A CONVERSATION WITH POR THUNWARATH, A RISING TALENT IN DESIGN WHO ENTHRALLED STORYTELLING THROUGH THE ART OF PRINT MEDIA ABOUT THE INSIGHTS OF HER INSPIRATIONS AND CAREER AS A GRAPHIC DESIGNER

TEXT: CHIWIN LAOKETKIT
PHOTO & IMAGE COURTESY OF POR THUNWARATH

(For Thai, press  here)

“I didn’t grow up during the golden era of books, but in the world of readers and book lovers, something tangible—like the tactile charm of film and cinema—still resonates deeply.”

Living in an era where digital advancements and rapid technologies profoundly impact our existence, Por Thunwarath, or Thunwarath Ngamwongsakollert, a rising talent in design, remains enthralled with storytelling through the art of print media. Her youth, steeped in the realms of fantasy literature and eclectic pursuits, paved her path through the prestigious CommDe program at Chulalongkorn University. This led her to pursue a term abroad at Belgium’s LUCA School of Arts, where she specialized in Graphic Storytelling.

During her formative years, her explorations and vibrant use of color and Risograph printing techniques  has already allowed her to become one of the designers with works featured at the Bangkok Illustration Fair on two occasions. In 2024, the event relocated its venue to centralwOrld, signifying a pivotal evolution in her career as a graphic designer. Thunwarath was overseeing cover designs for biblio, Gen Z’s beloved publisher that is behind publications in a variety of genres, from literature and translated Asian novels to psychology, populating the shelves of prominent bookstores and flourishing online, with works such as ‘Cleaning the Dead’s House’, ‘The Strange House 2’, ‘Who Can Keep a Secret’, ‘What My Bones Know’, ‘Bright Night’, ‘Hallowe’en Party’, and more.

Beyond merely designing book covers, Thunwarath described her broader vision and how she defines herself as a Graphic Storyteller to art4d magazine. Her perspective and approach to storytelling transcends conventional graphic design and illustration, focusing on a more immersive control of narrative and communication. What you are about to read are further insights into her inspirations and the trajectory of her career in design.

art4d: What first drew you to graphic book design?

Thunwarath Ngamwongsakollert: I’ve always been an avid reader, especially of fantasy novels and books from Salmon Publishing House that delve into different professions and journeys. I really admired Enfer De Hell’s fantasy cover designs for Sathaporn Publishers. When I was in university, I became fascinated with everything involving printing and paper, which led me to seek out internships specifically at publishing houses. At biblio, I didn’t start off designing book covers, but I kept asking until I finally got the chance.

My first cover design was for  ‘Cleaning the Dead’s House,’ by the Korean author Kim Wan, a story reminiscent of a Netflix series about clearing the possessions of the deceased. Later, my participation at the Bangkok Illustration Fair led to Amarin approaching me to design a murder mystery cover for Agatha Christie’s Hallowe’en Party. They gave me the freedom to shape the concept and create all the graphics, which was a perfect fit for my style. That project really helped me gain recognition as a cover designer. Currently, I mostly handle cover design at biblio—reading each book, setting the overall mood and tone for editors, aligning the design direction with the narrative we want to convey, and collaborating with other illustrators.

art4d: We’ve noticed that trees, flowers, and women show up a lot in your work. Why is that?

TN: It’s similar to why so many poems, myths, and fables involve women, trees, flowers, and animals. These elements are deeply connected to human life, and they carry symbolic meanings that most people can easily relate to. During COVID-19, there was a university assignment about exploring the outdoors, even though we couldn’t actually go out. I had a strong urge to climb mountains and trek through forests. Around that time, Chiang Dao Wildlife Sanctuary had just reopened to visitors, so I created a book in lieu of a real visit, pairing haiku poetry with illustrations of Chiang Dao’s flora.

art4d: It seems that your profile picture on the Bangkok Illustration Fair 2024 website is a vibrant, colorful image of a woman. How did you come up with the idea for this design?

TN: While I was on an exchange program in Belgium, our professor gave us an assignment to convey ‘reactions’ without using any text. I ended up creating a two-page short story called ‘Warming Up,’ which is a type of comic. In Thailand, we’re used to comics drawn in panels. I drew on my own experience of going into a swimming pool—being afraid of the cold water, stalling because I didn’t want to get in, showing a bit of steam, then suddenly jumping in. Once I felt how cold it was, I jumped right back out again. We had to use ourselves as the subject, so I chose my own likeness as the character. I also used Risograph printing, which explains the bright colors. Come to think of it, I’ve actually made several pieces featuring women. I even created a semi-zine about two women, which was like a documentary focusing on music and life. I interpreted it as a story about time. I’m really interested in the seasons, and I thought incorporating flowers and the idea of traveling would be an interesting design approach.

art4d: These days, what design processes do you draw from your studies at CommDe and LUCA School of Arts?

TN: I’d say I use just about everything I learned. At CommDe, I studied the design process and how to conceptualize work, including pinpointing the audience I wanted to connect with. That background allows me to experiment with a wide range of drawing styles. While I was a student, I could switch up my concept without needing a single, fixed style. I think I leaned more toward a designer’s mindset, adapting the lines in my drawings. Still, my personal taste in color has mostly remained the same. Initially, I used more muted tones, but once I started designing book covers, I shifted to more striking colors to stand out on bookstore shelves.

Then, during my exchange program in Belgium—often considered the birthplace of comics—I focused more on illustration than I did at CommDe. I experimented with printmaking and comics, exploring different media and learning research methods. That research aspect was a lot of fun for me. I also got to see artworks in museums that I’d previously only studied in class—pieces tied to art history and contemporary art—and I delved into fine art, which really broadened my perspective. Working with personal feelings there was a bit different from Thailand. When we debated, we focused on ideas, emotions, and viewpoints, rather than whether something looked nice or not, and that was really enjoyable.

art4d: We’ve seen quite a few of your works and recall that students at CommDe usually exhibit their thesis projects before graduation. Given your wide range of interests, what did you end up creating back then?

TN: I created a zine and a main exhibition piece focusing on food and women. I wanted it to offer a unique perspective, not just tell an ordinary story. This was partly inspired by my time in Belgium, where I couldn’t find the kinds of food I was accustomed to. I started missing my grandmother’s Chinese herbal stew, which led me to interview her about her recipes. She then mentioned other family members I’d never really spoken to, so I listed all their names and interviewed them too. It turned out everything was interconnected, covering five main themes that tied into various social contexts. The first theme explored how Chinese daughters learn to cook. I reflected on how my grandmother got married at 23, whereas at that age, I was still working on my thesis. I shared these stories very honestly, very personally—other families might recognize similar experiences without realizing it. Interestingly, I completed this thesis even before the release of the popular Thai film, How to Make Millions Before Grandma Dies.

Another part focused on a female family member of my grandma’s generation who was more focused on the business side of things. Her connection to food extended beyond cooking; she worked in marketing and played a role in introducing the first 7-Up bottle to Thailand. This segment emphasized women’s roles beyond the kitchen. Other perspectives included how food traditions—like mee suah or fried noodles used in Chinese rituals—are passed down. The project was a lot of fun because I got to interview so many people. I initially wanted to publish it as a book, but after running the numbers, it was too expensive, so I ended up taking a different approach.

art4d: You’ve now exhibited your work twice at the Bangkok Illustration Fair. What was that like?

TN: I got to talk to people who genuinely follow my work. When I only post on Instagram, it feels a bit cold—no one really engages with me that much. But at the Bangkok Illustration Fair, I was able to share my experiences and exchange ideas with people who follow what I do. Sometimes old classmates I hadn’t seen in ten years would show up and say they’d been keeping track of my work all along. It was also a chance to meet new people, and it helped broaden my audience. The first fair was held at BACC, but this year it moved to CentralWorld. I mostly showcased the book covers I’ve designed. Looking back on that first year, it felt a bit random—I was just showing a mix of my university projects. But the second time around, I combined the book covers with pieces from my original thesis.

art4d: How do you see the direction of your own design work, and are there any projects you’d like to pursue in the future?

TN: I think it’ll keep changing over time because I’ve only just started working full-time at a publishing house. There’s still a lot for me to learn, and I want to expand my reach so that people with different styles can find my work. I’ve tried designing covers in genres other than mystery and crime. For example, there’s a book called  ‘Bright Night,’ which deals with social issues and women facing oppression. Deep down, I’d love to try more fantasy designs, though I’m not sure I’d be any good at it, given that it usually focuses heavily on characters.

As for my personal projects, I’d really like to create a picture book—but maybe not strictly for children. I’m a fan of Jimmy Liao, the Taiwanese artist whose picture books have a somewhat more mature tone. Right now, I just don’t have the time. I’ve been thinking of making a zine about animals. I once joined a trip organized by The Cloud to observe zookeepers at Khao Kheow Open Zoo. We went into the safari area styled like Africa, riding in a pickup truck while ostriches ran alongside us. It made me realize how demanding being a zookeeper really is—it’s physically tough, dangerous, and the pay is surprisingly low. When we went inside the animal enclosures, we saw how the animals live day to day. Each one is like a pet, with its own personality. The staff even give them nicknames because each animal has unique quirks. We also saw how they work on conservation and care for special species—like how they lift a massive hippo or how they handle a giraffe’s remains. There was also a discussion about animal extinction. One staff member caught a toad and explained its poisonous spot, noting that it only secretes toxins if provoked. There’s so much I want to share about zoos, but once ‘Moo Deng’ went viral, my enthusiasm dipped a bit because I’d been following it so closely. If I do end up making that zine, I’d like to revisit the animals, talk to the zookeepers again, and do more extensive research on the subject.

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