+$Inji grew up in what she describes as the “traditional city” of Gyeongju. “I had more chance to get close to Oriental and traditional Korean culture than other [illustrators],” she says.
+$She works with airbrushing coupled with strong lines and colours, mainly using TVPaint and After Effects for animations, and Photoshop in her illustration work. She aims to create images that look “strong,” she says, and her curvy women have gradually become subtle feminist messages in her work. Yet she says they weren’t created with feminist politics in mind.
+$Where these motifs take on a new life is in Vagner’s placement of them alongside imagery of the popular Soviet playthings of her childhood: Rubik’s Cubes, Jenga, spinning tops (“Every child owned one in the Soviet Union”) and paper dolls. “There’s a weird sense of movement in those things, and they look very interesting visually,” Vagner says. They have certainly caught the eye of many admirers – not least ex-One Directioner Harry Styles’ creative director, who approached Vagner to create a series of images for the pop star.
在她毕业于中央圣马丁高中平面设计学士学位的那年，她还在V&A展出了作品，并在“创意评论”(CreativeReview)、“这太棒了”(It Are With)、计算机艺术(Computer Arts)的“新才艺综合”(New Talent)-英国最好的设计和
+$She uses techniques like “extreme perspectives and playing with the size of different body parts” to create a sense of dynamism and movement. “I like to use a low perspective so that you look up at the characters, which makes them seem powerful,” adds Skog. “I also often draw the characters taking big leaps so it looks like they’re heading somewhere with confidence. Today it’s very common to depict women as looking happy, pretty and heteronormatively sexy. I am very aware of this and try not to sexualise the characters in my drawings. Instead, I want to empower them and draw attention to the power dynamics of contemporary society.”
“卡兰辛格+$’s work is eye-poppingly vibrant and full of energy and tension,” say Outline Artists illustration agency co-founders Camilla Parsons and Gavin Lucas, who recently brought on the acclaimed illustrator as the most recent signing to their roster. “His work is punchy and arresting and Karan himself is super efficient and working with him is a joy. Which is probably why the phone hasn’t stopped ringing with people wanting him to lend his particular visual magic to their brand,” they add.
“如果我能像任何人一样画画的话乔安娜·阿维莱兹+$,” says writer and podcaster Liv Siddall, who first encountered the American illustrator’s work as a visual editorial piece for Die Zeit about Avillez’s dad.
+$Avillez describes her style as “loose yet specific. Diaristic, personal, one-on-one.” She delights in embedding humour in the details: “I love a funny line the most!” These gags often use her native New York City as their setup and punchline: Avillez grew up in a fish market on the East River. “The whole neighbourhood smelled terrible so only a few people lived there,” she says. “The house I grew up in was made up of
+$At the heart of his illustration method is the idea of maintaining a warmth and humanity within digitally created images; weaving complex textures through stark monochrome palettes. His work is informed by a vast array of weird and wonderful ephemera – from old airbrush art, to monsters and mutants, to sci-fi to “even some stuff from an alien enthusiast magazine,” he says.
+$This technique is central to much of Liam’s work, and the illustrator delights in “experimenting with different colours and patterns, enabling me to create some really interesting imagery,” he says. “I never 100 per cent know what it’s going to look like from digital file to print. It can vary so much on the smallest factors such as shades of paper and different shades of the same colour. It’s really exciting!”
+$“My scissors are my best friend,” says Taiwan-born, London-based illustrator朱哲武..他对拼贴的极不寻常的态度足以证明这种友谊。吴的作品往往简约却极具诗意，是对插画家过去诗歌创作的呼唤，也是他对抽象的偏爱。
+$Wu’s process is mostly analogue, setting out hand-cut paper and found images to figure out compositions. Sometimes he will scan in the physical cut-outs and finishing pieces using Photoshop. “I like the organic and sharp shapes, which might not be achieved by drawing or painting,” says the artist. “I also like to mix materials to give the images more layers and complexity.”
+$Alongside Wu’s illustration, he also works in graphic design, and the two sides of his visual talent both inform and inspire one another. “Sometimes I feel I’m using the process of graphic design to illustrate, and I think that’s the benefit which comes from my graphic design background,” he says.
柏林插画Max Guther+$has no shortage of fans, and his surreally busy, half-realistic, half-dystopian scenes make it plain why. Guther's style has developed gradually over time, and at university he worked across typography and photography alongside illustration. “After a while I discovered collage,” he says. At first, he was using Photoshop “and a lot of transformation” to create isometric collages, but “found out that this process would take too much time to succeed as an illustrator where time and deadline is a boundary.” As a result, he moved into the land of 3D, and the hugely intricate worlds that he builds today.
+$“I get a lot of weird comments,” she says. “I get some conspiracy theorists who think that I’m actually a guy, some people who think I’m a sociopath and some who think I’m part of the illuminati – I love that one. But on the whole most of the comments are complementary. “Someone once posted, ‘Ur art makes my heart and my brain horny for thinking.’ I thought that was a good one.”
+$We were blown away by her work for A Message from Earth, a project that marked the 40th anniversary of the Golden Record discs, which took the form of two 12-inch gold-plated copper phonograph records “containing sounds and images selected to portray the diversity of life and culture on Earth,” as NASA puts it. Here, Hollington’s work was animated in places, and the rough textures and traditional sensibilities of her aesthetic made those GIFs all the more, well, otherworldly.
+$Now based in Brighton, Hollington’s themes range from “meteoric folklore to mannerism,” she says, and her passion lies in “wrangling the most out-there ideas to make them totally tangible.” Among the clients she’s worked with are The New York Times, The New Yorker, Bloomberg Businessweek, It’s Nice That, AIGA and the V&A.
卢卡舍夫斯基 +$took an unusual route into illustration, having studied international relations, and learning about gender studies and sociology. It wasn’t until the 2016 US elections that she began to use her art as a form of creative activism. “I believe in a moral imperative to use your skill set to work towards liberation,” she says. “[As illustrators] we have so much more to offer than just being content factories for corporations.”
+$Rather sweetly, he tells us that the greatest influence on his illustration approach is “my mum, who used to design carpets. My style is getting more and more similar to hers.” While we haven’t seen his mum’s carpet creations, we’d wager that there are a few differences, since he goes on to describe his style as “gibberish,” and a “non-linear visual narrative that uses the canvas to transcend time and space. So basically, I doodle.”
+$Toor works with Photoshop, always starting with a blank canvas. He delights in juxtaposing geometric shapes and more organic, free-form drawings. “I figure things out as I go along,” he says. “Colouring starts midway and skips back to line art and back to colouring again over and over.”
+$While much of her work is for commercial clients, the artist looks back on an artistic residence in Paris as a highlight of her career. “Having the freedom to create an exhibition from scratch from the experiences on-site was very special for me, because travelling always makes me reflect on my own story and brings a lot of inspiration for the creation of new pieces,” she says.
+$Mangyoku’s education focused mostly on animation, having graduated from Paris-based art school Gobelins, L’École de L’Image. “I think I’m a good example of someone who’s managed to work in the field of illustration, without having had illustration-focused training,” he says. “Working in animation has taught me the basics of drawing, and image composition.”
另一位演示手工锻造工艺的插画师是韩国出生的布鲁克林人。海金公园..朴槿惠在水彩画领域工作，2015年毕业于罗德岛设计学院(RhodeIsland School Of Design)学习插图，并已与包括“纽约时报”(New York Times)、伦尼信(Lenny Letter)、副、中、Buzzfeed在内的她把自己的作品描述为“色彩丰富、有趣、自由、孩子气、开朗和好奇”。
+$Park’s work is packed with magical, almost folklorish characters. “I start from one character or colour in mind that builds the mood and sets up the rest of the work,”
+$The medium is crucial to the feel of such images, and adds to the aura of mystery and otherworldliness. “I like the flow and texture of the watercolour paper and I feel incredibly lucky and happy to have become comfortable with the medium,” says Park.