Interview with Juan Carlos Polo Chaviano

Who are you, what do you do? 


Hi, my name is Juan Carlos Polo. I’m a graphic designer and illustrator, originally from Cuba but currently based in the United States. I graduated from the Superior Institute of Design in Havana in 2010. I always try to incorporate illustration as a communication tool in my work, which leads me to explore different styles depending on the project I’m developing.
On a personal note, I’m a huge fan of comics, fantasy, and science fiction. Artists like Dalí, Moebius, H.R. Giger, and Mike Mignola have been major sources of inspiration for me. I love creating characters and building stories around them.

Do you come from a creative family?

I like to think I come from a creative family, even if not directly involved in the arts. My paternal grandfather was an excellent carpenter and cabinetmaker, and my maternal grandmother was an incredible storyteller and creator of tales.

My father inherited this gift—he would often invent and tell me stories when I was a child, which I believe helped spark my imagination. My mother, a teacher of history and philosophy, also encouraged in me, from an early age, a deep curiosity about the origins of things and the stories behind historical events and famous figures.

How has your style changed over the years?

Without a doubt, my illustration style has evolved over time. Ever since I was a child, I felt a strong urge to draw—I would spend hours in front of a blank sheet of paper, creating monsters and creatures from other worlds. I was fascinated by the mythology behind different cultures, as well as by fantasy and science fiction stories.

As a teenager, I discovered a beautiful book called Astronomía Pirata, which introduced me to a number of outstanding European comic artists, mainly from Spain and France. Among them was Jean Giraud (Moebius), whose work profoundly influenced the way I think and create images. From that moment on, I became passionate about pen-and-ink illustration, drawn to the detail and textures achieved through lines and shading. Later, when I began studying design, my style became more refined, and I started combining traditional illustration techniques with digital tools.

I particularly enjoy creating characters and scenes in vector format, where the results are more geometric and controlled. I love the contrast between vector and hand-drawn illustrations—it’ s almost as if they were created by two different people. Today, I alternate between various styles, depending on the project or what I want to express.

What is the most exciting part in the process of your work?

One of the most exciting parts of my work is sitting in front of a blank sheet of paper—or the screen of my iPad or computer—and letting ideas start to flow, without a set script or plan. The outcome is uncertain, but I love the journey. Of course, it also feels great when others recognize and appreciate my work.

Is there anything you regret not doing?

Honestly, every day is a creative challenge, and I truly enjoy learning and exploring new styles and techniques. I also value working in teams, where you’re often pushed outside your comfort zone—that’s where real growth happens. I’d love to dedicate more time to developing ideas and stories, and to creating short comics and narratives.

Who inspired you most?

I’ve been inspired by many artists over time—some for their style and technique, others for their imagination and the beauty of their creations. I’m constantly discovering incredibly talented and creative artists, which I find deeply enriching. But if I had to name just a few, it would be the French artist Moebius and A Bencomo, an outstanding Cuban illustrator and comic artist. Both had a strong impact on me from a very young age.

What is/was the best period in your life? Why?

This response is not absolute, as I believe I still have a long way to go—there’ s always room
to reinvent myself, explore, and evolve as a creative and illustrator. However, I would say that a significant stage in my professional career began a few years ago, when working with multidisciplinary teams pushed me to use illustration as a design tool and step outside standard formats.

A great example that illustrates this shift is the creation of a large metal grille, which functioned as a decorative skin on a repurposed industrial building. It was a huge challenge to craft an entirely line-based illustrated narrative, where these lines transformed into characters that told a story forged in metal.

The illustration needed to transcend the flat plane and become a tangible, functional object. It was an incredible experience working with blacksmiths and metal craftsmen, and the result was amazing, with monumental scale.

What will you do in 10 years?

In 10 years, I’m not sure exactly what I’ll be doing. It could be an architecture project where graphic design is integrated, or I could be creating illustrated stories for children or adults. As long as I’m creating, learning, and reinventing myself, I know everything will be just fine.

Photos: Polo Juan Carlos