Welcome to Lightweaver’s blog! Today, we're honored to share an interview with the incredible Howard Lyon. As an artist, Howard’s work bridges the classical and fantastical. In celebration of the Lightweaver Foundation’s new website, Howard joins us here on the blog and later tonight with Brandon Sanderson on a special livestream, where he’ll take Brandon’s sketches and bring them to life on canvas for an art auction benefiting the Foundation.
Howard’s passion and insights truly embody what Lightweaver is all about—bringing warmth, hope, and beauty into the world. Grab a cup of something warm, settle in, and join us in this conversation with an artist whose work is as full of life as the stories they illuminate.
Question 1: Howard, your art has this wonderful blend of classical and fantastical elements—almost Renaissance-like at times. Can you share a bit about how your early influences have shaped your current style?
Howard: I’ve always had a profound love for classical art. Even as a young boy, I vividly recall seeing a book at my aunt’s house that showcased the paintings in the Louvre. I found myself more captivated by classical art than by comic books. I often take the opportunity to conduct a “study” of a classical piece. For instance, I’ve created fantasy paintings featuring a group of people seated around a table, drawing inspiration from Caravaggio’s painting Supper at Emmaus. I’ve also incorporated poses from the Sistine Chapel into my fantasy paintings for Magic: The Gathering. There are numerous other Easter eggs hidden within my works, referencing earlier artistic creations.
Question 2: Your work has this spiritual, almost transcendent quality. Is there something particular that inspires that aspect of your art?
Howard: I’ve always been drawn to beautiful works of art, rather than those that celebrate the ugly or violent. That doesn’t mean I haven’t created my fair share of bloody creatures over the years, painting for Dungeons and Dragons and other fantasy properties. I enjoy those too, but it never feels as intuitive to me as when I seek to paint something in a beautiful way. I’m drawn to art that uplifts or focuses on elements of the natural world, inspiring a sense of awe and wonder. It always feels like a bit of a miracle to me when an artist can transform raw materials—essentially colorful mud, fabric, and brushes made of hair—into something beautiful that didn’t exist before. It’s a form of counter entropy. You get to take chaotic raw materials and organize them in a way that inspires something and others. I love that!
Question 3: Brandon’s worlds are so rich and layered. When you start a piece for one of his books, how do you approach translating those details into a single image?
Howard: The initial step is usually to ensure that I’ve thoroughly read the materials and had ample time to contemplate them. From a visual perspective, Brandon is an exceptionally descriptive writer, which makes it easier to grasp the structures and details in a composition compared to starting from a blank page. However, capturing the psychological elements in Brandon’s work becomes more challenging. Collaborating with a skilled art director, such as Isaac Stewart, who is deeply familiar with the texts, is always critical. Additionally, Brandon’s ongoing reviews (he usually meets with Isaac weekly for a review) and input provide invaluable insights. It’s crucial to take the time to ponder different passages in the books. Without this deliberate reflection, it becomes almost impossible to depict the broad appeal of Brandon’s works.
Question 4: Were there any particular scenes or themes from Brandon’s books that were especially challenging—or rewarding—to bring to life?
Howard: It’s undoubtedly challenging for me to express anything other than Tress of the Emerald Sea. Working on a property with no visual references, exploring a world that had never been depicted before, with a novel Magic system and unique physical properties, was an incredible challenge. I thoroughly enjoyed it. It was undoubtedly a once-in-a-lifetime opportunity. However, I keep my fingers crossed that another project like that comes my way someday. The character Tress has a captivating appeal. We witness her remarkable growth throughout the book, but she remains steadfast, courageous, and bold. While the stakes are high in the book, there’s an underlying humor and wit, as well as a beautiful love story that I wanted to convey. Two paintings were particularly important to me. The first one aimed to capture the sense of longing that Tress had for an adventure as she sits on the steps of her front porch, sipping lukewarm tea, looking out over the Emerald Sea. The second one depicted Tress and Charlie sitting on the garden wall, with Tress giving Charlie food she had made and looking at him with a loving expression. The first illustration establishes Tress’s longing, while the second one set the stakes of the story.
Question 5: When creating fantasy art, where do you feel the line is between interpreting the text and adding your own unique touch?
Howard: That’s a great question, and it’s challenging to answer. When someone approaches you with an illustration commission, you hope they want you to create work in your style. However, as an illustrator, you understand that you’re working for someone else’s product. When you’re working with intricate and elaborate worlds, like Brandon’s, you want to ensure that you respect the text’s words and the expectations of the book’s fans. I must admit that I sometimes struggle to adhere strictly to canon in my illustrations. While I value accuracy, it’s not my top priority. I’m more interested in capturing a mood or feeling than ensuring every detail is perfectly accurate, such as embroidery or a belt buckle. Nevertheless, as a fan myself, I appreciate seeing those details. So, I don’t ignore them, but they’re not my top focus. Additionally, I find it compelling to see various interpretations of the same text.
Question 6: Your pieces often feel like they tell an entire story within a single frame. How do you decide what to emphasize in an image, and what role does subtlety play?
Howard: I have a circuitous answer to this question; something that always fascinates me about a work of art is its ability to serve as a form of time travel. The artist may spend days or weeks working on a painting, and when the viewer first sees it, they instantly experience all that time in a single moment. However, as the viewer continues to experience it, they can extend that moment over an entire lifetime, repeatedly viewing the painting over their entire lifetime. As the person viewing the artwork changes and experiences new things, their perspective on the artwork also shifts. It is almost like they get to see a painting again for the first time as they themselves change.
In my choice to emphasize certain elements in the image, I often look for and then draw from human experiences, like loss, joy, sorrow, hope, and love. I also seek visually compelling forms in nature like clouds, trees, a creek hidden in the woods… really nature is endless as a source of inspiration. Ultimately, it’s a matter of prioritizing what’s most important and eliminating or reducing elements that don’t contribute to the intended purpose of the work.
Question 7: Is there a piece you’ve created that resonated with you on a personal level?
Howard: I created a painting titled “Angel of Flight Alabaster” for Magic: The Gathering several years ago. The model for the painting was my daughter, Isabel. It was the first fantasy illustration I made that truly represented my artistic intuitions. The painting depicts an angel sitting in front of a grove of trees, her head bowed, as she mourns the loss of souls. I felt that the subtle emotions conveyed in the painting, paired with the beautiful imagery, created a haunting effect. This painting raised my own internal bar for the kind of work I wanted to create in the future.
Question 8: Fantasy art has a unique place in today’s world. What excites you most about it right now, and what themes are you eager to explore?
Howard: Fantasy holds the power to represent the human experience in a universally relatable manner. By setting aside elements of reality that often come with biases and also hinder objectivity, we can embark, unencumbered, on a journey into realms that don’t exist. As the words weave magic into our minds, we become active participants in the creation of this new world. The vivid imagery and narratives transport us to a place where we can envision ourselves living, and experiencing life as the characters do.
While we may never face the trials endured by characters like Kaladin, we can empathize with their struggles and find a connection. This shared experience of hardship creates a deeper understanding and compassion for those who may face similar challenges. Great fantasy and science fiction, exemplified by Brandon’s works, possess this remarkable ability to evoke empathy and understanding.
I am delighted to witness the resurgence of fantasy literature and entertainment. Series like Game of Thrones, The Lord of the Rings, and Harry Potter continue to dominate modern entertainment. Fantasy, once relegated to the fringes of pop culture, has found a newfound audience and relevance. While Westerns dominated the entertainment landscape during my childhood, I believe they offered a unique form of fantasy that captivated audiences in the same way fantasy does.
Greek mythology has been a lifelong fixation of mine. Its enduring presence in Western civilization stems from its ability to address universal questions and experiences that still resonate. The characters and rich storytelling of Greek mythology have left an indelible mark on my imagination. As a child, I remember reading Homer’s Odyssey and the Iliad, watching Jason and the Argonauts or Clash of the Titans, and it made me want to create paintings inspired by mythologies. In the future, I plan to explore Greek mythology in my artwork, delving into its intricate details and profound themes.
Beyond Greek mythology, I also hold a great love for fairytales and folk stories. These tales have inspired a series of paintings that I can’t wait to create!
Question 9: If there’s one scene from Brandon’s books you haven’t painted yet but would love to, what would it be?
Howard: There’s a scene in Rhythm of War where Wit tells Kaladin a story, promising him, “You will be warm again.” Reading those words filled my heart with hope and love, especially for those who live with depression. I want everyone who goes through that to read those books, reach that point, and imagine Wit saying those words to them. Knowing that even in the darkest moments, despair can be overcome, and warmth can return, is a powerful message. I want to capture that scene in a painting, though I’m not sure if I have the skills to do it justice. Still, I want to try creating something that inspires hope in anyone who’s read Brandon’s books and yearns for a visual reminder of the power of those words.
As we wrap up, Howard’s words stay with us as a reminder of why we create, why we share stories, and why art is such a powerful part of the human experience.