John Jude Palencar is a rarity among modern artists, mixing meticulous technique reminiscent of the old masters with a soaring, darkly surreal imagination. There are touches of Bosch and Da Vinci in his visual allegories of netherworld landscapes and doomed characters.
For more than twenty-five years, he has created book covers and received honors for his contributions to the field of illustration including Gold and Silver Medals from the Society of Illustrators, two Gold Book Awards from Spectrum, and four Chesley Awards from the Association of Science Fiction and Fantasy Artists (ASFA). Most recently John was presented the award for “Artistic Achievement” by ASFA at the World Fantasy Convention held in Yokohama, Japan.
His work has appeared on hundreds of book covers in over thirty countries for authors such as H. P. Lovecraft, Ursula LeGuin, Marion Zimmer Bradley, P.D. James, Charles deLint, David Brin and Stephen King. Recently, his cover paintings for Eragon and Eldest, by Christopher Paolini, have appeared on the New York Times Children’s Best Seller List. (Paolini named Eragon’s birthplace “Palancar Valley” after John.)
Time, Smithsonian, and National Geographic Magazine, and the Philadelphia Opera have employed his illustrative talents for their publications and productions. Palencar has also worked on entertainment projects for Lucas Arts, Paramount Pictures and Vivendi Universal.
He enjoys an on-going artist-in-residence program in County Kerry, Ireland, where his personal paintings were included in a special exhibit entitled, “Images of Ireland” held at the National Museum in Dublin.
He continues to create new work and has exhibited in numerous group and solo exhibitions. Occasionally John is invited to lecture and serve as an artist-in-residence at colleges and universities across the country.
He resides in northeastern Ohio with his wife, Lee, and two sons, Ian and Kit.
I wasn't going to sleep tonight anyway… °_°
Love these sketches and the final as well, excellent creepy work!
Very nice, as always. Thanks for the post.
John, you continue to be the God of the acrylic realm and acrylics flow through my veins.
I somehow deleted the rest of my comment. Suffice it to say, your work inspires in so many ways.
Although the real horror is that during the painting of this illustration I was trying to open a stubborn cap to a tube of acrylic paint and cracked my tooth all the way to the root!
You see …. art can be dangerous. I had to have the tooth pulled and an implant installed in its place…..I'm now waiting for the final surgery. Oh and the surgeon used cadaver bone for filler!
John: Loved the artwork for the story. Thanks!
These sketches are marvelously disturbing. Thank you for illustrated Jeff's wonderfully creepy little story so perfectly.
There is nothing so horrifying as the Teethman. Pulling teeth and filling with cadaver leftovers. I think of the dentist and break out in a sweat.
And thus is the reason I keep an old pair of pliers in the art studio– to keep me from the temptation of trying to use my teeth.
Hi Yvonne – Yes – I have pliers for the very same reason. I was in the middle of a wet into wet wash and in need of the specific color quickly. So… without thinking I used my teeth…. what a costly mistake!
Let's try this again….
Thanks Jeffery – It was pleasure to illustrate your story. I like the “death is not a democracy” line!
Thanks Bill – Hopefully we will get to meet at Spectrum Live 3!
Ellen – You are so welcome! – Thanks to Irene and the TOR Team too for the opportunity!
I’m new to the blog and I had a question about acrylic washes.
Specifically how wet can you get them and still have them stick to gessoed board?
I have been warned repeatedly that too much water weakens the binder. What I’m after
is wet in wet and drip effects similar to watercolor to give my work more texture and interest.
I do plan to lay in thicker color and glazes on top and then seal the whole thing in lacquer when
Will that work or do I need to use workable fixative between layers?
Thanks in advance ,