About the Artists
Jon Eke (art for "Duel With A Devil" "The Flower and The Sentinel", and "Learning to Walk in the Age of Machines") was born in 1967 in Amersham, north of London, and grew up in the Midlands before moving to Merseyside in 1986, where he currently works in the operating theatres at the local NHS hospital. Apart from computer art, his other main hobbies are astronomy, photography, and writing highly personal science fiction tales. Among his favourite writers he includes James Tiptree, Jr., Cordwainer Smith, Philip K Dick, Samuel Delany, Barry Malzberg, William Burroughs, Robert Aickman, Ramsey Campbell, Clark Ashton Smith, and H.P.Lovecraft (truth be told, he's top of the list). Jon is also a member of the Ghost Story Society, and his main ambition in life is to write just one truly successful ghost story. If he manages that, he'll die a happy man!.
To create his artwork, Jon chiefly uses Photoshop 5.5, Paintshop Pro 6.1, and Photo Plus 4 (which is a bit basic but does have some handy tools). His pictures are essentially montages, mixtures of just about anything he can lay his hands on that he thinks will be useful, as well as some of his own photography. Although Jon has a definite idea in his head of what he wants to produce when he starts out, he often finds that experimenting with various tools will produce something far more interesting. He just follows his instincts until he has a piece of work that he's happy with.
Romeo Esparrago (art for "A Panther Inside", "Comet Borrelly", and "Sergeant Stone: Hard to Forget") just came back from some ocean research about what would happen if humans bit surfboards. He did this without his spectacles, and unfortunately, bit several sharks by accident. In response, swarms of sharks gathered at the beaches, to protect themselves from him. He believes the shark community's news media is overhyping and exaggerating things, portraying him unjustly as a monstrous creature. Romeo's graphic tools include a Wacom tablet, his father-in-law's Sony digital Mavica camera, Procreate's Painter 7, Adobe's ImageStyler and ImageReady, his beloved G4 Titanium PowerBook, and occasionally, the pencil & napkin. To see more of his art, check out The Modern Word's Scriptorium on the late sci-fi author
Philip K. Dick at: http://www.themodernword.com/scriptorium/dick.html
Carl Goodman (art for "cover illustration", "Family Ties," "Getting Game", and "Open Twenty-Four Hours") is married with one son, lives in Surrey, UK, and has been doing computer graphics for a living since the late 1980s. A lot of his work has been based around fairly technical visualistion projects, but a while back he joined a computer animation company as director of graphics research and development, which means that basically he gets to evaluate all the leading-edge technologies associated with CGI and provide due diligence for venture capitalists on various projects. Carl has had a fair bit of material published in consumer media in the past, including animation work for Reuters on the Shoemaker-Levy 9 impact, which was shown on news channels in 22 separate countries. He also had some illustrations of this event published in "New Scientist" magazine. Carl is also an avid reader of what might be thought of as "hard core" science fiction, with a strong bias towards the Clarke-Asimov-Heinlein-Niven stable, and enjoys the opportunity to visualise concepts. In terms of tools, most of Carl's work is in 3-D, using Max 4, character studio for animation, Deep Paint 3d for textures, Photoshop, Corel Xara for linework (less of a pain in the neck than Illustrator!) and simulation plug-ins like phoenix and havoc. Peppersghost.com has updated its site recently won a BAFTA award for www.tinyplanets.com -- best entertainment site 2001.
Ellie Hradsky (art for "Slip-stream"), twenty-five years ago, worked for a photographer who was heavy into science fiction as she was. He knew a man who claimed he was in contact with alien beings and that he had photographs and info he wanted them to see. Ellie and her boss eagerly looked at the stuff the man left, but at one point her heart sank and she walked away. He smiled at her over his shoulder. "Not very convincing, is it."
Ellie hesitated because she wanted to believe, then finally replied, "No...not very."
"Do you think we could re-create images like these?" he asked.
"Regrettably...I think we could do better these," she sighed.
Nothing ever came of it and all this time the yearning to create believable spacecraft stayed with Ellie. Quite by accident, after purchasing equipment for her photo-retouching business, she discovered tools that enabled her to begin assembling objects. "God," she mused at one of the first shapes that came up. "This could be the nose of a spaceship."
The rest is history. The ship in the "soft sunset" graphic for the story "Slip-stream" is the second one she did. She has done many more since. Each one gets more involved and functional. Ellie's son noticed her doing this one. She had only one question for him.
"Does it look like it could fly...Maybe?"
"It sure does, Ma...Awesome."
That was all she needed to know. As for her personal history, Ellie was born in Europe and came to the US when she was about two. She has had little schooling and is old enough to be a grandmother. She is now doing what she loves. The way things are going, she just might end up being the "Grandma Moses" of space art. That would suit her just fine. Ellie says her soul is, was, and always will be out there in the cosmos and with other life forms.
As far as graphic tools are concerned, Ellie uses the standard tools that come with almost every graphics program out there. There is nothing mysterious about them. The rest is technique, and that she can't divulge....
Matt Morrow (art for "Alien Utopia", "Trevor's Junkyard", and "The Weapon") received a bachelor's degree in fine arts from the University of Nebraska at Lincoln in 1994. Since then, he has worked as a prepress technician in the printing industry and later moved on to creating editorial illustrations full time for a national computer magazine. Currently, he is pursuing a freelance career and has worked on a variety of projects including package art, advertising, Web icons, and fantasy illustrations. Graphic tools: a Wacom drawing tablet, Painter, Photoshop... and a little imagination.
Web site: www.tconl.com/~mz9000/
Robert Sorensen (art for "Paint The Planet Red" and "The Taboos of Tatoos") is currently an expressionist artist, Laureat Winner. Born in New Jersey, Robert spent the last 10 years living in Paris, France, and recently returned to the United States to live in Denver, Colorado, with his Polish-French wife.
Web site: http://www.artemedia.fr/Sorensen.htm
Patrick Stacy (art for "The Barbarian's Tale") hails from Germany, and like many before, started young. His main emphasis in childhood was comics and he soon became an excellent tracer. Never content, the challenge was then to illustrate freehand; now that would be talent. Early influences are still inspirational today, such as the legendary Frazetta, Vallejo, and Parrish. Classical influences were Rubens and Caravaggio. The goal of course is, with any luck, to break into the book cover and magazine markets. As mentioned earlier about never being content, currently in the process of learning to create webpages through HTML and Photoshop. In the process of updating website to include upgrades as well as new illustrations. Winner of the L.Ron Hubbard's Illustrators of the Future contest in 1996 as well as two illustrations within the volume.
Lee Ward (art for "Planet Circus") is a computer programmer living in Georgia.
Home Page: http://members.aol.com/ldraw/comic.htm
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