Gennady Tishchenko Sci-Fi Art

Gennady Tishchenko is a Russian artist, who creates paintings based on sciences fiction and space themes. Below just a few examples of the works that available for viewing on his website (ru/en). Some of these works are quite interesting, but all images are microscopic size.

Note: All artwork and images copyright © Gennady Tishchenko. Please do not use images without the permission of the artist.

Link: Gennady Tishchenko

Michael Boehme Space Art

Michael Boehme (Michael Böhme) is a German painter, well known for his space art paintings and other work, such as landscapes and symbolic paintings. The space art paintings of Michael Boehme shows a future in space as well as scenes of current space exploration. These works give one an impression how life in a foreign solar system or even in another galaxy might look like. Though imaginary and distant, the artist does not neglect the known laws of nature.

Artist says: The paintings are doorways into unknown worlds, and they invite the observer to use their imagination and explore the worlds depicted therein.

Michael Boehme is a member of the Constance Art Association, the Esslingen Art Guild, the Artists Association: Inter Art Stuttgart and Fellow Member of the International Association of Astronomical Artists (IAAA). His art hangs in private and public collections and has been shown in numerous exhibitions and publications in Germany and abroad. Below are a few examples of his space paintings. For more information check out the website of Michael Boehme.

Note: All artwork and images copyright © Michael Boehme. Please do not use images without the permission of the artist.

Link: Micahel Böhme Website

Apollo 9 Art by Russell Arasmith

Beautiful space drawings by Russell Arasmith. These were used by NASA to illustrate the Apollo 9 Mission. The NASA description is given for each illustration below.

Russell Arasmith is an American illustrator. After graduating high school in 1945, he enlisted in the Army Air Force where he served as a radar operator. Upon leaving the service in 1946, he attended the American Academy of Art in Chicago for a year, leaving to work on The St. Joseph News Press two years later. In 1949, he took a job with the Kansas City Star in Kansas City, where he worked for 11 years before being offered a job at the Los Angeles Times.

Artist says: "I worked with The Times 32 years. I was Editorial Art Director for 17 years there. I did all the space drawings for the Times. Those drawings are the result of extensive briefings I attended at various space centers. All were done before the fact "on deadline" [on the same schedule with] the individual missions involved. The articles and my drawing were run in the Los Angeles Times on the day the actual event occurred. The Times Syndicate distributed the art work to 300 newspapers all over the world."

Russell Arasmith retired from the Los Angeles Times in 1992 and currently resides in Orange County, California.

Note: All artwork and images copyright © Russell Arasmith. Please do not use images without the permission.

Command module and attached service module separates from third stage and four petal-like panels making up lunar module adapter section are ejected to export the lunar module. Command/service modules separate to distance of about 50 feet then turn around and return to dock nose first with lunar module.

Legs of lunar module are extended and service rocket is burned for first time on mission. This drawing illustrates first service rocket burn on first day or any one of three service rocket burns on second day of the mission. Lunar module is still unoccupied at the time. The three crewmen remain in the command module.

After two crewmen check out lunar lander, they power up vehicle for test of lunar module descent engine. This is throttle able rocket in lower stage of two stage moon landing vehicle that will be used on future landings missions to lower men to the moon’s surface.

Astronaut Schweickart shown on space walk (EVA) between vehicles on forth day to demonstrate the lunar module crewmen could return to command module be tether line in case docking tunnel is blocked for some reason. He will use handrail up face of lunar module and handgrips on command module. Plan is for him to step into open hatch of command module (lower torso) then return to lunar module.

On Fifth day, Lunar Module crew returns to lander (leaving Scott in command ship) and the two spacecraft are separated for manoeuvres. After tow vehicles are positioned as planned, the lunar module’s descent (lower) stage is jettisoned, leaving tow-man crew in upper or ascent stage. Drawing shows separation of two stages.

Here the ascent stage engine is fired to place upper stage of landing vehicle on proper orbit fro rendezvous with command ship. Two spacecraft must rendezvous, dock, so lunar module crewmen can return to command craft for re-entry. Lunar module is designed only for space/lunar operations and cannot re-enter earth’s atmosphere without burning up.

View through window of command module as lunar module manoeuvres through final sequence to complete docking operation. Lighted reticule on window will help Astronaut Scott check lineup of two vehicles by placing cross lines on target just to left of lunar module’s docking cone.

After docking, Lunar Module crew will return to command module and the lunar module ascent stage will be separated from the command module for a long duration burn that will place it (unmanned) in a high elliptical orbit. Then, for rest of mission, day 6 through day 10, the pace will be more leisurely, and Apollo’s service rocket will be burned several more times, including a de-orbit burn to initiate re-entry, as shown in drawing.

Interior view of McDivitt, left, at standing station in LM, watching Schweickart back slowly out of forward hatch to begin space walk of about two hours. Schweickart wears backpack life-support system. The cable restraints hold McDivitt in position.

Link: Apollo 9 Art by Russell Arasmith (Apollo Mission Control Photo Plus).

Gallery: Russell Arasmith Space Art Gallery (Marshall Space Flight Center in Alabama).

Terry L. Sunday Digital Space Art

Artist says: "Space art," sometimes called "Astronomical Art," has a long and respectable history. Artists have been creating imaginative works showing conceptual and fanciful spacecraft, strange new worlds and awesome galactic vistas since long before the first primitive artificial satellites were boosted into earth orbit. Until the advent of the computer, space artists relied on traditional media, such as oil paints on canvas or acrylics on illustration board, to show us their visions. Today’s powerful desktop computers provide an optional medium. The images on this Digital Space Art website show some of the capabilities of affordable three-dimensional (3D) modeling and rendering software as used to create photo-realistic images of space subjects. The hardware models in these images — spacecraft, booster rockets, interplanetary probes, and so on — are realistic extrapolations of designs not so very different from vehicles that actually flew. You won’t find any physically unlikely "fantasy" spacecraft here. Most of these images feature the hardware in a prominent role-they’re not just extraterrestrial scenery.

Here just a few of the works that available for viewing on his website.

Note: All artwork and images copyright © Terry L. Sunday. Please do not use images without the permission of the artist.

Link: Terry L. Sunday Digital Space Art

Dave Archer Space Art on Glass

In reverse glass painting, Dave Archer applies paint to the back side of the glass, which in essence makes the glass his canvas. This is a difficult process that yields effects unparalleled by other painting techniques: vibrant colors, depth of view, even a sense of movement or three dimensions. He mixes media, using a variety of paints and unconventional materials such as metallic powders, crystals, and other substances. Then he hits the mixture with his signature process, using high voltage of electricity to add nebulosity and other fantastic details to his paintings. Amazing technique!

Below are some examples of David Archer's original glass paintings with artist description.

Note: All artwork and images copyright © David Archer. Please do not use images without the permission of the artist.

Bat Out Of Hell (1994). For me, the electric cloud in this piece is moving fast. Like an explosion. Hence the title.

Hexagram (1994). A fire breathing dragon holds a red moon. The title comes from the shape of the dragon's body.

Dream Lover (1988). A Hollywood starlet (who "Michelle" remain nameless) posed in my studio for this painting, on the right with her arms like wings. I made five versions of the piece, all selling rather quickly.

Full Moon (1995). I used to stay in my friends isolated beach house on the island of Molokai, where on full moon nights sometimes black clouds would blow over the moon in the most wonderful way. For painting the craters in this piece I used a moon map for accuracy.

October Tale (1995). This painting lives in a home called, "Painted Spaces," owned by my number one collector, Mr. Larry Kessler, of New York City. I'm a harsh judge of my own work, and I love this painting. Within this "genera" of mine I call, "million volt California high-tech folk art, early 21st Century" ... this is the best I have to offer.

Water Magic (1994). This was a small piece that I always loved and was intending to keep in my private collection. I loaned it as a business sample and it never came back to me. Not only did it never come back, many other "samples" never came back along with it, and sadly, none were ever accounted for. They say if you love something, let it go and if it comes back, it was meant to be. Bullshit. These are the sorts of things that make artists move to Cooper Pedy and take up eating nettles.

Dark Moon (1990). For me, "Dark Moon" has a delicious undertone. I like to go there. Not in a space ship though. In dreams. Looking into my past as far as I can is another form of space travel. In the process I have been forced to accept the obvious, which is, whatever good there is to be said for my kin, I evidently do not come from a long line of dreamers. I therefore, seem to be making up for some recessive art-monster gene in one whole branch of the family tree. Talk about exhausting. Thank you, now go away.

Push / Pull (1997). "Push / Pull" takes its title from modern painter Hans Hoffman's concern with just that. Put simply: how some elements of a picture "push out" while others "pull in," visually as well as viscerally. With this painting, specifically concerning the large blue moon and the smaller red planet beneath it. Red pushes, blue pulls. However, since the blue is bigger in this piece, a stasis is achieved ... bla, bla, bla ... hey, this is a kick ass space painting.

Copper Flame (1997). The clouds in this painting are liberally mixed with copper. Therefore, a metallic sheen highlights even the tips of the blue clouds. On the right side is a "Spectra Foil," moon. "Spectra Foil" is a holographic material that changes color in a subtle, yet exciting way. Lots of small touches make this painting one that has everything.

Blue Thunder (1997). The clouds in this piece were painted with one hearty "thunder clap" of 1.5 million volts of electricity, hence the title. A "Spectra Foil" moon is on the right.

Star Field (1997). An exciting cloud almost like an ocean wave. Title suggests deep space beyond planets and moons, leading to vast regions of mystery.

Black Mountain (1995).

J. P. Aerospace Rises (2002).

Starry Haven.

Links:

Dave Archer's Gallery

Dave Archer's Electric Machines