The Science Fiction And Fantasy World Of Tim White

by Tim White

Tim White’s paintings give shape to the fantastic, to the might-have-been and what-still-could-happen. With its frequently optimistic tone and obsessive attention to detail, White’s art offers a convincing landscape of the imagi-nation. “A collection of White’s vivid commercial works spanning a decade....the captivating paintings that transport the viewer from the outwardly familiar to the alien skies.” —Publishers Weekly.

Genres: Art, Fantasy, Science Fiction

144 pages, Softcover

First published January 1, 1981

About the author

Tim White (1952-2020) was a British painter, best known for his science fiction and fantasy book covers, record covers and magazine illustrations. He also designed jewellery to complement some of his paintings.

White studied at the Medway College of Art between 1968 and 1972. Following this, he spent two years working for various advertising studios, until he received his first book cover commission in 1974, for Arthur C Clarke's The Other Side of the Sky. He later provided covers for authors including Robert A. Heinlein, Frank Herbert, August Derleth, H. P. Lovecraft, Piers Anthony and Bruce Sterling.

Reviews

[Andrew · Rating 4 out of 5]

This is continuing my Paper Tiger evening - now the works of Tim White are not as fluid or as organic as Jim Burns -there are a lot more sharp edges and contrasting colours here - which I think in many cases work just as well if not better considering their subjects. I came to the works of Tim White with his work over the foundation trilogy by Isaac Asimov - where Chris Foss got his Robot books Tim got the foundation and I loved the 3 covers he did for the core three books of the series (I still have that edition to this day).
Some artists have a talent - be it realistic scenery, or giving life to impossible creatures - Tim White for me had an ability to make the impossible not only real but familiar.
Years later I started to read the Cthulhu Mythos books and found from Granada a series of omnibus editions of both Lovecraft and his co-authors and suddenly I realised here was more work, this time of the Horror style from Tim White. And so when I have the opportunity to not only see his work but to own a book on it (OK it was my brothers and I "liberated it") I lept at the chance. Tim Whites style may not be for everyones (then again neither is Picasso) but for me it was a defining moment in my reading - he also did the cover for one of my favourite books - Clive Barkers Weaveworld

So I dug the book out to re-read again. I will admit that i cannot think of the number of times I have read this book but it usually as a result of thinking of, seeing or finding reference to one of the many book covers that Tim White has created his masterpieces for. This time around (and ironically it wasnt even in this book but his companion book) the foundation book covers - which happen to be the version I own as well. So yes a short addition to my comment above however I will add that this is not the last time I will be reading this book - as I keep on finding my way back to the works of Mr White and I guess that is the best accolade any person can have that their work still inspires and drives people on years after they created it.

[Tobin Elliott · Rating 5 out of 5]

This was a fun one.

I'm not as familiar with Tim White's work as I probably should be. Going through this book, I did discover a few book covers that I've always loved, and had no idea they were done by White.

In fact, I was pleasantly suprised to see the wraparound cover that he did for Alan Dean Foster's ICERIGGER, the first hardcover novel I ever bought with my own money (and started an expensive, space-devouring love of the hardcover format). And though I'd enjoyed Foster's writing previously (most notably from the STAR TREK LOG books he did for the animated series), it was absolutely and completely that Tim White cover that grabbed me and forced me to hand over the astronomical sum of $4.00 for the hardcover (when I could have waited and paid probably a $1.75 for the paperback...ah, the mid-1970s...where have your prices gone?).

I digress...

Overall, while there's times White's work reminded me a touch of Chris Foss, there were some interesting differences and, overall, I like White's work a bit better.

I was also pleasantly surprised to see some cover artwork for novels that I'd read, but they had different covers. Books from Asimov, Clarke, and Herbert that I'd love to now get my hands on, because White's artwork is far superior to the art on my current copies.

Cool introduction to this artist.

[King · Rating 4 out of 5]

Selles väljaandes oli tehniliselt kõik okei, olemas kõvad kaaaned vältimaks kiiret lagunemist ning indeksis ilusasti illustreeritud ulmeteoste autorid ära märgitud. ( Brian Aldiss, Alan Dean Foster, Robert A Heinlein, A.E. Van Vogt jpt )

A ikkagi hinne neli, sest võrreldes mu lemmik ulmekunstniku Jim Burnsiga jäävad Timi pildid siiski veidike alla,muidu tänu Burnsi fännide soovitusele saigi Tim avastatud, õigesti soovitatud, ei kahetse albumite ostmist.

[EmBe · Rating 3 out of 5]

Optisch gibt es nichts daran auszusetzen. Die Illustrationen sind alle sehr gut in ihrer Farblichkeit wiedergegeben. Und die Auswahl ist auch ziemlich umfassend. Tim White hat nicht nur Covergemälde für Science Fiction und Fantasy, sondern auch für Horror-Bücher geschaffen. Insbesondere für solche aus dem Cthulhu-Mythos. Der Band enthält auch eine kurze Biographie. 1952 geboren, 1974 hatte er den ersten Auftrag für ein SF-Cover. Mittlerweile ist Tim White über 2 Jahre schon tot, er starb 2020 nach langer schwerer Krankheit.
Er entwarf auch Schmuck und zeichnete Innenillustrationen. Davon gibt es in dem Buch auch Bilder.
Eher enttäuschend sind die Erläuterungen zu den Motiven seiner Bilder. Helden zum Beispiel oder Magie. Die sind mir viel uu allgemein gehalten, und erläutern die besondere Art der Dartellung der gezeigten Bilder zu wenig.
Tim White war ein Meister fremdartiger außerirdischer Landschaften. Die Menschen und menschenähnlichen Figuren scheinen sich of darin zu verlieren, aber der Weg der meisten hat ein Ziel . Eine Besonderheit der Figurendarstellung ist ihre Hervorhebung, als wären sie von einer extra Lichtquelle angestrahlt. Das wirkt gelegentlich sehr plastisch, als wären sie Teil eines Dioramas.