Lee Wybranski, Golf’s leading artist, shares his artwork – and history

It is difficult to live a living life by making art. As with Pro Golf, you have to do your destiny.

Lee Wybranski grew up in the Philadelphia area, about three miles from MeritAnd he drew superheroes and sports stars as a child before graduating from Siracuse University with a degree in art history. He then moved back to Philly and stuck to a concert making detailed portraits of thin and cash houses. The work was stable, but limited by the fact that the only buyer interested in the final product was each homeowner. One and made.

But Wybranski and his business partners had the bright idea to show a book of this work in the place of place located inside and around New York, assuming many club members were passionate about their golf houses away from home.

His first commission? Wingspanwhich asked the artist to draw a drawing of his famous club Tudor. Not surprisingly, that concert opened the door of many other northeastern clubs. At a single border, Wybranski became an artist of the Golf captain, able to make iconic posters for USA since US 2008! Other governing bodies of golf – R&A, masters, LPGA, America PGA – soon came aboard posters for more than 40 degrees and counting.

Here, 56-year-old Wybranski, now a resident of Flagstaff, Ariz., Dishes on his journey from Batman to Bethpage and what he does for a powerful poster.

Golf: Walk us through making a poster for, say, sh.ba, Ryder Cup, PGA.

Lee Wybranski: Typically, I visit the site six to nine months outside, usually for one to two days, trying to make sure I get the light in the morning and in the evening. I can have the canvas completely with a golf cart, a ladder, a camera and a sketch book. I prefer to know the place and achieve my meaning of what I think are two, three or four elements of its signature.

G: As a commercial artist, you work for clients. How cooperative is the process?

Lw: Highly cooperative high. Some are much more involved in the process than others, but everyone always has the right to approval. I consider it important to get a feeling from the client what kind of message they want to send. With long -term clients, like USA, we are not recreating the wheel. For example, I have a complete understanding of what is the vision and mission for SH.BA open every year. I probably run against this stereotype of Egomaniac artist. I am not painting what is in my soul and hanging it on a gallery wall. I am a commercial artist, working with clients, and I consider to ask the right questions and be a good critical listener for my success. But even though I am a commercial artist, I put myself very much at work, for sure. It is grateful to know that the work I do continues to connect with people.

G: You use the word mission. What would you say that is the mission for an open poster in the US?

Lw: In addition to displaying the golf course in a very familiar way, my main objective is to make the scene and the scene look iconic – which is a kind of excessive word, but I mean it in its truest sense. I look very closely to find the leading players and leading actors visually and then create a photo that shows those things and not grab them with many other things. In my approach as an artist, iconic often means less is more. Work simply with what is essential and surprising and build about it.

G: How long do you need to create one of these works?

Lw: I would say that most poster projects range from 35 to 50 hours or more than painting time. Once I have the approval (of the image) and I am just painting uncontrolled, it is in that ballpark. Posters were always meant to be bold and wonderful, to stop you in your footsteps. I try to keep it aesthetic in my poster work and not be upset with thousands of details. The way I think about details in posters is just enough to be persuasive, but not too much that shakes the picture.

G: All works of art are your children, but do you have personal favorites?

Lw: It is not only the best picture, but also the right picture at the right time. My drawing of the winged foot club is one of the best architectural drawings I made, but it was also my first Golf commission and changed my career. So this will be forever very special to me. Cave Valley, off Baltimore, was one of my first customers and a great customer throughout my career. The first time I painted their golf course, I painted the 2nd hole six times before I felt quite confident with the result to present it. This is the type of my war story.

G: What about us open posters?

Lw: This is the main championship I have done longer. My first, Torrey Pines in 2008, is one of my best images and one of the simplest, which I am very proud of. US Open had not been in southern California in 50 years, and Socal is crazy and rich in golf. It was a perfect storm, between that and Tiger Woods winning on a broken leg. At that time, I had worked mainly for private clubs and making small events in the club, and at Torrey Pines I had a line (of clients) from day one. I would go to lunch and go back, and there would be 25 people waiting in line for me to sign their poster. I would never experience something like that in my life. I was also a young father at the time, and so it was a big blow to my family life. I almost rip them when I think of it.

Shop Lee Wybranski’s 2025 Poster Collection

2025 US Open Championship – Oakmont Country Club

Discover the official poster for the US 2025 open championship at the Oakmont Country Club.

2025 Ryder Cup – Bethpage Black

This stunning piece of art shows the excitement of the 45 Cup Ryder.

2025 Poster & Press Masters

This beautifully worked piece captures the iconic view of the first hole in Augusta National.

2025 Open Championship – Portrush Royal

The 16th and 16th hole is known as the disaster corner because of its challenging landscape.

2025 PGA Championship – Quail Hollow Club

A stunning description of the Green Green of the 17th iconic in the foreground and the 18th hole, beyond in Quail Hollow Club.

*** More artwork store by Lee Wybranski here ***