FANTASY ART

_ TECHNIQUES
- Koreword by
ISAAC ASIMOV —
ermA tad ns,
 suk feeof pas doue of
== painting, specifying the media
he uses, to their final form.

Those already familiar with |

Boris Vallejo’s inspired work, |
and everyone who enjoys |
fantasy art, will be delighted
with this behind-the-scenes
account, which also gives a
fascinating insight into the
creative thinking of a fantasy
artist.

PRENTICE HALL PRESS

$22.95
 Digitized by the Internet Archive
In 2022 with funding from
Kahle/Austin Foundation

https://archive.org/details/fantasyarttechni0000vall
 FRANKFORT COMM / CLINTON CO PUB LIBRARY
759.13 VAL 862121 FCPL
Vallejo, Boris. Fantasy art techniques /

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759.13 VAL 862121 19.95

Vallejo, Boris.
Pantasy art techniques

FRANKEORT COMMUNITY
PUBLIC LIBRARY
FMFORMATION, RECREATION, EDUCATION
BORIS VALLEJO
FANTASY ART
TECHNIQUES
BORIS VALLEJO
FANTASY ART
TECHNIQUES

PRENTICE HALE RESS

New York London Toronto Sydney Tokyo
Copyright © 1985 by Boris Vallejo
Produced, Edited & Designed by Martyn Dean

All rights reserved, including the right of reproduction

in whole or in part in any form.

Published in 1987 by Prentice Hall Press

A Division of Simon & Schuster, Inc.
15 Columbus Circle
New York, NY 10023

Originally published by Arco Publishing, Inc.

PRENTICE HALL PRESS is a trademark of Simon & Schuster, Inc.

Library of Congress Cataloging-in-Publication Data

Vallejo, Boris.
Boris Vallejo fantasy art techniques
1. Vallejo, Boris. 2.Fantasyinart. 3, Painting—
Technique. I. Title. IJ. Title: Fantasy art
technique.
ND237.V14A4 1985 759.13 85-11106
ISBN 0-668-06234-7

Printed in Singapore

10987654
 CONTENTS
Foreword by Isaac Asimov 8
Introduction 11
The'Concept 14
Secinomne (,
Skin Tones 41
The Models & Photographs 49
The Rough Sketch 63
Painting & Underpainting 79
Painting for Heavy Metal 105
Female Wrestlers 112
Chrome Robot 117
Preparing a Portfolio 123
Afterword 127
Z
862124
 Foreword by
ISAAC ASIMOV

INES Kee) te!GA le FaneKe

I suppose that the reason I was asked to do a foreword for this book is
that I had something (very indirectly) to do with it. It was for a recent
collection of my stories and essays that Boris Vallejo did his “Chrome
Robot,” which he describes in detail in this book and which you will
surely admire as much as | did.
So effective was “Chrome Robot” that the publisher for whom he
created it used it as representative of his entire line of books that season,
so that “Chrome Robot” appeared on the cover of Publishers Weekly.
Naturally, then, my name came to mind as a prospective contributer toa
book dealing with Boris’s art.
An artist who can be as effective as Boris, and who can present the
human body (both male and female) in such an extraordinary variety of
fantastic forms and poses, has something to teach the young art student,
and it is well that Boris has taken on the task. Between the text and the
illustrations such a student will find in this book an invaluable
compendium of a master’s thoughts, devices, and experience.
Having said that, however, I must stop and think. Is this a book only
for art students, for those youngsters who dream of a career like Boris’s?
Undoubtedly, it is chiefly for them, but let us be honest. There are not
enough of them, perhaps, to make this book realistically profitable if
they were all who might be looked on as prospective purchasers. (I know
it is disgusting to mention money in the same breath as art, but artists
can starve to death as easily as truck drivers can—more easily, if we
consider the usual compensations of both—and so can publishers.)
This book is not text alone. It is also a collection of Boris’s artistic
creations, and this represents a feast for the eye. For every person who
has the urge to immerse himself in paints, brushes, and palettes, there
must surely be many thousands who, without any ability of their own to
produce art, can yet enjoy the artistic products that others have created.
I myself am representative of all the poor souls who lack as much as a
chemical trace of ability to produce a shape or form that anyone can look
at without wincing. It is all Ican do to draw a straight line with the help
of a ruler. If I place onion skin on a line drawing I can trace it in a shaky
manner and, as far as colour is concerned, I can tell (with some difficulty)
sky blue from apple green. There it ends.
And yet, cursed though I am with a zero-talent pictorial ability, I find
myself delighted by Boris’s productions and, as I wander from one to
another, I almost forget to breathe.
Well, then, is it enough that the book contains a generous display of
his work, and shall I urge all those who are only somewhat more
talented than Iam (no one can fail to be somewhat more talented than I am)
to buy the book and just look at the art, ignoring the text?
No, never!
The text is easy and interesting reading and it is as important for the
art viewer to know these things as for an aspiring artist to know them.
If you are not an artist, you are at least part of the audience and every
member of the audience benefits by understanding what it is he
admires. It is not only the artist who needs the educated eye, it is you as
well. To say “I don’t know about art, but I know what I like” is a
contradiction in terms. If you don’t know about art, you can't know what
you like because you don’t understand what it is you’re looking at.
Can you enjoy watching a baseball game, if you know nothing about
baseball? Can you enjoy watching a play, if you don’t know the language
the actors are speaking? You might get some pleasure out of the
movements of the players on the field or the actors on the stage, but it
would be a weak shadow of the pleasure you would get if you watched
with understanding.
Even if the book won’t help you be an artist (for an artist must know
infinitely more than an onlooker) it will help you be a more knowledge-
able onlooker and therefore give you more pleasure. Read—and you will
enjoy Boris’s paintings more and, in the end, all paintings more.

Isaac Asimov © 1985

Siren Song, Ballantine.
 BORIS VALLEJO
FANTASY ART
TECHNIQUES

Introduction

I have always had the facility to draw. I can’t remember a time in

my life when I wasn’t drawing or painting. In this sense, art has
always been a natural part of my existence. When I decided to leave
medical school and had to choose a career, there it was. Someone
offered me a job doing artwork and I took it.
I had already been working professionally for several years when
I began to direct my efforts toward fantasy art. I had tried children’s
book illustration, mystery, men’s magazines, and so on. But
something jelled when I became aware of fantasy illustration. I had
been involved with bodybuilding for some years and fantasy art
afforded me the chance to paint muscular men and voluptuous
women as unclad as possible. It was the perfect vehicle for me: I had
always loved working with human and animal figures. It gave me an
opportunity to do something I enjoyed.
To the question of how my work relates to or reflects my life, I
answer that it carries no deeper significance than this: I love bodies;
I want to paint them as beautifully as I can. I am interested in what
I can do with a figure, and how well I can do it, how close to
perfection I can come. And, by “perfection” I don’t mean how true
to life but, rather, how true to a personal mental image or vision.
I strive not only to copy life but also in a sense, to enhance it. One
can improve on the shape or proportions of a figure and on the
fluidity of its movement in a painting. But one can also, as an artist,
utterly enjoy a figure on its own terms, even if it is imperfect by
contemporary standards.

aie
 Cover for Heavy Metal.

More or less “self-taught” artists will often discount the value of

formal study. On the one hand I agree that the experience of
painting itself is the most effective teacher. It is possible to learn by
struggling along on your own, making your own mistakes, and
doing your paintings away in the wilderness, like a hermit. On the
other hand, nothing can take the place of being part of a learning
community of your peers. Nothing can replace the constant
exposure to the work of others — both those who are better (giving
you a goal upon which to set your sights) and those who are not as
good (giving you a sense of where you are in the hierarchy, how far
along you are, and how much further you can still go).
Good teachers can point the way a bit more directly and they can
share their experience with you. What works for some people,
however, does not necessarily work for others. By this I mean to -
emphasize that whatever I say in this book is based on my ,
experience. I feel very strongly that there really are no inviolable
rules. Existing rules are no more than aids to achieve particular .
ends. With experience comes the insight to see new ways, the ability
to hew new paths, implement new means, and discover what works
best for you.
I did go to art school. I did become well acquainted with
established methods and rules. I did study and copy the paintings of
the Old Masters. Based on this initial groundwork, what proved
enormously instructive to me was seeing the original paintings of
other illustrators. It is tremendously helpful to see the brushstrokes,
the way colour is applied — something that no print of the same
piece will show.
From time to time people have commented about my original
work: “Oh, that looks so good; it looks just like a print.” This has
always amused me because | feel that, with rare exceptions, original
work contains much more than any print. The subtlety of colour is
often lost in printing. Nuances of contrast are lost.

12
Dragon Tattoo from Mirage.

The Concept

The elements of a fantasy illustration need make no pretence of

imitating life such as they must in, say, an illustration for a gothic, a
mystery, or a novel. Fantasy engages the imagination to a much
larger extent; the creatures portrayed may come partly or entirely
from your head. And yet, to be successful, the scenes from your
imagination must be convincing enough for a viewer to be willing to
go along with you: to willingly suspend his disbelief and say, “Yes,
this could work”.

14
 Counterfeit Lover from Mirage.

JES)
Centaurs, Colour rough unused.

How does someone begin to create these wholly imaginary

pictures? The answer to the eternal question “Where do your ideas
come from?” seems obvious at first. Naturally, they come from my
head. Where else? Ideas come from one’s head. It’s true, when you
set a manuscript to illustrate, you're likely to find descriptions in it.
Still, it is up to the artist to interpret them. All those alien beings
and landscapes come into being from what is, in fact, known to us.
Existing life may be the point of departure, yet all successful
fantastical creatures must relate back to it as traceably as vertebrates
do to the single-celled amoeba. Muscles are what makes movement
possible for the higher forms of living creatures. If you want to
paint a combination animal/machine, let’s say, there must still be a
relation to existing animals and existing machines; the musculature,
at least, must be plausible.
The immediate environment is a tremendous source of ideas for
me: shadows, shapes, things that, as a result of being near-sighted,

16
 aie |
Wate is .
( (um :

Vampire, Unpublished.

I don’t exactly see. It’s pretty easy for me to reinterpret something

twenty feet away which is already fuzzy. With a little push it readily
loses its real contours and becomes something else in my eyes. If
I start elaborating on what I don’t clearly see, I can go in any
direction. All I need is an existing starting point; my imagination
takes over from there.
This odyssey of the imagination need not be a deliberate or
controlled thing. It’s much better when it’s not directed, when I
simply sit quietly and let it happen. In a sense, it’s as though my
ideas don’t come out of me so much as I allow them to move in on
me. The most important thing one can do to nourish the
imagination is relax. I have noticed that when I specifically try to
think of something, really strain towards an idea, very little happens.
Whatever does happen is usually stilted and forced. If I relax and
open the doors, so to speak, ideas do come.

Ob
First sketch for Isaac Asimov stor 1€S Unpu blished.
a

18
 Often enough, inspiration begins with the model. I see someone
and I think: I would like to use this person for a painting; I would
like to focus on this or that special feature of this person. From
there I can evolve a character, an atmosphere, or an entire concept.
I once saw a young man at the gym I go to. He was an excellent
bodybuilder, but the more notable quality about him was that he
possessed not only huge muscles — a really fine development — but
also a very boyish, almost child-like face, which presented a striking
contrast with his physique. I stored this impression in the back of
my mind, hoping that a job would come along for which I could use
him. Then I was given a collection of stories by Isaac Asimov.
My original concept for this book’s cover was of a young scientist
type sitting on top of the earth in the middle of space. Subsequently
I got a call from my client saying that although she liked the sketch,
it was not exactly what she had in mind. What did she have in
mind? Well, she was rather vague about that, but she preferred
something with a more heroic feeling. As we were talking it
occurred to me that, instead of emphasizing the human aspect of
the stories, | might emphasize the mechanical.
It was then that I decided to do a robot — not the typical
machine-like robot, but a more human one who would,
nevertheless, have a superhuman appearance. At once I made the
connection between this idea and the young man I had seen in the
gym. The fact that his face was so youthful and his body so highly
developed led naturally to the idea of keeping the roundness of the
muscles and the distinctive shape of the body but making it metallic,
chrome, really beautiful and shiny out there in the middle of space.
I still thought of having him standing on the earth, but as I worked,
the earth changed into a simple globe. It also became shiny, like
glass or chrome. ~
So, you see how the concept changed from the sketch of the
robot that I started out with to the finished painting. With the use
of that man as the model, the robot became an almost superhuman
figure, spinning nebulae out of his bare hands. His face is nearly
expressionless. Yet there is a suggestion of childlike wonder and joy
at what he is doing: there he is in the middle of space, fascinated
with the beautiful things he is creating. In this case, the “model” was
just perfect, and the concept owed a great deal of its development to
his physical characteristics.
Of course the concept may originate in a more general way than
with the model. I may simply think: It would be nice to do
something metallic; it would be nice to do something fluffy; it would
be nice to do something in which I can concentrate wholly on the
figure because the background would be negligible or, vice versa, in
which I can concentrate mainly on the background because the
figure is inconsequential.

10)
 Lavalite World, Ace.

Most often, however, the concept is established by the manuscript

to be illustrated or by the movie for which a poster is to be made —
by the product to be sold. In the case of a book there is, first, the
manuscript. There is an old saying that one shouldn’t judge a book
by its cover. But often enough a book is bought precisely because of
its cover. Therefore, as an artist, what one must look for in a
manuscript is a scene that is representative of the book, perhaps one
with plenty of action or one that is, for its colour or subject, quite
eye-catching. After all, there are hundreds of books on the
bookstore shelves and the successful cover should draw the
prospective buyer like a magnet.
Some authors are very descriptive and make the task of selecting
a visually effective scene relatively easy. The Lavalite World is a good
example. It is a book of adventures and consequently presents any
number of action scenes involving the hero, the heroine, and the
monster or villain. To show the hero and heroine riding a tree trunk
into battle was, to my mind, colourful and unusual enough to evoke
any browser’s interest in the book.
Some authors are less visual in their writing. They write with less
attention to detail and their imagery is more abstract. In such a
situation one has to capture a feeling, something representative of
the story rather than a particular scene or incident from it. This
feeling must then by expressed in visual terms in order to convey an
immediate sense of what is going on in the book. My illustrations
for Enchantment, which my wife Doris wrote, exemplify this.

20
 she
Ape vite oe

yap
 The painting for “Web” does not represent a particular scene from
the story. It is simply a depiction of the way I experience a spider
woman. I began with the question: What typifies a spider? It has
eight legs. But I didn’t want to paint a totally unappealing woman
with eight hairy legs. I wanted a woman who was sensual and sexy-
looking, but at the same time menacing, and who would still evoke
the feeling of a spider — perhaps with a spiderweb around her.
The painting that was done for Heavy Metal, however, was not
inspired by a manuscript or anything more than the title of the
magazine itself: HEAVY METAL. I began with the idea of
something metal, a heavy metal. A safe came to mind. The door of a
safe which, to me, was quite representative both of “metal” and of
“heavy”. From there followed the image of a bank vault. Yet this
was a fantasy painting that I was going to do. What did fantasy
have to do with a bank vault? I decided to put it into space; a heavy
metal bank vault floating in outer space. Still, something fantastical
had to happen. What if something is inside there, I thought. What
would have to be locked behind such a door? Some kind of creature,
obviously, that has to be kept from escaping. And what if the
creature has been pounding at the door? What if the creature has a
metal hand that it has been pounding and pounding the door with
and has finally broken through? The first picture that flashed
through my mind was of some powerful and monstrous creature.
But that would have been a bit too ordinary. So I made it
incongruous: a kind of wild-looking woman instead of a creature,
not all that physically powerful in appearance but with a crazed look.
She not only had the metal hand but the wild eyes and the wild red
hair. All these elements brought together in a painting should really
make the viewer stop and say: Look at that! What’s going on there!

Web, Ballantine.

Lo
The Micronauts, Bantam.

24
 Mo I]y Hatchet , CBS Records.

25
 Seeing

The secret of learning to draw is in learning to see. The ability to

paint is the ability to translate three-dimensional objects into two-
dimensional ones. What you primarily have to learn to see is how
the spaces relate to the masses. Let’s say you are working from a
model who is posing with one hand resting on a hip. Not only must
you consider the shape of the arm itself, but the space between the
body and the inside of that arm, the space around the body and the
arm, and how all these elements relate to one another.
I often see the students draw a perfectly reasonable head and go
on to do a torso, arms and legs, all of which get smaller and smaller,
resulting in a tiny body with a huge head. How can you correct
this? If you think in terms of how the different parts of the body
relate, not only to each other but also to the surrounding area; if
you are aware of the spaces between the parts of the body and
outside the body and of the distances between feet and knees and
chest, then you really begin to see and start to get your figures in
proportion.

Full Moon, Ballantine.

vag
 In the Moons of Borea, Jove.

Once you have grasped this you will understand how to create
the illusion of depth: how you do see the things that are closer to
you as being larger than those that are farther away; how a hand
extended toward you does seem larger than if it were just at the
model's side. It is the illusion of its greater size you must aim for in
your drawing in order to create the illusion of depth. In the same
vein, the things that are closer to you are sharper, the things that
are farther away are blurred. In terms of colour, what is closer is
more vibrant, more vivid; what is farther is less so and tends toward
the greys. In terms of contrast, what is closer has more contrast,
what is farther away has less. All these seeming realities are
illusions created by the varying volumes of air and dust between
you and what you are looking at. These influence how you see
colour.
If you have a flat surface, it appears to absorb the light evenly and
its overall colour also appears uniform. If you want to create the
illusion of volume or shape, you can put a shadow on one side, a
highlight on the other. It is the effect of all this that you imitate in
order to give the illusion of depth, volume, shape — in short, the

28
 White Magic, Ace.

illusion of reality — to your work. All these illusions are what you
learn to see.
If you want to create the illusion of a bright day as opposed to a
cloudy day, you must “see” what it is that gives the impression of
brightness. Is it a blue sky? Not necessarily. You can do a painting
with a grey sky but have your scene lit in such a way as to make it
appear sunny. For a bright day you must make the shadows
sharper, the highlights more intense, and use fewer in-between
values. When the sun is shining brightly, its reflections from the
ground bounce off objects in varying degrees, further influence your
perceptions of their colours.
The eyes are lenses, just like the lenses of a camera. What they
perceive is only a combination of light and shadow and colour. If
everything around you were the same colour and lit perfectly
evenly, you wouldn’t see anything. What makes the difference in
how you see things — glass, metal, fabric, flesh — is how the light
reflects off it. That is basic, and it gives you the key to creating the
illusion of different textures, different surfaces.

30
=Bk

oul
Illustration for Busch Gardens.
BZ,
 Bary orDe

ie

Tree of Death, Doubleday.

Colossus, Ace. Lord of the Wolves, Ballantine.
34
Red Terror, Bantam. The Mountain Beast, Bantam.
36
Sword Fight, Ace. Android, Ace.
38
 Skin Tones

I am frequently asked how I paint skin tones. There is no one way

to do skin tones. There is certainly no formula. To begin with, you
have to consider the given scene and situation.
If people are depicted outdoors, their skin should appear to have a
different tone than if they were shown indoors. When painting skin,
some artists have a tendency to work with the same tones from
head or foot. If you look at a human body, however, — in fact, if
you just look at the face — you will see that it is not evenly
coloured. In the area around the eyes, for example, where the skin is
thinner and the veins are closer to the surface, you may see more
blues and purples.
I work in terms of what is most effective. By that I mean what
one is used to seeing. The skin tones in my paintings look “real”
because they look like what you expect, what you are used to
seeing.

Primeval Princess, Portal Publications.

41
 At the End of the World, Doubleday.

Let’s say you're doing a painting of Tarzan. Supposedly, Tarzan is

out in the jungle from morning to night, so it is not unreasonable to >
imagine that he has an even, allover tan. To paint him that way
would not only be visually uninteresting, it would also look less
authentic, simply because we don’t usually see people with perfectly
even tans. We see people who do not go naked all the time but who
spend a good deal of time indoors and have their bodies covered to a
greater or lesser degree. When viewed without their clothes, their
bodies have lighter and darker areas. This, then, must be suggested
in a painting to present a greater illusion of reality, even on a
Tarzan-like figure.
The hips, the breasts of women, wherever the skin is thinner,
more delicate, will have shadings of blue. The shoulders, arms, and
particularly the elbows and knees will be darker than the rest of the
body. This is also true for the skin around the knuckles and the
fingertips. The areas around the toes and heels are pinker. The sides
of the feet tend to be lighter than the tops of the feet. The more

42
Dieses
oR
 Nubians, Portal Publications.

aware of this you are, the more success you will have in creating
the illusion of real flesh.
Another point to consider when painting skin tones is what your
subjects are doing. If you are painting a figure engaged in battle, its
cheeks should be rosy. If the blood is rushing through a person’s
system, certain areas of the body will appear to be flushed.
I like to use a reflection of what is around in the shadow areas of
the skin. If the scene has vegetation, it’s nice to use some green on
the skin as well as some warm colours to offset the coolness of the
green. If it is a snow scene, I like to use blues and purples on the
skin to give the impression of cold. In a snow scene, the skin of any
given figure should appear lighter than the same figure in a tropical
setting. In the work of Bouguereau, a painter of the Romantic
school, you see very grey skin tones which are warmed up with
cadmium orange in the shadow areas — under the nose and chin,
for example.
When rendering skin, it’s important to be aware of its softness
and flexibility. Too many artists paint skin that looks like plastic.
What is it that makes anything look soft? Not only its softer
highlights, but its give. If someone is wearing a belt, for instance,
you see its effect on the flesh above and below it, even if the person
is slender.

44
Of Men and Monsters, Ballantine. Last Battle, Portal Publications.
46
 The Models & Photographs

Today, 99 per cent of all illustrators work from photographs. It

saves time and money. Students have asked me if this isn’t cheating.
First of all, you have to define what cheating is in the context of any
given project. It is not as though specific rules are set down for the
production of an illustration, and if you don’t follow them, you are
cheating. You must do whatever facilitates the process of getting the
painting finished. This is especially important when you have to deal
with deadlines.
A commercial artist creates a painting in order to get paid for it. It
follows naturally that the faster the painting is completed, the more
paintings can be done and the more lucrative the whole business
becomes. But Old Masters did not work from photographs, students
argue. I’m quite sure that if cameras had been available to the Old
Masters, many of them would have preferred working from
photographs rather than having the model shifting and moving and
falling asleep, or whatever. To produce a painting, even under the

Tron Warrior, Ace.

49
Polaroid of footballer model. Illustration for Playboy Magazine.

best of circumstances, takes at least several days to a week. It would

be expensive as well as tedious to have a model hold a pose for that
length of time.
There are advantages to using photographs. But there are
disadvantages, notably that you lose the third dimension when you
are working from a two-dimensional reference. To compensate for
this loss, I work from life as often as I can and use what I have
learned to enhance my work from photographs.
Sketching from life models is essential. When I was teaching at an
art school and requested models for my class, the Dean said, “The
people who take this class want to do fantasy illustration. There are
other classes they could take for life sketching.” My point, however,
was that you cannot run before you are able to walk. Learning how
to see and developing the skill to translate what you see on paper or
canvas is tantamount to learning to walk. One of the most valuable

50
SI
Talisman. Polaroid of Talisman models.

lessons I learned in the class I took with Jack Potter was the
importance of just looking. He constantly reminded us to spend
more time looking and seeing than drawing.
Of course, the beginning artist should draw only what he sees. To
use the actual reference as no more than a starting point for the
evolution of something wholly unique must come later. To give too
much freedom to someone who doesn’t have much knowledge is to
create unnecessary problems.
I use a Camera Lucida machine to trace the photograph at the
size I need it. This also speeds up the process of doing a painting. It
doesn’t mean that I can’t draw. Nor does it mean that I slavishly
copy the photo. A considerable amount of alteration takes place. A
camera lens distorts images to a certain extent — if I traced a photo
of a model exactly, I would end up with a short, squat-looking
figure.

Og,
 As an artist, you should be able to make the alterations necessary
for a more aesthetic or pleasing effect. You can exaggerate the
action, the movement, and the poses in order to suit the purposes of
dramatic effect, composition, and the like. You may also use a
combination of photos to arrive at a single final figure. In a
shooting, you don’t just take one picture but several, and you may
want to combine elements from different pictures to end up with a
desired image that is not wholly represented in any one of them.
While creating the creatures for my paintings, I have the
tendency, even when I do animal-like ones, to think in terms of
human qualities. My creatures rather typically have human-like
arms or legs. I do combine photographs of humans and animals to
achieve this effect. Of course, I only follow these photographs in a
very general way. I rarely attempt to do a portrait or achieve a
faithful likeness of my model, even when I am painting humans. In
certain instances I may not consciously set out to make changes.
They just happen as I am working. Yet, I deliberately modify certain
aspects of a photo that I don’t feel add to what I am doing.
I obviously did not have a metallic model for the painting of the
robot for the Isaac Asimov stories. I used the basic shape and
shadowing of my human model and added to it the understanding I
have of how metal reflects light. I did gather some pieces of chrome
and study how the light bounced off them.
The black horse in the painting of the mounted warrior woman
with the attacking creatures flying toward her is an example of
where I sacrificed authenticity to achieve an effect. I exaggerated an
action and altered anatomy to heighten the sense of drama and
movement. It is obvious that if this horse were flexing his neck as
much as he is in the painting, his head would not be coming
forward but would be touching his chest. I felt, however, that by
exaggerating the motion of the horse and making his head come
forward I gained a sense both of the abruptness of his halt and of
how strongly the rider was urging him forward. The forward
position of his head reflected this command, this urgency, even as
his body resisted it in the stiffness of his front legs and the
exaggerated bend of his hindquarters. While my knowledge of horse
anatomy did come into play, I altered what I know to suit my
artistic purpose.

oe
Polaroids of “Games” model.

Illustration for “Games” magazine.

 : ' :

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Pencil drawing. Polaroid for Gryphon’s Eerie.

Gryphon’s Eerie, Tor.

56
57
Eg

58
 Anh.

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Polaroids for the monster in The Victorious.

Pen and ink rough for The Victorious.

Se)
 Polaroids for the figures in The Victorious.

The Victorious, Tor.

60
Tape
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62
 The Rough Sketch

In developing a rough sketch, I like to think in terms of solids before

defining anything. I begin with masses or lumps: lumps to the right,
lumps to the left, lumps and an extension, lumps and a tentacle, and
so on (pencil sketches on tracing paper that show an evolving
creature). I think of shape, negative space, light and dark — just
very basic and amoeba-like.
Once I have that, I start thinking in terms of motion: What kind
of motion would this amoeba have, and where am I going with this
amoeba? Before I have a specific shape, I have a general shape. From
there I start polishing.
In designing the monster on the pencil tracing, for instance, (it
was to be a belt buckle), I began with the shape of an ‘S’. I saw the
completed thing in my mind, more or less, but the process of getting
it down on paper was a different story. The mind somehow sees
things differently from the eye. In my mind the thing seems to be
in motion, and before I have a chance to grab it and put it down it
has moved. It’s like trying to sketch a figure in motion. You never
get the whole thing, only a small part; you grasp an instant. It is the
accumulation of a multitude of instants that comprises the final
whole.
So I do tracing upon tracing. First I sketch my mass, then I sketch
my elements, then I start defining. The cleaner and more defined it
gets, the less it has. The rough, quick, loose, undefined basic shape
of the beginning relates more to the mental idea than the final
sketch.

Pencil drawing for James Bond film “Never Say Never Again”, Warner Brothers.

63
 |
Early pencil roughs of athletes, various projects.

64
65
 Pencil roughs of mythical beasts.

66
67
68
Development of pencil sketches up to the final layouts
for a painting.

Sketch for “Old style Beer’ ad.

Sketch for “War skull of Hel”, Warner.

69
Pencil sketches.

Scarecrow Angel, Ballantine.

70
Coloured ink rough. The Executioner, Daw.
72.
fa
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Coloured ink rough The Magnificent, Tor.
74
Coloured ink rough and pencil sketches. Barbarian Queens, movie poster, New Horizons.
76
 Painting & Underpainting

After I have completed my tracing, I transfer it to the prepared

board. (I use Strathmore cold press illustration board with two coats
of gesso.) I do this by retracing the entire sketch cleanly on the
reverse side of the tracing paper. That way I don’t have to use
carbon paper, which might smudge or get the board dirty. I put the
retraced side against the board and rub it down with a hard (6H)
pencil. The original drawing on the tracing paper is done with an
HB pencil, which is not so soft that it smudges readily but is soft
enough to transfer easily.
Once the drawing is on the board (clean and accurate), I go over it
with an acrylic wash. There is a question whether acrylic (which has
a water base) and oil tend to separate eventually (according to the
theory that oil and water don’t mix). That depends on how you use
the medium. I use the acrylic like watercolour — that is, extremely
diluted. I prefer to use acrylic to oil (which also might perfectly well
be used here) because it dries so much faster. Thus I can finish this
stage of the painting in two or three hours and almost immediately
be ready to put on the wash. This I do in oil. It is a thin, so-called
“glaze” or transparent coat of colour — basically those colours that I
intend to use in the painting. It must be transparent in order not to
obscure the underlying acrylic sketch. These two stages constitute
“the underpainting,” which is, literally, what goes under the
painting.
Some people use linseed oil to thin the paint and make it
transparent. This is the more traditional method, but it takes quite a
long time to dry. Linseed oil is in fact intended to make the paint
flow more smoothly and retard drying. I choose to use paint thinner

Dragon's Birth, “Dragon” magazine.

72
80
Polaroid of models for the pencil rough opposite.

Pencil drawing of second idea for the “Vacation”

movie poster.

Early idea pencil sketch.

Pencil drawing for the movie “Vacation”.

81
 Polaroids of models for the final painting.

Pencil sketch of final idea.

Finished pencil rough.

82
First and second stages of the painting. Vacation, film poster, Warner Brothers.
84
 King’s Daughter, Pocket Books.

for the underpainting, not the turpentine produced for the artist but
a paint thinner that is actually meant for house painting. It has two
distinct advantages: it evaporates faster than turpentine and | can
get the odourless kind, which is more pleasant to work with.
After the underpainting is set (that is, the sketch transferred to
the board and the wash of basic colours that I plan to use applied),
I start the final rendering. I always begin working on what is in the
background first. I feel that the figures should be adjusted to the
background in order to give them as much strength as they need.
Also, when you are painting, things in the foreground should
overlap what is in the background. This makes for clearer edges. I
prefer using Winsor & Newton oil paints. As for the brushes, 75
percent of them are also Winsor & Newton.
I aim for a certain amount of subtlety in a painting, so I hardly
ever use the colours just as they come from the tube. What makes
some colours appear especially brilliant in a painting is the contrast
with other colours that are somewhat muted. If you put a light

86
ir

87
 Broken Sword, Ballantine.

colour against another light colour, it stands to reason that neither

will look at all high in contrast with the other. Since painting is .
creating illusions with colour, light, and shadow, the only way you
can create the illusion of brilliance is by contrasting a bright colour
with one that is less so.
To give colours a seemingly transparent glow it’s necessary to
keep them as pure as possible (i.e., not mix them with others) or
actually make them transparent. If you have the white of the board
showing through the colour, the light will bounce off the white to
give a luminous, transparent effect. In order to use the paint this
thin, I may mix it with linseed oil (which will also retard drying) or
paint thinner.
One thing that is very important is to know when to stop
working on a painting. This comes partly from experience. The
more insecure you are, the more you tend to overwork a painting.
Recently I went to a sketch class and saw the work of a woman
who had a really beautiful quality in her quick watercolour sketches.

88
 The Sorceress, Ace.

During the two-hour session, however, her painting became dirty

and stiff. She worked longer than she should have. How much time :
you have for a given piece will certainly be a factor that influences
how long you can spend on it. On the other hand, it sometimes
happens that people stop before they are finished.
There is a tendency for people starting out with oil to get their
colour so muddy that everything finally appears to be some shade of
brownish grey. To blend colours successfully, you can’t simply put
one on top of the other. What I do is to put them next to each other
and then blend the edges. In this way they remain clean and retain
their own quality.
In order to have dramatic highlights (in the sense of vibrant or
exciting colour) in a painting, obviously everything cannot be equally
bright. Where to put touches of excitement may be a deliberate
decision or it may happen by accident. But mostly such things are
instinctive; one feels them. There is no formula. It should become
clear from looking at a painting that it needs a touch of this here, a

90
 &
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 Red Amazon, Ace.

touch of that there. The more you paint, the more this instinct
develops. If you must rely on a more intellectual approach, you
might ask yourself: What are the main elements? What are the
elements that should be emphasized?
In a typical fantasy composition of hero, lady and monster, you
might ask: What do I want to make most important? The
mountains in the background? The clouds in the sky? Perhaps, the
sword in the hand of the hero? The hero himself? His face; the
expression on his face? Or maybe, the lady? The monster? All of
these are possibilities and the choice depends very much on what
you are trying to achieve with the painting.
Occasionally I turn the whole canvas upside down. This may
simply be for the convenience of being closer to a particular area
that I am working on. Most often, though, I do it to avoid being
influenced by familiar shapes or structures. It gives me a fresh look
at the painting, a different look, and I am better able to concentrate
on light and shadow and colour.

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 Invictus, Ace.

If you are painting an arm, for instance, the fact that you know
what an arm is supposed to look like influences the way you handle
it. But if you turn the whole thing upside down, you don’t even
begin to think that this is an arm, but rather that it is an abstract
combination of light and shadows and colour.
When I finish a painting I give it one or two coats of retouch
varnish to even out the colours. Paint thinner tends to make the
colours look dull when they dry. In addition, depending on the
amounts of linseed oil or paint thinner used, different areas of the
painting are going to be duller or shinier. By varnishing, you even
out the whole painting. Every colour appears with the degree of
intensity that you originally gave it.
The classical painters put a heavy varnish on their finished
paintings. This was with an eye toward preserving them, which is
not one of my considerations. I’m mainly interested in having my
painting look good for purposes of reproduction. Maybe I should be
more interested in posterity, but I’m not at this time.

94
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Mercenary, Pocket Books. Adventurer, Ace.
98
Flying Menace, Ballantine. Space Guardian, Pocket Books.
100
 nee

Ice Schooner, Dell. The Witch and Her Familiar, Marval Comics.
TO?
Coloured ink rough for Heavy Metal.

104
 Painting for Heavy Metal

The first step, before beginning any painting, is the sketch. I prefer
to use pen and ink. I usually use Rapidograph, even though it
doesn’t have as much flexibility as a crow-quill pen because I don’t
have to keep dipping it in ink. That convenience suits me much
better and I can get a fairly interesting line with it. For colour, I use
Luma or Dr. Martin’s inks, which are transparent and very bright.
In certain areas (the bottom of the sky and parts of the mountain) I
used Prismacolour coloured pencils because they are opaque. For the
same reason I also used a bit of white acrylic paint to highlight the
mountains.
I like to do a fairly finished colour comp. How finished it is and
whether or not I actually get to put colour on it depends on how
much time I have. The more finished the sketch, the more I have
been able to define and refine my ideas, as well as solve any
problems relating to colour and/or composition.
The problem in this particular sketch was achieving a unity
between the upper part where the lettering would be placed, which
was very light and the lower part comprising the main portion of
the painting, which was relatively dark. Since the concept was
divided into light and dark, there was the danger of having the
finished product look like two different paintings. The female figure
became the unifying element. She broke up the blocks of light and
dark. I designed the composition to have her appear in front of the
title, thereby effecting a contrast between the dark outfit she wears
and the light background, as well as between the paleness of her
skin and the bright red of the lettering.
I gave the figure of the man a spotlight illumination in order to
provide a good contrast with the darker background. A further
unifying factor (evident in the final painting) is the reflection in the
pale figure of the warm colours used in the upper part of the
painting. The colours directly behind him are slightly warmed up as
well, providing a faint echo of the figure.
In designing the cover of a magazine or book, space for the logo
or title must be allowed for. How large an area is needed for this
must be established and taken into consideration in the initial
planning stages. That area should not become too busy or it will
conflict with the title, which for publishers, is always of prime
importance. As a rule, either a very dark or a very light background
for the title area works best.

105
 Underpainting for Heavy Metal.

Second Stage
~At the second stage I have already done my shooting and selected
the photos I am going to use. When I conceived the idea for this
painting I was particularly drawn to the two models I used because
I felt they complemented each other so well. They had a punk look
that appealed to me and suited the feeling I wanted in the painting.
There are usually some slight variations between the sketch and the
models’ poses because the sketch is largely done without references
and I like to give my models a certain amount of interpretive
freedom.

106
 Heavy Metal, 3rd stage.

From the photos I did the tracings which were then placed on the
board (according to the layout of the sketch) and finally transferred.
At this point I have done the acrylic wash (using burnt umber) on
the male figure and the head of the female figure. You can still see
the pencil lines under the wash. Even at this preliminary stage, |
work out the rendering (the highlights, the halftones, the deep
shadows) to a relatively finished degree. As I go on with the acrylic
paint, I will add the shape of the mountains as well as the rock that
the man is kneeling on.

107
 Heavy Metal, 4th stage.

Third Stage
The third stage was done with oil paint diluted (in this case) with
one part cobalt dryer and three parts paint thinner. This mixture
gave me a medium that dried in about five hours. If I had used the
dryer by itself, it would have dried still faster. This way, however, I
was able to apply the colour, which gave me a good foundation for
the finished work, but which was still transparent enough for me to
see the acrylic rendering underneath. Having done the colour sketch
already, there is no guesswork or trial and error at this point. The
thin glaze also gives me a more workable surface. If I were to start

108
painting directly on the gessoed board, the paint would not hold so
well.
The paint or glaze is applied with a wide brush (number 18 or 20)
since at this point I don’t concern myself with the minor details. I’m
not at all careful about keeping the colour within the lines. It’s just a
very rough and quick blocking and may take me half an hour or an
hour at the most.

Fourth Stage
The background is the first thing that I render and I always work
from the farthest elements to the closest. The farthest thing in this
painting is the sky. I used fairly wide brushes for the large areas of
colour and smaller ones (Winsor & Newton red sable no.1) for the
detailing of the clouds and the rendering. The airbrush-like effect
achieved in certain areas of the sky was done with a wide, soft dry
brush.
Usually I mix the colours on the board rather than on the palette.
I put one colour next to the other and blend them with a dry brush.
Here I used a bit of white to tone down the lighter colours in
certain areas in order to establish a contrast between the
background and the figures. I find, also, that the background colour
becomes more exciting if there is some variation from subtler toned-
down colour to bright colour. Although there are light colours
behind the upper part of the female figure, and darker ones behind
the male figure, you can still see how much white is used directly
behind these two figures.
Once the background is done, I can more readily determine what
degree of intensity is desirable for the figures in the foreground.
The main thing to take into consideration when doing the
background is that it should be interesting but not so bright that it
diminishes the impact of the main figures. The mountains in the
background, for instance, should not be all that sharp. The tendency,
when working on a particular area, is to make its elements as sharp
as if they were the main focus of the painting; to think only of what
you are working on at any given time as opposed to keeping the
entire painting in mind.

Fifth Stage
I have kept the colours of the mountains in the background muted
so that they will appear to be in the distance. Background colours
should never conflictin intensity with what is in the foreground.
This is not to say that they shouldn't be interesting. I have used
purples and blues and in addition, have emphasized the peaks with
lighter colours, while keeping the lower portions faded and misty.
This also serves to bring what is in the foreground closer to the
viewer.

109
 Heavy Metal, the finished painting.

Sixth Stage: The Figures and the Foreground

The skin tones here are generally warm. I used a great deal of
cadmium orange, yellows for the highlights, and not much white. I
avoided using siennas and ochres in the shadow areas because so
many of these browns tend to give a dull feeling. Rather than use
brown out of the tube, I make my own by using reds and greens.
Sometimes, for the very dark shadows, I use mars black mixed with
deep green.
I wanted the skin tones of the female figure to be light, and since
she was placed in a light area I could use reflections on her skin. I
was able to establish the contrast between her and the background
area with the stronger, darker colours of her clothes, boots, hair,
and wrist straps.
As for the male figure, I emphasized only his upper body. Too
much contrast between his lower body and the background would
draw attention away from the centre or main part of the painting.
For the same reason, I lightened only that part of the ground on
which he was kneeling and left the rest without much detail.
One of the things that I feel is particularly important in a painting
is a sense of drama. This is created with effective composition and
propitious use of colour and light.

110
 Ist stage.

Female Wrestlers
The concept was given to me by the art director, so there was no
preliminary sketch for this painting. I just made a thumbnail sketch
for the shooting. Then I selected three photos and combined them
to arrive at the tracing I finally put on the board. The first thing I
established was the position of the two figures on the board: how
they were going to be placed in relation to each other and to the
negative space. Once this was clear, I designed the ring on the cake
on which they were fighting.

112
Second Stage
I worked the initial glazing and rendered the background more or
less together. As I was blocking and establishing the colours of the
background in my usual manner, things very naturally started to
happen in the sky. I wasn’t too sure whether I wanted to go with a
light or a dark background. But since the title of the magazine for
which this was to be a cover had dark shadowing, which wouldn’t
show up against a dark background, I opted for the lighter colour.
Also, since the painting was supposed to be a kind of spoof, it

113
Rendering the figures Female Wrestlers, the finished painting.

seemed to me that the lighter colours would be more in keeping

with that feeling. As these things began to take shape, it occurred to
me that, rather than wait for the glaze to dry, I might as well
continue and use the thicker, more opaque paint to define the sky. I
went ahead and established the background, thus combining the
second and third stage. After that, it was just a matter of waiting
until it dried to start working on the figures.

114
 Polaroid of model with pencil sketch.

Rendering the figures

My way of working is to concentrate on small areas at a time.
When rendering a figure, I begin by working first on the face and
the head. From there I concentrate on the area of the neck to the
waist and then the waist to the feet. Breaking the figure down into
these sections allows me to stop at several points, should I need to,
without worrying about the colours looking patchy or in any way
different when I start again.
I wanted to keep the colours of the figures fairly warm, because
the background was handled with cool colours — blues, purples, and
so on. By making the figures warm I would create an interesting
contrast. In order not to have the warm and cool colours clash,
however, I warmed up the background area directly behind the
figures by mixing some of the oranges with the blues.
The blonde girl is partly done here. I thought it would be
interesting to contrast her platinum hair and red outfit against the
tan colour of her skin. I also put strong reddish reflections in her
shadow areas — under her left arm, for instance.
In the finished painting you can see the differences between the
skin tones of the blonde and the brunette. In general terms, the skin
tones of the blonde are a copperish tan with the breasts fairly light
and the legs darker. In the brunette, although the breasts are also
lighter, the rest of the skin has cooler tones. This is to establish a
difference between the two bodies.
The whipped cream on the cake is handled with almost pure
white in certain areas. (I normally reserve the absolutely pure white
for the highlights.) This makes for a nice contrast with the darker
skin tones.
I have had to greatly exaggerate the perspective of the cake. In
fact, I had to distort it to make all of the elements work together.
The perspective is not accurate, but it works in the painting; it gives
a viewer the sense of how enormous it is, balanced there on the
earth. To avoid the question “How could this work?” I kept the
earth fairly unimportant, faint, and not that sharply defined.

LG
 4

Chrome Robot
For this I also let the model do his own interpretation of the pose.
Eventually I decided to flop the figure and reverse the position of
the arms. It had, I thought, a more natural look, more of the feeling
I wanted in the painting. Here you see the drawing done on tracing
paper and taped to the board. I have done a certain amount of
shadowing on the tracing and established the joints of the metal
parts, as well as made slight additions to the figure itself: some kind
of knob-like appurtenances where the ears would be, and at the hip
joints and elbows. There is also an indication, though not
particularly defined, of the sphere on which he is standing.
Since there was only a single figure in this painting, deciding on
the most effective spot to put it did not present much of a problem.
I did have to allow space for the book title when I transferred it to
the board, though. The burnt umber acrylic rendering followed.

siiby
 Pencil drawing of the final design.

Second Stage
In order to effect a strong contrast with the brightness of the metal,
I made the background really dark, almost black. What I find most
interesting in this particular painting is how I achieved the chrome
effect — how I adjusted the human features, the flesh, to appear
metallic. The reflections underneath the shadows are warm. The
halftones at the height of the curves on the figure are cool. This I
did not only to make it more interesting, or less visually
monotonous, but to create.a specific illusion. Chrome is generally

118
 Development of the painting.

seen on a car. How is the light reflected there? The lower part
usually reflects the road, the upper part the sky (the sky popularly
thought of as blue and the road a warmer brownish-orange colour).
Of course you don’t say, on seeing my robot, “Ah, this reminds me
of a car!” But the brain makes the connection between the
remembered chrome and the painted illusion of it.
For the sphere he is standing on, I used the colours of the
background.

1a)
 Chrome Robot, finished painting, for an Isaac Asimov collection of stories.

The Finished Painting

I have kept the lower part of the body really dark and have done
very little in the area of halftones or highlights in order to
emphasize the upper part. Because the nebula is very bright, the
reflections of it on the upper part of the body are quite strong.
I kept the sphere on which he is standing almost transparent. You
can’t tell whether it’s glass or metallic. It simply looks much lighter
and less solid than the figure itself, which remains the strongest
element in the painting.

120
 ee ea tes
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op ter DVI a
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 Preparing a Portfolio

A strong portfolio should be homogeneous; the pieces should be

related in terms of subject and style. They should also be clean. As
far as I am concerned, the pieces make a better impression if they
are all about the same size. The saying, “A chain is as strong as its
weakest link”, can definitely be applied here. It is better to have a
portfolio of a few good pieces than to have one crammed with work,
some of which is mediocre. A single lesser piece can detract from
the impact of the whole.
I have had the experience of bringing my portfolio of mystery
samples to an art director who commented, “This is all very nice.
But, can you also paint nurses?” It is a situation that, preposterous
as it sounds, is not unlikely to arise. For this reason it would be
advantageous to have several different portfolios showing the
various genres you can work in. In general, art directors categorize
you. I noticed that one art director had me listed in his file index,
not under V for Vallejo but under ‘S’ for science fiction. This despite the
fact that I have done historical romances, mysteries, and gothics.
It is unlikely that art directors are going to see you on your first
or second visit. The usual procedure is to call up and make an
appointment to leave your portfolio with them. Often enough
young artists have voiced the concern that their work will be

Conan painting for Playboy magazine.

123
Early paperback samples, in poster paint, unpublished.

pirated. This rarely happens, especially with established companies. If

a firm wants to use the work, it would be to that firm’s advantage
to hire the artist rather than swipe the work.
It is a good idea to have a printed sample of your work that
includes your name, address and telephone number to leave with art
directors. Periodic follow-ups are also good. Every few months, as
you have new pieces to show, you might make appointments to
leave samples again.
When I first began taking my work around I prepared some
samples in poster colours. At the time I made these samples, I used
some printed paperback covers as guides, or examples, to emulate. I
made the rounds rather unsuccessfully with these pieces. Art
directors felt that although they showed a “certain amount of
talent,” they weren’t that professional or saleable. I couldn’t
understand this. But the fact was that I was working in a shell. I did
not compare my work with original work that was being sold, only
with the printed book jackets. Obviously this did not give me an

124
Hatchett, Ballantine. Ape’s land, Pocket Books.

accurate idea of how my work compared with that of other artists.

When I went to the annual show at the Society of Illustrators in
New York for the first time, I had already sold some paintings for
comic book covers. I thought my work was as good as anyone’s,
perhaps even better than most. Since the annual show is supposed
to contain the best that has been done in illustration for the given
year, I was eager to see how my opinion of my work stacked up
against the facts. The show was truly an eye opener — it made me
realize how far I still had to go. I was disturbed for about a week,
but after that I was simply determined to improve. As such, the
show was not just a humbling experience for me but an inspiration
and an impetus toward growth.
Another benefit derived from studying contemporary work is an
awareness of changing styles. Styles that were popular in the sixties
and seventies, for instance, can appear quite dated now. Of course,
one has to develop one’s own style, one’s own look. But it is
necessary to be aware of what is selling today.

125
 Afterword

Although fantasy illustration has been around for many years,

more recently the field has taken a giant step forward. This is true
not only in terms of technical improvement but also in its becoming
more widely accepted. It is no secret that the spectacular fantasy and
science fiction movies produced in the last decade have secured an
enormous popular acceptance for it and, consequently, a more
demanding and critical following. No longer appreciated by a mere
handful, science fiction and fantasy illustration has been elevated to
a finer art.
In books such as this, as well as in art schools, the amount of
information that can be transmitted to the student is limited by
what can be communicated in words or through demonstration. In
the final analysis it is up to the individual artist to digest this
information and put it to practical use in accordance with his or her
personal goals. As such, nothing can substitute for time spent at the
easel or the drawing board. Perseverance is often a greater asset
than raw talent. What I have aimed to do is give some useful
guidelines to ease the way.

27
‘Philip
designer
and illustrator
Syd
Mead, space hardware expert
Chris Foss, film set
modelmaker Martin Bower,
and fantasy artist Boris
Vallejo are vividly brought
out through exquisite color
and black-and-white
illustrations — including
many specially
commissioned paintings and
sketches—for a unique
behind-the-scenes view of
the creative process in
fantasy art.

Printed in Singapore
PRENTICE HALL PRESS

ISBN O-bb8-Ob234-?