Alright – so today we’ve got the honor of introducing you to Seol Do Hyeong. We think you’ll enjoy our conversation, we’ve shared it below.

Alright, Seol thanks for taking the time to share your stories and insights with us today. Going back to the beginning – how did you come up with the idea in the first place?

I start my creative work by imagining irrational, otherworldly creatures appearing in an otherwise ordinary day. One of the biggest influences that led me to work this way was watching the Digimon anime back in middle school. I was fascinated by the idea of strange creatures with their own motives suddenly showing up in the human world and forming connections with people—two completely different beings learning to coexist.

To explore this kind of storytelling, I’ve been reading books featuring yokai and monsters to learn more about Korean folklore creatures. Lately, I’ve found myself more immersed in my work when I imagine what kind of monster I might be spending my days with—as if I’m going on a date with one.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

I mainly create digital illustrations, often drawing inspiration from the ancient Three Kingdoms period of Korea and incorporating various yokai (mythical creatures) into my work. As I build a collection of these illustrations, I sometimes select one character to develop into a picture book. After working in a print shop and a design company, I began focusing more on digital illustration. My current goal is to launch a crowdfunding campaign for my picture book within the first half of this year.

People who enjoy my work are often drawn to the way I use color and the unique forms of the creatures—whether they’re animals or yokai. Because of the themes and color palettes I use, some have said my illustrations remind them of ukiyo-e, the traditional Japanese woodblock print style. Although I’m Korean, I often hear that my style has a Japanese aesthetic. I think the overall atmosphere of my artwork—blending an East Asian sensibility with mythical beasts—sets my work apart and helps define my visual identity.

What I’m most proud of is my ability to explore themes that are less commonly depicted by others and to present them in a visually distinct way. That’s why my work may continue to lean more heavily into the world of yokai and possibly include more illustrations with religious or spiritual undertones. However, the core message I want to share isn’t necessarily about mythology itself—but about new beings and the idea of encountering something beyond the known. My illustrations are an invitation to step into those quiet, strange meetings.

Are there any resources you wish you knew about earlier in your creative journey?

One thing I’ve learned on my creative journey is the importance of going deep—not just wide. It’s not enough to consume a lot of content; what really matters is understanding things at a level most people wouldn’t even think to explore.
For example, instead of referencing Disney’s The Jungle Book, you should be able to explain Mowgli’s journey in the original Kipling text. That’s where the real depth lies—not in what’s popular, but in what’s overlooked.
I’ve come to believe that creativity is like digging a well. If you dig deeper than everyone else, your well won’t run dry. That’s why I’ve found tremendous value in books like The Golden Bough by James Frazer, Shan Hai Jing, and Thoreau’s Walden.
The Golden Bough and Shan Hai Jing are rich sources for building unique fantasy worlds, while Walden helps me ask the right questions when shaping the narrative within those worlds. These aren’t just books—they’re tools for seeing things differently and creating something that lasts.

For you, what’s the most rewarding aspect of being a creative?

One of the most rewarding things for me is when people talk about my world or characters as if they’re real.
For example, if someone says something like, “Why doesn’t Gregory eat people even though he’s a monster?” or “Gregory had such a rough childhood, but it’s amazing how resilient he turned out”—that kind of comment means so much. It shows that they’re truly invested, that they see my characters not just as drawings, but as living beings with stories.
But most of the time, the reactions I get are more immediate, like “That’s a cool drawing!” And while I appreciate it, sometimes I wonder—do they really like the character, or just the style?
It makes me realize how much I long for that deeper engagement, the kind where someone asks about my character’s past like they’re catching up with an old friend.

Contact Info:

• Website: https://www.behance.net/sphaesnow
• Instagram: https://www.instagram.com/illust_shapesnow
• Other: https://pixpills.com/shapesnow/https://www.picturebook-illust.com/author-gallery/room/73183

Image Credits

shapesnow