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Masters of Science Fiction and Fantasy Art by Joe Haldeman, Karen Haber

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STEPHAN MARTINIERE
“Painting digitally allowed me to explore ideas and tech-
niques I don’t think would have been possible traditionally.
Working with layers made the process even more enjoyable.
In many ways it made me a faster and more efcient artist.”
Admired internationally by fellow artists and revered by
fans, Stephan Martiniere has won many awards and much
acclaim for his accomplishments in lm, publications,
gaming, theme park rides, and animation. Martiniere is
also an accomplished concept artist and has worked on
movies such as I, Robot; The Fifth Element; Star Wars Episode
II: Attack of the Clones; Star Wars Episode III: Revenge of the
Sith; Virus; Red Planet; Sphere; and The Time Machine.
An artistic chameleon, Martiniere is comfortable
working as a 2D and 3D artist. He won the Hugo Award
for best professional artist in 2008, having been nomi-
nated for the award in the two previous years. He was
nominated for an Emmy Award as director of the animated
musical special Madeline, and received the Humanitas
Prize, the Parent’s Choice Award, and the A.C.T. Award
for that feature.
His work has been gathered in two retrospectives,
Quantumscapes: The Art of Stephan Martiniere (Design
Studio Press, 2006) and Quantum Dreams: The Art of
Stephan Martiniere (Design Studio Press, 2004).
Autumn War. Digital. “The Autumn War is a complicated piece,” says the artist.
“It’s a very literal piece with some graphic touches. There are thousands of soldiers
approaching a castle. As complex as it is, the painting technique is very graphic
and suggestive. The red palette is also something I hadn’t done before.”
Paris, France/Dallas, Texas, USA
Desolation Road. Digital. Cover for Desolation Road by Ian McDonald (Pyr, 2009).
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was lucky enough to land a job during the summer break
working in Tokyo as a character and background artist on
the animated series Inspector Gadget.” He says the best advice
he ever received was to not nish school. “The director of my
animation section at Les Gobelins told me, ‘Stay in Tokyo,
learn all you can, and don’t come back to school.’ This was
the beginning of my career,” Martiniere recalls.
The next several years went by frantically, as Martiniere
swung between continents, working in Asia and the United
States on a variety of projects, including Heathcliff, The
Real Ghostbusters, and Madeline. “As I traveled from Japan
to California, I became more and more interested in the
storytelling aspect of lmmaking,” he says. “I started
working on storyboards and eventually settled in California
to become a director for such television shows as Dennis
the Menace, Where’s Waldo?, and, of course, Madeline.”
Born in France, Martiniere attended high school at one
of the most renowned art schools in Paris, where work by
classical art and illustration masters stoked his imagina-
tion, as did landmark lms such as 2001, A Space Odyssey,
Alien, Blade Runner, and The Dark Crystal. Initially, he
expected to pursue a career in comic book illustration.
“I grew up in a comic book environment and decided very
early on to follow that path. Only when I went to art school
around the age of fteen did I discover other elds like
animation and illustration. For several years I learned
different art disciplines, but I still wanted to become
a comic book artist. Then I went to animation school at
Les Gobelins in Paris, but I never completed the two-year
program. I had completed my rst year at Les Gobelins and
Autumn War. Digital. “The Autumn War is a complicated piece,” says the artist.
“It’s a very literal piece with some graphic touches. There are thousands of soldiers
approaching a castle. As complex as it is, the painting technique is very graphic
and suggestive. The red palette is also something I hadn’t done before.”
Skinner. Digital.
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