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Cover Story: The Art of John Picacio
A collection by award-winning illustrator John Picacio, this title contains 200 pages of full-color art, sketches, and thoughts about the process of creating cover art in the 21st century.
200 pages, Hardcover
First published May 25, 2006
22 people want to read
About the author
John Picacio
26 books12 followersJOHN PICACIO is a two-time Hugo Award-winning illustrator of science fiction, fantasy, and horror. His artwork is noted for its diversity and range, often combining traditional drawing and painting with digital finishes, as well as exploring methods such as hand-made assemblages. His works have illustrated the covers of books by Michael Moorcock, Harlan Ellison, Robert Silverberg, L.E. Modesitt, Jr., Dan Simmons, Joe R. Lansdale, Jeffrey Ford, Frederik Pohl, James Tiptree, Jr., Mark Chadbourn, and many more. He has produced cover artwork for franchises such as STAR TREK and the X-MEN.
His accolades include the World Fantasy Award, the Locus Award, five Chesley Awards, and two International Horror Guild Awards, all in the Artist category. He has been nominated nine consecutive years for the Hugo Award in the Best Professional Artist category (2005-2013), as well as a nomination for Best Related Book in 2007 (for COVER STORY: THE ART OF JOHN PICACIO). He won the Hugo for Best Professional Artist in 2012 and 2013. His illustrations have often been featured in the pages of SPECTRUM: THE BEST IN CONTEMPORARY FANTASTIC ART.
Clients include Ballantine/Del Rey, Bantam, HarperCollins, Simon & Schuster, Pocket Books, Tor Books, Pyr, Golden Gryphon Press, Subterranean Press, Roc Books, and many more. Recent works include covers and interiors for new Del Rey editions of Michael Moorcock’s legendary fantasy icon ELRIC as well as the 2012 calendar for George R. R. Martin’s A SONG OF ICE AND FIRE.
His accolades include the World Fantasy Award, the Locus Award, five Chesley Awards, and two International Horror Guild Awards, all in the Artist category. He has been nominated nine consecutive years for the Hugo Award in the Best Professional Artist category (2005-2013), as well as a nomination for Best Related Book in 2007 (for COVER STORY: THE ART OF JOHN PICACIO). He won the Hugo for Best Professional Artist in 2012 and 2013. His illustrations have often been featured in the pages of SPECTRUM: THE BEST IN CONTEMPORARY FANTASTIC ART.
Clients include Ballantine/Del Rey, Bantam, HarperCollins, Simon & Schuster, Pocket Books, Tor Books, Pyr, Golden Gryphon Press, Subterranean Press, Roc Books, and many more. Recent works include covers and interiors for new Del Rey editions of Michael Moorcock’s legendary fantasy icon ELRIC as well as the 2012 calendar for George R. R. Martin’s A SONG OF ICE AND FIRE.
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Displaying 1 - 5 of 5 reviews
October 28, 2007
Sometimes my instincts are correct. In 1996, while the managing editor of Mojo Press, I hired neophyte John Picacio to design and illustrate his first book, Michael Moorcock's Behold the Man: 30th Anniversary Edition. Ten years later, I was rewarded with Cover Story: The Art of John Picacio, the first collection of the Hugo nominated and World Fantasy Award winning artist's work. This full color, over-sized gorgeous book (fittingly enough with an introduction by Moorcock) more than showcases Picacio's amazing covers and illustrations, it includes commentary from the artist about the methods and thoughts behind his creations.
August 28, 2021
I’ve seen Picano’s work for years without knowing his name. Having painted a book cover before and would like to do so again, this provided a lot of great insights into techniques and the thought process behind it.
July 19, 2012
I have see the future of speculative fiction art, and its name is John Picacio.
Except, if I'm being honest with myself and my readers, that's not true. It's a damn lie, in fact. You see, to be the future would imply that Picacio has yet to come into his own. Anyone who even casually thumbs through Cover Story: The Art of John Picacio knows full well that this young artist has arrived. The question isn't how good he is, it's how much better can he possibly get?
The immediate impulse is to compare Picacio to the genre greats who've come before him, giants with names like Don Maitz, Frank Kelly Freas, Michael Whelan, the Brothers Hildebrandt. That impulse is a mistake, though, doing a disservice to both Picacio and those other artists. Art isn't a measured quality that can be run as a horse race. Pitting the work of Richard M. Powers against Wayne Douglas Barlowe's in a steel cage match is the sport of fools. They're all obscenely talented, all distinctive and all were the hot new thing at some point in their careers. As is Picacio now.
What set Picacio's work apart from others on the bookshelf is his refusal to pigeonhole himself into one trademark style. That's not to say a Picacio cover isn't immediately recognizable--it is, often startlingly so. But Picacio isn't one who's work is content with one basic calling card. He works digitally, yes, but his paintings are done with canvass and brush, not mouse clicks and Photoshop. He builds shadow boxes around paintings to complete the scene. Found objects take on new life when touched by his imagination. He has a particular affinity for earth tones, but can turn around and dazzle with the most spectacular use of luminous color. His seemingly effortless creative diversity is his distinctive edge, and it that primal foundation of his art that is instantly recognizable rather than any simple technical mode.
Picacio is an artist blessed with an obscene amount of talent--more than any single human being has a right to. Fortunately for the rest of us mortals, he only uses his powers for good.
Except, if I'm being honest with myself and my readers, that's not true. It's a damn lie, in fact. You see, to be the future would imply that Picacio has yet to come into his own. Anyone who even casually thumbs through Cover Story: The Art of John Picacio knows full well that this young artist has arrived. The question isn't how good he is, it's how much better can he possibly get?
The immediate impulse is to compare Picacio to the genre greats who've come before him, giants with names like Don Maitz, Frank Kelly Freas, Michael Whelan, the Brothers Hildebrandt. That impulse is a mistake, though, doing a disservice to both Picacio and those other artists. Art isn't a measured quality that can be run as a horse race. Pitting the work of Richard M. Powers against Wayne Douglas Barlowe's in a steel cage match is the sport of fools. They're all obscenely talented, all distinctive and all were the hot new thing at some point in their careers. As is Picacio now.
What set Picacio's work apart from others on the bookshelf is his refusal to pigeonhole himself into one trademark style. That's not to say a Picacio cover isn't immediately recognizable--it is, often startlingly so. But Picacio isn't one who's work is content with one basic calling card. He works digitally, yes, but his paintings are done with canvass and brush, not mouse clicks and Photoshop. He builds shadow boxes around paintings to complete the scene. Found objects take on new life when touched by his imagination. He has a particular affinity for earth tones, but can turn around and dazzle with the most spectacular use of luminous color. His seemingly effortless creative diversity is his distinctive edge, and it that primal foundation of his art that is instantly recognizable rather than any simple technical mode.
Picacio is an artist blessed with an obscene amount of talent--more than any single human being has a right to. Fortunately for the rest of us mortals, he only uses his powers for good.
August 13, 2007
On a purely aesthetic level, Cover Story: The Art of John Picacio is a beautiful book. The cover is gorgeous, featuring a triptych of book covers wildly divergent in style but connected by Picacio's rich palette of colors. Everything comes together with a feel that's both functional and artistic, from the typeface to the richly colored endpapers to the glossy pages.
But let's be honest — pretty covers and a smart layout will only take you so far. What really counts is the content, right?
Luckily the content is top-notch, too. Along with full-page, full-color reproductions of the covers we get sketches and background info about the creation of each cover. This insight into the creative process sets the book apart for me. Knowing that, say, the wings from John's cover to Dangerous Visions were actually built and existed in the real world adds to my appreciation of the picture. In fact, if I have a quibble, it's that I'd love to see even more of this background material. It's not that what's here isn't relevant or informative; rather it's that I find all of these tidbits so interesting that I'd like to hear more.
But the book would be well worth the cover price for the pictures alone.
But let's be honest — pretty covers and a smart layout will only take you so far. What really counts is the content, right?
Luckily the content is top-notch, too. Along with full-page, full-color reproductions of the covers we get sketches and background info about the creation of each cover. This insight into the creative process sets the book apart for me. Knowing that, say, the wings from John's cover to Dangerous Visions were actually built and existed in the real world adds to my appreciation of the picture. In fact, if I have a quibble, it's that I'd love to see even more of this background material. It's not that what's here isn't relevant or informative; rather it's that I find all of these tidbits so interesting that I'd like to hear more.
But the book would be well worth the cover price for the pictures alone.
February 26, 2016
Great Book, Dynamite Artist
Displaying 1 - 5 of 5 reviews