SEEK INTO A CONVERSATION WITH A.YA.YOI, AN ILLUSTRATOR WHOSE SIGNATURE STYLE IS DEFINED BY CHARACTERS WITH DISPROPORTIONATELY SMALL HEADS AND LARGE BODIES; THE PALETTE IS DELIBERATELY VIBRANT AND BOLD, GIVING THEM A FRIENDLY AND FASHIONISTA

TEXT: KASIMOL TEERAVORAVONG
PHOTO & IMAGE COURTESY OF A.YA.YOI

(For Thai, press  here)

 At the recent Bangkok Illustration Fair (BKKIF) 2024 event, the striking sight of a girl with orange hair, a petite head perched atop a generously sized body, and vibrant pink skin caught the attention of many attendees. This imaginative figure is the brainchild of Oil–Donnaya Tanpattamadilok, who goes by the moniker A.YA.YOI.

art4d caught up with her to learn more about the story behind the unusual name. Donnaya explained that her artist’s moniker traces back to her high school years when she and her friends began experimenting by removing the vowels from her Thai nickname, ‘ออยล์’ (Oil). The spark for this playful reworking came from realizing she shared the same nickname as a senior, prompting a friend to suggest adding extra vowels instead. Thus, ‘A.YA.YOI’ was born—a name that carries a hint of a Japanese lilt while capturing the cheerful energy at the heart of her art. Donnaya has used it as her artist’s pen name ever since.

art4d: Could you tell us how you first became interested in drawing or illustration? What inspired you to pursue this field?

Donnaya  Tanpattamadilok: I’ve actually loved drawing ever since I was a child. Back in kindergarten, my classmates would compliment my drawings, which made me excited every time we had art class or homework. I felt I was better at it than anything else, and it amazed me that I could capture what I saw by just using a single pencil. When I reached secondary school, I began taking drawing more seriously, but the school I attended didn’t have an art program. Then a friend suggested I try for the admissions exam at Satit Pasarnmit Demonstration School (Secondary) (Design Major), so I transferred there and chose to major in Design.

Whenever I went to tutoring sessions on weekends, I would stop by a bookstore afterward and spend time in the illustration section, which felt like a second home. Some of the standout illustrators and cartoonists back then were Munin Saiprasart, Art Jeeno, The Duang, jungsnrk–Supitcha Senarak, and the Taiwanese artist Jimmy Liao. Seeing their work, I wondered how they could convey such profound stories with just a handful of words and a few illustrations. I was stunned that a single image could move someone so deeply—could one drawing really make me cry?

That realization became my inspiration. I wanted my own drawings to tell stories that might resonate with people’s experiences while leaving room for different interpretations. Another reason I chose this path is that I’m not very good at speaking; I have these complex thoughts in my head but rarely feel brave enough to express them. Drawing has become my way of sharing what I can’t easily put into words.

Later on, at university, I pursued a Bachelor’s Degree in Visual Communication Design at the Faculty of Decorative Arts, Silpakorn University. This really let me dive deep into the worlds of both design and illustration. After I graduated, I started getting commissioned work and even my friends would ask me to draw for them. I found out that people really connected with my illustrations, and seeing that my art could bring such personal joy to others has been incredibly rewarding.

art4d: What defines the unique style of A.YA.YOI’s illustrations?

DT: My signature style is defined by characters with disproportionately small heads and large bodies, giving them a friendly and fashion-forward appearance, like a fashionista. This stems from my love of fashion, and such scale of the characters allows me to play with oversized bodies and feet, which leads to similarly enlarged outfits, offering ample space for intricate clothing details. People often ask if I draw myself, and in a sense, I do (laughs). However, the character also has its own identity. I named her ‘Party.’ I chose not to use my own name because ‘Party’ captures the essence of vibrancy and brightness. She sports orange hair, which was inspired by a phase when I wanted to dye my own hair that color, and her skin is a playful pink instead of a traditional flesh tone. It’s all a reflection of my personal tastes. Another character, ‘Mavinty,’ was the first I ever created, born out of a need to express something during a stressful time. Its imperfection is evident—one eye bulges slightly—but it carries a liberating quality, offering reassurance that imperfection is acceptable. There’s also a quirky purple flower with eyes, adding an unconventional and cool touch. These elements have become staples in my work, establishing a recognizable signature on my page.

My palette is deliberately vibrant and bold, inspired by a time when I was feeling burned out and dissatisfied with everything I created. I turned to punch needle embroidery, which offered a limited color selection. I ended up using those colors as a starting point to develop palettes in Procreate. The result was surprisingly delightful—bold and satisfying. It might seem like they wouldn’t work together, but they do. I’ve even dared to use black, despite being advised during drawing tutorials that black could make artwork appear harsh. But I use it when I want a piece to look cool.

art4d: How has your work evolved over time, and what directions do you see it taking in the future?

DT: In the beginning, my work was very much rooted in realism, drawing directly from life. However, the more I learned, the more my approach has evolved to focus more on composition and symbolic interpretation, considering how various elements within a single image can engage and intrigue viewers. A significant turning point in my development came during my thesis, where I experimented with concepts I had long wanted to explore. This period was enriched by extensive feedback from my professors, who pushed me to refine and expand my techniques. It allowed me to learn more than the previous three years of my entire educational journey. What I thought was good, they showed me how it could be better, where it might be improved, and what was potentially missing. Things that I wouldn’t have known if I didn’t try doing firsthand.

Looking forward, I am excited about the possibilities still to explore. My aspirations are beginning to materialize more and more, as evidenced this year by opportunities like organizing the ‘Cherry Heart Exhibition’ at Union Mall, illustrating the book ‘Because Good Hearts and Cherries Are Yours’ for Spring Books, and engaging in commercial collaborations that include designing earrings and book illustrations. I also created the key visual for the EP ‘Chan Cha La’ by the artist SARAN. Each project is a link in a chain of creative expression, rooted in ensuring that my style resonates with the needs of clients who appreciate and seek out my unique artistic voice.

art4d: What significance does participating in BKKIF 2024 hold for you? What do you expect from showcasing your work at this particular event?

DT: I’ve been eagerly submitting my artwork to BKKIF every year since it first started. Getting accepted this year feels incredibly rewarding because it shows that people recognize how much my work has grown. This platform dramatically increases the visibility of my art, drawing interest not just from organizations and institutions but also from individual art enthusiasts. Sometimes, even someone just wandering by might pause to look, and just like that, I might gain a new follower who connects with my work. It’s also a fantastic opportunity to beef up my professional portfolio.

I’m really hoping that this exposure will open doors to more recognition and collaborative projects that will help my art evolve and reach new heights.

art4d: Do you consider yourself successful? How do you envision the future of your illustration career?

DT: In terms of chasing my dreams, I’d say yes, I’ve found success. Organizing exhibitions and having the book I designed the covers and illustrations selling nationwide are definitely high points for me. However, making a stable living from this is another story. Freelancing is full of ups and downs, with work sometimes being unpredictable. To keep going and create quality work, I rely heavily on a strong network that helps me stay afloat and continue crafting. Maintaining top-notch quality in my work and building trust that leads to recommendations are absolutely essential.

After graduating, I briefly tried a regular office job for three months but quickly realized it wasn’t for me. My heart was set on being an artist. I’ve been drawing for years, but only in the last year have I fully committed to making a career out of illustration. Now that I’ve finally hit my stride, I’m excited to see where this path takes me, hopeful for the new opportunities and adventures it will bring.

art4d: How do you see the future of work in illustration? Are there any trends or changes you’ve noticed in this field?

DT: In the world of illustration, trends fluctuate between mainstream and niche, depending on how they’re applied. Unlike art toys or fine art, which can see swift and significant market-driven price changes, the pace of change in illustration is more gradual. Despite the rise of AI in image creation, I still believe that handcrafted artworks hold a unique value that AI can’t match—they have a soul and a distinctiveness that’s unmistakably human. While AI can be a useful tool for streamlining some tasks, relying on it to create entire images can feel off to those of us who value the traditional touch.

Lately, I’ve noticed a significant increase in the appreciation for illustration. My own experiences at various exhibitions confirm that the industry is growing robustly. More and more people are recognizing the value of illustrations and are keen to use them in their projects. I’m really hopeful about the future of our field, as long as we continue to push the boundaries of our craft and stay engaged.

art4d: For those looking to enter the field of illustration, what advice would you give them?

DT: To anyone dreaming of a career in illustration, my advice is simple: keep pushing forward. Keep creating and seek out opportunities that feel true to who you are. Persistence is key—you’ll eventually find your groove, the place where you feel completely in your element. It’s like connecting the dots; you may not see the full picture immediately, but each piece brings you closer to where you want to be. A former teacher once told me, “You might not like what you draw today, but keep drawing. It could be your hundredth or thousandth sketch that you finally fall in love with.” Once you hit that sweet spot, others will start to recognize and appreciate your work too. And remember, networking is crucial—today’s acquaintances could be tomorrow’s clients (laugh).

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