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Product Description
Oliver Frey is one of the most important artists working in the medium of commercial illustration. This lavish book documents his work between 1970 and today. The prime focus is on his staggering output in the 1980s and early 1990s when, as a director of magazine publisher Newsfield Ltd., he produced hundreds of magazine covers, software games inlays and incidental illustrations that set the video games market alight internationally. Frey’s early history reveals his work on some of Britain’s greatest comic institutions such as the Fleetway War Picture Library, Dan Dare in Eagle, and The Trigan Empire in Look & Learn, as well as his celebrated 1930s-style opening sequence for the film Superman, The Movie. The book also throws light on Frey’s techniques, from line-and-wash to the airbrush, and more recently his computer-generated work. While the paintings will be familiar to many magazine readers, few will have ever seen the originals as beautifully reproduced as this, and free of the commercial sales lines and slogans that cluttered them as magazine covers and posters.
Famous artwork reproduced as it has never been seen before.
Contents divided into topic-specific sections.
Commentary on the paintings by the artist.
Art techniques revealed and discussed.
From the Author
Oliver Frey is uncomfortable with being referred to as an ‘artist’. He calls himself a ‘commercial illustrator’; yet despite the modesty of the term he has entertained and often inspired generations with his unique vision of the world. His prolific output is definitely of a fantastic nature although the imagery is almost always bound to a sense of reality.
My involvement with Oliver has been a long and rewarding one, and continues to be so. I first met him in January 1969 when we were both starting a two-year course at the London Film School, and we have worked together in one capacity or another ever since.
Since I have been a witness to and a participant in many of the events described in this book, it is inevitable that my presence hovers above the text. However, I am uncomfortable at mentioning myself in the first person because I feel it intrudes on the narrative, and for this reason on the occasions my presence crops up, I have referred to myself in the third person.
Over the years, Oliver Frey has gained a huge and appreciative fan base – which knows him familiarly as ‘Oli’ – and yet, because he is first and foremost a commercial artist, much of his most exciting work, especially for magazine covers, has been designed for and defaced by the blather of ‘cover lines’ selling the contents. Few people will ever have seen the unadulterated originals without them; surely the only excuse needed for this book?
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