon, the British Science Fiction convention World, See for Man, and True Action. He was one of held in Bristol, March 24–26, 1967, and afterward the regular artists for the long running Ace double was described as “an uncensored Mondo Cane”

paperback SF series. These books did not have a ( Skyrack, 1967). The film inspired a short-lived back cover, but came with two front covers — one fanzine of same name by two Welsh fans, Jon for each of the two “novels” included inside. His Williams and Bryn Fortey, which was later revived style would change depending on whatever com-by Fortey in the 1970s (Lynch, 2001).

mercial art jobs came his way. “I received assign-Emshwiller was active in the New American Cin-ments from a wide range of people. These would ema movement of the 1960s and early 1970s, and run from a specific assignment where I was told prac-created multimedia performance pieces, and exper-tically where to place the people, and how and what imental films, while also filming low-budget features they were to be dressed like and so forth, through the and documentaries. By 1967 Emshwiller had devel-case where I was given a manuscript and given a free oped enough of a reputation as a filmmaker to have hand, and other cases where there’s a discussion, Stanley Kubrick ask him to join his special effects give-and-take, an expression of ideas, to cases where team working on 2001: A Space Odyssey. But Emsh-they say: ‘We want something different from last willer was already committed to other film projects month. We had a black cover last month, we want a (including a documentary of NASA’s Apollo pro-red cover this month.’” ( Infinity x Two, 2007).

gram), and may have been intimidated by the scale During the early 1960s Emshwiller reached a pop-of the 2001 production, so he turned Kubrick down.

ular peak as an SF artist. He not only won his Hugos It is possible that had Emshwiller accepted Kubrick’s during this time, but also began winning some offer he would have been drawn further into com-awards for his short animated art films. His movie-mercial filmmaking. Instead, he made a conscious making equipment began taking over his attic studio.

decision to have as much control as possible over the He took to carrying his prized Bolex camera wher-films he would work on. In 1971 Emshwiller made his ever he went and would shoot whatever took his first videotape. In 1972 he became artist-in-residence fancy. In this way he built up a personal film library at the Television Laboratory WNET/13 in New that he used to make films throughout the decade.

York. He made a number of videoart tapes during In the early spring of 1964, Emshwiller learned that this period, receiving more awards.

he was part of a group of twelve filmmakers selected In 1978–1979 he made his first computer-anito receive a grant of $10,000 from the Ford Founda-mated videotape, Sunstone, at New York Institute of tion. That summer Ed informed all his art clients Technology (NYIT). Though it is commonplace that he was taking a year’s break from art, and threw today for SF artists to create art on computers today, himself wholeheartedly into filmmaking. The grant Emshwiller may have been the first to “paint” digi-allowed him to create the seminal avant-garde film tally; a Guggenheim Fellowship enabled him to ac-Relativity (1966). In an interview, Emshwiller stated cess the technololgies available at the NYIT Com-that he could have dreamed Relativity (a film that try puter Graphics Lab, which was at the creative to show how the breadth of human awareness and forefront of computer animation and developing imagination is not up to the immensity of the cos-digital paint systems. He worked eight months, with mos), instead of using a camera to film it. He never computer programmers at his side, to create the returned to commercial art after Relativity, except three-minute long Sunstone. It has since become a for special projects done for friends like Harlan El-classic icon of early computer animation.

lison ( Again, Dangerous Visions, 1972), and Ed Fer-While Emshwiller was wrapping up Sunstone, he man, the publisher of F&SF (special author’s issues).

was contacted by the California Institute of the Arts, It is obvious from watching Emshwiller’s films a school founded by Walt and Roy Disney in 1961, that he was merging the motifs of science fiction and offered a position as dean of the School of Film with experimental films and abstraction. Relativity and Video. He moved to Newhall, California and had been influenced by the some of the science writ-for the next decade was a teacher and sometime ings of Isaac Asimov. The artist had briefly consid-pupil, taking classes alongside CalArts students when ered using Alfred Bester’s 1956 novel The Stars My new film and computer methods were being taught.

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In 1981 he took on the additional job as provost (ac-

(Avalon, 1961), Duplicated Man (Avalon, 1959), ademic vice-president) while continuing to work on Dying Earth (Lancer, 1962), Earth in Peril (Ace, various multimedia projects at the school.

1957), Earth’s Last Fortress (Ace, 1960), Earthman Go In the spring of 1990, Emshwiller entered the hos-Home (Ace, 1960), Edge of Time (Ace, 1959), En-pital after injuring his back, and learned he had can-counter (Avalon, 1959), End of Eternity (Lancer, cer that had spread to his spine. In a hospital bed 1963), End of the World (Ace, 1956), Envoy to New he was drawing storyboards for a new multimedia Worlds (Ace, 1963), Escape to Earth (Belmont, 1963), project, and died quietly, in the night. On June 16th, Exile of Time (Ace, 1964), Eye of the Monster (Ace, 2007, Emshwiller was inducted into the Science Fic-1962), First Flight (Lancer, 1963), First to the Stars tion Hall of Fame in Seattle, WA. His papers are (Ace, 1959), Five Galaxy Short Novels (Doubleday, archived at the California Institute of Arts.

1958), Forgotten Planet (Gnome, 1954), Full Circle Sources: main biographical provided by Luis Ortiz, Octo-

(Avalon, 1963), Galactic Derelict (Ace, 1961), Giants ber 2007. Lynch, Richard: SF conventions of the 1960s— a his-From Eternity (Avalon, 1959), Glass Cage (Avalon, tory of fandom/work in progress at jophan.org/1960s/chap-ter7.htm [accessed Nov 2007]; SKYRACK newsletter archive: 1962), Glory Planet (Avalon, 1964), Glory That Was newszine #94, August 8, 1967 at www.gostak.co.uk/skyrack/

(Avalon, 1960), Golden Ape (Avalon, 1959), Golden skyrack94.htm; Weinberg, 1988.

Blood (Lancer, 1964), The Good Old Stuff (St. Mar-Collections and Anthologies
tin’s, 1998), Great Explosion (Pyramid, 1963), Great (various contributing artists)

SF Adventures (Lancer, 1966), Greatest Adventure Aldiss, Brian. Science Fiction Art: The Fantasies of (Ace, 1960), Gunner Cade (Ace, 1957), Hand of Zei SF (Bounty Books, 1975), Eisler, Steven. Space Wars (Avalon, 1963), Have Spacesuit—Will Travel (Srib-Worlds and Weapons (Octopus, 1979), DiFate, Vin-ner’s, 1958), Hidden Planet (Ace, 1959), Highways cent. Infinite Worlds: The Fantastic Visions of Science in Hiding (Gnome, 1956), House on the Borderland Fiction Art (Wonderland Press/Penguin, 1997), (Ace, 1962), The Humanoids (Lancer, 1966), Hunter Frank, Jane and Howard. The Frank Collection: A of Space (Ace, 1960), Incomplete Enchanter (Pyramid, Showcase of the World’s Finest Fantastic Art (Paper 1964), Infinite Brain (Avalon, 1957), Interplanetary Tiger, 1999), Frank, Jane and Howard. Great Fan-Hunter (Gnome, 1956) I Speak for Earth (Ace, 1961), tasy Art Themes from the Frank Collection (Paper I Want the Stars (Ace, 1964), Invaders Are Coming Tiger, 2003), Ortiz, Luis.

(Ace, 1959), Invaders from Earth (Ace, 1958), Invaders from Rigel (Avalon, 1960), Involuntary Immor-Published Work
tals (Avalon, 1959), Island in the Sky (Avalon, 1961), BOOKS ILLUSTRATED INCLUDE: 3 in 1 (Pyramid, Joyleg (Pyramid, 1962), King of the 4th Planet (Ace, 1963), Address Centauri (Gnome, 1955), Again Dan-1962), Lest Darkness Fall (Prime Press, 1949), Let the gerous Visions (SFBC, 1972), Alien Dust (Avalon, Spacemen Beware (Ace, 1963), Light of Lilith (Ace, 1957), Alien Planet (Avalon, 1962), Alien Worlds 1959), Little Men (Avalon, 1960), Lords of Atlantis (Avalon, 1963), All About the Future (Gnome, 1955), (Avalon, 1960), Lost in Space (Avalon, 1959), And Then the Town Took Off (Ace, 1960), Armaged-Macabre Reader (Ace, 1959), Man with Nine Lives don 2419 AD (Avalon, 1962), Atlantic Abomination (Ace, 1960), Martian Visitors (Avalon, 1964), Masters (Ace, 1960), Beastmaster (Ace, 1961), Believer’s World of Evolution (Ace, 1959), Mel Oliver and Space Rover (Avalon, 1961), Best from F&SF 3rd Series, 4th Se-on Mars (Gnome, 1954), Men from Arturus (Avalon, ries, 6th Series (Ace, 1960, 1962), Beyond the Silver 1963), Million Year Hunt (Ace, 1964), Mind Spider Sky (Ace, 1961), Big Planet (Ace, 1958) Bow Down (Ace, 1961), Mission to a Star (Avalon, 1964), Men to Nul (Ace, 1960), Bridge to Yesterday (Avalon, 1963), on the Moon (Ace, 1957), Moon Men (Ace, 1962), Brigands of the Moon (Ace, 1958), Cache from Outer Moon of Mutiny (Holt, 1961), Naked to the Stars Space (Ace, 1962), Castle of Iron (Pyramid, 1962), (Pyramid, 1961), Naked Sun (Lancer, 1964), Neme-Celestial Blueprint (Ace, 1962), Chessboard Planet sis from Terra (Ace, 1961), Next Door to the Sun (Galaxy, 1956), City in the Sea (Galaxy, 1952), City (Avalon, 1960), No Man’s World (Ace, 1961), Off on on the Moon (Ace, 1957), Collision Course (Ace, 1961), a Comet (Ace, 1957), One Against Herculum (Ace, Conan the Barbarian (Gnome, 1954), Conquest of 1959), One of Our Asteroids Is Missing (Ace, 1964), Earth (Airmont, 1964), Conquest of Life (Avalon, Other World (Avalon, 1963), Outlaws of Mars 1960), Crashing Suns (Ace, 1965), Crisis in 2140 (Ace, (Avalon, 1961), Outposts in Space (Avalon, 1962), 1957), Currents of Space (Lancer, 1963), Cybernetic Pawns of Null-A (Ace, 1956), Peacemakers (Avalon, Brains (Avalon, 1962), Darker Than You Think 1960), People Minus X (Ace, 1958), People of the Tal-

(Lancer, 1963), The Dark Planet (Avalon, 1962), Day isman (Ace, 1964), Perfect Planet (Avalon, 1962), of the Giants (Airmont, 1959), Deathstones (Avalon, Planet in Peril (Avon, 1959), Planet Savers (Ace, 1964), Defiant Agents (World, 1963), Destinies Orbit 1962), Plague Ship (Gnome, 1956), Planet of Peril (Ace, 1961), Door Through Space (Ace, 1961), Dread-

(Avalon, 1961 ), Police Your Planet (Avalon, 1956), ful Sanctuary (Lancer, 1963), Drums of Tapajos Prelude of Space (Gnome, 1954), Prince of Peril

199

Emshwiller

(Avalon, 1962), Psionic Menace (Ace, 1963), Puzzle BEY: 1953 (7, 9, 11); 1954 (2, 3, 7, 9) Planet (Ace, 1961) Radio Beasts (Ace, 1964), Rebels of F&SF : 1952 (6, 9, 10,11); 1953 (2, 4, 5, 6, 7, 10, the Red Planet (Ace, 1961), Recalled to Life (Lancer, 11, 12); 1954 (1, 2, 3, 4, 8, 11, 12); 1955 (1, 4, 6, 8, 11); 1962), Recruit for Andromeda (Ace, 1959), Regan’s 1956 (5, 6); 1957 (2, 9, 10); 1958 (2, 5, 8, 9, 10, 12); Planet (Pyramid, 1964), Rendezvous on a Lost World 1959 (1, 3, 4, 6, 8, 10, 11); 1960 (1, 2, 4, 6, 8, 9, 11); (Ace, 1961), Rim of Space (Ace, 1962), River of Time 1961 (1, 2, 4, 5, 7, 9, 11, 12); 1962 (2, 4, 5, 6, 7, 9, 10, (Avalon, 1963), Runaway Robot (Westminster, 1965), 11); 1963 (1, 3, 4, 6, 7, 8, 9, 12); 1964 (1, 5, 6, 7, 11); Runaway World (Avalon, 1961), Sargasso of Space 1965 (3); 1966 (10); 1968 (1); 1969 7, 12); 1972 (11); (Gnome, 1955), Saucer of Loneliness (North Atlantic, 1974 (4); 1976 (11); 1979 (2)

2000), Search for Zei (Avalon, 1962), Secret Agent of FA: 1952 (1, 2, 4, 5, 8, 9, 10, 11, 12); 1953 (1) Terra (Ace, 1962), Secret of Sinharet (Ace, 1964), Se-FF : 1953 (2)

cret of Zi (Ace, 1958), Secret People (Avalon, 1956), FSQ: 1952 (9); 1953 (5, 7); 1954 (winter, summer, Seven From the Stars (Ace, 1962), SF Year’s Greatest fall); 1955 (winter, spring)

Science Fiction and Fantasy 1956 (Gnome, 1956), SF

FTC: 1952 (summer, fall, 11); 1953 (1, 11); 1960

Terror Tales (Gnome, 1955), Shadow Girl (Ace, (9, 11), 1961 (4); 1962 (7, 10); 1963 (10); 1964 (1, 2, 5, 1962), Six Worlds Yonder (Ace, 1958), Slavers of Space 7, 8, 9); 1965 (1, 9, 11); 1966 (1); 1968 (5, 8) (Ace, 1960), Slaves of the Klau (Ace, 1957), Snows of FU: 1956 (1, 5, 6); 1959 (12); 1960 (3) Ganymede (Ace, 1958), Space Station #1 (Ace, 1957), FUT: 1954 (3); 1955 (6); #8, #10); 1956 (#29, Spacial Delivery (Ace, 1961), Stalking the Wild Resnick

#30, #31); 1957 (#32/spring, #33/summer, #34/fall); (NESFA Press, 1991), Star Born (Ace, 1958), Star 1958 (#35/Feb) 1959 (2, 4, 6, 8, 10, 12); 1960 (2, 4) Gate (Ace, 1963), Star Hunter (Ace, 1961), Stars Like GXY: 1951 (5, 6, 7, 8, 9, 10, 11, 12); 1952 (1, 3, 4, Dust (Lancer, 1963), Star Ways (Avalon, 1956), Step-5, 6, 7, 8, 9, 10, 11, 12); 1953 (1, 2, 3, 4, 5, 6, 7, 8, 9, sons of Terra (Ace, 1958), Storm over Warlock (World, 10, 11, 12); 1954 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1955

1960), Sturgeon in Orbit (Pyramid, 1964), Sun (1, 2, 3, 4, 5, 6, 7, 9, 10, 11); 1956 (1, 2, 3, 4, 5, 6, 7, Smasher (Ace, 1959), Sword of Aldones (Ace, 1962), 8, 10, 11, 12); 1957 (1); 1958 (1); 1959 (6, 10, 12); 1960

Swordsman of Mars (Avalon, 1960), Tales of Conan (2, 4, 6, 8, 12); 1961 (2, 8); 1963 (2, 4, 10, 12); 1964

(Gnome, 1955), Tam, Son of the Tiger (Avalon, 1962), (2)

Ten Years to Doomsday (Pyramid, 1964), This Fortress IF : 1953 (3, 5, 7, 9); 1954 (14, 5, 6, 7, 8, 9, 10, World (Ace, 1957), Three Steps Spaceward (Avalon, 11); 1955 (1, 2, 3, 4, 5, 6, 8, 9, 10, 12); 1956 (4, 6, 8, 1963), Three to Conquer (Avalon, 1956), Threshold 10, 12); 1957 (2, 4, 6, 8, 10 12); 1958 (2, 4, 6, 8, 10, of Infinity (Ace, 1959), Time to Teleport (Ace, 1960), 12); 1959 (2, 7, 11); 1960 (1); 1963 (7, 9, 11); 1964 (11, Time Traders (Ace, 1960), To Conquer Chaos (Ace, 12)

1964), Tomorrow’s World (Avalon, 1956), Tongues of INF : 1956 (2, 4, 6, 8, 10, 12); 1957 2, 4, 6, 7, 9, the Moon (Pyramid, 1964), Towers of Toron (Ace, 10, 11); 1958 (1, 3, 4, 6, 8, 10. 11) 1964), A Town Is Drowning (Ballantine, 1955), Tran-PS: 1952 (3, 5, 7, 11); 1953 (3, 5, 9, 11); 1954 (5, sit (Lancer, 1964), Trial of Terra (Ace, 1962), Trou-summer, winter); 1955 (spring)

bled Star (Beacon, 1959), Troyana (Avalon, 1961), RS: 1953 (4)

Twenty-Second Century (Lancer, 1962), Undersea SAT: 1956 (10); 1957 (4)

Fleet (Gnome, 1956), Undersea Quest (Gnome, SFS: 1954 (#2); 1955 (1, 3, 5, 7, 9, 11); 1956 (3, 5, 1954), Valley of Creation (Lancer, 1964), Valley of the 7, 9, 11); 1957 (1, 3, 5, 7, 9, 11); 1958 (1, 5, 7, 9, 11); Flame (Ace, 1960), Vanguard From Alpha (Ace, 1959 (1, 2, 3, 5, 7, 9, 11); 1960 (1) 1959), Variable Man and Other Stories (Ace, 1957), SFA(BR): 1958 (#1, #2, #3, #5); 1960 (#15) Virgin Planet (Avalon, 1959), Void Beyond (Ace, SFA: 1953 (3); 1956 (12); 1957 (4, 6, 8, 9, 12); 1958), Voodoo Planet (Ace, 1959), Vulcan’s Hammer 1958 (3, 4, 6)

(Ace, 1960), Walk Up the Sky (Avalon, 1962), Wall of SFQ: 1954 (5, 8, 11); 1955 (5, 8, 11); 1956 (2, 5, 8, Serpents (Avalon, 1960), War of the Wingmen (Ace, 11); 1957 (2, 5, 8, 11); 1958 (2)

1958), Warlord of Kor (Ace, 1963), When the Sleeper SpS: 19512 (10, 12); 1953 (2, 4, 6)

Wakes (Ace, 1959), Wonder War (Pyramid, 1964), SpSF : 1952 (11); 1953 (2, 3)

World Within (Avalon, 1962), World Without Men SS: 1952 (6, 7, 8, 10, 12); 1953 ( 1, 2, 3, 4, 5, 6, 8); (Ace, 1958), World of Null-A (Ace, 1964).

1954 (spring, summer, fall); 1955 (winter, spring, summer, fall)

MAGAZINES ILLUSTRATED INCLUDE:

SSF : 1956 (12); 1957 (2, 4, 6, 8, 10, 12); 1958 (2, AMZ: 1952 (1, 2, 3, 6, 7, 8, 9, 10, 11, 12); 1953 (

4, 6, 8, 10, 12); 1959 (2, 4, 6, 8, 10) 2, 4, 8, 12); 1960 (8, 10, 11); 1961 (8); 1962 (1); 1963

TOPS: 1953 (fall)

(6, 7, 12); 1964 (3, 5, 7, 10); 1967 (6); 1969 (1) TRE: 1964 (1)

ASF : 1955 (10 11, 12); 1956 (2, 3, 4, 7, 8); 1957

TWS: 1952 (4, 8); 1953 (4, 6, 8, 11); 1954 (win-

(5, 6, 10); 1958 (5, 6, 12); 1959 (3); 1960 (6) ter, spring, summer, fall); 1955 (winter)

Fabian

200

VAN: 1956 (6)

Fabian does both color and black-and-white VEN: (1957 (1, 5, 7, 9, 11); 1958 (1, 3, 7) work, although he is probably known more for his WSA: 1953
interiors than for his cover paintings. He works in Misc.: Science Fiction Calendar 1976 (Scribner’s, pen and ink and black pencil on textured coquille 1975)

board (which gave many of his earlier interior illustrations the texture of a Finlay illustration) or colored Fabian, Stephen E.

pencils on Bristol vellum paper. His color work is (b. January 3, 1930) American artist. Born in done in acrylics on either canvas board or illustration Garfield, New Jersey, and raised in the nearby city of board. When the market for interior illustration be-Passaic, Fabian graduated from Passaic high school came limited in the professional science fiction field, in 1948 and joined the U.S. Air Force in 1949. He Fabian began working for semipro magazines like served as a teacher in Advanced Radio and Radar Weirdbook, and Crypt of C’thulhu, and continued to School at Scott Air Force Base, Belleville Illinois for contribute to fanzines, which helped him to main-the next four years. In 1953 he left the air force and tain his status as a fan favorite. Fabian also has be-began working for a number of electronic firms, income a regular illustrator for many of the small press cluding Dumont TV Labs, Curtiss Wright, and Sim-publishers, and has become a specialist in doing elab-mons Precision Products. He was working as an as-orately illustrated hardcover editions for publishers sociate engineer at Simmons in Vermont when the such as Underwood-Miller, and Donald M. Grant Arab oil boycott of 1973 brought about a major lay-as well as cover and frontis illustrations for Arkham off in the industry, and he found himself out of House. With the advent of role-playing games came work.

also a resurgence of interest in heroic imagery and a A science fiction reader since the early 1950s, need for B/W interior illustrations, and in the mid Fabian had always been a fan of the art featured in 1980s Fabian began working for TSR, Inc. produc-the pulps, especially the work of Hannes Bok*, Edd ing dozens of black-and-white interior illustrations Cartier*, and Virgil Finlay*. He had always been infor manual and gameboxes in their Dungeons & terested in art of all kinds since childhood and had Dragons(™) and Ravenloft(™) role-playing game assembled a huge library on all types of art as well as lines, plus covers and interiors for related Draga large section of instructional books on how to il-onlance(™) books and magazines ( Dragon, Gazet-lustrate. Entirely self-taught, Fabian studied and teer). A prolific genre artist, Fabian’s bold and col-practiced drawing and painting for thousands of orful style calls to mind the strongly sensual work hours before attempting to sell a piece. In the late of Frazetta*. The emphasis is on strong characters 1960s he began submitting work to fanzines and be-and beautiful women, straightforwardly and tradi-came a well-known fan artist. The day he was laid tionally presented in balanced compositions, with off from Simmons, he came home to find letters the central figures romantically rendered and posed from Sol Cohen, publisher of Amazing Stories, and against an impressionistic, dreamy background.

Jim Baen, editor of Galaxy Magazine, inviting him Fabian’s palette is frequently monotonic, even when to submit work to their magazines. Fabian imme-working in acrylics, which accentuates the dramatic diately switched careers from electronics to art, and aspects of his fantasy themes.

became a full-time illustrator. His first paid job in the Fabian has been nominated for seven Hugo SF field was a book assignment for the cover art and Awards and four World Fantasy Awards and won the interiors for the western story The Vultures by Robert British Fantasy Award for best professional artist in E. Howard, published by Fictioneer Books, 1973.

1977 and 1979. Married since 1955, he is the father Fabian’s first year of freelancing was difficult, but of two sons, Stephen Jr., and Andy.

with the help of his family and friends he adjusted Sources: email from the artist September 2006; www.

to the new lifestyle, and persevered to become one stephenfabian.com; www.arkhamhouse.com of the busiest and most popular illustrators in the Collections and Anthologies
genre. His exposure to publishers and fans was aided (various contributing artists)

by the patronage of book dealer, fan, collector and Almuric — Robt. E. Howard Portfolio ( Jonathan publisher Gerry de la Ree, who was also a life-long Bacon, 1977), The Art of the Fantastic (Gerry De La resident of New Jersey. De la Ree was known for Ree, 1978), The Best of Stephen Fabian (Loompanics championing favorite artists such as Virgil Finlay*, Unlimited, 1976), Crystal of a Hundred Years: A Port-Edd Cartier*, Hannes Bok through his self-pub-folio by Stephen E. Fabian from the works of Jack Vance lished books and art portfolios, and in the mid 1970s (Underwood / Miller, 1979), Fabian in Color port-he published several portfolios featuring drawings folio (Starmont House, 1980), Fantastic Nudes 1, 2 —
by Fabian which helped establish him as one of the Portfolios (Gerry De La Ree, 1976), Fantasy by Fabian most prominent black and white illustrators in the (Gerry de la Ree, 1978), The Hannes Bok Memorial field in the 1970s.

Showcase of Fantasy Art (Bokanalia Memorial Foun-

201

Fabian
dation, 1974), Ladies & Legends (Underwood–

Necropolis (Arkham House, 1980), New Horizons Miller, 1993), More Fantasy by Fabian (Gerry de la (Arkham House, 1998), Nonborn King (Doubleday/

Ree, 1979), The Queen of the Black Coast— Robt. E.

BCE, 1983), Occult Lovecraft (Gerry de la Ree, 1975), Howard Portfolio (Bortner & Kruse, 1976), Pagan Out of the Storm (Donald M. Grant, 1975), Over My Images Portfolio (Bob Lynn, 1978), Tower of the Ele-Shoulder (Oswald Train, 1983), Oz Encounter (Pyra-phant— Robt. E. Howard Portfolio (Bornter & mid Books, 1977), People of the Dark (2005), Pulp-Kruse, 1977), Women & Wonders (Charles F. Miller, time (W. Paul Ganley, 1984), Reflections in the Moon 1995)

Pool (Oswald Train, 1985), Refugees (Owlswick, 1999), Raum (Avon, 1977), Reign of Wizardry (Phan-BOOKS ILLUSTRATED INCLUDE: Adversary (Double-tasia, 1979), Rhialto the Marvelous (Brandywine day/BCE, 1983), Alien Flesh (Oswald Train, 1977), Books, 1984), Scallion Stone (Whispers Press, 1980), And Afterward the Dark (Arkham House, 1977), Scop (Pyramid, 1976), Sekenre (Wildside, 2004), Sev-Anita (Owlswick Press, 1990), Armageddon Box enteen Virgins/Bagful of Dreams (Underwood-Miller, (Wildside, 1991), Arthur C. Clarke (Starmont House, 1979), Shadow Kingdoms (Wildside, 2004), Shadow-1979), Asimov, Aliens & Outworlders (Dial Press, ings (Starmont House, 1983), Sir Harold and the (1983), Best From Galaxy 3 (Intergalactic, 1975), Best Gnome King (Wildside, 1991), Siva (Ace, 1979), Sixty of Destinies 1980 (Ace, 1980), Best of Weird Tales 1923

Selected Poems by J.P. Brennan (W. Paul Ganley, 1985), (Bleak House, 1997), Binary Star #2 (Dell, 1979), Space Opera (Underwood-Miller, 1984), Space Swim-Black Flame (Ace, 1975), Black Lodge (Wildside, mers (Ace, 1979), Stephen King as Richard Bachman 1991), Black Vulmea’s Vengeance (Baronet, 1977), (Starmont House, 1985), Stolen Desert of Dreams Books of Virgil Finlay (Gerry de la Ree 1975–1981), (Underwood Miller, 1981), Superluminal (Houghton Born to Exile (Arkham House, 1978), Brian Aldiss Mifflin, 1983), Survey Ship (Ace, 1980), Sword (Starmont, 1986), Carnifex Mardi Gras (Pequod Woman (Zebra, 1977), Tales By Moonlight (Garcia, Press, 1982), The Castle of the Otter (SFBC, 1982), 1982), The Third Grave (Arkham House, 1981), Tom Compleat Crow (W. Paul Ganley, 1987), Crystal O’Bedlam’s Night Out (W. Paul Ganley, 1985), Tran-World (Avon, 1981), Cugel’s Saga (Timescape, 1983), scients And Other Disquieting Stories (W Paul Ganley, Daughter of the Bright Moon (Ace, 1979), Desert of 1993), Two Against Tyre (Dennis McHaney, 1975), Stolen Dreams (Underwood-Miller, 1981), Devil’s Urania’s Daughters (Starmont House, 1983), Weird Auction (Owlswick, 1988), Dragon of the Ishtar Gate Heroes #2 (Pyramid, 1975), Winter Wish (Whispers (Donning, 1982), Dream of X (Donald M. Grant, Press, 1977), Whispers, Whispers 2, Whispers 3, Whis-1978), Elysia (W. Paul Ganley, 1989), Eyes of the pers 4 (Doubleday,1977, 1979, 1981, 1983), Whispers Overworld (Underwood-Miller, 1977), Famous Fan-In The Night (Fedogan & Bremer, 1999), White Isle tastic Classics #1 (Collector’s Editions, 1974), Fantasy (Wildside, 1989), Wings in the Night (2005), Witch’s Collector’s Annual (Gerry de la Ree, 1974), Far Fu-Dozen (Wildside, 2003), Witch of the Indies (Zebra, ture Calling (Oswald Train, 1979), Fire-Fiend And 1977), Worlds Within Worlds (Starmont, 1991).

The Raven (Gerry de la Ree, 1973), For a Breath I GAME RELATED ILLUSTRATIONS INCLUDE: (ALL

Tarry (Underwood-Miller, 1980), Gilden-Fire (UnFOR TSR, INC.) Castles Forlorn — Ravenloft(™) derwood-Miller, 1981), Golden Blood (Tamerlane manual cover (1994), Forbidden Lore card art and Press, 1978), Golden Torc (Houghton Mifflin, 1982), manual cover—Ravenloft(™) (1992), I, Strahd: The Green Magic: The Fantasy Realms of Jack Vance (Un-Memoirs of a Vampire— Ravenloft(™) book interior derwood-Miller, 1979), Green Pearl (Underwood-

(1993), Kender, Gully Dwarves, and Gnomes— Drag-Miller, 1985), Hasan (Dell, 1979), Hegira (Dell, onlance (™) book interior (1987), Masque of the Red 1979), H. G. Wells (Starmont House, 1979), Hollow Death and Other Tales— Ravenloft(™) gamebox Faces, Merciless Moons (Weirdbook, 1977), Horror at cover (1994). Love and War—Dragonlance(™) book Oakdeene (Arkham House, 1977), House of the Wolf interior (1987), Magic of Krynn— Dragonlance(™) (Arkham House. 1983), Iced on Aran (W. Paul Gan-book interior (1987), Reign of Istar— Dragon-ley, 1992), I Found Cleopatra (Starmont House, lance(™) book interior (1992),

1977 ), In Lovecraft’s Shadow (Mycroft and Moran, 1998), In Mayan Splendor (Arkham House, 1977), MAGAZINE ILLUSTRATIONS INCLUDE:

In the Mist and Other Uncanny Encounters (Arkham AMZ: 1974 (12); 1975 (3, 5, 7, 9, 11); 1976 (1, 3, House, 1979), Isle of Pirate’s Doom (George T.

6, 9, 12); 1977 (3, 7, 10); 1978 (1, 5, 8); 1982 (3); Hamilton, 1975), Kecksies and Other Twilight Tales 1987 (3)

(Arkham House, 1976), Metal Monster (Avon, 1976), DRA: 1988 (10); 1989 (8, 12); 1990 (1); 1994 (5, 10) Mask of the Sorcerer (SFBC/NEL, 1995), Miscast Bar-FB: 1982 (11)

barian — A Biography of Robert E. Howard 1906–

FT: 1984 (Winter); 1987 (Summer)

1936 (Gerry De La Ree, 1975), Moon of Skulls (Wild-FTC: 1975 (2, 4, 8, 10, 12); 1976 (2, 5, 8, 11); 1977
side, 2005), Morreion (Underwood/Miller, 1979), (2, 6, 9, 12); 1978 (4, 7, 10); 1979 (1)

Fagg

202

GXY: 1971 (8, 9); 1974 (11, 12); 1975 (9); 1976 (3, tile artist, Farley can work in any medium, but 7, 10. 11); 1977 (3, 6, 9, 10); 1978 (5, 6, 7) prefers acrylics, graphite and ink. As a freelance IASFA: 1979 (Fall)

artist, he produced Illustration and design for a va-IASFM: 1980 (1, 8)

riety of companies, among them: Baen Books, Dou-IF : 1974 (10)

bleday, Random House, Asimov’s Magazine, Game POLY: 2000 (10)

Designer’s Workshop, TOR Books, TSR, Inc., Mar-WT: 1988 (Summer); 1998 (Fall)

vel Comics, Mirage Studios, Lego and the Easton Press. His first paperback cover sale was to Baen Fagg, Kenneth Stanley

Books in 1985, for the Jim Baen and Larry Pour-

(May 29, 1901-January 7, 1980) American artist.

nelle anthology Far Frontiers.

Fagg was born in Chicago, and was a graduate of By 1989, Farley had started working digitally, the University of Wisconsin, receiving a BA in Let-doing animation and 3D work. He began working ters and Science in 1923. As an illustrator, he had in the For 14 years I was employed in the publishing clients as diverse as General Electric, Mack Trucks, and toy licensing business with the company that Hammermill Paper, U.S. Rubber, IBM, Dow created and licensed the Teenage Mutant Ninja Tur-Chemical, and others, with his works appearing in tles, one of the most successful licensed property to many popular, mainstream magazines ( Holiday, Post, that time. Farley was the Contributing Art Direc-Collier’s, Time) before they ever were seen on science tor, providing illustration and design for electronic fiction magazines. When it first began publishing, IF
and print purposes as well as multimedia program-magazine featured a number of cover artists new to ming, 3D modeling and animation, video editing the genre, among them Fagg. He produced some and computer tech support and web site/server outstanding covers for this digest magazine over the maintenance. He was on the Mirage management course of the two years he worked as their regular team for four years as the Artist Representative, and cover artist, and his wraparound covers for IF were served on the Board of Directors of the Xeric Foun-instrumental in taking that magazine to the fore-dation’s comics grant program for ten years. Farley front of the science fiction field at the time. Fagg, also produced many CD Rom projects as an inde-like other professional illustrators who came to the pendent contractor over the years.

genre from other commercial fields did not remain Farley is divorced and has two daughters, Rachel for very long, but his experience showed in his well-and Alana. He enjoys playing his guitar, and living executed covers. His three covers for the 36 volume and Chicopee, MA. His varied skills in illustration, Winston Juvenile series of science fiction, published design and 3D animation enable him to continue as “Adventures in Science Fiction” were also mem-working for Sun Microsystems and on his own proj-orable.

ects while still taking on assignments for book cov-Fagg’s paintings are held in the Air Force Art Colers.

lection, and he was a member of The American Wa-Sources: e-mail from the artist April 2007; www.altere-tercolor Society, the American Polar Association and dearth.com;

The Arctic Institute Of North America.

Sources: United States Air Force Art Collection database Published Work
accessed 4/4/05 [online http://www.afapo.hq.af.mil]; email BOOKS ILLUSTRATED INCLUDE: Another Day, An-from Kevin Meske, April 5, 2005, Alumni Services Specialist, other Dungeon (Tor/BCE, 1990), Birth of Fire (Baen, University of Wisconsin Alumni Association.

1987), Bring The Jubilee (Easton Press, 1988), The Published Work

Crystal Memory (Avon, 1987), The Day the Martians BOOKS ILLUSTRATED INCLUDE: Attack from At-Came (Easton Press, 1988), Dorsai (Easton Press, lantis, Battle on Mercury, Mystery of the Third Mine 1987), Dragonback Bargain (SFBC, 2005), Escape ( John C. Winston, 1953)

from Kathmandu (Easton Press, 1990), Far Frontiers M

(Baen, 1985), The Golden People (Baen, 1987), John AGAZINES ILLUSTRATED INCLUDE:

IF : 1953 (3, 5, 7, 9, 11); 1954 (1, 3, 4, 6); 1955 (5) Grimes Ring Commander (SFBC, 2005), Kinsman Saga (Easton Press, 1990), New Destinies (Baen, Farley, Arnold Craig

1987), The Paladin (SFBC, 1989), Planet of the Dead (b. February 16, 1955) American artist. The artist (Baen, 1988), Precious Cargo (Del Rey/BCE, 1990), who is known professionally as “A.C. Farley,” or Proteus Manifest (Guild America/BCE, 1990), Retief

“Craig Farley” was born and raised in Indianapolis, to the Rescue (Baen, 1987), Revolt in 2100 (Baen, Indiana. Largely self-taught, Farley graduated from 1981), Test of Honor (Guild America/BCE, 1995), Northwest High School, and then joined the U. S.

Warrior Planet (Baen, 1987).

Army, where he received illustrator training. He MAGAZINES ILLUSTRATED INCLUDE:

worked for twelve years for Sanders Lockheed creat-ASF : 1990 (11);
ing technical illustrations for military use. A versa-IASFM: 1989 (1, 9); 1990 (6)

203

Faragasso

GAME AND OTHER ILLUSTRATIONS INCLUDE: Mastering Drawing: The Human Figure from Life, AD&D Player’s Handbook 2nd ed. (TSR, Inc., 1989), Memory, Imagination (Stargarden Press, 1999). He 2300AD, Last Battle role-playing game box art, Re-also contributes articles on various artistic topics to bellion sourcebook (Game Designers Workshop, the magazines Watercolor Magic, and A.R.T. Ideas.

1988, 1989), Heresy: Kingdom Come card art (Last Faragasso taught at the Woodstock School of Art Unicorn Games, 1995), Teenage Mutant Ninja Tur-

(1981), and the Scottsdale Artists School (AZ), 1984–
tle Collected Book #1, #4, #5, #6, #7 book covers ( Mi-1987, and continues to teach drawing and painting rage Publishing, Acrylic, 1990, 1991), Teenage Mutant at the Art Students League. He is a life member of Ninja Turtle comic book covers for Mirage Publish-the Art Students League, the Artists Fellowship, and ing: 1992 (#49, #53, #54), 1993 (#55, #56, #57, #58, A.R.T., the American Renaissance of the Twenty-

#59, #60, #61, #62), “Master Splinter” pin up art first Century. He is a fellow of the American Artists (Mirage Publishing, 1991), Star Trek: The Next Gen-Professional League (1968), and a member of the eration Officer’s Manual (FASA, 1988), Star Wars: American Portrait Society (1983), and the Ameri-Imperial sourcebook (West End Games, 1994).

can Society of Portrait Artists. Faragasso is listed in the Dictionary of International Biography, Men of Faragasso, Jack

Achievement, International Who’s Who in Art and (b. January 23, 1929) American artist. Born in Antiques, Who’s Who in American Art, Who’s Who Brooklyn, New York, Faragasso was one of numer-in the East, and Who’s Who in American Educa-ous New York students who studied under Frank J.

tion. His fine art and portraiture has been exhibited Reilly at the Art Students League, attending that in many galleries, primarily in New York and Ari-school from 1949 through 1953. As a student he pro-zona, and are found in private collections through-duced many paintings for Richard Kollmar’s “Little out the United States and abroad.

Studio,” founded as a place for young artists to show Sources: correspondence from the artist June 15, 2005; their work. He also studied art in Florence, Italy in

“The Art of Jack Faragasso” Illustration Magazine, No. 1, 2001.

1956. While known for his genre paperback cover Published Work
illustrations, primarily from the mid 1960s to mid BOOKS ILLUSTRATED INCLUDE: Across the Com-1970s, Faragasso is equally known, nationally and mon (Lancer, 1966), Alien Earth and Other Stories internationally, as an art instructor, fine artist, and (Macfadden, 1969), An Adopted Face (Popular Li-author. He studied with and worked under Reilly brary, 1973), Anton York, Immortal (Belmont, 1965).

for many years, became a foremost authority on the Ames Holbrook, Deity (Popular Library, 1971), The Reilly system of drawing and painting, and as an inAnt Men (Macfadden, 1967), Balance of Terror structor of the Frank J. Reilly School of Art, became (Berkley, 1976), Beware the Beasts (Macfadden, its director after that artist’s death in 1967. Like a 1970), Beyond the Gates of Dream (Five Star, 1973), number of other graduates of the Art Students The Bite of Monsters (Belmont, 1971), The Black Dog League, Faragasso returned to the school as a teacher (Belmont, 1971), Brides of Saturn (Berkley, 1976), (of drawing and painting in the time-honored real-Bridge of Fear (Belmont, 1970), Captive Universe istic manner) in 1968, and has taught a number of (Berkley, 1974), The Case of Charles Dexter Ward younger artists who have since entered the science (Belmont, 1965), The Changeling (Macfadden 1967), fiction field, including James Warhola* and Joseph Cities of Wonder (Macfadden, 1970), The Coming of DeVito*.

the Strangers (Macfadden, 1970), Cry of Neptune Faragasso sold his first paperback cover in 1952

(Berkley, 1976), The Dalyth Effect (Berkley, 1977), and as a free-lance illustrator produced hundreds of Dark Hunger (Macfadden, 1969), The Dark Millen-cover paintings on a range of subject matter. Work-nium ( John Spencer & Co, 1978), Death on a Warm ing for Berkley, Pocket Books, Popular Library, Wind (Belmont, 1970), The Death Master (Popular Signet, Lancer, Belmont and Macfadden publishers Library, 1974), The Death World Trilog y (Berkley, he produced paperback covers for gothic romances 1974), Doorway Into Time (Manor, 1973), The Dou-and mysteries, in addition to science fiction. For ble Man (Popular Library, 1971), Dunes of Pradal commercial assignments he worked in oil, tempera, (Popular Library, 1971), Empire of the Atom (Mac-and casein, and typically produced small (approx.

Fadden, 1970), Ensign Flandry (Lancer, 1967), The 7" × 4") color sketches in gouache for the art direc-Explorers (Ballantine, 1954), Flyer (Popular Library, tor’s approval before executing the final, larger paint-1973), Forward in Time (Popular Library, 1973), ing.

Froomb! (Macfadden, 1970), The Frozen Planet and By the early 1980s, Faragasso’s greater involve-Other Science Fiction Novellas (Macfadden-Bartell, ment with teaching and writing coincided with his 1970), The Funhouse (Popular Library, 1973), The turning from illustration to fine art. In 1980, his Godmakers (Pinnacle, 1973), The Great Brain Robbery highly regarded Student’s Guide to Painting was pub-

(Belmont, 1970), Hieros Gamos of Sam and An Smith lished (North Light Publishers), later followed by (Popular Library, 1971), The High Crusade (Macfad-

Feck

204
den, 1968), Horror Hunters (Macfadden, 1970), The from the School of Art and Design. He was a steady Inverted World (Popular Library, 1974), The Invisi-contributor to the paperback cover art market for a ble Trap (Lancer, 1967), Journey Into Fear (Belmont number of years, working in several genres—action/

Tower, 1977), Key Out of Time (World, 1963), The adventure, science fiction, fantasy, gothics, romance.

Lions Gate (Berkley, 1976), The Little Monsters (Mac-Feck worked mainly for Berkley Medallion books, fadden, 1969), The Long Sleep (Popular Library, Warner and Bantam, working in a wide range of 1975), The Many Worlds of Barry Malzberg (Popular styles — in gouache or acrylics — although his more Library, 1965), Martyr (Popular Library, 1970), Mas-graphic, abstract covers seemed to be the most mem-ter of the World (Lancer, 1968), Masters of Time orable. From 1961–1965 he also contributed several (Macfadden, 1969), Menace of the Saucers (Belmont, interior illustrations to Argosy magazine. Feck died 1969), The Mind From Outer Space (Popular Library, from a heart attack at age fifty-six.

1971), The Moon Shadow (Berkley, 1976), Nail Down Sources: Weinberg, 1988
the Stars (Popular Library, 1973), Night of the Big BOOKS ILLUSTRATED INCLUDE: 2150 A.D. (Warner, Heat (Macfadden, 1969), Night of the Scorpion 1976), The Alien Way (Warner, 1977), Altered States (Berkley, 1976), No Room for Man (Manor, 1972), (Bantam, 1979), The Beyonders (Warner, 1977), A The Oddballs (Manor, 1973), The Other Foot (Mac-Canticle for Leibowitz (Bantam, 1976), Cinnabar fadden, 1971), Other Worlds, Other Times (MacFad-

(MacMillan, 1976), Demon Seed (Bantam, 1973), den, 1969), Perchance to Dream (Manor, 1976), Play-Ice! (Bantam, 1978), Kull (Bantam, 1978), Mocking-back in Terror (Berkley, 1976), Pyramids From Space bird (Bantam, 1981), The New Atlantis (Warner, (Macfadden, 1971), Richard Blade: #2 The Jade War-1978), The Star Trek Reader #1, #3 (E.P. Dutton & rior, # 3: Jewel of Tharn (Macfadden, 1969), The Co., 1972, 1977), Those Gentle Voices (Warner, 1976), Robot Brains (Macfadden, 1969), The Screaming Face Twelve Maidens (Bantam, 1975), Vault of Horror (Macfadden, 1970), Secret of the Black Planet (Bel-

(Bantam, 1973).

mont, 1969), Secret of the Red Spot (Popular Library, 1971), Secret of the Runestaff (Lancer, 1969), The Sleep Feibush, Raymond

Eaters (MacFadden, 1969), Specimens (Popular Li-

( January 22, 1948–June, 1998) British artist. Ray brary, 1974), Stardrift (Popular Library, 1973), The Feibush was born in Liverpool, England and immi-Star Witches (MacFadden, 1965), Shoot for the Moon grated with his family to the United States in 1955, (Macfadden, 1970), Starfire Prophecy (Berkley, 1976), where he lived for eleven years. His first art sale was The Star Witches (Macfadden-Bartell, 1970), Suffer to a horror while he was in the U.S. shortly before a Witch (Lancer, 1966), The Thinking Seat (Popular returning to England in 1966 to try for a grant to Library, 1971), The Three Stigmata of Palmer Eldritch attend art school. When he failed to qualify for the (Macfadden, 1971), Through the Gate (Popular Li-grant, he turned to freelancing without formal art brary, 1971), Tiger by the Tail (Macfadden, 1968), training and little experience. He worked on a vari-Time and Stars (MacFadden, 1970), Time Beyond ety of jobs, ranging from technical illustrator for a Time (Belmont, 1971), The Time Connection (Popu-science magazine, to cartooning, to designing record lar Library, 1976), The Time Masters (Signet, 1954), album covers. His record cover for Milhoud’s La Tower of the Dark Light (Popular Library, 1972), Creation du Monde won a Music Week design award.

Towers of Zand (Macfadden, 1971), Twilight for Tau-Panther Books gave him his first science fiction com-rus (Berkley, 1975 ), Universe Three, Universe Four mission in 1971, for the cover to Ronald Hall’s The (Popular Library, 1973, 1974), The Venus Factor Open Cage, and this was followed by other jobs in a (Macfadden, 1971), The Voyage of the Space Beagle range of genres including wartime adventures and (Macfadden, 1968), Walls (Popular Library, 1974), other novels.

The War of the Worlds (Lancer, 1967), Way Station Through the 1970s he worked primarily for New (Macfadden, 1969), When the Sky Burned (Popular English Library, producing a long string of SF cov-Library, 1973), A World Unknown (Popular Library, ers — among them Asimov’s series of juvenile nov-1973), 5 Unearthly Visions (Fawcett, 1965), The els — worked in a colorful, surrealistic style. He pre-6 Fingers of Time and Other Stories (MacFadden, ferred SF to other genres for the reason given by 1969).

many more imaginative illustrators of the time: “be-MAGAZINES ILLUSTRATED INCLUDE:

cause it does not restrict me: no one can tell me FTC: 1960 (4)

“Mars isn’t like that” when I’ve finished a painting.”

ORB: 1954 (11)

( New Visions, p. 36). By his own account, however, he was also “a very slow worker (spending) 95 per-Feck, Lou
cent of the time sitting there looking at the painting, ( July 8, 1925–November 4, 1981) American artist.

studying it for any little thing that’s wrong … I try A New York City based artist, Louis Feck attended to be a perfectionist.” His main mediums were acrylic Pratt Institute (Brooklyn, NY) and graduated 1950
and gouache, done by handbrush; he was one of the

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Fernandes
few artists at the time not relying on the airbrush for this time, for a brief period, he attended genre con-filling in backgrounds. Feibush was interviewed in ventions where he met some of these authors, and Science Fiction Monthly March, 1976 and profiled in other artists. But Fernandes in the main has always Sacks’ biographical and pictorial anthology New Vi-kept a low profile, preferring not to compete for sions (1976), featuring up-and-coming British artists awards in the field, and most of the time did not whose work appeared in that magazine.

even sign his work. At the same, Fernandes still has Sources: Sacks, Janet. Visions of the Future (Chartwell, in his possession nearly all of his original paintings, 1976); Weinberg, 1988.

as he puts it, because he was “always somewhat ob-Published Work
sessive about getting them back.” In some cases, the BOOKS PUBLISHED INCLUDE: All the Colors of client would insist on a buyout (of rights) so he had Darkness (NEL, 1975), Carrie (NEL, 1974), (NEL, to give those originals up, but “fortunately they 1975), (NEL, 1974), The Godmakers (NEL, 1974), weren’t any of my favorite ones.”

(NEL, 1972), The Lion Game (DAW, 1973), (NEL, Fernandes has produced poster art for the SF films 1975), (NEL, 1975), (NEL, 1974), The Omega Point Star Trek 2: The Wrath of Khan (1982), Scanners (NEL, 1974), The Open Cage (Panther, 1971), (NEL, (1980) and The Dead Zone (1983). His artwork ap-1975), Podkayne of Mars (NEL, 1977), The Rings of peared on fourteen covers of the popular magazine Saturn (NEL 1974), A Second Isaac Asimov Double Omni during its heyday, all but two of them paint-

(NEL, 1973), Spectrum of a Forgotten Sun: Dumarest ings that were part of Fernandes’ “Femmenoid” se-

#15: (DAW, 1976), Star Courier (DAW, 1977), ries. His work also was used in numerous issues il-Through a Glass Clearly (NEL, 1970), To Outrun lustrating articles within the magazine. Several of Doomsday (NEL, 1975), The Wizard of Linn (NEL, his Omni cover paintings were also used as posters on 1975).

bus shelters in New York City. In the 1980s Fernandes moved into advertising and other types of illus-MAGAZINES ILLUSTRATED INCLUDE:

trative work, mainly pharmaceutical and hi-tech as-SFM (BR): 1974 (3); 1975 (3, 4)

signments, but he still maintained a science-fictional look in his work. In recent years, his book illustra-Fernandes, Stanislaw
tions have included many horror titles, such The (b. May, 8, 1945) British-American artist. Born in Scream, Walkers and The Howling 2 & 3, as well as Uganda (then British East Africa), Fernandes’ fam-mysteries and thriller novels for St. Martin’s Press ily immigrated to Great Britain in 1953. He gradu-and Warner. Still working in a graphic and photo-ated from St. Bonaventure School, and received his realistic style. Fernandes runs his own design and graduate education at Central St. Martin’s College of graphics studio, with services ranging from to web Art & Design, London. Originally intending to site design and lettering and logos to “Fix-It”— a study fine art, he changed his course of study to new service to artistically repair or enhance existing graphic design and completed additional post-grad-images, or transform preliminary concepts into uate coursework in film making, TV and photogra-finished, high-resolution images.

phy. Fernandes then joined Corgi Books as a junior Sources: e-mail from artist March 2006; artist website: designer, and soon was promoted to art director.

www.sf01.com/

Five years later he formed his own design group, Published Work

“Solution.” By the 1970s Fernandes had moved to BOOKS ILLUSTRATED INCLUDE: Against The Fall New York, and he has been living and working there of Night ( Jove/HBJ, 1978), Appointment at Blood-ever since.

star ( Jove/HBJ, 1977), Asimov on Science Fiction Fernandes brings his own perspective to science (Avon, 1981), Best Animal Stories of Science Fiction fiction art, with a distinctive and colorful graphic and Fantasy (Frederick Warne, 1979), Best of Arthur style. Like the work of Mike Hinge* or Gene C. Clarke (Ballantine, 1976), Bicentennial Man (Gol-Szafran*, whom the artist met while working for lancz, 1990), Chariots of the Gods (Corgi, 1969), Judy-Lynn & Lester de Rey at Ballantine Books in Charisma (Dell, 1979), Childhood’s End (Ballantine/
the early 1970s, Fernandes’ style was heavily Del Rey, 1975), Cirque (Fawcett, 1977), Cornelius influenced by the psychedelic period of the 1960s, Chronicles (Avon, 1976), Cyberiad (Avon, 1975), Dig-yet has elements of symbolist “surreal” or “vision-its And Dastards (Corgi, 1970), Earthlight (Ballan-ary” approaches. All of his paintings in the 1970s tine/Del Rey, 1976), Eclipsing Binaries (Berkley, through the early 1990s were painted in airbrushed 1983), Expedition to Earth (Ballantine, 1976), First acrylics, on a unique clay coated board called CS10

Voyages (Avon, 1980), Futurological Congress (Avon, and used a Pelikan and Rotring special inks. In the 1976), Getaway World (Berkley, 1983), The Hu-1970s Fernandes’ work was used for books by lead-manoids (Futura, 1974), Imperial Earth (Ballantine, ing SF authors of the time, such as Isaac Asimov, 1976), The Investigation (Avon, 1976), Memoirs Arthur C. Clarke and Stanislaw Lem, and during Found in a Bathtub (Avon, 1976), A Mirror for Ob-

Ferrari

206
servers (Avon, 1975), Mortal Engines (Avon, 1981), sociates, Electronic Arts Mattel Interactive and Mac-Night Fall (Warner, 2004), Observer (Avon, 1975), Graw Hill Interactive, among others. Ferrari had Omicron Invasion (Berkley, 1984), Planet of Treach-been writing in his spare time when an accident on ery (Berkley, 1982), Please Do Not Touch (Scholas-his mountain bike in 2000 forced a permanent tic, 1993), Prelude to Space (Ballantine/Del Rey, change in his career. After learning that the accident 1976), Purity Plot (Berkley, 1980), Reach For Tomor-had affected his ability to render images in colored row (Ballantine/Del Rey, 1977), Reader’s Guide to pencil Ferrari decided to transition to fantasy au-Fantasy (Avon, 1979), Rendezvous With Rama (Bal-thor and his Book of Joby was published in 2007 by lantine/Del Rey, 1996), Return from the Stars (Avon/

Tor.

Bard, 1982), Revolt of the Galaxy (Berkley, 1984), Sci-Sources: artist website www.markferrari.com [accessed ence Fiction of the 50s (Avon, 1979), The Scream Nov 2007]; Moher, Aidan. Interview with Mark J. Ferrari October 12th, 2007, A Dribble of Ink online aidanmoher.com/; (Bantam, 1987), She (Hart, 1975), Smile on the Void Hickman, Terry. Interview with Mark Ferrari at Strange Hori-

(Berkley/Putnam, 1981), Spaceship of Ezekiel (Corgi, zons February 2, 2002 www. Strangehorizons.com [accessed 1974), Star Diaries (Avon, 1977), Star Trek: Log One, February 2007]

Log Two, Log Three, Log Four, Log Five, Log Six, Log Published Work

Seven, Log Eight, Log Nine, (Ballantine/Del Rey, BOOKS WRITTEN AND ILLUSTRATED: Book of Joby 1977), Stranglers’ Moon (Berkley, 1982), Sturgeon In (Tor, 2007).

Orbit ( Jove/HBJ, 1977), Tales From the White Hart (Ballantine, 1976), Terminal Man (Corgi, 1971), Trail BOOKS ILLUSTRATED INCLUDE: Bestsellers Guar-Of Cthulhu (Neville Spearman, 1974).

anteed (Ace, 1993), Crisis on Doona (SFBC, 1992), Dragonflight #1 (SFBC/Eclipse, 1991), Eye for an MAGAZINES ILLUSTRATED INCLUDE:

Eye/Tunesmith (Tor, 1990), The First Book of the IASFM: 1988 (3, 5)

Painter: Boy from the Burren (Penguin/Roc, 1990), Misc.: Marilyn Monrobot greeting card design Nightwings (Tor, 1989), Starspawn (Ace, 1990), Sup-

(Rock Shots, 1980), Tomita: Holst’s “The Planets”

port Your Local Wizard (SFBC/Guild America, suite disc cover (RCA, 1976).

1990).

GAME–RELATED ILLUSTRATIONS INCLUDE: The Art Ferrari, Mark Joseph
of Playing Mythos the Cthulhu Collectable Card Game: (November 29, 1956). American artist. Born in A Tome of Arcane Knowledge (Chaosium, 1996), S. Pe-the San Francisco area, northern California Ferrari tersen’s Field Guide to Creatures of the Dreamlands is largely self, having spent only two semesters at the (Chaosium, 1989)

California College of Arts and Crafts in Oakland, California before running out of money for his ed-MAGAZINES ILLUSTRATED INCLUDE:

ucation. Ferrari did relatively little commercial book MZB: 2000 (autumn)

illustration work before moving into digital art for gaming companies. The artist is unusual for having Fields, Fred
used Prismacolor pencils as his media of choice, cre-

(March, 1965) American artist. Born in Hawaii, ating highly detailed and colorful drawings that were Fields grew up in the small town of Burlington, realistic enough at times to pass for photographs.

Kentucky. He began painting at the age of nine, and He says he originally picked the medium because he took art classes for eight years under the tutelage of considered it visually more attractive; “it was more German born artist Anneliese Wharenburg. Fields at-affordable than most other media and it was very tended Central Academy of Commercial Art in portable.” His first exhibit at a convention was at Cincinnati. Soon after graduation he landed a job BayCon (Oakland, CA), in 1987. He had very little with Leo Burnett Advertising in Chicago as a comp experience in the field but because he was working artist illustrating television storyboards and doing on the contract for the H. P. Lovecraft Creatures of side jobs for such agencies as J. Walter Thompson, the Dreamlands book at the time, he had to enter the and B.B.D.O. Chicago. Tiring of advertising he re-Art show listed as a Pro instead of an Amateur, turned to Kentucky and spent the next two years which meant competing against many artists who freelancing while in his spare hours he worked on were already well-established illustrators. He was his fantasy portfolio. His first fantasy art assignment very surprised when his painting “The Dream” won came from Ral Partha Miniatures Company illus-the Best of Show and Best Fantasy award in the Pro-trating blister cards and box covers. In 1988 he fessional category. He went on to do illustration and painted his first Dragon Magazine cover and on June concept work for book and game publishers such as 5th, 1989 he was hired by TSR, Inc. as a full mem-Tor, Ace-Berkeley, NAL, Doubleday, Eclipse ber of its art staff and moved to Milwaukee, Wis-Comics, Chaosium, and gaming software illustra-consin.

tion for Lucasfilm, Lucasarts Software, Realtime As-Fields worked ten years on staff at TSR. Inc., and

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Finlay
moved with the company to Seattle, Washington avans: Al-Qadim (1994), Complete Paladin’s Hand-when it was relocated there by the new owners, game book: AD&D (1994), Complete Ranger’s Handbook: company Wizards of the Coast. He lived and worked AD&D (1993), Death Unchained: Ravenloft (1996), for the company another year before deciding that he A Dozen and One Adventures: Al-Qadim (1993), had tired of science fiction and fantasy illustration Draconomicon: Forgotten Realms (1990), Dragons and “painting for the sake of painting” was very ap-

(classic), (1992), Drizzt Do’Urden’s Guide to the Un-pealing. In 2000 Fields decided to take a few months derdark: Forgotten Realms (1999), Dungeons of De-away from illustrating to do some fine art pieces. A spair: AD&D (1999), Elminster’s Ecologies, Appen-visit to Arizona, and the favorable responses of gal-dix I: The Battle of Bones & Hill of Lost Souls; leries there to his new works convinced him to move Appendix II: The High Moor The Serpent Hills: For-to the Southwest, where he began a new chapter in gotten Realms (1995), Encyclopedia Magica Vol. 1, 2: his art career. Fields creates scenes featuring con-AD&D (1994, 1995), Endless Armies: Forgotten temporary people of the West with ties to the Old Realms (1991), Fires of Zatal: Forgotten Realms West. He is a member of the Oil Painters of Amer-

(1991), Greyhawk Ruins (1990), Illithiad: AD&D
ica. His work has appeared in Southwest Art mag-

(1998), Land of Fate: Al-Qadim (1992), Lankhmar: azine, International Artist magazine, and on the cov-City of Adventure, Rev. Ed. (1993), Lost Shrine of ers of the following magazines; Rocky Mountain Bundushatur: AD&D (1998), Magic Encyclopedia, Rider, Beef and High Sonoran Style. His originals have Vol. 1: AD&D (1992), Maztica Campaign Set: For-hung in major galleries which specialize in western gotten Realms (1991), Night Howlers: Dungeons & art, in Arizona, Montana, California, and Wyoming.

Monstrous Compendium: Ravenloft Appendix II: Chil-His limited edition prints are produced by Mill Pond dren of the Night (1993), Nightrage; Nightwail: Hol-Press. The artist’s first marriage ended in divorce.

low World (1990), Ninja Wars: Oriental Adventures He remarried and lives in suburban Phoenix, Arizona (1990), Otherlands: Dragonlance (1990), A Paladin In with his wife Sandy and two sons.

Hell: AD&D (1998), Requiem: The Grim Harvest Sources: artist website at www.fieldsartwest.com; Ness, (Ravenloft (1996), Return to the Keep on the Border-Alexander. “An interview with the artist Fred Fields” in lands: Greyhawk (1999), Ruined Kingdoms: Al-Thoughts From the Land of Frost. Special Edition, July 2003 at www.robingoodfellow.com [accessed May 17, 2005]

Qadim (1994), Ruins of Undermountain II: The Deep Levels: Forgotten Realms (1994), Ruins of Zhentil Collections and Anthologies

Keep: Forgotten Realms (1995), Seven Sisters: For-

(various contributing artists)

gotten Realms (1995), Sons of Azca: Hollow World The Art of the Advanced Dungeons & Dragons(tm) (1991), Spellbound: Forgotten Realms module and (TSR, Inc., 1989), High Tech & Low Life: The Art of box cover (1995), Target: UCAS: Shadowrun (FASA, Shadowrun (FASA, 1997).

1997), Thoughts of Darkness: Ravenloft (1992), Time Published Work
of the Dragon: Dragonlance (1989), Underworld B

Sourcebook: Shadowrun (FASA, 1997).

OOKS ILLUSTRATED INCLUDE: (ALL TSR(TM) PUBLICATIONS) All Shadows Fled (1995), Cloak of MAGAZINES ILLUSTRATED INCLUDE:

Shadows (1995), Crown of Fire (1994), Crypt of the DRA: 1988 (11); 1989 2); 1992 (5); 1994 (3, 5, 8); Shadowking (1993), Curse of the Shadowmage (1995), 1996 (Annual #1); 1998 (6); 2000 (2)

Dark Horse (1990), Daughter of the Drow (1995), Elf-shadow (1991), Faces of Deception (1998), Feathered Finlay, Virgil Warden

Dragon (1991), Glass Prison (1999), Half-Light (1992), (July 23, 1914–January 18, 1971) American Artist.

Ironhelm (1990), Kingslayer (1992), Lightning’s There is general agreement that Finlay may have Daughter (1991), Lord of the Necropolis (1997), Mas-been the most important interior illustrator of the querades (1995), Night Parade (1992), Night Watch (1990),
twentieth century; certainly most would agree with Nine Gates (1992), Parched Sea (1991), Pools Weinberg that the artist “changed the course of sci-of Darkness (1991), Pool of Twilight (1993), Red Magic (1991),
ence fiction illustration.” (1988, p. 110). Weinberg Ring of Winter (1992), Shadows of Doom (1995),
writes “Before (Finlay) began working for the pulp Siege of Darkness (1994), Silver Shadows (1996),
magazines of the 1930s, art was considered little more Soldiers of Ice (1993), Sorceror’s Stone (1991), than a filler by most readers of the publications. Even Tangled Webs (1996), Viperhand (1990).

the popular artwork by Frank R. Paul* was disliked GAME-RELATED ILLUSTRATIONS INCLUDE: (ALL
by many fans as taking away valuable space that TSR(TM) PUBLICATIONS UNLESS OTHERWISE NOTED) could be used for more fiction. Finlay raised the level Accursed Tower: Forgotten Realms (1999), All Animals of interior art from illustration to fine art and beAre Equal: Gamma World (1993), Al-Qadim: Ara-came the most popular interior artist ever to work in bian Adventures (1992), Armageddon (Myrmidon the science fiction field. He served as a source of in-Press, 1997), Book of Artifacts: AD&D (1993), Car-spiration for a generation of artists who followed

Finlay

208
and helped keep alive interior art in the science to the science fiction art field, Finlay’s skills set him fiction field.”

apart. As Weinberg observed, “Cartier demonstrated The artist was born in Rochester, New York, the that illustrations could be done with humor (and) son of Warden Hugh Finlay and Ruby Cole. His fa-Bok added style to science fiction art. Finlay, the ther was a woodworker who had a difficult time greatest of the three, brought beauty to the science making ends meet during the Depression. Finlay fiction magazines…. Not only were Finlay’s illustra-had a younger sister, Jean Lily, born four years after tions considered far superior to anything done in him.

the pulps of the time, but he also had a superb imagIn high school Finlay was interested in two things: ination and used it in his work” ( ibid. ). Wright had sports and art. He was an accomplished athlete, but misgivings about the reproduction of Finlay’s stip-he also enjoyed writing poetry and painting. Largely ple work on pulp paper and so bought only one il-self-taught, he studied art primarily through the use lustration; the commission, Finlay’s first for the mag-of books in the library and received his first profes-azine, appeared in the December 1935 issue. After the sional art instruction in high school. After gradua-art was printed and was seen to reproduce well, tion, he worked in a stockroom, on a radio assem-Wright immediately commissioned Finlay for nubly line, and as a house painter. He also did some merous other illustrations.

portrait work, but such jobs during the Depression Along with editing (and owning a small part of ) were rare. Later, during the Depression, Finlay took Weird Tales, Wright dreamed of publishing other free night courses at the Mechanics Institute, and magazines. In late 1935 he experimented with a pulp classes in anatomy, landscape, and portraiture from reprint of Shakespeare’s A Midsummer Night’s the WPA.

Dream, evidently aimed to tie in with the release of Artists who influenced Finlay included Gustave the Warner Brothers film. To help dress up the mag-Dore, Aubrey Beardsley, Harry Clarke*, Winsor azine, Wright commissioned Finlay to provide McKay, Norman Lindsay, Heinrich Kley, and Wal-twenty-five illustrations for the play. Unfortunately, lace Smith*; he was also a great admirer of Pablo Pi-the publication was a dismal flop. The only volume casso. Finlay was especially influenced by Dore, and in the Wright’s Shakespeare Library is remembered in trying to master Dore’s black-and-white style, today primarily for the large number of Finlay il-Finlay came up with his own detailed technique. He lustrations.

used a 290 lithographic pen and india ink to con-Finlay’s art had an amazing impact on fantasy struct a detailed illustration through the use of stip-fans. For the first time in the field, letters of praise ple art. For each dot, he dipped his pen in the india flooded Weird Tales not about the stories but about ink, wiping the pen-top clean after each marking.

the illustrations that accompanied them. Even the His best illustrations were the result of hundreds of authors raved about Finlay’s art, and one of the most precise groupings of tiny black dots by which he enthusiastic was H. P. Lovecraft, who wrote a son-achieved a beautiful, near photographic reproduc-net about one of Finlay’s illustrations for a Robert tion. The stipple technique, which was old (being Bloch story. (Weinberg, p. 111). Viewers were re-popular during the turn of the century), was a time-warded by Finlay’s focus but the reasons for Finlay’s consuming method of work, and the artist needed intense focus on black and white, over the course of great patience to achieve the desired results. Finlay his career, when cover illustrations paid more hand-was a master of this technique. As a result, many somely in the long run, is more difficult to explain.

enthusiasts of the artist’s work would agree with Di-In any event, as DiFate observes, he was certainly Fate, who wrote “Although (Finlay) produced some

“keenly skilled in creating a diversity of textures works in color, his black & white art far exceeds within the limited range of line art.” (1997, p. 166).

them in both quantity and quality.” ( Infinite Worlds, Finlay was paid eight to eleven dollars an illus-p. 165).

tration for his work in Weird Tales in the 1930s. Al-Finlay had been interested in science fiction and though this was not a huge amount, he usually con-fantasy ever since his first exposure to Amazing Sto-tributed five or six illustrations per issue, so it ries in 1927. He preferred fantasy to science fiction provided a reasonable income during the Depres-and was a regular reader of Weird Tales from 1928
sion. By 1937 Wright was using Finlay on the cov-on. However, like most of the readers of the pulp, ers of Weird Tales, alternating his work with that of Finlay thought very little of its interior illustrations, the popular Margaret Brundage*. Finlay was paid so in 1935 he decided to submit a small portfolio of one hundred dollars a cover, which, combined with illustrations to the magazine.

his money for interiors, made him one of the high-Farnsworth Wright, editor of Weird Tales, imme-est paid monthly pulp illustrators.

diately recognized Finlay’s talent. While other major Finlay’s work for Weird Tales paid off handsomely illustrators of the day, such as Edd Cartier* and in late 1937. Impressed by the art he saw in the pulp, Hannes Bok*, each contributed something special Abraham Merritt, the editor of The American Weekly,

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offered Finlay a job on the magazine’s staff. At that lay style. Stevens, who had been trained as a news-time, the Weekly was the largest circulation maga-paper illustrator, did not work in exactly the same zine in the world, serving as the Sunday supplement manner as Finlay, but his exceptionally detailed line to the entire Hearst line of newspapers. Merritt was work was very much in the same tradition as Finlay’s a famous science fiction and fantasy author who had delicate, detailed illustrations with stunningly beau-gone on to better things. However, he still was a fan tiful women. Readers wanted Finlay but settled for and reader of the pulps and recognized Finlay’s spec-Lawrence. Steven’s work proved popular enough so tacular artistic talent. He invited the young artist to that after the war, when Finlay returned, the two move to New York and work on his paper for the artists shared the work for Famous Fantastic Myster-excellent salary of eighty dollars a week.

ies and Fantastic Novels.

Finlay immediately accepted Merritt’s offer and In the late 1940s Finlay rode the crest of the wave moved to New York City. While working for The of science fiction publishing. A major boom among American Weekly he continued to do art for Weird magazine publishing took place after World War II, Tales and thus did quite well financially. However, and Finlay found plenty of work. He produced hun-during this time Finlay continued to support his dreds of fine illustrations, all done in his meticulous mother and sister, and life in New York proved to be style. He often worked sixteen hours a day, seven a series of ups and downs. He was fired after six days a week. In 1949, Beverly Finlay gave birth to months at The American Weekly for taking two-hour their only child, Lail, and in 1950 Finlay was able to lunch breaks. But soon he was hired again, and for buy a house in Westbury, Long Island (New York), the next few years Finlay continued to work off and where he lived for the rest of his life.

on for the publication, either as a staff artist or by Although Finlay was known primarily as an inte-contributing freelance art.

rior artist, he also did attractive cover art and pro-At the same time, Finlay’s popularity with Weird duced a number of popular paintings for the science Tales fans did not go unnoticed by other publishers.

fiction magazines. However, his work did not seem When Weird Tales cut its rate for art as a result of a suited for the hardcover field, and he did not sell any change in publishers, Finlay found his art in demand work to the small-press publishers, as did many of by many other science fiction and fantasy magazines.

the other artists of the time.

He continued to prosper, contributing art to The Unfortunately, all booms come to an end, and American Weekly as well as to Amazing Stories, Fan-Finlay’s difficulty with the book market came back tastic Adventures, Captain Future, Strange Stories, to haunt him when magazines began to fold and Thrilling Wonder Stories, and a number of other pub-Finlay’s work was not particularly suited to paperback lications.

covers. Although he did some hardcover jacket In 1939 Munsey Magazines began publishing paintings, numerous other artists like Ed Emsh-reprint magazines using the early fantasy fiction pub-willer* and Richard Powers* were more popular with lished in Argosy and All-Story Magazine. Merritt was publishers. Finlay even tried some work for the instrumental in having Finlay illustrate many of his comics, but his meticulous, detailed style was not stories that were reprinted by Famous Fantastic Mys-particularly suited for this market, and he could not teries and Fantastic Novels. Finlay’s name soon be-meet the short deadlines so common in the comic-came closely linked with the reprint publications, art field.

and he was a reader favorite.

Finlay managed to earn his living doing interior In 1938 Finlay converted to Judaism and married illustrations for astrology magazines. He contributed his longtime girlfriend Beverly Stiles, in New York a steady stream of new pieces for Everyday Astrolog y City at a ceremony presided at by Rabbi Dr. Clifton and Astrolog y —Your Daily Horoscope for the rest of Harby Levy, a leader of the Jewish Reform Move-the 1950s and during the 1960s. He also continued ment. Finlay then continued to work in the science to do artwork for the remaining science fiction mag-fiction field until he was drafted in 1943. After train-azines, even though payment was minimal.

ing as a combat engineer, he served as a corporal in A new area of art opened up to Finlay in the late the United States before being sent to Okinawa in 1950s when he began working on large abstract April 1945. During his time overseas, he was in-paintings on canvas. These pieces became popular volved in a number of combat missions. He re-and sold well through galleries, something he had mained overseas until 1946, rising to the rank of ser-never been able to achieve with any of his interior il-geant.

lustrations. Some of Finlay’s canvas work was hung During the time Finlay was in the army, Famous at the Metropolitan Museum of Art, the New York Fantastic Mysteries was without his services. Desper-Center Art Gallery, the Library of Congress, and ate for an artist who could attract readers in the same other prestigious art centers. Famous Fantastic Mys-fashion as Finlay, the publisher commissioned teries printed three Finlay portfolios, which were of-Lawrence Sterne Stevens* to produce art in the Fin-fered as premiums for subscribers. They were done

Finlay

210
in 1941, 1942, and 1948 and were later reprinted by Virgilia Finlay Hernandez, who is following in her the National Fan Federation. Another portfolio of grandfather’s footsteps as an artist.

Finlay art was published by Nova Press in 1953. Fin-Sources: e-mail from Lail Finlay, July 2006; DiFate, Vin-lay also did an original that was used as the back of cent. Infinite Worlds: The Fantastic Visions of Science Fiction Art (Wonderland Press/Penguin, 1997). Weinberg, 1988
a deck of cards sold at the Thirteenth World SF

Convention in 1955, and he did numerous illustra-Collections and Anthologies
tions for Times to Come, the flyer of future releases (various contributing artists)

of the SF Book Club.

Aldiss, Brian. Science Fiction Art (Bounty, 1975), In 1970, while experiencing a financial resurgence, De La Ree, Gerry. The Book of Virgil Finlay; The Finlay learned he had cancer, and the painful oper-Second Book of Virgil Finlay; The Third Book of Vir-ations made it difficult for him to work. Fortunately, gil Finlay; The Fourth Book of Virgil Finlay; The Fifth unlike most artists for the pulps, Finlay had asked for Book of Virgil Finlay; The Sixth Book of Virgil Finlay most of his originals to be returned. Working with (De La Ree, 1975, 1978, 1979, 1980), De La Ree, longtime friend and art collector Gerry de la Ree, Gerry, The Art of the Fantastic (De La Ree, 1978), Finlay began selling many of his originals; these sales De La Ree, Gerry, Finlay, Virgil and Moskowitz, generated a substantial amount of money, which Sam. Virgil Finlay (Donald M. Grant, 1971), ( Se-helped pay most of his medical bills. The pain grew lected Illustrations (Donald M. Grant, 1975), De La worse, and Finlay returned to the hospital for further Ree, Gerry. Virgil Finlay Remembered (De La Ree, tests. He then learned that he had serious liver trou-1981), Finlay, Virgil. An Astrolog y Sketch Book (Don-ble and died soon after, on January 18, 1971, of cir-ald M. Grant, 1975), Finlay, Virgil. Far Beyond (Un-rhosis of the liver. After his death, it was discovered derwood Miller, 1994), Finlay, Virgil. Phantasms that he also had suffered from advanced lung cancer.

(Underwood Miller, 1993), Finlay, Virgil. Strange During that year de la Ree had begun an ambitious Science (Underwood Miller, 1992), Finlay, Virgil.

program of reprinting booklets and portfolios of un-Women of the Ages (Underwood Miller, 1992), Frank, published Finlay art. In addition to six “Books of Jane and Howard. The Frank Collection: A Showcase Virgil Finlay” In hardcover, these included Virgil of the World’s Finest Fantastic Art (Paper Tiger, 1999) Finlay: A Portfolio of His Unpublished Illustrations Frank, Jane and Howard The Great Fantasy Art (1971), Klarkash-ton and Monstro Ligriv (1973), and Themes from the Frank Collection (Paper Tiger, Finlay’s Lost Drawings (1975). Also published in 1971, 2003), Haining, Peter. Terror! (Souvenir Press, shortly after is death, was Donald M. Grant’s Virgil 1976), Portfolio: Finlay’s Illustrations for Weird Tales Finlay, the first book devoted to the man and his (Nigra, 1976),
work. Virgil Finlay’s Women of the Ages, published by Underwood Miller was nominated for a Hugo Published Work

Award for Best Non Fiction Book in 1993.

BOOKS ILLUSTRATED INCLUDE: The Black Abbott It is impossible to overestimate Finlay’s impor-of Putbuum (RAS Press, 2007), Bullard of the Space tance to the science fiction art field. He entered the Patrol (World Publishing, 1951), The Complete Book field during a period when the magazines featured of Space Travel (World Publishing, 1956), The Com-mediocre art and poor reproduction; his work plete Magnus Ridolph (Underwood, 1984), Dial Your brought about a renaissance in the science fiction il-Dreams & Other Nightmares (DarkTales Publica-lustration. A new group of fans emerged; people who tions, 2001), The Dying Earth (Hillman, 1950), were interested in the art despite the story. In fact, Dwellers in the Mirage (Grandon, 1950), The Far Finlay was capable of producing fine illustrations for Place (Kaleidograph Press, 1949), Five against Venus the worst stories, and a number of fans bought and (Winston, 1951), From Off This World (Merlin, collected magazines not for the fiction but for his 1949), Gods for Tomorrow (Tandem, 1967), Golgo-art.

tha: A Phantasm (De La Ree, 1973), Journey to the Finlay was a dedicated artist who devoted his life Center of the Earth (Dodd, Mead/BCE, 1959), The to art. Among science fiction artists, he stands Kid from Mars (Frederick Fell, 1949), Marginalia supreme as the most popular interior illustrator ever (Arkham House, 1944), The Million Cities (Pyra-to work in the field. He was one of the most prolific mid, 1963), The Miscast Barbarian — A Biography Of illustrators as well, doing more than twenty-five Robert E. Howard 1906–1936 (De La Ree, 1975), The hundred interior illustrations and more than two Metal Monster (Hippocampus Press, 2002), One hundred cover paintings. His career served as a wa-against the Moon (World Publishing, 1956), The Out-tershed for modern science fiction illustration, and sider (Arkham House, 1939), Roads (Arkham House, his influence still remains strong. The estate of Vir-1948), Science Fiction Yearbook #2 (Popular Library, gil Finlay and his legacy are lovingly maintained by 1968), Selected Letters Vol. III, V (Arkham House, his daughter, Lail M. Finlay, her husband, musician 1965, 1976), The Ship of Ishtar (Borden, 1949, Tom Julio Hernandez, and Virgil’s granddaughter, Brien Stacey/UK, 1973) Space Pioneers (World Publishing,

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Flanagan

1954), Space Police (World Publishing, 1956), Space (1, 3); 1963 (5, 7, 9, 11); 1964 (1, 10); 1966 (8, 9, 10, Service (World Publishing, 1953), Spell of Seven 12); 1967 (5, 6, 7, 9, 10); 1968 (1, 3, 10, 12); 1969 (3) (Pyramid, 1969), Star Born (Ace, 1957), The Stars MOH: All reprints (15, 16, 17, 18, 19, 20, 21, 22, Are Ours (World Publishing, 1954), Swords and 23, 24, 25, 26, 27, 29, 31, 33)

Scorcery (Pyramid, 1973), Swordsmen and Superman OW: 1953 (12); 1955 (5); 1956 (4, 6, 9, 11); 1957

(Centaur, 1972), The Time Traders (World Publish-

(7)

ing, 1958), Two Complete Novels by Lester Del Rey PS: 1941 (summer)

(Galaxy, 1963) The Winged World (World Publishing, SF : 1943 (7); 1959 (1, 2, 3, 4)

1949), Wolf in the Garden (Centaur, 1972), SF+: 1953 (10, 12)

SFQ: 1951 (8, 11); 1955 (11)

MAGAZINES ILLUSTRATED INCLUDE:

SFYBK: 1967 (1); 1968 (2); 1969 (3, all reprints) AMF : 1950 (2, 7, 10)

SMS: All reprints (3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 14) AMZ: 1942 (1); 1943 (1, 2, 3, 7); 1944 (3); 1945

SpS: 1952 (2)

(3, 6); 1946 (10); 1947 (5); 1951 (1, 5, 9, 12); 1952 (3, SS: 1939 (9); 1940 (1, 5, 9); 1942 (5); 1943 (6, 5, 8); 1953 (10); 1955 (3); 1956 (5, 10, 11, 12); 1957
fall); 1944 (spring, summer); 1947 (3, 9); 1948 (3, 5, (1, 2, 3, 4, 8, 12); 1958 (1, 8, 9, 10, 11, 12); 1959 (1, 2, 7, 9, 11); 1949 (1, 3, 7, 9, 11); 1950 (3, 7, 9); 1951 (1, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1960 (1, 2, 3, 4, 5, 6, 7, 9); 1952 (1, 2, 3, 5, 7, 8, 9, 10, 12); 1953 (1, 2, 3, 5, 8, 9, 10, 11, 12); 1961 (1, 2, 3, 5, 6, 7, 9, 10, 11, 12); 1962

6, 10); 1954 (1, spring, summer, fall); 1955 (winter, (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1963: (1, 2, 3, 4, summer, fall)

5, 6, 8, 9, 11, 12); 1964 (3, 4, 6, 7, 8, 9, 10, 11); 1965

SSS: 1942 (5, 9); 1943 (2, 5); 1949 (1, 7, 11); 1950

(1, 5); 1967 (6)

(1, 5, 9, 11); 1951 (1, 4, 8)

ASF : 1939 (8)

StrS: 1939 (4, 6, 8, 12)

ASH: 1942 (6)

TWS: 1939 (4, 6, 8, 12); 1940 (1); 1941 (4, 8, 10); DW: 1957 (5, 8)

1942 (6, 8); 1943 (8); 1944 (winter); 1945 (spring); FA: 1942 (3, 4, 12); 1943 (7, 8, 10); 1944 (4, 6, 1946 (fall); 1947 (2, 8, 10); 1948 (2, 4, 6, 8, 10, 12); 10); 1945 (1, 4); 1946 (2, 9); 1947 (5, 9, 10, 11, 12); 1949 (2, 4, 6, 10, 12); 1950 (2, 4, 8), 1951 (12); 1952

1948 (2, 3, 6, 7, 12); 1949 (2); 1951 (3, 5, 7, 8, 10, 11, (2, 4, 6, 8, 10, 12); 1953 (4, 6, 8, 11); 1954 (winter, 12); 1952 (1, 3, 8)

spring, summer, fall); 1955 (winter); 1957 (annual); FFM: 1939 (11, 12); 1940 (1, 2, 3, 4, 5, 8, 9, 12); 1963 (annual)

1941 (2, 4, 6, 8, 10, 12); 1942 (2, 4, 6, 7, 8, 9, 10, 11, UNI: 1953 (12); 1954 (3)

12); 1943 (3, 9, 10); 1946 (12); 1947 (2, 4, 6, 8, 10, 12); UK: 1940 (2)

1948 (2, 4, 6, 8, 10, 12); 1949 (4, 10, 12); 1950: (2, 4, WOT: 1963 (4, 6, 8, 10, 12); 1964 (6); 1965 (1, 11) 6, 8, 10); 1951 (7, 10, 12); 1952 (2, 4, 6, 8, 10, 12); WSA: 1950, 1951, 1952, 1953

1953 (2, 4, 6)

WT: 1935 (12); 1936 (2, 3, 4, 5, 6, 7, 8, 10, 11, 12); FMSF : All reprints (1, 2, 3)

1937 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1938 (1, 2, 3, FN: 1940 (7, 9, 11); 1941 (1, 4); 1948 (3, 5, 9, 11); 4, 5, 6, 7, 8, 9, 10, 12); 1939 (1, 2, 3, 4, 5, 6, 7, 8, 9, 1949 (1, 3, 5, 7, 9, 11); 1950 (3, 5, 7, 11); 1951 (1, 6) 10, 11, 12); 1940 (1, 3, 5); 1941 (1); 1942 (3); 1944 (7); FSQ: 1950 (spring, summer); 1952 (winter, sum-1945 (1, 3); 1951 (11); 1952 (5, 7, 9, 11); 1953 (1, 3, 5, mer, 9, 11); 1953 (3, 7, 9); 1954 (winter, spring, sum-7, 9, 11); 1954 (1, 3, 5, 9); 1973 (summer) mer, fall); 1955 (winter, spring)

FTC: 1952 (summer, fall 11); 1953 (1, 3); 1955 (4); Flanagan, John Richard

1956 (6, 10, 12); 1957 (2, 3, 4, 5, 6, 10, 11); 1958 (1, ( July 23, 1895–December 22, 1964) American 2, 3, 5, 6, 7, 8, 11, 12); 1959 (1, 2, 3, 4, 5, 6); 1961 (3, artist. Born in Sydney, Australia, Flanagan appren-8, 9, 10); 1962 (1, 3); 1963 (2, 3, 7, 9, 11, 12); 1964 (1, ticed to a lithographer at age twelve and entered art 2, 3, 5, 8); 1965 (11); 1966 (1, 7); 1967 (5); 1968 (8); school at the same time. After he finished school, he 1969 (6); 1971 (8); 1973 (2)

immigrated to the United States in 1916, and settled FU: 1957 (3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1958 (1, 2, in New York City. His first illustration work was for 3, 4, 5, 6, 7, 8, 9, 10); 1959 (1, 3, 7, 10, 11); 1960 (1, a Chinese story in Every Week magazine. This art 2, 3)

and several pieces following established him as an FUT: 1950 (7, 9, 11); 1951 (1, 3, 5, 9, 11); 1952 (1, expert on the Orient, something he never claimed to 3); 1958 (12); 1959 (6)

be. His pen-and-ink art was very much in the tra-GXY: 1956 (7, 8, 10, 12); 1957 (1, 2, 5, 8, 9); 1958
dition of Joseph Clement Coll*. This was aptly (3, 4); 1959 (12); 1960 (12); 1961 (2, 3, 8, 10, 12); demonstrated, when, after the death of Coll, Col-1962 (4, 10); 1963 (2, 4, 6, 8, 10); 1964 (2, 8, 10, 12); liers needed another artist to illustrate Sax Rohmer’s 1965 (2); 1966 (2, 10, 12); 1967 (6, 8, 10); 1968 (10) stories, and Flanagan was chosen to illustrate the Fu IF : 1953 (7); 1954 (8, 9, 11); 1956 (8); 1957 (2, 4, Manchu novels, because his art resembled that of 6, 8, 10, 12); 1958 (2, 4, 6, 8); 1960 (5); 1961(11); 1962

Coll so closely in terms of creating the appropriately

Flynn

212
moody atmosphere to match Rohmer’s prose. Flana-velopment of Flynn’s personal space art project “Lu-gan illustrated all of the stories from 1929 to 1935, nartics,” inspired by his interest in astronomy and and Rohmer thought so highly of his work that he British Natural History. For the project, Flynn has acquired a number of the originals which he dis-spent years creating brightly colored fantasy land-played in his home (as quoted by Knapp, from Mas-scapes, and hundreds of what he calls “quirky charter of Villainy, p. 187). Flanagan’s name became so as-acters”—“the Universe’s misfits who discover an ex-sociated with oriental villains that when Popular otic secret world deep within the Earth’s moon.” He Publications published several magazines featuring Fu markets a variety of Lunartics products featuring his Manchu imitations — The Mysterious Wu Fang and original designs, from postcards, to mousepads to Dr. Yen Sin— Flanagan was brought in to do the in-art prints. Outside the genre, Flynn’s talent for deterior art to give the magazines the proper style.

picting the details of flora and fauna has led to illus-Flanagan was one of the premier illustrators for the trating natural history books. Flynn has been artist popular Bluebook pulp magazine, providing the art guest of honor at British fan conventions, and he for many of its borderline fantasy and science fiction showed his illustration art at 20–21 Gallery in Scun-stories, including “The Cave of the Invisible” (1939), thorpe (2005).

“The Serpent People” (1939), and “The Wolf Sources: www.dannyflynn.com

Woman” (1939). He also illustrated Sherlock Holmes Collections/Anthologies
story for Colliers “The Adventure of the Illustrious (various contributing artists)

Client” (November 1924). Flanagan worked in color John Grant and Ron Tiner. The Encyclopedia of as well as on scratch board, along with his pen-and-Fantasy and Science Fiction Art Techniques. Running ink illustrating. He later designed stained-glass win-Press Book Publishers, 1996), Suckling, Nigel. Only dows. From 1954 until his death, in York, Pennsyl-Visiting This Planet: The Art of Danny Flynn. (Paper vania, he served as an instructor at the York Academy Tiger, 1994).

of Arts.

Sources: Dr. Lawrence Knapp “Sax Rohmer in Collier’s, Published Work

The National Weekly” September 24 2002 online www.

B
njedge.net/~knapp/Collier.htm;Van Ash, Cay and Sax Rohmer, OOKS ILLUSTRATED INCLUDE: And Disregards the Elizabeth. Master of Villainy, A Biography of Sax Rohmer. Lon-Rest (Gollancz, 1993), Bad Blood (Gollancz, 1989), don: Tom Stacey, 1972; John Richard Flanagan: National Boundaries (Gollancz, 1992), The Centre Cannot Gallery of Australia Online www.printsandprintmaking.gov.

Hold (NEL, 1990), Clay’s Ark (Gollancz, 1991), Crys-au/Catalogues/Artists/ [accessed April 2007]; U.S. World War tal Sword (Headline, 1989), Deep Range (Gollancz, I Draft Registration Cards 1917–1918, World War II Draft Registration Cards 1942 at www.ancestry.com; Weinberg, 1988.

1994), The Dream Years (Allen and Unwin, 1986), The Drive-In (A “B” Movie with Blood and Popcorn, Flynn, Danny (Anthony)

Made in Texas (Kinnell, 1989), Earthmun (Gollancz, (b. September 8, 1958) British artist. Born in 1995), Erebus (Star. 1984), Expedition to Earth (NEL, Scunthorpe, Lincolnshire, in northern England, 1987), Fall of Moondust (Gollancz, 1995), Farmer in Flynn left the area in 1981 to attend art school, and the Sky (Gollancz, 1990), Fevre Dream (Gollancz, received a degree in Illustration and Graphic Design 1989), Fire Sword (Headline, 1989), Hunter of Worlds from Kingston University, London. Now based in (Mandarin, 1990), Invaders from the Centre (NEL, rural Oxfordshire, Flynn combines the precision and 1990), The Island (Gollancz, 1989), I Will Fear No surrealism of Dalí with the almost psychedelic col-Evil (NEL, 1989), Last Vampire (Gollancz, 1991), ors of Roger Dean* to produce detailed and highly Lift Off (Rodmell Press, 1989), Little Boy Lost (Gol-colorful paintings of fantasy worlds. He uses the air-lancz, 1993), A Manhattan Ghost Story (Gollancz, brush for backgrounds and “very fine brushes” for 1990), Mind of My Mind (Gollancz, 1991), Moons of the details, using gouache, and Magic Color inks.

Jupiter (Lightning Press, 1988), The Place (Gollancz, Flynn frequently blends detailed observations of na-1991), Pirates of the Asteroids (Lightning, 1988), Psy-ture with fantasy, science fictional and horror chlone (Gollancz, 1989), Nursery Tale (Gollancz, themes. Since the mid 1980s he has illustrated the 1994), Rainbow Sword (Headline, 1990), Red Planet covers hundreds of novels for most of the genre’s (Gollancz, 1990), Relics (Star, 1987), Sea Sword best-known authors including Arthur C. Clarke, (Headline, 1990), The School (Gollancz, 1991), Shad-Frederik Pohl, Isaac Asimov, Greg Bear, Robert A.

ows (Star, 1985), Shatter (Gollancz, 1990), Silver Heinlein and many others. Clarke wrote the intro-Metal Lover (1986), Space Ranger (Lightning Press, duction for Flynn’s compendium collection Only 1988), Strange Seed (Gollancz, 1993), A Talent for Visiting This Planet: The Art of Danny Flynn (1994).

War (Kinnell, 1989), Tank of Serpents (Collins, 1986), In recent years Flynn has moved into the computer The Three Damosels (Gollancz, 1998), Wild Seed game industry, working for companies such as Elec-

(Gollancz, 1990), The Waiting Room (Gollancz, tronic Arts (U.S.) and Travellers Tales (UK), sup-1990), The Werewolves of London (Simon & Schus-plying original concepts and ideas. This led to the deter U.K., 1990), Years of The City (NEL, 1987).

213

Foss

GAME-RELATED ILLUSTRATIONS INCLUDE: Crash Wizards of the Coast (WoTC), and re-invigorated Bandicoot (Travellers Tales, 2001), Crash Twinsanity Foglio’s comic strip What’s New? for WotC Duelist (Vivendi Universal Games, Inc., 2004), Dragon Rid-magazine. In the 1990s, Foglio also co-founded Pal-ers: Chronicles of Pern (Ubi Soft Entertainment Soft-liard Press and published additional comics, includ-ware, 2001), Frontier: First Encounters (GameTek, ing ones in the Buck Godot series and for XXXeno-Inc., 1995).

phile. The Foglios later founded Studio Foglio and began to produce the successful retro-fantasy series Foglio, Phil

Girl Genius, for which they are perhaps best known.

(b. May 1, 1956) American artist. Born in Mt.

In 2005, they stopped issuing printed editions of Vernon, New York, Foglio moved with his family to the comic and began publishing Girl Genius online Hartsdale. He attended the Chicago Academy of as a free webcomic, updated three times a week.

Fine Arts, from which he received the BFA in car-Foglio and his wife live in Seattle and have one son, tooning. He originally planned to enter the com-Victor.

puter field, but changed his mind when he discov-Sources: artist website at www.studiofoglio.com; http://
ered that he would have to know math. His users.rcn.com/aardy/comics/foglio.html Weinberg, 1988.

influences include Kelly Freas*, Vaughan Bode, and Published Work

Charles Schulz. Foglio wanted to be an illustrator BOOKS ILLUSTRATED INCLUDE: Another Fine Myth like Freas, but it soon became clear that “cartoonists (Donning, 1985), Hit or Myth (Donning/Starblaze, were making all the money,” so he became a car-1983), Hoka (Pocket Books, 1983), Illegal Aliens toonist instead.

(TSR, 1989), Little Myth Marker (Donning, 1985), Foglio was well known as a science fiction fan Myth Adventures (Donning, 1985), Myth Directions artist long before he sold any professional work. He (Donning Starblaze, 1982), M.Y.T.H. Inc. in Action won two Hugo Awards for Best Fan Artist in 1977

(Donning, 1990), M.Y.T.H. Inc. Link (Donning, and 1978, helping to bring his art to the attention of 1986), Myth-Nomers and Im-Perfections (Donning, major publishers. His first professionally published 1987), Mything Persons (Donning, 1984), Myth-taken art was for “Taking the Fifth” a story in Isaac Asimov’s Identity (Meisha Merlin, 2004), Road West (TSR, Science Fiction Magazine, in 1978. In 1980 he wrote 1990), Robotech Art 2 … New Illustrations & Origi-and illustrated the satirical comic strip “What’s New nal Art from the Robotech Universe (Donning, 1987), with Phil & Dixie” for Dragon Magazine, poking Sex Life on the Planet Mars (McMillan Publications, fun at the world of fantasy role-playing games, 1986), Sweet Myth-tery of Life (Donning, 1994), which ran for three years. His success in cartoon-Take-Off, Too (Donning, 1987).

ing, in the face of failing to get illustration jobs in Chicago, convinced Foglio to move to New York GAME-RELATED ILLUSTRATIONS INCLUDE: Bat-City and form his own independent comic-book tlelords of the 23rd Century (New Millennium, 1995), company “ffantasy ffactory” in collaboration with Bureau 13: Stalking the Night Fantastic (Tri Tac Sys-science-fiction writer-artist Freff*. Together, he and tems, 1990), Clout Fantasy chip art (Hidden City Freff collaborated on a single issue of a comic, Games, 2005),

D’Arc

The Complete Encyclopedia of Magic: Tangent. Attracted to the humor in science fiction, The Gathering (Thunder’s Mouth Press, 2002), Foglio persisted, and ultimately was hired by the Flashpoint; Netherworld; Shadowfist; Year of the publisher Donning/Starblaze to illustrate the Myth-Dragon card art (Daedalus Games, 1995, 1996), Adventures series of fantasy novels by Robert Lynn GURPS Illuminati University role playing art (Steve Asprin, which offered him the freedom to do his Jackson Games, 1995), Magic: The Gathering: Al-own work the way he wanted to do it. Foglio later liances; Antiquities; Fallen Empires; Ice Age; Legends; adapted the first book, Another Fine Myth, into an Portal; Portal 2nd Age; Tempest; Timespiral Time-eight-issue comic-book series from WaRP Graph-shifted; Unglued; Weatherlight; 4th Edition; 5th Edi-icsillustrated. The WaRP work eventually led to tion; Classic 6th Edition card art (WotC, 1994, 1995, comic-book assignments from DC Comics (

1996, 1997, 1998, 1999, 2006),

Angel

XXXenophile card art

(Slag-Blah Entertainment, 1996).

and the Ape, Plastic Man and Stanley and His Monster miniseries), Marvel Comics, and First Comics MAGAZINE ILLUSTRATIONS INCLUDE:

(issues of GrimJack and Dynamo Joe). Foglio also DRA: 2001 (4)

created the SF detective character Buck Godot, which IASFM: 1978 (5/6, 11/12)

he developed into graphic novels for Donning. Once successfully into the comic field, Foglio could not Foss, Christopher
easily turn back.

(b. March 19, 1946) British artist. Born in Devon, In the 1990s, Foglio met and married his wife, England, Foss is one of the most influential of science Kaja, also an artist. The two contributed art to the fiction artists of the late twentieth century, known for collectible card game Magic: The Gathering, from his unique architectural, geometrically designed

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spacecraft which inspired a generation of British il-questing Foss to illustrate the British editions of their lustrators in the 1970s. As a child, Foss was attracted books, most notably Isaac Asimov and his Founda-to the sights of decaying railroad tracks and aban-tion series of books. Foss typically signs his artwork doned coal mines that were to be found everywhere with an “F” enclosed in a square.

in South West England, and loved modeling railway In 1975 Foss traveled to Paris to enter the world lines and steam engines soldered together from bits of film, when Alejandro Jodorowski hired him to do and scraps of metal. Encouraged by an early art the initial sketches on the never-completed first big-teacher he entered a scholarship course and won a screen version of Frank Herbert’s Dune. Some of grant to attend a boarding school in Dorset. He these conceptual studies were later published in his spent his free time sketching derelict shipyards at art book 21st Century Foss (1978). This work led to Poole Harbor, and rebuilding wrecked cars to make assignments on Superman (1978) and Alien (1979), working machines. Despite his ambition to be an where Foss worked with Ron Cobb* to create con-artist, Foss’s parents insisted he go to Cambridge ceptual designs for the Nostromo, the desolate alien University to study architecture, in 1964. While at planetoid and the hardware for the film. In 1995, school, he sold drawings to Autocar magazine and a Foss also provided concept designs for Stanley six-page adult comic strip to Bob Guccione’s Pent-Kubrick’s movie AI, for Warner Bros.

house. He ended his studies in 1966 and took a job Through Paper Tiger Press, Foss published Diary working for an architectural sculptor, and other jobs of a Space Person (1990) which featured numerous until finally publishers began showing an interest in paintings and sketches, although few demonstrate his work.

the colorfulness and scope of his futuristic visions.

The years 1968 to 1970 were difficult for Foss, The large-format, full color Chris Foss Portfolio (1991) newly married to his wife Pat, and with a young provides a better demonstration of why his art was family to support. He left the sculptor, and — when so successful. For more than a decade, nearly all he wasn’t drawing — made a living driving rental British “hard” science fiction covers emulated the cars. He was given a hand by Guccione, who gave the

“Foss” style, and even through the end of the cen-minor task of making illustrations for a Barbarella-tury Foss remains one of the most widely imitated SF
like book: “My illustrations at that time was NOT
artists in England and Europe. “It’s hard to ignore the up the industrial standards, but Guccione’s job overstate the influence Foss has had on our collective helped me acomplishing that.” In the summer of vision of the future, in terms of introducing the idea 1969 he got the assignment of making a cover illus-that space craft could be “rumbling bumbling bangy tration for Constable Ltd., which led to a contact things with bits of metal hanging off.” (Imagine FX
with an agency, and his career picked up speed. Also online).

in the late 1960’s he bought an airspray gun “The Foss has shown his work in galleries in Devon, only way that I could quickly create seamless tran-and on the island of Guernsey where he maintains an sitions.” In the beginning Foss did not specialize, art studio and continues to produce science fiction but accepted commissions of all types, not all equally and personal works, primarily Guernsey-inspired successful. One surprising early assignment was to il-landscapes. Somewhat peripatetic, Foss also main-lustrate the original edition of The Joy of Sex (Fire-tains residences in London and has spent several side, 1972). Slowly, but steadily, he earned a reputa-summers in the south of France. Foss and his wife Pat tion making dramatic war scenes featuring planes, have one daughter, Imogene.

ships, subs, and — space ships. His first book cover Sources: artist website at www.chrisfoss.net; fan developed was for the Panther paperback edition of Clarke’s website at www.altanen.dk/ChrisFossBio.htm; Imagine FX

Fantasy and & Sci-Fi digital Art online www.imaginefx.

Coming of the Space Age (1973). The uniqueness of com/02287754333053101014/chris-foss.html [accessed Sep-his futuristic imagery was obvious: his landscapes tember 2007]; Weinberg, 1988.

features asymmetrical structures, his cities were functional and automated, with clouded or starry back-Collections and Anthologies
grounds. His space ships were streamlined, gigantic (various contributing artists)

and quite different from those of his peers at the The Chris Foss Portfolio (Paper Tiger, 1991), 21st time; highly detailed and linear, i.e., boxy as op-Century Foss (Dragon’s Dream, 1978), Dean, Martyn, posed to sleekly aerodynamic. As Dalby writes in ed. The Guide to Fantasy Art Techniques (Arco 1984), his biography (Weinberg, 1988), “From Foss’s in-Dean, Martyn and Dean, Roger, eds. The Flights of depth studies of twentieth century mechanics, he Icarus (Dragon’s World/Paper Tiger, 1977), Diary of had strong ideas about the role of machinery in the a Space Person (Paper Tiger, 1991), Edwards, Mal-future. The recurrent theme of transportation in colm & Holdstock, Robert. Realms of Fantasy : An space characterized all of his work, with acrylic and Illustrated Exploration of Ten of the Most Famous gouache color used to achieve the clear lines in his Worlds in Fantasy (Paper Tiger, 1983), Frank, Jane paintings.” Within a short time authors were re-and Howard. The Frank Collection: A Showcase of the

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World’s Finest Fantastic Art (Paper Tiger, 1996), Space & Time; #10 Ghosts of Gol; #11 Planet of the Miller, Ron. Space Art: Starlog Photo Guidebook Dying Sun; #12 Rebels of Tuglan; #13 Immortal Un-

(Starlog Magazine, 1978), Sacks, Janet ed. Visions of known; #14 Venus in Danger (Futura/Orbit, 1974, the Future (Chartwell, 1976), Eisler, Steven (Robert 1975, 1976), Planets for Sale (Panther, 1978), Pre-Holdstock). Space Wars, Worlds and Weapons (Oc-serving Machine (Grafton, 1987), A Raft of Swords topus, 1979).

(Collins, 1974), A Ravel of Waters (Collins, 1981), The Reproductive System (Panther, 1977), Revolt of BOOKS ILLUSTRATED INCLUDE: All Fool’s Day the Galaxy (Grafton, 1985), Right-handed Wilderness (Coronet, 1973), Aliens, Exiles, Novellas X3 (Coronet, (Ballantine, 1973), Robots and Empire (Grafton, 1974), Alternate Generals II (Baen/Simon & Schus-1986), Robots of Dawn (Granada 1984), Second Founter, 2002), Ancient My Enemy (DAW, 1976), Away dation (Panther, 1973), Second Stage Lensman (Pan-and Beyond (Panther, 1973), Best of Arthur C. Clarke ther, 1973), Seedling Stars (Arrow, 1977), Skylark of VOL 1, VOL. 2 (Sphere, 1973), Best Science Fiction of Space (Panther, 1979), Singularity Station (DAW, Isaac Asimov (Grafton, 1987), Best Science Fiction of 1973), Slan (Panther, 1978), Spacecraft in Fact and the Year # 2 (Ballantine, 1973), Bloodstar Conspiracy Fiction (Orbis, 1979), Spacehounds of IPC (Panther, (Panther, 1978), Captive Universe (Granada, 1970), 1974), Spider World Trilog y: The Delta; The Tower; A Case of Conscience (Arrow, 1975), Catchworld (Pan-The Magician (Grafton/Collins, 1987, Harper-ther, 1977), Caves of Steel (Panther, 1974), Cities in Collins, 1992), Starflight 3000 (Ballantine, 1972), Flight (Arrow, 1974), City of Illusion s (Panther, 1972), Stars Like Dust (Panther, 1979), Subspace # 1— Sub-A Cleft of Stars (Collins, 1973), Clockwork Traitor space Explorers (Panther, 1975), Sun’s End (Grafton, (Panther, 1977), Collision Course (DAW, 1973), Com-1987), They Shall Have Stars (Arrow, 1974), Tomor-ing of the Space Age (Panther, 1973), Countersolar!

row’s Children: 18 Tales of Fantasy and Science Fic-

(Grafton, 1988), Currents of Space (Bantam, 1972), tion (Futura/Orbit, 1981), Total Eclipse (DAW, 1975), Dayworld Rebel (Granada, 1985), Declarations Of Ultimate Guide To Science Fiction (Grafton, 1990), War (Cape, 1971), Dracula Unbound (Grafton, 1991), Venus Equilateral (Futura/Orbit, 1975), Voyage of the Dramaturges of Yan (NEL, 1974), Dreams of an UnSpace Beagle (Grafton, 1986), Wanderers of Time seen Planet (Grafton, 1990), Early Asimov Vol 1 (Pan-

(Coronet, 1974), We Can Build You (Severn House, ther, 1973), Earthman, Come Home (Arrow, 1974), 1988), Who Needs Men? (Coronet, 1974), Winds of Earth Tripper (Coronet, 1974), Eighty-Minute Hour Change (Panther, 1983), Wrong End of Time (DAW, (Panther, 1985), End Bringers (Ballantine, 1973), End 1973).

of Eternity (Panther, 1973), Fantastic Voyage II: Destination Brain (Grafton, 1988), A Far Sunset (Coro-Fowke, Robert Gregory
net, 1977), Fire Time (Panther, 1977), Foundation (b. July 24, 1950) British artist. Known profes-and Empire (Granada, 1985), Foundation Trilog y sionally as “Bob,” Fowke studied at Eastbourne (Granada, 1978), Foundation (Panther, 1979), Four School of Art (1966–1967) and Somerset College Great SF Novels (Gollancz, 1978), The Frederik Pohl of Art (1969–1971), and then joined the group of Omnibus (Panther, 1973), Frontier of Going (Pan-talented young illustrators, like Jim Burns*, John ther, 1973), Galaxy Primes (Panther, 1975), Ghost Harris*, Les Edwards* and others, who began their (Grafton, 1988), The Gods Themselves (Panther, commercial career by being represented by John 1979), The Grain Kings (Panther, 1977), Great Explo-Spencer’s influential Young Artists agency in the sion (Equinox/Avon, 1975), Green Odyssey (Sphere, early to mid–1970s. He moved from Brighton to 1976), (Grafton, 1972), A Handful of Darkness Shrewsbury, Shropshire in 1972, and became a con-

(Grafton, 1988), In Harm’s Way (Collins, 1986), The tributor to Science Fiction Monthly magazine (1974–

Humanoids (HarperCollins, 1976), Jack of Eagles 1976), designed posters and album covers, and il-

(Arrow, 1975), Killing Machine (Grafton, 1988), lustrated science fictions book covers. His paintings Kronk (Coronet, 1978), Land Leviathan (Quartet, were included in the illustrated art book Alien Land-1975), Masters of the Vortex (Panther, 1986), Mende-scapes (Mayflower, 1979), and in the Galactic En-lov Conspiracy (Mayflower, 1974), Mindbridge (Fu-counters series of books published by Intercontinen-tura/Orbit, 1977). Moving Snow ( John Murray, tal, in the late 1970s, such as Star Quest. An Incredible 1974), Naked Sun (Panther, 1981), Next of Kin Voyage Into the Unknown (as by Steven Caldwell, (Sphere, 1973 ), Nightfall and Other Stories (Grafton, 1978). Fowke achieved brilliant colors through the 1991), Nightrider (Panther, 1985), Now Wait for Last use of gouache on white card paper, and also worked Year (Panther, 1979), Orbit Unlimited (Panther, in acrylic and oil paints. “It was great,” he reported 1976), Overman Culture (Coronet, 1977), Palace of in a local newspaper interview ( Shropshire Star, Love (Grafton, 1988), Perry Rhodan series: #3 Galac-2005), “but it drove me barmy after a while.” He tic Alarm; #6 Secret of the Time Vault; #7 Fortress of joined Oxford University Press, and became in-the Six Moons; #8 Galactic Riddle; #9 Quest Through volved in other aspects of the book trade, such as

Fox

216
sales and marketing, which required extensive trav-woodcuts, watercolors, etchings, pastels, oil and elling. He lived in India for a while, and then re-other mediums to depict the bizarre creatures usu-turned to Shrewsbury in the late 1980s and tried his ally featured in his horror or fantasy work. Some of hand at writing.

these would be issued as “limited edition” signed Fowke’s first book, Rescue Your Household Waste, prints, that he would sell through various outlets to for which he also did the illustrations, was published make money on the side. A versatile artist, Fox could in 1990 (Lazy Summer Books). Since then, Fowke handle any type of sign-making or professional ashas written and illustrated, in a colorful, humorous signment that came his way.

way, many children’s titles in the popular “What

“Matt Fox,” as he was known, began producing They Don’t Tell You About” series and the “Who?

interior pulp illustrations for Astonishing Tales, and What? When?” series, and also is the writer of Who’s Super Science Stories in 1940 and branched out to Who in British History (Hodder Children’s, 2000) Planet Stories, Weird Tales and other titles after that.

In 2004 he embarked on a series of short history Working with pen and ink and charcoal pencil on books with a light touch, as example Spain: An pebble board paper, he had a unique style that stood Amazingly Short History, described as “history made out from the normal fare of pulp illustration in those fun.” He doesn’t miss his old career illustrating sci-days. Some science fiction and fantasy fans disliked ence fiction titles, remembering that, compared to his his work, suggesting it had a “cartoon-like” feel to it, writing and illustrating career today, “Science fiction while others found it unusual and interesting. His is such hard work and takes so much time — or it string of colorful covers created for Weird Tales be-used to.” Fowke married for the third time in 1989, tween 1943 and 1951 were painted in bright, garish and still resides in Shrewsbury, Shropshire. He has colors, usually featured horrific monsters or crea-two daughters and two granddaughters.

tures, and almost always included a devil of some Sources: e-mail from the artist August 2006; Robert kind.

Bullard: “Bob’s books for travelers” Shropshire Star, January During the early 1950s, as the pulp magazine 28, 2005 on line www.robertbullard.com/clippings/robert_
bullard_shropshire_star_280105.htm [accessed August 2006].; market was slowly fading, Fox turned to the comic book field. Science fiction scholar and fan, Roger Collections/Anthologies

Hill, notes that between 1952 and 1953 Fox pro-

(various contributing artists)

duced three of the most famous pre-code horror Edwards, Malcolm and Holdstock, Robert Tour comic covers ever seen in the genre. These appeared of the Universe (Pierrot, 1980), Sacks, Janet. Visions on the title Chilling Tales, and one of the covers was of the Future (Chartwell, 1976).

a reversed image of one of his earlier Weird Tales cov-Published Work
ers, now drawn with pen and ink instead of being B
painted. Fox became a mainstay of horror comics OOKS ILLUSTRATED INCLUDE: Connoisseur’s Science Fiction (Penguin, 1976), Echoes of Terror during the 1950s and later, during the 1960s, worked (Chartwell, 1980), Flight to Opar, Hadon of Ancient exclusively for Marvel, inking back-up monster/fan-Opar (Magnum, 1977), Golden Apples of the Sun tasy stories for comics such as Journey Into Mystery, (Panther, 1978), Horror in the Burying Ground (Pan-Strange Tales, Tales of Suspense and Tales to Astonish.

ther, 1975), The Horror in the Museum (Panther, His work was featured in Stuart Schiff ’s Whispers 2

1975), King Creature, Come (Oxford Univ. Press, (Whispers Press, 1975), and was showcased in a 3-1980), Man Who Sold the Moon (NEL, 1981), Return D comic book, 3-D Danse Macabre #11 (The 3-D
to Mars (Pan, 1980), Puppet Masters (Pan, 1979), Zone, April 1988) along with that of Virgil Finlay*, Shiny Mountain (Magnum, 1978), Sword of the Lee Brown Coye*, Mahlon Blaine*, and others. Fox Demon (Avon, 1978), Traveller in Black (Methuen, was unmarried, and passed away in New Haven, 1978).

Connecticut, at 82.

Sources: Biographical research and entry information pro-Misc.: Rick Wakeman: Myths and Legends of King vided by Roger Hill February 2007; Shaw, Scott. “Oddball Arthur and the Knights of the Round Table album Comics” column March 21, 2002 online at www.comic-cover (Polygram International, 1975).

bookresources.com [accessed August 2006]; Connecticut Department of Health. Connecticut Death Index, 1949–2001

[database on-line]. Provo, UT, USA: The Generations Net-Fox, Matthew
work, Inc., 2003.

(November 8, 1906–February 20, 1988) American Published Work
artist. Born and raised in New York City, Fox was ASH: 1940 (4, 6, 8)

drawing cartoons and creating his own newspaper FFM: 1944 (6)

strip ideas during his childhood. As a youth he FUT: 1943 (2)

started out working for various print shops and evenPS: 1942 (winter)

tually became adept at the art of lithography and SSS: 1940 (3)

printmaking. Self-taught, he worked in pen and ink, WT: 1943 (3, 5, 11); 1944 (3, 5, 7,9, 11); 1945 (1,

217

Frazetta

3, 9); 1946 (3, 5, 7); 1947 (1, 3, 5, 11); 1948 (5, 7, 9); Frazetta entered the professional art field at the 1949 (3, 5, 7, 11); 1950 (1, 3, 5, 7, 11); 1951 (5, 7) age of sixteen as an assistant to John Giunta* doing comic-book art. From 1944 until he began produc-Francis, Richard D.

ing science fiction cover art in 1964, Frazetta worked (?) American artist. A prolific interior artist who on comic books or comic strips. He did work for a entered the science fiction field during the boom number of comic companies including Magazine years of magazines in the early 1950s, unfortunately Enterprises, Famous Funnies, DC Comics, and EC
almost nothing is known of this artist or his career Comics. In the early 1950s, Frazetta worked on his beyond his publication credits. Francis worked for own comic strip, Johnny Comet, but the strip was several magazines when he first began illustrating dropped after a year. Afterwards, Frazetta was of-science fiction, but after a short while concentrated fered a job on Al Capp’s staff, and he worked on Lil mainly on illustrating for Galaxy. As Weinberg ob-Abner for the next nine years.

served, “He was a reasonably good artist who drew Frazetta then wanted to do something else; how-fairly believable people and kept away from alien ever, he soon discovered that his comic-book style monsters in his illustrations.” (1988, p. 119).

was considered too old-fashioned and that the comic market had shrunk to a few companies. There was Published Work

AMZ: 1952 (10, 11); 1953 (2, 3, 8); 1966 (6) not much work to go around. A number of maga-BEY: 1954 (1, 3, 5, 9); 1955 (10)

zine publishers also turned down Frazetta. Again, FA: 1952 (11); 1953 (1, 2, 3)

“too old-fashioned” was the reason he was given.

FSQ: 1955 (winter)

Frazetta was reduced to doing some illustrations for FTC: 1953 (3); 1961 (6)

men’s magazines and men’s paperbacks.

GXY: 1953 (1, 5, 7, 9, 11); 1954 (2, 6, 7, 8, 9, 11, However, Frazetta’s fortune soon changed. He 12); 1955 (3, 4, 6, 7, 9); 1956 (4, 5, 6, 8, 9, 10, 11); was approached by Canaveral Books, which was 1957 (1, 4, 5, 6, 7, 10, 11, 12); 1958 (1, 2, 4, 5, 6, 9, 11, reprinting several Edgar Rice Burroughs books in 12); 1959 (2, 4, 8, 10, 12); 1960 (2, 4, 6, 8, 10, 12); 1961
hardcover as well as printing for the first time several (4, 6, 8, 10, 12); 1962 (2, 4, 6); 1963 (2, 6) uncollected stories. Frazetta did illustrations for sev-IF : 1960 (1, 3, 7, 9, 11); 1961 (1, 3); 1962 (1, 9), eral of these books. In 1964 Ace Books began an 1963 (5)

ambitious program reprinting many of the BurSS: 1954 (summer); 1955 (winter)

roughs novels. Roy Krenkel*, a longtime friend of TWS: 1954 (fall)

Frazetta from his comic-book days, was given the assignment to do the covers for two of the books.

Since he was not sure he could do both covers, he Frazetta, Frank
asked Frazetta to do one. Donald Wollheim, editor (b. February 9, 1928) American artist. Frazetta is of ace Books, was not overly impressed by Frazetta’s arguably the most important and influential artist work, but the artist was given some Burroughs cover ever to work in the science fiction genre. Certainly, the assignments.

case can be made that unlike Virgil Finlay* and Frank Frazetta was unhappy with his treatment by R. Paul*, whose works shaped the field at its incep-Ace — he thought the pay was low, and the company tion, but are known only to a few outside the science kept his artwork. His early paperback covers for the fiction field and who are now forgotten by many company were rush jobs that often were done in a day modern fans, Frazetta is a well-known artist in main-or two. But the art was well received by fans. Then stream America, whose accomplishments are leg-Frazetta was approached by Lancer Books, which endary. “He’s done it all: fine art, film art, portraiture, offered him more money for his paintings and re-cartooning, comics, horror, fantasy, science fiction turned his art. He quickly left Ace and began work-

(and) has left his inimitable mark upon each field, ing for Lancer and, soon after that, other compa-and upon those who would come after him.” (Haber, nies. Years later, Frazetta returned to Ace to do a p. 84). His fans include movie producers and actors, new series of Burroughs cover paintings, but this and his paintings command fabulous prices.

time payment was much better, and there was no The artist was born Frank Frazzetta (he later mention of his art being too old-fashioned.

dropped one of the z’s) in Brooklyn, New York. He It was Frazetta’s work for Lancer Books that began drawing before he was three years old and was vaulted him into the forefront of fantasy illustrators.

an accomplished amateur artist within a few years.

Lancer had just bought the Conan series of heroic When he was eight years old, he began studies at the fantasy stories by Robert E. Howard for publication, Brooklyn Academy of Fine Arts, working with the and Frazetta was given the cover assignments. His classic Italian artist Michael Falanga for the next cover paintings were superb renderings of the barbar-eight years. But his education came to an abrupt end ian hero and helped make the books among the best-with the death of Falanga.

selling paperbacks of the 1960s and 1970s. Collectors

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began buying paperbacks just for the Frazetta cov-stant reprints of his work kept his name in the fore-ers. In a situation similar to what had been done for front of fantasy illustrators. In 1983 Frazetta collab-science fiction magazine covers, companies began orated with Ralph Bakshi to write and co-produce buying Frazetta paintings and then having authors the heroic fantasy adventure animated film Fire and write novels to go with the art. A Frazetta cover soon Ice. For the movie’s theatrical release, Frazetta created became a status symbol for fantasy paperbacks, guaran oil painting used for the movie poster, and James anteeing sales.

Gurney* was the background painter. Neither finan-At the same time, Frazetta did a series of horror cially nor critically successful at the time, it later be-and fantasy covers for the warren black-and-white came a cult classic among fans. Frazetta produced comic horror magazines, Creepy and Eerie, which movie poster designs for several films, beginning in also attracted a great deal of attention. His paint-the mid 1960s. Among them are: After the Fox ings “Egyptian Princess” and “Sea Witch” were ex-

((1966), The Busy Body (1967), Conan the Barbarian tremely popular both in and out of the comic field.

(1982), Fearless Vampire Killers (1967), Luana (1973), When posters of Frazetta’s paintings were pub-Mrs. Pollifax — Spy (1971), Night They Raided Min-lished by several companies, the artist and his wife sky’s (1969), Secret of My Success (1965), The Gaunt-quickly realized how popular his work had become.

let (1977), Hotel Paradiso (1966), Mad Monster Party They started their own poster company, working (1969), What’s New, Pussycat? (1965); Yours, Mine and from the original art, most of which Frazetta had Ours (1968).

managed to keep. Frazetta continued to do artwork Frazetta works on wood, masonite, or canvas for paperback houses while also doing album covers, panel. He does paintings in oils, using raw umber for movie posters, and some advertising art. In 1966 he both line and areas of tone. He works in what is was awarded the Hugo Award for Best Science Fic-known as the “classic” approach, starting with bris-tion Artist of the Year and was nominated four other tle brushes to lay in transparent color washes and times for the same award. His name was everywhere.

then finishing with sable brushes for blending. He Interviews and articles about him were appearing in uses color glazes for certain areas and constantly adds both science fiction and the comic-book fields.

highlights to the painting as needed. In his pen-and-By the 1970s Frazetta was becoming well known ink pieces, Frazetta also never does preliminary work outside the science fiction field. In illustration, noth-but instead begins working with pen, letting the ing attracts attention as much as success, and Frazetta drawing flow for itself around the action part of the was very successful. With that success, came in-scene. The collectability of his artwork is such that creased attention. He received the award of Merit even his pencil sketches sell for thousands of dol-from the Society of Illustrators. Interviews with and lars. The reason, to quote Rick Berry*, is that articles about the artist began appearing in maga-

“Frazetta transcends illustration — to fine art.” And, zines like American Artist (May 1976) and Esquire Berry continues, acknowledging what must be the ( June 1977). Frazetta was able to pick and choose most common response of establishment art critics, his assignments, and his originals, when sold, were

“There will be those who, rolling their eyes, say “Oh, going for thousands of dollars.

come on! This guy paints winged demons, wizards, Frazetta’s art was so popular that there were many swordsmen, and mythological doodahs… “ Cer-collectors who collected books with his paintings tainly. So did da Vinci, Michelangelo, Tiepolo, Goya without knowing the contents of the books. In 1975
and Picasso. What is always objectionable to some is came the final breakthrough. Bantam Books pub-commercial success in the popular culture…. The lished a collection of Frazetta’s art, The Fantastic Art subject of great art is not this or that given subject, of Frank Frazetta. A number of Frazetta’s finest pieces person or thing…. The subject of great art is vision.”

were reproduced from the original art using high-Frazetta and his wife, Eleanor (known to most clarity reproduction and fine color printing. An in-people as “Ellie”), have two sons and two daughters, troduction at the beginning of the book gave fans who help with the poster business and various other outside the comic or science fiction field informa-Frazetta enterprises. The small business called tion about the artist, and a brief notice on the copy-Frazetta Prints that Ellie had established in the 1970s right page informed collectors of posters available had by the end of the 1990s become a thriving busi-from Frazetta’s poster company. The Frazetta boom ness, pertaining to all aspects of Frank’s art, includ-became a craze.

ing over 150 different prints, books, and lithographs.

Four more collections of his art followed, as did Desiring privacy and open space, the artist had prea number of calendars. Frazetta had little time for pa-viously moved with his wife and children from perback art since new and more elaborate projects Sheepshead Bay, Brooklyn to a remote house on took up his time. He continued to do a few paint-sixty-seven acres in the Pocono Mountains of East-ings from time to time but by the 1980s had stopped ern Pennsylvania in l971. In l985, the family opened producing art in the fantasy field. However, con-the Frazetta Museum in East Shroudsburg, Penn-

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Frazetta
sylvania, showing originals of Frazetta’s work. The nals as a condition of taking a job. He was the first Museum for many years occupied the second floor to retain the copyright to his commissioned art. The above a commercial sporting goods retail store on a first to make fantasy art available to the mass-mar-main street. In 1996–1997 the museum was relo-ket through Ellie’s poster business…. (He) provides cated to Boca Grande, Florida. It quickly became a contemporary link to the classic illustrators of the clear that the location, while beautiful, would be in-Brandywine school. His influence on the attitudes accessible for Frazetta fans to readily visit, so they and career choices of several generations of artists decided to relocate to the family-owned Museum to that followed his lead is considerable.” ( Testament, the Frazetta property in East Stroudsburg. In 2001, 2001).

and with great fanfare, the Frazetta Museum was re-There is no question that Frazetta is among the established in a special architecturally designed best-known artists working in the United States.

building located on the grounds of the Frazetta fam-While initially his art helped sell swords and sorcery ily estate — a site that had since become “home” to and Robert E. Howard, his work long ago left the their children and grandchildren. The grand open-narrow science fiction and fantasy field and is seen on ing ceremonies for the Museum became part of a everything from record album covers to the sides of documentary on the life and art of Frank Frazetta vans. More importantly, Frazetta’s influence on mod-titled “Frazetta: Painting with Fire” (2003). In 2005, ern science fiction art is incalculable. Frazetta the documentary was released on DVD in a limited demonstrated that there is no barrier to success by edition two-disc set, paired with a re-release of being a genre artist. He proved that to be successful, Frazetta’s earlier film, Fire and Ice.

an artist does not have to abandon illustration and In l994 Frazetta had his first New York Gallery become a “fine” artist to achieve fame and financial exhibition at the Alexander Gallery, for which a lav-success. Long after many of the fine artists of today ish hardbound book was published to accompany are forgotten, Frank Frazetta’s work probably will the opening. With renewed interest in his work, and still be collected and admired. Vincent Di Fate wrote the release of some original artworks (although the of Frazetta “His personal vision is so compelling that vast majority of Frazetta’s work remains in the hands those who tend to imitate him seldom venture far of the family) came new projects and ideas. Frazetta from the vision he has established. He is the essen-attended the San Diego Comic convention for the tial artistic driving force in the SF subcategory of first time in 1995, and was recognized with a life-heroic Fantasy and, clearly and unequivocally, is one time Hall of Fame award during the show. He was of the most influential figures in SF Art.” ( Infinite presented with the first Spectrum Grand Master of Worlds, p. 174)

Fantastic Art award in late 1995. Frazetta also al-Sources: Correspondence from Ellie Frazetta, April 4, 2005
lowed a few of his originals to be sold at Christie’s and artist website www.frazettaartgallery.com; Bails, Jerry and Ware, James. The Who’s Who of American Comic Books 1973–
and Sotheby’s auction houses for high five figure 1997 onlinewww.bailsprojects.com ; Haber, Karen. “Frank sums during the 1990s, further consolidating his rep-Frazetta: Legend” Realms of Fantasy magazine, August 2002; utation. Frazetta was persuaded to assist Randy Weinberg, 1988; Winiewicz, Dr. David, “Frank Frazetta: The Bowen in creating a bronze sculpture of his signature Creative Moment,” Illustration magazine, July 2003, p. 52.

painting “The Death Dealer” and also was commis-Collections and Anthologies
sioned to produce a book of pencil drawings for (various contributing artists)

Glenn Danzig. The volume “Illustrations Arcanum”

Best of Creepy (Grosset & Dunlap, Inc., 1971), was a hit, and a series of Death Dealer comics fol-Durwood, Thomas ed. Ariel Book of Fantasy #2
lowed, as well as other fantasy-supernatural theme (Morning Star, 1976), Frank Frazetta the Living Leg-productions such as a series of sculptures based on his end ( Frazetta Prints, 1981), Frank, Jane and Howard.

“Fire and Ice” female models.

The Frank Collection: A Showcase of the World’s Finest For the last half century, Frank Frazetta has dom-Fantastic Art (Paper Tiger, 1999), The Frazetta Pil-inated the fantasy art genre, despite a thyroid mal-low Book (Kitchen Sink, 1994), Frazetta, Frank. Icon: function that afflicted him during the years l986 to A Retrospective by the Grand Master of Fantastic Art l994 and six strokes, which forced him to switch (Underwood, 1998), Frazetta, Frank. Illustrations drawing hands from his right to his left. “Frazetta’s Arcanum (Verotik, 1994), Frazetta, Frank. Legacy: reputation as one of the twentieth century’s most Selected Paintings and Drawings by the Grand Mas-important illustrators is already well established,”

ter of Fantastic Art, Frank Frazetta (Underwood-says Arnie Fenner, editor, with his wife Cathy, of Miller, 1999), Frazetta, Frank. Testament: The Life the definitive retrospective trilogy of Frazetta’s work, and Art of Frank Frazetta (Underwood, 2001), Legacy, Icon, and Testament. “It was Frazetta, with Frazetta, Frank, Fenner, Arnie and Cathy. Spectrum the tenacious support of his wife, Ellie, who changed Presents: Frank Frazetta: Rough Work (Spectrum, the way publishers treated illustrators and their art.

2007), Frazetta, Frank. The Fantastic Art of Frank He was the first to insist on the return of his origi-Frazetta Book One–Five (Rufus Publications/Pea-

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cock Press/Bantam, 1975–1985), Grant, John and Fighting Man of Mars (SFBC, 1973), Maza of the Humphrey, Elizabeth with Scoville, Pamela. The Moon (Ace, 1965), Monster Men (Ace, 1963) , Monster Chesley Awards: A Retrospective (AAPL, 2003). The From Out of Time (Popular Library, 1970) , Moon New Visions: A Collection of Modern Science Fiction Maid (Ace, 1968), Moon Men (Ace, 1975) , The Art (Doubleday & Co, 1982), Theakston, Greg.

Mucker (Ace, 1974) , Night Images (Morning Star Small Wonders—The Funny Animal Art of FF Kitchen Press, 1976) , Night Walk (Banner, 1967), Night Winds Sink/Pure Imagination, 1991),

(Warner, 1978) , The Oakdale Affair (Ace, 1974) , Orn (SFBC, 1971), Outlaw of Torn (Ace, 1978), Outlaw Published Work

World (Popular Library, 1969), Out of Time’s Abyss BOOKS ILLUSTRATED INCLUDE: [some ERB books (Ace, 1973), Pellucidar (Ace, 1972), People That Time reprinted with new covers, indicated by words “new Forgot (Ace, 1973), Phoenix Prime (Lancer, 1966) , A edition”] 1972 Annual Worlds Best SF (DAW, 1973), Princess of Mars (SFBC, 1970), Prisoner of the Horned The Amsirs and the Iron Thorn (Fawcett, 1967 ) , Helmet (Tor, 1988), Prosthetic Lady (Bridge, 1989), Ardor on Aros (Dell, 1973), Atlan (Paperback Library, The Reassembled Man (Fawcett Gold Medal, 1964), 1968), At the Earth’s Core (Ace, 1968) , The Autumn Red Moon and Black Mountain (Ballantine, 1970) , people (Ballantine, 1965), Back to the Stone Age (w/

Reign of Wizardry (Lancer, 1964) , The Return of Jon-Roy Krenkel, Ace, 1963; new edition: Ace, 1973), gor (Popular Library, 1970) , Return of the Mucker Beasts of Tarzan (Ace, 1963) , Beyond the Farthest Star (Ace, 1974), The Rider (Ace, 1974) , Savage Pellucidar (Ace, 1964; new edition: Ace, 1973, 1976, 1979), The (Ace, 1964; new edition: Ace, 1968, 191973, 1978), Black Star (Dell, 1973), Bloodstone (Warner, 1975), Secret People (Lancer, 1964) , The Serpent (Paperback Brak The Barbarian (Avon, 1968), Brak the Barbar-Library, 1968) , The Solar Invasion (Popular Library, ian vs. the Sorceress (Paperback Library, 1969), Bran 1968) , Son of Tarzan (Ace, 1963) , Swords against dark-Mak Morn (Dell, 1969), Carson of Venus (Ace, 1963; ness (Zebra, 1977) , Swordsmen in the Sky (Ace, 1964) , new edition: Ace, 1973, 1983), The Cave Girl (Ace, Swords of Mars and Synthetic Men of Mars (SFBC, 1973), The City (Paperback Library, 1968), Conan 1974), Tales from the Crypt (Ballantine, 1964), Tales of (Ace, 1967), Conan the Adventurer (Lancer, 1966), the Incredible (Ballantine, 1965) , Tanar of Pellucidar Conan the Avenger (Lancer, 1973), Conan the Bucca-

(Ace, 1973) , Tarzan Alive (Ace, 1974), Tarzan and neer (Lancer, 1972), , Conan of Cimmeria (Lancer, the Castaways (Canaveral Press, 1965), Tarzan and 1969) , Conan the Conqueror (Lancer, 1973), , Conan the Golden Lion (Canaveral Press, 1962), Tarzan and the Usurper (Lancer, 1967), Conan the Warrior the Jewels of Opar (Canaveral Press, 1962), Tarzan at (Lancer, 1967) , Creature from Beyond Infinity (Pop-the Earth’s Core (Canaveral Press, 1962), Thuvia Maid ular Library, 1968), Cyclon (Berkley, 1979), Dancer of Mars and Chessmen of Mars (SFBC, 1972), Tarzan from Atlantis (SFBC, 1971), Death Machine (Berkley, and the City of Gold (Ace, 1963) , Tarzan at the Earth’s 1979), Danger Planet (Popular Library, 1968), Dark Core (Ace, 1963) , Tarzan the Invincible (Ace, 1963) , Crusade (Warner, 1976), Death’s Angels Shadow Tarzan and the Jewels of Opar (Ace, 1963) , Tarzan (Warner, 1973), Devils generation (Lancer, 1973), and the Lion Man (Ace, 1963) , Tarzan and the Lost Downward to Earth (SFBC, 1970), Dracula/Franken-Empire (Ace, 1962) , Tarzan the Triumphant (Ace, stein (SFBC, 1971), Edgar Rice Burroughs: Master of 1963) , Thongor in the City of Magicians (Paperback Li-Adventure (Ace, 1968), Escape on Venus (Ace, 1984), brary, 1968) , Thongor against the Gods (Paperback Li-Fighting Man of Mars (w/ Roy Krenkel, Ace, 1963), brary, 1967) , Time War (Dell, 1974) , Tomorrow Mid-Final Blackout (SFBC, 1992), Flashing Swords 1
night (Ballantine, 1966) , The Tritonian Ring (SFBC, 1973), Flashing Swords 2 (Dell, 1974), The (Paperback Library, 1968) , The Vault of Horror (Bal-Girl from Farris’s (House of Greystoke, 1965), The lantine, 1968), Warrior of Llarn (Ace, 1967) , Witch Godmakers (Pinnacle, 1970), Gods of Mars and War-of the Dark Gate (Prestige, 1972), Witherwing lords of Mars (SFBC, 1971), Gulliver of Mars (Ace, (Warner, 1979), Wolfshead (Lancer, 1968) , Wonderful 1964), Into the Aether (Dell, 1974), Jongor Fights Back Wizard of Oz (Airmont Classics, 1969).

(Popular Library, 1970) , Jongor of the Lost Land (Popular Library, 1970) , Jungle Tales of Tarzan (Ace, MAGAZINES ILLUSTRATED INCLUDE:

1963), Kavin’s World (Lancer, 1969), King Kong (Ace, Creepy: 1964 (#1); 1965 (#2, #3, #4, #5, #6); 1966

1976) , Land of Hidden Men (Ace, 1973) , Land of Ter-

(#7, #8, #9, #10, #11); 1967 (#15, #16, #17); 1968
ror (Ace, 1963; new edition: 1968, 1973, 1978), Lost (#25); 1969 (#27, #29, #30); 1970 (#32); 1976 (#83); Continent (Ace, 1963), Lost on Venus (Ace, 1963), L.

1977 (#89, #91, #92); 1978 (#97, #98); 1979 ( # 108, Ron Hubbard Presents Writers of the Future Vol. III,

#112); 1981 (#128, #131); 1983 (#144) IV, V, VI, VII, X, XIX (Bridge/Galaxy, 1987, 1988, Eerie: 1966 (#2, #3, #5); 1967 (#7, #8); 1969 (23); 1989, 1990, 1991, 1992, 1994, 1995, 2003), Luana 1977 (#81, #84, #87); 1981 (#124)

(Ballantine, 1974), Mad King (Ace, 1964), Master-Vampirella: 1969 (#1); 1970 (#5, #7); 1971 (#11); mind of Mars (Ace, 1963), Masterminds of Mars and 1974 (#31)

221

Freas

Freas, Frank Kelly
ence fiction publishers as well as doing jacket art (August 27, 1922–January 2, 2005) American for Gnome Press.

artist. “The most popular science fiction artist in the In 1953 Freas began working for Astounding Sci-history of the field,” (Klute and Nichols, 1993), and ence Fiction, long considered the leading magazine in surely one of the most prolific, for fifty years Freas the field. He soon became the leading interior artist (pronounced Freeze)remained a favorite of both fans for the magazine and shared cover responsibilities and professionals. Although other artists’ fame at with H. R. Van Dongen*. John W. Campbell, Jr., edtimes eclipsed Freas’s accomplishments, in the long itor of Astounding also had Freas provide a series of view no other artist has matched his achievements in small cover inserts, used at the top of each cover dur-the world of science fiction illustration, nor consis-ing the 1950s, to distinguish Astounding from the tently matched the quality and quantity of art for other science fiction magazines being published dur-such an extended period. In his high professional ing that period. The symbols ranged from “Hex standards, camaraderie, inspiration and mentorship Signs Circa 1960” to “The Nonconformists.” All he provided to others, and mischievous sense of were simple but witty little illustrations that added humor, he embodied the ideals of a science fiction something extra to the magazines. He continued to artist. He was “The Dean of Science Fiction Artists work for the magazine when it became Analog, as

… without question” (Di Fate, p. 176).

well as contributing to nearly every other science Freas was born Frank Kelly in Hornell, New York fiction magazine in the field, both covers and inte-but grew up in Crystal Beach, Ontario Canada, and riors. He was noted for bringing realism to his char-then moved to Massillon, Ohio. He added the name acters, showing them with imperfections and signs

“Freas” after his stepfather adopted him, and this of age — although he was equally capable of render-became the hyphenated Kelly-Freas during his serving beautiful, idealized women. He was also an ad-ice in the Army, in World War II. He demonstrated mirer of Edd Cartier* and like that artist was success-artistic talent at an early age, but first tried engineer-ful in bringing humor to his fantasy and science ing at Catholic University, and then Georgetown (in fiction illustrations. Hugely prolific, in the 1950s Washington DC) as a premed student before his in-through the 1970s Freas produced hundreds of mag-terest in drawing pulled him away from academic azine covers
pursuits and into an art career. He worked as a free-As well as book covers for major publishers such lance illustrator and was art director for Curtis-as Ace, Gnome Press, and DAW. He was the sole Wright’s Public Relations Office in Columbus, Ohio cover artist for Laser Books science fiction line for before serving four and a half years in the air force two years during the mid 1970s, producing fifty-in the Pacific Theater during the war, as an aerial seven covers. Freas also continued to do work out-photographer. . It’s said that While in photo reconside the science fiction field. He was a frequent con-naissance, he passed his spare time painting beauti-tributor to Mad magazine, from 1955 to 1962, and ful women on the noses of bomber airplanes.

is credited with doing the first Alfred E. Neuman il-After the war, he served a year as art director for lustration. He also did numerous religious illustra-the Pittsburgh Bulletin Index and enrolled at the tions for the Franciscans during this period, creating Art Institute of Pittsburgh (Pennsylvania), contin-five hundred portraits for the Franciscans’ Book of uing his freelancing while in school and starting up Saints.

his own agency. His lifelong interest in science Freas worked primarily in acrylics for his paint-fiction as a fan and reader — in particular his fond-ings, although he did some work in watercolors. He ness for the stories published in Astounding Sci-rarely used oils due to an allergic reaction. His black-ence Fiction during the early 1940s — led him to and-white interior illustrations are done in a vari-follow up on a suggestion made by a fellow student, ety of styles, although primarily with crisp india-Charles Kennedy, to submit one of his class assign-ink line work on white illustration board. He ments to Weird Tales, and that lead to his first pub-frequently signed his works using a stylized design lished painting in the genre: the November 1950
based on his initials enclosed in a oval, and his pen-cover of the magazine. After his first success, Freas chant for adding a “starburst-like” cross motif in the remained in Pittsburgh but began submitting art to background is also well known
the New York science fiction publishers. In Novem-Always a fan favorite, Freas — called “Kelly” by ber 1952 he decided to give up his advertising work, his friends — was the first artist to win ten Hugo despite the steady income, and moved to New York Awards —five of them in a row — plus a later “retro to become a full-time illustrator. In the same year Hugo, making eleven in all (He was nominated for he married science fiction fan Pauline (Polly) Bus-the Award an all-time record of twenty times.) He sard; they had two children, Jacqui and Jerry, and also won numerous other genre awards, too many Polly became his partner and researcher. Within a to list, including the Frank R. Paul Award, the short time Freas was working for many of the sci-Inkpot Award, the Skylark Award, and three Ches-

Freas

222
ley Awards (with his second wife Laura, and solo).

on artwork as well as creating works of her own. He He was inducted into the National Association of and Laura were guests at numerous conventions as Trade and Technical Schools’ Hall of Fame in 1991, well as guests of honor at the World SF Conven-served as President of the Association of Science Fiction, with both of them exhibiting works there.

tion Artists, and was named a fellow of the Interna-Laura Freas, who holds a PhD in Music, has been tional Association of Astronomical Artists. In 1994, a classical music program host on National Public Starlog Magazine included him in their prestigious Radio, as well as a professional artist whose illus-list of The 200 Most Important People in Science trations have appeared in Weird Tales, Analog, Mar-Fiction and Fantasy. He was made Artist Guest of ion Zimmer Bradley’s Fantasy Magazine, and in spe-Honor by two Worldcons and was awarded an hon-cial editions of Easton Press. She has been orary doctorate from the Art Institute of Pittsburgh nominated for a Chesley award four times, and in 2003. NASA selected Freas’s design for a shoul-shared the Chesley Award with Freas for their joint der patch for the astronauts on Skylab I. As part of painting Scribe. Like Kelly, who was the first Coor-his own interest in space travel, he designed five dinating Judge for the Illustrators of the Future con-posters for the space program. They were originally test, and remained a judge for several years before printed in the graphics department of the Virginia his death, she became a quarterly judge of the con-School system. These posters were so popular that test 1996. A former Director-at-Large of the Cos-NASA used them in its own educational program.

tumer’s Guild West, and founder of the Dark Shad-The five illustrations were done on negatives, and ows Festival’s Collinsport Players, Laura has won no actual paintings exist of the art. Copies of each prizes at convention masquerades, including a West-of the poster are displayed in the Smithsonian. Freas erCon western regional. She also founded the (San also was an official NASA artist for seven missions, Francisco) Bay Area English Regency Society. She including Apollo-Soyuz.

works in traditional media, computer graphics, One of the first artists to offer prints of his paint-webpage design and multimedia.

ings for sale, Freas also was one of the first artists to Besides his wife, Laura Brodian Freas, Freas is sur-collect his best work in book form. His Frank Kelly vived by his daughter, Jacqui and son, Jerry from Freas —The Art of Science Fiction not only reprinted his first marriage, and six grandchildren.

many of the artist’s finest illustrations, but the accom-Sources: e-mail from Laura Brodian Freas, July 2005; artist panying text gave Freas an opportunity to describe website at www.kellyfreas.com; Berkwits, Jeff. Interview:

“Prolific SF illustrator Frank Kelly Freas refuses ever to stop paint-intelligently his feelings and thoughts about science ing” SciFi Weekly, October 28, 2002 online http://www.scifi.

fiction art. According to Freas, “An illustrator, com/sfw/issue288/interview.html; Clute, John and Nicholls, whether science fiction or otherwise, is essentially a Peter. The Encycopedia of Science Fiction (Orbit, 1993), Inter-story-teller who can’t type…. A feeling of convic-view: Frank Kelly Freas: 50 Years of SF Art In: Locus, March 2001; Weinberg, 1988.

tion in a picture comes from a solid grounding in reality, no matter how far out the situation may be.

Art Collections and Anthologies

To explore the unknown, you range outward from (various contributing artists)

the known, and successful pioneers always move out DiFate, Vincent. Infinite Worlds: The Fantastic from solidly established advance bases. Actually, Visions of Science Fiction Art (Wonderland Press/Pen-being an artist is a bit like being a pioneer. Your real guin, 1997), Durie, Alistair. Weird Tales ( Jupiter, goal, like his, is freedom.”

1979), Eisler , Steven (Robert Holdstock). Space Freas also explained his interest in drawing “char-Wars, Worlds and Weapons (Octopus, 1979), Frank, acter,” writing, in The Art of Science Fiction, “One of Jane and Howard. Great Fantasy Art Themes from the the things I brought to science fiction art was peo-Frank Collection (Paper Tiger, 2003), Freas, Frank ple. Not always well painted, but still real, under-Kelly. The Astounding Fifties: A Selection from As-standable, believable people, whether they were rock-tounding Science Fiction Magazine (1971), Freas, jawed, bristle-headed Terran topkicks or blue-furred Frank Kelly. Frank Kelly Freas: The Art of Science Fic-aliens with three eyes and a prehensile tail.”

tion (Donning, 1977), Freas, Frank Kelly. Frank Kelly Except for a four-year break from science fiction, Freas: A Separate Star (Greenswamp, 1984), Freas, during which time he lived in Mexico (while work-Frank Kelly and Freas, Laura Brodian, Eds. Frank ing for Mad), Freas continued to produce quality Kelly Freas: As He Sees It (Paper Tiger, 2000), Grant, science fiction year after year well into the 1990s.

John and Humphrey, Elizabeth with Scoville, After his wife, Polly, died of cancer in January in Pamela. The Chesley Awards: A Retrospective (AAPL, 1987, he moved from Virginia to California, where 2003). Sackmann, Eckart. Masterpieces of Fantasy he met and married Dr. Laura Brodian Freas, in Art (Taschen, 1991).

1988, who is also an artist. They established the Kelly Freas Studio in Los Angeles, with Laura managing the studio and later, collaborating with Freas

223

Freas

Published Work

Night (Gnome Press, 1952), Kane’s Odyssey (Laser, BOOKS ILLUSTRATED INCLUDE: 1985 Annual 1976), Keeper (Laser, 1976), Key to Venudine (Ace, Worlds Best SF (DAW, 1985), Against the Fall of Night 1968), King of Eolim (Laser, 1975), King of Argent (Gnome Press, 1953), Alton’s Unguessable (Ace, 1970), (DAW, 1973), Law for the Stars (Laser, 1976), Legacy Animal Farm (Easton Press, 2002), Another Fine (Laser, 1976), Lifeship (Baen, 1985), Lion Game Myth (w/ Polly Freas, Donning, 1978), Apostle (w/

(DAW, 1973), Maelstrom’s Eye (TSR, Inc., 1992), Polly Freas, Donning, 1978). Arsenal Out of Time Man of Many Minds (Pyramid, 1953), Man Who (Ace, 1967), The Ballad of Beta-2 (Ace, 1965), The Wanted Stars (Lancer, 1968), Mankind under the Beast (DAW, 1984), The Best of James H. Schmitz (w/

Leash (Ace, 1966), Marauders of Gor (DAW, 1975), Merle Insinga, DAW, 1991), Beyond Capella (Ace, Martians Go Home (Ballantine, 1976), Mask of Chaos 1971), Big Black Mark (DAW, 1975), Birth of Fire (Ace, 1970), Masque World (Ace, 1969), Master of the (Laser, 1976), Birthright (Laser, 1975), Black Roads Stars (Laser, 1976), Master Storyteller (Galaxy Press, (Laser, 1976), Blake’s Progress (Laser, 1975), Bodelan 2003), Meddlers (Laser, 1976), Mindship (DAW, Way (DAW, 1974), Brain Machine (Lancer, 1968), 1974), Mindwipe (Laser, 1976), Mister Justice (Ace, Brandy jack (Laser, 1976 ), But What of Earth? (Laser, 1973), Monitor Found in Orbit (DAW, 1974), Naked 1976), Capricorn Games (w/ Polly Freas, Donning, Sun (Lancer, 1968), Nebula Alert (Ace, 1967), Nee-1978), Caravan (Laser, 1975), Carnelian Cube dle (Lancer, 1969), Operation Chaos (Doubleday, (Lancer, 1967), Catch the Star Winds (Lancer, 1969), 1971), The Orc Wars (Baen, 1992), Our Children’s Cemetery World (DAW, 1983), Conscience Interplan-Children (DAW, 1983), Out of Their Minds (DAW, etary (DAW, 1974), Children of the Atom (Gnome 1983), Owl Time (DAW, 1985), Pandora’s Planet Press, 1953), City (Gnome Press, 1952), City Ma-

(DAW, 1973), Pity about Earth (Ace, 1976), Planet chine (DAW, 1972), Coming of Conan (Gnome Press, Probability (DAW, 1973), Pritcher Mass (DAW, 1953), Crash Landing on Iduna (Laser, 1975), Cross 1973), Probability Man (DAW, 19720, Quag Keep of Empire (Laser, 1976), Currents of Space (Lancer, (DAW, 1978), Queen of Angels (Easton Press, 1990), 1968), Cycle of Nemesis (Ace, 1967), Dance of the Rebels of Merka (Laser, 1976), Redbeard (Prestige, Apocalypse (Laser, 1976), Dark Dimensions (Ace, 1969), Red Tape War (Tor, 1991), Regiments of Night 1971), Day of Wrath (Ace, 1971), Destination Saturn (DAW, 1972), Renegades of Time (Laser, 1975), Re-

(Ace, 1967), Destiny Doll (DAW, 1982), Dinosaur union on Neverend (Tor, 1994), River and the Dream Beach (DAW, 1971), Dominant Species (w/ Polly (Laser, 1977), Robert A. Heinlein: America As Science Freas, Donning, 1979), Dreadful Sanctuary (Lancer, Fiction (Oxford University Press, 1980), Ruler of the 1967), Dreamfields (Laser, 1976), Dumarest of Terra World (Laser, 1976), Scavenger Hunt (Laser, 1976),

—Toyman (Ace, 1969), Ecolog (Lancer, 1977), Eden Seas of Ernathe (Laser, 1976), Seeds of Change (Laser, Cycle (Ballantine, 1974), Edge of Time (Ace, 1966), 1975), The Seeker (Laser, 1976), Seeklight (Laser, End of Eternity (Lancer, 1966), Epitaph in Rust 1975), Serving in Time (Laser, 1975), Shadow on the (Laser, 1976), Extraterritorial (Laser, 1977), Eye in Stars (Laser, 1977), Shepherd (Laser, 1977), Siege Per-the Sky (Ace, 1968), Falling Toward Forever (Laser, ilous (Lancer, 1966), Silver Metal Lover (Doubleday, 1975), Flower of Doradil (Ace, 1970), Fall of the Tow-1981), Skies Discrowned (Laser, 1976), Slaves of Sleep ers (Ace, 1970), Finish Line (Laser, 1976), From the (Lancer, 1967), Sleepwalker’s World (DAW, 1972), Dust Returned (Easton Press, 2001), From This Day Soldier Ask Not (DAW, 1975), Somewhere a Voice Forward (DAW, 1973), Future Sanctuary (Laser, (Ace, 1967), Some Will Not Die (Donning, 1978), 1976), Galactic Invaders (Laser, 1976), Gallagher’s Space Barbarians (Ace, 1969), Space Trap (Laser, Glacier (Ace, 1970), Gates of the Universe (Laser, 1976), Spawn (Laser, 1976), Star-Crowned Kings 1975), Gateway Trip (Del Rey/Ballantine, 1990), Gift (DAW, 1975), Stardroppers (DAW. 1972), Stars Like of the Manti (Laser, 1977), Girls from Planet Five Dust (Lancer, 1966), Starmaster’s Gambit (DAW, (Lancer, 1967), Goblin Reservation (DAW, 1982), 1973), Star Web (Laser, 1975), Star Well (Ace, 1968), Gremlins Go Home (Tor, 1984), Hard to Be a God Stone That Never Came Down (DAW, 1973), Strange (DAW, 1974), Hard Way Up (Ace, 1972), Hawks of Trades (Golden Gryphon Press, 2001), The Super Hugos Arcturus (DAW, 1975), Hellquad (DAW, 1984), Hell’s (Baen, 1992), Swansong (DAW, 1975), Tactics of Mis-Gate (Lancer, 1970), Herds (Laser, 1975), Hierarchies take (DAW, 1971), Telzey Toy (DAW, 1973), Then (Ace, 1973), High Hex (Ace, 1969), The Horde (Laser, Beggars Could Ride (Laser, 1976), This Side of Infinity 1976), Hunters of Jundagai/Project Love (Ace, 1971), (Ace, 1972), Tiger in the Stars (Laser, 1976), The I Aleppo (Laser, 1976), Ice Prison (Laser, 1966), In Three Suns of Amara (Acem 1973), The Thurb Rev-the Kingdom of the Beasts (Ace, 1971), Into the Slave olution (Ace, 1968), Time and Chance (Donald M.

Nebula (Lancer, 1968), Invasion (Laser, 1975), Ipo-Grant, 1996), Time Gladiator (Lancer, 1969), moea (Ace, 1969), Iron Rain (Laser, 1976), The Jaws Timescoop (Dell, 1969), To Challenge Chaos (DAW, that Bite, The Claws That Catch (DAW, 19750, Jeremy 1972), To Outrun Doomsday (Ace, 1967), Tonight We Case (Laser, 1976), Jondelle (DAW, 1973), Judgment Steal the Stars (Ace, 1969), Tower of Medusa (Ace,

Freeman

224

1969), To Renew the Ages (Laser, 1976), Treasure of PS: 1952 (5, 7, 9, 11); 1953 (3, 5, 7, 9, 11); 1954 (

Tau Ceti (Ace, 1976), Unto the Last Generation 1, 3, 5, summer, fall, winter); 1955 (spring, sum-

(Laser, 1975), The Unteleported Man (Ace, 1966), mer)

Walls within Walls (Laser, 1975), Wandering Vari-RS: 1953 (7, 9)

ables (DAW, 1972), Warlord’s World (DAW, 1975), SAT: 1956 (12)

Warriors of dawn (DAW, 1975), We Claim These Stars SF : 1954 (2); 1955 (1, 3, 5, 7, 9, 11); 1956 (1, 5, 7, (Ace, 1967), West of Honor (Laser, 1976), The When-9, 11); 1957 (1, 3, 5, 7, 9, 11); 1958 (1, 3, 5, 6, 7, 8, 9, abouts of Burr (DAW, 1975), Winds of Darkover (Ace, 11); 1959 (3)

1971), The Wind Whales of Ishmael (Ace, 1971), Wiz-SFA: 1953 (2, 5, 7)

ards of Senchuria (Ace, 1969), World Jones Made SFQ: 1954 (5, 8, 11); 1955 (2, 5, 8, 11); 1956 (2, 8, (Ace, 1967), World Menders (DAW, 1971), World 11); 1957 (2, 5, 8)

Swappers (Ace, 1967), World Without Stars (Ace, SpSF : 1953 (3, 5, 7)

1966), Yellow Fraction (Dobson, 1969), Zen Gun SS: 1955 (spring, summer)

(DAW, 1983).

SSF : 1956 (12); 1957 (2, 4, 8, 10); 1958 (2, 6, 8, 12); 1959 (6)

MAGAZINES ILLUSTRATED INCLUDE:

TOM: 1994 (8)

2CSAB: 1953 (spring, summer, winter); 1954

TOPS: 1953 (spring, fall)

(spring)

TWS: 1953 (11); 1954 (spring); 1955 (winter) AMZ: 1965 (10); 1983 (1, 5); 1991 (8); 1992 (5); VAN: 1958 (6)

1993 (3, 11)

WT: 1950 (11); 1951 (11); 1952 (12); 1953 (1, 3) ASF : 1953 (9, 10, 11, 12); 1954 (1, 2, 3, 4, 5, 6, 7, Misc. : Magic: The Gathering—Mercadian Masques 8, 9, 10, 11, 12); 1955 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, card art (Wizards of the Coast, 1999), Star Wars 12); 1956 (1, 2, 3, 4, 5, 6,. 7, 8, 9, 10, 11, 12); 1957 (1, Galaxy card art (Topps, 1993) 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1958 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1959 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, Freeman, Fred

11); 1960 ( 2, 4, 5, 6); 1964 (7, 8, 9, 11, 12); 1965 (1, (September 20, 1906–June 6, 1988) American 4, 7, 8, 9, 10, 11, 12); 1966 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, artist. Known chiefly for his illustrations depicting 11, 12); 1967 ( 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1968
space travel (fictional as well as documentary), Fred-

(1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12); 1969 (1, 2, 3, 4, 5, 7, eric W. Freeman was born in Boston, Massachusetts 8, 9, 10, 11, 12); 1970 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, and was christened by Edward Everett Hale, author 12); 1971 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1972 (1, of the science fiction classic, The Brick Moon—“an 2, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1973: (1, 2, 4, 5, 6, 7, 9, auspicious beginning for a future space illustrator,”

11, 12); 1974 (1, 3, 5, 6, 7, 8, 9, 10, 11, 12); 1975 (2, 10); notes Ron Miller in his book Space Art (1978). Free-1976 (2, 4, 5, 6, 7, 8, 9, 12, annual); 1977 (1, 3, 8); man worked as a commercial artist in New York City 1978 (6, 8); 1980 (2); 1982 (8, 9, mid–9); 1989 (7, 8); from the late 1920s through the 1930s before volun-1990 (1, 4, 10); 1991 (12); 1997 (7/8); 1999 (4); 2000
teering for the U.S. Navy at the onset of World War (1, 9, 10); 2001 (6)

II. Shortly before leaving the Navy, he received an on-BEY: 1953 (9)

shore assignment as head of a thirty-artist unit F&SF : 1954 (9, 10); 1955 (2); 1956 (9, 10, 11, 12); preparing art for manuals and coursebooks. There he 1957 (3, 5, 12); 1958 (4); 1971 (4); 1977 (7); 1990 (1) met Theodore Roscoe, with whom he later collab-FF : 1953 (2, 6, 8)

orated on illustrated books on submarines and de-FU: 1955 (4, 6, 8, 10); 1956 (2, 4); 1957 (2) stroyers from World War II (each with over a hun-FUT: 1954 (3, 6, 8, 10); 1956 (#29, #30); 1957
dred illustrations) for the United States Naval (#31, #32, #33, #34); 1958 (3, 5, 10); 1959 (2); 1960

Institute. In 1956, with Theodore Roscoe, he de-

(2)

signed The Picture History of the U.S. Navy, pub-GAL: 1979 (9)

lished by Charles Scribner’s Sons.

GXY: 1952 (10); 1954 (3); 1977 (8); 1994 (#2, #3, After the war, Freeman continued to work in

#6)

magazine illustration and his art appeared regularly IASFM: 1977 (summer, fall, winter); 1978 (1, 7, in The Saturday Evening Post, Esquire, Life, Look, 9); 1979 (4, 10); 1999 (1)

This Week, Argosy and Collier’s. His work for Col-IF : 1953 (1, 3, 5, 7, 22); 1954 (1, 3, 4, 5, 6, 7, 8, lier’s led to his being chosen as one of the three illus-9, 10, 11, 12); 1955 (2, 3, 5, 6, 8, 10, 12); 1956 (2, 4); trators for that magazine’s “Space Symposium” series 1958 ( 10, 12); 1959 (2)

popularizing space flight, begun in the March, 1952

IMGT: 1956 (3, 5, 7)

issue. A portion of the material published in the MZB: 1989 (autumn/with Laura Freas, winter); magazine during the course of the series was col-1991 (summer/with Laura Freas)

lected into two now-classic books: Across the Space NWUS: 1960 (3)

Frontier and The Conquest of the Moon. Freeman, be-

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Froud
cause he started out as a graphic artist, was particu-Froud, Brian
larly adept at depicting “cut-aways” of space vehicles, (b. 1947) British artist. Perhaps the most well-illustrations which enabled viewers to see what was known of contemporary faery artists, Froud was happening inside ships and rockets in flight by peel-born in Winchester, England and graduated with ing off the frame, through cross sections. The books, Honors from Maidstone College of Art in 1971 with illustrated by artists such as Freeman and Chesley a degree in Graphic Design. Shortly after, Froud es-Bonestell*, helped convince Americans that space tablished himself in London and began working in flight was possible, and encouraged science fiction commercial illustration on various projects ranging writers to deal more realistically with the idea, as from book jackets and magazine covers to illustrat-well. Freeman worked closely with Werner Von ing children’s books, and advertising. In the mid Braun, one of the major contributors to the series, to 1970s he moved to Devon, living with fellow artist produce two serial stories for This Week. One of the Alan Lee* and his family, while continuing to illus-stories, “First Men to the Moon,” was later issued trate children books and publish his own artwork.

in book form in 1960, with 96 drawings and paint-Froud and Lee collaborated on an ensemble of drawings by Freeman. The artist also provided paintings ings and paintings that became the art book Faeries and drawings for the Reader’s Digest condensed (1979), now considered a modern classic of its kind.

book version of Arthur C. Clarke’s A Fall of Moon-Fraud’s artistic techniques and knowledge of folklore dust (1961). Freeman was one of the artists invited caught the eye of Jim Henson (creator of the Mup-to take part in the NASA fine arts program, and one pets). In 1978 Jim Henson hired Froud to help de-of the resulting paintings is in the collection of the sign a unique “otherworld” for the film The Dark National Air and Space Museum, Smithsonian In-Crystal (1982). While making the movie Froud met stitution.

and married Wendy Midener, a puppet designer An exhibition catalog, “Life on the New Fron-

(creator of the “Gelflings” and Star Wars’ “Yoda”).

tiers: A Retrospective of Art by Fred Freeman” was Later, their son Toby starred in the Henson film published in 1982 by Randolph Register (NY), and Labyrinth (1986), for which Froud was once again included his scenes of U.S. Naval and Submarine hired as the conceptual designer. Froud continued operations in World War II, book, magazine and working with Henson on television programs such advertising illustration, paintings of naval history, as “Jim Henson’s Storyteller,” as well as working on space travel and futuristic visions of life on earth.

designs for other film/media projects. Froud also The artist died of a heart attack at Middlesex Memo-began to collaborate with the screenwriter of rial Hospital in Middlesex, Connecticut at the age of Labyrinth, Terry Jones. They created several books 81. He was survived by his wife, Katherine; a daugh-together, including The Goblins of the Labyrinth ter, Gabrielle Freeman Bartlett, and a son, Frederic (1986, re-issued in abridged form as The Goblin William Freeman Jr.

Companion: A Field Guide to Goblins in 1996, and a Sources: New York Times Obituary, June 8, 1988; Miller, number of non– Labyrinth-related books, including Ron. Starlog Photo Guidebook to Space Art (Profile Entertain-one of Froud’s most popular, Lady Cottington’s ment, 1978); Rodrigues, David. “Space Art at the Dawn of the Space Age: The Art of Chesley Bonestell, Fred Freeman, Pressed Fairy Book (1994). Froud also published a se-and Rolf Kemp.” Bulletin of the Eastbay Astronomical Soci-quel to the Froud/Lee Faeries book in 1998, Good ety Founded in 1924 at Chabot Observatory, Oakland, Cali-Faeries/Bad Faeries.

fornia Volume 77, Number 8, April 2001 online www.east-Froud draws inspiration for his paintings, water-bayastro.org/2001/0501/r0501-1.htm.

colors, and drawings from the woods and moors Collections and Anthologies
found in the countryside of Dartmoor, in South-

(various contributing artists)

west England. His sensitive approach to mythic/

Miller, Ron . Starlog Photo Guidebook to Space Art folkloric subject matter, combined with his unique (Profile Entertainment, 1978), Ordway, Fred III. Vi-style of expression, has resulted in an international sions of Spaceflight: Images from the Ordway Collection following for his fantasy images. As Windling ob-

(Publishers Group West, 2001).

serves, “If there can be said to be a painterly equivalent to the literary school of Magical Realism, then Published Work
the work of Brian Froud exemplifies it.” (p. 73). His Across the Space Frontier (Viking, 1952), Conquest work has been licensed by numerous licensing com-of the Moon (Viking. 1953), First Men to the Moon panies internationally, and has attracted a commu-

(Holt, Rinehart, 1960), Man on the Moon (Sidgwick nity of Froudians who collect Froud books, art and

& Jackson, 1963), 2001), Starlog Photo Guidebook to other merchandise. His artworks in acrylics, colored Space Art (Profile Entertainment, 1978) pencil, pastels and ink have won numerous awards, including the Chesley for Best Interior Illustration Freff see Cochran, Connor Freff and the Hugo award for Best Original Artwork in 1995. The art has also inspired several mythic fan-

Gallardo

226
tasy novels, among them: Patricia McKillip’s Some-The Secret Sketchbooks of Brian Froud (Imaginosis, thing Rich and Strange, Charles de Lint’s The Wild 2005), The World of the Dark Crystal (Henson Or-Wood, Terri Windling’s The Wood Wife, and Hannah’s ganization Publishing/Knopf, 1982, Abrams 2003).

Garden by Midori Snyder. The appeal of his imagery has been such that his more popular faery books, Published Work
which have sold in the millions of copies, are gen-BOOKS ILLUSTRATED INCLUDE: A Fantasy Reader erally considered to be more of the nature of art (Berkeley, The Seventh World Fantasy Convention, books to which text has been appended, than illus-1981); Are All the Giants Dead? (Harcourt Brace Jo-trated story books, hence their listing in that cate-vanovich, 1978), Brian Froud’s Faerielands: The Wild gory in the bibliography. His most recent such book, Wood (Bantam, 1994), Brian Froud’s Faerielands: Froud’s World of Faerie (2007) presents a compila-Something Rich And Strange (Bantam, 1994), Camelot tion of beautiful portrayals of faeries, with commen-and the Vision of Albion (Panther, 1975), The Castle tary by Froud.

of Llyr (Collins, 1983), The Cream of the Jest (Bal-Recent film projects include creating concept de-lantine, 1971), Day of the Minotaur (Mayflower, signs for a sequel to The Dark Crystal, to be pro-1975), Domnei (and The Music from Behind the duced by the Jim Henson Company, working on a Moon): Two Comedies of Woman-Worship (Ballan-project for Lucasfilm. and developing a film with tine, 1972), Don’t Bite the Sun (DAW, 1976), The the Walt Disney Company based on his book, Gob-Dreaming Place (Atheneum, 1990), The Finger and lins! . Froud is also developing a theater production the Moon (Panther, 1975), Master Snickup’s Cloak in Las Vegas based on his designs. His work has been (Harper and Row, 1979), A Midsummer Night’s featured in exhibitions throughout the world and Dream (Franklin Watts, 1972), Streamskelter his paintings are held in many private and public (Pan/Macmillan, 1994), The Wood Wife (Tor, 1996).

collections. Froud lives in Devon, England with his Misc.: The Faeries’ Oracle card deck (Simon & wife, acclaimed sculptor and doll maker Wendy Schuster, 2000), Brian Froud’s Goblins 2006 Calen-Froud, and their son, Toby.

dar (Abrams, 2005, Chelsea Morning: Joni Mitchell

Sources: artist website at www.worldoffroud.com; biogra-book with CD (Milk & Cookies Press, 2004), Gob-phical information provided from agent Robert Gould, August lins pop-up book (Pan Macmillan, 1991), Lady Cot-2007; www.enchantedartists.com/froud.php; Wendy and tington’s Pressed Fairy Wall Calendar 2007, 2008

Brian Froud at www.endicottstudio.com/bios/biofroud.html; (Abrams, 2006, 2007)

Windling, Terri. “The Woman of Faery: Brian Froud’s Enchanting Realms” Realms of Fantasy October 1994, pp. 71–75.

Fuqua, Robert see Tillotson, Joseph Collections and Anthologies

Wirt.

(various contributing artists)

Froud, Brian. The Art of Faery (Paper Tiger, Gallardo, Gervasio

2003), Froud, Brian. Brian Froud’s World of Faery (b. 1934) Spanish artist. Born in Barcelona, Spain, (Insight, 2007), Froud, Brian. Lady Cottington’s Fairy Gervasio Gallardo Villaseñor studied art for a num-Album (Abrams, 2002), Froud, Brian and Lee, Alan.

ber of years and began his professional career work-Faeries (Abrams, 1978), Froud, Brian and Lee, Alan.

ing for the Spanish agency SADAG. He worked for Faeries 25th Anniversary Edition (Abrams, 2002), several Spanish art agencies before moving to Mu-Froud, Brian. Good Faeries/Bad Faeries (Simon & nich in 1959 to work for Sud-Graphik. He then Schuster, 1998), Froud, Brian and Berk, Ari. Gob-worked for the Publicidad Continental agency in lins! (Abrams, 2004), Froud, Brian & Jones, Terry.

Madrid, followed by four years working for the The Goblin Companion: A Field Guide to Goblins Delpire Agency in Paris. In 1961, he was one of a (Turner, 1996), Froud, Brian and Jones, Terry. The small group of Catalonian artists in Barcelona who Goblins of Labyrinth ((Henry Holt, 1986, Abrams, founded the first professional association for graphic 2006), Froud, Brian and Berk, Ari. Runes of Elfland artists in Spain, Grafistas Agrupación FAD (Archi-

(Abrams, 2003), Grant, John and Humphrey, Eliz-tecture and Design Foundation; originally Fomento abeth with Scoville, Pamela. The Chesley Awards: A de las Artes Decorativas — Promotion of the Deco-Retrospective (AAPL, 2003), Jones, Terry and Froud.

rative Arts — founded 1903). In 1963, Gallardo Brian. Lady (Angelica) Cottington’s Pressed Fairy Jour-moved to New York for a short time, before return-nal (Pavilion Books, 1996), Jones, Terry & Froud, ing to Paris work as a freelance artist. For a number Brian. Strange Stains and Mysterious Smells: Quentin of years he traveled back to New York for exhibition Cottington’s Journal of Faery Research (Simon & of his fine art before finally settling in Barcelona, Schuster, 1996), Larkin, David, ed. Once Upon a where he set up his own studio. By the time he made Time: Some Contemporary Illustrators of Fantasy (Pea-his permanent residence in Spain, however, he had cock Press/Bantam Book, 1976), Larkin, David, ed.

already become internationally well-known in the Land of Froud (Peacock Press/Bantam Book, 1977), commercial art field for his magazine and advertis-

227

Gambino
ing illustrations. Among the most recognized of these

#2 Faragon Faiuringay; #3 Calix Stay; #4 Squaring the for American audiences were those for Grand Circle (Popular Library, 1977), The Doom That Came Marnier liquor and Absolute vodka print campaigns, to Sarnath Ballantine, 1971), The Dream-Quest of seen in the 1980s. He also produced magazine illus-Unknown Kadath (1970), Double Phoenix Ballantine, trations for Esquire, McCall’s, Ladies Home Journal, 1971), Dragon Winter (Popular Library, 1978), Evenor Penthouse, and Omni. Internationally, he worked for (1972), Excalibur (1973), A Fine and Private Place clients as diverse as the Tourist Office of Tunisia, Ballantine, 1973), The Forgotten Beasts of Eld (Avon, among others. At the same time, he worked in the 1974), Fungi from Yuggoth & Other Poems Ballan-fine-art field, doing paintings for collectors and mu-tine, 1971), Great Short Novels of Adult Fantasy Vol-seums. His art was a blend of meticulously rendered ume I, Volume II (1972, 1973), Imaginary Worlds surrealism and humor, which revealed the strong (1973), Khaled (1971), The Last Unicorn Ballantine, influence of Magritte but yet contained a unique vi-1974), Lilith (1969), Lovecraft— A Look Behind the sual signature.

Cthulhu Mythos Ballantine, 1972), Lovers Living, In 1969 Ballantine books initiated an Adult Fan-Lovers Dead (Dell, 1976), Lud-in-the-Mist (1970), tasy series, using several artists whose unique styles The Man Who Was Thursday (1971), Merlin’s Ring of expression would help define and distinguish these Ballantine, 1974), Omni Visions One, Omni Visions books from others during the period. Even though Two (Omni Books, 1993, 1994), Over the Hills and other artists of note contributed to the series, such Far Away (1974), Phantastes (1970), Poseidonis (1973), as Frank C. Pape*, George Barr* and Bob Pepper*

Rumors of Spring (Bantam, 1987), The Spawn of and Dean Ellis*, Gallardo dominated the series with Cthulhu & Others (1971), The Sundering Flood a total of twenty-five covers out of the sixty-five ti-

(1973), The Survivor—And Others (Ballantine, 1971), tles in the line, and it was his name that was firmly Water of the Wondrous Isles (1971), Well at the World’s linked with the books (the cover artist was listed in-End volume I, volume II (1970), The Wood Beyond side the book starting with series title 6; earlier titles the World (1969), Xiccarph (1972).

are possible to credit to artists because the artist name is on the cover). In 1976, Peacock Press (Ban-Gambino, Fred
tam Books) published his art book, The Fantastic (b. September 3, 1956) British Artist. Gambino World of Gervasio Gallardo, with 38 color plates and was born in Derby, and graduated from the Derby an introduction by Betty Ballantine. Unfortunately, College of Art and Technology (Kedleston Road when the surrealist movement in science fiction and College, which later became Derby University) with fantasy died in the middle 1970s, Gallardo’s work a degree in graphic design, 1979. While at school he was rarely seen again on book covers in the genre, al-saw an exhibition of Chris Foss* work, and this con-though he continued his career as a popular artist in vinced him to pursue a career in science fiction illus-the fine art and commercial advertising field through tration. An early introduction to David Larkin, art the 1980s. In the early 1990s, anthologies of previ-director at Pan Books, resulted in his first commis-ously published stories in Omni magazine also in-sion: Beneath the Shattered Moons. Soon, he was get-cluded Gallardo’s illustrations. He was nominated ting freelance assignments from Sphere Books and for the World Fantasy Award (1975), and for a Ches-other publishers. A contract in 1984 with Orbit ley Award (1990). He is now retired, and still resides Books (imprint for the SF and Fantasy list for Macin Barcelona.

donald/Futura, and then Little, Brown, U.K.) led Sources: Juan Carlos Rodríguez Centenoç and Jorge David to jobs producing cover art not only for science Fernández Gómez. “Origen y primeras obras de la Agrupación fiction but also historical, romance, crime and chil-de Grafistas FAD: Un hito en la historia de la creatividad es-pañola” III Simposio de profesores universitarios de creativi-dren’s books — although SF remains his favorite dad publicitaria (“The source and primary contributions of genre.

the Graphic Artists Group FAD: A landmark in the history of Gambino started with oils after college, because Spanish creative advertising”— 3rd Symposium on Advertis-he shared a studio with a local landscape painter who ing Creativity, Paper presented March 3–4, 2006. Barcelona) online http: congressos blanquerna url.udu/spucp/Pdfs/Ro-worked that medium. He switched to acrylic in the driguez_MaqCong05.pdf [accessed April 2007]; Weinberg, early 1980s, using traditional airbrush techniques.

1988.

For the next couple of decades commissions for a wide variety of illustrations developed into a con-Published Work
tinuous flow until it became physically impossible (All Ballantine Books unless noted) to do more work in the hours available. At that Aliens 4 (Avon, 1970), The Best of Omni Science point, Gambino realized that utilizing digital tech-Fiction #5 (Omni Books, 1983), Beyond the Fields nology was the way forward. Despite having no pre-We Know (1972), Beyond the Golden Stair (1970), vious computer experience, he decided to take the Chains of the Sea (Dell, 1974), The Charwoman’s plunge and bought one of the first Power Macs Shadow (1973), Circle of Light: #1 Greyfax Grimwald; (Macintosh computer). He took to the new tech-

Gambino

228
nology like a duck to water, becoming an artist at the ness Reef (Little, Brown, 1996), The Brooch of Azure forefront of the first generation to exploit computer Midnight (Orbit, 1991), Casca the Liberator ( Jove, techniques. Now, although he still continues to 1999), A Case of Conscience (Gollancz, 1999), Cat paint, and believes drawing skills are still necessary Face (Mandarin Books, 1990), The Cauldron of Faer: for carrying out concepts, at least fifty percent of Lone Wolf (Beaver, 1987), Changeling Hearts (Pan, Gambino’s annual production is produced solely on 1995), Chaos and Order (HarperCollins, 1995), Child computer. He uses the most advanced graphic based of Thunder (Millenium, 1994), A Chill in the Blood technology to produce slick, shiny, highly realistic at-

(Ace, 1999), Chronicles of the Raven: Dawnthief, mospheric and special effects, which are particularly Noonshade, Nightchild (Gollancz, 1999, 2000, 2003), suited to science fictional themes. His first computer A Civil Campaign (Simon & Schuster, 1999), Conan printed cover was The Road to Nightfall (Harper Chronicles: The Invincible, the Defender, the Uncon-Collins, 1996). Gambino designed seven illustra-quered (Legend, 1996), The Conan Chronicles II (Leg-tions for a children’s booklet produced by the U.S.

end, 1997), A Dark and Hungry God Arises (Harper-Postal Service in 1998 to accompany stamps com-Collins, 1992), Daughter of the Lion (Corgi, 1990), memorating the space program: all were digitally The Day it Rained Forever (ROC, 1991), Doctor Who: created. Notable uses for his digital talents are in Riptide Delux (Telos, 2003), Doctor Who: Dragon’s film; he worked on DNA Studios/John A. Davis’

Wrath, Joy Device, Mean Streets, Mnemosyne’s Kiss, Jimmy Neutron: Boy Genius (2001), and The Ant Return to the Fractured Planet, Tears of the Oracle, Bully (2006). Some of his best work was collected Twilight of the Gods (Virgin, 1997, 1999), Dosadi Ex-in his art book Ground Zero, and he has been featured periment (Futura, 1979), Dragon in the Sea (NEL, in two anthologies (various contributing artists): 1989), Dragons of Heorot (Orbit, 1999), Dream Park: Space Patrol: The Official Guide to the Galactic Secu-The Voodoo Game (Pan, 1991), Dumarest Saga: Derai, rity Force (Crescent, 1980) and Star Quest: An In-Eloise, Iduna’s Universe, Incident on Ath, Jondele, credible Voyage into the Unknown (Intercontinental Kalin, Lalia, Spectrum of a Forgotten Sun, Toyman, Book Productions, 1978), Gambino lives with his Winds of Gath (Arrow, 1980, 1981, 1985), Dying In-partner Jenny in Belper, Derbyshire, England.

side (Gollancz, 1989), Eater (Little, Brown, 2001), Sources: e-mail from the artist May, 2005; www.users.

Empire Building (Simon & Schuster, 1997), Engine-globalnet.co.uk/~fredgamb/;
man (Pan, 1994), Entoverse (Orbit, 1990), Expedition to Earth (Orbit, 1999), Façade (Millenium, Published Work

1994), A Fall of Princes (Pan, 1989), Fall of the White Collections and Anthologies

Ship Avatar (Grafton, 1990), Far Horizons (Orbit, (various contributing artists)

1999), Fifth Head of Cerberus (Millenium, 1999), Ground Zero: The Art of Fred Gambino. (Paper The Folk of the Fringe (Legend, 1990), Fortress Man-Tiger 2001), Jude, Dick. Fantasy Art Masters (Harper hattan (Gollancz, 1995), Foundation’s Fear, Founda-Collins, 1999),
tion and Chaos, Foundation’s Triumph (Orbit, 1997, BOOKS ILLUSTRATED INCLUDE: Asimov’s Valentines 1998, 1999), Freedom’s Ransom: Catteni Sequence 4

(Berkley, 1998), The Astrologer: Heart of Stone, Way-

(Bantam, 2002), Galaxy’s End (Grafton, 1989), A ward Moon (Ace, 2001), Acorna, Acorna’s People, Gift from Earth (Orbit, 1992), Glory Season (Orbit, Acorna’s Quest, Acorn’s Rebels, Acorna’s Search, Acorna: 1998), Heads (St. Martin’s Press 1991), Heart of the The Unicorn Girl, Acorna’s World (Corgi, 1998, 1999, Comet (Little, Brown, 1996), Heart Readers (Mille-2000, 2001, 2003, 2004), The Alchemical Marriage nium, 1994), Heathern (Grafton, 1991), Hellworld of Alistair Crompton (Methuen, 1986), Alhambra (Gollancz, 1995), The Homing (Mandarin, 1992), Il-

(Grafton, 1992), Alien Citadel (Pan, 1998), Alien legal Alien (HarperCollins, 1998), Isle of the Dead Influences (Millenium, 1994), Alien Taste (ROC, (Methuen, 1988), Jago (Pocket/UK, 1997), The Jesus 2001), The Alien Years (HarperCollins, 1998), Alvin Incident (Gollancz, 2000), Jinx on a Terran Inheri-Maker Trilog y: Seventh Son, Red Prophet, Prentice tance (Grafton, 1990), Killer Planet (Piper, 1993), Alvin (Legend, 1989, 1991), Ambient (Grafton, 1991), Komarr (Earthlight, 1998), Lady in Gil (Gollancz, Another Girl, Another Planet (Virgin, 1998), Arrow’s 1996), The Last of the Renshai (Millenium, 1993), Flight— Heralds of Valdemar (Arrow, 1990), The As-Legends of the Raven: Elf Sorrow, Dragonstorm, Shad-cension Factor (Orbit, 1990), Barefoot in the Head owheart (Gollancz, 2002), Lion Time in Timbuctoo (Gollancz, 1990), Battletech novels: A Call to Arms, (HarperCollins, 2000), Lord of Light (Gollancz, Endgame, Path of Glory, Patriots and Tyrants, A Si-1999), Lungbarrow (Doctor Who Books, 1997), lence in the Heavens, Storms of Fate (ROC, 2000, Magic (HarperCollins, 1997), Man O’ War (Simon 2001, 2002, 2003), The Bidden (Pan, 1994), Blood is

& Schuster, 1996), Martian Race (Little, Brown, not Enough (HarperCollins/Morrow, 1989), The 2000), Masque (Warner, 1998), Story of Pawl Paxwax Bloody Red Baron: Anno Dracula 1918 (Pocket Books, the Gardener: The Fall of the Families, The Master of 1997), Bones of Time (HarperCollins, 1996), Bright-Paxwax (Gollancz, 1986, 1987), The Memory of

229

Gaughan

Whiteness (HarperCollins, 1998), Mercenary (Harper MAGAZINES ILLUSTRATED INCLUDE:

Collins, 1990), The Mote in God’s Eye (Futura, 1985), ASF : 1996 (12)

More Than Human (Gollancz, 2000), Mysterium ASM: 1996 (4. 8, 10/11); 2000 (8)

(NEL, 1995), The Night of the Dead (Headline, INT: 1996 (1, 8); 1997 (8); 1998 (8)

1993), Nightwings (HarperCollins, 1997), Non-Stop Misc.: Bloodnet Computer game box (Microp-

(Gollancz, 2002), N Space (Orbit, 1992), Otherness ose, 1992), Terry Prachett Calendar for 2003 (Gol-

(Orbit, 1995), Patriot in Arms (Eos, 2003), A Pride lancz, 1992); Recoil PC game box (Electronic Arts, of Princesses (Corgi, 1989), The Postman (Orbit, 2001).

1997), Protector (Futura, 1989), Queen City Jazz (HarperCollins, 1998), Rama II (Orbit. 1991), The Gaughan, Jack

Rare Breed (Pan, 1996), Rebel in Arms (Eos, 2002), (September 24, 1930–July 21, 1985) American Remnant Population (Orbit, 2002), Rendevous With artist. Born in Springfield, Ohio, John Brian Fran-Rama (Orbit, 1991), The Renshai Chronicles: West-cis Gaughan (pronounced “gawn”) attended the ern Wizard (Millenium, 1993), Requiem for a Ruler Dayton Art Institute in Dayton, Ohio. Interested of Worlds (Grafton, 1989), Ringing the Changes in science fiction most of is life, he sold his first pub-

(HarperCollins, 1996), Ring of Charon (Futura, lished piece to Fantasy Publishing Company, Inc.

1986), Ringworld Engineers (Futura, 1984), River of (known as FPCI Publishers) in 1949 while he was Time (Little, Brown, 1995), Road to Nightfall: The still in school. He majored in commercial art and, Collected Stories of Robert Silverberg (HarperCollins, after obtaining his degree, went on to graduate work 1996), Run to the Stars (Orbit, 1989), Sea Star (NEL, until drafted in 1952. After service at Fort Eustis, 1991), Secret Texts trilog y: Diplomacy of Wolves, Virginia, he returned to civilian life and used the GI Vengeance of Dragons, Courage of Falcons (Warner, bill to continue his studies at Dayton Art Institute, 1998. 2000). The Serrano Legacy: Hunting Party, studying classic painters, illustrators and engravers.

Sporting Chance, Winning Colours, Rules of Engage-Gaughan then went to Philadelphia to illustrate a ment, Change of Command, Against the Odds (Orbit, children’s book and from there traveled to New York, 2001), The Shadow of Heaven (Gollancz, 1992), where he stayed with (and got personal tutoring Shapechanger’s Song — Chronicles of the Cheysuli Vols.

from) Hannes Bok* for a short while. He started 1–6 (Corgi, 1987, 1990), The Silver City (Pan, 1993), working for an art studio in New York, worked as an Starborn (HarperCollins, 1989), Starfarers (Grafton, art director for some small ad agencies, and then 1998), Starfire (Orbit, 1990), Startide Rising (Orbit, went into commercial filmstrip art as an art director.

1996), Sten Series: Sten, the Wolf Worlds, Court of a During this time, he married Phoebe Adams and Thousand Suns, Fleet of the Damned, Revenge of the had a son, Brian. By the late 1970s, the family had Damned, Return of the Emperor, Vortex, Empire’s End moved one hundred miles north of New York City (Little, Brown, 2001), Sundiver (Orbit, 1999), Tales and were living in an “old Lovecraftian manse com-of Known Space (Orbit, 1992), Taltos and the Paths of plete with bats in the attic” (Klein, p. 109).

the Dead (Pan, 1991), Tek Kill (Pocket.UK, 1997), Gaughan had remained active in science fiction, Terminal Experiment (NEL, 1995), Terminal Veloc-doing freelance illustrations since the middle 1950s.

ity (Gollancz, 1972), Terraplane (Grafton, 1991), Since he was not happy with his occupation, his Thebes of the Hundred Gates (HarperCollins, 1994), wife, Phoebe, encouraged him to turn to full-time This Day All Gods Die (HarperCollins, 1996), Trai-freelancing science fiction illustration “as a way of tors (Millenium, 1993), The Trigger (HarperCollins, life,” he wrote in the St. Louicon program book for 1999), Tripods Trilog y: The White Mountains, The the 27th Worldcon, in 1969, “I know and love sf.”

City of Lead, the Pool of Fire (Puffin, 1984, 1985), A Until that time, Gaughan was the only artist aside Tupolev Too Far (HarperCollins, 1994), Tyranopolis from Frank R. Paul* to be a pro Guest of Honor at (Sphere, 1987), Uplift Trilog y II: Brightness Reef, a Worldcon. An exceptional series of interior illus-Infinity’s Shore, Heaven’s Reach (Orbit, 1996, 1997, trations for the Jack Vance story “The Dragon Mas-1998), Vampire Files series: Bloodlist, Lifeblood, Blood ters” in Galaxy, August 1962, had caused a great deal Circle, Art in the Blood, Fire in the Blood, Blood on the of excitement in the SF field and had vaulted Water (Ace, 1998), Vitals (Del Rey, 2002), The Vor Gaughan into the front rank of SF illustrators. Even Game (Pan, 1994), The Way to Babylon (Gollancz, with his new-found popularity, however, Gaughan 1992), When the Tripods Came (Puffin, 1990), White remained active as a fan artist. Later he became the Mists of Power (Orion, 1993), Witchfire at Lammas only artist ever to win Hugo Awards for the best pro-

(Arrow, 1979), The Wolf and Iron (Orbit, 1991), fessional and best fan artists in the same year (1967).

World of Ptavvs (Orbit, 1992), Worldwar: Colonisa-Gaughan first paperback cover as a full-time sci-tion: Second Contact, Down to Earth. Aftershocks ence fiction artist was for Donald Wollheim at Ace (Hodder & Stoughton, 1999, 2000, 2001), Young Books. His entry into the paperback field was timely, Bleys (Orbit, 1993), Young Rissa (Orbit, 1988).

since it happened when Ed Emshwiller* was getting

Gaughan

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involved with other mediums, such as film, and Die (Ace, 1963), Angry Candy (Plume, 1989), An-Kelly Freas* was not doing much work. So there was nual World’s Best SF 1973; Annual World’s Best SF
a void that Gaughan helped to fill. He did a great 1974; Annual World’s Best SF 1975; Annual World’s number of covers for Ace, and later, DAW Books Best SF 1976; Annual World’s Best SF 1977; Annual and most other paperback publishers in the 1960s, World’s Best SF 1978; Annual World’s Best SF 1979; usually in a simple, linear abstract style that became Annual World’s Best SF 1980 (DAW, 1973, 1974, his trademark. He illustrated classics such as Andre 1975, 1976, 1977, 1978, 1979, 1980), Arena of Antares Norton’s Witch World novels and E. E. Smith’s Lens-

(DAW, 1974), Arsenal of Miracles (Ace, 1964), men and Skylark novels (for which he did two re-Avenger of Antares (DAW, 1975), Beasts of Kohl (Ace, lated sets of Pyramid Books covers). Many of the 1966), Berserker’s Planet (DAW, 1975), Best From books he did for Ace also featured frontispieces, Fantasy and Science Fiction: 14th Series (Ace, 1968), hand-lettered titled pages or maps at the front with Best from the Rest of the World (DAW, 1977), Best of Gaughan’s distinctive calligraphy. For example, L.

John Jakes (DAW, 1977), Beyond the Stars (Ace, 1963), Sprague de Camp’s 1967 anthology, The Fantastic Bladesman of Antares (DAW, 1975), Book of Andre Swordsmen included a map drawn by Gaughan be-Norton (DAW, 1975), Book of Frank Herbert (DAW, fore each of the stories. Also memorable were 1973), Book of Fritz Leiber (DAW, 1974), Book of Gaughan’s covers and hand-lettered title pages for John Brunner (DAW, 1976), Book of Philip Jose’

the Ace Books’ editions of J. R. R. Tolkien’s The Farmer (DAW, 1973), Book of Poul Anderson (DAW, Lord of the Rings.

1975), Book of Rack the Healer (Award, 1973), Book At the same time, his black-and-white illustra-of Saberhagen (DAW, 1975), Bow Down to Nul (Ace, tions dominated the pages of Galaxy and IF maga-1966), Brains of Earth (Ace, 1966), Brass Dragon zines, which were increasingly important during that (Ace, 1969), Bug Jack Barron (Walker, 1969), By-same decade. His domination of the art field at that worlder (Gregg Press, 1978), Captives of the Flame time is noted in the fact that Gaughan won the (Ace, 1963), Century of the Manikin (DAW, 1972), Hugo Award in 1967, 1968, and 1969. From 1969

Children of the Lens (Pyramid, 1966), City of Illu-through 1972 he served as art director for Galaxy, sions (Ace, 1967), Closed Worlds (Ace, 1968), Clash of and was also art director for Cosmos magazine while the Star Kings (Ace, 1966), C.O.D. Mars (Ace, 1968), it lasted.

Cradle of the Sun (Ace, 1969), Crossroads of Time Gaughan continued to be active in the field until (Gregg Press, 1978), Crystal Gryphon (DAW, 1973), the 1970s. However, the slow but steady decline in Damnation Alley (Putnam’s, 1969), Danger From Vega magazine science fiction during the previous fifteen (Ace, 1966), Dark Intruder (Ace, 1964), A Darkness years hurt Gaughan’s career: there were not many in My Soul (DAW, 1972), Dark Piper (Ace, 1968), markets for black-and-white illustrations. Although Darkover Landfall (DAW, 1972), Dawnman Planet he was an able cover artist, a new generation of (Ace, 1966), Day of the Star Cities (Ace, 1965), artists including Michael Whelan* and Rowena Dragon Masters (Ace, 1963), Demon’s World (Ace, Morrill* provided a great deal more competition 1964), Dune Messiah (Putnam, 1969), Duplicators than he had experienced in the 1960s. As the mar-

(Ace, 1964), Earth Enslaved (DAW, 1974), Echo X
ket in the paperback field expanded, so did the num-

(Ace, 1964). Eight Stories from the Rest of the Robots ber of artists looking for work. Tastes in art changed, (Pyramid, 1966), Einstein Intersection (Ace, 1967), and abstract surreal art like Gaughan’s and Richard Entry to Elsewhen (DAW, 1972), An Exercise for Mad-Powers* was not in demand as it had been in earlier men (Berkley, 1978), Exile From Xanadu (Ace, 1964), times. Poor health also forced Gaughan to cut back Exiles of the Stars (Viking, 1971), Exiles of Time (Pa-on his art, and for the last few years of his life he perback Library, 1965), Eyes of the Overworld (Ace, contributed very little to the SF art field. He died of 1966), Fantastic Swordsman (Pyramid, 1967), Fellow-cancer in 1985. In his memory, the New England ship of the Ring (Ace, 1965), First Lensman (Pyramid, Science Fiction Association annually presents the 1970), Five Against Arlane (Ace, 1967), Five Gold Jack Gaughan Award for best emerging SF illustra-Bands (Ace, 1963), Fliers of Antares (DAW, 1975), tor.

Flight From Yesterday (Ace, 1963), Flux (DAW, 1974), Sources: DiFate, Vincent. Infinite Worlds: The Fantastic Fury From Earth (Pyramid, 1963), Galactic Bucca-Visions of Science Fiction Art (Wonderland Press/Penguin, neer (DAW, 1976), Galactic Patrol (Pyramid, 1967), 1997); Klein, Jay Kay. “Biolog: Jack Gaughan.” Analog, February 1977 p.109; Weinberg, 1988.

Game Players of Titan (Ace, 1963), Ganymede Takeover (Ace, 1967), Garan the Eternal (DAW, Published Work

1973), Gather in the Hall of the Planets (w/ Karel BOOKS ILLUSTRATED INCLUDE: Ace Science Fiction Thole; Ace, 1971), Genetic Buccaneer (DAW, 1974), Reader (Ace, 1971), Adam Link — Robot (Paperback Genius Unlimited (DAW, 1972), Ghosts of Manacle Library, 1965), After 12,000 Years (1950), Alien Sea (Pyramid, 1964), Give Warning to the World (DAW, (Ace, 1968), Almuric (Ace, 1964), Alpha Centauri or 1974), Golden People (Ace, 1964), Gray Lensman

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(Pyramid, 1970), Great Science Fiction Stories Vol. 1, Ship from Sergan (DAW, 1974), Sleeping Planet (Pa-1939; 2, 1940; 3, 1941 (DAW, 1979, 1980), Green Mil-perback Library, 1967), Son of the Tree (Ace, 1964), lenium (Ace, 1969), Gryphon in Glory Atheneum, Sorceress of the Witch World (Gregg Press, 1977), Sos 1981), Halcyon Drift (DAW, 1972), Harvest of Hood-the Rope (Pyramid, 1968), Space Lords (Pyramid, winks (w/ Gray Morrow; Ace, 1970), Hellflower 1965), Space Time Juggler (Ace, 1963), Spawn of Satan (Pyramid, 1953), Here Abide Monsters (DAW, 1974), (Award, 1970), Spell of the Witch World (Gregg Press, Hidden Universe (FPCI, 1950), Horn of Time (Gregg 1977), Stardroppers (DAW, 1972), Star Hunter and Press, 1978), Houses of Iszm (Ace, 1964), Huon of the Voodoo Planet (Gregg Press, 1978), Star Magicians Horn (Ace, 1963), Jewels of Aptor (Ace, 1962), Kar-

(Ace, 1966), Star of Danger (Ace, 1965), Starshine Chee Reign (Ace, 1966), King in Yellow (Ace, 1965), (Pyramid, 1966), Stealer of Souls (Lancer, 1967), King Kobold (Ace, 1971), King of the Worlds Edge Stolen Sun (Ace, 1967), Stormbringer (Lancer, 1967), (Ace, 1966), Last Castle (Ace, 1967), Left Hand of Strange Doings (DAW, 1973), Sun Destroyers (Ace, Darkness (Walker/SFBC, 1969), Legion of Space; Le-1973), Swordsman in the Sky (1964), A Talent for the gion of Time (Pyramid, 1967), Limbo (Ace, 1966), Invisible (DAW, 1973), Tales in a Jugular Vein (Pyra-Long Way Home (Gregg Press, 1978), Lord of Thun-mid, 1965), Three Against Witchworld (Ace, 1965, der (Ace, 1969), Lost Millennium (Ace, 1967), Maker Gregg Press, 1977), Three Worlds to Conquer (Pyra-of Universes (Ace, 1965), Manhounds of Antares mid, 1964), Time and Again (Ace/SFBC, 1963), Time (DAW, 1974), Masters of the Lamp (Ace, 1970), Masto Live (Ace, 1966), Time Tunnel (Pyramid, 1967), ters of the Vortex (Pyramid, 1970), Merlin’s Mirror Time Twister (Dell, 1968), Time Without Number (DAW, 1975), Message From the Eocene (Ace, 1964).

(Ace, 1962), Tin Angel (DAW, 1973), Toymaker Monsters in Orbit (Ace, 1965), Motion of Light in (FPCI, 1951), Triplanetary (Pyramid, 1965), Triple Water: Sex and Science Fiction Writing in the East Vil-Detente (DAW, 1974), Triton (FPCI, 1949), Twisted lage, 1957–1965 (Arbor House/Morrow, 1988), Neb-Men (Ace, 1963), Two Hundred Million A. D. (Paper-ula Award Stories 2 (Pocket, 1968), Night Face and back Library, 1964), Two Towers (Ace, 1965), Two Other Stories (Gregg Press, 1978), Night Monsters Worlds (Gregg Press, 1978), Underpeople (Pyramid, (Ace, 1969), Night of Light (Ace, 1965), Ocean on 1968), Unholy City (Pyramid, 1968), Venus Equilat-Top (DAW, 1973), Of Men and Monsters (Walker, eral (Pyramid, 1967), ’ Ware Hawk (Atheneum, 1969), One Against the Legion (Pyramid, 1967), One 1983), Warlock in Spite of Himself (Ace, 1969), War-Million Centuries (Lancer, 1967), Operation Time lock of Witchworld (Ace, 1967, Gregg Press, 1977), A Search (Ace, 1973), Orbit Unlimited (Gregg Press, Way Home (Pyramid, 1968), Weapon From Beyond 1978), Other Log of Phileas Fogg (DAW, 1973), (Ace, 1967), Web of the Witch World (Ace, 1964, Paingod and Other Delusions (Pyramid, 1965), Path Gregg Press, 1977), Witch World (Ace, 1963, Gregg Beyond the Stars (Dell, 1969), People of the Comet Press, 1977), Works of M.P. Shiel (FPCI, 1948), World (Griffin, 1948), Plague Ship (Gregg Press, 1978), Aflame (DAW, 1974 ), World Asunder (DAW, 1976), Planeteers (Ace, 1966), Planet of Your Own (Ace, World Between (Pyramid, 1967), World of the Sleeper 1966), Prince of Scorpio (DAW, 1974), Quag Keep (Ace, 1967), World of the Starwolves (Ace, 1968), (DAW, 1979), Queen of Air and Darkness (Gregg World’s Best Science Fiction: 1966, 1967, 1968, 1970, Press, 1978), Queen of Zamba (Davis, 1977), Quest 1971 (Ace, 1966, 1967, 1968), World’s Best Science Fic-Crosstime (Ace, 1966), Raiders From the Rings (Pyra-tion: 1970, 1971 (Ace/SFBC, 1970, 1971), Worlds of mid, 1963), Radium Pool (FPCI, 1949), The Rat Race Fantasy, #1 (Galaxy, 1968), World’s Best Science Fic-

(FPCI, 1950), Reality Forbidden (Ace, 1967), The Re-tion: First Series, Second Series, Third Seried, Fourth bellers (Ace, 1963), Rediscovery of Man: The Complete Series (Ace, 1965, 1970), Worlds of Fantasy, #2 (Uni-Short Science Fiction of Cordwainer Smith (NESFA versal Publishing, 1970), Wrath of Fu Manchu Press, 1993), R-Master (DAW, 1975), Return of the (DAW, 1973), Yank at Valhalla (Ace, 1973), Yurth King (Ace, 1965), Rogue Dragon (Ace, 1965), S.O.S.

Burden (DAW, 1978), Web of the Witch World (Ace, from Three Worlds (Ace, 1967 ), Saga of Lost Earths 1964), Wizard of the Star Ship Poseidon (Ace, 1963), (Ace, 1966), Sargasso of Space (Gregg Press, 1978), The X Factor (Ace, 1967), Zap Gun (Pyramid, 1967), Sea is Boiling Hot (Ace, 1971), Second Book of Fritz Leiber (DAW, 1975), Second If Reader of Science Fic-MAGAZINES ILLUSTRATED INCLUDE:

tion (Ace, 1969), Second Stage Lensman (Pyramid, AMZ: 1961 11); 1965 (12); 1982 (11)

1965), Secret of the Lost Race (Gregg Press, 1978), Se-ASF : 1949 (1); 1972 (3, 8, 10, 11, 12); 1973 (1, 2, 5, cret of the Marauder Satellite (Westminster, 1967), 6, 7, 9, 10, 11); 1974 (1, 2, 3, 4, 5, 6, 9, 10, 11, 12); Ship From Atlantis (Ace, 1964), Ship to the Stars (Ace, 1975 (1, 3, 4, 5, 7, 8, 9, 11, 12); 1976 (1, 3, 5, 6, 10, 11, 1964), Sideslip (Pyramid, 1968), The Silkie (Ace, 12, annual); 1977 (1, 2, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1969), Silverlock (Ace, 1966), Skylark DuQuesne 1978 (1, 2, 3, 5, 6, 8, 12, yearbook); 1979 (2, 3, 5, 7, (Pyramid, 1968), Skylark of Space; Skylark Three 9, 10, 11); 1980 (6); 1981 (2, 3, 4, 5, 6, 7, 8, 9); 1982

(Pyramid, 1966), Slave Planet (Pyramid, 1963), Slave (2, 3, 3/29, 7, 8, 9)

Geary

232

CSF : 1977 (5, 7, 9, 11)

Giancola, Donato

F&SF : 1964 (2, 4, 12); 1965 (2, 7); 1966 (1, 4, 9); (b. March 7, 1967). American artist. Known pro-1967 (3, 7, 12); 1968 (7, 12); 1969 (5, 11); 1970 (6, 11); fessionally, and signing as “Donato,” the artist was 1971 (2); 1973 (6); 1976 (3); 1980 (2) born Daniel Theron Giancola in Burlington, Ver-FB: 1950 (6)

mont. He grew up in Colchester, then later attended GXY: 1956 (8, 9, 10, 12); 1957 (1, 2, 3, 4, 5, 7, 8, the University of Vermont from 1985–1988, major-11, 12); 1958 (1, 12); 1961 (2, 4 6, 12); 1962 (2, 4 6, 8, ing in Engineering and Business. Before graduation, 12); 1963 (2, 12); 1964 (4, 6, 8, 10); 1965 (2, 4, 6, 8, however, Giancola decided his future lay in another 10, 112); 1966 (2, 6, 10); 1967 2, 4, 8, 12); 1968 (2, 4, direction and spent a year taking art instruction at 8, 9); 1969 (1, 2, 3, 4, 5, 8, 9, 10, 11, 12); 1970 (1, 2, St. Michael’s College, Colchester, Vermont before 3, 4, 5, 6, 7, 8, 10, 12); 1971 (1, 2, 3, 4, 5, 7, 9, 11); 1972
transferring to Syracuse University College of Vi-

(1, 3, 4, 5, 7, 9, 11); 1973 (1, 3, 5, 7, 9, 10, 11, 12); 1974
sual and Performing Arts where in 1992 he graduated (1, 2, 3, 4, 5, 6, 7, 8, 9); 1975 (2, 3, 4) Summa Cum Laude with a BFA in painting. Two IASFM: 1977 (summer); 1978 (1, 3, 5, 7, 9, 11); notable events occurred during this time period; at 1979 (1, 2, 3, 4, 5, 6, 7, 8, 9, 12); 1980 (1, 3, 5, 11, 12); age 23 (1990) Giancola contracted and then recov-1981 (2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1982 (1, 2, 3, 4, ered from cancer, and in 1992, he experienced a per-6)

manent loss of vision in the macular region of his IF : 1960 (3, 7, 9, 11); 1961 (3, 5, 121); 1962 (1 5, 7, right eye (the portion used to see high definition de-9, 11); 1963 (7, 11); 1964 (3, 7, 8, 10); 1965 (1, 2, 3, 4, tail) due to eye trauma. Nevertheless, by 1993 the 6, 7, 8, 9, 10, 11, 12); 1966 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, artist had already received his first freelance com-11, 12); 1967 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1968
missions from Wal-Mart Books, had become a stu-

(1, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1970 (1, 2, 4, 5, 7, 9, 11); dio assistant to Vincent Desiderio, Long Island City, 1971 (1, 3, 6, 8, 12); 1972 (2, 4, 6, 8); 1973 (6); 1974

New York (which was to last until 1997), and was (4, 6, 8, 10, 12)

well on his way to making his mark as a professional INF : 1957 (4)

artist.

OW: 1950 (3)

One of the most talented artists to enter the field WOT: 1963 (4, 6); 1964 (2, 6, 8); 1965 (1, 3, 5, 7, in the last decade of the century, Giancola is as no-9)

table for his skill as for his resistance to artistic trends WT: 1999 (spring)

in late twentieth century illustration. As he puts it in a self-published Portfolio (2004), his art “recaptures Geary, Clifford N.

the high ground for 21st century narrative art through … meticulously crafted oil paintings.” And (b. February 26, 1916) American artist. Geary was indeed, his purposefully classical approach to fan-born in Middlesex, Massachusetts and grew up in tasy subject matter combined with modern content the Boston area. He attended the Massachusetts and concepts, results in distinctive imagery that is School of Art and later moved to Brooklyn, New in sharp contrast to the airbrushed, sharply defined, York and then to the Adirondacks. While making and photo-real science fiction cover paintings that his career mainly as a children’s book artist, and for were an illustrative hallmark of the late 1980’s and illustrating science books, Geary is remembered in early 1990s. Giancola was aiming for an illustration the science fiction field for illustrating the hardcover program at Syracuse University, but got into their editions of Robert A. Heinlein’s “juvenile” novels painting program instead, and credits that switch for Scribners, from 1948 to 1956. Because these for affecting every creative decision since gradua-books were among the most important and widely tion. His work has strong historical associations for read by teenagers and young adults in the 1950s, viewers; it is a style of figurative realism in the man-Geary’s illustrations were particularly influential in ner of the Dutch, European and English masters attracting a new generation of fans to the science Peter Paul Rubens, Hans Memling, Caravaggio, fiction community.

Diego Velázquez, Ribera, Valentine de Bologne, J.W.

Sources : Weinberg, 1988.

Waterhouse, William Bouguereau, J.A.D. Ingres.

Published Work

Yet, because the fantastical environments compelled Ark of Venus (Knopf, 1955), Between Planets by science fiction and fantasy narratives are thor-

(Scribner’s, 1951), Farmer in the Sky (Scribner’s, 1950, oughly twentieth century, the results are striking, Gollancz, 1962), Red Planet (Scribner’s, 1964, Ace, without seeming distractingly derivative.

1971), Rolling Stones (Scribner’s, 1952), Space Cadet His painting media and techniques also are highly (Scribner’s, 1948), The Star Beast (Scribner’s, 1954), traditional: oil on acid-free drawing paper mounted Starman Jones (Scribner’s, 1953), Time for the Stars upon a panel or masonite support. He usually begins (Scribner’s, 1956), The Unpleasant Profession of his final paintings by copying onto that paper (the Jonathan Hoag (Gnome Press, 1959).

ground) a full sized cartoon, as a preliminary study.

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The final painting can vary greatly in size, depend-tions, exploiting opportunities for exhibiting his ing on the publisher’s needs for reduction, and the work in every venue possible, competing for awards appeal of the job. Not unsurprisingly, the more se-and recognition in the field, and teaching. He main-cure Giancola has become in terms of his commer-tains a rigorous exhibition schedule and enjoys meet-cial reputation, the more he views his assignments as ing his fans at a variety of convention venues. He paid opportunities to create works that can pass as takes on several Guest of Honor stints a year, from

“fine” art. Although he admires computer-generated tournament conventions for fantasy role-playing art, he says it’s not for him. “Drawing is what dic-games such as Wizards of the Coast’s Magic: The tates my artistic choices. I want to be able to meld Gathering, to the Elf Fantasy Faire (Utrecht, Nether-the idea of abstraction, pure gesture, with the real-lands, 2001). He also attends and has been Guest of ity of what I’m going to make.”

Honor at science fiction and fantasy conventions, He is not the first artist to use commercial art to often winning fan-voted awards, and comic conven-his own ends (Richard Powers* also showed that he tions, in San Diego (2004) and abroad (Italy, 1998
could put challenging, unusual covers on books, and and Portugal, 1997).

still have them sell well), but only a few whose tal-Beginning in 1995, when he joined the Society of ents have opened so many doors, so early in their Illustrators (NY), his work has been displayed in careers. But Giancola’s traditional realism was not their “Illustrators Annual” publication and exhibition only suited to high fantasy, his timing was also ex-in 1995, 1997, 1998, 1999, 2000, 2001, 2002, 2003, cellent. There was a “back to the classics” trend in 2004. He received the Society’s Award of Merit, for gallery art in the early 1990’s, and a newfound inter-

“Our Own Show” exhibitions in 2000, 1999, 1998, est in neo-realism and figurative painting, which 1997, and also was included in the annual “Paper-must have bolstered his appeal to art directors. Nev-back” exhibition in 1995, 1997, 1999. Starting in ertheless, like most artists in full command of their 1996, Giancola began winning a series of Chesley media, the more interested Giancola is in the subject Awards (see Appendix) for his paperback and hard-matter or project, the most likely he is to produce cover book illustrations, gaming art, and artistic highly complex imagery on unconventionally large achievement (2002), an award usually received only grounds, and several of his commercial commissions after many years of working in the field. Addition-have resulted in paintings up to 36" × 60", which is ally, Giancola was the recipient of the Jack Gaughan very unusual for literary commercial assignments.

Award 1998, the World Fantasy Award, 2004, and But even in his smaller, earlier jobs, such as that for took First Place, Figurative Category, in the Art Re-Sisay’s Ring from the Magic: The Gathering Visions newal Center Annual Open Salon Competition, expansion (Collectable Card Game, Wizards of the 2004. His work has appeared in every annual Spec-Coast, 1997) the artist throws himself into the task.

trum anthology since 1995 ( Spectrum: The Best in His cover paintings for the Doubleday Book Club Contemporary Fantastic Art, edited by Cathy and reissues of J.R.R. Tolkien classics (2000) in partic-Arnie Fenner, Underwood Books) additionally tak-ular attracted much attention to his talent, as did ing Silver Awards in the Book Category (1995), Ed-Goddess of the Ice Realm by David Drake (hardcover, itorial Category (1999) and Advertising (3003), and Tor Books, 2003) to which he gave the classical title a Gold Award, Editorial Category (2001). Giancola’s Faramir at Osgiliath and the triptych Eric Bright Eyes, art has been exhibited in public spaces and muse-privately commissioned for the Frank Collection’s ums, among them: “The Art of ‘The Lord of the H. Rider Haggard Project ( Great Fantasy Art Themes Rings,’” Exhibition of book cover and interior illus-From the Frank Collection, 2003).

tration, Bailey/Howe Library, University of Ver-Donato’s clients are wide-ranging and include in-mont, 2002; “From Imagination to Reality: The Art dividuals, for private, non-commercial commissions of Science Fiction,” The New York Academy of the and portraiture, and major organizations. The prod-Sciences, New York, New York, 2004–5; “Images ucts using his images have been equally diverse, from the Middle Earth,” Exhibition of art created ranging from cards used in fantasy role-playing for J.R.R. Tolkien’s works, Villa Celimontana, Rome games to “hard” science fiction novel covers but his and Riolo Terme, Ravenna, Italy, and Danzig and talent seems especially attuned to heroic fantasy Wroclaw, Poland, 2004–5; “Magical Adventures: themes, whether the heroes are hobbits or spacemen.

Fantasy Art from The Frank Collection,” University His private commissions are also in demand, al-of Maryland Art Gallery, 2004; “This is a Science though he takes fewer each year than he would like, Fiction Show,” Andrea Rosen Gallery, New York, as they must compete with the scheduling of his NY, 2005.

commercial jobs.

In 1994 Giancola began lecturing and teaching; he Right from the start, Giancola threw himself into has been a Guest Lecturer at a number of institu-developing all facets of his professional career: at-tions, such as Syracuse University MFA Program for tending major science fiction and fantasy conven-Illustration, Virginia Commonwealth University,

Giancola

234

Pratt Institute, Fashion Institute of Technology, and 1995), Earth Herald (Penguin/Roc, 1998), Eggheads Pennsylvania School of Art and Design, School of Vi-

(Penguin/Roc, 1996), End of Eternity (SFBC, 2003, sual Arts. He has been an Instructor at the School of Farseekers (Tor, 2000), Five Worlds series: #1: Exile, #2: Visual Arts, New York, New York. 1995 to 2000, Journey, #3: Return (Penguin/Roc, 1996, 1997, 1998), and The Fashion Institute of Technology, New York Finger Pointing Solward (Tor, 2004), Fire Angels 1999.

(AvoNova, 1998), Flycatcher (Tor, 1994), Fool’s War He is married to Carey Johnson, and has two (Warner, 1996), Fountains of Youth ( Tor, 2000), Gaia daughters, Naomi (b. January, 2001) and Cecilia (b.

Websters (Penguin/Roc, 1997) Galactic MI: The February 2003).

Citadel (Ace, 1994), Gates of Vensunor (AvoNova, Sources: E-mail from the artist, April 5, 2005; Artist web-1997) , Goddess of the Ice Realm (Tor, 2003), God-site www.donatoarts.com; Donato. “On Painting.” Donato heads (Penguin/ROC, 1998), Hexwood (HarperTro-Arts Portfolio. New York: 2004; Wachter, Toby. “Behind the Canvas: Donato Giancola.” online www.wizards.com [on-phy/Greenwillow, 2002), The Hobbit (SFBC, 2000), line] Thursday, April 10, 2003 (accessed 4/9/05); Haber, The Hobbit graphic novel (Ballantine 2000), Ho-Karen. “Donato: The Science of Fantasy.” Realms of Fantasy, minids, Humans, Hybrids (Tor, 2002, 2003), Ice Fal-February, 2002; Haber, Karen. “Rembrandt Reborn.” Science cons Quest (Ballantine, 1997), Incredible Shrinking Fiction Age, Nov/ 1998.

Man (Tor, 1995), Inheritors of Earth (Tor, 1998), Jig-Collections and Anthologies
saw Woman (Penguin/Roc, 1996), Journey to the (various contributing artists)

Center of the Earth (Wal-Mart, 1993), King Arthur Frank, Jane and Howard. Great Fantasy Art (Wal-Mart, 1995), Knight of the Demon Queen Themes From the Frank Collection (Paper Tiger, (Dragonflight) (Ballantine, 2000), Kronos Condition 2003), Grant, John and Humphrey, Elizabeth with (Penguin/Roc, 1996), Lethe (Bantam Spectra, 1995), Scoville, Pamela. The Chesley Awards: A Retrospective Lord of Horses (Morrow AvoNova, 1996), Lord of the (AAPL, 2003).

Rings (SFBC, 2000), Lovelock (Tor, 1994), Mage-Heart (AvoNova, 2000), Magic Steps (Scholastic, Published Work

1999), Maia’s Veil (Penguin/Roc, 1995), A Matter of BOOKS ILLUSTRATED INCLUDE: Architects of Emor-Honor (Ace, 1994), Mistress of the Catacombs, Mistress tality (Tor, 1999), Armies of Daylight (Ballantine, of the Cauldron (Tor, 2001, 2004), Mother of Winter 1997), Ashling (Tor, 2001), Atlantic Avenue: 2467 -

(Ballantine Del Rey, 1996) Mystic & Rider (Berkley, Widowmaker 3 in 1 (SFBC, 1999), Aromaya (Avo-2004), The Nameless Day (Tor, 2005), Obernewtyn Nova, 1999), Balance of Trade (Meisha Merlin Pub-

(Tor, 1999), Old Man’s War (Tor, 2003), The Ordi-lishing 2003) , Banewrecker (Tor, 2004), The Belly of nary (Tor, 2003), Orion Among the Stars (Tor, 1995), the Wolf (AvoNova, 1995), Beneath the Web (Ace, Orion’s Dagger (Penguin/Roc, 1996), Otherness (Ban-1994), Between Worlds (Bookspan 2004), Billy Budd tam Spectra, 1994), Pasquale’s Angel (Morrow (Wal-Mart, 1994), Bloodsport, Bloodsport 2: Bloodlines AvoNova, 1995), Pillar of Fire (Tor/Forge, 1995), (HarperCollins, 1998), Burial (Tor, 1994), A Call to Prisoner Within (Ballantine Del Rey, 1997), Protec-Arms (Ace, 1995), Carthage Ascendant (AvoNova, tor (Ballantine Del Rey, 1996), Psychohistorical Cri-2000), The Caverns of Socrates (Penguin/Roc, 1995), sis (Tor, 2001), Queen of Demons (Tor, 1998), Recla-Circle of Magic series: Briar’s Story, Daja’s Story, San-mation (Warner Aspect, 1996), Red Planet Run (Ace, dra’s Story, Tris’ Story (Scholastic, 1997, 1998), City, 1995), Ringworld, Ringworld Engineers (Ballantine The City and the Stars (BookSpan/Science Fiction Del Rey, 1996), Road Home (Penguin/Roc, 1995), Book Club, 2003), A Connecticut Yankee in King River of Dust (Morrow AvoNova, 1996), Sacred Seven Arthur’s Court (Walmart, 1993), Christmas Forever (AvoNova, 1996), A Secret History: The Story of Ash (Tor, 1993), The Crucible: 1 Nameless Day; 2

(AvoNova, 1999), Servant of the Dragon (Tor, 2000), Wounded Hawk (Tor, 2003, 2004), Cyberpunk Shadows Fall (Penguin/Roc, 1994), Sibs (Tor, 1994), 2.0.2.0.: Holo Men, the Ravengers, (Warner Aspect, Ships of Air (HarperCollins, 2003), Siduri’s Net (Pen-1995, 1996), Dark Cities Underground (Tor, 1999) guin/Roc, 1994), Sir Pellias (Wal-Mart, 1995), Space Deathstalker series: Deathstalker, Deathstalker II: Re-Merchants (SFBC, 2003), Stars Asunder, Stars Asun-bellion, Deathstalker III: War, Deathstalker IV: Hoder II (Tor, 1998, 1999), StarDoc (Penguin Roc, nour, Deathstalker V: Destiny (Penguin/Roc, 1994, 1999), Stars My Destination (SFBC, 2003), Star Trek 1996, 1997, 1998, 1999), Demon Rider, Demon Knight NG Starfleet Academy series #10: Loyalties, #11: (HarperCollins, 1997, 1998), Dogs of War (Warner, Crossfire, #12: Breakaway, #13: The Haunted Starship, 2001), Door Into Summer (SFBC, 2003), Dragon &

#14: Deception (Simon Schuster, 1996, 1997, 1998), Issola (SFBC, 2001), Dragonstone (Penguin/Roc, Tek Money, Tek Kill, Tek Net (Ace/Putnam, 1995, 1996), DragonShadow (Ballantine, 1999), Dragon-1996, 1997), This Side of Judgment (Penguin/Roc, sight (Winterlands) 2 in 1 ( SFBC, 1999), Dragons of 1995), Three Hearts and Three lions (SFBC, 2003), the Rhine (Morrow AvoNova, 1995), Dry Water Throne of Isis (Tor/Forge, 1994), Tiger Burning Bright (AvoNova, 1996), The Eagle’s Daughter (Tor/Forge, (Morrow AvoNova, 1995), Time of the Dark (Bal-

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Giger
lantine, 1997), The Truthsayer’s Apprentice (Tor, Giger, H. R.

1998), A Two-Edged Sword (Ace, 1994), Under Pres-

(b. February 5, 1940) Swiss artist. Born Hansruedi sure (BookSpan/Science Fiction Book Club, 2003), Giger, to a chemist’s family in Chur, Switzerland, Uplift War ( Bantam Spectra, 1995), The Voyage the visionary surrealist known as H. R. Giger is one (Tor, 1994), Vor series: Maelstrom, Playback War, Is-of the most original and influential artists of the late land of Power, Rescue, Hellheart, Operation Sierra–75
twentieth century, whose Oscar Award-winning film (Warner, 1999, 2000, 2001), Voyage of Plunder (Ran-work for Alien is said to have changed the look of dom House, 2004), Walls of Air (Ballantine, 1997), science fiction.

Wheel of the Infinite (Avon Eos, 2000), Widowmaker; Raised in a middle class family, Giger developed Widowmaker Reborn; Widowmaker Unleashed (Banan early fascination “with all things dark and strange tam, 1996, 1997, 1998) , Wild Machines (AvoNova,

… taking inspiration from postcard and magazine re-2000), Wind Whispers, Shadow Shouts (AvoNova, productions of works by Salvador Dalí and Jean 1995), With Full Honors (Ballantine Del Rey, 1997), Cocteau.” notes the biography prepared by his U.S.

Wizard at Dragon’s Peak (Warner, 1997), Wizard publisher, Morpheus International. In 1962 the artist Hunters (HarperCollins/Eos, 2003), Year’s Best Sci-moved to Zurich to study architecture and indus-ence Fiction: 19th Annual (St. Martin’s, 2002), trial design at the School of Applied Arts, and by 20,000 Leagues Under the Sea (Wal-Mart, 1994).

1964 he was producing his first artworks, mostly ink drawings and a few oil paintings. His first solo ex-GAME-RELATED ILLUSTRATIONS INCLUDE: Dead-hibition was in 1966, followed by the publication lands (Five Rings Publishing, 1998), Dune (Last Uni-and worldwide distribution of his first poster edi-corn Games, 1998), Legend of the Five Rings (Wizards tion in 1969. Shortly after, he discovered the air-of the Coast, 2000), Magic The Gathering: Mirage brush — and his own signature, freehand, painting (1996), 5th Edition, Portal, Weatherlight (1997), Ex-style. This led to the creation of his best-known odus, Stronghold, Tempest (1998), Urza’s Destiny, works, the surrealist “Biomechanical” dreamscape Urza’s Legacy, Urza’s Saga (1999), I nvasion, Mercadian paintings that formed the cornerstone of his fame, ac-Masques, Nemesis, Prophecy (2000), Apocalypse, cording to his long-time friend and agent, in the Odyssey, Planeshift, 7th Edition (2001), Judgment, U.S., Les Barany. In 1970, Giger collaborated on a Torment (2002), Mirrodin (2003), Dark Steel (2004): documentary film called Passages and published his Wizards of the Coast, Middle-Earth: The Wizards first catalogue of works, titled H. R. Giger: ARh+.

(1995), The Dragons (1997), Dark Minions (1997), Since then, at least 20 books have been published Lidless Eye (1997): Iron Crown Enterprises.

about Giger’s art.

MAGAZINES ILLUSTRATED INCLUDE:

Giger’s third and most famous book, Necronom-AMZ: 1998 (#594, Summer-Fall)

icon, published in 1977, served as the visual inspira-DRA: 2003 (#307)

tion for director Ridley Scott’s film Alien. This was NATG: 2003 (6)

Giger’s first film assignment, and it earned him the PBY: 1997 (3, 8); 1998 (1); 1999 (1, 9); 2000 (1, 9); 1980 Oscar for the Best Achievement in Visual Ef-2001 (1)

fects for his designs of the film’s title character and ROF : 2002 (10); 2003 (4); 2006 (2)

the stages of its lifecycle, plus the film’s otherworldly Misc.: Age of Empires 3 packaging (Ensemble Stu-environments. Giger’s other film works include Pol-dios 2003), Archangel promotion (Wizards of the tergeist II (1986), Alien 3 (1992), and Species (1995).

Coast, 1999), Batgirl toy (DC Comics, 1997), Dra-Giger’s commercial illustrations have been few, but copaleontolog y adv circular (SFBC, 2000), Galactic influential. His early (1973) album covers for Deb-Empires children’s coloring book cover (Tangerine bie Harry and the band ELP (Emerson, Lake & Press, 2000), The Great Dragon, Wizard’s Library, Palmer) were voted among the 100 best in music his-Dragonstone, Dragon Shadow puzzles (Ceaco Inc.

tory in a survey of rock journalists. These brought 2004), Magic: 1998 Calendar (Black Dragon — Wiz-him to the public’s attention, as did the appearance ards of the Coast, 1997), Revenge of the Ravengers: of his art in magazines such as , and Heavy Metal.

Sega Genesis game adv (Absolute Entertainment, Throughout his career, Giger also worked in sculp-1995), Star Wars Galaxies adv (LucasArts, 2002), ture and design, and, in 1988, created his first total Sinbad promotional poster (All American Televi-environment, the Tokyo Giger Bar, and in 1992, a sion, 1996), Stratego Board Game (Milton-Bradley, second Giger Bar in Chur. Since 1990, Giger has 1997), Visit My Alien Worlds by Donato Giancola & largely given up painting to focus on sculpture.

Marc Gave (Little Brown/ipicturebooks, 2002), The most frequently encountered adjectives used Weatherlight Promotion (Wizards of the Coast, to describe Giger’s distinctive monochromatic paint-1997).

ings and sculpture are: nightmarish, surreal, mechanistic, cold, sado-masochistic, fetishist, erotic, disturbing. The artist has written that his paintings

Gilbert

236
were therapeutic, in that they provided a means for Sources: biography courtesy of Leslie Barany, artist’s agent, dealing with his own psyche, dreams, and experi-February 2005, also www.hrgiger.com; Morpheus Interna-ences. He is perhaps best known for imagery in tional publishers and gallery online www.giger.com which human bodies and machines connect in a de-Collections and Portfolios
tached, but sexually-charged “biomechanical” way.

(all authored by H.R. Giger, except as noted) Such is the appeal of Giger’s horrifically themed fine-Biomannerism ( Japan: Treville, 1997), Frank, Jane art in the late twentieth century that his designs, and and Howard. The Frank Collection: A Showcase of the imagery, have found their way into several artifacts World’s Finest Fantastic Art (Paper Tiger, 1999), H.R.

of popular culture, ranging from tattoo “flash” to Giger Beastiary: Monsters from the Id (Morpheus In-postcard books and calendars to jewelry.

ternational, 1998), H.R. Giger’s Biomechanics (Mor-In 1998, The Museum H.R. Giger was inaugu-pheus International, 1990), H.R. Giger’s Film Design rated in the medieval Château St. Germain, in the (Titan, 1996), H.R. Giger. The Mystery of San Got-historic, walled city of Gruyères. As the permanent tardo (Taschen, 1998), H.R. Giger’s Necronomicon home to many of Giger’s most prominent works, the (Big O Publishing 1978, Morpheus International, museum houses the largest collection of the artist’s 1991), H.R. Giger’s Necronomicon II (Morpheus In-paintings and sculptures, furniture and film designs, ternational, 1992), Giger’s Alien (Editions Baal, 1979, dating from the early 1960’s until the present day.

Morpheus International, 1989. Titan, 2003), Species Displayed on the museum’s top floor is Giger’s own Design (Titan, 1996), Stanislav, Groff. H.R. Giger private art collection, and the Museum Gallery (Taschen, 2002), H.R. Giger ARh+ (Taschen, 1991), where, on a rotating basis, Giger curates one-man www HR Giger com (Taschen, 1997). H.R. Giger’s shows for other artists. The adjoining HR Giger Retrospective: 1964–1984 (Morpheus International, Museum Bar was officially opened on April 12, 2003, 1997), Stutzer, Beat. HR Giger —The Oevre Before as a part of the museum complex. Giger’s designs Alien 1961–1976 (Zurich: Scheidegger & Speiss for the bar emphasizes the pre-existing Gothic archi-2007).

tecture of the 400 year old space. The giant skeletal arches covering the vaulted ceiling, together with Published Work
the bar’s fantastic stony furniture, evoke the build-The Best of Omni Science Fiction #1, #2 (Omni ing’s original medieval character and give the space Publications, 1980, 1981), Works of H.P. Lovecraft Vol.

a church-like feeling.

5 ( Japan: Kokusho-Kankohkai/Arkham House, Within the science fiction field, Giger is one of 1985).

those artists whose subject matter and sensibilities has Misc. 2003, 2004, 2005, 2006, 2007 H.R. Giger enabled them to defy traditional “literary” bound-Calendar (Morpheus International), H.R.Giger aries to become a cultural icon. He continues to live Tarot cards (Akron, 2000).

and work in Zurich with his long-time partner, Carmen Scheifele, creating new sculpture, planning up-Gilbert, Michael F.

coming exhibitions, and working on commercial ( July 20, 1947–August 14, 2000) American artist.

projects of various kinds, including his own film A long time fan, as well as commercial artist and project, “The Mystery of San Gottardo.” (a pictorial publishing professional, “Mike” Gilbert was born in book of that title was published in 1998). He was Buffalo and grew up in a small town near Rochester, honored with several major museum retrospectives New York. He attended RIT (Rochester Institute of in recent years, among them a six-month exhibition Technology) majoring in illustration, and graduated at the Museum Halle Saint Pierre in Paris, France.

in 1970. By that time he had already begun con-

“Le monde selon H.R. Giger” (The World Accord-tributing art to several fanzines, and was well inte-ing to H.R. Giger), in 2004 — which was the largest grated into regional science fiction fandom , and fan exhibition of the artist’s work to ever take place out-conventions in the Northeast, which is where he met side of Switzerland. Over one year in preparation, his future wife, Sheila. The same year he graduated, ninety percent of the artwork was on loan from Gilbert entered the commercial art field with the as-Giger’s collectors, including three Swiss museums.

signment to illustrate Neil Shapiro’s story “From the The display of more than 200 pieces spanned four Moon, With Love” for the cover of Fantasy & Sci-decades of the celebrated artist’s career, covering two ence Fiction, February 1970. The next year Gilbert re-floors of the museum’s exhibition space. The Paris ceived nominations for Best Fan Artist, and Best Fan retrospective was followed by “H.R. Giger in Prague”

Cartoonist, for the 1971 Locus Award and was nomin 2005 at the National Technical Museum of Prague, inated for a Hugo for Best Fan Artist. In that year his in the Czech Republic and in 2006 by “Giger in art “Trader Team,” based on Poul Anderson stories, Wien” at the Kunsthaus Wien, in Austria. In 2007
also appeared on the cover of the Noreascon 29th Giger will finally have a major exhibition in the city World Science Fiction Convention program book.

of his birth, Chur, at the Bundner Kunstmuseum.

In March 1971 he married Sheila Elkin who was then

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Giunta
working in the editorial department of Ace Books, (DAW, 2000), Sunderlies Seeking (DAW, 1998) The later becoming the science fiction editor for Signet, Painter Knight (DAW, 1998), The Riven Shield and eventually co-publisher of DAW Books.

(DAW, 2003), The Wizard’s Treasure (DAW, 2000, Gilbert was DAW Books’ first reader for unso-Tough Guide to Fantasyland (DAW, 1998), Victory on licited submissions, and provided artwork and maps Janus (Ace, 1968).

for many DAW titles. Gilbert worked in a variety MAGAZINES ILLUSTRATED INCLUDE:

of mediums, primarily acrylics on either illustration ASF : 1977 (6); 1976 (3); 1974 (12); 1972 (9, 7); board or canvas board, but also used watercolors, 1971 (8, 6)

gouache and Dr. Martin’s inks, as well as scratch-F&SF : 1970 (2)

board. He co-authored The Day of the Ness with IF : 1970 (3)

Andre Norton, as well as many articles on military history. Both Gilbert and his wife were involved in Empires, Eagles and Lions, the Napoleonic magazine Giunta, John
dedicated to Napoleonic history and wargaming, (1920–November 6, 1970) American artist.

published by the New Jersey Association of Napo-Giunta was born in Brooklyn, New York, the son of leonic Wargamers. By the late 1970s Gilbert had Sicilian immigrants. By all accounts, he was a gen-started working in the fantasy role-playing and tle, shy, good-natured, and sensitive person all of his wargaming industry, as a game inventor, illustrator life, with interests in writing and drawing fantasy and designer. He created and illustrated based on and science fiction that began as a child and blos-H. Beam Piper’s alternate universe novel Lord somed into a career of working for pulp magazines Kalvan of Otherwhen, published by Fantasy Games and comic books. As a young man, during the 1930s, Unlimited (1977), and Archworld, based on his own Giunta became an active fan and member of the fantasy universe, and produced various cover art and Eastern Science Fiction League and attended the first interiors for that company’s Chivalry & Sorcery fanNational Science Fiction Convention held in tasy role-playing game line (1979–1983). Gilbert also Newark, New Jersey, in May of 1938. He also started created gaming rules for miniature figure gaming, illustrating for the fanzines in that period and even and was an avid collector of military artifacts. Part-published his own hectographed fanzine, Amazing nering with George Nafziger, Gilbert provided Wonder Tales, later changed to Scienti-Tales.

drawings of uniforms and other historical details for Giunta began his professional career by produc-wargaming campaign sourcebooks such as The ing a two-page text filler reviewing fan-magazines Bavarian and Westphalian Armies 1799–1815 pub-for Centaur Publications. This appeared in the De-lished by the RAFM Co. for war gamers (1981) and cember 1939 issue of Amazing Mystery Funnies.

The Armies of Brunswick, Hanover, Hesse-Cassel, and Shortly after, Centaur gave him his first regular the Hanseatic Cities (Nafziger Publications, 1990).

comic feature: a fantasy science fiction series called In July 2000, his first short story, “The General’s

“The Magician from Mars,” written by his pal, and Bane” (co-authored with his wife), was published fellow science fiction enthusiast, James V. Taurasi.

in Civil War Fantastic edited by Martin H. Green-In late 1940, Giunta broke into the pulp illustration berg. Shortly afterward, Gilbert died of complications market, providing interior drawings for Astonishing following open-heart surgery. He is survived by his Stories and Super Science Stories. He began freelanc-widow, Sheila Gilbert, who — along with Betsy ing for numerous comic publishing companies and Wollheim — is still the co-publisher of DAW Books.

worked in several comic art “sweat shops” where the Sources: e-mail and telephone interview with Sheila work was turned out in a quick, production-like Gilbert; Science Fiction and Fantasy Writers of America, obit-manner until Fawcett Publications made him part uary August 16, 2000 online www.sf wa.org; Di Fate, Vincent. Infinite Worlds: The Fantastic Visions of Science Fiction of their permanent staff in 1941, where for $45 a Art (The Wonderland Press/Penguin Studio, 1997); Locus obit-week he drew one-page humorous fillers. He also uary and appreciation September 2000.

developed skills as an inker there and eventually could handle any odd job assigned him. The unique Published Work
thing about Giunta was that he could do both a BOOKS ILLUSTRATED INCLUDE: Breaking Point

“big-foot” humor style of art, then turn right around (DAW, 1973), Child of Flame (DAW, 2000), Day of and take on a more illustrative or detailed approach the Ness (Dell, 1975), Dark Nadir (DAW, 1999), to a job if required; at a time when most artists ei-Dragonrank Master (DAW, 1989), Empire’s Horizon ther went one way or the other. Giunta could han-

(DAW, 1989), Eye Among the Blind (Signet, 1979), dle both. Influenced by Will Eisner’s work more than Guardian of the Balance (DAW, 1999), Guardian of anything else, the artist felt that comics should have the Trust (DAW, 2000), King’s Dragon (DAW, 1996), depth and perspective and go beyond the two-di-Napoleons of Eridanus (DAW, 1976), Profiteer (DAW, mensional look that was commonplace during the 1995), Razor’s Edge (DAW, 1997), Stronghold Rising 1940s.

Giusti

238

In 1942 Giunta began selling black and white problems that had hindered his life during these drawings to Weird Tales, and eventually he painted years, and a gradual deterioration in the quality of his covers for the magazine as well. He mainly used a work, the artist soon found himself on welfare, liv-combination of brush and ink and soft charcoal pening in a hotel, and running the elevator part-time cil shading on pebble board paper, although in later to pay for his room. Giunta died at the age of fifty, years he grew very fond of the scratchboard tech-after suffering a stroke.

nique and employed it more often than not. He kept Sources: Biographical entry and research provided by Weird Tales as a client and added other science fiction Roger Hill, 2007; Frazetta biography, 2006 on line at www.

Frazettagallery.com; Weinberg, 1988.

pulp magazines to the list, throughout the 1940s and into the mid 1950s. In 1944, while working for the Published Work

Bernard Baily Studio, Giunta helped another Brook-AMZ: 1955 (11); 1956 (4, 6, 10, 12)

lyn-born artist get his first big break in the comics’

ASF&FR: 1953 (1, 4)

field. A sixteen-year-old kid by the name of Frank ASH: 1940 (12); 1941 (11); 1942 (3, 6, 10) Frazetta* had an idea for a new comic character F&SF : 1957 (1, 3, 5, 7, 9, 11); 1958 (1, 3, 5, 7, 11) called “The Snowman.” Giunta liked it, and after FTC: 1955 (10); 1956 (8)

talking Baily into publishing it, teamed up with the FU: 1960 (3)

young artist to produce the feature. With Frazetta GXY: 1962 (12); 1963 (2, 12); 1964 (2, 4, 6, 12); doing the penciling and Giunta the inking, they 1965 (8, 12)

turned out an eight-page story for the first issue of IF : 1962 (11); 1963 (1, 3, 5, 6, 9, 11); 1964 (3, 9, 11, Tally-Ho Comics, dated December 1944. Years later, 12); 1965 (1, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1966 (1) Frazetta would credit Giunta for his exceptional abil-INF : 1955 (11); 1956 (6); 1957 (2)

ity, and acknowledge the influence he had on his ink SAT: 1956 (2, 4, 6, 10. 12); 1957 (2, 6) work, although talented Giunta was apparently not SRN: 1957 (3, 5, 7, 10); 1958 (3)

an easy man for the young Frazetta to deal with at SFA: 1956 (12)

the time.

SSS: 1941 (1); 1942 (11); 1943 (5); 1949 (4) During the mid 1940s through the late 1950s TSF : 1951 (spring)

Giunta freelanced for several different comic pub-VEN: 1957 (1, 3, 5, 7, 9, 11); 1958 (3, 5, 7, 11) lishers in New York City. He joined fellow artist WOT: 1963 (6); 1964 (2, 4, 11); 1965 (3, 5, 7, 11) Manny Stallman and together they produced crime, WT: 1942 (11); 1943 (1, 3, 7, 9, 11); 1944 (3, 7, 9); horror and science fiction stories for Harvey Publi-1948 (1 3, 5, 7, 9, 12); 1949 (1, 4, 5, 7, 9); 1950 (1, 5); cations and National (DC) Comics. With the in-1954 (9)

stallation of the Comics Code Association in 1954, and the immediate decline of comic sales that fol-Giusti, Robert G.

lowed, hard times came to most artists still working (b. 1937) Considered an American artist, “Bob”

in the field. Giunta’s output was also severely af-Giusti was born in Zurich, Switzerland to artisti-fected, but he held steady employment at DC
cally gifted parents (his father was the graphic de-Comics from 1951 to 1960, working on such popu-signer George Giusti), and immigrated with his fam-lar titles as Big Town, House of Mystery, Mystery in ily to New York City circa 1939, and that is where he Space and Strange Adventures; the latter two titles grew up. He studied painting, sculpture, and graph-edited by long-time science fiction enthusiast Julius ics at the Tyler School of Fine Arts in Pennsylvania Schwartz. As the larger pulp magazines faded away and at the Cranbrook Academy in Michigan, where or evolved into the digest-sized magazine, Giunta he received his BFA in 1961. His first sale of art was contributed science fiction illustrations to most of to American Girl magazine in 1956, and since then them and during the late 1950s served as art direc-his work has appeared in numerous magazines in-tor for the short lived Saturn Science Fiction. In 1963, cluding McCalls, Redbook, Fortune, Omni and Pent-when James V. Taurasi bought out the pro-maga-house. A versatile artist, Giusti has not specialized in zine Original Science Fiction Stories from Blue Rib-the science fiction and fantasy market, but his bon Publications, Giunta was made Art Director and dream-like and surrealistic style places much of his provided the covers and all illustrations for the last art within its borders. His brilliantly colored, strik-two issues published. He also drew cartoons for ing paintings have gained international acclaim and Quick Frozen Food magazine, edited by his good many prestigious awards.

friend, and SF historian, Sam Moskowitz.

Returning to New York after graduation, he Giunta stayed with the comics up through the worked in advertising and then became an art di-late 1960s, producing mostly superhero stories for rector and designer for Random House Inc. In 1973

Archie and Tower Publications. He also sold illus-he left the corporate world to work as a freelance iltrations to Galaxy, IF, and Worlds of Tomorrow.

lustrator, graphic designer, teacher and lecturer. He However, because of psychological and personal has illustrated and designed book jackets, album

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Gleeson
covers, advertisements, packaging, logos, letterheads, The New Yorker, he was advised by other artists to try posters, and animated television commercials. The pulp art. He sold his first cover to Fiction House in Cincinnati Zoo, the World Wildlife Fund, Colum-the mid–1930s and worked for most of the big pulp bia Records, Universal Pictures, National Geographic, publishers from then on. He joined the staff of Street and The New York Times are only a few of his note-

& Smith Publications in 1939, where his primary worthy clients. He produced thirteen distinctive de-job was painting covers for The Shadow pulp mag-signs for U.S. postage stamps featuring an array of azine, between April 1939 and September 1941.

colorful wildlife. He also has done many illustra-When the editorial department decided to make tions for product print advertising and packaging drastic changes to the Avenger, Gladney took over for the Celestial Seasonings Company.

as cover artist, replacing H.W. Scott*, in addition Giusti’s fine art has appeared at galleries and mu-to still turning out covers for the immensely more seums around the globe including the Museum of the popular Shadow series. Over a period of six years Surreal and Fantastique in New York, the New-York painting for the pulps Gladney produced an amaz-Historical Society, the Norman Rockwell Museum ing 275 covers — an impressive portfolio with titles in Stockbridge, MA, and the Smithsonian Institute, like Adventure, Crime Busters, Mystery, Dime Mys-and his paintings are held in the permanent collec-tery, and several Clues Detectives in early 1939. In tions of the latter Institute as well as that of Time 1939 he did four covers for Street & Smith’s science Inc., Eli Lilly & Co, Celestial Seasonings, Ethyl Cor-fiction anthology magazine Astounding and, like poration, and General Motors. He has received Scott, worked for John W. Campbell’s short-lived awards from the Art Directors Club of New York, the fantasy magazine Unknown, producing three of the American Institute of Graphic Arts, the Society of Il-total 12 covers that were to appear on the magazine.

lustrators, and other professional associations. Giusti Gladney was drafted in 1942 and served with the works from a home-based studio in Bridgeport, 82nd Division Airborne gliders during World War Connecticut and is often assisted by his wife Grace, II, which put an end to his pulp painting. After his also an artist who formerly worked in fashion and return from active duty he briefly returned to art, textile design.

producing some calendar art and preparing art for Sources: American Postal Museum artist profile at several comic strips. However, after the real violence www.postalmuseum.si.edu/artofthestamp and The Postal Ser-of the war, he found himself unable to deal with the vice Guide to U.S. Stamps, 28th Edition (New York: Harper Collins, 2001); Artist profile at www.celestialseasonings.

false violence of comic art and returned to St. Louis, com/art-inspiration/profiles/bob-giusti.html; Weinberg, 1988.

where he accepted a teaching position with Washington University’s School of Art in 1949. A “larger than Published Work
life” character, and gun enthusiast, Gladney was a BOOKS ILLUSTRATED INCLUDE: Beneath the champion marksman with rifle, pistol and shotgun, Vaulted Hills (DAW, 1997), Breakfast of Champions at one point winning 2nd place in the Wimbledon (Delacorte, 1973), The Compass of the Soul (DAW, Cup 1000-yard rifle competition. He taught until 1998), Faerie Tale (Doubleday, 1988), Flights of Fan-1961, when investments he had made over the years tasy (DAW, 1999), Infinite Worlds of Maybe (Holt, enabled him to retire and paint subjects that ap-Rinehart and Winston 1966), It (Viking, 1986), pealed to him. Some of Gladney’s line drawings were Maia (Knopf/BCE, 1985), Misery (Viking Penguin, included in The Fantastic Pulps, edited by Peter 1987), The Pendragon (Knopf, 1979), The River into Haining (Random House, 1976). Gladney died in Darkness (DAW, 1997), Second Ring of Power (Simon 1976 of a heart attack, survived by his wife and three

& Schuster, 1977), WHO? (Ballantine, 1975).

children.

Sources: Weinberg, 1988; http://members.aol.com/mac-Gladney, Graves
murdie2/biographies/gladney.htmldated December 29, 1999, accessed 1/2/06

(December 10, 1907–March 24, 1976) American artist. Born in born in St. Louis, Missouri, wanted Published Work
to be a painter since early childhood. After graduat-ASF : 1939 (3, 5, 6, 7)

ing from high school Gladney attended Amherst UK: 1939 (4, 8, 11)

College and received his BS degree in 1928. He traveled to Europe and studied at L’ecole des Beaux Arts Gleeson, Tony
and the Slade School of the University of London.

(b. June 9, 1949) American artist. Gleeson was He married in Europe, and when he returned to the born in Schenectady, NY, and grew up in the Al-United States with a wife and two children, c. 1934, bany-Schenectady area until after high school. He re-he settled first in St. Louis before moving to New ceived a BA in Fine Arts from Georgetown Univer-York to find work. His sold his first commercial sity, Washington, DC, and following his graduation, work, a lively polo scene, to Fortune magazine in on the advice of the creative director at National Ge-late 1935. After failing to get a job illustrating for ographic Magazine, attended the Art Center Col-

Goble

240
lege of Design in Los Angeles for further intensive Castle (1980), Mission of Gravity (1980), Tales from the training in illustration. Gleeson’s art shows the White Hart (1980).

influence of lifelong exposure to several influential MAGAZINES ILLUSTRATED INCLUDE:

streams in American illustration, ranging from comic AMZ: 1974 (12); 1975 (11); 1976 (1, 9, 12); 1978 (5, artists turned illustrators like Frank Frazetta*, Al 8); 1979 (11)

Williamson, and Jeff Jones*, and classic illustrators FTC: 1975 (4); 1976 (5, 8, 11); 1977 (6, 9, 12); J. C. Leyendecker, Maxfield Parrish, and N.C.

1978 (7, 10); 1979 (1)

Wyeth, to (Northern California) Bay Area psychedelic poster artists, and rock poster artists of the 1990s.

Goble, Warwick Waterman

From the December 1974 issue of Amazing, his (November 22, 1862–January 22, 1943) British

“first ever” professional work, through 1979, Glee-artist. Born in London, and raised there, Goble was son produced many interior illustrations for Amaz-educated at the City of London School and studied ing and Fantastic pulp magazines done in pen & ink: at the Westminster School of Art. He was the son Rapidograph pens, nibs, and brushes. His painted of Burkitt Goble, a “warehouseman” and his wife work was done almost exclusively in acrylics, with the Mary (nee’ Westminster), and the second youngest occasional addition of prismacolor pencils. Other of four children. While not as well known as some work includes science-fiction related illustrations for of his contemporaries, such as Arthur Rackham, men’s magazines, and many editorial illustrations in Goble was one of the few artists who were special-a SF vein for magazines, newspapers, and children’s izing in science fiction at the turn of century. For and educational materials throughout the 1980s and several years he worked for a printer that did chro-1990s. Gleeson worked as a staff artist with Neal molithography, and contributed his artwork to pop-Adams’ Continuity Studios in Burbank, CA, from ular magazines, among them The Strand, The Wind-1991–1999 (while simultaneously running his own sor Magazine, and Pearson’s. He then joined the art studio). He signs his work “Gleeson” in graphic let-staff of the Pall Mall Gazette and later, the Westmin-ters with “a little squiggly flourish” that amuses his ster Gazette, both illustrated papers of the day.

peers. All of Gleeson’s SF book covers were seen on Among his earliest, and perhaps most memorable il-Doubleday Science Fiction Book Club editions, and lustrations, were those he created for H.G. Wells’

he provided art for their advertising circulars, for A War of the Worlds, first serialized in Pearson’s maga-Planet Called Treason c. 1980, and Eye of Cat c. 1981.

zine, 1897 (in six parts, April through December).

He was featured in Doubleday’s The New Visions These sixty-six artworks, in black and white, were (1982), an anthology of selected cover art from Sci-reprinted in the first American edition of the novel, ence Fiction Book Club editions.

published 1898, and no doubt contributed to the Gleeson exhibited paintings and drawings in two immense popularity of this historically important of Los Angeles’s bookstore galleries that were de-work of science fiction.

voted to science fiction and fantasy ( Dream Masters Goble chiefly became known as a watercolorist, and Change of Hobbit). He has done some film and whose work and technique was strongly influenced TV work, mainly storyboarding and concept sketch-by Oriental art, as were other artists working during ing. He received on screen credit for artwork done this time. He was exhibiting at the Royal Academy for the zombie comedy film My Boyfriend’s Back.

as early as 1893, and that appeared to be his primary Gleeson licensed his art for Saban’s Mighty Morphin’

focus — but the appeal for color plate books pro-Power Rangers and VR Troopers. Recent work in-vided the opportunity for Goble to expand into that cludes the box art (digital art) for the game Mobile field, taking advantage of the demand in fantasy and Light Force 2 and a commissioned digital-art piece of fairy tale subjects. He illustrated several books of a Tyrannosaurus Rex that was presented to Ray fairy and adventure stories that have been charac-Bradbury on the occasion of his 85th birthday. Glee-terized as “bland,” and “somewhat derivative,” person lives in Los Angeles with his wife Anne, a neona-haps because they were influenced by the same Japa-tal intensive-care nurse. They have three children nese techniques as those influencing other artists of and two young grandchildren.

the day (i,e., Dulac), but “Goble’s skill as a colorist Sources: e-mail from the artist Feb, 2006; The New Vi-compensates for his lack of intensity as an illustra-sions: A Collection of Modern Science Fiction Art. NY: Double-tor,” ( Johnson, FIDB, as quoted in Horne, 1994) .

day & Co, 1982. www.telusplanet.net/public/sgetti/glee-son2001_artist.html [accessed 2/1/06]

Goble illustrated some of the most lavishly illustrated children’s books of the day, including Kings-Published Work
ley’s The Water Babies (1909), and James’ Green Wil-BOOKS ILLUSTRATED INCLUDE: (ALL ARE BOOK
low and Other Japanese Fairy Tales (1910). He CLUB EDITIONS) Earth Abides (1976), The Golden continued working into the late 1920s, illustrating Helix (1979), I Am Legend (1980), Man in the High collections of folktales, such as Stories From the Pen-

241

Goodfellow
tamerone (1911), and Folk Tales of Bengal (1912) as lustrators were more accomplished than painters well as many of the classics of children’s literature.

in the 1970’s, so that what he learned while study-Some books he illustrated, such as Treasure Island ing illustration has made him a better painter. Good-and Kidnapped (for Macmillan, 1925), have become fellow’s art is in several private and corporate col-collector’s items. In the 1990s, Goble’s work again be-lections, including Saatchi and Saatchi, British came accessible to readers through books which re-Telecom Victoria and Albert Museum, ICL Comput-produced his illustrations for fairy tales.

ers.

Sources: Horne, Alan. The Dictionary of twentieth Century He has had exhibitions of his work, beginning British Book Illustrators. U.K.: Antique Collectors’ Club, 1994; with the Illustrator’s Gallery in London, 1975 and Jim Vadeboncoeur, Jr.: The Vadeboncoeur Collection of Knowledge, 1999 online at www.bpib.com/illustrat/goble.htm continuing with gallery showings in Denmark, En-

[accessed April 2007]; Johnson, Diana L. Fantastic Illustra-gland, and Scotland. In 1998 a traveling exhibit of art tion and Design in Britain, 1850–1930. RI: Museum of Art, from Scotland shown at the Forbes Collections Gal-Rhode Island School of Design, 1979; [accessed April 2007]; leries, New York, included his work.

Weinberg, 1988.

Sources: www.art-fromscotland.com, email from the artist Published Work

December–January 2005–2006

Fairy Tale as Myth/Myth as Fairy Tale (Univ. Press Published Work
of Kentucky, 1994), The Oracle of Baal (Hutchinson: Collections/Anthologies

1896), War of the Worlds (Harper & Bros., 1898), (various contributing artists)

Spells of Enchantment: the Wondrous Fairy Tales of The Flights of Icarus (Dragon’s World, Ltd, 1977), Western Culture (Viking, 1991, BOMC, 1992), Sword Heroic Dreams (Dragon’s World Ltd, 1987).

and Sorceress XVII (DAW, May, 2000).

BOOKS ILLUSTRATED INCLUDE: An Age (Sphere, Goodfellow, Peter

1972), Ancient Solitary Reign (Grafton, 1989), Astra (b. June 14, 1950) British artist. Born in Middles-And Flondrix (Pantheon, 1976), Bannister’s Chart brough, North East England, Goodfellow attended (Collins, 1984), Barefoot in the Head (Granada/Pan-Bede Hall Grammar School, Billingham and Mid-ther, 1979), Behind the Walls of Terra (Sphere, 1975), dlesbrough College of Art. He studied at the Cen-Best Science Fiction of the Year 1 (Peacock, 1978), Book tral School of Art and Design, London from 1967–
of the Beast (Unwin, 1989), Book of the Damned 1971, receiving a degree in Illustration. He entered the (Unwin, 1989), Book of Imaginary Beings (Penguin, field as a freelance illustrator in 1972, and his first 1974), A Canticle for Leibowitz (Orbit, 1997), Crys-job in science fiction was for Tandem Books, the tal World (Panther, 1978), Dandelion Wine (Panther, cover for Ursula Le Guin’s Planet of Exile. Goodfel-1977), Daughter of Regals (Collins, 1984), Day Mil-low’s work shows the influence of symbolist and sur-lion (Pan, 1979), Do Androids Dream of Electric Sheep realist painters, and his greatest admiration is for (Panther, 1972), Echo Round His Bones (Granada/

Heironymus Bosch and Salvador Dalí.

Panther, 1979), Empire of the Eagle (Tor, 1993), En-One of several British artists who came on the chantress (Bantam, 1985), Encyclopedia of Fantasy scene in the 1970s, Goodfellow’s cover art — like (Orbit, 1997), Fantasms and Magics (Granada/
many of his contemporaries — was intensely colored, Mayflower, 1978), First Chronicles of Thomas and striking in design. Of note were his covers for Covenant the Unbeliever: 1 Lord Foul’s Bane; 2 The Philip K. Dick’s Do Androids Dream of Electric Sheep, Illearth War; 3 The Power That Preserves (Fontana and Ray Bradbury, for Granada 1980–1988 includ-1989, Omnibus issue, 3 vols, 1993), Far Pavilions ing The Illustrated Man, and the U.K. launch of The (St. Martin’s Press, 1978), Flying Saucer Vision Chronicles of Thomas Covenant by Donaldson (still on (Sphere, 1977), Forever King (Millennium, 1992), covers as of 2006). Goodfellow provided illustra-Fortress in the Eye of Time (HarperPrism, 1995), The tions for the art booklet that accompanied.the album Fuse (Penguin, 1984), Gardens of Delight (Corgi, for Jeff Wayne’s Musical Version of the War of the 1982), Gates of Creation (Sphere, 1973), Gatherer of Worlds (1978). His art later was used on the cover of Clouds (DAW, 1992), Golden Apples of the Sun (Pan-The Encylopedia of Fantasy by Clute and Grant (St.

ther, 1977), The Golden Bough (Macmillan, 1976), Martin’s, 1999).

Green Eyes (Ace, 1990), Grimius (Panther, 1977), By the late 1980s Goodfellow largely left com-Helliconia (HarperCollins/Voyager, 1996), Holly-mercial illustration after moving to Scotland with wood Nightmare (Sidgwick & Jackson, 1973), Hook: his wife Jean and deciding to shift to fine art. Declar-1 Whirlpool of Stars; 2 Boosted Man; 2 Star City ing himself an “out and out colourist,” he paints vi-

(NEL, 1974), Houses Without Doors (Grafton, 1990), brant figurative and landscape works of the Scottish The Illustrated Man (Panther, 1977), Immortality, countryside, using color “to create a sense of mood Inc. (Peacock Penguin, 1978), The Land Beyond and atmosphere.” Looking back at his decision to (Grafton, 1992), Land of Dreams (Grafton, 1988), pursue commercial art he notes that technically il-Lavondyss (Grafton, 1990), Lord Hamlet’s Castle

Gorey

242

(Grafton, 1988), Lords of Vaumartin (Gollancz,

“Dracula.” At the same time, he perhaps became 1989), Lord of Light (Granada), Lovecraft’s Book best known in the United States for his illustrations (Grafton, 1987), Mace of Souls (Grafton, 1990), Man for the opening and closing credits on the PBS tel-Plus Gollancz, 1987), Maker of Universes (Sphere, evision program “Mystery.” Gorey’s bizarre stories 1973), A Man Rides Through (Fontana, 1989), The and macabre black-and-white illustrations reflected Mirror of Her Dreams (Fontana, 1987), Moreau’s an elegantly morbid sense of humor in books, on Other Island (Granada, 1985), Mysterious Island the stage and on television that made him one of the (NEL, 1972), Mythago Wood (Grafton, 1986), A New most distinctive American illustrators. Gorey won History of Torments (Hutchinson, 1982), Night Fan-the World Fantasy Best Artist Award in 1985, and tastic (DAW, 1991), Nova Express (Panther/Granada, 1989.

1978), Orsinian Tales (Granada, 1978), Pavane (Pan-In the mid 1980s, Gorey moved to Cape Cod, ther, 1974), Penultimate Truth (Panther, 1978), where he led a small theater troupe. There have been Philosopher’s Stone (Panther, 1974), Planet of Adven-several theatrical anthologies of Gorey’s work, in-ture: 1 City of the Chasch, 2 Servants of the Wankh, 3
cluding one called “Amphoragorey,” a musical pre-The Dirdir, 4 The Pnume (Mayflower, 1974, 1975, sented in 1999 in Provincetown, Massachusetts. A 1976), Planet of Exile (Tandem, 1972), The Practice musical review, “The Gorey Details” featuring sto-Effect (Bantam, 1984), A Private Cosmos (Sphere, ries by Gorey was performed posthumously at the 1973), Orsinian Tales (Granada, 1978), Other Days, Century Center for the Performing Arts, in Man-Other Eyes (Pan, 1974), Reave the Just and Other Tales hattan, New York, in October 2000. Earlier in that (with Kevin Jenkins: HarperCollins/Voyager, 1998), year, it was announced that Gorey would be a re-Return of Nathan Brazil (Penguin, 1989), The Second cipient of the Lifetime Achievement Award from the Chronicles of Thomas Covenant, the Unbeliever: The Horror Writer Association in May.

Wounded Land; The One Tree; White Gold Wielder Gorey lived most of his adult life in a 200-year-

(Fontana, 1989, Omnibus 3 Vols Fontana, 1984), old 15-room house in Yarmouth Port, Massachu-Secret of the Ages: UFO’s from Inside the Earth (Pan-setts, amid a “cosmic disarray” which included hun-ther, 1976), Shadow of His Wings Grafton, 1988), dreds of stories and sketches, some finished, some The Shishi (Grafton/Collins, 1990), Sky Shroud (Pen-unfinished, which were discovered by his executors guin, 1981), Something Wicked This Way Comes (Pan-after his death in closets and crannies (in Gorey’s ther, 1977), The Squares of the City (Fontana/Collins, words) “beneath the floor, behind the door — and 1977), Sunrise on Mercury (Pan, 1986), The Sword possibly up the chimney.” (Gussow, NYT). A gen-and the Flame: Variations on a theme of Sir Thomas tle man, if eccentric, throughout his life Gorey also Malory (Macmillan, 1978), Tairo: The Great Elder had “a great affinity for creatures other than human (Grafton/Collins, 1991), The Takeover (Macmillan, and lived with an entourage of cats.” (Gussow, ibid. ) 1976), Tales from the White Hart (Sidgwick & Jack-After his death these were given to cat-loving friends son, 1976), Telepathist (Fontana. 1978), Terminus and relatives. The primary beneficiary of his estate (Penguin, ), Tetrarch (Paladin, 1989), Till We Have is a charitable trust to be established for animals and Faces (Collins, ), Touch of Infinity (Coronet, 1976), other creatures. Gorey died near his Cape Cod home Urth of the New Sun (Gollancz, 1987), Walter and after suffering a heart attack earlier in the week.

the Resurrection of G. (Headline, 1995), Wars of the Sources: Gussow, Mel. Gorey Obituary published in The Well: 1 Exiles at the Well of Souls, 2 Quest for the Well New York Times, 10/16/2000: Edward Gorey tribute site at http://www.geocities.com/SoHo/Square/3441; Gorey gallery of Souls, 3 Twilight at the Well of Souls (Penguin, and list of works: http://www.goreyography.com 1982, 1989), Whores of Babylon (Grafton, 1988), A World Between (Arrow, 1980), The World from Rough Collections and Anthologies

Stones (Knopf, 1975), The World, the Flesh and the (various contributing artists)

Devil (Hutchinson, 1985).

Gorey, Edward. The Listing Attic (Duell, Sloan and Pearce-Little, Brown, 1954), Gorey, Edward.

Gorey, Edward St. John

The World of Edward Gorey (Abrams, 1996).

(February 22, 1925–April 15, 2000) American BOOKS ILLUSTRATED INCLUDE: Beast Under the artist. Born in Chicago, Illinois, Gorey attended Wizard’s Bridge (Dial, 2000), The Bell, the Book, and Harvard University. After college, Mr. Gorey began the Spellbinder (Dial, 1997), Best of John Bellairs illustrating book covers for Doubleday and work-

(Barnes & Noble, 1998), Black Hearts in Battersea ing on his own novels, none of which he finished. A (Houghton Mifflin, 1999), Cold Hand in Mine prolific writer and illustrator, Gorey was perhaps the (Scribners, 1975), Cold Shoulder Road (Delacorte, most popular illustrator of John Bellairs’s books, as 1996), Cuckoo Tree (Houghton Mifflin, 2000), Curse well as writing at least 90 books of own and illustrat-of the Blue Figurine (Dial, 1983), Dark Forces (Viking ing 60 others . He won a Tony Award in 1978 for

/SFBC, 198), Dark Secret of Weatherend (Dial, 1984), costume design for the Broadway production of Dido and Pa (Houghton Mifflin, 2002), Doom of the

243

Gould

Haunted Opera (Penguin/Dial, 1995), Hand of the Gould, Robert

Necromancer (Penguin/Dial, 1996), Haunted Look-

(1952) American artist. Originally from Massa-ing Glass: Ghost Stories (NY Review, 2001), Iron chusetts, Gould received a Bachelor’s Degree of Fine Tonic: or, A Winter Afternoon in Lonely Valley (Har-Arts from Massachusetts College of Art in 1974, ma-court, 2000), Is Underground (Delacorte, 1993), joring in Art Education with a minor in Literature Lamp From the Warlock’s Tomb (Penguin/Puffin, and Film. His roots as a mythic artist, whose work 1999), Light Metres (Putnam/Perigree, 1983), Manis inspired by the Romantic art of nineteenth-cension in the Mist (Penguin/Puffin, 1999), Night Birds tury pre–Raphaelite painters, and the mystic symbol-on Nantucket (Houghton Mifflin, 1999), Penguin ism of painter Sir Edward Burne-Jones, stem from Book of Vampire Stories (Penguin, 1988), Specter From his college years. His roommate was Thomas the Magician’s Museum (Dial, 1998), Stolen Lake Canty*, and together the two would champion an (Houghton Mifflin, 2000), Trolley to Yesterday (Dial, unusual art movement called New Romanticism, 1989), Vengence of the Witch-Finder (Penguin/Dial, blending medieval and late 19th century symbols, 1993), Willowdale Handcar (Harcourt, 2003), Wolves ideas, and working methods with distinctively mod-of Willoughby Chase (Delacorte, 2000), Wrath of the ern draftsmanship. Later the group included Eric Grinning Ghost (Dial, 1999), Three Hearts and Three Kimball, Barry Windsor-Smith* and Jeffrey Jones*.

Lions (Doubleday/SFBC, 1961), Vampires (Double-During his time at college, he and three other artists day/SFBC. 1987).

published New Legends, the first commercially successful underground comic book published in Gould, John Fleming

Boston. After graduating, Gould continued in the (February 14, 1906–May 26, 1996) American comic book field, supplying work to Marvel and artist. Born in Worcester, Massachusetts, Gould other comic publications. Gould and writer Eric studied at the Tiffany Foundation and graduated Kimball then formed the company, Two Man Horse, from Pratt, where he then taught for twenty-two and published numerous works inspired by their years. He also taught at the Newark School of Fine love of Pre–Raphaelite art and philosophy. In 1976
and Industrial At, and gave classes at the Bethlehem they were commissioned by StarReach Publications Art Gallery.

to create “The Prisoner of Pan Tang”— an original By the age of twenty-four, Gould was living in comic book story based on Michael Moorcock’s Brooklyn, New York and working as a magazine il-widely popular Elric of Melnibone book series. The lustrator for the pulps — and was one of the most story won numerous awards and established Gould prolific artists ever to do art for those publications.

as a notable illustrator for Moorcock’s tragic hero.

Primarily an interior artist, he produced nearly His work was included in the exhibition “Science twelve thousand illustrations, mostly for adventure Fiction and Fantasy Painters,” and in the illustrated and detective pulps of the 1930s and 1930s. Hr was catalog for that show, at the New Britain Museum of one of the leading illustrators for Popular Publica-American Art (1980).

tions and its many single-character pulps like The In 1978 Gould entered the field as book cover Spider and Operator 5. In 1930 he did most of the il-designer and illustrator, and in the 1980s made his lustrations for Astounding Science Fiction, continuing name with ground-breaking covers for Michael from its first issue for nearly two years until other Moorcock’s six-volume Elric of Melnibone saga, for artists began working for the pulp.

Berkley Books. His delicate use of watercolors, fre-After leaving the pulps, Gould began illustrating quently mixed with pencil and inks, together with for The Saturday Evening Post. He later did artwork a strong sense of design, were very different from for many other major magazines and prepared nu-the general style of fantasy illustration at the time merous national advertisements. His watercolors are and proved very popular with readers. Gould rewell known and held in many private collections and designed Moorcock’s entire fantasy publishing line museums.

of books, and these and other covers for publishers Sources: Ancestry.com. 1930 United States Federal Cen-earned him several awards, including the World sus; Social Security Death Index [database on-line]. Provo, Fantasy Award for Best Artist in 1987. In 1981 Gould UT, USA: The Generations Network, Inc., 2002, 2007; Weinberg, 1988
founded Cygnus Press with partner Marc Halperin to publish high quality fine art prints and drawing Published Work
portfolios by fantasy artists. Cygnus produced “The ASF : 1930 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11); 1931 (1, Drawing Collection,” a series of four boxed repro-2, 4)

ductions of pencil drawings by Gould, English artists Barry Windsor-Smith* and Alan Lee* and Jeffery Jones*.

In the late 1980’s, having always had a strong interest in the visual narrative aspects of film, Gould

Graef

244
left the field of book design and moved from Boston (Unwin, 1988), Dark of the Gods (Meisha Merlin, to Los Angeles, California where he worked devel-2000), Dragon in the Sword (Ace, 1987), oping book properties as the vice-president of a film Dreamthief ’s Daughter: A Tale of the Albino (Amer-production company, The Lynda Guber Organiza-ican Fantasy, 2001), Elric of Melnibone (Berkley, tion (LGO). He worked for the company for six 1983), Elric Saga Part I, II, III (Doubleday, 1983, years, during which time under a production deal 1984) Gods of the Greataway (Houghton Mifflin, at Sony Pictures Entertainment he was responsible for 1984), Indigo (Tor, 1989), The Grand Adventure selecting and developing film projects such as (Berkley, 1984), The Green Man (Headline, 1989), Mythago Wood, based on the novel by Robert Hold-Hall of the Mountain King (Tor, 1988), Infanta stock, Faerie Tale, based on the book by Ray Feist, (Unwin, 1989), Inferno (Tor, 1989), Messiah at the Borderlands, a television pilot based on the book se-End of Time (Ace, 1989), Mirage (Tor, 1988 ), Neme-ries created by Terri Windling, and Dinotopia, based sis (Tor, 1989), Nocturne (Unwin, 1989), Philip Jose’

on the best selling book by Jim Gurney*, which was Farmer’s the Dungeon: Vol. 1 The Black Tower, Vol. 2
the signature project of Gould’s tenure at Sony.

The Dark Abyss, Vol. 3 Valley of Thunder, Vol. 4 Lake Gould’s experience with the studio development of Fire, Vol. 5 Hidden City (Bantam Spectra, 1988, process and his working relationship with Brian 1989, 1990), Phoenix Fire (Unwin, 1989), Queen’s Froud* (Gould contributed to the creation of Froud’s Gambit Declined (Popular Library, 1989), Revenge of Lady Cottington’s Pressed Fairy Book), led to LGO
the Rose (Ace, 1991), Sailor on the Seas of Fate (Berkley, representing Froud for a time for all publishing, li-1984), Silver Warriors (Berkley, 1986), The Skrayling censing and entertainment matters. Gould has Tree (Warner, 2003), Stormbringer (Berkley, 1985), worked with several major entertainment compa-Unicorn & Dragon (Avon, 1987), The Vanishing nies in film, television, and licensing, among them: Tower (Berkley, 1983), Weird of the White Wolf Columbia Pictures, TriStar Pictures, Columbia TriS-

(Berkley, 1984).

tar Television, The Jim Henson Company, Sony Animation, Hasbro Toys, and others.

Graef, Robert A.

In 1999 Gould founded an arts management (September 26, 1879–May 15, 1951) American company, Imaginosis, that works with writers and artist. Robert Arthur Graef was born and brought up artists to collaboratively develop properties with in Brooklyn, New York and spent most of his life as transmedia applications, which was extended in a resident of that borough, Graef always wanted to 2005, to include Imaginosis Publishing. Imaginosis be an artist, and at the age of ten his first published projects include the various faery books of Brian and art appeared in the pages of a Brooklyn newspaper.

Wendy Froud, The Katturan Odyssey created by Star He studied at the Pratt Institute and received a de-Wars designer Terryl Whitlach, and most recently, gree from the School of Art and Design in 1896. As Gerald Brom’s Plucker. Gould also serves as vice-Weinberg related in his biography, “on graduation, president of the children’s charity Education First! in the art director at the school got Graef a job workLos Angeles. Gould is the producer with Emilio and ing for working for a prominent stained-glass-win-Kelly Miller-Lopez of The Faerieworlds Festival, a dow operation, but after three days on the job, Graef musical and theatrical event created in 2002 inspired resigned and became a freelance artist.” (p. 135).

by the World of Froud. Gould speaks on fantasy, Now recognized as one of the more important myth, media and the role of the artist in culture at artists specializing in fantastic subject matter in gen-various film and culture conventions and education eral fiction pulp magazines in the early days of the institutions the U.S..

genre, Graef started his career by illustrating a vari-Sources: www.endicott-studio.com; www.imaginosis.com; ety of magazine and book covers. He did freelance www.worldoffroud.com; Windling, Terry. Journal of Mythic illustration for Boy’s Life and drawings for the chil-Arts Spring, 2005.

dren’s page of Delineator magazines, among others, Published Work
working in Chicago, Buffalo, Boston, Texas, and BOOKS ILLUSTRATED INCLUDE: An Alien Heat New York. He began working for the Munsey chain (Ace, 1987), Avaryan Rising trilog y: #1 Hall of the of magazines, especially The Argosy, in the late 1920s.

Mountain King; #2 Lady of Han Gilen; #3 Fall of By that point, Graef had been married to Ethel L

Princes (Tor, 1988), Back from the Dead (DAW, 1991), for more than ten years, and had two sons, Freder-Bane of the Black Sword (Berkley, 1984), Bloodseed ick L. (1909–1996) and Robert L. (1914–2002).

(Unwin, 1988), Chronicles of Castlebrass: #1 Count Weinberg notes that Graef was one of the first artists Brass; #2 Champion of Garathorm; #3 Quest for that the editors of Argosy specifically mentioned as Tanelorn (Berkley, 1985), City in the Autumn Stars being their specialist in portraying beings and beasts (Berkley/Ace, 1987), Corum: #1 Knight of the Swords; that inhabit other planets. By the 1930s he had de-

#2 Queen of the Swords; #3 King of the Swords; #5
veloped his mature artistic style, and his work was far Oak and the Ram (Berkley, 1986 ), Crystal and Steel superior to anything being published by the science

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Grant
fiction magazines. He was capable of great design, achieving an “Advanced” GCE level. Despite the and was a fine painter of people and alien monsters urging of his teachers to stay on and acquire further without resorting to cartoon-style illustration.

qualifications he left the school at 18, finding the Graef ’s covers featured action and drama, a good style of work that was encouraged by the environ-feel for color, and what has been called “robust ment there (“bus queues on a rainy day, with much anatomy.” Animals were a specialty of Graef ’s, use of grey”) lacking in inspiration. He left the art which made him popular with his editors for the de-field for a time, and studied electronics and worked piction of aliens. Unlike other illustrators of the in a variety of short-term jobs. He designed and time, Graef generally preferred to work in water-built several unusual electric guitars and “played color and gouache rather than in oils.

some good Rock and Roll.” Finally, he returned to For The Argosy, Graef painted covers for some his art career, finding that historical, science fiction memorable novels and stories, including Murray Le-and fantasy illustration suited a “nonconformist with inster’s “The War of the Purple Gas” (1934) and Otis a Bohemian attitude,” as Grant describes himself.

Adelbert Kline’s “Maza of the Moon” (1929) and Although his approach to painting is firmly

“Planet of Peril” (1929), which featured a terrific di-rooted in traditional Fine Art, Grant found that in nosaur-like creature. Other notable covers include “A fantasy art he could give full vent to his imagina-Brand New World” (1928), “Burn Witch Burn”

tion. He is a prolific artist who is expert at portray-

(1932), “Caves of Ocean” (1931), “The Earth Shaker”

ing prehistoric animals and imaginary leviathans, (1933), “Flood” (1933), “Jan of the Jungle” (1931), with a strong mastery of figure work (Earthly or oth-

“The Jungle Rebellion” (1932), “The Prince of Peril”

erwise). While favoring fantasy and horror assign-

(1930), “Princess of the Atom” (1929), “The Radio ments, Grant is versatile and has worked in other Flyers” (1931), “The Radio Gun Runners” (1930), genres: children’s books and posters, romance, and

“The Radio Menace “ (1930), “The Radio War”

general fiction. He has worked for virtually all the (1932), “The Sea Girl” (1929), “The Shadow Girl”

major book publishers in the U.K., Europe and the (1929), and “Tama of the Light Country” (1932).

U.S., and while he prefers literary commissions, his Several hardcover publishers during the same time art has also been used in advertising, animated films, period used the cover paintings from Argosy for nov-prints, gift designs and record sleeves. Until recently, els that they reprinted from that magazine. Thus a Grant worked entirely in oils on stretched canvas or number of Graef paintings for science fiction novels canvas board, but he also now works in oil on ma-later appeared as dustjacket art on hardcover edi-sonite, and wood panel. He is a perfectionist, and tions of those same novels. In 1976, Graef ’s illus-thorough in his preparation: he researches the sub-trations were also seen in the first American edition ject matter well, and like the Old Masters, often for-of an early (1911) German boy’s book, Distant Worlds: mulates his own mediums and grinding pigments to The Story of a Voyage to the Planets, published by Hy-create unique paints. A selection of his best earlier perion Press.

work was published in The Flights of Icarus (Dragon’s Sources: OAK (Otis Adelbert Kline) Art Gallery at www.

World, 1977) and The Fantastic Planet: A World of erbzine.com/mag4/0442.html; Ancestry.com. 1910 United Magic and Mystery, part of the Galactic Encounters se-States Federal Census; 1930 United States Federal Census; U.S. World War II Draft Registration Cards, 1942 [database ries by Steven Caldwell (Intercontinental, 1980).

on-line]. Provo, UT, USA: The Generations Network, Inc., Recently, Grant began using a computer to de-2002, 2006, 2007; Di Fate, Vincent. Infinite Worlds: The Fan-velop his ideas, although his artwork still starts with tastic Visions of Science Fiction Art (Wonderland Press/Pena sketch. As he puts it, he has “simply swapped paint guin, 1997); Weinberg, 1988.

and canvas for pixels and screen,” saying that “The Published Work
beauty of painting on a virtual canvas is that it is BOOKS ILLUSTRATED INCLUDE: Planet of Peril (A.

possible to mix mediums in a way that would not C. McClurg, 1929), The Prince of Peril (A. C. Mc-work in the physical world.” But “most important,”

Clurg, 1930), The Sea Girl (A. C. McClurg, 1930).

he says, he “does not have to wait for the damn paint M
to dry.”

AGAZINES ILLUSTRATED INCLUDE:

PS: 1942 (winter)

Grant lives and works on the coast in the Southeast of England.

Sources: www.melgrant.com; e-mail from the artist July Grant, Melvyn

2005.

(b. April, 1944) British Artist. Grant, who signs his Collections/Anthologies
work as “Melvyn” was born in London, England and (various contributing artists)

studied at the Brassey Institute of Fine Arts, Hast-Dean, Martyn . Dream Makers: Six Fantasy Artists ings, Sussex, 1960–1964. He had the distinction of at Work. (Dragon’s World Ltd., 1988), Worlds at War.

being the only student to attend the school at the (Intercontinental, 1980)

early age of twelve, although he did not go beyond

Grant

246

Published Work

Night’s Master (Hamlyn, 1981), Nightworld (NEL, BOOKS ILLUSTRATED INCLUDE: The Adventures of 1992), The Oak and the Ram (Mayflower, 1981), The Una Persson and Catherine Cornelius in the Twenti-Odyssey of Tegne: 1 Tegne Warlord of Zendow, 2 The eth Century (Grafton, 1986), Arabesques (Pan, 1988), Killing Blow (Sphere, 1989, 1990), Panic (Hodder & Bare-Faced Messiah (Sphere, 1988), Bartimaeus Tril-Stoughton, 1995), The People of the Wind (Sphere, og y: Book Two: The Golem’s Eye (Miramax/Hyper-1977), The Planet Savers (Arrow, 1978), Prince of Dogs ion, 2004), Behind the Walls of Terra (Sphere, 1978), (Orbit, 1998), The Prisoners of Bell Castle (Troll, Black Magic (Granada, 1983), The Black Mountains 1990), A Private Cosmos (Sphere, 1982), Queen’s Blade (Universal, 1971), The Boys from Brazil (Michael (Pan, 1988), Red Mars (HarperCollins, 1992), The Joseph, 1976), The Bull Chief (Sphere, 1977), The Road to Hell, Rosemary’s Baby, Rusalka (Mandarin, Burning Eye (Hodder & Stoughton, 1960), The 1990), The Sailor on the Seas of Fate (Granada, 1981), Burning Stone (Little, Brown/Orbit, 1999), Byzan-The Seven Serpents, Shadowland (Grafton, 1993) The tium’s Crown (Pan, 1987), Cautionary Tales (Granada, Shadow Sorceress (Orbit, 2002), The Shattered Chain 1983), Changeling Earth (Universal, 1978), Cherne-

(Wizard/Arrow, 1978), Sheep (Corgi, 1994), Soldier vog (Mandarin, 1991), Children of the Dawn (Warner, of the Mist (Futura, 1987), The Soprano Sorceress 1996), Circle of Magic #5: The Prisoners of Bell, Cir-

(Orbit, 1998), Sorcery in Shad (Headline, 1991), Sow-cle of Magic #6: The High King’s Daughter Castle ers of the Thunder (Sphere, 1977), Space Vikings (Troll, 1990), Companions on the Road (Beaver (Sphere, 1977), The Spellsong War (Orbit, 1999), Star Books, 1988), Conan the Swordsman (Sphere, 1978), of Danger (Arrow, 1980), The Steel Tsar (Granada, Crown of Kings (Puffin, 1985), The Crucible of Time 1981), Stonehenge (Sphere, 1977), Swansong (Sphere, (Legend, 1990), Dancer from Atlantis (Sphere, 1977), 1987), Sword of the Gael (Sphere, 1977), The Tarot Dark Journey (Bantam, 1991), The Dark is Rising Trilog y: 3 Faith of Tarot (Granada, 1982), Tarra (Puffin, 1994), Darkover Landfall (Arrow, 1978), Khash: Hrossak! (Headline, 1991), This Immortal Darksong Rising (Orbit, 2001), Dawn’s Uncertain (Methuen, 1985), Tigers of the Sea (Sphere, 1986), Light (Grafton, 1992), Deryni Checkmate, Deryni Time of the Fourth Horseman (Granada, 1982), Rising, High Deryni (Legend, 1989, 1990), Death-Thunder Road (NEL, 1985, Hodder & Stoughton, trap Dungeon (Icon, 2002), Dinosaur Planet (Futura, 1995), Three Complete Novels (Wings, 1994), A Very 1978), Dogsbody (Collins, 2000), The Door Through Personal Computer (HarperCollins, 1995), The Space (Arrow, 1979), The Dream Master (Methuen, Winged Man (Headline, 1993) The Winter Players 1985), East of Midnight (Beaver, 1988), Eden’s Eyes (Beaver, 1988), Wolfen (Coronet, 1992), The Woman (Pan, 1989), The Fallible Fiend (Sphere, 1978), False of Flowers (Pan, 1987), Young Blood (Simon & Schus-Dawn (Granada, 1981), Flash Gordon: The Time Trap ter, 1992), Yvgenie (Mandarin, 1992), The 30th Pan of Ming XIII (Star, 1977), Floating Dragon (Grafton, Book of Horror Stories (Pan, 1989).

1993), Floating Worlds (Sphere, 1978), The Forbidden GAMES ILLUSTRATED INCLUDE: Captain Fizz and Zone (NEL, 1994), Freeway Warrior 1, 2, 3 (Berkley, the Blaster-Trons, Ballistix Computer game (Psygno-Arrow, 1989), A Funeral for the Eyes of Fire Sphere, sis, 1988), Heroes for Wargames illustrated guidebook 1978), God of Tarot (Granada, 1982), Gates of Cre-

(Paper Tiger, 1986)

ation (Sphere, 1982), The Golden (Millennium, 1993), The Great Hunt (Orbit, 1991), The Harrow-MEDIA ILLUSTRATED INCLUDE: Iron Maiden: Fear ing of Gwynedd (Legend, 1990, Hearne 1993), The of the Dark album cover (Sanctuary Music, 1992), Heritage of Hastur (Arrow, 1987), The High King’s Judas Priest: Rocka Rolla album cover (Gull Records Daughter (Troll, 1990), Horror: 100 Best Books (NEL,

/UK, 1974), Judas Priest: Hero, Hero album cover 1992), The House of C’Thulhu (Headline, 1991), (Gull Records/UK, 1981), Magnum: Antholog y Houses Without Doors (Grafton, 1993), Ill Met in album cover (Castle, 2002), Tank: Armour Plated Lankhmar/The Fair in Emain Macha (with Sam album cover (Castle, 1985), Uriah Heep: The Col-Rakeland (Rick Berry), Tor, 1990), Jesus on Mars lection album cover (Castle Pie, 1989) (Sphere, 1982), Keepers of the Misty Time (Warner, 1994), Khare — Cityport of Traps (Wizard, 2003), Gurney, James

King’s Dragon (Legend, 1997, Orbit, 1998), A Knight (b. June 14, 1958) American artist. Best known of Ghosts and Shadows (Sphere, 1978), The Land for his highly acclaimed Dinotopia books, Gurney Leviathan (Mayflower, 1981), The Last Unicorn (Pen-was fascinated by dinosaurs as a child, and dreamed guin/ROC, 1991), The Magic Labyrinth (Granada, of discovering lost civilizations. He was born in 1981), Makers of the Universe (Sphere, 1980), Glendale, California and graduated from the Univer-Manstopper (Grafton, 1991), The Mark of the Cat sity of California, Berkeley in 1980 with a degree in (Legend, 1992), Mother Earth, Father Sky (Avon, anthropology with Phi Beta Kappa honors. While in 1990) Moorcock’s Book of Martyrs (Mayflower/
school he studied paleontology, astronomy, Euro-Granada, 1981), The Nightchurch (Granada, 1983), pean history, and geology and assisted at the Lowie

247

Gurney

Museum of Anthropology by making exact draw-topia also appeared as a three-episode TV miniseries ings of Egyptian artifacts. His skill in doing such in 2002, produced by Hallmark Entertainment. The detail work would stand him in good stead when he production was nominated for seven Emmy awards later produced maps and other drawings for Na-and was followed by a thirteen-episode television tional Geographic, and his own projects. After grad-series in the fall of 2002 and a direct to video ani-uating, he pursued his interest in drawing and paint-mation feature in 2005.

ing by studying for two semesters at the Art Center Described by writer Alan Dean Foster, whose College of Design in Pasadena, California. A cross-books Gurney has illustrated, the artist is “a kind country trip on railroad boxcars with fellow student and gentle human being in a world that is frequently and friend Thomas Kinkade led to numerous neither (and who) has no compunction about sketches, and these pieces eventually formed the basis foreswearing the use of computer graphics in favor of The Artist’s Guide to Sketching, published by Wat-exclusively of the brush and palette.” (LA Con IV
son-Guptill in 1982, which sold thousands of copies.

program book, 2006). Neither whimsical nor child-In 1983 Gurney married another illustrator, Jean-like in execution, yet with those attributes always nette Lendino, who has since served as his model, riding close to the surface, Gurney executes his costume designer and manuscript note-taker. In the imaginary scenes with fidelity to their realistic an-same year, Gurney also became involved in the sci-tecedents. To make the dinosaurs and paintings as re-ence fiction field through the Frank Frazetta* and alistic as possible, in Dinotopia, Gurney threw him-Ralph Bakski animated film project Fire and Ice self into the research, making pilgrimages to (1983). Gurney worked as a background painter and dinosaur museums, creating buildings and settings designer for the movie, painting scenes of jungles out of cardboard, sculpting dinosaurs, and enlisting and volcanoes in a Hudson River influenced style, his wife, children and neighbors as models who some 500 paintings in all. The sword and sorcery posed in Renaissance-fair costumes. His chief inspi-subject matter, painted in a realistic heroic-fantasy rations for the books were J.R.R. Tolkien and Robert tradition, got him started with fantasy art and he Louis Stevenson, to which he added his imagination began working as an artist for science fiction and and long dedication to painting traditional Hudson fantasy paperback covers. His first commission was Valley landscapes.

from the Magazine of Fantasy and Science Fiction in Dinotopia was featured on the cover of Smith-1982. Through the 1980s Gurney illustrated more sonian magazine in September, 1995. In 1997 Gur-than seventy book covers, for most of the major pa-ney was commissioned to design a commemorative perback publishers. He typically submitted sketches pane of fifteen stamps The World of Dinosaurs for in oil, and completed the finished paintings in oil the U.S. Postal service, which were chronicled in a on canvas or canvas board.

volume called James Gurney: The World of Dinosaurs His big break came in 1985 when National Geo-

(Greenwich Workshop Press, 1998). Other stamp graphic invited him to illustrate an article on the ex-designs include a postal card, 1988 and a 37cent plorer Alexander Humboldt. The assignment was stamp, 2004. He has also illustrated several articles followed by many others dealing with historical and in National Geographic and Discover magazines about mythological subject matter, including explorations new discoveries in dinosaur science.

of the legends of Jason and Ulysses, and reconstruc-Gurney has won multiple awards for his artwork, tions of the Kingdom of Kush in Nubia and the civ-including two Hugo awards (1993, 1996), seven ilization of the Etruscans in Italy. These forays into Chesley Awards, the World Fantasy Award (1993), illustrating ancient cultures spurred his dream of dis-and many gold and silver medals from the Society of covering a lost city as important as Troy or Machu Illustrators (NY) and Spectrum. He was Artist guest Picchu. Gurney reasoned that he could always paint of honor at the 2006 Worldcon in Los Angeles, Cal-such a city, and in his spare time he created “Water-ifornia. His work has been featured in numerous fall City” and “Dinosaur Parade.” These two semi-group and solo museum exhibitions, among them a nal works led to the idea of a lost island where solo exhibit hosted by the Smithsonian National humans and dinosaurs live together in peaceful in-Museum of Natural History, in 2002, which pre-terdependence. For two-and a half years Gurney im-sented over forty works from Dinotopia. The exhibit mersed himself in the writing of Dinotopia: A Land traveled to venues in Switzerland, and France and Apart from Time (1992). The book went on to win to the Norman Rockwell Museum in Massachusetts many awards, and has been published in thirty in 2006. Gurney’s Dinotopia art has been made countries worldwide. It was followed by the sequels available in limited edition prints, wall sized murals, Dinotopia: The World Beneath (1995), Dinotopia: and other products. The artist maintains a busy First Flight (1999) and Journey to Chandara (2007), schedule of public appearances and exhibitions of all based on the journals of explorer Arthur Denison, his work, as well as actively continuing to paint per-who was shipwrecked on the island in 1862. Dino-sonal works, primarily traditional landscapes.

Gutierrez

248

In 1984 Gurney and his wife moved to the Hud-Missed (Ace, 1991), Maori (Ace, 1988), Michaelmas son Valley of New York State where they live with (Popular Library/Questar, 1986), Modern Classics of their two sons, Dan and Franklin.

Fantasy (St. Martin’s/SFBC, 1997), Never the Twain Sources: correspondence from the artist March 2005 and (Putnam/Berkley, 1987), New Barbarians (Ace, website www.dinotopia.com; “Dreamweavers” exhibition 1986), On Stranger Tides (Ace/SFBC, 1988), Out of brochure, Charles Vess and Cindi DiMarzo co-curators, November 5–Jan 1, 1995, William King regional Arts Center, the Sun (Tor, 1984), Paradox Alley (Ace, 1991), Phaid Abingdon, VA; Foster, Alan Dean. Quantum Elegance: James the Gambler (Ace, 1986), Procurator (Ace, 1984), Gurney, An Appreciation.” LA Con IV program handbook Quest for Cush (DAW, 1984), Quozl (Ace/SFBC, August 23–27, 2006 pp. 23–30; Gurney, James. “Terrible 1989), Realm of the Gods (Ace, 1988), Salvage and Lizard Dream Kingdom” in: Hintz, Carrie and Ostry, Elaine, eds. Utopian and Dystopian Writing for Children and Young Destroy (DAW, 1984), Satellite Night Fever (Ace, Adults (Routledge, 2003). Mann, Geoffrey. “Darwin of Dino-1994), Sentience (DAW, 1986), Serpent (DAW, 1985), topia” gallery article in: Science Fiction Age. January 1993; Mey-Some Summer Lands (DAW, 1986), Song of Homana ers, Ric. “Return to Dinotopia” gallery article in: Realms of (DAW, 1985), Starjacked! (Ace, 1987), Starrigger Fantasy, December 1995; Weinberg, 1988.

(Ace, 1991), Stress of Her Regard (Ace, 1989), Tar-Collections and Anthologies
tarus Incident (Ace, 1983), Trail of Bohu (DAW, (various contributing artists)

1985), Warrior Woman (DAW, 1985), Witches of Kre-Frank, Jane and Howard. The Frank Collection: gen (DAW, 1985), Word-Bringer (DAW, 1986), Zanz-A Showcase of the World’s Finest Fantastic Art (Paper ibar Cat (Baen, 1984).

Tiger, 1999), Frank, Jane and Howard. Great Fan-MAGAZINES ILLUSTRATED INCLUDE:

tasy Art Themes From the Frank Collection (Paper F&SF : 1983 (4); 1984 (3, 12); 1986 (11); 1988 (5); Tiger, 2003), Grant, John and Humphrey, Eliza-1989 (3); 1990 (3); 2001 (2)

beth with Scoville, Pamela. The Chesley Awards: A Misc.: 2008 Dinotopia Journey to Chandara wall Retrospective (AAPL, 2003).

calendar (Andrews McMeel, 2007), Dinotopia Pop-Published Work

Up Book (Turner, 1993).

BOOKS WRITTEN AND ILLUSTRATED INCLUDE: (with Thomas Kinkade). The Artist’s Guide to Sketch-Gutierrez, Alan
ing (Watson-Guptill, 1982), Dinotopia: A Land Apart (b. July 11, 1958) American artist. Born in Kansas From Time (Turner, 1992), Dinotopia: the World BeCity, MO, in Gutierrez grew up in Southern Cali-neath (Turner, 1995), Dinotopia: First Flight fornia. In his teens his interest in science fiction was (HarperCollins, 1999) and Journey to Chandara (An-sparked by Analog and Fantasy and Science Fiction drews McMeel Publishing, 2007).

magazine covers, by artists such as Frank Kelly BOOKS ILLUSTRATED INCLUDE: 43,000 Years Later Freas*, Rick Sternbach*, and Alex Schomburg*.

(NAL/Signet, 1958), Alejandra Variations (Ace, Then, in 1978, two years after entering Orange 1984), Annals of Klepsis (Ace, 1983), Architect of Sleep Coast Community College in Costa Mesa, CA as a (Ace, 1986), Argonaut Affair (Ace, 1987), Armor civil engineer major, he became an art major. Sud-

(DAW, 1990), Atlan (DAW, 1985), Aubade for denly, he says, “I simply knew what I wanted to do Gamelon (Baen, 1984), Centrifugal Rickshaw Dancer with my life.” Gutierrez graduated from the Art (Popular Library/Questar, 1985), Castle for Rent Center College of Design in Pasadena, CA, with a (Ace, 1989), Castle Kidnapped (Ace, 1989), Castle BFA in illustration in 1982. Gutierrez did not rise Perilous (Ace, 1988), Citizen Phaid (Ace, 1986), City through fandom as have many modern SF artists, of Sorcery (DAW, 1984), Codgerspace (Ace, 1992), and attended his first convention in 1980. Before Cowboy Feng’s Space Bar and Grille (Ace, 1990, Tor, graduation however he made his first cover sale to a 2003), Cry Republic (Ace, 1989), Cyber Way (Ace/
small fanzine “Rigel” that paid him $100.

SFBC, 1990), Digging Leviathan (Del Rey/Ballan-The majority of Gutierrez’ cover art was produced tine, 1984), Dinotopia Lost (Turner, 1996), Dragon in the 1980’s and 1990’s, using opaque watercolor (DAW, 1985), Epitaph in Rust (NESFA, 1989), The (gouache) or oils. He worked almost nonstop for Fleet: 1 Fleet; 2 Counterattack; 3 Breakthrough; 4
publishers such as Tor, Baen, and Ace, with typical Sworn Allies; 5 Total War; 6 Crisis (Ace, 1988, 1989, covers taking him two or three weeks. Gutierrez has 1990, 1991), Flying Dutch (Ace, 1991), The Forever strong feelings about how to construct a painting, (Ace, 1988), Forever Man (Ace, 1986), Forty Thousand and he begins by reading the manuscript to get a in Gehenna (DAW, 1983), Glory Lane (Ace, 1987), feel for it; he prefers to go for the mood of the story Hand of Dinotopia (HarperCollins, 1999), Home-rather than illustrating a specific theme. Williamson, coming (Tor, 1984), Howl’s Moving Castle (Ace, in an essay describing Gutierrez, wrote “he always is 1989), Jagged Orbit (DAW, 1984), Journey to Fusang thinking of the “man on the street” who isn’t already (Popular Library, 1988), Last Coin (Ace, 1988), Mag-familiar with the future worlds of science fiction, ical Beginnings (DAW, 2003), Man Who Never and trying to “make the strange familiar, and the fa-

249

Hale
miliar strange.” When the mid-list market collapsed IASFM: 1989 (3); 1991 (2);
in the 1990’s, Gutierrez fell in love with the south-ASF : 1987 (2, 10); 1988 (12); 1989 (5); west, and moved to Arizona, married his wife FANTASY BOOK: 1983 (5, 8)

Rhonda, and had two daughters, Rachel, and Mon-MZB: 1992 (spring/summer)

ica. Gutierrez has survived hard times by doing role-playing game trading cards and covers for magazines Hale, Phil
such as Popular Mechanics. More recent assignments, (b. 1963) American artist. Born in the United such as those completed for Sovereign Stone Press, States, and residing in London, England since the and Impulse Books, were done digitally.

early 1980s, Hale spent relatively little time in com-Sources: www.alangutierrez.com, includes essay by Jack mercial illustration before turning his focus on fine Williamson, April 2002 [accessed June 2006]

arts, in which field he uses the more formal, birth Published Work
name of Philip Oliver Hale. Apparently self taught, BOOKS ILLUSTRATED INCLUDE: After Things Fell Hale studied under Rick Berry* with whom he col-Apart (Berkley, 1985), Ambassador of Progress (Tor, laborated on his first, and seminal art book, Double 1984), Armor of Light (Baen, 1988), Battle for Terra Memory (1993). While never a prolific illustrator, his Two (Tor, 1986), Battle Station (Tor, 1987), Between innovative, visionary/surrealist art style was distinc-the Stars (Baen, 1988), Beyond the Dar Al-Harb (Tor, tive enough to gain him name recognition by the 1985), Brothers in Arms (Baen, 1990), Biofab War 1990s, mainly through his cover paintings for DC

(Ace, 1984), Captive Universe (Ace, 1984), Chaos comics ( Flinch, Swamp Thing, Vertigo/Hellblazer), Chronicles: #1 Neptune Crossing; # 2: Strange Attrac-and Swallow (IDW) and Playboy magazine. His tors (Tor, 1994, 1996), Chaos in Lagrangia (Tor, 1984), cover for Marvel’s Epic magazine (December 1985) Clay’s Ark (Ace, 1985), Cross the Stars (Tor, 1984), made comic fans aware of his strange, anatomically Damnation Alley (Tor, 1984), Diaspora (Baen, 1985), elongated, characters with “wild hair” in unusual, Dragon Season (Tor, 1991), Earthblood (Baen, 1987), distorted physical positions. At the same time, his Empress of Earth (Baen, 1987), Ethan of Athos (Baen, cover art and interior illustrations for A Monster at 1991), Fall of Atlantis (Baen, 1987), Farside Cannon Christmas, written by Thomas Canty and published (Baen, 1988), Five-Twelfths of Heaven (Baen, 1985), by Donald M. Grant, brought him immediate at-Forge of God (Tor, 1987), The Forlorn Hope (Tor, tention within the SF genre. Championed by Robert 1984), Fortress (Tor 1987), Game Beyond (Baen, 1984), Weiner, head of that well-known specialty publish-General’s President (Baen, 1988), Gilpin’s Space (Ace, ing house, Hale illustrated two major specialty 1986), God Machine (Baen, 1989), The Golden Peo-Stephen King books, Insomnia and the second Dark ple (Baen, 1984), Great Kings’ War (Ace, 1985), Green Tower volume in the series, Drawing of the Three.

Brain (Berkley, 1985), Hegira (Tor, 1989), Helix and Hale’s art focuses almost entirely on the figure, the Sword (Tor, 1984), Island Worlds (Baen, 1987), painted loosely, and with a somber cast, in oil. His Jerusalem Man (Baen, 1988), LaGrangists (Tor, 1983), characters are angular, singular, brooding, tense, A Lion on Tharthee (Baen, 1987), The Long Mynd and the tension within the image is almost driven (Baen, 1985), Lords Temporal (Baen, 1987), Man the by the anatomical distortions brought by bodies perWorlds Rejected (Tor, 1986), Mask of the Sun (Tor, forming unusual physical feats: blown upwards, or 1987 ), Midas World (Tor, 1984), Panglor (Tor, 1996), sideways, or jumping.

A Passage of Stars (Bantam, 1990), Ragged Astronauts Hale has been nominated for Eisner awards, and (Baen, 1988), Ranks of Bronze (Baen, 1986), A Rea-his painting for Batman: Legends of the Dark Knigh t sonable World (Tor, 1991), Republic and Empire (Baen,

#168 won the Silver Award in the Spectrum 11 Annual 1987), Rogue Powers (Baen, 1986), Saturn Alia (Baen, art awards, 2004. His art was also featured in Spec-1986), Shards of Honor (Baen, 1986), Sideshow (Baen, trum 2 and 8 (Underwood, 1995, 2000). Hale won 1988), Space Winners (Tor, 1986), Star Trek Deep the prestigious British National Portrait Gallery’s Space Nine: # 4: The Pet; # 6: Field Trip; # 8: High-joint second prize in the BP Portrait Award 2001 and est Score; # 9: Cardassian Imps; #10: Space Camp third prize in 2000. He has exhibited his fine art (Pocket Books, 1994, 1995, 1997), Starchild Trilog y throughout Europe and has undertaken many pri-

(Baen, 1986), Steel Brother (Tor, 1985), Survival!

vate commissions. His most recent gallery show was (Baen, 1986), There Will Be War # 2: Men of War (Tor, Mockingbirds/Relaxeder at the Jerwood Space, Lon-1984), There Won’t Be War (Tor, 1991), Triplet (Baen, don in June 2005. A two book set has been pub-1987), Torch of Honor (Baen, 1985), Ugly Little Boy lished by Donald M. Grant based on the exhibition.

(Tor, 1989), War of the Worlds (Tor, 1988), Wizard’s Sources: Allen Spiegel Fine Arts at www.allenspiegel finearts.com; Donald M. Grant www.grantbooks.com Bane (Baen 1989), Wooden Spaceships (Baen, 1988).

MAGAZINES ILLUSTRATED INCLUDE:

ABO: 1998 (10)

Hamann

250

Art Collections and Anthologies
cover. Hamann was a major contributor to Twilight (various contributing artists)

Zone magazine working with his friend T.E.D.

Berry, Rick and Phil Hale: Double Memory: Art & Klein. Other leading publications he provided illus-Collaborations (Donald M. Grant, 1993), Hale, Phil.

trations for include The New York Times, Science Di-Goad: The Many Moods of Phil Hale (Donald M.

gest, Scholastic, U.S. Air, and Business Week. In 1982

Grant, 2001), Hale, Phil. Mockingbirds/ Relaxeder by Hamann wrote and illustrated The Science Fiction Phil Hale (Donald M. Grant, 2005), Jude, Dick.

Design Coloring Book (Stemmer House Publishing).

More Fantasy Art Masters: The Best Fantasy and Sci-He stopped contributing SF illustration to Analog ence Fiction Artists Show How They Work (Watson-in 1983 when mainstream clients filled his schedule.

Guptill, 2003), Sparrow: Phil Hale Art Book 1, 2

Hamann continued to work with a range of tradi-

(IDW, 2006, 2007).

tional media—pencil, pen and acrylics until 1993, in time branching out to advertising art and book cover Published Work
assignments beyond the science fiction genre. In BOOKS ILLUSTRATED INCLUDE: Borderland: Be-2003 Hamann returned to Analog after a 20 year tween the Elflands and the World is a Place Where hiatus and completed several illustrations, but by Magic Runs Amok (Signet/NAL, 1986), Bordertown: then he had made the transition to working digi-The Borderland Chronicles (Roc, 1986), The Crow: tally, using Adobe Illustrator and Photoshop.

Shattered Lives & Broken Dreams (Del Rey, 1999), Hamann refers to his vector style illustrations as The Dark Tower II: Drawing of the Three (Donald

“technopop” and has received significant recogni-M. Grant, 1987), Elric: The Stealer of Souls (White tion for them. Examples of his digital art can be seen Wolf, 1998), Halo (Marvel Comics. 2006), Hong on in The QuickStart Guide to Adobe Illustrator, as part the Range (w/ Rick Berry, Darrell Anderson, Walker, of the Digital Gallery on the Adobe Illustrator 8.0

1989), Insomnia (Zeising, 1994), Lunching with the CD ROM, and his computer illustration has been Antichrist (Zeising, 1995), A Monster at Christmas profiled in Step-by-Step Electronic Design. a full-color (Donald M. Grant, 1985), Post Oaks and Sand monthly newsletter for graphic designers and illus-Roughs (Donald M. Grant, 1990), Star Trek: New trators. Today, Hamann’s commercial client list is Worlds, New Civilizations (Pocket Books, 1999).

extensive, and he does few works in the genre. He Stephen King’s the Dark Tower: A Concordance teaches digital imaging at Ulster County Commu-

(Charles Scribner’s, 2003), The Talsiman (Donald nity College and has taught computer illustration at M. Grant, 1984), The Wild Hunt of the Ghost Hounds Syracuse University and general illustration at Par-

(Ace, 1986).

sons School of Design. Hamann resides in Red GAME RELATED ILLUSTRATIONS INCLUDE: Dark Hook, New York with his wife Jane and two daugh-Age: Feudal Lords card art (FPG, Inc., 1996), Feng ters.

Shui (Daedalus Games, 1996), Vampire: The Mas-Sources: e-mail from the artist August 2006; www.brad-querade: Guide to the Camarilla; Guide to the Sabbat; hamann.com; www.darkdesign.com; Syracuse Univ. School of Visual Arts online at http://vpa.syr.edu/isdp/isdp.php?p Midnight Siege (White Wolf, 1999, 2001).

=faculty&s=1&t=8; ThinkQuest: Interview with Brad Hamann, Professional Illustrator http://library.thinkquest.org Hamann, Brad

[accessed August 2006]

(b. July 26, 1954) American artist. Bradford R.

Published Work

Hamann was born and brought up in New York ASF : 1979 (1, 3, 5, 6, 9, 11, 12); 1960 (3, 4, 9); City, where he graduated from Stuyvesant High 1980 (9); 1981 (3, 5, 9, 11); 1982 (1, 3/1, 3/29, 5) School in 1972. HeHamann was reading science GXY: 1978 (7, 9, 11)

fiction by the age of nine, and was impressed by the IASFM: 1982 (12, 12/15); 1983 (4, 7)

SF/Fantasy work of Michael Whelan*, Wayne Bar-TZ: 1981 (9, 11); 1982 (1, 4, 5, 12)

lowe*, John Berkey*, Vincent DiFate* and Richard Powers*. He was Fine Arts major at SUNY, New Paltz (NY from 1973 to 1974 and then transferred Hampson, Frank
to Parsons School of Design in 1974 to complete his (December 21, 1918–July 8, 1985) British artist.

BFA degree, with honors, in illustration, 1977.

Born in Audenshaw, Manchester, England, Hamp-Hamann became a freelance illustrator almost imme-son’s post-war illustrative creations and designs are diately, and currently operates Brad Hamann Illus-credited for influencing generations of artists in the tration, with a wide range of clients.

science fiction field in England. The creator of the Hamann’s first science illustrations appeared in popular “Dan Dare” comic strip, published in the 1978, with publication in Analog magazine, under magazine Eagle, “Hampson brought space-age ad-the direction of Ben Bova and Herb Stoltz, the art venture to postwar youth (and) made the comic the director. He also did work for the last couple of pub-most successful such publication in British science lished issues of Galaxy, including the next to last fiction history.” (Dalby, in Weinberg, p. 140.)

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Hardy

At the age of thirteen, Hampson entered some heyday of the Eagle studios, and Hampson and his comic drawings in an art competition run by Mec-team controlled Dare adventures with his side-kick cano Magazine, was given a prize, and had his first Digby, battling the green-headed evil Mekon, all published cartoon appear the following year. He through the decade, until Hampson retired from the contributed to the magazine for two years, while strip in 1959 and turned the character over to Frank after school he delivered telegrams for the Post Bellamy*. Hampson also worked on a variety of Office. In 1935 he started working as a counter clerk other strips for Eagle, such as “The Great Adven-for the General Post Office, and contributing car-turer,” “Tommy Walls,” “Rob Conway” and “The toons to Post, the GPO’s official magazine. After Road of Courage.”

part-time studies at art school, in 1938 Hampson From 1961 to 1964 Hampson did some advertis-resigned from the Civil Service, and enrolled fulltime ing work and contributed illustrations to Reveille at the Victoria College of Arts & Sciences, where he and Radio Times. He illustrated seven “Ladybird”

became friends with another artist, Harold Johns.

children’s books, 1964–1971, although the last of During World War II both served in the army, these, on Winston Churchill, was not published be-Hampson as a driver in the Royal Army Service cause of Hampson’s ill health. After recovering from Corps, taking a commission as lieutenant in 1943.

cancer of the trachea, and working for a time at a After the war, Hampson married, and in 1946 he graphics technician at Ewell Technical College, and Johns both enrolled at the Southport School of Hampson was rediscovered by fans in 1975, and Arts and Crafts. Soon, they were both doing freelance honored with the Yellow Kid Award for a lifetime work. In 1948 the Reverend Marcus Morris, a Lan-devoted to comic art, at the International Festival cashire vicar who edited his parish’s monthly mag-of Comics in Lucca, Italy. In 1976 a new Hampson azine Anvil, invited Hampson to contribute illus-strip appeared in Ally Sloper, about Dawn O’Dare, trations. Morris had ambitions for founding a which lasted for only one episode, but for the work national Christian magazine, with a special empha-Hampson received the Ally Sloper Award for best sis on material for youngsters that emphasized strong British strip artist at the first British Comics Conven-Christian values, to combat the violence of imported tion. In the late 1970s and early 1980s, several American crime and horror comics. Morris and the episodes from Eagle were reprinted in book form by Hulton Press hired Hampson fulltime, and started Dragon’s Dream (UK), and the Eagle comic was re-a new British comic, Eagle— with Hampson respon-vived in 1982, but Hampson was not involved. In sible for the striking layout and design of the mag-that same year, Hampson suffered a massive stroke, azine. According to Dalby, Hampson’s wife Dorothy and he died three years later of stroke, in Epson, En-came up with the title of the magazine, inspired by gland. Hampson’s death was marked by an outpour-the design of their church lectern.

ing of tributes and media coverage than any other The first Eagle went on sale April 14, 1950, with British science fiction artist, in recognition of his Hampson at first single-handedly writing and draw-tremendous influence on the field. A posthumous ing the principal strips for his incredibly successful assessment of his life and work was published in front page serial, Dan Dare — Pilot of the Future.

1985, The Man Who Drew Tomorrow. A new series Hampson’s character, Colonel Daniel MacGregor of reprints Classic Dan Dare was launched by Titan Dare, chief pilot of the Interplanet Space Fleet, and Books (UK) in 2004.

holder of the Order of the United Nations for his Sources: www.dandare.com; www.lambick.net/artists/h/
leadership of the Venusian Expedition of 1996, was hampson_f.htm; Alastair Crompton: The Man Who Drew Tomorrow (Bournemouth: Who Dares Publishing, 1985); Alan a perfect hero for the space age. The character Sir Horne: The Dictionary of twentieth Century British Book Il-Hubert Gascoine Guest (marshal of space and Dare’s lustrators (UK: Antique Collectors’ Club, 1994). Weinberg mentor) was modeled on Hampson’s own father, and (1988).

of Dan Dare Hampson said, he “was a projection of Published Work
all the things he had ever wanted to be.” (Dalby, BOOKS WRITTEN AND ILLUSTRATED INCLUDE: Dan quoted from Weinberg, 1988). Soon, a studio was Dare Pilot of the Future: (1) The Man from Nowhere; established for the production of the comic draw-

(2) Rogue Planet; Reign of the Robots (Dragon’s ings and Dan Dare merchandise, with Hampson’s Dream 1979, 1980, 1981), Classic Dan Dare: Opera-old friend Johns and other artists, scriptwriters and tion Saturn; Prisoners of Space; Red Moon Mystery, scientific advisors (including such talents as Arthur Voyage to Venus (Titan, 2004, 2005, 2006).

C. Clarke) working together on projects. Hampson supervised the building of scale models of spaceships, space stations and interplanetary cities so that Hardy, David A.

drawings of them would be accurate from any (b. October 4, 1936) British artist. Born in Birm-angle — a practice emulated by many SF illustrators ingham, England David Andrews Hardy studied at today. The years between 1955 and 1959 were the the Margaret Street College of Art, Birmingham. As

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a teenager was impressed by Chesley Bonestell’s Con-Volcanoes on Earth and other Planets (1991). Hardy quest of Space, and tried to emulate him by produc-also has produced illustrations for factual magazines ing “accurate” space art. His first “big break,” he such as New Scientist, Focus, Astronomy, Sky & Tele-says, came in 1954 when a friend showed some of scope, and others. His work in film includes The Nev-Hardy’s paintings to the well-known TV presenter erending Story (1984) and for TV he has worked on of the world record-breaking The Sky at Night BBC

Blake’s Seven, The Sky at Night, and Cosmos. Around series, which inspired generations of British as-1989 Hardy produced graphics for the computer tronomers. Moore asked Hardy to illustrate his new game Krystal. Hardy’s work has been shown in nu-book, Suns, Myths and Men, which the artist rushed merous exhibitions, among them the London and to complete before joining the RAF for National Stuttgart Planetaria, and the Smithsonian’s National Service at age eighteen. While in the RAF, Hardy Air & Space Museum, Washington, DC.

continued painting for Moore, and thus began their In 1996 he was elected President of the Interna-long standing collaboration. After military service, tional Association of Astronomical Artists (IAAA), Hardy worked for Cadbury’s, located near his home and in 2001 received its Lucian Rudaux Award for (“yes,” he says, “doing chocolate boxes, it was good services to astronomical art; as of 2007 he remains in-schooling”) while illustrating books like The Sky At volved with the organization, serving as European Night, in his spare time. Hardy continued to work Vice President. In March 2003 an asteroid was with Moore on many similar books over the next named “davidhardy.” A book about his life and work, twenty years, perhaps the best known of them being before and during the early days of space travel, Challenge to the Stars (1972, revised with new text as Hardyware, appeared in 2001 (Paper Tiger), and in New Challenge to the Stars, 1978). Some other collab-2003 his first novel, Aurora, was published by Cos-orations with Moore include The Solar System mos Books. His most recent book with Sir Patrick (Methuen, 1958), Space: the Story of Man’s Greatest Moore : Futures: 50 Years in Space was published in Feat of Exploration (Natural History Press, 1969), 2004. It received the Sir Arthur Clarke Award, and and Mars: The Red World (1971). Hardy’s aim has alwas nominated for a Hugo Award. Hardy was previ-ways been to depict other worlds as “real places,” so ously nominated for a Best Professional Artist Hugo that the viewer can place himself in the landscape, in 1979, and received several nominations for Best feel the textures of the rocks, and so on. He is also Artist from Locus magazine, beginning in 1973. He an advocate of manned space travel, and feels it is es-won awards from Analog Magazine) for Best Cover sential for humans, not just robots, to explore the Artist, 2003 and for Best Original Art in 1983 and Solar System and the universe. “Generally my work 1985. Hardy began producing space art digitally in the is realistic or even photorealistic, as I feel that only 1980s, and now 90 percent of his art is created that in this way can the viewer obtain a real impression way. His 50th cover for F&SF (Oct/Nov, 1998) was of the character of alien worlds.”

the first to be done all-digitally for the magazine.

He became a freelance artist in 1965, shortly after Sources: e-mail from the artist www.hardyart.demon.

his daughter Karen was born (who is also an artist).

co.uk; “Brushing the Imagination: And Interview with David A. Hardy and Sir Patrick Moore” Conducted by Sandy Allen, His first SF cover was for the British magazine Vi-SF Site online www.sfsite.com; Biography online at Space Art sion of Tomorrow, for their March 1970 issue. He Database www.spacearts.info; Biolog in Analog magazine, then began a long association with U.S. science April 1987.

fiction magazines, beginning with Fantasy & Science Fiction in 1971, and for the next fifteen years created Collections and Anthologies
more covers for that magazine than any American (various contributing artists)

artist. Over the years, Hardy has created more than Barnett, Paul ed. Paper Tiger Fantasy Art Gallery fifty covers and many interiors for F&SF, including (Paper Tiger, 2002), Eisler, Steven (pseud. Robert those for the long-running series “Bhen the Green Holdstock). Space Wars Worlds and Weapons (Octo-Alien” starting in November, 1975. In 1972 Hardy pus, 1979), Grant, John (pseudo. Paul Barnett). The began doing paperback book covers for U.K. pub-Encyclopedia of Fantasy and Science Fiction Art Tech-lishers such as Sphere, Granada and New English niques (Titan, 1997), Hardy David and Moore, Library (NEL), starting with reissues of books by Patrick. Futures: 50 Years in Space re-issued as 50

Arthur C. Clarke. He also did LP & CD cover art YEARS IN SPACE: What We Thought Then… What for music groups such as Hawkwind, Moody Blues, We Know Now (AAPPL, 2004, 2006), Hardy, David

& Pink Floyd ( Dark Side of the Moon). In 1974
and Morgan, Chris. Hardyware: The Art of David Hardy began writing and illustrating non-fiction A. Hardy (Collins & Brown, 2001). Hardy, David.

books for both children and adults, with titles such Visions of Space (Dragon’s World/Paper Tiger, 1989), as: The Earth Tells Its Story (1967), The Solar System Miller, Ron. Starlog Photo Guidebook to Space Art (1975), Rockets and Satellites (1976), The Hamlyn (Profile Entertainment, 1978). Sacks, Janet ed. Vi-Guide to Astronomy (1978), and The Fires Within: sions of the Future (Chartwell, 1976).

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Harris

BOOKS WRITTEN AND ILLUSTRATED INCLUDE: African American artist born in Oktaha, Oklahoma, (published by Worlds Work/Heinemann, except as a small farm town near Checotah, Oklahoma. His noted): Air and Weather (1977), Atlas of the Solar Sys-given name was Harold Dell Harris, although every-tem (1982, Octopus 1986 revised), The Earth (Oxford one calls him Dell, including his mother. He en-Univ. Press, 1967), Energ y and the Future (1979), tered the field by showing his art at science fiction Light and Sight (1977), Rockets and Satellites (1975), convention art shows, beginning with a local Okon The Solar System (1974).

convention in July, 1980. His first cover was for B

Amazing magazine in 1981, when the editor lived in OOKS ILLUSTRATED INCLUDE: Chiron (Birmingham Science Fiction Group, 1993), Clarke County, Arizona. His first paperback cover was for Tor’s Space (Legend, 1991), Diamond Dogs (PS Publish-Robert Silverberg juvenile novel Across a Billion ing, 2001), Galactic Tours (Proteus, 1981), Human Years, in 1983, and he did ink interiors for Zork Front (PS Publishing, 2001), Killer (Tor, 1990), King books edited by Harriet McDougal at Tor at about David’s Spaceship (Baen, 1991), Making History (PS
the same time. Harris won The Jack Gaughan Award Publishing, 2000), More Than Superhuman (NEL, for Best Emerging Artist in 1989, given to an artist 1975), New Destinies, Vol. IX (Baen, 1990), Orbital who has become a professional within the past five Decay (Legend, 1991), Overload (Birmingham Sci-years. Harris produced a few covers for Analog from ence Fiction Group, 1995), Oxford Book of Science the mid-to late 1980s, but he was primarily known Fiction (Oxford University Press, 1993), Park Polar for his interiors, all in shaded pencil, produced over (PS Publishing, 2001), Reality Dust (PS Publishing, the 1980’s and to early 1990’s — while Terri Czesko 2000), Riders of the Purple Wage (Tor, 1992), Riding was the art director. Harris won a Chesley award for the Rock (PS Publishing, 2002), Sands of Mars Best Interior Illustration in 1985 and twice received (Sphere, 1973), Science Fiction Writers of the Golden nominations, 1987, 1989. He started doing 3-D

Age (Chelsea House, 1995), Second Contact (Tor, computer graphics in the early 1990’s and worked 1990), Snows of Olympus: A Garden on Mars (Gol-for Bill Fawcett for a while in Chicago in 1997–1998
lancz, 1994), The Song of the Book (Birmingham Scion a game project called “Shattered Glass.” Since ence Fiction Group, 2000), Space 6 (Hutchinson, that time he has largely dropped out of the science 1980), Stars and Stripes (Hodder & Stoughton, fiction field.

Sources: e-mail from David Lee Anderson, February 2008.

1998), Tendeléo’s Story (Firebird/PS Publishing, 2000), Time and Stars (Panther, 1975), UFO’S and Published Work

Other Close Encounters (Ladybird, 1997), Watching BOOKS ILLUSTRATED INCLUDE: Across A Billion Trees Grow (Firebird/PS Publishing, 2000), The Years (Tor, 1983), Cavern of Doom: Zork No 3 (Tor, Year’s Best Science Fiction: 18th Annual (St.

1983), Conquest at Quendor: Zork #4 (Tor, 1984), Martin’s/SFBC, 2001).

Dark Conspiracy: A Gathering Evil (GDW, 1991), M

Dark Conspiracy: Evil Ascending (GDW, 1991), Dark AGAZINES ILLUSTRATED INCLUDE:

AMZ: 1974 (6)

Space: the Clutches of the Vlathachna (ICE, 1991), ASF : 1981 (6); 1983 (6); 1984 (7); 1985 (11); 1986

Man Whose Teeth Were Exactly the Same (Zeising, (12); 1987 (3, 4); 1990 (5); 1991 (2, 5); 1992 (3); 2001

1984), Twilight Two Thousand (Plenum, 1990).

(1, 9, 10, 12); 2002 (3, 5, 12); 2003 (3, 5, 12); 2004

GAME-RELATED ILLUSTRATIONS INCLUDE: Cyber-

(5, 11); 2006 (1/2)

space: Death Valley Free Prison (Iron Crown Enter-F&SF : 1971 (6); 1972 (5); 1973 (1, 7, 5); 1975 (2, prises, 1989, 1990), Dark Conspiracy Player’s Hand-4, 8, 11); 1976 (1, 5, 6, 9); 1977 (5, 11); 1978 (1, 4, 6, book, 2nd Ed.; Referee’s Guide, 2nd. Ed. (Dynasty 10, 12); 1979 (4, 5, 8, 12); 1980 (5, 6); 1981 (4, 10); Presentations, Inc., 1998), Earthdawn (FASA, 1993), 1982 ( 2, 7, 10); 1983 (5, 11, 12); 1984 (5); 1986 (3); Twilight: 2000 (GDW, 1993), Shadowrun: Grimoire 1987 (1, 5); 1988 (1, 2, 6); 1989: (6, 9); 1990 (8); 1992

2nd Ed. (FASA, 1992), Torg: Character Collection; (1, 5); 1994 (6, 9); 1996 (2); 1998 (10/11); 2000 (7); Space Gods (West End, 1991, 1992).

2002 (9); 2004 (4); 2005 (3); 2006 (2) MAGAZINES ILLUSTRATED INCLUDE:

GXY: 1974 (9)

AMZ: 1982 (9)

IASFM: 2000 (6)

ASF : 1986 (11, 12); 1987 (5, 7, 10, 12); 1988 (3, 11); IF : 1973 (1/2, 7/8, 9/10); 1974 (1/2) 1990 (2); 1992 (1); 1994 (12); 1995 (2, 4, 7, 10, 12); INT: 1988 (Spring); 1989 (9/10); 1990 (May 1996 (1); 1997 (5, 9): 1998 (2)

#35); 1992 (9); 1993 (3); 1994 (7, 11); 1995 (3); 1996

IASFM: 1992 (10); 1994 (4); 1995 (3); 1997 (7, 9, (3, 5)

12)

VoT: 1970 (3, 4, 5, 6, 7, 9)

Harris, John

Harris, Dell

(b. July 29, 1948) British Artist. Born in London, (b. October 31, 1959) American artist. Harris is an Harris began painting at 14 and entered Luton Col-

Harris

254
lege of Art at 16. After completing a foundation grandeur of the universe and the atmosphere of course, he entered the Fine Art course at Exeter in being in an unknowable and unlimited space.

1967 to study painting and graduated from there in At the beginning of his career, Harris developed 1970. After six years, during which time he travelled the technique of using shellac inks, layered over and studied meditation, he returned to painting full body color (gouache). Although this had some time and began to produce paintings which ex-beneficial effects (texture, rich color, fine detail), the pressed the preoccupations with scale and space that fragility of the surface, the impermanence of the remain with him to the present day. His first exhi-color (some of these early pictures have almost dis-bition was a shared show with the artist and archi-appeared) and, above all the rigidity of the process, tect Nicholas Gilbert Scott, held at the Northcott proved unsatisfactory, Harris turned to acrylic Theatre in Exeter University, 1977. In the autumn of paints, which enabled him to change the image as he the same year, Young Artists, an artists’ agency spe-worked, and he used that medium for about 10–12
cialising in SF and fantasy art, began to represent years. But it, too, had drawbacks, among them the him. Within a month, the publisher Philip Dunn necessity of using an airbrush, which he disliked, to (Pierrot Publishing) offered him a commission to gain the effects he sought, and working quickly in produce a group of three paintings that would illus-order to avoid abrupt or ragged transitions of color.

trate the science fiction classic trilogy, Cities in Flight Eventually, in the 1990s he bowed to the inevitable (featured in Alien Landscapes, Pierrot, 1978, various and returned to the tried and tested techniques of oil artists). Impressed by the result, in 1977 Dunn com-painting on canvas. He says, “The immense plastic-missioned a book of Harris’ work that was to be ity of the material, the fluidity and controllable dry-called Mass. However, Pierrot went out of business ing time all contribute to the essential process of before the book could be published; it was not until finding and producing the right image.”

2000 that the book was published by Paper Tiger/

Since 1995, Harris has broadened his work to in-Collins & Brown (UK).

clude a wide range of subject matter, in a style he From the late 1970s through the 1980s Harris calls “Imaginative Realism.” It is ideally suited to continued to produce work in the SF genre for the depict the colossal scale of planetary bodies and fu-commercial sector, book publishers and corporate ture-fantastical concepts and technologies. When clients such as Shell, Imagination, NASA, Phillips not engaged in his own projects he produces com-Electronics and others who commissioned large mercial work, mainly for book publishers, and he scale, atmospheric pieces. A major exhibition (the has more than 300 cover paintings to his credit, first one-man show) of the work done during this ranging from collections of travel books to fiction period was held at Double Vision Galleries in Ex-covers. In 1996 Royal Caribbean commissioned a eter, in 1984. In 1985 he visited the United States for series of large paintings to be displayed in the Wind-the first time and was invited by NASA to witness jammer Restaurants of their largest cruise liners. Be-a launch of the space shuttle and record the event in cause he was unfamiliar with the subject matter, a painting, the first British artist to be thus hon-classic yachts, his approach was quite different from ored. The painting now hangs in the Kennedy Space that normally adopted by marine artists. Typically, Center and is part of the Smithsonian Collection.

marine painters depict boats in great and faithful Much of his self-initiated work during the period detail, with the crew, water and weather taking sec-began to be collected by wealthy entrepreneurs such ondary importance: Harris treated those elements as Sir Clive Sinclair (inventor, Sinclair Computers), with equal respect, creating unconventionally imag-who has in his collection many large-scale canvases inative imagery. He produced six sets of these large by Harris, some of which were reproduced on the yacht paintings as well as pastel drawings of classic covers of the manuals for the first home comput-figures for Royal Caribbean, and this work has been ers.

significant in his development as a painter. Harris At the beginning of his career, Harris’ style of has participated in numerous exhibitions both in the painting most closely resembled that of John Mar-U.K. and abroad, and has occasionally shown with tin, the English Victorian painter of immense can-groups such as the Brotherhood of Ruralists. He is vases, usually depicting scenes of Biblical catastrophe, currently working on a series of personal works in such as The Fall of Nineveh. In his work, Harris preparation for an exhibition in 2005. Harris con-strives for a similarly haunting atmosphere and sense tinues to live and work in Devon, England. He is of space, while at the same time he has moved away married and has two children.

from the smoothness of technique and fineness of Sources: correspondence with agent, Alison Eldred, May–
detail that typifies Victorian painting. In his looser, July, 2005; www.alisoneldred.com/
fine art style, Harris is in the tradition of predecessors John Berkey* and Paul Lehr*, whose art made a place for a more impressionistic portrayal of the

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Harrison

Collections/Anthologies

Stars Like Dust (Harper, 1993), Star Wars: Dark Tide (various contributing artists)

I, Onslaught (Ballantine, 2000), Starwolves: #1 Star-Suckling, Nigel . Heroic Dreams (Dragon’s World, wolves, #2 Battle of the Ring, #3 Tactical Error, #4

1987), Tiner, Ron. Mass: The Art of John Harris Dreadnaught (Warner, 1988, 1991, 1993), Stonehenge (Paper Tiger, 2000).

Gate (Tor, 2004), Strength of Stones/Flesh of Brass (Ace, 1986 ), Titan (Grafton, 1991), Venus (Tor, 2000), Published Work

Voyage of the Star Wolf (Bantam, 1990), Weapons of BOOKS ILLUSTRATED INCLUDE: The Age of the Chaos, #2 Equations of Chaos, #3 Colors of Chaos Pussyfoot (Grafton, 1979), Agent of Chaos (Franklin (Ace, 1988), The Wind from a Burning Woman (Ace, Watts, 1988), Annihilation Factor (Allison and Busby, 1984), Wintermind (Bantam, 1984), Worlds, #2

1978), Aries I (David & Charles, 1979), Armies of Worlds Apart (McDonald, 1985), Xenocide (Tor, Memory (Tor, 2004), Asimov’s Space Shuttles (NAL, 1992), The Year’s Best SF 4 (Harper, 1999).

1987), Best of Star Trek #12, 13, 14, 15, 16 (ROC, 1987.

Misc. : Aftermath —T+ 60, Space Shuttle Launch 1988, 1989, 1991), Body Mortgage (Headline, 1989), (NASA) Slipstream Movie poster art (1989) The Cazalet Chronicle: #1 The Light Years, #2 Marking Time, #3 Confusion, # 4 Casting Off (Macmillan, Harrison, Harry

1995), Closed System (NAL 1986), Conscience Place (b. March 12, 1925) American artist. Known pri-

(Dell, 1986), Corridors of Time (Century, 1985), marily as a science fiction writer, Harrison is a life-Dhalgren (Grafton, 1992), Dark Beyond the Stars long and avid science fiction fan who started his ca-

(Tor, 1991), Double Contact: Sector General (Tor, reer as a comic book and science fiction artist. Born 2000), Double Planet (Gollancz, 1989 ), Down in the Henry Maxwell Dempsey in Stamford, Connecti-Darkness (Tor, 1998), Down There in Darkness (Tor, cut, Harrison’s family moved to Brooklyn New York 1999), The Dream Maker (Macmillan, 1993), Drift-when he was two, and then later settled in Queens.

glass/Starshards (Grafton, 1993), Drunkards Walk He became a charter member of the Queens, NY

(Panther, 1978), Earth Made of Glass (Tor, 1999), chapter of the Science Fiction League at age 13, and The Einstein Intersection (Grafton, 1992), Empire of met many SF writers through his membership in the Two Worlds (Allison and Busby, 1979), Ender’s Game Hydra Club in New York. After graduating from (Tor, 1986, 1999), Eternity (Gollancz, 1989), Ex-Forest Hills high school in 1943 he served in the U.S.

traterrestrial Encounter: A Personal Perspective (David Army Air Corps from 1943–1946, returning to attend

& Charles, 1979), Fiennders Keepers (Macmillan, art school on the GI bill from 1946–1948. Harrison 1996), Fireball (William Heinemann, 1987), Foot-entered the field as a freelancer in 1946, often collab-fall (Sphere, 1988), Future Earths: Under South Amer-orating with Wally Wood*. Harrison worked for EC
ican Skies (DAW, 1993), The Gentle Giants of Comics and other comics publishers, and produced Ganymede (Grafton, 1989), Greatwinter Trilog y: #1
illustrations for Galaxy and other magazines. He Souls in the Great Machine, #2 The Miocene Arrow, married Joan Merkler in 1954, and they moved to

#3 Eyes of the Calculor (Tor, 2000, 2003), Hospital Mexico in 1956 — then lived in England, New York, Station (Macdonalds/Time Warner, 1996), Icehenge Italy, and Denmark before settling in Ireland in 1975, (Tom Doherty, 1990), Jupiter (Tor, 2000), Immor-his mother’s native country. From 1958–1968 Har-tality, Inc. (Tor, 1001), Kirinyaga (Del Rey, 1998), rison wrote the Flash Gordon comic Strip. Damon Laser Raid, Light Raid (Berkley, 1988), Learning of the Knight, editor of Worlds Beyond, belonged to the World (Tor, 2004), The Man Who Ate the World Hydra Club and bought art from Harrison and, (Granada, 1979), A Matter of Metalaw (DAW, 1986), later, his first short story. In a Locus article (March, Mercury (Tor, 2004), A Million Open Doors (Tor, 2006), Harrison writes that Knight paid him five 1993), The Mote in God’s Eye (HarperCollins, 1993), dollars per illustration, but then gave him $100 for Old Man’s War (Tor, 2005, The Other End of Time, the story he had written, which helped to persuade

#2 The Siege of Eternity (Tor, 1995), Pebble in the Sky that his future lay in science fiction text, not art —

(Harper, 1992), Photon: Thieves of Light (Berkley, although he has maintained his interest in that aspect 1986), Ports of Call/Lurulu (Bookspan, 2004), Q Col-of the genre by collaborating with well-known artists ony (Ace, 1985), Ringworld , Ringworld Throne such as Jim Burns* on illustrated essays, or “tours of (Orbit/Little, Brown, 1995, 1996) Rumor of Angels the future”: Great Balls of Fire (1977), Mechanismo (NEL, 1984), Run to the Stars (Orbit, 1989), Saturn (1978) and Planet Story (1980). Along with writing (Tor, 2004), The Sea Change (Pan, 1995), The Siege and illustrating Harrison also edited a number of of Eternity (Tor, 1995), Silverback (Hodder & science fiction magazines. For a time he was art di-Stoughton, 1996), Sliver (Michael Joseph, 1990), rector for Picture Week.

Spartina (Avon, 1990), Speaker for the Dead (Tom Once he turned his focus to writing, Harrison Doherty, 1987), Starfarers (Tor, 1998), Starhounds: #1
became famous for many major works of speculative The Infinite Battle, #2 Galactic Warriors (Ace, 1985) literature, including The Stainless Steel Rat series of

Harrison

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books, the novel Make Room! Make Room! (the basis Jean Leon Gerome, to name only a few. Contem-for the movie Soylent Green), and the West of Eden porary genre artists that have influenced his fantasy trilogy. He has won the Nebula Award, the Prix Jules style include Tim White*, Alan Lee*, Michael Whe-Verne, and the Premio Italia. He was the first Pres-lan*, Jeffrey Jones*, The Hildebrandts*, John Har-ident of World SF (1978–1980), and was inducted ris*, and Brom*
into the Science Fiction and Fantasy Hall of Fame in Since 1982 Harrison has generally used acrylic Lawrence, Kansas in 2004. In the same year he was paints on illustration board for his illustrative work, awarded the Inkpot Award for Outstanding Achieve-but at one time or another he has worked in almost ment in Science Fiction and Fantasy by the Comic-every media. When he started in the field he used wa-Con International in San Diego. Harrison lives in tercolor, then gouache, then alkyd, and recently for Ireland. His wife, Joan passed away in 2002; they commercial assignments he has begun working dig-have two children, a son Todd and daughter, Moira.

itally or producing works that are part digital/part Sources: “A Brief Biography” 1999, based on an interview painted. His strong skills in composition and color, conducted by Paul Tomlinson, originally published in Make and ability to create detailed but atmospheric land-Room! Fanzine April 1985 online at www.iol.ie/~carrollm/
hh/bio.htm [accessed May 2007]; “Harry Harrison: When scapes and cityscapes have made him a successful the World Was Young” Locus magazine feature article, March artist across genres and fields of illustration, and have 2006, pp. 76–78. Notable Names Database Weblog http://
led him to develop more than one distinctive style.

www.nndb.com/people/; Weinberg (1988); He has produced illustrations for a wide range of Published Work
publishers and products, from mainstream maga-BOOKS WRITTEN AND ILLUSTRATED INCLUDE: The zines (e.g., Penthouse), to record albums (CBS

Stainless Steel Rat Saves the World (Faber & Faber, Records, United Artists), to romantic fiction and 1973)

murder mysteries. His fantasy work was featured in two compilations in the early 1980s, Realms of Fan-BOOKS ILLUSTRATED INCLUDE: Fairy Chessmen tasy (Dragon’s World, 1982), and Lost Realms: An Il-

(1951)

lustrated Exploration of the Lands behind the Legends MAGAZINES ILLUSTRATED INCLUDE:

(Dragon’s World, 1984). In the 1990s Harrison GXY: 1951 (5)

moved away from his 1980s tight, busy fantasy IF : 1959 (11); 1960 (3)

’scapes and toward moodier, more dreamy paint-MSS: 1951 (5, 8, 11); 1952 (5)

ings, with a realistic edge and a wider color range. At SpSF : 1952 (5)

the same time, he began producing personal, non-WB: 1951 (1, 2)

illustrative works in pastel and oil, heavily influenced by Klimt and Asian Art, which drew a following Harrison, Mark Stephen James
strong enough to convince him he should be explor-

(b. February 27, 1951) British artist. Born in ing a more “fine-art” gallery career. He went through Leicester, England, Harrison attended Loughbor-a “gold” period in late 1990’s-2002 using a combi-ough Grammar School, and then Charles Keene nation of acrylic, bronze powders and gold leaf, and College, before receiving art training at Loughbor-he still occasionally experiments with such media.

ough College Of Art and Trent Polytechnic, Not-While Harrison has virtually left illustration to tingham (1970–1973). He received a Vocational pursue a living selling self-generated fine art paint-Diploma in Graphic Design, with postgraduate ed-ings through art galleries in the U.K., he still ac-ucation in illustration at Wimbledon School Of Art cepts occasional commissions for book jackets, and (1973–1974). His first assignment was a paperback other projects as they pique his interest; in 2004 he cover Theophilus North for Penguin (UK), in May, produced a fantastical Oriental landscape for Earl 1974 while he was still at art college, then worked as Grey White Tea (Celestial Seasonings packaging il-a temporary clerk while taking assignments via art lustration). His clients include British and Ameri-agents. He went freelance in 1987, but has represen-can book and magazine publishers. Harrison has tation for jobs in the U.S.

been featured in several Spectrum anthologies, and Harrison credits his stylistic versatility to his he won the British Science Fiction Award for “Best widely varying artistic influences, which range across Artwork of 1991.” His work has been shown in the Pre-Raphaelite, Symbolist and Orientalist art, as

“Images” annual produced by the Association of Il-well as Fin du siecle Salon painting, and Art Nou-lustrators (London 1986), and he was active in veau. He also is particularly attracted to South East showing work at various World Science Fiction and Asian culture, particularly the Balinese, and many of World Fantasy conventions in the United States in his works show the influences of such exotic col-the 1990s (Boston, Orlando, San Francisco, New oration combined with late 19th and early twentieth Orleans, Chicago). His goal is to become a full time century European romanticism; Alphonse Mucha, professional artist selling through galleries interna-Gustave Klimt, Maxfield Parrish, Edmund Dulac, tionally.

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Harrison

Sources: e-mail from the artist May 22, 2005; Horne, 1995), Illusion in the Wind’s Eye (Futura, 1978), In-Alan. The Dictionary of Twentieth Century British Book Illus-ception (Hodder Headline, 1994), An Infinite Sum-trators. U.K.: Antique Collectors Club, 1994.

mer (Pan, 1977), In the Caves of Exile (Headline, Collections and Anthologies

1988), Into the Out of (NEL, 1986), The Ivanhoe (various contributing artists)

Gambit (Headline, 1987), The Khyber Connection Edwards, Malcolm & Holdstock, Robert. Realms (Headline, 1988), Killishandra (Corgi, 1991), King-of Fantasy (Paper Tiger, 1983), Tuttle, Lisa. Dream-dom’s Fury (Random House, 2002), King of Morn-lands (Dragon’s World, 1990).

ing, Queen of Day (Corgi, 1991), Land-of-Mists (Little, Brown, 1997), Lazarus Rising (Random House, Published Work

2003), Life During Wartime (Bantam, 1990), Magi-BOOKS ILLUSTRATED INCLUDE: Aestival Tide cian’s Law (Sphere, 1986), Majipoor Trilog y: Lord (Corgi, 1992), Arash Felloran (Headline, 1996), The Valentine’s Castle, Majipoor Chronicles (Bantam, Argonaut Affair (Headline, 1988), Art in the War Valentine Pontifex (Bantam, 1988, 1989), Marianne Zone (Bantam, 1988), The Assassins of Tamurin Trilog y (Corgi, 1989), Millennium (Hodder Head-

(HarperCollins, 2002), The Black Lake (Headline, line, 1994), Moonwar (Hodder Headline, 1996), 1988), The Black Throne (Bantam, 1998), The Black Mortal Mask (Arrow, 1991), The Nautilus Sanction Queen (Bantam, 1999), Bridge of Birds (Corgi, 1989), (Headline, 1988), Nedao 3 (Headline, 1988), The Broken Symmetries (Penguin, 1984), The Burning Noose of Light (Futura, 1985), The Opium General Land (HarperCollins, 2003), Cachalot (NEL, 1986), (Harrap, 1984), Otherworld (Hodder Headline, Caddoran (Headline, 1997), Chaga (Cassell, 1995), 1997), Paper Mage (Penguin, 2002), Partner Ship The Chessboard Queen (Futura, 1984), The Chosen (Little, Brown, 1993), The People Collection (Corgi, (Tor, 1999), The Chronicles of Hawklan: The Call of 1990), Phoenix (Hodder Headline, 1994), The Pim-the Sword, The Fall of Fyorlund, The Waking of Orth-pernel Plot (Headline, 1987), A Plague of Angels lund, Into Narsindal, the Return of the Sword (Head-

(Grafton, 1993, Bantam, 1993), Points of Departure line, 1987, 1989, 1990, 1997), Chung Kuo Series: The (Bantam, 1989), The Precipice (Hodder Headline, Middle Kingdom, The Broken Wheel (NEL, 1988, 2001), The Princely Flower (Little, Brown, 1996), 1989), Days of Bitter Strength (Hodder Headline, Prince of Ill Luck (Ballantine, 1993), Project Pendu-1995), The Stone Within, the White Mountain, the lum (Bantam, 1988), Raising the Stones (Grafton, Marriage of the Living Dark (Hodder & Stoughton, 1991), Red Magic (Ballantine, 1994), Red Prophet 1990, 1996, NEL 1992), The City Who Fought (Lit-

(Arrow, 1989), Resurrection (Hodder Headline, tle, Brown, 1994), Clan of the Cave Bear, The Valley 1998), Return To Mars (Hodder Headline, 1998), of Horses, the Mammoth (NEL, 1987 Box Set), Cri-The Rings of the Master: Lords of the Middle Dark, sis On Doona (Little, Brown, 1993), Crystal Line Pirates of the Thunder, Masks of the Martyrs, War-

(Corgi, 1992), The Crystal Singer (Corgi, 1991), The riors of the Storm (NEL, 1987, 1988), Rock Rats (Hod-Death of Sleep (Little, Brown, 1994), Death’s Law der Headline, 2001), Roof of Voyaging (Little, Brown, (Sphere, 1988), Decision at Doona (Corgi, 1990), 1996), Sassinak (Little, Brown, 1994), Seventh Son Demon’s Law (Sphere, 1987), Desolation Road (Ban-

(Arrow, 1988), Shark Killer (Ballantine, 1991), The tam, 1990), Divine Endurance (Headline, 1993), The Ship Who Searched, the Ship Who Won (Little, Dracula Caper (Headline, 1988), The Dragonbone Brown, 1993, 1994), Shiva 3000 (Pan, 1999), The Chair (Arrow, 1989), Dreamfinder (Headline, 1991), Silent War (Hodder Headline, 2003), The Sipstrassi The Drenai Saga: Legend, The King Beyond the Gate, Tales: Wolf in Shadow, Ghost King, Last Sword of Waylander (Arrow, 1988), Ecotopia (Bantam, 1989), Power (Arrow, 1988), Sleepers of Mars (NEL, 1987), Eden (Headline, 1978), Eight Skilled Gentlemen Soldier of the Mist (Futura, 1986), Spirit Moon (Ban-

(Bantam, 1990), Emergence (Bantam, 1990), Empire tam, 1999), Steel Gods (Corgi, 1989), A Story of the of Bones (Bantam, 2001), Eva Luna (Penguin, 1989), Stone (Bantam, 1987), Sugar Cage (Corgi, 1991), The Farnor (Headline, 1992), Forging the Dark Sword Sultan’s Turret (Futura, 1986), Talion; Revenant (Ban-

(Corgi, 1987), Founding of the Commonwealth series: tam, 1996), Talking God (Sphere, 1990), Tarzan and Phylogenesis, Diurturnity’s Dawn, Dirge, Drowning the Lion Men (Ballantine, 1997), The Timekeeper World (Ballantine/Random House, 1998, 1999, 2001, Conspiracy (Headline, 1987) The Time of the Kraken 2002), The Galactic Milieu Trilog y: Jack the Bodiless, (Gollancz, 1977), To the Haunted Mountains (Head-Diamond Mask, Magnificat (Ballantine, 1993, 1994, line, 1987), Treaty Planet (Little, Brown, 1993), Tril-1996), The Gate to Women’s Country (Corgi, 1990), lium Series: Black Trillium, Blood Trillium, The Generation Warriors (Little, Brown, 1995), Genesis Golden Trillium, Lady of the Trillium, Sky Trillium (Hodder Headline, 1994), Grass (Corgi, 1990), Grav-

(Bantam, 1989, 1991, 1992, 1994, 1996), The elight (Tor, 1997), A Hawk in Silver (Gollancz, 1977), Turquoise Dragon (Bodley Head, 1985), Valderen Heir of Sea and Fire (Futura, 1978), Hunting the Last (Headline, 1992), Voyage to the City of the Dead Dragon (Harper Collins, 2001), Ibryen (Headline, (NEL, 1986), Waldo, Magic Inc. (NEL, 1986), Walk-

Hay

258
about Woman (Bantam, 1988), Wanderers of Time publishers in Europe, Scandinavia, Canada, Japan (NEL, 1987), Who Needs Enemies? (Futura, 1985), and the United States, so that his SF work contin-Witchworld (Tor, 2001), Witch World, Web of the ued to appear on books through that decade. Dur-Witch World (Gollancz, 1986), The Wizard’s Shadow ing this period the largest buyer of his work was the (Ballantine, 1992), Wilderness Moon (Corgi, 1991), French publisher Fleuve Noir. Like several other il-Winterlong (Corgi, 1991), World of Tiers 1, 2 (Sphere, lustrators of his time, among them John Harris* and 1986), Wyvern (Harper & Row, 1989), Year of the Tim White*, Hay worked only with reproduction Unicorn (Gollancz, 1986), The Zenda Vendetta in mind (and not the fragility of the media), mainly (Headline, 1987), The Zenna Henderson Collection using non-light fast inks. As a result, and like works (Corgi, 1990).

produced in other delicate media such as watercol-M
ors, his illustrations need to be stored and displayed AGAZINE ILLUSTRATIONS INCLUDE:

ABO: 1991 (7/8, 12)

with great care.

ASF : 1993 (11), 1995 (10)

From the late 1970s through the mid–1980s, Hay ASM: 1993 (3, 7) 1994 (5); 1995 (3, 4) had occasion to exhibit his illustrative works at genre INT: 1990 (#33); 1991 (6); 1992 (11); 1993 (2, 7) conventions, public venues and art galleries in Scot-MZB: 1998 (summer)

land, England and Denmark, among them two trav-ROF : 2001 (7)

eling exhibitions sponsored by the Scottish Arts Council (1979, 1983). Around 1990 he decided to GAME-RELATED ILLUSTRATIONS INCLUDE: Magic return to easel painting. Though most of his work in the Gathering, game cards (Wizards of the Coast, recent years would be described as abstract, there re-1997)

main references to human/organic forms.

M

Sources: e-mail from the artist June 2005.

EDIA-RELATED ILLUSTRATIONS INCLUDE (ALL

ALBUM COVERS): Abu Hassan, The Rite of Spring Published Work

(RCA Records/UK, 1976, 1977), Alkatraz, Masters of Collections/Anthologies
the Universe (United Artists Records/UK, 1976, (various contributing artists)

1977), Rare Bird (Charisma Records/UK, 1976).

Caldwell, Steven. Worlds at War (Intercontinental, 1980), Dean, Martyn and Roger eds.

Hay, Colin

The Flights
of Icarus (Paper Tiger, 1977), Edwards, Malcolm and (b. July 28, 1947) Scottish artist. Hay was born in Holdstock, Robert Tour of the Universe (Pierrot, Musselburgh, a few miles from Edinburgh, Scot-1980), Eisler, Steven. Alien Worlds (Octopus, 1980), land, and after secondary school attended Edinburgh Encyclopedia of Science Fiction (Octopus, 1978), Great College of Art from 1965 to 1970. He received the Space Battles (Hamlyn, 1979), Holdstock, Robert; Diploma in Design for Print (1969), and spent the Edwards, Malcolm Alien Landscapes (Pierrot, 1979), next post-diploma “Industrial” year studying Ty-Harrison, Harry. Mechanismo (Pierrot, 1978), Sacks, pography, and learning to use the airbrush as an il-Janet ed. Visions of the Future (Chartwell, 1976), Sci-lustration tool. He was part of a talented group of ence Fiction View ( Japan, 1982), Spacecraft 2000 to artists from the U.K. who entered the science fiction 2100 AD (Hamlyn, 1978), Space Wars, Worlds and field in the early 1970s by coming to the attention of Weapons (Octopus, 1979), Space Wreck (Hamlyn, John Spencer, founder of Young Artists Agency (later 1979), Star Quest: An Incredible Voyage into the Un-Arena Agency). While specializing in depicting fan-known (Intercontinental Book Productions, 1978), tastic architectural contexts, Hay, early on (like other Suckling, Nigel. Heroic Dreams (Dragon’s World, artists of this time period) was impressed by the work 1987).

of Chris Foss*, whose distinctive stylistic elements exerted a heavy influence: what has since been called BOOKS ILLUSTRATED INCLUDE: Before the Golden the Chris Foss style. Hay worked in various genres, Age 1, 2, 3 (Orbit, 1977), Best of New Worlds 7 (Pan-then as a full-time freelance illustrator specializing in ther, 1970), Best of Omni Science Fiction #2, #3
science fiction from 1974 to 1977), but left the genre (Omni Society, 1981, 1982), The Company of Glory completely in 1980, to become a graphic designer.

(Star, 1976), Cosmic Kaleidoscope (Pan, 1976), His first SF book cover assignment was for the Chrysalis 2 (Zebra, 1978), Davy (Star, 1976), Earth’s Michael Moorcock anthology Best of New Worlds 7, Other Shadow (Panther, 1977), The Embedding published by Panther Books (1970).

(Orbit, 1977), Enchanted Pilgrimage (Fontana, 1976), While working in the field, Hay’s clients for com-Exiles on Asperus (Coronet, 1978), Expedition to Earth missioned cover paintings were British publishers; (Sphere, 1971), Fire Time (Panther, 1976), Future two notable illustrative works from that time period Crime (Tor, 1990), Grimm’s World (Hamlyn, 1978), are Le Guin’s Left Hand of Darkness (1972) and Sil-Guns of Darkness: There Will Be No War, Vol. VI verberg’s Tower of Glass (1975). After 1980, his agent (Tor, 1987), A Handful of Darkness (Panther, 1979), sold his existing work on a second rights basis to The Killing Thing (Panther, 1972), Kinsman (Futura,

259

Heller

1979), Lathe of Heaven (Panther, 1973), Left Hand of British and American publishers. His work has ap-Darkness (Panther, 1972), Lords of the Starship peared in large-format hardback series such as Giants (Sphere, 1972), The Man from Maybe (Coronet, (Pan Abrahams, 1979), Knights (Hutchinson, 1981), 1974), The Man Who Ate the World (Panther, 1979), Water Spirits, Seekers and Saviours, and Giants and Medusa’s Children (Pan, 1978), The Missing Man Ogres for “The Enchanted World” series (Time Life, (Orbit, 1976), The Monadic Universe (Ace, 1979), 1985) and King Arthur and his Knights (Dragon’s Ophiuchi Hotline (Futura, 1976), Orbitsville Dream, 1990).

(Alpha/Oxford University Press, 1979), Rendezvous Since 2000 Heller has been working on non-com-with Rama (Alpha/Oxford University Press, 1979), missioned fantasy illustrations. The artist lives in The Secret People (Coronet, 1976), Sleepers of Mars London with his wife Anne, and four children.

(Coronet, 1976), Space War Blues (Sphere, 1978), The Star Dwellers (Sphere, 1978), Steam Driven Boy Art collections and Anthologies

(Panther, 1972), Stowaway to Mars (Coronet, 1976), (various contributing artists)

The Sun Grows Cold (Panther, 1972), Survival Kit Dean, Martyn. Dream Makers: Six Fantasy Artists (Panther, 1979), Tower of Glass (Panther, 1975), Un-at Work (Paper Tiger, 1988), Heroic Dreams (Paper derkill (Corgi, 1977), Wanderers of Time (Coronet, Tiger, 1987), Jackson, Steve & Livingstone, Ian, 1976), War Against the Rull (Panther, 1972), West of Gascoigne, Marc ed. Out of the Pit: Fighting Fantasy the Sun (Star, 1976), The Winter of the World (Pan-Monsters: 250 Monsters from the Wild and Dangerous ther, 1979), The World Inside (Panther, 1979).

Worlds of Fighting Fantasy (Puffin, 1985), Suckling, M

Nigel. Heroic Dreams (Dragon’s World, 1987).

AGAZINES ILLUSTRATED INCLUDE:

Omni: 1979 (2), 1981 (12), 1986 (2),

Misc.: Jigsaw puzzle illustration (Milton Bradley, Published Work

1978), Sunday Times advertising poster campaign BOOKS ILLUSTRATED INCLUDE: After the King: Sto-

(1980), Video Gaming U.S. magazine cover (1984), ries in Honour of J.R.R. Tolkien (Pan, 1992), Anthro-Planetfall computer software cover (Argus Press Soft-pos Spectre Beast (Oxford Univ. Press, 1977), Barrow ware Group, 1983), Adventure Games for the Am-

(Pan, 1991), Black Magic (Hutchinson, 1988), strad CPC464 packaging (Collins, 1985), Educa-Hu Blade of the Poisoner (Piper, 1989), Brokedown tional Games for the VIC 20 packaging (Granada, Palace (Pan, 1991), Cellars (1982), The Cheysuli I–IV

1985)

(DAW, 1985, 1986), The Chronicles of the Holy Grail (Carroll & Graf, 1996), The Chronicles of Narnia (Harper Collins, 1996), The Chronicles of the Round Heller, Julek

Table (Carroll & Graf, 1997), The Crowthistle Chron-

(October 11, 1944) British artist. Heller was born icles I–IV (Macmillan/Tor 2005, 2007), Day of the in Jerusalem of Polish parents, who came to England Starwind (Piper, 1989), Deathwing Over Veynaa as refugees in 1947, and stayed. The artist studied at (Piper, 1989), Divine Endurance (Methuen, 1983), the Oxford School of Art (1961–1962), The Chelsea Dragon Fire #1: Jet Smoke and Dragon Fire (No Exit School of Art (1962–1965) and Hornsey Teacher Press, 1994), Ealdwood (Gollancz, 1991), Elidor Training College, where he was awarded an Art (Harper Collins 1992), Elric of Melnibone (Pan, Teacher’s Certificate in 1966. He received further 1982), The First Book of Swords, The Second Book of training at the Royal Academy of Arts in London, Swords (Orbit, 1985, 1986), Galactic Warlord (Piper, 1966 to 1969, and earned a Royal Academy certificate 1989), Ghosts and Journeys (Piper, 1989), Hadon of from their school. Heller began his illustrating career Ancient Opar (Methuen, 1983), Heartsblood: A Sendin 1973 working on children’s television programs ing of Dragons (Dell, 1985), Legacy of the Sword for the BBC: Jackanory (1973–1978), “Playschool (DAW, 1986), Lord Valentine’s Castle (Pan, 1992), (1973–1978) and “Pinocchio” (1978). This was fol-Majipoor Chronicles (Pan, 1992), The Mammoth Book lowed by work in film, providing visualizations for of Arthurian Legends (Carroll & Graf, 1998), The King Solomon’s Mines (1983), and Santa Claus the Mammoth Book of Comic Fantasy (Carroll & Graf, Movie (1985). He also has designed glass panels for 1998), Master of Fiends (Piper, 1989), The Merlin architectural projects and has worked on audio-vi-Chronicles (Carroll & Graf, 1995), The Moon of sual projects for theme parks in Norway, England Gomrath, (Harper Collins 1992), Murther & Walk-and Wales.

ing Spirits (Penguin, 1992), Night Hunter: #1 The With emphasis on fantasy and historical subjects, Stalking; #2 The Talisman; #3 The Ghostdance; #4
he has become primarily known for illustrating chil-The Shrine; #5 The Hexing ( Arrow, 1982, 1983), dren’s books, and his work has appeared on classic Planet of the Warlord (Piper, 1989), A Pride of Princes editions of King Arthur and the Legends of Camelot (DAW, 1997), Serpent Mage (Berkley, 1986), and C.S. Lewis’s Chronicles of Narnia as well as adult Shapechangers (DAW, 1997), Skylark, Ghost and and young adult science fiction and fantasy titles for Monster Stories (BCA, 1980), The Song of Homana

Herring

260

(DAW, 1997), Songs of Summer (Pan, 1980), The Publishers, as well as a spin off series, again for Gold Titus Books: Gormenghast trilog y (Pan, 1983), Track Eagle, called Outlanders (1996–2001).

of the White Wolf (DAW, 1987), Valentine Pontifex

“After thirty years of working 6–7 days a week,”

(Pan, 1992), The Wierdstone of Brisingamen (Harper and “not wishing to be consumed, artistically, by the Collins 1992), Year’s Best Fantasy Stories 12 (DAW, need to convert to producing paintings digitally,”

1986).

Herring says, he and his wife made the decision a MAGAZINES ILLUSTRATED INCLUDE:

few years ago to move “lock, stock, and barrel to HM: 1979 (12)

Australia — the only place that neither of us had ever been to.” The artist had remarried during the 1980s, Herring, Michael George
and his wife Betsy shares the same childhood back-

(b. July 7, 1947) American artist. Born in Cherry ground, growing up in a military family, although her Point, North Carolina, Herring was an “army brat”

father was in the Air Force, while Herring’s had been who moved continually as a child, attending a dozen in the Marine Corp. So, both had lived overseas and schools by the time he completed high school. Inter-were comfortable with the idea of relocating and ested in fine art, he first enrolled in Chapman Col-change. Despite the geographic distance. global lege, World Campus Afloat, in 1966, and then went communication has enabled Herring to remain proto school in England, where he studied at the Byam ductive in genre markets, and he continues to work Shaw School of Drawing and Painting (1967–1969) for American publishers, primarily Ace Books. Her-and attended lectures at the Royal College of Art in ring’sHis work is in corporate and public collections, London. After he returned to the States he studied among them The American Kennel Club, NY, The at The University of California, Long Beach, 1969–

Readers Digest Permanent Collection, Pleasantville, 1970. After completing his education, Herring mar-NY and The Marine Corp Recruiting Depot Histor-ried and settled in California to begin his fine-art ical Museum, San Diego, CA. He has also been fea-career. Herring’s major art influences have mainly tured in newspaper articles, romance magazines, and been painters from the 19th century: John Singer two issues of the Burroughs Bulletin, #28 (Fall, 1996) Sargent, Sir Alma-Tadema, Lord Leighton Frederic, and #34 (Spring, 1998).

Sir John Waterhouse, and the Orientalists, includ-Sources: e-mail from the artist August 2006; Weinberg, ing Jean-Leon Gerome, with contemporary influ-1988.

ences from Maxfield Parrish and Norman Rockwell.

EXHIBITIONS INCLUDE: “Art of the Book,” Soci-In 1975 Herring moved to New York, divorced, ety of Illustrators, NY (1991), “Paperback: The Four and without career prospects. He tried for one night by Seven Image,” Society of Illustrators, NY (1987), to be a waiter, but finding the job unsatisfying he

“Science Fiction & Fantasy Illustration,” Kent State went the very next day to Joe Mendola’s art agency University (1981), Solo exhibition, The National Arts and met with Lars Tegenborg. He showed the agent Club, NY, (April 1986).

some photos of his recent painting of African scenes done in a super-realistic style, and the agency imme-Published Work
diately agreed to represent him. Since then Herring Across the Thlassa Mey (Del Rey, 1990), The Adver-has worked as an illustrator. His preferred medium sary (Del Rey, 1988), Against All Enemies (Ace, has always been oil on canvas, but, to save time, he 2005), Agent of Byzantium (Harlequin, 1988), Agent began using quick-drying alkyds (water based oil of Change (Ace, 2002), Alien Eyes (Berkley, 1992), paints) in 1990. Herring’s first published piece was Alien Years (HarperCollins, 1998), The Apprentice the cover for The Blue Hawk, published by Del Rey, (Del Rey, 1989), Beyond Eden (Zebra, 1991), Beyond and they became his main client for science fiction, the Farthest Star (Ballantine/Del Rey, 1992), Black although he also worked for Warner, Berkley and Ops #1, #2 (Harlequin, 1995), Bridling Chaos Ace. A prolific and versatile artist, Herring quickly (Meisha Merlin, 1998), Bloodlines (Gold Eagle, branched out from science fiction however, after dis-1995), Burden of Proof (Ace, 2003), Call of Madness covering the low pay scale, and his fine art back-

(Del Rey, 1989), Carpe Diem (Ace, 2002), Cave Girl ground enabled him to succeed as a cover artist in (Ballantine, 1992), Chains of Light, Chains of Dark-several illustrative genres, including romance, and ness (Ballantine, 1994), Children of Hope (Berkley, adventure novels. His cover art for the Del Rey re-2000), Chronicles of Thomas Covenant #1–6 (Ballan-issues of Oz books in the 1980s led to him being fea-tine, 1988), Conflict of Honors (Ace, 2002), Covenant tured in a major study in the Oz fan magazine, 1985.

for Caithe (Del Rey, 1991), Covenant for Justice (Ban-Other notable classic series were his covers for Del tam, 1994), Dectra Chain (Gold Eagle, 1989), The Rey’s Burroughs books, 1990s. Herring also pro-Deluge Drivers (Del Rey, 1986), Demons of Eden duced cover art for the first 72 titles of Deathlands, (Gold Eagle, 1997), Deryni Magic (Del Rey, 1990), a long running post-nuclear holocaust series of nov-Dog Wizard (Del Rey, 1992), Dragonslayer (Del Rey, els which included time-traveling, for Gold Eagle 1985), Dragon’s Teeth (Warner, 1989), Dreamer in

261

Hescox

Discord (Ballantine, 1987), Earthblood #1, #2, #3

Hescox, Richard

(Harlequin, 1993), Eclipse at Noon (Gold Eagle, (b. October 8, 1949) American artist. Born in 1996), Emerald Fire (Gold Eagle, 1995), Eternal Sav-Pasadena, California, Hescox won a National Merit age (Del Rey, 1992), Fellowship of the Ring (Ballan-Scholarship and attended The Art Center College tine, 1988), Fire Queen (Penguin, 1992), Flair Star of Design in Los Angeles, receiving a BFA with hon-

(Ballantine, 1991), Future Eden (Zebra/Pinnacle, ors. His early influences were the Illustrators Norman 1992), Golden Torc (Del Rey, 1988), Harrowing of Rockwell, N. C. Wyeth, Dean Cornwell, Alphonse Gwynned (Del Rey, 1988), The Heldan (Ballantine, Mucha, Frank Frazetta*, and Roy Krenkel* plus 19th 1993), The Hobbit (Ballantine, 1988), Hope Ship century artists such as J. W. Waterhouse, Sir (Berkley, 1994), Ice and Fire (Gold Eagle, 1990), I Lawrence Alma Tadema, and Herbert Draper. After Dare (Meisha Merlin, 2001), Imposter (Penguin, graduation Hescox took a job at the Museum of 1997), Intervention One (Ballantine, 1988), Janeway Natural History in Los Angeles, then began his ca-

#1, #2, #3 (Pocket Books, 1996), A Just Determina-reer in illustration with assignments from Marvel tion (Ace, 2002), Kill Ratio (Berkley, 1987), King Comics; his first sale was the cover to Monsters Un-Javan’s Year (Del Rey, 1992), Lady & the Tiger (Ace, leashed #7. Hescox’ first SF cover was painted for 2003), Land of Hidden Men (Del Rey, 1992), Land Walkers on the Sky, published by DAW (1976), and That Time Forgot (Del Rey, 1991), Lost Continent after that most of his science fiction paintings were (Del Rey, 1992), Many Colored Land (Ballantine, for that publisher, although he has also worked for 1988), Mars Arena (1997), Meta Concert (Del Rey, most of the major publishers, in the U.S. and many 1988), Metaphase (Bantam, 1994), Monster Men (Bal-clients overseas. Among the more notable covers for lantine, 1992), Nautilus (Bantam, 1994), Nightmare DAW were those for novels by Marion Zimmer Passage (Gold Eagle, 1998), Nights of the Blood (Pen-Bradley and the “Venus” series by Edgar Rice Bur-guin, 1993), Nimisha’s Ship (Ballantine, 1998), Non-roughs. For the Hollywood film studios Hescox has Born King (Del Rey, 1988), On Station (NAL, 1989), created advertising art and production designs for Out of Time’s Abyss (Del Rey, 1991), Partners in Ne-Swamp Thing, The Howling, The Philadelphia Exper-cessity (Meisha Merlin, 1999), People That Time For-iment, E.T., The Dark Crystal, The Fly, The Never-got (Del Rey, 1991), Pilot’s Choice (Meisha Merlin, ending Story, Halloween 2, and The Time Bandits and 2001), Plan B (Meisha Merlin, 1998, 2002), Prodig y others. Throughout the 1980s Hescox also produced (Penguin, 1997), Queen’s Knight (Ace, 2004), Red magazine illustrations, videocassette boxes and Branch (Ballantine, 1989), Red Death (Berkley, 1993), record albums, before being drawn to the computer Return of the Emperor (Del Rey, 1990), Rule of Evi-games industry and leaving freelance illustration bedence (Ace, 2004), Sabotage (Berkley, 1987 ), Sage of hind.

Sare (Del Rey, 1992), Saturn’s Child (Berkley, 1995), Hescox is one of the new “talents” coming to Scout’s Progress (Ace, 2001), Seventh Sleeper (Avon.

flower in the 1980s whose style was yet based on 1991), Simarillion (Del Rey, 1990), Star Farer (Ban-Brandywine School skills. He was drawn to adven-tam, 1994), Star Fleet Academy #1, #2, #3 (Pocket ture-based scenes, and in his art strived for “paint-Books, 1996), Star Hawk #4 (Ace, 2002), Stark’s ing the unreal and making it seem believable.” He Command, Stark’s Crusade (Ace, 2000, 2001), Star was skilled and logical in approach, and cut no cor-Mind (Berkley, 1994), Star Seed (Berkley, 1991), Star ners when it came to execution. His early book cov-Ship Shenandoah (NAL, 1988), Star Trek Day of ers and illustrations were typically in oil on canvas, Honor (Pocket, 1997 ), Storm over Saturn (Ace, 2004), and then from around 1984 on he worked mainly in Sword of the Land (Ace, 2002), Sucker Punch (Ace, acrylic on illustration board. Most of his illustrative 2002), Survival 2000 book 1, 2, 3 (Harlequin, 1990), works are on a standard 20" × 30" board although Tarzan and the Forbidden City (DelRey, 1997), there are a few odd sized ones. For computer game Tarzan’s Quest (DelRey, 1997), They Also Serve designs he uses pencil, pen and markers, with an oc-

(Berkley, 2000), Thousand Cities (Ballantine, 1996), casional acrylic painting.

Ties of Blood and Silver (Penguin, 1991), Timeslide In the 1990s Hescox began working for the com-

(Berkley, 1992), Transition (Bantam, 1994), Treaty at puter games industry, and was art director and con-Doona (Berkley, 1994), Troll Taken (Berkley, 1993), ceptual designer for Microsoft Games Division, Trumpets of Tagan (Berkley, 1991), The Two Towers Sierra On-line, Wild Tangent, Dymanix and Zipper (Ballantine, 1988), Under the Eye of God (Bantam, Interactive. He was the production designer for The 1993), Unfinished Tales (Ballantine, 1988), Videssos Riddle of Master LU, published by Sanctuary Woods Besieged (Ballantine, 1997), Voyage of the Space Bea-

(1995) and was art director and production designer gle (Macmillian, 1991), Wanderer (Ballantine, 1993), for the game “Rama” based on the novels by Arthur Watersleep (Gold Eagle, 1997), Warriors (Ballantine, C. Clarke and Gentry Lee (1996). He was also the 1990), Witch (Ballantine, 1994), Wizard King (Bal-concept artist for the “Mechwarrior 5” computer lantine, 1993), Wrath of God (Harper Collins, 1994).

game for Microsoft Games. With success in his

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profession Hescox in his spare time was able to turn Gate of Ivory (DAW, 1988), Goblin Market (Questar, to creating fine art paintings, unhindered by edito-1987), The Goda War (Ace, 1988), Godslayer (DAW, rial and assignment related limits. Unlike his com-1987), Gor series: Marauders of Gor, Fighting Slave of mercial images, his fine-art paintings reflect the Gor, Rogue of Gor (DAW, 1976, 1979), Guilt -Edged themes pursued by 19th century English romantic Ivory (DAW, 1992), The Heirs of Hammerfell (DAW, realists and American illustrators such as J.C. Leyen-1989), Honor and Fidelity (Roc, 1992), The Hunters decker, whose works he also personally collects, and of Pangaea (NESFA, 2003), Hunters of the Red Moon not all of them are fantastical in theme. These are (DAW, 1991), The Infinity Plague (Ace, 1989), In the worked in oil on canvas.

Red Lords Reach (Signet, 1988), Jack of Shadows Hescox is a winner of many awards in the field of (Signet, 1988), Jason Cosmo (Signet, 1989), Kioga of Science Fiction and Fantasy art including the Jack the Unknown Land, Kioga of the Wilderness, One Gaughan Memorial Award (1991), and the Chesley Against the Wilderness (DAW, 1977, 1983), Kregan Award from the Association of Science Fiction series: A Life For Kregan, A Fortune For Kregan, A Artists (2003). Richard lives In Washington State Sword For Kregan, Werewolves of Kregan, Omens of with his wife Alice, and son David.

Kregan, A Victory For Kregan (DAW, 1978, 1979, Sources: e-mail from the artist, May 2005; www.richard-1984, 1985), Lady Slings the Booze (Ace, 1992), Lair hescox.com; Bryant, Edward. “King Richard: Conqueror of of the Cyclops (Questar, 1991), Life Force (DAW, Space.” Science Fiction Age. September, 1995; Dannenfelser, Randy M. and Richard Hescox. The Deceiving Eye, The Art of 1988), The Light in Exile (DAW, 1989), Lord of the Richard Hescox. U.K.: Paper Tiger, 2004; Masterpieces of Fan-Spiders (DAW, 1978), Lords of the Sword (ROC, tasy Art. Germany: Taschen, 1991.

1990), Lost on Venus (Del Rey, 1990), Luck of the Wheels (Ace, 1989), The Macick of Camelot (DAW, Published Work

1979), Maeve (DAW, 1978), March or Die (ROC, BOOKS ILLUSTRATED INCLUDE: After Image (ROC, 1991), Masters of Chaos (DAW, 1988), Masters of the 1991), After the Flames (Baen, 1985), Alien Blues (Ace, Pit (DAW, 1978), Mentor (DAW, 1990), Mission Tori 1991), Antares series: Beasts of Antares, Fliers of Antares (Del Rey, 1989), Mutiny (Bantam, 1988), Night’s Manhounds of Antares (DAW, 1980, 1981), A Bait of Pawn (ROC, 1992), None But Man (DAW, 1979), Dreams (DAW, 1987), Barbary (Ace, 1987), Best of Off the Wall At Callahans (TOR, 1993), Once On a Marion Zimmer Bradley (DAW, 1987), Bifrost Time (Signet, 1988), One Against A Wilderness Guardians 1, 2 (DAW, 2000), Blue Moon Rising (DAW, 1976), The Other Side of the Mirror (DAW, (ROC, 1990), Born to Exile (Signet, 1989), Bride of 1986), The Outskirters Secret (Del Rey, 1992), The the Castle (Ace, 1994), Brightsuit McBear (Avon, Quest for the 36 (Questar, 1988), Pirates of Venus (Del 1987), The Broken Cycle (DAW, 1979), Bug Wars Rey, 1990), The Pirate of Worlds End (DAW, 1978), (Ace, 1992), By Chaos Cursed (DAW, 1990), Carson The Ragged World (Del Rey, 1991), Reefsong (Del Rey, of Venus (Del Rey, 1990), Castle Spellbound (Ace, 1990), Royal Chaos (ROC, 1989), Scorpio Series: Fires 1991), The Catswold Portal (ROC, 1991), Children of of Scorpio, Mazes of Scorpio, Masks of Scorpio (DAW, the Earth (Del Rey, 1992), City of the Beast (DAW, 1982, 1983), Secret of the Knights (Bantam, 1982), 1978), Cloud Warrior (Baen, 1984), Cohort of the Shadow Climber (DAW, 1987), Shadows Realm Damned (ROC, 1992), Crisis at Starlight (Ace, 1989), (DAW, 1989), Shai series: The Book of Shai, Shai’s Crown of the Sword God (DAW, 1979), The Crystal Destiny (DAW, 1983, 1984), The Shattered Chain Palace (Signet, 1988), Dancer of the Sixth (Del Rey, (DAW, 1977), Sorcerers Son (Signet, 1988), Space Vec-1992), Dancer’s Rise (DAW, 1992), Darkover series: tors (Ace, 1989), The Spell Sword (DAW, 1976), Star-Free Amazons of Darkover, Red Sun of Darkover, Do-farers (Ace, 1988), Star Sister (Del Rey, 1989), The mains of Darkover, Four Moons of Darkover, Renun-Steerswoman (Del Rey, 1989), The Survivors (DAW, ciates of Darkover, Leroni of Darkover Towers of Dark-1991), Swamp Thing (TOR, 1983), Sword of Ceasar over (DAW, 1985, 1987, 1988, 1989, 1990, 1991, (Bantam, 1986), Taflak Lysandra (Avon, 1988), The 1992), Deep Quarry (Ace, 1988), Delan the Mislaid Terridae (DAW, 1981), Time Like An Ever-rolling (DAW, 1988), Demon Lord (DAW, 1986), Door to Stream (Del Rey, 1992), Two -Bit Heroes (DAW, Ambermere (Ace, 1991), Double Nocturne (DAW, 1991), The Unwound Way (Del Rey, 1991), Walkers 1986), Downtime (DAW, 1986), Dragon Companion on the Sky (DAW, 1976), The Warlords Domain (Ace, 1994), The Dragon Lord (DAW, 1987), Drag-

(DAW, 1990), Window of the Mind (Ace, 1987), Wiz-onrank Master (DAW, 1989), The Earth is all that ard of Venus (Del Rey, 1990).

Lasts (Del Rey, 1990), The Elephant and the Kanga-roo (Signet, 1988), Escape on Venus (Del Rey, 1990), MAGAZINES ILLUSTRATED INCLUDE:

Flamesong (DAW, 1985), Fire Lord (DAW, 1988), Fire SFA: 1994 (7)

on the Border (ROC, 1989), The First Family (Baen, Misc: The Fantasy Art of Richard Hescox Collec-1985), The Fire’s Stone (DAW, 1989), The Forbidden tor Trading Cards (FPG Pub. 1994); Pyramid #15

Tower (DAW, 1977), Freemaster (DAW, 1989), The magazine cover (Steve Jackson, 1995)

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EXHIBITIONS INCLUDE: “Paperback: The Four by evolved into literary commissions, and by the 1980s Seven Image” Society of Illustrators, New York, Hickman had become a solid presence as a freelance 1987; “The Art of Fantasy and Science Fiction”

illustrator, able to handle both science fiction and Delaware Art Museum, Wilmington, Delaware, fantasy themes. His success can be attributed to his 1990; “The Art of Fantasy” Art Space, Raleigh, N.C.

approach, and his versatility; he works in two dis-1990; “Pavilions Of Wonder” Canton Museum of tinct, and well-developed styles of expression. One Art, Canton, Ohio, 1996; “Possible Futures” The style is clean and linear and well suited to the “hard-Art Gallery, The University of Maryland Art Gallery ware” of science fictional subjects. The color palette 1999–2000; “Spectrum Exhibition” Society of Illusis bright, the images are dynamically composed, and trators, New York, 2005.

because Hickman has a good “hand,” he is one of the few contemporary artists who is able to handle Hickman, Stephen F.

an art director’s request for covers which have the (b. April 9, 1949) American artist. Born in Wash-title and author’s name painted in as part of their ington, D.C, Stephen Forrest Hickman was the son graphic design. A good example of that technique of Jon F. and Mary Lee Hickman. His father worked would be his well-known Man-Kzin Wars series of for the Department of State and later for the Foreign paperback cover paintings for Baen Books, each de-Service, in International Development. For years, picting warrior cats in armor. For fantasy themes, Hickman and his brother John spent each school his style is graceful, embellished and sensuous, draw-year in a different state or country. In the eighth ing from the styles of Golden Age illustrators, grade, the family settled in Alexandria, Virginia, Pre–Raphaelites and Art Nouveau. These are more where Hickman attended Hammond High School.

delicately colored, and painted in the more He credits his family for their strong support of his

“painterly” illustrative styles of Frazetta and Krenkel, talent: his mother, who insisted on originality, for the themselves shaped by Golden Age illustrators. Hick-strongest early influence on his work, and the man cites as influences Alphonse Mucha, Franklin influences of the exotic places in the world his fa-Booth, Arthur Rackham, Edmund Dulac, George ther was assigned, for providing early inspiration.

Bridgeman, John Everett Millais, J. W. Waterhouse.

From his teacher through High School, Mr. Fletcher Regardless of the subject matter or function, how-Proctor, he received a solid grounding in the ele-ever, Hickman fully invests himself in every proj-ments and principals of design, the only useful for-ect—he does not cut corners and often has very clear mal training Hickman says he was to receive (or ideas and strong feelings on how stories translate need) before starting his artistic career. He subse-into art. His preferred medium is oil on canvas, quently attended the art school of the Richmond wood panel or illustration board, but he has also Professional Institute (Virginia Commonwealth used acrylics and watercolors.

University) for two years, where he studied fine art The works of H.P. Lovecraft and J.R.R.Tolkien with another fantasy artist, Mike Kaluta*. Hickman have long been a special interest for Hickman, lead-later taught himself anatomy, comic art, and painting to several paintings, private commissions, and ing.

three-dimensional works, some of which have been In 1967 he and Kaluta went to a New York Comic commercially published. In 1975–1981, Tolkien-in-book convention, one of the first of its kind, where spired works were reproduced as prints and posters they met Frank Frazetta* and Roy G. Krenkel Jr.*, by Glimmer Graphics, and one—The Black Rider—
both of whom became early influences on their art.

was featured in Realms of Tolkien: Images of Middle-Hickman began working for comic art fanzines, then Earth (Harper Collins, 1997) and is the cover of the was contacted by Fred Fillah of the Shirt Explosion 1998 Tolkien calendar. In 1988 Hickman wrote The and for a few years produced designs for T-shirts.

Lemurian Stone (Ace Books), which formed the basis During this time he also prepared a portfolio of sam-for his finely rendered classical fantasy Pharazar ple paintings and gained the attention of Charles Mythos illustrations. Other personal works and repro-Volpe, art director at Ace Books, who purchased one ductions followed, and in 1996, Hickman created a to use as the cover for Lady of the Bees (1974). With C’thulhu statuette inspired by an earlier cover illus-that publication, Hickman became a full time pro-tration done for H.P. Lovecraft’s story The Call of fessional artist.

C’thulhu (Baen Books). The statuette was produced Since 1976 Hickman has illustrated approximately and distributed by Bowen Designs, 1997. A second 350 book covers for Ace, Baen, Ballantine, Bantam, edition has since followed, as well as the publication Berkeley, Dell, Del Rey, Doubleday, Phage Press, of a bust of H.P. Lovecraft himself, by the same pub-Tor. In addition, his images have appeared on com-lishers, 1999. These projects were two of his favorites, mercial products ranging from calendars to com-and were followed by a commission from the puter screensaver products. Earlier work for Warren Franklin Mint for designs for a 3-D Tolkien based Publications ( Creepy, Epic) and Marvel swiftly chess set. In 2003, his privately commissioned work

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to illustrate a book by H. Rider Haggard, Nada the Britain, CT, 1979; Olympia & York, New York City, Lily, was featured in Great Fantasy Themes from the NY, 1991 (2 shows); Society of Illustrators, NY, 1983, Frank Collection (Paper Tiger, 2003).

1987; Smithsonian Air and Space Museum, Washing-Hickman has continually been active in science ton, DC, 1992; Orlando Science Center, Orlando, fiction fandom and in gaining recognition for this FL, 1991
work. He is one of those few artists who avidly reads, and keeps up with, science fiction literature. He has Collections and Anthologies
often been a guest at conventions, and regularly cor-

(various contributing artists)

responds with other artists and fans of his work. In The Fantasy Art of Stephen Hickman U.S.: Don-1994 he was awarded a Hugo Award from the World ning/Starblaze, 1989; Difate, Vincent. Infinite Science Fiction Convention for the United States Worlds: The Fantastic Visions of Science fiction Art.

Postal Service’s Space Fantasy Commemorative Book-Wonderland, 1997; Frank, Jane and Howard. The let of stamps, the first official recognition by the gov-Frank Collection: A Showcase of the World’s Finest ernment of the SF genre. Hickman’s work appeared Fantastic Art (Paper Tiger, 1999), Frank, Jane and in the first six Spectrum anthologies of The Best in Howard. Great Fantasy Art Themes From the Frank Contemporary Fantastic Art (Underwood Books), Collection (Paper Tiger, 2003), Grant, John and 1994–1999, and he was awarded a Gold Award in Humphrey, Elizabeth with Scoville, Pamela. The the Unpublished Category ( Spectrum 2, (1995). He Chesley Awards: A Retrospective (AAPL, 2003), Kesey, has been nominated for several Chesley Awards Ken. Sorcerers: A Collection of Fantasy Art. Ariel (ASFA — Association of Science Fiction Artists) and Books, 1978.

has won three: for Best Paperback Cover (1995), Best Color Work Unpublished (1995, 1998). His art has Published Work
been exhibited at the Canton Museum of Art, Can-BOOKS WRITTEN AND ILLUSTRATED: The Lemurian ton, OH, 1997; Delaware Art Museum, Newark, Stone (Ace, 1988)

DE, 1986, 1988; The Franklin Mint Museum: Fel-BOOKS ILLUSTRATED INCLUDE: Agent of Change lowship of the Rings, the Tolkien Art of Steve Hick-

(Ballantine/Del Rey, 1989), Alien Way (Ace, 1983), man, 2001; New Britain Museum of Art, New Alvin Wandering: The Tales of Alvin Maker IV, V

Britain, CT, 1979; Olympia & York, New York City, (SFBC, 1998), Barrayar (Baen, 1994), Basilisk (Ace, NY, 1991 (2 shows); Society of Illustrators, NY, 1983, 1980), Beyond World’s End (Baen, 2001), The Brain 1987; Smithsonian Air and Space Museum, Washing-Stealers (Ace, 1975), Brother to Demons — Brother to ton, DC, 1992; Orlando Science Center, Orlando, Gods (Berkley, 1981), Brother to Dragons (Baen, 1992), FL, 1991 Hickman and his wife Vicki live in Bull God (Baen, 2000), The Cardmasters (Baen, Dutchess County, NY. He has two children, Aurora 1997), Carpe Diem (Ballantine, 1989), Cetaganda and Zara.

(SFBC, 1996), The Changewinds (Baen, 1996), The Sources: www.ulster.net/~shickman; email from the artist Chronoplane Wars: Empire of Time, Fall of the Re-March 2005; Interview with Stephen Hickman, June 2003
public, Rogue Emperor (Del Rey, 1987, 1988), Cobras Conducted via e-mail by Toni Weisskopf at: www.baen.com

[accessed July, 2005]; Drake, David. “Hickmania,” Science II (Baen, 1992), Commitment Hour (Avon, 1998), Fiction Age magazine, November 1993.

The Compleat Bolo (Baen, 1990), Conflict of Hours (Ballantine, 1988), Crygender (Baen, 1992), Cthulhu Collections and Anthologies
the Mythos/Kindred Horrors (Baen, 1987), Dance to the (various contributing artists)

Sun (Baen, 1997), The Death of Sleep (Baen, 1990), Frank, Jane and Howard. The Frank Collection: Debt of Ages (Baen, 1995), Defiant Agents (Baen, A Showcase of the World’s Finest Fantastic Art (Paper 2002), Delusion World (Ace, 1981), Destination Uni-Tiger, 1999), Frank, Jane and Howard. Great Fan-verse ( Jove, 1977), The Devil’s Game (Baen, 1985), tasy Art Themes From the Frank Collection (Paper Diplomatic Immunity (Baen, 2002), Doctor to the Tiger, 2003), Grant, John and Humphrey, Eliza-Stars ( Jove, 1977), Dominant Species (Ace, 1979), beth with Scoville, Pamela. The Chesley Awards: A The Dracula Tapes (Baen, 2000), Dragon (Tor, 1998), Retrospective (A APL, 2003). The Fantasy Art of The Dragon Hoard (Ace, 1984), Drakon (Baen, 1996), Stephen Hickman (Donning, 1989), Miller, Ron.

Dream Palace (Baen Books, 1986), Dreamrider (Ace, Space Art Poster Book (Stackpole, 1979), Sorcerers: A 1982), Eagle Against the Stars (Baen, 2000), Escape Ve-Collection of Fantasy Art (Ariel, 1978), Tomorrow and locity (Ace, 1995), Expanded Universe (Baen, 2002), Beyond (Workman, 1978).

Fallen Angels (Baen, 1991, 2003), Farnham’s Freehold EXHIBITIONS INCLUDE: Canton Museum of Art, (Baen, 1994), The Far Side of the Stars (Baen, 2003), Canton, OH, 1997; Delaware Art Museum, Newark, Flameweaver (Baen, 1991), Fire in the Mist (Baen, DE, 1986, 1988; The Franklin Mint Museum: “Fel-1992), Fireship (Dell, 1978), The Founder (Ballan-lowship of the Rings, the Tolkien Art of Steve Hick-tine/Del Rey, 1989), The Gate of Fire (Tor, 2000), man,” 2001; New Britain Museum of Art, New The Gates of Twilight (Bantam, 1996), Generation

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Hildebrandt

Warriors (Baen, 1991), Glory Road (Baen, 1993), The 1991), Tales of the Cthulhu Mythos (Baen, 1987), Gods of War (Baen, 1992), The Green Millenium (Ace Teckla (Ace, 1987), Time Traders (Baen, 2002), Tool-1975), Gryphon (Del Rey, 1989), The Harem of Aman maker Koan (Baen, 1988), To Reign in Hell (Ace, Akbar (Bantam, 1984), Harlan Ellison’s Dream Cor-1985), The Toxic Spell Dump (Baen, 1993), Trader’s ridor Special 2nd Ed. (Dark Horse, 1995), Herris World (Del Rey, 1988), The Two Faces of Tomorrow Serrano: Hunting Party (Baen, 1993), High Sorcery (Baen, 1997), The Vang: #1 The Battlemaster, #2 The (Ace, 1977), Hoka! Hoka! Hoka! (Baen, 1998), Hot Military Form (Ballantine Del Rey, 1990), Vlad Tapes Sleep (Ace, 1979), Hunting the Corrigan’s Blood (Baen 2002), Waking in Dreamland (Baen, 1998), (Baen, 1997), The Infectress (Baen, 1999), In Iron The Warlock Enraged, the Warlock Heretical, Warlock Years (Ace, 1981), Into the Labyrinth (Bantam, 1994), in Spite of Himself, the Warlock Is Missing, the War-Isle of Battle (Harper Collins, 2003), Jhereg (Ace, lock Unlocked, King Kobold Revived, The Warlock 1985), Jirel of Joiry (Ace, 1977), John the Balladeer Wandering, The Spellbound Scholar, Warlock’s Last (Baen, 1988), Journey to Aprilioth (Ace, 1980, 1987), Ride (Berkley/Ace, 1978, 1984, 1985 1987, 1995), The King in Yellow (Ace, 1976), Knight Moves (Tor, War World III: Sauron Dominion (Baen, 1991), Weird 1985), Lacey and His Friends (Baen, 1986), Lady of the Heroes #1, #2, #8 (Harcourt/Jove, 1977, 1985), The Bees (Ace, 1974), The Last Voyage (Palladium Books, Weirwoods (Ace, 1977), The Winter King (Ace, 1986), 1987), Lord of the Triple Moons (Ace, 1984), Lt. Leary Wizard of the Winds (Del Rey, 1997), Wolves of the Commanding (Baen, 2001), Mad Maudlin (Baen, Gods (Ballantine/Del Rey, 1998), The World Beyond 2004), The Magic of Krynn (TSR, Inc., 1999), Magus (Baen, 2002), Yendi (Ace, 1984).

Rex (Tor, 1983), The Man-Kzin Wars: #1–#11; Best of MAGAZINES ILLUSTRATED INCLUDE:

All Possible Wars (Baen, 1992, 1994, 1995, 1998), AMZ: 1977 (3)

Mars Plus (Baen, 1995), The Martian Inca (Ace, FTC: 1976 (5)

1978), Miles Errant (Baen, 2002), Moondust (Ace, SFA: 1993 (5)

1968), Nanodreams (Baen, 1995), Necromancer (Ace, WT: 2002/2003 (Winter/#330)

1981), Night Lamp (Underwood, 1996), Notebooks of Misc.: Space Fantasy Commemorative Stamp Lazarus Long (Baen, 2004), The Odysseus Solution Booklet, U.S. Postal Service (1993), Lord of the Rings (Baen, 1986), The One Kingdom (Harper Collins, Chess Set (Franklin Mint, 2003).

2001), Paragon Lost: A Chronicle of the King’s Blades (Avon, 2002), Partnerships series: #1 The Ship Who Sang, #2 Partnership, #3 The Ship Who Searched, #4

Hildebrandt, Greg

The City Who Fought, #5 The Ship Who Won, #6 The ( January 23, 1939). American artist. Gregory J.

Ship Who Sang is Not Alone (Baen, 1992, 1993, 1995), and Timothy Hildebrandt* were identical twins, The Phoenix and the Mirror (Ace, 1978), The Planet born to George and Germaine Hildebrandt in De-Pirates (Baen, 1993), The Playmasters (Baen, 1987), troit, Michigan. The twins, who became famous for Podkayne of Mars (Baen, 1993), Prophets For the End their “The Lord of the Rings” calendars in the 1970s, of Time (Baen, 1998), Proteus Unbound (Del Rey, and their posters for the original “Star Wars” movies, 1989), Purple Pteradactyls (Phantasia Press, 1979), both developed an interest in art very early in life.

The Reaches (Baen, 2004), The Realms of Dragons Greg Hildebrandt has said in a Knight Ridder inter-

(Harper Collins, 1999), To Reign in Hell (Ace, 1985), view (2006), that he and his brother shared “an ob-Rulers of Hylor Trilog y: A Princess for the Chameln, session with color so intense that it led them at age Yorath the Wolf, The Summer’s King (Baen, 1985, two to eat a box of crayons. He said he liked their 1987), Runes of the Lyre (Ace, 1983), Sassinak (Baen, taste.” Very close, the identical twins did most things 1990), The Sea Hag (Baen, 1988), The Seed of Earth together, and their interests were similar in most re-

(Ace, 1982), A Separate Star (Baen, 1989), Seven From spect. They both read Edgar Rice Burroughs, they the Stars (Ace, 1979), The Shadow of Ararat (Tor, both enjoyed science fiction films, and they both 1999), The Ship Avenged (Baen, 1997), The Ship Er-learned more through experience and persistence rant (Baen, 1997), The Ship That Sailed the Time than through any formal early training.

Stream (Ace, 1981), Slay and Rescue (Baen, 1993), A Shortly after graduating from Avondale High Small Colonial War (Del Rey, 1990), Soul Singer of School in June, 1957, the twins joined the army re-Tyrnos (Ace, 1983), Spacer Dreams (Baen, 1995), Spa-serve and spent six months in the program at Fort cial Delivery (Ace, 1979), The Spirit Ring (Baen, Leonar Wood, Missouri, and Fort Riley, Kansas.

1993), Spirits White As Lightning (Baen, 2003), Star After leaving the army, they attended the Meinzinger Child (Baen, 1998), Star Soldiers (Baen, 2002), Stolen School of Art in Detroit. They studied eight months Faces (Dell, 1978), The Stone God Awakens (Ace, and then quit, feeling that the school did not have 1979), The Storm of Heaven (Tor, 2001), Sword and anything more to offer; this was their only formal Circlet Trilog y (Tor, 1988), Sword of Knowledge: A art training.

Dirge for Sabis (Baen, 1989), Tactics of Mistake (Ace, At nineteen, the Hildebrandts joined the Jam

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Handy Studios, the largest film-production house the Hildebrandts to illustrate Terry Brooks’ new novel, in the country. The brothers worked for four years The Sword of Shannara, which was very much in the in the animation department, where they designed style of Tolkien. They created a number of paint-live-action and animated films for the Navy, and nu-ings and black-and white illustrations in the Tolkien merous firms. In 1963 the brothers were invited by vein, and their art helped propel the book onto the Bishop Fulton Sheen of New York to make a film best seller list. In 1977 Greg and his brother were for the Catholic church. They continued to work awarded a Gold Medal from the Society of Illustra-for the church for the next seven years. Soon after tors for the best book cover of the year. Their work moving to the East coast, Greg married Diana was exhibited at several single and joint exhibitions Stankowski and moved to Jersey City, New Jersey.

and was included in the 1978 national retrospective Tim, who lived across the street, married in 1965.

group show sponsored by Museum of the City of Later, both families moved to Northern New Jer-New York, “200 Years of American Illustration.”

sey. Greg and Diana have three children, Gregory, A third Tolkien calendar, for 1978, sold more than Mary and Laura.

a million copies and encouraged the Hildebrandts In 1969 the church sent the brothers to Africa to to begin thinking about a movie version of the Lord film a documentary on church missionary work.

of the Rings. When they learned that Ralph Bakshi However, the finished piece, which clearly showed had already begun production on his version of the the poverty and unrest throughout the continent, Tolkien epic, and was not interested in using the was not what the church expected, and the Hilde-Hildebrandts, the brothers decided to base a film on brandts were dismissed from their film-making jobs.

their a fantasy story of their own. Conceived first as Needing work, they hastily assembled a portfolio of a movie, Urshurak was sold to Bantam Books as a their work and showed it to various children’s book novel, written and illustrated by The Brothers publishers. Soon they were doing art for Holt, Rine-Hildebrandt. The brothers worked almost exclu-hart and Winston. From there they continued doing sively on this project for more than a year. Their art for other children’s book publishers: Doubleday, only break was to do the original movie poster for Winston, Western Publishing and others. They won Star Wars, a project they completed in two days of several awards from the Society of Illustrators for continuous painting.

their work on children’s book illustrations, and also Urshurak in book form generated little excite-expanded into advertising art, magazine art, edito-ment. The art was the usual fine work, with some rial illustrations and paperback cover art.

pieces dazzling, but the story was unexceptional. It In 1975 a copy of the J.R.R. Tolkien Calendar with was in the Tolkien tradition but not innovative art by Tim Kirk* crossed the brothers’ hands. On enough to be memorable on its own. The movie the back was an invitation to artists to submit work project, which was the actual reason for the book for the next calendar. The Hildebrandts brought in and the art, never sold. Instead, the book served as samples to Ballantine Books, and a contract was a turning point in the brothers’ careers.

quickly produced. As Greg remembered it later how-It was during the project, that the brothers de-ever, the calendar was Tim Hildebrandt’s idea. “I cided to pursue separate careers. They had been wanted to pursue gallery art at that point, but Tim working together most of their lives and finally felt was pushing and pushing” on the J.R.R. Tolkien the need for independent work. They had painted trilogy, “and then I read it and said OK.”

movie posters for the films Young Frankenstein (not Their style was perfectly suited to Tolkien’s work, used), Barbarella (1977) and Clash of the Titans and the brothers worked fast. So similar was their (1981)— and that poster art was their last work to-technique and style that one could take over from gether for many years. Both continued in art, but where another had stopped working on a painting.

each went in a different direction. After the broth-They could thus work nonstop on a piece for days.

ers broke up, they didn’t speak for several years, until Tight deadlines, problems for most artists, were not in 1993 they once again reunited and began doing art a major obstacle for the Hildebrandts.

for comic-book publishers Marvel (“Spider-Man,”

The 1976 Tolkien Calendar, with art by “The

“X-Men”) and DC (“Superman”) and, in 1995, a Brothers Hildebrandt” (as they were dubbed by Judy daily comic strip, an updated version of Milt Can-Lynn Del Rey) was a tremendous success, and estab-iff ’s “Terry and the Pirates,” which ran for only a lished the Hildebrandt brothers as important fantasy year. During their time apart, they were able to artists. They were immediately signed for the 1977
demonstrate that each had their own style of expres-calendar, with a much greater print run, and it sold sion and career goals.

out even faster than the first calendar. Suddenly the Greg Hildebrandt worked closely with his agent, Hildebrandts were besieged with offers of work, and Jean Scrocco, in finding new assignments. His first for the next couple of years they were kept busy il-work was doing reproduction art for Krull, a movie lustrating Tolkien’s Middle Earth. Del Rey also asked by Peter Yates. He produced 160 pieces of art based

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on the script, none of which, “in typical Hollywood released the most complete compilation of Hilde-fashion,” as Weinberg dryly noted, “was ever used.”

brandt Tolkien art in one book, Greg and Tim Hilde-Greg’s illustrations appeared on the covers and pages brandt, The Tolkien Years. Entertainment Calendars of several magazines, and his work was used on col-has also re-issued the Tolkien calendars, the first of lector plates, figurines, dolls, knives, and swords is-them released in 2002. Greg also began painting pin-sued by The Franklin Mint and Lenox. His art has ups circa 1999, and exhibited them at the Louis K.

been used in advertising for ABC and Dr. Pepper, Meisel Gallery in New York in 2000. The success of and has been licensed for such products as puzzles by these works have opened another avenue for his ca-American Publishing, greeting cards by Sunrise reer, which he calls “Greg Hildebrandt’s American Greeting, and needlepoint canvases by Steiner Fr-Beauties.” In 1993 Greg also established the Spider-eres in Paris, France. His images have also been re-webart Gallery. At first run and managed by Scrocco, produced on eight sets of trading cards. In the 1980s and specializing in the brothers’ work, Spiderwebart his agent sold Simon & Schuster on the idea of doing Gallery is now owned by Greg Hildebrandt, and of-a series of heavily illustrated, deluxe editions of clas-fers original art, prints and collectibles from a vari-sic novels and story collections. The first book in ety of comic and illustration artists, primarily by the series was Dickens’ Christmas Carol, followed by mail order.

editions of Dracula, The Wizard of Oz, and others.

Sources: Tim and Greg Hildebrandt Web site www.broth-In all, Greg illustrated 15 classic and fairy tale collec-ershildebrandt.com; www.spiderwebart.com; “Tim Hildebrandt Remembered: Twin Sons of Star Wars” June 29, 2006
tions for children, with over 3,500,000 copies in online at www.starwars.com [accessed November 2007]; print of the combined titles. He also did art for a Williams, A.J. “A Fellowship in Art” gallery article in Realms calendar based on Mary Stewart’s Merlin trilogy and of Fantasy magazine, October 2006; Wells, Tish. “Tim Hilde-advertising art using fairy-tale characters as the cen-brandt; illustrator famed for ‘Star Wars,’ ‘Rings’” Obituary, Knight Ridder News; Weinberg, 1988.

tral theme. Throughout the 1980s his focus was almost exclusively on classics and not on modern fan-Collections and Anthologies
tasy art, and he became one of the most popular and (various contributing artists)

collected of artists doing new editions of these en-Di Fate, Vincent. Infinite Worlds: The Fantastic during works.

Visions of Science fiction Art (Wonderland Press/PenIn 1993, the Brothers Hildebrandt reunited. Al-guin, 1997), Frank, Jane and Howard. The Frank though they continued to pursue their individual Collection: A Showcase of the World’s Finest Fantastic careers, much of the work they created through the Art (Paper Tiger, 1999), Frank, Jane and Howard.

end of that decade and beyond, was created together.

Great Fantasy Art Themes From the Frank Collection Their first collaboration, although not credited as (Paper Tiger, 2003), Hildebrandt, Tim and Greg.

such on its cover, was a Dragon Pop-Up Book for The Brothers Hildebrandt A Book About the Artists Little, Brown. This was followed with a series of (Maryland Funnybook Festival, 1978), Hildebrandt, horror steins for Gerz, Inc., which were used for a Gregory Jr. Greg and Tim Hildebrandt: The Tolkien Budweiser promotion, and three posters for Marvel Years (Watson-Guptill, 2001), Simmons, Brian. The Comics depicting Captain America, The Silver Surfer, Brothers Hildebrandt’s Lord of the Rings : A Pocket and the X-Men. This assignment led to numerous Companion (Running Press Miniatures, 2002), Sum-others in the comic book field, and to the creation of mers, Ian. Art of the Brothers Hildebrandt (Ballan-hundreds of pieces of artwork for such publications tine, 1978) Woods, Bob, Star Wars: The Art of the such as Fleer’s Marvel Masterpieces Card Set depict-Brothers Hildebrandt (Del Rey, 1997).

ing the Marvel Universe (1994), a fully painted graphic novel, Oasis, based on Marvel’s X-Men 2099

Published Work
series, which was published in 1996, and Shadows of BOOKS WRITTEN AND ILLUSTRATED INCLUDE: Urthe Empire, George Lucas’s novel set in the ongoing shurak (Bantam, 1979)

Star Wars saga. Until Tim’s health declined, the BOOKS ILLUSTRATED INCLUDE: Brothers Grimm brothers worked on numerous trading card and Fairy Tales (Unicorn, 1993), Child of an Ancient City comic-art related projects, including card art for (MacMillan Atheneum, 1992), The Dragon’s Car-Magic: the Gathering, film concept work, and an art buncle (Ballantine Del Rey, 1990), Grimm’s Fairy book, Star Wars: the Art of Greg and Tim Hildebrandt Tales (Unicorn, 1993), The Lord of Chaos (Ballan-

(1997). Both Greg and Tim’s work have been shown tine Del Rey, 1991), Presenting Young Adult Horror at numerous galleries and museums, among them: Fiction (Macmillan Twayne, 1992), Troll’s Grindstone the Franklin Mint Museum in Franklin, PA; Every (Ballantine/Del Rey, 1986).

Picture Tells a Story in Los Angeles; the Alexander Gallery, NY; Elizabeth Stone Gallery in Birming-BOOKS ILLUSTRATED INCLUDE: (WITH TIM HILDE-ham, Michigan.

BRANDT OR AS BY BROTHERS HILDEBRANDT): Apache In 2001 Watson Guptill along with Spiderwebart Devil (Ballantine, 1975), Arthur (HarperPrism/Zon-

Hildebrandt

268
dervan, 1996), Best of C. L. Moore (Ballantine, 1975), dustrial films, television and theatrical productions.

Compleat Enchanter (Ballantine, 1975), Complete There, at nineteen, they learned the craft of film-Guide to Middle-Earth: From the Hobbit to the Sil-making and animation while working on training marillion (Ballantine/Del Rey, 1978), Dying Earth films for the Navy. Tim started out as an opaquer (Pocket, 1977), Early Del Rey Vol. 1, 2 (Ballantine, (one who paints cels), and worked his way up to 1976), Earth’s Last Citadel (Ace, 1977), Eyes of the background painting, storyboard artist, production Overworld (Pocket, 1977), Fantastic Four: To Free At-designer and animator. After four years at Handy’s lantis (Boulevard, 1995), Gammage Cup (Harcourt/
during which time they designed several films that Odyssey, 2000), Greg Hildebrandt’s Book of Three-Di-won several awards, the brothers were offered the mensional Dragons (Little Brown, 1994), Halflings, job to work for the Catholic Church, and moved to Hobbits, Warrows and Weefolk (Warner Questar, New York to make documentary films for a religious 1991), Half-Past Human (Ballantine, 1975), I See by company headed by Bishop Fulton J. Sheen. They My Outfit (Ballantine, 1976), J.R.R. Tolkien: Archi-worked for the company for seven years, and traveled tect of Middle Earth (Warner, 1977), King’s Damosel around the world, directing and shooting numer-

(Avon, 1978), Master of Middle Earth (Del Rey/Bal-ous documentaries on topics such as world hunger.

lantine, 1977), Merlin (HarperPrism/Zondervan, During this time, while living in New Jersey, Tim 1996), My Name is Legion (Ballantine, 1976), Out of met Rita Murray at choir practice and in 1965 they the Dead City (Ace, 1966), Red Moon and Black were married. They have one son, Charles, born in Mountain (Ballantine/Del Rey, 1977), Restoree (Del 1967.

Rey/Ballantine, 1977), Rover (Tor, 2001), Run, Come When a film they were producing on missionary See Jerusalem (Ballantine, 1976), Ship Who Sang work in Africa was not to the church’s liking, the (SFBC, 1996), Smoke and Mirrors (Berkley/Boule-brothers’ relationship with the film company ended.

vard, 1997), Stellar #2 (Ballantine, 1976), Stone and Going back to art, they assembled a portfolio and the Maiden (Avon Eos, 1999), Sword of Shannara presented it to a number of children’s book publish-

(Random House/SFBC, 1977), Taliesin (Harper-ers. Soon they were swamped with assignments from Prism/Zondervan, 1996), Well of the Unicorn (Ballan-Doubleday, Winston, Western Publishing and oth-tine/Del Rey, 1976), Whisper of Glocken (Harcourt/
ers, and for several years they illustrated every sort of Odyssey, 2000), Voyage of the Bassett: Islands in children’s book. They won several awards from the the Sky (Random House, 1999), Winter World Society of Illustrators, and also expanded into adver-

(Pageant, 1988), X-Men: Smoke and Mirrors (Boule-tising art, magazine art, and paperback cover art.

vard, 1997).

In 1975 the brothers noticed an invitation to M
artists on the back of a Tolkien Calendar, featuring AGAZINES ILLUSTRATED INCLUDE

FTC: 1980 (4)

art by Tim Kirk*, published by Ballantine Books, ROF : 1999 (8)

asking for submissions from artists for future calen-FUT: 1979 (1)

dars. The twins had been fans of Tolkien and his Lord of the Rings for years, and decided to submit art to Ballantine. As his brother Greg remembered Hildebrandt, Tim
it later however, the calendar was Tim Hildebrandt’s ( January 23, 1939–June 11, 2006). American idea. “I wanted to pursue gallery art at that point, but artist. Born in Detroit, Michigan, Timothy Allen Tim was pushing and pushing” on the J.R.R.

Mark Hildebrandt was one of identical twins born Tolkien trilogy, “and then I read it and said OK.”

to George and Germaine Hildebrandt, born five Their submission resulted in the immediate offer of minutes after the birth of his brother, Greg Hilde-a contract. The 1976 J. R. R. Tolkien Calendar was a brandt*. As half of the Brothers Hildebrandt team—
huge success and established the Hildebrandt broth-famed for their “The Lord of the Rings” calendars in ers as important fantasy artists. The twins were im-the 1970s, and their posters for the original “Star mediately signed for the 1977 calendar and also were Wars” movies — much of Tim’s early life parallels commissioned by Del Rey to illustrate Terry Brooks’

that of his twin; both were interested in art, science new novel, The Sword of Shannara, which was very fiction, comic books, and movies, and both found much in the style of Tolkien. They created a num-their parents highly supportive of their creative ef-ber of paintings and black-and white illustrations in forts. Both brothers attended Avondale High School, the Tolkien vein, and their art helped propel the served for a short time in the Army reserve, and then book onto the best seller list. In 1977 Tim and his attended the Meinzinger School of Art in Detroit brother were awarded a Gold Medal from the Soci-for eight months; this was their only formal art train-ety of Illustrators for the best book cover of the year.

ing.

Their work was exhibited at several single and joint The twins’ first job was with the Jam Handy or-exhibitions and was included in the 1978 national ganization in Detroit, a company that produced in-retrospective group show sponsored by Museum of

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the City of New York, “200 Years of American Illus-the New York Society of Illustrators, entitled “The tration.”

Artist and the Environment.” Known for the rich-Feeling stifled after years of illustrating others’

ness of color and intensity he brought to his art, his creations, and learning that Ralph Bakshi did not brother said of him in an interview, 2006 “Tim have plans to use their talents in his film version of Hildebrandt was obsessed with color and light.

the Lord of the Rings, Tim and Greg came up with an Among his favorite artists were Thomas Hart Ben-idea for their own movie, based on their own story.

ton, the prominent American artist and muralist, Conceived first as a movie, Urshurak was sold to and the legendary illustrator N.C. Wyeth.”

Bantam Books as a novel, written and illustrated by In 1993, the Brothers Hildebrandt reunited. Al-The Brothers Hildebrandt. The brothers worked although they continued to pursue their individual most exclusively on this project for more than a year.

careers, much of the work they created through the Their only break was to do the original movie poster end of that decade and beyond, was created together.

for Star Wars, a project they completed in two days Their first collaboration, although it was credited to of continuous painting — which became one of the Greg on the cover, was a Dragon Pop-Up Book for most recognized and best selling movie posters of Little, Brown. This was followed with a series of all time.

horror steins for Gerz, Inc., which were used for a Urshurak in book form generated little excite-Budweiser promotion, and three posters for Marvel ment. The art was the usual fine work, with some Comics depicting Captain America, The Silver Surfer, pieces dazzling, but the story was unexceptional. It and the X-Men. This assignment led to numerous was in the Tolkien tradition but not innovative others in the comic book field, and to the creation of enough to be memorable on its own. The movie hundreds of pieces of artwork for such publications project, which was the actual reason for the book such as Fleer’s Marvel Masterpieces Card Set depict-and the art, never sold. Instead, the book served as ing the Marvel Universe (1994), a fully painted a turning point in the brothers’ careers.

graphic novel, Oasis, based on Marvel’s X-Men 2099

It was during the project that the brothers deseries, which was published in 1996, and Shadows of cided to pursue separate careers. They had been the Empire, George Lucas’s novel set in the ongoing working together most of their lives and finally felt Star Wars saga. Until Tim’s health declined, the the need for independent work. They had painted brothers worked on numerous trading card and movie posters for the films Young Frankenstein (not comic-art related projects, including card art for used), Barbarella (1977) and Clash of the Titans Magic: the Gathering, film concept work, and an art (1981)—and that stood as their last work together for book, Star Wars: The Art of Greg and Tim Hilde-many years. Both continued in art, but each went brandt (1997). Both Greg and Tim’s work have been in a different direction. After the brothers broke up, shown at numerous galleries and museums, among they didn’t speak for several years, until in 1993 they them: the Franklin Mint Museum in Franklin, PA; once again reunited and began doing art for comic-Every Picture Tells a Story in Los Angeles; the book publishers Marvel (“Spider-Man,” “X-Men”) Alexander Gallery, NY; Elizabeth Stone Gallery in and DC (“Superman”) and, in 1995, a daily comic Birmingham, Michigan. In 2001 Watson Guptill strip, an updated version of Milt Caniff ’s “Terry along with Spiderwebart released the most complete and the Pirates,” which ran for only a year. During compilation of Hildebrandt Tolkien art in one book, their time apart, they were able to demonstrate that Greg and Tim Hildebrandt, The Tolkien Years. Enter-each had their own style of expression and career tainment Calendars has also re-issued the Tolkien goals.

calendars, the first of them released in 2002.

Tim went on to illustrate many calendars, and Tim Hildebrandt died in New Brunswick, N.J.

covers of numerous science fiction and fantasy mag-from complications due to diabetes. He was survived azines and books, including Starlog, Amazing Sto-by his mother, Germaine, sister, Janie, wife, Rita, ries, DAW Books, NAL/Signet, and Warner Books, son, Charles, nieces, Mary, Laura and Elizabeth, and among others. He won an Award of Merit at the So-nephew, Gregory. Greg Hildebrandt said of his ciety of Illustrator’s Annual Show for the cover illus-brother: “He’s in my hand, eyes, mind, art, soul. He tration of The Children of Arabel in 1987. Tim also always has been from birth, and he still is.”

created porcelain Christmas Village pieces for Na-Sources: Tim and Greg Hildebrandt Web site www.broth-tional Rennoc, and artwork for plate series for “Mer-ershildebrandt.com; Tim Hildebrandt Memorial at www.spiderwebart.com; “Tim Hildebrandt Remembered: Twin Sons maids of the Sea” and a Royal Copenhagen series on of Star Wars” June 29, 2006 online at www.starwars.com [ac-

“Danish Fairy Tales.” His images were used as adver-cessed November 2007]; Obituary online posted by the Asso-tising for AT&T and Levi’s, on packages for video ciation of Science Fiction and Fantasy Artists www.asfa-games, such as the Parker Brothers game based on the art.org; “Remembrances: Tim Hildebrandt” Society of Illustrators Bulletin, vol. 66, #2, Spring/Summer 2006, p. 29; film Return of the Jedi, and on game boards. In 1990, Williams, A.J. “A Fellowship in Art” gallery article in Realms Tim was invited to participate in a show given by of Fantasy magazine, October 2006; Wells, Tish. “Tim Hilde-

Hinge

270
brandt; illustrator famed for ‘Star Wars,’ ‘Rings’” Obituary, 1987), To Warm the Earth (NAL/Signet, 1988), Trou-Knight Ridder News; Weinberg, 1988.

bled Waters (DAW, 1988), Unicorn Treasury (Dou-Collections and Anthologies
bleday, 1988), White Mountains (MacMillan Col-

(various contributing artists)

lier, 1988), Worm Ouroboros (Dell, 1991).

Di Fate, Vincent. Infinite Worlds: The Fantastic BOOKS ILLUSTRATED INCLUDE: (WITH TIM

Visions of Science fiction Art (Wonderland Press/Pen-HILDEBRANDT OR AS BY BROTHERS HILDEBRANDT) guin, 1997), Frank, Jane and Howard. The Frank Apache Devil (Ballantine, 1975), Arthur (Harper-Collection: A Showcase of the World’s Finest Fantastic Prism/Zondervan, 1996), Best of C. L. Moore (Ballan-Art (Paper Tiger, 1999), Frank, Jane and Howard.

tine, 1975), Compleat Enchanter (Ballantine, 1975), Great Fantasy Art Themes From the Frank Collection Complete Guide to Middle-Earth: From the Hobbit to (Paper Tiger, 2003), Hildebrandt, Tim and Greg.

the Silmarillion (Ballantine/Del Rey, 1978), Dying The Brothers Hildebrandt A Book About the Artists Earth (Pocket, 1977), Early Del Rey Vol. 1, 2 (Ballan-

(Maryland Funnybook Festival, 1978), Hildebrandt, tine, 1976), Earth’s Last Citadel (Ace, 1977), Eyes of Gregory Jr. Greg and Tim Hildebrandt: The Tolkien the Overworld (Pocket, 1977), Fantastic Four: To Free Years (Watson-Guptill, 2001), Norton, Jack E. The Atlantis (Boulevard, 1995), Gammage Cup (Har-Fantasy Art Techniques of Tim Hildebrandt (SFBC, court/Odyssey, 2000), Greg Hildebrandt’s Book of 1992), Simmons, Brian. The Brothers Hildebrandt’s Three-Dimensional Dragons (Little Brown, 1994), Lord of the Rings: A Pocket Companion (Running Halflings, Hobbits, Warrows and Weefolk (Warner Press Miniatures, 2002), Summers, Ian. Art of the Questar, 1991), Half-Past Human (Ballantine, 1975), Brothers Hildebrandt (Ballantine, 1978) Woods, Bob, I See by My Outfit (Ballantine, 1976), J.R.R. Tolkien: Star Wars: The Art of the Brothers Hildebrandt (Del Architect of Middle Earth (Warner, 1977), King’s Rey, 1997).

Damosel (Avon, 1978), Master of Middle Earth (Del Rey/Ballantine, 1977), Merlin (HarperPrism/Zon-Published Work
dervan, 1996), My Name is Legion (Ballantine, 1976), BOOKS WRITTEN AND ILLUSTRATED: Urshurak Out of the Dead City (Ace, 1966), Red Moon and (Bantam Books, 1979)

Black Mountain (Ballantine/Del Rey, 1977), Restoree (Del Rey/Ballantine, 1977), Rover (Tor, 2001), Run, BOOKS ILLUSTRATED INCLUDE: Angel With the Come See Jerusalem (Ballantine, 1976), Ship Who Sword (DAW, 1985), Bitter Gold Hearts (Penguin/

Sang (SFBC, 1996), Smoke and Mirrors (Berkley/

Roc, 1991), Black Lynx (Ballantine Del Rey, 1993), Boulevard, 1997), Stellar #2 (Ballantine, 1976), Stone Books of the Black Current (SFBC, 1986), Bridge of and the Maiden (Avon Eos, 1999), Sword of Shan-Dawn (Popular Library/Questar, 1991), Byworlder nara (Random House/SFBC, 1977), Taliesin (NAL/Signet, 1988), Chorus Skating (Warner As-

(HarperPrism/Zondervan, 1996), Well of the Unipect, 1994), City of Gold and Lead (Macmillan Col-corn (Ballantine/Del Rey, 1976), Whisper of Glocken lier, 1988), Day of Their Return (NAL/Signet, 1988), (Harcourt/Odyssey, 2000), Voyage of the Bassett: Is-Dealing with Dragons (Scholastic, 1992), Divine lands in the Sky (Random House, 1999), Winter Right (DAW, 1989), Dragonlance: Hammer and Axe; World (Pageant, 1988), X-Men: Smoke and Mirrors The Covenant of the Forge; The Swordsheath Scroll (Boulevard, 1997).

(TSR, Inc., 1993), Dragonslayers (Pocket/Minstrel, 1994), Dread Brass Shadows (NAL/Roc, 1990), MAGAZINES ILLUSTRATED INCLUDE:

Earth’s Last Citadel (Ace, 1977), Endgame (DAW, AMZ: 1991 (5); 1992 (1); 1993 (4)

1991), Fang, the Gnome (NAL, 1988). Fantasy Cook-FUT: 1979 (1)

book (Macmillan, 1983), Festival Moon (DAW, 1987), ROF : 1996 (8)

Fire Get (DAW, 1987), First Quest: The Unicorn Hunt (TSR, Inc., 1995), Flood Tide (DAW, 1990), Gifts of Hinge, Mike

Blood (Baen, 1992), Greenmagic (Ballantine/Del Rey, (1931–c. August 7, 2003) Considered an Ameri-1992), King of the Scepter’d Isle (Penguin/Roc, 1990), can artist, Hinge was proud of his rather exotic be-Merovingen Nights #6: Floodtide; #7: Endgame ginnings: he was born in Auckland, New Zealand, (DAW, 1990, 1991), My Name Is Legion (Ballantine with a father born in England and a mother born in Del Rey, 1994), Old Tin Sorrows (Penguin/Roc, Africa, and he was raised in a small town on a dairy 1991), Pool of Fire (Macmillan Collier, 1988), Red farm on the edge of a tropical rain forest. At a fine Iron Nights (Penguin/Roc, 1991), Smugglers Gold arts academy, and then Seddon Memorial Polytech-

(DAW, 1988), Son of Spellsinger (Warner Questar, nic in Auckland, he learned woodworking, archi-1993), Stone Movers (Warner Aspect, 1995), Sweet tectural drawing and still-life painting, then worked Silver Blues (NAL/Signet, 1987), Taking Flight (Bal-for the largest ad agency in New Zealand before em-lantine Del Rey, 1993), There Will Be Time (NAL/
igrating to the United States in 1959. He lived first Signet, 1988), Time of the Transference (Warner, in Los Angeles, California, where he attended the

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Art Center of the College of Design, and began phia. Hinge was nominated for the Hugo Award for working in advertising, both for major agencies and Best Professional Artist in 1973, and nominated for freelance for major clients J C Penny and the May 6 Locus awards in the 1970s. Never married, he was Company, among others. He was one of the most survived by a brother, and other family, in New prominent New Zealand science fiction fans of the Zealand.

1950s, and when he moved to New York City, in Sources: Correspondence and telephone interviews with 1966, he became active in fandom again. In Manhat-the artist, 2000–2003; James Steranko, The Mike Hinge Experience (Pennsylvania: Supergraphics, 1969); American Sci-tan, Hinge worked as art director for several ad agen-ence Fiction: Four Contemporary Artists. Exhibition Catalog, cies, among them Young & Rubicam and BBDO, in Centre Culturel Americain, Paris, 1979; The New Visions: A the process designing alphabets and becoming in-Collection of Modern Science Fiction Art. NY: Doubleday & volved in numerous projects that innovatively Co, 1982.

blended high tech and art, among them a cryobionic Published Work
unit designed for the film 2001: A Space Odyssey. He BOOKS ILLUSTRATED INCLUDE: Assignment in To-also produced illustrations for mainstream publica-morrow (Lancer 1972); A Choice of Gods (Berkley, tions, including two for Time magazine, featuring 1972); The Cosmic Eye (LB Books, 1979); Earth Un-Richard Nixon and Emperor Hirohito, that are now aware (LB Books, 1979); The Leaves of Time (Lancer, in the collection of the Smithsonian Institution. He 1971) Masters of Everon (Nelson Doubleday/SFBC, later moved to suburban Philadelphia, Pennsylva-1979); Mission to the Stars (Berkley, 1971); Modern nia.

Science Fiction: Its Meaning and its Future (Advent, Hinge worked colorfully, usually on poster board, 1979); Secret of the Marauder Satellite (Berkley, 1978); in a variety of styles and media: gouache, acrylics, Shagg y Planet (Lancer. 1973); When Gravity Fails marker ink, and automotive enamels, frequently (Arbor House, 1987); Transfigurations (Berkley/Put-producing works in full poster size (30" × 40") with nam, 1979); The White Hart (Pocket Books, 1979) a distinctive graphic style and vivid palette. His work was considered experimental at the time; he joined MAGAZINES ILLUSTRATED INCLUDE:

the Manhattan group “E.A.T.” (Engineers, Artists, AMZ: 1969 (11); 1970 (3, 5, 7, 9, 11); 1971 (1, 7, 11); and Technology) and appeared in “Some New Be-1972 (5, 7); 1973 (1, 3, 8, 10); 1974 (12); 1979 (9) ginnings,” a Brooklyn Museum catalog. His distinc-ASF : 1973 (7, 8); 1974 (2); 1975 (9); 1976 (4, 7, tive psychedelic style owed much to Peter Max and 9, 10, 11); 1977 (1, 2, 3, 4, 5, 7, 8, 9, 10, 12); 1978 (1, Andy Warhol, and this distinguished from other SF

2, 3, 6, 7, 8, 9, 10, 12, yearbook); 1979 (3, 4, 5, 6); illustrators of his generation. Hinge was a perfec-1993 (9)

tionist, seemingly to the point of obsessiveness, and FTC: 1969 (10); 1970 (2,4,6,8); 1971 (2, 6, 8); often worked and reworked particular themes. His 1972 (4, 10)

professional illustrations, for covers as well as inte-HM: (1982: 9)

riors, appeared in numerous genre magazines, in-FUTL: (1980)

cluding Analog, Fantastic, and Amazing, from the SS: 1980 (Spring)

late 1960s through the 1970s, and the covers he produced are considered some of science fiction’s first Holland, Brad
psychedelic art. But free-lance work dwindled when (b. 1943) American artist. Born in Fremont, publishers could not accommodate his difficult per-Ohio, Holland grew up there and in Fort Smith, sonality nor meet his demands for full artistic con-Arkansas. He was always interested in art, and took trol over reproduction of his work, which left him at one art class in the ninth grade, but has had no other various junctures completely impoverished and deformal training. He did pen-and-ink drawings be-pendent on the charity of fellow artists and friends.

cause it was the first medium he found that he could Jim Steranko* recognized his off beat talent and gave work in without instruction, and began submitting him work in Mediascene, his own trade magazine, cartoons to magazines while still in high school.

later championing his work by publishing a portfo-After graduation, at the age of seventeen, Holland lio of his work, The Mike Hinge Experience (Super-moved to Chicago and found his first employment graphics, 1969) and a series of eight posters, collec-in a tattoo parlor. Later he worked for John Dioszegi tively titled The Mike Hinge Electric Poster Trip as a “short order artist” doing small illustration jobs.

(1970–1972). Several works were exhibited at the Moving to Kansas in 1964, Holland worked briefly American Cultural Center in Paris (1979). In 1984, for Hallmark cards and also formed Asylum Press he was an impromptu guest of honor at the New

“to print eccentric projects with friends.”

Zealand National convention. His last professional In 1967 Holland moved to New York City and commission was in 1993, for an Amazing Magazine was soon being published in underground newspa-cover. During that same year, he was honored with pers such as New York Free Press, The Rat, Screw, The an exhibit of his portraiture, at a library in Philadel-East Village Other, as well as major publications like

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Playboy, Avante-Garde, and Evergreen Review. His copyright issues affecting illustrators. Communication ink drawings in the counterculture press brought Arts published his attack on the Orphan Works him to the attention of the editors of the New York Amendment “License to Infringe” ( July, 2006), and Times, and in 1971 he became one of the founding in the same year testified on behalf of the illustration artists of the Op-Ed page. His art in Playboy led to community on that pending legislation before the paintings that have appeared in nearly every main-Judiciary Committees of both the U.S. House of stream magazine, including Time, Newsweek, Red-Representatives and the U.S. Senate.

book, The Atlantic Monthly, and The New York Times Sources: www.bradholland.net; Illoz portfolio site at Magazine. Over the years, Holland’s clients have ex-www.illoz.com/bradholland [accessed May 2007]; Reed, Walt.

The Illustrator in America 1860–2000, 3rd, ed. NY: Society panded to include advertising, record albums, and of Illustrators, 2001;The Vadeboncoeur Collection of Knowl-most other forms of commercial art. He has painted edge, Jim Vadeboncoeur, Jr. 2000 online www.bpib.com/il-CD covers for Ray Charles, Stevie Ray Vaughn and lustra2/holland.htm; Weinberg, 1988.

Billy Joel. He has designed a postage stamp of Indian Published Work
chief Crazy Horse and has produced a ten-by-thirty-Alph (SFBC, 1972), Beyond the Beyond (SFBC, foot mural for the United Nations Building in New 1969), Cities in Flight (Overlook, 2005), God Em-York.

peror of Dune (Putnam’s, 1981), Outside the Dog Mu-While science fiction has not been the focus of seum (Orb, 2005), Time of Changes (SFBC, 1971).

Holland’s career, much of his work is fantastic in feel; it is dark, bizarre and surreal. His visual style, which has been called deceptively simple, often re-Hollander, Jason Van
lies on unusual “punning images,” which shock and (September 9, 1949) American artist. For his 10th surprise “while forcing the viewer into unavoidable birthday Hollander received a book of Bruegel art-recognition of the underlying truth in his pictorial work, and a copy of The Macabre Reader (an anthol-commentary.” ( Illustrator in America, p. 383). In ogy that included “The Thing on the Doorstep” by 1977 Thomas Y. Crowell (Push Pin Press) published H. P. Lovecraft). The books led to intense interest in Human Scandals, a social commentary using Hol-weird fiction and art and inspired Hollander as a land’s ink drawings, bringing Holland much ac-teenager to contact Arkham House publishers, col-claim. His drawings and paintings have been exhib-lect their books, and correspond with its founder, ited in museums around the world, including the August Derleth. After graduating in 1971 with a BA Louvre in 1974 and the U.S. Library of Congress in in Graphic Design from the Philadelphia College of 1979. Holland’s work began to appear in the Society Art, Hollander became a professional graphic de-of Illustrators annuals with #11 (1970), and he has signer. His artistic influences include 17th-19th cen-won more awards presented by the New York Soci-tury French and British artists such as Rodolphe ety of Illustrators than any other illustrator in its Bresdin, Monsu Desiderio, Samuel Palmer, Atkin-history. He twice received the Playboy Editorial son Grimshaw, and the twentieth century artist Award, and has been awarded gold medals from the Frank Utpatel*, known for dark fantasy illustrations Art Director’s Club of New York, the Society of Ilfor Arkham House. Hollander’s first published illustrators, the Society of Publication Designers, and lustrations were the cover art and frontispiece for the Spectrum Gold Award for book illustration, New Tales of the Cthuhu Mythos, for Arkham House 2005. Holland won the Society of Illustrators (1980), and he has designed and illustrated several Hamilton King Award in 1991, and in 2005 he was books, maps, catalog covers and promotional mainducted into the Society of Illustrators Hall of terials for that publisher.

Fame. In 1999, he was voted by the editors of RSVP, Hollander is known for his uniquely grotesque the artist’s directory, as the one artist who has had the imagery, “nightmarish but whimsical,” in which the single greatest impact on the illustration field during central motifs are consistently depictions of archi-the last twenty-five years. Holland is a member of the tectural and spatial distortion. The artist suffers from Alliance Graphique International and co-founder of agoraphobia, a malady he believes is reflected in his the Illustrators’ Partnership of America. His art is choice of themes, and execution. The paintings are in the permanent collections of the National Por-rendered with precision, in a relatively small size, trait Gallery, the Library of Congress and corporate slowly, and with great effort. “In an ordinary year,”

collections.

Hollander writes, “I produce about six to eight Holland also writes on art-related topics, and miniatures — watercolors that are 8 x 10 inches or teaches. His writings on art have appeared in diverse smaller.” Hollander’s preferred subject matter lim-publications, ranging from his often quoted “Exits his literary and magazine assignments, but his art press Yourself, It’s Later Than You Think,” a satire has been widely seen and appreciated by fans of of the art business (first published in the Atlantic small press publishers of weird fiction, and he occa-Monthly, 1996), to articles on reproduction and sionally sends in examples of his art to be displayed

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at genre conventions in the New York area. Hollan-ward the Light (Wildside Press, 2000), More Tales of der won the World Fantasy Award for Best Artist in the Uneasy (Ash-Tree Press, 2005), Necromancies and 2000 and 2004, and was a judge for the Award, Netherworlds (Wildside Press, 1999), New Tales of 2002. He won the International Horror Guild Cthulhu Mythos (Arkham House, 1980), Nightscapes Award for Best Artist in 2003, and was nominated (Wildside Press, 2000), October Dreams (CD Pub-for that Award in 2001, 2002. He also received a lications, 2000), Red World of Polaris (Night Shade, British Fantasy Society award recommendation for 2003 ), Robert Bloch’s Psychos (CD Publications, Best Artist 2005. Hollander traditionally works in 1997), Shadows and Silence (Ash-Tree Press, 2000), pen and ink enhanced with watercolor. He also uses Strange Tales #8 (Wildside Press, 2004), The Thomas computer techniques to create unusual illustrations Ligotti Reader (Wildside Press, 2003), We’ve Been based on his watercolor paintings and photographic Waiting for You (Ash-Tree Press, 2000), The World, images.

The Flesh and the Devil: The Collected Stories of GerIn addition to his art career, Hollander is a pub-ald Kersh (Ash-Tree Press, 2006).

lished author of fantasy fiction and non-fiction. His MAGAZINES ILLUSTRATED INCLUDE:

stories have appeared in anthologies and magazines MZB: 1989 (Fall); 1991 (Winter)

( Weird Tales, MZB Fantasy Magazine), semi-prozines ST: 2004 (1)

Dealthrealm) and fanzines. He collaborated (with WFH: 1994 (Summer); 1995 (Spring); 1996

Darrell Schweitzer) on several short stories, among (Summer)

them one included in Necromancies and Nether-WT: 1989 (Winter); 1990 (Spring, Fall, Winter); worlds, nominated for the World Fantasy Award for 1991 (Spring, Fall, Winter); 1993 (Spring); 1998

Best Story Collection, 2000 and for which Hollan-

(Spring, Fall); 1999 (Summer, Spring, Fall); 2001
der provided the cover art. Other collaborations in-

(Summer, Fall); 2003 (Spring, Sept/Oct); 2004
clude a series of jointly signed, limited edition prints (Winter)

inspired by fictional works of well-known fantasy writers. Hollander’s own “Hell Stamp” series of limited edition prints is representative of his singular Horne, Daniel Robert
imagination: these consist of gallery quality repro-

(b. June 3, 1960) American artist. Born in Pitts-ductions of imaginary stamps featuring demons and burgh. Pennsylvania, Horne grew up in a home imps, each 1.5" × 2" stamp appearing in groups of where his mother and grandmother were doll artists.

four, on an image area of 4" × 5" printed in fine-art His imagination was fired by the paintings and style on heavy watercolor stock. Hollander is mar-sculptures in the Catholic church he attended as a ried to Terry Van Hollander and has one daughter, child, which suggested the possibilities of telling his Selina.

own stories through art. He was introduced to Sources: Correspondence from the artist July 2005;

“sword and sorcery” and Frank Frazetta* through www.jasonvanhollander.com; www.arkhamhouse.com 1970s Ballantine books and this influenced his deci-Published Work
sion to become a fantasy illustrator. Horne graduated BOOKS ILLUSTRATED INCLUDE: Acquainted With from York Academy of Art in Pennsylvania in 1982
the Night (Ash-Tree Press, 2004), Across the Border: where he studied with noted western and historical More Tales of Corporate Horror (Subterranean Press, painter Ken Laager, “a 7th generation Howard Pyle 2005), At Ease With the Dead (Ash-Tree Press, student,” Horne says, who “instilled in me the im-2005), Attack of the Jazz Giants (Golden Gryphon portance of making the characters ring true, and to Press, 2005), The Boats of the “Glen Carrig” and other breath life into them.” (Frank, 1999). Two months Nautical Adventures (Night Shade, 2003), The Cock-out of art school, Horne got his first full color assign-atrice Boys (Tor, 1996), The Collected Fiction of Clark ment, a back cover of Heavy Metal magazine, and Ashton Smith, Vols. I-V (Night Shade, 2005–2006), since then has always made his living as an artist.

The Collected Fiction of William Hope Hodgson, Vols His art training, combined with a native love of I-V (Night Shade, 2003–2006), Collected Poems story telling and fable, gives his work a traditional feel (Arkham House, 1981), Couching at the Door (Ashand translates into highly realistic fantasy paintings Tree Press, 2001), (map) The Darkling (Arkham with a dark side; a blend of focused characteriza-House, 1982), The Dealings of Daniel Kesserich (Tor, tion, bold and dark colors, and imaginative settings.

1997), Discovering H. P. Lovecraft (Wildside Press, Horne is particularly adept in depicting believable 2001), Divinations of the Deep (Ash-Tree Press, fantasy creatures and characters, whether painted or 2002), The Door of the Unreal (Ash-Tree Press, sculpted.

2002), Dragonfly (Arkham House, 1999), The Ghost Horne has created more than 200 book covers —

Pirates (Ash-Tree Press, 2003), The Gist Hunter and fantasy paperback covers for major publishers in Other Stories (Night Shade, 2005), The Great World New York, as well as young adult, romance and ad-and the Small (Wildside Press, 2001), Groping To-venture books. His work was featured in Spectrum 2:

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The Best in Contemporary Fantasy Art (1995). For (Ace, 1992); The Barbed Coil (Orbit, 1998), Battle-many years Horne was the cover artist for the Hardy dragon (Penguin/Roc, 1995), Bazil Broketail (Pen-Boys series, and he illustrated children’s books for guin/Roc, 1998 ), Belgariad, Vols I & 2 (Doubleday/

Scholastic, Golden Books, and Doubleday Books BCE, 1984), Blood River Down (Tor, 1986), Brother for young readers. Since 1990 he has painted covers to Shadows (AvoNova, 1994), Caledon Sage: 1 Cale-for TSR(™) and their popular DragonLance book don of the Mists; 2 Queen of Ashes; 3 City of Exile line, and Dragon magazine. He has illustrated posters (Ace, 1994, 1995, 1997), Children of the Night (Tor, and toy packaging art, including superhero posters 1990) Conan and the Grim Grey God (Tor, 1997), for Marvel Comics, blister card art for the Batman Corean Chronicles: 1 Legacies; 2 Darkness (Tor, 2003, Forever, Congo, and Jurassic Park action figure lines, 2004), Crafters Vol 1, Vol 2 Blessings and Curses (Ace, and box art for many of the G.I.Joe action figure 1991, 1992), The Deepest Sea (Penguin/Roc, 1996), dolls. Horne’s studio has always been in his home, Demons in the Green (Avon, 1996), Deryni Chroni-and his family and friends often become part of the cles: Deryni Rising, Deryni Checkmate, High Deryni compositions. He puts meticulous effort into his (Doubleday SFBC, 1983), Down Among the Dead preparations for paintings, making detailed sketches Men (Penguin/Roc, 1993), Dragons of War (Pen-and drawings, and doing his own photography with guin/Roc, 1994), A Dragon at Worlds’ End (ROC, his own models to get his characters “right” in con-1997), Dragons of Argonath (Roc, 1998), Dream-ceptual form. Horne makes his own costumes and seeker’s Road (Avon, 1996), Dwellers in the Mirage armor and has a library of books he consults for (Macmillan Collier, 1991), The Endless Knot (Avo-guidance on ancient historical details. His final Nova, 1994), The Fabulist (Avon, 1993), The Face in paintings are usually in oil on masonite, canvas or il-the Abyss (Macmillan Collier Nucleus, 1992), Fire-lustration board.

shaper’s Doom (Avon, 1986), Forging of the Shadows In the late 1990s Horne turned his focus to sculp-

(ROC, 1997), Fractal Mode (Ace, 1992), Game’s End ture. His first effort was a 28" Gandalf doll, modeled (Avon, 1996), The Hero King (Penguin/Roc, 1992), after the well-known character from J.R.R. Tolkien’s Hidden Realms (AvoNova, 1993), Hounds of Gold Lord of the Rings. Costumed by Horne, and totally (Doubleday/BCE, 1985), Incorporated Knight (Baen, lifelike in mien, it was nominated for a Chesley 1988), Ithanalin’s Restoration: A Legend of Ethshar award in 1997. This led to designing and sculpting (Tor, 2002), Last Star at Dawn (Roc, 2000), The action figures based on Tolkien’s Lord of the Rings List of 7 (Avon, 1994), Little People! (Ace, 1991), Lotus for Toy Vault’s Middle Earth toy line. For Warner and the Rose (Warner Questar, 1993), Magicians of toys, he designed and sculpted several figures in their Erianne (Harper and Row, 1988), Marble Heart (Ace, Sports Warrior action figure line. His sculptures have 1998), Medallion of the Black Hound (Harper & Row, won the Gold and Silver awards at the Phantom Fig-1989), My Son, My Wizard (Del Rey/Ballantine, ure festival in both 1999 and 2000. In 1999 Horne 1997), Night of the Bat (Hyperion Press, 2001), Out formed his own company, Flying Carpet Studioz, of the Ordinary (Harper & Row, 1990), Paradise War creating sculptures for resin model kits based on his (AvoNova, 1993), Quest for the White Duck: 1 Blood own designs and maquettes for the film industry. In River Down; 2 Web of Defeat; 3 Agnes Day (Tor, 2007 he was commissioned by Ashton-Drake to 1987), Rise of a Merchant Prince (Morrow, 1995, sculpt a series of figures representing The Seven Avon, 1996), Shards of a Broken Crown (Avon, 1998), Deadly Sins and The Seven Heavenly Virtues. He also Ship of Ishtar (Macmillan Collier, 1991), Silver Hand has a line of one-of-a-kind limited edition fantasy art (Avon, 1993), Six Messiahs (Morrow/Avon, 1995), dolls. In recent years he has largely replaced book il-Snare (Tor, 2004), Song of Albion (AvoNova, 1993), lustration assignments with fantasy pin-ups and por-Spiral Dance (Morrow, 1991), Stations of the Tide traits of famous fantasy/horror film characters. SQP

(AvoNova, 1992), A Sudden Wild Magic (Morrow Publications published The Daniel Horne Sketchbook AvoNova, 1992), Sword for a Dragon (Penguin/Roc, (Vol. 1) in 2003. Horne lives in Cherry Hill, New Jer-1998), Through the Ice (Underwood-Miller, 1989, sey with his wife Joy and their children Jennifer and Baen, 1992), Tom’s Midnight Garden (Harper Tro-Andrew.

phy, 1992), A Trial of Magic (Penguin/Lodestar, Sources: Correspondence from the artist, April 1999; 1992), A Troubling Along the Border (AvoNova, 1991), Frank, Jane. “Just the Right Mix of Media: The Art of Daniel The Unified Field (AvoNova, 1996), Virtual Mode Horne” Realms of Fantasy #31, October 1999; Feature: “New Middle Earth Toys From Toy Vault” Action Figure News and (Ace, 1991), Vote of Intolerance (Tyndale House, Toy Review, July 1998; www.geocities.com/danielrhorne/; 1997), Web of Defeat (Tor, 1987), The Wireless Stars http://redhotplanet.net/i_horne_daniel.htm (Wensum, 1972), Wizard and the Floating City (Roc, 1996), Wolves of Autumn (Warner, 1992), Wooden Published Work

Sword (Ace, 1991), Year’s Best Fantasy Stories 13

BOOKS ILLUSTRATED INCLUDE: Above the Lower (DAW, 1987).

Sky (Morrow, 1994), The Adept: The Lodge of the Lynx

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GAME-RELATED ILLUSTRATIONS INCLUDE: AD&D
ever since I first read them, long before illustration Dungeon Master Screen, 2nd Ed. (TSR, Inc., 1989), became my profession.” He is now most widely Arms and Equipment Guide (TSR, Inc., 1991), Book known for his works based upon Tolkien’s stories of Familiars: d20 System (Troll Lord Games, 2004), and his concept and design work for the award-win-Chaos War series: 1 Doom Brigade; 2 Last Thane; 3
ning Peter Jackson Lord of the Rings film trilogy.

Tears of the Night Sky; 4 Puppet King; 5 Reaver of the With Alan Lee* as his collaborator, Howe worked on Blood Sea; 6 Siege of Mt. Nevermind (Wizards of the location in New Zealand, producing illustrations Coast, 1998), Dark and Hidden Ways (TSR, Inc., that led to the design of the details, characters, atmos-1990), DragonLance: Tears of the Night Sky (TSR, phere, and overall image of the films, from sets to Inc., 1998), Dragons of Spring Dawning (Wizards of characters, costumes, backgrounds, and computer the Coast, 2000), Monstrous Compendium, Vol 2
animations. Howe also worked on the initial con-

(TSR, Inc., 1989), Phantom of the Northern Marches ceptual images for Narnia: The Lion, The Witch, and (Iron Crown Enterprises, 1986), Shattered Statue The Wardrobe (2005) and built sets for King Kong (TSR, Inc., 1987), Talons of Night (TSR, Inc., 1987), (2005).

Torg: Aysle; Cyberpapacy; Dragons Over England; Liv-While his bibliography documents his capacity to ing Land; Nile Empire; Strange Tales from the Nile create commercial art for a wide range of applica-Empire; Torg (West End Games, 1990, 1991, 1992), tions, Howe seems happy to now be associated solely Torg: The Possibility Wars: 1 Storm Knights, 2 The with heroic/historical fantasy. “It seems to me that a Dark Realm, 3 The Nightmare Dream (West End, lot of my early commissions were nightmares — po-1990), World Builder’s Guidebook (TSR, Inc., 1996), litical cartoons, magazine illustrations, comics, ani-Wild Things (TSR, Inc., 1990).

mated films, advertising — starting one cover seven M
times, redoing sketches so many times there was AGAZINES ILLUSTRATED INCLUDE:

AMZ: 1989 (1); 1990 (5)

nothing of mine left in them, wondering just how the ASF : 1986 (1)

devil I’d ended up in this profession.” ( Myth and DRA: 1986 (5); 1987 (10, 12); 1988 (5); 1989 (1, 4); Magic, 2001). This changed in 1987 when he received 1995 (2)

his first commissioned work for a Middle Earth cal-DUN: 1987 (3/4); 1988 (1/2, 3/4)

endar from Harper Collins, and then began working for the Time-Life Enchanted World series of books, with titles like Water Spirits, and Dwarfs. His paint-Howe, John
ings for the Time-Life displayed Howe’s knowledge (August 21, 1957) Canadian Artist. Born in Van-of the medieval world. He was then able to shift to couver, Howe grew up in the Interior of British Co-British and American publishers such as DAW, Tor, lumbia. He finished high school in Keremeos, B.C.

Grafton, HarperCollins in the early 1990s, and to in 1975 and then spent one year at Schiller College focus more exclusively on fantasy work. When the call International in Strasbourg, France, and then at-came from Peter Jackson in 1997, to work on his tril-tended the Ecole des Arts Décoratifs de Strasbourg, ogy, Howe was prepared.

France graduating with a diploma in illustration in Howe has a passion for authenticity in weapons, 1981. In the same year, he moved to Switzerland to armour and fighting styles, forged from his long-work on an animated feature film, and decided to re-term involvement in historical medieval re-enact-main there once the project was over. In his teen ment, and these are reflected in his art. His paintings years, Howe writes that he was “VERY much”

are vivid in imagery and details, and a visionary influenced by Frank Frazetta*, and then artists like scope that dramatizes the scene. “He is a true Goth-Barry Smith, Berni Wrightson*, Jeff Jones* and icist in his art, and in the liveliness of his mind, his Michael Kaluta*. He discovered Gustave Doré insatiable curiosity and in his genuine love for the

“around fifteen or so (bargain-priced book in a su-values of chivalry as well as its trappings.” (Alan Lee, permarket, of all places).” After that, the influences in Myth and Magic, 2001). Howe’s techniques are become too numerous to list: Largely turn-of-the-mainly watercolours and inks on paper. More re-century painters and illustrators: the Symbolists, the cently he has added digital techniques to his Decadents, Pre–Raphaelites. “I owe a huge amount repetoire, and uses them if the job calls for it. He to my high school art teacher in Grade 12,” he says, also colored pencils, acrylics, airbrush and pastel,

“who provided the first encouragement outside im-and for sketching he uses a 3 or 4B pencil. In years mediate family, and to my illustration professor in past he has signed his work with a distinctive logo de-Strasbourg.”

sign based on his initials “JH.” He has since turned Decades ago, Howe became inspired by J. R. R.

to using a variation of that, distinguished by small Tolkien’s Lord of the Rings and through time has be-dots placed around the signature to indicate the pic-come a renowned visual source for all things Tolkien.

ture number and order that year, and occasionally the As he says, “I have been illustrating Tolkien’s books client or author.

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Howe’s art, especially Tolkien-related works, have Fantastic (DAW, 1998), Castle Fantastic (DAW, been exhibited widely in galleries and other public 1996), Castle Storm (Corgi, 1998), Changing Fate spaces in his adopted country, Switzerland, Belgium (DAW, 1994), Chimeras (Grafton, 1992), Christmas and France, from the mid 1990s and ongoing. Two Bestiary (DAW, 1992), Chronicles of Amber (Orion/
biographical documentaries on the artist have been Millennium, 2000), Cloak of Night and Daggers produced: Lord of the Brush, a CanadianTelevision (DAW, 1997), Complete Guide to Middle-Earth production, was aired 2005, and featured commen-

(HarperCollins U.K., 1993), Cup of Morning Shad-tary by Peter Jackson, Alan Lee, Howe’s wife, Fa-ows (DAW, 1995), Cygnet and the Firebird (Ace, taneh, and Robin Hobb (many of whose fantasy 1993), Darkest Road (Grafton, 1992), Dark Heart books Howe has illustrated). Another creative doc-

(HarperPrism, 1998), A Dark Way to Glory (Ace, umentary feature was produced by a Swedish film 2003), Devil in the Dust (Ace, 2003), Diversity of company, John Howe: There and Back Again, which Dragons (HarperPrism, 1997), Dragon-Charmer aired in 2003, and was again screened in New (HarperCollins/Voyager, 2000), Dragon Fantastic Zealand in 2008. Howe has also been featured in (DAW, 1992), Dragon’s Touchstone (DAW, 1997), several short films related to Jackson’s Lord of the Echoes of the Great Song (Bantam U.K., 1997), Elf Rings movies: J.R.R. Tolkien: Origins of Middle-Fantastic; Elf Magic (DAW, 1997), End of All Roads Earth (2003); The Making of “The Lord of the Rings”

(Ace, 2003), Fellowship of the Ring (Grafton/Harper-

(2002) and one television feature produced by Na-Collins U.K., 1991), Finn and Hengist: The Fragment tional Geographic, Beyond the Movie —The Lord of and the Episode (HarperCollins U.K., 1998), Feast of the Rings (2001).

the King’s Shadow Ace, 2003), Fool’s Errand; Fool’s Howe Lives in Neuchatel, Switzerland with his Fate (HarperCollins/Voyager, 2001, 2003), Gaslight wife, Fataneh, who is also an illustrator, and his son, Geezers (Transworld/Corgi, 2001), Gate of Ivory Dana.

(HarperCollins/Voyager, 1998), Glass Dragon (DAW, Sources: correspondence from the artist and artist website 1994), Golden Fool (HarperCollins/Voyager, 2002), at www.john-howe.com; BBC Blast Profile: John Howe www.

Harpy’s Flight (HarperCollins/Voyager, 2002), Hid-bbc.co.uk/blast/art/profiles/artprofile jhowe.shtml [May 9, 2005]; Alan Lee afterword in Myth and Magic online www.

den Dragon (DAW, 2002), History of Middle-Earth john-howe.com/biography/afterword.htm; There and Back Index (HarperCollins U.K., 2002), Hobbit (Grafton/

Again documentary at www.johnhowedocumentary.com HarperCollins U.K., 1991), Hour of the Dragon (Orion/Gollancz, 2001), Into the Green (Tor, 1993), Collections/Anthologies

Last Battlemage (DAW, 1998), Knight’s Dawn (Little (various contributing artists)

Brown/Orbit, 2001), Lays of Beleriand (Grafton, Allen, Judy. Fantasy Encyclopedia: A Guide to Fab-1993, Ballantine Del Rey, 1994), Lions of Al-Rassan ulous Beasts and Magical Beings — From Elves and (HarperCollins U.K., 1995), Loneliest Magician Dragons to Vampires and Wizards (Kingfisher, 2005), (DAW, 1996), Lord of the Rings (Grafton/Harper-Jude, Dick. Fantasy Art Masters (HarperCollins, Collins U.K., 1992), Lord of Snow and Shadows 1999), Frank Howe, John. Myth and Magic: The Art (Transworld/Bantam U.K., 2003), Lost Road of John Howe (HarperCollins U.K., 2001), Howe, (Grafton, 1993, Ballantine Del Rey, 1996), Mad Ship John. Myth & Magic Poster Collection (HarperCollins (HarperCollins/Voyager, 1999), Mammoth Book of U.K., 2001), Howe, John. John Howe Fantasy Art Fantasy (Robinson, 2001), Map of Tolkien’s Beleriand Workshop (Impact, 2007), John Howe Artbook (Nesand the Lands to the North (HarperCollins U.K., tiveqnen Editions, Aix-en-Provence, 2004), Sibley, 1999), Map of Tolkien’s Middle-Earth (HarperCollins Brian. There and Back Again: The Map of the Hob-U.K., 1994), Meditations on Middle-Earth (St. Mar-bit (HarperCollins, 2000).

tin’s, 2001), Memory & Dream (Tor/SFBC, 1994, Macmillan U.K., 1995), Merlin (DAW, 1999), A Published Work

Midsummer’s Nightmare (Corgi, 1997), Mistress of BOOKS WRITTEN AND ILLUSTRATED: The Knight the Pearl (Tor, 2004), Morgoth’s Ring (HarperCollins with the Lion: The Story of Yvain (Little Brown, 1996) U.K., 1994), Mythago Wood (HarperCollins/Voy-BOOKS ILLUSTRATED INCLUDE: Angel’s Command ager, 1998), Oceans of Magic (DAW, 2001), Once and (Penguin/Philomel, 2003), Ash: A Secret History Future King (HarperCollins U.K., 1996), Orthe: (Orion/Gollancz, 2000), Assassin’s Apprentice Chronicles of Carrick V (Orion/Gollancz, 2002), Peo-

(HarperCollins U.K., 1995), Assassin’s Quest (Harper ples of Middle-Earth (HarperCollins U.K., 1997), Collins/Voyager, 1997), Beyond the Safe Zone: Col-People of the Black Circle: Conan Chronicles #1
lected Stories of Robert Silverberg # 3 (HarperCollins (Orion/Millennium, 2000), Perfect Princess (DAW, U.K., 1995), Book of Lost Tales Part 1, Part 2 (Grafton 1995), Pluto in the Morning Light: Collected Stories U.K./Ballantine Del Rey, 1992), Born of Elven Blood of Robert Silverberg #1 (Grafton, 1992), Prisoner of (Simon & Schuster/Atheneum, 1995), Cage of Nine Ironsea Tower (Bantam U.K., 2004), The Quenta, Banestones (HarperCollins/Voyager, 2003), Camelot The Ambarkanta and the Annals (HarperCollins

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U.K., 2002), Reindeer People (HarperCollins/Voy-crippled right leg. During the 1920s Howitt worked ager, 2001), Return of the King (Grafton/ Harper-in advertising, and between commercial assignments Collins U.K., 1991), Return of the Shadow (Harper-painted landscapes and portraits, traveling exten-Collins U.K., 1994), Ring of Five Dragons (Harper sively in North America. Turning to commercial il-Collins/Voyager, 2001), Ring of Intrigue (DAW, lustration, he produced cover paintings for major 1997), Ring of Lightning (DAW, 1995), Road to Mid-magazines of the day ( Pictoral Review, Liberty, The dle-Earth (HarperCollins U.K., 1997), Royal Assas-Saturday Evening Post, Colliers, Delineator), while sin (HarperCollins U.K., 1996), Sable, Shadow, and maintaining his fine art reputation as a landscape Ice (DAW, 1994), Sauron Defeated (HarperCollins painter, and exhibiting those works in prominent U.K., 1995), Season of Shadows (DAW, 1995), Secret galleries in New York, Washington and St. Louis.

Sharer: Collected Stories of Robert Silverberg #2

Through the 1930s he illustrated several books as (Grafton, 1993), Shaping of Middle-Earth (Grafton, well as stories for the newspaper supplemental sec-1993, Ballantine Del Rey, 1995), Ship of Magic; Ship tions, This Week, New York Herald Tribune, and the of Destiny (HarperCollins/Voyager, 2000, 1998), The American Sunday Monthly Magazine.

Silmarillion (Grafton/HarperCollins U.K., 1992), When the Depression struck, Howitt turned to Sir Gawain/Pearl/Sir Orfeo (HarperCollins U.K., the pulp magazines for work, and although he was 1996), Skystone (w/ Paul E. Stinson, Tor/Forge, not truly a science fiction illustrator, he painted nu-1996), A Song for Arbonne (HarperCollins U.K., merous cover paintings for magazines such as Oper-1992), Spell of Apocalypse (DAW, 1994), Summer Tree ator #5 and The Spider that featured novels border-

(Grafton, 1992), Sword in the Storm (Bantam U.K., ing on science fiction. Tom Roberts, in his biography 1998), Sword of Maiden’s Tears (DAW, 1994), Tales Be-of the artist (Adventure House, online) speculates fore Tolkien (Ballantine Del Rey, 2003), There and that Howitt may have found his way into the pulps Back Again: The Map of the Hobbit (HarperCollins through Spicy pulp artist Jerome Rozen, who rented U.K., 1995), Trader (Tor, 1997), Treason in Isengard studio space at 163 West 23rd Street — the same (HarperCollins U.K., 1995), Tower of the King’s building and on the same floor as Howitt. Rozen Daughter (Orbit, 1998), Two Towers (Grafton/
had been working for Popular Publications and HarperCollins U.K., 1991), Unfinished Tales of Nú-Street & Smith publishers, and coincidentally menor and Middle-Earth (Grafton, 1993, Harper-Howitt began working for the very same publish-Collins U.K., 1998), Veil of a Thousand Tears ers, so possibly Howitt was acting on Rozen’s advice (HarperCollins/Voyager, 2002), Wandering Fire or as a result of a personal introduction. Howitt was (Grafton, 1992), War of the Jewels (HarperCollins older than many of his contemporaries, and consid-U.K., 1995), The War of the Ring (HarperCollins ered the work demeaning, but as Weinberg notes U.K., 2002), Weird Tales from Shakespeare (DAW,

“he did more death rays, incredible scenes of attacks 1994), Welkin Weasels: Thunder Oak (Corgi, 1997), on the United States, and future war battles than Windjammer Run (Transworld/Corgi, 1999), Winter most science fiction illustrators of the time … for Warriors (Bantam/Corgi U.K., Apr ’97), Witch’s Ho-Horror Stories and Terror Tales, he did a series of as-nour (HarperCollins/Voyager, 2002), Wizard Fan-tonishing covers that remain unmatched as perfect tastic (DAW, 1997), Wolf ’s Brother (Harper-examples of the pulp vision of madness unleashed Collins/Voyager, 2001), Yarrow (Tor/Orb, 1997).

(and) if published now would perfectly complement Misc.: The Hobbit: A 3-D Pop-Up Adventure the finest horror fiction of today … the stuff of mod-Book (HarperFestival, 1999); Middle Earth collector ern nightmares” (p. 152)

card art (ICE, 1999)

Howitt’s first known pulp cover was for Popular Publications, the November 1933 issue of The Spi-Howitt, John Newton
der. He created cover art for 71 consecutive issues of (May 7, 1885–January 24, 1958) American artist.

the magazine, until September 1939, as well as other Born in White Plains, New York, Howitt was struck magazines: Dime Detective, Horror Stories, Terror with a case of polio at age four. During his recovery, Tales and Operator #5 and single titles of The Scor-his father, who was a teacher, drew pictures for the pion and The Octopus. For Street & Smith Howitt boy and encouraged him also to draw. As he got produced covers for The Whisperer, Top Notch, Clues older and his affliction limited his other physical ac-Detective and Love Story. He also worked for other tivities, “Newton” devoted himself to art and aca-publishers: Adventure and Popular Detective, and was demic subjects. He graduated from high school at adept in depicting heroines with looks of horrified age sixteen and enrolled at the Art Students league innocence. Walt Reed, in The Great American Pin-in New York City, studying under George Bridge-Up, called Howitt one of those early talented “rene-man, and then maintaining an art studio in that city gade” artists who were versatile enough to move eas-for the next fifty years. He registered for the draft ily between genres, although he thought so little of in 1918, but was prevented from service because of his his pulp paintings it’s reported he ceased to sign

Hughes

278
them as he did his fine art (with his complete name was part of a group of emerging and competitive scion a single line in legible block lettering), instead ence fiction artists from Tennessee who during most using only a “blazoned red ‘H’” (Roberts, Pulp Glos-of the 1980s and 1990s dominated science fiction art sary). In any event, examples are virtually non-exis-shows in the southeastern U.S. who coined the label tent, lending credence to the legend, reported by

“The Tennessee Art Mafia” Or “southern mafia” to Roberts, that Howitt burned all his pulp cover paint-describe the group, consisting of Kevin Ward, Alan ings out of contempt. Only one painting has sur-Clark*, Mark Maxwell, Bob Giadrosich, Mark faced, according to Robert Lesser (in private corre-Poole, Darryl Elliot.

spondence), the cover for a 1934 issue of Terror Tales, Hughes works in acrylic dry-brush and/or air-reportedly the lone survivor because it was given brush, usually on masonite board, and is known for away to the author of the lead story in that issue.

her dreamlike atmospheric futuristic landscapes as Yet, today it is his landscapes that are largely forgot-much as clean high-tech air-brushed renderings of ten, and it is his career in the pulps for which he is often vaguely disturbing settings. In recent personal recognized, one of the premier illustrators of mod-works she uses these techniques plus the palette knife ern horrors.

to create more texture. Her output is relatively low When market conditions permitted, in the 1940s, because she strives for perfection in detail and pro-Howitt returned to mainstream magazines, portrai-fessional execution.

ture and landscapes. He made his home in Port Hughes’ first published work appeared on the Jervis, New York, was married, and active in several cover of the semi-prozine Science Fiction Chronicle in art organizations. In 1957, more than 2500 people at-1989, when the magazine bought secondary rights tended his exhibition celebrating Port Jervis’ 50th to a painting she had created a year earlier. In that anniversary. The Port Jervis Area Heritage Commis-year she also attended LunaCon (SF convention) in sion published The Port Jervis Area Heritage Com-New York, where the paintings she displayed caught mission Salutes John Newton Howitt, in 1994.

the attention of publisher Jim Baen, who commis-Sources: Tom Roberts. “John Newton Howitt” Pulp Glos-sioned her to do three cover paintings. After Baen sary entry Adventure House online www.adventurehouse.com Books, Hughes received several assignments from

[accessed July 2006]; Martignette, Charles and Meisel, Louis K. The Great American Pin-Up (Taschen, 1997), ProQuest MBI/Easton Press under the then director Pam Pia Historical Newspapers: New York Times Obituary archives, who had also seen her work in that convention’s art January 25, 1958; Lesser, Robert. Pulp Art: Original Cover show. In 1992, a chance assignment for a then fledg-Paintings for the Great American Pulp Magazines (Grammercy ling local computer gaming company in Tennessee, Park, 1997); Weinberg, 1988.

Cyberflix, led Hughes to electronic media, including digital painting, animation and 3-D rendering.

Hughes, Debbie

Hughes, self-taught in computer skills, produced (b. May 14, 1958) American artist. Born in Lex-animated illustrations for all of the puppet charac-ington, Kentucky, Hughes began drawing at age 6, ters for CyberFlix’s and Paramount Pictures Inter-inspired by her grandmother, Hildegarde Hamilton, active arcade game JumpRaven, as well as doing an-a well-known American impressionist and landscape imation work for their game Dust. Hughes left artist (1920–1970), and her mother, Meldagonde Cyberflix in 1995 to work for The Bookworm, pub-Hamilton, an occasional portrait painter who taught lisher of literary classics on CD ROM, returning to her the basics of figure work. Her father, Harry painting images on board that were later scanned in Mack Hughes, was a professional sports photogra-and used in the product. Hughes also produced art pher who died when Hughes was two years old. The for several Collectible Game Card companies.

artist grew up in Atlanta, Georgia, later receiving a Throughout her commercial career Hughes has pur-Bachelor of Fine Art cum laude from Furman Uni-sued a following for her personal, unpublished versity, South Carolina (1981). For a time Hughes works. Hughes has exhibited her paintings in over contemplated being a singer; she was in a rock band 100 science fiction and fantasy convention art shows for five years, but quit when the time involved in in the U.S. and U.K., over the years winning sev-performing took her away from her first love of eral “Best of Show” Awards during the 1990s (e.g., painting. After attending a science fiction convention Rivercon, Libertycon), and has been Artist Guest of she saw the potential for creating the type of fantas-Honor at fourteen of them. She has also displayed her tic realism she wanted to explore in her art. Her early work at mainstream gallery shows in Atlanta, GA, influences were classical artists, Rembrandt van Rijn, Tennessee, Washington D.C., New York, and Vir-Gericault, and surrealist Salvador Dalí, later aug-ginia. Hughes is married to Dean Erickson, a travel mented by contemporary genre artists—Jim Burns*, agent and professional photographer.

Chris Moore*, Rodger Dean* and Michael Whe-Sources: www.debbiehughes.com; e-mail from the artist lan*. Their slick, futuristic styles are echoed in May, 2005.

Hughes more surreal and visionary imagery. Hughes

279

Hunter

Published Work

Living & the Dead (Crimson Altar Press, 1991), More BOOKS ILLUSTRATED INCLUDE: The Alteration Binscombe Tales: Sinister Sutangli Stories (Haunted (Easton Press, 1993), Coyote Rising (Easton Press, Library, 1990), Ash-Tree Press, 1999), Popes & Phan-2005), Dust (Easton Press, 1998), Four for Tomor-toms (Haunted Library, 1992), The Reluctant Ghost-row (Baen, 1990), Infinity Beach (Easton Press, Hunter (Haunted Library, 1991), Rollover Night 2000), Postscripts (PS Publishing, 2005), Purgatory (Haunted Library, 1990), Spirits of Another Sort (Easton Press, 1993), Rite of Passage (Easton Press, (Haunted Library, 1992), When Spirits Talk (Ghost 1991), A Roil of Stars (Baen, 1991), The Tranquility Story Society, 1990).

Wars (Easton Press, 2001), World Spirits (Baen, 1991).

MAGAZINES ILLUSTRATED INCLUDE:

MAGAZINES ILLUSTRATED INCLUDE:

NEB: 1952 (1); 1953 (2, 3, 4, 5, 6); 1954 (7, 8, 9, ROF : 1994 (12); 1995 (7)

10, 11); 1955 (12); 1956 (15, 16, 17) SFA: 1993 (5, 7)

NW: 1950 (summer, winter); 1951 (spring, sum-AMZ: 1991 (#1, #4, #6); 1993 (1)

mer, fall, winter); 1952 (13, 14, 15, 16, 17, 18); 1953

(19, 20, 21); 1954 (23, 24, 27, 28, 30); 1955 (31, 32, GAME-RELATED ILLUSTRATIONS INCLUDE: Dune: 33, 34, 35, 36, 37, 38, 40, 41); 1956 (44, 45, 47) Eye of the Storm (™) (Last Unicorn Games & Five ScF : 1951 (winter); 1952 (spring, fall); 1953

Rings Publishing Group, 1998), DragonStorm, Drag-

(spring); 1954 (7, 8, 10, 11); 1955 (12, 13, 16) onStorm: Kanchaka Valley expansion (Gatekeeper Press, 1996, 1997), Dust, JumpRaven, Viper interac-Hunter, Mel
tive computer game (CyberFlix and Paramount In-

( July 27, 1927–February 17, 2004) American teractive, 1992–1994), Fantasy Adventures (Mayfair artist. Hunter was born in Oak Park, Illinois, with Games, 1996), Galactic Empires: The Universe Edi-the given name of Milford Joseph Hunter III, but tion (Companion Games, 1996), Gridiron (Prece-was known professionally and familiarly as “Mel.” He dence Games, 1995), Lord of the Rings: Lidless Eye, entered college early, c. 1944, attending Northwest-Dragons expansion (Iron Crown Enterprises, 1996, ern University in Evanston, IL. After college he held 1997), NetRunner: Silent Impact, Proteus (Wizards a variety of jobs before traveling to the West Coast of the Coast, 1996), Towers in Time: Greek Edition and landing a job as a draftsman at Northrop Air-

(Thunder Castle Games, 1995).

craft Corp., in California. Later, he became a tech-Hunter, Alan
nical illustrator at Northrop, painting pictures for the Pentagon of advanced interceptors and pilotless (b. February 19, 1923) British artist. A British bombers.

technical artist, Hunter has been producing fantasy In 1950 Hunter made up his mind to pursue a art for over fifty years. His first drawings were pub-career in art, and without formal art training taught lished in the August 1950 issue of New Worlds, and himself illustration skills in his spare time, working soon they appeared in most of the leading British at his kitchen table. He had always drawn as child, science fiction magazines. In 1958, when the science favoring such forms as airplanes, which he drew and fiction market took a down turn, Hunter started his assembled as wood models. Three years later he sold own business as a news agent. He sold the business his first cover idea to Galaxy magazine, the first of in 1968 and began freelancing again as an illustrator.

several cover paintings he would produce for that A portfolio of his new work was published in Star-publication. In 1954 he resigned from Northrup and dock 3 in January 1970. Since that time Hunter has moved to New York as a freelance illustrator for been a contributor to fanzines and small press pub-magazines and books. Hunter worked continuously lications in England, especially for the British Fan-through the 1950s and 1960s as a freelance illustra-tasy Society and the Ghosts and Scholars series. He has tor for the main genre magazines, particularly for produced work for the fantasy gaming market, in-the Magazine of Fantasy and Science Fiction (F&SF), cluding a Fiend Folio (TSR, Inc., 1981), and interior and IF, and for the National Geographic, Life, Col-art for White Dwarf magazine (1980–1983), as well lier’s Newsweek, Encyclopedia Americana and many of as illustrations for fanzines and small press publica-the Time-Life books. He served as art director of IF
tions in America, Canada, Belgium and Germany.

magazine from December 1955 through December Sources: correspondence from the artist February, 2006.

1957. He was also a book illustrator, primarily of Published Work
scientific and technical subjects. Hunter was famous BOOK ILLUSTRATIONS INCLUDE: A Book of Dreams for his “Last Man’ series of 16 paintings he did for (Weller, 1991), Elsewhen Unbound: Poetry in Ameri-F&SF magazine covers, spanning issues from Octo-can SFanzines (Hilltop Press, 2004), Monday Morn-ber 1955 to December 1971, with the last in the se-ing Over the World/Bitter-Sweet (England Hilltop ries appearing on the May, 2003 issue. Each featured Press, 2004), Binscombe Tales: Sinister Saxon Stories a distinctive robot who has outlived man, in a vari-

(Haunted Library, 1989, Ash-Tree Press, 1998), The ety of unusual settings (e.g., dressed in a Santa Claus

Hunter

280
suit, January issue, 1962, or rowing a rowboat in a journal of commentary on the besetting problems sea of sand, December 1970). Hunter was nominated in the printed image field.” He also founded The for a Hugo Award for Best Professional artist in 1960, True Original Printmakers Association (TOPA) in 1961, and 1962. During this same period he pursued 1996, dedicated to the “artist as the focal point of a career of scientific illustration, doing such techni-true original graphic printmaking,” designing a step-cally accurate subjects as 26 paintings of celestial ob-by-step process for documenting the creation of any jects for the Hayden Planetarium (1964); his scienti-true original graphic print edition.

fic drawings and paintings appeared in dozens of Hunter is survived by his wife, Susan Smith-major publications. In the early 1960s Mel also wrote Hunter, who still operates Smith-Hunter Galleries the documentary text and shot photographs for two in Ferrisburg, Vermont; and three children, Lisa successful books of photojournalism published by Pohlmeyer, Scott Hunter and Amy Hunter.

Doubleday: The Missilemen and Strategic Air Com-Sources: Correspondence with Susan Hunter-Smith Oc-mand. Through SF clubs, through the years he be-tober, March 17, 2005; www.smithhuntergallery.com (accessed October 2005); http://fanac.org/ (accessed 10/05); www.ro-friended many well-known authors in the field: Asi-gallery.com (accessed Oct, 2005); www.memorialspaceflight.

mov, Heinlein, Pohl, Lin Carter, John Campbell Jr.

com (accessed Oct, 2005).

and others.

In 1967, after more than 20 years of commercial Collections and Anthologies
magazine and advertising illustration work, Hunter (various contributing artists)

moved to rural southern Vermont where he estab-Difate, Vincent. Infinite Worlds: The Fantastic Vi-lished an art studio. There he began drawing and sions of Science fiction Art. Wonderland, 1997
painting the land, the seasons, and the wildlife.

Published Work

Abercrombie & Fitch Galleries and the Massachu-BOOKS ILLUSTRATED INCLUDE: Best from F&SF
setts Audubon Society commissioned Hunter to do

#4 (Doubleday, 1956), Born of Man and Woman a series of more than 130 watercolors of “Birds of the (Chamberlain, 1954), Deep Space (Bantam, 1955), Northeast” and in 1970, he signed a contract with Door Into Summer (Doubleday, 1957), Double Star World Publishing Co. for the development of a se-

(Doubleday, 1956), The Dragon in the Sea (Double-ries of 13 ecological books for children. In 1971 he day, 1956), The Fittest (Doubleday, 1955), Man of began what ultimately were more than 170 editions Many Minds (Fantasy Press, 1953), Men Against the of original graphics, as well as acting as Master Stars (Pyramid, 1958), Mind Partner (Doubleday, Printer for other print-making artists, producing for 1961), Not This August (Doubleday, 1955), Oi, Robot them over 200 editions of art. Some of his publish-

(Mercury Press, 1995), One in Three Hundred (Dou-ers were Circle Gallery, Roten Collection, Mill Pond bleday, 1954), Reprieve from Paradise (Gnome, 1955), Press, Franklin Mint, HMK Fine Arts, Fine Arts 260

Space Tug (Shasta, 1953), Star Bridge (Gnome, 1955), as well as his own Atelier North Star and Polaris Star Conquerors ( John C. Winston, 1959), Time Is the Press, founded in 1975. He first worked in the tra-Simplest Thing (Doubleday, 1961), War Veteran: IF
ditional method of stone lithography, but then de-Worlds of Science Fiction (Quinn, 1955), A Way Home veloped his innovative and now well-known Mylar (Pyramid, 1956), Year After Tomorrow ( John C.

Method of original lithography. This method has Winston, 1954).

since spread to artists and printers around the world.

In 1977 Hunter published the first of several article MAGAZINES ILLUSTRATED INCLUDE:

on the subject in American Artist magazine “Revo-AMZ: 1953 (12); 1954 (5)

lution in Hand-drawn Lithography” which was fol-F&SF : 1953 (11); 1954 (8); 1955 (10); 1957 (7); lowed by a book The New Lithography (Van Nos-1958 (1, 3, 6); 1959 (9, 12); 1960 (3, 5, 7, 12); 1961 (3, trand, 1984). Until 1989, Atelier North Star was 6, 8); 1962 (1, 3, 7); 1964 (3, 9); 1965 (1, 5); 1966
operated as a high quality production shop and as a (5); 1970 (1, 5, 9, 12); 1971 (3, 10, 12) teaching facility where a number of shop assistants FU: 1955 (5, 7, 9, 11, 12); 1956 (3, 9) and work-study students from nearby University of GXY: 1953 (2, 4, 5, 6, 8, 11); 1954 (1, 7, 10, 12); Vermont art classes were able to study how the Mylar 1955 (1, 2, 3, 4, 5, 7, 9); 1956 (1); 1960 (10); 1961 (4) techniques work in the real world of production IF : 1953 (11); 1955 (2, 3, 12); 1956 (2, 4, 6, 8, 10, printing.

12); 1957 (2, 4, 6, 8, 10, 12); 1958 (2, 4, 6, 8, 10, After closing the Atelier, Hunter continued to act 12);1959 (20; 1960 (11)

as Master Printer for his own editions and those of SAT: 1957 (8); 1958 (4, 8)

other artists, and established a line of greeting cards SFA: 1954 (2, 3)

reproduced from successful editions. He founded SPWY: 1953 (120; 1954 (2, 4)

Polaris Press, Inc. to function as a publisher/distrib-UNI: 1953 (3)

utor of Mezzographs, a special form of original lithographs, and began publishing Printthoughts, “a

281

Ingels

Ingels, Graham J.

When EC Comics launched their “New Trend” se-

( June 7, 1915–April 4, 1991) American artist. Born ries of horror comics in 1950, Ingels began drawing in Cincinnati, Ohio, Ingels moved with his family horror stories. It was there, doing artwork for their first to Georgia and then to New York when he was horror line, that Ingels gained fame for his particu-twelve. He went to school in Yonkers and later on, larly gruesome comic horror art and was dubbed Long Island. He was only fourteen when his father

“Ghastly” Graham Ingels. He drew the stories nar-died in 1929, and he was forced to go to work to rated by “The Old Witch” that appeared in EC’s help support his family. At sixteen he landed a job Haunt of Fear, Tales from the Crypt, and Vault of Hor-doing theatre displays. His only source of art train-ror, and became the artist most identified with that ing came from other commercial and “fine” artists he character from 1951 to 1954. He quickly became a met working in the business. He married when he fan-favorite, signing his work “Ghastly.” Using a was twenty, and became a freelance commercial combination of straight pen and ink line work and artist. Ingels served in the navy during the Second the dry-brush technique he had developed during World War, but was stationed on Long Island. In the pulp years, Ingels’ was able to capture a flavor of late 1942, after showing samples to Fiction House horror in his work that had never been seen before Publications comic editors, he was hired to start in comics.

drawing “The Sea Devil” feature for Rangers Comics, After the Comics Code killed EC Comics, Ingels and shortly thereafter began working on “The Lost freelanced for while drawing other comics and then World” for Planet Comics. It was then only a short turned to teaching painting out of his home on Long step to providing artwork for its Planet Stories pulp Island. From the mid 1940s Ingels had dabbled in magazine and other, nonscience fiction pulps. In the oils and was known to be a frustrated “fine artist”

beginning Ingels’ figure work was crude and barely who painted portraits and landscapes, and was con-adequate for the job, but he developed quickly and sidered quite good by his peers. In 1958 he accepted soon mastered the dry-brush method of inking, crea job as a full-time staff instructor at the Famous ating shadowy, dark depictions with a “film-noir”

Artists’ School in Westport, Connecticut. The fol-edge to them. Ingels produced interior black and lowing year he moved to Florida and taught oil white illustrations for various titles, including Ac-painting classes out of his home. He also painted gi-tion Stories, Jungle Stories, and Wings, and did one gantic murals representing historical Florida and cover painting as well as interiors for Planet Stories.

took on other commercial jobs when commissioned, For a story featured in the Summer, 1944 issue of and was working with a graphic arts studio well into Planet Stories, Ingels created an illustration depict-the 1980s. Ingels was not proud of his past career ing a man who looked just like its editor Paul Payne, working in the pulps or comics and remained se-wearing a spacesuit and getting ready to blast an cluded from fans trying to get in contact with him alien creature. Ingels’ work for that magazine stands for many years. In 1972, at the EC Fan Addict Con-today as some of his best efforts for the pulp maga-vention held in New York City, his peers and Comics zines and demonstrates his vivid imagination for sci-Fandom voted him “Favorite EC Horror Artist.” He ence fiction.

was also given a special award for “Horror We?

After the war, Ingels was hired as an editor and art How’s Bayou?” voted by fans to be the “Best EC
director for Standard Publications. where he worked Horror Story.” Bill Gaines, EC’s publisher, accepted alongside such talented artists as Alex Schomburg*, the awards on Graham’s behalf. In April of 1989, In-Gene Fawcett and Raphael Astarita, producing a gels made a brief return to the EC limelight when he number of covers for their science fiction titles Star-created several “Old Witch” paintings for an art tling Comics and Wonder Comics. He also drew sev-dealer to sell in the open market. These were auceral episodes of “Space Detective Lance Lewis,” and tioned off to a jubilant fan audience who were provided house ads and filler pages when needed.

thrilled that the “Master of Macabre” had decided to When a 20-year-old from Brooklyn named Frank produce new images of horror. He was able to com-Frazetta* came in looking for work, Ingels encour-plete only four finished paintings and several smaller aged him and gave him the chance to draw a comic comprehensive studies before his death, but his fan feature by himself called “Judy of the Jungle.” It was following and influence on horror and science fiction Frazetta’s first big break in doing a regular comic fea-remains strong.

ture and helped launch his professional career. After Sources: Biographical research and entry information, e-leaving Standard Ingels worked freelance for a time, mail from Roger Hill February 2007; Weinberg, 1988
eventually finding his way to the offices of EC — En-Published Work
tertaining Comics. He began working on their west-PS: 1944 (spring, summer, fall); 1945 (fall) ern and crime titles while also continuing to work for Fiction House, drawing another space opera character for Planet Comics called “Auro, Lord of Jupiter.”

Isip

282

Isip, Pagsilang Rey
through other agencies and could not sign their ( January 1, 1911–July 4, 1979) and Manuel Rey name to their work, so no one knew who they ( January 1, 1904–October 5, 1987) American artists.

were — today, only their styles distinguish them.

The brothers, who often signed their work sepa-

(“Salute to Jay Jackson,” online, and personal corre-rately, but sometimes together, were born in Man-spondence).

daluyon, Philippines, came to the United States and Jackson was born in Oberlin, Ohio, and as a worked in the science fiction field doing artwork for young boy he worked hammering spikes near the Street & Smith pulps, in the late 1930s and early Columbus, Ohio and later in a steel mill in Pitts-1940s. Pagsilang was a painter, photographer and burgh. At a time when few blacks went to college, musician who also worked on many of the comic much less became illustrators, he attended Ohio books during that period as an artist, and was cred-Wesleyan University in Delaware, Ohio, 1925–1926, ited variously as P.I. Ray, Silang, Paul Isip, and Ray while driving a mail truck at night. He majored in Isip. He served in World War II from 1942 to 1946
art. At nineteen, he started a sign-painting business, as an aerial photographer, and after the war brought and married “the girl of his dreams” Adeline Smith.

his wife Victoria (1922–2001) to the United States in His business was successful until he developed a se-1947. He was a member of the Bert Whitman comic vere case of lead poisoning. After he recovered, he strip shop and later the Iger Studios in the early moved to Chicago, where he became a poster artist 1940s. He did work for Street & Smith’s comic line and shop foreman for a chain of theaters. Soon after, as well as the Pines, Fiction House, Nita and Great however, tragedy struck — with his father, his wife, Comic companies. Pagsilang died of a heart attack and his first child all dying. The details here are in Queens, New York and as a U.S. veteran was in-sketchy, however Jackson at a very young age was terred at the Calverton National Cemetery, in left with an infant daughter to raise, Carrie Lou Calverton, New York. Manuel Isip often signed as M.

( Jackson) Travillion. For the next four years, Jack-Isip and also lived in New York while working in the son continued to paint murals and posters for movie field, but died in Florida.

houses as well as speakeasies, while living at times Sources: www.lambiek.net/artists/i/isip_pagsilang.htm; as a lodger in a rooming house. But the Depression Ancestry.com. Social Security Death Index, National Cemetery hit, and by 1933 he was out of work. He submitted Administration. U.S. Veterans Gravesites, ca.1775–2006, 1930

United States Federal Census [databases on-line]. Provo, UT, a series of illustrated verses he had done while in col-USA: The Generations Network, Inc., 2006 [accessed March lege to a Pittsburgh newspaper, which were imme-2007]; Weinberg, 1988
diately accepted, and also gained work from other national weekly newspapers. The earliest national Published Work
distribution of Jackson’s cartoon creations was ASF&FR: 1950 (#12, #13)

through his association with the Robert S. Abbott ASF : 1939 (8, 9, 11, 12); 1940 (1, 2, 3, 5, 6, 7, 8, publishing company in Chicago. Jackson’s cartoons 9); 1941 (2, 3, 4, 6, 8); 1942 (4, 10, 12); 1943 (1, 3, 4) were featured in the Chicago Defender, Michigan SSS: 1941 (8)

Chronicle, Louisville Defender, the Tri-State Defender UK: 1939 (3, 4, 8, 9, 11, 12); 1940 (1, 2, 3, 5, 6, 7, and the New York Age Defender.

9, 11, 12); 1941 (2, 4, 6); 1942 (2, 4, 6, 8, 10, 12); 1943

Jackson joined the staff of the Chicago Defender in (2, 6)

1933 and worked there for the next twenty years, before relocating to Los Angeles. Among some of his Jackson, Jay Paul
better known cartoons creations were: “As Others (September 10, 1905–May 16, 1954) American See Us” from the 1920s, “Tisha Mingo,” “Professor artist. One of the staff artists for the Ziff-Davis mag-Doodle,” the full page “Home Folks,” and “Girli-azine line in the early 1940s, and long-time editorial gags.” It was during his tenure at the Defender that and features cartoonist for the Chicago Weekly De-he began freelancing along with his other duties and fender newspaper, Jackson had the distinction of sold art to most of the pulps in the Chicago area. In being perhaps the first black artist to work in the addition to the Ziff-Davis SF titles, he worked for science fiction field. Since so little is known about Golden Fleece (a December 1938 cover, with Harold many of the people who worked for the pulp marS. Delay) and did interiors for Mammoth Detective ket, he might also have been the first black artist (August 1944). During his career, Jackson developed working for the pulp magazines — but this is almost illustrations and humorous art for several other Black impossible to verify. While Jackson’s newspaper ca-press publications, The Warner Brothers theater in reer certainly qualifies him as a “pioneering cartoon-Chicago and a number of advertising agencies, pro-ist of color,” according to comic artist and researcher viding skillful fashion illustrations, layouts, and cat-Tim Jackson (no relation to the artist), “Black illus-alog designs. Early in his tenure at the Defender he trators at the time just were not often identified as met Eleanor K. Poston, the circulation department’s being black”; at times they were “subcontracted”

secretary, and married for the second time. After

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Jael
their marriage they developed a working relation-War II years. Jael received her BFA from the Univer-ship, and Poston provided many of the gags and sity of Utah, in 1973, taught in Utah High Schools, verses used in Jackson’s cartoons. Eleanor Jackson then accepted an invitation to teach fine art at Clarke became an accomplished cartoonist in her own right College, Las Vegas, NV 1975–1982, while still keep-and several of her short stories were published in the ing busy with publishing and private commissions.

Defender during the 1930s with her husband, the A versatile artist, Jael was an accomplished portraitist staff artist, enlisted to illustrate them.

and commercial illustrator when a chance meeting Jackson was the recipient of two “Front Page”

of well known so authors C.J. Cherryh, Larry Niven Awards from the American Newspaper Guild and a and Jerry Pournelle in 1983, at a symposium on citation from the U.S. government for his cartoons world-building and theoretical alien encounters and posters during the World War 2 bond drive.

called CONTACT (Santa Cruz, CA) persuaded her Some of his work was distributed by the Office of to move to the East coast to pursue a career in sci-War Information. He was montage artist for Who’s ence fiction book illustration.

Who in Colored America and Who’s Who in the United After moving to New Jersey in 1986, Jael contin-Nations. Later in life he became involved in civic af-ued to be active in the romance, mystery, and young fairs and became a well-known figure in Chicago’s adult fiction market while becoming known in the black community. He was a member of the Ameri-fantasy genre. An optimistic, outgoing, and dedi-can Newspaper Guild and the NAACP. At the time cated artist, Jael is one of the few women who suc-of his death, from a sudden heart attack in his stu-ceeded in the genre during that decade of expansion dio in Los Angeles, Jackson was feature artist for in the field, and through the next. During the 1980s Telecomics and had begun designing art for the tel-through 1990s she completed several hundred cover evision story “The Search for Christ.”

illustrations, many private commissions (domestic Sources; E-mail, June 2007, Tim Jackson, Editorial car-and abroad), as well as pursuing her more personal, toonist for the Chicago Defender and publisher, Pioneering and visionary, paintings. Among these were an exten-Cartoonists of Color, Creative License Studio Inc. www.cls toons.com/paoc/jjackson.htm; www.artprice.com ( June, sive series of young adult and children’s book cov-2007); Cederholm, Theresa Dickason, ed. Afro-American ers for literary classics and mysteries, such as Strange Artists. Trustees of the Boston Public Library, 1973; Chicago Unsolved Mysteries for Tor, and the Masterworks Se-Weekly Defender microfilm collection, for September 2, 1950, ries of illustrated children’s classics for Barnes and p.3, and May 22, 1954, p. 1 “Cartoonist of Defender, Jay Jackson, Dies.”

Noble, requiring interior and cover art. From about 1990 to 2002, Jael taught classes in creative fine art Published Work
and illustration at the Montclair Art Museum Yard AMZ: 1938 (6, 8, 10); 1940 (6, 7); 1941 (1, 2, 3, 4, School of Art, Montclair, NJ. and held private 5, 6, 7, 8, 9, 10, 11, 12); 1042 (1, 2, 5, 6, 7, 8, 10, 12); classes in her studio. During this time, she was an ac-1943 (3)

tive participant in invitational and juried gallery and FA: 1939 (7, 9); 1940 (1, 3, 5, 6, 8); 1941 (1, 3, 5, museum exhibits throughout the country, and was 7, 10, 11, 12); 1942 (1, 2, 4, 5, 6, 11, 12); 1943 (1, 3); a popular Guest Of Honor at schools (for lecture/

1945 (1)

slide shows), business events, and at science fiction FTC: 1966 (1); 1967 (11); 1968 (8); 1971 (6) and fantasy conventions. Jael’s work has been fea-WT: 1938 (10)

tured in the Spectrum anthologies of The Best in Contemporary Fantastic Art (Underwood Books), Jael
and she has been nominated several times, in vari-

(b. October 31, 1937) An American artist, Jael ous categories, for Chesley Awards.

grew up in Utah, post “The Great Depression” and Jael works in pen-and-ink, and oil or acrylic for as a child lived through some difficult times.

color paintings. Her illustrative style is realistic and Throughout her professional career she has signed her expansive, frequently marked by appealing inno-works, and has been known professionally, as “Jael.”

cence, and often incorporating flourishes and de-claiming “I’m a one-name person — not for eccen-tailing that show the impact of her earliest artistic intric reasons, just because nothing else fits!” Her spiration: Peter Pan illustrations by Arthur Rackham, mother, grandmother, and paternal uncle were all and those by artist John Tenniel for Alice in Won-professionally creative, visually and musically. Her derland and Through the Looking Glass, leavened by mother, Myriel Ashton, wrote and published her the rich coloration and romanticism of Maxfield Par-own music, had her own live matinee/entertainment rish. Her most effective personal works combine TV show in the late 1940’s, and with Alene Dalton figurative themes within an abstract framework, a (The nationally known Story Princess), and Erla style which she calls “perceptualistic”— inspired by Young (Professional artist) wrote music to the very a quote by William Blake, “If the doors of percep-popular “Children’s Book Of Songs” (Donahue Pub-tion were cleansed everything would appear to man lishing Company) during and just beyond the World as it is: infinite” (from The Marriage of Heaven and

Jainschigg

284

Hell). Far removed stylistically from her commer-Swansdowne (St Martin’s, 1986), Sword and Sorcer-cial work, Jael’s perceptualistic art is ambiguous, ess 3, 4 (DAW, 1986, 1987), Surprise Party (MacMil-complicated and involved, and was featured in her lan, 1990), Tourists (Tor, 1994), Venus Plus X (Car-art book Perceptualistics (Paper Tiger, 2002). Over roll and Graf, 1988), War of the Worlds (Barnes and the span of her professional career, since 1957, Jael Noble, 2000), Wolf bane (Baen, 1986), The World says she has created more than 38,000 paintings and (E-Reads, 2001), Yaleen (BenBella, 2004).

images, and says she aspires to be the oldest living and MAGAZINES ILLUSTRATED INCLUDE:

still hardworking Fantasy and Science Fiction ABO: 1993 (Spring, Fall)

Artist/illustrator — the grandmother Moses of SF!

AMZ: 1991 (#1, #2); 1992 (#4); 1993 (#12) Previously married, and mother to her own four bi-ASM: 1997 (2)

ological and six foster children, Jael is now married Misc.: DragonSleigher Holiday catalog advertising to Greg (Dusty) Ruesch, and proud to be a great-circular (Doubleday SFBC, 1998), Dragon Warriors grandmother.

Calendar, 1996 (Landmark, 1995), Miss Apull (1990) Sources: www.jael.net; e-mail from the artist May 2005; Going to Jael: Interview by Paul Barnett, June, 2003 online Rapunzel (1996) Piers Anthony Question Quest cal-issue www.sfcrowsnest.com ; Lighthouse Magazine, artist fea-endar pages (Ballantine, 1989, Hi Piers/Valet, 1995), ture in Issue 2, 2003

Isle of View Personal Holiday Card for Piers Anthony, 1990, Grim Reaper commissioned web site (Grim Collections/Anthologies

Reaper Production, 2001),

(various contributing artists)

John Grant and Ron Tiner. The Encyclopedia of Fantasy and Science Fiction Art Techniques. Running Jainschigg, Nicholas

Press Book Publishers, 1996; Paul Barnett, ed. Paper (b. December 5, 1961) American artist. Jainschigg Tiger Fantasy Art Gallery. U.K.: Paper Tiger Press/
was born in Manhattan, New York and grew up on Collins & Brown, 2002; Grant, John. Perceptualistics: the Upper West Side of that city almost directly Art by Jael. U.K.: Paper Tiger, 2002; across the (Central) park from the Metropolitan Museum and less than five blocks from the American Published Work

Museum of Natural History, two locales he believes BOOKS ILLUSTRATED INCLUDE: Alpha X, Beta X
surely influenced his life. Other family members (Tor, 1994, 1998), The Angriff Technique (Lynx, have been involved in the arts; Jainschigg’s grand-1987), Book of Being (DAW, 1986), The Book of the mother was a children’s clothing designer 1910–1920, River (DAW, 1986), Book of the Stars (DAW, 1986), and a cousin is also a respected artist in Cincinnati.

Borrowed Time (Baen, 1985), The Cat Who Went to His early interests were in the natural sciences, biol-Heaven (MacMillan, 1990), Come Thirteen (Leisure, ogy, paleontology, chemistry, and he would have 1989), A Coming of Age (Baen, 1986), CounterProbe been a paleontologist had he not decided to become (Tor, 1988), Dragons in the Stars (Tor, 1992), The an artist. He continues to pursue those subjects Easter Cat (Macmillan, 1990), Escape from Lost Is-through historical/scientific reconstructions and il-land (Harper Prism, 1989), Frightening Phantoms lustrations and museum displays; one such assign-and Haunted Habitats (Tor, 1996), Ghost Hauntings ment, in 2000, called for him to research and paint and Mysterious Happenings (Tor, 1992), Gladiator at (in collaboration with Yale University paleontolo-Law (Baen, 1986), The Guardians (MacMillan, gists) a background painting for a diorama at Di-1996), The Haunting of Alison Allbright Macmillan, nosaur State Park, in Rocky Hill, Connecticut de-1989), The Heir (Critic’s Choice, 1989), The Hu-picting the fresh-water lobe-finned fish Diplurus manoids (Blue Jay, 1987), In the Face of Death (Ben-newarki.

Bella, 2004), Joe Mauser, Mercenary from Tomorrow Jainschigg attended the Parsons School of Design (Baen, 1987), Mysteries of Space and the Universe Pre–College Program, 1977–1978, and the Art Stu-

(Tor, 1004), Kiss The Blood Off My Hands (Carroll dents’ League of NY, 1970–1979, studying with Earl and Graf, 1988), Letters to Jenny (Tor, 1993, 1994), Mayan and John Groth. He received a BFA from Lords and Ladies (Harper Prism, 1994), The Lotus the Rhode Island School of Design, 1983 and in that Caves (Collier/Macmillan, 1992), The Mask of the same year won a Society of Illustrators (NY) Stu-Sun (Tor, 1989), Noonspell (Dorchester, 1987), Probe dent Scholarship Competition. His first professional (Tor, 1985, 1986), The Nomad Queen (Leisure assignment was for an interior illustration for the Books/Dorchester), 1989), The Pirates of Zan (Bart April 1984 issue of Asimov’s SF Magazine, “On Can-Science Fiction, 1987), Relativity (ISFiC Press, non Beach,” by Marta Randall. This was, as he re-2004), Return to Centaur (Warp Graphics/Feather calls, a small vignette done in ink on scratchboard in Tree Press, 1990), Roc and a Hard Place (Tor, 1995), a stipple style strongly influenced by Virgil Finlay*.

Scream (Dorchester, 1987), Shadrach in the Furnace His influences are the Brandywine School illustrators, (Baen, 1985), The Shore of Women (BenBella, 2004), Northern Renaissance art, and Orientalist paintings:

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Jainschigg

Rogier van der Weyden, Norman Rockwell, Frank Published Work

Frazetta*, Frederic Remington.

BOOKS ILLUSTRATED INCLUDE: A Better World’s in Jainschigg’s earlier black-and-white work was on Birth! (Golden Gryphon, 2003), Ambient (Tor, scratchboard, then coquille board and black pencil.

1987), American Woman (Tor, 1998), Archangel Blues For works in color he paints in acrylic on masonite (DAW, 1993), Ashes of the Sun/Magic: The Gathering or illustration board, and in recent years, oil on (HarperPrism, 1996), Beyond the Gate (Tor, 1995), board. His work is colorful and straightforward, Black Dragon (Crossway, 1997), Bears Discover Fire clean in execution, depicting realistic, but strong (Tor, 1992), Bleak Seasons (Tor, 1996), Burning characters and creatures in the heroic style beloved Bright (Tor, 1993), Claremont Tales, Claremont Tales by SF fans. A versatile artist, he also has created sev-II (Golden Gryphon, 2001), Christmas Fantasy (Tor, eral illustrations for publishers outside the genre, 1994), Christmas Stars (Tor, 1992), Darktraders among them Alfred Hitchcock’s Mystery Magazine, (DAW, 1992), Deep Freeze (DAW, 1992), Derelict For Cricket-The Magazine for Children, and Family Com-Trade (Tor, 1998), Door Number Three (Tor, 1995), puting, as well as science textbook illustrations for Double Memory (NESFA Press, 1995), Drastic Park McGraw-Hill School Publishing Company. In the (Crossway Books, 1997), A Dream Apart (Pinnacle, 1980s his work also was seen in Conan and Hellraiser 1995), A Dream Embraced (Pinnacle, 1996), Dream-comics published by DC and Marvel, and he being Metal (Tor, 1997), Eternal Lovecraft: The Persis-came active in creating art for collector card games.

tence of HPL in Popular Culture (Golden Gryphon, He uses the initials NEJ in signing his work profes-1998), Ethan of Athos (NESFA Press, 2002), Fallway sionally, and once used the pseudonym “Ratler (Ballantine/Del Rey, 1992), Frankenstein (Baronet, DeWelks.”

1995), The Ghost of the Revelator (Tor, 1999), Ghost In 1991 Jainschigg won Analog Magazine’s AnLab of the White Nights (Tor, 2001), Heathern (Tor, 1990), Best Cover award, and in 1993 he was honored as Hellflower (DAW, 1991), House of Moons (Ballan-an “emerging artist” with the Gaughan Award. An tine/Del Rey, 1995), The Imperium Game (Ballan-outgoing man with a witty sense of humor, he entine/Del Rey, 1994), Jazz (Tor, 1999), Mississippi joys being artist Guest of Honor at a number of re-Blues (Tor, 1997), Moonspeaker (Ballantine/Del Rey, gional science fiction conventions and his work has 1995), Mutagenesis (Tor, 1992), Mother Lode (DAW, appeared in Spectrum annuals, #1-#7, 1994–2000

1991), Night Sky Mine (Tor, 1997), Northern Stars ( Spectrum: The Best in Contemporary Fantastic Art, (Tor, 1994), Of Tangible Ghosts (Tor, 1997), Pallas edited by Cathy and Arnie Fenner, Underwood (Tor, 1993), The Prince of Christler-Coke (Golden Books) and Science Fiction of the Twentieth Century: Gryphon, 2004), Queen City Jazz (Tor, 1994), Ray An Illustrated History (Frank M. Robinson, Collec-Bradbury Presents Dinosaur Warriors (Avon, 1994), tor’s Press, 1999). Previously a part-time faculty The Reign of the Brown Magician (Ballantine/Del member, 1985–1990, beginning in 2000 Jainschigg Rey, 1996), The Rim-World Legacy: And Beyond has been Assistant Professor of Traditional and Dig-

(DAW, 1993), Songs of Earth & Power (Tor, 1994), ital Illustration, Rhode Island School of Design. He Shadow Warrior, Shadow Warrior 2: Hunt the Heav-has exhibited work at Group shows at The Park Avens, Shadow Warrior 3: The Darkness of God (Ballan-enue Atrium, New York City (1996), “Images from tine/Del Rey, 1996, 1997), Shadow Man (Tor, 1995), Middle-Earth” (Italy, 2003), and “Wizards and Shatterworld (Wm. Eerdmans, 1995), She Is the Lizards” (Warwick Art Museum, 2003).

Darkness (Tor, 1998), Signs of Life (Tor, 1996), Ter-Since the turn of the millennium he has increas-minal Visions (Golden Gryphon, 2001, The Persis-ingly turned to digitally producing color, b/w and tence of Memory 1: The Slow World, The Persistence of three-dimensional works and often experiments to Memory 2: The Warden of Horses, The Slow World 3: produce effects. His personal project since 2002 has The Alchemist of Time (Ballantine/Del Rey, 1993, been an animated restoration of the Ordovician 1994, 1995), Timediver’s Dawn (Tor, 1992), The Time pelagic trilobite Opipeuter inconnivus. Like many God (Tor, 1993), Trouble and Her Friends (Tor, other late twentieth century artists, he is an enthu-1994), The Veiled Dragon (TSR, Inc., 1996), Victim siastic advocate of new media and is keen on extend-of Circumstance (Crossway Books, 1995), Voyages By ing his technical skills. He has tested, used and mas-Starlight (Arkham House, 1996), The Wall Around tered an extensive array of software programs and Eden (Avon, 1989), Warpath (Tor, 1993), The War-applications, enabling him to greatly expand his rior’s Apprentice (NESFA Press, 2002), Water Sleeps client base of freelance assignments. Jainschigg is (Tor, 1999), A Whisper of Time (Ballantine/Del Rey, married to Monica, a freelance editor.

1994), Wild Blood (ROC, 1994), Wildside (Tor, Sources: E-mail from the artist, March 19, 2005; Haber, 1996), The Williamson Effect (Tor, 1996), A Wizard Karen. “Artist on Board.” Science Fiction Age, May, 1998: #34; in Bedlam (Tor, 1995), Women at War (Tor, 1995), www.NickJainschigg.org.

A World Lost (DAW, 1991).

Jankus

286

MAGAZINES ILLUSTRATED INCLUDE:

1989), and illustrated Science Fiction by Asimov AMZ: 1991 (5, 12)

(Davis, 1986), a small booklet that went only to sub-ASF Astounding/Analog: 1987 (7, 9), 1988 (4) scribers of Asimov’s. Jankus worked for Analog and 1989 (3, 10), 1990 (12), 1991 (3, 4, 6, 12), 1992 (10), Amazing, and was nominated for a Chesley Award in 1995 (9); 1993 (3); 1999 (7/8)

1988 for his cover illustration for Amazing Stories IASFM: 1984 (4); (1991 (12); 1992 (10); 1999 (10); May 1987 issue. His book illustrations were few in 2000 (4)

number; among these the most notable would be MZB: 1993 (issue #18); 1994 (#26); 1995 (#29); his color cover and b/w interiors for Robert E, 1996 (#32); 1997 (#37); 1999 (#44)

Howard’s Pool of the Black One (Donald M. Grant, WT: 1993 (Spring)

1986). Jankus produced his own six-plate limited Pirate Writings: 1994 (Summer #4)

edition portfolio of prints titled REM ( 1982), all of G
which but one plate contained nudity. The illustra-AME-RELATED ILLUSTRATIONS INCLUDE: Batman Masterpieces “Platinum” Collector Cards (DC-tions were rendered in graphite pencil and repro-Comics 1996), Enemies of Spider-Man series (Fleer/
duced by a duo tone process. Jankus’s color work Skybox, 1995), Undermountain Stardock game mod-was executed in pastels, a fragile medium that made ule, How the Mighty Have Fallen adventure module his works easily damaged because he did not spray (TSR(™), 1996)

most of them with a fixitive; he felt Krylon altered the colors too much. Jankus illustrated a special edi-MEDIA-RELATED ILLUSTRATIONS INCLUDE: Beast tion of Weird Tales, Winter, 1988–1989, including From The East (European compilation, Elektra Ltd.

the cover and all interiors; this was his last published Ed, 1989), Manowar (Elektra, 1990), Time Odyssey art. A Christian Scientist, Jankus died at home of (PolyGram, 1988), These Are the Voyages: A Three-blood poisoning, after a long illness.

Dimensional Star Trek Album (Charles Kurts, 1996), Sources: e-mail from Arnold Fenner, April 6, 2005; Williams, Sheila. “Hank Jankus, 1929–1988” Obituary, Isaac Jankus, Hank

Asimov’s Science Fiction Magazine, April 1989 [also Locus v21:12

No.335 Dec 1988); Ancestry.com. Social Security Death Index (February 9, 1929–October 15, 1988) American

[database on-line]. Provo, UT, USA: The Generations Net-artist. Born Henry E. Jankus, Jr., but called “Hank”

work, Inc., 2007.

by those who knew him, was active in science fiction Published Work
book and magazine illustration for less than a BOOKS ILLUSTRATED INCLUDE: All About Strange decade, c. 1982–1988. He was born in either Kansas Monsters of the Recent Past (Ursus Imprints, 1987), or Missouri, and little is known about his early art Night of the Cooters (Ursus Imprints, 1990 ), Pool of career. Jankus founded an advertising agency, Jankus the Black One (Donald M. Grant, 1986), San Diego

& Associates, in Kansas City in 1960, in partner-Lightfoot Sue and Other Stories (Earthlight, 1979).

ship with his wife’s twin sister; Jankus’s wife, Ginny was the receptionist. They had no children, and were MAGAZINES ILLUSTRATED INCLUDE:

enthusiastic collectors. “He always wanted to be a AMZ: 1985 (11); 1986 (1); 1987 (5); 1988 (3, 7, 9); science fiction artist,” writes Arnold Fenner, editor 1990 (5)

of the Spectrum anthologies, and long-time friend ASF : 1986 (1, 6); 1987 (3, 5, 7, 12); 1988 (4) of Jankus, “and he had an extensive book collection, DRA: 1987 (5); 1988 (10)

with first editions by well-known authors and impor-IASFM: 1984 (8); 1985 (10); 1986 (10); 1987 (7, tant illustrated editions.” Jankus produced cover art 12); 1988 (2, 3, 4, 9)

for a few issues of the Fantasy Newsletter 1981–1983

WT: 1988/89 (winter)

and at least one cover for Fantasy Review, January 1984 issue. He also did covers for Dark Age and the Jensen, Bruce
short-lived Shayol Science Fiction and Fantasy mag-

(b. September 24, 1962) American artist. Born in azine. Jankus also interviewed Stephen King for Indianapolis, Indiana, Jensen began drawing at an Shayol (1982) in: “Has Success Spoiled Stephen early age and by high school had discovered science King?” (where King denies being Richard Bachman, fiction. He attended The Columbus College of Art three years prior to finally admitting he used that and Design, in Columbus Ohio and graduated with pseudonym).

a BFA in illustration in 1984 (summa cum laude). He Jankus’s first piece for Asimov‘s Science Fiction was an admirer of twentieth modern artists, espe-Magazine, an interior for that author’s George and cially Joseph Cornell, Matta, Tanguy, Charles Azazel story “The Evil Drink Does” (May, 1983) so Sheeler and others whose stylistic innovations had impressed the editor that Jankus was assigned the been “channeled” by most innovative SF illustrators job of illustrating every subsequent new Azazel tale.

of the previous generation, in particular: Richard In addition to illustrating, he contributed a “power-Powers*, Paul Lehr*, John Schoenherr*, and the Dil-ful cover” for the February, 1988 issue (Williams, lons*.

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Jensen

When Jensen first entered the field, he painted in of Contemporary Fantastic Art for volumes 1–13
the representational style demanded by publishers (1994–2006) and was selected for the Spectrum ret-of the time, who wanted hyper-realistic scenes on rospective exhibition at the Museum of American book covers. Jensen’s first professional assignment Illustration (NY), September 2005. Jensen is married, came from the Science Fiction Book Club, 1984; a and he and his wife Yoshie have one son, Trevor.

painting for an advertising circular to promote John Sources: e-mail from the artist, May 2007; Irene Gallo, Brunner’s novel Crucible of Time. Shortly after Tor Art Department “Blog Spot: Bruce Jensen” July 31, 2006 online at http://igallo.blogspot.com/2006/07; [accessed May Books hired him for his first paperback cover job, 2007]; Haber, Karen. “Bruce Jensen: Freedom Fighter”

for Skirmish, published 1985. Jensen continued to Gallery feature, Science Fiction Age, July 1999, pp. 67–70.

produce book cover art while working full time for NBC Television, 1985–1986. He spent a year work-BOOKS ILLUSTRATED INCLUDE: Alien Tongue (Ban-ing on a graphic novel, Neuromancer (Epic Comics/
tam Spectra, 1991), Ammonite (Ballantine/Del Rey, Berkley Books, 1989), which was discontinued after 1993). Archangel Protocol (Penguin/Roc, 2001), Volume 1, and then returned to the TV industry Armed Memory (Tor, 1995), Babylon 5: Dark Gene-working for CBS full time from 1988 to 1989. For sis: The Birth of the Psi Corps. Deadly Relations: Bester the next ten years he was the art director of the week-Ascendant; Final Reckoning: The Fate of Bester (Bal-end edition of the CBS Evening News, working Sat-lantine/Del Rey/Boxtree, 1998, 1999), Battletech: urdays and Sundays and devoting the rest of the Legend of the Jade Phoenix #1 Way of the Clans; #2
week to his book Illustrations. It was in 1991, when Bloodname; #3 Falcon Guard (Penguin/Roc, 1991), he was hired to illustrate The Next Wave series for Battletech #4 Wolf Pack; #5: Natural Selection; #6

Bantam Books, that his more abstract and concep-Decision at Thunder Rift (Penguin/Roc, 1991, 1992), tual style was given exposure; the style has domi-Battletech: #28 Heir to the Dragon; #30 Impetus of nated most of the work Jensen has done since.

War; #32 Binding Force; #33 Exodus Road; #35 The Sheeler’s precision, Cornell’s constructions, and the Hunters; #36 Freebirth; #39 Sword and Fire; #40
abstract/symbolist style of Powers, Lehr and the oth-Shadows of War; #44 Threads of Ambition; #45
ers all came together in Jensen’s mature graphic/sur-Killing Fields (Penguin/Roc, 1996, 1997, 1998, 1999), realist style.

Behemoth: 1 B-Max, 2 Seppuku (Tor, 2004, 2005), Jensen’s stylized, static compositions and bold col-Bellwether (Bantam Spectra, 1996), Bicentennial Man ors are striking and perfectly suited to the psycho-and Other Stories (SFBC, 2000), Black Hole Travel logical edginess that is an undercurrent of impor-Agency Book 4: Hostile Takeover (Ballantine/Del Rey, tant science fictional novels of the late twentieth 1994), Blueheart (HarperPrism, 1998), Boddekker’s century, such as Philip K. Dick’s Do Android Dream Demons (Bantam Spectra, 1997), Bodyguard (Ace, of Electric Sheep?, and Neal Stephenson’s Snow Crash.

1994), Bohr Maker (Bantam Spectra/SFBC, 1995), As Haber notes “Jensen is known for confrontational Brass Man (Tor, 2007), Bug Jack Barron (Bantam compositions, often dealing with cyberpunk themes Spectra, 1992), By Blood Alone (Ace, 1999), By Force

… paintings characterized by strong geometrics, of Arms (Ace, 2000), Chaos Come Again (Ace, 1996).

trompe l’oeil realism, and a collage-like quality that Cinderblock (Penguin/Roc, 1997), Circuit of Heaven is often heightened by digitalized manipulation of the (SFBC, 1998), Clipjoint (Ace, 1994), Commencement imagery.” (p. 67) Jensen worked in acrylic and air-

(Ballantine/Del Rey, 1996), Commitment (Ballan-brush, and then mixed paint and digital media, from tine/Del Rey, 1997), Company Men (SFBC, 2005), 1984 to 2001, when he moved entirely to digital Counterfeit Unrealities (SFBC, 2002), CrashCourse media. In 1999 Jensen returned to television, work-

(Ace/SFBC, 1993), Cowl (Tor, 2005), Deathbird Sto-ing first for “60 Minutes II” and then taking a full ries (SFBC, 2006), Deception Well (Bantam Spectra/
time job with CBS News, providing designs and an-SFBC, 1997), Dervish Is Digital (Tor, 2001), Deus X
imation. While he has not completely left the field, (Bantam Spectra, 1993), Diamond Age (Bantam this has not left much time for taking on book cover Spectra/SFBC, 1995), Distance Haze (Bantam Spec-assignments. Recent notable works are the cover for tra, 2000), Divergence (Ballantine/Del Rey, 1992), Brass Man, and Slan Hunter, both for Tor Books, Do Androids Dream of Electric Sheep? (Ballantine/Del 2007.

Rey, 1996), Dominion’s Reach (Tor, 1997), Earth Jensen first showed his work at the Society of Il-

(Bantam Spectra, 1994), Earthling (Tor, 1997, SFBC, lustrators (NY) Student Exhibition 1983, and then 1998), Echoes of Issel (Tor, 1996), Empire’s End (Bal-the Society’s Science Fiction Show 1984, and has lantine/Del Rey, 1993), The Eschaton Sequence since continued to participate in their annual exhi-

(SFBC, 1999), Fallen Host (Penguin/Roc, 2002), bitions, Illustrators 35, and Illustrators 40. In 1995

Fairyland (Avon, 1996), Faraday’s Orphans (Ace, he won the Jack Gaughan Award, followed by the 1997), Ferman’s Devils (Bantam Spectra, 1996), Final Anlab Award ( Analog magazine readers award) in Battle (Ace, 1995), Fireships (Ace, 1996), First Battle 1996. His work has appeared in Spectrum: The Best (Tor, 1985), Flesh and Silver (Penguin/Roc, 1999),

Johnson

288

Forest of Time and Other Stories (Tor, 1997), For More (Tor, 1999), Steelheart (Ace, 1998), Stone Garden Than Glory (Ace, 2003, SFBC, 2004), For Those (Ballantine/Del Rey, 1995), Superheroes (Ace, 1995), Who Fell (Ace, 2004), Fortunate Fall (Tor, 1996), Tea from an Empty Cup (Tor, 1998), Tech-Heaven Foreign Bodies (Tor, 1999), Forever Free (Ace, 1999), (Bantam Spectra, 1995), Testing (Bantam Spectra, Forever Peace (Ace, 1997, SFBC, 1998), The Forever 1993), Through the Breach (Ace, 1995), Time of the War (SFBC, 2005), Four Frontiers (SFBC, 2005), Fox (Roc, 1990), Tomorrow and Tomorrow (Bantam Frameshift (Tor/SFBC, 1997), Ganwold’s Child Spectra/SFBC, 1997), To Ride Pegasus (Ballantine/

(SFBC, 1995), Globalhead (Bantam Spectra, 1994), Del Rey, 2000), To the Stars (SFBC, 2004), Tower of Gloriana (SFBC, 2005), Genocidal Healer (Ballan-Dreams (Bantam Spectra, 1999), Transcendence (Bal-tine/Del Rey/SFBC, 1992), Gold Coast (Tor, 1998), lantine/Del Rey, 1992), Ultimate Alien, Ultimate Handling It: How I Got Rich and Famous, Made Dracula, Ultimate Dragon, Ultimate Frankenstein, Media Stars Out of Common Street Scum and Almost Ultimate Werewolf, Ultimate Witch, Ultimate Zom-Got the Girl (SFBC, 1998), Her Smoke Rose Up For-bie (Dell, 1991, 1993, 1995), Ultimate Cyberpunk ever (SFBC, 2005), Higher Space (Bantam Spectra, (Pocket/ibooks, 2002), Vanishing Point (Tor/SFBC, 1996), Hopscotch (Bantam Spectra/SFBC, 2002), Ig-1993), Vast (Bantam Spectra, 1998), Vectors (Bantam niting the Reaches (Ace, 1994), The Incredible Hulk: Spectra, 2002), Vortex (Ballantine/Del Rey, 1992), What Savage Beast (Putnam/Boulevard, 1995), Where the Ships Die (Ace, 1996), Whiteout (Tor, Infinite Possibilities (SFBC, 2003), Interface (Ban-1996), Wildlife (Tor, 1994), Wild Seed (SFBC, 2005), tam, 1995), Isaac Asimov’s Robots in Time: Predator; Wind Child (Roc, 1990), Wind Dancers (Roc, 1990), Marauder;Warrior; Dictator;Emperor; Invader (Avo Zodiac (Bantam Spectra, 1995).

Nova, 1993, 1994), Isaac Asimov’s Aurora (SFBC, MAGAZINES ILLUSTRATED INCLUDE:

2002), Isaac Asimov’s Chimera, Asimov’s Mirage IASFM: 1995 (9, 11)

(Pocket/ibooks/SFBC, 2000, 2001), Isaac Asimov’s ASF 1995 (12)

Utopia (Ace, Orion, 1996, SFBC, 1997), Kar Kalim Misc. : DC Masterseries collector trading card art (Tor, 1997), Last War (Tor 1986), Leap Point (Ban-

(SkyBox, 1994), Neuromancer graphic novel Vol. 1
tam Spectra, 1998), Legion of the Damned (Ace, (Berkley, 1989), Ultra Spider-Man collector trading 1993), Little Heroes (Bantam Spectra, 1992), Long card art (Fleer/Skybox, 1995).

Twilight (Ace, 1986), Looking for the Mahdi (Ace, 1996), Lord of Light (SFBC, 2001), Maelstrom (Tor, 2001), Mainline (Tor, 1996), Memento Mori (Tor, Johnson, Kevin Eugene

1995), Messiah Node (Penguin/Roc, 2003), Modular (b. November 17, 1954) American artist. Born in Man (Bantam Spectra/SFBC, 1992), Moldies & Vancouver, Washington, Johnson attended Centralia Meatbops (SFBC, 1997), Off the Main Sequence Community College and then Western Washington (SFBC, 2005), On Company Time (SFBC, 1999), University, receiving a BA in art in 1977. He sent a Operation Roswell (Tor, 2004), Other Dimensions slide portfolio of his work to publishers when he was (SFBC, 2003), Out of Time (Bantam Spectra, 1993), a senior in college and received his first assignment Parallelities (Ballantine/Del Rey, 1998), The Past as a result: painting the cover art for Andre Norton’s Through Tomorrow (SFBC, 2000), Pegasus in Flight, novel, Perilous Dreams for DAW books, 1978. Since Pegasus in Space (Ballantine/Del Rey/SFBC, 2000), then, Johnson has produced fantastically detailed Phylum Monsters (Tor, 1989), Pirate Prince (Tor, cover art for most major publishers in the genre, for 1987), PsyKosis (Ace, 1995), Quasar (Bantam Spec-books by many popular authors, including Harry tra, 1995), Ray Bradbury Chronicles 2 (Bantam Spec-Harrison, Robert Silverberg, Andre Norton, Robin tra, 1992), Red Genesis (Bantam Spectra, 1991), Ren-Bailey, Philip Jose Farmer. And Edgar Rice Bur-dezvous With Rama (SFBC, 2005), Rising of the roughs reprints. Johnson also has done quite a num-Moon (Ballantine/Del Rey, 1993), Russian Spring ber of Harlequin romance covers. His major artistic (Bantam Spectra, 1992), Science Fiction Culture influences are Frederick Leighton, William Holman (University of Pennsylvania Press, 2000), Seeds of Hunt, John Everett Millais, David, Girodet, John Time (Bantam Spectra, 1997), Seraphim Rising (Pen-Marton and Frederick Church.

guin/Roc, 1997), Ship of Fools (Ace/SFBC, 2001), Johnson bases his paintings on a reading of the Sideshow (Bantam Spectra, 1993), Silent Moon (Tor, manuscript. He works in oil on masonite or linen 1990), Skirmish (Tor 1985), Snow Crash (Bantam canvas. Johnson’s flair for the dramatic can be seen Spectra, 1993), Snow Queen (SFBC, 2005), Solitaire in the cover and interior color and black-and-white (HarperCollins/Eos, 2002), Spider-Man: Venom paintings he created for William Gilmore’s The Factor; Wanted Dead or Alive; Goblin Moon (Put-Undying Land (1985). His bright, bold colors and nam/SFBC, 1994, 1998, 1999), Stan Lee’s Riftworld: beautiful women were well suited to old-fashioned Crossover; Villains (Penguin/Roc, Virgin, 1993, stories in the style of the old pulp magazines, and a 1994), Starborne (Bantam Spectra, 1996), Starfish swashbuckling fantastic adventure tale. The rise of

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Johnston
computer generated art, and literary trends, have 1983), Past Times (Tor, 1984), Paths of the Perambu-decreased demand for Johnson’s style of artistry, and lator (Phantasia Press, 1985), Perilous Dreams (DAW, in response he has recently been most active as a 1978), Pipes of Orpheus (Avon/Nova, 1995), Pirate sculptor. He collaborated with Frank Frazetta* on a Paradox (Harper, 1991), Point of Hopes (Tor, 1995), limited edition statuette of the “Death Dealer” reproA Place Among the Fallen (Avon, 1990), Prince of the duced and personally hand painted by Frazetta, Blood (Grafton, 1989, Bantam/Spectra, 1990), Queen 2004.

of Air and Darkness and Other Stories (Signet, 1981), Sources: e-mail from Galen Johnson, brother, April 2006; Queen of the Legion (Timescape, 1983), Rebel of Weinberg, 1988.

Rhada (Ace, 1986), Rhialto the Marvelous (Baen, 1984), Riftwar Saga: #1 Magician Apprentice, #2 Ma-Published Work
gician Master (Bantam, 1986), Robin Hood Ambush Adventures of Alyx (Pocket, 1983), Against Infinity (Harper and Row, 1990), Ruins of Kaldac: Blade #34

(Pocket, 1984), The Alien Trace (Signet, 1984), An XT

(Pinnacle, 1981), Saga of Frost #1 (Timescape, 1983), Called Stanley (DAW, 1983), Center of the Circle The Saga of Cuckoo (Doubleday, 1983), Science Fic-

(Bantam, 1988), Cestus Dei (Tor, 1983), Chains of tion Classics, Five Complete Novels (Castle, 1982), Sea Gold (Tor, 1988), Ciara’s Song (Warner, 1998), King Trilog y: Godbond; Madbond; Mindbond (Tor, Chronicles of the King’s Tramp: #1 Walker of Worlds; 1987), Secrets of the Witch World (Warner, 1996),

# 2 The-End-of-Everything Man; #3 The Last Seekers and the Sword (Popular Library, 1985), Silver-Human (Bantam Spectra, 1991, 1993), The Coelura thorn (Bantam, 1986), Singularity (Bantam, 1985), (Underwood-Miller, 1983), Colors of Space (Time-Skull Gate (Tor, 1985), Songs from the Seashell scape, 1983), Conflict (Tor, 1983), Crystal Witness Archives, Christening Quest (Bantam, 1985), Sorcery (Bantam, 1989), Cugel’s Saga (Timescape, 1983), Within (Ace, 1985), Spellsinger at the Gate (Phanta-Dark Valley Destiny: The Life of Robert E. Howard sia Press, 1983), Starkahn of Rhada (Ace, 1986), Sum-

(Bluejay, 1983), A Darkness at Sethanon (Bantam, mer King, Winter Fool (Tor, 1994), Sword and the 1987), Day Of The Dissonance (Phantasia Press, Eye, Sword and the Tower, Sword at Sunset (Tor, 1986, 1984), Dhampire (Pocket, 1982), Dinosaur Trackers 1987), Tachyon Web (Bantam, 1986), Taming The (Harper. 1991), Down the Long Wind #1 Hawk of Forest King (Warner, 1986), Thongor Against the Gods May; #2 Kingdom of Summer (Signet, 1992), Down (Warner, 1979), Throne of Fools (Avon, 1990), Time the Long Wind: #3 In Winter’s Shadow (Bantam, of the Annihilator (Ace, 1985), Time of the Transfer-1993), Dragon’s Blood, Dragon’s Eye, Dragon’s Claw ence (Phantasia Press, 1986), Time Patrolman (Tor, (Ace, 1991, 1992, 1993), Emerald House Rising 1983), Time Tours: #1 The Robin Hood Ambush, #2

(Warner, 1997), Eros Ascending, Tales of the Velvet Glory’s End, #3 Timecrime Inc; #4: The Dinosaur Comet 1, 2 (Phantasia Press, 1984), Eros Descending, Trackers; #5: The Pirate Paradox #6 Caesar’s Time Tales of the Velvet Comet Book 3 (Signet 1985), Eros Legions (Harper, 1990, 1991), Toynbee Convector at Zenith, Tales of the Velvet Comet 2 (Phantasia Press, (Bantam, 1989), Typhoon! (Bantam, 1995), Under the 1984), Fanglith (Baen, 1985), Firebird (Bantam, Andes (Penzler, 1984), Undying Land (Donald M.

1987), First Named (Bantam, 1987), Five Twelfths of Grant, 1985). Unicorn Highway (Avon, 1992), Vam-Heaven (Baen, 1985), Fortress and the Fire (Popular pire Tapestry (Tor, 1986), Walker of Worlds (Bantam, Library, 1985), Fusion Fire (Bantam, 1988), Gods in 1991), Warding of the Witch World (Warner, 1996), Anger (Avon, 1991), Gods of Ireland: #1 Most Ancient Warlock of Rhada (Ace, 1985), Winter’s Daughter Song; #2 The Enchanted Isles (Bantam Spectra, 1991), (Avon, 1986), Witchwood (Simon and Schuster, Golden Horn (Bluejay, 1985), Gypsies (Doubleday, 1983), Wolf Dreams (Avon, 1987), Wonder’s Child —

1989), The Hammer and the Cross (Tor, 1994), Hiero My Life in Science Fiction (Bluejay, 1984).

Desteen (Doubleday, 1983), Hounds of God (Tor, 1987), In the Face of the Enemy (Baen, 1986), Isle of Johnston, David McCall

Glass (Tor, 1986), Jupiter Project (Tor, 1984), Key of (b. June, 1940)) American artist. A Midwesterner, the Keplian (Warner, 1995), Lady of Han-Gilen (Tor, born in South Bend, Indiana, Johnston attended the 1987), Last Human (Bantam, 1993), Legends Reborn Art Center College of Design in California, where he (Bantam, 1992), Long Night (Tor, 1983), Lords of studied with Joseph Henninger and John La Gatta.

Crimson River: Blade #35 (Pinnacle, 1981), Makeshift He returned to the Midwest, where his first job was God (Dell, 1979), Master of the Sidhe (Bantam, 1985), as a studio artist at Art Staff in Detroit, Michigan in Navigator of Rhada (Ace, 1986), Nightchild (Pocket, 1964. He later became a partner in his own art 1983), Once a Hero (Bantam, 1994), One King’s Way agency, Designers and Partners, in Detroit. After (Tor, 1996), The Omaran Saga: #1 Throne of Fools; #2
leaving the firm he became a freelance artist, work-A Place Among the Fallen; #3 The King of Light & ing for a wide range of clients, among them: Signet, Shadows; #4 The Gods in Anger (Avon, 1990), Pass-Ballantine Books, Bantam, the Franklin Mint and ing of the First World, Passing of the Gods (Pinnacle, the Franklin Library.

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Johnston created cover art for the Ballantine fan artist, followed by his first professional sales to Adult Fantasy paperback series, and produced sev-New Worlds and Nebula magazines in 1958. In 1969
eral fantasy and science fiction cover paintings in the he became the art director for the short-lived but 1970s to early 1980s. His style was intricate and influential British monthly Visions of Tomorrow.

decorative, with strong use colors, produced via Jones worked in a variety of techniques and was inks and watercolors. Two of his paintings were known for his wide imagination and richly colored featured in Ian Summers Tomorrow and Beyond: representational depictions of robust spaceships, Masterpieces of Fantasy Art (Workman, 1978) He hardware, and interstellar scenes. He was a versatile was commissioned to create a series of four paint-and extremely prolific artist, and during his com-ings to commemorate the novel of Jules Verne by mercial career he created hundreds of cover paintings the Jules Verne Museum in Nantes, France, that and illustrations in the SF field, although he may were reproduced in lithographic limited signed edi-best remembered for the Star Trek covers he exe-tions by the Franklin Mint, 1978. Johnston also cuted for the Bantam Books line of Star Trek Episode created designs for Steuben Glass, and some of his novelizations by James Blish in the early to pieces are collected by museums. Johnston’s work mid–1970’s (signing as “S Fantoni”). In 1978, a lim-has been included in annual exhibitions of the So-ited edition A Star Trek Portfolio by S. Fantoni was ciety of Illustrators (NY) and he has received Gold published by Peyton (Andromeda Book Co Ltd, and Silver medals from the Art Directors Club of Birmingham, U.K.), consisting of eight b/w plates in Detroit, Michigan. In recent years Johnston has a color pictorial folder, 200 copies.

produced several art prints for the commercial His first book covers were for Badger Books, start-gallery market, in a simpler, more homely folk-art ing with Space-Borne (1959) by R.I. Fanthorpe. Most style.

of his British commissions were produced for Sphere Sources: Reed, Walt. The Illustrator in America, 1860–2000

Books, but he also produced a number of covers for (Society of Illustrators/Watson-Guptill, 2001) German publishers, especially Fischer, Bastei-Verlag, Published Work
and others. Estimates vary, but at his most prolific he 13 French SF Stories (Bantam, 1972), Bull and the was painting eight commissions a month — prob-Spear (Berkley, 1974), Children of Llyr (Ballantine, ably in excess of 1500 published works. He is said to 1974), Final Quest (Putnam’s, 1980), Grail War have painted the covers for approximately 850 is-

(Pocket, 1979), Hero and the Crown (Greenwillow/
sues of the German magazine Terra Astra. In about BCE, 1984), King of the Swords (Berkley, 1971), 1985 he moved out of the SF field and spent his time Knight of the Swords (Berkley Books, 1971), New painting military figures for a model shop in Liver-Worlds for Old (Ballantine, 1971), New Writings in pool.

SF #7, #8 (Bantam, 1971), Oak and the Ram (Berkley, In his early years Jones played a very active role in 1974), Orlando Furioso (Ballantine 1973), Parsival or SF fandom, regularly contributing to convention art a Knight’s Tale (Pocket Books, 1978), Prince of shows, and being the artist guest of honor at conven-Annwn (Ballantine, 1974), Reader’s Digest Condensed tions in the United States and in his native England.

Books Vol 1 (Readers Digest, 1972), Song of Rhiannon He was a member of the Liverpool Science Fiction (Ballantine, 1972), Sword and the Stallion (Berkley, club, and 1969 he was the Trans-Atlantic Fan Fund 1974), Tsaddik of the Seven Wonders (Ballantine, delegate, and Fan Guest of Honor at St. Louiscon, 1971),
the World Science Fiction Convention. He was a Misc. : Land of Prydain color poster and pamphlet Hugo nominee for Best Professional artist in 1970

(Trumpet Club, 1991),
and 1971. His first convention appearance in many years, and his last one, was at the 1999 Eastercon Jones, Eddie

(British National SF Convention), which was held in ( January 18, 1925–October 15, 1999). British Liverpool. He died in Liverpool, England only a few artist. One of the most popular and prolific space months later, after weeks in a hospital following a artists during the late 1960s, Jones was part of the stroke.

influential wave of artists who helped define the look Sources: e-mail from Rog Peyton (RGP Art Agency), Jones’

of 1970s book cover illustration. Born Edward John former agent; Science Fiction and Fantasy Writers of America, www.sfwa.org (Posted October-21–1999); news.ansible.

Jones, the artist was known professionally, and co.uk/a148.htm (accessed July, 2005); (biography) SFM v.1
signed his art “Eddie Jones.” He was educated at

#6 June 1974; (interview)Vortex, May 1977.

Bootle Grammar School, where he was an avid reader of Fantastic Adventures and Planet Stories.

Published Work

Jones’ first employment was as a print buyer and pro-BOOKS ILLUSTRATED INCLUDE:

duction manager for an advertising manager; as an Ancient My Encmy (DAW, 1974), Assault on the artist he was self-taught. Despite the lack of a for-Gods (Arrow/Legend, 1987), The Backlash Mission mal art education, Jones distinguished himself as a (Arrow/Legend, 1988), The Best of the Best of Trek

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Jones

(Penguin/ROC, 1990), The Best of Trek #1, #4, #7, #11
early interest in science. He enrolled at the Georgia (Signet, 1978, 1981, 1984, 1986), Beyond the Galac-Institute of Technology (Georgia Tech) in 1962 as a tic Lens (DAW, 1975), The Best of Clifford D. Simak geology major, and after two years switched to fine (Sphere, 1975), The Blackcollar (Hamlyn, 1986), art. Later Jones took half a of the Famous Artists Chronicles of the Star Kings (Hamlyn, 1986), City Correspondence course. Weinberg observes “He was (Sphere, 1971), Cobra, Cobra Strike, Cobra Bargain raised in a seemingly eccentric … Southern envi-

(Arrow, Arrow/Legend, 1987, 1988, 1989), Come, ronment that must have contributed to his imagi-Hunt an Earthman (Hamlyn, 1985), Critical Mass nation and intense fantasy life,” and Jones confirms (Bantam, 1977), Cross the Stars (Hamlyn, 1985), that, saying “I was born into the great southern Damnation Alley (Sphere, 1974), The Demon Breed house of my grandfather … beneath the daily fra-

(Orbit, 1974), Demons by Daylight (Arkham, 1973), grance of impossible magnolias and a giant holly-Dragonquest (Sphere, 1976), Future at War Vol I, II tangle that shook with screaming, evening bats.” for (Baen, 1988), A Gift From Earth (Sphere, 1971), he was primarily a self-taught artist, learning his Hammer’s Slammers: #1 Hammer’s Slammers, #2 At anatomy from George Bridgemann’s anatomy books.

Any Price #3 Counting on the Cost (Hamlyn, 1985, Artists whose work influenced him the most in-Arrow/Legend, 1988, 1989), The Hugo Winners Vol.

cluded Mort Drucker, Frank Frazetta*, Howard 1, 1963–1967 (Sphere, 1973), Inconstant Moon Pyle, Hal Foster, and Gustav Klimt,

(Sphere, 1974), Interstellar Empire (Hamlyn, 1985), Always loving comic art, in 1964 he drew comics Jerusalem (Hamlyn, 1985), The John W. Campbell for fanzines; in 1966 his first paid job was for Wally Memorial Antholog y (Sphere, 1975), Macroscope Wood’s Witzend. In the same year he married his (Sphere, 1972), The Man from the Bomb (Badger, college sweetheart, Mary Louise Alexander, while 1959), Mimics of Dephene (DAW, 1975), Neutron Star living in Georgia. In February 1967 he moved to (Sphere, 1972), A New Settlement of Old Scores New York in search of work as an artist beyond (NESFA Press, 1983), The Other Side of Night (Bad-comic books and fanzines — neither of which paid ger, 1959), The Pawns of Null-A (Sphere, 1972), R is enough to adequately support him and his wife and For Rocket (Bantam, 1965), Rogue Powers (Arrow/
daughter, Juliana who was born that July. They lived Legend, 1989), Run, Come See The Sands of Mars in a one-room basement apartment for more than a (Sphere, 1972), ammer’s SlammersScience Fiction Hall year. His first fantasy illustration appeared in Jim of Fame #1 (Sphere, 1975), The Sky is Filled with Ships Warren’s Creepy magazine in 1967. In addition to (Arrow/Legend, 1988), Sold- For a Spaceship (Ham-black-and-white work for Creepy and Eerie, he also lyn, 1985), Space-Borne (M.B.I.S., 1959), Space drew for Gold Key comics, Last Gasp Comics, Skimmer (Arrow, 1987), Speaking of Dinosaurs SCREW Magazine, and The East Village Other and (Arrow, 1987), Starhunt (Hamlyn, 1985), The Star science fiction digests, Amazing and Fantastic. The Road (DAW, 1974), Star Trek 9, 10, 11, 12 (Bantam, work he did for Warren publications, and story illus-1973, 1974, 1975, 1977), Star Trek New Voyages 1, trations for the SF magazines led to work in the New Voyages 2 (Bantam, 1976, 1978), The Star Trek growing paperback cover market, doing the dust Reader 2, 4 (E.P. Dutton Book Club, 1977, 1978), jacket and frontispiece for I Am a Barbarian, the first Starwolf (Hamlyn, 1985), Supernatural Stories #30
printing of an unpublished novel by Edgar Rice Bur-

(Badger, 1960), Time-Echo (Badger, 1959), The roughs. He also did covers for some gothic ro-Timeliner Trilog y (Arrow, 1987), The Torch of Honor mances, romantic adventures and series like “Nick (Arrow/Legend, 1989), Total Eclipse (Futura/Orbit, Carter.” In 1972, Jones began his comic strip, “Idyl,”

1976), A Treasury of Science Fiction (Bonanza, 1980), which appeared in National Lampoon until August Trek to Madworld (Bantam, 1979), Victims of the 1975. During this period Jones was in great demand, Nova (Arrow/Legend, 1989), We All Died at Breakas publishers were keen to find artists who could away Station (Hamlyn, 1985), World Without End paint in a heroic fantasy style like Frank Frazetta*, (Bantam, 1979).

and Roy Krenkel*— which Jones could do. But MAGAZINES ILLUSTRATED INCLUDE:

while his early paintings emulated the Frazetta “look”

F&SF : 1974 (5)

in a relatively short time he it became clear that Jones NEB: 1957 (3), 1958 (11), 1959 (1, 5) had is own, unique style of expression. Little by lit-SFM: 1975 (#1)

tle he did less science fiction and fantasy work and SUP: 1960 (#30)

soon even dropped out of the comic art field. He VOR: 1977 (#4, #5)

then co-founded The Studio in 1975 with Berni Wrightson*, Barry Windsor-Smith and Michael Ka-Jones, Jeffrey
luta*, artists who hoped to pursue their individual (b. January 10, 1944) American artist. Jones was work in an atmosphere of creativity. Through 1976, born in Atlanta, Georgia, and while he was inter-when he left the world of commercial art to form ested in drawing as a child, he also developed an the Studio, he painted over 150 covers for many dif-

Jones

292
ferent types of books. He also experimented with 1968), Bedlam Planet (Ace, 1968), Beyond the Gates making plaster statuettes, which were well received.

of Dreams (Belmont, 1969), Big Ball of Wax (Ace, In 1979, Dragon’s Dream published the book, The 1970), Big Jump (Ace, 1968), Black Is the Color (Pyra-Studio, which was devoted to the group’s work. Ex-mid, 1969), B ook of Kane (Donald M. Grant, 1985), cept for a few collections of his art and several books Book of Ptath (Paperback Library, 1969), Book of for Donald Grant publishers, Jones since the early Robert E. Howard (Zebra, 1976), Bring the Jubilee 1980s has done very little illustration, concentrating (Avon, 1972), Burning Court (Harper & Row, 1969), instead on gallery work and finding audiences for Catskill Witch and Other Stories (Syracuse Univer-his work through prints and portfolios. Jones’ book sity Press, 1974). The City (Paperback Library, 1968), covers were reproduced in Yesterday’s Lily (Dragon’s City of the Chasch (Ace, 1968), The Cleft (Pyramid, Dream, 1980); his drawings in The Drawings of Jef-1969), Clocks of Iraz (Pyramid, 1971), Conjure Wife frey Jones (Cygnus, 1982); and romantic works in Age (Ace, 1970), Cormac Mac Art: Sword of the Gael of Innocence (Underwood Books, 1994). A com-

(Zebra, 1975), Curse of Rathlaw (Magnum, 1968), pendium art book, The Art of Jeffrey Jones, by Arnie Curse of the Undead (Gold Medal, 1970), Dark Planet Fenner and Cathy Fenner, was published in 2002

(Ace, 1971), Dark of the Woods (Ace, 1970), Dark and he was honored with the Spectrum Grand Mas-Ways to Death (Berkley, 1969), Darker Than you ter Award in 2006. Previously, one of the images Think (Berkley, 1969), Day of the Beasts (Macfad-from Jones’ work on the 1998 Tarzan Calendar, den, 1971), Derai (Ace, 1968), Devil Soul (Belmont,

“Tarzan Rescues the Moon,” won the Gold Medal in 1970), Diabolus (Fawcett, 1972), The Dirdir (Ace, Spectrum Five’s juried competition. He was nomi-1969), Doors of his Face Lamps of His Mouth and nated four times for a Hugo Award and won the Other Stories (Avon, 1974), Dragon’s Teeth (Popular World Fantasy Award for Best Artist in 1986 and the Library, 1973), Earth Unaware (Belmont, 1978), British Fantasy Award in 1979 for Best Artwork for Earthmen and Strangers (Dell, 1968), Emphyrio Queens Walk in the Dust by Thomas Burnett Swann (Dell, 1970), Far Out Worlds of A.E. Van Vogt (Ace, (Heritage Press). He was nominated for a Chesley 1968), Five to Twelve (Berkley, 1969), Flamewinds Award for Artistic Achievement in 1998.

1969), Gather Darkness (Pyramid, 1969), Gent From In October 1998, after years of debilitating battles Bear Creek (Zebra, 1975), Giant of World’s End (Bel-with depression and alcohol addiction, Jones started mont, 1969), Goblin Tower (Pyramid, 1968), God-hormonal gender re-assignment therapy and uses dess of Ganymede (Paperback Library, 1968), Hand the name Jeffrey Catherine Jones. He continues to of Kane (Centaur, 1970), Haunting of Alan Mais confront personal problems and suffered a severe (Berkley, 1969), Haunting of Drumroe (Gold Medal nervous breakdown in 2001 which caused him to 1971), Hybrid (Paperback Library, 1969), I am a Bar-lose his studio and personal possessions. Despite per-barian (Edgar Rice Burroughs Inc, 1967), Incom-sonal setbacks, Jones continues to live and create art, plete Enchanter (Pyramid, 1968), Incredible Adventures primarily landscapes, in upstate New York.

of Dennis Dorgan (Zebra, 1975), Iron Man (Zebra, Sources: artist website at www.jeffreyjones.us or http://ul-1976), Jewels of Aptor (Ace, 1968), Kandar (Popular ster.net/jonesart/biography4.html; Jeff Jones biography on-Library, 1969), Killing Bone (Berkley, 1969), Kothar line at Vadeboncoeur, Jr, Jim. The Vadeboncoeur Collection of Knowledge, 1998 at www.bpib.com/illustrat/jonesjf.htm; Barbarian Swordsman (Leisure, 1969, 1973), Kothar Weinberg, 1988.

and the Conjurer’s Curse (Belmont, 1970), Kothar and the Demon Queen (Belmont, 1970), Kothar and the Collections and Anthologies

Magic Sword (Belmont, 1969), Kothar and the Wiz-

(various contributing artists
ard Slayer (Belmont, 1970), Kyrik Fights the Demon The Drawings of Jeffrey Jones (Cygnus, 1982); Fen-World (Herbert Jenkins U.K., 1976), Legion From ner, Arnie and Burnett, Cathy. Age of Innocence—The the Shadows (Zebra, 1976), Lost Valley of Iskander Romantic Art of Jeffrey Jones (Underwood Books, (Zebra, 1976), Master of the Etrax (Dell, 1970), Mes-1994), Fenner, Arnie and Cathy. The Art of Jeffrey Jones senger of Zhuvastou (Berkley, 1973), Mongol Mask (Underwood, 2002), Frank, Jane and Howard. The (Dell, 1969), Moon of Gomrath (Ace, 1963), Moon-Frank Collection: A Showcase of the World’s Finest Fan-dust (Ace, 1968), Moon of Skulls (Centaur, 1969), tastic Art (Paper Tiger, 1999), Frank, Jane and Mother of the Magic Sword (Belmont, 1969), New Howard. Great Fantasy Art Themes From the Frank Adam (Avon, 1969), Nine Princes in Amber (Avon, Collection (Paper Tiger, 2003), Jeffrey Jones Sketchbook 1972), Pathless Trail (Centaur, 1969), Pigeons From (Vanguard Productions, 2000), The Studio (Dragon’s Hell (Zebra, 1976), Planet Wizard (Ace, 1969), The Dream, 1979), Yesterday’s Lily (Dragon’s Dream, 1980).

Pnume (Ace, 1970), Postmarked the Stars (Ace, 1969), Purple Pirate (Avon, 1970), Pursuit on Ganymede Published Work

(Popular Library, 1968), Queen Cleopatra (Avon, BOOKS ILLUSTRATED INCLUDE: Across Time (Ace, 1969), Queen Walks in the Dust (Heritage Press, 1968), All about Venus (Dell, 1968), Almuric (Ace, 1977), Quest Beyond the Stars (Popular Library, 1969),

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Quest of the Dark Lady (Belmont, 1969), Quest of Jones, Peter Andrew

Kadji (Belmont, 1971), Red Shadows (Donald M.

(December 14, 1951) British artist. Born in Isling-Grant, Publisher, 1978), Sargasso of Space (Ace, 1971), ton, North London, Jones attended St. Martins Satan’s Child (Lancer, 1968), Sea Siege (Ace, 1957), School of Art, London, from 1971 to 1974, receiving Book of Robert E. Howard (Zebra, 1976), Seetee Ship; a degree with Honors in Graphic Design. In his sec-Seetee Shock (Lancer, 1968), Servants of Wankh (Ace, ond year of studies he became interested in the nov-1969), Shadow People (Dell, 1969), Solarians (Bel-els of Isaac Asimov and Larry Niven, and subse-mont, 1973), Solomon Kane (Centaur Press, 1971), quently turned to science fiction imagery for his Sons of the Bear God (Berkley, 1969), Sorcerers (Faw-designs. Jones took a highly analytical view of the cett, 1971), Sorcerer’s Amulet (Lancer, 1968), Sorcer-commercial market, and spent hours in bookstores ess of the Witch World (Ace, 1972), Sowers of the studying the composition of paperback covers by Thunder (Zebra, 1975), Spawn of the Death Machine Frank Frazetta* and Chris Foss* trying to figure out (Paperback Library, 1968), Star Barbarian (Lancer,

“what makes an acceptable book cover (to the book 1969), Star Hunter and Voodoo Planet (Ace, 1973), buying public).” But, “I don’t think I ever, really, Stealer of Souls (Lancer, 1973), Strangers in Paradise painted “sf book covers,” he claims, “virtually right (Tower, 1969), Sword of Gael (Zebra, 1975), Sword from the start I painted “genre images” that got sold of Morning Star (Signet, 1969), Swords Against Death for use on book covers, and the inspiration for those (Ace, 1970), Swords and Deviltry (Ace, 1970), Swords images came from the books but were not, necessar-of Lankhmar (Ace, 1968), Swords in the Mist (Ace ily, IN the books.” A store manager showed some 1968), Swords Against Wizardry (Ace, 1968), Thon-of his work to art directors, and soon he received his gor and The Dragon City (Berkley, 1970), Thongor first commission for a book cover, from Granada and The Wizard of Lemuria (Berkley, 1969), Thon-Publishers: King Kobold (1974). Jones’ early works, gor At the End of Time (Paperback Library, 1968), like those of other British SF illustrators of the day, Thongor Fights the Pirates of Tarakus (Berkley, 1970), showed the Chris Foss influence. This lessened as Three Hearts and Three Lions (Avon, 1970), Tiger he widened his scope to include genres such as ro-River (Centaur, 1971), Tigers of the Sea (Zebra, 1976), mance and oriental gothic, sword and sorcery. The Tower of Medusa (Ace, 1969), Twilight of the Serpent

“pulp tradition” in science fiction was more in evi-

(Bantam, 1977), Uncharted Stars (Ace, 1969), Undy-dence as influences as time went on, especially the art ing Wizard (Zebra, 1976), Unending Night (Monarch, and colors of Frank R. Paul*.

1964), Vampire Women (Popular Library, 1973), Jones has experimented with many materials and Vampires of Finistere (Berkley, 1970), Vultures Of continues to explore their effect although he is al-Whapeton (Zebra, 1975), The Wednesday Visitors ways drawn back to traditional materials. In 1997, (Pyramid, 1969), What’s It Like Out There (Ace, Jones began using digital techniques to enhance and 1974), Whom the Gods Would Slay (Belmont, embellish his oil paintings. However, he considers 1968), Witches of Omen (Pyramid, 1971), Wolfling himself foremost a “painter in oils” with other media (Dell, 1969), Worms of the Earth (Zebra, 1975), (acrylic, digital) occupying secondary importance.

The Yngling (Pyramid, 1971), Zanthar of the Many He uses the “mixed” technique, where acrylic is used Worlds; Zanthar at Moon’s Madness; Zanthar at Trip’s over oil and visa-versa; what he calls “a modern verEnd (Lancer, 1967, 1968, 1969), Zero Stone (Ace, sion of what Jan van Eyck did with traditional tem-1968)

pera and oil.” Jones’s early paintings are signed with Misc. : Art of Jeffrey Jones collector trading card the initials “PAJ,” and after a while people began set (FPG, Inc. 1993); 1998 Edgar Rice Burroughs calling him “PAJ” (pronounced “PADGE”). Even Calendar (FPG., 1997).

after he switched to using his full name — to distinguish himself from another contemporary U.K. artist MAGAZINES ILLUSTRATED INCLUDE:

with the name “Peter Jones”— people continued to AMZ: 1966 (4); 1967 (12); 1968 (2, 6, 9, 11); 1969
refer to him that way, and frequently still do, to his (1); 1970 (1, 5, 7, 9, 11); 1971 (1, 3, 5, 11); 1973 (8 10, amusement.

12); (1974 2, 4, 8, 10, 12); 1975 (3); 1976 (3) By the late 1970s Jones had begun expanding his ASF : 1976 (12); 1977 (5)]

markets to European paperback and magazine pub-FTC: 1967 (11); 1968 (1, 3, 5, 8, 10); 1969 (12); lishers. When a collection of Jones’s early cover art, 1970 (2 4, 6, 8, 10, 12); 1971 (2, 4, 6, 8, 10); 1972 (2, Solar Wind, was published in 1980 by Dragon’s 8); 19873 (4, 7, 9, 11); 1974 ( 1, 3, 5, 7, 9, 11); 1975

Dream, Jones at the same time formed Solar Wind (2); 1976 (5)

Ltd. to market and license his illustrative work, with IF : 1968 (5, 6)

his wife Debbie acting as office manager. The com-GAL: 1978 (7)

pany soon branched out into film, television, and video production. In 1982 TV Francaise 1, Paris, did a documentary on Jones’s work. This was followed

Jones

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In 1982–1983 with work on a BBC show “Captain 1977), The Compleat Enchanter (Sphere, 1979), Dark Zep Space Detective” and creative involvement with Twin (Panther, 1975), Earthbound (Robinson, 1989), several others. In 1983 Jones also worked on the Enchanter Compleated (Sphere, 1980). Escape to Venus Fighting Fantasy games books for Puffin. His work on (Futura, 1976), Eye in the Sky (Legend, 1991), Eyes of this series led to other commissions in that fast-Amber (Orbit, 1981), Fabulous Riverboat (Panther, growing field, games like: Fighting Fantasy, Lone 1975), Female Man (Star, 1977), Ganymede Takeover Wolf, The Falcon. Jones has created Software Games (Legend, 1991), Ghosts (Robinson, 1989), A Gift From package designs for Virgin, Sony, Entertaining Arts Earth (Orbit, 1978), Gold at Starbow’s End (Panther, and U.S. Gold and film posters for The Sword & The 1975), Heads (Legend, 1991), Heirs of Hammerfell Sorcerer (1982), and Alligator II (1991).

(Legend, 1991), How to Write Tales of Horror, Fantasy Around 1996, Jones established a website and

& Science Fiction (Robinson, 1991), The Immortals soon after began to publish Solvista, an online science (Panther, 1976), The Imperial Stars (Panther, 1976), fiction publication in both e-mail and web format Infinite Dreams (Futura, 1979), In the Ocean of Night that published short stories under the collective (Futura, 1978 ), In Our Hands the Stars (Legend, name of “Tales of Shattered Earth.” The e-zine be-1991), Interface, Volteface, Multiface (Futura/Orbit, came a fully commercial on-line magazine — one of 1977), Iron Cage (Puffin, 1987 ), Islands in the Sky the first electronic magazines with on-line payment (Puffin, 1989), Janissaries (Macdonald & Co, 1981), functions. By the late 1990s, Jones had added two Jumbee (Mayflower, 1976), Killer Mice (Corgi, 1978), more: Painted Eagles, and My Eye and the Easel, later King Kobold (Granada/Panther, 1974), Legends of re-named Rural Dreams.

Lone Wolf: Claws of Helgedad; Sacrifice of Ruanon In 1999, Jones reports, “a chance encounter with (Arrow, 1991), Legends of Lone Wolf: Birthplace; Lega beautiful Heron on a morning walk collided with ends of Lone Wolf Omnibus; Book of the Magnakai; a long-held desire to be “self published.” He closed Tellings; Lorestone of Varetta (Red Fox, 1992, 1993, Solar Wind Ltd, and moved from London to Shrop-1994), Legends of Lone Wolf 11: Secret of Kazan-Oud shire. There he established “Peter Andrew Jones (Red Fox, 1994), Legends of Lone Wolf 12: The Rot-Publishing,” which publishes, sells and distributes ting Land (Red Fox, 1995), Out of Manchura (Pana variety of artistic products, including art books, ther, 1976), Mammoth Book of Vintage Science Fic-high-end prints and cards. “In reality,” he writes, “if tion (Robinson/ Carroll & Graf, 1990), Man Who I had (and still have) any ONE real influence in Awoke (Sphere, 1977), The Mercenary (Futura/Orbit, terms of “inspiration” it would be James Bama*… I 1977), Mutants (Corgi, 1977), Nebula Award Stories am extremely influenced by (the fact that) the lead-7 (Panther, 1974), Neutron Star (Futura, 1978), ing exponents of Western Art (Bama, Crowley and Nightwatch (Futura/Orbit, 1977), Omnivore (Corgi, McCarthy) were originally commercial artists who 1977), One Step from Earth (Legend, 1991), Orn matured into “Fine Artists” … I have tremendous (Corgi, 1977), Orphans of the Sky (Panther, 1977), respect for their techniques, and also their “vision”

Ox (Corgi, 1977), Purity Plot (Panther, 19078), of “what I am about.” They were, in many ways, Queen of Angels (Legend, 1991), Quest of the DNA early pathfinders in terms of “self-publication”—

Cowboys (Mayflower, 1976), Rogue Ship (Panther, long before giclee’ technology enabled people to “do 1975), Second Contact (Legend, 1991), Second Exper-their own thing” they went out on their own (and) iment (Panther, 19750, The Shee (Century, 1992,

“painted the image in its own right,” not as a sup-Arrow, 1993), Stardance (Futura/Orbit, 1979), Star-port mechanism for another person’s product.”

ship Traveller (Puffin, 1983), Still Life (Century, Sources: e-mail from the artist June–August, 2005; www.

1993), Stone (Legend, 1992), Stranglers Moon (Pan-peterandrewjones.net
ther, 1976), Sword of the Samurai (Puffin, 1986), The Published Work

Survivors (Legend, 1989), Talisman Of Death (Pen-All My Sins Remembered (Orbit, 1978), Alqua guin, 1984), Telempath (Futura/Orbit, 1979), Ter-Dreams (Legend, 1990), Ambient (Unwin, 1989), raplane (Unwin Hyman, 1989), Time Snake and Su-Bane (Arrow, 1993), Berserker (Futura/Orbit, 1975), perclown (Futura/Orbit, 1976), Traitor to the Living Best of Murray Leinster (Corgi, 1976), Best of Robert (Panther, 1976), Tyranopolis (Sphere, 1977), Under-Silverberg (Futura/Orbit, 1978), Beyond the Barrier cover Aliens (Panther, 1976), Unholy City (Panther, (Hamlyn, 1978), Black Beast (Granada/Panther, 1976), Warpath (Millennium, 1993), Wizard of An-1976), Blood Music (Legend, 1988), Book of Frank haritte (Panther, 1975), World of Ptavvs (Futura/

Herbert (Panther, 1977), Buy Jupiter (Panther, 1977), Orbit, 1978), World Out of Time (Futura/Macdon-By the Pricking of My Thumb (Fontana, 1977), A ald/Orbit, 1982), The Zap Gun (Granada/Panther, Canticle for Leibowitz (Corgi, 1979), Castle of Iron 1984 ), 2001: A Space Odyssey (Legend, 1990).

(Sphere, 1979), Chalk Giants (Panther, 1975), Citadel Of The Autarch (Arrow, 1986), Clans of the Alphane Jones, Richard Glyn

Moon (Panther, 1975), Clockwork Traitor (Panther, (b. 1946) British artist. After studying at Sheffield

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University, Jones progressed to postgraduate work the science fiction field as the Palmer magazines de-in experimental psychology. In spite of having no clined.

formal art training, he became one of the most im-Jones was one of the most talented artists to work portant illustrators for New Worlds magazine in the in pulps in the 1940s and 1950s, and was adept in late 1960s, and helped design the last few issues portraying believable, attractive people and aliens. He (Weinberg, 1988). During the late he also created had a vivid imagination and a strong sense of color.

illustrations for Moorcock’s “Jerry Cornelius” books, Many of his paintings were done entirely on his own, along with Malcolm Dean*. In 1980 he contributed and afterwards a story was written around the scene

“inventive … modern” black-and-white art to the depicted. He worked mainly in gouache, and later, first two issues of Something Else and then appar-acrylics. Along with Earle Bergey*, Jones was the ently gave up commercial SF illustration to become artist who most strongly defined the “pulp” style of a successful editor and author of sf-related sensa-science fiction art in the 1940s, although little is tional, and pop culture books, ranging from collec-known about his art career beyond his contributions tions of short stories (as example, The Penguin Book to the SF genre.

of Modern Fantasy by Women (1995), and Unexpected Sources: Ancestry.com. World War I Draft Registration Visions: Science Fiction by Classic Writers Not Known Cards, 1917–1918 [database on-line]. Provo, UT, USA: The Generations Network, Inc., 2005. Ancestry.com. Social Secu-for Science Fiction (Citadel, 1994) to Cybersex (Conrity Death Index [database on-line]. Provo, UT, USA: The stable and Robinson, 1996), and The Mammoth Book Generations Network, Inc., 2007; “Men Behind Amazing of Women Who Kill (Constable and Robinson, Stories: Robert Gibson Jones” Interview in Amazing Stories, 2002).

September 1951; Weinberg, 1988.

Sources: Weinberg, 1988

Published Work

Collections and Anthologies

AMZ: 1942 (10, 11); 1943 (5, 9, 11); 1945 (3, 6, 9, (various contributing artists)

12); 1946 (9, 10); 1947 (2, 3, 6, 10, 11, 12); 1948 (3, 4, Aldiss, Brian. Science Fiction Art: The Fantasies of 5, 6, 8, 9, 11); 1949 (2, 7, 12); 1950 (2, 3, 4, 6, 7, 8, SF ( Bounty Books, 1975).

9, 10, 11); 1951 (1, 2, 3, 4, 5, 6, 8, 9, 10, 12) FA: 1942 (8, 11, 12); 1943 (1, 2, 3, 4, 6, 7, 8, 10, 12); Published Work

1944 (1, 2, 6); 1945 (1, 12); 1947 (1, 3, 5, 9, 10, 11, 12); The Adventures of Jerry Cornelius: The English As-1948 (1, 2, 3, 4, 5, 6, 9, 10); 1949 (1, 5, 9, 11); 1950
sassin (with Malcolm Dean, International Times, (2, 3, 4, 6, 7, 8, 9, 10, 12); 1951 (1, 2, 3, 4, 5, 6, 7, 8, 1969), My Experiences in the Third World War (Savoy 9, 10, 12); 1952 (11, 12)

Books Ltd., 1980), New Worlds #10 (Corgi, 1976).

OW: 1952 (8, 10, 11, 12); 1953 (3, 4, 5, 6, 7); 1955

(7, 9, 11)

Jones, Robert Gibson

ScS: 1954 (4)

(October 5, 1889–July, 1969) American artist.

UNI: 1953 (2, 9); 1954 (3, 4, 5, 6)

Born in Toledo, Ohio, Jones by his late 20s was working as a commercial artist for Vogue Studios in Jordan, Sydney James

Chicago, Illinois. He registered for the draft in 1918, (b. May 28, 1928) British artist. Born in Dundee, but likely did not serve as he was disabled from a Scotland, Jordan is best known as the creator of Jeff partially severed heel that left him frequently lame.

Hawke, the world’s longest-running science fiction In the early 1940s Jones became a staff artist for the strip cartoon. Initially drawn towards a career in Ziff-Davis chain based in Chicago, and provided flying, Jordan studied at Miles Aircraft Technical cover art and interiors for all of its pulp magazines.

College in Reading from 1945 to 1947. When he A self-taught artist, Jones claimed that his art ed-couldn’t find a job, he joined a small artists’ studio ucation consisted of “a grand total of forty-two in Dundee. His first artwork was comic strips for a hours. Not the student type, definitely.” In the same Scottish daily newspaper; he assisted Len Fullerton interview, run in Amazing Stories in September 1951, on his comic Dora, Toni and Liz and came up with he mentioned that he shared a residence studio in a new science-fiction character, Orion. Jordan’s early Chicago with J. Allen St. John” who also worked for work was inspired by Alex Raymond’s* Rip Kirby Ziff- Davis during the same period. Discovering he and Milton Caniff ’s Steve Canyon. Later, another had a flair for science fiction, he became the main-major influence on his work was the space art of stay of Amazing Stories and Fantastic Adventures, but Chesley Bonestell*.

when the publisher moved its editorial offices to New In 1952, Jordan moved to London and started York, Jones found himself without work. He then working for the agency Man’s World. It was at that did a number pf cover paintings for Ray Palmer, point that he began seriously to work on a science who had been editor for Amazing for much of the fiction strip. His first effort however was Dick Hercules.

1940s and who was published Other Worlds in a He also submitted his Orion character to the Daily Chicago suburb. Eventually, Jones dropped out of Express, and was advised to make his hero an RAF

Kaluta

296
pilot. The resulting comic strip was Jeff Hawke, Spac-MAGAZINES ILLUSTRATED INCLUDE:

erider, which he sold to the Daily Express in 1954, ASF : 1993 (1)

and which became the most influential science fiction NW: 1961 (1, 4, 8)

cartoon strip in the post war period. It was translated into a host of European languages and gained a cult Kaluta, Michael William
following. Jordan recruited his friend Willy Patter-

(b. August 25, 1947) American artist. Kaluta was son, another Dundonian, to help write the scenarios, born in Guatemala, Central America, and spent his and the daily series ran until 1974. The strip was un-childhood on a series of Air Force bases, mainly in usual in that it remained scientifically factual; Jor-the eastern U.S. From 1966–1968 he studied fine art dan’s early aeronautical training helped make the at the Art School at Richmond Professional Insti-space pilot popular, and after the first few aircraft tute (now Virginia Commonwealth University) and episodes, Jeff Hawke’s adventures — through a series then began his freelance art career. He admired the of stories — kept pace with the real world of space artists Aubrey Beardsley and Alfonse Mucha, then flight. One of the early strips, published in 1959, Roy Krenkel* and Frank Frazetta*, and these forecast man’s first step on the Moon as taking place influences can be seen in his work. Like many young on August 9, 1969. A policy change removed Jeff artists of the time Kaluta worked for a number of Hawke from the Daily Express in 1974, but the strip major comic fanzines before entering the SF field continued to appear (modified from his feature Lance with interior illustrations for the magazines Amaz-Mclane, done in color for the Scottish Daily Record) in ing and Fantastic. He moved to New York City in syndication in Europe, Scandinavia, the Near and 1969 and until 1973 focused on the comic book mar-Far East, and Australia. Two collections of Jeff Hawke ket, with his first professional comic work for Charl-stories have been published by Titan books. In 1996
ton Comics, followed by D.C. Comics, Marvel Jordan was the artist chosen to illustrate a new Dan Comics, Web of Horror Magazine, and many others.

Dare strip in a short lived [one issue] Sunday news-In 1973 Kaluta expanded to posters, limited paper called The Planet. Jordan’s work also has ap-prints, portfolios and book illustration, which show-peared in many newspapers and magazines including cased his developing style. Among the most notable New Scientist and Nuclear Free Scotland.

was his 1975 Dante’s Inferno Portfolio for Christo-Although the more-than-nine thousand Jeff pher Enterprises, which suggested the direction Ka-Hawke strips can be regarded as Jordan’s life work, luta would follow in his mature work, a style echo-he also found time to do occasional magazine cov-ing the symmetry and sensuousness of Art Nouveau, ers in the SF field, including three for New Worlds.

with curvilinear swirls, but with the heroic inten-His most notable painting was the August 1961 issue sity in imagery that “Sword and Sorcery” literature of that magazine featuring a robot “with a tear for demanded. His first book cover assignments came mankind.” Through the 1980s and 1990s Jordan re-1975–1977 with books by Robert E. Howard, The mained active in fandom, maintaining a schedule of Lost Valley of Iskander and The Swords of Shahrazar.

guest appearances at comic conventions in the U.K.

All through this time, 1962–1982, Kaluta kept his and abroad. In 1995 Jordan was one of a few artists drawings and sketch books, which later would see who participated in “Urban Spacemen” an exhibition publication in collections of his work. He also con-of space art by Scots sponsored by ASTRA (Associ-tinued working in comics with work for Marvel and ation in Scotland to Research into Astronautics) at book illustration; these dual interests are ones which Edinburgh International Science Festival Club, Ed-Kaluta has successfully maintained throughout his art inburgh University College Club. More recently Jor-career.

dan has worked in Los Angeles, storyboarding science In 1976, Kaluta rented a studio with three other fiction films.

talented artists: Jeffrey Jones*, Berni Wrightson*, Sources: ASTRA online http://easyweb.easynet.co.uk/~
and Barry Windsor-Smith. Together they formed portwin/ASTRA/People/arists.html; “Big City Survey: an artists’ collective, which was documented in the Dundee/Technology” The Scotsman, Mon September 30, 2002 online http://news.scotsman.com/topics [accessed July book titled simply The Studio (1979). The associa-2007]; Biography online http://lambick.net/artists/j/jordan_
tion lasted only four years, but it was to have lasting sydney.htm; Jeff Hawke Club online www.jeffhawke.com/
impact on these artists’ works, and the illustrative en/fr_ihen.htm; Jeff Hawke wiki at http://en.wikipedia.

field. His studio mates became well-known and org/wiki/Jeff_Hawke; Weinberg, 1988.

highly successful graphic and comic artists, with Published Work

Jones making the most complete transition to fan-BOOKS ILLUSTRATED INCLUDE: DeBracy’s Drug tasy illustration. In 1978, Kaluta again was profiled (Gryphon Books, 2004), Fantasy Adventures # 9, #10
in Dream Makers, a book devoted to the working (Wildside Press/Cosmos Books, 2004), Footsteps of space and styles of six fantasy artists. In 1980 he met Angels (Gryphon Books, 2004). Starfield (Orkney playwright Elaine Lee, and designed the sets, cos-Press, 1989),
tumes and poster for her sci-fi stage play Starstruck,

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Kelly
a exotic and humorous space opera first produced as Morning (Cemetery Dance, 2001), The Swords of a play in 1980 and again in 1983. The characters ap-Shahrazar (FAX, 1976), Tarzan, The Lost Adventure peared in Heavy Metal Magazine (November, 1982), (Dark Horse, 1995), The Wheel of Dreams (Del Rey, comic book and graphic novel (Marvel, 1983), and 1996).

a 1988 illustrated edition of Thea von Harbou’s Me-MAGAZINE ILLUSTRATIONS INCLUDE:

tropolis which demonstrated Kaluta’s fusion of Art AMZ: 1970 (5, 7, 9, 11); 1971 (5, 9); July 1972 (5) Nouveau line with an Art Deco design.

DRA: 2001 (3, 5)

A prolific and facile artist, Kaluta works in ink FTC: 1970 (4, 6, 8, 12); 1971 (2, 4, 6, 8, 10, 12); line and watercolor, with the comic publishers Mar-1972 (2, 4, 6, 8, 10, 12); 1973 (2, 4, 9, 11); 1974 (1, 3, vel and DC remaining his main clients 1969–2005.

5); 1975 (2); 1977 (12)

He continues to produce art for a wide variety of POLY: 2000 (10, 12); 2001 (3); 2003 (9); 2005
projects, however; portfolios, graphic novels, comic (7)

books, conceptual and design work for film, TV, an-UK: 1975 (1, 3)

imation and computer games, advertising design, illustrations for book covers, calendars, role-playing GAME-RELATED ILLUSTRATIONS INCLUDE: Aria game cards, and more. Kaluta’s work was included role-playing game (Last Unicorn, 1994), Continuum: in the exhibition “Science Fiction and Fantasy Role Playing in the Yet (Aetherco, 1999), Dungeons Painters,” and in the illustrated catalog for that show,

& Dragons Monster Manual (Wizards of the Coast, at the New Britain Museum of American Art (1980).

2003), Fading Suns RPG (Holistic Designs, 1997), He won the 1977 British Fantasy/August Derleth Heresy: Kingdom Come card art (Last Unicorn, 1995), Award for Art, the Spectrum Silver Award for Comics Legend of the Five Rings Game Book 3rd ed. ( Alderac, (2000), and the Spectrum Grand Master Award 2005), Mage, Mage: The Awakening, The Ascension (2003).

(White Wolf, 1993, 1997, 2005), Old World Bestiary Sources: Correspondence from the artist March 2005; (Warhammer, 2006), Ragged Earth computer game www.kaluta.com; www.bpib.com/illustra2/kaluta.htm (The cover (SegaSoft, 1997), World of Darkness: Ghost Sto-Vadeboncoeur Collection of Knowledge, Jim Vadeboncoeur, ries game module (White Wolf, 2004).

Jr. 2001)

Misc.: Black Aria: Glenn Danzig’s symphonic CD

Collections and Anthologies

(1992), Star Wars Galaxy card art (Marvel/Malibu (various contributing artists)

Comics, DC comics, 1992), J.R.R. Tolkien Calendar The Art of Star Wars Galaxy (Underwood-Miller, (Ballantine, 1993), Michael Kaluta Collector Card set 1984), Dean, Martyn. The Dream Makers (Paper 1, 2 (FPG, 1993, 1995), Nativity in Black I, II: A Trib-Tiger, 1988), Echoes, The Drawings of Michael Wil-ute to Black Sabbath CD and album covers (Sony, liam Kaluta (Vanguard, 2000), Michael Kaluta Sketch 1994, 2000).

Book (Kitchen Sink Press, 1990), The Studio (Dragon’s Dream, 1979), Wings of Twilight: the Art Kelly, Ken
of MW Kaluta (NBM/Norma Editorial, 2001), The (b. May 19, 1946) American artist. Kenneth Michael William Kaluta Treasury (Glimmer Graph-William Kelly was born in New London, Connecti-ics, 1988), Portfolios: Bird of Death (Kingslayer Pub-cut, and grew up on Long Island, New York. He lications, 1984), Children of the Twilight (SQP, Inc., started drawing at the age of two and says, “he has 1977), Conan Classics (SQP, Inc., 1991), Dante’s In-not stopped since.” Advised by an art teacher that his ferno (Christopher Enterprises, 1975), MAGE — Im-natural talent would be ruined by a formal education ages of Ascension (White Wolf, 1993).

in art, he joined the U.S. Marines after graduating from high school, and while stationed in Cuba did Published Work
all the illustrations for the U.S. magazine The Gitmo BOOKS ILLUSTRATED INCLUDE: A Fall of Stardust Gazette. After completing military service in 1968

(Green Man Press, 1999), As the Green Star Rises Kelly returned to New York and showed some of his (DAW, 1975), Bill, the Galactic Hero: #1 Planet of the drawings to Frank Frazetta* to whom Kelly is indi-Robot Slaves, #2 On the Planet of the Bottled Brains, rectly related [Frazetta’s wife, Ellie, is Kelly’s father’s

#3 On the Planet of Tasteless Pleasure, #4 On the brother’s daughter]. With Frazetta’s encouragement, Planet of the Zombie Vampires (Avon, 1989, 1990, Kelly decided to pursue a commercial art career, and 1991), The Grand Adventure (Berkley. 1984), Legacy under Frazetta’s tutelage he refined his skills. In 1969
of Lehr (Avon, 1988), Lost Valley of Iskander (FAX, Kelly received his first commercial job, a sale to Jim 1974, Zebra, 1976), Metropolis (Donning, 1988), Warren’s magazine Vampirella, a painting he titled Minidoka: 937th Earl of One Mile Series M (Dark

“Lurking Terror” which appeared on the cover for the Horse, 1998), More Tales From the Forbidden Planet July issue 1970. Recalling this assignment, Kelly likes (Titan, 1990), Proteus—Voices for the 80s (Ace, 1981), to tell the story of how—before he turned the paint-The Shudder Pulps (FAX, 1975), Straight on Til’

ing in — he took it to Frazetta to get his approval.

Kelly

298

“Well, Frazetta did not think that the woman in the Collections and Anthologies
painting had a terrified enough expression on her (various contributing artists)

face, so he painted over her old face, with a new one Escape (Kelly Prints Inc., 2004), Frank, Jane and of his own, which he felt worked better. Now it was Howard. The Frank Collection: A Showcase of the ready to be turned in.” Kelly continued to work for World’s Finest Fantastic Art (Paper Tiger, 1999), Warren Publications through the early 1970s, turn-Friedlander, Michael J. The Art of Ken Kelly (FPG, ing out covers and interiors for Creepy, Eerie, and 1990).

Vampirella, while at the same time began doing book covers for DAW, Fawcett, Pinnacle and Signet. In Published Work
the 1980s-1990s he expanded his client list to in-BOOKS ILLUSTRATED INCLUDE: A Bait of Dreams clude Tor, Baen, Dell, Berkley.

(DAW, 1985), A Battle of Dreams (DAW, 1985), Al-Kelly’s style of expression and preferred subject dair: The Legion of the Beasts (DAW, 1982), The Alien matter continues to be highly influenced by Frazetta, (Fawcett (1979), Almuric (Berkley, 1977), Alterna-whom he says “stressed how important it was to put tives (Baen, 1989), Banners of the Sa’yen (DAW, 1981), feeling into creating a painting and to let the action Barbarians, Barbarians II (Signet/NAL, 1986, 1988), on the canvas come from the imagination … (and I) Beyond the Borders (Baen, 1996), Birthgrave (DAW, took those words to heart and lived by them ever 1975), Black Canaan (Berkley, 1978), Black Shields since.” Yet Kelly, like Jeff Jones* and others whose (Tor, 1991), Black Vulmea’s Vengeance (Berkley, 1979), work was initially heavily Frazetta-like, have put Blood Brothers of Gor (DAW, 1982), Bolo Brigade their own unique stamp on the style. Among his (Baen, 1997), Book of Dreams (DAW, 1981), Book of more memorable projects were the complete series of Ptath (DAW, 1984), The Books of Robert E. Howard Robert Adam’s famous Horseclan novels, compris-

(Berkley, 1980), Bran Mak Morn (Baen, 1996), By ing more than twenty book covers, for Signet/New the Sword (Tor, 1993), Castaways in Time (Signet/

American Library in the early 1980s. Beginning in the NAL, 1982), Champion of the Gods (Pinnacle, 1977), early 1980s Kelly began producing the kind of heroic Color out of Time (DAW, 1984), Conan and the Ama-

“sword and sorcery” fantasy paintings, with drag-zon (Tor, 1995), Conan and the Emerald Lotus (Tor, ons, sexy women, and muscular “barbarians,” for 1993), Conan and the Gods of the Mountain (Tor, which he is now best known. These images were 1993), Conan and the Manhunters (Tor, 1994), Conan more dynamic, violent, and graphic than Frazetta’s and the Shaman’s Curse (Tor, 1996), Conan and the and were well suited to depicting “primal battle-Treasure of Python (Tor 1994), Conan at the Demon’s fields” and the larger than life adventurous charac-Gate (Tor, 1994), Conan the Bold (Tor, 1989), Conan ters like those populating John Norman’s world of the Champion (Tor, 1987), Conan the Defiant (Tor Gor, for DAW Books, and Robert E. Howard’s 1987), Conan the Formidable (Tor, 1991), Conan the Conan, Kull, and Cormac Mac Art, in a series of Gladiator (Tor, 1995), Conan the Great (Tor, 1990), books for Tor. He continued in this vein with an Conan the Guardian (Tor, 1991), Conan the Hero outstanding series for Robert E. Howard, seven vol-

(Tor, 1989), Conan the Indomitable (Tor 1990), umes for Baen’s Robert E. Howard Library, 1995–

Conan the Marauder (Tor, 1988), Conan the Out-1996.

cast (Tor, 1991), Conan the Relentless (Tor, 1992), Outside the bookcover field, Kelly has developed Conan the Rogue (Tor, 1991), Conan the Savage (Tor, a market for prints and private commissions. He en-1992), Conan the Valiant (Tor, 1988 ), Conan the joys meeting fans and maintains an active schedule Warlord (Tor, 1988), Conan: People of the Black Cir-of appearances at genre conventions. He has worked cle (Berkley/BCE, 1977), Conan of the Red Brother-for nearly all of the large toy manufacturers, includ-hood (Tor, 1993), Conan: Scourge of the Bloody Coast ing Mattel, and has done many album covers, in-

(Tor, 1994), Cormac Mac Art: The Robert E. Howard cluding two paintings for KISS, for which he was Library No. 1 (Baen, 1995), Cormac Mac Art: When rewarded with gold albums. In a style that is ener-Death Birds Fly (Ace, 1980), Crystal Crown (DAW, getic and colorful, Kelly works almost exclusively in 1984), Cyrion (DAW, 1982), Dancer of Gor (DAW, oil, typically on masonite, although he now occa-1985), Dark Castle, White Horse (DAW, 1986), Dark sionally paints on illustration board. His paintings are Messiah (Baen, 1990), Daystar and Shadow (DAW, relatively large in size, averaging 30" × 40", and 1981), Death of a Legend (Signet/NAL, 1981), Delia many are much larger — which adds to their visual of Vallia (DAW, 1982), Delusion’s Master (DAW, power. He signs as “KW Kelly” printed with a left-1981), The Diamond Contessa (DAW, 1983), Down handed “K” so stylized in form that at times his work to a Sunless Sea (DAW, 1984), Dragonrouge (DAW, has being credited to “CW Kelly,” in error.

1984), Dragons of Englor (Pinnacle, 1977), Drinker Sources: personal correspondence with the artist, March of Souls (DAW, 1985), Eons of the Night, Volume 5

2006; www.kenkellyart.com.

in the Robert E. Howard Library (Baen, 1996), The Essential Conan (SFBC, 1998), Fade Out (Dell, 1976),

299

Kidd

Fantastic Civil War (Baen, 1991), The Far Side of For-MAGAZINES ILLUSTRATED INCLUDE:

ever (DAW, 1987), The Forests of Gleor (Pinnacle, AMZ: 1975 (11),

1977), Friends of the Horseclans II (Signet, 1989), ROF : 1998 (6)

Ghosthunt (DAW, 1983), Gods in Darkness (Night Misc. : Art of Ken Kelly Collector Card set I, II Shade, 2002), Guardsman of Gor (DAW, 1981), (FPG, 1992, 1994), Gurps Fantasy Folk: Roleplaying Home-to Avalon (DAW, 1982), A Horseclans (Signet/
game (Steve Jackson Games, 2000), Gurps Bestiary: NAL, 1981), Hour Of The Dragon (G.P. Putnam’s Monsters, Beasts and Companions (Steve Jackson Sons, 1977), Imaro (DAW, 1981), Irsud (DAW, 1978), Games, 2000), Snake Pit cold-cast statue, Lt. Ed.

The Islander (Tor, 1990), Jalav, Amazon Warrior: #1

(Hard Hero Enterprises, 1999).

Crystals of Mida; #2 An Oath to Mida; #4 Will of the Gods; #5 To Battle the Gods (DAW, 1982, 1983, 1985, Kidd, Tom (Thomas)

1986), Jandar of Callisto (Dell, 1977), Kajira of Gor (b. August 10, 1955) American artist. Born in (DAW, 1983 ), Kull (Baen, 1995), Lady Blade, Lord Tampa, Florida, Kidd humorously admits to being Fighter (DAW, 1987), Last Celt (Berkley, 1977), Le-a scatterbrain as a child, but could draw accurately, gions of Antares (DAW, 1981), Lost Valley of Iskander and so with role models like Chesley Bonestell* and (Berkley, 1979), Memories of Milo Morai (Signet, Norman Rockwell to guide him he worked towards 1986), Madman’s Army (Signet, 1987), Magicians of his goal of being a fantasy illustrator. His talent and Gor (DAW, 1988), Marchers of Valhalla (Berkley, entry in the Florida State Fair art competition in 1978), Masters of the Fist (Baen, 1989), Matilda’s 1974 won him top honors and a scholarship to Syra-Stepchildren (DAW, 1983), Maureen Birnbaum —
cuse University, where he was determined to study Barbarian Swordsperson (Guild America/BCE, 1993), illustration and then make a living being an illus-Mercenaries of Gor (DAW, 1985), Midnight Sun trator. He attended for two years, but left after re-

(Night Shade, 2003), Mists of the Ages (DAW, 1988), alizing that he learned mostly from observation. He Moongathe r (DAW, 1982 ), Moonscatter (DAW, 1983), organized his portfolio and moved to New York City The Nowhere Hunt (DAW, 1981), Perilous Dreams where, in 1979, he officially launched his art career (DAW, 1976), Players of Gor (DAW, 1984 ), Poisoned by landing his first bookcover job from Berkley Lands (Tor, 1992), Port Eternity (DAW, 1991), Queens Books. Kidd has since illustrated more than 300
of Land and Sea (Tor, 1994), Reap the East Wind bookcovers for a number of publishers: William (Tor, 1987), Rebel of Antares (DAW), Rebel Prince Morrow, Random House, Baen, DAW Books, Bal-

(DAW, 1987), Red Nails (Berkley, 1977 ), Renegade of lantine, Warner Books, Doubleday, Marvel Comics, Callisto ((Dell, 1978), Renegades of Gor (DAW, 1986 ), St. Martins Press, and Tor Books. He also has illus-Revenge of the Horseclans (Pinnacle, 1977), Ring of trated (cover and full color interiors) the H.G. Wells’

Truth (DAW, 1982), Rings of Tantalus (Fawcett, The War of the Worlds published by Harper Collins 1975), Robert Adams’ Book of Alternate Worlds (2001) and Alexandre Dumas’ The Three Musketeers, (Signet, 1987), Satan’s Death Blast (Dimedia, 1984), from William Morrow (1998).

Savage Mountains (Signet/NAL, 1980), Savages of Kidd’s “painterly” style of expression, featuring Gor (DAW, 1982), Seg the Bowman (DAW, 1984), soft colors, textured surfaces and romanticized depic-The Seven Magical Jewels of Ireland (Signet, 1985), tions of fantasy themes, has made his work popular Snowbrothe r (Signet/NAL, 1985), Solomon Kane among science fiction fans. He works in oil, on (Baen, 1995), Space Trap (Laser, 1976), Stairway to board or canvas, with a signature style that echoes the Forever (Baen, 1988), Star Bright (Baen, 1990), The Brandywine School artists of the 19th century. Kidd Stars My Destination (Berkley, 1981), Steel Kings (Tor reads each manuscript before deciding what to paint, Books, 1993), Summerfair (DAW, 1982), Swords of the and says “I like to run the images through my mind Horseclans (Signet/NAL, 1981), Sword Woman while asking myself a few questions: what is the (Berkley, 1979), Tales of the Horseclans (Plume, 1985), mood of the book? what’s the most important as-Talons of Scorpio (DAW, 1983), Terrilian Saga: #I The pect of the book? what appealed to me most? I then Warrior Within; #2 The Warrior Enchained;#3 The take the answers to these questions and incorporate Warrior Rearmed; #4 The Warrior Challenged; #5 The them in to one still picture, that with one glance, is Warrior Victorious (DAW, 1982, 1983, 1984, 1986, the book.”

1988), Trails in Darkness (Baen, 1996), Vagabonds of Kidd’s publishing work has won him several Gor (DAW, 1987), Vazkor, Son of Vazkor (DAW, awards: an Anlab (Analog magazine, 1987), a Golden 1978), Venom of Argus (Fawcett, 1976), The Wild Pagoda (1990), and he was a Hugo nominee in 1985, Ones (DAW, 1985), The War Games of Zelos (Faw-1987, 1988, 1990. He won a World Fantasy Award cett, 1975), Waves (DAW, 1980), Witch Goddess (Best Artist 2004), and has won six Chesley Awards (Signet/NAL, 1982), Woman of the Horseclans

— one for artistic achievement in 2003. He is an ac-

(Signet/NAL, 1983), World of Promise (DAW, 1980), tive participant in fantasy conventions and has been Ylana of Callisto (Dell, 1977).

Artist Guest of Honor at several, primarily those in

Kidd

300
the northeast. His work has been displayed in a wide the Darkness (Tor, 1986), Dark Hand of Magic array of venues, including The Delaware Art Mu-

(SFBC, 1990), Dialogue With Darkness (Tor, 1985), seum, The Society of Illustrators, The Canton Mu-Dinosaur Beach (Baen, 1986), Dragon Sequence: Dar, seum of Art, and The NASA Future Art Expedition.

Sharlin and Turiana series: #1 Where Dragons Lie; #2

Kidd has also done design work for film, theme Where Dragons Rule; #3 Night of Dragons (ROC, parks, entertainment products, and figurines for 1985), Dying of the Light (Baen, 1990), Earth De-such clients as Walt Disney Feature Animation, scended (Tor, 1981), Eclipse (Methuen, 1986), Edges Rhythm and Hues, Franklin Mint, Danbury Mint, (Pocket Books, 1980), Equal Rites (Signet/NAL/

Buddy-L Toys, Mayfair Games, and Second Nature BCE, 1987), Enemy Mine/Another Orphan (Tor, Software. Kidd briefly left the illustration field in 1989), Erthring Cycle (SFBC, 1986), Far Kingdoms the early 1990s in order to execute dozens of finished (Legend, 1994), Far-Seer (Ace, SFBC, 1992), Freedom paintings, sketches and spot illustrations for Gnemo, Beach (Bluejay, 1985), Galactic Odyssey (Tor, 1983), a fully illustrated, original full-length book and long A Gift of Dragons (Ballantine/Del Rey, 2002), time personal work-in-progress. This yet to be pub-Grantville Gazette Vol. 1 (Baen, 2005), Glory Game lished magnus opus is about a little boy stranded on (Tor, 1983), Guardsman (Pageant, 1988), Guardians a strange planet, and features engaging images of of Time (Tor, 1981), The Hand of Zei (Baen, 1990), urban centers named after famous artists whom Kidd The House In November (Tor, 1981), The Hunters admires, such as Port Rockwell, and Windsor McCay (Tor, 1982), Imperator Plot (Tor, 1985 ), Infinity Link City, and inhabitants who use dirigibles for air travel.

(Bluejay, 1984), Interior Life (Baen, 1990), Invaders Gnemo has also served as Kidd’s nom de brush for from Earth (Tor 1987), Jade Demons (Avon, 1985), paintings created for that project and some commer-Jewels of the Dragon (Questar, 1986), Judgment of cial book cover assignments in the 1990s. In 1986 he Dragons (Berkley, 1980), Jupiter Plague (Tor, 1982), married Andrea Montague, and moved from New Keys to Paradise (Tor, 1987), Kindly Ones (Baen/

York City to New Milford, Connecticut, where he BCE, 1987 ), Knight of Delusions (Tor, 1982), Knight currently resides.

of Ghosts and Shadows (Baen, 1990), Lady of the Sources: artist website at www.spellcaster.com/tomkidd; Snowmist (Charter Communications, 1983), Magic Rose, Deborah Rose. “Illustrator Tom Kidd” The Greater New

& Malice (SFBC, 1998), Majestrum (Night Shade, Milford Spectrum. February 17, 2006 online at www.newmil-fordspectrum.com/story.php?id=654363 [accessed March 28, 2006), Mallworld (Tor, 1984), Marooned in Realtime 2006]

(Bluejay, 1986, Baen, 1987), Maurai and Kith (Tor, 1982), Mighty Good Road (Baen/SFBC, 1990), My Collections and Anthologies

Best (Baen, 1987), Next Stop the Stars (Tor, 1986), (various contributing artists)

Oath of the Renunciates (SFBC, 1983), Octagon Di Fate, Vincent. Infinite Worlds: The Fantastic (Baen, 1987), The Peace War (Baen, 1985), Petrog yp-Visions of Science fiction Art (The Wonderland Press/
sies (Baen, 1989), Piper at the Gate (Baen, 1989), Penguin Studio, 1997), Frank, Jane and Howard.

Planet Run (Tor, 1982), PRO (Tor, 1986), Prospero’s The Frank Collection: A Showcase of the World’s Finest Children (Del Rey/Ballantine, 2000), A Rebel in Fantastic Art (Paper Tiger, 1999), Frank, Jane and Time (Tor, 1998), Retief and the Warlords (Baen, Howard. Great Fantasy Themes from the Frank Col-1986), Retread Shop (Questar/Popular Library, 1988), lection (Paper Tiger, 2003), “The Tom Kidd Sketch-Riding the Torch (Bluejay, 1984), Rincewind the Wiz-book I, II, “ (Tundra Press, 1990, 1992); Kiddogra-ard (SFBC, 1999), River into Darkness (SFBC, 1998), phy: The Art & Life of Tom Kidd (Paper Tiger, 2005).

Saga of the Reindeer People (Guild America, 1988), Shadow Gate (Baen, 1991), Shadows out of Hell (Ace, Published Work

1984), Sherlock Holmes Through Time and Space BOOKS ILLUSTRATED INCLUDE: The Adept (Ace, (Bluejay, 1984), Silverhair the Wanderer (Tor, 1986), 1991), Advance & Retreat (Baen, 2002), Age of Mir-Smart House (St. Martin’s Press, 1989), Sourcery acles (DAW, 1985), Annals of the Black Company (SFBC, 1990), Spell of Fate (DAW, 1992), Spacial (SFBC, 1986), Anvil of the World (Tor, 2003), As on Delivery (Tor, 1987), Spell of Intrigue (DAW, 1990), a Darkling Plain (Tor, 1985), A Bad Spell in Yurt Spellsinger’s Scherzo.(SFBC, 1986), The Stones of No-

(Baen, 1991), The Bard’s Tale: Curse of the Black muru (Baen, 1991), Swords of Zinjaban (Baen, 1991), Heron (Baen, 1998), Best of Robert Silverberg (Baen, Telempath (Tor, 1983), The Unicorn Trade (Tor 1986), The Blackgod (Ballantine/Del Rey, SFBC, 1984), Vietnam and Other Alien Worlds (NESFA 1997), Brain Ships (Baen, 2003), Bridge of the Sepa-Press, 1993), Vor Game (Baen, 1990), Waterborn (Bal-rator (2005), Cambio Bay (St. Martin’s, 1990), Cards lantine/Del Rey, SFBC, 1996), Wiz Biz (Baen, 1997), of Grief (Ace/BCE, 1984), Carmen Miranda’s Ghost Wolfling (Baen, 1985), World Turned Upside Down Is Haunting Space Station Three (Baen, 1990), Chil-

(Baen, 2004), Wyrd Sisters (SFBC, 1990), The Year’s dren of the Star (Meisha Merlin, 2000), Complete Best Science Fiction: 2nd Annual Bluejay, 1985), The Compleat Enchanter (Baen, 1989), Conquerors From Year’s Best Science Fiction: 7th Annual (St. Martin’s,

301

Kirby

1990), Zanthodon (DAW, 1980), Zone Yellow (Baen, SFQ: 1951 (8, 11); 1952 (8. 11); 1955 (8); 1956 (5) 1990), 1634: The Galileo Affair; The Ram Rebellion SS: 1947 (7, 9, 11)

(Baen, 2004, 2006).

TSF : 1951 (spring)

BOOKS ILLUSTRATED INCLUDE: (AS BY GNEMO): Kirby, Josh

The Far Kingdoms (Ballantine Del Rey, 1993), Fitzpatrick’s War (DAW, 2004), In for a Penny (Sub-

(November 27, 1928–October 23, 2001) British terranean Press, 2003), The Jack Vance Treasury artist. Best known for covers of Terry Pratchett’s Dis-

(Subterranean, 2007), Kingdoms of the Night (Ballan-cworld novels, Ronald William “Josh” Kirby was tine Del Rey, 1995), The Warrior Returns (Ballan-born in Waterloo, Sefton, Lancashire, and attended tine Del Rey, 1996), The Warrior’s Tale (Legend, the Liverpool City School of Art. There, he acquired 1994), The Wild Blue and the Gray (Warner Questar, the nickname that he kept, life-long: it came from 1991).

having his work compared to that of Sir Joshua Reynolds, and he was rarely called by his original MAGAZINES ILLUSTRATED INCLUDE:

name thereafter. Upon graduation he went to paint-AMZ: 1983 (7)

ing portraits, his special skill, for an art studio that ASF : 1983 (11); 1984 (3, 11); 1986 (5) produced posters advertising films on the London CSF : 1977 (9)

Underground. In 1950 he was the youngest painter F&SF : 1983 (10); 1984 (1, 9, 12) ever to be commissioned by the city of Liverpool for WT: 1990 (winter); 2004 (12)

the presentation portrait of the lord mayor.

Misc.: Wizards & Wonders screen saver (Second Shortly after, Kirby moved to London and be-Nature Software, 1992), Tom Kidd Collector card set came a freelance illustrator, initially creating cover art (FPG, Inc., 1995).

for Panther Books and Authentic Science Fiction mag-Kiemle, H. W.

azine. His first cover for Authentic was in 1955, issue

#61. This was preceded, according to Kirby’s own (?) American artist. Henry W. Kiemle was a pulp records, by his first published cover painting in 1954
artist who did interiors and covers for number of for Cee-Tee Man, a now largely forgotten science western and detective titles produced by Clayton fiction novel by Dan Morgan (Langford, 1999).

Magazines and other chains, beginning 1930 and Kirby also worked in other genres, ranging from ro-continuing through the 1950s. He began working mances and mysteries to westerns and war stories. He for the Fiction House chain in the 1940s and did several covers for Alfred Hitchcock anthologies branched out to other SF magazines in the early and horror novels. He married in 1965, at the age 1950s. Little is known of his background but that of 37. In 1970, editor Donald Wollheim saw his he apparently had humble roots. “After all,” he writes work in an exhibition of science fiction art at Portal in a Planet Stories “Feature Flash” article titled Gallery, London, and soon Kirby was receiving com-Dreamer Man, which highlighted his contributions missions from Ace and the start-up publisher, DAW.

to that magazine “I’m only a farm boy, steeped in Kirby did little work in the fantasy role-playing game the moo-o-o-ings and neighings of the barnyard. I field, but he did provide the cover art for the sec-know about muskrats, have made personal contacts ond oldest of these games, the British alternative to with skunks and even succeeded in getting butted in Dungeons & Dragons(™)— Tunnels and Trolls the rear by a pet ram. But when I was suddenly (1986). He also provided art for film posters for thrown up into the lands of celestial imagination …

Monty Python’s Life of Brian and Return of the Jedi.

grotesque creatures groped their way in and out of Kirby was voted best professional artist at the World my subconscious, slithering, hairy things slid silently Science Fiction Convention in Brighton, England from one brain cell to another…” (Winter issue in 1979.

1945, p. 115).

In 1984 Corgi Books published Pratchett’s Color Sources: “PS’s Feature Flash: Dream Maker” (featuring H.W. Kiemle) Planet Stories Winter, 1945. p. 115; Weinberg, of Magic and they were so pleased with the results 1988.

that Kirby was asked to illustrate the entire series.

Kirby’s personal preference was for science fiction Published Work

(see Robert Silverberg’s Majipoor novels and Kirby’s AMZ: 1951 (11)

personal project, Voyage of the Ayeguy, as examples) DYN: 1952 (12); 1953 (3)

but it was the Discworld covers that made his name.

FA: 1952 (2)

Kirby’s style of painting, for Pratchett works—much FUT: 1951 (7, 9, 11); 1952 (1, 3)

like the artist’s own personality — was creative and PS: (1944 (fall, winter); 1945 (spring, summer, wryly humorous, and therefore perfectly suited to winter); 1946 (spring, summer, fall, winter); 1947
the irreverent and purely fantastic satire of Pratch-

(spring, summer, fall); 1948 (winter) ett’s universe. Kirby worked almost exclusively in oil SF : 1957 (3)

paints over a pencil outline on watercolor board.

Kirby

302

The artist painted over 400 cover paintings, but few Demon Blues (Orbit, 1991), Darya of the Bronze Age of them are in private hands, because it was Kirby’s (DAW, 1981), Day before Tomorrow (DAW, 1972), wish to eventually find a way have them seen “free Diggers: Second Book of the Nomes (Corgi, 1992), Di-of charge” via public exhibition. He did enjoy sev-mension of Miracles (Mayflower, 1970), The Dreameral public exhibitions of his work during his lifetime, ers (Corgi, 1964), Elixir of Life (Four Square, 1965), among them at the Hammer Gallery, Berlin (1986), Eloise (Arrow, 1978), Equal Rites (Gollancz, 1987, at Albert Dock, Liverpool (1988), and the William-Signet, 1988), Eric (Piper Verlag, 2006), Escape on son Art Gallery, Birkenhead (1996). In 1996 Kirby reVenus (Four Square, 1966), Escape to Venus (Panther, ceived the British Fantasy Award for Professional 1958), Eye of the Zodiac (Arrow, 1978), Fahrenheit Artist. His last Discworld painting was for the cover 451 (Corgi, 1963), Far Out (Corgi, 1963), Feet of Clay of David Langford’s second Discworld Quizbook ( The (Gollancz, 1996), Fighting Man of Mars (Foursquare, Wyrdest Link, published 2002).

1966), Flying Sorcerers (Souvenir Press, 1997), For Kirby’s death, in his sleep at age 72, in Shelfanger Fear of Little Men Flying Dutch (Orbit, 1991, St. Mar-near Diss in Norfolk, England was unexpected but tin’s Press, 1992), Fury Out of Time (Berkley, 1967), of natural causes. The first retrospective exhibition Galactic Odyssey (Mayflower, 1970), Gates of Time of his work, “Out of this World: The art of Josh (Ace, 1970), Golden Apples of the Sun (Corgi, 1964), Kirby” was held at the Walker Art Gallery, National Golden Scorpio (DAW, 1978), Grey Ones (Corgi, Museums of Liverpool, June 15–Sept 20, 2007.

1962), Guards! Guards! (Gollancz, 1989), Hail Hib-Sources: Artist website www.joshkirbyart.com; Kirby fea-bler (DAW, 1980), Half in Shadow (Consul, 1964), ture at the L Space Web www.lspace.org/art/joshkirby.html; Hello Lemuria Hello (DAW, 1979), Here Be Demons Langford, David “Josh Kirby Biographical Introduction” from Cosmic Cornicopia, 1999 online www.ansible.co.uk/writing/

(Orbit, 1990), Hero of Downways (DAW, 1973), His-joshbio.html; Walker Art Gallery exhibition biographical de-tory of the SF Magazines 2 (NEL, 1975), Hogfather tails online www.liverpoolmuseums.org.uk/walker.

(Corgi, 1997), Hooray for Hellywood (Orbit, 1992), Collections and Anthologies

Hurok of the Stone Age (DAW, 1981), I can’t Sleep at (various contributing artists)

Night (Corgi, 1966), Interesting Times (Gollancz, Josh Kirby Poster Book (Corgi, 1989); The Josh 1994), The Illustrated Man (Corgi, 1963), The Inter-Kirby Discworld Portfolio (Paper Tiger, 1993, 2001), preter (Four Square, 1967), I Sing the Body Electric Josh Kirby: Voyage of the Ayeguy limited edition port-

(Sidgewick & Jackson, 1975), The Island Snatchers folio (Pacific Comics/Schanes & Schanes, 1981), (DAW, 1978), Jagged Orbit (Ace, 1972), Jason Cosmo Langford, David and Holt, Josh. A Cosmic Cornu-

(Pan, 1990), John Carter of Mars (Four Square, 1966), copia (Paper Tiger, 1999), Sacks, Janet ed. Visions of Journey Beyond Tomorrow (Corgi, 1965), Journey to the the Future (Chartwell, 1976), Suckling, Nigel and Underground World (DAW, 1979), The Kraken Wakes Aldiss, Brian. Garden of Unearthly Delights: The (Longmans, 1977), Krozair of Kregen (DAW, 1977), Paintings of Josh Kirby (Paper Tiger, 1991).

The Last Leap (Corgi, 1964), The Left Hand of Darkness (Ace, 1972), Legends (HarperCollins, 1998), Published Work

Light Fantastic (Smythe, Gerrards Cross, 1986), Light BOOKS ILLUSTRATED INCLUDE: 8th Armada Ghost that Never Was (Morley, 1974), Llana of Gathol (Four Book; 11th Armada Ghost Book (William Collins, Square, 1966), Lord Valentine’s Castle (Pan, 1981), 1983), 13th Pan Book of Horror Stories (Pan, 1973), Lords and Ladies (Gollancz, 1992), Lord’s Pink Ocean 2018 A. D. Or the King Kong Blues (DAW, 1975), (DAW, 1973), Lost Perception (Corgi, 1967), Ma-Ahead of Time (Four Square, 1961), Aldair in Albion; jipoor Chronicles (Pan, 1983), Malady of Magicks Aldair Master of Ships; Aldair Across the Misty Sea (Headline, 1986), Man Called Poe (Sphere, 1972), (DAW, 1976, 1977, 1980), Alice’s World (Ace, 1971), Marooned (Corgi, 1965), Maskerade (Gollancz, Alien Planet (Ace, 1973), Aliens Among Us (Corgi, 1995), Melmoth the Wanderer (Four Square, 1966), 1970), Angels and Spaceships (Four Square, 1962), Menace From Earth (Corgi, 1967), Men At Arms Best of Kuttner (Mayflower, 1970), Beyond Infinity (Gollancz, 1993), Men, Martians and Machines (Pan-

(Corgi, 1964), Biological Time Bomb (Panther, 1969), ther, 1965), Midsummer Century (DAW, 1974), Mind Book of Philip Jose Farmer (Elmfield, 1975), Bride of Behind the Eye (DAW, 1971), Mindbridge (Orbit, the Slimemonster (Headline, 1990), Captive Scorpio 1977), The Monitors (Mayflower, 1970), Moon Chil-

(DAW, 1978), The Carpet People (Corgi, 1993), Car-dren (Elmfield Press, 1975), Morlock Night (DAW, son of Venus (Four Square, 1966), Caves of Steel (Pan-1979), Mort (Gollancz, 1987), Moving Pictures (Gol-ther, 1958), Cee Tee Man (Panther, 1955), City and lancz, 1990), Mote in Time’s Eye (DAW, 1975), Mul-the Stars (Corgi, 1969), Close to Critical (Corgi, titude of Monsters (Headline, 1988), My Bones and 1968), Color of Magic (Corgi, 1984), Coming of the My Flute (Corgi, 1965), Nelson Algin’s Book of Lonely Strangers (Corgi, 1962), Communipaths (Ace, 1970), Monsters (Panther, 1965), The New Minds (Corgi, Currents of Space (Panther, 1958), The Dark Mind 1966), New Writings in SF #11, #12, #13, #14 (Corgi, (Corgi, 1964), A Darkness in My Soul ( DAW, 1976), 1967, 1968, 1969), Night Side (Four Square, 1966),

303

Kirk

Night Spiders (Corgi, 1964), Ole Doc Methuselah MAGAZINES ILLUSTRATED INCLUDE:

(DAW, 1970), One Against Time (Mayflower, 1970), AUTH: 1955 (#61); 1956 (#78); 1957 (#80, #81, Ossians Ride (Four Square, 1960), Panchronicon Plot

#82, #83, #84)

(DAW, 1977), Planet of Exile (Ace, 1970), Planet of Misc. : Discworld Computer Game I; Missing Pre-the Dreamers (Corgi, 1961), Polymath (DAW, 1974), sumed …!? ’Computer Game II (Perfect Entertain-Prince of Scorpio (DAW, 1976), Practical Demonkeep-ment/Psygnosis, 1994, 1996), Discworld Noir Coming (Mandarin, 1993), Quozl (NEL, 1991), Rax puter Game III (TWG/GT Interactive, 1999), Film (DAW, 1975), Revenge of the Fluffy Bunnies (Head-posters for Beastmaster (1983), Krull (1983), Monty line, 1990), Rinceworld Trilog y (Gollancz, 2001), Python’s Life of Brian (1979), Morons From Outer Robot in the Closet (DAW, 1981), Royal Chaos (Pan, Space (1984), Return of the Jedi (1983), Seven Cities 1990), Satan’s Child (Mayflower, 1970), Saturn over to Atlantis/Warlords of the Deep (1978), Starflight One the Water (Corgi, 1963), Savage Scorpio (DAW, 1978), (1983).

Scheherezade’s Night Out (Headline, 1991), Secret Scorpio (DAW, 1977), Sentinel Stars (Corgi, 1963), Kirk, Tim

Seven Days in New Crete (Quartet, 1974), SF The (b. October 30, 1947) American artist. Born in Best of the Best Part I, II (Mayflower, 1969), Shape of Long Beach, California, Kirk wanted to be an artist Things to Come (Corgi, 1967), Shards of Space (Corgi, by the time he was five or six years old, and his fam-1966), Shock; Shock II, Shock III (Corgi, 1962, 1965, ily encouraged that interest. He was an avid reader 1978), Shores of Space (Corgi, 1965), Silver Locusts and was heavily influenced, he says, by a variety of (Corgi, 1963), Six Days (Kingsway, 1991, Minstrel, popular culture media, especially Disney animated 1992), Slaves of the Volcano God (Headline, 1989), movies (presaging his later work for that company!).

Sleep Eaters (Corgi, 1964), Small Gods (Gollancz, As influences on his approach to illustration, he 1991), Something Wicked This Way Comes (Corgi, credits Carl Barks, the comic book artist who created 1964), Son of the Tree (Ace, 1971), Spectrum of a For-Donald Duck’s cranky uncle, Uncle Scrooge Mc-gotten Sun (Arrow, 1979), Split Image (Panther, Duck and pre–World War II illustrators such as 1957), Stir of Echoes (Corgi, 1964), Stone God Awak-Howard Pyle, N.C. Wyeth, Arthur Rackham*, ens (Ace, 1970), Strata (Doubleday, 1993), Stress Pat-Harry Clark*, and Sidney Sime*, while in science tern (DAW, 1974), Suns of Scorpio (DAW, 1975), fiction, his “heroes” were Ed Emshwiller*, Edd Sword Above the Night (Corgi, 1962), Swords of Cartier*, Hannes Bok* and Virgil Finlay*. After high Lakhmar (Mayflower, 1970), Swords of Mars (Four school Kirk became an art major at California State Square, 1966), Swordships of Scorpio (DAW, 1975), University, Long Beach and received a Master’s De-Syzyg y (DAW, 1973), Tales of Horror and the Super-gree in illustration in 1973. During his college years natural (Panther, 1964), Tarzan and the Ant Men; Kirk also became an enthusiastic member of fan-Tarzan and the Castaway; Tarzan and the City of dom, and started contributing artwork to various Gold; Tarzan at the Earth’s Core; Tarzan and the For-fanzines, and displaying work at science fiction con-bidden City; Tarzan the Invincible; Tarzan and the ventions. He won Hugo Awards in 1970, 1972, 1973, Jewels of Opar; Tarzan’s Jungle Tales; Tarzan and the 1974, and 1976 as Best Fan Artist, a Balrog Award Leopard Men; Tarzan and the Madman; Tarzan the 1979.

Magnificent; Tarzan’s Quest (NEL, 1967), Tarzan of Kirk began his professional career in the early the Apes (Four Square, 1967), Thief of Time (Double-1970’s, spurred by his success in exhibiting a series day, 2001), Through a Glass, Clearly (Four Square, of 26 paintings based on J. R. R. Tolkien’s Lord of the 1967), Time Story (DAW, 1973), Transit to Scorpio Rings, which he had created for his Master’s project.

(DAW, 1972), Twenty Second Century (Panther, The paintings were displayed at the 1972 World Sci-1960), Undersea City; Undersea Fleet; Undersea Quest ence Fiction convention in Los Angeles and seen by (Mayflower, 1970), Unquiet Grave (Four Square, Ian and Betty Ballantine, who purchased the entire 1966), Untouched by Human Hands (Four Square, collection and published 13 of them as a J. R. R.

1966), Upside Downside (DAW, 1982), Valentine Tolkien calendar for 1975. Kirk went to work for Pontiflex (Pan, 1985), Vathek (Four Square, 1966), Hallmark Cards in 1973, recruited by that company Victory on Janus (Ace, 1973), Warrior of Scorpio in his last year of college, and spent 1973–1978 in (DAW, 1975), Weird Shadows from Beyond (Avon, Kansas City, Missouri illustrating “funny animal”

1969), What’s Become of Screwloose (DAW, 1973), A cards, stationery, gift wrap and books. During this Whiff of Madness (DAW, 1976), The Wicked Cyborg same period he took on a variety of book and mag-

(DAW, 1978), Worlds of the Imperium (Mayflower, azine assignments, including work for Henson As-1970), Years Best Adult Fantasy Stories #3, #6 (DAW, sociates (the Muppets), DAW Books, Arkham 1977, 1980), Wyrd Sisters (Gollancz, 1988). Ye Gods!

House, Issac Asimov’s Science Fiction Magazine and (Orbit, 1992), Zenya (Arrow, 1978).

others. After working for another greeting card company, he returned to Southern California in 1980

Kofoed

304
and joined the Walt Disney Company as an Imagi-Mayhem on Bear Creek (Donald M. Grant, 1979), neer, on the recommendation of his brother — who Nameless Places (Arkham House, 1975), One-Eye had been working for the company since 1976, help-

(DAW, 1973), Pathways to Elfland: The Writings of ing to design EPCOT Center at Walt Disney World Lord Dunsany (Owlswick Press, 1989), Phantoms & in Florida. Kirk worked for Disney for 22 years, and Fancies (Mirage, 1972), The Pride of Bear Creek was instrumental in the conception and realization (Donald M. Grant, 1977), The Purple Dragon and of several major theme park projects in Florida, and Other Fantasies (Fictioneer Books, 1978), Rat Tales later Tokyo DisneySea (2001), a companion park to (Pulphouse Publishing, 2004), Rime Isle (Whispers Tokyo Disneyland. In 2002, with his brother and Press, 1977), Science Fiction Handbook (Owlswick sister-in-law as partners, he founded Kirk Design, Press, 1975), Skulls in the Stars (Bantam, 1978), Slow Inc., specializing in museum, restaurant, retail and Dancing Through Time (Ursus, 1990), Star Trek Con-theme park work. One project is the Science Fic-cordance (Ballantine, 1976), Swordships of Scorpio tion Museum and Hall of Fame, which opened in (DAW, 1973), Stormtrack (Pyramid, 1974), The Suns Seattle in June 2004.

of Scorpio (DAW, 1973), Tales of Three Hemispheres Sources: Correspondence from the artist, March 23, 2005; (Owlswick Press, 1976), The Tolkien Quiz Book Beahm, George. Kirk’s Works. Newport News, VA: Heresy (Signet, 1979), The Tolkien Scrapbook (Grosset & Press, 1980; Kirk, Tim. Portrait of the Artist as a Young Fan, or Art is Whatever You Can Get Away With, or Tiny Tim and the Dunlap, 1978), The Trouble with Tribbles (Ballan-Green Octopoids of Uranus. Challenger 21, Science Fiction ontine, 1973), Transit to Scorpio (DAW, 1972), Warrior line Fanzine at www.challzine.net (Winter 2004/5 accessed of Scorpio (DAW, 1973), Whispers (Doubleday, 1977), 4/2/05) www.kirkdesigninc.com; Rotsler, William, “The Art Whispers 2 (Doubleday, 1979), Whispers 3 (Double-of Tim Kirk.” Vertex: The Magazine of Science Fiction, June 1973.

day, 1981), Who Fears the Devil (Dell, 1980), Wizen-beak (St. Martin’s Press, 1986), Worms of the Earth Published Work

(Zebra, 1975)

BOOKS ILLUSTRATED INCLUDE: All About Strange MAGAZINES ILLUSTRATED INCLUDE:

Monsters of the Recent Past Neat Stories (Ursus Im-FgF : 1971 (4)

prints, 1987), Approaching Oblivion (Walker & Co., IASFM: 1977 (summer, fall); 1978 (3); 1979

1974), Astronauts & Androids (DAW, 1977), The Art (spring, 6); 1980 (4, 7, 9, 10, 12); 1981 (2, 3, 5, 6, 7, of the Fantastic (Gerry de la Ree, 1978), An Atlas of 8, 9, 12); 1982 (2/15, 4, 5, 12/15)

Fantasy (Mirage, 1973), Bernhard the Conqueror IF : 1970 (7)

(DAW, 1973), The Burrowers Beneath (DAW, 1974), VERTX: 1973 (4, 6, 8, 10, 12); 1974 (4, 6, 8, 10); Changeling Earth (DAW, 1973), The Collected 1975 (2)

Feghoot (Pulphouse, 1992), The Complete Feghoot WC&S: 1971 (1, 5)

(Mirage, 1975), The Complete Tales from Gavagan’s WT: 2002 (issue #328, #330)

Bar (Owlswick Press, 1978), Conan the Liberator (Bantam, 1979), Conan the Rebel (Bantam, 1981), Conan The Road of Kings (Bantam, 1979; Sphere, Kofoed, Karl

1980), Conan the Swordsman (Bantam, 1978), Conan (b. December 1, 1942). American artist. Born in The Sword of Skelos (Bantam, 1979), Conan and the Westfield, New York, Kofoed’s family settled in Mt.

Spider God (Bantam, 1980), Cormac Mac Art Tigers Kisco, in 1951. He attended the Philadelphia Col-of the Sea (Ace, 1984), A Directory of Dealers in SF and lege of Art and received a BFA in illustration, 1966.

Fantasy (Haddonfield House, 1975), Dragons of Despite some success in the SF field, Kofoed resists Darkness (Ace, 1981), Dreams Must Explain Them-the label of Science Fiction artist because he regards selves (Algol Press, 1975), A Dreamer’s Tales (Owl-it only as a lucrative sideline to his commercial ca-swick Press, 1979), Eyes Trilog y (DAW, 1973), Faster reer as a freelance commercial art director and Than Light (Harper and Row, 1976), A Gent from graphic designer. He has worked for companies such Bear Creek (Zebra, 1975; Donald M. Grant 1975), as NW Ayer Direct in New York, and in the 1980s The Ghosts of Heaviside Layer and Other Fantasms worked for North American Publishing as a promo-

(Owlswick Press, 1980), The Gothic Horror and Other tional art director. During that period he earned four Weird Tales (W. Paul Ganley, 1978), Green Star Saga Gold and three Silver Awards from the Delaware 1, Under the Green Star (DAW, 1972), A Guide to Valley Graphic Arts Assn. for promotional literature.

Middle Earth (Mirage, 1971), Half in Shadow His studio, Kofoed Design, specializes in graphic (Arkham House, 1978), Heroes and Hobgoblins design and digital photo restoration.

(Donald M. Grant, 1981), The Hills of the Dead As science fiction illustrator, Kofoed is best (Bantam, 1979), How to Make Love to an Extraterres-known for The Galactic Geographic feature which trial (Quill, 1983), King Chondo’s Ride (Playboy, premiered in Heavy Metal in 1978. The concept 1982), Land of Unreason (Bluejay, 1985), Literary posits an alternate future, reported in documentary Swordsmen and Sorcerers (Arkham House, 1976), style. After a hiatus publication was resumed there

305

Koszowski
in 1997 and continues. Kofoed designed, wrote, il-In 1953, recently divorced, Kolliker remarried and lustrated, and produced The Galactic Geographic An-moved to El Paso, Texas, where he opened an art nual 3003 (Paper Tiger, 2003), an art book based on studio. In 1955 Kolliker was hired as art director for the series, which he describes as “a coffee table book the White & Shuford Advertising agency, where he from the future … the spiritual descendant of today’s stayed for 13 years. He left to become an independ-nature magazines.” Kofoed first published traditional ent fine art watercolorist specializing in landscapes, novel was Deep Ice (BeWrite/UK, 2003), and other florals and city scenes, and enjoyed regional renown.

books are pending. Kofoed’s art was included in sev-Kolliker taught at the El Paso Museum of Art and for eral group shows, among them: a Science Fiction Ret-four decades taught students at his studio. He re-rospective, Bronx Museum of Art (1981), Lever ceived the Conquistador Award in 1963, the city of House. New York (1986), a traveling NASA exhibit El Paso’s highest honor, and received 15 Awards of (1987), The Art of Fantasy & SF, Delaware Art Mu-Merit from the El Paso Chamber of Commerce.

seum (1990). He had a one-man show at Widener Kolliker was commissioned by the federal govern-University (PA) in 1984. Kofoed is a frequent atten-ment to create artwork for the National Monument der of East Coast conventions, well known for his in Del Rio, Texas, 1969. Kolliker had two daugh-participation in the SF community. He has one ters, Joanne and Betsy, both artists, from his first daughter, Lisa (Thompson), born 1965, from a pre-marriage to Doris S. In 1953, Kolliker married vious marriage to Christine Howze. Kofoed and his Helen, a widow with one daughter, Katy. Kolliker wife Janet, a popular jewelry designer, live in Drexel was survived by Marie (Mahovich), also an artist, Hill, Pennsylvania.

whom he married in 1981, after Helen’s death. His Sources: e-mail from the artist February 2006; www.

grandson Billy, one of three children of Joanne (Kol-GalacticGeographic.com [http://users.rcn.com/kkofoed]

liker) Brown, is a graphic designer in Austin — car-Published Work
rying on the family tradition of involvement in art.

B

Sources: e-mail May 2006 from William Brown, grandson; OOKS ILLUSTRATED INCLUDE: Geodesic Dreams: www.kolliker.com/biography.html [accessed May 2006]; The Best Short Fiction of Gardner Dozois (St. Martin’s, www.ancestry.com [accessed May 2006]

1992), Mall World (Donning/Starblaze. 1981), Mr.

Bill in Space (Macmillan, 1982), The Ultimate Mall-Published Work
world (Meisha Merlin, 2000).

ASF : 1939 (8, 9, 12); 1940 (1, 2, 3, 4, 6, 8); 1941

(7, 8, 9, 10, 11); 1942 (1, 2, 4, 6, 7, 8, 9, 10, 11, 12); 1943

MAGAZINES ILLUSTRATED INCLUDE:

(1, 2, 6, 8, 9)

AMZ: 1982 (11)

SS: 1941 (1, 7, 9)

IASFM: 1979 (6, 7); 1980 (6, 7, 12)

StrS: 1940 (2, 4, 6, 8, 10) 1941 (2)

TWS: 1941 (3)

Kolliker, William A.

UK: 1040 (6); 1942 (4, 6, 8, 10, 12); 1943 (2, 6, 8, (October 12, 1905–January 24, 1995) American 10)

artist. Born in Bern, Switzerland, Kolliker was introduced to art early in life. At age 14, he spent a year Koszowski, Allen
studying art in Paris. After his father’s death a year (b. June 27, 1949) American artist. Born in Upper later, Kolliker persuaded his mother to sell their Darby, a suburb of Philadelphia, Pennsylvania, Kos-home and emigrate to New York City. At 16, Kolliker zowski is a completely self-taught artist; his family, took a job as office boy in the art department of the he says, could not have afforded formal art train-Hearst newspaper The New York American while ing — even if they had been aware of the need. He finishing school at the National Academy of Design

“doodled and sketched” until he discovered the and learning English. At 17, he was a staff artist at the world of fanzines, and submitted work to them, circa Baltimore News & American, and for the next few 1973. He did the drawing with a ball point pen, not years worked for newspapers and agencies, among knowing any better — but the acceptance, and check them the New York Evening Graphic, Hearst Pub-

(for $.50!) from the now long dead fanzine Space lishing, The Associated Press, Cunningham and Warp thrilled him and encouraged him to continue.

Walsh, and the Paris & Pearl Advertising Agency.

He entered professional markets in 1982, with his Kolliker contributed numerous interiors to SF mag-first sale to Asimov’s SF. Koszowski was a U.S. Ma-azines from 1939 to the early 1940s, although his rine infantryman and a decorated Vietnam War vet-work was generally considered undistinguished. He eran, and has held a variety of jobs since then — as also did cover work and interiors for several chil-he puts it “the usual roll call of jobs that artistic types dren’s books, which showed a more graceful and re-usually hold down to pay for their existence while alistic style. Kolliker first signed his work “W. A.

they do what they really want.” But despite those Koll,” but in 1940 he began using his full name, distractions, Koszowski has become one of the most

“Kolliker.”

prolific artists in the fantasy horror field, with more

Kramer

306
than 3,500 published illustrations for hundreds of Press, 1992), Antholog y of Fantasy & the Supernat-semi-professional and professional small press and ural (Tiger, 1994), Audrey’s Private Haunts (The specialty genre magazines. A complete listing is im-Strange Company, 1987), Best Horror from Fantasy possible, but among the publications and publishers Tales (Carroll and Graf, 1990), Dark Sanctuary (Mid-that have used his work are: Weirdbook, Space & night House, 2001), Day Dark, Night Bright (Dark-Time, Cemetery Dance, The Horror Show, Midnight side Press, 2002), Dead in the West (Space & Time, Marquee, Subterranean Press , Fantasy Tales (UK), 1990), Digital Wristwatch of Philip K. Dick/Hyper-Kadath (Italy), Eldritch Tales, Etchings and Odysseys, prism (Gryphon Books, 1993), Echo of a Curse (Mid-Midnight Graffiti, Midnight House , All Hallows night House, 2002), Faces of the Beast (Starmont (Canada), Dark Animus (Australia), Hellbound House, 1990), Feesters in the Lake & Other Stories Books , Graphic Classics, Dark Regions Press, Sci-

(Midnight House, 2002), Final Diary Entry of Kees ence Fiction Review, City Slab, Pioneer Books, Pulp-Huijgens (Necronomicon Press, 1995), Garden at 19
house, Necronomicon Press, Deathrealm, Crypt of (Midnight House, 2002), Harlem Horror (Midnight Cthulhu, Fangoria, Thrust, Relapse Records, and House, 2002), House of the Nightmare (Midnight many, many more.

House, 1998), House of the Temple (Endeavor Press, Koszowski’s preferred medium is pen and ink (in 2005), Medusa (Footsteps Press, 1984), New Mythos part due to his partial color-blindness) and he cites Legends (Marietta, 1999), Prelude to Armageddon: the “great” Virgil Finlay* as the inspiration for his de-The Collected Fantastic Fiction of Cleve Cartmill tailed and uniquely horrific drawings. However, (Darkside Press, 2004), Last Continent: New Tales Koszowski’s style is wholly original, and while it is of Zothique (ShadowLands, 1999), Return of the Soul less subtle than others, over time the artist has devel-and Other Stories (Midnight House, 2001), Robert oped an idiosyncratic “ghoulish” style that is as Bloch Companion: Collected Interviews 1969–1989
memorably disturbing to the eye as any found in the (Starmont House, 1989), Ship of Dreams — Dream-dark fantasy/weird fiction genre … earning him the lands 2 (W. Paul Ganley, 1986), Sixty Years of Arkham title “Master of Menace.” Recently, he has found House (Arkham House, 1999), Tales of the Uneasy ways to overcome visual problems, and has begun (Ash-Tree Press, 2004), Thing of Darkness (Midnight working with color pencils. Koszowski has garnered House, 2005), Through Channels (Footsteps Press, a number of awards, including 2002 World Fantasy 1989), Transients—And Other Disquieting Stories (W.

Award for Best Artist, multiple awards for Best Artist Paul Ganley, 1993), Vampire Junkies (Gryphon and other categories for the Small Press Writers and Books, 1994).

Artists Organization, a Fanex Award, and others.

MAGAZINES ILLUSTRATED INCLUDE:

Long active as an exhibitor in genre conventions, he IASFM: 1983 (10)

has been Artist Guest of Honor at many of them.

WFH: 1994 (summer); 1995 (spring); 1996 (sum-He was a winner of the L. Ron Hubbard Illustrator mer, winter)

of the Year award, and a finalist for The British Fan-WT: 1991/92 (summer, fall, winter); 1992
tasy Award and The Balrog. In the early 1990s, Kos-

(spring); 1993 (summer); 1994 (spring); 1998 (sum-zowski began writing articles on weird fiction for mer); 1999–2000 (winter)

small press magazines. For Weird Tales, he wrote and illustrated a series called The Classic Horrors, some written in collaboration with Jason Hollander*.

Kramer, Frank

Some of his artwork was collected in Travelers By (November 21, 1909–January 20, 1992) Born in Twilight (Magic Pen Press, 2000). In 2003 Kos-New York City, Kramer turned to art as a profes-zowski launched his own fiction title, Allen K’s In-sion after a career in business because drawing and human Magazine, for which he provides most of the painting gave him more pleasure. Kramer became a art. Koszowski also is an avid collector of magazines freelance artist, and first became known for his sports and books in the fantasy/SF/Horror genres. He is illustrations. By the early 1940s he was an interior married, has two children, and is a lifelong resident artist who worked primarly for Astounding SF.

of Upper Darby, PA.

Kramer was a prolific contributor, and a very good Sources: http://www.allenk.com; http://scifipedia.scifi.

artist who was capable of strong line work. Although com/index.php/Allen_Koszowski; www.arkhamhouse.com; Charles Schneeman* usually was given the best sto-

“Art and Artist’s Profile of Allen Koszowski” Midnight Zoo v1

#2 1991; “A Conversation with Allen Koszowski” Cemetery ries to illustrate during the same period, Kramer was Dance, Winter 1990; Brian S. Lingard. “Interview with Allen his equal in both presentation and style. He turned Koszowski” Mythos Collector #4 2002.

to illustrating children’s books and in 1946 became the first new illustrator of the Oz books in over forty Published Work
years, following the death of lifelong Oz illustrator BOOKS ILLUSTRATED INCLUDE: An Index to the John R. Neill, in 1943. Kramer had the daunting Fiction and Poetry of H.P. Lovecraft (Necronomicon task of following in his footsteps, but fared ad-

307

Krenkel
mirably in his two covers for Jack Snow’s The Mag-many adventure and detective magazines, which he ical Mimics in Oz (Reilly & Lee, 1946), and The kept in mint condition. After the war, Krenkel at-Shaggy Man of Oz (Reilly & Lee, 1949). His cover art tended Burne Hogarth’s classes at the Cartoonists’

was featured also in Who’s Who in Oz (Reilly & Lee, and Illustrators’ School (which became the School of 1954), and used again in the re-issues by Books of Visual Arts, in New York). It was there that he met Wonder (1991). Through the 1960s, Kramer contin-several young cartoonists, among them Frank ued to illustrate sports-related and young adult Frazetta* and Al Williamson, and became close books, with one title in the genre, Rocket to Limbo friends with both artists. Krenkel lived with his par-

(David McKay, 1964). Kramer died in Belleview, ents in their home in Queens and worked on the Washington, age 82.

fringes of the comic book field in the late 1940’s and Sources: www.eskimo.com/~tiktok/; www.welcometooz.

early 1950’s, He worked for the Chesler Shop, cre-net; Weinberg, 1988.

ating comic art for ACG, Atlas, Eastern, EC, Har-Published Work
vey and Warren. But being a slow worker, and be-ASF : 1939 (6, 7, 10); 1940 (2, 3, 4, 5, 8, 9, 10, 11); lieving in perfection in every detail, he was not able 1941 (1, 4, 5, 7, 8, 9, 10, 11, 12); 1942 (1, 2, 3, 5, 6, 7, to keep up with the demanding pace required for 9, 11, 12); 1943 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10. 12); 1944
the production of comic art. His best-known art (1, 4, 8, 9, 10, 11, 12); 1945 (3, 4, 5, 7, 8, 9, 11); 1946
during this period consisted of several pieces he did (1, 2, 3)

in collaboration with Williamson for EC Comics FA: 1941 (11)

(working under the name Roy Williams). It was dur-FFM: 1944 (9)

ing the early 1950s that he also made his first sales in SSS: 1949 (1, 7)

illustration, to Marvel Science Fiction and Science UK: 1939 (8, 9, 11, 12); 1940 (3, 4, 6, 7, 9, 10, 11); Fiction Adventures, and other magazines. He did 1941 (2, 6, 8, 10); 1942 (2, 4, 6, 8, 10, 12); 1943 (2,

“adult” illustrations for magazines and for American 4, 6, 8, 10)

Aphrodite, a hardback book published quarterly.

Krenkel was well known to dislike the confines Kramer, Vernon
of commercial illustration and did the minimal (?) American artist Kramer did a couple of paint-amount of work required for him to eke out a living.

ings in the early 1950s for science fiction magazines He was constantly doodling and drawing, and con-and then left the field. He later returned to the genre tributed many of his sketches to George Scithers’

in the early 1960s when Cele Goldsmith modern-Amra, a Robert E. Howard-oriented “sword and sor-ized Amazing Stories and Fantastic and Kramer was cery” fanzine. Krenkel was not ambitious, and pre-one of the artists she used to upgrade the cover art.

ferred non-paying venues to paying publications After producing a few paintings he again left the such as Analog, which would require him to illus-field and apparently never returned. Unfortunately, trate a specific story. Through the 1960s and 1970s, Kramer is another one of several artists who worked his “doodles” appeared in dozens of fanzines, such as briefly in the genre about whom almost nothing is the Burroughs fanzine ERB-dom, ERBania, and known beyond his publication credits.

Tarzine and these appearances earned him a small but enthusiastic following. He would draw in pen-Published Work
cil, pen-and-ink, colored ink, and watercolor. and AMZ: 1963 (2)

even ball point pen. He signed all his works “RGK,”

FTC: 1953 (11); 1954 (1); 1961 (5, 7); 1962 (8); whether they were sketches or final paintings.

1963 (1, 5, 8)

Krenkel made his reputation through the paperback book covers he produced for Ace and DAW in Krenkel, Roy Gerald, Jr.

the 1960’s, illustrating the works of Edgar Rice Bur-

(Roy Williams) ( July 11, 1918–February 24, 1983) roughs and other fantasy novels written in the Bur-American artist. Krenkel was born in the Bronx, and roughs tradition. These books are credited for hav-was a lifelong resident of New York. He studied art ing started the revival of fantasy fiction in that at The New York Artist’s League with George Bridg-decade. Donald Wollheim, the editor of Ace Books, man for a year, circa 1938, and at Cooper Union, saw Krenkel’s Amra illustrations at a point when he prior to serving in the U.S. Army in the Philippines was preparing to reprint works of Edgar Rice Bur-during War World II. Krenkel’s early fascination roughs in paperback, and thinking they were in the with the stories of Edgar Rice Burroughs and the art J. Allen St. John* tradition, hired him to do some of J. Allen St. John* led him to work as a commer-covers. Although Krenkel had never worked with cial illustrator, although he always preferred to draw paint before, he took the assignment. His first paint-pictures inspired by his own imagination. He loved ing was for Planet of Peril by Otis Adelbert Kline collecting as well as drawing, and collected all of the (1961). This was followed by the first Burroughs science fiction and weird-fiction pulps, as well as book in the series, At The Earth’s Core (1962). In ad-

Krenkel

308
dition to the full color cover, each book in the series work was published in fanzines or limited edition contained a small RGK frontispiece in pen-and-ink.

books, he never achieved the recognition that work Unused to producing full color paintings, Krenkel deserved. Many of his best drawings remain unpub-struggled to finish the commissions and after a few lished, and in private collections, only to be seen on paintings, Krenkel asked Frazetta for help in com-those occasions when they surface to change hands pleting some compositions, and suggested him to among devoted followers of his talent.

Wollheim as an artist for the series. Eventually, Woll-Sources: Burton, David, Garrison Richard and Cochran, heim did hire Frazetta, and his cover work was so Russ. “The Fantastic Worlds of Roy G. Krenkel” In: Illustration, January 2003; Vadeboncoeur Jr., Jim. “Roy Krenkel”

popular with readers that Krenkel was replaced on The Vadeboncoeur Collection of Knowledge, 2000 online the Burroughs covers. However, Krenkel’s work for www.bpib.com/illustra2/krenkel.htm ; Ancestry.com. Social Ace did bring him a Hugo Award in 1963 as Best Security Death Index [database on-line]. Provo, UT, USA: Artist of the Year, a Heroic Fantasy Award and a The Generations Network, Inc., 2007.

Bronze Hammer award, established by Robert E.

Collections and Anthologies

Howard fandom in the 1960s. And later, his work (various contributing artists)

was included in the exhibition “Science Fiction and Frank, Jane and Howard. The Frank Collection: Fantasy Painters,” and in the illustrated catalog for A Showcase of the World’s Finest Fantastic Art (Paper that show, at the New Britain Museum of Ameri-Tiger, 1999), Frank, Jane and Howard. Great Fan-can Art (1980).

tasy Art Themes from the Frank Collection (Paper When Wollheim left Ace and founded his own Tiger, 2003), Krenkel, Roy. Cities & Scenes From the company, Krenkel did several heroic adventure cov-Ancient World (Owlswick Press, 1974), Krenkel, Roy .

ers for DAW, in the same manner as he had before.

Swordsmen and Saurians (Eclipse, 1989), Manzella, Krenkel also did covers for Canaveral Press, which Joe. Roy G. Krenkel Portfolio #1 (Fantastic Visions, started an illustrated hardcover series in 1962, about 1983), Spurlock, J. David and Klugerman, Barry .

the same time that Ace was starting its Burroughs RGK: The Art of Roy G. Krenkel (Watson-Guptill, series. Krenkel created the cover art for four titles: 2004).

The Cave Girl, Land of Terror, Tarzan and the Tarzan Twins, and Tales of Three Planets. In addition, Published Work

Krenkel indirectly contributed to early issues of Jim BOOKS ILLUSTRATED INCLUDE: As the Green Star Warren’s magazines, Creepy and Eerie, in the mid Rises (DAW, 1975), At the Earth’s Core (Ace, 1962), 1960s, by sharing his sketches with Frazetta and pro-Back to the Stone Age (Ace, 1963), By the Light of the viding layouts for several Frazetta covers.

Green Star (DAW, 1974), The Cave Girl (Canaveral, In the 1970s, fan and publisher Donald Grant, 1962, Ace, 1964), Chessmen of Mars (Ace, 1962), who saw Krenkel as an artist very much in the tra-Conan Grimoire (Mirage, 1972), Conan Reader (Midition of J. Clement Coll*, published several collec-rage, 1968), Conan Swordbook (Mirage, 1969), tions of Robert E. Howard stories richly illustrated Dragon of the Ishtar Gate (Lancer, 1968), Escape on by Krenkel. The first of these was The Sowers of the Venus (Ace, 1964), Eternal Savage (Ace, 1963), Fight-Thunder (1968), with book jacket and frontispiece ing Man of Mars (Ace, 1963), Flight of Opar (Ace, printed in full color, and almost one hundred inte-1976), Hadon of Ancient Opar (DAW, 1974), High-rior pen-and-ink interior drawings. The book re-ways in Hiding (Ace, 1967), Ironcastle (Ace, 1976), ceived high praise for its art. Later Grant published King Kull (Lancer, 1967), Land of Hidden Men (Ace, a companion book, The Road of Azrael, also by 1963), Land of Terror (Ace, 1963), Land That Time Robert E. Howard, also with color cover and fron-Forgot (Ace, 1963), The Mastermind of Mars (Ace, tis (1979). Owlswick Press published Cities and 1963), The Miscast Barbarian (De la Ree, 1975), The Scenes from the Ancient World in 1974 and a portfo-Moon Maid (Ace, 1962), Outlaw of Torn (Ace, 1968), lio of paintings titled The Seven Wonders of the An-Out of Time’s Abyss (Ace, 1963), Pellucidar (Ace, cient World in 1975.

1962), People That Time Forgot (Ace, 1963), Pirates of Somewhat eccentric, Krenkel never married, and Venus (Ace, 1963), Planet of Peril (Ace, 1961), Port of lived in a small home on Long Island, New York.

Peril (Ace, 1962), Prince of Peril (Ace, 1962), Road of He was a familiar sight at New York Comic conven-Azrael (Donald M. Grant, 1979), The Sowers of the tions, where he walked around with a portfolio of Thunder (Donald M. Grant, 1973, Zebra, 1975), sketches for sale. He died of cancer, soon after being Tales of Three Planets (Canaveral, 1964), Tanar of Pel-given a special award for his art from the 1982 World lucidar (Ace, 1962), Tarzan at the Earth’s Core (Ace, Fantasy Convention. Six years after his death the first 1962), Tarzan and the Tarzan Twins (Canaveral, art book collecting his drawings was published by 1963), Tarzan Triumphant (Ace, 1963), Thuvia Maid Eclipse books, Swordsmen and Saurians (1989).

of Mars (Ace, 1962), Towers of Thunder (Ace, 1975), Krenkel was one of the best pen-and-ink artists to Wizard of Venus (Ace, 1970), The Wonderful Wizard work in the fantasy field, but because most of his of Oz (Airmont, 1963), WT50 (Weinberg, 1974).

309

Krupa

MAGAZINES ILLUSTRATED INCLUDE:

day BCE, 1971), Winter of the World (Doubleday ASF : 1961 (5, 11, 12); 1962 (3, 5)

BCE, 1975).

FF : 1951 (11)

MSS: 1952 (5)

Krupa, Julian S.

SFA: 1954 (2, 5)

( January 7, 1913–December 18, 1989) American SpSF : 1953 (9)

artist. Born in Poland, Krupa immigrated with his family to the United States while still a baby, set-Kresek, Larry
tling in Chicago, IL. He started out as a musician and (May, 29, 1948) American artist. Born Laurence was an accomplished violinist playing with several or-Vand Kresek, the artist received a BA in illustration chestras and conducting his own band; he played from Eckerd College (Florida) and an MA from with the A&P Gypsies during the Chicago World’s Syracuse University, as well as studying painting at Fair in 1933–1934. Always interested in art, he tried the Art Center College of Design in Los Angeles, a correspondence course in illustration, in 1933.

the University of Delaware and Europe. He has been When that didn’t work out, he attended art school a professional freelance illustrator since 1970, with a and then became a freelance artist. His daughter did focus more on advertising than the science fiction not remember the name of the artist, but recalled genre, with clients in New York, throughout the her father always saying he had “studied with the Southeast and China. Major projects include a series guy who did the Edgar Rice Burroughs comic”— a of pharmaceutical illustrations, medically related art, possibility since Hal Foster did his art training at and movie illustrations. Much of his genre related the Chicago Art Institute, and later the National work has been done for the Science Fiction Book Academy of Design & the Chicago Academy of Fine Club. Kresek was included in “Who’s Who Among Arts, and while in Chicago became an assistant to America’s Teachers,” 1996 and 2003, and has earned J. Allen St. John*, well-known illustrator of Burnational recognition as an award winner, exhibitor, roughs, through whose connections Foster was of-and judge for the New York Society of Illustrators.

fered the job to draw the first Tarzan comic strip. In Kresek is the Chair of the Illustration Department at the middle 1930s Krupa secured a job with a Polish the Rocky Mountain College of Art and Design in newspaper, the Daily Zgoda, the largest Polish news-Denver, Colorado, and previously was the first Chair paper in the U. S., doing rotogravure layouts, let-for the Illustration Department at the Ringling tering, and graphic design. In 1936, he wrote and School of Art and Design in Sarasota, Florida, in illustrated a science fiction comic strip in Polish for 1981, where he taught for 16 years. Kresek’s wife, that paper, The Adventures of Richard Arnold. In the Joan Kresek, is an award-winning, trompe l’oeil rep-1930s Krupa also was accepted into the Bauhaus resentational painter who also teaches at the Rocky School of Design, at that time one of the most Mountain College. They have two daughters, Kai prominent art schools in the world, but did not at-and Zoe.

tend; Hitler was already in power and the school Sources: www.kresekartstudio.com; The New Visions: A told him not to come because of the political unCollection of Modern Science Fiction Art. NY: Doubleday & Co, 1982.

certainty at the time. Krupa instead took a job with Ziff-Davis Publishing Co. before the war, and then BOOKS ILLUSTRATED INCLUDE: Alpha 2: The Men served in the Marine Corp. during the World War II Return (Ballantine, 1971), Antinomy (Dell, 1980), As (1942–1944). After the war, he went back to Ziff-On a Darkling Plain (Dell, 1978 ), Best Of Fritz Leiber Davis, and in 1950 married Lillian Weganowski of (Doubleday BCE, 1974), Best of Henry Kuttner Chicago. He was offered, at that time, the opportu-

(Doubleday BCE, 1975), Best of Walter M. Miller, nity to go with Ziff-Davis to New York, but de-Jr. (Pocket Books BCE, 1980), Case Of The Dreamer clined for family reasons. Like many artists work-

(Doubleday BCE, 1974), Edge of Never (Fawcett, ing for the Ziff-Davis publications, he illustrated for 1973), Final Circle of Paradise (DAW, 1976), Flow all of the magazines published by the chain includ-My Tears, The Policeman Said (DAW, 1975), Fury ing Radio News, Pets, Flying, and Popular Aviation. He (Lancer, 1972), In the Ocean of Night (Dial Press did all of his interior black-and-white illustrations BCE, 1977), Interworld (Dell, 1977), Languages of with a brush, working primarily in stipple. His color Pao (Ace, 1974), Life & Death of Planet Earth (Pin-cover paintings were done mainly in watercolor/
nacle, 1977), Millennial Women (Dell, 1979), The gouache.

Seven Deadly Sins of Science Fiction (Fawcett BCE, In the 1950’s Krupa began working for Wilding 1980, Space Relations: a Slightly Gothic Interplane-Picture Productions, an independent film production tary Tale (Fawcett, 1975), Stardance (Dial Press, house having contracts with the U.S. Government, 1979), Subtropical Speculations: Antholog y of Florida Alcoa, and similar large companies. Krupa became Science Fiction (Prineapple Press, 1991), Three to Dor-head of their art department and head animator for sai (Doubleday BCE, 1975), Time Masters (Double-almost twenty years, doing training films for the

Krupowicz

310

Navy and the NASA space program, among others.

Island, the artist used only her first initials profession-Sometime in the late 1960s, Bell & Howell bought ally. She was one of six children, and attended East Wilding thinking they could make science fiction Providence High School, although the family had films. The Monitors (1969), based on a novel by Keith moved to Seekonk, Massachusetts before she com-Laumer, came out at the same time as 2001, A Space pleted grammar school. Krupowicz displayed her Odyssey and could not compete with it; filmed in talent for drawing early, but was entirely self taught, Chicago with the members of the legendary Second and claimed no outside influences for her distinc-City troupe, the movie failed to bring status to tive, highly original style. About 1980, she came to Chicago’s filmmaking possibilities. Krupa lost his the attention of Donald M. Grant, well-known job as a result, sometime in 1969, about the same Rhode Island-based publisher of specialty books in time Bell & Howell began dismantling Wilding. He the fantasy genre, who hired her to create cover art turned to producing newspaper advertising layouts and interiors for a number of books, 1982–1985.

for Radio Shack (Tandy Corp.) and Playback (a During the same time period, she did five covers for company selling Hi-Fi equipment in the Chicago Fantasy and Science Fiction magazine. Krupowicz area) until his heart attack in 1979. Krupa retired was a World Fantasy Award nominee for Best Artist, but continued to play violin with the Southwest 1983.

Symphony Orchestra, and designed all their pro-Krupowicz worked in traditional media, but used gram covers, until he died (he began playing with non-traditional methods to produce works that have them in 1968). In the early 1990s, examples of no easy parallels in contemporary fantasy illustra-Krupa’s science fiction illustrations were displayed tion. Her “inner visions” inspired her to create ob-at the Museum of Science and Industry (Chicago).

sessively detailed and eccentrically styled paintings in To the family’s surprise, the Museum later offered a colorful, untutored “folk art-like” style that was in their gift store, c. 1999, a tin lunchbox featuring uncannily suited to the themes of the weird fiction Krupa’s colorful and well-known cover art for the she was asked to illustrate. She used watercolors, July 1947 issue of Amazing— showing astronauts in working them in layers to produce brilliant colors, a red-orange spaceship pointing to a hidden city on as well as oils, frequently combined these media with an unknown planet. His art was featured in a port-ink or pencil to produce unusual effects. For her folio article “Master of the Fantastic” appearing in the black-and white work she used ink, sometimes with February 1972 issue of Fantastic magazine. Krupa a “spot” second color for effect — blood red. Krupo-had one daughter, Mary Ann Krupa, who works as wicz created personal works of high quality, the more a musician and teaches at VanderCook College of favored of which she would give romantic, fanciful Music in Chicago. His wife died in 1993.

titles. These she gave to friends or sold for very lit-Sources: email from Mary Ann Krupa, August 2006; Josh tle, and typically featured highly erotic and/or Stickler (grandson) “Julian Krupa, the man, the legend!”

bizarre imagery. Krupowicz lived a Bohemian March 13, 2006 online at http:// sticklersworld.blogspot.com/

2006/03/julian-krupa-man-legend.html]

lifestyle which ultimately limited her ability to gain the status her creativity deserved. A long time resi-Published Work
dent of Massachusetts, Krupowicz died there and AMZ: 1938 (10, 11 12); 1939 (1, 2, 3, 4, 5, 6, 7, 8, was survived by three sons, each from one of two 9, 10, 11, 12); 1940 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); marriages which ended in divorce, and a third long-1941 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11); 1942 (5, 6); 1943
term relationship which ended before her death.

(5, 6, 7, 8, 9); 1944 (1, 5, 9, 12); 1945 (3, 9, 12); 1946

Sources: Telephone interview with the artist’s mother, Rita (2, 5, 6, 7, 9, 10, 12); 1947 (1, 4, 6, 7, 8, 10, 12); 1948

Krupowicz, Feb–March 2006.

(1, 2, 4, 6, 7, 8, 12); 1949 (1, 2, 3, 4, 5, 6, 7, 10, 11, 12); BOOKS ILLUSTRATED INCLUDE (all Donald M.

1950 (1, 2, 3, 4, 6, 7, 8, 9, 10, 11); 1951 (1, 2, 3, 5, 8, Grant, Publishers): As It Is Written (1982), The Dark 11); 1952 (1); 1966 ((4); 1968 (2); 1969 (9); 1970 (11); Cry of the Moon (1985), The Hundred-Year Christmas 1971 (3)

(1983), The Long Night of the Grave (1986), The Soft FA: 1939 (5, 7, 9, 11); 1940 (1, 2, 3, 4, 5, 6, 10); 1941

Whisper of the Dead (1982), The Talisman (1984), (1, 3, 5, 6, 7, 8, 9, 11); 1942 (4, 10); 1943 (5, 6, 7, 12); Whispers V (1985)

1944 (2, 6, 10); 1946 (9); 1947 (1, 7); 1948 (6, 9, 10, M

12); 1949 (1, 2, 3, 4, 5, 7, 8, 11); 1950 (3, 4, 5, 6, 10, AGAZINES ILLUSTRATED INCLUDE:

F&SF : 1983 (9); 1984 (6); 1985 (2, 8); 1986 (1) 11); 1951 (3)

FTC: 1965 (11); 1966 (7); 1968 (3); 1972 (2) OW: 1957 (9)

Kukalis, Romas B.

(September 23, 1956) American artist. The artist Krupowicz, R.J.

known professionally as “Romas” was born in (August 13, 1945–August 1, 1991) American artist.

Toronto, Canada, and moved to the United States in Born Rita Jeanne Krupowicz in Providence, Rhode 1960. He became a U.S. citizen in 1989. Kukalis grew

311

Kukalis
up in Connecticut, and attended Paier College of ings in these paintings are based on characters that Art in New Haven, Connecticut from which he are found only in Lithuanian and Celtic folklore.

graduated with honors in 1978. After graduation, He plans to follow these studies on larger canvasses Kukalis immediately began working for book and with mythological and allegorical themes. He is also magazine publishers and advertising agencies in New working on a series of paintings for fine art giclee York City. Although fantasy and science fiction are reproductions for his print company, ROMAS Fine his main interests, he has illustrated a variety of sub-Art Prints, LLC. The artist now makes his home in jects for such diverse clients as TV Guide, Readers Keene, New Hampshire, with his wife, Allison Bar-Digest, Omni, Marvel Comics, the D.C. Comics rows, and their daughter, Alexandra and son, Batman Masters Series, Union Carbide, Seagrams, Guyon. Barrows is the creator of the nationally syn-Hasbro, The Bradford Exchange, and The Danbury dicated cartoon strip “Preteena,” author and artist Mint. Some of Romas’s best-known SF/F covers in-of two children’s books The Artist’s Model (1996) and clude Marion Zimmer Bradley’s Darkover series, The Artist’s Friends (1997) and author of the Goofy Anne McCaffrey’s The Rowan series, and the popu-Foot Gurl graphic novel series.

lar Chronicles specialty books related to Scholastic Sources: e-mail from the artist March 2007; www.

Books’ young adult Animorphs series.

romas.biz; Haber, Karen. “It’s Beginning to Look a Lot like Romas.” Artist feature, Science Fiction Age January 1999.

Known for his sharply rendered, monumental and heroic figures, Kukalis’ paintings exhibit a moody Published Work
realism showing the influences of artists who have in-Age of Chaos (DAW, 2001), Arcady (ROC, 1996), spired him, ranging from Renaissance masters to the Allamanda (ROC, 1997), Bard of Sorcery (Del Pre–Raphaelites, Sir Thomas Lawrence and John Rey/Ballantine, 1986), Battletech: Tactics of Duty Singer Sargent. He started working in oils on ma-

(ROC, 1995), Between Darkness and Light (DAW, sonite in the late 1970s, then switched to acrylics on 2001), Blind Archer (Avon, 1988), The Broken God-illustration board in the mid 1980s. He currently dess (ROC, 1995), Captives of the Savage Empire works in acrylics, and finishes the paintings with (Berkley, 1984), Caterpillar Question (Ace, 1992), oils. His portraits and fine art are painted in oils on Catswold Portal (ROC, 1993), Chaos Mode (Ace, masonite or canvas. Instead of formally signing his 1995), Checkmate (ROC, 1998), (Berkley, 1982), work, he integrates his name “Romas” into the de-Clan of the Warlord (Del Rey/Ballantine, 1992), Cold sign of every illustration, and in newer works he Iron (ROC, 1997), The Continuing Xanth Saga hides his wife’s nickname “Al” as well. Kukalis’ im-

(Wings, 1996), Countermeasures (DAW, 1993), ages have appeared on more than three hundred (DAW, 1999), Destiny of the Sword (Del Rey/Ballan-book covers and on a variety of published media.

tine, 1988), Doom: Thy Flesh Consumed (Pocket He is represented by several agents in charge of sec-Books, 1996), Dragon’s Dagger (Ace, 1994), Dragon-ond rights printing of his paintings throughout Eu-slayer’s Return (Ace, 1995), (ROC, 2001), Eve’s Rib rope and Russia. His work is currently licensed for (Pageant, 1989), Exile’s Song (DAW, 1996), Fade to T-shirts and greeting cards, mugs, and various Black (ROC, 1994), Faithful Traitor, Faithful Trai-posters, apparel and more. One of his Dragon Im-tor Rising (Del Rey/Ballantine, 1992), Fall of Neskaya ages has also been licensed by the California rock (DAW, 2001), Fellowship of the Hand (Tower, 1973), band Timeline. He has exhibited work at the Soci-Finest Choice (Tor, 2006), Folk of the Air (Del ety of Illustrators (NY), The Museum of American Rey/Ballantine, 1988), Forging of the Dragon (Del Art (CT), and in numerous one-man shows Rey/Ballantine, 1989), Fossil: Isaac’s Universe (DAW, throughout New England. He also participates in 1993), Freedom: Freedom’s Landing, Freedom’s Choice many genre conventions where he has consistently (Ace, 1996, 1998), Fugitive Stars (DAW, 1995), God’s won numerous awards, including the 1991 World Dice (DAW, 1997), Golden Years of Science Fiction Fantasy Award. In 2004 he won a bronze medal at (Bonanza, 1984), Groa’s Other Eye (Ace, 1986), Hard the Illustration West 36 competition in Los Angeles.

Sell (Ace, 1993), Harpist in the Wind (Del Rey/BalIn 2002 he completed sixteen paintings for the lantine, 1989), Heart of Bronze (SFBC, 1998), His-Harry Potter card series with Wizards of the Coast tory of Atlantis (Random House, 1996), The Hollow in conjunction with Warner Brothers Studios.

Earth (Morrow, 1990), In Legend Born (Tor, 1998), After twenty-five years of commercial assignment, Krispos Rising, Krispos The Emperor (Del Rey/Bal-Kukalis recently added portraiture to his portfolio.

lantine, 1991, 1994), Legion of Videssos (Del Rey/Bal-For his portrait and fine-art ventures he uses his mid-lantine, 1987), Lone Wolf (Penguin, 1994), Lord of dle name “Brandt” to distinguish between these and the Troll Bats (Ballantine, 1992), Lyon’s Pride (Ace, his commercial works. He painted U.S. Representa-1995), Lyrec (Ace, 1984), Mayday! (Bantam, 1988), tive Charles F. Bass in 2004 and Governor Craig R.

The Merlin of Oak Wood (Tor, 2001), The Misplaced Benson in 2005. He has also introduced his “Figure Legion (Del Rey/Ballantine, 1987), Nosferatu (Penin Nature” series. The spiritual or supernatural be-guin, 1994), Operation Kaos + Luna (Doubleday,

Ladd

312

1998), Orbital Decay (Ace, 1989), The Outlanders Ladd has worked for several of the major SF pub-

(Tor, 1999), Outworld Cats (DAW, 1994), Point of lishers, but always preferred to paint on speculation Honor (DAW, 1998), Price of the Stars (Tor, 1992), rather than on commission. He also has done a num-Putting Up Roots (Tor, 2003), Return of the Breakneck ber of paintings which have appeared as covers of Boys (Del Rey/Ballantine, 1991), Return of the Ninja European and Japanese books. He began working (Bantam, 1989), Reaver Road (Del Rey/Ballantine, in acrylics but then moved into oils in 1978 with the 1992), Riddlemaster of Hed (Del Rey/Ballantine, painting of Space Lords. In 1982 Ladd enrolled in 1992), Savage Stars (Tower, 1981), Schemes of Drag-the University of Rhode Island at Kingston, in the ons (Ace, 1988), Shadow Matrix (DAW/BCE, 1999), engineering school, specializing in computer graph-Sister Blood (DAW, 1996), Sniper Assassin (ROC, ics. After one year he took a job with Omnibus 1993), Sometime After the Equinox (Tower, 1981), Computer Graphics in New York, creating com-Sorceress and the Cygnet (Ace, 19910, Sorcerer’s Blood puter-generated graphics for commercial and sports (Pinnacle, 1982), A Sorcerer’s Stone (Tor, 2002), promotions for various TV networks. Tiring of the Starflight to Faroul (Tower, 1980), Starpilot’s Grave city grind, Ladd returned once again to Rhode Island (Tor, 1993, Steel Rain (Penguin, 1997), Supernatural in 1986 to focus more on his own fine art, “experi-Sleuths (ROC, 1996), Sword of the Deceiver (ROC, mental” paintings and print making, supporting 19930, Traitor’s Sun (DAW, 1999), Tremor in the Bit-himself with jobs outside the field. Through his own ter Earth (Tor, 1997), Turning Point (DAW, 1993), company Rumble Flying Designs he makes avail-UFO Project (Bantam, 1993), The Undying Wizard able his product “Fractal Flyer”— a cutting-edge vi-

(Ace, 1992), The Unknown Soldier (DAW, 1994), The sualization tool which designs pictures using itera-War Minstrels (Del Rey/Ballantine, 1987), Watchers tive and complex mathematics.

at the Well (SFBC, 1992), A Working of Stars (Tor, Sources: e-mail from Bob Eggleton October 2005; Ed-2001), (DAW, 1995), Zone Soldiers (DAW, 1996).

wina Harvey “Connecting with Bob Eggleton” Infinity Plus online at www.infinityplus.co.uk/nonfiction/intbe.htm [accessed March 2007]; Weinberg, 1988; www.fractalflying.com Ladd, Eric

(b. July 23, 1949) American artist. Ladd was born Published Work
in Putney, Vermont, the third of ten children. His BOOKS ILLUSTRATED INCLUDE: Best of E. E. “Doc”

family moved to North Kingston, Rhode Island Smith ( Jove, 1979), Beyond the Imperium (Pinnacle/
when he was about six, and he resides in that state Tor, 1981), The Cache (Pinnacle/Tor, 1981), Conver-today. Other members of his family are artists, ingent Series (Ballantine Del Rey, 1979), Dancers of cluding two sisters, Maria and Beth, and his brother Arun (Berkley, 1980), A Different Light (Gollancz, Thomas is a potter. Ladd attended parochial schools 1979), The Falling Torch ( Jove/HBJ, 1978), Irsud and Seminary High School, and after graduation (DAW, 1978), The Northern Girl (Berkley, 1980), entered Boston College intending to be a priest—but The Pleasure Tube (Berkley, 1979), A Private Cosmos changed his mind and enrolled in Boston’s School of (Phantasia, 1981), Space Lords ( Jove/HBJ, 1979), Star the Museum of Fine Arts in 1969. There he met Fall (w/ Carl Lundgren: Berkley, 1980), Tongues of the Steven Lisberger, with whom he formed Lisberger-Moon (w/ Carl Lundgren: Jove, 1978), Watchtower Ladd, Inc. in 1971, a studio specializing in full-cell (Berkley, 1980), The Woman Who Loved the Moon airbrush animation. During this time period Ladd (Berkley, 1981), WYST: Alastor 1716 (DAW, 1978).

married, but was divorced a few years later. Ladd MAGAZINES ILLUSTRATED INCLUDE:

left the partnership and freelanced in industrial proj-GAL: 1977 (10)

ects and magazine illustration until entering the Rhode Island School of Design in 1975. That same Lake, Lissanne
year he attended the Boston Science Fiction con-

(b. August 30, 1956) American artist. Born in Jer-vention, Boskone, where his art attracted the atten-sey City, New Jersey, and raised in Weehawken, New tion of David Hartwell (then editor of Timescape Jersey, Lake graduated in 1978 from Jersey City State Books) and Donald A. Wollheim (of DAW Books).

College (now University) with a BA degree in Illus-These contacts drew Ladd into the SF art field. At the tration, with a psychology minor, Summa cum laude.

same convention he also met Carl Lundgren* with She then went to work in advertising in New York whom he later collaborated on paintings. In the late City for several years. Since turning to freelance il-1970s Ladd met fellow Rhode Islander Bob Eggle-lustration, Lake has produced has done numerous ton* who in interviews has credited Ladd for en-paintings for magazines, product packaging boxes, couraging him to show his art at SF conventions posters, and book covers, ranging from science when he began his career. For a brief time in the late fiction, to “new age,” gaming and small press pub-1970s Ladd lived in Vermont, to concentrate on art, lishers including covers for best-selling authors such but the isolation was too great and he moved back as Terry Pratchett and Thomas Disch. Her clients to Rhode Island by 1981–1982.

have included TSR, Inc., Doubleday, Wizards of the

313

Larkin

Coast and Harper Prism. Lake benefited from the MAGAZINE ILLUSTRATIONS INCLUDE:

rise in popularity of games based on trading cards DRA: 1992 (11, 12); 1993 (3); 1994 (10); 1995 (3) (collectible card games) in the 1990s, creating well PWr: 1994 (fall); 1995 (spring
over three hundred pieces of card art for various Misc: The Buckland Romani Tarot Kit: tarot cards games. A “lifetime gamer” herself, Lake plays a va-

(LLewellyn 2001).

riety of card games and has won a few tournaments.

Lake’s biggest recent project involved the complet-Larkin, Robert
ing of seventy-eight paintings for a new tarot deck (b. 1950) American artist. A prolific and accom-she co-designed with Raymond Buckley, for plished painter, “Bob” Larkin began his career with Llewellyn Press, 2001.

Warren Publications, and then was retained by Ban-Lake’s art influences are a mix of surrealism, estam Books to do the covers of the popular Doc Sav-pecially Yves Tanguey, and the fantasy artists Kelly age series. James Bama* had effectively sold the se-Freas* and Carl Lundgren*. As a result her work ries for Bantam, and when he departed the field of often simultaneously projects emotional intensity commercial illustration for more lucrative endeavors, and playfulness, with some visual surprise. She Fred Pfeiffer* and then Boris Vallejo were tried on the works in acrylics, and signs with a stylized mono-covers. Neither artist seemed to capture the Doc Sav-gram, with two capital “L’s” positioned so that they age “look,” and Larkin was given the assignment.

form a bow and arrow. Lake has displayed her work His work proved to be popular, perhaps because he in galleries in New York and New Jersey, and at sev-chose to use the same model as Bama — Steve Hol-eral genre conventions in the Northeast. To relax, land — who had posed for almost all of his Doc Sav-she has been studying Italian rapier fencing for more age covers. Larkin produced more than thirty cov-than a decade, using full weight weapons. Recently ers for the series, beginning in 1977. During the she has turned to producing fine art and mainstream 1970s Larkin also produced cover art for several sci-illustration, while still gaming and occasionally ence fiction titles, and for a number of Marvel doing gaming art.

Comics’ black-and-white magazines. Through the Sources: e-mail from the artist April 2007; www.tastes-1980s and 1990s Larkin’s work has appeared on book likephoenix.com/gallery/lissanne/
and magazine covers, posters, and trading cards for such varied comic and popular culture properties as Published Work

The Savage Sword of Conan the Barbarian, the X-BOOKS ILLUSTRATED INCLUDE: Dancing with Men, Spider-Man, the Hulk, Doc Savage, Star Trek Dragons (Llewellyn, 2002), Eating Memories (Wo-

(and parodies of same, “Star Wreck”), Star Wars, burn & Baltimore/Old Earth, 1997), Lafferty in Babylon 5, Battlestar Galactica, and Vampirella. Con-Orbit (Broken Mirrors Press, 1991), Lilith (Llewellyn, tinuing the Doc Savage franchise, Larkin also pro-1996), Men at Arms a Novel of Discworld (Harper-vided the covers for several “omnibuses” published Prism, 1993), The Rabbi’s Tarot: Spiritual Secrets of the by Bantam, which reprinted earlier novels. In comic Tarot (Llewellyn, 1989), Redwood Scar (Blackmoor, art his credits include titles as The Savage Sword of 2004), Rites of Passage (Obelesk Books, 1994), Sind-Conan, Conan Saga, The Deadly Hands of Kung-Fu, bad, The 13th Voyage (Broken Mirrors Press, 1989), Planet of the Apes, Tomb of Dracula and Rampaging This is My Blood (Black River Terminal Fright Press, Hulk ( The Hulk Magazine). A full-color collection of 1999).

paintings, The Art of Bob Larkin, was published in GAME-RELATED ILLUSTRATIONS INCLUDE: Doom-2006 by SQ Productions, Inc.

town card art (Five Rings/Wizards of the Coast/

Sources:www.vampirella.com; Weinberg, 1988.

AEG, 1998), Doomtown or Bust! Deadlands, the Weird Published Work

West (Microtactix, 1999), Fires of Marl: Bloodshadows BOOKS ILLUSTRATED INCLUDE (all Doc Savage are (Pinnacle, 1995), Galactic Empires (Companion Bantam publications): Babylon 5: #1 Voices; #2 Accu-Games, 1994), Legend of the Five Rings (Five sations; #3 Blood Oath; #4 Clark’s Law; #5 The Touch Rings/Wizards of the Coast/AEG, 1995), Legend of of Your Shadow, the Whisper of Your Name; 6: Betray-the Burning Sands card art (Five Rings, 1997), Mid-als; #7 Shadow Within; #9 To Dream in the City of dle-Earth card art (Iron Crown Enterprises, 1995), Sorrows (Dell, 1995, 1996, 1997), Bad Chili (Warner/

Mythos card art (Chaosium, 1996), Nightmare’s Dis-Mysterious Press, 1997), The Carnelian Throne (Ban-ciple: Call of Cthulhu (Chaosium, 1999), Rage card tam, 1979), Children of the Vampire (Delacorte/
art (Wizards of the Coast/White Wolf, 1995), Sim-SFBC, 1995, 1996), Conan: The Liberator; Road of ply Roleplaying! Core Rules (Goodman Games, Kings; Sword of Skelos (Bantam, 1979), Effendi (Ban-2000), Shadowfist collector card game (Z-Men tam Spectra, 2005), Doc Savage: #89 Magic Island/

Games, 1999), Sorcerer’s Crib Sheet: Bloodshadows OST (1977); #90 The Flying Goblin (1977); #91 The (West End Games, 1995),

Purple Dragon (1978); #92 Awful Egg (1978), #93

Tunnel Terror (1979); #94 Hate Genius (1979); #95

Layzell

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The Red Spider (1979); #96 Mystery on Happy Bones Layzell’s unusual approach to painting also led (1979), Doc Savage 2 Volume issues: #97/98 Satan him to use unorthodox painting materials; like Black & Cargo Unknown (1980); #99/100 Hell Below Richard Powers*, who cut up cardboard boxes and

& Lost Giant (1980); #101/102 Pharoahs Ghost & wood door panels for his “canvas,” Layzell also ap-Time Terror (1981); #103/104 Whisker of Hercules & parently exploited publishers’ patience in using Man Who Was Scared (1981); #111/112 One Eyed Mys-whatever materials might be at hand. Reports his tic & Man Who Fell Up (1982); #113/114 Talking Devil former agent at Arena Agency “Back in the days

& Ten Ton Snakes (1982); #115/116 Pirate Isle & when it was ok to do a painting on the back of a ce-Speaking Stone (1983); #119/120 Laugh of Death and real packet, that’s what he did.” Layzell was among King of Terror (1984); #121/122 Three Wild Men & several “rising” British artists whose work was in-Fiery Menace (1984); #123/124 Devils of the Deep & cluded in popular art anthologies in the late 1970s, The Headless Man (1984); #125/126 The Goblins & only a handful of which remained dominant in the Secret of the Su (1985), Doc Savage: Omnibus: #5, #6, field by the end of the century.

#7, #8, #9, #10, #11, #12, #13 (Bantam, 1988, 1989, Sources: Sacks, Janet ed. Visions of the Future (Chartwell, 1990), The Dragon Lensman (Bantam, 1980), T he 1976), Weinberg, 1988.

Eternity Brigade (Fawcett, 1980), The Fate of the Collections and Anthologies

Phoenix (Bantam, 1979), Forward the Foundation (various contributing artists)

(Doubleday Foundation/SFBC, 1993), The Golden Caldwell, Steven. Aliens In Space: An Illustrated Sword (Bantam, 1977), Hills of the Dead (Bantam, Guide to the Inhabited Galaxy (Crescent, 1988), 1979), Kampus (Bantam, 1977), The Nitpicker’s Caldwell, Steven. Space Patrol: The Official Guide to Guide for Classic Trekkers (Titan/SFBC, 1994), The the Galactic Security Force (Intercontinental, 1980), Nitpicker’s Guide for Next Generation Trekkers, Vol. I, Caldwell, Steven. Star Quest: An Incredible Voyage Vol. II (Dell/Titan /SFBC, 1994, 1995), Pashazade Into the Unknown (Crescent, 1979), Caldwell, (Bantam Spectra, 2005), The Proteus Operation (w/

Steven. Worlds at War (Intercontinental, 1980), Har-Jim Warren, Bantam. 1985), Spock Must Die (Ban-rison, Harry. Mechanismo (Pierrot, 1978), Suckling, tam, 1984), Stan Lee Presents Doctor Strange in Night-Nigel. Heroic Dreams (Paper Tiger, 1987).

mare (Pocket Books, 1979), Stan Lee Presents the Marvel Comics Illustrated Version of Star Trek (Mar-Published Work
vel Illustrated Books, 1982), Star Wreck: II: The At-BOOKS ILLUSTRATED INCLUDE: Approaching tack of the Jargonites; III: Time Warped; IV: Live Long Oblivion (Pan, 1977), The Best Science Fiction of J.G.

and Profit; V: The Undiscovered Nursing Home; 6: Ballard (Futura/Orbit, 1977), Drunkard’s Walk Geek Space Nine; 7: Space: The Fido Frontier (St.

(Granada/Panther Books 1978), Farthest Star (Pan, Martin’s, 1992, 1993, 1994), Vulcan—Star Trek (Ban-1976), The Grey Prince (Gollancz, 1990), The His-tam, 1984), Wingman: Target: Point Zero (Zebra/Pin-tory of the Science Fiction Magazine Vol.3 1946–1955
nacle, 1996), X-Men: The Law of the Jungle (Berkley, (CBI/Contemporary Books, 1977), Isaac Asimov Pre-1998), Z-Lensman (Bantam, 1983).

sents the Great SF Stories #25 (1963) (DAW, 1992, SFBC, 1993), The Legion of Time (Sphere, 1977), Layzell, Bob

Mammoth Book of Golden Age of Science Fiction (b. 1940) British artist. Robert Layzell was a self-

(Robinson, 1998), Millennium: A Novel About Peo-taught artist born in Brighton, England. He was ple and Politics in the Year 1999 (Macdonald and painting fantasy subjects in watercolors, in a flowery, Jane’s, 1976), The Planet Masters (Sidgwick & Jack-mystical art nouveau style, when in the 1960s he be-son, 1980), Soul of a Robot (Orbit/Quartet, 1977), came attracted to the “strangeness in sf ” and turned Tales of the Flying Mountains (Tor, 1984), There Will to painting spaceships. His first published artwork Be War, Volume IV: Day of the Tyrant (Tor, 1985), A appeared in Science Fiction Monthly magazine, 1975.

Trace of Memory (Tor, 1984), The Uncertain Mid-Layzell studied the work of artists like Chris Foss*
night (Coronet, 1982).

and Bruce Pennington* and added elements of his own, inspired by Bosch, Dalí, Escher and William Lee, Alan

Morris. With suggestions from the art director at (b. 1947 ) British artist. Lee was born in Harrow, Pan Books, he made his work tighter, and mastered Middlesex, and studied graphic art and design at the airbrushing and the detailing needed to make his Ealing School of Art, 1966–1969 where he became highly individualistic paintings suitable for repro-interested in Celtic and Norse mythology. From an duction. This led to paperback cover assignments early age, he gravitated toward the field of book il-from Pan, and other publishers both in the U.S. and lustration — following in the footsteps of Arthur U.K. Layzell’s diverse art interests led him to paint Rackham and Edmund Dulac, master illustrators of landscapes in oils, decorate instruments for musi-the nineteenth century — and after graduation in cians, and design rock festival posters.

1969 he became a freelance illustrator. He began

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work as a freelance illustrator in 1970, working in signing for film. He continues work in book illustra-London, and taking commissions mainly for book tion and other projects from his studio in Devon, covers until 1975, when he moved to Dartmoor with England. Lee has a son, Owen, and daughter, Vir-fellow artists Marja Lee Kruÿt (to whom he was mar-ginia, and both also are artists.

ried for many years) and Brian Froud*. His first very Sources: Artist biography at www.endicott-studio.com/
successful collaboration with Froud , Faeries, a large bios/biolee.html; “Dreamweavers” exhibition brochure, Charles Vess and Cindi DiMarzo co-curators, November 5–
volume of fairy lore inspired by the Dartmoor coun-Jan 1, 1995, William King regional Arts Center, Abingdon, tryside, was published in 1978. By 1984 the had sold VA; Horne, Alan. Dictionary of Twentieth Century British Book 600,000 copies in nine languages, and its success es-Illustrators (Antique Collector’s Club, 1994).

tablished Lee’s reputation, and allowed him to con-Collections and Anthologies
centrate on illustrating The Mabinogion (1982). In (various contributing artists)

1982 Lee also illustrated the covers of a new Pen-Grant, John and Humphrey, Elizabeth with Scov-guin edition of Mervyn Peake’s Gormanghast Tril-ille, Pamela. The Chesley Awards: A Retrospective ogy.

(AAPL, 2003), Jude, Dick. Fantasy Art Masters In the 1980s Lee continued to apply his artistic (HarperCollins, 1999), Larkin, David, ed. Castles skills to depicting Ancient and Medieval worlds, to (Bantam, 1984), Larkin, David, ed. Once Upon a which they were excellently-suited. “The main Time: Some Contemporary Illustrators of Fantasy (Pea-source for Lee’s poetic vision are Norse and Celtic cock Press/Bantam Book, 1976), Lee, Alan. The Lord mythology and Arthurian Legend. His color usage of the Rings Sketchbook (Houghton Mifflin, 2005), and the composition of his landscapes create a wist-The Mabinogion (Dragon’s Dream, 1982), Portfolio: ful longing in viewers — they are achingly beautiful, Drawings of Alan Lee (ltd ed., 1983), Russell, Gary.

haunting in a way one cannot forget.” ( Dream-Art of the Lord of the Rings Trilog y (HarperCollins, weavers exhibition brochure, p. 20). During those 2004), Russell, Gary. The Lord of the Rings: The Art years, Lee created illustrations in watercolor for sev-of the Fellowship of the Ring (HarperCollins, 2002), eral books, among them Peter Dickenson’s Merlin’s Dreams (1988), Michael Palin’s Mirrorstone (1985), BOOKS WRITTEN AND ILLUSTRATED INCLUDE: and Joan Aiken’s The Moon’s Revenge (1986). Lee pro-Faeries (w/ Brian Froud, Souvenir Press, 1978), duced fifty illustrations for the 1991 centenary edi-BOOKS ILLUSTRATED INCLUDE: The Book Of Mer-tion of Tolkien’s The Lord of the Rings, and the book lyn (Fontana, 1978), Brokedown Palace (Berkley, Black Ships Before Troy by Rosemary Sutcliffe (1993), 1986), Children of the Hurin (HarperCollins, 2007), which Lee illustrated, won the Kate Greenaway Darkest Day: Iron Tower 3 (Signet, 1984), Dark Tide: Medal for children’s book illustration. Lee also il-Iron Tower 1 (Signet, 1984), Eye of the Heron (Bantam, lustrated books collecting Welsh folklore, and Cas-1984), Gormanghast Trilogy (Penguin, 1982), The tles (with David Day, 1984). In 1989 Lee was asked Hobbit (HarperCollins, 1997), Lavondyss (Gollancz, to create the conceptual design for Terry Jones’ film 1988), The Lord of the Rings (Grafton, 1991), Mer-version of Eric the Viking. Other films he has worked lin’s Dreams (Gollancz, 1988), Mirrorstone (Cape, on as set designer include Legend (1985), and Mer-1985), The Moon’s Revenge (1986), Mythago Wood lin (1998).

(Gollancz, 1984), Orsinian Tales (Bantam, 1984), In 1998, and for the following six years, Lee put Poems from “The Lord of the Rings” (Harper Collins, aside all book projects in order to work with col-2009), Prospero’s Children (Voyager, 2000), Shad-league John Howe* on the New Zealand set of Peter ows of Doom: Iron Tower 2 (Signet, 1984), Tolkien’s Jackson’s film trilogy, The Lord of the Rings. As con-Ring (Barnes & Noble, 1994), ceptual designer for the films, it was Lee’s job to cre-Misc. : The Children of Húrin: Tolkien Calendar ate the distinctive “look” of Middle Earth, and those 2008 (Harper Collins, 2007), The Tolkien Calendar viewing the films could readily see that his style had 1987, 1993 (Harper Collins, 1986, 1992).

been carried over into many characters and scenes in the films. Of his art, Lee has said “As an illustra-Lee, Jody A.

tor, my aim is not to dictate how things should look, (b. June 18, 1958) American artist. Lee was born but to serve the author’s vision, and to create an at-in San Francisco and received a BA in illustration mosphere, a space between the words where the eye from the Academy of Art College, San Francisco and mind can wander, and imagine for themselves (CA) in 1980. Her first commercial assignment was

… what will happen next.” In 2004, he received a in the fall of 1980, when she produced four full color well-deserved Academy Award for his work. After

“spot” illustrations for a science fiction textbook de-his return to England in 2004, Lee worked on per-sign firm, and she began illustrating professionally in sonal projects, and published his The Lord of the the field of fantasy and science fiction in 1981. Lee Rings Sketchbook, that gave some insight into his works primarily on illustrating book covers and in-working processes, both in book illustration and deteriors, for adult and young adult novels. Her liter-

Lehr

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ary clients have included Tor, Bantam Doubleday Brightly Burning (2000), By the Sword (1991), Crown Dell, Warner, but since the late 1980s she has worked of Stars: #1 King’s Dragon, #2 Prince of Dogs, #3 The almost exclusively for DAW Books. She has illus-Burning Stone, #4 Child of Flame, #5 The Gathering trated the book covers of numerous fantasy authors, Storm, #6 In the Ruins (1998, 1999, 2000, 2003, including Mickey Zucker Reichert, Kate Elliot, 2005), Dancer Trilog y: #1 Dancer’s Rise, Drinker of Fiona Patton, Michelle West, Tanya Huff and per-Souls: #2 Blue Magic, #3 Gathering of Stones (1989), haps most notably, Mercedes Lackey. She has also The Dragon Quartet: #1 The Book of Earth, #2 The done the illustrations for many well-known chil-Book of Water (1995, 1997), Duel of Sorcery: #1 Moon-dren’s authors, and produced a fully illustrated edi-gather, #2 Moonscatter, #3 Changer’s Moon (1982, tion of Anne of Green Gables.

1985), Exile’s Honor, Exile’s Valor (2003), Elemental Lee’s art is unique in its combination of graphic Masters: #1 Serpent’s Shadow, #2 The Gates of Sleep, design, attractive well-drawn figures, and glowing

#3 Phoenix & Ashes (2001, 2003, 2004), The Golden color. She works in a studio in her home, and reads Sword (2001), The Granite Shield (1998), Hunter’s every manuscript before beginning the job. She pre-Oath, Hunter’s Death (1995), The Jaguar Princess pares each painting with a photo shoot (using her-

(Tor, 1993), Joust (SFBC, 2003), King’s Dragon self and/or friends and family members as models), (1998), The Last Herald-Mage: Magic’s Pawn, Magic’s numerous sketches, and much research. Lee works Promise, Magic’s Price ( 1989, 1990), The Renshai Tril-in oils or acrylics on gessoed illustration board or og y: #1 Last of the Renshai, #2 The Western Wizard, rough watercolor boards. She occasionally uses black

#3 Child of Thunder (1990, 1992, 1993), The Legend ink to get a true black, and gouache, enamel, and of Nightfall (1993), The Mage Storms: #1 Storm Warn-Liquid Leaf for her metallic colors “as symbols of ing, #2 Storm Rising, #3 Storm Breaking (1993, 1995, magic” in her work. Her work has been shown at 1996), Mage Wars: #1 Black Gryphon, #2 White the Society of Illustrators’ Museum of Illustration Gryphon, #3 Silver Gryphon (1994, 1995), The Mage in New York (1990) and the Delaware Art Museum Winds: #1 Winds of Fate, #2 Winds of Change (1991, (1990). Lee received the Chesley Award for Best Pa-1992), The Monster’s Legacy (Atheneum, 1995), Owl perback Cover in 1988, and her art has been nomi-Trilog y/Darian’s Tale: #1 Owlflight, #2 Owlsight, #3
nated almost every year since then. In 1992, Lee won Owlknight (1998, 1999, 2000), The Painter Knight the Jack Gaughan Award for Best Emerging Artist.

(1997), Phoenix Fire (1992), The Prydain Chronicles Some of her works have been selected to appear in (DSFBC, 1990), The Queen’s Quarter: #1 New Moon the volumes of Spectrum: The Best in Contempo-

(Ace, 1989), The Renshai Chronicles: #1 Beyond Rag-rary Fantastic Art. She has been active in genre con-narok, #2 Prince of Demons, #3 Children of Wrath ventions since the early 1990’s, and has been Guest (1995, 1996, 1997), The Return of Nightfall (2004), Artist at several. While living in New York City, Lee The Riven Shield (2003), Sanctuary (2004), Shadith’s was active in the Graphic Artists Guild, and she is a Quest: #1 Shadowplay, #2 Shadowspeer, #3 Shadowkil l member of the Association of Science Fiction and (1990, 1991), The Shadow of the Warmaster (1988), Fantasy Artists. Lee also sells limited edition prints Skeen’s Leap, Skeen’s Return, Skeen’s Search (1985, of her work through Firebird Arts & Music. She 1987), #1 Sing the Four Quarters, #2 Fifth Quarter lives in Westchester County, New York with her hus-

#3 No Quarter, #4 The Quartered Sea (1994, 1995, band Tom Ingram, a financial consultant and their 1996, 1999), Song of the Gargoyle (Delacorte, 1991), children Ty and Jessamyn.

Speaking with Angels (Gale Group/Five Star, 2003), Sources: Correspondence from the artist March 2005; Spellsingers (1988), Storyteller (NESFA Press, 1992), www.jodylee.org; Grant, John, Humphrey, Elizabeth with Stone Prince 1996, Sun in Glory (2003), The Sun Pamela D. Scoville. Chesley Awards for Science Fiction and Fantasy Art: A Retrospective. U.K.: Artists and Photographers Press, Sword: #1 The Broken Crown, #2 Uncrowned King, #3

Ltd, 2003.

The Shining Court, #4 Sea of Sorrows (1997, 1998, 1999, 2001), Sword of Ice (1997), Take a Thief (2001), Collections and Anthologies

A Tapestry of Lions (1992), The Valdemar Companion (various contributing artists)

(2001), Vows and Honor: #1 Oathbound, #2 Oath-Grant, John and Humphrey, Elizabeth with Scov-breakers, #3 Oathblood (1988, 1989, 1997), Wild ille, Pamela . The Chesley Awards: A Retrospective Magic: #1 Wild Magic, #2 Wildfire, #3 The Magic (AAPL, 2003).

Wars (1991, 1992), Winds of Fury (1993), Witch and Published Work

Wombat (Tor, 1993), World’s End (Tor, 1992).

BOOKS ILLUSTRATED INCLUDE: (All DAW Books, Misc.: Runequest gamebox cover (Chaosium, except where noted): Alta (2003), The Ambivalent 1982),

Magician (Warner, 1995), An Acceptable Time (Dell, 1990), Arrows of the Queen (1987), Arrow’s Flight, Lehr, Paul

Arrow’s Fall (1987, 1988), The Black Griffin (1993), (Aug 16, 1930–July 27, 1998) American artist.

The Black Swan (1999), The Book of Air (2003), Among the very few artists who are able to evoke

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the science fiction genre without depicting specific Lehr worked in a variety of media, including oils, scenes from the books they illustrate, Lehr stands acrylics (sometime in combination with oil), and out for dominating science fiction covers in the gouache, often on masonite or wood panel, and mid–1960s into the 1970s. Born in White Plains, signed every work with a scripted “Lehr.” In June NY, Lehr received a BFA in the History of Fine Arts 1998, he wrote, “I try to take advantage of intuition from Wittenberg University (Springfield, Ohio), in and accidents that occur on the way to completion 1951. He attended The Pratt Institute, NY from of a work of art. I like to be mentally free and let 1953–1956, earning a certificate in illustration.

the subconscious enter into the creative process. Like There, he studied with Philip Guston, Richard many artists, my consciousness has been dominated Lindner, Calvin Albert and most importantly, Stan-by the urge to create. It has been this way since the ley Meltzoff* in Red Bank, New Jersey.

beginning…” Starting in the 1980s, and as his com-While Lehr’s earliest published works show Melt-mercial assignments dwindled, he had the luxury of zoff ’s influence, with whom he briefly shared a stu-time to begin creating fine art paintings and sculp-dio, Lehr soon developed his own unique voice and ture. The paintings, developed along the lines of sci-palette. His imagery, although representational, ence fictional themes, showed the evolution of his shared abstract and surrealist affinities with the art of highly original style, and he was an accomplished Richard Powers*, whose earlier success paved the sculptor working in wood, stone, and metal.

way for experimentation in illustrative art. “Every Lehr preferred exhibition of his personal works artist should follow their own star!” Lehr would say, in galleries to that of participating in genre conven-and he followed his own dictum with original and tions, but he was Artist Guest of Honor at a hand-brilliantly colored “futurescapes.” These often fea-ful of regional conventions: among them Lunacon tured enormous egg-like or spherical objects, set 1992 (NY), Rivercon 1994 (KY). He was an Illustra-against grand but barren future landscapes, with the tor of the Future Judge from the inception of the con-human figures, if any, scaled so as to appear dwarfed test, and was its coordinating judge from 1995 to by their surroundings. His paintings were “atmos-1998. His article on illustration “Science Fiction and pheric … built around the use of saturated colors in Fantasy Art: Three Keys” was published in L. Ron a multiplicity of harmonies … highly evocative of Hubbard Presents Writers of the Future Vol XII the central themes of science fiction,” according to (Bridge, 1996). Lehr was a winner of the Frank R.

Di Fate, who chose Lehr’s work for the jacket cover Paul Award for Excellence in Science Fiction Illus-of his important visual survey of science fiction art, tration, was twice nominated for the Hugo Award Infinite Worlds (1997).

(1980, 1981) for Best Professional Artist, and won Lehr’s first published science fiction painting was the Analog Award for Best Cover art in 1979, and for Bantam Books, Satellite E-One (1958)— the first 1980. In 1980 he also received a Merit Award from of hundreds of paperback and hardcover SF illus-the Society of Illustrators (New York) for artwork trations for major publishers and famous authors, done for Paramount Pictures. Lehr’s fine art has been such as Robert A. Heinlein and Arthur C. Clarke.

exhibited in several Museums and galleries, among Lehr produced cover art in other genres, mainly them the Philadelphia Museum of Art, Penn State mysteries, but it was his science fiction, fantasy and University, Bloomsburg University, and Penn State horror covers for which he is best remembered. He University. His work is held in many private collec-did a whole collection of Heinlein Juveniles for Ace, tions, and by the Smithsonian Institution National Dell, Avon and Ballantine/Del Rey, and memorable Air and Space Museum, The Society of Illustrators, adult fiction for Bantam, Ballantine, Berkley, Dell, Monmouth College, and several major corporations.

NAL and Avon Books. His illustrations appeared in In June 1998 Lehr was diagnosed with pancreatic major magazines, including The Reader’s Digest, the cancer, and died a month later, at his rural farm in Saturday Evening Post, Time, Life, Fortune, Business Pennsylvania, after declining treatment for the dis-Week, Playboy, Family Circle, Quest, Popular Science ease. He is survived by his wife, Paula, a potter, and and Omni. When the trend in SF illustration turned four children, one of whom, Diana, is a fine artist.

to slick, airbrushed realism in the 1970s, Lehr’s pop-Sources: Correspondence from the artist, 1998, and Paula ularity waned although he continued to work for Lehr, March, 2005; www.sfwa.com [obituary archive accessed 5/11/05)]; Klein, Jay Kay. “Biolog: Paul Lehr” Analog, May, MacMillan, St. Martin’s Press, and Tor, and pro-1979; www.locusmag.com/1998/News/ [Locus Magazine onduced 11 covers for Analog Magazine from 1978 to line news archive, from July, 1998, accessed 10/2/05]; Di Fate, 1984. Later, in the 1990s, he enjoyed another op-Vincent. “Gallery: The Soul of Science Fiction” Science Fic-portunity to see his work appear on Algis Budry’s tion Age Magazine, September 1997; “A Conversation with Paul Lehr, by Vincent Di Fate,” SF Chronicle Magazine #199, Tomorrow Magazine, with authors asked to write October–November, 1998. (interview); “Interview with artist feature stories based on his art, just as in early years, Paul Lehr,” by Vincent Di Fate. In Starship fanzine (Summer Bantam’s then-editor, Frederik Pohl, had managed 1980).

to find a “book” for his paintings.

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Collections and Anthologies

The Gorgon Festival (Weybright & Talley, 1972), (various contributing artists)

Grimm’s World (Berkley, 1969), Grok (Berkley, 1969), Di Fate, Vincent. Infinite Worlds: The Fantastic Guardians of Time (Ballantine, 1970), Gunner Cade Visions of Science Fiction Art ( Penguin, 1997), Miller, (Dell, 1969), Half the Day Is Night (Tor, 1994), Here Ron. Starlog Photo Guidebook to Space Art (Profile and Hereafter (Fawcett, 1969), A Heritage of Stars Entertainment, 1978).

(Berkley, 1977), The Horror Book (Berkley, 1967), I Hope I Shall Arrive Soon (St. Martin’s Press, Published Work

1987), Interstellar Empire (DAW, 1976), In the Days BOOKS ILLUSTRATED INCLUDE: Adventures in Time of the Comet (Berkley, 1966), I.Q. Merchants (Ban-and Space (Bantam, 1966), A for Anything (Berkley, tam, 1972), Island in the Sky (NAL, 1959), I Will 1965), After Doomsday (Ballantine, 1970), Aliens Fear No Evil (Berkley, 1969), Journey to Membliar Among Us (1969), The Altered World (Berkley, 1967), (Avon, 1987), Killer Things (Dell, 1969), Kronk Ancient of Days (Avon, 1973), Andromeda Gun (Berkley, 1970), Last Starship from Earth (Dell, 1968), (Berkley, 1974), Anome (Dell, 1973), Apeman, Space-The Laughter Outside of Night (Berkley, 1970), Life man (Berkley, 1969), Asteroid (Ballantine, 1969), As-for the Stars (Avon, 1963), The Light Fantastic (Faw-tounding Tales of Space and Time 1, 2 (Berkley, 1966, cett, 19700, Logan’s Run (Dell, 1968), The Long Twi-1968), The Asutra (Dell, 1974), Ballroom of the Sky light (Berkley, 1969), The Man Who Loved Mars (Fawcett, 1968), Beneath the Gated Sky (Tor, 1997), (Fawcett, 1972), The Martian Way (Fawcett, 1969), The Best of Orbit (Berkley, 1975), The Best of Science Matrix (Ballantine, 1970), Memoirs of a Spacewoman Fiction (Berkley, 1968), Best Science Fiction of 1969, (Berkley, 1973), Menace from Earth (NAL, 1962), 1970, 1971, 1972, 1973 (Berkley, 1970, 1971, 1972, Methuselah’s Children (NAL, 1959), Miners in the 1973, 1974), The Best SF Stories from New Worlds 6

Sky (Avon, 1967), The Mission (Pocket Books, 1958), (1973), Beyond the Veil of Stars (Tor, 1994), Big Book Moon Children (Berkley, 1971), The Moon is a Harsh of Science Fiction (Berkley, 1964), The Big Time Mistress (Berkley, 1968), The Mutations (Berkley, (Macmillan Collier, 1991, SFBC, 1992), Brainwave 1965), Naked to the Stars (DAW, 1976), Nebula (Ballantine, 1969), Brave Free Men (Dell, 1973), A Award Stories 4, 12 (Pocket Books, 1971, Bantam, Candle in the Sun (Berkley, 1970), Captive Universe 1979), New Tales of Space and Time (Pocket Books, (Berkley, 1968), Centauri Device (Bantam, 1980), 1958), New Worlds of Science Fiction (Berkley, 1969), Cemetery World (Berkley, 1974), A Choice of Gods Nightmare Journey (Berkley, 1974), Nine Tomorrows (Berkley, 1966), City (Macmillan 1992), City at the (Fawcett, 1969), No Place on Earth (Gold Medal, World’s End (Fawcett, 1970), Close to Critical (Bal-1959), Null (Berkley, 1973), One Hundred and One lantine, 1964), Colossus II (Berkley, 1977) Conquerors H Bombs, One Hundred and Two H Bombs (Berkley, from the Darkness (Dell, 1968), Cosmic Rape (Dell, 1969, 1971), Orbit #2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13

1968), Counter Clockworld (Berkley, 1974), Croyd (1967, 1968, 1969, 1970, 1971, 1972, 1973), Orphans (Berkley, 1968), Davy (Macmillan, 1990), Dagger of in the Sky (Berkley, 1970), The Other Side of the Sky the Mind (Ballantine, 1962), Damnation Alley (NAL, 1959), Other Worlds, Other Seas (Berkley, (Berkley, 1969), Dark December (Fawcett, 1970), A 1972), The Outward Urge (Ballantine, 1959), The Day in the Life (Bantam, 1981), Deep Range (NAL, Overman Culture (1972), The Paradise Plot (Bantam, 1958), A Demon in My View (Bantam, 1978), Desti-1980), The Pawns of Null-A (Berkley, 1974), Pebbles nation: Void (Berkley, 1966), Dimensions of Miracles in the Sky (Fawcett, 1971), The Phaeton Condition (Dell 1968), The Dolphins of Altair (Dell, 1967), (Berkley, 1972), Phoenix (Ballantine, 1967), A Planet Dome World (Pyramid, 1971), Domed City (Ballantine, Called Earth, The Star Called Sun (Bantam, 1964, 1969), Door Into Summer (NAL, 1958), Dorsai 1965), Planets for Sale (Tempo 1970), Planet Run (DAW, 1976), Dr. Orpheus (Berkley, 1968), Dysoids (Berkley, 1968), Planet of Tears (Bantam, 1979), Play-

(Avon, 1962), Earth Abides (Fawcett, 1970), Earth is ers of Null-A (Berkley, 1974), Podkayne of Mars Room Enough (Fawcett, 1969), Enchanted Pilgrim-

(Avon, 1963), Pollinators of Eden (Weybright & Tal-age (Berkley, 1975), The End of Eternity (Fawcett, ley, 1969), Possible Worlds of Science Fiction (Berkley, 1971), Eyes of Heisenberg (Berkley, 1969), Farmer in the 1968), Power of Blackness (Berkley, 1976), The Power Sky (Dell, 1968), Fear (Berkley, 1969), Farnham’s of X (Berkley, 1969), Prostho Plus (Berkley, 1977), Freehold (Berkley, 1970), First Men in the Moon Quicksand (Ace, 1958), Quincom of Time (Dell, (Berkley, 1966), Floating Zombie (Berkley, 1975), 1973), R Is for Rocket (Bantam, 1964), Rainbow Abyss Four from Planet Five (Gold Medal, 1959), Fury from (Ballantine 1991), Rainbow Man (Tor, 1993), Red Earth (Pyramid, 1971), Future Earth (Avon, 1970), Science Fiction (NAL, 1962), Renegade Ship (Berkley, Future Imperfect (Bantam, 1964), Galactic Cluster 1966), Reptile Monster of Naars (Pocket Books, 1982), (NAL, 1959), Galaxies Like Grains of Sand (NAL, The Rest of the Robots (Pyramid, 1969), The Resur-1960), Garbage World (Berkley, 1967), Glory Road rection of Roger Diment (Ballantine, 1972), The Rev-

(Berkley, 1969), The Godwhale (Ballantine, 1974), elationists (Dell, 1962), Rissa (Berkley, 1976), Rogue

319

Lewis

Star (Ballantine, 1969), Satellite E-One (Bantam, Air Force. He subsequently became a technical artist 1958), Writers of the Future Volume XII (Bridge, with Decca Radar, where he stayed until 1960. Lewis 1996), Scourge of Screamers (Bantam, 1968), Sea Horse first appeared in the SF magazines in New Worlds in the Sky (Ace, 1969), The Seedling Stars (NAL, and Science Fantasy as an interior artist. By 1957 he 1958), The Shadow Stealers (Pocket Books, 1984), had graduated to the covers, and a year later added Shakespeare’s Planet (Berkley, 1976), Shards of Space the surviving British version of Science Fiction Adven-

(Bantam, 1970), Ship of Gold (St. Martin’s Press, tures to the list. Soon, he became the most prolific 1988), The Shuttle People (Bantam, 1982), Slan magazine cover artist at that time, with more than (Berkley, 1975), Slaves of Heaven (Berkley, 1974), So-eighty paintings to his credit.

laris (Berkley, 1971), Soldier Ask Not (Dell, 1967), Lewis was a highly skilled artist, who could work The Space Doctor (Ballantine, 1969), Space Gypsies equally well in either a representational or surrealist (Avon, 1967), Space Legion (Pyramid, 1969), Spec-manner, much like Richard Powers* in the United trum 2, 4, 5 (Berkley, 1964, 1966, 1968), The Stars States—whose book covers, beginning 1953 and on-Like Dust (Fawcett, 1972), The Stars My Destination ward, probably inspired Lewis’s attraction to the (Berkley, 1969), Star Dwellers (Berkley, 1970), same group of influential Abstract Surrealists: Ernst, Starseekers (Berkley, 1971), Starship (NAL, 1959), Tanguy, and Klee, This style was encouraged, for a Starship Troopers (Berkley, 1968), Starswarm (Gros-time, by the editor, John Carnell, and, as Ashley set & Dunlop, 1971), Stranger in a Strange Land notes, “it added a rare distinction to the magazines (Berkley, 1967), Sturgeon Is Alive and Well (Putnam, he illustrated, raising them high above the level of 1971), Sun Diver (Bantam, 1979), Tales of Space and most other British science fiction publications.”

Time (Pocket Books, 1958), Time Lapse (St. Mar-

(Weinberg, p. 178). The artist himself stated in New tin’s Press, 1987), Time Machine/War of the Worlds Worlds in 1958 that “there is no limit to the color (Fawcett, 1968), Time Probe (Dell, 1967), To Live combinations and abstract symbolisms that can be Forever (Tor, 1993), Tomorrow the Stars (Berkley, used, and I feel that we are setting a new standard of 1969), Touch of Strange (Berkley, 1969), Trader to the cover illustration specifically suited to the science Stars (Berkley, 1966), Trips in Time and Space (Dell, fiction field.” Lewis’s colors were saturated, simple 1973), Universe Day (Avon, 1970), Upfold Witch and strong, his imagery often striking; as Aldiss de-

(Ballantine, 1966), A Very Private Life (Dell, 1969), scribed it in Science Fiction Art, 1975, “breezy and Waldo & Magic, Inc. (Pyramid, 1969), The Weapon attractive … (some) with a light wit about them that Makers (Grosset & Dunlop, 1969), What Mad Uni-is rare in magazine work” (p. 45).

verse (Bantam, 1976), Wheels of If (Berkley, 1969), In addition to his work for magazines, beginning Whisper from the Stars (Dell, 1969), The Wine of the in 1960 Lewis drew comic strips for Beaverbrook Dreamers (Fawcett, 1968), Winter of the World (Tor, Newspapers, including a period where he worked 1995), Worlds to Come (Fawcett, 1968), World War III on Dan Dare. He continued to provide covers for (Bantam, 1983), The Year’s Greatest Science Fiction Carnell’s magazines until outside illustrations were and Fantasy #12 (Dell, 1969), Yesterday’s Children phased out in 1962. He then became involved with (Dell, 1972), You’ll Never Be the Same (Berkley, 1969), stop-motion animation and children’s puppet films.

1984 (NAL, 1959), 2010: Odyssey Two (Phantasia In the late 1960s he returned to working on comic se-Press, 1982).

ries for various publishers (Polystyle, Fleetway, Qual-M
ity Communications), and he continued in that field AGAZINES ILLUSTRATED INCLUDE:

ASF : 1978 (3); 1979 (1, 5, 9); 1980 (1, 4, 6); 1981
until his death, drawing many covers for series such (3); 1982 (9); 1983 (9); 1984 (9)

as 2000 AD, Starlord and House of Hammer. His art CSF : 1977 (5)

was used on the cover of the British Science Fiction OMNI: 1983 (3); 1991 (5)

Association Yearbook, 1977 as well as on two issues TOM: 1993 (4, 8, 12); 1994 (6, 10, 12); 1995 (2, of their journal, Vector, February and August issues 6, 8); 1996 (8)

1976. He died of a heart attack when he was only SAT: 1959 (5)

fifty.

Sources: Croasdale, Jim. Brian Lewis, British illustrator WT: 1993 (summer)

online www.britishcomicart.netfirms.com; Gustafson, Jon and Peter Nicholls. The Encyclopedia of Science Fiction (Granada Books 1981); Weinberg, 1988.

Lewis, Brian Montcrieff

( June 3, 1929–December 4, 1978) British artist.

Collections and Anthologies

Lewis, along with Gerard Quinn* was one of the (various contributing artists)

two major cover artists working for the British sci-Aldiss, Brian. Science Fiction Art: The Fantasies of ence fiction magazines of the 1950s. He was edu-SF. NY: Bounty Books, 1975; Harrison, Harry.

cated at a technical school and first started reading Mechanismo. Pierrot Publishing, London 1978.

science fiction during his seven years in the Royal

Leydenfrost

320

Published Work
and industrial designer. Among the many projects he NW: 1954 (8, 11, 12); 1955 (4, 12); 1956 (5, 12); worked on was the General Motors pavilion exhibit 1957 1, 2, 3, 4, 5, 7, 10, 11, 12); 1958 (3, 4, 5, 6, 7, 8, at the New York Worlds Fair in 1939. However, with 9, 10, 11, 12); 1959 (1, 3, 4, 5, 6, 7, 8/9, 10, 11, 12); 1960
the outbreak of World War II in Europe, construc-

(1, 2, 3, 7, 9, 11, 12); 1961 (2, 3, 5, 6, 7, 10, 12); 1962
tion work in the United States slowed down. Leyden-

(2, 4, 6)

frost could not find a great deal of architectural or in-NW(US): 1960 (4, 5, 6, 7)

terior design work, so magazine art provided an ScF : 1954 (11); 1955 (12); 1957 (12); 1958 (2, 4, 6, alternative source of income. He became a profes-8, 10, 12); 1959 (2, 4, 6, 8, 11, 12); 1960 (4, 6, 8, 10); sional illustrator and did science fiction illustrations 1961 (2, 4, 6, 8)

for the pulps for several years.

SFA(BR): 1958 (7); 1959 (3, 5, 7, 11, 12); 1960 (2, Malcolm Reiss, editor of Planet Stories, signed 5, 7, 9); 1961 (1, 3, 5, 7, 9, 11); 1962 (1, 3, 5, 7) Leydenfrost for a series of covers and interiors for his magazine. But Reiss knew that he would not be Leydenfrost, Alexander
able to keep Leydenfrost for long. He was right, and (March 18, 1888–June 16, 1961) American artist.

soon Leydenfrost was doing work for Life— and for Born Baron Sandor Leidenfrost in Debrecin Hun-those Americans who grew up during the 1930s gary, of Austro-Hungarian nobility, Leydenfrost was through 1950s, Leydenfrost became the illustrator one of the most famous commercial artists of the that recorded the historical events of that genera-1920s and 1930s. He studied at the Royal Academy tion. Although he did only a few illustrations for of Fine Arts in Budapest, and by age twenty-four Planet Stories, they were among the best to appear he was serving as a professor of perspective and ap-in that magazine. When the artist returned to the plied art at the academy. According to family records slicks his two sons began working for Planet Stories.

and anecdotal information supplied by his grand-Bob Leydenfrost did illustrations for two issues of daughter, Tina Saint-Paul (on line, 2005), the artist the pulp: May 1943, and fall 1943. His brother Harry immigrated to the United States in 1923 with three did art for the May 1943, summer 1946, and winter close friends, Peter Lorre, Bela Lugosi, and Paul 1946 issues. Weinberg notes, “(A)lthough both used Lucas — who called themselves the 4 “Ls.” Leyden-a style similar to that of their father, neither was as frost’s family title of “Baron” is dated to the 16th accomplished an artist, and they were not popular Century, and the alteration of the spelling of his with the fans.” (p. 179).

name from “Lei” to “Ley” was made in an unsuccess-Leydenfrost’s work for the science fiction pulps ful attempt to correct its mispronunciation (properly represented only a small part of his output. He pronounced Lye-den-frost). Despite the alteration’s worked for numerous magazines throughout the failure to rectify the problem, the new spelling re-Second World War, including Skyways, Liberty, Look mained as the artist’s professional career under that and Popular Science. A series of oil paintings he did name had already been established. It was also at this for Esquire, depicting American warplanes in com-time that he changed his name from Sandor to bat, furthered his reputation, as did numerous il-Alexander, which is the American equivalent. As she lustrations of rockets and missiles for major maga-tells it, Leydenfrost’s exodus from Hungary, trig-zine publications, such as Collier’s (for an article on gered by “Middle European financial and ethical col-space and the future written by German rocketry lapse,” was further complicated by circumstance.

scientist Werner Von Braun), in the 1940s and 1950s.

“Like any young male of noble European birth, Ley-Leydenfrost was primarily a black-and-white il-denfrost was trained in the art of fencing. In Europe lustrator for the science fiction magazines. “He did at the time it was commonplace to defend a woman’s two interesting covers,” Weinberg observes, “but nei-honor in a duel. Just before the time of his immigra-ther was as good as his interiors.” He worked well tion Leydenfrost suffered from numerous wounds with shadows and produced strong illustrations em-received from such practice. Upon arriving in New ploying unusual contrasts to create unusual effects.

York, these wounds forced him to remain in bed.

He was capable of drawing effective aliens, and many Still able to draw and paint while bed-ridden, his of his creatures were memorably grotesque. Al-three friends took his portfolio around town to se-though not as prolific as many of the artists working cure work. The four of them were able to live comin the field in the 1940s, Leydenfrost was near the top fortably until (Leydenfrost’s) wounds healed (and in terms of quality and style. He exhibited work as then) Lorre, Lucas, and Legosi left for California to a member of the Society of Independent Artists in become well-known actors.”

1941–1941. After his death, in New Rochelle, New Leydenfrost at first worked with the artist (and York, the Society of Illustrators (NY) held a retro-fellow Hungarian) William Andrew Willy Pogany spective of his work. His work was part of a travel-on designing stage sets and mural projects. In 1929
ing exhibit sponsored by the Smithsonian Institu-he joined the staff of Norman Bel Geddes, the stage tion “Yesterday’s Tomorrows: Past Visions of the

321

Lindahn

Future” as well as the illustrated book which accom-of black and white media. She brings a highly de-panied the show, authored by the organizer of the tailed, photo-realistic style to her work, whether in exhibit, Out of Time: Designs for the Twentieth Cen-color or monochrome. She works in pencil, acrylics tury Future, by Norman Brosterman. His work for or watercolor for color works and uses gouache Norman Bel Geddes also was featured in a Toledo (opaque watercolor) for her black and whites. Lakey Museum of Art industrial design exhibit, Toledo, has twice been a finalist for the Hugo Award for Best Ohio, in 2002.

Professional Artist, 1984 and 1985, one of few artists at the time to be nominated primarily for her black-Collections and Anthologies
and-white interior illustrations. She won a Chesley (various contributing artists)

Award in 1991 an interior illustration appearing in Aldiss, Brian. Science Fiction Art: The Fantasies of Analog magazine, June 1990. She and her husband SF (Bounty Books, 1975), Brosterman, Norman.

also have won many SF art show awards, including Out of Time: Designs for the Twentieth Century Futhe Frank R. Paul Award. She works very closely ture (Harry N. Abrams, 2000).

with her husband on many assignments, and to-Sources: Artist granddaughter, Tina Saint Paul biographical information March 2004 at www.askart.com: Ancestry.

gether they often build models of clay and other ma-com. Social Security Death Index [database on-line]. Provo, terial for use in visualizing her paintings. Lakey will UT, USA: The Generations Network, Inc., 2007; Weinberg, also use friends for models and will make costumes 1988
and even use makeup to get the proper feel for the Published Work
illustration.

ASH: 1942 (10)

In 1991 the Lindahns began work on their own FFM: 1948 (8); 1949 (2, 6, 12)

illustrated book projects and have published three FN: 1950 (3)

children’s fantasy books, The Secret Lives of Cats PS: 1942 (spring, summer, fall, winter) (1996), How to Choose Your Dragon (1996), and Old SSS: 1942 (8); 1949 (7, 9); 1950 (3, 5) Misses Milliwhistle’s Book of Beneficial Beasties (1997).

They have been L. Ron Hubbard Illustrators of the Lindahn, Val Lakey

Future Contest judges since 1988, and Ron Lindahn (b. September 6, 1951) An American artist, Lakey has acted as Coordinating Judge of the contest. Their was born in West Virginia and graduated from work has been featured in many exhibitions and Miami-Dade Community College in 1974. She gallery shows around the country. Southern Living worked for Screen Gems and Columbia Music Pub-Magazine featured them and their work in the June lishers, and as a freelance artist in Miami, Florida. By 2000 issue. The Lindahns live deep in the woods of 1975 she had assembled a portfolio of slides, and the North Georgia Mountains, where they maintain used these to get work from Warren Publishing

“Valhalla Studio,” and a diverse, creative lifestyle.

( Creepy and Eerie magazines) and Cavalier. She also Ron Lindahn works as a professional photographer, sent a group of slides to George Scithers, editor of graphic designer, and is part of the ministry team at Isaac Asimov’s Magazine, and in 1978 he commis-Estatoah Wayfarers Chapel Unity Center. He writes sioned her first science fiction artwork. She was a and lectures on inspirational and self help topics.

major contributor to Asimov’s Magazine from 1979 to Since the mid 1990s he has designed and created cus-1981, and when Scithers moved to Amazing, she went tom wood furniture. Val Lindahn is creating a series with him. At one point, she started Artifact Studio of wildlife paintings, with her first pieces inspired with two other illustrators living and working in by local black bears. She specializes in privately com-Otto, North Carolina. Much of her published work missioned fantasy portraiture.

is signed “Val Lakey/Artifact.”

In 1983 Lakey married artist Ron Lindahn, a pho-Collections and Anthologies
tographer and filmmaker for a Fortune 500 com-

(various contributing artists)

pany, and they began working together to produce Grant, John and Humphrey, Elizabeth with Scov-book and magazine covers for the science fiction and ille, Pamela. The Chesley Awards: A Retrospective fantasy market. They have collaborated on movie (AAPL, 2003).

Sources: correspondence from the artist August 2005; posters and video packaging, posters promoting the www.Angelfire.com (artist website); www.writersofthefuture.

North Georgia Mountains and regional tourism, Tcom (accessed 10/05); DiFate, Vincent. Infinite Worlds: The shirt designs, images for TSR, Inc.’s Dungeons & Fantastic Visions of Science Fiction Art. The Wonderland Dragons(™) series, limited edition prints, and for a Press/Penguin Studio, New York. 1997.

time they produced a monthly feature for Heavy Published Work

Metal Magazine. In the early 1990s Lakey also began BOOKS ILLUSTRATED INCLUDE: The Asimov collaborating with her son, Sean in commercial work Chronicles (Dark Harvest, 1989), Asimov, Tomorrow’s for magazines.

Voices (Dial, 1984), Crow (Dell, 1998), Dragons of Lakey is known for her drawing skill and mastery Light, Dragons of Darkness (Ace, 1980, 1981), Far

Lippincott

322

Frontiers 1, 2 (Baen, 1984, 1985), Fire from the Wine as textbooks and jigsaw puzzles, and is self-published Dark Sea (Donning, 1983), Fires in the East (Dell, for a line of limited edition prints. His covers for 1984), In a Lonely Place (Scream Press, 1994), Mer-children’s books by Bruce Coville, such as Jeremy Cycle (Tafford, 1991), Morning Star (Bantam Books, Thatcher, Dragon Hatcher (Harcourt Brace Jo-1983), Night Visions 5 (Dark Harvest, 1988), Por-vanovich, 1991) are characteristic of his light touch.

traits of His Children (Dark Harvest, 1987), Prayers He takes private commissions for one-of-a-kind to Broken Stones (Dark Harvest, 1990), Ubik (Cor-whimsical or fantastic paintings using photos of peo-rorrobee Press, 1984), The Unreasoning Mask ple, homes, pets, as elements. Lippincott has won (Berkley, 1983), Vampire Junction (Donning, 1984), numerous art awards at SF conventions, and was a Vanitas: Escape from Vampire Junction (Transylvania Hugo Award nominee (1996) for his January 1995

Press, 1995), The World and Thorinn (Berkley, 1980), F&SF magazine cover. He won two Chesley Awards Why Not You and I (Dark Harvest, 1987), Writers of in 2004, one of them for his first published bronze the Future 4 (Bridge, 1988).

sculpture “Jack.” His work is held in private collec-M
tions, and has been exhibited at several regional art AGAZINES ILLUSTRATED INCLUDE:

ABO: 1986 (12); 1987 (2/3, 5/6)

centers and galleries. Lippincott’s work has appeared AMZ: 1982 (6, 11); 1983 (9, 11); 1984 (5, 7); 1985
in the annual Spectrum anthologies (edited by Cathy (1, 3, 9), 1986 (5, 6, 9); 1987 (3); 1991 (10); 1993 (4) and Arnie Fenner, Underwood Books) and was se-ASF : 1980 (6, 9); 1981 (1, 9, 10, 11, 12); 1982 (1, 2, lected for the “Best of Spectrum” exhibit, NY Soci-3, 4, 5, 10, 11); 1983 (2, 8, 9, 11); 1984 (2, 4, 6, 7); 1985
ety of Illustrators, 2005. The artist is a member of (1, 3); 1986 (5, 6, 9); 1988 (1, 3, 5, 9. 12); 1989 (9, 11); the Western Massachusetts Illustrators Guild, and 1990 (4. 5, 6, 11, 12); 1991 (2, 5, 6, 7, 8, 9, 10) from the late 1980s to early 1990s he taught fantasy HM: 1982 (5); 1984 (5); 1985 (1. 7)

art and drawing at the Worcester Art Museum. Lip-IASFM: 1978 (11); 1979 (3, 10, 11); 1980 (1, 7); pincott is divorced, and has two children: a son Ian 1981 (8, 9); 1982 (1, 4, 5, 8, 9, 12); 1983 (6, 8, 12); and daughter Aja. He lives in Royalston, Massachu-1984 (3, 4, 6, 11); 1985 (3, 10, 12); 1987 (6, 11); 1989
setts.

Sources: www.garylippincott.com (11); 1990 (3, 5); 1991 (11)

IASFA: 1979 (spring, summer)

Published Work

TOM: 1994 (2)

BOOKS WRITTEN AND ILLUSTRATED: The Fantasy Misc.: Conan the Wyrmslayer, Gurps #5 (w/ Ron Illustrator’s Technique. U.K.: Quarto Books, U.S.

Lindahn, 1989), Drum. Crime and Passion, Island Barron’s, 2006.

Claws, Massacre in Dinosaur Valley video movie BOOKS ILLUSTRATED INCLUDE: Blood Thirst: 100
packaging (Vestron, 1985, 1986), Greyhawk (1988), Years of Vampire Fiction (Oxford University Press, Slave Lords (1986), Trolls (1987) D&D(™) game 1997), Chronicles of the Witch World (SFBC, 1998), module (TSR, Inc.), Piers Anthony Xanth Calendar The Empty Crown (GuildAmerica, 1997), The En-

(1989, 1991), Poster for the 1987 World Magic con-chanted Forest Chronicles (SFBC, 1996), Little, Big vention.

(SFBC, 1997), The Newford Stories (SFBC, 1999), A Tolkien Miscellany (SFBC,), The Vampire’s Beautiful Lippincott, Gary A.

Daughter (Simon & Schuster/Atheneum, 1997, (b. September 2, 1953) American artist. Lippin-SFBC, 1998).

cott was born in Woodbury, New Jersey, and grew up MAGAZINES ILLUSTRATED INCLUDE:

in that state. He received a BFA degree from the F&SF : 1993 (6); 1995 (1); 1996 (1); 1997 (5); 1999

Maryland Institute College of Art in 1975, and be-

(1); 1001 (7); 2003 (4)

came a freelance illustrator in the late 1970s with his ROF : 1994 (10)

first magazine illustration, for Analog Computing.

Although he had painted primarily in oils during his Little, Mike
years in art school, Lippincott taught himself the (b. 1952) British artist. Born in Northumberland, more difficult medium of watercolors out of admi-England, Little studied at Teesside College of art ration for the work of Alan Lee*, and to distinguish from 1970 to 1973. His main interests were science himself from the “slick” techniques that were then fiction and rock music. Little was an early contrib-typical of fantasy illustration. Lippincott developed utor to the fanzine Science Fiction Monthly and many a feel of old-world craftsmanship in his art that sep-science fiction paperback covers followed. In the late arated him from most of his peers, and which lent it-1970s he produced a few covers in the Dr. Who se-self to the whimsical fairy-tale-like themes he loved ries, first published by W. H. Allen. He also designed to paint.

numerous record album covers as well as children’s Lippincott has illustrated many fantasy and his-books. He was featured in the 1976 anthology Visions torical books for children and young adults, as well of the Future, put together essentially to promote the

323

Lockwood
young artists then rising in the field of SF illustra-introduction to the art director at TSR, Inc, the tion. Unlike others included in the book, Little publishers of Dungeons & Dragons(™) lead to as-does not seem to have remained active in the illus-signments for Spellfire, then book covers. When two tration field after his brief flurry of activity in the of their permanent art staff unexpectedly resigned, 1970s.

Lockwood was hired. He moved his family to Illinois, Sources: Sacks, Janet. Visions of the Future (Chartwell, across the border from Lake Geneva, Wisconsin, and 1976); Weinberg, 1988
became the newest member of TSR’s art staff in Sep-Published Work
tember, 1996. He worked on several TSR(™) game BOOKS ILLUSTRATED INCLUDE: Bill, The Galactic worlds, including Forgotten Realms, and Ravenloft.

Hero (Penguin, 1977), Dr. Who and: The Brain of In 1998, the year after Wizards of the Coast, Inc.

Morbius; The Deadly Assassin; The Masque of Man-acquired TSR, he followed the company to Washing-dragora; The Planet of Evil (W.H. Allen, 1977, 1979), ton State and continued to work for the D&D(™) The Gate of Time (Quartet, 1974), Is Anyone Out lines and Magic: The Gathering(™) role-playing card There (Star, 1975), New Worlds 9, 10 (Corgi, 1975, game. In 1999 he contributed to the redesign of the 1976), Strange Powers (London Book Club Assoc, popular Dungeons & Dragons(™) game, for the 1984), Timestop (Quartet, 1973).

Third Edition release. After Hasbro, Inc. bought Wizards of the Coast(™) in 2002, the entire illus-Lockwood, Todd Wills
tration staff in time was “outsourced” and Lockwood (b. July 9, 1957) American artist. Born and raised returned to freelancing. His paintings for the covers in Boulder, Colorado, Lockwood says drawing was of R.A. Salvatore’s Drizzt novels, beginning 2000
his “main recreation” throughout childhood. He was and continuing, are among his best.

attracted to science fiction and fantasy at an early For his color work, Lockwood works in hand-age, and in his teens discovered Tolkien’s Lord of the brushed and airbrushed acrylics or oils, and uses pen Rings and the Dungeons & Dragons(™) fantasy and ink and pencil for black-and-white work. He role-playing game, which he continued to play as has also begun working in Painter 6.0, a computer an adult. Lockwood attended the Colorado Insti-program that he says emulates natural media very tute of Art in Denver, 1979 to 1981. After graduat-well. Lockwood has appeared in several Spectrum ing he worked as a designer for an agency in Den-Annuals (Underwood Press) and the Communica-ver, winning awards for his work, including a silver tion Arts Illustration Annual. He has received 12
medal in the Art Directors Club of New York annual Chesley Awards, including one for Artistic Achieve-show. Lockwood then shifted to advertising for the ment, and two World Fantasy Art Show awards, plus next fifteen years, producing art for clients like Coors, numerous other industry awards. He and his wife and surreal fantasy ads for trade magazines like Satel-Rita and three children (Aubrey, Tyler, and Caitlin) lite Orbit before “escaping” to the fantasy illustra-reside in Washington state.

tion field. His first artistic influence, as for many in Sources: www.toddlockwood.com; Haber, Karen. “Todd the genre, was Frank Frazetta*. Later came Michael Lockwood’s Mythic Roots” Realms of Fantasy, June 2002; Haber, Karen and Todd Lockwood. Transitions. U.K.: Paper Whelan*, Boris, Jeff Jones* and Jeff Easley*.

Tiger, 2002. “Interview with Todd Lockwood” The Silven Lockwood credits Terry Czezcko, art director for Trumpeter RPG Magazine, November 2004 [online, accessed Asimov’s, for giving him his first magazine cover as-Feb 2006]; www.wizards.com
signments in the genre, beginning 1993, and for sug-Collections/Anthologies
gesting that he display his work at one of the SF con-

(various contributing artists)

ventions, preferably a World Science Fiction Frank, Jane and Howard. Great Fantasy Art Convention. He took his Asimov’s covers and some Themes From the Frank Collection (Paper Tiger, personal work to the next Worldcon in Winnipeg 2003), Grant, John and Humphrey, Elizabeth with (1994) where he met Michael Whelan, and got as-Scoville, Pamela. The Chesley Awards: A Retrospective signments for interior art from Carl Gnam, pub-

(AAPL, 2003). Weis, Margaret. Masters of Drag-lisher of Realms of Fantasy and Science Fiction Age onlance Art. Wizards of the Coast, 2002; Wade, magazines. With those two magazines and his Asi-Daniel and Mark Snoswell. EXPOSÉ 3 (Ballistic, mov’s and Analog covers, he established his portfolio 2005).

of published work in the field. Of this period he says,

“I learned more from going to three year’s worth of BOOKS ILLUSTRATED INCLUDE: (all TSR, Inc/
conventions and hanging out with other artists than Wizards of the Coast unless noted) City of Fire from my schooling and the entire previous twelve (2002), Crystal Rain (Tor, 2005), Crystal Shard or so years of my career.”

(2004), Daughter of the Drow (2001), Death Ray (w/

Lockwood’s first jobs in the gaming industry were Sam Wood, 2003), Dragon’s Ascension (Tor, 2003), card art for Chaosium and Phil Foglio’s naughty col-Dragon’s Doom (Tor, 2002), Dreamthief ’s Daughter lector card game deck XXXenophile(™). 1996. An (American Fantasy, 2001), Enemy Glory (Tor, 2000),

LoGrippo

324

Exile (2003), Fistandantalus (1997), Glass Dragons Hellgate Keep cover (1998), Illithid cover (Paradigm (Tor, 2004), Halfling’s Gem (2005), Hecate’s Glory Concepts, 2002), Jakandor: Island of War, Land of (Tor, 2003), Highwayman (2003), Homeland Legend interior (1997, 1998), Lands of Intrigue cover (2003), Kingless Land (Tor, 2001), Last Thane (1998), (1997), Lord of the Iron Fortress cover (2001), Mind-Living Dead (2002), Lone Drow (2002), Mask of shadows cover (Green Ronin, 2002), Monster Com-Venus (SFBC, 1999), Memories of Ice (Tor, 2005), pendium: Monsters of Faerûn interior (2001), Mon-Not Quite Scaramouche (Tor, 1999), Not Really the sters of the Mind cover — d20 System (Green Ronin, Prisoner of Zenda (Tor, 2002), Oath of Nerull (2002), 2003), Morueme interior (2001), Night of the Shark Outstretched Shadow (Tor, 2003), Savage Caves interior (1997), Plot and Poison cover (Green Ronin, (2002), Secret Books of Venus I & II (SFBC, 1999), 2002), Ptolus, A Player’s Guide to Ptolus (Malhavoc Sea of Swords (2001), Servant of the Shard (2000), Press, 2006), Prayers from the Faithful cover (1997), Silent Blade (1998), Simbul’s Gift (1997), Sime-gen: Psychic’s Handbook cover — d20 System (Green The Unity Trilog y (Meisha Merlin, 2003), Sojourn Ronin, 2003), Randy the Elf God cover (1998), Ryn-

(2003), Spine of the World (1999), Streams of Silver narvyx interior (2001), Sandstorm interior (2005), (2004), Sundered Arms (w/ Sam Wood, 2003), Sword Selune interior (2001), Sea Devils interior (1997), of Angels (DAW, 2005), Tangled Webs (2002), Temp-Shadow Rift cover (1997), Slaves of the Moon: The tation of Elminster (SFBC, 2003), Thousand Orcs Essential Guide To Lycanthropes cover — d20 System (2001), To Light a Candle (Tor, 2004), Treachery’s (Paradigm Concepts, 2004), Song and Silence cover Wake (w/ Sam Wood, 2003), Two Swords (2003), (2001), Spell-Rune Golem cover (1998), Spider Queen Vacant Throne (Tor, SFBC, 2001), Vinus Solamnus cover (2001), Storm Priest interior (1997), Sune inte-

(1997), Voyage of the Shadow Moon (Tor, 2004), rior (2001), Sunless Citadel cover (2000), TSR Jam What Ho, Magic! (Meisha Merlin, 1998), Wayward cover (1999), Villains cover (1997), Tome and Blood Knights (1997), Witch King (2005), Windwalker cover (2001), Tome of Magic: Pact, Shadow, and Tru-

(2002).

ename Magic cover (2006), Unveiled Masters: The Essential Guide to Mind Flayers cover — d20 System GAME-RELATED ILLUSTRATIONS INCLUDE: (All (Paradigm Concepts, 2002), Vampyre cover (Green TSR, Inc./Wizards of the Coast unless noted) Al-Ronin, 2003), Vecna Reborn cover (1998), Weretiger ternity interior (1997), Apocalypse, Apocalypse Stone cover (Paradigm Concepts, 2002), Wyrmskull Throne cover (1999, 2000), Bloodlines: The Hidden cover cover (1999).

(White Wolf, 2005), Bluffside: City on the Edge in-Misc.: Conceptual art for Microsoft Games (2002, terior (Thunderhead Games, 2002), Book of Chal-2003), Demonstone game magazine advertisement, lenges cover (2002), Carnival cover (2001), Castle Play Magazine cover promoting Demonstone (Sony, Spulzeer cover (1997), Champions of the Mists cover 2004), Duelist Magazine cover, May issue (Wizards (1998), Chaos Spawn cover (1999), Children of the of the Coast(™), 1999), Doomtown card art (Wiz-Night: Ghosts, The Created cover (1997, 1999), City ards of the Coast, 1997), Dragonstrike: Dragonlance of the Spider Queen cover (2002), Cormanthyr: Em-Calendar cover (TSR(™), 1998), Fire & Ice Chain-pire of the Elves cover (1998), Cry Havoc cover, d20
mail Miniatures game (Wizards of the Coast, Inc.

System (Malhavoc Press, 2004), Deadlands: The 2002), Magic: The Gathering card art: Mirrodin, 9th Weird West— Doomtown or Bust! Interior (Pinnacle Edition, others (1998, 1999, 2000, 2002), Spellfire Entertainment, 1999), Dinner accessory (1997), Dra-

(TSR(™), 1995), Xenophile card art (1995), Time conomicon cover (2003), Dragonlance: Fifth Age in-Warp card art (TSR(™) 1995).

terior (1996), Drowning interior (1997), Dungeons & MAGAZINES ILLUSTRATED INCLUDE:

Dragons Adventure Game, Dungeons & Dragons Dun-ASF : 1994 (6); 1996 (6)

geon Master’s Guide, Dungeons & Dragons Monster DRA: 1997 (annual #2); 1999 (10, 12); 2000

Manual, Dungeons & Dragons Player’s Handbook (Annual #5, 2, 7, 8, 10); 2001 (3, 6); 2002 (2, 3, 5, (2000), Dungeons & Dragons Dungeon Master’s Guide 12)

v.3.5, Dungeons & Dragons Monster Manual v.3.5, IASFM: 1993 (10); 1994 (2); 1995 (6, 10); 1996

Dungeons & Dragons Player’s Handbook v.3.5 (2003), (2)

Dungeons & Dragons Monster Manual II (2002), ROF : 1995 (6); 1996 (8); 1999 (2); 2002 (6); Dungeons & Dragons for Dummies interior (Wiley, 2003 (6)

2005), Elemantra cover (Green Ronin, 2002), Elven SFAge: 1995 (7), 1996 (1), 1997 (11)

Chai interior (2003), Epic Level Handbook cover (2002), Faiths and Pantheons cover (2002), Fang & Fury: A Guidebook to Vampires cover — d20 System LoGrippo, Robert

(Green Ronin, 2003), Fiend Folio interior (2003), (b. September 19, 1947) American artist. Born in Forge of Fury cover (2000), Forgotten Realms Cam-Manhattan, New York, LoGrippo always wanted to paign Setting interior (2001), Gorgoroth cover (1996), be an artist, so he directed his education toward the

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Lundgren
art field from the start. He graduated from the High vate Collection, the Louisiana-Pacific Private Collec-School of Music and Art in New York City, 1965
tion, and U.S. Embassies in Czechoslovakia and Ro-and then attended the School of Visual Arts, New mania. In 1982 he began his teaching career at the York, graduating in 1969. One of his teachers there Parsons School of Design, NY, which continued introduced him to the work of Hieronymus Bosch, until 1994. He has taught also at The Pratt Institute which inspired him to enter the SF field. Along with (1985–1989), and Furman University, SC (1997). In the work of Bosch, Bruegel’s work also served as a 1997–1998 he taught at the Spartanburg Art Mu-major influence.

seum, South Carolina, then became the Director of LoGrippo’s first published piece was an ABC
the Museum’s Art School in 1998. He continues to record, “Rare Bird,” illustrated in early 1970. Most depict whimsical folk-life scenes of people and an-of his science fiction artwork was done for the Adult imals in everyday town and city settings in his Fantasy Series published by Ballantine Books in the posters and prints.

early 1970s. Ian and Betty Ballantine’s preference for Sources: correspondence from the artist July 2005; www.

unusual and highly distinctive art to promote books theartistindex.com/LoGrippo;

(see Richard Powers* as example) was a major de-Published Work
parture for book covers in the genre, and the look of BOOKS ILLUSTRATED INCLUDE: The Boats of the this series in particular was made visually arresting Glen Carrig (Ballantine, 1971), The Fire Eater (Ace, by the wonderful, abstract wrap-around covers they 1970), For Texas and Zed (Popular Library, 1976), commissioned from artists such as Gervasio Gal-The Night Land Vol. 1, Vol. 2 (Ballantine, 1972), Sci-lardo*, Bob Pepper*, and LoGrippo. LoGrippo’s col-ence Fiction Monsters (Ballantine, 1971), The Three orful, intricate mosaic style, showing the influence Imposters (Ballantine, 1972)

of Bosch, was among the most unusual art ever to appear as book covers in the fantasy genre.

Lundgren, Carl M.

LoGrippo’s art not only made SF publications (b. July 12, 1947) American artist. Born in De-memorable, it was also clearly attractive to much troit, Michigan, the only child of aging parents who wider audiences. The artist produced textbook cov-indulged his interests in the arts, which led to early ers and art for children’s books, such as The Franklin and diverse involvement in a variety of media: film, Library’s editions of The Deerslayer (1982), and writing, music and art. At 18, he was co-chairman of works of Hans Christian Anderson (1978). Lothe first multi-media convention ever held, The De-Grippo has worked for most major publishers in the troit Triple Fan Fair, (comics, movies, and science literary field (Random House, McMillan, and many fiction) which published his art on its program book others) and several mainstream magazines, among cover (Lundgren’s first published piece, 1965), and he them Redbook, Playboy, Seventeen, Forbes, Cosmopoli-decided he wanted to be an illustrator like his idol, tan, Fortune, Reader’s Digest. He is also known for Frank Frazetta*. After graduating from high school several highly detailed jigsaw puzzles depicting fan-he was accepted at the University of Southern Cal-tastic, folksy, American scenes, and for much adver-ifornia but was referred to the Hollywood Art Cen-tising art. LoGrippo works in acrylics, and lets the ter when he admitted that he wanted to be an illus-job itself determine what the work will look like in trator. Lundgren spent one semester at that school the end. He has created product packaging for major before returning to Detroit where he enrolled in the brands, among them Nabisco potato chips, Celestial Famous Artist Correspondence School. He gave up Seasonings Tea boxes, Avon Cosmetics, and Amer-after the 8th lesson and considers himself self-taught.

ican Artist greeting cards, plus several record album His career began in the 1960s as a contributor to the cover illustrations (RCA, Caedmon, Electra, ABC).

psychedelic generation, founding Tales from the Among his best-known work is his poster for the Ozone comics and creating many comics and posters ABC Summer Olympics (1984). In 1982, The for alternative press publishers, “underground Franklin Mint published a limited edition of signed comix” and rock bands such bands as The Who, Pink and numbered lithographic reproductions of his Floyd, and Jefferson Airplane and more, using graph-1978–1980 series of paintings, The Four Seasons.

ics and lettering that he created. Some of his early LoGrippo has won the Society of Publication De-works are featured in the Abbeville Press book, The signers Award of Merit (1979, 1981), The Society of Art of the Rock Poster. Lundgren still desired to be a Illustrators Gold Medal Award (1972, 1973), The professional illustrator however, and so, encouraged Print Annual Certificate of Merit (1992) and fifteen by his wife Michelle, moved to New York in the late Citations of Merit from the Society of Illustrators 1960’s.

(1971–1986, 2002). His fine art painting was repre-Success was not immediate, but in time Lund-sented by Jaro Art Galleries in NYC from 1983 until gren sold several covers to Pinnacle Books and other 1998, and is in several corporate and institutional assignments followed. He sold his first SF cover for collections, including the Exxon Corporation Pri-To Die in Italbar to DAW Books in 1974. Once es-

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326
tablished, he found his work was in demand and (Berkley, 1986), Amaranth (Avon, 1984), An Enemy soon got work from other publishers: Dell, Ballan-of the State (Berkley, 1984), Bestiary (Ace, 1985), The tine, Avon, Warner and many more. He was nomi-Black Beast (Pocket/Timescape, 1982), Blessing Tril-nated for the Hugo Award ten times, every year from og y: #1 Blessing Papers, #3 Sigma Curve (Pocket 1980–1989, and once for his self-published art book, Books, 1980, 1981), Book of the Dun Cow (Pocket, Carl Lundgren: Great Artist, 1994; he won a Chesley 1979), Chains of Gold (Arbor House, 1986), Chil-Award for best paperback cover illustration, 1985.

dren of the Dragon (Random House, 1985), Chro-His work was included in the exhibition “Science mosomal Code (Avon, 1984), Confessions of a Crap Fiction and Fantasy Painters,” and in the illustrated Artist (Pocket, 1982), Crispan Magicker (Avon, 1979), catalog for that show, at the New Britain Museum of Day of the Dissonance (Warner, 1984), DRAGONS —

American Art (1980). Lundgren has produced over An Introduction to the Modern Infestation (Warner, 300 book covers as well as illustrations for maga-1981), Earthwind (Pocket/Timescape, 1978), Empire zines and other areas of publishing. His work was of Time (Del Rey/Ballantine, 1978), Ends (Baen, also known in Europe, with clients including Bastei 1988), Farnham’s Freehold (Berkley BCE, c.1982), Lubbe and Playboy in Germany and J’ai Lu in Folk of the Fringe (Phantasia Press, 1989), Forgotten France. Lundgren works in oils but with no single Beasts of Eld (Berkley, 1986), Gaming Magi: #3 The technique, enabling his art to be marketed as greet-Unicorn Gambit (Signet, 1986), Glory Road (Berkley, ing cards, puzzles, posters, jewelry and sculptures.

1986), Grimbold’s Other World (Ace, 1986), HangIn 1987 he left the publishing industry to pursue ing Stones (Berkley, 1984), Hour of the Gate (Warner, his fine art career. He showed and sold art through 1984), Hunters of the Red Moon (Daw, 1973), Last galleries and to private collectors, and became ac-Defender of Camelot (Pocket, 1980), Lifeboat Earth tive in exhibiting and selling prints of his better (Berkley, 1978), Masters of Space ( Jove, 1979), Mo-known cover illustrations at street art fairs and ren-ment of the Magician (Warner, 1985), Moon Is a aissance festivals, eventually selling 4000 prints a Harsh Mistress (Berkley, 1985), Nearest Fire (Pocket/
year. For about fifteen years Lundgren and his wife Timescape, 1982), Nightworld (Del Rey/Ballantine, maintained a heavy exhibition schedule traveling to 1979), Old Gods Waken (Berkley, 1984), Orphans of fairs, during which time they lived in a small town the Sky (Berkley, 1980), Past Through Tomorrow in rural Florida and owned a small art and crafts (Berkley, 1983), Paths of the Perambulator (Warner, gallery operated by his wife. The couple decided to 1986), Podkayne of Mars (Ace, 1987), Prince of Morn-return to Detroit Michigan in the late 1990s where ing Bells (Pocket/Timescape, 1981), Rack 3: Backflash Lundgren established a studio. In 2001, Lundgren (Zebra, 1975), Red Magician (Pocket/Timescape, became fascinated by computers and by 2005 had 1982), Richard Blade series: # 26 City of the Living given up his large studio space at The Russell In-Dead, #27 Master of the Hashomi (Pinnacle, 1978 ), dustrial Center in Detroit, realizing that once he no Rogue Moon (Avon, 1978), Sable Moon (Pocket, longer worked on an easel, he needed far less space 1981), Seventh Swan: Magic Quest # 3 (Tempo, 1984), to work. Lundgren continues to show his art in gal-Silver Sun (Pocket, 1980), Spellsinger (Warner, 1983), leries, most recently the Light Street Gallery in Bal-Star Fall (Berkley, 1980), Starfollowers of Coramonde timore, MD. Lundgren has been married for over (Del Rey, 1982), Starship Troopers (Berkley, 1984), forty years to Michelle (each married twice, to each Stranger in a Strange Land (Berkley, 1979), Sword of other) and is the father of a daughter, Cara, a de-the Horseclans (Pinnacle, 1976), Swordswoman (Tor, signer and singer.

1982), Time Enough for Love (Berkley, 1979), To Die Sources: Correspondence from the artist June 2005, in Italbar (DAW, 1974), Tongues of the Moon ( Jove/
www.carllundgren.com; Carl Lundgren: Great Artist (Gator HBJ, 1978), Under the Yoke (Baen Books, 1989), Press, 1993).

Unicorn Dancer (Signet, 1986), Unpleasant Profes-Collections and Anthologies
sion of Jonathan Hoag (Berkley, 1977), Warhaven (various contributing artists)

(Franklin Watts, 1987), Wars of Vis (Doubleday Frank, Jane and Howard. The Frank Collection: BCE, 1983), Weeping May Tarry (Pinnacle Books, A Showcase of the World’s Finest Fantastic Art (Paper 1978), Where the Ni-Lach (Ballantine/Del Rey, Tiger, 1999), Grant, John and Humphrey, Elizabeth 1983), White Hart (Pocket, 1979), Wings of Flame with Scoville, Pamela. The Chesley Awards: A Retro-

(Tor, 1985), Wizard of Zao (DAW, 1978), Year’s Finest spective (AAPL, 2003). The Art of Dragon Magazine Fantasy 1, 2 (Berkley, 1978, 1979).

(TSR, Inc., 1988), Great Masters of Fantasy Art (Taco, 1986), Masterpieces of Fantasy Art (Taschen, MAGAZINES ILLUSTRATED INCLUDE:

1991).

ABO: 1986 (12); 1993 (summer) (with Clyde Duensing, III)

Published Work

DRA: 1981 (#50); 1982 (#68)

BOOKS ILLUSTRATED INCLUDE: A Baroque Fable F&FS: 1982 (4)

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Magee

GAL: 1977 (10)

FUT: 1943 (2); 1950 (11); 1951 (1, 3, 5, 7, 9); 1952

MZB: 1998 (autumn)

(1, 3, 7, 9, 11); 1953 (1, 3, 5, 7, 9, 11); 1954 (1, 3) WT: 1988 (fall)

SF : 1943 (4, 7)

Misc: Citybook II—Port o’ Call role-playing game SFQ: 1942 (winter); 1943 (spring); 1951 (5, 8, 11); (Catalyst Games, 1984), Seasons of Wizardry Portfo-1952 (2, 5, 8, 11); 1953 (2, 5, 8, 11); 1954 (2, 5, 8); lio (Pacific comics, 1984)

1955 (2)

Luros, Milton

Magarian, Albert A.

(1911–April 21, 1999) American artist. Born in the (May 28, 1915–May, 1991) and Florence Lillian Bronx, New York, Luros was a prolific pulp artist See (1912–1960) American artists. A husband and who later earned substantially more renown, or per-wife team, the Magarians illustrated for the Ziff-haps it would be more accurate to say notoriety, as Davis chain, contributing numerous excellent black-a publisher of salacious “girlie” magazines than he and-white illustrations to Amazing Stories and Fan-ever enjoyed from his career in the fine arts.

tastic Adventures in the 1940s. The art was done in a Luros, with no formal training, began working stippled style much like Virgil Finlay* but without for the science fiction pulps at the end of the first the photographic clarity that Finlay’s more precise major magazine publishing boom in the early 1940s linework achieved. Although most of their work was and continued in the 1950s illustrating for smaller listed as being done in collaboration, many of the chains and leading science fiction magazines. He was pieces were signed by Florence alone.

a capable artist, working in pastels, oils and char-Albert Magarian was born in East St. Louis, Illi-coal, producing cover art and interiors. As well, nois of Turkish Armenian immigrant parents. Ac-Luros served as art director for Future, Science Fic-cording to Alan Magarian, their only son, Albert tion Quarterly, and Science Fiction in 1955 and 1956.

owned and operated a movie house for many years, When the science fiction market declined dur-but never gave up painting. He devoted his last fifty ing the mid–’50s, he began illustrating spicy men’s years to painting with watercolor and airbrush, pro-magazines, selling work to, among others, Bentley ducing many fine compositions with fantasy and Morris, for his Adam and Knight magazines. Need-biblical themes. Of the many illustrative works that ing work, Luros moved to Los Angeles and set out appeared in magazines, his son reports that Magar-on his own, selling the idea of publishing a high ian kept the originals in a trunk in the basement, quality girlie magazine at a time when most all had and a flood ruined them all. Albert Magarian died in poor production values. In 1958 he founded the East St. Louis.

American Art Agency (renamed American Art En-Florence Magarian, nee’ See, was related to the terprises in the late ’60s) and proceeded to build a family of candy-making fame. She was born in publishing and distribution empire on the strength Spokane, Washington, and according to her son, as-of his keen business acumen and willingness to sisted Albert in finishing work and adding details.

stretch the boundaries of legal erotica. He made a This may explain why only her signature is found fortune in the pornography and adult film busion many pieces; she was the last person to work on ness, and by 1965 he was reputed to be the most the art. Florence, regrettably, suffered from a debil-prolific publisher and distributor of the high-end itating mental illness, and spent the last years of her adult “slick” magazines in the country. After the life in a mental institution. She died in Jacksonville, Roth decision by the U.S. Supreme Court, which Illinois, leaving behind only a couple of oil paintings legalized soft porn, Luros turned to publishing of still-life subjects.

novels (Parliament Books, then Brandon House Sources: personal correspondence with Alan Magarian, and others). He retired in the early ’70s to become April–May 2007; Weinberg, 1988.

involved in California politics, after winning on Published Work
appeal or having had dropped several court cases re-AMZ: 1941 (6, 7, 8, 9, 12); 1942 (1, 7, 10, 11, 12); lating him to organized crime. His wife, Bea, died 1943 (2, 4, 6, 7); 1944 (1, 3, 9); 1946 (8) 1996.

FA: 1941 (5, 6, 7, 8, 9, 10); 1942 (1, 5, 6, 7, 9, 10, Sources: Gertz, Stephen J. Everybody Loves Milton (E*I*17

11, 12); 1943 (2, 3, 4, 5, 6, 7, 8, 10); 1944 (2, 6, 10); (Vol.3, No.6) December, 2004 e- edition only); Gertz, Stephen J. West Coast Blue. Sin-a-Rama: Sleaze Sex Paperbacks 1945 (1, 7); 1947 (5)

of the Sixties. Edited by Brittany A. Daley, Hedi El Kholti, FTC: 1971 (2)

Earl Kemp, Miriam Linna, Adam Parfrey (Los Angeles: Feral House, 2004)

Magee, Alan

Published Work

(May 26, 1947) American artist. Born in New-MAGAZINES ILLUSTRATED INCLUDE:

town, Pennsylvania, Magee studied at Bucks County ASH: 1941 (4); (1943 (2, 4)

Community College, and then attended the Tyler DYN: 1952 (12); 1953 (3, 6, 8, 10); 1954 (1) School of Art (1965–1966), and the Philadelphia

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328

College of Art, graduating 1969. He had no partic-Magee painted several distinctive surrealist/sym-ular interest in illustration but while in school he bolist covers for books in the SF genre before he left learned “it was a place where a student could make the field, and in them can be seen the beginnings of representational pictures, and develop in the com-the same techniques he later brought to bear in his pany of other talented students (and) make a living acclaimed representative paintings and sculptures: (because) we can draw.” (“Beyond Recognition, The the painting of objects and forms in a meticulously Art of Alan Magee,” Sordoni Art Gallery conversa-realistic style, yet which gain a surreal quality from tion, 2006). His art was first published in Scholastic emulating natural surfaces of stones, rocks, sand. As magazine in the same year, and he began working as he says “I have been fascinated by the forms, suran editorial and book illustrator in New York. For, faces, and textures of the world around me. I feel

“This was a great time for publishing, and illustra-compelled to make drawings that record these details, tion didn’t look like such a bad idea, because the in an attempt to preserve the excitement of these magazines and book publishers were at that time so discoveries.” ( Alan Magee: Paintings, Sculpture, inventive. Art directors weren’t cramping an illus-Graphics). The artist resides in Maine with his wife trator’s style, or expecting him to keep his own ec-Monika.

centricities out of his work. (“Beyond Recognition, Sources: e-mail from the artist April 2007; www.alan-The Art of Alan Magee,” Sordoni Art Gallery con-magee.com; www.forumgallery.com/2004; www.michener-artmuseum.org/exhibits/magee.php; “Beyond Recognition, versation, 2006)

The Art of Alan Magee,” Sordoni Art Gallery conversation, Magee experienced early success as an illustrator, published in the exhibition catalog, 2006; www.philadelphi-receiving high-visibility commissions from main-awriters.com/articles/10_2003/alanmagee.htm stream publications such as Atlantic Monthly, Play-Art Collections and anthologies
boy, New York Magazine, Time. The New York Times (various contributing artists)

and Omni. He also worked for Bantam, Ballantine, Summers, Ian. Tomorrow and Beyond: Masterpieces Pocket Books, and Simon & Schuster illustrating of Science Fiction Art. Workman Publishing, 1978. Art covers for books by Bernard Malamud, Agatha Collections and Anthologies: Stones and Other Works Christie, Yukio Mishima, Graham Greene and oth-

(Harry N. Abrams, 1986), Alan Magee 1981–1991
ers. His illustrations received many awards includ-

(Farnsworth Art Museum, 1991), Archive, Alan Magee ing a New York Book Publishers Award in 1976, a Monotypes, (Darkwood Press/Spectrum Concerts National Book Award in 1982, Awards of Excellence Berlin, 2000). Alan Magee: Paintings, Sculpture, from the Society of Illustrators and Communication Graphics. (Forum Gallery, 2003), Lopez, Barry. Resis-Arts magazine, Playboy magazine’s Annual Editorial tance: with monotypes by Alan Magee (Knopf, 2004), Award, and awards from the Art Directors Clubs of Los Angeles, Chicago and New York.

Published Work

In the late 1970s Magee left the world of com-BOOKS ILLUSTRATED INCLUDE: The Best of John mercial art to concentrate on his personal paintings, Sladek (Pocket, 1981), The Best of Robert Silverberg and in 1980 had his first solo exhibition at Staempfli (Pocket, 1976), Chronocules (Pocket, 1980), Clea Gallery in New York. Since that time he has become (Pocket, 1981), The Clewiston Test (Pocket, 1977), an artist of international repute whose works reside Creatures from UFOs (Pocket, 1979), The Cross of in many public and private collections, including Frankenstein (Pocket, 1976), Dr. Jeckyll and Mr. Hyde the Fine Arts Museums of San Francisco, the Art In-

(Pocket, 1974), Echo Round His Bones (Pocket, 1979), stitute of Chicago, and the National Portrait Gallery.

Eerie Tales of Terror and Dread (Scholastic, 1973), Magee works in a range of media and styles, and his Eros in Orbit (Pocket, 1971), The Genocides (Pocket, commissions have ranged from a tapestry for the 1979), The Ghouls (Pocket, 1972), The Golden Space Great Gathering Room, Riverview Psychiatric Cen-

(Pocket/Timescape, 1982), Gray Matters (Pocket, ter in Maine to a Portrait of U.S. Senate Majority 1972), House of Zeor (Pocket, 1977), An Island Called Leader George Mitchell, which hangs in the U.S.

Moreau (Pocket/Timescape, 1981), The Lion of Boaz-Capitol Building, Maine State Office Building. Now Jachin and Jachin-Boaz (Pocket, 1974), The Man in known as a American Realist, his technical skills and the Darksuit (Pocket, 1980), Okla Hannali (Pocket, ability to render simple objects in a remarkably re-1973), The Puppies of Terra (Pocket, 1980), Roadside alistic way have been the subject of several books, Picnic and Tale of the Troika (Pocket, 1978), The Se-radio interviews and television documentaries, in-cret Life of Algernon Pendleton (Fawcett, 1977), The cluding Alan Magee: Paintings, Sculpture, Graphics, Shadow over Innsmouth and other Stories of Horror a major book of the artist’s work (Forum Gallery, (Scholastic, 1971), The Slave of Frankenstein (Pocket, New York, 2003) and the Maine PBS production, 1977), Starlord (Pocket, 1980), Time of the Assassins Alan Magee, Visions of Darkness and Light. A profile (Pocket, 1975). Ultimate Encounter (Pocket, 1978), of the artist appeared in the March/April 2001 issue The Undead (Pocket Books, 1976), The Z Effect (#332) of Graphis.

(Pocket, 1974).

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Maitz

Maitz, Don
on an animated feature film titled Jimmy Neutron: (b. June 10, 1953) American artist. Born Donald Boy Genius (2001), and Ant Bully (2006). Addition-Raymond Maitz in Bristol, Connecticut, the artist atally, his work has been produced for the limited edi-tended the University of Hartford Art School, in tion print market with images released by Mill Pond 1970, and then studied at the Paier School of Art Press, and the Greenwich Workshop.

from 1971–75, where he graduated top of the class, Maitz has received considerable exposure as the His career began in 1975 when he got his start in the original and continuing artist of the “Captain Henry field with a black-and-white illustration for an ad Morgan” Spiced Rum pirate character, for Joseph in Marvel Comics’ Kull and the Barbarians. He Seagrams & Sons, which he first created as their quickly made his way into the New York book pub-trademark for the product and in a national adver-lishing world, and became one of the most versatile tising campaign in 1983. The San Diego Maritime of the new group of artists including Rowena Mor-Museum, the Orlando History Center, and the Key rill*, and Michael Whelan*, who dominated the pa-West Custom House have enthusiastically displayed perback scene in the late 1970s to mid 1980s. Since his pirate paintings in exhibitions pursuing that then Maitz has worked as a freelance fantasy and sci-theme. The May 1999 issue of National Geographic ence fiction artist, in the process becoming one of the Magazine contains a commissioned pirate illustra-best known professionals in the field.

tion that also appeared with other of his works on na-Maitz has produced outstanding narrative fan-tional television’s Dateline NBC, and Maitz’s art was tasy and science fictional illustrative work by eschew-featured in Blackbeard the Pirate King, a coming “big vistas” in favor of emphasizing characters —
pendium of famous yearns about the pirate, told in and showing them in situations related to the stories verse, and also illustrated by works by N.C. Wyeth, in the books. While this makes Maitz’s covers more and Frank Schoonover (National Geographic Soci-obviously promotional in intent, the unique grace, ety, 2006).

style, and (at times) good-natured humor with Maitz has won the Hugo award for “best artist,”

which he imbues his characters also makes them two times, 1990 and 1993, and has garnered 20 nom-more intrinsically appealing and alive. Maitz’s sense inations for the award, beginning in 1981. He has re-of detail and his playfullness with the medium gives ceived a Howard award from the World Fantasy the covers a funny twist at times. His work has been Convention, a Silver Medal and Certificates of Merit described as “distinctive for its strong draftsmanship from New York’s Society of Illustrators, and ten and rich color. His compositions are bold and sim-Chesley awards from his peers in the Association of ple, usually featuring a single figure or small group Science Fiction and Fantasy Artists. An active parin an ornate, atmospheric setting, often with a touch ticipant in genre conventions, Maitz was Artist Guest of sly humor.” Maitz is comfortable working in ei-of Honor at the 1997 World Science Fiction Conven-ther oil or acrylic, typically on masonite or illustration, one of many such stints in that role, over the tion board. He enjoys working his signature into the years. His paintings were included at NASA’s 25th foreground of his paintings in such way as to be un-Anniversary presentation. He helped initiate the first obtrusive, and impossible for publishers or art diever museum showing of fantastic paintings at the rectors to crop out.

New Britain Museum of American Art in Connecti-Maitz’s art has been seen on books, magazines, cut, and his work has been shown at the Park Avenue cards, record albums, compact disks, posters, limited Atrium, the Hayden Planetarium, and the Society of edition prints, puzzles, collector plates, and com-Illustrators (NY), as well as having been selected for puter screen saver programs. Among his clients are: the Spectrum Anthologies (Underwood Press). His The National Geographic Society, Bantam Double-paintings were included in two large exhibits of fan-day Dell, Warner Books, Random House Publish-tastic art — at both the Delaware Art Museum and ing, Watson Guptill, Penguin USA, and Harper Canton Art Museum. In addition he served as guest Collins Publishers. Apart from illustrating hundreds instructor at the Ringling School of Art and Design of book covers by authors such as, Isaac Asimov, Ray in the 1985–1986 semesters and has lectured at col-Bradbury, C. J. Cherryh, Raymond E. Feist, Allan leges, universities, and conventions all over the Dean Foster, and Michael Moorcock, Maitz illus-United States.

trated a limited edition publication of Stephen Maitz lives in Florida with his wife, Janny Wurts, King’s novel, Desperation. He also has illustrated two the noted fantasy novelist and artist who paints cov-short stories and a British edition novel written by ers to the books she writes. They share a studio home his wife, author/artist Janny Wurts. He was one of with four cats and three horses.

ten artists whose work was featured in Fantasy Art Sources: correspondence from the artist, and website Masters and two solo art books of his color paintings www.paravia.com; Haber, Karen. “A Celebration of Don Maitz” Art Gallery: Science Fiction Age, March, 1998; Wein-have been published, Dreamquests, and First Maitz In berg, 1988; Wurts, Janny “Dreamquests” Art Gallery: Realms recent years, Maitz has worked as a conceptual artist of Fantasy, April, 1995.

Maitz

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Collections and Anthologies
vine Queen (Pocket Timescape, 1982), Douglas Con-

(various contributing artists)

volution (DAW, 1979), Dragons of Darkness (Ace, DiFate, Vincent. Infinite Worlds: Fantastic Visions 1981), Dragons: The Greatest Stories (MJF Books, of Science Fiction Art (Wonderland/Penguin, 1997), 1997), Dragons on the Sea of Night (HarperCollins/

Dreamquests: The Art of Don Maitz (Underwood Voyager, 1997), Dreamthief ’s Daughter (American Miller, 1993), First Maitz: Selected Works by Don Fantasy, 2001), Drinking Sapphire Wine (DAW , Maitz (Ursus, 1988), Frank, Jane and Howard. Great 1976), Electric Forest (DAW, 1979), Emperor and Fantasy Art Themes from the Frank Collection (Paper Clown (Ballantine Del Rey, 1992), Entertainment Tiger, 2003), Frank, Jane and Frank. The Frank Col-

(NESFA Press, 1997), The E.S.P. Worm (Tor, 1986), lection: A Showcase of the World’s Finest Fantastic Art Faery Lands Forlorn (Ballantine Del Rey, 1991), Faerie (Paper Tiger: 1999), Grant, John, Humphrey, Eliz-Tale (Hill House, 1988, Grafton U.K., 1989), Fane abeth and Scoville, Pamela D. The Chesley Awards (Timescape/Pocket, 1981), Fantasy Almanac (Plume, for Science Fiction & Fantasy Art: A Retrospective 1979), A Farce to Be Reckoned With (Bantam Spectra, (AAPPL, 2003), Jude, Dick. Fantasy Art Masters 1995), Far Traveler (DAW, 1979), Fault Lines (SFBC, (HarperCollins, 1999), The New Visions: A Collec-1998), Flashing Swords: #3 Warriors and Wizards; #4
tion of Modern Science Fiction Art (Doubleday & Co, Barbarians and Black Magicians (Dell, 1976, 1977), 1982), Sackmann, Eckart, ed. Masterpieces of Fan-The Former King (Simon & Schuster, 1981), Fugitive tasy Art (Taschen, 1991), Summers, Ian. Tomorrow Prince (HarperCollins/Voyager, 1997), Gods of Xuma and Beyond (Workman, 1978).

(DAW, 1978), Ghost (Tor, 1992), Grand Wheel (DAW, 1977), Green Gods (DAW, 1980), Hasan (Tor, Published Work

1986), Haven of Darkness (DAW, 1977), Heavy Time BOOKS ILLUSTRATED INCLUDE: Ariel: Book of Fan-

(Warner Questar/SFBC, 1991), Hellburner (Warner tasy #4 (Durwood, 1978), Alternate Realities (DAW, Questar, 1992, SFBC, 1993), Hestia (DAW, 1979), 2000), Applied Mytholog y (Meisha Merlin, 2000), Hounds of Skaith (Ballantine Del Rey, 1976), Iron Ariosto (Pocket, 1980), Assault on the Gods (Fawcett Lance (HarperPrism/Zondervan, 1998), Island of Dr.

Crest, 1981), Balance of Power (DAW, 1979), Bard Death (Pocket, 1980), Keeper’s Price (DAW, 1980), series: I Bard; II The First Long Ship; III the Wild Sea; Kill the Dead (DAW, 1980), Kingdoms of Light IV Raven’s Gathering (Ace, 1981, 1984, 1986, 1987), (Warner Aspect, 2001), King’s Buccaneer (SFBC, Bard: The Odyssey of the Irish (Tor, 1994), The Beast 1992, Bantam, 1994), Light on the Sound (Pocket/

(Kinnell, 1990), Beneath an Opal Moon (Fawcett Timescape, 1982), Lion of Ireland (Playboy, 1981), Crest, 1990), Best of Edmond Hamilton (SFBC, Lucky Starr & The Big Sun of Mercury; Lucky Starr & 1977), Best of Frederik Brown (SFBC, 1976), Beyond The Oceans of Venus; Lucky Starr & The Rings of Sat-Apollo (Pocket, 1979), Black Cauldron (Dell, 1977), urn; Lucky Starr Space Ranger (Fawcett, 1978), The Book of the Beast (Kinnell, 1989), Book of the New Losers (Ballantine Del Rey, 1993), Magic Casement Sun (SFBC, 1998), Book of Skaith (SFBC, 1976), (Ballantine Del Rey, 1990), Magic Touch (Warner Book of Three (Dell, 1978), The Borribles (Ace, 1984) Aspect, 1996), Magician (Doubleday, 1992), Magi-The Borribles Across the Dark Metropolis (Ace, 1988), cian: Apprentice (Bantam Spectra, 1994, Easton Press, Borribles Go for Broke (Ace, 1981), Bright Compan-1998), Magician: Master (Bantam Spectra, 1994), ion (DAW, 1980), Bring Me the Head of Prince Man of His Word (Del Rey/Ballantine, 1990), Mer-Charming (Bantam Spectra, 1991), But What of lin’s Harp (Penguin/Roc, 1997), Mirror of Helen Earth? (Tor, 1989), Caledon of the Mists (Ace, 1994), (DAW, 1983), Mistress of the Empire (Doubleday/

Camelot In Orbit (DAW, 1978), The Captive (Kinnell, SFBC, 1992), Mytholog y 101 (Popular Library Ques-1989), Castle of Llyr (Dell, 1978), Catchworld (Faw-tar, 1990). Mytholog y Abroad (Warner Questar, cett Crest, 1975), Changeling Prince (HarperPrism, 1991), Night of the Cooters (Mark V. Ziesing, 1990), 1998), Champions of the Sidhe (Bantam, 1984), Chan-Oracle (Warner, 1989), The Orphan (Kinnell, 1989), nel’s Destiny (DAW, 1983), Citadel of the Autarch Perilous Seas (Ballantine Del Rey, 1991), Pretender (Timescape, 1982), City of the Sun (DAW, 1978), (Tor, 1985), Prince of the Blood (Doubleday, 1992, Classic Stories 2 (Bantam Spectra, 1990), Claw of Bantam Spectra, 1994), Prison of Night (DAW, 1977), the Conciliator (Timescape, 1981), Coachman Rat Prostho Plus (Tor, 1986), Purgatory Zone (Ace, 1981), (Baen, 1990), Corum: The Coming of Chaos (White Queen of Ashes (Ace, 1995), Queen of Denial (Meisha Wolf/SFBC, 1997), Cosmic Rape (Pocket, 1977), Merlin, 1999), Red Branch (William Morrow, 1989), Curse of Sagamore (Ace, 1986), Cyteen: 1 The Betrayal; Rimrunners-HardBack (Warner, 1989), Rude Astro-2 The Vindication; 3 The Rebirth (Questar/Popular nauts (Old Earth Books, 1993), Servant of the Em-Library, 1989), Dai-San (Berkley, 1980), Darkness at pire (SFBC, 1990, Grafton U.K., 1990, Bantam Sethanon (SFBC, 1992, Bantam Spectra, 1994), Day Spectra, 1991), Shadow and Claw (Tor/Orb, 1994), by Night (DAW, 1980), Demon in the Skull (DAW, Shadow of the Torturer (1980), Silver Metal Lover 1984), Desperation (Donald M. Grant, 1996), Di-

(DAW, 1981), Silverthorn (Bantam Spectra, 1994),

331

Marchioni

Sime/Gen — Channel’s Destiny (DAW, 1983), Soldiers Matania illustrated Edgar Rice Burroughs’ Pirates of Paradise (Arbor House, 1987), Sometimes, After of Venus in 1933 and Lost on Venus in 1933–1934, for Sunset (SFBC, 1980), Sorcerer’s Lady (Ace, 1986), the British magazine Passing Show. These twenty-Sorcerer’s Ward (HarperCollins U.K., 1994), Stranger nine plates were reprinted by Dover Books in 1963.

at the Wedding (Ballantine Del Rey/SFBC 1994), The reprinted artworks came as a surprise to Bur-Sugar Rain (William Morrow, 1989), Sword and roughs fans who were not aware of his earlier Citadel (Tor/Orb, 1994), Sword of the Lictor (Time-renown, or that his reputation was such that he was scape, 1981), The Talisman (Donald M. Grant, 1984), visited in his studio in London by artists such as Tamastara or the Indian Night (DAW, 1984), Time Russell Flint, and John Singer Sargent. Matania’s Out of Mind (Pocket, 1981), Triple Detente (Tor, Burroughs illustrations compared favorably to the 1988), Twilight of the Empire (Penguin/Roc, 1997), best in the field, and it became apparent that many Warlord of Ghandor (DAW, 1977), Warriors and Wiz-modern day artists such as Frank Frazetta* were ards (1976), Wave Without a Shore (DAW, 1981), Web likely inspired by Matania’s sensuous style of illus-of Sand (DAW, 1981), The Wind-Witch (Ballantine trating. In 1935 Matania did artwork for The Secret Del Rey, 1994), Wizard War: Chronicles of an Age of People, a nine-part serial by John Beynon running Darkness (Popular Library, 1987), The World Invisi-in Passing Show from July through September.

ble (Ace, 1984 ), Zarkon #2: Invisible Death (Popular In 1940, During World War Two, many of his Library, 1978).

paintings and drawings were destroyed when his stuM
dio was bombed during the London Blitz. He was AGAZINES ILLUSTRATED INCLUDE:

F&SF : 1983 (1)

said to be so prolific, however, that many examples ROF : 1994 (12); 1995 (8); 1997 (4)

of his art still survive and are prized by collectors Misc. Wizards 2008 Calendar (Tide-mark, and many of today’s illustrators. Matania had a 2007), Guardians role-playing card game (FPG, daughter, Celia Matania, a character actress who ap-1996).

peared in a few films, including the 1973 movie Don’t Look Now starring Julie Christy. Matania’s sole brush with the film industry was his contribution to the Matania, Fortunino
well-known 1933 Alfred Hitchcock movie The Man (1881–February 8, 1963) British artist. Born in Who Knew Too Much. Hitchcock was given a limited Naples, Italy, Matania’s early training in art came budget, but he knew how technical tricks could used from his father, who was an artist. He illustrated his to make up for that: A painting by Fortunino Mata-first book at the age of fourteen, at that age moving nia reflected with a mirror into the camera lens to Milan to work for Ilustrazione Italiana, then served as most of the exciting “Albert Hall” audi-moved north in 1901 to work on Illustration Française ence, and was shot in a small studio. Matania in Paris and The Graphic in London. After return-worked for The Sphere for nearly sixty years, and his ing to Italy for military service he came back to Lon-last illustration appeared in the magazine shortly be-don at the age of twenty-four and joined the staff of fore his death in 1963,

The Sphere, and spent the rest of his life in England.

Sources: “Fortunino Matania’s Art” A Brief Review by Matania was an expert in depicting historical scenes David Adams Online at www.erbzine.com [accessed July 2006]; Barrett, Robert R. “Fortunino Matania, R.I.— The from all periods of history, as well as specific, current Last Victorian” in: Burroughs Bulletin, New Series No. 10, news events, with startling realism and precision for April 1992; Kendall, Lee. A Pen to Sink a Thousand Ships: The the time. His illustrations for The Sphere depicting British Titanic Inquiry and the Art of Fortunino Matania. Tues-the sinking of the Titanic on 15 April, 1912 have been day 7 March 2006, online at www.encyclopedia-titanica.org

[accessed July 2006]’ The Modernist Journals Project for stu-cited as an early examplar. In 1914, with the outdents and scholars of modernism at http://dl.lib.brown.edu: break of World War I, Matania became a war artist 8080/exist/mjp/plookup.xq?i=Matania; www.illustrationart and spent nearly five years at the front drawing hun-gallery.com/acatalog/Biographies.html; [accessed April 2007]; dreds of sketches which often are featured in pub-Weinberg, 1988.

lished histories of the War. After the war, he specialized in illustrating historical and ceremonial Marchioni, Mark E.

events, and his drawings were immensely popular, (October 25, 1902–October 15, 1987) American appearing in all the principal magazines and quality artist. Born Marco Marchioni in New York City, of newspapers in Europe and America, with occasional Italian heritage, the artist studied art at the Art Stu-forays into science fiction and fantasy. He was made dent’s League and the Grand Central Art School.

a Chevalier of the Crown of Italy, and according to His first science fiction sale was to Wonder Stories, Barrett “exhibited nearly every year at the Royal but he soon branched out to sell art to all the pulps Academy and The Royal Institute of Art, and his of the 1930s. Along with his science fiction illustra-paintings were usually depictions of Roman life and tions, Marchioni did commercial illustration for var-customs.”

ious advertising agencies. Some sources suggest that

Maroto

332
he used the pseudonym “Marconette” for some of commissions for Ace Books, where the strength and his illustrations; we have been unable to verify that imagination of his black-and-white interior work information. The confusion may stem from the fact was a good fit for the Robert E. Howard Conan se-that the writer Walter E. Marconette apparently also ries, again with SanJulian covers, and covers for the illustrated some pulp magazines. He lived in Ruther-Burroughs illustrated series of heroic adventure nov-ford, New Jersey while working for the pulps, and els they were re-issuing in paperback. He also later apparently moved to San Bernadino, Califor-worked for the German publisher Heyne.

nia, where he died.

After devoting himself almost exclusively to illus-Sources: Ancestry.com. 1930 United States Federal Census; trating he returned to comics in 1993 with Zatanna Social Security Death Index [database on-line]. Provo, UT, for DC Comics. He joined the Italian Bonelli pub-USA: The Generations Network, Inc., 2002. 2007; Weinberg, 1988.

lishers in 1996, where he became an artist for the series Brendon, on which he continues to work. For Published Work

Marvel, he has inked numerous episodes of Conan, ASF : 1932 (6, 11); 1933 (3); 1934 (1, 2, 3, 4, 5, 6, Red Sonja, Dracula, Atlantis Chronicles, and others.

7, 9, 11, 12); 1935 (1, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1936

He has won several awards, among them the Warren (1, 4, 5, 6, 7, 8, 10, 11); 1937 (7, 9, 11) Award in 1976 and 1978, and Best Foreign Author CF: 1940 (summer); 1942 (spring, summer); 1943

Award by the American Academy of Comic Book (winter, summer); 1944 (spring)

Arts in 1970. His “adult” drawings and paintings of DYN: 1939 (2)

nudes and exotically sensual women have been col-SS: 1939 (3, 7); 1940 (3, 9); 1941 (3, 5, 9); 1943
lected in anthologies published in the U.S. and Eu-

(1, 3, 6, fall); 1944 (fall); 1945 (winter, summer, fall); rope: URANIA (Riedel, 1999), WONDERS (Nantier 1946 (3, spring, summer, fall); 1947 (3, 5, 7) Beall Minoustchine, 2002), and XOTICA — Art of StrS: 1939 (2, 6); 1940 (4, 6, 8)

Maroto (SQP Inc., 1995). A portfolio of six large TWS: 1936 (8, 10, 12); 1937 (2, 4, 6, 8, 10, 12); fantasy paintings Touch of the Temptress was pub-1938 (10); 1939 (2, 6, 10, 12); 1940 (6, 9, 11, 12); 1941
lished in 1994 (SQP, Inc.).

(1, 2, 4, 6, 8, 10, 12); 1942 (4, 12); 1943 (6, 8, fall); Sources: correspondence with the artist June, 2005; The 1944 (winter, spring, fall); 1945 (spring, fall); 1946

New Visions: A Collection of Modern Science Fiction Art NY: (summer, fall, 12); 1947 (2, 4, 6, 10, 12); 1948 (4, 6) Doubleday & Co.,, 1982.

WQ: 1931 (winter)

Published Work

BOOKS ILLUSTRATED INCLUDE: Cachalot (Ballan-Maroto, Esteban
tine/DelRey, 1980), Changeling (Ace, 1980), Conan (b. March 3, 1942) Spanish artist. Maroto was and the Sorcerer, Conan: The Flame Knife, Conan the born in Madrid but has lived for most of his profes-Mercenary, Conan: Pigeons from Hell, Conan: The sional career in Barcelona, Spain. Known for his Treasure of Tranicos (Ace, 1979, 1980), Find Your Fate: adult fantasy, science fiction, sword and sorcery, and

#3 The Thundercats and the Ghost Warrior (Random action-adventure illustration, Maroto is just as well House, 1985), King Dragon (Ace, 1980), Land of Unknown a comic artist, for his ink work. Maroto reason (Dell, 1979), Lost on Venus (Ace, 1979), Mad-started his career in the early 1960s as an assistant to wand (Ace, 1981), The Magic Goes Away (Ace, 1978), Manuel Lopez Blanco, working on an adventure Mindsong (Avon, 1979), Pirates of Venus (Ace, 1979) comic strip. Together with Carlos Giménez, he A Stone in Heaven (Ace, 1979, 1985), The Sowers of began to work independently, producing such strips the Thunder (Ace, 1979), Weird Heroes Vol. 2 (Pyra-as El Prìncipe de Rodas, Cinco por Infinito, La Tumba mid, 1975), The Wizard of Venus-Pirate Blood (Ace, de los Dioses and others for comics published in 1979), The Year’s Best Fantasy Stories #4 (Ace, 1978), Spain. In 1963 he went to work in the studio of Gar-2010: Odyssey Two (DelRey, 1984).

cia Pizarro, helping to produce comic features for MAGAZINES ILLUSTRATED INCLUDE:

the British market and joined the Barcelona agency FTC: 1973 (4), 1974 (1)

Seleccione Ilustradas, designing numerous charac-HM: (1981 (4, 8)

ters for comic strips. By 1967 Maroto had established Misc.: Forgotten Realms(™): The Savage Frontier his unique and sexy graphic style, and soon he had game module interiors (TSR, Inc., 1988) the attention of U.S. publishers. A fine draftsman, with a talent for depicting “fantasy” women and heroically strong warrior types, he soon was illus-Matthews, Rodney Clive
trating stories for the Warren Publication magazines (b. July 6, 1945) British artist. Matthews was born ( Creepy, Eerie, Vampirella) and EC comics in the in Paulton, Somerset England to Wilfred Jack and 1970s and 1980s, often in combination with cover art Mildred May Matthews, and he has one sister, Beryl.

by SanJulian*, another Spanish artist whose art was His father, Jack Matthews, was an extremely artis-complementary in feeling and theme. This led to tic and inventive man whose activities of painting

333

Matthews
and drawing and model making (among others) were sharply delineated and highly worked. Matthews an important influence in Matthews’ youth. He works in gouache, colored inks and airbrush, and studied at The West of England College of Art, Bris-his paintings are typically highly detailed, very col-tol (1961–1962) after being accepted on the strength orfully and distinctively rendered scenes filled with of a small portfolio of bird drawings in pencil. The often twisted and whimsical creatures, airships, an-commercial courses were intended to prepare him imals, and machines. His earlier work echoes that for a career in advertising art, but Matthews was for-of other British artists who entered the field during tunate in having for a tutor Anthony Rossiter, the the mid to late 1970s and seemed to share much the well-known painter of English and particularly same palette and attraction to a sort of fantastical North Somerset landscapes, which broadened his surrealism: Patrick Woodroffe*, Bruce Pennington*, perspective. It was during Matthews’ time at art col-Tim White*, and Ian Miller*. Matthews’ originals are lege that he became interested in performing music, in several private collections, and have been exhib-believing that the two art forms — visuals and music ited at Chris Beetles Gallery in London’s West End,

— go well together. He worked in an advertising and he has had several one-man and group shows at agency, Ford’s Creative; a well established firm in galleries in the U.K. and Europe.

Bristol, England from 1963 to 1970 while simulta-Matthews is primarily known for his record neously was a member of a successful smaller rock album covers, having done more than seventy for band (eventually called) “Squidd,” with Matthews recording artists including Nazareth, Asia, Magnum, playing drums.

The Scorpions, and others. Over eighty of his designs By 1970, commissions Matthews had worked on have been published as poster prints, and others have at the agency, combined with contacts he had made been used on a variety of merchandise including in the music world persuaded him to leave the ad-postcards, notecards, collector’s cards, and jigsaw vertising world to form an art partnership called puzzles. Other items include calendars, an interac-

“Plastic Dog Graphics,” specializing in art for record tive CD-ROM Between Earth and the End of Time, album sleeves and posters. His partner was Terry a biographic video A House on the Rock, and work on Brace, an acquaintance from his art college days, video games. In 1998 a major children’s animation who was also a musician. The partnership gave series Lavender Castle was completed. The original Matthews the flexibility to continue performing concept and all design work was by Matthews and while developing a business providing a variety of the 26 ten minute episodes were produced by Gerry services to internationally known artists via compa-Anderson. The series became a favorite with British nies like United Artist Records, MCA Records, audiences, and received excellent reviews. In 1994

Sonet Records (Sweden) and Transatlantic Records.

Matthews met a senior producer from the Liverpool In 1974 Matthews terminated his involvement based games publisher Psygnosis, and the resulting with progressive rock to concentrate on his art, and game was “Shadow Master,” a Sony PlayStation and by 1976 had dissolved the partnership (by then called PC CD-ROM. Rodney has also done conceptual Skyline Studios) to become a freelance illustrator of design drawings for 989 Studios, a developer based fantasy and science fiction. During this time he be-in San Diego, California. He currently has several friended British SF author Michael Moorcock, who projects being developed for computer games, and provided the artist with publishing contacts, and children’s animation shows for TV series or features, with whom Matthews has developed a long and suc-and currently lives in Wales with his wife and two cessful working relationship. In 1977 Matthews met children.

Karin Drescher, also a painter and illustrator. They Sources: Correspondence from the artist April 18, 2005, and were married not long after and their son Yendor official website www.rodneymatthews.com; Horne, Alan. The Dictionary of Twentieth Century British Book Illustrators (An-

(Rodney spelled backwards) was born in 1980.

tique Collectors’ Club, 1994). Weinberg (1988).

Matthews also illustrated a light-hearted children’s book with the same name, Yendor, the Journey of a Ju-Collections and Anthologies
nior Adventurer (Big O, 1978) which showed off his (various contributing artists)

strikingly surreal style. In 1981 Matthews’ father died Matthews, Rodney. In Search of Forever (Paper and the artist became a committed Christian. Soon Tiger, 1985), Matthews, Rodney. Last Ship Home after, in 1983, began incorporating Christian im-

(Paper Tiger, 1989), Moorcock, Michael. Elric at the agery into his work.

End of Time (Paper Tiger, 1987), Rodney Matthews Matthews works solely as a freelance designer and Portfolio #1. #2 (Paper Tiger, 1990, 1993), Sackmann, illustrator of fantasy, science fiction and fairy tales, Eckart. Masterpieces of Fantasy Art (Taschen, 1991), with his work featured on a wide variety of prod-Suckling, Nigel. Countdown to Millennium (Over-ucts and publications. His earliest work seems clearly look Press, 1997 151. Rodney Matthews Miniature influenced by Roger Dean’s* visionary, dreamscapes, portolio artbook (Paper Tiger, 1994).

although Matthews’ futuristic scenes are more

Mattingly

334

Published Work

Greatest Hits.” His first sale of art for a book cover BOOKS ILLUSTRATED INCLUDE: Beasts (Futura was for A Wizard in Bedlam by Christopher Stash-Publications/Orbit Books 1978), Bug Wars (NEL, eff, published by DAW Books in 1980. In 1983 he 1980), Bull and the Spear (Mayflower, 1979), Dancers moved to New York City, and a year later he crossed at the End of Time (Granada, 1981), England Invaded the Hudson River to Hoboken, New Jersey, which (W H Allen, 1977), Endless Knot (London Book is now his permanent residence.

Club Associates, 1993), End of All Songs (Mayflower, One of the artists who dominated the science 1979), Face in the Abyss (Avon, 1978), Facets (Tor, fiction paperback cover scene in the 1980s, Mattingly 1990), Falcon and the Serpent (Minstrel, 1991), Green is known for his photo-realistic approach to science Magic: The Fantasy Realms of Jack Vance (Tor, 1988), fictional themes, with his more whimsical style saved In the Footsteps of the Abominable Snowman (NEL, for fantasy narratives. He has produced over 500

1979), Kajira of Gor (Star, 1983), King Arthur and painted covers for most major publishers of science His Knights (Usbourne Publishing, 1998), Legends fiction and fantasy, including Baen, Bantam, DAW, from the End of Time (W.H. Allen, 1976), The Lost Del Rey, Dell, Marvel, Signet, and Tor, and maga-and the Dreamer (Minstrel, 1991), Moon Pool (Avon, zines such as Omni, and Playboy. In the 1980s Mat-1983), Other Dimensions 1, 2 (Panther, 1974, 1977), tingly did a number of books for Robert Vardeman’s Paradise War (Lion, 1991), Savage Heroes: Tales of Cenotaph Road series of fantasy adventure novels for Sorcery and Black Magic (Star, 1977), Seas of Blood Ace, and interior and cover art for several Indiana Jones (Puffin/Penguin, 1985), Showboat World (Tor, 1989), Find-Your-Own-Fate paperbacks for young adults.

Silver Hand (Lion, 1992), Spell of the Witch World He illustrated the popular “Honor Harrington” series (Universal, 1978), Tales of King Arthur (E.D.C. Pub-in the 1990s for author David Weber, combining lishing 1995), Tolkien and Middle-Earth Handbook painted and digitally created images, and painted the (Angus & Robertson AU, 1992), Transformation of covers for the re-issued Edgar Rice Burroughs’ “Pel-Miss Mavis Ming (W.H. Allen, 1977), Trey of Swords lucidar” books for Ballantine Books. His “Wizard”

(Star, 1979), Warrior Enchained (Star, 1984), Witch series for Simon Hawke’s novels, for Warner books, in World (Tandem, 1978), Wizardry and Wild Romance: the early 1990s, were popular enough to merit further A Study of Epic Fantasy (Gollancz, 1988).

publication in a single artist collection for a “Wizards”

Misc. : Cal98 Fantasy calendar (Meadwestvaco, calendar 1996 (Landmark). He is a two -time winner 1997), Rodney Matthews Fantasy Calendar 1996
of Magazine and Booksellers “Best Cover of the Year”

(Inkspot, 1995). Michael Moorcock’s Wizardry & award, and winner of the Association of Science Fic-Wild Romance 1978 Calendar (Big O. Pub, 1977), tion Artists “Chesley” award. Other clients include Transformation 1985 Calendar (Big O, 1984).

Michael Jackson, Lucasfilm, Universal Studios, Totco Oil, Galloob Toys, R/Greenberg Associates, Click 3X

Mattingly, David B.

and Spontaneous Combustion.

(b. June 29, 1956) American artist. David Bur-After 20 years of traditional painting, using air-roughs Mattingly was born in Fort Collins, Col-brush and handbrush acrylics on illustration board, orado, the son of John W. Mattingly, the inventor Mattingly bought a computer and has been working of the “Water Pik.” Mattingly began drawing and mainly digitally since then. Almost all artwork he painting as a small child, influenced by comic books, produces combines digital painting, and elements Edgar Rice Burroughs, and a wide array of artists generated in 3D programs. Mattingly’s first mar-ranging from James Steranko*, to N.C. Wyeth, to riage ended in divorce. He re-married, to Cathleen Jackson Pollack. After high school, he attended the Cogswell, and they share their home in Hoboken Colorado Institute of Art, Colorado State University with three cats.

and later transferred to Art Center College of Design Sources: correspondence with the artist August 2004 and in Pasadena, California. After art training, he website www.davidmattingly.com; www.dragonpage.com/
archives/david_mattingly.html; Weinberg, 1988.

worked at Walt Disney Studios, assisting Harrison Ellenshaw as a matte artist on several films. At Collections and Anthologies
twenty-two Mattingly became the youngest full (various contributing artists)

union matte artist in the history of the motion pic-Alternate Views, Alternate Universes: The Art of ture industry at that time and at twenty-four he was David B. Mattingly (Paper Tiger, 1996), Di Fate, made head of the matte department. He worked on Vincent. Infinite Worlds: The Fantastic Visions of Sci-several films: The Black Hole (1979), Tron (1982), ence Fiction Art (Wonderland Press/Penguin, 1997), Dick Tracy (1990), Stephen King’s The Stand (1994), Frank, Jane and Howard. The Frank Collection: A and most recently I, Robot for Weta Digital in New Showcase of the World’s Finest Fantastic Art (Paper Zealand (2004). While at Disney Studios, Mattingly Tiger, 1999), Grant, John and Humphrey, Elizabeth began doing freelance art. His first published piece with Scoville, Pamela. The Chesley Awards: A Retro-was the record album cover for “The Commodore’s spective (AAPL, 2003).

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Mattingly

Published Work

2001), Masters in Hell (Baen, 1987), 1984), Masters BOOKS ILLUSTRATED INCLUDE: Across Realtime of Space: #1 Stellar Death Plan; #2 Alien Wish; #3

(Baen, 1991), After the Fact (Baen, 1988), Afterwar Plague in Paradise (Avon, 1987), Messiah Choice (Baen, 1985), Acquilliad ( Ballantine, 1988), Angels (Bluejay, 1985), Messiah Stone (Baen, 1986), Mind in Hell (Baen, 1987), Armies of Daylight (83) Ar-Pool (Baen, 2002), Mindstar Rising (Tor, 1996), Molt mageddon Inheritance (Baen, 1993), Alastor Trilog y: Brother (Playboy. 1982), Moonheart (Ace, 1984), 1 Trullion Alastor; 2 Marune; 3 Wyst: Alastor 1716

Moon Goddess and the Son (Baen, 1986), Napoleon (DAW, 1981), Ashes of Victory (Baen/BCE, 2000), At Wager (Ballantine/Del Rey 1993), Nautilus Sanction the Earth’s Core (Ballantine/Del Rey, 1992), Attack (Putnam Berkley, 1985), Nine Lives of Catseye Gomez From Atlantis (Ballantine/Del Rey, 1982), Back to the (Warner, 1992) Nitrogen Fix (Ace, 1980), More than Stone Age (Ballantine Del Rey, 1990), Beamriders Honor (Baen, 1998), Morlac: Quest of the Green Ma-

(Baen, 1989), Black Throne (Baen, 1990), Bug Park gician (Signet, 1986), New Destinies Vol. 7 (Baen, (Baen, 1997), Burning Realm (Baen, 1988), Ceno-1989 ), Operation Exile (Ballantine/Del Rey, 1986), taph Road (Ace, 1983), Children of the Lens (Berkley, Operation Isis ( Ballantine, 1987), Orion (Simon and 1982), Children of the Stars: #1 Tomorrow’s Heritage; Schuster, 1984 ), Pandora’s Children (Popular Library,

#2 Outward Bound (Ballantine/Del Rey, 1981, 1982), 1986), Pellucida r (Ballantine, 1990 ), Perseus Breed Cities in Flight (Baen, 1991), Clocks of Iraz (Ballan-

(Pageant, 1988), Pillar of Night (Ace, 1984), Police tine, 1983), Code of the Lifemaker (St. Martin’s, Your Planet (Del Rey /Ballantine, 1981), Precious 1978), Codgerspace (Ace/BCE, 1992), Colsec Rebel-Cargo (Ballantine Del Rey, 1990), Rapture Effect (Tor, lion (Bantam Starfire, 1989), Crusaders in Hell (Baen, 1987), Reality Matrix (Baen, 1986), Rebels in Hell 1987 ), Crystal Empire (Tor, 1986), Cyborg and the (Baen, 1986), The Regiment (Baen, 1987), Reluctant Sorcerers (Ballantine/Del Rey, 1982), Dangerous In-Sorcerer (Warner, 1992), Return to Fanglith (Baen, terfaces (Baen, 1990), Desperate Measures (Del Rey, 1985), Rocheworld (Baen, 1990), Rockets, Redheads 1989), Distant Friends and Others (Baen, 1992), Doc and Revolution (Baen, 1999), Run to Chaos Keep (Ace, Sidhe (Baen, 1995), Don’t Forget Your Spacesuit, Dear 1991), The Samurai Wizard, (Warner/Questar, 1991), (Baen, 1996), Downbelow Station (DAW, 1981), Savage Pellucidar (Ballantine Del Rey, 1990), Science Earthweb (Baen, 1999), Essence of Evil (Ballantine Fiction Anthology #7 ( John Wiley, 1983), Sector Gen-Del Rey, 1990), Exiles of Clolsec (Bantam, 1988), Faeral: Code Blue Emergency (Ballantine/Del Rey, ther to the Man (Tor, 1990), Firetime (Baen, 1985), 1987), Second Stage Lensman (Berkley, 1982), Ser-Firechild (Bluejay, 1986), First Lensman (Berkley, pent’s Reach (DAW, 1980), Sorcerer’s Skull (Ace, 1986), Flight Engineer: #1 The Rising; #2 The Priva-1983), Starburst (Del Rey/Ballantine, 1982), Starship teer (Baen, 1996, 1999), Forever After (Baen, 1995), Troupers: #1 A Company of Stars; #3 A Slight Detour Forge of the Titans (Baen, 2003), Four Lords of the (Ballantine/Del Rey, 1991, 1994), Startling Worlds of Diamond: #1 Lilith; #2 Cerberus; #3 Charon; #4

Henry Kuttner (Popular Library, 1987), Star Trek: Log Medusa (Del Rey/Ballantine, 1981, 1982, 1983), 1,2,3…10 (Ballantine/Del Rey, 1992), Tanar of Pelu-Galactic Effectuator (Ace, 1981), Galactic Patrol cidar (Ballantine/Del Rey, 1990), Time Gate (Baen, (Berkley, 1982), Gates of Hell (Baen, 1986), The Gen-1989), Time Wars: #1 Ivanhoe Gambit; #2 The Time-eral: #1 The Forge (Baen, 1998), Glory’s People; Glory’s keeper Conspiracy #3 The Pimpernel Plot; #4 Zenda War (Tor, 1996, 1997), Gray Lensman (Berkley, Vendetta; #5 Nautilus Sanction; #6 Khyber Connection 1982), Gray Prince (DAW, 1981), A Greater Infinity (Ace, 1984, 1985, 1986), Triplanetar y (Berkley 1986), (Ballantine, 1982), Halo (Tor, 1991), Harem of Aman Unicorn U (Ace, 1992), The Voice of Cepheus (Ballan-Akbar (Bantam, 1984), Harpy High (Ace, 1991), He-tine Del Rey, 1989), Wall Around a Star (Del roes in Hell (Baen, 1986), Honor Among Enemies Rey/Ballantine, 1983), Warhorse (Baen, 1990), War (Baen, 1997), Honor of the Queen (Baen, 2000), in Hell (Baen, 1988), Walls of Air (Ballantine, 1988), Honor Harrington: Echoes of Honor (Baen, 2002), With the Lightnings (Baen, 2002), White Regiment Idle Pleasures (Berkley, 1983), Inadequate Adept (Baen, 1990), Winning Colors (Baen, 1995), Wizard (Warner/Questar, 1993), In Enemy Hands (Baen, in Bedlam (DAW, 1980), The Wizard of 4th St.; Wiz-1998), The Infinity Link (Bluejay, 1988), Iron Tongue ard of Rue Morgue; The Wizard of Santa Fe; The Wiz-

(Berkley/Ace, 1984), Kalif ’s War (Baen, 1991), Killer ard of Sunset Strip; The Wizard of Whitechapel (Pop-Station (Baen, 1985), King of Ys: #1 Roma Mater; #2
ular Library/Questar, 1987, 1990, 1991, 1993), The Gallicenae (Baen, 1980, 1987), Kings in Hell (Baen, Wizard of Camelot; The Wizard of Lovecraft’s Café; 1987), Land of Laughs (Ace, 1983), Land of Terror (Warner, 1993), Wizard World (Baen, 1989), Wolf (Ballantine Del Rey, 1990 ), Little Helliad (Baen, Worlds (Ballantine, 1984), World of Mazes (Ace, 1988), Liftport (Meisha Merlin, 2006), Lizard War 1983), Worlds of Honor (Baen, 2000).

(Baen, 1989), Majyk by Accident, Majyk by Design, Majyk by Hook or Crook (Ace, 1993, 1994), Man Plus MAGAZINES ILLUSTRATED INCLUDE:

(Baen, 1994), Marching Through Peachtree (Del Rey, AMZ: 1991 (9); 1992 (2)

Mayorga

336

SFAge: 1994 (1); 1995 (7); 1996 (3); 1997 (1); 1998
attended Columbus College of Art and Design on an (1)

art scholarship, and also studied at the Art Institute Misc: Wizards Calendar (Landmark 96), Fantasy of Chicago. He enlisted in the U.S. Army Air Corps Art: David B. Mattingly Collector Trading Card set during World War II hoping to become a pilot, but (FPG Pub. 1995).

after going through intensive physical exams he was astonished to learn that he was colorblind, and in-Mayorga, Gabriel Humberto
stead was classified as a bombardier. By that time he (March 24, 1911–June 4, 1988) American artist.

was about twenty years old and already making a Born in Columbia, South America, Mayorga lived living as an artist, and had been working as an artist in Bogota and attending an engineering institute be-since he was seventeen. His service as an Air Force fore working for a magazine Revistas Estrellas. He bombardier, and later as an instructor, flying B-17s moved to New York City at the end of the 1930s, and B-29s, focused his interest in aerospace subjects and worked for Popular Publications for a few years, and gave him the opportunity for sketching — de-producing only a handful of science fiction illustra-picting pilots “in their wonderful environment of tions before going into business as a display artist the sky and space” (CNN interview, 1999). McCall producing mannequins for retail stores. At that time, is one of five founding members of The American art was having a major influence on window display, Society of Aviation Artists, established 1986.

and large department stores featured elegant or sur-After the war McCall worked as an Illustrator for real displays to sell merchandise. His painting for Bielefelt Studios In Chicago for three years, and then

“Juice,” the cover for Super Science May 1940, for went to the Charles Cooper studio in New York. He the lead story by L. Sprague de Camp, foreshadows worked on a great variety of advertising, industrial that career. The image is of a child-like blonde with and store illustration, specializing in aviation and wide-eyed and “doll-like” features shooting at an space art. Among his clients were Buick, Ford, RCA, unrealistic squid-like creature in the background.

and Alcoa, and he produced jet aircraft illustrations Mayorga studied at the National Academy of Defor United Aircraft, Douglas, Goodyear, and Sperry sign with Leon Kroll and Ivan Olinsky, at the Art Instrument Co. When the space program began in Students League, and Grand Central Art School in the 1950s, McCall started working for Life maga-New York with Harvey Dunn. His preferred media zine, and came to public attention in the early 1960s were oil, pastel, watercolor (gouache), epoxy, plas-as the illustrator for the magazine’s memorable series tic and polyester plastic. From 1940 to 1965, he was on the future of space travel. His artwork was ener-director of Mannequins by Mayorga, Inc in New getic and imaginative, a unique blend of stylistic York, and became known for line of “Welcome looseness with complex detail, rendered in oils, wa-Home Mannequins” featuring “the outstretched tercolors or markers (DiFate, p. 216). The transition arms of a young couple and the longing gaze of their from (painting) aircraft to spacecraft was an easy one little girl.” (Feigenbaum, 2001). From 1960 to 1972, for him, he told a CNN interviewer in 1999, be-he taught at the Pan American Art School in New cause “flying in space was more dramatic, more ad-York while also producing paintings and portraits venturesome, more hazardous … so powerfully vi-on commission.

sual.” In the 1960s he also became one of the first Source: www.askart.com online, quoting Falk, Peter “Who artists to be selected by NASA to document Amer-Was Who in American Art” as source; Feigenbaum, Eric. “The 1940s: Guadalcanal to Levittown Americans fought a second ican space history—the manned space program—for war, emerging with prosperity and mobility” July 11, 2001 in their fine-arts program, and he has been present at VM+SD (Visual Merchandising and Store Design) Magazine nearly every major NASA event since the 1960s. “I online www.vmsd.com/
am living the future that I dreamed about when I Published Work
was a young boy, and for me it is just as bright and ASH: 1940 (6, 10)

wonderful as I imagined it would be.” (CNN inter-SSS: 1940 (5, 7)

view, Paradise Valley Arizona, 1999).

TWS: 1941 (1)

McCall’s work for Life led to his flying to England in 1967 to work on a series of promotional paintings for 2001: A Space Odyssey (1968), which McCall, Robert Theodore
propelled him into the forefront of science fiction (b. December 23, 1919) American artist. Born in movie artists. His space station poster from the Columbus, Ohio, McCall’s lifelong fascination with movie became instantly recognizable as one of the

“things that fly” in part was spurred by a memorable most memorable icons depicting space exploration.

childhood visit to the Ohio State Fair in 1928, where He has since served as consultant on a number of the sights and sounds of military aircraft engaged in other science fiction films, including Star Trek — the exciting “air shows” captured his imagination at a Motion Picture (1979), Tora! Tora! Tora! (1970), Metime when he was already beginning to draw. McCall teor (1979), and The Black Hole (1979), for which he

337

McCauley
was credited as art director. In 1976, McCall created links With Miles O’Brien “The Soaring Imagination of Robert a huge six-story-high space mural for the National McCall” August 26, 1999 www.cnn.com/TECH/space/9908

Air and Space Museum, and an equally large mural

/26/downlinks; Bradbury, Ray. “Blueprinter of our Future”

Gallery Feature, Science Fiction Age, November 1992; Wein-for EPCOT Center in Florida in 1983. Other murals berg, 1988.

grace the Johnson Space Center in Texas, and the Pentagon, Washington DC. His paintings are in the Published Work
permanent collections of The Air and Space Mu-Collections and Anthologies
seum, Washington DC, The NASA Art Collection, (various contributing artists)

and The U.S. Navy and U.S. Air Force Art Collec-The Art of Robert McCall: A Celebration of Our tion.

Future in Space (Bantam, 1992), Eyewitness to Space: Over the past thirty years McCall’s works have From the Art Program of the National Aeronautics and appeared in nearly every popular magazine, includ-Space Administration, 1963 to 1969 (Abrams, 1971), ing Time, Colliers and Newsweek. Among other ac-In the Stream of Stars: The Soviet/American Space Art complishments, McCall has designed numerous Book (Workman, 1990), James, Edward. Science Fic-stamps for the U.S. Postal Service commemorating tion in the Twentieth Century (Oxford University U.S. space exploration, among them the Apollo Press, 1994). NASA and the Exploration of Space Soyuz Space Issue (1975), and two of the 21 postage (Stewart, Tabori & Chang, 1998), Space Art (Starlog, stamps he has designed were cancelled on the moon 1978)

before a worldwide audience. McCall was the chief BOOKS ILLUSTRATED INCLUDE: Our World in artist for President Reagan’s Commission on Space, Space (New York Graphic Society, 1974), The Plan-and was a recipient of the “Yuri Gagarin Medal”

ets (Bantam 1985), Science Fantasy Correspondent from the Soviet Union, Russia, 1988. In the same (Carrolton Clark, 1975), Science Fiction in the twen-year, he was inducted into the Society of Illustra-tieth Century (Oxford Univ. Press, 1994).

tors “Hall of Fame” (NY). In 1998, McCall received M
an Honorary Doctor of Visual Arts Degree from AGAZINES ILLUSTRATED INCLUDE:

ASF : 1978 (11); 1979 (7)

Columbus College of Art and Design. In 2002, Mc-Misc. : Cosmic Horizons: The Art of Robert McCall Call received an “Elder Statesman of Aviation”

screensaver (Second Nature Software, 1992) Award from the National Aeronautic Association, and in 2003 was honored by an award from the Space Foundation, which identified him as “The McCauley, Harold W(illiam)

World’s Pre–eminent Space Artist.”

( July 11, 1913–December 16, 1977) American Since his move from New York to Arizona in artist. A native of Chicago, Illinois, McCauley began 1970, McCall has become a major contributor to the his education in aviation, but switched to art in-State’s cultural landscape. He was inducted into the stead, studying at the Art Institute of Chicago for Arizonan Aviation Hall of Fame in 2001, and re-four years. Also attending the Art Institute at that ceived the Arizona Governor’s Arts Award, 2005.

time was Rod Ruth*, who later also worked for the McCall serves on the Boards of several non-profit Ziff Davis magazine chain when McCauley was with institutions in the State and, appointed by the Gov-that publisher. After working for a year for an engrav-ernor, he is serving as a member of the Arizona Gov-ing house, McCauley studied for a year at the Amer-ernor’s Space Commission. Two solo collections of ican Academy of Art. He then studied with J. Allen his space illustrations have been published, Ben St. John*, whose work for the Edgar Rice Burroughs Bova’s Vision of the Future: The Art of Robert McCall books had introduced McCauley to science fiction in (Abrams, 1982), and the self-written The Art of 1927, and made him a lifelong fan of the genre.

Robert McCall: A Celebration of Our Future in Space At the Academy, McCauley studied under the (Bantam, 1992). Although not primarily a science famed artist, Haddon Sundblom, and it was through fiction artist, McCall has remained in the forefront Sundblom that he got his first illustration work. His of the field on the strength of his visionary artistic art caught the attention of the art director at Ziff-contributions, and has been called “America’s most Davis, and soon afterward McCauley became a staff famous living space artist.” (DiFate, p. 216). McCall artist for the publishing chain — doing covers and and his wife, Louise Harrup McCall, an artist interiors for their magazines Amazing and Fantastic known for her still-life paintings, are both longtime Adventures. McCauley was noted for his attractive residents of Paradise Valley, Arizona.

women on covers, which came to be known as “The Sources: correspondence from daughter, Catherine A. Mc-Mac Girl.” He also did advertising art for Coca Call, July 2006; www.mccallstudios.com; DiFate, Vincent.

Cola, Pepsi, Orange Kist, and Schlitz beer, as well Infinite Worlds: The Fantastic Visions of Science Fiction Art as some calendar art. When Ray Palmer, the editor (Wonderland Press/Penguin, 1997), CNN.com: Miles O’Brien

“Interview with Robert McCall” June 24, 1999 www.cnn.com/
of Amazing in the 1940s, started up the new maga-TECH/space/9908/26/mccall.interview/; CNN.com: Down-zines Imagination, and Imaginative Tales in the early

McKie

338

1950s with William Hamling (Greenleaf Publish-lished various comic books and began a long asso-ing), who was then an editor at Ziff-Davis, Mc-ciation with Young Artists, an artist’s agency estab-Cauley followed Hamling and brought his “Mac lished by John Spencer in London, that at the time Girls” to those magazine’s covers as well. There, free was progressively championing the art of many up-of the constraints of illustrating specific stories, he and-coming British SF artists, among them Jim produced some of the best science fiction pin-up art Burns*, Les Edwards*, and Ian McCaig. The rela-ever to appear in the field. A confirmed bachelor for tionship lasted until the early 1990s, and during that most of his life, McCauley married a former model period he became one of the leading British book

“Grace” in 1951 and used her on several covers. In-cover artists specializing in space hardware and plan-deed, both McCauley and his wife were publicly rec-etary landscapes for book covers, although he also ognizable, according to Weinberg (2004) because produced illustrations with other subject matter.

Sundblom, with whom McCauley remained close Among his major influences are Chris Foss*, Frank friends for many years, also often used McCauley as Hampson*, and Frank Bellamy*. In parallel with il-a model for his advertising art, as for example the lustration work he wrote, drew and painted many smiling Quaker on the Quaker Oats box.

comic stories for Métal Hurlant in Paris and Heavy In 1959, when Hamling started up Nightstand Metal magazine in New York. McKie authored the Books, McCauley brought his talents to a few adult graphic novel, So Beautiful and So Dangerous, seri-paperback covers, with titles such as Naked Holiday, alized in Heavy Metal in 1978–1979. This however Party Girl, and Passion School, written by noted sci-bore little resemblance to the animated segment of ence fiction author Robert Silverberg under the the same name, in the 1981 film Heavy Metal, for pseudonym, Don Elliot — one of several now well-which he was also responsible. He contributed to known SF writers who worked “undercover” for that the Terran Trade Authority (TTA) handbook Great publisher. After retiring from Nightstand Books, Space Battle and others, in the late 1970s. In recent McCauley moved his family to Florida, where he years he has experimented with different styles and did business illustrations and portraits until his death techniques, largely leaving illustration to explore from a heart attack in 1977.

comic illustration as award-winning colorist ( Dark Sources: “Introducing the Author: This Month’s Cover Horse, DC, Marvel) and graphic novels, computer Artist, Harold W. McCauley” Imagination, September 1952; graphics and animation. He contributed to the Star Weinberg, Robert. “My Visit with the McCauleys” e*I*13-

(Vol. 3 No. 2) April 2004 online at http://efanzines.com [ac-Wars series of graphic novels, Vaders Quest and cessed August 2007]; Weinberg, 1988.

Chewbacca (Dark Horse Comics, 1999, 2000). His work appeared in Comic Tales (Olympic, 1988), a Published Work
collection of strips that appeared originally in Heavy BOOKS ILLUSTRATED INCLUDE: Empire of the Atom Metal. McKie was nominated for the Comic Buyer’s (Ace, 1956).

Guide Favorite Colorist Award in 1998 and 2000.

M

Sources: www.podgallery.com, Weinberg, 1988.

AGAZINES ILLUSTRATED INCLUDE:

AMZ: 1938 (1, 6, 7, 8, 12); 1939 (1, 3, 4, 11); 1940

Published Work

(3); 1941 (2, 9); 1942 (2, 5, 8, 9); 1943 (1, 4, 5, 6, 7, Collections/Anthologies

8, 9); 1946 (9); 1947 (1, 5); 1948 (3, 6, 10, 12); 1949

(various contributing artists)

(10, 12)

The Art of Walt Disney (Harry N Abrams Inc, FA: 1939 (9); 1940 (1, 8); 1941 (1, 6, 7, 10); 1942

1975), Caldwell, Steven. Worlds at War (Interconti-

(1, 2, 9, 11, 12); 1943 (1, 5, 6, 8, 12); 1944 (2, 4); 1945
nental, 1980), Cowley, Stuart. Great Space Battles (1, 12); 1946 (2, 5); 1947 (1, 7); 1950 (2, 4, 5, 8) (Hamlyn, 1979), Dean, Martyn and Roger eds. The FTC: 1968 (12)

Flights of Icarus (Dragon’s World, Ltd, 1975), Ed-IMG: 1951 (11); 1952 (1, 3, 5, 7, 9, 10, 12); 1953 (1, wards, Malcolm and Holdstock, Robert Tour of the 2, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1954 (1, 2, 3, 4, 5, 6, 7, Universe (Pierrot, 1980), Holdstock, Robert; Ed-8. 9, 10, 12); 1955 (1, 3, 4, 5, 6, 7); 1956 (4) wards, Malcolm Alien Landscapes (Pierrot, 1979), IMGT: 1954 (9, 11); 1955 (1, 3, 5, 7, 9, 11); 1956

Great Space Battles (Hamlyn, 1979), Harrison, (1, 5)

Harry. Mechanismo (Pierrot, 1978), Suckling, Nigel.

OW: 1951 (1, 3, 5, 6, 10); 1952 (1, 3 11, 12); 1953

Heroic Dreams (Dragon’s World, 1987).

(1, 3, 4, 5); 1956 (2, 4, 9, 11)

ScS: 1954 (2)

BOOKS ILLUSTRATED INCLUDE: Aliens and UFO’s: UNI: 1953 (1, 2); 1954 (6, 7, 8)

Extraterrestrial Tales from Asimov’s Science Fiction and Analog Science Fiction and Fact (Smithmark, 1993), McKie, Angus

Ash Ock: #2 The Paratwa Saga (Mandarin, 1990), (b. 1951) British artist. McKie studied Graphic Astral Mirror (Tor, 1985), Beyond Humanity (Tor, Design at Newcastle-Upon-Tyne College of Art 1987), Blood and Iron, #3 There Will Be War (Tor, from 1969 to 1973. After graduating he self-pub-1984), Capricorn Games (Pan, 1979), Circumpolar!

339

McQuarrie

(Granada, 1985), Complete Science Fiction Treasury vertising, gold and silver medals from the New York of H.G. Wells (Avenel, 1978), Emperor of America Art Director’s Show, and four gold and eight silver (Michael Joseph, 1990), Fantasy Tales # 3 (Robin-medals at the New York Society of Illustrators son, 1989), Family d’Alembert Stranglers Moon, Get-Shows. McLean’s work is included in the permanent away World (Panther, 1977, 1986), Frontiersville High collections of the Smithsonian Institution, the U.S.

(Gollancz, 1990), Green Odyssey (Sphere, 1976), Isaac Postal Service, and the London Transport Museum.

Asimov Presents the Great SF Stories #16 (1954), #22

He is a member of the Society of Illustrators (NY) (1960), #23 (1961), #24 (1962) (DAW, 1987, 1991, and has exhibited his work at the Society. McLean 1992), Knights of the Blood (Raven, 1994), My Fa-has taught at Syracuse University, the School of Vi-vorite Science Fiction Story (DAW, 1999), New Lands sual Arts and Kent State University.

(Sphere, 1974), Nova (Sphere, 1977), Paradise Game Sources: Arisman, Marshall. “Wilson McLean: The Roots (Pan, 1978), Science Fiction Stories (Kingfisher, 1993), of Tradition” Graphis, July/August 2001 online at findarticles.

com/p/articles/mi_qa3992/is_200107/ai_n8992048; www.

Specialist (Ace, 1990), Star Fraction (Legend, 1995), postalmuseum.si.edu; Weinberg, 1988.

Stars in Shroud (Tor, 1984), Tarnished Phoenix (Barrie and Jenkins, 1990), Terrarium (Tor, 1985), Trans-Collections and Anthologies
formers: Robots in Disguise (Purnell, 1986).

(various contributing artists)

Brossert, Jill. Editorial Illustration. (RotoVision, MAGAZINE ILLUSTRATIONS INCLUDE:

1996); Summers, Ian. Tomorrow and Beyond: Master-WD: 1980 (8/9) #20
pieces of Science Fiction Art (Workman, 1978); HM: 1979 (3), 1989 (9)

Misc.: Vangelis: Hypothesis album cover (Affinity BOOKS ILLUSTRATED INCLUDE: Dilation Effect Records, 1978)

(Ballantine, 1971), Dracula Archives (Pocket, 1973), Firebrand (Simon & Schuster, 1987), The Gate to Women’s Country (Bantam Spectra, 1993), Horizon McLean, Wilson L.

Alpha (Ballantine, 1971), Humans (Warner/Myste-

(b. 1937) American artist. Born in Glasgow, Scot-rious Press, 1992), Long Dark Tea-Time of the Soul land, McLean moved to London when he was ten.

(Simon & Schuster, 1988), Nebula Award Stories #6

Without art training, at the age of fifteen he got a job (Pocket, 1972), Queen of the Summer Stars (Simon doing magazine layouts at a London screen-printing

& Schuster/Poseidon/BCE, 1990), The Wanting Seed store. McLean attended night school for artists in (Ballantine, 1970), Year of the Last Eagle (Ballantine, his spare time, and after graduating worked as a free-1970).

lance illustrator in the publishing and advertising field. He married, and had two children, then moved MAGAZINES ILLUSTRATED INCLUDE:

to New York in 1966 “to fulfill a childhood dream of AMZ: 1980 (2)

becoming a famous illustrator.” (Arisman, 2001) McLean’s carefully designed and tightly rendered McQuarrie, Ralph
surrealistic compositions were popular in the United (b. June 13, 1929) American artist. Although he States, and were highly influential in the art field.

has taken relatively few assignments in the literary During the 1970s and 1980s McLean worked field, McQuarrie has been one of the most influen-mainly in three areas: advertising, movie posters and tial artists in the science fiction field by virtue of his cover illustrations for Time magazine. He did illus-role as the conceptual designer responsible for the trations for numerous advertising clients as well as look of the tremendously popular and extremely artwork for all the major magazines, including Sports influential original Star Wars film trilogy. His im-Illustrated, Time, Redbook, New York, and Penthouse.

pact was further extended through his concept de-He also provided cover art for record albums, com-signs and visualizations for the original Battlestar mercial products, and books. His illustrations have Galactica (TV series), E.T. the Extra-Terrestrial and also been featured on four U.S. postage stamps, Cocoon, for which he won an Academy Award for among them one celebrating the Broadway musical Best Effects, Visual Effects, in 1985.

Oklahoma, in 1993. McLean’s output was highest McQuarrie was born in Gary, Indiana and orig-during the preceding two decades, however because inally was a commercial artist. His grandfather was

“Surrealism received mainstream exposure during a small publisher, and both he and Ralph’s mother those years…. By the end of the 1980s, advertising were Active artists. McQuarrie began art classes at the clients were far more conservative and dropped the age of ten, and his talent showed immediately. He surrealistic approach in favor of realism. By the graduated from high school in 1948 and began tak-1990s, illustration was almost non-existent in adver-ing technical art classes. He is a contemporary of tising.” (Arisman, 2001) McLean has won every Syd Mead, another conceptual designer/futurist, major illustrator’s award in the United States, in-with whom he attended school. He started work in cluding the prestigious Clio award for his work in ad-1950 for Boeing Company in Seattle, the youngest

McQuarrie

340
of a group of nearly fifty artists, illustrating the lat-Sources: “Ralph McQuarrie, Concept Designer” biogra-est designs in air and spacecraft. In the 1960s, his phy at www.starwars.com/bio/ralphmcquarrie.html Internet work was used in animated sequences by NASA and Movie Database at www.imdb.com; Weinberg, 1988.

CBS news for the coverage of the Apollo lunar mis-Collections and Anthologies
sions. In 1965, McQuarrie moved to California to (various contributing artists)

work as a freelance artist in film and television.

Bulluck, Vic, et al. eds. The Art of the Empire Around 1975, George Lucas needed to convince Strikes Back (Ballantine, 1980), The Art of Star Wars: Twentieth-Century–Fox to finance his upcoming The Empire Strikes Back: Episode V (Ballantine Del project, Star Wars. To sell them on the idea he com-Rey, 1994, Titan, 1995), The Art of Star Wars: Re-missioned McQuarrie to create several paintings turn of the Jedi: Episode VI (Ballantine Del Rey, which included main characters and scenes, such as 1994), Gerani, Gary. The Art of Star Wars Galaxy: R2-D2 and C-3PO, stormtroopers, and Luke and Vol. 1, 2 (Topps, 1994), McQuarrie, Ralph and An-Darth Vader battling with lightsabers, to show the derson, Kevin J. The Illustrated Star Wars Universe studio executives. With just Lucas’s script as a refer-

(Bantam Spectra, 1995). McQuarrie, Ralph. Star ence, McQuarrie helped to bring the vision of Wars Portfolio: The Empire Strikes Back Portfolio; Re-George Lucas to life, and played a key role in creat-turn of the Jedi, Portfolio (Ballantine Books, 1977, ing the look of the films Soon McQuarrie found 1980, 1983), Slavicsek, Bill. A Guide to the Star Wars himself painting additional concept paintings, as Universe: 2nd Edition (Boxtree, 1995) Titelman, well as helping with matte paintings during produc-Carol ed. The Art of Star Wars: A New Hope: Episode tion, and he became the design consultant and IV (Ballantine Del Rey, 1994).

conceptual artist of record for the original Star Wars trilogy. One of McQuarrie’s most important con-Published Work
tributions to the Star Wars saga is the image of Darth Asimov’s Biographical Encyclopedia of Science and Vader, one of the most feared villains in cinematic Technolog y (Pan, 1975), Best of Jack Williamson (Bal-history. McQuarrie played the uncredited role of lantine/Del Rey, 1978), Black Ship (Del Rey, 1985), General McQuarrie in Star Wars: Episode V —The Copernick’s Rebellion (Ballantine/Del Rey, 1989), Empire Strikes Back.

From the Adventures of Luke Skywalker (Ballantine, McQuarrie also has worked as a conceptual artist, 1976), The Galactic Empire: Ships of the Fleet— Star illustrator, or visual consultant on such films as Close Wars (Little Brown, 1996), Genesis Quest (Ballan-Encounters of the Third Kind (1977), Cocoon (1985), tine/Del Rey, 1986), Golden Sunlands (Del Rey/Bal-E.T. The Extraterrestrial (1982), Star Trek IV: The lantine, 1987), Harry Borg and Guss Sequence: 1 Red Voyage Home (1986), *batteries not included (1987), Flame Burning; 2 Sword of Fire; 3 Blaze of Wrath (Del Total Recall. and Indiana Jones and the Raiders of the Rey/Ballantine, 1985), Isaac Asimov’s Caliban Lost Ark (1981); as well as the television shows and se-

(Ace/BCE, 1993), Isaac Asimov’s Inferno (Millen-ries including The Star Wars Holiday Special (1978), nium, 1994), The Mutant Season (Doubleday, 1989), and Battlestar Galactica (1978). McQuarrie has also Pagans Trilog y: 1 Stone Arrow; 2 Flint Lord; 3 Earth been the subject of several documentaries and inter-Goddess (Ballantine, 1987), The Planets (Bantam, views over the years, all centering on his work for 1985), Robot Dreams (Berkley, 1986), Robot Visions Star Wars.

(NAL/Roc, 1990), Second Genesis (Ballantine, 1986), In addition to his film and television work, Splinter of Mind’s Eye (Ballantine, 1978), Starquake!

“RMQ,” as McQuarrie is known to sign original (Ballantine/Del Rey, 1985), Star Wars (Ballantine, works, McQuarrie created artwork for several Star 1976), Torch of Fear (Del Rey/Ballantine, 1987), Walk Wars related publications, including The Illustrated the Moon’s Road (Del Rey, 1985), The War for Eter-Star Wars Universe, Pop-Up Books, and illustrations nity (Ballantine Del Rey, 1983), Web of the Chosen for Isaac Asimov’s short story collections Robot (Ballantine, 1978), With Fate Conspire (Del Rey Dreams and Robot Visions. McQuarrie also worked 1985), The World Is Round (Del Rey, 1978).

with Douglas Trumbull on the Back to the Future MAGAZINES ILLUSTRATED INCLUDE:

attraction at Universal Studios, creating the story-IASFM: 1986 (12).

boards and illustrations.

Misc.: Star Wars: Jabba’s Palace Pop-Up Book When George Lucas announced in 1995 that he (Little, Brown, 1996), Star Wars: The Mos Eisley Can-was going to be making a Star Wars prequel, Mc-tina Pop-Up Book (Little, Brown, 1995), Star Wars: Quarrie was invited to head up the design team, just The Empire Strikes Back: The Original Radio Drama as he had twenty years before. However, recogniz-by Brian Daley (Titan, 1995). Star Wars: A New Hope ing that the existing team was capable of working Role-playing game Galaxy Guide No. 1 (West End without him, he declined to participate, which dis-Games, 1989).

appointed many original Star Wars fans. McQuarrie lives in Berkeley, Calif. with his wife Joan.

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Meltzoff

Mead, Syd
tire film. Mead also has collaborated on such films (b. July 18, 1933) American artist. Born in St.

as 2010 (MGM, 1984), Short Circuit (1986), Aliens Paul, Minnesota, Sydney Jay Mead was a child (1986), Solar Crisis (1990), Strange Days (1995) and prodigy. He worked on illustration throughout high others. Several of the films were nominated for an school, and at the age of nineteen began his first pro-Academy Award for its visual effects.

fessional work as a cartoon animator for a Colorado Mead’s work has been featured in numerous mag-Alexander Film Co. in Colorado Springs, Colorado, azines, books and collections, most recently Syd doing cell inking, character origination and back-Mead’s Sentury (2001). Both “artist and oracle,”

ground illustration. In 1953 Mead joined the U.S.

Mead was honored with a Spectrum Grand Master Army Corps of Engineers, designing training mo-Award by (Underwood, 2007) for his stylish, plau-tifs, including three-dimensional training progress sible concepts showing “optimistic, streamlined charts. After military service discharge, 1956, Mead wonderlands.” ( Spectrum, p. 6). Whether seen in de-enrolled at the Art Center School of Los Angeles, signs for parks, hotels, films, or video games, Mead graduating with great distinction in industrial de-is a recognized pioneer in extrapolating what the fu-sign.

ture might hold through paintings of vehicles, ar-After graduation, in 1959, he is hired by Ford chitecture, environments or social settings.

Motor Company’s Advanced Styling Center in Sources: Artist website, www.sydmead.com; Fenner, Arnie Dearborn, Michigan, to design experimental body and Cathy, eds. Spectrum: The Best in Contemporary Fantastic Art 14 (Underwood, 2007); Steele, Allen. “SF’s Cinematic shells including a two-wheeled, gyroscopically sta-Sentinel” Gallery article in Science Fiction Age, May 1995; bilized show car. After working for Ford for two Weinberg, 1988.

years, he produced several paintings for the 1961
book Concepts for the U.S. Steel Corporation, as Collections and Anthologies
well as several promotional portfolios for the com-

(various contributing artists)

pany, showing the potential of steel as a design ma-Blade Runner Sketchbook (Blue Dolphin Enter-terial. The success of these books gave Mead interprises, 1982), Dean, Martyn, ed. Guide to Fantasy national attention, which brought him invitations Art Techniques (Arco, 1984), DiFate, Vincent.

from multinational corporations to help with design Infinite Worlds: The Fantastic Visions of Science Fic-problems. In 1961 Mead quit Ford, and began work tion Art (Wonderland Press/Penguin, 1997), Mead, at Hansen Co. in Chicago. He made his first of sev-Syd. Innovations (promotional book, United States eral trips to Japan, and exhibiting his work through-Steel, 1970s). Mead, Syd. Oblagon: Concepts of Syd out Europe and Japan.

Mead (Oblagon, Inc., 1985), Mead, Syd. Sentinel: As a consultant, Mead helped design economy Syd Mead, Futurist (Dragon’s Dream, 1979), Mead, cars for American Motors, and produced consultant Syd. Sentinel II: Steel Couture (Kodansha/Japan, designs for Volvo, Chrysler, BMW and Jeep. He 1987), Mead, Syd. Studio Image Book 1, 2, 3 (Obla-conceived a high-speed yacht for Halter Marine of gon, 1988, 1989, 1994), Mead, Syd. Syd Mead’s Sen-New Orleans and designed the entire interior and tury (Oblagon, Inc., 2001).

exterior of the Norwegian Caribbean Line’s proposed Misc.: 1991, 1992, 1993 Oblagon Calendar (Obla-cruise liner for Ring Design of Japan. After moving gon Inc., 1990, 1991, 1992). Mead, Syd & Joaquin to Capistrano Beach, California, Mead published Montalvan. Visual Futurist: The Art & Life of Syd his Sentinel art book. For NASA, during this time, Mead (DVD, Pasadena, CA: 2007).

he provided the illustrations for the interior of Skylab, and did many architectural renderings for major Meltzoff, Stanley
firms throughout the U.S. as well as illustrations for (March 27, 1917–November 9, 2006) American many major buildings.

artist. Meltzoff was born in Harlem, New York City, In the fantasy field, Mead designed the fictional the son of a cantor at a Manhattan synagogue. A character “V-ger” for Star Trek —The Motion Picture gifted student, he graduated from Townsend Harris, (Paramount, 1979), and did the conceptual work for City College of New York (CCNY) in 1937 at the age the fantasy settings and landscapes of Walt Disney’s of nineteen, and earned a master’s degree in fine art Tron, in 1982. Other concepts Mead visualized in-from New York University in 1940. Meltzoff began clude the quadrupedal vehicle that served as the inhis professional career during War World II when spiration for the AT-AT’s (“All Terrain Armored he served in Italy and Africa as an art editor for Stars Transports” or elephant like walking tanks) that were and Stripes. After the War Meltzoff taught art his-featured in Lucas’s Star Wars sequel The Empire tory and practice at CCNY and in the late 1940s he Strikes Back. Originally hired to design futuristic cars began also teaching at Pratt Institute and started his for the Ridley Scott movie Blade Runner (1982), career as a full-time illustrator, c. 1949. He was also Mead’s work was so impressive that his job was ex-a member of the Art Student’s League in New York panded to include the conceptual “look” of the enCity.

Miller

342

Meltzoff was one of the first paperback cover influenced generations of young artists, among them artists to be noted for his work in the science fiction Paul Lehr* and John Schoenherr*, and their early field. He painted a number of early covers for Signet work shows his influence. While Meltzoff created Books that succeeded in being not only good illus-only a small number of paintings for the SF paper-trations for science fiction novels but also good back field (perhaps as few as ten), he is nonetheless paintings. Influenced by the highly acclaimed illus-considered one of the most important artists of the trator James Avati, Meltzoff painted dramatic, real-1950s, and very influential in changing the direction istic works tinged with surrealism, in oils, in a way of science fiction paperback art. At the age of eighty-that escaped the pulp influence evident with most five, Meltzoff wrote “(When) TV entered our lives, other paperback SF until then. His work, along with I came to realize that I was in a diminishing craft those paintings by other Signet artists of the time, which no hero could resuscitate. Illustrators had to helped establish the notion that not all science fiction learn how to live as ephemeral antiquities; picture was cheap pulp literature.” Weinberg, p. 192). Along makers had to learn how to make pictures with ma-with cover paintings for paperbacks, Meltzoff illus-chines.” (Meltzoff, p. 21).

trated scientific, landscape and historical subjects Meltzoff died in Red Bank, New Jersey, and lived published in numerous magazines, among them The in Fair Haven. His first wife, Alice Forder Meltzoff, Saturday Evening Post, Fortune, Life, Sports Illus-died in 1979. He was survived by his second wife, trated, The National Geographic, Redbook, Colliers, whom he married in 1999, and two daughters.

National Geographic and Field and Stream. He cre-Sources: Di Fate, Vincent, Infinite Worlds The Fantastic ated over sixty cover illustrations for Scientific Amer-Visions of Science Fiction Art (Wonderland Press/Penguin, 1997); Meltzoff, Stanley. “Metamorphoses of a Picture Maker”

ican.

Illustration, Issue #4, August 2002; Obituary, New York Times An avid skin diver, mainly off the New Jersey November 15, 2006 online www.nytimes.com/2006/11/15/
coast, since he was a child in the 1920s. by the 1940s obituaries/15meltzoff.html; Reed, Walt and Roger. The Illus-he was keen on spear fishing and scuba diving and, trator in America, 1860–2000 (Society of Illustrators, 2001); Weinberg, 1988.

starting in 1949, he added underwater photography.

He first combined his passions for the sea, photog-Published Work
raphy and art in the 1960s, when he painted several Assignment in Eternity (Signet, 1954), Beyond the series on particular fish species for Sports Illustrated, Moon (Signet, 1950), Currents of Space (Signet, National Geographic and Field & Stream. When 1953), Day After Tomorrow (Signet, 1951), Demol-computers and “new media” changed the market for ished Man (Signet, 1954), Destination: Universe magazine illustration and paperback art in the early (Signet, 1953), Green Hills of Earth (Signet, 1952) , I 1980s, Meltzoff completed an extended series on ten am Legend (Signet, 1954), Man Who Sold the Moon big saltwater game fish for Sports Illustrated, and its (Signet, 1951), Mission Interplanetary (Signet, 1951), success led in time to a shift in markets to art galleries Other Side of Here (Ace, 1955), Puppet Masters and large limited edition prints. Meltzoff was the (Signet, 1952), Race to the Stars (Crest, 1958), Revolt first, and probably the most preeminent, fish painter.

in 2100 (Signet, 1955), Science Fiction Terror Tales The winner of twenty-five Society of Illustrator (Pocket, 1955), Tomorrow the Stars (Signet, 1953).

Awards, in 1999 Meltzoff was elected into the Soci-Ultimate Invader (Ace, 1954).

ety of Illustrators Hall of Fame. He received an MAGAZINES ILLUSTRATED INCLUDE:

award of excellence from Society of Animal Artists F&SF : 1955 (5)

and created conservation prints and stamps for the Izaak Walton League (Striped Bass); Gulf Coast Conservation Assoc. (Sailfish). His paintings are in Miller, Edward see Edwards, Les.

the collections of the National Portrait Gallery, Washington, D.C, Lee Yawkey Woodson Museum, Miller, Ian

Genesee Museum, New Britain Museum of Amer-

(b. November 11, 1946) British artist. A prolific ican Art, and numerous private collections. The artist, known for his dark fantasy gothic style, Miller artist also collected and founded a private museum was born in Ealing, outside of London England. It of the technological artifacts of the fine arts, the was his good fortune, he says, to be raised by a Meltzoff Reliquarium. Comprised of memorabilia mother involved with things “theatrical,” so that that are a combination of real, imaginary, and ideal

“phantasmagoric” was a byword when he was a child.

objects describing the artists, Meltzoff ’s Reliquar-He received early encouragement for his interest in ium was published in part in the Smithsonian Mag-art, as well as his prodigious imagination, and at sev-azine, December 1993.

enteen began his formal training at the Northwich Equally important to the science fiction art field School of Art. He studied there from 1963 to 1967, was Meltzoff ’s influence as a teacher and his writings and then at St. Martin’s in London for three years —
on art history. His many years of teaching at Pratt graduating with honors in 1970, with a Bachelor of

343

Miller

Arts degree in painting. It was at St. Martin’s that he however, as he frequently embellishes his designs learned art history, honed his technique, and devel-with spectacularly tight pen work, an obsessive de-oped a life-long admiration of the German print-sire for detailing the grotesque that is without peer.

maker Albrecht Durer. It was there that Miller also Because of this, his signature, a logotype design established his unique, densely detailed painting made up of his initials and date of birth (or date of style, which he agrees is influenced by the North creation) is often difficult to find; unless you know European expressionist tradition. He began his com-what you are looking for, it simply become mercial career in 1970 with a series of drawings “The camouflaged by the drawing itself. Miller has won a Pequod Saga” published in a London-based start-Society of Illustrators (NY) Certificate for merit for up art magazine, Image. At the same time, and for his cover art for Bantam Books, a British Science a period of about two years post-graduation, 1968–
fiction Award for Best Artwork 1990, and Chesley 1971, Miller also taught courses at the John Cass Col-Award for Best Gaming illustration, 2000.

lege. His interest in lecturing and teaching art Never one to be restricted by genre, Miller is re-continued for periods of time throughout his com-sponsible for a staggering range of illustrations and mercial art career, with part-time appointments at designs, and has always pursued opportunities to ex-Stourbridge Art College (1978–1981), Brighton tend his range into other visual media. His idiosyn-School of Art (1981–1982) and Horsham School of cratic visions can readily be identified in the back-Art (1983–1986).

ground designs of Ralph Bakshi animated films such Miller’s first commissioned work was for Pan pa-as Wizards (1976), and Cool World (1992). Miller perbacks, illustrating classic SF titles. Two early fully also has produced concepts and designs used for per-illustrated paperbacks for Bantam Books, Michael formance, theatre and television, ranging from The Crichton’s Eaters of the Dead (1976), and Ray Brad-Man Who Bought A Dream (The Electric Light Show bury’s Martian Chronicles (1978), established his rep-Mime Company, 1980); to the Star Codes Project for utation and other Ray Bradbury titles that followed, Warner Brothers, Irish TV (design and construction only reinforced it. Through the years Miller has cre-of masks for dance sequences, 1983); to movies, such ated book covers and interior illustrations for all the as Cristos, an animated feature for Warner Brothers major publishers in the U.S. and U.K., among them: 1994. Other movies for which Miller provided pre-Little, Brown, Simon Schuster, Thames & Hudson, production and/or background designs include the Bantam, Orbit, Macmillan, Victor Gollancz, Puffin, animated movies Shrek (1996), Artic (1997), Mirror-Unwin, Grafton, Panther, Routledge, Sphere, Fu-mask (2003), Ant Bully (2004). Additionally, Miller tura, Arrow, Pan, Headline, Penguin, Scholastic, is developing film projects based on his own origi-and many others. In the 1980s, Miller began work-nal stories and imagery, among them The Confessions ing for in the gaming industry, and his name be-of Carrie Sphagnum (2005), Lemonade Rain (2006) came very much associated with the highly popular and Antioch Gate (2006).

British equivalent of TSR, Inc., Games Workshop Miller was awarded an Arts Council Grant and their Tolkien-based games such as Realms of awarded for development of The Shingle Dance: a Fantasy. Miller was art editor for Interzone magazine Theatre-Dance Project in cooperation with the Icon 1982–1984, and served as art consultant as well as theatre group in London, 2007.

interim commissioning editor for Games Workshop In the early 1990s, Miller expanded into illustrat-Books, 1987–1989.

ing graphic novels, The Luck in the Head (1991) and

“Delicacy of line and intricacy of detail” charac-The City (1994) each of which were notable for hav-terize Miller’s classic style, although his subject mating the imagery carry the story.

ter and technique vary greatly, depending on the as-In the 1990s Miller also began a long relationship signment. “He is equally at home with complex with Oxford University Press, and contributed to machinery or living creatures of various guises (and) several fully illustrated re-issues of children’s classics his illustrations range from loose figure sketches in and books for young readers, such as Dickens’

pencil and charcoal to pen and ink drawings of com-Christmas Carol (1995), Treasure Island (1993), Tales plex artifacts.” ( Fantasy Art Techniques, p. 24). An of Mystery and Imagination (Oxford Univ. Press, enthusiastic admirer of fantasy writers such as H. P.

1993), The Young Oxford Book of Supernatural Stories Lovecraft and J.R.R. Tolkien, Miller is known for (1996), The Oxford Book of Nasty Endings (1997), revisiting certain, bizarre motifs such as his twisted and The Pit and the Pendulum (2005), among oth-

“walking” trees, flying fish, grotesque toy soldiers, ers.

and winged insects. “I’ve been told that I’m me-Miller has had work exhibited in solo as well as dieval, but I think I’m more primordial. I have a group shows beginning as early as 1973, with an ex-fetish-cum-totem attitude toward images — I try to hibit at the Greenwich Theatre Gallery in London.

describe them in the simplest most direct terms”

In the late 1970s through the 1980s he exhibited ( ibid. ). Miller’s technique is anything but simple, work in London, Paris, and the United States. Long

Miller

344
a resident of Brighton, England, Miller has had ex-est (Orbit, 1998), Fugitive Worlds (Orbit, 1991), hibitions at Brighton Museum, and Brighton Col-Golden Apples of the Sun (Bantam, 1979), Guardians lege. His work also toured in 2003 and 2005 with of Time (Pan, 1972), Hammer of the Sun (Orbit, the Fantasy Art Masters show organized by the 1988), Haunter of the Dark (Pan, 1972), Hero and Blackburn, Blackburn Museum & Art Galleries.

the Crown (Orbit, 1992), Hogfoot Right and Bird-Sources: Correspondence from the artist May 2007; Frank, Hands (Edgewood Press, 1993), House on the Bor-Jane “Northern Nights and Gothic Days: The Art of Ian derland (Panther, 1972), Ice King (Orbit, 1994), Ice Miller” gallery article, Realms of Fantasy, October, 1997; Ian Miller interview, Simulacrum magazine July 2004; Foody, Monkey (Unwin, 1988), I Sing the Body Electric (Ban-John. “Ian Miller Interview” Warpstone Issue #26, 2006, pp.

tam, 1981), Kai Lung’s Golden Hours (Ballantine, 6–9.

1972), Kai Lung Unrolls His Mat (Ballantine, 1974), Collections and Anthologies

Life’s Lottery: A Choose-Your-Own-Adventure Book (various contributing artists)

(Simon & Schuster, 1999), Long After Midnight Day, David. The Tolkien Bestiary (Ballantine, (Bantam, 1977), Lord of the Crooked Paths (Orbit, 1979), Dean, Martyn, ed. The Guide to Fantasy Art 1990), Lord of the Fiery Depths (Futura, 1990), Lord Techniques (Arco, 1984), Edwards, Malcolm & of Middle Air (Gollancz, 1994), Lost Prince (Head-Holdstock, Robert. Realms of Fantasy (Paper Tiger, line, 1992), Luck in the Head (Gollancz, 1991), Magic 1983), Frank, Jane and Howard. The Frank Collec-Hunter (Puffin, 1994), Martian Chronicles (Bantam, tion: A Showcase of the World’s Finest Fantastic Art 1978), Maze of Death (Pan, 1972), Night Mayor (Paper Tiger, 1999), Frank, Jane and Howard. Great (Simon & Schuster/Pocket U.K., 1999), Other Voices Fantasy Art Themes From the Frank Collection (Paper (Unwin, 1989), Pavane (Gollancz, 1995), Phantoms Tiger, 2003), Grant, John and Humphrey, Eliza-of Fear (Puffin, 1987), R Is for Rocket (Bantam, 1978), beth with Scoville, Pamela. The Chesley Awards: A Ragged Astronauts (Orbit, 1989), Rebel Angel (Head-Retrospective (AAPL, 2003), Jackson, Steve & Liv-line, 1993), Red Moon and Black Mountain (Ballan-ingstone, Ian, Gascoigne, Marc ed. Out of the Pit: tine, 1973), Reign of Fear: Fiction and Film of Stephen Fighting Fantasy Monsters: 250 Monsters from the Wild King 1982–1989 (Pan, 1991), S Is for Space (Bantam, and Dangerous Worlds of Fighting Fantasy (Puffin, 1978), Scholars & Soldiers (Orbit, 1990), Secret Life 1985), Jude, Dick. Fantasy Art Masters (Collins, of Houses (Unwin, 1989), Seer and the Sword 2002), King, Barry and Miller, Ian. Secret Art (Scholastic, 2000), Seven Stars (Pocket, 2000), (Dragon’s Dream, 1980), Larkin, David, ed. Once Shadow of the Seer (Orbit, 2001), Singer and the Sea Upon a Time: Some Contemporary Illustrators of Fan-

(Little Brown/Orbit, 1999), Something Wicked This tasy (Peacock Press/Bantam Book, 1976), Miller, Ian.

Way Comes (Bantam, 1978), Sorceress and the Cygnet Green Dog Trumpet (Dragons Dream, 1979), Miller, (Pan, 1991), Spectral Stalkers (Puffin, 1990), Suaine Ian and Blanche, John. Ratspike (Games Workshop, and the Crow God (NEL, 1978), Tehanu: The Last 1989), Robertson, Bruce. Techniques of Fantasy Art Book of Earthsea (Bantam, 2000), Unforgivable Sto-

(Macdonald Books, 1988), Sacks, Janet ed. Visions of ries (Pocket, 2000), Waking the Moon (Harper-the Future (Chartwell, 1976).

Collins, 1994), War Games (Pan, 1981), Warhammer: Drachenfels; Ignorant Armies; Konrad; Zaragoz (GW

BOOKS ILLUSTRATED INCLUDE: Anvil of Ice (Orbit, Books, 1989, 1990), Werewolf Principle ( Pan, 1972), 1987), At the Mountains of Madness (Pan, 1972), Bad Wings (Barrington Stoke, 2001), Wooden Spaceships Dreams (Simon & Schuster/Pocket U.K., 1999), Bib-

(Orbit, 1989), Wolf king (Headline, 1991).

liomen (Broken Mirrors Press, 1995), Black Seas of Infinity: Best of H.P. Lovecraft (SFBC, 2001), Border MAGAZINE ILLUSTRATIONS INCLUDE:

Breed Nor Birth (Ace, 1972), Bunch! (Broken Mirrors AMZ: 1981 (9); 1982 (6)

Press, 1993), Case of Charles Dexter Ward (Pan, 1972), HM: 1981 (1)

Castle of the Winds (Orbit, 1998), Citadel of Chaos INT: 1983 (spring/#4); 1984 (spring/#7); 1987

(Puffin, 1985), The City (Pan, 1994), Creature of (autumn/#21); 1989 (3/4); 1990 (3/4); 1990 (10) Havoc (Puffin, 1986), Cygnet and the Firebird (Pan, WFH: 1994 (#1/summer); 1996 (#3/summer) 1994), Dark Descent: The Colour of Evil (Grafton, WT: 2003 (12)

1991), Dark Night in Toyland (Orbit, 1991), Death-Misc. : Bloodwood game art (FASA, 1997), Ever-world 1, 2, 3 (Orbit, 1991), The Difference Engine way Calendar, 1996, and game card art (Wizards of (Gollancz, 1990), Don’t Open This Book! (SFBC, the Coast, 1996), Magic: the Gathering card art: Mi-1998), Dracula Cha Cha Cha (Simon & Schuster rage; Visions; 5th Edition; Weatherlight (Wizards of the U.K., 2000), The Dragon in the Stone (Orbit, 1991), coast, 1996, 1997), Spiderman card art (Fleer/Sky-Eaters of the Dead (Bantam, 1976), Enchanted World: box, 1996), Swamp Thing: Quest for the Elementals Secret Arts (Time-Life, 1987), Eyes of Heisenberg comic covers (DC Comics, 1991).

(NEL, 1978), Fear Itself: The Horror Fiction of Stephen King 1976–82 (Pan, 1990), Forge in the For-

345

Miller

Miller, Ron
research projects have been far-ranging. He was a (b. May 8, 1947) American artist. Born in Min-contributor to the President’s National Commission neapolis, Minnesota, Miller was brought up in on Space (Paine Commission, 1985) and NASA’s Columbus, Ohio and graduated from the Columbus Solar System Exploration Committee, 1986. Miller College of Art and Design with a BFA in illustration, also was a participant in the Cosmos Forum, Mos-1970. He worked as an illustrator/designer for sev-cow, October 1987; first joint US/Soviet space art eral commercial art studios before joining the Smith-workshop, Iceland, July 1988; second joint US/So-sonian’s National Air & Space Museum as art direc-viet space art workshop, Senezh, USSR, April 1989
tor for the Albert Einstein Planetarium. He was and The Inspiration of Astronomical Phenomena responsible for the planetarium’s show design, pub-International Conference, Vatican Observatory, lications and exhibits (1972–1977). During his Summer 1994. He has been Artist-in-residence and tenure, he attended the 1975 launch of the Apollo lecturer, International Space University in Boston, spacecraft for the Apollo-Soyuz mission as a mem-Massachusetts, Summer 1988; Strasbourg, France, ber of the NASA Fine Arts Program. After leaving the Summer 1989; Toulouse, France, Summer 1991, and museum in 1977 he became a freelance artist, under (as faculty member) Kitakyushu, Japan, Summer the name Black Cat Studio, specializing in astronom-1992 and Huntsville, Alabama, Summer 1993. He ical, science and science fiction artwork for books is a Fellow of the British Interplanetary Society, a and magazine articles.

Life member and Trustee of the International Asso-For his sharply delineated and realistic space ciation for the Astronomical Arts, and Member of paintings and astronomical landscapes, Miller cred-the International Academy of Astronautics.

its the artistic influences of Chesley Bonestell*, While maintaining an active art career, Miller has Ludek Pesek*, Jack Coggins*, and historical illus-written extensively on science fiction art, and related trators like Norman Rockwell, Waterhouse, Bier-themes. He has written, co-written and/or edited stadt, Bougereau, and the PreRaphaelites. He works science fiction as well as several non-fiction main-mainly in acrylics, although recently he has turned stream and children’s books. The most notable of to digital art almost exclusively. Miller won the these were The Grand Tour, the Worlds Beyond Series, Frank R. Paul Award for Outstanding Achievement his translated editions of Jules Verne, and his works in Science Fiction Art, Nashville, 1988, and is also on Chesley Bonestell. As an example of the popular-the recipient of the 2003 Lucien Rudaux Memorial ity of these books, The Grand Tour (co-authored Award, from the International Association of Astro-with W.K. Hartmann, 1981) was published in edi-nomical Artists “In appreciation of his lifetime con-tions in six languages, nominated for a Hugo Award tribution to the development, dissemination and for best nonfiction and was a Book-of-the-Month public awareness of Astronomical Art and Space Club main selection with 250,000 copies in print Art.”

before it was fully revised and republished in 1993, Miller’s illustrations have appeared in numerous and has since been a main selection of the Book-of-scientific and mainstream magazines and books. His the-Month Club, Science Book Club and Astron-work has been seen in magazines such as Scientific omy Book Club. Miller’s book, The Art of Chesley American, Space World, Science Digest, Omni, Sky Bonestell (Paper Tiger, 2001), co-authored by Fred-and Telescope, and others, and he has produced book erick C. Durant, III (also his co-author for the ear-jackets and interior art for the major science fiction lier Worlds Beyond, 1983) won a Hugo Award for Best publishers. In 1991, Miller designed a ten-stamp set Related work, 2002. Other art-related books he has of commemorative U.S. postage stamps (Space Ex-writted or edited include: Decalcomania—A Tourist’s ploration series). His film credits include: produc-Handbook and Guide (privately published, 1987), tion illustrator for the Dino DeLaurentiis produc-Space Art Poster Book (Stackpole, 1979), Special Ef-tions of Dune and Total Recall (1983–4), visual fects: An Introduction to Movie Magic (editor and con-consultant for George Miller’s Contact (c. 1995) pro-tributor, Millbrook Press, 2005), Space Art (Starlog, duction art for Ronnie Rocket (1990), matte paint-1979). In 1998 Miller became principal administra-ings for Twilight of the Dogs (1985), conceptual art tor of Bonestell Space Art, which manages the art and consultation for James Cameron’s Mars Project estate of the artist. Miller’s children’s book projects (1997), and he designed, co-wrote and co-directed translating works by Jules Verne have also been pop-Impact! , a CGI show ride film for SimEx Digital ular, and he is an Honorary Member, Sociétè Jules (1999). From c.1998–2002 he also was production Verne, and member of the North American Jules illustrator for Unified Film Organization. Since 1990

Verne Society. Additionally, in 1987 he was a consult-Miller has been a contributing Editor to Air & Space ant for Walt Disney Imagineering (as an authority on magazine, and he is the Art director for Timberwolf Jules Verne for EuroDisney). Miller is author of Press, since 2000.

Bronwyn: Her Trials and Tribulations, a tetrology of Miller’s contributions to space-related artistic and novels re-published by Timberwolf (2001–2002),

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and a comic book, Velda: Girl Detective (Black Cat Invasion of the Body Snatchers (Easton Press, 1991), Comics, 2004) which he also illustrated.

Land’s End (Tor, 1988), Last and First Men (Tarcher, Miller’s paintings are in public and private col-1988), Lensman from Rigel (Red Jacket Press, 2004), lections worldwide, including the collections of the Lifehouse (Easton Press, 1997), Lion of Ireland (Eas-Smithsonian Institution, NASA and the Pushkin ton Press, 1996), Out of the Cradle (Workman, 1984), Museum, Moscow. His brother, Thomas Miller is Pawn of Prophecy (Easton Press, 1997), Planetarium also an illustrator. Miller lives in Virginia with his (Bantam, 1991), Red Mars (Easton Press, 1993), The wife Judith A. Miller, a sculptor and modelmaker.

Ring of Charon (Tom Doherty/SFBC, 1990), Sail-They have one daughter, Patricia.

ing Bright Eternity (Easton Press, 1995), Satyrday Sources: e-mail from artist April 28, 2005; www.black-

(Berkley, 1980), The Singer from the Sea (Easton cat-studios.com; Hartmann, William K. In the Stream of Stars: Press, 1999), Stars and Planets (Doubleday, 1988).

The Soviet-American Space Art Book. TN: Workman Publishing, 1990; Sargent, Pamela. Firebrands. U.K.: Paper Tiger, Star Seed (Donning, 1982), Starstream #2 (Western 1998; The Postal Service Guide to U.S. Stamps, 28th Edition Pub, 1976), Sword of the Lictor (Easton Press, 1996), (New York: Harper Collins, 2001)

Vacuum Flowers (Ace, 1988), The Warlock Heretical (Ace, 1987), Sun’s End (Berkley/Ace, 1988), The War-Published Work
dove (Berkley, 1986), Year’s Best SF (HarperCollins, BOOKS WRITTEN AND ILLUSTRATED INCLUDE: 1996) Z Lensman (Red Jacket Press, 2004).

Bradamant: The Iron Tempest (Timberwolf Press, 2000), Cycles of Fire (W.K. Hartmann co-author: MAGAZINES ILLUSTRATED INCLUDE:

Workman, 1987), Extraordinary Voyages (Black Cat AMZ: 1974 (4, 12); 1992 (1, 5)

Press, 1994), The Dream Machines (Kreiger, July ASF : 1978 (6); 1999 (12), 2000 (12)

1993), The Elements (Millbrook Press, 2005). The ASM: 2001 (12); 2002 (2)

Grand Tour (W. K. Hartmann co-author, Workman, FTC: 1974 (7)

1981, 2005), The History of Earth (W.K. Hartmann F&SF : 2003 (2); 2004 (3)

co-author: Workman, 1992), The History of Rockets Misc: Dune (game box cover, Avalon Hill, 1979), (Franklin Watts, 1999), The History of Science Fic-Willow (game box cover, Tor, 1988); Ron Miller’s tion (Franklin Watts, 2001), Worlds Beyond— a ten Firebrands (trading card collection, Comic Images book series: Extrasolar Systems, The Sun, Jupiter, 1994).

Venus, The Earth & Moon, Uranus & Neptune, Saturn, Mercury & Pluto, Mars, Comets, Asteroids & Me-Monahan, Patrick John
teors, Stars & Galaxies (Millbrook Press, 2002–

( January 4, 1882–November 1, 1931) American 2005), 20,000 Leagues Under the Seas (editor and artist. Born Patrick Henry Sullivan, in Des Moines, translator: Unicorn, 1988, 1993).

Iowa, of Irish parents, John and Mary, who had im-BOOKS ILLUSTRATED INCLUDE: The Ascension Fac-migrated to America in the 1870s, the artist was or-tor (Ace, 1989), At the Earth’s Core & A Princess of phaned at the age of nine when his parents and sis-Mars (Easton Press, 1996), Barsoom (Mirage, 1976), ter Anne died as a result of the great influenza Beyond Rejection (Del Rey, 1980), Black Sun (Tor, epidemic of 1891. He and his brother Eugene were 1997), Blue Mars (Easton Press, 1996), Borders of In-adopted by neighbors Jim and Rose Monahan, who famy (Easton Press, 1989), Brak: #3, When the Idols gave them their last name. Later the artist changed Walked, #4, The Sorceress (Tower, 1969, 1978), A his name to Patrick John Monahan, and was cred-Brief History of Time: From The Big Band to Black ited as P.J. Monahan for his illustrative work. Mon-Holes (Bantam, 1990), The Broken Worlds (Berkley/
ahan’s talents won him an art scholarship to Drake Ace, 1986), A Clockwork Orange (Easton Press, University in Des Moines, and once there he ad-1994), The Coattails of God: The Ultimate Spaceflight vanced rapidly in art studies and won first prize at the (Warner, 1981), Coils (Simon & Shuster, 1982), ConSt. Louis Exposition of 1904, which included a trip queror’s Pride (Bantam, 1994), Coyote, Coyote Rising to Europe for further study. After his return he lived (Berkley/Ace, 2002, 2004), Dome (Berkley, 1987), and worked as a newspaper illustrator in Chicago Dragon Lensman (Red Jacket Press, 2004), Dragons and St. Louis. In October 24, 1905, he married of Light, Dragons of Darkness (Ace, 1980, 1981), Louise Cecelia Averill (1884–1968), and soon after Dreamfall (Easton, 1996), Earthlove (Strawberry Hill, struck out for New York to break into the field of il-1978), Eon (Warner, 1986), Emprise (Berkley, 1985), lustration. Monahan found a job working for fash-Eternity (Warner, 1988), Fantastic Voyage II (Double-ion catalogs followed by other popular magazines of day, 1987), Flashing Swords #5 (Doubleday, 1981), the times, including The Delineator and Leslie’s Galaxy’s End (Berkley, 1988), The Hyades Contact Weekly. By 1911 he was doing interiors for Ladies’

(Berkley/Ace, 1987), Hellstar (Berkley, 1984), Holy Home Journal, Cosmopolitan, and Hampton’s, and for Fire (Easton, 1996), Illegal Alien (Easton Press, 1997), the next two decades he was one of New York’s most The Incredible Shrinking Man (Easton Press, 1990), prolific artists, creating ads, movie posters, and com-

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missioned art. He became good friends with author ents, Monahan was also a great collector of books, Jack London and illustrated his 1912 edition of paintings and operatic records. He was an amateur Smoke Bellew, published by the Century Company.

astronomer, and proficient in a number of intellec-In 1913, Monahan became a member of the Soci-tual hobbies, such as mathematics. He was a self-ety of Illustrators (NY), then under the presidency taught mechanical engineer, and designed and built of noted illustrator Charles Dana Gibson. That same a two-cylinder engine out of salvaged portions of a year he was hired by Street and Smith and began motorcycle engine, and later perfected a four-cylin-producing pulp magazine cover paintings and inteder engine, which he dubbed “The Monahan Ro-rior pen and ink drawings for Air Trails, Detective tary Tube Engine.”

Story, Western Story, People’s—the beginning of Mon-After leaving the Munsey Company in the early ahan’s long association with the pulps. It was during 1920s, Monahan worked for other companies in-this period that he was hired by the Frank A. Mun-cluding Dell and Fiction House. There he churned sey Company, publisher of All-Story Weekly, Argosy, out a number of romance cover paintings and inte-Cavalier among others, and throughout the teens rior pen and inks. Early in 1927, King Features Syn-and twenties Monahan illustrated a number of im-dicate commissioned Monahan to produce a daily portant science fiction and fantastic adventure seri-newspaper strip adaptation of several famous Shake-als in these magazines, including several major Edgar speare plays. By the late 1920s, the Monahans had Rice Burroughs novels. As was typical of the time, moved to a 32-acre farm located in Randolph, New some of these paintings were also later used as jacket Jersey. Monahan’s wife, Louise, built the artist a art for the same novels. Using his own likeness, he large, three-floor art studio in the barn, which pro-painted himself into his first ERB cover depiction vided enough room for a reference library, a paint-for “A Man Without a Soul,” appearing on the cover ing studio, and storage for all his original illustra-of the November, 1913 issue of All-Story. Sixteen tions on one side of the building, while leaving room years later this title was changed to The Monster Men for livestock on the other side. One cold winter night for the first hardcover book edition published by A.

in early 1928 the barn-studio caught fire and burned C. McClurg. All-Story set the standard for the to the ground. The family was so busy getting the

“golden age” of pulps, and Monahan became the livestock out safely that they forgot about the paint-most prolific ERB serial artist of his time with a total ings lined up several rows deep on the second floor of fourteen cover paintings produced for that mag-loft. Over 200 paintings, including ERB cover orig-azine; including one cover painted for Tarzan and the inals returned from Munseys went up in smoke, Ant Men, which for unknown reasons never saw along with the artist’s large easel and his vast collec-publication.

tion of books and prints. Further misfortune struck Monahan’s fine eye for composition and design later that year when, through the fault of another and his inventive use of colors were his chief assets.

driver, Monahan was involved in a car accident. A His cover paintings stimulated the imagination of month later the doctors discovered that he had a readers with just the right touch of romance, mys-skull fracture. A large blood clot had formed and for tery, and adventure. They were beautiful and success-the rest of his life he suffered with severe headaches ful and in great demand by the pulp publishers and that kept him from sleeping, and which severely im-art directors of his time. Some of the magazine se-pacted his art. The figures in his paintings began to rials that featured covers by Monahan included reflect his exhaustion and pain, his colors and com-Chessmen of Mars (Argosy/All-Story Weekly, 1922), positions began to look drab and flat, and his The Son of Tarzan (All-Story Weekly, 1915), Tarzan finished paintings seemed rushed and improvisa-and the Golden Lion (Argosy/All-Story Weekly, tional.

1922), Tarzan and the Jewels of Opar (All-Story Monahan died from a from a massive cerebral Weekly, 1916), Tarzan and the Valley of Luna (All-hemorrhage in Randolph, New Jersey on All Soul’s Story Weekly, 1920), Tarzan the Terrible (Argosy/All-Day, November 1st, at the age of 49.

Story Weekly, 1921), Thuvia, Maid of Mars (All-Story Sources: Biographical entry and research provided by Weekly, 1916), The Mucker (All-Story/Cavalier Roger Hill, 2007; Hill, Roger. The Fantastic Worlds of P. J.

Monahan monograph (Preservation Press, 1988); Hill, Roger.

Weekly, 1914 ), Return of the Mucker (All-Story

“P.J. Monahan” The Comic and Fantasy Art Amateur Press As-Weekly, 1916), Sweetheart Primeval (All-Story/Cav-sociation, issue #11, March 1988; Hill, Roger. “The Story of alier Weekly, 1915). Also, some of his paintings were an All-Story Artist: P. J. Monahan” Burroughs Bulletin #8, Oc-later reprinted in issues of George McWhorter’s Bur-tober 1991, p.3–14; P.J. Monahan Biography online www.erbzine.com/mag16/1671.html
roughs Bulletin, as for example Monahan’s painting for the first appearance of “The Moon Maid” in Ar-Published Work
gosy All-Story Weekly May 1923, which was featured Darkness and Dawn (Maynard and Co., 1914), on the back cover of the new series of Burroughs Bul-The Flying Legion (A. C. McClurg & Co., 1920), letins, #27, for summer 1996. A man of many tal-The Girl From Hollywood (The Macaulay Company,

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1923), The Moon Maid (A. C. McClurg & Co., Star Wars fan’s bedroom. He was commissioned by 1926), Thuvia Maid of Mars (A. C. McClurg & Co., the Isle of Man Postal Service to incorporate his 1920).

jacket art from Arthur C. Clarke’s 2001 into a special First Day Cover, an example of which was Moore, Chris
signed in orbit by the crew of the NASA shuttle.

(b. June 1, 1947) British artist. Born in Rother-In 1995, encouraged by his good friend Jim ham, South Yorkshire, Moore often tells the story Burns*, he attended a World Science Fiction Con-that he’d always wanted to be a commercial artist, vention in Glasgow (Glascow Worldcon) where he even before he knew what that actually meant. He showed some original artwork for the first time.

was educated at Mexborough Grammar School, and When Jane and Howard Frank. collectors from then Doncaster Art School. Between 1966 and 1969

Washington DC, purchased two of his paintings, he he attended Maidstone College of Art studying realized that there was a market for his original art-Graphic Design, and was then accepted by the Royal work. At the same convention, Moore met and be-College of Art to study Illustration. from 1969 to came firm friends with fellow-artist Fred Gambino*.

1972. In 1972 he joined with Michael Morris, a fel-Gambino was instrumental in persuading a reluc-low RCA graduate, to form Moore Morris Ltd.

tant Moore to incorporate computer technology into Based in Covent Garden, the design group worked his work. Five years later Moore finally decided to on book, magazine, and record album covers until take that step, and approximately fifty percent of his 1980, when Moore married and moved out of Lon-illustrative assignments are now completed with the don to work from home in Lewisham.

aid of computer technologies. Moore has won a In 1974 Moore did his first science fiction covers, Readers’ Award for Best Cover Art from Asimov’s for books by Alfred Bester and Philip K. Dick, and Magazine, and has been nominated for Chesley he has specialized in the field ever since. Until that Awards in 1995 and 1999, although he has never par-point, Moore had been producing book jacket art ticularly desired to win awards for his art.Moore for almost every type of publication BUT science says, “All I’ve ever wanted over the years has been to fiction. “In fact,” says Moore, “I was barely aware gain the respect of my peers. They know what it of science fiction. I’d seen 2001 (A Space Odyssey), takes to survive and succeed in this business. I’d like and that was about all.” Although at first he was one to think that I’ve not only earned their respect, but of a number of modern British paperback artists also their friendship.” (Leonard-Amodeo, artist web-whose “space hardware” echoed the style of Chris site) Moore lives in Lancashire with his wife Katie Foss*, Moore’s stylistic differences soon set him and their two children Georgia and Harrison. He apart, although he remains a specialist in depicting also has two children by a previous marriage, Rob-futuristic machines, ships, and architectures on bie and William.

grand scales, in the contemporary British SF tradi-Sources: e-mail from the artist, and website www.chris-tion. His first trip to the U.S. in the mid–1980s gen-mooreillustration.co.uk with biography provided by James Leonard-Amodeo of Fine Art Magazine; Foyles Bookshop Art erated work from the publishers Dell and Random Gallery exhibit July–August 2000, biography at www.sflink.

House and in the late 1980s he acquired an agent in net/events/artgallery/chrismoore.htm [accessed July, 2007].

the USA, Bernstein and Andriulli Inc., a relationship that continues today, in addition to his British agent, Collections/Anthologies

Artist Partners. Moore has illustrated book covers (various contributing artists)

for all the well-known authors in the field, for al-Barnett, Paul ed. Paper Tiger Fantasy Art Gallery most every major publishers in the U.K. and the (Paper Tiger, 2002), Dean, Martyn. Dream Mak-U.S. among them: Transworld, Orion, Pan, Peners: Six Fantasy Artists at Work (Paper Tiger, 1988), guin, Harper Collins, Sphere, Hodders, Associated Eisler, Steven (Robert Holdstock). Space Wars Worlds Book Publishers (Magnum), Headline, Random and Weapons (Octopus, 1979), Frank, Jane and House, Time Warner, Octopus, Hamlyn (UK) and Howard. The Frank Collection: A Showcase of the Harper Collins, DAW, Random House, Tor, Ban-World’s Finest Fantastic Art (Paper Tiger, 1999), Gal-tam, Dell, Warner Books, Avon, Berkley, Ballan-lagher, Stephen. Journeyman: The Art of Chris Moore tine, William Morrow, and Pocket Books (U.S.).

(Paper Tiger, 2000), Jude, Dick. Fantasy Art Masters His work has been seen numerous magazines as well, (HarperCollins, 1999), Jude, Dick . Fantasy Art of the such as Omni, Analog, Science Fiction Age, and Isaac New Millenium (HarperCollins, 1999), Parallel Asimov’s Science Fiction.

Lines: The Science Fiction Illustrations of Peter Elson Moore has worked in a variety of commercial iland Chris Moore (Dragon’s Dream, 1980), Worlds at lustration markets, ranging from album cover art to War (Intercontinental, 1980).

advertising designs and movie concept art for Stan-Published Work
ley Kubrick and George Lucas. His tie-in wallpaper BOOKS ILLUSTRATED INCLUDE: Across Realtime designs for The Empire Strikes Back graced many a (Millennium, 1994), Against the Fall of Night and

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Beyond the Fall of Night (Orbit, 1992), Agent of Chaos Tears, the Policeman Said (HarperCollins/Voyager, (Ace, 1997), Agent of Destruction (Ace, 1996), Alien 1996), Foreigners (Orion/Gollancz, 2000), Forever Sex (Grafton, 1991), Aliens to Earth (Dolphin, 1997), Free (Orion/Millennium, 2000), Forever War Alpha Bug (Grafton, 1988), Alpha Centauri (Avon, (Orion/Gollancz, 2001), Fountains of Paradise 1997), Angel Archangel (Pan, 1991), Anti-Ice (Harper-

(Orion/Millennium, 2000), Free Live Free (Legend, Collins, 1993), Area 51: Sphinx; Grail (Dell, 2000, 1989), Galactic Medal of Honour (Magnum, 1977), 2001), Barsoom Project (Pan, 1990), Beamriders (Pan, Game-Players of Titan (Grafton, 1991), Garden of 1990), Best New Science Fiction: 8th Annual (Robin-Rama (Orbit, 1992), Gardens of the Moon (Bantam, son, 1994), Beyond Lies the Wub (Grafton, 1990), 2000), Good News from Outer Space (Grafton, 1991), Black Prism (W.H. Allen, 1980), Blindfold (Warner, Good Omens (Gollancz, 1990), Grounded! (Pan, 1995), Blood Music (Orion/Gollancz, 2001), Blood 1991), Heatseeker (Grafton, 1990), Heavy Weather of the Covenant (NEL, 1996), Blood Ritual (Head-

(Millennium, 1994), Helium (Gollancz, 1997, line, 1995), Bloom (Orion/Millennium, 2000), Orion, 2000), Hell Gate (Headline, 1998), Icebound Boldly Live as You’ve Never Lived Before (Morrow, (Headline, 1995), In Deep (Methuen, 1978), The I In-1995), Book of Common Dread (NEL, 1995), Bridge side (Warner Aspect, 1997), The Invisible Man (Simon & Schuster/Earthlight, 2000), Bridge of Years (Orion/Gollancz, 2001), Iris (Avon, 1999), Jem (NEL, Jun 1994), Bring the Jubilee (Orion/Gollancz, (Orion/Gollancz, 2001), Judas Tree (Hodder Head-2001), Broken Bubble (Paladin, 1991), Buchanan line/NEL, 2000), A King of Infinite Space (Harper Campaign (Ace, 1995), Burning Chrome (Harper Prism, 1997), Kinsman (Methuen, 1988), Lathe of Collins, 1993), Call to Arms (Legend, 1996), Canby’s Heaven (Orion/Gollancz, 2001), Legacies (Headline, Legion (Warner Aspect, 1995), Cathedral (Headline, 1998), Long Dark Tea-Time of the Soul (Pan, 1989), 1992), Centauri Device (Orion/Millennium, 2000), Lovedeath: Five Tales of Love and Death (Headline, Chasm City (Ace, 2002), Childhood’s End (Pan, 1990, 1993), Man in the High Castle (Roc, 1993, Orion/

Orion/Gollancz, 2001), Clans of the Alphane Moon Gollancz, 2001), Man Plus (Orion/Millennium, (HarperCollins, 1997), Collapsium (Orion/Gollancz, 2000), Man Who Japed (Methuen, 1978), Maze of 2000), City and the Stars (Gollancz/Vista, 1998), Death (Grafton, 1992), Memories of Midnight Colony (Magnum, 1979), Concrete Island (Paladin, (Collins, 1990), Millenium (Mandarin, 1989), Mir-1992), Complete Roderick (Orion/Gollancz, 2001), acle Visitors (Gollancz 2003), Moon Is a Harsh Mis-Cosmic Engineers (Methuen, 1988), Cosmic Puppets tress (Orion/Gollancz, 2001), Moonrise (Avon, 1996), (HarperCollins/Voyager, 1998), Counter-Clock Moonseed (HarperCollins/Voyager, 1998), Moonwar World (Grafton, 1990), Day of Forever (Flamingo, (Avon Eos, 1998), Mortal Fear (Pan, 1989), Mount 1995), Day of the Cheetah (Grafton, 1990), Days of Dragon (Bantam, 1997), The Mummy or Ramses the Perky Pat (Grafton, 1991), Deepness in the Sky Damned (Penguin, 1990), Myths of the Near Future (Orion/Millennium, 2000), Deepsix (HarperCollins, (Paladin, 1991), New York Nights (Orion/Gollancz, 2001), Defiance (Warner Aspect, 1996), Desperation 2000), Nightfall (Gollancz, 1990), Night of the Triffids (Hodder & Stoughton, 1996), Destroying Angel (Hodder & Stoughton, 2001), Nightwalker (Pan, (Headline, 1992), Deus Machine (NEL, 1995), Devil’s 1980), Nova (Orion/Millennium, 2001), Now Wait Piper (Headline, 1995), Divine Invasion (Harper-for Last Year (Orion/Millennium, 2000), Obsidian Collins/Voyager, 1996), Diamond Dogs, Turquoise Tower (Simon & Schuster/Earthlight, 2001), Off Days (Gollancz, 2003), Disaster Area (Paladin, 1992), Limits: Tales of Alien (Ace, 1997), Off-Planet (ManDo Androids Dream of Electric Sheep? (Voyager, darin, 1989), Only Forward (Bantam Spectra, 2000), 1997), Don’t Panic (Pan, 1983), Down and Out in the Pacific Edge (Grafton, 1992), Penultimate Truth Year 2000 (Grafton, 1992), Dr. Bloodmoney (Orion/

(Grafton, 1992), Permutation City (Millennium, Millennium, 2000), Dreamers (Methuen, 1982), 1994), Pillars of Eternity and The Garments of Caean Drenai Tales (Little Brown/Orbit, 2001). The Eight (Pan, 1989), Quiet Pools (Ace, 1990), Raft (Grafton, (Hodder Headline, 1999), Elixer (Forge, 2000), Ends 1991), Reckless Sleep (Orion/Gollancz, 2000), Regu-of the Earth (Millennium, 1993), Engines of Dawn lators (Hodder & Stoughton, 1996), Renaissance (Roc/BCE, 1999), Extro (Methuen, 1976), Ender’s (Grafton, 1991), Restaurant At The End of The Uni-Game (Legend, 1992), The Fall (Hodder & verse (Pan, 1980), Resurrection, Inc. (HarperCollins Stoughton, 1998), Fall of Moondust (Gollancz/Vista,

/Voyager/SFBC, 1998), Revelation (Little Brown/

1998), False Mirror (Legend, 1996), Father-Thing Orbit, 2001), Revelation Space (Orion/Gollancz, (Grafton, 1990), Fires of Coventry (Ace, 1996), First 2000), Revolution’s Shore (Bantam Spectra, 1990), Book of Lankhmar (Orion/Gollancz, 2001), First Ring (HarperCollins, 1994), Roma Eterna (Eos, Flight (Pan, 1990), The First Men in the Moon 2003), Rushing to Paradise (Flamingo, 1994), Sagit-

(Orion/Gollancz, 2001), Flatlander (Del Rey, 1995), tarius Whorl (Ballantine/Del Rey, 2001), Salt (Gol-Flies from the Amber (Penguin/ROC, 1995), Flowers lancz, 2000), Second Book of Lankhmar (Orion/Gol-for Algernon (Orion/Millennium, 2000), Flow My lancz, 2001), Second Variety (Grafton, 1990), The

Morey

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Sentinel (Grafton, 1991), Shakespeare’s Planet (Mag-teriors for Science and Invention magazine. Morey’s num, 1977), Short Cut (Hodder & Stoughton, 1996), work was so good he was asked to do a cover and Sickness of the Soul (Corgi, 1995), So Bright the Vi-soon was the magazine’s regular cover artist. Since sion (Magnum, 1978), Speaker for the Dead (Legend, Hugo Gernsback’s Experimenter Publishing Com-1992), Special Deliverance (Methuen, 1984), Spoils pany owned Amazing Stories as well as Science and In-of War (Legend, 1997), The Stars My Destination vention, Morey soon found himself illustrating sci-

(Orion/Gollancz, 2001). Stitch (Corgi, 1992), Stone ence fiction stories for that magazine. His first cover Canal (Legend, 1996, Tor, 2001), Strip Jack (Orion, for Amazing was for the February 1930 issue.

1992), Subterranean Gallery (Grafton, 1991), Tales of Morey had the difficult task of replacing the first Ten Worlds (Gollancz/Vista, 1998), Tatja Grimm’s popular artist in science fiction magazine art, Frank World (Pan, 1990), Three Stigmata of Palmer Eldritch R. Paul*, who had been the primary illustrator and (Grafton, 1992), Tides (Headline, 1996), Timelike cover artist for the Gernsback issues of Amazing.

Infinity (HarperCollins, 1992), Time Out of Joint When Gernsback’s company lost control of Amaz-

(Roc, 1994), Timescape (Orion/Millennium, 2000), ing Stories in 1929, due to a bankruptcy lawsuit, it was Time Ships (HarperCollins, 1995), Titan (Harper-the only science fiction magazine being published.

Collins/Voyager, 1997), Toady (Corgi, 1990), Traces Gernsback immediately started two new magazines, (HarperCollins/Voyager, 1998), Transformation (Lit-Science Wonder Stories and Air Wonder Stories, and tle Brown/Orbit, 2001), Treason of Dortrean (Simon took Paul with him to work on the new magazines.

& Schuster/Earthlight, 2001). Ubik (Grafton, 1992, Left without a regular cover artist, Harry McCay Orion/Millennium, 2000), The Uprising (NEL, and Hans Wesso* shared that duty from July 1929

1996), U.S.S.A. (Grafton, 1990), Vacuum Diagrams through January 1930, at which point Morey took (HarperCollins/Voyager, 1997), Valis (Grafton, over and painted nearly all of the covers for Amaz-1992, Orion/Gollancz, 2001), Vampyrrhic (Hodder ing until 1938. However, although Morey was a

& Stoughton/NEL, 1998), Voyage (Voyager, 1996), competent artist and worked hard to make his illus-War Fever (Paladin, 1991), Wasteland of Flint (Tor, trations and paintings reflect the authors’ descrip-2004), We Can Build You (HarperCollins/Voyager, tions of their creations, he never succeeded in mak-1997), We Can Remember It for You Wholesale ing the readers of Amazing Stories forget Frank R.

(Grafton, 1991), The Weight (Legend, 1995), Werewolf Paul.

Principle (Methuen, 1985), White Abacus (Avon, At first, Morey was given specific scenes to illus-1997), The Witling (Pan, 1990), Year’s Best SF 3
trate for his covers. Later, as he became more famil-

(HarperPrism, 1998), The Zap Gun (Harper-iar with the field, he was given greater freedom. Un-Collins/Voyager, 1997, Orion, 2006), Zombie (Hod-like many pulp artists, Morey did not work from a der & Stoughton/NEL, 1996), 13 (Granada, 1985), studio in his home but instead kept an office at the 2001: A Space Odyssey: Special Edition (Little Brown/
headquarters of Teck Publications, then owner of Orbit, 2000), 3001: The Final Odyssey (Harper-Amazing. He worked in gouache and ink, and Collins/Voyager, 1997).

signed his work “Leo Morey” or “L. M.” Later, M

Morey branched out into western and detective cov-AGAZINES ILLUSTRATED INCLUDE:

ABO: 1999 (fall, spring); 2000 (spring) ers for other Teck magazines, and was soon their ASF : 1993 (12); 1994 (4, 8, 10, 11); 1996 (2) leading cover artist. When Amazing Stories was GXY: 1973 (8/9)

bought by Ziff-Davis in 1938, Morey was replaced IASFM: 1993 (6); 1994 (12); 1995 (8); 1997 (5, 7) by staff artists from that chain. He continued to work INT: 1991 (2)

in the SF field producing covers and interiors for a SFAge: 1994 (5); 1995 (5); 1996 (1, 11); 1997 (5, 7); number of other smaller chains, but when the war 1998 (3)

started cutting into the science fiction markets, he moved to the comic book field. From the mid 1940s through the 1950s he worked for various comic stu-Morey, Leo
dios, doing pen-and-ink work on a variety of features (October 24, 1899–1965) Hispanic American for Comics companies such as Avon, Charlton, artist. Born Leopoldo Pena Morey in Lima, Peru of American Comics Group and Better Publications —
a wealthy family, Morey attended Louisiana State working on Startling Comics, Ranger Buck, and G-University majoring in Engineering. He worked as Man Dalton. In the early 1960s he returned to sci-chief illustrator for his college yearbook and after ence fiction, and continued working until his death.

graduation he did commercial illustration for a His pulp art was seen again in 1999 when Haffner newspaper in Buenos Aires. He then returned to the Press published the second volume of collected short United States where he worked for a while in New stories by Jack Williamson, Wolves of Darkness.

Orleans as an artist, and also married. By 1930 he had While Morey was not as popular as other artists moved to New York and had begun illustrating in-of the time, and his artwork was rather crude by

351

Morrill
today’s standards, it was frequently colorful and dra-Morrill, Rowena
matic, and he — like Elliot Dold*— was one of the (b. September 14, 1944) American artist. One of first pulp artists to render popular images of rocket the most popular artists in the SF-fantasy field in ships, space planes, robots and alien life forms.

the 1980s through the 1990s, Morrill was born into Sources: Who’s Who of American Comic Books 1928–1999
a military family and traveled extensively as a child.

online www.bailsprojects.com [accessed May 2007]; Weinberg, 1988.

After one year of college as a piano major, she dropped out of school and married a lieutenant in the Collections and Anthologies

Air Force. After several years of travel, she grew rest-

(various contributing artists)

less and took an art course. She quickly became fas-Aldiss, Brian. Science Fiction Art: The Fantasies cinated with art and devoted herself completely to of SF (Bounty Books, 1975), Gernsback, Hugo learning how to be an artist. This obsession broke up ed. Fantastic Science-Fiction Art, 1926–1954 (Ballan-her marriage and alienated her from her family for tine, 1975) Robinson, Frank M. Incredible Pulps: A several years. She received a BA from the University Gallery of Fiction Magazine Art (Collector’s Press, of Delaware in 1971, and moved to Philadelphia to 2006).

attend the Tyler School of Arts and enrolled in its Master of Fine Arts Program. She was unable to pro-Published Work
duce work fast enough for the Tyler program and AMZ: 1930 (2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1931
was dropped from the school, a decision that she be-

(1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1932 (1, 2, 3, 4, 5, lieves actually helped her career. Forced out of the 6, 7, 8, 9, 10, 11, 12); 19334 (8, 10, 11, 12); 1934 (1, 2, formal school environment, she spent several years 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1935 (1, 2, 3, 4, 5, 6, 7, teaching herself how to paint.

8, 10, 12); 1936 (2, 4, 6, 8, 10, 12); 1937 2, 4, 6, 8, 10, Morrill got into paperback illustration by quit-12); 1938 (2, 4); 1939 (7, 8); 1940 (3, 4, 6, 8, 10, 12); ting her job at an advertising agency in New York, 1941 (2, 3); 1960 (12); 1961 (1, 2, 3, 4, 6, 12); 1962 (4, consulting the Yellow Pages for publishers, and 6, 11); 1963 (1); 1965 (10); 1966 (2, 4, 6, 8); 1967 (2, showing her portfolio to the first one listed — Ace 6, 8) 1968 (6, 9, 11)

Books. Charles Volpe at Ace gave her an assignment AQ: 1930 (spring, summer, fall, winter); 1931
for a romance cover, and her career was launched.

(spring, summer, fall); 1932 (winter,, spring/sum-Her first artwork in the science fiction-fantasy genre mer, fall/winter); 1933 (spring/summer, winter); was for Isobel, a horror novel by Jane Parkhurst, from 1934 (fall)

Jove (1977). She continued to freelance, early in ASF : 1962 (1, 3)

her career producing many covers in the horror/fan-ASH: 1940 (8, 10, 12); 1941 (2, 4, 9, 11); 1942 (3, tasy genre before becoming recognized for paintings 6, 10, 12); 1943 (2, 4)

with heroic fantasy subject matter for publishers COM: 1940 (12); 1941 (3, 7)

such as Avon, Ballantine, Berkley and Ace. She is COS: 1941 (3, 5, 7)

known professionally, and signs her paintings, as CF : 1940 (winter, fall); 1941 (winter, fall); 1942

“Rowena.”

(fall); 1944 (spring)

Working in oil on illustration board, Morrill uses FA: 1939 (7); 1940 (3, 4, 5)

an unusual technique of coating her paintings with FTC: 1967 (1, 3, 5, 7, 9, 11); 1968 (1, 5, 12) a high-gloss glaze that gives the work an almost un-FUT: 1950 (9); 1951 (5)

natural brightness and smooth surface finish. Her PS: 1940 (spring, summer, fall, winter);1941 (spring, goal is always to depict any subject using as few coats summer, fall, winter); 1942 (spring, summer, fall) of paint as possible, applied as thinly as possible.

SAT: 1957 (8, 10, 12); 1958 (2, 4, 8, 10, 12); 1959

The few coats are for speed, the thin application for (2, 3, 4, 5)

translucency and color. Her multi-step, complex SFQ: 1951 (8)

technique was detailed in her first compilation of SS: 1940 (11); 1941 (11); 1942 (1, 3, 7, 11); 1943 (1); artworks, The Fantastic Art of Rowena (1983).

1944 (fall); 1945 (spring, fall); 1946 (spring); 1947 (1, In a field traditionally dominated by men, 3, 5); 1948 (5, 7); 1950 (9)

“Rowena” was one of the first women artists to have SSS: 1940 (9, 11); 1941 (1, 3, 5, 8, 11); 1942 (2, 5, an impact on paperback cover illustration, and has 11); 1943 (2, 5); 1950 (9); 1951 (8)

become one of the best-known names in the world STI: 1941 (2)

of science-fiction and fantasy illustration. Her StrS: 1939 (2, 6, 10); 1940 (2, 6)

strong, bold and frequently sensual artwork is often TSF : 1951 (spring)

compared to that of artists Boris Vallejo* and Frank TWS: 1938 (4, 8, 10, 12); 1939 (12); 1940 (3, 9); Frazetta*— both of whom are well-known for de-1941 (3, 4, 8, 10); 1942 (2, 4, 6, 8, 12); 1943 (2, 4, 6, picting sword-and-sorcery themes featuring heroic fall); 1944 (spring, summer); 1945 (spring, summer); and usually erotic renderings of barely clad, well-1946 (spring); 1947 ( 2, 4, 8, 12); 1948 (4); 1949 (4) muscled warriors and maidens, usually either in

Morrill

352
chains or in battle with some mythological beast.

lantine, 1980), Alien Cargo (Bluejay, 1984), And Eter-Morrill’s success, however, which opened the door nity (Morrow/AvoNova, 1990, SFBC, 1991), Arafels’

for other women to break into the fantasy art mar-Saga (SFBC, 1983), Basilisk (Ace, 1980), Beast ket, also resulted in her being accused of sexism. As Maker; Beast Stalker (Dell, 1988, Best of Omni Sci-Weinberg relates the story, “because her painting ence Fiction #2 (Omni, 1981), Best of Randall Garrett King Dragon featured a chained woman being at-

(Pocket, 1982), Bethany’s Sin (Pocket, 1992), Blue tacked by a winged dragon,” one of the female or-Adept (Ballantine/Del Rey, 1982), Brother to Dragons ganizers of a science fiction convention art exhibit (AvoNova, 1994), Byzantium’s Crown (Popular Li-

(early 1980s) thought that the painting should be re-brary/Questar, 1987), Cat Scratch Fever (Ballantine/
moved from the show because it was degrading to Del Rey, 1994), Cataract (Ballantine/Del Rey, 1995), women. The painting remained, Weinberg reports, Circumpolar (Simon & Schuster/Timescape, 1984), and the controversy soon died when it became ap-City of Crystal Shadow (Ace, 1990), City of the Singing parent that banning one such painting would mean Flame (Timescape, 1981), Cloud Castles (Morrow/
banning many more. Ironically, this very same paint-AvoNova, 1994), Color Out of Space ( Jove, 1978), ing would gained further (and unexpected) notori-Courtship Rite (Timescape, 1982), Crimson Chalice ety fifteen years later, when — according to newspa-

(Charter, 1978), Crystal Line (Ballantine/Del Rey, per reports, two of Morrill’s fantasy oil paintings 1992), Dagger Spell (Bantam, 1993), Dark Dimen-were found in a townhouse in Baghdad apparently sions/Rim Gods (Ace, 1978), Darker Than You Think used as a love nest by deposed Iraqi ruler Saddam (Dell, 1979), Dark Gods (Fawcett/Columbine, 1989), Hussein ( New York Daily News, April 23, 2003).

Darkspell (Del Rey, 1989), The Daughters of Bast According to the report, the artworks in question (Avon Eos, 1999), Devil Wives of Li Fong (Del Rey, were originally painted as book covers for King 1979), Dimensions of Miracles (Ace, 1979), Divine Dragon and Shadows Out of Hell, paperbacks pub-Invasion (Pocket, 1981), Dolphins of Pern (Ballan-lished in 1980, that had been previously sold by the tine/Del Rey, 1994), Dracula Book of Great Vampire artist years before (to collectors unrelated to Hus-Stories ( Jove, 1978), Dragon Holder: The Life and sein).

Dreams (So Far) of Anne McCaffrey (Ballantine/Del During a career that has spanned over two Rey, 1999), Dragondrums (Bantam, 1986), Dragon-decades, Morrill’s paintings have appeared on hun-singer (Bantam, 1986), Dragonsong (Bantam, 1977), dreds of book covers, on calendars, portfolios, trad-The Dreaming Jewels (Bluejay, 1985), Dream Park ing cards and in popular magazines such as Playboy ( Jove, 1978), Dunwich Horror ( Jove, 1978), Dying of and Omni. She has had collections of her art pub-the Light (Pocket, 1982), Eyes of Sarsis (Pocket, 1980), lished in the United States and Europe, and has also Face in the Frost (Macmillan Collier, 1991), Fall of been included in art anthologies. She was a 2000

Worlds (Avon, 1980), Faith of Tarot (Berkley, 1980), nominee for a Chesley Award for Best Cover Illus-Fantasy Life (Pocket, 2003), Final Test (Fawcett, tration for a paperback book. The artist presently 1988), Flight from Neveryon (Bantam, 1985), Flight of lives in upstate New York, where she continues to the Raven (DAW, 1990), Firebird (Pocket, 1981), Fire develop personal works based on fantasy themes as in His Hands (Pocket/Timescape, 1984), For Love of well as commissioned portraiture and commercial Evil (Avon, 1990), Garden of Stone (Avon, 1990), projects.

Ghosts I Have Been (Dell, 1979), God of Tarot Sources: e-mail from artist August 2006; www.rowenaart.

(Berkley, 1982), Golden Helix (SFBC, 1979), Golden com; DiFate, Vincent. Infinite Worlds: The Fantastic Visions Swan (Pocket, 1983), Golem 100 (Simon & Schuster, of Science fiction Art (Wonderland Press/Penguin, 1997), Weinberg, 1988

1980), Hammer and the Horn (Questar, 1985), Harms’ Way (Avon, 1993), The Haunt (Popular Li-Collections and Anthologies
brary, 1990), Hidden Land (Avon, 1999), Horse God-

(various contributing artists)

dess (Pocket, 1983), In the Hands of Glory (Pocket, The Art of Rowena (Paper Tiger, 2000), The Art 1991), Into the Alternate Universe/Contraband From of Rowena Portfolio (Schanes & Schanes, 1983), The Otherspace (Ace, 1979), Into the Dream (Fawcett/

Fantastic Art of Rowena (Pocket Books, 1983), Frank, Columbine, 1989), Ironlords ( Jove, 1979), Isobel Jane and Howard. Great Fantasy Art Themes From ( Jove, 1977), King Dragon (Ace, 1980), Labyrinth the Frank Collection (Paper Tiger, 2003), Hite, Ken-

(Ace, 1989), Last Incantation (Pocket Books, 1982), neth, Steve Jackson, and John Ford. GURPS Infinite Mad Wand (Ace, 1982), Make Way for Dragons! (Ace, Worlds (Steve Jackson Games, 2005), Masterpieces of 1990), Malacia Tapestry (Ace, 1978), Malafrena Fantasy Art (Taschen, 1991).

(Berkley, 1979), Many Waters (Dell, 1986), Master of the Five Magics (Ballantine, 1985), Moonspell (Faw-Published Work
cett/Columbine, 1989), Neveryona (Bantam, 1983), BOOKS ILLUSTRATED INCLUDE: Abode of Life Night Boat (Pocket Books, 1988), Night Songs (Gregg, 1986), Alchemy and Academe (Del Rey/Bal-

(Pocket, 1984), Night Walk (Dell, 1979), Nightreaver

353

Morrissey

(Avon, 1988), No Clock in the Forest (Avon, 1993), No artist and then entered the science fiction and fan-Earthly Shore (Avon, 1980), Outrun the Dark (Put-tasy field with commercial assignments for a maga-nam, 1977), Passing Bells (Seaview, 1978), Pilger-zine, Aboriginal Science Fiction, illustrating Betan-mann (Pocket, 1986), Power Lines; Power Play;Pow-court’s short story “The Darkfishers” (1987) and then ers That Be (Del Rey/Ballantine, 1994), Project Pope her first book cover, for the Science Fiction Book (Ballantine/Del Rey, 1981), Queens’ Blade (Questar, Club, Hatrack River (1987).

1988), Retief: Diplomat at Arms (Pocket, 1982), Retief A versatile artist, Morrissey takes inspiration from of the C. D. T. (Pocket, 1981), Retief to the Rescue the Pre–Raphaelites to create finely rendered, realis-

(Pocket, 1983), Retief ’s War (Pocket, 1978), Riddle of tic scenes that often carry the sense of meaning not the Seven Realms (Del Rey, 1988), Rite of Passage quite made explicit. She works in acrylics with oil (Pocket, 1982), Sandkings (Pocket, 1981), Secret of finish, usually on masonite or illustration board, in The Sixth Magic (Ballantine/Del Rey, 1984), Shadows dimensions typical for the genre, averaging 24" ×

Out of Hell (Berkley, 1980), Shape Changer (Ace, 18". Morrissey has worked for genre magazines, spe-1981), Shattered World (Timescape, 1984), Shrine of cialty publishers, and gaming companies. From the Light (HarperCollins, 2000), Skyfall (Ace, 1978), mid 1980s to 2000, Morrissey worked for various Split Infinity (Ballantine, 1980), Stars are the Styx planetariums, as a freelance artist creating produc-

(Bluejay/Dell, 1979), Stardwellers (Avon, 1982), tion art for exhibitions, among them the Einstein Stinger (Pocket, 1988), Stolen River (AvoNova, 1992), Planetarium (Smithsonian Institution, Washington, Sun Blind (Fawcett/Columbine, 1988), Swan Song D.C.), and others in Hartford (CT), Baltimore (Pocket, 1987), Swept Away (Fawcett/Columbine, (MD), and Philadelphia (PA).

1988), Swiftly Tilting Planet (Dell, 1979), Sword is In an industry dominated by male artists, Morris-Forged (Pocket, 1984), Sword of Calandra (Del Rey, sey has had to work hard for recognition, and in the 1985), Sword of Winter (Timescape, 1983), Tales from 1990s was actively exhibiting and selling her work the Vulgar Unicorn (Ace, 1982), Tales of Neveryon at genre conventions from Albany, New York to (Bantam, 1983), The Talisman (Donald M. Grant, Knoxville, Tennessee, winning several awards at 1984), Tambu (Ace, 1980), They Thirst (Pocket, those venues. “Different than expected,” as she puts 1992), Thieves’ World (Ace, 1982), Three from the Le-it, her interests are diverse, ranging from the martial gion (Pocket, 1980), Thrice Upon a Time (Del Rey, arts, which she says “creates better focus” to work-1980), Time Bender (Ace, 1981), Titan’s Daughter ing as a tattoo artist — and was featured in Interna-

(Avon, 1981), To the High Redoubt (Popular Library tional Tattoo magazine (December 2003). Morris-Questar, 1985), Unknown Five ( Jove, 1978), Unless sey continues to take commercial assignments while She Burn (Avon, 1980), Venus Plus X (Bluejay, 1984), developing a portfolio of personal pieces, working Visions of Tarot (Berkley, 1980), War in Heaven out of her “Foxfire Studio.” She has one son, Jeffrey, (Pocket, 2000), Warrior Who Carried Life (Bantam, and is married to a jeweler, Stephen Lewis.

1987), Web of the Spider (Pocket/Timescape, 1981), Sources: correspondence with the artist August, October Where Late the Sweet Birds Sang (MacMillan Col-2005; Beth Gwinn and Stanley Wiater, Eds. Dark Dreamers: Facing the Masters of Fear. Cemetery Dance Publications, 2001.

lier, 1991), Whispers ( Jove, 1979), Who Fears the Devil (Dell, 1980), Wizard at Large (Ballantine/Del Rey, Published Work

1989), Wolf ’s Hour (Pocket, 1989), Woman of Flow-BOOKS ILLUSTRATED INCLUDE: Ancient Shores ers (Questar, 1987), World Shuffler (Ace, 1981), World (Easton Press, 1996), The Best of Fritz Leiber (SFBC, Tree (Eos, 2001), Yearwood (Pocket, 1981), Warhound 1989), Blade Runner 2: The Edge of Human (Easton (Timescape, 1981).

Press, 1995), City (Easton Press, 1995), City of Pearl M

(Easton Press, 2004), Cooking out of this World AGAZINE ILLUSTRATIONS INCLUDE:

AMZ: 1981 (11)

(Wildside, 1992), Dark Dreamers (Cemetery Dance, HM: 1987 (summer)

2001), Daughter of Elysium (Easton Press, 1993), WT: 2004 (3/4)

Deepdrive (Easton Press, 1998), The Dispossessed (Eas-Misc. : Best of Rowena collector card set (FPG, ton Press, 1986), Dolphins Bell (Wildside, 1993), The 1996), Guardians collector card game art (FPG, Embedding (Easton Press, 1992), Empty Cities of the 1995), 1981 Tolkien Calendar Great Illustrators Edi-Full Moon (Easton Press, 2001), An Exchange of Gifts tion (Ballantine, 1980).

(Wildside, 1995), A Fisherman of the Inland Sea (Easton Press, 1995), The Girl Who Fell Into the Sky (Pulphouse, 1991), Gratitude of Kings (Wildside, Morrissey Lewis, Pat

1997), The Guardian (Easton Press, 2002), Four Ways (May 20, 1954) An American artist, self-taught, to Forgiveness (Easton Press, 1995), The Harrowing Morrissey had a head start on her career by having of Gwynedd (SFBC, 1989), Hatrack River (SFBC, artists as family members: two sisters, her son and a 1987), How Few Remain (Easton Press, 1997), If niece. She started out as an advertising and graphic Wishes Were Horses (Wildside, 1996), Last Legends of

Morrissey

354

Earth (Easton Press, 1986), Lest Darkness Fall (Eas-styling of Michael Whelan*, and he got work from ton Press, 1988), Loser’s Night (Pulphouse, 1991), major book publishers in New York, among them Metropolitan (Easton Press, 1995), Mirror Dance Avon, Ace, Baen, and others. The wide appeal of (Easton Press, 1994), Monet’s Ghost (Simon & Schus-his style made him a popular choice for science ter, 1997), On Wings of Song (Easton Press, 1993), fiction book club editions.

Phoenix Caged (Zebra, 1993), Playing in Wonderland Working only in oil on canvas, Morrissey’s (Wildside, 1994), Prince of Chaos (SFBC, 1991), painterly style is influenced by American “story Queens Own (Easton Press, 1997), Requiem (Tor, telling” illustrators like N.C. Wyeth, Howard Pyle 1994), Rescue Run (Wildside, 1991), Riddle Masters and Norman Rockwell, but with the darker palette of Hed (Easton Press, 1998), Serve it Forth (Warner, favored by Dutch Masters. The rich colors combine 1996), Shadowdance (SFBC, 1996), Snow Queen with Morrissey’s skill in reproducing antique maps (Easton Press, 1990), The Spider Glass (Pulphouse, and globes, aging velvet and silk cloth, and all man-1991), Stardanc e (Easton Press, 1991), Starmind (Eas-ner of every day artifacts and children’s toys, to yield ton Press, 1995), Starseed (Easton Press, 1991), Teran uncannily “old” realistic effect. Like Richard minal Café (Easton Press, 1994), Thorn and Needle Bober*, Morrissey’s desire to “fill the eye” often (TSR, Inc., 1992), Tomorrow and Tomorrow (Easton meant putting more effort into his commercial jobs Press, 1997), Triumph of the Dragon (ROC, 1995), than was demanded. This resulted in larger paintings; Where Late the Sweet Birds Sang (Easton Press, 1989), a typical original painting for a book cover was 36"

Web of Angels (Tor, 1992), What Might Have Been 1,

× 24" at a time when 30" × 20" was considered gen-2, (SFBC, 1989), Wolfling (SFBC, 1991), The Woods-erous. The visual effect put Morrissey into the class man (Ace/Berkley, 1992), Wraiths of Time (Tor, of illustrators who attracted collector’s interest from 1992), Xenogenesis (SFBC, 1989), Yesterday We Saw the outset. Like many illustrators Morrissey also used Mermaids (Tor, 1992).

himself, his wife and son as models to create realisM
tic and engaging characters.

AGAZINE ILLUSTRATIONS INCLUDE:

ABM: 1998 (#9/Spring)

In 1991, Morrissey was inspired to paint the first ABO: 1987 (7/8, 11/12); 1988 (1/2, 3/4, 11/12); scenes from a story based on “The Sandman”— a 1989 (3/4, 7/8, 9/10, 11/12); 1990 (1/2, 5/6, 9/10, character in popular Western folklore who brings 11/12); 1991 (1/2, 5/6, 7/8, 12)

good sleep and dreams to children by sprinkling AMZ: 1991 (5, 7, 11); 1992 (1, 7, 10); 1993 (1, 10) magic sand onto their eyes while they are sleeping.

ASF : 1994 (5)

He exhibited the first of these paintings at a Luna-IASFM: 1990 (2, 3, 7, 8, 12); 1991 (1, 2, 4, 5); 1992
con science fiction convention in New York, and the (3); 1993 (3, 7, 11); 1994) 3, 6)

response convinced him this was a direction he SFAge: 1993 (3, 5, 11)

needed to pursue. Morrissey continued to write, and paint additional scenes, and in 1994, the well-known GAMING ILLUSTRATIONS INCLUDE: Battletech publishing firm Harry N. Abrams published Ship of (Wizards of the Coast, 1996), Galactic Empires Dreams. The book was named one of the ten best-

(Companion Games, 1994), Gurps: Religion, Fantasy illustrated children’s books of the year by The New (Steve Jackson Games, 1994, 2004), Judge Dredd York Times Book Review, and was one of three final-

(Mongoose Games, 2002), Magic: the Gathering: ists for the Benjamin Franklin Award for Children’s Fallen Empires, Homelands, Ice Age, Mech Warrior, Books. The book earned a Gold Award in the Spec-Vampires (Wizards of the Coast, 1993, 1994, 1995), trum annual anthology #2 (Underwood, 1995) and Wheel of Time (Wizards of the Coast, 2001).

has since been translated into German and French.

Morrissey was selected by the American Library As-Morrissey, Dean W.

sociation to illustrate a poster encouraging children (b. October 1951) American artist. A native of to read and images from Ship of Dreams have be-Boston, Massachusetts and long-time resident of come the theme of a decade-long Christmas season that state, Morrissey is a self-taught artist whose exhibit in Saks Fifth Avenue store windows across the artistic vision and skills were honed by the demands United States. His second book The Great Kettles of commercial illustration. Morrissey worked at a (1997), won a Gold Medal from The Society of Il-variety of jobs until deciding to paint full time in lustrators (NY).

the late 1970’s. The period provided excellent op-Morrissey is one of a few illustrators of his gener-portunities for freelance illustrators such as Morris-ation, like James Gurney* and Brian Froud* whose sey; art directors had the freedom to choose among talents seem best served by moving beyond the field a wide variety of styles to achieve the “look” they of commissioned book cover art into arenas where wanted. Morrissey had a warmly engaging, old-fash-they can carry out their own literary and artistic con-ioned narrative style of expression that was distinctly cepts. Morrissey’s art appeals to children as well as different from the hard-edged, “slick” airbrushed collectors of limited edition reproductions and orig-

355

Morrow
inal paintings. His fantasy interpretations of white-gern and the Charming Couple (Ace, 1990), Kedrigern bearded wizards, whimsically engineered contrap-in Wanderland (Ace, 1988), Moon in Hiding (Ace, tions, and fantastical sailing ships have attracted a 1989), The Outposter (Baen, 1992), The Questing of wide audience for books, original paintings, and Kedrigern (Ace, 1987), Rehearsal for a Renaissance prints. Since 1992 major publishers such as Mill (AvoNova, 1992), A Remembrance for Kedrigern (Ace, Pond Press, Apple Jack and Greenwich Workshop 1990), Search for the Starblade (Ace, 1990), The have released more than fifty limited edition and Shrinking Man (SFBC, 1988), Sorcerers (Ace, 1986), open edition prints of his paintings. His work was in-Sun-Cross (SFBC, 1991), Sword of Sagamore (Ace, cluded in the exhibition “Science Fiction and Fan-1989), Swords’ Masters (SFBC, 1990), Three of Swords tasy Painters,” and in the illustrated catalog for that (SFBC, 1989), A Voice for Princess (Ace, 1986), show, at the New Britain Museum of American Art Vorkosigan’s Game (SFBC, 1990), Whim of the (1980). Morrissey received The Chesley Award in Dragon (Ace, 1989), Whirlwind Alchemy (AvoNova, 2003 for his painting “The Light Ship” and 2004

1993), The Wings of Pegasus (SFBC, 1991), Wolf Moon for his “Anna of the Celts,” both published by (Signet, 1988), The Work of the Sun (Ace, 1990), Greenwich Workshop as limited edition fine art Wizard’s Mole (Penguin/Roc, 1991).

prints. Morrissey lives with his wife Shan and son MAGAZINES ILLUSTRATED INCLUDE:

Ian on the South Shore of Massachusetts.

DRA: 1978 (7); 1979 (8); 1980 (3, 4); 1983 (3); Sources: Personal correspondence with the artist; Dean Morrissey biographical notes at Greenwich Workshop www.

1984 (4)

greenwichworkshop.com/ Dean Morrissey Storytelling Art at GAL: 1977 (4, 7)

Artcade Gallery online www.artcadeonline.com/storytelling/

Misc.: AD&D: Campaign Sourcebook and Cata-dean.asp; Artist Biography at Gallery One www.galleryone.

comb Guide (TSR, Inc., 1990), Northern Mirkwood: com/

The Wood Elves Realm game book (ICE, 1983).

Collections/Anthologies

(various contributing artists)

Morrow, Gray

The Art of Dragon Magazine (TSR, Inc., 1988), (March 7, 1934–November 6, 2001) American Frank, Jane and Howard. The Frank Collection: A artist. Dwight Graydon Morrow was born in Fort Showcase of the World’s Finest Fantastic Art (Paper Wayne, Indiana, and started drawing at a young age.

Tiger, 1999), Frank, Jane and Howard. Great Fan-His family was very supportive of his skills and in tasy Themes from the Frank Collection (Paper Tiger, school won several contests sponsored by National 2003).

Scholastic Magazine. After high school Morrow went to Chicago to pursue a career in art. He Published Work
roomed in a boarding house and worked for art stu-BOOKS WRITTEN AND ILLUSTRATED INCLUDE: Ship dios supplying advertising work while developing of Dreams (Harry N. Abrams, 1994), The Great Ket-comic strips and cartoons. He enrolled at the tles: A Tale of Time (Harry N Abrams, 1997), The Chicago Academy of Fine Arts for a short time, at-Song of Celestine (Little, Brown and Co., 1998), The tending night classes twice a week, but was largely Christmas Ship (HarperCollins, 2000), A Christmas self-taught. His early influences were Joseph Coll*, Carol (Greenwich Workshop Press, 2000), The Virgil Finlay*, Mitchell Hooks, Austin Briggs and Moon Robber (HarperCollins, 2001), The Winter other fine line artists. When his teacher, who had King (HarperCollins, 2002), The Monster Trap previously done magazine and comic work, told him (HarperCollins, 2004), The Crimson Comet (Harper-there was nothing more he could teach him, Mor-Collins, 2006).

row left Chicago and moved to New York, in 1954.

BOOKS ILLUSTRATED INCLUDE: The Adventures of Through a former acquaintance, political cartoon-Kelvin of Rud: Across the Frames; Final Magic (SFBC, ist Eugene Craig, Morrow was invited to a meeting 1992), Alchemy Unlimited (Avon, 1990), Alien Blood of the National Cartoonist’s Society, where he met (SFBC, 1988), Ars Magica (SFBC, 1989), Back to the Wally Wood*. Soon he was assisting Wood on war Time Trap (Baen, 1992), The Black Throne (SFBC, comics stories he was doing for DC Comics. In 1956

1991), Books of Great Alta (SFBC, 1990), Cat-a-Lyst Morrow was drafted and sent to Korea. There he es-

(SFBC, 1991), Cats in Space and Other Places (Baen, tablished a small art studio at his army base, and be-1992), Child of Saturn (Ace, 1989), Druid’s Blood came the main pin-up artist for his company. He (Signet, 1988), The Enchanter Reborn (Baen, 1992), discovered painting during his time in the army, and Flare (Baen, 1992), Flute Song Magic (Avon Flare, when he came back to the U.S. he asked his friend 1990), Game’s End (Signet, 1990), Gate of Darkness, Angelo Torres for introductions to magazines he had Circle of Light (DAW, 1989), The Hidden Land (Ace, been working for. Morrow got assignments from 1986), The Illegal Rebirth of Billy the Kid (Tor, 1991), Cracked magazine, and became one of the anony-Jewels of Gwahlur (Donald M. Grant, 1979), Kedri-mous artists for Gilberton’s Classics Illustrated line

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of comics. Through a referral from Wally Wood, Century (Quick Fox, 1981), Wheatley, Mark and Morrow also started illustrating for books, includ-Gross, Allan. Gray Morrow: Visionary (Insight Stu-ing several dozen of the Bobbs Merrill classic chil-dios Group, 2001)

dren’s books, the Childhood of Famous Americans series, for which he did black-and-white illustrations Published Work
with two color overlays for the interiors and dust BOOKS ILLUSTRATED INCLUDE: The Age of Ruin jackets.

(Ace, 1968), Altar of Asconol (Ace, 1965), Ambas-A major turning point in Morrow’s career came sadors from Aurigel: Perry Rhodan #64 (Ace, 1975), with his illustrations for the Jim Warren publica-Avon Fantasy Reader I, II (Avon, 1969), Bane of Kan-tions, Eerie, Creepy, and Blazing Combat, beginning thos (Ace, 1969), Barbarians of Mars (Lancer, 1966), in 1964. He did three covers for Creepy (April, De-Behind the Walls of Terra (Ace, 1970), Best of Judith cember 1966, and February 1967), and two for Eerie Merril (Warner, 1976), Blades of Mars (Lancer, 1966), (November 1966 and July 1967) and also did several Caves of Mars (Ace, 1965), Claimed (Avalon, 1966), interiors, proving himself to be a versatile artist. In Coming of the Terrans (Ace, 1967), Cycle of Fire (Bal-the early 1960s, the growing popularity of science lantine, 1975), Dark World (Ace, 1965), Day of the fiction digest sized magazines combined with Mor-Minotaur (Ace, 1966), Dolphin and the Deep (Ace, row’s attraction to the genre led him to approach 1966), Endless Shadow (Ace, 1964), Enslaved Brains editors of Analog, If, Galaxy and Fantasy and Science (Avalon, 1966), Enterprise Stardust: Perry Rhodan #1

Fiction and soon his art appeared on their covers and (Ace, 1974), Explorers Into Infinity (Avalon, 1965), interior pages. By the late 1960s he was one of the Final War and Other Fantasies (Ace, 1969), Forgotten most popular science fiction cover artists. He also Planet (Avalon, 1965), Fortress Atlantis: Perry Rho-began working for book publishers such as Avalon, dan #52 ( 1974), Frankenstein Horror Series: The Ace, Lancer, Avon and others, and produced more Curse of Quintana Roo; Ghoul Lover; Seven Tickets to than a hundred covers for the Perry Rhodan series Hell; The Marrow Eaters (Popular Library, 1972), done by Ace. Morrow did the illustrations for the Gates of Creation (Ace, 1966), Guts (Ace/Tempo, original Galaxy Magazine publication of the Hugo-1979), Harvest of Hoodwinks (Ace, 1970), High Sor-winning novella Soldier, Ask Not by Gordon R.

cery (Ace, 1970), Hobbit (Harry N. Abrams, 1977), Dickson. He was nominated for the Hugo Award Hothouse World (Avalon, 1965), Hot Sleep: The Wor-for best professional artist in 1966, 1967, and 1968.

thing Chronicle (Baronet, 1979), Hunter Out of Time Throughout the 1970s and early 1980s Morrow (Ace, 1965), Invaders From the Infinite (Ace, 1961), worked for comic books and men’s magazines, for The Illustrated Roger Zelazny (Ace, 1978), Jason, Son companies such as DC, Marvel and Archie Publi-of Jason (Avalon, 1966), Jewel in the Skull (Lancer, cations. One of his greatest works was the 1978 trade 1967), Key to Irunium (Ace, 1967), Languages of Pao paperback graphic novel, The Illustrated Roger Ze-

(Ace, 1966), Lizard Lords (Avalon, 1964), Lord Tedric lazny. Morrow contributed to magazines such as Na-

(Baronet, 1978), Lord of Nardos (Avalon, 1966), Lord tional Lampoon and Heavy Metal, and in addition to of the Trees/The Mad Goblin (Ace, 1970), Man of science fiction art, he also did posters, educational Many Minds (Pyramid, 1968), Mask of Circe (Ace, filmstrips, children’s books and television animation 1970), Masters of the Lamp (Ace, 1970), Minos of Sar-art. In the 1990s Morrow additionally worked for danes (Avalon, 1966), Mouthpiece of Zitu (Avalon, Rip-Off Press, Dark Horse and Hamilton.

1965), Night of Masks (Ace, 1965), Norstrilia (Ballan-Morrow lived until his death in rural Pennsylva-tine, 1975), Palos of the Dog Star Pack (Avalon, 1965), nia, with his wife Pocho, who served frequently as the Planet of Fear (Avalon, 1968), Pastel City (Avon, artist’s model and as an inspiration for his art. His 1974), Planet of the Double Sun (Ace, 1967), Polaris death at age sixty-seven was apparently from a gun-of the Snows (Avalon, 1965), Quest of the Three Worlds shot wound; he reportedly took his own life after (Ace, 1966), Rogue Queen (Ace, 1965 ), Second At-months of despondency over his battle with Parkin-lantis (Ace, 1965), Seed of the Dreamers (Ace, 1970), son’s Disease.

Space Pirates (Baronet, 1979), Space War (Ace, 1967), Sources: Gray Morrow at www.insightstudiosgroup.com/

Star Quest (Ace, 1968), Sunless World (Ace, 1967), deliver/gray.htm; Bails, Jerry & Ware, Hames. The Who’s Who These Savage Futurians (Ace, 1967), Thief of Llarn of American Comic Books, 1928–1999 at www.bailsprojects.

com; Science Fiction Writers of America obituary online (Ace, 1966), This Immortal (Ace, 1966), Thongor of www.sfwa.org/News/gmorrow.htm

Lemuria (Ace, 1966), Treasure of Tau Ceti (Ace, 1969), Twin Worlds (Ace, 1967), Venus Plus X (Pyra-Collections and Anthologies
mid, 1968), Warriors of Mars (Lancer, 1966), Weir-

(various contributing artists)

woods (Ace, 1967), When the Red King Woke (Avalon, Hart, Christopher. How to Draw Comic Book He-1966), Winds of Time (Avon, 1975), Wizard of roes and Villains (Watson-Guptill, 2001), Lawrence, Lemuria (Ace, 1965).

James and Morrow, Gray. Buck Rogers in the 25th

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Murphy

MAGAZINES ILLUSTRATED INCLUDE:

1999. Mugnaini was an artist for the Limited Editions AMZ: 1965 (3, 5, 6, 8, 10); 1966 (6, 8, 10); 1967

Club 1958 publication of Bullfinch’s The Age of (2, 4, 6, 8, 10, 12); 1968 (2, 7); 1970 (3, 5); 1973 (12); Fable.

1974 (4, 6)

Mugnaini, according to Weinberg, strongly be-ASF : 1965 (12)

lieved that “the graphic elements of each story must F&SF : 1965 (11); 1966 (3, 8); 1967 (1, 4, 11); 1968
be matched by the physical potentials of the medium (11); 1969 (6)

and the instrument through which a concept is ma-FTC: 1965 (3, 4, 5, 6, 9, 11); 1966 (1, 3, 5, 7, 9, 11); terialized.” (p. 200, 1988). Mugnaini worked in oils, 1967 (1, 3, 5, 7, 9); 1968 (5); 1970 (6, 8, 10); 1971
and with pen and ink and brush drawing, often (4); 1973 (11); 1974 (1)

using a textured gesso surface to help support and en-GXY: 1959 (10, 12); 1964 (2, 4, 6 8, 10, 12); 1965
hance his design. In addition to his illustrative work, (2, 4, 6, 8, 10, 12); 1966 (1, 2, 3, 4, 7, 8, 9, 10, 11, 12); Mugnaini designed sets for the Seattle Opera Com-1967 (1, 2, 3, 4, 5, 6, 8, 9, 10, 11, 12); 1968 (1, 2, 4, pany, produced a short film Icarus, in collaboration 7); 1969 (1, 6, 10)

with Bradbury, which earned an Academy Award IF : 1959 (7, 9, 11); 1960 (1, 3, 7); 1964 (1, 5, 7, 8, nomination and the golden Eagle Award, and wrote 12); 1965 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1966 (1, four books on arts instruction. His paintings and il-2, 4, 6, 7, 8, 9, 10, 12); 1967 (1, 2, 4, 6, 9, 10, 12); 1968
lustrations are held in many public collections, (2, 4, 6, 7, 11, 12); 1969 (1, 10)

among them the Los Angeles County Museum of MOH: 1965 (winter); 1966 (summer)

Art, Pasadena Museum, the Smithsonian Institu-WOT: 1963 (8); 1964 (2, 4, 6, 8, 11); 1965 (1, 3, tion, and the Library of Congress.

5, 7, 9 11); 1966 (3, 5); 1967 (2)

Sources: Di Fate. Infinite Worlds: The Fantastic Visions of Science Fiction Art (Wonderland Press, 1997); “Mugnaini by Mugnaini, Joseph Anthony

Ray Bradbury,” March 28, 1981, in Norman Corwin’s introduction to Mugnaini’s Bradbury portfolio, “Ten Views of the ( July 12, 1912–January 23, 1992) American artist.

Moon” online at tobeycmossgallery.com/tenviews.html [ac-Born in Viareggio, Italy Mugnaini moved with his cessed June 2007]; Shaun Farrell interviews Ray Bradbury, family to the United States a few months after his May 2005 www.farsector.com/quadrant/interview-bradbury.

htm; Otis Institute “Alumni From the ’40s” at www.otis.edu birth. He grew up in Los Angeles, California and

/alumni/da/mugnaini.htm; www.askart.com; Weinberg, 1988.

attended the Otis Art Institute from 1940 to 1942.

After serving in the army during World War II, he rePublished Work
turned to Otis as an instructor and taught there as Fahrenheit 451 (Ballantine, 1953), The Golden Ap-head of the drawing department until his retirement ples of the Sun (Doubleday, 1953), The Halloween in 1976. One of his pupils was Norman Rockwell, Tree (Knopf, 1972), Last Circus and the Electrocution with whom Mugnaini’s family became good friends.

(Lord John Press, 1980), The Machineries of Joy (Ru-Mugnaini’s daughter, Diana, modeled for Rockwell pert Hart-Davis, 1964), The Martian Chronicles several times and both she and her father were two (Avon, 1974), The October Country (Ballantine, of the models for Norman Rockwell’s painting en-1956), R is for Rocket (Doubleday, 1962), S is for Space titled “Traffic Conditions,” which was published as (Doubleday, 1966), Something Wicked This Way a cover for The Saturday Evening Post July 9, 1949.

Comes (Bantam, 1962), Twice Twenty-Two: Golden Mugnaini was one of the best-known interior Apples of the Sun and A Medicine for Melancholy artists of the day, and worked in many fields. He also (Doubleday, 1959), The War of the Worlds/The Time illustrated many book covers for Ray Bradbury nov-Machine (Heritage Press, 1964).

els, for whose story illustrations he is perhaps best known. Bradbury, for his part, was enamored with Murphy, Kevin M.

the artist the first time he saw his work, referring to (December 21, 1968) American artist. Born in Mugnaini as “my soul mate … Joe made me feel as Manhattan, New York and raised in the Bronx, if we had known each other for half a life time.” No, Murphy was inspired by the fantasy works of Boris Joe Mugnaini is the main one. Adding, that when he Vallejo* to begin his art career in the field of book saw Mugnaini’s interpretations, he thought, “My cover illustrations in 1992 having little formal art God, this man has read my mind. All the fantastic training. He attended the School of Visual Arts in dreams I’ve had, all the nightmares, are represented New York City for a year, and studied with Dorian in the works of this single artist.” (Farrell, 1981).

Vallejo* (Boris’s son) a recent SVA graduate who had Mugnaini created the cover art for a special Ray already begun his professional art career. But he con-Bradbury issue of Fantasy and Science Fiction, his siders himself self-taught, with “help from guys like only cover for that magazine, for the May 1963 issue, Dorian, Joe DeVito* and Don Maitz*.” He quickly depicting Bradbury and some characters and scenes acquired his first commission from The Berkley Pub-from his most famous stories. His art was also used lishing Group and assignments from other major on the Heritage Press edition of War of the Worlds, publishing houses followed. His art appeared on the

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covers of best selling authors such as Terry Goodkind, Tapestries — Magic: The Gathering (HarperPrism, L.E. Modesitt, and Graham Masterton, and his 1996), Temple of the Winds (Orion/Millennium, client list expanded to include National Geographic, 1998), Time Blender (HarperPrism, 1997), The To-Barnes and Noble, Milton Bradley, Hasbro, Sega morrow Log (w/McGrath, Meisha Merlin, 2003), Genesis, Viacom, MTV, Virgin Records, and Lucas Transformation (ROC, 2000), Under the Overtree Films. Murphy paints in oil on masonite or illustra-

(Meisha Merlin, 2000), Whispering Woods — Magic: tion board, and signs his illustration work “Murf ”

The Gathering (HarperPrism, 1995), World of Dark-Talented, and highly motivated to succeed, Mur-ness — Vampire: Dark Prince (HarperPrism, 1994).

phy won the 1995 World Fantasy Award for Best MAGAZINE ILLUSTRATIONS INCLUDE:

Epic Fantasy painting for his cover to Goodkind’s ABM: 1994 (fall/winter); 1996 (winter); 1997

Blood of the Fold, and was nominated for the Ches-

(spring)

ley Award in 1995 for Best Nonpublished Work for his painting “Void Engineers.” DiFate featured him GAME-RELATED ILLUSTRATIONS INCLUDE (all in Infinite Worlds (1997), alongside the upper eche-White Wolf unless otherwise noted): Mage: The As-lon of science fiction illustrators since the founding cension —Technocracy: Iteration X (1993); Progenitors of the genre, writing “In the short span since begin-

(1993); New World Order (1995); Void Engineers ning his career in 1992, Kevin Murphy has become (1996), Rage game card art (1995), Street Fighter: The a major presence in the field of American illustra-Storytelling Game (1994).

tion … one of the new stars rising on the Science Fiction art horizon.” Also in 1997, Murphy was com-Musgrave, Real
missioned to create the cover for the highly coveted (b. June 7, 1949) American artist. Born in Odessa, Rolling Stones album, Bridges to Babylon. By that Texas, where his father was working as a geophysi-time Murphy had already decided to leave the field cist, Musgrave and his family soon returned to Col-of commercial art to focus on portraiture and fine art.

orado only to later return to Dallas, Texas by the Murphy has focused on the challenges of depicting time Musgrave was five. Always interested in art, the human figure, using classical painting approaches Musgrave attended Texas Technological University, to develop dramatically posed, life-size portraits and then switched to the School of Fine Arts, because it paintings of nudes. Murphy was Vice-President and offered a bachelors degree in art. In college, Mus-Art Director for Meisha Merlin Publishing, Inc. an grave met and married his wife, Muff, then a nutri-independent fiction press he co-founded with his tion major. He began providing art for Dunlap’s, a brother, Brian Murphy and Steven Pagel, in 1996. He chain of Texas department stores, and after graduatis married to Mia, and has two daughters, Avery and ing with a degree in drawing and painting (1972) he Halley.

became an art director for that company. In 1973

Sources: e-mail from the artist March, 2007; www.angel the couple traveled in Europe, and then returned to fire.com/nj/kevinmurphy

Dallas, where Musgrave opened a studio, produc-Published Work
ing advertising art. He also did staff and editorial il-BOOKS ILLUSTRATED INCLUDE: Absolute Magni-lustrations for local and regional magazines and tude (Tor, 1997), Adiamante (Tor, 1998), Afterim-newspapers.

age/Aftershock (Meisha Merlin, 1998), Arena —

Late in 1974 Musgrave began doing a series of Magic: The Gathering (HarperPrism, 1994), Ash Ock paintings, followed by a series of fantasy fine-art (Tor, 1995), The Beast Within — Vampire: The Mas-prints, featuring distinctively rendered bearded wiz-querade (HarperPrism, 1994), Bending the Landscape: ards and small, whimsical green dragons he called Fantasy (White Wolf, 1997), Blood of the Fold (Tor,

“Pocket Dragons.” Often, these and other fantasy 1996), BloodWalk (Meisha Merlin, 1997), The Burn-characters would interact in humorously entertaining Ground (DAW, 1995), The Culai Heritage ing situations. His work was strongly influenced by (Meisha Merlin, 2001), Dark of the Gods (Meisha the children’s book artists from the late 19th cen-Merlin, 2000), Dark Prince — Vampire: The Mas-tury, including Arthur Rackham* and Kay Neilsson.

querade (HarperPrism, 1994), A Different Flesh However, the style of his art, childlike in its bright (Baen, 1994), Double Jeopardy (Tor, 1994), The colors and narrative simplicity, was wholly original Dreamwright (Del Rey, 1994), The Ecolitan Enigma and appealed to adults who were “young at heart.”

(Tor, 1997), Final Sacrifice — Magic: The Gathering In 1976 his work was collected in book form for the (HarperPrism, 1995), Galactic MI (Ace, 1993), first time as Real Fantasies (Moon-Wing Press) and Hellspark (Meisha Merlin, 1998), Liege-Killer (Tor, by 1978 he had moved to a larger studio and his wife 1995), Lord of the Isles (Tor, 1997), Navohar (ROC, was working full time as his business manager. Seek-2000), The Parafaith War (Tor, 1996), The Paratwa ing exposure for his work, in 1979 he joined the (Tor, 1995), The Rat Trap (Ace, 1993), Shattered Texas Renaissance Festival as an exhibitor, and soon Chains—Magic: The Gathering (HarperPrism, 1995), he became the official artist for the event, producing

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Napoli
all posters, graphics and advertising. He participated lectors and autograph the figurines they have pur-in that event for 15 years, and continues to occasion-chased.

ally provide special posters for similar events, in-In 1997 the Musgraves began work on a children’s’

cluding the Scarborough Faire Renaissance Festival.

animated television show called “Pocket Dragon Ad-In 1980 he received the Award of Excellence from ventures.” BKN Network produced and distributed the Texas Arts and Crafts Foundation, the highest the show, which was launched in 1998. A total of honor given by that organization, and his work was 104 episodes were produced, which were originally placed in a national touring show sponsored by the distributed in 63 countries, including the U.S., most Foundation. Musgrave signed with Otters & Oth-of Europe, India, China, South Africa, Mexico, Ausers, San Diego California, in 1981 to bring out a sig-tralia and more. The TV show led to a number of re-nature line of greeting cards, “Real Magic,” featur-lated licensed products, which were sold world wide.

ing his Pocket Dragons and other light-hearted There was also licensed a computer game called fantasy creations. The commercial distribution of

“Pocket Dragon Adventures — The Wizard’s Aphis imagery on such products, and his continued prentices” produced and distributed by Ubi Soft, presence at numerous science fiction conventions, and sold across Europe. Over the years, Musgrave combined with exhibitions of his paintings in art has also licensed the use of his “Pocket Dragons” for galleries across the country, enhanced and solidified a wide variety of products.

his popular appeal.

Musgrave is a trail blazer: one of a small but suc-A major shift in his career occurred in the late cessful number of science fiction and fantasy artists 1980s, when Musgrave translated his two-dimen-who have succeeded through their art without work-sional Pocket Dragons into small, three-dimensional ing as a magazine or book illustrator. Indeed, the figurines and began to show them at fantasy con-case can be made that even if Musgrave had com-ventions. At that point he was still participating in peted as a commercial illustrator, creating paintings numerous group and individual museum shows of for reproduction in children’s or adult fantasy mag-Fantasy Art, including The Delaware Museum Show azines and books, he still would not have realized (1987), where he received The Founders Award. In the same level of appreciation for his talent, exposure 1989 he entered into a licensing agreement with Lil-for his art, or financial reward. His success has pro-liput Lane Land of Legend (based in England) to vided motivation for many other fantasy artists, who produce a figurine line called “The Whimsical have taken very seriously the challenge to invent and World of Pocket Dragons.” The Company subse-develop licensable artistic properties, with commer-quently changed its name to Collectible World Stu-cial appeal.

dios. However, this line of collectible resin figurines, Sources: Corresponence and biography provided by Muff sculpted and overseen by Musgrave, has become one Musgrave, July 2005; Weinberg, 1988.

of the longest lasting in the industry. As of 2005, Musgrave has sculpted around 400 figurines, which Napoli, Vincent
are distributed in the U.S., Canada, many countries (April 8, 1907–October 28, 1981) American artist.

in Europe, Australia and New Zealand. He was A prolific interior illustrator, James Vincent Napoli voted “Best Fantasy Artist” at the International Col-was already an artist with his own studio, selling lectible Convention (the largest in the world) five art to Weird Tales by the time he was twenty-three.

times in a row. After his fifth win, he says, they re-He was born in Ohio, of immigrant parents, and tired the category! He also received numerous Col-grew up in Cleveland. Napoli was strongly influ-lector’s Choice Awards, including “Artist of the Year”

enced by the work of Harry Clarke*, and many of and “Best Figurine Line Under $100.00.

this early pieces are very derivative of Clarke’s Poe In 1992 “The Pocket Dragons and Friends” Col-illustrations. His earliest work for Weird Tales, in lector’s Club was formed by Collectible World Stu-1931, were simple line drawings, but in a short while dios. The Club had over 20,000 dues paying mem-he developed his own style; “a form of “feathering”

bers at its peak. The Club publishes a 20-page full (using numerous pen strokes to create a feeling of color quarterly magazine devoted to Pocket Dragons, depth), which worked well on inexpensive pulp the Musgraves, and the collectors and maintains a paper.” (Weinberg, p. 201). Napoli at times used the large Website. The Club has also published four pseudonym “James Vincent” for his commercial books for collectors, including: The Pocket Dragon work.

Book for Club Members (2002), The Pocket Dragon Napoli left Weird Tales in the middle 1930s, and Book of Real Magic (2003), The Pocket Dragon Wiz-moved on to other magazine illustrations. He en-ard’s Recipe Book (2004), A Pocket Dragon Scrapbook listed in the army in 1942, and after the war, reap-

(2005). Since 1990 the Musgraves have traveled ex-peared in the science fiction field doing art for most tensively in the U.S. and abroad, to promote Pocket of the major magazines of the time. He later re-Dragons, making personal appearances to meet col-turned to Weird Tales as a regular illustrator during

Nielsen

360
the waning years of that publication. Napoli died in first commercial work with companies such as Land-San Diego, California.

mark Entertainment, Harcourt Brace Jovanovich Sources: Ancestry.com. California Death Index, 1940–
and Writer’s Guild. In 1992, she was commissioned 1997; 1930 United States Federal Census; National Archives to create superhero trading card art for Marvel and and Records Administration. U.S. World War II Army Enlistment Records, 1938–1946 [database on-line]. Provo, UT, DC, and that was her entry into the comic book and USA: The Generations Network, Inc., 2000, 2002, 2005; gaming industry. She painted comic books such as Weinberg, 1988

Ruins, and illustrated the comic covers for Topps’

Published Work

Xena: Warrior Princess series. In 1996, she was hired B
by Wizards of the Coast to illustrate cards for the OOKS ILLUSTRATED INCLUDE: Conan- Red Nails (Berkley, 1977), Far Boundaries (Pellegrini & Cud-popular fantasy role-playing game Magic: The Gath-ahy, 1951), The Gargoyle: Lost Fantasies #3 (Weinering, and developed a strong fan following by ex-berg, 1975), Whispers 3 (Doubleday, 1981).

hibiting and selling her work at genre conventions in the U.S. and abroad. She has produced over 125

MAGAZINES ILLUSTRATED INCLUDE:

cards to date, and it is the work for which she is AMF : 1950 (2)

probably best known. Nielsen has done book covers ASF&FR: 1953 (1)

and interiors for Del Rey (Star Wars and others), FFM: 1947 (10)

and Wizards of the Coast, plus cards, pin-ups and FSQ: 1950 (fall); 1951 (winter, summer, fall); 1952
painted comics for Marvel, DC, Topps, Darkhorse, (winter, spring, fall)

and Image. Her work has also been used for several GXY: 1951 (1)

other collector card games, as well as video game MSS: 1951 (2, 5, 8, 11)

covers for 3DO, Sierra Studios, and Mythic EnterPS: 1947 (summer, fall); 1948 (summer); 1951 (9) tainment.

SS: 1947 (11); 1948 (1, 9, 11); 1949 (1, 3, 5, 7, 11); Her early works were rendered in gouache, and 1950 (1, 3, 7); 1951 (5, 11); 1952 (1, 2, 5, 6 8) later, beginning 1993, she switched to a mixed TSF : 1951 (spring)

medium of acrylic, colored pencil and airbrush. In TRE: 1964 (1); 1965 (2)

1997, she began adding oils in the later stages of the TWS: 1947 (6, 10, 12); 1948 (2, 4, 6, 8, 10, 12); painting process, and this mixed medium approach 1949 (2, 6, 10, 12); 1950 (2, 4, 6, 8, 10, 12); 1951 (2, (acrylic, colored pencil, air brush and oil) represents 4, 8, 12); 1952 (2, 8)

her technique at present. In 1998, she began adding WB: 1951 (1, 2)

a digital element to her work, by scanning her WSA: 1951, 1952, 1963R
sketches into the computer and then adding in tex-WT: 1932 (4); 1935 (1, 2, 5, 8, 9, 10, 11, 12); 1936
tures and photos with Photoshop. The resulting (1, 2, 3, 5, 6, 8); 1937 (6); 1948 (1, 7, 9, 11); 1949 (1, image is printed out on art paper, soaked in water, 3, 5, 7, 9, 11); 1950 (1, 3, 5, 7, 9, 11); 1951 (1, 3, 5, 7, and stapled to a piece of drywall in traditional wa-9, 11); 1952 (1, 3, 5, 7, 11); 1953 (1, 7, 9, 11); 1954 (3) tercolor wet stretching fashion. This serves as her Misc: She: Stories by Famous Authors Illustrated painting surface, and when she’s done, she simply

#3 comic cover (Seaboard Pub., 1949).

pulls out the staples and has a lightweight original that is easily transported and framed. She signs her Nielsen, Terese
work “T. Nielsen.”

(b. March 11, 1966) American artist. Nielsen, One of the few women to succeed in a male-dom-along with her twin brother, was born and grew inated business, Nielsen maintains that her gender up amid cornfields on a farm in the small town of has been fairly irrelevant in the flow of work; that Aurora, Nebraska. She attended Brigham Young it’s been “neither boon nor bane.” Her work was se-University in Idaho from 1984 to 1987, and married lected for the Spectrum anthologies #3, 4, 5, 8, 10, 13, during that time. As a young artist, Nielsen was 14 (Underwood, 1996, 1997, 1998, 2001, 2003, 2006, influenced by well-known comic book and fantasy 2007). Nielsen also acted as Art Director for Angel artists, and her older brother, Ron Spencer (who Quest collector card game in 2005, commissioning preceded her at BYU, and is also a commercial over 100 pieces of angel art. Her marriage to artist artist). After graduating with an Associate Degree Cliff Nielsen ended in divorce c. 1995. Nielsen re-in Art and Science she studied at the Art Center sides in Temple City, California with her partner College of Design in Pasadena, California, and their four children.

1988–1991, earning a BFA degree with “great dis-Sources: e-mail from the artist August 2007, and artist tinction,” the highest honor. She was inspired by website at Daydream Graphics http://tnielsen.com/artists/
contemporary illustrators to develop a portfolio nielsen/tn_frame_paintings.htm; Wachter, Toby. “Behind the aimed at the book cover, comic book and movie Canvas: Terese Nielsen” April 24, 2002 interview online at poster markets.

www.wizards.com/default.asp?x=mtgcom/feature/38 [accessed August 2007]

Right out of school, in 1991, Nielsen landed her

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Nodel

Collections and Anthologies
series of comics, among them The Ten Command-The Complete Encyclopedia of Magic: The Gather-ments (1956) which won the Thomas Alva Edison ing (Thunder’s Mouth Press, 2002) Award for best children’s illustrated book of that B
year, and classic science fictional titles such as Jour-OOKS ILLUSTRATED INCLUDE: Black Wolf (Wizards of the Coast, 2001), A Calculus of Angels (Bal-ney to the Center of the Earth (1957).

lantine/Del Rey, 1999), Conquest (Del Rey, 2001), A prolific interior artist, Nodel primarily worked Dark Debts (Del Rey, 2003), Empire of Unreason for Galaxy and its companion magazines in the (Del Rey, 2001), Final Prophecy (Del Rey, 2003), 1960s. After his science fiction career, he returned Halls of Stormweather (Wizards of the Coast, 2000), to the comic field and did some black-and-white Heirs of Prophecy (Wizards of the Coast, 2002), comic stories for the Warren magazines. He also Newton’s Cannon (SFBC, 1998), Rebel Thunder (Del worked for Hannah-Barbera Studios, providing Rey, 2003), Rebirth (Del Rey, 2001), Shadows of God advertising art and animation for “Barbie” and (Del Rey, 2001), Shadow’s Witness (Wizards of other products, as well as mainstream magazines the Coast, 2000), Shattered Mask (Wizards of the such as 16 Magazine. For his magazine work, he Coast, 2001), Venom’s Taste (Wizards of the Coast, would also sign with the pseudonym “Josh King”

2004).

(King was his mother’s maiden name). He experimented with a variety of styles, ranging from tightly GAME RELATED ILLUSTRATIONS INCLUDE: AD&D: drawn line work illustrations to grease pencil Alternity Gamemaster Guide; Jakandor, Isle of Des-sketches.

tiny (TSR, Inc., 1998), Changeling: The Dreaming: By the 1970s he had turned to the children’s and The Enchanted; Inanimae: Secret Way (White Wolf, young adult market, illustrating a wide range of 1997, 1998), Deadlands: Hell on Earth: The Wasted fiction and non-fiction books, among them biblical West (Pinnacle, 1998), Mage: The Ascension: Halls stories, pop-up books and classics of fantasy litera-of the Arcanum (White Wolf, 1995), Magic: The ture. In 1988, Nodel began working for the Jewish Gathering game card art: Alliances; Darksteel; Fifth market. After completing the popular children’s Dawn; Mirrodin, Unglued; 7th Edition 9th Edition book Labels for Laibel for Hachai Publishing (1990), (Wizards of the Coast, 1998, 2001, 2003, 2004, his talent was quickly recognized and in demand by 2005), Monte Cook’s Arcana Evolved (Malhavoc almost every major Judaica publisher. In 1993, Nodel Press, 2005), 7TH Sea: Avalon; Castille; Eisen; Mon-illustrated two books of bible stories that had been taigne; Pirate Nations; Player’s Guide; Ussura; Vendel, adapted by his daughter Maxine Nodel (Baronet Vodacce (Alderac Entertainment, 1999, 2000, 2001), Books). He spent the last twelve years of his life de-Shadowrun: Rigger 3 (FASA, 2001), Wheel of Time voting his time and energy to illustrating books and game card art (Wizards of the Coast, 2001).

magazines specifically for Jewish children. His illus-MAGAZINES ILLUSTRATED INCLUDE: DRA: 1999
trations for children have appeared virtually all over (1, 12); 2000 (7); 2001 (6, 7, 8); 2002 (4) the world, in America, Europe, Israel, Russia, Australia, and South America. He was married for 51
years to Helen Nodel, and is survived by two daugh-Nodel, Norman Joshua
ters: Deborah Nodel Gordon, concert pianist, and ( June 9, 1922–February 25, 2000). An American Maxine Nodel, artist.

artist, Norman (Nochem Yeshaya) Nodel was born Sources: Correspondence with Deborah Nodel Gordon, in Hampton Roads, Virginia, the son of an Ortho-August 16, 2005; www.lambiek.net, hachai.com/bios.html dox Rabbi. He learned how to draw during the De-Published Work
pression, when his father would send him with MAGAZINE ILLUSTRATED INCLUDE:

reams of paper to the local museum in order to keep AMZ: 1965 (8, 10, 12); 1966 (1)

warm, and he would pass the hours copying the ASF&FR: 1953 (4)

work of the great masters. He began his career as a GXY: 1963 (6, 8, 10, 12); 1964 (4, 6, 8); 1965 (4, field artist in the army, drawing military maps dur-6); 1966 (8)

ing World War II, and for his heroism in going be-IF : 1963 (5, 7, 9. 11); 1964 (1, 3, 5, 7, 8, 12); 1965
hind enemy lines he was awarded a bronze star. Be-

(1, 2, 4, 5, 6, 8); 1966 (2, 3, 6); 1967 (1) fore the war, he was a soloist with the Metropolitan WOT: 1963 (6, 8, 10, 12); 1964 (2, 4, 6, 8, 11); Opera (NY), but singing was no longer a career he 1965 (1, 5, 7, 9, 11)

wished to pursue after witnessing the horrors of war-fare, according to his daughter, Deborah. Instead, Normand, Jean-Pierre
after returning from duty he became a comic book (b. September 10, 1958) Canadian artist. Born artist, convinced that “drawing had saved his life.”

and raised in Quebec City, the capital of the Cana-During the 1950s–early 1960s he illustrated a num-dian province of Quebec, Normand received a deber of the Gilberton’s famous “Classics Illustrated”

gree in Graphic Arts from College Sainte-Foy, Que-

Nuetzel

362
bec, in 1979. Known for his methodically linear and tional Association of Astronomical Artists since detailed architecturally-inspired color paintings de-2005.

picting “hard” science fiction and space scenes, Nor-Normand lives in Montreal, Canada, with his mand’s ships and styling show the influence of wife Ann, and two cats. He loves 19th century SF

British illustrator Chris Foss*, but are more precise and collects Jules Verne first editions “with the won-in their rendering. Normand works in hand-brush derful illustrations of Riou, and Bennett.”

and airbrush on illustration board or canvas, using Sources: e-mail from the artist August 2007.

a range of media; acrylics, inks, pastels and crayons.

Published Work

His originals are typically done in a vertical format BOOKS ILLUSTRATED INCLUDE (ENGLISH LAN-of 16" × 9" and he signs his paintings “JPN.” The GUAGE ONLY): The Engine of Recall (Red Deer, artist’s first science fiction book cover was for Le 2006), Open Space (Red Deer, 2003), Other Skies Vieille Homme et l’Espace published in Canada for (Nelson Canada, 1993), Reluctant Voyager (Tesser-the French language publisher Le Préambule in 1979.

act, 1995), Space Inc. (DAW, 2003), Stealth Planet Since then, he has illustrated books and magazines (Sparkling Press, 2006), TesseractsQ (Tesseract, for French, U.S. and Canadian publishers, prima-1999), The Year’s Best Science Fiction (St. Martin’s, rily for the young adult market, and has done 2004).

graphic work for all kinds of publications, including magazine and advertising layouts. Most of his ear-MAGAZINES ILLUSTRATED INCLUDE (ENGLISH
lier book covers were done for the French Canadian LANGUAGE ONLY):

youth market, including over fifty titles for the ASF : 2005 (3, 9); 2006 (3, 6, 9, 11) Christian publisher Médiaspaul. He also worked for IASFM: 2003 (8); 2004 (4, 7, 12); 2005 (5, Les Éditions Héritage, Alire and Éditions Pierre Tis-12)

seyre.

ONS: 1994 (winter, summer); 1996 (winter); Better known to francophone than English-1999 (winter); 2001 (spring)

speaking science fiction fans for his original works, Normand by the mid 1990s had crossed publishing Nuetzel, Albert Augustus
boundaries into the adult SF English-language mar-

( January 18, 1901–June 19, 1969) American artist.

ket. His artwork has appeared on translated versions Born in New Albany, Indiana, the only son of of French Canadian SF, and on the animation mag-Charles and Lena Nuetzel, both German immi-azine Protoculture Addict, on covers of the quarterly grants. Nuetzel as a young boy played in the fanzine G-Fan (devoted to coverage of Godzilla and Louisville Orchestra, but in high school he grew in-other Japanese monsters), on the semi-prozine Sci-terested in art after working as art editor on the ence Fiction Chronicle (1995–2002), and on the school yearbook. By 1920, his family had moved to Canadian SF magazines, On Spec (English) and SoLos Angeles, California, and Nuetzel attended art laris, the oldest French-language science fiction and school at night. He worked in architecture, cartoon-fantasy magazine. A major literary project is Julie E.

ing and fine art before beginning his commercial art Cznereda’s Tales from the Wonder Zone for Trifolium career. In 1931 Nuetzel married Betty Jane Stock-Books (2002–2007). He has illustrated five books in berger. In 1934, living in San Francisco, they had the series, including the cover and interior illustra-twin sons, the oldest (Albert Augustus Jr.) dying tions and promotional poster. The series was cre-soon after birth. The other son, Charles, grew up to ated to use science fiction to interest young readers be a science fiction fan, author and editor. Nuetzel in science. Normand has worked for film, producis sometimes listed or credited erroneously as “Nuet-ing preproduction artwork for Oceania (1998), the zell,” owing to his use of the double “l” for artistic Eddie Murphy SF comedy Pluto Nash (2002), and balance when he signed his paintings. The artist also prop design for The Aviator (2004). Normand’s work used “brush” names after becoming an illustrator, was featured in Spectrum: The Best in Contemporary among them “Albet”—a combination of the first two Fantastic Ar t 2, and 5 (Underwood, 1995, 1996). He letters of his name and the first three letters of his won the Canadian Prix Aurora Award for Artistic mother’s name, which he pronounced “Al-bay.”

Achievement in 1996, 1997, 1998, 1999, 2001 and Nuetzel worked in the movie industry from the 2004, and was the winner of the 2006 Analog An-1940s through the 1960s, doing title work for alytical Laboratory for best cover September 2006.

Pacific Title and Arts Studio, and for several years Normand was interviewed in the film documentary worked for Fox West Coast Theaters, doing oil

“Visions From the Edge” in 2005, broadcast on the paintings to be used in theater lobbies as advertis-Space Channel. He has been Artist guest since 2003
ing for current features. Later Nuetzel taught at the at the “Chandra X-Ray Observatory” summer work-California Institute of Art in Los Angeles. An ex-shops held by the Smithsonian Astrophysical Ob-cellent artist, Nuetzel displayed his work in several servatory and has been a member of the Interna-galleries and won a number of awards. He enjoyed

363

Ochagavia
doing silk-screen prints and did thousands of them when he was two years old. He studied painting at as a hobby.

the Escuela Superior de Bellas Artes and the Acad-Nuetzel entered the science fiction magazine and emia de Belles Artes, Buenos Aires, Argentina. He paperback cover field in the mid 1950s at the urging was awarded a scholarship to study with Morris of his son, Charles, who initially acted as his agent.

Kantor at the Art Student’s League, New York in Soon, Forrest J Ackerman took over the job, and that 1937, and subsequently illustrated covers for Time, association plus his father’s illustrations provided a Newsweek, created art for advertising campaigns for means for the son to enter the field himself, as book numerous companies, and illustrated limited edi-publisher, packager and author. Nuetzel’s first cover tions of fine art books. Upon returning to Argentina, was for the fanzine, The Spacewarper, Volume 1, No.

he specialized in etchings, serigraphics, and paintings, 1 (VaL-FAS Publications, 1952) but his first profes-receiving a number of awards for his work. An ac-sional magazine cover sale was to Science Stories, one complished film maker, Ochagavia had his own of Ray Palmer’s publications, in 1954. Some of his movie company and created several short animated most memorable cover art appeared on early issues films, winning him mention in the French film fes-of Famous Monsters of Filmland (he did issues #4, 5, tivals of Annecy and Tours, and a First Prize at the 6, 7, 8). Nuetzel’s work also appeared on European French National Short Animated Film Festival, in SF magazines ( Apollo, Utopia) and one issue of 1962. He also participated in the Venice festival of Creepy (May, 1968). Nuetzel’s work was somewhat film in advertising in 1964. As a muralist, Ochagavia surrealistic, with spaceships that were pulp-like but created large wall paintings for the State Cinematog-graceful. In 1964, Nuetzel (credited as “Gus Albet”) raphy Institute and the Argentine Industrial Union.

created cover art for Scorpion Books, a line of eight In 1974 Ochagavia left Argentina and moved to the

“adult-only” paperbacks that were written and pack-United States. His work received international expo-aged (for Pike Publications) by Charles, who wrote sure with three sets of postage stamps he produced them under various pseudonyms. The books were for the United Nations Better Environment Program published by N. A. C. Publications (Charles A.

in 1991. A prolific artist, Ochagavia blends his Span-Nuetzel initials reversed). Scorpion Books led to sin-ish culture with influences as diverse as Cubism and gle book packaging for Book Company of America Surrealism to produce oil paintings showing an and later, packaging of books as Powell SciFi for affinity with twentieth century Latin American sur-Powell Publications, with some books written by realism; it is rich in color, visually arresting and Charles and illustrated by Albert; the whole mak-meticulously painted. Much of his science fiction ing a small family-run cottage business. Nuetzel’s art was done for the Science Fiction Book Club and last published work was the cover for his son’s anthol-Popular Library. Ochagavia has exhibited extensively ogy of stories, Images of Tomorrow, 1969. The artist in the U.S. and Europe, and his works are held in died of cancer in Los Angeles in the same year.

private collections in Argentina, Europe and the Sources: Charles Nuetzel website: http://haldolen.com United States, as well as the Museo del Grabado and

/alN/MoreCovers/cover_art_by.htm; interview with Charles the Museo de Bellas Artes, in Buenos Aires. The Nuetzel http://haldolen.com/lynmon.html [accessed March 2006]

artist had two children Daniel (d. age 14) and Christina, with his first wife, Phyllis, who died very Published Work
young. At the age of 90, after living in Connecticut BOOKS ILLUSTRATED INCLUDE: The Coming of the for 30 years with his second wife Martha, Ochagavia Rats (Pike, 1961), If This Goes On (Book Co. of moved back to Buenos Aires — where he continued America, 1965), Images of Tomorrow (Powell, 1969), to paint and explore the world of art until he died at Lost City of the Damned (Pike, 1961), Planets for Sale 93. His daughter and three grandchildren are also (Book Co. of America, 1965), Sex Life of the Gods artists.

(Uptown Books, 1962), Slaves of Lomooro (Powell, Sources -mail from Noa Jones, granddaughter May 2006; 1969), Swordmen of Vistar (Powell, 1969).

www.noajones.com; http://carlosochagavia.com.ar/English/
curric.html; The New Visions: A Collection of Modern Science MAGAZINES ILLUSTRATED INCLUDE:

Fiction Art. NY: Doubleday & Co, 1982

AMZ: 1959 (3, 7, 9); 1960 (3, 4, 9); 1961 (7) F&SF : 1957 (4)

Published Work

FTC: 1960 (1, 8)

Alpha Centuri or Die (Ace, 1976), Another World ScS: 1954 (2)

Adventures in Otherness (Follett, 1977), Best Short VOR: 1973 (4)

Stories of J. G. Ballard (Holt, Rinehart and Winston, 1978, Pocket Books, 1985), Daughter of Is (Popular Ochagavia, Carlos

Library, 1978), Dream Park (Ace/BCE, 1981), Frost-

(March, 10, 1913–November 25, 2006) Spanish world and Dreamfire (Popular Library, 1977), Michael Artist. Born in Logrono, Spain, of Basque heritage,

& the Magic Man (Berkley, 1980), Nemesis from Terra Ochagavia moved with his parents to Argentina (Ace, 1976), Retief and the Warlords, Retief: Emis-

Orban

364
sary to the Stars (Pocket Books, 1978, 1979), The fade, he turned to working on educational filmstrips Third Body (Popular Library, 1979), Unlimited and high school and college textbooks.

Dream Company (Holt, Rinehart & Winston, 1979), Sources: DiFate, Vincent. Infinite Worlds: The Fantastic Valley Where Time Stood Still (Popular Library, 1976), Visions of Science Fiction Art. Wonderland Press, 1997; http://
members.aol.com/macmurdie2/biographies/orban.html; So-Universe 6, 7 (Popular Library, 1977).

cial Security Death Index [database on-line]. Provo, UT, USA: The Generations Network, Inc., 2006; Weinberg, 1988.

Orban, Paul

( June 23, 1896–April, 1974) Born in Budapest Collections and Anthologies

Hungary (Austria) Orban arrived in the U.S. with his Aldiss, Brian. Science Fiction Art: The Fantasies of parents and younger sister in 1902, settling in SF (Bounty Books, 1975).

Chicago, Illinois. By the age of fourteen he had de-Published Work
cided to become an artist, the story goes, when he BOOKS ILLUSTRATED INCLUDE: Killdozer! Vol. III earned five dollars for two week’s work on a water-

(North Atlantic, 1996), Marooned on Mars ( John C.

color. He studied at the Chicago Academy of Fine Winston Company, 1952), Science Fiction Yearbook 2

Arts, and by 1918 had entered the commercial world (Popular Library, 1968), Sons of the Ocean Deeps (1952), illustrating serialized stories published in the Chicago Treasury of Great Science Fiction Stories #2 (Popular Li-Tribune, including several Sax Rohmer Fu Manchu brary, 1965), The Universe Maker (Ace, 1953), Vault of novels. He married Karin Anna, had a son (Paul the Ages ( John C. Winston Company, 1952).

John, b. 1921) and moved into the advertising market where he worked his way up to art director. By MAGAZINES ILLUSTRATED INCLUDE:

1930 the demand and pay scales for pulp illustrators 2CSAB: 1951 (spring)

was too high to resist and he moved to Mount Ver-AMZ: 1955 (1, 3, 12); 1956 (2)

non, in Westchester NY to become a freelance illus-ASF : 1933 (10, 12); 1934 (1, 3, 5); 1938 (8, 9, 10, trator. His work appeared in The New York Times, 11); 1939 (2, 3, 4, 5, 6, 7, 9, 10, 12); 1940 (1, 5, 7, 8, Reader’s Digest, and many other non-genre maga-9, 10, 12); 1941 (1, 8, 10, 11); 1942 (1, 2, 3, 5, 6, 7, 8, zines as well as in many pulps.

9, 10, 11, 12); 1943 (1, 3, 4, 5, 6, 7, 9, 10, 11, 12); 1944

Orban was a gifted and prolific graphic illustra-

(1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1945 (1, 2, 3, 4, 5, tor who did some cover art, but he mainly worked 6, 7, 8, 9, 10, 11, 12); 1946 (1, 2, 4, 5); 1947 (1, 2, 3, as an interior artist for pulp titles, including, but 4, 5, 6, 7, 10, 12); 1948 (2, 5, 6, 7, 8, 9, 10, 11, 12); 1949
not limited to, Astounding Stories, Astounding Sci-

(1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1950 (1, 3, 4, 6, 10, ence-Fiction, Clues Detective Stories, Popular Detective, 12); 1951 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11); 1952 (2, 3, Skyfighters, Strange Stories, Terror Tales, Popular’s Hor-4, 6, 7, 8, 9, 11, 12); 1953 (1, 2, 3, 5, 7, 8); 1954 (1, 2, ror Stories, Texas Rangers, and Thrilling Adventures 7, 8)

as well as the “big name” hero pulp titles The CF : 1942 (spring); 1944 (winter)

Shadow, The Whisperer, The Phantom Detective, The DYN: 1952 (12); 1953 (3, 8, 10); 1954 (1) Avenger and Doc Savage (which he illustrated from FF : 1953 (2, 6)

its first issue until its last, in 1949). As Weinberg FSQ: 1950 (summer, fall); 1951 (winter, spring, notes, “He used an attractive cross-hatched style that summer, fall); 1952 (winter, spring, summer, fall); worked well on the inexpensive paper used for most 1953 (1, 3, 5, 7); 1954 (spring, summer, fall); 1955
pulp publications” (p. 204). Orban continued work-

(winter, spring)

ing for the pulps through the 1950s, adding IF, Star-FTC: 1954 (12)

tling Stories and Thrilling Wonder to the list, al-FUT: 1951; 1952 (11); 1953 (1, 3, 5, 7, 9, 11); 1954
though he is especially remembered for his excellent (1, 3, 6, 8, 10); 1955 (#28); 1956 (#30, #31); 1957
work for Astounding SF, including four covers for (spring); 1958 (4, 6, 8, 10, 12); 1959 (2, 4); 1960 (4) the magazine, December 1948 for Poul Anderson IF : 1953 (5, 7, 9, 11); 1954 (1, 3, 4, 5, 6, 7, 8, 9, story “Genius” (December 1948) and The Double-10, 11, 12); 1955 (1, 2, 3, 4, 5, 6, 7, 8, 10, 12); 1956 (2, Dyed Villains” (September 1949), Hal Clement’s cel-4, 6, 8, 10, 12); 1957 (2, 4, 6, 8, 10, 12); 1958 (2, 4, ebrated “Needle” (May 1949), and James H.

6, 8, 10); 1959 (2)

Schmitz’s “Space Fear” (March 1951). Weinberg also INF : 1956 (8, 10); 1957 (2, 4, 6, 7, 9, 10); 1958 (4) recounts the story that after Orban’s illustration was PS: 1951 (1, 3)

published for the story “Deadline” by Cleve Cartmill RS: 1953 (4, 7)

( Astounding, 1944), he was quizzed by military intel-SF : 1953 (1); 1954 (2); 1955 (1, 3, 5, 7, 9, 11); 1956
ligence agents about it. It was not until after the war (1, 3, 7, 9); 1957 (1, 3, 5, 7, 9, 11); 1958 (8); 1959 (2, that Orban discovered that the story described the 3); 1960 (1)

atomic bomb over a year before it was ever used. In SFA: 1952 (11); 1953 (2, 3, 5, 7, 9)

all, Orban worked for as many as twenty-five sci-SFQ: 1952 (11); 1953 (2, 5, 8, 11); 1954 (2, 11); ence fiction magazines, and when these began to 1955 (8, 11); 1956 (5, 8, 11)

365

Palencar

SpS: 1952 (12); 1953 (2, 4)

tion Annuals, American Artist Magazine, Spectrum SpSF : 1952 (5, 9, 11); 1953 (2, 3, 5, 7, 9) anthologies and others and several of his works are SS: 1941 (5); 1942 (9); 1943 (3); 1946 (winter); in private collections including The Philadelphia 1950) 5, 9, 11); 1951 (1, 3, 5, 7, 9); 1952 (1, 2, 4, 6, 10, Museum of Art and the Columbus Museum of Art.

11, 12); 1953 (1, 4, 5, 10); 1954 (1, spring); 1955 (win-Outside the United States he has been a featured ter, spring, summer)

artist in IDEA magazine in Japan and is part of an SSF : 1956 (12); 1957 (2, 4, 6, 8, 10, 12); 1958 (2, ongoing artist in residence program in Ireland; his 4, 6, 8, 10, 12); 1959 (2, 10);
paintings were included in a special exhibit at the StrS: 1939 (2, 4, 6, 12); 1940 (6)

National Museum in Dublin, “Images of Ireland.”

GTRE: 1964 (1); 1965 (2)

His work was included in the Spectrum Retrospec-TWS: 1940 (6); 1943 (2); 1950 (4, 6, 8, 10, 12); tive exhibition held at the Society of Illustrators Mu-1951 (2, 4, 6, 8, 10, 12); 1952 (2, 4, 6, 8, 10, 12); 1953
seum of American Illustration in New York, 2005.

(2, 8); 1954 (spring, summer)

Sources: artist website at www.johnjudepalencar.com; UK: 1939 (3, 4, 5, 6, 7, 9, 11, 12); 1940 (1, 3, 8); Haber, Karen. “Caught Between Worlds: John Jude Palencar” gallery article in Realms of Fantasy Feb 2000; Sara Felix Sci-1942 (2, 4, 6, 8), 10, 12); 1943 (2, 4, 6, 8) ence Fiction website at www.sarafelix.com WSA: 1952, 1953

Collections and Anthologies

Palencar, John Jude

(various contributing artists)

(b. February 26, 1957) American artist. Born in Grant, John and Humphrey, Elizabeth with Scov-Fairview Park, Ohio, Palencar graduated from the ille, Pamela. The Chesley Awards: A Retrospective Columbus College of Art and Design in 1980 with (AAPL, 2003), Fenner, Arnie and Cathy, eds. Oria BFA degree. In that same year, he won a scholar-gins: The Art of John Jude Palencar (Underwood, ship to the Illustrators Workshop in Paris, France as 2006).

well as the top cash prize presented by the Society of Illustrators National Student Competition. Primar-Published Work
ily a book illustrator, Palencar’s work has been seen BOOKS ILLUSTRATED INCLUDE: Angel-Seeker (Ace, on numerous children’s, young adult and adult 2005), Alleluia Files (Ace, 1998), All the Bells on Earth books for major publishers such as Bantam, Dell, (Ace, 1995), Arm of the Stone (SFBC, 1998), Chasing Penguin USA, Simon & Schuster, Time/Life Books, Fire (Bantam Spectra, 2005), Child Goddess (Ace, National Geographic Television (Europe and Asia) 2005), Dream Cycle of H. P. Lovecraft: Dreams of Terand in magazines such as Playboy and Heavy Metal.

ror and Death (Ballantine, 1985), Archangel (Ace, He also has done work in advertising and corporate 1996), Attila’s Treasure (Bantam, 1996), Beast Rising illustration, for clients such as Anheuser-Busch and (Pocket, 1987), Becoming Human (Penguin/Roc, Paramount Pictures.

1995), Black Tattoo (Penguin, 2006), Blood Debt Palencar’s art is unique, a combination of classic (DAW, 1997), Blood Lines (DAW, 1993), Blood Pact figurative technique and fantastic symbolism that (DAW, 1993), Blood Price (DAW, 1991), Blood Storm produces elegant and graceful but psychologically (Ace, 1989), Blood Trail (DAW, 1992), Bone Doll’s moody imagery. His style draws from the Vienna Twin (Bantam, 2001), Child of the Prophecy (Tor, School of Fantastic Realism, group of artists founded 2001), Children of Men (Warner, 1994), Chthon (Ace, in Vienna in 1946 that included Ernst Fuchs, whose 1987), Clay’s Ark (Warner Aspect, 1996), Daughter of art Palencar’s echoes, with its emphasis on the tech-the Forest (Tor, 2000), Dawn (Warner, 1999), Dead niques of the Old Masters, but expressed with a de-Morn (Ace, 1994), Desperation (Penguin/Signet, gree of realism, clarity and color palette that com-1997), Devil’s Advocate (Legend, 1990), Distant Stars pares to early Flemish painting, combined with (Bantam, 1981), Dreams Underfoot (Orb, 2003), fantastic and esoteric symbolism. Palencar works in Earthsong (DAW, 1994), Eldest (Knopf/BCE, 2005), oils and acrylics to create highly finished surfaces, Empty Cities of the Full Moon (Ace, 2001), Eragon and his imagery is subtle, and suggestive. There is an (Knopf/BCE, 2003), Evolution’s Shore (Bantam, unearthly, surrealistic quality to Palencar’s work, 1995), Eye of Flame (Five Star, 2003), Fellowship of which lends itself to fantasy and horror illustrations.

the Ring (Houghton Mifflin, 2005), Fire Watch Palencar has received dozens of awards including (Bantam, 1998), Forest House (Viking, 1994), Forests Gold and Silver Medals from the Society of Illus-of the Heart (Tor, 2000), Four and Twenty Blackbirds trators and two of Spectrum’s Gold Awards, in the (Tor, 2005), Ghost Light (Berkley, 1984), Hidden book category. He has been given three Chesley Warrior (Spectra, 2003), Hollow Man (Bantam, Awards by The Association of Science Fiction Artists 1992), The Hollowing (Penguin/Roc, 1994), Impos-

(ASFA), in three consecutive years, 1999. 2000, 2001.

sible Things (Bantam/BCE, 1993), Imago (Warner His work has been accepted in many Society of Il-Aspect, 1997), Innkeeper’s Song (ROC, 1994), Jovah’s lustrators Annuals, Communication Arts Illustra-Witness (Ace, 1997), Kushiel’s Avatar; Kushiel’s Cho-

Papé

366
sen; Kushiel’s Dart (Tor, 2003, 2002), Lady of Avalon drawn illustrations combine elements of the gro-

(Viking, 1997), Lord of the Crooked Paths (Ace, tesque, the humorous, the horrific and the fantas-1987), LoveDeath (Warner, 1994), Master of the Fear-tic … often containing striking images” (Horne, ful Depths (1989), Mind of My Mind (Warner Ques-p. 342), which is why his art was often compared to tar, 1994 ), Moonlight and Vines (Tor/Orb, 2006), Of that of Sidney Sime* and Harry Clarke*, and thus Saints and Shadows (Ace, 1998), Onion Girl (Tor, well suited to illustrate Cabell’s work. With the pub-2001), Oracle’s Queen (Spectra, 2006), Parable of the lication of the limited illustrated edition of Cabell’s Sower; Parable of the Talents (Warner Aspect, 1995, Jurgen in 1921, Papé became an “overnight” success.

2001), Patternmaster (Warner Aspect, 1995), Personal Cabell’s 1919 novel had been suppressed in New York Darkness (Dell, 1993), The Postman (Bantam/BCE, on moral grounds and so, of course, became his most 1986), A Princess of Roumania (Tor, 2005), Redemp-famous work to date. Papé’s illustrations were re-tion of Althalus (Ballantine/Del Rey, 2001), The Reg-produced in photogravure for the plates and in ulators (Penguin/Signet, 1997), Restless Dead (Trophy, black-and-white for the images within the text. The 1994), Return of the King (Houghton Mifflin, 2005), plates debuted a new style and a device he was to Return to Avalon (DAW, 1996), Rhinegold (Bantam, use to great effect for years: an illustrated border 1994), Road to Madness : The Transition of H. P. Love-below the main image. The frontispiece was to be craft (Ballantine, 1996), A Scattering of Jades (2002), one of his last published color paintings. He was Scorpio; Scorpio Descending; Scorpio Rising (Ace, usually credited as Frank C. Pape for his book illus-1990, 1991), Serpent’s Egg (Ace, 1988), Shadows Over trations.

Baker Street (Ballantine/Del Rey, 2003), Shadows In 1907 Papé married Agnes Mary Stringer, an over Innsmouth (Ballantine/Del Rey, 2001), Sisters of artist reported to have attended the Slade School of the Night (Warner, 1998), Smoke and Ashes (DAW, Fine Art, London, “whose illustrations to Little Folks 2006), Smoke and Mirrors (DAW/SFBC, 2005), (c. 1910) are in her husband’s early manner, and who Someplace to be Flying (Orb, 2005), Son of the Shad-did much of the coloring of his pictures.” (Horne, ows (Tor, 2001), Spirits in the Wires (Tor, 2003), Star citing Peppin, ibid. ). If that is the case, such collab-Wars Darth Bane, Path of Destruction (Ballantine Del orations would most likely have occured sometime Rey/BCE, 2006), Tales of the Cthulhu Mythos (Bal-early in his career, when Papé did illustrations for a se-lantine/Del Rey, 1998), Teat’s War (Ace, 1987), ries of fairy tale books ( The Ruby Fairy Book; The Di-Tehanu: The Last Book of Earthsea (Bantam, 1991), amond Fairy Book; and The Golden Fairy Book, all in Territory (Ace, 1987), Terrorists of Irustan (Ace, 1999), 1911) because according to Jim Vadeboncoeur Jr., Testament (ROC, 1995), Trader (Tor/Orb, 2005),

“soon after World War I he settled into the black and The Troupe (Pocket, 1988), Two Towers (Houghton white style with which readers are most familiar”

Mifflin, 2005), Wall at the Edge of the World (Ace, (2000, online). Papé later illustrated children’s books 1993), White Tribunal (Bantam, 1997), White Tyger that his wife wrote, such as Fair Folk of Many Lands (Tor, 2007), Wild Swans (Warner, 1999), Waifs and (1920), Picture Story of Robinson Crusoe, Picture Story Strays (Viking, 2002), Wild Seed (Warner, 1999), of Lorna Doone (both, 1933). He also did several imag-Wings to the Kingdom (Tor, 2006), Wizards: Magi-inative drawings for magazines such as Boy’s Herald, cal Tales from the Masters of Modern Fantasy (Berkley, Cassell’s Magazine and Nash’s Pall Mall Magazine.

2007).

Most sources report that Papé’s illustration career M
came to an abrupt stop in the mid 1930s. Dalby AGAZINES ILLUSTRATED INCLUDE:

AMZ: 1999 (spring)

states that “increasingly bad sight led to blindness, Misc. : The Art of John Jude Palencar: 2006 wall cutting short Papé’s career at age sixty,” which re-Calendar (Andrews McMeel, 2005)

sulted in the artist’s spending “the last thirty-four years of his life in relative obscurity.” (Weinberg, p.

205). Contradicting that claim is Vadeboncoeur’s Papé, Frank Cheyne
discovery that Papé’s art appeared for over ten years ( July 4, 1878–1972) British artist. Born in South in issues of an obscure children’s magazine called London. Papé was a prolific artist of French ances-Uncle Ray’s Corner, which began publication in try who illustrated many books from circa 1908, his Chicago, Illinois in November, 1943. Papé was also earliest recorded work, until the late 1930s, but ear-listed as “Art Director” in the November 1947 issue lier biographical information about him is unavail-and for most issues afterwards (Biography online, able. His best works are considered to be the illus-2000). Previously, Papé had provided illustrations trations done for illustrated editions of books by for a children’s book written by the publisher of the Anatole France and James Branch Cabell, in the magazine, Ramon (Peyton) Coffman, published by 1920s, although he also provided illustrations for the American publisher Rand McNally, in 1936: works as varied as The Complete Works of Rabelais, Uncle Ray’s Story of the Stone-age People. Papé also is and Tales of the Arabian Nights. “(Papé’s) finely credited as the illustrator for a 1962 children’s book

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Hercules (Oxford University Press). We cannot say his work soon was appearing on most major maga-which report is true, however some of Papé’s letters zine covers.

and papers c. 1921–1931 are held by Stanford Univer-Like many other magazine illustrators, Parkhurst sity, California. This library collection of his letters found work during the Depression by working for and contracts also contains numerous drawings re-pulp magazines. Beginning in the early 1930s he did lated to seven of his most famous books, which sug-illustrations for the Fiction House Publishing chain gests that the artist may not only have continued and numerous covers for the Trojan Magazine Com-drawing for a longer time than previously thought, pany, publishers of the “Spicy” series of pulps, with but also that he, or members of his family, may have titles such as Spicy Detective, Spicy Western Stories, moved temporarily or permanently, to the United Spicy Mystery Stories, Spicy Adventures, and so on. He States before his death.

became established with Fiction House and worked Sources: Horne, Alan. Dictionary of Twentieth Century for them most of his later life.

British Book Illustrators (Antique Collectors’ Club, 1994); Although Parkhurst did science fiction magazine Vadeboncouer, Jr., Jim. The Vadeboncoeur Collection of Knowledge, 2000 Online at www.bpib.com/illustra2/pape.htm; An-covers, he was much better known for his covers in cestry.com and The Church of Jesus Christ of Latter-day the detective and weird-menace vein. He worked Saints. 1881 England Census; England & Wales, FreeBMD
primarily in oils and painted in comparatively large Marriage Index: 1837–1983 [database on-line]. Provo, UT, sizes: his cover paintings were usually twenty-four by USA: The Generations Network, Inc., 2004, 2006; Weinberg, 1988.

thirty-two inches, often even larger. He signed all his work but owing to his differing use of initials and Published Work (dates are for
credits, “H. L. Parkhurst” or “H. L. V. Parkhurst,”

British first editions except as noted) or “Harry L. Parkhurst” there has been some confu-The Cream of the Jest ( John Lane the Bodley sion in identifying his work, and actual name. His Head, 1927), Domnei ( John Lane the Bodley Head, anatomy background served him well for these 1930), Figures of Earth ( John Lane the Bodley Head, paintings, for he was an expert at depicting beauti-1925), High Place (McBride U.S., 1923), Jurgen ful women in peril. Along with H. J. Ward, Parkhurst ( John Lane the Bodley Head, 1921), Mother of Pearl created some of the visually arresting and infamous ( John Lane the Bodley Head, 1929), Penguin Island covers ever published in the 1930s and 1940s, most ( John Lane the Bodley Head, 1925), Revolt of the featuring excellently painted but terrified blondes, Angels ( John Lane the Bodley Head, 1924), The Sil-whether the story was a mystery, western or science ver Stallion ( John Lane the Bodley Head, 1928), fiction. Like many artists of the time, Parkhurst was Something About Eve ( John Lane the Bodley Head, better at depicting fear, terror and surprise in hu-1929), Thais ( John Lane the Bodley Head, 1926), mans than in imagining monsters.

The Way of Ecben ( John Lane the Bodley Head, Parkhurst was married and lived in Garden City, 1929), The Well of St. Clare ( John Lane the Bodley New York, where he helped to establish an Art Cen-Head, 1928).

ter for that city. He was prominent in many clubs and art organizations in the New York area and Parkhurst, H. L.

served four consecutive years as chairman of the ( July 22, 1876–1950) American artist. A leading Graphic Art Group of the Advertising Club of New cover artist from the 1920s to the 1940s, Harry York.

Lemon Parkhurst was born in Minnesota and stud-Sources: www. lambiek.net/artists/p/parkhurst_h_l.htm; ied at the Art Institute of Chicago, where he com-Weinberg, 1988. Ancestry.com. World War I Draft Registration Cards, 1917–1918, and 1930 federal census [database on-pleted a four-year course in two and a half years of line]. Provo, UT, USA: The Generations Network, Inc., 2005.

intensive work on anatomy. The artist credited this background for the naturalness and solidity of his Published Work
illustration work.

PS: 1944 (fall, winter); 1945 (spring, summer, After graduation Parkhurst went to work for the fall, winter); 1946 (spring)

World and the Journal as a newspaper illustrator. He SS: 1942 (7); 1947 (9)

then spent fifteen years in the advertising field as art StrS: 1939 (2, 6)

director and visualizer for national accounts. It is TWS: 1943 (2); 1946 (fall)

not known when he moved to Long Island, New York, to work for an advertising agency there, but his Parkinson, Keith Arlin

Draft registration card for World War I, completed (October 22, 1958–October 26, 2005) American in 1918 when the artist was forty-two, shows that he artist. Born in West Covina, California, Parkinson was living here and employed in advertising at that attended Michigan State University and graduated time. He became known for his work for Colgate, from the Kendall School of Design Grand Rapids, American Tobacco, and Eastman Kodak. During Michigan, in 1980. He began his commercial art ca-this time he began doing freelance illustration, and reer with a staff position at Advertising Posters,

Parkinson

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silkscreen printers that printed and generated art for confidently depicted characters. He set a high stan-the pinball and arcade video industry. He first made dard for artistic quality, and was famous for his nara name for himself as the youngest member of the rative ability, and depictions of dragons and armor.

founding group of four staff artists ( Jeff Easley*, His landscapes showed the power of his technique, Clyde Caldwell*, Larry Elmore* and Parkinson) ranging from stark, barren, snow covered wastes to hired by TSR, Inc., the game company that origi-grand, finely executed forests. He also excelled in nated the Dungeons & Dragons(™) role-playing slyly humorous works, painted in a broad style that game. During his five years at TSR(™) he created through exaggeration, satirized the elements and fantasy illustrations for a wide range of projects in-characteristics of familiar types of game characters; cluding magazines, calendars, game boxes, modules, his reminder, perhaps, not to take the genre too se-and books. The various titles include: Dragonlance, riously. Parkinson died while a patient at UCSD

Forgotten Realms, Gamma World and Amazing Stories.

Thornton Hospital, La Jolla (California), following In the late 1980s, Parkinson moved on to freelanc-a 16-month struggle with Acute Myelogenous ing and spent seven years primarily doing book Leukemia (AML), His wife, Donna, Director of covers for the New York publishing market. Clients Business Operations at Sigil Games, and two sons included Random House, Bantam, Del Rey/Ballan-from a previous marriage survive him.

tine, Penguin, Avon, Berkley/Ace, Baen, and Tor Sources: www.keithparkinson.com; Obituary: Locus Mag-Books. He illustrated works by best selling authors azine December 2005; Keith Parkinson interview: www.sig-ilgames.com, accessed 12/2005; Spellbound: The Keith Parkin-such as Terry Goodkind, David Eddings, Anne Mc-son Sketchbook Vol. 1 (SQP Inc., 1998); Kingsgate: The Art of Caffrey, Orson Scott Card, Tracy Hickman and Keith Parkinson (SQP, Inc., 2004); KnightsBridge: The Art of Margaret Weis, C.J. Cherryh, Terry Brooks. Dennis Keith Parkinson (FPG Inc., 1996), Terry Brooks. “Gallery: McKiernan and others. From the beginning of his Magic at Work” Realms of Fantasy Magazine, October 1996.

freelance career Parkinson licensed his artwork for Collections/Anthologies
use on computer games, puzzles, foreign publica-

(various contributing artists)

tions and many other miscellaneous uses. During Blashfield, Jean (ed). The Art of Dragon Magazine this time Parkinson received many awards for his (TSR, Inc., 1988; Heeszel, Marlys (ed). The Worlds art, most notably Chesley Awards for best hard cover of TSR (TSR, Inc., 1994); Kingsgate: The Art of Keith jacket illustration in 1988 and 1989.

Parkinson (SQP, 2004); Kirchoff, Mary (ed). The In August of 1995 Friedlander Publishing Group Art of the Advanced Dungeons & Dragons Fantasy (FPG, Inc.), a known publisher of fantasy art trad-Game. TSR, 1989; Kirchoff, Mary (ed.) The Art of the ing cards and art books, financed and published Dragonlance Saga (TSR/Wizards of the Coast, 1998); Guardians, Parkinson’s first foray into game design.

Knightsbridge: The Art of Keith Parkinson (FPG, Inc., Parkinson provided the layout and design, rules, art 1997); Spellbound: Keith Parkinson Sketchbook Vol. 1
direction, and some artwork. The collectible card (SQP, 1998); Weis, Margaret (ed). The Art of the game used top artists in the fantasy art field to illus-Dungeons & Dragons Fantasy Game (TSR, Inc., trate Parkinson’s characters. FPG published Parkin-1985); Weis, Margaret (ed). Masters of Dragonlance son’s first art book, Knightsbridge: The Art of Keith (Wizards of the Coast, 2002).

Parkinson (1997) and both of the artist’s collector card sets. His second art book Kingsgate: The Art of Published Work

Keith Parkinson, was published in 2004, by SQP, BOOKS ILLUSTRATED INCLUDE: After the King Inc. In 2000, Parkinson began devoting more time (Tor, 1992), An Oblique Approach (Baen, 1998), The to writing and moved the focus of his commercial Anubis Murders (ROC, 1992), Ars Magica (Bantam, artwork into the software industry, producing art for 1989), Babylon 5: Accusations, Clark’s Law (Boxtree, the popular multiplayer EverQuest online role-play-1995, 1996), Bristling Wood (Bantam/Doubleday, ing game by Sony, and THQ’s Summoner. He also 1990), Camelot Chronicles (Random House, 1995), painted an EverQuest piece that appeared on the Carnivores of Light and Darkness (Warner. 1998), cover of TV Guide magazine. In April of 2002

Cat-a-Lyst (Ace, 1991), The Changeling Saga: 1 The Parkinson became the Art Director at Sigil Games Changeling War, 2 The Sorcerer’s Gun (Ace, 1999), Online, a company he co-founded with EverQuest Charlemagne’s Champion (Ace, 1990), Chernevog (Del colleagues Brad McQuaid and Jeff Butler.

Rey/Ballantine, 1990), Chronicles of Pern (Del Rey/

Parkinson’s impact on fantasy and science fiction Ballantine, 1993), Daggerspell (Bantam, 1993), The illustration, from gaming and the worlds of Dun-Dark Sword’s Lover (Ace, 1990), Dawn Song (Mor-geons & Dragons(™), to the many excellent covers row/Avon, 1990), Days of Blood and Fire — A Novel in “mainstream” publishing, was large. To the ear-of the Westlands (Bantam, 1993), Death Gate Cycle: 1
liest fans of D&D(™) role-playing games, Parkin-Dragon Wing, 2 Elven Star, 3 Fire Sea, 4 Serpent son’s oil paintings were synonymous with the look of Mage 5 Hand of Chaos (Bantam, 1990, 1992, 1993), the game, with strong colors, intense scenes, and Debt of Bones (Orion, 2001), The Deed of Paksenar-

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rion (Baen, 1992), Deepwater Dreams (Avon, 1991), Guide (1990), Castle Greyhawk (1988), Circus of Fear: Dragon Revenant (Doubleday, 1990), The Elenium: 1

Endless Quest #10 (1983), Complete Barbarian’s Hand-Diamond Throne, 2 Ruby Knight, 3 Sapphire Rose book (1995), Complete Book of Dwarves (1991), Com-

(Del Rey/Ballantine, 1989, 1991), The Earth Lords plete Book of Gnomes and Halflings (1993), Complete (Ace, 1989), Eye of the Hunter (Penguin/Roc, 1992), Book of Villains (1994), Complete Druid’s Handbook Falkenberg’s Legion (Baen, 1990), The Far Kingdoms (1994), Complete Ranger’s Handbook (1993), Conan (Del Rey/ Ballantine, 1994), Feather Stroke (Avon, and the Prophecy (1985), Creative Campaigning 1989), First King of Shannara (Ballantine/Del Rey, (1993), Crown of Ancient Glory (1987), Destiny of Legend, 1997), Fortress of Eagles (HarperCollins, Kings (1986), Doom Brigade (1998), Draconomicon 1998), Galactic Dreams (Tor, 1994), Go Tell the Spar-

(1990), Dragonlance: Fifth Age (1996), Dragons of tans (Baen, 1991), Green Rider (DAW, 2000), Hand Desolation (1984), Dragons of Hope (1984), Dragons of Chaos (Bantam, 1993), Heritage of Shannara: 1
of War (1985), Duel of the Masters: Endless Quest # 21

Scions of Shannara, 2 Druid of Shannara, 3 Elf Queen (1984), Dungeon Master’s Design Kit (1988), Egg of (Del Rey, 1992, 1993), Homecoming: 1 The Memory the Phoenix (1987), Encyclopedia Magica 3 (1995), of Earth, 2 The Call of Earth, 3 The Ships of Earth, Everquest: Luclin; Temple of Solusek Ro: EverQuest 4 Earthfall, 5 Earthborn (Tor, 1993, 1994, 1995), The Player’s Handbook (Sword & Sorcery Studios, 2003), Illusionists (Warner Questar, 1991), Isle of Destiny The Eyes Have It (1989), Final Enemy (1983), Forest (Bantam, 1990), Judson’s Eden (Baen, 1991), Legends Oracle (1984), Gamma World, 4th Ed. (1992), For-2 (TOR, 1999), Lens of the World (Morrow/Avon, gotten Realms Campaign Set (1987), Gateway to 1990), Lost Prince (Del Rey/Ballantine, 1993), Ma-Ravens Bluff, The Living City (1989), Ghost Tower gician (Doubleday SFBC, 1982). Mortalis (Del (1985), GURPS Cyberworld (Steve Jackson Games, Rey/Ballantine, 2000), Neena Gathering (Pageant, 1993), History of Dragonlance (1995), Keep of the An-1988), Nothing Sacred (Doubleday, 1991), The Pearl: cient King (1983), Kingdom of Sorcery Trilog y: 3 Clash 1 The Ring of Five Dragons, 2 The Veil of a Thousand of the Sorcerers (1986), Lankhmar: City of Adventure Years (Tom Doherty, 2001, 2002), Polgara: The Sor-

(1993), Legends & Lore (1990), Light on Quests Moun-ceress (Del Rey/ Ballantine, 1997), Prince of Mercenar-tain: Endless Quest Book #12 (1986), Marvel Super ies (Baen, 1989), Revenge of the Valkyrie (Ace, 1989), Heroes Adventure Gamebook #1: The Amazing Spi-Road To Ehvenor (ROC, 1991), Rusalka (Del Rey, der-Man City of Darkness (1986), Moonshae Trilog y: 1990), Song of the Dwarves (Ace, 1988), Stainless Steel Darkwallker on Moonshae, Black Wizards, Darwell Visions (Tor, Legend, 1994), Sword of Truth: 2 Stone (TSR, Inc., 1987, 1988, 1989), Mines of Bloodstone of Tears, 4 Temple of the Winds, 5 Soul of the Fire, 6

(1986) Monsters & Animals, 2nd Ed. (Palladium, Faith of the Fallen, 7 Pillars of Creation 8 Naked Em-1996), Monstrous Compendium Annual 3 (1996), pire, 10 Chainfire (TOR, 1998, 1999, 2000, 2002, Monster Mytholog y (1992), Necropolis: Dangerous 2003, 2004, 2005), Stone of Tears (Tor, 1997), The Journeys (Game Designers Workshop, 1992), Necrop-Tamuli: 1 Domes of Fire, 2 Shining Ones, 3 Hidden olis: d20 System (Necromancer Games, 2000), City (Del Rey/Ballantine, 1993), Talismans of Shan-Player’s Guide to the Dragonlance Campaign (1993), nara (Legend, 1994), The Tangle Box (Del Rey/Bal-Queen of the Spiders (1986), Renegades of Luntar: lantine, 1994), Three Complete Xanth Novels (Random Endless Quest 3 (1985), Rifts, Rifts World 2: Atlantis, House/Wings, 1994), Time of Exile (Bantam, 1992), Rifts World 3: England (Palladium, 1990, 1992, Time of Omens (Bantam, 1992), Twistor (Morrow/

1993), Sabre River (1984), Saga of the Shadow Lord Avon, 1991), The Varayan Memoir: 1 Son of the Hero.

(1986), Sages & Specialists (1996), Savage Coast 2 Hero of Varay (Penguin/Roc, 1990, 1991), Voyage of (1985), Spawn of Dragonspear (1988), Tales of the the Fox Rider (Penguin/Roc, 1993), The Warrior Lives Lance (1992), Tears of the Night Sky: Chaos Wars (NAL, 1988), Warrior’s Tale (Ballantine Del Rey, (Wizards of the Coast, 1998), Temple of Elemental 1994), War World: Burning Eye (Baen, 1988), West Evil (1985), Throne of Bloodstone (1988), To Find a of Eden Trilog y: 3 Return to Eden (Bantam, 1988), King (1985), Unsung Heroes (1992), Waterdeep and the Witches’ Brew (Del Rey, 1996). Wolf king: 1 Wolf k-North (1987), Wrath of Olympus (1987), Zebulon’s ing, 2 Lost Prince (Del Rey, 1992, 1993), The Water Guide to Frontier Space (Star Frontiers, 1985), 24

King’s Laughter (Avon, 1989), The Year’s Best Fantasy Hour War: Endless Quest (Wizards of the Coast, Stories 14 (DAW, 1988), Yvgenie (Del Rey/Ballan-1995).

tine, 1991).

MAGAZINES ILLUSTRATED INCLUDE:

GAME-RELATED ILLUSTRATIONS INCLUDE (ALL

AMZ: 1984 (9); 1985 (5); 1986 (11)

TSR, INC., UNLESS NOTED): Arms and Equipment ASFM: 1989 (12); 1993 (11)

Guide (1991), Bane of Llywelyn (1985), Book of DRA: 1988 (1) DRA: 1990 (1)

Knights: Pendragon Manual (Green Knight Publish-DUN: 1986 (9/10)

ing, 2000), Campaign Sourcebook and Catacomb ROF : 1996 (6); 1997 (2)

Paul

370

Misc.: Art of Keith Parkinson collector trading Quarterly. Paul remained with Gernsback and pro-card set, Keith Parkinson Colossal Cards (FPG, Inc.

vided all of the covers and most of the interior il-1994, 1996), Parkinson Masterworks Miniatures set lustrations. In 1930 Clayton magazines started pub-

#1. #2 (Dark Sword Miniatures, 2004, 2005) Dag-lishing Astounding Stories, and within a short time, ger Isle: Guardians card art (FPG, Inc, 1995), Dragon he began illustrating for it as well.

Tales screen saver (Second Nature Software, 1992), Paul was extremely popular with the fans of the The Fantasy Art of Keith Parkinson 2006 Calendar early 1930s, although everyone who has seen his art (Ronnie Sellers Productions); Go Quest, Young Man would agree with Weinberg: “His art was bright and interior art Game Trade Magazine #11 ( January, garish; his people were stiff and simplistic, but his 2001), Magic the Gathering: Eight Edition RPG
cities and spaceships were imaginatively done with (Wizards of the Coast/Hasbro, 2003), Tales of the great detail.” (p. 207). Paul liked pure reds and yelLance trading card art (TSR, Inc., 1992), Shadis lows, particularly as backgrounds, an approach prob-Magazine cover (Fall, 1997).

ably driven as much by the inferiority of pulp paper and crude reproduction methods of the time, as Paul, Frank R.

much as the cheapness of his publishers (Gernsback (April 18, 1884–June 29, 1963) American artist.

was notoriously stringent in his expenses, so red and Frank Rudolph Paul was the first of the great sci-yellow backgrounds often dominated Paul paintings ence fiction pulp illustrators. Although perhaps not because of the lesser expenses involved in using a as accomplished an artist as many who followed, three-color instead of a four-color press). At the Paul effectively captured the feel of the science fiction same time, by using bright, primary colors in large published in the pulps during the 1920s and 1930s.

areas, and heavy black outlining to define forms, More than any other illustrator, he epitomized the Paul created effective and visually arresting images

“sense of wonder” that was a prominent feature of that would stand out among competing magazines early science fiction.

on the racks — and that remain surprisingly appeal-Born in Austria, Paul studied architecture there ing to fans of the genre sixty years later. As an indi-and later studied art in Austria, Paris, and New York.

cation of his popularity with genre fans at the time, He originally worked as an editorial cartoonist for a Paul was the Guest of Honor at the very first World rural newspaper in New Jersey, where Hugo Gerns-Science Fiction Convention held in New York City back discovered him in 1914. The artist was given an in July 1939. And although Paul never won a Hugo assignment for Gernsback’s magazine Electrical Ex-Award (the awards began in 1953, after he stopped perimenter, and the results proved so positive that illustrating), his art by the turn of the twentieth cen-he soon was doing numerous illustrations for that tury was in high demand by collectors, with some magazine. Paul contributed many of the interior il-pieces commanding well over $20,000.

lustrations as well as the covers to the magazine, In 1936 Gernsback sold his science fiction maga-which changed its title to Science and Invention. It zines, and for several years, Paul did very little work was a good match of talents, as Gernsback, an early in the field. During this period, however, he was fea-pioneer in amateur radio, liked to emphasize the tured in The Family Circle magazine, which had a technical aspects of science fiction and Paul, as a circulation of more than 1.4 million. The article “Bo-trained architect, was excellent at depicting strange geyman,” August 26, 1938, concentrated much more machinery and futuristic cityscapes.

on Paul’s art than on the artist but still was prob-In 1926 Gernsback started publishing the first all-ably the most exposure any science fiction artist had science fiction magazine, Amazing Stories. Paul not received in a national publication. It was heavily ilonly provided the cover painting for the magazine lustrated with many of Paul’s best covers. In the but also did the black-and-white interiors. He con-piece, Paul mentioned that his own personal favorite tinued to paint the covers and do the interiors for of his paintings was done for the December 1926

Amazing from 1926 through 1929 while also work-Amazing Stories. The unusual painting of a huge ing on other Gernsback magazines including Science ocean liner being taken to an alien world by two and Invention. He additionally worked at his regu-glowing globes was not based on any story. Instead, lar job, illustrating textbooks, and considered sci-it was an original illustration done by Paul for which ence fiction illustrating a sideline. Paul lived in sub-readers were invited to write a story around the art urban New Jersey for most of his adult life with his for a cash prize.

wife, three daughters, and a son. He played the vi-With the boom in science fiction magazines in olin and the mandolin for a hobby.

the early 1940s, Paul returned to the pulps as an old In 1929 Gernsback lost control of Amazing Stories favorite. He contributed a large number of interior through a complex bankruptcy proceeding. Gerns-illustrations to many of the magazines of the time.

back immediately began several new magazines, in-Amazing Stories and Fantastic Adventures had both cluding Science Wonder, Air Wonder, and Wonder begun a series of back-cover paintings, unrelated to

371

Paul
the stories in the issue but based instead on some jects as a way of visually identifying the field at a common theme month after month. Paul was a fre-time when SF was not yet a fully established form of quent back-cover artist for these magazines, con-specialized literature.” (p. 232).

tributing a series of paintings: Life on Other Worlds, Sources: Clute, John and Nicholls, Peter. The Encyclope-Cities on Other Worlds, Mytholog y, and Stories of the dia of Science Fiction (Orbit, 1993), Difate, Vincent. Infinite Worlds: The Fantastic Visions of Science Fiction Art (Wonder-Stars. In all, and through the course of his career, land Press/Penguin, 1997); Wu, Frank. The Fantastic Illustra-Paul would paint more than 150 covers for Gernsback tion of Frank R. Paul: Biography, Gallery and Archive www.

(closer to 190 if you count Science & Mechanics and frankwu.com/paul1.html; Weinberg, 1988.

Forecast), with a further 28 front covers for various non–Gernsback SF magazines, including all twelve Collections and Anthologies
for Charles D. Hornig’s Science Fiction, and also a (various contributing artists)

series of full color back-cover paintings for the Ziff-Aldiss, Brian. Science Fiction Art (Bounty Books, Davis Amazing Stories and Fantastic Adventures 1975), Frank, Jane and Howard. The Frank Collec-

(1939–1946). He also did all the illustration for Su-tion: A Showcase of the World’s Finest Fantastic Art perworld Comics, a Gernsback experiment of 1939.

(Paper Tiger, 1999), Frank, Jane and Howard. Great Paul contributed very little to the science fiction Fantasy Art Themes From the Frank Collection (Paper magazines during the war years. Afterwards, he again Tiger, 2003), Haining, Peter. The Classic Era of resumed illustrating, working primarily for the Pop-American Pulp Magazines (Prion, 2000), Lesser, ular Publications reprint magazines. His old-fash-Robert. Pulp Art (Sterling, 2005).

ioned art, still popular with older fans, was perfectly suited for reprints of stories from All-Story and Ar-Published Work
gosy from the 1920s and earlier.

BOOKS ILLUSTRATED INCLUDE: Complete Book of In 1953 Gernsback published his last science Outer Space (Gnome Press, 1953), Immortal Storm fiction magazine, Science Fiction +. Not surprisingly, (Atlanta Science Fiction Organization Press, 1954), Paul was a frequent contributor to the publication.

Skylark of Space (F.F.F. Publishers, 1950).

When it died after less than a year, Paul stopped MAGAZINES ILLUSTRATED INCLUDE:

working in the science fiction field. However, he AA: 1927
continued to do some fantastic illustrations even AMZ: 1926 (4, 5, 6, 7, 8, 9, 10, 11, 12); 1927 (1, 2, then. Hugo Gernsback each year published a profes-3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1928 (1, 2, 3, 4, 5, 6, 7, sional little booklet, in a magazine format, Forecast, 8, 9, 10, 11, 12); 1929 (1, 2, 3, 4, 5, 6); 1939 (4, 5, 6, which he sent as a Christmas card to hundreds of 7, 8, 9, 10, 11, 12); 1941 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, people. Filled with articles on advances in science 12); 1942 (1, 2, 3, 4); 1943 (2, 3, 4, 5, 6, 8); 1944 (9); as well as Gernsback’s own predictions for future ad-1945 (3); 1946 (8); 1948 (1); 1961 (4); 1962 (2R, 5R); vances, these attractive publications usually featured 1963 (10R); 1965 (10R, 12R); 1966 (2, 4, 10); 1967
a number of excellent Paul illustrations. And, in 1961

(4); 1968 (6, 7, 9); 1972 (7)

when Amazing Stories published a special reprint AQ: 1928 (winter, spring, summer, fall); 1929
issue for its twenty-fifth anniversary issue, special (winter, spring, summer); 1930 (summer); 1931
consultant Sam Moskowitz was able to convince the (spring)

publisher to have Paul paint a new back-cover illus-ASF : 1931 (6, 9, 10, 11); 1932 (2); 1933 (1) tration. The attractive painting featuring a fantastic ASH: 1942 (12); 1943 (2)

scene on a distant planet showed that Paul had lost AW: 1929 (7, 8, 9, 10, 11, 12); 1939 (1, 2, 3, 4, 5) none of his skills even after years of retirement from CF : 1940 (winter, spring, summer, fall); 1941
science fiction art.

(winter, spring, summer, fall); 1942 (winter) Although critics of pulp art deride the lack of sub-COM: 1941 (1, 5)

tlety in execution and simplicity of technique that DYN: 1939 (2, 4)

marks much of the art of the time, there is no deny-FA: 1939 (5, 7, 9, 11); 1940 (1, 2, 3, 4, 5, 10); 1942
ing the importance of Frank R. Paul to the history (7, 8, 9, 10, 11, 12); 1943 (1, 2, 3, 4, 7, 10); 1944 (4, of science fiction. Technically, Paul could not match 6); 1945 (7, 10); 1946 (2, 5, 7)

many of the artists who followed him; however, such FFM: 1939 (12); 1940 (1, 2, 3, 8, 10); 1941 (4, 6, comparisons in retrospect are meaningless. His art 10, 12); 1942 (4, 6, 7, 8, 9, 10)

perfectly matched the early exuberance of the stories FN: 1940 (9); 1941 (1); 1948 (5); 1949 (11); 1950 (5, it illustrated, and in that way remains an authentic 9)

and vibrant reminder of science fiction’s roots. As FTC: 1965 (9R); 1966 (3, 5, 7, 9, 11); 1967 (1, 3, DiFate puts it, “(Paul’s) seminal works were the very 9); 1968 (3, 10); 1969 (4); 1972 (12) centerpiece of SF’s early allure … with vast sweep-FUT: 1939 (11); 1940 (3, 11); 1941 (4, 8) ing cityscapes, great spaceships, and intricate ma-MSS: 1938 (11); 1951 (5, 8, 11)

chines, he established the legitimacy of such sub-PS: 1940 (summer, fall, winter); 1941 (spring,

Peake

372
summer, fall, winter); 1942 (spring, summer, fall, Wood*, of whom Peake said, in 1947 “This man was winter); 1943 (3, 5); 1945 (spring)

my secret god. His very signature was magic.” The SAT: 1957 (12); 1958 (2, 6)

mix of influences helped fashion his unique inter-SF : 1939 (3, 6, 8, 10, 12); 1940 (3, 6, 10); 1941 (1, pretations — paintings and line drawings that com-3, 6, 9)

bined a macabre humor with a talent for grotesque SF+: 1953 (3, 4, 5, 6, 8, 10, 12)

caricatures.

SFD: 1930 (4)

While serving in the army, beginning 1940, Peake SFQ: 1941 (winter, spring, summer)

began to work on Titus Groan, the first of a sequence SS: 1939 (1, 7); 1940 (3, 5, 7, 9, 11); 1941 (1, 5, 11); of three remarkable novels that are his masterpiece: 1942 (1); 1943 (6); 1944 (1, summer)

Titus Groan (1946), Gormenghast (1950), and Titus SSS: 1943 (2); 1949 (1, 4, 7, 9); 1950 (7, 9, 11); Alone (1959). Peake originally envisioned a long se-1951 (1)

ries of books featuring his protagonist, Titus Groan, StrS: 1939 (2, 4, 8, 10, 12); 1940 (12) but an early death limited works in the series to SW: 1929 (6, 7, 8, 9, 10, 11, 12); 1930 (1, 2, 3, 4, three. Peake completed the first novel following his 5)

discharge from service in 1943, and it was published SWQ: 1929 (fall); 1930 (winter, spring) in 1946. According to Sebastian Peake, son and ex-TWS: 1939 (2, 4, 10); 1940 (1, 2, 3, 4, 5, 7, 8, 9, ecutor of the Peake estate, his father delivered the 10); 1941 (3, 6, 10)

manuscript for Titus Groan with many accompa-WS: 1930 (7, 8, 9, 10, 11, 12); 1931 ( 1, 2, 3, 4, 5, nying illustrations but Graham Greene (the editor) 6, 7, 8, 9, 10, 11, 12); 1932 (1, 2, 3, 4, 5, 6, 7, 8, 9, 12); rejected the idea of the book being illustrated. Later 1933 (1, 2, 3, 4, 5, 6, 8, 10, 11, 12); 1934 (1, 2, 3, 4, editions of the book included Peake’s many fine line 5, 6, 7, 8, 9, 10, 11, 12); 1935 (1, 2, 3, 4, 5, 6, 7, 8, 9, drawings, as did later books in the series, to much 10, 11); 1936 (1, 3)

acclaim. His other illustrative projects from this WQ: 1930 (summer, fall); 1931 (winter, spring, time include The Rime of the Ancient Mariner summer, fall); 1932 (winter, spring, summer, fall); (1943), Witchcraft in England (1945), Household 1933 (winter)

Tales (Grimm’s Fairy Tales) published under wartime conditions in 1946, Dr. Jekyll and Mr. Hyde Peake, Mervyn Laurence

(1948) and contributions to the Radio Times. For ( July 9, 1911–November 17, 1968) British artist.

his illustrations for The Rime of the Ancient Mariner, Born in Kuling, Central Southern China, the son Peake used a fine cross-hatching style, which was of a missionary doctor, Peake was a writer, artist, later used for Alice’s Adventures in Wonderland and poet and illustrator best known for what are often re-Through the Looking Glass, published in 1946 and ferred to as the Gormenghast books, or (inaccu-1954. Along with those for Treasure Island (1949), rately) the “Gormenghast Trilogy.” He spent his these are considered his best-known illustrations.

early childhood in Tientsin (now Tianjin), close to He wrote Gormenghast during the period 1946–1949

Peking and when his family permanently returned to while living with his family on Sark. Published in England in 1923, he attended Eltham College, Kent 1950, it received both the Heinemann Award for where his talent was encouraged by his English Literature and a prize from the Royal Society of Lit-teacher, Eric Drake. Peake studied at Croydon erature, in 1951. A related novella Boy in Darkness School of Art (1929) and the Royal Academy Schools featuring the character Titus Groan, was published (1929–32), winning the Arthur Hacker Prize in in 1956. Titus Alone (1959). the third novel, was dis-1930, and exhibiting his works there in 1931. He tinctly different in setting, mood and length than the moved to the Channel Island of Sark to write and previous two; it was much shorter and some be-paint, after visiting his former teacher Eric Drake lieve, not properly finished. This may be related to who was setting up an artists’ colony. He exhibited Peake’s degenerating health, bouts of illness which with the group both on the island and, in 1934, in at times caused his hospitalization for nervous London at the Cooling Galleries. After his return to breakdown, but which by 1958 appeared to be early England, Peake taught life drawing part-time at symptoms of Parkinson’s disease. Nonetheless, Titus Westminster School of Art (1935–1938) and mar-Alone in its revised version (edited by Langdon ried a student of the school, the painter Maeve Jones, 1970), is still considered extraordinary, and Gilmore in 1937 during which year he also had his admirers of Peake’s idiosyncratic and surreal fiction first solo show at the Calman Gallery, London. He regret that illness prevented him from continuing began his unique career in 1939 with the publica-the series. Peake had taught drawing at the Central tion of his first book, Captain Slaughterhouse Drops School of Arts and Crafts in the 1950s, but from Anchor, an illustrated comic fantasy. Peake’s main 1955 onward the disease progressed to the point artistic influences were Goya, Rowlandson, Cruik-where he could no longer draw, and he completed shank, Dore, and, most importantly, Stanley L.

his illustrations to Balzac’s Droll Stories (1961) and

373

Peebles
his own The Rhyme of the Flying Bomb (1962) only for Warren Publications magazine, for Eerie, the An-with his wife’s help.

nual issue, 1972.

Peake’s last years were marred by medical prob-Sources: Weinberg, 1988.

lems, and he died largely forgotten, although after his Published Work
death — mainly through his Gormenghast books —

AMZ: 1970 (5, 7); 1971 (3); 1972 (1)

he became much better known and more widely ap-F&SF : 1957 (6); 1958 (11); 1963 (2) preciated: “a virtuoso prose writer in the baroque FTC: 1972 (6)

style … the most accomplished Fantastic Realist in GXY: 1957 (5, 11); 1958 (2, 5, 6); 1963 (8); 1964
modern English literature.” (Wintle, p. 367). Peake (8); 1965 (10, 12); 1968 (12); 1969 (2, 8) spent the last ten years of his life moving in and out IF : 1959 (7, 9, 11),; 1960 (7, 9); 1962 (3); 1963 (5); of various institutions and hospitals. He died at 57

1964 (5, with Dember*); 1965 (6); 1966 (2); 1968
at the rest home near Oxford which was owned by (1, 5)

his brother-in-law. He had two sons, Sebastian (b.

WOT: 1963 (4); 1965 (7)

1940) and Fabian (b. 1942). Peake’s work is held by the National Portrait Gallery, London (various por-Peebles, Peter
traits including his self-portrait) and the Imperial (October 7, 1952) American artist. Peebles was War Museum, London (drawings and paintings born in Minneapolis, Minnesota and has been living from wartime). Owen Press, 2006, published a on the east coast for the past 25 years. He graduated major illustrated book of his art and writings, from The Kansas City Art Institute on full scholar-Mervyn Peake: The Man and His Art, edited by G.

ship in 1977, studying painting and printmaking Peter Winnington, and compiled by Sebastian Peake under Lester Goldman and Wilbur Neiwald. He was and Alison Eldred. Another book by Winnington, strongly influenced and inspired by the works of who is also author of a periodical dedicated to Peake, classical Pre–Raphaelite painters and Brandywine Peake Studies, was published in the same year\ from school illustrators, and later Howard Terpning, the academic point of view: Mervyn Peake: Voice of Frank McCarthy, Burton Silverman, Richard the Heart (Liverpool University Press), Sources: e-mail from Alison Eldred, September 2006; Schmidt, and Frank Frazetta*. Shortly after gradu-www.chrisbeetles.com/pictures/artists; www.mervynpeake.org; ation Peebles moved to Boston Massachusetts, hav-www.peakestudies.com; Winnington, Peter G. Vast Alchemies: ing in mind the idea of making his career in illustra-The Life and Work of Mervyn Peake. (Peter Owen Ltd., 2000); tion, “but the idea of moving directly to New York Wintle, Justin, ed. Peake, Mervyn Laurence In: Makers of Modern Culture, U.K.: Routledge and Kegan Paul, 1981 p. 367

City was a bit intimidating.” In Boston he met and

[Online at www.spoonrecords.com/peake.html]

married his wife and began putting together a portfolio for the trips to New York City, “doing the Published Works

‘drop-off ’ routine.” His persistence paid off, and BOOKS WRITTEN AND/OR ILLUSTRATED INCLUDE: before long he had engaged an agent and was produc-Figures of Speech (Gollancz, 1954), Gormenghast (Eyre ing cover art for publishing houses, advertising and

& Spottiswoode, 1950), Mr. Pye (Heinemann, 1953), marketing campaigns. Peebles first cover commis-Titus Alone (Eyre & Spottiswoode, 1959, revised sion was for Del Rey, for Mind Light (1993). He 1970), Titus Groan (Eyre & Spottiswoode, 1946).

spent the next 16 years working for clients such as Misc. illustrated publications include: The Random House, Collier, Harper Collins, Broder-Craft of the Lead Pencil (Wingate, 1946), Drawings bund, Penguin, Wired magazine, Ace, and Tor.

by Mervyn Peake (Grey Walls Press, 1949), Poems and In 1999, tiring of the up and down pace of work-Drawings (Keepsake Press, 1965), The Drawings of ing freelance, Peebles began his transition to por-Mervyn Peake (Davis-Poynter, 1974), Mervyn Peake: trait painter. His personal and professional work had Writings and Drawings (Academy Editions, St. Mar-always focused on the human figure, so portraiture tin’s Press, 1974).

was a natural progression for his skills. His medium Pederson, John, Jr.

of choice for portraits, as for book covers is oil paint.

Recently, Peebles has given thought to returning to (?) American artist. A skilled artist, Pederson illustration, and plans on resuming attending local worked for the SF magazines in the late 1950s into genre conventions and exhibiting work there. He is the 1960s, and then appears to have left the field. He a member of ASFA, and the Portrait Society. The specialized in depicting “hard” science fiction and artist lives and works in Glen Cove, NY with his astronomical scenes, and produced a number of at-wife Barbara and daughter Olivia.

tractive covers for the Galaxy chain as well as three Sources: email from the artist November 2006; www.pe-covers for The Magazine of Fantasy & SF. Pederson terpeebles.com
worked in oils, and although his compositions tended to be simple and less detailed than others, Published Work
they were visually effective. He painted one cover BOOKS ILLUSTRATED INCLUDE: Anvil of the Sun

Pelham

374

(Penguin/Roc, 1996), Cain’s Land (Ballantine/Del and still has—huge respect. His cover art for Ballard’s Rey, 1996), Chimera (Ballantine/Del Rey, 1993), City The Drought, The Drowned World, The Terminal Who Fought (SFBC, 1993), Coelura (Tor, 1996), Beach and The Wind from Nowhere was memorable, Conrad’s Quest for Rubber (Ballantine/Del Rey, 1998), although at the time, Pelham recalls, Ballard was not Cosm (Easton Press, 1998), Crystal Singer (SFBC, happy when Penguin published him in their science 1993), Drylands (Ballantine/Del Rey, 1993), Fire in fiction category. Using an airbrush technique, Pela Faraway Place (Ballantine/Del Rey, 1993), Foun-ham created memorably graphic and symbolic im-tains of Mirlacca (Ace, 1995), In the Empire of Shadow ages for those books, distinguished by starkly sim-

(Ballantine/Del Rey, 1995), Isaac Asimov’s I-Bots: ple typography and black backgrounds, well-suited Time Was (HarperPrism, 1998), McLendon’s Syn-to dystopian fantasy. During his eleven years at Pen-drome (Ballantine/Del Rey, 1993), Medicine Show guin Pelham also became fascinated by kites, and (Ace, 1994), A Mind For Trade (Tor, 1997), Mind wrote and designed his award-winning The Penguin Light (Ballantine/Del Rey, 1993), Minds Apart (Bal-Book of Kites (1976), the first of several successful lantine/Del Rey, 1994), The Nature of Smoke (Tor, books that he wrote on the subject, winning him 1996), Nocturne for a Dangerous Man (Tor, 2000), the Gold Award of the Designers and Art Directors’

Out of This World (Ballantine/Del Rey, 1994), Pen-Association of London.

nterra (Ballantine/Del Rey, 1993), Probability Broach In 1980 Pelham left Penguin to set up his own (Tor, 1996), Quest for Tomorrow: Beyond the Stars design practice and in 1982, with the help of one of (HarperPrism, 2000), Tarzan, Lord of the Jungle/
the greatest British paper engineers, Vic Duppa-Tarzan and the Lost Empire (Ballantine Del Rey, White, he designed and co-authored the hugely suc-1997), Taylor’s Ark (Ace, 1993), Voyage to Eneh (Tor, cessful pop-up book The Human Body. The book 2000), Wizard and a Warlord (Tor, 2000), Wizard in was inspired by elaborately illustrated Victorian a Feud (Tor, 2002), Wizard in Chaos, Wizard in medical books, and was designed to use “animated”

Midgard, Wizard in Peace (Tor, 1996, 1997, 1998), diagrams to communicate the way certain human The 22nd Gear (Ace, 1993).

organs function. It sold almost three million copie, G
won the Gold Award of the Art Directors’ Club of AME-RELATED ILLUSTRATIONS INCLUDE: Battletech: I Am Jade Falcon; Warrior: Coupé: Wolves on New York, and was the book of the year at the the Border; Black Dragon (Penguin/Roc, 1995, 1996, Bologna Book Fair 1983. In 1985, Pelham collabo-1998), Mech Warrior: Dagger Point, Illusions of Vic-rated with other designers to create Universe, a spec-tory, Roar of Honor (Penguin/Roc, 1999, 2000), tacular pop-up book of cosmic history (Random Shadowrun: Blood Sport; Burning Bright; Forever House). Pelham also collaborated with novelty book Drug; Technobabel; Worlds Without End (Penguin/
publisher Intervisual Communications, Inc. (Los Roc, 1994, 1995, 1998, 1999)

Angeles, CA), the pop-up book packager responsible for revitalizing pop-ups in the 1980s, and be-MAGAZINES ILLUSTRATED INCLUDE:

came Creative Director for that company. In 1990, ABO: 1992 (summer)

for Simon & Schuster, Pelham created the largest ASF : 1995 (4)

pop-up ever made: Dimensional Man This was a IASFM: 1995 (1, 4)

unique, life size (6" tall), three-dimensional wall chart providing a vivid, detailed view of the human Pelham, David
body’s inner structure. By the end of the decade, (b. May 12, 1938) British artist. Pelham gradu-Pelham was a firmly established favorite in the world ated from St. Martin’s School of Art, London and en-of children’s pop-up books, the author of over 30
tered the field of book and magazine illustration. In titles, and well-established among the best of “paper 1962 he was appointed Art Editor of the art maga-engineers.” In 2000, he collaborated with the sculp-zine Studio International, and spent the late 1960s as tor Sir Anthony Caro to produce a highly complex Art Director of Harper’s Bazaar. He then was made fine art limited edition pop-up wall sculpture. Pel-art director of Penguin Books, appointed by pio-ham’s work has been exhibited at the Museum of neering publisher of paperback books in England, Sir Modern Art, New York, the Stedelijk Museum, Am-Alan Lane. Pelham was responsible for the change of sterdam, and the Victoria and Albert Museum, Lon-style and new look of Penguin covers in the early don. He continues to write and design a wide vari-1970s.

ety of books, mainly for children.

While Pelham does not think of himself as an il-Sources: e-mail from the artist December 2005; www.eye-lustrator of fantasy and science fiction today, his sur-magazine.com Dan Nadel. Eye Review of “Penguin By Design: A Cover Story 1935–2005,” Eye: The International Review of realist-inspired covers for Penguin’s science fiction Graphic Design, #57, Autumn 2005 [accessed December titles gave the genre a strong literary presence. Pel-2005]; “Penguin Science Fiction Covers” in Eye: The Interna-ham’s interest in science fiction was inspired by the tional Review of Graphic Design, # 22, August 1996; Sacks, novels of J.G. Ballard, an author for whom he had —

Janet. Visions of the Future (Chartwell, 1976).

375

Pennington

Published Work

Art Collections and Anthologies

BOOKS ILLUSTRATED INCLUDE: (publisher is Pen-

(various contributing artists)

guin Books except where noted) Apeman, Spaceman The Bruce Pennington Portfolio. US: Avery, 1991; (1972), Black Cloud (1968), Clockwork Orange Bruce Pennington: Paper Tiger Miniatures (art book).

(1979), Drowned World (1974), Final Stage —The Ul-U.K.: Paper Tiger, 1994; Eschatus : Future Prophecies timate Science Fiction Antholog y (1975), October the from Nostradamus’ Ancient Writings (Dragon’s World, First is Too Late (1968), Sirius (1973), Star Maker 1977, Simon & Schuster, 1978), Sacks, Janet. Visions (1973), The Day after Judgment (1974), The Demol-of the Future (Chartwell, 1976); Suckling, Nigel. Ulished Man (1974), The Drought (1974), Night of Light traterranium: The Paintings of Bruce Pennington.

(1972), The People: No Different Flesh (1973), Plague U.K.: Paper Tiger, 1991.

of Pythons (1973), Terminal Beach (1977), The Three Stigmata of Palmer Eldritch (1973), Tiger! Tiger!

Published Work

(1974), Towards Infinity: Nine Science Fiction Adven-BOOKS ILLUSTRATED INCLUDE: Abominations of tures (Pan, 1973), The Wind From Nowhere (1974).

Yondo (Panther, 1974), Age of the Pussyfoot (Corgi, 1971), Airs of Earth (NEL, 1975), Aliens from Space Pennnington, Bruce

(Panther, 1975), Alien Way (Corgi, 1973), All Judg-

(b. May 10, 1944) British artist. Pennington stud-ment Fled (Corgi, 1969), Backflash (Sphere, 1975), ied at Beckenham School of Art (1960–1962) and Best of Frank Herbert 1965–1970 (Sphere, 1976), Be-Ravensbourne College of Art (1962–1964) in Kent, yond the Curtain of Dark (NEL, 1972), Beyond This England before starting his commercial art career.

Horizon (Panther, 1974), Big Sun of Mercury (NEL, He worked as a film poster artist at Titan Arts, Lon-1973), The Big Time (NEL, 1969), Black Druid (Pan-don from 1964–1966 and for a few months at Jupiter ther, 1975), Book of Days (Arrow, 1981), Book of Studios (1966) and then became a freelance illustra-Frank Herbert (Granada, 1984), Book of the New Sun: tor in the spring of 1967. His first science fiction 1 Shadow of the Torturer, 2 Claw of the Conciliator, 3
cover appeared in the autumn of that year, Hein-Sword of the Lictor, 4 Citadel of The Autarch (Arrow, lein’s Stranger in a Strange Land, published by New 1982, 1983, 1984, 1985), Bug-Eyed Monsters (Pan-English Library. During the next two years he pro-ther, 1974), Butterfly Revolution (Panther, 1967, Bal-duced distinctive covers for a series of Ray Bradbury lantine, 1971), Canopy of Time (NEL, 1972), Canti-paperbacks for Corgi Books, followed by numerous cle for Leibowitz (Corgi, 1975), Changeling (Manor, covers for major authors such as Brian Aldiss, Isaac 1976), Children of Dune (NEL, 1977), Children of Asimov, Robert Heinlein, and Frank Herbert pri-Tomorrow (NEL, 1973), Citizen in Space (NEL, marily for New English Library. In the mid 1970s, 1969), Comic Inferno (NEL, 1973), Dai-San (Star, many of his vivid illustrations were seen also on the 1981), Dandelion Wine (Corgi, 1969), Dark Light covers of Science Fiction Monthly magazine, pub-Years (NEL, 1971), The Day of Their Return (Corgi, lished by New English Library.

1978), The Dark Man Omnibus: 2 The Dead Remem-Known for his strong use of color, striking graphic ber (Panther/Granada, 1979), Decision at Doona style, and surrealistic landscapes, Pennington’s cov-

(Corgi, 1970), Dragonflight (Corgi,), Dune, Dune ers through the 1970s and into the early 1980s are Messiah (NEL, 1979, 1981), Earthworks (NEL, 1972), among the most memorable in the genre. Though Equator And Segregation (NEL, 1973), Fahrenheit stylistically related to the works of other British 451 (Corgi, 1968), Flashing Swords I & II (May-artists working in the genre during this time period, flower, 1974, 1975), The Future Makers (NEL, 1969), for example Tim White* for meticulous handling of Genius Loci and Other Tales (Panther, 1974), Glory subject matter and luminous color, and Melvyn Road (NEL, 1971), The Goat-Foot God (Star, 1977), Grant* in terms of strong composition and comfort The Goblin Reservation (Corgi, 1971), God Emperor with dark fantasy themes, Pennington’s combina-of Dune (NEL, 1982), Gods of Foxcroft (NEL, 1972), tion of inks and varnishes with opaque watercolor Golden Apples of the Sun (Corgi, 1972), Green Brain (gouache) produced an impression of depth and bril-

(NEL, 1973), Heaven Makers (NEL, 1975), Horror liance that was distinctive. Among the early painters Horn: Best Horror Stories of E.F. Benson (Panther, Pennington admires are Blake, Goya and Bosch, and 1974), The Hounds of Tindalos (Panther, 1975), The his artwork shows their influence. Pennington’s art Illustrated Man (Corgi, 1969), Impossible Possibili-books include Eschatus (1977, a fully illustrated inties (Mayflower, 1974), Indoctrinaire (NEL, 1973), terpretation of Nostrodamus’ prophecies, demon-The Interpreter (NEL, 1972), Interstellar Two-Five strating the artist’s gothic imagination and Ultrater-

(Corgi, 1968), Island of Doctor Death (Arrow, 1981), ranium (1991), a later collection of some of his best Lost Worlds 1 (Panther, 1975), Lost Worlds of 2001
works.

(Sidgwick & Jackson, 1976), Machineries of Joy Sources: correspondence from the artist December 2005; (Corgi, 1969), Magic and Mystery in Tibet (Corgi, Weinberg, 1988.

1971), Man in the Maze (Star, 1981), Master Mind of

Pepper

376

Mars (NEL, 1972), Moon is a Harsh Mistress (NEL, tration ws an editorial spread for the Saturday Eve-1969), Mysterious Railway Stories (Star, 1985), New ning Post which encouraged him to leave the agency Maps of Hell (NEL, 1969), New Worlds 6 (Sphere, in 1964 and devote all his time to illustration. Over 1973), Night of the Warlock (NEL, 1969), On a Planet the years, Pepper’s art has appeared in numerous na-Alien (NEL, 1977), Other Dimensions, Vol.1 & 2
tional editorial and institutional magazines, news-

(Panther, 1977), Out of Their Minds (Sidgwick & papers and advertisements.

Jackson, 1973), The Pastel City (NEL, 1971), Pawns Pepper is perhaps best known for his many record of Null-A (Sphere, 1985), The Pillars of Midnight album and book covers. His decorative style has (NEL, 1972), Pirates of the Asteroids (NEL, 1972), been seen on Electra, BMG, Checkmate and None-Police Your Planet (NEL, 1978), A Princess of Mars such albums, the latter displaying his work on fifty-

(NEL, 1969), Quest for the Future (NEL, 1972), Real-six of their albums. He has illustrated for practically Time World (NEL, 1976), Rendezvous With Rama every major book publisher and in 1967 began a Riverworld and Other Stories (Granada, 1981), Revolt long-running relationship with Ballantine Books in 2100 (NEL, 1972), Satan’s World (Corgi, 1973), with the introduction of Mervyn Peak’s Gormanghast Science Fiction Hall of Fame (Sphere, 1974), The Sea trilogy — his first venture into the science fiction Priestess (Star, 1976), A Sense of Wonder (NEL, 1974), adult fantasy world. Pepper was one of the first illus-The Shallows of Night (Star, 1981), Ship Who Sang (), trators to use a heavily designed, brightly colored, Silkie (NEL, 1973), Sky Is Falling (NEL, 1974), Sky highly stylized montage approach in that genre, Pirates of Callisto (Futura/Orbit, 1975), Something which perfectly reflected the psychedelic mood of Wicked This Way Comes (Corgi, 1969), Songmaster the times. Pepper’s style was distinctive, and so (Orbit, 1981), Space Ranger (NEL, 1973), Space, Time added to the distinctive abstract look desired by Ian and Nathaniel (NEL, 1972), Starcross (Sphere, 1974), and Betty Ballantine when the were commissioning The Stone God Awakens (Panther, 1976), Sunset War-artists for their Ballantine Adult Fantasy Series; Pep-rior (Star, 1980), Tales of the C’thulhu Mythos 1 (Pan-per created wrap-around cover art for nine titles. He ther, 1975), Tales of Horror and the Supernatural Vol.

was soon in great demand as a cover artist for science 1 & 2 (Panther, 1975), Third Asimov Double (NEL, fiction/fantasy books and remained so for ten years.

1973), Three Stigmata of Palmer Eldritch (Manor, His popularity won him recognition in 1971 as Fa-1977), Thrice-Born (NEL, 1977), Thuvia, Maid of vorite Fantasy Illustrator in a fanzine genre conven-Mars (NEL, 1975), Time and Timothy Grenville tion poll of readers. His clients included all the major (NEL, 1976), A Time of Changes (Panther, 1975), hardcover and paperback publishers, among them: Trail of C’thulhu (Panther, 1976), Ty’s Tricks (Hype-New American Library (NAL), DAW, Ace, Pocket rion, 2003), The Weapon Makers, The Weapon Shops Books, Pyramid. Avon, Dell, and others.

of Isher (NEL, 1970, 1974), Whipping Star (NEL, Pepper originally worked only in gouache, but by 1972), A Wilderness of Stars (Corgi, 1972), World of the late 1960s had added dyes and colored inks, to Null-A (Sphere, 1981), The Worlds of Robert Hein-

“speed up the process.” These mediums gave his lein (NEL, 1970), Year’s Best Science Fiction 6
work a translucent, but colorful “new” look, befitting (Sphere, 1973), 3 To the Highest Power (Corgi, the “new wave” of science fiction being published.

1971).

His compositions were also surprisingly fresh, and M
says “Although I have done some “wrap-around sce-AGAZINES ILLUSTRATED INCLUDE:

SFM: 1971 (1, 6, 7, 10, 12), 1975 (6) nic” covers, most of my work for fantasy books has been design originated, using colored, textured, and patterned shapes.” Within these designs, he places Pepper, Robert

“stylized, realistic images as symbols in a posterized (b . October 23, 1938) American artist. Robert or surreal setting,” in a way which he feels will best Ronald Pepper was born in Portsmouth, New convey the essence of the story. “I want the finished Hampshire and grew up in Los Angeles, California piece to read as art as well as story message.” Most where he studied at Los Angeles City College, of the effort on a book cover, for Pepper, is made in Chouinard and Los Angeles County Art Institutes.

the beginning thought process, where he researches He received a scholarship to the Art Center School, and pieces together a thumbnail design. The finished majoring in advertisiting and illustration, and grad-art is bigger and more detailed, about two to three uated with distinction in 1962. While there he met times the printed size, and is completed fairly quickly and married Brenda Soderquist, a 3-dimensional once the initial work is done.

and children’s fashion illustrator.

Pepper was chosen to do the 1972 National Book After settling in New York City, “Bob” Pepper Week Poster, and was included along with several worked as an Art Director for the J. Walter Thomp-top illustrators in a picturing of moral values collec-son Advertising Agency, freelancing illustration for tion for the IInternational Advertising Council. His magazines on the side. His first major printed illus-art has won numerous awards including the Award

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of Merit fom the Society of Publication Designers 1983), Do Androids Dream of Electric Sheep? (NAL, (1976), the Award of Excellence from the Society of 1971), Don Rodrigues Chronicles (Ballantine, 1970), Illustrators (NY) in 1968, and twenty-six Awards of Dragon’s Blood; Dragon’s Eye; Dragon’s Claw (Ace, Merit from that Society from 1963–1984. His work 1991, 1992, 1993), Driftglass (NAL, 1972), Ellison in has been exhibited in a one-man show at the Soci-Wonderland (NAL, 1974), Emerald House Rising ety (1977) and is included in the Society of Illustra-

(Warner Aspect, 1997), E Pluribus Unicorn (Ballan-tor’s permanent museum collection. Pepper’s art was tine, 1969), Fahrenheit 451 (Ballantine, 1969), Flesh included in the definitive group show “200 years of (NAL, 1972), Figures of Earth (Ballantine, 1969), American Illustration” at the New York Historical Gods in Anger (Avon, 1991), The Gods of Ireland: #1

Society (1976), and in exhibitions of fantasy and sci-Most Ancient Song; #2 Enchanted Isles (Bantam Spec-ence fiction art hosted by the Brooklyn Museum tra, 1991), Gormanghast (Ballantine, 1967), Hammer (1982) and Kent State University School of Art and the Cross (Tor, 1993), Hawk of May (Bantam (1981). In 1983 Pepper taught illustration at the Pratt Spectra, 1992), Idyll of the White Lotus (Pyramid, Institute of Art and Design in New York.

1974), Incredible Tales: Tales of Saki (Dell, 1965), In From 1968 to 1973, a point when new ideas in Winter’s Shadow (Bantam Spectra, 1993), Islandia books and art were influencing the market in sci-

(NAL, 1971), Island of the Mighty (Ballantine, 1970), ence fiction, innovators like Pepper were highly re-Islands in the Sky (NAL, 1971), The Islar (NAL, 1971), garded and Pepper was one of the best known illus-Jack of Shadows (NAL, 1972), The Key of the Keplian trators of the time. As the paperback industry grew (Warner Aspect, 1995), Kingdom of Summer (Bantam more conservative, Pepper became less interested in Spectra, 1992), King of Elfland’s Daughter (Ballan-the science fiction and fantasy field; his style did not tine, 1969), King of Light and Shadows (Avon 1990), fit in with the trend toward “mechanical renderings League of Grey-Eyed Women (Pyramid, 1971), Leg-of spaceships and unicorns.” He completed thirty-ends From the End of Time (DAW, 1976 ), Legends Re-eight pieces of card art for the Dragonmasters game born (Bantam Spectra, 1992), Living Demons (Bel-for Milton Bradley in 1981, and provided illustra-mont, 1967), Lo (Ace, 1973), Lord Tyger (NAL, tions for that company’s Dungeons & Dragons(™) 1972 ), Lucky Starr & The Big Sun of Mercury; Lucky oriented computer board game The Dark Tower. In Starr & the Moons of Jupiter; Lucky Starr & the Oceans 1983 he also produced six covers for Philip K. Dick of Venus; Lucky Starr & The Pirates; Lucky Starr & the novels for DAW. Pepper returned to the paperback Rings of Saturn (NAL, 1971), Magestone (Warner As-market for a few years, with fantasy covers for Ban-pect/SFBC, 1996), Mask of Circe (Ace, 1971), Maze tam in the early 1990s before moving into the chil-of Death (DAW, 1983), Messiah at the End of Time dren’s book market with illustrations adapted to a (DAW, 1977), Monday Begins on Saturday (DAW, whole new audience.

1977), More Than Human (Ballantine, 1969), New Sources: Correspondence from the artist January 17, 2006, Lands (Ace, 1973), October Country (Ballantine, Jan 22, 1985; Weinberg, 1988.

1968), Omega Point (Ace, 1971), Once a Hero (Ban-Collections and Anthologies
tam Spectra, 1994), One King’s Way (Tor, 1995), (various contributing artists)

Passing For Human (DAW, 1977), The Pipes of Or-DiFate, Vincent. Infinite Worlds: The Fantastic Vi-pheus (Avon, 1995), A Place Among the Fallen (Avon, sions of Science Fiction Art (The Wonderland Press/

1990), Point of Hopes (Tor, 1995), Prince of the Blood Penguin, 1997), Summers, Ian. Tomorrow and Be-

(Grafton U.K., 1989, Bantam Spectra/SFBC, 1990), yond: Masterpieces of Science Fiction Art (Workman, Red Moon and Black Mountain (Ballantine, 1970), 1978).

Ring of Fire (Avon, 1979), Robert Silverberg’s Time Tours: #1 The Robin Hood Ambush; #2 Glory’s End; #3

Published Work

Timecrime, Inc.; #4 The Dinosaur Trackers; #5 The BOOKS ILLUSTRATED INCLUDE: Ashes and Stars Pirate Paradox; #6 Caesar’s Time Legions (Harper Pa-

(Ace, 1977), Astrolog y Predictions 1976 (NAL, 1975), perbacks, 1990, 1991), Saga of Kraki (Ballantine, Beast That Shouted Love (NAL, 1973), Blood Cults 1973), A Scanner Darkly (DAW, 1983), Science Fic-

(Ace, 1975), Book of the Damned (Ace, 1972), Caviar tion Monsters (Paperback Library, 1967), Shores of (Ballantine, 1969), Chronicles of the King’s Tramp: #1

Another Sea (NAL, 1970), Silver Stallion (Ballantine, Walker of Worlds; #2 The-End-of-Everything Man 1969), Something About Eve (Ballantine, 1970), Sin-

(Bantam Spectra/SFBC, 1991, 1992), Ciara’s Song gularity (Bantam Starfire, 1990), Starburst (NAL, (Warner Aspect, 1998), Clarion III (NAL, 1973), 1970), Summer King, Winter Fool (Tor, 1994), Three Continent Makers (NAL, 1971), Dark Side of Earth Stigmata of Palmer Eldridge (DAW, 1983 ), Throne of (NAL, 1970), David Starr Space Ranger (NAL, 1971), Fools (Avon, 1990), Titus Alone (Ballantine, 1967), Day of Their Return (NAL, 1974), Demolished Man Titus Groan (Ballantine, 1967), Ubik (DAW, 1983), (NAL, 1970), Deryni Checkmate (Ballantine, 1971), Unicorn Highway (AvoNova, 1992), Voyage to a For-Deryni Rising (Ballantine, 1969), Deus Irae (DAW, gotten Sun (Ballantine, 1974), Voyage to Arcturus (Bal-

Pesek

378
lantine, 1968), Warding of Witch World (Warner As-spacecraft in the late 1960s and 1970s. Pesek propect/SFBC, 1996), We Can Build You (DAW, 1982), duced several 360-degree panoramas for projection Wild Talents (Ace, 1973), Witchstone (Ace, 1973), in the domes of the planetariums at Stuttgart, Win-World’s Strangest Crimes (Pocket Books, 1969).

nipeg and Lucerne. His space paintings appeared also in magazines such as Omni, Starlog, Astronomy, Pesek, Ludek

Future Life, and others. He worked with writer Peter (April 26, 1919–December 4, 1999) A Swiss artist, Ryan on several books for children: Journey to the Pesek was born in the Czech Republic at Kladno, Planets (Puffin, 1972), Planet Earth (Longmans, Czechoslovakia, and grew up in the mining town of 1972), and UFOs and Other Worlds (Puffin, 1975). He Ostrava close to the Beskidy Mountains. His poten-later worked with the same author on the large-fortial artistic and literary talents were recognized early mat Solar System (Viking, 1978). His last book iland encouraged by his art teacher at grammar lustrations were produced for a children’s astronom-school. It was during those first years of schooling ical book for National Geographic, Our Universe that he had the opportunity to use an astronomical (1980).

telescope, and developed an abiding interest in the In his later years Pesek applied his precise, natu-

“extraterrestrial landscape” after being exposed to ralistic technique to renderings of symbolic/vision-the works of Lucien Rudaux (1874–1947, the first ary works that incorporated astronomical elements, genuine astronomical artist), in his book Sur Les calling these works “poetic surrealism,” and exhib-Autres Mondes (On The Other Worlds) published ited them in Washington, DC, Boston, Nashville, by Larousse, 1937). At the age of fifteen Pesek began Stuttgart, Switzerland. The minor planet 6584 was to paint, followed by attending the Academy of Fine named LUDEKPESEK by the Czech Astronomical Arts in Prague. He produced his first artworks Society. His work is in the collection of the Smith-around the age of 19, demonstrating a realistic and sonian Institution.

precise style of painting. Like Bonestell* he was fas-Sources: www.spacearts.info; “An Artist in Modern Times: cinated by the exploration of space, and had the rare On Extraterrestrial Landscapes” Leonardo, Vol. 5, 1972, pp.

297–300; Cramer, Noel. The Art of Ludek Pesek, ORION 257
ability in his space paintings to intuit with surpris-

(August, 1993). Miller, Ron. “Ludek Pesek” Future Septem-ing accuracy — before direct observation or further ber 1980; Dr. Roger Launius and Bertram Ulrich, NASA and research made such knowledge known — the actual the Exploration of Space (New York: Stewart, Tabori & Chang, conditions he was being asked to portray. His views 1998); Ludek Pesek: Catalog published by the Gallerie Mod-erniho Umeni, Roudnice Nad Labem, Czech Republic, 2003.

of Saturn seen from within the rings (one of 15
scenes for an article called “Journey to the Planets’”

Collections/Anthologies
for National Geographic Magazine, August 1970) and (various contributing artists)

his paintings of Mars done after the results of the Eyewitness to Space: From the Art Program of the Mariner 9 orbiter became available, which “antici-National Aeronautics and Space Administration, 1963
pated” the landscape as it would appear at various lo-to 1969 (Abrams, 1971); Space Art (Starlog, 1978).

cations on the surface, are perhaps his most famous astronomical paintings.

Pettee, Clinton (Walter C.)

Pesek’s first publications were The Moon and Plan-

(1872–c. 1945) An American artist, Pettee ets (Hamlyn, 1963) and Our Planet Earth (Hamlyn, achieved immortality in the science fiction field for 1968). In 1967 Ludek wrote his first science-fiction painting the first appearance of Tarzan— the cover il-novel, Log of a Moon Expedition (Knopf, 1969) that lustration for the first publication (complete) of he illustrated in black and white. Another, The Earth Tarzan of the Apes by Edgar Rice Burroughs, pub-Is Near (Longman, 1973, Dell, 1975) won the Prize lished in All-Story Magazine, October 1912. The of Honor in Germany in 1971. But his work first cover, which showed Tarzan, armed only with a reached U.S. readers through the National Geo-knife, in a life-and-death struggle with a lion, be-graphic Magazine, which on the strength of his ear-came one of the most famous illustrations in the his-lier work commissioned him to do a series about tory of the fantasy genre and has been reprinted in-Mars. Assignments from the magazine, and subse-numerable times. The image of Tarzan and the lion quent friendships with Tom Crouch, Curator of the locked in deadly embrace established the basic look National Air and Space Museum, Smithsonian In-of Tarzan that has endured ever since. Anecdotally, stitution, and Frederick C. Durand, then Director of Robert Barrett (Burroughs expert and historian), the Museum, made it possible for Pesek to continue tells the story that “Edgar Rice Burroughs was inter-his career after leaving his native country for Switzer-ested in buying Pettee’s cover painting, as well as ac-land, following the Soviet occupation in 1968. In quiring N. C. Wyeth’s New Story cover for The Re-the pages of the National Geographic (e.g., Febru-turn of Tarzan. However, when Wyeth asked $150.

ary, 1973), and for the Smithsonian Institution, he for his cover, Burroughs became disgusted at the illustrated several of the discoveries made by NASA’s

“high price” that Wyeth wanted, and notified Mun-

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Pini
sey that he was no longer interested in the Pettee the obvious presence of variegated brushwork and the cover — even though he could have had it for $50.!”

use of oil washes … stylistic elements (that) lent his Little is known about Pettee, apart from the fact work a decidedly modern look.” (1997, p. 238). So that he was a staff cover artist for the Munsey Pub-while his skills brought him work from major pa-lications chain — which hired many illustrators dur-perback publishers such as Dell, Bantam, and Bal-ing the period, few of them ever gaining recognition lantine, his covers did not appeal to Doc Savage for their art. Pettee was born around 1872 in Con-readers and he was replaced first by Boris Vallejo*
necticut, one of three children born to Henry Clin-and then Robert Larkin*.

ton Pettee (of Vermont) and Jane Elizabeth Davis Along with paperback covers, Pfeiffer also pro-

(Connecticut). The artist was reported as living in duced art for several motion-picture campaigns, and Maplewood, New Jersey when his mother died in in 1979 he moved from New York to Los Angeles.

East Orange, New Jersey (the obituary was carried According to DiFate, “In the late fall of 1995, Pfeif-in the Vermont Phoenix, October 17, 1922) but infer visited New York in an effort to reintroduce him-formation on Pettee’s date of death is lacking; based self to the publishing markets. Around the time of on his publications it was likely to be post 1936. As that visit, this extraordinarily talented artist took his artist and illustrator he was credited as W. Clinton, own life” ( ibid. ).

and Walter C. Pettee, in addition to Clinton Pettee.

Sources: Difate, Vincent. Infinite Worlds: The Fantastic Vi-Pettee’s total output is unknown; he did a cover for sions of Science Fiction Art (Wonderland Press/Penguin, 1997); Weinberg, 1988.

Cavalier magazine, August 1912, illustrations for Scientific American (1918–1919), and a couple of book Published Work
covers for Doubleday, The Unseen Hand, Adventures Black Spot: Doc Savage # 76 (Bantam, 1974), of a Diplomatic Freelance (1918) and The Other Side Crimson Serpent: Doc Savage # 78 (Bantam, 1974), of the Wall (1919), neither of which were science Derrick Devil: Doc Savage # 74 (Bantam, 1973), fiction or fantasy-related. In 1930, he was credited for Devil Genghis: Doc Savage # 79 (Bantam, 1974), another Munsey publication cover, the April 4th Gorgon Festival (Bantam, 1974), King Maker: Doc issue of Argosy, for “Alexander the Red” (part 1 of 3), Savage # 80 (Bantam, 1975), Land of Fear: Doc Sav-by Don McGrew. His last documented credit was age # 75 (Bantam, 1973), Metal Master: Doc Savage for the graphic, in ink on paper, for “Cure Juvenile

#72 (Bantam, 1973), Murder Mirage: Doc Savage #

Delinquency in the Slums” a poster designed for 71 (Bantam, 1972), Mystery on the Snow: Doc Savage Planned Housing, 1936, for the Federal Art Project

#69 (Bantam, 1972), Quest of the spider: Doc Sav-for the New York City Housing Authority. A copy age #68 (Bantam, 1972), Seven Agate Devils: Doc is held by the Library of Congress. Descendants of Savage #73 (Bantam, 1973), South Pole Terror: Doc the William Pettee (Pitty, Pittee, Petty) Family date Savage # 77 (Bantam, 1974), A Specter is Haunting from 1638 in Weymouth, MA, and many remained Texas (Bantam, 1971), Spook Hole: Doc Savage # 72
in the New England area, in particular Vermont, (Bantam, 1972), Star Rider (Bantam, 1974), Stone where both his parents are buried.

Man: Doc Savage # 81 (Bantam, 1976).

Sources: Robert Barrett correspondence February 9, 2006; Barrett, Robert “In the Shadow of the Sun” in Burroughs Bul-Pini, Wendy
letin #3 (new series) July, 1990 pp. 16–20; www.petteefamily.

org. 10/27/05.

(b. June 4, 1951) American artist. Best known for having created Elfquest, one of the most successful and popular self-published comics in the late 1970s, Pfeiffer, Fred

Pini yet has maintained close ties to science fiction (1940–1995) American artist. Pfeiffer attended fandom and began her professional career as an illus-the Art Center College of Design in Los Angeles in trator for science fiction magazines. Born in San the late 1950s and began freelancing in the early Francisco, California, Pini was one of two children 1960s. He worked in many genres, but is little adopted into the Fletcher family. She grew up in known by SF fans apart from being the artist who Santa Clara County, on an isolated ranch in Gilroy, took over the Doc Savage series reissued by Bantam California and developed an early appreciation for in paperback, after the departure of James Bama*.

fantasy literature and art, inspired by diverse tradi-His painting technique, which by the early 1970s tions, ranging from turn-of-the-century illustrators, had matured into his “trademark” style, was unique.

to film and TV animation. Her storytelling abilities While some fans loved it, others considered his style evolved from a love of Shakespeare, Japanese history to be lacking in detail and definition, and rather un-and legend, modern fantasy and the epic poetry of exciting and drab, compared to that of Bama’s —
the Ramayana. Largely self-educated, Pini began ex-perhaps because, as DiFate points out “(Pfeiffer’s) hibiting her artwork in fanzines and at science fiction beautiful oil painting technique, though realistic, conventions in the mid 1960s, garnering awards and incorporated numerous painterly touches, such as recognition. She attended Pitzer College, a Clare-

Pitts

380
mont College near Los Angeles, and joined the Los Pitts, Jim

Angeles Science Fiction Society. In 1972 she mar-

(b. January 19, 1950) British artist. Without for-ried computer programmer and science fiction/
mal art training, Pitts made his debut as an illustra-comic fan Richard Pini and moved across the coun-tor in David Sutton’s Bibliotheca: H.P. Lovecraft and try to live in Massachusetts. In June, 1974 Pini began Jon Harvey’s magazine Balthus, in 1971. He cites Sidher professional career with her first publication in ney Sime*, Frank Hampson,” Aubrey Beardsley and Worlds of IF magazine, and other science fiction Frank Frazetta* among his major influences, as well magazines followed: Galaxy and Galileo.

as the Weird Tales artists such as Virgil Finlay*, Lee In 1977, Pini created Elfquest, one of the first in-Brown Coye* and (most importantly) Hannes Bok*.

dependently published American comic series, and As Green wrote as preface to a showcase of Pitts’ art-the first continuing fantasy/adventure graphic novel work in Critical Wave #41 “His artwork is imbued series in the U.S. to be co-created, written and il-with a quirky Gothicism and sinister atmosphere lustrated by a woman. With her husband she which can trace its roots directly back to the pulp founded WaRP Graphics, later Warp Graphics, an horrors and illustrated chapbooks of more than half acronym formed from their names, to publish the a century past.” Pitts’ work has appeared in British, Elfquest books. Elfquest premiered in February 1978

European, and American magazines, among them in black-and-white in Fantasy Quarterly No. 1 and by Ghosts and Scholars, Dark Horizons, Whispers, and April 1979 it had its own title. In 1979, the Pinis Chills and in publications of the British Fantasy So-moved to Poughkeepsie, New York, and in 1981 they ciety. A notable early collaboration was with David made the decision that Richard would leave his job Sutton and Stephen Jones on the original Fantasy with IBM to become a full-time publisher, editor, Tales magazine, having worked previously on Sutton’s marketer and co-creator of Elfquest, which has since Shadow (1968–1974). Pitt also has done cover art for attracted a unique and unprecedented audience. Pini paperback and hardcover books, and record albums.

has scripted, drawn and painted many Elfquest In 1976 Spectre Press published a portfolio of six graphic novels, co-written and illustrated prose nov-black-and-white prints of his prints titled Lovecraft-elizations, produced calendars, portfolios and art ian Characters and Other Things An Illustrated Port-prints and provided cover art for the Elfquest related folio from the Works of H. P. Lovecraft.

anthology series “Blood of Ten Chiefs.” The success Although known mainly for his black-and-white of Elfquest led to the establishment of Father Tree fantasy illustrations for British fanzines, small press Press, which publishes Pini books, and various li-publications and magazines, at least 25 percent of censed products. In the late 1980s Pini wrote and il-Pitts’ work has been in color and some of his early lustrated two graphic novels based on the cult hit color drawings were published as covers for Fantasy TV series “Beauty and the Beast” and an art book in-Tales. He uses a variety of media, including colored spired by the writings of Michael Moorcock. In 1984
ink, watercolors, and colored pencil. Pitts has al-Chaosium produced a licensed tabletop Elfquest ways signed his work, typically “Jim Pitts” but also role-playing game. Pini has also done work for Mar-occasionally signs in a stylized logotype, which com-vel Comics, First Comics, Comico, “Frazetta Fantasy bine the initials J and P. He has received many Illustrated” magazine, and DC Comics. Since the awards in the illustration field, including the Ken mid 1990s Pini has co-written the screenplay for a McIntyre Award in the early 1970s, and the British planned full-length animated feature based on Fantasy Award for Best Artist in 1991 and 1992.

Elfquest.

While still illustrating fantasy books, in recent In March 2003 after 25 years of self-publication years Pitts has taken on more mainstream assign-the Pinis licensed all publishing and merchandising ments, working mainly in colored pastel. To aug-rights in the series to , although the Pinis retain cre-ment his artist’s income he works full time at a local ative control, and Pini continues to maintain close brewery, and his personal interests include playing connections to SF and comic fandom, and the phe-blues harmonica and bass with local bands. He lives nomenon that is Elfquest.

in a modest terraced cottage with his partner, Joyce Sources: www. Elfquest.com; Ariel Wulff: Artist Profile and two 16 year-old cats.

Wendy Pini Sendings Issue #1 online March 1997/spring 2001

Sources: Correspondence from the artist November, 2005; at www. Elfquest.com

“Showcase: Jim Pitts,” Critical Wave European Science Fiction and Fantasy Review, #41, July 1995; “Jim Pitts Biography” In: Published Work

Shadows Over Innsmouth: Afterwords. Fedogan & Bremer, MAGAZINES ILLUSTRATED INCLUDE:

1994, p. 335; Portfolio: Jim Pitts. Skeleton Crew, March 1991.

GAL: 1976 (9)

IF : 1974 (6, 8, 10)

Published Work

GXY: 1974 (7, 8, 9, 10); 1975 (1, 2, 4, 6, 8, 9, 10); BOOKS ILLUSTRATED INCLUDE: The Antholog y of 1976 (1, 2); 1977 (11)

Fantasy & The Supernatural (Tiger Books, 1994), Beneath the Ground (Alchemy Press, 2002), The Best

381

Podwil

Horror from Fantasy Tales (Robinson/Carroll and of Always (1995) and Philip K. Dick’s Do Androids Graf, 1990), The Clock of Dreams (W. Paul Ganley, Dream of Electric Sheep? (1995). Beginning 2000, 1994), The Coming of the Voidal (Spectre Press, 1977), Player illustrated six titles in the Tramp children’s The Compleat Khash: Vol 1, Vol 2 Sorcery in Shad (W.

book series by Chris Hooper for Penguin. From 1993

Paul Ganley, 1991, 1994), Northern Chills (Kimota, to 2004 Player also illustrated a series of FREAK

1994), Oblivion Hand (Wildside, 2000), Poems of graphic novels by Jim Eldridge for Random House, the Sea (Ferret Fantasy, 1977), Savage Heroes (Star, and two for Hodder (UK) by Andrew Fusek Peters.

1977, Taplinger, 1980), Shadows Over Innsmouth (Fe-Beginning in the early 1990s Player was also active in dogan & Bremer, 1994, Gollancz, 1997, Del Rey, producing artwork for television, film, video and 2001), Spaced Out (Panther, 1977), Storm Over At-computer games. He produced several video game lantis (Wildside, 2001), Swords Against the Millen-cassette covers for Manga Video, featuring anime’

nium (Alchemy Press, 2000), The Vampire Stories of characters. Among his clients were BBC Television, R. Chetwynd-Hayes (Fedogan & Bremer, 1997), Ogilvy & Mather Direct, and Millenium Interac-Voices from Shadow (Shadow Publishing, 1994), tive. He continues to be actively involved in illustrat-Whispers II (Doubleday, 1979), Whispers 8 (Schiff, ing books, most notably for Terry Pratchett titles.

1975).

Sources: e-mail from the artist, April 2007; http://player-gallery.com/cv.html

Player, Stephen John

Published Work

(b. April 18, 1965) British artist. Born in Hert-BOOKS ILLUSTRATED INCLUDE: Anno Dracula ford, England, Player attended the Saint Albans (INT Book Distributers, 1992), Blood of My Bone School of Art. 1983–1984, and after winning several (HarperCollins, 1989), The Book of Fantasy (Trans-school-sponsored art competitions decided to move world, 1989), Cabal (HarperCollins, 1989), Carpe to London at the age of 20 to study illustration at the Jugulum, Carpe Jugulum — the Play (Samuel French, Camberwell School of Arts and Crafts. He graduated 1998, 2000), Closed at Dusk (Penguin, 1990), The with that degree with Honors, in 1987. In his last Colour of Magic (Transworld, 1990), Empress of the year Player met horror writer Clive Barker, who used Seven Oceans (Fiona Cooper, 1992), Gallowglass the artist’s work in his next novel and the biograph-

(Penguin, 1990) The Gormanghast Trilog y (Heine-ical work Shadows in Eden. Through Barker, Player mann, 1992), Guards Guards—The Play (Transworld, found his long time commissioning agent, Artists 1996), Hothead (HarperCollins, 1991), In the Image Partners, and he began to specialize in fantasy, sci-of God (HarperCollins, 1990), The King’s Evil (Lit-ence fiction, horror and children’s book illustration.

tle Brown, 1995), The Knights Vengeance (Little He won several competitive art awards through the Brown, 1997), Laptop of the Gods (Simon and Schus-1990s, including the British Science Fiction and Fanter, 1999), Lords and Ladies — the Play (Samuel tasy Association (BSFA) award in 1994 for his map French, 2001), Maskerade-the Play (Samuel French, illustrating Terry Pratchett’s The Streets of Ankh Mor-1998), Men at Arms —The Play (Transworld, 1996), pork. He was also the winner of a children’s book The Monstrous Regiment (Transworld, 1990), Mort—
award from the United Kingdom Reading Associa-The Play (Transworld, 1996), The Original Dr Shade tion. 1998, and the Sheffield Childrens Book Award (Pocket, 1992), Post Mortem (Transworld, 1989), The for Becky Bananas, 1998. His work has been exhib-Queens Captive (Little Brown, 1996), Ronan and the ited in several galleries in London and Europe, and Singing Sword (Orion, 1994), The Secret Diary of was selected for the Spectrum annual anthology Georges Armoulian (Simon & Schuster, 1992), Shad-2005, and 2006, and for the New York Society of Il-ows in Eden (Underwood Miller, 1990), What We lustrators 48th annual exhibition, 2005.

Did on Our Holidays (Hodder and Stoughton, 1990), Through the 1990s, Player continued to illustrate Wyrd Sisters —The Play (Transworld, 1996).

titles for Transworld, Penguin, and other publishers Misc.: Cartoons & Illustrations for Liverpool which displayed his talent for dark humor; his very Daily Post and Herald 1990–95), Terry Pratchett/Dis-expressive, at times childlike characterizations belie cworld greetings cards (R & P Baker, 1994), Terry a theatrically dark edge which suits the sarcasm of Pratchett 2006 Calendar page (Orion Publishing writers such as Terry Pratchett and Mervyn Peake.

Group, 2005), “Swipehead” T-Shirt design (Bloody For his illustrative works Player uses watercolors Red, New York 2003).

(gouache) or acrylics and airbrush on illustration board. During the 1990s, Player also produced art-Podwil, Jerome
work for several fully illustrated editions: among (1938) American artist. Born in New York City, them children’s literary classics, such as Alice in Won-Podwil attended Pratt Institute and the Art Stu-derland, King Arthur and the Round Table, and dents League from 1955 through 1960, graduating Pinocchio for Fabri Publishers (1992), young adult from Pratt School of Art and Design in 1960. Along and adult science fiction such as Barker’s The Thief with providing art for various science fiction mag-

Popp

382
azines he also sold art to Playboy and other maga-Science Fiction (Fawcett/Crest, 1981), The 7 Deadly zines. His impressionistic works, usually in gouache Sins of Science Fiction (Fawcett/Crest, 1980).

or oil, were “appealing, realistic (with) a sense of magic to them capture the sense of science fiction’s Popp, Walter R.

rapid emergence as a maturing literary art form,”

(May 19, 1920–November 10, 2002). American wrote DiFate, “and fit right into science fiction’s artist. Popp began his career as a comic artist in the New Wave movement of the mid 1960s to 1970s.”

1940s before working for science fiction pulp mag-Although as DiFate also pointed out, few of his azines for a relatively short time in the 1950s. A cover paintings were used for those books them-prolific artist, he moved on to the paperback field selves. (Infinite Worlds. P. 240). Podwil illustrated and non-genre magazines when the market for pulp the Fitzroy editions of Jules Verne re-issues for Ace magazines died off in the mid 1950s. His paintings Books, and did many paintings for New American were slick and well-done, with emphasis on beauti-Library also, among them covers for reissues of ful women and heroic men, rather than alien mon-books by Arthur C. Clarke at a time when he was sters. Popp illustrated good girl digest pulps and emerging as a preeminent author in the genre. Pod-men’s adventure magazines such as Stag, For Men wil won a Gold Medal from the Society of Illustra-Only, True Detective, Man’s Illustrated, Male, Master tors (NY) and won Awards of Excellence from Detective, Man’s World, and then moved on to detec-Chicago shows in 1974 and 1976.

tive and crime paperbacks, gothics, westerns, and Sources: DiFate, Vincent. Infinite Worlds: The Fantastic mystery paperbacks. Later he teamed with his wife, Visions of Science Fiction Art (Wonderland Press/Penguin, and fellow artist Marie (a former fashion artist and 1997); Weinberg, 1988
model whom he met at the Art Student’s League in Published Work

New York, 1946) on covers for period romance nov-And Others Shall Be Born (Belmont, 1968), The els for Warner, Bantam, Harlequin, Dell. The cou-Alternate Martians (Ace, 1965) Asylum Earth (Bel-ple found their niche in the 1970s when celebrity mont, 1968), Babel-17 (Ace, 1966, 1978) Before Adam romance author Barbara Cartland, in her hunt for a (Ace, 1971), Begum’s Fortune (Ace, 1968), Bell From New-York-based artist to do covers for a “Regency Infinity (Lancer, 1968), Black Star Passes (Ace, 1965), Romance,” chose the Popps — in the process estab-Bloodhype (Ballantine, 1973), Carpathian Castle (Ace, lishing them as specialists in this popular subcategory 1968), Crack in Space (Ace, 1966), Crisis on the Che-of pop romance fiction. They rented costumes from iron (Ace, 1967), Deep Range (NAL, 1974), Demol-a company in Long Island City and hired models ished Man (Pocket, 1978, 1983), Doppelgangers (Ace, for the photography, and together would draw back-1966), Empress of Outer Space (Ace, 1965), Enemy grounds, lay out the figures, make color sketches in Stars (Berkley, 1965), Fall of Moondust (NAL, 1968), chalk and finally paint the picture in oil. Altogether, Fantastic Universe Omnibus (Paperback Library, nearly a month long process. In recent years, the 1968), For the Flag (Ace, 1968), Glide Path (NAL, Popps also created a series of giclee’ prints, sold 1973), Hawk of the Wilderness (Ace, 1966), Hunt for through galleries in New Jersey, where the couple the Meteor (Ace, 1968), Into the Niger Bend (Ace, had lived for many years. Popp was survived by his 1967), Islands in the Sky (NAL, 1970), Jade Darcy wife, Marie.

and the Affair of Honor (NAL/Signet, 1968 ), Journey Sources: Beckerman, Jim. “A painter’s work is endless romance” Interview with Marie Popp, October 23, 2005 in the Beyond Tomorrow (Dell, 1969), Lost Worlds of 2001

North Jersey Record online http://www.northjersey.com/ [ac-

(NAL, 1972), Mightiest Machine (Ace, 1965), Other cessed April 2006]; Weinberg, 1988; Di Fate, Vincent. Infinite Side of Time (Berkley, 1965 ), Players of Null-A Worlds. NY: Wonderland Press/Penguin, 1997

(Berkley, 1977), Planet of Exile (Ace, 1966), Report on Published Work

Planet Three and Other Speculations (NAL, 1973), MAGAZINES ILLUSTRATED INCLUDE

Road to the Rim (Ace, 1967), Sands of Mars (NAL, AMZ: 1952 (6, 8, 9, 10, 11)

1974), Space Lash (Dell, 1969), Science Fiction Mon-FA: 1952 (6, 7, 8, 9, 10)

sters (Paperback Library, 1967), Status Civilization FSQ: 1953 (7); 1954 (summer)

(Dell, 1968), Tales Of Ten Worlds (NAL, 1973), Tama SpS: 1953 (4)

of the Light Country Tama; Princess of Mercury (Ace, SS: 1952 (9, 11); 1953 (3, 5, 8); 1954 (1) 1965, 1966), Terror (Belmont, 1962), Thief of Thoth TWS: 1952 (12); 1953 (6, 11); 1954 (spring) (Belmont, 1968), This Perfect Day (Fawcett/Crest, 1970), Tigers and Traitors (Ace, 1959), 2001 Space Odyssey (NAL, 1968), Universe Maker (Pocket, 1979), Potter, Jeffrey Knight

Village in the Treetops (Ace, 1968), Wandering Terl-

( July 10, 1956) American artist. Born in River-lurian (Ace, 1967), War With the Newts (Berkley, side, California, Potter has lived for most of his ca-1967), The Weathermakers (Signet, 1973), Yesterday reer in the South, and in particular, Louisiana —
and Tomorrow (Ace, 1968), The 7 Cardinal Virtues of which he admits has greatly influenced his work “It

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Potter
is the weirdest state in the Union and its history in-magazines, particularly those with unconventional cludes many notable fantasists.” He is self-taught, and imaginative content, such as Horrorstruck, Hor-and learned his craft from Clarence John Laughlin, rorshow, American Fantasy, Iniquities, Night Cry, creator of the first American surrealist photographs.

Mondo 2000. Potter won the World Fantasy Award Potter was inspired by Laughlin’s book Ghosts Along for Best Artist in 1988, and 1994. In recent years he the Mississippi (1948) and it convinced him that he has enjoyed contributing to fine small press projects, could make a career out of photographic illustra-which enable him to fully illustrate whole collections in the fantasy field. Potter started out as a pre-tions of stories, for example Embrace the Mutation digital photo retoucher in the advertising field, and (Subterranean Press, 2002). Potter also has shown initially worked as a magazine and book illustrator his original works at fine art galleries and other pub-as a sideline. A mentor during this time was the por-lic exhibitions and is in many private collections.

trait photographer Paul Skipworth, for whom Pot-His work has been collected in two art books, and ter worked as a retoucher for ten years.

collectible trading cards (FPG, 1994). He typically Potter describes himself as “an artist of uncompro-signs his works in initials J.K., or J. K. Potter.

mising intensity,” but that only weakly describes the Potter enjoys collecting books on ancient art, and dramatic extremism of his imagery. The atmosphere illustrated books from the 1920’s, especially books iland environment of New Orleans, sometimes de-lustrated by Harry Clarke, Mahlon Blaine and scribed as “Southern Gothic,” pervades his work; Aubrey Beardsley. He is married to Jennifer Wren the elaborate funerary architecture has often pro-Potter, performance artist and dancer.

vided a dramatic setting for his nightmarish pho-Sources: www.jkpotter.com; e-mail from the artist March, tomontage creations. He traditionally works with 2005; Jude, Dick. More Fantasy Art Masters. U.K./US: Collins

/Watson-Guptill, 2002, 2003; Suckling, Nigel. Horripilations: his own photographic images, collaged and air-The Art of JK Potter (Paper Tiger, 1993); Suckling, Nigel. “J.K.

brushed, and sometimes augmented by transparent Potter: The Master of Paradox” Realms of Fantasy magazine, dyes and watercolor tinting applied by hand or air-Feb. 1995; Potter, J. K. Neurotica. U.K./US: Paper Tiger/Over-brush, to produce startlingly surreal results that are look Press, 1996.

often horrific or grotesque in content. In 2003, he Published Work
succumbed to technology and began using digital BOOKS ILLUSTRATED INCLUDE: Alone with the techniques to create similar imagery. His influences Horrors (Arkham House, 1993), The Anubis Gates are the symbolists and surrealists Man Ray, John (Mark Zeising, 1989), Are You Loathesome Tonight?

Hartfield, and Hans Belmer, among others. But his (Gauntlet Publications 1998), Arslan (Tor, 1988), A cinematic effects are distinctively original, and alBed of Earth (Overlook Press, 2002), Bending the ways definitively on the “dark side.” He excels in Landscape: Horror (Overlook Press, 2001), Black Pro-what he calls morphs, the blending or conjoining or jects, White Knights (Golden Gryphon, 2002), Black transforming of subject matter or photographic por-Wine (Dark Harvest, 1986), Books of Blood (Scream/
traits in such was as to produce an entirely new and Press, 1985), The Blood Kiss (Scream/Press, 1988), By surprisingly bizarre image.

Bizarre Hands (Avon, 1989), The Breath of Suspension Potter entered the horror fantasy illustration field (Arkham House, 1994), Bridge of Ashes (Signet, via fandom, gaining immediate recognition for his 1989), Cold Print (Scream/Press, 1985), The Dark unusual art in the pages of the leading Lovecraft Country (Scream/Press, 1982), The Death Artist fanzine Nyctalops, as well as in Xenophile and Weird-

(DreamHaven, 2000), The Ends of the Earth book. His first commercial assignment was to illus-

(Arkham House, 1991), Eternal Light (Morrow/
trate the Tales of the Werewolf Clan by H. Warner Avonova, 1993), Exorcisms and Ecstasies (Fedogan & Munn (Donald M. Grant, 1979). In 1984, Potter be-Bremer, 1997), The Face That Must Die (Scream/
came a freelance artist, and since then has produced Press, 1983), Faces Underwater (Overlook Press, hundreds of illustrations in the literary and enter-1998), The Father of Stones (WSFS, 1990), High Cot-tainment fields, worldwide. Many images are ini-ton (Golden Gryphon, 2000), Homecoming Queen tially created as personal works and only later ap-

(Scholastic, 1996), Hostilities (Scholastic, 1994), pear on publications. His pictures have an emotive House Shudders (DAW, 1987), Inside Job (Subter-intensity and evocative moodiness that is well suited ranean Press, 2005), Isaac Asimov’s Magical Worlds to horror, fantasy, mystery and the ghostly; his re-of Fantasy (NAL, 1992), The Jaguar Hunter (Arkham markable illustrations for the writings of authors House, 1987), The Lathe of Heaven (Avon, 1997), such as Stephen King ( Skeleton Crew, 1985), Ram-Liar’s House (Subterranean Press,2004), Lord Kelvin’s sey Campbell ( Alone with the Horrors, 1993) and oth-Machine (Arkham House, 1992), Louisiana Breakers established his reputation as a premier illustrator down (Golden Gryphon, 2003), Lovecraft’s Book for weird fantasy. In the 1980s and early 1990s, his (Arkham, 1985), Marked Man (DAW, 1989), Mem-work was seen on CD and record album covers, ories of The Space Age (Arkham House, 1988), The posters, comic books (Dark Horse), and specialty New Neighbor (Charnel House, 1991), Ramsey Camp-

Poulton

384
bell and Modern Horror Fiction (Liverpool University ways, his work was very much in the style of Virgil Press, 2001), Red Dreams (1985), A Rendezvous in Finlay*. Although Poulton did not have the near Averoigne (Arkham House, 1988), The Robot’s Twi-photographic realism of Finlay, his art often ex-light Companion (Golden Gryphon, 1999), Scared pressed a lighter, more humorous touch. Poulton Stiff (MacDonald & Co, 1989), Skeleton Crew handled human figures well but also was not afraid (Scream/Press, 1985), Singer From the Sea (Avon, to depict unusual aliens or strange machinery in his 1999), The Site (Leisure, 1989), Six Moon Dance art. Although he was primarily an interior artist, he (Avon, 1998), Something Wicked This Way Comes also painted several attractive covers for Future Sci-

(Bantam Books, 1990), Space Eater (Baen, 1982), ence Fiction, and one book cover, for Earthbound—

Tales of the Cthulhu Mythos (Arkham House, 1990), a novel in the classic Winston science fiction series Tales by Moonlight (Garcia, 1982), Tales of the Were-for young readers. Poulton was unmarried, and died wolf Clan #1, #2 (Donald M. Grant, 1979, 1980), in New York at fifty-eight; he was buried at the Long Taps and Signals (Subterranean Press 2000), Things Island National Cemetery, on Long Island.

Beyond Midnight (Scream/Press, 1984), Trade Secrets Sources: National Archives and Records Administration.

(Mark Zeising, 1989), UFO Abductions in Gulf U.S. World War II Army Enlistment Records, 1938–1946; National Cemetery Administration. U.S. Veterans Gravesites, Breeze (Avon, 1995), The Ultimax Man (Baen, 1987), ca.1775–2006; 1920 United States Federal Census [database Who Made Stevie Crye? (Headline, 1984), Weird on-line]. Provo, UT, USA: The Generations Network, Inc., Tales: Spring Fall (Terminus, 1989), The Year’s Best 2005, 2006; Rootsweb.com at freepages.genealogy.rootsweb.

Horror Stories 16 (DAW, 1988).

com/~clark42/ps03/ps03_035.html [accessed June 2007]; Weinberg, 1988.

MAGAZINES ILLUSTRATED INCLUDE:

ASM: 1986 (1, 6); 1987 (3, 7)

Published Work

HM: 1979 (10)

BOOKS ILLUSTRATED INCLUDE: Earthbound ( John INT: 1993 (11) 1996 (9)

C. Winston Co, 1952)

NC: 1986 (#2/Winter, #6/Summer); 1987 (#4/

MAGAZINES ILLUSTRATED INCLUDE:

Summer)

ASF : 1955 (9)

ROF : 1998 (10)

FSQ: 1951 (winter); 1952 (9, 11); 1953 (1, 3, 5, 7, M

9); 1954 (winter)

EDIA-RELATED ILLUSTRATIONS INCLUDE:

Cradle of Filth: Midian CD (Music for Nations, FUT: 1951 (1, 3, 5, 7, 9, 11); 1952 (1, 3, 5, 9) 2000), Fishbone: The Psychotic Friends of Nuttwerx SF : 1956 (1); 1958 (5); 1959 (11)

CD (Hollywood Records, 2000), H. P. Lovecraft’s SF+: 1953 (10, 12)

Necronomicon: film (August Entertainment, 1993), SFQ: 1951 (5, 8, 11); 1952 (2, 5, 8); 1955 (5); 1957

Lydia Lunch: Crimes Against Nature boxed CD set (11)

(Triple XXX Records, 1992), Shadow of Doubt: film SpS: 1952: (10, 12); 1953 (4, 6)

(Sony, 1998).

SpSF : 1952 (9)

SS: 1950 (11); 1951 (3, 5, 9); 1952 (1, 3, 8, 10, 11); Poulton, Peter

1953 (1, 3, 4, 8); 1954 (1, spring, summer); 1955

(summer)

(March 24, 1914–May 2, 1972) American artist.

TRE: 1965 (2)

Born Nelson Poulton, in Barnesville, Ohio, and TWS: 1950 (12); 1951 (2, 4, 8, 10); 1952 (4, 6, 8, known variously as N. Peter, and Peter N. Poulton, 10, 12); 1953 (2, 6, 11); 1954 (winter) the artist was one of many who entered the science WSA: 1952, 1953
fiction field during the boom years of the early 1950s, and he was one of the best. Little is known about Poulton’s formal education or career. He apparently Powers, Richard M.

had only one year of college before enlisting in the (February 24, 1921–March 9, 1996) American Army in 1942. By that time he was living in Califor-artist. Considered one of the most skilled and innia, although after the war he lived and worked in ventive of artists to work in the science fiction field, New York City. His father, Elmer Antone Poulton as well as one of the most prolific and versatile, Pow-was a painter who worked as an interior decorator in ers is rivaled only by Virgil Finlay*, and Frank Barnesville for many years, and was recognized as a Frazetta* in his influence on other artists in the field.

master craftsman; it is possible Peter Poulton learned By dominating the paperback market in the 1950s his skills from him.

and 1960s, and introducing a range of styles Weinberg notes that Poulton used a sharp pen-influenced by surrealism, Powers changed the percep-and-ink style as opposed to the many artists who tion of science fiction from space opera to real liter-worked in grease pencil or wash during the period.

ature. He set a standard and a style continued by For shading he used detailed cross-hatching and many other artists such as Vincent di Fate*, Paul stipple work to produce the desired effect. In many Lehr*, John Schoenherr*, and Jack Gaughan*. Di

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Powers

Fate places Powers in the company of artists such as they wanted illustrators for their books. Doubleday J. Allen St. John*, Frank R. Paul*, and Chesley Bon-and Simon & Shuster were not interested in typical estell* in terms of his influence “as a prime mover science fiction pulp art for their covers; most of their of the field” ( Infinite Worlds, p. 246).

books were aimed at libraries, not collectors. They Richard Michael Powers was born in Chicago, wanted respectable cover art, and Powers — who had Illinois, and early on he was impressed by the work not come from the world of magazine illustration —
of an uncle who was an artist, and by trips to the was able to provide what they were looking for: art Art Institute of Chicago. After attending Jesuit that was commercial and appropriate for literary ti-schools, he studied two years at Loyola University, tles. As Hartwell writes, “Richard Powers remained and at the Art Institute of Chicago for a year in 1939, a continuing explosion of innovation throughout the before switching to the University of Illinois Art decade.… His stylistic slant became so dominant School, in 1940. He was drafted into the army dur-and fashionable in the paperback market by the and ing World War II, and during basic training in Ken-of the 1950-s that younger artists had to imitate the tucky took art classes at the University of Kentucky.

Powers’ look to sell.” ( Science Fiction Age, p. 78).

He served in the Signal Corps film studios working Shortly after the beginning of the paperback’s out of Queens, New York. After the war, he stayed popularity, in the early 1950s, Ian Ballantine founded on in New York, and married Evelyn Schaeffer, Ballantine Books and through an agent hired Pow-whom he had known from his high school days in ers to give his new line of science fiction books a Chicago. They had the first of their four children special look. Soon Powers was handling all the cov-while living in New York.

ers for the important Ballantine series of “adult” sci-After trying his hand at writing (radio plays, po-ence fiction. A major reason Powers got the assign-etry, stories) Powers decided to become a commer-ment was that there were very few artists working in cial artists and used the G.I. Bill to attend the School the paperback field who wanted to do science fiction for Illustrators, studying with by Dan Content, and covers all the time. Powers explained the circum-then the New School, studying painting with Julian stances in an interview published in Algol magazine Levi. He also studied privately with landscape and (1979): “If the number of good artists who are paint-marine painting with Jay H. Connaway on Mon-ing good SF now were working in the early 1950s hegan Island, in 1947, and continued during follow-when Ballantine approached me to do the work, he ing summers through 1950, and then irregularly after might not have approached me, he might have ap-that. When Connaway moved to Dorset, Vermont, proached somebody else and the competition would to set up a permanent art school, Powers moved have been a hell of a lot sronger than it was.”

there also, 1948–1950. By that time, however, Pow-Powers’ work quickly came to define the appear-ers had taken his portfolio to all the New York pub-ance of adult science fiction, setting Ballantine lishers, getting only small assignments until his first Books apart from others, both hardcover and pa-major book illustration assignment, a fully illustrated perback editions. While at first his images more tra-edition of Swift’s Gulliver’s Travels (World Publish-ditional in content, featuring spaceships and space-ing, 1948). There followed several book cover as-men — albeit with a surrealistic use of colors and signments from Doubleday, ranging from westerns abstracted shapes—his covers were so successful that to mysteries to science fiction. Since Doubleday was Powers was given free rein to experiment. Books just starting to publish science fiction, Powers’ work such as Childhood’s End by Ray Bradbury were given soon got him known as a science fiction artist. Word abstract treatments, and they proved just as popular.

spread, and soon Horace Gold, editor of Galaxy Powers in time developed several wholly original magazine, contacted Powers for magazine work.

styles: some making use of collage elements, some to-However, and as Powers never refuted, he was not tally painted; some brightly colored, some muted in necessarily a great fan of the genre. What he always color; some whimsical, some horrific; some “bio-or-liked about science fiction was that it gave him artis-ganic” abstract surreal. His illustrations for Edgar tic freedom.

Rice Burroughs’ Tarzan books, for example, com-All during the 1950s, and through the boom in bined a stark, black line with a powerful and atten-the paperback market of the 1960s, Powers was one tion-getting use of color. The “woodcut” style was of the most active science fiction artists of the day.

a striking departure from the realistically depicted As Weinberg notes, when Powers began working in dramatic scenes that readers had come to expect, the science fiction field there was a dearth of artists from artists such as J. Allen St. John or Frank Fra-who were able to fill publishers’ needs. Science zetta: a muscular, athletic, and handsome ape-man fiction had been published in pulps for twenty-five fighting jungle animals. Equally distinctive were the years, but had rarely been in book form. The small-series of artworks he produced for “Major Cultures press SF publishers used artists like Hannes Bok* or of the World” dustjackets for World Publishing Co.

Edd Cartier*, who were popular in the pulps, when in the early 1960s, and the paperbacks of classic po-

Powers

386
etry and literature books for Dell. His magazine ashis mother’s maiden name), Richard Powers, or Pow-signments outside of science fiction included work ers. His illustrations, from 1970 on, typically were for Esquire, The Saturday Evening Post, Redbook, Life signed “Powers LAZ/org.” Space precludes a full exand Natural History. Powers had tremendous range planation of this cryptic signature (the LAZ/Org and capability, but it was through his science fiction stood for Lazarus Organization), but suffice it to say covers that Powers soon became an accepted standard that it was Powers’s sense of the absurd that sparked in the genre.

the concept. It was “a way to express his feelings to-At the same time his illustration career was suc-ward Pop Art in a satiric mode … as well as a gag.

ceeding, Powers was moving forward in his career (Powers enjoyed) the mystification it produced on as a fine artist. His art was featured in a four-man the part of some of his fans.” (Richard Gid Powers, show at the Museum of Modern Art in 1952. Also in The Art of Richard Powers, pp. 24–25).

during this time, Powers established his long-time Often Powers was not given the manuscript to affiliation with the Rehm Gallery in Manhattan. The read, but only the title and author’s name. It would gallery provided a showcase for his impressionistic not have mattered in any event, because Powers was paintings not in the science fiction vein, and placed not interested in narrative illustration, but rather in a number of his fine art pieces in private collections.

catching the mood of science fiction. Rarely did Just as science fiction illustration was only a part of Powers attempt to capture scenes from a novel, or to his commercial work — he did a good deal of chil-delineate characters and events. He used symbolism dren’s book illustration, record jacket art for classi-to represent the book as a whole. His approach was cal music, and medical advertising illustration —
totally new and different, a “look” that had never Powers pursued with equal vigor a career as a fine been seen before on science fiction books, and it set artist. His specialty was seascapes, and abstracted off the genre from others in way that was distinctive portraits of favorite artists and writers (Picasso, without being lurid or garish. It is estimated that Kafka), and constructions employing small sculp-Powers produced more than 1,400 illustrations over tures and found materials. After the untimely death his lifetime, including at least 800 book covers. He of his first wife, Evelyn, in 1966, Powers left the il-did nearly a hundred covers for Ballantine Books, lustration field for a period, spending winters living and hundreds more for Dell, Berkley, Pocket Books, and working in Jamaica, West Indies. In later years, McFadden, Belmont, Macmillan, and later DAW, he spent winters in Spain and showed his abstract and several frontis illustrations for special editions paintings through a gallery in Madrid, where they by Easton Press. Powers’ work soon came to define were well-received. Powers also was a political car-the appearance of the progressive side of the science toonist for a time for a distinguished newspaper, the fiction field. It demonstrated that science fiction did Berkshire Eagle, in association with a column by his not have to be packaged to aim at juveniles or young friend Roy Hoopes (writing as Peter Potomac).

adults to sell. Powers, more than any other artist, Powers’s illustrative style was influenced by Euro-showed that books could feature challenging, un-pean surrealists such as Tanguy, Miró, Matta. He usual covers that did more than illustrate a scene was not influenced in any way by pulp art, nor (not from a story and still sell well.

having grown up as a fan of science fiction) was he In the 1980s–1990s, Powers lived and worked out familiar with the popular SF artists of the period.

of a studio in Ridgefield, Connecticut. He only rarely His style was unique, and entirely his own. It was was persuaded to attend SF conventions, and was surrealistic and symbolic, but also experimental. By Artist Guest at NASFIC (North American Science the 1970s he had largely moved beyond his earlier Fiction Convention) held in Austin, Texas in 1985, graphic style to a fantastical kind of almost pure aband Chicon V, the 49th Worldcon, held in Chicago, straction. He worked with found materials, and was Illinois in 1991. At the latter convention he was given apt to re-use previous works in his collaged paint-several panels to showcase his art, and all were for ings, cutting up previously published illustrative sale, at modest prices for the day, ranging from about works to create new ones (to the chagrin of collec-

$250. to a high of $1,700, for “Mars Cityscape” a tors). Powers used acrylics, pencil, crayon, chalk, major work on door panel, 32" × 60" that was used ink, and other media, whatever was to hand. He for the cover of Year’s Best SF in 1987. The artwork painted, dripped, and splattered paint. As substrates, was not actually on view, because it was still at the Powers used an equally broad range of material, from Hayden Planetarium in New York, where it had masonite and pressed panel, illustration board, been on display since 1989. Powers offered it any-poster board and heavy watercolor paper, to pieces way, via a 3" × 5" photograph, which did not do of cardboard salvaged from cardboard cartons and justice to the theme (a much larger recreation of his wooden door panels. He signed his works in multi-previous Ballantine Book cover for Arthur C.

ple ways. Powers’s early works and fine art pieces Clarke’s Reach for Tomorrow). Despite his stature in were signed Gorman, Gorman Powers (Gorman was the field, practically nothing sold, and Powers was

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Powers
disheartened by the results. Ironically, it was the Galactic Empire (Avon, 1958), 6 Great Short Novels piece not on display that sold — to collectors Jane of Science Fiction (Dell, 1954), 13 Great Stories of Sci-and Howard Frank — who didn’t mind waiting a ence Fiction (Fawcett, 1962), 43,000 Years Later couple of months for the artist to deliver the work.

(Signet, 1958), Abominable Earthman (Ballantine, Within ten years Powers’s illustrations at last began 1963), A for Andromeda (Crest, 1964), Against the to receive the recognition they deserved — exhibited, Fall of Night (Perma Star, 1954), Ahead of Time (Bal-and in demand, selling at prices far exceeding those lantine, 1953), Aliens (Berkley, 1960), Alley God (Bal-realized by Powers during his lifetime. Soon after lantine, 1962), All the Traps of Earth and Other Sto-meeting the artist in person, Jane Frank (via Worlds ries (McFadden, 1963), Alpha 6 (Berkley, 1975), of Wonder) offered to represent the artist in sales of Alternating Currents (Ballantine, 1956), Alternities his original art, an arrangement that continued for (Ace/SFBC, 1988), Annual World’s Best SF: 1978, his estate, after Powers’s death. A compendium art 1983, 1984, 1985, 1987, 1988, 1989, 1990 (DAW, book by Jane Frank, The Art of Richard Powers (Paper 1978–1990), Another Kind (Ballantine, 1955), As-Tiger, 2001) was nominated for a Hugo Award.

signment in Tomorrow (Hanover House, 1954), As-Known for his “wisecracking” sense of humor, tounding Tales of Space and Time (Berkley, 1957), At and “echoing, brazen laugh,” writes his long time the Narrow Passage (Berkley, 1973), Away and Be-friend David Hartwell, Powers also was “a big guy”

yond (Berkley, 1959), Baby is Three (North Atlantic (over 6') and athletic (he was an avid tennis player Press, 1999), Beasts of Tarzan (Ballantine, 1963), Bee-for many years before developing heart problems in tle in the Anthill (MacMillan, 1980), Beyond Eden 1995). He may have been a reluctant SF artist, but (Ballantine, 1955), Beyond Infinity (Dell, 1954), Big he once told Di Fate, “I can’t think of a better way Book of Science Fiction (Berkley, 1957), Bodyguard to get through life than to first be an artist, and sec-and Four Other Short Science Fiction Novels from ond to have been able to make a decent living in a Galaxy (Perma/Pocket, 1962), Bolo (Berkley, 1976), field that I found interesting; that is, science fiction.”

Br-r-r-! (Avon, 1959), Brain Wave (Ballantine, 1954), ( Art of Richard Powers, p.7). Powers had two sons Bright Phoenix (Ballantine, 1956), Bring the Jubilee and two daughters from his first marriage, and sev-

(Ballantine, 1953), Brother Assassin (Ballantine, eral grandchildren, and was divorced from his sec-1969), Budrys’ Inferno (Berkley, 1963), A Case of Con-ond wife, Tina Paul for some years before his death.

science (Ballantine, 1958), Caviar (Ballantine, 1955), Richard Gid Powers, the oldest son, is a Pop Cul-Chalk Giants (Putnam/Berkley, 1975), Childhood’s ture/American Literature scholar, Terry (Terence) End (Ballantine, 1953), Children of the Atom (Avon, and his family and Cathy (Sarah Kathleen) and her 1958), Chronopolis (Berkley, 1971), Chthon (Berkley, family live in Connecticut, and Beth (Elizabeth), a 1975), Citizen in Space (Ballantine, 1955), City (Per-lawyer in Madrid, and her family live in Spain. It mabooks, 1954), City and the Stars (Signet, 1957), was while Powers was in Spain that he had a stroke, City at World’s End (Crest, 1957), Clock Strikes 12
and died the next morning.

(Ballantine, 1961), Cloud Cry (Putnum, 1977), Con-Sources: interview and correspondence with the artist, fessions of a Crap Artist (Entwhistle, 1975), Creatures 1992–1996; Di Fate, Vincent. “Richard Powers: The Surreal of the Abyss (Berkley, 1961), Cycle of Fire (Ballantine, Saavy of a Reluctant Sci-Fi Artist” Outre’ magazine#24, 2001; Frank, Jane. “Richard Powers: Master of Surreal Dreams”

1957), Cupful of Space (Ballantine, 1961), Dark Do-gallery article in Realms of Fantasy, December 2001; Hartwell, minion (Ballantine, 1954), David Starr: Spaceranger David G. “Powers of the Imagination” gallery article in Science (Doubleday, 1952), Deadly Image (Ballantine, 1958), Fiction Age, March 1996; Weinberg, 1988.

Deals With the Devil (Ballantine, 1959), A Decade of Collections and Anthologies

Fantasy and Science Fiction (Dell, 1962), Decision at (various contributing artists)

Doona (Ballantine, 1969), Definitely Maybe (Mac-Di Fate, Vincent. Infinite Worlds: The Fantastic Millan, 1978), Destiny Doll (Berkley, 1975), Desti-Visions of Science Fiction Art. (Wonderland Press/
nation Infinity (Avon, 1956), Double in Space (Dou-Penguin, 1997), Frank, Jane. The Art of Richard Pow-bleday, 1951), Double Star (Signet, 1957), Earthblood ers (Paper Tiger, 2001), Frank, Jane and Howard.

(Berkley, 1968), Earthclan (SFBC, 1987), Earthlight The Frank Collection: A Showcase of the World’s Finest (Ballantine, 1955), Enemy Stars (Berkley, 1959), Fantastic Art (Paper Tiger, 1999), Frank, Jane and Epoch (Putnam/BCE, 1975), Expedition to Earth Howard. Great Fantasy Art Themes From the Frank (Ballantine, 1953), Fabulous Riverboat (Putnam, Collection (Paper Tiger, 2003), The New Visions: A 1971), Far and Away (Ballantine, 1955), Farewell to Collection of Modern Science Fiction Art. (Double-Yesterday’s Tomorrow (Berkley/Putnam, 1976), A Far day & Co, 1982), Space Time Warp Portfolio (Dou-Sunset (Berkley, 1968), Fire Past the Future (Ballan-bleday, 1983), Weinberg, 1988.

tine, 1960), Four for the Future (Pyramid, 1959), Four Lords of the Diamond (SFBC, 1983), Friday (Holt, Published Work

Rinehart & Winston/SFBC, 1982), From Outer BOOKS ILLUSTRATED INCLUDE: 2nd Foundation: Space (Avon, 1957), Future Corruption (Warner,

Powers

388

1975), Galactic Diplomat (Berkley, 1966), Gather, Out of the Deeps (Ballantine, 1953), Passport to Eter-Darkness! (Berkley, 1962), Genus Homo (Berkley, nity (Berkley, 1963), Pavane (Berkley, 1976), Pebble 1961), Get Out of My Sky (Crest, 1960), Girls From in the Sky (Doubleday, 1950), Phthor (Berkley, 1975), Planet 5 (Ballantine, 1955), Gladiator-at-Law (Bal-Plague of Demons (Berkley, 1965), Possible Worlds of lantine, 1955), Gods Themselves (Easton, 1986), Science Fiction (Berkley, 1960), Preferred Risk (Dell, Graveyard Reader (Ballantine, 1958), Great Science 1962), Prelude to Space (Ballantine, 1954), Prisoners Fiction Stories (Dell, 1964), Greybeard (Signet, 1965), of Power (MacMillan, 1977), Pstalemate (Berkley, Guardians of Time (Ballantine, 1960), Handful of 1973), Quy Effect (Berkley, 1967), Re-Birth (Ballan-Time (Ballantine, 1963), Hell’s Pavement (Berkley, tine, 1955), Reach for Tomorrow (Ballantine, 1956), 1955), Hermit’s Swing (MacMillan, 1980), Hero’s Retief: Ambassador to Space (Berkley, 1970), Return of Walk (Ballantine, 1954), High Vacuum (Ballantine, Tarzan (Ballantine, 1963), Return to Otherness (Bal-1957), His Share of Glory: The Complete Short Sci-lantine, 1962), Riders to the Stars (Ballantine, 1953), ence Fiction of Cyril M. Kornbluth (NESFA Press, Rissa Kerguelen (Berkley, 1977), Roadside Picnic/Tale 1997), Horror Stories From Tales To Be Told in the of the Troika (MacMillan, 1977), Robots and Changel-Dark (Ballantine, 1960), Human Angle (Ballantine, ings (Ballantine, 1957), Rogue Moon (Fawcett, 1960), 1956), Impact-20 (Paperback Library, 1963), Incom-Science Fiction Omnibus (Berkley, 1956), Search the plete Enchanter (Pyramid, 1960), In Deep (Berkley, Sky (Ballantine, 1954), Seed of Light (Ballantine, 1963), Infinite Cage (Berkley/Putnam, 1972), Inside 1959), Seeker From the Stars (Berkley, 1967), Shadow (Berkley, 1974), Invisible Men (Ballantine, 1960), of Alpha (Berkley, 1976), Shield (Berkley, 1963), Sil-Jungle Tales of Tarzan (Ballantine, 1963), Lucky Starr ver Eggheads (Ballantine, 1961), Sirens of Titan (Dell, and the Oceans of Venus (Doubleday, 1954), Lucky 1959), Six-Gun Planet (Paperback Library, 1970), Starr and the Pirates of the Asteroids (Doubleday, Slan (Ballantine, 1961), Sometime, Never (Ballantine, 1953), Man of Earth (Ballantine, 1958), Martian 1957), Space Merchants (Ballantine, 1953) Space Time-Slip (Paperback Library, 1971), Mary and the Odysseys (Berkley, 1978), Space, Time & Crime (Pa-Giant (Manor House, 1987), Maske: Thaery perback Library, 1964), Spectrum 1 (Berkley, 1962), (Berkley/Putnam/SFBC, 1976), Mathenauts: Tales of Star Short Novels (Ballantine, 1954), Star Light, Star Mathematical Wonder (Arbor House, 1987), Men Bright (Berkley, 1976), StarMother (Berkley/SFBC

Without Bones (Paperback Library, 1962), Men, Mar-1975), Star Science Fiction Stories 1, 2, 3, 4 (Ballan-tians and Machines (Berkley, 1958), Messiah (Ballantine, 1953, 1954, 1958), Stories from The Other Pas-tine, 1954), Mirror for Observers (Dell, 1958), Miss-senger (Ballantine, 1961), Strange Eons (Whispers ing Man (Berkley/Putnam/SFBC, 1975), Mission to Press, 1978), Strangers from Earth (Ballantine, 1961), the Stars (Berkley, 1955), More Adventures on Other Strangers in the Universe (Berkley, 1956), Synthajoy Planets (Ace, 1963), More Than Human (Ballantine, (Berkley, 1977), Tales from the White Hart (Ballan-1953), Mortals and Monsters (Ballantine, 1965), Na-tine, 1957), Tales of Gooseflesh and Laughter (Ballan-tives of Space (Ballantine, 1965), Nebula Award Sto-tine, 1956), Tarzan and the Antmen; Tarzan and the ries 8 (Berkley, 1975), Needle in a Timestack (Ballan-City of Gold; Tarzan and the Castaways; Tarzan and tine, 1966), Nerves (Ballantine, 1956), Neutron Stars the Forbidden City; Tarzan and the Foreign Legion; (Fawcett, 1977), New Dimensions 11 (Pocket, 1980), Tarzan and the Golden Lion;Tarzan and the Leopard New Dreams This Morning (Ballantine, 1966), New Men; Tarzan and the Lion Man; Tarzan and the Lost Maps of Hell (Farrar Strauss/Ballantine, 1961), New Empire; Tarzan and the Madman; Tarzan at the Soviet Science Fiction (MacMillan, 1979), New Worlds Earth’s Core; Tarzan Lord of the Jungle;Tarzan of the Quarterly 1, 2, 3, 4 (Berkley, 1971, 1972, 1973), Night Apes; Tarzan’s Quest; Tarzan The Invincible; Tarzan of Delusions (Berkley, 1974), Night of Light (Berkley, The Magnificent; Tarzan The Terrible; Tarzan The 1966), Nine by Laumer (Berkley, 1969), Nine Hor-Untamed; Tarzan Triumphant (Ballantine, 1963, rors and a Dream (Ballantine, 1962), Nine Tomor-1964, 1975), Tau Zero (Berkley, 1976), Telepath (Bal-rows (Doubleday, 1959), No Boundaries (Ballantine, lantine, 1962), Terminal Beach (Berkley, 1964), Tide 1955), No Time Like the Future (Avon, 1954), No Went Out (Ballantine, 1959), Tomorrow’s Gift (Bal-Time Like Tomorrow (Signet, 1959), Not in Solitude lantine, 1958), Transmigration of Timothy Archer (Berkley, 1961), Number of the Beast (Fawcett, Faw-

(Timescape, 1982), Treasury of Science Fiction cett Columbine, 1980), Occam’s Razor (Ballantine, (Berkley, 1957), Tunnel Through the Deeps (1974), 1957), Odd John (Berkley, 1965), Of All Possible Wailing Asteroid (Avon, 1960), What If ? Vol 1, 2

Worlds (Ballantine, 1955), Off the Beaten Orbit (Pyra-

(Pocket, 1980, 1981), Werewolf Principle (Berkley, mid, 1959), On an Odd Note (Ballantine, 1958), Op-1968), Wolf bane (Ballantine, 1959), Xenogenesis (Bal-eration Terror (Berkley, 1962), Or All the Seas with lantine, 1969), Year’s Best S-F; 5th annual, 6th annual Oysters (Berkley, 1962), Orbit 1 (Berkley, 1966), Os-

(Dell, 1961) Year’s Greatest Science Fiction and Fansian’s Ride (Berkley, 1961), Our Lady of Darkness tasy; 2nd annual; 3rd annual, 4th annual (Dell, 1956, (Berkley, 1977), Out of My Mind (Ballantine, 1967), 1957, 1958, 1959), Zacherley’s Midnight Snacks (Bal-

389

Poyser-Lisi
lantine, 1960). Zacherley’s Vulture Stew (Ballantine, seum group shows and genre conventions through 1959).

the 1980s, including the Delaware Art Museum, “Art M
of SF&F” 1989 and the Olympia & York “In AGAZINE ILLUSTRATIONS INCLUDE:

ASF : 1978 (5, 9, 10, 11)

Dreams Awake” exhibit, NYC 1990. Lisi was Part-BEY: 1953 (7, 9)

ner and co-inventor for KGV Designs (1986–1988), FTC: 1953 (3)

and she invented and sold the toy line “Supernatu-GXY: 1951 (12); 1952 (2, 4)

rals” to Tonka Toys in 1987. She teaches art part-MZB: 1993 (fall)

time at Aims Community College (Loveland, CO).

STAR: 1958 (1)

Lisi has one daughter, Astra Poyser, a jewelry de-WSA: 1957, 1963
signer, and a son, Bryan Poyser, who is a screenwriter, producer, and film director.

Sources: e-mail from the artist February 2006; Weinberg, Poyser-Lisi, Victoria

1988.

(b. November 26, 1949) American artist. Lisi rePublished Work
ceived a BA in art from Evergreen State College, BOOKS ILLUSTRATED INCLUDE: Adventures of Alyx Olympia, WA (1980) and was first exposed to the (Baen, 1986), Ariel (Tor, 1984), Bones of Zora (Phan-SF genre at a 1979 World Fantasy Convention in tasia Press, 1983), Carnelian Throne (Baen, 1985), Providence, Rhode Island, where she met Michael Castle Crispen (Tor, 1984), A Century of Progress (Tor, Whelan and was influenced by his work. Mentors 1983), Chanur’s Venture (Phantasia Press, 1984), Dare from her early years were Kevin Eugene Johnson*
to Go A-Hunting (Tor, 1990), Day of the Dissonance (with whom she later collaborated on several science (Phantasia Press, 1984), Dicing with Dragons (Plume/
fiction cover paintings) and Rowena*, but her work SFBC, 1982), Double Exposure (SFBC, 1982), Dying has changed and gone through a number of differ-Earth (w/ Kevin Johnson; Baen, 1984 ), East of Mid-ent styles through the years. Working as Victoria night (Berkley/Tempo, 1985), Eight Keys to Eden Poyser, she won two Hugo Awards for Best Fan (Donning, 1982), Emperor of Eridanus (DAW, 1983), Artist before her move to New York in 1982 to pur-Eyes of the Overworld (Baen, 1986), Fall of Atlantis sue a career as a professional illustrator. She illus-

(Baen, 1986), The Fallen Country (Bantam, 1986), trated well over a hundred publications in the SF

Fire Sanctuary (Warner, 1986), Fisherman’s Curse genre before adding children’s picture books to her (Popular Library, 1987), Flight in Yiktor (Tor, 1987), repertoire in the early 1990s. Her earliest works were Forerunner (Tor, 1987), Four From the Witchworld in pen-and-ink and watercolors, but for her fantasy (Tor, 1987), The Frog Prince (DAW, 1983), Game of and science fiction works she generally worked in Empire (Baen, 1985), Gorgon’s Head and Other oils on gessoed masonite. Her later and current chil-Beastly Tales (DAW, 1985). Greyhaven (DAW, 1983), dren’s and fine art work is primarily watercolor on Harlot’s Ruse (Popular Library/Questar, 1986), watercolor paper. Lisi’s signature also has changed Harper Hall (SFBC, 1984), Here Abide Monsters over the years; her early work was signed “V Poyser,”

(Tor, 1985), Hidden Temple (Tor, 1988), High Couch then once she began doing SF covers she signed as of Silistra: #1 Returning Creation; #2 Golden Sword #3

“Victoria.” She does not always sign her illustrative Wind From the Abyss (Baen, 1984, 1985 ), Hoka (Tor, works, however, feeling some are “so heavily art di-1984), House of Shadows (Tor, 1984), In Celebration rected that it’s not really mine … one feels more like of Lammas Night (Baen, 1996), Interstellar Pig (Bana computer program than an artist, having no cre-tam, 1986), In the Shadow of the Shaman (Llewellyn, ative input,” and is one of the reasons she offers for 1988), Kiteman (Bantam, 1985), Magicians of Caprona moving “more and more into fine art.” Lisi was Artist (Berkley/Tempo, 1984), Mail Order Wings (Avon, Guest of Honor at the 1985 World Fantasy Conven-1984), Mask of the Wizard (Tor, 1985), Master of tion (as Victoria Poyser), and at 1997 Westercon 50

Glass (Warner, 1985), Messenger Chronicles: #1 Planet in Seattle and 2003 Arisia, Boston.

of Whispers (Tor, 1985) Moon Called (Tor, 1983), Lisi’s marriage to Julius Lisi (a former portrait Moonsinger’s Friend (Blue Jay, 1985), Ned Kelly and painter), in 1987 refocused her career, and they the City of Bees (Avon, 1985), Pig Plantagenet (Tor, began collaborating on paintings, mainly for the 1984), Prisoner of Zhamanak (Phantasia Press, 1982), children’s and young adult market, in 1989. Most of Ralestone Luck, Ralestone Trick (Tor, 1984), Red as Lisi’s illustrative works since then have been a col-Blood (SFBC, 1983), Shadow Keep (Warner, 1984 ), laboration, which are signed “VJ.” She is writing Shattered World (Baen, 1985), Silver Mountain (Pop-and illustrating a book of imaginative fiction and ular Library, 1986), Sinful Ones (Baen, 1986), Some-with her husband produces award-winning fine art times, After Sunset (Doubleday, 1985), Split Second for juried art shows and galleries, and limited edition (Warner, 1985), Stardance (Tor, 1983), Sung in giclees. Lisi won the Frank R. Paul Award 1986 for Shadow (DAW, 1983), Swimmers Beneath the Bright excellence in SF&F and exhibited her SF art in mu-

(Warner, 1987), Sword and Sorceress (DAW, 1984),

Punchatz

390

Tales of the Witch World (Tor, 1989), Third Book of many advertising assignments were based on themes Swords (Tor, 1985), Total Recall (Legend, 1990), Trai-originating from these genres.

tor to the Living (Tor, 1985), Web of Darkness (Baen, In 1970, he founded SketchPad Studio in Arling-1985), Vision of Beasts: #1 Creation Descending; #2
ton, Texas, where a number of young illustrators Second Kingdom; #3 Brotherhood of Diablo (Tor, began their careers. Later, many of them went on to 1983, 1984, 1985), Wheel of Stars (Tor, 1984), You’re establish their own national reputations. It was also All Alone (Carroll & Graf, 1990).

in 1970 that Punchatz began teaching illustration at M

Texas Christian University and has continued to do AGAZINES ILLUSTRATED INCLUDE:

GXY: 1978 (5)

so for the past 35 years. He has also been a guest in-MZB: 1999 (#43)* with Julius Lisi
structor for Syracuse University’s Independent Masters Program since the mid–1980s.

GAME-RELATED ILLUSTRATIONS INCLUDE: Fez II Punchatz “rode the “New Wave” of SF, incorpo-

(Mayfair Games, 1983), Thieves’ World, 2nd Ed.

rating surreal and erotic touches in his distinctive (Chaosium, 1981), Tunnels & Trolls, 5th Ed. (Flying work that evoked, by turns, M.C. Escher, Heirony-Buffalog, 1979), Sorcerer’s Apprentice magazine, #4
mous Bosch, German Expressionism, and Neoclas-

(Fall 1979), #2 (Spring 1979).

sical Architecture,” wrote Karen Haber (1999) and DiFate called his work “neo-primitive … conceptu-Punchatz, Don Ivan
ally sophisticated, brightly colored, and uniquely (b. September 8, 1936) American artist. American personal” (p. 250, 1997). His best remembered ear-artist born in Hillside, New Jersey. Upon gradualier works in the genre include cover paintings for tion from high school, he received a full scholarship Asimov’s Foundation series for Avon Books, and the to the School of Visual Arts in NYC. It was there Riverworld series of Philip Jose Farmer, although that he had the great opportunity to study with those outside the field would probably point to his Burne Hogarth, the illustrator of the comic strip visually arresting interior illustrations for popular Tarzan. After leaving SVA, Punchatz went on to atmen’s magazines such as Penthouse and Playboy, Pun-tend night school at Cooper Union School of Fine chatz has received numerous professional awards for Arts. During that period in the late 50ís, he worked his work, including being selected for inclusion in in advertising as an assistant television art director Spectrum: The Best in Contemporary Fantasy Art (Un-and later worked for a company that produced an-derwood, 1994) and being honored with the Spectrum imation and filmstrips. In 1959, he was drafted into Grand Master Award in 1996. His paintings have the Army. While in the service, he worked as a med-also been exhibited at various museum and gallery ical illustrator and produced animated training films.

shows that featured the art of fantasy and science After his discharge, he secured a position as an art di-fiction illustration. Much of Punchatz.s work is in rector for a national advertising agency in Pittsburgh, private collections, and one of his paintings is now Pa.

in the permanent collection of the Smithsonian’s Na-It was in the years 1962–65 that he began exhibit-tional Portrait Gallery.

ing his personal paintings in local galleries. And then Sources: e-mail and telephone correspondence with the in 1963, his work caught the attention of Darwin artist, May 2005; Difate, Vincent. Infinite Worlds: The Fantastic Visions of Science Fiction Art (Wonderland Press/Pen-Bahm, an artists agent from NYC, who proposed guin, 1997). Haber, Karen. “Rider of the New Wave” Gallery that many of these paintings might be used as cover article in: Science Fiction Age, March 1999, Weinberg, 1988.

art for books in the genre of fantasy and science fiction. He then went on to launch Punchatz’s free-Published Work
lance career by selling the reproduction rights to the BOOKS ILLUSTRATED INCLUDE: All About Strange pre-existing paintings and securing new projects Monsters Of The Recent Past (Ursus Imprints, 1987), from publishers. Bahm remained on as Punchatz’s An Infinite Summer (Dell, 1981), A Barnstormer in agent until he retired in the mid–90s.

Oz (Berkley, 1982), The Best of Omni Science Fiction At first, Punchatz was known primarily as a pa-3 (Omni Publications, 1982), Coming of the Robots perback artist, producing science-fiction, fantasy and (Collier, 1968), Cruiser Dreams (Berkley, 1983), horror covers for Ace, Berkley, Dell, Avon, Macmil-Cryptozoic! (Avon, 1969), Dangerous Visions 1, 2, 3
lan, New American Library and Warner Books (Berkley, 1969), Dayworld (Ace/Putnam, 1985), Day-among others. However, as his work became better world Rebel (Ace/Putnam, 1987), Different Vintage known, he soon began receiving commissions from (Subterrannean Press, 2001), Dream Dancer (Berkley, many national magazines including Playboy, Pent-1982), Earth Dreams (Berkley, 1982), Exploring Other house, Esquire, National Lampoon, Time, Omni, Worlds (Collier, 1967), Face in the Abyss (Collier, Rolling Stone and Boys’ Life. Many of these commis-1957), Fifty Short Science Fiction Tales (Collier, 1973), sions were directly related to science fiction and fan-Foundation (Avon, 1968), Foundation and Empire tasy subject matter. In addition to the editorial work, (Avon, 1966), The Fully Automated Love Life of Henry

391

Quinn

Keanridge (Playboy Press, 1971), Gods of Riverworld year, followed by his first cover painting for New (Putnam, 1983), Great Science Fiction About Doctors Worlds, seen on the January 1952 issue. This expo-

(Collier, 1963), Great Science Fiction by Scientists sure brought him book assignments from Sidgewick (Collier, 1962), The Green Brain (Ace, 1979),

& Jackson and Frederick Muller for interior illus-Hawksbill Station (Avon, 1970), The Hereafter Gang trations and cover art, although he remained known (Mark V. Ziesing , 1991), Invasion of the Body Snatch-primarily for his magazine work.

ers (Dell, 1978), The Living Dead (Warner, 1980), Quinn specialized in alien landscapes and astro-The Man in the Maze (Avon, 1969), Moon Pool (Col-nomical themes, often with a surreal, somewhat lier, 1968), Neanderthal Planet (Avon, 1970), Night whimsical edginess. His earlier black-and-white in-of the Cooters (Mark V. Ziesing, 1990), Night Walk terior artwork was known for its intricate line work, (Avon, 1970), Nightwings (Avon, 1969), Piggs (Sub-which was very time-consuming, taking up to eight terranean Press, 2002), Psi High and Others (Ace, to twelve hours for a single illustration. In time his 1967), Psycho II (Whispers Press, 1982), Quest to SF art became less complex, and later cover artworks Riverworld (Warner, 1993), Recalled To Life (Ace, were sometimes simple line drawings to which were 1958), Riverworld and Other Stories (Berkley, 1979), added color accents or washes. However, in an in-Second Foundation (Avon, 1964), The Seed of Earth terview in Science Fantasy he assured fans that the (Ace, 1976), Silent Invaders (Ace, 1963), Slow Danc-

“simpler method [was] not synonymous with poor ing Through Time (Ursus/Mark V. Ziesing, 1990), work.” Self-portraits of Quinn are contained in his Soviet Science Fiction (Collier, , 1966), Specimens covers for Science Fantasy #14 and #15. Quinn also (Popular Library, 1976), Star Trek —The Worlds of the was profiled in New Worlds in the January issue, Federation (Pocket Books, 1989), Supernatural 1953. By the late 1950s he was producing fewer Reader (Collier, 1973), The Supernatural Short Sto-works, and no color covers by him appeared between ries of Robert Louis Stevenson (Dell, 1978), Switch 1958 and 1961. During this period he altered his style Bitch (Aarner, 1975), Tales of Riverworld (Warner, and began using colored inks to produce an oil-1992), Tales of the Galactic Midway 2 (Signet, 1983), painting effect. When the Carnell magazines folded The Three-Legged Hootch Dancer (Signet/NAL, in 1964, Quinn painted a number of covers and in-1983), The Time Hoppers (Avon, 1968), Triage teriors in black-and-white for Vision of Tomorrow.

(Warner, 1973), Times Without Number (Ace, 1969), In 1982 he returned to the field to produce two cov-Under Heaven’s Bridge (Ace, 1982), War Against the ers for the short-lived Extro magazine, which was Rull (Simon and Schuster, 1959), Who Can Replace published in his native Belfast.

a Man? (Signet/NAL, 1967), The Wild Alien Tamer Sources: Aldiss, Brian. Science Fiction Art: The Fantasies of (Signet, 1983).

SF. NY: Bounty Books, 1975; Clute, John and Nicholls, Peter, Eds. The Encyclopedia of Science Fiction. St. Martin’s Press, MAGAZINES ILLUSTRATED INCLUDE:

1993; Weinberg, 1988

DRA: 1996 (7)

Published Work

HM: 1980 (1)

BOOKS ILLUSTRATED INCLUDE: Alien Dust (Board-Misc.: Club Ninja: Blue Oyster Cult album cover man, 1955), Earthlight (Frederick Muller, 1955), (Koch, 1986), Devil’s Triangle: Tomita album cover Gateway to Tomorrow (Museum Press, 1954), Green (RCA, 1978), Doom video game packaging art (id Hills of Earth (Sidgewick & Jackson, 1954), Islands Software, 1993), Harlan Ellison’s audio album “On in the Sky (Sidgewick & Jackson, 1954), Man Who The Downhill Side” (The Harlan Ellison Recording Sold the Moon (Pan, 1955), Mysteries of Space and Collection, 1984), Star Wars Premier Edition card Time (Frederick Muller, 1955), Prelude to Space art (Topps, 1995).

(Sidgwick and Jackson, 1953, Pan, 1954), Spaceways (Pan, 1954), True Book About Space Travel (Freder-Quinn, Gerard A.

ick Muller, 1954), True Book About the Stars (Fred-

(b. May 6, 1927) British artist. Born in Belfast, erick Muller, 1953), Weapon Shops of Isher (Nova SF, Northern Ireland, and a long-time resident of that 1954)

city, Quinn is a self-taught artist who entered the MAGAZINES ILLUSTRATED INCLUDE:

field drawing strip cartoon pages for British reprints EXT: 1982 (3, 8)

of American comics (e.g., Sheena, Queen of the Jun-NEB: 1953 (3); 1957 (25); 1958 (27, 28, 29, 31, gle). He was one of a handful of artists, along with 34, 37); 1959 (41)

Brian Lewis*, and Bob Clothier*, who came to e NW: 1951 (spring, summer, fall, winter); 1952 (1, prominence working for British SF magazines in the 3, 5, 9); 1953 (1, 6); 1954 (5, 6, 7, 8, 9, 10, 11, 12); 1955

1950s. His interest in science fiction and fantasy led (1, 2, 3, 5, 6, 7, 9, 12); 1956 (1, 4, 5, 7, 9, 12); 1961 (9, him to submit drawings at the beginning of 1951 to 11); 1962 (1, 3); 1963 (8, 9, 10, 11, 12) John Carnell, then editor for New Worlds and Science ScF : 1951 (winter); 1952 (#5, #6); 1953 (spring); Fantasy magazines. His interior art appeared that 1954 (#7, #8, #9, #10, #11); 1955 (#12, #13, #14, #15,

Rankin

392

#16); 1956 (2, 8, 12); 1957 (2); 1961 (10, 12); 1962 (2, works were done in an uncluttered, distinct style 4, 6, 8); 1963 (2, 6, 8)

and were signed “DOAK” (Rankin’s probable mid-SFA (BR): 1962 (2, 9); 1963 (3, 5)

dle name, likely stemming from the Doak/Rankin VofT: 1969 (12); 1970 (2)

family connection, with roots in New Hampshire) or

“P.E.N.” Some of his cover illustrations were repro-Rakeland, Sam see Berry, Rick duced in the art anthology Weird Tales by Alister Durie ( Jupiter, 1979). His interior artwork was also Rankin, Hugh D.

seen posthumously as spot illustrations in the Mag-

( July 2, 1878–January 3, 1956) American artist.

azine of Horror, November issue 1968 as well as in re-Rankin was born Hugh D. Copp in Loda, Illinois, issued “authorized editions” of Robert E. Howard the son of the sculptor Ellen (Helen) Houser Rankin stories published by Berkley/Putnam in 1977, which and William Copp, of New Hampshire. At the age reproduced the illustrations first seen in Weird Tales.

of sixteen, while still a student, Rankin traveled Rankin served in the U.S. Army during World War abroad to England with his mother, who had begun I, and is buried in a veterans National Cemetery in exhibiting her work overseas, as well as at the Art San Diego, CA. He had moved from Chicago to Institute of Chicago, where she had studied. By Southern California in the late 1930s to early 1940s, 1900, however, his parents were living apart, and and remained there until his death.

mother and son had reverted to using her maiden Sources: personal correspondence from the artist to Emil (and professional) name of Rankin and were living Petaja, undated 1930s, plus other biographical information, courtesy of Robert Weinberg; 1900 United States Federal Cen-and working in Indianapolis, Indiana, where at sus; California Death Index, 1940–1997; Passenger Lists of twenty-one Rankin was already a newspaper illustra-Vessels Arriving at New York 1820–1897 at www.ancestry.com tor. He spent eighteen years working for various

[database on-line]. Provo, UT, USA: The Generations Net-newspapers in the Midwest, and Florida. Both work, Inc., 2004, 2006; www.doak.ws/photos.htm; Haining, Peter. The Classic Era of American Pulp Magazines. Prion mother and son later moved to Chicago, Illinois and Books, 2000.

he began working for Weird Tales magazine in 1927, when he was in his late forties and semi retired. He Published Work
never married, and wrote (in a letter to author Emil BOOKS ILLUSTRATED INCLUDE: Conan: Red Nails Petaja, from the 1930’s undated) .” . . am a bachelor (Berkley/Putnam, 1977), The Hour of the Dragon and liable to remain so during the depression … as (Berkley/Putnam, 1977), The People of the Black Cir-for the ladies, the ones I might want I can’t have and cle (Berkley/Putnam, 1977), The Purple Sea (1929).

the rest I don’t give a damn about … “) MAGAZINES ILLUSTRATED INCLUDE:

Rankin was one was one of the first artists to work FTC: 1967 (1)

on Weird Tales (it began publication in 1926), and WT: 1927 (7, 8, 9, 10, 11, 12); 1928 (1, 2, 3, 4, 5, provided very good interior illustrations for some of 6, 7, 8, 9, 10, 11, 12); 1929 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, the best early stories by H. P. Lovecraft (“The Call 11, 12); 1930 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1031
of Cthulhu”) and Robert E. Howard (“The People (1, 2, 4); 1932 (5); 1933 (12); 1934 (2, 4, 5, 7, 8, 9, of the Black Circle”). His art was a sharp departure 10, 11, 12); 1935 (1, 4, 5, 6, 7, 11); 1936 (2, 4, 5, 6) from the illustrations of Curtis Senf* and Andrew Brosnatch*, whose work dominated that magazine Raymond, Alex
before Rankin starting illustrating, and by the late (October 2, 1909–September 6, 1956) American 1920s he was contributing a vast majority of the in-artist. Born Alexander Gillespie Raymond in New teriors, while sharing cover duties with Senf. Unlike Rochelle, New York, Raymond is one of the most the sensuous art of Margaret Brundage*, whose famous science fiction artists of all time, although name is recognized by virtually all admirers of that he never contributed an illustration to any science magazine, Rankin’s nudes were more abstract and fiction magazine or book. He created one of the most art-deco in feeling. His paintings were done in pas-famous and influential science fiction newspaper tel watercolors and in Weinberg’s words, “had a comic strips of all time, Flash Gordon.

shadowy, indistinct style that produced an eerie ef-Raymond attended the Iona Preparatory School in fect.” Rankin’s interiors were produced in charcoal New Rochelle on a football and baseball scholar-and grease pencil, and that also contributed to the ef-ship, but when his father died, as the eldest of five fect.

children he was forced to discontinue his education Rankin was one of the earliest weird-fiction illus-and take a job on Wall Street as an order clerk. The trators to attempt to depict otherworldly creatures Crash of 1929 cut short that career and he enrolled and his monsters, hidden in shadows or indistinctly in the Grand Central School of Art, while also so-outlined, were effective in capturing the feeling of liciting a neighbor, the comic strip artist Russ West-many fantasy stories. Rankin also did artwork for over, for advice. Westover hired Raymond as an as-Weird Tales using regular pencil and ink. These sistant on his well-known strip, Tillie the Toiler, in

393

Reinert

1930 and he began working in the “bullpen” at King School of Art with a degree in production art and de-Features Syndicate working on various strips. He sign but is a self-taught painter. Upon graduation worked for Lyman and Chic Young, on Tim Tyler’s Reinert went to Warren magazines in New York for Luck and Blondie, from 1930 to 1933, while contin-an interview, and without many publications in the uing to work on Tillie.

field was able to sell several pieces to them. He In 1933 Raymond was asked by King Syndicates worked in advertising as an illustrator and designer, to create several features for the Sunday comics, to developing a regular clientele, and after 3 1/2 years compete against Buck Rogers, and Tarzan. Raymond went on to establish his own studio in 1981.

came up with Flash Gordon, a space adventure and During his career as a book cover artist, Reinert Jungle Jim, a jungle adventure strip. He also did daily has painted over 200 covers in the fantasy, horror art for Secret Agent X-9, which was scripted by and science fiction genre, including projects such as Dashiell Hammett. All three debuted in 1934, al-the Conan the Barbarian series for Tor, and several though Raymond later left X-9 when the workload of Clive Barker’s novels, for Harper/Collins. His became too great. Raymond rapidly developed into cover art for Imajica was nominated for a Chesley one of the best-known comic strip artists of the day, Award, 1992. Although Reinert enjoys working with known for a clear, crisp style that was widely imi-oils and watercolor, the majority of Reinert’s paint-tated. While initially, Raymond’s style was stiff, he ings are painted with acrylic paint on board. He has became known as a master of “feathering,” a tech-won many awards including “Cover Artist of the nique using fine pen strokes to create contours and Year” for his Creepy and Eerie magazine covers at depth. His style was romantic, heroic, and perfectly Warren publishing and he has been honored four suited for capturing the space operatic “ultimate in times with the “National Best Book Cover of the science fiction fantasy” elements that epitomized Year” awards for work done with Harper/Collins Flash Gordon. His art set a new standard for artistry publishers. His book cover paintings were exhibited in comic strips, and has influenced artists from the at the Society of Illustrators in NYC in the 1980s-Golden Age to the present.

1990s. Reinert has worked on diverse projects, In 1944 Raymond left the comics and joined the among them: conceptual designer for movies, album U.S. Marine Corps, serving aboard an aircraft car-covers, calendar and poster art video game covers, toy rier as a combat artist and public information officer design and package design for Hasbro, and worked in the Pacific theater — leaving Flash Gordon and as an art director on video projects.

Jungle Jim in the hands of artist Austin Briggs. In In 1988, Reinert took time to learn the litho-1946, after the war, he returned to King Features graphic printing process at the prestigious Atelier planning to resume Flash Gordon. Instead, he cre-Ettinger in New York City, and hand drew all of the ated another comic strip, Rip Kirby, featuring a smart lithographic plates for his first original limited print detective hero to compete against Dick Tracy. Ac-edition. In 1990 he started a conceptual collabora-cording to Goulart, Kirby was a private investigator tion with Lilli Farrell, a designer, and spiritual that in many ways resembled Raymond; he was a teacher and natural healer. In 1993 their collabora-retired Marine officer who wore glasses, smoked a tions gained popularity in Japan, and they continue pipe, and loved classical music, golf, and drove to mount exhibition tours of their art there at least sports cars. The strip proved to be as popular as his twice a year. Since the mid–90s Reinert has concen-earlier work. In 1956, at the height of his career, trated primarily on fine art pieces for galleries and Raymond died in a tragic accident by driving a many paintings have been reproduced as limited edi-sports car into a tree in Westport, Connecticut.

tion fine art prints. Reinert resides in upstate New Sources: Clute, John and Nicholls, Peter, Eds. The Ency-York.

clopedia of Science Fiction. St. Martin’s Press, 1993; Goulart, Sources: www.kirkreinert.com

Ron, ed. The Encyclopedia of American Comics. Facts on File, 1990; Malloy, Alex G. ed. Comic Book Artists. Wallace-Homestead/Attic Books, 1989.

Works Published

BOOKS ILLUSTRATED INCLUDE: The Alchemists Reinert, Kirk

(Del Rey, 1984), Alien Bounty (Ace, 1990), Bloody (b. August 31, 1955) American artist. Born in Sun (Ace, 19850, Blue Sword (Berkley, 1986), Bro-Cleveland, Ohio, Reinert was introduced to art by ken Citadel (Ace, 1983), Castle of the Silver Wheel his grandfather, a sports cartoonist for the Cleveland (Ace, 1993), Castledown (Ace, 1983), Choke (Harper-Plain Dealer, and his uncle, an animator. Early Collins, 1995), Collapsing Castle (Ballantine, 1991), influences range from Norman Rockwell to Dalí, Conan of Cimmeria (Sphere, 1989), Conan the De-Bosch, Maxfield Parrish, Frank Frazetta* and fender, Conan The Fearless, Conan the Free Lance, Richard Corben*, plus artists whose works were re-Conan the Indomitable, Conan the Raider, Conan the produced in Warren magazines ( Creepy, Eerie, and Renegade, Conan the Valorous (Tor, 1985, 1986, 1987, Famous Monsters). He graduated from Cooper 1989, 1990), Conan the Unconquered (Sphere, 1988),

Richards

394

Day of the Dissonance (Phantasia, 1984), End of the the interior artist who did mediocre black-and-white Empire (Del Rey/Ballantine Books, 1983), Everville illustrations for Authentic. Adding to the mystery (HarperCollins, 1994), Falcon (Ace, 1989), Fatherland is the similarity to the interior illustrations done by (HarperCollins, 1993), A Fisherman of the Inland Sea

“Roger Davis”* in the magazine Weird World (in (HarperPrism, 1994), Ghosts Pocket (Star, 1995), 1955–1956). Davis signed his art in two manners, Great and Secret Show (Harper & Row, 1990), Heat with a formal signature and printed name. The (HarperCollins, 1994), Hellbound Heart (Harper, printed inscription is identical to the printed inscrip-1991), Hottest Blood (Pocket Books 1993), Imajica tion used by Richards. Thus it seems possible that (HarperCollins, 1991), King Chondos Ride (Playboy Davis and Richards were the same person.”

Press, 1982), King of the Wood (Tor, 1986), Last War-

“Authentic’s covers between July 1953 and Feb-rior Queen (Berkley, 1984), Legion of the Damned #2: ruary 1955 fell into two annotated series. “From the Final Battle (Ace, 1995), Lost Boys (Harper, 1993), Earth to the Stars” followed man’s exploration of Lost Prince (Playboy Press, 1982), Marrakesh Nights space from the depiction of a three-stage orbital (Fawcett, 1984), McCadeís Bounty (Ace, 1990), rocket to a starship’s destination at a distant planet.

M’Lady Witch (Ace, 1994), Mindspell (Morrow,

“Tour of the Solar System” (issues #49-#54) depicted 1983), Morningstar (HarperCollins, 1993), Peter scenes on each of the planets. Both series brought Straub’s Ghosts (Pocket Star, 1995), Phobias (Pocket favorable comments from the readers, in cluding SF

Books 1994), Shadows in the Watchgate (Harper-historian Donald H. Tuck, who in the Tuck Encyclo-Collins, 1992), Shapes of Midnight (Berkley, 1980), pedia of Science Fiction, remarked “they are …

Something Stirs (Tor, 1991), Star of Danger (Ace, amongst the best of any on the prozines today.” The 1985), Symphony of Storms (Tor, 1990), Thief of Alart also attracted the attention of aspiring artist ways (HarperCollins, 1993), Tracker (Charter Dia-David Hardy*, who submitted his early work to Au-mond, 1990), Tramp Royale (Ace, [1992), Winds of thentic although without success.

Darkover (Ace, 1985).

Richards ceased to work as art editor after issue Misc.: GURPS Fantasy: The Magical World of Yrth

#53 ( January 1955), although he provided covers (Steve Jackson Games, 1990), GURPS Magic (Steve for issues #55 and #57. Thereafter, booth Richards Jackson Games, 1989, 2004), Magic of Cinderella, and Davis vanished from the science fiction maga-Crystal Power. Diamond Unicorn, River Run, Run-zine scene. Authentic was published by Hamilton & ning Free, Thunder at Sunset, Winter Run collector Co. of London, who also published the Panther se-plate collection (The Franklin Mint, c. 1990s).

ries of SF paperbacks, and it seems likely that Richards also painted the covers for many of these Richards, John
books during this period.

(?) British artist. Richards was the art editor and Sources: Mike Ashley biography in Weinberg, 1988, pp.

mainstay cover artist for Authentic Science Fiction 227–228.

Monthly between 1953 and 1955. In the early 1950s Published Work

Authentic featured some of the most drab and unin-MAGAZINES ILLUSTRATED INCLUDE:

teresting covers on any science fiction magazine, ac-AUTH: 1953–1954 (#29, #30, #31, #32, #33, cording to British SF scholar and historian Mike

#34, #35, #36, #37, #38, #39, #40, #41, #42, #43, Ashley, who supplied the biography for this artist

#44, #45, #46, #47, #48, #49, #51, #52, #53, #54); and all information to follow here (Weinberg, 1988).

1955 (#55, #57)

“There was a sudden and marked improvement with the debut of Richards on the February 1953 (#30) BOOKS ILLUSTRATED INCLUDE:

issue of the magazine,” Ashley notes, and “Most Crimson Planet (Badger, 1961), No Man Friday readers approved of the art the art, although many (Corgi, 1958)

thought it was better suited for a weird-fantasy magazine than for a science fiction publication. After Roberts, Keith (John Kingston)

two covers, however, Richard’s name disappeared (September 20, 1935–October 5, 2000) A British from the cover, although from issue #41 ( January artist and author, Roberts was born in Kettering in 1954) he was listed as art editor, succeeding John Northhamptonshire, England. He studied at the Deericks. The main artist attributed to cover art at Northhampton School of Art and worked as a back-this time was “Davis.” Although it may have been a ground artist in an animation studio and in adver-publishing error, it seems likely that Davis was the tising before making his debut as both illustrator real name of the artist who did not want it known and writer in the science fiction genre, in the 1960s.

that he was acting as both art editor and main illus-His first published cover painting appeared as an il-trator for the same magazine (although this was lustration for his own short novel The Furies ( Sci-common practice for many magazines in both ence Fantasy, July 1965). Roberts was editor of the Britain and the United States). This was the name of influential Science Fantasy magazine during the mid–

395

Roberts

1960s, and of SF Impulse magazine for the entire year Published Work
of its existence. Notably, he was cover artist for those BOOKS ILLUSTRATED INCLUDE: The Clock Tower magazines as well as producing interior art for the Girl/Kaeti & Company (Kerosina, 1986), The Event Mike Moorcock-edited New World Quarterly. In the (Morrigan, 1989), Lemady: Episodes of a Writer’s Life Encyclopedia of Science Fiction, John Clute comments (Borgo Press, 1997), Our Friends from Frolix 8 (Kin-

“His boldly Expressionist covers, line-oriented, par-nell, 1989), Scudder’s Game (Kerosina, 1988), Win-alleled the shift in content of these magazines away terwood and Other Hauntings, Ltd. Ed. (Morrigan, from genre SF and fantasy towards a more free-form 1989)

speculative kind of fiction.” (Pp. 101–103).

A rarity in the genre, Roberts went on to write Magazines illustrated include
and illustrate his own later books. A four-time win-Imp: 1966 (4, 5, 6, 7, 8, 9, 10, 11, 12); 1967 (1) ner of the British Science Fiction Award, Roberts ScF : 1964 (9); 1965 (1/2, 3, 5, 6, 7, 8, 11, 12); 1966
was the only person to have won in the Novel (1, 2)

(Gráinne, 1987), Short Fiction (with Kitemaster, a NW: 1966 (6)

segment of Kiteworld, and again with Kaeti and the Hangman) and Artwork categories ( The Clocktower Roberts, Tony (Anthony)

Girl, 1987). As author, he produced several novels (b. October 18, 1950) British Artist. Roberts was and over 100 shorter works, but Roberts was prob-born in Worcester, and trained for five years at art ably best known for Pavane (1968), a collection of college, first at Wolverhampton College (1967–
linked stories set in an alternate world. He wrote 1969), then Ravensbourne College of Art (1969–
under the names Alistair Bevan and John Kingston, 1972), graduating in fine art. He works primarily, in addition to Keith Roberts.

though not exclusively, in the science fiction genre, Whether he was more drawn to writing than to and his highly detailed work appeared on literally art, or whether his own (by all accounts) difficult hundreds of science fiction book jacket covers be-personality and physical disability made it difficult tween the early 1970’s and the late 1980’s. His first for him to achieve his full potential in either role, cover was for the U.K. publication of Phillip K.

his publications as an artist were limited. In his re-Dick’s Ubik (Panther Books) in 1972. A preoccupa-membrance of Roberts, Jim Goddard, co-founder tion for complex hardware set against lyrical, alien of Kerosina Publications (a small publishing com-landscapes defined his work. This is notable in the pany that went on to publish three of Roberts’ books work that he did for the Dorsai series (Sphere Books) and a number of shorter works) wrote “In his final and, with an added fantasy element, Alan Dean Fos-decade, Keith Roberts had reasons to be an angry ter’s Spellsinger novels (Sphere Books). In November and bitter man. His 1993 Christmas circular to 2000, one of his earlier cover paintings for Panther friends and enemies was a grim document, begin-Books — his 1974 illustration for Robert A. Hein-ning: “This is to advise you that in effect I died in lein’s novel Double Star— hit the headlines when it March 1990, when I was finally diagnosed as suffer-was controversially used, without permission, as the ing from multiple sclerosis.” He went on to say that basis for a large work by the artist Glenn Brown in unexplained complications had already led to the his Turner Prize exhibition at Tate Britain (London).

amputation of his leg, while increasing hand tremors As a consequence of legal action for breach of copy-had destroyed him as an artist, a state of affairs which right, Roberts received damages.

“will be of interest to the various Important Authors Roberts and a handful of artists, most notably I have offended over the years, mainly by existing.”

Chris Foss* defined the “look” of a British paper-

(SFWA, October 10, 2000). Roberts died after hos-back cover in the 1970s. Roberts’ earliest work was pitalization for an infection, either October 5, 2000
done in gouache on board. Later he changed to (as widely reported in trade publications) or Sep-acrylics, using a combination of brush and airbrush, tember 27, 2000 (the London Times, October 9th, although this technique was used less in his later il-2000).

lustrations. He does not use the computer for any Sources: www.locusmag.com/2000/News/News10a.html; commercial work. Since 1977 he has signed nearly all www.sf wa.org/News/kroberts.htm; Gillespie, Bruce. The work leaving his studio, with “Roberts” and the last Not-Quite Career of Keith Roberts. Scratch Pad 14, online at www.efanzines.com/SFC/ScratchPad/scrat014.pdf (accessed two digits of the year. Roberts uses oils for his fine June 11, 2004). Paper presented to the October 1994 meeting art paintings.

of the Nova Mob, Melbourne, Australian SF discussion group, During the 1980’s he collaborated with film direc-published in _brg_ No. 12, a magazine written and published tor Roger Christian as concept artist on various proj-by Bruce Gillespie in a mailing for the December 1994 AN-ZAPA (Australian and New Zealand Amateur Publishing As-ects including the movie Starship (1985). In addi-sociation.

tion to book illustration, his work has been used for editorial and advertising by U.K. and international clients. Roberts’ original artwork has been exhibited

Rogers

396
in numerous art galleries and public exhibitions in Rogers, Hubert

England and Germany. Since the late 1980’s he has (December 21, 1898–May 12, 1982) Canadian worked almost exclusively in the area of fine art, pro-artist. (Reginald) Hubert Rogers was one of the ducing large scale, semi-abstract work for private major Golden Age illustrators, and the most impor-and corporate clients. In 1997, several originals were tant Canadian science fiction artist to contribute to sold at Sotheby’s Realms of the Mind: British Fantasy the genre during the 1940s. His covers added a touch Art and Illustration sale (London). A large solo exhi-of class to Astounding Science Fiction that helped dis-bition of eighty-six paintings, Of Shadows and tinguish it as a cut above the other magazines being Storms, was held in 1986, at the Burstow Gallery, published then.

Brighton College. His work is in the collection of Rogers was born in Alberton, Prince Edward Is-The V&A Museum, London.

land. He attended Acadia University in Nova Sco-Sources: e-mail from the artist June, 2005.

tia and later studied art at the Toronto Technical Collections/Anthologies

School in Toronto. He worked as a map draftsman (various contributing artists)

and later as a gunner in World War I. After the war Caldwell, Steven. Worlds at War (Intercontinen-he returned to Alberton and used the Soldiers Civil tal, 1980), Edwards, Malcolm and Holdstock, Re-establishment Plan to resume his art training at Robert Tour of the Universe (Pierrot, 1980), Hold-the New Toronto Central Technical School. After stock, Robert; Edwards, Malcolm Alien Landscapes graduation, he worked for a while as a catalog de-

(Pierrot, 1979), Spacecraft 2000 to 2100 AD (Ham-signer at a department store on Prince Edward Is-lyn, 1978), Suckling, Nigel. Heroic Dreams (Dragon’s land. However, when it became apparent that job World, 1987).

opportunities were limited, he moved to Boston. He spent four years in Boston, studying at the Massachu-Published Work
setts Normal Art School and the School of the Mu-BOOKS ILLUSTRATED INCLUDE: The Amtrak Wars: seum of Fine Arts, while working as a commercial Iron Master (Sphere, 1987), The Asimov Chronicles: artist. He decided to stay in the US. and in 1925

Volumes 1, 2 (Legend, 1991), Berserker Man (Tor, moved to New York where he began his career as an 1992), The Child Garden (Tor/Orb, May 1994), illustrator. He started working for newspapers, in-Cloudrock (Unwin, 1989), CV (Tor, 1985), Dorsai!

cluding the New York Herald Tribune, and the New (Sphere, 1989), Dream Maker (Orbit, 1991), Dream-York Times (as night art editor). He also worked for ships (SFBC, 1992, Tor 1993), Fire Pattern (DAW, a number of hardcover publishing houses and did a 1986), Forward the Foundation (Doubleday U.K., number of pulp cover paintings, including many 1993), The Ghost Now Standing on Platform One (Fu-covers for Adventure magazine, one of the best-sell-tura, 1991), The Gold Coast (Tor/Orb, 1995), The ing pulps of the time. He contributed paintings to Gray Prince (Tor, May 1992), The Krone Experiment Street & Smith’s Doc Savage, and to Argosy, the best-

(Grafton, 1989), Labyrinth of Night (Legend, 1992, selling weekly pulp, which featured numerous science 1993), The Lodestone (Sphere, 1989), Lunar Descent fiction and fantastic adventure novels. Among his (Legend, 1992), Moon Dreams (Headline, 1989), covers was that for Tarzan and the Magic Men (1936).

Near Proxima Centari (Corgi, 1992), Nemesis (Dou-During the Depression, he worked in the Southwest bleday/UK, 1989), Northworld (Ace, 1990), Nul’s of the United States, painting portraits of Pueblo Quest (Headline, 1990), The Other Side of the Sky Indians, and doing magazine covers.

(Gollancz, 1992), Pacific Edge (Tor/Orb, 1995), Peace After serving as a contributing artist to the New (Tor/Orb, 1995), The Seed of Earth (Hamlyn, 1978), York Herald Tribune for several years and as an art lec-Skyfall (Tor, 1990), Son of Spellsinger (Orbit, 1993), turer for the CCC in the West, Rogers began pro-Surface Action (Ace, 1990), Tactics of Mistake (Sphere, viding artwork for Astounding Science Fiction begin-1989), Tales of Ten Worlds (Gollancz, 1990, 1995), ning with the cover art for the February 1939 issue There Will Be War Vol. IX: After Armageddon (Tor, of that magazine. He established himself as the house 1990), The Time Patrol (Tor, 1991, 1994), Waiting for artist, contributing fifty-eight cover paintings for the Galactic Bus (Bantam U.K., 1989), The World at Astounding from 1939 through 1952, including every the End of Time (Grafton, HarperCollins, 1992), cover from April 1940 to August 1942. During World Xanadu, Xanadu 2, Xanadu 3 (Tor, Jan 1993, 1994, War II he worked in Canada as a war artist, illustrat-1995), A Year Near Proxima Centauri (Corgi, 1992).

ing — among other things — posters encouraging M
participation in the war effort, for the Canadian AGAZINES ILLUSTRATED INCLUDE:

HM: 1980 (4, 11)

Wartime Information Board, the Order of St. John, INT: 1992 (7, 8)

and the National Film Board. He did not contribute any science fiction art from 1942 through 1947. After completing his government service he became a professional portrait painter, while still continuing to

397

Rognan
contribute to the science fiction field. He painted Collections and Anthologies
dust jackets for Fantasy Press and Shasta, as well as (various contributing artists)

preparing artwork for Astounding.

Aldiss, Brian. Science Fiction Art: The Fantasies of As Rogers’ activity in science fiction decreased, SF (Bounty Books, 1975), Di Fate, Vincent. Infinite his reputation as a portrait painter grew. He divided Worlds: The Fantastic Visions of Science Fiction Art his time between studios in Ottawa and Brattleboro, (Wonderland Press/Penguin, 1997).

VT. He became well known as a Canadian portraitist and did a number of paintings of important Cana-Published Work
dian political figures as well as local scenes of Alber-BOOKS ILLUSTRATED INCLUDE: Gray Lensman ton, and surrounding areas. In 1967 he purchased (Fantasy Press, 1951), Green Hills of Earth (Shasta, the studio home of noted Canadian artist A. Y. Jack-1951), Man Who Sold the Moon (Shasta, 1950), Revolt son in Manotick, South Ottawa and lived there until in 2100 (Shasta, 1953). The War Against the Rull (Tor, his death.

199), World of Null-A (Tor, 2002).

In an era when garish covers were the norm, MAGAZINES ILLUSTRATED INCLUDE:

Rogers brought style and class to the science fiction ASF : 1939 (2, 9, 10, 11); 1940 (2, 4, 5, 6, 7, 8, 9, pulp field. Rogers’ more restrained and dignified de-10, 11, 12); 1941 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1942
pictions of heroism and futuristic scenes set Astound-

(1, 2, 3, 4, 5, 6, 7, 8); 1947 (3, 5, 8, 9, 10, 11, 12); ing apart from its competitors. His paintings and in-1948 (1, 2, 3, 4, 5, 10, 11, 12); 1949 (1, 2, 7, 8, 9, 11, terior illustrations rarely featured action but were 12); 1950 (1, 2, 3, 4, 5, 6); 1951 (1, 4, 5, 6, 7, 8, 9, 11, pictures of people in dramatic poses. There was no 12); 1952 (1, 2, 4); 1953 (9); 1954 (1, 4, 6); 1955 (8, violence in his paintings and rarely any bug-eyed 10, 11); 1956 (1)

monsters. Instead, his art was muted, subdued, and SSS: 1942 (8)

often symbolic of the content of the stories. He was UK: 1939 (4, 5)

technically skilled, and much of his art resembled that of J. C. Leyendecker in both form and compo-Rognan, Lloyd Norman
sition. It was Roger’s cover illustration for Gray Lens-

( June 14, 1923–February 7, 2005) American man by E. E. Smith that defined that character for artist. Rognan was born in Chicago, Illinois of Nor-most readers. His May, 1947 cover art for Fury by wegian parents. He applied for and was accepted to Henry Kuttner was often identified as one of the Lane Technical High School, and after graduation finest science fiction paintings ever done for Astound-began sketch classes at the American Academy of ing. Rogers frequently did straightforward portraits Art. World War II sidelined Rognan’s ambition; the of the leading characters of the story as interior illus-Army drafted him in 1942, and he was awarded the trations, a practice that had been used for years in Purple Heart for injuries received during the Nor-other Street & Smith magazines but one that was mandy Invasion. He was sent to Paris, France to new to the science fiction genre. This influenced work as a staff artist for Army Talks magazine and artists who followed, such as Kelly Freas* and Jack after the war, remained there for six years where he Gaughan* to adopt the practice also.

graduated from the L’Académie de la Grand Cha-Rogers died of heart failure in the Riverside Hos-miere. He worked as an artist for the war publication, pital, Ottawa, Ontario, survived by his wife, Helen Stars and Stripes and found work as cover artist for P. (1913–1999), and three children, who retained Ellery Queen’s and Mystère magazine. He was fea-most of his paintings. An exhibition of his original tured in a story on artistic GIs in Life magazine, oil paintings, sketches and finished pen and ink April 22, 1946. After returning to the States, he drawings, “Astounding Magazine: Science Fiction started classes again at the American Art Academy in Art from the Golden Age (1930s-1940s),” was held Chicago, and worked as an artist for advertising at the University of Massachusetts in December agencies in Chicago and New York. In the early 2006, and was co-curated by his daughter, Eliza-1950s he was staff illustrator for United Cards, mak-beth Scott. This was followed, February 2007, by ing calendars, landscapes and other freelance proj-

“The Art of Hubert Rogers” retrospective, with art-ects. A favorite project was the Corn Squeezin’s hill-works contributed by the Roger Family, hosted by billy humor calendar that Rognan created and drew Boskone Convention, Boston MA. In recent years, for 14 years. He married Sylvia Rognan July 18, 1953.

Rogers’ earlier pulp covers appeared on contempo-Rognan worked for William Hamling’s Imagina-rary re-issues of classic SF novels published by Tor.

tion and Imaginative Tales in the 1950s, producing Sources: Bell, John and DiFate, Vincent, separate contrib-black-and-white interior illustrations, and a number utors: Obituary for Hubert Rogers in Locus, July 1982; “Ex-of colorful, attractive pulp-style covers. He left the hibit: Science Fiction Art from the Golden Age” announce-ment at www.umass.edu/umhome/events/articles/42211.php; genre by the late 1950s, but continued as an artist Weinberg, 1988.

in greeting cards, calendars, collector plates, encyclopedia art and limited edition wildlife art prints. He

Rountree

398
is listed in Who’s Who in America and International for posterity. The author of the novels, Arthur Artists Who’s Who, and over the years received numer-Conan Doyle, himself, posed for Rountree as Pro-ous awards and gallery showings. Rognan is survived fessor Challenger, complete with fake eyebrows, wig by his wife, a son, Bruce and daughter, Cindy, and and a large black beard. Rountree also provided one seven grandchildren.

black-and-white illustration for Conan Doyle’s col-Sources: Weinberg, 1988. Francis, Joel. “Artist finds an-lection of stories The Last Galley: Impressions and swers to all life’s questions: Lloyd N Rognan” The Examiner: Tales (Smith Elder, 1911). In 1942, after more than Eastern Jackson County Missouri online, April 8, 2002. [accessed April 2006]; Obituary: Lloyd N Rognan. The Exam-forty years as one of the busiest artists in London, iner: Eastern Jackson County Missouri online, February 9, 2005

Rountree retired to the Piazza Studios in St. Ives,

[accessed April 2006].

Penzance (Cornwall), where he died in relative Published Work
poverty. He is commemorated with a plaque on the IMG: 1955 (12); 1956 (2, 4, 6, 8, 10, 12); 2, 4, 6, harbor jetty.

Sources: Weinberg, 1988; The Vadeboncoeur Collection of 10)

Knowledge, Jim Vadeboncoeur, Jr., 1998 at http://www.bpib.

IMGT: 1955 (9, 11); 1956 (1, 5, 7, 9, 11); 1957 (5, com/rounree.htm [accessed April 2006] www.Ancestry.

9, 11); 1958 (1, 3)

com/Biography & Genealogy Master Index [database online].

Provo, UT: MyFamily.com, Inc, 2005 [accessed April 2006]

Houfe, Simon. The Dictionary of 19th Century British Book Il-Rountree, Harry
lustrators and Caricaturists: Woodbridge, Antique Collectors Club, 1996. p. 284–285.

( January 26, 1978–September 26, 1950) British artist. Born in Auckland, New Zealand, the son of Published Work
a banker, Rountree was educated at Queen’s Col-BOOKS ILLUSTRATED INCLUDE: The Last Galley: lege, Auckland and worked as a lithographer in a Impressions and Tales (Smith Elder, 1911), The Lost commercial studio, and as an artist for the New World (Hodder & Stoughton, 1912), The Poison Belt Zealand Herald newspaper, before immigrating to (Hodder & Stoughton, 1913), The Wonderful Isles or London in 1901. He studied with Percival Gaskell at The Adventures of William Henry Gunnersbury and the Regent Street Polytechnic before getting com-Sylvia Richmond (D. Estes, 1909).

missions through the editor of Little Folks, S.H.

Hamer, with whom he began collaborating on a very Magazines illustrated include
successful series of books, in 1903. In the same year, STRAND: “The Lost World” (1912, 4–11); “The he married Stella Stewart in London, and they had Poison Belt” (1913, 3–7); “The Terror of Blue John two children, Lynda Stella (b. 1907), and Gilbert Gap” 1910 (8).

Harry Rountree (b. 1910). Rountree soon became known for his humorous drawings of animals and Rowena see Morrill, Rowena was a prolific contributor to The Humorist, The Jolly Book, Playtime, Punch and many other magazines.

Royo, Luis

He illustrated more than sixty books (mainly ani-

(b. May 20, 1954) Spanish artist. Royo was born mal stories and fairy tales), among them notably in Olalla, a small town in Teruel in the Aragon re-Uncle Remus in 1906, Alice’s Adventures in Wonder-gion of Spain. Soon after he moved with his family land in 1908 (with 90+ color plates, considered by to Zaragoza, where his first memories are of sitting many to be his masterpiece and one of the definitive in front of the large school windows, and tracing the versions of the Carroll classic), and Aesop’s Fables in drawings that his teacher gave him. His family was 1924. He also illustrated books written by him, in-not enthusiastic about him becoming an artist, precluding Rountree’s Ridiculous Rabbits (Stevenson, ferring that he pursue a more practical line of work, 1916), Rabbit Rhymes (Stevenson, 1917), Birds, Beasts, so Royo initially studied drafting and mechanical and Fishes (Press Art School, 1929) and Jungle Tales drawing. He discovered that geometric forms did (Warne, 1934). Rountree was also noted for his illus-not completely satisfy him, and began to study trations of British Golf Courses and golfing carica-painting, decoration and interior design in the Indus-tures. He was a member of the Savage Club and a trial School and the School of Applied Arts (La Es-one-time President of the London Sketch Club cuela de Artes Aplicados), and he combined this with (1914–15).

different jobs in interior design studios 1970–1971. He In the science fiction field, Rountree illustrated worked for interior design studios for eight years, two Professor Challenger novels, serialized in the during which time he continued to paint. He ex-Strand magazine: “The Lost World” and “The Poi-hibited in group shows between 1972 and 1976, fol-son Belt.” Only a small fraction of these memorable lowed by a series of individual exhibitions in 1977.

illustrations were reproduced in the later book edi-Royo discovered adult comics through the work tions; a recent book, The Annotated Lost World (Wes-of Mobius and Enki Bilal and in 1978 he began to sex Press, 1996) resurrects some of these illustrations draw comic strips for different fanzines. By 1979

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Royo

Royo had given up interior design, despite having a are complex. His style has been described as elabo-family, to devote himself to comic art and illustra-rately photographic: hyper-real, yet dreamlike in its tion; in 1980 he exhibited his work at the Angoulême perfection. His cover paintings are romantic and de-Comic Fair. By the early 1980s Royo was published tailed, with characters that are confident and always internationally in such magazines as 1984, Comic Ingood-looking. Through the years he has changed ternational, Rambla, and occasionally, El Vibora and color palettes, varied his style, and media. He enjoys Heavy Metal. In 1983, at the Zaragoza Comic Fair, experimenting and often combines media: water-Royo met the publisher Rafael Martinez, founder colors, acrylics, pencil, airbrush, oils, and lately he of Norma Editorial — the largest publisher of comics has begun to explore sculpture.

in Spain. Martinez commissioned him to produce Royo now lives in Barcelona, and continues to five illustrations for Norma Editorial, thus establish-make personal appearances at Comic fairs, and to ing Royo in his professional career as well as mark-paint his uninhibited fantasies of confident, intense, ing the beginning of Royo’s longstanding relationship sexy and sometimes violent women.

with Norma Editorial.

Sources: www.luisroyo.com; e-mail from Ivan Clemente, Known for his darkly sensual fantasy paintings of Normal Editorial, S. A. Barcelona, Spain, May 2007; Cz-erneda, Julie E. “Luis Royo: the Art of Words” Realms of Fan-women, Royo paints for his own art books, and for tasy, December 2002, Belmont, Susan. “Luis Royo Biogra-major book publishers in the U.S., U.K., and Swe-phy” March 5, 2004 online at www.angelfire.com/moon/dark den. He has worked for all the major American pub-chamber/visuarts/royo.htm
lishers, such as Tor, Berkley, Avon, Warner, Ban-Collections and Anthologies
tam, and for magazines in the U.S. and Europe, such (various contributing artists)

as Heavy Metal, National Lampoon, Cimoc, and Pent-Becattini, Alberto. American Good Girl Art 1950s–
house. Royo has also produced art for various other 1990s (Glamour, 1995), Artcore Vol. Two (SQP, Inc.

media: videos, computer games, CD album covers, 2003), Conceptions I, II, III (Heavy Metal, 2002, comic book covers, and Tarot cards. He is also 2003, 2005), Dark Labyrinth (Nantier Beall Mi-known for his illustrations of Julie Strain for the an-noustchine, 2006), Dreams (Nantier Beall Minoust-imated movie Heavy Metal.

chine, 1999), Evolution (Nantier Beall Minoustchine, In 1990 Royo began painting personal works, 2001), Fantastic Art: The Best of Luis Royo (Nantier non-commissioned, most of which subsequently Beall Minoustchine, 2004), The Labyrinth Tarot were used commercially or included in compilations (Heavy Metal, 2005), Malefic (Norma Editorial, of art. He published his first solo collection of such 1994, Nantier Beall Minoustchine, 1997), Prohib-works in 1992, Women, and the book established his ited I, II, III (Heavy Metal, 1999, 2201, 2003), Pro-preference for drawing the female figure. This led hibited Sketchbook (Heavy Metal, 2004), Secrets to Malefic (1994), which extended Royo’s range to (Nantier Beall Minoustchine, 1996), Subversive include fantasy figures in fantasy worlds, with Beauty (Heavy Metal, 2006), Wild Sketches 1, 2
themes based on “Beauty and the Beast”— the myth (Heavy Metal, 2006), Visions (Nantier Beall Mi-that has inspired many of his paintings. Several sim-noustchine, 2003), Warm Winds Portfolio (Norma ilar compilations followed, each progressively more Editorial/Heavy Metal, 1996), Women (Norma Eddaring, each containing a sampling of beautiful and itorial, 1992, Nantier Beall Minoustchine, 1997), III dangerous women, in poses ranging from provoca-millennium (Nantier Beall Minoustchine, 1998).

tive to frankly erotic. At the same time, by 1995 he had expanded his list of commercial book publish-BOOKS ILLUSTRATED INCLUDE: The 97th Step ers to include Ballantine, DAW, NAL and others, (Ace, 1989), A for Anything (Tor, 1990), Alien Pets plus FASA Corporation (Game-related illustrations), (DAW, 1998), Angel Station (Tor, SFBC, 1990), Al-Pocket Books ( Star Trek series), Penthouse Comix, bino Knife (Ace, 1991), All That Glitters (Pocket, and card art for Fleer (Ultra X-Men by Marvel). His 1996), Assassin King (Tor, 2006), Battlestar Galac-work appears in many different formats, in different tica: Armageddon; Warhawk (Pocket, 1997, 1998), countries (including Eastern European countries), Beholder’s Eye (DAW, 1998, SFBC, 1999), Black Steel and spans calendars, posters, T-shirts, CD covers, (Ace, 1992), Blind Justice (Ace, 1991), Blood Foun-computer mouse pads, and trading card collections.

tain (Berkley, 1985), Bloodstone (Ballantine/Del Rey, One of the few fantasy artists whose name is rec-1997), Brother Death (Ace, 1992), Club Vampyre ognized globally, Royo’s work has appeared in Spec-

(SFBC, 1998), Conan the Liberator; Conan: The trum: The Best in Contemporary Fantastic Art in the Sword of Skelos; Conan the Rebel; Conan: The Road of annuals II, IX, and XI, and he received the Silver Kings; Conan and the Spider; Conan the Swordsman Award from Spectrum III (Underwood Miller, 1996).

(Ace, 1991), A Crown Disowned (Tor, 2003), Cyber-Royo’s art book Conceptions (2002) describes his cre-netic Jungle (Ace, 1992), Cyberstealth (Ace, 1989), ative process; like many artists who have developed Dancing Vac (Ace, 1990), Dangerous Magic (DAW, a very specific “look,” his technique and methods 1999), Darkest Hour (Pocket U.K., 1995), Darkloom

Ruddell

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(Ace, 1998), Deathweave (Ace, 1998), Dorsai! (Tor, (Doubleday, 1990), War of Shadows (Ace, 1991), War-1993), Dreamgames (Ace, 1985), Drifter’s War (Ace, rior Enchantresses (DAW, 1996), Web of Wind (Ace, 1992), Expendable (SFBC, 1997), Eyes of the Empress 1987), When Demons Walk (Ace, 1998), Wolf in (DAW, 1998), Fantastic Four: Countdown to Chaos Shadow (Ballantine Del Rey, 1997), Yamato: A Rage (Berkley, 1998), Firedance (Tor, 1993), The First in Heaven: Part 1, Part 2 (Warner Questar, 1991), Chronicles of Druss the Legend (Ballantine/Del Rey, Yamato II: The Way of the Warrior Part 1, Part 2

1998), The First Duelist (Ace, 1994), FirstFlight (Ace, (Warner Questar, 1992), A Yoke of Magic (Berkley, 1997), Ghost King (Ballantine Del Rey, 1996), Gor-1985), Young Bleys (Tor, 1991).

gon Child (Tor, 1989), Grounded! (Ace, 1991), Hades’

MAGAZINES ILLUSTRATED INCLUDE:

Daughter (Tor, 2003), Hallowed Isle (SFBC/BOMC/

HM: 1984 (5); 1989 (3, 11, winter); 1990 (9), 1991

2000), Hawk & Fisher (Ace, 1990), Hawk & Fisher: (5, 11); 1992 (3); 1993 (3, 11); 1994 (3); 1995 (1, 11); The Bones of Haven (Ace, 1992), Hawk & Fisher: The 1996 (1, 11); 1997 (summer); 1998 (9); 1999 (1, 5); God Killer; Guard Against Dishonor; Winner Takes 2000 (spring, summer, 11); 2001 (1, summer); 2002

All; Wolf in the Fold (Ace, 1991), Hidden Jewel (3, fall); 2003 (10); 2004 (9); 2005 (1, 5, 9, fall); (Pocket/UK, 1997), The Horseclans 1–10: Bili the Axe; 2006 (1, 3, 7, 9, 11); 2007 (3, 7, spring) Cat of Silvery Hue; Coming of the Horseclans; Death ROF : 1994 (10); 1997 (10); 1998 (4. 10); 1999 (12); of a Legend; Horseclans Odyssey; Patrimony; Revenge 2000 (10); 2001 (2, 10); 2002 (12 )

of the Horseclans; Savage Mountains; Swords of the SFAge: 1994 (1); 1997 (11); 1998 (7); 1999 (9, 11); Horseclans; Witch Goddess (Futura/Orbit, 1984 1985), 2000 (5)

Horses at the Gate (Harper, 1996), Imperial Lady Misc. : Art of Luis Royo 2008 Calendar (Heavy (Tor, 1990), In the Company of Others (DAW, 2001), Metal, 2007), The Art of Heavy Metal collector tradIn the Realm of the Wolf (Ballantine Del Rey, 1998), ing cards (Comic Images, 1995), The Best of Royo Island Tribe (Harper, 1997), Jaguar (Ace, 1990), The Collector trading card set (Comic Images, 1995), King Beyond the Gate (Ballantine/Del Rey, 1995), Forbidden Universe collector trading card set (Comic The Last Guardian (Ballantine Del Rey, 1997), The Images, 1994), From Fantasy to Reality collector trad-Last Sword of Power (Ballantine/Del Rey, 1996), ing card set (Comic Images, 1993), Prohibited collec-Leaping to the Stars (Tor, 2003), Legend of the Du-tor trading card set (Comic Images, 2000), Royo Mil-elist (Ace, 1993), Look Into the Sun (Tor, 1990), Lords lenium (Comic Images, 1998), Royo Secret Desires of the Shadows (Ace, 1987), Lost Dorsai: The New (Comic Images, 1997), The Black Tarot tarot cards Dorsai Companion (Tor, 1993), Maze in the Mirror (Fournier, 1998).

(Tor, 1992), The Midnight Cafe (SFBC, 1998), Necromancer (Tor, 1998), Nightmare of God (Ace, 1988), The Ocean Tribe (Harper, 1999), Other (Tor, Ruddell, Gary

1994), Pearl in the Mist (Simon & Schuster U.K., (b. November 16, 1951) American artist. A life-1995), Peace Company (Ace, 19850, People of the long Californian, Ruddell was born in San Mateo, Earth; People of the Fire; People of the Lakes; People of and received a BFA from the California College of the Lightning; People of the River; People of the Sea; Arts and Crafts (Oakland, CA) in 1975. He made People of the Silence; People of the Wolf (Tor, 1990, his first commercial sales while still in high school; 1991, 1992, 1993, 1994, 1995, 1996), Probe (Tor, line work to road and track magazines such as Dune 1985), Prince of Shadow (DAW, 2001), Prom Night Buggies and Hot VWs (1968). Ruddell was a staff (DAW, 1999), Quest for Lost Heroes (Ballantine Del artist for KTVU Channel 2, doing graphic and stage Rey, 1995), Race Against Time (Tor, 1985), Ragnarock design, before shifting to freelance illustration in the (ROC, 2000), Seven of Swords (Tor, 1990), Shadow mid–1970s. A versatile artist, Ruddell created illus-Dancers (Tor, 1992), Shadowrun: Shadowboxer; Wolf trations for record companies, dozens of mainstream and Raven (Penguin/Roc, 1997, 1998), Shiva in Steel magazines, and advertising through the 1980s.

(Tor, SFBC, 1998), Soldier, Ask Not (Tor, 1993), Among his clients were Universal Studios, Colum-Spirit of Dorsai (Tor, 1993), Stars in My Pocket Like bia Pictures, United Artists, Capitol Records, and Grains of Sand (Bantam, 1984), Starman (Tor, 2002), major magazines: Rolling Stone, Penthouse, and Play-Son of Darkness (Penguin/Roc, 1998), Steal the boy. By the late 1970s, Ruddell was garnering atten-Dragon (Ace, 1995), Sundowner (Ace, 1994), Sur-tion for his work, featured as “upcoming illustrator”

vival: Species Imperative #1 (DAW, 2005), Sword and (Art Direction Magazine, NYC, 1979). His art was Sorceress XIII (DAW, 1996), Tactics of Mistake (Tor, included in Radio Eyes: Great Rock Lyrics Set to Art 1998), A Thousand Words for Stranger (DAW, 1997), (Galliard Press, Los Angeles, CA, 1983).

Ties of Power (DAW, 1999), A Time of Ghosts (Ace, In the mid–1980s Ruddell was hired by Ace 1987), To Demons Bound (Ace, 1985), Twilight’s Child Books to illustrate all twelve of the highly popular (Pocket/UK, 1994), Vampire Sextette (SFBC, 2000), story anthologies and five novels in the Thieves’

Voice of the Whirlwind (Tor, 1992), Walker of Worlds World series by Robert Lynn Asprin and Lynn Abbey.

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Ruddell

For the next two decades, while continuing to take Sources: Correspondence from the artist, June 2005; jobs in advertising and magazines, he largely devoted Roessner, Michaela. “The Life and Times of Gary Ruddell”

himself to the science fiction and fantasy genre. He Science Fiction Age November, 1997; “Interview with Artist Gary Ruddell” Conducted by Toni Weisskopf, Aug/ 2004
expanded his publishing base to include Bantam, www.baen.com/intruddell.htm [accessed 6/2005].

Ballantine, Avon, Warner, Tor, and other major houses, but his longest and most successful associa-Collections and Anthologies
tion has been with Baen Books. Like Darrell K.

(various contributing artists)

Sweet*, Stephen Hickman*, Tom Kidd*, Jim Gur-Di Fate, Vincent. Infinite Worlds: The Fantastic ney*, and others, who favored a traditional style of Visions of Science Fiction Art. (Wonderland Press/
painting, Ruddell’s skillfully rendered and com-Penguin, 1997), Frank, Jane and Howard. The Frank pelling paintings in oils were a distinct departure Collection: A Showcase of the World’s Finest Fantastic from the slick and photorealistic airbrushed acrylic Art (Paper Tiger, 1999), Frank, Jane and Howard.

paintings that had become popular for SF covers by Great Fantasy Art Themes From the Frank Collection the 1980s. Ruddell’s style was dynamic, vivid and (Paper Tiger, 2003).

compelling, well-suited to either high fantasy or darker, more violent themes, with characters that Published Work
seem poised to leap out of the frame, or challenged BOOKS ILLUSTRATED INCLUDE: The Abductors: viewers the immediacy of direct eye contact. Soon Conspiracy (Tor, 1996), Against the Odds (Baen, Ruddell was being hired to illustrate covers of Hugo-2000), Aisling (Tor, 1994), Avatar (Tor, 1992), Ar-Award winning authors such as Dan Simmons, for ticle 23 (Baen, 1998), Between the Rivers (Tor, 1998), whom the artist created memorable covers for the Beyond the Veil, Beyond Sanctuary, Beyond Wizardwall Hyperion series. Ruddell’s images appear in collec-

(Ace, 1986, 1987), Binder’s Road (Tor, 2004), Borders tions of note cards, screen savers, calendars and com-of Infinity (Simon & Schuster, 1989), Boy and His puter gaming companies — most notably Broder-Tank (Baen, 2000), Brotherhood of the Stars (Ban-bund and Sega. To insure durability in transport to tam Spectra, 1994), Cetaganda (Baen, 1996), Chance publishers, Ruddell customarily mounted his

& Other Gestures of the Hand of Fate (Baen, 1987), finished oil paintings on canvas using hand con-Change of Command (Baen, 2000), Child of the Eagle structed stretcher frames with masonite or wood (Baen, SFBC, 1996), Conan Chronicles (Tor, 1995), panels as substrates. Regrettably, these labor-inten-Conrad Stargard: Radiant Warrior (Baen, 2004), sive constructions also tempted Ruddell to paint over Cordelia’s Honor (Baen, 1996), CoDominium: Revolt previously published illustrative works, in order to on War World (Baen, 1992), Crystalworld (AvoNova, make efficient use of his materials. As a result, sev-1992), Dagger (Ace, 1988), Dancing Bears (Tor, eral of his illustration originals no longer exist.

1996), A Day for Damnation (Bantam Spectra, 1993), Ruddell has taught illustration at the San Fran-Design for Great-Day (Tor, 1995), The Devil’s Day cisco Community College and The California Col-

(Baen, 1990), Diplomatic Act (Baen, 1998), Dream lege of Arts and Crafts and most of his recognition Compass (Avon, 1991), Dydeetown World (Baen, in the genre has been through museum and gallery 1989), E. Godz (Baen, 2005), Endymion (Bantam showings, beginning in 1990 with his participation Spectra, SFBC, 1996), Ethan of Athos (Baen, 1997), in the Delaware Art Museum exhibit The Art of Fan-The Fall of Hyperion (Bantam Spectra, 1991), Fata tasy and Science Fiction (Wilmington, DE) and then Morgana (Baen, 2000), Fortune’s Stroke (Baen, traveling exhibitions of the Frank Collection, which 2000), Foundation’s Friends (Tor, 1990), Free Zone brought his work to The Society of Illustrators (NY), (Avon, 1989), Further Chronicles of Conan (Tor, University of Maryland, Bowling Green Fine Arts 1999), Galatea in 2-D (Baen, 1993), Glory Season Center (Ohio) and Widener University (PA) 1999–

(SFBC, Bantam Spectra, 1993, 1994), The Hands of 2004. Ruddell only rarely attends genre conventions, Lyr (Morrow, AvoNova, 1994), The Hemingway but he has been invited Artist Guest of Honor at Hoax (Morrow, NEL, Avon, 1990, 1991), Hex Witch World Fantasy Conventions (1981) and others. His of Seldom (Baen/Simon & Schuster, 1988), Honor work was included in the Society of Illustrators (NY) Harrington #4: Field of Dishonor, #5 Flag in Exile annual in 1981, 1984, 1988, 1989, and was featured (Baen, 1994, 1995), Hyperion (Bantam Spectra, in the first nine annual collections of Spectrum: Best 1990), In Between Dragons (Bantam Spectra, 1990), in Contemporary Fantastic Art (Underwood, 1994–

Ignition (Tor/Forge, 1997), Ilium (Eos/Harper-2002). In recent years, Ruddell has focused more on Collins, 2003), Illumination (Tor, 2001), Illusionists developing his fine art technique, and in 2005, after (Warner, 1991), Incompleat Nifft (Baen, 2000), Jed the success in showing his oil paintings in major West Dead (Ace, 1997), Jehovah Contract (Avon, 1989), Coast museums and galleries, he decided to leave Kindly Ones (Baen, 1987), King and Emperor (Tor, the field of commercial art to concentrate fully on fine 1996), Komarr (Baen, 1998), Kren of the Mitchegai art.

(Baen, 2004), Kruton Interface (Ace, 1993), Lady

Ruppel

402

Slings the Booze (Baen, 23002), Legacy of Gird (Baen, Enchanted Bunny (Baen, 1990), Voima (Baen, 1995), 1996 with Larry Elmore), Liar’s Oath (Baen, 1992), Vor Game (Baen, 1996), Wagers of Sin (Baen, SFBC, Liavek #1 (Ace, 1985), License Invoked (Baen, 2001), 1996), Warp Angel (Tor, 1995), War World: Blood Luck in the Shadows (Bantam Spectra, 1996), Mall Feuds; Blood Vengeance; Invasion (Baen, 1993, 1994), Purchase Night (Baen, 1993), Marrow (Tor, 2002), What Might Have Been Volume 4: Alternate Ameri-Mask of Loki (Baen, 1990), Matter for Men (Bantam cas (Bantam Spectra, 1992), When the Gods are Silent Spectra, 1993), Me: A Novel of Self-Discovery (Baen, (AvoNova, 1997), White Bull (Baen, 1988), Whose 1991), Memory (Baen, SFBC, 1996, Simon & Schus-Song is Sung (Tor, SFBC, 1996), Wing Commander: ter/Earthlight, 1998), The Mines of Behemoth (Baen, False Colors (Baen, 1999), Wizardry Cursed (Baen, 1997), Mirror Dance (Baen, SFBC, 1994), Morigu: 1991), A Woman of the Iron People #1: In the Light of The Dead (Popular Library Questar, 1990), Moun-Sigma Draconis, #2: Changing Woman (Morrow/
tain Magic (Baen, 2004), My Brother’s Keeper (Baen, AvoNova, SFBC, 1991, 1992), Young Miles (Baen, 2000), The Nanotech Chronicles (Baen, 1991 ), New 1997) 1945 (Baen, SFBC, 1995).

Destinies Vol II (Baen, 1987), Nifft the Lean/Mines of MAGAZINES ILLUSTRATED INCLUDE:

Behemoth (Baen, 1997), Once a Hero (Baen, SFBC, ROF : 2000 (6)

1997), Operation Damocles (Baen, 1998), Paladin (Baen, 1987), Paths to Otherwhere (Baen, 1996), Pere-GAME-RELATED ILLUSTRATIONS INCLUDE: Magic: grine: Secundus (Berkley, 1981), Phases of Gravity The Gathering card art for Mercadian Masques (Bantam Spectra, 1991), Prayers to Broken Stones (1999), 7th edition (2001), Odyssey (2001), Onslaught (Bantam Spectra, 1992), Prince of Sunset (Baen, Spoiler (2002), 8th edition (2003) for Wizards of the 1998), Project FarCry (Tor, 1995), Project: Maldon Coast, Ice Age Cycle: 1 Gathering Dark; 2 Eternal Ice (Baen, 1997) Proteus in the Underworld (Baen, 3: Shattered Alliance (Wizards of the Coast, 1999, SFBC, 1995), Puppet Master (Baen, 2001), Rage for 2000).

Revenge (Bantam Spectra, 1993), Redliners (Baen, 1996), Reformer (Baen, 1999), Regiment: A Trilog y Ruppel, Robh

(Baen, 2004) Remake (Bantam Spectra, 1995) Rem-

(b. November 7, 1963) American artist. Ruppel nant Population (Baen, SFBC, 1996), Retief and the was born and raised in Bellaire, Texas and gradu-Rascals (Baen, 1993), Reward for Retief (Baen, 1989), ated from the High School for the Performing Rise of Endymion (Bantam Spectra, SFBC, 1997), and Visual Arts in Houston. He attended the Rules of Engagement (Baen, 1998), Season for Slaugh-University of Houston (1982–1983) and then ter (Bantam Spectra, 1993), Seven Sexes (Del Rey, the Art Center College of Design (Pasadena, Cali-1980), ShadowSpawn (Ace, 1987), Silverhand: The forna) from 1983–1987, majoring in Industrial De-Arcana Bk. I (Baen, 1995), Skylock (Baen, 2002), sign and Illustration. He also studied at the Califor-Sleepwalker’s World (Baen, 1993), Soldiers of Paradise nia Art Institute under Fred Fixler (1987–1989). He (Avon, 1990), The Spawn of Loki (Baen, 1994), credits the art of Berni Wrightson* and John Berkey*

Specterworld (Avon, 1991), Sporting Chance (Baen, for inspiring him to be an illustrator. Ruppel free-1994), Stalking Darkness (Bantam Spectra, 1997) Star lanced in Los Angeles for seven years, doing all sorts Ascendant (Tor, 1996), Stardance (Baen, 1991), The of jobs including movie design work on Misery Star Dancers (Baen, 1997), Star Voyager Academy (1990)— he painted the covers for the paper back (Baen, 1994), Storm Seed (Baen, 1990), Sugar Rain books used in the movie as props. In the late 1980s (Avon, 1990), Suisan (Baen, 1992), The Sword of he moved to the east coast where he got jobs doing Knowledge (Baen, 1995), Tale of Eron: Bloodwinter, Harlequin romance covers, and art for magazines Springwar (Bantam Spectra, 1999, 2000), Tales of the and advertising.

Knights Templar (Warner Aspect, 1995), Tempus Un-In 1991 Ruppel heard that TSR(™) was looking bound (Baen, 1989), There and Back Again (Tor, to hire full-time artists, and he decided to interview 1999), Thieves’ World Series: 1 Thieves’ World; 2 Tales for the job. The company needed to fill vacancies left from the Vulgar Unicorn; 3 Shadows of Sanctuary; 4
by the departure of long-time members of their sta-Storm Season; 5 The Face of Chaos; 6 Wings of Omen; ble, Clyde Caldwell* and Keith Parkinson*. Ruppel 7 Dead of Winter; 8 Soul of the City; 9 Blood Ties; 10
moved to Wisconsin, and spent five years at Aftermath; 11 Uneasy Alliances; 12 Stealer’s Sky (Ace, TSR(™) working on Ravenloft, Planescape and 1986, 1987 1988, 1989), Time Scout (Baen, 1995), other gaming worlds, at times collaborating with Time Storm (Baen, 1992), To The Vanishing Point Brom*, who had arrived at TSR(™). at about the (Warner, 1988), Tower of Fear (Tor, 1990), Traitor’s same time, and with whom he “clicked” in terms Moon (1999), Trinity Grove (Avon, 1990), Troika of having similar tastes in art. It was while working (Tor, 1991), True Names and Other Dangers (Baen, at TSR(™) that Ruppel first came to the attention 1987), The Tyrant (Baen, 2002), Uncharted Territory of fans, through oil paintings on canvas that had a (Bantam Spectra, 1994), Undesired Princess & The dark, grim, somewhat “melancholy” feel — although

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Ruth
like all artists in the studio he hewed to the TSR(™) (1997), Transcendence: Second Demon War #2 (Del

“look” in his fantasy images. His first professional Rey/Ballantine, 2002), Villains Lorebook (1998); work for them was the cover for the 1992 Ravenloft ROLE-PLAYING GAME-RELATED ILLUSTRATIONS
module Night of the Walking Dead— which still re-INCLUDE (all TSR(™)/Wizards of the Coast): mains one of his favorites. He was an Origins con-AD&D: Complete Book of Necromancers (1995); Dun-vention award winner for best graphics on the geon Master Guide, 2nd Ed. (1995); Encyclopedia Planescape line.

Magica Volume 1, 2, 4 and Index (1994, 1995); Player’s In 1996 Ruppel started doing concept design for Handbook, 2nd Ed. (1995), Al-Qadim: City of De-Disney Animation Studios. By the late 1990s he had lights (1993), Amazing Engine: Kromosome (1994), switched to digital methods for producing art, and The Dark Sun: Will and the Way (1994), Dragonlance: has stayed there ever since. “While I miss the art and Flint’s Axe (1992); Knight’s Sword (1992); Unsung He-craft of actually painting,” he writes, “for commer-roes (1992), Forgotten Realms: City of Gold (1992); cial work it’s hard to beat the flexibility of digital.”

Great Glacier (1992); Jungles of Chult (1993); Passage (personal correspondence, 2007). Ruppel is now a vi-to Dawn (1996); Starless Night (1993), Volo’s Guide to sual development artist and art director for Disney Waterdeep (1992), Planescape: Campaign Setting 2nd Feature Animation, and has worked on movies like ed boxed set (1994); Doors to the Unknown (1996); Mulan (1996–1997), The Emperor’s New Groove Eternal Boundary (1994); Faces of Evil: the Fiends (1998–2000), Treasure Planet (2002), Atlantis (1997); A Guide to the Astral Plane (1996); Harbin-

(2000–2001), Tarzan (1998–1999), and Brother Bear ger House (1995); Hellbound/The Blood War boxed (2000–2003), for which he was nominated for an set (1996); In the Abyss (1994); In the Cage: A Guide Annie Award for best production design, in 2004. He to Sigil (1995); Planes of Chaos (1994); Planes of also did some miniature model building in 1986 for Conflict module and box cover (1995); Planes of Law the films Solarbabies (aka Solar Warriors) and Chop-module and box cover (1995); A Player’s Primer to ping Mall (aka Killbots). Ruppel’s most recent proj-the Outlands (1995); Something Wild (1996); Well of ect for Disney was art directing Meet the the Robin-Worlds (1994), Ravenloft: Adam’s Wrath (1994); sons (2003–2007).

Baroness of Blood module (1995); Campaign Setting, Outside of gaming and film, Ruppel has pro-2nd Ed. box cover (1994); Castles Forlorn boxed set duced over one hundred paintings for role-playing (1993); Dark of the Moon (1993); Death of a Darklord trading card games, and covers for video games such (1995); F.R.E.E. Lancers book (1995), Gothic Earth as Diablo 2. He is currently doing concept work on Gazetteer (1995); I, Strahd (1995); Light in the Bel-

“Uncharted” for Naughty Dog (subsidiary of Sony fry (1995); Masque of the Red Death and Other Tales Computer Entertainment) for the Playstation 3.

campaign (1994); Night of the Walking Dead (1992); Ruppel received a Silver Medal for his work from On Hallowed Ground (1996); Planewalker’s Hand-the Spectrum 2, the fantasy art annual, in 1995. and book (1996) Scholar of Decay (1995); To Sleep with appeared in Spectrum 7 in 2000.

Evil (1996); Van Richten’s Guide to the Created (1994); Ruppel also has an interest in publishing retro-Van Richten’s Guide to Were Beasts (1993); Web of Il-1960s modern style poster and cartoon art, of the lusion (1993); Uncaged: Faces of Sigil (1996).

kind associated with pulp style detective stories and film noir, for which he maintains a website called MAGAZINE ILLUSTRATIONS INCLUDE:

BroadviewGraphics. Ruppel lives in Southern Cal-DRA: 1994 (8); 1995 (1); 1996 (annual #1); 1998
ifornia and teaches Digital Landscape Painting at (10)

Art Center College of Design and Entertainment Art Academy.

Ruth, Rod (Rodney)

Sources: e-mail from the artist July 2007; “Focus on Robh (September 21, 1912–January 1987) American Ruppel” John Zephyr interview for FPG, Inc., 1996, and artist. Born and raised in Benton Harbor, Michi-

“Meet Fantasy Creater Robh Ruppel” Andrew Hardon interview for Inquest magazine, 1996 online at www.robhrubbel.

gan, Ruth grew up close to the shores of Lake Michi-com; Robh Ruppel Interview online at robh-ruppel-inter-gan where he developed a love of nature. Later in view.blogspot.com; www.broadviewgraphics.com life he traveled throughout North America, hunt-ing, fishing and camping. He even spent several Art Collections and Anthologies
months in a fur-trading post as a caribou hunter and Drawing & Painting Fantasy Landscapes and dog-team driver. This love of nature served him well Cityscapes (Barron’s Educational Series. 2006), The later in his artistic career, when he turned to illus-Worlds of TSR (TSR, Inc., 1994), trating series children’s books on animals, in the BOOKS ILLUSTRATED INCLUDE (all TSR(™)/Wiz-1970’s, for Little Golden Books (Western Publish-ards of the Coast, except as noted): Eye of the Hunter ing), Golden Press, Whitman and others.

(ROC, 1993), Greenfire (1993), Half-Light (1992), Ruth attended the Chicago Academy of Fine Arts, Naked Came the Sasquatch (1993), Pages of Pain graduating in 1932, and then studied at the Freder-

St. John

404
ick Mizen School of Art as well as the Institute of De-FTC: 1966 (7); 1968 (10); 1969 (4)

sign, both in Chicago. During this period he be-OW: 1950 (1)

came fiends with Harold McCauley*. After graduating from the Institute of Design, Ruth became a St. John, James Allen
freelance artist and worked for various art studios. He (October 1, 1872–May 23, 1957) American artist.

tried to sell his art to Farnsworth Wright, the editor Born in Chicago, Illinois, St. John was the son of of Weird Tales, but had little luck. By the mid 1940s Josephus Allen St. John and the former Susan Hely, he had became one of the staff illustrators for Ziff-daughter of Hilliard Hely, a well-known Irish artist Davis magazine chain, also being published in of the nineteenth century. Hely’s daughter (St. John’s Chicago.

mother), also an artist, traveled to Paris to continue Ruth primarily worked as an interior artist, rather her studies in 1880, and took James with her. The than a cover artist, and used a grease crayon on board young child was allowed to wander at will through to get an interesting halftone effect that would repro-the Louvre and other major art museums of Europe, duce well on pulp paper. He worked for Fantastic and he began to sketch and paint before he could Adventure and Amazing Stories, and also Mammoth read or write. When St. John returned to America, Detective, Mammoth Adventure and other pulps pub-he began his formal schooling, in New York City.

lished by Ziff-Davis, but also illustrated children’s His father tried to make him a businessman and, books such as the Golden Book of Cat Stories (1946).

when the artist was sixteen, bought him a partner-At that time, the publisher paid $7.50 for a full-page ship with an experienced businessman. St. John illustration and $15.00 for a double-page spread.

protested and finally was sent West to live on his Ruth also illustrated a series of Greyhound Bus travel uncle’s ranch in California. On a trip to Los Ange-posters and other advertising art. In 1941 he began les, in 1887, he met Eugene Torrey, a western artist, working on the syndicated comic strip “The Too-and they became fast friends. St. John immediately dles.” The strip was written by Stanley and Betsy decided to become an artist and spent time, over the Baer and drawn by Ruth from 1941 to 1958.

next four years, traveling throughout the West, When Ziff-Davis moved to New York in 1950, drawing and painting.

Ruth remained in the Chicago area, left the science St. John moved to the East Coast in 1891, living fiction field and moved into wildlife illustration. In there until 1904, and working as a well-regarded so-addition to children’s animal books, he did a num-ciety artist in the New York area, painting portraits ber of species charts for the National Marine Fish-while also doing landscapes and nature scenes. Dureries. As a watercolorist, Ruth exhibited at the Artists ing this period, from 1892 to 1896, he studied at the Guild of Chicago fine-arts shows. His work won nu-Art Students League with William Merritt Chase, merous awards from the Society of Illustrators, the Harry Mowbray, J. Carrol Beckwith and Kenyon Printing Industry of America, and the Artists Guild.

Cox. Around 1904 he also taught at the New York He was a life member of the Art Institute and the School of Art (formerly the Chase School of Art)—

Field Museum of Chicago. Ruth and his wife Mary drawing, painting and composition. St. John then Spencer (1914–2003) had three sons, and grandchil-moved to Chicago, where he lived in his own private dren, and both died in Park Ridge, Illinois.

studio in a three-story artist complex known as “The Sources: Aldiss, Brian. Science Fiction Art: The Fantasies of Tree Studio.” The next year, on November 11, 1905, SF. NY: Bounty Books, 1975. Weinberg, 1988;John Clute and he married Ellen M. Munger, whom he met learn-Peter Nicholls, Eds. The Encyclopedia of Science Fiction. NY: St. Martin’s Press, 1993.

ing to type at a secretarial school. Apart from a brief period of two years, 1908–1910, which he spent in Published Work

Paris, studying at the Academie Julian with Jean Paul BOOKS ILLUSTRATED INCLUDE: More Science Fic-Laurens, and in Holland with Henri Vierin, St. John tion Tales (Rand McNally, 1974), Science Fiction Tales and his wife lived in the same “Tree Studio” apart-

(Rand McNally, 1973)

ment until his death in 1957. The building which MAGAZINES ILLUSTRATED INCLUDE:

housed his apartment was designed specifically for AMZ: 1941 (2); 1941 (11); 1942 (1, 2, 3, 4); 1943 (1, artists and combined living quarters and studio 2, 6); 1945 (6, 9, 12); 1946 (5, 11, 12); 1947 (2, 9, 10); space. Each residence had a large studio with a sky-1948 (4, 5, 6, 7, 9, 11); 1949 (5, 6, 7, 10); 1950 (1, 3, light. St. John’s apartment was on the first floor and 4, 9, 12); 1951 (3, 5, 9); 1967 (10)

had a private garden with a fountain, and it would FA: 1940 (1, 4, 5, 6, 8, 10); 1941 (3, 5, 6, 7, 8, 10, later figure in many anecdotes told by artists and 11, 12); 1942 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10. 11, 12); 1943
enthusiasts who came to visit the famous artist “in (1, 2, 3, 4, 5, 6, 7, 8, 10, 12); 1944 (2, 6); 1945 (4, 10, his studio.” St. John worked as an illustrator for the 12); 1946 (5, 7, 9, 11); 1947 (1, 3, 7, 9, 10, 11, 12); 1948
numerous publishing companies in Chicago for (2, 4, 5, 7, 11, 12); 1949 (2, 7, 8); 1950 (3, 4, 5, 7); 1951
nearly fifty years. The first book he illustrated, The (1, 3)

Face in the Pool, was published in 1904. It was the

405

St. John
first of many works he would illustrate for the A.C.

his own publishing company to print his novels.

McClurg Company.

Feeling that St. John charged too much for his art, Along with a busy career as an illustrator, St.

Burroughs began using other artists, including some John worked as an instructor of painting and illus-of his own relatives such as Studley Burroughs and tration at the Art Institute of Chicago for twenty John Coleman Burroughs*. By 1936 the last of St.

years. He later joined the faculty of the American John’s art for the Burroughs company appeared in Academy of Art, where he served as professor of life hardcover. Losing his best client, St. John tried to get drawing and illustration.

started in the comic-strip field, producing a Sunday St. John’s first artwork of importance in the sci-page based on the John Carter series. Nothing came ence fiction field was done in 1916, when he illus-from the attempt.

trated the first hardcover edition of The Beasts of Living in Chicago, St. John was well known as an Tarzan by Edgar Rice Burroughs. The book featured artist and art teacher. Looking for other assignments more than thirty black-and-white illustrations by to make up for the loss of the Burroughs work, St.

St. John and a color jacket. He even did the letter-John found Weird Tales magazine being published ing for the book, a tradition he was to continue for in the city. He soon began doing covers for that all of the Burroughs books he illustrated. In 1917 he magazine along with its sister publication, Magic was given the assignment of illustrating The Son of Carpet. In late 1932 Weird Tales serialized Buccaneers Tarzan. Again, the artist turned out more than thirty of Venus by Otis Adelbert Kline, a fantasy novel very pen-and-ink illustrations, along with a color jacket much in the Burroughs style. St. John was the ob-and the lettering for the title page. When the A. C.

vious choice to illustrate the novel, and he did four McClurg Company prepared to publish Burrough’s covers for the serial.

third Mars novel, the art assignment was given to Unfortunately, the artist soon found himself St. John, who was becoming known as the Bur-without assignments from the pulp. Margaret roughs artist. For The Warlord of Mars, he did a stun-Brundage* also began doing work for the same magning oil painting for the jacket. It was probably the azine in late 1932. Although St. John’s paintings were finest illustration done for any Burrough’s novel up much more fantastic than Brundage’s, magazine ed-to that time. When McClurg made plans to pub-itor Farnsworth Wright thought that sex sold better lish the next Mars novel, Thuvia, Maid of Mars, St.

than fantastic monsters. Brundage was retained, and John was again given the cover assignment along St. John was dropped from the covers. He later did with a commission for ten full-page illustrations. He a few Weird Tales cover paintings , but the magazine had then become the accepted Burroughs artist.

never became a steady source of income. An inter-Burroughs was not the only author for whom St.

esting sidelight of St. John’s work for Weird Tales John did book illustrations, but he was definitely the was that in doing cover illustrations for the pulp, he most famous, and his name became closely linked did his own lettering for the logo of the magazine.

with the Tarzan author. St. John continued doing Even after they stopped using the artist for the cov-work for Burroughs novels into the early 1930s, ers, Weird Tales retained the cover logo style, and it mostly for hardcover editions, although he did a became closely identified with the magazine.

cover for Bluebook magazine as well, illustrating one In late 1940 Ray Palmer, editor of the Ziff-Davis of the later Tarzan novels. St. John also did jacket art science fiction magazines Amazing and Fantastic Adfor a number of other McClurg hardcover editions, ventures, bought a series of novelettes from Edgar including several science fiction novels by Ray Cum-Rice Burroughs to run in those publications. Ziff-mings.

Davis was located in Chicago and the company tried St. John was an accomplished artist and did ex-to have local artists do the magazine illustrations.

cellent work in all mediums. Most of his paintings Palmer, a longtime science fiction collector, imme-were done in oils, but he also was adept in water-diately contacted St. John who illustrated the Bur-colors. His interior work was done in both pen and roughs novelettes and continued to work for the two ink and in gouache. He also did interior art in pen-science fiction magazines throughout the 1940s.

cil and charcoal crayons. He worked with large sizes, St. John also continued to teach in Chicago and many of his full-page wash paintings that were throughout the 1940s and early 1950s. He did a few used as black-and-white illustrations in book form more paintings for Chicago-based magazines, in-were twenty-two by thirty-two inches or larger.

cluding Fate and Other Worlds, during this period, When St. John did the jacket painting for Jungle and he sold a number of his originals to collectors vis-Tales of Tarzan, A. C. McClurg asked him to do a iting his studios. He died in May 1957.

large painting so that they could use it on a tour to With the revival of interest in Burrough’s work in sell the book. The painting, of an eagle carrying the 1960s, St. John’s name once again became fa-Tarzan away, was four by six feet.

mous. His influence on the work of Roy Krenkel*

In the early 1930s Edgar Rice Burroughs formed and Frank Frazetta* was noted and appreciated by

Salter

406
modern fantasy fans. A commemorative volume re-FTC: 1968 (8); 1972 (4)

producing much of his art also helped boost his rep-OW: 1951 (6); 1952 (11); 1953 (2, 3); 1955 (11); utation. Among older collectors, St. John was al-1956 (2)

ready considered one of the greatest of all fantasy ScS: 1953 (10); 1954 (2)

artists. With the new attention accorded him, he be-WT: 1932 (6, 11, 12); 1933 (1, 2, 4, 5); 1936 (10, 12) came equally well known among younger fans and artists. His originals, always scarce, became prime Salter, George
collectibles and have been sold for thousands of dol-

(October 5, 1897–October 31, 1967) American lars, making his work among the most expensive of artist. Born in Bremen, North Germany, of Protes-all fantasy illustrators.

tant Jewish origin, Salter moved to Berlin with his Sources: e-mail June 2007 from Joel Dryer, Director Illi-family as a child. His father Norbert Salter, born in nois Historical Art Project at www.illinoisart.org; Estes, Austria, was the business manager of the Hamburg Arthur B. “J. Allen St. John” Metropolitan Magazine November 1898 in the erbzine online, “The St. John Tribute” at orchestra and a successful international theatrical www.erbzine.com/mag0/0068.html; www.johncolemanbur-agent, who studied at the Vienna Conservatory and roughs.com/mag16/1641.html; www.creativemix.com/stjohn; played the cello in the Hamburg symphony orches-Weinberg, 1988.

tra. His mother, Stefanie Klein, born in Hungary, Collections and Anthologies
was an opera singer. In 1897 his parents converted to (various contributing artists)

Christianity, as did many secular Jews in Germany Frank, Jane and Howard. The Frank Collection: at the turn of the twentieth century, in an effort to A Showcase of the World’s Finest Fantastic Art (Paper assimilate, and avoid anti-semitism. Salter received Tiger, 1999), Frank, Jane and Howard. Great Fan-his certificate of confirmation at the Kaiser-Wilhelm tasy Themes from the Frank Collection (Paper Tiger, Gedächtnis-Kirche in Berlin on March 13, 1913. He 2003), Richardson, Darrell C. The J. Allen St. John did his military service for the German Army in Library of Illustration Vol 1: The Life and Work of J.

1917–1918, studied privately for a year, then from Allen St. John (Old Tiger Press, 2005); Richardson, 1919 to 1924 he studied graphic arts at the School of Darrell C., and McHaney, Dennis. High Adventure: Arts and Crafts in Berlin. Beginning in 1921, Salter Westerns, Northern and Other Lands — J. Allen St.

worked with theater workshops of the Prussian State John (Old Tiger Press, 2005); Spurlock, J. David ed.

Theater in stage and costume design, and then as a Grand Master of Adventure Art: The Drawings of J.

stage designer for various German theaters and opera Allen St. John (Watson-Guptill/Vanguard Produc-houses. In 1927 Salter turned from stage design to tions 2005).

graphic design, typography and lettering, and for six years until 1933, he worked as a book designer and Published Work
illustrator for more than twenty German publish-BOOKS ILLUSTRATED INCLUDE: At the Earth’s Core ing companies. From 1931 through 1933 he served as (22), Beasts of Tarzan (16), Brigands of the Moon (31), the director of the applied graphics and commercial The Cave Girl (25), The Chessmen of Mars (22), The art division of the Berlin Graphic Arts Academy, Eternal Lover (25), Jungle Tales of Tarzan (19), The until he was dismissed in March 1933, in accordance Land That Time Forgot (24), Lost on Venus (35), The with Hitler’s racial laws. After being prohibited from Mad King (26), Man Who Mastered Time (27), The work, Salter moved to Baden Baden and immigrated Mastermind of Mars (28), The Monster Men (29), to the United States in November 1934 — with a The Moon Maid (26), The Mucker (21), The Outlaw Visa facilitated by his younger brother Stefan, also of Torn (27), Pellucidar (23), Pirates of Venus (34), a well known book designer, who had been in the Port of Peril, Son of Tarzan (17), Swords of Mars (36), U.S. since 1927. A year before Salter emigrated, fifty Tarzan and the Ant Men (24), Tarzan at the Earth’s of his book jackets were displayed in a show at Co-Core (30), Tarzan and the Golden Lion (23), Tarzan lumbia University, arranged by Hellmuth Lehmann-the Leopard Man (35), Tarzan Lord of the Jungle (28), Haupt (Curator of the Department of Rare Books at Tarzan the Terrible (21), Tarzan the Untamed (20), Columbia University from 1930 to 1937, and an his-Tarzan’s Quest (36), Thuvia, Maid of Mars (20), torian of the American publishing trade devoted to Warlord of Mars (19)

the art of the book). By the time he left for the U.S., MAGAZINES ILLUSTRATED INCLUDE:

Salter had produced a total of 357 jobs for 35 dif-AMZ: 1941 (1, 3, 4, 5, 6, 8, 10); 1942 (2, 3, 4, 7, ferent German publishers.

10, 11, 12); 1943 (9); 1944 (3, 9, 12); 1945 (3); 1946

Upon arrival in New York Salter became a free-

(2, 7); 1947 (12); 1948 (4, 5, 9, 10, 11, 12); 1949 (1, 3, lance book jacket designer and illustrator. His first 9, 11, 12); 1950 (11); 1961 (4R); 1964 (1R) commission was with H. Wolff Books, New York.

FA: 1940 (10); 1941 (3, 7, 11); 1942 (3, 7, 11); 1943

Almost immediately Salter was hired by Simon & (3, 5); 1944 (2, 4, 6, 10); 1945 (1, 7, 10, 12); 1946 (2, Schuster to design jackets for several of its books.

5, 7, 11); 1947 (5); 1948 (1, 4); 1949 (4); 1950 (12) During his career Salter designed more than six hun-

407

Sanderson
dred covers for all the major hardcover publishers, inter Jane Salter Rosenberg, Class of 1954, and Her-cluding Knopf, Basic Books, Bobbs-Merrill, Ran-bert Rosenberg, in honor of Agnes O’Shea Salter, dom House, Little Brown, Viking, among others.

Class of 1927, and George Salter, donated a further A prolific artist, and a superb calligrapher and de-collection of George Salter Papers to Smith College signer, Salter was in great demand; it’s been esti-in 1989.

mated that between 1934 and 1940, based on his Sources: Biographical note, George Salter Papers, Mor-output, Salter was producing cover designs at the timer Rare Book Room, Smith College http://asteria.fivecol-leges.edu/findaids/mortimer/manosemr4html#list-ser1 [ac-rate of more than one per week. A comprehensive cessed August 2006]; Dr. Leslie/The Composing Room catalogue of Salter’s book jackets can be found in project at www.drleslie.com/Contributors/salter.shtml ; Classic Book Jackets: The Design Legacy of George Hansen, Thomas S. Classic Book Jackets: The Design Legacy of Salter by Thomas Hansen (Princeton Architectural George Salter (New York: Princeton Architectural Press, 2005)]

Press, 2005). Hansen’s research and scholarship pro-Published Work
vides a main source of important biographical details BOOKS ILLUSTRATED INCLUDE: Adventures in Time for this biography.

and Space (Random House, 1946), The City and the In 1938 Salter began a long association with Mer-Stars (Harcourt Brace & Coi/BCE, 1956).

cury Publications (NY), and he served as art director from 1939–1958, designing the covers, lettering MAGAZINES ILLUSTRATED INCLUDE:

logos, and typography for all magazines published by F&SF : 1950 (winter, spring, summer, fall); 1951

Mercury. In this capacity he entered the science (4, 6, 10, 12); 1952 (4); 1955 (6); 1966 (2) fiction field in 1949, when Mercury began publish-VEN: 1958 (7)

ing Fantasy & SF (originally The Magazine of Fantasy, but with a quick title change after the first Sanderson, Ruth
issue). At first, Salter did some cover illustrations as (b. November 24, 1951) An American artist, well as cover designs. He gave the digest-sized mag-Sanderson was born in Ware, Massachusetts. An azine a distinctive, stylistic and much more dignified early reader and lover of horses, she owned one as a look, one that set the magazine apart and was a total child and that love propelled her into painting the departure from the lurid excesses of pulp magazines.

object of her affection, and then into a career in art.

He also served as art director of Venture Science Fic-After spending a year at a liberal arts college, Sander-tion.

son transferred to the Paier School of Art in Ham-Salter began teaching book design and lettering at den, CT in 1970, so that she could take a combina-the School for Library Service of Columbia Univer-tion of traditional drawing and painting courses as sity in 1935–1936 on the recommendation of Dr.

well as ones in commercial art — knowing that she Lehmann-Haupt and from 1937 to 1967 he taught wanted to make a living and “illustration art” would at Cooper Union Art School, New York, and also at provide the way to do that. She graduated in 1974

New York University. He was extremely influential and since then has illustrated books for children of in the book and magazine design field, publishing all ages, and adults, specializing in literary classics several articles and books on design principles and in the fantasy genre. The artists she admired most techniques, and establishing a typology for catego-were the illustrators of the Brandywine School, rizing book jacket elements. He advocated the idea Howard Pyle, N.C. Wyeth, and Norman Rockwell.

that book jackets are an integral part of the design of The English Pre–Raphaelites and the Hudson River the book and not just a decorative element.

School were also strong influences and remain so.

Salter’s work was exhibited in several prestigious Since 1989 she has retold and illustrated many fairy-individual and group exhibitions in the U.S. and tales, including T he Twelve Dancing Princesses, Papa Germany, and a traveling exhibition of his work was Gatto, The Crystal Mountain, and The Golden Mare, initiated by Gallery 303 in New York (1961–1962).

The Firebird, and the Magic Ring. Her original fairy-The artist was a member of the American Institute tale, The Enchanted Wood, received the Irma S. Black of Graphic Arts, the Book Jacket Design Guild, the award for best picture book of 1992, and the Young Society for Italio Handwriting of London, and the Hoosier Award in 1995.

Grolier Club. In 1942 Salter married Agnes O’Shea, At first, Sanderson obtained her assignments born in Northampton, Massachusetts (1901–1989).

through a commissioning agent in the children’s Salter died in New York is buried beside his wife in field, and her first jobs for cover work included the Cummington, Massachusetts, in the Hampshire first reissues in paperback of well-known books she Hills where the family used to spend their summer had read as a child, The Black Stallion and Nancy vacations. After his death, many of his personal pa-Drew stories, each series requiring 18 covers. This pers and books were given to The Newberry Library, led to other book assignments, and by the early 1980s Chicago and are held there in The John M. Wing Sanderson struck out on her own, doing a number Foundation on the History of Printing. His daugh-of Golden Books and full color dust jackets for

Sanjulian

408
young adult novels. Her first “big break” into the neum, 1985), In the Circle of Time (Scholastic, 1979), trade market came with an edition of Heidi (Knopf, Into the Dream (E.P. Dutton, 1979), The Magnificent 1984), with 100 full color paintings. Up to that time Wilf (Baen, 1996), Once Upon a Time, She Said she had used fast drying mediums, such as water-

(NESFA, 2005), Prince of Sidhe: #1 Shattered Oath, colors, colored pencils, airbrush and acrylics. Heidi

#2 Forging the Runes (Baen, 1995, 1996), Sleeping had a one-year deadline, so she decided to paint in Beauty (Knopf/Ariel Books, 1986), The Spellcoats oils, which had always been her preferred medium—

(Atheneum, 1979), The Tempest (Bantam/Double-and she has stayed with oils since. Sanderson de-day/Dell, 1994), Where Have the Unicorns Gone scribes her art as “Romantic Realism”; it is highly (Simon and Schuster, 2000),
detailed but rich in coloration, in the spirit of the Misc.: Spring Fairy and Summer Fairy (Tree Free English Pre–Raphaelite, J.W.Waterhouse.

Greeting Co., 2004), Swan Lake cover and interior Sanderson’s first fairy tale painting was for Jane art for paperback book included in CD boxed set Yolen’s retelling of The Sleeping Beauty (1986), which (Angel Records, 1990), Unicorn series of 9 collec-led to Yolen introducing the artist to Maria Mod-tor’s plates (Princeton Gallery, 1992).

ugno, the children’s book editor at Little, Brown.

Modugno gave Sanderson the opportunity write and Sanjulian, Manuel Perez Clemente
illustrate her own classic fairytale, and the memorable ( June 24, 1941) Spanish artist. Perhaps best The Twelve Dancing Princesses was the result, taking known in the United States for his 1970s horror-a year and a half of work to complete (1990). Sander-fantasy cover art for the Warren Publications mag-son’s paintings have been included in exhibitions azines Creepy, Eerie, and Vampirella, Sanjulian was around the country, including The Norman Rock-born in Barcelona, Spain where he had already well Museum, The Society of Illustrators, The achieved success as an illustrator for editorial mar-Delaware Museum of Art, the Art Museum of West-kets before working for American clients. Sanjulian ern Virginia, the Words and Pictures Museum, and attended the Belles Artes of Sant Jordi art school, numerous fantasy and science fiction conventions.

one of the most prestigious in Spain, and by the age Her work has appeared on collector’s plates, greet-of 20 had begun working with Selecciones Ilustradas, ing cards, and in magazine and advertising venues.

a prominent European art agency. The owner of that Sanderson is a member of the Society of Illustrators agency, Josep Toutain, well-known Spanish comics (NY), The Society of Children’s Book Writers and editor, art director and publisher (1932–1997), who Illustrators, and The Western Mass Illustrator’s was Sanjulian’s agent for more than 35 years, was Guild, and she has been a guest speaker at many immediately struck by his technical ability and artis-conferences and schools where she enjoys talking tic vision and got him assignments for paperback about the process of writing and illustrating, and covers. He worked for publishers in Germany, Scan-about fairytales in general. She was a 2001 and 2002
dinavia, but mostly England, for larger firms such Chesley Award nominee, has won numerous Awards as Fontana, Panther, Fawcett and Arrow, and he still at Science Fiction and Fantasy Conventions 1985–
works for that market today. In 1971 he came to the 2004 including Boskone, Arisia, Magicon, Noreas-attention of Jim Warren, who hired him for his pop-con 2 and 3, World Fantasy Convention. She is mar-ular magazines, and fans immediately were attracted ried and has two daughters, and her favorite hobby to his sensual compositions, realistic renderings, and is horseback riding.

classical use of color. While initially comparisons to Sources: www.ruthsanderson.com; e-mail from the artist Frank Frazetta* were unavoidable, given that both May, 2005; Interview: Ruth Sanderson Featured Artist, in artists worked in oil, contributed to the same mag-Deep Magic: The E-Zine of High Fantasy and Science Fiction: Amberlin Publishers, Issue 37, June 2005.

azines, and were attracted to similar subject matter, Sanjulian’s more classically academic approach, more BOOKS WRITTEN AND ILLUSTRATED: [all published reminiscent of 17th painters like Velásquez in by Little, Brown & Co.] Cinderella (2002), The painterly technique, earned him substantial recogni-Crystal Mountain (1995), The Enchanted Wood tion on his own. In 1978 he Sanjulian exhibited his (1991), Everard’s Ride (NESFA 1995), The Golden work at the Society of Illustrators (NY), and most of Mare, The Firebird, and the Magic Ring (2001), Papa his work since then has been for the American mar-Gatto (1994), Rose Red and Snow White (1997) The ket. He has produced book cover art for well-known Snow Princess (2004), The Twelve Dancing Princesses publishing houses such as Dell, Ace, DAW, Bantam, (1989).

Fawcett, Berkeley, Pocket, Harlequin, and others, BOOKS ILLUSTRATED INCLUDE: The Beast of Lor as well as art for advertising agencies and film stu-

(T. Y. Crowell, 1977), Beauty and the Beast (Andrews dios in the U.S., and his commercial career — now and McMeel, 1992), Dark Moon (Little, Brown, spanning several decades — has covered multiple 1991), The Dome in the Forest (Del Rey, 1981), The genres, including fantasy, horror, romance, commer-Exotic Enchanter (Baen, 1995), Horsemaster (Athe-cial and fine art. Many of Sanjulian’s cover paint-

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ings feature montage type compositions, at which world: Witchlight (Pocket Archway, 1998), Oath-he was expert. These typically depicted multiple, bound Wizard (Legend, 1996), Palace (Bantam Spec-sometimes overlapping, colorful “vignette” images tra, 1996), Path of the Eclipse (Tor, 1989), Redemption and were effective in capturing the sweep of histor-of Light (DAW, 1991), Relic of Empire (DAW, 1992), ical, romantic fantasy narratives. Sanjulian has al-See You Later (Pocket Archway, 1998), Slaves of Sleep ways devoted part of his to painting fine art, and (Dell, 1979), Starstrike (DAW, 1990), Tarzan Tri-portraiture and in Europe, his paintings, noted for umphant/Tarzan and the City of Gold (Ballantine/Del their realistic subject matter, have appeared in a Rey, 1997), Three Bladed Doom (Ace, 1979), Tigers of number of galleries.

the Sea (Ace, 1979), Treasure of Light (DAW, 1990), Sources: e-mail from the artist, February 2007; www.san-Unicorn Solution (Tor, 1991), Warlock Enlarged, War-julian.info; Di Fate, Vincent. Infinite Worlds (Wonderland lock’s Night Out (Pan, 1991), Warriors of Spider, Way Press/Penguin, 1997); Toutain, Josep. “An Artist Out of His Time: Sanjulian” Realms of Fantasy, December 1997.

of Spider, Web of Spider (DAW, 1998), White Serpent (DAW, 1988), Witch Doctor (Legend, 1996), Worms Collections and Anthologies

Of The Earth (Ace, 1979), Year’s Best Fantasy Stories (various contributing artists)

9 (DAW, 1983), Zarsthor’s Bane (Ace, 1978).

Gallery Girls Collections: Amazon Empire (SQP, MAGAZINES ILLUSTRATED INCLUDE:

1996); Darkebrood Vol. 1 (SQP, 1998), Dragon Tails ROF : 1996 (10); 1997 (6)

Vol. 2 (SQP, 1999), Dragon Tails Vol, 3 (SQP, 2002), Misc.: The SanJulian Collection collector card set Eternal Temptation Vol. 2 (SQP, 2001), Jungle Tales (FPG, 1994)

Vol. 2 (SQP, 1998), Jungle Tales Vol. 3 (SQP, 2000).

Sanjulian: Periode 1970–1984 (Glenat, 1985), SanJulian Master Visionary (SQP, 2001).

Saunders, Norman Blaine

( January 1, 1907–March 7, 1989) American artist.

Published Work

Saunders was born on a homestead in northern-most BOOKS ILLUSTRATED INCLUDE: An Abyss of Light Minnesota, where his father was the game warden (DAW, 1990), Artifact (DAW, 1990), A Candle for for the Lake Of The Woods region and Chippewa D’Artagnan (Tor/Orb, 1994), Blade of Conan, Conan: Indian reservation. He attended high school in Flame Knife, Conan and the Sorcerer, Conan the Mer-Roseau, Minnesota and later completed two years cenary (Ace, 1979, 1981), Crusader’s Torch (Tor, 1989), of mail-order art courses. In 1928 he began working Darkening of the Light (Bantam, 1994), Deadwalk: on the art staff for Fawcett Publications in Min-Vampirella #3 (Warner, 1976), Devlin’s Justice (Ban-neapolis. In 1934 he moved to New York and stud-tam Spectra, 2004), Devil’s Tower (Ballantine/Del ied with Harvey Dunn at the Grand Central School Rey, 1996), Devil’s Engine (Ballantine/Del Rey, of Art. At the same time he began his freelance ca-1997), Dinosaur Tales (Bantam, 1984), Dragons Can reer painting covers for all of the major pulp maga-Only Rust (TSR, Inc., 1995), Dragon Reforged (TSR, zine publishers who admired his scenes of exciting ac-Inc., 1995), The Dragon Waiting (Avon, 1985), The tion and stunning women.

Empire of Fear (Pan, 1990), The Eyes of God (Bantam Although not primarily known for his science-Spectra, 1998), Fire Crossing (DAW, 1991), A Flame fiction art, his work was featured on the covers of in Byzantium (Tor, 1988), Forbidden Borders #1: Re-several classic SF pulps, such as Mystery Adventures quiem for the Conqueror (DAW, 1991), Forbidden in 1936, which featured Richard Tooker’s space ad-Game (Pocket/Archway, 1997), From the Ashes (Tor, venture, Zenith Rand. Saunders also painted covers 1990), Ghostworld (Ace, 1993), Gods of Bal-Sagoth for many horror pulps published by Ace Magazines (Ace, 1979), The Great and Secret Show (Collins, and Red Circle (Marvel) and did many science fiction 1989), Hellworld (Ace, 1993), Her Majesty’s Wizard and fantasy covers for pulps that featured occasional (Legend, 1995), Janissaries: #3 Storms of Victory (Ace, SF stories. He was a prolific artist who painted a 1988), The Last Dancer (Bantam Spectra, 1993), The grand total of 876 pulp magazine covers between Lions of Tsavo (Bantam, 1989), Lord of Darkness 1935 and 1942, an incredible achievement that (Bantam, 1984), Lost Continent (aka Beyond Thirty) amounted to an average of two paintings completed (Ace, 1979), Lost Regiment: #1 Rally Cry; #2 Union per week. Saunders served as a master sergeant in Forever; #3 Terrible Swift Sword; #4 Fateful Light-the army during World War II, and after the war ning; #6 Never Sound Retreat (Penguin/Roc, 1998), when the popularity of pulps had passed, he shifted Lyonesse: #2 Green Pearl (Berkley, 1983), Madouc to cover work in other fields of publishing. He cre-

(Ace, 1990), Mistworld (Ace, 1992), Name of the Rose ated covers for 112 comic books, including the SF

(Warner, 1984), Nightworld: #1 Secret Vampire; Dark titles Space Patrol, Amazing Adventures, Space Busters, Angel; Daughters of Darkness; #3 Spellbinder (Pocket/
and Unknown World. In 1948 he branched out into Archway, 1996), Nightworld: Black Dawn; Chosen; the paperback field and painted 155 paperback cov-Huntress; Soulmate (Pocket/Archway, 1997), Night-ers for Ballantine, Bantam, Dell, Lion, Popular Li-

Savage

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brary, and Ace-Double books, including the cover for brightly colored paperback covers, in the 1960s, and the popular Conan the Conqueror by Robert E.

reprints of Heinlein’s “juveniles” for Ballantine and Howard. Because Saunders was as known for his Ace, in the 1970s. In style, these carried forward Sav-Western covers for pulps as for his science fiction age’s earlier fluidity and “deco” exoticism. Savage work, he also easily moved into the men’s adventure died of a heart attack in New York.

magazine market, and produced over one thousand Sources: Weinberg (1988), www.ibdb.com/
illustrations for magazines such as Male, Argosy, Ad-Published Work
venture, Man’s Book and many others. In the 1960s BOOKS ILLUSTRATED INCLUDE: Anti-Man (Paper-he did over a thousand paintings for trading cards for back Library, 1970), Barrier World (Lancer, 1970), the Topps Bubblegum Company, among them series Between Planets (Ace, 1951), Black in Time (Paperback such as: Civil War News (1961), Batman (1966), Ugly Library, 1970), Breakthrough (Ballantine, 1970), Stickers (1965), Wacky Packs (a popular series of Citadel of Fear (Paperback Library, 1970), Citizen of humor gum cards, 1967), and the now legendary SF
the Galaxy (Ace, 1957), Golden Blood (Lancer, 1967), series Mars Attacks (1962), which inspired Tim Bur-Have Spacesuit, Will Travel (Ace, 1977), Long Result ton to make his own movie of the same title in 1996.

(Ballantine, 1970), No Other Man (Stokes, 1940), Sources: correspondence with son, David Saunders, September 2006 who provided biographical information; Wein-Red Planet (Ace, 1971), Report on Probablity (Lancer, berg, 1988.

1970), Rocket Ship Gallileo (Ace, 1970), Sorcerer’s Skull (Lancer, 1970), Squares of the City (Ballantine, Published Work

1970), Space Cadet Starbreed (Ballantine, 1970), Star AMF : 1950 (2, 4, 7, 10)

Beast (Ace, 1970), Time for the Stars (Ace, c. 1970), AMZ: 1952 (1)

Tunnel in the Sky (Ace, 1975), Well of the Unicorn DYN: 1039 (4)

(1967), The Whole Man (Ballantine, 1970).

FFM: 1950 (6, 8, 12); 1952 (9); 1953 (2) FN: 1050 (3, 5, 9)

MAGAZINES ILLUSTRATED INCLUDE:

MSS: 1938 (8); 1939 (4); 1950 (11); 1951 (2, 5) FFM: 1951 (1, 3)

PS: 1942 (summer)

SSS: 1951 (4, 6)

SSS: 1950 (3)

Scanlan, Peter

Savage, Harry Steele

(b. October 7, 1963) American artist. Born in En-

(December 21, 1898–December 5, 1970) Ameri-glewood, New Jersey, Scanlan traveled extensively can artist. Steele Savage (he was known profession-through Europe as a boy, and was profoundly af-ally only by his middle and last name), was born and fected by the artwork he saw there. He attended the raised in Detroit, Michigan. By the time he was 19

School of Visual Arts in New York City, graduating he was working for a department store in Detroit, the with a BFA in 1986. The Symbolists and Pre–

J.L. Hudson Co. Whether he received any formal Raphaelites, 19th century fantasy painters, and education in art is unknown. By 1930 Savage had 1940’s–1950’s pulp art are his artistic influences. He moved to New York City, and for several years he began his freelance career, and was introduced to illustrated Greek and Classic mythologies, children’s

“the crazy “feast or famine” nature of illustration,” he books, textbooks and art volumes, such as The Ara-says, a year before graduation, when in the summer bian Nights (Triangle, 1932). Stylistically, these of 1985 he was commissioned to paint “a grotesque showed a “orientalist” Art Deco/Nouveau influence, mushroom infested goblin for a book called Appari-also seen in The Decameron of Giovanni Boccaccio tions by Noel Scanlan” (an Irish author who coinci-

(1931), for which Savage provided black and white in-dentally shared his last name). At the same time he terior illustrations in the form of etchings in a Deco also received several other commissions: a romance style. Savage also was scenic and costume designer cover, a trade magazine cover, a portrait, and an ad for a short-lived Broadway musical comedy, Caviar for underwear. “I worked incredibly hard in my un-

(1934). Professionally, he served in the Army in air-conditioned apartment, and arrived back at World War II, enlisting in 1942 as an artist. He is school in September feeling very grown up and ac-credited for at least one propaganda poster, a color complished. That is, I was, until I heard several peo-poster recruiting women “For your country’s sake ple in the hallways of SVA muttering: “Sure he’s get-today — For your own sake tomorrow / Go to the ting jobs, his father is the one writing the books!””

nearest recruiting station of the armed service of Scanlan has illustrated adult and young adult your choice.” (1944, National Archives and Records book covers, computer games, and CD covers in the Administration). He began doing science fiction art-science fiction, fantasy and horror genre for a wide work in the 1950s, providing pulp art for Popular range of clients. A versatile artist with a boldly col-Publications. Later, after an absence of many years orful and confident style that at times has been called from the field, he returned to paint a number of

“wickedly satirical,” Scanlan enjoys jobs which allow

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Schelling
an artist to “make a statement and become part of a 2000), Time Is the Simplest Thing (Macmillan Col-larger conversation,” as have his portraits of President lier Nucleus, 1993), The Traveling Vampire Show Bush for the Village Voice newspaper (NY). For the (Leisure, 2001), Voyage of the Star Wolf (SFBC, 1991), first twelve years or so of his career Scanlan painted Witches Abroad (ROC/BCE, 1991).

in acrylics on illustration board or canvas board, and GAME-RELATED ILLUSTRATIONS INCLUDE: Battle-occasionally in oil. In the mid 1990’s Scanlan began space game cover (FASA, 1993), Crimson Skies: Be-to shift more into the digital realm, using programs hind the Crimson Veil gamebox (FASA, 1999), Hunter like Photoshop and Painter as well as 3D software

/Hunted game cover (Sierra, 1996), PowerMonger 1, such as Lightwave to create his digital illustrations.

2 gamebox (Electronic Arts, 1990), PowerMonger-He was one of four artists commissioned by Marvel World War 1 edition (Electronic Arts, 1990), Rama comics to complete 52 paintings for 1995’s Marvel game cover (Sierra, 1996), SkyBlazer video game Masterpieces series, as well as digitally painting the cover (Super Nintendo, 1993).

cover for Kiss’s 1996 album Psycho-Circus. Scanlan also began to expand his artistic range at this time to MISC. ILLUSTRATIONS INCLUDE: Carousel plate art include animation, motion graphics, and previsual-

(Franklin Mint, 1993), Marvel Masterpieces collector isation for clients including HBO, Universal stu-cards (Fleer, 1995) Psycho Circus CD — KISS album dios, Hasbro, and Post Perfect. In the late 1990s cover (Mercury/Polygram, 1998), Wildside collector through 2000 Scanlan worked for comic and game card (Fleer, 1994), X-Force collector cards (Fleer, companies, doing computer and video game covers 1995), 1994, 1995 Ultra x-men card set (Marvel).

and illustrations for the gaming magazine Inquest Gamer (2000). Beginning around 2002, Scanlan has Schelling, George Luther
been returning to traditional mediums like pencil (b. May 9, 1938) American artist. Schelling was and paint to create the drawings and underpaint-born in Worcester, Massachusetts, and studied at ings for illustrations, then finishing them digitally. In Art Instruction Schools, in Minneapolis, Minnesota, 2004 Scanlan began teaching art part time at North-1954–56. He began his professional career during ern Valley Regional High School. near his home in the same period, illustrating for advertising agencies Demarest, New Jersey where he resides with his wife in New Jersey. A prolific black-and-white artist, dur-Victoria Pero and three children, Declan, Sophia and ing his early twenties Schelling became a freelance Isabella. Scanlan’s art appeared in Spectrum annual artist, creating interior story illustrations and cover anthologies #7 and #12 (Underwood, 2000, 2005), paintings for most of the major SF magazines, In and was exhibited at the Society of Illustrators An-addition to genre publications, Schelling also pronual shows (New York) in 1990, 2000, and 2005).

duced advertising art for major corporations, such as Sources: email from the artist October 2006

Hartford Life Insurance Co., Seagram Distillers, Anheuser Busch Inc., and 3M Corporation. By the Published Work
early 1960s Schelling had also begun exhibiting his BOOKS ILLUSTRATED INCLUDE: Apparitions (Crit-wildlife paintings in galleries. He had one-man ics Choice, 1986), Black Butterflies (Dorchester/
shows at Abercrombie and Fitch (New York) in 1965, Leisure, 2001), Butterfly and Hellflower (SFBC, 1966, 1967, and at other galleries in the Northeast 1993), A Calculated Magic (Ace, 1995), Changed Man that specialized in wildlife art. His realistic portray-

(Tor, 1992), Cold Fire (Scholastic, 2000), Cruel Mir-als of aquatic life proved popular and soon he devel-acles (Tor, 1992), Delta Pavonis (Baen, 1990), Dark oped a reputation as a painter of marine life work-at Heart (Dark Harvest, 1992), Digital Warfare (Mis ing for outdoor and wildlife magazines, among Press, 1996), The Eyes of the Beast (Tor, 1993), Falling them: Outdoor Life, Field and Stream, Sports Afield, Woman (Tor/Orb, 1993), Flux (Tor, 1992), Gather, Audubon, Boys Life, Fishing World. His last assign-Darkness (Macmillan Collier Nucleus, 1992), ments in the SF genre were from Analog, 1979. By GURPS: Grimoire (Steve Jackson Games, 2000), that time his career had expanded to print publish-Hercules and the Geek of Greece (Berkley, 1999 ), ing, calendars and other publishing and editorial Homecoming: Harmony (SFBC, 1994), Howling Man work, in addition to continuing his gallery exhibits (Tor, 1992), A Logical Magician (Ace, 1994), Magic and sales. In recent years, Schelling has extended his Steps (Scholastic, 2000), Mars Attacks: War Dogs of media to include the computer. He continues to be the Golden Hoarde (Ballantine Del Rey, 1996), versatile in his choice of mediums, working in McLendon’s Syndrome (SFBC, 1993), Mindswap acrylics, oil and watercolor/pastel and to that he has (Bart, 1990), Monkey Sonatas (Tor, 1993), Moving added mixed media paintings; a combination of dig-Pictures (SFBC, 1992), Only Child (Dutton, 1992), ital and traditional paint. Recent works reveal a wide Reaper Man (ROC, 1991), Santa Steps Out (Leisure, range of subject matter, including seascapes, old 2000), Shatterglass (Scholastic, 2000), Speak Dag-buildings, and space scenes. Schelling participates gers to Her (Tor, 1994), Street Magic (Scholastic, in a regional cooperative arts and fine crafts gallery

Schleinkofer

412
in Northeastern Pennsylvania, the Blue Heron Gal-Published Work
lery, and is a member of the Society of Animal BOOKS ILLUSTRATED INCLUDE: Armageddon Crazy Artists and the Society of Illustrators. His paintings (Del Rey, 1989), Battlestar Galactica 3 Tombs of have been displayed in the Smithsonian Institution, Kobol; 4 Young Warriors; 5 Galactica Discovers Earth; the National Art Museum of Sport, the National 6 Living Legend; #8 Greetings From Earth; 9 Exper-Arts Club, Brandywine Museum (PA) and the Royal iment In Terra; 10 The Long Patrol (Berkley, 1979, Ontario Museum.

1980, 1982, 1983, 1984), Casey Agonistes And Other Sources: email from the artist November 2006; http://

Science Fiction And Fantasy Stories (Ace, 1978), Chil-home.epix.net/~georges; www.oldutica.com/george_schelling.

dren of the Stars (Del Rey, 1989), Death’s Gray Land html; http://www.blueheronart.org/members; Weinberg, 1988

(Ballantine/Del Rey, 1990), Death’s Master (DAW, 1979), Destiny Makers: 2 Morning of Creation; 3 Sol-Published Work
dier of Another Fortune (Ballantine/Del Rey, 1986, AMZ: 1962 (5, 10, 11, 12); 1963 (1, 2, 3, 5, 6, 10, 1988), Feelies (Ballantine/Del Rey, 1990), Highway 12); 1964 (2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1965 (1, 2, of Eternity (Ballantine/Del Rey, 1986), Invasion: 3, 4, 5, 6, 8)

Earth (Ace, 1983), In the Fog (Tor, 1993), Kaduna ASF : 1962 (5, 6, 7, 8, 9, 10, 11, 12); 1963 (1, 2, 3, Memories (Ballantine/Del Rey, 1990), The Last Reck-4, 5, 6, 7, 8, 9, 10, 11, 12); 1964 (1, 2, 3, 4, 5, 6, 7, 8, oning (Ballantine/Del Rey, 1986), Last Stand of the 9, 10, 11, 12); 1965 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10); 1976

DNA Cowboys (Del Rey, 1989), Long Orbit (Ballan-

(5, 6, 9, 11); 198=77 (3, 6, 7, 8, 9, 10, 11); 1978 (6, 11); tine/Del Rey, 1990), Mars —The Red Planet (Ballan-1979 (1, 2, 7)

tine/Del Rey, 1990), Mirror For Observers (Del Rey, FTC: 1961 (9, 10); 1962 (5, 7, 8, 9, 10) 1963 (2, 5, 1980), Nightside City (Ballantine, 1989), Noninterfer-6, 7, 8, 9, 10); 1964 (3, 4, 5, 6, 7, 8, 9, 19, 11, 12); ence (Ballantine/Del Rey, 1990), On the Symb-Socket 1965 (1, 2, 4, 5)

Circuit (Ace, 1972), Outward Bound (Ballantine, GXY: 1961 (10); 1962 (8, 10); 1963 (6); 1964 (10); 1989), The Past of Forever (Del Rey, 1989), Pathfinders 1965 (4, 6)

(Ballantine/Del Rey, 1986), The Preserving Machine IF : 1962 (7); 1963 (1); 1965 (5); 1966 (5) (Ace, 1976), Robotech: 1 Genesis; 2 Battle Cry; 3

Homecoming; 4 Battlehymn; 5 Force of Arms; 6

Schleinkofer, David J.

Doomsday; 7 Southern Cross; 8 Metal Fire; 9 The Final (b. January 29, 1951) American artist. Born in Nightmare; 10 Invid Invasion; 11 Metamorphosis; 18

Philadelphia, Pennsylvania, Schleinkofer attended End of the Circle (Ballantine/Del Rey, 1987, 1989, Bucks County Community College and then the 1990, 1993), Robotech: The Sentinels #4 World Killers Philadelphia College of Art, graduating with a de-

(Ballantine, 1988), The Silver Skull (Scribner’s, 1979), gree in Fine Art. He sold his first illustration in 1974

Starwolf (Ace, 1990), Starhammer (Ballantine/Del and has been painting paperback covers ever since, Rey, 1990), West of Eden (Bantam, 1985).

for the SF market as well as colorful children’s books for Simon & Schuster, and the occasional romance MAGAZINES ILLUSTRATED INCLUDE:

novel. He has also done cover paintings and interi-IASFM 1982 (5, 7)

ors for Asimov’s and Science Digest, and editorial art Misc.: GURPS Cyberpunk role-playing source for Cue and Cosmopolitan magazines.

book (Steve Jackson Games, 1990), Shatterzone: Schleinkofer’s style of expression in earlier SF

Brain Burn game manual (West End Games, 1993), work showed a clear surrealist influence with strong SimCopter packaging art (EA Games, 1996), SimC-compositions that were stark, colorful and polished.

ity 2000 packaging art (EA Games, 1993) SimTower All his illustgrations are done in gouache, using air-packaging art (EA Games, 2002).

brush and paintbrush.. While he still takes an occasional commercial assignment, Schleinkofer’s focus Schneeman, Charles E., Jr.

has largely shifted to producing fine art paintings: (November 24, 1912–January 1, 1972). American marine art, landscapes and children’s portraitson fine artist. Schneeman was born in Staten Island, New arts, painting marine has largely left the field of il-York, and moved to Brooklyn in 1922 where he at-lustration has been married since 1976 to Mardi, a tended Erasmus Hall High School. He graduated former art teacher whom he met in college. They from the Pratt School of Art and Design (NY) in have one daughter, Courtney.

1933, and received further training at Grand Central Sources: correspondence from the artist, February 2007; Weinberg, 1988.

School of Art taking figure drawing classes from Harvey Dunn and George Bridgeman. Schneeman’s Collections and Anthologies
artistic influences included Winsor McKay, Frank-

(various contributing artists)

lyn Booth, McClelland Barclay and H.G. Wesso*.

Summers, Ian Ed. Tomorrow and Beyond Work-His first science fiction illustrations were done for man, 1978).

Wonder Stories in 1934, and his art started appearing

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Schoenherr
in Astounding Stories in 1935. He painted several cov-spondence, drawings, sketches and reference mate-ers, but his preference was for brush and ink, using rials was donated by the Schneeman’s widow to the simple line or dry brush shading, and he was known University Library, University of California at Davis, primarily for his black-and-white interiors. When in 1997. The donation was followed by an exhibition John W. Campbell, Jr., became editor of that mag-of Schneeman’s works from Astounding at the Nel-azine in 1937, Schneeman became the chief interior son Gallery on the University campus, 1998.

artist for the pulp. His cover for the April 1939 issue Sources: Special Collections, University Library, Univ. of of Astounding was the first of the astronomical cov-California, Davis online at http://content.edlib.org/view;jes-sionid=qraKnkB7YK8fh109?docId=tf3n39n729&chunk.id=bi ers for that magazine and set the tone for the use of ologist-1.8.3; [accessed Jan 2007]; Weinberg, 1988.

such illustrations in years to come by artists such as Chesley Bonestell* and Rick Sternbach*.

Collections and Anthologies

In 1940, Schneeman was drafted and stationed at (various contributing artists)

Lowry Field, Denver, Colorado. During his assign-Aldiss, Brian. Science Fiction Art: The Fantasies of ment with the Army Air Corps 3rd Film Strip unit, SF. (Bounty Books, 1975), Difate, Vincent. Infinite he illustrated technical manuals. Although World Worlds: The Fantastic Visions of Science fiction Art.

War II interrupted his career, his continuing work for (Wonderland Press/Penguin, 1997).

Astounding in the early 1940s gave him the opportu-Published Work
nity to illustrate many of the major stories for the first AMZ: 1947 (8)

golden age of science fiction. His art was closely as-ASF : 1935 (7); 1936 (1, 2, 5, 6, 7, 9), 1937 (4, 8); sociated with the Lensman novels by E. E. Smith, 1938 (2, 3, 4, 5, 6, 7, 9, 11, 12); 1939 (1, 2, 3, 4, 6, 7, Final Blackout by L. Ron Hubbard, and many of 9, 10, 11, 12); 1940 (1, 2, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1941

Heinlein’s short stories and novels. In addition to (1, 2, 3, 4, 5, 6, 7, 9, 10, 11); 1942 (3, 4, 5, 6, 8, 9, 12); the science fiction genre, Schneeman illustrated ro-1947 (6); 1950 (9); 1951 (9); 1952 (11) mance magazines, drew humorous cartoons, and cre-StrS: 1940 (4)

ated historical and scientific illustrations. He married UK: 1939 (9); 1940 (1, 5, 8, 10); 1941 (2, 4, 6, 8, Betty Myers in 1944 and was released from the 10)

Armed Services in 1945.

After the war, Schneeman returned to New York, where his first son, Paul, was born. He turned to Schoenherr, John Carl
full-time newspaper work, starting with the New (b. July 5, 1935) American artist. Born in New York Daily News and then the NY Journal-American York City, Schoenherr began reading science fiction in 1946 and 1947, as an illustrator and photographic at an early age, beginning with Jules Verne classics, retoucher. He moved to the Denver Post in 1947, and and by the time he was in high school he was a reg-by 1950 he had moved to the west coast to work for ular reader of Astounding magazine. He graduated The Los Angeles Herald Examiner, during which years from the science-oriented Stuyvesant High School the Schneemans’ other two children, Gregg and with plans to be a biologist, but while dissecting a Lynne, were born. Schneeman tried to continue frog during biology class Schoenherr found that he some science fiction work, but the problems of liked doing drawings of dissections … more than working across a continent were too great. He con-doing the dissecting” ( Algol, 1978) Like many other tributed the cover and interior art for the January New York area artists he studied at The Art Students 1966 issue of the southern California fanzine River-League of New York, and attended Pratt Institute side Quarterly, and in May of the same year a sci-

(Brooklyn), where he received a BFA in 1956; Paul ence fiction fan, Alva Rogers, wrote an illustrated Lehr* was a fellow classmate. While at Pratt, he article on the artist for the first issue of the fanzine studied with Stanley Meltzoff*, Fred Castilano, and Chapter II ( Habakkuk). From a letter to Rogers, Richard Bove. During the summers he returned to dated February 10, 1966 (Schneeman Papers, UC, the Art Students League to study academic tech-Davis), it’s known that Schneeman participated in niques with Frank Reilly. He enjoyed painting the Los Angeles Newspaper Guild strike, walking wildlife for assignments at Pratt, but after graduat-the picket line and working odd jobs to support his ing he supported himself and his future family as a family. The guild was still on strike when Schneeman freelance illustrator while pursuing his wildlife paint-died in 1972, due to complications from poly-ing on the side.

sythemia, compounded by religious beliefs forbid-Major early science fiction art influences for ding blood transfusions. During his residence in Schoenherr were Richard Powers* and Edd Cartier*, Pasadena, Schneeman exhibited his artwork in Cal-although he drew from a wide range of other artis-ifornia venues including: the Pasadena Art Museum, tic sources: Degas, Hokusai, Vermeer, Tanguy, Roger the Los Angeles County Museum, various Laguna Vanderwiden and Andrew Wyeth. Having been a galleries, and street fairs. An archive of his corre-science fiction fan and reader for most of his life,

Schoenherr

414

Schoenherr began his freelance career in the SF field for most of the decade before leaving the illustra-working for the magazines he had been reading since tion field, both science fiction and children’s litera-high school — his first published work appeared in ture. As the artist himself put it in an interview in the February 1957 issue of Amazing Stories, illustrat-Algol magazine (1978), presaging his eventual depar-ing Robert Moore Williams’s story “The Next Time ture from commercial illustraton for more profitable We Die.” In 1958 he began a long-term association areas of work, “I got out of science fiction painting with Astounding Science Fiction, which continued because I can’t stand mediocrity and for the most through the magazine’s change of name to Analog part … there’s no space for anything really good.

in 1960. In 1961 Schoenherr started painting paper-There’s no budget for anything really good.” He re-back covers in the genre, primarily for Pyramid and turned to his lifelong interest in the outdoors and Ace, in a surreal style which showed the strong wildlife, devoting himself to his wildlife painting in influence of Richard Powers. In time, Schoenherr the late 1970s, creating large works for galleries. His developed his own style, using much more recog-fine art has been shown in solo and group exhibitions nizable images in a dramatic, often surrealistic set-across the United States, and can be found in private ting. At about the same time, while doing some free-and public collections, among them: Zimmerli Art lance work for the Bronx zoo, he was recommended Museum (Rutgers Univ), U.S. Air Force Art Col-for his first children’s book assignment — and his lection, National Park Service, Kerlan Collection scratchboard illustrations for Sterling North’s Ras-

(Univ. of Minnesota). A major retrospective of his cal (1963) and Walt Morey’s Gentle Ben (1965) at-wildlife painting and illustration, John Schoenherr: tracted the attention of other hardcover publishers.

Beyond the Edge and Deep Within, was held at the Schoenherr’s excellent interior work for SF mag-Hiram Blauvelt Art Museum in 1997.

azines, and his early children’s book illustrations, In 1987 Schoenherr returned to children’s litera-was done primarily on scratcboard using dry brush, ture and won the Caldecott Medal (1988) for his with fine details added by pen. Later, he used dry work on Jane Yolen’s Owl Moon, followed by publi-brush on watercolor paper, when the brand of cation of two of his own books, Bear (1991) and Rebel scratchboard he preferred (Rossboard, from Philadel-

(1995). He won awards in 1979 and 1984 from The phia) was discontinued with the death of the maker.

Society of Animal Artists, of which he is a member.

But whatever medium he used, Schoenherr was a Other awards include the Philadelphia Academy of superb draftsman who used a variety of drawing Natural Sciences Silver Medal (1984), a Hiram Blau-techniques to achieve a feeling of depth and texture velt Art Museum Purchase Award (1994), The Amer-that is noteworthy in many of his paintings and inican Institute of Graphic Arts, and several awards teriors. According to science fiction artist and critic from the Society of Illustrators (NY) of which he is Vincent DiFate*, Schoenherr is “one of the best emeritus member. He is also emeritus member of compositional artists who ever worked in the field the American Society of Mammologists. He has been of commercial art … (with a) unique ability to cre-listed in Who’s Who in American Art 1989-on.

ate convincing aliens… in every facet of picture Schoenherr and his wife, the former Judith Gray making (he is) truly brilliant.” ( Infinite Worlds, p.

(whom he married in 1960) live on a farm in New 264). Schoenherr won the Hugo Award for Best Jersey, and are the parents of two children, Jennifer Artist at the World Science Fiction Convention in L. and Ian G., who is a children’s book illustrator. Al-1965 on the strength of the magazine illustrations though in recent years Schoenherr has rarely con-he had published in the previous year for Frank Her-tributed to the science fiction field, he remains one bert’s Dune, which first saw print as two Analog se-of the most highly regarded artists to have worked in rials between 1963 and 1965. His work for Dune the genre.

helped define and visualize that important novel for Sources: e-mail from the artist, April 2006; Embracing the millions of readers. He later produced all-new illus-Child: Biography of John Schoenherr online www.embrac-ingthechild.org/aschoenherr.html [accessed May, 2006]; trations for The Illustrated Dune (1978). Schoenherr Snavely, Kirk. Schoenherr Biography online www.bpib.com/ilhas received eleven nominations for the Hugo dur-lustra2/schoenherr.html [accessed May, 2006] Vincent Di ing his career.

Fate, Sketches: John Schoenherr Interview, ALGOL: The MagIn the late 1960s Schoenherr took time off from azine About Science Fiction, Summer-Fall 1978, pp. 41–49; Meisel, Sandra. A Look at John Schoenherr, Galileo/Magazine Analog to develop his fine art technique. He trav-of Science and Fiction, March 1978, pp. 26–29.

eled the continent to study animals in the field, sometimes on commission, photographing the ani-Collections and Anthologies
mals he would later paint in his studio, which was lo-

(various contributing artists)

cated on the rural farm in New Jersey. During this Di Fate, Vincent. Infinite Worlds: The Fantastic time he continued to illustrate wildlife books for Visions of Science Fiction Art ( Penguin, 1997), Miller, children and young adults. Schoenherr returned to Ron. Starlog Photo Guidebook to Space Art (Profile Analog in the early 1970s, working in the genre again Entertainment, 1978).

415

Schomburg

Published Work

10, 11, 12); 1962 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1963

BOOKS ILLUSTRATED INCLUDE: 4 for the Future (1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12); 1964 (1, 2, 3, 4, 5, 6, (Pyramid, 1962), Ace Science Fiction Reader (Ace, 7, 8 9, 10, 11); 1965 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11); 1966

1971), Annual World’s Best SF 1972 (DAW, 1972), (2, 3, 4, 5, 6, 7, 8, 9, 10, 11); 1967 (3, 4, 5, 6, 7, 8, 10, Anything Tree (Ace, 1970), Battle of Forever (Ace, 12); 1968 (1, 9, 10); 1971 (9, 10, 11); 19721, 2, 3, 4, 6, 1971), Best from F&SF 3 (Ace, 1971), Bird of Time 7, 8, 9, 10, 11); 1973 (1, 2, 3, 5, 6, 8, 9, 10, 12); 1974

(Crowell, 1971), Black Mountains (Ace, 1971), Bogey (2, 4, 7, 8, 9, 11); 1975 1,2, 3, 4, 5, 6, 7, 8, 9, 11); 1976

Men (Pyramid, 1963), Born Under Mars (Ace, 1967), (1, 2, 3, 4, 5, 8, 9, 10, annual); 19772, 3, 6) Bow Down to Nul (Ace, 1966), Brain Twister (Pyra-F&SF : 1959 (4, 5)

mid, 1962), Bright New Universe (Ace, 1967), Catch FTC: 1957 (3, 4, 5,6, 7); 1958 (11)

a Falling Star (Ace, 1958), CatsEye (Ace, 1970), GAL: 1978 (3)

Chapterhouse: Dune (Putman, 1985), Children of To-INF : 1957 (6, 7, 9, 10); 1958 (1, 4, 8) morrow (Ace, 1970), Darkness on Diamondia (Ace, SAT: 1957 (6)

1972), Doctor to the Stars (Pyramid, 1964), Dragon SFA: 1958 (1,3)

in the Sea (Avon, 1967), Dune (Chilton, 1967), Earth VEN: 1957 (9, 11); 1958 (3, 5)

War (Pyramid, 1963), Empire Star (Ace, 1966), Encounter (Monarch, 1962), Enigma from Tantalus Schomburg, Alex

(Ace, 1968), Falling Torch (Pyramid, 1962), Five-Odd (b. May 10, 1905–April 7, 1998) American artist.

(Pyramid, 1964), Flying Eyes (Monarch, 1962), Schomburg is one of the very few science fiction Galactic Patroi (Pyramid, 1964), Ghoul Keepers (Pyra-artists whose career spanned six decades. His first mid, 1961), Green Millennium (Ace, 1969), Green published science fiction art appeared in 1925, and Planet (Monarch, 1961), Herod Men (Ace, 1971), was still active in the field at the age of eighty — in Heretics of Dune (Berkley, 1986), Kar Kaballa (Ace, a career that began before there was a magazine solely 1969), Kenneth Malone: #2 The Impossibles, #3 Super-devoted to the genre.

mind (Pyramid, 1963), Kalin (Ace, 1969), Man of Schomburg, the youngest of six brothers, and Two Worlds (Original Title Renaissance) (Pyramid, three sisters, was born in the small town of Aquadilla, 1963), Man Who Wanted Stars (Lancer, 1965), Mars in the northwest corner of Puerto Rico in 1905, the Is My Destination (Pyramid, 1962), Masters of the son of a German father and Puerto Rican mother.

Maze (Pyramid, 1965), Mission of Gravity (Pyramid, Extreme poverty in areas of the island inevitably led 1969), More Macabre (Ace, 1961), Mutiny in Space to infectious diseases, and although Schomburg’s (Pyramid, 1964), Off the Beaten Orbit (Pyramid, family was relatively well off, tuberculosis left him 1961), Orbit Unlimited (Pyramid, 1961), Our Friends motherless at the age of seven, and fatherless one from Frolix 8 (Ace, 1961), Planet Buyer (Pyramid, year later. The threat of tuberculosis eventually 1964), Planet Strappers (Pyramid, 1961), Proxima Pro-spurred all of Schomburg’s brothers to immigrate to ject (Ace, 1968), Quest for the Future (Ace, 1972), The the U.S., but before Alex could join two of his older Radio Planet (Ace, 1964), Red Fox (Puffin, 1976), brothers there, he spent five years at a Catholic or-Rim Gods (Ace, 1969), Space Barbarians (Pyramid, phanage, and briefly lived with his uncle, a diplomat 1964), Space Opera (Pyramid, 1965), Star Venturers named Friedrich von Uffel Schomburg. In 1917, at the (Ace, 1969), Subspace: #1 Subspace Explorers (Ace, age of twelve, Schomburg arrived in New York Har-1965), Sword of Rhiannon (Ace, 1967), The Synthetic bor at Ellis Island, along with his brother Frederick.

Man (Also released as: The Dreaming Jewels) (Pyra-The two boys joined their older brothers Charles mid, 1965), Times Without Number (Ace, 1969), To-and August, in New York City. Alex attended pub-morrow People (Pyramid, 1962), Tournament of lic school for a time, but lack of money forced him Thorns (Ace, 1976), The Unexpected (Pyramid, 1961), to drop out in the 8th grade. He apprenticed in the The Unknown 5 (Pyramid, 1964), Venus Plus X
art studio of Fred Dahme, a friend of the Schomburg (Pyramid, 1962), Viewpoint (NESFA Press, 1977), brothers. There, Schomburg learned how to use the Wall Around the World (Pyramid, 1962), War Against airbrush and other art techniques, in exchange for the Rull, (Ace, 1972), War with the Robots (Pyramid, doing chores. As the years passed, Schomburg and his 1962), We Can Build You (DAW, 1972), Weapon Ships brothers began to find success in commercial art. By of Isher (Ace, 1969), Where Is the Bird of Fire? (Ace, the age of 18, he was a professional artist and—along 1970).

with his brothers—had opened an art studio in mid-town Manhattan where they worked on projects to-MAGAZINES ILLUSTRATED INCLUDE:

gether. Their agency was successful, having for AMZ: 1957 (2, 5, 6, 8, 9); 1958 (6, 7); 1959 (2); clients General Electric, Westinghouse, Sanka Cof-1963 (8)

fee, Great Northern Railroad, and many others.

ASF : 1958 (6, 7, 10, 11); 1959 (1, 2, 4, 7); 1960 (4, They also did window displays featured on Fifth Av-5, 6, 7, 8, 9, 10, 11, 12); 1961 (1, 2, 3, 4, 5, 6, 7, 8, 9, enue and in grand central Station. Alex and his

Schomburg

416
brother, August Schomburg (1897–1973) were the flying saucers. Highly detailed roughs typically pre-illustrators, while the other brothers, Charles and ceded the final paintings, which most often were Fred, handled the sales.

rendered using an air brush, working in watercolor By 1925 Schomburg had grown restless doing dis-

(gouache) and tempera on heavy weight illustration play art, and became interested in homemade ra-board. His interiors were done in pen and ink. He dios — the latest craze. When he found the assembly provided the endpaper illustrations for the Winston diagrams too difficult to follow, he decided to look Juvenile hardcover series as well as many of the dust up the illustrator who had produced them: Hugo jackets for the books. When in 1954 the comic book Gernsback (who was an entrepreneur in the elec-industry came under public attack for fomenting ju-tronics industry and started his career as a diagram venile crime and violence, Schomburg decided to illustrator for home-built radios). In such way was move to the West coast — choosing Spokane, Wash-Schomburg introduced to the world of science ington, to be closer to his wife’s brother. By that fiction by the man whom some credit as the “Father time Schomburg had begun producing personal fine of Modern Science Fiction”— and the man for art pieces in oil, and winning prizes for them, After whom Schomburg would work for a period of more the move, he expected to continue his commercial art than forty years.

career, as well as fine art, but discovered that illus-Schomburg’s earliest artwork for Gernsback ap-trating became much more difficult because of the peared on the November and December 1925 issues long distances involved. Also, as he later told an Ore-of The Experimenter, which was folded into Science gon Journal reporter “To tell the truth, when I moved and Invention in 1926, and Schomburg provided sev-out West … a lot of people thought I died.” (Wageral cover paintings that magazine, as well. He also ner, p. 57). In 1962, the family moved to Newberg, painted more than fifty covers for Radio Craft, also Oregon, a small town near Portland. In that same published by Gernsback. These magazines, pub-year, Schomburg was nominated for the Hugo lished before the birth of Amazing Stories, featured Award as Best Science Fiction Artist. Eventually, science fiction stories and articles on future science most of the magazines publishing SF died, and possibilities illustrated by Schomburg.

Schomburg found that there was just not that much In 1928 Schomburg married Helen Scott, and in work other than paperback covers, so in 1967 he time they had two children, Richard (b. 1932) and semi retired from the science fiction field.

Diana (b. 1942). Also in 1928, the Schomburg broth-Some years later, Schomburg returned to science ers dissolved their studio, and all went freelance.

fiction when he was assigned the production design Alex and Helen moved to the Bronx, and he took a of Stanley Kubrick’s film 2001. As art directors real-job with National Screen Service, a film company ized that a longtime professional was still available to in New York, producing black-and-white back-do artwork, more assignments began to come in, grounds for film trailers. When the Depression and Schomburg’s art was suddenly appearing again came, Schomburg’s pay was cut in half and he was on magazine covers. During his lifetime Schomburg forced to supplement his income with freelance work, won every major award for science fiction art, as well doing magazine illustrations as well as general magas comic book art. In 1978 he received the first Lens-azine art. He and his brother August were well-man Award for lifetime service to the field of sci-known pulp illustrators, doing many works of war ence fiction. In 1984 he was awarded the Frank R.

and aviation art as well as science fiction. Early in Paul Award for his work in the field, and in 1986 a his career, Schomburg often used “XELA” as a sig-compendium art book was published titled Chroma: nature (Alex spelled backwards), a practice that was The Art of Alex Schomburg with introductions by not carried into his science fiction magazine work Harlan Ellison, Stan Lee, and Kelly Freas*. “His per-of the 1950s. Schomburg did a great deal of art for sonal favorite among all of his art,” Weinberg relates Standard magazines, and until his death he remained in his biography, “was the January 1978 cover for good friends with Monroe Ettinger, who edited Analog, showing a space station with a space shut-many of the Standard pulps. He did artwork for tle arriving. This was done well before the time of the many astrology magazines of the period and also first NASA shuttle.” Weinberg concludes by quot-worked a great deal in the comic field, painting many ing from correspondence with the artist, who — in covers for Marvel Comics in the early 1940s, works 1985 — was still producing cover art for the first sci-that since have become collectors’ items. Among comic ence fiction magazine, created in 1923 by Gerns-collectors, Schomburg is considered one of the finest back: Amazing Stories. “I feel very fortunate to be of the artists from the golden age of comics.

still around to do science fiction art since most of The 1950s were Schomburg’s most prolific period the small group that dominated that field in the as a science fiction illustrator, a time when he be-1950s are now gone. Friends like Frank R. Paul*, came known for his colorful space scenes, space sta-Earle Bergey*, Virgil Finlay* and Hugo Gernsback.

tions, spaceships, and — during the UFO craze —

Guess I am one of the last.” (Aug 5, 1977)

417

Schulz

Schomburg was honored with a Special Hugo Trouble on Titan ( John C. Winston Company, Award for Lifetime Achievement, in 1989 (accepted 1954), Vandals of the Void ( John C. Winston Comfor him at the awards ceremony by his granddaugh-pany, 1953), Well of the Worlds (Ace, 1965), The ter Susan Schomburg). He was inducted posthu-World at Bay ( John C. Winston Company, 1954).

mously into the Eisner Award Hall of Fame at the MAGAZINES ILLUSTRATED INCLUDE:

1999 Comic-Con International. Schomburg died in AMZ: 1960 (10, 12); 1961 (2, 5, 9, 10, 11); 1962 (2, a nursing home in Beaverton, Oregon, just short of 6, 8, 12); 1963 (11); 1964 (1, 2, 4, 6, 11); 1965 (8) his 93rd birthday. His wife, Helen, and daughter, ASF : 1978 (1)

Diana passed away in 1985, and 1988 respectively. He CSF : 1977 (9)

was survived by his son, Richard and family who DYN: 1953 (8, 11)

have established the Alex Schomburg estate to preF&SF: 1953 (1); 1977 (3); 1978 (8); 1979 (6); 1980
serve his artistic legacy.

(4); 1981 (1)

Sources: Official Estate of Alex Schomburg, website at www.alexschomburg.com; DiFate, Vincent. Infinite Worlds: FTC: 1960 (11); 1961 (1, 3, 6, 9, 10); 1963 (11) The Fantastic Visions of Science Fiction Art (Wonderland FSQ: 1951 (summer, fall); 1952 (spring, summer, Press/Penguin, 1997); Wagner, Amy. “The Fantastic Art of September, November); 1953 (1, 3, 5, 7, 9); 1954

Alex Schomburg” in: Illustration, Vol. 4, #15 (spring); Wein-

(spring); 1955 (winter, spring)

berg, 1988

FU: 1953 (6, 10); 1954 (7, 9, 11, 12); 1955 (1, 2, 3) Collections and Anthologies

FUT: 1953 (11); 1954 (1, 3)

(various contributing artists)

GXY: 1953 (4)

Aldiss, Brian. Science Fiction Art (Bounty, 1975), IASFA: 1978 (fall)

Di Fate, Vincent. Infinite Worlds: The Fantastic Vi-IASFM: 1977 (fall, winter); 1978 (3, 5, 7, 9, 11); sions of Science Fiction Art (Penguin, 1997), Frank, 1979 (1, 3, 5, 6, 7, 8, 11, 12); 1980 (1, 2, 4, 6, 7, 9, 10); Jane and Howard. The Frank Collection: A Showcase 1981 (1, 2, 4, 6, 8, 10, 12); 1982 (1) of the World’s Finest Fantastic Art (Paper Tiger, 1999), RS: 1953 (7)

Frank, Jane and Howard. Great Fantasy Themes from SAT: 1957 (2, 6, 10); 1958 (2, 10); 1959 (2) the Frank Collection (Paper Tiger, 2003), Grant, SF : 1953 (1)

John and Humphrey, Elizabeth with Scoville, SF+: 1953 (3, 4, 6)

Pamela. The Chesley Awards: A Retrospective (AAPL, SFA: 1953 (7, 12)

2003), Gustafson, Jon. Chroma: The Art of Alex SFQ: 1954 (5)

Schomburg (Father Tree Press, 1986), Miller, Ron.

SpS: 1952 (10); 1953 (2, 4, 6)

Starlog Photo Guidebook to Space Art (Profile EnterSS: 1939 (5); 1940 (3, 9); 1943 (1); 1951 (7, 11); tainment, 1978).

1952 (4, 5, 6, 7, 8, 9, 10, 11, 12); 1953 (1, 2, 3, 4, 5, 10); 1954 (1, spring, fall); 1955 (summer, fall) Published Work

StrS: 1939 (2, 4, 6); 1940 (4, 8)

BOOKS ILLUSTRATED INCLUDE: Best of Analog/As-TWS: 1938 (4, 8, 10, 12); 1939 (2, 6, 8); 1940 (2, tounding (Baronet, 1978), Challenge of the Sea (Holt, 4, 5, 11); 1941 (2); 1942 (4); 1944 (fall); 1951 (6, 8, 10); Rinehart & Winston, 1960), Danger, Dinosaurs 1952 (4, 6, 8, 10, 12); 1953 (2, 4, 6, 8); 1954 (spring, ( John C. Winston Company, 1953), Earth’s Last summer, fall); 1955 (winter)

Citadel (Ace, 1964), Exile of Time (Ace, 1964), Is-UNC: 1941 (4)

lands in the Sky ( John C. Winston Company, 1952), WSA: 1951, 1952, 1953

Judgment on Janus (Ace, 1964), Lord of Thunder (Ace, 1963), The Lost Planet ( John C. Winston Company, 1956), Missing Men of Saturn ( John C. Winston Schulz, Robert Emil

Company, 1953), Mission to the Moon (Holt, Rine-

(April 22, 1928–April, 1978) American artist.

hart & Winston, 1956), Mists of Dawn ( John C.

“Bob” Schulz was one of the early paperback artists Winston Company, 1952), Mystery of the Third whose work on the science fiction paperbacks of the Mine ( John C. Winston Company, 1953), The Mys-1950s was extremely influential on the changing na-terious Planet ( John C. Winston Company, 1953), ture of science fiction as well as the science fiction art Planet of Light ( John C. Winston Company, 1953), field. Along with Stanley Meltzoff* and Richard Rocket Jockey ( John C. Winston Company, 1952), Powers*, Schulz’s work helped gain acceptance of Rocket to Luna ( John C. Winston Company, 1953), science fiction through art as something more than Rockets to Nowhere ( John C. Winston Company, pulp literature. Almost unknown to fans within the 1954), Secret of the Martian Moons ( John C. Winston science fiction community when he was alive, he is Company, 1955), Secret of Saturn’s Rings ( John C.

recognized belatedly today for being among the first Winston Company, 1954), Son of the Stars ( John C.

artists to specialize in science fiction paperback art, Winston Company, 1952), Step to the Stars ( John C.

and establish the style of naturalistic realism that Winston Company, 1954), Time Axis (Ace, 1965), came to be associated with paperbacks in that genre.

Schwinger

418

Born in Cliffside Park, New Jersey, Schulz was ings, each of which was a commentary on science confined to bed for several years because of a serious and the importance of man in the universe. Accord-childhood illness. His parents encouraged him to ing to Schreuders, “He had completed three of these draw and paint, and he devoted himself to an artis-pictures when, three days after his fiftieth birthday, tic career. He earned a degree in architecture at he died of a heart attack.” (p. 223). As Weinberg Princeton University in 1950, where he studied noted, “Schulz brought to science fiction a strong under Joe Brown and Alden Wicks. He served as art sense of style and an attention to detail that was editor of The Princeton Tiger while attending school.

often missing in most pulp-style art.” A meticulous During the summer Schulz also attended the Art realist, Schulz’s characters and machinery looked Students League where he met Frank Reilly. He futuristic but also believable. “”His paintings were studied with Reilly from 1948 through 1952 and later well executed (and) while strictly science fiction, helped teach with Reilly at the League. He became they seemed respectable, especially when compared a renowned art educator in his own right, and taught to most science fiction art being published during at the Art Students League for much of his life. Also the early 1950s. His work helped bring a feeling of studying with Reilly were a number of other artists maturity to the young science fiction paperback who made their mark in paperback illustration, field.” (Weinberg, 1988) A memorial exhibition of among them Jack Faragasso*, who illustrated several his art was held at Grand Central Art Galleries in early science fiction paperback covers.

1979.

Schulz began his career as an illustrator in the Sources: DiFate, Vincent. Infinite Worlds: The Fantastic early 1950s. A series of contests organized by Sol Im-Visions of Science Fiction Art (Wonderland Press, 1997), Schreuders, Piet. Paperbacks, USA: A Graphic History, merman, art director at Pocket Books, for Reilly’s 1939–1959 (Blue Dolphin, 1981), Weinberg, 1988.

students at the ASL led to his being hired as a professional cover artist and Pocket Books became one Published Work
of Schulz’s most active clients. Best known for illus-Caves of Steel (55), Chocky (Ballantine, 1968), trations for “men’s” magazines, like Adventure and Dreadful Sanctuary (Lancer, 1963), A Martian Man’s Magazine, and book illustrations for Pocket, Odyssey (Lancer, 1962), Operation Future (Perma, Signet, Dell, and Bantam, Schulz was successful in 1955), Operation Outer Space (NAL/Signet, 1957), a variety of genres, including mysteries, westerns, The Sands of Mars (Perma, 1959), Sentinels from Space and science fiction (Arthur C Clarke, Isaac Asimov, (Ace, 1954), Space Frontiers (Signet, 1955), Space Tug Phillip K Dick, Andre Norton). He met and married (Pocket, 1954), Sword of Rhiannon (Ace, 1953), The his wife, Evelyn, during this period and moved to Tomorrow People (Pyramid, 1960), World of Null-A Stockholm, New Jersey where they raised three boys.

(Ace, 1953).

Schulz used his friends and neighbors as models for his paintings, and his wife did any needed research.

Schwinger, Laurence (Larry)

In 1955, one of Schulz’s cover paintings for Pocket (b. August 31, 1941) American artist. Schwinger reBooks, Ride the Dark Hills, was included in an ex-ceived a BFA in 1968 from Philadelphia College of hibition sponsored by Columbia University’s School Art, majoring in Illustration, and an MFA in Illus-of Library Service, titled “The Evolution of Amer-tration from Marywood University in Pennsylvania ican Publishing in Paperbacks,” which traveled to in 2004. His first professional job was not as a pho-other libraries throughout the country. Schulz con-tographer (his first love) but rather as a court artist tinued to produce paperback covers for the next in New York City, sketching courtroom scenes for fifteen years, including the cover art for the first mass TV and other media news coverage. A chance meet-market paperback printing of Asimov’s famous novel ing with the Art Director at Doubleday resulted in I, Robot. He painted many western covers, including a long-term relationship with that publisher and a series of Zane Grey illustrations, for a reissue of others, most important among them, Ballantine that author’s works by Pocket Books, which received Books. His first job at Ballantine was for the Lorimer a great deal of attention. Gradually, Schulz became line of romance novels, in 1979, followed two well-known as a realistic artist of the Old West, and months later by his first “fantasy” assignment: a ro-by the late 1960s his success enabled him to concen-mance with fantasy overtones, Silver, Jewels and Jade.

trate more on commissions for historical paintings He then signed a contract with Del Rey, at a time and portraits. He worked in acrylic, gouache and when Judy Del Rey was dynamically building a tal-oil.

ented stable of artists for Ballantine’s science fiction In late 1977 Schulz embarked on a project that and fantasy line, with artists such as Darrel K. Sweet*
he hoped would win him recognition as a major and Michael Whelan*. From 1979 through 1985

American artist. He devoted himself exclusively to Schwinger was under exclusive contract to Ballan-working on a series of paintings called “Man’s Place tine/Del Rey where he was paid monthly for a year’s in Nature,” which featured stunning, large paint-worth of covers (about 20). Since it was not neces-

419

Scott
sary for him to bill the publisher, like some other professor. They have two children, Andrew and Ca-artists similarly employed by this publisher, at the dence.

time he did not keep records of titles, but only how Sources: correspondence from the artist June, 2005; many covers he painted for them — which makes an McWhorter, George. “Larry Schwinger, Ballantine Cover Artist” Burroughs Bulletin #11, July 1992, pp. 19–20.

accurate bibliography of his published works difficult to produce.

Published Work

As a freelance illustrator Schwinger is one of the BOOKS ILLUSTRATED INCLUDE: Apprentice Adept: most respected cover artists in the paperback field.

# 3: Juxtaposition (Ballantine/Del Rey, 1984), Bel-Prolific, and versatile, he estimates he has painted at garath the Sorcerer (Ballantine/Del Rey 1995), Belgar-least 1000 book cover illustrations for romances, ad-iad # 1: Pawn of Prophecy, #2 Queen of Sorcery, #3
venture, mysteries and more, for publishers such as Magician’s Gambit, #4 Castle of Wizardry, #5 En-Random House, Fawcett, Ballantine, Putnam, Gros-chanters’ End Game (Ballantine/Del Rey, 1982, 1983, set and Dunlap, Harlequin, Avon, Dell, Doubleday, 1984, 1985), Bloodmist (Baen, 1988), The Byworlder Harper and Collins, Crown. He has produced work (Baen, 1993), Dracula (Putnam/Grosset & Dunlap, for a wide variety of mainstream magazines, among 1994), Dread Companion (Del Rey, 1984), The Eli-them Cosmopolitan, Readers Digest, Guidepost, Pent-dor series: #1 Elidor, #2 The Owl Service, #3 The house, Woman’s’ World, National Lampoon, Literary Weirdstone of Brisingamen, #4 The Moon of Gomrath Guild. Schwinger also has worked in advertising (Ballantine/Del Rey, 1981), (Ballantine, 1981), (winning a “Cleo” for poster design), for clients such Flandry (Baen, 1993), Fogg y Mountain Breakdown as the Broadway Theatre, Radio City Music Hall, and Other Stories (Ballantine, 1997), Frankenstein Resorts International, Hemsley Hotels, Ringling (Putnam/Grosset & Dunlap, 1993), Ghostly Tales Brothers Barnum and Bailey, Thomas Lipton Corp., and Eerie Poems of Edgar Allan Poe (Putnam/Gros-Blue Cross Blue Shield of NJ, New York Yankees, set & Dunlap, 1993), Gryphon in Glory (Ballantine, ABC-TV, and Revlon. Additionally, he has created 1981), Honor Harrington: On Basilisk Station, Honor the art for postage stamps for Uganda, Liberia, An-of the Queen, The Short Victorious War (Baen, 1993, tigua, Grenada, Republic of Congo, and the United 1994), The House Between the Worlds (Ballantine, Nations.

1981), Huon of the Horn (Ballantine, 1987), The Jar-Schwinger’s representational style, which can be goon Pard (Ballantine, 1983), Khyren (Baen, 1988), moody and psychologically evocative, is well suited Kindred (Doubleday, 1979), The Labyrinth Gate to “dark” mysteries, literary classics and fantasy nov-

(Baen Books, 1988), Mage Quest (Baen, 1993), Mem-els. Among his notable commissions were the series noch the Devil (Ballantine, 1996), The Moon Maid, of reprints of Cornell Woolrich’s mystery novels The Moon Men (Ballantine/Del Rey, 1992), Night of published by Ballantine in the 1980s, and the cover Masks (Ballantine/Del Rey, 1985), No Night Without and interior illustrations he produced for Typhoid Stars (Ballantine/Del Rey, 1985), The People of the Mary (Ballantine, 1983). In the 1990s Schwinger cre-Wind (Baen, 1993), Polgara: The Sorceress (Ballan-ated outstanding cover art and interior illustrations tine/Del Rey, 1997), Red Shift (Ballantine/Del Rey, for a series of hardback reprints of classical works 1981), The Ring of Allaire (Ballantine/Del Rey, 1982), published by Grosset-Dunlap: Edgar Allan Poe Star Gate (Del Rey, 1983), Star Guard (Del Rey, (1993), Frankenstein (1993), and Dracula (1994), and 1984), Stars Must Wait (Baen, 1990), The Sword of also produced illustrations for Edgar Rice Burroughs Bheleu (Ballantine/Del Rey, 1983), A Tapestry of reprints for Ballantine/Del Rey (1992), Moon Maid Magics (Del Rey/ Ballantine, 1983), Times Dark and Moon Men. The artist and his paintings were Laughter (Ballantine, 1982), The Unlikely Ones subsequently featured in McWhorter’s Burroughs (Baen, 1987), Victory on Janus (Ballantine/Del Rey, Bulletins: #11, The Moon Men (back cover, July 1984), Ware Hawk (Ballantine, 1984), The Wizard 1992), and #23, Jungle Tales of Tarzan (front cover, and the Warlord (Ballantine/Del Rey, 1983), The July 1995). Schwinger paints mostly in oil on illus-Wizardry Compiled (Baen, 1990), The X Factor (Bal-tration board or canvas board, but has also worked lantine, 1984).

in watercolor and gouache. When he signs his work, it is as “L. Schwinger.” His work has been shown at Scott, Harold Winfield
the Society of Illustrators and is included in many ( January 14, 1897–November 16, 1977) Ameri-personal collections.

can artist. H. W. Scott, as he was known professionA good deal of Schwinger’s professional career has ally, was another of the great cover artists in the sta-been spent beyond the world of freelance assign-ble of Street & Smith publishers that included ments, and for many years has taught art at various William Timmins*, Graves Gladney*, Emery Clark institutions, most currently, The Art Institute of and Hubert Rogers*. He was born in Danbury, Con-Philadelphia. Schwinger’s brother, Robert, is also necticut and spent his childhood in Montana and an artist, and his wife, Marie Wilson, is a college other areas in the West with his father who was in the

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horse business. After his father died, Scott moved was his native language. He immigrated to the back east to Brooklyn where his mother owned an United States with his family in 1880, arriving in automobile service facility. There Scott learned a New York at the age of seven. Nothing is known of mechanic’s trade and the age of 14 met the pianist, his childhood or early education. However, by 1896

Leopold Wolfson who encouraged Scott’s mother to

“C. C. Senf ” was a working illustrator living in let her son learn to play the piano. Scott served in Chicago, Illinois and had joined The Palette and World War I as a mechanic/test pilot, but a crash Chisel Club, an association of professional represen-that shattered his arm put an end to his promising tational artists founded in that city in 1895, two career as a pianist, and he turned to studying art.

thirds of whose members were students at the Art A graduate of the Pratt Institute, in 1923, Scott Institute of Chicago night school. At some point he was a contemporary of Walter Baumhofer and married a German woman, Harriet (“Huttie”), and Rudolph Belarski*. Scott’s early experiences un-had two daughters, Ruth and Evelyn, born soon after doubtedly served him well, as he became known the turn of the century.

mainly for his western pulp covers for Street & Senf began illustrating for Weird Tales magazine Smith magazines like Western Story and Wild West in 1927. During the next five years, until early 1932, Weekly. He also illustrated for mainstream maga-he contributed forty-five cover paintings and sev-zines of all sorts, including Liberty, Colliers and Red eral hundred black-and-white illustrations to that Book. In 1939, he began working on Street & Smith’s publication. When he left the pulps, he returned to popular magazine The Avenger. He did the covers commercial illustration and was a highly regarded for the first fourteen of the eventually published advertising artist until his death in 1948.

twenty-four issues, and his are considered by many As Weinberg has commented, “Senf was a com-to be the best of the series run.

petent craftsman and was technically able, thus a Like many Pratt graduates, he returned to teach great improvement over Andrew Brosnatch* and at Pratt, and was a faculty member for nine years. He other early illustrators for Weird Tales. However, he steered a number of artists to the pulps as a source was much more comfortable painting normal peo-of income during the later years of the Depression.

ple than degenerate humans or unmentionable hor-Edd Cartier* was one of those students. Scott was rors.” (1988) Many of Senf ’s characters were stiff friends with John Fleming Gould*, who also taught and essentially expressionless, although the scenes at Pratt during the same period. Scott’s main im-may have been painted in lurid colors. As Weinberg portance to the science fiction art field was as a major noted of Senf, and which remains the case for many influence on new artists, although he also produced illustrators working in the fantasy genre, he did not several excellent fantasy paintings for Street & read the stories he illustrated. It was common prac-Smith’s Unknown.

tice for many magazine illustrators “to simply open A hard working and energetic painter, at the time to a page of the manuscript and pick a description of his death it was estimated that he had painted or paragraph that sounded worthwhile.” This more than 2,200 magazine covers, more than 600
method may work for detective or western stories, illustrations for various magazines, and 10,000 black but not for weird fiction. Many artists who found and white sketches. In 1974, still painting and going employment working for pulps were not fans of fan-strong, Scott was working on a series of satiri-tasy fiction, and their ignorance of the genre was cal paintings he called, “The New Society.” Scott often evident in their art. For Senf, there were some passed away in November of 1977 at the age of 78 at notable examples. Weinberg cites two in the second his home of almost fifty years on Hardscrabble Road edition of his Reader’s Guide to the Cthulhu Mythos in Croton Falls, New York. He was married to Eliz-

(Silver Salamander Press, 1973): In 1931 Senf did the abeth Scott, and had two sons, Harold W. Jr. and art for the serial The Horror from the Hills by Frank Harvey.

Belknap Long. Seeing a line mentioning that the Sources: DiFate, Vincent. Infinite Worlds: The Fantastic creature in “The Horror from the Hills” vaguely reVisions of Science Fiction Art. (Wonderland Press/Penguin, sembled an elephant, Senf drew an elephant instead 1997); Weinberg, 1988; www.askart.com; Kalb, Dave. Authors & Artists, H.W.Scott at http://members.aol.com.mac-of a monster for his two illustrations of the serial.

murdie2/biographies/scott.html [accessed April 2007]; Even worse was his picture for “The Whisperer in Darkness” by HP Lovecraft, which revealed the Published Work
story’s surprise ending.” Not surprisingly, Weinberg UK: 1939 (3, 5, 6, 7, 9); 1940 (1)

notes, among Weird Tales contributors, Senf was known as the “Master Assassin.”

Senf, Curtis Charles

Sources: www.paletteandchisel.org and en.wikipedia.

( July 30, 1873–1948) American artist. A success-org/wiki/Palette_and_Chisel_Academy_of_Fine_Art; Ancestry.com. 1910 United States Federal Census; 1920 United States ful commercial artist, and early illustrator for Weird Federal Census; 1930 United States Federal Census; World Tales, Senf was born in Alsace-Lorraine, and German War I Draft Registration Cards, 1917–1918; New York Passen-

421

Shapero
ger Lists, 1820–1957 [database on-line]. Provo, UT, USA: The In New York, Sewell studied at the Art Students’

Generations Network, Inc., 2005, 2006; Weinberg, 1988; League and the Grand Central School of Art part Published Work
time and at night, and produced black-and-white WT: 1927 (3, 4, 5, 6, 7, 9, 10, 11); 1928 (1, 2, 3, 4, dry-brush illustrations for pulp magazines — prima-5, 6, 7, 8, 9, 10, 11); 1929 (1, 3, 4, 5, 7, 8, 9, 10, 11); rily for Popular Publications. While Howitt was 1930 (1, 3, 4, 5, 7, 8, 9, 10, 11); 1931 (1, 2, 4, 6, 8, 9, renowned for the cover art, Sewell was responsible 10, 11, 12); 1932 (1, 2, 3, 4, 5, 6, 7) for the interior illustrations, and did nearly all the B/W art for magazines such as Horror Stories, Terror Settles, James B.

Tales, and Dime Mystery. He and Howitt made a (April 19, 1902–May 31, 1957) American artist.

good team: Sewell’s innocent and terrified women, James Bowles Settles was born in Palmyra, Missouri, tall and handsome heroes, monsters and deformed and entered Washington University at St. Louis as a villains all perfectly matched the horrors that Howitt member of the class of 1923. He was an active mem-depicted on the covers of the same magazines.

ber of the Sigma Nu fraternity, and an early initiate In 1937 Sewell landed a job with Country Gen-into the Gamma Omicron chapter (1919), to which tleman and soon left the pulps for better paying mar-he later donated a painting “The Founding” in 1935.

kets. He worked for the Saturday Evening Post and He was a freelance artist, part of the Ziff-Davis art became one of their most popular cover artists. In staff in Chicago for several years, beginning in the contrast to his earlier success in pulp horror art, early 1940s. As a cover artist he produced a number Sewell became known for specializing in homespun, of back covers for Amazing and Fantastic Adventures, rural subjects, including the frontier. In addition to as well as interior black-and-white illustrations for his work for magazines, he created illustrations for these and other pulp magazines in the chain, such as many textbooks, and is known for his posters dur-Fate and Mammoth Adventure. He was especially ing World War II for the Government’s War Man-good in depicting unusual machinery and stream-power Commission Project. During these years lined futuristic “airboats” with a post-war art mod-Sewell’s income apparently afforded him the luxury erne look.

of continuing to pursue his “wanderlust”; he made Sources: telephone and e-mail communication from Sigma trips abroad to England, Ireland and France, accom-Nu Fraternity Inc. headquarters, Lexington VA March, 2007; panied by his wife, Ruth, in 1938, 1948, 1951. Sewell Ancestry.com. 1910 United States Federal Census [database was a member of the Society of Illustrators (NY), on-line]. Provo, UT, USA: The Generations Network, Inc., 2006; Weinberg, 1988
the Guild Freelance Artists, the Westport Artists and winner of numerous awards from the Art Directors Published Work

Club of New York. Sewell lived for many years in AMZ: 1942 (5, 6, 7, 8, 9, 10, 11, 12); 1943 (1, 3, 7, Westport Connecticut, and died there at the age of 9, 11); 1944 (3, 5, 12); 1946 (2, 5, 6, 7, 8); 1947 (11); 82, survived by his wife of many years, Ruth Allen 1948 (1, 2, 3, 4, 5, 7, 10); 1950 (12); 1951 (4); 1952 (BR

Sewell (1992–1991).

(3), 1966 (6, 8)

Sources: Ancestry.com. 1930 United States Federal Cen-ASF : 1938 (5)

sus; New York Passenger Lists, 1820–1957; Connecticut De-FA: 1944 (2); 1945 (1, 4,); 1946 (11); 1947 (11, 12); partment of Health. Connecticut Death Index, 1949–2001; Maine Death Index, 1960–1997 [database on-line]. Provo, 1948 (2, 4, 5); 1949 (6, 7); 1950 (11) UT, USA: The Generations Network, Inc., 2002, 2006, [ac-FTC: 1966 (1)

cessed April 2007]; Falk, Peter, “Who Was Who in American OW: 1951 (1, 9)

Art” Falk Art Reference, 1999 online at www.askart.com; Weinberg, 1988.

Sewell, Amos F.

( June 7, 1901–October 30, 1983) American artist.

Shapero, Hannah M. G. (Michael

A well known and prolific illustrator, Sewell was Gale)

born in San Francisco, California Sewell was a pop-

(b. June 25, 1953) American Artist. The daugh-ular and prolific illustrator who — along with John ter of well-known Boston fine artist Esther Geller Newton Howitt*— dominated the pages of Popular and classical music composer Harold Shapero, the Publications weird horror magazines of the 1930s.

artist credits this heritage for influencing her career He worked in a San Francisco bank as a clerk while choices. Shapero was born in Boston, Massachusetts studying nights at the California School of Fine Arts.

and grew up in the Boston area and Rome, Italy. She In 1930 Sewell decided to try his luck as an illustra-originally wanted to be a professor of the classics and tor on the East Coast. Having no funds, he moved received a BA from Brandeis University, and MA in to New York City by working on a lumber boat Greek and Latin from Harvard, but found that the going east via the Panama Canal, then working his academic world was not what she wanted. In 1978
way north again from San Juan, Puerto Rico by Shapero left academia for an art career, and in 1981
being employed as a Purser on a passenger ship.

she became a professional artist. She studied art at the

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Boston University art school but most of her train-Sources: www.pyracantha.com; e-mail from the artist ing has been with private teachers, especially her April/May, 2005.

mother.

Published Work

Early influences on her work were the nineteenth-BOOKS ILLUSTRATED INCLUDE: Awakening the Life century illustrators H.J. Ford and Arthur Rackham*

Force (Llewellyn Publications, 1994), Baptism of Fire and the Pre–Raphaelite painters. During Shapero’s (Minerva Center, 1993), City of a Million Legends science fiction illustration period her strongest (Wildside Press, 2003), Codex Derynianus (Under-influences were the work of Paul Alexander* and wood, 1998), Dominion of the Ghosts (Obelesk, Vincent di Fate*. Shapero produced several pieces 1996), Dreams of an Unseen Planet (Arbor House, for Marion Zimmer Bradley’s Darkover series during 1986), Hawkmistress (DAW, 1982), Home Sweet the 1980s, gaining recognition as the unofficial Dark-Home 2010 (Dell, 1984), The Monitors (Tor, 1984), over artist. In 1984–1985 Shapero took courses in Sharra’s Exile (DAW, 1981), Sword of Chaos (DAW, architectural drawing at Harvard’s Graduate School 1982), Thendara House (DAW 1983), The Man in of Design and her art began to have an architectural the High Castle (Gregg Press, 1979), Molt Brother focus. When Shapero moved from Boston to the (Wildside Press, 2003), Never Cross a Palm with Sil-Washington, DC area in 1988, she became an archiver (Belfry, 1997), Worthy Foes (Obelesk, 1996), Zu-tectural illustrator for a firm that specialized in real ralia Dreaming (Creative Arts, 2001).

estate advertising art. She returned to freelance commercial illustration in 1990, taking commissions in MAGAZINES ILLUSTRATED INCLUDE:

the SF genre augmented by many private commis-AMZ: 1991 (7, 8, 11); 1992 (2, 5); 1993 (11) sions. She continued to do architectural rendering for MZB: 1988 (Autumn/#2); 1991 (Fall/#14); 1992
the luxury real estate market, commissioned by (Fall/#17); 1994 (Spring/#23); 1995 (Winter/#26); high-end homebuilders.

1997 (Summer/#36); 1999 (Summer/#44); 2000

Shapero’s favorite medium is acrylic, but she also (Autumn/#49, #50)

uses ink and watercolor, and for her portraits, col-VB TECH Magazine: 1995 (1, 3, 6); 1996 (1) ored pencils. She has begun to render images on computer, but not on a large scale. She signs her Shaw, Barclay
fantasy works with a distinctive star-shaped design (b. October 12, 1949) American artist. Born in which incorporates the letters of her first name; she Bronxville, New York, Shaw attended Trinity Col-credits the unique logo to the famed composer Igor lege in Hartford CT, graduating with a BA in Phi-Stravinsky, who was a friend of the family. When losophy of Religion in 1972. He worked for New she was born, her father sent word to Stravinsky, York sculptor Joseph MacDonnell, and as a wood-who was then living in California. A couple of worker for the Charles Webb Furniture Co. before months later, he sent back a postcard with the logo returning to school in 1977, attending The New En-design on it, with his congratulations — and this be-gland School for Art & Design in Boston for a year came her artistic signature.

of traditional art studies. It was there that he stud-In the 1990s Shapero moved away from illustratied under Bob Stewart, who pointed him toward the ing books and magazines to focus on large architec-field of Science Fiction and Fantasy illustration.

tural fantasy pieces as well as what she calls “fu-Shaw began doing SF illustrations while working turikons” or modernist religious art. Shapero has part time for an ad agency and freelance photore-long been a scholar and writer, immersing herself in toucher, beginning with off-beat pro- and semi-pro religious studies, especially of the ancient Persian re-magazines such as Future Life, Cinefantastique and ligion Zoroastrianism, as well as Byzantine Chris-Galileo, in 1978–1980. His first publication in the tianity. She has written several articles on these top-SF genre was the cover for the March 1979 issue of ics for magazines, and often blends these topics with Fantasy & Science Fiction magazine. In 1980 he her interests in futurism and modern science (math-moved to New York, where he first met SF author ematics and physics), attempting to reconcile religion Harlan Ellison and began receiving assignments and science in art.. The architectural fantasies form from several SF publishers. He caught Ellison’s eye, a series known as the “Cities of the Imaginal World,”

and Ellison chose Shaw for a major series of Ellison’s comprising City of Dreams (1993), City of Light reprints by Ace books, a series of 16 books that (1995), Domes of Fire (1998), and City of Amber helped establish Shaw as one of the best of the new (1999). These were reproduced in limited edition generation of SF artists of the late 1970s. He was prints, and three of the pictures (excluding Domes) nominated for the Hugo Award in both 1983 and have been used as cover art for small press fantasy 1984, and has since received multiple Chesley titles. In 1999, Shapero began writing and illustrat-Awards, including one for his wood sculpture “Won-ing a graphic novel The Flaming Ramparts, based on derland,” 1996. Notable works include cover arther original imaginary world and characters.

work for authors Isaac Asimov, Ray Bradbury, Edgar

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Shaw

Rice Burroughs, Philip K. Dick, Harlan Ellison, from publishing to creating illustration, and more Alan Dean Foster, Robert Heinlein, Larry Niven, specifically 3D animation, for DARPA and other Frederick Pohl, Eric Frank Russell, Clifford Simak, defense-related concerns: “From my perspective, and A. E. Van Vogt.

working for DARPA is no different than doing tra-Shaw’s paintings, although highly realistic in ex-ditional SF illustration. It has the same intellectual ecution, are impressionistic in effect — he aims to challenges and rewards, except now I am in the create a specific “mood” or “effect” rather than illus-unique position to actually assist in shaping the fu-trate specific scenes, and he is especially talented in ture.”

portraying heroic adventures. For influences, Shaw Shaw married Kathleen Lake in 1983 and they lists van Eyck, Bosch, Durer, Waterhouse, Rodin, have two sons, Clay and Harrison. All currently re-Parrish, H. R. Giger*, and Rick Griffin as well as side in Cape Cod, Massachusetts.

styles such as the Vienna School of Fantastic Real-Sources: e-mail from the artist August 2005; www.bar-ism, photorealism, pop art and surrealism. Several clayshaw.com; Alan Dean Foster “Living Space” artist feature.

Science Fiction Age, January 1997; www.imagenetion.com/
works show the influence of his earlier career in index.html www.artie.com/cm/art/artists/barclayshaw/shaw-sculpture, having a 3-dimensional quality and per-portfolio.html
spective (e.g., his Tarzan series for Del Rey). He writes, “I prefer to illustrate the feel of a story, rather Collections and Anthologies
than a specific scene. Although I like a lot of action-

(various contributing artists)

oriented narrative illustrations, I am drawn to those Di Fate, Vincent: Infinite Worlds: The Fantastic covers that capture a mood or feeling in a strong, Visions of Science Fiction Art (Wonderland Press/Pen-simple way—without a lot of clutter. For something guin, 1997); Electric Dreams: The Art of Barclay Shaw as small as a book jacket, a single strong element is (Paper Tiger, 1995), Frank, Jane and Howard. The often more effective than an involved scene and can Frank Collection: A Showcase of the World’s Finest capture the gestalt of an entire book rather than a Fantastic Art (Paper Tiger, 1999), Frank, Jane and description of a part of it.”

Howard. Great Fantasy Art Themes from the Frank Shaw has worked for virtually every major U.S.

Collection (Paper Tiger, 2003), Grant, John and publishing house over the course of his freelance ca-Humphrey, Elizabeth with Scoville, Pamela. The reer. Although the majority of Shaw’s artwork cen-Chesley Awards: A Retrospective (AAPL, 2003).

ters on science fiction and fantasy themes, his work covers an extremely broad range of subject matter Published Work
and use of materials: from painting (mainly acrylics BOOKS ILLUSTRATED INCLUDE: Agent of Byzan-on canvas) and sculpture (wood, bronze, alternative tium (Baen, 1993), Agents of Insight (Tor, 1985), Al-media) to computer generated imagery and 3D an-ternate Asimovs (Doubleday, 1985), Alternate imation. His early, active interest in animation and Kennedys, Alternate Presidents (Tor, 1991), Alternate music production made him uniquely qualified for Warriors (Tor, 1992), Approaching Oblivion (Blue the emerging medium of 3D computer art, and in Jay, 1984), Ariel (Ace Books, 1983), Ascendencies the mid–1990s Shaw made the transition from tra-

(Berkley/Ace, 1984), The Beacon (Penguin, 1996), ditional to digital media. His art studio includes a full Beast That Shouted Love At The Heart Of The World computer graphics system, complete with a digital (Ace, 1983), Best of John Brunner (Ballantine, 1988), recording and MIDI synthesizer setup.

Best of E. F. Russell (Ballantine, 1985), Black Magi-At the same time the publishing industry was uncian (Ballantine, 1985), Black Trump (Baen, 1994), dergoing a change in response to market conditions, Bradbury Chronicles (Phantasia Press, 1991), A Call to and marketing departments became involved in art Arms (Ballantine, 1990), Cardsharks (Baen, 1994), direction — stripping much of the creativity from Cat’s Eyes (NAL, 1982), Cat’s Gambit (Ballantine, the cover creation process, in Shaw’s view. However, 1989), Cat’s Pawn (Ballantine, 1986), Clans of the Al-in a fortuitous turn of events similar to that of Elli-phane Moon (Blue Jay, 1983), Corpseman (Ballantine, son’s timely intervention, Shaw says, Howard Frank, 1987), The Creep (Simon & Schuster, 1985), Cross-a major SF art collector (who owned most of Shaw’s Time Engineer (Ballantine, 1988), Deadly Streets (Ace, better works) and was Director of the Information 1983), Deathbird STories (Ace, 1983), Divergence Technology Office of The Defense Advanced Re-

(Ballantine, 1990), Doomstalker (Warner, 1984), Door search Projects Agency (DARPA) at the time, Into Summer (Ballantine, 1985), Double Star (Bal-brought Shaw on to illustrate the futuristic visions lantine, 1986), Downtiming the Night Side (Baen, of his Office Program Managers. For Shaw, the op-1992), Dr. Adder (Blue Jay, 1983), Dragons of North portunity to illustrate future technologies was a re-Chittendon (Simon & Schuster, 1986), Dr. Blood-turn to the extraordinary creative freedom of SF il-money (Blue Jay, 1984), Dreams of Dawn (Ballantine, lustration in the 1980s, but now working in an arena 1988), Ellison Wonderland (Blue Jay, 1984), Empire of where SF and reality converge. Shaw transitioned the Atom (Macmillan 1992), End of Eternity (Ballan-

Sime

424
tine, 1984), Eurydice: Meganomes (Ballantine, 1989), Ape Man, The Beasts of Tarzan, The Return of Tarzan, Event Horizon (Ballantine, 1990), Eye of the Sun (Ace, Jungle Tails of Tarzan, Tarzan and the Jewels of Opar, 1987), The False Mirror (Ballantine, 1991), F Cubed Son of Tarzan (Ballantine, 1989, 1990), Technicolor (Ballantine, 1986), Flying Saucers (Ballantine, 1986), Time Machine (Tor, 1980), Tenth Class (Ballantine, Forest of the Night (Ballantine, 1986), Forever Drug 1990), Texas on the Rocks, Texas Triumphant (Ballan-

(Ace, 1994), Formigans (Ballantine, 1986), Full Spec-tine, 1985, 1987), Corpseman (Ballantine, 1988), The trum III (Bantam, 1990), Gentleman Junkie (Ace Time Machine (Ballantine, 1985), Time Out of Joint Books, 1982), Glass Hammer (Blue Jay 1985), The (Blue Jay, 1983), Tomorrow Bites (Baen, 1994), Total Glass Teat, The Other Glass Teat (Ace Books, 1982), Eclipse (Ballantine, 1989), Toyman (Ace, 1981), Vis-Gods Themselves (Ballantine, 1984), Golden Fleece iting Vampire (Simon & Schuster 1988), Voyager in (Warner, 1990), Grotto of the Folk of the Air (Ballan-Night (DAW, 1883), Voyage to the City of the Dead tine 1986), Groundties (Warner, 1991), Healer (Ace, (Ballantine, 1989), Waldo & Magic Inc (Ballantine, 1983), Helliconia Winter (Macmillan, 1992), High-1986), Warlock (Warner, 1985), Wasp (Ballantine, Tech Knight (Ballantine, 1988), Homegoing (Ballan-1985), Waystation (Macmillan, 1992), Web of the City tine, 1988), I Have No Mouth And I Must Scream (Ace, 1982), Wheels Within Wheels (Berkley, 1984), (Ace, 1982), Illegal Alien (Ballantine, 1989), Image Who Needs Enemies (Ballantine, 1984), World at the of the Beast (Ace, 1984), In a Lonely Place (Warner, End of Time (Ballantine, 1989), Young Rissa (Berkley, 1982), Isaac Asimov: Complete STories I, 2 (Bantam, 1983) Zap Gun (Blue Jay, 1984).

1990, 1991), Journey to the City of the Dead (Ballan-MAGAZINES ILLUSTRATED INCLUDE:

tine, 1984), Kaleidoscope (Ballantine, 1988), Lore-AMZ: 1993 (10)

masters (Ballantine, 1988), Love Ain’t Nothing But F&SF : 1979 (3, 7); 1980 (1, 3. 9, 10); 1981 (6, 8); Sex Misspelled (Ace , 1982), Machineries of Joy (Bal-1982 (9); 1983 (10); 1984 (4); 1985 (3, 11); 1986 (10); lantine, 1988), The Man Who Used The Universe 1987 (11); 1989 (7); 1994 (5); 1995 (7); 1996 (3); 1997

(Warner, 1982), Marked Cards (Baen, 1994), The (4); 1998 (2); 1999 (3); 2000 (4); 2001 (3) Martian Way (Ballantine, 1985), Memos From Pur-FUTL: 1978 (10); 1979 (3, 8, 9); 1980 (3); 1981 (8) gaTory (Ace, 1983), Men Like Rats (Warner 1988, HM: 1983 (6); 1994 (Special Pin-up issue) Merchanter’s Luck (DAW, 1982), Mercycle (Berkley, SFAge: 1999 (1)

1992), Mining the Oort (Ballantine, 1991), Mirror Misc, : Art of Barclay Shaw Fantasy Collector Friend Mirror Foe (Berkley, 1985), Monster’s Ring Trading Card set (Friedlander Publishing Group, (Simon & Schuster, 1987), Nano Flower (Tor, 1997), 1995), Barclay Shaw’s Eclectic Collection software Narabella (Ballantine, 1987), Neuromancer (Phan-screen-saver art collection (Second Nature Soft-tasia Press, 1986). Next of Kin (Ballantine, 1985), ware), Guardians collectible trading card game Night’s Master (Highland Press, 1984), Nine Tomor-

(Friedlander Publishing Group, 1995), Mermaid rows (Ballantine, 1984), Niven Collection (Ballantine, Heavy Metal Calendar (1994). Ringworld Throne an-1984), No Doors No Windows (Ace, 1982), Norby imation for TV commercial (Random House/Del Chronicles: Robot for Hire. Through Time & Space Rey Books).

(Ace, 1985, 1986, 1988), Not This August (Tor, 1981), Paingod (Ace, 1983), Partners in Wonder (Ace, 1982), The Penultimate Truth (Blue Jay, 1983), Picnic on the Sime, Sidney Herbert

Near Side (Ace, 1984), Puppet Masters (Ballantine, (1867–May 22, 1941) British artist. Sime was an 1986), Quantum Murder (Tor, 1997), The Red Planet artist of great originality whose fantastic illustrations (Ballantine, 1989), Regiments of Night (DAW, 1882), propelled his meteoric rise from pit-boy in a coal Remaking of Sigmund Freud (Ballantine, 1984), Ring-mine to famous illustrator in London in just a few world Throne (Ballantine 1995), Ringworld, Ring-years, making him a household name by the turn of world Engineers (Little Brown, 1997), Rinn’s Star the century. His haunting, dreamlike illustrations (Ballantine, 1990), River of Time (Bantam, 1994), were published in all well-known weekly and Robots of Dawn (Phantasia Press, 1983), Robots and monthly magazines of the time including The Idler, Empire (Doubleday, 1985), Run for the Stars (Tor, Pall Mall, Ludgate, Sketch, Butterfly, Pick-Me-Up, 1990 ), Scapescope (Ace Books 1984), Sentenced to and the Illustrated London News. The illustrations Prism (Ballantine, 1985), Sentinels From Space (Bal-were considered sensational at the time, a mixture of lantine, 1985), Shadow Singer (Ballantine, 1984), the bizarre and the humorous, at their best compa-Shockwave Rider (Ballantine, 1988), Shrouded Planet rable to those of Harry Clarke* and Aubrey Beards-

(Donning, 1980), Songs From The Drowned Lands ley.

(Ballantine, 1982), Spider Kiss (Ace, 1981), Spindoc Sime was born in poverty in Manchester, En-

(Ace, 1993), Spoils of War (Ballantine, 1993), gland, one of six children, and as a child worked first Streetlethal (Ace, 1983), Streetmagic (Tor, 1990), Su-in a coal mine and then for a draper, a baker, and a perconductivity (Weekly Reader, 1987), Tarzan the shoemaker until he was, finally. apprenticed to a

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Sime
signmaker. During that period, he attended classes that the artist never surpassed the work he achieved at the Liverpool School of Art and won several prizes during his fifteen-year long collaboration with Dun-and a medal for his work at school. After finishing sany. During these years Sime also collaborated with his course work, he went to London and became a the artist Frederick Robinson on stage sets and cos-freelance artist. In 1892 he began illustrating for the tume designs for “The Blue Bird,” a “fairy play” by Illustrated London News, and by 1895 he had joined Maurice Maeterlinck which premiered at the Hay-the staff of Pick-Me-Up magazine as an illustrator. In market Theatre, London in 1909, and did the set 1896 he became well known to the public for a se-and costume designs for Ibsen’s “The Pretenders,”

ries of satirical caricature drawings of existence in in 1913. Sime’s work for other authors consisted the afterlife collectively called “The Shades,” and mainly of cover designs and/or frontispieces. Among was invited to contribute to the humor magazine his best were those for Arthur Machen’s House of The Idler where Sime’s series of bizarre drawings Souls (1906) and The Hill of Dreams (1907). Sime

“From an Ultimate Dim Thule,” began to appear, in also did fine work for the frontispiece of William 1897. From 1897–1898 Sime also edited Eureka mag-Hope Hodgson’s Ghost Pirates in 1909.

azine. Sime worked in lampblack, using a brush with At the outbreak of World War I in 1914, Sime (at a sponge. He also used India ink and a pen to draw the age of forty-seven) enlisted in the Army Service his figures, and some illustrations were done in wa-Corps and was sent to the east coast of Britain. He tercolor (gouache), and colored chalks on paper.

was released in 1918 on Armistice Day, suffering from When an uncle died in 1898, Sime inherited a a duodenal ulcer and in bad health, and returned to large house in Daldrishaig, Perthshire, Scotland and Worplesdon to concentrate on painting. He contin-a fortune sufficient for him to purchase The Idler, in ued to create illustrations for novels by Lord Dun-1899, which he planned to co-edit. In 1898 Sime sany until 1936, although many of the pieces were also married Mary Susan Pickett, and began living never used in the published books owing to the ris-half of the year in London and the other half in Scot-ing costs of printing. In 1923 he published Bogey land, where he painted Scottish landscapes. In an Beasts, a set of nonsense drawings accompanied by effort to make The Idler successful, Sime changed music by Joseph Holbrooke, based on a 1905 series the focus of the magazine, but the venture failed and in the Sketch called “The Sime Zoolog y: Beasts that by 1905 he was forced to dispose of the magazine might have been There were exhibitions of his art in selling it for £5.00 “goodwill.” Meanwhile, his pop-1924 and a one man show at St. George’s Gallery in ularity as an illustrator continued to rise and in early London in 1927. However, by this time Sime had 1905 Sime was well known enough for William Ran-dropped out of the public eye and in his later years dolph Hearst to offer him a position in New York.

became a recluse in his country home in Worplesdon.

Sime took the job but his time in the States was A small memorial gallery of his paintings, drawings short-lived; he missed England and thought his fu-and caricatures was established at Worplesdon ture as an artist was in that country. After his return Memorial Hall, Worplesdon. A detailed coverage of to England, he sold his house in Scotland and moved Sime’s work can be found in two surveys by George to a cottage in Worplesdon, near Wimbledon, Sur-Locke: From an Ultimate Dim Thule— A Review of rey, where he lived until his death.

the Early Works of Sidney Sime (Ferret Fantasy, 1973) In 1904 Sime was introduced to Lord Dunsany, and The Land of Dreams — S.H.Sime, 1905–1916
the famous Irish fantasy author, who became a cen-

(Ferret Fantasy, 1975)

tral figure in Sime’s life as professional collaborator, Sources: Adey, Frank: Sime biography and timeline patron, and friend. His artistic partnership with www.fad112200.pwp.blueyonder.co.uk/simebiog.html [accessed May 2007]; Clute, John and Grant, John. Encyclopedia Dunsany began in 1905, when Dunsany approached of Fantasy (St.. Martin’s Press, 1999); Heneage, Simon and Sime with an offer to illustrate his first collection of Ford, Henry. Sidney Sime Master of the Mysterious (Thames & stories, The Gods of Pegana. Sime, as eccentric in his Hudson, 1980); Skeeters, Paul W. Sidney H. Sime Master of art as Dunsany was in his fantasy writings, was the Fantasy (Ward/Ritchie, 1978); The Vadeboncoeur Collection of Knowledge, 1999 at www.bpib.com/illustrat/sime.htm; ideal illustrator for Dunsany’s strange stories, and Weinberg, 1988.

the reverse was also true: many of Dunsany’s stories were inspired by Sime’s images. As Clute put it, Published Work

“(Sime’s) pictures did not so much illustrated the (British and American editions)

volumes in which they appeared as constitute a par-Bogey Beasts (1923 re-issued in facsimile by Pur-allel vision of mythological landscapes, peopled by ple Mouth Press, 1975), The Book of Wonder (Heine-figures drawn with dreamlike intensity whose rela-man, 1912 reissued by Wildside Press, 2003), The tion to the world was both intimate and remote …”

Collected Jorkens, Vol. One, Two, Three (collected (p. 868). Many believe Sime’s designs for Time and published and unpublished Dunsany stories, by the Gods (1906) were among the outstanding imag-Night Shade Books, 2004, 2005), A Dreamer’s Tale inative achievements of graphic art of the time, and ( J.W. Luce, 1910), The Gods of Pegana (Elkins

Skilleter

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Matthews, 1905, reissued by Wildside Press, 2002), the exterior of the BBC USA Exhibition Trailer The Ghost Pirates (Stanley Paul, 1909, re-issued by launched at Elstree. Skilleter also painted numerous Hyperion, 1976), The Hill of Dreams (Grant Rich-illustrations for the BBC’s Radio Collection covers ards, 1907), The House of Souls (Grant Richards, and advertising for science fiction titles such as The 1906), In the Land of Time and Other Fantasy Tales Chronicles of Narnia, Brother Cadfael, Tolkien’s The (re-issue of the Gods of Pegana and other stories, Pen-Perilous Realm, Earthsearch (1993–1999), Journey Into guin, 2004), The King of Elfland’s Daughter (G.P.

Space Trilogy (1997) and Arthur C. Clarke’s Child-Putnam’s Sons, 1924), The Last Book of Wonder ( J.W.

hood’s End (1997).

Luce, 1916 published in the U.K. as Tales of Won-In the 1980s Skilleter founded own publishing der), The Sword of Welleran (G. Allen, 1908) Tales of company, Who Dares. In addition to publishing Wonder (Ekin Matthews, 1916 published in the U.S.

Doctor Who calendars and merchandise, he pub-as The Last Book of Wonder), Time and the Gods lished a number of major book titles for the U.K.

(Heineman, 1906, reissued by Orion/Millenium, and USA, with his wife as collaborator. For these 2000), Wonder Tales (re-issue of Book of Wonder and works as well as other illustration jobs, Skilleter esTales of Wonder, Dover, 2003).

tablished a fine gouache technique on illustration boards and began airbrushing around 1984. Later in Skilleter, Andrew P.

the 1980s he adopted acrylics as a medium.

(b. October 28, 1948) British artist. Although his Skilleter’s association with Doctor Who continued name is not well known to most science fiction fans, for the “New Adventures” novels for Virgin Publish-a fortuitous series of book cover assignments early in ing, 1991. Skilleter participated in a number of genre his career established Skilleter as the world’s premier conventions in the 1980s and has been interviewed professional Doctor Who artist and made his associon a number of occasions by newspapers and web-ation with this wildly successful British television sites in connection with his Doctor Who art.

series an inextricable part of his professional life.

Skilleter has produced hundreds of covers for Born on the Isle of Wight, Skilleter spent his adult, teenage and children’s books across numerous childhood in Gosport on the mainland from the age genres, including around forty covers for the Ruth of three until his family moved to Bournemouth on Rendell crime novels. He is an official Star Wars the South Coast of England at the start of the 1960s.

artist, creating packaging art for products such as He always wanted to be an illustrator, and to that end placemats, art cards, coasters, prints, and memo studied at Bournemouth College of Art. His early boards (1982/1983). In the 1990s, he became one of art influences came from the glossy U.K. comics, the main artists working on the Fleetway comics notably Eagle and Express Weekly, which featured the under editor Alan Fennell, illustrating virtually all of work of the greatest British strip artists of that The Complete Thunderbirds Story, and producing period: Frank Hampson*, Frank Bellamy, Don covers for the Thunderbirds, Stingray, Captain Scar-Lawrence and Ron Embleton* (best known in the let and Joe 90 titles. Skilleter considers his illustra-States for his Wicked Wanda strip in Penthouse mag-tions for Stories from the Decameron of Boccaccio azine) who was Skilleter’s mentor, friend and a near (Peter Lowe, 1980) to be among his best earlier neighbor.

works, a number of which were exhibited at the Skilleter came late to mainstream cover art; his Mecanorma Silver Marker exhibitions in central first book cover was for The Uninvited, for the pub-London and the Association of Illustrators and fea-lisher W. H. Allen in 1979. He was working for the tured in their annual publication. His originals are art director there, Mike Brett, when he was offered in numerous collections across the U.K. and USA, the assignment for the K9 Special, published in Sep-and a Mythmakers DVD devoted to Skilleter and his tember 1979, his first Doctor Who cover. This was work was released by Reeltime Pictures in 2005.

followed in October by Terry Nation’s Dalek Spe-Married, he currently lives in the Dorset coun-cial, then six more cover illustrations for the series, tryside, works traditionally and digitally, and contin-all in 1979. By the 1980s, Doctor Who art and the ues to paint private commissions, sells his original name Andrew Skilleter had become synonymous.

art and pursues new creative directions including From 1979 to 1995 his work included the iconic writing and illustrating children’s books.

“The Five Doctors” Radio Times cover, over fifty Sources: e-mail from the artist April 2007; www.andrew book covers, video covers, books, calendars, prints skilleter.com; Anthony Dry: “Andrew Skilleter Interview”

April 3, 2005 for the Kasterborous Doctor Who webzine, and other merchandise sold in the U.K. as well as http://www.kasterborous.com/interviews [accessed May the U.S. His involvement led to a long relationship 2007]; “Interview with Andrew Skilleter” Gerry Anderson: with the BBC, and twenty-four distinctive video Complete History website http://www.technodelic.pwp.blue covers for the Doctor Who series (1991–1994), the yonder.co.uk/Interviews/ASkilleter.htm; Doctor Who/Target Books online: “Skilleter Profile” http://www.personal.leeds collector’s Tardis and Dalek tins, and other genre

.ac.uk/~ec16nb/OnTarget/artists/skil/skillete.htm [accessed titles, including the Tripods. Special projects included May 2007].

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Art Collections and Anthologies:

fantasy comedy Evan Almighty (Universal Pictures Blacklight: The Art of Andrew Skilleter (Virgin, (2007). Skinner is married to Elizabeth Massie, a 1995), Timeframe (Virgin, 1993), Tyger Special Col-professional freelance writer, and two-time Stoker lector’s Limited Edition (Telos Publishing, 2003).

award winner.

Sources: correspondence from the artist, October 2006; Published Work

BOOKS ILLUSTRATED INCLUDE: Antigrav (Puffin, Published Work

1982), Aquarius (Kestrel, 1982), Congo (Allen Lane, BOOKS ILLUSTRATED INCLUDE: Abbadon Inn se-1981), The Dark Is Rising (Bodley Head, 1992), The ries: Dark Whispers, Drowned Night, Twisted Branch Manitou (Pinnacle, 1979). Space Hostages (Penguin, (Berkley, 2005), Broken on the Wheel Of Sex: The 1984), Ten Doors of Doom: Fantasy Questbook (Puffin, Jerzy Livingston Years (Overlook Connection, 2006), 1987), The Uninvited (W.H. Allen, 1979).

Conscience of the Beagle (First, 1993), Fear Report Misc. : Die Alien Slime; Grimblood; Planet 10 com-

(Bloodletting Press, 2004), Kolchak the Night Stalker: puter game covers (Virgin Mastertronic, 1988, 1989), Casebook (Moonstone, 2006), Lost in Translation The Wizard jigsaw puzzles Express Gifts Ltd, 1995), (w/Newell Convers) (Baen, 1995), Matinee at the Doctor Who: The Sontarans; Davros & the Daleks; Flame (Overlook Connection, 2006), No Earthly K9; Omega jigsaw puzzles (Waddingtons—Canada), Sunne (w/Newell Convers) (Baen, 1994), Offspring Club International Fairyland (UK) Satyricon (US) (Overlook Connection, 2006), The Printer’s Devil magazine illustrations, 1979; Men Only magazine: (w/Newell Convers) (Baen, 1995), Ray Bradbury Pre-Sexopolis illustrations (1977).

sents: Dinosaur Conquest, Dinosaur Empire (Avo Nova/Avon, 1995), Seafort’s Challenge (Doubleday/

Skinner, Courtney

Guild America, 1996), Seafort’s Hope (w/Tom Kidd) (Doubleday, 1995), The Tery (Overlook Connection, (b. July 25, 1950) American artist. The son of 2006), Through a Brazen Mirror (Circlet, 1999), The Walter G. Skinner (1905–1990), an advertising artist, Witch & The Cathedral (w/Newell Convers) (Baen, Skinner was born and grew up in Cambridge, Mass-1995).

achusetts. He attended the Art Institute of Boston, studying under the Illustrator Norman Baer, who MAGAZINE ILLUSTRATIONS INCLUDE:

Skinner says, “instilled the basics of illustration in ABO: 1986 (10, 12); 1987 (2/3, 5/6, 7/8, 9/10, me that I am incorporating to this day.” Skinner re-11/12); 1988 (1/2, 5/6, 9/10, annual); 1989 (1/2, 5/6); ceived a Certificate of Merit in his senior year for 1990 (1/2, 9/10); 1991 (3/4, 12); 1992 (summer, win-outstanding work in illustration. After graduation ter); 1993 (spring, winter); 1996 (fall) he worked with artist-engineer Paul Matisse (grand-GAL: 1978 (#9, #10); 1979 (#11/12, #13, #14, #15); son of Henri Matisse) in designing and fabricating 1980 (#16, #17)

Alexander Calder’s last major work of art, a 76-foot-GAME-RELATED ILLUSTRATIONS INCLUDE: Battle long mobile “Untitled, 1976,” on view at the Na-Site Zero game book (Bawn Shaunts Design Studio, tional Gallery of Art’s East Building, Washington, 2006), Chron X card art (online game, 1997), Clout DC. Skinner’s first commercial assignment was the Fantasy art for collector chips (Hidden City Games, illustration for Connie Willis’ story “Samaritan”

2005), Dune: Eye of the Storm card art (Last Unicorn published in Galileo Magazine of Science & Fiction, Games, 1997), Heresy: Kingdom Come card art (Last July 1978.

Unicorn Games, 1995), Middle Earth card art (Iron In his early career, Skinner worked in acrylic or Crown Enterprises, 1996–1997), Prism card art pen and ink, and added oil paint to his “palette” in (WizKids, 2006), The WARS card art (Decipher, the 1980’s. He signs his art as “C. Skinner.” In the 2005).

1990’s he began preparing illustrations with Photoshop, and by 2000 had started painting digi-Smith, Malcolm H.

tally using “Painter” and a Wacom tablet and (November 1, 1910–June, 1966) American artist.

stylus. For sculptural or other 3D work, he uses Born in Memphis, Tennessee, Smith, like many polymer clay, fired earthenware. But, depending on artists, always wanted to be involved in art from the job, he will use any medium needed to bring the his earliest childhood. He started reading science project to a finish, as in his film work. Skinner profiction in the early 1920s with the serial versions of vided concept, character and costume design for the Taranno the Conqueror by Ray Cummings, serial-SF comedy film The Lost Skeleton of Cadavra, for ized in Science and Invention magazine. Smith which he also designed the “Skelectables” for the bought the first issue of Amazing Stories when they website and DVD release (Sony/Columbia TriStar, were published in 1926. “A long, tall southerner,” as 2001), and created the opening title design and described by one of his friends, Smith was an expert artwork for another, Trail of the Screaming Forehead archer and participated in archery tournaments as a (2006). He was on-set landscape painter for the young man.

Smith

428

In 1935 Smith attended the American Academy of 2007]; e-mail June 2007 from John M. Dumoulin, MSFC

Art in Chicago for two years. He originally worked Exhibits Manager NASA/MSFC Art Gallery; Ancestry.com.

at being a display artist but, when he discovered how Alabama Marriage Collection, 1800–1969; Social Security Death Index [database on-line]. Provo, UT, USA: The Gen-poorly it paid, became an illustrator instead. In 1940
erations Network, Inc., 2006, 2007; Weinberg, 1988; Smith submitted a number of paintings for Amazing Stories, published by Ziff-Davis in Chicago. The Published Work
art was accepted, and Smith began doing freelance BOOKS PUBLISHED INCLUDE: Cloak of Aesir work for the chain. When the publisher expanded its (Shasta, 1952), Invasion From Mars (Dell, 1949), The line of magazines soon after, Smith was hired as a Illustrated Book of Science Fiction Ideas and Dreams member of the art department. He soon worked up (Hamlyn, 1977), Operation Interstellar (Century, to at director of the Ziff-Davis pulp line.

1950), Space on my Hands (Shasta, 1951), Sword Point In 1948 Smith left Ziff-Davis and started his own (Viking, 1989), Time Trap (Century, 1949), Who studio. Soon he joined Bendelow and Associates, a Goes There? (Shasta, 1951), Worlds Within (Century, group of commercial artists who worked in a huge 1950).

cooperative studio. In the 1950s Smith became art di-MAGAZINES ILLUSTRATED INCLUDE:

rector of Other Worlds and Fate magazines, return-AMZ: 1942 (1, 4, 8, 10, 12); 1943 (8, 9, 11); 1944
ing to work with Ray Palmer, who had been editor (3, 5); 1945 (3, 6, 9, 12); 1946 (2, 7, 9, 11, 12); 1947
of Amazing in 1940 and bought his first work.

(2, 5, 6, 7, 8, 9, 11); 1948 (2, 7, 10, 11, 12); 1949 (1, 2, Smith, who was married and the father of two 12)

boys, often used live models for his paintings. Once FA: 1942 (4, 5, 6, 8, 12); 1943 (2, 4, 5, 6, 7, 8, 10, he had his whole family dress up in red pajamas, 12); 1944 (4, 6, 10); 1945 (4); 1946 (5); 1947 (3, 7, 12); with his wife wearing a colander and his two sons 1948 (1, 3, 4); 1949 (1)

wearing football helmets, while the family dog wore IMG: 1951 (2, 4, 11); 1952 (3, 5, 12); 1953 (6, 7, a red jacket and knit cap with an antenna sticking out 9, 10, 12); 1954 (6); 1956 (4, 6); 1957 (8, 12); 1958 (2, of the top. A photo of the group served as the basis 4, 6, 8, 10)

for a science fiction magazine cover. In the early IMGT: 1956 (3); 1957 (1, 3, 7); 1958 (7) 1950s Smith developed an unusual technique of OW: 1949 (11); 1950 (1, 3, 5, 7, 9, 10, 11); 1951 (12); color-dyed photo prints for covers that gave some 1952 (3, 4, 6, 7, 8, 10, 12); 1953 (2, 3, 5); 1955 (9); of his paintings an unusual mix of the real and the 1956 (4); 1957 (7)

imaginary.

SpTr: 1958 (7)

In the late 1950s Smith did several hundred illus-UNI: 1953 (1, 2, 3); 1954 (7)

trations for the nonfiction book Life on Other Worlds.

The book was for a major publisher, which had ac-Smith, Wallace
cepted it for publication when a change in editorial (1887–January 31, 1937) American artist. A staff suddenly forced it from the schedule. The art has Chicago-born author and illustrator, Smith was never been published, although examples from the perhaps the only fantasy artist ever to be thrown in archive have not remained entirely out of the pub-jail for his work in the field. He was prosecuted for lic eye; at least one has changed hands at public auc-obscenity, and jailed, for his phallic drawings for tion. Following that project, Smith’s regular job until Ben Hecht’s privately printed macabre fantasy his death was as an artist working for NASA at their

“shock” book Fantazius Mallare (1922). Hecht, de-Marshall Space Flight Center in Huntsville, Alabama fended by Clarence Darrow, got off with a fine according to family friend Ron Ferdie, who adds (Kovan, p. 36).

“It’s interesting to note that his career started as a Smith was an art school drop out and “star jour-commercial artist, then a science fiction and fantasy nalist” at the Chicago Daily News when Hecht — fa-artist who became art editor for a number of mag-mous literary journalist and Oscar-winning play-azines in that field — and then a real “space” artist wright—joined the staff in 1915. Hecht’s relationship making some wonderful artwork and animated with Smith is described by Kovan (2002) who writes movies about our nation’s Saturn-Apollo Moon mis-that the two became fast friends. “Hecht took ideas sions and other space exploration programs.” (Sept, for several stories from Smith’s persona as a dandy, 2004). Smith’s paintings are in the permanent cola cynical boulevardier, an impassioned consultant lection of the Marshall Space Flight Center Art on Mexico (he covered the Pancho Villa uprising) Gallery. He was also one of the artists featured in and an opinionated art critic.” (p. 100). Smith’s obit-Brian Aldiss’s Science Fiction Art: The Fantasies of SF
uary in the New York Times states he was a veteran (Bounty Books, 1975). Smith remarried in Alabama of four Mexican campaigns, two of which he served in 1964, shortly before he died.

with Pancho Villa. After his ordeal with “Mallare”

Sources: Biographical information submitted by Ronald Smith grew disgusted with art, and became a full Ferdie, September 2004, at www.askart.com [accessed April time writer. One of his first novels The Little Tigress

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Snellings

(1923) had a Mexican setting. He contributed to the Snellings-Clark, Lisa

Ben Hecht/Max Bodenheim biweekly the Chicago (b. December 19, 1958) American artist. Born in Literary Times, and then went to Hollywood, in the Aiken, South Carolina, Snellings-Clark later at-late 1920s, to write novels and illustrate his own sto-tended the University of Georgia and graduated in rybooks on Southwestern ethnic themes, writing for 1981 with a BS in Biology. Apart from several draw-Howard Hughes’ film studio Caddo, where Smith ing classes at the Medical College of Georgia, as was in charge of scripts (Kovan, p. 36). Smith’s preparation for a career in microbiology, she is self-

“hard-bitten reporter” novel The Captain Hates the taught. Snellings-Clark entered the genre in 1992

Sea was filmed in 1934 as actor John Gilbert’s final when she exhibited her work at the World Science starring vehicle. In 1927 he was brought in as story Fiction Convention (held in Orlando, Florida), and consultant for Douglas Fairbanks’ The Gaucho and the positive reception she received persuaded her to he made his talking-picture debut as one of the invest her energies in fantasy art, full-time. Initially screenwriters for Sam Goldwyn’s 1929 version of a sculptor, specializing in uniquely provocative, dark Bulldog Drummond, for which he may be best re-fantasy images in mixed media, often with kinetic membered. From 1930 to 1935, Wallace Smith was elements, Snellings-Clark is among the minority most closely associated with RKO Radio Pictures.

of artists whose dimensional art has also served as HeSmith is credited as screenwriter for several films, illustrative art in print media. Snellings-Clark among them: The Lost Squadron (1932), The Lady works with varied materials, primarily combinations Refuses (1931), The Silver Horde (1930), Framed of wood or metal structures with paper mache’

(1930), Her Husband Lies (1937), The Gay Desperado and/or resin details, or hand-cast forms in compos-

(1936), Seven Keys to Baldpate (1935), Bordertown ite materials which are painted or embellished.

(1935), The Trumpet Blows (1934), Men of Chance Larger projects have included moving figures and (1932), Almost Married (1932). His magazine and parts which create intriguing effects. Snellings signs novel writings included Are you Decent? (1927), Bessie by carving her name into the piece or painting it Cotter (1936), and The Happy Alienist (1936), also on the surface. Her artistic and literary influences adapted into a Broadway musical “May Wine” pro-cover a wide range, include Paul Klee, Rene duced 1935–1936. Two of his stories were published Magritte, Rube Goldberg, and William Blake, Har-posthumously in 1952, in Fantastic Science Fiction lan Ellison, H. G. Wells, E. A. Poe, Richard Adams,

#1 and #2 (which had only two issues), “Lost City of Dr. Seuss.

the Sky,” and “She Was a Creature of Fire and Perhaps best known for her Dark Caravan series Death.”

of works, a assemblage of large scale kinetic sculp-Although Smith’s books are now forgotten, his tures, she has also produced a wide variety of 3-D
fantastic macabre artwork for Fantazius Mallare gallery works, and drawings and paintings using is still considered among the finest ever done in acrylic on wood or pencil on paper. Stuart Schiff, the fantasy field. His pen and ink illustrations were well known publisher and book dealer, and an early a major influence on Mahlon Blaine* among oth-

(and enthusiastic) collector of her works “vivid, alive ers. In the 1940s, Ronald Clyne* issued and wrote (and dead!), haunting, breath-taking, spirit-stirring, the introduction for an portfolio of ten plates galvanic, and well, just plain provocatory.” Her work reproducing the illustrations by Smith for the 1922
has won numerous “Best Artist’ and “Best Scuilpture”

first edition of Fantazius Mallare. Since then his art-awards at exhibitions devoted to the fantasy genre, work has rarely been seen; Roger Reus’ fanzine Sty-has been featured in issues of FAN (Overstreet Pub-lus (1993-) used Smith for three issues with the cap-lications) and is included in several editions of the ju-tion “Cover art by the greatly neglected Wallace ried annual editions of Spectrum: The Best in Contem-Smith.”

porary Fantastic Art (Underwood Press), in addition Sources: Florice Whyte Kovan : “Notes by a Bogus Clas-to being well-represented in major private collec-sicist,” in Rediscovering Ben Hecht Vol II: Art & Architecture tions, including author Neil Gaiman, and the Frank on 1001 Afternoons in Chicago: Essays and Tall Tales of Artists and the Cityscape of the 1920s (Snickersnee Press, 2002); snicker-Collection. Lisa is also the recipient of the presti-sneepress.bigstep.com/generic14.htmlWallace Smith; Wallace gious New England Science Fiction Association’s Smith Obituary, New York Times February 1, 1937; http://

Jack L. Gaughan Award in 1997, for Best Emerging fanac.org/fanzies/IGOTS/igotsnew10.htm; www.allmovie.

Artist and a Chesley Award in 1998. She has several com Weinberg, 1988
times been Artist Guest at genre conventions, in-Published Work
cluding the World Horror Convention in 1999; The Evolution of the Weird Tale (Hippocampus WindyCon in Chicago in 2002; WesterCon 56 in Press, 2004), Fantazius Mallare: A Mysterious Oath Seattle, WA in 2003 and Balticon, Maryland in (Covici-McGee, 1922), The Shadow Eater (American 2006. There was a special exhibition of her Dark Library Service, 1923), The Shining Pyramid (Covici Carnival works at the Worldcon, Millenium Philcon, Friede, 1923).

in 2000.

Stahr

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Typically her work blurs the lines between two magazines. He did a famous portrait of John Phillip and three dimensions, painting and sculpture, art Sousa on his last major tour.

and words. Her “frozen stories” inspired long-time Stahr did several hundred cover paintings for the collaborator Neil Gaiman’s Harlequin Valentine, as best-selling of all pulp magazines, Argosy, sharing well as a number of other stories. The Strange Attrac-much of the cover duties from the 1920s to the 1930s tion anthology, published in 2000 (Bereshith Press), with Robert Graef *. Both artists specialized in action features art-inspired stories by a score of authors in-covers and painted many science fiction covers il-cluding Jack Dann, John Shirley, Charles DeLint, lustrating major novels and novelettes by the top Neil Gaiman, Gene Wolfe and Harlan Ellison.

names in the science fiction field. Stahr illustrated Snellings has begun writing a “Strange” series of col-several Edgar Rice Burroughs serializations of nov-laborations with authors, with each writing 2 sto-els, among them Apache Devil (1928), Lost on Venus ries inspired by art images. Strange Birds has been (1933), The Pirates of Venus (1932), Tarzan and the completed, and other books are planned. Snellings City of Gold (1932), and The War Chief (1927), Stahr sculpts, paints, writes from her home in the desert of illustrated some important science fiction novels for Southern California, with her family and a gray cat Argosy and Munsey, such as Erle Stanley Gardner’s named Gurtie.

New Worlds (1932), a 7-part serialized Abraham Sources: email from the artist and website atwww.lisa Merritt novel, The Snake Mother (1930), and the snellingsgallery.com; Frank, Jane. “Dark Carnival: Lisa Snell-Phantom of the Rainbow ( Munsey, 1929). As was ings” Gallery article Realms of Fantasy April, 2004
often the case during this period, serials that were Collections and Anthologies
reprinted in book form used the same cover art from (various contributing artists)

the initial serial installment, so that a number of Barnett, Paul. Paper Tiger Fantasy Art Gallery Stahr covers also served as paperback or hardcover (Paper Tiger, 2002), Frank, Jane and Howard. The jacket art, as for example the Merritt titles for Avon Frank Collection: A Showcase of the World’s Finest Murder Mystery Monthly digests. Stahr also was re-Fantastic Art (Paper Tiger, 1999), Frank, Jane and sponsible for a number of book covers for authors Howard. Great Fantasy Art Themes From the Frank like Mrs. Wilson Woodrow, W. R. Burnett ( Little Collection (Paper Tiger, 2003), Grant, John and Caesar), D.H. Lawrence, Leslie Charteris ( The Humphrey, Elizabeth with Scoville, Pamela. The Saint), and Raymond Chandler ( The Big Sleep).

Chesley Awards: A Retrospective (AAPL, 2003).

Stahr died in a Long Beach, NY hospital of a cerebral hemorrhage.

Published Work

Sources: Weinberg, 1988; www.askart.com, www.america-The Crow, Shattered Lives and Broken Dreams nartarchives.com

(Donald M. Grant, 1998), A Fall of Stardust (Greenman Press, 1999), On Cats and Dogs —Two Tales Published Work

(DreamHaven Press, 1997), Strange Attraction (Bereshith Destiny, A New-Thought Novel (Edward J. Clode, Press), Strange Birds (DreamHaven Press, 2006) 1917), Dwellers in the Mirage (Avon, 1944), The Face in the Abyss (Avon 1945), The Metal Monster (Avon, 1946), The Phantom in the Rainbow (Grosset and Stahr, Paul C.

Dunlap, 1929), The Ship of Ishtar (Avon, 1945), Tar-

(August 8, 1883–January 6, 1953) American rano the Conqueror (McClurg, 1930).

Artist. A New Yorker all his life, Stahr was born in New York City and attended Morris High School in Yorkville. He studied at the Art Academy of New Stanley, Robert C.

York, the National Academy of Design, and the Art (May 27, 1927–June 22, 1992). American artist.

Student’s League, where worked with George Born in New York, “Bob” Stanley began his career Bridgeman. He later was a student of John Ward.

as a pulp illustrator, doing interiors for Argosy in the Stahr began his career painting posters for new 1940s to 1950s, and at one time he worked for news-Broadway shows, and he often was sent to other papers such as the Kansas City Journal, the Star and cities to see shows that were starting out of town, Times. He enlisted in 1942, and after service in the before coming to New York. Much of his art was Army he entered the paperback field in 1949, work-created while riding on trains. During World War I, ing for Bantam Books. He was a prolific artist, and he produced patriotic posters for the Red Cross, Lib-worked for several paperback companies in the erty Loans and national defense. After the war he 1950s. He focused mainly on mysteries and west-turned to magazine illustration, where he proved erns, specializing in realistic, action-packed images.

versatile with a wide variety of subject matter. Stahr He did some science fiction artwork as part of his worked for Life, Colliers, Harper’s Bazaar, Saturday regular assignments, but only a few — and given his Evening Post, Munsey, Judge, American Magazine, talents, it’s a pity he did not do more. He worked for Woman’s Home Companion and most other major paperback publishers such as Bantam, Lion, Beacon

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Steadman
and Signet, before going to work for the Dell Pub-championed by Nebula Science Fiction,” a science lishing Company where he became a major contrib-fiction magazine published in Glasgow (Weinberg, utor to the Dell “look.” From 1950 to 1959, he was 1988). Stark produced both black-and-white interiors one of the two most prolific paperback cover artists and color cover paintings for the magazine, span-employed by Dell (the other was Gerald Gregg).

ning nine issues during 1956 through 1958. As Har-Stanley’s first published science fiction piece was bottle notes in Weinberg (1988), “The artist’s com-Robert Heinlein’s Universe, used on the cover of positions tended to match his name,” and Aldiss Dell’s 10-cent series, 1951. He was also the cover artist (1975) reinforces that observation, saying “(his) bril-for Beacon Books when that adult-novel publish-liant and sterile visions succeed in capturing the ing house did a series of science fiction reprints for dream of a clean technology, born in the wastes of Galaxy Publishing 1959–1961. Stanley’s non-science other worlds” ( Science Fiction Art, p. 60). Stark’s art, fictional covers were notable for being rather like that of others who contributed to Nebula, such risqué— which added to the popularity of his work as Bob Clothier*, Alan Hunter*, Eddie Jones*, and in the SF genre. Many of his covers are instantly rec-Gerard Quinn*, frequently reflected the anxiety of ognizable because he usually used himself and his the times — stemming from the Cold War and pos-wife, Rhoda (a former ballet dancer), as models. “His sible use of nuclear weapons. Stark’s paintings often men are serious, usually with tight jaws and unblink-depicted futuristic cities and space travel; scenes that ing eyes, and they are usually fully clothed; his looked authentically science-fictional.

women are alluring, menacing, terrified, and occa-Sources: Weinberg, 1988.

sionally semi-nude.” (Brandt, 2002). The detectives Collections and Anthologies
in three well-known murder mystery series were also Aldiss, Brian. Science Fiction Art: The Fantasies of all modeled by Stanley: he was Mike Shayne, Al SF. (Bounty Books, 1975).

Colby and Sam Spade when the characters appeared on his covers.

Published Work

Stanley and his wife worked as a team, working NEB: 1954 (#7, #9); 1956 (#15, #17, #18, #19); out of their studio in the large house they purchased 1957 (#21, #22, #23); 1958 (#26, #32) in Westport, Connecticut, in 1951. Rhoda acted as his agent, model, and photographer. Even Stanley’s Steadman, Evan Tenbroeck
young daughter Barbara and father-in-law, Julius (May 21, 1951) American artist. “Broeck” Stead-Rozenzweig stood in as models from time to time.

man was born in Northhampton, Massachusetts, Stanley worked in oil, gouache and later, acrylics.

and was brought up in northern New Jersey. He was His marriage to Rhoda, in 1939, ended in divorce.

first attracted to science fiction after seeing The He later remarried, date unknown. Believed to be Thing at age seven. In the fourth grade he read H. G.

born in New York, he died in Connecticut where he Well’s Time Machine and was hooked on science had resided for most of his life.

fiction. Originally planning to become a marine bi-Sources: Brandt, Randall. “A Robert Stanley Cover ologist, Steadman was more attracted to art. How-Gallery” and Case, Jeanette. “Meet the Artist,” The Westerner, ever, several years ago he became a certified scuba No. 16 (March 1951), p. 20, Univ. of California, Berkeley www.lib.berkeley.edu/rbrandt/stanley [accessed 3/07]; Con-diver, enabling him to continue as a hobby what he necticut Department of Health. Connecticut Death Index, originally thought would be his profession. He stud-1949–2001 [database on-line]. Provo, UT, USA: The Generied printmaking at the University of Denver and ilations Network, Inc., 2003; Schreuders, Piet. Paperbacks, lustration at the Parsons School of Design. He began U.S.A.: A Graphic History, 1939–1959. Blue Dolphin Enterprises, 1981. www.askart.com biography online [accessed working as a full-time commercial artist in the late 3/07]; State of New York Tax Appeals Tribunal at www.nys-1970s, doing children’s magazine illustrations, art-dta.org/Decisions/812849.dec.htm [accessed 6/1/07]

work for The Saturday Review, and advertising art.

BOOKS ILLUSTRATED INCLUDE: The Deviates (Bea-From 1980 to 1988, his commissioning agent Tania con/Galaxy, 1959), The Male Response (Beacon/

Kimche got him jobs producing advertising art for Galaxy, 1961), Odd John (Beacon/Galaxy, 1959), IBM, Coca Cola, Colgate, Seagrams, TWA, Sub-Pagan Passions (Beacon, 1959), Sin in Space (Bea-aru, Pampers, and 7-Up, among others. Then about con/Galaxy, 1961), Tarzan and the Lost Empire (Dell, 1988 Steadman changed agents and careers; he 1951), When Worlds Collide (Dell, 1952), Universe joined Art Works and began painting paperback (Dell, 1951), Virgin Planet (Beacon/Galaxy, 1960).

book covers. Bantam was his first major publisher, but he worked also for Ace, Zebra and others, pro-Stark, James
ducing adult adventure thrillers, children’s and (?) Scottish artist. Of the personal history of this young adult fiction, as well science fiction titles. In artist nothing is known; only his distinctive cover late 1978 he sold his first illustration to Analog and art carries him forward. According to Harbottle, became one of the regular artists for that magazine.

“Stark was the best of a small group of Scottish artists A Time magazine article published in the August

Stein

432

2, 1993 issue, however, resulted in a radical change HM: 1998 (5); 1999 (7)

to his art career. The article, which suggested that IASFM: 1981 (8, 12); 1982 (1, 7, 8); 1991 (3, 8, 9, books be rated the same way television shows were 10); 1992 (8); 1993 (2)

rated, included three book covers, all of them Young ROF : 1995 (4); 1997 (10)

Adult Thrillers, and Steadman’s was the most promi-SFAge: 1994 (9); 1995 (1)

nently shown. Within a week, he had attracted three SFD: 1982 (9/10)

new publishers, and for the next six years he “rode TZ: 1981 (7, 8, 9, 10, 11, 12); 1982 (1, 2, 3, 5, 8) the winds of Goosebumps”— an extremely success-Misc.: The Jungle Book, The Little Mermaid, ful series of books for young adults. In that period 20,000 Leagues Under the Sea, Godzilla (IGPC Inter-Steadman did over 300 covers, working for four se-Governmental Philatelic Corp., 1995–2000); Pri-ries: Scholastics’ The Weird Zone, Simon and Schus-mal Lust Vol. 1: A Gallery Girls Collection (SQP, ter’s The Ghosts of Fear Street, Troll Books’ The Dead 1996).

Zone, and The Cyber Zone, plus other projects.

Around 1999, the market for YA Thrillers was sat-Stein, Modest
urated, and every series came to an end within a (1871–February 26, 1958) American artist. Born month or two. To replace income from declining in Lithuania (part of Russia) Stein emigrated to the commissioned work, Steadman established a Licens-United States in 1988, the same year as his cousin, ing company called Shivers, using his artwork to pro-Alexander Berkman (1870–1936), whose militant duce school binders, calendars, T-Shirts, jig-saw anarchism would influence Stein’s earliest years in puzzles, and adhesive bandages. Steadman also America. Both young men settled in New York City worked for IGPC Inter-Governmental Phillatalic and shared an apartment there. Stein began his art Corp. in the late 1990s painting postage stamps for career as a newspaper artist doing courtroom art for foreign countries. Steadman also discovered Games The New York Herald and The World, before making Magazine, which enabled him to turn out some of the transition to magazine and book illustration. But his most favorite paintings, most of which were li-prior to his newspaper and art career, Stein seems censed for jig-saw puzzles by The Great American to have been caught up in Berkman’s circle — a po-Jig-saw Company, and Elms Puzzles. Steadman tentially dangerous association that brought an in-works in acrylics, using handbrush and airbrush, de-timate and lifelong friendship with the famous po-veloping several layers of paint to produce highly litical activist, anarchist and radical thinker Emma saturated colors. He often signs using the mono-Goldman and Berkman, her longtime lover and gram “ETS.”

friend. Berkman met Goldman, then 23, shortly In 2001 Steadman became a full time muralist and after her arrival in New York from Rochester in 1889.

teacher. His large-scale canvases can be seen in res-The three began to live together communally with idential and public settings. He often uses his wife two other women, the sisters Anna and Helene and children as models, and to help prepare and ex-Minkin, and in 1890 the group moved to New ecute murals.

Haven, Connecticut to open a dressmaking co-op-Sources: telephone conversation March 30, 2007; www.et-erative. In 1891, Stein moved to Springfield, Massa-steadman.com/ “The Terrifying Book Cover Illustration of chusetts, where he opened a photography studio, Broeck Steadman” Airbrush Action magazine October 1996; www.artsonia.com/schools
and — in search of a financial base for her political causes — Goldman joined him, working in the stu-Published Work
dio. Then she, Berkman and Stein moved to BOOKS ILLUSTRATED INCLUDE: The Analog Year-Worcester, where they opened another studio. When book (Ace, 1979), The Drive-In 2 (Kinnell, 1990), If the photography business failed, they briefly operated at Faust You Don’t Succeed (Bantam, 1994), Invasion an ice-cream parlor, until news of the lockout of Earth (Ace, 1983), Noir (Bantam, 1999), Proteus employees of the Carnegie Steel Company in Home-

(Ace, 19810, Shadowrun: Black Madonna (Penguin/
stead, PA reached them in May, 1892 and the trio Roc, 1996), Sleepwalker’s World (Tor, 1992), The returned to New York to plan a response. At that Tangled Lands (Ace, 1989), Time Safari (Baen, 1982), time, anarchism was a particularly compelling polit-Zarzthor’s Bane (Ace, 1978).

ical doctrine to Europeans who had lived miserably MAGAZINES ILLUSTRATED INCLUDE:

under autocratic regimes, so it is unsurprising that ASF : 1978 (5, 9, 10, 12, yearbook); 1979 (1, 2, 6, Berkman, Stein and Goldman, Jews from the same 7, 8, 10); 1980 (1, 2, 3, 5, 6, 7, 8, 9, 10, 11); 1981 (2, geographic area of Russia, would share similar polit-3, 3/30, 5, 6, 7, 10, 11, 12); 1982 (2, 3, 6, 7, 8, 9, 11); ical goals and sympathies. It has been reported that 1991 (1, 9); 1992 (2); 1994 (1) 2001 (5); 2003 (10); Stein and Goldman backed Berkman in his failed 1994 (1)

attempt to assassinate Henry Clay Frick, then gen-DEST: 1979 (1, 4, 8/910); 1980 (2, spring, sumeral manager of the Homestead plant, on July 23, mer, fall); 1981 (winter, vol 3 #2)

1892, but neither were implicated. Berkman served

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Steranko

14 years of the 22- year prison sentence for the attack, Steranko, James
and in 1906 Berkman and Goldman established (b. November 5, 1938) American artist. Born in themselves as the leaders of the anarchist movement Reading, Pennsylvania, Steranko is one of the most in the United States. In 1917 they were arrested for accomplished figures in the field of science fiction obstructing the draft and in 1919 were deported to although most of his achievements have ranged far Russia. Stein, meanwhile, from 1892 onward was beyond book cover illustrations, with a dozen suc-never again mentioned in connection with radical cessful careers to his credit: illustrator, magician, activities; by 1912 he had begun illustrating for mag-designer, lecturer, musician, escape artist, historian.

azines such as Cavalier and Argosy, was married to Ambitious, talented and seemingly tireless, Ster-Marcia, a fellow artist, and had a daughter named anko’s resume’ strains credulity as it describes a se-Luba (b. 1903). His association with Berkman and ries of kaleidoscopic careers which propelled him Goldman seems limited to friendship, with photo-from stage magician, entertaining audiences with graphs documenting his visits to France, in the coins and cards (he was among the top ten “Card 1930s, where Berkman and Goldman both lived in Stars,” writing books on his techniques, before he exile.

was twenty-one years old) to internationally recog-Stein began working for The Argosy and All-Story nized illustrator, receiving the prestigious Julie Magazine early in their history, painting a number of Award for his Lifetime Contribution to the Fantas-covers for important science fiction and fantasy sto-tic Arts and the Eisner Hall of Fame Award at the ries, among them: “The Girl in the Golden Atom”

2006 San Diego Comic Convention.

(March 15, 1919), “The Radio Beasts” (first part of the Self-taught, Steranko advanced from freelance serial, March 21, 1925), and “The Man Who Mas-artist for a local newspaper, to working in the art tered Time” ( July 19, 1924). Stein also painted the department of a printing firm, to Art Director and covers for a number of Edgar Rice Burroughs nov-copywriter with a prominent advertising agency —
els for that magazine, including the first issue of the all while continuing his music career at night: form-serialized The Bandit of Hell’s Bend (September 13, ing bands, doubling on sax, keyboards, drums, and 1924), the first part of a serialization of At the Earth’s bass, and fronting his groups as lead singer and gui-Core (April 4, 1914), the sequel to that, Pelucidar, re-tarist. In 1965, Steranko met Joe Simon, co-creator using the same image ( All-Story Cavalier Weekly, of Captain America, who asked him to help develop May 8, 1915), The Lad and the Lion (first part, June a new line of characters for Harvey Comics. Three 30, 1917), The Red Hawk (first part, September 5, were accepted for publication: Spyman, Magicmas-1925), and The Eternal Lover (March 7, 1914). From ter and The Gladiator, but the line folded after a few the 1920s to the mid 1930s Stein illustrated myster-issues. Dissatisfied with the artistic handling of the ies and westerns for book publishers such as Double-series, Steranko subsequently developed a presenta-day Doran, and did covers for Street and Smith’s tion for a new character and sold the property to Love Story Magazine, Complete Stories, and others.

Paramount Pictures as a Saturday-morning animated He continued to illustrate well into his seventies: TV series. The same day, he was hired by Marvel Clues, Private Detective and The Shadow (1943) and Comics’ Stan Lee to illustrate their 007 hero Nick a cover illustration for Astounding Stories (1942). He Fury, Agent of S.H.I.E.L.D. and Steranko soon be-also did Hollywood graphic portrait art. Stein was a came one of the most acclaimed artists and writers member of the Society of Independent Artists, and in the comic field. He also wrote and drew Captain also exhibited there. He died in Flushing, New York, America, The Hulk, Superman, and the X-Men (for 1958. Stein’s painting for the first magazine appear-which he created the classic title logo).

ance and the first edition of The Bandit of Hell’s Bend While working for Marvel in the late 1960s, Ster-was highlighted in a Burroughs Bulletin — New Se-anko branched out into film projects, both his own ries Number 34 — Spring 1998.

and for animated films for Paramount, scripting and Sources: Alexander Berkman Papers: International Institute developing characters for Shamus Culhane ( Bugs of Social History archives www.iisg.nl/archives; PBS Ameri-Bunny) and Ralph Bakshi ( Fritz the Cat). A decade can Experience: Emma Goldman biography www.pbs.org/
wgbh/amex/goldman/index.html; Weinberg, 1988.

later he created the initial production illustrations for Raiders of the Lost Ark (1981) and was among the Published Work
first to be hired by Francis Ford Coppola for Bram BOOKS ILLUSTRATED INCLUDE: The Alibi (Small, Stoker’s Dracula (1992), on which he was the film’s Maynard, 1916), The Bandit of Hell’s Bend (A.C. Mc-Project Conceptualist. He served in a similar capac-Clurg, 1925), Cursed (Small, Maynard, 1919).

ity for three other of the director’s projects, and has MAGAZINES ILLUSTRATED INCLUDE:

worked with other filmmakers, including Oliver ASF : 1942 (11)

Stone.

UNK: 1939 (10)

It wasn’t until the late 1960s to early 1970s that Steranko entered the field of record jacket graphics,

Sternbach

434
book cover art, and magazine illustration. He illus-lustrated portfolio (Baronet, 1978), Gerani, Gary, trated for science fiction, heroic fantasy, Western and The Art of Star Wars Galaxy (Underwood-Miller, pulp adventure books and produced a number of 19940, Kesey, Ken. Sorcerers: A Collection of Fantasy paperback covers for titles by Ray Bradbury, Michael Art (Ariel Books, 1978), Steranko: Arte Noir (Sem-Moorcock, Raymond Chandler, Robert E. Howard, ana Negra/Vanguard Productions, 2002).

Harlan Ellison, and others. Tallying the numerous works he has created for comics, magazines and Published Work
books, Steranko has set what might be a world’s BOOKS ILLUSTRATED INCLUDE: (Pyramid “Shadow”

record for visualizing more classic fictional heroic series are numbered): Ace of the White Death characters than any other artist, including Sherlock (Berkley, 1970), The Bat Staffel (Berkley, 1969), The Holmes, Luke Skywalker, The X-Men, Mike Ham-Black Master #2 (Pyramid, 1974), Charg Monster #20
mer, the Green Hornet, James Bond, Captain Amer-

(Pyramid, 1977), Creeping Death #14 (Pyramid, ica, Han Solo, Sam Spade, Superman, Captain Kirk, 1977), The Crime Cult #6 (Pyramid, 1975), Death Mr. Spock, Conan, Doc Savage, Buck Rogers, and Giver #23 (Pyramid, 1978), Dinosaur Tales (Barnes The Shadow, for which he painted 30 book covers for

& Noble, 2005), Double Z #5 (Pyramid, 1975), Edge Pyramid/Jove Books for their reprint series in pa-

(Vanguard, 2004), Fingers of Death #17 (Pyramid, perback.

1977), The Ginger Star (Ballantine, 1974), Gray Fist In 1968–1969 Steranko established his own pub-

(Pyramid, 1977), Green Eyes #13 (Pyramid, 1977), lishing company, Supergraphics, to produce material Hands in the Dark #4 (Pyramid, 1974), The Hounds related to visual storytelling, and formed his own of Skaith (Ballantine, 1974), Iceworld (Lancer, 1973), magazine, Comixscene, later changed to Mediascene, Illustrated Harlan Ellison (Baronet, 1978), The Death which covered the movie and entertainment field.

Giver ( Jove, 1978), Dinosaur Tales (Bantam, 1983), He also began publishing Prevue, an international Infinity One; Infinity Two; Infinity Three (Lancer, newsstand entertainment magazine. Steranko has 1970, 1971, 1972), Kelwin (Lancer, 1970), Kings of frequently lectured on popular culture and his two Crime #11 (Pyramid, 1976, 1978), The Living Shadow volumes of The History of Comics (Crown, 1972),

#1 (Pyramid, 1974, 1978), Lord of Blood (Magnum, have sold more than 100,000 copies each. He has 1970), Master of the Dark Gate (Lancer, 1970), Mas-exhibited his work at more than 200 international exters of the Pit (Lancer, 1971), The Mighty Barbarians hibitions and venues, including the Louvre in Paris, (Lancer, 1977), The Mighty Swordsmen (Lancer, and he remains active in fandom through artist guest 1970), The Mobsmen on the Spot (Pyramid, 1974), appearances and book signings at genre conventions.

Mox (Pyramid, 1975), Murder Trail #18 (Pyramid, In recent years Steranko has largely moved away 1977), Police Your Planet (Ballantine, 1975), The from illustration and devotes most of his time to de-Prisoners of the Sky (Lancer, 1969), Purple Aces veloping new projects and expanding his already es-

(Berkley, 1970), The Reavers of Skaith (Ballantine, tablished influence in the field. During the past 1976), The Red Menace (Pyramid, 1975), Return to the twenty years, he has amassed more than sixty proj-Stars (Lancer, 1969), The Romanoff Jewels #9 (Pyra-ects — his “Theatre of Concepts”— which he intends mid, 1975, 1978), Shadowed Millions #12 (1976, to develop as intellectual properties for a series of 1978), The Shadow’s Shadow #16 (Pyramid, 1977), books, toys, games, TV shows, films, electronic en-Shores of Tomorrow (Lancer, 1971), The Silent Death tertainment formats, and other licensed ephemera.

#22 (Pyramid, 1978), The Silent Seven #10 (Pyramid, His recent projects include a lengthy essay on nar-1975), The Unknown ( Jove, 1978), Warlock and War-rative concepts in film, animated games, and comics riors (Berkley, 1971), The Wealth Seeker #21 (Pyra-in the Watson-Guptill instructional volume Visual mid, 1978), Weird Heroes #1, #2, #3, #7 (Pyramid, Storytelling: The Art and Technique (Watson-Gup-1975, 1976. 1977), Zemba #19 (Pyramid, 1977).

till, 2002), scriptwriting for Warner Bros. Justice MAGAZINES ILLUSTRATED INCLUDE:

League TV series, and serving as Creative Consultant AMZ 1969 (9)

for the History Channel’s two-hour documentary HM: 1981 (6, 8, 9, 10); 1982 (1)

Comic-Book Superheroes-Unmasked (2003).

Misc.: Art of Steranko 2007 Calendar-Portfolio Sources: e-mail from the artist July, 2006; Steranko, Jim, Spurlock David J. and DePree, Peter. Steranko: Graphic Prince (Vanguard, 2006)

of Darkness (Vanguard Productions, 1997); Who’s Who of American Comic Books 1928–1999 online http://www.bailsprojects.

com/; James Steranko biography online www.comicart.com/

Sternbach, Rick
biographies/steranko.htm;

(b. July 6, 1951) American artist. Richard Michael Collections and Anthologies

Sternbach was born in Bridgeport, Connecticut, (various contributing artists)

Sternbach was brought up in nearby Stanford. He at-Caputo, Tony, Ellison, Harlan and Steranko, Jim.

tended the University of Connecticut for three years

“Repent, Harlequin!” said the Ticktockman,” an iland then dropped out to learn directly through

435

Sternbach
working in the field. He had been interested in as-variety of freelance projects related to spaceflight tronomical art since childhood, and much of his sci-and space hardware modeling.

ence fiction art has an astronomical flavor. His first Sternbach continues to produce book and mag-published art was done for Analog in 1973. Since that azine covers in both the science fiction and astro-time, he has painted covers for all of the major mag-nomical art fields and is probably one of the best-azines in the field as well as most of the major paper-known artists in the space-art field. He works back and hardcover publishers. His clients have in-primarily with the air brush but also uses ordinary cluded NASA, Sky and Telescope, Data Products, brushes. Most of his paintings feature ships and Random House, Smithsonian, Analog, Astronomy, planetary objects, with people and machinery play-The Planetary Society, and Time-Life Books. Stern-ing only a small part of the total picture.

bach was nominated for the Hugo Award four times, Sources: www.ricksternbach.com; Weinberg, 1988
winning it in both 1977 and 1978 for best professional science fiction artist. His art has been shown Art Collections and Anthologies
at the Society of Illustrators (NY), the American (various contributing artists)

Museum of Natural History, Hayden Planetarium Harrison, Harry and Edwards, Malcolm. Space-

(NY). The National Air and Space Museum/Smith-craft In Craft and Fiction ( Orbit, 1979).

sonian Institution (Washington, D.C.), and various Published Work
other public venues and galleries. Sternbach helped BOOKS ILLUSTRATED INCLUDE: Asimov’s Choice found the Association of Science Fiction and Fantasy (Dale, 1978), Astronauts and Androids (DAW, 1977), Artists, 1976, and he is a founding member and Fel-The Avatar (Berkley, 1975), Breaking Earth (Tor, low of the International Association of Astronomi-1981), City At World’s End (Ballantine, 1983), The cal Artists, which was formed in 1981. He also has Complete Venus Equilateral (Ballantine, 1980), Dream written and illustrated articles on orbital transfer ve-Millenium (Ballantine, 1974), Futures Past (Ballantine, hicles and interstellar flight for Science Digest.

1982), The Gallatin Divergence (Ballantine/Del Rey, Beginning in the late 1970s Sternbach added 1985), A Gift From Earth (Ballantine, 1975), Grayspace film and television illustration and special effects Beast (Doubleday, 1976), Hellspark (Tor, 1988), to his background, with productions like Star Trek: Homebrew (NESFA Press, 1976), If the Stars are Gods The Motion Picture (1979), The Last Starfighter (Berkley, 1978), Listeners (Ballantine, 1972), Long (1983), Future Flight (1987), and Cosmos (1980), for Shot for Rosinante (Del Rey/Ballantine, 1981), Macro-which he and other members of the art team re-life (Easton Press, 1990), Manseed (Del Rey/Ballan-ceived an Emmy award, the first for visual effects.

tine, 1981), The Nagasaki Vector (Ballantine, 1983), In 1977 Sternbach worked for the Disney Studios Neutron Star (Ballantine, 1976), Nightfall and Other for nearly a year, then did some work for the Jet Stories (Ballantine, 1984), Pirates of Rosinante (Del Propulsion Laboratory. In 1978 he was hired by Rey/Ballantine, 1982), Pohlstars (Del Rey/Ballantine, Paramount Pictures to work on the Star Trek film, 1984), Ringworld (Ballantine, 1976), Ringworld (Bal-and he moved to California with his wife to con-lantine, 1975), Sector General (Del Rey/Ballantine, centrate on film and television work. In late 1977

1983), Sector General: Star Healer (Del Rey/Ballan-he worked as a visual effects supervisor on Cosmos, tine, 1985), Space Doctor (Del Rey/Ballantine, 1981), the TV series done by Carl Sagan for Public Tele-The Space Enterprise (Ace, 1980), Starman Jones (Bal-vision. With the rebirth of Star Trek, beginning lantine, 1978) , Tales of Known Space: The Universe of with The Next Generation (1987 TV series), Stern-Larry Niven (Del Rey/Ballantine, 1975), Tom Paine bach was one of the first employees hired to up-Maru (Del Rey/Ballantine, 1984), Transatlantic Tun-date the Trek universe. He created new spacecraft, nel Hurrah! (Tor, 1981), Under Pressure (Ballantine, tricorders, phasers, and hundreds of other props 1976), A Wreath of Stars (Dell, 1978), World Out of and set pieces. Using pencil, pen, and computer, Time (Henry Holt, 1976), Worlds Vast and Various Sternbach designed spacecraft for Deep Space Nine (Eos, 2000), Wrong End of Time (DAW, 1973).

and Voyager (both 1995 TV series), and contributed graphic designs for the Star Trek: Nemesis feature MAGAZINES ILLUSTRATED INCLUDE:

film (2002), including the new Romulan bird of ASF : 1973 (10); 1974 (2, 10); 1975 (4, 6, 9); 1976
prey and Senate chamber floor. Additionally, he has (2, 7, 8, 9. 12); 1977 (5, 6, 7, 10, 12); 1978 (1, 4); 1980
contributed designs to reference guides to the Trek (12); 1981 (1); 1982 (7, 12); 1985 (2) universe published by Pocket Books, such as Star CSF : 1977 (5)

Trek Spaceflight Chronolog y (1980), (1991), U.S.S.

DEST: (1981 (winter)

Enterprise NCC-1701-D Blueprints ( 1996), and F&SF : 1974 (2); 1976 (4, 7); 1977 (2, 6, 8); 1978

( 1998). Sternbach also provided computer play-

(5, 9); 1979 (5)

back graphics and animation elements for Steven GXY: 1974 (1, 2, 5, 6); 1975 (7); 1976 (1, 5, 9, 12); Soderbergh’s film Solaris (2002). He works on a 1977 (3)

Stevens

436

IASFA: 1979 (summer)

At the same time, Stevens also illustrated interi-IASFM: 1977 (spring, summer, fall); 1978 (1, 3, ors for the Popular science fiction magazines. Virgil 5, 7, 9); 1981 (5, 7)

Finlay*— consistently a fan favorite — had been IF : 1974 (2, 4, 12)

drafted in late 1942, and his interiors for Famous Misc.: Foundation: The Psychohistorians record Fantastic Mysteries were important to the success of album cover (Caedmon Records, 1976).

the magazine. When he went into the service, other artists were needed to fill his shoes. Stevens regis-Stevens, Lawrence Sterne
tered for the draft, but at the age of fifty-six he did (December 4, 1886–January 7, 1960) American not enlist, and hence was able to fill in for Finlay. Al-artist. Stevens was famous in the science fiction field though Stevens’ style was clearly different from Fin-for the work he did under the pseudonym Lawrence.

lay’s, his work had a similar photographic detail, and However, although he was responsible for all of the he was considered “the most successful of Finlay’s black-and-white illustrations that appeared under mimics” (Vadeboncoeur, Jr. 1998). Stevens, as Wein-this name (as well as those that appeared under the berg noted (1988), was capable of drawing the same name Verne Stevens), many of the paintings credited sort of beautiful women that graced Finlay’s best il-to him were done by his son Peter Stevens*. Carry-lustrations. When Finlay returned to illustrating ing the same name as his father (1825–1904), who after the war, Stevens was so firmly entrenched as was an Episcopalian clergyman, Stevens was born an artist for the Popular science fiction magazines in Pontiac, Michigan. Like his contemporary Joseph that the two men shared art assignments for the rest Clement Coll*, Stevens received his art education of the life of the magazine. Stevens also branched by being a newspaper illustrator. This was in a pe-out to other magazines, producing some fine art for riod before photos could be easily printed on Thrilling Wonder as early as 1943. However, a vast newsprint, and illustrators were trained to produce majority of his art was done for the Popular chain.

quick and accurate sketches of important events with It is thought that Stevens retired in the early near photographic accuracy, using line work and 1950s when he moved to Connecticut. One of the stipple, that would reproduce by standard printing finest interior artists ever to work in the science procedures of the time. In 1914 Lawrence was sent by fiction field, he died unnoticed by the science fiction one of the major newspapers to cover the war in Eu-community in January 1960.

rope. During his stay there, he met a girl in Lon-Sources: Ancestry.com. U.S. World War II Draft Regis-don, got married, and settled down in England. It tration Cards, 1942 [database on-line]. Provo, UT, USA: The Generations Network, Inc., 2007; Clute, John and Peter was there that his son was born.

Nicholls, Eds. The Encyclopedia of Science Fiction. (St. Martin’s Lawrence moved back to the United States in the Press, 1993); “Virgil Finlay” biography, by Jim Vadeboncoeur late 1930s, shortly before the outbreak of war in Eu-Jr. in his Collection of Knowledge, 1998 www.bpib.com/illus-rope. There was no longer a market for newspaper trat/finlay.htm; Weinberg, 1988.

illustration, but the booming pulp market needed Collections and Anthologies
artists. Lawrence was already in his late fifties but (various contributing artists)

began working for Popular Publications. He started Aldiss, Brian. Science Fiction Art: The Fantasies of doing interior illustrations for western, detective, SF. (Bounty Books, 1975), Frank, Jane and Howard.

and romance pulps and used the same photographic The Frank Collection: A Showcase of the World’s Finest style that he used for newspaper illustration. The Fantastic Art (Paper Tiger, 1999), Frank, Jane and crisp, detailed line work was perfectly suited for in-Howard. Great Fantasy Art Themes From the Frank expensive pulp paper. Lawrence was incredibly fast Collection (Paper Tiger, 2003).

compared to most other professional artists; he could complete a full-page, detailed, black-and-white il-Published Work
lustration in only a few hours. He was a perfect fill-AMF : 1949 (12); 1950 (2, 10)

in artist for other artists who might fall behind on AMZ: 1951 ( 9, 12); 1952 (2, 3, 5, 7); 1968 (11) their deadlines or not complete an illustration.

ASH:1942 (10); 1943 (2, 4)

In late 1942, Lawrence was approached by the FA: 1951 (7, 8, 12); 1952 (4)

editors of Popular Publications about doing artwork FFM: 1943 (9, 12); 1944 (3, 6, 9, 12); 1945 (3, 6, for their science fiction magazines. In November 9, 12); 1946 (2, 4, 6, 8, 10, 12); 1947 (2, 4, 6, 8, 12); 1942 “Stephen Lawrence,” actually Lawrence Sterne 1948 (2, 4, 6, 10, 12); 1949 (2, 6, 8, 12); 1950 (4, 6, Stevens, was credited for the cover art for its Super 8, 10); 1951 (5, 7, 10, 12); 1952 (2, 4, 6, 8, 10, 12); Science Stories. However, the December 1942 cover 1953 (2, 4, 6)

of its Astonishing Stories was also credited to “Stephen FN: 1948 (3, 7, 11); 1949 (3, 5, 7, 9); 1950 (1, 5, Lawrence,” actually Stevens’ son Peter. For the next 7, 9); 1951 (1, 4, 6)

ten years, covers appearing under the name FSQ: 1950 (spring, summer, fall); 1952 (spring)

“Lawrence” were done by one or the other Stevens.

FUT: 1951 (3, 7)

437

Stinson

OW: 1953 (7); 1955 (5, 11)

To take up the slack left by the departure of Vir-SF+: 1953 (12)

gil Finlay* during World War Two, Steven’s father, SS: 1946 (spring, summer); 1947 (7, 11); 1948 (1, Lawrence, began doing interior illustrations, while his 3, 5, 7, 9, 11); 1949 (1, 3, 5, 7, 9, 11); 1950 (1, 5, 7) son continued to paint covers for Popular outside SSS: 1942 (11); 1943 (2, 5); 1949 (1, 4, 7, 9, 11); the science fiction field. In late 1943 his father began 1950 (1, 3, 5, 7); 1951 (1, 4, 6)

handling the cover art for Famous Fantastic Myster-TWS: 1945 (fall); 1946 (winter, summer, fall); ies along with most of the interiors. But Lawrence was 1947 (4, 6, 10); 1948 (2, 6, 8, 10, 12); 1949 (2, 4, 6, over fifty years old, and there was only so much work 8, 10, 12); 1950 (2, 4); 1951 (4, 6, 8, 10, 12) he could do. So in 1946 Stevens began doing some UNI: 1953 (3); 1954 (4, 5, 8); 1955 (10) of the covers for FFM, with credit going to the catch-all name “Lawrence.” For the next four years, Stevens, Peter S.

Stevens’s father did all of the black-and-white inte-

(March 27, 1920–December 4, 2001) American riors credited to “Lawrence” and a few of the cover artist. An unknown name to most science fiction art paintings. Stevens, too, did twenty paintings under fans, Peter Sterne Stevens was one of the most pop-the “Lawrence” name, paintings that were highly ular cover artists of the late 1940s. He was one of praised in the science fiction field and thought to be the finest cover painters ever to work for the pulp the work of his father. As Popular’s science fiction magazines and produced hundreds of excellent magazines faltered, the work load decreased and paintings in all genres before moving on to fine art.

Stevens’s father was able to resume most of his paint-Stevens was born in London, England, the son of ing duties. Stevens then continued to do covers for American artist Lawrence Sterne Stevens*. His Popular, mainly for Argosy, and throughout the mother was also an artist. Stevens studied art at the 1950s also worked for mainstream magazines such Royal Academy of London, where he met his future as Saturday Evening Post, American Weekly, McCall’s, wife, Diana. In 1937, when World War II threat-Redbook, and others.

ened, he and his family returned to the United In 1959 Stevens’s illustration for a Hugh Cave States. By 1941, at the age of twenty-one, he had story, “The Mission,” featuring a young island girl, begun his long association with Popular Publica-Yolanda, received the most mail ever for any illustrations, working along with his father as a cover artist, tion done for the Post, Weinberg reports (1988), and for the same publisher. Popular was the leading pulp Stevens took this as a sign of things to come. Stevens magazine publisher in the United States at the time turned to fine-art and portrait painting and became and produced a huge line of magazines ranging from a successful gallery artist, although he continued to western to detective to science fiction. Stevens was occasionally contribute interior to the Post in the soon doing covers for the detective and adventure early 1970s. The Stevenses lived in upper New York magazines, including Argosy, the immensely suc-State for many years, where he designed theater cessful pulp that Popular acquired from the Frank scenery, and was a pianist, composer, and licensed A. Munsey Co. in 1942. Stevens did seven covers for pilot. In 1993 he painted a number of portraits of Argosy, from 1943–1949. Like his father, he was an judges for the restoration of the Court of Appeals, Al-astonishingly fast artist and was able to do one paint-bany New York. Stevens died in St. Petersburg, ing or more a week. Along with Raphael De Soto*, Florida, survived by his wife Diana and son, Bran-Stevens dominated the covers at Popular for the next don.

ten years.

Sources: Weinberg, 1988; Ancestry.com. New York Pas-In 1942 Stevens’s first science fiction magazine senger Lists, 1820–1957 Ancestry.com. Social Security Death Index [database on-line]. Provo, UT, USA: The Generations cover art appeared. However, it did not appear Network, Inc., 2006, 2007
under his own name. The December 1942 issue of Astonishing Stories features a cover by “Stephen Published Work

Lawrence.” To fans, this was the same artist who had AMF : 1949 (12)

just done the cover for the November issue of Super ASH: 1942 (12)

Science Stories. However, the November cover was FFM: 1946 (10); 1947 (4, 10); 1948 (4, 8, 10, 12); painted by Peter’s father, Lawrence Sterne Stevens, 1949 (2, 4, 6, 8, 10); 1950 (2)

who also was working for Popular. Thus both artists FN: 1948 (9); 1949 (5, 7, 9); 1950 (1) used the same pseudonym to do covers for two different magazines. The confusion that resulted per-Stinson, Paul
sisted throughout Stevens’ career in the pulps, and (b. September 5, 1953). American artist. Stinson likely contributed to enhancing his father’s reputa-was born and grew up in New Jersey, and graduated tion at the expense of his son’s, although for these from the School of Visual Arts (NY) with a BFA in magazines Peter mostly did covers, while his father 1976. His art influences were Michelangelo and Sal-did both covers and interiors.

vador Dalí, His first commercial assignment in the

Stone

438
science fiction field came in that same year, from St.

Stone, David Karl

Martin’s Press — the cover art for Joe Haldeman’s (March 24, 1922–February 2, 2001) American novel, Mindbridge. Some of Stinson’s earliest work artist. Born in Reedsport, Oregon, Stone grew up also appeared in a science fiction calendar, 1978. By in Klamath Falls and served in World War II in the the early 1980s Stinson had branched out to pharma-infantry where he rose to the position of first ceutical advertising and packaging art for science lieutennt. He received a BA in fine arts from the fiction and fantasy computer games, while continu-University of Oregon, and pursued graduate study ing to produce cover art for books. During this pe-there and at the Art Center College in Los Angeles riod his artwork appeared in the Battlefield Earth and the Universidad de Michoacan in Mexico. For calendar, 1985. In the 1990’s he continued to con-a year, he did sketchwork in remote areas of Mexico, tribute to the SF genre, working for clients such as maintaining a studio at Morelia, Michoacan, Mex-Tor, Warner, Bantam, HarperCollins and others ico. In 1949 Stone moved to New York, and mar-while adding other publishing genres to the mix: ried his wife Peggy in 1952. They had two daughters, mystery, adventure and techno-thrillers. He is some-Jamie and Kelly. Professionally, for illustrative work times credited for his illustrative art as “Paul E. Stin-Stone generally was credited as David K. Stone, or son.” The artist’s medium of choice is airbrushed D.K. Stone; his middle name was taken from his fa-acrylics or, more recently, the computer — which he ther’s, Karl R. Stone.

uses for illustrations as well as his fine art, which he Stone’s earliest SF artwork was done for Galaxy developed in the 1990s and has marketed through a magazine in 1951, and he continued doing pulp il-line of SF limited edition prints. Stinson has won lustrations for several years before leaving the field to several awards for his art, including: The Art Direc-focus on advertising, and illustrations for magazines tors Club of New Jersey (1980–1984), an “Andy”

such as the Saturday Evening Post, Reader’s Digest, Award from The Advertising Club of New York Woman’s Day, American Heritage, McCall’s, Esquire, (1981), a Best Teller Award (1985), and awards from and Newsweek. He produced book cover art for chil-the Society of Illustrators, NY (1978–1981), among dren’s books, romance, mysteries. He also designed others.

commemorative stamps for the U.S. Postal Service Sources: e-mail from the artist February- March 2006.

and Unicover Corp., one of the world’s largest private philatelic companies. In the late 1970s he rePublished Work
turned to science fiction, illustrating jackets for the BOOKS ILLUSTRATED INCLUDE: All My Sins Re-Science Fiction Book Club.

membered (St. Martin’s Press/BCE, 1977), Amazonia Stone’s paintings are in the permanent collections (HarperCollins, 2000), Planet Called Treason (St.

of the U.S. Air Force, the U.S. Department of the In-Martin’s Press, 1979), Battlefield Earth, A Saga of the terior, NASA, U.S. Coast Guard, Princeton Univer-Year 3000 (St. Martin’s Press, 1982), The Bones (Tor, sity, the Smithsonian Institution, The Museum of 1987), Cat Magic (Tor, 1986, Grafton, 1988), Deep American Illustration, and the Society of Illustra-Fathoms (HarperCollins, 2002), Eternal Champion tors, as well as in private collections. He was com-

(Harper and Row, 1978 ), Excavation (HarperCollins, missioned to paint seventy portraits of the members 1999), Footprints of Thunder (Tor, 1995), Goodnight, of the International Aerospace Hall of Fame and is Sweet Angel (w/Tony Meyers: Tor, 1996), Graveyard probably best known for his series of over 120 paint-

(Leisure, 1995), Heritage Trilog y: Semper Mars; Luna ings, Pioneers of Flight—and painted every U.S. Pres-Marine (Avon, 1992, 1993), Houngan (Leisure, ident through Clinton.

1993), Human Error (Tor, 1985), Ice Hunt (Harper-Stone was past president of the Society of Illustra-Collins, 2001), Jesus on Mars (Pinnacle, 1979), Link tors (NY) and was a member of the board of the (Avon, 1995), Lizzie Borden (Tor, 1991), Long Lost Graphic Artists Guild. After spending most of his (Tor, 1994), Lower Deep (Tor, 1990), Makoto (Tor, career in the New York City area, he retired to 1991), Map of Bones (HarperCollins, 2004), Midas Chapel Hill, NC. Over the course of his career, World (St. Martin’s Press, 1983), Pillars of Salt Stone assembled a file as a research tool for his own (Signet/NAL, 1979), Revenge of the Manitou (Pin-artwork, which included illustration, graphic art, nacle, 1979), Road to Science Fiction #2 (New Amer-murals and other genres in the narrative tradition ican Library/Mentor, 1979). Sandstorm (Harper-which were donated to The Sloane Art Library, Uni-Collins, 2003), Scholars of Night (Tor, 1988), The versity of North Carolina.

Skystone (w/John Howe: Tor, 1996), Under the Sun-Sources : The New Visions: A Collection of Modern Science set (Newcastle, 1978), Trikon Deception (Tor, 1993), Fiction Art. NY: Doubleday & Co, 1982: www.lib.unc.edu/art

/davidstone.html; www.unicover.com

Werewolf (Longmeadow, 1991), The Wrath (Leisure, 1994).

Published Work

BOOKS ILLUSTRATED INCLUDE: The Ash Staff (Atheneum/Argo, 1979), Complete Enchanter (Dou-

439

Stout
bleday BCE, 1975), The Faded Sun: Kesrith, Faded he a medal at a National Academy of Design exhi-Sun: Kutath (Doubledy BCE, 1978, 1979), A Long bition for a painting now in the collection of the Vacation (Holt, Rinehart and Winston, 1967), Mis-Historical Society of Pennsylvania in Philadelphia.

sion to Moulokin (Doubleday BCE, 1979), Small In the science fiction/fantasy field, Stoops illus-Shadows Creep (E.P.Dutton, 1974), Stainless Steel Rat trated many of the fantastic adventure stories that Wants You (Doubleday BCE, 1979), White Jade Fox ran in Bluebook including the Kioga seies, “The New (E.P.Dutton, 1975).

Stories of Tarzan” (twelve stories that formed the M
book Jungle Tales of Tarzan) and “Tarzan’s Quest.”

AGAZINES ILLUSTRATED INCLUDE:

Sources: Lee Ann Loehr, grandniece comments October 16, AMZ: 1952 (4, 6, 7); 1953 (4, 6)

2003 online at www.askart.com [accessed April 2007]; An-BEY: 1954 (9)

cestry.com. U.S. Ancestry.com. World War I Draft Registra-FA: 1952 (6, 7, 10); 1953 (11)

tion Cards, 1917–1918; World War II Draft Registration Cards, FSQ: 1954 (winter)

1942 [database on-line]. Provo, UT, USA: The Generations Network, Inc., 2005, 2007.

FTC: 1952 (summer, fall, 11); 1953 (1, 3, 7, 11); 1954 (1); 1967 (7); 1968 (1); 1969 (4, 6, 8) BOOKS ILLUSTRATED INCLUDE: Child of the Wild GXY: 1950 (10); 1951 (2, 4, 6, 8, 10, 11, 12); 1952

(Burt, 1926), Phra the Phoenician (Harper, 1890).

(1, 2, 4, 7, 11); 1953 (4, 10. 12); 1954 (2); 1955 (1, 4, 5)

Stout, William

GXYN: 1950 (1)

(September 18, 1949) An American artist, Stout SS: 1954 (summer)

was born in Salt Lake City, Utah and grew up in Reseda, California. At seventeen he won a full California State Scholarship to the Chouinard Art Insti-Stoops, Herbert Morton
tute (California Institute of the Arts) where he (May 28, 1887?–May, 19, 1948) American artist.

obtained his Bachelor’s Degree. He began his pro-Stoops was born in Parowan, Utah, the son of a cler-fessional career in 1968 with the cover for the first gyman, in 1887 or 1888, and grew up on a ranch in issue of Coven 13 magazine. Since the early 1970s he Idaho. He attended Utah State University, graduat-has enjoyed a diverse career, many projects and var-ing in 1905, before going to work as a staff artist for ied media in the science fiction and comic book field.

various newspapers in San Francisco: The Examiner, His influences include late 19th children’s book The Chronicle and Morning Call. In 1910 he began artists such as Rackham, Dulac, Detmold and Ley-working for the Chicago Tribune, and later, in 1916
endecker, and the modern artists Frank Frazetta*
he studied at the Art Institute of Chicago. In 1917 his and Mobius. Stout works in both watercolors and oils; career was interrupted when he enlisted in the army he uses watercolors for light or whimsical work, with and served as a first lieutenant artillery officer in oils for more more thoughtful or deeper projects.

France with the First Division. He gained national Stout’s comic art career began in 1971 when he attention with his drawings of soldiers, showing assisted Russ Manning on his Tarzan of the Apes them wounded and exhausted by war in the newspaper comic strips and graphic novels. From trenches. After the war, Stoops went to New York 1976 to 1977 Stout was art director for the rock mag-City where he began work as an illustrator, doing azine Bomp! Stout was the first American contribu-both cover paintings and interior art for magazines; tor to Heavy Metal magazine and was later one of westerns, military themes and adventure. He pro-the first Americans to be featured in the original Eu-duced work for several magazines, including Cos-ropean version of that magazine, Métal Hurlant. In mopolitan, Colliers and This Week, but he is best re-1978 he won an Inkpot Award For Outstanding membered for the covers he produced for major pulp Achievement in Comic Arts.

magazines, especially those he produced for Blue In 1977 Stout painted his first movie poster, for Book during his long, thirteen-year association with WIZARDS, ultimately working on the advertising that adventure pulp. He was a regular cover artist for over 120 films including both Conan films, First for Bluebook and did many interiors for them as well, Blood, The Hitcher and Invaders from Mars, Return under his own name and the pseudonyms as “Je-of the Living Dead— for which work Stout became remy Cannon” or “Raymond Sisley” which he used the youngest production designer in film history at when doing black-and-white dry-brush illustrations.

the time. Stout wrote The Warrior and the Sorceress Stoops was working on a series of covers for Blue for Roger Corman and a dinosaur feature for Jim Book, commemorating the 48 states, when he died.

Henson. He production designed Masters of the Uni-He had completed 17.

verse and designed John McTiernan’s A Princess of Stoops served as president of the Artist’s Guild in Mars. In 1995 Stout became the key character de-New York and belonged to several other artist or-signer for the Walt Disney full length computer an-ganizations, including the Society of Illustrators and imated feature Dinosaur (released in 2000). He de-the American Artists Professional League. In 1940
signed “Edgar” (the big bug in Men in Black) for

Stout

440

ILM in 1996. Other projects include designs for The Giraud on a new Arzach story for the twentieth an-Muppets Wizard of Ozthen, Kerry Conran’s John niversary of Heavy Metal. The next year Stout Carter of Mars and Guillermo del Toro’s Pan’s worked on projects for Walt Disney’s Animal King-Labyrinth and his movie version of H. P. Lovecraft’s dom followed by working as the lead designer for At The Mountains of Madness.

Kansas City’s Wonderful World of Oz theme park, Stout’s literary illustrations include his landmark and as a designer for Michael Jackson’s NeverLand 1981 Bantam Books publication The Dinosaurs — A and a Toronto Dinotopia theme park. Stout illus-Fantastic New View of a Lost Era (updated and re-istrated the multiple award-winning Abu & The 7
sued as The New Dinosaurs), followed by Ray Brad-Marvels, the first children’s book by SF author bury’s Dinosaur Tales and The Little Blue Bron-Richard Matheson. In the late 1990s through 2005
tosaurus (1984 Children’s Choice Award recipient Stout received gold and silver awards from the So-and the basis for The Land Before Time animated ciety of Illustrators (NY and Los Angeles) for chil-feature). These books established Stout’s reputation dren’s book illustrations, and a silver Award for work as a foremost illustrator of prehistoric reptiles and appearing in Spectrum 11 (2004). Stout’s own pub-dragons. In 1986 he was elected the 10th president of lishing company, Terra Nova Press, has published 26
the Comic Art Professional Society, an organization books on art and the history of art, including Edgar of which Stout was a founding board member. Be-Rice Burroughs (1999), A Tribute to Ray Harryhausen ginning in 1987, Stout worked for Walt Disney (2003) and series of annually published sketchbooks: Imagineering for a year and a half as a conceptual-Monsters Volume 1, 2 (2000, 2002), The Dinosaurs ist, designer and producer, and continued themed Volume 1,2, 3 (1997, 2000, 2001), 50 Convention entertainment design work for many Disney and Sketches Vol. 1–11 (1992–2002). Stout was a 1993
non–Disney projects until being hired in 1989 by Chesley Award nominee for Lifetime Artistic Lucasfilm/Industrial Light and Magic as conceptu-Achievement, and 2003 Bram Stoker Award nomi-alist and chief designer for their first foray into nee from the Horror Writers Assn. The artist contin-themed entertainment centers.

ues to speak widely on his passion for Antarctica, In 1989 Stout undertook a voyage to Antarctica and remains dedicated to depicting prehistoric and Patagonia, and the profound spectacle of the wildlife. He is a favorite guest at fantasy and comic

“last continent” changed his life, and led to a 45
conventions. Stout resides in Pasadena, California painting one man show “Dinosaurs, Penguins and with his wife and two sons.

Whales-The Wildlife of Antarctica” (1991). Since Sources: e-mail from the artist December 2005–January that time he has worked for many projects related 2006; www.williamstout.com; Arcudi, John “A Concise History of the World According to William Stout” Juxtapoz, Jan-to Antarctica, including a book project Lost Conti-uary/February 2001, No. 30, pp. 38–45; Guillermo del Toro nent: Modern and Prehistoric Life in Antarctica, the Films: An Interview with William Stout posted 3/11/2005 [ac-first visual overview of life in Antarctica. For his pi-cessed 1/15/2006]. http://www.dinosaur.org/dinodel/dinodel-oneering work in this field, Stout received several stout.htm
honors, among them being one of two people seBOOKS ILLUSTRATED INCLUDE: The Dinosaurs—A lected by the National Science Foundation to partic-Fantastic New View of a Lost Era (Bantam, 1981), Di-ipate in their Antarctic Artists and Writers Program nosaur Tales (Bantam, 1983), The Emerald Wand of during the 1992–1993 austral summer.

Oz (HarperCollins, 2005), The Illustrated Harlan Stout’s career in the 1990s continued to grow in Ellison (Baronet, 1978), Land of Oz, The Wonderful diversity. Stout’s work was an inspiration for Crich-Wizard of Oz (iBooks, 2001), The New Dinosaurs ton’s book Jurassic Park, and in 1993, Universal Car-

(iBooks, 2000), Time Machine series: #2 Search for toon Studios chose Stout to design a Jurassic Park Dinosaurs, #3 Sword of the Samurai, #6 Rings of Sat-prime time animated series. Stout continued with urn, #7 Ice Age Explorer, #12 Search for the Nile, #16
mural work for museums through the decade and Quest for the Cities of Gold, #21 Caravan to China continued with theme park attraction creation and (Bantam, 1984, 1985, 1986, 1987), Trouble Under Oz design for MCA/Universal’s Islands of Adventure. In (HarperCollins, 2006), The Ultimate Dinosaur (Ban-1993, he was the first prehistoric wildlife painter to tam, 1992).

have a full color article devoted to his work in Exhibitions include: “The Prehistoric World of Wildlife Art News (May/June issue). In that same William Stout,” first one-man exhibition, Los An-year Stout was invited to become a member of the geles, CA, 1977, “Dinosaurs Past and Present.” Trav-California Art Club. He is currently a member of eling group exhibition, 1980s, “Dinosaurs, Penguins the executive board and became a C. A. C. Signature and Whales — The Wildlife of Antarctica,” first one Member in 1997. From 1995–1997, he worked for man show for the Natural History Museum of Los Steven Spielberg as his senior concept designer for Angeles County, January 1991, “William Stout’s Vi-GameWorks, a Sega/ Universal/DreamWorks SKG
sions of Gondwana—Past and Present Life in Antarc-joint project and collaborated with Jean “Moebius”

tica,” Natural History Museum of L. A. County,

441

Sweet

September, 1995, “Dinosaurs, Penguins & Whales—

1953 (4); 1956 (11, 12); 1957 (1, 2, 11); 1958 (3, 4, 5, William Stout’s Antarctica” Muckenthaler Cultural 6, 7, 9, 12); 1959 (4, 6, 7, 8, 9, 10 11, 12); 1960 (1, 2, Center, Fullerton, CA, 1999,

4, 5, 6, 8); 1961 (2, 3, 5); 1962 (1, 4 7, 8, 9, 11, 12); Misc.: Artist’s Choice card set (Comic Images, 1963 (2, 3, 4, 5 7); 1966 (2); 1969 (1, 3) 1997), The Art of Star Wars Galaxy anthology, vari-ASF : 1959 (1, 2, 4, 5, 89, 12); 1960 (1, 3, 10, 12); ous artists (Novato, 1994), Legends Of Arzach Gallery 1961 (1, 8); 1962 (10); 1963 (4, 5, 6, 7, 8, 9, 10, 11); 1: The Charcoal Burners Of Ravenwood portfolio 1964 (1, 2, 3, 6, 10); 1965 (2, 3, 8); 1966 (3, 5, 8, 9, (Tundra Publishing, 1992), Saurians & Sorcerors card 10, 12); 1967 (2, 3, 4, 8, 9, 10); 1968 (2, 4, 5, 6, 8, 9, set (Comic Images, 1996), StarQuest collectible card 10, 11, 12); 1969 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1970
game art (Comic Images, 1995), Unnatural Predators (1, 2, 7, 9, 11); 1971 (1, 2, 3, 5, 6, 8, 10, 11, 12); 1972
ltd. Edition card art (Narrow House Productions, (1, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1973 (1, 2, 3, 4, 5, 6, 1996), William Stout’s Lost Worlds, William Stout 2, 7, 8, 9, 10, 11, 12); 1974 (2, 3, 5, 6, 7, 8, 9, 10); 1975
trading card series (Comic Images, 1993, 1994), Wiz-

(6)

ards movie DVD poster/cover (Twentieth Century–

DW: 1957 (2, 5, 8)

Fox, 2004).

FA: 1949 11); 1950 (1, 2, 4, 7, 9); 1951 (1, 4, 6, 7, 9, 11, 12); 1952 (1, 2, 3, 4, 5)

Summers, Leo Ramon

FTC: 1952 (summer, fall, 11); 1953 (1, 5, 9); 1957

( June 13, 1925–April, 1985) American artist. Born (2, 3, 4, 5, 7, 8, 9, 10, 11); 1958 (2, 3, 4, 5, 7, 8, 9, Leo Raymond Summers in Los Angeles, California, 10); 1959 (1, 4, 6, 7, 8, 9, 10, 11, 12); 1960 (1, 2, 3, 4, Summers served in World War II and then attended 6, 7, 9, 10, 11, 12); 1961 (1, 2, 4, 5, 7, 8, 9, 10, 11, 12); the Burnley School of Art in Seattle, Washington 1962 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11); 1963 (1, 2, 4, 5, for three years. Although he was a professional artist 8); 1966 (3); 1967 (7); 1968 (12); 1969 (2, 6) for the rest of this life, he was color blind.

IF : 1954 (8, 11, 12); 1955 (2)

Summers joined the Ziff-Davis chain of magazines in 1951 and soon became art director for Amaz-Sweet, Darrell K.

ing and Fantastic Adventures. During this period the (b. August 15, 1934) American artist. Born in New company relocated to New York, and Summers Brunswick, New Jersey, Sweet lived in the central moved with them. In 1952 Ziff-Davis started a new part of the state during his childhood years. When magazine, Fantastic, a digest-sized fantasy magazine, he began drawing birds and animals in color at the with hopes of featuring higher quality fiction and age of little more than three years of age, his family graphics. Summers was made art director of that began calling him “the artist.” He received a BFA in publication as well. The early issues of Fantastic were painting from Syracuse University in 1956, winning among the most attractive visually of all science prizes for painting, illustration and design. He served fiction magazines. In early 1953 Fantastic Adventures in the Army at Fort Dix during the Korean War, and was killed by Ziff-Davis, and Amazing Stories went after discharge in 1959 launched his career as a free-to digest size. It also was attractively packaged and lance illustrator and painter. Sweet’s artistic influ-illustrated under Summer’ direction. But sales were ences are many and varied, ranging from the 19th not up to expectations, and cost-cutting measures through the twentieth century. He uses many sources for Fantastic and Amazing were soon in the works, for aesthetic input during the formative stage of a dropping both the level of the fiction and art. Sum-project. and his painterly but wholly original style of mers left both magazines in 1956.

art seems touched by nearly every major school, After his work for Ziff-Davis, Summers became without being indebted to any single one of them: a freelance illustrator, producing both science fiction from the Pyle School of American illustration, in-art, book illustration, and advertising art. He also cluding N.C. Wyeth, et. al, and Hudson River did some movie poster art. Summers continued to School landscapists, to the major European Renais-live in New York City and worked for all of the sance painters: Italian, German, Dutch and English major science fiction magazines. Late in 1975 he was landscapists such as Turner, and Constable. Among stricken with a brain seizure, and brain surgery was more contemporary influences he cites Klimt, Dalí, done in 1979. He died in New York of brain cancer.

and Parrish, and the illustrators Robert Fawcett, Sources: Weinberg, 1988; Klein, Jay Kay. “Biolog: Leo Stanley Meltzoff*, Frank McCarthy, Ed Valigursky*

Summers” Analog, March 1984; Ancestry.com. Social Security Death Index; California Birth Index, 1905–1995 [database and Tom Lovell, among others.

on-line]. Provo, UT, USA: The Generations Network, Inc., Sweet’s first commercial assignments included 2005, 2007; Obituary in Locus, May 1985.

covers for Readers Digest and others, but he was doing realistic illustration for Ballantine Books when Published Work

Lester and Judy-Lynn Del Rey were brought in to re-AMZ: 1949 (11); 1950 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, vitalize the science fiction line. Sweet’s realistic, be-11, 12); 1951 (2, 3, 5, 6, 7, 9, 10, 12); 1952 (4, 5, 7, 12); lievable fantasy illustrations were a perfect match to

Sweet

442
several popular series beginning in the late 1970s, 32". He signs his illustrative works with his initials and his work appeared on paperbacks by leading au-

“DKS.” Sweet has had several “one man” exhibitions thors of the day, among them Isaac Asimov, Stephen of his work in galleries and public spaces across the Donaldson, Piers Anthony, and Anne McCaffrey.

United States, and was a regular participant in genre His first science fiction painting was for Poul An-conventions in the Northeast before his move West.

derson’s A Midsummer’s Tempest (Ballantine, 1975).

He has had two paintings accepted in the Wyoming In the latter part of the Del Rey era Sweet was often Governor’s Capital Art Exhibition, 2002. Sweet has approached to take assignments from other major also taught and lectured widely on art, including publishing houses and in time he worked for several summer art sessions at Syracuse University, and he of them, among them Baen, Bantam, Tor, Random continues to be active in local art leagues, and speak-House, Dell, Warner and others. However, during ing to students at local high schools. His paintings the 1970s and through the 1980s he worked prima-are in private collections in 35 states and five Euro-rily for Ballantine/Del Rey. His art has been associ-pean countries.

ated with over 75 books that have been on the New A man of varied interests, Sweet in early years was York Best-sellers list, and with highly successful, involved with sports and car racing teams, and has long-running series by popular authors. The earliest always owned sports cars. He also is a long time stu-was his work for Ballantine, for the Heinlein series dent of historical and modern weapons, which has of so-called “Juveniles” (10 covers, 1977–1985), fol-stood him in good stead with fans of fantasy litera-lowed by the Eye of the World series by Robert Jor-ture who can be sticklers for accuracy in such de-dan (12 covers to date), the Xanth series by Piers An-tails. He collects, and also builds, 18th and 19th cen-thony (30 covers), and the Recluce Saga (10 covers), tury flintlock and percussion arms, and finds the art and Spellsong Cycle (7 covers), series by L.E. Mode-of the muzzle loading arms fascinating. He recently sitt, Jr.

has become interested in black powder cartridge A prolific and extremely talented artist, Sweet es-arms and “cowboy action” shooting, as well as the timates that he has produced over 2000 pieces of Trapper (1790–1850) period in American history and published art over the course of his career. Like attends rendezvous, creates clothing in skins, and many professionals, Sweet approaches his illustra-experiments with Indian beadwork. His artistic entive works as a “working American artist” who has ergies have led him to designing and building furni-tried to create art in varied categories, and is not ture, and he “dabbles” in stained glass and bronze locked into any particular genre, even though his work. He created bronze fantasy fixtures for his commercial success is indisputably linked to fantasy home, which he designed and helped construct.

literature. He works closely with art directors and Most recently he has turned to creating a series of editors, and to maintain production during the years personal paintings based on his impressions of Cody he was completing about twenty-five paintings a year Country and Northwest Wyoming, as well as confor Del Rey, he often had two or three works in tinuing to produce works based on ideas gleaned progress at the same time — with one book in the from his work in the fantasy field. Sweet listens to reading stage, another in preliminary sketches, and classical music when he paints, and is particularly a third on the easel awaiting completion as a final fond of the Baroque period. He owns and plays a painting. Research is very important to Sweet, and Zuckerman single manual harpsichord and enjoys by the time he gets to the painting stage, “most of the the music written for the instrument.

struggles are gone.” He tries never to disappoint the The artist has always wanted to live in the moun-reader; he reads every manuscript and then styles tains, away from crowds, and now does—with “high his art, and palette, to please that consumer—believ-country” and trout fishing nearby. Sweet and his ing that the most important thing is that the paint-wife, Janet and son Darrell Roger, a sculptor, live ing sell the book, for “If the publishing house doesn’t in Cody, Wyoming.

survive, neither do you.” He looks at the technical Sources: correspondence from the artist, June 22, 2005; side of every painting, plans for the typography in-Beyond Fantasy: The Art of Darrell K. Sweet (Friedlander Pub, 1996), Haber, Karen. “Sweet Sensation.” Science Fiction Age volved, and before any work leaves his studio judges magazine, July, 1998; Summers, Ian. Tomorrow and Beyond.

it on two things: art quality and integrity.

Workman Publishing Company, 1978; Di Fate, Vincent.

Sweet originally worked in oils, but early on was Infinite Worlds: The Fantastic Visions of Science fiction Art. The introduced to acrylic paints by Don Hedin, an art di-Wonderland Press/Penguin Studio, New York. 1997
rector who was also experimenting with them. The Published Work
medium enabled Sweet to paint in the style he BOOKS ILLUSTRATED INCLUDE: (all are Ballan-wanted, and yet “function as fast as my head works.”

tine/Del Rey unless otherwise noted): A Bad Day for He typically works on Upson board, or masonite, Ali Baba (Ace, 1992), The Ancient One (Tor, 1994), with flats (front covers), rarely exceeding a standard And the Devil Will Drag You Under (1984), Animist 24" × 16", and wrap-around images averaging 24" ×

(Tor, 2000), The Annals of the Heechee (1987), The

443

Sweet

Apprentice Adept series: 4 Out of Phaze, 5 Robot Rose (Baen, 1995), Firetime (1975), The Flame Upon Adept, 6 Unicorn Point (Putnam/Ace, 1987), The the Ice (1984), Flinx in Flux (1988), Forbidden Sanc-Baker’s Boy (Warner Aspect, 1996, Orbit, 1996), tuary (1982), The Foundation Trilog y boxed set Bardic Voices: 1 The Lark & The Wren, 2 The Robin (1984), The Four Magics (Baen, 1996), Fox and Em-

& the Kestrel, 4 Four & Twenty Blackbirds (Baen, pire (Baen, 1998), The Free Bards (Baen, 1997), The 1994, 1995, 1998), A Bard’s Tale: Escape from Roksa-Game of Fox and Lion (1986), The Gates of Lucifer: mur (Baen, 1997), Barrenlands (Baen, 1998), The The Land Beyond the Gate, The Armlet of the Gods, Best of L. Sprague de Camp (1978), Beyond the Blue The Sorceress of Scath, The Scroll of Lucifer (1984, Event Horizon (1980, 1991), Beyond the Draak’s Teeth 1986, 1988, 1990), Gather Darkness (1975), Gawain (1986), The Black Unicorn (1987, 1996), The Blood of and the Green Knight (MacMillan, 1979), Geis of the a Dragon (1991), The Blue Star (1981), Cachalot Gargoyle (Tor, 1995), Glory (Tor, 1994), The God-

(1980), A Case of Conscience (1979, 1986), Castle whale (1975), Godshome (Tor, 1999), Golem in the Roogna (1981, 1997), A Cast of Corbies (Baen, 1994), Gears (1986, 1997, Orbit, 1991), Giants Star (1981), Changewinds: 1 When the Changewinds Blow, 2 The Guardians of the Flame: The Sleeping Dragon, The Riders of the Storms, 3 War of the Maelstrom (Ace, Sword and the Chain, The Silver Crown (Signet, 1987, 1988), The Chaos Balance (Tor, 1997, Orbit, 1984), Guards! Guards! (Penguin/Roc, 1991), The 1998), Christmas Slaughter (Avon, 1991), Chronicles Harp of the Grey Rose (Avon, 1991), Harpy Thyme of the Deryni: Deryni Rising, Deryni Checkmate, High (Tor, 1994), Heartlight (Tor, 1995), Heaven Cent Deryni (1983), Chronicles of the Rogue Wizard: A (Avon, 1988), The Heaven Makers (1978), Heechee Wizard in Mind (Tor, 1996), The Chronicles of Rendezvous (1984), Hiero’s Journey (1982, 1995), The Thomas Covenant the Unbeliever: 1 Lord Foul’s Bane, High Crusade (Baen, 1991), Histories of King Kelson: 2 The Illearth War, 3 The Power That Preserves (1977, Bishop’s Heir, The King’s Justice, Quest for Saint Cam-1983, 1987), The Crystal Rose (Baen, 1995), Citizen ber (1984, 1985, 1986), Hrolf Kraki’s Saga (1977), Ice of the Galaxy (1979), The Color of Her Panties (Avo-Prophet (If I Pay Thee Not in Gold (Baen, 1993), The Nova, Morrow, 1992), Count Scar (Baen, 1997), Infinitive of Go (1980), In the Net of Dreams (Ques-Crewel Lye: A Caustic Yarn (Orbit, 1991), Crucible tar, 1990), The Iron Thane (Baen, 1994), Isle of View (1991), Cup of Clay (Tor, 1992), Currant Events (Tor, (Avon/Morrow, 1990), The Knight and Knave of 1996), The Curse of the Witch-Queen (1982), D’Shai Swords (1985), The Ladies of Mandrig yn (1990), The Duolog y: D’Shai, Hour of the Octopus (Ace, 1991, Lair of Bones: 3 Wizardborn, 4 The Runelords (Tor, 1994), Dance Band on the Titanic (1988), Dark is the 2001, 2003), The Last Arabian Night (Ace, 1993), Sun (1979), A Darkness Upon the Ice (1985), Deci-The Legends of the Camber of Culdi: 1 Camber of sion at Doona (1983), Demon Moon (Tor, 1994), Culdi, 2 Saint Camber, 3 Camber the Heretic (1978, Demons Don’t Dream (Tor, 1993), The Dancing Gods: 1979, 1981), Lest Darkness Fall (1975), Liavek: Festi-River of Dancing Gods, Demons of the Dancing Gods, val Week (Ace, 1990), The Light Fantastic (Penguin/

Vengeance of the Dancing Gods, Songs of the Dancing Roc, 1998), The Little Country (SFBC, Morrow, Gods, Horrors of the Dancing Gods (1984, 1985, 1990, 1991), The Lord of the Rings (1978, 1981), Lords of Dus 1995), Daughter of Magic (Baen, 1996), Dinosaur (1984), Lucifer Jones (Warner Questar, 1992), Magic Planet, Dinosaur Planet Survivors (1977, 1982), Kingdom for Sale — Sold! (1987), Mall, Mayhem & Dorella (Baen, 1992), Domes of Fire (1993), Doomfar-Magic (Baen, 1995), Man From Mundania (Avon, ers of Coramonde (1979), The Dragon Reborn (Tor, 1989), Menace Under Marswood (1983), Merlin’s 1991, Orbit, 1992), Dragon on a Pedestal (1983, Godson (1976), A Midsummer’s Tempest (1975), The Orbit, 1991), Dragon’s Egg (1980), Dragon’s Egg/Star-Mace of Souls (Morrow, 1989, Avon, 1991), A Man quake (1994), Dragon’s Eye (Baen, 1994), The Dra-Betrayed (Warner Aspect, 1996, Orbit, 1996), Mov-maturges of Yan (1982), The Eagle and the Nightin-ing Pictures (Penguin/Roc, 1992), Manhattan Trans-gales (Baen, 1995), Earthbound (Tor, 1994), The Elfin fer (SFBC, Tor, 1993), Master and Fool (Warner As-Ship (1983), The Elfstones of Shannara (1982), The pect, 1996, 1997, Orbit, 1997), Master of Many Elven Ways: The Ways of Magic, Ancient Games Treasures (Baen, 1995), The Meri (Baen, 1992), The (AvoNova, 1996, 1997), Eric (Penguin/Roc, 1995), Merlin Effect (Tor, 1996), Mouvar’s Magic (Tor, Eridahn (1982, 1995), The Erthring Cycle: The Mem-1992), The Oathbound Wizard (SFBC, 1993), Ogre, oirs of Alcheringia, The Gaian Expedient, The Mas-Ogre (1983, 1997), Night Mare (1983, 1997, Orbit, ter of Norriya (1984, 1985, 1986), The Fallible Fiend 1991), Operation Longlife (1983), Orphan Star (1977), (Baen, 1992), The Fallon Blood, The Fallon Legacy, The Other Sinbad (Ace, 1991), Orc’s Opal (Tor, 1990), The Fallon Pride (Tor/Forge, 1996, 1997, 1998), Fan-Orion Shall Rise (Phantasia Press, 1983), The Pelbar tasy Worlds of Peter Beagle (1978), Farstar & Son: The Cycle: 1 Breaking of Northwall, 5 An Ambush of Shad-Way to Dawnworld, The Treasure of Wonderwhat ows, 6 The Song of the Axe (1981, 1983, 1984 1995), (1975, 1976), Faun and Games (Tor, 1997, 1998), A Pelmen the Power Shaker: The Power and the Prophet Fine and Private Place (Penguin/Roc, 1992), The Fire (1985), Phaze Doubt (Putnam, 1990, Ace, 1991), Peo-

Szafran

444
ple of the Mist (1977), Pigs Don’t Fly (Baen, 1994, (Baen, 1994), With a Single Spell (1987). Wishing SFBC, 1994), Piers Anthony’s Visual Guide to Xanth Season (Baen, 1996), The Wishsong of Shannara (SFBC, 1990), The Prophet of Lamath (1979), Pyra-

(1985), The Witch Doctor (1994), Witches Abroad mids (Penguin/Roc, 1990), Quest of the Riddle-Mas-

(Penguin/Roc, 1993), The Witches of Wenshar (1987), ter: 1 The Riddle-Master of Hed, 2 Heir of Sea and A Wizard in War (Tor, 1995), Wyrd Sisters (Pen-Fire, 3 Harpist in the Wind (1980), Question Quest guin/Roc, 1990), The Yngling and the Circle of Power (AvoNova, Morrow 1991), The Quintara Marathon: (Baen, 1992), Yon Ill Wind (Tor, 1996), Zombie Lover 1 The Demons at Rainbow Bridge, 2 The Run to Chaos (Tor, 1998).

Keep, 3 The Ninety Trillion Fausts (Ace, 1990), Reaper Misc. : Darrell K. Sweet Fantasy Collector Trading Man (Penguin/Roc, SFBC, 1992), Riders of the Card set (FPG Pub, 1994), The Grand Adventure Winds (Ace, 1988), The Rings of the Master: 1 Lords screensaver (Second Nature Software, 1992), J.R.R.

of the Middle Dark, 2 Pirates of the Thunder, 3 War-Tolkien calendar (Ballantine, 1978, 1980, 1982), Ro-riors of the Storm (1986, 1987), Roadmarks (1979), mantic Castles of Europe collector plate series (Pecard, Roc and a Hard Place (Tor, 1995), The Run to Chaos 1990), Xanth Calendar (Piers Anthony, 1982), Uni-Keep (Ace, May 1992), The Saga of Recluce: 1 The corn collector plate series (Lenox, 1995), The Wheel Magic of Recluce; 2 The Towers of Sunset, 3 The Magic of Time calendar (Tor, 2001).

Engineer, 4 The Order War, 5 The Death of Chaos, 6

Fall of Angels, 7 The Chaos Balance, 8 The White Szafran, Gene

Order (Tor, 1991, 1992, 1993, 1996, 1997, 1998, (b. April 11, 1941) American artist. Born in De-1999), The Saga of the Well World: 4 Return of Nathan troit, Michigan, Szafran attended and later taught at Brazil, 5 Twilight at the Well of Souls (1980), The Sec-the Art School of the Society of Arts and Crafts ond Chronicles of Thomas Covenant: 1 The Wounded there. He worked as a staff artist for several Detroit Land, 2 The One Tree (1980, 1989), The Secular Wiz-studios, preparing automobile ads as well as doing ard (1995), Seed Upon the Wind (Tor, 1992), Serpent’s some freelance artwork. He moved to New York Silver (Tor, 1988), The Seventh Sword: 1 The Reluc-City in 1967, where he was in great demand as a free-tant Swordsman, 2 The Coming of Wisdom (1988, lance artist, and also taught at the Pratt Institute in 1989), Shadow (1987) The Shadow of His Wings Brooklyn. By 1970 he had moved to Fairfield, Con-

(Avon, 1988), Shadow’s Son (Baen, 1991), The Shadow necticut and continued to work freelance as an il-Sorceress (Tor, 2001), Shakespeare’s Planet (1982), The lustrator out of New York City for major publishers Silmarillion (1995), The Soprano Sorceress (Tor, 1997), such as Avon, Ballantine, Bantam, and Signet. He Spellkey Trilog y (Baen, 1995), The Spell of the Black created artwork for well-known magazines such as Dagger (1993), The Spellsong (Tor, 1998), The Spirit Playboy, McCalls, Cosmopolitan, Penthouse, Fortune, Gate (Baen, 1996), Spirit’s Gold (Harper, 1990), The and others, as well as for numerous paperback cov-Star Beast (1977), The Stars Like Dust (1986), A ers. Szafran was especially prolific during the Viet Strange and Ancient Name (Baen, SFBC, 1993), Nam war period, 1966–1973, with rock album cov-Strata (Penguin/Roc, 1991), Sword of the Prophets ers and book illustrations with counter-cultural (Baen, 1997), The Sum of All Men (Simon & Schus-influences reflected in his “psychedelic” colors and ter, 1998), Taminy (Baen, 1993), Three Hearts and techniques. He was nominated for a Grammy Award Three Lions (Baen, 1993), Thessalonica (Baen, 1997), for best album cover his graphic design for Rhinoc-To Ride Pegasus (1991), To the Land of the Electric eros debut album (1968) Szafran’s science fiction art Angel (1976), Touched by Magic (Baen, 1996), Tun-was distinctive; a mostly surrealistic soft airbrushed nel in the Sky (1977), The Unbeheaded King (1983), style, and often using only one or two colors, typi-The Unforsaken Hiero (1983), The Unwilling War-cally blues and pinks. He often incorporated photog-lord (1983), Vale of the Vole (Avon, 1987), The Venom raphy and sculpture themes into his illustrations. to Trees of Sunga (1992), Villains by Necessity (Tor, interesting effect. At the age of 30, Szafran devel-SFBC, 1995), Voyage from Yesteryear (1982), War-oped multiple sclerosis, and by the late 1970s his riors of Thlassa Mey (1987), The Wars of the Well health problems forced him from illustrating, just World: 1 Exiles at the Well of Souls, 2 Quest for the when he was at the peak of his popularity in the sci-Well of Souls (1984, 1986), The Watchman (Baen, ence fiction field. For a number of years Szafran 1994), The Well of the Unicorn (1976), The Wheel of placed high on many science fiction reader polls as Time: 1 The Eye of the World, 2 Great Hunt, 3 Dragon best artist, and was voted best paperback artist in Reborn, 4 The Shadow Rising, 5 The Fires of Heaven, the Locus Awards reader poll, for 1972. The artist is 6 Lord of Chaos, 7 A Crown of Swords, 8 The Path of listed in Daveport Art Price Guide, Fieldings Dic-Daggers, 9 Winter’s Heart, 10 Crossroads of Twilight tionary of artists, and The Artist’s Blue Book. His (Tor, 1990, 1992, 1993, 1994, 1997, 1998, 2000, marriage to Marilynl Despres. 1970, ended in di-2003), When Dreams Collide (Warner Questar, vorce.

1992), White Gold Wielder (1989), The Winter Prince Sources: e-mail from Marilyn Despres; DiFate, Vincent.

445

Targete

Infinite Worlds: The Fantastic Visions of Science Fiction Art Targete’s first professional commission was from (Wonderland Press/Penguin Studio, 1997); Weinberg, 1988; Avon books, in 1987. Although it was not for SF or Published Work
fantasy, it opened the door to subsequent commis-All the Gods of Eisernon (Avon, 1973), Beastchild sions from several major publishers in the genre. His (Lancer, 1970), Beyond This Horizon (Signet, 1971), list of clients includes major book publishers, role-Corridors of Time (Ballantine, 1971), David Starr, playing game companies and publishers of collector Space Ranger (Signet, 1971), Day After Tomorrow plates. He has been nominated for Chesley Awards (Ballantine, 1971), Door Into Summer (Signet, 1974), several times, and was awarded the 2000 Chesley for Double Star (Signet, 1971), Down in the Black Gang

“best paperback cover” [see Appendix]. His art has (Signet, 1971), Downward to Earth (Signet, 1971), also been featured in Spectum anthologies ( Spec-Funeral for the Eyes of Fire (Ballantine, 1975), Goat trum: The Best in Contemporary Fantastic Art, edited Without Horns (Ballantine, 1971), Gray Matters by Cathy and Arnie Fenner, Underwood Books).

(Pocket, 1979), Hermaphrodeiyy (Avon, 1974), Heroes He exhibits at various conventions in the genre, pri-and Villains (Pocket, 1972), Ice (Doubleday, 1970), marily those held in the Southeast states, and has Legend of Miaree (Ballantine, 1974), Man Who Sold been Artist Guest of Honor or Award winner at sev-the Moon (Signet, 1972), Menace from Earth (Signet, eral of them, including Oasis (Orlando Fl.), Crescent 1972), Methuselah’s Children (Signet, 1972), The City Con (New Orleans, LA), Tropicon (Holly-Muller-Fokker Effect (Pocket Book, 1971), Orphans wood, FL), and Dragoncon (Atlanta, GA). He was in the Sky (Signet, 1971), Protostars (Ballantine, 1971), featured in the Society of Illustrators (NY) student Puppet Masters (Signet, 1972), Revolt in 2100 1971), show (1988), their Annual (1990) and in their Pa-Second Trip (Doubleday BCE, 1972), Son of Man perback show (1996).

(Ballantine, 1971), Space for Hire (Magnum, 1971), Sought after by publishers for its meticulous ren-Spock Messiah (Bantam, 1976), Star Fox (Signet, dering and dynamic colors, Targete is a versatile 1966?), Star of the Unborn (Bantam, 1976), Swords artist, with a style that is constantly changing. “I Against Tomorrow (1970), Syzyg y (Ballantine, 1973), would say my style is in constant fusion or evolu-Those Who Watch (Signet, 1971), Time of Changes tion — it actually changes from image to image.

(Signet, 1971), Time Masters (Lancer, 1971), Time’s Every new thing I learn I apply to the next creation.

Last Gift (Ballantine, 1972), Timestop (Lancer, 1970), I have no specific style but I like to call it illusion-To Ride Pegasus (Ballantine, 1973), Trullion Alastair ary realism.” Targete may use photo references for his 2262 (Ballantine, 1973), Walk to the End of the World commercial assignments, either stock photography (Ballantine, 1974), Waters of Centaurius (Lancer, or pictures from a model shoot, but he is not com-1972), Wolf winter (Ballantine, 1972).

pletely reliant on them; he strives for a balance of Misc.: The Butterfield Blues Band: Garden of De-imagination and realism in his art. He typically cre-lights (Elektra Records, 1971), Rhinoceros (Elektra ates finished paintings in oil on illustration board, Records, 1968), Tomita: Pictures at an Exhibition masonite or fiberboard. Sometimes he will begin (RCA, 1975).

with a drawing on the board and then work into it with acrylics and finish with oils, other times he will just “jump in” with oils without an under-drawing.

Targete, Jean Pierre

However, he has used many different mediums from (b. October 21, 1967) American artist. Targete was markers to watercolors. He uses computers and 3D
born in New York, and grew up in Miami, Florida programs to color hand drawn sketches or set up where he began drawing at the age of five. At ten he quick perspective layouts, believing “there is noth-discovered fantasy and science fiction art, and was ing like seeing an original oil painting up close at a influenced by popular films such as the Star Wars show or convention”—but doesn’t discount a change trilogies, novels and comic books. His artistic in the future: “it’s a great tool.”

influences were (foremost) fantasy painter Frank Some of his more popular images created for book Frazetta*, and Boris Vallejo*, Richard Corben*, covers include Planet of the Apes-The Fall, Founda-Rowena* and the (Greg and Tim) Hildebrandts*.

tions Fear, Foundation and Chaos, and Foundation’s During his sophomore year in high school, Targete Triumph. In addition, he has also illustrated the pop-was accepted into P.A.V.A.C. a program for gifted ular selling epic series Thieves World and The Magic children of the arts which evolved into the New Worlds of the Lord of the Rings.

World School of the Arts in Miami, FL. At sixteen, Targete works and lives as a freelance illustrator in with the encouragement of his parents and teachers, Miami, Florida.

Targete entered a local high school scholarship com-Sources: www.targeteart.com; artist interview, January petition held by Scholastic, Inc. and won a full schol-2001, online www.Epilogue.net
arship to the School of Visual Arts in New York City.

He received a BFA from that institution in 1989.

Terry

446

Collections and Anthologies

GAME-RELATED ILLUSTRATIONS INCLUDE: Ancient (various contributing artists)

Echoes: Blue Planet (Fantasy Flight Games, 2002), Grant, John and Humphrey, Elizabeth with Scov-Dragonstar Starfarer’s Handbook (Fantasy Flight ille, Pamela. The Chesley Awards: A Retrospective Games, 2001 ), Imperial Supply: Dragonstar (Fantasy (AAPL, 2003). Ward, Ann Marie. Illumina: The Art Flight Games, 2002), Minions of the Shadow: Mid-of J.P. Targete (Paper Tiger Press, 2003).

night (Fantasy Flight Games 2004), Slaves of the Moon: The Essential Guide to Lycanthropes (Paradigm Published Work

Concepts, 2004), Twisted Lore: Legends & Lairs (Fan-BOOKS ILLUSTRATED INCLUDE: Angel (Warner, tasy Flight Games, 2003), Unveiled Masters: The Es-1992), Arc Riders (Warner, 1995), Atlantis Found (Avo sential Guide to Mind Flayers (Paradigm Concepts, Nova, 1997), The Berserker’s Horse (Ace, 1995), Blood 2002).

of Amber (AvoNova, 1995), Bone Dance (Ace, 1991), Misc.: Visions of the Sorcerer plate series (The The Chalice, Book 3: The Sword, the Ring and the Bradford Exchange, 1999).

Chalice (Ace, 2001), Circle at Center (Ace, 2000), Code of Conduct (Avon, 1999), The Courts of Chaos Terry, William E.

(AvoNova, 1995), The Death of the Necromancer (December 11, 1921–April 15, 1992) American (Avon, 1999), Diadem (Scholastic, 1998), Dream-artist. Born Willis E. Terry III, in Galesburg, Illi-snake (Bantam, 1994), Drifter (Ace, 1991), Drifter’s nois, Terry used the name “William” professionally Run (Ace, 1992), Enemies of Fortune (Tor, 2004), The (and “Bill” informally) perhaps to distinguish him-Fair Folk (SFBC, 2005), First to Fight (Del Rey, self from his namesakes, who were important in 1997), The Forever War (AvoNova, 1997), The Fourth Galesburg history. Terry attended Colorado College Empire (Ace, 2002), The Fortress of Eternity (Avon, before entering the Marine Corp. at the start of 1990), Foundation and Chaos, Foundation’s Fear World War II. His left arm was injured at Okinawa, (Harper, 1998), Foundation’s Triumph (Harper, and he spent some time in the hospital recovering.

1999), The Fresco (Eos, 2000), The Guns of Avalon After discharge, he returned to Colorado College to (AvoNova, 1994), The Hand of Oberon (AvoNova, complete work toward a degree. He also received art 1994), Iapetus (Ace, 1993), Jenna Starborn (Ace, training at the Colorado Springs Fine Arts Center, 2002), Keeper of Dreams (Diamond, 1993), King of the and attended Knox College in Illinois, for one year, Dead (AvoNova, 1992), Knight of Shadows (AvoNova, 1946–1947, as a special student (not enrolled in a 1995), Magicnet (AvoNova, 1994), The Mantle of degree program). Willis Terry II (1882–1983) was a Kendis-Dai (Ballantine/Del Rey, 1997), Masques Knox trustee (Knox Class of 1904, Trustee 1922–

(Ace, 1993), Master of Earth and Water (AvoNova, 1929) among many other activities. Later, his son 1994), Mother Grimm (ROC, 1997), Nightsword (Del would develop a sketch of Carl Sandburg for the Rey/Ballantine, 1998), Nine Princes in Amber (Avo-cover of the Lincoln-Douglas debate Centennial Nova, 1994), Planet America (Ace, 2001), Prince of souvenir program in Galesburg and at Knox Col-Chaos (AvoNova, 1995), The Prize in the Game lege. By that time, March, 1958, Terry had largely left (TOR, 2002), The Queen’s Gambit (Ace, 2002), the magazine field and had established W. E. Terry, Rules of Conflict (Eos, 2000), Sanctuary (Tor, 2002), Advertising Associates, in Chicago and lived in The Sardonyx Net (Ace, 2001), The Shield Between Evanston with wife, Barbara, and son, W. E. Terry, Worlds (AvoNova, 1994), Sign of Chaos (AvoNova, IV.

1995), The Sign of the Unicorn (AvoNova, 1994), Sil-In the late 1940s Terry got his first job illustrat-verglass: Mistress of Ambiguities (Ace, 1991), The Stain-ing for the Ziff-Davis chain of magazines. He began less Steel Rat for President, The Stainless Steel Rat Gets freelancing in 1950, and illustrated Westerns, text-Drafted, The Stainless Steel Rat is Born, The Stainless books, and some comic strip art in addition to com-Steel Rat Sings the Blues, The Stainless Steel Rat Wants mercial and advertising art. Based in Chicago, Terry You! (Bantam, 1994), Starfist: First to Fight/Hangfire/
mainly worked for magazines published in that city, School of Fire/Steel Gauntlet (Ballantine/Del Rey, including Other Worlds and Imagination. Like many 1997, 1998, 1999, 2001), Starhawk (Ace, 2001), Star artists who worked in the SF field in the 1950s, Terry Precinct trilog y (Ace, 1992), Steeldriver (Ace, 1998), stated that he liked the field because of the freedom Subterranean (Avon, 1999), Summers at Castle it gave him to draw what he wanted without much Auburn (Ace, 2001), Sword of Fire and Shadow editorial interference with the creative process. He (AvoNova, 1995), Thieves World, Turning Points (Tor, served as art editor for Imagination from January 2002), Trumps of Doom (AvoNova, 1995), The Vir-1955 through June 1958, and for Imaginative Tales gin and the Dinosaur (Avon, 1996), The Wild Hunt from January through July 1955. Both his wife and (Scholastic, 1997), Winter World: Egil’s Book, Kit’s older brother, John H. Terry, died in Illinois in 1998.

Book, Brander’s Book, Zihanne’s Book (Ace, 1991, The family, including Terry’s son and grandson, 1992), A Wizard’s Dozen (Scholastic, 1996).

W.E. Terry IV and V, still reside in Illinois.

447

Thole

Sources: e-mail from Kay Vander Meulen, Senior Archive drifted into comics, often working as a “fill-in Assistant, Knox College (IL), December 2006; Weinberg 1988.

artist.” Probably his best work in this genre, accord-Published Work
ing to Harbottle, was “Mystery in the Milky Way,”

AMZ: 1948 (10, 12); 1949 (1, 2, 3, 4, 5, 6, 8, 9, 10, published in the Rick Random series in 1956.” Al-11, 12); 1950 (1, 2); 1955 (11); 1967 (10) though he did numerous paintings in science fiction, FA: 1948 (11); 1949 (1, 3, 4, 5, 6, 7, 9, 11); 1950 (1, it was the least of his production in the illustration 2, 3)

field” (Weinberg, ibid. ).

Sources: Harbottle biography in Weinberg, 1988.

FTC: 1968 (3)

IMG: 1950 (12); 1951 (2, 4, 6, 9, 11); 1952 (1, 5, 7, BOOKS ILLUSTRATED INCLUDE: (all Curtis-War-9, 10 12); 1953 (1, 2, 4, 5, 6, 7, 8, 9, 10, 11); 1954 (1, ren Publications, except as noted) Argentis (1952), 2, 3, 4, 5, 6, 7, 8, 9, 10 11, 12); 1955 (1, 2, 3, 4, 5, 6, Death Dimension (1952), Elektron Union (1951), Fis-7, 10, 12); 1956 (2, 4, 6, 8, 10); 1957 (2, 12) sion (1952), Galactic Storm (1951), Gyrator Control IMGT: 1955 (1, 3, 5, 7, 9, 11); 1956 (3, 5, 7, 9, 11); (1951), Hostile Worlds (1951), Land of Esa (1952), Liq-1957 (1, 3, 7, 11)

uid Death (1953), Maid of Thuro (1952), Ominous OW: 1950 (1, 3, 5, 7, 9/10, 11); 1951 (1, 3, 5, 6, 10, Folly (1952), Para–Robot (1952), Pirates of Cerebus 12); 1952 (3, 4, 6, 7, 8, 10, 11, 12); 1953 (1, 2, 4, 5, 6) (1953), Planetfall (1951), Planet X (1951), The Queen UNI: 1953 (1)

People (1952), Ships of Vero (1952), Space Flight (1951), Space Line (1952), Space Men (1951), Spatial Ray (1951), Station 7 (1952), Titan’s Moon (1952), Trans-Theobald, Ray

Mercurian (1952), Twilight Zone (1954), The Ura-

(?) British artist. As remains true for many of the nium Seekers (1953), Vega (1951), Worlds Away (1953), commercial artists who “specialized in mass-pro-Zero Field (1952).

duced mediocre covers for the numerous publishers of low-level science fiction that flourished in En-MAGAZINES ILLUSTRATED INCLUDE:

gland in the 1950s” in whose ranks Theobald would FUTSS: 1954 (1, 6)

be placed, according to science fiction historian, ed-OTW: 1954 (#1)

itor, literary agent and author Philip Harbottle SUPS: 1954 #1, #2); 1956 (#9); 1957 (#13); 1958

(Weinberg, p. 270), nothing is known of this artist’s (#14, #17, #18, #19, #20, #21); 1959 (#22, #23, #24, life or artistic career apart from his credits. Like sev-

#25, #26, #27, #28, #29); 1961 (#40)

eral of his American counterparts, Theobald appar-TofT: 1954 (summer)

ently produced work that was commensurate with WON: 1953 (#8); 1954 (#9, #10)

the low rates of pay offered by the publishers who WOF : 1953 (#11); 1954 (#14)

hired him, in Theobald’s case that was Curtis-Warren Publications and John Spencer Publications. Al-Thole, Karel
though, Harbottle goes on to say “Theobald was a (April 20, 1914–March 26, 2000) Dutch artist.

talented artist who could achieve striking effects Thole was born in Bossum, Netherlands near Am-when he took his time. His female figures could be sterdam, and was educated at the State Drawing remarkably erotic, as evidenced on the covers for School of Amsterdam’s Rijksmuseum. Born Carolus The Land of Esa and The Queen People, both pub-Adrianus Maria, the artist used the pseudonym of lished by Curtis Warren in 1952.” Theobald worked Karel Thole or C.A.M. Thole for his commercial ilfor all five of John Spencer’s magazines; these were lustrative work. Thole had a wide range of influ-almost identical in format, ran concurrently over the ences, including Magritte, Dalí, Ernst, Balthus, same period 1950–1954, and were aimed at a juve-Beckmann, and others, which inspired his weird nile market. He also did covers for the same pub-sense of humor and bizarre surrealistic style.

lisher’s Supernatural Stories, and were reprinted Thole’s first jobs were in advertising and publish-under their Badger imprint.

ing, and by 1942 was dominant in the Dutch illus-None of Theobald’s original SF paintings have tration market. After moving with his wife and four appeared in private hands; however, as has been the sons to Milan, Italy in 1958 he worked for the pub-case for many pulp SF artists who toiled to produce lishers Rizzoli and Mondadori. Known primarily as artworks that by today’s standards would appear a European book cover artist, he worked for several crudely rendered and lacking in finesse, Theobald’s major publishers in Italy from the early 1950s until also would undoubtedly exude a similar sentimen-1986, when eye problems forced him into semi-retal charm.

tirement.

“Theobald did all types of cover art, including In the 1970s and 1980s Thole dominated Euro-Western, mystery, and gangster stories, as well as pean SF art in the same way Richard Powers* dom-fantasy, supernatural and science fiction. When the inated American SF art in the 1950s and 1960s, and paperback book in England came to an end, he were seen on French, German and Italian myster-

Thompson

448
ies, romance, science fiction and mainstream/clas-lectible card games, magazines, board games, books, sic books. The best known of his SF work was a se-and role-playing games. She was a staff artist for ries of SF covers for Heyne paperbacks in Germany, Steve Jackson Games for nine months before decid-several of which were collected in book form and in ing to establish her own art publishing business a 1975 calendar. Thole’s unusual blend of surreal-

“Tarnished Images” with her husband Todd Jordan, ism and horror contributed to the popularity of H.

in 1991. One of a handful of artists to have success-P. Lovecraft’s works published in 1960s translations.

fully built a career outside the world of freelance il-In the U.S., his work appeared on American first lustration, Thompson has since very actively pur-editions of science fiction titles published by Ballan-sued a fan-following for her broadly depicted “high tine, DAW, Ace, St. Martin’s Press, with those by fantasy” images, primarily centered on popular DAW and Ballantine Books often appearing in a themes and subject matter: “faerie realms,” angels, format with a painting within a circle. Thole pro-knights, dragons. She works in a variety of medi-duced over 80 illustrations for the well-known and ums: pencil, inks, watercolors, art markers, oils —
long-running Italian science fiction magazine Ura-often in combination — but does not use the air-nia, published by Mondadori. He worked for the brush. A frequent exhibitor at larger comic and magazine during its “golden era” 1960–1986; his last gaming conventions, Thompson also is an “perma-cover for them was in 1998. He won the European nent” exhibitor at fourteen renaissance and medieval SF Award for art in 1972, and the European SF So-faires in several states, and maintains a heavy sched-ciety Award in 1976. Thole died in Cannobio, a ule of appearances and exhibitions year round, from town on the shore of Lake Maggiore in Northern New York to San Diego. She won an L. Ron Hub-Italy.

bard’s Illustrators of the Future Award, 1992, and a Sources: www.en.wikipedia.org/wiki/KarelThole; www.

Chesley Award for Best Monochrome work, Un-answers.com/topic/urania-magazine; “Karel Thole, 1914–
published, in 1993.

2000” by Giuseppe Lippi (obit) Locus Magazine May 2000;“Karel Thole: An Appreciation” by Charles N. Brown Thompson focuses on the commercial promotion (obit) Locus Magazine May 2000; www.fantascienza.net/
of modestly priced and already framed reproduc-users/uraniandc/tholespe2.html
tions of her originals, and licensing opportunities.

Published Work

She does her own printing in-house and has licens-B
ing contracts for a variety of products with a num-OOKS ILLUSTRATED INCLUDE: Alternate Orbits (Ace, 1971), Baphomet’s Meteor (DAW, 1972), The ber of companies, among them: Franklin Mint, Hot Barons of Behavior (Ace, 1972), Best from Fantasy and Topic, Tree-Free Greetings. Her commissions for Science Fiction 16 (Ace, 1967), Best of E.E. “Doc”

book covers to date are limited to novels for chil-Smith (Orbit, 1975), Blue Face (Chapayeca) (DAW, dren and young adults, for the private and public 1971), Book of Brian Aldiss/The Comic Inferno (DAW, educational market. Her work was featured in a fully 1972), Book of Gordon Dickson/Danger — Human illustrated book of angel lore, Book of Angels, a col-

(DAW, 1973), Book of Philip K. Dick/The Turning laboration of three artists with text by her husband, Wheel and Other Stories (DAW, 1973), Book of Van published by Sterling/Barnes and Noble, 2006. In Vogt (DAW, 1972), Clockwork’s Pirates and Ghost 2007 Thompson opened her own permanent retail Breaker (Ace, 1974), The Disciples of Cthulhu (DAW, gallery located in Niles, Ohio.

Sources: artist conversation and email, March 2007 and 1976), Farewell Earth’s Bliss (Ace, 1971), Galactic Em-website www.tarnishedimages.com/artist.htm pires Vol 1, Vol 2 (St. Martin’s Press/BCE, 1976), The General Zapped an Angel (Ace, 1970), Ghost Breaker Published Work

& Clockwork’s Pirates (Ace, 1971), In the Pocket and BOOKS ILLUSTRATED INCLUDE (All Royal Fire-Other Stories (Ace, 1971), Martian Chronicles (Dou-works Press): Dragon Charmer (1996), Taking Con-bleday, 1973), Masters of Space (Orbit, 1976), trol (1997), The Dark Unicorn (1999 ), Power Vector Napoleons of Eridanus (DAW/NAL, 1976), Overlords (1998), Soulworm (1997), A Tale of a Hero and the of War (DAW, 1974), Return of the Time Machine Song of Her Sword (1997).

(DAW, 1972), Scatter of Stardust & Technos (Ace, GAME-RELATED ILLUSTRATIONS INCLUDE: GURPS: 1968), Starship Troopers (NEL, 1968), Unsleeping Eye Fantasy Adventures, Grimoire, Illuminati; Knights; (DAW, 1974), Year’s Best Horror Stories (DAW, 1971), Magic; Imperial Rome sourcebook illustrations and col-Where Were You Last Pluterday? (DAW, 1973).

lector card art (Steve Jackson Games, 1991, 1993, 1995), Magic: the Gathering card art for Ice Age; Alliances; 5th Thompson, Ruth

Edition (Wizards of the Coast, 1995, 1996), (?) American artist. A 1990 graduate of the Uni-MAGAZINE ILLUSTRATIONS INCLUDE:

versity of Ohio, with a degree in Fine Arts, Thomp-DRA: 1991 (10); 1993 (4)

son almost immediately began working for gaming DUN: 1991 (1/2); 1992 (1/2)

companies, doing mostly fantasy illustrations for col-

449

Timlin

Tilburne, Albert Roanoke
illustrations for children’s books and religious books, (November 13, 1887–January 22, 1965) An Amer-also published by Ziff-Davis. After the publisher left ican artist considered one of the last of the “frontier Chicago, Tillotson continued to work for the new artists,” Tilburne’s father “Nevada Ned” was — like science fiction magazines published by Ray Palmer Buffalo Bill — the owner of a Wild West Show that and Bill Hamling, based in the Midwest. He also toured the United States. Tilburne was born in New provided illustrations for a weekly Baptist publica-Albany, Indiana, studied art in Berlin and Paris, then tion and other small freelance clients.

returned to the States to record the last days of the Tillotson published work under both his own west and life of the cowboy before moving to New name, Joe Tillotson, or Joe W. Tillotson, and the York to work as an illustrator. Primarily known for brush name “Robert Fuqua,” which he usually re-those Western subjects, he did several pulp covers served for color work, in which category could be for Weird Tales when it moved its editorial offices to found many of his science fiction cover paintings.

New York City in 1938. By that time, Tilburne was The name likely derives from his mother’s maiden already living in Manhattan, married to Celine name, Belle Fuqua Oursler, and her father’s name, Rousseau W Tilburne, and had two sons, Leopold R.

Robert M. Fuqua. Weinberg (1988) tells the anecdote and Edward R. A pulp cover artist who also did work that Tillotson and the science fiction writer, Earl for Short Stories magazine (owned by the same com-Binder, were classmates at Boys High School in pany hat bought Weird Tales), Tilburne’s fantasy il-Chicago, and when they met some years later, that lustrations were not terribly skillful. He did the Tillotson remarked how much he enjoyed painting uncredited cover for the 1947 Avon paperback the cover for Binder’s story I Robot. Binder was sur-collection of H.P. Lovecraft’s The Lurking Fear and prised to learn that Tillotson and Fuqua were the Other Stories, the first mass-market appearance of a same. Perhaps to enhance the appearance of diver-Lovecraft story volume. For service to his country, sity, or even-handedness in assignments, Tillotson Tilburne was buried at Arlington National Cemetery, occasionally was credited under both names in the as was his wife.

same issue of a publication (e.g., Mammoth Adven-Sources: “The American West: The Paintings of Albert R.

ture, May and December, 1947), which undoubt-Tilburne 1887–1965” John Judkyn Memorial Exhibition 7
edly further helped preserve the fiction of two dif-December 1996–11 January 1997, McLean Museum and Art Gallery, Scotland, http://82.113.137.137/Museum_Gallery/
ferent artists.

[accessed April, 2006]; Ancestry.com. 1930 United States Fed-Tillotson died in Chicago, of cancer of the liver, eral Census; National Cemetery Administration. U.S. Veter-survived by his wife Marion, a sociology professor at ans Gravesites, ca.1775–2006; U.S. World War II Draft Reg-the University of Chicago. They had no children.

istration Cards, 1942 [database on-line]. Provo, UT, USA: The Generations Network, Inc., 2002, 2006, 2007; Wein-The artist is buried in Greenville, MS beside his berg, 1988
mother.

Sources: Weinberg, 1988. Martha Sue Tillotson, niece, Published Work

March 2006; www.ancestry.com

BOOKS ILLUSTRATED INCLUDE: The Lurking Fear Published Work

(Avon, 1947)

AMZ: 1938 (10, 11, 12); 1939 (1, 2, 3, 4, 5, 7, 8, 9, MAGAZINES ILLUSTRATED INCLUDE:

10, 12); 1940 (1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12); 1941 (1, WT: 1938 (11); 1942 (7, 9, 11); 1943 (1, 3, 5, 7, 9, 2, 3, 4, 5, 7, 8, 9, 10, 11); 1942 (1, 2, 3, 4, 5, 6, 7, 8, 11); 1944 (1, 3, 5, 7, 9, 11); 1945 (1, 3, 5, 7, 9, 11); 1946

9, , 10, 12); 1943 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11); 1944

(1, 3, 5, 7, 9, 11); 1947 (1, 3); 1951 (5/reprint); 1952

(1, 3, 5, 9, 12); 1945 (3, 9, 12); 1946 ( 5, 6, 7 8, 9, 11); (9/reprint)

1947 (3, 5, 8, 9, 10, 11, 12); 1948 (1,3); 1950 (6); 1951

(7); 1961 (4); 1966 (4); 1967 (10)

Tillotson, Joseph Wirt

FA: 1939 (5, 11); 1940 (1, 2, 3, 5, 6, 8, 10); 1941 (1, ( January 30, 1905–September 1, 1959) American 3, 5, 6, 7, 8, 9, 10, 11); 1942 (1, 2 with Harold Mc-Artist. A prolific artist who was a staff artist for the Cauley*, 3, 5, 6, 7, 8, 9, 10, 11, 12); 1943 (2, 4, 6, 7, Ziff-Davis chain of magazines when it was based in 8); 1944 (2, 4); 1945 (4, 7, 12); 1946 (2, 11); 1947 (1, Chicago, Illinois, Tillotson was born in Greenville, 3, 11, 12); 1948 (1, 2, 4, 5, 8, 9,); 1951 (10) Mississippi, the older of two brothers. As a child he FTC: 1966 (9); 1967 (3)

demonstrated his talent in the arts by drawing on IMG: 1950 (10, 12); 1951 (2, 4, 6, 9, 11); 1952 (3); the walls of his bedroom, to the consternation of the 1953 (6)

housekeeper, although his father insisted that they OW: 1950 (7); 1951 (6, 12); 1952 (1, 4, 6, 8, 12); not be removed. Tillotson attended the Chicago Art 1953 (1, 3, 5); 1956 (6)

Institute but had no further formal education beyond that. While Tillotson’s work in the SF and Ad-Timlin, William Mitcheson
venture genres were confined to magazines, in the (April 11, 1892–1943) British artist. Noted for cre-mid–1940s he also produced a few cover and interior ating what many collectors believe to be the most

Timlin

450
beautiful and valuable illustrated science fiction-fan-forty-eight leaves adorned with his fine calligraphic tasy book of the twentieth century, The Ship That text. These pieces of art were all mounted by hand Sailed to Mars: A Fantasy, Timlin remains largely on grey matte paper.” Two thousand copies of the unknown for works beyond this masterpiece — per-book were published in Britain, of which two hun-haps because he spent the preponderance of his dred fifty were distributed in the United States by working career as an architect, in South Africa. He Stokes of New York, in 1924. The book’s storyline was born in Ashington, Northumberland, England, was minimal, (its) strength resting on its exotic de-the son of colliery foreman Peter Timlin and Mar-scriptions and beautiful illustrations” (Clute and garet (nee Mitcheson). Showing early talent, Tim-Grant, p. 949); however, the production values for lin studied art at Morpeth Grammar School, winning this “magical combination of science fiction and a scholarship to Armstrong College of Art in New-fairyland” has been compared to those previously castle. The family immigrated to Kimberly, South lavished on Willy Pogany and Harry Clarke*. Copies Africa in the early 1900s, and Timlin followed his of the book originally sold in America for $12.00—
parents there in 1912, where he continued his stud-as of 2007, the same book, if acquired with its scarce ies in art and architecture.

original dust jacket, would be valued around $8,000.

After the First World War, Timlin became a suc-A finished, original pen, ink, and watercolor draw-cessful practicing architect, and designed a number ing from The Ship That Sailed has been offered for of major public buildings. He became known as the $37,500. The film rights to the book were sold in

“Architect of Kimberly” (Barben, Curator of Rare the U.S., but the movie, which was to be called Get Collections), designing its hospital, the War Memo-Off the Earth, was never completed. Timlin also rial and the Boys’ and Girls’ High Schools. He also wrote other stories and music, and later did pen-designed the fantastic interior decor of Johannes-and-ink drawings for travel books, such as South burg’s Colosseum Theatre, since demolished. At the Africa: Out of the Crucible (Cassell, 1930), among same time he worked as an artist, producing paint-others; these are considered “uninspired, compared ings, etchings and pastels of conventional subjects, to his wonderfully imaginative work” (Dalby, ibid. ).

in addition to the watercolor fantasies in the distinc-In 1927 Timlin began a series of paintings intive style for which he became best known. He tended to be plates for a book to be titled The Build-founded the Kimberley Athenaeum Club’s Art Sec-ing of a Fairy City, and wrote the text, but never tion in 1914, and exhibited illustrations and fantasy completed the project; numerous paintings of scenes drawings in pen and ink and watercolor, as well as for the book exist in various South African collec-landscapes in watercolor, pastel and oil. He was a tions.

member of the South African Society of Artists Some of these paintings, including the magical (SASA), South Africa’s longest surviving and oldest

“Fantasy and Triumphal Arch” have been issued as organization for practicing artists (founded in 1897), postcards in South Africa. Among other exhibitions and was elected a Fellow of the Society in 1939. His of his work, an Inaugural Exhibition was held in familiar emblem — an owl — resulted from the acci-1927 at South African Institute, Durban, and in 1964
dental killing of a snowy owl while on an early a Memorial Exhibition was mounted at William shooting expedition with his father on the Gaap Humphreys Gallery, Kimberly. His work is held in Plateau. Distressed, he resolved to immortalize it in the public collections of the Pretoria Art Museum; his work. (Berman, 1994).

Durban Art Gallery; AC White Gallery, Bloem-His first-recorded participation in an annual fontein; Albany Museum, Grahamstown.

SASA exhibition was in 1917, when he showed six Timlin died in 1943 at Kimberly, Cape Province, works with titles such as “Jealousy, The Bridge South Africa as a result of pneumonia after fractur-Builders” and “A Fantasy and The Enchantress.” The ing his arm in a fall.

quality and originality of his fantasy paintings Sources: ArcyArt “William Timlin — South African Artist, equaled that of other famous turn of the century Drawings, Paintings 1893–1943, drawing from a biography in Berman, E. Art & Artists of South Africa . Southern Book artists, as much as they were inspired by them: Publishers, 1994 online at www.arcyart.com/sah-timlin.htm; Arthur Rackham, Aubrey Beardsley, Edmund Dulac Barben, Tanya “The secret world of UCT’s rare books coland W. Heath Robinson.

lection” in the Univ of Capetown, SA Monday Paper Archives, As Dalby describes it, in his biography of Timlin April 19, 2004 online www.news.uct.ac.za/mondaypaper/
archives [accessed November 2007]; Clute, John and Grant, (Weinberg, 1988) The Ship That Sailed to Mars: A John. The Encyclopedia of Fantasy. St. Martin’s Press, 1997; Fantasy, was published in a large royal quarto by Richard Dalby in Weinberg, 1988, p. 272–273.

George Harrap in England in November, 1923 (although the book itself was undated). Dalby notes Published Work

“It was finely bound in quarter vellum richly deco-The Ship That Sailed to Mars: A Fantasy (George rated with gilt, and contained forty-eight superb Harrap, 1923).

color plates by Timlin, alternated throughout with

451

Tinkelman

Timmins, William Frederick
lyn, Tinkelman attended the New York High School (May 23, 1915–January 9, 1985). American artist.

of Industrial Art. After serving in the Army he re-Born in Chicago, Illinois, the son of artist Harry turned to New York, where he studied at Cooper Laverne Timmins (1887–1963), landscape artist and Union Art School for two years, 1954–1955. He then illustrator, and co-founder of the American Academy attended the Brooklyn Museum Art School under a of Art in Chicago, Timmins grew up in Greenwich, Max Beckmann Scholarship, studying under Reuben CT prior to moving to southern California in the Tam. He had planned to be a fine-arts painter, but early 1940s. While living in Connecticut, Timmins was unhappy with the commercialism in galleries studied at the Art Students League and Grand Cen-and instead decided to be an illustrator. His first tral Art School in New York City and made paint-published work in the SF genre was for the first issue ing trips to Europe, California, and throughout the of the short-lived magazine, Vortex. He was working U.S. Timmins worked for Street & Smith maga-full-time as a decorative greeting card artist for the zines, one in a stable of great artists that included Wallace Brown Greeting Card Company when he H.W. Scott*, Graves Gladney*, Emery Clark and joined the Charles E. Cooper Studio, a well-known Hubert Rogers*. Timmins was the cover artist for group of illustrators in New York, on a freelance Clues-Detective Stories when it was expanded in late basis, in September 1958. The studio employed some 1942, and the outbreak of World War II compelled of the leading illustrators of the day, and during these Hubert Rogers, at that time Astounding Science Fic-formative years, Tinkelman worked alongside artists tion’s house artist, to return to Canada for the war ef-such as Lorraine Fox, Coby Whitmore, Herb Tauss, fort. Timmins, one of the few remaining artists not Bob McCall* and James Bama*. When his sales rep caught up in the draft, took over cover duties for left Cooper to join another agency, Artists Incorpo-Rogers in September 1942, and was responsible for rated, Tinkelman soon joined him and became one almost every cover through the end of 1946. Tim-of the Artist Associates there — until he formed his mins’ style of painting for Clues, which has been de-own Tinkelman Studio.

scribed as bland, rarely exciting, flat, simple, pos-The artist’s illustrations in the horror and science terized, seemed a better fit with science fiction, fiction fields have consumed only a small portion of which emphasized plot over fast action.

his artistic output over the years; he has illustrated After Rogers returned to Astounding after the war, for every major hardcover and paperback publisher the policy of relying on a single artist was dropped in the country, and for numerous clients. In the although Timmins continued to contribute to the 1960s, Tinkelman shifted from paintings to line magazine until 1950. He shifted to book illustrating drawings, using fine technical fountain pens and col-in the 1950s-1960s, working on Rand McNally’s Elf orfast dyes to add color to his work. He draws on and Tip-Top Elf children’s book series, including ti-plate finish Bristol paper that he later dry mounts tles such as Davy Crockett American Hero, Wild Bill on a more rigid surface, like illustration board, when Hickok and Little Cub Scout. In the mid–1960s he the work is completed. His “meticulous line work,”

retired to the Monterey Peninsula and continued while showing the influence of Virgil Finlay* and painting in both oil and watercolors at his home in Hannes Bok*, writes Di Fate, “is virtually unique in Carmel, California. Timmins was a member of the the commercial art field, and especially on mass mar-Society of Illustrators and the Carmel Art Associa-ket paperbacks where most of his genre illustrations tion; his work was included in the 75th Anniversary have appeared.” ( Infinite Worlds, p. 290). His unique Historical Exhibition sponsored by the Association, method of creating “montage” drawings from tight 2002. Timmins died in San Francisco.

stippling with the pen, result in artworks that seem Sources: Aldiss, Brian. Science Fiction Art: The Fantasies of more like tinted photographs, or pointillist paint-SF. NY: Bounty Books, 1975. www.sfcovers.net; Edan ings in the way they create the impression of being Hughes. Artists in California, 1786–1940. Crocker Art Museum, 2002; DiFate, Vincent. Infinite Worlds: The Fantastic beautiful in effect, although the subject matter Visions of Science Fiction Art. Wonderland Press: 1997; Wein-may be horrific or fantastical. In addition to paper-berg, 1988.

back covers, perhaps most notably for the Ballantine re-issues of the works of H. P. Lovecraft, his Published Work
work has been seen in such periodicals as the At-ASF : 1942 (9, 12); 1943 (1, 2, 3, 4, 5, 6, 7, 8, 9, lantic Monthly, The New York Times, and The Wash-10, 11, 12); 1944 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1945
ington Post. Tinkelman’s love of baseball is demon-

(1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1946 (1, 2, 3, 4, 5, strated in his baseball art, and he had a one-man 6, 7, 8, 9, 10, 11); 1947 (1, 4, 7, 8, 9, 10); 1948 (4, 5, exhibit of his art at The National Baseball Hall of 6, 7, 8, 9); 1949 (2, 3); 1950 (12); 1961 (5R) Fame and Museum in Cooperstown, New York in 1994 and The United States Sports Academy in Tinkelman, Murray

Daphne, Alabama in 1995.

(b. April 2, 1933) American artist. Born in Brook-Tinkelman began teaching and lecturing in the

Tschirky

452

1960s. He is a well-known art historian and has lec-man, Murray. The Rodeo Drawings of Murray Tinkel-tured extensively throughout the United States on man (Art Direction Book Co., 1982), art, and on the history of illustration. He began teaching at Parsons School of Design, and was asso-Published Work
ciate chairman of the Parsons Illustration Depart-BOOKS ILLUSTRATED INCLUDE: Case of Charles ment when he left in 1977 to join the faculty at Syra-Dexter Ward (Ballantine, 1976), A Century of Horror, cuse University, in upstate New York. He taught in 1970–1979 (MJF/Fine Communications, 1996), Cool the undergraduate program and was the senior ad-War (Del Rey/Ballantine, 1981), Doom That Came visor in the Independent Study MA Program in Il-to Sarnath (Ballantine, 1976), Double, Double (Del lustration for over 25 years from 1979–2006, and is Rey/Ballantine, 1979), The Dreamquest of Unknown now Professor Emeritus at Syracuse University.

Kadath (Ballantine, 1976), A Fish Dinner In Memi-Tinkelman has won more than one hundred fifty son (Del Rey/Ballantine, 1978), Forever War (Del major art awards, with more than seventy of them Rey/Ballantine, 1977), This Fortress World (Gnome from the Society of Illustrators (NY), including gold Press, 1955), Grendel (Ballantine. 1981), H.P. Love-medals from the Society of Illustrators, The New craft: A Biography (Ballantine, 1976), Horror in the York Art Directors Club and the Society of Publica-Museum and Other Revisions (Ballantine, 1976).

tions Designers. He was the recipient of the 1999

Lovecraft: A Look Behind the Cthulhu Mythos (Ballan-Distinguished Educator in the Arts award from the tine, 1976), Lurker at the Threshold (Ballantine, Society of Illustrators in New York. Other awards 1976), Mezentian Gate (Ballantine/Del Rey, 1978), include the 1995 Sports Artist of the Year from The Mistress of Mistresses (Del Rey/Ballantine, 1977), United States Sports Academy, the 1970 Artist of the Sheep Look Up (1975), Shock III (Berkley 1979), Year award from The Graphic Arts Guild in New Shockwave Rider (Ballantine, 1976), Shores of Space York City, and the 2001 Syracuse University Faculty (Berkley, 1979), Shrinking Man (Berkley, 1979), Son Service Citation. His work is represented in the per-of Man (Del Rey/Ballantine, 1977), Space: What’s manent collections of the Brooklyn Museum, the Out There? (Coward, McCann & Geoghegan, 1976), Delaware Art Museum, the International Photog-Squares of the City (Del Rey, 1978), Trail of Cthulhu raphy Hall of Fame & Museum, and the New (Ballantine, 1976), Up the Line (Del Rey/Ballantine, Britain Museum of American Art. Tinkelman has 1978), Whole Man (Ballantine/Del Rey, 1964), A been a guest curator for The Discovery Museum in World Out of Time (Del Rey/Ballantine, 1977), Worm Bridgeport, Connecticut, and the Society of Illustra-Ouroboros (Ballantine, 1978), 14th Dragon (Harlin tors, Museum of American Illustration in New York Quist, 1968).

City. In recent years, Tinkelman has focused on Tschirky, L. Robert
western and rodeo art and has had a number of (February 15, 1915–January 27, 2003) American books collecting his art and writings on these sub-Artist. Born in Bethlehem, Pennsylvania, Tschirky jects published by Greenwillow Books.

did not use his first name (Likely “Leopold,” after his The artist is currently the Director of the Lim-father) professionally. He studied anthropology at ited Residency MFA program at the Hartford Art the University of Pennsylvania, graduating in 1940, School, University of Hartford. This program is and the University of Chicago. He served as a re-completely dedicated to the field of Illustration. His search assistant.

wife of many years, Carol, has always been involved At the University Museum in Philadelphia, and in his career and now that the children are grown, as-traveled to many of the major archeological sites in sists in managing the Tinkelman studio and busi-the Mediterranean countries and Mexico. He was a ness affairs. Tinkelman continues to travel around longtime science fiction fan, and member of the the country to colleges, universities and museums, Philadelphia SF Society. In late 1946 he was one of giving entertaining slide presentations on his own four founding members of Prime Press, a small press work, The History of American Illustration, and publisher. Keeping everything local, art for most of other art topics.

the Prime hardcovers was done by friends of the Sources: Correspondence from the artist March 5, 2005; www.murraytinkelman.com; Di Fate, Vincent. Infinite Worlds: group, and Tschirky — not a full-time artist — pro-The Fantastic Visions of Science Fiction Art (Wonderland duced illustrations for the books he worked on. He Press/Penguin, 1997); Shapiro, Neil. “Illustrating an Era: The became a book editor for the Book of Knowledge and Charles E. Cooper Studio Part Two: Murray Tinkelman” Il-art director for The Encyclopedia Americana. His lustration, Vol. 5, Issue 18: Winter, 2007; Weinberg, 1988.

travel articles, also syndicated in East Coast newspapers and magazines, displayed his broad knowledge Collections and Anthologies
of Spain. and he later was an editor and travel writer (various contributing artists)

for the New York Times.

Tinkelman, Murray. The Illustrations of Murray Sources: Weinberg, 1988; www.ancestry.com; The Penn-Tinkelman (Art Direction Book Co., 1980), Tinkel-sylvania Gazette online, Obituaries Sept/Oct 2003

453

Turner
www.upenn.edu/gazette/0903/0903obits.html [accessed April slowly building up layers of transparent color until 2006]

finished.” From the beginning of his career, in 1976

Published Work
until approximately 1991, he signed all fine art and B
commissioned works using his first name, “Ezra,”

OOKS PUBLISHED INCLUDE: (all Prime Press unless indicated): And Some Were Human (1948), Ho-or “Ezra Tucker”; post 1991 works are signed “Tucker.”

munculus (1949), Incomplete Enchanter (1950), Land He is a long term member of the Graphic Artist of Unreason (Henry Holt, 1942), Lest Darkness Fall Guild and the Los Angeles Society of Illustrators (1949), Mislaid Charm (1947), Nomad (1950), Soli-and his work has been exhibited in the New York tary Hunters & the Abyss (1948), The Torch (1948), and Los Angeles Society of Illustrators annual shows, Venus Equilateral (1947), Without Sorcery (1948).

winning both gold and silver medals for excellence from these organizations. Other exhibitions include the 1982 World’s Fair in Knoxville, Tennessee; the Tucker, Ezra

Kennedy Center in Washington D.C.; the “Pavil-

(b. November 12, 1955) American artist. Born in ions of Wonder” fantasy art group show at the Can-Memphis, Tennessee, Tucker received his BFA degree ton Museum of Art in Canton, Ohio (1996); the in Advertising Design from the Memphis Academy American Academy of Equine Art. Tucker was se-of Arts, 1977. Tucker’s colorful style shows the lected for inclusion in the Spectrum Anthology influence of Golden Age and contemporary illustra-

(1994), and for the Spectrum group exhibit at the tors such as Frank Frazetta* as well as Victorian pe-Museum of American Illustration, Society of Illus-riod painters and the Hudson River school, and the trators 2005. He was a Chesley Award nominee, diversity of his commercial client list demonstrates 1996, Best Color Work. Tucker continues to pursue its appeal. Tucker has pursued three distinct com-commercial art assignments in all fields, with spe-mercial areas for his favored subject matter: Imagi-cial emphasis on equine art.

native/Fantasy Art, Wildlife Painting, and Eques-Sources: email from the artist July 2006; www.ezratucker trian Painting. He describes his versatile style as

.com/

“Nouveau Victorian Realism,” where people, ani-Published Work
mals, and landscapes are realistically depicted in fan-Collections/Anthologies
tastic settings, reminiscent of Victorian period (various contributing artists)

painters.

Ariel: The Book of Fantasy Vol, 4 (Ballantine, Tucker’s first publication in the science fiction 1978)

field was in an art collection Ariel (1978). Many of his commercial fantasy paintings have been pub-BOOKS ILLUSTRATED INCLUDE: Cloud Warrior lished in fanzines and mainstream publications and (Macmillan, 1984), Count Brass (Dell, 1976), For the public print media, rather than pushing for jobs in Witch of the Mists (Ace, 1981), Hour of the Dragon the genre because he is resistant to being considered (Donald M. Grant, 1989), The Quest for Tanelorn a “SF/F only magazine artist.” He says “I am not (Dell, 1981), Rebel Agent: Star Wars Dark Forces se-and never have been one-dimensional … my career ries (Dark Horse/Berkley, 1998).

has always been cross-genre.” Tucker has worked on Misc. 50 Cent Soaring Eagle U.S. postal stamp advertising campaigns for a wide range of clients, (1995).

among them Anheuser-Busch, Inc., Disney, Coca-Cola, Pepsi, Lucas Films, Universal Studios, Para-Turner, Harry E.

mount Pictures, MGM Studios, Bank of America, (b. 1920) British artist. Born in Manchester, Lockheed, CBS Records, Sony Pictures, Seagrams, Turner’s interest in science fiction was sparked by twentieth Century–Fox, the Levi-Strauss Company, visits to an uncle in whose library he discovered Outdoor Life Magazine and the United States Postal bound volumes of The Strand and Pearson’s— turn Service. He created movie poster art for the films of the century magazines which contained stories The Never Ending Story (1984), Tales from the Dark and serialized novels by H.G. Wells, George Griffith, Side (1990), Graveyard Shift (1990), Warriors of the Conan Doyle and others. He became an avid reader Wind (1985), Godzilla 2000 (2000) and has done of American pulps, and was influenced by Frank R.

packaging art for video games, products and toys.

Paul*, Wesso* and Elliot Dold*. Turner became a Tucker illustrated a children’s “pop-up” book of mainstay of early Manchester fandom and his art horses written by the world renowned author on was first seen on covers of Novae Terrae (later titled horses, Marguerite Henery, and another children’s New World s), a monthly bulletin published by the book with actress Cheryl Ladd.

newly formed Science Fiction Association, in 1937.

Tucker works in acrylics on illustration board, He contributed to fan magazines of the 30s and 40s and says he “starts each painting with a minimal line including Fantast, Satellite, and Futurian War Di-drawing on a color tinted gessoed illustration board, gest, eventually editing, illustrating, and publishing

Turner

454
his own, Zenith, in 1941. At the time Turner was taking the 50th anniversary of the first-ever SF conven-ing life classes in the studio of Manchester artist John tion held in Leeds, 1937. His most recent publication Bold, and these sketches found their way into the was in 1999, when his art appeared on the cover of fanzine, marking Zenith as the first British fanzine to a limited edition paperback Reinventing the Wall, a offer nudes as a regular feature. The art provoked novelette by Ian Stewart published by the Birming-comment among fans on both sides of the Atlantic, ham Science Fiction Group (UK).

and Forrest J Ackerman also published a couple in Sources: correspondence from the artist November 2005; his Los Angeles SF Club fanzine Voice of the Imagi-

“Showcase: Harry Turner.” Critical Wave European Science Fiction and Fantasy Review, November 1993.

nation. In 1938 Turner also began contributing small black-and-white illustrations to Walter Gilling’s Published Work
new, and struggling British professional magazine (All British publications)

Tales of Wonder, which was published from 1937

BOOKS ILLUSTRATED INCLUDE: The Golden Ama-through 1942. These early story illustrations were zon (World’s Work Ltd., 1944).

highly derivative of Frank R. Paul, which was encouraged by Gillings’ enthusiasm for that artist.

MAGAZINES ILLUSTRATED INCLUDE:

When a rival magazine appeared, Newnes’ Fantasy NEB: 1954 (8, 10 11); 1955 (12, 13, 14); 1956 (15, (1938–1939) he was introduced to the editor by John 16, 17); 1957 (20, 21, 22, 23, 24, 25); 1958 (26, 27, Russell Fearn, and soon began drawing for them as 31)

well. Turner’s first color art was for Tales of Wonder NEW FRONTIERS: 1947
in 1940, and a section of the cover — showing a fu-ScF : 1950 (summer, winter)

turistic city — was reprinted on the dustwrapper of TALES OF WONDER: #1

The Golden Amazon (1944). Another cover piece reproduced solely in blue and red, in Turner’s classic Turner, Ronald
wood-cut style, appeared in 1946 on a rare, one issue (August 3, 1922–December 19, 1998). British digest size magazine Thrilling Stories.

artist. Considered “a true original,” and one of the Turner’s career as publisher and illustrator ended few post-war artists whose work inspired and con-when he was drafted into the RAF, and was not re-tinues to influence many artists today, Ron Turner’s vived until the 1950s, when he returned to illustrat-interest in science fiction began with the novels of ing British SF magazines. Turner did a cover, and H.G. Wells, Edgar Rice Burroughs, Jules Verne and several interiors for Gilling’s Science Fantasy and his film classics such as Metropolis and Things to Come.

strong black-and white story illustrations became a The Flash Gordon serials and Alex Raymond comic regular feature of Nebula Science Fiction from strip as well as American SF pulp magazines such as 1954–1959. He returned to British fandom, and con-Amazing and Astounding also were significant influ-tributed art to the Astroneer and the Fantasy Art So-ences and encouraged Turner to develop his interest ciety newsletter. His illustrative style was semi-im-in art. In 1936, Turner started work at Odhams art pressionistic and visually striking, but the too slim studios in London as a trainee technical artist, but financial rewards of freelancing, given a family and within two years was providing illustrations for mortgage, compelled him to run a design studio for Modern Wonder, their scientific and technical mag-regular income. Turner continued to contribute SF
azine. His active service in the army, beginning 1940, drawings to fan magazines, and exhibited large oil put his artistic career on hold until he could return paintings, mainly abstract canvases, with local art to Odhams in the late 1940’s. He discovered that societies in Manchester and Stockport. In the 1970s, many of his colleagues were doing freelance work Turner became intrigued with perceptual anomalies for small-time publishers, and Turner did the same.

and the wide diversity of Escher-like 3-D illusions By 1949 he was working for independent comic pub-in flat geometrical patterns. In Triad Optical Illu-lishers, among them Scion Ltd of Kensington, for sions and How to Design Them (Dover, 1978), he whom he produced strip work for their BIG series of demonstrated his system for creating “impossible comics. His contributions were mainly SF-related figures” which can be used to generate infinite par-stories concerning The Atomic Mole, a burrowing adoxical patterns, reminiscent of Islamic geometri-machine which carried a small crew to investigate cal art. Eye trouble led to a series of operations which the subterranean worlds beneath the Earth’s surface.

prevented him from continuing with those artistic Turner’s interest in science fiction made him an ob-explorations, and he retired from his job as promo-vious choice when Scion began producing science tions studio manager for the Manchester Guardian.

fiction paperbacks, and in 1950 the company comIn his early years of retirement Turner continued missioned him to paint the cover of Operation Venus, to contribute artwork for Tom Sadler’s fanzine The by John Russell Fearn. His second cover, for Anni-Reluctant Famulus. In 1987 his work appeared in a hilation, was published the same year, and Turner’s commemorative book Embryonic Journey celebrat-outstanding artwork is credited for the immediate

455

Turner
success of the Vargo Statten paperback line. Depart-a heart attack, in late 1998, followed by his death a ing from the practice of depicting conventional SF
few weeks later. Ron Turner was married with two scenes, Turner painted actual scenes from the story.

sons.

The success of Turner’s cover art for the series soon Sources: www.lambiek.net/artists/t/turner_r.htm [accessed brought him to the attention of other publishers, March 2006]; Turner biography, by John Lawrence, 2002 online www.britiswhcomicart.netfirms.com/turner [accessed including the publisher John Spencer who used May 2006]; Weinberg (Harbottle entry), 1988

Turner on all five of the magazines he published 1950–1954. By 1953 he had enough work to leave Published Work

Odhams Press to pursue a freelance career. From BOOKS ILLUSTRATED INCLUDE: 2,000 Years On 1955 through the 1980s, Turner primarily was (Scion, 1950), Aftermath & After the Atom known for his comic strip art, and he became fa-

(Gryphon, 1996), Alien Life (Paladin Press/UK, mous for a number of popular titles and characters.

1954, Gryphon, 1998), Assignment New York His first color work had appeared in Tit-Bits Science (Gryphon, 1996), Alien Virus (Tit-bits, 1954), An-Fiction Comix in 1953, which followed cover work for jani the Mighty (Scion, 1951, Gryphon, 1996), Anni-the Tit-Bits SF Library series of novels. That same hilation (Scion, 1950), Avenging Martian (Scion, year, he was offered a regular commission to pen his 1951), Before the Beginning (Tit-bits, 1954), Best Of own strip called Space Ace, published in the monthly Sydney J. Bounds 1, 2 (Cosmos/Wildside, 2002), Lone Star comic book. The Rick Random, Space De-Black Avengers (Scion, 1953), Black Bargain (Scion, tective series, published by Fleetway, followed a year 1953), Catalyst (Scion, 1951), City of No Return later. The series lasted five years, and together with (1954), Conquest of the Amazon (Gryphon, 1998), Space Ace, made Turner’s fame. When the Tit-Bits se-Cosmic Exodus (Tit-bits, 1953), Cosmic Flame (Scion, ries ended, Turner moved to the Amalgamated Press 1950), Deadline to Pluto (Scion, 1951), Destination and until the late 1960s continued to draw many Mars (Edwin Self , 1951). Devouring Fire (Scion, stories for their “Library” series. In the mid–1960s 1951), Dimension of Illion (Tit-bits, 1954), The Dis-Turner provided original paintings for Craftmaster, sentizens (Tit-bits, 1954), Doomed Nation of the Skies a paint-by-numbers company, then in 1965 was (Tit-bits, 1953), Dynasty of Doom (Milestone, 1953), hired to work on The Daleks for the TV21 SF series Dyno-Depressant (Scion, 1953), Eclipse Express comic, Turner’s first color comic strip. This was fol-

(Scion, 1952), Enterprise 2115 (Merit, 1954), Exile lowed by The Space Accident and Wonder Car for From Jupiter (Tit-bits, 1954), Exit Life (Scion, 1953), Whizzer & Chips, and adult strips like Judge Dredd Extra Man (Milestone, 1954), Fantasy Adventures #1, and Spinball, and Thunderbirds, for TV21. A decline 2, 3, 4 (Cosmos/Wildside. 2002, 2003, 2004), Fan-in comic sales by the early 1980s put an end to tasy Annual 4, 5 (Cosmos/Wildside, 2002), Fantasy Turner’s full color strip Journey to the Stars, for IPC

Quarterly 1 (Cosmos/Wildside, 2001). Frozen Limit and he briefly retired from professional work until his (1954), Fugitive of Time (Milestone, 1953), G-Bomb career was revived in 1985 by the invention of Nick (Scion, 1952), Genial Dinosaur (Scion, 1954), Gold Hazard, a SF strip hero whose adventures were based of Akada (Scion, 1951, Gryphon, 1996), Grand Illu-on John Russell Fearn stories. Styled as a cross be-sion (Scion, 1954), Great Ones (Panther, 1953), Hand tween Dan Dare and Rick Random, Nick Hazard was of Havoc (Merit, 1954), The Hell Fruit (Tit-bits, scripted by Phil Harbottle and edited by John 1953), Hell Hath No Fury (Gryphon, 1996), Hell Lawrence, both good friends of Turner, who then Planet (Scion, 1954), Home is the Martian (Tit-bits, supplied the art. Originally issued in a small, digest-1954), I Came — I Saw — I Wondered (Scion, 1954), size format they later were published in the tradi-I Fight for Mars (Milestone, 1953, Gryphon, 1998), tional comic-book format when accepted for AmerI Spy (Scion, 1954), Inferno (Scion, 1950), Inner Cos-ican distribution. Turner also worked on later titles mos (Scion, 1952), Jupiter Equilateral (Tit-bits, Kalgan The Golden, an adaptation of an E.C. Tubb 1954), Journey to Mars (Scion, 1954), Kalgan the classic short story and a strip version of The Golden Golden (Gryphon, 1996), Laughter in Space (Scion, Amazon by John Russell Fearn. Later in the 1980s 1952), Lie Destroyer (Scion, 1953), The Living World Turner took on his fabled rival Frank Hampson* in (Tit-bits, 1954), Lonely Astronomer (Scion, 1954), a revival of the very popular IPC strip Dan Dare for Magnetic Brain (Scion, 1953), Man from Tomorrow the new series of Eagle.

(Scion, 1952), Man of Two Worlds (Scion, 1953), The In the 1990’s Turner returned to producing science Master Must Die (Scion, 1953), Master Weed (Tit-fiction covers, for the American publisher Gary Lobits, 1954), Menace From the Past (Tit-bits, 1954), visi’s Gryphon Books, illustrating stories by E.C. Tubb Micro Men (Scion, 1950), Mission to the Stars (Tit-and John Russell Fearn’s Golden Amazon novels.

bits, 1954), Moons for Sale (Scion, 1953), Multi-Man Turner also returned to paint a new Daleks strip, for (Scion 1954), Murder in Space (Gryphon, 1997), Dr. Who magazine and there were plans for more Nebula X (Scion, 1950), New Satellite (Scion, 1951), book covers when Turner suffered a stroke, and then Odyssey of Nine (Scion, 1953), One Thousand Year

Utpatel

456

Voyage (Dragon, 1954), Pandora’s Box (Gryphon, for this weird-fiction publishing company and pro-1996), Petrified Planet (Scion, 1951), Pioneer in 1990
duced artwork for Arkham’s sister company, My-

(Scion, 1953), Plant from Infinity (Paladin Press, croft and Moran. Utpatel subsequently became 1954), Planetoid Disposals, Ltd. (Milestone, 1953), known in the art field for his fine woodcuts, and the Purple Wizard (Scion, 1954), Renegade Star (Scion, Whitney Museum, the Art Institute of Chicago, and 1951), Resurrected Man (Scion, 1954), Scourge of the the Library of Congress hold his work. He is listed Atom (Scion, 1953), Slave Traders of the Sky (Tit-bits, in Who Was Who in American Art, 2nd edition 1954), Slaves of the Spectrum (Tit-bits, 1954), Sinis-

(Sound View Press, 1999). Utpatel died soon after ter Forces (Brown-Watson, 1953), The Sleeping City completing illustrations for Collected Solar Pons sto-

(Cosmos, 1999), Space Hunger (Milestone, 1953), ries by August Derleth, whose cult detective mys-Space Puppet (Tit-bits, 1954), Space Warp (Scion, tery stories featuring that Sherlockian character Ut-1952), Spawn of Space (Scion, 1952), Star Seekers patel had illustrated in several Mycroft and Moran (Tit-bits, 1953), Sun Makers (Scion, 1950), Temple of books. Utpatel was married to Marion A. (nee Death (Gryphon, 1996), A Time Appointed (Scion, Calkins) in 1938, who died in Mazomanie, Wiscon-1954), Time Bridge (Scion, 1952), Tormented City sin, December 29, 1993.

(Milestone, 1953), Two Days of Terror (Panther, Sources: www.wpamurals.com [accessed March, 2006]; 1952), Ultra Spectrum (Scion, 1953), Vanguard to www.ancestry.com; Obituary for Marian A. Utpatel, obtained from the Dodge/Jefferson Counties Genealogical Society, Inc., Neptune (Cherry Tree, 1953), Vassals of Venus (Tit-May 2006; Rodger Gerberding, “Frank Utpatel: Wood En-bits, 1954), Wanderer of Space (Scion, 1950), Wealth graver” In: The Mage, # 6, Winter 1987; Weinberg, 1988.

of the Void (Scion, 1954), Zero Hour (Scion, 1953).

Published Work

MAGAZINES ILLUSTRATED INCLUDE (all British BOOKS ILLUSTRATED INCLUDE (all Arkham House magazines):

Publishers, Inc. except where noted): Always Comes FUTSS: 1952 (winter, spring)

Evening (1957), By Owl Light (Prairie Press, 1967), OTW: 1955 (winter)

Carnacki the Ghost-Finder (Mycroft & Moran, TofT: 1950 (3, 4, 6)

1947), Collected Ghost Stories (1974), Collected Poems Vargo Statten British SF Magazine: 1954 (1, 2) by H.P. Lovecraft (1963), Colonel Markesan and Less WON: 1950 (2, 3, 4)

Pleasant People (1966), Dark Brotherhood (1966), WOF : 1952 (4, 9)

Dark Chateau (1951), Dark Man and Others (1963), Misc.: Fantasy Booklet 1, 2 (Tyne & Wear, Santa Dark of the Moon Poems of Fantasy and the Macabre Clara, CA: Spring, Summer 1991).

(1947), Dwellers in Darkness (1976), Feasting Dead Utpatel, Frank Albert Bernhardt

(1954), From Evil’s Pillow (1973), Fungi from Yug-

(March 4, 1905–July 12, 1980) American artist.

goth (Ballantine, 1971), Habitant Of Dusk (Walden Born in Waukegan, Illinois, Utpatel lived the rePress, 1946), Harrigan’s File (1975), A Hornbook for mainder of his life in Wisconsin, and later became Witches (1950), House of Moonlight (Prairie Press, well known as a Wisconsin regional artist, although 1953), Howard Phillips Lovecraft: Dreamer on the to receive funding through the New Deal (WPA) art Nightside (1975), Inhabitant of the Lake & Less Wel-program during the depression he was registered as come Tenants (1964), Landscape of the Heart (Prairie an Illinois artist. Utpatel was a friend of August Der-Press, 1970), Mind Parasites (1967), Nightmare Breed leth and Mark Schorer, writers of weird fiction, who (1964), Nine Horrors and a Dream (1958), Over the resided in Sauk City, and he began illustrating the Edge (1964), Phantom Fighter (Mycroft & Moran, weird fiction of his friends. He was an infrequent 1966), Poems for Midnight (1964), Poems in Prose contributor to Weird Tales in the 1930s. H.P. Love-

(1964), Psyche (Prairie Press, 1953 ), Purcell Papers craft was impressed by Utpatel’s work, and the artist (1975), Quick and the Dead (1965), Shadow Over illustrated the only book by Lovecraft published dur-Innsmouth (Visionary Press, 1936), Someone in the ing the author’s lifetime, The Weird Shadow Over Dark (1941), Something Breathing (1965), Spells and Innsmouth (Arkham House, 1936). Utpatel remained Philtres (1958), Strange Harvest (1965), Tales of Sci-friends with Derleth and illustrated a number of ence and Sorcery (1964), The Travelling Grave (1948), books for Arkham House, the imprint established Whispers, Whispers 2 (Doubleday, 1977 ), Xelucha and by Derleth, and named for Lovecraft’s well-known Others (1975).

place-name for legend-haunted Salem, Massachu-MAGAZINES ILLUSTRATED INCLUDE:

setts, although the publishing company was located WT: 1932 (6, 8, 9); 1934 (6); 1936 (1, 4, 6, 8); in the Derleth residence, in Sauk City, Wisconsin.

1937 (4)

Derleth commissioned Utpatel to design a house colophon for the imprint, which made its first ap-Valigursky, Edward I.

pearance on Donald Wandrei’s The Eye and the Fin-

(October 1926) American artist. One of the major ger, 1944. The artist also prepared numerous jackets paperback artists of the 1950s, Valigursky was born

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Valigursky
in New Kensington, Pennsylvania. He graduated sion was exacerbated by Valigursky’s of the pseudo-from high school in 1944 and immediately entered nym William Rembach on a few illustrations. In re-the U.S. Navy, serving until 1946. After his discharge cent years, renewed interest in vintage art in the SF
he studied at the Art Institute of Chicago and the genre has led to a resurgence of interest in Valig-American Academy of Arts. He graduated from the ursky, and in identifying his works. Paintings by Art Institute of Pittsburgh in 1951, taking the five-Valigursky are in the permanent collections of the year course in illustration and advertising.

U. S. Air Force Art Collection and the Pentagon, In 1952 Valigursky became associate art director Washington DC.

for Ziff-Davis publishing in New York. At Ziff-Sources: Di Fate, Vincent. Infinite Worlds: The Fantastic Davis he soon became a regular illustrator for their Visions of Science Fiction Art. (Wonderland Press/Penguin, 1997); Fairman, Paul W. “Portrait of an Artist: Ed Valigursky.”

two science fiction magazines, Amazing and Fantas-Fantastic, December 1956; Weinberg, 1988.

tic Adventures. In 1953 he became art director for Quinn Publishing Company, which published IF

Collections and Anthologies
magazine. After working for Quinn for two years, (various contributing artists)

he went into freelance illustration and remained a Frank, Jane and Howard. The Frank Collection: freelance artist for the remainder of his career. In A Showcase of the World’s Finest Fantastic Art (Paper the mid 1950s Valigursky branched out and began il-Tiger, 1999), Frank, Jane and Howard. Great Fan-lustrating for popular mainstream and men’s maga-tasy Themes from the Frank Collection (Paper Tiger, zines, including True, Saga, Argosy, Collier’s, Popular 2003). The New Visions: A Collection of Modern Sci-Science and notably Popular Mechanics, for which his ence Fiction Art (Doubleday & Co, 1982).

clean and direct painting style handling of “hardware” was well-suited.

Published Work

In addition to producing magazine art, Valigursky BOOKS ILLUSTRATED INCLUDE (all Ace Books ex-painted hundreds of paperback covers. His art, along cept as noted): 3 Faces of Time (1955), 200 Hundred with that of Ed Emshwiller*, dominated the Ace sci-Years to Christmas (1961), The 1,000 Year Plan (1955), ence fiction line of the 1950s and 1960s. His first Ace The 100th Millennium (1959), The 13th Immortal

“double” cover came in 1954, for Adventures in the Far (1957), Across Time (1958), Adventures in the Far Fu-Future, and he produced dozens of paintings for the ture (1954), Agent of the Unknown (1956), Android popular series (two novels in one book). He also Avenger (1965), The Angry Esper (1961), Arsenal of worked for Pyramid, Lancer and other paperback Miracles (1964), The Astronauts Must Not Land publishers. Valigursky worked in either oil or (1963), The Atom Curtain (1956), Ballad of Beta-2
gouache, and was a fine technical artist, and one of (1965), Battle on Venus (1963), The Beast Master the best genre “gadget” painters — excellent in paint-

(1961), Beyond the Vanishing Point (1958), The Blue ing robots and hardware, which was always impres-Atom (1958), Bring Back Yesterday (1961), The sive and realistic. His figure work was not as excit-Changeling Worlds (Ace, 1959), City Under the Sea ing or stylized as others working in the field, but it (1957), Collision Course (1961), Conquest of the Space was convincing enough, and more than made up for Sea (1955). Contraband Rocket (1956), Cosmic Check-by the strikingly futuristic feeling he gave to “spec-mate (1962), Cosmic Computer (1964), Cosmic Pup-ulative visualizations of emerging technologies …

pets (1957), Crashing Suns (1965), Currents of Space one of the first artists to use the paint mannerisms of (SFBC, 1953), The Dark Destroyers (1960), Darkness architectural and automotive illustrations in his de-Before Tomorrow (1962), Delusion World (1961), Des-pictions of SF subjects.” (DiFate, 1997). In advertis-tiny’s Orbit (1962), Dome Around America (1955), ing, Valigursky did artwork for Avco, Goodyear, Doomsday Eve (Ace, 1957), Dr. Futurity (1960), Earth Esso, Piper Aircraft, Bell Telephone, Shell Oil, the Gods are Coming (1960), An Earth Gone Mad (1954), Air Force, The Air National Guard and many other Empire of the Atom (1957), Endless Shadow (1964), clients. His exceptional paintings of aircraft made Eye in the Sky (1957), Five Gold Bands (1963), Galaxy him a natural for the many companies associated Primes (1965), Genetic General (1960), Into the Alter-with the aviation field. Valigursky left the science nate Universe (1964), Key Out of Time (1964), Lad-fiction field after many years to pursue much more der in the Sky (1962), Lest We Forget Thee, Earth lucrative nongenre illustration market.

(1958), Lost in Space (1960), Lunar Eye (1964), A Although nearly as prolific as Emshwiller, Jack Man Called Destiny (1958), Mankind on the Run Gaughan*, and Kelly Freas* until recently Valig-

(1958), The Man Who Japed (1956), Man Who Mas-ursky’s name has not been as well known — perhaps tered Time (1956), Mars Monopoly (1956), Martian because unlike those artists, Valigursky rarely signed Missile (1960), Mayday Orbit (1961), Mechanical his paintings. Although many of the illustrations for Monarch (1958), No Man’s World (1961), No World of magazines were identified, only a few of his science Their Own (1955), One Against Eternity (1955), One fiction paperback covers were credited. The confu-in 300 (1955), Our Man in Space (1965), Plague Ship

Valla

458

(1959), Planet of No Return (1956), Plot Against Earth Valla showed early promise in the SF genre with (1959), Rim of Space (1962), Rites of Ohe (1963), works in a surreal/fantasy vein. By the early 1980s Scavengers in Space (Ace, 1959), Sea Siege (1962), The however his success as a graphic designer and mural-Secret Martians (1966), Secret of the Lost Race (1959), ist led him to establish a studio in rural Connecticut, Seed of Earth (1962), Ship From Outside (1963), Siege and through the 1980s to 1990s he produced large of the Unseen (1959), The Sioux Spacemen (1966), The scale paintings, promotional materials and graphics Silent Invaders (1963), The Skynappers (1960), Slavers for corporate and institutional clients — many of of Space (1960), Snows of Ganymede (1958 ), Solar them now seen in high-end hotels, restaurants and Lottery (1955), The Space-born (1956), Spacehounds private residences. He completed 100 paintings for of the IPC (1965), Starhaven (1959), The Stars are the Postal Commemorative Society (Norwalk, CT) Ours (\1955), The Sundered Worlds (Paperback Li-in 1993–1994 on the “History of the American brary, 1966), The Sun Saboteurs (1961), Three Thou-West.” Valla is a member of the Society of Illustra-sand Years (1956), To the End of Time and Other Sto-tors (NY) and has received many awards, including ries (1960), To the Tombaugh Station (1960), A Touch Awards of Merit and Gold, Silver and Bronze medals of Infinity (1959), Trouble on Titan (Lancer, 1967), in several Art Directors Clubs and in the Society of Un-Man and Other Stories (1962), War of Two Worlds Illustrators (NY). He has written and illustrated a (1959), We Claim These Stars (1959 ), The World Jones novel based on artwork he created, representing in-Made (1956), The Worlds of Robert A. Heinlein digenous animals in a nature preserve “The Peace-

(1966), Worlds of the Imperium (1962), World of the able Kingdom: A Fable,” which awaits publication.

Masterminds (1960).

With his daughter, Tiffany (born a year after his re-M
turn to the States, and named in honor of his year-AGAZINES ILLUSTRATED INCLUDE:

AMZ: 1951 (8, 10, 11. 12); 1952 (1, 2, 3, 4, 5, 6, 7, long Tiffany Fellowship), he has designed several 8, 10, 11); 1953 (6, 7); 1954 (11); 1955 (1, 3, 5, 7, 9, 11, toys and games for major publishers. The artist and 12); 1956 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1957 (1, his wife Justine, a textile print designer, live in Lit-2, 3, 4, 5, 6, 7, 8, 9, 10, 11); 1958 (1, 2, 3, 4, 5, 6, 7, 8, tle Rock, Arkansas. Valla is Assistant Professor in the 9, 10, 11, 12); 1959 4, 5); 1960 (1, 2, 5); 1961 (1); 196 (10) Fine Arts Department, University of Arkansas, Lit-DW: 1957 (2, 8)

tle Rock, and Creative Partner at the IamGroup, a FA: 1951 (9, 10, 110; 1952 9 1, 2, 3, 90
marketing consulting firm.

FTC: 1952 (summer); 1955 (4, 6, 8, 12); 1956 (2, Sources: correspondence from the artist March 4, 6, 8, 10, 12); 1957 (2, 3, 4, 5, 6, 8, 9, 10, 11, 12); 2006; www.iamgroupinc.com/html/victor_valla.

1958 (1, 2, 5, 6, 9); 1959 (3, 4, 6, 8, 10, 12); 1967 (11) html; The New Visions: A Collection of Modern Sci-IF : 10953 9 3, 5, 7, 9, 11); 1954 (1, 19553, 4, 5, 6, ence Fiction Art. NY: Doubleday & Co, 1982.

7, 8, 9, 10, 11, 12); 1955 (1, 2, 3, 4, 8, 10) Published Work

PS: 1952 (1)

BOOKS ILLUSTRATED INCLUDE: Craghold Curse SS: 1955 (winter)

(Beagle, 1972), The Dark Man and Others (Lancer, 1972), Dracula Horror Series: Dracula’s Lost World Valla, Victor

#7, Dracula’s Disciple #8, Challenge to Dracula #9

(b. October 25, 1942) American artist. Born in (Pinnacle, 1975), Evil is Live Spelled Backwards (Pa-Council Bluffs, Iowa of French and Danish parent-perback Library, 1970), Horror Stories #5 (Berkley, age, Valla grew up in Nebraska, Michigan and New 1964), H.P. Lovecraft and Others Vol 1: Tales of the Jersey. He completed his BFA at the Rochester In-C’Thulhu Mythos (Beagle, 1971), Population Dooms-stitute of Technology (1964), his MFA at the Uni-day (Pinnacle, 1970), Sacred Locomotive Flies (Beagle, versity of Illinois (1967), and in 1969 was awarded a 1971), Stone Boy (Berkley/Charter, 1984), TNT se-Post Graduate Tiffany Fellowship at Atelier 17, in ries: TNT, The Beast, Kingdom of Death, Spiral of Paris, France. On his return to the United States, he Death (Berkley/Charter, 1985), Waters of Death started a freelance illustration and design business (Lancer, 1967), 1974 Annual World’s Best SF (DAW
near New York City and began accepting literary, Book Club, 1974).

agency and corporate assignments. Since 1977, beginning with his first position as Assistant Professor of Vallejo, Boris

Fine Arts in Visual Communications at Kean Uni-

(b. January 8, 1941) American artist. In reputa-versity (New Jersey) Valla has taught as well as main-tion and skill in heroic fantasy illustration perhaps tained a commercial art career, including full time second only to Frank Frazetta*, with whom he is appointments at Philadelphia College of Art (now often compared, “Boris”— as he signs his work pro-University of the Arts), and Syracuse University. In fessionally — enjoys a unique position in the fantasy 1987 he was Creative Director, The Design Studio, field. An accomplished artist in pen and ink or pen-for the Franklin Mint (Franklin Center, PA).

cil, he is best known for his smoothly painted and

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Vallejo
beautifully executed depictions of muscular men and of Conan. He went on to produce a number of highly women, and frankly sexual fantasy themes.

successful covers for that series that were universally The son of a lawyer and a math schoolteacher, acclaimed as the finest Conan paintings since those Vallejo was born in Lima, Peru. His love for art was done by Frazetta. Not only was Conan well executed, much in evidence early in his life when he used to but so were the monsters, demons and beautiful girls draw on the walls of his house. It was to his parents’

that filled the paintings. Vallejo’s muscular heroes, a credit that they never discouraged that love for draw-reflection of the artist’s own interest in bodybuilding on the walls. As a teenager he went as far as to ing, were so well done that many fans hailed him as paint his version of The Last Supper on their dining the “next Frazetta.” Other comic companies began room wall! Music was also part of his upbringing.

seeking the services of the new young star of the fan-He has played the violin for most of his life and, for tasy art world and soon, so were paperback book many years, in the first violin section of an orches-publishers.

tra in New Jersey. At the age of fourteen, while in Edgar Rice Burroughs’ novel I Am a Barbarian high school, he won a national inter-school compe-was Boris’ first paperback cover, in 1975. Within a tition and won a scholarship to study fine art at the short time Boris was concentrating on producing Escuela Nacional de Bellas Artes (National Fine Arts paperback covers. His fame grew rapidly as a result School) in his native Lima. During his four years at of the much greater exposure that he received from the art school he won the gold medal for his work the many covers he was producing. Although he also every year. He was the youngest student in the did romance covers, gothics and historical covers, school ever to have achieved this honor. At sixteen he worked primarily in the fantasy field, and it is his he won a scholarship to study art in Florence, Italy, covers for John Norman’s Gor novels that are now only to be denied this opportunity by his parents’

classics of the genre. As Clute and Nichols observe reluctance to allow him to live by himself in Europe

“His erotic fantasies of male power and female at such an early age. Instead, at his father’s urging, bondage were a natural accompaniment to the Gor he studied two years of pre-med before deciding that novels.” (p. 1264). Vallejo did seven covers for the se-medicine was not his calling and went on to pursue ries in 1976 and his art attracted so much attention a career in the graphic arts at age eighteen.

that when Ballantine Books decided to reissue the 1n 1964, Boris moved to the United States. He Tarzan novels, in 1977, Boris was the chosen artist.

spoke no English and had no specific plans. Starting A Tarzan calendar, published by Workman Publish-out with eighty dollars in his pocket, a portfolio of ing, in New York, soon followed, in 1979. The sales sample illustrations and a great deal of self confi-of the calendar were so good that Workman began dence he arrived in New York. He slept in the sub-issuing a yearly calendar, originally reprinting some way trains for two nights before coincidentally meet-of Boris’ best art; the still ongoing relationship has ing a group of Peruvians who helped him find a job resulted in a long series of pictorial calendars some in Hartford, Connecticut, in the advertising depart-of them featuring previously unpublished works.

ment of a chain of department stores. After six In 1978 Boris’ career made another transition months working in Hartford the company moved when Del Rey Books published The Fantastic Art of to New York, where he met his first wife, Doris Boris Vallejo, the first in a long list of books of his col-Maier. The couple had two children, Dorian, now lected works that have included more than four hun-a portrait artist and Maya, a professional photogra-dred paintings done for book covers as well as per-pher. Boris and Doris got divorced in 1989.

sonal works. The publication of his art in book form After two years in the retail advertising world, helped to establish his reputation, and paved the way Boris left the company and became a freelance artist, for his ground-breaking art book Mirage. Published still doing illustration for retail stores but also other by Ballantine Books, in 1982, it was originally forms of illustration such as Christmas cards and planned to be a portfolio of erotic art, comprising work for men’s magazines. Then, in 1971, inspired by studies of nudes in black-and-white. But the proj-Frazetta’s work in horror comic books, he sold his ect grew, and Vallejo’s desire to do art the way he first heroic fantasy painting, a muscular warrior wanted drove him to conceiving a collection of fighting a winged harpy as a cover for one of War-paintings where the censorship and limitations of ren Publishing magazines. In the words of his then book publishing would not be imposed on his imag-wife, Doris, it was “the most horrible thing I have ination. The book featured thirty-two new, overtly ever seen.” In direct disagreement with that state-erotic original paintings, a number of detailed pen-ment, Jim Warren commissioned Boris to do an-and-ink sketches, and an interview with the artist other cover for another of his magazines. Shortly on his purpose in doing the paintings. The book’s after the publication of these covers, Boris was ap-success widened Vallejo’s appeal beyond the science proached by Marvel Comics to do a cover for their fiction marketplace, and was followed in 1984 by new black and white publication, The Savage Sword Enchantment, featuring more erotic paintings. Al-

Vallejo

460
though he continued to produce book cover art over Visions of Boris Vallejo and Julie Bell (Thunder’s the next two decades, the impact of the publication Mouth Press, 2001), Titans: The Heroic Visions of of these first “breakthrough” collections made a Boris Vallejo and Julie Bell (Thunder’s Mouth Press, major impact on his career.

2000), Twin Visions: The Magical of Boris Vallejo and In 1994 Boris married fellow artist Julie Bell*.

Julie Bell (Thunder’s Mouth Press, 2003), Vallejo, Julie’s sons, Anthony and David Palumbo, grew up Boris. Bodies (Thunder’s Mouth Press, 1998), with them in Pennsylvania and are now both profes-Vallejo, Boris. Enchantment (Ballantine, 1984), sional artists themselves. Since then, Boris and Julie Vallejo, Boris. Fantasy (Blackthorne Publishing, often work as a team. Their yearly calendar features 1984), Vallejo, Boris. Hindsight (Thunder’s Mouth thirteen new paintings, six by Boris and six by Julie.

Press, 1998), Vallejo, Boris and Doris. Ladies: Retold The cover is a collaborative work between the two of Stories of Goddesses and Heroines (Paper Tiger/Pen-them. Together they have also done many advertis-guin/Roc, 1992), Vallejo, Boris. Mirage (Ballantine, ing paintings for clients such as Nike, Ford Motor 1982), Vallejo, Boris. Mirage: New and Enlarged Company, Toyota, ESPN.

Edition (Paper Tiger, 2001).

Boris’ art has been made into many licensed products such as jigsaw puzzles, drinking glasses, sculp-BOOKS ILLUSTRATED INCLUDE: Achilles’ Choice tures, lighters, clocks, mirrors, skate boards, t-shirts, (Tor/SFBC, 1991), Agent of Vega (Ace, 1982), Against bed spreads, table lamps, swords, pocket knives, the Prince of Hell (Ace, 1983), Angry Ghost: Doc model cars, Halloween masks, and note books, Savage #86 (Bantam, 1977) Araminta Station (Tor, among other items. His numerous and highly suc-1988), Assassin of Gor (Ballantine, 1975), Assumption cessful books and calendars have made him an inter-of Risk (ROC, 1993), Atlan (Pocket, 1979), Bad Place nationally recognized artist, with scores of imitators, (Putnam, 1990), Bandit of Hell’s Bend (Ace, 1975), and one of the most popular fantasy artists of his Battletech: Assumption of Risk; Blood of Heroes; Bred generation. His work was included in the exhibition for War; Close Quarters; D.R.T.; Mercenary’s Star;

“Science Fiction and Fantasy Painters,” and in the Far Country; Ideal War; Main Event; Price of Glory illustrated catalog for that show, at the New Britain (Penguin/Roc, 1992, 1993, 1994, 1995), Beasts of Museum of American Art (1980). Although he wel-Tarzan (Ballantine, 1977), Behind the Walls of Terra comes opportunities to meet fans, Vallejo is philo-

(SFBC, 1977), Berserker (Ace, 1992), Berserker: Blue sophically opposed to competing with his colleagues Death (Tor, 1985), Berserker Kill (Tor, 1993), and peers, hence declines nominations and awards in Berserker Man (Ace, 1979), Berserker Planet (Ace, the field.

1980), Best of Leigh Brackett (Del Rey, 1977), Boss of Sources : e-mail from the artist, December 2007; Clute, Terror: Doc Savage #85 (Bantam, 1976), Broken John and Nicholls, Peter. The Encyclopedia of Science Fiction Sword (Del Rey, 1977), Captive of Gor (Ballantine, (Orbit, 1993); Weinberg, 1988.

1976), Cheon of Weltenland (DAW, 1983), Chroni-Collections and Anthologies
cles of Amber Vol. I, II (SFBC, 1978), The City (various contributing artists)

(Pocket, 1979), Conan of Aquilonia; Conan of the Isles Boris Book 1 ( John Taylor, 1978), Boris, Book 2

(Ace, 1977), Conan the Buccaneer (Ace, 1993), Conan (Anaconda Press, 1978), Boris Vallejo and Julie Bell the Freebooter (Ace, 1990), Conan the Magnificent Fantasy Workshop: A Practical Guide (Thunder’s (Tor, 1984), Conan the Triumphant (Tor, 1985), Mouth Press, 2003), Boris Vallejo and Julie Bell Conan the Victorious (Tor, 1984), Conan the Wan-Sketchbook (Paper Tiger, 2001), Boris Vallejo and Julie derer (Ace, 1977), Crisis on Citadel II (Ace, 1980), Bell: The Ultimate Collection (Collins, 2005), The Cyborg (Del Rey, 1984), Cyberbooks (Tor, 1990), Boris Vallejo Portfolio (Paper Tiger, 1994), Boris Dangerous Journeys: The Samarkand Solution (Roc Vallejo’s 3D Magic (Paper Tiger, 1995), B.V. by Boris U.K., 1993), Davy (Ballantine, 1975), Day for Vallejo (Paper Tiger, 1994), Dean, Martyn, ed. The Damnation (Timescape, 1984), Death Riders of Hel Guide To Fantasy Art Techniques (Arco, 1984), (Popular Library, 1986), Deepness in the Sky (Tor, Dreams: The Art of Boris Vallejo (Paper Tiger, 1999), 2000), Demon in the Mirror (Pocket, 1977 ), Demon The Fabulous Women of Boris Vallejo and Julie Bell Night (Ace, 1982), Double Full Moon Night (Bantam (Collins, 2006), The Fantastic Art of Boris Vallejo Spectra, 2000), Dracula (Tor, 1992), Dragon (Ballantine, 1978), Frank, Jane and Howard. The (Pocket, 1979), Dragon and The George (Ballantine, Frank Collection: A Showcase of the World’s Finest 1976), Dragon and the Gnarly King (Tor/SFBC, Fantastic Art (Paper Tiger, 1999), Frank, Jane and 1997), Dragon Knight (Tor, 1990), Dragon Rigger Howard. Great Fantasy Art Themes from the Frank (Tor, 1993), Dreamsnake (1979), Earthdawn: Poi-Collection (Paper Tiger, 2003), Imaginistix: Boris soned Memories; Talisman (Penguin/Roc, 1994), Vallejo and Julie Bell (Collins, 2007), The New Vi-Earthmagic (Ace, 1978 ), Elvenbane (Tor/SFBC, sions: A Collection of Modern Science Fiction Art 1991), Elvenblood (Tor/SFBC, 1995), Empire Builders (Doubleday & Co, 1982), Superheroes: The Heroic (Tor, 1993), Endithor’s Daughter (Ace, 1982), E

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Vallejo

Pluribus Unicorn (Pocket, 1979), Eternal Champion Tarzan at the Earth’s Core (Ballantine, 1977), Tarzan (1978), Etruscans (Tor, 2000), Exiles To Glory (Ace, of the Apes (Ballantine, 1977), Tarzan the Invincible 1979), Firedance (Tor, 1986), Fire Upon the Deep (Ballantine, 1977), Tarzan the Magnificent (Ballan-

(Tor/SFBC, 1992), Flight of the Horse (Ballantine, tine, 1977), Tarzan the Terrible (Ballantine, 1977), 1973), Flying Sorcerers (Ballantine Del Rey, 1976), Tarzan the Untamed (Ballantine, 1977), The Return Four Wishes (DAW, 1983), Frankenstein (Tor, 1994), of Tarzan (Ballantine, 1977), Tarzan’s Quest (Ballan-Gates of Creation (Ace, 1981), Gateway (Ballantine, tine, 1977), Tarzan Triumphant (Ballantine, 1977), 1978), Godsfire (Pocket, 1978), The Guardian (Ban-TekWar; TekLab; TekLords; Tek Power; Tek Secret; Tek tam Spectra, 1997), Guide to Barsoom (Ballantine, Vengeance (Ace/Putnam, 1990, 1992, 1993, 1994), 1976), Gryphon’s Eyrie (Tor, 1993), Her Pilgrim Soul Through the Reality Warp (Ballantine, 1976), Tor SF

(Tor, 1990), High Couch of Silistra (Pocket, 1977), Sampler (Tor, 1993), To Sail Beyond the Sunset Hostage for Hinterland (Ballantine, 1976), I Am a (Ace/Putnam, 1987), Two Hawks from Earth (Ace, Barbarian (Ace, 1975), Ice Schooner (Dell, 1978), In 1980), Unwillingly to Earth (Tor, 1992), Vengeance the Moons of Borea ( Jove, 1979), Ishmael (Pocket, of Orion (Tor, 1988), Voyagers II: The Alien Within 1985), Jungle Tales of Tarzan (Ballantine, 1977), (Tor, 1991), Vulcan Academy Murders (Titan, 1991), Killing Time (Pocket, 1985), King’s Daughter (Pocket, Walk the Night (1976), Warrior Witch of Hel (Ques-1979), Lavalite World (Ace, 1977), Magic Goes Away tar, 1985), Web of the Romulans (Titan, 1989), Web (Ace, 1977, 1990), Maker of Universes (Ace, 1977), A of Wizardry (Del Rey/Ballantine, 1978), When Hell Matter for Men (Pocket, 1983), Mindshadow (Pocket, Laughs (1982), Winds of Altair (Tor, 1988), World of 1986), More Magic (Berkley, 1984), More Than Fire Tiers Vol. I, Vol. 2 (SFBC, 1993).

(Tor/SFBC, 1993), Mortal Gods (Signet\, 1979), MAGAZINES ILLUSTRATED INCLUDE:

Mountain Monster: Doc Savage #84 (Bantam, 1976), DRA: 1981 (8)

Mutiny on the Enterprise (Pocket, 1983), My Lord HM: 1984 (4); 1985 (4, 11); 1996 (9); 2001 (7); Barbarian (Ballantine Del Rey, 1977), Nomads of Gor 2003 (3, 12)

(Ballantine, 1976, 1987), Of Men and Monsters (Bal-ROF : 1999 (2, 10); 2000 (4)

lantine, 1975), Ophiuchi Hotline (SFBC, 1977), Out-Misc.: Boris; Boris II —The Fantasy Continues; law of Gor (Ballantine, 1975), Orion (Tor, 1998), Boris 3; Boris 4 — Magnificent Myths; The Best of Orion and the Conqueror (Tor, 1994), Orion in the Boris; BJ: Boris With Julie Collector Trading Card Dying Time (Tor, 1990), Pluribus (Ace, 1975), Priest sets (Comic Images, 1991, 1992, 1993, 1994, 1995, Kings of Gor (Ballantine, 1977), Private Cosmos 1996), Conan Chromium I, II (Comic Images, 1993), (SFBC, 1977), Privateers (Tor, 1993), Red Terrors: Keepsake Collections: Beasts, Buns, Beauties And Beasts, Doc Savage #83 (Bantam, 1976), Ring of Charon Future Worlds Collector Trading Card sets (Comic (Tor, 1990), Roar Devil: Doc Savage #88 (Bantam, Images, 1996), Marvel Masterpieces trading card set 1977), Secrets of Synchronicity (Signet, 1977), Shape (Comic Images, 1996), Boris Vallejo fantasy calen-Changers (DAW, 1983), Shattered Sphere (Tor/SFBC, dars 1979–2008 (Workman Publishing).

1994), Siege of Faltara (Ace, 1978), Some Summer Lands (Pocket, 1979), Son of Tarzan (Ballantine, 1977), Space Guardian (Pocket, 1978), Spawn of the Vallejo, Dorian

Winds ( Jove/HBJ, 1978), Spotted Men: Doc Savage (March 1, 1968) American artist. The son of well-

#87 (Bantam, 1977), StarBridge (Ace, 1991), Star of known fantasy and science fiction illustrator Boris Doom (Ace, 1983), Star Trek: Black Fire; Corona; Cri-Vallejo*, Dorian — whose name is a variation of his sis on Centaurus; Demons (Titan, 1991), Star Trek: mother’s name, “Doris”— candidly acknowledges Dreadnought!; Dwellers in the Crucible; The Final his father as his first influence. But, while Dorian Reflection Killing Time (Titan, 1989, 1990), Star Trek: may have inherited artistic genes, and began to draw Mutiny on the Enterprise; Shadow Lord (Pocket, 1983, under his father’s tutelage by the age of four, he says 1985), Star Trek: The Wounded Sky (Titan, 1996),

“(My father) made it clear that I should study with Steppe (Tor, 1992), Summit (Penguin/Roc, Nov other artists and sent me to the best school he could 1994), Tarnsman of Gor (Ballantine, 1975), Tarzan find.” He studied at Parsons School of Design and and the Ant Men (Ballantine, 1977), Tarzan and the the School of Visual Arts, in New York, as well as Castaways (Ballantine, 1975), Tarzan and the City of Barnstone Studios in Pennsylvania, his home State.

Gold (Ballantine, 1977), Tarzan and the Forbidden He got his first job in illustration while in High City (Ballantine, 1977), Tarzan and the Foreign Le-School, and after completing his art education he gion (Ballantine, 1977), Tarzan and the Golden Lion was well on his way to becoming a successful illus-

(Ballantine, 1977), Tarzan and the Jewels of Opar trator in his own right. He won the Jack Gaughan (Ballantine, 1977), Tarzan and the Lion Man (Ballan-Award in 1994 for Plague of Change (1992), and tine, 1977), Tarzan and the Lost Empire (Ballantine, among his clients were major book publishers such 1977), Tarzan Lord of the Jungle (Ballantine, 1976), as Del Rey, Ace, and Avon. His illustrative works

Van der Poel

462
were all in oils, and excellently rendered in a fantasy 1991, 1992), Starbridge series: #1 Starbridge; # 2 Silent style reminiscent of his father’s, but charged with Dances; #3 Shadow World; #4 Serpent’s Gift; #5 Silent more tension, and lively.

Songs (Ace, 1990, 1991, 1992, 1994), Stellar Ranger In the mid 1990s, however, Vallejo experienced a (Avon, 1994), Symbionts (Avon, 1995), The Telnar-change in heart, and abandoned his career in com-ian Histories: #1 Chieftain; #2 Captain (Warner, 1991, mercial illustration. As he puts it, “that seems a dis-1992), Time Trap (Ace, 1992), Transition & Meta-tant memory, largely forgotten,” now that he is fo-phase (Bantam, 1991), Walpurgis III (Warner Ques-cused on fine art. Vallejo never specialized in tar, 1992), Warriors of Blood and Dream (AvoNova, anything other than SF, he says, and “loved illustra-1995), Warriors of Mars (Ace, 1991), Warstrider tion, and loved being part of a great tradition” but (AvoNova, 1993),
doesn’t plan to return. He now paints and draws tra-MAGAZINES ILLUSTRATED INCLUDE:

ditional oil portraits. In the beginning of his art ca-IASFM: 1991 (7)

reer, he says, the awards and grants were important, HM: 1990 (5)

but as he began to win them “it became apparent to me that awards were not the measure of anything I Van der Poel, W. I., Jr.

considered of value. I threw them all away and rarely if ever enter any competition.” Vallejo’s goal, while ( July 27, 1908–October 30, 1987) Born in the he was an illustrator, is the same as it is now; “to New York, Van der Poel was known to his friends make each work of art better in some way than the and colleagues as “Van” or “Irv,” but used the ini-one before. The art comes first everything else fol-tials W.I. professionally and signed art that way, or lows.”

as “Van der Poel.” The initials stood for Washing-Vallejo lives in New Jersey with his wife Liana, ton Irving, a friend and neighbor of the family that who is also an artist, and young son Dimitri, who is had lived in the Hudson Valley of NY since the

“finding his artistic talent.”

1600s. Van der Poel attended Trinity College and Sources: e-mail from the artist, August 2007 and artist the Art Student’s League in New York during the website at www.dorianportraits.com; Burnham, Kevin. The 1920s and 1930s. He briefly taught school in Santa Boothbay Register— Online Edition September 1, 2005 http:/

Fe, NM and was on the art and design staff for Time

/boothbayregister.maine.com/2005–09–01/international_por-and Fortune magazine until the beginning of World traitist.html

War II. During the war, Van der Poel served in the Published Work

Army where he attained the rank of Master B

Sergeant. He prepared graphics for training and lo-OOKS ILLUSTRATED INCLUDE: Barbarians of Mars (Ace, 1991), Black Hole Travel Agency Book (Ballan-gistics, as well as overseeing a detachment of other tine/Del Rey, 1992), Blades of Mars (1991), Blood: A graphic artists.

Southern Fantasy (AvoNova/Morrow, 1995), Brain-Van der Poel was the art director for Galaxy Sci-rose (Avon, 1991), The California Voodoo Game (Del ence Fiction from its first issue in October, 1950

Rey/Ballantine, 1992), Chase the Morning (AvoNova, through June, 1960. He also served in the same ca-1992), CLD/Collective Landing Detachment (Avo pacity for Galaxy’s short-lived fantasy companion Nova, 1995), Deathknight (Ace, 1990), Demon King Beyond. In the late 1950s Van der Poel was art direc-

(Warner Aspect, 1998), Destiny Makers (AvoNova/
tor for Gnome Press and designed most of their cov-Morrow/BCE, 1993), Doomsday Exam (Ace, 1992), ers. When Gnome abandoned full-color illustrated The Forever War (Avon, 1991). Full Moonster (Ace, covers due to costs, he designed a number of artis-1992), Gates of Noon (Avon, 1994), Genetic Soldier tic line-work illustrations and graphics that were (Avonova/Morrow/BCE, 1994), Grail and the Ring used for covers on the later Gnome series. During this (Ace, 1994), Inheritor (DAW/BCE, 1997), The Iron same period, through the 1960s, Van der Poel also Dragon’s Daughter (Avon/BCE, 1994), Jackers (Avon, was art director for several other periodicals, includ-1994), The King (Warner, 1993), Lone Star (Avon, ing the Journal of the American Diabetes Association 1995), Lurid Dreams (Avon, 1990), Metaphase (Ban-and the New York State Conservationist— an award tam, 1992), Mind-Surfer (AvoNova, 1995), Mojave winning, state published magazine that was one of Wells (Morrow/Avon, 1994), Moon and the Thorn the first to highlight ecological concerns. In the (Ace, 1995), Quick (Hearst, 1991), A Plague of Change 1970s Van der Poel moved from New York City to (Del Rey, 1992), Seer King (Warner, 1997), The Woodstock, NY, then to Santa Fe, New Mexico in Shadow of Sorcery (Ace, 1993), Shadowsong series: #1
the 1980s, where he painted increasingly with Fire in the Sky; #3 Crystal Heat (DAW, 1995, 1996), acrylics and studied jewelry making. He spent his The Shape-Changer’s Wife (Ace, 2003), Showdown final years painting and reading in Missoula, MT.

Sources: e-mail from W. I. Van der Poel III, February 2006

(Ace, 1992), Smoke and Mirrors (Morrow/Avon, 1996), Soul Eater (Warner, 1992), Space Cops: #1

Mindblast; #2 Kill Station; #3 High Moon (Avon,

463

Van Dongen

Published Work

Ballantine Books (where Del Rey worked); soon he BOOKS ILLUSTRATED INCLUDE: (all Gnome Press) was handling several cover assignments for Del Rey Agent of Vega (1960), Bird of Time (1959), Coming and DAW books. His cover art for paperbacks was Attractions (1957), Dawning Light (1959), Drunk-just as colorful and attractive as his earlier magazine ard’s Walk (1960), Invaders From the Infinite (1961), work, still painted in acrylic on illustration board, Path of Unreason (1958), Philosophical Corps (1961), and more polished. His figures were realistic and his Purple Pirate (1959), SF 57, SF 58, SF 59 (1957, aliens, believable.

1958, 1959), They’d Rather Be Right (1957), Unpleas-Van Dongen is now retired, but still paints —
ant Profession of Jonathan Hoag (1959), Vortex Blaster mostly landscapes inspired by the beauty that sur-

(1960).

rounds him in upstate New York. He was an Illustrator of the Future judge, for L. Ron Hubbard’s Van Dongen, H. R.

Author Services’ sponsored competition, since its (b. August 20, 1920) American artist. Henry inception (1988), and his article “A Few Tips on the Richard Van Dongen was born in Rochester, New Craft of Illustration,” was published in L. Ron Hub-York. He had close to six years of formal art educa-bard Presents Writers of the Future Vol X, edited by tion, beginning at the Rochester Institute of Tech-Dave Wolverton (Bridge, 1994). Married to Eleanor, nology, and including “one glorious summer” at the in 1945, Van Dongen and has one daughter, four Woodbury Ross School of Painting in Ogunquit, sons, nine grandchildren and two great grandchil-Maine, on a scholarship. Van Dongen was influ-dren.

enced early on by twentieth century illustrators: Sources: correspondence from the artist March 19, 2005.

Harvey Dunn, N.C. Wyeth, and particularly the works of Norman Rockwell—in addition to the “old Published Work
masters.” But as a working artist he tried not to em-BOOKS ILLUSTRATED INCLUDE: Beneath the Shat-ulate any one of their styles. Before becoming an il-tered Moons (DAW, 1977), Best of Edmond Hamilton lustrator, Van Dongen worked as a graphic designer (Ballantine/Del Rey, 1977), Best of Eric Frank Russell at an advertising agency and in the art room at East-

(Ballantine/Del Rey, 1978, 1986), Best of Hal Clement man Kodak Co. as a photo retoucher. He entered (Del Rey, 1979), Best of John W. Campbell (Ballan-the science fiction magazine field with his cover tine/Del Rey, 1976), Best of Lester del Rey (Ballan-painting for the September 1949 issue of Super Sci-tine/Del Rey, 1978), Best of Murray Leinster (Ballan-ence Stories. After doing art for a few lesser maga-tine/Del Rey, 1978), Best of Raymond Z. Gallun zines, such as Super Science, A. Merritt Fantasy and (Ballantine/Del Rey, 1978), The Castaways of Tana-Worlds Beyond, he did several paintings on spec, and gar (DAW, 1981), Doomtime —The War of the World brought them in to John Campbell, editor of the Trees (DAW, 1981), The Fluger (DAW, 1980), Gar-premier magazine of the time, Astounding Science ments of Caean (DAW, 1980), Gentle Giants of Fiction. Within a short time he became one of the Ganymede (Ballantine/Del Rey, 1978), Immodest Pro-mainstays of the publication, sharing cover and in-posals: Complete Short Science Fiction of William Tenn terior art duties with Frank Kelly Freas*. Of the top (NESFA, 2000), A Jungle of Stars (Ballantine/Del ten artists who have contributed covers to Astound-Rey, 1976), The Jupiter Theft (Ballantine/Del Rey, ing (later Analog), he is ranked #7, with 46 covers 1979), The Languages of Pao (DAW, 1980), Masto-painted between 1950 and 1985, the majority of donia (Ballantine/Del Rey, 1978), Midnight at the them (33) painted in the 1950s. Van Dongen con-Well of Souls (Ballantine/Del Rey, 1980), Midworld tinued to work on Astounding until late in 1961, (Ballantine/Del Rey, 1978), Mission of Gravity (Bal-when he left science fiction for the commercial art lantine/Del Rey, 1978), Mission to Universe (Ballan-field. He did work for Boy’s Life, Sports Afield, Out-tine/Del Rey, 1977), New Atoms Bombshell (Ballan-door Life, Field and Stream, Adventure and Argosy tine/Del Rey, 1980), New Voices #2 ( Jove, 1979), One Magazine. He spent some time in architectural il-on Me (DAW, 1980), The Panorama Egg (DAW, lustration, and was on staff with the Sterling Homex 1978), The Paradox of the Sets: The Final Landing Corporation as an illustrator for about a year and a (DAW, 1979), Protector (Ballantine/Del Rey, 1981), half— one of the few times he held a staff position.

The Quillian Sector: Dumarest of Terra #19 (DAW, In 1975, an unexpected call from Lester Del Rey 1978), Repairmen of Cyclops (DAW, 1981), Second encouraged Van Dongen to re-enter the SF field.

Game (DAW, 1981), The Siege of Wonder (DAW, Del Rey was working on an illustrated book on sci-1977), A Specter is Haunting Texas (DAW, 1978), The ence fiction art and contacted Van Dongen for per-Spinner (DAW, 1980), Starlight (Ballantine/Del Rey, mission to use one of his early covers. In passing, 1978), Stellar #4 Science Fiction Stories (Ballantine/Del Del Rey mentioned that he would be interested in Rey, 1978), Still Forms of Foxfield (Ballantine/Del seeing new work. By coincidence, Van Dongen was Rey, 1980), The Survival Game (Ballantine/Del Rey, without any assignment at the time and contacted 1976), Through the Eye of the Needle (Ballantine/Del

Velez

464

Rey, 1978), To Conquer Chaos (DAW, 1981), Tschai, Doubleday, Tor, Easton Press, DAW and others, as Planet of Adventures: #1 City of the Chasch, #2 Servants well as many of the genre magazines, among them of the Wankh: #3 The Dirdir, #4 The Pnume (DAW, Starlog, Amazing Stories, and Fantasy & Science Fic-1979), To Keep the Ship (DAW, 1978), Unto Zeor, tion. In addition, Velez illustrated children’s books Forever (Playboy, 1980), A Voice Out of Ramah (Bal-for Reader’s Digest , Scholastic and a numerous other lantine/Del Rey, 1976), Way Station (Ballantine/Del publishers, and created cover art for RCA video discs Rey, 1994), The Year’s Best Fantasy Stories #7 (DAW, (before DVD’s), including titles such as Dracula, 1981), Z-Sting (DAW, 1978).

and record album covers for various labels, includ-M
ing Columbia Masterworks. He was a steady free-AGAZINES ILLUSTRATED INCLUDE:

AMF : 1950 (4)

lancer to gaming companies, including the classic ASF : 1951 (8, 10, 11, 12); 1952 (1, 2, 3, 5, 6, 8, 9, Dungeons & Dragons(™) games for TSR, Inc., 10, 11, 12); 1953 (1, 2, 4, 5, 6, 7, 8, 9, 10., 11, 12); 1954

Chaosium, I.C.E. and others. For years, he created (1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12); 1955 (1, 2, 3, 4, 5, 6, art for TV guide and movie posters and film pro-7, 8, 9, 11, 12); 1956 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); motion materials, as well. In recent years, he has 1957 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12); 1958 (1, 2, 3, turned to creating personal works and is preparing 4, 5, 6, 7, 8, 9, 10, 11, 12); 1959 (1, 2, 3, 5, 6, 7, 8, 11, work for a European gallery. Eventually, Velez plans 12); 1960 (1, 2, 3, 5, 7, 9, 10. 11, 12); 1961 (1, 2, 4, 5, to move to the island of Crete (Greece), with his 6, 7, 9, 10, 11); 1980 (9); 1981 (7); 1982 (1, 3, 5, 6, 10, wife, Kriti and daughter Kassandra, where he has 11, 12); 1983 (1, 4); 1984 (5, 6, 7, 8, 11); 1985 (8) designed and built a home.

Sources: e-mail from his agent, Bauman, May 2005

GXY: 1963 (12)

SFA: 1952 (11); 1953 (5, 9)

Collections and Anthologies

SpSF : 1953 (2, 7)

(various contributing artists)

SSS: 1949 (9); 1950 (3, 5, 7, 8, 11); 1951 (1, 8) Frank, Jane and Howard. The Frank Collection: WB: 1951 (1, 2)

A Showcase of the World’s Finest Fantastic Art (Paper Tiger, 1999),

Velez, Walter

Published Work

(b. November 28, 1939) Born in Harlem, Velez BOOKS ILLUSTRATED INCLUDE: Aliens Among Us was brought up in the South Bronx and for the most (Berkley/Ace, 2000), Ambrov Keon (DAW, 1985), part has lived and worked in New York city all his Another Day, Another Dungeon (Tor, 1990), Asimov life. He attended the High School of Art and Design Halloween (Berkley/Ace, 2000), Barking Dogs (Blue-in the 1950’s (then called The High School of In-jay, 1986), Birds of Prey (Ace, 1978), The Black Ves-dustrial Arts), and studied anatomy and illustration sel (TSR, Inc., 1996), Bobby’s Girl (Berkley/Ace, under Burne Hogarth and Her Lubalin at the School 2000), Body Armor 2000 (Berkley/Ace, 1985), Bor-of Visual Arts, New York. Velez also studied abstract ribles (Ace, 1979), The Bride of the Slime Monster expressionism privately with Terry Krumm (a student (Berkley/Ace, 1989), The Bug Wars (Dell, 1979), By of Franz Klein), but he “eventually lost interest in The Time I Get to Nashville (Berkley/Ace, 1993), A making big colorful slashes on massive canvases.”

Calculated Magic (Raven/UK, 1995), Callipygia Instead, Velez traveled to Europe to research paint-

(DAW, 1987), Cat Karina (Ace, 1982), The Cineverse ing, sculpture and art history, and upon his return Cycle (SFBC, 1990), A Civil Campaign (Easton Press, entered the commercial art field by becoming a pro-1999), The Crystal Crown (DAW Books, 1986), The duction artist, art director and graphic designer for Dawning Light (Ace, 1982), Daughter of Witches various advertising agencies and design studios in (Ace, 1982), The Defiant Agents (Ace, 1980), Demon New York. His first science fiction paperback assign-Blues (Berkley/Ace, 1988), Desperate Measures ment came in 1978, but it was through his Thieves (SFBC, 1989), The Destiny’s Dice (NAL, 1989), A World cover for Ace Books (1979), which started one Difficulty With Dwarfs (Berkley/Ace, 1987), A Dis-of the most popular series in science fiction publish-agreement With Death (Berkley/Ace, 1988), Drag-ing history, that Velez first achieved recognition of his onsbane (SFBC, 1986), Dragons on the Town (Berkley talent. In 1979 he met Jill Bauman*, an artist at the

/Ace, 1992), Dragon Sword (Linx, 1988), The Dream beginning of her professional career as an illustra-Master (Ace, 1981), Ender’s Game (Easton Press, tor. Velez preferred painting to finding jobs, and she 1991), An End of An Era (Berkley/Ace, 1994), The needed advice on how to enter the commercial art End of the Game (SFBC, 1986), Essence of Evil market, so in return for his mentoring she became (SFBC, 1990), An Excess of Enchantments (Berkley/
his long-time agent, helping him find a niche as an Ace, 1988), Exiles Trilog y (Berkley, 1979), The Ex-illustrator in Fantasy and Science Fiction.

ploits of Ebenezum (Berkley/Ace, 1987), The Face of The bulk of Velez’ work since 1980 has been in Chaos (Ace/Berkley, 1983), The Falcon of Eden (Play-SF/F book covers for publishers such as Berkley, boy Press, 1989), Firehand (Tor, 1994), Flying Sorcer-

465

Velez
ers (Berkley/Ace, 1998), Fool’s Tavern (Byron Preiss, Dreadnaughts (Berkley/Ace, 1990), Space Fighters 2003), Forty Signs of Rain (Easton Press, 2004), (Berkley/Ace, 1987), Space Gladiators (Berkley/Ace, Foundation’s Fear (Easton Press, 1997), Galactic 1988), Space Infantry (Berkley/Ace, 1989), Slaves of Derelict (Ace, 1982), The Gnomewrench in the Dwarf-the Volcano Gods (Berkley/Ace, 1989), Spell of Cat-works, Gnomewrench in the Peopleworks (Berkley/
astrophe (DAW, 1989), Split Heirs (Tor, 1992), The Ace, 1999, 2000), The Golden Man (Berkley, 1979), Stainless Steel Rat Goes to Hell (Tor, 1996), The Go Quest Young Man (TSR, Inc., 1994), Headcrash Stainless Steel Rat’s Revenge (Orion House/UK, (SFBC, 1995), Here Be Demons (Berkley/Ace, 1987), 1996), The Steel, the Mist and the Blazing Sun (Ace, Heroics for Beginners (Berkley/Ace, 2004), The 1980), The Steel Tsar (DAW, 1982), Stormlight: For-Hound and the Falcon (Easton Press, 1996), High gotten Realms (TSR, Inc., 1996), Storm Season (Ace, Tension (Ace, 1981), Hooray for Hellywood (Berkley/

1982), Summerhill Hounds (TSR, Inc., 1995), Super-Ace, 1989), Jamie the Red (Berkley, 1983), Kent Mon-tanks (Berkley/Ace, 1986), Tales from the Vulgar tana and the Once and Future Thing, Kent Montana Unicorn (Ace, 1989), Thieves World (Ace, 1979), and the Really Ugly Thing from Mars, Kent Montana Thieves World: Cross Currents, The Price of Victory, and the Reasonably Invisible Man (Berkley/Ace, 1990, The Shattered Sphere (SFBC, 1984, 1986, 1990), Take 1991), Knights of Madness (Berkley/Ace, 1999), Lord Back Plenty (SFBC, 1992), Test of Honor (SFBC, Darcey (SFBC, 1983), Lythande (DAW, 1985), Ma-1987), Time Scoop (Dell, 1989), Time: The Semi-chines That Kill (Berkley, 1984), Macroscope (Easton Final Frontier (Berkley/Ace, 1994), The Time Traders Press, 1993), Magic in Ithkar, Ithkar II (TOR, 1984, (Ace, 1980), Tin Woodman (Ace, 1981), To the Magic 1985), A Malady of Magicks (Berkley/Ace, 1985), Born (SFBC, 1990), The Tough Guide to Fantasy-Mandricardo (DAW, 1986), The Mark of the Moder-land (DAW, 1998), The True Game (SFBC, 1985), ately Vicious Vampire (Berkley/Ace, 1991), Meet the The Unpleasant Profession of Jonathan Hoag (Easton Thradons (Berkley/Ace, 2004), A Modern Magician Press, 1997), Virtual Reality (SFBC, 1994), The (Raven/UK, 1994), Moon of Three Rings (Ace, 1980), Wanderings of Wuntor (SFBC, 1988), The Warlock’s The Moon’s Fire-eating Daughter (Berkley, 1984), Night Out (SFBC, 1986, 1988), Web (Berkley, Moonwar (Easton Press, 1998), A Multitude of Mon-1980), Wild Cards, Wild Cards II, III, IV, V, VI sters (Berkley/Ace, 1985), Myth Adventures (SFBC, (SFBC, 1987, 1988, 1989, 1990), Winds of Altair 1978, 1984), Another Fine Myth (Bluejay, 1981, (Tor, 1982), Wings of Omen (Berkley, 1984), Wish-Berkley, 1984), Myth Alliances, Myth Conceptions, bringer (Byron Preiss, 1988), Witches of Karres Myth Directions (Berkley, 1984), Hit or Myth (Berk-

(SFBC, 1992), Witch World (Easton Press, 1998), ley, 1985), Little Myth Marker, Myth-ing Persons, The Wizards of Odd (Berkley/Ace, 1997), Zelerod’s M.Y.T.H. INC. Link (Berkley/Ace, 1986), Myth-Doom (DAW, 1986), The Zero Stone (Ace, 1980), Nomers & Im-Pervections (Berkley/Ace, 1987), Zork Chronicles (Avon, 1990).

M.Y.T.H. INC. in Action (Berkley/Ace, 1990), Sweet MAGAZINE ILLUSTRATIONS INCLUDE:

Myth-tery of Life (Berkley/Ace, 1994), Myth-ion Im-AMZ: 1992 (4, 11, 12); 1993 (9)

probable (Berkley/Ace, 2001), Somethings M.Y.T.H.

ROF : 1998 (10); 1999 (10)

INC. (Berkley/Ace, 2002), Myth-taken Identity (Berkley/Ace, 2005), Name of the Sun (DAW, 1986), GAME-RELATED ILLUSTRATIONS INCLUDE: Alter-The Neighbor of the Beast (Berkley/Ace, 1991), New nity: The Last Warhulk, Outbound, StarDrive: Light-Voices III (Berkley, 1979), A Night in the Netherhells house, StarDrive: Threats From Beyond (TSR, Inc., (Berkley/Ace, 1986), Nobles series: #1 King Pinch, #2

1998), Birthright, Introduction to Advanced Dungeons War in Tethyr, #3 Escape from Undermountain, #4

& Dragons. Karameikos, Glantri Role Playing Game The Mage in the Iron Mask, #5 Council of Blades (TSR, Inc., 1994, 1995), Thirty Monsters for Mon-

(TSR, Inc., 1995, 1996), Nuclear War (Berkley/Ace, ster Compendium (TSR, Inc., 1995), Dune, Star Trek 1988), Once Upon a Time in the East (Berkley/Ace, game card art (Last Unicorn Games. 1997, 1999), 1993), The Outward Urge (Berkley, 1989), Phase Two Dunland & the Southern Misty Mountain, Magic (Ace, 1979), A Phule and His Money, Phule Me Twice Items, Rolemaster Companion II, Rolemaster Compan-

(Berkley/Ace, 1999, 2000), The Realm Beneath ion III— game module covers (Iron Crown Enter-

(DAW, 1985), Red Dwarf (SFBC, 1993), Revenge of prises, 1987, 1989), Extreme Paranoia Role Playing the Fluff y Bunnies (Berkley/Ace, 1990), Rogues to game box cover (West End Games, 1988), Fall of Riches (TSR, Inc., 1994), Sanctuary (SFBC, 1982), House Duran, Space Master, Space Master: Ship to Sargasso of Space (Ace, 1980), See Tee (Harcourt Brace Ship, Space Master: Ground Assault, Space Master:

& Jovanovich, 1978), The Seventh Tower Berkley/

Combat Scream, Spellbook—Role Playing Game cov-Jove, 1983), Shadow Magic (Ace, 1983), Shadows of ers (Iron Crown Enterprises, 1988), Graytch and Sanctuary (Ace, 1981), Shatterday (Berkley/Jove, Thay-tra (Destination Games, 1997), Mythos game 1982), The Shrouded Planet (Ace, 1982), Silent card art (Chaosium, 1997).

Hunter (Berkley, 1986), Silverlock (Ace, 1979), Space Misc. : Batman & Joker candy box cover art.

Vess

466

Topps Co. 1989), Baseball cards, Topps Co. 1989

Fantasy Award for Best Short Story with Neil Goosebumps Trading Cards. Topps Co. 1996.

Gaiman for their collaboration on Sandman #19 (DC

Comics). His Green Man Press publishes The Book Vess, Charles Dana
of Ballads and Sagas, a semiannual publication that (b. June 10, 1951) American artist. Vess was born adapts traditional Scottish, Irish and English ballads in Lynchburg, Virginia and began drawing as soon to a comic-book format, and in the summer of 1997, as he could hold a crayon. He created his first full-he won the Will Eisner Comic Industry Award for length comic when he was ten, and called it “Atomic Best Penciler/Inker for his work on that publication Man.” Minimalist in nature, it required no draw-as well as DC’s Sandman #75. In 1999, Stardust, a ing of hands, feet or heads (“they just glowed”). Since novel written by Neil Gaiman with over 175 illustra-then, he humorously says, he has painstakingly tions by Vess, won the World Fantasy Award (Best drawn thousands of hands, feet, and heads in great Artist) as well as the Mythopoeic Award for Best detail. Vess graduated with a BFA from Virginia Adult Literature for both Vess and Gaiman. In 2002, Commonwealth University (1973), and worked in Vess won a second Will Eisner award, as Best Painter commercial animation for Candy Apple Productions for his work on Rose, a 130-page epic fantasy saga in Richmond, VA, before moving to New York City written by Cartoon Books’ Jeff Smith. In the same in 1976. There he worked as assistant to the art di-year, Seven Wild Sisters (Subterranean Press) and The rector at National Lampoon, and became freelance Green Man, Tales from the Mythic Forest (Viking), illustrator, working for many publications includ-both utilizing cover art and interior black and white ing Heavy Metal, Klutz Press, and National Lampoon.

illustrations by the artist, made the 2003 American In 1977, Vess produced approximately 25 paintings Library Association’s list for Best Books for Young for the Abram’s edition of The Hobbit, and with that Adults. He also collaborated with writer Charles de assignment officially began his career in fantasy illus-Lint on his first children’s picture book, A Circle of tration. Over the years Vess has continued to strad-Cats (Viking). The cover art won the Gold Award for dle the comic and illustration genres, with his award-Best Book Art in the 10th annual Spectrum Anthol-winning comic art appearing in comic books and og y of The Best in Contemporary Fantastic Art (Un-graphic novels published by Marvel, DC, Darkhorse derwood, 2003). Vess continues to be active in con-and Epic, as well as on many book jackets in the ferences and conventions dedicated to fantasy and fantasy genre.

myth. He curated (with his wife, Karen Shaffer) the Working in a distinctive and clearly narrative art exhibition “Ancient Spirit, Modern Voice” that style, with a Victorian feel to his imagery, Vess is accompanied the first Mythic Journeys conference known for his dramatic line work and moody landin Atlanta, Ga. (2004) which featured an interna-scapes, well suited to folktale, narrative, and myth—
tional roster of over 22 artists, including Alan Lee*, common themes in classic fantasy literature. His Brian Froud, Wendy Froud*, and others. He was an work is heavily influenced by British illustrators from Art Instructor, 1980–1982, at the Parsons School of the turn of the last century, most significantly Arthur Design, New York, NY and from 1992–1996 was Rackham, as well European artists who were influen-Artist-in-Residence at William King Regional Arts tial in American illustration and known for their Center, Abingdon, Virginia. Vess lives happily in dramatic intensity of their art, such as Will Pogany the Appalachian foothills on a small farm, in the and Alphonse Mucha. For inspiration he also cites southwest corner of Virginia.

the animated fairy tale films of Disney, early comic Sources: www.greenmanpress.com; De Lint, Charles.

strips (McKay and Foster), and the American genre

“Dreamweavers.” Realms of Fantasy Magazine, December 1994; Gross, Dave. “The Green Man: Charles Vess.” Amaz-artists Roy Krenkel* and Michael Kaluta*. Vess has ing Magazine, October 2004; C . Vess Sketchbook (Tundra Press, experimented with many techniques and mediums, 1991); Dean Martyn and Chris Evans. Dream Makers: Six fan-including shellac based colored inks, but has prima-tasy Artists at Work. U.K.: Paper Tiger, 1988, rily settled on transparent washes of colored inks applied over a foundation of ink outlines. This has Collections and Anthologies
been a successful strategy for Vess, as it makes much (various contributing artists)

of his work difficult to classify as strictly comic or il-Dean, Martyn . Dream Makers: Six Fantasy Artists lustrative art, yet attractive to both audiences: sty-at Work. (Paper Tiger, 1988).

listically, it is perceived as “painterly” relative to much comic art, yet with its ink outlines appears Published Work
deceptively child-like relative to illustrations pro-BOOKS WRITTEN AND ILLUSTRATED INCLUDE: The duced for the literary market.

Horns of Elfland (Archival Press, 1978).

Vess has been featured in several gallery and mu-BOOKS ILLUSTRATED INCLUDE: Angels and Visita-seum exhibitions and has been equally active in writ-tions (DreamHaven, 1993), The Art of Star Wars ing and publishing. In 1991, Vess shared the World Galaxy (Underwood-Miller, 1994), Ballads (Green

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Viskupic

Man Press, 1997), The Book of Ballads (Tor, 2004), cover art as well as interior art, on western themes A Circle of Cats (Viking, 2003), The Crow: Shattered and for classics such as Mowgli/Just So Stories, Moby Lives and Broken Dreams (Donald M. Grant, 1998), Dick and Davy Crockett. Vestal was nominated for a The Dragon Hoard (Berkley, 1984), An Earthly Retro Hugo Award by the 2001 World Science Fic-Mother Sits and Sings (DreamHaven, 2000), The Egg tion Convention.

Child (Ace, 1985), Firebirds (Firebird, 2003), The Sources: artist, telephone interview December 2005; Ald-Forbidden Book: Journeys into the Mystic (Renaissance iss, Brian. Science Fiction Art: The Fantasies of SF. NY: Bounty Books, 1975. Coast Guard Warriors: Part of the Mix, site dated Press, 2001), The Green Man: Tales from the Mythic April 8, 2003 www.aug.edu/~libwrw/Welcome.html [accessed Forest (Viking, 2002), The Harp and the Blade (Don-January 2006]; Weinberg entry, 1988.

ning, 1982), The Last Days of the Edge of the World (Ace, 1978), Little Red Riding Hood (Gargoyle Press, Published Work

1988), The Magicians of Caprona: Magic Quest series MAGAZINES ILLUSTRATED INCLUDE:

#12 (Berkley, 1984), Medicine Road (Subterranean, 2CSAB: 1951 (summer, winter); 1952 (spring, 2004), A Midsummer Night’s Dream (Donning, summer); 1953 (spring)

1988), Moonheart (Subterranean, 2004 ), One for the PS: 1947 (spring, summer, fall, winter); 1948

Morning Glory (Tor, 1997), Peter Pan (Tor, 2003), (fall); 1949 (summer, fall, winter); 1950 (summer, The Raven Banner (Marvel, 1985), A Sorcerer and a 11); 1951 (1, 3, 5, 7, 9, 11); 1952 (1, 3, 5, 7, 9); 1953 (1, Gentleman (Tor, 1996), Spirits of the Earth: Spider-3, 5, 11); 1954 (5, summer, fall); 1955 (summer) man (Marvel, 1985), Stardust, A Romance Among the TOPS: 1953 (spring)

Realms of Fairy #1, #2, #3, #4 (DC/Vertigo, 1997, 1998), Tapping the Dream Tree (Tor, 2002).

Viskupic, Gary A.

M

(February 9, 1944) American artist. Born in AGAZINES ILLUSTRATED INCLUDE:

DRA: 1988 (6/#134)

Brooklyn, New York Viskupic attended Cooper Union and illustrated the school magazine, At EXHIBITIONS INCLUDE: Ancient Spirit, Modern Cooper Union. He later attended the University of Voice —The Mythic Journeys (Co-curator and partic-Illinois, graduating with an MFA in 1968. While a ipating artist), DeFoor Centre, Atlanta GA (May student, he produced illustrations for the Univer-2004), The Art of Science Fiction and Fantasy, The sity’s Depot Press. Growing up in the 1950s, Museum of American Art, New Britain, CT (Win-Viskupic was strongly influenced by the science ter 1980), The Art of Fantasy and Science Fiction fiction movies of the day, particularly Invasion of the Delaware Art Museum, Wilmington, DE (Winter Body Snatchers and It Came from Outer Space.

1989), The DreamWeavers (Co-curator and partici-For more than thirty years Viskupic worked as a pating artist), traveling museum exhibition (Fall conceptual illustrator for editorial pages of Newsday 1994–Summer 1995), Harvesting the Myth, New (Long Island, NY newspaper), and served as chief Light Gallery, Abingdon VA (Fall 2004), The Magic, illustrator there for several years, until his retirement.

Repartee Gallery, Park City, UT (Fall, 1993), The During his tenure at the newspaper he worked free-Mythic Garden, Open Air Birch Garden, Devon, Enlance for several magazines, among them Car and gland (Summer 1993), Stardust, San Francisco Driver, Jazz Magazine, Business Week, and Psycholog y Comic Art Museum, San Francisco, CA (Spring–

Today. Several of the cover artworks he created for Summer 1998), Storyteller Frameworks Gallery, Bris-Absolute Sound magazine were published as posters, tol, Virginia (Fall 1992), The Tempest, Four Color and Viskupic continued to be involved with poster Images Gallery, NY, NY (Spring 1996).

design for local and regional theaters and organizations on Long Island. In the 1970s, while working at Vestal, Herman Beesom

Newsday, Viskupic discovered that the offices of Nel-

(March 27, 1916–Sept. 16, 2007) American artist.

son Doubleday were located nearby, in Garden City, Vestal was a Coast Guard combat artist during and he began to freelance for their Science Fiction World War II before becoming a staff artist for Fic-Book Club division. Eventually he would produce tion House, in the late 1940s. He was a black-and-more than twenty-five cover paintings for these edi-white interior artist who used clean, sharp lines for tions. Viskupic’s style was “of the 70s” in that it was maximum effect, and like other artists working for colorfully and confidently executed, simple in com-the chain his art showed strong influences from position and heavily influenced by his graphic design comic art. Starting in the 1950s Vestal illustrated background. Earlier paintings were done in ink out-several boy’s books with western themes for Grosset line and watercolor or St. Martin’s dyes, and by the

& Dunlap, Tempo, and Garrard Publishers, vari-early 1980s had begun to work in acrylics.

ously credited as Herman Vestal, Herman B. Vestal, For more than twenty years, while working at or H.B. Vestal, In the 1970s, and for the same pub-Newsday, Viskupic taught art classes in drawing and lishers, he expanded to children’s books, producing illustration at the New York Institute of Technology

Walotsky

468

(Brookville, NY). He has won awards from the Art show at Madison Avenue’s Spectrum Gallery. He Director’s Club, The Society of Illustrators (NY) and participated in the first of the West Beth Artist The Society of Publication Design. Viskupic has one Housing shows in New York City until 1972, and brother, Ernie, a professional aviation photographer.

worked creating surrealistic and psychedelic posters Sources: e-mail and phone interview with the artist Defor Dream Merchants and The Third Eye poster cember 2005–January 2006; DeNeve, Rose. “An Unquiet companies from 1967 to 1970. An incredibly prolific Imagination: Art of Gary Viskupic” Print Magazine, Nov/Dec, 1976; The New Visions: A Collection of Modern Science Fiction painter, and highly inventive, Walotsky’s work con-Art. NY: Doubleday & Co, 1982.

veys precise, clean lines of weirdly fantastical space B
hardware, coupled with a dreamlike psychedelic high OOKS ILLUSTRATED INCLUDE (all are Doubleday SF Book Club editions, unless noted): The Adven-fantasy feel. He received the 1987 Frank R. Paul tures of Doctor Who (1979), Adventures of the Stain-award for outstanding achievement in illustration, less Steel Rat (1977), Barbarians and Black Magicians: and several nominations for Hugo and Chesley Flashing Swords #4 (1977), The Best of C. M. Korn-awards, including one for Artistic Achievement, in bluth (1976), The Best of Lester Del Rey (1978), Best 2000. A frequent participant at science fiction conScience Fiction of the Year #8 (1979), A Canticle for ventions, Walotsky was also popular among fans, Leibowitz (Lippincott, 1988), Cage a Man (Double-and was several times the Artist Guest of Honor at day, 1973), City (1980), Day of the Triffids (c. 1975), world and regional conventions, He exhibited widely The Demolished Man (Doubleday, 1970). Down in in galleries across the USA, and his work appeared the Black Gang and Others (1971), A Heinlein Trio in several Spectrum Annual anthologies.

(1980), Fantasy Annual # 4 (1981), Firebird (1981), Walotsky’s versatility allowed him to work in sev-Lest Darkness Fall (1974), Martian Chronicles (1978), eral fields concurrently. He created album jackets for More Than Human (1975), Quest for the Future RCA, Polydor, Nonsuch, and United Artists records (1970), Ringworld (1973), Road to Corlay (1978), and music videos for Billy Joel and the Romantics.

Rogue Moon (1973), Science Fiction of the 50s (1979), His art appeared in the New York Times Sunday Edi-Slan (1968), Star Rigger’s Way (1978), Starchild Tril-tion, Scholastic, Amazing Stories and Heavy Metal og y (1969), Stellar Science Fiction Stories #4 (1978), magazines and in the brochure for the No Nukes Sunfall (1981), War of the Worlds/Time Machine (Dol-Concert held at Madison Square Garden. His erotic phin, 1964), 1980 Annual World’s Best SF (1980).

illustrations of the early 1970s were found in Penthouse, Viva and Gallery magazines. He added three dimensions to his work with his award-winning Walotsky, Ron

Horseshoe Crab Masks, “Ancient Warriors of Lost (Aug. 21, 1943–July 29, 2002) American artist.

Civilizations,” which never failed to amaze viewer Born in Brooklyn, New York, Ronald Walotsky whenever they were displayed. In the years shorts spent his early years in Ohio before moving back to before his death, Walotsky illustrated children’s Brooklyn where he spent his adolescent years. He books, and expanded his interest in crated gallery graduated from the school of Visual Arts in New art, gaining representation in fine art galleries in York City in 1966, and the next year received his first Florida and New York. Always seeking to explore all commission: illustrating Phyllis Gottlieb’s story aspects of his chosen medium, Walotsky taught art

“Planetoid Idiot” for the cover of the May 1967 issue at Sullivan County Community College of Teach-of Fantasy and Science Fiction magazine. Walotsky ing in New York, 1981–1982, and after moving to became that magazine’s “senior illustrator”— com-Florida continued teaching at the Daytona Completing over sixty covers for that magazine over the munity College in Daytona Beach, Florida.

course of his career, the last one appearing in the Walotsky died of kidney failure following a December 2002 issue, the year of his death.

month-long hospitalization. He became acutely ill Walotsky lived in the Catskill Mountain region after returning from a long planned trip to Africa of Hurleyville, NY from 1972 until 1981, then moved with his close friend, author Alan Dean Foster, a to Atlantic Beach, Long Island with his son Lennon, trip that was unrelated to his illness but which he and was there until 1990. Wanting to live on the knew would exacerbate his decline. His second mar-Beach, but craving warmer weather, he next moved riage to Gail Kelly ended in divorce. He had one to Flagler Beach, a small beachside town in Florida, son, Lennon, also an artist, with his first wife Bon-in 1991. Walotsky worked mostly in acrylics on il-nie; that marriage ended in divorce.

lustration board, using both handbush and airbrush, Sources: www.dragoncon.org/people/walotsr.html; Halde-for book covers. He usually read every manuscript, man, Joe. “Passionate Weirdness: Ron Walotsky” gallery arthen presented one or two sketches to the art edi-ticle Science Fiction Age, July 1997; Andrews, Donna “Ron tor, before working up the final art from one to three Walotsky: The Fine Art of Covers” interview, Crescent Blues online Volume 3, Issue 2 at www.crescentblues.com/3_2issue times the reproduction size.

/walotsky.shtml; Walotsky obituary at www.sfwa.org obitu-In 1969 he had his first New York City one-man ary archive; Weinberg, 1988.

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Walotsky

Collections and Anthologies

(Timescape, 1983), Fires of the Past (St. Martin’s, (various contributing artists)

1991), Fireworks (Harper & Row, 1981), Five-Odd Difate, Vincent. Infinite Worlds: The Fantastic Vi-

(Pyramid, 1971), Folk of the Fringe (SFBC, 1991), sions of Science Fiction Art (Wonderland Press/Pen-Forty Thousand in Gehenna (SFBC, 1984), Fourth guin, 1997), Frank, Jane and Howard. The Frank Guardian (Tor, 1994), Future on Fire (Tor, 1991), Collection: A Showcase of the World’s Finest Fantastic From the End of the Twentieth Century (NESFA Press, Art (Paper Tiger, 1999), Inner Visions: The Art of Ron 1997), Gate of Ivory, Gate of Horn (Penguin/Roc, Walotsky (Paper Tiger, 2000), Barnett, Paul, ed.

1997), Genocidal Healer (Ballantine/BCE, 1991), Paper Tiger Fantasy Art Gallery (Paper Tiger/Collins Ghost (Tor, 1986), Golem in the Gears (Del

& Brown, 2002).

Rey/SFBC, 1986), Griffin’s Egg (St. Martin’s, 1992), Guns of Avalon (Avon, 1976), Hand of Oberon (Avon, Published Work

1977 ), Haunted Earth (Lancer, 1973), Heaven Sent BOOKS ILLUSTRATED INCLUDE: ABC of SF (Avon, (Avon/SFBC, 1988), Henry Martyn (Tor, 1991), High 1968), After Long Silence (Bantam, 1987), Against the Frontier (SFBC, 1991), Houston, Houston Do You Fall of Night (Pyramid, 1970), AI War (Tor, 1987), An Read? (Tor, 1989), Hyperion Cantos (SFBC, 1990), Alien Light (Arbor House/Morrow, 1988), Ancient Immortal, Short Novels of the Transhuman Future Echoes (Penguin/Roc, 1996), Ancient Heavens (Avon, (Harper & Row, 1978), Infinity Four; Infinity Five 1989), Annals of the Time Patrol (SFBC, 1984), An-

(Lancer, 1972, 1973), Kirlian Quest (Avon, 1978), nual World’s Best SF 1986 (DAW, 1986), Anti-Grav Last Continent (Dell, 1969), Last Hawk (Tor, 1997), Unlimited (Avon, 1988), Apocalypses (Pinnacle, 1977), Last Transaction (Pinnacle, 1977), Lear’s Daughters Architects of Hyperspace (Avon, 1987), The Atheling (SFBC, 1987), Lest Darkness Fall (SFBC, 1996), Lim-

(Tor, 1988), Babel 17 (Easton Press, 1992), Barsoom its (Del Rey/SFBC, 1985), Litany of the Long Sun Project (SFBC, 1990), Beyond Heaven’s River (Tor, (SFBC, 1994), Lord of Light (Avon, 1969), Lord 1987), Big Jump (Tor, 1987), Black Flame (Avon, Valentine’s Castle (Harper & Row/SFBC, 1980), Lost 1969), Blooded on Arachne (Arkham House, 1982, Guardian (Tor, 1995 ), Lost Swords: Second Triad Pocket/Timescape, 1983), Blue Star (Ballantine, (SFBC, 1991), Magic of Atlantis (Lancer, 1970), Man 1969), Born with the Dead (Tor, 1988), Cassalee from Mundania (Avon/SFBC, 1990), Man in the (Avon, 1980), Burning Tears of Sassurum (Avon, Maz e (Avon, 1978), Man the Worlds Rejected (Tor, 1988), Cassilee (Avon, 1980), Catacomb Years 1986), Many Faces of Fantasy (1996), Martian Viking (Berkley/Putnam, 1979), Chaining the Lady (Avon, (Avon, 1991 ), Master of Space and Time (Bluejay, 1978), Chiy-Une (Avon, 1982), Children of the Griffin 1984), Men Inside (Lancer, 1973), Millenium (Lancer, 1971), Chrome (Putnam, 1978), Cloak of (Berkley, 1983), Moon Maid and Other Fantastic Ad-Aesir (Lancer, 1972), Clouds of Magellan (St. Martin’s, ventures (Golden Gryphon, 1998), Mute (Avon 1981), 1991), Cluster (Avon, 1977), Conan the Defender (Tor, Nanoware Time (Tor, 1990), New Dimensions 2

1991), Conan the Invincible (Tor, 1982), Conan the (Avon, 1974), Nine Princes in Amber (Avon, 1977), Unconquered (Tor, 1983), Confessions of a Warlock Non-Stop (SFBC, 1989), Omnivore (Avon, 1978), (Lancer, 1970), Collision Course (Tor, 1988), Cortez Options (Pyramid, 1975), Orn (Avon, 1978), Over-on Jupiter (Tor, 1990), Courts of Chaos (Avon, 1979), lay (Lancer, 1972), Ox (Avon, 1978), Panda Ray (St.

Creatures of Light and Darkness (Avon, 1970), Crown Martin’s, 1996), Persistance of Vision (Tor, 1991), Pig Jewels (Tor, 1987), Cryptozoic! (Doubleday/SFBC, World (Lancer, 1973), Primary Inversion (Tor, 1995), 1968), Dark Stars (Ballantine, 1969), Dark Symphony Prisoners of Arionn (Arbor, 1967), Prometheans (Tor (Lancer, 1970), Death of Doctor Island (Tor, 1990), 1986), Queen of the Damned (Knopf, 1988 Radio Free Demon Princes (SFBC, 1998), Denner’s Wreck (Avon, Albemuth (Arbor, 1985), Ragged World (St. Martin’s, 1988), Destiny’s End (Avon, 1988), Dimension 13

1991). Rahne (Avon, 1980), Realms of Tartarus (DAW, (Ballantine, 1969), Dinner at Deviant’s Palace (Ace, 1977), Red Dragon (Arbor, 1967), Redshift Ren-1985), Donnerjack (Easton Press, 1997), Door Into dezvous (Berkley/SFBC, 1990), Reluctant King Ocean (Arbor House, 1986), Doomsday Exhibit (SFBC, 1985), Riding the Torch (Tor, 1990), Roads of (Lancer, 1971), Doorways in the Sand (Avon, 1977), Heaven (SFBC, 1988), Robert Silverberg Omnibus Dorothea Dreams (Arbor House, 1986), Double (Harper & Row/SFBC, 1981), Robots Have No Tails Planet (AvoNova, 1991), Downstairs Room & Other (Lancer, 1973), S chismatrix (Arbor, 1985), Sea of Speculative Fiction (Dell, 1970), Drowning Towers Glass (Avon, 1988), Shores Beneath (Avon, 1971), Sign (Arbor, 1988), Eye in the Sky (Macmillan Collier Nu-of the Unicorn (Avon, 1976), Sneeze on Sunday (Tor, cleus, 1993), Earth Ship and Star Song (Viking, 1992), Speaker to Heaven (Arbor, 1987), A Splendid 1979), End of the Dream (DAW, 1977 ), England Chaos (Franklin Watts, 1988), Starcrossed (Ace, 1984), Swings SF (Ace, 1970), Epiphany of the Long Sun Starplex (SFBC, 1996), Strange Ecstasies (Pinnacle, (SFBC, 1997), Eye in the Sky (Collier-Nucleus, 1974), Strange Tomorrows (Lancer, 1972) Sudanna, 1989), Final Assault (Tor, 1988), Fires of Paratime Sudanna (Arbor, 1985), Sugar Festival (SFBC, 1989),

Walters

470

Sword Swallower (Dell, 1970), Tactics of Conquest toonists R. Crumb and Charley Parker. He played (Pyramid, 1974), Talent of War (Ace, 1989), Tau Zero drums for a psychedelic rock band and ended up (SFBC, 1997), Teenocracy (Ace, 1969), Temporary producing t-shirt designs promoting pop and rock Agency (St. Martin’s, 1994), Ten Million Years to Fri-bands, for Columbia Records. He continued to free-day (Lancer, 1971), Terry Carr’s Best SF of the Year lance through the 1970s, producing art for maga-

#15 (Tor, 1986), Thousandstar (Avon, 1980), Three zines, and scientific illustrations for medical text-Stigmata of Palmer Eldritch (SFBC, 1992), Titan books, then entered the science fiction side of (Berkley/Putnam/SFBC, 1979), Voices of Heaven illustration. He says “I was happy to be part of a (Tor, 1994), Transmigration (Avon, 1970), Under-mini-renaissance of science fiction art in the 1980s.

standing MU (Paperback Library, 1970), Unknown Michael Whelan*, Bob Eggleton*, Janet Aulisio*, Regions (Penguin/Roc, 1996), Unreal People (Lancer, any number of terrific people were coming into the 1973), Up the Line Ballantine 1969), Vale of the Vole field then. There was a magazine renaissance going (Avon/SFBC, 1988). Venus Plus X (Pyramid, 1969), on too, then — Asimov’s, Amazing, Omni, lots of The Virgin (Avon, 1981), Viscous Circle (Avon, 1982), magazines, lots of great fiction, and they all needed Voices from the Sky (Pyramid, 1971), Where Time illustrations. I mean, this was just it.” (Swannick Winds Blow (Pocket, 1982), Worlds of Science Fiction Profile, 1998). Walters’ illustrating style, not unsur-

(Paperback Library, 1970) The 37th Mandala (St.

prisingly, was influenced by the Brandywine artists Martin’s, 1996), 2001 Space Odyssey (Thorndike, Howard Pyle, N. C. Wyeth, and Joseph Clement 1994).

Cole*, and for his black-and-white drawing, Virgil M

Finlay*, Walters works in pen and Ink, and acrylic AGAZINES ILLUSTRATED INCLUDE:

AMZ: 1991 (11)

on board, although he has been working primarily in ASF : 1997 (11); 1998 (2, 5); 1999 (1) digital media since 1999. Walters has won four Ches-F&SF : 1967 (5, 8); 1968 (2, 6, 10); 1969 (3, 8, ley Awards for best science fiction art of the year in 10); 1970 (3, 7); 1971 (2, 5, 7, 8); 1972 (1, 6, 7, 12); a number of categories.

1973 (11, 12); 1974 (3, 7, 12); 1975 (6); 1976 (2, 12); Walters’ first full color dinosaur book was Di-1977 (1, 12); 1978 (7); 1979 (1, 9, 11); 1980 (12); 1981
nosaurs, the Terrible Lizards (E. P. Dutton, 1979).

(2, 5, 12); 1982 (6); 1983 (2); 1984 (2, 10, 11); 1985

The next year, Walters met his long-time partner, (11, 12); 1986 (4, 7); 1987 (2); 1988 (9); 1990 (2, 7); Tess Kissinger, also an artist, and they have been 1991 (4); 1992 (3, 10/11); 1994 (2); 1995 (6); 1996
working together ever since. They founded a stu-

(10/11); 1998 (1, 12); 1999 (4); 2001 (6, 8); 2002 (5, dio, Walters & Kissinger, to provide illustration art 12)

to publishing media. museums, film, and television HM: 1978 (8, 10); 1982 (1)

in all subjects — but they specialize in natural his-IASFM: 1998 (1)

tory illustrations. The studio employs sculptors and MZB: 1993 (summer)

free-lance artists who work in close association with SFA: 1997 (7)

other artists and designers on large-scale fabrication Misc.: Alternity Star*Drive Campaign Setting and animation projects. Tess Kissinger got her art (TSR, Inc., 1998). Magic: The Gathering— 7th edi-training at Carnegie Mellon University and has been tion; Visions card art (Wizards of the Coast, 1996), an artist and designer for twenty years with work on Robert Jordan’s Wheel of Time collector card game art display in the Creative Discovery Museum, Chat-

(Precedence, 1999).

tanooga, the Academy of Natural Sciences, Philadelphia, and The Delaware Museum of Natural History, among others. She is an advocate of artist’s rights Walters, Robert F.

and the author of Copyrights, Contracts, Pricing and (b. March 24, 1949) American artist. Born in Ethical Guidelines for Dinosaur Artist and Paleontol-Philadelphia, Pennsylvania, “Bob” Walters grew up ogists originally published by The Dinosaur Society.

Wilmington Delaware, steeped in the Brandywine Walters and Kissinger have consulted on films such tradition from childhood. He knows exactly when he as Jurassic Park 3, and have done dinosaur animation decided to be a “dinosaur artist”; he was four years work on specials for Discovery Channel, A&E, and old and saw Rudolph Zallinger’s great mural, “The PBS. They also have curated art exhibits, among Age of Reptiles” on the cover of Life magazine for them: “Space 2001 to the Moon and Beyond” (Bruce September 7, 1953. Walters received his BFA from the Museum), “Discovering Dinosaurs” (Bruce Mu-Pennsylvania Academy of Fine Art, and took Sci-seum, Peabody Museum and Dinofest(™) 1998), ence and anatomy courses at University of Pennsyl-and “Drawn From the Past” (Academy of Natural vania and Thomas Jefferson University. In the late Sciences, natural history drawings and engravings).

1960s Walters entered the commercial art field work-Walters’ artworks are on permanent display in ing for a number of clients including the under-museums across the country, notably the National ground magazine, “Yarrowstalks” along with car-Museum of Natural History, Smithsonian Institu-

471

Ward
tion, The Creative Discovery Museum, and The he decided to be an artist when, in the first grade, he Academy of Natural Sciences. Over the years he has realized that “draw” was “Ward” spelled backwards.

illustrated more than twenty dinosaur books and in-He graduated from high school in Englewood, New numerable magazines. Walters was the Art Editor Jersey, and attended Teacher’s College at Columbia for The Complete Dinosaur from Indiana University University where he majored in fine arts, graduating Press, 1999. In 1990, Walters was hired by the Na-in 1926 with a BFA, and illustrating and the graphic tional Museum of Natural History, (Smithsonian) arts as his major area of interest. At Columbia, he met to do a glass mural for the “Life In the Ancient Seas”

May McNeer, who was later to become his collab-Exhibit and began a close association with that in-orator on several children’s books. They married the stitution. He worked with scientists at the Smith-week they graduated ( June, 1926), and for their hon-sonian on the “Virtual Triceratops” project (2001), eymoon sailed to Europe and spent the year travel-the first scientific attempt to discover how Tricer-ing. In Leipzig, Germany Ward finished his educa-atops looked and moved by animating digital scans tion studying wood engraving techniques at the of the bones. Walters also contributed artwork to National Academy for Graphic Arts under Hans NASA’s 25th Anniversary Space Art Show “Visions Alexander Mueller, Alois Kolp and George Mathey.

of Other Worlds,” held in the Cleveland Museum He was also exposed to the work and ideas of artists of Natural History. In recent years, the studio has who were exploring the idea of telling stories with focused mainly on museum exhibits; in 2007, the pictures and no words, among them Belgian Frans studio worked on the largest dinosaur mural in the Masereel and the German Otto Nuckel. Both of world for a new dinosaur hall at the Carnegie Mu-these artists had an indelible impact on Ward and seum of Natural History.

upon his return to the United States he embarked Sources: e-mail from the artist June 2007; www.dinoart.

upon a career in illustration.

com; Swanwick, Michael Swanwick “Time Traveler: Robert Ward’s first published book, God’s Man: A Novel F. Walters” Science Fiction Age, September 1998; “Dinosaur artist Bob Walters” The Dinosaur Interplanetary Gazette: Di-in Woodcuts (1929), and the several which followed nosaur Delineators(™) www.dinosaur.org/dinodel/dinodel-it (e.g., Madman’s Drum, Wild Pilgrimage and Ver-walters.htm#dinostats;
tigo) were novels without words — books without Collections and Anthologies
text and comprised solely of his woodcuts — which (various contributing artists)

constructed stories through imagery alone. God’s Grant, John and Humphrey, Elizabeth with Scov-Man was not only the first work of its kind pub-ille, Pamela. The Chesley Awards: A Retrospective lished in the United States, but these early fantastic (AAPL, 2003).

visual novels also established Ward’s reputation as being among the finest American wood engravers of Published Work
the twentieth century, with images displaying an in-BOOKS ILLUSTRATED INCLUDE: Isaac Asimov Pre-tensity of supernatural feeling that would be unrisents Caliban Landing (Congdon & Weed, 1987), valed in any era.

Rivers of Time (Baen, 1993), Sunspacer (Harper & During the following years Ward illustrated ap-Row, 1984), Science Fiction Antholog y # 7: Aliens & proximately 200 juvenile and adult books (some of Outworlders ( John Wiley & Sons, 1983), Three Nov-which he wrote) and produced individual woodcuts, els by Gordon Eklund (Doubleday/Morrow, 1973), wood engravings, paintings and drawings. He Thunder on Neptune (Morrow/BCE, 1989), Weird worked in wood engraving, watercolor, oil, brush Tales Special: Ramsey Campbell issue (George H.

and ink, lithography and mezzotint and published Scithers, 1991).

several graphic novels. As a well-known mainstream M
artist who illustrated fantasy as well as classical nov-AGAZINES ILLUSTRATED INCLUDE:

AMZ: 1986 (1); 1987 (5)

els, he exerted a strong influence on the science ASF : 1984 (9); 1985 (5, 10, 11); 1986 (2); 1990 (7, fiction and fantasy field in the 1940s-1950s. In the 12); 1993 (1)

decade following Gods’ Man and the publication of IASFM: 1983 (12); 1986 (5, 7, 8); 1987 (4); 1988
his first illustrated children’s book, Prince Bantam, (11); 1989 (4, 7, 10); 1990 (11); 1991 (4); 1992 (2, 5) which was written by his wife (1929), his books F&SF : 1980 (10)

tended to critique the greed of the capitalist system WT: 1990 (fall)

and the economic disaster that became the Great Depression, and during that period Ward served as the Director of the graphic arts division of the Fed-Ward, Lynd Kendall
eral Art Project in New York City. In the late 1930s, ( June 26, 1905–June 28, 1985) American artist.

he created wood-engraved illustrations for literary The son of a Methodist preacher, Ward was born in classics, and editions of Faust, Frankenstein, and oth-Chicago, Illinois and moved to Massachusetts at an ers. In the 1940s and 1950s his focus was on chil-early age. Oft quoted in biographies, it’s said that dren’s books, although he occasionally did an adult

Warhola

472
illustrated book. He received such prestigious awards extensive manuscript archive, and some 600 vol-as the Library of Congress Award (1948), the Na-umes from Ward’s personal library.

tional Academy of Design Print Award (1949), the Sources: Friebert, Judith M., Curator. Ardent Image: Book Caldecott Medal (1953), and the New York Times Illustration for Adults in America 1920–1942— an exhibition of Aaron Douglas, Rockwell Kent, Claire Leighton, John Vas-Best Illustrated Award (1973). Many of the children’s sos, Lynd Ward and Other Contributors to the Art of the books were written by his wife, May McNeer. and Book. Exhibition catalog, Toledo, Ohio: Ward M. Canaday six were Newbery Honor Medal books and two were Center, The University of Toledo, 1995; Willett, Perry. The Newbery Medal books. In 1975 the two were co-re-Silent Shout: Frans Masereel, Lynd Ward, and the novel in woodcuts. Exhibition catalog: Bloomington, IN Fine Arts Library cipients of the Catholic Library Association’s Regina of Indiana University, 1997; Ward, Lynd. Storyteller Without Medal. He was a member of the Society of Illustra-Words; The Wood Engravings of Lynd Ward. New York: Abrams, tors and served as President of the Society of Amer-1974; www.bpib.com
ican Graphic Design from 1953–1959.

Published Work

While Ward did illustrations for a number of BOOKS ILLUSTRATED INCLUDE: Beowulf (Heritage books that were fantasy oriented, his most famous Press, 1939), The Cadaver of Gideon Wyck (Farrar & work in the fantastic literature field was a series of Rinehart, 1934), Dragon Run (Houghton Mifflin, sixty illustrations for the major ghost-story anthol-1955), Faust ( Jonathan Cape & Harrison Smith, ogy The Haunted Omnibus (1937). For this book, 1930), Frankenstein (Harrison Smith and Robert he used a style unlike that of any other he used to Haas, 1934), God’s Man ( Jonathan Cape & Harri-illustrate his books, and in a letter to noted fan-son Smith, 1929), The Haunted Omnibus (Farrar & tasy art collector Gerry de la Ree, Ward described Rinehart, 1937), Mad Man’s Drum ( Jonathan Cape, his thoughts on these illustrations and the innova-1930), The Motives of Nicholas Holtz (Farrar & Rine-tive technique he used to create them (Qtd. in hart, 1936), Now that the Gods are Dead (Equinox, Weinberg, p. 287). As Ward explained, because the 1932), Prelude to a Million Years (Equinox, 1933), book would be printed by letterpress it was neces-The Silver Pony (Houghton Mifflin, 1973), Strange sary to have illustrations that could be reproduced Glory: Awakening Man’s Latent Powers (St. Martin’s by line-cut, as opposed to straightforward draw-Press, 1977),
ing with pencil, pen or brush. To solve the prob-Exhibitions include: Lynd Ward, wood engrav-lem, he experimented with a technique similar to ings 1929–1977: a memorial exhibition, March 4–29, mezzotint, which involved the use of a tool called 1986, Associated American Artists; 20 Years of Prints a moulette. With repeated rotations over the sur-for the Washington Print Club’s 40th Anniversary face of the material to be prepared — in this in-September 1–November 30, 2004, Charles Marvin stance, celluloid — Ward was able to make thou-Fairchild Memorial Gallery, Georgetown University sands of tiny pricked holes. The indented celluloid Art Collection.

material would then be coated with black paint, which when dry could be worked upon with a small knife or razor blade. By scraping the surface Warhola, James
with varying degrees of pressure, Ward was able to (b. March 16, 1955) American artist. An excellent control the amount of black paint removed from artist who illustrates in many different areas but was between the holes. Light scraping produced gray most prominent in the science fiction and fantasy (as do dots in an ordinary halftone) and if the dots genre from 1975 to 1995, Warhola was born in the are scraped off completely, the result was white.

small town of Smock, in the coal-mining region of Weinberg writes ,” p. 288). Through this unusual Fayette County, near Pittsburgh, Pennsylvania.

method Ward created memorable illustrations, While growing up he developed an interest in comic unique in their composition and classic in their book art. His trips to New York City in the late ability to capture the essence of weirdness and su-1960s to attend an annual comic book convention pernatural feeling displayed in the book. As Wein-introduced him to artists such as Frank Frazetta*
berg writes “The art is among the finest ever done and Jeff Jones*. Their strong influence inspired him for fantasy fiction. (p. 288).

to become a painter and with the encouragement of Ward died in Reston, VA from Alzheimer’s disease his childhood friend, Bill Wilson he published his two days after his 80th birthday. In 1986, the life first artwork in Wilson’s fanzine called The Collec-and career of this prolific American illustrator and tor— later to be known as Questar Magazine.

wood engraver was celebrated with a series of arti-Warhola attended Carnegie-Mellon University as cles in the Spring 1986 issue of The Washington had his well-known uncle, Pop artist, Andy Warhol.

Print Club Newsletter, and through the generous Upon graduation and receiving a BFA in Design he gift of the artist’s widow, May McNeer Ward, and his moved to New York in May, 1977. He worked as a daughters, Georgetown University Library received graphic designer for several years while still improv-a collection of 250 prints, drawings, and sketches, an ing his painting skills at The Art Students League. He

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Warhola
studied under accomplished “master” illustrators, warhola.com; Haber, Karen. “Gallery: James Warhola: Com-Jack Faragasso and Michael Aviano, who were stu-bining Humor and Fantasy” Realms of Fantasy Oct 1998.

dents of the well-known teacher, Frank Reilly.

Collections/Anthologies

In 1980, Warhola landed his first paperback cover (various contributing artists)

assignment with an Ace reissue of The Book of Philip The Art of Dragon Magazine (TSR, Inc., 1988), Jose Farmer. It showed Farmer typing on a Martian Difate, Vincent . Infinite Worlds: The Fantastic Vi-landscaping surrounded by characters from his book.

sions of Science Fiction Art (Wonderland Press/Pen-The cover’s subtle sense of humor caught the atten-guin, 1997), Frank, Jane and Howard. The Frank tion of art directors and from this point on Warhola Collection: A Showcase of the World’s Finest Fantastic started his career as a paperback artist doing the Art (Paper Tiger, 1999), Frank, Jane and Howard.

cover art for over 400 books. Warhola’s style, favor-Great Fantasy Art Themes From the Frank Collection ing dense colors, great detail and often, strongly re-

(Paper Tiger, 2003), Morrison, Ruth. Batman Mas-alized whimsical characterizations, were a departure terpieces (Watson Guptill, 2002).

from the more abstract imagery of Powers* and Gaughan*, popular in the 1970s. Some of his most Published Work
popular covers were Neuromancer by William Gib-BOOKS ILLUSTRATED INCLUDE: A Book Dragon son , Stranger in a Strange Land, Starship Troopers and (Avon, 1991), A Night in the Lonesome October (Avon, many other Robert Heinlein titles. His covers for 1994), The Bloody Sun (Ace, 1985), The Book of Spider Robinson’s Callahan’s Place and other books Philip Jose Farmer (Berkley, 1982), Apollo’s War Bat-in that humorous series were an excellent fit, as well.

tlestaR Galactica # 13 (Berkley, 1987), Arabesques I, He also did many covers for the Battlestar Galactica II (Avon, 1988), At Amberleaf Fair (Ace/Berkley, and Choose Your Own Adventure young-adult series.

1986), Backblast (Popular Library/Questar, 1989), His SF illustrations were all done in oil.

The Callahan Chronicals (Tor, 1997), Callahan’s Like many versatile artists Warhola is highly rec-Crosstime Saloon (Tor, 1999), Callahan’s Lady (Ace, ognized in other areas of illustration. At the same 1990), Callahan’s Legacy (Tor, 1996), Callahan’s Se-time he entered the paperback field he also became cret (Berkley, 1986), The Callahan Touch (Ace/
a regular contributor to Mad Magazine by doing Berkley, 1993), Castle War! (Ace, 1990), Christmas covers and interiors. This led to other projects such on Ganymede and Other Stories (Avon, 1990), City of as being one of the original artists of the controver-Darkness (Berkley, 1982), Clone Crisis (Warner/
sial Garbage Pail Kid card series. Warhola views his Questar, 1992 ), Creature Features Movie Guide (Paci-variety of output by often saying, “It’s all fantasy!”

fica, 1981), The Curse of the Obelisk (Avon, 1987), In 1986, one of his paperback art directors handed Die, Chameleon!: BattlestaR Galactica # 12 (Berkley, him a children’s book manuscript and asked him if 1986), Dr. Futurity (Berkley, 1984 ), Expecting Some-he cared to give it a try. He did, and this opened up one Taller (Ace, 1990), Ghoster (Questar, 1988), a whole new world. As he says, “(it was) an oppor-Gnome Man’s Land (Ace, 1991), Great Ghost Stories tunity to tell the whole story in pictures and not just (Simon and Schuster, 1985), The Harp and the Blade represent it by one single image. It’s the next best (Ace, 1985), Heroes of Bear Creek (Ace, 1983), Home-thing to being a movie director.” His first picture calling and Other Stories (NESFA Press, 2005) Ho-book was called The Pumpkinville Mystery and he munculus (Ace, 1986), I Will Fear No Evil (Ace, has since gone on to illustrate over 35 children’s 1987), Lady Slings the Booze (Ace, 1993), Land of books. In 2003, Penguin/Putnam published Uncle Dreams (Ace, 1998), The Last Dream (Baen, 1986), Andy’s: A Faabbbulous Visit with Andy Warhol, about The Long Twilight (Berkley, 1982), Magic for Sale his famous uncle. When Warhola was actively work-

(Ace, 1983), Man in the High Castle (Berkley, 1985), ing in the science fiction field, he frequently exhib-Master of Space and Time (Baen, 1985), The Med Se-ited work at genre conventions, particularly the ries (Ace, 1983), Mindspan (Baen, 1986), Monsters World Fantasy Convention, and the World Science You Never Heard Of (Archway, 1990), Neuromancer Fiction Convention. His work has been featured in (Ace, 1984), Nightflyers (Tor, 1987), A Night in the Spectrum: The Best in Contemporary Fantastic Art #2

Lonesome October (Morrow AvoNova/SFBC, 1993), (Underwood, 1995), and has also been exhibited at Nightmare Machine: BattlestaR Galactica # 11
the Museum of American Illustration, the Salama-

(Berkley, 1985), Persistence of Vision (Berkley, 1984), gundi Club, the Canton Museum of Art, the Pat-Phule’s Company (Ace, 1990), Planet Savers Project: terson Museum of Art, and the Delaware Art Mu-Millenium (Ace, 1987), Randall Garrett’s Lord Darcy: seum. Warhola serves as a consultant to the Andy Ten Little Wizard; A Study in Sorcery (Ace, 1988, Warhol Museum of Modern Art in Medzilaborce, 1989 ), Retief: Emissary to the Stars (Dell, 1975), Slovakia. Formerly a long-time New York resident, Sagard the Barbarian: #1 Ice Dragon; #2 Green Hydra; he still maintains a studio in the Hudson Valley area.

#3 Crimson Sea; #4 ), #4 The Fire Demon (Archway, Sources: e-mail from the artist 9/18/06 and www.james 1985, 1986), Science Fiction’s Greatest Monsters

Warren

474

(Pocket Books, 1986), Starfire Down (Popular Li-as well as those simply celebrating the beauty of na-brary/Questar, 1991), Starship Troopers (Ace, 1987), ture. He actively began to license his images for a Stranger in a Strange Land (Ace, 1991), Suicide, Inc.

variety of products. He began collaborating with the (Berkley, 1085), Sword of Aldones (Ace, 1980), Time marine life artist Wyland, and these collaborative Pressure (Ace, 1987), Time Travelers Strictly Cash works were featured in galleries, most notably the (Tor, 2001 ), Unicorn Variations (Avon, 1987), Worlds Wyland Gallery chain. By the mid–1990s Warren Apart (Viking, 1983).

had left the illustration field, and was producing fine Misc.: GURPS Callahan’s Crosstime Saloon game-art, prints and celebrity portraiture. In 2004 Dis-book (Steve Jackson Games, 1992), Guardians: Dag-ney Studios released a series of fine art prints of Warger Isle collector card art (FPG, 1995), James Warhola ren paintings featuring Disney characters.

Fantasy Art Collector Card Set (FPG, 1995) Batman Warren lives in Clearwater, Florida with his wife, Master Series collector card art (Skybox, 1996).

Cindy, daughter Drew (born in 1992), and his son, Art (born in 1994). Jim’s stepdaughter, Rebecca Warren, Jim

(born in 1974), lives in California. Warren is proud (November 24, 1949) American artist. Warren that his entire family helps with his art business. His was born in Long Beach, California, started paint-wife doubles as Art Director, and Assistant, and his ing at age one, and decided in high school, 1967, children have often been his models.

that he would be an artist. He is basically self-taught, Sources: artist website www.jimwarren.com; Biography at apart from art classes in high school. In 1975 he en-www.peabodyfineart.com/warren/warrbio.htm Resnick, Mike

“An Artist for All “Seasons” Gallery feature, Realms of Fan-tered his first public art show, in Westwood CA, and tasy, April 1996.

won first prize. He won the same prize in 1979, and by then had also painted his first record album, for Collections and Anthologies
the jazz duo “Billy Cobham and George Duke”

(various contributing artists)

(1978). Another album cover, for Bob Seger’s Frank, Jane and Howard. The Frank Collection:

“Against the Wind” (1981) won a Grammy Award A Showcase of the World’s Finest Fantastic Art (Paper for best album package. By 1985 he had officially Tiger, 1999), Frank, Jane and Howard. Great Fan-entered the commercial illustration field, eventually tasy Art Themes From the Frank Collection (Paper producing over 200 book covers for such authors as Tiger, 2003), Warren, Jim. The Art of Jim Warren: Arthur C. Clark and Clive Barker, working mainly An American Original (Art Lover Products, 1997), for DAW Books, Ace, and Tor. Warren has pro-Warren, Jim. Painted Worlds (Paper Tiger, 2003).

duced album covers for Prince, Alice Cooper, and BOOKS ILLUSTRATED INCLUDE: Agviq (Popular Li-movie posters for Phantasm (1979), Night of the Liv-brary/Questar, 1990), Aliens Pregnant by Elvis (DAW, ing Dead (Romero re-make, 1990), and Waxworks 1994, All the Traps of Earth (Avon, 1979), Back from (1988), as well as numerous illustrations for maga-the Dead (DAW, 1991), Blood of the Wolf (Leisure, zines such as Twilight Zone and Heavy Metal. In 1988

1987), Blood Roots (Pocket, 1992), Blue World Warren created a billboard ad for Universal Studios (Pocket, 1990), Breeder (Pocket, 1990), Buying Time to advertise the new “Lassie” T.V. show.

(SFBC, 1989, Avon, 1990), The Cartoonist (Pocket, Warren’s signature illustrative style was particularly 1990), Coinspinner’s Story (Tor, 1990), Conspiracy effective for horror and dark fantasy themes. His sur-Files (DAW, 1998), Cradle (Warner Aspect, 1998), realist technique was conceptually similar to the one Cults of Horror (DAW, 1990), Dance Down the Stars used by J. K. Potter* in his photo-collages, which (DAW, 1994), Dancing Jack (DAW, 1993), Deals with Potter called “morphing”: the metamorphosis of one the Devil (DAW, 1994), Deathwalker (Pocket, 1992), image into another, where images are warped, dis-The Devil You Say (AvoNova, 1993), Devil Worshipers torted and transformed in dramatic ways. Warren (DAW, 1990), Dinosaur Fantastic (DAW, 1993, uses traditional oil paint on stretched canvas that he SFBC, 1994), Dracula: Prince of Darkness (DAW, coats with a gesso primer. Only paintbrushes are 1992), Drink Down the Moon (Ace, 1990), Dry Skull used, and no airbrush, although the effects at times Dreams (Pocket, 1995), Felidae; Felidae on the Road suggest that tool. His early artistic influences, he (Villard, 1993, Fourth Estate, 1994), Firebug (Tor, says, were “Rockwell, Monet, Warhol, Rembrandt, 1988), Frankenstein: The Monster Wakes (DAW, Magritte and of course, Salvador Dalí.”

1993), Goat Dance (Pocket, 1989), Inhuman Condi-In 1990, a personal work Warren created, Earth …

tion (Pocket, 1987), In the Flesh (Pocket, 1994), Jack Love It or Lose It, received critical acclaim and was feathe Giant-Killer (Ace, 1990), The JimJams (Pocket, tured on posters, magazines, billboards, t-shirts and 1994), Long Habit of Living (NEL, 1989), Mages of soon became a familiar visual representation of the Garillon: #1 Burning Stone, #2 Gauntlet of Malice global environmental movement. This encouraged (Tor, 1987), Magicats II (Ace, 1991), Masterplay (Pop-the artist to make commercial use of images that ular Library/Questar, 1987), Miskatonic University communicated social and environmental messages (DAW, 1996), Mob Magic (DAW, 1998), Mystery

475

Wesso

Walk (Pocket, 1992), Nightmare Matinee (Bantam, Sources: www.postalmuseum.si.edu/artofthestamp [ac-1994), Night Sounds (Pocket, 1992), Night Things cessed May 2007]; Weinberg, 1988.

(Avon, 1989), The Ogre Downstairs (Knopf, 1991), Published Work

Panic (Pocket, 1994), Phantoms of the Night (DAW, FTC: 1963 (12)

1996), Press Enter/Hawksbill Station (w/Peter Gudy-GXY: 1958 (11); 1961 (6); 1968 (6)

nas, Tor, 1990), The Proteus Operation (w/Bob IF : 1961 (3, 9); 1962 (9); 1963 (9); 1964 (10); 1967

Larkin, Bantam Spectra, 1991), Red Heart (DAW, (2, 6); 1968 (3)

1994), Return of the Dinosaurs (DAW, 1997), Rumors SpTr: 1958 (9, 11)

of Spring (Bantam Spectra, 1990), Runespear (Pocket, WOT: 1964 (4)

1987), Shadow Dance (Pocket, 1994), Sherlock Holmes in Orbit (DAW, 1995), Siren (Tor, 1989), Thunder Road (Pocket, 1995), The Uprising (Pocket, Wesso, H.W.

1992), Wall of Fear (Avon, 1991), Vampire Detectives (Aug 19, 1894–May 12, 1948) American artist.

(DAW, 1995), Walls of Fear (Avon, 1991), Watcher’s Wesso was the professional name of Hans Walde-Mask (DAW, 1992), Weaveworld (Pocket, 1988), mar Wessolowski, one of the most influential artists White House Horrors (DAW, 1996), Witches (DAW,) of the 1930s. Born in Graudenz, Germany, and ed-Witch Fantastic (DAW, 1995), Year’s Best Horror Sto-ucated at the Berlin Royal Academy, Wesso emi-ries: XX (DAW, 1992).

grated to the States in June, 1914 when — according M
to anecdotal information provided by Gail Thomp-AGAZINES ILLUSTRATED INCLUDE:

ROF : 1996 (4)

son, great niece of Wesso’s widow, Minnie Ross Wes-TZ: 1981 (4); 1988 (2)

solowski —“ he jumped ship in New Orleans and Misc. : Alice Cooper: Raise Your Fist and Yell album swam to shore.” By 1930 Wesso and his wife were liv-cover (IMS, 1987), Billy Cobham and George Duke ing in New York, and he was working full time as a Band album cover (Atlantic, 1976), Bob Seger: commercial artist. He produced covers and interiors Against the Wind album cover (Capitol, 1980), Jim for a wide range of pulp magazines, including west-Warren’s Beyond Bizarre; Jim Warren’s More Beyond erns, men’s adventure, and mysteries, among them Bizarre: collector card sets (Comic Images, 1993, titles such as Clues, The Danger Trail, Adventure 1994), Secret Worlds screen saver (Second Nature Trails and others. He earned his reputation in the Software, 1992), The Sylvers album cover (Warner SF genre however primarily for the thirty-four cov-Bros., 1986).

ers he did in the 1930s for Clayton’s Astounding Stories. In January 1930, when pulp publisher William Clayton launched his seminal magazine, Astound-Wenzel, Paul E.

ing Science Fiction (then called Astounding Stories of (b. February 15, 1935) American artist. Wenzel Super Science) he hired Wesso as cover artist, and worked for only a short period of time in science completed all covers for all issues from January 1930
fiction, from 1958 through 1964, and mainly for the to March 1933, when Street and Smith took over Galaxy magazine chain. While his renderings were the publication. Wesso was dropped and replaced fairly routine by genre standards, Wenzel’s talents by Howard V. Brown*, who then did the next forty-clearly did not lie in the direction. He joined the four issues in a row, but he returned for issues in Disney Company in 1964 and during his 42-year 1937–1939 before disappearing entirely from the career with Disney, Wenzel created thousands of il-pulps. Most of Wesso’s paintings were done in wa-lustrations for motion picture advertising and retail tercolors, which gave his images a brighter and merchandising. The first of his many film-advertis-clearer look than those painted in oils, the medium ing illustrations was the poster artwork for the Acad-favored by other pulp artists of the day. He was ex-emy Award winner Mary Poppins, first released in ceptional at painting bug-eyed monsters and action-1964. Wenzel also created the art for more than a packed adventure scenes.

dozen of The Walt Disney Company’s official A great traveler, Wesso traveled around the world Christmas cards. His portrait of Walt Disney ap-twice in his lifetime, and during his career lived in peared on a 1968 6-cent United States postage Kansas City, Missouri, New York City and Con-stamp. Now retired, he continues to accept commer-necticut. His favorite artists included Dean Corn-cial assignments on a freelance basis and paints more wall, Raleigh, and McClelland Barclay. Some of his personal images for exhibition and enjoyment. His earlier works were later reprinted in issues of Amaz-most recent Disney creation was a 6-foot tall statue ing, and his cover for the January 1932 issue of

“Mickey Celebrates Our Freedom,” one of seventy-Strange Tales of Mystery and Terror was used the cover five statues individually created for Mickey’s 75th of Wolves of Darkness: The Collected Stories of Jack birthday in 2004, as part of an exhibit “The InspEA-Williamson, Vol. 2 (Haffner Press, 1999). Wesso died Rations of Mickey Mouse” which toured the U.S.

in Westport CT, at age 53; his widow Minnie ( July

Whelan

476

1890–October 1972) returned to Kansas after his for more than $100,000. He also was one of the death, and died in Maryland.

major artists who turned paperback and book illus-Sources: Aldiss, Brian. Science Fiction Art: The Fantasies of tration in the genre away from the surrealism of the SF. Bounty Books, 1975; Clute, John and Nicholls, Peter, 1960s and early 1970s and toward a new, cleaner and Eds. The Encyclopedia of Science Fiction. St. Martin’s Press, 1993; Connecticut City Directories [database on-line] at www.

more perfectionistic “imaginative realism” that was Ancestry.com (Provo, UT, USA); Difate, Vincent. Infinite essentially an updated version of pulp-style illustra-Worlds: The Fantastic Visions of Science fiction Art. Wonder-tions.

land, 1997; Gunn, James ed. The New Encyclopedia of Science Michael Raymond Whelan was born to William Fiction. Viking Press, 1988; Haining, Peter. The Classic Era of American Pulp Magazines. Prion Books, 2000; Wesso biogra-and Nancy Sloet Whelan in Culver City, Califor-phy online at www.askart.com, provided by Gail Thompson nia, and has two sisters: Lorie is a nurse practitioner August 2002: Wesso biography online at www.magister.msk.

and Wendy is a research biochemist. His father was ru/library/extelop/authors/w/wesso/htm; a peripatetic aerospace engineer, whose job caused Published Work
the family to move frequently when Whelan was AMZ: 1929 (9, 10, 11, 12); 1930 (1); 1968 (2); 1972
young. On his mother’s side, Whelan is related to the (9)

classic painter Peter Paul Rubens and to Samuel F.B.

AQ: 1929 (fall); 1930 (winter, spring, summer, Morse. Morse is best known as the inventor of the fall); 1931 (winter, spring, summer, fall); 1932 (win-Morse Code, but he was also a talented and promi-ter, spring, fall)

nent portrait painter and was a founder of the Na-ASF : 1930 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10 11, 12); 1931
tional Academy of Design. Whelan grew up in Cal-

(1, 2, 3, 4, 5, 6, 7, 8, 9, 10 11, 12); 1932 (1, 2, 3, 4, 5, ifornia and Colorado, in the process attending five 6, 9, 11); 1933 (1, 3, 10, 11); 1934 (1); 1936 (1, 2, 4, 5, elementary schools, three junior high schools and 7, 8, 9, 10 11, 12); 1937 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10 11, four high schools. Since his father was employed in 12); 1938 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10 11, 12); 1939 (1, the aerospace industry and worked on secret space 2, 3, 4, 5, 6, 7, 8, 9, 10 11)

technology projects he often lived near missile test ASH (1942 (3)

sites, Air Force bases, and other locations related to CF (1940 (winter, spring, summer, fall); 1941
aerospace development. Rocket launchings — and (winter, spring, summer, fall); 1942 (summer); 1943
the occasional spectacular failures — he recalls being (winter)

part of his life growing up, and likely inspired his DYN: 1939 (2, 4)

“sense of wonder.” Also influential were SF movies, FTC: 1973 (7)

books, and magazines; his father was an avid reader MSS: 1939 (2)

and an amateur cartoonist and as a child Whelan SS: 1939 (1, 5, 9, 11); 1940 (5, 7, 11); 1941 (1, 3, 7, enjoyed exploring his father’s collection of science 11); 1942 (1, 3, 7)

fiction books and magazines. These inspired Whe-SSS: 1942 (8)

lan to draw monsters, UFOs, and heroes so well that ST: 1931 (6 9, 11); 1932 (1, 3, 6, 10); 1933 (1) this became a way for him to make new friends. In StrS: 1939 (4, 6, 8, 10); 1940 (10, 12) high school Whelan was part of a rock band and did TWS: 1937 (6, 8, 10, 12); 1938 (2, 4, 6, 8, 10, 12); psychedelic posters for school dances, as well as 1939 (2, 4, 6, 8, 10, 12); 1940 (1, 3, 4, 5, 6, 7, 8, 9, doing illustrations for the year book and other school 10, 11, 12); 1941 (1, 3, 4, 6, 12); 1942 (2, 4, 6, 8); 1943
publications. He began his formal training in art by (fall)

taking summer classes at Philip Steele’s Rocky UK: 1939 (10, 11)

Mountain College of Art and Design in Denver, before moving to San Jose, California where he grad-Whelan, Michael
uated from Oak Grove High School. He attended (b. June 29, 1950), American artist. Now consid-San Jose State University from 1968 to 1973 as a ered by many to be the most important artist of the

“President’s Scholar” and earned a BA in Art (Paint-late twentieth century, Whelan entered the field in ing), then studied at The Art Center College of De-the 1970s and quickly rose to become one of the sign in Los Angeles, California in 1973–74. After world’s premier fantasy and science fiction artists.

nine months of classes, and a couple of forays into A multiple award winner at all the major science genre conventions where his art was well-received, fiction conventions, and winner of virtually every Whelan got an offer from Donald Wollheim at award given in the industry — Whelan is one of DAW Books for a book cover assignment in New the few artists whose name is credited on many of York, and left to pursue a full time career as an illus-the books he illustrates to help increase sales. Sales trator. His first book cover was for The Enchantress of his original published illustrations routinely bring of World’s End, by Lin Carter.

the highest prices of any contemporary (i.e., living), From 1975 onward, Whelan was never without science fiction artist apart from Frank Frazetta*, and an assignment. His early covers for DAW and Ace his personal, noncommissioned works have sold were for books as diverse as The Year’s Best Horror Sto-

477

Whelan
ries, Michael Moorcock’s Elric series, and the Fuzzy for Moorcock’s Stormbringer. His wife sold her day books by H. Beam Piper, and he enjoyed working in care business in order to run Glass Onion, selling all the genres. His art immediately attracted atten-Whelan prints, books, and other items via mail order tion for its powerful, heroic images and forceful use catalogs she produced.

of color — soon he was one of the most popular In the 1980s, he consolidated his dominance in artists working in the field. With each assignment, the field by fully illustrating the first Dark Tower he became known as “the definitive” artist for that sebook by Stephen King for small-press publisher ries of books. His covers for Piper’s Little Fuzzy nov-Donald M. Grant. His covers for Isaac Asimov, the els especially became fan favorites and helped boost Lovecraft books, and Arthur C. Clarke’s 2010 gained the sales of the books, while those for series of six pa-him an even wider audience of fans. He was invited perback re-issues of Moorcock’s Elric novels received to participate in several group and solo art shows unanimous acclaim as among the finest ever done in featuring science fiction art, at the New Britain Mu-the swords-and-sorcery field. Whelan moved to seum of Art in Connecticut, the Bronx Museum, Connecticut and later that year rented a small house and science museums around the country. He also owned by Audrey Price, who took an immediate in-began showing his work at the new Earthlight terest in his work. Price went with him to science Gallery in Boston, and an original painting for Fri-fiction conventions in Boston and after seeing how day by Robert Heinlein sold for $15,000.00 at the the art was handled, encouraged Whelan to handle Pendragon Gallery in Annapolis, Maryland in 1984, the sale of his original art himself. They had his setting a new record for the gallery and for Whelan.

paintings and preliminary works professionally That same year, Michael was hired by Michael Jack-framed for the 1976 World Science Fiction Conven-son to do the cover for the Victory album and this was tion in Kansas City over Labor Day weekend, and the followed by a number of rock album covers. Jackson large display of his paintings attracted major atten-was quoted in People magazine saying that he chose tion from both fans and professionals.

Michael Whelan because he “reminded him of a From 1975 to 1985, Whelan was busy establish-modern-day Maxfield Parrish.”

ing his career by painting covers for classic science Whelan primarily works in color, although he has fiction authors like Poul Anderson and Clifford done a few pieces (often studies), in monochrome Simak as well as newcomers like C.J. Cherryh, all or pen-and-ink. He paints in acrylics, airbrush the while establishing his reputation with publish-and/or handbrush, on masonite, canvas board, or ilers and fans. He painted aliens and space ships, hor-lustration board. He typically signs his work using ror, sword and sorcery, dragons and far away plana stylized logo that is a combination of his initials, ets — and like Kelly Freas* before him, impressed

“MW.” Like many artists working in the science everyone by being an artist who actually read and fiction field in the 1980s, Whelan first submitted loved the genre. In 1977 he received his first major a rough color sketch, although by genre stan-award nomination from the World Fantasy Awards dards, many of Whelan’s “roughs” were the equiva-and Locus magazine, for Best Professional Artist. He lent of another artist’s finished paintings, given their continued to work for DAW and Ace and began a level of detail and polish. Beautifully conceived, and long association with Judy Lynn Del Rey of Del Rey astounding in its level of detail “The Whelan Books. The following year she assigned him the lure,” as Di Fate puts is, “centers on an extraordi-cover of The White Dragon by Anne McCaffrey, nary and innovative instinct for evocative color and which made publishing history by becoming the first for the portrayal of intensely interesting narrative science fiction book to reach the hardcover bestseller elements … fastidious in bringing every aspect of list. His covers for Ballantine/Del Rey Books, espe-his paintings to a high level of finish” ( Infinite Worlds, cially the Del Rey line and for McCaffrey’s series of p. 310).

Dragonriders of Pern novels, were enthusiastically re-By the mid 1980’s, beyond all his expectations, ceived—as were his wraparound covers for the re-is-Whelan had become one of the most awarded and sues of the Edgar Rice Burroughs Mars series. Also successful of science fiction and fantasy artists but in 1978 he was nominated for his first Hugo (the

“there was just a slight rumbling inside the artist to World Science Fiction Award), a Locus Award, and do something more.” He had been steadily working a World Fantasy Award. That Christmas, he and his own ideas and symbols into his cover art, but in Price married. In 1979 Donning Books published 1986 he took some time away from illustration and Wonderworks, the first collection of Whelan’s work created the painting “Sentinels.” It was the first with commentary by the artist, which also received painting in more than a dozen years that was not a Hugo nomination. After a few forays into produc-linked to a written story, and he submitted it for a ing reproductions with other publishers, Whelan group show at the Delaware Art Museum. In that and his wife started Glass Onion Graphics and pub-art world, he realized, size mattered, and decided lished their first limited edition print: the cover art that future personal works would be no smaller than

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4' × 4'. His commercial assignments occupied his Fiction Convention to be held in Japan. Adding to time over the next couple of years, including the the more than 350 book and album covers he has Heinlein Foundation series covers. He won more created over the last thirty years, in 2007 he also Hugos, and also published his second art book, finished up work on a brand new edition of Stephen Michael Whelan’s Works of Wonder (which also won King’s The Dark Tower: The Gunslinger, adding new a Hugo), and in 1988 he finally found time to do paintings and drawings to the work he first did in that large painting, “Passage: the Avatar.” The paint-1987. Previously, in 2003, he had spent year completing was decidedly different in all respects from the de-ing almost 60 pieces for the seventh book in the se-tailed and award-winning Snow Queen cover for the ries, and considered it an honor to have been the il-novel by Joan Vinge, also done that year (which was lustrator chosen for both the first and the last book followed by the similarly successful Summer Queen, in the series. The book was published in 2004 and in 1991). Snow Queen, perhaps the most popular became a #1 Bestseller.

Whelan painting of all time, was astounding in its Whelan remains the most honored artist in his detail and visual effect — in marked contrast to the field, having won an unprecedented fifteen Hugo majestic simplicity and dreamlike nature of Whe-Awards, three World Fantasy Awards, and in lan’s contemporary “visionary art.” Suffused with 1992 he was awarded the “SuperHugo” for Best Pro-symbolic content, and a strong sense of the mystical, fessional Artist of the last 50 years. The readers of Whelan would continue to produce large scale per-LOCUS magazine have named him Best Profes-sonal works, and with increasing frequency, through sional Artist twenty-six times in their annual poll.

the 1990s.

In 1994 he won the Grumbacher Gold Medal for While continuing to produce cover art for books his painting “Climber.” In 1997 he was awarded a like The Martian Chronicles and for authors such as Gold Medal from the Society of Illustrators for Melanie Rawn and Tad Williams, Whelan expanded the digital painting “Crux Humanis,” and an his clients in the 1990s to include the Franklin Mint, Award for Excellence in the Communication Arts which produced sculptures based on his dragon Annual.

drawings. He also started doing album covers for Whelan is a member of the Graphic Artists Guild the heavy metal band Sepultura. At the same time, and the Society of Illustrators in New York City, and Whelan felt it was time to devote himself in earnest he is an Advisor to the Masters in Fine Arts program to his own ideas. After a year of painting, writing at Western Connecticut State University in Dan-and designing, the result was a major new art book, bury, Connecticut. In 2003 Whelan became a mema deluxe coffee table book titled The Art of Michael ber of the inaugural Advisory Board of the Science Whelan. Published in 1993, it soon became the fan-Fiction Museum and Hall of Fame in Seattle, Wash-tasy art book by which all others of that time were ington, and the Spectrum Annual of the Best in Con-judged. The first part, “Scenes,” featured 80+ of his temporary Fantastic Art named him a Grand Master best illustrations, while the second part, “Visions,”

in 2004. Aside from his painting, his personal inwas comprised entirely of his personal work. The terests include the martial arts, the digital arts, and Mill Pond Press produced several limited edition art electronic music, among many others. Always very prints of works from the book. Also that year, he articulate, both visually and verbally, he continues to did the cover for singer MeatLoaf ’s comeback album support the science fiction field through his exhibits Bat Out of Hell II, which became the bestselling and participation on programs at conventions and his album of 1993 and won Whelan “Best Cover of the attendance is always a welcomed event. Whelan lives Year” by CD Review magazine. His art book howin Connecticut with his wife Audrey Price, who ever attracted a new group of Whelan fans — those manages MichaelWhelan.com. They have two chil-who preferred his personal work.

dren: daughter Alexa (b. 1980), a favorite model for A series of personal and family-related health Whelan, is a PhD student in Biology and son Adrian problems, beginning 1998, interfered with his com-

(b. 1988) is a sophomore in college.

mercial output over the next decade. These ranged Sources: official artist website www.michaelwhelan.com; from contracting Lyme disease (indigenous to his biography of Michael Whelan at www.imagenetion.net/matrix/mwhelan1.htm; Manzieri, Maurizio “Introduction to home state of Connecticut), to surviving prostate Michael Whelan and Interview” at www.delos.fantascienza.

cancer, to injuries to his shoulder. Nevertheless, and com/ie/mwintro.html; McCaffrey, Anne. “Dragon-Masters’

despite these set-backs, Whelan continues to concen-Dialogue” Science Fiction Age September 1993.

trate on his own fine art gallery work, and in 2007
had his fourth gallery show of new personal works.

Collections and Anthologies

And, although he has for brief periods “retired” from (various contributing artists)

illustration over the years, he has not yet abandoned Di Fate, Vincent. Infinite Worlds: The Fantastic his commercial art career. In 2007 he was the Amer-Visions of Science fiction Art (Wonderland Press/Pen-ican Artist Guest of Honor of the first World Science guin, 1997), Fenner, Cathy and Arnie eds. Some-

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Whelan
thing in My Eye (Mark V. Ziesing, 1996), Frank, Jane 1996), (with Rowena Morrill), Crown of Shadows and Howard. The Frank Collection: A Showcase of the (DAW, 1995), Cuckoo’s Egg (DAW, 1985), Dark World’s Finest Fantastic Art (Paper Tiger, 1999), Tower: The Gunslinger (Donald M. Grant, 1982), Frank, Jane and Howard. Great Fantasy Art Themes Daughter of Regals and Other Tales (Ballantine/Del From the Frank Collection (Paper Tiger, 2003), Rey, 1984), Day of the Klesh (DAW, 1979), Days of Grant, John and Humphrey, Elizabeth with Scoville, Grass (DAW, 1985), Deceivers (Simon & Schuster, Pamela. The Chesley Awards: A Retrospective (AAPL, 1981), Delirium’s Mistress (DAW, 1986), Demon of 2003), Jude, Dick. More Fantasy Art Masters: The Scattery (Ace, 1979), Destiny’s Road (Tor/Orbit, Best Fantasy and Science Fiction Artists Show How 1997), Diadem from the Stars (DAW, 1977), Distant They Work (Watson-Guptill, 2003), Kesey, Ken. Sor-Stars (Bantam, 1981), Doom That Came to Sarnath cerers: A Collection of Fantasy Art (Ariel Books, 1978), and Other Stories (Ballantine Del Rey, 1990), Drag-Masterpieces of Fantasy Art (Taschen, 1991), Michael onbone Chair (DAW, 1988), Dragon Prince (DAW, Whelan’s Works of Wonder (Del Rey, 1987), Miller, 1988), Dragonflight (Ballantine/Del Rey, 1984), Ron. Starlog Photo Guidebook to Space Art (Profile Dragonquest (Ballantine/Del Rey, 1989), Dragons of Entertainment, 1978), The New Visions: A Collection Light (Ace, 1980), Dragonsbane (Ballantine/Del Rey, of Modern Science Fiction Art ( Doubleday & Co, 1991), Dragonsdawn (Ballantine/Del Rey, 1988), 1982), Whelan, Michael. Wonderworks (Donning, Dragon Token (DAW, 1992), Dream Park (Ace, 1981), 1979), Whelan, Michael. The Art of Michael Whelan Dreamfall (Warner Aspect/SFBC, 1996), Dreaming (Bantam, 1993).

Tree (DAW, 1997), Earthchild (DAW, 1977), Elric (Orion/Gollancz U.K., 2001), Elric at the End of BOOKS ILLUSTRATED INCLUDE: 2010: Odyssey Two Time (DAW, Grafton U.K., 1984), Elric of Melni-

(Ballanine/Del Rey/Granada, 1982), 2061: Odyssey bone (DAW, Grafton U.K., 1976), Empire’s Horizon Three (Ballantine Del Rey/Grafton, 1988), Adven-

(DAW, 1989), Enchantress of World’s End (DAW, tures of Little Fuzzy (Platt & Munk, 1983), The Ad-1975), Enchanted Planet (DAW, 1975), Enemy Stars versary (Ballantine/Del Rey, 1985), Agent of the Ter-

(Baen, 1987), Ensign Flandry (Ace, 1979), Exiles: 1
ran Empire (Ace, 1980), All My Sins Remembered The Ruins of Ambrai; 2 Mageborn Traitor (DAW, (Avon, 1978), All the Weyrs of Pern (Ballantine Del 1994, 1997), Faded Sun: Kutath (DAW, 1979), Faded Rey, 1991), Amazons!; Amazons II (DAW, 1979, 1982), Sun Trilog y (DAW, 2000), Feast of Souls (DAW, Anackire (DAW, 1983), Armada of Antares (DAW, 2007), Federation (Ace, 1981), Feersum Endjinn 1976), Assassin’s Apprentice (Bantam Spectra, 1995), (Bantam Spectra, 1995), Fellowship of the Talisman At the Mountains of Madness and Other Tales of Ter-

(Ballantine/Del Rey, 1978), A Fighting Man of Mars ror (Ballantine, 1982), At Winter’s End (1988), Bane (Ballantine, 1979), Final Encyclopedia (Ace, 1984), of the Black Sword (DAW, 1977), Bearing an Hour-Final Encyclopedia, Vol, 1, 2 (Tor, 1997), Fires of Aze-glass (Ballantine/Del Rey, 1985), Being a Green roth (DAW, 1979), Flandry of Terra (Ace, 1979), Flo-Mother (Ballantine/Del Rey, 1988), Beowulf ’s Chil-rians (DAW, 1976), Fool’s Run (Warner, 1987), Foot-dren (Tor, 1995), Best of H. P. Lovecraft: Bloodcur-fall (Ballantine/Del Rey, 1985), For Love of dling Tales of Horror and the Macabre (Ballantine/Del Mother-Not (Ballantine/Del Rey, 1983), Foreigner Rey, 1982), Best of Omni Science Fiction 2 ( Omni, (DAW/SFBC, 1994), Foundation (Doubleday, 1991), 1981), Birds of Prey (Tor, 1991), Black Star Rising (Bal-Foundation and Earth (Ballantine/Del Rey, 1987), lantine/Del Rey/SFBC, 1985), Black Sun Rising Foundation’s Edge (Del Rey /Ballantine, 1983), Foun-

(DAW/SFBC, 1991, 1992), Bloody Sun (Ace, 1979), dation Trilog y (SFBC, 2004), Four Day Planet/Lone Book of the Ler (DAW, 2006), Brightness Reef (Ban-Star Planet (Ace, 1979), Friday (Ballantine/Del Rey, tam Spectra, 1995), Bunduki (DAW, 1976), Case of 1983), From the Heart of Darkness (Tor, 1983), Charles Dexter Ward (Ballantine Del Rey, 1990), Cat Fuzzies and Other People (Ace/SFBC, 1984), Fuzzy Who Walks Through Walls (Berkley/Putnam, 1985), Bones (Ace, 1981), Fuzzy Papers (SFBC, 1977), Fuzzy Caves of Steel (Ballantine/Del Rey, 1989), Centaur Sapiens (Ace, 1976), Gameplayers of Zan (DAW, Aisle (Ballantine/Del Rey, 1982), Changeling Sea 1977), Gate of Ivrel (DAW, 1976), Girl Who Heard (Ballantine/Del Rey, 1989), Chanur’s Homecoming Dragons (Tor/SFBC, 1994), Gods Laughed (Tor, (DAW, 1987), Chanur’s Legacy (DAW/SFBC, 1992), 1982), Gods of Mars (Del Rey, 1979), Golden Dream: Chanur Saga (DAW, 2000), Chanur’s Venture (DAW, A Fuzzy Odyssey (Ace, 1982), Golden Key (DAW, 1985), Chessmen of Mars (Ballantine/Del Rey, 1981), 1996), Golden Torc (Ballantine/Del Rey, 1983), Chronicles of Pern: First Fall (Ballantine Del Rey, Golden Witchbreed (Morrow/SFBC, 1984), Grum-1997), City of Golden Shadow (DAW, 1996), Collected bles from the Grave (Ballantine Del Rey, 1989), A Short Fiction of C. J. Cherryh (DAW, 2004), The Guide to Barsoom (Del Rey, 1980), Hecate’s Cauldron Complete Fuzzy (Ace, 1998), Cosmic Computer (DAW, 1982), Hoka! (Walker Brothers, 1983), Hokas (Berkley/Ace, 1977), Crown of Shadows (DAW, Pokas! (Baen, 2000), Horn Crown (DAW, 1981), Hor-1995), Crystal Singer Trilog y (Ballantine Del Rey, rorstory 3, 4, 5 (Underwood-Miller, 1989), Hot Sky

White

480
at Midnight (Bantam Spectra/SFBC, 1994), Illusion Heaven (Ace, 1979), Stone of Farewell (DAW/Leg-

(Bantam Spectra, 1992), Immortal of World’s End end/SFBC, 1990, 1991), Storm: To Green Angel Tower (DAW, 1976), In Conquest Born (DAW, 1986), Ini-Part II (Legend, 1994), Stormbringer (Grafton, 1987), tiate Brother (DAW, 1991), Integral Trees (Del Rey Stormqueen! (DAW, 1978), Strange Wine (iBooks,

/Ballantine Del Rey, 1983), In the Green Star’s Glow 2004), Stronghold (DAW, 1991), Summer Queen (DAW, 1976), Invader (DAW/SFBC, 1995), Ivory: (Warner/Questar, 1991), Sunfall (DAW, 1981), Sun-A Legend of Past and Future (Tor, 1988), Illustrated runner’s Fire (DAW/Pan U.K., 1991), Swords and Ice Harlan Ellison (Baronet, 1978), Job: A Comedy of Jus-Magic (Ace, 1977), Sword and Sorceress XVI; XVIII; tice (Ballantine Del Rey, 1984), John Carter of Mars XIX (DAW, 1999, 2001, 2002) Swords of Mars (Bal-

(Ballantine Del Rey, 1982), Killashandra (Del Rey/
lantine/Del Rey, 1979), Synthetic Men of Mars (1981), Ballantine, 1985), Kingdom of Cages (Warner, 2001), Tangled Up in Blue (Tor, 2000), Tales from Planet Lamarchos (DAW, 1978), Land Leviathan (DAW, Earth (Bantam Spectra/SFBC, 1990), This Alien 1982), Legends (Tor, 1999), Little Fuzzy (Ace, 1976), Shore (DAW, 1998), Three-Eyes (DAW, 1975), Thu-Llana of Gathol (Del Rey, 1980), Long Way Home via Maid of Mars (Ballantine/Del Rey, 1980), Tides (Ace, 1978), Lord Kalvan of Otherwhen (Ace, 1984), of Kregen (DAW, 1976), Traitor to the Living (Bal-Lore of the Witch World (DAW, 1980), Madness Sea-lantine, 1978), Transformer (DAW, 1983), Trans-son (DAW, 1990), Mageborn Traitor (DAW, 1997), former Trilog y (DAW, 2006), Tree of Swords and Jew-Man in the Maze (iBooks, 2002), Man of Gold els (DAW, 1983), Trekmaster (DAW, 1987), Trouble (DAW,1984), Man Rides Through (Ballantine/Del with Tycho (Ace, 1976), Ultimate Enemy (Ace, 1979), Rey, 1987), Man Who Counts (Ace, 1978), Many-Uplift War (Bantam Spectra, 1987), Vanishing Tower Colored Land (Ballantine/Del Rey, 1988), Martian (Grafton, 1990), Volkhavaar (DAW, 1977), Warlord Chronicles (Bantam Spectra, 1990), Master Mind of of Mars (Ballantine/Del Rey, 1981), Wielding a Red Mars (Del Rey, 1980), Mirror of Her Dreams (Bal-Sword (Ballantine/Del Rey, 1986), Weird of the White lantine/Del Rey, 1986), Moreta: Dragonlady of Pern Wolf (Grafton, 1987), Well of Shiuan (DAW, 1978), (Ballantine Del Rey/SFBC, 1983), Morgaine Saga When the Waker Sleeps (DAW, 1975), When True (DAW, 2000), Morphodite (DAW, 1981), Mountain Night Falls (DAW/SFBC, 1993, 1994), Where the of Black Glass (DAW/SFBC, 1999), Nerilka’s Story Evil Dwells (Del Rey/ (Ballantine, 1982), Whetted (Ballantine Del Rey, 1997), New Springtime Bronze (DAW, 1978), White Dragon (Ballantine Del (Warner/SFBC, 1990), Nifft the Lean (1982), Night Rey, 1997), Wildeblood’s Empire (DAW, 1977), The Face (Ace, 1978), Night’s Sorceries (1987), Nonborn Wilding (DAW, 2005), Winds of Darkover (Ace, King (Del Rey/Ballantine, 1984), Nor Crystal Tears 1984), With a Tangled Skein (Ballantine/Del Rey, (1982), On a Pale Horse (Ballantine Del Rey, 1983), 1985), With Friends Like These… (Ballantine/Del Paradise (Tor, 1990), Pegasus in Flight (Ballantine Rey, 1977), World Without Stars (Ace, 1978), Year’s Del Rey, 1990), Peregrine (Ace, 1978), Planet of No Best Horror Stories #3, #5, #6, #7, #8, #9, #10, #13

Return (Simon & Schuster, 1981), Planet Savers (Ace, (DAW, 1975, 1977, 1978, 1979, 1980, 1981, 1982, 1976), Pride of Chanur (DAW, 1982), A Princess of 1985), Year’s Best Science Fiction: #8 (St. Martin’s/

Mars (Ballantine/Del Rey, 1982), Question and An-SFBC, 1991).

swer (Ace, 1978), Red as Blood, or Tales from the Sis-MAGAZINES ILLUSTRATED INCLUDE:

ters Grimmer (DAW, 1983), Renegade of Kregen AMZ: 1982 (11)

(DAW, 1976), Renegades of Pern (Ballantine/Del DEST: 1979 (1/2)

Rey/SFBC, 1989), River of Blue Fire (DAW/SFBC, IASFM: 1978 (9/10); 1989 (8); 1990 (7, 12); 1992

1998), Robots of Dawn (Ballantine/Del Rey, 1984), (11); 2005 (1); 2006 (1); 2007 (1)

Royal Assassin (Bantam Spectra, 1996), Sailor of the ROF : 1994 (10); 1995 (6, 12); 1996 (12); 1997 (8); Seas of Fate (Grafton, 1989), Sandkings (Baen, 1986), 1998 (12); 2000 (2, 12),

Sea of Silver Light (DAW/SFBC, 2001), Shadow-SFAge: 1992 (11); 1993 (7, 11)

march (DAW, 2004), Shadow’s End (Bantam Spec-Misc.: Adventures in Fantasy: Michael Whelan tra, 1994), Siege: To Green Angel Tower Part 1 (Leg-collector trading card set (Comic Images, 1993), end, 1994), The Silicon Mage (Ballantine/Del Rey, Dragons & Mystics: The Art of Michael Whelan cal-1988), Singers of Time (Bantam Spectra/Doubleday/
endar 2004 (Ronnie Sellers Productions, 2003), SFBC, 1991), Skybowl (DAW, 1993), Smoke Ring Other Worlds: Michael Whelan collector trading card (Ballantine/Del Rey, 1987), Snow Queen (Popular set II (Comic Images, 1995); White Dragon series Library/Questar, 1989), Songs of Distant Earth (Bal-collector phone cards (Patco, 1995).

lantine/Del Rey/Grafton, 1986), Sorcery Rising (DAW/SFBC, 2002), Space Viking (Ace, 1976), Special Deliverance (Ballantine/Del Rey, 1982), Spell for White, Tim(othy)

Chameleon (Ballantine/Del Rey, 1977), Star of Dan-

(b. April 4, 1952) British artist. “One of the ger (Ace, 1982), Star Scroll (DAW, 1990), Stone in super-realists who have shaped British SF illustra-

481

White
tion since the mid 1970s” (Clute & Nichols, p.

works have been featured in several collections and 1322), White was born in Erith, Kent, and decided anthologies.

he wanted to be an artist before the age of five. He Sources: correspondence with the artist and artist website attended Medway College of Design, in Kent www.tim-white.co.uk ; Clute, John and Nichols, Peter. The Enclopedia of Science Fiction (Orbit, 1993), Weinberg, 1988

(1968–1972) to further pursue that ambition. Much of the work he produced during this time was fan-Art Collections and Anthologies
tasy oriented, as was his first published work “Blue (various contributing artists)

Empress,” a fantasy piece for the Splash’ poster com-Frank, Jane and Howard. Great Fantasy Art pany in London, 1969. White worked in several ad-Themes from the Frank Collection (Paper Tiger, vertising studios until 1974 when he received several 2003), White, Tim. Chiaroscuro (Dragon’s World, commissions from the New English Library’s’ mag-1989), White, Tim. The Science Fiction and Fantasy azine Science Fiction Monthly. Later in the same year World of Tim White (Paper Tiger, 1981), T.W. — Tim he got his first paperback commission from Corgi White miniature format art book (Paper Tiger, Books, to produce the cover art for Arthur C.

1994), Masterpieces of Fantasy Art (Taschen, 1999), Clarke’s The Other Side of the Sky. That assignment Sacks, Janet. Visions of the Future (Chartwell, 1976); launched his career as a full-time freelance illustrator.

Published Work

White has illustrated hundreds of books on BOOK ILLUSTRATIONS INCLUDE: Alien Accounts themes of fantasy and science fiction by many notable (Panther/Granada, 1982), Best of Omni Science Fic-authors, for publishers in England and the United tion 2, 6 (Omni, 1982, 1983), A Better Mantrap States and in many other countries. Notable assign-

(Panther, 1984), Beyond The Blue Event Horizon ments include his cover paintings for The Visual En-

(Orbit, 1985), Beyond the Gate (Tor, 1996), Black cyclopedia of Science Fiction (Pan Books, 1977), Isaac Ship (Arrow, 1986), Blood of Amber (Avon, 1987), Asimov’s Foundation series of books in the late 1980s, Blue Adept (Granada, 1983), Brain Wave (NEL, and the Amber series, by Roger Zelazny, beginning 1976), Buccaneers of Lan-Kern (Methuen, 1983), in the mid 1980s. In 1991 White began applying his Ceres Solution (Granada, 1983), Chung Kuo: #6
computer graphics and animation skills working on White Moon, Red Dragon (NEL, 1994), City of Bara-a highly popular computer game titled “Spacehulk”

boo (Orbit, 1983), City of the Sun (Hamlyn, 1979), (Electronic Arts). This was followed in 1995 with a City on Fire (HarperPrism/SFBC, 1997), Cold Cash second chart-topping computer game “X-com War (NEL, 1977), Courts of Chaos (Avon, 1990), Apocalypse” (Microprose), which came out in 1997.

Critical Threshold (Hamlyn, 1979), Croc (NEL, For that game, White created the aliens and the alien 1977), Crystal Empire (Grafton, 1987), The Dark De-technology, with many of the aliens built as 3D obscent: The Medusa in the Shield (Grafton, 1990), jects. Beyond his book jacket work, and computer Darkness on Diamondia (NEL, 1975), Dark Thunder’s games, White has created artwork for record album Way (Avon, 1989), A Dark Traveling (Avon, 1989), covers, numerous magazines, newspapers, TV ad-Dayworld (Granada, 1985), Death Cloud (NEL, vertisements, CD and video covers, trading cards, 1977), Dreambuilder (AvoNova, 1992), Dying Inside postcards, prints and even jigsaw puzzles and em-

(NEL, 1979), Earth Enslaved (NEL, 1976), Eater of broidery cross-stitch kits.

Worlds (DAW, 1976), Eat Them Alive (NEL, 1977), Regarded as one of Britain’s finest science fiction The End of the Matter (NEL, 1979), Enemy Within illustrators, the most striking aspect of White’s work the Skull (NEL, 1976), Eye of Cat (Avon, 1991), Fiends is the superlative intensity of detail within each (Grafton, 1991), Fire Pattern (Panther, 1985), Fire-image, combined with unmatched “gem-like” in-shaper’s Doom (Avon, 1987), Fires of Lan Kern (St.

tensity of color and style reminiscent of Maxfield Martin’s Press, 1980), Fool Me Twice (Warner As-Parrish. Within the boundaries of a largely figurative pect, 2001), Forest of the Night (AvoNova, 1992), approach, White meticulously renders stunningly Foundation (Grafton, 1988), Foundation and Earth realistic “exotic” scenes, whether fantastic or science-

(Grafton, 1986), Foundation and Empire (Panther, fictional. Earlier painted works, created with non-1983), Foundation’s Edge (Grafton, 1984), Founda-lightfast shellac inks, were soon replaced with tion’s Friends (Grafton, 1991), Frost & Fire (Avon, gouache — which provided equally striking results.

1990), Gather Darkness (NEL, 1979), Glory Road Whether working in pen-and-ink or paint, White (NEL, 1978), Graybeard (Grafton, 1984), Great Book works small, with finished paintings rarely exceed-of Amber (Avon Eos, 1999), Green Odyssey (Sphere, ing a size sufficient for a 50 percent reduction for 1976), Guernica Night (NEL, 1979), Guns of Avalon publication. His detailed preliminary sketches, usu-

(Avon, 1986), Hand of Oberon (Avon, 1985), Hawk ally in color, typically run 2" × 3" yet still leave room of May (Methuen, 1984), Heaven Makers (NEL, for his signature and the title of the work, below the 1980), Heetchee Rendezvous (Orbit, 1985), Hello image. Now largely retired from book illustration, his America (Carroll & Graf, 1988), H.P. Lovecraft Om-

Wilson

482
nibus 1 At the Mountains of Madness and Other Nov-Spectra/SFBC, 1996), Weaveworld (Collins, 1987), els of Terror; 2 Dagon and Other Macabre Tales; 3 The Wheel of the Winds (Grafton, 1989), Wildeblood’s Em-Haunter of the Dark (Grafton, 1985), Icerigger (Bal-pire (Hamlyn, 1979), Windmaster’s Bane (Avon, lantine, 1974), In Conquest Born (Legend, 1989), In 1986), The Witling (1978), A Wizard Abroad (Corgi, The Ocean Of Night (Orbit, 1978), Involution Ocean 1993), Wordwright (AvoNova, 1993), Zarkon, Lord of (NEL, 1980), Isaac Asimov’s Universe: Vol I: The the Unknown in the Nemesis of Evil (Doubleday, Diplomacy Guild (Grafton, 1992), Jesus Incident 1975).

(Orbit, 1980), Jewel of Jarhen (London Mews, 1976), MAGAZINES ILLUSTRATED INCLUDE:

Juxtoposition (Grafton, 1986), Knight of Shadows INT: 1990 (9); 1991 (7); 1994 (9)

(Avon, 1990), Krugg Syndrome (Grafton, 1988), OMNI: 1980 (1); 1984 (1); 1987 (9); 1988 (2) Labyrinth of Dreams (Tor, 1992), Left Hand of Dark-Misc. : Tim White Fantasy Art collector card set ness (Orbit, 1991), Leviathan’s Deep (Orbit, 1980), (FPG, 1994),

Life and Times of Jerry Cornelius (Harrap, 1987), Light Fantastic (Berkley, 1979), Lord of the Spiders (NEL, 1979), Macroscope (Avon, 1985), Man Who Sold the Wilson, Dawn E.

Moon (NEL, 1979), Makeshift God (Panther, 1982), (?) American artist. Born in Delaware, Wilson atMan With a Thousand Names (Sidgwick and Jack-tended Moore College of Art in Philadelphia, PA, son, 1975), Mask of Cthulhu (Grafton, 1988), Mon-graduating in 1982. She was drawn to science fiction umen t (NEL, 1974), Moon is a Harsh Mistress (NEL, in her teens, and quickly became known for cover art 1977 ), Neuromancer (NEL, 1979), New Tales of the on fantasy and science fiction novels. She exhibited Cthulhu Mythos (Grafton, 1988), Nine Princes of widely at genre conventions on the east coast all Amber (Avon, 1985), Northern Girl (Hamlyn, 1982), through the 1980s, receiving several awards for her Not Before Time (NEL, 1977), Number of the Beast commissioned illustrations and personal works. By (NEL, 1981), Orbitsville Departure (Panther, 1985), the end of the decade, however, she had tired of the Other Side of the Sky (Corgi, 1974), Out of My Mind limitations of cover art, and largely left the com-

(Hodder & Stoughton, 1980), Palace of Eternity mercial field. Of those years, she says in retrospect, (Grafton, 1986), Past Through Tomorrow 1, 2 (NEL,

“It’s a huge subculture where misfits go to fit in …

1977), Peace Machine (Grafton, 1987), Perilous Plan-

(it’s) essentially advertising restricted to two-thirds ets (Avon, 1980), Phaid the Gambler (NEL, 1980), of the page with publishers expecting it to be sexy.

Prelude to Foundation (Grafton, 1988) Prince of Chaos It just wasn’t feeding my soul.” (Sandoval Signpost, (AvoNova, 1992), Project Barrier (Hamlyn, 1979), 2005).

The Quiet Place (Grafton, 1990), Revolt in 2100

In 1988 Wilson moved to California with her hus-

(NEL, 1977), Ringway Virus (NEL, 1977), Riverrun band, Michael Enoch and young son, where she (Avon, 1991), Roadmarks (Futura, 1980), Roderick at began “her spiritual journey — now well into its sec-Random (Granada, 1983), Rocketship Gallileo (NEL, ond decade.” Working professionally as Dawn Wil-1980), Salem’s Lot (NEL, 1975), Scent of New-Mown son-Enoch, she focused her art on shamanistic and Hay (Hamlyn, 1975), Second Foundation (Grafton, folkloric themes, and continued to exhibit her pri-1986), Seetee Alert (NEL, 1976), Sign of Chaos (Avon, vate works, but sporadically. She says. “I never really 1988), Sign of the Unicorn (Avon, 1985), Snows of left art entirely, but there were periods of not doing Darkover (DAW, 1994), Soulsmith (AvoNova, 1991), much while I was healing myself.” (Sandoval Sign-Space Machine (Pan, 1981), Split Infinity, (Granada, post, 2005). At The Delaware Art Museum “Art of 1983), Squire’s Blood (HarperPrism, 1995), Stardance Fantasy and Science Fiction” exhibit, in 1990, she (Dell, 1980), Star of Danger (DAW, 1994), Star Light, displayed her 1985 Chesley Award-winning unpub-Star Bright (Fontana/Collins, 1979), Star of Danger lished color work in oil, Winter’s King. Wilson won (DAW, 1994), Stoneskin’s Revenge (Avon, 1991), another Chesley, in 1988, for her unpublished mono-Strange Invaders (NEL, 1977), Stranger in a Strange chrome work Queen of the Snows.

Land (NEL, 1978), Strata (St. Martin’s Press, 1981), In 1996 Wilson moved to northern New Mexico, Sunshaker’s War (Avon, 1990), Tarot (Grafton, 1989), where she continues to study shamanic practice, and Thorns (Del Rey/Ballantine, 1979), T houghtworld various healing modalities. She returned to vision-

(NEL, 1978), Through a Glass, Clearly (NEL, 1982), ary art painting and drawing with pastels and oils, Timeshadow Rider (Tor, 1986), Too Long a Sacrifice and creates objects with shamanic themes, such as art (Orbit, 1983), Touch of Strange (Hamlyn, 1978), dolls, and talismanic jewelry, which she sells through Trumps of Doom (Avon, 1986), Twenty Houses of the her studio “Jewelry for the Soul,” and local galleries Zodiac (NEL, 1979), UFO U.K. (NEL, 1980), Un-and art fairs. She established herself as a healer, and pleasant Profession of Jonathan Hoag (NEL, 1976), has a holistic healing business in Placitas, New Mex-Vang: The Military Form (Legend, 1989), War of the ico, which she views as an extension of her work as Worlds: Global Dispatches (w/ Roger Dean, Bantam an artist.

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Wilson

Sources: Diven, Bill. “Bridging the Spirit: Signpost Fea-and was drawing skeletons and space ships even as tured Artist Gallery” The Sandoval Signpost newsmagazine, a “tiny kid.” Wilson attended several commercial art April 2005 online www.sandovalsignpost.com [accessed schools during high school vacations, and then stud-March 2007;
ied at the Art Institute of Chicago from 1948 to Collections and Anthologies

1952, enrolling in their fine-arts course; he was the (various contributing artists)

first student ever to admit on his application that he Grant, John, Humphrey, Elizabeth, with Scov-wanted to be a cartoonist. His artistic influences are ille, Pamela. The Chesley Awards: A Retrospective many, with horror movie stars Bela Lugosi and Boris (AAPPL, 2003).

Karloff, as well as artists Goya and George Gross, and author H.P. Lovecraft, among them. After grad-Published Work
uating from the Institute, he eventually succeeded At the Edge of Space (w/ John Pound, DAW, in persuading highly dubious magazine editors to 2003), The Darkangel Trilog y: The Darkangel, A buy his macabre cartoons. Wilson’s cartoons and il-Gathering of Gargoyles, The Pearl of the Soul of the lustrations have often been compared to that of car-World (Guild America/BCE, 1990), Deerskin (Ace/
toonist Addams Family creator Charles Addams* but BCE, 1993), Dragon Circle: #1 Dragon Sleeping they are very different in style and content. While (Ace/Berkley, 1994), Dragons (Mayfair Games, 1986), both artists may feature traditional horror elements Faery (Ace, 1985), The Fey: The Sacrifice (Bantam, in their work, such as vampires and graveyards, Wil-1996), Fortress of the Pearl (Ace, 1990), The Golden son draws in a playfully grotesque style with a dark Grove (Tor, 1985), Gossamer Axe (Penguin/Roc, humor that is more unconventional, contemporary, 1990), The Identity Matrix (Baen, 1986), The Last confrontational and pointedly political. His comic Herald-Mage Trilog y (Guild America Books, 1990), strip Nuts, which appeared in National Lampoon, for Madouc (Ace/BCE, 1990), Pursuit to Kadath: Call of example, was a reaction against what he saw as the Cthulhu (Theater of the Mind Enterprises, 1983), saccharine view of childhood in strips like Peanuts.

Queen’s Own (Ace, 1985), Sabazel (Ace, 1985), Sand-

(Gahan Wilson Documentary, Preliminary Press kings (Timescape/Pocket, 1981), Secret Books of Notes, 2007). In a 1990 interview, Wilson explained Paradys: I, II, III, IV (Guild America/BCE, 1988, why he liked to use macabre humor to make specific Overlook Press, 1993), Secret Country (Ace, 1985), points, “ … the world became more violent and nas-Soul Rider: #1 Spirits of Flux & Anchor; #2 Empires of tier, and I just got madder … because of the outra-Flux & Anchor; #3 Masters of Flux & Anchor; #4
geous things that still go on. I mean, the dreadful Birth of Flux & Anchor; #5 Children of Flux & Anthings that people are doing to each other and to chor (Tor, 1984, 1985, 1986), Vows and Honor (Guild the planet.… So this situation is grim in the extreme, America/BCE, 1994), Welcome to Reality: The Night-and I’m furious, and that shows in the cartoons.”

mares of Philip K. Dick (Broken Mirrors Press, 1991), (Wiater Interview, 1990).

With Mercy Toward None (Baen, 1985).

Wilson constructs his cartoons so as to pay equal attention to literary and graphic elements: “Take Wilson, Gahan
away the caption and the picture doesn’t work; take (b. February 18, 1930) American artist. Emerging away the picture and the caption doesn’t work.”

from a cult favorite in Playboy magazine, Wilson has (Weinberg, 1988). He uses a crow quill pen and ink become one of the best known and most recognized for his black-and-white cartoons, and traditional cartoonists in the modern America. There are few watercolors for his color cartoons. “A black-and-people who cannot immediately identify his work white usually takes a day, or the better part of a day.

or remember some ghoulish panel he drew, and A color cartoon is at least a couple of days, because those who appreciate his wit will readily agree with I like to fool around with it a bit, to get it right.”

well-known horror journalist and author Stanley (Wiater, 1990).

Wiater, who claims “Gahan Wilson is the greatest He is also a very disciplined artist, working “9 to cartoonist of the macabre in the world.” (Wiater in-5” days when deadlines demand that, and feels that terview, 1990).

is necessary for any freelancer to be successful.

Wilson is the son of Allen Barnum (descendent of Wilson’s first professional sale was a cartoon sold P.T. Barnum) and Marian (Gahan) Wilson, and of his to Ziff-Davis for $7.50. From there he went to sell-youth, Wilson has written “Born in Evanston, Illi-ing to Colliers and Look. “I was, at that point, really nois, a gothic town full of mansions where scary old far out, and people would write angry letters to the ladies slowly turned into witches, died, and were editors saying my cartoons didn’t make any sense at eaten by the cats or dogs or both before intimidated all and the things that were in them shouldn’t be in servicefolk could bring themselves to break in on a family magazine.” (Wilson, online website). Sales their privacy” (Weinberg, 1988). He always wanted to Playboy followed, and as the magazine’s popular-to be a cartoonist, “as far back as I can remember”

ity grew, so did Wilson’s. With his increased popu-

Wilson

484
larity, his market expanded, until cartoons by Wil-com/gahan_wilson.html; Wiater, Stanley. “Gahan Wilson Inson were appearing in every major American maga-terview” in: Dark Dreamers: Conversations with the Master Of zine that ran humorous illustrations, among them Horror (Avon, 1990) and online www.gahanwilson.com/interview.htm [accessed October 2007]; Weinberg, 1988; Pre-magazines as diverse as Punch, The National Lampoon liminary Press Notes for the Documentary Film by Steven-and The New Yorker. Beginning in 1964 he con-Charles Jaffe Gahan Wilson: Born Dead Still Weird online tributed a long series of cartoons to Fantasy and SF
lwww.borndeadstillweird.com [accessed Nov 2007]

magazine. In the fantasy field he designed the bust of H. P. Lovecraft (the “Howard”) that is awarded Collections and Anthologies
each year to the winners of the World Fantasy (various contributing artists)

Awards, and has himself been nominated twice Fenner, Arnie and Cathy. The Best of Gahan Wil-

(1981, 1995) for that Award — winning it for Best son (Underwood Press, 2004), Heller, Steven ed.

Artist in 1996. He received the National Cartoonist Man Bites Man: Two Decades Of Drawings And Car-Society’s Milton Caniff Lifetime Achievement Award toons By 22 Comic And Satiric Artists, 1960 To 1980
in 2005. The documentary film “Gahan Wilson: (A & W Publishers, 1981).

Born Dead, Still Weird” was premiered at the Hamptons International Film Festival in October, Published Work

2007. Wilson was the subject of a half-hour profile BOOKS WRITTEN AND ILLUSTRATED INCLUDE: The broadcast in Canada and the U.K. in 2000 for the Cleft and Other Odd Tales (Tor, 1999).

Canadian-produced television series created and BOOKS ILLUSTRATED INCLUDE: And Then We’ll hosted by Stanley Wiater, called Dark Dream-Get Him (Richard Marek, 1978), Asimov’s Sherlock-ers(™). Elite Entertainment will release the entire se-ian Limericks (Mysterious Press, 1978), Best from ries on DVD in 2008.

Fantasy & Science Fiction: 18th series (Doubleday, Though he’s better known for his darkly funny 1969), Best from Fantasy & Science Fiction: twenti-cartoons than for his short stories Wilson has writ-eth series (Ace, 1973), Courting Disasters and Other ten short fiction in the same macabre vein that is Strange Affinities (Wildside Press, 1991), Dinosaur considered the equal of his art, and has won a Bram Tales (Barnes & Noble, 1996), The First World Fan-Stoker Award for his writing. He has edited a num-tasy Awards (Doubleday, 1977), Gahan Wilson’s ber of collections of horror fiction and has con-America (Holiday House, 1984), Gahan Wilson’s tributed to several others. A collection of twenty-Cracked Cosmos (Tempo, 1975), Gahan Wilson’s Even four short stories and short-shorts, illustrated by Weirder (Forge, 1996), Gahan Wilson’s Favorite Tales Wilson, were collected in The Cleft and Other Odd of Horror (Tempo, 1976), Gahan Wilson’s Graveside Tales (1999). He wrote a regular column for Twilight Manner (Ace, 1965), Gahan Wilson’s Still Weird Zone magazine, and since 1994 he has had a book (Forge, 1994), Gahan Wilson’s Ultimate Haunted review column in Realms of Fantasy magazine. He House (Harper Prism, 1996), Hellboy: Odd Jobs was a screenwriter for the movie Freeway Maniac (Darkhorse, 1999), The Horror in the Museum and (1989; aka, Breakdown), where a killer gets on the Other Revisions (Arkham House, 1970), I Paint What set of a SF film and begins murdering its crew and I See (Simon & Schuster, 1971), Is Nothing Sacred cast, and was in the cast of the documentary film (St. Martin’s Press, 1982), M is for Magic (Subter-Document of the Dead (1989). In 1988, Weinberg ranean, 2007), The Man in the Cannibal Pot (Dou-wrote “Wilson’s importance rests not only in the bleday, 1967), Murder for Christmas I (Mysterious quality of his work, but in the acceptance it has Press, 1981), Murder for Christmas II (Warner, 1988), gained in modern American tastes … which enables The New Lovecraft Circle (Fedogan & Bremer, 1996), people to laugh at horror and thus accept it.” This A Night in the Lonesome October (William Morrow, was reinforced in Wiater’s 1990 interview, where 1993), Now We Are Sick (DreamHaven, 1994), Nuts Wilson stated “I think I speak to the idea that we (Richard Marek, 1979), On Pirates (Subterranean are all “monstrous,” that we aren’t perfect, and that Press, 2001), Performance Art (Wildside Press, 1992), we have to accept that with grace and amusement….

Playboy’s Gahan Wilson (Playboy Press, 1973), Such The first duty of the cartoonist is to make them Stuff As Screams Are Made Of (Ballantine, 1979), laugh, and after they laugh, then they can shudder.

Tales of the Lovecraft Mythos (Fedogan & Bremer, And if you can make them shudder and laugh at the 1992), The Weird World of Gahan Wilson (Tempo, same time, so much the better!”

1975).

Wilson married Nancy Dee Midyette (Nancy Winters), a novelist and journalist, on December MAGAZINES ILLUSTRATED INCLUDE:

30, 1966. They live in New York.

AMZ: 1954 (3)

F&SF : 1964 (4, 6, 7); 1965 (1, 2, 5, 6, 7, 8, 9, 10, Sources: artist website at www.gahanwilson.com; Low Brow Profiles: Gahan Wilson Cartoonist “Comedy and Hor-11, 12); 1967 (1, 7, 12); 1968 (3, 4, 8, 9, 10); 1969 (1, ror” Locus magazine March 1999, at www.lowbrowartworld.

2, 4, 9); 1970 (2, 3, 4, 7, 10); 1971 (6, 7, 11, 12); 1972

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Wood

(7, 8); 1973 (3, 5, 6); 1974 (10, 11, 12); 1975 (1, 2, 3, quin, 1990), The Nowhere Hunt (DAW, 1990), Sword 4, 5, 6, 12); 1976 (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12); 1977
and Sorceress #5, #6 (DAW, 1988, 1990), Sword-

(1, 2, 3, 4, 5, 6); 1978 (10); 1980 (3, 8) Dancer # 3 Sword-Maker, # 4 Sword-Breaker (DAW, HM: 1979 (12)

1989, 1991).

WT: 1991 (spring)

Wood, Stanley Llewellyn

Wolfe, Corey

( June, 1867–1928) British artist. Wood was a (b. May 21, 1953) American artist. Raised mostly magazine illustrator known primarily for drawings in Southern California, Wolfe is a self-taught artist depicting boys’ adventure stories in the Wild West whose versatility has led to a variety of commercial before the turn of the century, but his few imagina-assignments. He cites Pre–Raphaelite artists and tive science fiction illustrations were memorable. He early twentieth century fantasists as influences.

was born in Mainder, Monmouthshire, Wales and by Wolfe’s first art job was in 1978, doing paintings and 1875 had immigrated to the United States, where he murals for restaurant decor for a company called spent his childhood and early adult life — although Fine Line Design. After working for one more design he traveled back and forth to England in subsequent firm, Wolfe went freelance in 1980, starting out with years. He married in London in March 1899, and greeting cards and book covers. Soon he began brought his wife, Mary Elizabeth and three young working for the movie industry, when a chance sons (Stanley Montague, Henry Lawrence, and John meeting with an art director at Disney Home Video ( Jack) Howard) to America in October 1909, set-hired him to illustrate the video box cover for a tling in Leonia, New Jersey. He illustrated the pop-movie called Ruthless People. This led to a long term ular adventures of Cutliffe Hyne’s crime-solving sea relationship with the company; Wolfe has completed captain, Captain Kettle, for Pearson’s magazine c.

over 600 jobs for Disney to date, including painted 1900, and in several books which collected the sto-comps, movie posters, and video box covers. Wolfe ries, beginning in the late 1890s. He contributed inhas done movie comps for The Fly, Highlander, Teen numerable “cowboy and bucking bronco” drawings Wolfe and “tons of B movie” one-sheets (posters, 40"

and humorous cartoons to magazines such as Young

× 30"). He has won several TV ACE awards, Hol-England, Chums and Boys Own Paper. During the lywood Reporter awards, and others in the fantasy art 1880s he traveled widely in the western states, living fields.

the rough life of a cowboy on the western plains of As an illustrator Wolfe works both traditionally Minnesota, Colorado and the Missouri River Val-and digitally. He uses a Macintosh and Photoshop ley, so that his horses, saddles and rifles and so on for digital work, and uses oils on illustration board, were drawn from real life. In the 1890s he also illus-or airbrush and acrylics when working traditionally.

trated books with adventure stories set on the west-Wolfe is an accomplished photographer, and blends ern plains by writers such as Bret Harte, and others.

paintings and photographs digitally. In addition to Among the more fantastical illustrations Wood clients such as Disney, Mattel, Universal Studios, created were those for the first three of five books RCA/Columbia, CBS, Warner Brothers, and twen-by the popular Australian writer of genre fiction, tieth Century–Fox, his literary SF clients include Guy Boothby, for his crime and mystery novels TSR(tm), Penguin, DAW, Roc, and Bantam, and about Doctor Nikola, “an occultist anti-hero seek-he has done Young Adult covers for Random House.

ing immortality and world domination.” Wood’s In 1983, Wolfe provided cover art for three issues science fictional magazine illustrations appeared in the semi-professional magazine Fantasy Book, and Pearson’s, and included “The Monster of Lake Lama-he has done one cover for The Magazine of Fantasy trie” (September, 1899), and a series of “scientific and Science Fiction, December 1986 issue. Many of romances”— short stories by the popular turn of the Wolfe’s science fiction illustrations have been pub-century British science fiction writer George Griffith, lished overseas, primarily in Germany. Wolfe is mar-titled Stories of Other Worlds. The stories were about ried to Niel, and has one daughter, Amanda.

exploring the solar system circa 1900, and appeared Sources: www.coreywolfe.com; email from the artist De-in five issues of the magazine, in the period January cember 2005
through July 1900. The stories were novelized for a Published Work
book, 1901, carrying the title A Honeymoon in Space.

BOOKS PUBLISHED INCLUDE: Brother of the Of Wood’s illustrations, Miller writes, “(The) paint-Dragon: The Barbarians #2 (Wizards of the Coast, ing of the honeymooning couple on the moon, hold-2001), Daughter of the Lion: Chronicles of the Chey-ing spacesuited hands, is one of the most charming suli #6 (DAW, 1989, 1997), Dragonsword Trilog y: products of Victorian science fiction.” (“Archeology Dragonsword, Duel of Dragons, Dragon Death (Pen-of Space Art,” p. 141). The stories and “novel” were guin/Roc, 1991), Flight (Meridian House, 1996), The recently re-issued with the original illustrations as Gentle Seduction (Baen, 1990), Moonspell (Harle-Stories of Other Worlds and A Honeymoon in Space:

Wood

486
from the Forgotten Futures Library (Heliograph, four-page newsletter, circulated in early 1949, for 2000) and as A Honeymoon in Space (Black Cat Press, the Union Party of Mount Kisco, New York. Wood 2006). A table-top role-playing game “Forgotten quit the Hogarth School, teamed up with various Futures 2: The Log of the Astronef ” loosely based on other artists, and was soon cranking out romance Stories Of Other Worlds was published 1994 by Mar-stories for publisher Victor Fox, who had a bad habit cus L. Rowland as part of a group of games inspired of hiring young artists to do the work, and then not by Victorian and Edwardian science fiction.

paying them for it. His first story for Fox was for the Sources: Miller, Ron. “The Archaeology of Space Art”

comic title My Confession (October, 1949), a job he Leonardo, Vol. 29, No. 2 (1996), pp. 139–143; www.forgot-had gotten through Renaldo Epworth, who brokered tenfutures.com/game/ff2; Provo, UT, USA: Ancestry.com: FreeBMD. England & Wales, FreeBMD Birth Index: 1837–
comic book stories for some of the low-end publish-1983 [database on-line], 1891 England Census [database oners. One of Wood’s earliest collaborators was Harry line]. Provo, UT, USA: The Generations Network, Inc., 2005; Harrison*, an artist who eventually went on to prove Ancestry.com: New York Passenger Lists, 1820–1957 [data-he was much better at writing stories than drawing base on-line], 1910 United States Federal Census [database on-line] Provo, UT, USA: The Generations Network, Inc., them. Both men were science fiction enthusiasts, es-2006. www.collectingbooksandmagazines.com/bop.html pecially Harrison, who had been a member of the Queens Science Fiction League since 1938, so the Published Work
two had much in common.

A Bid for Fortune (Ward, Lock & Co., 1895), Dr.

In late 1949, Harrison and Wood hired on with Nikola (Ward, Lock & Co., 1896), A Honeymoon in EC Comics and started drawing romance stories for Space (C. Arthur Pearson, Ltd., 1901), The Lust of publisher William M. Gaines. Soon becoming bored Hate (Ward, Lock & Co., 1898).

with romance work, it wasn’t long before the artists talked Gaines into putting out two landmark sci-Wood, Wallace Allan
ence fiction comics, titled Weird Fantasy and Weird ( June 17, 1927–November 2, 1981) American Science. Within six months, Wood and Harrison had artist. “Wally” Wood was born in Menagha, Min-parted company, with Wood now working on his nesota, to a lumberjack father and school teacher own, producing horror and science fiction stories mother, who supported his interest in art and helped for Avon Publications, under the editorial direction him develop his reading skills for enjoying the Sun-of Sol Cohen. Wood perfected his style while work-day newspaper adventures strips. Captain Easy, Flash ing for Avon, creating covers and stories for such ti-Gordon, Prince Valiant and Terry and the Pirates were tles as Space Detective and Strange Worlds. He also just some of his favorites; he became a voracious contributed complete books of art for one-shot reader of ancient history and all things related. He comic titles like The Mask of Dr. Fu Manchu and soon discovered comic books and came to be Flying Saucers before coming back to EC in late 1950.

influenced by such noted artists as Will Eisner, Walt Between 1951 and 1954, Wood was devoted to his Kelly and Basil Wolverton. As a boy growing up and work, and his style developed and improved rap-living through the harsh winters of Minnesota, idly. Letters poured into the EC offices declaring Wood spent a lot of time indoors sketching and Wood to be the fan-favorite and demanding more of drawing and creating numerous different characters his work. Some of Wood’s best science fiction work and stories. His mother used to sew the pages towas published in early 1953 when he illustrated gether on her sewing machine and make little comic comic adaptations of Ray Bradbury’s “There Will books out of them.

Come Soft Rains” and “Mars Is Heaven.” He In 1944, after graduating from West High School worked on such EC titles as The Tales from the Crypt, in Minneapolis, Wood worked at a variety of jobs Vault of Horror, Crypt of Fear and Haunt of Terror, before joining the Merchant Marines. During his and became Mad magazine’s first star artist. His early time at sea, he prepared for a professional career in work was signed “Wallace Wood,” and later he the comics field by drawing and sketching in his sometimes signed as “Woody,” as he was known in spare time. After leaving the Merchant Marines, the comics community. In 1953 Wood also ventured Wood joined the U. S. Paratroopers for a two-year out to do illustrations for Planet Stories and Jungle stint, and on completion of that duty, headed for Stories for Fiction House. Because of the low pay, New York. In 1948, he enrolled in Burne Hogarth’s and also because of his comic-book commitments, newly formed Cartoonists and Illustrators School he soon abandoned that idea. When EC folded its on the G. I. Bill, and began making friends, meet-comic line in 1956, and the comic’s field experienced ing other artists and making connections that would a major implosion due to the industry’s adoption of quickly get him involved in the comics industry; for the Comics Code Association, Wood stayed on with a while he was an assistant to George Wunder, who EC and continued to work for Mad magazine. Ex-was drawing Terry and The Pirates. His first profes-cept for the issue that featured only Will Elder, sional job was a political comic strip published in a Wood was in every issue of Mad up to #86 (April,

487

Wood

1964) and in several issues beyond that, until 1981.

holism, terrible headaches, depression, kidney fail-He also returned to the science fiction field because ure and four strokes, including one in 1978 that like many other artists, he found little comic book caused a loss of vision in one eye. Robbed of the work available to him at that time.

ability to draw on his previous level of excellence In 1957 Wood began producing interior illustra-and facing life on a dialysis machine, Wood took his tions and cover paintings on a regular basis for the own life. He was only fifty-four years old. After his Galaxy chain of magazines: Galaxy, IF, Worlds of To-death, Glenn Wood, Wally’s brother, and J. David morrow and Galaxy Novels. Working mostly in ink-Spurlock, Vanguard publisher and compiler of The wash and gouache, in tones of gray, Wood was able Wally Wood Sketchbook, set up the Wally Wood to create interiors with a depth and feel that most Scholarship Fund for The School of Visual Arts.

other magazine art could not match. Years of work-Wood was married three times, and his first mar-ing for science fiction comics had given him an ex-riage, in 1950, was to Tatjana Wood, an award-win-cellent feel for the material, and most of his over 200
ning artist known for her extensive work as a comic interiors are among the finest to appear in science book colorist. Wood was twice nominated for Hugo fiction magazines of the 1950s and early 1960s. His Awards, for Best Professional Artist, in 1959 and color painting for magazine covers also were in 1960. He won “Best Comic Book Artist of the Year,”

gouache, and over the next decade, Wood turned awarded by the National Cartoonist Society, in 1957, out over a dozen of them for Galaxy and IF, hold-1959, and 1965. He won the Alley Award for Best ing his own against such noted talents as Ed Emsh-Pencil Artist, 1965 and for Best Inking Work, 1966.

willer*, Jack Gaughan*, and John Pederson*. Be-Wood was inducted into the Jack Kirby Hall of tween 1957 and 1958 he created five monochrome Fame, 1989 and the Will Eisner Award Hall of Fame, dust-jacket designs for Gnome Press hardcovers, in-1992. In addition to Wood’s hundreds of comic book cluding Colonial Survey by Murray Leinster and The pages, and illustrations for books and magazines, his Shrouded Planet by Robert Randall. Some of these work was seen in a variety of other areas — advertis-covers used pen and ink overlays to highlight the ing, packaging and product illustrations, gag car-details. During this period of science fiction pro-toons, record album covers; several art portfolios and ductivity, Wood worked on the syndicated Flash reprints of EC comics (published by Russ Cochran, Gordon daily newspaper strip with Dan Barry and 1980s); posters; syndicated comic strips, and trading with Jack Kirby on Sky Masters of the Space Force.

cards, including work on Topps’ landmark Mars At-Wood curtailed his contributions to the science tacks set.

fiction field when the comic book field experienced Wood is remembered today in the science fiction a surge in publishing in the mid 1960s, returning to field not only for his excellent illustrations but also work for Marvel Comics on their Daredevil comic, for his EC comic art. His science fiction stories for in 1964, then starting up the new Thunder Agents EC more than any other work are considered the line of superheroes for Tower, in 1965. During this best-illustrated science fiction comic art ever done time period he also wrote, drew and self-published and are masterpieces of fine illustration. For the his own fantasy comic series called The Wizard King, many science fiction fans and professionals who grew 1978. The character and strip was first seen years ear-up in the 1950s, Wood symbolized the best in science lier, however, appearing in issue #4 of Wood’s fiction comics.

fanzine, Witzend, which saw six issues (1966–1969).

Sources: Research, and Biography of the artist provided As Jim Vadeboncoeur, Jr. has noted (1998), while by Roger Hill February 2007; Bails, Jerry & Ware, Hames.

The Who’s Who of American Comic Books, 1976; Vadeboncoeur dozens of amateur magazines called “fanzines”

Jr., Jim The Vadeboncoeur Collection of Knowledge, 1998 online started publication in the 1960s, Wood’s Witzend www.bpib.com/illustrat/wood.html; Weinberg, 1988
was notable not only for including contributions by many of Fandom’s most popular artists, but also for Collections and Anthologies
being the first magazine that was outspokenly in (various contributing artists)

favor of the rights of the creators, and allowed the Spurlock, J. David and Pearson, Bill. Wally Wood artists to copyright their creations, “a practice un-Sketchbook (Vanguard, 2000), Stewart, Bhob. Against heard of in those days.” For Warren Publications, he The Grain: Mad Artist Wallace Wood (TwoMorrows produced numerous B/W pages for Vampirella, Publishing, 2003)

Creepy and Eerie through the 1970s, including one story page that was used as cover for Vampirella #9

Published Work

( January, 1971).

BOOKS ILLUSTRATED INCLUDE: Address: Centauri In late 1981, after increasing health problems, and (Gnome, 1958), Colonial Survey (1957), The Forever no longer able to draw on his skills, talents, the artist Machine (Galaxy, 1958), Mission of Gravity (Galaxy, committed suicide by gunshot. His death followed 1958), Return of Conan (Gnome, 1957), Shambleau years of declining health marked by bouts of alco-

(Galaxy, 1958), Shrouded Planet (Gnome, 1957), Sur-

Woodroffe

488
vivors (Gnome, 1958), Twice in Time (Galaxy, 1958), early years, including children’s books, fantasies for Undersea City (Gnome, 1958).

adults, three-dimensional paintings and sculptures; M
one however was a decided success, and that was a AGAZINES ILLUSTRATED INCLUDE:

AMZ: 1958 (2)

Micky’s New Home, a children’s story about a home-GXY: 1957 (9, 10, 11, 12); 1958 (2, 3, 4, 5, 6, 7, 8, less little elephant. This was published in both En-9, 10, 11, 12); 1959 (2, 4, 6, 8, 10, 12); 1960 (2, 4, 6, glish and Welsh by D. Brown & Sons Ltd. in 1976, 8, 10, 12); 1961 (6, 12); 1961 (12); 1963 (6, 8, 10); 1965
and later in German by Sauerländer Verlag. In the (10, 12); 1966 (2); 1967 (8)

1970s Mike Jarvis, art director for Quartet Books, IF : 1959 (7, 9); 1060 (1, 3, 5, 9, 11); 1961 (7); 1965
hired Woodroffe to paint most of the Michael Moor-

(9); 1966 (5, 6, 7); 1967 (8, 11); 1968 (11, 12) cock covers, for which the artist became well known.

PS: 1953 (1, 9); 1954 (summer)

In addition to literary commissions, during this pe-SF : 1959 (5)

riod he also turned to creating record album covers WOT: 1963 (4, 6, 8, 12)

and later, design work for film, creating character designs for the film version of The Never Ending Story (1988–1989). He enjoyed the record album assign-Woodroffe, Patrick James
ments because they enabled him to work in same (b. October 27, 1940) A British artist, born in size format, eliminating the need for reduction.

Halifax, Yorkshire, Woodroffe was not trained in Woodroffe has always preferred mythological and fine art, but in modern languages. He studied French fanciful subject matter to that of realism, and in his and German at Leeds University, and graduated in first art book Mythopeikon (1976) deprecated his own 1964. During this period he produced a number of attempts to illustrate spacecraft, comparing his skills drawings that later were exhibited at the Institute of unfavorable to other illustrators such as Chris Foss*

Contemporary Arts, in 1966. He taught French and and Eddie Jones*, who convey “the hugeness of their German for eight years, rearing a family and paint-spacecraft (and) atmospheric perspective.” In con-ing in his spare time, until 1972 when demand for his trast, he says of his own creation, “This ship looks work on book covers and album sleeves finally al-like it could be driven by a frog or snail!” and delowed him to achieve his ambition to devote himself scribes another as having “a Victorian look, small full-time to his art. His first commercial commis-and unconvincing.” But he is fully confident of own sion followed a successful exhibition at the Convent imaginative themes, “visions that assault our senses,”

Garden Gallery in London in 1972 from Pan Books, depicting “surreal adventures in nowhere land …

to create the book cover for Day Million (published the vibrant dynamism which constantly ebbs and 1973). Soon he was in demand, working for most flows through matter.”

British paperback publishers as well as several in the Woodroffe has lived in Cornwall since 1964, but United States.

he also feels very much at home in Gruyères, Woodroffe’s early paintings were heavily Switzerland, the source of many of his most ambi-influenced by the work of Dutch and Flemish sotious recent projects. His comfort with German and called “primitives” of the Middle Ages and Renais-French has been a boon to his career, and he has sance, the Viennese school of “fantastic realism,” and held numerous exhibitions at galleries across Eu-Surrealism. In the Surrealist tradition he experi-rope, including “Le Chateau de Gruyeres” a major mented with a variety of techniques and media: air-exhibition in Switzerland in the summer of 1992.

brush and handbrush, etching, drypoint, collage, He has also exhibited at The Convent Garden photography and assemblage, working in oils, Gallery (London, 1972); the Metropole Gallery, acrylics, gouache, watercolor, crayon, inks, mar-Folkestone U.K., 1986; “Le Chateau de Moncon-bling. Much of his earlier work was colorful and tour” (France, 1994); and “Chemins de Traverse”

“busily inventive,” displaying an idiosyncratic (La Maison d’Ailleurs, Switzerland 2002–2003).

specificity that often featured strange creatures and He says with good humor that “the most popular a vivid use of color. They are seemingly innocent meal in Gruyères is a mixture of two local melted and childlike in style but set in surreal scenes with cheeses referred to as fondue moitié moitié (melted adult (even erotic) subject matter. His imagery can half and half ), so when I have exhibitions in Switzer-overwhelm the eye, and typically he fills every inch land I often talk of myself as being both Cornish and of his canvas with detail.

Swiss — cornouaillais/gruérien moitié moitié.” As he Woodroffe’s prolific imagination and propensity has moved away from commissioned work for book for visual surprises led him to create works that were covers, his work has evolved to a more direct, vision-not easily fitted into illustrative genres, and he was ary style, but his recent surreal landscapes are no less often told that he should write his own books to in-arresting than his more symbol-laden early fantasies.

corporate the pictures. Several such projects were Sources: Artist’s website www.patrickwoodroffe-world.

launched, but did not find an audience during the com; e-mail from the artist 4/15/05;

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Woolhiser

Collections and Anthologies

Terror (Transworld/Corgi, 1975), The Seedbearers (various contributing artists)

(Transworld/Corgi, 1976), Seven Footprints to Satan A Closer Look: The Art Techniques of Patrick (Orbit/Futura, 1974, Avon, 1974), The Sleeping Sor-Woodroffe (Random House, 1988); Dean, Martyn, ceress (Quartet, 1973), A Song for Lya (Avon, 1975), ed. Guide to Fantasy Art Techniques (Arco, 1984), Sos the Rope (Transworld/Corgi, 1975), The Still Mythopoeikon: Fantasies, Monsters, Nightmares, Day-Small Voice of Trumpets (Sphere, 1975), The Sword dreams (Fireside, 1976); Patrick Woodroffe: Paper and the Stallion (Quartet, 1975), Tales of Ten Worlds Tiger Mini Art Book (Paper Tiger, 1994), Pastures in (Transworld/Corgi, 1971), Three Hearts and Three the Sky (Pomegranate, 1993).

Lions (Sphere, 1973–74), To Your Scattered Bodies Go (Granada, 1978), Trullion Alastor 2262 (Granada, Published Work

1979), Universe Five (Popular Library, 1976), Var the BOOKS WRITTEN AND ILLUSTRATED INCLUDE: The Stick (Transworld/Corgi, 1975), Waldo/Magic Inc Dorbott of Vacuo — or — How to Live with the Fluxus (Pan, 1974), The Warlord of the Air (Quartet, 1974), Quo: A Tale of Utterly Cosmic Insignificance (Paper Winter’s Children (Sphere, 1974).

Tiger, 1987), Hallelujah Anyway (Paper Tiger, 1994), The Second Earth (Paper Tiger, 1987), MEDIA-RELATED ILLUSTRATIONS INCLUDE (RECORD ALBUMS): Beethoven: Emperor Concerto (CBS, BOOKS ILLUSTRATED INCLUDE: A for Andromeda/

1974), Budgie: Bandolier (MCA, 1975), Greenslade: Andromeda Breakthrough (Transworld/Corgi, 1975), Time and Tide (Warner Bros/Mercury, 1975), Judas Balook (Underwood-Miller, 1990), The Best from Priest: Sad Wings of Destiny (Gull, 1976), Mike Batt: Galaxy #4 (Ace, 1978), The Best of Isaac Asimov Hunting of the Snark (1984), Pallas: Sentinel (1983), 1939–1952 (Sphere, 1973), The Best of John Wyndham Ross (RSO, 1974).

1932–1949 (Sphere, 1975), The Best of Robert Heinlein (Sphere, 1977), The Big Knockover (Ballantine, 1972), The Billion Year Spree (Transworld/Corgi, Woolhiser, John (Jack)

1974), The Book of Mars (Futura/Orbit, 1971), The (April 5, 1929) American artist. Son of artist and Broken Sword (Sphere, 1973), The Bull and the Spear designer Harvey Woolhiser, Jack Woolhiser was born (Quartet, 1973), Burn Witch Burn (Futura, 1974), in New York City. His earliest inspiration came from Candy Man (Sphere, 1973), Chamiel (Quartet, watching his father at his board/easel in his studio at 1973), Continuum 1, Continuum 2 (W. H. Allen, the age of seven, and being “fascinated with it all.”

1975, 1976), A Cure for Cancer (Quartet, 1976), Other artists who influenced his art are Millard Dangerous Visions 1, 2 (Futura, 1973), Day Million Sheets, Robert Fawcett, Chesley Bonestell* and Ben (Pan, 1973), Day of Wrath (Quartet, 1974), The Door Shahn. While Woolhiser briefly attended the Pratt Into Summer (Pan, 1977), Dwellers in the Mirage (Fu-Institute, he is largely self-taught, and credits the tura, 1974), The English Assassin (Quartet, 1973), art studio of Comart Associates, a New York-based The Face in the Abyss (Futura, 1974), The Face of advertising and promotion agency, for his “real world Heaven (Quartet, 1976), A Feast Unknown (Quar-education”— learning how to execute all kinds of il-tet, 1975), The First Orbit Horror Stories (Orbit/Fu-lustration by working on national accounts. He later tura, 1976), Five Weeks in a Balloon (New English became a freelance artist and illustrator, doing paint-Library, 1974), The Forever War (Futura/Orbit, ings and interiors for most leading magazines. Wool-1976), Four for the Future (Quartet, 1974), The Gray hiser never considered himself as primarily an illus-Prince (Avon, 1975), The Green Hills of Earth (Pan, trator of science fiction, and remained a versatile 1967), The Guns of Avalon (Transworld/Corgi, 1975), contributor throughout his commercial art career, The Half Angels (Sphere, 1975), The Ice Schooner with artwork appearing in many different media, in-

(Sphere, 1974), In the Kingdom of the Beasts (Quar-cluding newspapers, books, magazines and televi-tet, 1974), The Jagoon Pard (Gollancz, 1975), The sion. He worked mainly for Doubleday, producing Judgment of Eve (Avon, 1975), Line of Duty (Trans-covers for their book clubs for 25 years, and many world/Corgi, 1975), The Mark Bolan Story (Futura, ads and promotional art in addition to cover art, for 1974), The Moon Pool (Futura, 1974), Neq the Sword their science fiction book club, credited variously as (Transworld/Corgi, 1975), The Net (Quartet, 1974),

“Jack” and “John” Woolhiser. He worked in and typ-The New Adam (Sphere, 1973), New Life for Old ically signs with initials “JW.” Woolhiser’s paintings (Sphere, 1975), New Worlds Eight (Sphere, 1973), have been exhibited at the Society of Illustrators Nine Princes in Amber (Transworld/Corgi, 1973), Show in New York City as well as in several oneThe Oak and the Ram (Quartet, 1974), One-Eye man exhibitions. One of his most celebrated projects (Granada, 1973), Our Haunted Planet (Futura, is his series of “American Dance” paintings, com-1975), Planet of the Blind (Sphere, 1975), The Radio missioned exclusively by Fleetwood. Woolhiser mar-Planet (Ace, 1977), The Sailor on the Seas of Fate ried in Sweden, and has four children and eight (Quartet, 1976), The Satyr’s Head and Other Tales of grandchildren.

Wrightson

490

Sources : correspondence from the artist March 2006; The duced drawings and paintings that saw publication New Visions: A Collection of Modern Science Fiction Art. NY: as posters and art prints, calendars, coloring books Doubleday & Co, 1982; www.kidsandgolf.com/author.asp and artist’s portfolios. Perhaps the most well known About the Illustrator
of his works was the series of 44 plates that Wright-Published Work
son produced for an illustrated re-issue of Mary BOOKS ILLUSTRATED INCLUDE (all are Book Club Shelley’s Frankenstein, published by Dodd-Mead in editions, Doubleday, except where noted): Agent of 1983. His illustrations were done in a paintstaking Vega (Permabooks, 1962), Best of Leigh Brackett pen-and-ink technique —“a cross between a wood-

(1977), Electric Forest (1979), Faded Sun: Shon’jir cut and a steel engraving,” is how he described it, and (1978), Fireship—With Mother and Child (Dell Book was evocative of book illustration of the 19th century, Club, 1978), Foreign Body (Macmillan Book club, which was his intention. ( The Studio, p. 136) He had 1975), Hainish Series: Rocannon’s World; Planet of begun working on the project in 1975, and by the Exile; City of Illusions (1967), Horn Crown (DAW
time he found a publisher he had completed so many Book Club, 1981), Nightmare (1961), Riddle of Stars: illustrations that only a portion of them were used in Riddle-Master of Hed, Heir of Sea and Fire, Harpist the actual book. Dozens of these plates were first in the Wind (1979), Starlight (1976), Three from the published in Zavisa’s book on Wrightson called A Legion: Legion of Space, Cometeers, One Against the Le-Look Back in 1979. In addition to comic and book ilgion (1979), Venus, Inc. (1984), Watchstar (Pocket lustrations, Wrightson was concept designer for sev-Books Book Club, 1980).

eral movies, including Ghostbusters, Ghostbusters II, the Faculty, Galaxy Quest, Spiderman, and George Wrightson, Berni(e)

Romero’s Land of the Dead.

(b. October 27, 1948) American artist. Known Much of Wrightson’s work is in the horror genre, primarily for his comic art, Wrightson nevertheless and show the influences of artists Frank Frazetta, gained attention in the science fiction field for the Wally Wood and others. But the superior clarity and quality of his illustrations for Frankenstein (1983) precision of Wrightson’s drawing sets him apart, as and several works by Stephen King. Born Bernard do his images — which are so visually effective that Wrightson in Baltimore, Maryland “Berni” (as he they invariably tell their own stories, and so are not originally styled himself, professionally) was an avid illustrations in the classic sense. His themes are an comics fan, particularly admiring those published artful blend of humor and horror, often presented in by EC, and by the artist Graham Ingels*. Self taught, pseudo-Victorian style that seems fresh to the eye, in 1954 he began watching a TV show hosted by art even though as he puts it “I want the fresh approach teacher John Nagy, and this formed his early educato look 150 years old.” Wrightson has received sev-tion in art. He later also took the Famous Artists eral awards for his comic art, and the H.P. Lovecraft correspondence course. Wrightson worked for the Award (also known as the “Howie”) at the 2007 H.P.

Baltimore Sun newspaper in 1966, drawing spot il-Lovecraft Film Festival in Portland, Oregon.

lustrations and doing photo retouching. The next Sources: artist website at wrightsonart.com www.comic-year he went to a comic book convention and met art.com/biographies/wrightsn.htm
artists Mike Kaluta* and Jeff Jones*, with whom he Collections and Anthologies
later would share a studio in New York. His first (various contributing artists)

professional comic work appeared in House of Mys-Dean, Martyn ed. Dream Makers: Six Fantasy tery #179 in April 1968. He did a few more mystery Artists at Work (Paper Tiger, 1988), Jones, Jeffrey, stories for Showcase Comics and continued working Michael Kaluta, Barry Windsor-Smith and Berni on the mystery books at DC which began to take Wrightson. The Studio (Dragon’s Dream, 1979), on more of a horror element than they had previ-Wrightson, Berni. Apparitions (Sal Q Productions, ously. In 1970 he began to get horror jobs at Mar-1978), Weiner, Robert K., ed. Back for More Portfo-vel, and worked there over the next few years.

lio (Archival Press, 1978). Zavisa, Christopher. A In 1971 DC writer Len Wein brought Wrightson Look Back (Land of Enchantment, 1979, Underwood the script for a comic book character “Swamp Miller, 1991).

Thing” and Wrightson’s illustrations for the books proved a huge success. In the 1970s Wrightson also Published Work
worked for the Warren Publications, Eerie and BOOKS ILLUSTRATED INCLUDE: The Conan Gri-Creepy, primarily black-and-white illustrations, in-moire (Mirage, 1972), Conan Reader (Mirage, 1968), cluding Edgar Allan Poe and H.P. Lovecraft adapta-Creep Show (NAL, 1982), Cycle of the Werewolf tions as well as a few original stories.

(Land of Enchantment, 1983, Signet/NAL, 1985), In the science fiction genre, Wrightson illustrated Dark Destiny III: Children of Dracula (White Wolf, several books by Stephen King, including The Stand, 1996), Dark Tower V: Wolves Of The Calla (Donald Creepshow and the Cycle of the Werewolf. He also proM. Grant, 2003), Development Hell (Cemetery

491

Wurts

Dance, 2006), Frankenstein (Dodd-Mead, 1983), into a crafted realm of experience, with characters From a Buick 8 (Cemetery Dance, 2002), Hell on and events woven into a sensitively executed, com-Earth: The Lost Bloch Vol. Two (Subterranean Press, plex tapestry, which are then drawn with an inten-2000), The Lost Bloch, Vol. 1 (Subterranean Press, sity of color and detail. Her research includes a range 1999), Silver Bullet (NAL, 1985), The Stand (Hod-of direct experience, lending her fantasy a high deder & Stoughton, 1990), Stephen King Companion gree of realism; she then draws directly from the (Andrews and McMeel, 1989), Stuff Outa My Head imagination, creating scenes in a representational (Chanting Monks Press, 2002), The Talisman (Don-style that is well suited to depicting the “stuff ” of ald M. Grant, 1984), Walpuski’s Typewriter (Ceme-high fantasy — wizards, dragons, warriors and “en-tery Dance, 2005), Zombie Jam (Subterranean Press, chanted creatures.” The cover images on her own 2004).

books, which have been published in the U.S. and M
abroad, are always her own paintings, depicting her AGAZINES ILLUSTRATED INCLUDE:

HM: 1980 (6, 9); 1982 (11)

vision of characters and setting. In rendering a paint-Misc.: The Monsters— Color the Creature Book ing to illustrate another author’s work, she always (Phil Seuling, 1974).

reads the book to be illustrated, unless the art was bought from her portfolio. She makes few preliminary sketches, but envisions her characters and the Wurts, Janny
scenes that contain them, then executes the final di-

(b. December 10, 1953) American artist. Born in rectly from the initial pencil drawing. She works Bryn Mawr, Pennsylvania, Wurts had been inter-predominantly in oils although she has used air ested in space and the fantastic since childhood. She brush and acrylic for high-tech illustrations. When attended Hamphire College, where she studied as-taking commercial assignments, Wurts illustrates tronomy and art, and graduated in 1975 with a BA whatever the publishers offer that agrees with her in creative writing and illustration. She also attended style, interest and schedule. She tries to do one Moore College of Art for one semester, continuing sketch based on suggestions given by the art direc-course work there. Largely self taught in specific il-tor and one that is her own idea.

lustrative art techniques, after graduation she estab-Wurts’s award winning paintings have been show-lished an art studio in Frazer, Pennsylvania on the cased in exhibitions of imaginative artwork, among farm of author and naturalist Daniel P. Mannix, and them a commemorative exhibition for NASA’s 25th experimented with all types of painting media. Her Anniversary; the Art of the Cosmos at Hayden Plan-first published illustrations were interior chapter etarium in New York; and two exhibits of fantasy headings used in Mannix’s novel The Wolves of Paris, art, at both the Delaware Art Museum (1990), and and she often sketched his collection of animals. She Canton Art Museum (1996). Her work is represented freelanced as a fantasy and SF illustrator as well as in the permanent collection of the Delaware Art Mu-doing wildlife illustrations, graphic designs and ad-seum. A popular science fiction convention artist, vertising illustration and design for a wide range of Wurts has been honored with many genre related clients, including the American Bankers Association, awards. Her cover for her hardback novel, Curse of Fortress Press, Mayfair Games, and Defenders of the Mistwraith, won a Chesley Award in 1994 and Wildlife. For many years, she has been a staunch her cover art for Master of White Storm twice won supporter of the environment and wildlife.

Best in Show at the World Fantasy Convention.

In the mid 1980s Wurts translated her interest in Wurts also has had a number of her paintings done science fiction into print. The talents needed to as prints, calendars, role-playing games, and greet-achieve success as both a writer and an illustrator is ing cards.

very rare in the field, but Wurts has done it. She On October 21, 1989, Wurts married the artist wrote and illustrated the Cycle of Fire Trilogy, which Don Maitz*, and opened a new chapter in her artis-was published by Ace Books. She has since authored tic career. Wurts and Maitz enjoy working together, and illustrated more than a dozen novels, and a short and the union has made possible several collabora-story collection, among them the internationally best tive works. They frequently attend genre conven-selling Empire trilogy, co authored with Raymond tions, and exhibit their work, in tandem although E. Feist. Her most recent title in the Wars of Light and each maintain their own separate client base and Shadow series, Traitor’s Knot (2006), culminates each has their own established following for their more than twenty years of carefully evolved ideas.

art. Both artists enjoy working out of one expansive Through her combined talents as a writer/illustrator, studio in their home, located on a ranch in North-Wurts has immersed herself in a lifelong ambition: ern Florida (where Wurts raises and trains horses).

to create a seamless interface between words and pic-Sources: Artist website at www.paravia.com/Janny_Don tures that will lead reader and viewer into the imag-and www.paravia.com/JannyWurts/website/; Charley Parker ination. Her lavish use of language invites the mind

“Janny Wurts Profile” at Lines and Colors www.linesandcol-

Yates

492
ors.com/2007/04/09/janny-wurts/ [accessed May 2007]; 1969. His first book cover assignment came from Haber, Karen. “Always a Storyteller” Realms of Fantasy, June Panther Books, for Nebula Award Stories 2, and was 2001; Janny Wurts author profile at Lunacat.net Science Fic-published in 1970— six months after Yates finished tion & Fantasy by Women at www.lunacat.net; “Janny Wurts: Kaleidoscopic Life.” 2006. Crescent Blues, Inc. at www.cres-art school. Through the 1970s he produced a num-centblues.com/6_5issue/.

ber of covers for British science fiction paperbacks, primarily for Arrow Books. His specialty was pro-Collections and Anthologies
ducing startling, eye-catching covers by using sci-

(various contributing artists)

entific methods, usually creating complex photo-Grant, John and Humphrey, Elizabeth with Scov-graphic collages based on double-exposed color ille, Pamela. The Chesley Awards: A Retrospective transparencies. “Found” objects, including glass or-

(AAPL, 2003).

naments, appeared on early covers in different forms.

Published Work

He also illustrated several record album covers.

BOOKS WRITTEN AND ILLUSTRATED INCLUDE: During the 1970s Yates’ illustrative and photo-Cycle of Fire trilog y: #1 Stormwarden; #2 Keeper of the graphic career was displaced by what would become Keys; #3 Shadowfane (Ace, 1984, 1988), Daughter of his main interest: fishing. Telling clients “first I’m a the Empire/with Raymond Feist (Doubleday/BCE, fisherman — then I’m a photographer,” Yates’ prior-1987, Bantam, 1988), Fugitive Prince (Harper Prism, ities cost him work. His enigmatic and private na-1996), Grand Conspiracy (Harper Collins/Voyager, ture also confused many, as illustrated by this ex-1999), Master of Whitestorm (Penguin/Roc, Collins, change with Kevin Parr, who called requesting an 1992), Mistress of the Empire /with Raymond Feist interview. “Are you interested?” I said. “Not really,”

(Doubleday/BCE, 1992), Peril’s Gate (Harper-he (Yates) replied, “I’m not interested in anything Collins/Voyager, 2001), Servent of the Empire/with that resembles work.” (Conversation with Yates, Raymond Feist (Doubleday/BCE, 1990), Sorcerer’s published in The Idler). No ordinary fisherman, Legacy (Ace, 1982), Stormed Fortress (HarperCollins, however: Yates is a renowned carp angler, and set a 2007), That Way Lies Camelot (Harper Prism/Harper British record for the first 50 lb. carp, in June 1980.

Collins, U.K., 1994), To Ride Hell’s Chasm (Harper-In recent years, Yates has become England’s “most Collins/Voyager, 2002, Meisha Merlin, 2005), Trai-revered and esoteric angler,” with several books to his tor’s Knot (Meisha Merlin, 2006).

credit, carrying titles such as Secret Carp (1997), Falling in Again: Tales of an Incorrigible Angler BOOKS ILLUSTRATED INCLUDE: Best SF of the Year (1998), and Confessions of a Carp Fisher (2003). In

#13 (Baen, 1984), Book of Shadows (Ace, 1983), 1993, the BBC aired a much acclaimed series of six Brisingamen (Berkley, 1984), Bug Jack Barron (Dou-films, A Passion for Angling, in which Chris Yates bleday/BCE, 1983), A Case of Conscience (1982), Cats and fellow angler Bob James took viewers on a grand Have No Lord (Ace, 1985), Clockwork Mage (May-fishing adventure across Britain.

fair, 1985), Crisis! (Tor, 1986), Cyborg Commando: Sources: “Conversation with Chris Yates” The Idler

#1 Planet in Peril; #2 Chase into Space; #3 The Ulti-archives online at www.idler.co.uk/archives [accessed 1/21/06]; mate Prize (New Infinities/Ace, 1987), The Darkest www.passionforangling.info [1/21/06]; Sacks, Janet ed. Visions Road (w/Don Maitz, Penguin/Roc, 2001), Dragons of the Future (Chartwell, 1976), of Light, Dragons of Darkness (Ace, 1980), Dragon’s Published Work

Queen (Warner Questar, 1991), Father to the Stars BOOKS ILLUSTRATED INCLUDE: Creatures of Light (Tor/Pinnacle, 1981), The Forge of Virtue (Popular and Darkness (Arrow, 1972), Elric of Melnibone Library Questar, 1991), Guardians of the Flame: The (Arrow, 1975), Isle of the Dead (Arrow, 1973), The Heroes (SFBC, 1988), Light & Shadow: #1 Curse of the Jagged Orbit (Arrow, 1972), Nebula Award Stories 2

Mistwraith; #2 Ships of Merior; #3 Warhost of Vast-

(Panther, 1970), Our Ancesters Came from Outer mark (Roc/HarperPrism, 1994, 1995, 1996), Spell-Space (Pan, 1980), Return from the Grave (W H
stone of Shaltus (1979), The Summer Tree (w/Don Allen, 1976), Rogue Moon (Arrow, 1973), The Elec-Maitz, Penguin/Roc, 2001), The Temper of Wisdom tric Crocodile (Arrow, 1973), The Ice Age (Penguin, (Warner Questar, 1992), The Wandering Fire (w/Don 1978), The Lancashire Witches (Grafton, 1988), Toy-Maitz, Penguin/Roc, 2001), White Wing (Tor, 1991), man (Arrow, 1973), White Fang Goes Dingo (Arrow, Wolves of Paris (E. P. Dutton, 1978).

1971), The Winds of Gath (Arrow, 1973).

MAGAZINES ILLUSTRATED INCLUDE:

MZB: 1993 (spring)

Youll, Paul

ROF : 2000 (10)

(b. June 8, 1965) British artist. Youll was born in Hartlepool, England, the youngest of a set of iden-Yates, Christopher
tical twins with three older brothers. He and his (b. April 19, 1948) British artist. Yates studied at twin brother, Stephen Youll* were always fascinated Epsom School of Art, Surrey, England from 1964–
by science fiction at the movies, in comic books, and

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Youll
on television. When asked the question “Why be-Published Work
come an artist?,” Paul responds “it’s the love of sci-BOOKS ILLUSTRATED INCLUDE: Aftermath (Ban-ence fiction that created the artist not the artist cre-tam, 1998). Against a Dark Background (Bantam ating science fiction.” In 1981 Paul and Stephen Spectra, 1993), Berserker’s Star, Berserker Prime (Tor, enrolled at New College, Durham to study art full 2002, 2003), Black Raven (Bantam, 1998), Blues time with the goal to become book cover artists for Shifting (Pan, 1995), Conquerors’ Heritage, Conscience fiction and fantasy novels. After graduating querors’ Legacy. Conquerors’ Pride (Bantam/SFBC/
the brothers continued their study of art at Sunder-Bantam U.K., 1994, 1995, 1996), Consider Phlebas land University. Paul studied Natural History and (Bantam, 1991), Curse of Arkady (DAW, 2001), Dark-Visual Information Design, which provided training spell (Bantam, 1994), Days of Air and Darkness (Ban-for painting animals and landscapes; skills which tam, 1993), DemonTech: (1) Onslaught (2) Rally Point would prove valuable in rendering fantasy themes.

(3) Gulf Run (Ballantine/Del Rey, 2002, 2003, After graduating, the brothers created sample paint-2004), Dragoncharm (HarperPrism, 1996), Dragon ings to show to art agents in London. During this Guard (DAW, 2002), Echo of Eternity (Bantam, time both brothers were employed at the famous 2002), Emancipator I: Pharaoh Contract, II: Emperor Durham Cathedral to paint portraits and illustra-of Everything III: Orpheus Machine (Bantam Spec-tions of various artifacts for churches throughout tra, 1991, 1992), An Enemy Reborn (HarperPrism, the North of England. The Youlls showed their sci-1998), Excalibur (Warner Aspect, 1995), Excession ence fiction work for the first time at the World Sci-

(Bantam Spectra/SFBC, 1997), Family Trade (Tor, ence Fiction Convention in 1987. It was this first ex-2004), Fire Dragon (Bantam, 2000), Freedom’s Chal-hibition that got them their first book cover lenge (Ace/Putnam/SFBC, 1998), Gap Into Conflict: assignment for a novel by Daniel Keyes Moran called The Real Story, The Gap Into Madness: Chaos and Emerald Eyes.

Order, The Gap Into Ruin: This Day All Gods Die From 1987 to the end of 1989, the brothers (Bantam Spectra/SFBC, 1992, 1994, 1996), Gods of worked side by side on many commissions from the Well of Souls, Shadow of the Well of Souls (Ballan-London and New York publishers. The partnership tine/Del Rey, 1994), Harshini (Tor, 2003), A Hero dissolved when Stephen moved to the United States, Born, A Hero Revenged (Harper Prism, 1996, 1997), in 1989. Paul has since worked for almost all the The Host (Bantam Spectra, 1991), Icarus Descending major publishing houses in England and New York, (Bantam Spectra, 1993), Jefferson’s War: Galactic Sil-painting covers for many well-known authors inver, Price of Command, January Platoon, Death of a cluding Isaac Asimov, Robert Silverberg, Anne Mc-Regiment, Chain of Command (Ace, 1990, 1991, Caffery, Connie Willis, Ian McDonald, George Alec 1992), Kings In Winter (TOR, 1999), The Magikers, Effinger, Charles Sheffield, Stephen R. Donaldson Magikers Gate of Bones (DAW, 2000, 2003), Middle and others. His works are detailed and highly real-of Nowhere (Bantam Spectra, 1995), Multiplex Man istic, painted in acrylic, or oil, or a combination of (Bantam Spectra, 1992), Nations of the Night (Pen-those media, generally on illustration board. In the guin/Roc, 1998), Path of the Hero (Bantam Spectra, mid 1990s he shifted to producing illustrations that 1993), Marked Man (DAW, 2002), Pillars of the combined digital imagery and acrylics. Paul created World (HarperCollins, 2001), Red Wryvern (Bantam, the covers for ten popular Star Wars–based series of 1997), Remarkables (Bantam Spectra, 1992), Remem-novels (1995–1998) for Lucasfilm, commissioned by ory (Popular Library Questar, 1990), Resurrection Bantam Books, and Star Trek illustrations for the (Bantam Spectra, 1992), Sea of Sorrows (DAW, Bradford Exchange. His work has been exhibited in 2000), Serpent Catch (Bantam, 1990), Shade and England and the United States. Youll lives in a lit-Shadow (Ballantine/Del Rey, 1996), Shaping the tle village called Esh Winning in the north of En-Dawn (Bantam, 1989), Short Blade (Bantam Spectra, gland with his wife, Annmarie and their two cats, 1992), Starhunt (Bantam Spectra, 1995), Star Wars: Fluffy and Smidgen.

X-Wing; The Bactra War; Isard’s Revenge; The Krytos Sources: www.paulyoull.com; correspondence with the Trap; Rogue Squadron; Solo Command; Starfighters of artist November 2005. Haber, Karen.”Give Me That Old-Adumar; Wedge’s Gamble; Wraith Squadron; Iron Fist Fashioned Future: Paul Youll” Gallery Feature in Science Fiction Age March, 2000.

(Bantam Spectra US/UK, 1995, 1996, 1997, 1998, 1999), Treason Keep 2 (Tor, 2003), Treasures of Fan-Collections and Anthologies
tasy (HarperPrism, 1997), Ugly Little Boy (Bantam, (various contributing artists)

1992), Use of Weapons (Bantam Spectra, 1992), Won-Paradox: The Art of Stephen Youll ( Paper Tiger/
derland Gambit: (1) Cybernetic Walrus (2) March Collins & Brown, 2001), Di Fate, Vincent. Infinite Hare Network (3) Hot-Wired Dodo (Ballantine/Del Worlds (Wonderland Press/Penguin, 1997), Frank, Rey, 1995, 1996. 1997).

Jane and Howard. The Frank Collection: A Showcase of the World’s Finest Fantastic Art (Paper Tiger, 1999),

Youll

494

BOOKS ILLUSTRATED IN COLLABORATION WITH

He has illustrated covers for many famous authors in-STEPHEN YOULL: The Atheling (Transworld/Corgi, cluding Arthur C. Clark, C.J. Cherryh, Robert Sil-1989), Emerald Eyes (Bantam Spectra, 1997), Evolu-verberg, Margaret Weis and Tracey Hickman, Ben tion Man (Corgi, 1989), The Exile Kiss (Doubleday Bova, Kevin J. Anderson, Ian McDonald, and many Foundation, 1991, Bantam Spectra, 1992), A Fire in others but notably Issac Asimov. Stephen was com-the Sun (Bantam Spectra, 1990), Infinity Hold (Pop-missioned to repackage the entire Foundation series, ular Library/Questar, 1989), On My Way to Paradise the Robot series and the Empire novels. He illustrated (Bantam Spectra, 1989), Shaping the Dawn (Bantam six Star Wars “Bounty Hunters” anthologies, the first Spectra, 1989), Time Police: Vanished (Lynx Omeiga, one, Tales from the Mos Eisley Cantina became the 1988), To the Land of the Living (Popular Library bestselling science fiction anthology of all time. Styl-Questar, 1990), Venus of Dreams (Bantam U.K., istically, his art is much like his twin’s, detailed and 1989).

realistic, but — perhaps as much influenced by his M
assignments as by his personality — more vibrantly AGAZINES ILLUSTRATED INCLUDE:

IASFM: 1996 (1, 7)

colored and energetic, leaning slightly towards the SFA: 2000 (3)

figurative vs. hard science fictional themes. His favored mediums are acrylic on illustration board, acrylic and oil on masonite and oil on masonite.

Youll, Stephen

With the move to the United States came also (b. June 8, 1965) British artist. Youll was born in greater opportunities to display art and get commis-Hartlepool, England, the eldest of a set of identical sions, which was an advantage for Stephen, the more twins with three older brothers. At a very early age, adventuresome and ambitious of the two brothers.

both he and his twin, Paul Youll* knew they wanted Youll has shown and exhibited his work throughout to become artists. Stephen graduated from Durham the United States and England, winning several New College of Art and Design, and then furthered awards for Best Artist, Best in Show and Best Prohis art education at Sunderland University. To help fessional Artist at conventions, and he was Artist pay for much needed art materials, he entered and Guest of Honor at the World Science Fiction Con-won art contests, while also taking on professional advention in Philadelphia in 2001. He has been nom-vertising work in the evenings and on weekends inated many times by the Association of Science Fic-while working on his degree. After graduating at the tion and Fantasy Artists (ASFA) for Best Paperback top of his class Stephen worked as a historical re-and Best Hardback illustration. Steve has exhibited construction artist at Durham Cathedral, one of the his art at Illustration House (New York City) and oldest Cathedrals in England. Many of his art works his art has been awarded certificates of merit and are now on exhibit at Churches and Cathedrals been exhibited by the Society of Illustrators (NY). In across Great Britain, with most of these assignments 1996 he was presented with a gold award by the being portraits of important people in the church Magazine and Book Sellers News Stand cover com-throughout British history. One of Youll’s most am-petition for most outstanding cover of the year for bitious drawings was an aerial view of a cutaway of Tales of Jabba’s Palace. His work has appeared in all Durham Cathedral using the only available refer-the annual Spectrum Anthologies published to date ences, which consisted of ancient texts and sketches.

and was featured in The Universes of Margaret Weis It took one entire year to complete the drawing and and Tracy Hickman: Realms of Dragons (Harper-is the property of Durham Cathedral. The brothers Collins, 1999). Stephen Youll currently lives in New showed their science fiction work for the first time at Jersey with his wife and cat.

the World Science Fiction Convention in 1987 at Sources: www.stephenyoull.com; Haber, Karen. “Stephen Brighton, England. There they were discovered and Youll: The Secrets of the Shadows” Gallery Feature in Realms of Fantasy, April 1999; “Stephen Youll: From Star Wars to Isaac hired by several major American publishing compa-Asimov” Air Brush Action, October 2001; Weis, Margaret.

nies. For the next two years, Steve and his identical

“There Are No Boundaries.” Gallery Feature in Science Fiction twin brother Paul collaborated on assignments, Age, May 1996.

sometimes sharing the painting at different times of Collections and Anthologies
the day, or more often painting side by side. The (various contributing artists)

artistic partnership ended in December 1989 when Paradox: The Art of Stephen Youll ( Paper Tiger/

Steve married Bantam Art Direct Jamie Warren and Collins & Brown, 2001), Di Fate, Vincent. Infinite relocated to the United States.

Worlds (Wonderland Press/Penguin, 1997), Frank, Stephen Youll has worked for almost all major Jane and Howard. The Frank Collection: A Showcase publishers of science fiction, producing many paint-of the World’s Finest Fantastic Art (Paper Tiger, 1999), ings seen on hard cover and paperback books: Bantam, Warner, Tor, Avon Books, Ballantine, Penguin, Published Work

DAW plus DC Comics, and the IBM Corporation.

BOOKS ILLUSTRATED INCLUDE: After Long Silence

495

Zeleznik

(Bantam/Spectra, 1993), Alien Influences (Bantam/

1996), Robots of Dawn (Easton, 1993, Bantam/Spec-Spectra, 1997), Assassin’s Quest (Bantam/Spectra, tra, 1991), Sam Gunn, Unlimited (Bantam/Spectra, 1997), Batman: Knightfall (Bantam, 1994), Best of 1989), Scissors Cut Paper Wrap Stone (Bantam/Spec-Marion Zimmer Bradley’s Fantasy Magazine, Vol. II tra, 1994), Serpent Catch (Bantam, 1991), Ship of (Warner, 1995), Blade Runner: 2 Edge of Human, 3

Magic (BantamSpectra, 1998), Singers of Time (Dou-Replicant Night (Bantam/Spectra, 1995, 1996), bleday, 1991), Song of Ice and Fire: 1 Game of Thrones, Blindfold (Warner, 1995), Bright Messengers (Ban-2 Class of Kings, 3 Storm of Swords (Bantam, 1997, tam, 1995), The Broken God (Bantam/Spectra, 1994), 1999, 2000), Speaking in Tongues (Bantam/Spectra, The Broken Land (Bantam/Spectra, 1992), Burning 1992), Star of the Guardians: 1 Lost King, 2 King’s the Ice with Proxies (Tor, 1998, 2002), Candle (Tor, Test, 3 King’s Sacrifice, 4 Ghost Legion (Bantam/Spec-2000), Caves of Steel (Bantam, 1991), Challenger’s tra, 1990, 1991, 1993), Starcrossed (Bantam, 1995), Hope (Warner, 1995, Orbit, 1996), Cloud’s Rider Starshield Sentinels (Del Rey, 1996), Stars Like Dust (SFBC, 1996), Currents of Space (Bantam/Spectra, (Bantam/Spectra, 1990), Star Stone: 1 Shaman, 2 Sage 1992), Dark Sky Legion (Bantam/Spectra, 1992), (Del Rey/Ballantine, 1996, 1997), Stolen Throne (Bal-Death and Life of Superman (Bantam, 1994), Death lantine/Del Rey, 1995), Star Wars: Hard Merchan-Gate Cycle: 6 Into the Labyrinth, 7 The Seventh Gate dise, Tales from the Mos Eisley Cantina, Tales from (Bantam/Spectra, 1993, 1994), Defender (DAW, Jabba’s Palace, Tales of the Bounty Hunters: 1 Man-2001), Dune: Butlerian Jihad, House Atreides, House dalorian Armor, 2 Slave Ship (Bantam/Spectra/UK, Harkonnen, House Corrino, Machine Crusade (Ban-1995, 1996, 1997, 1998), Star Wars Tales (SFBC, tam, 1999, 2001, 2002), Dune: The Battle of Corrin 1997), Summer of Love (Bantam, 1995), Tawny Man: (SFBC, Tor, 2002), Eternity’s End (Tor, 2001), Eve-1 Fool’s Errand, 3 Fool’s Fate (Bantam, 2002, 2004).

rien Trilog y: #1 Company of Glass, #2 The Riddled Tears of Artamon: Lord of Snow and Shadows (Spec-Night, #3 Way of the Rose (Bantam, 1999, 2000, tra/Banta, 2003), Terminal Café (Bantam, 1994), 2001). Exile’s Children (Bantam, 1996), Final Impact Thousand Cities (Ballantine/Del Rey, 1997), Tripoint (Bantam, 1997), Eyes of Silver (Bantam Spectra, (Warner, 1994), Voices of Hope (Orbit, 1997), Zeus 1998), Finity’s End (Warner, 1997), Fisherman’s Hope and Co (Avonova, 1993).

(Warner, 1996, Orbit, 1997), Foundation, Foundation MAGAZINES ILLUSTRATED INCLUDE:

and Empire, Foundation’s Edge, Prelude to Foundation, ROF : 1998 (2); 2002 (8)

Second Foundation, Forward the Foundation (Ban-SFA: 1996 (3)

tam, 1991, 1994, 2004), Gap Into Power: #3 Dark and Hungry God Arises, Gap into Vision: #2 Forbidden Knowledge (Bantam, 1992), Gardens of the Moon: Zeleznik, John Michael

Malazan Book of the Fallen (Tor, 2004), Garden of the (b. February 11, 1965) American artist. Zeleznik at-Shaped (Bantam, 1989), Gojiro (Bantam, 1993), tended the Otis Art Institute of Parsons School of Gravity Dreams (Tor, 1999), Hammer of God (Ban-Design from 1983 to 1987, receiving a BFA in illus-tam, 1994), Hung Out (Penguin/Roc, 1998), I Robot tration in 1987. His first commercial assignment was (Bantam/Spectra, 1991), Keep of Fire (Bantam, 1999), for Aaron Blake Publishers, in April 1987, creating an Kingdom of Thorn and Bone: #2 Charnel Prince (Bal-Ian Fleming Thriller Map— an Illustrated world map lantine, 2004), Knights of the Black Earth (Penguin/
of all locations related to James Bond 007 novels.

Roc, 1995), Last Rune: 1 Beyond the Pale, 2 Keep of After graduation Zeleznik immediately became a Fire, 3 The Dark Remains (Bantam, 1998, 1999, freelancer, specializing in fantasy role-playing game 2001), Letters from Atlantis (Warner, 1992), Limit of illustration. Known for dynamic compositions and Vision (Tor, 2001), Liveship Traders: 1 Ship of Magic, bold colors, Zeleznik cites Marvel Comics, Frank 2 Mad Ship, 3 Ship of Destiny (Bantam/Spectra, Frazetta*, Chris Achilleos*, Dean Cornwell, George 1999, 2000, 2001), Lords of the Sky (Bantam, 1994), Petty, Lord Leighton, Ezra Tucker*, and Thomas Midshipman’s Hope (Warner, 1994), Mistress of Drag-Blackshear as artistic influences. Zeleznik’s clients ons (Tor, 2004), Murasaki (Bantam/Spectra, 1993), have included magazine and book publishers, such The Naked Sun (Bantam, 1991), Pebble in the Sky as Playboy and Berkeley Books, but he is mainly (Bantam/Spectra, 1992), Playing God (Warner, known for his vividly colored, “cyber real” and fu-1998), Positronic Man (Bantam/Spectra, 1994), The turistic illustrations for Hasbro, Mattel Toys, The Price of Ransom (Bantam/Spectra, 1990), Prince of FASA Corporation, Steve Jackson Games, and Pal-Shadows (Bantam, 1996), Prisoner’s Hope (Warner, ladium Books. He traditionally has worked in 1995, Orbit, 1997), Quiet Invasion (Warner, 1999), acrylics on illustration board, and in the mid–1990s Race to Mars (Warner, 1999), Rama Revealed (Ban-began working digitally. Fans know his work from tam, 1994), Red Shadows (Bantam Books, 1998), Re-Shadowrun and RIFTS, as well as GURPS Robots, luctant Voyagers (Bantam, 1995), Requiem of Stars Reign of Steel, Vehicles, Ogre, Atomic Horror, and (Bantam/Spectra, 1996), Robot Blues (Penguin/Roc, many others. Zeleznik has produced cover art for

Zeleznik

496
gaming magazines Pyramid, Rifter, Shadis, and White (1994), Faithful Servants, Soulless Killers; SpaceKnights Wolf where his work was recognized in an “Artist (1992), Supers Adventures (1991), Supers 2nd Ed.

Spotlight on John Zeleznik” ( White Wolf #35, Mar/

Super-Powered Roleplaying Meets the Real World Apr 1993).

(1990). Suppressed Transmission (2000), Time Travel Zeleznik has shown work at the Society of Illus-

(1991), Ultra-Tech, Timeline; Vehicles From Chariots trators: West, Canton Museum of Art “Pavillions of to Cybertanks and Beyond (1993), Vikings: Roleplay-Wonder” 1996 (Canton, OH), and has appeared in ing in the World of the Norsemen (1991).

Spectrum: The Best in Contemporary Fantastic Art in RIFTS (Paladium Games): Baalgor Wastelands issues from 1995–2005. In 1998 he won a World (1999), Compendium of Contemporary Weapons Fantasy Convention award for Best color painting.

(1993), Pantheons of the Megaverse (1994), Dimen-Since 1993, Zeleznik has self-published lines of mer-sion Book: #1 Wormwood; #4 Skraypers; #5 Anvil chandise, including prints, sets of postcards, t-shirts Galaxy (1994), Dragons & Gods (1996), Sonic Boom and more, many featuring his “Vertical Curvz” series (1999), Source Book #4 Coalition Navy (1997), World of erotic science fiction women, clothed and nude.

Book: #7 Underseas (1994), #8 Japan (1995), #10

He looks forward to expanding his career to include Juicer Uprising (1995), #11 Coalition War Campaign authoring graphic novels, and comics. His first solo (1996), #12 Psyscape (1996), #13 Lone Star (1996), #14
art book Lightstrike: The Art of John Zeleznik was New West (1997), #17 Warlords of Russia (1997), #18
published in 2001, and two sketchbooks were pub-Mystic Russia (1998), #19 Australia (1998). #21 Splynn lished, 2003, 2004. Zeleznik is married to Jill (1998), #22 Free Quebec (1999).

Zeleznik, Assistant Chairperson, Fashion Dept, Otis Shadowrun (FASA Corporation): Awakenings: Art Institute and they have one daughter.

New Magic in 2057 (1995), Bottled Demon (1990), Sources: www.johnzeleznik.com; e-mail from the artist Character Dossier (Fantasy Productions, 2003), March 2006.

D.M.Z: Downtown Militarized Zone (1990), Published Work

DNA/DOA (1990), Dragon Hunt (1990), Grimoire: Art books and Collections/

The Manual of Practical Thaumaturg y 14th Edition, Anthologies (various contributing artists) 2050 (1990), Ivy & Chrome (1991), Killing Glare High Tech & Low Life: The Art of Shadowrun (1993), Land of the Damned One: Chaos Lands (FASA Corp., 1989), Lightstrike: The Art of John (2001), Neo-Anarchists’ Guide to Real Life (1992), Zeleznik (Cartouche Press, 2001), Sketches & Draw-Paradise Lost (1993), Queen Euphoria (1990 ), Shad-ings 1, 2 ( John Zeleznik, 2003, 2004) owrun Companion (1999), Universal Brotherhood (1990)

BOOKS ILLUSTRATED INCLUDE: 2XS: Shadowrun G

(Penguin/ROC, 1992), Awakenings: New Magic in AME-RELATED ILLUSTRATIONS INCLUDE: Alien Syndrome (Saekow Design, 1989), Arena of Steel 2057 (FASA, 1995), Car Warriors #1: The Square (I.C.E., 1996), Battletech: Solaris 7 (FASA, 1991), Deal (Tor, 1992), Changeling: Shadowrun (ROC, Cosmic Enforcers (Myrmidon, 1995), Dark Conspir-1992), Choose Your Enemies Carefully: #2 Secrets of acy: Darktek (GDW, 1991), Dragon Hordes (Corsair, Power: Shadowrun (ROC, 1991) Cosmic Enforcers 1997), Gramercy Island (Paladium, 2000), Heroes (Myrmidon Press, 1995), Darklight Grimoire (Ace, Unlimited: Century Station (Paladium, 1999), Magic: 1994), Find Your Own Truth: Shadowrun (ROC, Earthdawn (FASA, 1995), Rolling Thunder (Saekow 1991), Hawkmoon: The Eternal Champion: #3 (White Design, 1989), Shinobi (Saekow Design, 1989), Trav-Wolf, 1996), Heart of Sparill (Berkley, 1992) ellers: New Era (GDW, 1992), Werewolf (Agents of GAMES ILLUSTRATED INCLUDE: GURPS (Steve Gaming, 1997), Xybots (Saekow Design, 1989).

Jackson Games): Atomic Horror (1993), Basic Set 2nd Misc: Alex Masi: Neon Shark; Taramis: Queen of Ed. Basic Set 3rd Ed. (1989), Basic Set 4th Ed., Thieves album cover (Metal Blade Records, 1988, Camelot (1991), Celtic Myth (1995), Fantasy Adven-1989), Dark Age: Feudal Lords card art (FPG, 1996), tures; I.S.T.— International Super Teams (1990), Hot John Zeleznik 2006 Calendar (Heavy Metal/Metal-Lead (1992), In Nomine (1994), Mage: The Ascension Mammoth, 2006), John Zeleznik Rifts Coloring Book (1994), Mixed Doubles (1991), Operation Endgame (Rifts), Magic: The Gathering card art (Wizards of (1993), Psionics (1994), Reign of Steel (1996), Robots the Coast, 1998), Shadowrun card art (FASA, 1997).

PART III

Appendices

There is a long tradition in the field of holding art shows at various major regional conventions and national conventions, where artists receive awards from juries of fans, peers and convention hosts, and a number of professional and semiprofessional societies also give out medals and awards. Thus, one way to identify the most popular artists in science fiction and fantasy art is to see who has won such awards, and how often. The listings that follow are limited to the awards generally regarded as the most prestigious in the SF field.

Appendix I: The Hugo Awards Named after science fiction pioneer Hugo by the same process as the regular Hugos. There Gernsback, the Hugo Awards are given annu-have been only three Retro-Hugos given at ally by members of the World Science Fiction 1996, 2001 and 2004 Worldcons (always for 50

Convention (the “Worldcon”). The longest years back); the five eligible conventions from running science fiction convention, it was 1997 to 2000 and 2002 chose not to give those founded in 1939 and held 1939 to 1941 and, awards. The next opportunity will be in 2014
after the interruption of World War II, every for the year 1939, starting the 75-year cycle.

year since 1946. Hugos are awarded for the best Retrospective honors are best considered as in-science fiction or fantasy works in various cat-dicators of how fans, in hindsight, perceive the egories, and are determined by a vote of the artists selected for the award, and for that rea-membership in the convention. Because of the son have generated some controversy within the limited size of the voting group (many of whom field. Current reputations influence the results often do not vote), the awards often reflect fan far more than analysis of historical importance.

biases. In general, they are a good indication of the popularity of the winner.

Hugo for Best Professional Artist

The awards began in 1953, and that was the only year that separate awards were given 1953: Best Cover Artist, tie between Ed Emsh-for interior and cover artists. All awards since willer and Hannes Bok
then have been designated only for “Best Artist”

Best Interior Artist, Virgil Finlay

1955: Frank Kelly Freas
although the name of the category has evolved 1956: Frank Kelly Freas
and changed over the years. The award was for 1957: Frank Kelly Freas

“Best Cover Artist” in 1953, and for “Best 1958: Frank Kelly Freas

Artist” in 1955 and 1956 and 1965, and for 1959: Frank Kelly Freas

1960: Ed Emshwiller

“Best Professional Artist” in the years follow-1961: Ed Emshwiller
ing. There were no Hugo Awards in 1954 and 1962: Ed Emshwiller
no art award was given in 1957.

1963: Roy G. Krenkel

From 1990 to 1996, a Hugo Award for

1964: Ed Emshwiller

“Best Original Artwork” was added to recog-1965: John Schoenherr

1966: Frank Frazetta
nize specific noteworthy accomplishments by 1967: Jack Gaughan
individual artists. The category was eliminated 1968: Jack Gaughan
after 1996. In the mid–1990s Retrospective 1969: Jack Gaughan

Hugo Awards (“Retro Hugos”) were added: 1970: Frank Kelly Freas

1971: Leo and Diane Dillon

Worldcons held 50, 75, or 100 years after a 1972: Frank Kelly Freas

Worldcon where no Hugos had been awarded 1973: Frank Kelly Freas

(i.e., 1939–41, 1946–52 and 1954) can also 1974: Frank Kelly Freas
retroactively select Hugo winners for that year, 1975: Frank Kelly Freas

1976: Frank Kelly Freas

499

Part III. Appendices 500

1977: Rick Sternbach
who work for professional publications; a separate 1978: Rick Sternbach

Hugo Award for “Best Fan Artist” was created in 1979: Vincent Di Fate

1967 for artists who worked primarily for non- or 1980: Michael Whelan
low-paying fanzines and semiprofessional maga-1981: Michael Whelan
zines. As many earlier winners later went on to be-1982: Michael Whelan
come professionals in the science fiction art field, 1983: Michael Whelan
this listing is also included.

1984: Michael Whelan

1985: Michael Whelan

1967: Jack Gaughan

1986: Michael Whelan

1968: George Barr

1987: Jim Burns

1969: Vaughan Bode

1988: Michael Whelan

1970: Tim Kirk

1989: Michael Whelan

1971: Alicia Austin

1990: Best Professional Artist, Don Maitz 1972: Tim Kirk

Best Original Artwork. Cover of Rimrun-1973: Tim Kirk
ners by Don Maitz

1974: Tim Kirk

1991: Michael Whelan

1975: Bill Rotsler

1992: Best Professional Artist, Michael Whelan 1976: Tim Kirk

Best Original Artwork, Cover of The Sum-1977: Phil Foglio
mer Queen by Michael Whelan

1978: Phil Foglio

1993: Best Professional Artist, Don Maitz 1979: Bill Rotsler

Best Original Artwork, Dinotopia by James 1980: Alexis Gililand

Gurney

1981: Victoria Poyser

1994: Best Professional Artist, Bob Eggleton 1982: Victoria Poyser

Best Original Artwork, Space Fantasy Com-1983: Alexis Gililand
memorative Stamp Booklet by Stephen

1984: Alexis Gililand

Hickman

1985: Alexis Gililand

1995: Best Professional Artist, Jim Burns 1986: Joan Hanke-Woods

Best Original Artwork, Lady Cottington’s 1987: Brad W. Foster

Pressed Fairy Book by Brian Froud 1988: Brad W. Foster

1996: Best Professional Artist, Bob Eggleton 1989: Brad W. Foster (tie)

Best Original Artwork, Dinotopia: The Diana Gallagher Wu (tie)

World Beneath by James Gurney 1990: Stuart Shiffman

1946 “Retro Hugo” for Best Professional Artist, 1991: Teddy Harvia

Virgil Finlay

1992: Brad W. Foster

1997: Bob Eggleton

1993: Peggy Ransom

1998: Bob Eggleton

1994: Brad W. Foster

1999: Bob Eggleton

1995: Teddy Harvia

2000: Michael Whelan

1996: Bill Rotsler

2001: Bob Eggleton

1946 “Retro Hugo” for Best Professional Artist, 1951 “Retro Hugo” for Best Professional Bill Rotsler

Artist, Kelly Freas

1997: Bill Rotsler

2002: Michael Whelan

1998: Joe Mayhew

2003: Bob Eggleton

1999: Ian Gunn

2004: Bob Eggleton

2000: Joe Mayhew

1954 “Retro Hugo” for Best Professional 2001: Teddy Harvia

Artist, Chesley Bonestell

1951 “Retro Hugo” for Best Fan Artist, Jack 2005: Jim Burns

Gaughan

2006: Donato Giancola

2002: Teddy Harvia

2007: Donato Giancola

2003: Sue Mason

2004: Frank Wu

2005: Sue Mason

Hugo for Best Fan Artist

2006: Frank Wu

2007: Frank Wu

The “Best Professional Artist” award is for artists

Appendix 2: The World Fantasy Awards Given each year by the World Fantasy

1983: Michael Whelan

Convention to the artist voted best in the fan-1984: Stephen Gervais

1985: Edward Gorey
tasy field, these awards are chosen by a panel of 1986: Tie between Jeff Jones and Thomas Canty five judges. The preliminary ballot is also se-1987: Robert Gould
lected by the same judges, who nominate sev-1988: J. K. Potter
eral artists. Two other nominees for the final 1989: Edward Gorey
ballot are selected by members of two previous 1990: Thomas Canty

1991: Dave McKean
conventions who vote on their choices. This 1992: Tim Hildebrandt
system combines the concept of a popular vote 1993: James Gurney
along with a quality panel selection in produc-1994: Tie between Alan M. Clark and J. K. Potter ing the final ballot. Established with the incep-1995: Jacek Yerka

1996: Gahan Wilson
tion of the convention in 1975, and presented 1997: Mobius ( Jean Girard)

there, the following are winners of the Best 1998: Alan Lee

Artist Award.

1999: Charles Vess

2000: Jason Van Hollander

1975: Lee Brown Coye

2001: Shaun Tan

1976: Frank Frazetta

2002: Allen Koszowski

1977: Roger Dean

2003: Tom Kidd

1978: Lee Brown Coye

2004: Tie between Donato Giancola and Jason 1979: Tie between Alicia Austin and Dale Enzen-Van Hollander
bacher

2005: John Picacio

1980: Don Maitz

2006: James Jean

1981: Michael Whelan

2007: Shaun Tan

1982: Michael Whelan

501

Appendix 3: The Chesleys Named for science-fiction artist Chesley 2001 John Jude Palencar, for Forests of the Heart Bonestell, the Chesleys are bestowed by the As-

(by Charles de Lint; Tor)

2000 Michael Whelan, for Otherland: Mountain sociation of Science Fiction & Fantasy Artists of Black Glass (by Tad Williams; DAW) (ASFA) “as a means for the SF and fantasy com-1999 Kinuko Y. Craft, for Song for the Basilisk (by munity to recognize individual works and Patricia A. McKillip; Ace)

achievements during a given year.” Initially 1998 Bob Eggleton, for The Howling Stones (by called the ASFA Awards, they were renamed Alan Dean Foster; Del Rey)

1997 Michael Whelan, for The Golden Key (by after the death of the noted astronomical artist Melanie Rawn, Jennifer Roberson & Kate in 1986. There are several award categories, and Elliott; DAW)

these have expanded since the awards were in-1996 Tom Kidd, for Kingdoms of the Night (by stituted in 1985

Chris Bunch & Allan Cole; Ballantine) 1995 Janny Wurts, The Curse of the Mistwraith The awards are presented annually at the (by Janny Wurts; HarperCollins UK)

World Science Fiction Convention (Worldcon).

1994 Tom Kidd, for The Far Kingdoms (by Allan We list all art awards by category, excluding Cole & Chris Bunch; Ballantine Del Rey) only the award for contribution to the organi-1993 Don Maitz, for Magician (by Raymond E.

zation by its members. We include the award for Feist; Doubleday)

1992 Michael Whelan, for The Summer Queen Art Director, as this is the only such award to (by Joan D. Vinge; Warner Questar)

recognize their work, and the important and 1991 Keith Parkinson, for Chernovog (by C. J.

influential connection between art directors and Cherryh; DAW)

artists.

1990 Keith Parkinson, for Rusalka (by C. J. Cherryh; Ballantine Del Rey)

1989 Don Maitz, for Cyteen (by C. J. Cherryh; Cover Illustration,

Warner)

1988 James Gurney, for On Stranger Tides (by Hardback Book

Tim Powers; Ace)

1987 David Cherry, for Chanur’s Homecoming (by 2006 Stephan Martiniere, for Elantris (by BranC. J. Cherryh; DAW)

don Sanderson: Tor)

1985 Michael Whelan, for The Integral Trees (by 2005 Tony DiTerlizzi, for The Wrath of Mulgarath Larry Niven; Ballantine Del Rey)

(by Holly Black & Tony DiTerlizzi; Simon

& Schuster)

(tie) Donato Giancola, for The Nameless Day (by Cover Illustration,

Sara Douglass; Tor)

Rick Berry, for Queen of the Amazons (by Ju-Paperback Book
dith Tarr; Tor)

2004 Donato Giancola, for City (by Clifford D.

2006 Tom Kidd, for The Enchanted Completed (by Simak; Science Fiction Book Club)

Harry Turtledove, ed.: Baen)

2003 Todd Lockwood, for The Thousand Orcs (by 2005 John Picacio, for Her Smoke Rose Up Forever R. A. Salvatore; WotC)

(by James Tiptree Jr; Tachyon)

2002 Donato Giancola, for Ashling (by Isobelle 2004 Todd Lockwood, for Tangled Webs (by Carmody; Tor)

Elaine Cunningham; Wizards of the Coast) 502

503

The Chesleys

2003 Tristan Elwell, for Briar Rose (by Jane Yolen; 1998 Todd Lockwood, for Dragon Aug 1997

Tor/Starscape)

1997 Bob Eggleton, for F&SF May 1996

2002 Donato Giancola, for The Hobbit: An Illus-1996 Bob Eggleton, for Analog Jan 1995
trated Edition of the Fantasy Classic (by J. R.

(tie) Wojtek Siudmak, for Analog Dec 1994

R. Tolkien, illustrated by David Wenzel; 1995 Bob Eggleton, for Asimov’s Aug 1994

Del Rey)

1994 Wojtek Siudmak, for Asimov’s Dec 1993

2001 Jean-Pierre Targete, for Circle at Center (by 1993 Michael Whelan, for Asimov’s Nov 1992

Douglas Niles; Ace)

1992 David Mattingly, for Amazing Stories Sep 2000 John Jude Palencar, for The Terrorists of 1991

Irustan (by Louise Marley; Ace) 1991 Bob Eggleton, for Aboriginal SF Jan 1990

1999 John Jude Palencar, for Tales of the Cthulhu 1990 Frank Kelly Freas & Laura Brodian Kelly-Mythos (by Anonymous, ed.; Del Rey) Freas, for Marion Zimmer Bradley’s Fantasy 1998 Michael Dashow, for The Rhinoceros Who Magazine Autumn 1989

Quoted Nietzsche and other odd acquain-1989 Bob Eggleton, for Asimov’s Jul 1988
tances (by Peter S. Beagle; Tachyon) 1988 Terry Lee, for Amazing Stories Jan 1988

1997 Donato Giancola, for Eggheads (by Emily 1987 Bob Eggleton, for Asimov’s Jan 1987

Devenport; Roc)

1985 Bob Walters, for Asimov’s Dec 1984

1996 Don Maitz, for A Farce to Be Reckoned With (by Roger Zelazny & Robert Sheckley; Spectra)

1995 Alan M. Clark, for Geckos (by Carrie Rich-Interior Art
erson; Roadkill Press)

1994 Bob Eggleton, for Dragans (by Jack Dann & 2006 Brom, for The Plucker (by Brom: Harry N.

Gardner Dozois, eds.; Ace)

Abrams, publisher)

1993 David Cherry, Sword and Sorceress IX (Mar-2005 Charles Vess, for Medicine Road (by Charles ion Zimmer Bradley, ed.; DAW)

de Lint; Subterranean Press)

1992 David Cherry, Sword and Sorceress VIII 2004 Todd Lockwood, for “Crossing Into the (Marion Zimmer Bradley, ed.; DAW)

Empire” (by Robert Silverberg; Realms of (tie)

Don Maitz, for Magic Casement (by Dave Fantasy Jun 2003)

Duncan; Ballantine Del Rey)

2003 Scott Gustafson, for Classic Fairy Tales (by 1991 Michael Whelan, for The Madness Season Scott Gustafson; Greenwich

(by C. S. Friedman; DAW)

Workshop/Hallmark)

1990 Stephen Hickman, for Gryphon (by Craw-2002 Tom Kidd, for The War of the Worlds (by H.

ford Killian; Ballantine)

G. Wells; Books of Wonder)

1989 Jody Lee, for The Oathbound (by Mercedes 2001 Kinuko Y. Craft, for Cinderella (by Kinuko Lackey; DAW)

Y. Craft; North-South/SeaStar)

1988 Don Maitz, for Wizard War (by Hugh 2000 James Gurney, for Dinotopia: First Flight (by Cook; Popular Library Questar)

James Gurney)

1987 Michael Whelan, for The Cat Who Walked 1999 Brian Froud, for Good Faeries/Bad Faeries Through Walls (by Robert A. Heinlein; (by Brian Froud & Terri Windling) Berkley)

1998 Alan Lee, for The Hobbit (by J. R. R.

1985 Carl Lundgren, for The Day of the Disso-Tolkien)

nance (by Alan Dean Foster; Warner) 1997 Todd Lockwood, for “Death Loves Me” (by Tanith Lee; Realms of Fantasy Aug 1996) 1996 James Gurney, for Dinotopia, the World Beneath (by James Gurney)

Cover Illustration, Magazine

1995 Brian Froud, for Lady Cottington’s Pressed Fairy Book (by Terry Jones & Brian Froud) 2006 Donato Giancola, for Asimov’s Sep 2005

1994 Alan M. Clark, for “The Toad of Heaven”

2005 Omar Rayyan, for Spider Magazine Oct (by Robert Reed; Asimov’s Jun 1993) 2004

1993 Alan M. Clark, for “Poles Apart” (by G.

2004 Bob Eggleton, for F&SF Jul 2003

David Nordley; Analog mid–Dec 1992) 2003 Todd Lockwood, for Dragon Dec 2002

1992 Bob Walters, for “It Grows on You” (by 2002 James C. Christensen, for The Leading Edge Stephen King; Weird Tales Summer 1991)

#41 Apr 2001

1991 Val Lakey Lindahn, for “The Flowers, the 2001 Todd Lockwood, for Dragon Jul 2000

Birds, the Leaves, the Bees” (by L. A. Tay-2000 Bob Eggleton, for F&SF Aug 1999
lor; Analog Jun 1990)

1999 Bob Eggleton, for F&SF May 1998

1990 Todd Cameron Hamilton, for Dragonlover’s

Part III. Appendices 504

Guide to Pern (by Jody Lynn Nye & Anne 1993 “Tag, You’re It,” David Cherry

McCaffrey; Ballantine Del Rey)

1992 Study for All the Weyrs of Pern, Michael 1989 Alan Lee, for Merlin Dreams (by Peter Whelan

Dickinson; Gollancz)

1990 “The Guardian,” Ruth Thompson

1988 Janet Aulisio, for Amazing Stories May 1989 “Mechanical Owl,” Brad Foster

1987

1988 “Queen of the Snows,” Dawn Wilson (tie) Dell Harris, for Analog

1985 “Can I Keep Him, Mom?,” Suzanna Griffin 1987 Bob Walters, for “Vacuum Flowers” (by Michael Swanwick; Asimov’s mid–Dec 1986, Jan,Feb 1987)

Three-Dimensional Art

1985 Dell Harris, for Analog Mar 1985

2006 “Sleeper Lost in Dreams,” James Christensen (Bronze)

Color Work, Unpublished

2005 “AF-Z4 The Duke an’ Blinky,” Lawrence Northey

2006 “Companions to the Moon,” Charles Vess 2004 “Jack,” Gary Lippincott

2005 “Water Nymph,” Marc Fishman

2003 “Con Jose Dragon,” Kim Graham

2004 “She,” Michael Whelan

2002 “Hall of the Mountain King,” Johnna 2003 “The Storm,” Richard Hescox

Klukas

2002 “The Snow Tree,” Anne Sudworth

2001 “Millennium Angel,” Sandra Lira

2001 “Reach,” Michael Whelan

2000 “From the Astrologer’s Anteroom,” Johnna 2000 “At the Entmoot,” Stephen Hickman Klukas

1999 “Salvation,” Marc Fishman

1999 “Short Trip to October,” Lisa Snellings 1998 “The Astronomer Prince,” Stephen Hick-1998 “Witchblade,” Clayburn Moore
man

1997 “Princess,” Clayburn Moore & Frank 1997 “Sinja’s World,” Rob Alexander

Frazetta

1996 “The Archers,” Stephen Hickman

1996 “Wonderland,” Barclay Shaw

1995 “The Pain Doctors of Suture Self General,”

1995 “Pitt,” Clayburn Moore

Alan M. Clark

1994 “Flying Pegasus and Rider,” Jennifer Wey-1994 “Garden of Hope,” James Gurney
land

1993 “The Wizard of Owls,” Janny Wurts 1993 “Reflection,” Gary Persello

1992 “Filia Mea,” David Cherry

1992 “Celestial Jade,” Clayburn Moore 1991 “Charting the Skies,” Dean Morrissey 1991 “The Fishwalker,” James C. Christensen 1990 “Winsor McCay City,” Tom Kidd

1990 “Wave Born,” Arlin Robins

1989 “The Waterfall City,” James Gurney 1989 “Metropolis,” John A. Morrison

1988 “Conjure Maitz,” Don Maitz

1988 “Hawk Mountain,” John Longendorfer (tie) “Sentinels,” Michael Whelan

1987 “Magic Mountain,” Butch & Susan Honeck 1987 David Cherry

1985 “Merchant of Dreams,” Hap Henriksen 1985 “Winter’s King,” Dawn Wilson

Artistic Achievement

Monochrome Work, Unpublished

2006 John Picacio

2006 “Nightmare,” Paul Bielaczyc

2005 Omar Rayyan

2005 “The Halls of Valhalla,” Robert Elneskog 2003 Tom Kidd

2004 “Autumn Faeries,” Gary Lippincott 2002 Donato Giancola

2003 “The Skimmer’s Lagoon,” Maurizio 2001 Frank Kelly Freas

Manzieri

2000 Stephen Hickman

2002 “The Faeries of Spellcaster,” Tom Kidd 1999 Bob Eggleton

2001 “A Wizard of Earthsea,” Drew Willis 1998 Vincent Di Fate

2000 “Artemis,” Rick Berry

1997 Don Maitz

1999 “Bottom & Titania,” Beryl Bush 1996 Thomas Canty

1998 “Silently Moving People,” Joy Marie Ledet 1995 Frank Frazetta

1997 “Waiting for Antony,” Davette Shands 1994 Frank Kelly Freas

1996 “Cerebus,” Todd Lockwood

1993 James Gurney

1995 “Promise,” Carl Lundgren

1992 James Gurney

1994 “Impudence,” Carl Lundgren

1991 Michael Whelan

505

The Chesleys

1990 Don Maitz

2003 “The Light Ship,” Dean Morrissey (fine art 1989 Don Maitz (for First Maitz)

print, Greenwich Workshop)

1988 Frank Frazetta

2002 “Die Walküre,” Kinuko Y. Craft (Poster for 1987 Alex Schomburg

The Dallas Opera)

1985 Carl Lundgren

2001 “Dracopaleontology,” Donato Giancola (Science Fiction Book Club flyer and calendar)

Gaming-Related Illustration

2000 “Cleopatra,” Richard Bober (plate art for the Bradford Exchange)

2006 “Blazing Archon,” Gabor Szikszai & Zoltan 1999 “Archangel,” Donato Giancola (MagicTM

Boros ( Magic card for Ravnica: City of cards package art)

Guilds, WotC, October 2005)

2005 Monte Cook’s Arcana Unearthed, Mark Zug (Malhavoc Press)

Art Director

2004 Draconomicon, Todd Lockwood (a Dungeons & Dragons accessory, WotC) 2006 Irene Gallo (Tor Books)

2003 “Spider Queen,” Todd Lockwood ( Forgotten 2005 Irene Gallo (Tor Books)

Realms supplement “City of the Spider 2004 Irene Gallo (Tor Books)

Queen,” WotC)

2003 Irene Gallo (Tor Books)

2002 “Shivan Dragon,” Donato Giancola (card 2002 Paul Barnett (Paper Tiger Books) art for Magic: Seventh Edition) 2001 Irene Gallo (Tor Books)

2001 Crucible: Conquest of the Final Realm, Ian 2000 Ron Spears (Wizards of the Coast) Miller (FASA game book)

1999 Arnie Fenner & Cathy Fenner (Spectrum 2000 “Warriors of Heaven and Guide to Hell,”

Design and Underwood Books)

Brom (two-sided Duelist Insert Poster) 1998 Jamie Warren Youll (Bantam Books) 1999 “DragonLance Classics 15th Annual Game 1997 Jamie Warren Youll (Bantam Books) Module,” Todd Lockwood

1996 Jamie Warren Youll (Bantam Books) 1995 Cathy Burnett & Arnie Fenner (Spectrum Design)

Product Illustration

1994 Jamie Warren Youll (Bantam Books) 1993 Jamie Warren Youll (Bantam Books) 2006 Justin Sweet (production design for The 1992 Betsy Wollheim & Sheila Gilbert (DAW

Lion, the Witch, and the Wardrobe, Walt Books)

Disney Studios)

1991 Don Munson (Ballantine Books)

2005 “Celtic King,” Dean Morrissey (fine art 1990 Betsy Wollheim & Sheila Gilbert (DAW
print, Greenwich Workshop)

Books)

2004 “Anna of the Celts,” Dean Morrissey (fine art print, Greenwich Workshop)

Appendix 4: The British Science Fiction Association Awards

The BSFA Awards are presented annually 1992: Jim Burns, Cover of Hearts, Hands and by the British Science Fiction Association for Voices (by Ian McDonald)

Best Artist and Artwork, based on a vote of 1993: Jim Burns, Cover of Red Dust (by Paul J.

McAuley)

BSFA attending members and — in most recent 1994: Jim Burns, Cover of I nterzone #79 Jan years — members of the British national SF

1994
convention (Eastercon). BSFA members can 1995: Jim Burns, Cover of Seasons of Plenty (by nominate as many works as they like in any cat-Colin Greenland)

1996: Jim Burns, Cover of Ancient Shores (by Jack egory, but an individual’s nomination for a McDevitt)

specific work is only counted once. The British 1997: SMS, Cover of Interzone #116 Feb 1997

Science Fiction Awards were established in 1998: Jim Burns, Cover of Interzone #138 Dec 1958, with the first art award given in 1979.

1998

1999: Jim Burns, Cover of Darwinia (by Robert Charles Wilson)

1979: Jim Burns

2000: Dominic Harman, Cover of Interzone #157

1980: Peter Jones

Jul 2000

1981: Bruce Pennington

2001: Colin Odell, Cover of Omegatropic (by 1982: Tim White

Stephen Baxter)

1983: Bruce Pennington

2002: Dominic Harman, Cover of Interzone #179

1984: Jim Burns

May 2002

1985: Jim Burns

2003: Colin Odell, Cover of The True Knowledge 1986: Keith Roberts”The Clocktower Girl,”

of Ken MacLeod (by Andrew M. Butler & 1987: Jim Burns Worldcon Program Book Farah Mendlesohn, eds.)

1988: Alan Lee

2004: Stephan Martiniere, Cover of Newton’s 1989: Jim Burns, Cover of Other Edens III Wake (by Ken MacLeod)

(Christopher Evans & Robert Holdstock, 2005: Pawel Lewandowski, Cover of Interzone eds.)

#200

1990: Ian Miller, Cover of The Difference Engine 2006: Christopher “Fangorn” Baker, Cover of (by William Gibson & Bruce Sterling) Time Pieces (Ian Whates, ed.) 1991: Mark Harrison, Cover of Interzone #48 Jun 1991

506

Appendix 5: The British Fantasy Awards The British Weird Fantasy Society began in 1985: Best Artist: Stephen Fabian

1971 as an offshoot of the British Science Fiction 1986: Best Artist: J.K. Potter

1987: Best Artist: J.K. Potter

Association. The “Weird” was soon dropped 1988: Best Artist: J.K. Potter
and the British Fantasy Society (BFS) was born.

1989: Best Artist: Stephen King

Dedicated to the promotion of all that is best in 1990: Best Artist: Stephen King
the fantasy and horror genres, the BFS won the 1991: Best Artist: Les Edwards

Special Award: Non-Professional at the World 1982: Best Artist: Jim Pitts

1993: Best Artist: Jim Pitts

Fantasy Awards in 2000. The membership of 1994: Best Artist: Les Edwards
the BFS votes for the annual British Fantasy 1995: Best Artist: Martin McKenna

Awards, for Best Artwork and/or Artist. The 1996: Best Artist: Josh Kirby
first art award was given in 1977.

1997: Best Artist: Jim Burns

1998: Best Artist: Jim Burns

1977: Michael W Kaluta, “The Sacrifice”

1999: Best Artist: Bob Covington

1978: Stephen Fabian, “The End of Days”

2000: Best Artist: Les Edwards

1979: Boris Vallejo, “The Amazon Princess and 2001: Best Artist: Jim Burns

Her Pet”

2002: Best Artist: Jim Burns

1980: Stephen Fabian

2003: Best Artist: Les Edwards

1981: Dave Carson

2004: Best Artist: Les Edwards

1982: Dave Carson

2005: Best Artist: Les Edwards

1983: Dave Carson

2006: Best Artist: Les Edwards

1984: Best Artist: Rowena Morrill

507

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Index

Page numbers in bold type refer to the main biographical entry.

A. Merritt’s Fantasy 25, 177, 463

Aliens novels 179

222, 248, 250, 252, 253, 271, 285,

Abbey, Edwin Austin 153

All Hallows Magazine (Canada) 306

286, 287, 299, 307, 317, 321, 323,

Aboriginal Science Fiction 51, 353, 503

Allen K’s Inhuman Magazine 306

348, 356, 362, 411, 414, 416, 431,

Absolute Sound (magazine) 467

All-Story Magazine 15, 16, 43, 209, 435, 503, 504

Academy Award (Motion Picture) 187,

347, 371, 378, 433

Anderson, Allen 22, 25, 77–79, 105

315, 339, 341, 357, 475

Alma-Tadema, Sir Lawrence 260, 261

Anderson, Darryl 108

Ace Books 28, 30, 32, 33, 74, 78, 144, Alternate World Recordings (AWR) 89

Anderson, David Lee 78–79

173, 217, 229, 230, 237, 260, 263,

Amano, Yoshitaka 77

Anderson, Kevin J. 494

307, 332, 351, 382, 400, 408, 410,

Amazing Mystery Funnies 237

Anderson, Murphy 77, 79–80

414, 422, 464, 491

Amazing Stories 16, 17, 19, 20, 21, 22, Anderson, Poul 142, 236, 364, 442,

Ace G-Man 168

23, 43, 54, 74, 76, 111, 130, 144, 150, 477

Ace Science Fiction Specials 173

182, 195, 200, 208, 209, 269, 286,

Anderson, Wayne 38

ACG Comics 307

295, 307, 327, 350, 368, 370, 371,

Anderson’s Fairy Tales 146

Achilleos, Chris 34, 38, 58, 71–73, 404, 414, 416, 427, 428, 441, 464,

Andrus Space Transit Planetarium 171

496

468, 503, 504

Anime’ movement 77

Ackerman, Forrest J 44, 50, 54, 113,

Amazing Stories Annual 16

Anlab Award ( Analog Analytical Labo-150, 363, 454

Amazing Stories Quarterly 16
ratory Award) 285, 287, 299, 362

Across the Space Frontier 224

Amazing Wonder Tales (fanzine, later The Annotated Lost World 398

Action For Men (magazine) 169

Scienti-Tales) 237

The Ant Bully (film) 187, 228, 329, Action Stories (magazine) 281

“Amber, Arthur” see Dameron, Ned 343

Adam (magazine) 327

Amber novels 130, 151, 481

Anthony, Piers 47, 142, 442

Adams, Neal 140, 240

American Academy of Art (IL) 337,

Applejack Art Limited Editions 65,

Adams, Robert 298

397, 405, 428, 451, 457

355

Addams, Charles 73–74, 483

American Aphrodite 307

Arbor House Books 130

The Addams Family 73, 483

American Artist Magazine 218, 280, Archie Publications 238, 356

Adkins, Dan L. 73–74

365

Architectural inspiration, design ele-Adragna, Robert J. 74

American Artists Professional League
ments 74, 119, 162, 167, 213, 214,

Adventure (magazine) 169, 277, 396, 111, 203, 439

258, 272, 320, 341, 348, 362, 370,

410, 418, 463

American Century (comic) 141

383, 422, 450, 457, 463

Adventure Trails (magazine) 475

American Comics Group 350

Arfstrom, Jon D. 80

Adventures in Sword and Sorcery (maga-American Fantasy Magazine 383

Argosy 14, 15, 16, 17, 43, 74, 88, 98, zine) 92

American Flagg! (comic) 141

100, 124, 169, 204, 209, 224, 244,

Adventures in the Far Future 457

American Heritage Magazine 438

245, 347, 371, 379, 396, 410, 430,

Adventures in Time and Space 25

American Institute of Graphic Arts

433, 437, 457, 463

Age of Innocence 292

153, 183, 239, 407, 412, 414

Ariel: Books of Fantasy 453

A.I. ( Artificial Intelligence; film) 87, 214

American Magazine 430

Arisman, Marshall 80–81, 339

Air and Space Magazine 345

American Mercury 26

Arkana Publishing 86

Air Force Magazine 140

American Museum of Natural History

Arkham House 23, 37, 52, 98, 117,

Air Trails (magazine) 347

(NY) 90, 169, 284, 435

148, 149, 156, 200, 272, 303, 456

Air Wonder Stories 16, 350, 370

American Portrait Society 203

Armata, Barb 81–82

Alan Magee: Paintings, Sculpture, American Renaissance of the Twenty-Arrow Books 52, 343, 408, 492

Graphics 328
first Century (A. R. T.) 203

Art Center College of Design in Los

“Albet” see Nuetzell, Albert American Society of Aviation Artists

Angeles (CA) 74, 91, 240, 247, 248,

The Album Cover Album 38, 166

336

261, 289, 309, 334, 341, 360, 376,

Aldiss, Brian 39, 375, 428

American Society of Marine Painters

379, 402, 403, 438, 476

“Alejandro” 74

152

Art Directors Club 102, 106, 183, 239, Alexander, Paul 74–75, 422

American Society of Portrait Artists

272, 290, 323, 328, 374, 421, 438,

Alexander, Rob 64, 75–77, 504

203

452, 458

Alfred A. Knopf 37, 378, 407, 408

American Watercolor Society 80, 202

A.R.T. Ideas Magazine 203

Algol 27, 150, 171, 385, 413, 414

American Weekly (magazine) 208, 209, Art Institute of Chicago (IL) 110, 151, Alice’s Adventures in Wonderland 398

437

158, 195, 328, 336, 337, 367, 385,

Alien (film) 37, 51, 150, 160, 179, 214, Amra (fanzine) 30, 73, 307

392, 405, 420, 439, 456, 457, 483

235, 341

Analog Science Fiction & Fact (Analog Art Institute of Philadelphia (PA) 419

Alien Landscapes 39, 215, 254

Science Fact & Fiction) 28, 29, 50, Art Institute of Pittsburgh (PA) 221, The Alien Life of Wayne Barlowe 90

62, 63, 83, 84, 99, 104, 171, 186, 188, 222, 457

509

Index

510

Art Nouveau 101, 128, 135, 163, 177, 115, 127, 135, 161, 169, 183, 194, 317, Beam Piper, H. 34, 231, 477

256, 263 296, 297, 314

390, 401, 445, 494

Bear, Greg 144, 212

The Art of Bob Larkin 313

Avon Fantasy Reader 25

Beardsley, Aubrey 85, 112, 114, 135,

The Art of Chesley Bonestell 345

146, 177, 208, 308, 296, 380, 383,

The Art of Jeffrey Jones 292

Babylon 5 83, 90

424, 450

The Art of Leo & Diane Dillon 174

Bacon, Francis 81, 108

The Beast Within: The Art of Ken Barr The Art of Michael Whelan 48, 478

Badger Books 290, 447

95

The Art of Richard Powers 386

Baen, Jim 40, 44, 150, 200, 202, 278

Beauty and the Beast 71

Art of Robert McCall: A Celebration of Baen Books 38, 40, 44, 47, 48, 75,

Beauty and the Beast (TV series) 380

Our Future in Space 337

83, 92, 99, 132, 150, 151, 200, 202,

Beauvais, Den 65

The Art of the Rock Poster 325

248, 263, 278, 298, 334, 354, 368,

Beckmann, Max 447, 451

The Art Students League of New York

401, 442, 502

Beckwith, J. Carrol 404

28, 79, 88, 89, 96, 99, 110, 115, 124, Bailey, Robin 288

Beecham, Tom 98

152, 169, 176, 203, 277, 284, 331,

Baker, Chris 87, 506

Beef (magazine) 207

336, 341, 363, 381, 382, 413, 418,

Bakshi, Ralph 218, 247, 266, 269, 343, Beekman, Douglas 96, 99–100

421, 430, 451, 462, 472

433

Belarski, Rudolph 20, 100–101, 104, The Artist’s Guide to Sketching 247

Balbalis, John 88

105, 420

Artist’s Partners Agency 39, 160, 348, Ballantine, Betty 27, 325, 385

Bell, Charles 194

381

Ballantine, Ian 27, 325, 385

Bell, Julie 38, 40, 65, 101–102, 460

Artzybasheff, Boris 82

Ballantine Adult Fantasy Series 32, 117, Bellairs, John 242

Ashley, Mike 3, 7, 127, 139, 148, 165, 227, 290, 325, 376

Bellamy, Frank 71, 251, 338, 426

319, 394

Ballantine Books 27, 30, 32, 33, 37,

Belmer, Hans 383

Ashman, William 82–83

38, 39, 40, 47, 92, 102, 117, 121, 130, Belmont Books 121, 203, 386

Asimov, Isaac 27, 50, 56, 84, 138, 183, 131, 162, 169, 174, 175, 205, 227,

BEMs 124, 164, 475

197, 204, 205, 212, 214, 280, 290,

263, 266, 268, 273, 289, 299, 303,

Beneath the Shattered Moons 227

329, 340, 375, 390, 418, 422, 442,

317, 325, 326, 328, 334, 348, 351,

Benett, Leon 13

477, 481, 493, 494

376, 379, 385, 386, 399, 401, 407,

Bennett, Harry R. 102–103

Asplund, Randy 83–83

409, 410, 418, 419, 441, 442, 444,

Benton, Thomas Hart 134, 155, 269

Asprin, Bob 48, 87, 213, 400

448, 451, 459, 463, 477, 494, 502,

Bergen, David 103

Associated Fantasy Publishers 117

503, 504, 505

Bergeron, Joe 103–104

Association of Science Fiction and Fan-Ballard, J. G. 48, 374

Bergey, Earle 20, 22, 25, 104–105, 295, tasy Artists (ASFA) 45, 51, 56, 76,

Balrog Award 85, 174, 303, 306

416

106, 119, 142, 143, 151, 171, 222, 262, Baltadonis, John 178

Berkey, John 33, 38, 53, 105–107, 186, 264, 316, 329, 334, 365, 373, 494,

Balthus 447

250, 254, 402

502

Baltimore News & American (MD

Berkley Books 33, 76, 88, 90, 115, 127, Astarita, Raphael 281
newspaper) 305

131, 151, 169, 175, 192, 203, 204, 243, Astonishing 21, 216, 237, 436, 437

Baltimore Sun (MD newspaper) 490

260, 287, 298, 299, 317, 348, 351,

Astounding Stories of Super Science ( As-Bama, James 88–89, 99, 294, 313, 357, 368, 386, 390, 392, 399, 464,
tounding Science Fiction) 17, 18, 20, 279, 451

495, 503

21, 22, 23, 25, 28, 44, 124, 134, 137, Bantam Books 25, 37, 40, 47, 86, 88,

The Berkshire Eagle (MA newspaper) 138, 177, 190, 195, 221, 239, 243,

99, 111, 115 127, 131, 169, 190, 191, 386

306, 364, 370, 396, 397, 413, 414,

192, 194, 204, 218, 227, 263, 266,

Berry, Bruce 107–108

443, 451, 454, 463, 475

269, 287, 290, 313, 316, 317, 328,

Berry, Rick 108–110, 135, 144, 218, Astrology magazines 29, 117, 209, 416

329, 334, 337, 343, 348, 365, 368,

249, 502, 504

Astrolog y —Your Daily Horoscope 209

377, 379, 382, 399, 401, 408, 409,

Bertelsman Co. 37

Astronomical art 29, 57, 58, 88, 104, 418, 430, 431, 438, 440, 442, 444,

The Best of Xero 74

119, 152, 165, 168, 171, 175, 178, 186, 485, 493, 494, 495

Bester, Alfred 141, 197, 348

187, 252, 345, 373, 378, 391, 413,

Barber, Thomas 89

Better Publications 350

435, 502

Barclay, McClelland 412, 475

Beyond Fantasy Fiction 82, 88

Astronomy Magazine 104, 186, 252, Barker, Clive 51, 52, 160, 184, 381,

Bierstadt, Albert 345

378, 435

393, 474

Bigfoot 154

At the Earth’s Core 30, 307, 433

Barlowe, Wayne 89–91, 250

Bilal, Enki 398

At the Mountains of Madness 124

Barlowe’s Guide to Extraterrestrials 90

Binder, Eando 110

At The Mountains of Madness (film) Barlowe’s Guide to Fantasy 90

Binder, Jack 110

440

Barnard, Bryn 91–92

Binkley, Ric 24, 110–111

The Atlantic Monthly 272, 328, 451

Barr, George 34, 44, 85, 87, 92–94, Birmingham, Lloyd 74, 111–112

Atlas Comics 140, 307

227, 500

Bishop Museum 169

Atlas Games 52

Barr, Ken 40, 64, 94–96

The Black Hole (film) 334, 336

Audubon Magazine 411

Barrett, Robert 378

Black Mask 100, 168

Aulisio-Dannheiser, Janet Elizabeth

Barth, Ernest K. 96

Blackshear, Thomas 495

84–85, 470, 504

Basic Books 407

Blade 2 (film) 90

Austin, Alicia 49, 85–86, 500, 501

*batteries not included (film) 340

Blade Runner (film) 51, 53, 71, 127, Authentic Science Fiction (magazine) Battle Beyond the Stars (film) 175

341

165, 301, 394

Battlestar Galactica (TV series) 339

Blaine, Mahlon 15, 112, 159, 216, 283, Avalon Books 110, 356

Battlestar Galactica novels 473

429

Avante-Garde Magazine 272

Bauman, Jill 96–97

Blaisdell, Paul 113

Avati, James 342

Baumhofer, Walter 18, 420

Blake, William 183, 283, 375, 429

The Avenger 239, 364, 420

Bayard, Emile 13

Blanchard, Taylor 113–114

Aviano, Michael 473

Bayless, Raymond 97–98

Blanche, John 52, 114–115

Avon, John 86–87

Beacon Books 430

Bless the Child (film) 122

Avon Books 24, 25, 88, 92, 95, 102,

Beagle, Peter S. 125, 151, 503

Bloch, Robert 89, 144, 208

511

Index

Bluebook Magazine 15, 153, 154, 212, Brooklyn Academy of Fine Arts 217

Canty, Thomas 45, 48, 49, 135–137, 405, 439

Brooklyn Museum and Art School 81,

243, 249, 501, 504

Bobbs-Merrill 356, 407

271, 377, 451, 452

Captain Billy’s Whiz Bang 78

Bober, Richard 96, 99, 115–116, 190, Brooks, Terry 142, 266, 268, 368

Captain Future 21, 104, 209

354, 505

Brosnatch, Andrew 16, 123–124, 392, Captain Marvel 110

Bocklin, Arnold 187

420

Captain Slaughterhouse Drops Anchor Bodley Head & Jonathan Cape 37

Brown, Charles N. 1, 2, 6, 35

372

Bok, Hannes 21, 23, 24, 28, 44, 45,

Brown, Glen 395

Car and Driver (magazine) 467

116–118, 138, 177, 196, 200, 208, Brown, Howard V. 18, 105, 124, 475

Caravaggio 232

229, 303, 380, 385, 451, 499

Brown, Joe 418

Carcosa Press 156

Bonestell, Chesley 26, 27, 29, 33, 36, Brown & Bigelow 40, 80, 105, 106

Card, Orson Scott 48, 84, 368

39, 50, 51, 57, 58, 103, 118–119, 150, Brown University Museum 152

Carl Lundgren: Great Artist 326

171, 175, 178, 186, 225, 252, 295,

Bruegel, Pieter 272, 325

Carnell, John 127, 148, 319, 391

299, 345, 378, 385, 413, 489, 501,

Brundage, Margaret 18, 22, 50, 63,

Carr, Terry 174

505

125–126, 127, 208, 392, 405

Carroll, Jonathan 136

Book of Angels 448

Brunner, John 142, 175, 287

Carter, Lin 280, 476

The Book of Ballads and Sagas 466

Buck Rogers comic strip 79, 80, 393, Cartier, Edd 20, 21, 23, 24, 25, 28,

The Books of Blood 52

434

137–139, 200, 208, 221, 303, 385, Books of Wonder Publishing 82, 307,

Buckhorn Studios Inc. 99, 130

413, 420

496

Budrys, Algis 151

Cartoonists and Illustrators School

Booth, Franklin 81, 263, 412

Bull, Reina M. 127

307, 486

Borderlands Press 144

A Bullet for Billy the Kid 88

Cassell’s Magazine 366

Boris see Vallejo, Boris

Burian, Zdenek 89

Castilano, Fred 413

Bosch, Hieronymus 144, 183, 241, 314, Burne-Jones, Sir Edward 243

Cavalier Magazine 321, 347, 379, 433

325, 375, 390, 393, 423

Burns, Jim 34, 38, 46, 47, 48, 51,

Cawthorn, Jim 139–140

Boston Museum of Science (MA) 119

127–130, 193, 215, 255, 278, 338, Cemetery Dance (magazine) 144, 306

Bouguereau, William 232, 345

348, 500, 506, 507

Cemetery Dance Publications 61, 144

Boulogne, Valentine de 232

Burr, Linda 99, 130

Cenotaph Road novels 334

Bova, Ben 37, 250, 337, 494

Burroughs, Edgar Rice 15, 16, 18, 30, The Century Magazine 153

Bove, Richard 413

31, 43, 71, 80, 100, 112, 130, 139, 140, Chaffee, Douglas 140

Bowen Designs 66, 219, 263

159, 160, 162, 170, 217, 260, 261,

Challenge to the Stars 252

Bowling Green Fine Arts Center (OH)

265, 288, 291, 307, 308, 309, 331,

Changeling Films 151

58, 401

332, 334, 337, 347, 378, 385, 405,

Chanur series 142, 502

Bowman, William R. 119–120

419, 423, 430, 433, 440, 454, 459,

Chaos Comics 122

Boy’s Herald (Br. magazine) 366

477

Chaosium Inc. 39, 52, 206, 323, 380,

Boy’s Life (magazine) 183, 244, 390, Burroughs, John Coleman 130–131, 464

411, 463

405

Chapter II ( Habakkuk) fanzine 413

Boy’s Magazine (Br. magazine) 180

Burroughs Bulletin 260, 347, 419, 433

Charles E. Cooper Studio 88, 336, 451

Boys Own Paper (Br. magazine) 485

Burroughsania (British fanzine) 139

Charlie and the Chocolate Factory (film) The Boy’s World of Adventure 180

Burton, Tim 87, 122, 410

87

Bradbury, Ray 21, 25, 56, 58, 98, 116, Business Week (magazine) 250, 317, Charlton Comics 74, 296, 350

144, 150, 159, 174, 190, 240, 241,

467

Chase, William Merritt 404

329, 343, 357, 375, 385, 422, 434,

Butterfly (magazine) 424

Chatto 37

440, 486

By Bizarre Hands 52

Chaykin, Howard 140–141

Bradford Exchange 40, 115, 169, 170,

By Spaceship to the Moon 152

Cherry, David 51, 56, 141–143, 502, 311, 493, 505

Byrne-Jones, Sir Edward 243

503, 504

Bradley, Marion Zimmer 261, 311,

Cherryh, C. J. 78, 83, 141, 283, 329, 422, 503

Cabell, James Branch 366

368, 477, 494, 502

Bram Stoker Award 179, 440, 484

Cabral, Ciruelo 38, 131, 144

Chesley Award 51, 76, 84, 90, 106,

Brandt, Rolf A. 120

Caldecott Medal 174, 414, 472

128, 142, 143, 144, 158, 165, 171, 184, Brandywine Fantasy Art Gallery 59, 60

Caldwell, Clyde 42, 53, 131–134, 180, 188, 222, 227, 233, 247, 253, 262,

Brandywine Museum 412

181, 192, 368, 402

264, 274, 283, 286, 292, 299, 316,

Brandywine School of Artists 60, 78,

California College of Arts and Crafts 321, 322, 323, 326, 329, 334, 343,

219, 261, 284, 299, 373, 407, 470

206, 400, 401

342, 352, 355, 358, 365, 368, 393,

Brautigam, Donald P. 120–121

California Institute for the Arts (CalArts) 408, 422, 429, 440, 445, 448, 453,

Breezy (magazine) 104

197, 362, 402, 439

468, 470, 482, 491

Bresdin, Rodolphe 272

Callahan’s Place series 473

Chicago Academy of Fine Arts 125,

Bridgeman, George 176, 263, 277, 291, Calle, Paul 40, 134

213, 309, 355, 364, 403

412, 430

Campbell, John W. 22, 44, 124, 137,

Chicago Literary Times (newspaper) Briggs, Austin 153, 355, 393

138, 171, 221, 239, 280, 413, 463

429

Brillhart, Ralph 30, 121–122

Campbell, Ramsey 51, 383

The Chicago Tribune (newspaper) 364, Brin, David 142, 188

Canaveral Press 112, 159, 160, 217, 308

439

British Fantasy Society (BFS) 46, 184, Canedo, Alejandro 74, 134–135

Chicago Weekly Defender (newspaper) 273, 292, 380, 507

Caniff, Milton 266, 269, 295, 484

282

British Science Fiction Association

Cannibals 52

Childhood’s End 27, 385, 426

Award (BSFA) 46, 86, 128, 256,

“Cannon, Jeremy” see Stoops, Herbert Children’s book illustration 2, 66, 76, 343, 381, 395, 506

Morton

81, 82, 85, 86, 87, 92, 96, 101, 111, Brom, Jerold 114, 122–123, 181, 244, Canton Art Museum (OH) 56, 58,

114, 135, 136, 143, 144, 146, 147, 155, 256, 402, 503, 505

99, 115, 264, 300, 329, 453, 473,

157, 158, 159, 160, 162, 164, 167, 174, Bronx Museum of Art 49, 90, 305,

491, 496

188, 216, 225, 227, 228, 229, 232,

477

Cantor, Ann 135

240, 241, 245, 251, 259, 266, 268,

Index

512

274, 283, 305, 306, 311, 315, 321,

Comic books 30, 42, 50, 54, 55, 61,

Corpse Bride (film) 87

322, 325, 333, 343, 345, 354, 356,

62, 78, 79, 94, 110., 122, 140, 141,

Cosmic 21, 177

358, 361, 365, 366, 374, 377, 378,

151, 154, 159, 169, 178, 179, 213, 216, Cosmopolitan (magazine) 115, 325, 381, 386, 389, 403, 404, 407, 408,

217, 218, 237, 243, 255, 263, 266,

346, 412, 419, 439, 444

410, 412, 414, 426, 431, 438, 439,

267, 268, 269, 282, 291, 296, 297,

Cosmos (TV series) 175, 186, 252, 435

440, 449, 451, 453, 464, 466, 467,

307, 313, 319, 325, 332, 338, 346,

Cosmos Books 252

468, 471, 472, 473, 488

350, 356, 360, 361, 383, 399, 409,

Cosmos Science Fiction 89, 151, 175, 230

Chilling Tales (comic) 216

416, 417, 426, 434, 439, 445, 447,

Cowboy Stories (magazine) 177

Chills (Br. fanzine) 380

455, 466, 486, 487, 490

Cox, Kenyon 404

Choose Your Own Adventure series 61, Comic Con(vention) 42, 122, 132, 219, Coye, Lee Brown 37, 56, 155, 380, 473

233, 256, 296, 308, 417, 433, 440

501

Chouinard Art Institute see California Comic Images Inc. 64, 95

Cracked Magazine 356

Institute for the Arts

Comic strips 79, 11, 130, 140, 141, 157, Craddock, Alan 157–158

Christensen, James 65, 66, 143–144, 165, 180, 184, 213, 214, 216, 217,

Craft, Kinuko Y. 158, 502, 503, 505

503, 504

239, 250–251, 255, 266, 269, 282,

Craig, Eugene 355

Christie’s auction house 54, 55, 219

291, 295, 296, 309, 319, 332, 338,

Crandall, Reed 159–160

Chroma: The Art of Alex Schomburg 347, 356, 390, 391, 392, 393, 398,

Creation Entertainment 42

416

399, 404, 439, 446, 454, 455, 483,

Creepozoids (film) 52

The Chronicles of Thomas Covenant 241

486, 487

Creepy 37, 74, 94, 154, 318, 263, 291, Chums Magazine (Br.) 180, 485

Comic-Book Superheroes — Unmasked 298, 308, 321, 332, 356, 363, 393,

Church, Frederick 288

(film) 434

408, 487, 490

Cicada Magazine 82

Coming of the Space Age 214

Cricket Magazine 76, 281

Cimoc Magazine 399

Comixscene ( Mediascene) 434

Crisp, Steve 40, 52, 160–162

Cinefantastique (magazine) 422

Commemorative Stamp art 40, 190,

Crouch, Tom 378

“Ciruelo” 144

272, 342, 348, 363, 419, 432

Crowley, John 136

Cities and Scenes from the Ancient World Communication Arts 81, 99, 102, 108, Crown Books 25, 62, 92, 419

308

194, 272, 323, 328, 365, 478

Crucible Books 86

Citizen Kane (film) 119

Complete Airbrush Techniques 168

The Crucible of Time 175, 287

Clark, Alan M. 96, 144–145, 278

Complete Art Techniques and Treatments Cruikshank, George and Robert 372

Clark, Emery 419

168

Crypt of Cthulhu (magazine) 154, 200, Clarke, Arthur C. 50, 56, 58, 205,

Complete Stories (magazine) 433

306

212, 214, 225, 251, 261, 317, 348,

The Complete Thunderbirds Story 426

Culture Publishing Company 78

386

Computer game art 122, 140, 142, 157, Curse of the Mistwraith 491

Clarke, Harry 15, 145–147, 208, 359, 167, 179, 192, 193, 206, 212, 252,

Curtis Warren Publishers 164, 447

366, 383, 424, 450

261, 278, 294, 297, 334, 360, 368,

Cycle of Fire trilogy 491

Classic Book Jackets: The Design Legacy 381, 393, 399, 401, 403, 410, 438,

Cygnus Press 243, 291
of George Salter 407

453, 481

Cyteen series 142, 502

The Classic Horrors 306

Conan (comic) 101, 285, 332

Czezcko, Terri 252, 323

Classics Illustrated 355, 361

Conan (films) 150, 218, 439

Clayton magazine chain 17, 177, 301,

Conan (novels) 31, 71, 217, 298, 332, D. Brown and Sons, Ltd 488

370, 375

393, 410, 434

D’Achille, Gino 162

The Cleft and Other Odd Tales 484

Conan Classics portfolio 99

Dalby, Richard 120, 139, 214, 250,

Clifton-Dey, Richard 147–148

Conan Doyle, Arthur 153, 398, 453

251, 366, 450

Close Encounters of the Third Kind (film) Concept art 71, 76, 122, 187, 214, 240, Dalí, Salvador 82, 88, 96, 130, 212,

150, 340

261, 315, 329, 333, 340, 341, 345,

235, 241, 278, 314, 393, 437, 441,

Clothier, Robert 148

348, 362, 393, 395, 403, 427, 433,

447, 474

Clues Detective Stories (magazine) 239, 440, 490

Dameron, Ned 162–164

277, 364, 433, 451, 475

Conception s 399

Dan Dare comic 127, 250, 251, 296, Clute, John 176, 241, 395, 425, 450,

Condé Nast Publishing Co. 43

319, 455

459, 481

Conklin, Groff 25

Danbury Mint 40, 95, 300, 311

Clyne, Ronald 23, 148–149, 429

Connaway, Jay H. 385

The Danger Trail (magazine) 177, 475

Cobb, Ron 149–150, 214

The Conquest of Space 119, 252

Dangerous Visions 174, 197

Cochran, Connor Freff 150–151

Conquest of Space (film) 119

The Daniel Horne Sketchbook 273

CoConis, Ted 151–152

The Conquest of the Moon 224

Dante’s Inferno Portfolio 296

Cocoon (film) 340

Constable, John 160, 187, 441

Dark Age Magazine 286

The Coelura 163

Contact (film) 345

Dark Animus Magazine (Australia) 306

Coggins, Jack 3, 29, 152, 345

Content, Dan 27, 385

Dark Caravan series 429

Cohen, Sol 111, 200, 486

Contento, William G. 2, 6

The Dark Crystal (film) 225, 226, 261

Coll, Joseph Clement 15, 153, 160, 211, Cook, Hugh 160, 503

Dark Horizons (British fanzine) 380

308, 436

Cook, Robin 121

Dark Horse Comics 122, 154, 169, 179, Collectible card games (CCGs) 41, 51, Cool World (film) 343

338, 356, 360, 383

53, 82, 84, 114, 140, 142, 179, 213,

Cooper Union Art School 89, 307,

The Dark Tower 50, 86, 163, 249, 477, 233, 278, 285, 313, 323, 360, 376,

390, 407, 451, 467

478

448, 481, 495

Corben, Richard 58, 87, 154–155, Darkover novels 311, 422

Collier’s Magazine 39, 73, 119, 153, 393, 445

Darkstar (film) 155

196, 211, 212, 224, 277, 320, 337,

Corgi Books 127, 205, 301, 375, 481

Darkwërks 122

342, 420, 430, 439, 483

Corman, Roger 113, 175, 439

Datlow, Ellen 37, 63

Collins & Brown Publishers 254

Cornell, Joseph 286, 287

Davidson, Avram estate 151

Columbus Museum of Art (OH) 365

Cornwell, Dean 171, 261, 475, 496

Davies, Gordon C. 164–165

Comet 21

Coronet (magazine) 169

Davis, Patricia 165

Comic Art Professional Society 440

Coronet Books 127

Davis, Roger 165, 394

513

Index

DAW Books 33, 34, 40, 47, 50, 89,

250, 317, 336, 337, 358, 371, 379,

280, 299, 312, 316, 329, 379, 385,

92, 99, 142, 162, 221, 230, 237, 261, 382, 384, 387, 390, 422, 451, 457,

418, 419, 433, 464, 467, 489, 502

269, 275, 288, 298, 299, 301, 303,

477, 500, 504

Douglas, Jeff 108

307, 308, 312, 316, 325, 334, 348,

The Difference Engine 51, 506

Dover Books 30, 331, 454

376, 377, 386, 299, 408, 448, 463,

Digital art, media, method 62, 67, 83, Dracula 88, 95, 151, 242, 267, 332,

464, 474, 476, 477, 485, 494, 502,

92, 104, 108, 109, 151, 160, 174, 176, 419, 433, 464

503, 505

197, 202, 206, 227, 228, 240, 249,

Dragon magazine 41, 131, 192, 200, Day Million 488

250, 252, 256, 260, 275, 278, 285,

213, 274

The Day of the Ness 237

287, 293, 304, 334, 345, 360, 383,

“Dragon Masters” 229

DC Comics 53, 66, 74, 79, 94, 140,

403, 411, 423, 426, 427, 470, 471,

Dragon*Con(vention) 140

169, 170, 179, 213, 216, 238, 249,

478, 485, 493, 495

Dragon’s Dream Publications 38, 166,

332, 355, 380, 466, 494

The Dillons (Leo and Diane) 32,

251, 259, 292

Dead Heat 170

173–175, 286, 499

Dragon’s World Ltd. 38, 39, 71, 72,

Dean, Malcolm 165–166, 295

Dime Detective (magazine) 168, 277

167, 245, 256

Dean, Martyn 38, 103, 166

Dime Mystery (magazine) 18, 239, 421

Dragonhenge 188

Dean, Roger 38, 78, 103, 166–167, Dinosaur (film) 439

Dragonriders of Pern novels 34, 47, 477

183, 212, 279, 333, 501

The Dinosaurs — A Fantastic New View Drake, David 156, 233

The Death Dealer (comic and related) of a Lost Era ( The New Dinosaurs) Drake, Morgan 108

219

440

Draper, Herbert 261

Deathlands series 260

Dinosaurs, the Terrible Lizards 471

Drawing & Painting Fantasy Landscapes Deathrealm Award 144

Dinotopia 66, 244, 246, 247, 440, and Cityscapes 76

Deathrealm Magazine 306

500, 503

Drawing and Painting the World of Ani-De Chirico, Giorgio 88

Disch, Thomas 312
mals 168

The Deep Range 28, 103

Discover Magazine 247

The Drawings of Jeffrey Jones 292

Deep Space Nine (TV series) 435

Discovery Museum (CT) 90, 452

Drawn and Quartered 73

Defenders of Wildlife Magazine 151

Discworld novels 301, 302

Dream Makers: Six Fantasy Artists At Degas, Edgar 413

Disney, Walt (Studios and Company)

Work 39, 296

Delamare, David 38, 167–168

40, 65, 82, 125, 149, 197, 226, 300,

Dreamquests 329

Delaney, Samuel R. 141

303, 304, 334, 341, 345, 403, 435,

Drigin, Serge 180

De la Ree, Gerry 44, 45, 112, 200, 210, 439, 440, 453, 466, 474, 475, 485,

Drizzt novels 323

472

505

Drucker, Mort 291

Delaware Art Museum 56, 96, 99, 115,

Distant Worlds: The Story of a Voyage to The Duelist (magazine) 76, 140, 213, 264, 300, 305, 316, 329, 389, 401,
the Planets 245

505

452, 473, 477, 482, 491

Dixon, Don 175–176

Dulac, Edmund 85, 114, 135, 146, 240, The Delineator (magazine) 244, 277, DNA Publications 63

256, 263, 314, 439, 450

346

Do Androids Dream of Electric Sheep Dune (novels, film and related) 28, 83, Dell Books 25, 33, 37, 51, 74, 95, 96, 241, 381

214, 345, 414

102, 115, 127, 130, 151, 168, 263, 298, DOAK 392

Dungeon Magazine 132

316, 317, 326, 329, 334, 347, 348,

Doc Savage 18, 40, 88, 94, 138, 169, Dungeons & Dragons (RPG) 41, 52, 365, 376, 378, 379, 382, 386, 390,

170, 313, 364, 379, 396, 434

99, 122, 132, 180, 191, 200, 301, 321, 408, 409, 418, 419, 431, 442

Dr. Fu Manchu 153, 211, 212, 364,

323, 368, 377, 464

Del Rey, Judy-Lynn 33, 39, 205, 266,

486

Dunn, Harvey 336, 409, 412, 463

418, 441, 442, 463, 477

Dr. Strange (comic) 74

Dunninger, Joseph 112

Del Rey, Lester 33, 39, 205, 266, 441, Dr. Who 42, 71, 157, 322, 426, 455

Dunsany, Lord 425

442, 463, 477

Dr. Yen Sin 212

Durant, Frederick C. III 278, 345

Del Rey Books 33, 39, 40, 47, 50, 76, Dolbokgov 117

Durer, Albrecht 343, 423

154, 192, 260, 263, 268, 317, 334,

Dold, Elliot, Jr. 18, 176–177, 351, 453

Durham Cathedral 493

360, 373, 418, 419, 423, 442, 459,

Dold, Douglas 176

Dynamic Science Fiction 21, 25

462, 477, 502, 503, 504

Dolgov, Boris 117, 177

De Luca, Grover 44

Dollens, Morris Scott 177–178

Eagle Comics (Br.) 127, 164, 180, 250, Dember, Sol 29, 168, 373

Don Brautigam Portfolio 121

251, 426, 455

Dember Arts Video Library 168

Donald M. Grant Publishers 85, 108,

Eagles of the Air (magazine) 177

De Montaut, Henri 13

136, 163, 200, 210, 249, 286, 292,

Ealdwood 142

De Neuville, Alphonse Marie 13

308, 310, 383, 477

Earth: Final Conflict (TV series) 141

The Denver Post (CO newspaper) 413

Donaldson, Stephen R. 142, 241, 442,

Earthlight Gallery 46, 49, 477

Der Hexer (Ger. magazine) 104

493

Easley, Jeff 42, 65, 122, 132, 180–182, Derleth, August 23, 98, 148, 156, 272, Donnell, A. J. 178

192, 323, 368

297, 456

Donning/Starblaze Publishing Co. 150, The East Village Other 291

Desiderio, Monsu 272

213, 477

Eastercon (British National SF Conven-De Soto, Rafael 168–169

“Donato” 178
tion) 290, 506

Destination Moon (film) 119

Doolin, Joseph 16, 178–179

Eastern Comics 307

Detective Magazine (Br.) 180

The Door into Summer 28

Eastman, Kevin 58

Detective Story (magazine) 347

Dore, Gustave 208, 275, 372

Easton Press 40, 202, 222, 278, 386,

Detmold, Edward 439

Dorman, Dave 58, 179–180

464

DeVito, Joe 40, 169–171, 203, 357

Dorsai novels 395

Eaters of the Dead 343

Diary of a Space Person 214

Double Memory: Art and Collaborations Ebel, Alex 182–183

Dick, Philip K. 241, 287, 348, 377,

108, 249

Eberle, Joseph, Jr. 183

381, 395, 423

Double Star 395

EC Comics 159, 217, 255, 281, 307,

Dickson, Gordon R. 138, 356

Doubleday Books 26, 27, 37, 39, 86,

332, 486, 487

Di Fate, Vincent 3, 26, 33, 56, 60, 64, 113, 142, 151, 154, 175, 192, 202, 206, Eclipse Comics 74, 184, 192, 206, 308

75, 104, 171–173, 177, 208, 219, 221, 233, 240, 242, 263, 266, 268, 274,

Eddings, David 368

Index

514

Edgar Rice Burroughs — Library of Illus-Eshbach, Lloyd 110, 117, 178

Fantasy Tales Magazine (Br.) 306, 380
tration 160

Esquire Magazine 183, 218, 225, 227, Fantasy: The 100 Best Books 139

Edwards, Les 52, 66, 183–186, 215, 320, 386, 390, 438

Fantazius Mallare 428

338

E.T. (film: The Extra-Terrestrial) 261, Fanthorpe, R.I. 290

Edwards, Malcolm 39

339, 340

“Fantoni, S.” 290

E. E. Doc Smith “Skylark” Award 171,

Etchings and Odysseys magazine 306

Fanzines 30, 36, 41, 51, 67, 73, 80, 92, 188, 221

Eureka Magazine 425

108, 116, 139, 148, 150, 154, 160, 197, Eerie 37, 37, 74, 94, 154, 318, 291, Event Horizon 63

200, 236, 237, 248, 263, 273, 279,

298, 308, 321, 332, 356, 373, 393,

Evergreen Review 272

291, 296, 303, 305, 307, 308, 322,

408, 487, 490

Every Week Magazine 211

362, 363, 376, 379, 380, 383,398,

Eerie Mysteries 168

Everybody’s Magazine 153

413, 429, 453, 454, 472, 487, 500

Effinger, George Alec 493

Everyday Astrolog y 209

Faragasso, Jack 28, 99, 203–204, 418, Egge, David 186–187

Expedition 90

473

Eggleton, Bob 38, 51, 52, 65, 99, 187–

Experimenter Publishing Company

Farley, A.C. 58, 202–203

190, 312, 470, 500, 503, 504

350

Farley, Ralph Milne 16

Eigner, Tom 92

Extro Magazine 391

Farmer, Philip Jose 288, 390

Eisner Award 80, 179, 249, 417, 466,

The Eye and the Finger 456

FASA Corp. 39, 52, 53, 140, 192, 399, 487

The Eye of the World 442

495, 505

El Greco (Domenicos Theotokopoulos)

Eyewitness to Space 39

Fashion Institute of Technology (NY)

81

171, 234

El Paso Museum of Art (TX) 305

Fabian, Stephen 33, 44, 200–202, Fate (magazine) 405, 421, 428

Eldred, Alison 3, 373

507

Faust 146

Eldritch Tales 306

The Face That Must Die 52

Fawcett, Gene 281

Electrical Experimenter 124, 370, 416

Faeries 225, 315

Fawcett, Robert 441, 489

Electronic Arts Inc. 167, 206, 212, 491

Fagg, Kenneth 202

Fawcett Books (Fawcett Publications)

Electronic Games Magazine 151

Fairy tale illustrations 58, 136, 143, 37, 78, 95, 102, 110, 183, 237, 253,

Elfquest 380

146, 158, 240, 241, 267, 269, 322,

298, 408, 409, 419

Ellery Queen’s Mystery Magazine 26, 333, 366, 372, 398, 408, 503

Fearn, John Russell 454, 455

144, 197, 397

Fairy Tales 58, 85, 136, 143, 145, 146, Feck, Lou 204

Elliot, Darryl 278

158m, 241, 269, 333, 398 503

Fedogan & Bremer Publishers 80

Ellis, Dean 33, 190–191, 227

The Fairy Tales of Perrault 146

Feibush, Raymond 204–205

Ellis, Doug 3

Falanga, Michael 217

Feist, Raymond E. 244, 329, 491, 502

Ellison, Harlan 32, 89, 154, 173, 197, Fall of the House of Usher and Other Fenner, Arnold 3, 59, 219, 233, 285,

417, 422, 423, 429, 430, 434

Tales 154

286, 291, 322, 445, 505

Ellison, Pauline 191

Family Circle Magazine 317, 370

Fenner, Cathy 3, 59, 219, 233, 285,

Elmore, Larry 42, 132, 180, 191–193, Famous Artists School 92, 100, 281,

286, 291, 322, 445, 505

368

291, 325, 490

Ferat, Jules-Descartes 13

Elric novels 34, 139, 243, 477

Famous Fantastic Mysteries 21, 23, 148, Ferman, Ed 197

Elson, Peter 166, 193–194

169, 209, 436, 437

Fernandes, Stanislaw 205–206

Elwell, Tristan 194–195, 503

Famous Funnies (comic) 217

Ferrari, Mark 206

Embleton, Ron 426

Famous Monsters of Filmland 37, 92, Ferret Fantasy 139, 425

Embrace the Mutation 383

113, 150, 363, 393

Fiction House 22, 44, 78, 79, 104,

Embryonic Journey 454

Fangoria 306

178, 239, 281, 282, 301, 347, 367,

Emerald Eyes 493

“Fangorn” 87, 506

467, 486

Empire 141

Fantagor (comic) 154

Fictioneer Books 200

Empire trilogy 491

Fantagor Press 154

Field and Stream (magazine) 98, 342, Empires, Eagles and Lions Magazine Fantast (Br. fanzine) 453

411, 463

237

Fantastic 25, 28, 29, 74, 92, 111, 156, Fields, Fred 181, 206–207

“Emsh” 195

240, 271, 291, 296, 307, 310, 441

Fiend 52

Emshwiller, Ed 26, 26, 28, 29, 30, 32, Fantastic Adventures 21, 22, 23, 138, Fighting Fantasy (RPG) 114, 183, 294

44, 45, 111, 195–199, 209, 229, 303, 208, 290, 295, 327, 337, 370, 371,

Filmfax 90

457, 487, 499

421, 441, 457

Finlay, Virgil 19, 21, 23, 24, 29, 36, The Enchanted Wood 407

The Fantastic Art of Boris Vallejo 459

44, 45, 50, 81, 116, 125, 138, 146,

The Enchanted World series 143, 259, The Fantastic Art of Frank Frazetta 218

163, 187, 200, 207–211, 210, 216, 275

The Fantastic Art of Rowena 351

217, 284, 303, 306, 327, 355, 380,

Enchantment 460

Fantastic Monsters of the Films 113

384, 416, 436, 437, 470, 499, 500

The Enchantress of World’s End 476

Fantastic Novels 21, 25, 169, 209

Fire and Ice (film) 218, 247

Encyclopedia of Fantasy 241

The Fantastic Pulps 239

First Comics 141, 192, 213, 380

The Encyclopedia of Science Fiction and Fantastic Science-Fiction Art 1926–1954

First Fandom 138, 178

Fantasy 188

39

First Maitz 329

The Encyclopedia of Science Fiction 395

Fantastic Story Quarterly 104

First Men in the Moon 187

Endless Quest novels 93

Fantastic Universe 28, 29

Fishing World (magazine) 411

Engel, Mort 44

The Fantastic World of Gervasio Gallardo Fixler, Fred 402

Epic Illustrated 132, 249

227

Flanagan, John Richard 153, 211–212

Erbania (Br. fanzine) 139

Fantasy (Br. magazine) 180

The Flash (TV series) 141

ERBania (fanzine) 307

Fantasy Advertiser (fanzine) 80

Flash Gordon 159 255, 392, 393, 454, ERB-dom (fanzine) 307

Fantasy Art Masters 329, 344

486, 487

Eric the Viking (film) 315

Fantasy Art Techniques 344

Flashman novels 162

Ernst, Max 130, 144, 319, 447

Fantasy Fiction Telegram (fanzine) 178

Fleer Corporation 64, 95, 169, 267, 269, Eschatus 375

Fantasy Press Publications (FPCI) 23, 399

Escher, M.C. 144, 314, 390, 454

24, 110, 117, 138, 178, 229, 397

Fleetway Comics 95, 157, 319, 426, 455

515

Index

The Flights of Icarus 103, 245

Froud, Brian 58, 225–226, 244, 315, Giusti, Robert 238–239

Flint, Russell 331

354, 466, 500, 503

Gladney, Graves 20, 239, 419, 451

The Fly (film) 261, 485

Froud, Wendy 226, 244, 466

Glass Onion Graphics 49, 477

Flynn, Danny 38, 212–213

Froud’s World of Faerie 226

Gleeson, Tony 239–240

Focus Magazine 252

Fuchs, Ernst 365

Glimmer Graphics 49, 65, 263

Fogg Art Museum 73

Fungi Magazine 154

Gnam, Carl 323

Foglio, Phil 213, 323, 500

“Fuqua, Robert” 54, 226, 449

“Gnemo” see Kidd, Thomas

Fontana Books 52, 363, 408, 492

Fury 397

Gnome Press 24, 26, 110, 117, 138, 173, Forbes Magazine 194, 325

Fuseli, Henry 183

196, 221, 462, 487

Ford, H. J. 422

Futura Books 86, 227, 343

Goble, Warwick 14, 240

Forecast (magazine) 371

Future Flight (film) 435

The Goblins of the Labyrinth 225

Forge Books 37

Future Life (magazine) 96, 186, 378, Goddess of the Ice Realm 233

Fortune ( magazine) 82, 134, 238, 317, 422

God’s Man: A Novel in Woodcuts 471

325, 342, 444, 462

Future Magazine 21, 25, 90, 327, 384

The Gods of Pegana 425

Foss, Chris 32, 33, 34, 51, 53, 127,

Futures: 50 Years in Space 252

Godwin, Parke 151

166, 193, 213–215, 227, 258, 293, Futurian War Digest (Br. fanzine) 453

Godzilla 2000 (film) 453

314, 338, 348, 362, 395, 488

Gold, Horace 27, 385

Foster, Hal 291, 309

G-8 and His Battle Aces 18, 100

Gold Eagle Publishers 260

Foster, Alan Dean 143, 247, 395, 423, G-Fan (fanzine) 362

Gold Key comics 291

468, 502, 503

Gaiman, Neil 429, 466

Golden Age illustrators 57, 58, 135,

Foundation series 214, 390, 445, 478, Gaines, William M. (Bill) 281, 486

145, 147, 171, 263, 347, 393, 396,

481, 494

Galactic Central Publications 2

397, 453

Fowke, Robert 215–216

Galactic Encounters series 215, 228, The Golden Argosy 14

Fox, Lorraine 451

245

Golden Book 155

Fox, Matthew 216–217

The Galactic Geographic 304, 305

The Golden Compass (film) 87

Fox, Randy 144

Galaxy Quest (film) 90, 122, 490

Golden Eagle Award 154, 357

Fox, Victor 486

Galaxy Science Fiction 25, 27, 28, 29, Golden Fleece 282

France, Anatole 366

44, 74, 88, 105, 150, 151, 152, 168,

Golden Gate Bridge 119

Francis, Richard 217

173, 195, 196, 197, 200, 217, 229,

Goldman, Emma 432

Frank, Howard (Frank Collection) 46,

230, 238, 250, 255, 279, 356, 361,

Goldsmith, Cele 111, 307

58, 233, 348, 387, 423, 429

373, 380, 385, 431, 438, 462, 475,

Gollancz Books 47, 51, 127, 139, 343, Frank, Jane (Frank Collection) 46, 58, 487

504

233, 348, 387, 423, 429

Galaxy Science Fiction Novels 25

Good Faeries/Bad Faeries 225

Frank Frazetta’s Fantasy Illustrated 192, Galileo Magazine of Science & Fiction Goodfellow, Peter 241–242

380

380, 422, 425

Goodkind, Terry 358, 368

Frank Kelly Freas —The Art of Science Gallardo, Gervasio 32, 226–227, 325

Gor novels 459

Fiction 222

Gambino, Fred 38, 227–229, 348

Gorey, Edward 242–243, 501

Frank R. Paul Award 140, 164, 221,

Game Designer’s Workshop (GDW)

Gormanghast Trilog y 315, 372, 376

317, 321, 345, 389, 416, 468

52, 53, 192, 202

Gothic horror art style 51, 53, 76, 122, Frankenstein 88, 266, 269, 419, 471, Games Magazine 432

144, 160, 183, 275, 293, 342, 375,

490

Games Workshop (UK) 39, 41, 51, 52

380, 383

The Franklin Mint 56, 66, 101, 115,

53, 71, 114, 183, 343

Gothic romance (“Gothics”) 102, 203,

122, 158, 263, 264, 267, 269, 280,

Gaughan, Jack 26, 29, 33, 44, 45, 50, 204, 291, 382, 459

289, 300, 325, 448, 478

51, 80, 150, 188, 229–232, 233, Gottfredson, Floyd 78

Frazetta, Frank 30, 31, 32, 33, 34, 36, 253, 262, 285, 287, 316, 385, 397,

Gould, John Fleming 17, 243, 420

49, 50, 53, 54, 55, 58, 71, 87, 89,

429, 458, 461, 473, 487, 499, 500

Gould, Robert 42, 135, 243–244, 501

122, 131, 135, 139, 159, 163, 180, 187, Gay Broadway (magazine) 104

Goya, Francisco 81, 183, 218, 372,

192, 200, 217–220, 238, 240, 247, Geary, Clifford 232

375, 483

261, 263, 273, 275, 281, 287, 289,

Geis, Richard 151

Graef, Robert 16, 43, 244–245, 430

291, 296, 297, 298, 307, 308, 323,

GenCon(vention) 122, 180

Grafton Books 275, 343

325, 331, 351, 373, 382, 384, 385,

Gernsback, Hugo 16, 17, 20, 21, 43,

Grainger, Sam 131

393, 405, 408, 439, 445, 453, 458,

124, 350, 370, 371, 416, 499

Granada Books 241, 252, 293

459, 472, 476, 490, 495, 499, 501,

Gerome, Jean Leon 256, 260

Grand Central School of Art 73, 152,

505, 505

The Ghost Pirates 425

331, 336, 392, 409, 412, 421, 451

Frazetta Museum 219

Ghosts and Scholars (British fanzine) The Grand Tour 345

Frazetta: Painting with Fire (film) 219

279, 380

Grant, John 188, 241

Freas, Kelly 24, 26, 28, 29, 32, 33, 34, Ghosts of Mars (film) 122

Grant, Melvyn 39, 48, 245–246, 375

44, 45, 150, 187, 195, 213, 221–224, Giadrosich, Bob 278

Graphic Artists Guild 174, 316, 438,

230, 248, 313, 397, 416, 457, 463,

Giancola, Donato 59, 178, 232–235, 452, 478

477, 499, 500, 503, 504

500, 501, 502, 503, 504, 505

Graphic Magazine 14

Freas, Laura Brodian 222

Gibbons, Terry 2, 6

Graphic novel 51, 52, 66, 95, 139, 141, Freeman, Fred 58, 224–225

Gibson, Charles Dana 347

154, 184, 213, 267, 269, 287, 297,

“Freff ” 225

Gibson, William 51, 108, 473, 506

311, 338, 343, 357, 380, 381, 422,

Frets Magazine 151

Giger, H. R. 37, 235–236, 423

439, 466, 471, 496

Friday 50, 477

Gilbert, Michael 236–237

Graphitti Design 66, 170

Friedlander Publishing, Inc. (FPG Inc) Gilbert, Sheila 237, 505

Graveyard Shift (film) 453

64, 65, 72, 169, 368, 383

Gillis, Peter 151

Gray Lensman 22, 110, 397, 413

From an Ultimate Dim Thule — A

Gilmore, William 288

Great Balls of Fire 127, 255

Review of the Early Works of Sidney Girl Genius (comic) 213

The Great Kettles 354

Sime 425

Girodet, David 288

Green Hills of Earth 28

Frost, A. B. 153

Giunta, John 237–238, 217

The Green Round 149

Index

516

Greenberg, Marty 110, 196

Hartwell, David 311, 387

Horror Stories (magazine) 18, 19, 277, Greenleaf Publishing 108, 338

Harvey Publications 238, 307, 433

364, 421

Greenwich Workshop 39, 65, 66, 143,

Hasbro, Inc. 167, 169, 180, 323, 358

Horrorshow (magazine) 383

247, 355, 503, 505

The Haunted Omnibus 472

Horrorstruck (magazine) 383

Greenwillow Books 452

Hay, Colin 258–259

Horseclan novels 298

Greetings from Earth: The Art of Bob Hayakawa Publishing 77

Houghton Mifflin 113

Eggleton 188

Hayden Planetarium (NY, MA) 57, 90,

House of Souls 425

Gregg Press 151

280, 329, 386, 435, 491

House on the Borderland 153

Gregg, Gerald 431

Headline Books 343, 348

Howard, Robert E. 31, 200, 217, 296,

Griffin, Rick 423

Hearst Publications 74, 209, 305,

298, 307, 308, 332, 392, 410, 434

Griffith, George 14, 453, 485

425

Howard Award (H.P. Lovecraft) 85,

Griffith Observatory 176

Heavy Metal (film) 71, 142, 154, 338, 188, 329, 490

Grim Wit (comic) 154

399

Howe, John 49, 58, 59, 275–277, 315

Grimshaw, Atkinson 272

Heavy Metal (magazine) 89, 101, 131, Howitt, John Newton 18, 19, 169,

Groce, Jim 156

132, 154, 157, 191, 235, 273, 297,

277–278, 421

Gross, George 483

304, 321, 338, 356, 365, 399, 439,

The Howling (film) 261

Grosset and Dunlap Publishers 90,

440, 466, 468, 474

Hubbard, L. Ron 138, 306, 317, 321,

419, 467

Hedin, Don 442

413, 448, 463

Ground Zero: The Art of Fred Gambino Heinlein, Robert A. 25, 27, 28, 32,

Hudson River Valley school of art Artists 228

50, 56, 164, 212, 232, 280, 317, 375, 98, 188, 247, 407, 441, 453

Gryphon Books 455

395, 410, 413, 423, 431, 442, 473,

Hughes, Debbie 278–279

The Guardians (CCG) 65, 368

477, 478, 503

Hughes, Dennis 164

Guernsey’s auction house 50, 55

Hellbound Books 306

Hugo Award 45, 46, 48, 51, 63, 85,

Gulliver of Mars 31

Hellbound Heart 52

92, 117, 128, 142, 163, 171, 174, 188, Gurney, James 65, 66, 218, 244, 246–

Hellboy (film) 90

196, 200, 210, 213, 218, 221, 225,

248, 354, 401, 500, 501, 502, 503, Heller, Julek 39, 259–260

229, 230, 247, 252, 264, 271, 280,

504

Hellraiser (film) 52

292, 303, 308, 317, 321, 322, 326,

Gutierrez, Alan 248–249

Henninger, Joseph 289

329, 345, 356, 370, 387, 389, 401,

Henry Holt and Winston Publishers

414, 416, 417, 422, 435, 467, 478,

Haber, Karen 127, 174, 217 287, 390

22, 38

487, 499–500

Hachete Publishers 147

Henson, Jim 152, 225

Humor 21, 29, 73, 137, 138, 143, 144, Haffner Press 80, 350

Herbert, Frank 28, 214, 375, 414

153, 156, 183, 194, 208, 213, 216,

Haggard Project, H. Rider 233

Heritage Press 291, 357

221, 227, 242, 282, 285, 297, 301,

Haining, Peter 124, 177, 239

Heroic Dreams 39

329, 358, 366, 368, 372, 381, 384,

Hale, Phil 108, 135, 136, 249–250

Herring, Michael 260–261

387, 397, 398, 413, 424, 425, 447,

The Halloween Tree 174

Hescox, Richard 51, 60, 261–263, 504

473, 483, 484, 490

Hamann, Brad 250

Hetzel editions of Verne novels 13

The Humorist (magazine) 398

Hamilton & Co. Publishers 164, 356, Der Hexer (Ger. magazine) 104

Hunchback of Notre Dame (film) 119

394

Heyne Publishers (Ger.) 332, 448

Hunt, William Holman 288

Hamilton King Award 81, 158, 174,

Hickman, Stephen 40, 49, 51, 55, 66,

Hunter, Alan 148, 279, 431

272

263–265, 401, 500, 503, 504

Hunter, Mel 24, 29, 86, 186, 279–280

Hamling, William 108, 338, 397, 449

Hickman, Tracy 368, 494

Hyperion series of novels 401

Hamlyn Books 52, 348, 378

High Sonoran Style (magazine) 207

Hampson, Frank 127, 166, 250–251, Hildebrandt, Greg 60, 256, 265–268, I Am a Barbarian 291, 459

338, 380, 426, 455

445

I, Robot (film) 334

Hampton’s Magazine 346

Hildebrandt, Tim 60, 256, 268–270, I, Robot (story) 449, 494

Hantman, Carl 99

445, 501

Icarus (film) 357

Harbottle, Philip 3, 165, 431, 447, 455

Hill, Roger 44, 216

The Idler (Br. magazine) 424, 425, Hardy, David A. 65, 251–253, 394

The Hill of Dreams 425

492

Hardy, Paul 14

Hines, William “Pop” 168

IF 25, 202, 230, 279, 364, 380, 457

Hardyware 252

Hinge, Mike 84, 205, 270–271

IFD Publishing 144

Harlequin Books 33, 288, 382, 402,

Hirschfeld, Al 82

The Illustrated Dune 414

408, 419

The History of Comics 434

Illustrated London News (newspaper) Harper & Row Publishers 96

Hitchcock, Alfred 74, 115, 285, 301,

119, 424, 425

Harper Collins Publishers 76, 228,

331

The Illustrated Man 241

275, 299, 329, 348, 393

The Hobbit 466, 503

The Illustrated Roger Zelazny 356

Harpers Magazine 153

Hodgson, William Hope 425

Illustration House Gallery and Auction Harris, Dell 51, 253, 504

Hogarth, Burne 170, 390, 464, 486

House 55, 494

Harris, John 38, 215, 253–255, 256

Hokusai, Katsushika 413

Illustrators of the Future 7, 138, 174, Harrison, Harry 127, 255–256, 288, Holdstock, Robert 39, 136, 244, 506

221, 317, 321, 448

486

Holland, Brad 271–272

Image Comics 101

Harrison, Mark 38, 256–258, 506

Hollander, Jason van 272–273, 306

Imagination 25, 108, 337, 397, 446

Harry Chesler Studio 110, 307

Holmes, Sherlock 212, 434

Imagination Fully Dilated 144

Harry Clarke — Darkness in Light (film) A Honeymoon in Space 485

Imagination: The Art and Technique of 147

Honor Harrington novels 334

David A. Cherry 142

Harry N. Abrams Publishers 39, 337,

Hooks, Mitchell 355

Imaginative Tales 108, 337, 397, 446

354, 503

Horne, Daniel 40, 49, 66, 273–275

Imaginosis Publishing 244

Harry Potter 61, 90, 311

Horror genre 36, 51, 52, 53, 61, 96,

Immerman, Sol 102, 418

Harryhausen, Ray 59, 113, 440

144, 146, 169, 205, 306, 410, 470,

Impressionism 81, 102, 105, 106, 115, Hartfield, John 383

483, 490, 507

130, 200, 254, 278, 382, 386, 423,

Hartford Art School (CT) 451

The Horror Show 306

454

517

Index

Indiana Jones (books and film) 94, 179, Judge Dredd 83, 157, 455

Ladies Home Journal 169, 227, 346

334, 340

Judge Magazine 430

Lady Cottington’s Pressed Fairy Book Infantino, Carmine 80

Jungle Jim 393

225

Inferno 90

Jungle Stories 281, 486

Lady of the Haven 157

Infinite Worlds: The Fantastic Visions of Jurgen 366

La Gatta, John 289

Science Fiction Art 104, 171, 219, 317, Juxtapoz Magazine 81

Lake, Lissane 312–313

358, 383, 385, 414, 451, 477

Lancer Books 30, 31, 203, 217, 356,

Infinity 29, 74, 120

Kadath Magazine (Italy) 306

457

Ingels, Graham 281, 490

Kaluta, Michael 39, 263, 275, 291,

The Land of Dreams — S.H. Sime, 1905–

Ingres, J. A. D. 90, 232

296–297, 466, 490, 507

1916 425

Iniquities (magazine) 383

Kane, Gil 140

The Land of Esa 447

Inkpot Award 85, 221, 256, 439

Kansas City Journal (newspaper) 430

The Land That Time Forgot 139

Inquest Gamer Magazine 76, 140, 411

Kansas City Star (newspaper) 430

Landmark General Corp. 65, 167, 334

Institute of the Arts (PA) 152

Kansas City Times (newspaper) 430

Langford, David 3, 302

International Association of Astronom-Kaufman, Logan 3

Lanos, Henri 14
ical Artists 83, 104, 176, 188, 222,

Kelly, Ken 31, 40, 297–299

Lansdale, Joe R. 51, 52, 144

252, 345, 362, 435

Kelly, Walt 486

Larkin, Bob 313–314, 475

International Horror Guild Award.

Kidd, Tom 47, 66, 299–301, 401, 501, Larkin, David 227

The 144, 273

502, 503

Laser Books 33, 34, 221

International Tattoo Magazine 353

Kiemle, H. W. 301

Last Gasp Comics 291

Internet Speculative Fiction Database Kimball, Eric 135, 243

The Last Starfighter (film) 435

2, 6

Kimball, Ward 157

Last Unicorn Games 52

Interview with a Vampire 37

“King, Josh” 361

Laughlin, Clarence John 383

Interzone (magazine) 50, 51, 86, 343, King, Stephen 36, 48, 50, 51, 108, 121,

“Lawrence” 436, 437

506

136, 144, 158, 160, 163, 249, 286, 329, Lawrence, Don 426

Iron Crown Enterprises (ICE) 52, 192

334, 383, 477, 478, 490, 503, 507

Lawrence, Sir Thomas 311

Iron Wolf (comic) 140

King Arthur (film) 71

Laymon, Richard 52, 144, 160

Isaac Asimov’s Science Fiction Magazine King Kobold 293

Layzell, Bob 314

51, 63, 75, 84, 151, 188, 202, 213,

King Kong 88, 106, 170, 188, 275

Leading Edge Magazine 143, 503

284, 286, 303, 305, 321, 323, 348,

“King — of the Kyber Rifles” 153

Lee, Alan 49, 58, 59, 225, 243, 256,

412, 470, 503, 504

Kingsgate: The Art of Keith Parkinson 275, 276, 314–315, 322, 466, 501, Isip, Pagsilang and Manuel 22, 282

368

503, 504, 506

Kinkade, Thomas 247

Lee, Elaine 296

Jack Gaughan Award 7, 51, 188, 230,

Kinneson, Kimball 22

Lee, Jody 315–316

233, 253, 275, 281, 285, 316, 427,

Kinsmen of the Dragon 24, 117

Lee, Stan 42, 416, 433

461

Kirby, Josh 38, 301–303, 507

Legacy, Icon and Testament 219

Jackson, Jay 282–283

Kirk, Tim 266, 268, 303–304, 500

Legend (film) 315

Jackson, Steve (Br.) 41, 114, 183

Kissinger, Tess 470

Le Guin, Ursula K. 48, 94, 103, 158,

Jael 38, 283–284

Klee, Paul 319, 429

241, 258

Jainschigg, Nicholas 284–286

Kley, Heinrich 208

Lehr, Paul 26, 28, 32, 66, 144, 190,

James Gurney: The World of Dinosaurs Klimt, Gustave 135, 256, 291, 441

254, 286, 287, 316–318, 342, 384, 247

Kline, Otis Adelbert 43, 245, 307, 405

413

Jane, Fred T. 14

Klutz Press 466

Leighton, Lord Frederick 288, 495

Jankus, Hank 286

Knight, Charles 81

Leinster, Murray 245, 487

Jazz Magazine 467

Knight (magazine) 327

Lem, Stanislaw 205

Jeff Hawke (comic) 295, 296

Knightsbridge: The Art of Keith Parkin-Lensman Award 93, 171, 174, 416

Jensen, Bruce 286–288
son 368

Leone, Len 88, 190

Jerry Cornelius stories 165, 295

Kofoed, Karl 304–305

Leslie’s Weekly 346

Jerry Iger Comic Shop 159

Kolliker, William 305

Lesser, Bob 58

Jimmy Neutron: Boy Genius (film) 187, Kollmar, Richard 203

Levi, Julian 385

228, 329

KONG: King of Skull Island 170

Lewis, Brian 29, 319–320, 391

John Carter of Mars (film) 440

Koontz, Dean 121

Lewis, C. S. 158, 174, 259

John Wiley and Sons Publishers 88

Koszowski, Allen 305–306, 501

Leydenfrost, Alexander 320–321

Johnny Comet (comic) 217

Kramer, Frank 306–307

Leyendecker, J. C. 60, 240, 262, 397, Johnny Mnemonic (film) 108

Kramer, Vernon 74, 111, 307

439

Johns Hopkins University Press 78

Krenkel, Roy G. 30, 42, 54, 55, 131,

Liberty Magazine 134, 169, 277, 320, Johnson, Kevin Eugene 288–289

159, 217, 261, 263, 291, 296, 307–

420

Johnston, David McCall 289–290

309, 405, 466, 499

Library of Congress 209, 272, 357,

The Jolly Book (Br. magazine) 398

Kresek, Larry 309

379, 456, 472

Jones, Eddie 290–291, 431, 488

Kroll, Leon 336

The Life and Art of Murphy Anderson Jones, Jeffrey 31, 42, 44, 131, 240, 243, Krupa, Julian 309–310

80

256, 375, 291–293, 296, 298, 323, Krupowicz, R.J. 310

Life Magazine 39, 73, 82, 90, 106, 119, 472, 490, 501

Kubrick, Stanley 40, 87, 197, 214, 348, 152, 190, 224, 279, 317, 320, 336,

Jones, Peter Andrew 34, 38, 49, 53,

416

342, 386, 397, 411, 430, 470

293–294

Kukalis, Romas 310–312

Lightstrike: The Art of John Zeleznik Jones, Richard Glynn 294–295

Kushner, Ellen 136

496

Jones, Robert Gibson 22, 296

Kuttner, Henry 397

Lil Abner 30, 217

Jordan, Sidney 295–296

Lindahn, Val Lakey 51, 321–322, 503

The Journal (newspaper) 367

Laager, Ken 273

Lindsay, Norman 208

Journey Into Mystery (comic) 216

Labyrinth (film) 152, 225

Lion Adventure (magazine) 197

Jove Books 351, 434

Ladd, Alan 312

Lion Books 409, 430

Index

518

Lippincott, Gary 322, 504

83, 86, 122, 131, 213, 233, 267, 269, McCay, Harry 350

Literary Guild Magazine 419

323, 360, 505

McClure’s Magazine 153

Little, Mike 322–323

Magnetic Storm 166

McCormick, Howard 155

Little, Brown Publishers 227, 267,

Magnum Books 157, 348

McDonald, Ian 493, 494, 506

269, 343, 407, 408

Magritte, Rene 96, 227, 429, 448, 474

McGraw-Hill Publishers 98, 144, 285

Little Folks (magazine) 366, 398

Maitz, Don 34, 48, 49, 56, 57, 65,

McKay, Winsor 208, 412

Little Fuzzy series 34, 477

329–331, 357, 491, 500, 501, 502, McKie, Angus 157, 193, 338–339

Livingstone, Ian 41, 114, 183

503, 504, 505

McKiernan, Dennis 368

Llewellyn Press 313

Male (magazine) 169, 382, 410

McKillip, Patricia A. 85, 158, 226, 502

Locke, George 139, 425

Malefic 399

Mclean, Wilson 339

Lockwood, Todd 323–324, 502, 503, Mammoth Adventure (magazine) 404, McQuarrie, Ralph 339–340

504, 505

421, 449

Mead, Syd 78, 339, 341

Locus (magazine) 1, 35, 36, 51, 63, 67, Mammoth Detective (magazine) 282, Mechanics Illustrated Magazine 82

90, 128, 158, 171, 188, 236, 252, 255, 404

Mechanismo 127, 255

271, 444, 477, 478

The Man Who Drew Tomorrow 251

Medusa 71

Locus Index to Science Fiction 2, 6

Mannarino, Joe 54, 55

Meisha Merlin Publishing, Inc. 358

LoGrippo, Robert 32, 324–325

Man’s Book (magazine) 410

Meltzoff, Stanley 28, 317, 341–342, The Lone Wolf series 179

Man’s Illustrated 382

413, 417, 441

A Look Back 490

Man’s Life (magazine) 169

Memling, Hans 232

The Lord of the Rings 32, 76, 139, 230, Man’s Magazine 418

Men in Black (film) 439

233, 265, 266, 268, 269, 274, 303,

Man’s World (magazine) 197, 382

Men Only (Br. magazine) 71, 94, 382

315, 323, 445

Marchesi, Stephen 74

Mercury Press 26

The Lord of the Rings (films) 275, 276, Marchioni, Mark 331–332

Merlin (film) 315

315

Marion Zimmer Bradley’s Fantasy Mag-Merlin’s Dreams 315

Los Angeles County Museum of Art
azine 93, 222, 272, 503

Mermaids & Magic Shows 168

(CA) 357, 376, 413

Mark V. Zeising Publishing 52

Merritt, Abraham 16, 25, 117, 135, 153, Los Angeles Herald Examiner (newspaper) Maroto, Esteban 332

208–209, 430, 463

413

Mars Attacks gum cards 410, 487

Merritt, Eleanor 135

Lost Realms: An Illustrated Exploration Mars novels (by Burroughs) 30, 54, Mervyn Peake: The Man and His Art of the Lands Behind the Legends 256

80, 100, 130, 160, 162, 347, 405,

373

The Lost Valley of Iskander 296

439, 477

The Messiah of the Cylinder 153

The Lost World 153

Mars Project (film) 345

Métal Hurlant (Fr. magazine) 154, Love Story (magazine) 433

The Martian Chronicles 343, 478

338, 439

Lovecraft, H. P. 23, 50, 53, 97, 98,

Martin, John 254

Methuen Publishers 127

124, 156, 206, 208, 229, 263, 272,

Marton, John 288

Metropolitan Museum of Art 155, 190,

343, 380, 383, 392, 420, 440, 448,

Marvel Comics 77, 96, 101, 108, 110,

209

449, 451, 456, 477, 483, 484, 490

131, 140, 151, 154, 157, 179, 180, 202, Michael Whelan’s Works of Wonder 478

Lovell, Tom 171, 441

213, 216, 243, 249, 261, 263, 267,

Michelangelo 437

Lubalin, Her 463

269, 274, 285, 296, 297, 299, 311,

Midnight Graffiti Magazine 306

Lucas, George (Lucasfilm) 40, 58, 71, 313, 329, 332, 334, 338, 356, 360,

Midnight House Books 306

104, 106, 131, 152, 192, 206, 221,

380, 399, 411, 416, 433, 459, 466,

Midnight Marquee (magazine) 306

267, 269, 334, 340, 341, 348, 358,

487, 490, 495

A Midsummer Night’s Dream 208

440, 453, 493

Marvel Stories 21, 25, 45

A Midsummer’s Tempest 442

Ludgate Magazine 424

Mass: The Art of John Harris 254

Mighty Love (comic) 141

Lumley, Brian 52, 188

Master Detective (magazine) 382

Mill Pond Press 65, 207, 280, 329,

Lundgren, Carl 34, 45, 49, 312, 313,

Master of Adventure 160

355, 478

325–327, 503, 504, 505

Master of White Storm 491

Millais, John Everett 288

Lupoff, Richard 159, 160

Mastering Drawing: The Human Figure

“Miller, Edward” 184, 342

The Lurking Fear and Other Stories 24, from Life, Memory, Imagination

Miller, Ian 38, 51, 52, 66, 114, 333, 449

203

342–345, 505

Luros, Milton 196, 327

Masters of the Universe (film) 439

Miller, Ron 39, 103, 152, 224, 345–

Matania, Fortunino 331

346

The Mabinogion 315

Matta, Roberto 27, 286, 386

Miller, Stephen T. 6

“The Mac Girl” 337

Matte artist 119, 334

Milton Bradley Co. 358, 377

MacFadden, Bernarr 16

Matthews, Rodney 38, 67, 333–334

Mimosa (fanzine) 178

Macfadden Books 203, 386

Mattingly, David 51, 334–336, 503

Miracle Science Stories (magazine) 18, Machen, Arthur 149, 425

Max, Peter 271

177

Macmillan Books 38, 241, 317, 343,

Maxwell, Mark 278

Mirage 459

386, 390

Mayfair Games 52, 53, 79, 192, 300,

Mirage Studios 202

MAD Magazine 169, 221, 473, 486

491

Miró, Joan 27, 386

Mad Max (films) 51

Mayhew, Joe 48, 49, 500

Mirrormask (film) 343

Madle, Bob 44, 178

Mayorga, Gabriel Humberto 336

Mirrorstone 315

Magarian, Albert 327

McCaffrey, Anne 34, 89, 151, 163, 311, Mithril Press 65

Magazine Enterprises 217

368, 442, 477, 504

Mobius ( Jean Giraud) 398, 439, 440,

Magazine of Fantasy & Science Fiction McCaig, Ian 338

501

25, 26, 28, 29, 45, 63, 105, 196, 237, McCall, Robert 54, 65, 78, 336–337, Modern Boy Magazine (Br.) 180

247, 248, 252, 279, 310, 355, 357,

451

MoJo Press 179

373, 407, 464, 468, 485

McCall’s (magazine) 134, 227, 239, Monahan, P. J. 15, 346–348

Magee, Alan 327–328

437, 438, 444

Monarch Books 121

Magic Carpet 125, 405

McCarthy, Frank 373, 441

Mondo 2000 (magazine) 383

Magic: The Gathering (CCG) 64, 76, McCauley, Harold 50, 337–338, 404

Monet, Claude 89, 130, 474

519

Index

A Monster at Christmas 249

NASA Fine Arts Program and Art Col-

The New York Evening Graphic (news-The Monster Men 347
lection 39, 57, 60, 92, 134, 140, 150, paper) 305

Monster Parade 74

171, 175, 222, 225, 254, 300, 305,

The New York Herald Tribune (news-Monsters 18, 19, 22, 26, 32, 36, 52,

329, 336, 337, 341, 345, 378, 428,
paper) 396, 432

63, 73, 78, 105, 113, 124, 126, 164,

438, 471, 491

New-York Historical Society 239

180, 196, 216, 217, 245, 362, 392,

Nashville Magazine 144

New York Institute of Technology 197, 421, 459, 475, 476

National Academy of Design (NY) 115,

467

The Moon Maid 30, 347, 419

305, 309, 336, 430, 439, 472, 476

New York Journal-American (newspaper) The Moon Men 30, 160, 419

National Academy of Fantastic Art

413

The Moon Pool 153

(NY) 56, 142, 190

New York Magazine 328, 339

The Moon’s Revenge 315

National Cartoonist’s Society 355,

The New York Review of Science Fiction Moorcock, Michael 32, 34, 77, 139,

484, 487

50

165, 166, 243, 258, 295, 329, 333,

National Fan Federation 210

New York School of Art 404

380, 395, 434, 477, 488

National Geographic 98, 106, 134, 140, The New York Times (newspaper) 81, Moore, Chris 38, 39, 40, 166, 193,

158, 171, 175, 239, 247, 276, 279,

153, 239, 250, 272, 328, 354, 364,

278, 348–350

329, 342, 358, 365, 378

396, 428, 451, 452, 468, 472

Moore, Sir Patrick 71, 252

National Lampoon 140, 191, 291, 356, The New Yorker 73, 239, 484

Moran, Daniel Keyes 493

390, 399, 419, 466, 483, 484

New Zealand Herald (newspaper) 398

More Phobias 144

National Museum of American Illus-

Newbury Studio 135

Morey, Leo 17, 21, 124, 350–351
tration (RI) 57

Newspaper artists 15, 23, 104, 112, 125, Morpheus International 90, 235

National Museum of Natural History

140, 150, 153, 158, 209, 240, 244,

Morrill, Rowena 5, 34, 49, 65, 127,

(Washington, DC) 247, 470, 471

271, 277, 282, 295, 295, 305, 309,

230, 328, 329, 351–353, 385, 398, National Portrait Gallery, London

310, 331, 346, 350, 358, 364, 367,

445, 507

(UK) 249, 372, 373

370, 376, 386, 396, 397, 398, 411,

Morris, William 314

National Portrait Gallery (Smithson-

413, 430, 432, 433, 436, 439, 452,

Morrissey Lewis, Pat 353
ian, Washington, DC) 134, 158,

467, 481, 490

Morrissey, Dean 40, 47, 49, 59, 65,

272, 328, 342, 390

Newsweek 90, 140, 158, 170, 222, 229, 66, 135, 354–355, 504, 505

Natural History Magazine 386

337, 363, 438

Morrow, Gray 30, 140, 356–357

Neberd, Pete 110

Nielsen, Kai 114, 135, 358

Moskowitz, Sam 58, 178, 238, 371

Nebula (Br. magazine) 29, 94, 148, Nielsen, Terese 360–361

Movie Poster art 40, 50, 60, 71, 93,

290, 431, 454

Night Cry Magazine 383

88, 106, 140, 160, 169, 173, 183, 218, Nebula Award Stories 2 492

Nightbreed (film) 52, 184

205, 266, 269, 294, 301, 321, 339,

Necromancies and Netherworlds 273

Nightshade Books 144

346, 360, 439, 441, 453, 464, 474,

Necronomicon 235

Nightstand Books 338

485

Necronomicon Press 306

Niven, Larry 48, 283, 293, 423, 502

Mowbray, Harry 404

Necroscope series 52, 188

No Place on Earth 28

Mucha, Alphonse 85, 101, 135, 256,

Nelson Douglas, Carole 160

Nodel, Norman 361

261, 263, 296, 466

Neuromancer 51, 108, 287, 473

Norma Editorial Publishers 399

Mugnaini, Joseph 357

The Never Ending Story (film) 252, Norman, John 298, 459

Munsey, Frank A. 14, 347, 437

261, 453, 488

Norman Rockwell Museum 239, 247,

Munsey Magazine 430

Neverwhere (film) 154

408

Munsey Publishing Chain 21, 43, 100,

New American Cinema movement 197

Normand, Jean-Pierre 361–362

209, 244, 347, 379, 437

New American Library (NAL) 44, 115,

Norton, Andre 24, 41, 230, 237, 288,

“Murf ” see Murphy, Kevin

206, 298, 376, 382, 390

418

Murphy, Kevin 357

New Britain Museum of American Art

Nova (TV series) 175

Museo de Arte de Ponce, Puerto Rico

49, 57, 59, 90, 136, 163, 243, 264,

Novagraphics Publishing Co. (Nova-

169

297, 308, 326, 329, 342, 355, 452,
space) 65, 186

Museum H. R. Giger 236

460, 477

Nuetzel, Albert 362–363

Museum of American Illustration (NY)

New Collectors Group 23, 117

Nyctalops (fanzine) 383

57, 109, 158, 170, 287, 365, 438,

New Detective (magazine) 168

452, 453, 473

New England Science Fiction Associa-

The Oakdale Affair and the Rider 130

Museum of the City of New York 73,
tion (NESFA) 7, 50–51, 188, 230,

Ochagavia, Carlos 363–364

266

429

Octopus Books 348

Museum of the Surreal and Fantastique New English Library 39, 52, 147, 164, Olinsky, Ivan 336

(NY) 239

204, 252, 375, 481

Omni (and Omni Internet) 37, 63, 81, Musgrave, Real 49, 358–359

New Era Magazine 143

143, 175, 176, 186, 205, 227, 238,

Mutant X (TV series) 141

New Legends (comic) 243

311, 317, 328, 334, 335, 345, 348,

Myrcroft and Moran Publishers 148,

New Romanticism movement 135,

352, 378, 390, 470

456

243

On Spec Magazine (Canada) 362

Mystère Magazine 397

The New School (NY) 27, 385

Once Upon a Time: Some Contemporary The Mysterious Wu Fang 18, 212

New Scientist Magazine 252, 296

Illustrations of Fantasy 191

Mystery Adventures (magazine) 409

New Tales of the Cthuhu Mythos 272

Only Visiting This Planet: The Art of Mystic Magazine 117

The New Visions: A Collection of Mod-Danny Flynn 212

Myth-Adventures series 48, 87, 213
ern Science Fiction Art 39, 240

Operator 5 (magazine) 18, 243

Myth and Magic: The Art of John Howe New Worlds (Br. magazine) 25, 29, Orban, Paul 25, 28, 364–365

275

127, 139, 148, 165, 279, 290, 295,

Orbit Books 127, 227, 343

Mythopeikon 488

296, 319, 391, 453

Oriental Tales (magazine) 125

The New York American (newspaper) Orientalist movement 187, 240, 256,

Nagy, John 490

305

260, 284, 410

Napoli, Vincent 25, 146, 153, 359–360

New York Center Art Gallery 209

Original Science Fiction Stories Maga-Narnia books 174, 259, 275, 426

New York Daily News (newspaper) 413
zine 237

Index

520

Origins comic convention 53, 140, 403

Penguin Books 44, 194, 256, 295, 315, Pool of the Black One 286

Orléans Art Museum (Fr.) 77

329, 343, 348, 365, 368, 373, 374,

Poole, Mark 278

Orwell, George 144

381, 440, 473, 485, 494

Poor, Kim 65, 186

Other Worlds (magazine) 25, 138, 295, Pennington, Bruce 38, 48, 314, 333,

Popp, Walter 382

405, 428, 446

375–376, 506

Popular Detective 277, 364

Otis Art Institute (CA) 357, 495, 496

Penthouse (magazine) 37, 81, 154, 183, Popular Library 34, 100, 105, 203,

Out of Time: Designs for the Twentieth 184, 186, 214, 227, 238, 256, 339,

363, 409, 503

Century Future 321

390, 399, 400, 419, 426, 444, 468

Popular Mechanics Magazine 190, 249, Outdoor Life (magazine) 98, 100, 411, People’s Magazine 347

457

453, 463

Pep (magazine) 104

Popular Publications 18, 19, 23, 25,

Overseas Weekly 140

Pepper, Robert 32, 227, 325, 376–378

43, 168, 212, 243, 277, 336, 371,

Owlswick Press 308

Perceptualistics 284

410, 421, 436, 437

Ox, Rebekah Naomi 151

Perry Rhodan series 356

Popular Science Magazine 190, 317, Oz books 94, 260, 306

Pesek, Ludwig 186, 345, 378

320, 457

Petaja, Emil 116, 117, 392

Porter, Andrew 45, 150

Pacific Publishing Co. 74

“Peter Paulino” see Calle, Paul Postal Commemorative Society 40,

Pain and Other Petty Plots to Keep You Pettee, Clinton 15, 378

458
in Stitches 144

Petty, George 495

Potter, J. K. 38, 52, 99, 382–384, Pain Doctors of Suture Self General 144

Peyton, Rog 3, 290

474, 501, 507

Palencar, John Jude 365–366

Pfeiffer, Fred 171, 313, 379

Poulton, Peter 384

Pall Mall Gazette 240, 366, 424

Phantasia Press 40, 83, 142

Pournelle, Jerry 202, 283

Palmer, Ray 44, 79, 295, 337, 363,

The Phantom Detective 364

Powers, Richard 26, 27, 29, 32, 38,

405, 428, 429, 449

The Philadelphia Ledger (newspaper) 53, 84, 144, 209, 230, 233, 250,

Palmer, Samuel 272

104

286, 287, 314, 317, 319, 325, 384–

Pan American Art School (NY) 336

Philadelphia Maritime Museum 152

388, 413, 414, 417, 447, 473

Pan Books 164, 227, 314, 343, 481,

Philadelphia Museum of Art 317, 365

Poyser-Lisi, Victoria 389–390, 500

488

Philadelphia Science Fiction Society

Pratchett, Terry 67, 301, 312, 381

Pandora Magazine 81

56

Pratt, Fletcher 152

Pangborn, Edgar, estate 151

Phoenix Prime 31

Pratt Institute 28, 80, 96, 100, 110, 115, Pan’s Labyrinth (film) 440

Photorealistic style 127, 165, 187, 194, 134, 137, 138, 204, 234, 243, 244,

Panther Books 127, 204, 214, 258, 301, 205, 252, 401, 423

317, 325, 341, 342, 377, 381, 412,

343, 394, 395, 408, 492

Picasso, Pablo 208, 218, 386

413, 420, 444, 489

Pape, Frank C. 15, 227, 366–367

Piccolo, Don 175

Preiss, Byron 141, 174

Paper Tiger Books 38, 39, 86, 103,

Pick-Me-Up (Br. magazine) 424, 425

Pre-Raphaelite artists 56, 81, 96, 135, 114, 166, 214, 252, 254, 264, 284,

Picture Week Magazine 255

184, 263, 275, 311, 353, 505, 410

305, 345, 387, 505

Pierrot Publishing 39, 127, 254

Prevue (magazine) 434

Park Avenue Atrium Exhibitions

Pines Publications 100, 110, 282

Prime Press 23, 452

(Olympia and York, NY) 58, 90,

Pini, Wendy 42, 379–380

A Princess of Mars (film) 439

143, 285, 329

Pinnacle Books 298, 325

Private Detective 433

Parkhurst, H. L. 22, 367

Pioneers of Flight series 438

Professor Challenger 398

Parkinson, Keith 42, 64, 132, 180, 192, Pitts, Jim 380–381, 507

The Protector (film) 71

367–370, 402, 502

Plague of Change 461

Pseudonyms ( noms de brush) 5, 87, Parrish, Maxfield 86, 90, 93, 116, 163, Planet Comics 178, 281

108, 110, 116, 150, 154, 184, 196, 285, 240, 256, 260, 283, 393, 423, 441,

Planet Earth (TV film) 175

286, 300, 332, 338, 359, 361, 363,

477, 481

Planet of Exile 241

436, 437, 439, 447, 457

Parrish Art Museum 169

Planet of Peril 245, 307

Psycholog y Today (magazine) 467

Parsons School of Design (NY) 111,

Planet Stories (magazine) 21, 22, 23, Psygnosis Game Co. 167, 333

169, 173, 251, 284, 325, 431, 452,

78, 79, 104, 138, 216, 281, 290, 320, Puffin Books 294, 343, 378

462, 466, 495

486

Pulphouse Books 306

Pasadena Art Museum (CA) 357, 413

Planet Story 127, 255

Punch (magazine) 398, 484

Passing Show Magazine 331

Playboy (magazine) 37, 45, 81, 131, 158, Punchatz, Don Ivan 32, 390–391

Pastel Society of America 152

183, 249, 272, 317, 325, 328, 334,

The Puppet Masters 28

Paul, Frank R. 16, 17, 18, 19, 20, 21, 352, 365, 382, 390, 400, 444, 483,

Putnam Publishing 121, 392, 419, 473

22, 25, 33, 36, 44, 50, 124, 140, 164, 495

Pyle, Howard 90, 153, 160, 171, 273,

171, 177, 207, 217, 221, 229, 293, 317, Playboy Press 95

291, 303, 354, 407, 441, 470

321, 345, 350, 370–372, 385, 389, Player, Stephen 381

Pyramid (magazine) 496

416, 453, 454, 468

Playtime Magazine 398

Pyramid Books 28, 44, 121, 230, 376,

Paul Calle: An Artist’s Journey 134

Plumridge, Marianne 188

414, 434, 457

“Paul Pierre” see Calle, Paul The Pocket Book of Science Fiction 24, Peake, Mervyn 120, 315, 372–373, 449

The Queen People 447

381, 387

Pocket Books 24, 25, 40, 52, 102, 115, Quest Magazine 317

Pearse, Alfred 14

194, 203, 328, 348, 376, 386, 399,

Questar Magazine 472

Pearson’s Magazine 14, 240, 453, 485

418, 435

Quinn, Gerard 29, 319, 391–392, 431

Pederson, John, Jr. 29, 168, 374

Pocket Dragons 358, 359

Quinn, Seabury 126, 178

Peebles, Peter 373–374

Podwil, Jerome 381–382

Pelham, David 374–375

Poe, Edgar Allan 146, 419, 429

Rackham, Arthur 2, 85, 93, 114, 135,

Pelucidar (novels by Burroughs) 30, Pogany, Willie 320, 450, 466

145, 240, 263, 283, 303, 314, 358,

71, 130, 334, 433

Pohl, Frederik 212, 280, 317, 423

422, 439, 450, 466

P. E. N. 392

Polk, Willis 119

Radio Craft Magzine 416

The Pendragon Gallery 46, 49, 50, 59, Poltergeist (film) 235

Radio-Science Publications 16

191, 477

Pomegranate Publishing 39

Raiders of the Lost Ark (film) 433

521

Index

“Rakeland, Sam” 108, 392

ROC Books 53, 144, 485

Saunders, Norman 28, 78, 409–410

Random House 25, 37, 39, 65, 74, 95,

Rocket Stories 196

Savage, Harry Steele 410

96, 98, 152, 175, 188, 192, 202, 238, Rockets, Jets, Guided Missiles and Space The Savage Sword of Conan 132, 313

239, 299, 325, 329, 348, 368, 373,

Ships 152

Savage Sword of Conan (magazine) 132, 374, 381, 407, 419, 435, 442, 485

Rockwell, Norman 40, 260, 261, 285,

313, 459

Rankin, Hugh 16, 392

299, 345, 354, 357, 393, 407, 463

Sawyer, Andy 3

Ratspike 114

Rocky Mountain Rider (magazine) 207

Scanlan, Peter 410–411

Rawhide Rex 52, 184

Rodin, Auguste 423

Schaafsma, Hubert 38, 166

Ray, Man 383

Rogers, Hubert 22, 23, 25, 110,

Schaeffer, Mead 171

Raymond, Alex 295, 392–393, 454

396–397, 419, 451

Schelling, George Luther 411–412

Reach for Tomorrow 386

Rognan, Lloyd 397–398

Schiff, Stuart 44, 45, 216, 429

Reader’s Digest 88, 98, 171, 190, 225, Rogue Magazine 173

Schleinkofer, David 412

311, 317, 325, 364, 438, 464

Rohmer, Sax 153, 211, 212, 364

Schmidt, Richard 373

Reader’s Guide to the Cthulhu Mythos Role-playing games (RPGs) 6, 41, 42,

Schneeman, Charles 22, 110, 153, 306, 420

51, 52, 53, 62, 71, 84, 93, 99, 114,

412–413

The Reading Museum (PA) 152

122, 131, 132, 154, 180, 191, 192, 200, Schoenherr, John 28, 29, 32, 44, 74,

Real Fantasies 358

213, 233, 237, 294, 297, 301, 323,

286, 342, 384, 413–415, 499

Realms of Fantasy (book) 39, 256

360, 368, 380, 403, 448, 486, 491,

Scholastic Books 90, 169, 194, 250,

Realms of Fantasy (game) 343

495

274, 311, 328, 343, 355, 432, 445,

Realms of Fantasy (magazine) 59, 63, Rolling Stone (magazine) 81, 390, 400

464, 468

65, 144, 323, 484, 503

Romero, George 183, 474, 490

Schomburg, Alex 21, 25, 29, 111, 248, Recluce Saga 442

Rossiter, Anthony 333

281, 415–417, 505

Record album cover art 6, 38, 93, 114, Rountree, Harry 398

The School for Illustrators 27, 385

150, 154, 166, 183, 173, 186, 204,

Routledge Publishers 343

The School of Visual Arts 81, 99, 120, 218, 219, 235, 241, 252, 256, 261,

Roux, Georges 13

140, 174, 194, 234, 307, 325, 339,

272, 298, 322, 325, 329, 333, 334,

Rowena see Morrill, Rowena

357, 390, 410, 437, 445, 461, 464,

339, 348, 358, 376, 380, 383, 393,

Rowlandson, Thomas 372

468, 487

400, 411, 433, 444, 464, 468, 474,

Royal Academy of Arts, London (UK)

Schoonover, Frank 60, 329

477, 481, 487, 488, 492

372, 437

Schultz, Charles M. 157, 213

The Red Magazine 153

Royal College of Art (UK) 348

Schulz, Robert E. 28, 99, 417–418

Red Star Publications 21

Royo, Luis 65, 398–400

Schwinger, Laurence 418–419

Redbook 169, 238, 272, 325, 339, 342, RPGs see role-playing games

Sci Fiction 63

386, 437

Rubens, Peter Paul 232, 476

Science and Invention (magazine) 16, Reed, Roger 60

Rudaux, Lucien 378

124, 350, 370, 416, 425

Reichert, Mickey Zucker 160, 316

Ruddell, Gary 44, 47, 48, 65, 400–402

Science & Mechanics Magazine 371

The Reign of Wizardry 31

Rue Morgue magazine 61

Science Digest (magazine) 183, 250, Reilly, Frank J. (Frank J. Reilly School Ruppel, Robh 181, 402–403

345, 412, 435
of Art) 88, 99, 203, 413, 418, 473

Russell, Eric Frank 423

Science Fantasy (Br. magazine) 25, 29, Reinert, Kirk 393–394

Ruth, Rod 20, 138, 337, 403–404

127, 139, 319, 391, 394, 454

The Reluctant Famulus (Br. fanzine) Science Fiction Adventures (magazine) 454

Saga Magazine 457

25, 74, 120, 307, 319

“Rembach, William” see Valigursky, St. John, J. Allen 15, 18, 30, 43, 58, Science Fiction Adventures (Br. magazine) Edward

67, 110, 130, 160, 295, 307, 309, 337, 29, 319

Rembrandt 278

385, 404–406

Science Fiction Age (magazine) 63, 65, Remington, Frederic 285

St. Martin’s Press 37, 136, 154, 205, 90, 323, 348, 385

Renaissance Faire 42, 42, 181, 247,

317, 438, 448

Science Fiction Art: The Fantasies of SF

326, 358–359, 448

St. Martin’s School of Art (UK) 127,

39, 177, 428

Renaissance Festival 41, 42, 181, 247, 160, 205, 293, 342, 343, 374

Science Fiction Book Club 39, 130,

326, 358, 359

Salter, George 26, 196, 406–407

154, 210, 233, 240, 287, 309, 353,

Return of the Living Dead (film) 439

Salvucci, Richard 135

354, 363, 438, 467, 489, 502, 505

Return to Innsmouth (film) 155

San Diego Comic Con(vention) 42,

Science Fiction Chronicle (magazine) Rhode Island School of Design 73,

122, 219, 233, 256, 433

278, 362

187, 284, 312

The San Francisco Chronicle (newspaper) The Science Fiction Collector (fanzine) Ribera, Jusepe de 232

439

178

Rice, Anne 37, 51

The San Francisco Examiner (newspaper) The Science Fiction Design Coloring Book Richards, John 165, 394

439

250

Rifter (magazine) 122, 496

San Francisco Morning Call (newspaper) Science Fiction Eye 50

Ringling School of Art and Design (FL) 439

Science Fiction, Fantasy, and Weird Fic-309, 329

Sanderson, Ruth 407–408
tion Magazines 7

Riou, Edouard 13

Sanjulian, Manual 408–409

Science Fiction League 237, 255, 261, Rip-Off Press 356

Sargent, John Singer 171, 260, 311, 331

486

Rivera, Diego 182

Sata (fanzine) 73

Science Fiction Monthly 39, 193, 205, Riverworld series 390

Satellite (British fanzine) 139, 453

215, 314, 322, 375, 394, 481

Road and Track 106

Satellite E-One 317

The Science Fiction Museum and Hall

The Road of Azrael 308

Satellite Orbit 323
of Fame 58, 198, 256, 304, 478

Roberts, Keith 394–395, 506

Satellite Science Fiction 29

Science Fiction of the Twentieth Century: Roberts, Tony 395–396

The Saturday Evening Post 25, 88, 104, An Illustrated History 285

Robida, Albert 13

134, 169, 190, 196, 224, 243, 277,

Science Fiction + (magazine) 371

Robinson, Jeanne 144, 473

317, 342, 357, 376, 386, 421, 430,

Science Fiction Quarterly (magazine) Robinson, Spider 144, 473

437, 438

25, 327

Robinson, William Heath 114, 165, 450

Saturn Science Fiction 237

Science Fiction Review 306

Index

522

Science Fiction Stories (magazine) 21, 29

Silverberg, Robert 127, 253, 258, 288, Sovereign Press 192

Science Fiction Writers of America 90, 301, 338, 493, 494, 503

The Sowers of the Thunder 308

142

Silverman, Burton 373

Space and Time Magazine 81, 96, 306

Science Stories Magazine 363

Simak, Clifford 423, 477

Space Art Poster Book 39, 224, 345

Science Wonder Quarterly 16

Sime, Sidney 15, 120, 146, 303, 366,

Space-Borne 290

Science Wonder Stories (magazine) 16, 380, 424–426

Space Patrol: The Official Guide to the 350, 370

The Sime Zoolog y: Beasts That Might Galactic Security Force 228

Scientifantasy (fanzine) 80

Have Been ( Bogey Beasts) 425

Space Stories 25, 196

Scientific American 38, 124, 175, 342, Simmons, Dan 52, 401

Space Trails (fanzine) 80

345, 379

Simon & Schuster 26, 48, 102, 115, Space Travel 108

Sci-Fi Channel 63, 90

167, 169, 267, 328, 343, 365, 374,

Space World Magazine 345

Scion Ltd. Publishers 180, 454

406, 412, 432, 502

Spartanburg Art Museum (SC) 325

Scooby-Doo (film) 122

Sinister Barrier 137

Species (film) 235

Scoops (Br. magazine) 20, 180

Sirens 71

Spectrum Magazine 74

Scott, H. W. 20, 138, 239, 419–420,

“Sisley, Raymond” see Stoops, Herbert Spectrum: The Best in Contemporary 451

Morton

Fantastic Art 59, 76, 96, 99, 106, Scott, Ridley 127, 235, 341

Skeleton Crew 52, 383

109, 122, 128, 143, 158, 160, 163, 170, The Scottsdale Artists School (AZ) 203

Sketch (magazine) 424

171, 174, 184, 195, 219 233 247, 249, Scream Press 37, 52

Skilleter, Andrew 426–427

256, 264, 272, 273, 283, 285, 286,

Screaming Science Fiction 187

Skinner, Courtney 427

287, 292, 297, 316, 322, 323, 329,

Screw Magazine 271, 291

Skull (comic) 154

341, 354, 360, 362, 365, 381, 390,

Scrye (magazine) 140

Sky and Telescope (magazine) 104, 175, 399, 401, 403, 411, 429, 440, 445,

Second Nature Software 40, 65, 300

345 435

453, 466, 468, 473, 478, 494, 496,

The Secret People 331

Skylark novels 177, 230

505

See for Man (magazine) 197

Slave Girls from Beyond (film) 52

Spellsinger (novels) 395

Self-taught artists 56, 81, 83, 87, 100, Slaves of Sleep 24, 117

Spellsong Cycle 442

104, 105, 107, 112, 113, 122, 165, 180, Sleep No More 156

Spencer, John 39, 127, 147, 164, 183, 186, 200, 202, 206, 208, 216, 249,

Sleeping Beauty 158

215, 258, 338, 447, 455

278, 290, 291, 295, 305, 310, 325,

Slow Death (comic) 154

Sphere (film) 187

353, 354, 355, 357, 379, 383, 391,

Small press publishers 23, 24, 25, 28, The Sphere (British magazine) 331

393, 433, 474, 485, 489, 490, 491

44, 52, 61, 62, 66, 80, 81, 117, 135, Sphere Books 52, 86, 127, 180, 227,

Senf, Curtis C. 16, 392, 420–421

138, 154, 156, 200, 209, 272, 279,

252, 290, 243, 248, 343, 395

Sentinel: Art of Syd Mead 341

306, 312, 380, 383, 422, 452, 477

Spicy Adventures 367

Settles, James B. 20, 421

Smith, Cecil 148

Spicy Detective 367

Seventeen Magazine 325

Smith, E. E. 24, 230, 397, 413

Spicy Mystery Stories 367

The Seventh Ogre 155

Smith, Guy N. 52

Spicy Western Stories 367

Sewell, Amos 18, 421

Smith, Malcolm 20, 427–428

The Spider 18, 168, 169, 243, 277

Sexual imagery 71, 78, 101, 105, 112, Smith, Wallace 146, 208, 428–429

Spielberg, Steven 58, 87, 150, 440

116, 117, 124, 126, 127, 132, 135, 141, Smithsonian Folkways 149

Spinelli, Ann 121

146, 157, 178, 184, 196, 236, 298,

Smithsonian National Air and Space

Spinrad, Norman 99

310, 332, 351, 352, 399, 405, 447,

Museum 57, 92, 134, 152, 225, 264,

Spirit 37

459, 468

317, 337, 345, 378, 435

“Splatterpunk” (“Splattergore”) fiction SF Review 151

Smithsonian National Museum of

51, 52

Shadis (magazine) 122, 496

American Art 81, 357

Sports Afield 106, 411, 463

The Shadow 18, 21, 137, 138, 169, 239, Snappy (magazine) 104

Sports Illustrated Magazine 158, 339, 364, 433

Snellings Clark, Lisa 429–430, 504

342

The Shadow Out of Time 124

The Snow Queen 174, 478

Sportsman (magazine) 169, 197

Shahn, Ben 489

Society for Creative Anachronism (SCA) SQP Inc. 95, 99, 140, 274, 332, 368

Shapero, Hannah 421–422

42, 83

Stag (magazine) 382

Shasta Books 23, 24, 117, 397

Society of Artists and Anatomists 169

Stahr, Paul 16, 43, 430

Shaw, Barclay 422–424, 504

Society of Illustrators 57, 73, 81, 90, Standard magazine chain 20, 21, 22,

Shayol Science Fiction and Fantasy 286

92, 96, 99, 102, 106, 109, 111, 124,

100, 104, 105, 124, 416

Shazam Award 154

153, 158, 170, 171, 174, 176, 183, 194, Stanley, Robert 430

Sheeler, Charles 286, 287

218, 233, 239, 247, 264, 266, 268,

Star Quest: An Incredible Voyage into the Sheets, Millard 489

26, 272, 284, 287, 23, 300, 309, 311, Unknown 228

Sheffield, Charles 493

316, 317, 320, 322, 325, 328, 329,

Star Trek (novels and films) 42, 45, 53, Shepperson, Claude 14

337, 339, 342, 343, 347, 354, 365,

57, 64, 71, 83, 88, 106, 151, 187, 205, Shiner, Lewis 144

377, 381, 382, 393, 401, 404, 408,

290, 313, 336, 340, 341, 399, 435,

Ship of Dreams 354

411, 412, 414, 419, 421, 435, 438,

493

The Ship That Sailed to Mars: A Fantasy 439, 440, 445, 451, 452, 453, 458,

Star Wars (films and related) 33, 34, 450

472, 478, 489, 494, 496

40, 57, 64, 83, 104, 106, 140, 150,

Short Circuit (film) 341

Solar Crisis (film) 341

179, 225, 235, 244, 265, 266, 267,

Short Stories Magazine 449

Solar Wind 293, 294

338, 339, 340, 341, 348, 360, 426,

Shrek (film) 343

Solaris (film) 435

445, 493, 494

Sidewise in Time 117

Solaris Magazine (Fr.) 362

Star Wars: The Art of Dave Dorman Siegel, Jerry 79

Solvista (e-zine) 294

179

Sigil Games 368

Something Else Magazine 295

Starburst Magazine 90

Signet 25, 27, 28, 44, 48, 88, 95, 203, Something Near 148

The Stardragons 188

237, 269, 289, 298, 334, 342, 418,

Sorcerers: A Collection of Fantasy Art 39

Stark, James 431

431, 444

Sotheby’s auction house 54, 55, 58,

Starlog (magazine) 90, 186, 222, 269, The Silver Web (magazine) 96, 144

219, 396

378, 464

523

Index

Starlog Photo Guidebook to Space Art 412, 414, 423, 444, 447, 448, 458,

Think Magazine 140

152, 345

468, 474, 476, 488

Third wave of science fiction artists The Stars My Destination 141, 197

The Swamp Thing 249, 261, 491

26, 28, 32

Starship (film) 395

Swanwick, Michael 48, 504

This Mortal Coil 149

Starship Troopers 473

Sweet, Darrel K. 34, 40, 47, 60, 401, This Week Magazine 224, 225, 439

Starstruck (play) 296

418, 441–444

Thole, Karel 447–448

Startling Comics 281, 350

The Sword & The Sorcerer (film) 294

Thompson, Ruth 448, 504

Startling Stories (magazine) 21, 23, 104, The Swords of Shahrazar 296

THQ Inc. 167, 368

110, 116, 124, 196, 364

Swords-and-Sorcery 31, 32, 34, 131,

3 Tales of Horror 156

Steadman, Evan Tenbroeck 431–432

139, 219, 247, 273, 293, 296, 298,

The Thrill Book (magazine) 15

Stein, Modest 432–433

307, 332, 351, 477

Thrilling Adventures (magazine) 364

Stepenson-Payne, Phil 2

Swordsmen and Saurians 308

Thrilling Mystery (magazine) 130

Steranko, James 334, 433–434

Swordsmen in the Sky 31

Thrilling Wonder Stories (magazine) Sterling, Bruce 51, 506

Syd Mead’s Sentury 341

22, 110, 124, 196, 209, 364

Sternbach, Rick 33, 175, 248, 413, 434–

Symbolist style 19, 22, 27, 32, 51, 72, Thunder Castle Games 52, 95

436, 500

85, 105, 120, 143, 146, 165, 174, 187, Tilburne, Albert R. 24, 449

Steve Jackson Games 53, 448, 495

205, 241, 243, 256, 275, 287, 319,

Tillotson, Joseph Wirt 449

Stevens, Lawrence Sterne 23, 24, 50,

328, 365, 374, 378, 383, 386, 397,

Tim Burton’s Sleepy Hollow (film) 122

146, 209, 436, 437

478

The Time Bandits (film) 261

Stevens, Peter 436, 437

Syracuse University School of Visual

The Time Machine 431

Stinson, Paul 437–438

Arts 171, 232, 233, 250, 299, 309,

The Time Machine (film) 87, 122

Stone, David K. 438–439

339, 390, 441, 442, 452

Time Magazine 81, 82, 90, 92, 106, Stoops, Herbert Morton 15, 160, 439

Szafran, Gene 32, 205, 444–445

158, 202, 239, 271, 272, 317, 328,

“Stories of Other Worlds” 485

337, 339, 363, 390, 462

Stout, William 439–441

The Tale of Genji 77

Time2 141

The Strand Magazine 14, 240, 398, Tales from the Dark Side (film) 453

Time-Life Books 80, 103, 104, 143,

453

Tales from the Mos Eisley Cantina 494

173, 191, 275, 279, 365, 435

Strange Attraction 430

Tales From the Wonder Zone 362

Timescape Books 34, 40, 312

Strange Days (film) 341

Tales of Jabba’s Palace 494

Timlin, William 449–450

Strange Stories (magazine) 21, 104, 178, Tales of Lovecraftian Horror (magazine) Timmins, William 23, 419, 451

209, 364

154

Tinkelman, Murray 88, 451–452

Strange Tales (magazine) 17, 125, 216, Tales of Mystery and Imagination 146

Titan AE (film) 90

475

Tales of Suspense (comic) 216

Tit-Bits SF Library 454

Strange Unsolved Mysteries 283

Tales of the Unanticipated (semi pro-zine) Tolkien, J. R. R. 32, 41, 66, 76, 83, Stranger in a Strange Land 32, 375, 80

87, 139, 230, 233, 234, 247, 263,

473

Tales of the Werewolf Clan 383

264, 266, 267, 268, 269, 274, 275,

Strateg y & Tactics Magazine 140

Tales of Wonder 20, 454

276, 303, 315, 323, 343, 426, 503

Straub, Peter 108, 136

Tales to Astonish (comic) 216

Tom Doherty Associates 37, 40

Street & Smith 17, 18, 20, 21, 22, 43, Tam, Reuben 451

Tomb of Dracula (comic) 151

124, 137, 138, 153, 168, 169, 177, 178, Tandem Books 71, 241

Tomorrow and Beyond: Masterpieces of 239, 277, 282, 396, 397, 419, 420,

Tanguy, Yves 27, 286, 313, 319, 386,

Science Fiction Art 39, 290

451

413

Tomorrow Magazine 317

Student’s Guide to Painting 203

Tapping the Vein 52, 184

Tomorrow the Stars 28

The Studio 291, 296, 490

Target Books 71

Topps Company 64, 101, 170, 360,

Sturgeon, Theodore 138

Targete, Jean Pierre 445–446, 503

410, 487

Stylus (fanzine) 429

Tarzan (novels and other) 15, 30, 58, Tor Books 37, 52, 99, 108, 169, 202,

Subterranean Press 84, 187, 306, 383, 100, 130, 143, 159, 170, 292, 308,

233, 287, 299, 368, 505

466, 503

309, 347, 385, 390, 393, 396, 403,

Torres, Angelo 355

Suckling, Nigel 39

419, 423, 430, 439, 459

Torres, Enrich 58

Sullivan, Edmund 14

Tarzan Adventures (Br.) 139

Total Recall (film) 150, 340, 345

Summers, Ian 39, 290

Tarzan of the Apes 378

Touch of the Temptress 332

Summers, Leo 29, 441

Tarzine (fanzine) 307

Tour of the Universe 39

Sundblom, Haddon 337

Taurisi, James V. 237

Toutain, Josep 408

Sunset Magazine 151

Tauss, Herb 451

Tower Comics 74

Super Science Fiction (magazine) 29

Teck Publications 16, 19, 350

Toy Vault, Inc. 66, 274

Super Science Stories (magazine) 21, 25, Teenage Mutant Ninja Turtles 58, 202

Train, Oswald (Ozzie) 178

216, 237, 336, 436, 437, 463

Tekno Comics 157

Transworld Publishers 348, 381

SuperGirl (film) 71

Terpning, Howard 373

Travelers by Twilight 306

Superman 79, 169, 170, 214, 267, 269, Terra Astra (Ger. magazine) 104, 290

Travelers of Space 24

433, 434

Terran Trade Authority series 193, 338

Travellers Tales (UK) 212

Supernatural Stories (magazine) 447

Terror! 177, 239

Triad Optical Illusions and How to Superworld Comics 371

Terror Tales (magazine) 18, 19, 169, Design Them 454

The Surfing Samurai Robots series 179

277, 278, 364, 421

Trimble, Bjo 85

Surrealism 26, 27, 29, 32, 38, 80, 81, Terry, William 446–447

Tron (film) 334, 341

82, 88, 96, 120, 121, 130, 135, 143,

The Thackery T. Lambshead Pocket Guide Tros of Samothrace series 89

144, 149, 152, 163, 165, 183, 186,
to Eccentric & Discredited Diseases 144

“The Trouble with Water” 137

204, 205, 212, 227, 230, 235, 238,

Thames & Hudson Publishers 343

True (magazine) 94, 457

239, 241, 249, 272, 278, 287, 313,

Theme parks 259, 304, 440

True Action (magazine) 197

317, 319, 323, 328, 333, 336, 339,

Theobald, Ray 164, 447

True Detective (magazine) 382

342, 363, 365, 372, 374, 375, 376,

Thieves’ World (novels) 400, 445, 464

Trumpet (fanzine) 92

378, 383, 384, 385, 386, 390, 391,

The Thing (film) 183, 431

Tschirky, L. Robert 452–453

Index

524

TSR Hobbies, Inc 39, 41

Vallejo, Boris 31, 34, 38, 40, 48, 49, War of the Worlds (film) 87, 119

TSR, Inc. 41, 53, 93, 114, 115, 122, 131, 50, 55, 59, 65, 101, 114, 122, 313,

The War of the Worlds 14, 240, 241, 132, 140, 163, 180, 181, 189, 181, 191, 323, 351, 357, 379, 445, 458–461, 299, 357, 503

192, 200, 202, 206, 274, 279, 312,

507

Ward, H. J. 22, 367

321, 323, 343, 368, 402, 403, 464,

Vallejo, Dorian 357, 461–462

Ward, Kevin 278

485

Vampire Chronicles 51

Ward, Lynd 471–472

Tuck Encyclopedia of Science Fiction 394

Vampire Hunter D: Bloodlust (film) 77

Warhol, Andy 271, 472, 473, 474

Tucker, Ezra 453, 495

Vampirella 37, 74, 94, 154, 297, 298, Warhola, James 48, 60, 65, 66, 203,

Turner, Harry 453–454

313, 332, 408, 487

472–474

Turner, J. M. W. 115, 160, 187, 441

Vance, Jack 48, 229

Warner Books 40, 86, 108, 131, 132,

Turner, Ronald 454–456

Van der Poel, W. I. 196, 462–463

169, 175, 192, 204, 205, 260, 299,

TV Guide 90, 106, 311, 368, 464

Vanderwiden, Roger 413

316, 326, 329, 334, 348, 382, 390,

TV Zone 90

Van Dongen, Henry R. 28, 44, 221,

399, 401, 438, 442, 494, 502, 503

21st Century Foss 214

463–464

Warner Bros. 167, 169

Twilight Zone (magazine) 250, 474, Van Eyck, Jan 293, 423

WaRP Graphics 213, 380

484

Van Helsing (film) 122

Warren, Jim 52, 474–475

Twilight Zone (TV) 150

Van Vogt, A. E. 24, 27, 423

Warren Publishing Company 37, 154,

Two Complete Science Adventure Novels Vargo Statton 454

180, 263, 291, 298, 313, 356, 373,

25

Varley, John 151

393, 408, 447, 487, 490

2000 AD 157, 319

Vega (fanzine) 73

The Warrior and the Sorceress (film) 2001: A Space Odyssey (film) 33, 35, Velázquez, Diego 81, 232, 408

439

40, 197, 271, 336, 348, 416

Velez, Walter 47, 96, 464–466

Warrior of Llarn 31

2010 (book) 477

Venture Science Fiction (magazine) 407

Warriors of the Wind (film) 453

2010 (film) 50, 341

Venus novels (by Burroughs) 100, 261, Wars of Light (series) 491

Tyler School of Art (PA) 238, 327, 351

331, 430

Watercolor Magic Magazine 203

Vermeer, Johannes 413

Waterhouse, J. W. 184, 187, 232, 260, United States Air Force Art Collection Verne, Jules 13, 14, 256, 290, 345,

261, 263, 345, 408, 423

57, 88, 98, 111, 190, 202, 337, 414,

382, 411, 454

Watson-Guptill Publishers 81, 247,

438, 457

Vess, Charles 39, 42, 58, 466–467, 267, 269, 329, 434

United States Coast Guard Art Collec-

501, 503, 504

Weaveworld 52
tion 152, 190, 438

Vestal, Herman 467

Web of Horror Magazine 296

United States Navy Art Collection 98, Vic and Blood 154

Weinberg, Robert 1, 5, 13, 35, 36, 43, 152, 337

Victoria and Albert Museum (UK)

44, 45, 46, 56, 73, 98, 110, 117, 120, United States Postal Service stamp art 120, 146, 241, 374, 396

124, 125, 126, 135, 138, 141, 153, 165, 106, 190, 228, 239, 247, 264, 272,

Video games 2, 6, 36, 42, 53, 56, 66, 178, 180, 183, 207, 208, 214, 217,

337, 339, 345, 438, 475, 500

76, 77, 90 150, 252, 261, 269, 333,

244, 250, 251, 267, 277, 291, 295,

Ubik 395

341, 360, 381, 393, 403, 453

319, 320, 338, 342, 352, 357, 359,

Uenonomori Museum of Art (Tokyo)

Vienna School of Fantastic Realism

364, 366, 370, 384, 385, 392, 395,

77

365, 423, 488

416, 418, 420, 431, 436, 437, 447,

Ultraterranium: The Art of Bruce Pen-Vierge, Daniel 153

449, 450, 472, 483, 484
nington 375

Viking Press 407, 466

Weird Fantasy (comic) 159, 486

The Undead 52

Vinge, Joan D. 174, 478, 502

Weird Science (comic) 159, 486

Underground newspapers, comics and

Viper TV 141

The Weird Shadow Over Innsmouth
magazines 108, 154, 243, 271, 325,

Virago Publishing 37

456

470

Vision of the Future: The Art of Robert Weird Tales (magazine) 15, 16, 17, 18, Underwood-Miller Publishers 163,

McCall 337

19, 20, 21, 22, 24, 25, 62, 63, 80,

200, 210, 219, 399

Vision of Tomorrow (magazine) 252, 391

93, 96, 116, 117, 123, 124, 125, 126, The Undying Land 288

Visions of the Future 39, 205, 322

144, 156, 177, 178, 183, 208, 209,

Universe (magazine) 138

Visions of Tomorrow (Br.) 290

216, 222, 238, 273, 286, 306, 359,

The Universes of Margaret Weis and Viskupic, Gary 467–468

360, 380, 382, 404, 420, 429, 449,

Tracy Hickman: Realms of Dragons

Visual Encyclopedia of Science Fiction 456, 503

494

481

The Weird Tales Story 183

University of Maryland Art Gallery

Visual Index of Science Fiction Cover Art Weird Worlds (comic) 140

(MD) 58, 96, 115, 233, 401

(ViSCO) 2

Weirdbook Magazine 200, 306, 383

Unknown 21, 22, 23, 116, 137, 138, Voice of Comicdom (fanzine) 154

Weis, Margaret 368, 494

239, 420

Voice of the Imagination (fanzine) 454

Weiss, Phil 44, 54

Unknown Arts: The Life and Art of Lee Volpe, Charles 263, 351

Weist, Jerry 3, 44, 54, 55

Brown Coye 56

Vortex Science Fiction (magazine) 451

Weistling, Morgan 40

Untamed 197

The Voyage of Sinbad 153

Wellman, Manly Wade 144

Unwin Publishers 343

The Voyage of the Bassett 143

Wells, H. G. 14, 24, 187, 240, 299,

The Uplift War 142

429, 453, 454, 503

Urania 332

W. H. Allen Publishers 322, 426

Wenzel, Paul 475

Urania (magazine) 448

Wagner, Karl Edward 156

Werewolf 154

U. S. News and World Report 140, 194

Wald, Dick 44

Wesso, Hans Waldemar 17, 124, 125,

Utpatel, Frank 272, 456

Wallace, Edgar 153

177, 350, 412, 453, 475–476

The Wally Wood Sketchbook 487

West End Games 52

Vadeboncoeur, Jim, Jr. 366, 436, 487

Walotsky, Ron 38, 44, 48, 64, 66, 84, Western Publishing Co. 74, 192, 266,

Valentina, Soul in Sapphire 92

468–470

268, 403

Valigursky, Edward 26, 28, 29, 32, 44, Walsh, Ray 44

Western Story (magazine) 347, 420

441, 456–458

Walters, Robert 470–471, 503, 504

The Westminster Gazette (Br. newspaper) Valla, Victor 458

Wandrei, Donald 23, 456

240

525

Index

Westminster School of Art (UK) 372

Wizard Press 192

256, 264, 290, 301, 303, 323, 329,

Weyden, Rogier van der 285

Wizardry and Wild Romance 139

348, 370, 415, 429, 467, 473, 477,

Wheeler, Steve 123

Wizards (film) 343

478, 493, 494, 499, 502

The Wheels of If 24

Wizards of the Coast 63, 64, 76, 86,

Worlds Beyond 25, 255, 463

Whelan, Michael 33, 34, 36, 40, 42,

122, 131, 180, 181, 207, 213, 233, 311, Worlds Beyond 345

46, 48, 49, 50, 53, 55, 56, 60, 65,

323, 360, 502, 505

Worlds of If 74, 380

66, 128, 230, 250, 256, 278, 323,

Wolfe, Corey 485

Worlds of Tomorrow (magazine) 237

329, 354, 389, 418, 470, 476–480, Wolfe, Gene 48, 115, 430

Worlds of Wonder Gallery 59, 387

500, 501, 502, 503, 504

Wollheim, Betsy 237, 505

Wright, Farnsworth 17, 18, 21, 22, 116, When Worlds Collide (film) 119

Wollheim, Donald A. 24, 25, 28, 30,

117, 125, 126, 208, 404–405

The Whisperer 277, 364

31, 33, 36, 40, 217, 229, 301, 307,

Wrightson, Berni 39, 275, 291, 296,

Whispers (British fanzine) 380

308, 312, 476

402, 490–491

Whispers (magazine) 51, 216, 380

Wolverton, Basil 82, 486

Wunder, George 486

White, Ted 31

Wolves of Darkness 350

Wurts, Janny 56, 329, 491–492, 502, White, Tim 38, 51, 52, 86, 256, 333,

Woman’s Day Magazine 438

504

375, 480–482, 506

Woman’s Home Companion 430

Wyeth, N. C. 43, 78, 89, 990, 240,

White Buffalo Games 52

Woman’s World Magazine 153, 419

261, 269, 303, 329, 334, 354, 378,

The White Dragon 477

Women 399

407, 441, 463, 470

White Dwarf (magazine) 41, 114, 279

Women of the Ages 210

Wyland, Robert 474

White Wolf (magazine) 122, 496

Wonder Comics 281

Wynn, A. A. 28

White Wolf Inc. Game Studio 53, 82,

Wonder Stories (magazine) 17, 19, 20, 122, 192, 496

21, 124, 331, 350, 412

Xanth novels 442

Whitmore, Coby 451

Wonder Stories Quarterly 370

Xena 42, 360

The Whitney Museum 88, 155, 190,

Wonders: Art of Esteban Maroto 332

Xenophile (fanzine) 149, 383

456

Wonderworks 477

Xero (fanzine) 73

Widener University Arts Collection

Wood, Stanley L. 372, 485–486

Xotica — Art of Maroto 332
and Gallery (PA) 58, 305, 401

Wood, Wallace 29, 74, 82, 131, 140,

XXXenophile (CCG) 79, 213, 323

Wiener, Robert 44, 249

255, 291, 355, 356, 486–488, 490

Wild West Weekly 420

Woodroffe, Patrick 38, 166, 333, 488–

Yates, Christopher 492

Wildside Press 63

489

The Year’s Best Horror 477

William Morrow Publishers 299, 348

Woodstock School of Art 203

Yesterday’s Lily 292

Williamson, Al 159, 160, 240, 307

Woolhiser, Jack 489–490

Yolen, Jane 136, 408, 414, 503

Williamson, Jack 24, 31, 138, 248, 350

Worcester Art Museum (MA) 322

Youll, Paul 492–494

Willis, Connie 427, 493

Words & Pictures Museum (MA) 58

Youll, Stephen 492, 494–495

Willits, Malcolm 44, 54

Workman Publishing Co. 39, 65, 90,

Young adult books 24, 61, 87, 144,

Willow (film) 71

290, 459

162, 232, 259, 273, 283, 307, 311,

Wilshire, Pat 3

Works of Wonder 48

315, 322, 334, 361, 362, 365, 381,

Wilson, Dawn 482–483, 504

The World (newspaper) 367

386, 389, 408, 410, 412, 414, 431,

Wilson, Gahan 483–485, 501

World Fantasy Award 7, 46, 63, 84,

432, 448, 466, 473, 485

Wilwerding, Walter J. 78

96, 136, 144, 156, 184, 188, 200, 227, Young Artists Agency 39, 127, 147, 157, Windling, Terri 135, 136, 225, 226,

233, 242, 247, 273, 292, 299, 306,

183, 215, 254, 258, 338

244, 503

310, 311, 323, 358, 383, 466, 477,

Young England (Br. magazine) 485

The Windsor Magazine 240

478, 484, 496, 501

Windsor-Smith, Barry 49, 243, 291,

World Fantasy Convention 37, 46, 48,

Zahourek, John 169

296

49, 61, 76, 79, 96, 99, 138, 188, 256, Zebra Books 89, 95, 169, 431

Wings 281

308, 329, 389, 401, 408, 473, 491,

Zelazny, Roger 130, 141, 151, 356, 481, Winston Publishing Co. ( John C.

456, 501

503

Winston Co.) 113, 202, 266, 268,

World Gaming Convention 140

Zeleznik, John 495–496

384, 416

World Horror Convention 61, 122, 429

Zenith (Br. fanzine) 454

Witch World novels 230

The World of Charles Adams 73

Ziff-Davis Publications 20, 21, 22, 29, Witkin, Joel Peter 144

World Publishing Co. 24, 280, 385

44, 73, 74, 78, 79, 111, 156, 169, 282, Witzend (fanzine) 291, 487

World Science Fiction Convention 21,

295, 309, 327, 337, 338, 350, 371,

Wizard novels 334

33, 44, 76, 79, 85, 119, 141, 143, 154, 404, 421, 428, 441, 446, 449, 457,

Wizard of Ozthen (film) 440

163, 171, 184, 196, 210, 222, 236,

483