What do you think?
Rate this book
The Encyclopedia of Fantasy and Science Fiction Art Techniques
Most artists gravitate toward a comparatively small selection of tools and materials: some will be happiest using gouache on canvas, with perhaps a touch of airbrush; others will prefer line and wash on cartridge paper, or oils on textured board, or . . . It is through such specializations, either deliberate or intuitive, that artists develop their own particular styles.
- GenresArtNonfictionReference
176 pages, Hardcover
First published January 1, 1996
2 people are currently reading
73 people want to read
About the author
John Grant
539 books183 followersJohn Grant is author of over eighty books, of which about twenty-five are fiction, including novels like The World, The Hundredfold Problem, The Far-Enough Window and most recently The Dragons of Manhattan and Leaving Fortusa. His “book-length fiction” Dragonhenge, illustrated by Bob Eggleton, was shortlisted for a Hugo Award in 2003; its successor was The Stardragons. His first story collection, Take No Prisoners, appeared in 2004. He is editor of the anthology New Writings in the Fantastic, which was shortlisted for a British Fantasy Award. His novellas The City in These Pages and The Lonely Hunter have appeared from PS Publishing.
His latest fiction book is Tell No Lies , his second story collection; it's published by Alchemy Press. His most recent nonfiction is A Comprehensive Encyclopedia of Film Noir . Earlier, he coedited with John Clute The Encyclopedia of Fantasy and wrote in their entirety all three editions of The Encyclopedia of Walt Disney’s Animated Characters; both encyclopedias are standard reference works in their field. Among other recent nonfictions have been Discarded Science, Corrupted Science (a USA Today Book of the Year), Bogus Science and Denying Science.
As John Grant he has to date received two Hugo Awards, the World Fantasy Award, the Locus Award, and a number of other international literary awards. He has written books under other names, even including his real one: as Paul Barnett, he has written a few books (like the space operas Strider’s Galaxy and Strider’s Universe) and for a number of years ran the world-famous fantasy-artbook imprint Paper Tiger, for this work earning a Chesley Award and a nomination for the World Fantasy Award.
His latest fiction book is Tell No Lies , his second story collection; it's published by Alchemy Press. His most recent nonfiction is A Comprehensive Encyclopedia of Film Noir . Earlier, he coedited with John Clute The Encyclopedia of Fantasy and wrote in their entirety all three editions of The Encyclopedia of Walt Disney’s Animated Characters; both encyclopedias are standard reference works in their field. Among other recent nonfictions have been Discarded Science, Corrupted Science (a USA Today Book of the Year), Bogus Science and Denying Science.
As John Grant he has to date received two Hugo Awards, the World Fantasy Award, the Locus Award, and a number of other international literary awards. He has written books under other names, even including his real one: as Paul Barnett, he has written a few books (like the space operas Strider’s Galaxy and Strider’s Universe) and for a number of years ran the world-famous fantasy-artbook imprint Paper Tiger, for this work earning a Chesley Award and a nomination for the World Fantasy Award.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 3 of 3 reviews
July 3, 2018
This is definitely an "okay" book. There's quite a few reasons for that.
1. Written in 1996, the idea of "modern comic books" is woefully out of touch. Enjoy the copious throwback shoulder pads and Liefield-style character design.
2. The opening fluff is written as though the reader doesn't even know what art is or what a paintbrush is for. Blocks of scribbles with felt-tip pens and layered gouache in hideously clashing colors will have to clue you in.
3. The section on "computer enhancement" is an absolute laugh riot. At no point--even mid-90's--did any of these techniques look good. I can't really think of a use for any of them, even in the examples given, which feel rushed and pointless.
4. There's a huge variety of art shown. Some of it just really sucks. Like, so bad.
5. The author is snippy toward esteemed artist Boris Vallejo *every chance he gets.* It's weird and unfunny how he manages to slip in a snide comment every time. All other image descriptions are usually general artist and relevant design info, but not for Vallejo. What's your problem with him, John Grant? You never said a thing about the artist who drew a gun so freakin big you could ride on it or the weird antenna helmet and pointy swimsuit combo of a "young dragon trainer" looking like she could only physically mange her painfully boring pose because that outfit is not conducive to moving or sitting.
Gah!
Okay, so, that said, there are good things here. The whole book is arranged alphabetically by topic, so finding what you need is fairly easy. The sections on body language, characterization, and false perspective are *fantastic.* Most of the art is by lesser known artists, so it's a good way to discover styles and creators to learn more about. Even the more famous artists featured show their less-than-famous pieces. A refreshing change from the "just the hits" type of stuff you normally see.
Sadly, the bad heavily outweighs the good. But the good is worth it to me, so this books sticks around. I recommend this one if you can get it on the cheap (as I did).
1. Written in 1996, the idea of "modern comic books" is woefully out of touch. Enjoy the copious throwback shoulder pads and Liefield-style character design.
2. The opening fluff is written as though the reader doesn't even know what art is or what a paintbrush is for. Blocks of scribbles with felt-tip pens and layered gouache in hideously clashing colors will have to clue you in.
3. The section on "computer enhancement" is an absolute laugh riot. At no point--even mid-90's--did any of these techniques look good. I can't really think of a use for any of them, even in the examples given, which feel rushed and pointless.
4. There's a huge variety of art shown. Some of it just really sucks. Like, so bad.
5. The author is snippy toward esteemed artist Boris Vallejo *every chance he gets.* It's weird and unfunny how he manages to slip in a snide comment every time. All other image descriptions are usually general artist and relevant design info, but not for Vallejo. What's your problem with him, John Grant? You never said a thing about the artist who drew a gun so freakin big you could ride on it or the weird antenna helmet and pointy swimsuit combo of a "young dragon trainer" looking like she could only physically mange her painfully boring pose because that outfit is not conducive to moving or sitting.
Gah!
Okay, so, that said, there are good things here. The whole book is arranged alphabetically by topic, so finding what you need is fairly easy. The sections on body language, characterization, and false perspective are *fantastic.* Most of the art is by lesser known artists, so it's a good way to discover styles and creators to learn more about. Even the more famous artists featured show their less-than-famous pieces. A refreshing change from the "just the hits" type of stuff you normally see.
Sadly, the bad heavily outweighs the good. But the good is worth it to me, so this books sticks around. I recommend this one if you can get it on the cheap (as I did).
November 3, 2017
Very helpful for aspiring fantasy illustrators as well as all aspiring illustrators and artists.
I feel like I could’ve learned more from this only because the copy I got from the library had pages missing and sections cut out (I was horrified as expected, but I still read what I could). Had I read the whole book in its entirety, I most likely would have rated it higher- no fault of the author’s, only the monster who decided to kill the book.
4.0 Stars
I feel like I could’ve learned more from this only because the copy I got from the library had pages missing and sections cut out (I was horrified as expected, but I still read what I could). Had I read the whole book in its entirety, I most likely would have rated it higher- no fault of the author’s, only the monster who decided to kill the book.
4.0 Stars
March 7, 2008
Cool and useful. This takes in a range from comic-book style art to techniques and styles suited to fine art. This not only shows how to achieve a given overall look and compose a scene by integrating the elements, it goes into the psychology of various stylistic touches and how they shift the perception of a character or creature.
Displaying 1 - 3 of 3 reviews