![]() Recently, while working on a graphic novel, I decided to do it entirely digitally, giving a more futuristic cyberpunk vibe to the line and color. I have two Wacom Cintiqs, one for traveling and one at home, and I use those for more complex or fast commissions, and sometimes for sketching. There’s also unpredictability, a margin of error, and even mistakes that sometimes bring about totally new results. I find a special and intimate beauty in the relationship between myself and the materials I use – the paper, its texture, the humidity, my other components. Tell us about your favorite art process or processes! Do you use digital media in your workflow? I find this to be one of the most important aspects of creating. The work takes on a reality and a living essence for itself. The piece is called “Gyhan akaii dannan Deli Iatt” – “She who sits at the end of the world upon a mountain of bones dreaming.” Sometimes the story I tell myself is very different from the idea the client had, and sometimes it›s similar. I was the first Mexican woman to win a Chesley Award, and it all came out of a small, commissioned artwork from a collector. I finished it, in two days, and shortly afterward, the artwork was nominated for a Chesley, and won. ![]() Last year I did a commission that turned into a whole branch of my main fictional universe. There are other times when something about the character just clicks, and it’s like diving into deep water, flooding my mind with something totally new and unpredictable – with characters and stories that have their own life and temperament. Sometimes they are just work I investigate, I make references, I read about the setting and characters to build the mood, but it’s more superficial. When I work for clients, something similar happens, sometimes – it all depends on whether the character and story resonates with my own world. ![]() When I work on them, reality takes on brighter colors, and I immerse myself so deeply in the stories and characters and their worlds that it’s hard to come back to this world. My most personal artwork and stories are about the characters who come from my own worldbuilding, and are like friends to me – they have grown with me in ways so personal and intimate. What’s it like to illustrate an author’s work? How do you engage with the work and make it your own while still honoring the source material? Talk a bit about one of your most interesting projects. Science fiction and fantasy just fit into my every day, as breathing does – as dreaming does. Since the world around me was dominated by sets of strict rules and norms, there was no other way for me to be free, except creating a land of infinite possibilities. Imagination has no boundaries, and that limitless sense of possibility became reality in my mind. Sci-fi and fantasy art just felt natural, and became an organic way of telling my story and revealing the way I see the world, and all that hides within. ![]() The dark art of those two masters influenced my perception on reality. ![]() I was born and lived off the grid for most of my childhood, was homeschooled all my life, and we didn’t have electricity for TV, so all I knew were fairy tales and books. Giger, discovered after a long seclusion. When I was 13, I fell in love with the art of Luis Royo and H.R. It’s a genre that has always simply slotted into my life and perspective. What was your introduction to science fiction and fantasy art? What influences drew you in? ![]()
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