Zack Buchman, Founder and Creative Director of New York’s Furry Puppet Studio, designs innovative puppets for clients like Apple, Nintendo, and Missy Elliott.
We delve into Buchman’s world of whimsical creations.
Illustrators’ Lounge: Tell us about yourself – what was your path into professional puppetry?
Zack Buchman: My journey has been a bit unconventional. I never went to college and had to figure things out on my own from the get-go. Growing up, I was always fascinated by puppets. I saw faces and characters everywhere, and that obsession always pulled me. When I moved to New York at 20, I connected with some designers and puppet builders. It was not an easy start, but I believe we were able to build something special.
IL: What unexpected challenges have you faced running a creative studio?
ZB: Where do I start? Running a creative studio that is completely dedicated to custom work means that you constantly have to adapt to the very different needs of each project. Over the years, we’ve established standardized processes and our own unique techniques, yet I am still surprised every once in a while by how some projects can present unexpected challenges.
One example: Earlier this year, we worked on a puppet for a commercial. Once we matched the character with the puppeteer and presented it, the client completely fell in love with it and decided to base the campaign around the character. This meant we had to design a complete cast of complementary characters, a guide, and promotional stuffed toys all within the same schedule. There are a lot of logistics and practical concerns, yet you want to make sure that the creative brilliance is still there.
IL: What tactics have worked for getting your name out there?
ZB: To be honest, in the beginning, it was pretty easy. We did work that stood out and presented it on our website. It sounds almost outlandish to say it, but it worked. People noticed our work. My best advice for people is to be wary of social media. Instagram has helped find an audience, but it can be very unpredictable. My best advice: Create great designs and make sure you get credit for them. And give interviews :-)
IL: You have made cool, cute, funny, and plain weird puppets over the years, but do you have a favourite?
ZB: It’s tough to pick a favorite. However, the puppets we built for the “WTF” music video by Missy Elliott and Pharrell Williams are particularly special to me. The project was creatively challenging and allowed us to experiment with marionettes, which were outside our usual comfort zone. The end result was incredibly rewarding and remains one of my proudest moments.
Also, I really love the puppets we designed for Apple Japan.
IL: Are you currently working on any personal projects, as an individual or a studio?
ZB: Yes! We continue releasing new plushies at uncute.com
My newest favorites are the Water Bears, Purritos, and, most recently, the official stuffed toy of the Internet sensation Mona (Nanalan’).
IL: What is your character design process – what considerations are unique to puppets?
ZB: Our puppet design work starts with a lot of sketching and conceptual work. The process can get very technical and involved later on, so I want to capture as much free-flowing energy as possible early. Later, we focus on research and development—experimenting with new materials can be inspiring, but there are unique challenges for the medium. For example, unlike with animation, you cannot cheat the 3D structure, and the mouth has to be functional as well.
When the puppet is completed, I sometimes like to have some time with it and settle on the character. For example, small changes in the eyes can go a very long way. And when it all comes together with the puppeteer, you simply forget about all the effort. It feels like magic.
IL: What advice would you give to others looking to get into puppet making?
ZB: My advice would be to stay curious and never stop experimenting. And don’t worry about sharing your process online and people’s reactions. You never know where your next big hit is going to come from. I, personally, am very thankful for some of our “mistakes.”
IL: Finally, one of our goals here is to widen people’s pool of inspiration – who are the artists/illustrators that inspire you?
ZB: Jim Henson is an obvious one. Bonnie Erickson, who worked with him on characters like the Swedish Chef and Miss Piggy, is a rare example of natural brilliance and is a true pioneer. I’m also pretty fortunate to be able to work with artists I truly admire: Steve Purcell, an early computer game designer and Pixar director, taught me the power of strong, simple character design. Jamie Shannon, the co-creator of Nanalan, is also a true inspiration.
Explore Furry Puppet Studio’s bespoke creations at furrypuppet.com and discover Buchman’s cheeky toy line at uncute.com.
The post An Interview with Furry Puppet Studio founder Zack Buchman appeared first on Illustrators’ Lounge.
Hanyu Mu is an award-winning Chinese illustrator and animator based in Atlanta, Georgia. Mu’s artwork is atmospheric and alluring, capturing our attention with her varied mark-making and focus on storytelling.
In our interview with Mu, she discusses maintaining a healthy work-life balance, nurturing creativity, and breaks down her illustration process from the spark of inspiration to the final touches and presentation.
Illustrators’ Lounge: Tell us about yourself. How did you get into illustration?
Hanyu Mu: Hi! My name is Hanyu Mu, and I am an illustrator and animator originally from Beijing, China, and currently residing in Atlanta. From a young age, I had a deep fascination with art and drawing. I vividly remember spending hours doodling and sketching, letting my imagination run wild on paper. Drawing became an integral part of my life, and it provided me with a sense of joy and fulfillment that was unique to me.
As I grew older, my passion for art continued to blossom. I was exposed to various forms of art, including Japanese, European, American, anime and manga, as well as traditional Chinese ink painting. These diverse influences sparked my interest in animation, games, and illustration. I was captivated by the power of visual storytelling and saw these mediums as powerful vehicles for self-expression.
My journey into illustration began during my time in high school when I received systematic art education. This formal training allowed me to express my world independently through a paintbrush, further fueling my passion for artistic creation. As I explored different art forms, I found myself drawn to the world of animation and illustration, where I could blend my love for storytelling with my artistic skills.
After completing my animation studies at university, I felt a desire to delve deeper into illustration and bring more aesthetic elements into my creative process. This led me to pursue further studies in illustration, and I came to the United States to hone my craft.
Illustration has become my chosen path because it allows me to convey my emotions, thoughts, and imaginative ideas to others visually and compellingly. I find immense satisfaction in creating artwork that resonates with viewers and evokes genuine emotions within them.
Overall, my passion for art and drawing, combined with a love for visual storytelling, guided me into the world of illustration. It has been a rewarding journey, and I am continually inspired to push the boundaries of my creative expression through my artwork.
IL: What unexpected challenges have you faced as a professional illustrator and animator?
HM: As a professional illustrator and animator, I have encountered a few unexpected challenges throughout my career. One of the most notable challenges has been dealing with creative blocks and periods of low inspiration. As an artist, my work heavily relies on my imagination and creative energy, and there are times when I face moments of uncertainty or struggle to come up with fresh ideas.
Another challenge has been adapting to the ever-evolving technological landscape. With the rapid advancements in digital tools and software, staying up-to-date with the latest trends and techniques can be demanding. It requires continuous learning and flexibility to incorporate new technologies into my artistic process.
Additionally, balancing creativity with commercial aspects has been a challenge. While I am passionate about creating meaningful and emotionally resonant artwork, I also need to consider the market demands and client expectations. Finding the right balance between artistic expression and commercial viability can be a delicate task.
As a freelancer, managing time and workload can also be challenging. Juggling multiple projects and deadlines while maintaining the quality of my work requires careful planning and organization.
Lastly, like many freelance artists, I have encountered periods of financial uncertainty. The nature of the industry can lead to fluctuating income and inconsistent project opportunities, which can create added pressure.
However, these challenges have also been valuable learning experiences. They have taught me to be adaptable, resilient, and resourceful. Overcoming creative blocks has taught me to seek inspiration from diverse sources, and embracing new technologies has expanded my artistic capabilities. Balancing artistic vision with commercial requirements has allowed me to find ways to maintain my authenticity while meeting client needs.
Despite the challenges, I am continuously motivated by my passion for art and storytelling. The joy and satisfaction that come from creating impactful and visually striking works make every challenge worthwhile. Through perseverance and a commitment to growth, I have been able to navigate unexpected obstacles and continue to thrive in my career as an illustrator and animator.
IL: How do you divide your time between professional and personal work?
HM: Dividing my time between professional and personal work is essential for maintaining a healthy work-life balance and nurturing my creativity. I strive to create a structured schedule that allows me to dedicate sufficient time to both aspects of my work.
During weekdays, I primarily focus on my professional projects. I set specific hours for client work, ensuring that I am productive and efficient during those periods.
To preserve my creative energy, I incorporate short breaks throughout the day, allowing myself time to recharge and avoid burnout. This helps me maintain a high level of focus and productivity when working on professional projects.
In contrast, weekends are reserved for personal work and creative exploration. This is when I delve into personal projects, experimental artworks, and ideas that I’ve been eager to explore. Having dedicated time for personal projects enables me to freely express myself and pursue creative avenues that may not align with client demands.
Flexibility is a crucial component of my time management strategy. While I strive to adhere to a schedule, I understand that creative work can be unpredictable, and ideas may strike at unexpected moments. Embracing this spontaneity allows me to explore new concepts and foster a genuine passion for my craft.
Overall, creating a balanced division between professional and personal work is crucial for maintaining my creativity, staying motivated, and ensuring that I produce both impactful client projects and deeply fulfilling personal artwork. It allows me to grow as an artist and bring a sense of fulfillment to both realms of my creative journey.
IL: Can you tell us about some of your favourite projects you have worked on?
HM: Certainly! I have had the pleasure of working on several projects that hold a special place in my heart. Each project allowed me to explore different aspects of my artistic abilities and brought unique challenges and rewards.
One of my favourite projects was an animation short film that I created during my junior year in university. It was a significant undertaking that required months of hard work, collaboration with fellow students, and meticulous attention to detail. Seeing the final film on the big screen during the screening event was an incredibly rewarding moment. The excitement and sense of accomplishment we felt as a team was unforgettable.
Another favourite project was an illustration for a children’s book, Night on the Galactic Railroad. The opportunity to bring a story to life through my artwork was both fulfilling and delightful.
Recently, I completed a conceptual illustration project based on my personal experiences. This project allowed me to merge my passion for illustration with an imaginative animated world. Designing characters, environments, and visual elements to enhance the visual experience was truly thrilling.
Each project I work on holds its significance, they collectively contribute to my growth as an illustrator and animator. I cherish the diverse opportunities that come my way and look forward to continually challenging myself with new and exciting projects in the future.
IL: Your work on the picture book for “Night on the Galactic Railroad” is very striking and seems to be a much looser style than your other work. Can you tell us more about this project and how you arrived at the style and tone for the book?
HM: Thank you for your kind words. This project was a unique and memorable experience for me, as it allowed me to explore a different artistic style and tone than some of my other works.
The decision to adopt a looser style for this picture book was a deliberate and thoughtful one. Night on the Galactic Railroad is a classic literary work with a profound and imaginative narrative. I wanted to ensure that my illustrations complemented the poetic and dreamlike essence of the story.
During the initial stages of the project, I immersed myself in the original novel and other visual adaptations. This helped me gain a deep understanding of the story’s themes and characters. As I delved into the emotional nuances and visual symbolism of the book, I felt that a looser style would better capture the ethereal and emotional atmosphere.
The looser style allowed me to convey a sense of wonder and mystery, essential elements of the story. It provided room for imagination, allowing readers to interpret the visuals in their unique ways while connecting with the emotional journey of the characters.
Moreover, the looser style also added a sense of movement and spontaneity to the illustrations, mirroring the magical and unpredictable nature of the galactic journey undertaken by the protagonists.
To achieve the desired tone, I experimented with various artistic techniques, including watercolour and ink washes. These traditional mediums provided a fluid and organic feel to the illustrations, creating a sense of depth and emotion.
In summary, the creation of the picture book for Night on the Galactic Railroad was a delightful and immersive journey. By embracing a looser style, I sought to capture the story’s poetic and dreamlike qualities, inviting readers to embark on a magical and emotional adventure alongside the characters. It was a project close to my heart, and I am grateful for the opportunity to contribute my artistic vision to such a beloved literary work.
IL: Can you tell us a little bit about your creative process – from the initial concept to the tools you use?
HM: My creative process is a dynamic and iterative journey that evolves with each project. It typically begins with a spark of inspiration, whether it’s a specific idea, emotion, or visual image that captures my imagination.
Ideation and Conceptualization: At the initial stage, I brainstorm and sketch out various ideas, exploring different concepts and compositions. I draw from my personal experiences, interests, and the project’s requirements to develop a strong foundation for the artwork.
Research and Reference Gathering: I often research to deepen my understanding of the subject matter or the visual style I want to achieve. This may involve studying historical references, gathering visual inspiration from various sources, or delving into relevant literature.
Thumbnail Sketches and Composition: Once I have a solid concept, I create thumbnail sketches to experiment with different compositions and arrangements. These small-scale drawings help me quickly visualize the overall design and choose the most effective layout.
Refinement and Drafting: From the selected thumbnail, I move on to creating a more detailed draft. This may involve refining the linework, exploring colour palettes, and experimenting with various visual elements to enhance the narrative and emotional impact.
Digital Rendering: As an artist who leverages digital tools, I transition to the digital realm to bring the artwork to life. Using software like Adobe Photoshop or Illustrator, I meticulously refine the artwork, adding layers of depth, textures, and fine details.
Exploration of Mediums and Techniques: Depending on the project’s requirements, I may employ a combination of traditional and digital mediums. Watercolour, ink, and gouache are some of my favourite traditional mediums that I sometimes integrate into the digital workflow.
Feedback and Revision: Throughout the process, I actively seek feedback from colleagues, peers, or clients. Constructive criticism helps me refine and strengthen the artwork, ensuring that it aligns with the project’s vision and resonates with the intended audience.
Final Touches and Presentation: Once I am satisfied with the artwork’s visual narrative and emotional impact, I add final touches, adjusting colours, contrasts, and lighting if necessary. I then prepare the artwork for presentation, ensuring it meets the technical requirements and is ready for its intended platform, whether it’s for print or digital display.
In summary, my creative process is a blend of imagination, research, experimentation, and technical skill. It allows me to craft visually compelling and emotionally resonant artworks that bring my ideas to life and invite viewers to embark on a journey of imagination alongside me.
IL: How do you deal with artist’s block?
HM: Dealing with artist block is a common challenge that all creatives face at some point in their careers. When I encounter artist’s block, I employ several strategies to overcome it and reignite my creativity:
Take a Break: Sometimes, stepping away from the project or the creative process for a short while can be beneficial. Taking a break allows my mind to rest and reset, preventing burnout and giving me a fresh perspective when I return to the work.
Seek Inspiration from Nature: Nature is a boundless source of inspiration. Taking a walk outdoors, observing the beauty of the natural world, or simply spending time in a peaceful environment can help clear my mind and open the door to new creative ideas.
Experiment with New Techniques and Mediums: Trying out new artistic techniques or experimenting with different mediums can break the monotony and revitalize my creativity. Embracing the process of exploration allows me to discover unexpected approaches and styles.
Embrace Playfulness: Playfulness and spontaneity are powerful tools in overcoming artist’s block. Engaging in creative play, such as doodling, scribbling, or creating without any expectations, helps me tap into my inner childlike imagination.
Connect with Other Artists: Talking to fellow artists, joining art communities, or attending workshops and art events can provide support, encouragement, and new perspectives. Sharing experiences and ideas with other creatives can be inspiring and motivating.
Review Past Work: Looking back at my previous artworks and accomplishments can remind me of my growth and achievements, boosting my confidence and motivation to overcome artist’s block.
By incorporating these strategies into my creative routine, I can effectively navigate artist’s block and continue to produce meaningful and inspiring artwork.
IL: What advice would you give to others looking to make a living from art?
HM: Embrace Your Unique Style: Develop your own artistic voice and style. Embracing your uniqueness will set you apart from others and create a recognizable brand for your work. Don’t be afraid to be authentic and express your individuality through your art.
Stay Persistent and Patient: Building a successful career in art takes time and perseverance. There might be setbacks and challenges along the way, but staying persistent and patient will help you navigate through them and grow as an artist.
Showcase Your Work: Create a strong portfolio that showcases your best work. An online presence, such as a website or social media platforms, allows you to reach a broader audience and attract potential clients.
Be Open to Diverse Opportunities: Be willing to explore various artistic avenues. Art has numerous applications, from illustration and animation to concept art, graphic design, and more. Be open to diverse opportunities, as they can lead to unexpected and rewarding experiences.
Value Your Work: Understand the value of your art and set appropriate pricing for your services. Be confident in communicating the worth of your artistic skills and the time invested in creating each piece.
Embrace Criticism and Feedback: Be open to receiving constructive criticism and feedback on your work. It can help you grow and refine your art. Use feedback as a tool for improvement rather than taking it personally.
Balance Passion and Business Savvy: While passion drives art, it’s essential to balance it with business acumen. Learn about the practical aspects of freelancing or running an art business, such as contracts, invoicing, and client management.
Stay True to Your Vision: While commercial projects can be rewarding, don’t lose sight of your artistic vision and personal projects. Balancing commercial work with passion projects can keep your creativity alive and fulfilling.
Remember, making a living from art requires dedication, resilience, and a willingness to evolve. Embrace the journey, and never stop believing in the power of your creativity and the impact your art can have on others.
IL: Finally, one of our goals here is to widen people’s pool of inspiration – who are the artists/illustrators that inspire you?
HM: As an artist and illustrator, I observe and learn from various talented individuals. My favourite artists are Matsumoto Taiyo and Amano Yoshitaka:
Matsumoto Taiyo: His iconic manga and art style, best known for works like “Sunny” and “Tekkon Kinkreet,” have had a profound impact on me. His ability to craft rich narratives and emotionally resonate characters through his illustrations is truly inspiring. Especially his solid foundation and relaxed brushstrokes, every time I look at his work, both the content of the stories and his artistic skills make me linger and never want to leave.
Amano Yoshitaka: His ethereal and intricate illustrations, particularly in the “Final Fantasy” series and “Vampire Hunter D,” have left a lasting impression on me. His unique blend of detailed linework and dreamlike atmospheres has influenced my approach to creating fantastical worlds.
These artists have contributed significantly to the world of art and illustration, and they continue to motivate me to push the boundaries of my creativity. By broadening my pool of inspiration through their distinct styles and storytelling techniques, I continually strive to develop and refine my artistic voice.
You can find more of Hanyu Mu’s work on her website, Instagram, and LinkedIn.
The post An Interview with Hanyu Mu appeared first on Illustrators’ Lounge.
Benji Davies is an award-winning illustrator and author. He is best known for his acclaimed picture books The Storm Whale, Grandad’s Island and The Grotlyn.
Gallery Nucleus is currently hosting Davies’ first US solo exhibition. The exhibition is running from 6-20 August at their California flagship gallery. For the show, Davies has cherry-picked his favourite images from over a decade of books and turned previously digital work into brand new physical artworks, exclusively for this exhibition.
We previously featured Davies’ work way back in 2016, so we’re thrilled to have the chance to talk to him.
Illustrators’ Lounge: Can you tell us about your path into picture books?
Benji Davies: I studied animation at university. Due to a big shift towards CGI at the time I graduated, it was really hard to find work in that industry. We had trained in more traditional forms of animation storytelling, techniques like hand-drawn and stop motion, and whilst I continued to develop and seek work in animation, I looked to illustration as an outlet. While applying for a job as a designer at a publishing house, I didn’t get the job, but I had the opportunity to show them my portfolio and I was lucky to be offered a job illustrating a non-fiction picture book about the moon landings.
After a couple of years, I did start to find work in animation, being represented for commercials and music videos. This continued for quite a few years, working in both animation and illustration. But I never had the chance to tell my own stories which is where writing picture books came in.
IL: What were some of the most important lessons you learned from your time in animation?
BD: Working in commercial animation making adverts, and pitching on many different subject matters really pushed me to think in different ways and work in styles and tones that weren’t so obvious to me.
I guess one of the biggest gifts it gave me was the realisation that whilst I was making a living from animation directing work I wasn’t being creatively satisfied, and I found it quite soulless working for commercial clients. I needed to be more wholly the creator of the work. Writing and illustrating stories in my own picture books enabled me to do that. It was another way of “making films” as I had studied at university. I got to write the scripts, make the costumes, be the actors and cinematographer but the films I was able to make were actually books.
IL: Noi’s adventures in the Storm Whale books are charming and idyllic, what inspired them?
BD: This goes back to my days as an animation student. The film I made was called A Bowl Of Soup. It was the story of a little boy who finds a whale on the beach. As the years passed I had always wanted to see if I could turn this student film into a children’s book. Then one day I was in a seaside town called Whitstable in Kent, UK, and I saw some oystermen’s huts, old fishing huts along the shoreline. It put me in mind of the film I had made several years before so when I got home I set about turning some sketches and photos I had made of the huts into a new piece of artwork. This image became the starting point of me developing the picture book now known as The Storm Whale. The process took about three years before my publisher gave it the greenlight. The main character was nameless in the original student work but I had heard the name Noi when watching an Icelandic film at some point in the intervening years and felt it would suit my whale-saving boy.
IL: What’s your creative process – from the initial concept to the tools you use?
BD: All my books have unfolded in slightly different ways. But when I set about writing a new picture book the first thing is usually a seed of an idea that I have been brewing for some time, maybe several years. Ideas tend to gather over time, from concepts or moments, maybe even images such as the oystermen’s huts. I tend to build the idea in my head, and then at some point when inspiration strikes I will have the first line of the book – this happened with my book Tad. “Tad was a frog. Well that’s not quite true – she was almost a frog”. The rest flowed from that sentence. It’s then a much bigger job to storyboard the book, edit the text and make everything work as a picture book. I sketch out the story as a sequence of thumbnail images, the book illustrations as I imagine them to be in a small rough form. I then scan these and drop them into InDesign to create a dummy version of the book in PDF format. I can tweak and edit until everything is just as I want it.
Once I have the go ahead from the publisher I set about creating the artwork. I take each page of the PDF into Photoshop and start to paint digitally, building up the layers, objects and characters in the scene.
IL: Your career has gone from strength to strength, with a string of highly acclaimed and much-loved books, so what’s next?
BD: It’s a very good question! There are several things I have on the boil. One is writing a much longer book for older readers which I dip in and out of when I get the chance between deadlines. But also more picture books, and developing some of my published work into animation. But after creating these new paintings for the Gallery Nucleus show I’m also leaning into the idea of spending more time with my paints and brushes making some work which isn’t related to books and stories – that would be interesting and fun to explore.
IL: You have an upcoming solo show with Gallery Nucleus, what can people look forward to seeing at there?
BD: The show at Nucleus was a unique opportunity for me to look over ten years of creating picture books and cherry-pick my favourite images, then set about turning them into real painted works. I used a variety of mediums and techniques to achieve this, from gouache and acrylic, to ink and collage. The whole process was one of discovery and rediscovery. I’ve relied on a digital way of working for many years, both for the style it enabled me to produce, but also its expediency and editability. It was surprisingly meditative to find myself away from a screen, only hearing the brush strokes and scratches of pen on paper while I worked and has made me reconsider how I will work going forward.
IL: Finally, one of our goals here is to widen people’s pool of inspiration – who are the artists/illustrators that inspire you?
BD: Gallery Nucleus is a great place to start for anyone looking to be inspired, they represent such a great range of talented artists, it’s a real honour to be placed alongside them.
Some artists who have inspired me over the years tend to be ones from the past – Tove Jansson, Gustaf Tenggren, Mary Blair, Ronald Searle, and Eric Ravillious.
You can find more of Benji Davies’ work on his website and Instagram, You can find more details about his US show on the Gallery Nucleus website.
The post An Interview with Benji Davies appeared first on Illustrators’ Lounge.
We’re back with another installment of Monographs — our behind-the-scenes video series where we interview illustrators in their studios.
When we met Maxwell Oginni in June 2016 at his London home, he spoke with us about building a career in the animation industry. From not knowing what to charge for his first paying job, to successfully running a children’s workshop, sharing his passion with the next generation.
Last year, Maxwell was part of a Children’s Media Conference (CMC) panel discussing the portrayal of black male characters in children’s content. Where are the Smart Black Boys in TV? is an insightful discussion around the importance of breaking stereotypes in media and advocating for the inclusion of positive black male role models.
Curious to know what Maxwell has been up to since our interview, we reached out for an update:
Since 2016, I’ve gone on to work with the likes on Sony Pictures Animation, Matthew A. Cherry (Director of Academy Award Winning short, ‘Hair Love’) & Carl Jones (Executive Producer of ‘Black Dynamite’ TV series), as a character design artist on the upcoming series adaptation of ‘Hair Love’, which will be airing on HBO Max very soon.
I’ve also recently finished working with Warner Brothers Productions as a Story Artist on the upcoming feature, ‘Coyote Vs Acme’ Directed by Dave Green (Teenage Mutant Ninja Turtles 2016) and starring John Cena. Outside of this, the last two years, I’ve had the pleasure of working with Laura Henry-Allain (creator of JoJo & Gran Gran) on her next children’s series production titled, ‘Daddio & Co’, which I provided the main character designs for, and am honoured to say I’ll also be directing.
Finally, I’ve recently expanded to the world of children’s book illustration and am now signed with United Agents as an illustrator. If you’d like to keep up with my work, you can follow me on Instagram or subscribe to my website maximajination.com.
Maxwell Oginni
The post Monographs: Maxwell Oginni appeared first on Illustrators’ Lounge.
Eunbi Kang, a recent illustration graduate, studied illustration but had her sights set on animation. Her artwork bursts with energy and playfulness, brought to life by her skillful use of light and colour, creating a vibrant and atmospheric world.
In our interview with Kang, she discussed overcoming challenges, leaning into your strengths and pursuing your dreams.
Illustrators’ Lounge: Tell us about yourself. How did you get into illustration?
When I was young, my mother bought me collections of children’s books to raise a child who read a lot. And I did. From her point of view, I might have been a good kid who loved to read, but I actually read the books over and over to see all the wonderful illustrations that filled the pages. Paintings that told stories were a huge attraction to me as a child and even now. When I was in high school, I found out about jobs in animation and grew and had an interest in visual development after seeing the paintings of Celine Kim, one of the graduates of the ArtCenter. I ended up majoring in the same Illustration Department at ArtCenter just as she did.
IL: What are your favourite projects you have worked on and what has been the most challenging project?
My graduation project based on the 1950s black and white film Roman Holiday, was the most difficult project I’ve done, but also one of my favourites. When I watched this movie for the first time, I shouted “Eureka” out loud. I thought it would be nice to remake this wonderful movie into an animation style. And, since this was a black and white film, it gave me the freedom to emphasise my strength, colour. However, at the same time, it created a lot of obstacles for me because there was no reference colour that could be obtained from the film itself. Adding onto the task, I also needed to create all the parts of character designs, props, sketches, and composition for this project. However, after all of the obstacles, I think I overcame my limitations, I realised I can paint better than I expected and design my project more than I could. I heard that the growth of art skill does not have a diagonal shape, it has a stair shape. When artists break through their limitations, they grow their skills. To me, Roman Holiday became a way for me to step over my limitations.
IL: How has your style evolved since working professionally?
I think my style has evolved and been tailored to the animation industry, especially 3D animation. My job is a visual development artist, who creates the pre-production ideation of the animation, such as props, backgrounds, and characters. And since I found my strength in colour, I did a lot of design work focusing on colour. Because of that, since working professionally my portfolio has been built to focus on an animation style and different scenes.
IL: Your illustrations have a warmth to them, because of your charming character and good use of lighting. What are your biggest considerations when composing a scene?
Thank you very much for the compliment. I think the most important thing in painting is harmony. This concept is not just utilised by painting, but also by sculpture, photography, and many other art fields. So, when creating an illustration, it is good to think about the point of view of the people who will see it. The first thing I think about is how to naturally draw the viewer’s eyes to the focal point. Directing the shape or location of buildings or objects to the focal point. An illustration fundamental that I first learned at the Art Center.
Utilising this, I think about which composition works best for the story. Illustrations are not animations. It can be the basis of animation, but since the character does not move, it cannot contain a vast story like animation in one scene. For example, in my Roman Holiday redesign project, there is a scene where Ann is getting her haircut And Joe, the male protagonist, is surprised to see her new hairstyle. There’s a variety of compositions that could suit this moment. You can capture Ann’s haircut and Joe’s surprise in the reflection in the large mirror at the salon. Or you can create a full shot of the salon while others adore Ann’s new look, Joe is surprised at the back. You just have to think about the different compositions and choose which best describes the scene.
IL: Do you have any painting tips?
Oh, that’s a very difficult question. While I have learned a lot from many people, the most life-changing words I’ve ever heard were spoken by Drew Hartel. “Don’t paint things, paint light.” These words completely turned my life upside down. Painting can be divided into light, objects that light hits, and shadows that objects create. I think painting expresses how light reflects off objects. Ultimately, it is the work of expressing light. After hearing this, my painting became easier and more fun. After all, painting is about how local colours react to light.
So when I start painting, I first imagine the colour of the light and the colour of the shadow. And think about what happens when the local colour is exposed to light and shadow. For example, imagine an apple under a blue sky bathed in yellow sunlight. First of all, I will think about the colour of light and shadow. Then, I will colour the apple, imagining what colour the red of the apple will be when it is in a yellow light versus what colour it will be when it is in a blue shadow. The part that receives the light is a warm colour, so it will be more saturated red, and the red colour in the shadow part will be low-saturated or blue. So rather than colouring the apple in what it would be known for, I’m imagining how the colour reacts to the light it is under. I don’t think it’s important to copy the exact colour from reality. The most important thing is that the viewer doesn’t have to question the light and colour of this painting.
IL: How do you keep yourself motivated and avoid burnout?
It’s a question my friends always ask, “how can I always draw and paint?” Well, I don’t think of painting as a job, it is always fun, and more of a game.
Everything around me becomes my inspiration. While looking at the buildings, trees, and passing cars that change with the time of day, I am constantly thinking, “Oh, this will be a really good reference.” The world is my playground, reference, and teacher. Paintings and this wonderful world never leave me bored.
But when anxiety and worries about the future come, I remind myself to focus on the present, which can be changed, rather than the future, which cannot be changed. Carpe Diem!
IL: Are you working on any personal projects?
Yes, I always do personal work! Most recently, I worked on an Able Sisters’ clothing store in Animal Crossing using Blender, a 3D modeling tool. I started learning Blender after seeing how helpful it is for other artists and decided to combine it with painting in Photoshop to enhance my illustrations.
IL: What advice would you give to other artists?
Everyone has their own pace and path. It’s going to be very difficult, but I hope you don’t compare yourself with others. I think the moment artists stop comparing themselves to others, they can grow on their own. When I compared myself to my classmates, I felt pessimistic. But I soon stopped. I’m happy when I paint, but not when I compare myself to other artists. I decided to only compare myself to my past self. I only need to take one step ahead of yesterday’s me. I promised myself I would paint happily every day because it is my dream job and dreams come true when I paint.
IL: Finally, one of our goals here is to widen people’s pool of inspiration – who are the artists/illustrators that inspire you?
Thanks to social media, it has been easy to find the work of many great artists and learn about their processes and thoughts. The artists I like are as many as the stars in the sky, but the ones that come to mind right now are Celine Kim, Aliya Chen, and Rebecca Shieh. Their work has been my biggest inspiration. I always work hard because I sincerely hope that one day I will be able to work with these wonderful artists.
You can find more of Eunbi Kang’s work on Instagram and Twitter. You can also check out her portfolio at eunbikang.com.
The post An Interview with Eunbi Kang appeared first on Illustrators’ Lounge.
Follow his journey from concept to installation as he navigates the challenges of scale to bring his hyperrealistic, imaginative floral painting to life.
The post Making It Big: Eric Wert Takes Floral Painting to a Whole New Level appeared first on Artists Network.
Learn strategies to take that extra step to make your sketchbook a work of art.
The post Personalizing Your Sketchbooks appeared first on Artists Network.
…
The post Now Showing: Wendy Shalen “Portraits of Nature, Then & Now” appeared first on Artists Network.
Six artists explore various approaches for rendering birds with flying colors.
The post Flight School: Painting Birds appeared first on Artists Network.
With Johannes Vloothuis Discover the fun of painting enchanting miniature landscapes that are both easy to create and captivating to look at! In this unique workshop, you’ll learn techniques to simplify your landscape scenes by focusing on essential shapes and colors, downgrading detail to create charming, easy-to-accomplish paintings. Miniature landscapes are perfect for beginners and…
The post Paint Along Breakthrough (Nov25): The Big Value of Miniature Landscapes appeared first on Artists Network.