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Hi, I’m Clara Guinart San Segundo—an illustrator trained at the School of Art and Design in Seville. I work across tattoo art, muralism, and editorial projects, exploring the relationship between symbolism and visual language through ideas inspired by classical art, folklore, and nature. My process is mostly analog, using hand-drawn techniques (ink, dip pens, and tactile mark-making) to keep a warm, organic quality in every piece. I’m especially drawn to dreamlike, fantastical scenes where archetypal and mythological elements blur the line between reality and imagination. From personal work on healing and identity to collaborative mural and textile projects, I keep building my own baroque, ornamental visual language—guided by linework, contour, and nature-inspired details—and I’m always open to new formats where illustration can come to life.…Hi, I’m Clara Guinart San Segundo—an illustrator trained at the School of Art and Design in Seville. I work across tattoo art, muralism, and editorial projects, exploring the relationship between symbolism and visual language through ideas inspired by classical art, folklore, and nature. My process is mostly analog, using hand-drawn techniques (ink, dip pens, and tactile mark-making) to keep a warm, organic quality in every piece. I’m especially drawn to dreamlike, fantastical scenes where archetypal and mythological elements blur the line between reality and imagination. From personal work on healing and identity to collaborative mural and textile projects, I keep building my own baroque, ornamental visual language—guided by linework, contour, and nature-inspired details—and I’m always open to new formats where illustration can come to life.

Clara Guinart San Segundo

Illustrator, Tattoo Illustrator, Poster Designer, +4

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Hi, I’m Clara Guinart San Segundo—an illustrator trained at the School of Art and Design in Seville. I work across tattoo art, muralism, and editorial projects, exploring the relationship between symbolism and visual language through ideas inspired by classical art, folklore, and nature. My process is mostly analog, using hand-drawn techniques (ink, dip pens, and tactile mark-making) to keep a warm, organic quality in every piece. I’m especially drawn to dreamlike, fantastical scenes where archetypal and mythological elements blur the line between reality and imagination. From personal work on healing and identity to collaborative mural and textile projects, I keep building my own baroque, ornamental visual language—guided by linework, contour, and nature-inspired details—and I’m always open to new formats where illustration can come to life.…Hi, I’m Clara Guinart San Segundo—an illustrator trained at the School of Art and Design in Seville. I work across tattoo art, muralism, and editorial projects, exploring the relationship between symbolism and visual language through ideas inspired by classical art, folklore, and nature. My process is mostly analog, using hand-drawn techniques (ink, dip pens, and tactile mark-making) to keep a warm, organic quality in every piece. I’m especially drawn to dreamlike, fantastical scenes where archetypal and mythological elements blur the line between reality and imagination. From personal work on healing and identity to collaborative mural and textile projects, I keep building my own baroque, ornamental visual language—guided by linework, contour, and nature-inspired details—and I’m always open to new formats where illustration can come to life.

Available to hire

Hi, I’m Clara Guinart San Segundo—an illustrator trained at the School of Art and Design in Seville. I work across tattoo art, muralism, and editorial projects, exploring the relationship between symbolism and visual language through ideas inspired by classical art, folklore, and nature. My process is mostly analog, using hand-drawn techniques (ink, dip pens, and tactile mark-making) to keep a warm, organic quality in every piece.

I’m especially drawn to dreamlike, fantastical scenes where archetypal and mythological elements blur the line between reality and imagination. From personal work on healing and identity to collaborative mural and textile projects, I keep building my own baroque, ornamental visual language—guided by linework, contour, and nature-inspired details—and I’m always open to new formats where illustration can come to life.