![]() It is typical of my style to let people get lost in my drawings. My illustrations are characterized by an abundance of detail, they are often crowded and the many characters fight for your attention. This way you get a mixture of soft, velvety feeling with sometimes harsh contrasts. This creates a lot of volume in the drawing with full colors and also gives the illustration a velvety appearance.īecause I paint with acrylic paint, which I apply dry, so without the use of water or any other diluent, unexpected structures occur that I sometimes emphasize again. This can sometimes be more than 10 layers. I lay layer upon layer, starting with a very dark or complementary color and gradually going lighter. The most characteristic of my illustrations, which makes the technique unique, is the layer structure when painting. Sometimes a character disappears, but more often some strange guys are added, somewhere in the background. Usually everything is drawn out quite meticulously before I start painting, although changes do take place during painting. Once the choice has been made for a particular image, I carefully elaborate it further in pencil at slightly larger than the final size. But once I have my idea, it's time to take pencil and paper and make idea sketches and composite drawings. I rarely sit at my drawing board in this first phase, it just doesn't seem to work very well for me to look for an idea with a blank sheet in front of my nose. Once the briefing is in, I study it carefully and then let it rest for a while (depending on the deadline), I go have a coffee, do some sketching at the cafe, take a walk or make some random drawings.Īll these things mix in my head during this process and a first idea gradually takes shape. The process from briefing to finished illustration usually follows a fixed pattern. But that didn't seem so obvious :) Can you explain your creative process? What makes it unique? I thought of drawing a garden design now and then and offering people a garden that was closer to nature, away from the modern tight, petrified garden. I actually followed the garden design course a few years ago as an evening course because I found it fascinating. I've always had a thing for nature (even though I'm a thoroughbred city person), so combining the 2 would certainly have been a possibility. So if I hadn't become an illustrator I might have been a garden designer. But that it would have something to do with drawing, that was already certain. I didn't know as a little boy that I was going to be an illustrator, I didn't know that word yet. That's a tough one, since I've always known I wanted to do something with drawing, I actually had a plan B. I work for magazines (T.R.O.S., CFO magazine, Readers' Digest, Circuscentrum), private clients, CTA (California Teachers Association), publishers (Averbode, Abimo.) etc. You never have to walk far to find inspiration. It is a very inspiring city where something is always happening, you can always visit a nice museum, catch a theater forecast or enjoy all types of people on the street. My studio is located in an old worker's house in Ledeberg, on the edge of Ghent, an ancient student city. ![]() Where are you based now and who do you work for? With a lot of trial and error I got my first client and have continued to fall and get up, even now I find this the most difficult part of the job. I studied graphic design and illustration for 4 years at the Sint-Lucasinstituut in Ghent. I never wanted to do anything else. They were therefore happy when I was allowed to go to the academy and discovered that you could also simply draw on paper. ![]() All my studbook, walls of my parental home, tables… nothing was safe. As soon as I could hold a pencil I started drawing on every surface. ![]()
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