She is an ultra-detailed person whom you would be amazed at. Her ambition expands from computer to hands and cityscapes. She is Sylvia Moritz, a graphic design graduate, but also a printmaker who captures London, the nature and even the whole world.
Sylvia has a very strong signature in her works: coloured in black and white and cityscapes. Here is her reason: “Architecture was a subject I always considered studying instead of graphic design. Every building, whether it cost £100million or is made of mud, has a structure, a design, and is beautiful in it’s own right. They’re integral to the shaping of my designs and illustrations.”
Diversity, Necessity and Capacity are works all discussing different social themes that the earth is dealing with, such as overdevelopment, urban-expansionism and pollution. The circular shape of works mirrors the shape of the planet.
“My surroundings take a vital part of my practice. It takes me time to realise who I am and what my strengths are. I have now accumulated years of work and I notice that I am influenced as an artist by the place and environment I reside in,” said Sylvia.
Her creative journey started in Austria at a young age. As a creator who had studied in three different countries, she took the best part of each country and each country has had a great impact on her path of creativity.
“In Austria I learnt the basics of design: life and perspective drawing, art history, colour systems and various designs; England allowed me to play, experiment with new techniques and also handmade techniques; America was extremely encouraging, very ambitious. It made me believe I could become anything I wanted. I was surrounded by highly motivated people and we all shared the American Dream. Everything felt possible.”
In the generation of technology and digitalisation, Sylvia has an open attitude towards the difference between computer-generated graphics and handmade graphics. Being inspired by a Mac computer in her teenage years, she foresees the usefulness of computers.
“There will always be a place for computer-generated graphics. Etching and screen-printing are wonderful techniques – their methodology hasn’t changed for years and doesn’t need to while computers are evolving. They are at the forefront of what is new and will determine faster, better ways for us to create art and design in the future.”
Even so, she still has her preference.
“Printmaking is more instinctive, the mistakes you make are irreversible and become part of the art. With graphics, too many cooks can spoil the broth, there’s a lot of nudging around and endless perfectionisms being applied that dissolve the fun of making.”
With her delicate drawing techniques, it is inevitable to make ‘mistakes’ since one can never guarantee all strokes made on the paper are correct. Sylvia transcends her possible mistakes into a higher level of creativity.
“I never saw them [mistakes] as a problem. Mistakes make us as people, and it’s always part of the art. It’s like if an actor forgets his lines at the theatre – only he knows his mistake, and everyone else goes along with it. My art is generally very detailed and very imaginative, so mistakes just become the start of a new element that I simply hadn’t foreseen. It’s innovation.”
Sylvia’s next project is launching her own brand of urban-themed stationery, gifts and accessories called The City Works. Continuing her rich, intricately detailed illustrations, the first collection of the brand ‘Lost in London’ aims to capture the maze-like nature of the old city.
Expectedly, her dream project is related to the city too.
“I always dreamed of seeing my cityscapes covering a large wall in the form of a mural design, and as we speak I’m currently working on two separate mural designs for the University of Arts London and their student housing buildings. So perhaps this is a dream that’s going to come true soon!”