Peter Andrew Jones

[2] He also began to develop a lifelong love of aviation and space technology encouraged by commercial Airfix kits and drawing fighter aircraft at RAF Leuchars when visiting his mother's relatives in Fife, Scotland.

Many Sunday visits with his parents to London's National and Tate Galleries even before the age of twelve further fixed his interest in a future career in the field.

During his career he has provided book covers for science fiction and fantasy authors including Isaac Asimov, Ray Bradbury, Arthur C. Clarke, Greg Bear, Larry Niven, Philip K. Dick, Marion Zimmer Bradley and Harry Harrison.

[13] During the 1990s Jones further pursued his interest in aviation-related art, becoming involved with the RAF Benevolent Fund, and a number of World War II pilots.

Jones' current work includes ongoing genre and wildlife illustration, the production of handmade and self-published books, cards and prints, and occasional private commissions.

[14] As a child Jones enjoyed the formative influence of popular media during the 1960s, including the Eagle's Dan Dare, DC's Superman and Batman comics, and television programmes like Thunderbirds, Doctor Who and Star Trek.

Later he was exposed to the rash of alternative cultural phenomena of the decade, discovering underground artists like Robert Crumb, Mick English and Martin Sharp, and Pop art such as that of Peter Blake and David Hockney.

Bama in particular made a lasting impact, particularly his Western genre art, and Jones still considers him both a genius and the single most major influence on his work.

The Complete Enchanter , cover for an edition of The Compleat Enchanter collection of fantasy tales by L. Sprague de Camp and Fletcher Pratt , later appearing on the cover of White Dwarf magazine issue 54. [ 5 ]