Illustrators Arise: Junissa Bianda

Well, hello there, artsy folks! How are you doing? Hope you're well 'cause I've got some great news: it's time for another edition of Illustrators Arise! Woohoo! In case you're unfamiliar with it, Illustrators Arise is where I introduce my favourite illustrators from all over the world every month through an interview so you guys can read along and get to know them too. This year has been all about showcasing Indonesia's best illustrators and this month we're going to talk to an illustrator who creates adorable children and have a passion for Indonesian folktales. Meet Junissa Bianda, a young illustrator currently pursuing her education in San Francisco. It was through instagram that I found her works and fell in love at first sight. Her adorable style and light use of colour is absolutely refreshing. Growing up with six siblings, she always identifies herself as a story-teller among her brothers and sister. Now living in California, Junissa spends her free time jogging, cycling, cooking and exploring the coffee places in SF.

Hello there, Junissa! Can we start with when you first started drawing and what made you decide to become an illustrator?










It all started at an early age for me. Back in kindergarten, my mother had put me in various art classes such as painting, paper crafts, knitting and even enrolled me to a drawing competition using crayons. I didn’t win, I was dead last I believe, but that didn’t break my spirit at all. It wasn’t something that I was forced to do, yet I love drawing from the very start. Throughout my years, I was torn between fine-art and illustration, even until I graduated my bachelor in UPH studying DKV. Then it occurred to me, I want to learn more than just graphic design, and I want to test myself by studying abroad just to see what it’s like to have my own full responsibility. I visited many university websites and one caught my eye, that is the Academy of Art University in San Francisco. This school had established many well known illustrators, and as I saw all the works that they produced, it made me decide to be an Illustrator.

If I’m not mistaken, you are currently studying Illustration in San Francisco. What made you enrol in the program and would you recommend it to other people?
What made me enroll in the Academy was mainly because I want to test myself if I’m good enough out there, and also to earn new knowledge. Not based on art skills alone, but managing my life alone in the city. It did build up my character both as an artist and as a person. I do recommend studying abroad, but it does require a lot of self discipline.

What kind of materials do you usually use?
For manual, I use colored markers and gouache on mix media paper. In digital I mainly use Photoshop.

On your website you say that you want to re-introduce Indonesian folktales to get children excited about reading books. Why do you think this is important? Which folktales do you want to re-introduce the most?
I grew up reading Indonesian folktales actually, and I loved hearing most of the stories. It’s a shame that kids nowadays have little knowledge about it. Right now in the Academy, I’ve made one of Indonesia’s well known folktale titled “Timun Mas” as my thesis, and I’m planning to publish it once I graduate. Hopefully if the market likes it, I’ll publish another one. One step at a time :)

Your little project “Nice to Draw You” looks so adorable! What inspired you to start this project and what have you learnt from it?
I've always wanted to do this for a long time, but never found the free time to start. What get it going was actually the jet-lag I got from traveling back to Jakarta from San Francisco. So I drew around 5am every single morning, and it took me an hour for each piece. The purpose was to make my friends happy of course, but to also practice. The more I draw, surprisingly the quicker I become.

Although you technically live in the US at the moment, you still manage to land a job with Erlangga. Would you mind sharing about the collaboration?




Erlangga’s project landed at the most perfect time for me, which was during at the start of my Thesis. They first reached out to me through email, then we start emailing back and forth about the deadline etc. There was no obstacle at all, time difference actually helped, weirdly. The finalization of the book thankfully was at the time I had a summer break in Jakarta. It will be released at the end of the year, very excited.

Your illustrations always manage to tell a story and you have an apt for character designing. Would you ever consider writing and illustrating a book of your own?
Thank you, and yes. I was also considering to make an educational children's book using my own characters.

Aside from story-telling, you seem to have a gift for creating novelty prints to be used for merchandising. Are you selling them? If not, have you ever thought about the possibility of doing so?
I’m considering that to be a side career in the future. For now I think that I would probably approach more into licensing my prints, or for small commissions.

What does the future look like for Junissa Bianda?
Graduate first from the Academy. Then publish more books I hope, and we’ll see from there.

If an amateur illustrator comes up to you and ask for advice, what would you tell him/her?
You have to love what you do, if not better not do it at all. Self discipline and don’t be afraid to explore new techniques or medias.

A little note from me

One of the first things which attracted me to Junissa's works was the simplicity of her style, which doesn't take away from the cuteness level of the characters that she illustrates. Her more cartoon-y, disney-esque style is quite different from most Indonesian illustrators who tend to lean towards the anime/manga style—including myself. I absolutely love how Junissa's illustrations can always tell a story yet at the same time applied to many uses and items. Her passion for story-telling clearly shines through and, after learning of her love for Indonesian folktales, she becomes more and more impressive. Geography doesn't seem like an obstacle to her, be it for job opportunities, making friends or pursuing her education—which I think shouldn't limit us as a person either. Really looking forward to reading her Timun Mas thesis when it gets published!

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Illustrators Arise: Lorenzo Matthew

Well, hello there, artsy folks! How are you doing? Hope you're well 'cause I've got some great news: it's time for another edition of Illustrators Arise! Woohoo! In case you're unfamiliar with it, Illustrators Arise is where I introduce my favourite illustrators from all over the world every month through an interview so you guys can read along and get to know them too. This year has been all about showcasing Indonesia's best illustrators and we continue with an illustrator who has an apt for making adorable creatures. Give it up for Lorenzo Matthew! I first stumbled upon his works on Catalyst Art Market in November last year, where he was selling his adorable pillows and other merchandise. Ever since then, I've always been intrigued by his ability to create such adorable creatures and design characters. Lorenzo now lives in Jakarta, where he is in constant search for music to accompany his creative process and loves to listen to other people's stories. Without further adieu, here is Lorenzo!

Hi, Lorenzo! Let's begin with wen you started drawing and when you decided to become an illustrator!

Since I was little, my Mother likes to register me into colouring competitions. Then I decided to become an illustrator, I believe, only since around 2011 when I failed to get into IPDN (National Government Institute) and manoeuvred to Communication Design, which just happens to be my interest.

Did you enrol to an art school? What did you learn there, which isn't related to art and design?

Yes, I enrolled to Universitas Media Nusantara  (UMN), taking the Visual Communication Design major in 2011 with specialty in animation. Something that isn't related to art and design, hmm? Learning about art and design in UMN requires a lot of practice and teamwork. So, when it comes to something unrelated to art and design, it was probably the teamwork—learning to bounce ideas off each other, appreciating others' works and cooperating with one another. There were also a lot of presentations, so we were forced to learn how to perform in front of many people as well as showcase our work.

What kind of materials do you usually use?

I usually sketch using pencil (and often with erasers as well), continuing digitally with Photoshop and Style Vector. Manually, I like to work with watercolour.

You have an apt for creating adorable creatures or cute versions of actual living creatures. What usually inspires you to do this?

Haha thank you! I've been into character designing since my university years for animation assignments. As for inspiration, they usually come from character design or concept art books that I was reading at the moment.

Aside from 2D illustrations, you seem to like creating 3D pieces of your characters as well sometimes. Sometimes I also stumble upon the name Black Mavis. Is that your toy label?

When I was still in uni, I studied animation—which means learning 3D and sculpting as well. Now, before I make my characters into 3D, I have to design the front, side and back look of the characters—sometimes even the view from below, if needed—but the sculptures are actually done by my friend Wili. Blackmavis is a collectible toy project created by me, Peter Chung and Wili. Here my duty is to become the illustrator for the characters.

Speaking of which, Black Mavis recently launched a new toy called KARRI that you designed. It is later on customised by various illustrators/artists, right? How did you come up with this idea?

Now I came up with this idea (haha). So in the art toy world, usually toy designers ask other toy artists to customise their toys. Another character example by Blackmavis is ShockED. ShockED was customised by 9 toy artists. Meanwhile, I decided to give KARRI to various artists as a new media for them to explore. Because the concept for KARRI is a creature who likes to explore the art toy world, I wanted various artists to explore the art toy world as well.

Oh I see. What a splendid idea! What was the process like?

First, I gave the artists the presentation file, which consists of invitation to collaborate, the concept and design process for KARRI, photos of the 2D and final product—in white colour, the mechanism and timeline for collaboration.

After the artists agreed, I asked for their address and sent them the original, white KARRI. The artists are free to modify the form, colour it, etc. After the artists finished, they sent it back with their names, description of their work, the selling price (which they also determine) plus the commission for Blackmavis. For the artists who do not want to sell their KARRI, we give it as a personal collection to the artist. Next, Blackmavis's job is to exhibit the works and sell them.

According to your portfolio, it seems you also have experience in the game design area with releasing Uga Goo mobile game. What kind of game is it and what was the process like for you?

Well, that game was an assignment for uni to be included in two competitions. It's a  basic game, because it was also the first time I created a game. The process started with learning the basic software to create games, because I was not experienced in IT as well. Now, with barely adequate knowledge, my team and I made a game not unlike Mario Bros, where Uga went on an adventure to find Goo. For the game and animation assets, we made use of the programming knowledge that we have. A bit stressful because we had to think about the logic behind the physics and storyline of the game. Animation had to also be prepared according to the physics. That's about it, I guess, but it was a ton of fun, would love to do it again sometime.

What does the future look like for Lorenzo Matthew?

More consistent in producing artwork, more productive and collaborate with many people.

If an amateur illustrator comes to you for advice, what would you tell him/her?

Keep learning the basics, such as composition, perspective, lighting, anatomy, etc. Enjoy the process, collaborate as much as you can and always stay humble.

A little note from me

The first noticeable thing about Lorenzo's work is his ability to create such adorable characters, especially the various types of dogs that he sells as plushies. His skill actually lies on his ability to design these characters thoroughly, giving them life more than just looks. Through his instagram, anyone can clearly see his passion and interest in toy designing, which is perfect for his creatures. I love how he uses different colour palettes, playing with playful, cheerful shades to accompany his playful, cheerful characters. There is a certain whimsy with how he create his illustrations and design, which makes the viewer thinks his characters have a world of their own. Not just the aesthetics of his works, but his generosity ripples throughout his pieces. He is a true evidence that collaboration develops you, not corrupt you. You can see the various ways in which he stays true to his nature in his teamwork with others and doesn't shy away from supporting others at what they do.

P.S: Just in case Lidia Puspita is reading this, he wants me to tell you he wants to collab with you :')

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Illustrators Arise: Aftergani

'Ello 'ello 'ello 'ello, creative folks! How are you doing? Hope you're well 'cause I've got some great news: it's time for another edition of Illustrators Arise! Woohoo! In case you're unfamiliar with it, Illustrators Arise is where I introduce my favourite illustrators from all over the world every month through an interview so you guys can read along and get to know them too. This year has been all about showcasing Indonesia's best illustrators and the series continues with Ikhwan Waliyudin a.k.a. Aftergani, a young and melancholic illustrator with an Adidas addiction. It was first through his collaboration with Stephanie Priscilla did I find Aftergani's work. I instantly fell in love with his work and adore how raw and emotional it feels—without it being too sentimental/sappy. Aftergani now lives in Jakarta, where he's still continuing his studies and spends his free time with his pet or raiding art supply stores.

Hi, Ikhwan! Would you tell me how you started drawing and why you went on to become an illustrator?

I love drawing since I was a kid because I really liked anime and video games. I often turned anything interesting into illustrations, until I decided to go deep into illustration and start learning from some drawing instruction books so that I could create the artwork that I desire. And why I went on to become an illustrator is maybe I just stream down and work hard on the things I love.

You are currently studying Visual Communication Design at Sekolah Tinggi Desain InterStudi, aren’t you? What are you learning there, aside from design, and would you recommend this major/school to anyone else?

Yep! So many things I learn there. Aside the academic subjects from the lecturers, the street art environment there also influence my art taste.

What kind of materials do you usually use?

As for the tools, i use  Wacom Cintiq for digital artworks and gouache, acrylic, brush pen, pencil, drawing pen that i often use for manual artworks.

Your works tend to be surrealistic, mixing various elements into one illustration. Where do you usually draw inspiration from?

I just love exploring and analyze an object as basic elements for my illustration and it’s helped me to communicate the profound message in my artwork. Inspiration really comes from anywhere, like the environment, neighbourhood, friends, family, internet and some unforgettable moments from the past.

Architecture appears quite often in your illustrations as well. What intrigues you about this field? Did you ever think to become an architect before?

Well, at the beginning, the environment just inspired me. A bunch of buildings and skyscrapers—they just look amazing, so I started learning to draw perspectives from a book titled Perspective Drawing Handbook by Joseph D’Amelio. From that book, I started to make some sketches for my illustration objects. Architect? Haha not at all. I mean, they’re great, they create amazing buildings and I just love to draw it from my point of view.

The colour palette that you tend to use gives your illustrations a certain signature look. How did you come about these colours? Did you try things out?

The colour palette I use is a result from exploration from some SEGA Genesis video games as my references, like Street Fighter from Capcom, and also from one of a New Yorker artist named Sachin Teng. He was a great artist whose work takes effect on my works.

You are part of Tomodachi Studio with Kemasacil, right? Would you tell me the story behind how you ended up joining this studio?

I first joined Tomodachi Studio when Basith and Kemas invited me to meet up at one coffee shop in Jakarta. They were interested to make a project called Tomodachi Studio. It is a studio which engages in illustration, design and animation. Accidentally we have so many similar interests, background and  vision, so I joined them.

What is your one dream illustration job?

I really love Adidas Originals. It’d be a pleasure to have a chance to work with them. I want to be able to collaborate with Adidas Superstar, or maybe make a poster for Adidas Y3.

What does the future look like for Aftergani?

The future for me seems to consist of work.

If a novice illustrator comes to you for advice, what would you say?

“Go deep into the things you like, don’t be lazy to start and don’t expect what you get from what you are doing but wish that what you are doing could inspired people.”

A little note from me

When I first saw Aftergani's work, I almost couldn't believe that it was done by an Indonesian illustrator. It just looks so different from most Indonesian illustrators' works I know. There's a certain street and rock'n'roll feel to his illustrations that makes them look almost American—probably the influence from Adidas and Sachin Teng. His muted and faded colour palette really brings out the raw emotion of his pieces, which is perfectly paired with the metaphorical use of all the objects within his work. The use of outrageous perspectives also gives a whole other look to his art, making it feel a little surreal—especially with the various objects mixed together in unexpected ways. I absolutely love that he takes inspiration from music quite a lot, and it's very apparent in his works. The '90s rock atmosphere in his work also renders me nostalgic most of the time. His works often remind me of something like The Breakfast Club—oh wait, that's the '80s, though.

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Illustrators Arise: Wickana Laksmi Dewi

Well, hello there, artsy folks! How are you doing? Hope you're well 'cause I've got some great news: it's time for another edition of Illustrators Arise! Woohoo! I'm sorry it was absent last month, but now it's back. In case you're unfamiliar with it, Illustrators Arise is where I introduce my favourite illustrators from all over the world every month through an interview so you guys can read along and get to know them too. This year has been all about showcasing Indonesian's best illustrators and the series continues with a lady who creates eerie and strange illustrations with a bit of horror and grotesque element implemented into her works. Please welcome, Wickana Laksmi Dewi! The first time I saw her works was when I went to Catalyst Art Market and visited her booth. Her macabre and horror illustrations caught my eyes right away, especially with her smooth and clean pencil technique. The big head and eyes signify her works as being both cute and creepy. A fan of Junji Ito, Wickana describes herself as a simple girl with a complicated mind.

Hello, Wickana! Shall we start from the beginning: when did you first start drawing and what made you stick with it?

What I can say for certain is that since I was very little, I've already started drawing, but then began drawing even more frequently after I got to know Japanese comic books, such as Sailor Moon, Doraemon, etc. And what makes me keep drawing until now is because I really enjoy the drawing process. I'm also the type of person who has difficulty expressing how I feel through words, so I choose to use the visual media more often.

Did you study art/design? If yes, what did you get from it aside from art-related stuff? If not, why not?

I studied at the Fine Arts and Design Faculty at ITB, taking the Visual Communication Design major, so everything I learnt at the time was actually more for graphic design, as opposed to fine art. Maybe aside from design theories and techniques, there were plenty other knowledge that I gained from the experience. One of them being psychology, because I believe art can be used as a medium to connect and communicate between human beings. How can art touch people emotionally? So, indirectly, we can also had to learn about the human mind and soul.

What kind of materials do you usually use?

The materials that I use vary greatly, sometimes traditional and sometimes digital. But the material that I love the most is pencil. I very much enjoy the shading process of a drawing and prefer to draw black and white because I think it's much more dramatic and mysterious. Hee hee.

Your art is so unique with the twisted touch as well as gory theme yet adorable illustration to it. What attracts you to this theme?

I do actually love everything horror, sometimes inspired by movies, comic books or folktales. I think creepy things can leave an emotional impression longer and cause a sensation which can keep intriguing a person. And I do love visualising my works metaphorically or symbolically, so it leaves a scary impression on people.

For a few years now you've been selling some of your characters as paper dolls that the buyers can assemble themselves. What inspired you to make these?

When I was preparing for the Art Market event in Jakarta, I was browsing to find inspirations—for example on Pinterest. Then I found a jointed paper doll whose joints can be moved and was instantly interested to create my version of a paper doll. It just so happens that I also love designing characters. In the end I made paper dolls with their own background stories. Up until now, there are a total of 3 characters of paper dolls that I've made.

Aside from paper, you have also tried your hand on wood boards and sculpting. Was there any obstacles you found particularly challenging? What did you learn from the experience?

The obstacles in using new media is, of course, the patience in facing all sorts of trials and errors, because I learn everything myself from the internet. Although it looks easy but, apparently, in practice, well, it really drains your energy. Even now I'm still keep on finding out and learning all kinds of techniques to create a new artwork.

You've been involved in several group exhibitions with other Indonesian illustrators before. How did these usually come to be? Would you ever be interested in holding a solo exhibition?

Usually I get an offer to participate in group exhibitions from my friends, who are also artists, or from connection who I met through social media or art events. Of course I am very interested and very much willing to hold a solo exhibition, maybe the time and chance have yet to arrive. Just wish me luck. Hee hee.

Your works have been sold at events abroad as well. How do you think is this experience different from when you sell your works in Indonesia?

I don't think there is any significant difference, it's the same.

What does the future look like from Wickana Laksmi Dewi?

Never think about it, what matters is 'the now.'

If an amateur/newbie illustrator comes to you for advice, what would you tell him/her?

Find as much inspiration as you can, keep on creating and find your own style!

A little note from me

Gory and horror are the things that comes to mind when I first look at Wickana's artwork. Even when nothing scary in particular seems to be on the paper, it really gives off a creepy impression that will surely leave the faint-hearted with nightmares. Wickana uses her materials well with a technique that accomplishes this deep impression on the viewers' minds. Her use of black and white and the way she shades her characters really gives off a spooky vibe, which may or may not come alive once you turn your head away. The huge, prominent eyes as well as the victorian-themed clothes and accessories also remind me of those porcelain dolls, which often appear in horror films as being possessed by a violent ghost. Sometimes the element of surrealism is enough to send chills down my spine, as it is portrayed in such an eerie way that nags at the back of the mind. Her works are like a puzzle, ready to be solved and it captures not only the eyes of the viewer, but also the mind.

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