SPECTRUM 17: THE BEST IN CONTEMPORARY FANTASTIC ART last month announced its list of artists selected for inclusion in the forthcoming annual. SPECTRUM is a much-anticipated, juried volume compiling the finest works [Read it all...]]]>

Cover illustration by John Picacio for Mark Chadbourn's AGE OF MISRULE: BOOK 1 -- WORLD'S END (Pyr). Art directed by Lou Anders.

SPECTRUM 17: THE BEST IN CONTEMPORARY FANTASTIC ART last month announced its list of artists selected for inclusion in the forthcoming annual. SPECTRUM is a much-anticipated, juried volume compiling the finest works from the worlds of books, comics, advertising, editorial, 3D and concept art in the previous year. This weekend, I was notified that two of my 2009 works were selected. They are my cover illustration for Mark Chadbourn’s AGE OF MISRULE: BOOK 1 — WORLD’S END (pictured here), and my cover illustration for James Dashner’s THE 13TH REALITY: THE JOURNAL OF CURIOUS LETTERS.

Lou Anders was the art director for the MISRULE illustration and I thank him for once again being a superlative collaborator, allowing the room to roam and find this image. Lisa Vega was the designer that commissioned THE 13TH REALITY illustration. I’m especially gratified the SPECTRUM jury selected this one. THE 13TH REALITY: THE JOURNAL OF CURIOUS LETTERS released last year in paperback, and the publisher rejected this image in favor of a much less potent, color version of the artwork for publication. I’ll be pleased when my preferred version debuts in SPECTRUM’s pages this November.

Have you seen the traycased edition of Centipede Press’ KNOWING DARKNESS: ARTISTS INSPIRED BY STEPHEN KING? This past December, I geeked about the finished hardcover trade edition of this gorgeously-produced book that includes King-inspired art by Michael [Read it all...]]]>

IT'S A MONSTER: Behold the traycased edition of Centipede Press' KNOWING DARKNESS: ARTISTS INSPIRED BY STEPHEN KING.

Have you seen the traycased edition of Centipede Press’ KNOWING DARKNESS: ARTISTS INSPIRED BY STEPHEN KING? This past December, I geeked about the finished hardcover trade edition of this gorgeously-produced book that includes King-inspired art by Michael Whelan, Bernie Wrightson, Drew Struzan, Phil Hale, Don Maitz, Dave McKean, Rick Berry, J.K. Potter, Mark Ryden, John Jude Palencar, Yours Truly, and many more. It followed in the tradition of the World Fantasy Award-nominated ARTISTS INSPIRED BY H.P. LOVECRAFT, and both are amongst the most beautifully produced art books I’ve ever seen.

With the newly-released traycased edition, Centipede Press has officially blown my mind. I’m not even sure how to describe it. For starters, this thing is massive. What you’re looking at above is the traycase itself (with cover art by Steve Stone). On top of that is a trade hardcover edition of Stephen King’s final book in the DARK TOWER series (book not included; merely presented for scale comparison). Bear in mind, that DARK TOWER book is 850 pages long, and next to most volumes, that would be a significant object. Now look at how tiny it is compared to the scale that Centipede Press has lavished on this art presentation. That tells you just how big the art pages of this book are, and just how monstrous the traycase is. To the right, you see the actual hardcover art book itself, signed by 33 artists (including all of the above), with cover art by J.K. Potter.

SON OF THE BEAST: An additional hardcover book of oversized art prints with back cover art by John Picacio.

In the second photo, you see the felt-lined interior of the tray case, with an additional hardcover book of oversized prints. The back cover artwork of this volume is an original piece of ‘SALEM’S LOT art by Yours Truly, unique to this Centipede Press release. King scholar George Beahm provides a well-crafted retrospective of 34 years of King art, while screenwriter Frank Darabont (THE SHAWSHANK REDEMPTION) provides an introduction.

Needless to say, the production values of this set are breathtaking. What matters is the art inside and the same standards continue throughout every page. I still can’t get over how good it all looks. It’ll take a while to absorb. So how much does it cost? This edition retails for $895, which in its own way takes a moment to absorb. However, if there’s ever been an art book worth every penny, this is it. The good news is that it doesn’t take much searching to find retailers offering discounts for the cash-conscious King collector, such as this one. I can’t recommend this book, or its less-expensive trade hardcover counterpart ($295), more highly for Stephen King fans and fans of dark art. It’s a mind-blowing experience.

Tor.com has been celebrating the work of author Michael Moorcock with “The Legacy of A Living Legend”, a series of exclusive blogposts by various writers and artists discussing Moorcock’s work and his impact on the sf/f field, as well as fiction [Read it all...]]]>

Michael Moorcock's ELRIC: THE SLEEPING SORCERESS (Ballantine/Del Rey). Cover illustration by John Picacio.

Tor.com has been celebrating the work of author Michael Moorcock with “The Legacy of A Living Legend”, a series of exclusive blogposts by various writers and artists discussing Moorcock’s work and his impact on the sf/f field, as well as fiction excerpts from the man himself.

As part of the celebration, Pyr editorial director Lou Anders recently interviewed me about my illustrated work for several Moorcock books including Elric: The Stealer of Souls, Elric: The Sleeping Sorceress, The Metatemporal Detective, and more. The interview covers inspirations for Elric, wielding a deadly sword in a parking lot, and what happened behind closed doors on my wedding day. It was a fun exchange and I hope folks enjoy the conversation.

Here’s my recently-completed cover illustration for Lauren Beukes‘ forthcoming novel ZOO CITY. Lauren is the author of one of 2009′s breakout hits, MOXYLAND. She describes ZOO CITY as an urban fantasy — “a muti noir set in a re-imagined Johannesburg. It’s the story of [Read it all...]]]>

Cover illustration by John Picacio for Lauren Beukes' ZOO CITY.

Here’s my recently-completed cover illustration for Lauren Beukes‘ forthcoming novel ZOO CITY. Lauren is the author of one of 2009′s breakout hits, MOXYLAND. She describes ZOO CITY as an urban fantasy — “a muti noir set in a re-imagined Johannesburg. It’s the story of a girl with a sloth on her back, a dirty 419 habit and the magical ability to find lost things who gets drawn into a case to find a missing pop star.”

The finished cover was unveiled yesterday via several blogs and websites, and I posted a bit of background about the making over at my own blog this morning. ZOO CITY will be an Angry Robot mass market paperback release, coming this May, and will be available in both the US and UK simultaneously.

JASON LIMON is a painter and one of San Antonio’s best-kept secrets. Personally, I think he’s so secret that even his own town doesn’t know about his paintings. On the international art circuit, it’s a different story though. [Read it all...]]]>

COLONY. Acrylic on canvas, 18" x 24". ©2009 Jason Limon. Used w/ permission of the artist.

JASON LIMON is a painter and one of San Antonio’s best-kept secrets. Personally, I think he’s so secret that even his own town doesn’t know about his paintings. On the international art circuit, it’s a different story though. He’s a rising art star and galleries from Los Angeles to Berlin are discovering his work. I first stumbled across it a couple of months ago via Twitter and felt an immediate kinship with him in that we’re both San Antonio artists making a full-time living trying to make art, while living under the radar here in SA. The current local art scene proclaims that SA is best when artists “Keep San Antonio Lame.” These days, the local art scene certainly lives down to that phrase, in my opinion. All too often, it champions ironic posturing, loose rhetoric, and tired cliche over solid draftsmanship, craft, and vision. In this climate, Jason’s work is a breath of fresh air. Is it science fictional? Is it fantasy? Is it horror? It’s all of it, and yet none of the above. I’m grateful that he took a few minutes out of his busy schedule to share a few words with MISSIONS UNKNOWN.

Artist’s bio: Jason Limon was born in San Antonio, Texas in 1973. He first showed his artistic expression at a fairly young age doodling characters and sceneries inspired by his bustling neighborhood and surroundings. He studied fine arts and graphic design at the Visual Arts & Technology Center at San Antonio College and entered the field of commercial graphic design in 1995 acquiring comprehensive knowledge of type, color and composition. Following twelve years of commitment to producing award winning logos and designs he then turned his focus and concentration to where his heart truly began: developing artwork by hand and brush, no longer by the clicks of a mouse. He is currently creating gallery work and commercial illustrations, some of which can be seen in COMMUNICATION ARTS, SOCIETY OF ILLUSTRATORS OF LOS ANGELES, AMERICAN ILLUSTRATION, PRINT REGIONAL DESIGN and GRAPHIS.

Favorite painters, comic book artists, and genre things include:

Hieronymus Bosch, Pieter Bruegel, Salvador Dali, Chet Zar, Chris Mars, Peter Marcek, William B. Hand; Chris Ware, Frank Miller, Frank Frazetta, Alex Ross, Daniel Clowes; listening to lots of podcasts including MYSTERIOUS UNIVERSE and MYSTERIES ABOUND as well as watching zombie movies (Jason: “Just watched DEAD SNOW –that was a good one!”)

Visionary San Antonio painter Jason Limon.

When did you know it was time to leave graphic design and begin your career as a painter? Was there a single event that was the final straw or was it a slow burn?

I can’t say that there was a final straw or that it was a slow burn. I had enjoyed it for a very long time. I was always learning something new on the computer and from those around me. What had caused me to start feeling worn down was sitting day after day in front of a computer. Towards the end of that career, I was feeling stifled by the computer itself. I missed being creative with just my bare hands and had a serious craving to begin painting again to get myself out of digital mode. So when the time felt right, I jumped right on in.

How long did it take for you to build a stable living as a painter once you decided to take the plunge?

That’s a good one, because I’m still in the stages of figuring out how to survive financially. I’ve only been painting full-time for two years and one of those years (2009) has been very rough with the economy being bad and all. But as I continue onward, I learn a lot from my mistakes, explore new ways to create opportunities from my art, and have tons of faith that things will turn out well.

How do you approach marketing your work? Do you consciously make efforts to do this, or have the opportunities just come your way?

When I first started approaching a variety of galleries that I felt might be interested in showing my work, I emailed a bit of info about me and a few sample images of my art. Fortunately, a handful wanted to work with me. Since then, things just kind of snowballed and other galleries contacted me on collaborating. Looking back, I’ve been very blessed to have the yearly schedules fill up with all sorts of exhibits and events.

I’m always promoting my work wherever possible, but mainly on the internet. I’m on all the social networking sites and connect with monthly newsletters. (Here’s Jason’s Twitter feed and his Facebook page.)

You seem to prefer doing personal work over commissioned work. Is that so? And if it is, why?

Yes, you can say that. Unless the commissioned piece gives me free range to paint whatever I want to paint. In the past, I found it hard to illustrate someone else’s thoughts or ideas. But as my style and goals have become more stable, I believe creating illustrations that go with the right kind of story or article will flow out easier. As it is right now though, I’m really happy to be releasing my own thoughts and visions.

Your work has a growing international presence. You live and work here in SA. Does the city impact your work in any way?

I don’t feel like this city itself has a huge impact on what I do. The only real connection I see is my love for old buildings from our past, and nature. San Antonio has quite a few old buildings. My favorite would be the Missions, excluding the Alamo. I can be inside these places or sitting out in their open fields, and feel ideas start coming to life. I enjoy being alone out there for long periods of time. San Antonio still has that “small town” feel and the good thing about the city is I’m not really distracted by so much activity around me. That does have it’s negative side though because there are not a whole lot of artists here working in the same vein nor any galleries exhibiting that type of work.

How much attention has the local art scene given to your work? Will any of your work be showing locally any time soon?

Zero. But then again, I haven’t tried real hard to get local attention. Maybe because I know that there will be very few here that would be interested in what I do, or would commit to purchasing something. The good news is other cities have asked for my presence, and in these places, the art has done well.

What’s your favorite part of the creative process?

That would be the initial sketch, where the visions first come to life and then the moment where I get to pause, step back and take a good look at the completed piece.

What’s been your proudest achievement thus far in your painting career?

It’s being a painter itself. Though it’s been somewhat of a struggle, I’ve got to say that I feel proud when I’m sitting in the home studio, painting for a living.

What are you currently working on? What’s next for you?

I’m finishing up a few pieces for a shared exhibit over in San Francisco this November. I’ll have ten new paintings and will be exhibiting with three other artists (Jeremiah Ketner, John Bergeron, and Ken Keirns). November is a big month. I’ll also be a part of large group exhibits in L.A., Berlin and Hamburg. In December I’ll begin preparing for my solo exhibit in Chicago in April of 2010. I’ve been thinking of somehow formatting the work so that I might be able to produce some sort of book from the art. Not sure yet. The main thing for me is that I continue growing and exploring as an artist. Every new painting is a step closer to where I belong.

Favorite food, drink, or restaurant that can be found nowhere else but SA?

Oh man. I love snow cones in the summer heat, but you can find snow cones anywhere. Rolando’s Super Taco is pretty delicious – carne guisada con queso. My wife and I enjoy The Guenther House. I dig into those biscuits. Pastor tacos from those little mobile taco vendors — those are tasty too!

Enjoy more Jason Limon art here, as well as his blog.

And Yours Truly handled the cover art honors for this one. As you can see, this issue’s loaded, featuring brand-new stories by Kristine Kathryn Rusch, Lisa Goldstein, Mike Resnick & Lezli Robyn, Brenda Cooper, Steve Rasnic Tem, and more, [Read it all...]]]>

The Sept. '09 issue of ASIMOV'S SCIENCE FICTION, available now. Cover art by John Picacio.

And Yours Truly handled the cover art honors for this one. As you can see, this issue’s loaded, featuring brand-new stories by Kristine Kathryn Rusch, Lisa Goldstein, Mike Resnick & Lezli Robyn, Brenda Cooper, Steve Rasnic Tem, and more, plus columns by Sheila Williams, Robert Silverberg, and Paul Di Filippo. To date, ASIMOV’S SCIENCE FICTION has won 44 Hugos and 24 Nebula Awards, and is one of the most acclaimed venues for original sf short fiction. ASIMOV’S editor Sheila Williams is a nominee for this year’s Hugo Award for Best Editor / Short Form.

She asked me to use Goldstein’s “Away From Here”, a story about hotels, wanderlust and passing strangers, as the springboard for my cover illustration. I detailed a bit of my thought process behind this illo here.

The list of finalists is here and Yours Truly is nominated for four 2009 Chesley Awards! Very stoked about the news. The Chesley Awards are the peer awards given annually within the worldwide science fiction and fantasy artist community. The winners will be announced [Read it all...]]]>

Cover Illustration for FAST FORWARD 2 (Pyr) by John Picacio.

The list of finalists is here and Yours Truly is nominated for four 2009 Chesley Awards! Very stoked about the news. The Chesley Awards are the peer awards given annually within the worldwide science fiction and fantasy artist community. The winners will be announced at the World Science Fiction Convention in Montreal this August. This same convention is the home of science fiction’s most prestigious awards, the Hugos, which are also presented there annually. Here are my four nominated works:

Best Cover Illustration: Hardcover
VIEWPOINTS CRITICAL: SELECTED STORIES
Author: L.E. Modesitt, Jr.
Publisher: Tor

(pictured left)
Best Cover Illustration: Paperback
FAST FORWARD 2
Edited by: Lou Anders
Publisher: Pyr

Best Cover Illustration: Magazine
ASIMOV’S
September 2008

Best Interior Illustration
ELRIC: THE STEALER OF SOULS
Author: Michael Moorcock
Publisher: Del Rey
(This selection is one of 20+ interior illustrations I did for the book. Here’s an extensive gallery of some my other interiors from the book.)

Proud and honored to be amongst this year’s nominees, and congrats to all.

China's FANTASY ART Magazine (May 2009) / Cover Art by John Picacio.