Hudson Christie’s claymation-inspired style is unmistakable. A hybrid result of self-taught stop-motion technique and modern 3D modelling, Hudson’s work is tactile, playfully sophisticated, and most importantly, fun to look at. Based in Toronto, Hudson sparked his career with modest clay & paper dioramas, hand-built and photographed in a cluttered bedroom studio. Upon graduation from OCAD U, he quickly gained attention from the likes of The New York Times, Bloomberg Businessweek, and The New Yorker. Today, his work spans editorial, advertising, and branding applications; wherever a touch of his accessible absurdity is needed.

Ironically, Hudson begins his inherently three-dimensional process by prioritising the design of his two-dimensional rough drawings. A sharp eye for composition informs the simple silhouettes of his designs, which contrast with the hyper-detailed aesthetic of miniature scale photography. The final product pairs the exacting sensibility of a draftsperson with the lush tangibility of Gumby. Hudson’s visual style is balanced by his knack for conceptual puzzle solving. Wary of visual clichés and overly literal concepts, he approaches each brief from divergent directions, knowing that the most exciting creative solutions are usually found in totally unexpected places. The result is a portfolio full of one-of-a-kind visual metaphors meant to delight and surprise.

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The New York Times, The New Yorker, Bloomberg Businessweek, Süddeutsche Zeitung, McSweeney’s, Casper, Winkreative, Monocle, Mother Jones, 123West, ESPN Magazine, Lucky Peach

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