On how he painted a pop­u­lar card from the Dom­i­naria card set

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How did the Dom­i­naria gig come about?

A cou­ple of years ago I took a step back to fo­cus on lev­el­ling up my skills. Magic art di­rec­tor Mark Win­ters was kind enough to of­fer con­struc­tive cri­tiques of the work I was cre­at­ing dur­ing this time, to try and help get me over the fin­ish line. At some point the work I was show­ing him must have hit the tar­get be­cause I said he would put me on the ros­ter for the next set!

What was the brief like?

One of the things I most en­joy about Magic is the awe­some style guide for each set. Mark told me to use some of the guide­lines to cre­ate a stained glass knight im­age that fit in the world of Dom­i­naria, and we wanted the frame of the card to es­sen­tially act as the win­dow frame.

How did you ap­proach it?

I did a lot of re­search into stained glass, how it’s cre­ated and what the draw­ing styles for the char­ac­ters is typ­i­cally like in stained glass win­dows found var­i­ous cathe­drals. I also tried to pay close at­ten­tion to how the win­dows look when il­lu­mi­nated from the out­side by the sun.

Why do you think that it hit the mark?

I think the rea­son this card res­onates with fans so well is be­cause I put a lot of my nos­tal­gia for the game into this im­age. I first started play­ing Magic back in 1993 or 94, so go­ing back to Dom­i­naria for my first Magic as­sign­ment was pure joy! I re­ally tried to cap­ture that sto­ry­book fan­tasy vibe that I re­mem­ber from back in the day, and I think that must have come through in the fi­nal art.


As well as Wiz­ards of the Coast, Tyler has worked for com­pa­nies such as Marvel, Bliz­zard and DC Comics.

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