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Romantic fantasy art can be considered a sub-genre of fantasy or of romance. Some critics have described romantic fantasy as the intersection between fantasy and romance. In a work of romantic fantasy, the plot deals with the development of a romantic relationship between the protagonists, and the plot or setting involves an element of the fantastic. Ideally, the fantastic element should be integral to the plot of the work -- that is, there would be no story left if the fantastic element were removed. Romantic fantasy has been published by both fantasy lines and romance lines. Typically, fantasy publishers prefer a stronger emphasis on the fantastic elements of the storyline, while romance lines prefer a stronger emphasis on the development of the romantic relationship between the protagonists. However, there is some movement of authors between fantasy publishers and romance publishers, although this movement may be obscured by the use of pseudonyms and the policy of some publishers of considering a pseudonym to belong to the publishing house rather than the author.

Science fantasy art is the merging of science fiction and fantasy, two popular genres of writing. The two are notoriously difficult to define, and possibly even more difficult to distinguish. One might claim that science fiction provides a scientific explanation for all phenomena, whereas fantasy mostly takes the supernatural for granted. However, the "science" behind these explanations is often no more than mumbo-jumbo, especially in the pulp magazines. Arthur C. Clarke claims that "any sufficiently advanced technology is indistinguishable from magic," and this is especially true for science fantasy. Hence, it might be said that the difference is more one of stage props: on the one hand we have spacecraft and phasers, on the other hand magic carpets and wands of smiting. Some excellent science fantasy stories were published in the pulps, such as Robert A. Heinlein's "Magic, Inc.", L. Ron Hubbard's Slaves of Sleep. Fletcher Pratt and L. Sprague DeCamp produced the Harold Shea series. All were relatively rationalistic stories published in John W. Campbell, Jr.'s Unknown Magazine. Henry Kuttner and C. L. Moore published novels in Startling Stories, alone and together, which were also very good and far more romantic. The Magazine of Fantasy and Science Fiction published, among other things, all but the last of the Operation series, by Poul Anderson. These stories, starting in the mid-fifties chronicled the middle-class life of a werewolf named Steve Matuchek married to a witch named Virginia. The Martian stories of Leigh Brackett might be regarded as science fantasy, as well as M. John Harrison's Viriconium novels, or Gene Wolfe's Book of the New Sun. Many works by Edgar Rice Burroughs, especially his Barsoom novels, clearly fall into this category. Terry Brooks' world depicted in "The Sword of Shannara" sits on this line as well. Perhaps the most well-known example of science fantasy is Star Wars.

High fantasy art is also an especially pleasing hallucenogenic experience. For more information, see stoned High fantasy is a subgenre of fantasy fiction that is set in invented or parallel worlds. These stories are serious in tone, often epic in scope, dealing with themes of grand struggle against supernatural evil forces. Other typical characteristics of high fantasy include fantastical races (such as elves and dwarves), magic, wizards, invented languages, coming-of-age themes, and multi-volume narratives. In some high fantasy, a contemporary, "real-world" character is placed in the invented world. Purists might not consider this to be "true" high fantasy.

3D computer graphics is a field of study within computer graphics in which numerical models of objects are stored and manipulated in three dimensions by a computer. It is most commonly used to generate visual images, often used in film and television productions, computer and video games, commercial illustration, engineering, and scientific visualization. The term may also refer to images produced using such a model. How 3D graphics are made 3D computer graphics are typically created with the aid of specialized computer software. Two basic steps are required: Modeling: Three-dimensional data, usually in some coordinate system, is entered into the computer Rendering: The computer produces a visual representation of that data The internal representation of the data in the computer is commonly referred to as the model; it may be a model of real-world objects or phenomena, such as a weather system, building, or automobile, or an imagined object such as a flying saucer or dinosaur.

Computer graphics (CG) is the field of visual computing, where one utilizes computers both to generate visual images synthetically and to integrate or alter visual and spatial information sampled from the real world. The first major advance in computer graphics was the development of the Sketchpad in 1962 by Ivan Sutherland. This field can be divided into several areas: real-time 3D rendering (often used in video games), video capture and video creation rendering, special effects editing (often used for movies and television), image editing, and modeling (often used for engineering and medical purposes). Development in computer graphics was first fueled by academic interests and government sponsorship. However, as real-world applications of computer graphics (CG) in broadcast television and movies proved a viable alternative to more traditional special effects and animation techniques, commercial parties have increasingly funded advances in the field. It is often thought that the first feature film to use computer graphics was 2001: A Space Odyssey, which attempted to show how computers would be much more graphical in the future. However, all the "computer graphic" effects in that film were hand-drawn animation, and the special effects sequences were produced entirely with conventional optical and model effects. Perhaps the first use of computer graphics specifically to illustrate computer graphics was in Futureworld (1976), which included an animation of a human face and hand