(All images copyright Edward Howard)
At the inaugural Spectrum Fantastic Art Live last May I had the pleasure of meeting artist Edward Howard and his lovely wife, Rachel Crane. When my friend Jeff and I first arrived at his booth, Edward was not there and his wife showed us around, very apparently proud of her husband’s work. She was very sweet and kind, and Edward Howard turned out to be equally as kind when he arrived and we were able to visit with him (the first, but not last, such visit that weekend).
Edward Howard’s paintings have an Old Master’s quality to them, especially when you see them in person. There was such a dark richness to the quality of the paintings and the closer you got to them even more interesting details were revealed. There was often more to take in than just one viewing would allow. In some of his painting his wife Rachel was his model and you could tell that those were very special pieces to both of them. And honestly they are among his very best work.
I emailed him soon after the event to set up an interview, which had to be postponed for the early summer while he and his wife returned to Kansas to help relatives with the harvest (anyone who thinks artists don’t work hard? Think again!). Time then got away from me, as poor as an excuse as that is, and suddenly it seemed like the best idea would be to bring this out prior to Spectrum Fantastic Art Live 2. And that is just what we did. Take a moment with me now to enjoy Edward Howard’s art and his personal insights, and then click on the link at the end to visit his site and see these images in a much larger format so that you can enjoy the exquisite detail.
CVA: As a preliminary question, let me ask: Who is Edward Howard?
EH: Iām an artist/illustrator based in Los Angeles. I was graduated from The American Academy of Art in Chicago with a BFA in Fine Art. I also studied in Florence, Italy at the Florence Academy of Art, where I honed my foundation in drawing. The methods used at the Florence Academy of Art taught me that without the basic skills and principles of observation, I could never truly convey exactly what I was seeing to paper, let alone canvas. Thematically, my recent paintings have dealt with man and his relationship with technology… how one is related to or enhanced by the other. While I’m fascinated with the idea of technology and the individual, I always try to maintain focus on the human element, the personal connection of the observer and the observed. My goal is always to create characters that have an emotional relevance with which the viewer can empathize. I strive to have the viewer not question the world in which these moments I’ve painted are depicted so that they can be drawn into the moment.
For fun I collect B movie posters, art pottery, art books, and antique photos… all of which influence and feed my work.
CVA: What was your overall impression of the Spectrum Fantastic Art Live weekend, from an artist’s perspective?
EH: The idea of having an event like this solely for the purpose of celebrating the art of illustration blew me away. The fact that people came not because they were fans of a particular movie or because they wanted to see some actor but because they wanted to see the art was really spectacular. From an artist’s perspective it’s a great way to meet people who really appreciate illustration as an art form. Additionally, I was really amazed at the talent that gathered in Kansas City last year. It was an incredible way to meet and speak to artists who have a love for the art of illustration, like I do.
CVA: Assuming you are also a fan of this kind of art, what was your overall impression as a fan?
EH: It was overwhelming, to say the least. I have to admit that I was really torn because although I needed to stay in my booth area, I definitely had this intense desire to run around like a little kid and talk with these artists whom I had admired for so long. No reproduction on a book cover or magazine article can compare to seeing art in person. So, I was thrilled to get the chance to see these artists’ work and study their techniques first hand. It was really an honor to be a part of such an amazing show and to have my work shown in the same arena as the great illustrators of our time.
CVA: How were you and your art received by the fans? Any stories about fan interaction with you during the show?
EH: This was really my first coming out, so no one really knew who I was. I have to admit I was a bit nervous to finally reveal my works to the world. Luckily, I was amazed and very pleased with how my work was received. Everyone was so kind and supportive. We sold one painting right away, and my wife cried because she loved the painting and was not prepared to let it go so quickly! It was fun to watch people discover hidden details in my paintings and hear them discuss what they thought the paintings were about; everyone had their own unique narrative, which was really fun to hear. Because of Spectrum I’ve had the chance to meet, and work with, some amazing people.
CVA: Why is it important to the Science Fiction and Fantasy art community to have an event like this?
I think that it’s really important to provide a forum that celebrates illustration as an art form. There are so many who appreciate the art form but don’t really want to slog through a carnival to find it. Spectrum allows for a singular focus. Not only does it allow those who love illustration to see and meet with their favorite artist, it also allows them to explore and discover new talent. In addition, it also provides a forum for the artists to get together and exchange ideas and knowledge from techniques to career advice for those who are just beginning.
CVA: Was there anyone in particular that you were jazzed to see at SFAL? Were there any interactions with artists that were a complete surprise to you? Any fanboy moments? Is there anyone at this year’s SFAL that you hope to connect with?
EH: I was especially excited to see Michael Whelan, James Gurney, and Greg Manchess‘s work in person, though I have to admit there were too many fanboy moments to mention them all! Fortunately, I didn’t embarrass myself too much. I just can’t wait to see the work that shows up at this year’s event. I think it’s going to be an amazing show.
CVA: Did you meet anyone new whose art you really connected with?
EH: There were a lot of artists whom I had not been familiar with pre-Spectrum. I was really shocked by such amazing talent. I also think the range of work in regards to medium was striking to me as well, from the beautiful graphic work of Peter Breese to the beautiful grotesqueries of Thomas Kuebler. For first-time visitors I think it’s going to be a bit overwhelming.
CVA: In a conversation with Michael Whelan, he mentioned that he was unsure how sales would be at an event with a large artist attendance because “artists don’t buy other artist’s work”. Have you found this to be the case, and if so why do you think that is?
EH: Having not had much experience, I’m not sure I have the history to speak to your question’s premise. Speaking for myself, I can say that the last event I attended I spent far more than I made (I admit this is probably not a great business model to follow). However I think that perhaps this speaks to a larger question of illustration and it’s value both monetarily and in the art community as a whole. I think Spectrum goes a long way to help illustrators achieve legitimacy in the art community.
CVA: You work in both traditional medium and the digital realm. Do you have any preference of one over the other?
EH: I prefer the traditional realm; it’s my passion. I do enjoy the flexibility and the ease of digital, but in the end, I feel as though I don’t really have anything to show for the work once a digital piece is completed. To me there’s magic when looking at a canvas; there’s a quality and depth to each stroke which can’t be duplicated through digital means. When you look at a traditional work, there’s greater connection between you and the artist. However, having said that, the art of illustration is changing. Art directors are wanting work produced in a few weeks, not months. They want it faster and cheaper. In this environment I’m not sure how much longer traditional work can survive without sacrificing quality.
CVA: What have you been up to, both artistically and otherwise since we last saw you at the inaugural Spectrum event?
EH: Fortunately I’ve been busy: commissions, some book covers for Random House (still under wraps unfortunately), personal work, etc. I’ve been lucky to have several pieces accepted to the upcoming Spectrum 20, and I had four works selected as finalists by the Art Renewal Center’s 2013 Salon. It’s been a really exciting year.
CVA: Is there any particular place you would like to see your art used, any dream projects that you haven’t had a chance to fulfill to this point?
EH: I would love to do a film poster. That would probably be the ultimate for me. I can’t imagine anything more fun than working on a film project.
CVA: Where can people find/purchase your work?
EH: People can find my work at my website at www.efhoward.com.
Thank you so much Mr. Howard for the interview! It was so much fun to read your answers and think back on last year’s event. I’ve been excited about bringing your work to the eyes of the readers of this blog and it is a pleasure and honor to do so just days before being able to see it, and you (and your wife) again. Look forward to saying ‘hello’ once more.
Well folks, how about it? Let’s hear your thoughts on what you think of the work of Edward Howard and/or what he had to say about art and the creative process. I’d love to hear what stands out to you and why, and later I’ll share my own thoughts in the comments too.
Wow, I hope he gets to do a movie poster! He certainly isn’t lacking in the ability!
are you sure you don’t want to swing by and pick me up on the way to the show??? :o)
We’ll head your way Thursday morning. Think we can get to Florida and back to Kansas City by 7 a.m. Friday morning? š
I too hope he gets that heart’s desire of his. That would be great to see.
Excellent interview, Carl! I love it!
I missed doing interviews with artists and I am already working in bringing them back on my blog too. If all goes well I’ll have some wonderful guests again. š These amazing artists deserve every spotlight they can get!
Glad to hear it, I will enjoy checking those out. I too have been really neglecting the artists on my blog over the last few years, doing far fewer profiles, spotlights and interviews than I used to do and I need to make an effort to make this a regular part of what I do as I love promoting their creative efforts.
Edward Howard has some really unique stuff and I was so glad he came to SFAL last year and will be back again.
Great interview! Boy, I really love that painting titled “The Relic”.
It really is one of my favorite, too, Richard. I want to read a book with that image as the cover illustration.
I’ll keep that one in mind as I look for prints. He had some with him last year which were really nice quality.
Okay, as promised let me share a bit of my own feelings about Howard’s work.
As Richard mentioned above, “The Relic” (which is the image with the downed ship in the background) is one of my favorites because of the subject matter. I am a huge fan of spaceships in general and this looks like the kind of image that would be part of some generation ship story, where the inhabitants of the planet are now so long past the event that they can barely recall what that giant relic in the distance even means.
But what is really impressive is his painted images, the ones you see with his wife as the model (the first image and the one with the robot peeking through the hole in the wall, for example). They are so rich and lush and unbelievable up close. The first image, “The Search Begins” is so amazing and it has so many things that I enjoy in adventurous stories: steampunk elements, archaeology, mystery, a robot. You get an Indiana Jones/Agatha Christie/SF vibe from it that really pulls me in.
“Secret Revealed”, which is the robot looking through the hole in the wall, is the print I purchased last year. I look at it and wonder if the girl realizes the robot is gazing through. Is she resting or posing for a picture, was it her work that revealed “the secret” or are we, the viewers, the only ones currently privy to that secret? Love it.
“Young Dragoness”, the last image I featured, is a really fun one because it is another that rewards multiple looks because there is so much detail, so much going on away from the place where your eye is first drawn. You can see the saddle on the dragon and of course you assume she is the one who rides on that saddle. If you are like me, you want to see another image with the dragon in full glory, gliding through the air with wings unfurled.
But who am I kidding, really. I like all of these images that I featured and cannot wait to see Edward Howard create more great work.
Wow, what a fantastic piece. EH is so down to earth. I loved that his wife cried because she wasn’t ready to sell his picture! I love that he wants to do a movie poster. I love that he wants to keep to traditional methods. I love the way he’s so ‘real’ about meeting with other artists. More than that, I love the images above – the top one looks more like a photo. His work has such great perspective and depth that the characters are absolutely life like and that last picture with the dragon – I could cry!
Thanks Carl
Lynn š
Yes, both he and his wife are very “real” people. I was glad he shared that story about his wife as they both shared it with Jeff and me at the show last year when we met him. It was refreshing to see them both have such a strong attachment to his work.
So glad you enjoyed this brief meeting with Edward Howard and enjoyed seeing his work.
I’ve always vociferously fought with people that claim that illustration isn’t art! Of course it’s art!! Whats the difference between Botticelli ‘illustrating’ his generations gods and goddess’s stories or Michelangelo painting scenes from the Bible? That’s illustration people!
Thanks for bringing Edward Hopper to my attention. His work is absolutely breathtaking. I’m with Richard, ‘The Relic’ really speaks to me. Also, really like that second image of the giant robot standing sentinel in the field. Wonder what the story is there? and ‘that’s’ the magic of illustration! Inciting curiosity and instilling wonder in the minds and hearts of the viewers. š
I don’t understand that kind of argument either. I want to shake those people and tell them to “wake up”.
The robot standing in the field image calls to mind a short story by Robert Silverberg that I read last year. I like that one very much myself.
I wish you could all see Edward Howard’s work up close. I was completely drawn into the lush stories he created with his works last year. I wanted them to be book covers or movie posters because he had created such interesting characters in situations that made you want to know more.
I will echo how much of a pleasure it was to visit with both the artist, Mr Howard, and his wife/model/actress, Rachel Crane. They each were so genuine it was a great to just talk about art and inspiration with them. My only wish is that I were in a better position financially to support Mr Howard’s work. I truly hope to do so one day.
If you love art and can find any way to attend this show I can’t recommend it enough. Last year’s show was an experience I will never forget and I can’t remember matching this year but I can’t wait to try. š
I’m up for that challenge too, Jeff. Making this one top last year will be a tall order but I’m game for making a good run at it.
And I would echo everything you wrote about he and his wife. They are very genuine people and I’m very excited they are returning for this year’s event. I’d like to see them become fixtures of the Spectrum scene.
wow! thank you for the introduction Carl. I am really taken with the first three. I lingered awhile on them all though. I wish him every success–and seriously, I would love to see his work on juvenile and teen/ya covers–even N was complaining about some of the bleh (and sometimes overly childish renderings) the other day, actually balking at reading a good sounding story. could be a phase, but non- and avid-readers alike are picky (as we both know), even among the young.
the part about digital vs traditional had me thinking about the problems cinema has faced w/ technological changes. there has been/is a pressure to speed up production under an assumption that technological efficiency necessarily translates equally in the creation of a quality work. the editors have felt the brunt of this–theirs is a crafting, not just another button-pushing station in a factory. I think it is good to have the artist working in traditional mediums in the body of works being produced. they are not only inspiring, but they challenge the artistry of their digital brothers/sisters.
You are very welcome, it really is my pleasure.
Yes, his work would be great on some book covers, especially if they fit the subject matter because I look at all of these images and want to know the story behind them.
I agree with your thoughts about film. I often wish more time was taken with the editing process because I cannot believe most crews set out to make bad films. Too often I think films are chopped up and feel as if they were edited on too quick a deadline.