South Korean illustrator Jee-ook Choi has adopted a minimal approach to her work and describes her style as “dry and poetic”. We shared her poster work and illustrations last year and while Jee-ook is still conveying ambiguous narratives through considered linework, it’s clear Jee-ook has pared back her images even more, making us focus on the finer details.
“I try to put complex emotions into my illustrations, but I’m careful not to overdo it,” she explains. “I enjoy the process of composing and arranging an image. It’s good to keep changing while I work, and avoid planning completely from the beginning. To be honest, I spend more time worrying what to draw rather than the actual drawing.”
With commissions from The New Yorker and Stella magazine, Jee-ook enjoys the challenge of working with a client and brief in mind. “There’s not as much freedom in commercial and editorial work, but I think it’s interesting to come up with ideas with limitations,” the illustrator says. “I think it’s great to balance what the client wants, the audience wants and what I want.”
Jee-ook sees her work as using visuals to express and “understand a less logical world” and through this most recent work we see obscure sights like a cloaked crumbling figure, graphic waves and a floating lasso elegantly drawn in muted tones.
- Standards Manual return with catalogue of 400 objects relating to New York City Transit
- Emma King's publication rewrites Orwell's "1984" using Donald Trump's tweets
- It’s a new dawn, it’s a new day – it’s Best of the Web!
- Bolade Banjo photographs the perseverance of Detroit’s student athletes
- Alex Grigg animates Steve Stoute’s homage to Biggie Smalls
- Billy Clark applies his graphic sensibilities to his minimal yet textured illustrations
- Polaroid’s creative director Danny Pemberton introduces new brand Polaroid Originals
- Artist Dominique Pétrin on creating her very own domestic product
- Universal Everything animate emotive wallpapers for new iPhone devices
- Herburg Weiland’s meticulous editorial designs are typographically-driven
- The Visual History of Type author Paul McNeil selects and dissects his six favourite faces
- Breakdown Press’ Joe Kessler picks out his most-treasured books