ILLO Magazine 2023

BFA . ILLUSTRATION 2O23 Stephen Savage in conversation with Aram Kim + The Art of Illustration

by Charles Hively

• BFA ILLUSTRATION •

2O23

W

hen dust from a long academic year somehow settles, it’s time to reflect, debrief and tackle this publication. Meetings, lists of names and suggestions, curating and paginating the work, evaluating what was produced beyond our senior thesis project. Also impressive breakthroughs—or any lack thereof—are carefully discussed as this book gradually comes together. Additionally, an important writing component takes shape through which esteemed faculty and alumni interview each other along with commissioning thought provoking industry essays.

While this compendium showcases notable results, these only represent a fraction of graduate achievements and processes progressing in sketchbooks and tablets even as we speak. Now that our seniors venture beyond any familiar support academic environments provide, instincts, intuition, and training in craft and concept are kicking in to help them navigate these open waters.

When dreams come face to face with industry in its more or less defined, established or developing platforms, they have to find or carve their own way to audiences who respond.

Striving for personal voice or conforming, expressing or impressing, digitally or traditionally, through work that matters or delights, these are only some of the choices illustrators have to make in order to establish a personal balance between art and commerce.

The nature, proportions and intensity of these variables change in every assignment, asking artists to decide if they should work from the inside out or from the outside in. Real marketplace dilemmas and their rewards will soon replace students’ fear and excitement while venturing to chart and define their own pictorial territories. After all, we intentionally provide them with compasses, not maps.

This introductory note would be incomplete without recognizing the many talents going into a publication like this—from our gifted students to our long list of outstanding faculty and our department team. Thank you to SVA President David Rhodes for his trust, meaningful guidance and ongoing support. I am deeply grateful to the tireless Carolyn Hinkson-Jenkins, Matthew Bustamonte, Jason Little, Kelsey Short, Heaven Boles and their passion for this project, their ideas and care in introducing our brilliant 2023 graduating class to industries they are about to deeply transform.

As challenging as it is to crystallize the spirit of this department and provide a tangible memento of the work, thinking and spark that make BFA Illustration tick, this publication will come very close.

See you at school, Viktor Koen Chair BFA Comics BFA Illustration

SENIORS

20

Hanyu Yang

Jiaxi Chen

21

Yueyi Zhang

72

Letao Sun

22

Yijiang Dong

73

Yi Chen

23

Laís Rojas

74

Xi Jin

24

Jingyi Cai

75

Mifei Zhou

25

Zhihan Zhang

76

Yawen Hu

26

Mckenzie Jones

77

Xin Huang

27

Alana Green

78

Rongzhang Ye

28

Wenjun Shao

79

Songer Yang

29

Huilin Gui

80

Yutong Du

30

Lauren Giancola

81

Yinghao Lin

31

Carolina Gajardo

82

Haochen Wang

32

Vivian Liang

83

Jenna Park

33

Verum Zhou

84

Wenbo Wu

34

Ariel Miner

86

Sirui Zou

35

Denise Alayón

88

Oliver Perry

36

Jehao Wu

90

Maria Bautista Signorini

37

Mansi Vinay

92

Ruoshui Liu

38

Maxine Zhou

94

Yujing Huang

39

Jingyao He

96

Xiaozhu Cui

40

Sunny Ruan

98

Samantha Wang

41

Jim Liang

100

Qingru Yang

42

Yiwen You

102

Mutong Liu

43

Yilin Zhu

104

Yuxin Ding

44

Yunyao Chen

Yiyang Liu

45

Xinyun Chen

46

BFA Illustration Senior Thesis Faculty

Yuhe Zhuang

47

Xiaohan Guo

48

Xiaoyu Zhang

49

JOSH COCHRAN

Yiwei Wang

50

JENSINE ECKWALL

Lutong He

51

LISK FENG

Jihae Park

52

FRANCES JETTER

Zachary Guzman

53

VIKTOR KOEN

Long Lin

54

ANTHONY MACBAIN

Huaixuan Xiang

55

MARVIN MATTELSON

Damian Gary

56

LILY PADULA

Emo Kiddo

57

MATT ROTA

Emani Simons

58

CECILIA RUIZ LOPEZ

Ella Shi

59

DOUG SALATI

Ning Jiang

60

YUKO SHIMIZU

Louie Martin

61

VESPER STAMPER

Ria Varma

62

SARAH VACCARIELLO

Timo Chou

63

SAM WEBER

Yubin Lee

64

Ji Ling Wu Li

65

Hope Xi

66

Justin Jung

67

Yiyang Yvonne Li

68

Le Cong Nguyen Nguyen

69

Jasmine Chan

70

71

STEVE BRODNER

Cover: Xinyi Pan PANSHANDY.COM @PANSHANDY

A CONVERSATION WITH

Stephen Savage

&

Aram Kim

STEPHEN: So Aram, I always knew that you were a fabulous children’s book illustrator. I especially love the sweet and gentle Cat on the Bus. And then Emily Feinberg, your colleague and my editor at Roaring Brook Press, we’re working on a book with her called Rescue Cat. Emily told me Aram Kim is going to be my art director.

And I said wait, “Aram Kim? She’s an illustrator!” I was totally confused and I didn’t realize that you wore both of these hats.

“Draw what you like, draw what you know” –Marshall Arisman

So, I know that you’ve illustrated five books. How did you stumble upon

Saylor, and I sent him a promotional postcard. It was a portrait of Cary Grant.

If you sent a picture or a portrait of Cary Grant to someone in children’s books today, they’d think it should have gone to an editorial art director.

But [David Saylor] could see the essence of my style in that portrait and thought that it could work for a children’s book. So there was a lot of room for latitude in these decisions. There’s not as much these days; now you have to hit the ground running.

I still have that copy, but I didn’t think

[David Sayor] knew that I had another

children’s books as the path that you

that I was going to be a children’s book

career in illustration, that I wasn’t a

wanted to get on?

creator, or that it was even a career. I did

beginner. I think there was a trend also

take one children’s book class when I was

at the time when editors were plucking

ARAM: I think there is always this misun-

a junior with Yumi Ha. During that class,

illustrators from the pages of magazines

derstanding about children’s books that

I learned how to make a dummy book for

and newspapers.

they are just cute drawings, but if you

the first time, and she taught us about

pick up any children’s book now from

how to submit to publishers. I continued

those days because, as I said, I don’t

the bookstore and read it, they are very

working on children’s book art in my

think I was ready. I had these naive

deep; the storytelling is really solid; and

thesis year and after I graduated.

perceptions of what a children’s book

It’s interesting when I think back to

After graduation, I did research and I

writer is. For my first book, Polar Bear

are well thought out. So it’s not the

dropped off my portfolio with publishers.

Night, I was able to learn on the job.

cute, easy path at all.

But there was nothing solid coming out

all the settings that the illustrators create

of it because my work wasn’t very strong.

ARAM: If people are willing to learn and can work collaboratively, they always

STEPHEN: It’s not like adult stories watered-

end up making great work.

down or lightened up. They are just as

STEPHEN: That always happens. You have

deep and just as intense and have just as

to start at the bottom. You have to start

much substance as any other kind of story.

with nothing to show or nothing of quality,

STEPHEN: Your thesis was a book that

and people have to say you’re not there

actually got published, Cat on the Bus.

yet—you don’t have anything yet.

Did that book need a lot of help or were

ARAM: That first year I came to New York,

you able to take your thesis and just

I was walking around the city just exploring, and I happened to go into Barnes and

ARAM: You know that’s so hard to hear.

turn it over to the publisher? Did it need

Noble. I was walking around, looking at

And I don’t mean hard to hear emotion-

a lot of work, a lot of editing?

the books, but when I got to the children’s

ally, but no professional would say that

book section, I just couldn’t walk away.

because no one is that invested in you,

ARAM: A lot of editing was done during the

I so vividly remember picking up

to tell you the truth. No one wants to be

program with the help of Pat Cummings,

Maurice Sendak’s In the Night Kitchen,

a bad person and say, “Hey, your portfolio

who was my advisor at the time. She

and I was shocked by how good it was.

is not good enough. You have to improve

was just an excellent mentor. Everything

I didn’t grow up with Maurice Sendak.

yourself.” Something which is so import-

I’ve done in children’s books I owe to her.

I didn’t even know he was alive at that

ant, but it’s really hard to find anyone

time, but I was looking at this book and

who would tell you that.

I learned so much over time. And I did three pieces at a time with her. That was her advice—doing multiple projects at the

I remember thinking that the story was so good. And the Illustrations are

STEPHEN: It wasn’t until 10 years after

same time, and Cat on the Bus was one

amazing. It’s so well designed as a

graduation that I started doing kids’ books.

of them. After graduating, I really pushed

whole package.

I had some success with the editorial

that book to be submitted because it

work, and I wanted to try something

was the book that was getting the most

wasn’t just for kids, it was very enjoyable

different. I had a friend who was starting

reaction from people.

for anyone.

to publish at Scholastic with David

It’s very accessible and the story

I’d go to a few publishers, and then

after I graduated from the MFA program.

It was an amazing experience. I got to see all the original art from Sophie Blackall and Jerry Pinkney, these great illustrators who were already working with Little Brown. It was a great experience to see how these things work, like what is done when illustrators submit, how they review work, how they have to talk to all these different departments in the publishing house, like the editorial department, design department, production department, copy editing department; it’s all such a collaborative process that I didn’t know about. I never would have thought that I was suited for a corporate environment, but I was really enjoying it, so I ended up staying as a freelancer. During that time, Cat on the Bus was published and the design team came to celebrate with me. By that time, I was working on my second book, so I thought I had learned all the secrets. I thought I should be ready to go off as a full time author and illustrator. So I left Little Brown to work on my book, and then worked continuously as a freelance book designer with different publishers. One year later, I started working as a full time designer again at MacMillan.

STEPHEN: When I found out that you were my art director, I already knew your books, each time I got feedback, I would make

ARAM: When you work on one project,

and I saw that you art-directed We Are

edits, but the big arc in the story actually

especially as a student, you get so

Water Protectors, which won a Caldecott

stayed pretty much intact. The biggest

attached to it that you don’t let things

in 2021. And there’s another, A Place

change they made during the submis-

go. It’s hard to get feedback, and then

Inside of Me? That also got a Caldecott

sion process was adding text because it

you’re stuck with one idea or story. And

honor—

was originally a wordless book. Wordless

so I think it actually gives you room to

books are amazing for creators who want

have some distance from your personal

ARAM: It was the same year, which was

to tell stories through pictures, but it’s

project and be more objective.

insane to me. You never know which

very hard to sell on the market.

book will win the Caldecott awards. I do

I got great feedback from an editor

STEPHEN: So you’re my art director right

the same work for every single title.

from FSG [Farrar, Straus and Giroux] to

now, and we’re linked in all these different

When it comes to winning awards, for

bring in some text, and then it actually

ways. Did you start art directing right

me, it’s luck. But for the illustrators, it’s

got published by Holiday House.

away after graduation?

pure work, right?

STEPHEN: So [Pat Cummings] makes you

ARAM: It’s been only about three years

STEPHEN: I disagree. The art director’s

work on a bunch of projects so that you

since I started working as an art director.

vision of the book is key. Of course, the

don’t put all your eggs in one basket, that

I started as an intern at Little Brown

illustrator is making the images, but an

you’re trying different things.

Books, but that happened the summer

illustrator relies on the art director to

provide a vision. The illustrators are in a state of chaos and flux and the art director is kind of like the adult in the room who tells them to wait, calm down, you’ll be fine. So without that kind of guidance, the book doesn’t get made. There has to be a captain of the ship, that’s what the art director is.

ARAM: I really love the process that we have working together. Another thing that I want creators to know is that there is a whole team working on your book. There’s a production manager, who chooses the paper; a special effects and production editor who’s working on the grammar and punctuations and spacing between the text; so many people rooting for your book.

STEPHEN: When doing both illustration and art direction, do they help each other?

Most of the art directors that I work with are not artists. So when I have an art director like you, it feels different when you give me feedback because it’s coming from another illustrator. You can be really sensitive to my needs as an illustrator, whereas most of the time, an art director is a designer and doesn’t know that much about illustration. I’m not saying that’s bad, but they don’t know anything about the picture-making process and might not be able to help me solve a problem. But I’m curious, you

own work objectively. I couldn’t do that

give me a little more credit because I’m

work at Macmillan and then you come

before working as an art director—you

an illustrator, so it feels more collabora-

home to work on your own books. How

get too attached. When I give feedback

tive. There is kind of a mutual respect. I

do the two things feed each other?

to myself, it’s as if I’m critiquing an

am blown away when I get artwork from

illustrator that I’m working with.

illustrators, and that feeling never goes

ARAM: Normally I think they work well

away.

together, except for one thing, which

STEPHEN: That’s amazing. That’s a skill

is that I’m so tired! Aside from a time

that illustrators really need to develop.

crunch, I think the synergy between getting to work with other illustrators

STEPHEN: I just got my corrections yesterday for Rescue Cat from Astor, a designer

ARAM: It’s hard!

as an art director is great because I get

who works for you. The email was several pages long! It’s funny because during the

so much inspiration by seeing different

STEPHEN: You need good illustrators who

initial read of all the notes, all I could

illustrators’ work and processes. And

can be art directors for their own work—

think was I can’t do that! I can’t change

because I work with so many different

to know what needs to be better, what

that! But then I realized these are all

people, I see so many different ways of

part isn’t working.

things that are going to make the book

solving problems. Also, being on the side

better. You know a children’s book takes

that reviews their art and gives feedback

ARAM: Yeah, that’s such great practice for

a long time, so it’s a long slog. I’ve been

has given me the ability to look at my

students. The illustrators I work with

working on that artwork for six months,

and now I have all these things to do, all

draw what you love, and don’t worry

portfolio? Many people don’t know what

these changes to make. You’re running a

about it. Start with what’s in your heart

to include. They don’t even put kids in it!

marathon and someone pushes back the

and what’s in your mind.

Does it always have to have kids? What

finish line.

It’s so amazing to have people that

should those kids be doing?

ARAM: It’s so deceptively simple.

are looking at the work and are invested

ARAM: I would be super practical. You

in the book. There was a lot of thought-

STEPHEN: You knew what your goal was,

don’t have to follow this to the letter, but

fulness that went into those notes that

but you had to figure out how you were

this will make it easier to get into the

you guys sent over.

going to get there.

industry. When pitching, there are a lot

ARAM: Art directors really do care. And

It’s a lot of trial and error that gets you

ing, too, because the book is a product

we love Rescue Cat! Emily, the editor, is

to that goal.

that we need to sell. It’s always much

Nobody can tell you how to do that.

so in love with the book.

of opinions coming from sales and market-

easier if you have a portfolio curated for ARAM: With that book especially, there

a children’s book field to be hired as a

STEPHEN: I’m so excited to hear that there’s

was a lot of trial and error, and I owe that

children’s book illustrator. So yes,

that much love for the book. I also think

to my editor in Holiday House, Grace

kids—because children’s picture books.

it’s hysterical that four of your five books

Maccarone. I learned so much about

You need to have an illustration of your

have had cats in them, and now I’m doing

storytelling from her.

target audience—not a portrait but them

a cat book.

Working with Grace, I learned how

in action; set them in relation to some-

to boil down the essence of the story,

one else. If you look at any children’s

ARAM: Draw what you like and draw what

which took me a long time. There is so

book, we are not going to see a kid sitting

you know, right?

much that you want to tell, but then

around doing nothing. We need to see

there’s only 32 pages.

them in an environment. I often get

STEPHEN: It takes a lot of courage when

You really need to have focus, and

portfolios with only character studies,

you’re young to say, “Oh, draw what you

you really need to have a single strong

which doesn’t give me confidence that

like” and “Well, I don’t know what I like!”

storyline that kids can follow through.

this person can do a full spread of say, a school setting.

I started thinking about becoming an illustrator in 2006—that’s 15 years ago.

STEPHEN: It was Neal Porter who would

If it’s bedtime for the kids, don’t just

But you’ve been on this journey for a long

tell me I’ve got to get to the idea of the

have a kid in bed. Maybe the kid is having

time to try to answer those two very

book quicker on page three. Otherwise

a storytime with one of the caretakers.

simple questions. You showcase your

the reader is so lost.

Ask yourself: What is their body language?

What are their expressions? We say the

Korean heritage so beautifully in your books. How long did it take for you to

ARAM: That’s very good advice for

most important thing in a children’s book

figure out that that’s what you wanted

children’s book storytelling in general.

is emotion. If I look at a piece and don’t

to do?

There’s no long introduction. Everything

know what this kid is feeling right now,

has to happen fast and you need to get

then it’s not a successful piece.

ARAM: When I was in the MFA program,

to the problem, you need to serve it, and

Marshall Arisman said, “Draw what you

you need to have a satisfying ending.

STEPHEN: It’s also interesting that in my notes that you gave back to me about

like, draw what you know.” I remember writing this down in my sketchbook think-

STEPHEN: They say an editor is not really

Rescue Cat—and, of course, you need

ing, Oh my gosh, I don’t know anything.

your boss but your first reader. They’re

to always go back to our conversation

But I wrote down three things: cats, Korea

going to put themselves in the role of

about art directing yourself—you asked,

and food. But what am I going to do with

some seven-year-old, six-year-old kid

“What are my characters thinking and

this? And then I end up making a book

in a library opening your book. If they’re

feeling and how do you want the reader

about Korean heritage. The first book I did

a good editor, they should be able to

to respond to that?”

about Korean culture is No Kimchi for

channel that six-year-old reader.

Me, which was my second book.

I want to ask you for some practical

ARAM: But, Steve, what about you? What

advice, and maybe, gosh, this will even

kind of advice do you give to your students

STEPHEN: Marshall was so good at meeting

help me! But it’ll help anybody who wants

who might want to do children’s books?

people on their level, and you start with

to get into children’s books. What should

What would you say?

those two phrases: Draw what you know,

they have in their children’s book

STEPHEN: I think the biggest piece of advice

a complete story from beginning to

critique on a book means that you’re

is that you can’t do it without knowing

end—that is the best practice you can do.

allowed to read the book and you have to

what children’s books are. You need to

think about it.

sit down and research these children’s

STEPHEN: It’s hard to sit down now and

Just like all the corrections I have to

books and get to know them as pieces of

create a dummy that’s 32 pages. It’s

do this weekend on my next book that

literature and approach it as literature.

excruciating. The blank page is staring

came from Aram! But honestly, I can’t

So many of my students have so

you in the face. I don’t know if I’ll ever

wait. I’m excited for a long weekend to

many amazing skills, but they’ve got to

feel like the sketch process is easy; it’s

work on it. Thank you, Aram. It’s always

be telling a story and all these images

always the hardest.

great to talk to you.

have to link up. You have to make a

Do you get pitched a lot of ideas?

32-page dummy, basically a rough draft

ARAM: Us working together has been great!

of the entire book to see if you can take

ARAM: I used to get a lot, but not so much

some loose sketches and create a story

anymore because I’ve been making it

that has a beginning, middle and end.

clear that I don’t accept dummy books.

If you’re thinking about going into

I accept art samples from anyone because

children’s books, there’s all of this prelimi-

we’re always looking for artists but that’s

nary work that you have to do before you

my boundary. I also don’t acquire books,

even get to the final art. It’s going to

editors acquire books. So when a pitch

occupy you for probably several years to

comes to me, I feel like it’s a waste of time

get right. Your audience should feel like

for both parties because, even if I think

they want to read the book again, a story

it’s a great idea, I’m not going to the

they’re going to read over and over.

acquisition meeting.

ARAM: Having loose sketches to really tell

STEPHEN: Giving someone a really good

I’m also so excited about Rescue Cat.

[1]

The Art of Illustration

BY CHARLES HIVELY

T

here’s Art, and then there’s Illustration. We are all born

posers—instead, they looked pretty conservative. It’s something

artists—many of us were drawing before we said our

that I also observe today when meeting illustrators.

first words. But only a few of us continue down the

Not everyone is cut out to make art as their living, whether

artistic path. Making marks as a child seemed natural, drawing

it’s fine art or illustration, but everyone who has laid their path

pictures—we drew what we saw. In my own experience, the

as an artist will always be an artist. Creativity is the backbone

marks I made were merely scrawls on the pages of one of my

of all art; making things that matter either individually or

favorite children’s books, The Little Engine That Could. I was

professionally can only be accomplished by the creative mind.

fascinated by the story of the little engine and motivated by

What makes the difference between fine and applied art is the

the full-color illustrations, which, at the time, were just art to

purpose. The artist’s goal is self-expression. The illustrator’s

me. In trying to capture the drawings, I saw I made circular ink

main purpose is communicating a message, imparting infor-

marks on each page, to the consternation of my mother. It is

mation in an interesting way.

the only book I remember my mother reading to me, and I can

While illustration is an art, not all art is illustration. Artists

still hear her say, “Don’t you want me to read you another book?”

can create whatever they like, whenever they like. Illustrators

“I think I can, I think I can” was the mantra of the little engine,

are given assignments, briefs and deadlines. Other creative

which has had a profound influence on my journey as an artist,

fields offer some respite, i.e., if an art director didn’t come up

illustrator, designer and art director.

with any new ideas today, they won’t be fired. Illustrators

I was never the best artist in grammar school. If the best

are put under pressure, especially in the editorial realm, with

artist, Harry Miller, was busy doing one poster for class, I got to

three- or four-days max to come up with the idea and execute

do the other. He was a big influence; I actually collected his

it. And if the idea fails, the artist fails. As opposed to being a

work after projects were finished. I’m certain that, today, Harry

fine artist where failures go unmarked.

is either an accountant, lawyer or a stock trader, as the art he created didn’t mean anything to him—he gave it away freely.

As artists, we love exploring the world around us, observing

The typical picture of the artist is alone in the studio making art. And while many may start out that way, soon there will be assistants to help with creating the final work. Not so with

and recording as best we can. In grammar school, there weren’t

illustrators. Illustrators live a solitary existence, many have

art classes, there were no instructors, no critiques—everyone

started out working on the kitchen table, or a corner of the living

was free to draw whatever they pleased. Yes, there were class

room or bedroom. No studio. No studio mates. No assistants.

projects for Thanksgiving cards or to create Christmas gifts

During our monthly portfolio reviews at 3x3 magazine, I get

using popsicle sticks but these were just projects; no one was

to meet artists at all levels. Our 30-minute sessions allow us to

judging whether the outcome was good or bad. Afterall, art is

explore why they want to be illustrators and what they contrib-

subjective.

ute that no one else can. Illustration is like fashion, there are

As young drawers—the description “artist” seems a bit

always trends, trends I’ve experienced since founding 3x3 in

premature—we drew for pleasure. We copied comics found in

2003. And like fashion, trends go in and out of style. What was

the Sunday funnies, or drew airplanes, battleships, princesses,

prevalent in 2003 is not in 2023. Illustrators are hired based

or whatever we fancied. We did it on lined notebook paper,

on their personal voice, also known as style. In the United States,

cardboard, even envelopes that were lying around. The materials

and in most of the world, it’s a singular style that identifies

didn’t matter, Crayolas, ballpoint pens or pencils were always

how the individual sees the world and how the world sees

at hand. I loved Crayolas, the smell especially, and insisted my

them. Gaining a distinctive style is no easy task. It helps being

parents buy me a new box every year—mostly because I had

open to personal experiences, to your cultural background, to

used up the black crayon—but also because there was something

literature and music—all can help define you as an illustrator.

special about getting brand new “tools.”

Having broad experiences—either naturally, through classes

Moving onto college, the challenges increased; to be an artist wasn’t easy. Drawing turned from a pleasure into a task that needed to be completed in a much more professional way.

or through books—better enables an illustrator to solve visual problems; it’s the chief criteria for a successful career.

Being successful in any career is not easy, but it is especially

There were live models, still lifes, plaster casts—all meant to

hard for illustrators. Let’s define success: it’s the ability to

give us a definitive subject to try and capture on our pad. There

make a living as an illustrator. But beware: illustration assign-

were a great many avenues to explore and a world of tools at

ments do not come with any regularity. Many talented illustrators

our disposal. Going to class was a joy; there was always some-

have second or third jobs to make ends meet. So how do you

thing new to learn or to be exposed to. There were artist visits.

succeed? Part of it is luck—let’s be honest—and part of it is

I remember one in particular when the artist Lee Krasner came

talent, part of it is self-promotion, and a big part of it is having

to our class. What I started to notice was that the really good

a champion, some art director or editor or publisher who

artists didn’t look like the stereotypical artists—scruffy, unkept

fancies your work.

[2]

[3]

Illustration is a highly competitive field. I’ve found every graduate wants to be either an editorial or children’s book illustrator or sometimes both. It’s important to seek out other opportunities to use your illustration skills beyond what you may think you know. No matter which area of illustration you choose, it is an art practice where quality is crucial—quality of approach, quality of drawing, quality of concept or storytelling. You can be a good illustrator with quality alone. But to be a great one, you need both quality and significance—your work must stand head and shoulders above what’s already out there. It’s not an easy task to be an illustrator, but be an artist first, then decide which is the best fit for you.

[1] Katherine Lam [2] Feifei Ruan [3] Katherine Lam [4] Keith Negley [5] John Han

[4]

[5]

CREATING AS A MARATHON

T

here is a quote from Ira Glass, host of This American Life on NPR, that I heard years back and I still think about now when I get stuck in my head feeling unsatisfied with the work I am making.

“All of us who do creative work, we get into it because we have good taste. But there is this gap.

For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you.”

—Ira Glass The quote continues to say that what makes creative people different from everyone else is that rather than quit, an artist will take the years of struggle, of disappointment, of self-doubt, and continue to make work that eventually matches their innate taste level, and this only comes from making a lot of work. It is a marathon, not a sprint.

Technology has evolved, industry has shifted, but there will always be someone who wants to get better in order to scratch that specific itch at the back of our brains. But probably what struck me most about what Ira Glass said, what it really meant, was that with time and practice and hard work, my skill level would come closer to my taste level. There wasn’t any trick or quick answer, I just had to do a lot of work and be mindful of my practice. It is from that struggle and hard work that rewards in the most fulfilling way, in a way technology could never shortcut through.

The artist you are when no one is watching, the skill you learn so that no one can look and want nothing more than to reverse-engineer how it was made. The trickier part, the part that Mr. Glass doesn’t explain is that learning is lifelong, and the likelihood that artists will ever create work that matches their own expectations of themselves is very slim. So rather than plateau, we could think of creating as a marathon against ourselves, and, once the race is over, we can start training for the next. We all know of the courage it takes to make a career out of art and that includes overcoming self-doubt and intrusive thoughts as you practice your craft.

Kelsey Short BFA Comics Coordinator BFA Comics/BFA Illustration

2023 BFA ILLUSTRATION

Portfolio Selections

20

Yunyao Chen

YUNYAOCHEN.COM

Jiaxi Chen @ALLLY_CHEN

21

22

Letao Sun

LETAOSUN.COM

Yi Chen

YIILLUSTRATIONS.COM

23

24

Xi Jin

Mifei Zhou

MIFEIZHOU.COM

25

26

Yawen Hu YAWENH.COM

Xin Huang XINNART.COM

27

28

Rongzhang Ye

RYE676.WIXSITE.COM/RYERZ

Songer Yang @SUEEE_YANG

29

30

Yutong Du

Yinghao Lin

YINGHAOLIN.ARTSTATION.COM

31

32

Haochen Wang

HAOCHENWANGARTS.CARGO.SITE

Jenna Park JENNA-RT.COM

33

34

Wenbo Wu

WENBOWU.COM

Sirui Zou

RISHALE.CARGO.SITE

35

36

Oliver Perry

OLIVERILLUSTRATION.COM

Maria Bautista Signorini

BELENMARIART.SQUARESPACE.COM

37

38

Ruoshui Liu

WWW.RUOSHUILIU.COM

Yujing Huang

EUGENEHUANGART.COM

39

40

Xiaozhu Cui

Samantha Wang

ARTBYSAMANTHAWANG.COM

41

42

Qingru Yang QINGRU-ART.COM

Mutong Liu

MUTONGLIU.WIXSITE.COM/MLIUARTWORKS

43

44

Yuxin Ding

STELLADYX.COM

Yiyang Liu

YLIU60.WIXSITE.COM/MY-SITE

45

46

Xinyun Chen

U2602B118.ARTSTATION.COM

Yuhe Zhuang @LIGHTERZYH

47

48

Xiaohan Guo GXHART.COM

Xiaoyu Zhang @EMILY_XYUZ

49

50

Yiwei Wang

YIWEIWANG.ORG

Lutong He

CHERRYLUTONGHE.WIXSITE.COM/MY-SITE

51

52

Jihae Park

HAE-CHERRIES.ART

Zachary Guzman @JUICEBOX.ART

53

54

Long Lin

LONGLINT.WEEBLY.COM

Huaixuan Xiang HUAIXUANXIANG.COM

55

56

Damian Gary

DAMMIDRAWS.COM

Emo Kiddo

CTIAN2 .MYPORTFOLIO.COM

57

58

Emani Simons

EMANISIMONS.UNIVER.SE

Ella Shi

ELLASHI.COM

59

60

Ning Jiang

NINGJIANGART.COM

Louie Martin

THELOUIEMARTIN.COM

61

62

Ria Varma

RIAVARMA.COM

Timo Chou

TIMOTIMO628.COM

63

64

Yubin Lee

EELNIBUYART.COM

Ji Ling Wu Li

65

66

Hope Xi

HOPEXI0101.COM

Justin Jung

PXKAT_ART.ARTSTATION.COM

67

68

Yiyang Yvonne Li

Le Cong Nguyen Nguyen TIGERLILIKO.COM

ILLUSTRATION STARTS HERE

69

70

Jasmine Chan

JASMINE-CHAN.COM

Hanyu Yang

HANYUYANGART.COM

71

72

Yueyi Zhang

@EXTRACILANTRO_

Yijiang Dong

YIJIANGDONGART.COM

73

74

Laís Rojas

Jingyi Cai

75

76

Zhihan Zhang

Mckenzie Jones

MJONES242 .WIXSITE.COM/MCKENZIEJONES-ART

77

78

Alana Green

ALANAGREENART.WIXSITE.COM/SITE

Wenjun Shao @YANSHIANO

79

80

Huilin Gui

HGUIDRAWS.WIXSITE.COM/HUILIN

Lauren Giancola

81

82

Carolina Gajardo @CARBODRAWO

Vivian Liang VIVIANLIANG.ORG

83

84

Verum Zhou

VERUMZHOUART.COM

85

86

Ariel Miner

ARIELMINERART.COM

87

88

Denise Alayón

DENISEALAYON.MYPORTFOLIO.COM

89

90

Jehao Wu

JEHAOWU.COM

91

92

Mansi Vinay

CHERRYANDSISTERS.COM

93

94

Maxine Zhou

MAXINEYULINGZHOU.COM

95

96

Jingyao He @JYAO_KATIE

97

98

Sunny Ruan

SUNNYRUANARTS.CARGO.SITE

99

100

Jim Liang

JIMZLIANG.COM

101

102

Yiwen You

103

104

Yilin Zhu

YILINZHUPORTFOLIO.COM

105