Illustrator Interview: Tin Javier, 2025 Alcala Prize Winner

Tin Javier, 2025 PBBY–Alcala Grand Prize winner for her illustrations in Three Thimbles, is the blog's featured illustrator of the month. In this interview, she shares how she approached the project as both a challenge and a chance to grow. She pushed herself to render diverse characters, research historical settings with depth, and capture untold details that magnify Patricia Sy Gomez’s story. For Tin, illustration is more than technical skill. It is an act of care, imagination, and research, meant to honor the author’s vision and inspire young readers to see beyond the text.

Congratulations! How did you feel when you learned you had won            the Alcala Grand Prize for your work in “Three Thimbles?”

I didn’t really think I would win because the reason I made the illustrations was to challenge myself in making characters with different ethnicities. And I wanted to also learn how to make houses because this was one of my weaknesses to do - the setting of the story because in picture books, we are always conscious of having to allot spaces for texts. So I took this opportunity to not think of anything and show how most likely I would like to render my illustrations.

What drew you to Patricia Sy Gomez’s story, and how did you begin translating her words into visual form?

The words were already so beautiful and detailed, so for me, my goal is to magnify the untold parts of the story. When I was a child, I wasn’t really allowed to go anywhere so I grew up with Nat Geo magazines, hand-me-down encyclopedias, etc. I always try to remember everything I can ‘cause the moment will go away. And now as an illustrator, I always think that there might be a child or a reader that wants to reimagine the time period or the place so this is what motivated me to add more to the details that were not told in the text.

Your illustrations carry both delicacy and strength. Can you share your process for choosing the color palette, style, and details that would best serve the story?

For the color palette I researched and watched movies and early videos of Hong Kong during the British occupation - the Chinese natives’ clothing, architecture and the street view. I wanted to reimagine the characters from a provincial Philippines landing up in a foreign country and things they must have seen as kids. Since that time, there were also Chinese sellers of vipers and pipes. I added it here in this busy street. I also tried to have a separation between the social status of the Chinese people i.e. the Chinese landlord versus the men pulling the rickshaw, Chinese children that were begging in the streets. 

In my submission, I also focused on several things I need to be able to do. These are the whole body look of all the characters plus “spice characters” (unmentioned characters in the story), British setting (which was on the first illustration), a Filipino setting, and emotional scene which was seen on the black and white page, and also the cover that has to reflect Filipino and a historical story but at the same time not giving away the main characters. I even put the Chinese lattice for the brown background so that despite having to see the flag, it will also show that it was happening in Hong Kong.  Most of the elements I have put here were researched from either museum sites or online auction sites that may offer legit time period pieces. I wanted to reflect the hard work in research of Patricia to match with the illustrations.

What was the most challenging scene or spread to illustrate, and how did you overcome that challenge?

Almost all were challenging to do. I wanted to have goals for every illustration I submitted. First illustration: The Cover, for me, has to be an eye-catching artwork that is historically close to what most likely were used. Considering not to give away the “three thimbles” but making sure they were at the correct character holding which is which. For the cover, I wanted to reflect some of the chapters in the story that I will not be able to submit and hoping the judges will see most likely how I would execute other chapters if ever it turned out to be a book. The second illustration is the Chapter 1 page. I wanted the viewer to see that from a Filipino theme then how come it landed on an Ongpin-looking setting. I have this thing I practice that my first spreads are my maximalist page. In ordinary picture books, texts here are luckily put in short sentences or lesser details, and authors usually let the artist do the talking here. The first spread for me is the one that will hopefully keep the reader (child) holding my book, and I applied it here. I wanted them not only to read but observe what else was happening like the busy street, the possible sound of people rushing, the foreign language which I shown in the signages with actual Chinese characters and actual meaning (thanks to Google translate and Google lens translating the reference photos and I was able to know what were the establishments in a British-occupied HK. 

I wanted to see the hardships of the native people too, that even there, there was a caste that if they were well-to-do when they were in the Philippines, they are now average people in Hong Kong as exiled individuals. I wanted to help the child readers of the details you would actually only know in documentaries or historical movies. Also the viper seller represents the unique Chinese exotic food that must have surprised the characters and so are the type of long pipes used for smoking which are negative to some so I tried to still show this in a child-friendly way. 

For the black and white scene, I know from the last Alcala entry I had (2021), I also submitted crying characters for a theme. I was considering putting the scene of Juan Luna and Emilio Aguinaldo (Chapter 3), or with Josephine Bracket, but this scene where the wake of Adora (Ch. 16) gave me a chance to introduce the Filipino setting, an emotional scene and some more spice characters (these are the people they left in the Philippines i.e. the nun, their relatives, their home…). And also, it is not common to be able to draw a wake or a funeral in a historical book so that’s why I chose this one.

What advice would you give to aspiring Filipino illustrators who dream of illustrating children’s books, especially those who hope to see their work recognized on a national stage?

Honestly, I don’t aim to be recognized on the national stage. I’d rather have the message be recognized. Though yes, I do create illustrations to help envision someone else’s idea (the author for me is the initial maker of the story), for me I am just a medium to be able to share in a more understandable way the vision of the author. Maybe what I would say is this, for someone who wants to pursue a children’s book illustration, think like a child. Imagine what you wished to have seen (like if you were the main character or the narrator of the story), aside from the text, think outside the box. With AI hovering around and its supporters, so are the “okay na to” thinking of submitting works just because the readers are “kids”. Kids are very smart, so whatever we present to them it will never matter if you had an award or not cause kids will always look for the message and the pictures. 

Push to give your 100% in every process. Not only are these stories picture books for kids but we should be able to have growth as well. Maybe through the art process, maybe on the research, maybe on the composition, the aesthetic (maybe you want to shift or challenge yourself with a new art style). Use every spread to teach you too - to reconnect by playing with characters, setting, etc. Your every book will contribute to young readers' reignite passion to become creative through words, storytelling and even drawing. And all these works will be recognized, and all your hard work and efforts will be seen.

Thank you, Tin for this interview!

With Three Thimbles, Tin Javier shows how research, creativity, and sensitivity come together to create illustrations that enrich Philippine children’s literature.

Book Review: We Have It All

We Have It All

By Kristyn Maslog-Levis

Illustrated by Angela Taguiang

Createspace, 2015

Last month, I had the pleasure and the honor of attending the 2021 Asian Festival of Children's Content AFCC. The program has a rich array of talks, webinars and mini-workshops. This is my second attendance in the AFCC and I feel well fed. In fact, I still have some sessions in my watch list for viewing since there were talks that overlapped. 

One of the many things I appreciate about the AFCC is the availability of books to acquire. This year, there are many titles to choose from. Yes... my AFCC watch list is as long as my to read and buy list. Since our summer has begun, I had the time to review them. My first pick is Kristyn Malsog-Levis' illustrated story book, We Have It All. 

It is written in two languages, Filipino and Bisaya. Angela Taguiang's collage evokes nostalgia. Her illustrations fit perfectly in my reading of the story. I saw my childhood in the pages of the book. I know what it was like not to own material things and this was something I grappled with in my growing up years. 

But now, I know better. There is a line in the book that goes, "sabi ni ina malaki ang aming imahinsayon." I heard my mother say that to me many times. My maternal grandmother, Nanay Leony, made sure that I recognize it every way she can. 

She told stories. She cooked meals that fed my soul. She healed me when I was sick before my mother could bring me to the doctor. She allowed me to play under the sun and in the rain. She grew and tended a garden and sang songs. She talked to plants which fascinated me. She had a sari-sari store where I learned basic math and reading. How can I forget Zuma and Galema when she bought komiks for me to read which later on were rented out to readers young and old.

Yes. Growing up, I had it all. Thank you, Ms. Levis for this wonderful story.

4 Bookmarks

Illustrator Interview: Juno Abreu (1 of 2)

Ang Papa Teyo (Aklat Alamid, 2019) ay isang aklat pambata na sinulat ni Mia Baquiran sa wikang Ingles at sinalin sa Ibanag. Si Juno Abreu naman ang illustrador ng aklat. Sa pagkaktaong ito, si Juno Abreu naman ang nagbigay ng interbyu tungkol sa paglikha ng Papa Teyo. Narito ang kanyang interbyu.

1. Ano ang iyong proseso sa paglikha ng aklat na Papa Teyo?

Bago ko simulan yung proseso syempre binabasa ko nang ilang beses yung manuscript, mga tatlong beses. Medyo di ko pa nagegets sa una eh. Ha-ha! Sobrang effective nun para sa akin kasi habang binabasa ko, unti-unti ko na rin nabubuo sa isip ko yung mga possible kong gawing na illustrations at kung paano yung magiging layout ng isang spread

Sunod kong gagawin ay yung character designs, masaya ‘tong proseso na ‘to kasi nabibigyan ko na ng buhay at itsura yung mga characters ng author, medyo nadalian ako sa istoryang ‘to kasi yung characters mismo ay hango sa mga totoong tao. Kaya meron na akong basehan sa itsura ng characters.

Siguro ang huli kong pinag-iisipan ay kung ano ang pinakamabisang paraan para mabigyang kahulugan yung bawat pahina ng kwento, doon ko na rin isinaalang-alang yung mga espasyo, mga kulay, at emosyon ng mga karakter at kung ano yung gustong iparating ng author sa mga mambabasa.

2. Bilang illustrador ng mga aklat at kuwentong pambata, ano-ano ang proyekto na nagbigay sa iyo ng pinakamalaking hamon at bakit?

Isang proyekto na nagbigay sa akin ng pinakamalaking hamon ay ang pag guhit para sa isang segment sa Kapuso Mo, Jessica Soho. Naging malaking hamon sa akin ‘to kasi yung segment mismo ay hindi pambata! Yung segment ay tungkol sa online child trafficking dito sa Pilipinas!

Naisipan nilang gawin na kuwentong pambata yung segment para hindi masyadong mabigat sa mga manonood, naging malaking hamon siya kasi nahirapan akong gumuhit ng pambata para sa isang topic na hindi komportable, isa sa mga kinailangan kong gawin ay gawing komportable ang topic para sa mga manonood, mahirap pero tinuloy ko pa rin kasi mahalagang topic siya at kailangang i-acknowledge na meron talagang nangyayaring ganun dito sa atin.

Kuwentong Musmos Illustrator Interview: Lui Buan

Lui Buan, the illustrator of Ang Alaga Kong Lolo (Gojo Cruz, Lampara Books 2019) shares with us his creative process and recommends books for aspiring artists. 

1. What is your creative process for Ang Alaga Kong Lolo?
 
The pre-production happened during the Room to Read workshop held in Baguio City last October. While reading the manuscript, I also had to get the “feel” of the story. Simultaneously, I was imagining how the characters would look like and their milieu.

For Ang Alaga Kong Lolo, I imagined the two main characters as subtly mirroring each other, not just with their “movements”, but also how they looked. 

For example, if Lolo wears a striped blue top - the child also wears a blue top. In the last pages, however, I did the reverse. That somehow adds an element of juxtaposition. For the location, I opted for a setting that is laid back yet is in proximity to the metropolis (because the child’s mother works in an office). So what came to my mind was Antipolo. It has the perfect setting for its greens and its uneven terrains are visually interesting. It also has a view of city skylines.

Once the characters were approved by the workshop mentors, I proceeded with sketching the storyboard - integrating both the characters and the story. The rendering and coloring for the illustrations happened after the workshop. Time is one of the challenges as we only had a month or so to illustrate the entire book (and the schedule overlapped with my graduate school finals, which made it even more challenging).

The pages were sent to the mentors for approval, and then forwarded to the book designer, Alen Mangabat for the book layout and the text. The challenge was all worth it, especially when I saw the printed colored sample.

 2. What is the picture book/children’s book you wish you had created or illustrated?I like Pergy Acuña’s “Sampung Eroplano” because the concept is cute,  and I want to try illustrating counting books. I also like Ivan Reverente’s “Ang Kuya Kong Zombie” because I am fond of playing computer games (during my freetime). :)

3.  What are your 5 tips for aspiring illustrators?
 First, hone your craft by drawing a lot. Second, get to know yourself well enough to know what your weaknesses and strengths are, and work on them. Then, believe in yourself more than anyone else; do not compare yourself to others. Lastly, keep on drawing!

4. What are your 5 recommended books for young artists or anyone who wishes to break out into picture book illustration.
 -Children’s Picture Book by Martin Salisbury has chapters on western children’s book history, character development and even storyboarding techniques! I think this book is a must-read.

-Cartoon Animation by Preston Blair - This is not about picture books, but if you have a cartoony style, it has chapters about character constructions and even character acting that you may want to apply to your illustrations!

-The Animator’s Survival Kit by Richard Williams - Another book that’s not about children’s books specifically, but, you might want to look at some chapters on character acting, body language, and other animation principles that can be useful, especially if you have a more cartoony style. :)

-Show Your Work by Austin Kleon - I think it is a good book for artists of all ages, in the age of social media. The book is really about how to show your work.

-Ang Alaga Kong Lolo by Genaro Gojo Cruz and Lui Buan -  It will be available soon, so get a copy! :)

 5. What part in Ang Alaga Kong Lolo did you enjoy drawing the most or proved challenging to draw?

I really enjoyed drawing the characters so much, as well as the backgrounds. What I think was the most challenging part was showing the connection between the two main characters.

 

Illustrator of the Month: Ghie Cabalar (1 of 2)

When A Book Talks, my seventh children's book with Lampara Books was launched last Tuesday, November 19, 2019 at the National Library of the Philippines. The illustrations were rendered by Ghie Cabalar. Read up on her interview below. 

1. Who is Ghie Cabalar?

My name is Ghie. I am a licensed librarian and a graduate of Bachelor in Library and Information Science at Polytechnic University of the Philippines. I had units for my Master's degree in UP.  Two years after, I decided to go back to my passion since I was a kid. From then on, I took my second degree in Bachelor of Fine Arts Major in Painting at the University of the Philippines, which I haven't finished yet. For my hobbies other than drawing and painting, I read a lot of books, articles, and epubs. I often listen to podcasts and audiobooks especially while traveling.  Human behavior, psychoanalysis, metaphysics, arts, cats, fiction books, constellations are the things that fascinate me. I'm currently a freelance artist so I work from home and sometimes work on field painting mural works on walls.

2. Which came first, librarianship or art and illustrating?

Art came first.  I started enjoying doodling on papers even before I start learning how to write. My interest and skills in art flourished during elementary and High school since I became our school representative for editorial cartooning and on-the-spot poster making competitions. These opportunities eventually led me to become our batch's Artist of the Year and PGMA awardee for Culture and Arts during our HS graduation. Librarianship came in college. But my love for literature and libraries were already established since I first learn how to read. Books captivate my interest since I received my first fiction book. I fell in love with books because of the texture of the paper, the alluring smell of the book: old and new and especially, the different kinds of emotions and incredible experience it brings.

3. How does being a librarian inform your art and vice versa?
Librarianship taught me the skills in finding the right and credible resources. My skills in knowledge acquisition helped me during my transition from being a professional librarian to becoming a fulltime artist. I considered myself a lifelong learner. Thus, I read and browsed a lot of art-related materials. I also do some research on art inspiration,  tutorials, principles, and theories. My purpose is to grow and expand my artistic vocabulary and knowledge. Knowing how copyright works and being aware of issues on plagiarism are essential parts of being a librarian and artist too. Hence, it is my practice to always see to it to give proper credit to the right people. I also help my fellow artists and art enthusiasts by providing reference sources that are available on the web. I even encourage them to visit their local libraries if they want to further study their materials. Librarianship also molds me into becoming a responsible art producer.

Part 2 of her interview will be posted within the week. 

Adrian Panadero, Alcala Prize Winner 2019

This year’s Alcala Prize winner, Adrian Panadero, graciously agreed for an interview. It was a pleasure to have met him last week at the Cultural Center of the Philippines. He was awarded a medal and cash prize while his mother beams with pride in the audience.

Read on and know more about his works, style and approach in illustrating for books for kids.

1. How did you approach illustrating A Delicate Strength?

This is interesting because when I was illustrating A Delicate Strength, there was a question that loomed at the back of my head. Should I stay true to Mrs. Dans’ realist style or should I make it more fantastical or whimsical? In the end, I brought my approach back to the story’s title. I wanted my illustrations to have a very graceful, delicate, and whimsical quality, yet still look grounded in realism. It’s a big theme throughout the story - finding beauty and strength in delicate, sometimes mundane objects - so I really wanted it to show in the illustrations. 

Also, I was a fan of Mrs. Dans’ work. Many people say that my illustrations can be very mabusisi or detailed. That’s also something that I wanted to show, so I added the callados Mrs. Dans is famous for. Actually, a part of why I chose to enter this year was that I just really wanted to illustrate callados. Hehe. 

2. What is your advice to kids who are thinking of pursuing a career in the arts?

I’d like to tell them to not be afraid of making mistakes and letting their minds and hands wander. Nobody starts out perfect. Don’t be discouraged when you end up making something you’re not proud of. Be excited about it! Because that’s when self-improvement and discovery comes. I feel like with social media, it’s very easy to compare your work with others. However, you’re the only one who can do you, so focus on your craft and enjoy creating. 

Panadero at the National Children’s Book Day awarding ceremonies in CCP last July 16, 2019.

3. What are your top 5 children’s books and why?

1. Alamat ng Ampalaya - This was my first vivid memory of a Filipino children’s book, so this book occupies a special place in my heart. To be honest, I didn’t have a lot of Filipino children’s books growing up - many of the books on my list, I discovered while lingering in bookstores. However, for this book, I remember being so fascinated with the Ampalaya wearing the colourful costume it made by stealing from the other vegetables. 
2. Isang Harding Papel - I love how this book tells the story of Martial Law in a very personal, intimate, and even heart-wrenching way. The storytelling device of the paper flowers was so beautiful.
3. And Ambisyosong Istetoskop - I love how the story of Jose Rizal is told endearingly through this book. I also love how the book ends, with the stethoscope being proud that it’s displayed in a museum honouring its owner. 
4. What Kids Should Know About Filipino Food - As a kid, I was into encyclopedic books which would share facts on different topics accompanied with varied illustrations. This book reminds me of an encyclopedia, only that it focuses on food, is more engaging, and with adorable and vivid illustrations. 
5. Alice in Wonderland - Pop-up Book by Robert Sabuda - I am into paper engineering, so I just have to mention this book. It’s a retelling of the fairy tale brought to life by amazing pop-ups by master paper engineer Robert Sabuda. I find myself being speechless whenever I get to open this book. 

4. Apart from finishing the illustrations for A Delicate Strength, what other art projects are you busy with and would need support and promotion?

I have 1 book out entitled Intramuros: The Walled City, a cut and build book which readers can take apart to build a paper model of Intramuros. I’m currently working on the follow-up to this book, so hopefully we get to release it next year. 

Other than that, I am a graphic designer by profession. I work at a branding studio called And  A Half. We work on different brands ranging from restaurants to real estate, skin clinics to schools. We’re looking into working on higher impact projects for audiences that need it most, so if anyone knows of a cause which thinks would need help design wise, they can send us a message at collaborate@and-a-half.ph :)

Illustrator of the Month: Ara Villena

Because the 2018 National Children's Book Day is a week away, the blog will be featuring the Alcala, Salanga and Wordless Picture Book Prize winners. Here is the interview with Ara Villena, the 2018 Alcala Prize winner. She is also the blog's Illustrator of the Month.

How did you learn about the Alcala-Prize?

I first learned about the Alcala Prize when I was applying for Ang Ilustrador ng Kabataan (Ang
INK) back in 2014, because Ang INK’s application process is often, if not always, based on the PBBY-Alcala mechanics.

I remember, back then, I also submitted my Ang
INK application artworks to the contest, just for the heck of it. I mean, the requirements were the
same, so why not, right? Obviously, that didn’t get noticed at all, but I got into Ang INK anyway, so, hooray!

What is your creative process for May Alaga Akong Bakulaw?

May Alaga Akong Bakulaw is a beautiful story – I fell in love with it as soon as I read it. I think the story was something like a journey: an uplifting journey towards the rediscovery of love, towards hope, towards light. So, more than anything, I wanted my artworks to be able to radiate that feeling too.

I began sketching the three artworks side-by-side, trying to create cohesive story that could somehow stand on its own (I’m not sure if it does, but I hope it told its own story, in a way).

I also wanted to illustrate the journey that the Bakulaw went through using color and composition, as well as through the Bakulaw’s physical form. From a ragged, hairy creature, he eventually turned to the smiling Tito Robert, who crossed from his dark yard over to the little girl’s colorful world. And of course, the little girl was instrumental to this transformation – constantly reaching towards Robert like a little source of light.

And then so, after figuring this all out, I began to paint!

Ara Villena's rendition of May Alaga Akong Bakulaw

Who are your role models in your discipline or community?

I’m not sure if I have any particular role model but I definitely take
inspiration from a variety of illustrators.

First and foremost, however, is the artist who got me into children’s book illustration in the first place: Shaun Tan, an illustrator from Australia. His books, such as The Red Tree, The Lost Thing, and The Arrival, catapulted me into the children’s book world.

The Red Tree, in particular, got me through some difficult times in my life, and it was through this book and Shaun Tan’s work in general, that I sort of found where I want my works to go: in a world of journeys towards hope. And the magic of it is, I believe children’s book illustrations transcend age – just like how Shaun Tan’s work did!

From there, I made conscious effort to find out more about the local industry: I took a class in Panitikang Pambata under Eugene Evasco, a children’s book author, who introduced me to a whole spectrum of children’s books in the Philippines. This was before I became part of Ang INK. And then I became a part of Ang INK, and I got to know even more artists!

Ever since then, my awe for Filipino talent grew exponentially. Artists like Beth Parrocha, Kora Dandan Albano, Sergio Bumatay III, Aldy Aguirre, Aaron Asis, Jericho Moral, and the late Jason Sto. Domingo, are just a few of the brilliant artists I admire because of their great techniques, wonderful storytelling, and their ability to capture the hearts of their viewers, (including mine). Our country is brimming with talent, and that’s enough to inspire me to continue illustrating.

Villena's bright eyed view of the world is reflected in this art work.

Who are you as an artist?

I’ve always believed in the power that even the littlest of lights can bring to a world of darkness. I’d always say, if you could just cling to that glimmer of hope, cling to it, no matter how small it is, then things will be alright.

Of course, the concept is disputable, but, I’d rather believe in it than give up.

So, if I or my artworks could bring that little bit of light, if I could be that light then that already fulfills much of who I want to be as an artist.

Ara Villena will be awarded a medal and cash prize on Tuesday, July 17, 2018 at the Cultural Center of the Philippines.

Book Project Preview: A birthday and a video game console

Here are two studies from new book project that I have been working on with a librarian-artist. 

Can you guess who the artist is?

Can you guess what the story is all about?

Oh Joy! Feedback From A Reader!

Imagine my surprise to find this message from Elaine Aliga Ricafort. She sent this through Messenger. In a time when social media is tainted with fake news and smeared by propaganda, using it wisely and responsibly can garner good results.

Hi, Zarah! 🙂 Sorry, you do not know me. But you happened to comment after me on Cris Tanjutco's status, and I was wondering why your name was so familiar. Then I realized I just read your book "My Daddy! My One and Only!" with my 6-year-old son yesterday. 🙂 

So I just wanted to tell you that it's a great book. And it perfectly describes my son's relationship with his dad, who is also an architect. 😛 So thank you! And I'll be on the lookout for more of your books. 🙂

My Daddy My One and Only (Gagatiga and Tejido, 2013) is published by Lampara Books.

Illustrator of the Month: Tinsley Garanchon

The blog's Illustrator of the Month is Tinsley Garanchon. She is the illustrator of our upcoming books, the Bulilit Books, published by the Nutrition Council of the Philippines Publishing Corporation (NCPPC). 

1. How did you approach the illustrations for the Bulilit Books?

Since these are revised versions, the challenge was to create a modern approach yet retain something familiar to all the readers, local touches such as landscapes and interiors. Also, keeping the art in continuity. Timeless in a way.

2. What medium are you most comfortable using when illustrating books for kids?

Digital. If given an opportunity for art’s sake, I'd like to try traditional sometime.

3. As an Inkie, how does the organization help you grow as artist and as a person?

The profession of an illustrator leads you towards a solitary lifestyle but there are times, it's also helpful to have a set of like minds who share the same dreams and goals that can help and support you.

The organization’s direction is to keep this presence known that there is a group gearing towards the progress of children's book illustrators in the local and international scene.

4. Five art works that inspired you to illustrate for kids.

  

Nila Aye

An illustrator, hailing from the UK. Nila is the epitome of  retro.  Her bright, graphic illustrations which appear in various magazine and publications gives a nod to colorful, retro works.

 

Lorelay Bove

Found her works by chance online. Not only she works in the animation industry, she also worked with book illustrations where I was drawn into her works. Bright, colorful, flat and retro.

She also has an interesting background story. Lorelay comes from Spain, her dream was to work in Disney Animation and guess what, she did! Her personal story also inspired me to believe.

 

Neysa Bove

Her works have some similarities with her sister, Lorelay. But what draws the line to distinguish hers is the focal point of her works is the character in the artwork which has a feminine and more whimsical approach to it.

 

Dric

Found an illustration of Dric’s in an art book which featured illustrators from South Korea, China and Japan. What had me look up to his work was his choice of colors and before, I wasn’t as adventurous in exploring various palettes from vivid hues or pastel tones. Unlike now, I would try to try different color combinations and  see how would it set a tone for an illustration.

 

Mary Blair

As a child, I had childrens’ books from Disney. When I got older I was able to learn more about this one illustrator that stood out as an influence. Mary Blair did a lot of visual development during the earlier years of Disney films, she also designed the look of an amusement ride in Disneyland which we know as Small World aside from taking in other illustration jobs in publishing and advertising.

Websites of Artists and Sources of Images:

Nila Aye - http://www.nilaaye.com/#/brownlow/
Lorelay Bove - http://www.lorelaybove.com/
Neysa Bove - http://neysabove.blogspot.com/
Dric - https://www.instagram.com/dric/
Mary Blair - http://magicofmaryblair.com/maryscorner