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Spaceways, v. 3, issue 5, whole no. 21, June 1941
16
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16 SPACEWAYS DESIGNERS WANTED by TOM WRIGHT Science fiction has a good many illustrators, but very few artists, startling as it may seem. We have our Isips, Krupa, Bok, Cartier, Kramer, Finlay, Rogers, Fuqua, etc. But out of the whole bunch, I would venture to say there is only one real artist. That is Hubert Rogers. I know many disagree on this, for I have had heated arguments with many on this question of art. But analyze their work. Rogers is the only one who can do equally well on interiors and covers. His art is exceedingly well balanced. His people really look human, and his color work is nothing short of perfect. I don't wonder that all the authors want the cover for their story in Astounding, when Rogers does it. Finlay is the only illustrator that comes near him, as far as art is concerned. But very few of Finlay's covers ever reach the class of his interiors. Yet Rogers is not my favorite, or the favorite of hardly any fans as far as I have been able to find out. Finlay reigns supreme on the inside. Why? Because of the enormous amount of detail he puts in his drawings: a very fine cross-hatch that few artists are able to achieve, and dots that must require hours to put in. But this is not true art, it is design. True his humans are very realistic; that is why I put him second to Rogers. He has done two covers that show a great deal of talent: the one for "Darkness and Dawn", and the one for "The Snake Mother". Bok, probably the fastest rising artist there is, is another detail, design artist, and I, as do many others, rate him better on this interior than Rogers. Paul, Krupa, Told and Marchioni are other artists that are good at design, and symmetry, but whose humans most of the time aren't so hot. A cover drawing is about the best thing to show just how good an interior designer is, although some like Paul avoid humans on the covers, except small figures, and keep the machinery very symmetrical. Bok could probably be rated third in the artist class, for his drawings show extremely good balance. If you want a popular illustrator, get one that likes to work on detail, and more detail; keep your Bergeys that know how to draw people, not machinery. Somebody, perhaps, there'll be an artist, a real one, that can combine detail and art. But he won't stay in the pulps long, you can bet! THE END IN OCTOBER: TO CHLORIS by EARL SINGLETON Vivid upon the heaven's vaulted frame There hung a velvet canopy of blue Bestrewn with vibrant stars the night I came Along these secret ways in search of you. Roaming the forest where the radiant dew Blended the moonlight into pools of flame, I came upon a shafted elm, and knew It was your home--I heard you call my name! Again before your saffron-painted elm In dreams I see you, Dryad Queen, as when You stood serene, the ruler of your realm, And gently called to me--and now again In answer to my wondering: "You are she?" I hear your silver whisper: "Come to me...." THE END
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16 SPACEWAYS DESIGNERS WANTED by TOM WRIGHT Science fiction has a good many illustrators, but very few artists, startling as it may seem. We have our Isips, Krupa, Bok, Cartier, Kramer, Finlay, Rogers, Fuqua, etc. But out of the whole bunch, I would venture to say there is only one real artist. That is Hubert Rogers. I know many disagree on this, for I have had heated arguments with many on this question of art. But analyze their work. Rogers is the only one who can do equally well on interiors and covers. His art is exceedingly well balanced. His people really look human, and his color work is nothing short of perfect. I don't wonder that all the authors want the cover for their story in Astounding, when Rogers does it. Finlay is the only illustrator that comes near him, as far as art is concerned. But very few of Finlay's covers ever reach the class of his interiors. Yet Rogers is not my favorite, or the favorite of hardly any fans as far as I have been able to find out. Finlay reigns supreme on the inside. Why? Because of the enormous amount of detail he puts in his drawings: a very fine cross-hatch that few artists are able to achieve, and dots that must require hours to put in. But this is not true art, it is design. True his humans are very realistic; that is why I put him second to Rogers. He has done two covers that show a great deal of talent: the one for "Darkness and Dawn", and the one for "The Snake Mother". Bok, probably the fastest rising artist there is, is another detail, design artist, and I, as do many others, rate him better on this interior than Rogers. Paul, Krupa, Told and Marchioni are other artists that are good at design, and symmetry, but whose humans most of the time aren't so hot. A cover drawing is about the best thing to show just how good an interior designer is, although some like Paul avoid humans on the covers, except small figures, and keep the machinery very symmetrical. Bok could probably be rated third in the artist class, for his drawings show extremely good balance. If you want a popular illustrator, get one that likes to work on detail, and more detail; keep your Bergeys that know how to draw people, not machinery. Somebody, perhaps, there'll be an artist, a real one, that can combine detail and art. But he won't stay in the pulps long, you can bet! THE END IN OCTOBER: TO CHLORIS by EARL SINGLETON Vivid upon the heaven's vaulted frame There hung a velvet canopy of blue Bestrewn with vibrant stars the night I came Along these secret ways in search of you. Roaming the forest where the radiant dew Blended the moonlight into pools of flame, I came upon a shafted elm, and knew It was your home--I heard you call my name! Again before your saffron-painted elm In dreams I see you, Dryad Queen, as when You stood serene, the ruler of your realm, And gently called to me--and now again In answer to my wondering: "You are she?" I hear your silver whisper: "Come to me...." THE END
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