Juliana Penkova

All

Collage & Montage

Conceptual

Editorial

Food & Drink

Lettering

Paper Art

Two women sitting with watermelon slices, surrounded by colorful flowers by Juliana Penkova

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Two friends sharing a heart symbol in a colorful landscape by Juliana Penkova

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Illustration of woman, raven, and house from The House on Chicken Legs by Juliana Penkova

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Editorial art on self-organization in public administration

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The Land of Plenty – An illustrated double spread on Egypt

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The Golden Tomb – Amy Sparkes’ stunning title illustration

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Julianas Bilder tragen architektonische Klarheit und poetische Tiefe – gebaut aus Papier, Licht und Gefühl.

Ein illustrativer Stil mit skulpturaler Anmutung, analoger Haptik und fein abgestimmter Raumkomposition.

Originally from Bulgaria, Juliana trained as an architect and spent 10 years visualising buildings. Architecture’s loss was illustration’s gain when she developed her unique approach to image making and became a fulltime children’s book illustrator. Perhaps that structural feel to her work – complete with shadows where the cut paper elements overlap – owes itself to her architectural background. Clients love working with Juliana. She brings something fresh to the practice of book and magazine design, and they praise her communication skills, collaborative nature and – above all – her creativity. She studied Architecture at the The Bauhaus Universität Weimar and continues to take inspiration from that profession, but equally loves a walk through a misty pine forest.

Approach

Juliana’s unique approach gives her artwork a physical, tangible feel that others just can’t replicate. Elements are drawn on paper using colourful pastels, then cut out and arranged to form compositions that are carefully planned to chime with the feeling of the book she’s illustrating.

Key software

Procreate for finishing.

Style

With their layered elements, Juliana’s images have a sculptural feel. Her compositions are imaginative, and she has a talent for finding the perfect balance between positive and negative space – which is ideal when a book’s text is part of the design.