This Magic The Gathering artist blends fantasy and spiritual influences with strong female characters

Heonhwa Choe, known as Kilart, is a South Korean illustrator who has contributed to major titles such as Magic: The Gathering (MTG). He likes to tell stories through the relationship between characters and environments, in particular worlds shaped by female figures and objects.

Kilart uses Clip Studio Paint for this digital art (see our guide to the best digital art software). Below, he shares five examples of his work.

Rabbit, Wolf Skin

(Image credit: Heonhwa Choe (Kilart))

“I started this piece with the intention of creating an artwork centred around cold tones. It playfully expresses a slightly fairy-tale-like joke: a rabbit wearing a wolf’s mask.”

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Shamen: A Shrine where Spirits Linger

(Image credit: Heonhwa Choe (Kilart))

“Inspired by sacred trees in Korean shamanism, I focused on the colourful cloths hanging on the trees. The shaman meets spiritual entities through dance and music, blending ritual with a mystical atmosphere.”

Pathway to Oblivion

Digital art showing a female character with wings

(Image credit: Heonhwa Choe (Kilart))

“A succubus appears at a ghostly station in a dream. I used contrasting yellows and blues to define the mood.”

Emperor's Shape

Digital art showing a female character standing on the shoulders of a large statue

(Image credit: Heonhwa Choe (Kilart))

“The contrast between massive objects and figures creates a sense of grandeur. Sculptures connect naturally to past cultures, inspiring visions of ancient civilisations.”

Encounter

Digital art showing a monster

(Image credit: Heonhwa Choe (Kilart))

“In the swamp, knights encounter a white golem. Here I explored the contrast between dark backgrounds and the bright monster, while also experimenting with armour designs.”

You can see more of Kilart’s work on his ArtStation profile..

This article originally appeared in ImagineFX. Subscribe to ImagineFX to never miss an issue. Print and digital subscriptions are available.

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