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2 4 SENIOR ILLUSTRATOR John Eaves was born in Phoenix, Arizona, in 1962. From a very young age, John was fascinated with aircra and science ction. At 5, he started making model kits with his dad and was drawing pictures of everything in sight. e 1960s o ered a sci- enthusiast lots of great TV shows like Lost in Space, Land of the Giants, Voyage to the Bottom of the Sea, e Time Tunnel, Star Trek, Jonny Quest, and e Munsters. Each show struck the imagination in many ways and little did he know that these shows were all steppingstones to a future in movies. In the summer of 1975, a movie came out that would start John's quest to work in lm. Jaws was in the theater for a good six months and at least every other week, he would beg to see it again and again. e behind-the-scenes books that came out showed pictures of how the lm came together and how Joe Alves drew and designed the lm. John knew what he wanted to do. Many lms followed that showcased the new world of special e ects. e art books associated with these lms introduced John to Joe Johnston, Ralph McQuarrie, Robert McCall, Syd Mead, Giger, Ed Verreaux, Greg Jein and Ron Cobb. Cobb was the one that really made the biggest impact and John's style was very reminiscent of Cobb's work. In the early '80s, a magazine called Cinefex came out. In addition to the creative inspiration, the magazine also featured information about where the VFX houses were located. John's next step was to start applying at all of the VFX houses he could nd… He made a portfolio and a résumé, and o to California he went. He took them to Boss Films, Fantasy II, Apogee, DreamQuest, Showscan and a bit further north to ILM, A er several attempts of trying to land his Hollywood dream job while still living in Phoenix, Steven Spielberg's assistant gave him the best advice: "Steven really enjoyed your work, but it is almost impossible to get a job in Hollywood if you live out of state." With those words, John went back to Los Angeles and to all the VFX houses and tell the tale that he now lived in California. John's rst stop was Apogee; Grant McCune hired him that same day. His rst job there was brushing latex in a giant T-Rex mold and a er that, he started helping with storyboards and making models. is was the summer of 1985, and John's rst big movies were Top Gun, Spaceballs, and Invaders from Mars. Grant kept John busy, and he started to work at all the model shops. Greg Jein was at Apogee for a short project and John and Greg became fast friends. Greg o ered John a job on Star Trek V, followed by e Hunt for Red October. In 1992, Richard Lewis, the Production Designer on Seaquest, o ered John his rst full-time Illustrator job and from there, a new world of working in the movies had begun. He was introduced to Herman Zimmerman and was brought on to work on Star Trek: Generations, Star Trek: Deep Space Nine and for the rest of the Star Trek lms and shows (Star Trek: First Contact, Star Trek: Insurrection, Star Trek: Nemesis) until the end of Enterprise in 2005. e new Star Trek lms (Star Trek, Star Trek Into the Darkness, Star Trek Beyond) started in 2007 and from H O N O R I N G JOHN EAVES IMA LIFETIME ACHIEVEMENT AWARD