Based in Seoul, Snabbit is a graphic design studio that merges traditional Korean elements with a lively, contemporary illustration style. Their signature use of mother-of-pearl (najeonchilgi) textures sets their work apart. The studio’s illustrator, Wallah Kim, is responsible for creating these artworks and also supports many design-related aspects of the studio’s projects.
Snabbit developed the full visual identity for the 2025 New Year Concert at the National Theater of Korea, blending shimmering mother-of-pearl textures with refined elements of Korean culture. Their collaborative work includes a partnership with Peacock to design promotional materials for the Korean Folk Village in 2024, as well as crafting the poster for the 2024 Gangneung Beach Beer Festival.
With mother-of-pearl textures, Wallah Kim creates illustrations that are visually stunning while honoring Korean cultural heritage.
In an email interview on Dec 1-2, Wallah Kim shared how the studio incorporates mother-of-pearl textures into its illustrations and the use of Korean elements.
When asked about the inspiration behind incorporating mother-of-pearl textures into the illustrations, Wallah Kim explained, ‘’I was deeply inspired after watching a documentary on najeonchilgi, Korea’s traditional mother-of-pearl lacquerware. Although I had seen programs and videos about the craft before, it was the documentary that truly moved me; the sight of master artisans creating their pieces made me want to draw mother-of-pearl myself.’’ ‘’Since I don’t have the craftsmanship skills to create real lacquerware, I wondered if I could express the beauty of najeonchilgi through the medium I love most: illustration,’’ she added.
Regarding how she chooses Korean motifs for her illustrations, Wallah explained that each traditional motif carries its own meaning, often symbolizing good fortune or protection from misfortune, a concept she finds deeply fascinating. ‘’Sometimes I select motifs that fit the theme of the artwork, and other times a motif itself inspires a new theme. I draw from a wide range of traditional Korean sources such as minhwa (folk painting), dancheong (decorative coloring), and talismanic designs, incorporating everyday wishes and blessings into my work,’’ she said.
When discussing the digital technique behind her mother-of-pearl textures, she said, ‘’I layer colors using a brush that shifts hue depending on pen pressure, adjusting transparency across multiple layers. This allows me to build up the shimmering, iridescent qualities characteristic of real mother-of-pearl.’’
Wallah Kim explained her process for creating a piece. She begins with a sketch and then refines it by redrawing the shapes in solid forms. After that, she colors the piece using her digital mother-of-pearl technique, making subtle adjustments to the overall composition as she goes. She said, ‘’Some pieces finish surprisingly quickly, but most take time due to the detailed layering process. Excluding the initial sketching and drawing, coloring alone often takes about eight hours, and sometimes longer when I keep refining the details.’’
In response to whether she considers the symbolic or cultural importance of mother-of-pearl, she shared, ‘’Since I am illustrating rather than crafting real najeonchilgi, I’m especially careful and respectful when using mother-of-pearl motifs. Out of admiration for the tradition, I always keep its cultural heritage in mind.’’ She continued, ‘’I often imagine how the piece would look if it were created through actual lacquerware techniques, keeping the craftsmanship process in mind as I work.’’
On whether her illustrations, especially those with mother-of-pearl, are meant to showcase Korean culture abroad, Wallah said, ‘’When I first began, I was simply driven by curiosity, without a larger intention. But now, I hope my work can reach people outside Korea as well. I approach each piece with a sincere, almost prayerful mindset, wishing that the joy and happiness I feel while creating will spread to others who encounter it.’’
Lastly, regarding her plans moving forward, she said, ‘’I hope to continue developing mother-of-pearl illustrations and present them through various printed formats. I also plan to explore more aspects of Korean culture beyond najeonchilgi, creating artwork that blends traditional and contemporary elements.’’ She then added, ‘’My goal is to produce pieces that remain memorable for a long time.’’
By blending tradition with playfulness, Wallah Kim’s work at Snabbit brings Korean culture to life. Her mother-of-pearl illustrations and symbolic motifs show a deep respect for Korean heritage, while inviting viewers, both in Korea and abroad, to connect with the culture in fresh, and creative ways.
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