The Unique Styles ofKorean Illustrators

Where does the strength of Korean picture books come from?The unique allure of Korean picture books today is clear, as more and more of them enterinto the international publishing market. Since the new millennium, Korean picture books havebeen sweeping prestigious international awards and receiving great attention at international bookfestivals each year; as a result, they have been translated and read widely in the U.S., Europe, Japan,and China. There are many reasons for their success, but most critics point to the strength of theillustrators.Until the 1990s, illustrations in Korean picture books were regarded as secondary to the textand therefore assigned only a subordinate role. In the 1990s, however, illustrations and text began todisplay a more interactive relationship. Thanks to the spread of this trend among writers, the picturebook has occupied an almost unrivaled position as a product of artistic expression since 2000. Theillustration is no longer subordinate to the text; it achieves a harmony with the text, extends it, guidesit, and at times even eliminates the need for it. Illustrators strive to create in picture books a cohesivelanguage of images. They freely command, through their artistic imagination and explosive energy, amixture of the traditional Korean aesthetic, uniquely Eastern sentiments, and universal images sharedaround the world, while at the same time insisting on their individual and unique style.The illustrators flourishing in Korea today range widely in age, from their 20s to their 60s, andtheir distinctly individual artistic worlds are also tremendously diverse. Some of them have been notedfor being remarkably “Korean,” while others have been marked by the global appeal of their work.Some impress readers with their very detailed and elaborate drawings, while others astonish with anarticulate simplicity. Some offer inspiring insights into children’s imagination and psychology, whileothers appeal to the child in all adults or prompt a reflection on life. It is not easy to summarize theentire body of Korean illustrations, for they contain elements and traces of our past, present andfuture.This issue of list_Books from Korea invites readers into the world of Korean illustrators. It isunfortunate that the spotlight is turned on only a small number of illustrators out of the many active,talented artists today. For convenience, the world of Korean illustrators has been divided into threecategories. First, certain artists have been celebrated for the Korean character of their work. Theybuild upon the Korean sensibility and aesthetic and, through historical investigation, create worksthat are quintessentially Korean. Their powerful and unique images captivate not only the readers inKorea but also those around over the world. The second category is comprised of artists who boastdiverse styles and techniques. This talented group of artists can command a wide range and mix ofstyles, thanks to their professional training in illustration and proficiency in computer technology.The third category consists of those who are inventing their own unique techniques. On the rise since2000, this last group of artists, due to the influence of the rich visual culture in which they wereraised, is characterized by a constant experimentation to create new kinds of images. This volume,then, proposes to explore the world of illustrators who are most active in these three categories.As a side note, some artists have been excluded from our inquiry because they are busy workingon their next project, or they have already received attention in previous issues of list_Books fromKorea, or many of their works have already been translated into other languages. Some notableexclusions include: Lee Eok-bae, whose work reflects his meditations on the legacy of the Koreanaesthetic tradition and incorporates elements of the Goguryeo wall paintings, Joseon period folkpaintings, and altar portraits of the Buddha into hanji; Ryu Jaesu, who creates picturesque yetpowerfully moralistic work; Kwon Yun-duk, who has revived everyday Korean life in the style ofbrightly colored folk paintings; Lee Ho-baek, a children’s book editor who is also actively involved inall areas of publishing, including illustration, planning, writing, graphics, translation, and printing;Kim Dong-sung, who turns to the common picture book genres of fantasy and nonsense; KimHwan-young, whose work champions the layers of depth, transparency, and innocence of Koreansentiments; and Baek Heena, whose work Cloud Bread has won international acclaim in Italy, France,Taiwan, Japan, China, Germany, and Iran. 

By Yoon So-hee