Self-taught, his first works as an illustrator appeared in the first half of the eighties, in full movement of Madrid, in magazines Madriz, where he published continuously both in the field of illustration and comics, and La moon of Madrid.
After this first period, for about a decade he left the illustration as his main professional activity, to move to the advertising sector where he would be art director in various agencies.
Back to the world of illustration, from 1999 to the present he regularly publishes in the newspaper El País and its various supplements, being of special importance his collaborations in the cultural Babelia. Thanks to this work, he has won three Award of Excellence awards from the Society for News Design.
His art has also appeared in magazines such as Europa Viva, Ronda Iberia, Pencil, Rock de Lux, Vogue, Playboy, Gentleman, Letras Libres, Interviu, Cosmopolitan or DT.
In addition to his work for daily press and magazines, he has made covers of books and records, as well as the illustrations of more than twenty books, both aimed at children and young adults and adults.
In 1984 he exhibited for the first time his works in the Moriarty Gallery and in the Comic Festival of León. Since then he has participated in many exhibitions, both collective and individual, being particularly noteworthy the retrospective exhibition Universes (2011).
His work is included in the volumes The pin-ups of Fernando Vicente (2004, Dibbuks), Illustrated Literature (2007, Editions Sins Entido and Diputación de Sevilla), Portraits (2009, Blur Ediciones), Portadas (2010, Brandstudio Press), Universes (2011, City of Palma de Mallorca and Caja de Ahorros del Mediterráneo), Artbook (2014, Ominiky Ediciones) and Fernando Vicente (2014, Roads Publishing).
The work as a painter by Fernando Vicente is characterized by the constant presence of the human figure combined with other elements that the author has been collecting throughout his life. Thus, of the four main series that group their pictorial work, Anatomies is painted on maps, Atlas on mechanical workshop sheets, and Vánitas and Venus use anatomical sheets (these last two being references, respectively, to the fashion photographs of the 50s and the great themes of classical painting).
The technique used is the same for the illustration as for the painting, the acrylic, changing only the support, the paper in the first case and the canvas in the second. Likewise, Fernando Vicente, always works on his feet, facing a large easel, even in the case of illustration. The use of the computer is limited, when necessary, only for the final finish: fonts, application of background colors or collages.