Michael Whelan

@michaelwhelan

Fine artist of Imaginative Realism. Retired illustrator of Science Fiction and Fantasy. Winner of 15 Hugo Awards. Inducted into the SF Hall of Fame in 2009.

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Michael Whelan@michaelwhelan· 27d

Notably, the painting was included in THE ART OF MICHAEL WHELAN in 1993, but the novel wasn’t published until 1997 so the cover predated the book by several years. Cover illustration for DESTINY'S ROAD by Larry Niven (TOR) 7/7 www.michaelwhelan.com/galleries/de...

Book cover for DESTINY'S ROAD by Larry Niven, published by TOR Books

Michael Whelan@michaelwhelan· 27d

When Larry saw the painting on display at the 1992 World Science Fiction Convention art show, he liked it so I thought maybe it would influence him to make a change here and there so that the art would be one hundred percent true to the text after all. 6/7

Pencil study for DESTINY'S ROAD featuring three flying alien creatures with mandible pincers that look like rays in overall form. The wing position varies with the foremost creatures wings sweeping back in an arc. The next flying beneath it has wings with a leading edge forming a straight line with flesh tapering to form a triangle. Both have a structural flourish—looks like the end of a lobster—before the thin tail extends long and whiplike.

Background detail from DESTINY’S ROAD featuring flying alien creatures soaring over the road as it is surrounded by farm plots.

Michael Whelan@michaelwhelan· 27d

The novel wasn’t finished at the time I painted the cover illustration, so I worked from sample chapters, Niven’s detailed notes about the story, and in particular, his commentaries on virtually every important aspect of the science and history of the planet. 5/7

Closer detail from DESTINY’S ROAD featuring the figure poised at the mountaintop facing the sunset to the left. A tall tree with bristled top rises in front of billowing clouds. The road ends in a spiral to form a city.

Michael Whelan@michaelwhelan· 27d

Compositionally, I did too...so here is the painting as conceived in the original concept. 4/7

Detail from DESTINY’S ROAD featuring a man standing on a rock outcrop overlooking a long road that leads through farmland and into a spiral that winds through a densely populated settlement.

Michael Whelan@michaelwhelan· 27d

Back to the drawing board! I labored to make a corrected color sketch that offered an analogous scene that was literally correct and sent it to the publisher. But the art director and publisher said the mistake didn't bother them—they liked the first version better. 3/7

Alternative color sketch for DESTINY'S ROAD featuring a flopped layout. The spiral ending of the road is on the left with the man poised at the mountain top facing right. Bulbous alien vegetation has been added, but looks more like a flower.

Michael Whelan@michaelwhelan· 27d

The publisher agreed and I went to work on the finished piece; but upon rereading the material, I realized that I had the view wrong. If I followed Niven's text to the letter, it would be impossible to view the road from the angle I had chosen. 2/7

Tonal gray preliminary concept for DESTINY'S ROAD featuring the same layout as the final painting. The mountaintop perspective lacks the briar shaped alien trees and the flying alien creatures are in different positions of the sky.

Michael Whelan@michaelwhelan· 27d

DESTINY'S ROAD (1991)  Acrylic on Watercolor Board - 30" x 40" After painting 6 concepts in an effort to distill Larry Niven's novel into one image, I settled on a mountaintop perspective that gave me the chance to offer an aerial view of the road and its environs. 1/7

A man stands on a rock outcrop overlooking a long road that leads through farmland and into a spiral that winds through a densely packed settlement. The tree growing out of the rock overlook has a spiky top. More foliage in the right foreground provides hints that this is an alien world. Three crescent moons hang in the sky. On the far left, the painting is oversaturated with a golden glow that sits over the water of a nearby bay and gradually blends into verdant green surrounding the spiral city. Winged creatures, much like aquatic rays, glide low over the fields and road.

Michael Whelan@michaelwhelan· 28d

WIDE (1992) Oil on Canvas - 20” x 48” As with OPEN, I was working to establish the connecting points between my Passage paintings and this new series, before I went on to define the new themes in their entirety. www.michaelwhelan.com/galleries/wi...

A pair of mounds rising over rolling green hills each contain a metal hatch framed in concrete. The double doors on the left are closed while one door on the right swings wide open, and a transparent sphere containing a solitary flame drifts weightless up. The hills beyond undulate to a horizon set beneath gray-blue skies. A break in the clouds casts light down the middle of the painting between the two mounds.

Detail from WIDE featuring the mound on the left half of the painting with the closed set of double doors set in a concrete frame. Rust streaks down from the metal. The weathering suggests the doors have been endured for a long time.

Detail from WIDE featuring the mound on the right half of the painting. The right door swings open revealing nothing in the darkness within, however, a transparent sphere containing a solitary flame floats weightless up.

Michael Whelan@michaelwhelan· 28d

My escalation with Etsy reached a senior manager, who resubmitted the claim...and the slop has been removed! The key takeaway seems to be the "right of publicity" is what is being infringed upon. (I had submitted under "other" before. Not sure what was different but Etsy legal rejected that.) 1/2

Based on your previous emails, it appears that you are also allegedly that Michael Whelan's right of publicity is being infringed upon. As such, and in accordance with our Intellectual Property Policy, we’re processing your report as an "Other" report. Please note that there are appropriate reporting paths for Copyrights, Trademarks, Patents, or "Other" (which may include a registered EU design).

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Michael Whelan@michaelwhelan· 29d

Cover illustration for THE NAKED SUN by Isaac Asimov (Del Rey) 4/4 www.michaelwhelan.com/galleries/na...

Paperback book cover for THE NAKED SUN by Isaac Asimov, published by Del Rey

Michael Whelan@michaelwhelan· 29d

The robot holds the bow representing the means for using the arrow/spaceship because, as we find out later in Robots and Empire, robots are the force primarily responsible for the exodus of humanity. 3/4

Figure detail from THE NAKED SUN featuring Lije Baley holding up an arrow to examine. The long shaft points up on a diagonal. He holds his other hands at his side. He wears a brown jacket with the cuffs rolled over and collar popped.His shirt beneath is orange. The likeness is based on Michael’s father-in-law Walter Larsen.

Background detail from THE NAKED SUN featuring a human robot standing in the distance behind Lije Baley. The sun reflects off its dark gray metal skin. It holds a bow across its body.

Michael Whelan@michaelwhelan· 29d

Using the sun metaphor as a jumping-off point, I posed Baley among the security of the trees, staring boldly at the sun—and at the call of space. The arrow is the symbol for a spaceship pointing the way outward from his heart. 2/4

Tonal preliminary concept featuring a man down on one knee leaning against a tree. He examines an arrow that he holds parallel to the ground facing right. The notch and fletching start at a red triangular patch on his chest. Behind him in the distance stands a humanoid robot.

Pencil study of robot with one arm in front of his midsection in the pose of the cover except there is no bow here.

Pencil study of alien flora including plants with mushroom caps on winding stems and an artichoke-like bulbs on a tall, straight stem.

Michael Whelan@michaelwhelan· 29d

THE NAKED SUN (1986) Acrylic - 30” x 18”  The “sun” in this story is Isaac Asimov’s symbol of Man’s destiny among the stars, beckoning Earthlings to leave the womb of their home planet. The protagonist, Baley, comes to realize that humanity must go forth into space or face cultural stagnation. 1/4

Between two alien looking trees, a man studies an arrow that he holds at arms length. Behind him, a shiny silver robot in humanoid form holds a bow to its body. The sky behind them is warm yellow until it gives way to a green forest canopy.

Michael Whelan@michaelwhelan· Jul 12

In this weeks newsletter, we celebrate a milestone with a retrospective featuring all 22 dragon covers Michael painted in his career: theartofmichaelwhelan.substack.com/p/a-legacy-o...

Black and white preliminary concept for THE RENEGADES OF PERN featuring a man walking with a bag slung over his shoulder. A caravan follows closely behind. Drifting across the sky, a trio of dragons move left to right. There are no tall trees rising from the plains. Instead a few broken trunks can be seen flanking the caravan's path in the background.

Michael Whelan@michaelwhelan· Jul 11

I could come up with a story that would explain who the guy is riding the magical beasts, where he is going, and who he is waving to, but I’ll leave that up to someone else. I’m just painting what I see. 2/2 www.michaelwhelan.com/galleries/20...

Initial paint marks that inspired THE GOLDEN WAY with bright splotches of yellow most notably in the upper and lower right.

Work-in-progress photo of THE GOLDEN WAY. The curve and break in the canyon wall has been defined as well as the flying creature including some of the labyrinthine striping on it.

Detail from THE GOLDEN WAY featuring a wizardly figure on the back of a flying whale-like creature. The hand of the purple robed figure is raised as if guiding passage through the tall slender break in the canyon wall.

Michael Whelan@michaelwhelan· Jul 11

THE GOLDEN WAY (2021) Acrylic - 13” x 10” When I looked at that scrap of random shapes, this is what I imagined. I felt all I had to do was “clarify” the shapes so that other people could see it too. 1/2

A pod of whale-like creatures flies toward a break in the canyon wall. The sun burns through fog overhead. On the back of the lead whale stands a figure in purple robes holding a staff that glows at the tip. The whale has a labyrinthine pattern on it, a spotted dorsal fin, another fin sticking straight up off its head, and a long horn pointing forward off the slope of its forehead.

Michael Whelan@michaelwhelan· Jul 10

In backgrounds and skies, a lot of it is either airbrushed or achieved with washes with watercolors. For foregrounds and figures, it’s brushwork, usually involving crosshatching and glazes. -MRW www.michaelwhelan.com/faq/#technique 2/2

I just recently started painting with acrylics and I wanted to ask, how to you achieve such great rendering and blending?
Acrylics can be painted all kinds of ways: thickly with bristle brushes as if they were oils, or thinly as with watercolors… and every way in between. That’s a primary reason why I prefer to use them; that freedom is liberating.
Generally, I tend to paint from background to foreground. That allows me to use wet-on-wet washes and freehand airbrush work for the sky and distant objects. For the foreground, I use a variety of techniques to blend light to dark passages.
When I started—and up until the late 90s—I totally avoided using “retarders” or blending mediums, relying on aqueous watercolor blending techniques to complete my paintings. This is because I’ve usually been in a hurry to get the painting done, and waiting for paint mixed with a glazing medium to dry really was a drag on my process.
Also, I do a LOT of over painting [going over certain areas with several passes to build up transitions, etc] and under layers painted with retarder or glazing mediums always “melt” when brushed over with another layer, so I never used them. These days, however, I’ve become more open minded and experimental about using them and I’ve come to see how they can help.

But for the most part, it comes down to one or more of three favored techniques:
Using one or many washes of color, either going from one color to another in a single pass, or painting the darks in first [preferably with a transparent pigment] then using successful washes of a lighter color, being careful to keep the terminator edges blending into the dark with your brush, before it dries. I find sable brushes [or their synthetic equivalent] to be indispensable for this approach.
Painting an area with thin color and blending it by using a round sable brush that is flattened to make it sort of fan out. Then it can be used in a sort of crosshatching effect, going from more color to less as you work the brush towards the area where you want it to fade completely. Again, sable brushes are the only ones that seem to spread out in a way that allows this technique to work. The flexibility and thinness of the hairs are also a critical factor here. Unfortunately this technique is very hard on the brushes and they don’t last very long if you do a lot of painting this way.
Lastly, one can use an airbrush. I don’t need to go into how to use one of these, because there are probably dozens of YouTube videos covering that. Personally, I hate using an airbrush for anything in the foreground, so I only use one of most basic models out there: the Paasche H series single action airbrush. This keeps me from being tempted to use it for painting anything small or heavily detailed, like a face or whatever.

I suppose the answer to blending acrylics hinges on how you are using them.
Most of the big skies and unblemished surface areas are done with washes or airbrush gradations. [I love how I can lay successive acrylic washes over one another without messing up the underlying color application.] Many of my larger skies and similar areas are created by laying many different colored washes one on top of the other, continually adjusting and fine tuning the colors and values as I go. But the same approach can be used to create smooth transitions on smaller areas— from light to dark on a figure’s arms and legs or whatever.
When working with opaque paint, one is compelled to employ other means. Generally, what I do is premix my color/value ranges for what I’m painting and blend the areas from one transition to another as I go. If one edge looks too sharp then I’ll mix the adjacent colors to make one that is between the two and use it to smooth the blend.
Whenever possible I’ll use a flat or angled brush with the colors already laid on my palette and paint the blend light to dark in one stroke.

Michael Whelan@michaelwhelan· Jul 10

There's a wealth of information on this one in the FAQ under Materials and Technique, which you'll see in the included screen caps. I also asked if Michael had anything to add and his reply follows. ~ME www.michaelwhelan.com/faq/#materials 1/2

What kind of acrylic paints do you use?

The brands I use are primarily Liquitex and Golden. I favor the jar or ‘fluid” acrylics because they flow better and I often use glazes or watercolor wash effects in my work. In addition, I occasionally run them through an airbrush, which the tube colors are unsuitable for. I do keep some tube colors around for the very last stages of a painting, if there’s an area which calls for a particularly opaque and strongly stated layer of paint.
On occasion I use Golden Satin painting medium when I want to execute a wet-in-wet blend. Golden’s GAC 200 medium is very useful to me, as it’s the hardest medium I know of which imparts a gloss to a layer of color. Other gloss mediums can get sticky on humid days long after an acrylic painting is finished, whereas the GAC 200 stays hard and impervious to such changes. However, it’s rigidity makes it suitable only for non-flexible surfaces, so I can only use it when I’m painting on a panel or board.

Michael Whelan@michaelwhelan· Jul 10

My painting for THE WAY OF KINGS was the high point for me during that time period. Actually, TWOK answers the second question also. Aside from the Dark Tower work, it’s our best selling fine art print by far. 1/5

THE WAY OF KINGS (2010) - A cloaked and armored figure raises his sword in salute to a tiny figure in the distance separated by a chasm of broken earth shrouded by mist. A massive storm cell winds gray and blue across the sky intersecting the tip of the extended sword. A bright line of blue runs across the clouds as if etched by the unusual half-hilted, wavy blade. The orange cloak covering most of the figure (as viewed from behind) is decorated with a mass of wild crustacean arms ending in crescent claws. The icon on the pennant, flying tall on a pole held offhand, depicts a crab-like creature. The sky to the right of the storm is tinted warm yellow as the sun peeks out. A sliver of moon can be seen in a blue-sky break between the clouds. In the background left forks of lightning strike at the distant mountains on the horizon.

Michael Whelan@michaelwhelan· Jul 10

Cover illustration for AMAZONS 2, edited by Jessica Salmonson (DAW) 3/3 www.michaelwhelan.com/galleries/am...

Book cover for AMAZONS 2, edited by Jessica Salmonson, an anthology published by DAW Books.

Detail from AMAZONS 2 featuring two dark haired Amazon warriors poised to attack on the bow of a boat. One grips a spear overhead to stab downward. The other wields sword and shield captured in the moment of backswing. As they ram the other ship the armored men aboard are jarred back by the impact.

Michael Whelan@michaelwhelan· Jul 10

I based my illustration on a story about pirates. Through dynamic lines and lean, powerful musculature, I conjured into battle a pair of tough, aggressive fighters worthy of the Amazon name. 2/3

Preliminary concept for AMAZONS 2 featuring the scene for the cover except here the fog extends to the boat the Amazon pirates are attacking. The two Amazon warriors are poised on the bow of their boat, ready to attack, however the slender bow doesn’t splinter the gunwales of the other ship as in the final cover image.

Pencil study for AMAZONS 2 featuring two Amazon warriors in the pose of the final painting.

Michael Whelan@michaelwhelan· Jul 10

AMAZONS 2 (1981) Acrylic on Crescent Illustration Board - 24” x 16” Cover for a DAW anthology featuring women characters written (mostly) by female writers. 1/3 #art #booksky

Balanced on the bow of a slender boat, two dark haired Amazon warriors stand poised to attack. The point of the bow has splintered the rails of another vessel. The armored men aboard lurch back with the impact as the Amazons surge forward. One grips a spear two-handed overhead, ready to stab downward. Holding a round shield for defense, the other draws back her sword arm ready to swing. Her long green cape drapes down over her leanly muscular body as she pivots. Billowing mist obscures all but the tip of their ship. The sky above is gray, clouds tinged with red by a bloody gibbous moon.

Michael Whelan@michaelwhelan· Jul 9

We hit 30K?!? (Yeah a couple days ago...but now that we posted, it's official! 😉) Thanks so much for all the likes, shares, and follows. Posting here is always more fun with your questions and requests. What do you want to know? Whatya wanna see?

An alternative painting for AT THE MOUNTAINS OF MADNESS done in 2019. The tiny figure of an arctic explorer pauses partway up a snowy slope taken aback by the enormous, oddly textured peaks rising in front them. The scale of the mountains rendered in limited colors (gray, white and the barest hint of blue) dominates the top half of the painting, fading succeeding peaks with graying atmospheric effect. Below the image is the caption “30K Followers”.

Michael Whelan@michaelwhelan· Jul 9

That is, I had made up my mind to ignore any lingering feelings of self-doubt and commit myself to a lengthy period of entirely personal work, no commissions. 2/2 www.michaelwhelan.com/galleries/pa...

Figure study for PASSAGE: VERGE, white charcoal and carbon pencil on Canson paper, 12” x 9”. The woman in robes with hood up stands in the same pose as the final painting with her shoulder turned toward the audience except she holds her hand to her chest.

Figure detail from PASSAGE: VERGE featuring a mysterious woman in pale gray robes. Her hood slides back to reveal her blonde hair. She holds out her hand and above it levitates a solitary flame contained in a transparent vessel.

Michael Whelan@michaelwhelan· Jul 9

PASSAGE: VERGE (1989)  Acrylic on Canvas - 48" X 36"   There are other, more metaphysical meanings to be derived from this painting, but at the time I was doing it I had decided to "step off the brink," professionally speaking. 1/2 #art

A mysterious woman, hooded in windswept robes, stops at the edge of a rocky outcrop. With palm up, she holds out her hand, and above it floats a transparent sphere containing a solitary flame. At the edge of the cliff, she stands framed by a tall arch in the distance. A circle—an echo set above the vessel she holds—sits high in the arch. Anchored by elegantly curving supports, it suggests something mystical as if it may not exist physically in this world but rather serve as a portal to the next. Behind, blue skies fade to a peach streak across the horizon and the misty hills rolling below. She seems poised to step out into open air but she turns her head back, partially revealing her face. Her thoughts linger on where the next step will lead. Will it be over the edge and down? Or does this passage lead to someplace else?

Michael Whelan@michaelwhelan· Jul 8

FWIW, Etsy acknowledges using AI in support. I asked who their DMCA designated agent is because that info isn't on their website. "Austen" hasn't answered, so I looked it up. It's no one. I suspect every big platform that hides behind safe harbor clauses does the same. Corporate accountability...🙄

Etsy may use an AI agent in some support interactions to quickly answer common questions using information from Etsy's Help Center to categorize your issue. If your issue can't be resolved by the AI agent, you may be routed to a human agent and be asked for verification details.

TLDR, Etsy designates its legal department as DMCA Designated Agent. Surprise? They have no public facing human being handling copyright.

Michael Whelan@michaelwhelan· Jul 8

Cover illustration for FUZZIES AND OTHER PEOPLE by H. Beam Piper (ACE) 6/6 www.michaelwhelan.com/galleries/fu...

Book cover for FUZZIES AND OTHER PEOPLE by H. Beam Piper, published by ACE

Michael Whelan@michaelwhelan· Jul 8

The timing was good; the change of mood was welcome. Of course, after doing such cute stuff I’d have to get into another “serious” concept for the next work, to balance things out! 5/6

Background detail from FUZZY FIRE featuring the forest ablaze. The jagged trunks of trees stand in contrast to the intense fire. Several Fuzzies are attempting to flee, but they struggle to through the fallen tree limbs littering the ground. Overcome by panic, one waves in desperation. The next stops in its tracks with arm thrown back. Another shields its eyes with an arm as it tugs a smaller companion.

Figure detail from FUZZY FIRE featuring a furry alien with huge green eyes propping up an exhausted companion a cliff's edge while a forest fire rages in the background.

Michael Whelan@michaelwhelan· Jul 8

Unlike a lot of other series for which I’ve painted cover art, the Fuzzy books were well spaced, so I didn’t have to do them on a regular basis. It always seemed that a new Fuzzy book would need a cover just as I had finished some dreadful horror painting. 4/6

Pencil study for FUZZY FIRE featuring a furry alien with big eyes open wide as it stares off-panel right. In one hand it grips a spear while the other arm is wrapped around a companion that leans against it with eyes pressed closed. The leg of the injured fuzzy is wrapped in bandages.

Pen and ink study for FUZZY FIRE featuring a big eyed furry alien in a stoic pose as it props up a comrade. It grips a spear in one hand as it looks off a rocky ridge. A crosshatched tree trunk provides contrast in the background.

Michael Whelan@michaelwhelan· Jul 8

...which you can see if you put the Fuzzy books in sequence. At the same time, my idea of what the little creatures should look like evolved, so the way they look on the first cover is quite different from the way they appear in GOLDEN DREAM, for example. 3/6