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best-known published work has tended to be characterised by a trademark pen-and-ink and wash technique executed on line board and which he refers to as his 'Tight Pen Style', emphasising line detail and a restricted use of colour, something he views as a result of both short-sightedness and
Northern European proclivities:
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Everything I draw is part of an episodic sequence. In truth, inspiration is just about everywhere you choose to look. It's all mixed up in non-artistic things in day-to-day interactions and boring interludes. It's a huge mess of pottage spiked with grit but if you're persistent you'll always find the meat.
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Although short-sightedness must have influenced my close-worked pen style I think it is also true to say that this obsessional regard for surface details is very much in keeping with the
Northern European Art traditions. the emphasis revolved more around temporal scenes and a concern for mood and
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According to Miller, his illustrations have a tendency to the 'frontalistic', and are also noted to often feature recurrent elements inspired by fishes, flies and robotic forms, and the gnarled haunting trees which he claims originated in an attempt to cover failures of draughtsmanship. Says Miller
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Sometimes Ian made me see the world differently. I couldn't look at a pylon or a rocking horse or a gnarled tree without being reminded of Ian's drawings He is an excellent artist, which is by the way only marginally a matter of technique. There is nothing of the copyist about Ian Miller. I doubt
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My interest in the story-telling process and the world of make-believe was greatly enhanced by my mother's involvement in the theatre and motion-picture industry. I enjoyed a vivid and well-stocked childhood. Vivid because my mother took me to the cinema every
Saturday afternoon, and well-stocked
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Rust, falling facades, tottering buttresses, and an overriding sense of impermanence, these are the things which fascinate me the most. My early exposure to the cinematic medium had a pronounced effect on the way I perceive and construct my imagery. I see in terms of still images from a film
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As a child Miller experimented with coloured pencils and poster paints producing images of
Ancient Egyptians during something he refers to as his 'Ancient Egyptian Phase', followed later by an obsession with cowboys and Indians. At the age of nine Miller attended Mortbane Academy for Boys in
470:
Miller has experimented with various media during his career, but has a preference for pencils, technical pens, watercolour, and charcoal. "I found self-expression with the pen – with oils it was quite the opposite." He also occasionally combines collage and photography into his pieces. His
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Miller was born in 1946, and raised predominantly in London and
Manchester. His mother, who encouraged the artistic vocation, was a theatrical milliner for one of the leading costumiers to the film industry, which, with cinema, he cites as an early inspiration:
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Miller's style is variously described as surreal, gothic and nightmarish or grotesque. "Edgy and surreal, Miller combines intelligent geometric exactness with a messy, fluid sense of what it means to be human." As fellow contemporary illustrator
241:, which featured as the cover of the Warhammer Fantasy Roleplay campaign instalment of the same name, and exhibiting Miller's line and wash method, restricted use of colour and the 'gnarled trees' Patrick Woodroffe refers to below.
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in London, where he began in sculpture before switching to painting, and graduating with honours in 1970. Shortly after this he was taken on by an agent and began working in London as a professional illustrator.
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Invernesshire, Scotland, where he recalls regular painting expeditions to the surrounding countryside under the tutelage of the art master, nicknamed 'Old
Dribble'. Between 1964 and 1967 he enrolled at
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685:
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illustrator and writer best known for his quirkily etched gothic style and macabre sensibility, and noted for his book and magazine cover and interior illustrations, including covers for books by
213:. Miller relocated to Los Angeles and worked on the animated movie, later citing it as an experience that left a profound impression upon him. He later went on to work on Bakshi's film
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My images are the stuff of dreams and apparitions, the tremors that touch the skirt of day. Unspoken thoughts, stored memories, drawn up to be aired and then twisted by fancy.
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things observed close in. It is also to do with the collective mind and racial memories, which touch at the roots of each successive generation.
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Miller's earliest work included magazine and book jacket illustrations, including a host of illustrations for paperback titles by
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because I owned a toy box, full to overflowing with theatrical props and clothing from an array of theatre and film productions
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and war gaming books and supplements published by Games
Workshop during the latter half of the 1980s, including the covers for
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Miller has exhibited frequently during his career in both solo shows and group exhibitions in
Britain and internationally.
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A number of anthologies of Miller's work have been published over the years. His first, with James
Slattery,
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gamebooks which rose to popularity in the mid-1980s, providing covers for early titles in the series like
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Miller is also noted for his
Tolkien-inspired illustrations, and contributed to the lavishly illustrated
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Sargent, Carl; Gallagher, Phil; Bambra, Jim; Cockburn, Paul; Davis, Graeme; Masterson, Sean (1988).
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and published by GW Books. Miller has also produced imagery for two graphic novels, the first,
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Current projects include the production of a series of black and white panel drawings called
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More recently he has taken to adding an Apple Macintosh computer to his range of tools.
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and various role-playing and wargaming publications, as well as contributions to the
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In 1975 and 1976 whilst Miller was staying in San Francisco, he was approached by
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Blanche, John (February 1987). "Illuminations: The Work of Ian Miller".
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in the 1990s, and contribute designs and illustrations to the 2005 film
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exposé in issue 86, and provided numerous illustrations for various
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series, combining forms derived from fish and mechanical elements.
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comments in the introduction to Blanche and Miller's Ratspike:
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Brunton, Mike; Ansell, Bryan (July 1988). "Weapons of Chaos".
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Brunton, Mike; Ansell, Bryan (June 1988). "Daemonic Names".
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Miller cites amongst his principal artistic influences
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in the 1980s, produce pre-production work for the film
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very much that he uses reference material of any kind.
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Gallagher, Phil; Bambra, Jim; Davis, Graeme (1987).
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16:British fantasy illustrator and writer (born 1946)
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1390:with biography and artbooks on Inside Your ART
1096:"Ian Miller's Geometrically-Exact Surrealism"
8:
1370:Ian Miller's Geometrically Exact Surrealism
1153:. United Kingdom: Oxford University Press.
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1124:"The Locus Index to Science Fiction: 2002"
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245:Miller is well known for his work for the
20:
1329:Learn how and when to remove this message
1292:This section includes a list of general
1176:The Green Dog Trumpet and Other Stories
488:
350:The Green Dog Trumpet and Other Stories
1409:Alumni of Saint Martin's School of Art
356:in 1979, and was followed by another,
297:, and a host of illustrations for the
207:and invited to contribute to the film
1174:Slattery, James; Miller, Ian (1979).
402:, a reworked film project called The
320:Miller has illustrated cards for the
265:-published fantasy gaming periodical
7:
1061:Characters from Tolkien – A Bestiary
335:Characters from Tolkien – A Bestiary
301:supplement and the first edition of
75:Illustration, sculpture, film design
674:. Sony Pictures Home Entertainment.
670:McKean, Dave; Gaiman, Neil (2006).
569:The Guide to Fantasy Art Techniques
523:Blanche, John; Miller, Ian (1989).
1464:BSFA Award for Best Artwork winner
1298:it lacks sufficient corresponding
1203:. United Kingdom: Dragon's Dream.
892:Realm of Chaos: Slaves to Darkness
171:, before embarking on a degree at
14:
1063:. Chancellor Press/Bounty Books.
686:"Books Illustrated by Ian Miller"
261:. He has also contributed to the
1283:
125:-inspired compendiums, work for
83:Fantasy, horror, science fiction
1352:Books illustrated by Ian Miller
573:. United Kingdom: Paper Tiger.
269:in which he was featured in an
1382:A selection of Miller's images
958:. Nottingham: Games Workshop.
956:Warhammer 40,000: Rogue Trader
895:. Nottingham: Games Workshop.
868:. Nottingham: Games Workshop.
843:. Nottingham: Games Workshop.
436:An illustration from Miller's
404:Confessions of Carrie Sphagnum
1:
106:(born 11 November 1946) is a
1364:Alien Stories 2 illustration
1360:in an Italian fantasy e-zine
173:Saint Martin's School of Art
66:Saint Martin's School of Art
1480:
1454:Role-playing game artists
1419:British graphic novelists
1224:Harrison, M.John (1991).
64:Northwich School of Art,
954:Priestley, Rick (1987).
360:, and a third, entitled
279:Terror of the Lichmaster
1429:British fantasy artists
1313:more precise citations.
1253:Herbert, James (1994).
1149:Pepper, Dennis (2002).
765:Jackson, Steve (1986).
740:Jackson, Steve (1985).
715:Jackson, Steve (1983).
645:"The art of Ian Miller"
326:collectible card game.
169:Northwich School of Art
1449:Games Workshop artists
1414:British comics artists
889:Ansell, Bryan (1988).
791:"White Dwarf Issue 84"
649:www.johncoulthart.com/
527:. Brighton: GW Books.
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1376:The Art of Ian Miller
1014:ski-ffy.blogspot.com/
565:Dean, Martyn (1984).
435:
237:
117:and contributions to
1424:English illustrators
1388:Ian Miller's Gallery
1358:An article on Miller
1228:The Luck in the Head
1199:Miller, Ian (1980).
1130:. Locus Publications
801:on 20 September 2009
717:The Citadel of Chaos
398:, and a book called
370:The Luck in the Head
323:Magic: The Gathering
251:The Citadel of Chaos
1151:Alien Stories Vol.2
1059:Day, David (2001).
1034:Day, David (1995).
990:on 7 September 2005
414:Style and technique
352:, was published by
1178:. Dragon's Dream.
1036:A Tolkien Bestiary
696:on 17 October 2007
619:www.ian-miller.org
442:
396:Corpus Pandemonium
376:and a second with
345:by Dennis Pepper.
331:A Tolkien Bestiary
243:
197:Club International
1339:
1338:
1331:
1264:978-0-330-32471-7
1239:978-0-575-05014-3
1210:978-90-6332-621-0
1185:978-90-6332-551-0
1160:978-0-19-275189-8
1070:978-0-7537-0561-2
1045:978-0-517-12077-4
984:www.pen-paper.net
902:978-1-869893-51-4
841:Death on the Reik
795:www.gamehobby.net
776:978-0-14-032040-4
767:Creature of Havoc
751:978-0-14-031831-9
726:978-0-14-031603-2
690:www.gamebooks.org
625:on 28 August 2009
580:978-0-905895-52-9
534:978-1-872372-00-6
459:Leonardo da Vinci
421:Patrick Woodroffe
408:The Shingle Dance
284:Death on the Reik
259:Creature of Havoc
239:Death on the Reik
101:
100:
1471:
1434:Fighting Fantasy
1384:on Sci-Fi-O-Rama
1354:on Gamebooks.org
1348:
1347:
1345:Official website
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1300:inline citations
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