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All commissions are closed henceforth. I'm only posting this to avoid any misunderstandings in the future. I meant to do this earlier, but, I doubt anyone has noticed anything...But, now, there are a few DA members who have commissioned me in the past, plus anyone new, having thoughts or plans for commissions here...

I've successfully made the transition into retirement, during 2017. There's too much personal detail to mention here, as to why now and what happened...

One big advantage, is I'm no longer restricted by financial needs, and, part of the pressure was to expand into other media, such as Patreon, Instagram, Tumblr, or Facebook. I was never much of a salesman (I never did get a facebook page, and never will), so that burden is lifted there as well.

I won't be getting involved with future trends. I know anime, superheros, and games are still popular, and will continue to be. There is a place for up-and-coming artists today! I'm just not in the position to give advice, or care about what sells, or popularity, anymore. 

I was basically a story illustrator. That's my training (BFA, Art Center, 1982) The work, and stories are here to see.

I just happened to love anime as well as Sci-Fi, and do fanart, beginning in 2000. That fact keeps me here, as it still gets most of the attention (the girl subjects have something to do with it, I'm sure).

I can't guarantee I'll post any future art regularly. It's one day at a time for me. That's been the case for 35 professional years.

The only personal thing I'll say, in closing, is the change has nothing to do with health issues.

Alan Gutierrez

March 2018 (revised June 2018)
Recently, I'm unable to access my notes page for anyone leaving messages from Deviant Art.

Although this may get resolved, I'm also not visiting my DA account much anyway.

Henceforth, use my E-mail for any correspondence;


I've just finished a rare interview (the last in Aug. 2013), this time with Military Historian, writer, and photographer (amateur) Cris Alvarez.

You can see it here;

Thanks to Cris for the interest! And check out his website as well!
My previous E-mail went down suddenly. In case anyone, including past clients, wish to contact me, my new E-mail is;
Just 4 years before Jack Williamson passed away in 2006, at the age of 98, he wrote this short bio on me, intended for what would have been my first art book, to be published by Paper Tiger, in the UK. 

To sweeten the deal, I had Jack write the bio, to be put in the forward of the book.

It never happened. But, I ended up posting this on my website, in the years following. Just weeks ago, my site went down, and my DA site is all I have online.

Jack is known as "The Dean of Science Fiction" and his bio is here 

"Alan Gutierrez has done the cover paintings for a number of my novels. I'm happy with them, and happy with this chance to write a few words about his life and work. Born in Kansas City, MO, in 1958, he grew up in Southern California. He was still in his teens when his passion for science fiction was inspired by a collection of Analog and Fantasy and Science Fiction magazine covers, by such great pioneers of the genre as Frank Kelly Freas, Rick Sternbach, and Alex Schomberg. Suddenly, he says, "I simply knew what I wanted to do with my life." He has done it, graduating from the Art Center College of Design in Pasadena, CA, and receiving his BFA in illustration in 1982. 

Before graduation, He made his first cover sale to a small fanzine, "Rigel" that paid him $100. He says it was printed in ghastly two tone scheme with purple, "but I was very excited." His star climbed higher in 1983, when Tor Books assigned him to do the cover for The Lagrangists by Mack Reynolds. He worked almost nonstop with cover art until the mid-list market collapsed in the 90's. He fell in love with the southwest, and moved to Arizona, married his wife Rhonda, and had two daughters, Rachel, now eleven, and Monica, five. He survived hard times by doing game trading cards and covers for Popular Mechanics. He says a typical cover takes him two or three weeks. First of all, he reads the manuscript to get a feel for it. He says he always is thinking of the "man on the street" who isn't already familiar with the future worlds of science fiction. 

Speaking of his fine cover for my own Ultimate Earth which he did in the December 2000 Analog, he says he tried to "make the strange familiar, and the familiar strange." That technique reflects the wonder that set the course of my own life back in the 1920's, when I discovered the classic science fiction of H.G. Wells, A. Merritt, and Edgar Rice Burroughs reprinted in the old Amazing Stories. I'd grown up on a little sand-hill ranch in the semi-desert of Eastern New Mexico. Life had looked limited and futureless. Those stiff gray pulp pages dazzled me with visions of a limitless future I'd never imagined. Tales of travel in space, and time, and possible new worlds better than our own. Sadly, that sense of wonder is hard to recover now. I've known scores of veteran fans who cherish the same fond recollections and fail to find it in so much of recent science fiction. Those dazzling new ideas are no longer new. Now they're the too-familiar stuff of the Saturday morning kiddy shows. The futures they forecast are already here, but they came at a cost.

Atomic science promised us limitless free power and gave us the nuclear bomb. Rocket science promised the stars and gave us the ballistic missile. Whole generations have survived the cold war and "the balance of terror." Yet the sense of wonder does live on. The universe of what we know is still expanding, faster in fact that it ever did. Exploring the frontiers between the world we know and the worlds we imagine is still an exciting game. Alan Gutierrez has the vision to make those futures real and the craft to show them to us all. 

--Jack Williamson, April 2002"
:iconlintu47: has posted an interview based on my work, here, at DA:…

:iconalltheoriginalnames: has suggested and received the approval for my third (actually 7th if you include the DD's I sadly took down in 2005) Daily Deviation, for… done as the cover for W.R. Yates "Diaspora" in 1985, and the second space station DD. "The Lagrangists" was the other.

I've loved doing space art, and don't get nearly enough commissions these days. Perhaps there are others out there that feel the "romance" of space exploration, or just the use of color and perspective, from an artistic view...

Either way, there are many other space and astronomical works here (in my astronomical art gallery folder)  so please take time to see those works (and the various other genres of art I've done). I've put a lot of time and effort into it!
Special thanks to :iconalltheoriginalnames: for my second DD here at Deviant Art!

I've noted a surge in the interest of space, and astronomical art, which is espically heartwarming, as it was my first love, and my original inspiration, way back in the late 1970's

"Lagrange Point" was one of many works, done during the years before I broke into Space/Sci-Fi/Fantasy, in 1983. My early inspirations, were Kelly Freas,  Michael Whelan, Alex Schomburg, Dean Ellis, Bob McCall, David Hardy, and many more, doing covers for Science Fiction Analog, and the Magazine of Fantasy and Science Fiction.  Rick Sternbach, Don Dixon were two I met, in LA in those formative years, and my first jobs, were at NASA, doing illustrations for the Venus Radar Mapper, in 1982, while still at Art Center College of Design, in Pasadena, CA.

In more recent years, after the collapse of the "mid list" Sci-Fi book cover market, and a brief surge in card game illustration, in the 90's,  I turned to Anime fanart. I've been incorporating many astronomical ideas in these works. The recent surge of Kindle based self publishing is encouraging, for Sci-Fi/Fantasy cover art, and I've had my first astronomical commissions in many years, in 2012.

Someday, I hope the interest in space, has us returning back to the stars. There are so many discoveries yet to be made!
The last Senshi Zodiac has finally been done, after 3 years, starting with Sailor Scorpio, in Oct. 2006. All of these works were commissioned by Ladylace (Lynette Torres), 24 total (One, Sailor Stardust, was done as a non-commissoned work in my spare time). Both of us have been through a lot, and, I was not sure if the series would get finished...

If you have enjoyed this series, and want to thank Lynette, her E-mail is She has spent $2400 on Sailor Moon fanart, more than anyone else, and, this does not include the 15 or so Senshi Families, done previously.

This has been the centerpiece of my gallery, and, has included the best of my recent work. Most of these works are available through Podgallery…

I don't know what happens from here. Rebecca Heineman is the only client still commissioning Senshi fanart, on a regular basis. So, there may be only occassional Sailor Moon related commissions henceforth, if any...

Special thanks to the models Veronika Kotlajic, Diana Hold, Kasey Richards, and Adela Figueroa, from posing for the art in this series.
Color Theory Tutorial
By Alan Gutierrez

This is a tutorial I wrote around 2005, which was never fully finished. It only will involve color theory. If there is enough interest, I'll add one on my Photoshop techniques as well. This method was taught originally to me in the early 1980's at Art Center College of Design in Pasadena, CA, by instructor Judith Crook.

Goethe Color Method

Many artists have, over the years, asked about my approach to color. It actually took 5 years of study, (long after my graduation from ACCD) including many works, often failed, before I came to finally understand the basics of this theory. It's even more remarkable for me that, in my grade school days, I was diagnosed Red-Green color blind, and, perhaps as an attempt to overcome it, I pursued the theory to a level beyond just taking one class and doing well at it- I was delighted by Judith's statement that color blindness was not a handicap in understanding and applying the principles. In fact, in the followup elective class on her color theory (the first was a requirement at ACCD), I was one of only 2 male students there, which indicated to me that the fear was mostly one of social stigma.
Basically, the theory was originated by Johann Wolfgang Von Goethe (1749-1832). Best known as the writer of Faust, and a philosopher, his color theory is the result of 30 years of research. It was Goethe that formulated the color wheel, based on the 3 primary colors, yellow, red, and blue.
There's a lot more to Goethe's ideas than this. He delved into the psycological and spiritual meanings of color-too much to go into here. And it was nearly a century before artist and scientists accepted this theory as fact. Even today, few artists practice the principles, though many artists do use the concepts-even at times not actually knowing it intellectually, but intuitively.
I never actually read Goethe's writing directly-they were second hand from Judith Crook. Furthermore there are several other influences here, including Albert H. Munsell (1858-1818), and Paul Klee (1879-1940). And during the 24 years since I first learned the theory, I've added some ideas of my own.
Judith taught 3 systems of color;
Those are the basics, from the Goethe color wheel. Later on, I 'discovered' one more system
Yellow Green/Purple
During the classes at ACCD, we were made to paint a series of swatches of hues of each system, arranged in a pyramid shape, usually arranged in 9 triangles. Here's where it is hard to teach online, because one must see the colors to understand how the arraingement worked. Basically, the idea was to create two fully saturated colors (red and green as example) and then 'cross' from red to green in hues (which would pass into the gray realm if you can visualize the color wheel and it's workings) and have the effect of enhancing each other (red enhancing or complementing green)
The same goes for the other three, swatches of 9, with orange/blue, yellow/violet and finally yellow green/purple (the latter not done in Judith's class but basicially the same idea)
During the first years, I had not the foggiest idea what I was doing, and this after being there for weeks studying it, so I can't imagine the readers here getting it, but one thing that did happen is that it 'stuck' in the back of my mind, so, after many years of painting and wanting to 'get it'-I finally did.
It happened in 1985, 3 years after I graduated. I was contracted to do a series of toy box covers for Tonka Toys, called 'Legions of Power'. The art director, Liz Durazo, liked some colorful art I'd done, which used the theories I'd learned until then, but was happening by 'chance', like a shooter hitting a target by chance, if one aims at it long enough and hits it-that kind of thing. In fact, the first painting (of ten) was a complete flop, and showed I really didn't have the actual grasp of the Goethe color theory at all-I was on the verge of being canned. My sketches (in color) were lackluster and dull, I'm sure intimidation had something to do with it-it was by far the most expensive and high paying job I'd done before (and even since) and I was stuggling to understand the theory in practice.
Thanks to Liz Durazo's expert art direction-there's never been one better before or since-I prevailed-the second painting was successful! From that point on, I used very bright colors in very close proximity to each other. You can see the result in the Sci-Fi gallery section in the 'Legions of Power' gallery. Many do still consider this among my best work.
But what goes down well in a space environment isn't suited for realistic landscapes, or when a client wants costumes of a certain color, etc. Basically, I've tried to apply the 4 color systems in every painting.
One trick I've tried to do, is to get 2 or more systems in a single painting. I've even managed three.
Woke up this morning with a DD, of "Sailor Ganymede and Callisto"

Special thanks to :iconjenya88: for it!

Also, thanks to :iconburgerbecky: for the commission, based on her webcomic, "Sailor Ranko" Check out her site-it's a really funny and engaging experience!

Since I have this brief surge of attention, check out my other art at This here is only about 15% of my work. There's Anime, Eastern Fantasy, Astronomical, Sci-Fi, Traditional Fantasy (Mermaids, Dragons and stuff...) Contemporary, Glamour (30's style), and Pinups.

Also, this starving artist can always use some commissions-they start at $100, for a one character digital painting of 2500x3500 pixels size (print to about 8 1/2" x 11") so, write me for details! I do trad. art on masonite board too, starting at $150.
About fall of 2005, Ladylace (Lynette Torres) commissioned the first of two very large series of Senshi, from the Naoko Takeuchi created series Sailor Moon. The idea was a fan-based variation by Andrea Readwolf and Usagi Carter. The first series was the “Senshi Families”, which included 14 paintings of family portraits of all of the inner and outer Senshis, plus the Starlights, and, Luna and Artemis (in human form!)

The second commissioned series, the Senshi Zodiacs, began in Sept. 2006. By this time, I’d become more proficient with Photoshop 6, the digital medium which all the art seen here was done, and the emphasis shifted more towards astromonical and fantasy settings, of which I looked very much forward to doing!

I don’t know what it is about Sailor Moon Senshi, but I’ve never once tired of doing these commissions, and these represent over 50 illustrations done since the first crude CG attempts were posted here in the fall of 2003, when I first used Photoshop. It’s probably the combination of the girls, the spacey settings and, of course, the beautifully designed ‘fuku’ and costume by Naoko Takeuchi.

There are 25 Zodiacs in this series, of which as of 7/08, 15 have been done. Represented here are Senshi of different ethnic types-something I got complaints about here in the past- I’d done different types of people in illustrations years ago as a Sci-Fi cover artist, but didn’t have the room to post, and didn’t think it was a big enough issue. The 15 works shown here are the in largest sizes shown yet. (Some of these are only a third of their original sizes)

Only two of the illustration are based on real people (actual live models). Advances in the proficiency of using virtual models and photographic cross-referencing, and the time factoring (these were all commissioned for $100 each) make it easier to get these paintings done in a timely manner without much cost to me. It’s very time consuming and hard to search, find, and shoot models, let alone different ethnic types! I do however, encourage anyone who is interested, in having me use their likeness, for this series, to contact me if interested. You will be featured as Sailor Sagittarius and Virgo have been done, with full credit, links, etc.

Check out my website at for more Senshi art, in my Sailor Moon Fanart Gallery, plus other characters, like SM Demons, pinups, and villains. Also, other anime characters in realistic style.

Finally, I’m always open to commissions, which is why I set prices low, to allow most people to afford these works. Contact me at Prints of most of the art  are available at <a href=“…>Podgallery