May 8, 2026
Artist James Fiorentino "The Sport of Painting" E387
Acclaimed Artist James Fiorentino is our guest this week.
Talking points on this episode potentially include:
*What came first painting or collecting cards.
*When did you know you were a good artist?
*Working with Card companies.
*Does being a good athlete helped you paint them?
*Working with athletes and celebrities.
*Art history and the hobby.
*Why watercolors and favorite athletes to paint.
*Seeing your work in the Hall of Fame.
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WEBVTT
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Sports Guardinations hobby is the people Wheely News and Interviews.
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It's your number one soul. Sports Guardations hobby is the people.
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Sports Guardation. What is up? Everybody? Welcome the episode three
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eighty seven of Sportscardination Podcast. Want to thank our great sponsors,
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Iron Sports Cards, Sports Collectors, Digest, Hobby, Hotline, Upper Deck
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and a new sponsor coming soon. I can't reveal just yet,
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but happy to have them aboard. And we'll be breaking
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that news shortly. But let's talk about today's guest. He
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claimed artists. He can do really anything, wildlife, nature, cacter people,
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but he's famous for due mean athletes and sports are
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and his work has been used by Tops and Upper Deck.
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And we've had artists on before. Uh and I've always said, right,
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the cards are all works of art in their own right,
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and uh, this gentleman epitomize it. And I'm talking to
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none other than acclaimed artist James Fiorentino. And first time
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he's been on the show, and glad to have him.
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And uh, you know, we we learned some stuff, or
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I learned some stuff. And you know, he is active
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and he's a former great athlete in his own right.
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And we'll learn more about that as well. So with
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that being said, let's get the show started. Happy to
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have my next guest on the Sports Cardination guest line.
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He is an acclaimed amazing artist. He can pretty much
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paint anything, wildlife, you name it, but more known for
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his work in the sports art field, and happy to
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have him on. I've seen his work for for many moons,
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but finally happy to have him here on the podcast today.
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James Fiorantino, Welcome.
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Thanks for having me on. And I have to first
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say that maybe the coolest intro I've ever seen.
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And then it's out downhill after that game. I appreciate
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you that and like I said, uh, your acclaimed artist.
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Your work is speaks for itself. It's amazing. You know.
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It's funny I've said this when I've had other artist
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on the podcast. My dad is a great artist. He
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does a lot of Disney stuff. My son is incredible freehand.
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Like you can draw and paint the Beatles. It skipped me.
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I could barely draw a stick figure to save my life,
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even struggling like when we played Hangman as a kid.
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But I always have an affection for people who are talented,
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especially in the art field, knowing how bad I'm at
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it and how difficult it is to do. I know,
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you collect cards and stuff. You know, you grew up
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in New Jersey. I have to I'll start off with
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this question. You know what came first for you, cards
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or painting as a young kid growing up in Jersey.
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Yeah, definitely painting. I mean that was something you know,
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I was doing at a really young age. I mean
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like three, four or five years old, So I was
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just drawing and coloring anything I could see and get
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my hands on. I think my first experience probably with
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cards was you know, so probably in that eight year
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old range. I think by the time eight nine years old,
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I was starting to get excited by it. I remember,
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which is kind of ironic, where my father had a
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set for me they had bought years, you know, some
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years before I was born. It was the eighty two
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top set, and that had been sitting in the house,
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you know, prior to me collecting, which ironically had you know,
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Ripkins Rookie in it, who I would eventually paint his
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twenty one thirty one game and all that stuff. So
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always kind of funny how it ties into things like that.
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But I think by the time eighty five eighty forty
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five started to roll around, I was starting to get
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into cards and the Yankees, and maddingly, my mother's cousin
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owned a baseball card shop in New Jersey, so there
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were some you know, family roots there with with I mean,
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that's like early card stuff really, But yeah, I've been
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I've been collecting and of love cards since I was
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a young kid.
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I always ask artistists right when we're kids, myself included,
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like I said, I can't I can't draw myself, you know,
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to save my life, save my life. But when you're young, right,
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you're in kindergarten, and you know you're drawing a picture,
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probably with crayons, and to you right, it's a masterpiece, right,
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even though to probably an older person just looks like
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a bunch of different crayon colors on a page. When
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did you know, like, even as a young kid, like hey,
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like this is good, Like I got something here, I've
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got a scuse.
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Yeah, well, I think you know, I knew I was
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better than you know, most kids around, even at a young age.
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When I you know, I tell people kindergarten teachers, first grade,
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second grade teachers were keeping my artwork from class, so
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I was they were obviously noticing, oh, you know, this
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kid's doing something I really haven't seen much before. And so,
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you know, was a god given talent that I just
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loved to do and enjoyed and and you know, was
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wanting to do it every day and learn as much
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as I could and still do today. So I think,
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you know, you you start to see like, wow, holy cow,
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this is like better than some adult straw, you know,
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when you're in third, fourth grade, fifth grade. You know,
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then obviously eventually I was you know, working on things
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that again I loved, which could have been comics, cartoons,
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you know, toys back then. Obviously, then it got into
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sports in baseball. So at that young age, I was
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starting to you know, do a lot of you know,
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as detailed as I could. I think the big turn
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for me, which I've talked about a lot, is you know,
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I was lucky enough to have my mom take me
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to art lessons when I was eight, and you know,
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I started learning with adults and learning how to paint,
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and you know that really helped, and you know, go
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into art shows when I was younger, and even baseball
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card shows. I mean I used to go to a
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lot of baseball card shows when I was younger, when
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shows were first really starting to take off. And even
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then there weren't a lot of artists there. And I'm
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talking when I was young, so I could have been
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like fourteen thirteen, fourteen, fifteen years old. So yeah, it
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was definitely an early thing that was recognized at a
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young age by a lot of people.
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Did you know that even though obviously you knew you
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had the talent, Like you said, you were sort of
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years ahead of your time and you could tell like, hey,
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I have something here. Did you know then, like hey
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I want this is what I wanted to do as
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a career or was it? Was it too young to
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really think that far ahead?
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Definitely not as a career. I still can't believe it
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today that I paint for a living. I think it's
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a very difficult thing. It's you know, being a professional
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artist is the same as being a professional musician or
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actor or anything. You know. I just did things and
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painted sports too, because I loved it. I certainly didn't
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do it thinking I was going to make money in it.
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And of course, like for me, it's it's like you
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mentioned earlier, I paint you know, you know, family portraits
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to landscapes to wildlife for major organizations and galleries and
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obviously the sports. But no, I wasn't really thinking that.
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I you know, started to realize though, by the time
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I was fourteen fifteen, that I can make money with it,
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which was pretty crazy. You know, when I met Damaggia
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at fourteen and had him sign a painting at a
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card show, and you know, being involved with the National
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Baseball Hall of Fame at fifteen years old, and you know,
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being in the New Jersey area where a lot of
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people collected and enjoyed sports and sort of got it.
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You know, it was it was even at those ages,
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I was like, wow, okay, like this is actually really great.
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Still not even thinking i'd you know, make a living
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at it. Late in high school, was starting to do
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very well, was able to pay my way through college
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because of it. So there was a sense of, oh,
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this is possible. But you know, again, I just did
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it for the love of it.
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Yeah, and again I've seen a lot of what you've done.
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Just I can't say it enough. Just kudos to you
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on accredible work. And you know, typically like how long,
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you know, I always asked this of an artist, like
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every piece is different, so maybe are more intricate than others.
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I mean, they're all intricate in the in their own right,
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but maybe one might be a little more detailed. And
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I know it's probably a hard question to answer, like
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how how many when we see the finished product right
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and it's beautiful, and then I think, sometimes you know,
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we love it, but we don't realize how much. I'll say,
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like the blood, sweat and tears and time goes into
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a piece on the average, you know, what does how
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much time does it take to finish an incredible piece?
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Yeah, I mean it's complicating the sense of like it's first,
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it's watercolor, which is my medium, which is a very
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fast medium but also probably the most challenging medium to
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anyone who doesn't know. You know, you really can't make
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many mistakes. You can't go over it like a crilic
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or oils a medium I fell in love with. I
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painted almost like a critic or oils very photo photorealistic.
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It depends, like there are paintings that could take me
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three four days. There are paintings that could take me
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two weeks. It depends on how large they are, If
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it's a twenty two by a thirty or thirty by
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forty versus a small painting versus painting on it like
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a card size versus you know, several paint people in
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the painting, so it varies. I mean, I try to
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make it like a nine to five job, you know,
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with the mix of talking to people as well to
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day and then painting almost every day of the week,
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so it's you know, it takes time. There are paintings.
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You can finish one a week, you can finish two
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in a month, you can finish six in a month,
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again depending on the size. But it probably is a
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lot more than I think sometimes. And you know, I'm
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lucky to have kind of mastered it in the sense
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of I've been painting water color for over thirty years now.
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So you mentioned water color, and it's sort of the
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higher degree of difficulty, right, Like, you don't you don't
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get any Mulligan's or due over, So you've got to
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be precise, you got to have a steady hand. What
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was it about water colors that drew you to that
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rather than another meeting?
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Yeah, I mean there's something I loved about it when
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I was young. I joke around saying maybe it wasn't
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messy or smell bad like oils when you're when you're
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mixing paints and stuff. And I had painted in every
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medium growing up and even in college. Just the way
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it flows, the way I controlled it. I think for
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what I love the paint, which is a lot of detail.
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It allowed a lot of you know, detail and grit,
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and it just had a different feel to it. I
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think that's why I always, you know, I keep painting
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it because I feel like, you know, it separates me
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from a lot of artists, you know, in how I
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paint it, so just something there, and it also lends
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itself really beautifully. I think to sports, you know, especially baseball,
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especially actually painting vintage cards and things like that, because
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it's just that watercolor has that old school feel to it.
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So it's worked out really well that way.
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Now I have a feeling I sort of know the answer,
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but it may not be a simp. I think use
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a technique called a dry brush technique. Is it as
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simple as it sounds, where you're just not using where
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you you know, when you're painting, you know, the average
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person they're dipping their their paint rush into a cup
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of water and then into the paint where it's it's
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not as wet. Is it as simple as that? Or
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am I simplifying it too much?
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I think it's I think it's like anything else, the
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more you experience something, the more you do it, you
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you figure it out. However, there's always everybody has a
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different way of doing things. And it's funny because I'd say,
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maybe a month ago, I did a watercolor demo for
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a local water color society, and I don't do them often,
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just based on time and and everything. But I was like, yeah,
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I'll be happy to do it. And you know, even
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the people in the room were laughing because I do
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stuck very differently, and they were it was unique and
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they can't figure out how I'm doing it. And sometimes
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I say, I don't even know how I'm doing it.
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It just kind of comes out and you figure it
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out along the way, and that's the beauty of anybody
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creating any kind of art. So I do think there
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are techniques that I do that a lot of people
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wouldn't be able to do, or they quit while doing
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it they think they're making a mistake. You know, to
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get very technical with it, it's you know, I use
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a very heavy paper, you're scraping away paper, you're doing
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this and that, and again that's trial and eron figuring
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