Discover the latest developments in the Taiwanese illustration world! A sneak peek at three exclusive interviews from ARTISTS IN TAIWAN 2025, the all-new pixiv-produced art book

ARTISTS IN TAIWAN 2025, an art book featuring works by 76 illustrators and manga artists from Taiwan, officially hit stores in Taiwan on Wednesday, February 5th, 2025! The collection, which is published by Gaea Books and edited by pixiv, will be available for preorder in Japan via pixiv’s official BOOTH shop starting March 27th, 2025.

Following the success of the first two editions of ARTISTS IN TAIWAN (published in 2021 and 2022), the latest installment in the series aims to “discover the next generation of talent” and features numerous works from emerging Taiwanese creators, including participants from the pixiv Taiwan U22 Student Award held in 2024.

At the end of the book, readers will find special interviews featuring experts in illustration and manga from Taiwan and Japan. These interviews delve into the ins and outs of the aforementioned industries and offer practical insights for aspiring artists that are sure to come in handy.

In this article, we have selected excerpts from three interviews featured in ARTISTS IN TAIWAN 2025. Enjoy!

LOIZA: Art school isn’t just a place to learn how to make art; it’s also a place to learn the importance of communicating with others. This is because art colleges aim to produce not only the next generation of creators but educators as well. At school, you will learn how to explain your creations in logical terms, allowing you to answer questions such as “Why is this drawn a certain way?” or “What is the inspiration behind this piece?” Students will be trained to use the knowledge they acquired in class to explain information such as the above in a logical manner.

This skill has now become essential in my work as well. For example, there are times when a creator might have to explain to the client why something is designed a certain way or how it appeals to the current market. If you can’t fully explain why or how your work fulfills your client’s needs, it can be hard for them to trust your product completely. If you can give a succinct explanation, however, it will make it easier for the client to deliver a proposal to management, allowing them to save time and personnel costs involved in decision-making.

Chen: Many people mistakenly think the scope of visual communication design is limited to graphic design alone when, in fact, it is much more than that. In the past, design education philosophies used to be segregated by discipline. For example, product design and industrial design were entirely separate fields, each prioritizing specialization over collaboration.

Nowadays, however, there is a greater emphasis on integrating different disciplines to give rise to new design values and principles.

Through experimental approaches that attempt to integrate different disciplines and educational reform, I aim to create an environment where students can obtain a diverse set of skills and broader perspectives. My hope is that by doing so, we can expand the possibilities for the future of design.

LOIZA: Based on the current trajectory, I believe specialists or people with a singular ability will have a harder time in the future. Many people think it’s possible to make money as long as you can draw well, but that couldn’t be further from the truth. Nowadays, simply being good at drawing won’t get you very far; in order to survive in this industry, it’s crucial to have an integrated perspective. Additionally, you need to know how to organize and synthesize various kinds of information to increase the market value of your work. Rather than someone who’s merely a skilled artist, it’s important to take things a step further and become an integrator who’s able to connect people with different skill sets and produce consistent quality work within a limited time frame. Whether you’re capable of doing so will significantly affect your future career path. This idea of viewing art as a collaborative team effort is something that all artists should consider in the future.

Lately, many studios have been laying off their staff, and specialists tend to be the first to get eliminated during such restructuring processes. My observation is that those in singular specialist roles, particularly illustrators, have been the most severely impacted by the evolution of AI technology. Unless you’re at the top of your field, those in the middle tier will likely face the difficult decision of having to relearn their skills to adapt to newer technologies.

Given the above, I’ve decided to place a higher value on people possessing multiple skill sets or creative perspectives. These are the types of people who will pave the path forward in the coming years. I also believe that people who are deeply passionate and have a unique perspective on projects and products will play a central role in the industry in the future, which is why our team prioritizes hiring and nurturing such individuals. I highly encourage readers to be adventurous, get to know all kinds of people, and keep trying new things!

LOIZA: I believe it’s important to face your dreams head-on and have the courage to make them a reality. A dream is more than just an ideal; it takes root in your mind and becomes a vision that provides purpose, a powerful belief that propels you to grow. This core value influences the direction you go in and the criteria for your choices, indicating the path you should take.

For example, if there is an artist whose work you admire, it’s essential that you expose yourself to their work, train your eye, and hone your aesthetic sensitivity. At first, things may not turn out the way you want them to, and you may feel a disconnect between the image in your head and reality. However, as long as you have clear goals, you can keep thinking about ways you can improve. By building on this over time, you are sure to feel like you’re making progress.

Moreover, this core value will serve as your compass and show you the way when you’re lost. When faced with a tough decision, your innermost desires can help remind you to continue working towards your goals without going off course. This is why I always ask myself, “What is your dream?” to avoid losing sight of it.

Chen: I have four points of advice. The first point is always to remain curious. Have the courage to express your ideas and art in different ways without fearing failure. Repeated trial and error is the key to growth.

My second point is to broaden your perspective and make keen observations in daily life. Everyday life offers a wealth of inspiration for creating art. By paying attention to the finer details around us, we can often come up with new design ideas. I also frequently encourage students to take advantage of opportunities to study abroad or interact with people from other backgrounds to deepen their understanding of the world by observing different cultures and societies. These experiences will bring depth and breadth to your work.

My third point is to think deeply about the essence and significance of design. The essence of design comes down to the story behind it and its connection to society and culture. In recent years, people have been paying more and more attention not only to visual design but to service design and social design as well, which are born from a keen observation and thorough understanding of social issues.

My fourth and final point is to value interaction with your peers. As an aspiring artist, it’s essential to actively participate in workshops, exhibitions, and design competitions to meet like-minded people and inspire each other. Not only will these opportunities broaden your network, but they will also provide you with new inspiration.

The key is to be confident and stick to your goals. Although pursuing a career in design is far from easy, if you have a clear vision and work toward it step by step, you will be able to see how far you’ve come upon looking back on your progress. By continuing to challenge yourself, you are bound to have a fulfilling journey with many wonderful experiences and opportunities on the way.

Hsu: In my opinion, the biggest difference between the two is the number of hurdles you must overcome to begin learning. Say you want to pursue an art degree in higher education. In this case, those who have been studying art formally from a young age have a significant advantage over those who started later in life, and the gap only widens the older you get. While getting into an art school allows you to receive a systematic and authentic art education, you will also be bound to an intensive three to four-year curriculum, making it difficult to change paths if you feel that you no longer want to pursue art as a career.

Online courses and self-learning, on the other hand, are more accessible and are open to anyone who is motivated enough. By taking proper notes, listening to the lectures, and completing assignments, it’s possible to achieve reasonable results. Another advantage to self-learning is that it allows you to dip your toe in the water if you’re unsure whether you truly enjoy drawing or are waffling about pursuing learning on a deeper level. If, after several lessons, you’re certain you want to commit, then you can sign up for more classes or take advantage of specialized courses. The main advantage of online courses is that they provide a flexible learning option for those who haven’t had the opportunity to receive a formal art education.

Krenz: As seen on social media platforms around the world, one of the biggest concerns many artists share at the moment is whether AI will replace humans. For artists working at large corporations such as game companies and animation studios, art for work and personal art are often separate, and they continuously make sure to adapt the former to meet ever-evolving industry standards.

Personally, I think artists should consider their illustrations not as mere works of art but as digital content representing their personal brand and work on monetizing them. I believe it is important for creators themselves to have other elements that generate value that consumers can recognize in addition to their art.

Hsu: While the impact AI has on the industry is undeniable, I still place a high value on the artists’ works themselves. New technology replacing certain functions of an art piece is nothing new. To give a couple of examples, the invention of photography changed the role of paintings, and the development of 3D modeling technology reduced the need for hand-drawn perspective drawings.

Krenz: First, it’s important that you understand there are two paths in the illustration industry: one where you rely on capital and one where you work as an independent artist.

In the case of the former, i.e., corporate employment, there are clear standards and frameworks, as is usually the case for game companies and animation studios. For example, making an animation requires a certain amount of knowledge and technical criteria to be met. In this industry, new tools, including AI, are sometimes integrated into the workflow, requiring you to adapt to them.

If that doesn’t appeal to you, there is also the option of working as a solo illustrator. In the illustration industry, the terms “illustrator” and “concept artist or original artist” are treated as different categories. To become an illustrator, it is essential to utilize self-media and establish your works as a means of expression.

If you’re wondering to what degree you need to hone your skills before you take the plunge, being able to draw exceptionally well isn’t strictly necessary; as long as you can express what you want to convey, you have what it takes.

Hsu: When you get a job and enter the workforce, you’ll soon find that you have significantly less time to dedicate to creative projects. Therefore, improving your skills with the limited time you have becomes the main issue. That is why it is crucial to determine what you need to learn and use your time wisely for that purpose. If you don’t make effective use of your time now, it will be harder to learn later when you have even less time.

How well you use your time now will significantly affect your future growth, so I suggest being mindful of this!

Segawa: When I visited Gaea Books in Taiwan, I had the opportunity to read some of the original manga titles they were working on. Among them are several titles we have signed and published in Japan as translated publications. One of these titles, Tan-Tsiu-Niu, which is based on a famous Taiwanese court horror story, has been very popular in Japan and was recently reprinted. Considering how print book sales have been on the decline in Japan, it was incredibly unusual for a Taiwanese book to receive a second print run. Gaea Books is one of the few companies in Taiwan that edits original works, so we rely on them to help us discover new books.

Lee: Gaea Books recently opened an office in Tokyo and is working on a joint project with KADOKAWA as well as plans to license more works to Japan. I believe Taiwanese manga will have a greater chance of global expansion once they are translated into Japanese and have entered the Japanese market. Since publishers worldwide are keeping a close eye on the Japanese manga market, achieving success in Japan will make it easier for us to sell licenses and expand our influence overseas, which is precisely what we are aiming for.

Segawa: For starters, simply displaying them on shelves doesn’t work. Even if a foreign artist were to draw a manga that looks Japanese, they would often lose to domestic works in terms of quality. Put another way, they’re competing as the away team on the home team’s field. That said, works such as Tan-Tsiu-Niu whose subject matter, setting, and characters are unique to the country in which it is created, or, in other words, showcase the individuality of its origins, have a greater chance of success. Given the above, we advertised the series in a way that highlighted the differences in cultures, which proved intriguing to Japanese readers. After all, who wouldn’t want to read a 17th-century Taiwanese horror manga based on a true story?

In terms of whether Japanese readers found the subject matter difficult to understand, the answer is no. Horror as a genre is very straightforward and easy to understand. Whether you’re from America or Japan, your train of thought will likely be something along the lines of: “Oh, so it’s a horror story. What kind of horror? An imperial court ghost story based on an actual incident in Taiwan? Interesting!” Therefore, we extracted that part of the story and used it to market the series. Other works tend to feature more slice-of-life storylines, but because they lack impact, it’s harder to describe them.

For example, The Funeral Concerto, which we worked on together with Gaea Books, is a story about funerals, or what we call a funeral director in Japan. Although the storytelling and appeal of the characters feel a bit lacking in certain parts, the subject matter is extremely clear, and we believe that bringing a realistic picture of the Taiwanese funeral industry to the forefront was the right way to market it.

Lee: Our primary goal is to create a healthy cycle in the Taiwanese manga industry. As it stands, the current Taiwanese market alone makes it challenging to pay manga artists sufficient rates. As a result, many rely on government support and subsidies, which hinders the industry’s growth. Overreliance on government support can lead to a widespread belief among artists that it doesn’t matter if their books don’t sell since they still have subsidies, giving them less incentive to try harder. If the subsidy program were to be discontinued, however, the industry would suffer a serious blow.

Therefore, by cooperating with Japanese publishers such as KADOKAWA, we hope to directly enter the Japanese market and foster an environment in which the Taiwanese manga industry can generate profits purely from manga sales. I believe that Taiwanese manga artists are incredibly talented, and I hope they can believe in their own capabilities and keep striving to create exceptional works.

Segawa: We’re currently attempting to produce a hit Taiwanese manga series in Taiwan, and on November 9th, we will begin serialization of five works created for Taiwan on BOOK☆WALKER. Although we have Japanese manga artists working on this batch, we would like to have Taiwanese manga artists work on the next batch of works and, eventually, have all series feature a Taiwanese artist plus Taiwanese and Japanese editors. This may sound presumptuous, but one of KADOKAWA’s missions is to raise the level of Taiwanese manga and produce a worldwide hit, so that’s what we’re aiming for.

I’m sure there are many people who enjoy drawing and making manga. The more you draw, the better you get, so keep doing what you love best, and you’re bound to find an editor willing to work with you.

That is the end of the preview for this collection. For more details and other fascinating interviews, check out ARTISTS IN TAIWAN 2025!

All interviews in this book, with the exception of the interview at the end, are in Traditional Chinese and Japanese, making this volume accessible to Japanese readers as well.

Japan:

pixiv official BOOTH

Taiwan:

Eslite

Books.com.tw

Kingstone