F. Gwynplaine MacIntyre’s Alleged
Shooting GalleryArt GalleryALL IMAGES COPYRIGHTED © THE CREDITED ARTISTS and/or F. GWYNPLAINE MacINTYRE & GWYNPLAINE ENDEAVOURS, LLC.
This page of my website has two
porpoisespurposes: to display some of my own attempts at artwork, and to display some artwork by other people that is somehow relevant to my career. As I’m under no delusions about my own abilities as an artist, it’s not surprising that the artwork by other people on this site makes my own efforts look extremelypoultrypaltry.
This is the cover of the June 2009 issue of ESLI, Russia’s most popular science-fiction magazine. That gorgeously erotic artwork by artist IGOR TARACHKOV illustrates my erotic SF story “Smart Fashions”, which appears in that issue. That’s my name and the story’s title, in Cyrillic, just under the magazine’s logo.
© DAS Illustration (Douglas A Sirois) These two dead-brilliant illustrations by DOUGLAS A. SIROIS are illustrations for my story “Sundowner Sheila”, which appeared in the February 2006 number of the British science-fiction magazine Interzone. As usual, there are some slight discrepancies between artwork and text. In my story, the genetically-engineered terraformer Bodger (seen here) is described as having enormous ears. Also, it’s not quite clear here that Bodger has ‘koala hands’; that is, two opposable thumbs on each hand, opposite three fingers, like a koala’s forepaws. I had orignally planned to illustrate this story myself, but Doug Sirois did a much better job of it than I would have done.
And here’s one I made earlier. I’ve had the honour of illustrating some stories by my friend RON GOULART. This one is for his story “The Robot Who Came to Dinner”, which was published (with this artwork by me) in the July/August 2002 number of Analog magazine.
Another one of mine here. The above artwork of mine was published as the illustration with my science-fiction story “Schrödinger’s Cat-Sitter”, which appeared in the July/August 2001 number of Analog. I got the idea for this story from a remark made to me by Alan Alda at an early reading of QED, the play about quantum physics (written by Peter Parnell) that Alda had commissioned. I’d originally drawn the cat’s tail to form a question mark, with the dot of the question mark being the moggy’s arsehole, but my editor disliked that idea. So, this cat has no arsehole . . . which may explain the enraged look on his face.
Here’s one of my rare attempts at ‘serious’ artwork. (Notice my pretentious Runic signature, bottom right corner.) I’d meant this drawing to illustrate my science-fiction story “The Man Who Split in Twain” when that story was published in the May 1986 issue of Amazing Stories, but the editor decided to commission a proper ‘real’ artist to illustrate my story. Years later, when I reprinted this story in my anthology MacIntyre’s Improbable Bestiary, for some reason I created an entirely new illustration instead of using this one. This is technically a self-portrait, since I’m also the story’s narrator. In 1986, I was a pipe-smoker and I still had a full head of hair. Nevermore!
This is my very bad attempt to scan a very excellent piece of artwork. This pen-and-ink drawing by Hank Jankus illustrates my horror story “The Ones Who Turn Invisible” in the Winter 1989 number of Weird Tales. As you can see from the awkward height-to-width ratio, his illustration was originally meant to be a single-page footer, but got pressed into service (rather clumsily) as a double-page spread, with some overlap.
I’ve had quite a few of my stories published in magazines and anthologies. Here’s one of my favourites: The Mammoth Book of Jacobean Whodunnits, which contains my 17th-century murder mystery ‘O, Poisonous Weed!’ featuring the murder of Pocahontas, along with appearances by Ben Jonson, King James the First, the Lost Colony of Croatoan, Sir Thomas Herriot and some other historical figures. As you can see, my name is prominently listed on the cover as one of the authors included in this anthology. The artwork shown here is ‘Waiting for the King’s Favourite’ by the 19th-century English artist Laslett John Pott. Please visit this page again soon, to see more artwork.
