Illustrations for Fanzine Short Stories and Articles, Part 1, 1992/93
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- Cover für Kurzgeschichten-Zine von Robert Iberl und mir
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- Kurzgeschichte von Uwe Voehl, für Nachtschatten Nr. 11
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- Kurzgeschichte von Uwe Voehl, für Nachtschatten Nr. 11
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- Kurzgeschichte von Uwe Voehl, für Nachtschatten Nr. 11
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- Uwe Voehl über Das Medium von Fanny Morweiser, Dandelion Nr. 2
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- Uwe Voehl über Das Medium von Fanny Morweiser, Dandelion Nr. 2
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- Uwe Voehl über Das Medium von Fanny Morweiser, Dandelion Nr. 2
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- Thomas Höhl, “Im Bann des Morcrudes”, Screem Nr. 3
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- Zeichnung für Dandelion
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- Cover Dandelion Nr. 1
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- Freie Illustration
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- Freie Illustration
A rare attempt to draw with a dip pen instead of a technical ink pen
During the 90s a lot of my drawings were published in fanzines and literary magazines. Most of them were re-prints of commissional work for Bastei or drawings with no particular source; about 50 were created as illustrations for short stories or articels. Part 2 here.
Illustrations for a John Sinclair Anniversary Paperback Edition, Part 1 (Vol. 1–4), 1992
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- Bd. 1/4
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- Bd. 2/1
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- Bd. 2/6
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- Bd. 2/8
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- Bd. 3/3
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- Bd. 4/3
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- Bd. 4/4
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- Bd. 4/6
Bd. 2/7
In 1992 I started to illustrate the John Sinclair paperback edition . Each book included 8 pulp novels from the original horror booklet series by Jason Dark (Helmut Rellergerd).
When the first commission came, I had to deal with it under intense time pressure, because the decision to publish the books with illustrations was made at the very last moment. I had to do 32 drawings within two weeks, reading and research (in the pre-internet days!) included. The interior illustrations replaced the original color covers but were created independently from their predecessors.
The original drawings for the the first four books are missing, I have only a few copies and the books left.
Till 1999 I illustrated 21 John Sinclair paperbacks with 169 drawings. More in part 2, 3 and 4 .
Overview of all John Sinclair books at gruselromane.de.
Cover Illustrations for the Pulp Series Professor Zamorra, Part 1, 1991–94
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- Bd. 494
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- Bd. 499
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- Bd. 509
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- Bd. 528
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- Bd. 537
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- Bd. 541
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- Bd. 544
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- Bd. 546
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- Bd. 549
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- Bd. 590
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- Bd. 596
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- Bd. 601
Satans Amulett
Almost half of my pulp novel cover illustrations (26 paintings) were used for the Horror/Fantasy/SciFi series Professor Zamorra. My first published color illustration was Fenrirs Wacht (painted in 1991, published in 1993). Except this gouache all pictures are oil paintings on cardboard, approximately 40 x 50 cm. In most cases the novels were inspired by prior pictures. The covers illustrations for vol. 546, 590 and 596 were based on short descriptions the main writer back then, Werner Kurt Giesa, gave me.
My favourite among these twelve paintings is the one for Satans Amulett, influenced by the brothers Hildebrandt and their use of warm and cold light sources within each picture.
Twelve more Professor Zamorra cover illustrations here.
Early Oil Paintings, 1992
Oil on cardboard, 48 x 35 cm. In 1992 I started oilpainting, prior to that I had used water colours and gouache.
Illustrations for the Pulp Series Dämonenland , Part 1, 1991–93
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- Bd. 66, Alphonse Brutsche, Der Totentanz
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- Bd. 82, Norman Thackery, Der Spiegel des Grauens
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- Bd. 89, W.A. Hary, Der Sensenmann
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- Bd. 100, Michael Schönenbröcher, Einmal Hölle und zurück
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- Bd. 104, B.R. Bruss, Die Bestien
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- Bd. 104, B.R. Bruss, Die Bestien
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- Bd. 113, Hugh Walker, Die Blut-GmbH
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- Bd. 117, Hugh Walker, Drakulas Rache
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- Bd. 117, Hugh Walker, Drakulas Rache
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- Bd. 118, W.K. Giesa, Magirons Todesshow
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- Bd. 119, Hugh Walker, Die Blutpatrouille
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- Bd. 115, Hugh Walker, Drakula lebt
One of two application illustrations for Dämonenland. In 1991 I was in my "long nose period".
In 1991 I applied as second illustrator, besides Thorsten Krächan, for the horror pulp series Dämonenland (Demon Land), and I got the job, actually my first one. The series was a new edition of the best horror pulp novels originally published by Bastei and others within the last 20 years. The series was compiled and mentored by the editor Michael Schönenbröcher.
In the first year my drawings were really not that good, in 1992 they got better, and in 1993 my manner changed quite suddenly. In retrospective, I can only guess that happened in part because I discovered Virgil Finlay around that time, an illustrator I admired and still admire deeply and whose combination of cross hatching, pointillism and pure black and white areas served as a role model for my own technique.
Till the end of the series in 1996 I drew round about 160 illustrations. More here.
