Artwork

City Without End takes Silver Spectrum Award

A huge congratulations to Stephan Martiniere, whose cover illustration for the third book in Kay Kenyon’s ongoing space opera quartet entitled The Entire and the Rose, the forthcoming City Without End, just won the Silver Spectrum award in the book category. All of Stephan’s covers in this series have been amazing. Book one, Bright of the Sky,made the Spectrum annual the year it was released, and we’re hearing good things about A World Too Near– which just hit shelves this week. (For a look at these two covers side by side, see Kay’s website.) And now, unveiled here for the first time, the winning cover of City Without End. This is my favorite of the three “Entire” pieces, and maybe one of my favorite Martiniere illustrations ever.

What do you think?

Meanwhile, long as we’re talking about The Entire and the Rose, I’ve just spotted some very thoughtful, articulate (and spoiler ridden) reviews of Bright of the Sky and A World Too Near up at SF Reviews. Of book one, they say, “If what you crave in your SF is a fresh and dynamic approach to world-building, wed to epic storytelling with believably flawed heroes and vividly imagined alien cultures, and you’re frustrated that nobody seems to be bloody doing it, odds are you’ve been skipping over the Kay Kenyon novels every time you go to the bookstore.” Meanwhile, looking at book two, they say, “…it must be said that at the end of the day, this series, exciting as it’s turning out to be, is in many ways pure fantasy formula — just tricked out in the most gorgeous production values imaginable. But who cares if it’s formula as long as the entertainment value is blowing your doors, right? A World Too Near is sweet, splendid entertainment. Kay Kenyon will have you solidly hooked with this series, and if you’ve never had her name down on your reading list before now, it’s way past time you added it.”

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John Picacio: Son of Man Sketch

This is a first. And probably a last. John Picacio has posted his preliminary sketch for our upcoming reissue of Robert Silverberg’s Son of Man (due out Spring, 08). Son of Man is one of my all time favorite science fiction works. In a field that ostensibly celebrates mind-expansion, alienation, estrangement, change, the impermanence of any social institution, the wonder and terror of the universe, the fundamental truth that today is not like yesterday and tomorrow will not be like today, Son of Man shines (even and especially today) as the vanguard of that perspective. John and I have been talking a lot about how to convey this in art, as well as how to convey certain other aspects of the book. In a totally unprecedented move, he’s put the work in progress up on his blog, so please – go, see, comment!

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Resnick’s Ivory is Solid Speculation

Ryun Patterson takes a look at Mike Resnick’s classic Ivory: A Legend of Past and Future,a tale set 6,000 years in the future and which traces the path across the galaxy of the very real and enormous tusks of the legendary Kilimanjaro elephant. In his review on Bookgasm, Ryun states that Resnick writes about Africa “as if he grasps some of the subtleties of the hugely diverse and multifaceted continent. Ivory, which was first published in 1988, demonstrates this, along withResnick’s flair for solid speculation.”

Ryun also takes the time to praise the cover, which always makes me really glad to see, as art and prose are closely linked in our genre, and I applaud those reviewers who take the artwork into account. In this instance, the cover illustration is by Bob Eggleton, and the layout is by our own Grace M. Conti-Zilsberger. Bob turned in what may be my favorite piece he’s ever done, while the bronze band solution Grace came up with for displaying the author’s name has a classical feel that I’m considering adopting for future reissues as well. As Ryun says, “It’s also got the best cover it has ever had and a great, solid feel – which many classic reissues deserve but don’t receive – thanks to Pyr.” Very glad someone noticed!

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Eternal Vigilance

Michael Moorcock is the subject of a big, eight page interview in the second issue of the new SF media magazine, Death Ray. Among other things, Mike talks briefly about his forthcoming novel, The Metatemporal Detective.

“We have to keep struggling in order to maintain justice — the Balance,” says Mike. “The price of freedom is to quote again, eternal vigilance. My next book, The Metatemporal Detective (due in October from Pyr), might otherwise be different from anything I’ve done before, but ultimately that’s the same message it offers.”

Meanwhile, over on his blog On the Front, John Picacio talks about the cover, posting the final front cover image, the image sans type, and the spine/back cover wrap. Elsewhere on John’s blog, he discusses the Death Ray issue and – for Elric fans – he gives a glimpse of one of his interior illustrations for the upcoming Del Rey reissue, Elric The Stealer of Souls. Together with the image on the right, these represent the first look at “the Picacio Elric.”

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Metatemporal Matters

The fabulously-talented John Picacio has just delivered the final cover illustration for Michael Moorcock’s forthcoming work, The Metatemporal Detective.The book, coming from Pyr this October, collects for the first time eleven tales of Sir Seaton Begg vs. Count Zodiac the Albino (perhaps better known to the world as Elric of Melniboné), including the never before seen tale, “The Flaneur of the Arcades d’Opera.”

From the book description:

Seaton Begg and his constant companion, pathologist Dr “Taffy” Sinclair, both head the secret British Home Office section of the Metatemporal Investigation Department–an organization whose function is understood only by the most high-ranking government people around the world–and a number of powerful criminals.

Begg’s cases cover a multitude of crimes in dozens of alternate worlds, generally where transport is run by electricity, where the internal combustion engine is unknown, and where giant airships are the chief form of international carrier. He investigates the murder of English Prime Minister “Lady Ratchet,” the kidnapping of the king of a country taken over by a totalitarian regime, and the death of Geli Raubel, Adolf Hitler’s mistress. Other adventures take him to a wild west where “the Masked Buckaroo” is tracking down a mysterious red-eyed Apache known as the White Wolf; to 1960s’ Chicago where a girl has been killed in a sordid disco; and to an independent state of Texas controlled by neocon Christians with oily (and bloody) hands. He visits Paris, where he links up with his French colleagues of the Sûreté du Temps Perdu. In several cases the fanatical Adolf Hitler is his opponent, but his arch-enemy is the mysterious black sword wielding aristocrat known as Zenith the Albino, a drug-dependent, charismatic exile from a distant realm he once ruled.

In each story the Metatemporal Detectives’ cases take them to worlds at once like and unlike our own, sometimes at odds with and sometimes in league with the beautiful adventuresses Mrs. Una Persson or Lady Rosie von Bek. At last Begg and Sinclair come face to face with their nemesis on the moonbeam roads which cross between the universes, where the great Eternal Balance itself is threatened with destruction and from which only the luckiest and most daring of metatemporal adventurers will return.

These fast-paced mysteries pay homage to Moorcock’s many literary enthusiasms for authors as diverse as Clarence E. Mulford, Dashiell Hammett, Georges Simenon, and his boyhood hero, Sexton Blake.

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Bright of the Sky: From Illustration to Finished Book Jacket

We’ve just completed the dust jacket for Kay Kenyon’s Bright of the Sky, the first book in an exciting new epic science fiction series coming from Pyr in April. Everyone is really happy with the cover, the illustration for which was already generating buzz as early as this past summer’s World Science Fiction convention. So I thought I’d use it to do something I’ve wanted to do for a while, which is to talk through the design process of putting a cover together.

For starters, Bright of the Sky is science fiction, but it’s got a fantasy feel. Or at least a “fantastical” feel – in that it’s set largely in a pocket universe peopled with multiple strange creatures. It’s really exquisite world-building on Kay’s part, and I wanted a cover illustration that could sell the size, scope, scale of her imagination and the world that has sprung out of it. Kay and I talked over several possible illustrators before decided on Stephan Martiniere. Now, Stephan is no stranger to Pyr, and anyone who reads my blogs knows he’s one of my favorite illustrators working today, but in SF he’s known mostly – at least up to this point although it’s shifting – for his wonderful architectural visions, such as his work on Ian McDonald’s River of Gods. But in the case of Bright of the Sky, it was Stephan’s work outside publishing – particularly the wonderful outdoor landscapes and creature designs he did for the Myst computer games – that caught Kay’s attention and made her think he could communicate some of what she saw for her world. And did he ever come through, as the picture on the top-right attests.

Next enter Jackie Cooke, from Pyr (and parent company Prometheus Books’) art department. At this stage, it’s about trying all sorts of options. We say we’d rather experiment and then pull back then not try to begin with. So we went through a ton of font choices, placements, and colors. Unfortunately, that was many moons ago, and I don’t have those files anymore. But suffice to say we went through a wide range – including a vaguely Asian-brush stroke type front that seemed in concept appropriate to the Chinese-like culture of one of the races in Bright, but which was too heavy handed in execution to use. Also, I don’t mind admitting that, although the end result looks nothing like it, we looked to the cover of Dan Simmon’s Ilium as one source for inspiration, particularly in the way the bronzed, embossed font of Dan’s name communicated the epic feel of the work. Finally, we settled on the design you see to the left. The font, I think, communicates both a sense of grand culture and the imposing dignity you want for an epic, “masterful” work.

So that’s the image you see in our catalog, on Amazon, on the website etc… But one of the central landscape elements of Kay’s “Universe Entire” is a mysterious river called the nigh. The nigh isn’t made of water, but a strange quicksilver substance, about which I won’t say anymore because you, well, have to read the book for yourself. But that’s the nigh you see pictured on the cover. But the colors on this cover are muted, and so Jackie and I wanted a way to both grab more eyeballs and to communicate some of that quicksilver imagery from the book. She settled on the use of a silver mirror holograhic foil, a special effect offered by our jacket printer, Phoenix Color. Ah, but when you do special effect like embossing, special dyes and inks, foil, etc… you pay per square inch. And it ain’t cheap. So, for instance, a book with the title and author name both at the top in close proximity to each other would be cheaper than a book where the effects are placed at top and bottom, like, unfortunately, we have. (If you follow the link, you’ll notice that Ilium has embossed Dan’s name at the top, but not the title at the bottom. This is why.) So, word came back that the bosses were willing to spring for the holofoil on the title, but not the title and author’s name. (Which is still mighty generous, as the effect ain’t cheap and they could just as easily have said to do without). That meant we had to find another solution for “Kay Kenyon” at the bottom. So here we have some of the colors we tried. The rainbow effect on the title is Jackie’s attempt to approximate the holographic foil, since we can’t show it in a jpg, and she wanted me to be able to see how it might pick up on and reflect various colors from Kay’s name. Here, I admit that I liked the white, but was wisely outvoted by both Jackie and Kay (we tend to involve the authors in the process – no, this isn’t the norm.) The mauve was never a consideration, though a grey that echoed the look of the catalog version was. Eventually, however, we settled on a sand color that was also used in the subtitle as the best match. I’ll wait and show it when we talk about the rest of the jacket.

Which is now. Jackie nailed the back cover in one. I love the purple on black, as well as aligning the quotes top left bottom right. I think the whole effect is very dignified and goes a long way towards our intention of presenting what an “important” epic this work is. But, as I’m sure you’ve noticed, the spine isn’t there. Sometimes, grabbing a cross section of the cover illustration can really work well. Othertimes, not so much. It just didn’t look – you know it – “epic” to me.So I suggest Jackie try a simple black spine. And maybe grab an image of that horse creature (called an Inyx) or those wonderful flying fish. I pictured placing this image at the top of the spine, but Jackie surprised me by putting it center and surrounding it in that stylish border motif she’d already devised for the subtitle:The flaps are added at this point to. Disregard the white spaces – they won’t be there on the final. So now we’re almost there, but we still need to add Kay’s picture, and Jackie felt the left flap – the grey one – was a little plain, so she decided to added a faded image from the cover to give it some texture. The result is our final dust jacket below, though, of course, you don’t see the effect of the holographic foil on the title. Right click it to see larger, as with all these, of course. And since this was a long post to put together, feel free to ooo and ahhhh.
Now tell me, does Bright of the Sky: Entire and the Rose: Book 1 look like a damn fine book or what?

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John Picacio Speaks

John Picacio, the amazing cover illustrator on Fast Forward 1: Future Fiction from the Cutting Edge,talks about his illustration on his blog, On the Front:

“Lou and I talked a lot about this one. More than anything, we talked about the editorial direction of the book and what territory he was trying to explore. I read his introduction early in the process. Incredibly inspiring. He and I talked a lot about Richard Powers and his effect on Ballantine’s covers in the ’50s. On Lou’s blog, he mentioned something about the cover ‘approximating some of Powers’ energy for our time.’ I don’t want anyone to think that I equate myself with Powers, so I might clarify that by saying that the thing I love about Powers’ covers is that they challenge their audience. They refuse to be beauty pageant pieces that desparately preen to be liked for their surface polish. I think that’s one of the most powerful lessons in his art….they spoke to the audience of their time, and they did it on their own terms. So I guess if anything, I was attempting (and attempting is the keyword) to do the same with this cover. Lofty as that may sound. Of course, in the end, I look at the FF1 cover and as much as it’s one of my recent favorites, I see my own glaring shortcomings more than anything. I’ve got a long way to go….”For my two cents, John may be going a long way still – in terms of his evolution and career – but he’s already pretty far ahead of the pack with this and many other pieces!

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Just Look At This, Will You?

For your viewing pleasure: the full cover spread for the reissue of Jack Dann’s classic novel, The Man Who Melted, coming from Pyr January 07.

This is our first time working with artist Nick Stathopoulos, but not his first time illustrating a work by Jack Dann. If you look closely there is an easter egg buried in the cover, a reference to the cover of an Australian edition of the book which Nick also painted. Trouble spotting it? Here’s a hint.

Cover design is once again by the wonderful Jacqueline Cooke. Right click to enlarge, of course. All very pretty, no?

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