Jean Kluge

Fan
Name:	Jean Kluge
Alias(es):	jfkluge, M. Margaret O"Shea, Mary Margaret O"Shea
Type:	fan artist, fan writer
Fandoms:	The Sentinel, Star Trek: The Next Generation, The Professionals, Beauty and the Beast, Star Wars
Communities:
Other:	Artwork by Jean Kluge
URL:	jkluge at LiveJournal (offline)
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Jean Kluge is a well-known and highly praised fan artist.

Kluge also created art using the name M. Margaret O"Shea and Mary Margaret O"Shea.

She"s been active in many fandoms, but is probably best known for her artwork in Star Trek, Star Trek: The Next Generation, The Professionals, and The Sentinel.

Her art has been on the cover of many zines, sold as originals and prints at conventions, and later on the Internet, and recently, sold as t-shirt transfers. Her Star Trek: TNG illo, "The Quest," was used as the cover of the popular book, Textual Poachers.

Kluge is also a writer. Two of her most well-known zines, are the Sentinel novel, Changes.

She also wrote and illustrated (along with Marty Siegrist), the Star Trek: TNG Data/Tasha novel, Pulse of the Machine. Kluge included "Ensign Maggie O"Shea" (a red-haired, feisty baseball player) as one of the original characters that zine.

In 2017, Suzan Lovett credited Kluge"s influence on her own art and style:

[ Jean Kluge and I] lived close and we got to know each other. She was the one into a decorated borders and Celtic knot work. If it weren"t for her, I probably would never have gone into it. Watching her work on that, those things is what got me into it. We were always influencing one another all over the place.

Awards

• Fan Q Award (1989, 1990, 1992, 2003, 2012)
• Friscon Award for "Have You Hugged Your Guide Today?" (Favorite Portrait) (1998)
• Golden Guppy Award (1999, 2000)
• Huggy Award (1999, 2001, 2003, 2007)
• Screwz Award (2004)

Con Guest

Kluge was a guest of honor at CONtinuum (1991).

Acafandom Book Covers

One of Kluge"s Star Trek: The Next Generation drawings is the cover of Textual Poachers, by Henry Jenkins.

In 1995, Jenkins told fans about how he"d wanted to get Kluge"s art on his book, Science Fiction Audiences: Watching Star Trek and Doctor Who, but got push back from his publisher. After finally agreeing to have her fanart on the cover, she had a month"s deadline to complete it. Kluge was so much in demand that this turn around was too tight.

Jenkins later commented that Kluge"s artwork "went up in value within the art hierarchy of fandom because it was associated with the book." He said:

There are T-shirts which have the cover of Textual Poachers on them which circulate in the fan economy, and the work of that artist, Jean Kluge, went up in value within the art hierarchy of fandom because it was associated with the book. She became a more valuable fan artist as a result of that.

• 

  the original art: "The Quest" - this became the cover of Textual Poachers

• 

  cover of Subspace Chatter #4 (1989)

• 

  used as the cover of Textual Poachers (1992)

Profit and Value

During the 1980s and 90s, Kluge"s art, like Suzie Lovett and a few other artists, often went for hundreds of dollars at art auctions at conventions, leading to conversations about why it was considered wrong for fan writers and fan publishers to profit from their work, but all right for fannish artists to profit from their work. See letter of comment submitted to the The Hatstand Express on the topic.

In Jun 19, 2001 created the Yahoo!Groups to update fans about art for sale.

Profit was also an issue in her 2009 "re-publication" of her Sentinel fanzine Changes in PDF form. More information about the discussion can be found at the "changes" zine here.

Kluge"s Description of Tangling With Agent With Style

In 2003, Kluge, along with many other fans, described her experiences dealing with Agent With Style, one of the biggest zine publishers and agents of the 1990s-2000s. From Dear Disreputable Zine Publisher:

... my dealings with Mysti Frank were, overall, a nightmare. Bootlegged zines, misrepresentation of her own inflated printing quotes as the *printer"s quotes", refusals to let me see the printer"s records/receipts, tacking on $5 to copies of my zine sold at cons (buyers informed me of this), trying to intimidate buyers who complained directly to me about problems with their copies of Changes or with receiving their orders, offering copies of the zine"s art as reparation for a problem with an order, later threatening to sell my pre-printed zine illos as art prints without my knowledge for her own profit when I was considering putting the story online due to anemic sales, under-reporting the number of Changes she printed and sold (our conservative estimate, calculated from the discrepancy in the number of copies of pre-printed illos remaining after Mysti returned the masters/illos to me -- a number that could not even remotely be attributed to mistakes by the printer, a printer who has never made any mistakes with the illos for Changes when doing the zine for *me* currently -- was approximately 65 copies). In order to get my master returned, I had to hold a commissioned piece of art hostage, then eventually deny Mysti all printing rights (which I always own on all of my work, including the cover of Textual Poachers) when she simply continued to deny any wrongdoing (as she seems to be doing now.) My own perception, after what I"ve experienced and seen, is that she lies constantly, bootlegs whenever she can get away with it (which is often), uses artists" work shamelessly (my own prints came back from her all sticky -- with what, I shudder to think, and another artist had her artwork returned damaged and written-upon -- when it was returned at all) -- something that makes me unquestioning of the many writers who"ve posted here regarding her changing their work without permission.

Quite simply, after my experiences, I don"t believe a single word she says, as I caught her in fabrication after fabrication.

[...]

Oh, did I mention she threatened to sue me when I wouldn"t cave? The things I"ve mentioned above are only a partial accounting, because, really, who has time for this shit? (I do still have all the tedious emails, though.) I *lived* through it once already. And giving out the info does little good -- people still buy her poor-quality (and frequently-shady) zines in droves, *knowing* full well (from first-hand accounts) how many people she"s cheated. But there"s a fraction of my experience, for all the good it will do.

Kluge"s Comments on Slash Fanworks

From Kluge in 1988:

Riker/Data art by Kluge: "Nothing So Strong" (unknown date)

From a fan in 2015: "I didn’t even know about slash until the mid-90s, when I saw a piece of Riker/Data kissing artwork from the great fan artist Jean Kluge from across the room I remember thinking *wow, Troi sure looks pale* … until I got up close to it."

Riker/Data art by Kluge: "Evolution" (unknown date)

Somebody"s actually gone and done it. I mean, I knew that somebody would — eventually. I was hoping for later rather than sooner. Someone wrote a slash Next Generation story ["Research/Development"]. (They can argue that it isn"t, but the semantics really make little difference.) And it"s excruciatingly awful.

Let me make my position clear on "/" fiction, to set the record straight. I like good slash fiction. I enjoy believable slash fiction. Those, however, are the two operative words — good and believable. K/S that involves one or the other character as a "love slave," or equally "alternate" permutations generally make me go, "Huh? Who are these people?"

I"ve also read slash fiction in numerous other fandoms, some of it wonderful, some of it in the Excruciatingly Awful category. So — I"m not against slash fiction, per se. I am, however, very much against badly written fiction, and this one fits the bill.

Picture this: a normal day on the new ENTERPRISE. Riker is making out his list of Things To Do. The laundry. Check on Engineering. Seduce Data. Huh?? Actually, to be fair (although certainly nobody warned me in advance, "sexually explicit" doesn"t cut it), that"s not quite how it goes. But it"s close... Who are these people? Riker and Data? I can"t think of an unlikelier combination. To make this one believable, it"d take a lot of doing, and I doubt that fandom"s best writers could pull it off. It just isn"t in the characters as we know them.

Kluge"s Comments Fanart, Quality and Encouragement

In 1988, Kluge wrote about rejection, influence, and perseverance:

First, on the rejection of artwork. I am a firm believer in "no art is better than poor art." The problem is, I"ve seen a great many editors who talk a good line about rejecting artwork that is not up to par, but whose fanzines are littered with numerous examples of just what constitutes "not up to par." My own feelings on this are that most editors don"t have the time or energy to round up really spectacular art for every piece of prose that they decide to print, or that some of them just don"t recognize poor renderings when they see them. In that case, badly-drawn work is inevitable. There are also other sides to this issue. Take a look at some of Connie Faddis"s early works in old zines. Or Suzan Lovett"s. Or nearly any other artist whose work today is the kind of art that the rest of us attempt to emulate. Those early works may show only the faintest beginnings of the talent that was later brought forth through practice and a gradual improvement in technique. Without encouragement (and criticism) of fellow fans, some of these artists may never pursue their interest in drawing. It would be easy to say that any artist worth the paper she uses would presumably have the burning drive needed to keep practicing despite letters of rejection, but that is generally not the case. I still cringe when I see badly-rendered art work—but then I go back to some of the zines that printed my earlier works, and try to put what I"ve seen into perspective. It doesn"t make the bad art work any prettier, but it at least gives me a measure of tolerance toward the artist who may only now be learning. As I am. I just may happen to be further down the line.

Kluge"s Comments on Her Fanfiction

[1977]: I don"t know the difference between a Good Story and Shit, except in how it makes me feel. I"m a terrific speller. That and grammar are my high points, as far as editorial skills are concerned. But I think I"m learning...

Zines Containing Kluge"s Work

Appointment in Georgetown | Artforum | Changes | A Companion for My Death | Datazine | Destiny | Dr. Bellfriar"s Memorial Journal | Elusive Lover | Elusive Lover - Alternate Visions | Entr"Acte | Fantasia | Forever True | From a Certain Point of View | Galactic Discourse | Gentlemen Never Tell | Guardian | Psst... Hey Kid, Wanna Buy a Fanzine? | Idylls | Leave a Light On for Me | The Machiavelli Factor | Masiform D | Mind Meld | Missing Links | Motet | A New Hope | Pegasus | Powerplay | Pulse of the Machine | Rerun | Sanctuary | Sanctuary Moon | Sardonac | A Secret Place | The Sensual World | Shadowstar | Smarm | StarQuest | Subspace Chatter | The Road to Hell and Other Stories | The Sensual World | Smarm | Spinerisms | Treklink | The Wookiee Commode | Those Who Favor Fire | Threshold to Dreams | Variations on the Theme of B and D | Vault of Tomorrow | Vilya | You Could Use a Good Kiss

Gallery

See: Media Art Site, Sentinel Art Page, Slash Art T-Shirts.

Beauty and the Beast

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  (1988) "The Poet" (Beauty and the Beast (TV)

• 

  (1989) from A Secret Place #4 -- From the zine"s editorial: "I want to especially thank Jean Kluge for granting me the print rights for the beautiful little Vincent on the cover of this issue. I bought the original at IDICon in Houston in October of 1988 with only a glimmering of a hope that I could print it... and, thanks to Jean"s generosity, I can share it with all of you. (I"m fairly sure she has... or at least had... prints available."
  
  "I knew it was going to be a great issue when I saw the Kluge color cover."
  
  "I did like the illustration on the cover of #4, by Jean Kluge. I"ve seen prints of her work in Art Shows at Science Fiction Conventions, and I congratulate you on a fantastic choice for the cover art work. And thanks to Jean too!"

• 

  (1990) from "Dream Beyond the Mirror" (Beauty and the Beast (TV)) (color version) -- Kluge"s description: "Catherine in a short, frothy dress with one shoulder bared kneels on a bare-chested Vincent"s lap, cradling his head to her, while his arms clasp her to him. With Celtic border."

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  (1990) from "Dream Beyond the Mirror, printed in Destiny #4

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  (1990) from Destiny #4

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  (1992) from Threshold to Dreams #2

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  (1992) from Threshold to Dreams #2

• 

  (unknown date) "Souls" Bond"

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  (unknown date) "Faerie Tale from Another Time" -- from the artist: "Illustration of Catherine holding Vincent, her cheek resting against his hair. Both are dressed in Victorian clothing, and Catherine"s hair is in period style. There is a rose in her hair, and a pattern of roses on the silk shawl draped over her arm. A castle can be seen faintly in the distance, through a screen of thorny branches behind the couple."

Blake"s 7

• 

  (1989) from A Companion for My Death: "The Hunted"

• 

  (1989) from Those Who Favor Fire: "Magic Man", reprinted in 1996 in The Road to Hell and Other Stories

• 

  (1989) from Powerplay #5 -- "The Jean Kluge cover is slightly paler/more pastel than the other Lovett covers, but otherwise fits well with the general aesthetic of Powerplay (I wish they had be fantasy themed! That would have been awesome - though perhaps a bit wearing after 7 issues). You can"t see it that well on the scan on Fanlore (or perhaps you can, gentle reader, but I didn"t) but Blake"s eyes are shown behind Avon and I assume his hand is holding up the crystal ball that Avon is being shown in (while the others are shown in crystal balls around Avon? Possibly). Anyway - it"s a nice cover - Jean Kluge is very good. I love the Machiavelli Factor cover."

• 

  (1990) from Dr. Bellfriar"s Memorial Journal #4, Roj Blake as "Perseus" and Servalan as "Medusa" -- "Jean Kluge"s "Medusa" is a stunning illo with Blake as Perseus and Servalan as Medusa - and Avon as one of Medusa"s victims."
  
  "The Jean Kluge illo in the middle of #4 is gorgeous; IMO the zine is worth having for that alone. Blake, holding up a mirror, looks into it to see Servalan-Medusa behind him. And behind *her* is Avon, already turned to stone."

• 

  (1990) "The Suitor" from Rerun #8 -- Kluge"s description: "Avon holding out a beckoning hand to his followers, while Lady Death is a ghostly apparition (a flower-bedecked skull) behind him. Avon is dressed in somewhat medieval clothing."

• 

  (1996) from The Machiavelli Factor: "Lightbringer" -- Judith Proctor wrote: "I originally saw "Lightbringer" hanging on Ruth Saunders" wall and surprise, surprise, couldn"t persuade her to part with it. I wrote to Jean, who sold me a copy and gave me permission to use it as a zine cover."

• 

  "Jolly Roj-er" (unknown date) -- Kluge"s description: "A commissioned portrait of Roj Blake/Gareth Thomas as a pirate. He is dressed in 18th century privateer"s clothes, and is lifting a tankard of rum in one hand and laughing, while a pistol is held ready in the opposite hand, which is draped over a small treasure chest."

The Professionals

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  (1997) "Merc" from Motet #1

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  (1997) from Motet #1 -- "Untitled" -- the cover version is called "Weapons Drawn" -- artist"s description: "Color print of a nude Doyle lying atop and enfolded in the arms of a very contented, smiling Bodie (also known informally by the original"s owner as "Doyle"s Bum", as that portion of the man"s anatomy is, well...lovingly displayed and rendered.) A warm, affectionately erotic piece. "

• 

  (unknown date) "Weapons Drawn"

• 

  (1997) from Motet #1 -- "Jean Kluge does an incredible cover called Dangerous. They look like men who live and die by the gun. When compared with the smiling MOTET 2, wow. The emotion she conveys in the characters"

• 

  (1997) "Longing" from Forever True

• 

  (1997) "Historical Doyle" and "Historical Bodie" from Variations on the Theme of B and D #1

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  (1997) "Bittersweet" (title on the author"s website), "Waiting for Doyle" (in the zine Motet #1)

• 

  (1997) "...world enough, and time ..." -- artist"s description: "Richly-colored border of geraniums, mosaic, and stucco surround a beautiful, sun-drenched tableau of Bodie and Doyle entwined in a sensual and single-minded embrace, Doyle"s legs wrapped around Bodie"s waist, his head thrown back in sheer eroticism as Bodie"s arms clasp him and his lips are pressed in a near reverence to his partner"s throat, against a backdrop of sun-warmed terra-cotta tiles."

• 

  (1999) "Glances - Doyle" and "Glances - Bodie" from Variations on the Theme of B and D #1

• 

  (unknown date) "Haven"

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  (unknown date) "Dangerous Doyle"

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  (unknown date) "Dangerous Bodie"

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  (unknown date) "Mates: Doyle"

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  (unknown date) "Mates: Bodie"

Simon and Simon

• 

  (1987) from Brothers in Arms #1, portrays A.J. Simon

• 

  (1987) from Brothers in Arms #1, portrays A.J. Simon and Rick Simon

• 

  (1987) from Brothers in Arms #1, portrays A.J. Simon and Rick Simon

The Sentinel

• 

  (1998) from Missing Links #1

• 

  (1998) from Smarm

• 

  (1998) from Smarm

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  (1999) from Entr"Acte -- The Sentinel illo is titled "Sentinel and Shaman" -- the Jim and Blair part of this illo was later sold separately with Kluge"s description: "A faintly wary and serious Jim paired with an equally serious, yet also energized Blair who looks as though he"s determinedly meeting the world -- and perhaps Jim"s demons -- head-on."

• 

  (1999) from changes -- the artist"s description: "The pencil drawing features a central portrait of Jim and Blair smiling at one another as Jim affectionately presses a fist to the side of Blair"s neck. Blair is looking up at Jim with a version of The Look, while Jim"s eyes are closed in helpless amusement. Both men are wearing jackets, and there are woods in the background. In the border, botanicals and books share space with a black panther curled protectively around a sleeping wolf."

• 

  (1999) from "Have You Hugged Your Guide Today?" changes -- artist"s description: "Jim has an arm wrapped around Blair"s neck and shoulders from behind, squeezing him in an affectionate hug in this pencil drawing, his chin hooked over Blair"s shoulder. Both characters are smiling; Blair"s hair is loose and he"s wearing his glasses."

• 

  (1999) from "Hidden Visitor" changes -- "A portrait of a clearly unhappy Jim looking over his shoulder at his earnest, well-meaning partner, who is obviously trying to get through to him with his Guide voice. A small fox, face peering out of a cluster of peonies, is the hidden visitor."

• 

  (2001) "Courtship Ritual" from The Sensual World #1 -- artist"s description: "Pencil drawing of Jim kissing his Guide with the intensity only a Sentinel can manage, his hands tangled in Sandburg"s loose curls, while Blair gives as good as he gets, tongue beginning to explore (the anthropologist"s unending search for knowledge), both clearly wrapped up in the other. Both are fully clothed (Jim is in his coat, Blair in a leather jacket -- it gets cold outdoors in Cascade!)."

• 

  (unknown date) "Snuggle Buddies" (also called "Blue Skies, Blue Eyes")

• 

  (unknown date) "Sacrifice"

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  (unknown date) "Immovable Object" -- Kluge"s description: "Jim, the quintessential rock-steady, immovable object (or very nearly) -- strong, stubborn, implacable, incorruptible, protector of the city (and his Guide), but with an undeniable sense of humor that shows up on occasion -- and one color portrait complete this study of the Sentinel who can withstand almost any force."

• 

  (unknown date) "Irresistible Force" -- Kluge"s description: "Companion piece to "The Immovable Object", four b&w portraits of Blair illustrate this puppy-eyed, motormouthed whirlwind of earnest intelligence, enthusiasm, and sheer energy, the only force that can almost always move the Rock Of Ellison. A color portrait of the Guide at his most appealing (wearing his glasses of course!) completes the picture, while a b&w portrait of his adorable grin at the other end of the piece complements the smiling Jim in "Immovable Object""

• 

  (unknown date) "Bare Blair" -- artist"s description: "The piece has a border around it that looks like stucco, with a sun mosaic at each side, and two butterflies breaking from the border into the interior of the piece, and several primitive symbols and designs. The interior shows a warm sun-lit courtyard of terra cotta tiles, with a Peruvian clay pot and a terra cotta pot of geraniums. There are other plants surrounding the main figure, a nude Blair (body is in profile, but his face is turned fully toward the viewer), who is seated on the tiles with his knees drawn up and his arms wrapped around them contentedly, his head laid on his knees. His expression is confident and sweet, with a hint of a smile, and his hair is loose and curly in the south-of-the-border warmth and humidity. His skin tones reflect the sunny setting in warm, tawny hues. (Please note: this piece does contain full male nudity which, while lateral rather than frontal, is still fairly revealing.)"

• 

  (unknown date) "Loaded for Blair"

• 

  (unknown date) "The Kiss"

• 

  (unknown date) "The Sandburg Zone (-Out)" -- the artist"s description: "A bare-chested Jim holds himself almost unnaturally still, nearly zoned, as Sandburg, lips pursed in a kiss of sheer tenderness, nears Ellison"s jawline, one hand touching the Sentinel"s laterals, featherlight, in something very nearly approaching devotion. Blair is wearing a short-sleeved henley shirt."

Star Trek: TNG

• 

  (1988) "Holodeck Fantasy" from Vault of Tomorrow #13, reprinted in color in Pulse of the Machine (2000) -- artist"s description: "Whimsical android Science Officer portrait with tiny dragons and faeries."
  
  In 1988, Kluge wrote about her Star Trek: TNG story in Vault of Tomorrow #13: "I also did the artwork that accompanies it, and would like to pass on a bit of wisdom that Suzan Lovett and I have both discovered: printing color artwork in black and white is a chancy business. Sometimes it works out wonderfully; most often than not, it doesn"t work well at all. Unfortunately, this particular illustration belongs in the latter category. The original won Best of Show by both popular vote and the art show staff at Media West*Con 8—the same illustration printed in black and white looks incredibly awful. Live and learn".

• 

  (1988) "Close Encounter of the Third Kind" from Treklink #13, reprinted in Pulse of the Machine (1991)

• 

  (1989) "Insatiable Curiosity" from Treklink #15, reprinted in Spinerisms (1990) -- artist"s description: "Android portrait in black and white with all sorts of related paraphernalia in the background and spilling into the border, including a photo of Sec. Chief (blonde), a magnifying glass, a Chinese finger puzzle, and a copy of Robots and Empire, by Isaac Asimov."

• 

  (1989) from Datazine #55

• 

  (1989) "Wind-Up Boy" from Artforum #2, reprinted in Pulse of the Machine (1991)

• 

  (1989) "The Quest", original art which became the cover of Textual Poachers -- "As I said before, the artwork is a labor of love. [...] If you get the chance, find Jean Kluge"s "The Quest" at a convention art show near you. I consider it her best). I can"t say it enough. This is the best zine for artwork that I have seen in years.[...] Ms. Kluge"s work reminds me of Botticelli and Byrne-Jones, with color choice reminiscent of Alma-Tadema, Maxfield Parrish and William Morris."

• 

  (1989) "Riker the Rogue" -- "Riker is the quintessential pirate in Jean Kluge"s picture; and now that I"ve seen it in the picture I can see the rogue in him even when I"m watching him on the show! Thanks, Jean, for expressing the insight so well."
  
  "Jean Kluge has cast Star Trek"s Riker as an old-time avenger of the Spanish Main, complete with eye patch, earring, and horse pistols. Her drawing works in part because of a successful blend of symmetry and asymmetry, and because she isn"t afraid to repeat shapes and elements. The character meets the reader"s gaze almost straight on, but his body is turned only three-quarters of the way towards us, and his head is nearly, but not quite, in the center of the composition. He is enclosed in an oval, dark at the top around his upper body; again pushing the lighter form forward. The lower half of the oval is made up of his own crossed arms in their full, sweeping sleeves. Jean keeps the theme going and keeps things symmetrical by putting a tiny cutlass, treasure cheat, and anchor and canon at the four corners of the portrait. Symmetrical, but not too symmetrical; each of the four elements is slightly different in size and altogether different in shape. The fact that the woman does bloody beautiful work, and knows the difference between being detailed and being busy, doesn"t hurt."

• 

  (1990) from Artforum #3, also the cover of Idylls #4

• 

  from (1991) Pulse of the Machine

• 

  (1991) from Psst... Hey Kid, Wanna Buy a Fanzine? #2, Tasha Yar and Data are looking at a copy of Pulse of the Machine

• 

  (1991) "Pitiful" from Pulse of the Machine -- artist"s description: "...Our Favorite Android sitting in the rain with his chin propped in his hands, looking dejected. He is wearing a sweater and jeans and there is a faint image of the ubiquitous "Security Chief" in the background among the trees. "

• 

  (1991) "Glimpse of Truth" from Pulse of the Machine

• 

  (1991) "Storm"s Aftermath" from Pulse of the Machine -- artist"s description: "A romantic illustration from Pulse of the Machine of an unhappy Security Chief in bed with the Science Officer, who is lying behind her and reaching to take hold of her hand as he embraces her. "

• 

  (1991) "Tasha"s Mirror" from Pulse of the Machine -- artist"s description: "Soft-colored romantic illustration from Pulse of the Machine of the blonde Security Chief hoisted up in the Science Officer"s arms. She is smiling down at him as he gazes up at her in fond interest. The Android is bare-torsoed, while the Security Chief wears a blue shirt and little else. Sweet, endearing pose." -- from a fan: "One of my most favorite pieces is an illustration in Pulse of the Machine, in which Tasha Yar"s leapt into Data"s arms - the moment is so perfectly captured, so spontaneous feeling, so free. I can"t remember off the top of my head if the art was Kluge or Siegrist, but all these years later, I still love that art."

• 

  (1991) "Tasha"s Boy Toy" from Pulse of the Machine -- artist"s description: "A gentle, whimsical portrait of Our Favorite Android looking over his shoulder in mild surprise at his Significant Other, who is hugging him around the shoulders from behind and smiling at him with affectionate smugness."

• 

  (1991) "Room with a View" from Pulse of the Machine -- artist"s description: "Another romantic Science Officer/Security Chief piece, derived from the Pulse of the Machine universe, but not an actual illustration from the "zine. Both characters are partially clothed; the Science Officer lies supine and looking up with a rather endearing expression at the Security Chief, who is on top of him and smiling as she plays with his hair. A starfield seen through the bedroom"s port provides a backdrop for the figures (and the title)."

• 

  (1991) "Difficult Discoveries" from Pulse of the Machine

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  (1991) "Sanctuary" -- a fold-out from Pulse of the Machine

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  (1991) "Artless Intimacies" from Pulse of the Machine

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  (1991) "Zip It" from Pulse of the Machine

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  (1991) from Pulse of the Machine

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  (1991) from Pulse of the Machine

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  (1992) from Psst... Hey Kid, Wanna Buy a Fanzine? #3, "Pas de Deux", also in Pulse of the Machine (1991) -- artist"s description: "A Science Officer/Sec. Chief romantic illo (head and shoulders shot). "Security Chief"s" head is tipped back, eyes closed, while "Science Officer" leans over her from behind to kiss her, one hand brushing her neck, the other touching her far shoulder. Both have tousled hair and bare shoulders. Surrounding the couple is an Art Nouveau border and an outer border of leaves."

• 

  (1993) "Even Stranger" from Psst... Hey Kid, Wanna Buy a Fanzine? #4 -- artist"s description: "A whimsical parody of Chris Van Allsburg"s cover for his children"s book, The Stranger, with NG Science Officer and female Security Chief replacing the original cover characters. The Science Officer is sitting at a table, wearing overalls over his uniform, and dubiously regarding a plate of food in front of him, while the Sec. Chief stands beside him, an apron over her uniform, grinning as she ladles something presumably ghastly into his bowl. A very silly, fun picture."
  
  comments by the artist: "With apologies to Chris Van Allsburg" -- "Data"s overalls and Tasha"s ruffly-sleeved apron over their Federation-issue uniforms made for a nice, Kluge-esque touch. As to what she"s serving up, I wonder how many parts is 10W-40 oil and how many Campbell"s Cream of Mushroom soup?"

• 

  (1996) "Evolution"

• 

  (1996) "Nothing So Strong"

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  (unknown date) "Dimensions" -- artist"s description: "Portrait of Riker with a suggestion of other dimensions hinted by the ethereal quality of the border."

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  (unknown date) "Dreamspinner" -- artist"s description: "Bearded (NG) First Officer dressed in medieval garb, holding a starfield twining through his hands, with a tiny starship flying through the starfield."

• 

  (unknown date) "Intimate Friends" -- artist"s description: "Counselor and First Officer in a tropical setting; same pose as "Dream Beyond the Mirror" (see listings under Beauty and the Beast), only reversed; woman"s dress is bright fuschia. Both characters are smiling rather contentedly."

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  (unknown date) "Irresistible Force, Immovable Object" -- artist"s description: "A brooding alien Sec.Chief with folded hands contemplates memories of his "significant other", represented by scenes of her in the background. With bronze-looking Celtic borders and panels to simulate the feel of bladed weaponry."

• 

  (unknown date) "Rendezvous in the Arboretum" -- artist"s description: "A lovely, romantic and affectionate piece in full, rich color of Will leaning down from his lofty height to wrap up Deanna in his arms from behind in a hug. Both characters are in uniform and are smiling -- Will, a little mischievously, Deanna, with a rare open, utterly happy smile. There are flowers and other botanicals in the background; a portal serves as the backdrop, and there are more flowers in the panels of the multi-colored, intricate Celtic border."

• 

  (unknown date) "Storytime" -- artist"s description: "Science Officer w/little redheaded Alexandra; he is reading her a storybook while the elements from the tale collect behind them and in the border through the child"s imagination."

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  (unknown date) "Voyager" (also called "The Explorer")

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  (unknown date) "A Study in Non-regulation Hair" -- artist"s description: "A portrait of our favorite android with long hair (executed on a whim), and a very appealing expression. "

Star Trek: TOS

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  (1986) from Vault of Tomorrow #9

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  (1986) from Vault of Tomorrow #9

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  (1986) from Vault of Tomorrow #9

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  (1986) from Mind Meld #3

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  (1988) from Galactic Discourse #5

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  (1988) from Galactic Discourse #5, "Meld of Understanding" -- comments from Kluge in 1988: "One thing to avoid -- printing artwork in which the contrast in lighting comes from two different colors—red and blue, for instance, as in a color piece that was printed b&w in GALACTIC DISCOURSE 5. Both colors came out looking the same in black and white, and the molding of the features which should have been accomplished by the contrast of lights is completely lost."

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  (1988) "Meld of Understanding" (original art)

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  (unknown date) "A Beach to... Er, Walk On"

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  (unknown date) "Kirk Portrait"

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  (unknown date) "Contemplation" -- artist"s description: "A portrait of the "classic" First Officer in civilian clothes, sitting in a garden on his homeworld and holding a book."

Star Wars

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  (1983) foldout art in Pegasus #6

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  (1983) from Pegasus #6

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  (1984) "Clad in the Force" by Jean Kluge, reprinted in Sanctuary Moon #2 in 2005

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  (1985) "Natural Wonder (or A Han"s Eye View)"

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  (1986) "Guardian" from A New Hope #1: -- "My vote for best illos goes to Jean Kluge"s portrait of Luke on page 122. It has a warmth and depth that just jumps out of the page."

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  (1986) "A Peculiar Dream" from Shadowstar #23

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  (1986) from The Wookiee Commode #3 -- "Jean Kluge"s Luke was really very fine, also, he seemed so alive."
  
  "The adjacent drawing of Luke by Jean Kluge is one of the best I"ve seen of him. I"d love to know what she thinks he was thinking."

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  (1986) "Presence Felt" from Guardian #7, reprinted in color in Sanctuary Moon #2 (2005)

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  (1988) from From a Certain Point of View #3, portrays Luke Skywalker and his daughter

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  (1988) from From a Certain Point of View #3

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  (1988) from StarQuest

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  (1988) from Sanctuary

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  (1988) "Fairy Tale," illo for Shimmer from The Wookiee Commode #5

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  (1988) "Let Sleeping Jedi Lie," from The Wookiee Commode #5, reprinted in black and white in Elusive Lover #4 (2000) -- ""Just the thought of it sends shivers down my spine! And, uh, elsewhere!"
  
  "Hubba Hubba! It"s gorgeous! Jean, I want you to know I think your art work is fantastic! I am a Luke fan, so you can imagine my reaction when I saw this."
  
  "Jean Kluge, whoever you are, you have made the sun come up, and exactly the right time. I had office troubles, and as I was facing a bunch of miserable deskworms, your picture shone in front of my eyes and poof! everything seemed trifling compared to those breathtaking square inches of skin. Thank you."
  
  "I would like to give a special bow to Jean Kluge for her wonderful Luke, appearing on the inside front cover, who took my breath away when I saw it for the first time. In fact, it still does that whenever I open my copy. WOW."
  
  "Jean really has a stunning sense of anatomy; she"s one of my favorite zine illoers."
  
  "What can I say? It"s almost enough to make a loyal Solo fan like me falter. That"s saying a lot!".

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  (1988) "Finding Hope" from Guardian #8

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  (1989) from A New Hope #2

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  (1999) from Elusive Lover Alternate Visions -- from that zine"s editor: "I"m particularly thrilled and grateful to include an unpublished piece of art by Jean Kluge in this issue -- much too beautiful to remain unseen."

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  (1986) "Presence Felt" from Sanctuary Moon #2, originally in black and white in Guardian #7

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  (unknown date) "Dawn of a New Republic: Leia"

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  (unknown date) "Fred and Ginger"

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  (unknown date) "Alone"

Starsky & Hutch

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  (2002) cover of Leave a Light On for Me -- This art, titled "Reconciliation," was later pulled by Kluge, from the 2005 reissue by Agent With Style: "I"ve been told by the editor of Leave A Light On For Me (S/H zine) that she will be pulling my cover from that zine and possibly using it in another zine not carried by AWS, but please note that if you buy the zine from AWS, it will NOT (or *should* not) have my art anywhere in or on it." This decision was due to many issues fans had with AWS.

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  (unknown date) "Yeah, But I"m a Better Kisser" (Starsky & Hutch)

Other

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  (1991) from Sardonac (Alien Nation) --"Jean Kluge"s beautiful illo was, fortunately, screened before printing, but, knowing Jean"s work, I can only wonder what the original must be like. This reproduction method (and an obnoxious page number pasted over the top of the illo) does not do her subtle style justice."

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  (1994) "To Taste the Trade Winds" -- "Lawrence of Arabia, as portrayed by Ralph Fiennes) and King Faisal (Siddig El Fadil) -- artist"s description: "A drawing inspired by the PBS Great Performances production, A Dangerous Man: Lawrence After Arabia. A jumble of Paris buildings crowds the borders, which surround a view of Feisal sitting huddled on a low stool, legs crossed as they might be while riding a camel, arms folded across the updrawn knee, while a portrait of Lawrence and a hint of dunes in the background serve to illustrate his thoughts as he struggles to hold his ground through British and French political maneuverings in Lawrence"s absence."
  
  A fan"s comment: "Slash, slash, slash! And that"s how Jean saw it too. She"s as much a fan of the movie A Dangerous Man: Lawrence After Arabia, as we are. M. Fae and I spent the whole con sneaking peaks at this picture and just as we were starting to haul our stuff out of there and head for the airport, we gave in to lust and admiration and bought a print. I swear never again, never again (until I see more in the series). If you haven"t seen A Dangerous Man, you really ought to. It"s pure slash with everything except the sex, and that we can write.

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  (1999) from Entr"Acte "Garibaldi" from Babylon 5

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  (2002) "The Night of the Really Wild West" won a 2003 Fan Q. Meant to be the cover, it ended up as interior art in Gentlemen Never Tell #6

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  (2003) from Vilya #1

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  (2011) from Appointment in Georgetown

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  (unknown date) "Gestalt" (Alien Nation)

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  (unknown date) "La Longue Carabine" (Last of the Mohicans) -- artist"s description: "A Last of the Mohicans montage portrait featuring Nathaniel, Uncas, Cora and Alice in scenes from the motion picture."

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  (unknown date) "Sean & Elijah" (Lord of the Rings RPF)

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  (unknown date) "Reluctant Traveller" (Quantum Leap)

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  (unknown date) "Destiny" (Robin of Sherwood)

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  (unknown date) "Yin and Yang" (Kung Fu: The Legend Continues) -- artist"s description: "A double portrait of Caine and Peter, with the yin-yang between them. Emphasizes the mysticism of Caine, and Peter"s strong base in the tangible, yet hints at his ties to his father and the past."

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  (unknown date) "The Sweet Dreams Affair" (Man from U.N.C.L.E.)

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  (unknown date) "A Rare Friendship" (unknown fandom)

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  (unknown date) "A Glimpse of Faery" (unknown fandom) -- artist"s description: "A sleeping elf is curled on his side at the roots of a tree, atop cloaks of deep red and yellow, while one of blue serves as his pillow. He is dressed in green trimmed with Celtic designs, and is blond and slender. The inner piece is surrounded by an intricate border of fall leaves and more Celtic knotwork."

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  (unknown date) "Duncan and Tessa" (Highlander)