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Tiago Marinho (b.1996) is a 3D artist and creative director from Lisbon, who develops digital artworks. He uses his work as a catalogue of his experience as a person and artist, creating a repertoire of pieces that convey various moods and critiques relevant to the moment in question. He has created works for artists like Muse, Dillaz, Lhast and TesseracT, and for brands like Moose Knuckles, Netflix and Asus. The last two years have been marked by his dedication to the world of NFTs, having created a collection for Cryptocom. He has exhibited his work in Paris, Rio de Janeiro and New York.
What inspired you to become a digital artist and how did you get started in this field? What do you like most about digital art?
I started doing digital art/3d art in college. I studied Communication Design, but I was very frustrated with how outdated and theoretical the degree was, so I started going the opposite way and tried to develop a skill that felt pretty up-to-date and with a lot of room for improvement. Digital art allowed (and still does) me to create whatever I wanted, without any limitations other than my own technical flaws at the time.
Every field of art has its peculiarities and its challenges. What challenges have you faced as a digital artist and how did you overcome them?
I’m constantly worried about being ahead of the curve, or at least keeping up with the latest trends – software-wise or even cultural. For that to happen, I feel like I need to work and develop new skills on a daily basis, which can take a toll on my well-being.
What was your most successful project and why do you think it was successful?
Have you ever had to abandon a project completely and start from scratch? If so, what led to that decision? If not, what might have motivated you not to complete the project?
This happens on a regular basis. There’s a long way to go from a rough idea to its actual implementation so it’s common that I have to completely restart what I’m creating or, at least, adapting it so that it looks/feels better overall. At the same time, I’m a strong believer that not every piece of art I create has to be perfect, therefore, I sometimes tend to force myself to finish an artwork, just for the sake of completing a task. It’s very important for me to create a brand-new piece of art almost every day.
Do you think there are any limitations in creating digital art compared to traditional art? If so, what are they?
I would say there are fewer limitations. For me, there are no limits when creating digital art.
Many of your works look like masks / unusual faces. How was this concept born and what message to the world do you want to convey through this concept?
Have any traditional artistic techniques influenced your digital art practice? What do you think distinguishes digital art from traditional art forms?
To be honest, I have distanced myself from any traditional technique. Not that I don’t appreciate or think that those techniques aren’t valid, I just found my place in digital art.
What part of your work is the most challenging for you and why?
You have worked on the artwork for a music album. Could you tell us about this experience? What other projects would you like to participate in?
Thankfully, ever since I started my digital art journey, I’ve been involved with the music industry. I’ve worked on multiple album covers, and it’s usually a fun process. Trying to match my interpretation of a briefing with the expectations of the clients is always a challenge, but it’s exciting. In the future, I’d like to work on a couple of projects in the fashion world.
What are the biggest changes you've seen in the industry since you started? And what do you think is the biggest challenge facing the digital art world today?
What was the most helpful advice you've ever received about digital art? And what advice would you give to someone who is just starting to develop in this area?
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