Art
Size / / /

Smoothly morphing his skill and experience, artist Gil Formosa shape-shifts from animation to comics, cartoon to realistic, illustration to art direction.

Gil entered the world of comics in 1974 at the Dargaud studios as the assistant of Morris. In 1977, he created four short stories for Pilote. He also began the heroic fantasy series Légendes du Chevalier Cargal with scripts by Daniel Pecqueur, in 1982. The series ran until 1989, and afterwards he went to work in the advertising and animation fields. He did several commissions for Glénat (two albums of Tex Avery), Marvel (a Conan cover) and Semic (several covers and illustrations). With writer Jean-Marc Lofficier, he began the Robur series (featuring a character created by Jules Verne) at Albin Michel in 2003. He produced painted covers for a variety of French and American science fiction, comic book, and game publishers. Gil has also created several film posters (including one for Richard Donner's Ladyhawke) and was involved in major advertising campaigns.

His new graphic novel series is scheduled for June 2006 release by French publisher Dargaud.

You can view more of Gil's artwork at gil.formosa.free.fr, and he can be contacted through his email, gil.formosa@free.fr.

Tour Gil's work, piece by piece.

View thumbnails of Gil's work.





Bio to come.
Current Issue
28 Nov 2022

The comb is kept in a small case and a magnifying glass is there for you
Know that the end / is something that you cannot escape here.
I wanted to ask francophone African speculative authors how they feel, how non-Black francophone African authors relate to the controversy, but also how they position themselves either as Afrofuturists or Africanfuturists, or as neither.
The new idea is to have the sixth sensors oversee the end of humanity.
By: RiverFlow
Translated by: Emily Jin
In conclusion, I argue that SF fanzines in China mostly played a transitional role. That is, when no professional platforms were available to publish articles and stories, fanzines stepped in. Though most of those fanzines did not last very long, they played the important role of compiling and delivering information. The key reason why I identify those magazines as fanzines is because all the contributors joined out of their interest in SF and worked for free.
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