Spectrum 15: The Best in Contemporary Fantastic Art

This is the sort of compilation you really do keep on your coffee table so that you can sit on the couch and, over the course of weeks, dip into it and enjoy the offerings. What's in there? Well, the introduction, naturally, and the Grandmaster Award for the outstanding John Jude Palencar--one of my faves! There's a review of the year in SF art (this is for 2007), which highlights, among others, a nicely urban-infrastructure-architectural work by Michael Whelan and the covers from some of the art books published last year. Artists who have died are given space in an obit list. Ah, the art comes. First, the Best in Show award went to James Jean (and if you have been reading the terrific and engrossing FABLES series of comics by Bill Willingham, his cover art will be familiar to you). His winning entry is the cover for THE GOOD PRINCE, a wonderful piece full of understated grays (steel, water, stone) with one blazing arc of orange that is the plume of Prince Ambrose's helm. Cool. The winner of the Gold award makes me giggle every time I look at it--a technicolor bit of zombie-alien silliness with a retro (as in 50's-60's) album cover feel. More silliness by Julie Bell and Boris Vallejo graces page 31--a full page reproduction of the artwork for AQUA TEEN HUNGER FORCE. As a fan of the cartoon, I got a particular little thrill seeing Frylock, Master Shake, and Meatwad rendered in Vallejo's trademark style--curvy women included. One of the other reviewers called this the "all digital" issue. Well, on this spread alone--the two pages of 30-31--there is Vallejo's oil painting, one digital, one mixed media, and one acrylics/goache. Jean's best-in-show winner was a mixed media piece. Another of my fave two-page spreads--because of the gorgeous, gorgeous works by Shaun Tan and a refreshing "blue" work by the fantasy master illustrator Charles Vess--is 56-57, which showcases two works of acrylics/oils (Tan), one in colored inks (Vess), and one goache/digital. The previous page--55--which I was going to mention anyway, has a full-page repro of an oil on paper piece by Donato Giancola. It reminds me of Victorian works and is a masterful "bird's eye" perspective on a shoreline with dead mermen and a maiden holding one of the victims. The mermen are rendered in glowing pale greys and dark greys, their gills gaping redly. I was so moved by this work, I came online to see the book for which it served as a cover art piece (THE GOLDEN ROSE). Just for reference, the page right after the one with the Tan/Vess pieces, has four wonderful works--two acrylics by Scott Bakal, an ink/digital by Yuko Shimizu and a really interesting oil work by Brad Holland. So, I'd hardly say that more traditional media are not employed. However, we are in the digital age, and digital artwork will continue to gain space and popularity. As this compilation books hows, many digital works are skilled, beautiful, and effective, and should not be scoffed at. There is so much here to e

Kaboom!! That's what I think about the book. It has the best of the imagination and artistic abilities in the genre. Bravo, you creative beasts!

This series gets better every year. My favorite artists always appear in each issue, and new artists make the cut, too. As an artist myself interested in fantasy art I find this annual absolutely essential. The color quality of the entries is top notch. SPECTRUM is always inspiring! It makes me work harder!

Every year, I pre-order the Spectrum annual, and every year I enjoy it from cover to cover. Some of the most mind blowing artists work is presented in this book every single year. You will not be disappointed.

What can you say at this point? These annuals are an inspiration, a resource, and an accurate read on where the bar is in fantasy, sci-fi, and concept art. A total feast, once again.