Live Illustration with Ekaterina Koroleva

Ekaterina Koroleva has a gift for capturing moments in real time and translating them into illustrations. It’s not just about the finished image, but the entire process: the creation, the observation, the immediate response. In our interview, she offers insights into her working methods, discusses the unique dynamics of live Illustration and what it means to draw in front of an audience. A conversation about intuition, presence and the art of capturing the moment – and why there lies a magic all of its own in precisely that.

Motivation

What is it about live illustration that fascinates you personally, compared to traditional commissioned illustrations?

Live illustration thrives on the immediacy and energy of the moment. I am fascinated by the challenge of capturing the essence of an encounter, the dynamics of an event and the character of a product in a matter of seconds. .

Unlike traditional commissioned work, where the end result is the primary focus, in live painting the creative process itself becomes part of the entertainment. A dialogue emerges between myself, the medium and the guest, who witnesses first-hand how a few lines give rise to a living figure, or how a product is given a very personal touch, thereby becoming unique and acquiring added value.

This form of art requires exceptional technical precision: every stroke and every touch of the surface counts, as there is usually no opportunity for subsequent correction. To ensure a perfect harmony of materials, I draw on a wealth of experience and years of intensive engagement with my tools, such as ink, watercolours, pencils, coloured pencils, nibs and, of course, the various types of paper.

The added value for events

Why are brands and event organisers increasingly opting for live illustration at events these days?

1. Emotionalisation

In an increasingly digital world, brands are seeking authentic, human experiences. Live illustration offers precisely this ‘human touch’. When I work for clients such as Hermès or Lanius, guests do not see a finished file, but witness art being created in real time. This creates a deep emotional connection to the brand that extends far beyond the event itself.

2. Exclusive personalisation as a token of appreciation

Guests want to feel appreciated. A hand-drawn portrait created on the spot or a personalised item (e.g. product customisation for brands) is the ultimate gift for guests. It is a one-of-a-kind piece that exudes artisanal precision and conveys to the guest: “This work of art was created just for you.”

3. Social media content with a wide reach

The process behind my illustrations is highly ‘Instagrammable’: visitors instinctively film, share and spread the word about the live performance. In this way, the image itself becomes an organic marketing tool and boosts the event’s digital visibility.

4. Entertainment with depth and compelling documentaries

Live drawing is a subtle, captivating form of entertainment that creates space for observation and reflection. Unlike photography or video, which primarily serve to document, illustration translates the action into a unique, artistic style. Particularly at fashion events or product launches, I act as a visual chronicler, capturing the elegance and dynamism of the moment in real time – and thus creating a lasting, atmospherically rich memory.

Preparation & Concept

The job of a live event artist is a mix of strategic preparation, solid technical skill (because some techniques, such as portraiture, simply cannot be learnt overnight) and artistic intuition.

I carry out a brief brand or collection analysis, or ask for a design concept for the product line. Some clients are looking for a very monochromatic, elegant design, whilst with others I am free to let my creativity run wild and intuitively add splashes of colour and shape.

The choice of materials is key. I tailor the paper texture, colour palette (watercolour, ink, markers) or digital brushes precisely to the event’s theme. We agree whether the focus should be on quick, dynamic sketches (high-energy) or on detailed, more refined portraits (exclusivity). If possible, I’ll get samples and material swatches so I can test the colours on the packaging, paper or glass in advance.

In projects such as the 9-metre-long tablecloth for Amazon: how do you plan a project on this scale?

Thanks to my multidisciplinary approach, the planning for this project was very structured. As I had already gained experience in drawing on textiles, the unusual format did not daunt me – I felt fully prepared. In the run-up to the project, I carried out a targeted test of the materials to precisely fine-tune the consistency of the colours and the effect of the brushstrokes on the fabric.

Over the course of a day and a half, I transferred the designs onto the tablecloth step by step. I think the term ‘HUMAN PRINTER’ perfectly sums up my approach to this project: it takes a high degree of precision and dynamism in the linework, as well as stamina and plenty of back muscle, to manually reproduce a complex, colourful pattern in such a short space of time.

Process during the event

What does a typical live illustration evening look like for you – from setting up to the final stroke?

The beauty of live events is that they unfold differently every time, and you’re constantly thrown in at the deep end. Different venues and event concepts make every preparation unique and exciting, because you have to recalibrate yourself. As I get bored easily and repetition spells personal creative death for me, this is my perfect working environment..

Events like these require a certain resilience to noise and external influences such as light, people watching over your shoulder, loud music and other things that can quickly distract or unsettle you. However, I’ve developed routines to help me keep track of proceedings, and I get into a really good flow after just a short while – whether it’s a 4-hour or an 8-hour session.

My aim is not to spend more than 10 minutes on a single piece of work, be it hand lettering, a personal dedication or a complex portrait. The customer shouldn’t be tied to my table for long, but should have the chance to take part in the event, network or browse the collection.

Those who are curious are happily invited to watch me create a piece of art and observe the interplay of coloured pencils, markers, ink and watercolours – which are my favourite materials – or even try their hand at it themselves if there’s time.

Challenges

What is the biggest difference between working quietly in a studio and performing live in front of an audience?

The biggest difference between studio work and event illustration is the fantastic direct feedback from clients and visitors. Studio work is often quiet and quite solitary, which is why I look forward all the more to the exchanges and personal interaction at events.

And finally: any special projects or tips for customers?

My biggest challenge was painting the 9-metre-long tablecloth for an event at Soho House Berlin. It’s crucial to be able to visualise the object in three dimensions and position the motifs so that they are evenly distributed across the table – without ever having seen the tablecloth fully unrolled beforehand.

When doing live portraits, I need to be alert and focused enough to deliver consistently high-quality results without losing track of the bigger picture or drawing shaky lines.

My dream is to immerse an entire event in my own visual language and to incorporate illustration across all surfaces: from the menu to the tablecloth with handwritten place cards, right through to the room décor. The field of illustration has become so broad, and I see great potential in stepping away from the digital realm, creatively helping to shape analogue spaces, and placing great value on the handmade in an age of increasing technological advancement.

I would like to see more projects that place high demands on craftsmanship and the creation of creative experiences that inspire. In doing so, pure product placement can happily take a back seat, allowing the experience itself to take centre stage. After all, it is the beautiful moments that remain unforgettable – and that is how the emotional connection to the product is forged all by itself.


Here’s to analogue, shared experiences!