My free digital publication chronicling the creation of Alice Sabo’s cover art has been updated.
The newly revised edition of The Art of A Changed World, and now includes the artwork for Alice’s recent books, Shattered Landing, Willow’s Run and Entangled, alongside the creative process behind each cover.
Click the cover image below to download The Art of A Changed World (revised edition) in PDF format.
Every artist has their own sources of inspiration. As a science fiction artist, I have always cited names from that iconic era of space and sci-fi art in the 1970s and 80s as a major influence, which captivated me from a young age. But as an illustrator and Doctor Who fan, I have always adored the very visual side of the show – the book covers, toy packaging, posters, etc – you name it. The various visions of the show as depicted by numerous artists over the years clearly had a profound effect on me.
For one of my contributions to the upcoming Blackpool Revisited book, I wanted to talk to some of the artists associated with the show, in particular those with a connection to the Blackpool exhibition.
Andrew Skilleter is arguably one of the best-known names in Doctor Who circles and is regarded the leading artist of the show in the 1980s and beyond. What I’ve always loved about Andrew’s work is his use of colour and texture; his shading and reflections on the metallic surfaces of Daleks and Cybermen or the slimy, lumpy reptilian visage of a Sea Devil – he captured these things perfectly and this really made his artwork so atmospheric. I still remember getting his 1986 Doctor Who calendar, which remained on my bedroom wall long after the year had passed. Although I was always excited to see what the following month’s artwork would be, there was always a reluctance to have to turn the previous page over! His work featured heavily in the exhibition shop, on numerous pieces of merchandise or book covers, and the 1985 season poster.
Leafing through his 1995 book Blacklight, it occurred to me, to get in touch and see if he would be willing to contribute to the project. I never thought I would find myself interviewing Andrew, and that has been such a pleasure, and I’ve rediscovered his work all over again.
Andrew’s interview took us back over a long and illustrious career, which produced some of the best-known Doctor Who pieces by anyone – and he’s still at it today.
All that remains of the Dalek t-shirt that I bought at the exhibition in 1985, is the printed front section, which at some point, I had cut out and stuck in a photo album. Fortunately, I still have it – though it has clearly seen better days. But as a seven-year-old, I loved that t-shirt. I wore my Daleks with pride, and really adored the illustration on it. I no doubt attempted top copy it countless times, as I learned to draw Daleks.
The Blackpool and Longleat exhibitions sold three specially designed t-shirts, featuring the Daleks, the Cybermen and Peter Davison’s fifth Doctor. Looking at the remains of my own t-shirt recently, I noticed the artist’s signature – Rod Vass.
I thought it was time to talk to Rod about that t-shirt. Tracking him down was surprisingly easy. However, I thought I was going to find a jobbing illustrator, whereas it turned out Rod was one half of the company Imagineering Ltd, to whom the BBC subcontracted prop and costume building both for the television series and the exhibitions. Fantastic!
Beyond just the three t-shirts, Imagineering Ltd had also produced all manner of merchandise for the exhibitions, as well as replica latex masks, as regularly advertised by The Movie Store in the 1980s. Rod still works in film and TV through his company Armordillo, which produces armour, costumes and sets. If you’ve seen Gladiator, then you’ve seen his work in action.
Rod was generous with his time and responses, especially given that I’m asking him about work from around 40 years ago, that he has long since moved on from.
One of the other items I bought from the Blackpool exhibition was the most amazing poster of a cutaway Dalek – a dramatic painting of a Dalek before a burning cityscape, but with all of its workings on show. That piece of artwork fascinated me, due to the intricacy and detail of the circuitry, machinery, wires and tubes all crammed inside the Dalek, as well as the bubbling, pulsating Kaled mutant housed in the top section. I remember comparing this poster with the drawing of a similar Dalek anatomy in the Doctor Who Technical Manual.
Digging the poster out, I noticed a name in the credits at the bottom – Graham Potts. But despite Google’s best efforts, no website for Graham turned up. Nothing on Facebook either and only a brief reference to him in Telos Publishing’s Target book. I started to fear he may no longer be with us.
As a last resort, I tried searching on LinkedIn, and found a listing for an illustrator by that name, but with little other information. One private message later and as luck would have it, I’d found the right Graham Potts.
Graham only had a brief involvement in the Doctor Who world, having illustrated a few pieces of cover art including the novelisation of The Celestial Toymaker and Peter Haining’s popular 1983 book, A Celebration. Again, I was asking Graham about a piece of work from 36 years ago, but he happily obliged, and it was great to hear more about the background to that piece and his way of working back then.
As an artist, I’ve always enjoyed talking to other artists, and it is especially rewarding to be able to speak with those whose work inspired me. I can’t thank Andrew, Rod and Graham enough for their time, generosity and interest in the project.
All of these conversations have not only left me feeling enriched and inspired, but they’re absolutely fantastic contributions to the book.
Novacon is the UK’s longest-established science fiction convention. It started in 1971 as the Birmingham Science Fiction Group’s annual meetup, then expanded and moved around over the years, eventually finding its spiritual home in Nottingham. Novacon is a little different to your bigger conventions; there are no costumes or that sort of thing, and has a stronger emphasis on the literary side of SF&F, but all aspects of fandom are covered – film, television and comics, etc. As you might expect, there’s a rolling programme of panel discussions, science talks, art talks and a whole range of other things alongside book launches, author readings and of course, the busy dealer’s room, fantastic art show and art auction. Every year offers something different and a Guest of Honour whose presence, interests and work form a central point to many of the discussions.
This year’s Guest of Honour was Mike Carey – perhaps now best known as author of The Girl With All the Gifts. Needless to say, the film and book were regular talking points, as were Carey’s Felix Castor series and his work in the graphic novel industry. In fact, the discussions around comics and graphic novels was refreshing and really interesting for me, as a one-time wannabe comic artist! Mike also gave us several engaging readings from his forthcoming novel, The Book of Koli.
I have been going to Novacon since 2012 and have met a wide range of amazing people – many have become good friends and others I’ve gone on to collaborate with on cover art. During Sunday’s closing ceremony, Mike Carey described Novacon as “warm hearted”, and I couldn’t have put it better. The bulk of the membership is made up by many familiar, returning faces. It is an easygoing and welcoming convention and refreshing to be able to casually chat with renowned authors or artists without any sense of celebrity or ego. This year, Christopher Priest attended with his daughter Elizabeth – now also a published writer. It was great to have the time to catch up with him, as I have admired his writing for many years.
The convention drink of choice is Black Sheep ale, which tends to start flowing early on and continues throughout the weekend. It may result in people falling asleep during talks and snoring loudly (the point at which a polite reminder they’ve also paid for a bed wouldn’t be a bad thing). But loud nasal interference aside, it is always nice to have the flexibility that the con offers; some folk attend all the talks, some are more selective, while others simply seem to go purely for the social side of things and set up camp in the bar, catching up with old friends and making new ones.
While the crowd ought to (and deserves to) be a little larger, what I do like about this convention is its size, as you can find the time and space for proper conversation; and if you want to find somebody again, you can – unlike at bigger events such as Eastercon where everything is so packed and frantic, and simply trying to track somebody down or have a conversation in more than passing is quite difficult.
I mainly attend Novacon to be a part of the art show. It is always an honour to be able to exhibit my work alongside renowned space and science fiction artist, David A. Hardy (who has been at every Novacon since 1973!). The art show brings in a vast range of styles and genres, from new artists to well-known names. The art room – or in this year’s case, rooms – are brimming with science fiction, space and fantasy art and illustration in all media, plus various other arts and crafts, such as jewellery, needlework and even knitwear! Serena and John always work tirelessly to make sure their artists are looked after, and we can never thank them enough! Most of the art on show comes with a bid sheet for any potential buyers, and the pieces with bids are entered into the art auction on the Sunday.
The dealers’ room mainly comprises booksellers and independent publishers, such as PS Publishing, NewCon Press and Elsewhen Press – all of whom are putting out some of the most exciting and original titles in science and speculative fiction, fantasy and horror.
It’s not all about science fiction though – Novacon doesn’t forget the science bit! Although this year, there was no British Interplanetary Society presence, David A. Hardy gave us a whirlwind visual tour of the planets, via his excellent presentation To the Stars – On A Paintbrush!, and as always, there were two science talks. I missed the first, but astrophysicist, Dr Rachael Livermore gave an excellent insight on the Sunday morning into Dark Matter – a fascinating and fun way to start the day (even though I tend to find science talks first thing in the morning a little too much for my convention brain!).
I took part in the panel which followed – a great discussion on working with artists, alongside Mike Carey, Manga expert Zoe Burgess and Peter Buck of Elsewhen Press – all chaired by Patrick McMurray. I have obviously attended enough Novacons now to have progressed from audience member to panel participant!
Novacon for me is also about those great connections. Two such examples are Elsewhen Press, whom I met during my first Novacon, and have since illustrated several of their book covers; and a couple of conventions later, I met Helen Claire Gould, who after seeing my art display, invited me to produce the cover art for her début novel, Floodtide – it was great to see Helen back at Novacon this year, promoting the book as well as her more recent titles.
The Sunday afternoon sadly comes around so quickly, and it doesn’t feel like a few minutes have past since installing the art show on the Friday, when the time comes to reluctantly disassemble it. However, with not one, but four Guests of Honour booked for next year – Novacon’s big five-o – it will certainly be an event to look forward to.
After all, what more could you want, but to share a hotel with several hundred likeminded people?