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Masters of Science Fiction and Fantasy Art A Collection of the Most Inspiring Science Fiction, Fantasy, and Gaming Illustrators in the World PDF

224 Pages·2011·50.19 MB·English
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Preview Masters of Science Fiction and Fantasy Art A Collection of the Most Inspiring Science Fiction, Fantasy, and Gaming Illustrators in the World

© ~Oll by Rockport Publishers, Inc. All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned, and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing information in a subsequent reprinting of the book. First published in the United States of America by Rockport Publishers, a member of Quayside Publishing Group 100 Cummings Center, Suite 406-L, Beverly, Massachusetts 01915-6101 Telephone: (978) ~8~-9590 Fax: (978) ~83-~74~ www.rockpub.com Digital edition: 978-1-61060-~34-1 Softcover edition: 978-1-59~53-675-7 Library of Congress Cataloging-in-Publication Data is available ISBN-13: 978-1-59~53-675-7 ISBN-lO: 1-59~53-675-1 109876543~1 Design: John Foster, Bad People Good Things LLC www.badpeoplegoodthings.com Cover Image: John Picacio Printed in China MASTERS of o a n d F A A .. .... ;ID m .<. c: 0 m .... III ... n r- ,. I: - ~ ,(I.I '" "'." n '" :E 0 c: .m. '" .m.. ;ID .. ... '" -t A COLLECTION OF THE MOST INSPIRING SCIENCE FICTION, FANTASY, AND GAMING ILLUSTRATORS IN THE WORLD by Karen Haber Foreword by Joe Haldeman, author of The Forever War . . . .- . . .. ' • ". • • • • • · • . ~~~~~"~"~,~"~"~~"~~"~~~~"~~,~,~~~"~~~ . . • • • • • • ... . . .. • II: C • . . . • >- • • III • ~ 'Z f • • • • "1.I::1.:1: • ..• • • - 'Z 0 • • • ... • - • '" I..I.. • .. '" '-.Z.. • • • • · '" • ... ~ ; III • 0 III I..I.: • ... .. . • IcII • :I • • .. .. .. ' • . • .. .. • • • • • • .. • .. • • • • • " • . • • . . • ., • " • • • • • • • • • • • • • • • • • • • • • • . '. • • COpjTEpjTS FOREWORD BY JOE HALDEMAN 6 INTRODUCTION 8 COMBINED TRADITIONAL AND DIGITAL TOOLS Jim Burns 1~ Shaun Tan ~o Dave Seeley ~8 36 Avi Katz John Picacio 4~ 50 Pavel Mikhailenko 56 Ken Wong Brom 6~ 70 Greg Spalenka 78 Bruce Jensen 84 Scott M. Fischer 90 Todd Lockwood DIGITAL TOOLS AND TECHNIQUES Stephan Martiniere 100 Tomasz Maronski 106 114 Camille Kuo Galan Pang 1~~ Marta Dahlig 1~8 TRADITIONAL TOOLS AND TECHNIQUES 13 James Gurney 4 Kinuko Y. Craft 14~ 15° Charles Vess 158 Donato Giancola 166 Rebecca Guay Da n Dos Sa ntos 174 Petar Meseldzija 18~ 188 Terese Nielsen 196 Bob Eggleton Don Maitz ~04 Gregory Manchess ~1~ DIRECTORY OF CONTRIBUTORS ACKNOWLEDGMENTS ABOUT THE AUTHOR page 6 MASTERS of SCIEI\ICE FICTIOI\I and FAI\ITASY ART page 7 MASTERS of SCI EllicE FICTlolli and FAIliTASY ART ~"""""""""""""""""""""""""'""""""""""""""""""""""'~ Science nction and fantasy artists face a daunting task: to depict the unknown, the unreal, and the impossible, and make it believable, compelling, and beautiful. They are asked to envision imaginary places, populating them with strange, wonderful beings, and they must do it all ona deadline. That's a tough job. The digital revolution has brought science nction imagery into the mainstream and thus to a wider audience. What was once seen as magical and improbable is now commonplace. Modern technological advances have raised the bar for artists, making it that much harder for them to invent fresh science nctional images. The job must have been easier in decades past when great artists such as Frank R. Paul and Chesley Bonestell had far less competition from reality. Luckily, artists come equipped with that most powerful of tools, imagination. In an age of technological miracles, they need it more than ever . • • • . . • • • • • . ~"'~"""""""""""""""""""""""'""""""""""""""""~"~"""~ . • • ,. <it • • ..' • • page 8 MA5TE~5 5C;~IIICE F~IIITA5Y • of flCTIOIil and ART " • .' • • • • • • • • • • • • • • • • • • • • • • t • • • • • • • • • • • • • • • • • • • .. • • • • This is an exhilarating and challenging time in science and blogs devoted to teaching technique and pro fIction and fantasy art for both artists and art lovers. moting discussion are abundant. Video tutorials • Computers have put exciting new tools into artists' are available at the click of a mouse, while in the • hands while creating a more competitive environment nonvirtual world artists gather for workshops where in which to make a living. Previously reliable art maestros can be observed in process and later ques markets, such as publishing, are struggling to change tioned by novices. It's an exciting time to embark with the times, while other markets, such as fIlm and upon a career in science fIction and fantasy art. gaming, are exploding with new opportunities for artists. Armies of computer graphics (CG) artists are Here is a look at twenty-eight of the most creative employed to bring fantastic visions to life for each science fIction and fantasy artists working today, blockbuster, television show, or game release. And with examples in pencil, paint, and digital media. yet in the midst of this tumult, young artists clamor The artists in this book are both masters and rising for instruction in traditional art techniques. Which stars in the many-faceted realms of science fIction and tools they select and how they use them are the fantasy art. They range from dedicated devotees of choices of each artist. Some rely on hand skills while brushwork to artists on the cutting edge of techno- others employ only digital tools, and still others logical change working in 3D effects for movies and swear by varied combinations of each. gaming. Each artist describes his or her professional journey and provides a mini -workshop on techniques, Thanks to the Internet, there's also been an explosion such as concept development, use of digital tools, in the number of artists creating science fIction and and traditional brushwork. fantasy art around the world. The communication between them-especially between beginning artists and their more experienced, savvier colleagues-has never been more dynamic and exciting. Websites . . .. ..' . .. • ". • • . • • • . • . ~,~~~~~~"~"~~"'~,~,~"~~"~~~~"~~,~,~~~"~~~ . ' • • • • • • • . l- .... ... .. II: • . . C .. >- • • III • ~ . 'Z • . . • f • "1.:1.1 ... . , I::: '-Z . .. .. • 0 • " - • I- '" I..I.. • ... . '-.'Z".. . " · .'.". • p.& ' .• • III • 0 III I..I.: • I- .• • III , C • :I • . .. .. • • • • • • • • • • • . • . • • • • • • • • • • • • • • • • • • • • • • . '. • •

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