David Palumbo (born 1982) is an American illustrator and fine artist. He is the son of science fiction scholar Donald Palumbo and illustrator Julie Bell, brother of artist Anthony Palumbo, and stepson of illustrator Boris Vallejo. He lives in Philadelphia. He studied painting at the Pennsylvania Academy of Fine Art in Philadelphia from 2000 to 2004. He was "informally mentored" by Bell and Vallejo and also studied with artist Burt Silverman. According to the science fiction scholar and critic Gary Westfahl, concluding a short biography late in 2012, "If he continues upon his upward path, Palumbo may be able to prove, unlike his stepbrother Dorian Vallejo, that it is not always a burden to have a famous parent."
As an illustrator, Palumbo works mainly in the fantasy and science fiction genres, where he has painted cover art and interior art for dozens of books and magazines as well as numerous illustrations for Magic: The Gathering. Palumbo has also been a regular contributor to Heavy Metal Magazine since 2008 as one of the creators involved in the Tarot feature. He has provided artwork for collectable card games, comic covers, album covers, film posters, magazine covers, advertisements, and film preproduction and his artwork has appeared in such publications as Spectrum, ImagineFX, and 2D Artist Magazine. Other clients include Marvel Comics, Tor.com, Lucasfilm, Night Shade Books, Pyr, and Road Runner Records. His client list also includes Acclaim Entertainment, Black Library, Riley Films, Science Fiction Book Club, Solaris Books, Upper Deck Entertainment, and Wizards of the Coast.
Nick Sheehy is an Australian-born artist and illustrator living in London. In his work, Nick explores the dreamlike, sometimes semi-autobiographical scenes and oddball characters that ECHO from his childhood imagination. Employing a laborious technique, building up layers of texture and thin colour, his work infuses precision and attention to detail with random abstraction and clumsiness. He enjoys drawing various weird things for himself, exhibitions, PUBLICATIONS and occasionally the odd client. Visit his SITE for more of his work
Sir Christopher Frank Carandini Lee (27 May 1922 – 7 June 2015) was a British actor, singer and author. Lee initially portrayed villains and became best known for his role as Count Dracula in a sequence of Hammer Horror films. His other film roles include Francisco Scaramanga in the James Bond film The Man with the Golden Gun (1974), his personal favourite, The Wicker Man (1973), in which he played Lord Summerisle, Saruman in The Lord of the Rings film trilogy (2001–2003) and The Hobbit film trilogy (2012–2014), and Count Dooku in the final two films of the Star Wars prequel trilogy (2002 and 2005).
Lee was knighted for services to drama and charity in 2009, received the BAFTA Fellowship in 2011 and received the BFI Fellowship in 2013. Lee considered his best performance to be that of Pakistan's founder Muhammad Ali Jinnah in the biopic Jinnah (1998), and his best film to be the British horror film The Wicker Man (1973).
Always noted as an actor for his deep strong voice, Lee was also known for his singing ability, recording various opera and musical pieces between 1986 and 1998 and the symphonic metal album Charlemagne: By the Sword and the Cross in 2010 after having worked with several metal bands since 2005. The heavy metal follow-up titled Charlemagne: The Omens of Death was released on 27 May 2013. He was honoured with the "Spirit of Metal" award in the 2010 Metal Hammer Golden God awards ceremony.
Αλλά πάντα από την αποστα- σιοποιημένη ματιά της τέχνης
Εργα τέχνης που απεικονίζουν σκοτεινές πλευρές της ιστορίας και του ανθρώπινου ψυχισμού, όπως ωμή βία, ρατσισμό, κακοποίηση και σφαγές άλλων -ΔΕΝ ΠΡΕΠΕΙ ΝΑ ΛΟΓΟΚΡΙΝΟΝΤΑΙ!! Πρέπει να αντιμετωπίζουμε πρόσωπο με πρόσωπο την ωμότητα και να πασχίζουμε να την κατανοήσουμε με κριτικό και αποστασιοποιημένο τρόπο, αν θέλουμε να φτιάξουμε έναν καλύτερο κόσμο.
Graphics that depict dark aspects of history—such as violence, intolerance, racism, aggressive nationalism, war and atrocity, abuse of others and of the environment in general—have not been censored. We must confront such harsh images directly—and struggle to critically understand them—if we hope to ever make a better world. ocw.mit.edu