Michael Whelan’s covers for The Coldfire Trilogy by C.S. Friedman: TARRANT’S REALM (1990) Acrylic on Watercolor Board - 32” x 20” EMPEROR OF THE WASTELANDS (1993) Acrylic on Watercolor Board - 32” x 20” CROWN OF SHADOWS (1995) Acrylic on Panel - 28” x 22”

(via theartofmichaelwhelan)

Source: michaelwhelan.com

From our in the studio feature from last summer

THIS ALIEN SHORE (1998) by Michael Whelan, cover for the book by C.S. Friedman.

A great cover for many reasons. First, there’s the movement created by Michael’s composition. Vibrant splashes of color draw us into the background, but the eye never lingers long there as the lines created by the alien crowd redirect back to the central figure.

In the foreground, we get a realistic portrait of Jamisia that conveys a lot about her character. All eyes seem to be on her in that moment. Her body language is closed, protective, yet her gaze is direct. Her costuming is shiny but her face is unembellished.

Contradictions abound. Even the object in her hand is meant to cast eyes away, which only serves to heighten the viewer’s curiosity about her.

All of these subtle elements add up to intrigue, drawing readers to pick up the book to learn what the story is about. And that is perhaps Michael’s greatest gift as an illustrator, his ability to connect to an audience and hold their attention in the briefest glance.

(via theartofmichaelwhelan)

Source: michaelwhelan.com

Michael Whelan’s covers for The Coldfire Trilogy by C.S. Friedman:

TARRANT’S REALM (1990)
Acrylic on Watercolor Board - 32” x 20”

EMPEROR OF THE WASTELANDS (1993)
Acrylic on Watercolor Board - 32” x 20”

CROWN OF SHADOWS (1995)
Acrylic on Panel - 28” x 22”

(via theartofmichaelwhelan)

Source: michaelwhelan.com

THIS ALIEN SHORE (1998) by Michael Whelan, cover for the book by C.S. Friedman.

A great cover for many reasons. First, there’s the movement created by Michael’s composition. Vibrant splashes of color draw us into the background, but the eye never lingers long there as the lines created by the alien crowd redirect back to the central figure.

In the foreground, we get a realistic portrait of Jamisia that conveys a lot about her character. All eyes seem to be on her in that moment. Her body language is closed, protective, yet her gaze is direct. Her costuming is shiny but her face is unembellished.

Contradictions abound. Even the object in her hand is meant to cast eyes away, which only serves to heighten the viewer’s curiosity about her.

All of these subtle elements add up to intrigue, drawing readers to pick up the book to learn what the story is about. And that is perhaps Michael’s greatest gift as an illustrator, his ability to connect to an audience and hold their attention in the briefest glance.

Source: michaelwhelan.com

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