![]() ![]() Hughes began her work with Cyberflix producing hand-painted portraits of the main characters for their games. In 1992, a chance assignment for a then fledgling local computer gaming company in Knoxville, TN, Cyberflix, led Hughes to electronic media which included digital painting, animation and 3D rendering. In addition, when the collectible game card market emerged, Hughes produced over 100 illustrations for 8 different CCG companies. After that, Hughes signed on with Science Fiction Age magazine and illustrated for both SF Age and Realms of Fantasy, both produced by the same publisher. In addition to her continued work with Easton Press, Hughes signed on with Amazing Stories Magazine in 1991 and illustrated short stories until the magazine closed its doors in 1994. It was here that Hughes was allowed to shine and create works without the micro-management that she encountered from previous publishers. Baen commissioned Hughes to do two cover illustrations and he bought the rights to use one of her previously completed paintings for the cover of a Roger Zelazny anthology.Īfter Baen, Hughes began work for MBI/Easton Press books under then director Pam Pia. In that year she also attended LunaCon, an annual Science Fiction Convention in New York, where her paintings caught the eye of Publisher Jim Baen of Baen Books. Hughes' first published work appeared on the cover of the semi-prozine Science Fiction Chronicle in 1989, when the magazine bought secondary rights to a painting she had created years earlier. In recent years Debbie has converted to Oil on Panel only. The air-brush has all but vanished as her primary tool. In recent years, Hughes has spent a less time on photographic realism and more time on texture and exploration of thicker applications of paint. Her science fiction works are slick, clean and high tech. Her work is described often as dream-like, atmospheric, and rich in detail and color. Hughes works in acrylic dry-brush and/or air-brush, usually on masonite board or panel. The group came to be labled "The Tennessee Art Mafia" or "southern art mafia" and consisted of Debbie Hughes, Kevin Ward, Alan Clark, Mark Maxwell, Bob Giadrosich, Mark Poole, David O. After moving to Knoxville, Tn, Debbie became part of a group of emerging and competitive science fiction artists from Tennessee who during most of the 1980's and 1990's dominated science fiction art shows in the Southeastern U.S. All three generations influenced Debbie's work. While working there Debbie was also fortunate to meetĪndrew's son Jamie Wyeth when he exhibited at the gallery as well. At the time, this museum had the worlds largest collection of Andrew Wyeth's Works. Debbie also has a brief stint of working at the Greenville Museum of Art where she studied the works of Andrew Wyeth and N.C. Her early influences were classical artists, Rembrandt van Rijn, Gericault, and surrealist Salvador Dali, later augmented by contemporary genre artists - Rodger Dean and Michael Whelan. After attending a science fiction convention she saw the potential for creating the type of fantastic realism she wanted to explore in her art. After five years of preforming she quit when the time involved in preforming took her away from her first love of painting. For at time, Debbie contemplated being a singer she was in a rock band called HQ for five years while living in Knoxville, TN. The artist grew up in Atlanta, Georgia, later receiving a Bachelor of Fine Art from Furman University in South Carolina (1981). Unfortunately, Debbie's father passed away suddenly when she was 2 years old. Debbie's mother dabbled in portraiture but did not pursue an artist career, however her father, Harry Mack Hughes, was a professional sports photographer who worked closely with the University of Kentucky. She began drawing at age 6 inspired by her grandmother Hildegarde Hamilton, a well-known American impressionist and landscape artist (1920-1970). Debbie was born in Lexington, Kentucky on May 14, 1958. ![]()
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