Luis Lasahido lives and paints in Indonesia, where he works at Caravan Studio. He’s worked on projects in various media, including Marvel: Ultimate Alliance 2 and Drafted: 100 Days. Most of his art is created digitally, and it all started because he loved to draw . . .
Can you discuss your process for deciding on the character and setting of “Paradox?”
It comes from the meaning of the word “paradox” itself. Based on the definition I read in a dictionary, paradox is a self-contradictory statement or proposition that, when explained, may prove to be true. I thought about a small kid going to war, reflecting what’s happening in the world nowadays. This inspired me to draw an innocent little girl operating a war machine. [This month’s cover was previously the illustration for a Wacom competition based around the word “paradox.” –eds..]
How much of a story do you imagine surrounding a work while you’re painting it? The subject of “Paradox” could almost be standing still, except for that glance to her left! Something is clearly happening outside of the frame.
It’s a postwar situation, full of deaths, wrecks, and loss. The girl is looking at her surroundings, but she seems to be used to the overall condition of things.
How much flexibility do you usually have with the creative briefs you’re given?
It depends on the clients. There are many types of client; some of them may ask me to work strictly to the description and reference, and others are more flexible.
Elsewhere you’ve talked about your love for movies and comics. Which do you think most influenced your art?
I love both of them! But there are some things movies cannot do as well as comics, like the effect, expression, exaggerated form, and so on. Hence I spend my time more on comics, yet I still love both of them.
Many of the scenes you paint are from a tilted or otherwise unusual perspective. How do you decide on the composition, or the viewpoint, of a particular work?
When working on a project, let’s say an illustration, in the beginning I always look for appropriate references. Then I pick and use the best of each reference I’ve found, selecting for mood, composition, and perspective, and I assemble them into my illustration. It’s part of my learning process. As time goes by, I’m getting used to it, and I work automatically based on what I learned from the references.
Do you set creative goals, either to increase the quality or the quantity of your work?
Yes, absolutely. I think every artist has his or her creative goals. As an illustrator, I have my goals, too. I am a big fan of Craig Mullins’ art and I really want to be like him, making great works that inspire other artists and illustrators.
Do you always work digitally, or do you use traditional media? How about for sketching?
I use both. Sometimes I use traditional media for the sketch, but mostly I work digitally.
Do your working methods differ between personal pieces and the work you do for clients?
Of course. I can do more exploring in personal pieces, depending on my idea, and it can change anytime I want—the character, the style. Also, it has no deadline, so I can work freely on it. There are limitations with clients’ projects, they have descriptions and guidelines for what they want the illustration to look like, and there’s a time limit, too.
One section of your deviantART gallery is devoted to “Children Illustration.” Do you currently illustrate for the children’s market, or would you like to work in that area?
Actually I’m not working for the children’s market right now, but I really look forward to working for it someday.
What’s next for you? What would you like to work on next?
I really love illustrating, especially fantasy. I hope to work one day on card illustrations for Magic: The Gathering and concept art for fantasy games like Assassin’s Creed, Monster Hunter, and World of Warcraft.
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