中文名: 超經典插畫集——不同風格！（多年收藏不斷更新）資源格式: 壓縮包語言: 簡體中文,英文簡介:
Tomer Hanuka is an illustrator and a cartoonist based in New York City. He works on a range of projects for magazines, book publishers, ad agencies and film studios. In 2008 he won the British Desgin Museum award as part of the Penguin Classics Deluxe Editions. Currently he teaches at the School of Visual Arts and is working on a graphic novel with his twin brother Asaf.
Enki Bilal，1951年出生於南斯拉夫，父親為裁縫師，一個人在巴黎工作以支付 家人的生活，並鼓勵Bilal發展繪畫天分。1960年Bilal和母親、妹妹搬往巴黎與 父親一起定居，生活環境突然由當時還很封閉的東歐，轉往民風自由的西歐，當時才九歲的Bilal，得克服心中的落差與文化沖突，重新適應巴黎的新生活，這段經歷，日後成了他創作的養分。他的畫風帶有東歐的沈郁氣質與傲骨，卻又不失法國的幽默與輕快。特別擅長科幻題材，而且常滲入強烈的政治諷刺意味。
1987年，Bilal在安古蘭漫畫展獲頒最佳作品大獎，地位有如日本漫畫界的大友克洋，目前創作了二十多部作品，並執導過兩部電影，第三部電影《La Femme piege》（女人陷阱）也將於2003年上映。
Bilal的創作如果硬是要從其中找出影響的起源來，那麼恐怖的源流是來自於H.P. Lovecraft和愛倫坡，科幻的源流來自於Jules Verne、H.G. Wells等二十世紀初期的大師們。所以，在他的作品劇情安排和繪制風格中都可以看得出這種不花俏，卻意義深遠的力量。這種力量在近年的圖像創作中已經比較少見，所以許多讀者在讀完他的作品之後會覺得有些疲倦，因為他在字裡圖間所隱含的意義和解釋比一般的漫畫作品要多上許多，當讀者的大腦吸收了這些信息，卻又無法將其轉換理解的時候，自然會覺得非常沉重。
而他的作品在主角的命名部分也包含了許多文字游戲，對於願意多花時間去進一步研討的讀者而言隱藏了許多令人驚喜的奧妙。《諸神混亂》中的統治者舒伯朗（Choublanc）其名在法文中是失敗的意思；而在《女人陷阱》中的女主角吉兒（Jill Bioskop），其名則是電影之意；《Le Sommeil du Monstre》中的主角Nike Hatzfeld，則是法國解放報一名在塞拉耶佛受傷的記者之名。故事中的許多新聞報導往往是串接不同劇情或是不同面向真實的關鍵，讀者如果從這個角度去抽絲剝繭，解讀每一頁的內容，往往原來看似無意義的劇情和段落，就會變得擁有相當豐富的意涵。
1975 La Croisiere des oublies （與編劇Pierre Christin合著）
1975 Appel des etoiles （1982年推出加長版：La Bol maudit）
1976 Le Vaisseau de pierre （與編劇Pierre Christin合著）
1977 La Ville qui n'existait pas 不存在的小鎮 （與編劇Pierre Christin 合著）
1978 Memoires d'outreespace 外太空（短篇合集）
1979 Les Phalanges de l'Ordre Noir 黑指令軍隊（與編劇Pierre Christin合著）
1979 Exterminateur 17，17號滅殺者 （與編劇Jean-Pierre Dionnet合著）
1980 La Foire aux Immortels 諸神混亂（尼可波勒三部曲之首部曲）
1981 Paris sera toujours Paris （合集）
1982 Crux Universalis （已絕版）
1982 Die Mauer （插畫集）
1983 Images pour un film La vie est un roman by Alain Resnais 小說人生電影書（與Jean-Pierre Thevenet合著）
1984 Los Angeles, L'Etoile oubliee de Laurie Blum （與編劇Pierre Christin合著）
1985 Grange bleue （與Grange, Tardi及Pichard合著）
1986 La Femmie piege 女人陷阱（尼可波勒三部曲之二部曲）
1987 Hors Jeu （與編劇Patrick Cauvin合著）
1988 Coeur sanglants （與編劇Pierre Christin合著）
1990 Partie de chasse （與編劇Pierre Christin合著）
1990 Apres le Mur （合集，與編劇Pierre Christin合著）
1992 Froid Equateur 寒冷赤道（尼可波勒三部曲之三部曲）
1994 Bleu sang
1996 Tykho Moon--Livre d'un film （與Dan Franck, Fabienne Renault及Isi Veleris合著）
1999 L'Etat des stocks （1971-1986年作品，1999年重新出版）
1999 Le Sommeil du Monstre
1989 Bunker Palace Hotel
1997 Tykho Moon
2003 La Femme piege 女人陷阱
Esao Andrews grew up in Mesa, Arizona and moved to NYC in 1996 to pursue a life of
art making. He attended The School of Visual Arts and now lives and works from his home in Brooklyn with his semi-faithful companion, Soybean.
I was born in London, England on October 26 1958, the youngest of four and much to my parent's surprise, I was born a dog. This unfortunate turn of events was soon accepted within my family and was never again mentioned in the presence of polite company. I was a rambunctious youth as was natural to my breed but showed a fine interest in the arts as I drew pictures incessantly on anything including the walls and floors of every room of our tiny house. After some trouble with intolerant neighbors, my family was convinced to move to Canada and it was not long before the burgeoning town of Toronto became our new home.
Unfortunately the drawing continued to become somewhat atypical and aberrant and it was not long before it was impressed upon me that such images might not be suitable for public viewing. In the summer of 69, there was a valiant attempt to stop me from doodling infamous contemptible fascist dictators upside down on my stomach with a ballpoint pen. I was consoled however by the encouragement to continue penciling in faces of flamboyant cowboys such as Gene Autry, Roy Rogers, The Lone Ranger and Tonto on my toenails but was expressly forbidden to talk to them at night.
It can be said that there are defining moments in a dogs life that can only be described as pivotal. Mine came when I received a gift of a flesh toned 12 inch plastic movable human doll attired in cheaply made military fatigues called GI Joseph . I however named him Stanley Mulver and immediately resigned his commission from the light infantry. My Mother helped in this by sewing small business suits and leisure wear out of leftover Christmas fabric embroidered with holly and snowmen, tinfoil shoes and one tasteful Safari suit made of tight fitting powder blue rayon that proudly shone cobalt in the summer sunlight. It wasn't long before I had begun making enlarged wigs out of gray plasticine. These wigs soon became huge pompadours for Stanley and looked even more grand when I meticulously imbedded small hairs from my daily body and face shavings. This hirsute practice along with walking upright allowed me to fit in with other children even though my father considered it a waste of time. In short, Stanley had become a visage of the Man I could never be, of that elusive self one sometimes glimpses down the tunnel of infinite reflected mirrors. Although ridiculed by my peers, I proudly wore Stanley around my neck at all times as if to say SEE! This is the man I will be, a good man, a kind man .
I have worked in many fields over the years, attended obedience classes and art colleges, jobs designing horrible buildings in architectural studios, medical art facilities, digital service bureaus, suspicious casino computer game companies, eventually working at computer modeling, digital animation and visual effects for television and film. Some award nominations have been attained and I have been driven in long black liquor filled limousines and walked on hind legs down red carpets in Pasadena while wearing strange smelling rented tuxedos.
Things change and summer years come to an end. My change occurred one night when my Mother visited me, which was slightly unusual because she had passed away some months before, a victim to the cigarette habit she could never quite lick. Facing a wall and slowly turning I saw the right side of her face ablaze in light, her hand trying to cover the light as if she were apologetic for having it seep through. Words were said about following rabbits down holes and I was shown galleries of work which were to be my own. My Mother was not the first visitation I have had and it seems she will not be the last.
I live in a brick house with my wonderful wife Jane and a coyote called Bonnie.
I like eating avocados and I don't really mind being a dog.
Alan Lee is an English artist best known for illustrating the 1991 one-volume hardback edition of The Lord of the Rings. His paintings are designed to set a mood and fire the viewer's imagination, rather than trying to dictate how a certain Middle-Earth person or place should look.
Along with John Howe, Alan Lee was chosen to be a concept artist for the Lord of the Rings movies.
Born in the deep dark south in 1965. Brom, an Army brat, spent his entire youth on the move and unabashedly blames living in such places as Japan, Hawaii, Germany, and Alabama for all his afflictions. From his earliest memories Brom has been obsessed with the creation of the weird, the monstrous, and the beautiful.
At the age of twenty, Brom started working full-time as a commercial illustrator. Since that time Brom has been working feverishly for every facet of the genre, from novels (Michael Moorcock, Terry Brooks, R.A.Salvatore, E.R. Burroughs), Role-playing (TSR, White Wolf, WOTC), comics (DC, Chaos, Dark Horse), Games (Doom2, Heretic, Diablo2, World of Warcraft), and film (Tim Burton's Sleepy Hollow, Galaxy Quest, Ghosts of Mars, Scooby Doo, Van Helsing). Brom's powerful and haunting visions can be found in his two art books Darkwerks and Offerings and also his illustrated novel the Plucker .
Most recently, Brom has turned his hand to writing a series of illustrated novels. His first novel The Plucker (a twisted children's book for adults) has over 100 paintings and received numerous nominations and was awarded a Chesley. His latest edition The Devil's Rose (a western set in Hell) is due out summer of 2007.
Brom is currently kept in a dank cellar somewhere in the drizzly Northwest. There he subsists on poison spiders, centipedes, and bad kung-fu flicks. When not eating bugs, he is ever writing, painting, and trying to reach a happy sing-a-long with the many demons dancing about in his head.
傑拉爾德·布勞姆出生於美國佐治亞州埃爾巴尼的一個軍人的家庭裡，他的學生時代幾乎都是在世界各國的流動中度過的，他住過的地方包括日本、美國的亞拉巴馬州、夏威夷州，他高中則是在德國的法蘭克福市，因為這些都有美國駐世界各地的空軍基地。在他早期的記憶中，一直被奇怪的、怪獸般的或美麗的東西所吸引，他總是為一些視覺效果特別的作品所震動。20歲時，布勞姆就已經開始是一名插圖作者了，21歲就為可口可樂、IBM、哥倫比亞電影公司、CNN等著名代理商創作了許多具有影響力的作品。三年後，他終於進入自己一生鐘愛的幻想領域。24歲時，著名的TSR公司雇傭他成為一名全職插圖作者，接下來的三年中，他就創作了日後暢銷的《Darkwerks》系列作品。 1993年，布勞姆成為了自由插圖畫家，從此，他開始創作自己最感興趣的主題。 除了幻想作品外，布勞姆還涉足於3D和玩具制作的領域。布勞姆現在美國華盛頓居住。
對J.R.R.托爾金的崇拜，泰德·納史密斯精心挑選了幾張自己滿意的作品，並把它拍攝下來，送到了J.R.R.托爾金的面前，令他十分激動的是，托爾金先生對他的作品中所展現出來的藝術氣質所深深吸引，特別喜愛。在偶像的鼓勵下，泰德在以後的十多年中繼續創作了大量的托爾金作品中的插圖，盡管其中的一些作品每個就得花費他幾個月的時間，但他也得到了很好的收獲，他吸引了George Allen Unwin公司的注意，他們邀請泰德創作並出版了多本“托爾金年歷”。
I was born in Goderich, Ontario, in the mid nineteen-fifties. My father was in the Royal Canadian Air Force (as then known), stationed in nearby Clinton. My first memories, though, are from a three year stay in France, in the town Longuyon near Marveille, on the German border, where our family lived while my father was stationed there. As a young child, the memories of those times made a strong impression on me as we traveled about the nearby countries during holidays and vacations. Among these special memories are a trip to the famous Miniature Village in The Hague, Holland, as well as to Luxembourg’s Le Parc Marveilleuse, a fairy tale park; the latter is long gone now, it appears.
Like many Canadians, my childhood involved a series of moves, and in the mid-sixties we moved into the Toronto suburb of Don Mills. When I came to enter high school, I was advised to enroll in a commercial art program I hadn’t known existed. Prior to this I’d assumed in general that my habit of sketching constantly was merely a private hobby. During those formative years, I would spend many hours drawing pictures, mostly of ‘boy things’; spaceships, airplanes or modern battle, and whatever stresses were being endured on the outside were mitigated by retreat into my creative world.
High School training in various art subjects proved to be an excellent environment for me, and I flourished. In my 3rd year I discovered The Lord of the Rings, on my sister’s recommendation. Fatefully for me, her high school friends were much into Tolkien, and he/that became an urgent and deeply satisfying new focus for me. After graduation, I soon landed a job as an apprentice architectural renderer. I was hired by showing a flair for this type of illustration, though it was not something I’d studied previously. This small studio was run by a designer turned renderer, and I joined him and one other artist. Here I was taught much about this niche profession, working there for several years before deciding to carry on in a free lance capacity after the company was dissolved in the course of things. In subsequent years I continued architectural work while also diversifying into other forms of illustration, and in particular my Tolkien art, practiced privately for years by now, gained critical importance.
Tolkien had a very profound effect on me, and helped lead to much that I now count most significant in life. It opened up in me a dormant love of lost and misty times, myth and legend. Not since early childhood had I felt such a sense of ‘home’, unaware of the effects the intervening years had had in displacing it. Once inspired, I began to draw scenes and characters from this fantastic realm, becoming absorbed for many hours at a time. Tolkien and the compulsive satisfaction it provided were an important influence away from some of the less healthy distractions of those years, and the fun and creative fulfillment of depicting Middle-earth never seemed to diminish.
With much encouragement from friends and family, paintings of scenes from LotR led to dreams of having my artwork published, especially in one of the newly appearing calendars, but it mostly seemed a remote prospect. Successive bids for publication came to little, resulting in polite letters of rejection. Still, from time to time I’d see new Tolkien art which would galvanize me once more to paint new scenes, if only for my own amusement. These years were the mid 70’s to mid 80’s.
The Hildebrandt’s three calendars, 1976, 7, and 8, particularly excited me to seriously dream about publication, since their work was realistic and detailed. I felt I had qualities and insight in my own work that surpassed theirs, but also helped me further define my own style and interpretations. In that period other traditional illustrators and painters of the past century and a half informed my developing style. I would describe it as an echo of the American Luminist and wider Victorian neo-classical styles. I felt these traditions would well compliment the grandeur of LotR, and I’d always been attracted to this kind of art.
In time I became a member of The Tolkien Society, having discovered their whereabouts from a notice printed inside an art book of Joan Wyatt Tolkien paintings. With encouragement from them I again approached Tolkien’s publishers, and this time they responded positively, offering to include 4 of my works in the 1987 compilation calendar. Breakthrough at last!
Going from that to other calendars was a shorter step, leading to 4 works in the 1988 calendar, and my 1st full calendar in 1990, some 14 years after 1st dreaming of it.