By Cansu Peker

Wenqing Gu is a Las Vegas–based freelance illustrator and visual storyteller whose digital artwork spans children’s books, 2D animation, and editorial projects. Drawing inspiration from both her Chinese heritage and American experiences, she brings warmth, humor, and a touch of wonder to her illustrations, inviting audiences of all ages into imaginative worlds.

Her work has received international recognition from the World Illustration Awards, Society of Illustrators, JIA Illustration Award, 3x3, Creative Quarterly, and Applied Arts, affirming her place as a leading voice in digital illustration. Guided by the motto “Slow is faster than stuck,” Wenqing left a career in accounting to pursue her passion full-time. At the core of her practice is sincerity: “The work must move me first before it can move others. Awards follow authenticity — not the other way around.”

We asked Wenqing about her art, creative process, and inspirations.

Your motto is “Slow is faster than stuck.” Can you share what that means to you in your creative practice?

When I began my illustration journey, I built a disciplined, self-directed practice that steadily evolved into a full-time career. My approach has always been to move forward with intention, even if progress feels incremental. Those consistent, deliberate steps have compounded over time, leading to recognitions including American Illustration 44 (Chosen Winner, 2025), Applied Arts (Selected Winner, 2023 & 2025), World Illustration Awards (Longlist, 2024 & 2025), and Society of Illustrators 66 (Selected Winner).

For me, this motto is a reminder that as long as you keep creating—thinking, refining, and practicing—you will continue to move your work forward, often far beyond your own expectations.

You’ve illustrated across children’s books, animation, and editorial — how do you approach visual storytelling differently in each format?

For children’s books, I start by deeply understanding the writer’s message. Since the audience is young, I think about how to make my illustrations both engaging and clear, helping children follow the story while sparking their own thoughts.

With animation, the focus shifts to personal expression. It’s where I tell the stories I want to tell, in the way I want to tell them, knowing that somewhere out there, someone will connect with the emotions behind the work.

For editorial illustration, it’s more like distilling an idea. I often choose one angle — a metaphor or visual translation of the text — and make it both visually striking and easy to understand.

Your work has earned recognition from some of the biggest illustration awards globally. Has that changed how you approach your projects — or how you see yourself as an artist?

My approach remains consistent: the work must move me first before it can move others. Art needs to carry genuine emotion and sincerity; if created solely to compete for awards, it risks losing its authenticity. While awards are affirming, they follow authenticity—not the other way around. I focus on staying true to my voice and vision, rather than predicting trends or second-guessing what might appeal to a jury.

For example, my piece Pettopia grew out of my everyday observations. I often see people walking their dogs, and sometimes I bring my own cat along. I’ve always felt that love between humans and their pets is mutual — not only do we care for them, but they care for us too. One day, during a walk, I imagined a role reversal: what if my cat, and every cat and dog, suddenly became giant-sized, while humans became tiny? In that world, our pets would still love us, protect us, and maybe even see us as their little companions.

That playful thought became the foundation for Pettopia — a whimsical world where size doesn’t matter and true friendship transcends all boundaries. To my surprise, this deeply personal and humorous piece resonated widely, earning recognition from the World Illustration Awards (Longlist, 2025), Applied Arts (Selected Winner, 2025), Society of Illustrators (Selected Winner, 66th), 3x3 International Illustration Annual (Merit Winner, 20th), Creative Quarterly (Selected Winner, 72nd), and selection for the Light Space & Time “Animals” Art Exhibition. It reminded me that when you create from genuine feeling and curiosity, people can sense that sincerity — and often connect with it in ways you never expect.

Are there any stories or ideas you find yourself returning to again and again?

Yes — the idea of “facing your true self.” For example, my work Beneath the Masks, currently on view at the Los Angeles Center for Digital Art’s Electron Salon, explores that theme. So does Reviving the Feminine Soul, a piece I created last year. These works are about peeling away facades and embracing authenticity.

What’s something you’ve learned recently that’s surprised you?

I’ve learned that the works I once considered deeply personal often connect most powerfully with others. Pieces rooted in my own emotions or experiences have prompted viewers to write to me saying, “This is exactly how I feel,” or to share their own stories in return. It’s a reminder that while experiences may be individual, the emotions behind them are often universal—and it’s in that shared space that art resonates most strongly.

What else fills your time when you’re not creating art?

I’m very active — each week I do CrossFit three times, Pilates three times, and Gyrotonics twice. Exercise keeps me energized, helps me stay positive, and fuels the consistency I need for my creative work.