Monday 3 March 2014

The fantasy artwork of Ian Miller

Ian Miller’s images have adorned book covers by genre greats such as Lovecraft, Philip K Dick and William Gibson. Here the master of the macabre talks us through some choice images from his backlist
Snake in the grass 1972   Ink-wash - paper. One of several development images for a series of drawings / paintings entitled : Snake woman.
Snake in the grass, 1972 (ink wash and paper). One of several development images for a series entitled Snake Woman. By permission: Ian Miller
The Ballad of Edgeworth Early 1970  Ink - watercolour - illustration board. This is panel two from a series of six. The story was set in a nursery rhyme world stalked by shadows and cannibals.  It was one of several self-motivated projects I embarked on back in the early 70's. Some of these were later gathered together in a volume entitled The Green Dog Trumpet and published in the early 80's by Dragons Dream.
The Ballad of Edgeworth, early 1970s (Ink and watercolour on illustration board). This is panel two from a series of six. The story was set in a nursery rhyme world stalked by shadows and cannibals. By permission: Ian Miller
Erfberg  2011.  Dip pen-ink - watercolour -paper .     This is just the one from a plethora of castle and cityscape images. For some reason I can't stop drawing either. It started with a drawing I did of Gormenghast back in the seventies. Six versions on and several 'After Gormenghasts' I'm still hooked .  M John Harrison's  book Viriconium only enforced this  obsession.
Erfberg, 2011 (Dip pen-ink and watercolour on paper). This is just the one from a plethora of castle and cityscape images. For some reason I can't stop drawing either. It started with a drawing I did of Gormenghast back in the seventies. Six versions on and several 'After Gormenghasts', I'm still hooked . M John Harrison's book Viriconium only enforced this obsession. By permission: Ian Miller
Tarot card - The Tower 2008  B/w pen -ink -illustration board. I thought it might be interesting to create a set of Tarot cards. I think there are twenty or so in the primary set.  I drew eight or nine  of them, then abandoned the project. It happens.
Tarot card: The Tower, 2008 (B/w pen and ink on illustration board). I thought it might be interesting to create a set of Tarot cards. I drew eight or nine of them, then abandoned the project. It happens. By permission: Ian Miller
Section  / Arkham  1990's  H.P.  Lovecraft story.      Pen-brush - ink - watercolour- illustration board.  Another private commission for a patron in the USA.  The brief:
Section / Arkham, 1990s, from the HP Lovecraft story (pen-brush, ink and watercolour on illustration board). A private commission for a patron in the USA. The brief: "Draw a picture of Arkham." Working from Lovecraft's written descriptions, I created a cityscape. By permission: Ian Miller
Green Ents, 2010 (pen, ink and watercolour on illustration board). This was a private commission for a patron in the USA. The brief: "Anything with Ents in." Back in the late 70s I contributed images to a book called A Tolkien Bestiary by David Day, and it was then I made my first stab at drawing walking trees. Strange to say, I've never stopped drawing them. By permission: Ian Miller
Chaos tree 1980's   Ink dip pen/crow nib -  rotting technical pen - paper.  This image was created for Games Workshop and featured in the volume Realms of Chaos.  I was in no way constrained in how I chose to interpret the subject matter. For some reason, my style of drawing fitted in well with the Games Workshop 'Mythos' and Realms of Chaos World.
Chaos tree, 1980s (Ink dip pen/crow nib and rotting technical pen on paper). This image was created for Games Workshop and featured in the volume Realms of Chaos. I was in no way constrained in how I chose to interpret the subject matter. For some reason, my style of drawing fitted in well with the Realms of Chaos World. By permission: Ian Miller
11:30 approx .  2013.    Ink and pencil on illustration board. This is an ongoing theme and spin off, from a commission for a patron in the USA .The brief then was
11:30 approx, 2013 (ink and pencil on illustration board). This is an ongoing theme and spin off, from a commission for a patron in the USA .The brief then was "Something musical with lots of whimsy, and nothing sharp or nasty." By permission: Ian Miller
Dragon circle motif  1990's Coloured ink-rotting technical pens- illustration board.  I think the pattern-making process involved in the creation of this image was the most interesting aspect of the work.  The dragon provides the perfect coat hanger for any pattern maker. This was one of two images, and loosely based on Smaug the dragon featured in the Hobbit.
Dragon circle motif, 1990s (coloured ink-rotting technical pens on illustration board). I think the pattern-making process involved in the creation of this image was the most interesting aspect of the work. The dragon provides the perfect coat hanger for any pattern maker. This was loosely based on Smaug the dragon from The Hobbit. By permission: Ian Miller
Ian Miller. Descent into the Maelstrom  Based on the story by Edgar Allan Poe. Ink on illustration board dip and technical pen. This is a section from one of four large b/w interlocking panels for a multimedia project involving a filmmaker and weaver. I was asked / commissioned to illustrate Poe's story and I chose to do so in a series of large b/w panels. I had intended doing six of these, perhaps more, to capture the magnitude of the great whirlpool, but for reasons beyond my ken, the project foundered part way through and died a death. Both the film and weaving aspects of the project were absolutely fascinating. It's a real shame it never got finished.
Descent into the Maelstrom, based on the story by Edgar Allan Poe (ink on illustration board dip and technical pen). This is a section from one of four large b/w interlocking panels for a multimedia project involving a filmmaker and weaver. I was asked to illustrate Poe's story and I chose to do so in a series of large b/w panels. I had intended doing six of these, perhaps more, to capture the magnitude of the great whirlpool, but for reasons beyond my ken, the project foundered part way through. Both the film and weaving aspects of the project were absolutely fascinating: it's a real shame it never got finished. By permission: Ian Miller


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