When you walk into a bookstore without a specific book in mind and find yourself captivated by well-designed, vibrant covers on the shelves—even without knowing the story behind them, you feel an almost immediate urge to take that book home. Or, even in the digital world, when you see a striking cover on Kindle, you get the desire to collect it. This is the power of artists like Ing Lee, a Korean Brazilian comic artist and illustrator, daughter of a Korean father and a Brazilian mother, born in Minas Gerais and currently living in São Paulo.

Some Korean books translated into Portuguese carry Ing Lee’s unmistakable signature on their covers, such as the bestsellers Almond and (튜브) by Won-pyung Sohn, Cursed Bunny by Bora Chung, and Castella by Park Min-Gyu. Her covers have helped popularize Korean books among Brazilian readers, sparking growing interest in the country’s literature and bringing cultures closer through art.

Ing Lee has been recognized for her contributions to art and illustration, earning numerous nominations and awards throughout her career. Last year, she was honored as one of the Young Talents of the Brazilian Book Industry by the Frankfurter Buchmesse + PublishNews, becoming the first cover artist to receive this distinction. In 2025, her work Perfect Days was shortlisted for the LADAWARDS, in the Posters/Professional Illustration category for Latin America. In 2024, the same piece made the longlist for the Booooooom Illustration Awards in Vancouver, Canada, under the Advertising & Promotional category. In 2019, Ing Lee was shortlisted for the Dente de Ouro Award with her work Sam Taegeuk, and in 2018, she was shortlisted for the same award with Choco Pie.

These achievements reflect both national and international recognition of Ing Lee’s talent and the relevance of her work, establishing her as a reference in contemporary visual art. By blending traditional Korean elements such as 민화 (folk painting) with her Brazilian roots and contemporary influences, the artist helps keep both Korean and Brazilian culture alive, while modernizing them for younger generations.

The interview was conducted via e-mail on July 1st. 

1. Could you briefly tell us about your childhood and roots?

My name is Ing Lee, and I’m the daughter of a Korean father and a Brazilian mother. My father arrived in Brazil in the 1960s, on one of the first ships of Korean immigrants. Since I was a child, I started drawing, inspired by anime and manga, which were the most accessible references related to Asian culture at that time.

2. How would you describe your artistic style? What elements or references do you usually incorporate into your work?

My artistic style is a fusion of various visual languages, I have explored throughout my career. The influence of anime and manga, although more diluted today, is still noticeable among other visual elements. Currently, I’m also inspired by different contemporary artists who influence my compositions and visual narratives. When I started college in 2014 and graduated in Visual Arts in 2019, I began actively seeking references in contemporary art.

3. Could you tell us about the illustrations of the 무궁화 (Korea’s national flower), inspired by 책거리 (a traditional painting style from the Joseon Dynasty, particularly in the 18th and 19th centuries) and old poems from the Korean Cultural Center (KCC) library in Brazil?

The exhibition aimed to bring the traditional Korean painting style, 책거리, which portrays aspects of still life in Korea. I really wanted to create a project about Korean culture, and each illustration was inspired by Korean poems, using translations by Professor Dr. Yun Jung Im. The series features poems by renowned modern Korean poets: Kim So-wol, Yi Sang, Jeong Ho-seung, and Namgung Byeok.

The exhibition 무궁화 Mugunghwa was part of my new comic series created in collaboration with PlayGround Brasil. It was held at the Florestan Fernandes Library at USP and later donated to the collection of the Korean Cultural Center in Brazil. It offered a contemporary interpretation that blends traditional and urban elements. For example, in the poem Through the Mirror (거울 이상) by Yi Sang, I drew several televisions and cell phones, inspired by the works of Korean artist Nam June Paik, a pioneer of video art.

4. What are your main visual and cultural influences? Could you tell us more about the presence of 민화 (Korean folk art) and your 1990s–2000s childhood in your work? How do you reconcile your Brazilian and Korean heritage in your art?

My influences come from different fields and cultures. Among the artists I admire are Keum Suk Gendry Kim, Asano Inio, Taiyo Matsumoto, Jee Ook, Seung Eun Kim, Sarula Bao, and Ancco. I also draw strong musical references from Yellow Magic Orchestra, Japanese Breakfast, Yaeji, Ryuichi Sakamoto, City Pop, Synthpop, and the striking sounds of the 1980s. Cinema is another constant source of inspiration, especially names like Bong Joon-ho, Edward Yang, and the films of the New Taiwan Cinema movement.

Another essential aspect of my work is the use of vibrant colors and textures, which recall my childhood in the 1990s and 2000s. Back then, I was fascinated by shiny, flashy objects, and I tried to recreate that same sense of wonder in my work. Korean folk art, 민화, also resonates in my creations, helping me naturally blend my Brazilian and Korean cultural heritage.

5. How does your creative process work? Do you start from texts, emotions, visual references, or conceptual ideas? In your works, we can see easter egg-like elements. How do you manage to include these details without disrupting the narrative?

When working on commercial projects, I usually follow a briefing, which can be either strict or flexible. Some publishers send very detailed guidelines, while others simply provide the book content for the artist to interpret freely. Sometimes I create something unexpected, as illustration work involves a lot of research and understanding of the message that needs to be conveyed.

For example, when it’s a book set in another country, like Korea, I research cultural elements, foods, and clothing to bring authenticity. For the cover of Almond, for instance, I drew inspiration from the facades of Korean secondhand bookstores to create a composition that reflected the tone and elements of the story.

The design of the secondhand bookstore was inspired by a real place, 대오서점 (Dae-o Book Store), located in Seoul, Korea. RM from BTS visited it twice, and I thought it would be fun to connect the BTS members this way, since both Namjoon and Yoongi recommended the book.

6. You were awarded as one of the Young Talents of the Brazilian Book Industry by the Frankfurter Buchmesse + PublishNews, being the first cover artist to receive this recognition. How did it feel to receive this award?

When I applied for this award, I realized it traditionally recognized professionals who stood out in areas like marketing and communications, but never someone in my field—cover design and creation. Moreover, with the growing use of artificial intelligence in cover design, I felt it was important to bring this discussion to light, as the creative field is, in a way, under threat. Winning this award was meaningful not just for the work I present but also as a recognition of the importance of art and creative professionals.

In the same year, I participated in the Bienal do Livro with the Rocco booth dedicated to Almond, whose cover I designed. It was an incredible experience and a major highlight, as it’s rare for a company to dedicate so much space to a cover. This project became a true success story, created a strong connection with the audience, and gave space for a Brazilian artist to express her perspective on the work.

7. You took part in the Friends of Embassy program by the Korean Embassy in 2022. How was this experience as a promoter of Korean culture? Have you been involved in other events linked to official Korean organizations?

Being part of the Friends of Embassy program in 2022 was such a great experience, especially right after the pandemic. I started recording videos about books and realized that the program could connect me more deeply with Korean culture, especially since there were no other participants of Korean descent in the group. The program helped me create content for our niche, particularly on Korean comics, with reviews and promotions. I joined parties, trips, and other activities, which was a lot of fun.

Currently, living in São Paulo, I frequently take part in events hosted by the Korean Cultural Center, the Embassy, and the Consulate, giving talks and being invited to film festivals. I’m now involved in the Korean Cultural Festival that will take place in August in Bom Retiro, also helping organize the art fair.

8. Recently, you were shortlisted in the Professional Illustrated Posters category of the LADAWARDS (the most prestigious design award in Latin America) with your Perfect Days poster. How did this achievement feel?

I was happy to be one of the finalists on the shortlist for this category. Receiving this recognition is very rewarding. The result will be announced in September, and I’m excited to see the outcome. The award includes bronze, silver, and gold medals, and the ceremony takes place at a gala event. This was one of my first times entering illustration-focused awards, and the experience was very positive.

9. You don’t just create covers for posters or books, but also unique artworks and pieces. I still remember when I first came across the book 아몬드 (Almond) by Won-pyung Sohn. I was about to download it on Kindle, but when I saw the cover, I completely fell in love and decided I had to collect it.

Book covers are an excellent entry point for anyone starting a professional illustration career because they serve as an important platform to showcase one’s work. Many of my followers and fans affectionately call my covers “Ingbooks,” which reinforces my position as a cover artist. I believe a book cover is just as important as the book’s content, as it draws in the audience and sparks interest in the story.

Right now, I’m working to expand my career internationally and have already collaborated with foreign publishers. I’m in a moment of growth, building my name not just in Brazil but also exploring international opportunities.

10. Your career began with participation in graphic fairs, where you presented experimental comic projects. How was this journey? Do you still participate in such events to promote your work?

I always tell my students that fairs are a crucial gateway for those starting out. It’s a way to stay close to the market in a more analog environment, where the audience directly interacts with the artists and gives valuable feedback.

In 2024, I created an illustration for FIQ, one of the largest international comic festivals in the country, as well as for ComicCon. It was one of the first fairs I participated in, and since it was held in my hometown, this was a very meaningful milestone. This opened doors, such as the invitation to design the poster for Companhia das Letras at the Bienal do Livro, and led to my first cover work, Love, Lies, and Rock and Roll, published by Editora Seguinte.

11. If you could highlight one cover among the 14 projects that have marked your career the most, which would it be?

Aside from Almond, I would highlight the cover of Cursed Bunny by Bora Chung. I really like this cover because, although I’m not very skilled at drawing animals, I achieved a good result after researching references and anatomy with the help of a close friend. I also had the chance to meet author Bora Chung during a trip to Korea, which made the experience even more special.

12. Besides your artistic work, you also offer courses and mentorships. What is the focus of these activities, and how did your interest in teaching begin?

Early in my career, I participated in workshops, especially around 2016. Over time, I developed a greater interest in teaching, which also helped me to switch off from the part of my brain that’s always focused on creating and producing. Teaching activates another part of my brain that relaxes me, and I find I can communicate well this way.

In my independent book cover design course, I aim to include both industry professionals and younger people starting out. At the end of the course, I compile a portfolio of the students’ work and create a catalog. I have done this a couple of times so far. Besides keeping these portfolios, I send them to various publishers, art directors, and designers to help these professionals enter the job market.

13. What is your relationship with Korea like? I believe you have relatives there, and Korean culture seems to be very present in your life. Do you speak Korean, or do you want to learn it someday?

I grew up somewhat distant from the Korean community, and I have always wanted to be closer to Korean culture, something I am now reconnecting with. Currently, I am learning Korean and have already reached an intermediate level. Recently, I traveled to Korea with my father and brother, which marked the beginning of a deeper connection with my family and Korean culture. I feel a strong connection with the Korean diaspora, especially here in Brazil.

Ing Lee’s journey is an example of how art can serve as a powerful bridge between cultures. Her covers not only make Korean books stand out on Brazilian shelves but also bring readers closer to Korea, sparking curiosity and admiration for its literature and aesthetics. By blending her Korean Brazilian heritage with a contemporary and innovative vision, Ing is building a unique place in the editorial and cultural landscape, contributing to the dialogue between Brazil and Korea through art.