Ryan Garcia

  1. conceptual
  2. bio
  3. work process

Ryan Garcia is a freelance illustrator based in Toronto, Canada. With emphasis on flat colours and line-work, his work is heavily influenced by the Golden Age illustrators such as J.C. Leyendecker, Coles Phillips and Mac Conner. Ryan is best known for his editorial work in The New York Times, The Wall Street Journal, Scientific American, as well as WIRED magazine.

Awards

2019 | American Illustration 38
2019 | Applied Arts Illustration Awards
2019 | Communication Arts 60
2019 | iJungle Illustration Awards – Gold Medal (Editorial) & “Best of the Best” Award
2018 | Society of Illustrators LA 57
2018 | Society of Illustrators 61
2018 | Cheltenham Illustration Award “Tangled Tales”
2018 | American Illustration 37
2017 | iJungle Illustration Awards – Merit Award
2017 | 3×3 Annual No. 14 – Bronze Medal
2017 | Cheltenham Illustration Award “Tales Through Others Eyes”

Client List

The New York Times
Scientific American
Netflix Canada
The Wall Street Journal
WIRED
Vanity Fair
The Atlantic
Forbes
Reader’s Digest
Slack
The Guardian
Harvard Business Review
Contagious
Washington Post Magazine
New Scientist
The Globe & Mail
Amsterdam Brewery
Royal Ontario Museum
Financial Times
The Hollywood Reporter
Men’s Journal
Seattle Met
Barron’s
Commercial Observer
Harlequin Books
Politico

After receiving the brief and notes from the client, I’ll begin the brainstorming process. I like to come up with as many ideas as possible and usually send 4 to 6 of my strongest concepts to the AD.

Once the client chooses which concept they like best, I’ll go ahead and tighten the sketch. At this stage,I’ll play around with different compositions and value structures before sending it back for approvals.

If the client is liking how everything is looking, it’s time to start the final piece! I’ll use my rough sketches as an outline, and slowly start to tighten everything up. This includes doing the final linework (digitally or traditionally), flatting all the tones, and adding textures.

I try my best to make the illustration look perfect in greyscale before going to colour. Getting the values just right is essential to making my illustrations work, and so I spend a majority of my time in this stage.

Colour is the final step to the whole process, and I like to explore as many palettes as possible before narrowing in on the winner.

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