Michael Whelan
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Michael Whelan
@michaelwhelan.bsky.social
27K followers 760 following 3.5K posts
Fine artist of Imaginative Realism. Retired illustrator of Science Fiction and Fantasy. Winner of 15 Hugo Awards. Inducted into the SF Hall of Fame in 2009.
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michaelwhelan.bsky.social
...I could show them the earlier version LORD PROTECTOR and say that “it was the publisher’s fault.”

To this day, nobody has ever remarked on the change! 3/3

www.michaelwhelan.com/galleries/dr...
Book cover for SUNRUNNER’S FIRE by Melanie Rawn, published by DAW Books
November 10, 2025 at 2:16 PM
michaelwhelan.bsky.social
I corrected the wings to match the earlier ones in the full-scale painting I submitted to DAW Books, but they liked the sketch better. I then did an entirely new painting with the wings designed the same as in the sketch, figuring that if the fans commented on the differences in the wings... 2/3
Detail from DRAGON FIRE featuring a cloaked sorcerer summoning a ball of flame that floats in front of him. Tense from the summoning, each of his fingers and thumbs has a ring, echoed by the belt of larger rings at his waist. Behind him perched on a rock is an orange dragon with yellow scaled chest. It spreads its wings against a black starry sky. It has an extra set of forelimbs, the first forming the five-ribbed skeletal support of its wing structure and the other set below at mid chest, which grip the rock. Its head is turned in profile. Below the sorcerer is a pile of bones. Detail from LORD PROTECTOR featuring a cloaked man cradling a baby dragon while an orange dragon with gold accents spreads its wings on the rocks behind. A pattern of golden flames interrupts the scales of its arms. It has an extra set of forelimbs, the first forming the skeletal support of its wing structure and the other set below at mid chest, which grip the rock. There are only three wing-ribs that extend long and thin from its hand at the tip of the wing.
November 10, 2025 at 2:16 PM
michaelwhelan.bsky.social
DRAGON FIRE (1989)
Acrylic on Watercolor Board - 32” x 20”

After I submitted my concept sketch for the cover of SUNRUNNER’S FIRE by Melanie Rawn, I realized that the anatomy of the dragon’s wings was inconsistent with the structure on the other covers I had done for the series. 1/3
A cloaked sorcerer stands illuminated by a floating ball of fire summoned. Brilliant light illuminates his face while the wind sweeps his short dark hair. On the rocks behind him, an orange dragon spreads its wings, raising its head in regal profile against a star stippled sky. The dragon’s head tapers to an elegant pointed beak. Slender fleshy plumes sweep back off its head. A pattern of golden flames interrupts the scales of its arms. Its chest is similarly structure of gold scale while its wings are orange and fleshy textured.
November 10, 2025 at 2:16 PM
michaelwhelan.bsky.social
In this week’s newsletter, we delve into legendary territory.

The year was 1977…with STORMBRINGER, I completed work on the Elric Saga and received my first World Fantasy Award nomination.

theartofmichaelwhelan.substack.com/p/1977-year-...
STORMBRINGER (1977), Acrylic on Masonite - 30" x 20". Standing atop ruins at the end of the world, an anguished Elric thrusts the runeblade Stormbringer to the heavens. The sky behind him roils with clouds rendered in acidic green. The chainmail on his right arm is torn. He wears a yellow tunic and belts strapped across his waist and chest crusted with jewels. His purple and black cloak billows in the wind. From a leather cord, he holds an ivory horn with ornate swirls of gold. The ruins he stands upon are crumbling, including the face of a skull that is missing a chunk of forehead and part of the orbital. The mouth isn't human given the fangs in its mouth and the horns protruding off the side of the head that is intact. Off to the side, a pterosaur-like creature perches with wings spread.
November 9, 2025 at 2:24 PM
michaelwhelan.bsky.social
Cover illustration for HORN CROWN by Andre Norton (DAW) 3/3

www.michaelwhelan.com/galleries/ho...
Book cover for HORN CROWN by Andre Norton, published by DAW Books
November 8, 2025 at 2:12 PM
michaelwhelan.bsky.social
The story takes place in the High Hallack cycle, which was named after the western continent of Witch World. That was also the name given to the genre research and reference library that Norton founded in Monterey, Tennessee. 2/3

www.andre-norton.com/contents/hig...
Detail from HORN CROWN featuring an enchantress with long, straight hair the color of wheat throws her arms out and head back with wild grace. At her side, an enormous white tiger snarls protectively with piercing green eyes focused on a crossbowman perched on a rock below, who startles in motion from his knees. Figure detail from HORN CROWN featuring an enchantress in yellow leathers throwing her arms out and head back in wild grace. Straight blonde hair spills down to her waist, in motion with her gesture. The slit of her shirt is barely held together by a black cord. A belt with square buckle defines her waist. One knee forward, her right hip is cocked. A leather satchel hangs at her side on a long strap that crosses her chest.
November 8, 2025 at 2:12 PM
michaelwhelan.bsky.social
HORN CROWN (1981)
Acrylic - 29” x 18”

Another long established series that I worked on early in my career. This was my third and final cover for Andre Norton’s Witch World, but the first chronologically detailing how humans arrived on the planet. 1/3
Dressed in yellow leathers, an enchantress with long blonde hair throws her head back and extends her arms with wild grace. The pose could be the steps in a choreographed dance, but more evidently the rapture of casting an enchantment. Behind her a huge white tiger snarls protectively. Its piercing green eyes focus on a crossbowman perched on a rock below. The man in domed helm and glittering chainmail is seemingly caught in a moment of surprise. The low angle point of view provides a majestic view of a green and gold forest in autumnal transition.
November 8, 2025 at 2:12 PM
michaelwhelan.bsky.social
Wearing his iconic dragon helm, raising Stormbringer defiantly, the last emperor of Melniboné stands at the forefront of Chaos as represented by a legion of demons.

Cover illustration for ELRIC OF MELNIBONÉ by Michael Moorcock (DAW) 2/2

www.michaelwhelan.com/galleries/el...
Figure detail from ELRIC OF MELNIBONÉ featuring the albino sorcerer with white hair spilling out from under his iconic black dragon helm. He wears a dark brown, form-fitting tunic with a gold dragon with its head framed in red on his chest and sinuous body curling down his abdomen. His thick belt spots a buckle with a demonic head. His ornate scabbard is empty as he wielding Stormbringer overhead, gripping with one hand and holding the tip with his other. Book cover for ELRIC OF MELNIBONÉ by Michael Moorcock, published by DAW Books
November 7, 2025 at 1:01 PM
michaelwhelan.bsky.social
ELRIC OF MELNIBONÉ (1976)
Oil on Canvas Board - 24” x 18”

Originally published in 1972 as THE DREAMING CITY, this novella was later reprinted by DAW and would be the first of my Elric covers. 1/2
Elric raises Stormbringer over his head, with one hand gripping the hilt and the other the end of the blade. His white hair spills out beneath a black winged helm. He wears dark brown leather with a sinuous dragon on the front of his tunic. His ornate bracers are encrusted with jewels. The buckle of his belt is the face of a demon. Behind him rendered in purples and blues are deformed creatures of chaos.
November 7, 2025 at 1:01 PM
michaelwhelan.bsky.social
We were asked about the legitimacy of a remarque being discussed in a collector group. It's clearly a fake, which should be obvious by the line work and messed up signature. The eBay seller has been notified. ~ME
Rudimentary red line drawing in THE DARK TOWER attributed to Michael Whelan with a misspelled signature.
November 7, 2025 at 11:53 AM
michaelwhelan.bsky.social
I’m often encouraged to share my process. Fortunately I did snap a photos of this painting along the way from the early stages of the underpainting as I worked out the details. 3/3

www.michaelwhelan.com/galleries/ri...
Photo of RISING as a work in progress. The underpainting top left is russet color and lower left is green. The forking branches of the tree have been defined against the contrast of white blank canvas as is the earthy overhang against what is to be sky. Work in progress photo of RISING with the panel turned on its side. Some of the sky has been rendered in blue. The trees are skeletal but more textured. Everything is in earthy tones with the path of stairs winding down into the foreground.
November 6, 2025 at 1:54 PM
michaelwhelan.bsky.social
I don’t know why it took me over 10 years to get around to doing this painting! 2/3
Detail from RISING featuring a woman in long dress hovering in open air. She holds her hands out as if presenting a clear spherical vessel containing a solitary flame. The trees next to her are intricately texture, and their leaves are as yellow as the golden light of the sun the bathes the entire image in warmth. Background detail from RISING featuring the artists sigil, the stylized letters M and W combined within a circle, hidden among the leaves of the trees.
November 6, 2025 at 1:54 PM
michaelwhelan.bsky.social
RISING (2007)
Acrylic on Watercolor board - 36” X 24”

This image came to me while I was working on THE RIVER in 1996. 1/3
Rough stone steps wind around the side of a hill defining the cliff's edge in their slow ascent. As the path turns sharply, the eroded ground beneath forms an overhang. The sky beyond is suffused with golden radiance layered with grey-blue clouds. The trees at the edge of the cliff, already in the transition to autumn, are lit by the warm glow of sunset creating a contrast of light and shadow up thick textured trunks. Out over the edge, hovering in the open air, a woman in a long dress holds her hands out as if presenting a clear spherical vessel containing a solitary flame. Bathed in the light of sunset, she stares off panel into the far distance while a pair of doves flies low, sweeping over the curving steps.
November 6, 2025 at 1:54 PM
michaelwhelan.bsky.social
Figure study for ARRIVAL
Charcoal on Pastel Paper - 24” x 18”

This original artwork is available now in our shop while it lasts:

www.michaelwhelan.com/shop/figure-...

3/3
Figure study for ARRIVAL. Charcoal on Pastel Paper - 24” x 18”. Original art custom-framed in conservation mats with decorative v-groove under archival plexiglass and silver wood moulding. Viewed from above and behind a woman in white gown with short sleeves stands at the end of a concrete walkway looking out. Her arms are at her side and angled down away from her side, signaling hesitation and awe. Her shadows is cast behind her on the textured concrete.
November 5, 2025 at 4:00 PM
michaelwhelan.bsky.social
He also completed preliminary work in traditional media to speed up the process. For his Passage to Sanctuary paintings, that included this exquisitely detailed study.

We rarely offer drawings—especially at this scale—and the delicate figure work here truly showcases his mastery as a draftsman. 2/3
Viewed from above and behind a woman in white gown with short sleeves stands at the end of a concrete walkway looking out. Her arms are at her side and angled down away from her side, signaling hesitation and awe. Her shadows is cast behind her on the textured concrete.
November 5, 2025 at 4:00 PM
michaelwhelan.bsky.social
PASSAGE TO SANCTUARY: ARRIVAL (1994)
Digital

In the early 90s, Michael began experimenting with digital painting. Rendering was painfully slow on his Mac back then, so he brought in textures through scans of his brushwork.
1/3

www.michaelwhelan.com/galleries/pa...
A blonde woman in white dress emerges from a tunnel of reinforced concrete to view a pastoral landscape. She has discarded a trail of roses along the raised walkway out. Reinforced by bands of concrete, the passage becomes weathered and breaks down structurally, exposing a greater view at the top. Framed by the tunnel opening in the distance, a tree with a massive trunk fills the view. A mass of vegetation from the line of trees behind it form a leafy mane extending the height of the tree. A point of light flares star shaped halfway up the trunk.
November 5, 2025 at 4:00 PM
michaelwhelan.bsky.social
For this Whelan Wednesday, we have a large charcoal study for ARRIVAL from Passage to Sanctuary.

This original will be available in our shop Nov 5 at 11am ET. A preview is now available for our paid supporters on Substack:

theartofmichaelwhelan.substack.com/p/passage-to...
A blonde woman in white dress emerges from a tunnel of reinforced concrete to view a pastoral landscape. She has discarded a trail of roses along the raised walkway out. Reinforced by bands of concrete, the passage becomes weathered and breaks down structurally, exposing a greater view at the top. Framed by the tunnel opening in the distance, a tree with a massive trunk fills the view. A mass of vegetation from the line of trees behind it form a leafy mane extending the height of the tree. A point of light flares star shaped halfway up the trunk.
November 4, 2025 at 8:24 PM
michaelwhelan.bsky.social
The use of ammonite fossils here is a gentle reminder of the vast span of time. 2/2

www.michaelwhelan.com/galleries/pa...
Detail from PATIENCE featuring the bare figure of a woman lazing atop the curve of the full spiral of ammonite fossil. She raises her head to catch the light as the ocean breeze carries her locks of sunflower blonde hair. Close detail from PATIENCE featuring fragments of ammonite fossil embedded in coral, bright yellow against earthy bronze.
November 4, 2025 at 12:01 PM
michaelwhelan.bsky.social
PATIENCE (1996),
Acrylic on Panel - 13” x 10 ½”

All the virtues represented in my series of the same name are ones that seem to me to be in short supply today. 1/2
Out of the water slender outcrops of stone stand earthy bronze in contrast to blue skies barely marked with traces of cloud. Attached to the top one of the thicker shards of pitted, textured stone is an intact spiral of an ammonite fossil. Lazing across the upper curve of the ridged shell, a woman raises her head to catch golden rays of light and an ocean breeze that carries the long locks of her sunflower blonde hair. The bare curve of her hip suggests that she's not wearing anything.
November 4, 2025 at 12:01 PM
michaelwhelan.bsky.social
Yes, here's the classic illo from Leo and Diane Dillon, a marvelous painting.
A succession of figures from the foreground: a woman with braided hair wears a necklace with a biohazard symbol. The woman behind her in ornate robes with plant patterns is placing a mask on her so that her eyes are in shadow. Two antennae rise from her headpiece which is made of delicate translucent wings. Behind those two is a wintery figure in fur robes and bound in white rope. A figure in black cloak and metal dog-like mask with long spikes on the top flanks the Snow Queen. Barely visible on the right is a woman in helmet with transparent visor and a futuristic many tiered city. The whole piece is bordered with a nouveau sun pattern radiating at the top.
November 3, 2025 at 4:58 PM
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Cover illustration for THE SNOW QUEEN by Joan Vinge (Warner / Questar)

www.michaelwhelan.com/galleries/sn...
Book cover for THE SNOW QUEEN by Joan Vinge, published by Warner/Questar
November 3, 2025 at 12:52 PM
michaelwhelan.bsky.social
Eventually it occurred to me that the mask, important in so many ways to the story, would be an ideal way to feature several of the themes and characters of the book within a design context that wasn’t a montage. It was a solution that satisfied me—I loathe the montage as a book cover approach. 4/5
Close detail from THE SNOW QUEEN featuring the face of the queen in ornate headdress and feathered cloak. Snakes of white completely cover her neck. In her fingers, she fans two metal trinkets. One is reminiscent of a biohazard symbol. The other is a star chart with two crosses. The beak of her mask and contour around her eyes stand out in muted gold. Her eyes are closed, painted subtle and smokey, and her lips are pale. Wardrobe detail from THE SNOW QUEEN featuring the ornate headdress. Centered at the top is a silver face with antlers. Pearls partition areas of the design. Mixed among them is an eye with computer circuitry set in the iris, a man playing the flute, and a trio of sea lions springing from the edge.
November 3, 2025 at 12:52 PM
michaelwhelan.bsky.social
I knew there would be plenty of inspiration to be found within its pages, and in fact, my first response was that there was too much—too much epic quality to capture in one illustration. 3/5
Black and white study of the city Carbuncle with a sun partially obscured behind it and another smaller orb fully emerged. The tiered shape is reminiscent of an imperial Star Destroyer from Star Wars. Buildings are roughly blocked out on each tier with the towers of a palace rising at the top.
November 3, 2025 at 12:52 PM
michaelwhelan.bsky.social
Perhaps the sequel was in the works, and they wanted a consistent style on the covers of the two volumes.

It’s a terrific novel, but painting a cover for it was a real challenge. 2/5
Alternate preliminary concept for THE SNOW QUEEN, Acrylics on Illustration Board 6” x 9”. A head-on perspective of a woman in tufted cloak with a high collar that rises over her head. Her headdress is more subdued, lacking the symbolism of the final painting. She holds two trinkets, one reminiscent of a biohazard symbol and the other with two flared Xs among a field of dots. A series of spaceships take off from a tiered city sitting out on the water to the left. The way the image is framed, her face cuts off over one cheek so it's only a 3/4 view of her.
November 3, 2025 at 12:52 PM
michaelwhelan.bsky.social
THE SNOW QUEEN (1988)
Acrylic on Panel - 36” x 24”

Though the cover illustration by Leo and Diane Dillon on the first edition of The Snow Queen, by Joan D. Vinge, was excellent, Warner Books decided to commission me to do a new one. 1/5
A queen in ornate headdress and white feathered cloak holds out two metal trinkets. One is reminiscent of a biohazard symbol. The other is a star chart with two crosses. The beak of her mask and contour around her eyes stand out in muted gold. Otherwise the painting is very cool in tone. An opal is set on her forehead, over more feathers the sweep outward. White braid fall around her delicate, pale face. Placid green-blue water extends behind her to a sailboat and a tiered city that rises like a lopsided pyramid. A sun emerges from behind the city with another smaller orb not far ahead of it in ascension. In the upper right, a fan shaped spacecraft glides the heavens.
November 3, 2025 at 12:52 PM