As early as 1981 Teoman Irmak had been experimenting with pure code generated computer art alongside his commercial work, stretching the limitations imposed by the early computers. This makes him one of the very first artists to use colour computers exclusively to produce and display art.
From a fine art background he fell into computer graphics via a stint as a commercial artist illustrating, among other things, computer magazine covers using traditional methods like oils and inks. In 1984 he was named “Practical Computing’s favourite cover artist and fiction illustrator” by said magazine. He then made the switch to digital art, producing graphics for early computer games.
He was the first artist in Europe to reinterpret Marvel comic characters digitally in the early Scott Adams Adventures series. Initially The Hulk (1983) and then Spiderman (1984) followed by The Fantastic Four.
Many important commissions followed.
In 1992 he was invited to produce submarine simulation graphics for the Royal Navy which featured cutting edge 3D art.
In 1995 Hoechszt, the German pharmaceutical company asked him to produce art for their promotional mini computer game.
He worked closely with Henderson Morley Bio Technologies on their corporate graphics a year later.
His rendered 3D artwork has been featured in Graphic books and several comics.
He was the art director at Artworld for several years, helping to create the first ever fully computer generated commercial comics; LEGO Adventures Magazine (1999) and LEGO Mania USA (LEGO World Club Magazine in Europe) and shortly after this, the second ever completely rendered comic, The Butt Ugly Martians magazine (2001) based on the TV series.
His artwork has been featured on many of the old timeless classics like, Gauntlet and Black Tiger and The First Samurai (1991).
Other very early titles include; The Sorcerer of Claymorgue Castle (-winner of the Golden Joystick Award), Masters of the Universe, Gremlins, Robin of Sherwood, He-man; Masters of the Universe, Dungeons & Dragons – Heroes of the Lance, Personal Nightmare, Elvira (with other artists), Theme Park Mystery (all artwork plus some game design and programming).
Cool Spot (Graphic conversion 1993),
Disney’s Aladdin (Graphic conversion 1994), Second Samurai (1993). The solo project Touché: The Adventures of the Fifth Musketeer (1995), was only released in Europe and featured scanned background illustrations in watercolour, unusual for computer games, which were overlaid with animating digital characters. This was followed by LEGO Rock Raiders, Tonka Monster Trucks (as contributing artist) and the job of animating some of the Nickelodeon characters in the video game Nickelodeon Party Blast. He was also involved in directing the game introduction sequences for LEGO Media’s Harry Potter range of products and TV adverts.
He has also produced non digital editorial illustration and magazine covers for:
Popular Computing Weekly
(1980 – 1984)