I more or less settled into redrawing things and started to get some editorial jobs out of the blue. Over the course of his freelance career, Vicenzi has worked with big clients including Universal, Votre Beauté, Washington Post, Hemisphere, Virgin, and Madame Figaro. His work has been published in Taschen 100 Illustrators and Illustration Now – Portraits. He has also built up a large evergrowing fan base with 12,000 Facebook likes and 64,000 Behance followers.

I never really trusted in my abilities until I had some few positive comments about my works posted on DeviantArt. In the context of illustration, collage is popularly used as a technique in children’s picture books, magazines, and other print and digital media.I am a late bloomer who started digital illustration withPhotoshop and Illustrator because I discovered Raygun magazine and it really awakened something in me that made me want to be creative. Our readers would definitely love to know what hardware and software you use when you create your designs? I try to practise what I call raw collages, beat up stuff that looks like they’ve been going through tough times, traces of grime, ripped up pictures and grungy textures. It seems that I can’t do otherwise anyway. How do people make those clean cut collages ? I don’t know !! Raphaël Vicenzi, Satanic Grace Around ten years ago but it has only been these last few years that i can consider myself doing something that i really like. Raphaël Vicenzi is a Belgian collage artist living in Brussels. A late bloomer with no formal artistic education he started illustrating digitally for various magazines for a number of years.

I am interested in creating meaning from discarded images, inspired by fashion magazines, urban decay, and forgotten places. Step by step and very slowly but I was not aware of it. I don't even really think that I have a signature style because to me it always evolves but within certain constrains. I think it all comes down to assimilate influences and making them mine somehow. I am listening to the internal dialogue while my body is busy cutting and re-arranging images until a new story emerges from my unconscious.

There is some form of social protest against capitalism or the emptiness of modern life for example. Last year he published a book of his work called LIVING WITH: My Dead Pony . The book features 32 of his most stunning artworks and has perforation along the spine, making each one removable for framing.

RV: I think it's a weird mix of fashion illustration, street art, DYI, typography & collage works. It's just a melting pot of different influences that found their way into my way of thinking. I try to stay spontaneous when I work now, I used to over think what I did. TWS –The human body, specially the female body, is a central element in your work. Can you tell us about this feature of your work and how do you approach the genre of portrait in your work? I scan a lot of watercolours, doodles, textures and then I work the whole in PS, with very few effects, PS brushes, masks, layer modes and that's nearly it. I found that by limiting myself in this way I could work better and just try to get to the core of an idea. I admire people who possess great painting techniques though.

Can you name 3 designs from your portfolio you like the most?

x11.7″; acid-free paper, images cut from magazines, Posca markers; 2023 IF NOT IN THIS WORLD THEN THE NEXT

Sometimes I just want it to look organic in aesthetic terms. Other times I become totally obsessed with an idea and I struggle to transmit it in visual form. In my opinion, even if you try to avoid any meaning in your works, it always show somehow – even a stroke is representative of your state of mind or who you are at that moment in time. I would be lying if I said I was in total control of what I create.” x8.3″; acid-free paper, images cut from magazines, Posca markers; 2023 I WANT TO FEEL LIKE TUNGUSKA AGAIN I just know you fell in love with Raphael’s illustrations, so you probably want to see more! Here is where you can reach him: I am all for personal interpretations because it is more enriching for the person who's looking at my works. In a way, I don't even know myself or what kind of meaning I really want to express until I realise that I was communicating something true without even knowing about it at first,” he said. TWS –Also there’s a visible connection with punk aesthetic? How does popular culture informs you and your art?

Designing has its ups and downs, what is the most difficult problem you ever faced as a designer?

What is the role of fashion in your drawings? Do you consider it as an important element in your work? A few people influenced my works like Jesse Draxler, THS, Eduardo Recife, David Carson, Raygun magazine are probably the ones that had a huge impact on me but I am forgetting so many others. In your experience, what were the moments that you have struggled or had difficulty in coming up with a concept? How did you overcome/cope?