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the oil painting methods of classical and romantic art. He has also, albeit very rarely, utilised oils. This glaze-based technique allows for undertones to shine through the overlaid colours giving the finished image an inner light effect, although this is predominantly lost in the reproduction process. Most of
Blanche's paintings, with a few exceptions, are smaller than A4 in size. In executing work, he uses a variety of visual references ranging from friends posing for paintings, books, and collections of images from printed colour supplements. Each element of an image is constructed separately in a sketch pad, and planned on lay-out pads before being transferred to art board. This is then shaded in with a pencil and coloured using a limited selection of inks. Highlights and texture are added with white acrylic, and coloured washes and glazes are overlaid on top of this. Airbrushes are also used to fill in large areas like skies and to provide a smooth background for the image, and occasionally to add mists or atmosphere. Random elements are sometimes incorporated, the result of freely applied strokes, dripped pigment, and the use of the airbrush.
389:, and he also cites everything from other media like film and comics, to everyday people and the natural world as sources of inspiration. Blanche has often incorporated images from other artists into his own work, with the Mona Lisa featuring in several pieces, an act he describes as "no mere plagiarism, but a deliberate policy. . . to place what is probably the worlds's best known painted image into a new reality." Others of his works have included elements of paintings by David and GĂ©ricault.
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133:, and grew up on a Council estate during the 1950s, a period he describes as 'grey and flat', and lacking in the visual richness available to modern youth. Instead he took early inspiration from cinema, his collections of toy soldiers, and producing drawings of historic warriors on the backs of old rolls of wallpaper.
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I was utterly sick of seeing brilliant artists producing painting after painting of near-naked fantasy females with chests the size of airships. . . Elements of this style of fantasy art were creeping onto the front of White Dwarf. . . I was receiving letters on a weekly basis, complaining about what
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The people there seemed unaware of art in all its heroic glory. . . people stood back and expected me to metamorphose into an existentialist of sorts. Well, I couldn't even spell that, so I drifted into graphics and became exposed to illustration, hippydom, and The Lord of the Rings. Even then, I was
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Blanche's early work tended to be executed using technical drawing pens combined with washes of water-colour, a technique that remained until the early 1980s, after which he began to utilise inks and acrylics instead, using what he describes as a 'fully-modelled painting technique' designed to mimic
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Interpretation, for
Blanche, is literal, with an absence of intended messages or secret meanings; images are to be enjoyed for what they are, and he aims to draw the viewer to an appreciation of technique, colour, atmosphere, relationship of shapes, dynamics and characters, and the narrative quality
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John's often tiny paintings are immaculate, painstakingly accurate, jewel-like in the intensity of repeatedly glazed colours. To be fully appreciated they must be seen as original for it is their small size that somehow emphasizes their uniqueness. John's fondness for Latin slogans may seem out of
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During the 1960s
Blanche was exposed to art and art movements, eventually attending art college, where he entered a course on the strength of his drawings and paintings of battle scenes and prehistoric conflicts, and where he recounts that he was told he "had a romantic spirit, but it would never
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The first images of primeval man would concern themselves with hunting scenes, heroic action, mighty beasts, death masks, war paint, fetishes and trophies. Today we see the same sorts of themes represented in punk haircuts, studded leather and even in the imagery employed in films like
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place, and yet a glimpse of the originals makes one realise that such miniature work is not even one step removed from the work of the medieval illuminator. What throws us is the gods are different, or at least the devils are. This is very modern stuff. Different. Hard to assess.
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Also at around this time, during the late 1970s, Blanche became an avid collector of metal miniatures, and eventually of fantasy miniatures as these became available. In later years he would go on to contribute numerous articles to
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Blanche is known for the dark, gothic, occasionally bizarre, punkish quality of his artwork, and this is something that has carried across onto the Games
Workshop game worlds he has helped to shape. His images are, in the words of
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After leaving college, Blanche spent time working as an assistant to a taxidermist in a
Georgian manor-house, and worked on model building, drawing wildlife and painting fantastic scenes in his spare time.
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He is also known for his illustrations for fantasy gamebooks, including the
Fighting Fantasy series, for which he produced cover and interior illustrations for Jackson's
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After the company's move to
Nottingham in 1986, Blanche was eventually made art director of Games Workshop through his acquaintance with new manager
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After discovering published examples of fantasy art prevalent at the time, Blanche began preparing work for publication, eventually relocating to
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79, and later as a poster, and even formed the basis for a metal miniature, and went on to be voted best cover of the year in a magazine poll.
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on the hobby, as well as contributing to and overseeing designs for miniatures. Several of his pieces were featured in the 1986 book
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told never to invent for the sake of it and that I would never get a job painting pictures of angels, dragons, goblins and trolls.
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In 1977 Blanche became associated with Games
Workshop, supplying the cover art for issue 4 of their gaming publication
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and he received the Master
Painter award for one of his own miniature pieces at the UK Games Day convention in 1987.
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Blanche's Chaos
Minotaur with Mona Lisa banner conversion, which won him the Master Painter award at Games Day 1987.
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for many years, as well as providing numerous illustrations for Games Workshop games, and, with other artists like
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In recent years, following a period of poor health, he has focused more on working on sketchbooks relating to
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and artwork. He has overseen and contributed to regular art and miniature painting columns in
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Early in his career Blanche was influenced by turn-of-the-century illustrators such as
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Blanche himself views his work as drawing on an archetypal core of inherited imagery:
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games and was the art director for the company and illustrated various game books and
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Blanche has had a number of books dedicated to his work published, including
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In 1988 Blanche provided the cover for Nottingham thrash metal band
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The largest online collection of Blanche's work (fan-created)
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Bunnell, John C. (June 1987). "A Big Book of Little Heroes".
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and producing the cover art for the first British edition of
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of the image. One painting in particular, however, entitled
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Blanche was born into a working-class family in post-war
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issue 95 including the band's Warhammer-inspired single
904:– An interview with John Blanche from The Black Library
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earn me a living, so there was no point in doing it".
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Fantasy and science fiction illustrator and modeler
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79:(born 1948) is a British fantasy and
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785:"Books Illustrated by John Blanche"
505:Blanche, John; Miller, Ian (1989).
345:. Favourite artists have included
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984:Middle Earth Strategy Battle Game
898:– A short description of Blanche
1268:The Warlock of Firetop Mountain
920:A short interview with Blanche
70:Master Painter, Games Day 1987
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914:John Blanche original artwork
447:"Interview with John Blanche"
268:The Prince and the Woodcutter
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902:The Black Library interview
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843:"John Blanche has retired"
102:Warhammer Fantasy Roleplay
1601:Role-playing game artists
239:History of a Time to Come
910:on a gaming and art blog
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96:Warhammer Fantasy Battle
62:Fantasy, science fiction
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991:Warhammer Age of Sigmar
252:Blood for the Blood God
114:Warhammer Age of Sigmar
1591:Games Workshop artists
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1027:Aeronautica Imperialis
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745:"White Dwarf Issue 95"
509:. Brighton: GW Books.
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642:"White Dwarf issue 7"
580:"White Dwarf issue 4"
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1571:English illustrators
908:John Blanche artwork
795:on 19 September 2008
244:Horned is the Hunter
1515:List of video games
725:on 19 December 2008
289:Style and technique
190:Heroes for Wargames
1407:Citadel Miniatures
1112:Battlefleet Gothic
1098:Advanced HeroQuest
1090:Discontinued games
1065:Role-playing games
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535:A Tolkien Bestiary
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215:Citadel Miniatures
177:A Tolkien Bestiary
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692:on 1 January 2009
544:978-0-517-12077-4
516:978-1-872372-00-6
395:Amazonia Gothique
387:Patrick Woodroffe
296:Patrick Woodroffe
254:as a flexi-disc.
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1586:Fighting Fantasy
1542:Fighting Fantasy
1508:Related products
1422:Specialist Games
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1362:Tower of Despair
1119:Chainsaw Warrior
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453:. 27 April 2009.
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343:J. R. R. Tolkien
283:Warhammer 40,000
119:Fighting Fantasy
108:Warhammer 40,000
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867:on 24 July 2011
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1412:Forge World
1333:video games
1293:White Dwarf
1219:Space Fleet
1190:Judge Dredd
1182:Judge Dredd
1147:Dungeonbowl
1133:Dark Future
1073:Dark Heresy
896:Abandon Art
890:gothic punk
871:23 December
755:23 December
749:White Dwarf
652:23 December
624:White Dwarf
590:23 December
568:p. 74.
408:White Dwarf
339:Kay Nielsen
323:Bladerunner
312:11 in 1979.
310:White Dwarf
248:White Dwarf
219:White Dwarf
198:White Dwarf
185:White Dwarf
90:White Dwarf
43:Nationality
1565:Categories
1348:Battlecars
1226:Space Hulk
1205:Man O' War
1175:Inquisitor
1161:Gorkamorka
1140:Dreadfleet
1041:Necromunda
1034:Blood Bowl
969:Core games
531:Day, David
424:References
223:Ian Miller
169:Roger Dean
125:Early life
93:magazine,
1521:HeroQuest
1438:Games Day
1331:Warhammer
1275:Warmaster
1254:Warhammer
566:TSR, Inc.
383:Jim Burns
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1198:Kerrunch
765:cite web
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600:cite web
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363:Shishkin
272:Ratspike
260:Sorcery!
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1185:(board)
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351:Bosch
1329:Non-
1154:Epic
873:2022
829:2009
801:2009
771:link
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