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

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(23434) Job No:01-23425 Title:RP-Masters of Science Fiction&Fantasy Art
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page 212 MASTERS of SCIENCE FICTION and FANTASY ART
TRADITIONAL TOOLS and TECHNIQUES page 213
(Text)
GREGORY MANCHESS
“I like telling more with less. It allows the brain to be a part
of the process, and asks the viewer to join in the story. This is
why my brushwork is so edited, direct, and yet informative.
Nail the values, and color is no longer important. Nail the
shapes and forms, and detail isn’t necessary.”
Strictly speaking, Gregory Manchess is not a science c-
tion and fantasy specialist. He is a top-level illustrator—
a generalist—in demand by the largest markets, publica-
tions, and media. What’s more, he’s a ne artist whose
work hangs in galleries and private collections. Finally,
he’s an artist’s artist whose bravura technique and
generosity have inspired a legion of artists with whom
he’s shared painting tips. Occasionally, he employs his
formidable skills illustrating science ction and fantasy
because of the great affection he feels for the eld.
Born in Kentucky, Manchess holds a BFA from the Min-
neapolis College of Art & Design. However, he considers
himself mostly self-taught when it comes to drawing and
painting. He worked with Hellman Design Associates
as a studio illustrator, then left to go freelance in 1979.
Rhythm and timing, emotion conveyed through brush-
work, and a balance of concept and aesthetics are essen-
tial components of his technique.
C3P0. Oil on linen. © and ™ LucasFilm Ltd. All Rights Reserved. Used Under
Authorization. “This was a chance to bring some quiet dignity to the bumbling
character of C3PO,” says Manchess. “I remember hearing George Lucas in a
radio interview talking about his ideas for the initial Star Wars story. He discussed
how it’s not really a story about a young farmer turned Jedi, but rather a story
arc of adventures in this distant galaxy seen from the perspective of two robots.
That put a new angle on the story for me, and so I painted a Sargentlike
depiction of Lucas’s main character.”
Knight. Oil on linen. Cover painting for The Knight by Gene Wolfe, Tor Books,
2004. Irene Gallo, art director. Influenced by Golden Age illustrator J. C. Leyen-
decker’s portrait of Robert E. Lee for the Saturday Evening Post, Manchess
aims for a similar bold, posterlike style for this book cover.
Beaverton, Oregon, USA
(23434) Job No:01-23425 Title:RP-Masters of Science Fiction&Fantasy Art
#175 Dtp:204 Page:212
(RAY)
001-224_23434.indd 212 1/27/11 10:12 AM

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