Putting it Down on Paper: Lyli Feng Catapult Artist for May 2020

We were delighted to have Lyli Feng as our Catapult Artist for May 2020. The textures of each piece that Lyli created, the depth of colors, the dynamic composition were are a thing to behold. Each illustration created an evocative connection to the piece and the viewer. To get to know Lyli a bit better, we asked her about her path, her process, and how she connects with other artists during a global pandemic.

When did you know you wanted to become an artist? What has the path looked like to get where you are now?

This is really funny because when I was in primary school or middle school whenever I got to answer the “dream job” question, I always said being an artist. I didn’t even know what it meant to really be an artist at that time, but I somehow just knew that’s what I wanted to become.

My parents were really supportive. I studied drawing throughout my childhood as well as after class in high school; I got into an art academy, but I was very lost when choosing majors. And in the end, I studied industrial design, which was thought to be a field that would be easier to find jobs in. At the same time, I always kept an eye out for what was happening in the illustration field.

As I learned more and knew more about myself, I knew I couldn’t see myself being a product designer. And I knew I would never forgive myself for not trying my best to do what I wanted. I knew I loved storytelling through drawings the most, so I applied to study sequential design and illustration in the UK. I was very happy studying that and believe I made the right choice. Since then, I’ve been drawing constantly and I’m very grateful that it’s become my job.

Your art for the magazine is stunning. Every element of each piece contributes to the story your work is telling. How do you approach visual storytelling?

Usually, I read the whole story or draft through and extract the key points from it. After doing some research on the subject, I will keep a distance from the story and keep it in the back of my head and let my mind really absorb the whole story. Then at one point, I’ll just sketch out what had developed in my head all down on paper at once.

Can you walk us through a typical day of creating?

After getting the approval of the sketch from art directors, I’ll look through my textured papers to find the ones that can best represent the feelings of the whole image. Then I will make a list of what needs to be cut out. This is the part where a lot of happy accidents happen. Next, I will scan each element into the computer, then clean the edges of each piece in Photoshop. Then I’ll start to compose them together according to the layout of the sketch, and usually, I need to repeatedly cut and scan more details as needed.

How are you finding ways to stay connected with the art and artists during these times?

It actually hasn’t changed that much during this time between me and my art fellows. We mainly catch up with each other through Instagram and WhatsApp as we did before. I feel like it has made the illustrators' community more connected than I realized before. I wasn’t using slack that much, but since the lockdown, I've joined three groups that were newly made for connecting illustrators together.

People are sharing experiences and tips in it. It made me feel more hopeful for the future as we face this crisis together.

How do you recharge your creative tank?

If I feel bored with the work and less creative, I shower. I don’t know why, but I have ideas piping out when in the shower. If that doesn’t help, I like to watch old movies (e.g. Emir Kusturica’s movies) or look through my old sketches.

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