In Conversation: Justine Wong

In the middle of January, ourselves and Bad Form created an open call for anyone to design the cover of their next literary magazine issue — that very person became Justine Wong. Justine’s a Toronto-based food, book, and lifestyle illustrator with a plethora of series, books and exhibits as part of her works showcasing watercolour and digital illustrations. We were instantly in love. Just recently, we sent Justine a couple of questions based on the love of food within her work, the creative process behind Bad Form’s cover and the importance of getting your work out there as an emerging illustrator.

Hello! Introduce yourself. Who are you? What do you do?

My name is Justine, I’m a food, book, and lifestyle illustrator based in Toronto. Most known as the creator behind the project '21 Days in Japan: An Illustrative Study on Japanese Cuisine', consisting of paintings of 100 meals discovered while I traveled Japan. I have since lived in Tokyo for a year and have the pleasure of illustrating in editorial publications, storybooks, and advertising campaigns in Canada and internationally. Most recently, I illustrated my first children’s book ‘Piece by Piece’ for Peabody Essex Museum in Salem, MA. I also moonlight as an herbalist apprentice, where I get to spend lots of time working with plants and books!

You're currently based in Toronto, and have previously lived in Tokyo - how was it being a part of both creative communities? Are there any similarities, if any?

My experience in both the creative communities of Toronto and Tokyo have helped me widen my perspective of what illustration can do! From food packaging to advertising to children’s books, being exposed to different places and communities have provided me ample inspiration and influence. When I first arrived in Tokyo, everything was new, and so I honed my observational skills and extended my work into food packaging, murals, and painting the cityscapes I explored. Toronto on the other hand is my foundation, where I build long-lasting connections and collaborations with artist friends. They’re always challenging me and shifting my process so it stays fresh.

We love your illustrations! Just recently, Fuse and Bad Form chose you to design Bad Form's next magazine cover, which is super exciting. How's that been for you and are you excited to share it soon?

Thank you! I’m so thrilled to have been chosen to illustrate Bad Form’s next magazine cover; the team really trusted me to indulge in a new process! Lately, I have been bringing together two styles I developed at different times in my life: observational food paintings, and my paintings of balanced rocks, shells, and other treasures I comb the beach for. For the cover, I balanced one food item at a time: what makes it intricate is moving slowly so that you can really feel the movement, momentum, and gravity of each food item. Tie down the shrimp to show its weight, balance the fish on its nose, making each of these decisions purposefully is important to the overall feeling of balance (and imbalance!) of the piece. My favourite part is putting in little easter eggs, pleasant surprises for the viewer. Shout out to Bad Form for really giving me creative freedom on this one!

Food is the theme for Bad Form's magazine and there's a ton of food-related pieces within your site, notably your '21 Days In Japan: An Illustrative Study of Japanese Cuisine'. Has that theme of work just come naturally to you, recently or has it always been the case?

My relationship to food and my creative process continues to grow in ways that challenge me. My project ’21 Days in Japan’ was my introduction into working with both food and watercolour. At the time I was just beginning my illustrative career and didn’t have much of a style yet. Believe it or not, I had barely even worked with watercolour! I took up watercolour because it was easy to travel with at the time. I used to tell people that I just fell into my style, but in all honesty it took 100 paintings to find my groove, and I still lose it from time to time. Through my travels in Japan, I wove my connection to food through friends who helped pave my path of understanding and appreciation for the meals that land on our table. I lean on this connection and web of knowledge as I create, allowing me to paint from powerful intersections of old and new stories.

You exhibited the project (among many more) at Album Studios in Toronto - for anyone reading, is there a book they could purchase, or a place to see more from the exhibition?

Yes! I have exhibited solo exhibitions in both Toronto and Tokyo. You may view the entire collection of my 21 Days in Japan exhibition through my website. There is currently no book, but I have been wanting to work on version 2.0 of 21 Days in Japan for so long! Perhaps there will be a book to hold them all together in the near future! I will however be releasing a set of limited edition prints every month on my web store. My hope is that folks from near and far can enjoy my paintings during this time of great distance.

What's your favourite food? We've got to ask…

I always love this question! The old soul in me loves a bountiful plate of ginnan (grilled gingko nuts) and kawa (chicken skin) at a Yakitori joint. My friends in Tokyo used to make fun of me because only old folks would order them! Both ginnan and kawa are hard to come by here in Toronto, so I cherish my memories of them and can’t wait to enjoy them with my friends again.

For any emerging illustrators out there who might come across this, what advice would you give if they've just started out or are a couple of years into their careers?

For any emerging illustrators out there, I would advise you to seek for mentors who you can trust and build a relationship with over the course of your career. This can be formal (like an art director or agency), or informal (like an elder, a neighbour, or a relative). Find mentors who have a keen eye and most importantly, believes in what you do. It is something that I didn’t realize that was invaluable until very recently, and think about all the years I felt like I had to figure it out on my own. No matter where you are in your career, keep asking all the questions and ask for help! Reach out to folks you respect and say hello. Build together and lean on others in your community. Keep each other motivated, inspired, and celebrated!

In regards to your work and reaching out to potential clients, I would advise to document, to create in series, and to share widely. Document your work process in a consistent way so clients can have a good idea of how you work. Create a series that you love. Series of works help potential clients to get a better sense of how your style translates through different images. Share your work often! This is where your documentation also comes into use. Whether through social media or cold-calling, remember to put your work out there! And above all else, your dedication and daily practice is what will give you confidence. Good luck!

Finally, what's next for you?

As I continue to grow my creative practice, I am very excited to intersect my art with other bodies of knowledge. I am currently studying as an herbalist apprenticeship under Karen M. Rose of Sacred Vibes Apothecary in New York. I look forward to weaving my love for food, storytelling, plants, and biology, into books, community projects, and new collaborations! For anyone who’d like to support my journey of discovery, I’ll be releasing a special art print every month on my web store. Feel free to follow along on my Instagram for print release updates!

Make sure you check out Justine’s work here: patternsandportraits.com & @patternsandportraits

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Image credits: Justine Wong