Early work[ edit ] Foss started working as an artist in his teens, in Guernsey, creating signage for local companies. Please improve it by verifying the claims made and adding inline citations.
Statements consisting only of original research should be removed. April Learn how and when to remove this template message Foss's evocative science fiction book covers pioneered a much-imitated style featuring vast, colourful spaceships, machines and cities, often marked with mysterious symbols.
Human figures are usually absent. These images are suggestive of science fiction in general rather than depictions of specific scenes from books, and therefore can be—and have been—used interchangeably on book covers.
During the s, Foss's images of future technology had the same iconic "defining" quality that H. Giger 's would have in terms of depictions of alien or future life forms. Not being a fan of science fiction, Foss typically did not read the books he illustrated, preferring to paint scenes entirely from his imagination. In Foss worked for several months on studies for the movie Alien not being used in the movie and also did some designs of the planet Krypton for the movie Superman.
Some of his crystal structures for the planet were realised in the movie, although they were used as ice-structures. Painter Glenn Brown controversially appropriated individual space scene paintings by Foss   and in the one case copying and altering it Exercise One for Ian Curtis , and in the other, leaving it entirely unchanged Dark Angel for Ian Curtis , The titles of these works reference the vocalist of the band Joy Division , who died by his own hand.
Chris Foss created much of the color concept art for Sweetpea Entertainment's Traveller franchise, as produced by Imperium Games. It is a tome of his work to date. However, there is no way of knowing what that date is, which in some way provides some potency to the story within, as it is stated in the foreword that "the contents of the book are extracts of a 'spaceperson's diary' and are duplicated within", and "that the dates published within are of no meaning". Although there is a vast number of his paintings within the book, hardly a large percentage of what he has produced is featured, and the fictional diary text itself also bears little connection to the paintings, except in some contrived ways.
There is also no mention of the actual or original titles for any of the featured artworks, but many have been seen on the covers of authors' science fiction. It also features many sketches in various states of completion, some of which are seen completed and painted in other parts of the book. In fact only some of the images, all of which feature architecture and craft, are rendered in paint; the rest of the works are nudes and sketches of women.
The Joy of Sex[ edit ] In contrast, Foss's numerous illustrations for the sex manual The Joy of Sex are done in a much softer, natural style. The illustrations were based on photographs taken by Chris in his studio in Fulham, London. Work on films[ edit ] Jodorowsky version of Dune , spaceship and vehicle design. Planet Krypton and set design not used  Alien by Ridley Scott. Spaceship design  Flash Gordon by Mike Hodges. Artificial Intelligence under Stanley Kubrick, until Kubrick's death in  Guardians of the Galaxy under James Gunn, who brought him on board to design the film's various spaceships.