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Julia Griffin earned her BFA in illustration from the School of Visual Arts. She lives and works in NYC and specializes in mythology, fairytales, and meticulously rendering things in colored pencil. Most recently she self-published a retelling of "The Snow Queen" by Hans Christian Andersen. Her work can be found at www.juliagriffinart.com.

She provided art for this week's story, "Strange Waters" by Samantha Mills.

This interview was conducted by email in March 2018.

 

Tory Hoke: As an illustrator, how did you get where you are today?

Julia Griffin: I graduated from SVA's BFA illustration program, which was a really good starting point for me. But I think I've gotten the most out of building relationships with other artists in the incredibly friendly and supportive F/SF community. Surrounding yourself with talented and determined artists and learning from them is the best thing you can do to grow and motivate yourself. 
© 2018 Julia Griffin, "Black Heron"

© 2018 Julia Griffin, "Black Heron"

Tory Hoke: Your art features interlocking compositions and a world of different textures. How do you go about planning a piece? What special challenges do these elements present?

Julia Griffin: I always start with a small thumbnail to get the shapes and composition right, then do a larger sketch to develop my values. I make sure I have all the reference I need before I start on the final drawing. Because I work in colored pencil, I don't have much wiggle room once I've rendered something, so I build up color and value through lots of layers.

Tory Hoke: What is it about mythology and fairy tales that inspires you?

Julia Griffin: Fairy tales and myths come from a time when we knew much less about the world, so I love the sense of mystery and wonder they have. They often feel universal; they reflect some of the deepest fears and desires we have as humans.

Tory Hoke: What effect do you hope to have on your viewer?

Julia Griffin: I hope that my art helps immerse readers more fully in the story, and leaves them wanting to know more! I want my art to have the same sense of mystery and wonder that a great story does.
© 2016 Julia Griffin, "Lissar & Ash"

© 2016 Julia Griffin, "Lissar & Ash"

Tory Hoke: What is the art community like where you are?

Julia Griffin: The art community in NYC is amazing. Everyone is very supportive and welcoming. It's a bunch of friendly, enthusiastic nerds!

Tory Hoke: What other artists inspire or interest you?

Julia Griffin: I'm inspired by Shaun Tan, Nico Delort, Rovina Cai, and so many of my artist friends.

Tory Hoke: What would you like to see more of in contemporary F/SF art?

Julia Griffin: I would like to see a wider variety of artistic voices and better representation of a diverse range of people.
© 2017 Julia Griffin, "Moonlight Weavers"

© 2017 Julia Griffin, "Moonlight Weavers"

Tory Hoke: What's your dream project?

Julia Griffin: My dream project is doing a cover for Neil Gaiman.

Tory Hoke: What's next for you?

Julia Griffin: I'm working on an original fairy tale that I hope to publish eventually. It's dark and magical and everything that I loved in stories when I was a kid.


tory_hoke_50kbTory writes, draws, and codes in Los Angeles. Her fiction has appeared in Strange Horizons, Drabblecast, and PseudoPod, and her art has appeared in Strange Horizons, Apex, and Spellbound. She is art director for Strange Horizons and editor-in-chief of sub-Q, a magazine for interactive fiction. Follow her work at toryhoke.com.
Current Issue
29 May 2023

We are touched and encouraged to see an overwhelming response from writers from the Sino diaspora as well as BIPOC creators in various parts of the world. And such diverse and daring takes of wuxia and xianxia, from contemporary to the far reaches of space!
By: L Chan
The air was redolent with machine oil; rich and unctuous, and synthesised alcohol, sharper than a knife on the tongue.
“Leaping Crane don’t want me to tell you this,” Poppy continued, “but I’m the most dangerous thing in the West. We’ll get you to your brother safe before you know it.”
Many eons ago, when the first dawn broke over the newborn mortal world, the children of the Heavenly Realm assembled at the Golden Sky Palace.
Winter storm: lightning flashes old ghosts on my blade.
transplanted from your temple and missing the persimmons in bloom
immigrant daughters dodge sharp barbs thrown in ambush 十面埋伏 from all directions
Many trans and marginalised people in our world can do the exact same things that everyone else has done to overcome challenges and find happiness, only for others to come in and do what they want as Ren Woxing did, and probably, when asked why, they would simply say Xiang Wentian: to ask the heavens. And perhaps we the readers, who are told this story from Linghu Chong’s point of view, should do more to question the actions of people before blindly following along to cause harm.
Before the Occupation, righteousness might have meant taking overt stands against the distant invaders of their ancestral homelands through donating money, labour, or expertise to Chinese wartime efforts. Yet during the Occupation, such behaviour would get one killed or suspected of treason; one might find it better to remain discreet and fade into the background, or leave for safer shores. Could one uphold justice and righteousness quietly, subtly, and effectively within such a world of harshness and deprivation?
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