Remembering Christos Achilleos

David J Howe with Chris Achilleos and Peter Capaldi at the Cartoon Museum in London, 2016

I grew up with Chris Achilleos! One of the earliest items of Doctor Who merchandise that I bought with my own money was a copy of the Target novelisation of The Curse of Peladon. It was also the first Target book that I owned ... and that cover!  From the elegant black block logo, to the painting of the Doctor, an Ice Warrior, Alpha Centauri and Aggedor, it drew me and entranced me.

I found other books with art by the same guy ... all of them perfect recreations of those television adventures. And closer inspection gave the artist a name. Chris Achilleos.

The Curse of Peladon cover art

As time passed – I bought The Curse of Peladon in 1974 – I got more of those iconic Target books. And in 1977 I started my own fanzine – initially called The Surbiton Doctor Who Appreciation Society Magazine but which morphed quickly in to the much easier to digest Oracle – and printed Target news therein, gleaned from catalogues and press releases and, of course, the Target Book Club (Sandy Lessiter – whatever happened to him/her?).

When time came for the final edition of Oracle, published at the end of 1981, I wanted to fill it with special things ... and none more special than an interview with the legendary Chris Achilleos. But how to find him?

It was in the London telephone book of all places (the same way I found the phone number for Terrance Dicks!). Luckily there weren’t many Achilleoses in the phone book – in fact I think there was only one – and I found myself speaking to Chris.

We arranged to meet, and I spent a happy afternoon (2 May 1981 in fact) at his house in North London, looking at artwork originals and having my mind blown at the size, the colours, the detail – much of which was lost in the translation to a small paperback reproduction.

Chris in his studio, 1981

We talked and the resultant interview went into that final edition of Oracle along with the photographs I took of some of his amazing originals. There was no digital scanning here ... it was all old-school!

I stayed in contact with Chris, and, as he was willing to part with them, managed to buy some of the Doctor Who original artworks, some of which I still have to this day.

By 1983 I was running the Doctor Who Appreciation Society’s Reference Department, and had the idea to do a special ‘Making of’ magazine about the show’s 20th Anniversary story, ‘The Five Doctors’. And who did I want to do the cover. Yes, of course it was Chris.

So we met and discussed and planned. I sorted out photographs, and art edited the cover (I wanted to do it as a poster as well as using it on the magazine, and so needed to foil stamp the title on the cover (so it wasn’t on the poster)) ... things like that were tricky and fiddly back then!

The Making of The Five Doctors artwork

Chris duly delivered the art and it was massive! Easily three times bigger than any of his other Doctor Who paintings, but we managed to get it photographed to provide the transparency for the printers to create the printing plates from.

Time went on, and Chris released books of his magnificent art ... Amazons and fantasy and Doctor Who and Star Trek and everything in between ... he was so prolific!

We talked about the business, the industry, artwork and ideas ... He would often call me for advice on various elements, or for help with reference materials – Chris was not native of the UK, and as he readily admitted, was not good with certain aspects of the business, and so I helped as and where I could.

King Kung Fu cover

I recently penned an article about some of his non-Doctor Who cover work, extolling the genius of his layout and design training and skills, which he applied to Kung Fu and Fistful of Dollars book ranges, as well as the Doctor Who titles ... and he was gracious enough to add in background details and to explain finer points where I had gone astray. You can read it here: Design Classics

The last time we spoke, he called to ask my advice on a new Doctor Who Calendar he wanted to do: what should he call it? Ideas for how to present it ... Of course we had a natter and a laugh as always ... 

And now he is no longer with us. 

His art and genius will live on in those covers, ideas and concepts. His work has always been the benchmark for excellence and imagination, and in the eyes of his fans, he was unmatched.

I truly hope that his more recent forays into the world of conventions: meeting the fans, setting up and selling prints and posters and books; all helped him to see how loved he was, and how influential his art was, not just to those who bought the books as a result of seeing it gracing the cover, but to artists who followed in his wake: inspired to try and create work which would move people, which would sum up a story or a concept, and which would push at the boundaries of what commercial art and illustration was capable of.

I’m going to miss Chris. I can still hear his distinctively accented voice telling me about how he created his covers ...

RIP Christos Achilleos. 26 September 1947 – 6 December 2001.

Bobi Bartlett RIP

Robina ‘Bobi’ Bartlett

Robina ‘Bobi’ Bartlett was born on 13 February 1939 and attended art school in Somerset before training in fashion design at the Royal College of Art in London. She then worked for three years as a designer for a number of large companies in the fashion industry before launching her own design label selling young, trendy clothes to large stores and boutiques.

Bobi designed the new Martian Leader for
'The Seeds of Death'
Image (c) Estate of Bobi Bartlett.

She eventually joined the BBC as a Costume Designer around 1967 as they were looking for designers to be specifically trained in the techniques of colour television, ready for the start of colour production. One of the first programmes on which Bobi Bartlett worked was the police series Z Cars, and this was followed by the first of many assignments to Doctor Who. This was the eight-part Patrick Troughton adventure ‘The Invasion’ in 1968. For this she not only redesigned the look of the Cybermen, but also provided the uniforms and badges for the military organisation UNIT in their first appearance on the show. ‘When I came to design the UNIT uniform, I tried to keep in mind the fact that it was for an organisation that was supposed to be an international taskforce under the command of the United Nations,’ she explained in a later interview. ‘It had to have an international look about it, and not resemble too closely the established uniform of any particular country. It also had to be very up-to-date and maintain the traditional macho, masculine image of the military.’

A Kroton.
Image (c) Estate of Bobi Bartlett.

After completing her work on ‘The Invasion’, Bobi Bartlett went straight on to work on the next story, ‘The Prison in Space’. Unfortunately the story was abandoned at a late stage, and Bartlett’s design work on it went unused. ‘I’d already completed most of my designs for it. I’d even started making up a few of the costumes. The plot involved a race of dictatorial women, and I was going to have them in a lot of very nice leather wear.’ The story that replaced ‘The Prison in Space’ was ‘The Krotons’, and Bartlett designed the crystalline monsters and other costumes for the show, as well as for the following story, ‘The Seeds of Death’, which saw the return of the Ice Warriors – including designs by Bobi for a new rank of the alien race: ‘The Ice Warrior commander hadn’t appeared in earlier episodes, so I designed an altogether smoother version of the head, and the rest of the costume also became more streamlined.’ – as well as several futuristic outfits for the cast.

In this period Bartlett also worked on episodes of the popular sit-com The Liver Birds and an episode of The Wednesday Play called ‘Emma’s Time’ starring Michele Dotrice, Andrew Kier and Ian Holm. A year or so later saw Bartlett again assigned to Doctor Who for a Jon Pertwee story called ‘The Mind of Evil’ which again featured the UNIT organisation. ‘There was a location sequence, early on in the story, which featured some children playing in a park in a London square, and I remember that my son Blake appeared as a little boy on a tricycle. He and some other children were asked to be extras, as the director had decided at the last moment that he wanted to have them there to complement the action. Very conveniently my son had come along that day to see Jon Pertwee performing his scenes as the Doctor.’

Bobi working on 'The Invasion'.

‘The Mind of Evil’ marked Bartlett’s last contribution to Doctor Who and subsequently she worked on episodes of All Gas and Gaiters (with Derek Nimmo) and Sykes (with Eric Sykes and Hattie Jacques) before leaving the Corporation to go freelance. She went on to work on two television plays in 1975, an episode of One-Upmanship (with Richard Briars, Peter Jones and Frederick Jaeger) for the BBC in 1976, 1990 (with Edward Woodward) again for the BBC in 1977 and finally on the Worzel Gummidge series (again with Jon Pertwee), in 1979.

In later years she returned to teaching, including at the University of the West of England in Bristol, introducing a new generation of students to the art of costume design.


Bobi Bartlett died from a stroke in her home in Brighton on 9 April 2013. She was unmarried at the time of her death and leaves one son, Blake, from her first marriage.


David J Howe, with thanks to Stephen James Walker and Blake Bartlett. © 2013