L. Ron Hubbard started Writers of the Future contest back in the 1980s as a way of encouraging new writers (and later, illustrators) into the genres of science fiction, fantasy and light horror. The 41st collection of stories gleaned from a year’s worth of entries is a really good one. Get it!
It’s been a bit over 40 years since L. Ron Hubbard began the institution Writers of the Future to “pay forward” his success in writing science fiction. In that time, well over 800 writers (and illustrators!) have won awards, most going on to major careers in the field. This week, Steve reviews the 40th volume in the series. And finds it excellent!
Even if you don’t recognize the name, you know who Roy G. Krenkel is.
VICTOR FRANKENSTEIN is currently playing in theaters, although by the time you read this it may very well not be, having slunk away in disgrace after failing to pull the box office mojo. It stars […]
Ken Kelly: NOT a Frazetta wannabe, as Mr. Jackson is quick to point out
Oddly enough, cave women and cave men are frequently featured in SF and fantasy art.
Early science fiction and fantasy magazines of the twentieth century, of which Amazing Stories was chief, employed artists for their interior illustrations who could produce images of great variety using only ink applied to paper.
Barsoom. Sooner or later, every artist has to try their hand illustrating Burrough’s tales
Unlike in the olden days when we had to walk barefoot in the snow, uphill, both ways, to find fantasy art, today there are hundreds, if not thousands of online resources to slake your need.
It seems that all good fantasy artists head for Hollywood
Judging books by their covers is made more difficult when the book in question has two titles as does Michael Moorcock’s The Silver Warriors
Monochromatic painting has been part of the avante garde since the end of the 19th century, but science fiction and fantasy artists use monochromatic painting techniques to a great effect.
Depictions of Conan have evolved over the years, from Emshwiller to Brundage to Arnold and now, to Jackson.
Conan, from Weird Tales to remakes – with a dash or two of Frazetta thrown in for verisimilitude.
Jane Frank had one last thing to add to her Art Hierarchies: Familiarity.
Jane Frank discusses Michael Whelan’s value … no, wait, Jane Frank discusses the value of Micheal Whelan’s art… no, wait, Jane Frank discusses the value of value and how our different goals and perceptions influence the way we view, purchase and value art.
In order to understand what makes really good science fiction and fantasy art, you have to look at a few pieces of bad science fiction and fantasy art.
Suppose an artist or a writer says something that is loathsome or morally reprehensible? Can we therefore judge the artist’s work as having no value simply because the artist is a jerk?
This is part two of Eric Gustafson’s guest post for me on covers. It’s a huge topic, and even if you aren’t responsible for your own covers, you should understand how a bad cover can […]
When I was in senior high school (thirty looong years ago) I had an appointment with a career counsellor. I had an aptitude for art and was interested in science.. Based on these two pieces […]
So there’s a brouhaha brewing around the Science Fiction Writers of America and accusations of blatant sexism within that organization. (Actually it’s more like a raging storm in some corners). The controversy surrounds the 200th issue of […]
How important is Fraud in the SF/F art market? I could write lengthy blogs on how forgers break down and then reconstitute the same clay to fashion Mid- and South American artifacts, using original (thousand-year-old) […]
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