Magic Untapped talks with Magic: The Gathering artist Ben Hill.
Out of the Space Coast in Florida, Ben Hill has been creating art passionately for years. While one of Magic: the Gathering's newer artists, he has quickly created a footprint in Magic art, illustrating more than two dozen cards to date.
Magic Untapped reached out to the artist recently to ask about about Magic, his art, and aphantasia.
Ben Hill: My mother is an artist and my biggest supporter in pursuing it. She was instrumental early on in inspiring me to be creative, but it was as I got older that I realized I had a passion for pursuing it as my career. Once I started, I couldn't stop.
MU: When working on more natural/nature-based art pieces, what do you draw inspiration from them?
BH: Nature has a huge impact on my art. I have Aphantasia, meaning I lack a "mind's eye" and cannot create mental images. When I first started drawing, I struggled a lot with recalling what things are supposed to look like. As a result I found myself leaning more towards nature and abstract things, particularly trees and landscapes. I spent my first year drawing nothing but trees pretty much which, ultimately, allowed me to feel more free drawing everything.
MU: How long do you typically spend on a piece?
BH: Truly, it varies. I have spent a single day on some pieces, and others upwards of 100 hours. It depends on the painting and deadlines, or even how I'm feeling. On the right piece I can easily lose track of time, and others I feel every second of its creation until it's complete.
MU: You’ve done the artwork on many Magic cards dating back many years. Which of your cards have been your favorites and what is it about them that makes them stand out?
BH: I really loved painting some the schematic pieces for Brothers War. These were each a unique challenge and allowed so
me fun creative drawing that I really found a passion for doing. Coming up with writing that fit in with the culture and design aesthetics of the specific inventor of the artifacts etc. They each allowed me to spend some time appreciating the original artifacts and thinking on how they may have been designed. I've had a lot of people in STEM tell me that this type of artwork is some of their favorites in all of magic, which feels really rewarding and I think it's great representation for the designers and inventors out there.
MU: Do you have a favorite art piece that was in a card? And , if so, why that one?
BH: It's a really tough question, I think overall I love how painting magic cards can surprise you. In the beginning, a card prompt has so many possibilities. It's our job to narrow it down, and that process can be really frustrating but also so rewarding. Sometimes there is a trifecta that happens: getting a card prompt that you absolutely love, doing the sketches for it that feel just right, and painting the final piece in a really quick and painless way. For me - that was Consign to Memory. The prompt really spoke to me and I loved every sketch that I sent in; I painted the final artwork in a single day. And it just so happens to be a really awesome card.
MU: Have you ever tried a more "out of the box" approach to a card where you try a new perspective or style?
BH: I feel like I switch up my style a lot. It may not come across completely but I've learned a lot with each card. I think that I follow the trail of what excites me most about painting each piece and experimentation with my art, while maintaining a professional look. I really enjoyed painting "Wreck and Rebuild", a precon card for Outlaws of Thunder Junction. I was really excited for the prompt of a cactus exploding out of a house, and lifting parts of it away with it, and I wanted to try and approach it in a graphic side POV of all the action.
MU: As a professional artist for some time, how has your art style evolved over the years?
BH: I've only been a professional artist for several years but I think I've gone through a few mini evolutions with my work already. Each piece has been a step towards the next one I feel. I've noticed I've moved towards enjoying painting the abstract - a lot more now than when I started out. I really yearn for creating a lot of mood and atmosphere in a piece and I think that's my artistic direction going forward.
MU: When making more diagram/field notes style art (i.e. Phoenix Fleet Airship), what is your process compared to more traditional art pieces? Is a more sketch-like design harder to implement?
BH: The field note stuff can be a lot of reference making; most things don't have a full turn around shot available for reference, and so for almost all of them I use some form of 3d modeling. Even on the diagram drawings, I've modeled and even sculpted entire scenes for a 'simple' sketch.
MU: Do you have a favorite art medium? If so, does it make fantasy artwork harder or easier to create?
BH: Experimenting with random materials and painting in mixed media. I have messed up so many drawings experimenting with materials, that I don't often dare to do it on commercial work. But it is quite fun to create like a kid again - so slowly. I'm including some of that process, combined with my digitally painted fantasy artwork.
MU: What kinds of things are more tricky for you to create (landscapes, people, creatures, etc.)?
BH: If I had to pick, I would probably say crowd scenes. I've done them a few times and I'm open to a challenge but I think that I would probably pick something else, if I had the choice.
MU: Finally, aside from continuing to play and collect Magic: The Gathering cards, how else can fans of your artwork support what you do? Do you have any future projects coming out soon you are excited about?
BH: I don't have any upcoming projects, besides just continuing to pursue my craft and enjoying the act of creation. I do really enjoy painting on the backs of artist proofs though!
Thank you, Ben, for participating in this interview.
Check out other recent interviews with artists Lars Grant-West, Christina Kraus, and more!
