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

His work has gained him a string of recognition along the way, including awards from Communication Arts Illustration Annual, American Illustration, and Society of Illustrators Los Angeles to name but a few. He describes the themes in his work in more detail.

Many of my recent paintings continue my ongoing themes regarding nature, my personal aesthetic, as it relates to this subject, and also a subtle message about a general disregard as human beings for our natural surroundings.  Many of my recent characters, which sometimes appear in the new works, are designed as protectors and defenders of nature.

© Colin Johnson, 2012

The individual way in which he constructs his imagery has made him popular among big clients such as Nike, Adobe, VW, and Google. It has also gained him notable recognition, with this ‘Mad Men’ image winning the bronze award in the ‘AOI Images 35′ design category.

The faces in his portraits are gently built up from intertwining, decorative shapes, that each represent different depths and tonal qualities. Sometimes the forms are sharp and structured, creating gorgeous, crystalline surfaces. Sometimes, the are smooth and seem to form organically like the topographical contour lines of a terrain.

However, portraiture isn’t the only facet to his work. He also does a lot of design and typographical work, with an equally impressive portfolio and list of clients. You can check that work out on his other, separate site here. Below, he tells us a little more about what he does.

I am a freelance illustrator based in London. I studied at Liverpool School of Art and Design, after which I worked as a graphic designer for several years. Since focusing on illustration, I’ve worked for clients including Adobe, Converse, Google, Nike, VW, Seat, GQ, ESPN and Uniqlo, and have had work shown at several exhibitions in London and Europe.

My latest work involves creating handmade versions of my geometric digital work. I have a Staffie called Maisy who helps me to manage my workflow. I am represented by Agency Rush.

© Charle Williams, 2012

Because her mark making is so tightly stitched together, the drawings take on a nice photographic quality from a distance but a more sketchy, free style when enlarged. The pretty, delicate nature of her illustrations works perfectly for fashion, as well as with the minimal palettes she uses. She tells us more.

I am a freelance illustrator. I use a combination of traditional and digital methods to create my images. I create collages on the computer using Photoshop then use these as a basis for a drawing. Then I scan the pencil drawing into the computer and add colours, again using Photoshop.

Sometimes, I use coloured inks or pencils to add colour but I have recently been tending to use Photoshop more for colours, with maybe just a splash or two of ink in the image, for example red lips…

© Anna Higgie, 2012

We like the simple, strong shapes used throughout and the surreal, deconstructed scenes. Across all the materials used, it’s the arrangement of the soft, wavy forms against the hard, architectural lines that gives Alexey’s work its identifiable signature look.

My name is Alexey Luka. I live and work in Moscow, Russia. I work at home as a freelancer. About 10 years ago, I began  to paint as a graffiti writer . But, the last 3-4 years I’ve been using  a lot of different medias for my works. I prefer to use found wood panels and canvases,  my favorite paint is acrylic and spray cans. 

Sometimes, I do a lot of collages that I make from old paper and magazines, I also use a lot of markers for my sketches. In my works, I always try to use different styles to find something new.

© Alexey Luka, 2012

There’s a wonderful juxtaposition here. Reclaimed wood and other organic materials usually give the assumption of more rounded shapes with softer, worn edges, whereas Aaron’s sculptures are geometric and edgy. The colours are also used for contrast, sometimes worn away, sometimes left as they have been found. Aaron tells us more about the finding and making process with some great photos of his workspace.

I make paintings and sculptures out of found wood that I find from construction / demolition sites, dumpsters, the side of the road … pretty much everywhere. Using an array of tools, I cut down my finds into a manageable size and work from there. The main power tools I could not work without are a table saw, band saw, and miter saw.

I work heavily with geometric forms, so I need those tools to accurately produce the shapes I require. Power aside, I rely on countless other hand tools to both clean up the pieces, and achieve weathering where desired.

© Aaron S. Moran, 2012

First seen through the door are this year’s Pick Me Up Selects artists, including previously featured AOTM illustrators, Paul X Johnson and Sac Magique. The selection of 20 international up and coming artists covers a broad spectrum of styles, with 3D paper craft, painting, ink and prints.

You may recognise some of the names such as Riikka Sormunen, Mimi Leung, and Zim & Zou, whose 80s-inspired paper sculpture series, ‘Back to Basics’ has been very popular on the blogosphere.

Event photos © Kevin Meredith, 2012

© Zim & Zou, 2012

In the main gallery, once you’ve made your way up the little twist of a staircase, there’s a collection of collectives displaying their work. Make sure to bring your pennies with you if you’ve been looking for something to fill that lonely space on your wall as there’s a wide choice of affordable prints, books and zines on sale.

One of our favourites was independent publishers, Landfill Editions, who’s collection of prints, plates, glassware and books was inspired by a 1971 design by Eduardo Paolozzi.

Event photos © Kevin Meredith, 2012

Peepshow, the collective founded in 2000, including illustrators like Luke Best, Andrew Rae, and Lucy Vigrass, are this year’s artists in residence making their home in the first of the Somerset House Embankment galleries. They’ve put together ‘The Museum of Objects and Origins’ and will be bringing in special guest to run workshops throughout the programme.

Check the listings if you want to learn how to make a model as cool as Morph with the infamous Aardman Animations Ltd. or just want to touch up your paper toy, cartooning, or graphic novel skills in any of the other many workshops.

We managed to get some great stuff while we were there but you’ve still got a chance, Pick Me Up 2012 is up in London now until the 1st of April, check their site for details. 

Event photos © Kevin Meredith, 2012

© Chrissie Macdonald, 2012

© Miles Donovan, 2012

©  Martin Nicolausson, 2012

© Riikka Sormunen, 2012

© Jack Teagle, 2012

© Zeloot, 2012

As well as the sharp objects in her illustrations, we also like the extreme posing of her figures, twisted into impossible shapes. She was nice enough to tell us about her process in detail, taking us through the stages of her projects and how she communicates with clients.

Once I get the assignment with the requirements and ideas of the client, I start sketching on a small scale, focusing on finding the main idea which will uphold the illustration. Once the concept is clearly defined, I start developing the drawing in a more elaborate way, bearing always in mind the distribution and the balance among the elements featured on it.

Using the tracing table as an essential tool, I start redrawing, defining the lines and volumes of the illustration. Then, I go straight into shading in and hand coloring the sketches with color pencils, taking into account different chromatic and compositive possibilites.

I usually build on the latter stages of my work using digital techniques. I first draw the outlines that have been previously defined on a sheet of paper in order to lay them later with hand-made textures, which enable me to grant a unique value to each assignment.

I believe that it’s very important to send the sketch to the client before the illustration is well under way, so I can comply with any changes they might consider appropriate and I can get as close as possible to a more satisfying result. Once it’s been approved, I start working on the final art, paying plenty of attention to the neatness and clarity of the drawing.

I use the colors in channels following a methodology that highly resembles screen-printing, allowing me an optimum adjustment when it comes to printing. The illustration slowly begins taking shape until the image itself reveals when it’s done.

© Maria Corte, 2012

The first and third examples here are from a series called ‘Krokodil’, depicting the physical and mental effects of the tissue damaging drug that is spreading out from Russia, Desomorphine. The images, which are at first glance are almost luxurious in their tones, beg more consideration when you understand what they are about— a recreational drug that can leave its users scaly-skinned amputees with a life expectancy of two to three years.

“I always use original material from old books. Before starting, I always cut up the whole book and sort them around me. After this, the collage making starts.”

“It’s possible that at the end I don’t use all of the images. I never use the leftovers images for any other project. So, each project looks different. All my collages are handmade.”

© Ashkan Honarvar, 2012

Now based in London after completing her masters at Kingston a couple of years ago, she works in a range of areas, in a range of materials. It’s probably this diverse use of multiple mediums in her bustling drawings that make them work so well.

Make sure to check out her photo journal section of her website, too. It’s a beautiful insight into her travels and the people she’s met along the way, through diary entries and various, quirky kinds of photography.

“I am an illustrator born and raised in Seoul, South Korea. I studied graphic design and illustration in Seoul, then Baltimore and lastly in London where I now live and continue to work. I have produced illustrations for many different fields, including: magazines, books, logos, posters, t shirts and advertisement.

I also make my own zines and exhibit my personal projects. I am influenced by poetic and nostalgic material and like to draw inspiration from my own imagination and emotions.” 

“When I work, I make hand-drawn lines and textures using pencils, ink and pen, water colours, and collage with old paper. Then I scan all of them, and build up an image on lots of layers in Photoshop. Sometimes, I also do printmaking – etchings and silk screen. I like making things in an old-fashioned way with my two hands.”

© Yeji Yun, 2012