Long before it became a practice, art for Joris De Raedt began as a way of observing the world—quietly, patiently, and often outdoors.
Surrounded by nature from an early age, his childhood was shaped by exploration, field experiences, and a growing fascination with wildlife, all of which continue to inform his work today.
We spoke with Joris about the moments that first drew him to drawing, and how those experiences still echo in his process.
Your Art, Your Story
How did you first get into art? Was there a 'special moment' that sparked it?
I have been drawing for as long as I can remember. My interest in the natural world was sparked at a very early age. Every school holiday, I spent time outdoors with my parents and their friends, all of whom were connected through a nature youth organisation. As a result, we were constantly in the field, camping, exploring, and discovering new areas to observe fauna and flora. During these trips, Lars Jonsson’s bird guide was always with us. I spent countless hours leafing through that book, and it became my ultimate dream to one day reach that level of skill.
On one trip to Norway, we encountered a small island not far from the shore that was home to a large puffin colony. We were on an extended road trip through Scandinavia and had brought a few canoes with us. Although they were not really suited for open sea conditions, we decided to venture out anyway. Small groups of puffins flew very close overhead, appearing curious about us. The return was challenging, and as we reached the beach the canoe capsized in the waves. Still, it was entirely worth it. That evening, by the campfire, I made several sketches from memory. This moment marks my first clear memory of sketching based on direct field experience.
What led you to choose and commit to your current artistic style, and how does it help you express yourself more fully?
I began developing my artistic style during my years at the Royal Academy of Fine Arts in Antwerp, where I obtained a master’s degree in graphic design. The work of 19th-century explorers and naturalists such as John Gould, Audubon, and Peterson has always fascinated me, particularly the aesthetics of their compositions and the typography of their plates. More recent artists, including the Australian William T. Cooper, continue to inspire me on a daily basis.
Today, my experiences in the field form the foundation of my inspiration. I believe that to truly capture the life of an animal, one must first spend time in its world, observing, sketching, and listening. Most of my work begins outdoors. It is there that the strongest ideas for a painting naturally take shape.
Could you share your favorite piece of work at this stage?
That changes on a daily basis, just as my favourite bird species do, every species you study reveals fascinating behaviours and characteristics. At this very moment, the first thing that comes to mind is a large illustration of the Great Hornbills, created for my upcoming book Bird, Nest & Egg, which is scheduled for release in March 2026.
As I’m not able to share that work yet, I’ll instead highlight one of my most inspiring field experiences: my encounters with Southern Cassowaries in North Queensland, Australia. I had truly remarkable moments with these dinosaur-like birds, from being chased by one while jogging, to having one peer over my shoulder while I was painting Golden Bowerbirds, to seeing them strolling along a tropical beach at sunset. I was also fortunate enough to observe a highly protective male with his chick on several occasions.
Other things about your art journey that you might want to share?
On a more professional note: please never work for free “to spread your name.” I receive this request frequently, but would you ever ask your baker for free bread in exchange for telling others that he is the best? This practice undermines an industry that is already under considerable pressure. Thank you.
On a lighter note regarding fieldwork: when you head out into the field, you never quite know what to expect. I often visit a location with the goal of finding a specific species. If I have prepared thoroughly and done the necessary research, I usually succeed, yet sometimes the most exciting encounters come from observing particularly interesting behaviour in a more common species. Nature is unpredictable, so it’s best to remain open and let it unfold naturally.
The Art Supplies in Your Creative Process
What’s your approach to choosing the right art materials, and what qualities matter most to you?
When it comes to watercolours it's always important to use the best paper and paints you can afford as they will largely influence the quality of your work. When it comes to brushes, you don't need to spend that much. I love synthetic brushes with a good point that is durable and is comfortable to work with. No need so spend money on animal hair brushes, especially if you don't know how these are harvested. If you do please look for clearly labeled cruelty-free or vegan brushes.
How has your experience been with Artify brushes? In what ways do they stand out and earn your approval?
For my new book Bird, Nest & Egg almost all my studio pieces are made with the ARTIFY 12 PCS Premium Nylon Hair Brush set and the 20PCS Ultra Detail Paint Brush set to add the final details. They have lasting points, durable quality and everything I needed to make the paintings.
Your Very Own Insights & Advices
What advice would you give to someone just starting out in art?
Don't let the perfect ruin the good. It's all about putting in the drawing miles. Better to make 100 imperfect sketches of a subject, than one that is overworked and misses that looseness that makes it more alive.
Have you ever hit a creative slump? What’s your secret to staying inspired and maintaining creativity?
Not really, every time I come back from a field trip my head is exploding with ideas and I never find the time to translate all of them into a painting. Get out of out comfort zone, go do what you love most and inspiration will follow.
Do you think techniques should be actively worked on, or do they grow naturally? Any exclusive tips?
I do think you should work on your technique. I learn most from seeing the original paintings of my favourite artists in real life. This way you can really study their technique and try to learn from it.
What role do you think feedback plays in an artist's growth?
It can be either a good thing or a bad thing, depending on where the feedback is coming from. Try not to be too disheartened if you don’t get selected during a competition, it often comes down to the judges and their personal tastes.
From sketching puffins from memory to building a lifelong practice, Joris De Raedt’s work is rooted in the act of seeing.
His art reminds us that sometimes, the most powerful inspiration comes from simply being present in the world around us.
To see more of Joris's work and follow his creative journey, visit:
Joris De Raedt's linktree
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