Interview with Dawid Michalczyk

Dawid Michalczyk was born in Poland in the early 1970s and has been working as an artist since 1996. He mainly works in the computer games industry but also does illustration for book and CD covers. The popular PC games he worked on include "The Longest Journey" (Funcom), "Unreal 2" (Legend Entertainment) and "Dungeons & Dragons Online: StormReach" (Turbine Entertainment). Lately, he has also been involved in casual online games, like the world's most played online pool game "Quick Fire Pool" (Miniclip). He now lives in Denmark creating freelance and personal artwork.

1. What aspects of your childhood inspired your artistic creativity?

My dad was an artist and art collector, so I grew up surrounded by paintings and antiques. We had a large library and a lot of books about art and architecture. Back then, I was not interested in art at all, it was just part of my life. Nevertheless, I always liked looking at pictures, whether drawings, paintings or photographs. I used to go through encyclopaedias just to look at the pictures, hardly ever reading anything.

  

2. You have lived and worked in several countries, including Norway, USA and Denmark. What have you gained from various cultural experiences, and attitudes to work and art?

Living and working in different countries broadens the perspective on life - perhaps too much. It is both interesting and very educational to experience different cultures because it is so revealing about human nature, and challenges your own beliefs. Overall I have gained many insights about the various aspects of the cultures I lived in. There are good and bad things about every country, and in the end a lot of the likes/dislikes are based on personal preference. As far as attitudes toward work and art, it seems that talented or successful individuals are rewarded and treated much better in the USA. Americans are also much more work oriented. They work more; and they seem more attached to, and responsible for, their work.

3. Tell us about your learning process, and particularly how your work evolved as a result of it. 

I'm self-taught and I primarily learn through studying other artists’ work. I say studying, but in reality it's a very enjoyable process. I just sit and look at the pictures in a book or computer screen. My artwork has changed somewhat over the years. In the past, I often did images that had a lot of detail in them. I'm not all that interested in detail anymore; I like simpler images now. Simpler images are easier to process visually and often don't require as much creative energy to produce; yet they can be just as effective or more so. I also noticed that I tend to use a more colourful palette now, I'm not sure exactly why. I think the changes in my work are the result of me changing as I go through life. The accumulated experiences, increased awareness and understanding of the environment, influence my creative output.

4. What attracted you to the world of computer games?

During the late 1980s and early 1990s I played a lot of computer games - especially on Commodore 64 and Amiga 500. I was fascinated by the pretty graphics of Amiga 500 and collected a lot of games and demos. So it was mainly the wonderful visuals, music and good game play that got me interested in computer games. Later when I started working in the computer games industry it felt quite natural to be part of it. In fact, I don't think I would be doing what I do today if it wasn't for all those Amiga games and demos.

5. Is there an underlying theme or message in your work?

Sometimes there is a message in some of my artwork. For example, in "Endless opposites" I illustrate the perplexity of duality - that there is always a choice to be made. Every choice made is a step in one of two directions; and every step taken leads to a new choice to be made.

6. Of the artwork you’ve created, do you have a favourite? If so, why this particular work?

I don't have one favourite piece, but there are many, which I like better than most. One surreal piece that I particularly like is "Edge of perception". The composition, colours, and metaphysical content works really well together. The blue sky, which gradually transitions into green and then meets the horizon as a bright red fog on the right and a soft white transition on the left. And then there is the abstract structure in front of a standing man looking ahead at the uncharted frontier. The closer one gets to the edge of perception, the more abstract and incomprehensible the unknown becomes. Eventually, a new structure of beliefs emerges which may lead to a new understanding of a particular aspect of reality.

7. Evolution is an inherent facet of contemporary art. What new developments are you aware of, with regards to the application of technology, in illustration? 

In general, computer technology makes many things much easier to do. Especially what traditionally used to be hard or time consuming is now relatively easy and quick to do. Because of that much of the focus shifts to areas that digital technology offers greater control over, like finer colour ranges, better composition, more realistic and precise rendering, increased image complexity, etc. The availability of art assets like libraries of high quality 3D models and photographs transforms the whole process of picture making. Now, instead of doing everything yourself, you can simply use pre-fabricated 3D models, textures, photographs, etc and create a picture out of that.

For artists and illustrators the wonders of digital technology is a mixed bag. Personally, I don't like when too much stuff is being done for me. I like to paint my own textures, do the concept design, the 3D modelling or traditionally paint a 2D illustration digitally. That way I get satisfaction from my work and a sense of accomplishment. So in the end, it's a matter of personal preference how much technology one is willing to incorporate in the picture making process. Digital art is not any better or worse than traditional art; it is merely a product of the technological progression.

8. What do you find most rewarding in the creative process, and how do you overcome that which you find challenging?

Doing the remaining 20-30% of an image is the most rewarding for me because the image just keeps getting better. I overcome the challenging aspects through learning, experimenting, and practice. Studying other artists work is essential.

9. What have you done to promote and market your artwork?

My website under my own domain is central to my online marketing efforts. In the past, I did quite a bit work to improve my search engine rankings, but found it too time consuming. I have accounts on many popular social networking sites like YouTube, Facebook, Twitter, Myspace and others. I try to post my new artwork there on a regular basis. Overall, however, the return of investment has been low. Regular updates through my RSS feed and newsletter seems to work better. There is so much competition out there and, now with the recession, getting sales is much tougher.

 

10. What advice would you give to anyone considering a career in art?

Follow your passion and take care of your health. Good health is the most important thing in life - it allows you to do the things you want. Without it you are more limited. Educate yourself about healthy diet, do regular exercise, minimize stress, and cut out the unnecessary stuff. In the beginning, it's probably best to work at a studio with other artists, to learn not only the craft but also the business side of things. Working as a self-employed artist is not for everybody. The main disadvantage here is unstable income, and having to do everything yourself (promotion, selling, website, etc). The main advantages are more freedom to structure your daily life, do the type of work you really enjoy, no commuting, no office politics, bureaucracy, etc.

11. What aspirations, or reservations, do you have regarding your art being used in film and television?

As long as I get paid and credited I'm all for it.

12. Describe your art in one sentence.

Colourful, thought provoking, original and memorable.

13. What other interests do you have?

Health and nutrition is my primary interest - especially healthy diets and supplements. I have been experimenting with different diets for many years and keep journals about my observations. Another subject that interests me is anthropology. I find human behaviour and value systems across very different cultures particularly interesting. Lately, I've become interested in urban and wilderness survival in case the whole system, or parts of it, collapses.

14. Where can we find you and your art? 

On my website at http://www.art.eonworks.com 

Interview with Chris Moore

Chris Moore is a British illustrator, noted for the classic science fiction book covers he has created for many of the world's most famous science fiction authors, including Philip K Dick and Alfred Bester. Born in Rotherham, South Yorkshire, Chris was educated at Mexborough Grammar School, after which he attended Doncaster Art School. Thereafter, he enrolled on a Graphic Design course at Maidstone College of Art, and was subsequently accepted by the Royal College of Art to study illustration.

His professional career began in the early 70s, working on book, magazine and record covers. The mid 70s marked the start of his long association with the science fiction genre. But it wasn’t an exclusive association. As well as work on titles by Isaac Asimov, Larry Niven, Frederick Pohl, Anne McCaffrey, Clifford D Simak, Kurt Vonnegut, J G Ballard, Arthur C Clarke, Philip K Dick, and Samuel R Delaney, Moore was also the Artist of Choice for more mainstream writers like Arthur Hailey, Frederick Forsyth, Jackie Collins, Claire Francis, Stephen Leather, Leon Uris, Wilbur Smith, Craig Thomas, and Colin Forbes. Chris has also provided art for directors such as Stanley Kubrick and George Lucas, producing the very popular wallpaper design for The Empire Strikes Back. He was commissioned by the Isle of Man Postal Service to incorporate his cover for Arthur C Clarke’s 2001 into a special First Day Cover, an example of which was signed in orbit by the crew of NASA's space shuttle.

Despite a wide range of achievements, Moore has never sought to promote himself. Aside from a readers’ award for Best Cover Art from Asimov’s Magazine, his only public acknowledgement, to date, has come in the form of a Pink Pig Award in 1982, given by women in publishing for ‘Higher Tech’ a painting of a sensuous female robot! Chris says, "All I’ve ever wanted over the years has been to gain the respect of my peers. They know what it takes to survive in this business. I’d like to think that I’ve not only gained their respect, but also their friendship."

The Stars My Destination

1. Why did you choose to produce science fiction art, and what do you hope to achieve with it?

I had a vague interest in SF as a child, being brought up in the 50's and 60's with some of the films and comics around at the time - Superman, Batman etc. and the development of space travel with the Apollo programme. They landed on the moon when I was still at college.

In or around 1972, as part of a small design group, I met and started to work with Peter Bennett who was art director at Magnum paperbacks doing mainstream titles. He decided to try me out on a couple of PK Dick covers and an Alfred Bester. They were pretty crummy, but he persisted and gradually they got better with the Clifford D Simak's etc. I guess I was at that time full of optimism about the future and wanted to portray my vision of what the future could mean.

Download Blues

2. Is there an underlying theme or message in your work?

Not really, the object of the exercise has always been to sell books because that is my job, and as a side issue to indulge myself in my visions of the future. Largely, art directors and the book buying public at that time were content to see something on the cover that looked like SF, not necessarily relevant to the actual story and we were sometimes producing the images so quickly that there wasn't time to read the manuscript, sometimes I had up to 20 jobs on at any one time.

3. Prior to 1974, you had not produced any artwork related to science fiction. When you did move to the genre, did this delay prove helpful, and if so, how?

I have developed a technique of producing fairly realistic images, thanks to the use of my airbrush (a Conopois - no longer manufactured). I was able to apply that to pretty much any subject that I was given. SF was around 30% of the work I did at that time and, thanks mainly to Pete Bennett, I was able to channel it in the direction of SF. So I guess it was helpful. When I was at The Royal College of Art studying illustration, I was loosely in the employ of the graphic design department doing finished pieces of illustration to be used in the degree shows of some of the graphics students in my year. It was a good grounding for working at a fast pace in the actual real world.

I, Robot

4. Of the artwork you’ve created, do you have a favourite? If so, why this particular work?

I quite like some of the PK Dick covers I have done, but generally I like very few of them a lot. You do a picture and then move on to the next job. The test of an image for me, is how long these things are around; there are some things that I did in the late 70's that are still being used and they still seem fresh. I once said to my mother that the process of creating these images was more of a journey of discovery than creation and that you had almost 'found' the image, like it was a combination of some text you'd been given and a series of happy accidents that you had gone through to arrive at this window on the future. Bit strange really.

5. How is creating science fiction or fantasy art different from creating other genres?

It is different in that you can be self-indulgent and express yourself to a certain extent, but you still have to do something that's right for the cover just as you had to for other commissions.

Sandworms Of Dune

6. What do you find most rewarding in the creative process?

Certainly not the money; I still get a buzz from people's reaction to something when they look at a painting and say, "How the hell did you do that?" This happens a lot less now, because everyone is exposed to the polish of digital imagery so they aren't impressed any more by the workmanship, which is a bit sad really. It's one of the side effects of computerisation, that and the flexibility that the art director now expects from the service you provide. I still like to get it right and it's nice to go onto the Amazon website and see all your covers displayed.

7. What do you find most challenging in the creative process, and how did you overcome it?

You start with a pencil and a piece of paper and design the cover as a thumbnail sketch. Then work this up to the final image with whatever medium that you decide to use. 3D is more flexible, and it's easier to change things with this medium. Art directors are used to this flexibility now. I still produce a drawing on paper to work out my design so an ability to draw is pretty essential. It's a shame art schools don't cater for this very much now, preferring to concentrate on mastering digital software technology, drawing boards have almost disappeared.

The Exiles Trilogy

8. Have you opened your gallery in East Lancashire? Tell us about what we should expect to find on display there.

I will be opening it in October, when my kids have gone back to school and university, so I can give it more attention. The kind of work will be a mixture of SF, techno, and local landscapes with some acrylics, (mostly realistic) some oil paintings and watercolours, a mixture of original and giclée prints, framed and unframed, hopefully something for everyone. A lot of my originals head off to America but I still have quite a few in my personal collection.

9. Evolution is an inherent facet of science fiction art. What new developments are you aware of, with regards to the application of technology, in this genre

There are so many tools at one's elbow nowadays that anything is possible and there are a lot of new up and coming and established artists working in the digital idiom. I have dabbled, but I can't hope to compete with guys who have been brought up using computers all their working lives. I admit to being a struggling Luddite, surviving more by luck than judgement in today's technology-driven market. Sometimes I think I should go back to college!

War Of The Worlds

10. Tell us about your work for Stanley Kubrick and George Lucas. What aspirations, or reservations, do you have regarding your art being applied to film or television?

I didn't do very much for Stanley Kubrick, the film was 'AI', which was shelved very soon after I got involved. Steven Spielberg subsequently took it up, with Chris Baker as concept artist, and he did a great job. I did some poster work for a re-release of THX 1138 and a wallpaper design for ICI for 'The Empire Strikes Back', which sold out of sight! Regarding working in film and TV, well, I've skirted around it a little but the truth is I've been pretty busy bashing out book covers so I'm not sure if I would be able to function in that medium. I was asked a couple of years ago by my chum Fred Gambino if I'd like to go with him to Vancouver to work on a film as concept and production artist but they chose John Harris instead, which was a good choice for them; but I don't think that John found it very rewarding from what I hear.

11. What advice would you give to artists considering a career in art?

My advice would be to spend your time at art school doing lots of drawing. Learn about anatomy of people and animals, study other people’s work in detail, read about how they work, look at how your work may well be used, as well as keeping up with all the new developments in computer software. Most people are now employed in the games industry, as well as special effects in film and TV; so really, you need to decide what speciality you want to go for fairly early on because there's a lot to learn. But drawing will be something that you can always fall back on, and will generally sort the men from the boys. Check out Ridley Scott's sketches for 'Blade Runner' as well as Syd Mead’s...'nuff said!

12. Tell us a little about any good science fiction or fantasy art you’ve seen recently.

I haven't seen much really, other than in the film genre, which is amazing. My favourites are guys like Jim Burns, Fred Gambino, Les Edwards and John Harris in the UK, and Donato Giancola, Jon Foster, Phil Hale, Mike Whelan, Stephan Martiniere, Steve Hickman etc. in America; but really, there are so many talented people out there that the mind boggles.

13. What are you doing now?

Still doing SF covers, everything else has been replaced by photos and Photoshop, with some 3D thrown in.  I guess I'm now branching out to do other types of work, landscapes and private commissions. I'm still quite busy really.

14. Describe your art in one sentence.

Functional. I'm still a jobbing illustrator, working from one job to the next with a bit of time now to do things of a more personal nature.

15. Where can we find you and your art?

I live in Rural Lancashire in a barn conversion, with my wife, Katie, 2 children and 2 dogs. My art can be found in my gallery, and gracing the covers of the Orion SF Masterworks series, the latest David Weber covers, and Hannu Rajaniemi covers. My website is: http://www.chrismooreillustration.co.uk/

Interview with Gary Tonge

 

Gary Tonge is a Conceptual Art Director and Visionary Artist who lives in Warwickshire England. He currently works for Codemasters in the UK and has worked for many other publishers, development companies, and magazines in his 23 years as a professional artist.

1. You are an award-winning painter and conceptual artist, known internationally for your science fiction and fantasy art. For the benefit of those who may not be familiar with your work, tell us about your career and the work you create.

Ok then. I started out as a computer graphic artist in 1987 (I had just turned 17 at the time) working on games and over the years I progressed from the little single colour graphics of the old 8-bit machines through the enormous technological advances of computers and the software written for them. I have worked in high-end 3D modelling, rendering, and animation in my time, and also on many platforms. About 1999 – in between projects – I thought I would spend some time doodling in Photoshop, just for fun. I ended up painting a number of space and sci-fi landscape pieces and, with the advent of the Internet sweeping the world, decided it might be nice to put the pieces online. My website was set up as a gallery for my personal art but I have added some sections over the years to show some of my art I create in my day job as a conceptual Art Director and Illustrator. I am at my most happy these days painting conceptual art and my Vision Afar works when I have the time.

Race

2. Why did you choose to produce conceptual art, and what do you hope to achieve with it?

I think I have ended up working conceptually because the time it takes to produce state-of-the-art 3D work these days is just so long. I prefer the faster and more dynamic way of visualising “what could be” illustration-ally. I always try and find new and unique ways of portraying ideas, which tends to be invaluable to the art teams I work with in my day job and interesting to anybody who comes across my work online.

3. Is there an underlying theme or message in your work?

My personal art is my attempt to express that there is much more to life and the universe than many of us might think- that there is a greater reality out there, in the infinity of space and beyond our current understanding. I guess I like to try and get people to “think bigger” with my art.

Geo

4. Straight out of school, you started work at a computer games company called Elite Systems. How did this help the quality of your work, and what impact did it have on your choice of career?

Hmmm… Good question. I think working professionally in the games industry certainly made me have to work hard at my skill set – and I learned a great deal from being around the other creative people who worked there. And I still do from everybody I work with. I cannot imagine my life without art in it anymore and trying to look back at those formative years I do remember I truly wanted to be an artist!

Outer Rim

 

5. Of the artwork you’ve created, do you have a favourite? If so, why this particular work?

I really like the works I have created based on The Urantia Book and I really want to have the time to create as many more of these as I can. I also quite like “Nimbus” still (it is odd in general for me to like my art once I finish it – I tend to be bored of it quickly after it is finished!)

Master Universe Map

 

6. How is creating science fiction or fantasy art different from creating other genres?

Well, working on my personal art is a more emancipating experience for me as I am literally working on something I have seen in my imagination and trying to bring it to life. Working with real or near-real art means I have to take into account a little more of a cohesive goal for the finished piece – rather than the more emotive end result in my personal art.

7. What do you find most rewarding in the creative process?
   

I just love creating to be honest. I love being part of a creative mechanism when working with a team of artists or designers and I also love expressing my own artistic ideas too.

8. What do you find most challenging in the creative process, and how did you overcome it?

When I first started out as an artist I used to become very nervous about people seeing anything I was working on before I felt I had nearly completed it. But, as I have grown, I have overcome this fear and now I am happy to literally doodle in front of other people while discussing the ideas we are trying to bring to life.

9. Tell us about ‘Bold Visions: The Digital Painting Bible’ and what inspired it.

A number of years ago, I had been asked to do some writing for a couple of art publications as a featured artist or an expert in a specific field of art. I was contacted by F&W / David and Charles Publishing after they had read some of my articles and they wanted me to create an entire book about how I create my art. I spent some time with my publishing editor, Freya Dangerfield and designers working up some ideas on what I could write about. The aim of the book was to give some instructional ideas to new, aspiring and adept artists while also showing off some of my work in the process. It came out quite well, I think.

10. Evolution is an inherent facet of science fiction art. What new developments are you aware of, with regards to the application of technology, in this genre?

Wow...  That is a deep question. But one thing I have noticed recently is the architectural flamboyance on this planet has come on leaps and bounds in the last 15 years or so. There are buildings being erected and already built that challenge my own structures I have created previously in my art. Now that is an impressive leap in development!

Dungeon Down

11. You have produced work for the biggest names in computer gaming. What aspirations, or reservations, do you have regarding your art being applied to film or television?

I would like to work on some feature films in the future, but I think the right project needs to come along.  I am willing to work on those sorts of projects and I have a great deal of interest in seeing what film and TV art is up to.

12. What advice would you give to artists considering a career in art?

If you really feel inspired to be creative as a profession, I can say that it is a very rewarding and invigorating experience. It can be challenging and stressful at times also, but to be honest these things only make the payoff for great art even bigger.

13. Tell us a little about any good science fiction or fantasy art you’ve seen recently.

I see amazing art everyday, to be honest. Whenever I have a little spare time or want some inspiration I will check in on some online galleries to see if there are any new and interesting images. I love seeing other people’s artistic efforts.

The Sky Opens

14. What are you doing now?

At work, I cannot say as it is a secret – but it is great. At home, I have just finished my second book – due out at the end of the year. Which, at the moment, looks like it is going to be called 'Digital Painting Tricks & Techniques'.

15. Describe your art in one sentence.

Visionary (hopefully!) – wait that is two words...

16. Where can we find you and your art?

All over the Internet, to be honest; but mostly my art can be found at:

www.visionafar.com

Interview with Fred Gambino

 

Fred Gambino has been drawing for as long as he could remember; and he still has some of his early drawings, often inspired by early British sci-fi shows like Dr. Who and the Gerry Anderson puppet series. It seemed that a career in Illustration, in particular a career in SF or fantasy illustration, was inevitable. After graduating from the Derby College of Art and Technology, now Derby University, he took a part time job delivering groceries, painting in his spare time. Trips to London with his portfolio, eventually led to his first book cover commissions. Fred continued to work as an illustrator for clients on both sides of the Atlantic. His clients include Penguin, Warner books, Little Brown, Thames Television, National Geographic, Scientific American, Leo Burnet, Der Speigel, DNA Productions, Paramount, Agent 16, Whizzkids, Lego, Mattel, AVP and The US Postal Service.

In 2001, Fred was approached by DNA productions to work on the Oscar nominated "Jimmy Neutron Boy Genius" for which he was concept artist and matte painter. From 2002 to 2003, he worked on a TV series with the working title: "Project X", for Tinopolis TV and Lego. He was responsible for early visual development of all aspects of the show, from environments to characters. 2003 to 2006, Fred returned to Dallas to create concept art, production art, and matte painting for DNA's and Tom Hank's Playtone company feature, "The Ant Bully". This was followed by visual development for two more features, "C Horse" and "The Star Beast "; and later in 2006, he worked as a character designer for the Dutch film company AVP. In 2007, Fred worked as concept artist for Enne Entertainment, Salamanca Spain, on "Life in a Pickle " and concept artist for JPS Studios, Austin Texas, for “Epic Mickey”. A post as Art director on " Escape from Planet Earth " Rainmaker Entertainment, Vancouver Canada, followed this. In September 2008, Fred worked at Framestore in London as a matte painter on “The Tale of Despereaux”. And, in 2009, he worked as Art Director and Visual Development artist for Turner Broadcasting LA on “Firebreather”. Fred is currently based back in the UK, working on various publishing and freelance projects. His interests outside of work are watching movies, hiking and cycling. A book of his work, entitled "Ground Zero", was published in 2000 by Paper Tiger.

 

1. You are a well-known painter, illustrator and concept artist who specialises in science fiction and fantasy art. For the benefit of those who may not be familiar with your work, tell us about your career and the work you create.

I started out as a book cover illustrator, working in oils originally and then acrylics. I did all sorts of covers, including historical romance, war, science fiction and fantasy. I also did game box covers, when they became an option to do, and also advertising. Originally, I was just represented in the UK; but eventually I got an agent in New York and I started to get work from The States also. Eventually, I saw the writing on the wall and made the move into digitally produced art. I thought I had missed the boat, but it turned out I was slightly ahead of the pack and was considered to be something of a pioneer amongst my peers. This resulted in my featuring in a book called “Masters of Fantasy Art”, which aimed to contrast the work between traditional and the new digital art. It was that book that the director of “Jimmy Neutron” and founder of DNA animation in Dallas, John Davis saw. Something about my work struck a chord with him, and so I got a call to work on “Jimmy” and then “The Ant Bully”, which was my break into film and animation concept work.

Life-Size Dragons

2. Why did you choose to produce science fiction and fantasy art, and what do you hope to achieve with it?

I didn’t really choose it. When I started, I was just hoping to be a jobbing illustrator, hence the variety of stuff I did; but I’ve always had an interest in SF, so I guess it was a natural progression.

3. Is there an underlying theme or message in your work?

No, other than hoping to get paid for it. I am always working to a brief or manuscript, so any underling theme would be the author’s.

Empires End

4. We are both Gerry Anderson fans. How did the sci-fi shows on television, during your childhood, influence you?

Hugely. I always wanted to be Steve Zodiac. I had a crush on Venus! No doubt the younger readers, and I mean anyone under 40, will wonder what I’m on about; or if they do know, will wonder what I was on; but there wasn’t much in the way of science fiction on the TV in those days and I just loved the escapism in those shows. Actually, John Davis is also a Gerry Anderson fan and I think my reference to Garry Anderson in the book was one of the things that attracted him to my work; so you could say I owe the last ten years of concept work to Gerry. I met him briefly when I interviewed to work on the CG version of Captain Scarlet; but before they offered me the job, I got the offer to work in Dallas on “The Ant Bully”.

5. Of the artwork you’ve created, do you have a favourite? If so, why this particular work?

I’ve been asked this a few times and I have to say no. I don’t have a favourite, I’m always most excited about the thing I’m working on at the moment, and when it’s gone I move on to the next thing. I tend to dismiss my earlier work but sometimes when I’m forced to look at it, I find a few gems in amongst the other stuff; but they are few and far between. Mostly, I tend to just see the flaws and how I would do it better now. You never stop learning, or you shouldn’t anyway.

6. How is creating science fiction or fantasy art different from creating other genres?

It isn’t really. Although you are creating machines and worlds that don’t exist, the most successful, in my opinion, are the ones grounded in reality; and all the rules concerning, perspective, composition and colour, apply to any representational genre.

7. What do you find most rewarding in the creative process?

I like coming up with the initial concept and getting the reference material together. In the old oil and acrylic days, the actual process of producing the art was work intensive and tedious although absorbing. I much prefer working digitally, I enjoy 3D modelling and rendering, and it’s great adding those finishing touches that bring the whole thing alive.

8. What do you find most challenging in the creative process, and how do you overcome it?

There isn’t any one thing. Sometimes the whole process just flows and works without a hitch, sometimes I can get stuck on an idea or design. My favourite solution to that is to get on the bike and cycle 40 or 50 miles; I do my best thinking on the bike. The worst problems are when you have everything in place but it just isn’t working. In these digital days that isn’t quite so bad, as you can try anything to save the day. Replace the sky, no problem, move the figure, make it bigger, again no problem. In the old days it could be a disaster if after a week or more painstaking work you stepped back and thought, this just isn’t right. It was necessary to work things out very well before you started. Working digitally gives you so much more freedom.

9. Tell us about your book, ‘Ground Zero’.

The book was published by Paper Tiger in 2001. Paper Tiger were having something of resurgence after a period of time in the doldrums. I just happened to be the new “digital” guy just at that time, so I was in the right place with the right work at the right time. It was a lot of fun writing the text and putting it together and to get some great artists and writers to participate, like David Brin, Elizabeth Moon, Robert J. Sawyer, Jim Burns and Chris Moore, who each wrote an introduction to the different chapters. It’s still available from Amazon. Although there are some acrylic pieces in there, most of the work showcased is my early digital stuff.

10. Evolution is an inherent facet of science fiction art. What new developments are you aware of, with regards to the application of technology, in this genre?

The speed and quality of what can be produced digitally has increased enormously since I started just over ten years ago; but I think that as far as illustration for books is concerned, there is a move now to produce animated art for new media like the iPad and iPhone. With publishing finally becoming a digital medium, big changes are in the air; but at the moment it isn’t clear how things will turn out. On a negative note, the facile nature and ease with which digital art can be produced nowadays has cheapened it in some eyes and that is reflected in the fees you can expect. Concept art, which is all about ideas rather than a polished finished product is where the action really is for illustrators at the moment. Most of my contemporaries, who are still doing well, have moved into film or TV.

  

 

11. You were the concept artist on the 2001 Oscar-nominated computer animated film, ‘Jimmy Neutron: Boy Genius’; and you produced concept art, production art and matte paintings for DNA's and Tom Hank's Playtone company feature, ‘The Ant Bully’. What aspirations, or reservations, do you have regarding film and television?

After spending decades working on my own as an illustrator, I have really loved working in a studio environment; and I’ve learned such a lot from all the very talented people I have worked with. My work has improved enormously as a result. I have also spent time working in Dallas, Vancouver and LA, which I have thoroughly enjoyed. My only reservation is that the projects have to end.

12. What advice would you give to anyone considering a career in art?

Despite all the technical wizardry available today, all the old skills of colour and composition still apply. Learn those skills, learn how to draw and paint, as it will stand you in good stead and put you above the others. It’s no accident that a lot of job ads looking for concept and texture artists, also ask for good traditional drawing skills as well proficient computer skills.

13. Tell us a little about any good science fiction or fantasy art you’ve seen recently.

There is so much of it on the net these days I hardly know where to start. I am a fan of the Concept Ships web site.

Firebreather

14. What do you do, when you’re not being artistic?

As mentioned previously, I like to cycle a lot and hike. We also go to the movies three or four times a month. The little cinema we have in town, shows a huge variety of films from Hollywood blockbusters to obscure subtitled foreign films. We watch all sorts of stuff.

15. Where can we find you and your art?

My web site is www.fredgambino.co.uk, and a list of publications with my work in it can be seen here http://www.fredgambino.co.uk/publications.html Otherwise, watch “Jimmy Neutron”, “The Ant Bully” or “Firebreather” from Cartoon Network and “Escape from Planet Earth” from Rainmaker, due to be released next year, I think.

Interview with Michael D. Knight

Michael D. Knight is a graphic artist who originally started out, many years ago, as a traditional artist - painting, illustrating and making models from scratch. He built props and miniatures, for a few years, for low-budget film companies.  When computers began taking over the industry, he felt it was time to learn how to produce digital art.  He did this the hard way, without the benefit of any professional instruction. Because of his love of model making, Michael eventually got into 3D art. He has created book cover art, and much of his work has been published in magazines and books. Michael discussed having a fond interest in subjects such as science fiction, Gothic horror, UFOs & the paranormal, all of which, he feels, have had a profound influence on his work.

1.     Tell us about your artwork.

Over the years it has gone through many changes. I started off doing miniatures for independent film. A lot of my artwork is sci-fi themed but I do branch out quite a bit into other themes, like comical and gothic works. A lot of my sci-fi works are UFO and paranormal influenced.

2.     Why did you choose digital art, and what do you hope to achieve with it?

Working as a traditional artist, I felt very limited. It took technology many years before it got to a level where I could use it in the ways I do now. I like how much more freedom I have with the digital tools. I find I can create many different styles, depending on my mood, or what I am looking to achieve. I've always hoped that the digital world would make my work more successful, so far, ‘yes’ and ‘no’... I'm still a starving, struggling artist; but I do it because it's what I love, and it feeds my soul.

3.     Is there an underlying theme or message in your work?

In many of my UFO & Gothic works, I would have to say ‘yes’. Although, precisely WHAT that message is, quite often eludes even me; but I feel very much compelled to create them, so I feel there must be something important to that.

4.     I was very impressed to learn that you are a self-taught graphic artist. Tell us about your learning process, and particularly how your work evolved as a result of it.

Thank you. It has been a very long and, quite often, difficult road having to sort of muddle through and learn the many different applications. I have seen my work take on many changes, since the beginning. And looking back over some of my older work, I see things I would have perhaps done differently NOW, knowing what I know now. I sometimes think about revisiting some of my older work, with that in mind; but there is always something new to create.

5.     Of the artwork you’ve created, do you have a favourite? If so, why this particular work?

Hmmm, that is a tough one. I have so many favourites, but I guess if I had to pick one, off the top of my head, I would have to say it would be a sci-fi piece I did entitled ‘Coming in Hot’. I quite often look at that particular piece and think, “Man you can almost hear the roar of the engines!”

6.     How is creating science fiction and fantasy art different from creating other genres?

I think with sci-fi, it allows much more freedom of imagination and allows me to create whatever I want. Whereas, creating things like say 3D objects of normal everyday items, I feel sort of locked into making sure it looks a certain way. But with sci-fi, I can pull out all the stops and just go nuts.

7.     What do you find most rewarding in the creative process?

I would have to say looking at a finished piece and feeling very satisfied and somehow accomplished. Especially if it something that has turned out very well, or even better, than originally planned.

8.     What do you find most challenging in the creative process, and how do you overcome it?

I think, even to this day, I still have trouble getting ‘life’ into a lot of my stuff. I guess, what I mean, is trying to put people or characters into my work. As far as overcoming it, it's still very much an ongoing thing with me, I think.

9.     What have you done to promote and market your artwork, and what advice would you give to other artists?

This has always been a difficulty, even to this day. I try and get my stuff onto as many sites like RedBubble, CafePress, Zazzle, deviantArt and many others. I would strongly recommend other artist to do the same. It's a great way, to not only get your work out there, but also a chance to make a little coin in the process.

10.  Who, do you imagine, would be your ideal client?

George Lucas, LOL.  One can dream.  But in all seriousness, anyone who greatly appreciates my work is welcome.

11.  What advice would you give to help others build the skill and confidence required to produce digital art?

Although it can be very frustrating at times, I would say, “Never give up and just keep at it, determination, and a whole boatload of patience, eventually goes a long way.”

12.  What aspirations, or reservations, do you have regarding your art being used in film and television?

Ever since I was very young, I always wanted to get involved in that sort of thing. I get a great kick out of occasionally seeing my work in a TV commercial or film project; although I would love to be more directly involved in that type of work.

13.  Tell us a little about any good art you’ve seen recently.

Almost every day I see amazing works on deviantArt and in the ‘Today’s Best’ on Zazzle.

14.  What are you doing now?

Lately I've been working on a lot of simple vector art of food items, comical stuff and some sci-fi stuff. All simple vector shape stuff, as I noticed that it is an area that I've been lacking in on my T-shirt sites. So I've been trying to beef up that sort of thing lately.

15.  Describe your art in one sentence.

Not sure I can, it's too multi-themed and styled to describe that way, at least for me, anyway.

16.  Where can we find you and your art?

RedBubble

deviantART

CafePress

Zazzle

Zentai Guy's Blog

MDK Graphics Blog

Alien Zombies Blog