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Grand Prix Anaheim – Artist Interviews

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Hello again, you fine Vorthos folks out there!

Sadly, we were unable to make it to Vorthos Wednesday due to a tight schedule, but we’re extending the best day of the week into Thursday this time around (and pushing the editor to his limits). Today’s lineup consists of half of the incredibly talented artists who will be at Grand Prix Anaheim for your mingling pleasure.

That’s right! All four would just blow you away, so we toned it down a bit, and we are only bringing you half so you don’t need to chain yourself to the computer.

Okay, you got me. Unfortunately, these affluent artists are so assiduously active actualizing awesome art for us to absorb that some of them were unable to take on any additional projects. So today, I bring you an interview with rk post and Martina Pilcerova, but don’t forget that Daarken and Terese Nielsen will be at Grand Prix Anaheim as well!

These guys (and gals) need no introduction. The least prolific of the bunch still has well over fifty cards as of Avacyn Restored, but I wanted to share a few words from Glenn Godard—the organizer of Grand Prix Anaheim—on how he got the best lineup of artists at a North American Grand Prix this year.

Martina is on a US visit so we were thrilled she could attend. Daarken is a friend, and always a tremendous draw. rk post is always a beast of a presence at a Grand Prix. Terese and we have been talking for years. The demands on her time are, as expected for a person of her talent, crazy. We finally got the stars to align for Grand Prix Anaheim, and we are beyond words happy she can attend.

Let’s get rolling!

 


 

Key:

rk: rk post

M: Martina Pilcerova

When did you begin illustrating for Magic? What was the first card printed with your artwork?

Keeper of the Beasts
rk: I started with Exodus, the last expansion of the Tempest block. I think that was May-ish of 1998? I did three cards in the set, Keeper of the Beasts, High Ground, and Thrull Surgeon.

M: I started with Mirrodin block, so it has already been 10 years at least. My first cards were the lands, and if I remember correctly, the first one I started to paint was the Mountain. [Author: Martina also painted Cloudpost, Gilded Lotus, and Seething Song in Mirrodin.]

What brought you into the fantasy/science fiction genre originally?

rk: I had a professor in college, Mark A Nelson, that was doing this crazy kind of work. There are a few of us that followed in his footsteps. Who knew you could make a living drawing this stuff?

M: Well, I was drawing spaceships since I was seven years old, even if at that time I did not know that something like science fiction existed. Of course, the real madness started with seeing Star Wars. After that, I started to read SF books. I am not so much of a fantasy reader myself. My first works were comics. Then I started with magazine and book covers, and eventually [went into] cards for gaming, such as Game of Thrones, Magic: The Gathering and World of Warcraft.

Is there a particular Magic artwork of yours that is your favorite? Do you have a favorite Magic artwork beyond your own?

rk: I like Unmask from Mercadian Masques the best. For some reason, I am mesmerized by Chris Moeller’s Copper-Leaf Angel. The lighting is astounding!

Tatsumasa, the Dragon's Fang
M: Oh yes, my favorites are Tatsumasa, the Dragon's Fang and the Dragon token which goes with Tatsumasa, but was not printed as a card. I liked the Kamigawa Islands, too, and some of the more recent paintings, like Squadron Hawk and a few others. From other artists, I like the works of Greg Staples, and I always go through the packages and choose a few cards that I like from whatever artist, just to get inspired in the future. There is plenty of cool work out there.

Has working on Magic illustrations presented any challenges for you? If so, could you elaborate slightly?

rk: Beyond deadlines? If anything, doing work for Magic has opened a lot of doors for me. I am very appreciative of it and the people that play the game!

M: First of all, I like the format of the art. It is a slight diversion from cover artwork, where the ratio is set differently, and one always has to think about the space for texts and titles. I am a person who likes challenges, but I had a creative problem when I had to do a weapon lying on the ground or tons of buildings with millions of windows all over again. Ravnica block was really hard in that respect. I just need change. So I am glad in the recent past I have been able to create more various paintings, like creatures and animals, because it involved something really new to me.

You have been illustrating Magic cards for many years. Has your overall style changed during that period? Did your Magic work influence this at all?

rk: Hmmm . . . my style is pretty consistent, but I do work mostly digital now. That has less to do with what kind of art I am doing and more to do with where I am living and the space I have.

Descendants' Path
M: I think my style has changed a lot. Usually, I work differently for the cards, there are fewer details involved than in book cover art, and the contrast has to be larger because the painting will be scaled to such a small size. My style definitely changed when I went entirely to digital for a few years, just to try the new media, but I have returned to acrylics now. Somehow, I got the feeling I can preserve my own style better when working on a real board.

Do you sign cards you created beyond events like Grand Prix: Anaheim? Are you willing to alter your cards for fans? If so, how can they get in touch with you if they are interested?

rk: My signing schedule is insane by most accounts. If you find my Facebook group, I have an updated listing of where to find me. I alter cards for $5 each (and it took me a long time to come up with a price, to be honest). Send me an e-mail or find me on many other social medias. It’s easy to find me.

M: Yes, I have many fans who want me to sign cards or who want to buy originals. I usually do alters only at the events, but I do many drawings on the backs of the artist proofs. I have never done the elaborate, colorful alters that I see [some] other artists doing, but I might try one day. I have just been too busy with other projects I suppose.

Finally, do you have any other projects in the pipeline that Magic fans might be interested in?

rk: I work full time for Big Fish Games, so I don’t get to freelance as much as I used to. I do want to put out a second art book, but it might be some time before I can get that together.

M: I still work on various projects, one of my favorites is Game of Thrones. I have been working on George RR Martin stories since the beginning, first for the card game, and later mostly for books translated to German and Czech. I have also been working for two film productions, and created a few cards for World of Warcraft. I am still creating many paintings for the next [couple of] Magic sets, but unfortunately, that is secret territory for now and I cannot tell you any details. But you will definitely see more cards from me in Magic during the next few sets.

Thank you for taking the time to answer these questions. I, and my readers, look forward to seeing more of your art in the future!

rk: Thank you!

M: Thank you. I am glad I could answer, and I look forward to meeting my fans in Anaheim.

 


 

There you have it. Now you know a little more about the faces behind the art you see every time you sling cardboard.

If you can make it to Grand Prix Anaheim, you should definitely make an appearance. Not only are these illustrious artists going to be there signing and altering cards all weekend, but Sunmesa Events has put together a weekend of pure Magic awesomeness. Get a card signed for me, and have a blast!

Tune in next week on our regularly scheduled Vorthos Wednesday for a deeper look at who Vorthos is and what it means to be one.

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