SciFi Art Now

Steampunk Magazine Collected

2011-12-06T03:34:00.001-08:00

Fans of SciFi Art Now, which includes a chapter of steampunk art, might be interested in this colected edition of SteamPunk Magazine, comprising Issues #1-7.

Bound in this 432-page, lovingly designed anthology released by the collectively-run publisher Combustion Books, the collection includes an introduction by Jake von Slatt and a handsome cover illustrated by John Coulthart.

The anthology can be purchased for $20.99 from the independent distributor AK Press or from amazon.com

Little Lemming Books launched by Dave Windett

2011-09-06T03:49:00.001-07:00

Sci Fi Art Now contributing artist Dave Windett and writer John Gatehouse have just launched Little Lemming Books, a new publishing imprint for print and digital media, kicking their line off with Trick or Treat, the first story to feature aspring reporter Neela Nightshade.

Town gossip has it that creepy Monster Mansion on top of Gallows Hill is haunted. Investigating for herself, Neela discovers that the stories are all true…! And when the terrifying Monsters in the Basement escape, nothing can stop them from destroying the town…

Dave and John have worked together for numerous companies on more projects than they can remember, featuring both licensed characters and their own creations. Little Lemming Books is their first leap into the brave new world of electronic self publishing made possible by the emergence of devices such as the Amazon Kindle and Apple’s iPad.

Produced with the help of expert E–Book developer Paul Drummond, also a contributor to SciFi Art Now.

Trick or Treat is the first of a series of illustrated children’s comedy horror books.

• Little Lemming Books can be found at: www.littlelemmingbooks.com

• A version of Trick or Treat for Iphone, Ipod, Ipad, Nook and other epub readers is available at Lulu.com

• More of Dave’s artwork can be seen at www.davewindett.com and news and sneek peeks at upcoming projects can be found on Dave’s Blog.

• Paul Drummond's site has information about his E–Book development services.

Vicky Stonebridge exhibition launches

2011-08-12T02:10:00.000-07:00

An exhibition of paintings by SciFi Art Now contributor Vicky Stonebridge and John Mikietyn, and a ceramic sculpture by Allison Weightman, will open at the Scotland Russia Forum’s Edinburgh premises tonight at 6pm (Friday 12th August), attended by Sergei Krutikov, the Russian Consul General.

The weeklong exhibition accompanies music by Scottish singer, songwriter and translator, Tommy Beavitt, whose long-term project to interpret and perform the work of the Russian Bard, Vladimir Vysotsky (1938-1980), in English and Russian, has been an inspiration for the work displayed. Alongside the artworks, the exhibition will present Tommy’s performances in Russian and English of some of Vysotsky’s songs, which feature universal themes of faith, conflict and individual freedom.

After closing in Edinburgh on the 18th, the exhibition will then re-open at the Inchmore Gallery, near Inverness, on 19th August.

Vladimir Vysotsky is almost universally known and loved in the Russian-speaking world and in many parts of the former Soviet Union. Yet, other than to a few Russophiles, who appreciate that he may be the genuine “heir to Pushkin”, his work remains relatively obscure in Anglophonia.

His more than 1000 songs have been translated into over 60 languages, yet in his lifetime he was never officially released in the USSR, his songs instead being distributed by a process called ‘magnetizdat’ (tape-to-tape copying). Incredibly, over the course of his short and intensely lived life, he also managed to become a major theatre, TV and film actor.

While he was branded “anti-Soviet”, he was never referred to as a dissident writer and is often thought of as a great Russian patriot. Beginning with the ‘blatnaya pesnya’ (outlaw songs) genre, deriving from prison ballads sung by those returning from the Gulag, his songs branched out to deal with an extremely broad array of themes, in which human freedom and faith are often central.

Tommy, who has already traveled to Russia four times to perform mainly Burns songs (in Russian and Scots-English) said: “I’ve always been fascinated by the power of song, both as a means of expressing a nation’s culture and of transcending the differences between nations. Performing and translating songs from different cultures is also a great way to learn languages.

"Singing Burns to Russians showed me just how valuable a role the Bard fulfills – it’s more important than ever that nations are able to understand one another. As soon as I heard Vysotsky – whose birthday, 25th of January, is the same as Burns’ – I became obsessed with him. His basic message, at the same time deeply Russian and internationalist, has a lot in common with Burns’ message of ‘A man’s a man for a that’. I hope that Vysotsky will one day become as well-known (and loved) in Scotland as Burns is in Russia.”

Vicky Stonebridge at work

Vicky Stonebridge is a painter, illustrator and fire fighter. The inspiration for her work comes from a fascination with archaeology, history, anthropology, ancient art, myth and epics and how people have interpreted their world, as well as the universality of stories and symbols.

Vicky, who has also had an enduring fascination with Russia, said: “This collaboration has been a fantastic opportunity to develop the work I started when I visited Russia last year. There I was painting Scottish and Celtic myths and stories, and now I have had the opportunity to paint songs by a Russian Bard.

"It's normal for me to work with other people when creating comics and Graphic Novels, but it is unusual to work this way with paintings. I am very excited to see how Russians, Scots and other people will react to them. I hope they will convey the spirit of Vysotsky’s songs in a way that can be understood by everyone.”

Living in the Highlands since childhood, she has developed a passion for traditional Scottish folklore and Pictish/Celtic stories and art. Following a Golden Deer motif has led Vicky on an on-going artistic journey towards the East, where the Russian passion for art, culture and literature has reinvigorated her own work.

In 2010 she was invited to attend the Yelabuga International Art symposium organised by the Elabuga State Museum Preservation Area in Tatarstan. While there, she produced works for exhibition in the Shishkin Gallery on the theme of ‘Breath of the Epos’, and contributed to discussions exploring the cross-cultural connections in epic traditions and cultural practices.

Vicky interprets universal human experiences through her figurative and narrative art. She weaves connections between the post-modern western experience and the global, historical perspective, seeking an accessible visual vocabulary.

• Read our interview with Vicky Stonebridge here

Web Links

• Vicky Stonebridge - Official Site: www.balnacra.com

• Allison Weightman - www.allisonweightman.co.uk

• John Mikietyn - www.facebook.com/group.php?gid=33280558139

• Tommy Beavitt - www.globalvillagebard.co.uk

What Should Spaceships Look Like?

2011-07-28T05:46:00.000-07:00

An article published by the BBC this week pays tribute to SF artist Chris Foss, who not only introduced SciFi Art Now but also influenced many of its contributors.

The feature comes as Foss is promoting a new book about his work - Hardware: The Definitive SF Works of Chris Foss, written by fellow illustrator and top designer Rian Hughes.

Titled "What Should Spaceships Look Like" writer Virginia Brown notes that the next generation of spaceships is being conceived - and should shuttle designers take their inspiration from sci-fi illustrators?

"From Star Wars back to 2001: A Space Odyssey and even further back to comic hero Dan Dare and Victorian illustrations for the stories of Jules Verne and HG Wells, the way spaceships should look has been an important issue - before the first rocket booster ever fired," she writes. "But the fanciful reputation of sci-fi novels and films aside, the illustration of spacecraft might actually have a realistic place in the design of future vessels."

The article features many images by veteran SF illusrator Chris Foss who reveals that seeing Kubrick's 2001 made a lasting impression on his work, as did the Cold War years and the bleakness of some of the derelict areas of post-war Britain.

"People were really looking for a new kind of explosion," he says. "Humans want hope. They want something to believe in."

"An enterprising company seeking to attract government and private passengers might achieve success by offering them spaceships that resembled the unique visions of Chris Foss," says science fiction academic Dr Gary Westfahl.

"Foss made his spaceships beautiful not by streamlining them but by adding bright, decorative colours," says Westfahl.

Foss's groundbreaking and distinctive science fiction art revolutionized paperback covers in the 1970s and 80s. Dramatically raising the bar for realism and invention, his trademark battle-weary spacecraft, dramatic alien landscapes and crumbling brutalist architecture irrevocably changed the aesthetic of science fiction art and cinema.

Featuring work for books by Isaac Asimov, E. E. Doc Smith, Arthur C. Clarke, A. E. Van Vogt and Philip K. Dick, and film design for Ridley Scott and Stanley Kubrick, Hardware: The Definitive SF Works of Chris Foss brings together many rare and classic images that have never been seen or reprinted before and is the first comprehensive retrospective of the artist's sci-fi career.

The book is written by award-winning graphic designer, illustrator, font designer and comics artist Rian Hughes, noted for his work on 2000AD and Dan Dare and is also one of the many contributors to SciFi Art Now. His illustration work is highly distinctive, wearing its design influences on its sleeve.

• Read the full article here on the BBC News magazine web site

• Chris Foss Official web site: www.chrisfossart.com

Things that make editors happy...

2011-07-26T02:06:00.000-07:00

You see, this is what makes being an editor fun (sometimes)... bribes from artists! Of course, I did have to enter MacFormat and Men's Health illustrator Bill McConkey's 1980s Classic Last Supper Movie Quiz first.

I'm not sure if it's a good or bad thing that I was able to name all the films in his wonderful image (which has garnered him at least one commission, so the effort was worth it). But since one of the prizes was chocolate, who cares?

... although I do note that 'Baby Ruth' is an American chocolate bar and wonder how long Bill had it in his fridge/cupboard/competition prize box.

Wikpedia reveals that although the name of the candy bar sounds like the name of the famous baseball player Babe Ruth, the Curtiss Candy Company traditionally claimed that it was named after President Grover Cleveland's daughter, Ruth Cleveland.

The candy maker, located on the same street as Wrigley Field, named the bar "Baby Ruth" in 1921, as Babe Ruth's fame was on the rise, over 30 years after Cleveland had left the White House, and 17 years after his daughter, Ruth, had died. The company did not negotiate an endorsement deal with Ruth, and many saw the company's story about the origin of the name to be a devious way to avoid having to pay the baseball player any royalties.

Curtiss successfully shut down a rival bar that was approved by, and named for, Ruth, on the grounds that the names were too similar.

Bill's additions to the wrapper are of course, homage to Sloth in The Goonies, befriended by Chunk with a chocolate bar.

I know, I really should get out more.

Apart from mailing out bribes, Bill's been busy with a number of projects including a cover for Insurance Age and an infographic-based image on the subject of a new targeting system on an Apache Helicopter, which saw print in Nuts magazine.

• View Bill's art here on his web site: www.billmcconkey.co.uk

• Check out his latest work at: http://billmcconkey.blogspot.com

Skyboat artist Ian McQue to lead Pro Concept Art Course in Dundee

2011-07-07T05:53:00.001-07:00

Ian McQue, Lead Concept Artist and Assistant Art Director at Rockstar North, will be teaching a Professional Concept Art Course over the weekend of 6-7 August 2011 in Scotland, UK.

The course offers a rare opportunity for game and concept artists from around the world to learn first-hand from one of the industry's premier talents. Ian McQue's 'Skyboat' series of paintings are celebrated globally, and he's worked for over 15 years as a Lead Artist, Concept Artist and Assistant Art Director on some of the most successful games in the industry - including the entire Grand Theft Auto series.

The course consists of live instruction in painting, sketching, perspective, vehicle and character design, composition, and colour theory for computer games and freelance work.

It focuses on using real life reference and the world around you to achieve credibility and solve visual problems through concept art.

"I'll be doing a live painting demonstration along with portfolio reviews and one-to-one tuition," says Ian. "Above all it'll be a fun and informal couple of days making art in Scotland's sunniest city! It should be a great experience. See you there!"

• The course takes place over two days at The CTA, Unit 27, City Quay, Dundee, DD1 3JW from 10am -5pm on Sat 6 and Sun 7 August 2011 (Tel: 01382 458365). Places n the course can be reserved at infoATcomputertrainingacademy.co.uk.

• More information via http://computertrainingacademy.co.uk/#/splash/ and Ian's blog at mcqueconcept.blogspot.com.

Pulpfest 2011 celebrates classic magazine art

2011-07-05T01:43:00.000-07:00

Doc Savage cover (January 1939)
by Emery Clarke
Via www.pulpartists.com

PulpFest 2011 will be celebrating the 100th anniversaries of the births of illustrators Emery Clarke, Robert Harris, and Milton Luros on Friday, 29th July in Columbus, Ohio.

Clarke and Harris are remembered best for their front cover art on Doc Savage Magazine, while Luros is known for his detective and men’s adventure magazine covers, although he also did plenty of SF work.

PulpFest 2011 is a new and improved version of the venerable convention catering to fans and collectors of vintage popular fiction.

Born in 1911, John Emery Clarke studied on scholarship at the Kansas City Art Institute in Kansas City, Missouri in the 1930w. One of his more influential art teachers was the magazine illustrator, Monty Crews.

He moved to New York City in 1936 to find work as a magazine illustrator during the Great Depression. He was a next-door neighbour of Rudolph Belarski, for whom he occasionally posed.

He painted freelance covers for pulp magazines such as Action Stories, Fight Stories, Love Romances, Short Stories, Rangeland Romances, Star Western, Ten Detective Aces, 10-Story Detective, and Top-Notch, and several covers for Doc Savage.

Doc Savage cover (May 1937) by R. G. Harris
Via www.pulpartists.com

Robert George Harris, born in 1911, studied at the Kansas City Art Institute since the age of fourteen, and in 1929 he studied under the tutelage of Monte Crews. Emery Clarke and Richard Lyon were also art students there at the same time.

He shared art studio space in New York with John Falter, Emery Clarke, and Richard Lyon in the 1930s, with Charles LaSalle, John Scott, and Graves Gladney as neighbours. He studied with Harvey Dunn at the Grand Central School of Art and with George Bridgman at the Art Students League.

His first published assignments were story illustrations for Street & Smith's Western Story. He went on to paint covers for Complete Stories, Double Action Western, Doc Savage, Pete Rice Western, Thrilling Adventures, Western Round-Up, Western Story, and Wild West Weekly.

In 1937 he was signed by American Artists Agency, which helped him to move up from the pulps to illustrating slick magazines. He worked for Cosmopolitan,Good Housekeeping, Ladies Home Journal, Liberty, McCall's, Redbook, and The Saturday Evening Post.

During World War 2 he volunteered to join the USO Artists For Freedom Project, which was organized by the NY Society of Illustrators to bring together over 200 artists to draw thousands of portrait sketches of wounded servicemen recuperating in military hospitals.

Future Science Fiction cover (January 1952)
cover by Milton Luros
Via www.pulpartists.com

Also born in 1911 as Milton Louis Rosenblatt, Milton Luros devised his distinctive professional name, Luros, in 1935 by reconfiguring his middle name, Louis, with the "R" from his actual last name. His early credits include pen and ink interior story illustrations for Western Trails but by 1937 he had begun to sell freelance pulp covers to titles such as Adventure Novels, Cowboy Romances, Crack Detective, Science Fiction and Western Yarns.

After the second world war he continued to do freelance illustration for Crack Detective, Famous Detective, Smashing Detective, Astonishing, Dynamic Science Fiction, Future, and Science Fiction Quarterly and became the art director of a new pulp magazine produced by Columbia Publications, Famous Detective in 1950.

Pulp expert David Saunders notes that this same magazine also featured his cover paintings as well as his line art to illustrate interior stories. "No one else in the history of pulp art had ever simultaneously played all three roles of art director, cover artist, and interior line artist," he records.

Luros also wrote and drew a nationally syndicated newspaper comic strip called, Roger Lincoln, S-Man. The strip ran for four years, and folded in 1952 before starting the American Art Agency in 1955, helping many of his neighbourhood artists find work in other outlets in exchange for ten percent.

In 1957 he began to work for Universal Studios, where he designed movie posters and billboard advertising, and was publishing his own men's magazine, Cocktail by 1959 hich was distributed exclusively through liquor stores. He was soon the head of a publishing empire, Parliament News Distributors, Inc., which specialized in nudist and erotic publications, work that overshadowed his more general contributions to American culture and eventually and unjustly earned him the label of "the world's richest pornographer."

• Pulpfest 2011 takes place on Friday 29th July – Sunday 31st July at the Ramada Plaza Hotel and Conference Center in Columbus, Ohio. For further details on this fine presentation by pulp art expert David Saunders, visit www.pulpfest.com and, perhaps, sign up for their regular subscription service

• For more about American pulp magazines, check out David Saunders brilliant www.pulpartists.com - source of the artist information in this post.

Oz does Alien

2011-06-20T09:00:00.000-07:00

This stunning Alien painting is on sale now from Art You Grew Up With, the work of Paul Oz, who's also known, perhaps bizarrely, for his Mr Men paintings!

He's also much in demand for his Formula 1 inspired art.

This stunning rendition of Science Fiction's most terrifying creature in oils is a beauty in black.

A 36" x 48" piece of signed art it's not cheap - £3200 unframed, £4000 framed - but it's certainly eye catching.

Officially licensed artist to the Bruce Lee family, Denis the Menace, Ali, Mr Men and Star Trek, well known recipients of his work include Sir Alex Ferguson, Radio1’s Chris Moyles and Theo Paphitis – who he's also working with on Comic Relief fundraising projects.

"I was alright at school if I remember correctly, being able to replicate Monet's style reasonably, and won a prize for something as a wee sprog," he says of how he came to be a commercial artist. "But - thankfully to be honest - I was persuaded to follow a more academic route. As it panned out, that meant that 15 years later when I started throwing paint around our initially spotless kitchen, that I could practice, learn and develop my style unpressured - to gradually build up to the point it's become now, of being my passion, and livelihood all in one.

"I'm not a textbook artist, you don't have to understand my artwork; my entire focus is to create visual impact - with the impression of explosive energy, movement and expression, and to illicit a response a pointed finger and something along the lines of and 'woooohhhhaaa!'."

Regarding his actual artwork he reveals every piece is "around 2cm thick oil paint in places (yes, I get through a fair amount of the stuff) and pretty large scale, usually on board for a completely flat background so that the texture of the subject really comes out at you - several other techniques combine for the maximum 3D effect possible.

"I'm fascinated with how perceptions change with distance - the biggest unintentional compliment I’ve had was that my work looks like porridge close up!

"I was once told by a gallery to paint tall narrow pieces that anyone could find space for in a corner. That’s why I now paint even bigger...! "

• Check out more of Paul Oz art for sale on ArtYouGrewUpWith

How to Engage Prospective Art Directors: Bill McConkey's Film Quiz

2011-06-01T07:58:00.000-07:00

Ever mindful of the need to stimulate the interest of prospective employers, SciFi Art Now contributor Bill McConkey mailed me a postcard using the nostalgic 1980s inspired image above - and a fab film challenge.

"Usually in February/March/April I've already sent out my mail outs to existing and prospective clients," he explains via his blog. "Last year, that was my 20 page booklet Kaleidoscope and I had every intention of producing a second volume for this year. However since before Christmas up until now I've been too busy with actual jobs, in fact almost with a guarantee every time I've tried to start this booklet I've had an email or a phone call from a client."

Some familiar characters used for an article for
Men's Health: Broccoli verus Spinach.
Art by Bill McConkey

Despite his workload - Bill's recent credits include work for Accountancy Age, Men's Health and Nuts - he found time to mail out his postcard challenge, aimed at reming Art Directors up and down the land he was available for work.

"This, as you can hopefully see, is an 80's movie themed tribute to Da Vinci's Last Supper," he explains. "I'm inviting anyone who got hold of the card to tell me the films that each of the characters appear in and they'll get a prize... also bonus points for anyone who can name the film posters in the background. Some of those are a bit tricky!"

There are 16 characters at the tables - see if you can name all the films - and the posters on the walls, too.

Of course, I'm pleased to report (or maybe that should be confess!) that I've already sent Bill my entry and he's told me I got every one right. I'm also quite chuffed that I did it without resorting to the Internet for all but one of the posters, although I will admit that I had some help from the ROK Comics art director on a couple of those, who's an even bigger SF film fan than I am.

You'll notice that the artwork above includes a little copyright stamp at the bottom. Usually Bill don't feel a need to do this, but this is one of those images that goes walk-about online, and then it ends up on all manner of websites etc that he haven't given the thumbs up to: so please respect his copyright and contact Bill if you want to use it.

• Bill's Official web site: www.billmcconkey.co.uk

• Bill's official blog: www.billmcconkey.blogspot.com

• Bill McConkey's Last Film Supper © 2011 Bill McConkey

Out of this World: Science Fiction but not as you know it

2011-05-04T03:15:00.000-07:00

The Martians from H G Wells’s The War of the
Worlds; as depicted by Alvim-Correa in
the Belgian edition, La Guerre des mondes
(Brussels, 1906).

Rudyard Kipling’s With the Night Mail (1909),
illustrated by Frank Leyendecker.
Copyright © British Library Board.

Airborne Dreaming; a prehistory of flight
Friday 3 June 13.00 – 14.30

Flight is one of the defining dreams of magic, myths and fairy tales. In The Arabian Nights above all, early scientific fantasies of flight, imaginary voyages and utopias give us the flying carpet, a vehicle of rapture and ecstasy as well as power over time and space. Prize-winning writer of fiction, criticism and history, Marina Warner, explores these magical and prophetic annunciations of the coming era of powered flight. £6 / £4 concessions

Utopias and Other Worlds
Monday 6 June 18.30 – 20.00

The Culture, a vast anarchic and utopian interstellar society, is one of the most extraordinary settings in modern literature, and it follows a long tradition of imagined worlds, perfect or otherwise. Its creator, acclaimed novelist Iain M Banks, is joined by Gregory Claeys, author of Searching for Utopia, to trace the long history of the idea, and Francis Spufford, whose Red Plenty explores the world of Soviet idealism. £7.50 / £5 Concessions

H G Wells: The Man Who Invented Tomorrow
Wednesday 8 June 18.30 - 20.00

‘Scientific romances’ such as The Time Machine and The War of the Worlds, within a prolific career as writer and social thinker made H G Wells the most famous author in the world. Yet his life and ideas were full of contradiction. Wells is the subject of A Man Of Parts, the new novel by David Lodge, who discusses this complex and intriguing figure with Stephen Baxter, whose The Time Ships was an authorised sequel to Wells, and Adam Roberts, SF writer and Professor of Nineteenth-Century Literature at Royal Holloway, University of London. £7.50 / £5 concessions

Cover of Gaspar’s Novelas (1887) for
El Anacronópete depicting the
earliest known portrayal of a time
machine.
Copyright © British Library Board.

The Art and Science of Time Travel
Friday 10 June 18.30 – 20.00

From Madeline D'Engle's A Wrinkle In Time to Doctor Who and Kurt Vonnegut’s Slaughterhouse 5 the concept, appeal and paradoxes of time travel have inspired many mind-boggling flights of the imagination. Join the creators of two superb recent experiments with the idea: Stephen Baxter, whose The Time Ships is a sequel to HG Wells, and Audrey Niffenegger, the author of the best selling The Time Traveler’s Wife. Acclaimed science writer John Gribbin will be the evening’s authority on the theory and logic of time travel. £7.50 / £5 concessions

SPECIAL EVENT: LATE AT THE LIBRARY- OUT OF THIS WORLD Global Communication and The Radio Science Orchestra live with DJs Rob da Bank and Jon Hopkins
Friday 17 June 19.30 – 23.00

Join the Library as they go into interstellar overdrive at a unique music event to celebrate ‘Out Of This World’. A rare chance to catch the theremin led retro-space sound of Bruce Woolley’s Radio Science Orchestra featuring Ken Hollings, in Return To Mars. They are followed by the return of Global Communication, one of the pre-eminent electronic acts of the modern era, performing live for the first time in 15 years. Plus the exceptional DJs Rob da Bank and Jon Hopkins and a special appearance by the Immaculate Extremists. Please dress futuristically! And come to our Illamasqua sci-fi salon on the night for a fabulous makeover. £12.50

Space Children: From Dr.Funkenstein to the ArchAndroid
Saturday 18 June 15.30 – 17.00 (plus film screening at 14.00)

The afrofuturistic imagination reached fantastical heights in the lavish science fiction inspired stage shows, costumes and concept albums of US funk acts Parliament and Labelle. George Clinton, whose P-funk mythology turned his whole band into characters from a wild space opera comes to the British Library to talk about all things galactic in his career. He shares the event with Nona Hendryx from Labelle, whose concerts and extraordinary styling in the mid 1970s had to be seen to be believed. A multimedia journey into this thrilling world, that also features special film of their heiress Janelle Monae, 'the ArchAndroid'.The event will be preceded by a rare screening of John Akomfrah’s documentary The Last Angel of History at 14.00. £7.50 / £5 concessions

Brian Aldiss, John Clute, Michael Moorcock and Norman Spinrad
Tuesday 21 June 18.30 - 20.00

A rare chance to spend an evening with four of the most extraordinary writers of modern times: Brian Aldiss, John Clute, Michael Moorcock and Norman Spinrad. Each has had a long, diverse writing career encompassing novels, short stories, essays and non fiction; championing originality and freely blending the literary mainstream with fantasy, science fiction and absurdism. Moderated by Roz Kaveney. £7.50 / £5

Mary Shelley and Romantic Science (and that Creature)
Wednesday 22 June 18.30 - 20.00

Mary Shelley was still Mary Godwin, and only 18 years old, when she began the short horror story that eventually became one of the most influential novels of the 19th century: Frankenstein, or the Modern Prometheus. Acclaimed biographer and historian of science Richard Holmes depicts an era of scientific speculation that enabled Mary to conceive her extraordinary Creature, and his visionary creator, Victor Frankenstein. £6 / £4 concessions

Aliens and The Imagination
Tuesday 28 June 18.30 - 20.00

Are we alone in the universe? While we wait for an answer that may never come, we seem compelled in the meantime to imagine alien encounters, devise extraordinary alien worlds and races and find ‘the other’ much closer to home. Fascinating presentations and discussion from film director Gareth Edwards (Monsters) author Gwyneth Jones, Mark Pilkington (Strange Attractor); scientists and writers Jack Cohen and Ian Stewart, (What Does a Martian Look Like?: The Science of Extraterrestrial Life) and David Clarke, Sheffield Hallam University and consultant to the National Archives UFO project. Chaired by Bryan Appleyard. £7.50 / £5 concessions

Amazing Stories, January 1929: Frank R. Paul’s
cover for Marius’s ‘The Sixth Glacier’, where
cosmic conditions start a new ice age.
Copyright © The Estate of Frank R. Paul.

Niall Ferguson: Civilisation and Virtual History
Wednesday 29 June 18.30 – 20.00

What if the Spanish Armada had been victorious? What if Germany had won the Second World War as imagined in Philip K Dick’s The Man In The High Castle? Imaginative writers have often used ‘counterfactualism’ as a device but rarely historians. Niall Ferguson, writer of many acclaimed books and presenter of Civilisation The West and the Rest, outlines some of the intriguing scenarios that could have resulted in a completely different world to the one we know, and explores how this speculation helps us understand history. £7.50 / £5 concessions

The Universes of Alan Moore
Monday 4 July 18.30 - 20.00

Alan Moore’s vast forthcoming novel Jerusalem is set in a four dimensional world of overlapping history, personal life and local geography, working class angels and demons. It builds on a remarkable body of work, including The League of Extraordinary Gentlemen and V for Vendetta which have made him one of the most influential writers in the history of comic novels. He joins comedian and writer Stewart Lee to discuss many aspects of the real and unreal, time and space, people and places. £7.50 / £5 concessions

Rossum’s Universal Robots (R.U.R) by Karel Čapek
Wednesday 6 July 18.30-21.15 and repeated on Friday 8 July 18.30-20.00

Ninety years ago the great Czech playwright and novelist Karel Čapek first presented his remarkable play R.U.R, from which the word 'robot' is derived and which describes the elimination of humanity by robots. A powerful comment on politics and technological progress, it also presages the questions of cloning and nanotechnology of our own time. A staged reading, abridged and directed by Ivor Benjamin. The performance on Wednesday 6 July is followed by a discussion with leading scientists and technologists on the impact of robotics on our lives, past, present and future. £7.50 / £5 concessions

Raymond Taylor’s composition,
A Signal from Mars, 1901

Out of this World classics: selected and dissected
Tuesday 12 July 18.30 - 20.00

The organisers of the Arthur C Clarke Award, the leading British SF honour, invite you to join their crack team of panellists as they chose and discuss personal favourites from the British Library's Out of this World exhibition - which takes in everyone from Voltaire to Vonnegut, Thomas More to Alan Moore, and Borges to Burgess. Participants include Pat Cadigan and Paul McAuley. £7.50 / £5 Concessions

Afro Futures: Pumzi plus Q+A with Wanuri Kahiu
Tuesday 19 July 18.30 - 20.00

This stunning short film by Kenyan director Wanuri Kahiu attracted admirers from all over the world when it premièred at the Sundance festival. Set in a dystopian future after water wars have torn the world apart it is a beautifully crafted film, with special effects provided in part by the team behind futuristic shocker District 9. £6 / £4 concessions

Robin Ince's School for Gifted Children Summer Science Fiction Module
Wednesday 20 July 18.30 – 20.30

Robin Ince, presenter on Radio 4's Infinite Monkey Cage and creator of live shows Nine Lessons and Carols for Godless People and Uncaged Monkeys with Brian Cox, presents an evening of comedy, inspired ideas and mini SF lectures from Toby Hadoke, Richard Sandling, Helen Arney and other special guests. £7.50 / £5 concessions

Class, Control and Clones
Monday 1 August 18.30 – 20.00

Science Fiction and Social Science both explore dangerous and difficult ideas about the social world around us, about relationships, and about our reactions to change. One creates imaginative worlds, the other uses observation and evidence. What do ‘social science fiction’ works such as Brave New World and The Handmaid’s Tale say about our preoccupations with gender relations, fertility and class? Is it simply a question of science, sex and stereotypes, or do more fundamental ethical, sociological and political issues underpin the fictional worlds created? £6 / £4 concessions

Lemistry – 100 years of Stanislaw Lem
Friday 9 September 18.30 – 20.00

A truly great European writer, Stanislaw Lem (1911-2006) transcends both Polish literature and his chosen genre, science fiction. Best known for his twice-filmed novel Solaris, he was a virtuoso storyteller who packed his writing with philosophy, comedy, and allegory. This evenings rich centenary celebration features contributions by writers John Gray, Toby Litt and Wojciech Orliński, and film makers Ari Folman (currently filming Lem’s The Futurological Congress as follow up to Waltz with Bashir) and The Brothers Quay. Chaired by journalist and critic Rosie Goldsmith.
Presented in association with the Polish Cultural Institute. £7.50 / £5 concessions

Plus more ‘Out of this World’ events in September to be announced.

The Library's exciting season of events continues in the final weeks of the Out Of This World exhibition. In September, the British Library welcomes best selling author Neil Gaiman, alongside other greats of science fiction and beyond. Further events will be devoted to the exceptional writers J G Ballard, Robert Holdstock and others.

• Out of this World: Science Fiction but not as you know it runs from 20 May – 25 September 2011. Tickets for all events are available at http://boxoffice.bl.uk, by calling 01937 546546 (9am-5pm Mon-Fri) or in person at The British Library.

• Please visit the website for latest news: www.bl.uk/sciencefiction

Artist Neil Roberts part of Lincoln Book Festival line up

2011-05-03T09:30:00.000-07:00

Lincoln University is running an event titled The World of Comics later this month as part of the Lincoln Books Festival (11th - 15th May), featuring Sci-Fi Art Now contributor Neil (Sarah Jane Adventures, 2000AD) Roberts alongside Murky Depths editor Terry Martin.

"Comics and graphic novels have enjoyed an explosion of popularity lately, but what is the key to their success?" organisers Alt.Fiction (aka Writing East Midlands) ask.

"Join us for this panel discussion with Terry Martin, award-winning publisher of Murky Depths and acclaimed artist Neil Roberts to explore this ever-expanding area of reading and writing. A great opportunity to find out more how comics and graphic novels come to life, and what the future holds for this growing art form."

The festival also features an appearance by cartoonist Tony Husband alongside poet Ian McMillan (presenting their marvellous 'A Cartoon History of Here' show) and acclaimed SF editor John Jarrold.

• The World of Comics, 7.00pm 11th May, The Library, Lincoln University. Tickets £4, book at lincolnbookfestival.org (Direct tickets sale link here)

Out of this World: Science Fiction but not as you know it

2011-04-21T08:47:00.001-07:00

Out of this World: Science Fiction but not as you know it is the British Library’s first exhibition to explore science fiction through literature, film, illustration and sound and opens next month, running until September. The Library tells us "it will challenge visitors’ perceptions of the genre by uncovering gems of the Library’s collections from the earliest science fiction manuscripts to the latest best-selling novels."

Guest-curated by Andy Sawyer, Science Fiction Collections Librarian at the University of Liverpool, the exhibition will trace the development of the genre from True History by Lucian of Samosata written in the 2nd century AD to the recent writings of Cory Doctorow and China Miéville, showing how science fiction has turned from a niche into a global phenomenon.

Events include appearances by several British comic creators including Alan Moore and Neil Gaiman.

Here's a full list of all events.

Out of this world: Why Science Fiction speaks to us all
Friday 20 May 18.30 - 20.00

Throughout history, people have asked ‘what if?’ We have always allowed our imaginations to create other worlds as expressions of our wildest dreams, hopes and fears, and so better to understand our own. ‘Science Fiction’ expresses this human need in potent ways, but so does the work of Swift, Lewis Carroll and George Orwell. The story and present state of our speculations are explored by China Miéville (right), Adam Roberts, Tricia Sullivan and special guests. £7.50 / £5

Out of this World: Science and The Future
A short series of discussions exploring the cutting edge thinking and scientific research and ideas that may determine the kind of future we will have on earth. This is the thinking that may seem like science fiction but will be revolutionary in our lifetimes; although it is not without controversy. Leading scientists, theorists and writers share their thoughts.

Who owns the story of the Future?
Tuesday 24 May 18.30 – 20.00

Will the future be better or worse? – and does the story we are telling ourselves help or hinder us? Can we make the right choices, and deal with the grand challenges ahead or will our ambitions and lack of political will get in the way. Jon Turney (The Rough Guide to The Future) chairs a panel including economist Diane Coyle (The Economics of Enough), technology and SF writer Cory Doctorow and Mark Stevenson (An Optimists Tour of the Future). £7.50 / £5 Concessions

Compared to this, the Industrial Revolution was nothing!
Wednesday 25 May 18.30 - 20.00

Is the ‘ultimate reboot’ is coming as the Genetics, Nanotechnology and Robotics/AI revolutions intertwine and pick up speed? Are we heading toward a radically different society where our notions of old age, scarcity and our institutions have to be radically rethought? Or have we heard it all before? Speakers include Richard Jones (University of Sheffield, author of Soft Machines; Nanotechnology and Life) Robin Lovell-Badge (Head of Stem Cell Biology and Developmental Genetics at the National Institute for Medical Research) and Anders Sandberg (Future of Humanity Institute). Chair, Jon Turney. £7.50 / £5 Concessions

Fixing the Planet: have we finally got some concrete options?
Friday 27 May 18.30 - 20.00

From carbon scrubbing, to fourth generation bio-fuels, to biochar, to improved grassland management – we have the tools to deal with the climate change crisis in short order. So why don’t more of us know about them – and what can we do to start putting them into action? Speakers include Chris Goodall (Ten Technologies to Save the Planet), Tim Kruger (Oxford Geoengineering Research) and Mark Stevenson. £7.50 / £5 Concessions

The Beginning of Infinity: Explanations that transform the World
Tuesday 31 May 18.30 – 20.00

David Deutsch, the acclaimed physicist and author of The Fabric of Reality, explores the big issues that inform our understanding of how the physical world works. His much awaited new book, The Beginning of Infinity reaches some startling conclusions about the nature of human choice, scientific explanation and the evolution of culture. Chaired by Graham Lawton, Deputy Editor, New Scientist. £7.50 / £5 Concessions

The Age Of Entanglement: are we too intertwined with technology?
Friday 3 June 18.30 – 20.00

“As technology infiltrates every aspect of our lives it’s become a life support system without which we can’t survive” (James Burke). Are we too dependent on our technologies, or are they the key to a bright future? Are we subjugated or emancipated by them? Speakers include technology writer and broadcaster Aleks Krotoski and Sherry Turkle (Massachusetts Institute of Technology, author of Alone Together). £7.50 / £5 Concessions

Airborne Dreaming; a prehistory of flight
Friday 3 June 13.00 – 14.30

Flight is one of the defining dreams of magic, myths and fairy tales. In The Arabian Nights above all, early scientific fantasies of flight, imaginary voyages and utopias give us the flying carpet, a vehicle of rapture and ecstasy as well as power over time and space. Prize-winning writer of fiction, criticism and history, Marina Warner, explores these magical and prophetic annunciations of the coming era of powered flight. £6 / £4 concessions

Utopias and Other Worlds
Monday 6 June 18.30 – 20.00

The Culture, a vast anarchic and utopian interstellar society, is one of the most extraordinary settings in modern literature, and it follows a long tradition of imagined worlds, perfect or otherwise. Its creator, acclaimed novelist Iain M Banks, is joined by Gregory Claeys, author of Searching for Utopia, to trace the long history of the idea, and Francis Spufford, whose Red Plenty explores the world of Soviet idealism. £7.50 / £5 Concessions

H G Wells: The Man Who Invented Tomorrow
Wednesday 8 June 18.30 - 20.00

‘Scientific romances’ such as The Time Machine and The War of the Worlds, within a prolific career as writer and social thinker made H G Wells the most famous author in the world. Yet his life and ideas were full of contradiction. Wells is the subject of A Man Of Parts, the new novel by David Lodge, who discusses this complex and intriguing figure with Stephen Baxter, whose The Time Ships was an authorised sequel to Wells, and Adam Roberts, SF writer and Professor of Nineteenth-Century Literature at Royal Holloway, University of London. £7.50 / £5 concessions

The Art and Science of Time Travel
Friday 10 June 18.30 – 20.00

From Madeline D'Engle's A Wrinkle In Time to Doctor Who and Kurt Vonnegut’s Slaughterhouse 5 the concept, appeal and paradoxes of time travel have inspired many mind-boggling flights of the imagination. Join the creators of two superb recent experiments with the idea: Stephen Baxter, whose The Time Ships is a sequel to HG Wells, and Audrey Niffenegger, the author of the best selling The Time Traveler’s Wife. Acclaimed science writer John Gribbin will be the evening’s authority on the theory and logic of time travel. £7.50 / £5 concessions

SPECIAL EVENT: LATE AT THE LIBRARY- OUT OF THIS WORLD Global Communication and The Radio Science Orchestra live with DJs Rob da Bank and Jon Hopkins
Friday 17 June 19.30 – 23.00

Join the Library as they go into interstellar overdrive at a unique music event to celebrate ‘Out Of This World’. A rare chance to catch the theremin led retro-space sound of Bruce Woolley’s Radio Science Orchestra featuring Ken Hollings, in Return To Mars. They are followed by the return of Global Communication, one of the pre-eminent electronic acts of the modern era, performing live for the first time in 15 years. Plus the exceptional DJs Rob da Bank and Jon Hopkins and a special appearance by the Immaculate Extremists. Please dress futuristically! And come to our Illamasqua sci-fi salon on the night for a fabulous makeover. £12.50

Space Children: From Dr.Funkenstein to the ArchAndroid
Saturday 18 June 15.30 – 17.00 (plus film screening at 14.00)

The afrofuturistic imagination reached fantastical heights in the lavish science fiction inspired stage shows, costumes and concept albums of US funk acts Parliament and Labelle. George Clinton, whose P-funk mythology turned his whole band into characters from a wild space opera comes to the British Library to talk about all things galactic in his career. He shares the event with Nona Hendryx from Labelle, whose concerts and extraordinary styling in the mid 1970s had to be seen to be believed. A multimedia journey into this thrilling world, that also features special film of their heiress Janelle Monae, 'the ArchAndroid'.The event will be preceded by a rare screening of John Akomfrah’s documentary The Last Angel of History at 14.00. £7.50 / £5 concessions

Brian Aldiss, John Clute, Michael Moorcock and Norman Spinrad
Tuesday 21 June 18.30 - 20.00

A rare chance to spend an evening with four of the most extraordinary writers of modern times: Brian Aldiss, John Clute, Michael Moorcock and Norman Spinrad. Each has had a long, diverse writing career encompassing novels, short stories, essays and non fiction; championing originality and freely blending the literary mainstream with fantasy, science fiction and absurdism. Moderated by Roz Kaveney. £7.50 / £5

Mary Shelley and Romantic Science (and that Creature)
Wednesday 22 June 18.30 - 20.00

Mary Shelley was still Mary Godwin, and only 18 years old, when she began the short horror story that eventually became one of the most influential novels of the 19th century: Frankenstein, or the Modern Prometheus. Acclaimed biographer and historian of science Richard Holmes depicts an era of scientific speculation that enabled Mary to conceive her extraordinary Creature, and his visionary creator, Victor Frankenstein. £6 / £4 concessions

Aliens and The Imagination
Tuesday 28 June 18.30 - 20.00

Are we alone in the universe? While we wait for an answer that may never come, we seem compelled in the meantime to imagine alien encounters, devise extraordinary alien worlds and races and find ‘the other’ much closer to home. Fascinating presentations and discussion from film director Gareth Edwards (Monsters) author Gwyneth Jones, Mark Pilkington (Strange Attractor); scientists and writers Jack Cohen and Ian Stewart, (What Does a Martian Look Like?: The Science of Extraterrestrial Life) and David Clarke, Sheffield Hallam University and consultant to the National Archives UFO project. Chaired by Bryan Appleyard. £7.50 / £5 concessions

Niall Ferguson: Civilisation and Virtual History
Wednesday 29 June 18.30 – 20.00

What if the Spanish Armada had been victorious? What if Germany had won the Second World War as imagined in Philip K Dick’s The Man In The High Castle? Imaginative writers have often used ‘counterfactualism’ as a device but rarely historians. Niall Ferguson, writer of many acclaimed books and presenter of Civilisation The West and the Rest, outlines some of the intriguing scenarios that could have resulted in a completely different world to the one we know, and explores how this speculation helps us understand history. £7.50 / £5 concessions

The Universes of Alan Moore
Monday 4 July 18.30 - 20.00

Alan Moore’s vast forthcoming novel Jerusalem is set in a four dimensional world of overlapping history, personal life and local geography, working class angels and demons. It builds on a remarkable body of work, including The League of Extraordinary Gentlemen and V for Vendetta which have made him one of the most influential writers in the history of comic novels. He joins comedian and writer Stewart Lee to discuss many aspects of the real and unreal, time and space, people and places. £7.50 / £5 concessions

Rossum’s Universal Robots (R.U.R) by Karel Čapek
Wednesday 6 July 18.30-21.15 and repeated on Friday 8 July 18.30-20.00

Ninety years ago the great Czech playwright and novelist Karel Čapek first presented his remarkable play R.U.R, from which the word 'robot' is derived and which describes the elimination of humanity by robots. A powerful comment on politics and technological progress, it also presages the questions of cloning and nanotechnology of our own time. A staged reading, abridged and directed by Ivor Benjamin. The performance on Wednesday 6 July is followed by a discussion with leading scientists and technologists on the impact of robotics on our lives, past, present and future. £7.50 / £5 concessions

Out of this World classics: selected and dissected
Tuesday 12 July 18.30 - 20.00

The organisers of the Arthur C Clarke Award, the leading British SF honour, invite you to join their crack team of panellists as they chose and discuss personal favourites from the British Library's Out of this World exhibition - which takes in everyone from Voltaire to Vonnegut, Thomas More to Alan Moore, and Borges to Burgess. Participants include Pat Cadigan and Paul McAuley. £7.50 / £5 Concessions

Afro Futures: Pumzi plus Q+A with Wanuri Kahiu
Tuesday 19 July 18.30 - 20.00

This stunning short film by Kenyan director Wanuri Kahiu attracted admirers from all over the world when it premièred at the Sundance festival. Set in a dystopian future after water wars have torn the world apart it is a beautifully crafted film, with special effects provided in part by the team behind futuristic shocker District 9. £6 / £4 concessions

Robin Ince's School for Gifted Children Summer Science Fiction Module
Wednesday 20 July 18.30 – 20.30

Robin Ince, presenter on Radio 4's Infinite Monkey Cage and creator of live shows Nine Lessons and Carols for Godless People and Uncaged Monkeys with Brian Cox, presents an evening of comedy, inspired ideas and mini SF lectures from Toby Hadoke, Richard Sandling, Helen Arney and other special guests. £7.50 / £5 concessions

Class, Control and Clones
Monday 1 August 18.30 – 20.00

Science Fiction and Social Science both explore dangerous and difficult ideas about the social world around us, about relationships, and about our reactions to change. One creates imaginative worlds, the other uses observation and evidence. What do ‘social science fiction’ works such as Brave New World and The Handmaid’s Tale say about our preoccupations with gender relations, fertility and class? Is it simply a question of science, sex and stereotypes, or do more fundamental ethical, sociological and political issues underpin the fictional worlds created? £6 / £4 concessions

Lemistry – 100 years of Stanislaw Lem
Friday 9 September 18.30 – 20.00

A truly great European writer, Stanislaw Lem (1911-2006) transcends both Polish literature and his chosen genre, science fiction. Best known for his twice-filmed novel Solaris, he was a virtuoso storyteller who packed his writing with philosophy, comedy, and allegory. This evenings rich centenary celebration features contributions by writers John Gray, Toby Litt and Wojciech Orliński, and film makers Ari Folman (currently filming Lem’s The Futurological Congress as follow up to Waltz with Bashir) and The Brothers Quay. Chaired by journalist and critic Rosie Goldsmith.
Presented in association with the Polish Cultural Institute. £7.50 / £5 concessions

Plus more ‘Out of this World’ events in September to be announced.

The Library's exciting season of events continues in the final weeks of the Out Of This World exhibition. In September, the British Library welcomes best selling author Neil Gaiman, alongside other greats of science fiction and beyond. Further events will be devoted to the exceptional writers J G Ballard, Robert Holdstock and others.

• Out of this World: Science Fiction but not as you know it runs from 20 May – 25 September 2011. Tickets for all events are available at http://boxoffice.bl.uk, by calling 01937 546546 (9am-5pm Mon-Fri) or in person at The British Library.

• Please visit the website for latest news: www.bl.uk/sciencefiction

Steampunk explored in major US exhibition

2011-03-25T05:56:00.000-07:00

Jules Verne was one of the earliest science fiction writers, but what if he were alive today? US SciFi Art Now readers who enjoyed our steampunk chapter, which featured work by artists such as Patrick J. Jones, Bill McConkey and Vicky Stonebridge, might want to check out an exhibition running until May in Foxboro, Massachusetts, which puts a steampunk spin on Verne's Captain Nemo, the submariner in 20,000 Leagues Under the Sea.

Steampunk enthusiasts Steampuffin (www.steampuffin.com) and exhibition creators 5 Wits (www.5-wits.com) have come to together to show people what kind of technology and art could have been on the Nautilus if Nemo was piloting his submarine today.

Think of Steampunk as an alternate reality where the Victorian period happened at the same time as the computer or information age – what would have been produced in modern innovations, inventions and gadgetry. In fact, many believe that Jules Verne was really one of first Steampunk thinkers to popularize the genre.

The 1000-square-foot Nemo's Steampunk Art & Invention Gallery, which will be open until 30th May, will feature primarily museum quality 3D artwork/inventions from Steampunk artists across the country. The artwork will be for sale and can also be customized for clients.

• Check out the Nemo's Steampunk Art & Invention Gallery exhibition, which included details of the artists featured

• Official Exhibition web site: www.5-wits.com/20000leagues.aspx

Do Covers Count when it comes to Awards?

2011-03-11T02:14:00.000-08:00

The UK cover for Zoo City -
strong on design, light on its
SF content?

With the 2011 Arthur C Clarke Award Shortlist just announced, I thought it might be interesting to see what kind of covers the nominated books have.

While the stories are obviously the most important aspect of the nominated titles, I was curious to see if there was anything particularly striking about the way the books had been 'packaged'/'marketed' that might have helped them earn well deserved attention.

This year’s six shortlisted titles were selected from a long list of 54 eligible submissions put forward by twenty-two different publishing houses and imprints.

“The twenty-fifth anniversary of the Arthur C. Clarke Award was always going to be a landmark year, and we couldn’t have asked for a more fascinating and exciting shortlist to get the celebrations started," says Award Director Tom Hunter.

“54 eligible books is one of the highest submission years we’ve ever had, and when you look at all of the reviews, debate and online commentary that’s surrounded many of these titles you can see just how hard the judges’ deliberations were this year.

“For me this list is a great indication of just how deep, rich and complex the literature of science fiction can be. I think this list is a definite keeper, as they say, and my hope is that 25 years from now people will still be coming back to it as a representation of everything that’s best about the diversity and strength of our genre.”

The 2011 Arthur C Clarke Award Shortlist

• Zoo City by Lauren Beukes (Angry Robot)

Zinzi has a talent for finding lost things. To save herself, she’s got to find the hardest thing of all: the truth.

An astonishing second novel from the author of the highly-acclaimed Moxyland.

Intriguingly, publishers Angry Robot went for a very different cover for the UK publication (above) to that for the US (left) which, to me, is far more 'traditional" SF and at the very least, features the main character on the cover.

There's some hot debate about how SF and Fantasy is regarded in the UK at the moment - the BBC excised virtually all mention of both genres from their World Book Day programme The Books We Really Read: A Culture Show Special, ironically promoted on iPlayer by a picture of presenter Sue Perkins reading Day of the Triffids. (Author Stephen Hunt, who also runs SF Crowsnest, is up in arms about it, here and here on Facebook).

Such antipathy to SF rather makes me wonder if Angry Robot's marketing department thought long and hard about making the cover look as non-SF as possible to convince British bookshop suppliers to buy copies...

• Lauren Beukes official web site is at: http://laurenbeukes.book.co.za

• The Dervish House by Ian McDonald (Gollancz)

In the CHAGA novels Ian McDonald brought an Africa in the grip of a bizarre alien invasion to life, in River of Gods he painted a rich portrait of India in 2047, in Brasyl he looked at different Brazils, past present and future. Ian McDonald has found renown at the cutting edge of a movement to take SF away from its British and American white roots and out into the rich cultures of the world.

The Dervish House continues that journey and centres on Istanbul in 2025. Turkey is part of Europe but sited on the edge, it is an Islamic country that looks to the West. The Dervish House is the story of the families that live in and around its titular house, it is at once a rich mosaic of Islamic life in the new century and a telling novel of future possibilities.

The new SF epic from Ian McDonald does for Turkey what Brasyl did for Brazil.

I really do have to wonder just how much thought went into this cover. Did the designer simply read the Sales Sheet (the overview of the book sent out by publishers to promote the book, notice the word Turkey and Dervish and simply scurry off to find Middle Eastern looking fonts and architecture? Admittedly, the cover does some up the title - but it's pretty dull...

Ian McDonald's official web site is at: http://ianmcdonald.livejournal.com

• Monsters of Men by Patrick Ness (Walker Books)

“War,” says the Mayor. “At last.” Three armies march on New Prentisstown, each one intent on destroying the others. Todd and Viola are caught in the middle, with no chance of escape. As the battles commence, how can they hope to stop the fighting? How can there ever be peace when they’re so hopelessly outnumbered? And if war makes monsters of men, what terrible choices await? But then a third voice breaks into the battle, one bent on revenge…

The electrifying finale to the award-winning Chaos Walking trilogy, Monsters of Men is a heart-stopping novel about power, survival, and the devastating realities of war.

As you can see from the amazon link, left, the paperback version of the hardcover's cover follows similar lines. Although it's again an illustration light cover, like Dervish House, the design at least captures the title - a tad disturbing and definitely eye catching.

• Generosity by Richard Powers (Atlantic Books)

Generosity is Richard Powers' most exuberantly brilliant book yet, in which he dares to imagine what might happen when science discovers the genes for happiness...

When Russell Stone becomes the teacher of a young Algerian woman with a disturbingly luminous presence, he is both entranced and troubled. How can this refugee from terror radiate such bliss? Is it possible to be so open and alive without coming to serious harm?

Soon, Thassa’s joyful personality comes to the attention of the notorious geneticist and advocate for genomic enhancement, Thomas Kurton, whose research has enabled him to announce his discovery of the genetic underpinnings of happiness. Thassa’s congenital optimism is severely tested by the growing media circus. Devoured by the public as a living prophecy, her genetic secret will transform both Russell and Kurton, as well as the world at large.

Generosity is Richard Powers' most exuberant and exhilarating book yet.

This cover gets my prize for having absolutely nothing to do with the book description - at least on first glance. Although challenging an artist to come up with a cover that reflects the title was probably a tall order!

The multi-award-winning Richard Powers is probably the most 'maintsream' author on this year's shortlist, a writer whose works often explore the effects of modern science and technology.

• Declare by Tim Powers (Corvus - an imprint of Grove Atlantic)

An ultra-secret MI6 codename, a deadly game of deception and intrigue - Dark forces from the depths of history. It is the terrible secret at the heart of the cold war. Operation: Declare London, 1963. A cryptic phone call forces ex-MI6 agent Andrew Hale to confront the nightmare that has haunted his adult life: an ultra-secret wartime operation, codenamed Declare.

Operation Declare took Hale from Nazi-occupied Paris to the ruins of post-war Berlin and the trackless wastes of the Arabian desert, culminating in a night of betrayal and mind-shattering terror on the glacial slopes of Mount Ararat. Now, with the Cold War at its height, his superiors want him to return to the mountain and face the dark secret entombed within its icy summit.

Hale has no choice but to comply, for Declare is the key to a conflict far deeper, far colder, than the Cold War itself.

The cover to Declare suits this book by Tim Powers perfectly - he's well known for his secret histories and UK publishers Corvus have captured the spirit of the novel and its themes perfectly - the first UK printing of his 2000 World Fantasy Award-winning spy novel. Powers has a huge following in the US, but his representatives, the Zeno Agency (who, coincidentally, also represent Ian McDonald), cut the UK publishing deal on the back of the success of 'conspiracy' authors like Dan Brown at the end of 2009.

Great to see his work getting wider attention here at last. I still love his early novel, The Anubis Gates released back in the early 1980s.

Tim Powers official website is at: www.theworksoftimpowers.com

• Lightborn: Seeing is Believing... by Tricia Sullivan (Orbit)

Lightborn, better known as 'shine', is a mind-altering technology that has revolutionised the modern world. It is the ultimate in education, self-improvement and entertainment - beamed directly into the brain of anyone who can meet the asking price. But in the city of Los Sombres, renegade shine has attacked the adult population, resulting in social chaos and widespread insanity in everyone past the age of puberty. The only solution has been to turn off the Field and isolate the city.

Trapped within the quarantine perimeter, fourteen-year-old Xavier just wants to find the drug that can keep his own physical maturity at bay until the army shuts down the shine. That's how he meets Roksana, mysteriously impervious to shine and devoted to helping the stricken. As the military invades street by street, Xavier and Roksana discover that there could be hope for Los Sombres - but only if Xavier will allow a lightborn cure to enter his mind. What he doesn’t know is that the shine in question has a mind of its own . . .

Another very stark cover, which pretty much seems to be the norm - strong on typography rather than imagery.

Of the shortlisted, aside from Declare and Generosity, typography and non-SF skewed imagery would appear to be the common factor on all these covers. It's rather sad that despite the high quality of the fiction within, every covers seems intent on disguising the SF contents - although of course, if that helps sales, then sadly that's just how things will continue.

Not great news for the wonderful SF artists I worked with on Sci-Fi Art Now, perhaps?

The Arthur C. Clarke Award is described as the most prestigious award for science fiction in Britain. The annual award is presented for the best science fiction novel of the year, and selected from a shortlist of novels whose UK first edition was published in the previous calendar year.

The Award was originally established by a generous grant from Sir Arthur C. Clarke with the aim of promoting science fiction in Britain, and is currently administered by the Serendip Foundation with Sir Arthur continuing to donate a cash prize via Rocket Publishing, his UK representatives.

Last year's winner was China Miéville for The City and the City, taking the prize for a record third time.

The judging panel for the 2010 Arthur C. Clarke Award are Chris Hill and Jon Courtenay Grimwood for the British Science Fiction Association, Francis Spufford and Rhiannon Lassiter for the Science Fiction Foundation and Paul Skevington for the science fiction news website SFCrowsnest.com. Paul Billinger represents the Arthur C. Clarke Award as the Chair of Judges.

• The winner will be announced on Wednesday 27th April at an award ceremony held on the opening night of the SCI-FI-LONDON Film Festival where a prize of £2011 will be awarded to the winner along with a commemorative engraved bookend.

• Official web site: www.clarkeaward.com

Sci-Fi shapes modern design, inspired by TRON

2011-03-08T01:27:00.000-08:00

Image oourtesy of DuPont

How cool is this as an example of Sci-Fi design shaping the world of around us? The new TRON movie is to be the inspiration for an exhibition illustrating how creativity and innovation meet design at this year's Milan Design Week (11-17th April 2011), considered the most important venue for interior design professionals around the world.

DuPont Corian and Disney will showcase TRON designs CORIAN, an exhibition inspired by TRON: Legacy released last year.

The exhibition organisers say the overall effect and expression of TRON: Legacy has inspired many artists and designers across fashion, music, design and technology. From the original Daft Punk soundtrack, to exclusive apparel and designer jewellery, to the videogame Tron: Evolution, just like the ground-breaking original movie released in 1982, the world of TRON has become a lifestyle phenomenon.

The exhibition is an original project which will be art directed by DuPont and Disney and created using DuPont Corian advanced surface. (DuPont says that if you can imagine it, you can probably create it with Corian; available in over 100 colours, it can be carved, routed or worked like wood, moulded, thermoformed or inlayed… the design options are almost limitless).

A series of leading and trendy companies, architects and designers will also create fascinating interior design solutions and architectural forms as part of the exhibition, taking inspiration from the film and exploiting the versatility of DuPont Corian.

"Disney fosters imagination and DuPont shapes materials," says says Tim McCann, president of DuPont Building Innovations. "We are extremely pleased to be working with a partner as creative and innovative as The Walt Disney Company and develop together with them an exhibition for an important venue like the Milan week of design.

“TRON: Legacy has been a wonderful source of inspiration: combined with the expertise of Disney and DuPont Corian and the collaboration of imaginative architects, designers and companies, it will materialise into a unique, original and fresh exhibition that will surprise the demanding global audience of visitors to the Milan week of design."

Founded in 1800, DuPont, again considered one of the United States 100 Best Corporate Citizens this year, has long been involved in film and film making (as far back as 1924!) as well as developments in science and technology, as this archive advertisement featuring the lunar Apollo mission of the 1970s illustrates (20 of the 21 layers of the Apollo moon suits either contained or were made entirely of science-based innovations developed by DuPont).

Image oourtesy of DuPont

• Full Milan Design Week Press Release here on ASC Info

• Milan Design Week 2011 web site (I think!)

• View a fact sheet about DuPont products that have played a critical role in the US space program (PDF)

• Suited for Space (Facebook Page)

Smithsonian-sponsored Facebook page works in tandem with the content from their 2010 traveling exhibit "Suited for Space," giving visitors some extra goodies as they walk through the gallery.

Sci-Fi Art Now Creator Interview: Nelson Evergreen

2011-03-01T05:26:00.000-08:00

Flight of the Cosmic
by Nelson Evergreen

Nelson Evergreen’s work is mainly geared towards childrens’ publishing, but he tells us he likes to do a fair bit of slightly more adult/peculiar small press comics stuff on the side. His more recent include a Tom Thumb comic book for Capstone, a Wild West Pop-Up book for Templar Publishing, and an Edgar Allen Poe comic strip adaptation for Graphic Classics' second collection of Poe adaptations, due out on 1st August 2011.

"I'm just finishing off a couple of book covers at the moment," he tells us. 'Robbie Forester & The Outlaws of Sherwood St for Penguin, and A Tale Dark & Grimm for Andersen Press.

"I’ve also got a heap of kids’ picture and comic book ideas piled up in the corner, screaming 'Hoi! You! Develop us!' morning noon and night!"

Sci-Fi Art Now: What tools do you mainly use to create your art?

Nelson Evergreen: Pencil and paper (cheap printer stuff, nothing too fancy), Photoshop & Wacom tablet.

Sci-Fi Art Now: Why?

Nelson: It’s nearly always paper and pencil for composition. I don’t care too much for being chained to the computer while working out where to place all the elements. It’s much better being able to wander about, plonking the paper down as and when and just scribbling. Moving around seems to help keep the ideas flowing.

But once everything’s where it needs to be, there’s nothing quite like Photoshop for the rendering. Photoshop is pretty much my favourite thing ever. I always loved analogue inking, but years of doing it in real life, with actual mapping nibs and actual inks and all that sort of variable, fickle nonsense, had reduced me to a hollow wreck of a man. Digital inking is more like sketching with a pencil; looser, freer, less tense. Plus you can jump from medium to medium at the click of an icon.

Red Riding Hood illustration by Nelson Evergreen

Sci-Fi Art Now: What inspired you to become an artist?

Nelson: I never had a chance to imagine being anything else! Once I was old enough to realise that all these comics I loved so much were being drawn by grown ups, and that those grown ups were making a (kind of) living from doing so, well, that was it.

Sci-Fi Art Now: Which artists most inspire you?

Nelson: 2000AD was year zero for me, and I was especially smitten with Brian Bolland’s work. He wasn’t a spiky, off the wall stylist like Mike McMahon or Kevin O’Neill, but his ability to convey character, and his exquisite way with composition and pacing, inspired me no end. 2000AD really was a bomb going off – a comic so rammed with wonderful writers and artists that I feel guilty for only mentioning three of them.

A quick list of current names who continue to blow me away include Jamie Hewlett, Dave McKean, Paul Pope, Simon Bartram, Shaun Tan, Todd Schorr, Jon Foster, Charles Burns, Chris Riddell… Plus, a whole horde of old timers like Samuel Palmer, Arthur Rackham, Edmund Dulac, Kathe Kollwitz, Honore Daumier, Gustav Klimt, Goya, Vermeer, Ingres…

Plus all the amazing artists you discover being shamelessly brilliant on the web every single day. I get severely kicked up the backside at least a dozen times a week.

'Built with a Smile' by Nelson Evergreen

Sci-Fi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Nelson: It’s a blank canvas for un-tethered invention. You’ve got scope for mad organisms, freewheeling alien technology, all sorts of shiny, strange unlikeliness, making it a great conduit for automatic brain/hand/paper tomfoolery. I really enjoy not being quite sure what’s going to emerge. Plus, because I get bored of researching real life stuff pretty quickly, the more I can grab straight from my head the better.

Sci-Fi Art Now: Do you have a favourite piece of work or project you have worked on?)

© Nelson Evergreen

Nelson: Work for hire is brilliant (and essential!), but most of my favourite projects tend to be personal. When it’s your own baby the whole Unconditional Love thing quickly kicks in, and it all gets a lot more precious and subjective.

Leaving aside all the stuff I’ve got in development at the moment, on of the things I had in recent years was working on a pitch for The DFC (David Fickling’s defunct – or rather, hopefully just resting – weekly British childrens’ comic). The strip was about a 10-year-old boy going about his day to day business, blissfully unaware of this hectic universe of anthropomorphic cartoon cells going about their business inside him.

From the outset I got carried away and decided I was going to depict his innards as a cross between a random psychedelic alien environment, Judge Dredd’s Mega City One, and The Simpsons’ Springfield, all rendered in a pseudo animated CGI blockbuster style.

Of course, if I’d paid proper attention to Pixar’s Golden Rule, I’d have remembered to get the script absolutely right before launching into production – given how absurdly long these pages took, that’s not as outlandish a comparison as it might sound! But three years on, I’m still really pleased with how the visuals worked out. There was real love put into them, and I hope that comes across.

Sci-Fi Art Now: In your career, have you had any bizarre experiences while creating your art ?

Nelson: Friends and colleagues sometimes crop up in my pictures by accident. It’s weird to think of all that incredibly precise visual info floating vaguely around up there in your head, never accessible when you want it but always ready to pop out and say hello when you least expect it.

Sci-Fi Art Now: What most frustrates you about being an artist?

My inner critic, without a doubt. Lax when he should be strict, strict when he should be lax. I’d sack him if he wasn’t attached.

Sci-Fi Art Now: What keeps you going despite the hopefully occasional frustrations?

Those moments when you realise you’ve broken out of a stylistic straitjacket you didn’t even know you were wearing.

Sci-Fi Art Now: What advice would you offer to anyone starting out as an artist?

Nelson: From a creative point of view, work out what you’re best at, push it in public, and work on your weaknesses behind closed doors. From a professional point of view, just try and be a pleasure to work with.

• Check out more of Nelson's work at www.nelson-evergreen.com or his blog at http://nelson-evergreen.blogspot.com. You can contact Nelson via nelson_evergreenAThotmail.com

SciFi Art Now Creator Interview: Graeme Neil Reid

2011-02-10T05:14:00.000-08:00

About two years ago, Graeme Neil Reid went full time as an illustrator after having produced work part time and in conjunction with his job in the marketing and advertising industries for over 15 years. "These days I spend every moment drawing and when not working for a client I produce sketches for sale on my blog site (gnreid.blogspot.com) and contribute to the Scottish art blog 'Scotch Corner' (scotchcorner.blogspot.com)," he tells us.

"I've produced work from book illustrations, magazine editorial, television adverts, comic strips, concept design, wall murals, beer labels and just about anything you could think of. When I'm not working I like to watch films and practice my hobby of photography."

Some of Graeme's illustration work

Sci-Fi Art Now: What tools do you mainly use to create your art?

Graeme Neil Reid: Day to day I'll use my various propelling pencils, various pens for inking and my Apple Mac for all the Photoshop, Illustrator etc. When I can I'll paint traditionally with acrylics or inks.

Sci-Fi Art Now: Why?

Graeme: Well, I sketch out my work in blue lead (non-reproductive you see – or don't in this case) and then I'll pencil quite tightly with my Kuru Toga pencil (it slowly revolves the lead to supposedly keep it sharp but it doesn't quite manage all the time).

I'll use a mixture of pens and brushes for inking. For sketches I'll use the Pentel Brush Pen because it's so fluid and quick. For more finished inking, I use Staedtler Pigment Liners as they hold a good line and you can to a certain degree alter the line you get from them. I used to ink with brushes but I found I got a lot quicker using pens and there's a lot less mess too.

I've used an Apple Mac of one kind or another since I was 16. I love the ease of a computer when creating art. I like having a real physical finished product in your hand but a computer opens up lots of possibilities that are risk free and it can be a lot quicker. I use Photoshop on a daily basis and I dabble with Painter when I need to. I want to try Manga Studio soon as everyone seems to rate it highly.

I love painting traditionally but it can be time consuming and a bit tricky to get the desired look you were after so its often left to projects that I have time enough to do or as personal work.

Sci-Fi Art Now: What inspired you to become an artist?

Graeme: Most likely a combination of things but undoubtedly a mixture of UK comics that I read. Foremost was 2000AD but there was Eagle, Scream, Warlord, Starblazer and a few others. I didn't show any inclination to drawing when I was younger and it wasn't until I was around 14 that I started to draw pictures from those comics. Once I started that, I spotted lots of things to influence me including the art from role playing games, rock albums and films.

Sci-Fi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Graeme: The one piece of information I retained from High School was actually from my woodwork teacher who said "If there is an easier way to do things, do it that way". Now that might sound like he's saying don't try hard at anything but what I took from that is that there are so many ways to over complicate what you have to do that you'll end up taking twice as long to finish the job. So for instance, those out there that turn their noses up at light boxes and referencing, well that's fine for you but for me it makes my life easier and the job quicker.

Sci-Fi Art Now: Which artists most inspire you?

Graeme: There would be a never ending list of artists that inspire me and would be impossible to write. I enjoy finding new artists on the internet on a daily basis.

The thing that inspires me most are the artists who have been around for a while and never dropped the quality of their work, didn't shirk out on a job. You can see their work develop and mature over the years. Some take enormous risks and change their whole style but they still maintain the quality and effort they put into their work. Try harder with each new job.

Sci-Fi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

I think the age I grew up in was a really strong one for sci-fi in general, Star Wars being an obvious source to inspire. I think also the whole man in space thing wasn't just an obvious daily routine thing and NASA launching the first space shuttle was extremely exciting for me. I have a distant relation who was an astronaut on those early shuttle missions so that quickly absorbed my mind and I used to think that my middle name was given to me because of Mr Armstrong! I didn't read a lot of science fiction work until I was a lot older but I always enjoyed the sci-fi films. Alien, Westworld, Bladerunner etc.

Sci-Fi Art Now: Do you have a favourite piece of work or project you have worked on?

Pencils for Judge Dredd:
The Natural

Graeme: Just last year (2010) I finally drew Judge Dredd (Megazine #301) for the first time and that fulfilled a long held ambition for me. One of my favourite jobs and quickest was my work on the TV advert for The World's Strongest Man, it was great project and the production company Mainframe where awesome to work with.

Sci-Fi Art Now: What most frustrates you about being an artist?

Graeme: Not being good enough. I set my level very high and constantly fall below what I hoped I'd reach but nobody else knows what I was aiming for so it's a very personal frustration.

Final art for Judge Dredd:
The Natural

Sci-Fi Art Now: What keeps you going despite the hopefully occasional frustrations?

Graeme: Coffee, Biscuits. Family. Music. Films. (In no particular order)

Sci-Fi Art Now: What advice would you offer to anyone starting out as an artist?

Graeme: Be professional. Hit your deadlines, be polite. Don't hassle or bombard editors, keep in contact but don't become the artist they instantly junk your mail because you just won't leave them alone. If you are going to show an editor your work, take about 10 or 20 of your best pieces for them to see in an A4 folder. Don't take a massive awkward portfolio and don't take loads of sketch books - you are not going for an interview to get into art college so keep it simple and clean. Spend some time finding out about your rights as an artist, copyright and licensing are important. Keep up to date with your accounts.

Promote yourself constantly, get over the shy and awkward feeling about shouting about your work and promote yourself. One thing though is that you have to produce the work, you can't shout and point at your work from six months ago.

Don't do free spec work, just don't. Don't believe the exposure line that you'll be given. Choose your 'freebie' jobs carefully, do the ones you like and interest you and that will not have you crying over the drawing board for two years wondering when the pain will stop.

'Victory of the Daleks'
Dalek by Graeme Neil Reid

• Check out more of Graeme's work at: www.gnreid.co.uk and www.gnreid.blogspot.com

• Contact Graeme via gnreidATgnreid.co.uk

Lee Moyer delivers Lovecraft art for new author documentary

2011-01-21T01:10:00.000-08:00

Watch more free documentaries

Sci-Fi Art Now contributor Lee Moyer has provided the art for a superb new documentary about the life of author HP Lovcraft, the forefather of modern horror fiction who has inspired such writers as Stephen King, Robert Bloch and Neil Gaiman.

The influence of Lovecraft's Cthulhu mythos can be seen in film (Re-animator, Hellboy, and Alien), games (The Call of Cthulhu role playing enterprise), music (Metallica, Iron Maiden) and pop culture in general.

But what led an Old World, xenophobic gentleman to create one of literature’s most far-reaching mythologies? What attracts even the minds of the 21st century to these stories of unspeakable abominations and cosmic gods?

Written and directed by Frank H. Woodward, Lovecraft: Fear of the Unknown is a chronicle of the life, work and mind that created these weird tales as told by many of today’s luminaries of dark fantasy including John Carpenter (The Thing), Guillermo Del Toro (Pan’s Labyrinth), Neil Gaiman (Coraline), Stuart Gordon (Re-Animator), Caitlin Kiernan (Daughter of Hounds) and Peter Straub (Ghost Story).

"This isn't just a documentary about HP Lovecraft, but interviews with many of the smartest minds in horror," Lee enthuses, "including a couple people I'm working with even now - the formless and formidable Paul Komoda and that fabulous fabulist Caitlin R. Kiernan."

With a haunting soundtrack, it's an excellent overview of Lovecraft's life and influence and well worth checking out.

Lee provided both cover and interior artwork for the DVD release.

• Watch HP Lovecraft: Fear of the Unknown Online on CineEvolve

• Buy Lovecraft: Fear of the Unknown on DVD

• More of Lee Moyer's wok on his official web site: www.leemoyer.com. Read our interview with Lee here

Sci-Fi Art Now Creator Interview: Chris Askham

2011-01-11T04:06:00.001-08:00

Space Ape by Chris Askham

For as long as he can remember, British artist Chris Askham has had an obsessive desire to draw comic strips, beginning at an early age by copying characters out of The Dandy and then progressing to tracing panels of Judge Anderson from issues of 2000AD. As he began to gain an understanding of how comics work, he started self-publishing his own work in the early 1990's. "The small press seems to come a long way since those days of photocopied flimsy a5 booklets, with today's publications being indistinguishable from their professional counterparts," he notes.

Chris has produced work for indie titles such as Dogbreath, Zarjaz, FutureQuake, Bulldog Adventure magazine and PJANG, as well as co-creating Doctor Sponge and Sin. He's also a regular contributor to the ongoing web comic, Fractal Friction.

Sci-Fi Art Now: What tools do you mainly use to create your art?

Chris Askham: I still do 99 per cent of my drawing in the traditional way, using pencils, dip pens, Indian ink, brushes. But this is then scanned into Photoshop to be cleaned up, tweaked and coloured and generally played about with.

Sci-Fi Art Now: Why?

Chris: I still enjoy the process of drawing with pens and brushes, rather than the Wacom tablet. No doubt if I put enough time into practicing, then I'd grow accustomed to using the graphics tablet, but at the minute I'm far too clumsy with it other than for colouring purposes (and I still struggle even then). Also I don't trust anything I produce on the screen - I need to physically see it on a piece of paper in front of me.

Having said that, Photoshop is a godsend for colouring and tidying up. I've always had trouble working in colour, but in PS it's just so easy to re-do things and change whole colour schemes at the touch of a button. Not that I'm any master of Photoshop. I'm still very much a neanderthal.

Fractal Friction page
by Chris Askham

Sci-Fi Art Now: What inspired you to become an artist?

Chris: Like many others I was inspired by British sci-fi anthology 2000AD, which I read from the age of 11 back in about 1984. I am also of that lucky generation to have seen the original Star Wars trilogy in the cinema, which was also a major influence. I was also a big fan of the Fighting Fantasy adventure game books of the 1980's, which were always full of some of the best black and white fantasy illustrations of the time.

Sci-Fi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Chris: I don't remember the exact advice, but I do remember sending some samples to the editor of an indie comics publisher (maybe Trident Comics, based in Leicester at the time). It was a rejection letter, but it was about two pages long and it went into great detail about how I could go about improving my work, which was admittedly bad at the time by anyone's standards. But it was good that this editor had gone to the trouble of filling two whole pages. Even though my work was pretty bad, it made me feel that it was worth carrying on.

Sci-Fi Art Now: Which artists most inspire you?

Teenage Zombies
by Chris Askham

Chris: The legendary roster of 2000AD artists from the golden years - Brian Bolland, Ian Gibson, Mike McMahon, Kevin O'Neill to name just a few. Their art from those days looks just as fresh today as it did when it was originally published.

Aubrey Beardsley's penmanship is just mindblowing, the amount of time he must have spent (in not the best of health) knocking out such intricate detail and fantastic depravity. Jason Brooks draws some of the most gorgeous women in fashion illustration - in some alternate universe he's surely putting out some beautiful comics work!

Sci-Fi Art Now: Do you have a favourite piece of work or project you have worked on?

Johnny Alpha - one of Chris Askham's
artworks forthe Carlos Ezquerra
'Get Well Soon' card

It was really good to work on the 'Get Well Soon' project for Carlos Ezquerra, the Judge Dredd co-creator who was seriously ill last year. It was concocted by The Legendary Shark on the 2000AD message boards, and was a complete secret. Lots of fans and professionals alike got together to produce pages of art or words, in tribute to the great man. It was a fantastic moment in fandom!

Sci-Fi Art Now: What most frustrates you about being an artist?

Chris: Not having enough hours in the day to produce half of what I'd like to. Or maybe just my inability to organise my working hours better.

Sci-Fi Art Now: What keeps you going despite the hopefully occasional frustrations?

Chris: Probably the thought that there's nothing else I can or want to do with my time (other than play computer games...). Also there's a great community of other artists out there, working in similar conditions.

When I get any feedback at all about my work, whether good or bad, it's always nice to know that someone out there is taking the time to look at it and comment on it.

Rise of the Robots by Chris Askham

Sci-Fi Art Now: What advice would you offer to anyone starting out as an artist?

Chris: Draw, draw, draw. Always. From life and from your imagination. And make sure you draw what you want to draw. I've spent, and still do spend, far too much time drawing things that I think people want to see, when I should just be drawing what I want to see. And get your work out there.

• For more of Chris work, check out his blog at http://chris-askham.blogspot.com. To contact Chris, email him at c.askhamATntlworld.com

Wanted: Your Mechanical Elephants

2011-01-02T01:18:00.001-08:00

As part of their 'First Fridays' events, Marine Studios in Margate are putting together an exhibition that looks at comics, graphic novels and sequential art.

Featuring work from a range of local and international artists and writers, live talk from guest speaker Paul Gravett, more comics than you can stand, and the chance to discuss your work and ideas.

To kick start proceedings prior to the show they are inviting submissions for a 'Two Page Comic'.

The task: to create a two page comic under the title: 'Mechanical Elephant'. All ideas are welcome to inspire, amuse, terrify and entertain. There are no limits other than sticking to the two page rule (206 x 280 mm each, in either portrait or landscape), and of course, don't forget the Mechanical Elephant!

Send your entries as electronic files (jpeg, pdf, tif, eps or mov format) with the subject 'Mechanical Elephant' to: Kam@hkd.uk.com or Rick@hkd.uk.com

The deadline for entries is 21st January 2011. Marine Studios will display the finished artwork and as much of the preparatory work as possible in their show beginning 4th February 2011 at Marine Studios, Margate.

• Further info available at www.marinestudios.co.uk/gallery/events/

Wishing you a very Merry Midwinter and a Happy New Year

2010-12-22T02:22:00.000-08:00

I'll be back posting in the New Year with more interviews from the Sci-Fi Art Now contributors but in the mean time, Oliver Wetter (aka Fantasio) just sent me this cheeky Christmas card you might enjoy! Check out more of his work at fantasio.info

• More Christmas cards on my Flickr page, including more from other Sci-Fi Art Now artists such as Lee Gibbons and Neil Robetts!

Glasgow's Hope Street Studios looking for intern

2010-12-17T04:23:00.000-08:00

Hope Street Studios in Glasgow are looking for any illustration students interested in a paid internship, who would mainly be doing comic book work but possible storyboarding and design.

Top artist and Sci-Fi Art Now contributor Gary Erskine, who is heading up the hunt, tells me they're looking for someone from Glasgow and Edinburgh (or within nearby area) as some work involves being on hand at the studio.

Sequential art experience is preferred but not essential.

To apply, please send a link to your Deviant Art site or similar and provide a contact email address.

• Email Gary at garyerskineonlineATbtinternet.com He will follow up with interested parties as soon as possible.

Read Duncan Long's Masque of the Red Death for free

2010-12-16T08:07:00.000-08:00

Duncan Long has released his Christmas gift for his fans - a newly illustrated version of Edgar Allan Poe’s Masque of the Red Death (in PDF format).

"A Poe story may seem an odd choice for Christmas," he notes, "but in fact it’s in keeping with English tradition of telling ghost stories around the fireplace on Christmas (yes, an arguably odd tradition – as are most).

British readers will confirm this - the BBC has recently revived A Ghost Story for Christmas, screenings of ghost stories, most by MR James, an idea the broadcaster first came up with in the 1970s. (There's a fan site about them here: www.ghoststoryforchristmas.co.uk)

If you missed them, Duncan has previously released illustrated versions of Poe’s Eleonora and The Raven.

When not creating his own editions of Poe’s stories and poems, Duncan works as a freelance magazine and book illustrator for HarperCollins, PS Publishing, Pocket Books, Solomon Press, Fort Ross, ISFiC Press, and many other publishers and self-publishing authors.

• Check out his book illustrations at: http://DuncanLong.com/art.html

Sci-Fi Artist Emma Alvarez stands up for Human Rights in new exhibtion

2010-12-16T02:55:00.000-08:00

Some months ago, Sci-Fi Art Now contributor Emma Alvarez was asked if she wanted to take part in a travelling exhibition for the Human Rights in Alicante.

The exhibition, "El Arte Con Los Derechos Humanos", features 30 pieces of art from different artists, who all had to choose an article of the Universal Declaration of Human Rights and create their artwork based on it.

Emma's choice was Justice, based on the Declaration's 7th article.

"I chose this because I think that in some way it comprises the essence of Human Rights," says Emma. "Everyone has the same opportunities, and everybody can have the same education. It is just that we all can be the same."

The works of art by sculptors, photographers, water colour and collage artists and more aim to explore and inform people people about the words and images of human rights.

Promotional poster for the exhibition

The exhibition opened in the exhibition hall of the Panoramis Centre in Alicante on Human Rights Day, 10th December, the anniversary of the day the Universal Declaration of Human Rights was approved on back in 1948.

"There were plenty of people at the opening," says Emma, who received plenty of prase for her work on the night, which was both flattering and embarrassing - like many artists, she's a modest about her work!

The exhibition, orgnaised by Amnesty International and local art organisation Espejo de Alicante (EDA) was opened by Vicente Pertegás, co-ordinator of Amnesty International, Consuelo Giner, president of the EDA. (If you're curious, the EDA blog, in Spanish, has a full list of artists involved here - be aware the blog is pretty sluggish to view, there seems to be some animation slowing down loading time).

"We got lots of signatures for several human rights issues," she adds. "I'm very happy of participating in this."

• More about the exhibition opening on her official blog

• More about the exhibition on the Espejo de Alicante blog (in Spanish)

• More about the exhibition on the Spanish Amnesty International web site (in Spanish)

• Read our interview with Emma Alvarez

Sci-Fi Art Now Creator Interview: Max Bertolini

2010-12-15T02:47:00.000-08:00

Max Bertolini's cover for
Nathan Never #9

Max Bertolini is a self taught cartoonist, working in the comics business and illustration field. He's the artist on the Italian comic Nathan Never, a 94 page, black and white comic, which means he spends half his day working in black and white and the rest painting in full colour, working on comic covers, Fantasy and Sci-fi books. "My mind is split in two, I would say," he feels.

Sci-Fi Art Now: What tools do you mainly use to create your art?

Max Bertolini: I begin drawing the characters with a pencil that helps me to create the shades as well. Than I scan them into Photoshop and put on the colours.

Sci-Fi Art Now: Why?

Max: I began with oils years ago but finally turned to the PC because it's faster and you can fix colours quickly. Now I have a lot of fun drawing with Photoshop, much more than traditional ways.

New Beginning
by Max Bertolini

Sci-Fi Art Now: What inspired you to become an artist?

Max: When I was a child I wanted to bring to life the characters that kept running into my mind. I wasn't satisfied until I managed to draw them exactly. When I grew up I started enjoing all kind of art, not only comics and fantasy novels, and that helped me so much expanding my artistic views.

Thor by Max Bertolini

Sci-Fi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Max: I was given a lot of advice. The one I remember best was a talk with Neal Adams, that explained me the importance of photo reference among many other hints I had from him.

Iron Man by Max Bertolini

Sci-Fi Art Now: Which artists most inspire you?

Max: John Buscema, Neal Adams, Klimt, Martiniere, Sparth, Marko Djurdjevic and many other I can't even remember.

Sci-Fi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Max: Sci-Fi is the place where anything can happen, so you can draw anything.

Sci-Fi Art Now: Do you have a favourite piece of work or project you have worked on?

Max: There's a cover I made for an Italian comic book called Future War. I like the colours and the mood of the piece.

Future War by Max Bertolini

Sci-Fi Art Now: In your career, have you had any bizarre experiences while creating your art?

Max: Once I drew a background watching the reflection of my room on the monitor!

Daredevil by Max Bertolini

Sci-Fi Art Now: What most frustrates you about being an artist?

Max: That I'm never good enough.

Sci-Fi Art Now: What keeps you going despite the hopefully occasional frustrations?

Max: I have tons of stuff still to learn and I want to know them all!

Sci-Fi Art Now: What advice would you offer to anyone starting out as an artist?

Max: Learn to observe reality around you, never give up, study different styles of art, not just those you're used too look at, and draw, draw and draw!

• Check out more of Max's superb art at: www.maxbertolini.com. Contact Max via maxATmaxbertolini.com

• Check out more about Nathan Never on publishers Sergio Bonelli Editore web site

Sci-Fi Artist Spotlight: Andrew Skilleter

2010-12-15T01:05:00.000-08:00

Andrew Skilleter is an artist who doesn't feature in Sci-Fi Art Now but I'm hoping that if there is a follow up volume he might be in that. I first worked with him back on Doctor Who Magazine in the late 1980s and I admire his work; he's a dab hand at both original and licensed art commissions, particularly Doctor Who (for which he's best known) - and some of his Dan Dare pieces, inspired by the Eagle comic character, are tremendous fun.

Anyway, after much planning and labour and little help from his friends, his new website is now live, including extensive galleries, bigger and better images, a blog and shop with online secure checkout if you want to buy any of his prints, such as his Narnia range.

As well as Doctor Who, Andrew has worked in numerous genres and you'll find a kaleidoscope of multi-genre images on this new site.

• Check it out at: http://andrewskilleter.com

ILEX Manga title wins Harvey Award

2010-12-13T06:14:00.000-08:00

UK publisher of Sci-Fi Art Now Ilex’s bestselling The Art of Osamu Tezuka: God of Manga has been announced as the winner of the 2010 Harvey Award for ‘Best American Edition of Foreign Material’, and was also recently shortlisted for the prestigious Eisner Award.

Written by Helen McCarthy, the book is the first authorised English language biography on Japan’s most celebrated artist of the 21st century and I think it will interest followers of this blog. I also worked with Helen on Manga Max magazine a few years back.

Osamu Tezuka has often been called the Walt Disney of Japan, but he was far more than that. Tezuka was Disney, Stan Lee, Jack Kirby, Tim Burton and Carl Sagan, all rolled into one incredibly prolific package, and he changed the face of Japanese culture forever.

This book reveals what makes him one of the key figures of 20th century pop culture. Packed with stunning images, many never before seen outside Japan, it pays tribute to the work of an artist, writer, animator, doctor, entrepreneur and traveller whose insatiably curious mind created two companies, dozens of animated films and series, and over 150,000 pages of comic art in one astonishingly creative lifetime.

ILEX call The Art of Osamu Tezuka: God of Manga "an amazing adventure for the manga and anime neophyte, an essential reference for the confirmed fans, and a visual treat for anyone who loves art".

• The Art of Osamu Tezuka: God of Manga is on sale from amazon.co.uk

Sci-Fi Art Now Creator Interview: Oliver Wetter

2010-12-07T06:00:00.000-08:00

Oliver Wetter, online often referred to as fantasio, is currently working as freelance artist & illustrator from his studio in Konz, Germany. His passion is to tell visual stories inspired by quickfire ideas.

Sci-Fi Art Now: What tools do you mainly use to create your art? 

Oliver Wetter: Pencil, Paper and Photoshop CS5, occasionally clay and a camera.  

Sci-Fi Art Now: Why? 

Oliver: Pencil on paper is the very first and fastest way to get an idea out of my head, everything else is secondary.  Some pieces scream for being rendered in high definition, others want to be roughly painted and some others are meant to be in between. With the mixed media, I have reliable options to fulfill these demands.  

Sci-Fi Art Now: What inspired you to become an artist? 

Oliver: I think it was a fascination with provoking reactions from a viewer, and the possibility to control those reactions to a certain degree. Early caricatures and comic strips from teachers and classmates are a proof for that.  

Sci-Fi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Oliver:  I was going the hard road, so advice was rare, the only advice that last until today and which I pray like a mantra is from artist Greg Spalenka, who once said to me: "Every kind of promotion is important." I had this quote in big letters over my desk for a long time, now I think it's ingrained.  

Sci-Fi Art Now: Which artists most inspire you? 

Oliver: More often than not, I´m inspired by an artists work rather than the artist himself. But if you want a comprehensive answer, my influence-map should give you a good overview.

Sci-Fi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work? 

Oliver: It gives some of my works a fitting frame and therefore eligibility to exist. OK, they could exist without, but that definition makes it easier for my works to be widely accepted.

Sci-Fi Art Now:   Do you have a favourite piece of work or project you have worked on?

Oliver:  It's always difficult to pick one favorite, but mine is  The Disquisition, which was done throughout one week of work - non-stop. At first it might not look that compelling, but the intention was to bring it upon a 70x170cm canvas. The photoshop file is around the 1.4 GB mark!

It's my favourite, because it's a tribute to many of my inspirations, like Michael Parkes, Pascal Blanche and Salvador Dali.

The Disquisition by Oliver Wetter

Sci-Fi Art Now:   In your career, have you had any bizarre experiences while creating your art?

Oliver's 2005 still life...

Oliver: Creating my art is always a bizarre experience. To give you an example, I'd like to refer to a still life I did, back in 2005.

-- and the sculpture
'in amp' it started
out as. (Full Pic)

Originally, the headpiece was actually intended to be a sculpture that can be described as a torso that has three arms instead of a neck, that should hold the headpiece. For some odd reason I found an old guitar amp, but I had removed the speaker because I needed one for my car. It was so clear to me that this headpiece needed to be in the amp instead !

Sci-Fi Art Now: What most frustrates you about being an artist? 

Oliver: The most frustrating fact is probably, that I use to or need to have the knowledge of around 15 professionals (marketing expert, copywriter, web developer, clerk, etc) but getting paid for one only!

Sci-Fi Art Now: What keeps you going despite the hopefully occasional frustrations? 

Oliver: The hope that one day I'll get paid the same kind of money I would for all those 15 professionals I have to be...

Sci-Fi Art Now: What advice would you offer to anyone starting out as an artist? 

Oliver: "Get the fundamentals down, otherwise the fancy stuff isn't going to work." (The advice of the late Randy Pausch)  

• Check out more of Oliver's work at http://fantasio.info   or his blog or deviant art space. You can contact Oliver via fantasioxATgmail.com or via Twitter:  http://twitter.com/fantasiox

Brian Eno, Jason Bruges and other UK artists in Yota Space digital exhibition

2010-12-07T03:02:00.000-08:00

Volume by UVA and 3D

Never mind heading to New York for a shopping trip before Christmas (if you can afford such trips, that is) - now about travelling East for some stunning digital art?

Yota Space, an exhibition of digital art that includes works by Britain's Brian Eno and Jason Bruges, has just opened in St. Petersburg, Russia.

Described as one of the greatest collections of digital art ever assembled, it features the work of over 20 of the world's most cutting edge digital artists including onedotzero and the legendary Brian Eno. Some of the works have been commissioned especially for Yota, over five floors in a converted building in the heart of St Petersburg.

A prominent contemporary art enthusiast and the founder of his own video design studio, Lumen, Eno creates video installations which are accompanied by his own compositions from the the late 1970s.

His "77 Million Paintings" project – a program that creates endlessly unique digital "paintings" with individual audio accompaniment - will be presented at Yota Space.

"This is a great platform for digital art and music, which in my mind have a natural cohesion to one another," says Eno. "I'm also delighted that it is being held in Russia as I have always had a connection with the country. As an art student my favourite period was Russian painting of the early 20th Century.

"I also lived in St Petersburg for a short while. This is the first time my work '77 Million Paintings' will be seen in Russia, which combines art and music, my two great loves.

The event, which will run annually, has been created by Russian wireless 4G broadband company, Yota and the festival brings together a never been seen before level of interactive digital art and brings many of Europe's best artists to Russia for the first time.

Visitors enter to be greeted by 'Volume', a collaboration between design collective United Visual Artists (UVA) and 3D from Massive Attack, which consists of 47 columns of light, each with their own audio output. The visitor determines their own pathway through the columns affecting and creating their own unique journey through light, nature and space.

Guests will then receive a stunning and totally immersive sensory experience across a further four floors of installations and works that include:

• Brian Eno's "77 Million Paintings" which provides a unique and almost infinite perspective for each visitor
• Chris Levine's specially commissioned "Alright Now" installation which projects images to the observer's peripheral vision(see video, below)
• In Jason Bruges' specially commissioned "Peasouper", visitors will appear to float through the space as passers-by in the foggy streets of London
• onedotzero has taken over an entire floor to showcase a collection of handpicked artists. Works include a digital interactive photo-booth produced by Cassette Playa and Kin Design and works by Hellicar + Lewis, AntiVJ, Quayola and more
• United Visual Artists' "Volume" is an immersive experience that was created in collaboration with 3D from Massive Attack.
• The interactive Body Paint installation from MSA

The exhibition was launched with a multi-media party headlined by Grammy award nominated British electronic band Hot Chip. They were joined by up-and-coming acts Masters of Skweee and SCSI-9.

Yota has curated the event itself as a way to ensure that it stays at the cutting edge of contemporary culture and cultivate the creativity that sits at the heart of the brand.

"Yota Space has been created as part of our mission to transform people's lives by giving them access to new ideas from across the globe," explains Dennis Sverdlov, Yota CEO. " Yota aims to be a company that inspires, so we've invested in bringing together some of the most inspirational people in the world for this event.

"We hope the people of St Petersburg enjoy what promises to be one of the most unique events that Europe has seen this year."

• The exhibition will continue at the Yota Space until 19th December 2010. For more info (in both English and Russian), visit space.yota.ru. (Be aware the web site is a bit cranky, certainly from my experience)

Sci-Fi Art Now Creator Interview: John Ridgway

2010-12-07T00:01:00.000-08:00

John Ridgway.
Photo: Jeremy Briggs

Acclaimed comics artist John Ridgway, whose credits include work for Commando, Doctor Who Magazine, Warrior, Torchwood Magazine and Age of Heroes (which will be re-published in STRIP Magazine next year), was originally trained as an engineer and that strongly influences his approach to machines and such in science fiction.

"I like things to be practical and thought out," he says. "I like working with CGI. I dislike cities and love the countyside. I love Austria – beautiful forests, great mountains, good food and clean air."

Sci-Fi Art Now: What tools do you mainly use to create your art?

John Ridgway: Most of my work is black and white linework, or coloured linework. I draw on 2 or 3 ply Bristol card (I used to use Oram and Robinson Academy Line board, but that company went out of business).

The linework is scanned into the computer and coloured in Photoshop. To draw, I use HB leads – very sketchy at first just to get the idea down. Then I tighten up bits where accuracy is essential prior to inking those parts – so I’m pencilling and inking as a go along.

For inking I use Rotring ink with a dip pen with crow quil nibs (mapping pen nibs). For areas, or where a thicker line is required, I use a Pentel brush-pen. For large areas I use a cotton-bud.

Sci-Fi Art Now: Why?

John: Those are the tools I am comfortable with.

A sample Doctor Who page featuring
Christopher Eccleston's Ninth Doctor

Sci-Fi Art Now: What inspired you to become an artist?

I always wanted to draw and create my own stories. It always seemed a natural development.

Sci-Fi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

John: I didn’t have any advice.

Sci-Fi Art Now: Which artists most inspire you?

John: Hal Foster, Frank Hampson, Burne Hogarth, Frank Bellamy, Frank Frazetta, Sydney Jordan...

Sci-Fi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

John: The sheer variety, wonder and immensity of space – the exploration of what is possible. The list of exo-planets is constantly growing. It’s only a few decades ago people thought there were no other worlds out beyond our solar system.

Sci-Fi Art Now: Do you have a favourite piece of work or project you have worked on?

John: It is yet to be done.

No Place to Land by John Ridgway

Sci-Fi Art Now: In your career, have you had any bizarre experiences while creating your art?

John: No.

Proving Ground - a cover for
DC Thomson's Commando.

Sci-Fi Art Now: What most frustrates you about being an artist?

John: Getting stuck in a rut drawing stuff that requires no imagination – often written by writers who have no idea how their scripts restrict what can be done with a page.

Sci-Fi Art Now: What keeps you going despite the hopefully occasional frustrations?

John: Deadlines.

Sci-Fi Art Now: What advice would you offer to anyone starting out as an artist?

John: Get another job to give you an income you can rely on. Then practice, practice, practice, until your work is good enough to sell. Then decide whether you want to work for America or Europe – and push. Never give up.

• John Ridgway is on Facebook and the downthetubes British Comics Forum. To get in touch, email him via johnATridgwaydesign.fsnet.co.uk

Sci-Fi Art Now Creator Interview: Kevin Levell

2010-11-27T04:22:00.000-08:00

A mock cover for 2000AD by
Kev Levell

Kevin 'Kev' Levell was introduced to British weekly science fiction comic 2000AD at the age of 11 or 12 and from that point on he knew I wanted to be a comic artist. "It's only in the last couple of years that I've really tried to make that dream a reality," he says.

"My primary school teacher put it best, I think, in my first ever report card," Kev feels. "'If Kevin could be left to draw all day, he would be happy.'

"I've often been doodling when I should have been doing something else... but now I'm trying to make a living out of drawing it's often the other way around!

"So far I've done a few strips for the small press and a couple of spot illustrations and covers too," he reveals. "To make it work financially I've been doing other more mainstream illustration and amongst other things I've done a couple of books for the Cambridge University Press, some story-boarding for adverts and a few bits of graphic design.

"The ultimate childhood dream would be to draw Judge Dredd for 2000AD, and I regularly bombard Tharg with my samples, so who knows!"

Sci-Fi Art Now: What tools do you mainly use to create your art?

Kev Levell: Pencil, various pigment/indian ink pens, A3 scanner, iMac, Wacom Intuos 3 and Photoshop.

Sci-Fi Art Now: Why?


Kev's cover for the British indie comic Violent, homaging the 1970s comic Action.

Kev: I like to produce something real that I can point to and say that's the original art, even if it's not a finished work. So I try to have traditionally inked line work. Then I colour up in Photoshop, and try to make it seem like it wasn't coloured in a computer.

Sci-Fi Art Now: What inspired you to become an artist?

Kev: I've never thought of myself as anything else. I can't remember a time when I didn't love drawing, painting, sculpting, designing, whatever you want to call it, I've always been (and I don't really like the word in this context) creative. It's what I've always wanted to do, I got distracted for a while by a career designing the stuff that used to fall out of cereal packs, but hopefully I've bought back my soul now and I'm no longer wasting my talents.

Sci-Fi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Kev: Measure twice, cut once!

Sci-Fi Art Now: Which artists most inspire you?

Kev: That's a tricky question. In my teens I would probably have said Brian Bolland, Arthur Ranson, Frank Quitely and Simon Bisley, comic artists, because that was what I was in to. A couple of years ago I would have mentioned names like Alphonse Mucha, Arthur Rackham and Norman Rockwell, classic illustrators... but now I find it's my contemporaries that inspire me most, my artist friends really, Matt Dawson who I used to work with and of course my cohorts on the web strip, Fractal Friction.

I'd also say the same of writers I've worked closely with too, Rich Clements and The Emperor, who I immensely enjoy batting ideas around with, it's a different sort of inspiration but the brainstorming part of creating things is where I get a lot of excitement and motivation - watching something evolve that didn't exist before.

Sci-Fi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Kev: I think it's the way that the improbably and highly fantastic can seem reasonable (if you're willing to suspend your disbelief), if a writer or artist is skillful enough to convince you within a credible framework that what you are seeing/reading is possible then that's a joy. It's that sort of illusion I hope to create (where possible/applicable) with my own work.

Sci-Fi books were always lying around our house as a child and I'm a bloke over 30... so, I'm pretty much predisposed to like it. I think I'm probably filtering the same small pool influences as everyone else of my generation.

Sci-Fi Art Now: Do you have a favourite piece of work or project you have worked on?

iCandy by Kev Levell

Kev: I don't know about favourite, but this one piece I did, called iCandy always goes down well and I'm also still keen to do something with my much neglected The Adventures of Taormina ...although what that will be I honestly don't know.

The other thing I'm hugely proud of is the Graphic Novel I am working on with Rich Clements, it's called Corvus and is about Superheroes in Roman Britain... there is a very cool publisher attached to it, but I'm not really able to say who that is at present.

Sci-Fi Art Now: In your career, have you had any bizarre experiences while creating your art?

Kev: It's usually coincidences with me... one that springs readily to mind was at the Bristol comic con two years ago. I am a huge fan of 2000AD so, I was talking to Dave Evans and Rich Clements from FutureQuake about stuff I'd been thinking about pitching to them to include in one of their 2000AD themed fanzines. One idea was to do with the Origins of Wulf Sternhammer (for those who don't know, Wulf is Johnny Alpha's partner in the long running classic 2000AD story Strontium Dog). Rich virtually spat out his own teeth as this mirrored some thoughts he'd been having about what Wulf had done as a child... With a punned suggestion made by Nik Wilkinson at last year's British International Comic Show for the title, the resultant strip, Teen Wulf has become a fast favourite with fans and even garnered a mention in Tharg's Nerve Centre.

Sci-Fi Art Now: What most frustrates you about being an artist?

Kev: What ends up on the page is hardly ever as cool as what I see in my head. As with most artists, I'm rarely happy with the results but if I can come back to something a while later and look at it with fresh eyes and not immediately cringe - then that piece usually goes in the portfolio!

A page from Teen Wulf by
Kev Levell, written by Rich Clements.

Sci-Fi Art Now: What keeps you going despite the hopefully occasional frustrations?

Kev: My wife, and the fact that I'm determined to achieve my dreams! The way I see it, I'm my own boss and I essentially enjoy what I do.

Despite not really having earned much money at it, I'm much happier than I was before. I'm left alone to draw all day!

Sci-Fi Art Now: What advice would you offer to anyone starting out as an artist?

Kev: Be professional, dedicated and prepared to change your plans to "working tonight".

• Check out Kev's work at http://kevlev.blogspot.com and http://www.kevlev.co.uk. Contact Kev via http://www.kevlev.co.uk/Kev_Lev_2.0/about_me.html

Sci-Fi Art Now Creator Interview: Adam Grose

2010-11-18T02:54:00.000-08:00

Adam Grose is a writer, artist (fine art and illustration), self-publisher and art educator. He dabbles with other forms of media, experimenting with sculpture, music and video. (His image, What Do You See, right, was shortlisted for the BBC's Mock Turner Prize in 2005).

"I create various stories, usually in the realm of science-fiction and fantasy," he reveals. "My biggest story to date is Cosmogenesis: The Chronicles of Quongo with illustrator Tony Suleri, which was written over a period of seven years culminating in an epic 550 page tome.

"Other books I have created include: The Prison and Other Tales, based on my observations and stories with a twist; Phoenix: A Warrior's Tale, an onomatopoeia experiment and a series of short stories based in a prison called HMP Temeraire."

Adam is also the current cover artist for a poetry, prose and art magazine, Reflections, each cover dealing with an aspect of reflection.  

Sci-Fi Art Now: What tools do you mainly use to create your art?

Adam Grose: My first love is oil paint on canvas. I create fine art paintings exploring areas to do with 'entropy' (order and disorder).

My comic strip and illustration work ranges from pencil-shaded drawings, built up in successive layers from 2H to 6B, brush and ink and digital via a Wacom Bamboo tablet. I experiment with various tools including; twigs, feathers, rollers, bits of cloth and my fingers. I intend to create some painted comic pages and covers with oil paint in the future.  

Sci-Fi Art Now: Why?

Adam: I prefer to draw by hand on paper/ canvas because I still love the hands on approach drawing with pencil, charcoal and painting with brushes. I love pushing paint around on a canvas, building up the glazes, step by step and I love the smell of oil paint and the atmosphere associated with the painting studio. The use of different tools allows me to create various textures.

I bought a Wacom tablet back in February to experiment with digital painting, enabling me to try new ways of drawing. I scan the original piece into the computer and create colouring and texture effects via CS4. I like the way I can change things around and even delete layers that don't work, however, I still prefer creating an original hard-copy on paper instead of only a digital copy.   

Sci-Fi Art Now: What inspired you to become an artist?

Adam: When I was young my parents and my sister inspired my love for drawing. My mum used to draw with charcoal and my dad used to paint small oil paintings, usually battle scenes. Later, Rolf Harris' programmes inspired me, teaching me to experiment with various media and using different materials.

I always knew I wanted to be an artist and when I first met Tony Suleri he introduced me to comics, 2000AD and into the world of science-fiction and comics (I later came across a pile of 2000AD comics at a charity shop, starting from prog 11 – fuelling my imagination further). It wasn't long before I discovered DC, Marvel and my local comic shop, 20 miles away in Street, Somerset. I haven't looked back since.

My passion for storytelling, sequential art and fine art has continued to grow, feeding my insatiable appetite for art, artists and creating.  

HMP Temeraire - Childhood Survival
by Adam Grose

Sci-Fi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Adam: My parents and my sister were always encouraging me to continue drawing, filling Revel Pads like there was no tomorrow. I decided from a young age that if I was going to be any good or considered any good then I would need to practice everyday, carry an A6 sketchbook everywhere, observe life and draw from nature, never shying away from the things I found difficult to draw - because one day I knew it would all click into place and I would understand the mechanics of drawing.

Sci-Fi Art Now: Which artists most inspire you?

Adam: Each of these artists have taught me new ways of seeing and revealed a different technique which has helped further my own style: Frank Auerbach, Rothko, Lucien Freud, Bernie Wrightson, Rembrandt, Michelangelo, Van Gogh, Cezanne, Monet, Turner, Edvard Munch, Vermeer, Frank Frazetta, Alex Raymond, Jack Kirby, Steve Ditko, Brian Bolland, Ray Bradbury, Cam Kennedy, Goya, Titian, Alex Toth, Dave McKean and Frank Miller.

Various Japanese, Indian, African and South American art has also showed me different ways of looking and recording the world around me, especially when I travelled and lived in some of these countries.   

Sci-Fi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Adam: I love the 'what if?' aspect that science-fiction lends itself to. You can write about anything and mask it under the label of science-fiction. This allows the writer and artist to allude to current events without having to be blatant.

I believe every creator places current events/ thoughts into their work which may not reveal itself until much later, when looking back. When I look at Cosmogenesis, I can see how the 'War on Terrorism' and the wars in Afghanistan and Iraq was influencing the direction of the story in some ways. These sub-conscious elements helped expand the original idea.

Underlying events happening at the time of writing/ drawing informs the art and can bring a resonance that people respond to at a deeper level of awareness. Science-fiction, I find, allows people to explore their own understanding of the world around them, how we play our part in shaping reality and sometimes foreshadowing thing to come (The Drowned World by JG Ballard; 1984 by George Orwell; Brave New World by Aldous Huxley; Valis by Philip K. Dick). I'm interested in the human condition and how we manipulate the world around us, furthering understanding of our place in the world and the universe, from the outlandish to the pragmatic, both exploring different realities, inner and outer space.   

Soldier's Grief by Adam Grose - a personal favourite of the artist

Sci-Fi Art Now: Do you have a favourite piece of work or project you have worked on?

Adam: I loved working on Cosmogenesis, working out the entire story and its expanded plots. It taught me a lot about writing and how various plots in previous books informed the future books of the six-book series, creating a epic arc while being comprised of nine parts (six books).

I loved writing the characters and how they interact with one another, the way they would speak, react and influence one another. I'm currently working on several stories at the moment, some I will draw and others by other artists.

I'm currently working with Tony Suleri on a new three book series based on a few of the characters from the original Cosmogenesis series, introducing new characters and some of the worlds seen in the map of the Galaxy of Nom-Yakk. This also gives me the opportunity to create some pre-production drawings, which I love doing, and one of these new characters appears in the Sci-Fi Art Now book.

I'm also creating a series of paintings under the title 'Plague of War'.

Sci-Fi Art Now:   In your career, have you had any bizarre experiences while creating your art?

Adam: Accidents. When accidents happen I feel it's your inner-mind doing something that your conscious-mind hasn't seen or considered.

For example: When I was going through a period of just painting my eyes the painting I was doing at the time had decided to suddenly fall off the easel, falling on top of the palette. I thought the worse. I lifted it off carefully and luckily the only bit of paint from the palette was a blob of red on the outer edge of the painted eye. I placed it back on the easel and looked at it deciding what I should do. I noticed the blob of red paint looked like a small red skull leaning on its side.

I decided to leave it there, adding to the painting which I had been titled 'Hunter'. The image inside the eye looked like a stag being hunted by me.

I find these accidents influence the original idea and reveal something else, as though they were meant to happen.

Sci-Fi Art Now:   What most frustrates you about being an artist?

Adam: Time and balance. I have to be very conscious of my time management deciding what needs to be realised from thought. I like being able to create everyday and I'm aware that the secret is getting the balance right between my work and work for other publishers and managing time and keeping to a routine. It's all about balance.

Sci-Fi Art Now:   What keeps you going despite the hopefully occasional frustrations?

Adam: I love learning new techniques and skills, reading and looking at other creative work, gaining an understanding about how others overcome their frustrations and problems, in-turn helping me to become a better artist and writer. 

Sci-Fi Art Now:   What advice would you offer to anyone starting out as an artist?

Adam: Practice everyday. Carry a small A6 sketchbook and draw everything you see around you from nature and life in general. Doodle, sketch and experiment. Set yourself tasks and time frames.

Sit in-front of a movie on the television/ computer screen and pause the image for 2-5 minutes and sketch what you see. Learn to get the basic structure of an image, its composition, the angles and perspectives.

Draw without looking at the page with your eyes firmly on the screen and feel your drawing. Everything you need to know about drawing is found in nature, from the micro to the macro.

I recommend The Lives of the Artists by Vasari, John Ruskin's works and definitely John Berger's Ways of Seeing. Understand how the mind works at sequencing and how you can apply these techniques to the narrative.

Everyone has a unique perspective on life and reading about them will help you to understand more about yourself.

I would also advise joining a group that is unrelated to your work, like swimming, yoga, gym classes, diving, something you enjoy doing. Being around people will keep you socially sane!  

• Check out more of Adam's work at: www.adamgrose.com and www.adamgrose.com/galleries.html

• You can buy Adam's books. including Cosmogenesis from www.myebook.com/clownpress

• Contact Adam via adminATadamgrose.com

Drop in on artist Vicky Stonebridge

2010-11-16T06:05:00.000-08:00

Vicky Stonebridge at work

For those of you going to the British comics convention Thought Bubble in Leed this weekend, drop in on the Eco-comics workshop run by Sci-Fi Art Now contributor Vicky Stonebridge.

The workshop will run from 1.30pm-4pm on Sunday in the Leeds Art Gallery Tiled Hall and
admission is free.

Vicky, who's currently working on the comics project Slaughterman's Creed written by Cy Dethan, will be showing how to make your own handmade small storybooks using a variety of recycled products such as waste products, old magazines, scrap paper and packaging.

"It's quick, easy and fun to do," she enthuses.

This is a drop in workshop, but places are limited so if you want to be sure of a place you can pre-book by emailing thoughtbubbleinfo@googlemail.com.

Vicky will also have prints of her own work for sale over the weekend.

• The full programme of Thought Bubble events is here:www.thoughtbubblefestival.com/full%20programme%20new.asp

• More about Slaughterman's Creed

• Read our interview with Vicky

• Visit Vicky's web site at: www.balnacra.com

The Elements: Advice to Aspring Artists

2010-11-11T00:56:00.000-08:00

Lee Moyer offers his useful guidance to would be or practicing artists trying to gt their break in the world of commercial art...

I critique hundreds of pieces every year. Not because I'm a Creative Director (although I have been), but because I (like you) am a consumer of art - of illustration, painting, comics, games, et alia. And the act of critique is one of the most helpful for enlarging one's own understanding and formalizing concepts that might otherwise float away...

While the following list is by no means scientific (many of the elements listed below overlay others, and many great paintings use only a few) I made it for my own reference and I hope it will be food for thought.

Print it out and put it by your drafting table or computer if it'll help.

Focus
Where do you want your viewer's eye to go? What's the heart of the piece, the crux of the biscuit?

Composition and Design
Create a visual hierarchy - A path for the viewer to follow? Something fractal? Separate elements intended for book cover, spine and back cover? Consider the surface you're working on, its aspect ratio and how that effects the harmonies and tensions of your piece. When working in a tall oval, or a wide ceiling, or a strange milled form, that's pretty obvious. But it is just as important within a normal rectangle.

Palette
There are many good ones that great painters have applied over the years. Use one of theirs or make your own!

Value
Can your piece be reduced to black and white and still read correctly?
Sometimes good pieces work their value in terms of warm and cool colors, but most need strong tonal variety to read well.

Signs by Rosie O'Neill.

Mass
Think Rodin, JC Leyendecker or Rose O'Neill.

Texture
It makes things and people seem real.

Symbolism
Personal, classical, mystical or cultural - words, numbers, objects, beings. There's no shortage of sources or end to interpretation as Michael Kaluta and Brian Despain are good examples.

Synecdoche (Micro defining Macro)
A small area of tight or implied detail will help define vast shapes - like the windows in a colossal building or the wrinkles on an elephant. One needs the wee bits for versimilitude...

Ornament
Whether it's Mary Engelbreit's checkerboards, or Stephen Hickman's ornate orientalism, Ornament matters. Sometimes it's a sort of texture, other times the whole raison d'etre.

Narrative
Is there a story here? A big idea? A paradigm, a parody, a pastiche? Has the sword been nicked in battle, has the dog been fed, has the sweater been patched? Norman Rockwell began his pictures thinking of a soldier under a light post and ran scenarios in his mind (often switching "lead" characters) until he found a painting.

Juxtaposition
Comparisons and contrasts of size, scope, meaning, characters... in our world of Zoroastrian black and white contrasts, this is often too-easy. Use discretion and variety.

Hunt for Adventure art by Glenn Orbik

Stylization
Sometimes it's fetishism for a type of brush-stroke or color scheme, sometimes caricature or anatomy. For example, the best pin-ups (by Gil Elvgren, Aly Fell, Glen Orbik, et alia) have similarly stylized elements, some of which might surprise you.
If you're working on a pin-up, just crack their code and you're off to the races.

Character
Have the characters lived real lives? Are they real beings with hopes and fears? Body language, gesture and costume are crucial here.

Tension
Gesture is important, but so is the feeling of tension. Sometimes it's the most important part of a piece. Drama, high stakes, suspense. If you can enlist the viewer's sympathy support or curiosity, you win.

Line
It's quite obvious in the works of Franklin Booth, Aubrey Beardsley, and Mike Mignola - but don't underestimate its importance for Drew Struzan, Arthur Rackham or John Jude Palencar.

Research/Reference
I know precious few people who draw brilliantly out of their heads, but those heads have absorbed the lessons their eyes have shown them for many years. Most of us have been nowhere near as observant, and while we may remember and be able to imagine many things, there are usually areas where we fall down. Bolster yourself and your work with reference. Don't stick slavishly to it, but make it do your bidding.

Vignette
The play of shape (whether silhouette or fully rendered form) against a white, colour, or fully realized background is so important for keeping a viewer interested.

Perspective
Each point in perspective applies to a single dimension (in 2 point perspective the points are nearly always width and depth). Get perspective right and you'll be halfway home. Also, the more you keep you POV away from a normal grid as seen from 6', the more dynamic your piece will be.

FUN!
A certain joie de vivre is key. It doesn't matter if you paint supplely or with technical perfection - If you don't bring some fun and adventure to your work, viewers can tell. They won't always know what's wrong, but they'll get that something is...

To which list the delightful Kurt Huggins suggested:

Process: This is your way of managing and editing all of these different elements. Each step of your process should be about solidifying one more element of the image, building up to a final piece. There are many processes, and many ways to finish, but I think most processes start with idea or composition.

• More of Lee's work at www.leemoyer.com

• Read our interview with Lee Moyer

This article © 2008 Lee Moyer. Used here with permission

Sci-Fi Art Now Creator Interview: Ron Miller

2010-11-10T06:32:00.000-08:00

Mars from Deimos by Ron Miller

Ron Miller is an illustrator and author specializing in science, astronomy, science fiction and fantasy. In addition to providing artwork for many magazine and book publishers, he's the author, co-author or editor of some 50-odd books (some, he says, odder than others), including several novels. He's also designed postage stamps and worked on motion pictures (most notably Dune, for which he was the production illustrator), as a production designer and special effects artist.

Sci-Fi Art Now: What tools do you mainly use to create your art?

Ron Miller: Photoshop almost exclusively.

Sci-Fi Art Now: Why?

Ron: About ten years ago, I had to meet a really rough series of deadlines: writing and illustrating two books every three months for nearly a year. Each book would have up to 20 illustrations.

After doing the first few traditionally, I realized there was no way I could meet the deadlines and maintain anything at all resembling quality work. A few years earlier a book had turned out badly because I had taken on too many illustrations in too short a period of time -- resulting in many of the paintings being much too hurriedly done.

So I swallowed hard and took the advice of several colleagues who had been urging me to try painting digitally. And it worked! I could create a painting that looked as though it took me a week to render... but do it in only a day or two.

Sci-Fi Art Now: What inspired you to become an artist?

Ron: I was born that way.

Sci-Fi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Ron: Neither give nor accept unsolicited critiques.

Sci-Fi Art Now: Which artists most inspire you?

Ron: A zillion! But if I limit myself to my specialty, astronomical art, there are only three: Chesley Bonestell, Ludek Pesek and Lucien Rudaux.

Sci-Fi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Ron: One never knows from assignment to assignment what'll turn up. It's always a surprise!

Titan by Ron MIller

Sci-Fi Art Now: Do you have a favourite piece of work or project you have worked on?

Ron: It's usually the most recent thing I did... until the next one comes along. But I did an illustration a couple of years ago for Scientific American I'm still very proud of. It's a scene on Titan just after a methane rainfall.

Sci-Fi Art Now: In your career, have you had any bizarre experiences while creating your art?

Ron: Well, it might not be particularly bizarre, but I think I do have the (probably) unique experience of having one of my works slightly more than halfway to Pluto.

Back in 1991, I did a series of postage stamps, one for each planet and the moon. There was a spacecraft associated with each world... except Pluto. It was labeled "Not Yet Explored". This apparently rankled so many space scientists that a movement was started to launch a Pluto exploration mission. This eventually culminated in the New Horizons probe. As a kind of thank-you for the inspiration, Alan Stern -- the mission's principal investigator -- attached one of the stamps to the spacecraft (and invited my wife and me to the launch). That was very cool!

My only fear is that the stamp wasn't canceled... if not, the spacecraft is going to wind up right back here in 15 years.

Sci-Fi Art Now: What most frustrates you about being an artist?

Ron: Never doing anything really good enough to suit me.

Sci-Fi Art Now: What keeps you going despite the hopefully occasional frustrations?

Ron: Hope springs eternal.

Sci-Fi Art Now: What advice would you offer to anyone starting out as an artist?

Ron: For God's sake don't get into my specialty, I have enough competition as it is!

• Check out more of Ron's work at www.black-cat-studios.com. To contact Ron email him via spaceartATembarqmail.com

Some of Ron's recent works include Digital Art: Painting with Pixels (Lerner Publishing, 2007. For a full bibliography, check out www.isfdb.org/wiki/index.php/Author:Ron_Miller

Sci-Fi Art Now Creator Interview: Lee Moyer

2010-11-05T09:54:00.000-07:00

Inspired by the 20th century's great illustrators and the glories of Art Nouveau, Art Deco, Arts & Crafts, propaganda art and the Pre-Raphaelites, Lee Moyer tailors his work to the specific needs and tastes of his clientele. He excels in art direction, design, collaboration, and illustration - whether classical, vintage, modern, or post-modern.

Embracing digital media in 1989, Lee, whose clients include Paramount Pictures, Sony Pictures, Hasbro and Dark Horse comics, swiftly learned to mix traditional and digital painting seamlessly. He spent a decade as a Docent & Naturalist Illustrator at the Smithsonian Museum of Natural History. The New York Times nominated his work for a Webby in 1999 and his work has featured in Spectrum 12 - 17, Communication Arts, Design Graphics Magazine, D’Artiste - Digital Painting and at the Smithsonian Institution and the National Zoo.

He lives in Portland, Oregon with his talented photographer wife Annaliese and their dog Lego. He also designs games, sculpts, writes, performs, and plays a mean game of Scrabble.

Sci-Fi Art Now: What tools do you mainly use to create your art?

Lee Moyer: Although I've used most every medium known to man over the course of my chequered career - from ink to Scraperboard, carved wood to Sculpy, Oil to Watercolor, Bryce to Groboto - Pencil and Photoshop predominate these days,

Sci-Fi Art Now: Why?

Lee: Ease of use, plasticity. Some media are deeply unforgiving of error (watercolour, oil paint), but since we only get better by making mistakes, I want to use media that encourage and reward mistakes. And there's never been anything as powerful for that as Photoshop.

Sci-Fi Art Now: What inspired you to become an artist?

Lee: The stunning black and white illustrations of John R. Neill in L. Frank Baum's OZ books; the amazing paintings of NC Wyeth, Norman Rockwell and Maxfield Parrish; the surrealism and psychedelia of Rene Magritte, Yellow Submarine and The Point; the beauty and majesty of Night on Bald Mountain (my first encounter with the work of Kay Nielsen) and the other classic Disney films.

Sci-Fi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Lee: It was probably all the people telling me to do something else. You can't really tell someone to be stubborn and brave and work blindly to an unseen goal. All you can do is make them angrier and more stubborn.... (laughs)

Sci-Fi Art Now: Which artists most inspire you?

Lee: So, so many. My friends Michael Kaluta, Paul Komoda, Steve Hickman, Dawn Wilson, Adam Gillespie, and the late Dave Stevens. Then there's Heinrich Kley, Holling Clancy Holling, Gustav Dore, Rembrandt, Phil Hale, MC Escher, Jaime Hernandez, David Trampier, Kyle Baker, Steve Purcell, Henry Clews Jr., Nicholas Roerich, Winsor McCay, Edd Cartier, Virgil Finlay, Arthur Rackham, Joseph Cornell, Robert McGinness, Richard Amsel, George Petty, Todd Schorr, Antonio Gaudi, Nicolai Fechin, Gil Elvgren, Brian Bolland, Yoshitoshi, Yoshitaka Amano, Bill Watterson... I could go on for days.

Sci-Fi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Lee: It's the best of both worlds. I love making things that no one has ever made before, and making things using the tropes and in the styles of previous SF artists.

Sci-Fi Art Now: Do you have a favourite piece of work or project you have worked on?

Lee: My favourites change pretty often, but the piece that comes to mind is the Art Nouveau poster commissioned by the brilliant bassist Melissa Auf der Maur (from Hole and Smashing Pumpkins).

Sci-Fi Art Now: In your career, have you had any bizarre experiences while creating your art?

I was drawing a portrait of a desert nomad (a la Dune) when I accidentally dropped a greasy piece of pizza on the paper, forming a peculiarly wonderful pattern which I accented with a pencil line. When it was sold in an art show the media were listed as "pencil & pizza grease". Years later, the buyers of the piece brought it to me so that I could outline the concentric "rings" of grease as they spread further across the nomad's cloak.

Sci-Fi Art Now: What most frustrates you about being an artist?

Lee: I love people, but my work demands I forego their company.

Sci-Fi Art Now: What keeps you going despite the hopefully occasional frustrations?

Lee: I love the challenge, the problem-solving, the possibility that someone somewhere will be as inspired by my work as I was by the work of so many that came before me. It's fun. And besides, I have no other viable skills. (laughs)

Sci-Fi Art Now: What advice would you offer to anyone starting out as an artist?

Lee: It's humbling, low-status and all-too-often unrewarding, so do it only if you must!

That said, if you must, study the work of everyone around you. Learn the why of their work, not just the how. Practice is key.

• Check out more of Lee's work at www.leemoyer.com

• Lee has written his personal guide on creating good art, which we have published here with his permission.

A tête-à-tête with Aaron Jasinski

2010-11-05T09:10:00.000-07:00

Sci-Fi Art Now illustrator Aaron Jasinski lets us know the pieces from his newest solo exhibit, "tête-à-tête", are viewable at Screaming Sky Gallery in Portland, Oregon if you happen to be in the area.

"Using humour and pop-cultural references, this series of paintings explores ways that how people interact with each other one on one," he says. "I would be mighty grateful if folk would check out the work."

Aaron, who grew up in a suburb outside of Seattle, is a multi-discipline creative artist who graduated with a Bachelor’s of Fine Art in Illustration/Design from Brigham Young University.

Currently, he works as a user interface designer, painter, and produces music in his spare time, which influences his work, as does his love of travel and urban themes.

"I'm interested in painting pictures that relate to the human situation," he says. "I believe art is only truly worthwhile when it connects with the viewer's soul.

His work has displayed internationally, from Los Angeles to Anchorage, Arizona to Rome, Italy. Venues include La Luz de Jesus Gallery, Gallery 1988, Dorothy Circus Gallery, Society of Illustrators, Cannibal Flower, and Communication Art Magazine.

"This show studies the ways people connect on an intimate, one on one level," he explains. "Various reasons that bring people "face to face" are the subject matter for each piece in the show. I explore these themes using pop cultural references, juxtaposition, and humor; yet what the audience brings to a piece is half of what makes it a success or failure so I hope there is enough open-endedness in my work for there to be more than one way to look at it."

• Exhibition Info at: www.screamingskygallery.com

• View the artwork

• Aaron's Blog: http://jasinskiart.blogspot.com

Sci-Fi Art Now Creator Interview: Paul Drummond

2010-11-03T08:50:00.000-07:00

Paul Drummond is a designer and commercial illustrator based in Lancashire. He started out as a lecturer, worked in print, moved into web development, then finally got round to painting pictures.

SciFi Art Now: What tools do you mainly use to create your art?

Paul Drummond: A mixture of scanned drawings, digital painting and 3D modelling. I also do line art and logo design using applications such as Illustrator.

SciFi Art Now: Why?

Paul: I like drawing and I'm used to working on computer, so digital painting works for me. It provides a great deal of flexibility in terms of composition, allowing me to mix 2D and 3D elements as required. It also helps when fixing mistakes, and I make a lot of those.

SciFi Art Now: What inspired you to become an artist?

01-22-03-16

Paul: I've enjoyed drawing and painting since I was a kid, but never thought I could make money from it until recently. I drifted into increasingly technical work and it's only in the last few years that I've started doing commercial illustration.

SciFi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Paul: Don't give up the day job. I still haven't.

SciFi Art Now: Which artists most inspire you?

Paul: Concept artists such as Dylan Cole amaze me. He can sketch and rough a matte painting in the time it takes me to catch up on my email. Chris Moore creates rich and evocative covers and is polite enough to make encouraging noises when I show him my images. Adam Paquette also creates beautiful concept art and Dave Windett is a vastly underrated comics illustrator.

The Painted Bride

SciFi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Paul: The potential for interesting and exciting subject matter.

SciFi Art Now: Do you have a favourite piece of work or project you have worked on?

The Melancholy

Paul: The illustration for The Melancholy by Toby Litt was a bit of a struggle but worked out in the end. I've had positive comments about that one: Bill Ward, the author of Named In Blood was pleased with the illustration for his story.

I'm working on some eBooks for author Stephen Gallagher at the moment, and it's fun to create big, bold, thriller-type covers. They're quite retro, especially the Down River image with its Ford Capri wing mirror:

Some of my line art has been popular too:, such as 01-22-03-16 and Bot Grid.

SciFi Art Now: In your career, have you had any bizarre experiences while creating your art?

Bot 1

Paul: We've had some, erm, interesting neighbours and one time the drugs squad popped round for a chat. They thought I'd teamed up with next door to sell dope. Telling them I was an artist didn't help.

SciFi Art Now: What most frustrates you about being an artist?

Paul: My own limitations and how long everything takes.

SciFi Art Now: What keeps you going despite the hopefully occasional frustrations?

Paul: Friendly clients and the moment when an image starts to work for me.

SciFi Art Now: What advice would you offer to anyone starting out as an artist?

Down River - ebook illustration

Paul: See the previous question regarding advice! Seriously, keep practising and don't give up.

• Check out Paul's work at www.pauldrummond.co.uk. You can contact him via his web site or at enquiriesATpauldrummond.co.uk.

Sci-Fi Art Now Creator Interview: Gibson Quarter

2010-10-29T04:58:00.000-07:00

Gibson Quarter is best known for his illustration work on War on Drugs strips with writer Alan Grant, in the adult comics magazine Wasted. He's also drawn stories for numerous other European magazines and comics including Northern Lightz, FutureQuake, Something Wicked, Zarjaz and Dogbreath. In North America, he's provided art for Holmes Inc with Ty Templeton, and the upcoming 7th Wave #1.
Sci-Fi Art Now: What tools do you mainly use to create your art?

Gibson Quarter: Pencils, pencils and more pencils! When I have to ink, I use crow quills, (hunt 102 almost exclusively) brushes, and India ink.

Sci-Fi Art Now: What inspired you to become an artist?

A page of the online webcomic
Fractal Friction

Gibson: Time’s relentless march forward inspired me. I’ve always loved art, and could draw pretty well in my younger days. After not drawing for 10 years, (but still always reading comics, graphic novels and art books) I decided that if I don't get some of my art out into the world, I’ll really regret it when I’m older. So I got focused, and got going!

Sci-Fi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Gibson: Seth Fisher (R.I.P.) was very helpful, and offered this advice which has always stuck with me: “A good page takes a long time to make and is often redrawn several times to make it work. This is a secret part of the process of course. People assume it comes out right the first try.”

Sci-Fi Art Now: Which artists most inspire you?

Gibson: Arthur Adams, Frank Quitely, Joe Madureira, Chris Sanders, and many many others. I find a new favorite artist every day on Deviant art!

Sci-Fi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Gibson: Science Fiction is limited only by one’s creativity. None of the environments /people/creatures exist yet, so you can go crazy! It’s very freeing, and fun to draw.

Pencils for War on Drugs,
which appears in Britain's
adult comic Wasted

Sci-Fi Art Now: Do you have a favourite piece of work or project you have worked on (please send a related image if possible web link if applicable)

Inks for War on Drugs,
which appears in Britain's
adult comic Wasted

Gibson: My answer to this is usually always, ‘my latest creation.’ I try very hard to constantly improve my art. That said, I’m always proud of my War on Drugs art for Wasted magazine, especially when Gary Erskine inks my pencils.

Sci-Fi Art Now: In your career, have you had any bizarre experiences while creating your art?

Gibson: Nothing too crazy, but I do have a constant and ongoing battle with my cat, as he often tries to get up on my drawing table… it terrifies me when I’m inking pages!

Sci-Fi Art Now: What most frustrates you about being an artist?

Gibson: My speed. I always want to be faster and produce more, but it’s not always possible.

Sci-Fi Art Now: What keeps you going despite the hopefully occasional frustrations?

Gibson: Positive fan feedback on my work. It’s like manna from heaven!

Sci-Fi Art Now: What advice would you offer to anyone starting out as an artist?

Gibson: Don’t rush your art, and learn Photoshop… it can really help out in the early stages of creating good art.

• Check out more of Gibson's work at: http://gibsonquarter27art.blogspot.com. Contact him by email via gibsonquarter27ATyahoo.com

• Holmes Inc. is available from http://holmesinccomic.wordpress.com

• Undertow #1 (Gibson's cover art featuring the Organ Grinder, right) will be available from 7th Wave from 1st December 2010: http://7thwavecomics.blogspot.com

Sci-Fi Art Now Creator Interview: Armand Cabrera

2010-10-28T06:54:00.000-07:00

Marooned by Armand Cabrera, featured in Sci-Fi Art Now.
To view a walk through of how this art was created
go to: http://www.myebook.com

Armand Cabrera has been a professional artist now for 30 years. He did some book covers in the 1980’s and some magazine illustration, then started working for Lucas Film Games in 1990, which later became LucasArts Games. He stayed there for two years and worked on some early Star Wars games for the NES and SNES platforms and a CD reissue of Loom as well as the first iteration of The Dig.

He then bounced around as a freelancer for years and worked for most of the big game houses, including Microsoft, Electronic Arts, Atari, Accolade, Virgin Entertainment, and Sony. "I ended up at Larry Holland’s Totally Games working on Star Wars and World War 2 games and also a game for Paramount called Star Trek Bridge Commander.

"In the last ten years I’ve spent a lot of time painting for fine art galleries but I still work in Games and Illustration occasionally doing one or two projects a year. I do everything from concept art to in-game production art. I just finished two Totally Games Projects one for Nickelodeon, one an IPhone game."

Archipelago Characters by Armand Cabrera

SciFi Art Now: What tools do you mainly use to create your art?

Armand Cabrera: All of my Gallery Work is oil on linen. My Illustration work is usually oil, acrylic or Photoshop with a Wacom tablet and games art can be any of those and also 3d. I use 3d Studio Max for my 3d work.

SciFi Art Now: Why?

Outside overview for
the Oceanis game

Armand: I use whatever tools I need to get the job done. If a client wants something a certain way I give it to them that way.

I make no distinction between digital and traditional mediums, they are just tools and if somebody wants something to look like watercolors or oil paintings I paint them that way I don’t let a computer fake it for me.

SciFi Art Now: What inspired you to become an artist?

Armand: I’m not sure. It seems I’ve always been an artist; the first memory I have is drawing in front of the television when I was about three years old.

SciFi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Armand: Work from life. Working from life gets you to a professional level faster than any other method of learning to render realistically.

SciFi Art Now: Which artists most inspire you?

Armand: In fine art I like John Singer Sargent, Anders Zorn, Peder Monsted and Willard Metcalf. In Illustration, I am inspired by N.C. Wyeth, Dean Cornwell, Syd Mead and Frank Frazetta. Those are only my top picks -- there are many more.

SciFi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Armand: I think more than any other genre, the best work in science fiction is about ideas that explore some timeless aspect of the human condition.

SciFi Art Now: Do you have a favourite piece of work or project you have worked on?

Evening Light on Lake Ediza by Armand Cabrera

Armand: Every year, a group of us goes up into the Eastern Sierras to paint on location. This painting was done in the studio using my field sketches and photos and I think it captures the grandeur of the place.

SciFi Art Now: In your career, have you had any bizarre experiences while creating your art?

Armand: I was painting out in Glacier National Park in Montana and out of the corner of my eye I saw something big running towards me. I looked and it was a bear charging from about fifty yards away. I screamed at it and fought the urge to run.

Luckily it was a black bear not a grizzly and it made a right turn after I yelled at it and took off for the trees. I about had a heart attack...

Acrylic painting for Netrunner game Wizards of the Coast by Armand Cabrera.

SciFi Art Now: What most frustrates you about being an artist?

Armand: Artists who want to work so badly they work for less than someone at a fast food franchise and clients who think they should not have to pay for their indecision when they change their minds endlessly about a job.

SciFi Art Now: What keeps you going despite the hopefully occasional frustrations?

Armand: I still enjoy the challenges of picture making and I still enjoy getting up every day to make art for myself and my collectors

SciFi Art Now: What advice would you offer to anyone starting out as an artist?

Armand: Learn the fundamentals of picture making and how to render realistically before you ever touch a computer program.

• If you'd like to see how Armand created his beautiful painting 'Marooned', which features in Sci-Fi Art Now, check out this Step by Step Guide on MyeBook

• Check out more of Armand Cabrra's work on his Flickr Gallery and his fascinating Art Blog http://www.artandinfluence.blogspot.com or www.armandcabrera.com

• Contact Aramnd via Armand Cabrera Fine Art, 7437 Whisperwood Drive, Warrenton VA 20187 or by email: painterATarmandcabrera.com

Sci-Fi Bytes: Artist News...

2010-10-27T07:47:00.000-07:00

Here's a quick round up of the work some SciFi Art Now artists have been engaged in recently...

• Nelson Evergreen is one of seven artists who has work featured in Dreams Are The Genus, a new collaborative project edited by alternative photographer and illustrator Tigz Rice. It features seven dark artists and one truly terrifying writer, and Nelson says this book is "bound to give you the chills!"

The other artists involved are Audrey Newhouse, Matt Grundy, Tigz Rice, Peter Tinkler, Kirsty Greenwood and Natsuki Otani.

"This book is both designed and printed in the UK to show support for the creative industries. £15 UK/18£ US (includes post and packing). "We need a certain amount of pre-orders before the book can go to print," asks Nelson, "so please do snap one up at Tigz's site."

• Duncan Long has just posted an interesting commentary on the Vanity Press and Self Publishing. "There’s a lot of confusion as to what a small publisher is and what constitutes self publishing," he notes. "Part of the confusion results because many of these terms are used incorrectly (and I am guilty of this myself sometimes). But part of the problem is that publishing itself is in a flux with technology offering new opportunities. This new technology also makes some of the old terms less applicable than they once were."

• Bill McConkey is challenging art directors to have fun with his Hallowe'en Mask and win a prize. All entrants get a gruesome goody bag and the overall winner will be sent there extra special prize. The aim seems to be to gather photos of art directors in weird poses. "I've already had a couple of entries," he says. "The more creative or just plain weird the better the chance of scooping top prize."

• Over on the 2000AD comic forums, the monthly art comp is something Kev Levell usually intends to contribute to... but he seldom find the time these days. This month, it's such a good theme - mash-ups/crossovers and Kev had what I thought was a pretty good idea. A twitter spoof! Check out the result on his blog here.

• Finally, Tim Perkins reports on his trip to Malta Comic Con on his blog, which also saw fellow SciFi Art Now artists Liam Sharp, Gary Erskine and Dave Windett enjoy some winter sun. Lucky blighters! (Still, we're not sure the Windett Curse was that much fun...)

• Of course, if the Curse involves bad throats, John Royle and I have just the thing -- Benylin. John drew a new press ad featuring their Mucous Monkey character lettered by me. The agency is JWT in London, creatives Laurence Quinn and Mark Norcutt. Check it out here on Creative Review.

Sci-Fi Art Now Creator Interview: Vicky Stonebridge

2010-10-26T01:00:00.000-07:00

Vicky Stonebridge at work

Scottish Highlands-based Vicky Stonebridge describes herself as "an artist, firefighter, youth worker, convention organiser, and other things!

"I think living in remote rural North West Scotland has caused this chaos," she says. "It’s always been necessary to duck, weave and multi-task to stay afloat. I do whatever is required, with whatever is to hand.

"I was also a single mum for 20 years -- which gives me a determination and pragmatism. I clashed with art college tutors who didn’t approve of my fantasy and figurative work, so studied Ceramics instead of painting and missed out on life drawing/ anatomy but gained a practical skill and avoided the fine arts elitism.

Among the Waves by Vicky Stonebridge

"Stressed out with a chaotic life I turned to anti-establishment politics, ‘druidism’ and living on the road in the late 1980’s: I may cringe at the memory from the cynical sidelines of 2010 but this period laid the important foundations of themes which I still pursue today."

So it's not so much that Vicky was late to the digital art/ fantasy & sci-fi art party it's that she had to take a 20-year detour with three children, a bag of clay, sack of firewood, chainsaw, pan of lentil soup and a pack of dogs on her back.

"When I arrive at the party it turns out I’m at the wrong party, in the wrong era, wearing the wrong costume and I don’t speak the language, but hey it's a brilliant party anyway!" she laughs. "So I paint realistic looking landscapes and shortbread tin subjects for the local galleries because I need to eat. I paint fire fighters, because its mad fighting fires and dealing with car smashes with an artist’s eye, and because I can.

"I make things because things because it’s a compulsion. I draw and paint imaginary characters, fantasy, comic’s art because it’s a challenge, and because there are a pantheon of ideas and characters fighting to get out of my head. I run workshops and master classes, in comic art, recycled crafts and anything in between - because working with people is inspiring, keeps me on my toes and there’s nothing like the buzz of enabling creativity in others."

SciFi Art Now: What tools do you mainly use to create your art?

Vicky Stonebridge: Photoshop for digital work, for traditional - Acrylic paint, watercolours, coloured inks, sticks and glass, found objects, whatever is to hand.

SciFi Art Now: Why?

Vicky: I was late to learn Photoshop, I just didn’t have a fast enough PC or time to play. I still feel I’m scratching at the edges, but for illustration work it gives me more flexibility and speed. I’d have to work on canvas for weeks to achieve the same luminosity and depths.

However you can’t beat traditional materials, I like to work with both at the same time as they feed each other. I use Acrylics like PS layers building up opacity and texture gradually.

SciFi Art Now: What inspired you to become an artist?

Vicky: I think I first stated this intention aged 5 -- possibly earlier. The compulsion to create is innate. Every so often I think I should grow up and get a job that actually pays the bills, but life has been hard and it's taught me that now at my age, I’ve earnt the right to do what I want to do, which is front line real hands on art jobs no matter how tempting those salaries of art establishment project managers look.

SciFi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Vicky: Mostly I feel like I’m fighting all the un-useful things people have said! I'm spurred onwards by every rejection, snub or sneer. But my School art teacher had faith in me and encouraged me to keep going, He once said 'You must paint a thousand real trees before you can attempt a fantasy tree'. Then we struck a deal that he’d let me do one fantasy piece a term if I did all the boring still life’s the curriculum required.

SciFi Art Now: Which artists most inspire you?

Vicky: Most of the Pre-Raphaelite brotherhood, John W Waterhouse. Arthur Rackham, Brian Froud, folk art, discovering new artists like Viktor Vasnetsov. Various comic artists, for example Simon Davis for his painterly approach, loose brushwork and accurately observed characters. But really if I need a boost I just go outside and look at the mountains, trees, waterfalls or of course there are my trusty books of Celtic, Pictish and Scythian art.

I try to look at things differently, for example if I am drawing a horror comic I will avoid looking at other horror comic artists as their images will fill my head and stop my own interpretation getting out.

SciFi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Vicky: When I was seven, I found a Sci-Fi anthology in the school library, with stories by Isaac Asimov, Poul Anderson, H.G.Wells, Phillip K.Dick and others. I was transported into those worlds long long after the teacher took the book off me as I was too young to understand it.

After the Snow by by Vicky Stonebridge

Sci-Fi, like (good) fantasy, westerns, and comics, strips away all that’s depressing, oppressing, vacuous and superficial in our real modern world. While SF writers may of course satirise the rubbish around us they evoke places where people are stripped back to core values, heroes, villains, quests, adventures, redemption, love and discovery.

Adventures are quite hard when there’s CCTV on every corner, the council tax needs paying, a risk assessment filling in, reality TV show to watch, products to consume at tescos and peer pressure to conform to. Sci-fi is more than escapism; it is free enough to reinvent ourselves, our society, to envision alternatives, to lead us boldly into potential futures. For my work I like to take the real, the historical, the possible and just nudge it sideways a little.

SciFi Art Now: Do you have a favourite piece of work or project you have worked on?

Vicky: It’s always the next piece I’m working on as nothing is ever good enough. This picture was I think the second that I did in digitally & I like the looseness and texture I managed to get in there. It was for a 2000AD message board monthly competition ‘Into the Heart of the Sun’

SciFi Art Now: In your career, have you had any bizarre experiences while creating your art (cats walking across a canvas, like Roger Dean once did, for example)?

Vicky: Cats will do that sort of thing, chewing the corner of the work, jumping up on it, plenty of that, I had hens, ducks and goats at my last house, so yes there was always animal hi-jinks if they broke into the studio.

'Damping Down' by by Vicky Stonebridge
- one of several pieces inspired by Vicky's
work as a firefighter

There is nowadays the joy of getting a fire call out mid brush stroke. My chaotic permanently interrupted lifestyle has given me a rather five minute concentration span methodology. I’m lost if there isn’t chaos or a crisis to attend to.

SciFi Art Now: What most frustrates you about being an artist?

Vicky: Everything? My middle name is artistic frustration.

Elitism, snobbery, genre definitions, the limited market place, lack of money, lack of time, lack of freedom (see all the other frustrations), art hierarchies, the limited methodology of art understanding and teaching in UK establishments, limited understanding of art in general public, lack of general arts education, lack of funding, lack of materials, lack of support, my own shortcomings in anatomical understanding, the dog harassing the postie when I’m trying to focus, my deteriorating eyesight, cat jumping on the wacom, bad lighting and no heating, stupid uncomfortable chair, no space and basically not enough hours in the day.

No matter how much I try and cut out all the voluntary work, admin, PR work I still spend 95 per cent of my freelance time doing work that isn’t actually art. Argh!! It's just the way I’m programmed, a little driven, that cranky edge is a good motivator.

SciFi Art Now: What keeps you going despite the hopefully occasional frustrations?

Vicky: Creativity is not a choice, it is bigger than me, whether what I make or draw is any good or not it simply must out. It pulls me forwards and is the only thing that makes sense of anything. It's communication between the inner world of mind and the outer world of other people, communication requires discipline and thought -- otherwise fingerpainting and making mud pies would be sufficient fun to stay sane... Mind you, I might get more kudos from the arts establishment if I stuck to mud pies, mud pies with cats paw prints in.

SciFi Art Now: What advice would you offer to anyone starting out as an artist?

Vicky: Accept criticism from people who know what they’re talking about, pay less attention to family, friends and the bloke across the road who “knows what he likes and that’s a bit weird innit?”.

Bounce back from rejections, there are millions of people out there doodling, forget your ego and work hard to find what it is that makes you different. Draw, draw, draw, copy images you like, study artists from other genres, traditional fine art, anything -- go to life drawing classes; draw anything and everything all the time.

Finally, follow your instinct and create in the way you want to, not what you think people want to see and not what you think you can get away with because it avoids drawing things you find difficult. Never mind if it doesn’t fit in any boxes and if the artist making mud pies wins all the prizes.

• Check out more of Vicky's work at www.balnacra.com or balnacra.blogspot.com. Contact Vicky via pottery@balnacra.com

Sci-Fi Art Now Creator Interview: Berislav Krzic

2010-10-25T06:11:00.000-07:00

Kids at primary school were often amazed by the drawings and paintings of Slovenian artist Berislav Krzic as he grew up and he often received awards for his artwork. After his animation, cartooning and strip phases, he became obsessed with reconstructing extinct animals.

"It's relatively easy to photograph an extant animal," he explains, "but it's quite a challenge to restore the extinct ones - the ones nobody has ever seen before. One has to use both the knowledge and imagination in the process."

His years of dedication and hard work have been recognized and his reconstructions of extinct animals have been published in books, scientific articles, calendars, stickers, posters, exhibited and commissioned by museums etc.

More recently, he started drawing humorous cartoons, strips and illustrations. His work has been published in US, UK, Japan, Germany, France, Mexico, Italy, Slovenia, Croatia, Russia, Portugal and other countries.

SciFi Art Now: What tools do you mainly use to create your art?

Berislav Krzic: Mainly the graphite pencils and PC software, of course. I do have a Wacom tablet but I got so handy with the mouse that I hardly use it at all.

SciFi Art Now: Why?

Beri: Drawing was always my forte, although I enjoy painting as well. It's just that classic style painting requires a lot of room, time and is quite messy. With the PC, everything is neat, clean and usually much faster. In today's illustration industry everything is about being as fast as you can. "We need that artwork yesterday!"

I fell in love with Photoshop the first time I acquired it with my scanner in 1997. The drawback: when one produces a digital art there's no original piece like with the manual art. Just the virtual pixels you can print out in as many copies as you want. However, I do my sketching with pencils first.

SciFi Art Now: What inspired you to become an artist?

Beri: I've been drawing and painting for as long as I can remember. As a kid I had a bump on my middle finger from pencil overuse! I loved nature, museums, movies, books and comics. However, books and comics were quite rare and relatively expensive in the 1950's and 60's in ex Yugoslavia and one could afford only to see a movie or two in a week. I loved the westerns and "swords and sandals" which were at the top of popularity when I was a kid, but I watched everything else as well, from Olivier's Hamlet to Mulligan's Kill the Mocking Bird. The Sci Fi movies were rare gems. My favourites were Forbidden Planet, The Time Machine and Journey to the Centre of the Earth. I still love watching those good old movies.

My family bought the first TV set sometime after the great flood of Zagreb (the Autumn of 1964). There was only one channel broadcasting from 6 to 10.00pm and Tuesdays were days off. Of course, at the time, personal computers were only used by the Sci Fi heroes, while the Internet wasn't present - it wasn't even an idea.

SciFi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Beri: I had a very good teacher of art in my primary school. He gave me some good directions. But I got the best tip even before that, while watching a Disneyland show on TV showing animators at work. Learning the technique of sketching was a revelation for me. Once you master that, there's nothing in the world you can't draw yourself.

SciFi Art Now: Which artists most inspire you?

Beri: There are just too many of them to list them in a simple order. From classic great masters of fine arts to the modern illustrators, animators and comic book artists. From the classic art, currently my favorites are Art Nouveau (the Secession) and Art Deco. That involves most of the artists, designers and architects of the eras.

If we're talking about the comic book artists, Disney's illustrators made the first great impression on me. Then some Croatian (Vladimir Kirin), Russian and Ukrainian (Evgenii Rachev) children's books illustrators. Of other Americans, probably Dr. Seuss. Of the comic book artists: Frank Hampson, Raymond Macherot (Belgium), Hal Foster, Alex Raymond, Dan Barry, Mac Raboy, Jean Giraud and many others.

SciFi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Beri: It offers almost unlimited imagination, but unlike the pure fantasy, it's somewhat confined by the potential science achievements. However, I prefer humans to be the central piece in the artwork. Not the machinery, not the robots nor the architecture. These all come as a framework. Of course, you'll have noticed that the best books in science fiction are the ones who explore the human nature and interactions. The drama. The hardware is there for the decoration and imagination, to enhance the idea that the human spirit and the basic problems will be similar even in the future.

I do love the futuristic architecture and machines. Robots and droids are especially cool. Data from Star Trek: The Next Generation is absolutely the best character. Also, time travel is my obsession.

SciFi Art Now: Do you have a favorite piece of work or project you have worked on?

Beri: It's probably my large dinosaur poster "Power Bites" commissioned by Scholastic, that I made in 1993 with acrylics on illustration board, while living in US.

SciFi Art Now: In your career, have you had any bizarre experiences while creating your art?

Beri: Not that I can remember. Producing artwork at my home is a rather calm and peaceful process, although, way too often interrupted by house jobs. However, I do go out for research and consulting purposes.

SciFi Art Now: What most frustrates you about being an artist?

Beri: That today's art market is just absurd and pretty bizarre. Unfortunately, too many people doesn't understand art and can't asses the real values and talents. It's more about artist promotion and marketing. Like in show business. Therefore the big business players lead the game and often exploit the ignorance by creating trends and inflating prices of their "prodigies".

SciFi Art Now: What keeps you going despite the hopefully occasional frustrations?

Beri: I just can't live without drawing. I am always contemplating my next projects. It's so rewarding seeing your finished piece, although it usually comes out different than initially imagined.

SciFi Art Now: What advice would you offer to anyone starting out as an artist?

Beri: Learn from the masters you admire, but try finding your own style and subject. Don't attempt to become the copy of your role model. Of course, practice makes perfect. The talent isn't enough. Be persistent and work hard and promote your work and the recognition will follow sooner or later. If you're lucky: sooner!

• Visit Beri's web site at: http://dinosaurbero.tripod.com

• Check out Beri's dinosaurs on the Natural History Museum web site and more of his work on Comic Art Fans. Contact Beri by e-mail: illustrissimus@aim.com

Sci-Fi Art Now Creator Interview: John Royle

2010-10-22T03:46:00.000-07:00

John Royle is a freelance British comic artist living in the UK. His personal favourite comic charatcers he's worked on include Spider-Man, the X-Men, Wolverine, Ultra Force, Prime, Avengers and the Fantastic Four - samples of which can be found on his web site.

He's worked on many comic books and Illustrations for various publishers and clients including Marvel Comics (both in the US and the UK), DC Comics, Hewlett Packard, Royal Mail, Disney, Procter and Gamble, Panini, The Times, Paramount Pictures, Malibu Comics, Acclaim, Readers Digest USA, Aussiebum, Ge Fabbri, Muscle and Fitness, Film On and even the impressive sounding Euromoney Institutional Investor.

He recently drew a comic strip page for a campaign by cough medicine makers Benylin, which is appearing in several British womens magazines to promote a new brand in their product range, commissioned by ad agency JWT.

SciFi Art Now: What tools do you mainly use to create your art?

John Royle: Pencil, ink and colour in Photoshop.

SciFi Art Now: What inspired you to become an artist?

John: The cover to the 1960's X-Men #50 featuring Lorna Dane and the X-Men . Also, John Byrne and Terry Austin's classic run on the X-Men.

SciFi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

John: Practice! Don't give up.

SciFi Art Now: Which artists most inspire you?

John: J Scott Campbell, John Byrne, Alan Davis, George Perez, Jim Lee, John Romita Jr.... The list is endless!

SciFi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

John: I love designing aliens and hi-tech gadgets!

SciFi Art Now: Do you have a favourite piece of work or project you have worked on?

John: There's a recent job for The Times which was fun but I can't sadly show the image as its not out yet! It's a Cyborg man.

SciF Art Now: What most frustrates you about being an artist?

John: Some days you can just draw anything and its easy and fun , some days you get a block and you hate anything you draw but must carry on and get it right because off a deadlines.

SciF Art Now: What keeps you going despite the hopefully occasional frustrations?

John: The good days -- and I can have a brew when I like!

SciFi Art Now: What advice would you offer to anyone starting out as an artist?

John: Study the work of many varied artists, have fun and practice!

• Check out John's work at: www.johnroyleart.com

Hallowe'en Treats from artist Duncan Long

2010-10-20T01:41:00.000-07:00

Illustrator Duncan Long - featured in SciFi Art Now - is giving friends and fans two free ebooks to celebrate the Hallowe'en season: Edgar Allan Poe's Eleonora (for which Duncan did the cover and inner illustrations for as well as the layout): and The Raven, which he published online last year.

"Please feel free to share one or both ebooks with friends," he offers. The books are a clever way to promote his work - let's hope that by sharing them here it helps him get some!

• Download Edgar Allan Poe's Eleonora, illustrated by Duncan Long: www.datafilehost.com/download-9b8126d0.html

• Download The Raven, illustrated by Duncan Lomg: www.datafilehost.com/download-2c8ed3c3.html

• More of Duncan's work at: http://DuncanLong.com/art.html

• Read the SFAN blog interview with Duncan Long

Neil Roberts creates Sarah Jane Adventures comic for the BBC

2010-10-17T11:44:00.000-07:00

A panel from the BBC's new online Sarah Jane Adventures comic

The BBC have published a new online Sarah Jane Adventures comic, which is being drawn by Neil Roberts, one of the artists featured in SciFi Art Now.

Sarah Jane Adventures is a spin-off series from Doctor Who, and a new season has just begun to air on the BBC in the UK.

Although published in a web-friendly 'sliding frame' the original art, Return of the Krulius has actually been drawn in a standard comic page format. With that in mind, we're wondering if the BBC will eventually consider publishing a print edition of the new adventure.

Recently interviewed on this blog, Neil reveals comics have always been a source of inspiration for him – of all kinds, from Nutty, Oor Wullie, Victor to Starblazer and Eagle.

"I was really into artists like Ian Kennedy, Gerry Embleton, Mike Noble, Frank Bellamy – although I didn’t know their names at the time," he says. "I came to 2000AD and American comics quite late, but I instantly loved Dave Gibbons and Colin Wilson’s work.

"In addition to that, I remember in one of the 1980’s Eagle annuals there was an article about how computer games were made and that switched a light on in my head. This was quite an exciting moment for me as a young child, as it was around the time Tron came out and my family had just bought a Commodore 64, so the prospect of using computers to make pictures seemed a very real and exciting idea."

• Read the full interview here

• Check out Neil's online gallery at: www.skinnyelbows.com and his art blog at www.skinnyelbows.blogspot.com

• Read Return of the Krulius

Sci-Fi Art Now Creator Interview: Nick Brokenshire

2010-10-15T00:01:00.000-07:00

Artist Nick Brokenshire, who has been illustrating and teaching for a few years now, has been a lifelong comics fan, consuming 2000AD, the 1980s Eagle "and anything from the US that I could get my hands on" He graduated from the University of Central Lancashire with a degree in illustration and trained as a secondary school art teacher.

Much of his illustration has been focused in the music promotions world but he's been trying to get into the Sci-Fi and Comics field more recently.

SciFi Art Now: What tools do you mainly use to create your art?

Nick Brokenshire: I tend to do all my layouts in non photo blue pencils, followed by black ink (brush and pen). I have used Photoshop to do much of my colouring over the years but I am trying to use more of an acrylic wash/Photoshop hybrid these days.

SciFi Art Now: Why?

Nick: I like to achieve as much as possible on paper with inks and paints and then use Photoshop for touching things up because it allows me to retain a certain fluidity in the final product.

SciFi Art Now: What inspired you to become an artist?

Nick: I always filled my head with fantastical stuff from a young age. I watched a lot of cartoons and read tons of comics. In 1977, Star Wars blew my little head right off and I found bits and bobs of concept art and 'making of' information here and there. That inspired me to draw and invent things. Making art has just been a natural part of my life.

SciFi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Nick: Nobody gave me any advice when I was young and that's probably why It took me a long time to figure out how to go about finding my way in the art field. I came into it professionally sort of late. I have heard many artists that I respect say that never giving up is the key and that's advice I try to give myself every day.

SciFi Art Now: Which artists most inspire you?

Nick: Jack Kirby, Alex Toth, Robert Crumb, Jeff Smith, Jamie Hernandez - lots of comics guys. I love Schiele's art. Da Vinci amazes me. Hundertwasser. Too many. I sometimes have to force myself to not look at other artists because I get so wrapped up in their work that it can cause a stumbling block to my own.

SciFi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Nick: I like the way that fantastical images and situations bring forth very clear and identifiable human responses. I like archetypes and classic storytelling because they put the human condition into simple terms. Science Fiction and Fantasy imagery tends to inhabit this realm.

SciFi Art Now: Do you have a favourite piece of work or project you have worked on?

Nick: Not really! I like my Flygirl and Barnaby piece in SciFi Art Now because it relates to a comic I'm currently working on.

SciFi Art Now: In your career, have you had any bizarre experiences while creating your art?

Nick: I'm sorry to say, I haven't. Boring me!

SciFi Art Now: What most frustrates you about being an artist?

Nick: Not having enough time in the day. Finding work is tricky.

SciFi Art Now: What keeps you going despite the hopefully occasional frustrations?

Nick: Knowing that with each piece I learn more.

SciFi Art Now: What advice would you offer to anyone starting out as an artist?

Nick: Make your mind up to do it, and dedicate yourself fully to that. There can be nothing else. Quit your band and just do art.

• Check out more of Nick's work at Nick Brokenshire Illustration: www.nickbrokenshire.co.uk. You can contact Nick via his website or email: infoATnickbrokenshire.co.uk

Sci-Fi Art Now Creator Interview: Stephen Baskerville

2010-10-14T00:01:00.000-07:00

Concept Art for the Astro Zoo game by Stephen Baskerville

Stephen Baskerville is a videogame concept artist whose recent work included Doctor Who: Evacuation Earth for the Nintendo DS (as well as helping out on the Wii companion game, Doctor Who: Return To Earth). Previously published games include SpongeBob Squarepants: Creature From The Krusty Krab, Barbie Horse Riding Adventures, and Reservoir Dogs.

He also works in the comics industry, mainly as an ink artist, on lots of US and UK titles, including Spider-Man, The Beano, 2000AD, and The Hitch Hiker’s Guide To The Galaxy. He's also written and illustrated a short science fiction strip which is due to be published shortly in the new British comics’ magazine CLiNT.

SciFi Art Now: What tools do you mainly use to create your art?

Stephen Baskerville: That depends on what I’m working on; for comics, I still do a lot of work on paper using traditional art materials, but for most of my other art (including the illustration in Sci-Fi Art Now) I work exclusively with a graphics tablet in Photoshop, from the first thumbnail rough to the final image.

SciFi Art Now: Why?

Stephen: Working traditionally (for comics) is in part because that’s the format that’s still most commonly used, and partly because I really enjoy it; there’s nothing more satisfying than applying ink to paper (providing your nib isn’t bent and your brush isn’t split)!

Stephen Baskerville' art for the SpongeBob Squarepants:
Creature From The Krusty Krab game

Working digitally (for videogames and illustrations) is mainly for practical reasons; when you’re trying to give a client what they’re looking for, the ability to adjust what you do, save various versions of the same image at various stages (that you can always return to if necessary) are a godsend. And ‘painterly’ effects are much easier to achieve in Photoshop than in gouache or acrylics, (which makes me respect all the classic sci-fi and fantasy artists even more!).

SciFi Art Now: What inspired you to become an artist?

Stephen: Seeing Gene Colan’s Iron Man artwork in black and white in a British comic called Fantastic when I was 10 years old. It was the mood and emotion, and his brilliant use of lighting. I remember copying pages and pages of that story before starting to draw my own, and pretty soon I became one of those kids at school that everyone else said ‘could draw’, which makes you want to do it more, I suppose.

SciFi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Stephen: I remember a tutor at Art College telling us that to be an artist you have to want to draw and paint more than anything else in the world, and get satisfaction just from doing it; if you want job security, become an accountant, and if you want adulation, form a pop group. Wise words that I try to live by -- though a bit of job security and adulation never goes amiss!

Concept Art for Doctor Who: Evacuation Art game
for the Nintendo DS by Stephen Baskerville

SciFi Art Now: Which artists most inspire you?

Stephen: From the world of comics (which continues to inspire me more than any other medium) Joe Kubert is inspirational, not only because he’s been producing great comic art for 60 years, but also because he continues to experiment even in his eighties.

In terms of illustrational painting (which I haven’t actually done that much of) Frank Frazetta may be an obvious choice, but ever since I saw his Conan paperback covers in the 1970’s I’ve been a massive fan; it’s hard to imagine anyone could combine dynamic anatomy, strong composition and an incredible sense of moodiness more successfully.

SciFi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Design work for the Reservoir Dogs video game

Stephen: The appeal of science fiction is that it sort of lies adjacent to reality, rather being a part of it, which means you can mix images from your imagination with those of contemporary or even historical life to make a satisfying ‘brew’. After working on a game like Reservoir Dogs for two years, where everything was photo-referenced, the freedom to be inventive can feel very liberating.

SciFi Art Now: Do you have a favourite piece of work or project you have worked on?

Stephen: I don’t really have favourites, but I suppose I have a soft spot for the ‘webcomics’ section of my website, as it features my ‘personal projects’ created for love not money!

SciFi Art Now: In your career, have you had any bizarre experiences while creating your art?

Web Comics work by
Stephen Baskerville

Stephen: After twenty-something years of working as an artist, something bizarre should have happened, but all I can think of is the time I was abducted by aliens while trying to meet a deadline. (At least, that’s what I told my editor when I handed the work in late!)

SciFi Art Now: What most frustrates you about being an artist?

Stephen: Not being able to accurately reproduce the image that was in my head onto the page or screen.

SciFi Art Now: What keeps you going despite the hopefully occasional frustrations?

Stephen: Not being able to accurately reproduce the image that was in my head onto the page or screen! Ironically, the frustration in failing is what keeps you going, in the hope that maybe next time it’ll turn out the way you originally conceived it. Luckily, it never does, or we might all give up!

SciFi Art Now: What advice would you offer to anyone starting out as an artist?

Stephen: If you get a job as an artist, remember to enjoy it. Being paid to draw and paint is an enormous privilege!

• Check out Stephen's work at http://baskerville.website.orange.co.uk. The best way for people to contact him is via his website.

Sci-Fi Art Now Creator Interview: Neil Roberts

2010-10-13T07:26:00.000-07:00

Neil Roberts is a freelance artist and lecturer who's worked in the videogame industry as a character artist for 12 years before going fully freelance in October 2008. In his time he worked on games such as Colin McRae Rally, Micro Machines, Ice Age 2 and Haze amongst many, many others.

As a freelancer, he's currently the series artist on Black Library Publishing’s New York Times best-selling “Horus Heresy” series. He also produce covers and artwork for 2000AD and other international publishers and games companies.

SciFi Art Now: What tools do you mainly use to create your art?

Neil Roberts: I use Photoshop for the bulk of my work, I use a little 3ds Max from time to time and anything else that comes in handy – digital cameras, watercolours, pencils.

SciFi Art Now: Why?

Neil: Well, Photoshop is so easily configurable and I have all my custom brushes set up as I like them – I can paint, collage and layer effects over the top – just the sort of thing I used to do when I worked traditionally. And the ‘undo’ button is an absolute lifesaver. Also, I use 3D programs if I have any complicated objects that would be too time-consuming to draw the perspective out for. Anything that speeds up the process, basically!

A panel from the BBC's online Sarah Jane Adventures comicReturn of the Krulius,
drawn by Neil

SciFi Art Now: What inspired you to become an artist?

Neil: Comics – from Nutty, Oor Wullie, Victor, Starblazer and Eagle. I was really into artists like Ian Kennedy, Gerry Embleton, Mike Noble, Frank Bellamy – although I didn’t know their names at the time. I came to 2000AD and American comics quite late, but I instantly loved Dave Gibbons and Colin Wilson’s work.

In addition to that, I remember in one of the 1980’s Eagle annuals there was an article about how computer games were made and that switched a light on in my head. This was quite an exciting moment for me as a young child, as it was around the time Tron came out and my family had just bought a Commodore 64, so the prospect of using computers to make pictures seemed a very real and exciting idea.

SciFi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Neil: “The Client is King” - whatever the client wants, the client gets… within reason of course!

Apart from the broad curriculum at Art School and years spent as a 3D art specialist in videogames, I’ve learnt on the job. I’ve read up on good practice and sought advice from other professionals. That’s been the fun part of the job, I am my own boss and I’d like to be the best boss I’ve ever had…!

Art for Black Library Publishing

SciFi Art Now: Which artists most inspire you?

Neil: The most inspiring artist, for me, was (and still is) Ian Kennedy. His covers and comic storytelling are positively sublime. His use of colour is bold but never gaudy. And his draughtsmanship is absolutely faultless. I bought some of his prints that DC Thomson were selling at HiEx! convention last year, they’re just beautiful. To my mind, he’s one of the best modern day British illustrators.

Also, Ralph McQuarrie was a significant inspiration– I only saw a few of his pieces when I was a child in the Star Wars Portfolio, but his work was so vivid and exciting. Even now, it never fails to inspire me.

SciFi Art Now: What's the appeal to you of science fiction as an inspiration for some of your work?

Neil: Science Fiction has endless possibilities. I’ve always loved Sci-Fi far more than Action, War and Horror genres. At best it can be bright, fun and optimistic, and at worst it can show us our faults through the prism of the fantastical. It’s my favourite genre for books, TV, films and comics. Having said that, as an artist, you do need to look outside of the genre to get a more rounded appreciation of the world – inspiration can (and will) come from anywhere. But I always come back for more spaceships, robots and lasers.

SciFi Art Now: Do you have a favourite piece of work or project you have worked on?

Neil: A recent favourite was the cover to 2000AD Prog #1673 “Crimes of Passion” – it was such fun to work on and I really went crazy with my colour choices – 100% cyan and magenta. Plus I got to put Dredd in a humorous situation. It divided a lot of the online community, but it sure looked good on the shelves. Plus, Pat Mills was incredibly complimentary about it when we met at a recent comic con. That was a real personal high point.

SciFi Art Now: In your career, have you had any bizarre experiences while creating your art?

Neil: The most bizarre experience was the earthquake in 2008, I was up late finishing a cover listening to some loud music on my headphones and my chair started swinging wildly. I haven’t played my music that loud ever since.

SciFi Art Now: What most frustrates you about being an artist?

Neil: Not enough time in the day to work – that and not enough time to spend with my wife and children. It’s a balancing act – if you’re not working you’re not earning, but you need to spend time with your family. I’m trying hard to both have my cake and eat it ;)

SciFi Art Now: What keeps you going despite the hopefully occasional frustrations?

Neil: Knowing that the work is good and when it goes out there it gains a life of its own. I’ve had emails from around the world from people who really like my work, have all the posters and ask some really good questions about what I’ve done. That’s a vindication of all those long hours and sleepless nights.

SciFi Art Now: What advice would you offer to anyone starting out as an artist?

Neil: I would ask that they remember the Client is King.

It sounds simple, but they do hold the purse strings. So, if you can do your job – and do it well – you should have no problem getting work.

Also, be honest with yourself, if you can do better, then do better! There’s nothing worse than an artist who is always content in their work. For me, the next picture will be the best I’ve ever done.

• Check out Neil's online gallery at: www.skinnyelbows.com and his art blog atwww.skinnyelbows.blogspot.com

• You can contact Neil via neilATskinnyelbows.com

Sci-Fi Art Now Creator Interview: Matthew Soffe

2010-10-12T00:01:00.000-07:00

It’s always been Matthew Soffe's dream to illustrate a strip for British weekly comic 2000AD. In the meantime, he's trying to make my mark in as many small press titles as possible and has had work published in Dogbreath issues 21 & 22 and The End is Nigh issue 4, with more coming up in Something Wicked #6, Paragon #6 and Starscape #1.

SciFi Art Now: What tools do you mainly use to create your art?

Matthew Soffe: At the moment I’m favouring the Pentel brush pen. Colours, tones & textures are added in Photoshop with a Wacom Bamboo.

SciFi Art Now: Why?

Matthew: I’ve tried digital inking but find it faster and more natural to draw things the old fashioned way.

SciFi Art Now: What inspired you to become an artist?

Matthew: I’ve dabbled with art all my life but only decided to take it seriously and make a real go of it since my mother passed away in 2009. I wanted to do something positive, and drawing gives me focus and keeps me sane.

SciFi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Matthew: Not to worry about developing ‘a style’ – just draw, and your style will develop all by itself.

SciFi Art Now: Which artists most inspire you?

Matthew: Mick McMahon, Frazer Irving, Jock, PJ Holden, Matt Timson, Ben Templesmith and Ashley Wood. I've also recently been made aware of Alfredo Alcala, and been blown away by his linework.

SciFi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Matthew: I think it’s a reverting-to-childhood thing, the pure escapism, the sense of wonder. As you get older that sense of wonder is harder to pin down, but Sci-fi is all about that.

SciFi Art Now: Do you have a favourite piece of work or project you have worked on?

Matthew: I’m quite proud of a strip I did for Something Wicked I did – a Victorian ghost story.

SciFi Art Now: In your career, have you had any bizarre experiences while creating your art?

Matthew: When I was at university I was really into oil painting, often with my fingers. After a visit to the Tate Gallery I stayed up all night and ended up painting a self portrait at about 4am, which was probably the only thing I created during my time there that was worth a damn. The moral: sleep deprivation can be an artist's best friend.

SciFi Art Now: What most frustrates you about being an artist?

Matthew: Not being as good as I’d like to be! Plus finding the time to do it alongside a full time job and home life.

SciFi Art Now: What keeps you going despite the hopefully occasional frustrations?

Matthew: The fact that, if you do it enough, you can see your own progress quite clearly. And the buzz when a strip or illustration is published.

SciFi Art Now: What advice would you offer to anyone starting out as an artist?

Matthew: If you decide it’s what you want, go for it and don’t be put off. Practice it, all the time – you can never draw too much. And as 2000AD artist PJ Holden once said to me – ‘the trick is to study, draw, study, draw and repeat. Forever.’

• Check out Matthew's work at mattsoffe.weebly.com; his blog at: mygrimmbrother.blogspot.com; and his DeviantArt page: mygrimmbrother.deviantart.com. The Best way for people to contact him is via mygrimmbrotherATgmail.com

Sci-Fi Art Now Interview: Paul McCaffrey

2010-10-11T01:00:00.000-07:00

Paul McCaffrey graduated from Newcastle Polytechnic (as was) with a BA in graphic design. Since then, he's mainly worked in the area of children's educational illustration, so he's done a lot of work you'll never see for books you've never heard of. Some of this can be seen here or here.

Over the past few years, my comic strip work has appeared in Omnivistascope, Violent! and Zombies Vs Robots: Adventure. When he's not scribbling away, I make music with The Phase 4 ). (Also at www.last.fm/music/The+Phase+4).

SciFi Art Now: What tools do you mainly use to create your art?

Paul McCaffrey: Pen, acrylic paint, acrylic inks, a photocopier, Photoshop.

SciFi Art Now: Why?

Paul: Speed!

Paul's cover for the SF comic
magazine Omnivistascope ((Issue 6)

SciFi Art Now: What inspired you to become an artist?

Paul: Other artists - mainly comic book artists, I guess.

SciFi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Paul: You are in control of every element of your drawing - it's all your responsibility.

SciFi Art Now: Which artists most inspire you?

An illustration for an article
about War of the Worlds

Paul: There are so many! When I was a kid, the main inspirations would have been comic book artists like Jack Kirby, Jim Steranko, John Buscema, Neal Adams and Gil Kane. Later, I went on to discover Frank Frazetta, Howard Chaykin, Mike Kaluta, Berni Wrightson, and Barry Windsor-Smith!

Brian Bolland and Mike McMahon's 2000AD work left a big impression on me, too, as did that of other British artists like John Bolton and Gary Leach. H R Geiger cast a very long shadow over me for years; I was constantly trying - and failing, miserably - to replicate the feel of his paintings... very sad.

At college, I was introduced to the work of a hug umber of artists, including Ralph Steadman and Gerald Scarfe, Francis Bacon, Norman Rockwell, Albrecht Durer, Andy Warhol, Richard Hamilton and Robert Rauschenberg. At the same time, I was bitten by the comic once more, enticed back by the likes of Bill Sienkiewicz, Jon Muth, Kent Williams and Dave McKean.

Since then, I've re-discovered Wally Wood, Will Eisner, Don Lawrence, Alex Toth, Richard Corben and Moebius - the latter two possibly my biggest influences. Enki Bilal, Paolo Serpieri, Juan Gimenez, Mike Mignola, Dave Stevens and Jose Ladronn have produced fantastic work and in mainstream illustration there just seems to be so much amazing stuff created over the past hundred or so years -- Bob Peak, Bernie Fuchs, Arthur Rackham, Reynold Brown, Anne Yvonne Gilbert, N. C. Wyeth, Ron and Gerry Embleton. As you can see, I'm just a big fanboy at heart!

Zombies versus Robots - art by Paul McCaffrey

SciFi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Paul: Aliens, spacemen, spaceships, heroes and villains, exotic landscapes - what's not to like?

SciFi Art Now: Do you have a favourite piece of work or project you have worked on?

Paul: For a long, long time, I wasn't really happy with anything I produced, apart from the cover for Hell Hath No Fury - a personal piece not commissioned specifically for the cover. In recent years, though, I've been a lot more satisfied - still a lot of room for improvement, though!

SciFi Art Now: What most frustrates you about being an artist?

Paul: I'm not fast enough and the stuff I produce never looks the way it does in my head.

SciFi Art Now: What keeps you going despite the hopefully occasional frustrations?

Paul: The hope that the next piece of work will be better. And faster.

SciFi Art Now: What advice would you offer to anyone starting out as an artist?

Paul: At the risk of being really bloody obvious - draw, draw draw! Don't try to emulate anyone else's style without understanding how he's arrived at it. And draw some more!

• Check out Paul's work at www.coroflot.com/paul_mccaffrey. Contact him via his web site.

Sci-Fi Art Now Creator Interview: Bill Storie - or is it Mike?

2010-10-10T00:47:00.000-07:00

Bill Storie, also known as Mike Nicoll, has been working in the comics industry for 20 years. He's perhaps best known for his adult comics work and Ex Astris, which occasionally features in the Dan Dare-inspired comic magazine Spaceship Away.

Bill describes himsef as a "lifelong comics fan with delusions of grandeur.

"Having dipped my toes into the water over the years, treating my artwork as a paying (sometimes!!) hobby, I've finally bitten the bullet and decided to work full-time in the industry," he says. "I've been working in the legendary 'boring 9-5 job' to feed the kids and pay the rent for too many years but I never stopped having ideas and practising my art so I have a large black book full of stories, characters and concepts which I now feel ready to unleash upon an unsuspecting world...

I'm currently working on Ex Astris, Dan Dare and a high profile job which I can't name for security reasons and Alternate Earth written by the legendary John Ridgway."

SciFi Art Now: What tools do you mainly use to create your art and why?

Bill Storie: It depends on the deadline - I prefer to use a dip pen and brush with black indian ink on a hot pressed board such as CS10 but it's almost impossible to find that nowadays so I use gloss art paper, preferably over 200 gsm which gives similar results. However, the paper warps if you use too much ink which makes colouring on it pretty much impossible so I use Photoshop for that - I'm experimenting with Painter just now to get away from the same-ness of Photoshop.

The big drawback is that the ink tends to sit and dry on the surface of gloss paper rather than being absorbed so it can take a while to dry so if a job is needed quickly I'll use a Pentel brush pen and gel pen on Bristol board.

I also create CGI strips such as Ex Astris (www.exastris.co.uk) which, despite a general unwillingness to accept this medium as "proper" comic art, has been well received. The problem is that CGI is not the magic bullet that many believe it to be and it's often employed as a short-cut by people who don't know how to draw properly, who then create bad artwork which seems to be flooding the net and giving the medium a bad name. A computer programme won't turn you into an artist, comics or otherwise, overnight and if you can't draw a comic with pen and paper you won't be able to do it with CGI.

I use the pen-name of Mike Nicoll for my CGI art because I don't want to become pigeon-holed as a CGI artist instead of a "traditional" artist which is my preferred medium.

SciFi Art Now: What inspired you to become an artist?

Bill: TV21 comic and daily newspaper strips such as Garth and Jeff Hawke/Lance McLane.

SciFi Art Now: What was the most useful piece of advice you were given when you began learning your craft?

Bill: Take the work you've just done, place it in a drawer and don't look at it for a week. If, when you see it again, it still looks good then keep it! It's a great way to pick out flaws in your own work.

SciFi Art Now: Which artists most inspire you?

Bill: British artists: Mike Noble, Frank Bellamy, Ron Embleton, Syd Jordan, Alan Davis. American artists include Neal Adams, John Buscema, John Byrne, Gil Kane and Al Williamson.

SciFi Art Now: What is the appeal to you of science fiction as an inspiration for some of your work?

Bill: It's pure escapism, a release from the boredom of everyday life which allows the mind to say "what if..." and then follow that trail to wherever (and whenever!) it may lead.

SciFi Art Now: Do you have a favourite piece of work or project you have worked on?

Bill: I'm like one of those actors who hates watching himself on telly because I always see the flaws in my work but one favourite is the pencil spread printed in SciFi Art Now showing my heroine "Saffyre Blue" attacking a tentacled beastie - part of a graphic novel I'm working on at the moment. CGI-wise the sequence from Ex Astris, set up as a daily strip showing our heroes in a crash-landing.

Above: Ex Astris newspaper strip samples by Mike Nicoll

SciFi Art Now: In your career, have you had any bizarre experiences while creating your art?

Bill: The most bizzare thing was when I moved my studio from the attic, which was too cold, to taking over a corner of the bedroom and my wife didn't complain!!! Very odd!

SciFi Art Now: What most frustrates you about being an artist?

Bill: The fact that I didn't have enough self confidence to turn pro years ago - I was persuaded that the wife/kids/mortgage option was the way to go - really should have listened to myself then!!

SciFi Art Now: What keeps you going despite the hopefully occasional frustrations?

Bill: Knowing that I'm improving all the time and that each piece I create is (usually) better than the last one - and being able to sleep late if I want to.

SciFi Art Now: What advice would you offer to anyone starting out as an artist?

Bill: First, ask someone who's opinion you trust to give an honest opinion of your work. It won't be easy at first as they will want to say nice things but persevere and make them be critical. It's the best way to highlight your mistakes, but perhaps the most important thing is to never give up!

If you really love creating artwork, don't let anyone persuade you to give it up! Rejections are part of life so learn from your mistakes and don't repeat them.

• Check out more of Bill's work online at www.exastris.co.uk and http://blog.exastris.co.uk. You can contact Mike via: billstorieAThotmail.com