Interview with Award Winning Artist Artem Mirolevich a Decade Later

Artem Mirolevich was an Illustrators of the Future winner published in L. Ron Hubbard Presents Writers of the Future Volume 24.

L. Ron Hubbard Presents Writers of the Future Volume 24

L. Ron Hubbard Presents Writers of the Future Volume 24

Artem Mirolevich: At the time when I was awarded as Illustrator of the Future, it was one of the most important awards I had ever received. Getting such an important recognition was a major career boost. I loved how thoughtful everyone was and how everything was well organized. The experience of flying to the west coast, being treated like a star, and also given an opportunity to learn from some of the best illustrators in the business was priceless. It helped me believe in myself, believe that anything is possible and that the sky is the limit. The staff and everyone else involved were truly amazing and earnestly helpful in so many ways. It’s been twelve years since my participation and I still keep in contact with numerous members, staff, illustrators, and volunteers (!) that worked for this wonderful project. I HIGHLY recommend to all aspiring artists and authors to submit and participate. You’ve got nothing to lose and everything to gain!

Interview with Artem Mirolevich

NOTE: This article was originally published in Russian, and has been translated by Google translate into English. To read the original Russian article, visit:

One of a few contemporary Russian artists whose works have commercial success in the United States, Artem Mirolevich promotes Russian art abroad while making it more recognizable and prominent. Artem has done more than 100 exhibitions around the world including #ArmoryShow and #MiamiArtBasel.

Each of his artworks immerses us into a new world, influenced by his cultural heritage, his life experience, and vision.

Investigating the main problems of philosophy and contemporary society, his works could be called prophetic, affecting the inner human essence.

How can an author from Russia become successful abroad and get into the US galleries?

Artem Mirolevich: To begin with, of course, lots of talented Russian artists spark curiosity abroad, but there are several difficult moments.

First of all, the Russian government doesn’t provide any institutional support for the artists abroad, in the United States, in particular, so they have no one to count upon. Many artists from Post-Soviet space ask me to help with promotion, but the reality is that, on the local level, there are lots of sponsors that are ready to help artists, however, private commercial galleries are very difficult to convince to bring in a good artist because they are interested in both the artwork and the artist himself.

This is where the second moment arises: the identity of the artist. Galleries look at who the artist is and what he can give them. Galleries need bright, charismatic personalities who can easily become media personas and attract media attention to their exhibitions. At the moment, the Russian artist represents and sponsors himself, thus has little chance in this competitive market. I believe that in order to sell Russian artworks abroad, it is necessary to create a certain “Russian Pavilion,” which would centralize and promote Russian artists collectively. Until 2007, the Ministry of Culture supported Russian artists, but after the financial crisis, unfortunately, the funding had stopped. Upon realizing that we were not getting any help for Russian art abroad, I began to actively promote it myself. I had neither the resources nor the reputation of the Ministry of Culture, so I went the other way: I turned to Ernst Neizvestniy (at that time, one of the most famous Russian-speaking artists living and working in the USA), and with his support, we organized 10 exhibitions of contemporary art, which had taken place over four years. Some of the artists who were also deeply involved in this project are Igor Molochevsky, Den Porvatkin, and Sasha Meret.

Meeting with Ernst Neizvestniy

Meeting with Ernst Neizvestniy

Several shows were done at the most important art fairs, such as The Armory Show in New York and Miami and Art Basel Week in Switzerland. Kolodzei Foundation provided tremendous support for the Russian Pavilion at The Armory Show. Many thanks to Gala Kovachnina who generously hosted us at Gala Contemporary in Miami and Natasha Akhmerova who helped in Zurich. All of the exhibitions were organized on a voluntary basis, but, unfortunately, this big project was ended. Yes, I received lots of gratitude in my address, but apart from that, I wasn’t able to get anything out of it. I expected that a large community would gather to jointly promote art, but to my regret, no one had any interest in that. Galleries are only interested in the sales of certain artworks, and after they are sold, many authors simply disappear from the market.

I then changed my direction to ArtCosmos. The niche is much bigger because the project represents artists from various countries, the ones who are interested in science. We did a show and a panel discussion with world-renowned scientists and artists in Barcelona, in collaboration with QuoArtist, an international non-profit organization that establishes a connection between art, science and technology, and Espronceda Art Center, an innovative international platform and multi-disciplinary environment for artists. This is kind of a mix of art and science. Very soon, on May 4, my exhibition on global warming and environmental protection will be held in Venice, as a part of the Venice Biennale.

“The Magic of the Wind” by Artem Mirolevich

“The Magic of the Wind” by Artem Mirolevich

You are traveling a lot, participating in various events and actively promoting contemporary art yourself, but in what direction do you think it is going and what are the main trends?

Artem Mirolevich: Since the last economic crisis (meaning the financial crisis of 2008), Contemporary art has definitely become better. It was cleared of falsehood, artificiality, and pomposity, which had allowed to sell artworks for huge money. More real art has come to life, in fact, in all fields.

Right now, I began to take more interest in mixed media arts. Over the last 3-5 years, technologies have reached such level allowing to fully render both the meaning and the visual aspects of the author’s idea, cutting off the amateurs who create low-quality products with outdated technology but position their works as highly conceptual, overshadowing real professionals who have invested an incredible amount of energy into their product. It is fair that these works are very expensive. From the perspective of a person directly within the art world, I can tell what the process looks like: it is necessary to create an idea, but the idea without implementation is practically meaningless. Therefore, it should be possible to technically implement this idea, through drawing, painting, multimedia installation, sculpture or any other technology, and then, bring it to the viewer, while retaining some individuality, for example, humor.

Artem Mirolevich at work

Artem Mirolevich at work

“Crossovers and Dearers” by Artem Mirolevich

“Crossovers and Dearers” by Artem Mirolevich

We noticed that, at the moment, installation is becoming an increasingly popular form of art. It is difficult to imagine any major exhibition without it.

Artem Mirolevich: On a global scale, installation became popular quite a while ago. Galleries and museums gladly keep them in their collections. As an art form, installation has recently reached a new level of quality, unprecedented earlier, and perhaps because of this, its popularity has begun growing both among professionals and ordinary people. If we talk Contemporary art, I think that today, street art is the most honest, most altruistic and fresh, which, in turn, could also be an installation.

I often attend grand contemporary art events, including Burning Man, and I consider it as a cultural phenomenon, which allows us to see real art. By the way, last year, there was an installation, very successful in my opinion, in the form of a popular Russian fairytale object “ИзбушканаКурьихНожках” (literally, “the Hut on Chicken Legs”). I would even dare to say that it was my favorite last year. It is a pity that most art objects are seen only by those who come to the Burning Man festival.

As we know, at the end of the festival, the majority of art objects are burned yet some remain, mostly the metal ones. These objects are getting sold and could be then found in completely unexpected places. So it’s hard to realize that they had once been a part of such a grand festival as Burning Man.

"The Hut on Chicken Legs” is one of the most interesting installations Burning Man 2018

“The Hut on Chicken Legs” is one of the most interesting installations Burning Man 2018

Would you want to create art objects for Burning Man?

Artem Mirolevich: I haven’t yet worked for this festival specifically, but I would love to do this and I am working in this direction. I have a project in mind, which I hope to realize in the next few years, and, hopefully, one day my works will be presented at Burning Man so that even Russian public could admire them.

Art studio of Artem Mirolevich

Art studio of Artem Mirolevich

Art studio of Artem Mirolevich

Art studio of Artem Mirolevich

Please tell us about your work and projects.

Artem Mirolevich: I’ve just had an exhibition at SCOPE. Another exhibition Book Thief is currently taking place in Williamsburg at Figureworks Gallery. I have two more exhibitions, one in Venice in May and one more in Japan in September.

In the first week of March, the largest art fair The Armory Show traditionally opens in New York, along with around 20 venues, each with its own character and approach to art. For example, such art fair as Art on Paper presents the works that are done on paper or out of paper. The Armory Show is unique because artworks could be viewed closely there, unlike in museums where they are located permanently. SCOPE Art Fair presents the works of the living artists aged from 20 to 40 years old. It’s an iconic place that you need to visit at least once in your life before you turn forty (laughs). All galleries and museums of New York are getting ready for this month way in advance so, in early spring, the whole city comes to life. It is really fun, grand and beautiful!

"Arrival and Departure" by Artem Mirolevich

“Arrival and Departure” by Artem Mirolevich

Which and how many works did you present at your solo exhibition at Scope?

Artem Mirolevich: I presented my new works, which I had been working on for the past two years. In my works, I employ such a technique as collage. When creating, I use my own works, and since I am quite seriously involved with etching, I often use my engravings as the basis for the collage. Besides this, I use old photographs that I found or bought, sea charts, and various items collected during travels and exhibitions. This is a kind of my visual journal. The works are quite bright and funny, which contrasts with my early work. Part of the works were presented at the Scope Art Fair while others are currently exhibited at the Figureworks Gallery, which is located in Brooklyn in the Williamsburg area. Therefore, if you had attended both events, you would have seen all my new works.

Works of Artem Mirolevich at Scope Art Fair

Works of Artem Mirolevich at Scope Art Fair

"The Shark in a Big City" by Artem Mirolevich

“The Shark in a Big City” by Artem Mirolevich

By Artem Mirolevich

By Artem Mirolevich

Please tell us about your exhibitions in Venice and Osaka.

Artem Mirolevich: The next big exhibition that I am doing will be held in Venice as part of the Venice Biennale and it will open on May 4, 2019. Therefore, I invite everyone to visit. It will be truly interesting. The exhibition is devoted to the problems of global warming and there will be works of 6 artists including me. The exhibition itself is inspired by mysticism.

As part of this exhibition, a series of plenary sessions will be held with scientists and people dealing with the issue of global warming. For me, it is not simply an opportunity to show my work, but also a chance to voice my concern about this problem, the inadequate governmental action of many countries including the United States. It is a large-scale platform, an opportunity to speak out and communicate with people who are making lots of effort to showcase the existing problem. We really hope that this exhibition will help us achieve real results in solving the problem of global warming.

After Venice, I am going to Japan, to the wonderful city of Osaka. In September of this year, I will be a part of the exhibition at G-77 Gallery, and it will be no less ambitious. The exhibition takes place in a two-story gallery, with its own garden, which, of course, is decorated in Japanese style.

I invite everyone and I will be very happy to see you at the exhibitions!

"The Most Powerful Woman in the World" by Artem Mirolevich

“The Most Powerful Woman in the World” by Artem Mirolevich

Thank you for the invitation, we will be happy to come! Do you plan to organize an exhibition in Russia or the Post-Soviet space?

Artem Mirolevich: I participated in the 6th Moscow Biennale of Contemporary Art (with the “25 kadr” Gallery). I really liked that experience, and I will gladly come to Russia with my exhibition. I am interested in doing an exhibition in Yerevan because I have relatives in Armenia, although I have never been there myself. I am also planning to do an exhibition in Tbilisi. Perhaps, this will be a big tour across the Post-Soviet space.

As for Moscow and Russia as a whole, I like how contemporary art is developing at the moment. There is very serious support for both galleries and museums, and the artists, and I think that if this stays, then, after some time, it will bear fruit. And thanks to the creativity of Russian and Post-Soviet artists, this will happen even faster.

"Space Knight" by Artem Mirolevich

“Space Knight” by Artem Mirolevich

Dragon Art

Wyverns vs Dragons

While wyverns and dragons have graced art galleries and portfolios and have been the subject of numerous bestselling fantasy books in recent times, they entered into the world of art and literature thousands of years ago.

The most common questions you will hear about wyverns vs. dragons are which one came first? And when did these mythological creatures enter the world of fantastic fiction? And what makes them different?

Some mythology experts have noted that dragons appeared as early as 2500 B.C. in a poem entitled Akkadian, considered to be the first great work of literature. In one of the most important pieces of English Literature, Beowulf, written around 1000 A.D., a dragon is slain by the legendary hero in a bloody battle.

Wyverns were first recorded as appearing in 752 A.D. in the figure of a dragon. They were encountered by the Trajan’s legions in Dacia. The Dacian Draco depicts the wyvern’s head on the standard banner of the ancient Dacian soldiers, which can still be seen on the Trajan’s Column in Rome, Italy.

Just as interesting as when they first appeared in the world of literature, are the many types, colors, and cultures of dragons.

Dragon Types

Amphiptere: A serpent with greenish-yellow feathers, bat-like green wings with feathered bone, and an arrow-tipped tail. Others are described as entirely covered in feathers with a spiked tail, beak-like snout, and bird-like wings.

Dragon: A large serpent-like creature that appears in the folklore of many cultures around the world. Beliefs about dragons vary drastically by region, but dragons in western cultures since around 1,000 A.D. have wings, horns, four legs, and are capable of breathing fire. Dragons in eastern cultures are usually wingless, four-legged, serpentine creatures with above-average intelligence.

Drake: A spiny wolf-like creature with a dragon head, horns, and two legs.

Lindworm: A legendary serpent monster or dragon-like creature. In Norwegian heraldry, a lindworm is the same as the wyvern in British heraldry.

Wrym: A snake-like creature with no wings or legs and a dragon head.

Wyvern: A creature with a dragon’s head and wings, two legs, a reptilian body, and a tail often ending in a diamond or arrow shaped tip. A variant dubbed the sea-wyvern lives in the sea and has a fish tail in place of a barbed dragon’s tail.

Dragon Colors, Countries, and Cultures

Dragons have different colors and come from different cultures. Pat Henry, the CEO of Dragon Con, conducted extensive research on the various colors and cultures of dragons, which he shared during his keynote presentation at the annual L. Ron Hubbard Writers and Illustrators of the Future awards ceremony.

Wyverns and dragons have been around for millennia and continue to be created today through movies, comic books, novels, and art.

Dragons in Contemporary Literature

L. Ron Hubbard Presents Writers of the Future Volume 33

L. Ron Hubbard Presents Writers of the Future Volume 34

Dragon Writers an Anthology

The Dragonriders of Pern by Anne McCaffrey

Winter Wyvern by McCaffrey-Winner

Dragons Run by Jody Lynn Nye

The Hobbit, by J.R.R Tolkien

Eragon by Christopher Paolini

Many famous authors continue to tell dragon tales through fantasy short stories such as:

L. Ron Hubbard Presents Writers of the Future Volume 33, featuring the Dragon Killers Daughter by Todd McCaffrey

L. Ron Hubbard Presents Writers of the Future Volume 34, featuring Illusion by Jody Lynn Nye

Dragon Writers an Anthology by Brandon Sanderson, David Farland, and collected authors

In magical and mythical creature stories such as:

The Dragonriders of Pern by Anne McCaffrey

Winter Wyvern by McCaffrey-Winner

Dragons Run by Jody Lynn Nye

And through epic fantasy fiction books:

The Hobbit, by J.R.R Tolkien

Eragon by Christopher Paolini

And lastly, the dragon even takes the stage in the New York Times bestselling science fiction novel Battlefield Earth, by L. Ron Hubbard, where the Chinese legend of the dragon eating the moon helps Jonnie Goodboy Tyler turn the tide in a battle of intergalactic proportions. Read part one of Battlefield Earth for free.

Dragon Art

World-class artists have created magnificent dragon art:

The Legend by Shun Kijima

The Legend by Shun Kijima, Battlefield Earth, Japanese cover art

Mountain Conflict by Larry Elmore

Mountain Conflict by Larry Elmore

Tea Dragon by Echo Chernik

Tea Dragon by Echo Chernik

Dark Dsurion by Ciruelo

Dark Dsurion by Ciruelo

The Rainbow Dragon by Bob Eggleton

The Rainbow Dragon by Bob Eggleton

Dragons and Wyverns have longed sparked our imagination and inspired art and stories about them—and they show no signs of dying anytime soon.

Sign up for the latest news, specials, giveaways, and cool offers.

You may also be interested in these articles:

Why Is It Not an Adventure Worth Telling If There Aren’t Any Dragons?

Ciruelo’s “Dragon Caller” Provides Magical Cover for Writers of the Future Vol 34

Dragon Con 2017 – Day 1

Can You Draw a Dragon? How Illustrators of the Future Inspires Students

"Slurp" by Lucas Durham

Showcase: Lucas Durham, Illustrators of the Future Winner

During my first week of college, I was gifted with one of Frank Frazetta’s published sketchbooks. I was amazed and inspired by the raw ideas and energetic gesture lines that leapt off every page. Since then, I’ve continued to be intrigued by other artists’ sketchbooks, because they’re a glimpse into someone else’s thought process. You can see how they study the world around them; how they muddle through a problem; how they take seeds of an idea all the way through to a final painting. There’s a vulnerability shared in the pages that you don’t normally find in finished work.

With that in mind, this year I’m releasing my first published sketchbook. Throughout recent years, I’ve built up a portfolio of visual artifacts: images originating from a variety of planned projects, studies, and art challenges. It includes some of my favorite drawing series, including a series of drawings pulled from abstract graphite blots, and portraits of women with fey traits. There’s also whimsical doodles, portrait studies, and of course, fan art from various media. The sketchbook demonstrates my artistic process as well as a glimpse into my everyday life—an intimate collection of who I am.

His book was recently launched on his Etsy Storefront and is available for purchase there as well as at conventions where he is showcased, including GenCon in Indianapolis, August 2-5, 2018.

Lucas Durham

Lucas is an Illustrators of the Future winner published in Writers of the Future Volume 29. Find out more about him at

National Bestseller 4 Consecutive Years

L. Ron Hubbard Presents Writers of the Future a National Bestseller 4 Years in a Row

Nearly 100 aspiring writers and artists have realized a major accomplishment over the past 4 years as winners in the Writers & Illustrators of the Future Contests — when the book they were published in, L. Ron Hubbard Presents Writers of the Future, became a national bestseller.

The Hard Facts

The number of new books published annually is now over 1 million (data provided by Bowker) with more than 2/3rds being self-published. Yet the number of book outlets in the US has dropped significantly, from 38,539 in 2004 to 22,586 in 2018. Unfortunately, the average new book will sell less than 250 copies in the first year and less than 1% have a chance of being stocked in a bookstore.

Writers of the Future Provides Hope

At a time when getting a much-needed break as a writer seems next to impossible, having a contest such as Writers & Illustrators of the Future becomes all the more vital. In fact, a review of the previous 33 years found that out of 472 past writer winners and published finalists, 336 have gone on with their writing career, publishing at least one story. And 192 continue to write and be published—that is, over 40% who are still realizing their dreams as a writer.

Publishers Weekly Sci-Fi Bestseller ListWriters of the Future 34 Now a National Bestseller

In keeping with the Contests’ aim to give new writers and artists a leg-up on their careers, this past week L. Ron Hubbard Presents Writers of the Future Volume 34, became a national bestseller, hitting the #10 spot on the Publishers Weekly Science Fiction bestseller list. This is the fourth Writers of the Future volume in a row to achieve national bestselling status—a fitting accolade for this year’s winners!

Volume 34, released in April, is a compilation of 12 top sci-fi and fantasy short stories written by 12 winners of the Writers of the Future Contest and illustrated by the 12 Illustrators of the Future Contest winners. While contest entries span over 170 countries, winners this year hailed from 9 different countries and include Belgium, Canada, Mexico, the Philippines, South Africa, Thailand, Ukraine, Venezuela, as well as the United States.


The winning authors listed alphabetically are Janey Bell, Eneasz Brodski, Erik Bundy, Erin Cairns, Vida Cruz, Jonathan Ficke, Amy Henrie Gillett, Diana Hart, Cole Hehr, N.R.M. Roshak, Darci Stone and Jeremy TeGrotenhuis.

Winning illustrators listed alphabetically are Bruce Brenneise, Adar Darnov, Alana Fletcher, Quintin Gleim, Duncan Halleck, Sydney Lugo, Anthony Moravian, Maksym Polishchuk, Jazmen Richardson, Reyna Rochin, Brenda Rodriguez and Kyna Tek.

Also included in Volume 34 are short stories written by New York Times bestselling authors and Writers of the Future contest judges, Brandon Sanderson and Jody Lynn Nye along with a fantasy short story by contest founder, L. Ron Hubbard. The cover art was created by internationally acclaimed artist and Illustrators of the Future judge, Ciruelo.

Discover why these are the best new voices in speculative fiction by reading their stories and seeing their art in L. Ron Hubbard Presents Writers of the Future Volume 34.

Meet the Illustrators

Meet the New Faces of Sci-Fi & Fantasy Art

Writers of the Future Volume 34 coverThis year’s release of L. Ron Hubbard Presents Writers of the Future Volume 34 debuts 12 new illustrators with their own style of creativity and diversity in science fiction and fantasy art.

This latest anthology in the Writers of the Future series offers a full spectrum of artistic style. Publishers Weekly summed it up in their starred review:

“The 34th collection of Finalists for the Writers of the Future competition features expertly crafted and edited stories and art, running the gamut from humorous to bone-chilling.”

In 1983 L. Ron Hubbard created and endowed the Writers Contest, followed five years later with a companion Illustrator Contest, as a means to discover and nurture new talent in science fiction and fantasy. Illustrator winners are selected by a blue-ribbon panel of judges including Echo Chernik, Ciruelo, Bob Eggleton, Larry Elmore, Val Lakey, Gary Meyer, Sergey Poyarkov, Rob Prior and Shaun Tan.

Submissions for the Illustrators of the Future Contest have come in from over 170 countries. And here is a glimpse of the new artists you will meet in volume 34.

Kyna Tek

Illustrator of “A Smokeless and Scorching Fire”

Kyna Tek was this year’s annual Golden Brush Award winner and commented after the event, “When I saw everyone else’s illustrations in this contest I never imagined I had a chance. Thank you for this moment. I’m never going to forget it. I will cherish it forever.”

Kyna was born in 1980 at an unnamed refugee camp in Thailand along the Cambodia and Thailand border. His family eventually immigrated to Tempe, Arizona where he grew up a typical ’80s kid playing video games, watching movies, and reading comics.

It wasn’t until he attended college that he discovered his passion for drawing and painting. He immersed himself in studies of the arts and his skills grew exponentially.

After graduating from college he has continued honing his craft and discovering where he fits in the illustration world. He enjoys pursuing his ever-continuing education through self-study and creating inspired illustrations in the fantasy and science fiction genre.

Anthony Moravian

Illustrator of “Miss Smokey”

Anthony Moravian is an illustrator who uses classical techniques to create realistic fantasy themes. He specializes in charcoal drawings and oil paintings. Anthony was born and raised in Brooklyn, New York and began drawing at the age of three.

Ever since Anthony was a child, he would draw from the collection of comics he had in his basement. He admired the creativity in fantasy and science fiction stories, and he works to capture some of their creativity in his paintings. He really began taking an interest in drawing fantasy art when he began playing fantasy-based video games.

Anthony graduated magna cum laude from the Associate’s program at the Fashion Institute of Technology. Upon recommendation from a professor, he worked sketch nights and events at the New York Society of Illustrators. It was there he began to take a great interest in realistic painting.

As a result, he began to work to capture some qualities that were often featured in classical realistic paintings while maintaining his interest in fantasy concepts. He currently lives and works in New York as a freelance illustrator.

Anthony had the honor of being an Illustrator Contest published finalist for Writers of the Future volume 33, and his art can be seen in that volume as well as volume 34.

Reyna Rochin

Illustrator of “Odd and Ugly”

Reyna Nicole Rochin was born December 30, 1990 in the suburbs of Los Angeles, California. Like most artists, she had crayons and paper in her hands since the day she could.

Growing up, there weren’t many other artists around her. She spent her childhood playing in the backyard, taking trips to the California beaches, and simply just trying to get through life in good grades.

Out of high school, she received a scholarship to play volleyball at San Francisco State University, which is where life took her next. With her sports background and a degree in Fine Arts emphasizing in drawing and painting, she had no clue what to do—so she took up a career in personal training.

A few years later, painting still captured her interests in her off hours. She eventually made the decision to return to school and was accepted to the Savannah College of Art & Design for MFA in Illustration.

Today, she spends her time working hard at school in Atlanta, power lifting and reading when she gets the chance.

Adar Darnov

Illustrator of “Turnabout”

Adar Darnov was born in 1993 in Teaneck, New Jersey. His family moved to Mt. Kisco, New York where growing up he always engaged in creative activities. Just like many other creative boys, he built cities out of toys and drew his favorite TV characters.

He continued on this path taking many art classes eventually enrolling for his undergraduate degree in illustration at School of Visual Arts in New York City. After visiting with some childhood friends who were playing Dungeons & Dragons and Magic: The Gathering, Adar remembered how much he loved fantasy art when he was younger. This caused him to pursue fantasy illustration in earnest, especially leaning toward a realistic style.

Jazmen Richardson

Illustrator of “A Bitter Thing”

Jazmen Richardson was born in 1998 in Auburn, New York. Living in the middle of nowhere most her life, her imagination was able to roam through the fields surrounding her home.

Jazmen has been drawing and creating stories since she could walk and hold a pencil. Whether they made sense to the viewer or not at the time, each story’s characters were as real to her as another family member.

Though her family is full of creative hearts, she is the first to pursue it as a career.

After graduating a year early from high school to pursue an artistic mentorship, Jazmen was able to attend Ringling College of Art and Design of Sarasota, Florida to study illustration and the business of art and design.

She has been working in digital art for two years now, and is moving toward a specialty in oil painting.

Jazmen concurrently works convention-like events striving to make connections with other artists and improve herself and her work. She may be quiet, but there is nothing more gratifying than meeting new faces and experiencing stories other than her own.

Sidney Lugo

Illustrator of “The Howler on the Sales Floor”

Sidney Lugo was born in 1994 in Guarico, Venezuela. “Sid” to her friends, she grew up most of her life in Caracas, Venezuela and moved to Boston at age nineteen to study Interactive Design.

Her childhood memories serve as inspiration for many of her drawings. She developed an interest in fantasy and sci-fi from a young age.

Sid spent a lot of time looking at French comic books and stories, especially those from the comic anthology Métal Hurlant. These kinds of surreal sci-fi and fantasy stories stimulated her imagination and inspired her path as an artist.

Outside of her studies, she continued to learn and pursue her interest for art. She continues to learn and improve her skills in order to work as a storyboard artist and work on her own comic book.

Sid is currently a graphic design working as a freelancer for private clients.

Quintin Gleim

Illustrator of “Mara’s Shadow”

Growing up in the forests of southern Ohio, Quintin was transfixed by stories of fantasy and science fiction from early childhood. Starting out primarily as a digital artist he made the switch to oil painting after attending Illuxcon in 2016 and has been captivated by traditional mediums ever since.

Currently he is hard at work creating images for his illustrated novel set in a post-apocalyptic American West, populated by fantasy creatures, dinosaurs and other prehistoric beasts.

Quintin received a BFA from Shawnee State University in 2017 and currently studies at the Columbus College of Art and Design in pursuit of an MFA.

Alana Fletcher

Illustrator of “Flee, My Pretty One”

Alana Fletcher was born in 1996 in Middletown, NY. She was introduced to the arts at a young age while growing up in Michigan. She took figure-drawing classes at the Kalamazoo Institute of Arts, and continued to develop her work within online communities. She began painting with a mouse in Photoshop, but eventually obtained a Wacom tablet to continue to expand her capabilities.

Alana is now attending Ferris State University for Game Design and Digital Animation in Grand Rapids. She concurrently works as a freelance illustrator and concept artist.

Duncan Halleck

Illustrator of “All Light and Darkness”

Duncan Halleck is an illustrator and concept artist working in the entertainment industry and specializing in the genres of science fiction and fantasy. He began his journey as an artist at a young age, copying cartoon characters and superheroes from books he found around the house and spending hours studying movie stills from The Lord of the Rings. As he grew older, he developed a deep passion for science fiction and fantasy literature and devoured the works of authors such as Ray Bradbury, Ian M. Banks, and J. R. R. Tolkien. Always an avid doodler, his love for the arts never ceased throughout his school career, his notebooks attesting to his ceaseless drive to create and explore new ideas.

After graduating high school, several yearlong stints in cities across the US and a close brush with architecture school, Duncan settled down in Belgium with his wife and aged English Pointer.

Shortly after the birth of his first daughter and a time as a landscape painter, Duncan decided to pursue a full-time career in digital art and illustration and began in earnest to study the fundamentals of art and improve his skills as an image-maker. His passion for the fantastic carries through to this day and finds an outlet in the alien landscapes and future metropoli that populate his hard drive. Currently, he freelances for small publishers and developers out of Brussels, where he can be found hiding from the rain with a cup of tea, a good book, and a photon blaster.

Bruce Brenneise

Illustrator of “The Face in the Box”

Bruce Brenneise grew up in the countryside by Lake Michigan; nature and fantasy were two of his main interests from childhood. He continued to not-so-secretly focus on magic, monsters, and myths while studying scientific illustration at the University of Michigan. Pursuit of diverse environments and experiences led him around the world in search of artistic inspiration: a field sketching trip to Southern Africa, months amid ancient ruins of Anatolia, not to mention six years working and traveling throughout China and other parts of East Asia. The landscapes he has explored and the vistas one can only find in fiction are at the heart of Bruce’s current work as an illustrator and independent artist.

He currently lives with his wife and carnivorous plants in Seattle.

Maksym Polishchuk

Illustrator of “What Lies Beneath”

Maksym “Max” Polishchuk was born in 1999 in Lviv, an ancient Ukrainian city located at the crossroads of Western and Eastern Europe. Lviv, with its diverse culture and rich history, ultimately became one of the primary sources of Maksym’s inspiration, who was always fascinated by the history concealed behind each ancient structure.

Such fascination with history, coupled with the discovery of texts of Tolkien and J. K. Rowling, is what ultimately ignited Maksym’s interest in illustration. Art was the only way of transforming the stories and worlds he saw in his imagination into something more tangible. In order to help him achieve his dreams, his mother sent him to an art studio, which he attended almost daily over the span of six years, and which helped him nurture his talents and skills.

Maksym moved to the US just before his freshman year of high school. Even though his world was transformed completely, the one thing that remained constant was art. Today, Maksym studies political science and international relations at Loyola University Chicago in hopes of creating a better world that is not limited solely by the boundaries of the canvas.

Brenda Rodriguez

Illustrator of “The Minarets of An-Zabat”

Brenda Rodriguez was born in Mexico, but moved to the US before her first birthday and has been here ever since. She started drawing as a child and has never stopped loving it. Brenda attributes her passion for character creation to her interest in video games. Her favorites include The Legend of Zelda, Kingdom Hearts, and Final Fantasy. She recalls being inspired by them at a young age as a child, and on throughout her life thereafter. To this day, she can thank Nintendo and Square Enix for fueling her aspiration of getting into the entertainment industry as a character artist.

Brenda graduated in spring of 2017 with a degree in Computer Graphics Technology from Indiana University–Purdue University Indianapolis. She is now working as a freelance artist and polishing her portfolio to officially break into the industry.

Writer Vida Cruz (l) with Illustrator Reyna Rochin (r)

Filipino Fantastic Fiction

Vida Cruz, a resident of Manila, is the first Filipino writer winner in the 34-year history of L. Ron Hubbard’s Writers of the Future Contest. Not only that, she also took first place in the 2nd quarter with her Filipino style fantastic fiction story, “Odd and Ugly,” beating out thousands of other entries from across the world.

Booklist describes her story as “a deeply atmospheric and moving Beauty and the Beast tale incorporating Philippine myth,” while Publishers Weekly called it a “breathtakingly beautiful ode to transformation which stirs the imagination with Filipino folklore.”

Vida first started writing when she was 8 years old. But her career began in earnest as a journalist for GMA News Online followed by writing for Drink Editorial and Design Inc. and 51Talk Philippines.  To realize her dream of being a writer, it’s taken much hard work, ignoring the naysayers, and perseverance—but it has all paid off. For Vida, the future indeed looks bright.

As a role model for aspiring writers, her advice is simple. “This isn’t an easy road and there will be a lot of times when you will be disappointed. But you should keep at it because every word you write is an investment.”

Beauty & the Beast Recast

The Beast in Vida’s story is a kapre, a fabled Filipino tree giant—a cigar-smoking beast of a nature spirit with a fraught history tied to African slavery. “I’ve had the image of a kapre and a girl looking at each other in my head for a long time, but I couldn’t get their story to work.” Then something clicked, and the story wrote itself in one week as Vida describes in this video interview.

The artist for her story is Illustrator Contest winner Reyna Rochin. Reyna talks about her visually rich depiction of the story (which has already sold at an art gallery as a painting) and how the Filipino culture has influenced her life.

Filipino Fact or Fantastical?

In her award-winning short story, Vida shares an element of Philippine culture and mythology. The center of the piece is a kind-hearted kapre who falls in love with Maria, a human woman. Sound fantastical? But what if the kapre really lived? There are some who believe these tree spirits are more than just folklore and with good reason.

For the backstory of the kapre, watch the video produced by the Aswang Project on the origin of the cigar smoking giant from the Philippines.

As for Vida’s depiction of Filipino folklore and the kapre, you decide.  Read “Odd and Ugly,” available in L. Ron Hubbard Presents Writers of the Future Volume 34.

Ciruelo, Illustrators of the Future Judge

Ciruelo’s “Dragon Caller” Provides Magical Cover for Writers of the Future Vol 34

We are very excited to announce that world-renowned artist Ciruelo has provided the cover art for L. Ron Hubbard Presents Writers of the Future Volume 34 releasing April 2018. And we hope you like it too! Known for his fantasy paintings, Ciruelo is perhaps best known as the illustrator of The Official Eragon Coloring Book.

“Dragon Caller” depicts a high magician standing on a platform carved with symbols which amplify the power of his summoning a dragon. Ciruelo stated, “The scene depicts some kind of collaborative relationship between dragons and humans, which is the kind of situations I prefer to paint instead of battle scenes among them.”

Last year and for the first time, we successfully paired the skills of two masters when we gave Larry Elmore’s cover art to Todd McCaffrey and asked him to write a short story based on the painting. And so Larry Elmore’s “Crimson Dawn” inspired Todd McCaffrey to write “The Dragon Killer’s Daughter” published in L. Ron Hubbard Presents Writers of the Future Volume 33.

Based on its success, we are once again pairing two accomplished professionals. Ciruelo’s “Dragon Caller” was given to Jody Lynn Nye from which she has written her story called “Illusion.” By the way, for those of you who don’t know, Jody was co-author with Anne McCaffrey on many projects including The Dragonlover’s Guide to Pern. About working with Ciruelo, Jody stated, “I love having something to inspire me when I write. I was delighted to have the opportunity to write a story based on the splendid piece of artwork that forms the cover of this anthology, a fantasy painting by Ciruelo. It so happened that the subject matter dovetailed neatly with another fantasy series I have been working on. Instead of treating with the main character of that series, this story hearkens back decades to her employer, a great wizard—or so he seems.”

After being introduced to the Illustrators of the Future contest by fellow contest judge Larry Elmore (Dungeons & Dragons cover art), Ciruelo became a judge in 2017. “I feel honored to have been invited to be part of this prestigious contest which I considered to be an invaluable opportunity for writers and artists to start a professional career. And I’m personally thankful because the Fantasy / Science Fiction genre benefits from this generous event created by Mr. Hubbard.”

Now that you have seen the cover for Writers of the Future Volume 34, what do you think?

Vida Cruz, WotF 2nd Quarter 2017 winner

Meet the Winners – Vida Cruz – 2nd Q 2017

When it comes to writing advice, many writers will tell you not to stop writing. I’m going to be contradictory for a bit and tell you that yes, you should stop—at the right time, for the right reasons.

I’ve been writing stories since I was eight years old. Not much to tell about what I wrote in that period because what sticks out in my mind are long-winded attempts at Harry Potter fanfiction. What you should know is that I joined certain clubs—the literary club and the school newspaper in grade school, the latter of which was my club high school. As a college undergrad majoring in Creative Writing, these clubs morphed into workshops at the collegiate and national levels; and while I didn’t join the school paper or the literary publication, I did help start a creative writing student organization. Two years after graduating with what was apparently the longest thesis in the history of my program at that point—250 pages—I took a leave from my job as a journalist to attend the Clarion Science Fiction and Fantasy Writers Workshop in San Diego (it was there that I met my friend Leena Likitalo, a first place winner fresh from the Writers of the Future ceremony in 2014). Even if it wasn’t always clear to me that I wanted to be a writer, it was always clear that I wanted to write.

You might glean from this short history of my writing life that I work hard, perhaps even passionate. That much is true. But that history doesn’t mention that time I stopped writing for three years to focus almost exclusively on drawing and playing the violin. It doesn’t mention the six months immediately after my graduation where I couldn’t write a new draft or even revise the 32,000-word novella I submitted as part of my thesis. Nor does it mention the two-month dry spell following my stint at Clarion, or the four-month non-writing period following the completion of my second-ever novella.

I didn’t stop writing during those times because I wanted to. I stopped writing because I’d run out of things to say. I repeatedly failed to understand that the reason creativity is likened to a well is that it is finite. Time and again I’ve hit the bottom of that well because I couldn’t tell when the waters were beginning to dry up.

And if I’d done some introspection much sooner, I would’ve realized that after I took a trip with my family to Hong Kong six months after my post-graduation burnout, I’d written the two stories that won me a slot at Clarion. I would’ve realized that in the two months of writing nothing after Clarion, I started the novella that got me lovely but devastating rejections and a few invitations to submit more stuff. And now, I know that in the two creatively-empty months following another painful rejection for that novella, I won Silver Honorable Mention for the third quarter of the 2016 Writers of the Future contest.

At the end of those two months, I wrote the story that won me first place in the second quarter of the 2017 Writers of the Future contest.

When I got the call that I’d won in August, I’d been on another writing hiatus since May—self-imposed this time, to head off another burnout before it took hold completely. With a new slew of rejections under my belt, I’d been starting to despair of my stories ever finding an audience. If I didn’t stop writing, at least for the time being, I was going to hate it—and that may have made me quit for good. But not long after I won, I was finishing a short story I started years ago and writing down the first five pages of what would become the first chapter of a novel in progress. It was nice to know that even though I was mostly writing words into the void and learning to be okay with that, some of those words reached people who actually liked them.

So, if you’ve been writing for hours on end, day in and day out, I say stop—at least for a little while. Give your brain a break. Fill the well. Because when you eventually return to your writing—and if you’re serious enough, you will always return to it—you never know, you might just write your WOTF-winning story.

Larry Elmore & Rob Prior onstage painting a dragon at the Writers of the Future Vol 33 awards ceremony

Can You Draw a Dragon? How Illustrators of the Future Inspires Students

I am teaching in a home school environment and have students who are artists at heart.  Each week I teach an art class that focuses on specific skills as well as ideas that inspire.  These classes validate the imaginative minds of my students in addition to simply being fun.

After this year’s Writers and Illustrators of the Future Event, I was inspired to teach a class on dragons.  I first showed my students (ages 4 to 14) portions of the live stream event starting with the opening sequence with the live action painting of a dragon on stage by two amazing artists, Rob Prior and Larry Elmore:

This was followed by Pat Henry’s fantastic “Dragons 101” speech.  The kids really loved this presentation and the wheels were turning!

I then showed them a YouTube tutorial (Art for Kids Hub with the very kid-friendly artist from Utah named Rob) on how to draw a dragon.

The students followed along and drew their own dragon.  Most of the students were certain they could never draw THAT, but all achieved successful results. Here are two samples of the finished products.

drawing of a dragon

drawing of a dragon

The students especially appreciated the fact that they could choose specific colors and personality traits for their dragons, even though they had to follow certain steps to learn the basics.

Art empowers anyone who will jump in and give it a try, and I thank the Writer’s and Illustrator’s Contest for not only featuring the creative efforts of some of our finest new artists on the scene, but also for inspiring the Future Artists of the Future, if I may coin a name for the group, to find their own personal genius through the arts.


Sisu Raiken

Sisu Raiken

Guest Blogger, Sisu Raiken received a BA in Music from Upsala College and studied at The Mannes School for Music, The National Shakespeare Conservatory and The National Improvisational Theatre in New York City. She has taught voice, acting and fine art and also has directed musicals and plays. She has held the position of Artistic Director at The New Village Leadership Academy, an independent school in Calabasas, California from 2005 to 2013. She is currently on the arts faculty for Every Kid’s A Genius.

Michael Michera on the red carpet with singer Joy Villa

Spotlight on artist Michael Michera

Michael Michera is a self-taught artist who found out about L. Ron Hubbard’s Illustrators of the Future Contest quite accidentally from a friend who then persuaded him to enter. That accidental encounter resulted in Michael winning the grand prize.

The contest, which is in its 28th year, costs nothing to enter. And thousands of artists enter every year from all over the world. The judging is done by top professionals and is anonymous, meaning the judging is done blind without reference to name, gender or nationality.

About Michael and His Art

Grand prize winner, Michael Michera

Grand prize winner, Michael Michera

Michael was born and raised in Poland where he currently resides. When it comes to art, he has been passionate about prehistoric animals since childhood, when he began drawing dinosaurs and creating his own creatures from his imagination. Later his interest expanded to include all animals and biology in general. He read many books on this topic and earned priceless knowledge for his current work as a concept artist.

As a youngster, Michael watched a lot of horror and sci-fi movies and it is those films, and most particularly the movie Alien, that has influenced his art.

Michael has always been fascinated by traditional drawing as well as comic art. He loves to experiment with art styles, though he most enjoys creating robots and futuristic designs of sci-fi technology. He uses digital painting and 3D sculpture in his creations.

Illustrators Workshop and Awards Celebration

As a winner of the Contest, Michael came to Los Angeles and attended the Illustrators of the Future Workshop the week prior to the awards celebration. The workshop is exclusively for the artist winners, and instructors include Coordinating Judge Echo Chernik along with judges Lazarus Chernik, Ciruelo, Larry Elmore, Sergey Poyarkov and a host of special guest artists and art directors.

Author C.L. Kagmi with the illustration Michael did for her story

Author C.L. Kagmi with the illustration Michael did for her story

During the seminars, the artists learn both the practical and business side of illustrating including how to put together their portfolio, how to brand and promote themselves, as well as practical experience on drawing. Each artist also has one-on-one time with professionals to get advice on their work.

During the week, the Writers Workshop is also taking place and so Michael met author C.L. Kagmi who wrote the story he illustrated, “The Drake Equation.”

For Michael, winning the grand prize was the best day of his life. In his acceptance speech, he talked about how artists and writers can together change the world and that he was glad to be shaping the future together with his fellow artists and writers.

He ended by saying, “Thank you for everything. This is a very important day for me and probably the best week in my life. If this is my American dream, I don’t want to wake up.”

We look forward to seeing much more of Michael and his creativity in the future.