Yubin Lee is a designer and illustrator based in New York City, specializing in digital marketing design, visual branding, and illustration. A graduate of the School of Visual Arts with a degree in Illustration, she brings a distinct narrative flair to her design work, blending gothic and fantastical influences with a playful, whimsical twist. Her visual language draws heavily from her early memories of Gothic architecture while living in Europe, combined with inspirations from artists like Erté, Daniel Egneus, and Eiko Ishioka.

Yubin began her digital art journey at the Baturu Cultural Festival, where she created posters and illustrations for cultural and film events. Initially trained in traditional media, she embraced digital tools through hands-on experimentation, gradually developing a hybrid style that merges both. Currently, Yubin works as a Brand Designer at the athleisure brand Halara, continuing to explore rich, detailed worlds through both design and illustration.

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

Can you tell us about your background as a digital artist? How did you get started in this field?

I first began as a digital artist in the illustration field when I started working at the Baturu Cultural Festival, creating illustrations and posters for cultural and film festivals. While I was working there, I got to experiment with a lot of different styles and techniques using digital media. I was still relatively new to using such a medium, as I had primarily worked with traditional materials before. I went through many trials and errors, but it was all very enjoyable. Those works were published online and showcased at events, being seen by numerous viewers. People seemed to really enjoy my work, so the thrill was doubled as I was enjoying the process of creating art and also the outcome and response it received.

I still enjoyed working with traditional materials too as there are some things that digital media cannot do. I really thought about how I could incorporate both while creating work that satisfies me and my goals. Naturally, I kept experimenting and trying new things, and then I started creating a blend of digital and traditional work.

Your illustration work explores gothic and fantastical styles with a whimsical twist. Where do these influences come from and how have they evolved over time?

I have always been drawn to these styles growing up. Maybe it’s the aesthetic allure, the rich visuals and details that mesmerize me. I used to live in England when I was a child and while living there, my family and I traveled a lot around Europe. We visited many places with Gothic architecture, which is prevalent across the continent. I was always so mesmerized by the grandeur, theatricality, and beauty of those buildings. I also took a class in college called the 'History of Ornaments', where I learned a lot about Gothic and Rococo styles, which gave me a better understanding of those aesthetics. Naturally, I began to look up to artists like Daniel Egneus, Erté, and Eiko Ishioka, who have all had a significant influence on me. Their styles are theatrical, dramatic, and opulent. I also love movies in this style like my all-time favorites include 'Big Fish' and 'A Series of Unfortunate Events'.

As for the whimsical twist. Well, these styles can be pretty heavy and serious, so why not add a touch of playfulness to make them more enjoyable haha! All these accumulated experiences and interests have significantly influenced my work.

What advice would you give to illustrators looking to expand into design or branding without losing their artistic identity?

That’s a great question as I think about this a lot. When you work for a brand, you need to create designs that represent the brand that align with its identity, values, and guidelines. You’re not creating for or expressing yourself, and oftentimes, that means setting aside your personal artistic identity. That can be frustrating, I know. But it’s part of the job.

In my case, I still find ways to incorporate my illustration skills into my design work. When I create social media graphics, I try to fit in illustrations if possible, whether that’s an illustrative icon or a small graphic element. I also make sure not to stop illustrating just because I have a design job. During the week, I focus on design work, and on the weekends, I make time for illustration. I think it’s important to never stop creating. Once you do stop, that’s when you lose your artistic identity.

What is a profound childhood memory?

One time, I ran away from home when I was four years old. My parents and younger sister were out and it was just me and my older brother at home. I was playing games on our family’s shared laptop. After I finished, I closed the laptop and it literally broke in half. I panicked and ran to my brother for help and he suggested we pack our things and run away from home. Clearly, we were very young for that to be our solution. Out of all places we could have gone, we went to a park in our neighborhood.

At first, I felt thrilled and excited, like it was my first real act of rebellion. But after a few hours, I got cold, tired, and hungry. Then some dusty car pulled up. It was my mom. Furious. She yelled at us to get in. We got in immediately, without a word. I thought she was going to yell at us and punish us but surprisingly, she didn’t say a single word. The whole car ride was silent.

When we got home, she went straight to the kitchen and made us instant noodles. Noodles are cheap and accessible these days, but back then in England, they were rare and reserved for special occasions. That’s why I was so surprised by the gesture. Those noodles though... let’s just say they were the best I have ever had. To be honest, they were extremely watered down (my mom didn’t want us to have too much sodium), and a bit soggy, too. But even at that young age, I could feel the love and forgiveness in her gesture. She didn’t say anything the whole time, but those noodles meant a thousand words.

I actually made a comic about this memory for a 24-hour comic challenge. I isolated myself for 24 consecutive hours (rest, sleep, food are included) and created a 24-page comic. The style and quality are definitely rough and not my best work (24 pages in 24 hours is no joke haha) but it was so fun to create a comic based on my profound childhood memory.

Have there been any surprising or memorable responses to your work?

I think the most memorable responses came from people who praised my work during my time at the Baturu Cultural Festival as I mentioned above. That was my first professional job so it meant the world to me. When I created the series “The Eye,” for my senior thesis show in college I didn’t get selected. But so many people came up to me and said they loved the pieces and didn’t understand the results. But it was okay as I later on received a merit award from Hiii Illustration for this series. And even at work, when my coworkers love and appreciate what I create, it makes me so excited. I think those positive responses, whether big or small, are what keep me going as an artist.

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

I love biking and playing badminton. Those are two things I can do for hours non stop. Just feeling the wind on your face while listening to music is one of the most pleasurable feelings. As for badminton. My friends think I’m bad, but I don't think so!!

What is a dream project you’d like to make one day?

This is a big dream but one day, I hope to turn one of my series into a movie, either live action or animation. I’m working on a story about a child who loses his mom to illness and sets out on a journey to Heaven, believing that's where she went and it's a physical place he can go to. He embarks on this journey with a homeless man who mishears “Heaven” as “Haven,” thinking the boy is heading somewhere safe to live. Together, they go on a shared journey with very different destinations in mind. Along the way, they meet people who try to interfere with the child’s pursuit. I don’t want to spoil the rest, but that’s how the story begins and I would love to make a film out of it.

It’s a bit different from my usual gothic and fantastical monster-based stories, but hey, if any film directors or producers are reading this interview and are interested to collaborate, please contact me!!