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→Her Evolving Art Style and Fandom Reactions To Her Art
In [[Chalk_and_Cheese#Issue_8|Chalk and Cheese]] #18 there is a drawing of Bodie in a tux with his tie undone and Doyle, wearing blue jeans and a cut off top as he shoves Bodie up against the wall. <ref> [https://fanlore.org/wiki/File:Declasslovett.jpg The Declassizing of Bodie] </ref> The photo reference was a 1990s ad for perfume. <ref> See [https://fanlore.org/wiki/File:Coty_wild_musk.jpg the original photo reference] . </ref> The body of Bodie in handcuffs on the cover of [[Leather and Blue Jeans]] #2 was from an ad for ''[https://en.wikipedia.org/wiki/The_Advocate_(LGBT_magazine) The Advocate]'', a gay newspaper out of Los Angeles. Fans would often play "guess the ad" and would approach Suzan at conventions who would cheerfully confirm her sources.<ref>Source: Morgan Dawn's personal notes, accessed May 25, 2012.</ref>
In [[Chalk_and_Cheese#Issue_8|Chalk and Cheese]] #18 there is a drawing of Bodie in a tux with his tie undone and Doyle, wearing blue jeans and a cut off top as he shoves Bodie up against the wall. <ref> [https://fanlore.org/wiki/File:Declasslovett.jpg The Declassizing of Bodie] </ref> The photo reference was a 1990s ad for perfume. <ref> See [https://fanlore.org/wiki/File:Coty_wild_musk.jpg the original photo reference] . </ref> The body of Bodie in handcuffs on the cover of [[Leather and Blue Jeans]] #2 was from an ad for ''[https://en.wikipedia.org/wiki/The_Advocate_(LGBT_magazine) The Advocate]'', a gay newspaper out of Los Angeles. Fans would often play "guess the ad" and would approach Suzan at conventions who would cheerfully confirm her sources.<ref>Source: Morgan Dawn's personal notes, accessed May 25, 2012.</ref>
==Her Evolving Art Style and Fandom Reactions To Her Art==
==Her Evolving Art Style and Fan Reactions To Her Art==
As noted above, Suzan's early style was often limited by what fanzine publishers could easily reproduce. Her initial [[Star Trek]] ink illustrations are often spare and simple. In fact, as Suzan herself wryly points out, her first few art pieces were rejected by zine publishers:
As noted above, Suzan's early style was often limited by what fanzine publishers could easily reproduce. Her initial [[Star Trek]] ink illustrations are often spare and simple. In fact, as Suzan herself wryly points out, her first few art pieces were rejected by zine publishers:
Like many budding artists, it took a few years before her artwork began to appear on fanzine covers (samples of some of Suzan's interior art across the years have been labeled in the gallery below and can also be found on the individual zine pages). Once there, however, Suzan dominated zine covers for many decades. She even inspired a
Like many budding artists, it took a few years before her artwork began to appear on fanzine covers (samples of some of Suzan's interior art across the years have been labeled in the gallery below and can also be found on the individual zine pages). Once there, however, Suzan dominated zine covers for many decades. She even inspired a
tongue in cheek cartoon in which one of the characters from [[Blake's 7]] ([[Vila]]) can be seen with a coloring book for sale while another character ([[Avon]]) comments sarcastically "''One pack of crayolas and he thinks he's Suzi Lovett--''"
tongue in cheek cartoon in which one of the characters from [[Blake's 7]] ([[Vila]]) can be seen with a coloring book for sale while another character ([[Avon]]) comments sarcastically "One pack of crayolas and he thinks he's Suzi Lovett--"
[[Image:banzine2lovett.jpg|thumb|This 1991 ad for a fan [[coloring book]] <ref> [[The Bizarro Coloring Book]] </ref> has [[Kerr Avon]], a character from [[Blake's 7]], commenting: "One pack of crayolas and he thinks he's Suzi Lovett--"]]
[[Image:banzine2lovett.jpg|thumb|This 1991 ad for a fan [[coloring book]] <ref> [[The Bizarro Coloring Book]] </ref> has [[Kerr Avon]], a character from [[Blake's 7]], commenting: "One pack of crayolas and he thinks he's Suzi Lovett--"]]
Not all fans responded to Suzan's new lush art style. Some didn’t like the fact they could recognize the magazine ads and sources that the poses were taken from; others felt that the female model proportioning should have been changed to fit the fact that the characters were male. Others didn’t like borders or cluttered, multi-imaged backgrounds. During a 2006 discussion about [[Harlequin Airs]], one fan remarked: "I don't think the art was particularly them either, I just like Suzann's work on its own (except for the prominent penis thing ;) ) I can enjoy semi-lads art much the same as many readers can enjoy semi-lads stories. It's not so much a tendency to feminise Doyle as it is to morph him into [[Starsky]]... But that's a Suzann thing." <ref> from a July 2006 discussion at [http://ci5hq.livejournal.com/5562.html CI5hq] </ref>
Not all fans responded to Suzan's new lush art style. Some didn’t like the fact they could recognize the magazine ads and sources that the poses were taken from; others felt that the female model proportioning should have been changed to fit the fact that the characters were male. Others didn’t like borders or cluttered, multi-imaged backgrounds. During a 2006 discussion about [[Harlequin Airs]], one fan remarked: "I don't think the art was particularly them either, I just like Suzann's work on its own (except for the prominent penis thing ;) ) I can enjoy semi-lads art much the same as many readers can enjoy semi-lads stories. It's not so much a tendency to feminise Doyle as it is to morph him into [[Starsky]]... But that's a Suzann thing." <ref> from a July 2006 discussion at [http://ci5hq.livejournal.com/5562.html CI5hq] </ref>
The popularity of Lovett's art led some fans to feel that the art shows of the 1990s were blurring together, filled with Lovett-like art and lacking the raw sexuality and diversity of earlier art shows.<ref>Morgan Dawn's personal notes drawn from online discussions in the mid-1990s about fan art styles and whether fans preferred explicit vs. non-explicit art and whether they wanted spare or detailed art. These discussions were hampered at the time by the fact that few fans had access to the art being discussed and therefore lacked a common reference point. Without the ability to see and access art online, most conversations in [[letterzines]] and over email took place in a vacuum.</ref> In addition to complaints about her overshadowing art shows, some fans felt uncomfortable with a perceived disconnect between the pricing and the quality of her art: "''The art of Suzie Lovett, not counting the few prints on my walls, is overrated, overpriced, and overdue for some serious competition."''<ref>Art review posted to the [[Virgule-L]] mailing list in May 1994, quoted anonymously with permission.</ref> The majority of fans felt differently, seeing in Lovett's work a tenderness and emotional intimacy that mirrored their feelings for and love of the characters (and of the characters for one another).
The popularity of Lovett's art led some fans to feel that the art shows of the 1990s were blurring together, filled with Lovett-like art and lacking the raw sexuality and diversity of earlier art shows.<ref>Morgan Dawn's personal notes drawn from online discussions in the mid-1990s about fan art styles and whether fans preferred explicit vs. non-explicit art and whether they wanted spare or detailed art. These discussions were hampered at the time by the fact that few fans had access to the art being discussed and therefore lacked a common reference point. Without the ability to see and access art online, most conversations in [[letterzines]] and over email took place in a vacuum.</ref>
Still other fans enthusiastically embraced what they saw as the lusty sensuality of her drawings: "''Suzan Lovett's artwork,''" commented one fan, ''"should come with free vibrators.''"<ref>1997 [[ZCon]] report posted to the [[Virgule-L]] [[mailing list]].</ref>
In addition to complaints about her overshadowing art shows, some fans felt uncomfortable with a perceived disconnect between the pricing and the quality of her art. A fan wrote in 1994: "The art of Suzie Lovett, not counting the few prints on my walls, is overrated, overpriced, and overdue for some serious competition."<ref>Art review posted to the [[Virgule-L]] mailing list in May 1994, quoted anonymously with permission.</ref> The majority of fans felt differently, seeing in Lovett's work a tenderness and emotional intimacy that mirrored their feelings for and love of the characters (and of the characters for one another).
A fan in 1994 wrote about Lovett (and [[Gayle F's]]) choice of poses:
{{Quotation|I don't feel threatened by male pinups who are staring directly into the camera. In [[slash]] art this is quite common, perhaps in imitation of cheesecake photos, where the women usually stare saucily or poutingly at the viewer.... [It] is interesting but doesn't do much for me emotionally -- for the same reason some fans don't care for [[Gayle F]]'s or Suzan Lovett's art. The poses are too reminiscent of cheesecake photos, and thus make the subject seem overly effeminate. Yes, this attitude is politically incorrect, but I can't help my taste. I've been indoctrinated by society to prefer subjects who are less passive, less self-absorbed. (So why do the 'effeminate' qualities of [some mainstream erotic art] art bother me, while similar qualities in Suzan's and Gayle's art do not? I think it's because I know the subjects in fan art, while all I know of Sleigh's subjects is what she shows me.) <Ref> from a fan in [[Strange Bedfellows (APA)]] #6 (August 1994) </ref>}}
Still other fans enthusiastically embraced what they saw as the lusty sensuality of her drawings: "Suzan Lovett's artwork," commented one fan, "should come with free vibrators."<ref>1997 [[ZCon]] report posted to the [[Virgule-L]] [[mailing list]].</ref>
Several artists have pointed to Suzan's work as being influential on their fannish art development. For example, Suzan's artwork for "[[Timeless (Starsky and Hutch zine)|Timeless]]" (included in the gallery below) was one of the inspirations that led [[enednoviel]] to create her [[Starsky & Hutch]] Roman [[AU]] drawing [[:File:General slave web.jpg|The General and the Slave]].<ref>Influences and inspiration listed in the artist's email dated May 29, 2012 when granting Fanlore permission to upload a larger version of her artwork. See [[enednoviel]]'s page for a complete list of her fan art influences. Additional artists will be listed above as they are confirmed. Confirmations are in progress.</ref> In her 2007 interview, [[Caren Parnes]] stated that "Suzan Lovett and I were roughly contemporary, and our styles were very different, but she had an influence on me (as she did on so many artists), with her intricate Celtic bordering and elaborate framing compositions—bringing decorative art and illustration together.” <ref>[[Liz Woledge]]. ''The Legacy of K/S in Art. Dribbling Scribbling Women: The History of Our Art'', in: [[Legacy (Star Trek: TOS slash anthology)|Legacy]] Vol. 3, 2007, pp. 22-42 (p. 33).</ref>
Several artists have pointed to Suzan's work as being influential on their fannish art development. For example, Suzan's artwork for "[[Timeless (Starsky and Hutch zine)|Timeless]]" (included in the gallery below) was one of the inspirations that led [[enednoviel]] to create her [[Starsky & Hutch]] Roman [[AU]] drawing [[:File:General slave web.jpg|The General and the Slave]].<ref>Influences and inspiration listed in the artist's email dated May 29, 2012 when granting Fanlore permission to upload a larger version of her artwork. See [[enednoviel]]'s page for a complete list of her fan art influences. Additional artists will be listed above as they are confirmed. Confirmations are in progress.</ref> In her 2007 interview, [[Caren Parnes]] stated that "Suzan Lovett and I were roughly contemporary, and our styles were very different, but she had an influence on me (as she did on so many artists), with her intricate Celtic bordering and elaborate framing compositions—bringing decorative art and illustration together.” <ref>[[Liz Woledge]]. ''The Legacy of K/S in Art. Dribbling Scribbling Women: The History of Our Art'', in: [[Legacy (Star Trek: TOS slash anthology)|Legacy]] Vol. 3, 2007, pp. 22-42 (p. 33).</ref>
Reality? Or Suzan? In 1994, a fan commented: "And that threadbare area visible on the back of Avon's head in several episodes ("Star One," for example)? Mind you, I'm perfectly content to imagine that all of the characters really look like Suzie Lovett drawings (but with clothes on) and blame video technology for making it seem otherwise. 8-)" <ref>[ftp://ftp.lysator.liu.se/pub/blake7/archive/ Lysator], Sue C., dated September 13, 1994.</ref>
Reality? Or Suzan? In 1994, a fan commented: {{Quotation|And that threadbare area visible on the back of Avon's head in several episodes ("Star One," for example)? Mind you, I'm perfectly content to imagine that all of the characters really look like Suzie Lovett drawings (but with clothes on) and blame video technology for making it seem otherwise. 8-) <ref>[ftp://ftp.lysator.liu.se/pub/blake7/archive/ Lysator], Sue C., dated September 13, 1994.</ref>}}
==Selling Fanart==
==Selling Fanart==