Emotion and colour as principles of effective illustration

Illustration becomes exciting when it is not just pretty, but triggers something. Kimiya Justus sums it up: clear design language, strong colours, palpable attitude..

In this interview, we highlight various areas of her work: editorial, book illustration, packaging and visual merchandising, and talk about how her visual language works in different formats and helps shape brands and products. Her motifs tell a story quickly, yet remain open enough to reveal even more at second glance.

Let's get started with our conversation with Kimiya!

Kimiya, how would you describe yourself and your work to someone who doesn't know you yet? Is there a motif or project that particularly exemplifies this?

My illustrations are a mixture of strong colours, strong emotions and liveliness. When I start painting, faces are always the first thing that come to mind, which is why I feel most at home in the field of portraiture. Motifs of women represent my work, such as portraits of Iris Apfel or even fictional female characters, to whom I give a certain feeling. A feeling of freedom. I have coined the term ‘shy pop’ to describe the emotionality and colourfulness of my paintings.

Your style is clear, colourful and emotional. How did this signature style develop, and which of your earlier motifs marks a turning point for you?

I respond by painting. Before I express my feelings in words, I paint them. Since childhood, I have painted every strong emotion. Mostly the emotions I didn't dare to express: love, anger, joy, injustice, sadness and fear. And so, over the years, my style has become more and more established. Not out of compulsion, but quite organically. My illustrations are recognisable, and I believe that once you know my style, you will always know that Kimiya painted it. It's simply how I think – in pictures. My first portrait of Iris Apfel (2016) is still relevant to me today and comes from a time that led me to illustration, when I realised that I like to bring the thoughts, texts and ideas of others into my world.

Would you prefer a quick sketch or perfect final artwork?

Scribble for the freedom within me. Final artwork for the perfectionist within me.

You work primarily digitally with Procreate, but also use analogue techniques. When do you consciously decide to use one or the other?

I mostly work digitally with Procreate, combining digital elements with my organic forms. Digitally, I can work very freely and intuitively and quickly get a feel for composition, colours and expression. I consciously use analogue techniques when I am looking for more depth, randomness or a certain imperfection. Things that can be simulated digitally, but which simply arise more naturally in analogue form. Here is an example of the difference between digital and analogue.

Editorial illustration thrives on getting to the heart of the matter. How do you approach a topic conceptually – and can you name a motif that worked particularly well for a magazine?

For me, the first step is always to understand the content, not just what it's about, but also the mood, attitude or question behind it. I try to reduce the topic until I'm left with a clear image or feeling that I want to convey visually. Especially with editorial illustrations, it's important to me not to explain everything, but to open up a space for thought. This worked particularly well, for example, with my illustrations for So Schmeckt magazine on the topic of ‘healthy’. Playful, humorous, but always close to the emotion of the text. And on the other hand, fashion illustrations for Cyte magazine, fashionable, dynamic and elegant.

Many editorial offices are looking for illustrations that make a statement without being too bold. How do you strike this balance, for example when it comes to feminist or social issues?

For me, taking a stand means above all adopting a clear perspective without patronising the viewer. I try to condense the subject matter in such a way that the message is recognisable but leaves room for the viewer's own thoughts. When dealing with feminist or social issues, I work with emotions, contrasts and small visual details that convey messages without being overly simplistic.

If you could choose an editorial topic, what would it be? Which topic never ceases to fascinate you?

My themes are women, portraits, emotions and everyday life. And I would love to step outside this world and illustrate topics that touch on other areas, such as politics, society, economics, climate, mental health, technology, the future of work, food and nutrition. I am always open to new topics.

What kind of book projects would you like to work on more often? (e.g. non-fiction, literary essays, feminist topics, children's or young adult books)? Which of your existing motifs would be a convincing reference for this?

I see my illustrations in the field of feminist literature, literary essays and cultural and social books. Accompanying stories and telling them to the end. Finding a visual language for the text and giving the reader a pictorial idea of the content. A reference for this would be a motif I was allowed to paint for the organisation Feedback Madagascar and, in general, portraits that give characters faces.

What should publishers or authors know about working with you before starting a book project?

Open and honest collaboration on equal terms is important to me. I work reliably and in a structured manner, and I enjoy contributing my own ideas and visual inspiration when they benefit the story. I engage intensively with the content, mood and target audience, and I welcome open exchange, feedback and joint brainstorming.

Packaging must have an immediate impact and attract attention on the shelf or online. What do you consider particularly important when it comes to colours, shapes and motifs?

Colourfulness is my strength. Combining harmony and strikingness in such a way that you can't look away. And yet you clearly understand what it's all about. Depending on what kind of product it is, I first have to understand the product myself in order to then bring it into my illustrative world. Colours and shapes then emerge from my view of a product.

Products such as coffee, chocolate, tea and candles thrive on atmosphere. How do you translate values such as quality, origin and mood into illustrations?

For me, it starts with the mood that a product should convey, i.e. feelings rather than pure information. I translate quality, origin and craftsmanship through colours, shapes and details. Colour schemes, organic lines or small irregularities that convey something genuine and handmade, thus adding value.

Which product would you illustrate immediately, even if it weren't a commission – and why?

Tea, everything to do with tea. I love tea and cannot imagine life without it.

Illustration in space works very differently than on paper. What particularly appeals to you about it?

Get more involved in real life. Above all, think spatially and combine my passion for interior design and illustration. I enjoy being creative in spaces and have an eye for how objects and illustrations can work together in a room.


Would you prefer a huge shop window in a big city or a small, finely curated boutique?

I myself love walking through cities and looking at beautifully designed shop windows. And I see my illustration in huge shop windows in London. I have a strong connection to this city and after every visit I am always impressed by the shop windows and interior design. That's why I immediately think big.

Which industries do you consider particularly suitable for your work?

Industries such as: fashion, interiors, concept stores, hotels, gastronomy, lifestyle and design brands. On textiles, in rooms, in shop windows. Small and huge.

Is there a topic you keep coming back to?

Women. Images of women. Women and their emotional world. I simply love painting portraits and giving strong female figures a stage.

What would you like to emphasise or try out more in your illustrations in the future?

That I can illustrate anything and, above all, that I don't fit into any particular category. I am willing to try new things and tackle a wide variety of topics. I would like to design large shop windows, see my illustrations on packaging and accompany a column in the editorial section with my handwriting. I even illustrated for Emils Garage ‘Sundowner’ (a car event) once, even though I don't have a driving licence, so anything is really possible.

Is there anything else you would like to say – to readers, customers or future project partners?

I am ready, I am full of motivation and always positive. I communicate openly, stick to agreements and look forward to everything that is yet to come. And, if you are reading this, you are welcome to follow me and my current work on Instagram: @kimiyajustus