Iranian illustrator and senior concept artist Amir Zand has spent more than 15 years creating worlds across books, personal projects and AAA game development, creating over 75 book covers and contributing to the visual look of Star Wars Eclipse for six years. Alongside his commercial work, he continues to develop Anomaly, an ambitious personal universe that reflects his passion for storytelling through image-making.
Zand’s career began with a commission from an indie author who discovered his work on DeviantArt, a project that would unexpectedly open doors to high-profile opportunities including Mortal Engines and Warhammer 40,000. From there, he’s steadily sought to blend cinematic atmosphere and graphic design to spark original worlds, something that comes together in his own Dreamer series.
In our interview below, Zand discusses how he finds inspiration, why selection matters, and the importance of persistence in a creative art career. If you’re inspired, read our guides to the best drawing tablets and best digital art software and start your own art journey.
Visit Amir Zand's portfolio site for more details.
CB: What is your main source of inspiration for your work?
Amir Zand: I don’t have a single, defined source of inspiration. I think one of the most powerful tools we already have is our eyes. Being an artist, for me, is not only about what I produce or my technical ability, but about how I see the world around me. I believe it’s about finding beauty in places others might overlook or often pass unnoticed.
It can come from anywhere: real‑life experiences, emotions, other art forms like films, music, paintings, conversations, poetry, dreams, or simply from life as it happens. At the same time, I’m very mindful of what I consume. Too much visual input can create noise, so I try to be selective.
If I were to suggest something to readers, it would be to build a taste beyond what feels familiar. Look into poetry, fashion, other art movements, photography, explore things that are not directly related to your field, and see what you can translate back into your own work.
CB: Tell us about your first paid commission, and does it stand as a representation of your talent?
Amir Zand: My first commission came through DeviantArt, where I used to post my work. At the time, I was already creating my own imaginary posters and book covers, vertical compositions with titles and graphic elements, because I always loved that format.
An indie author reached out for a cover for the Nysta series, and I remember how meaningful that moment was. I was around 20, and it felt like something quietly began. What mattered was that someone trusted me to create his cover, and that meant a lot.
We ended up working together on several of his books. Years later, I was approached to work on The Illustrated World of Mortal Engines, and they specifically referenced the work I had done for Nysta. Then later, Black Library reached out after seeing my work on Mortal Engines, which led to covers for the Warhammer 40K Crime series.
Looking back, that first piece wasn’t the best representation of my abilities, but it was the beginning.
CB: What’s the most recent piece of artwork that you’ve finished?
Amir Zand: The last piece that I completed is part of my Dreamer Series, titled Quiet Below. It’s a very personal and emotional work.
After years of developing this series, I reached a point where I felt the need to close a chapter. In this piece, and in the ones that came before it, the Dreamer falls and eventually dies or maybe just rests (drama… haha). It reflects a period of emotional intensity in my life.
At the same time, it introduces the emergence of a new character, ‘Reclaimer’, suggesting a shift toward something different.
CB: If you were starting out now, what words of wisdom would you most appreciate?
Amir Zand: I would say, dare to dream, and be patient and persistent. For me, creative fields have always been connected to the heart. Before anything technical, it starts with a decision, an inner clarity that this is what you want to do. Once you accept that, the path becomes something you fully commit to.
I remember feeling unseen, and there was a point where I decided to create for myself, to print my work, to hang it on my wall or share it on socials, to live with it, until the right people would come and resonate with it. That stayed with me.
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