Archive for Cover Art
New cover art! Fans of Lt. Stan Markowski of the Scranton P.D. are going to absolutely love this one, too: it’s the third book in Justin Gustainis‘s Occult Crimes Unit Investigations series, Known Devil, which we’re publishing in August 2013:
Too long to with ’til August? We prescribe a re-read of the first two books in the series to help keep the cravings under control. Repeat the dose as required…
This one has been packed with gorgeous, twiddly detail by the one and only, World Fantasy Award Winning artist, John Coulthart. Regular readers of The Qwillery will have seen this one already, but everyone else should immediately click the pic for a larger version, in order to see it in all its glory. Go on, you know you want to…
So far this year our covers have won two publicly-voted cover competitions in the “Best of 2012″ category.
First up, over at Ranting Dragon, there was one enormous competition, which started with 64 of last year’s best titles pitted against each other – the winner of each round went through to the next stage in the competition, and voting began anew.
The overall winner was Joey HiFi‘s brilliant cover to Chuck Wendig’s Blackbirds.
More recently, The Qwillery took their favourite 12 covers of 2012 and asked their readers to vote on which was the best.
Angry Robot had 3 horses in the race – Chris McGrath‘s atmospheric cover to the Lee Collins debut, The Dead of Winter, Amazing15‘s brilliantly retro Dead Harvest (by Chris F Holm) and Joey HiFi’s now award-winning cover to Blackbirds.
1,189 votes were cast. Blackbirds received 492 votes, and Dead Harvest also received 492 – a dead heat! So, these 2 covers received 984 out of the 1,189 votes cast, with the other 205 votes split among the other 10 titles.
Congratulations to Joey HiFi and to Amazing15 for their superb work. Kudos also, to our very own Marc Gascoigne, who Art Directed both of these winning covers.
You may have spotted this rather striking monochrome marvel over at This is Horror already this morning – Michael scooped the exclusive pre-reveal and has posted a Q&A with Joseph about the new series as well.
(Click the cover pic for a larger version)
Not quite the full in-your-hand effect there, as the printed edition will be finished in lovely silvery ink on rough black card-stock, so it should be a thing of textured loveliness when all is said and done. Design and execution on this one is by ARGH! Oxford.
Cover reveal number three is the rather lovely artwork that will grace Between Two Thorns – the first book in Emma Newman’s Split Worlds series – which we will be publishing in a few months: March 2013 to be precise.
If you’re a member of Emma’s Split Worlds mailing list then there’s a good chance you’ll have seen this one over the weekend. But if this is the first time you’ve seen it, please feel free to make a small “ah…” sound as you feast your eyes on all its swirly loveliness:
(Click the cover pic for a larger version)
Connoisseurs of book cover art will surely recognise the work of Sarah J. Coleman, who has also created covers for the likes of Gregory Maguire, John Connolly, Holly Black, Christopher Fowler and many, many more.
Cover reveal the second: it’s The Big Reap – the third book in Chris F. Holm‘s Collector series – which we will be publishing in August 2013. That’s quite a while to wait, we know, but in the meantime you can tantalise your imagination with a good, long look at this:
Shadowhawk of The Founding Fields scooped the exclusive on this one and interviewed Chris into the bargain, so head on over to find out what he thinks of the new cover.
As per the first two books in the Collector series – Dead Harvest and The Wrong Goodbye – the artistry has been provided by Amazing15, who are certainly living up to their own billing. Won’t they all look handsome together on the bookshelf? Yes. Yes, they will.
The first of three cover reveals that we’ve got lined up for you involves the gruesomely gorgeous frontage for The Marching Dead – the second book in Lee Battersby‘s Marius don Hellespont series, which we will be publishing in April next year – and it looks a lot like this:
Admit it, you just can’t wait to get your hands on it, can you? Lee seemed quite keen, too…
In a recent review iO9 really enjoyed Mockingbird, but this final sentence caught our eye:
I doubt she’ll ever be the kind of character people cosplay at conventions, but she sticks in your brain all the same.
Well, you know how we can be… Challenge accepted!
We’d like you to send us a picture of you dressed as Miriam Black. The best* of the bunch will win some random Angry Robot goodies (and we have lots of goodies stashed around the office). You can see artist Joey HiFi’s interpretation on the book covers (right), but don’t feel you have to follow his lead (equally, don’t feel you shouldn’t).
You have until Sunday night (December 2nd) to get your entries to us. The entries will be judged by Chuck Wendig and Lee Harris.
Send your entries to: IamMiriam@angryrobotbooks.com
*For the purposes of this competition, “best” is defined as “whatever made us snort with laughter / incredulity / admiration”. No purchase necessary. Coupons are not redeemable for cash. Your home may be at risk if you do not keep up payments on a mortgage or other loan secured on it. Competition open to men / women / pugs / goldfish** / whatever.
**Probably not the best idea.
That, people of Earth, is the cover for Adam Christopher‘s next Angry Robot novel, The Age Atomic, sequel to the mighty Empire State, and it is the product of the utterly awesome creative mind of design wizard Will Staehle.
Click the pic for an even larger and more glorious version and do please feel free to download it and plaster it all over your blogs and social media channels of choice. And then look for it online and in bookstores everywhere from April 2013.
Today we’re ‘ellishly excited to bring you our latest cover-reveal: the devilishly delightful Hell to Pay, the forthcoming (March 2013) third novel in the To Hell and Back series – starring mild-mannered actuary-turned-superhero Chesney Arnstruther – from the infernally inventive imagination of Matthew Hughes.
Click this image for a larger, even more impressive version, which you should most definitely feel free to share on your own blogs, websites and social media places (if you happen to be so inclined):
Artwork and design is by the terrifically talented Tom Gauld, who of course created the covers for the first two books in the series as well:
They look damned good together, don’t they?
You may have seen this one in the wild already, as it’s fed through to a few online retailers’ catalogue pages. But if not, then now’s your chance to feast your eyes!
Comprising the three volumes The Bookman, Camera Obscura and The Great Game, this handy and value-packed omnibus edition will be available from all good bookstores, high street and online alike, as of early March 2013.
Cassandra Rose Clarke is already setting the imaginations of YA bloggers and reviewers aflame as her Strange Chemistry debut, The Assassin’s Curse starts shipping out to stores for its October launch. Here at Angry Robot we’re readying the second stage of her plans for world domination with a heartbreakingly wonderful novel of love, loss and robots, The Mad Scientist’s Daughter.
Set in a collapsing future America, the novel tells of Cat. When she is a young girl, her father brings an experimental android to their isolated home to serve as her tutor. Finn stays with her, becoming her constant companion and friend as she grows to adulthood. But then they take the relationship much further than anyone intended – which ultimately threatens to force them apart forever.
This unnerving but deeply sensitive mix of science fiction speculation and heartfelt emotion demanded a very different cover approach for us. As you can see, designer Stewart Larking came up with the goods in a lovely understated, almost melancholy style. The Mad Scientist’s Daughter will be published by Angry Robot in February 2013. We cannot wait for you to read it.
In the near future, the nano-drug Nexus can link mind to mind. There are some who want to improve it. There are some who want to eradicate it. And there are others who just want to exploit it.
When a young scientist is caught improving Nexus, he’s thrust over his head into a world of danger and international espionage, with far more at stake than anyone realizes.
File Under: Science Fiction [ Humanity 2.0 | Mind Matters | Hive | This Will Happen ]
Nexus is published in trade paperback format in the US and Canada on December 18th, and in B-format paperback in the UK on January 3rd. The eBook will be available worldwide from December 18th.
(Click on the cover image for a larger version)
Madeline Ashby‘s sublime science fiction novel vN is, even as you read this, powering in vast container lorries to every corner of the globe, ready for its publication at the start of August. Madeline herself has been out and about talking about the genesis and writing and themes of her book, so we thought it would also be interesting to catch up with the guy who did that amazing cover, Martin Bland.
We’d seen his work on Gavin Smith’s military SF novels for Gollancz, and marvelled at some stunning darkly futuristic work displayed on his website. He was surely the go-to guy for this job, and that turned out to be exactly the right decision. He kindly clambered up from his underground bunker to answer a few probey-probey questions…
What do you call yourself – graphic artist, illustrator, designer, part-time spacecadet, etc?
Just “Artist”. I have a hard time cornering myself into the usual suspects, and ‘visual storyteller’ doesn’t look great on a business card. Part concept artist, part illustrator, part fine artist; it’s easier to cut out the niches than to try and find one.
How did you get into “all this”?
Natural progression, I was always creative, loved my pencil work when I was younger, fell into the social chasm for ten years, then was offered the chance to find something I loved doing by my wife, worked my way through design, photo manipulation, web design and eventually found my stride in painting. It felt right straight away. Taught myself the basics, and continue to teach myself every day since.
What’s your balance of artwork – covers, graphics, editorial, personal stuff, etc?
I have worked in just about every area at some point, collaborated with some great people in most fields of art, magazine ad campaigns, album design, game concepts, portraiture etc. I do favour cover jobs though, CD and book, as I love to tell a story in a single image rather than a progression or sequence, and like a healthy balance between work and personal (personal turns into work with print sales).
What’s your typical approach to a piece, if you have one? Computer or sketches?
90% of any image I do is mental, I think a lot about how I am going to construct, and often see a completed image in my head long before pen touches surface, then it’s usually digital, blocking in large areas and refining details as I go, using form and values; I don’t tend to start with a sketch (in the traditional sense of the word, line art), a more organic approach works better for me.
Do you typically like a brief stuffed with detail, or the freedom to do whatever you want?
A bit of both really, it’s important to be able to visualise someone else’s idea, so the more information you get, the easier it is to nail it first time, I like a lot of visual stimulus, style guides. Setting the mood is more important than the details of subject matter. A good amount of freedom is always nice to have but I like to get the sketch stage down, and agreed upon, before I get to play around myself. That way, the changes are taken care of before the refining; it streamlines the process, I have enough of a library behind me for the client to know they will be getting my usual standard or better.
And how did you work on vN particularly?
It was a dream brief. I was given choice, style sheets, and a detailed description, and also a lot of freedom and trust in the later stages, Madeline had built a very believable world, rich with detail, so the excerpts I received were easy to absorb, and Marc’s art direction was great. Madeline had written somewhere that when she saw the cover, she saw Amy (the protagonist) – there’s no better feeling than that.
What’s a typical day, if you have one?
I’m a full time Dad, so my typical day is rather boring, full of homework and school runs, I fit my work around my son, and work from home, so it’s definitely not as “rockstar” as I’d like to imagine it is, I also procrastinate far too much… ooh, a biscuit.
Are you much of an SF fan yourself?
I’d like to say no, but all evidence points to yes :-). I like gritty, dark worlds that you can relate to and instantly believe, so I love the Blade Runner, Event Horizon, Dark City side of sci-fi, the Asimov side. I’m not the hugest fan of anything in particular, but I think that in itself adds a more unique twist to my own work in the genre, as I try my best to approach subjects with a fresh perspective – there are a million paths to tread but only one is mine.
What would you kill to illustrate?
My own IP. I have a project that hasn’t been put down to paper properly yet, a novel/screenplay/movie that has garnered interest from a couple of major movie studios, and almost optioned, just on the strength of the few images and brief idea/backstory pitched. I would love to bring it to fruition one day; illustrating/producing a movie based on my own art would pretty much be the pinnacle of my existence, and would make my kid proud.
Anything you really hate/struggle with drawing?
Not as far as subject matter goes, I can handle pretty much anything. If I can imagine it, then I can paint it, in my own style. I’ve painted everything from angels, to death metal covers, from an English country garden to a huge Yeti. I have been asked to take on work in other styles, and have struggled with it before, like colouring line art, or very technical perspectives and constraints. (I was once asked to paint, from imagination, a 20mm aperture lens view; couldn’t fathom that one, as I am not a camera.)
For vN you went absolutely bananas building robot fragments in the computer; is this sort of thing conducive to your mental health?
Well, they say the devil is in the details, so I’m probably 80% evil :-). I love getting stuck into it, if I’m honest. The best way to get someone to spend more time looking at an image is to pack it with detail, more to discover, and it gets quite cathartic after a while, you lose yourself, I haven’t noticed any problems yet. *twitch*
Tell us about five (or more) cool things – music, movies, comics, books, toys, whatever…
I do have quite a cool collection of tiny things, as I’m a sucker for detail – like a penny, with a bone-handled knife carved out of the middle and sat perfectly back into its hole, and a 2mm high, full colour printed book. I’ve got a couple of 6mm Bibles too, a bag of 1.5mm glass marbles. I’ve amassed quite a good gathering of very unusual miniatures. I’m also very good at collecting dust, and empty Pepsi bottles.
Which other artists do you rate?
I tend to rate the art, rather than artists, as the best can have an off-day, and the worst can produce a masterpiece. I see hundreds of images each day, and collecting the best of them has turned into a bit of a hobby. I have folders packed with inspiring imagery from every level of artist.
Do you have any other skills? What would you do if you didn’t do this?
I would always have to have a creative outlet of some sort, I do a bit of everything: sculpture, photography, traditional, so I think I would always gravitate towards making things look good. I was a manager/lithographic printer for 10 years too, so at the very worst, I could fall back into that, but it would have to get quite bad, haha.
And what are you working on next (don’t worry, we won’t tell anyone)?
I’ve just acquired a small stock of giclée poster prints so I’m currently approaching galleries and organising shipping and framing options, starting to turn what I do into more of a legitimate business, expanding that side – but also working on more covers, and also trying to pump out a few personal images as I feel like I’ve been neglecting that side of things this year.
Click on any image for a larger version – and see a hell of a lot more great artwork at Martin’s website, spyroteknik.com