I am a pretty bad art director. I don’t really know what I want. It’s in my head but, you know, there are a lot of layers of translation between my brain and someone elses. My instinct, though, is to trust that part of being an artist — like a real artist, a pro — is not just translating my idea but also bringing all that creative talent to make my idea theirs. To have them develop the concept into something much better than what was in my head anyway.
Juan Ochoa helps me get over that hurdle and preserve my desire to see another artist get creative: he works interactively at the concept level to get things not just right, not just as good as I wanted, but the multiple of what he wants and what I want. His method makes us both better.
I first asked Juan to collaborate with me on a project that didn’t wind up developing into anything, although we did still have some cool concept art come out of it. This was Swallowmere, a fantasy sequel to the VSCA’s Hollowpoint. It has a ghastly web page. I apologize. Here are some bandages for your eyes.
So the premise was, the world of That RPG We All Played When We Were Kids, a Tolkienesque fantasy of elves and humans and dwarves and whatnot, but a thousand years later. A modern, technological fantasy. Reservoir Dogs meets Lord of the Rings, say.
It didn’t finish but it created a lot of fun text and art and that was when I first got into Juan’s process. Pictures, text chat, live video, whatever he can get his hands on to bring you into the process. Now if you don’t want that, that’s cool, he can churn out to spec and not bug you about it. But if you do want it, if you want to collaborate rather than just direct, he’s all in.
After Swallowmere I asked him to do a cover and some character art for my space opera project Elysium Flare (which did complete!) In the end I got so into making the art myself — and this was his fault, since working interactively with him let me steal some essential techniques for digital illustration — that the book wound up largely in my own style. Nonetheless, critical landmarks in the book are perfectly his.
Juan lives in Bogota, Colombia, where it is notoriously hard to get him paid, get him mail, and other things we take for granted elsewhere. But it’s also a place where he can afford to live on his art (provided we hire him a-plenty), eat great food, drink amazing coffee, and keep an adorable cat. He occasionally ships me some coffee along with a cake of panela, a kind of cake of unrefined cane sugar which you chip off into your coffee. If you chip off too big a chip you just eat it because it’s still rich with molasses and other good pre-refinement stuff.
Juan has worked for plenty of folks in the industry already — you’ll see his work everywhere once you notice his distinctive style. And yet he remains humble (to a fault), affordable, and approachable. He has portfolios all over the place but this is the only one I think is current.
I love working with Juan. I feel like I get smarter every time we interact. I have recently asked Juan to work on a mini-project with me that I’ll expose at a later date. It’s not a game, just a…thing. Promotional thing, for sure, to bring attention to Sand Dogs (which is releasing within the next week), but also just a thing. A little delight. An amuse yeux perhaps.