Jason Raish’s Illustrations Are Detail-Obsessed Yet Rich with Dynamic Juxtapositions
Interview by Mike O'Donnell / Editor
We’re big fans of WNW Member Jason Raish. The New York-based illustrator not only combines hyper-realism and incredible attention to detail with playfully imaginative concepts for clients like The New York Times, The Wall Street Journal, Nike, and Facebook—he did so for two different projects on this magazine you’re reading right now, shown here and here. So we interviewed Jason and learned about his unique upbringing and how it translates into interesting contrasts in his work.
Tell us a bit about your creative background. When did you first start drawing and what ultimately drove you to pursue it as a career?
I started drawing as a kid and didn’t know I wanted to pursue art until my senior year of high school—now I can’t even imagine if I became a biologist like I was thinking. There’s been some inner calling inside me forever to make art as lame as that sounds. I studied fine art for 2 years at SUNY Albany then realized I had to go to NYC where I had always wanted to be, so I did 4 years of illustration at FIT. I built up my career for 2 years then embarked on a 5-year journey living around the world, freelancing in whatever country my desk was located. In 2008 before the Olympics I moved to Beijing for one and a half years, Tokyo after that until the big earthquake/nuclear meltdown for one and a half years, Barcelona for a summer, London for half a year, and Paris for a year. Then I met my future wife who lived in New York and suddenly my Peter Pan tights were feeling a little too tight and I came back to New York. This long ramble is my creative life because I’m a firm believer that you’re a product of what you see/do/eat/experience/etc.
How would you describe your creative style? Do you recognize a signature style that links your projects?
Hyper-realistic, colorful, and detailed I suppose. I think attention to detail and texture link my work together.
What do you see as the turning point in your creative development and career so far?
It’s been a slow struggle that’s slowly paid off and I don’t know if there’s really one turning point. It’s just been putting in the work, pushing myself, and not settling on good enough. Technical-wise, Kyle Webster’s brushes changed how fast I can work and get my ideas down on (digital) paper.
What’s your creative mission at this stage? What do you feel is missing and what do you want to deliver?
I want to keep pushing myself to think of better concepts and not over render everything, which is hard because my brain just wants to render stuff. I want to create a body of personal work that has more soul and meaning involving themes about identity issues, which for me include being adopted, being Asian in America, and growing up in a small rural western New York State town. That’s a whole lotta turmoil right there.
“I want to create a body of personal work that has more soul and meaning involving themes about identity issues, which for me include being adopted, being Asian in America, and growing up in a small rural western New York State town. That’s a whole lotta turmoil right there.”
Which of your projects are you proudest of and why?
My “Croquet and Ink” project was something I loved making, people liked it, and I got work from people seeing it. I got to juxtapose my love for 1950s high fashion with gritty tattoos and self-expression for some semblance of a concept. I’m also proud of my alternative movie poster for The Dark Knight; I made an In The Mood For Love poster to pitch around and finally Bottleneck gallery wanted to work with me, so it’s a job I got from the sweat of my brow.
What would be your dream project or job, or is it already on your resume?
My dream project would be literally out of this world, some kind of SpaceX Mars involvement. A campaign for Mars or space travel? Flight suits, Mars fashion? Realistically though, a dream project would be working on visual development for a movie or a project that wants me to draw fashionable, classy figures, an advertising project with a meaty budget that really will put my time-consuming art to good use (something like James Jean’s Prada campaign maybe?)
Who are your biggest creative influences?
Studio 4C Japanese animated movies like Mind Game.
What scares you most about making creativity your career?
Money. Having enough and if there will be any more in the future. Also, creative longevity both physically, as in if carpel tunnel is coming for me, and mentally as well.
What are 1-3 products or tools that you can’t create without?
Wacom Intuos tablet, Dual monitors, Photoshop (bonus: fat rubber Wacom stylus grip, mine’s made by Ergo)
One book, one album, one movie, one show. Go.
Guns, Germs, and Steel by Jared Diamond, Wu-Tang Clan’s Enter the 36 Chambers (been watching the Hulu show), Joker (I don’t agree with the naysayers), and Pen15 is hilarious and the best show of the year (tied with Fleabag).
What do you do when Not Working?
Netflixing, brewing beer, cooking, getting a drink somewhere, jogging in Prospect Park, personal artwork
What’s something you’ve learned on your creative journey that other creatives should hear?
You become a business. I never wanted to be a “business owner” but it’s a reality that comes with being an illustrator.
Who are some other WNW members whose work you admire and why?
Jonathan Bartlett is good at promoting himself and we’re good buddies. Kyle Stecker is living the dream I once lived in Japan, only he’s gone beyond illustration into another world.
What’s next for you? What are you working on now?
More editorial work and more alternative movie poster art. I’m working on one of those long horizontal MTA posters that will be inside the subway cars for 2020 so now the pressure is on for me to make it look awesome.
Additional Work, Also Awesome
