1989 was a big year for me. I got married, left my home, my family in
England, moved to New York City to start a new chapter in my life, and met David
Mattingly.
I can remember it as if it was yesterday. I was sharing a studio in the
down town area of Manhattan on Lafayette Street with another Illustrator — Jerry
LoFaro. David had been invited down to Jerry's studio for a visit. He came
striding in, all 6 feet 3 of him. And with enough personality and enthusiasm to
redo the Sistine chapel ceiling, with space ships and robots. I liked him
immediately, and we have been good friends ever since.
Looking back at David's accomplishments one hardly knows where to begin. From his impressive days at
Disney as one of the youngest matte painters and studio heads, to the enormous
amount of cover art he's created for literally a who's who of science fiction
and fantasy writers. Matte painting for the movie industry as well as
television and now he has added teaching to his list of accomplishments.
Over his artistic career you get a sense that David is not someone who just
meanders through life. He has a conviction and steadfastness to his
character that is quite admirable. None more so than to the way he carries
out any art related assignment.
His approach, as I've seen over the years of knowing him, is one of tireless
perfection. He wears you out just trying to keep up with him. This
does not surprise me. Ever since he tried forcing his way past me while we
raced each other on a go-cart track in Florida, attending Magicon in 92, some 16
years ago. Until he won the race with brute determination. A great
competitor but a scholar and a gentleman, through and through, to put an
Englishman's phrase to good use. Except when he's in a go-cart race with
you — then watch out! I nicknamed him "Mattingly, the maniac" for a good reason.
I have also become very aware of the care he takes in deciding what to do for a
book cover. Many an author would tell you that they would give up their
first born to have someone as conscientious and thoughtful as David doing their
cover. He is an artist who reads the manuscript and bothers to capture the
author's universe, instead of using the book as staging ground for a chance to
do his or her own thing and get paid for it. No care or thought for the
writer who spent God knows how long writing a novel only to see a character or
world butchered into some quasi-barbaric theme. When the whole thing takes
place in a sleek beautiful world where chicks in brass braziers don't exist.
I wonder how many readers are nodding their heads right now.
Capturing the flavor, the personality and texture of a book has always been of
great importance to the way he sees a cover, and David has always been careful
to capture the writer's world and bring it to life. He is always conscious
of the individual worlds he illustrates and applies his talents to give each
book what it deserves — its own individuality. He never gets lazy and is always
trying different compositions and ideas for his covers. A trait many artists
avoid by sticking to formula and taking the easy way out by hiding behind a
particular look and style. He jumps in and holds nothing back.
A typical David Mattingly cover might be a beautiful futuristic cityscape with a
monumental amount of detail and inhabited by numerous figures that makes you
draw breath at how exhausting it must have been to create. But this is the
thing; he can just as easily change gears and create the most simple of covers
that's just as effective as any of his more beautifully detailed and complex
covers. I've seen him change direction faster than a collage freshman
bolting off to spring break.
The first time I visited David's house he had a painting hanging that I just
loved, and still do. It's a painting titled "Time Wars: The Ivanhoe
Gambit." It consists of a knight holding up a shield in one hand and a
machine gun in the other. The knight appears to be fading in and out of
the background color in a gestalt-like manner and a glowing red light is seen
through the knight's visor. The piece is very elegant and extremely
effective.
David also has a knack for being able to do quirky covers with a somewhat
humorous slant to them. Something I confess to never tangle with and for
the most part avoid like the plague. The one and only time I came across
such an endeavor was back in the early nineties.
I received a call from an art director asking me to do this cover with a
humorous feel to it. It was to portray an Albert Ironstine-like character,
floating in space outside a space capsule, with a humorous feel to it. Not
feeling like I could do the job I made up some excuse that I was too busy.
The art director asked me if I knew anyone who was able to do this kind of
cover. I immediately suggested David. I knew he would not only enjoy
doing the cover but was far better suited than I was. He was hired for the
job and not surprisingly he did a perfect cover titled "Dr. Dimension."
Many people never understand the commitment and conviction an artist
undertakes illustrating covers. The readers are unaware of what it takes
to create a great cover that you look back on and remember with fondness.
David's art is a testament of a great cover artist. He has boldly given
much to the world of science fiction and fantasy that we have shared and still
treasure. His quirky style and approach distinguishes his look and sets
him apart from other artists.
Over the years of visiting his home and studio, going out to dinner, hanging out at conventions, I've
become increasingly aware of how fortunate I am to have been part of his life,
both as a friend and a fellow artist. I'm also aware of how much David has
accomplished as an artist and as a person. Always striding ever forward to
further his artistic endeavors and look for new frontiers. We should be
thankful we have him.
— Stephen Youll