Winter 2003 Volume 20, Number 1 $5.00
Association of Science Fictinn & Fan Artists
« • 7
By Jean Marie Ward We Specialize in Original Illustration 8 Artworks in the Fantasy, Science Fiction and Horror Genres
<—ECrSi—•—»
Catalog #i8 now available - view it and much more online at W0W-ART.com. All print catalogs $15. ppd ($20. overseas)
We have more than 500 paintings and sculptures in our inventory spanning 50 years of Imaginative SF/FArt. Worlds of Wopder
P.O. Box 814-ASFA, McClean, VA 22101 tel: 703.847.4251 • fax: 703.790.9519 * e-mail: wowartia)erols.com "Worlds of Wonder" is a trademark of Ozma. Inc.d/b/a Books of Wonder and is used under license. ia.i cer. contents winter 2003 volume 20 number 1
ASFA departments
...... ASFA.Staff & Directors 5 ...... Official.Announcements 6 ...... ASFA News ...... Letters to ASFA 8...... Obituaries 9...... President's Message ...... Chesley Eligibility List 10 ...... Secretary/Publication.Director Report 11 ... 12 ...... Treasury Report ...... Eastern Director's Report 18 ... 24 ...... Art Markets ...... Art & Publishing News 27 . Advice for Artists: Tips for Turning Prints to Profits 27 ... 38 ...... Books of Interest ...... Directory Updates art show reports
22...... Art Show Reports & Reviews 41...... Upcoming Convention Art Shows Edited by Elaine Fisher features
TOP: Weightless 2 15...... © Martina Pilcerova ...... TorCon 3 Art Show BOTTOM: © Nene Thomas 16...... By Suzanne Robinson & Sandi Campney ...... The Internet, Art & Museums 28 »- .. By Mel. White Martina Pilcerova: Rising Slovak Art Star By Jean Marie Ward
ASFA Member Art Credits- Pane 45- http://www.alanfbeck.com- age 45. fear ®by Havran/David Spacil; http://www.havran. net
WINTER 2003 I 3 IssKiatiii it Scieice Fittili S Futan Artists staff
officers & directors: Central Director: Quarterly Art Director: Elaine Fisher Holly Bird 544 11th St. President: 3620 Doubletree Court Plano, TX 75023-6002 Palm Harbor, FL 34683 Elizabeth Humphrey ph: 214-440-0025 ph: 727-781-6888 16 Sea Pines Dr. [email protected] [email protected] St. Helena, SC 29920 http://www.hollybird.net ph: 843-838-9358 Mountain Director [email protected] Bruce M. Miller Assistant Graphic Designer 2560 S. Hazel Court Alan Beck Vice President/ Denver, CO 80219 4 Dean Street #2 Con Jose Liaison: ph: 303-936-4092 Brooklyn, NY 11201-6241 Margaret Organ-Kean [email protected] 718 624-4294 PMB 177 1916 Pike Place #12 [email protected] Seattle, WA 98101 Western Director: ph: 206-938-2452 Fred "Woody" Hendrick [email protected] P.O. Box 1601 Willits, CA 95490 Markets Editor: Secretary/Publications Director: ph: 707-984-8911 David Grilla [email protected] 12 Maxdale Rd. Teresa Patterson Worcester, MA 01602 P.O. Box 150471 Director-At-Large [email protected] Arlington, TX 76015-7471 Andrea Senchy ph: 817-535-1779 [email protected] 335 Rosehill Place Elizabeth, N) 07202-3217 Treasurer/ 908-820-0415 Chesley Committee Chair: [email protected] COVER ART: “Downtown Blues” and “Martina on Dune' Kat Angeli © Martina Pilcerova. 21029 Bank Mill Rd. appointed positions: Saratoga, CA 95070-5704 ph: 408-246-0500 fx: 408-246-0504 Web Master: [email protected] Geoffrey Surrette Eastern Director: 261 Broadway #5 Providence, RI 02903 |annie Shea [email protected] P.O. Box 2802 Durham, NC 27715-2802 Quarterly & Occasionally Editors: ph: 919-309-1587 fax same Teresa Patterson (see above) & [email protected] Mel. White 5338 Heather Glen Garland, TX 75043 [email protected]
ASFA Quarterly - Vol. 20. Number 1. Winter 2003 is published by and copyright by the Association of Science Fiction & Fantasy Artists. INC. (ASFA). P.O. Box 151311, Arlington, TX 76015-7311. ASFA is a non-profit corporation recognized under section 501 -C(3). “WorldCon”, “World Science Fiction Convention , Hugo Award and NASFiC are service marks of the World Science Fiction Society, and unincorporated literary society. SFWA is a service mark of the Science Fiction Writers of America. All bylined articles are copyright their respective creators and are used with permission. All artwork copyrighted to the artists, used by permission of the artists or CD. Titles contract.
Shepherd friend Roxy for the week and generally making her miserable in an alpha female sort of way.
4 I THE ASFA QUARTERLY announcements
Deadlines Classifieds Quarterly. If you think your art is good We are now accepting classified ads. enough, send to Holly Bird: 544 11th Street, Palm Harbor, FL 34683-4403; Spring Issue: April 2nd 2003 For ASFA members the price is $10 per classified up to 75 words. For non-mem-
Alan F. Beck Back Cover: $150 Artist • Illustrator Traditional & Digital Media Inside Front /Back 718.624.4294 Cover: $125 WCB [email protected] Full Page: $100 http://www. alan fbeck.com Half Page: $60 Quarter Page: $35
Black and white only. Prices are for camera-ready or digital-ready ads. Art charges extra; ad design available for additional charge. Price break for multi-issue contracts. Please contact the editors for details and ad specs.
WINTER 2003 I 5 news
ASFA Charity Auction At Philcon reported in Art Business News, which is eral responses to the awards reported in THE major trade publication distributed to the article. However, this was not the case. The ASFA Auction at Philcon raised commercial sellers/retailers of art, who get Three other Greenwich artists cited for $447.00 for ASFA's depleted coffers, it free. You cannot subscribe unless you awards apparently said nothing thanks to the work of |oni Dhashoff, are in the art business-and everyone who "quotable" in response to awards from the Andrea Senchy, and the Philcon Art Staff. is, gets this publication. "Arts for the Parks" competition sponsored An ASFA charity auction is a regular feature A January 2003 report titled by the National Park System, among other at Philcon, but the proceeds from this one "Greenwich Workshop Artists Win Awards" award sponsors. Only the ASFA award come at a time when they are especially in part stated, "In other award news, artist merited an artist's response, and while I'd appreciated. The ASFA auction ran imme James C. Christensen received nods at the like to believe otherwise, I suspect his need diately following the regular art auction, Association of Science Fiction and Fantasy to distance himself from the award was making use of the available auctioneer, Artists. The group bestows the Chesley compelled by very real fears that the runners, and audience. Joni Dashoff stat Awards as a means for the science fiction award would injure, and not advance, his ed: "Many of our regular pieces seem to and fantasy art community to recognize public reputation. Even in 2003 it be going to the bid sheet, this (the ASFA individual works and achievements during appears, the label "fantasy artist" is a mar Auction) provides the auctioneer with the previous year. The 2002 17th annual keting "kiss of death". Is it possible to something additional to do. There are Best Cover Illustration: Magazine award for change the public's perception of fantasy many items left unsold from this year. The Leading Edge #41, April 2001, and Best art, or do we just need to re-label the Hopefully we'll have a different buyer Product Illustration award for "Faery product? Any ideas? group next year, drawn by the guest Tales," a Greenwich Workshop fine art artists." print, were received by Christensen." — Jane Frank Of the donated items Joni stated The bad news: Science Fiction awards "Kudos should really go to Andrea Senchy, are not necessarily appreciated by those our biggest donator. And many east coast who receive them - to wit: Christensen's Jane Frank is the director and owner of artists donated a piece or two." response to the award. I choked back Worlds of Wonder art gallery. There is no doubt that more such laughter as I read: auctions could make a big difference for "I don't think of myself as a fantasy ASFA's continued financial survival. artist," said Christensen. I certainly have an affinity for myths, fables and ancient lore, but I also find time to do landscapes Chesley’s Receive Nod From and other subjects including commissions. Prestigious Magazine While What's truly important to me is that my art Chesley Winner Attempts To Deny is introspective and in turn challenges the mind's eye of those who view it, regardless Connection With Fantasy Art of the subject matter." The good news: ASFA's Chesley awards made the big time. For those of His disclaimer would have had less you who may not be aware, they were impact on me had it been only one of sev
6 I THE ASFA QUARTERLY toASFA
Convention Comparison $118,374.00, plus almost 7 thousand dol with most exceeding one-twenty. Con lose Thank you for giving me the ability to lars in print shop sales. These figures are did not break any records as the largest compare the statistics from the two largest almost twice that of Dragon*Con with a grossing Worldcon art show, though it was SF art shows in the same magazine. I real fraction of the attendance. Until I saw the certainly in the ballpark, while the 2002 ly appreciated the detailed breakdown of statistics side by side, I always believed Dragon*Con did set a new record. Last Con Jose sales done by Mr. Miller. that larger cons always generated larger year's reported sales were approximately While perusing the statistics from sales. The only numbers that seemed $50,000.00. Given time, they may yet Dragon*Con and Con Jose, the Worldcon, larger for Dragon*Con were the atten reach Worldcon sales levels. I found it very interesting to note the vast dance figures, and the number of pieces It is also important to note that the differences between their art sales. sold. Unfortunately, that last number conflict between Dragon*Con and Worldcon Dragon*Con, which claims an attendance probably means that the average price scheduling which currently makes it impossi of over twenty thousand people only had per piece was fairly low. ble to do both shows, is supposedly not per art sales of 66 thousand dollars (apparent Is this a normal representation of manent. Reports are that Dragon*Con ly including print shop). They sold one worldcon sales compared to other con plans to change dates to earlier in the sum fourth of the 5000 pieces on exhibit, vention art shows? mer as soon as their combined hotel con while Con Jose, which had low atten tract allows. This is not expected to happen dance for a Worldcon (I believe the num Trith Dietz before 2005. bers are less than 4 thousand, though actual totals were not listed in the article) Within the last decade all U.S. Ed managed to sell over a third of the 2850 Worldcons, and most NASFiC's, have broken pieces of art on exhibit for a total of the hundred-thousand-dollar sales barrier,
by m e I . white
Legend Al Hirschfeld Passes at 99 Hirschfeld's unique pen-and-ink the subject of a Hirschfeld caricature. Legendary caricaturist Al Hirschfeld drawings graced the Drama section of the In recent years, Hirschfeld's drawings died in his sleep on Monday, January Times since the 1920s. He was the the appeared far beyond the Times. His draw 20th, 2003 - the same day that The New ater's artist of record, who chronicled it all ings graced everything from magazine York Times ran a front-page story about from Broadway's Golden Age in the 1930s covers to postage stamps, and even were how more people are living to be 100. into the 21 st century. Unlike many carica turned into one of the most charming Hirschfeld, one of the most influential cari turists, his work was never mean-spirited sequences in the newest Disney Fantasia caturists of modern times, just missed that or unkind to its subjects and he always film, Fantasia 2000. The Post Office com milestone. He was 99. On his drawing seemed to look inside the actor, to find missioned him for a series of commémo board was an unfinished commission star the best part of the role or the perform ratives honoring well-known comedians, ring his favorite subjects, the Marx Brothers. ance. It was considered an honor to be OBITS, cant’d on pg. 10
7 I THE ASFA QUARTERLY WINTER 2003 I 7 Don't get me wrong, we could ALWAYS Of Sorrow.. .And Dreams are. To many of us, the pain of this tragedy is numbing. And to think of the use more volunteers, there is no such Having finished the message below a suffering of those closest to the people thing as too many. But people are short time ago, it was waiting for its day in lost, friends gone, people who lost hus responding to our call for assistance and it the current Quarterly. And then our com bands, wives, a son or a daughter and is very encouraging to see such positive munity, indeed the world, shared a pro then to think of the children who lost a attitudes, thank you! Our current found and troubling experience. On parent that the whole world was and is so Secretary, Teresa, has spent many years Saturday morning, Feb. 1 st, 2003, the proud of. All for the sake of the noblest with ASFA observing that when given the National Aeronautics and Space of dreams. chance to approach the membership, one Administration lost contact with the space person at a time, about what areas they shuttle Columbia on reentry to the atmos I will try to take it upon myself to be might be interested in volunteering for phere over the skies of the Southern US one humble voice for this art community they will respond. With that in mind, our states. It was only moments before the and say to those people left behind how membership applications changed over world would know that Columbia had bro grateful we are for the wondrous gifts of the last year or so to included a checklist ken apart flying in at 13,000 mph and at such fine men and women. We are all so where each member could mark possible an altitude of 200,000 feet; and undoubt amazed and proud of them. Please know in our own small way, we genuinely share areas they might offer assistance. This not edly, all souls aboard were lost. in your hopes and dreams and even in only reminds people that we need them, For generations, the worlds of space your loss. I would leave you with a but also gives us an efficient resource to exploration and the fantastic arts have thought that has remained solidly with approach individuals for specific projects, been inextricably bound together through me these last few days. An image in my knowing that they have already expressed a sense of wonder that would inspire so minds eye, created as I watched like so an interest to be involved. many on their life paths. I dare say there many others, eagerly awaiting Columbia's is not one astronaut or space scientist return. How beautiful was the sight of Now, I suspect you are thinking to alive that was not inspired by the extraor such brave souls flying home, bringing yourselves, 'where is she babbling off to?' dinary work of artists dedicated to the i with them secrets of the universe. It Simply put, ASFA's officers and committee fantastic arts. As a child, I was mesmer struck me as I watched; I was seeing a members have been hard at work laying ized by the Apollo missions and the very glorious twinkling star streaking across a the groundwork for a variety of projects thought of people exploring the stars. I spectacular field of deepest, mysterious that have been discussed throughout the would spend hours literally looking off blue. All because those inside dared to year in the Quarterly and other sources. into the night, dreaming of man's wish and dream and take us along । We are now up to our eyeballs in some inevitable march into space and a universe 1 with them.... great projects that need your attention of endless possibilities. For me it lit a pas and expertise, and the only thing that sion in my heart that remains even today, i stands in our way is a sheer lack of man a passion that can only be adequately On to ASFA Business power. We are turning to those checklists expressed through the art of our chosen We are supposedly in the "quiet to find people that can help bring these genres. Indeed, a love of all those amaz । time" of the year when the nights are plans to fruition. If it is at all possible, ing men and women who strive to make ] long and the world rests, awaiting a please do what you can to become those possibilities real. By this example | return to growth. I am not so sure about involved should we review your choices that so many of us in our art community i this considering anyone with family is i and call on you to help. share, it becomes crystal clear the pro clear that rest has little to do with the hol- This leads me to mention a couple of found link between the artist and the j ¡day season. But now that the busy holi ! the things we are working on. Firstand explorer. In a very real sense, we share days are passing, I have time to reflect on | foremost, we now have a very basic the same dreams, the same drive and dar I the year past and another already well on | budget in place and we are spending the ing to hope. its way. next few months carefully reviewing what And then something like the events Something I am especially pleased to of February second occur and remind us note is the state of volunteerism at ASFA. PRESIDENT, cont’d on pg. 17 all how powerful and fragile those dreams
8 I THE ASFA QUARTERLY eligibility list
One of the most sacred responsibili by Tom Holt Don Maitz ties we have as members of ASFA is to Little Brown/Orbit The Tale of Five: The Sword and the Dragon nominate and vote for the Chesley Award January 2002 by Diane Duane Winners each year. This process is usually Meisha Merlin complicated by the fact that it is often dif Bob Eggleton May 2002 ficult to know what covers, interiors, and Resurgence art pieces are actually eligible, having by Charles Sheffield been first published or shown in the previ John Jude Palencar ous year. Baen Books A Scattering of lades To help solve this problem, we have November 2002 by Alexander C. Irvine begun the following listing which will Tor appear in the Winter issue each year. This Bob Eggleton July 2002 list includes some, but by no means all, of Dragonhenge the eligible pieces that members may con by Bob Eggleton, John Grant Alan Pollack sider for Chesley nominations. This list is Sterling Publications; Argonaut certainly not complete, and is simply September 2002 by Stanley Schmidt intended as a tool to assist in making Tor choices for nominations. There have been Mark Harrison July 2002 no determinations of quality involved in Diuturney's Dawn this list, simply of eligibility. Where possi by Alan Dean Foster J. K. Potter ble, website urls have been included to facilitate the viewing of listed pieces. Del Rey /. K. Potter's Embrace the Mutation February 2002 We encourage all members to find edited by William Schafer & Bill Sheehan and look at the listed pieces, as well as Subterranean Press any other eligible pieces that may be Stephen Hickman April 2002 found in works published in 2002 or first Adventures in the Dream Trade exhibited in 2002. Many of the pieces list by Neil Gaiman Hone Werner ed in these pages over the past year as NESFA Press Across the Nightingale Floor winners in art shows are also eligible, but by Lian Hearn were not specifically submitted for this list. Matt Hughes Riverhead Their omission is in no way intended to Ars Morie ndi (The Art of Dying) September 2002 remove them from consideration. We Mg/Publishing encourage members to review those http://www.hughesillustration.c Michael Whelan award lists as well when making actual m/death.htm nominations on the nominations ballot Sorcery Rising later this year. by Jude Fisher Todd Lockwood The actual nominations ballot, along with DAW Books The Thousand Orcs a suggestions list compiled by the Chesley July 2002 By R.A. Salvatore, committee, will be sent out in the spring. Wizards of the Coast -Teresa Patterson Todd Lockwood Product Illustration: Not Quite the Prisoner of Zenda Hardcover: David Cherry by Joel Rosenberg, Age of Mythology Paul Cemmick TOR Books. Falling Sideways CHESLEY, cont’d on pg. 21
WINTER 2003 I 9 report by teresa patterson
Membership renewals are continuing to prevent burnout of the remaining Please send any Directory art to me for to be strong, but are still well below team. We still need more writers, consideration. 100% returning, though the numbers are reporters, and art to keep up the pace, continuing to rise slowly because of new but Alan will help keep the rest of us sane Chesley list in 2003 members. Currently all expired members by taking some of the layout chores off of Thank you for the response to the receive a notice in and on their last Holly. Thank you Alan! Chesley eligibility list (which can be found Quarterly and a follow up postcard Now that we have design help, we in this issue). The actual Chesley approx, one month later. We still have a must focus on filling the position of Nomination Ballots and the Chesley lot of members who forget to renew Advertising Director. Without advertising, Committee suggested nominees will be despite the fact that the renewal date is the Quarterly cannot continue to survive. released in the spring. on every mailing label. Failure to renew Your membership dues do not cover the will result in the loss of web page space, cost of the magazine, but with our proven ASFA Flyers On Line Update and Quarterly subscrip track record and excellent demographics, We still need a new Flyer design for tion. Don't get shut out, check your advertising can. With regular advertising 2003. If you have a piece of art that you renewal date! revenues, we have the opportunity to go feel epitomizes ASFA, please share it with for color covers before the year is out. us. The winning piece will become the Publications Report: We also need first hand reviews and ASFA Flyer logo for at least the next two Next Quarterly Deadline: April 2nd reports of events and conventions. If you years, with the name of the contributing This issue of the Quarterly was have attended an event, please write us a artist clearly visible on the flyer. Please delayed while we worked in a new mem small report of the event so that other send potential flyer art to me. ber of our team. Beginning with this issue, members will know about it. This is espe Alan Beck has joined us as Assistant cially crucial if you had a strong opinion Graphic Designer. Alan will be helping about the event. with the layout preparation. The new The ASFA 2003 Membership look of the Quarterly and the challenge of Directory will be published in the spring producing a high quality magazine 4 to coincide with the Spring Quarterly. We times a year with volunteer labor has are looking for appropriate cover art for necessitated the addition of this extra help this Directory as well as art to go within it.
OBITS, cant’d from pg. 7 Hirschfeld married Louise Kerz, a museum Sang", appeared in Ca/axyin 1977. In all, curator. She survives him, along with Nina he had well over 100 pieces of short fic and later for a series on silent film stars. and stepsons Jonathan and Antony Kerz. tion published, a half-dozen collections, a He even was the subject of a documen number of non-fiction works, and well tary film. over two dozen novels. He also wrote well He was noted for hiding the name of Hugo Winner Charles Sheffield over 100 technical papers. his daughter, Nina, in his drawings. To Dead at 67 In a statement, current SFWA stop arguments over just how many times Charles Sheffield, 67, former President Sharon Lee said: "SFWA mourns the name appeared in a drawing, his later President of SFWA and winner of the the loss of one of its finest statesmen, who caricatures were signed with a number to Nebula and Hugo Awards for his nov was never less than a gentleman." show just how many he inserted. At one elette "Georgia on My Mind", died of For more information about Dr. time these were used as training tests for brain cancer on November 2, 2002. His Sheffield, please visit his website at: pattern recognition in the military. wife, writer Nancy Kress, was at his side. http://www.sff.net/people/sheffield/ Hirschfeld's first wife, actress Dolly Dr. Sheffield's first published science Haas, died in 1994. Two years later, fiction story, "What Song the Sirens
10 I THE ASFA QUARTERLY This report contains both a traditional which may be reduced by the excess Expenses: report for the fourth quarter and a new funds we contributed for the joint Art Promotion: Con Suite $ 845.60 comparison report for the full year. With Show and Chesley reception. the preliminary budget from the Board Chesley Awards 58.56 Administration 970.61 and better historical information, we hope Association of Science Fiction to keep bringing you the services you Artists (ASFA) Quarterly 899.02 want from ASFA. For those of you who Total Expenses $2,773.79 Operating Results For the Quarter actually like to look at financial reports, Ended December 31, 2002 these also explain in "numberese" the NET INCREASE TO CHECKING necessary changes in membership and $811.21 Chesley sponsorship rates. Revenues: Fundraising kept pace with expenses Membership Fees $2,485.00 CHECKING BALANCE 9/30/02 in 2002, primarily due to hugely success Chesley Sponsorships 300.00 5,253.97 ful advertising sales and new funding for Advertising Sales 460.00 the Chesley brochure and our WorldCon Donations 340.00 costs. We also had some generous Total Revenues $3,585.00 CHECKING BALANCE 12/31/02 donors come aboard, helping to offset the $6,065.18 loss of Wizards of the Coast's underwriting of the Chesley brochure in years past. Q The ASFA charity auction at WorldCon, contrary to expectations in a tough eco nomic climate, actually raised more money than in 2001. Profit and Loss Comparison 2001/2002 One large negative was the actual Chesley sponsorship revenue; though all 1/1/01- 12/31/02- twelve awards had committed sponsors, 2/31/0 11/1/02 Difference just five 2002 awards have been paid for INCOME to date. One of the 2001 award receiv Advertising Revenue 0 1,230 1,230 ables was paid in 2002, bringing the Auction Proceeds 923 1,198 275 2001 total to seven real sponsorships. Donations - Chesley Awards 1,025 4,814 Best solution now on the table is to solicit 3,789 Donations - Con Suite 57 earlier and secure payment before the 620 563 Donations - General event. This should be easier using the lat 130 1,645 1,515 est brochure as a sales tool. We had print Membership Fees 9,158 10,438 1,280 ed extras for just that purpose, so anyone Sales of Quarterlies 35 100 65 with leads is encouraged (begged?) to TOTAL INCOME $11,328 $20,045 $8,717 contact either the Chesley committee or the Board. EXPENSES Quarterly publication expenses rose Administrative Expenses 4,061 3,065 996 as the team came back on schedule with Chesley Awards 4,105 7,369 (3,264) an improved look and quality content. Promotion 1,504 846 659 Promotional expenses dropped temporari Quarterly Publication 5,138 8,664 (3,526) ly, but will rise in 2003 due to Conjose TOTAL EXPENSES $14,809 $19,944 $(5,135) con suite billing pushing into this year. OVERALL TOTAL $(3,481) $ 101 $ 3,582 We will pay the bill when we get it, but still have not received an accounting,
WINTER 2003 I 11 B ’ á w^w w w 4P < IF w ' $■ ?* V B 1 <^S ’;; L ; "'^ B B fi director's report by j a n n¡e shea
Eastern Director/ TorCon their clients and provide clients with the ing paperwork done properly. Schenker Liaison Report: necessary documentation for re-entry into recommends to clients to allow plenty of It was a pleasure to meet so many their home country. Schenker also can time for filling the paperwork and making ASFA members at World Fantasy last handle door-to-door shipments as well as any needed changes. Most artists do not October. I am looking forward to the personal vehicle border crossings. They know several months in advance which opportunities offered by 2003. I hope you will be on-site at Torcon 3 to help in with artworks they will take to a given show or will be one of them. move-in and move-out process. precisely when they expect to arrive but it I wish to announce that Maurizo For the duration of Torcon 3, the con is better to go ahead, fill out the paper Manzieri has graciously offered to act as a vention becomes a bonded area, thus free work with a good guess and send in deputy Eastern regional director for me. ing non-Canadian resident exhibitors (deal changes closer to the date of Torcon 3.1- He is based in Turin, Italy. With his help, ers, artists, etc.) from having to post bond 2 months advance is suggested for the we aim to better serve our Eastern region for the commercial goods that they import initial paperwork and then Schenker can membership. into Canada. What does this mean in prac make any corrections up to 48 hours tical terms? Non-Canadian exhibitors who before arrival in Canada. Torcon Liaison Report use Schenker's services at Torcon 3 will not Schenker needs at least a couple days Looking ahead to Torcon 3 Aug. 28- have to pay taxes and duties (which are advance notice to handle shipping Sept. 1, 2003 the 61st World Science normally due upon entry into Canada) on requests. They advise, depending delivery Fiction Convention the commercial goods they bring in and services used, one week to one day arrival In my travels during the last year, I out of Canada for Torcon 3. Schenker, as of shipments before the convention have heard many qualms expressed about customs broker fronts the money for the opens. Clients bringing their goods with exhibiting at Torcon 3 in Toronto this various taxes and duties for their clients. them, whether it be by commercial trans year. The following information is not Schenker's clients will only have to pay port (airlines, buses, trains, etc.) or private intended to be comprehensive but to taxes and duties on commercial goods that vehicles (personally owned or rented), serve as an introduction to some of the they leave in Canada. need to inform Schenker at least one issues to consider in advance of Torcon 3. At the end of Torcon 3, Schenker will week in advance of all pertinent arrival With a little planning, exhibiting at Torcon come around and help their clients with all information. 3 should be painless. As the 2003 and the necessary paperwork required for leav Upon arrival at Schenker's office at 2005 Worldcons (and possibly 2007) will ing Canada and re-entry their home coun the border crossing point, you should fac be non-US conventions, it is advanta try. After the convention closes out, tor in two hours for border crossing. The geous to have an understanding of what Schenker arranges payment for the requisite actual amount of time varies greatly but to expect at the borders. taxes and duties and then sends the client a two hours is a safe guestimate. bill for them. This spares the client from a Bringing Art into Canada: potentially nasty surprise at the border. Duties and Taxes: Torcon 3 has contracted for Schenker Of course, Schenker does charge a Canada's government, like all others, of Canada Ltd to be their customs broker fee for their services. Their brokerage fee is want a cut of any commercial transaction and freight forwarder. Schenker is very dependent on the value and documenta which occurs within Canada's borders, experienced with the logistics of dealing tion required but it is also capped at maxi The bad news is: 7% GST (General Service with customs for international events. mum of $400 US. The possibility of facing Tax, i.e. "national sales tax") must be paid 75% of the organization is outside of a $400 service fee sounds a bit daunting on any commercial goods brought into Canada and dealing with international for artists, most of who operate as sole and sold in Canada. Now, depending on customs is their specialty. proprietor businesses. However, those the tariff classification of the goods sold Schenker will help client exhibitors who wish to co-ordinate their efforts can and their valuation, they may be also sub with the intricate paperwork required by form a single umbrella entity and split the ject to further 8% Ontario Provincial sales Customs Canada, have people on site at cost between their members. tax (akin to state sales tax) and import ports to hand walk shipments through duty, which can range from 0% up to Customs, work with Customs on behalf of Time issues: 10%. However, the good news is: No Customs Canada is a stickler for hav import duty on original artwork.
12 I THE ASFA QUARTERLY The following Schenker representatives officials your nationality, you may need it ada/Govemment/Embassies_and_Consulates/ can help with any further information: to re-enter your own country. (I speak For current information about wait from personal experience; the US INS is times at major border ports of entry. Brad Hoilett 1-800-461-3686 NOT anyone's friend.) If in doubt, check http://nemo.customs.gov/process/bo ext. 5261 with your own government. rderti mes/bordertimes. asp Sandra Samion 1-800-461-3686 For ASFA members who are citizens ext. 5259 of Ukraine, Czech Republic, Slovakia or Torcon 3 Membership rates: Frank Argonza 1-800-461-3686 who carry Israeli-issued travel documents As of January 17, 2003 membership ext. 5260 in lieu of National Passport, a TRV is rates for Torcon 3 are as follows: Gerrit Watson 1-800-461-3686 required. If you need a TRV, I strongly ext. 5263 suggest you apply for one NOW. Since USS CNDS the events of September 11, both Supporting $40 $60 They are usually available 10AM-4PM Canadian and US immigration officials are Attending $185 $275 EST Mondays-Fridays. under more pressure than ever to scruti Also you can check out Schenker's nize trans-border traffic. Additionally Conversion from Supporting website at: http://www.schenker.ca Look Canada has also been facing an increasing to Attending: under services, conventions and exhibi onslaught of asylum-seekers wishing to $145 $215 tions. Most of the needed forms are on take advantage of their national benefits. Child $40 $60 the website. Also, I have plenty of notes If I have not addressed your particular from my own conversations with country's visa agreements or if you want If you choose to pay by credit card, it Schenker, which I will be more than happy more immigration information, look at will be charged on your card in CDN, to share. Please feel free to contact me. the Canadian Government's website : which may be a bit less than the USS rate, http://www.dc.gc.ca If you do not have depending on the current rate of VISAS: web access you can contact your closest exchange. I'm not speaking of the credit cards Canadian embassy/consulate . They can but of travel documents. For most ASFA provide you with the most current infor Torcon 3's website is: members, travel to Canada does not mation what documents you will need to http://www.torcon3.on.ca require a Temporary Resident Visa (TRV). enter Canada. Canada has reciprocal agreements with In the next Quarterly, I will have the US, japan and EU countries to allow Other useful sites: more details about Torcon's artshow, staff citizens of those countries to visit without Your governments state department web and programming, ASFA's planned pres requiring a TRV. However, you must carry site for uf>to-date atizen travel information. ence, as well as useful information about acceptable government-issued national The Canadian embassy website for your Toronto art scene. identification, preferably a passport. Not country - it is easily found at only may you need to prove to Canadian http://dir.yahoo.com/Regional/Countries/Can Q got art?
The ASFA Quarterly needs some of yours.
Please contact the Art Director/or Book & publication design. Illustration in traditional & digital media. submission guidelines. 727-781-6888 h olly.bird@ veri zon .net www.hollybird.net
WINTER 2003 I 13 A Worldcon comes to Toronto once in a generation Do not miss your chance to attend it next year!!! TORCON3 61st World Science Fiction Convention August 28 - September 1, 2003 Metro Toronto Convention Centre Royal York Hotel, Crowne Plaza Hotel, Renaissance Toronto Hotel at Sky Dome Guests of Honour: George R. R. Martin (author) Frank Kelly Freas (artist) Mike Glyer (tan) Spider Robinson (Toastmaster) GoHst of Honour: Robert Bloch, the spirit of Toronto Worldcons
’Worldcon’ & “World Science Fiction Convention’ are registered service marks of the World Science Fiction Society, an unincorporated literary society 14 I THE ASEA QUARTERLY Torcon 3 Art SÎjow
s h z il h n e Rob i h ,1 o n a n à S a h ô i C n m p n e y t Art S b o iv Director)
Who is organizing Conjosé art show. The Team had a a commission fee as a service fee that the Torcon 3 Art Show? chance to test this program at one of artists are paying to Torcon 3 and The Torcon 3 Art Show is being our local art shows prior to last year's consequently the 7% GST is applica organized by The Team Eh! In addi Worldcon. At Conjosé the option to ble. Therefore the total commission tion to running art shows at several pre-register artwork online proved deducted from sales will be 10.7% regional conventions each year, the popular with the artists and, from the (10% to the art show and 0.7% to Team has organized 3 past Worldcons administrative perspective, was very the government). Example: if your (and worked as senior staff at many effective. sales are $1,000.00 the total commis more including Conjose), as well as sion charged will be $107.00 of two World Fantasy Convention art What key details should non which $7 represents the GST paid to shows held in Canada. Canadian artists be aware of? the government. Our philosophy is to put on an All transactions in the art show art show that is both fun and well will be conducted in Canadian cur c. Customs: The government requires run, for artists and attendees alike. In rency. When pricing your art, (both a deposit equal to 7% GST on the addition to offering panel and table for the art show and Canadian value of goods brought into Canada. space, we're looking at having a print Customs) please remember that the On the Canada Customs form, an shop, some guided tours and an area figures must be listed in Canadian artist must list the value of the art for artists to meet with colleagues and dollars. being brought into the country. A admirers. Example: if you want to set a suggested guideline is a value equal minimum bid of Î60US for a piece, to the minimum bids for the art, but How do I reserve space and what the equivalent minimum bid in this is only a guideline. The value list will it cost? Canadian dollars would be in the ed should be not be so low as to be We are fine-tuning the art show $90-$100 range. questioned, but it need not be the budget, which will determine what Buyers who purchase art at the same value quoted for insurance pur fees we will charge for space. The Torcon 3 art show will be required to poses. At the conclusion of the art cost will be in line with fees charged pay a 8% provincial sales tax on their show, Canada Customs will ask the at previous Worldcons. purchase. artist to identify all art that was sold. The artist package, with panel The Canadian federal govern The 7% GST assessed on the listed fees and reservation forms, will go out ment requires that a 7% Goods and value of the sold art will be deducted in late March 2003. Services tax (popularly known as the from the deposit paid at the time of To add your name to the Torcon GST) be charged on all transactions. entry and a refund processed for the 3 artist mailing list, send us an e-mail This has several implications for artists balance. Artists displaying higher- with your address at either participating at Torcon 3: priced pieces are recommended to [email protected] or use Schenker, the official Torcon 3 [email protected] Or you can a. Panel Fees: Torcon 3 is required customs broker, to post a bond leave a message at 416-237-9243. to charge 7% GST on panel and dis and process the paperwork on play fees. their behalf. What system will the Torcon 3 art show be using? b. Commission: The Torcon art show This application of the 7% GST We believe it is important not to will be charging the standard on sold art has implications for the re-invent the wheel but go with a Worldcon commission of 10% on art pricing of art at the Torcon 3 art proven, stable system. We will be and print shop sales. The govern show. For the typical art show, the using the software developed for the ment, in its infinite wisdom, considers TORCON cont’d on pg. 20
WINTER 2003 I 15 by mel. white Museums
A current set of museum exhibitions 1995 engaged artist Tony Oursler, the seen and recontextualised in the museum dedicated to digital art has brought a new performer Constance de jong and the environment. type of curator to the fore. Although the composer Stephen Vitiello to create Other museums outside New York title "New Media Curator" has been "Fantastic Prayers", initiated in the same are also at the forefront of net art in the around since video art first entered muse year that the museum's own website US. Benjamin Weil, a key figure in the um collections in the late 70s, it now (www.diacenter.org) went on-line. short history of art on the Internet, now means something very different. Lynne Cooke, the Dia's head curator, employed by SFMoMA, has curated the "People keep sending me video argues that traditional, visual artists should current exhibition "010101 : Art in tech tapes," says Christiane Paul, the Whitney be encouraged to work with the Internet nological times". Dr Weil was the co Museum's adjunct curator of new media, even if they have no experience in using founder of the legendary web art exhibi whose job it is to commission, curate, dis the technology. She has, as a result, tion space known as âda'web (named play and conserve on-line artists' projects. worked with artists better known for video after Lord Byron's daughter, the 19th- According to Ms Paul, Europeans are or installation works such as Susan Hiller, century scientist Lady "Ada" Augusta far ahead of Americans in the field of Francis Alys and Marijke van Warmerdam. Lovelace), which hosted original, on-line Internet art, due to art and technology On the other hand, Christiane Paul art projects from 1994 to 1998. gatherings such as the Digital and from the Whitney believes that the most Àda'web could not maintain its inde Electronic Arts Festival (DEAF) in challenging or interesting works on the pendent and self-funding status and was Rotterdam (http://deaf.v2.nl), web are by artists (mainly unknown) who eventually given away by its host, Transmediale in Germany (www.transme- write their own code and can push the America Online (AOL), because it lacked diale.de), Viper in Switzerland limits of browser technology by using the commercial potential. (www.viper.ch), and Austria's Arts computer's own language. The Walker Art Center in Minneapolis Electronica (www.aec.at). However, apart Ms. Cooke also disagrees with Ms acquired âda'web thus becoming the first from a few European museums such as Paul on how and where to show the art. museum with a significant collection of the Zentrum fur Kunst und The Dia Center has no galleries or com Internet art at www.adaweb.walkerart.org. Medientechnologie (ZKM) in Karlsruhe, puter screens dedicated to net art, and as Steve Dietz, director of New Media Germany, which held the first major exhi result, has encouraged the audiences to Initiatives at the Walker used âda'web to bition of net art, "Net_Condition" in view the projects at home. "It is like read start a Digital Arts Study Collection 1999, London's Institute of Contemporary ing a novel—you don't need a public (DACS), a museological device for storing Arts and Tate Britain, which has begun to space to view a work of art on the net", and collecting works of net art. Steve commission online works of art says Ms Cooke. Across town, the Dietz's current project is a touring exhibi (www.tate.org.uk/britain/exhibitions/art- Whitney's current exhibition of digital art tion based on communications networks nwnet.html), it is the US museums that "BitStreams" (until 10 June) has a net art called "Telematic Connections: the virtual are feverishly hiring net-art curators and component called "Data Dynamics", embrace", with a large online exhibition holding mega-exhibitions dedicated to which can be seen both online at at http://telematic.walkerart.org electronic art. www.whitney.org and in the museum's Ehrenkranz and Hurst Galleries. Ms Paul, How to store it? A Leap of Faith । who has curated "Data Dynamics", real The commitment of these museums The Whitney was the first museum to izes the irony of putting web art onto to new media has prompted debates on buy a work of web art in 1994, Douglas screens in the museum, when part of its ! the issues of collecting and conserving Davis's "The world's first collaborative sen | original intention was to subvert traditions digital media, even though there is cur tence", but the first museum actively to : of displaying, making and experiencing rently little commercial support for the commission a digital work of art was New art. At the same time she thinks that, if it I creation and production of net art. York's Dia Center for the Arts, which in ' is a valid work of art, it deserves to be Without a real market for collecting on-
16 I THE ASFA QUARTERLY line projects, some seminal works have by pioneers, such as www.jodi.org, changed hands for as little as $100 but should be viewed in their original format : Current Net Art Exhibitions: also an indication of the economic uncer and as they were intended. tainty net artists face. In the same way that big websites Bitstreams As the works can exist or function on ■ often subsume, syndicate or steal their Whitney Museum, New York, until 10 any compatible PC anywhere in the smaller, more innovative competitors, so ■ June world, the question of ownership is also the museums will eventually get their http://artport.whitney.org unclear. The most logical way to "own" a hands on these radical net artists and their work of net art is to host the website on a URLs. It is easy for museums to dress up 010101: Art in Technological Times server or homepage. old media in a new package, but to SFMoMA, San Francisco, until 8 July Christiane Paul outlines three possible engage in net art is to embrace the inno options for "conserving" Internet works of vations of technology, the interfaces, Telematic Connections: The Virtual art. First is to collect the hardware and soft browser alternatives and viewer interac Embrace, Art Center Pasadena, 5 May-30 ware that the work was produced for, for tion. Many institutions are only now tack June, Austin Museum of Art, 20 July-25 example, so a 1996 work would run on a ling the idea that the museum can be November computer with an internet connection and part of the complex information system http://telematic.walkerart.org software packages of the same era. that is the world-wide-web and the edu It is also possible to update an old cational possibilities of net art projects Art and Money On-Line work to make it compatible with current have not as yet been explored. Tate Britain, London, until 3 June browser technology, but this can mean re Museums struggle to keep up with www.tate.org.uk writing some of the source code—effective their web-sawy audiences and, are conse ly destroying it as a document of its time. quently, not keen to talk about future TimeStream The other technique is to "emulate" plans or applications for the web, perhaps MoMA, New York an old browser using a custom-built because they cannot predict what is www.moma.org/timestream until 30 May. application which mimics the old ver going to happen, or because they cannot sions of Netscape or Internet Explorer, admit that they might one day be made reinforcing the purists' view that works redundant by the cyber-museum.
PRESIDENT, cant’d from pg. 8 to tell you that is exactly what your offi Please do not hesitate to contact me works and making necessary adjustments cers are doing. And it is no small task! with your thoughts and concerns. We to maintain realistic budgetary goals. For But we are determined to do the best we cannot pull this off without your input. I years, ASFA has managed to move along can to leave ASFA with an even stronger want to let each and every one of you knowing to some degree what our finan future. Details on this budget "work in know that I hold the coming year with cial outlook would be for the following progress" will be recorded through out high hopes and 1 wish you all an abun year based on past experience and mak the year in the Quarterly. So, if you have dantly creative season. ing note of very basic membership trends. any suggestions or expertise to offer, This has at times been a relatively laid please do not hesitate to tell us what you Elizabeth Humphrey back (and even pleasant) way of doing think. We need your input. Pres., ASFA business that admittedly offered some I want to also remind you of another freedoms one might not find in a more important part of ASFA "life" kicking into rigidly structured atmosphere. But far too gear. We are, of course, launching into Q often, we would find ourselves hoping at the next year of Chesley Awards. In this the very last minute for a miracle just to Quarterly you will begin to see our list of get by some unforeseen complication; or prospective nominations. This is meant to otherwise spending very limited resources be a tool to inspire you to look for your in not so efficient ways. That is the kind own suggestions for nomination and the of situation that not only burns out good list itself will grow accordingly. Please, if people with the best of intentions (and there is nothing else that you are able to skills to match), but it can also deprive do for ASFA this year, do make a sugges ASFA of real opportunities to support our tion of a noteworthy work of art and/or membership and advance our goals. So accomplishment to be included in the this past year, the consensus was that it is 2003 Chesley nomination ballad. You can time to bite the bullet and commit our pass your suggestions on to anyone on selves to a more comprehensive method the Chesley Committee or the Board of of planning and executing our overall Directors; and by doing so, you will insure agenda. In short it was time to get down that ASFA is recognizing the truly deserv to business an implement a relatively ing artists and fantastic artwork of the detailed budget. I am more than pleased past year.
WINTER 2003 I 17 markets by david grilla
“Success in the small press”. into more opportunities for work than one The Market List could possibly take advantage of. The Is it even possible? The answer to that A resource for genre fiction writers downside here is that while seven thousand is...it depends. Success is completely www.marketlist.com new publishers pop up each year it's likely dependent on your definition. The small that seven thousand disappear as well. Spicy Green Iguana press can serve as a means to an end or Things can be pretty shaky on the edge. the end itself. While financial success (or Edited by Matt Hayes All the best and I'll see you next issue. even subsistence) can be pretty hard to www.spicygreeniguana.com attain, the small press does provide abun The following is a list of market dant opportunities for artists embarking Scavenger’s Newsletter resources both in print and on the web: on a professional career, as well as estab Janet Fox, Editor/Publisher Note: As always, if you contact any lished artists seeking a change. 833 Main one on the list, please follow the instruc For those ASFA members unfamiliar Osage City,KS 66523 tions in the notes. Some general instruc with the "small press" I'm going to tions to follow are: Scavenger's is a monthly newsletter for attempt a pretty loose definition. The SF/Fantasy/Horror/Mystery writers and • E-mail queries should not include small press refers to smaller, independent artists with an interest in the small press. attachments. URLs only. publishers of books, magazines, chap • Any query should include contact books, what have you. The products of info, a brief bio and credits. Project Pulp these publishers can vary from a high www.blindside.net quality, solidly produced novel to a folded • Samples sent through normal mail "The .com of the small press". and photocopied comic. Some publishers should include a cover letter and provide professional payment rates; others list of credits. Additionally, include An online market for the small press offer free copies of the produced material contact info on each sample sub including magazines, art, music and books while still others offer only good will. In mitted. some cases, you may find the small press • Never send originals! Tangent Online defined in terms of circulation. I don't www.tangentonline.com want to provide too strict a definition. I Reviewing all the professional magazine prefer to view the small press as a frontier. Market Listings: short fiction in the science fiction field. It can be a little wild and its boundaries are a little vague but it's pretty exciting! 2003 Artist and Horror Writers Association To get back to the subject of success www.horror.org I'd like to stick to the frontier analogy. Graphic Designer’s Market Provides resource for writers that would Success can mean simply surviving or it Edited by Mary Cox be of interest to illustrators. Web page has can involve making it big. It all depends Published by Writer's Digest a gallery showcasing works of members. on what you're looking for. Are you look www.writersdigest.com ing for opportunity and a chance to stake Science Fiction and Fantasy a claim? Are you seeking a life unbur LOCUS dened by conventional restraints? These Writers of America The Magazine of the things are possible on the frontier provid www.SFWA.org Science Fiction and Fantasy Field ed you get up and go. subscription to: PO Box 13305 The Small Press Center estimates that SFWA Bulletin Oakland, CA 94661 seven thousand new publishers are estab Dept. H www.locusmag.com lished each year with about fifty thousand 1436 Altamont Ave pmb 272 currently up and running. This translates Schenectady, NY 12303-2977
18 I THE ASEA QUARTERLY Gila Queens Guide to Markets to be considered by the panel, please send Annual Lewis And Clark Art Show them directly to the addresses above, and www.gilaqueen.com Journey’s End National Art very importantly, please mark any packages Kathryn Ptacek, Editor Exhibition (Jenae 1) PO Box 97 as WORLD FANTASY AWARDS MATERIALS. Also, please make sure to send a file copy of Newton, NJ any and all materials to The World Fantasy The first annual LEWIS and CLARK art 07860-0097 Awards Association (address below) so a show, titled Journey's End National Art comprehensive list may be kept, as well as Exhibition Qenae 1), will be held March 8 Contests backup copies for any that are lost or mis thru 30, 2003. All media will be accepted. placed. This the only way the judges can Deadline for entry is January 17, 2003. Total The 2002 World Fantasy consider all eligible items, and you can be awards $29,000, Best of Show $10,000. Convention Judges Empanelled sure that your work is given fair attention. Join the Lewis and Clark bicentennial activities with a thematically focused, World Fantasy Awards Association Qualifications: All books must have been published in 2002; magazines must juried art show in historical Astoria, President Peter Dennis Pautz has just have a 2002 cover date; only living authors, Oregon, where the expedition wintered in announced the judges for the 2002 World editors, and artists are eligible. 1805-06. Fantasy Awards. The World Fantasy Award We greatly appreciate the valuable for Best Artist is quite prestigious, but to Fantasy Types: ALL FANTASY is eligible, assistance received from the National be considered, interested artists must sub from supernatural to horror to Tolkienesque to Council of the Lewis and Clark mit samples of covers or interiors pub sword & sorcery to the occult to children's and Bicentennial and Arts for the Parks. For lished in 2002 to the judges by June 1. YA books, and beyond. Categories: Life Achievement; Best possible inspiration, we recommend the following sources: Undaunted Courage by The Judges are: Novel; Best Novella (10,001 to 40,000 words); Best Short Story; Best Anthology; Steven Ambrose; Lewis and Clark.Among Justin Ackroyd, Slow Class Books; c/o Best Collection; Best Artist; Special Award- the Indians by James Ronda; Lewis and Carlton Post Office; 146 Elgin Street; Clark: Pioneering Naturalists by Paul Pro; Special Award-Non-Pro. Carlton; Victoria 3053, Australia Cutright. Also, lots of illustrated info Please note the nominees in the Life Les Edwards, 63 Mayfair Avenue; Ilford, on the web. Achievement category will not be released. Essex IC1 3DC; United Kingdom Only the winner's name will be announced For details on submission, send a Self- Lawrence Watt Evans, 5 Solitaire Court; at the awards banquet. Addressed, Stamped Envelope for a Gaithersburg, MD 20878; USA written brochure and ideas on subjects All questions pertaining to the conven Laura Anne Gilman, 63 Laurel Avenue; to: Journey's End, Box 2005, Astoria OR tion should be directed to the Convention Roseland, NJ 07068; USA 97103 OR visit Chair. Questions of eligibility, the judges, Jane Yolen, 31 School Street; Hatfield, and the administration may be sent to Peter www.jsend.org, or e-mail us at: jour- MA 01038; USA Dennis Pautz. [email protected] Once again, the World Fantasy Convention Pete Pautz writes: and Administration are most pleased to be work ing with you, and with your continued good will We invite you to be part of “Brave Dear Colleagues, and support, we shall successfully uphold the Destiny,” September/October 2003. The judges for the 2002 World Fantasy already prestigious reputation of the Wodd Deadline June 2003 Awards have now been empanelled. Fantasy Awards. WdliamsburgArt & Historical Center Thank you very much for your time and PLEASE NOTE THAT ALL MATERIALS The contest features $5,000 in cash assistance. SENT TO THE JUDGES MUST BE prizes for art guaranteed, plus thousands RECEIVED BY JUNE 1, 2003. of dollars in purchase awards and many The Gahan Wilson-designed trophies Respectfully, other prizes. The Deadline is June 2003, will be presented at the convention, to be Pete Pautz but the sooner you enter, the sooner you held Thursday-Sunday, October 30- can have work on our web-site for the November 2, 2002 at the Hyatt Regency World Fantasy Awards Association; P.O. show. We will be adding art & sponsors Washington on Capitol Hill; 400 New jersey Box 43; Mukilito, WA 98275-0043 weekly to our web-site! Avenue NW; Washington, DC 20001. This will be the largest show of living Attending Memberships 100 U.S. until surrealist, fantastic and visionary artists in World Fantasy Convention Chair 3/15/03; SI20 US until 7/31/03; the world including Professor Ernst Fuchs, Michael Walsh, Chair; World Fantasy Supporting: $35 US. Payable to World Founder of the Vienna School of Fantastic Convention 2003; P.O. Box 19951; Fantasy Convention 2003. Mail Realism in the 1940's, H.R. Giger winner Baltimore, MD 21211-0951; USA; Memberships materials to WFC 2003 of the Academy award for his stage set in [email protected] Registration; Attn: jerry Crutcher; P.O. Box the movie Alien, and many other world 1096; Rockville, MD 20849-1096; USA famous artists. If you have any material that you wish Call For Entries For The First MARKETS, cont’d on pg. 24
WINTER 2003 I 19 MARKETS, cant’d from pg. 23 TORCON, cont’d from pg. 15 $2000 US can be handled for one charge of $220.00 US. The most comprehensive show to calculation is a piece that sells for Artists residing in one city or date from the Society for Art of the $100 Canadian minus 10% commis Imagination in London, England sion ($10) will net the artist $90 region can minimize their brokerage (www.artofimagination.org), is to be Canadian. To arrive at a similar return and shipping costs by forming a "col held at the WAH Center opening with at Torcon 3, taking into consideration lective". A group of artists can send a Grand Surrealist Ball in its magnifi the impact on the GST on sales, the their art to Torcon in a single ship cent French Second Empire building minimum bid for this same piece ment and share the customs costs (a in the heart of the "Emerging Art must be priced at $110 Canadian. maximum of $470 US) among all Capital of the World," Williamsburg artists of the collective. Example: if 5 Brooklyn. What should I know about artists send their work to Torcon in a The opening weekend for the bringing or sending my art across single shipment from one shipping 2003 show will also feature hundreds the border? point, then the customs brokerage of open artists studios all around cost for each artist would be a maxi Williamsburg. The WAH Center will We'll be paying special attention mum of $94.00 if split equally among also host it's annual WILLIAMSBURG to helping artists bring artwork across ARTS AND CULTURAL FESTIVAL with the border. Torcon 3 has selected the five artists. Precise details on cus free shuttle buses which will bring Schenker of Canada, Ltd. as our offi toms will be made available with the thousands of tourists to Williamsburg cial customs broker. Schenker is a artist reservation packages being to see our show BRAVE DESTINY. world-wide organization, with consid mailed this March. Many musical events, fashion shows erable experience in the field of con If this update hasn't addressed a and party's will transpire to enthrall ventions and trade shows all over the question or concern, please drop us a the visitors to our fair new art commu world. Their web site can be visited at line at [email protected] nity on the opening day of BRAVE http://www.schenker.ca Your questions and comments DESTINY. Canada Customs requires that a are welcomed and will help us organ To receive rules and be part of this bond be posted for the value of each ize a great Worldcon art show. fabulous show in September 2003 contact shipment brought across the border. Schenker's customs brokerage fees WWW.WAHcenter.ORG email wah- are calculated on the shipment value [email protected] and will range from $100 to a maxi New International Surrealists mum of $400 US. A one-time export c/o Williamsburg Art & Historical Center document charge of $70 will also be required. A shipment valued at 135 Broadway Brooklyn, New York 11211 Tel. (718) 486-7372 or 486-6012 WWW.WAHcenter.ORG e-mail wah- [email protected] Q
20 I THE ASFA QUARTERLY CHESLEY, cont’d from pg. 9 March 2002 Magazine: Banner for E3 Convention Matt Hughes Kenn Brown Microsoft/Ensemble Studios Kindred http://www.ensemblestudios.com/market- Deus Ex Machina 02 Mg/Publishing ing/chesley/ Wired http://www.hughesillustration.com/kin- December 2002 dred.htm James C. Christensen http://www.kontent- Carden Rendezvous online.com/00Callery01 .htm Charles Keegan Fine Art Print A Parliament of Owls Michael Carroll Greenwich Workshop by Beth Hilgartner . June 2002 Asimov's Misha Merlin August 2002 September 2002 Scott Gustafson Happily Ever After David Cherry Don Maitz Fine Art Print Isis Stealing the Elf King's Roses Greenwich Workshop (November cover of a gaming magazine by Diane Duane in Taiwan) November 2002 Warner Books Microsoft/Ensemble Studios November 2002 Matt Hughes http://www.ensemblestudios.com/market- Blodeuedd ing/chesley/ Christian McGrath Poster/LMT Ed Print Blood & Ivory: A Tapestry David Cherry Dreamweaver studios by P. C. Hodgell CG W Zeus http://www.hughesillustration.com/tree.html Misha Merlin Computer Caming World August 2002 Dean Morrissey November 2002 The Lightship http://www.ensemblestudios.com/market- Hoang Nguyen ing/chesley/ Fine Art Print Wilding Nights Greenwich Workshop by Lee Killough Fred Gambino April 2002 Misha Merlin Asimov's May 2002 September 2002 Michael Parkes The Court Painter Lynn Perkins David Ho Stone Lithograph The Summoning Stone The 3rd Alternative #31 Swan King Editions by Jana G. Oliver Summer 2002 October 2002 MageSpell Press, 2002 Matt Hughes Paperback: Omar Rayyan Corporate Knights The Troll King October 2002 Tom Canty by John Vornholt http://www.hughesillustration.com/dryad. The Fall of the Kings Aladdin Library htm by Ellen Kushner & Delia Sherman August 2002 Bantam Spectra Todd Lockwood November 2002 Nick Stathopoulos Hellfire Dragon Supermen: Tales of the Post-Human Future Dragon Magazine Dan Craig edited by Gardner Dozois Tathea Ron Miller St. Marten's by Anne Perry Asimov's January 2002 Ace February 2002 September 2002 Matt Stawicki Restoration Interior: James Gurney by Carol Berg Dinotopia: Dolphin Watch Penguin/Roc Kenn Brown by John Vornholt August 2002 The Virtual Economy Random House Children's Publishing CHESLEY cont’d on pg. 23
WINTER 2003 I 21 reports & reviews
Much of What I Know of the David and Lori Dietrick, Jean-Pierre Folk by Nalo Hopkinson (Warner Aspect) Philcon 2003 Normand, and Shirley and Russell Ferrell. Special Award, Professional was a tie between Jo Fletcher (for editing the Joni Brill Dashoff Philcon 2004 is pleased to announce its Artists Guests will be Greg and Tim Fantasy Masterworks series, Gollancz) and Philcon Art Show Director Hildebrandt. Stephen Jones (for editing) Special Award, Non-professional went Philcon 2003 was in a "new" hotel, to Raymond Russell and Rosalie Parker World Fantasy Awards the Philadelphia Center City Marriott; new (for Tartarus Press) for the regional only, because it was used The World Fantasy Awards were pre as the headquarters hotel for the sented at the 28th Annual World Fantasy ContStellation XXI Art Show Report Philadelphia Worldcon in 2001. Philcon Convention in Minneapolis, Minnesota. had its expected number of attendees, The Gahan Wilson-designed trophies were by Randy B. Cleary who were offered extensive programming presented November 2nd at the annual The total membership for the and activities scattered over three floors. banquet honoring the winners. A panel of ContStellation XXI convention this year, The dealers and art show shared a ball international room on the middle floor but we each judges selected seemed to have had less foot traffic and the winners from PHILCON 2003 sales than we wanted. fantasy materials Art Show Awards Our guest artist Donato Giancola published in brought an extensive body of work, and 2001. The World his premier piece of The Lord of the Rings Fantasy Award for POPULAR VOTE "The Expulsion", won several awards, and Best artist was First Place: Donato Giancola for The Hobbit: Expulsion had brisk print sales. Quynh Mai Nguyen, presented to Allen Second Place: Gary Lippincott for Off to the Ball one of three Canadian artists in atten Koszowski. Other dance, displayed painted silky fabricwork winners include: that excited our buyers. Philadelphian Novel: Ursula K. JUDGE'S CHOICE Le Guin for Zhe-Zhou Jiang’s black and white fantasies Best Professional Artist: Donato Giancola and scenes of Philadelphia, also merited The Other Wind; Best Aspiring Professional: Jim Tigarfor Dreams of Electric Sheep awards and sales. Johnna Klukas brought Novella: The Bird Best Black & White: Zhe Zhou Jiang her excellent woodwork. Lisa Snellings- Catcher, by Clark mailed her sculptures. There were S.P. Somtow, The Best Fabric Technique: Quynh Mai Nguyen pieces displayed that should be nominat Museum of Best Fantasy: N. Taylor Blanchard for Better Than Bubbles ed for Chesley awards. Horrors, Dennis Best Horror: Allen Koszowski Etchison editor, Theresa Mather mailed in her work, Best Humor: David Dietriek for Getting Frustrated (Leisure) including another ship on stone which Best Jewelry Craflwork: Bonnie Atwoodfor Citrine Accents generated the most active bidding war. Short Story: Best Portrait: Nicole Pellegrini for Journey to the West Jody Lee sent original illustrations from Queen for a Day Best Reflection: Alan F. Beck for Ancient Traveler Observing Himself various childrens' books that caught the by Albert Cowdry pocketbooks of several parents. Other big (F&SF Oct/Nov Best Science Fiction: Christina Yoderfor Self Perpetuation sellers were Gary Lippincott, N. Taylor 2002) Best 3-Dimensional: Lisa Snellings Clark for Winter Guardians Anthology: The Blanchard, Lynn Perkins, Hannah Shapero Most Unusual Media: Theresa Matherfor Sail Away Museum of and Ruth Thompson. Cathy and James Watercolor Technique: Christina Myshka Wappel sold most of their exquisite Horrors edited by Dennis Etchison, Watercolor, Body of Work: Gary Lippincott framed prints. editor (Leisure) Best Body of Woodwork: Johnna Klukas There were many artists who had not Collection: Skin previously displayed at Philcon, including
22 I THE ASFA QUARTERLY Game Related: CONTSTELLATION XXI David Cherry Art Show Awards New Age of Mythology Trio Poster for ¡Games advertising AOM Best Amateur Science Fiction: Melissa S. Humphrey, Comet Microsoft/Ensemble Studios Best Amateur Fantasy: Abranda Sisson, Monarch Queen http://www.ensemblestudios.com/mar- Best Amateur Horror: Allison Stein, Solitude keting/chesley/ Best Professional Science Fiction: Darrell K. Sweet, The Demons at Rainbow Bridge Best Professional Fantasy: Darrell K Sweet, Elven Ways William Hammock Best in Show: Darrell K Sweet, Faust Darkness and Light Judges Choice: Richard Miree, Mask 2 Art for Darkness and Light Expansion of Vigilance (e-game) Vigilance Press which ran from October 18th to sales for a single artist was $2500 and www.williamhammock.com/artwork- October 20th, 2002, in Huntsville, AL the lowest was, unfortunately, no sales. pageshtml/artworkpages_per/photoma- was about 200. The Artist Guest of We had 33 pieces that went to the nipulation/dlpure.html Honor was Darrel K. Sweet. This year's Saturday voice auction, which was well art show consisted of 352 pieces from attended. We also raised $262, from Todd Lockwood 18 artists (including 28 charity pieces), 22 donated pieces, for the North displayed on 31 panels and 4 tables. Alabama Science-Fiction Association. Spider Queen 10 artists participated as mail-in Be sure to keep up to date with Forgotten Realms Game Supplement "City exhibitors and the print shop had 6 next year's convention. ContStellation of the Spider Queen" artists participating. There were 83 XXII by checking out the web site regu Wizards of the Coast pieces sold for a total of $3,981. Thus larly: http://www.con-stellation.org/. the average sales price was $47.96 per 3-D: piece and the average total sales per artist was about $221.17. The most Q Tony Cipriano & Alex Toth Space Ghost Maquette
CHESLEY cont’d from pg. 21 Randall Ensley Wendy Proud Wired Magazine Not Poppy Nor Mandragora Through the Mist Janauary 2003 Challenging Destiny ft 14 June 2002 http://www.kontent- David A. Hardy online.com/00Gallery05.htm http://hometown.aol.com/antman5567/ Spaceship NPNM.html http://www.hardyart.demon.co.Uk/html/s Kinuko Y. Craft tarsend.html Sleeping Beauty Scott Gustafson Classic Fairy Tales by Kinuko Y. Craft Real Musgrave Seastar by Scott Gustafson Rocket Science 2002 Greenwich Workshop/Hallmark October 2002 Karl Deen Sanders Bob Eggleton Keeper of Time Dragonhenge William Stout Unpublished Color: by john Grant & Bob Eggleton Abu & the Seven Marvels by Richard Matheson Sterling Publications Kenn Brown September 2002 Gauntlet Press/Edge Books April 2002 Hive of Dreams http://www.kon tent- Randall Ensley online.com/02Gallery09.htm Cain's Legacy Bernie Wrightson The Leading Edge 44 Stuff Out1 A My Head David Hardy December 2002 by Joseph M. Monks & Bernie Wrightson Antares II Chanting Monks http://hometown.aol.com/antman5567/ http://www.hardyart.demon.co.uk/ht NPNM.html 2002
CHESLEY cont’d on pg. 26
WINTER 2003 I 23 news
Award Winners Comics amfenner@earthlink. net SPECTRUM 10 Gold Award: jon Foster ("Hunter #16" The jury for the tenth annual [cover]/dient: Vertigo/DC Comics) SFWA Grand Master Named Spectrum competition convened in Silver Award: Christopher Moeller By Sharon Lee, SFWA President Kansas City, MO on the weekend ("Lucifer #28" [cover]/dient: Vertigo/DC It is my honor to announce that February 21, 2003 to make their selec Comics) Ursula K. Le Guin, author of The tions from over 3500 works of fantastic- Dispossessed, The Left Hand of Darkness, themed art for this year's book. The jury Dimensional and the Earthsea tales, has been recog has given special recognition for superior Gold Award: Lawrence Northey nized as a SFWA (Science Fiction Writers achievement to the following artists in ("Greetings and Salutations from the of America) Grand Master. each of seven categories. The artists Planet Grape"/client: Randall & Kay The selection was made by the SFWA receive a Spectrum Award sculpted by Richmond) Board of Directors, in conjunction with Joseph DeVito which rests on a base Silver Award: William Basso ("The the living past presidents of SFWA. sculpted by Tom Banwell with either a Warlord"/dient: Eldritch Design, Inc.) Presentation of the award will be made gold or silver engraved plate bearing the during the Nebula Awards® Weekend in recipients name. The jury consisted of Editorial Philadelphia, April 18-20, 2003. Mark Chiarello [art director/artist], Robert Gold Award: James Gurney ("T. Rex Ms. Le Guin's career spans forty Eggleton [artist], C.F. Payne [artist], Bud Drinking"/client: Discover Magazine') years, beginning with the publication of Plant [illustration historian], Kelley Seda Gold Award: Omar Rayyan ("Turtle "April in Paris," in Fantastic (1962), and [artist], and Michael Whelan [artist]. Art Race'7client: Spider Magazine) includes seventeen novels and numerous works created by jurors were excluded shorter works, as well as many poems and from consideration for awards. All of the Institutional critical essays. Her work has won wide works selected by the judges (nearly 300 Gold Award: Peter de Sève ("Call For recognition, garnering, among others, the pieces by artists spanning the globe) will Entries Poster"/client: Society of PEN/Malamud Award for Short Fiction, be included in Spectrum 10: The Best in Illustrators) the James Tiptree Jr. Award, and the Contemporary Fantastic Art to be published Sturgeon, as well as multiple Nebula and by Underwood Books of Nevada City, CA Silver Award: Eric Bowman ("Iron Hugo awards. in October, 2003. Spectrum is distributed Maiden"/dient: self-promotion) Ms. Le Guin is the twentieth writer to the trade by Publishers Group West, recognized by SFWA as a Grand Master. Ingram, Baker & Taylor, and Diamond Unpublished She joins Robert A. Heinlein (1974), Jack Comic Distributors. The series' editors are Gold Award: Eric Joyner ("The Last Williamson (1975), Clifford D. Simak Cathy and Arnie Fenner. Please join us in Tinman") (1976), L. Sprague de Camp (1978), Fritz applauding these exceptional talents! Silver Award: Peter Meseldzija ("The Dawn of the Day") Leiber (1981), Andre Norton (1983), Advertising Arthur C. Clarke (1985), Isaac Asimov (1986), Alfred Bester (1987), Ray Gold Award: Dave McKean ("The Silver Grand Master Award Bradbury (1988), Lester del Rey (1990), Snail"/dient: The Silver Snail) (presented by the Spectrum Board) Frederik Pohl (1992), Damon Knight Silver Award: Donato Giancola ("Star Michael William Kaluta (1994), A. E. van Vogt (1995), Jack Vance The Spectrum Grand Master Award is pre Wars Galaxies'Yclient: LucasArts Ltd.) (1996), Poul Anderson (1997), Hal sented to a living artist for career Clement (1998), Brian Aldiss (1999), and Book excellence. Philip Jose Farmer (2000). Gold Award: Charles Vess ("A Circle of For additional information please contact Cats" [cover]/dient: Viking Books) Tim Underwood/Underwood Books, New Exhibition Honors A.C. Silver Award: Kinuko Y. Craft ("Sleeping P.O. Box 1919, Nevada City, CA 95959 *or* Radebaugh Beauty" [cover]/dient: SeaStar Cathy Fenner/Spectrum, P.O. Box Mel. White Books) 4422, Overland Park, KS 66204 // email
24 I THE ASFA QUARTERLY In the historic Old City section of 1930's till the mid 1950's. every which way but Tuesday! While I Philadelphia, a new museum and gallery Lost Highways Archive & Research don't intend to feature such wall-to-wall devoted to old automobiles is bringing to Library is hosting an exhibition of some coverage in the regular issues of CBA, I will light the works of one of the early pio of Radebaugh's recently rediscovered spotlight smaller, more manageable sub neers of futuristic illustration: A. C. works. ASFA members and friends are jects within (we hope) every issue, and Radebaugh. invited to visit the show, either in person leave the 'carpet-bombing' approach for Radebaugh's life was devoted to illus or online. More about Radebaugh and the CBA Specials we will be releasing every tration and design. His earliest artwork this collection of his illustrations can be so often." appeared on a neighbor's barn near his found online at http://www.losthigh- New directions for CBA include more boyhood home, Coldwater, Mich. When ways.org/radebaugh.html. The focus on individual artists, whether they he moved away from home, he found Radebaugh exhibit can be found at Lost be contemporary newcomers or tradition work in a number of different fields but Highways Museum and Callery, 307 al fan favorites. Each issue of the new managed to tie each one into his artwork. Market Street, Philadelphia. Comic Book Artist will continue to feature He drew illustrations of more efficient and comprehensive interviews, as well as comfortable buses for the bus company headlining creators who have made a sig nificant impact on the field. The when he worked as a driver. Later, he Comic Book Artist Magazine to be worked as an usher and scene painter for a revamped magazine will also inaugurate Published by Top Shelf Comics theatre. After leaving that job, he became news and review departments as well as a hotel clerk and ended up designing a From Top Shelf Comics the debut of a color section. "We will vig mural for the hotel. Working small jobs orously cover the field in typical CBA fash like these, by 1936, he had enough of a The two-time Eisner award-winning ion, with emphasis on art and quality," background in art and design to start magazine, Comic Book Artist, will now be Cooke explained, "pointing out what's doing commercial illustration. published by Top Shelf Productions, as of worthy, cool, and especially fun, from a But the war put a hold on his career. June 2003. positive and productive perspective." After Pearl Harbor, he entered the Army Winner of the 2000 and 2002 Will Future issues will showcase artists Frank and for nearly four years headed a design Eisner Comics Industry Award for Best Cho, Bernie Wrightson, Colleen Doran, section. One of the earliest projects he Comics-Related Periodical, Comic Book Alex Ross, Kyle Baker, William Stout, worked on was the problem of developing Artist has been devoted to covering the Michael Allred, George Tuska, Bob an instrument panel for vehicles that lives and works of interesting and often Burden, Tim Bradstreet, Jim Lee, Jeff would show the dials without giving the overlooked comics creators. It has done Smith, Mark Shultz, and the legendary enemy a signal that there were people in some fine investigative reporting as well; Will Eisner. the area. Radebaugh hit upon fluorescent examining hitherto unknown aspects of Current plans are for CBA to release paints, which could be activated by black this wacky and wonderful field for the #1, Vol. 2 under the Top Shelf banner in light. The dials glowed brightly enough past five years, and quickly became a June 2003. The magazine will publish 10 for the soldiers to read them without giv favorite among fans and professionals. times a year, retail for $7.50, and will ing away their position to the enemy. "I've been gratified to receive encour release one to two Specials a year. Cooke But like any artist, he loved to explore agement and accolades from such diverse said, "We will aggressively seek advertising new media. So when he discovered that artists as Art Spiegelman and Jim Lee," as well as review current material (so we black light paints came in several colors, editor Cooke said. "Writers as different as implore folks to send review copies of he began using them for artwork. Alas, Michael Chabon and Stan Lee have also their stuff to CBA), and the magazine will none of these survive, but a report in a lent CBA their support, so needless to say not only showcase timeless features but newspaper in the 1950's called them it's been a long and delightfully strange also up-to-the-minute coverage of events "extremely dramatic. trip so far. And, I promise, it's going to get and publications important to our read Among his novel (and never realized) even stranger!" ers." Back issues of CBA's first 25-issue futurist concepts were designs for prefab Cooke plans an entire revamp for incarnation will still be sold through housing, helicopter buses, jet propelled CBA, though he assures that it will retain TwoMorrows Publishing, the former pub lighter-than-air craft, and seven-seater its strong emphasis on retrospective mate lisher of CBA. taxicabs that turn on their own axis and rial. "The original incarnation of CBA "Moving to Top Shelf is important for are piloted by a driver in an aircraft focused primarily on the history of comics me professionally and personally," Cooke canopy bubble behind the riders. He from the '60s to the early '80s, with occa added. "Chris Staros and Brett Warnock even had a concept for a type of house sional forays into the contemporary field. so obviously love comics, and I count that would revolve to face the sun. The magazine covered some pretty them as good friends, so I'm naturally Because illustration wasn't highly val diverse material, from Sugar St Spike to looking forward to the transition with ued as collectable art before the 1970's, National Lampoon, as well as devoting great enthusiasm. Top Shelf has published much of Radebaugh's work has been lost. issues to some of the field's top creators, outstanding material, both timeless and Fortunately for enthusiasts, the best exam including Neal Adams and Alex Toth. cutting-edge stuff I've been admiring for ples of his work appeared regularly on the We'd take a subject - say the comics of years, and I can't adequately express how cover of MOTOR magazine from the mid Atlas/Seaboard or Harvey Comics - and happy I am to be joining them." exhaustively cover every single aspect
WINTER 2003 I 25 CHESLEY cont’d from pg. 23 William Hammock New Sci-Fi Comedy Pluto’s Plight Death Crawl http://www.hardyart.demon.co.Uk/html/u Makes Use ofArtists and a Boxing http://www.williamhammock.com/art- npub02.html Champion workpageshtml/artworkpages_per/paint- ings/DeathCrawl.html William Hammock Artie Knapp an independent film 39 Monsters Maurizio Manzieri maker, has combined the talents of for http://www.williamhammock.com/art- mer world heavyweight boxing champi Briony: The Fan of Scales workpageshtml/artworkpages_per/paint- on, James "Buster" Douglas and science http://www.manzieri.com/SMARCH/skbo ings/39monsters.html fiction humor in a feature film Pluto's ok/image-html/sketch05.htm Plight. The movie, which will be William Hammock screened at select science fiction conven Maurizio Manzieri Caduceus tions throughout the U.S. and Canada The Skimmers' Lagoon http://www.williamhammock.com/art- before its release, was shot on a very http://www.manzieri.com/SMARCH/skbo workpageshtml/artworkpages_per/paint- tight budget. Of his film, Mr. Knapp ok/image-html/sketch09.htm insisted it "...would not have been made ings/Caduceus.html had it not been for the help of a lot of James Owen Matt Hughes people, especially the artists involved in Old Tom's Study the animation, storyboarding, and cos Consort of the Morning Star Pen & Ink tuming. All of the locations in the movie http://www.hughesillustration.eom/lilith.h (Displayed @ WFC) were provided for free, and the actors tm agreed to work on a stipend basis. The Mark Schultz art work and story boarding for the Tom Kidd La & the Leopards movie was a collaboration, with every Rungius Pass Pencil one being able to share ideas. Christina Oil Orsinelli designed the aliens uniforms by (Displayed @ WFC) asking everyone to come up with ideas. Lawrence Allen Williams From that she molded those ideals into Still Waters Don Maitz her own and came up with the design. Pencil ¡anny and Roses The animation for the film was created (Displayed @ Dragoncon) by using Lightwave Animation. Acrylic (Displayed @ Dragoncon) Pluto's Plight is a science fiction - Artistic Acheivement: comedy feature film. The web-site is www.plutosplight.com. Maurizio Manzieri Frank Cho Briony, Princess of Shadowmarch http://www.manzieri.com/SMARCH/art- Brad Holland book/briony.htm Horror Writer’s ofAmerica ProLiteracy Auction A Success Tom Kidd Margaret Walty Werewolves The Horror Writer's of America Alan Lee Acrylic Worldwide ProLiteracy Auction on EBay (Displayed @ WFC) produced $8060.89 in sales. After eBay Hayao Miyazaki fees, credit card fees, and additional ship Michael Whelan ping fees, the total profit on the auction Omar Rayyan came to $7,478.43, half of which will go Bean Stalk to ProLiteracy Worldwide and half will go Alex Ross to HWA. A. B. Word Among the items that went for the Swan Song Maurice Sendak highest bids were several art items — one Pastel supplied by ASFA member CAK. The high (Displayed @ WFC) William Stout bid items were: A copy of Asimov's Magazine #/ (signed by Isaac Asimov): Unpublished Monochrome: Kinuko Y. Craft donated by F. Paul Wilson, which went for $834.87. The opportunity for the win Frank Cho Q ner's Vampire: The Masquerade character Fight Club: Monkey Boy vs Blip appear in an upcoming White Wolf novel: Ink
PUBLISHING cont’d on pg. 23
26 I THE ASFA QUARTERLY of interest
to find our own Far Enough Windows, whisking us away to the almost unimagin able. John Grant has given us a complex, DRAGONHENGE layered, magical context, with a startling B 06 E «& I. E TO N ■ .10 H N S S A N T climax. I don't want to give too many details away, rather wanting each of you to discover the identity and purpose of each character as they are introduced, on your own. This tale will certainly stay in one's mind, floating back to the top of one's consciousness time and time again for revisiting. Ron Tiner's illustrations are dramatic and powerful. Each chapter is headed with a black and white illustra tion. I recommend it highly. It WILL become a classic. John Grant, you've done it again.
- ¡ae!
A FAIRY TALE FOR text and art, softly framing lyrical mytho GROWN-UPS OF ALL AGES logical tales, passed down for thousands of years by "master story tellers", them Dragonhenge selves having been created well before Far Enough Window: time itself. You must pick up this book. Be sure to read it under soft lights, where The Reclaiming of Fairyland Art by Bob Eggleton Text by John Grant multi-layered shadows will reflect the glowing imagery, and where the words ISBN: 1-85585-972-6 by John Grant will leap off the page and enter your Publisher: Paper Tiger Illustrated by Ron Tiner soul. It's a wonderful book. 128 full-color pages, harback Be Write Books Price: $29.95 ($46.95 CDN) $15.33 U.S. Softcover - /ael $1.50 E-book Dragonhenge is a mesmerizing collab oration between Author John Grant and Artist Bob Eggleton. Both of these creators John Grant is a remarkable and bril are well known for their many other ven liant author, in that he can take some tures. John Grant/aka Paul Barnett, is a thing quite generally familiar to us all, Chesley award winning art director, then put a deliciously witty, and at times Editor, Author. Then there's Bob Eggleton, almost naughty twist to it, forcing us to who's earned lots of Hugo and Chesley keep reading to see what is just around Awards through these many years. I have the bend of each page. His latest novel, to mention also, John Grant's lovely text Far Enough Window is just such a tale. It is for my book Perceptualistics. (shameless a remarkable Fairy Tale for Grown-ups. plug here:) We should all be lucky enough, as is Dragonhenge, however, is something joanna, the bored and lonely 17 year old, starkly unique, a seamless blending of
WINTER 2003 I 27 Martina PLŒîWÀ
hen you start winning Fiction Convention in San Jose. awards for your art at six and make your first profes Crescent Blues: You mentioned that you sional sales at 15, you'd think it would received your art education at Bratislava. be easy to get into art school. Not so What was your course of study, fine arts? for Slovak artist Martina Pilcerova. She waited five years, re-applying five times to enter the Academy of Fine Martina Pilcerova: Yes, but I had some Arts and Design in Bratislava, Slovakia. problems, because I always did science fiction and fantasy art, and at other uni The Academy's resistance to the sci versities, the pictures don't tend in those ence fiction and fantasy art Pilcerova directions. They want more abstract art loved slowed her down, but only a lit or illustration. So, it was very hard for me. tle. She worked while waiting to enter I wasn't accepted [into art college] for the Academy, she worked in the five years. I had to try every year, and on Academy. Today she ranks among the the fifth try, I was accepted at last. most decorated and recognized artists I studied graphics. I studied with in the Czech and Slovak Republics, Professor Popovich in the experimental and is expanding her horizons to the studio that was called "KRESBA." It's a Reprinted with permission from United States. Crescent Blues caught really funny word, because "KR" is short Crescent Blues On Line Magazine up with Pilcerova on her way to for "creative." "E" is "experimental." "S" www.crescentblues.com Con Jose, the 60th World Science is studio, and "BA" is for "Bratislava."
28 I THE ASFA QUARTERLY Crescent Blues: Ah, it's an acronym.
Martina Pilcerova: Yes, it's like "Creative Experimental Studio, Bratislava." It was really fun, because I could try many more techniques. I could try casting bronze. I could do short movies. I could do drawings, graphics, paintings - anything.
Crescent Blues: Persevering that long through the application process required a tremendous amount of dedication. Why were you so intent on pursuing science fiction and fanta sy art? Did you read it when you were younger?
Martina Pilcerova: I'm not sure why. I don't know if I saw a movie when I was very young. But ever since I can remember, I was drawing spaceships and astronauts. Much later, I started reading fantasy and science fiction. I also saw the Star Wars movies. I always liked mathematics and physics and astronomy, and I think that had something to do with it.
Crescent Blues: Which do you prefer, ABOVE LEFT: Martina Pilcerova science fiction or fantasy? ABOVE: Downtown Blues" Martina Pilcerova: I like to read science © Martina Pilcerova fiction more, but sometimes I also L______
WINTER 2003 I 29 ■
read fantasy. But it doesn't matter when I hasn't been paint; I also like to paint fantasy. made yet. I hope it will be. Crescent Blues: I wondered, because the new material on your site seems focused Crescent Blues: on The Lord of the Rings. But you also did your own short Martina Pilcerova: Yes, because I saw the movie. Was that movie, and I was so inspired. I never read in school? it before, actually. Martina Crescent Blues: But you read the book Pilcerova: That after seeing the movie? was in the stu dio. I tried to do Martina Pilcerova: Yes. the short movie, because I'm real Crescent Blues: But from your art, it looks ly into movies. I like you read Dune a long time ago. took a few les sons at the Film Martina Pilcerova: Yes, I am a really big Academy in fan of Dune. I wanted to get onto the set Bratislava. I took of the new TV series that was made in animation, story Prague, but I guess I don't know the right boarding, people. I thought I could do some con scriptwriting and ceptual, because I had already worked on camera opera one movie before. tion, because I would like to Crescent Blues: Your bio on the Association work for science of Science Fiction and Fantasy Artists site fiction movies. mentioned that you did work for some thing called When the Crescent Blues: Is Music's Over. Could you tell our readers a little bit about that?
Martina Pilcerova: The story for When the Music's Over was written by a German writer named Myra Cakan. She was asked to do the script by Red Beat Pictures. It's a German production com pany. She wanted to write the script with John Shirley, who did the script for The Crow. The produc er contacted me to do eight script illustrations. Two of them were designs for aliens and the alien ship. Others were the con ceptuáis for the location. So I had to go to the loca tions in Berlin and Hamburg. I had to use a real building and put futuristic elements on it that change the world into some TOP: ‘Titan", ©Martina Pilcerova ABOVE: "Martina on Dune", thing more apocalyptic. But the movie © Martina Pilcerova
30 I THE ASFA QUARTERLY “Strangeworld", © Martina Pilcerova that one of the reasons you came to the U.S.? Martina Pilcerova: I usually read them in Martina Pilcerova: I've been published Czech, because the publisher sends me since I was 15. So I also did some covers Martina Pilcerova: I have a few meetings the translations. But for the cards I'm while I was studying. I was at the universi with some producers and some people in working on, I'm reading A Came of ty for six years, and I wanted to go to sci movies in Los Angeles. This will be after Thrones in English. ence fiction conventions while I was there. the Worldcon in September. So I had to work to be able to pay for the Crescent Blues: I noticed in your illustration trips. And it is not good to stop when you Crescent Blues: So you'll be in the U.S. for for Bujold's The Warrior's Apprentice, you are working in a profession, because they a couple of months. Will you be doing dressed the characters in what almost looked will forget you, and you will need to work any painting while you're here? like Renaissance costumes. What prompted harder to get back into the business. your decision to evoke that period? Martina Pilcerova: I have to do one Crescent Blues: What's your favorite medi painting for the Czech publisher who Martina Pilcerova: I was trying to come um for painting? publishes [the Czech language version of] up with some new kind of costumes, and the Lois McMasters Bujold stories. I always that was my feeling when I read the book. Martina Pilcerova: I started to paint with do the covers for the series. Also, I've The Warrior's Apprentice was first book by oils a few years ago, but I changed to been working on this new collectible card Bujold published in the Czech Republic, acrylics, because acrylics dry much more game for George R.R. Martin related to and I had the feeling that I should show quickly. Acrylics allowed me to work bet the book A Came of Thrones. I have something related to the aristocracy of the ter with color, because before, with oils, I already done ten cards, and now I have to planet. Maybe, after reading more of her used to blur them too much. Now I real do an additional ten. books, I would have done it differently. ize which color works for what, and I have a feeling I understand those pigments. So Crescent Blues: What do you think of Crescent Blues: Well, Barayarran politics do came back to oils, because I feel much Bujold's novels? have a decidedly Machiavellian spin to more comfortable with them. them. Getting back to something you said Martina Pilcerova: I really like them. They earlier - you said you waited five years Crescent Blues: So you were working with are relaxing and funny. before you could enter the university at oils even before you went to the university? Bratislava. Were you working as an artist Martina Pilcerova: Yes, but now I usually Crescent Blues: Do you read at that time or did you need to take do about 40 percent of the painting in them in English or in Slovak? another job? acrylics, and on top of that I work with
WINTER 2003 I 31 “Wanderer”. © Martina Pilcerova oils. Because with acrylics I can get a really Martina Pilcerova: They should have Martina Pilcerova:l always try to read the glossy surface that really shines through. been postcards, but in the end they were story, because then I can get the right Then, when I want to have something not published as postcards. The one feeling from the story. There are always more matte or opaque, I work with oils. It called Kremnica was done in the universi some details that tell me a lot, even if gives me the feeling that I want. ty. It was a trip to this place that the uni they're not important. versity owned. We lived in this old castle, Crescent Blues: Do you feel stronger in and I was really inspired by the rooms. So Crescent Blues: When you were drawing your drawing skills or your coloring skills? I started to draw it from reality, using the the castles, did you use any Czech or room as a model, and I put these monks Slovakian castles as references? Martina Pilcerova: In my coloring skills. into the drawing. At that time I didn't know, but some friends told me that in Martina Pilcerova: Yes. I usually take a Crescent Blues: What do you like particu the past, monks lived in that place. But I lot of photos of everyplace that I visit. I larly about working with color? didn't know about it. They also told me it used a lot of existing castles -- and not was a kind of haunted place. even in Slovakia. They were from all over Martina Pilcerova: If I should compare Europe. I tried to use very different places it somehow, it's like, when I work in Crescent Blues: Do you like for every description. pencil, in black and white, it's like two haunted castles? dimensions. But when I put the color on Crescent Blues: For every card in every it, it's the third dimension. It's like more Martina Pilcerova: Yes, I do. But the land, you tried to have something dif space, more possibilities to express funny thing about this drawing was, at ferent. That makes a lot of sense. What something, because colors tell much the time I was working on it, I didn't do you enjoy more: book covers or inte more about feelings. know about it. It was just coincidence rior illustrations?
Crescent Blues: You've done so many dif Crescent Blues: And now you're doing the Martina Pilcerova: That's a hard ques ferent kinds of things, even postcards. cards for George R.R. Martin's Thrones tion. It's the same for me. If I do a book There are a couple on view at Paper Tiger, series. Did you read the books before you cover, I have to be careful about the com one called Kremnica. What's the story started doing the cards? position so that there is no problem with behind the postcards? where they put the title. That's the only
32 I THE ASFA QUARTERLY difference, but I don't feel any difference.
Crescent Blues: I notice on your Web site you've got a couple of bronze heads. Do you like working with bronze?
Martina Pilcerova: I did it only once, because I wanted to try how it feels to work with this material. I feel pretty com fortable with sculpting. It's not something I want to press myself into, but I wanted to try it. The heads were inspired by the cover art I made at that time. I think it was for Nancy Kress, her story, "The Flowers of Aulit Prison." There was this character who looked half like a cat and half like a human. I did take photos of one girl who started in our school. She was really strange looking. I did more paint ings and drawings about this character, and then I was inspired to do these bronze heads. In the end they were differ ent than the character.
Crescent Blues: What is your particular favorite type of work to do - painting, sculpture, animation...?
Martina Pilcerova: My particular favorite is science fiction. I also like to do fantasy sometimes, but it depends. I like mostly science fiction and environmental things - these huge cities and structures in "Weightless 2”, © Madina Pilcerova space where I can do rusting walls, com plicated structures. Bladerunner or what else? Martina Pilcerova: No.
Crescent Blues: Intricate architecture. And I love to listen to Michael Oldfield's Crescent Blues: How did you get your first music. If you go to my site, you can see break? Did you know somebody in the Martina Pilcerova: Many textures - I the paintings that are inspired by Dune business or did you submit stuff? How did love to do the textures on streets, walls and others that are inspired by Michael it happen? or bridges. The painting Downtown Blues Oldfield's music. I did about five of them. and the new one, Wasteland, are ones One of them is called Secrets, which was Martina Pilcerova: Since I was a small that I really like. Downtown Blues was the used by Sci-fi Chronicles this spring, and child, I was always painting, always draw cover for a German book, but it was also one of them was also published in ing. When I was six there was a competi chosen for Spectrum [the annual com Michael Oldfield's official magazine in tion, and I won the first award in pendium of the best in contemporary London. It was inspired by Tubular Bells 3. Czechoslovakia. Later, I was doing some fantasy art] last year. comics for myself, and I showed them to Crescent Blues: You said you sold your first a few people. They told me to show it to Crescent Blues: Do you have any painting art when you were 15. How long have the editor of the comics magazine that rituals, or do you just stand up and paint? you been working professionally? was just published in Slovakia. He really liked it, and he published it. Martina Pilcerova: I'm really connected Martina Pilcerova: Fifteen years -- When I started to covers for books, it was with music. When I do something, I OK, fourteen and a half. I started very hard to begin with, because I was liv always have to listen to some kind of with comics, and I was doing comics ing in a small town. I was not at the uni music. I usually listen to soundtracks, and for five years, then I slowly started versity. I was far away from all the publish choose two or three CDs for one painting, [ to make covers and illustrations. ers and everybody. So it was very hard and I listen to them again and again while and took a lot of time. I'm painting. I especially enjoy the sound Crescent Blues: Do you still do comics? It's the same here in the United States. A tracks to The Lord of the Rings or Matrix or lot of publishers are afraid to work with
WINTER 2003 I 33 me, because I am far away. But it is not a problem, because I can be connected with them through the Internet, and we have U.P.S. or FedEx.
Crescent Blues: Speaking of the Internet, do you work exclusively in "physical media" or do you do any digital art?
Martina Pilcerova: I like to work in phys ical media, but when I scan it, I like to change some small things in the paint ing. Not really too much, but sometimes I'll add some airbrush, or I'll adjust colors in the way I like them - just small, finish ing stuff.
Crescent Blues: Enhancements to make it print better.
Martina Pilcerova: Yes. I've also started to use more digital [tools] for sketches, when I have to rework something. I do much more stuff in the computer today.
Crescent Blues: You've got quite a list of awards. Is there one, in particular, that means the most to you?
Martina Pilcerova: I am really happy that I won those Czechoslovakian awards. They are called the Science Fiction, Fantasy and Horror Academy Awards for the Best in the Czech and Slovak Republics. There is a committee that looks Martina Pilcerova: Yes, and Slovak's I think it's the same, because I always do at all the books that were published and read Czech books, but Czechs don't read the sketch first, and the publisher tells me they give awards for the best artwork. Slovak books. The market in Slovakia is if I should rework something a different I've won it three times now, and some so small, the publishers just get back way. Then I do the painting. artists really hate me, because they want money for the printing. So they don't to win it too. really print a lot of science fiction books. Crescent Blues: What do you think will be your next steps? I'd like to add that fandom is still together Crescent Blues: What would you say are in the Czech and Slovak Republics. the major differences between the Czech Martina Pilcerova: I've made some really Fandom is not divided. We have conven good contacts in the movie industry, and I and Slovak science fiction/fantasy scenes tions that are for both Slovaks and Czechs. really hope to get my dream job working and the U.S. science fiction/fantasy scene? We didn't divide it like the states did. for tne movies.
Martina Pilcerova: I don't see that much Crescent Blues: How has the division of Q difference in working with them...except the republics affected you as an artist? that Czech's don't like to pay. lean Marie Ward
Martina Pilcerova: I think it didn't have In addition to editing Crescent Blues, lean Crescent Blues: Nobody likes to pay. any effect, because it happened just Marie Ward writes for a number of Web when I was starting to break in. I think it based publications. Most recently, Science Martina Pilcerova: And the price in would be the same, regardless. I work Fiction Weekly ran her interviews with Czech Republic is very small compared to Czech publishers, because most of the Farscape's Virginia Hey, and classic anima American prices. For me this is a problem, books are published in Czech Republic. tors Don Bluth and Cary Coldman. because I need this money to spend in the U.S. for work, to make contacts and Crescent Blues: Prague's a bigger city meet people. than Bratislava.
34 I THE ASFA QUARTERLY far artists
Tips for Turning Prints to Profits: Some General Advice for Aspiring Print Artists By Nene Tina Thomas & Steven Plagman
At almost every show I attend, people absolutely MUST have nudity in your further and go for gynecological shots ask me for advice. Some questions I can't work, here is a rule of thumb to consider: (close-ups of pubic areas) forget it. answer, as I decided a long time ago not Say you have an image that will sell a The only exception to this formula is to pursue contract work. But some advice thousand prints. If you feature a woman if you are gearing your art toward a spe I can give...specifically, how to make your with bare breasts or a bare ass, cut your cific market that accepts such artwork. work appeal to the broadest audience pos sales by 50%. If you feature a woman Furry Cons are amenable to pictures fea sible. The tips that I have written aren't a with exposed pubic hair, cut THAT num turing substantial nudity or sexual acts. magic formula and in no way guarantee ber by 50%. If you have a male with There are also several gay-specific conven success! But, if you follow them as much exposed genitalia, cut the number in half tions that will take it. And then there are as possible, you will find that your work again. And if the male is erect, or if you the eroticons that actively cater to this will reach a larger audience...and that can market. Finding these shows is difficult, translate directly into sales. but by no means impossible. But the vast majority of shows are family-oriented. 1) Avoid nudity in your artwork as That means they will do whatever it takes much as possible. to keep it clean...including banning your Hint at sexuality, make the people in art or refusing to display it. the piece tease, but don't show anything. Intellectually, people understand that 2) Make your characters as nudity in art is a time-honored tradition, generic as possible. and that just because a piece features In order to sell as many prints as pos nudity in it, that doesn't make it smut. sible, you have to make your image Unfortunately, people are also sensitive to appeal to as many people as you can. what their friends and family will think, People are more likely to buy a print from and most will err on the side of caution. you if they can see themselves or their So while they may appreciate artwork that character in the image you have created. features nudity, they won't hang it on That means you have to paint generic their walls for fear of offending someone. characters. Say you draw a beautiful Simply put, that means you lost a sale. feature OVERT sexual acts, cut it in half woman that appeals to everyone. The Even worse, some art shows will not even yet again. And finally, if the featured sex more specific you make the character, the allow you to display your art if you feature act is of two men, cut it in half again. more it will appeal to a specific crowd and nudity. Some will, but will place your That means if you would have sold 1000 the less it will appeal to a general crowd. work in a closed-off area! The object is to prints to begin with, you would sell about I his is absolutely impossible to avoid! display your art to the maximum number 500 with bare breasts or ass, 250 with Simply choosing a hair color will lose a of people possible, not to be placed in a pubic hair, 125 with a nude male, about percentage of your audience. For exam closet for fear of offending people! 62 with an erection or with overt sexual ple, people that are partial to redheads There are degrees to this rule! If you acts being displayed, and 31 with gay won't buy pictures of brunettes or men having sex. If you take it one step
WINTER 2003 I 35 blondes etc. You can't avoid that! But also arranges my displays at every show we ry colors just looks unprofessional, no don't compound the problem by giving attend. Here is what he said: matter how good the print itself may be. I her a tattoo and a nose ring, and putting "Presentation can be vital in the way have seen very good artists get over her on a motorcycle. Motorcycle enthusi people perceive your work, and first looked at convention after convention, asts will love the piece: the rest of the impressions are everything. If a person simply because their displays look sloppy. audience won't. approaches your display and sees loose However, going to the opposite extreme prints hung by bulldog clips, more often is also bad. Cutting a fancy mat that uses 3) Ugly doesn't sell! When you create a than not they are going to walk away." the finest materials is great, unless it over character, make him or her as beautiful as The same thing applies to matted prints: powers the piece to the point that all you possible, and pay special attention to if you mat your prints, make sure that the can see is the mat, not the art. People will anatomy! mat work compliments the piece and not pay out their hard-earned money for something that looks horrible on the wall, In fantasy art, people are looking for doesn't detract from it. You don't have to no matter how well it may be cut. an ideal representation of the things that do fancy cuts, but putting a lime-green they like, especially Roleplaying gamers. mat on a red painting is not good. And The best mat is tastefully cut without People never think of their characters as make sure your cuts are clean! Ragged being too plain. Ideally, you should use being ugly or fat or the like. Every charac mats detract from a display just as much the artwork itself to plan out the mat. For ter out there is a supermodel or body as using bad color selection! example, look at the general flow of the builder by day, gypsy sorceress with wolf To illustrate this point, imagine the piece. Does the action flow from one side or raven familiar by night. That means scenario where three people go to a job of the piece to another? If so, perhaps a that they want perfect representations interview. All three have the exact same ray pattern or a diagonal cut might bring and it is up to you to provide them. The qualifications, from the amount of experi it out a little more. Is the action centered? single most import feature to get right is ence, to the amount of schooling. All If so, maybe a centered pattern might be the face...and more specifically the eyes. three of them look exactly alike, except in order. Is the piece elegant or flashy? The first place people look when seeing a for one thing; the way they dress. The first Elegant needs a plain cut - perhaps a 3-D print for the first time is directly in the person is wearing mismatched clothes Double Bevel - while a flashy piece could eyes. After that they will take in the rest that haven't seen a washing machine for use zigzag offset corners. The possibilities of the work, but if the face is flawed then weeks, let alone an iron. This person has are endless. most likely people will remember it and taken no pride whatsoever in his own There are other rules for displaying not buy the print. So take time in creat appearance, relying on his personal expe your art in a professional manner. Make ing a face. A beautiful face can hide a rience to get him the job. sure that you don't crowd your display. If multitude of sins. The second person arrives for the you have a lot of pieces to sell, pay for the interview wearing a full tuxedo (including extra panels. Crowded displays are very 4) Display your work in as professional a tails and a top hat) that is glittering with difficult to look at, and most people won't manner as possible. rhinestones. He is immaculately dressed, take the time. I asked my husband to address this par- but looks like a ringmaster at a circus, or ticular point, as he is not only at the very least, an ice skater. His qualifi 5) If you are painting the one responsible for cations are great, but he just looks gaudy. mythological creatures, stick to the ones matting and framing The third person arrives for the inter that everyone knows. my work, view looking like a model in CQ. He is Fantasy creatures are very popular but he stylishly dressed, but not overwhelmingly with the buying crowd. However, certain so. He has broad shoulders, and the cut of creatures are more popular than others, the jacket emphasizes this, without and you have to cater to the buying pub screaming it. Overall, he is the most lic. Dragons are perennial favorites, as are professional looking interviewee of fairies, mermaids, pegasi and unicoms. the group. Less popular are griffons and hippogriffs. Who would you hire? In a Western dragons (like the ones Elmore ' perfect world, you can hire any paints) are more popular than Eastern of them and you would be fine. Dragons (Chinese Dragons.) This rule Unfortunately, this is not a per applies to animals as well. The most pop fect world, and image is every ular creatures among fantasy art collectors thing. Who would you want to are ravens, wolves, falcons and hawks, represent you to the public; the horses, and dolphins. For some odd rea dirtbag, the peacock, or the pro son, giant cats are not as popular, unless fessional? you go for the really exotic breeds: white The art world is exactly the tigers, snow leopards, black panthers etc. same way. Artwork that is pre- Keep this in mind when you are । T ,4/ sented in a ragged, dog-eared painting your main figure as well. Elves \ mat that uses uncomplimenta- and humans sell quite well, dwarves and
' © Nene Thomas
36 I THE ASFA QUARTERLY halflings don't. Centaurs and other half many prints in an edition, then stick to where the strengths and weaknesses in human figures (or anthropomorphic crea that, even if doing so will cost you money. your work are. So don't take it personally tures, i.e. "fuzzies") have a market, but the If you think an image is going to be pop if someone criticizes your art. You will vast majority of buyers aren't interested. ular, there are ways to have your cake and learn more from people that point out the eat it too. As long as you tell people UP flaws in your work than you will from 6) You can't fool the buying public. They FRONT that you reserve the right to those who compliment it. Also, if you are are smarter than you think. reprint an image or have an open edition, mailing 10 pieces of art to shows and only The average buyer knows at first then there is nothing wrong with reprint one piece is selling consistently, try to fig sight whether or not they like a print well ing a sold-out edition. If one of your cus ure out what you did right in that one enough to pay good money for it. You tomers finds out that you have reprinted a piece, and what you did wrong in the can tell them all about the inherent sym sold-out edition dishonestly however, you others. As I mentioned earlier, you can't bolism and mysticism and the like that will lose not only his trust but all of his fool the buying public. THEY will tell you you have placed in the image, but all they future business as well. "Prefer a loss to a where your work is good and where it are really concerned with is whether or dishonest gain; the one brings pain at the isn't. There is a caveat to this rule: not the print will look good in their moment, the other for all time." house. The fact is, almost every single 10-a) Artists are not the best judges of print that you sell is an impulse buy. A 9) Find ways to cut costs, and keep your their own work. potential customer already knows if they prints as cheap as possible. You will find that prints that you are interested in buying a print of your No matter how good your art may think are perfect don't sell as well as you work. If they are hesitant about buying be, if it is too expensive for people to buy, think they should, and prints that you from you, usually it is because they are think are utter crap sell as fast as you can wondering if they have the money or the mat them. Don't get discouraged by this! room to display it or a way to get it Do your own thing and let the sales take home...etc. It normally has nothing to care of themselves. do with the print itself. If a print isn't sell ing, then YOU did something wrong and 11) Size matters. it is up to you to correct it. People equate size with value. The larger a print is, the more you can charge 7) Paint in bright colors. It makes your for it. So no matter how good and display stand out. detailed a print is, if it is smaller charge Sometimes, people can be like crows. less, if it is larger, charge more. There are They are attracted to shiny objects and are exceptions of course! A small original is naturally drawn to them, so if you paint in worth more than a large print to the buy bright colors they will naturally be drawn ing public. A large open-edition print to your display. If you normally do paint isn't worth as much as a small, limited ings with darker themes, a single bright edition print. they won't buy it. "Quantity has a quality painting can be enough to bring people in I hope that this information can help all it's own" is very true when it comes to to your display. But when you hang your those of you who are wondering what it art: selling ten prints at $10 each is much work, make sure that the brightest piece is takes to become a print artist. It took me easier than selling one print for $100. In hung as close to the center as possible and a long time to learn some of the lessons order to keep the price of your prints from the rest arranged around it. Bold colors that I have posted here. So I hope you becoming too high for people to afford, make a statement about your work, and can profit from them! Good luck! you need to learn how to cut costs. Buy a people will respond. mat cutter and learn how to mat your own work. Buy your supplies (frames, Q 8) If you advertise a print run as a limited glass, mat-board, tape, EVERYTHING) from edition, keep it that way. Reprinting will wholesalers whenever possible. Ship Nene Tina Thomas & cost you customers. things via U.S. Post a couple weeks in Steven Plag man Of all of these bits of advice, this is advance to save shipping. Anything you the one that I have the hardest time men can do to bring down your costs is savings Nene Thomas, with the help of husband tioning, simply because so many people that you can pass on to your customers. Steven Plagman, has built a successful in our career field are guilty of it. It takes Don't lose your shirt over it though! If you career out of selling prints other popular a long time to build up a good clientele. have to charge more for a print, then do it paintings and drawings. Earning fame Once you have "regulars" you will find and don't think twice about it. You are in as a Magic Card artist, she is now con that they tend to spend more money this to make money after all, and taking a sidered one of the top selling exhibitors than other people. The problem is trust is loss is defeating the purpose. at art shows and dealers rooms across a very difficult thing to earn, and you can the country. lose it forever in an instant. If you tell 10) Never fall in love with your own work. people that there are only going to be so Criticism is the best way to learn
WINTER 2003 I 37 updates
The Directory Update is a service to our Randall Ensley Yes Mailings IL,PA,SPA,GD members to allow members to keep their 37 Richard Road ASFA membership directory current This Gales Ferry, CT 06335 Michael James Komarck is the third update following publication [email protected] Komarck Illustration and Design of the 2002 membership Directory and hometown.aol.com/antman5567/page1 .html [email protected] includes information received by the Yes Mailing IL,SPA, www. koma rcka rt. com Secretary's office up to January 30, 2003 Attention Art Show Directors: -Those Tania Henderson Gary LaSasso members with "Yes Mailing" after their 30 Gilbert St. 27837 U.S. 19 N. Unit F entry are interested in receiving Art Show South Salem, NY 10590 Clearwater, FL 33761 Information. Please do not send any mail [email protected] 727 415-6483 Fax & W Phone 570 ings to those with "No Mailing" or who 559-7875 tania_henderson.tripod.com have not listed a preference. For a com Yes Mailings IL,SC Yes Mailings P,C/CA plete list of all members who have indicat ed an interest in receiving Art Show and William M. Lawson Drew Hofmann Contest mailings, contact the Secretary or 5009 Millsbee Lane Dizzy Wizard Designs your regional Director. Albany, GA 31721 P.O. Box 855 229 903-0827 Fax 229 903-0841 Dunedin, FL 34697 ASFA is pleased to welcome the fol [email protected] 727 278-3000 lowing new members: www.trafford.com/robots/02-1208.html [email protected] Yes Mailings W Yes Mailings IL,PA,CA Theresa Bayer 7216 Marywood Cir Todd Lyles Caisa Margta Howerin Austin, TX 78723 305 Tamworth Drive [email protected] 512 926-0618 Nashville, TN 37214 www.home.earthlink.net/~margta [email protected] 615 885-5154 www.TBARTS.com Raul G. Jimenez [email protected] Yes Mailings PA, SC Jimenez Studios www.toddlyles.com 870 Little E. Neck Rd. Apt # DI Yes Mailings IL,CA,P David Brownell West Babylon, NY 11704 127 Princeton St. Jose Pardo 631 669-5952 Fax same Manchester, CT 06040 14933 Wild Wood Lily Ct. [email protected] 860 729-0585 Orlando, FL 32824-6466 nyillustrator.com [email protected] 407 240-4648 Fax same Yes Mailings IL,PA,GD Yes Mailings IL,P,PA [email protected] John E. Kaufmann Yes Mailings IL,PA,CA Daniel Bryce JEK Graphic Arts 1523 N. Elk Grove Ave. Apt # 3 25 Milky Way Dr. Gregg Parmentier Chicago, IL 60622 St. Charles, MO 63304 1628 York Ave 773 384-0338 636 936-8597 Fax same St. Paul,MN 55106-3635 [email protected] [email protected] 651-772-9695 Yes Mailings IL,PA,AC jekaufmann.com [email protected] IA,AC
38 I THE ASFA QUARTERLY Suzanne Sadler Fine Art Illustration ! 612 Lover's Lane Ceyanna Designs 7048 Oakwood Rd Steubenville, OH 43952 1907 Camden Court Cleveland, OH 44130 [email protected] Arlington, TX 76013 440-842-9861 Fax same Yes Mailings ED,SPA,W 817 543-2347 Fax 81 7 277-8796 [email protected] [email protected] www.nois.com/Frey/Frey.htm Michael Erickson ceyannadesigns.com 2382 Pembrook Dr. CA,CD,W Harold Hefner III Clearwater, FL 33764-6511 Catmonkey Creative Abranda Icle Sisson 12810 Pacific Ave #4 Grant Fuhst MuddVision Los Angeles, CA 90066 11005 Floral Park Drive Apt 1922 752 University Village, 310 572-7079 i Austin, TX 78759-4888 Salt Lake City UT 84108 [email protected] [email protected] Yes Mailings IL,GD,P Daniel Gelon www.muddvision.com Studio Wondercabinet Yes Mailings SPA, IL,P David Martin PMB # 307 117 East Louisa Street Works of the Fantastic Seattle, WA 98102 Cynthia Sadurni P.O. Box 37354 206-633-3583 [email protected] Albuquerque, NM 87176 C/CA,PA [email protected] Heather Hudson No Mailings AD,IL,GD Studio Wondercabinet Ellen Patricia Walroth [email protected] P.O. Box 310474 Jeff Ward www.studiowondercabinet.com New Braunfels, TX 78131-0474 Jeff Ward Illustration [email protected] 941 S. Trenton St. Angela Jones Yes Mailings W Rutherford, TN 38369 [email protected] 731 665-6443 Jane Starr Wells [email protected] Chris Jouan Grey Fox Works www.geocities.com/jwardillus Jouan Illustration 1009 Route 4- South Yes Mailings IL,P,PA P.O. Box 750242 Schuylerville, NY 12871 Dayton, OH 45475-0242 [email protected] The following members have Yes Mailings SPA,PJL changed all or part of their infor Mary C. Knapp mation: 41 Rocky Ledge Drive Steven A. Whitehead Clinton, CT 06413-1310 691 Kensington Dr. A'lis [email protected] Gahanna, OH 43230 29 Blenheim Rd. Columbus, OH 43214-3229 614 933-8647 Zanne Labonvilie [email protected] [email protected] Yes Mailings IL Rick Alexander 709 Bloom St. Apt 250 Joseph John Mauricio Celebration, FL 34747-4694 JM Arts ASFA Welcomes back the Following [email protected] Lapsed Members Georgia C. Barnes Yes Mailings 4200 The Woods Dr. Apt 1214 Beryl Bush San |ose, CA 95136-2247 Justin Miller P.O. Box 610253 6310 Stoneridge Mall Rd. Apt #D207 Bayside, NY 11361-0253 Kevin D. Brown Pleasanton, CA 94588-8044 718 357-6310 ThemeCon ST & F asfa-art.org/gallery/bush.html P.O. Box 416 Sammi Diane Owens Yes Mailings IL,PA Verona,VA 24482-0416 115 Monte Rey Dr. N. Los Alamos, NM 87544-3823 Daniel J. Frey Kathy Davis
WINTER 2003 I 39 Myrna S. Parmentier 624 W. Center St. [email protected] Sanwich, IL 60548-1429 Dawn "Rhaiven" Schiller Last known address: Donald j.A. Redick Maria William 2222 Los Feliz Dr. Apt 209 P. O Box 10 [email protected] Thousand Oaks, CA 91362-3048 Brockport, NY 14420-0010 905 469-9848 Leo Sebastian Winstead Peter N. Crafts [email protected] 5748 Regent Ave. N. Last known address; www.airbrushwerkx.com Crystal, MN 55429 93 Josephine Ave #2 Yes Mailings C/CA,P,IL 763 535-3515 Somerville, MA 02144 [email protected] Patrick Roberts http://www.leowinstead.com Dennis McElroy Warpstar Visions Yes Mailings IL,PAP Last known address [email protected] 4525 Twain Ave. # 7 Yes Mailings Lost Souls: San Diego, CA 92120 Ifyou have any information on the Madeleine Robins following lost members, please con Sheri Lyn O'Brien SFWA Secretary tact the Secretary’s office. Last known address: 1079 Dolores St. 148 New Moon Drive San Francisco, CA 94110-2904 Kelly J. Foil Oakdale , PA 15071-1010 lafolli Studios Last known address: 5516 N.Kenmore #304 Ray Van Tilburg Off World Designs Chicago, IL 60640 http://lafolli.jaggedpath.com
PUBLISHING cont’d from pg. 26 Shocklines.com. Shipping materials were de Mon", with its unusual silence — donated by Shocklines. Fresh from his impossible to find in Barcelona — situated donated by David Niall Wilson and White success, Matt has volunteered to help in the heart of the ancient city and at the Wolf Publishing, which went for $710.09. with other charity auctions. same time in full commercial center is per An original "Dead Cat" story chapbook fect. We thought, it must be a place, not based on the winner or a person of the only what people are looking for, but as winner's choice: donated by Gerard well a place that is appropriate to discover GALERIAZERO.COM opens Houarner and GAK, which went for art and to see it in its right perspective." Gallery Space in Barcelona Spain $408.55. The opportunity for the winner's For info, email to: [email protected] name to be a character in an upcoming On March 4th, Caleriazero will open Douglas Clegg novel: donated by Douglas their new gallery space in Cap de Mon 6 Clegg, which went for $371.67. A promo (bjs) Barcelona with two art shows. Space tional lot of Laurell K. Hamilton items: 1 will feature the art show, "Contemporary donated by Laurell K. Hamilton (and her 2003". Space 2 will feature the fan club), which went for $207.50. A "Photography of Architecture" show. hand-crafted fantasy-themed walking Of the new gallery space, the director stick: donated by Brian Knight, which of Caleriazero.Com states: "After opening went for $205.00. A signed, bound galley a door that had been closed for nearly 20 for the original hardcover publication of years, we were very surprised about the Ghoul by Michael Slade: donated by visual effect of seeing a narrow street Michael Slade, which went for $182.50. going straight to the gallery if it was And a rare artists' proof signed alternate forming part of our space. This was mar version of Neil Caiman's limited edition velous. It gave a sensation to be out of Snow Glass Apples published by Biting time. The narrow street (free of traffic) is Dog Press: donated by Biting Dog Press, called "Cap de Mon". It means "the end which went for $177.50 of the world". It is fitting that it is there The auction was organized and where Galeriazero.Com starts. administrated By Matt Schwartz of We feel the unique sensation of "Cap
40 I THE ASFA QUARTERLY art shows edited by e I a i n e fisher
Winter 2003 Etobicoke, ON M9A 3V3 Canada; 416- Con Info: [email protected], 237-9243; [email protected] [email protected], The following is a list of known conven Fees: $16 Can ($12 US) per 4'x8'P or
WINTER 2003 I 41 Art Guest: Rowena Con Info: (New Zealand Nat'l Con) P.O. Con Info: PO Box 8297, Lake St. Sta, Art Show Dir. Andrea Senchy at con Box 74-013, Market Rd, Auckland, New Minneapolis, MN 55408; request@mini- address attention Art Show Lealand; [email protected], con.mnstf.org,
42 I THE ASFA QUARTERLY ART SHOWS, cont’d from pg. 00 Con Info: PO Box 686, Baltimore, MD artwork based on subject matter, quality, Art Show Dir: Christina DePaulis, 21203; 410-563-2737, balticoninfo@balti- or space limitations. Models, miniatures, [email protected] con.org,
WINTER 2003 I 43 UT, 801 531-7500 TM: Connie Willis Dragon*Con [email protected] Art Guest: Lisa Snellings ‘Note: this show no longer conforms to the ASFA Guidelines Guest: Harry Turtledove Aug 30-Sep 2: Atlanta, GA Art Show Dir: )onni Davis 2908 South Toronto Trek 17 Stats: 20,000 est attendance. (Emph: Davis Blvd Bountiful, UT 84010-5704 Jul 11-13: Toronto, ON Canada SF&F, media, comics, gaming) 801-292-1982 Con Info: (Emphasis: Media) PO Box Con Info: Box 16459, Atlanta, GA 30321- [email protected] 7097, Station A, Toronto, ON M5W 1X7 998; 770-909-0115; dragoncon@drag- [email protected] Canada; [email protected], oncon.org;
44 I THE ASFA QUARTERLY “Fear" (< ) David Spacil, 1996
‘Te Passage"(«3 Alan Beck, 2000 WINTER 2003 I 45 The Association Of Science Fiction & Fantasy Artists
http://www.asfa-art.org
In order to continue to accomplish of full membership, which includes receipt committees, and have all the rights and the goals ASFA has established and many of all ASFA publications. privileges of full membership, including more in the future, we need you. Please Associate: receipt of all ASFA publications. complete the form to the right and mail it Identical to Regular membership, Note: Payments must be made in with your membership dues to our except this member must reside with a U.S. funds. address. Below are the four types of ASFA Regular Member and has access to said Corporate: memberships: member's copies of all ASFA publications. Any corporation, institution or organ All Memberships except Lifetime are An Associate Member will not receive sep ization with an interest in art and the pur for the period of one year, based on the arate copies of any ASFA publications. poses of ASFA. month you join. Note: Associate Memberships must be Lifetime: shared with a Regular Member. Lifetime Members have all the rights Regular: Foreign Memberships: and privileges of a Regular Member, but A Regular Member may vote, nomi Foreign Memberships are identical to do not have to renew their membership nate, hold office, serve on committees Regular memberships; foreign members each year. and will have all the rights and privileges may vote, nominate, hold office, serve on
Fill out form. Mail with payment (U.S. Funds) to: Association of Science Fiction & Fantasy Artists Attn: Memberships, P.O. Box #151311 Arlington, TX 76015-7311 USA
U.S. Memberships: Name: —_------□ $40 Regular Membership Company/Studio:------□ $25 Associate Membership Address:.______□ $100 Corporate Membership □ $800 Lifetime Membership State/Province:______Foreign Memberships: City: ______□ $45 Regular, N. American ZIP/Postal Code: Country:______□ $50 Regular, Other Foreign Phone:______FAX:______□ $25 Associate Membership E-Mail:______Website URL:______□ $800 Lifetime Membership Membership Type: □ New Membership □ Membership Renewal Categories: (For directory listings - indicate only three.) □ Renewal After Lapse □ Amateur Artist □ Auctioneer In the ASFA Directory: □ Agent Art Director □ Art Show Mgmt. □ Critic May we list your: □ Cartoon/Comic □ Computer Artist □ Graphic Designer Address? Yes □ or No □ □ Phone Number? Yes □ or No □ □ Artist □ Fabric Artist □ Jeweler E-mail & web address? Yes □ or No □ □ Editor □ Interest in Art □ Press □ Please send me mailings concerning □ Illustrator □ Photographer □ Sculptor art shows and art contests. □ Painter □ Publisher □ Writer □ Please talk to me about volunteering my time for ASFA. □ Professional Artist □ Student □ Semi-Pro Artist □ Art Collector
46 I THE ASFA QUARTERLY Association of Science Fiction & Fantasy Artists who we are...
The Association of Science Fiction and Fantasy Artists is a non is based on responses to a set list of questions about how the con profit, educational association, recognized under 1RS section vention Art Show will be run, providing information that is perti 501(c)(3), whose membership is made up of amateur and profes nent to the artists who are trying to decide if they should attend. sional artists, art directors, art show managers, publishers, collectors Our organization is not allowed to pressure or change how cons - just about anyone with an interest in the art of the genre. run their own shows, We can, however, report what they plan to If you think you know what ASFA is and do, and you, the artist, allowing both the what we are about, we'll bet you are wrong! artist and the purchaser to make up their ASFA was organized for artistic, literary, own mind. educational and charitable purposes concern Each issue also contains at least one ing the visual arts of Science Fiction, Fantasy, informative article geared towards those Mythology and related topics. We are dedi just beginning to break into the field or cated to providing a communications link geared toward the working professional. among our members, as well as providing Some of the other projects that we are helpful information and technical assistance. working on are the establishment of a tour Part of ASFA's purpose is to stimulate ing ASFA slide show, to provide conven the public's interest in these areas of art. tions with the opportunity to supplement We're also here to encourage and develop their programming and to assist artists who amateur artistic talent, educate the public, do not travel to conventions to get their publishers, patrons of the arts and anyone work seen by other people. Hopefully this interested in works of these particularly types will also contribute a lot to the Chesley of art and craftsmanship in the rights, needs Awards voting process. The slides will be and problems of the people involved in the placed into one or more touring carousels, creation of this material. which can be borrowed by conventions How does ASFA go about this? (perhaps with a small deposit to be returned when the slides are returned), or Each year ASFA gives out the Chesley by educational groups, high schools, even Awards, named for the great astronomical museums, to consider the original works artist, Chesley Bonestell. The Chesleys were for shows. started in 1985 as a means for the SF and Fantasy art community to recognize individ We're planning continuing discussions ual works and achievements during the pre about the impact of computer generated vious year. art, and electronic rights, currently sweeping our field into change, not only in the Quarterly, but at conventions and other venues. One of the other important ways is through our publications. The rights of artists in this electronic age is a very important issue Members receive the A5FA Quarterly, our regular magazine that that we will continue to monitor and offer advice in the hope that features "How To" articles, profiles of Science Fiction and Fantasy we can have an influence for the better of all artists. artists, interviews with art directors, and has important information on upcoming conventions and shows, as well as reviews of both, It As you can see, we're here for you. We will help, where we also has other informative articles that will help up and coming can, if you have problems dealing with a convention or a company. artists and those who are well established, and is a forum for corre We want you to tell us about it. Others might have similar prob spondence, ideas, has information on Art Show Management, and lems and we can share your information and how the problem was much, much more! resolved. Think you have an idea that will benefit others? Tell us about it and it could be published it the Quarterly. Our "Upcoming Conventions Listing" column in the Quarterly
Hive Mind © Kenn Brown 2002; www.kontent-online.com
WINTER 2003 I 47 SFWA Statement of Support for Space Exploration
C O L U M BIA STS- 1 07
"l pray for one last landing On t(re globe that gave me birtb; Let me rest my eyes on tbe fleecy skies And tbe cool, green bills of Earth."
- Robert A. Heinlein; "The Green Hills of Earth" (Used by permission)
To offer condolences to the family and friends of the Columbia's crew and to encourage carrying on their spirit of exploration, the Science Fiction and Fantasy Writers of America, Inc. and its members have released the following statement of support:
”0n the morning of Saturday, February 1st, 2003, seven astronauts aboard the NASA space shuttle Columbia lost their lives as they were returning to Earth from a sixteen-day mission dedicated to the quest for scientific knowledge. They represented not only the United States of America, Israel, and India, but indeed all of humanity - our greatest dreams, our most noble aspirations.
The loss of the Columbia and its crew touches the lives of not just Americans, Israelis, and Indians, but in fact everyone on Earth. The exploration of space is one of the human race's oldest ambitions, one that has been reflected in our literature long before we developed the technological capability to venture forth into the cosmos. We must not allow this tragedy to bring an end to this magnificent journey, but instead let their courageous example lead us upward and outward.
We the undersigned, members of the professional community of science fiction and fantasy writers, express our most heartfelt sympathy to the families and friends of the crew of the Columbia, and our support to the men and women of the National Aeronautics and Space Administration, and the many contributing organizations worldwide, for their continuing efforts to establish humankind as a spacefaring people."
- Written 2/2/2003 by Allen Steele & Friends
Signed,
The President and the Board of Directors of the Science Fiction and Fantasy Writers of America, Inc., and authors too numerous to list here. To view the names and to add your own name in support, please visit http://www.nyx.net/columbia.
SFWA is a professional writers' organization; general information is available at www.sfwa.org.