How did you discover your passion for illustration and get started in the industry? Since I was a child, I had friends who liked to draw, which meant that I got a lot of practice. When I started reading comic books at age seven, I spent hours copying the illustrations I saw and found it quite fun. When I graduated from high school, I looked for a course that had to do with illustration, and in 2005, I began graphic design college. At that time, I had no idea that I could become a professional illustrator, so I tried to explore other areas in graphic design, working as an intern in different companies where I ventured into the areas of layout, motion design and icon creation, among others. After working for four years in design studios, I had the opportunity to set up my own studio in 2011 with two other friends. I worked there for three years doing illustrations and a little motion design. In 2014, I decided to try life as a freelance illustrator. I took on all types of illustration work that came my way, regardless of whether the style was something I liked. In this mix of styles, the vast majority of works were not included in my portfolio, only projects that I thought suited to what I understood to be close to the style I aimed for. It took around four years working solely with illustration until I found my own style and, having filled my portfolio with enough work, I was able to better select projects and clients.
You mention that comic books heavily influenced your style, particularly those of the ’50s and ’60s. Which series or artists inspired you most? Having been born in 1984, I was highly impacted by the superhero comics of Spawn, Spider-Man, Wolverine and X-Men, among others that emerged at that time. All of these were very marked by narrative and graphic exaggerations. The somewhat disproportionate shapes of anatomy from the ’90s were my illustration school, so to speak, and my biggest concern was imitating the styles of great figures of the time, like Jim Lee and Joe Madureira. When I became a teenager, I didn’t read comic books for years; it was only in college that I came into contact with older works that were outside the superhero genre, more precisely works from the EC Comics catalog. I love studying the work of artists like Jack Davis, Jack Kirby, Wally Wood and others from this period. In my collection, I have a book with stories from EC Comics that contains black-and-white pages presented in the exact way they were drawn by the artists at the time: just paper and ink without any image processing. In addition to the ink, we can see the pencil lines marking the sketches, the use of halftones and also covering errors using white paint. It’s a great way to study composition, light and shadow, as well as the final art made with India ink.
How would you say you’ve adapted the comic book style into your commercial work for posters, packaging, merchandise and ad campaigns? I believe that a comic artist is the drawing professional who best masters the essential illustration techniques. I always say that if a person can draw a comic book well, they can draw whatever they want because we find everything in those pages: narrative, anatomy, perspective and composition. Despite my admiration for this arena, I never risked working in it myself. The connection between my work and comic books is due to my constant use of ink, whether in its traditional or digital form, and also the use of halftones. Another element present is the simulation of printing failures, very present in these old editions due to the printing methods of the past.
In 2017, I felt lost trying to find my drawing style, I was very dependent on Photoshop and could only think of using the tablet connected to the computer. So, I decided to buy a sketchbook and participate in Inktober, a social media–led event where illustrators make one ink drawing a day for 31 days in a row. This brought me closer to manual techniques, pushing me out of my comfort zone and bringing me closer to what my style is today. I repeated the Inktober ritual for three more years in a row, and with each edition, I added more layers of complexity to each daily piece through the use of materials such as white gouache and halftones. It was between 2017 and 2020, when I was adopting black ink as the main element of my illustrations, that I finally found my style. The strength brought by ink and the bright colors I bring from comic books are elements that add to the world of packaging and advertising design.
What have been some of your favorite projects to work on? A recent project that I really enjoyed working on—and which mixes music and packaging, two areas of my interests—was an illustration for The Rolling Stones’s rum bottle. I had never dreamed of doing something for a band that is so important to me, so this project was a dream come true. The project as a whole was easy to do; each element on the label had its meaning, so I was very careful when executing every single part. Knowing that Mick Jagger and Keith Richards approved of and trusted me as the illustrator for one of their products has been one of the highlights of my career as an artist and made me look at myself in a more mature way.
You work primarily with ink and often add color in digitally or occasionally with screen printing. What do you like about ink as a medium? Nowadays, I rarely produce commercial illustrations using India ink. It is normal for clients to ask for rounds of alterations, so I prefer to use Photoshop brushes that simulate traditional India ink. I use paper and ink in my personal projects or in some commercial work where I have almost total creative freedom. In my opinion, the difference in working with analog media is the texture that you obtain when ink touches watercolor paper. When the brush or pen penetrates the weave of paper, it leaves an irregular appearance—as do the ink stains that occasionally remain on the surface of the sheet, which, added to the halftones applied over everything, give an added charm to the illustration. When working with a computer screen, illustrators often have to draw with the zoom activated, which limits our perception of the work as a whole. When we use paper and pen, we have a view of the entire illustration in front of us, making it easier to control the process—and knowing when to stop drawing!
What excites me most is knowing that I’m not good yet. Don’t get me wrong—I’m satisfied with what I’ve been producing, but I tend to think that my drawing will always improve with practice and time, and that makes me quite happy and fulfilled.”
What are some of the unique opportunities of creating posters for musicians and events? What is your process for conceptualizing visuals for these? The coolest part of working with posters is knowing that my work will be part of the public’s experience at the event. More than designing for the artist, I keep the public in mind mainly when I create posters. I have always loved going to music shows; the vast majority of them have been memorable events for me, so I know how important it is for fans to watch their favorite band perform live. Whenever possible, I try to take into account some aspect of the event location when conceptualizing the poster, be it a city monument, a historical element or something from the local fauna and flora. Sometimes this is not possible, and what is considered important are aspects of the band itself, such as its theme or a recent album of work that will be presented at the show. I believe that having worked for Mr. Eddie Vedder in Los Angeles and subsequently for Pearl Jam in London are high points in my journey as a poster illustrator.
What excites you about illustration right now, and where do you think the field of illustration is going? What excites me most is knowing that I’m not good yet. Don’t get me wrong—I’m satisfied with what I’ve been producing, but I tend to think that my drawing will always improve with practice and time, and that makes me quite happy and fulfilled. Furthermore, from time to time, I look for new ways to interact with illustration so as to not get bored. About seven years ago, I changed the direction of my career by working with ink. This had a huge impact on my work. Three years later, I started working with posters, which really matured my technique. In February of this year, I started a partnership with the agency Closer&Closer in order to seek new opportunities and participate in more challenging projects with a great team supporting me.
Nowadays, it is impossible not to think about illustration without mentioning the advent of AI. I’m not a fan of using it when creating my illustrations, but I also don’t condemn anyone who does use it. I believe that companies look for illustrators for what they can add to their brands—that is, we lend a little of ourselves to each project. There is a slightly more intimate relationship when illustrating rather than simply asking a computer to execute a command.
What other profit centers could illustrators explore besides commissioned work? After I saw a lot of illustrators invest in creating an online store where they sell their works, I also did it myself. At places like Inprnt where you don’t need to physically produce a piece, everything is held in the website’s account, which charges 50 percent commission per piece sold. It seems like a lot of wasted money, but it’s a better deal than having to print your own illustrations, package them and ship them around the world. It’s a form of passive income that becomes very relevant throughout the year if you know how to manage and post new art regularly. Furthermore, producing works for yourself is the best way to improve your skills and also create a portfolio.
Do you have any advice for people just entering the profession? Don’t be in a hurry, but don’t be satisfied with your current production either. Be critical of your works, but in a healthy way. Know how to observe the work of those who are at a level above yours and always aim to reach that. Always try to model yourself after the best professionals in the field. Always study: a few weeks ago I started as a student on a perspective course because I really missed mastering this technique in my work. Know how to be patient: thirteen years ago when I set up my first studio with my two friends, we had several moodboards glued to the empty walls of the place with works by artists we considered references, including several music posters. It took me ten years as a professional to make my first relevant poster, so never give up. ca