10 Questions with Nick Lyre

Nick Lyre is a digital artist and graphic designer/illustrator whose work bridges the gap between classical artistry and modern digital techniques. Drawing inspiration from the "masters of old," his style reflects a deep appreciation for traditional aesthetics, reimagined through a contemporary lens.

Nick's art seeks to capture both the beauty and complexity of the world around us. He thoughtfully blends his subjects into richly textured compositions, often experimenting with colour, value, and form. Incorporating traditional elements such as digital impasto and canvas textures, he aims to evoke an emotional response—inviting viewers to form a deeper connection with the themes in his work.

His influences range from the majesty of baroque architecture to the subtle nuances of human expression and the natural world. While constantly evolving and exploring new ideas, Nick remains grounded in a timeless artistic approach, pushing the boundaries of digital art while honouring its classical roots.

artstation.com/nick_lyre | @nick_lyre

“Art is freedom”

— Nick Lyre

INTERVIEW

Let's start from the basics. How did you first get into digital art, and what drew you to blend classical styles with modern techniques?

So, I've been seeing some of the works of great artists like Greg Rutkowsky, Wlop, Ross Tran and other artists on Artstation and other platforms, just in general on the internet — I just decided to try to go with it. I was moving a lot in that period of my life, and I didn't have much space or money (you know, oil painting demands some space and a pretty substantial sum of money for all materials), so it was an easy choice in regards to my conditions all those years ago. I loved doing it from the very beginning and have never regretted my decision since.

Can you tell us more about the "masters of old" who inspire your work? Do you have any favourites?

Oh yes — I've always been deeply inspired by the old masters, not just for their technical brilliance but for the way they captured emotion, symbolism, and storytelling. For example, Caravaggio, Da Vinci, Rembrandt, Velasquez and many others. They've taught me the power of lighting and contrast, the power of brushwork, colours, and composition — something I try to emulate and bring into my digital pieces. I'm also a big fan of some of the painters from the 20th century, like Sargent, Fechin, and Schmid; they've taught me the incredible power of dry impasto and wet on wet techniques, which are kind of the opposites but also show you that there's a lot of room for experiments with how you approach your work and it is exciting to me when I'm trying to translate those traditional approaches into the digital language.

In what ways has your practice as a graphic designer/illustrator influenced your fine art pieces?

My practice as a graphic designer and illustrator has definitely shaped the way I approach fine art. The best example here is going to be Composition. Every element needs to serve a purpose, and that mindset naturally spills over into my paintings and artworks. I now think more consciously about negative space, contrast, and visual hierarchy. Illustration, on the other hand, has deepened my focus on narrative and character — it's helped me develop a visual language that's more emotionally engaging to the viewer.

You mention influences like baroque architecture and the natural world. How do those elements come together in your creative process?

Great question. So, baroque architecture and the natural world might seem like an unusual pairing at first, but for me, theycomplement each other in a really dynamic way. Baroque architecture is all about drama, movement, patterns and fine details — it has this bold, expressive energy that draws me in. Nature, on the other hand, brings calmness. When I'mdesigning — whether it's a digital illustration or graphic work — I often find myself blending those two influences: layering, almost architectural structure with flowing, natural forms. It creates a tension between control and chaos (like sharp and soft edges), which I think adds depth and emotion to my work. It's less about replicating those influences literally and more about channelling their essence into something contemporary and personal so that it would feel like a dance of composition, colour, values, and shapes.

Do you start each piece with a clear vision, or do your compositions evolve as you work?

It really depends on the piece, but more often, my compositions evolve as I work. I usually start with a loose concept or feeling that I want to explore — maybe a certain atmosphere, shapes or, lines, or even just a colour palette — I generally try not to lock myself into a rigid plan. I've found that the most interesting things happen when I let the process guide me. That said - it's often simply too complex to have a clear vision with all the details in there.

Alla prima masterstudy, digital, 150x2356px, 2024 © Nick Lyre

Your art often includes richly textured compositions. How do you approach creating that depth digitally?

Creating depth and texture digitally is something I really focus on (and also love a lot) because I never want my work to feel flat or just 'digital.' I approach it almost like I would with traditional media — layering is key. It all really depends on what I want this illustration to be like, but I often start with building up value/colour shapes (or lines) with textured brushes, building my palette with mixer brushes, and sometimes using scanned elements like canvas or paper textures. I also play a lot with lighting and shadow to create that sense of physicality and atmosphere. Using layers' blend modes and low-opacity layers lets me sort of mimic the subtle "traditional feel" in my digital. It's a bit of a dance between precision and mess, structure and chaos. That texture helps bring a human touch to the digital space.

What role does emotion play in your work, and how do you try to evoke it through your imagery?

Emotion is extremely important in my works. Sometimes, when it's more of a concept-based illustration — I would let emotion slide down from the first role, but generally, I always want the viewer to feel something. I try to evoke emotion through a few key elements — story and colour and the last one is really big for me. A muted palette can create nostalgia or melancholy, while bold contrasts can spark tension or excitement. Composition and body language also play a hugerole — a certain pose, the direction of a gaze, or the way space is used can all tell the story silently. Even texture and linework contribute — rougher marks will drag more attention, while smoother ones feel calm or controlled. Ultimately, I'm always asking myself: what mood should live in this piece, and how can I get the viewer to feel what I've felt crafting it?

What challenges do you face when trying to bridge traditional aesthetics with digital tools?

Unpredictability - the way that an oil brush behaves when you make a stroke on the canvas. Maintaining that sense of imperfection that makes traditional art so emotionally resonant. Digital tools are incredibly precise and efficient, but that can sometimes make things feel too artificial. Also, pacing — traditional media naturally slows you down and invites more reflection, while digital does tempt you to rush, which I often do and regret later.

Hair brushing, digital, 2600x3200px, 2024 © Nick Lyre

How do you think digital art is changing the way we connect with classical ideas and techniques?

Digital art is completely reshaping how we engage with classical ideas and techniques — not by replacing them, but by reinterpreting them for a new digital era. We now have the ability to study and reference centuries of art history instantly, and bring those influences into our work in ways that are fast, fluid and accessible to everyone. We can take the precision of a Renaissance portrait or the ornamentation of Baroque architecture and remix it with modern storytelling, animation, or interactive designs, recombining them in all ways possible. It invites a new generation to reconnect with classical aesthetics on their own terms — through new digital space and all the functionality it provides. To me, today, with all the new technologies available and all the old traditional tools — is the new age of Renaissance for the artists.

Lastly, what are you working on now? Do you have any new projects or series you would like to share with our readers?

I guess I could give you a little sneak peek at my latest work. This project is deeply personal and very close to my heart — something I've been carrying in my mind for quite a while now. It's called Cossack Crusade. It's a blend of science fiction and fantasy, centred around crusaders and Cossacks — the warriors from my homeland, Ukraine. The first draft of one of the artworks is already on my Instagram and Artstation.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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