Category: Fantasy Art
Luis Royo was born in 1954 in Olalla, a small town near Teruel, Spain. When he was young, he moved with his family in Zaragoza, where he goes to school for the first time, and where his first drawing reminders returned to him. In these reminders, he sits under the large windows of the school, then pick…
His practical side, which he received from his family, led him to study the technical drawing. He discovers very quickly that the geometric forms do not entirely satisfy. He began to study painting, decoration and interior design school “industrial” and “worker arts school, and combine this with various works in design and interior design studios, between 1970 and 1971.
In the meantime, it combines its operations with the paint. Biased in May 1968, he paints large format paintings with social themes, which he shows in the exhibitions in 1972 and 1976, followed by a series of exhibitions in 1977.
When he discovered comics for adults, artist Enki Bilal and Moebius in 1978, Luis Royo began drawing comics for different fanzines and show them at the Festival “BD Angouleme in 1980.
In 1979, he left out his work in design studios, to devote entirely to comics. In 1981 and 1982, his work was published as “Comix International”, the “Rambla”, and sometimes in the Vibora “El” and “Heavy Metal”.
In 1983, a meeting with Rafael Martínez, in the festival “Zaragoza Comics” will determine his future career. It is controlled by the product MARTINEZ five digits for Editorial Norma, marking the beginning of a new born professional cooperation between them.
His work is not confined within the national territory, it is also published in foreign media. His work is also published in the United States, the United Kingdom. and Sweden, where he covers for publishers glamorous as “Tor Books,” Berkley “,” Avon “,” Warner “,” Batman “, and others!
American magazines like “Heavy Metal” and “National Lampoon” asked Luis Royo covers a little more. Also ask whether European magazines such as “Cimoc”, “Comic Art”, “compresses Era”, “Total Metal”, and others. Nevertheless, his work is not reserved for magazine covers, he is also asked to make covers for videos and video games.
In 1985, alongside his work as an illustrator, he published a cartoon in the “Rambla” series and a year later, in “Ediciones Ikusager SA”, he publishes a comic called “DESFASE.
In 1990, when established in a privileged position on the international market of the figure, it improves the amount of his own worh, as opposed to commissioned works. The large amount of his work is bought by different media or included in compilations.
In 1992, thanks to a proposal made some years earlier by the man who discovered it, he published his first compilation work: “Women”, an album together all his best work so far. With this compilation, it is already identified as a great illustrator and his penchant for attracting women began to emerge clearly. It was a wonderful book for lovers of comics, covering a wide range of series, which were published by “Sun Editorial” France and “Ediciones Comic Forum in Germany. Based on this compilation, he made his first exhibition of original illustrations.
A year later, his paintings make a collection of comic cards using his characters, known as “fantasy to reality.”
After the success of its first compilation in 1994 “MALEFIC” is published with the most numbers of Luis Royo, establishing a large number of worlds and colors. In “MALEFIC, the illustrator set is named – An illustrator not only able to portray future worlds of imagination, but also to create a history and a form around the personality that gives the book title.
In the same year, “women” should be published, and the United States, “Penthouse” write an article on his figures.
In 1995, new publishers are beginning to be interested in Luis Royo works: “Ballantine”, “Naw”, “Daw” Doubleday “,” Harper Paperbacks, “” Zebra “,” Fasa Corporation “,” Pocket Books “( Star Trek series), Penthouse Comix “and” Fller Ulta X-Men for Marvel. Since that year, the works of Luis Royo is published in multiple formats and in many countries: calendars, posters, T-shirts , CD jackets, mouse pads, trading cards in collaboration with other artists, as in “The Art of heavy metal” or individually, as in “THE BEST OF ROYO”.
The imagination and quality of Luis Royo begin to take place in any type of media, and his name is becoming well known. In 1996, he made a resumption of “Penthouse” in the United States and Germany. The same year, numerous reports on its work are published. He also received the Silver Award SPECTRUM III “, the Best of the fantastic contemporary United States.
After the success of “MALEFIC,” his third album, “Secrets”, was published in 1996, showing women and magic in the central role, and the presence of basic beauty and the beast. This work is published by NBM for English-speaking countries. But he surprised his fans in the same year, with the brochure “hot winds”, published by Norma Editorial “in cooperation with” Heavy Metal “.
In 1997, the emphasis placed by Luis Royo Heavy Metal is shown in a large quantity of blankets and calendars, and also in her gallery, which is entirely dedicated to Royo. The outcome of interest to a committee for the coverage of the twentieth anniversary edition of the journal, and a series of numbers on the character of FAAK (Julie Strain) by Kevin Eastman.
In the same year, two new collections of collectible cards are issued: “ROYO SECRET desires” and “artistic choice” (in common with other artists). Finally, “women” and “MALEFIC” are published in the United States U.S. and one is re-published in Spain.
A year later, his book is published next figure: “III Millennium”. In this book, Royo replaces his palette of colors and gives us his own particular vision of the end of the century. In addition, in 1998, he presented his collection of Tarot cards, the “BLACK TAROT”. In 1999, he produced the calendar Heavy Metal and his fifth collection of cards under the name “III Millennium”. It was a year where Luis Royo has shown a clear evolution models bold figures.
To fit in with the Barcelona Comic Fair “in 1999, an exhibition Royo new album” Dreams “- a compilation of all figures commissioned for his last ten years. What is striking about this album is the versatility of the artist to adapt to different subjects and styles.
The artist gives us, at the end of the year, a more daring and honest than ever: the first volume of “forbidden books”, with surprising erotic content in which the tale of “Beauty and the Beast has a major importance. This deluxe edition, smaller than previous albums, we offer images as sensual as ever. “EVOLUTION” remind us of the great album format containing more personal works. The choice of figures clock’s are marked by hand, time and science fiction, and are described with the presence of any women that were expressions become more confident and dominant. This album is accompanied by a study of personality of “MALEFIC.
Initially conceived as a trilogy, “prohibits BOOK II” was published in 2001 – A book in which sensations are transferred to the reader by the force of the characters. continuity in the first volume, he offers a different vision of sensuality, closer to the dreams and secret desires, prohibited.
Increasingly focused on his own work, his best female characters are played by “Fournier” poker cards pack.
In 2002, Luis Royo presents some of his secrets in “ideas” – a book that describes the process of creation and also presents a collection of images of the artist and trends which enables us to appreciate the study of personality, illustrations and design solutions that replace many Royo considers before making his final work.
“VISIOS” was published in 2003. It is a compilation by Kevin Eastman, creator of “ninja turtles”, in which images are dominated by Luis Royo skills and imagination. It develops new details and a wide range of colors, including dragons who occupy a privileged position with a woman.
“Forbidden Book III” is the latest of the “forbidden books”. In this volume, readers are confined in the beauty, tenderness and the desire of the images. – Pictures of the sensuality that can be regarded as monstrous .
Fall 2003, the artist opened his work with a series of numbers and projects for the illustrations in his compilation books, accompanied by texts in order to improve the reader experience. With “designs II, it goes further than the first volume, presenting models of colors to be contrasted with the projects pencil.
“Fantastic Art” is the largest compilation so far. Published in May 2004, he assembled the most complete collection of illustrations of the artist. Released in two formats for high quality, luxury limited edition is a good example of the importance of the compilation. Imagination and reality met in the images, which were exhibits Royo own particular point of view of the world, myths, legends that have shaped it. It is a vision of reality in the future must assume its own challenges.
Luis Royo moved to Barcelona where he found a very nice place, the Gothic Quarter, where he creates his works. This change of residence means a change in the way it works in the vision of his work and the desire to return to painting.
“Forbidden Sketchbook” is the last published work by the artist. In it, we can appreciate the sensuality and the desire of the colorless PROHIBITED “book” in its earlier stages. It includes the original projects in which one has the power of images is already evident. Like a charm, it includes projects that challenge with their incredible strength doensn’t appear in previous publications. In his last period, in combination with other works, Luis Royo has spent four years on the development of a more personal work – “THE LABYRINTH:” Tarot. This production of Tarot cards See-no-limit perfectionnism of the artist. This is a package in which each image has been carefully and meticulously studied and shows a titanic level of documentation.
“THE LABYRINTH: TAROT” is the first completely new work by Luis Royo, where no image has already been published. It is published in December 2004 in two formats: an exclusive pack of cards and a book containing all the photos and text explaining, written by the artist himself, explaning the hidden meaning of each card and their power to control destiny of a person. Because he began working as an illustrator, many Heavy Metal bands from different countries (eg Germany, Italy, Spain ,…) adopted the images of Luis Royo, using them for their CD jackets. Between these two works, the most recent was devoted to two CDs of the Austrian group “Avalanch”.
We’ve clearly spoken by one of the most popular worldwide and professional illustrator, whose glory – instead of him ourtun – lead to a permanent process of finding new challenges or proposals, knows colors , textures and find new forms of expression outside the picture itself. He is a worker who untirable fans worldwide, with a magical vision of the imagination of all who surround experience, evolution, and JUSTIFICAT its privileged position on the international market for illustration.
Victoria Francés (born October 25, 1982) is a Spanish illustrator.
Victoria Francés was born in Valencia on October 25, 1982, though she spent part of her childhood in Galicia. Later on, she returned to her hometown to earn her degree from the San Carlos School of Fine Arts, at the Polytechnic University of Valencia.
The first volume of the FAVOLE trilogy (Norma Editorial, 2004) was her first illustrated work to be published. Manifested throughout the entirety of the Favole trilogy (2004-2007) are themes emerging from Dark Romanticism, highly influenced by both the Pre-Raphaelite Brotherhood and well known works of Gothic art. Her work received a number of awards and achieved great success in countries where it was published.
Consequently, the American publishing house Dark Horse became interested in her work, and Francés has since then been published in North America, thus allowing her to increase her fan base. She made herself known at the XXII Barcelona Comic Convention, where she made her first public appearance and earned the respect of renowned authors. Calendars featuring her artwork, as well as other promotional merchandise such as posters, puzzles, tarot cards and stationery products have been made available to the public for purchase.
Despite the current effervescent nature of the Gothic movement, Victoria decided to experiment with different themes, and in 2007 the course of her artistic career took another direction with the publication of ARLENE’S HEART (El Corazón de Arlene) by Planeta DeAgostini. Within the pages of this book, the author mixes dreams with social reality.
In 2009, she reveals yet another change in her artistic register with the publication of the first volume in her MISTY CIRCUS series (Norma Editorial), an original collection of books based on the decadent world of the travelling circus, written especially for a younger audience. Near the end of that same year, DARK SANCTUARY was also published (Astiberri Ediciones), written in collaboration with Dark Sanctuary, a “Dark Atmospheric” band from France. The project, a fusion between music and illustration, aimed to reflect the poignant beauty of the shadows.
The second volume in the MISTY CIRCUS series is entitled THE NIGHT OF THE WITCHES (La Noche de las Brujas), published by Norma Editorial in 2010. The continuation of the story takes place on the night of Samhain, an ancestral celebration in the pagan culture.
In 2011, the Favole trilogy was re-edited in order to create one single volume entitled INTEGRAL FAVOLE (Norma Editorial), a compilation of the three books in addition to unpublished sketches and illustrations specially included in this edition. A year later, in 2012, OCEAN LAMENT (El Lamento del Océano) was published, in which the author features a listless, spectral mermaid as the main protagonist.
While working on her upcoming books, Victoria Francés was also busy creating individual licensed images for her merchandise, undertaking commissioned work and collaborating with other artists through various illustrations. One of the most noteworthy of these collaborative projects was the illustration “Hekate” which was specially made for the album entitled “Luna” for the German Pagan Folk band, Faun, and the full artwork for a new cd project entitled “Naked Harp” of the Pagan Folk band, Omnia.
At the end of 2014, Victoria presented her new project called MANDRAKMOORS, in collaboration with the South Korean bjd doll company, Fairyland. For this project, the author set out to combine both the work of new character design, specifically of characters related to the world of witchcraft and pagan traditions, with the subsequent creation of bjd dolls, in partnership with FairyLand.
Victoria Francés is currently completing her first piece for MANDRAKMOORS. The protagonist is Sionna Fómhar, the first character and bjd doll in the MandrakMoors universe. This work is scheduled to be released at the end of 2015.
The fantasy art of Anne Stokes features striking designs and life like portrayals of fantasy subjects. Her art covers a broad range of themes, from the romantic and magical enchanted Forest, to the dark underworld of gothic vampires. Classical topics are reinvented with a strong design and impact, and new creatures are brought to life in a unique and eye catching manner.
Anne is originally from London but now lives in the north of England in Leeds, Yorkshire with her son Leo and partner John. She started her art career as a merchandise designer, designing tour merchandise for bands including Queen and the Rolling Stones.
Anne worked as a jewellery designer and sculptor producing ranges of jewellery items for Terry Pratchett’s Discworld and Harry Potter. Her T-shirts have been worn by many bands of note and her Skull Tattoo T-shirt design was picked as the outfit for Mike TV in Tim Burton’s film of Charlie and Chocolate factory. She then became a full time freelance illustrator where she worked on a number of book, game and record products, producing concept art and illustrations for Dungeons and Dragons.
As Anne’s art career progressed she moved solely into licensing her own creations and expanding the ranges of her fantasy themed paintings. Using symbolism within her pictures to convey meaning Anne’s artworks has been widely acclaimed. Working with Art Ask Agency her many paintings have been licensed on a wide range of products which are on sale worldwide, including T-shirts, posters, book covers, calendars, jigsaws, tarot cards, sculptures, mugs, jewellery and greetings cards. She continues to produce new works and has published several books.
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Josefine Jönsson is a photographer and fantasy artist based in Sweden. “I want to create a world that exists between dreams and reality. Where I can go my own way and let my feelings and thoughts take part in a piece of art.” Josefine’s work is absolutely amazing, and a mix between classy and psychodelic worlds.
Please enjoy this inspiring collection of expressive photography, let us know which one is your favourite in the comments below. Or check out her website for more inspirations.
Described as “She-Who-Shapes-The-Sacred-Land” in ancient Hawaiian chants, the volcano goddess, Pele, was passionate, volatile, and capricious. In modern times, Pele has become the most visible of all the old gods and goddesses. Dwelling in the craters of the Big Island’s Kilauea Volcano, she has been sending ribbons of fiery lava down the mountainside and adding new land around the southeastern shore almost continuously since 1983.
Pele was born of the female spirit Haumea, or Hina, who, like all other important Hawai’i gods and goddesses, descended from the supreme beings, Papa, or Earth Mother, and Wakea, Sky Father. Pele was among the first voyagers to sail to Hawai’i, pursued, legends say, by her angry older sister, Na-maka-o-kaha’i because Pele had seduced her husband. Pele landed first on Kaua’i, but every time she thrust her o’o (digging stick) into the earth to dig a pit for her home, Na-maka-o-kaha’i, goddess of water and the sea, would flood the pits. Pele moved down the chain of islands in order of their geological formation, eventually landing on the Big Island’s Mauna Loa, which is considered the tallest mountain on earth when measured from its base at the bottom of the ocean.
Even Na-maka-o-kaha’i could not send the ocean’s waves high enough on Mauna Loa to drown Pele’s fires, so Pele established her home on its slopes. Here, she welcomed her brothers. A cliff on nearby Kilauea Mountain is sacred to her eldest brother, Ka-moho-ali’i, king of the sharks and the keeper of the gourd that held the water of life, which gave him the power to revive the dead. Out of respect for this brother, to this day, Pele never allows clouds of volcanic steam to touch his cliff.
Her other brothers also still appear on the Big Island mountain; Kane-hekili as thunder, Ka-poho-i-kahi-ola as explosions, Ke-ua-a-kepo in showers of fire, and Ke-o-ahi-kama-kaua in spears of lava that escape from fissures during eruptions.
Of all her siblings, Pele favored her youngest sister Hi’iaka, the most. Pele, Hi’iaka and another sister, Laka, goddess of hula, were all patronesses of the dance, but Hi’iaka was said to have hatched from an egg that Pele kept warm during the long canoe ride to Hawai’i by transporting it in her armpit.
After Hi’iaka grew to womanhood on the Big Island, Pele traveled in spirit form to the north shore of Kaua’i to witness a dance performance at a pahula, or dance platform, that still exists near Ke’e Beach. Here she manifested herself as a desirable young woman, and quickly fell in love with a handsome young chief named Lohi’au. She dallied with Lohi’au for several days, but eventually her spirit had to return to her sleeping body on the Big Island.
Upon awakening, Pele sent Hi’iaka to convince Lohi’au to come to her. The sisters extracted vows from each other: Hi’iaka promised not to encourage Lohi’au should he become attracted to her and in return, Pele promised to contain her fires and lava flows so as not to burn a grove of flowering ohi’a trees where Hi’iaka danced with her friend Hopoe.
On Kaua’i, Hi’iaka found that Lohi’au had died of grief after Pele disappeared, but the graceful younger sister was able to restore his spirit to his body, bringing him back to life. Together, the two of them began the journey to the Big Island, but Pele’s suspicious nature got the best of her. Because forty days had passed since Hi’iaka had set out on her assigned mission, Pele decided she had been betrayed, and so sent a flood of lava into Hi’iaka’s ‘ohi’a-lehua grove, killing Hopoe in the process. When Hi’iaka saw the smoldering trees and her dancing friend entombed in lava, she flung herself into the arms of Lohi’au. In retribution, Pele set lose another stream of lava, which killed the mortal Lohi’au, but Hi’iaka, a goddess, could not be destroyed.
The legend has a happy ending, however, as yet another brother of Pele’s, Kane-milo-hai, reached out and caught Lohi’au’s spirit when he saw it floating past his canoe. He restored the spirit to Lohi’au’s body, and once again, the chief was brought back to life. Hi’iaka and Lohi’au returned to Kaua’i to live contentedly.
Legends about Pele, her rivals and her lovers abound. Most of the lovers she took were not lucky enough to escape with their lives when she hurled molten lava at them, trapping them in odd misshapen pillars of rock that dot volcanic fields to this day.
One lover who proved a match for Pele was Kamapua’a, a demi-god who hid the bristles that grew down his back by wearing a cape. The pig god could also appear as a plant or as various types of fish. He and Pele were at odds from the beginning; she covered the land with barren lava, he brought torrents of rain to extinguish her fires and called the wild boars to dig up the land, softening it so seeds could grow.
Pele and Kamapua’a raged against each other until her brothers begged her to give in, as they feared Kamapua’a’s storms would soak all the fire sticks and kill Pele’s power to restore fire. In Puna, at a place called Ka-lua-o-Pele, where the land seems torn up as if a great struggle had taken place, legend says Kamapua’a finally caught and ravaged Pele. The two remained tempestuous lovers, it is said, until a child was born, then Kamapua’a sailed away and Pele went back to her philandering ways.
Pele’s greatest rival was Poliahu, goddess of snow-capped mountains, and a beauty who, like Pele, seduced handsome mortal chiefs. Pele’s jealousy flamed after she had a fling with a fickle young Maui chief named ‘Ai-wohi-ku-pua, as he was traveling to the Big Island to court a mortal chiefess, Laie. Paddling along the Hana Coast, ‘Ai-wohi-ku-pua saw Pele in human form as a beauty named Hina-i-ka-malama, riding the surf.
He paused for a brief affair. Then he went on to the Big Island, where Poliahu seduced him. He convinced his personal goddess to release him from his promise to his first love, and went back to Kaua’i with the snow goddess. Pele (as Hina-i-ka-malama) chased after them, eventually winning back the fickle chief, but Poliahu was so vindictive, she blasted the lovers with cold and heat until they separated, and ‘Ai-wohi-ku-pua was left with no lover at all.
According to Hawaiian historian David Malo in his book “Hawaiian Antiquities,” in old Hawai’i, some gods and goddesses, including Pele, were believed to be akua noho, gods who talked. They could take possession of an earthly being, who became the god’s kahu. Malo writes, “The kahu of the Pele deities also were in the habit of dressing their hair in such a way as to make it stand out at great length, then, having inflamed and reddened their eyes, they went about begging for any articles they took a fancy to, making the threat, ‘If you don’t grant this request, Pele will devour you.’ Many people were imposed upon in this manner, fearing Pele might actually consume them.” Naturally, people who had seen others destroyed in Pele’s fiery lava flows, were terrorized by such a kahu.
Pele has continued to intrigue contemporary men. Not long after the old religion was abolished in 1819, the high chiefess Kapi’olani defied Pele by eating ‘ohelo berries at the edge of Halema’uma’u caldera without first offering them to or requesting Pele’s permission. In open defiance, Kapi’olani threw stones into the molten lava below. When she was not harmed, she insisted it proved Pele had no power and it was time for Hawaiian people to accept Christianity as their religion.
In 1823, when Reverend William Ellis became the first white man to visit Kilauea, most Hawaiians accompanying the expedition were still in awe of the volatile goddess. The hungry missionaries began to eat ‘ohelo berries, but were quickly warned to give Pele an offering. Ellis wrote, “We told them …that we acknowledged Jehovah as the only divine proprietor of the fruits of this earth, and felt thankful to Him for them, especially in our present circumstances.”…We traveled on, regretting that the natives should indulge in notions so superstitious.”
At the crater, the Hawaiian guides “turned their faces toward the place where the greatest quantity of smoke and vapor issued, and, breaking the (‘ohelo) branch they held in their hand in two, they threw one part down the precipice, saying:
E Pele, eia ka ‘ohelo ‘au;
(Oh, Pele, here are your branches)
e taumaha aku wau ‘ia ‘oe
(I offer some to you)
e ‘ai ho’i au tetahi
(some I also eat).
To this day, tales of Pele’s power and peculiarities continue. Whispered encounters with Pele include those of drivers who pick up an old woman dressed all in white accompanied by a little dog on roads in Kilauea National Park, only to look in the mirror to find the back seat empty. Pele’s face has mysteriously appeared in photographs of fiery eruptions, and most people who live in the islands-whether Christian, Buddhist, Shinto, or other-speak respectfully of the ancient goddess. After all, she has destroyed more than 100 structures on the Big Island since 1983, and perhaps even more awesome than that, she has added more than 70 acres of land to the island’s southeastern coastline.
Bettie Page (April 22, 1923 – December 11, 2008) was an American model who became famous in the 1950s for her fetish modeling and pin-up photos. She has often been called the “Queen of Pinups”. Her look, including her jet black hair, blue eyes and trademark bangs, has influenced many artists.
She was also “Miss January 1955” one of the earliest Playmates of the Month for Playboy magazine. “I think that she was a remarkable lady, an iconic figure in pop culture who influenced sexuality, taste in fashion, someone who had a tremendous impact on our society,” Playboy founder Hugh Hefner told the Associated Press.
Her later life was marked by depression, violent mood swings and several years in a state psychiatric hospital. In 1959, she converted to Christianity, and later worked for Billy Graham. After years of obscurity, she experienced a resurgence of popularity in the 1980s.
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A self-taught artist from Michigan, Natasha comes from a family of artists, including the famous painter, Georgia O’Keefe. She began drawing at an early age when her interest in geeks and crime fighting birthed her obsession for superhero comic books. First copying the art of others, and then creating her own characters, Natasha’s childhood love for the fantastical world fueled her passion for pop art.
As a teenager, she became inspired by Gustav Klimt, Takashi Murakami, and Tim Burton and planned for a career as an artist and animator for Disney. Natasha began studying graphic design and fine art at Delta College before a series of successful eBay auctions in 2004 launched her commercial career. Since those very first online sales, she now has more than 1,000 original pieces in private and corporate collections around the world. She is perhaps best known for her whimsical landscapes and the popular, award-winning series, “Jeweled Trees,” the series that propelled her into a professional career.
Today, her colorful and playful style has helped her to create uniquely identifiable imagery that extends beyond her trademarked “Jeweled Trees” to other colorful landscapes, whimsical creatures, and young women in fantasy themes. She has an exceptional eye for design and emerging trends and uses her skills to develop colorful artwork that appeals to everyone, whether in the home, in the office, or on products.
Prolific and hardworking, Natasha is a highly-skilled self-promoter. Her talent, determination, and love of technology have helped her create a diverse and obsessive fan base truly unique to any young artist. She excels in connecting with her fans, collectors, and clients to keep them coming back for more.
She is a juried member of EBSQ and Self Representing Artists. Her work has been featured in many publications, including the 2008 Artists and Graphic Designers Market Book, the New York Time’s Bestseller and Wall Street Journal Bestseller ”Crush It” by Gary Vaynerchuk, and “Fans, Friends and Followers” by Scott Kirsner. The A&E Channel, NBC News, ABC’s Extreme Makeover Home Edition, Lifetime Channel, the Ritz-Carlton gallery in Los Angeles, Leo Laporte’s TWiT, and Ford have shown Natasha’s work. She is also an Abrakadoodle Artist of Distinction.
Natasha was one of Ford Motor Company’s first 100 agents in the “Fiesta Movement.” She spent more than six months behind the wheel of her own Fiesta, live streaming her experience to help launch the Fiesta brand.
In addition to her painting and the development of a new children’s book, Natasha writes regularly at her official blog, Fresh Gloss, and frequently speaks at seminars and conferences about art, social media, self-promotion, and motivational topics. She serves as Chief Creative Officer of Natasha Wescoat Enterprises, LLC, a firm she co-founded in 2011 to promote her art and work.
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