Artist in Res­i­dence

Look­ing for­ward Find out how this artist main­tains his draw­ing en­ergy, and dis­cover the one thing he doesn’t al­low in his stu­dio…

ImagineFX - - Contents -

Find out how John Pi­ca­cio main­tains his draw­ing en­ergy, and dis­cover the one thing he doesn’t al­low in his stu­dio.

My home stu­dio is like a Swiss-Army knife. It’s an all-in-one work­place, ar­chive, li­brary, thinkspace, print fac­tory and sanc­tu­ary. How­ever, there’s one thing it’s not, and that’s a tro­phy room.

I’ve been for­tu­nate to win Hugo Awards, Ch­es­ley Awards, Lo­cus Awards, a World Fan­tasy Award and an Inkpot Award. Yet, as proud as I am of them, I don’t want them in my workspace. They’re dis­played else­where in my house, and even though I be­lieve that true cre­atives can work any­where through any con­di­tions, I want my stu­dio to be about where I’m go­ing, rather than where I’ve been.

Most of my work is heav­ily graphite­based, and my fi­nal works are com­bi­na­tions of tra­di­tional pen­cil draw­ings and ab­stract acrylic paint­ings, lay­ered to­gether in Pho­to­shop. So my main draw­ing table and my Mac desk­top are op­po­site from each other.

Bridg­ing be­tween them, on the western wall, is a gi­ant pin board that’s cur­rently filled with process work for my on­go­ing Lo­te­ria se­ries. When I need to take a break from my main draw­ing table, I’ll move over to a lower Aeron chair and a smaller draw­ing table, fac­ing the eastern wall. Hav­ing two ded­i­cated draw­ing ar­eas helps me to de­feat fa­tigue.

I also keep a table­top easel on the main draw­ing table. When I switch back and forth be­tween projects, I can post a draw­ing and ‘let it breathe’, cre­at­ing a punch list for im­prove­ment while work­ing on some­thing else.

This room is where I spend the lion’s share of my days and nights, but the best thing about work­ing where I live is my six-year-old has an open-door

Here’s a de­tail shot from my ever-evolv­ing Lo­te­ria de­sign process board. Shown here are a sketch, notes and fi­nal de­sign for my El Ve­nado Lo­te­ria Grande card, in­spired by Leigh Bar­dugo’s novel Shadow & Bone. I like to col­lect orig­i­nals from artist friends. Here’s an oil paint­ing of a div­ing hel­met by Greg Manchess. Be­low that, be­hind the Bat­man Black & White stat­ues, are two Jef­frey Alan Love orig­i­nals. I’m work­ing on a se­ries of art­works in­spired by Lo­te­ria, the Mex­i­can game of chance. A gi­ant pin board dom­i­nates the stu­dio’s western wall and helps me or­gan­ise my de­sign thoughts. This board is con­stantly chang­ing with new bits pinned daily.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.