Interview #47: The Art of Myo Yim
'In a way, creating art is my way of making peace with the world around me..'
Hello art community! Today’s artist truly touched my heart with her sweetness and the delicacy of her work. I’m excited to share with you the behind-the-scenes of Myo’s art.
For those just finding me - I’m Madalina, an Italian/Romanian illustrator who loves discovering and talking to many fellow artists. I now share these conversations through bi-monthly interviews available to read for everyone :)
Myo Yim is a Korean author-illustrator who currently lives in Australia with her husband and two children. She has illustrated over 15 books and worked on many editorial projects, all featuring a soft, nostalgic style. I could definitely live in one of her illustrations!
✿ Hi Myo and welcome to forArtists. How would you describe your artistic journey that led you to where you are today?
My journey started at the age of six, when a national art award in Korea ignited my lifelong passion for drawing. Despite my parents’ initial opposition, I studied Visual Arts and worked as a commercial multimedia artist for seven years. However, I soon realized I wanted to focus more on illustration than technical media.
The turning point came in 2016, after the birth of my children and the passing of my grandmother. I felt a deep urge to tell a story, which led me to devote two years to creating my first picture book. Since then, my career has grown from Korea to Australia.
A significant milestone was signing with my current agency, Catbird, which opened doors to the US market. The last three years have been incredibly rewarding, filled with back-to-back projects that have pushed me to grow through diverse storytelling.
✿ In your work, I mainly spot pencils and graphite. What do you like most about dry media? Have you ever thought about switching to other media?
My choice of dry media was initially a practical one. As a mother of two young children without a dedicated studio, I needed materials that were easy to set up and clear away from the dining table. However, I quickly fell in love with graphite and spent years studying the works of pencil masters to refine my skills. Over time, I added colored pencils for more vibrancy and pastels for texture.
Recently, I’ve started incorporating watercolors back into my process. While I used them years ago during my time as a media artist, I returned to them to better capture fluid elements like the ocean.
Today, my work is a harmonious blend of various media, allowing me to push past the limitations of any single material.
✿ Could you walk us through the creative process behind one of your illustrations?
My creative process is a journey from deep research to intuitive execution.
For my book The Big One, I blended my personal experience of living in a coastal town with historical research from Tasmania and the specific Irish/Canadian aesthetics requested by the author.
I keep my initial sketches broad, focusing on the macro layout to avoid getting bogged down by too many details early on. The real magic happens during the painting stage, where I add intricate details—often vetted by my two children, who are my most honest critics.
I prefer to complete my work manually in one go rather than through digital collaging. For me, the ‘accidental beauty’ of analog media is irreplaceable; I find that over-refining digitally can often diminish the raw, authentic feel of the artwork. My goal is always to preserve the unique texture and soul that only hand-drawn work can provide.
✿ Your sea drawings melt my heart. How do you manage to simplify natural elements while keeping them believable?
Thank you so much! I believe achieving that delicate balance is the ultimate goal for any illustrator. Nature is ever-changing, and its beauty is often filtered through the viewer’s unique perspective.
To me, originality comes from how and when I choose to ‘capture’ a scene through my own artistic lens. Since the story is always at the heart of my work, I aim to stay faithful to the essence of reality while boldly simplifying any elements that might clutter or distract from the narrative. It’s about distilling nature down to its most evocative form so that the story can truly shine.
✿ I bet many are curious to know more about your workplace and the tools you use most in your work. What are the things/spots you treasure most in your studio?
I use Polychromos colored pencils as my foundation, but I always reach for Prismacolors when I need a creamier texture. Prismacolors have such unique, distinct hues, so there’s a certain joy in picking out just the right shade. Lately, I’ve even been collecting and using the cheap colored pencils that my children have left behind. Since their colors and textures are so different from professional tools, they help create a very specific kind of density in my work.
I’ve found that relying on just one brand has its limits, so I usually have four or five different brands on my desk at the same time. However, for watercolors and gouache, I do stick to top-tier professional brands because the richness and expression of their pigments are simply overwhelming.
My pastel collection is also a ‘total package’ of various brands and qualities, all working together to bring out the best in each piece.
My workspace is also quite fluid. Even though I have more space now, I still move around the house regularly. When a spot gets too cluttered, I switch to a new space to refresh my mind. I consciously try not to grow too attached to a specific spot or medium; staying mobile helps keep my creativity flexible and my work from becoming stagnant.
✿ Looking back on your artistic path, can you pinpoint any breakthrough moments?
This is a very profound question. To be honest, I feel like I’m still waiting for that definitive ‘breakthrough’ moment. I’m rarely fully satisfied with my work, and I don’t feel like my current drawings completely represent the ‘true me’ yet.
My art has evolved naturally over time, but it’s still a work in progress. Because I didn’t follow a formal path in learning illustration, I’ve always had to teach myself through constant experimentation. In the beginning, my work was more like imitation, but slowly and steadily, a tone that feels uniquely mine began to emerge.
However, I still want to be more flexible and find even simpler ways of expressing things, all while keeping a sense of wit. Thinking about it now, it feels like my goals are getting even further away! I used to push myself quite hard, but these days, I try not to let anxiety take over. I’ve realized that everything has its own timing. I’m learning to breathe and remind myself that where I am right now is enough.
✿ What advice would you give to aspiring artists who want to work professionally in the publishing industry?
I truly believe that everyone has their own ‘season.’ In a way, I’m still waiting for mine, too! ^^ So, my advice is never to give up. Keep nurturing your inner creative world and just keep doing the work, whether it’s a lot or a little.
I have faith that the right reader who truly recognizes your vision, and that ‘cosmic timing’ when the world is ready to embrace your work, will eventually find you.
✿ Are you in a happy place with your art right now? What would you love to improve forward?
I wouldn’t say I’m perfectly satisfied, but I do feel like I’m improving bit by bit. Even if today’s work isn’t flawless, when I look back at the path I’ve walked, I want to give myself a small round of applause for all the effort I’ve put in.
Thinking that I’m constantly evolving makes me happy and gives me something to look forward to tomorrow. That’s what motivates me to sit back down at my desk, even when my shoulders and wrists are aching.
Currently, I’m in the process of starting to craft my own stories once again.
✿ What inspires you most and keeps your passion for art alive?
It’s my inner discomfort. By expressing that feeling through stories and images, I feel like I’m softening the friction between myself and the world. This world is filled with such immense diversity, and my work helps me better understand and embrace that complexity.
In a way, creating art is my way of making peace with the world around me.
✿ What people don’t know about you, the person behind the art?
I’ve lived in this beautiful coastal town for 12 years now, yet I’m still one of the quietest ‘outsiders’ in the neighborhood. I’m not a very social person; I find much more comfort in walking along the shore alone or losing myself in old museum archives than in large social gatherings.
But I’ve come to treasure this distance. Being a quiet observer allows me to see the world through a very specific filter. That ‘outsider’s perspective’ helps me notice the small, fleeting details that others might miss, and it’s what allows me to translate those observations into the stories I draw. In a way, my art is born from that very solitude.
☆☆ Learn more about Myo’s work on her website and Instagram.
Amazing! I adore your art, Myo! x