Tag Archives: Illustration

Matthew Woodson

Matthew Woodson was born and raised in the hills of rural Southern Indiana. The son of two psychologists, Matthew started pouring out emotions through his work early on. His fascination with illustrating personal psychologies coupled with an unending love of natural history led him to The School of The Art Institute of Chicago where he graduated in early 2006.
Fresh out of art school Matthew was commissioned by Margeotes, Fertitta & Partners New York to illustrate the Perry Ellis Fall/Winter 2006 campaign. He has since gone on to bring his unique vision to countless editorial projects, dozens of album and book covers, as well as several major ad campaigns. All of which he creates with an intense eye for detail, a somber palette, and the ever present love of natural subjects and emotional environments.
Matthew still lives in Chicago, in a one-bedroom apartment furnished with taxidermy and mid-century furniture, where the majority of his time is spent between chain-smoking at his drafting table and falling asleep while reading.
International advertising clients include American Express, Nestlé, Perry Ellis, UNICEF, Godiva and Threadless.
Matthew’s illustrations have been featured in Bon Appetit, The Boston Globe, Business Week, Chicago Magazine, Complex, Digital Kitchen, ESPN Magazine, The Folio Society, Forbes Magazine, Glamour, The House Of Blues, Image Comics, LA Weekly, Learning Media, More, New York Magazine, NextBook, Penthouse, Radar, Randomhouse, The Royal Mail, Scholastic Books, TopShelf Comics, Type Records, Vim & Vigor and Wired.

To view additional work by Matthew, click below: www.ghostco.orgwww.jedroot.com


Masaki Mizuno

These beautiful pencil and gauche fashion illustrations were created exclusively for Clear Magazine by Japanese art director and fashion illustrator Masaki Mizuno. In this series the artist interprets looks from some of our favorite top fashion houses including Chanel, Dolce & Gabbana, Maison Martin Margiela, Miu Miu, Nina Ricci, Givenchy, Prada, Christian Dior, Balenciaga, and Alexander McQueen. For more information on the artist visit his website here.


Sebastian Kruger

Sebastian was born on 1963 in Germany.
In the early 1980’s Krüger studied painting and graphic arts, and then quickly moved into the professional art world where his iconic ‘personality portraits’ continue to captivate famous collectors and audiences across the continents. Krüger approaches nearly all of his subjects with a level of respect and sincerity contrasting the often extreme exaggeration of their features. The result is the creation of visually and psychologically explosive ‘Krugerized’ portraits.


Kruger’s blog and website.


Roy Nachum

“Equality of Condition” by Roy Nachum
Elephants, crowns and red balloons figure prominently in Roy Nachum’s large scale oil paintings where texture and imagination are layered one atop another. The exotic storybook feel is enhanced by a pattern of overlaid painterly pixilation, adding more depth and distance to the viewing. The soft, muted colours are part of the dreamlike landscape, but the red jumps out, as though representing true life within the fantastical.

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Roy Nachum is amongst the leading artists of the new generation- an original artist and painter, unusually full of inspiration and creativity.
Roy Nachum’s works are visual allegories based upon a self-invented mythology that lay bare his own internalized struggles.
Roy Nachum paintings are extraordinarily beautiful and provocative they define life.
The life-scaled oil paintings are surrealistic of a fantasy realm, where viewers witness these psychological turning points of the subjects’ lives. The characters are often caught between worlds: submergence/emergence, naiveté/maturity, wilderness/civilization. This duality is overlaid with a texture of raised “pixels” of paint that belie the photo realistic quality of his paintings. This playful mimicking of the digital printer’s thumbprint forces the viewer to “zoom in” leading to the realization that each of these near-perfect paint daubs has been individually crafted.
While the lighting and deep umber backgrounds reference his cinematic sense of framing emotion and movement reveal his talent for storytelling.
At first glance the paintings by Roy Nachum can easily be confused with digital art. However, his works are actually oil paintings on canvas that are painted in a way that spurs the viewer to investigate further. Nachum creates his images by utilizing the idea of pixels. Each ‘pixel’ is painted one-by-one. The end result is a painting that comes together in a unique manner. Nachum describes this as creating micro worlds that come together in order to form the pattern of a single reality or of a dream. Roy Nachum has exhibited frequently in Israel, Europe and the United States. He transports on canvases a mix of his imaginary world and his real life. The works represent part of his memories and his dreams as well as binary reading of real and unreal elements.
This different technique also creates the desire of a physical approach to the piece, inviting people to feel and touch every pixel, experience the virtual and physical coming together in one unique moment. Influenced by everything that surrounds Nachum examines daily behaviors of different people, what makes them do the things they do and why– what they take for granted and why they do so. Thought, making and results – this is the origin of Nachum’s inspiration.


Roy Nachum born November 11,1979 and raised in Jerusalem Israel.
Nachum began his career at a very young age. As child, he loved art and participated in art, painting, and Sculpting classes in the youth department of the Israel Museum.
After a short time, given his obvious talents and creativity, he was recommended for an adult class, which increased and emphasized his latent potential. Nachum has always been an overachiever with his passion for the beauty and simplicity in the world. Nachum sold his first painting to an established Israeli art collector at the age of 16.
He later served three years in the army after he finished he traveled for inspiration to Asia and The South of France where he ending up showing three solo exhibitions.
The artist was an excelling graduate of Bezalel, the academy for art and design in Israel, and a single selected student sent to complete his expertise at the prestigious Academy Cooper Union in NYC. He has remained in New York for the past four years where is career is quickly growing, and has sold out every show since then.
Nachum is currently showing a solo exhibition in Paris at Galerie Adler, one of the top 3 galleries in Paris. The artist continues working on many other solo exhibitions to come in New York, Los Angeles, Milan, and Paris.
Roy Nachum’s paintings have been collected by many prominent collectors, musicians and entertainers including Justin Timberlake and Leonardo DiCaprio.
For the last 3 years Nachum has been working on an incredible exhibition, which will soon be released. It is a new process of his development and was created as an evolution of his past. This is a new thing that combines a daily look at man with new thought. This is definitely going to be new and different than anything that is exhibited today. The combination of something very abstract and something so realistic on the same canvas.
Roy Nachum’s Exhibitions:
Solo Exhibiton – Galerie Adler, Paris, France
Group Show – Moti Hasson Gallery, New York City
Solo Exhibition – ArtOne Gallery, New York City
Solo Exhibition – Moti Hasson Gallery, New York City
Scope Hamptons – Moti Hasson Gallery, New York City
Cooper Union- New York City
Bezalel Arts – Jerusalem, Israel
Solo Exhibition Doxa – Tel-Aviv, Israel
Solo Exhibition Shonka – Jerusalem, Israel
Muion Gallery – Muion, France
Galleriede – Cannes, France
Solo Exhibition – Lugar Art, Jerusalem, Israel
Israel Museum – Jerusalem, Israel

Another impressive aspect of the artist is his ability to design, understand space and pay attention to detail.
His extra avantgard interior design projects, are conceptual, dramatic and unique. Nachum sees each space in which he creates not only to be beautiful, for him the space is a story full of surprises and conflicts, for him it is to build an enormous sculpture in which people experience from inside. Every time he begins a project the first step is comprehensive research inspiring the artist to re-invent design it self, everything he creates must have a meaning. When designing a restaurant he searches for the very first place humankind dined, the cave. His inspiration travels through the evolution and history, taking it one step beyond.
Nachum’s signature to every design is his art. The space itself is art and to complete the story he collaborate his paintings.
Nachum has designed nightclubs and restaurants throughout New York and around the world. In New York City he designed the ultra exclusive nightclubs Door and 1oak. Busy restaurants: Saucy, Five Napkin Burger, Rino Ceronte, SuperHotDog and Justin Timberlake’s Southern Hospitality. He created the art for Tao Las Vegas.
Nachum is currently working on a Boutique Hotel in Soho, several other hotels in Amsterdam and Berlin, the private office of a very well known celebrity and an 18,000 square foot restaurant.


David Downton

DAVID DOWNTON INTERVIEWED BY TONY GLENVILLE

How did you become a fashion illustrator?
– I am not really sure. I didn’t set out to become one. It happened very gradually. I spent about 15 years as a freelance illustrator taking on whatever came in – and enjoying it too. Sometimes, because of my style of drawing I was asked to produce fashion images- but I think during that time I covered almost every subject matter. From children’s books to a sex manual. My first job was a cover for Which Computer magazine in the early 80’s.
Were you interested in fashion?
– Not particularly – but I loved the work of the great fashion illustrators, Gruau, Antonio and Eric and always appreciated them as artists.
What drew you to illustration in the first place?
– I was always drawing. As a child, my idea of a treat was a big sheet of white paper. I didn’t realise, until much later, that you could make a living from drawing.
What triggered your move into fashion illustration – was there something specific?
– Absolutely. In 1996 I was sent to draw at the Paris haute couture shows for a magazine. Like most illustrators I sit listening to Radio 4 with an angle poise for company, so I was very excited to get out of the studio – and a paid trip to Paris sounded good to me.
What was your reaction to that first trip to couture?
– It blew me away! I was totally unprepared for it. Couture really is a parallel universe – I’ve heard it described as the kingdom of indulgence, which is true, but it is also extremely inspiring for an artist or illustrator; the worlds most beautiful women, designers working without constraint – the sheer theatricality of it all – there is a lot to draw!
What makes an interesting fashion subject?
– I think the most important thing is the sense of the body in the clothes. After that, proportion, colour, a detail. Anything can catch the eye – but what is interesting in fashion terms isn’t necessarily what makes a good drawing and vice versa.
Lets talk about your work methods. How do you arrive at the elimination of detail?
– For me this is the hardest and the most interesting thing. In order to leave something out, first you have to put it in, or at least understand how every thing works. I do dozens of drawings on to layout paper taking the best from each one as I go. When the drawing looks right I start to eliminate, to de-construct if you like. I keep working until it looks spontaneous.
What methods do you use to apply colour?
– It depends on the result I want to achieve and what is most appropriate to the subject. I use watercolour or gouache for small scale pieces. If I need flat saturated colour I use cut paper collage and then apply line using an acetate overlay.
What about the pure line drawing?
– I use black Indian ink on acetate or paper.
– So how do you draw on location, say at the Paris shows?
I don’t actually draw during the catwalk shows anymore, I find it impossible. I take photographs or I just watch – I draw whenever there is a chance that the model will stay still, backstage or at fittings sometimes even in the car between shows. When I first started I thought it was my responsibility to draw the clothes as they came down the catwalk. The first show I ever saw was Versace couture, I just about managed to draw Kate Moss’ arm before she disappeared!
What for you makes a successful fashion illustration?
– Fluidity, mastery of the medium – capturing a sense of the moment, layout and use of space and most important of all, strong drawing. You can’t be too good at drawing.
Which fashion illustrators do you admire?
– Gruau for his graphic genius, Vertes for his humour, Bouché for his lightness of touch and Eric for his draughtsmanship.
What about the illustrators of today?
– That’s harder but there are probably half a dozen strong, individual fashion illustrators in the world today who have anything like the panache of those I have mentioned, not many.
What is your attitude to the computer?
– Well, I have one, I think its probably a necessary evil, but nothing can compare with that first flash of black ink on white paper.
What prompted you to start painting portraits?
– Again it wasn’t planned. I met Marie Helvin when she came to an exhibition of mine in London. I asked if I could draw her and was delighted when she agreed. The drawing turned out well and I began to plan a book of drawings of the world’s most amazing women.
Are you still planning a book?
– Absolutely, I’ve just given up worrying about when it will be finished.
So would you call yourself a portrait painter?
– No! Absolutely not. Lucien Freud, Graham Sutherland and Jenny Saville are portrait painters.
Does your approach for the portraits differ from the fashion work?
– The aims are the same, simplicity, a fluid line, the illusion of effortlessness, of course there is the added dimension of having to capture a likeness.
– Is that important to you? Do you find it difficult to achieve?
It is very important and strangely I don’t find it difficult. It is more a knack than anything else. Some great artists don’t have the knack some mediocre ones do…
You have worked with some very famous women – why do you think they agree to sit for you?
– You’d better ask them!

And why women by the way?
– The illustrators I mentioned earlier Gruau, Bouché and Antonio always drew the most beautiful women of the era. Also, I like women, it’s a great job.
– Tell me something about the sittings themselves
They normally take about two hours and usually I go to the sitters’ house or a hotel suite. I drew Anna Piagggi between couture shows in Paris while they were taking the chairs away around us. Marisa Berenson was drawn on a boiling hot October day in New York on a roof terrace. You have to be flexible.
Are you trying to say something new about your famous sitters?
– No, I draw what I see – I wouldn’t presume to know someone after two hours. I am dealing with the public person not trying to expose the person behind it or get at some inner truth – but the best drawings are true collaborations.
So, you do a complete drawing in two hours?
– No, I complete the work at home in my studio – a safe environment – and I never let the sitter see what I am doing, I don’t have the confidence. I have to have time to evaluate it myself first.
Who would you like to have drawn?
– Staying with women, from the 20th century – I’d say Sylvaana Mangano, Lee Miller, Audrey Hepburn, Josephine Baker, Ava Gardner, Edith Sitwell… it’s a long list.
– How do you escape from the world of style?
By not living in it. I escape to it from time to time which is great also. I have two children who couldn’t care less about who I am drawing – which probably helps.

+ his biography…
1996- He was sent to draw at a Paris Haute Couture shows for a fashion magazine.
1998-1999-His work has been exhibited in solo shows at the Conningsby Gallery, in London.
2002-Collaborated with supermodel Erin O’Connor on a number of occasions including shows at the Rootstein Gallery in New York
2003-Joyce Ma Gallery, Palais Royal, Paris.
2006-Another exhibition at the Couture Voyeur show at London College of Fashions Fashion Space Gallery.
Also, in the same year, Commissioned by Brown’s to design the Christmas window display and invitation for their South Moulton Street street.
2007-his work featured in the Daily Telegraph on the front cover of a special edition of Jane Austen’s Emma.
Also, on the cover of Cally Blackman’s 100 Years of Fashion Illustration.


Jessica Repetto

Jessica Repetto is a Fashion Illustration.

A Fashion Dream Come True….

Jessica Repetto’s mother saved the pink disciplinary slips that her daughter received as a student at Holy Name High School. The reprimands were for the obsessions that have preoccupied Repetto ever since she can remember: “Jessica won’t stop drawing in class” and “Jessica refuses to put her Italian Vogue away.”
“I just love fashion,” said Repetto. “I live it, breathe it. I just love it. My head was always into it.
“It still is. I’m always writing something down. I’m always wanting to do more and asking ‘What’s next?’ ” These days, Repetto is very happy she didn’t listen to those who doubted her talent: an art teacher who told her she was wasting her time (which prompted her to never take another art class), or the fashion instructor who asked, “Who do you think you are … Christian Dior?” With her own fashion style and illustrations to match, it’s clear that Jessica Repetto doesn’t want to be anyone but Jessica Repetto. The nice thing is those on the highest echelons of the fashion industry want her now, too.


The 22-year-old grew up on Grafton Hill in Worcester and is in her senior year at the Fashion Institute of Technology in New York City and its counterpart, Politecnico di Milano in Milan, Italy.
She contacted Vogue Italia in her sophomore year, even though some of her instructors at FIT weren’t very encouraging.
“In New York, I received lots of criticism from teachers who stressed the importance of selling your fashion, and they said my work is not very mass-marketable,” said Repetto. “I’ve been told by a lot of people that my designs won’t sell in America because it’s too avant-garde — costume designs almost. But for me, it’s about artistic expression rather than money. I can’t change my aesthetic to make money.” She hadn’t heard back from Vogue Italia, so she accepted an internship with American design icon Marc Jacobs. Soon after, the fashion bible contacted her. “I almost died and I really wanted to pull out of the internship, but that wouldn’t have been right,” said Repetto.
Even though Vogue Italia didn’t know she made arrangements to spend her junior year studying at Politecnico di Milano, before classes even began she made her way to its offices, sketchbooks in tow. “I looked like some crazy bag lady, lugging all of this stuff, but I talked my way in, reminding them that they’d offered me an internship before,” she said.
Editor-in-Chief Franca Sozzani, who has dictated what goes in and what’s out of Vogue Italia since 1988, granted Repetto 15 minutes of chitchat, before standing to leave.
“That wasn’t enough,” said Repetto. “I had everything with me and I said, ‘I know you are really busy, but would you just look at these and tell me how to get better? ”
Ms. Sozzani (who some say was the model for Meryl Streep’s character in the movie “The Devil Wears Prada”) stood a moment staring at Repetto, then took her to an all-white room, dropped her illustrations on the glass table and looked at them in silence.
Finally she said, “You have a very nice hand. Bring me more.” And she did. Repetto skipped school and stayed awake for about 72 hours to create another set of designs, but she landed a freelance job with the magazine.
“Since I was young, like 5 years old, I’ve wanted this,” she said. “I wore Gucci jackets to kindergarten and was always a little crazy dressed. I designed my own clothes with BeDazzlers and cut or painted my clothes. And I always wanted to be in Italian Vogue.”
After two more freelance jobs with Vogue Italia, Repetto was given the job she had always wanted: a 30-page spread in the magazine’s 2008 Fall/Winter Forecast, for which she was given credit as fashion illustrator. “I’ve had dreams of showing in Paris and Milan and Bryant Park since I was 12,” she said. “When I was 8 years old I watched the MTV awards and all I cared about were the dresses on the red carpet. I always wanted this so bad. It’s a dream come true.”
As she wrapped up her year abroad to move home last July, she trusted the editors when they said they’d keep in touch. Now in her senior year, she’s been busy putting together her 25-page thesis and making a collection she hopes will be chosen by the school to be among the five to 10 pieces from the entire graduating class to be showcased.
And Vogue Italia did indeed keep in touch. Repetto illustrated its December 2008 and February 2009 issues and at press time, she was bringing work to Vogue’s Manhattan office for a noon deadline. After class at FIT she had an appointment to meet Hamish Bowles, the European editor-at-large of American Vogue.
But she’s particularly proud of being selected by FIT to exhibit her work. “I have been asked by FIT museum curator Dr. Valerie Steele to contribute illustrations for the ‘Seduction’ exhibit that will be up from Dec. 9 to June 9,” she said.
“Going to Italy is the best decision I ever made,” she said. “It was the best year of my life. Even though I had a full class load, the opportunity to freelance for Vogue just perpetuates itself.”
But no matter how far from Grafton Hill she travels, Repetto says she’s grateful. “I’d never be where I am if it wasn’t for my family. My mother pushed me, but always supported me, even when my father went crazy after I’d painted his brand new Italian leather racing jacket with oil and acrylic paints,” she said.
“None of what I’ve done would have been possible, and I would never be who I am, if it wasn’t for my family.”


Stina Persson

Stina Persson is an illustrator based in Stockholm, Sweden.
She uses her portfolio with watercolour, cut paper, edgy, photo incorporated, acrylic and ink.
It’s no secret that I am a big fan of watercolour art. I discovered the art of Stina Persson, an illustrator from Sweden who works almost exclusively with watercolours. Her work is really inspiring and very refreshing in the digital design world we’re living in. So, I found an very interesting interview with Stina P., from bloggers.

Interview with Stina Persson

Stina’s work has appeared in many publications including Elle, Flaunt, Marie Claire and Travel & Leisure to name just a few. So here’s a sneak preview of what will be at the show if you’re lucky enough to be in New York this spring/summer and a bit of an insight into her creative process:These pieces are portraying a series of Sicilian women you created for the german magazine, Squint and inspired by the names of the Italian South. So what comes to mind when I think of Sicily is mafia and beauty. It seems to be represented so well with the colors, ornamentation and expressions you’ve used and I was wondering how you model your images. Is it from pictures you study, do you draw using models, or if you could explain your creative process?
– I have both travelled extensively and lived for several years in Italy. For some reason Sicily’s mix of beauty, saints and corruption triggers my imagination. Then a book of Italian names that a friend gave me when I was expecting my first child got that imagination going. Women wearing names like Immacolata, Crocefissa, Annunziata — all southern names, all sweet to the point of sickliness — simply needed to have their portraits painted. When starting on a piece I use picture reference to get structure and pose. But they take on a life of their own almost as soon as the ink touches the paper.
You use use mixed media with your work. If you could in a way take us through that. For instance, the type of paper and paints used in these latest pieces?
– I found a pad of glossy tissue paper the art store and added that to some of the pieces (I use ink for my drawings). I really liked the result and went back to the store to get some more. Of course I had found a pad that had been lying there since the 70s and neither they nor the manufacturer had more. So I had to rethink and really start being creative, I guess. In the end I used all kinds of paper, everything from golden foil to mexican “papel picado” to give these dark girls some color and to add another dimension. And yes, I used parchment cake rounds to create the Sicilian lace head pieces I adore! Creating these collages were almost a sculptural process and something I would like to bring into my commercial work. I’m not sure how much use I will get from the cake rounds though… Some of us, (well probably alot of us readers) look to your work for inspiration, and with that, where do you find yours?
– Thrift shops, flea markets, travels, foreign supermarkets, my children’s never ending imagination, color, fashion magazines, organic shapes and things found in nature, plastic kitchen utensils from the 60’s and 70’s, movies from the 50’s, 60’s and 70’s, Wong Kar-Wai’s movies, anything Hitchcock, Paul Rand, Reid Miles and his Blue Note covers, Enzo Sellerio (Sicilian photograper), old magazines, Swedish summers in the countryside, garage sales, Tove Jansson and Moomin, Astrid Lindgren’s Pippi Longstocking, fashion photography by Steven Meisel, Ellen von Unwerth, Paolo Roversi to name a few, Japan, the Italian language, good food and red wine with my husband and friends while listening to Keren Ann, Jorge Ben, Feist and Nouvelle Vague.


Who are your favorite artists, designers?
– My illustrator friend’s Sara Singh, Tina Berning and Cecilia Carlstedt are a great inspirations. Maija Isola and her work for FInnish Marimekko. The early illustrations by Andy Warhol. My teacher Meri Bourgard is one of my favorite artists together with Egon Schiele, Oskar Kokoschka, Alberto Giacometti, Rene Gruau and Jenny Seville. My friend Claudio Concato – a fashion consultant for many of the biggest Italian designers – has the best fashion eye I know. He puts together thrift store finds and makes the most amazing runway looks with what people thrown away.
I noticed on your site you have a “products” section “under construction”, will we be lucky enough to see something soon under that category? If so, what type of products will you be designing?
– I’d love to do all kinds of products though, like pillow cases, T’s, badges and prints. 24 hours a day just don’t seem to be enough, though, but as soon as I get more time…
What was the inspiration for this show?
– These images originates from a series of Sicilian women I did for the German magazine Squint’s Pure issue. The dramatic names of the Italian South–Immacolata, Annunziata, Crocefissa–inspired the portraits. I have spent quite a lot of time in Italy and for me, stories emerge from these names, making the portraits come alive.
How would you describe the way that your work is evolving?
– For this show I’m doing everything as originals. I always work mainly by hand, but usually I use the computer to assemble my images or finish them up. Doing without the computer was harder than I thought, but in the end it was more than worth it: a lot of inspiration that had laid dormant was brought back to life. Ideas keep coming.
It always stays with me, how you explained in your last interview that you don’t like to draw women smiling. Can you tell us about the women depicted in this show?
– I think a smile is such a animated facial expression and the loveliest there is. But depicting it is kind of like painting a sunset. It’s just not the same as the real thing. I think one can tell a lot more with the stare, without running the same risk of it feeling corny. Also working as a commercial artist, I’m told to do smiles and less sinister stares, so this is my chance to do things differently for once. And I do do smirks…
Does fashion play a role in the women that you created for this show?
– Fashion yes, clothes not so much. It’s all about color, proportion, attitude, style, composition, hairdos, make up, naked versus clothed, showing a little or showing it all. That, to me, is fashion.
Are you working on anything new?
– All the pieces for the show aren’t even finished yet! But yes, commercial work is piling up, so I will have to wake up to the real world very soon. But I’d like to continue to do more original work. Maybe something inspired by all the 50s and 60s movies I adore. With their divas and dresses and hats. Maybe even some smiles. Maybe….


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