Mark Poole
Art is an ever-evolving journey for this painter
Tell us a little about your background as an artist.
I have always doodled in sketchbooks since high school, mainly influenced by comics. I studied art at the University of South Carolina, but was mostly selftaught by simply just persistence. I read and purchased a lot of art books from artists like Jim Burns, Michael Whelan, Roger Dean, Bernie Wrightson, Larry Elmore and Keith Parkinson. The internet was young back then so most resources were printed. I learned by going to museums and small sci-fi/ fantasy conventions.
Is the genre of fantasy/sci-fi a focused area for your art or do you work in wider fields?
Fantasy, sci-fi and comics have all been very influential in my interests and visions. In the early years I painted for many genres including wildlife, interior renderings of companies, and product illustration for NASCAR. These were freelance gigs to go along with regular work, but my heart was always in fantasy and sci-fi.
In the early 90s I was able to let go of the regular jobs and focus on the genres I was interested in. That was when I met Jesper Myrfors and Peter Adkison in 1992 while displaying at Gen Con in Milwaukee. Currently I work in the illustration field as well in the gallery fine art side. My personal work has slight tones of fantasy, sci-fi, surrealism and imaginative realism, which is filtered through my contemplative mood visions.
What does Magic: The Gathering mean to your art? Has this universe informed your creative choices?
In the early years my Magic: The Gathering art was more simple, with bright colours in order to stand out on the small scale for which it was to be used on. Some a little too simple, but very easy to recognise from any distance. Many people wonder today if it is even the same artist. Given 30 years to improve I sure hope my art has evolved. I am still evolving. Even technology has changed so much in 30 years such as printing, scanning and the internet. Things have switched to tighter renderings and details, but the old-style guide of keeping the art easy to recognise is still in my thought process today.
Are there any artists who have worked on Magic: The Gathering who have inspired you?
In the early years we really were just doing our thing, but as years came and went and Magic slowly began to adapt to the point where it is now, I have followed several artists who approach things in ways I may not have thought of. Whether it be colour choices or design elements. To name a few (there are so many): Chris Rahn, Tyler Jacobson, Victor Adame Minguez, Kieran Yanner and Cynthia Sheppard.
Tell us a bit about your process. Are you traditional or digital? How do you approach a new piece? What tools do you use?
My current art, let’s say since 2010, is now at the point that my style both for illustrations in Magic: The Gathering and my gallery work balance off each other. I have a mood for both that I have in my colour palettes and my approach to landscapes. I try to convey stories through colour and landscapes.
Having a small part in shaping this universe we all live in has simply been exhilarating and humbling
I like to create texture in my works that may be hard to see on card art. On my paintings I use stucco-style building up of gesso to create random textures, which looks organic when lightly passing the brush over its raised surface, leaving the darker colours alone and only hitting the raised surface. I personally like a tighter feel to my rendering but occasionally flirt with looser applications.
I do all sketches and roughs traditional. Sometimes I will use the computer to make quick colour studies or changes to a piece before transferring to my painting surface. I occasionally use airbrush and acrylics, but primarily use oils. I will also have my painting photographed so I can adjust the art or add effects on the end.
In my studio, which is around 1,000 square feet, I have an enormous book library and collectibles filling the shelves. I have two workstations with printers, three painting easels, and large working tables. I listen to a lot of music like most people do. I categorise the music I listen to with the style of painting I am working on. So in the morning when I start my day, I get my coffee, head into the studio and turn on my music, which is the same as the day before if I am working on the same piece – so it instantly puts me into the mindset I need while I am working on the piece.
What about the Dominaria expansion excites you as an artist?
For me it’s a chance to revisit some of the old days of Magic: The Gathering. Some of the early cards still resonate today in Dominaria like forgotten archways, paths and dual moons. Sometimes it’s nice to sneak or add some of those images into the new art I do while in the Dominaria realm. I really love the mood that Dominaria has to offer.
How do you feel about being part of such an extensive universe with such a large and loyal following?
It really feels like a very large, crazy family. Through the 30 years I have made so many friends with the artists, staff at Wizards of the Coast and the people who buy and play the game. Having a small part in shaping this universe we all live in has simply been exhilarating and humbling. From the early years seeing it come from out of the blue against all odds to the massive empire it has become. I am still as big a fan now as I have ever been of this universe. Just happy, humble and thankful to still be a part of this continuing journey of the Magic: The Gathering adventure.