Copic Award 2024 winner Yopo continues their quest for new gradients

Interview by Ichibo Harada

The winners of the Copic Award 2024, a global contest showcasing artworks created with Copic markers, have been announced. Of over 3600 submissions from 70 countries, Yopo’s illustration Narikake no Watashitachi received the prestigious pixiv Award.

Having discovered Copic markers in elementary school, Yopo has been creating Copic illustrations for nearly 20 years. In an era dominated by digital art, why do they remain committed to Copic markers? We spoke with Yopo about the appeal of Copics and their techniques.

>>Copic Award 2024 Winners Announcement<<

Narikake no Watashitachi by Yopo

Index

I drew part of the winning artwork with my left hand
What if my favorite colors were characters?
Four months of work alongside a full-time job
Aiming for muscle memory
Think of what you want to draw before building your color set
Avoid streaks by switching paper
Aiming to hold a solo exhibition someday
Check out Yopo's other artworks!
Copic Award 2025 was officially announced!

I drew part of the winning artwork with my left hand

── Congratulations on winning the pixiv Award! How did you feel when you found out?

I was on my lunch break at work when I checked the results page. I was so happy, I almost cried. The judges even commented on details like my use of glitter and how the appearance of the piece changes depending on the viewing distance. It meant so much to me to know they had looked at my work so closely.

── You’ve entered the Copic Award before, right? How confident were you about this piece?

I’ve entered the contest a few times before, but it’s never been with the mindset of, “I have to win!” Instead, I submit works where I’ve challenged myself to try something new, rather than just pieces I feel turned out well

── What was the “new challenge” in this particular piece?

I usually use a lot of gradients, but this time, I focused on the basics, like achieving smooth, even coloring. I also experimented with color choices and linework. Interestingly, I’m right-handed, but I drew part of the lower center section using my left hand. I’d been imagining what I’d do if I ever lost the use of my dominant hand (laughs), and I also thought those unsteady lines might add a unique charm to the piece.

── Compared to your previous works, this piece feels more focused on the flow of the lines and the visual rhythm. It’s surprising to learn that the secret to achieving that was drawing with your left hand! You also seem to have used fewer colors than usual.

That’s right. This piece was originally created for an exhibition with the theme “My Favorite Colors.” I used three key colors that I’ve loved since I started seriously working with Copics, sticking almost entirely to those three.

── How many Copics did you use in total?

Including the three key colors, two shades of gray, and the indigo I used for the background, I used around 10 colors in total. For me, that’s a very limited palette.

What if my favorite colors were characters?

── Does your winning piece have any backstory? Or do you generally prioritize visual appeal over storytelling in your work?

I usually prioritize visual elements and work based on instinct, but for this piece, the idea came from the exhibition theme: What if my favorite colors were characters? I started by sketching the characters and imagining their personalities. For example, Lilac is gentle and elegant, inspired by flowers. Shock Pink is bold and powerful. Orange is often seen as a cheerful color, but to create contrast with the other two, I made this character more subdued.

── Do these original characters appear in any of your other works?

I haven’t shared them online yet, but I’ve drawn these characters in other pieces. I really like them, so I’d like to draw them again in the future.

── What paper did you use for the winning piece?

I used Copic’s official Thick Marker Paper. It’s a thick paper with a slightly rough surface that makes colors pop beautifully and gradients easier to achieve. The three key colors I used create a sunset-like effect when blended, so I chose this paper to bring out that combination.

── Do you use other types of paper as well?

I sometimes use Copic’s Custom Paper. While their Thick Marker Paper is better for creating gradients, their Custom Paper has a smoother surface, which is great when I want to use a lot of pen strokes. I’m still experimenting with different papers, but I tend to stick with Copic’s official options.

── Do you use materials other than Copic markers? Your winning piece includes glitter, right?

Yes, I used glitter watercolor paints, as well as ballpoint pens and white ink. Although I didn’t use it for this piece, I sometimes add three-dimensional sparkle using nail art accessories. It’s not exactly a traditional art technique, but it works! (laughs)

Four months of work alongside a full-time job

── How long did this piece take you?

Since I have a full-time job during the week, I worked on it mostly on weekends, and it took about four months in total.

── Which part of the process took the longest?

Coloring. The line art is often driven by intuition and comes together quickly, but I spend a lot of time deciding on color placement and filling in the details. After finishing the coloring, I also enjoy adding decorative touches with white ink or colored pens, but those steps can take a long time too.

── Is your day job related to illustration or design?

Not at all—it’s a completely unrelated industry! (laughs)

── That’s surprising! Many people might find it hard to stay motivated while balancing a full-time job and a big project. How did you maintain your motivation over four months?

Unlike when I was a student, I now have very limited time to work on art, mostly just on weekends. So, I prioritized taking care of myself, avoided pushing too hard, and only worked when I genuinely felt like drawing. If I didn’t feel like it, I’d take a break by playing games, reading manga, or doing something else to recharge.

── Do you use a calendar to manage your progress?

Only when I absolutely can’t miss a deadline, like for a doujinshi or exhibition. In those cases, I’ll create a rough schedule to stay on track.

── Would you say you’re a fast artist?

For this piece, the line art could’ve been halfway done in just one day, so compared to others, I think I’m relatively fast. Still, the coloring requires precision since mistakes are harder to fix, so I take my time and work carefully during that stage.

── Do you plan to submit more pieces to the Copic Award in the future?

I love the event, so I’d like to participate every year if possible. Seeing the wide variety of styles and pieces submitted by others is so inspiring, and the Copic Award has become a valuable opportunity for me to grow.

Aiming for muscle memory

── How long have you been working with Copic markers?

About 20 years. I fell in love with them as a child when I saw them arranged in color order at an art supply store.

── Was it during Copic's peak popularity, or was digital art already the norm?

Most people I knew said they started with Copic but eventually transitioned to digital. Back then, the internet wasn’t as accessible as it is now, so my main references were books. I would buy technique guides or magazines featuring illustration tutorials. For the most part, I learned through trial and error, teaching myself how to handle Copic markers.

── While many transitioned to digital, what kept you drawn to Copic markers?

Copic markers aren’t the easiest tools to master, but the sense of accomplishment you get when you lay down a beautiful color with your own hands is unmatched. I also enjoy tilting a finished piece to view it from different angles or stepping back to see how it looks from afar—that's what makes analog work special to me.

── You also create digital illustrations. How do you decide between digital and analog?

For original works, I usually go with Copics; for fan art of my favorite characters, I often choose digital. If I want to use Overlay or Multiply layers, or other effects unique to digital, I’ll work digitally. Digital art has its own charm, but because I grew up with analog, it feels more natural to me.

── Many people give up on Copics before they fully master them. Did you ever feel frustrated? Or were you motivated to push through and master them no matter what?

I might be the kind of person who sees mistakes as opportunities to think, "Next time, I'll try this!" That said, there were times when I didn’t feel like drawing at all and took breaks from using Copics. During those periods, I’d switch to digital for a change of pace. Ultimately, it all comes down to practice. I’d experiment on scrap paper, blending gradients from dark to light and light to dark, over and over, aiming for a state where my hands instinctively remembered the techniques.

Think of what you want to draw before building your color set

── Building a collection of Copics can be challenging, especially for students. How did you decide which colors to buy first?

Honestly, I didn’t know what I was doing at first—I just started picking up bold colors like reds and blues because I liked them. But that left me with a lineup of impractical colors, and I ended up spending even more money to balance it out later. (laughs) Looking back, starting with lighter or mid-tone colors would have been far more versatile. My advice is to first ask yourself: "What do I want to draw?" If you want to draw people, start with skin and hair tones. If you’re interested in nature, focus on greens and sky shadesーthat's the efficient way.

── How many Copics do you own now?

I have almost every color, but I only use about 10 to 20 of them regularly.

Yopo keeps their art supplies, including Copics, organized on a rack. They store Copics in trays by color for easy access.

The colors for the current project go in a pouch so they can quickly resume work whenever they want.

── Experienced Copic artists often remember color combinations instantly. Does that come naturally to you?

For colors I use a lot, yes, but I still forget sometimes. I’ll look back at a piece and think, "What colors did I use to make that gradient?" (laughs)

To keep track, I use flashcards to jot down my color gradient combinations. It’s really convenient, and flipping through the cards can even be fun.

Yopo uses ring-bound flashcards with detachable pages.

Avoid streaks by switching paper

── One of the biggest challenges for Copic beginners is streaky coloring. Is practice the only solution?

Copics are also highly influenced by the type of paper you use. Sometimes, simply switching to a thicker or smoother paper can make it much easier to achieve even coverage. There are so many tutorials and making-of videos shared by illustrators online these days, so you’re likely to find something that addresses your specific concerns.

── With Copic illustrations, there’s always a risk of messing up right at the very end. Do you have any tips to avoid that as much as possible?

A common piece of advice is to start with light colors and build up layers, but in my case, I like to start with the key, bold colors I know I can’t leave out, then fill in the secondary colors afterward. Even if I mess up with a secondary color, I can blur it out with the Copic 0. (laughs) While it’s true that Copics aren’t as forgiving as digital tools, you’d be surprised how much you can salvage with techniques like blending lighter shades, layering lines with ballpoint pens, or adding highlights with white ink.

── What do you do to avoid a chaotic color scheme?

Honestly, I always want to use too many colors, so I can’t say I’m the best example! (laughs) That said, I try to balance things out by incorporating grays or neutral tones in between the main colors or sticking to white or black for the background.

Aiming to hold a solo exhibition someday

── Do you plan out your color placement entirely before you start?

I do create rough drafts for the colors. I usually have a general idea of where I want each color to go before I begin painting.

Yopo might not always use these drafts in the final work, but they create them to solidify the overall concept. The bottom right of the page features a rough sketch of the entire piece.

── I imagine some people might over-plan and end up feeling like drawing becomes just a task instead of something enjoyable. How do you strike a balance between planning and leaving room for spontaneity?

Honestly, as long as I’ve decided on the character’s eye and hair colors, I’m fine with going with the flow for the rest. (laughs) I used to feel like every piece had to be perfect, and if I messed up, that was it. But these days, I just think, “I’ll do better next time!” I’ve learned to embrace mistakes and enjoy the process more. Having fun is the most important part for me now.

Mistakes are definitely harder to fix with Copics compared to digital tools, but that's something that gets easier with experience. I think the key is not to fear failure. Draw freely and create what you want. Even if you mess up, it’s a learning experience for the next time.

── Do you make mistakes often?

Of course! Every finished piece has a mountain of failed attempts behind it. (laughs)

── That’s reassuring to hear. (laughs) Some people might feel like Copics aren’t for them because they’re too “sloppy.” What would you say to that?

I don’t think that’s true at all. If you’re sloppy, embrace it and create bold art. If you’re detail-oriented, lean into that and refine intricate pieces. It’s such a waste to give up just because of how you perceive yourself.

── That’s a great mindset. What do you think is the biggest appeal of using Copics?

Honestly, finding a tool that suits me so well feels like pure luck. There’s a special kind of joy in creating vivid colors with your own hands—it’s addictive once you experience it. I want to keep discovering new gradients I’ve never seen before.

── Finally, what are your goals for the future?

My current job doesn’t allow side gigs, so I haven’t done any professional illustration work yet, but I’d love to if the opportunity comes up. I also want to participate in more doujin events, group exhibitions, and themed showcases. Ultimately, my dream is to hold a solo exhibition someday.