A talented young artist's first foray into the world of TCGs — and why going back to real paint, real brushes, and real texture changed everything.
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At the "Quest for the Crown" event hosted by the Beasts of the Bay in Northern California, Sorcery: Contested Realm enthusiasts came together for a weekend of cards, art, and camaraderie. The gathering took place at a venue on Stinson Beach with 36 attendees, a stunning coastal backdrop, and the special presence of three Sorcery artists — Sam McKinnon, Marta Molina, and Drew Tucker.
For Sam, the interview setting felt serendipitous. We sat in a garden beside a pond, which instantly brought to mind his Pond artwork for Sorcery's Arthurian Legends set. "It's actually a pretty fitting place to have this interview," he laughed. The weekend wasn't just about playing cards, though — Sam also led his first-ever painting class, guiding 20 attendees through a step-by-step recreation of his Sherwood Huntress. "It was my first time teaching a class, so that was really fun. I think a lot of people had a great time, which was really cool to see."
That enthusiasm reflects how Sam approaches both his art and the Sorcery community: with energy, openness, and a passion for creating.
Sam leading a painting class recreating Sherwood Huntress (left). Sam with Chris, who won the auction for the piece Sam produced during the four-hour class (right).
Closing Sales, Opening Realms
Sam's journey into hand-painted illustration wasn't a straight line. He actually studied marketing at university and worked in sales, setting aside his childhood love of painting. "I kind of just put art out of my life for a bit," he explained. "I didn't feel confident enough to pursue it as a career, and I wasn't sure if it was the right path."
But Sam's childhood was steeped in creativity. Growing up near Montreal, Canada, Sam and his four brothers were surrounded by art thanks to their mother, who taught design at the Académie Internationale de Design in Montreal. Painting — whether acrylic on canvas or Warhammer miniatures — was a constant in their lives. After a few years away from it, Sam felt the absence deeply. "I realized there was something missing, and that's when I started freelancing," he recalled.
At first, freelancing meant logos, product illustrations, and corporate design work — mostly digital, faster to produce, and in demand. But when Sorcery creator Erik Olofsson commissioned Sam for a card, he gave him one condition: the artwork had to be hand-painted. "I was really excited about that," Sam said. "Clients rarely valued traditional painting, so Sorcery was an opportunity to bring back my passion for real paint, with real brushes and textures."
“Royal Rohan Guard”, 2023
“Unique Friendship”, 2024
Burning the Ships
When Sam decided to pursue art seriously, he didn't dip a toe in — he jumped. "There's an expression, 'you burn the ships at the shoreline,'" he said. "That's what I did. I quit my job and just began to freelance."
It was a risky move. He and his girlfriend (now wife) had just moved out of their parents' homes and rented their first apartment in Montreal. Money was tight, and he had to find clients quickly. "Looking back, maybe it wasn't the smartest move," he admitted, "but I'm proud I made that jump. It was stressful, but it worked out."
That bold decision eventually led to Sorcery, where Sam has contributed iconic Arthurian Legends works like Pond, Sherwood Huntress, and Yellow Knight.
Process of painting “Pond”, Arthurian Legends set
Building a Painting
In some ways, Sam's creative process differs from other artists. Instead of starting with detailed line sketches, he begins digitally, laying down blocks of colour in Photoshop. "I find I can get ideas down a lot quicker that way," he explained. Once the concept is approved by Erik, he transfers to canvas and brings it to life with acrylics. Sam was actually first provided a test commission, completing Pond prior to the rest. "Once that was done, I think Erik really liked the results, because he gave me three more to do for the set!"
"Sherwood Huntress" — digital sketch (left), mid-paint (middle), final painted version (right).
"I'm really inspired by Drew's work — it feels very alive. The way the brush can mix with the paint, it just glides in a smoother way."
This approach bridges his digital expertise with his love of traditional mediums. Still, Sam is evolving. He's been experimenting with oils, inspired in part by fellow Sorcery artist Drew Tucker. While acrylic remains his primary tool, Sam enjoys learning new techniques and pushing himself beyond his comfort zone. "I want to test having my whole process done with traditional tools. And even for my own personal art, I'm gravitating more towards it."
Inspiration and Mentorship
Sam finds inspiration not only in classical painters, but also within the Sorcery community itself. He admires Liz Danforth's Sly Fox for its warmth and character, and appreciates Caio Calazans and his wife Vivian for their painterly strokes. "Painterly art shows the hand of the artist — the edges, the strokes. It gives the piece life. Every piece of Caio's that I've seen just looks perfect."
When it comes to oil painting, Sam is also a fan of Atlas Thorn, a newly added Sorcery artist. "I'm just blown away by his work. So I reached out to him and asked for tips on how he paints with oils. I am really fortunate for this great community among artists in Sorcery."
Original sketch — a purple knight
Yellow Knight — final hand-painted version
Sam originally sent Erik a digital sketch for a purple knight. At Erik's request the colour was changed to yellow — a decision that transformed the finished painting.
Sam also credits his brother Seb McKinnon, an established Magic: The Gathering artist, for pushing him toward Sorcery. "I honestly didn't think my work was good enough to send to Erik," Sam admitted. "But Seb really encouraged me. Without him, I might not have done it." Seb has been a mentor since a young age: "When I'm creating artwork, even if it's just for myself, I do like to ask his advice. He might say 'you can maybe change this or that' — but in general, he wants me to voice who I am through my work."
From the Easel to the Table
Sam isn't just behind the easel — he's also across the table. A long-time chess fan and lover of boardgames, he's drawn to the tactical depth of Sorcery. "Where you place your cards on the board is a big part of the strategy. I've never played anything like it."
"Last night I had a few of Marta's Lugbog Cats on the board, and I was just imagining these giant cats running across the field at your avatar," he laughed. The compelling synergy between the game, the narrative, and the art produces the kind of immersive experience many feel when diving into a game of Sorcery.
Scott doesn't know what's about to hit him — Sam's Lugbog Cats lie in wait. Jump watches patiently for the winner at the Beasts of the Bay event.
The World of Artist Proofs
Another bridge between Sam and the community is artist proofs (APs). He's painted over 30 so far, exploring everything from fire-breathing dragons and classic knight-and-princess scenes to tranquil animals by the water. "Each AP is both a chance to connect with collectors and a way to practice new techniques. In terms of an AP that stands out to me, I created one for this event — a large frog with a crown on its head. Technically, it came out really nicely in my view, inspired by a giant bullfrog I saw this summer."
Always looking to improve, at Las Vegas SorceryCON last October Sam connected with other Sorcery artists. "Veteran artist Jeff Menges recommended I try fluid acrylics for APs, and that's really helped me with smoother strokes." While he sometimes entertains quirky requests, he prefers to keep APs tied to Sorcery's world. "Someone once asked me to paint Pokémon, but I feel like APs should stay connected to the Sorcery theme."
Sam is open to AP commissions — your ideas or his own. Just reach out via the links below.
Four-season alters, each featuring all four of Sam's cards from the Arthurian Legends set.
Looking Ahead
Although Sam isn't part of the Gothic set, he hinted that new commissions may be on the horizon. "Hopefully you'll see more of my work in the next set."
If you want to see what Sam's up to, check out his Instagram and website below. Contact him directly if you're interested in signed prints, APs, original art (Sam still has Vanishment available), or commissions.
Final Reflections
Sam's story is about more than making art — it's about risk, resilience, and finding a creative home. At the Beasts of the Bay event, surrounded by players, artists, and the ocean breeze, Sam summed it up simply: "It's just fun to be here, painting, playing, and sharing this world with everyone. That's what makes Sorcery so special."
Vanishment was the only Sorcery painting Sam did a physical sketch for, and the last of his four pieces to be completed. From left to right: initial pencil sketch, digital mockup on tablet, early process hand painting, final hand-painted image.
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