The result is a really diverse style with a lot of intensity and character running through it. We particularly like her illustrations that still have the tiny hints of shadow under the pieces of cut out paper, with extra layers of ink or paint then applied on top and moving out into the rest of the image.

When we asked to hear move about how Soo likes to create these mixed media pieces, she was kind enough to give us a very in-depth description of her process. She tells us about the materials she like to use, the stages the projects take, and even where she does her best thinking.

My name is Soo Choi. I am a freelance illustrator and visual artist. I was born and raised in Seoul, South Korea. Afterwards, I studied Illustration in London, where I currently live and work. I have worked in varied fields of illustration, packaging design, logos, books and magazines.

The photos [seen at the end of the feature] are the Seoul studio where I have temporarily been for 2 months, my work space in London is much messier and busier. My work process is not always the same since I use diverse materials. 

However, for commercial work with deadlines, I follow a set way of working, which I have found to be effective before. 

Firstly, I try to write and sketch on the subway, in cafes, parks or even in my  living room. Then, I come back to the desk to get some references, do a rough piece to see whether it will work or not. 

After I collect the best ideas and sketches, I also set a colour scheme. I tend to make the main image intuitively until it looks good enough, this is the most sensitive process for me. After I get the main piece right, then others go quiet smoothly and playfully with composition and colour palette, which I set first of all.

In between commercial briefs, I try to do experimental stuff, which makes me happier. I found that, after a certain amount of time, these attempts become the best way to keep my works fresh. Even though my works are varied in many different materials, I think the theme is the quiet line.

I believe that the visible world is not everything, there should be a much richer world beneath the surface. I collect the memories and imagination floating around us and visualize them. Making intriguing, strong, visual images, which can grab the viewer’s attention and bring them into the story is meaningful to me. 

I pursue something between reality and fantasy, seriousness and silliness, beauty and ugliness as well as 2D and 3D and everything in between.

I think that is why I started playing with 3D work and canvas work . Carving and acrylic on collected wood gives me a very healthy rhythm and having a bigger scale of work often helps me find new lines or shapes of figures as well.

These days, I am mostly obsessed with playing with colours by using cutouts.

© Soo Choi, 2012

Natsuki’s hope is that her illustrations can make people happy, even if for just a moment.

I have a style that is best described in colour and realised in detailed design. Bold vibrant colour forms the basis of a working practice that seeks to unite dreams and reality. I try to give the viewer a feast of colour and complexity, my surreal macabre touches are the counterpoint to my sweet and childlike innocent subjects.

My working process is simple, I do a lot of research then roughs, work on my original ink/pencil drawings as much as I need, sometime I digitally colour onto the original as well, then give it a clean finish!

© Natsuki Otani, 2012

Henry lives and works along the east coast of Kent, UK. It’s a place that may influence his work, we’ve never been there but his illustrations definitely remind us of the thick patchwork of other heather-lined areas of coastal Britain.

On his work, he says, “I think, for me, it’s all about drawing and I like work that looks like it’s been made with pens, ink, pencils, paint, paper— with no artificial additives! But, within that to make a believable world with its own set of internal rules to excite and intrigue”.

© Henry McCausland, 2012

He tells us more about it and his interesting homemade light box.

I always start with pencil & paper, to get down as many ideas as I can in a rough and rushed way.

Once I’ve managed to come up with an idea and composition that I like, I’ll clean up the drawing and then trace several layers with a bespoke light box (cannibalised computer monitor), using ink and a brush to get the appropriate feel to the drawings.

These then make their way into the digital world to transform into the colourful scrawlings that you can see in my portfolio.

© Sam Brewster, 2012

At times the ink is thick, giving a bold look to the work, but like in the first image here, a lighter hand creates a much more delicate feel. You may have seen Ping’s work for clients such as Time Out, The New York Times, and Nobrow. She tells about her portable drawing process.

I’m a freelance illustrator from Los Angeles and currently living in London. I work with gouache on paper, specifically BFK Rives. I have a limited palette of 5 colors, flat bushes, and a jar to hold water! It’s all very portable. I also have scrap paper and towels around to test the colors as well as preparing for dry-brushing. 

© Ping Zhu, 2012

It complements her choices of subject well, where she often depicts epic scenes of curious lands, perfectly enchanting for children with a sense of adventure. She tells us more.

Drawing is definitely the most important and enjoyable part of my illustration process. I love working on any project that involves a lot of drawing, which is probably why I enjoy making large scenes so much. Architecture and people are my favorite subjects.

I usually use either a rapidograph or a mechanical pencil and then Photoshop for color. Occasionally, I will dabble in watercolor. When starting an illustration, I usually like to dive straight into the drawing and build from there. My sketches are very loose, which I like, because it keeps me engaged in the drawing process.

© Vikki Chu, 2012

I’m a big fan of multiple printing techniques like screen printing, linocut, and woodcut. I discovered it some years ago and it changed my way of thinking about images in my work forever. 

I like to use these mediums, but I also like to work with watercolours, acrylics, indian ink, pencils and of course Photoshop. My influences are medieval art, tarot art, English or Spanish press illustration etc …

© Quentin Duckit, 2012

Amongst the storm of high-energy ink and humorous inhabitants, we also find moments of stillness, where we can stop and appreciate Olivier’s talent as a well-practised drawer. We like the combination of one-directional and cross hatching in the more built up areas and depth of tones achieved.

There’s an interesting play with light throughout the project, especially seen in the reflections in the wet city pavements of the musicians wandering into the night. Olivier talks us through all that jazz.

I always think about the volume and perspective in the drawing because I think it important to represent a universe without thinking about the codes. I used a whole bunch of techniques and mediums, but the main ingredient is the line itself. When I draw a scene I try to visualize it and I remember some dream sequences.

Search the symbols. I often draw with a fine Pilot pen or simply in pencil. I used to use pretty watercolor but I focus on the color on the computer recently. I love paper on which the pen slips well, as with Bristol paper.

© Olivier Bonhomme, 2012

It investigates the development of cybernetics, the history of the internet, the rise of ‘Web 2.0′ and mass intelligence gathering and the interconnected histories of the counterculture, and explores the implications of new systems of societal manipulation and the development of a ‘control society’ alongside historical and current responses to advances in technology.

It will be showing at the Science Museum in London from March 7th to May 1st 2012.

As well as a book, which you can win via this Facebook competition,  the artist has created a series of tarot-style card illustrations that accompany the exhibition, shown below.

© Suzanne Treister, 2012

To win the book, head over to the facebook competition here.

It’s a nice introduction to his website, where you’ll find more of his textural ink work, plus some great full-colour illustrations.

I create my illustrations in a screen-printed style, everything I draw is done individually, then brought together to build layers. Using stippling brushes and thick pencil crayons, I aim to give my drawings a unique texture and feel, like a hand drawn version of bitmapping. My inspiration ranges from classic art deco posters to 50s adverts for toys.

Hand drawn aspects and minimalist colour are my passions. I strive to create cheerful scribbles that will hopefully brighten up someone’s day.

© Ryan Gillett, 2012