Zach Meyer

  1. general
  2. bio
  3. work process
Zach Meyer is a Brooklyn-based illustrator, who holds a BFA from Pratt Institute, and an MFA from the School of Visual Arts. Known for his detailed portraits and narrative works, he is most notably published in Playboy, The New York Times, Harper Collins, Adweek, Los Angeles Times, Smithsonian, and internationally in PopShot Magazine. Zach has completed numerous projects in fashion, film, editorial, advertising, gallery and print publishing industries, and continues to work in these industries.
Client List

New York Times
Playboy
Red Bull
Paul Stuart
Politico
Juxtapoz
Adweek
Womens Wear Daily
Smithsonian
South By Southwest
Spoke Art
The Real Deal
The Denver Magazine
Los Angeles Times
BuzzFeed
Moleskine
Major Leauge Baseball
Funny Or Die
Harper Collins
Game Of Thrones
Local Gem Press
Hero Complex Gallery
Foreign Policy
Rockstar Games
Rae Grant Design
Fort Worth Weekly
The Washington Post
Longreads
Commercial Observer

First I start out with loose thumbnails in pencil, roughing out ideas, then I move onto digital photo collage, building complex reference to draw from, this is the most critical stage of my process mixing sketching with digital photo manipulation. I then print that out and draw from it. It makes it easier to plan compositions out and make sure that lighting and anatomy are not off in the final. I then do a pencil underdrawings with sumi ink on top, I primarily use princeton round brushes, and flat brushes for texture, I get subtle grey areas through dry brushing, using dried ink on a brush to get a range of values. After the linework and tone is done I use a light box to do highlights mid tones on vellum and texture layers to give the drawing depth and color. This is then scanned into the computer where I layer it as if it were a silkscreen going from base color to mid tone to highlight. Photoshop allows for flexibility and rewrites, allowing me to neurotically redraw things over and over knowing that i can piece them back together in photoshop.

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