Daniel Vega's illustrations in the TERRA HYPNAGOGICA universe are characterized by nightmarish, symmetrical realms filled with grotesque entities and many-eyed beasts, creating a unique blend of horror and fantasy.
In each illustration, which are created in Photoshop using a Wacom pen, figurative drawing is rendered through a screen print style - subtly goopy, majorly scatty, these colourful works look like they're from an alien fanzine for a dystopian nightclub.
Daniele Castellano's vivid drawings are many things: spooky, hyper detailed, fantastical and never boring. With imagery based on the mysteries of memory, psychology and bodily sensations, Daniele frequently engages with mythology.
Tania Yakunova's lush compositions are marked by grainy textures and gestural lines, effectively conveying deep emotions and brand narratives through her vibrant color palettes.
Jungsuk Lee's paintings blend wistful figures and starry nights, creating dreamlike scenes that evoke nostalgia and a sense of longing for fleeting moments.
My drawing practice revolves around capturing quiet, ephemeral moments found in films, music videos, and internet culture. By creating these small sequential panels, I seek to stretch these moments to their limit, aiming to slow time down and reveal a soft, meditative beauty within the digital ephemeral.
Cezar Berje's visual approach is a mix of chaos-vibrant colours, symbols, and new age psychedelia. His illustrations often suggest universes within universes, with each part of the image telling its own story through symbols and references.
In illustrator Chiara Xie 's work, everything is in motion. Rooted in a deep reverence for vitality, Chiara is fascinated by "the rhythm that flows through a scene", lingering like a suspended breath, and other times "surging as a vibrant, agile current of motion". It's not hard to know what she means: every illustration is filled with motion, arcs of light and air bouncing off every corner.
Well known for its unique texture and unpredictable nature, this Texas-born and Toronto-based illustrator somehow gets a leash on it, creating semi-airbrushed, dreamy and playful scenes between eccentric characters and luminous colours. Dense with subjects and textures, Rylee's compositions explode with action and motion - like in The Cartoon Saloon, anthropomorphic animal cowboys drink, play cards and draw their pistols in a beautiful gradient that captures a moment where the dusty saloon is lit up by the firing of a revolver.
"It works for me best to draw analog, edit digitally and add text or colour my drawings in a second step. But for this I already need to know the text elements, so it usually takes me really long to figure out the different elements before I can really start working and puzzle everything together," says Leo. "Most often I work with already existing stories (not strictly texts) and love to do lots of research and deep dives to find links and parallels in other stories. It's important to add historical context and give the stories more dimension."
Feng Yitong is a Berlin-based illustrator from Xi'an, China whose comic and hand-drawn imagery addresses migration, cultural shifts and embodied experiences in heavy, tactile forms of oil pastels. Using skills learned from her bachelors and masters degrees in illustration at the Berlin University of the Arts, she sketches her emotive scenes, then scans before using a light table to transfer them onto A4 and A3 paper. Coloured with oil pastels, she achieves her sharp visual effects by using kitchen cloths to remove or mix thick marks to create defined edges and distinct segments of her dense images.
Those he saw as "most successful" had a "bold typographic and/or illustrative treatment" which in turn "countered the dominance" of the branding strip that ran down the side. "This realisation led me to define some rules for the designs of the individual covers that tried to ensure that the covers would never feel overwhelmed by the branding system," says Pete. "The core rule was that the Editions would essentially be typographic covers, or typographically-led covers in terms of the hierarchy between type and image."
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