Ryan Garcia

Always trying to create images that speak to people, I’m absolutely obsessed with elegance in artwork. Let’s work together!

Title: 1_GarciaRyan_CannabisNow_Michael+Pollan
Caption: “Michael Pollan” Portrait
Description: Cannabis Now Magazine D: Todd Heath
Title: 2_GarciaRyan_Politico_AutumnPolicyPrimer
Caption: Autumn Policy Primer
Description: POLITICO Magazine AD: Tim Ball
Title: 10_GarciaRyan_NYT_ChicagoCop
Caption: “Cop Conviction in Chicago”
Description: The New York Times AD: Hannah K Lee
Title: A___MJ2_GarciaRyan__01__FULL_rgb_sized
Caption: "Wine Time"
Description: Men's Health AD: Justin Patrick Long
Title: B___WSJ_garciar___Color_1
Caption: “To Be Successful, Make Your Own Luck”
Description: The Wall Street Journal AD: Kelly Peck
Title: B__GarciaRyan_uncommissioned__TummyAche
Caption: "Tummy Ache"
Description: Concept Cover
Title: W___Garcia_Ryan_Illustration_Editorial_2017_GM_Worklife_2_GarciaRyan_FULL
Caption: “Prioritizing Free Time”
Description: The Globe & Mail AD: Bryan Gee
Title: WEBSITE____NewYorker_2_Commute_GarciaRyan
Caption: "Commute"
Description: Concept New Yorker cover
Title: WEBSITE____NewYorker_3_Consumers_GarciaRyan
Caption: "Consume(r)"
Description: Concept New Yorker cover
Title: WEBSITE____NewYorker_4_Floral_GarciaRyan
Caption: "Floral is In"
Description: Concept New Yorker cover
Title: X___Garcia_Ryan_2017_Editorial_Illustration_GlobeandMail_breakup_employer
Caption: “Employer Breakup”
Description: The Globe & Mail AD: Bryan Gee

professional Member
ryangarcia.ca
bmb.ryangarcia@gmail.com
6479298012

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

Tags: Professional

Rick Sealock

I love illustration. Although illustration possesses few secure signposts pointing the way to success, it offers enormous freedom – of medium, style, and content. And on a societal level, illustrators are expected to be the seers of contemporary culture. They pick at the many threads making up our various cultures – political, social, economic, artistic, etc., – and weave them into challenging images that are both read and responded to. Illustrators have the freedom to simultaneously consume and create, and their work does exactly the same. It is a profession that draws from and adds to our cultures, with the potential to effect immense change.

Title: John Entwistle
Caption: An Illustrated History: John Entwistle Hotel Room.
Description: A image illustrating the demise of Who bassist John Entwistle at the hard Rock Hotel, during a long night with a stripper and a bunch of cocaine for Desert Companion Magazine, NPR
Title: PQ Pauline Marois
Caption: Parti Pooper
Description: Nineteen months after Pauline Marois led the Parti Québécois to victory, she dragged it to defeat. How will history remember the province’s Iron Lady?
Title: Hawksley Workman
Caption: Our Country: Hawksley Workman
Description: Workman had won critical acclaim for his blend of glam rock with cabaret pop while being inspired by the panorama of the Canadian Shield
Title: DC Area 51
Caption: The Truth is Out Where?
Description: A image created for Desert Companion Magazine NPR article:I needed to know: Are aliens real? So I took a ride around the perimeter of Area 51. On my bike!

Tags: Professional

Martin French

My professional practice has been focused on taking symbols from daily life and reworking them into images potent enough to strike passing audiences with an experience of aesthetic and intellectual encounter. I’ve been especially fascinated by how an individual artist’s unique vision, when developed and honed, can be at once exclusively personal and yet widely transcendent. This fascination with the expressive and communal paradox inherent in artistic development is what led me away from a career as a design director to start my own illustration and design practice. Its contours and questions still energize my development and practice as a visual communicator.

Thankfully, my disciplinary fascination happens to overlap with what has turned out to be vital professional practice—namely the need for the modern visual communicator to find ways of distinguishing their images in a hyper-saturated visual market. That quest isn’t, of course, something that ends with a degree or an award. On the contrary, its ongoing, evolving challenges form a large portion of what we refer to as professional practice. How does a visual communicator remain savvy and able to read culture? How does a visual communicator retain a vision robust enough to start or redirect zeitgeists rather than being conformed to them? As I engage with these tensions I’d like to think my images could have worked in 1909, or again in 2099—the point being that their appeal depends not on tapping the hype of contemporary culture, but, almost the reverse, on stripping away the hype to offer up an image conveying a timeless appeal.

My move to Portland in 2006 motivated me to explore and apply these ideas through projects aimed at connecting with the city, most notably, the formation of the Illustration Department at The Pacific Northwest College of Art. My hope for student development in and through cultural engagement is the pedagogical extension of my ambition for my own work. I am seeking to deepen the unity between my own professional practice, artistic voice, and cultural involvement. I am energized by seeking greater rigor, expression, risk-taking, and clarity in my work. Naturally, my general teaching philosophy reflects that kind of ethos: I want students to experience my classroom as a laboratory where processes, ideas, and historical/cultural backdrops are live-wires, highly-charged and dynamic elements through which we can better understand, better share, and better tell, our own stories. What’s more—and this is core to my overarching goal for myself and my students—I want the classroom to be a place where we learn how to press ever deeper into that powerful personal/communal paradox that a well-developed vision and a highly-sensitive mind can come together and create.

Title: Create 1
Title: Arab Spring
Title: Calin Matei Street Concert 1
Title: Exile Poster Project / Mass Incarceration
Title: Monk100
Title: Harlem Swing 1
Title: Harlem Swing 2
Title: Masked Marvel
Title: Holy Blues
Title: Wrestling with God
Title: March Madness

Tags: Professional

Jamie Stroud

My primary choice of medium is pen and ink with digital color. I also work with oils, but mostly for personal work. I try to evoke an emotional response with each piece I produce and to breath life into my characters.

Title: TonT
Caption: Trouble on the Tracks
Description: Book Cover for children chapter book. Brush and ink with digital color.
Title: Cowardly Lion
Caption: Aversion Therapy
Description: Cowardly lion. Brush and ink with digital color.
Title: FNH 2 72dpi v2 RGB
Caption: Floyd's New Home, Chapter 2
Description: Interior illustration from Chapter 2. Brush and ink with digital color.
Title: L&C 100dpi s4
Caption: Floyd's New Home, Chapter 9
Description: Interior illustration from Chapter 9. Brush and ink.
Title: Getting out the Snarls
Caption: Getting out the Snarls
Description: Self promotional piece. In 2012, SILA West. Brush and ink with digital color.
Title: King of Pararie Final LR
Caption: King of the Prairie
Description: Brush and ink with digital color.
Title: TR cover FINAL low res
Caption: Trouble Returns
Description: Third in series of chapter book covers for Filter Press. Brush and Ink with Photoshop
Title: Final 8B -4a
Caption: Little Trouble in Tall Trees. Chapter 8.
Description: Spot illustration Brush and ink.
Title: LTiTT_Cover
Caption: Little Trouble in Tall Trees
Description: Little Trouble in Tall Trees. Cover. Brush and ink with digital color.
Title: Sc 02-1 adj
Caption: Sidney Sees a Shrink. Interior illustration Chapter 2.
Description: Brush and ink.
Title: STROUD SI lr final
Caption: Art School Girlfriend
Description: Society of Illustrators Members Open. Brush and ink with Photoshop.

Tags: Professional

Ryan Garcia

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