Mono illo
- Jan 27
- 4 min read
Mono illo is an illustrator based in Cascais, near Lisbon. She works mainly in black and white, creating detailed pen drawings of imagined landscapes, creatures, and scenes drawn from nature and folklore. Her background is in art and graphic design, and she also works with printmaking and ceramics. She has shown her work in group exhibitions and illustration fairs in the UK and is currently developing a new body of drawings and narrative projects.
Q: You started drawing very early. When did illustration become your main focus?
A: I have always been creative; some of my earliest memories are of drawing on the kitchen floor as a child. I have since graduated to drawing at the kitchen table, and now I have my own desk!
I think illustration became a strong focus through my foundation year at art college and into my university studies. I discovered my recognisable black-and-white illustration style in my first year of university, but it didn’t become my main focus until after I graduated in 2018, when I decided to give more of my time to my individual practice. When I started to focus on my style and develop my craft, it began to quickly expand the world I was creating. My practice was born out of the need to create my own art and not just follow someone else’s brief or ideas—it became my true creative outlet alongside my full-time job as a graphic designer.
Q: You work only in black and white. When did you decide to commit to that?
A: It happened quite organically. I’m often drawing in a Moleskine sketchbook, so by just using fineliner pens it made my process simpler, allowing me to create on the go whenever inspiration hit.
I found that initially I used the constraint of black ink on white paper to challenge how I crafted illustrations, with areas of strong contrast and intricate details. As I continued drawing, I learned to utilise other qualities, such as varied textures inspired by vintage etchings, to create the bold, striking effects seen in my monochromatic work.
Q: You often begin directly in ink. What tells you it’s time to start drawing without sketches?
A: My work often presents itself fully in my mind. I will typically only draw a simple pencil sketch and then draw over the top of these pencil lines to create the final illustration.
I believe that this is often the result of surrounding and immersing myself in nature, taking the time to explore the smallest details that surround me every day. This is not limited to the things I can see, but also the things I feel when I am part of the landscape.
My curiosity is my greatest tool, and in my work I use this to try and capture the hidden beauty and magic of the everyday. Creating my illustrations without sketches often allows me to be more intuitive in how a piece is constructed, which in turn keeps my work authentic.
Q: Folklore and dreams show up often in your work. What do you take from them when you draw?
A: I have always had an interest in folklore and folk tales, and what inspires me most is the idea that these stories are passed from person to person and through generations, telling legendary tales that are ever evolving.
I often take the idea of fantastical creatures and draw them in a way that makes them feel like guardians or the embodiment of nature.
Keeping the idea that the creatures in my illustrations are working alongside nature to protect its hidden magic is at the heart of my visual storytelling.
An example within my work comes through my illustration titled "The Spirit". When on a cloudy autumn walk, I was told to look for an ancient tomb. Upon finding it, I was compelled to make an illustration, having seen that something was living within its broken stones—a fern. That same fern can be seen within my illustration, but the piece itself was inspired by the feeling of magic and spiritual energy from that place within nature.
Dreams exist between the real and imaginary, and folk tales often capture the human experience. I take both into my work to explore the space between the familiar and fantastical.
Q: Your images use very fine detail and strong contrast. How do you work with these two while drawing?
A: The bold, almost graphic style of my lines is enhanced by the surrounding areas of darkness, and it is in my compositions that I must work to find the balance of the different elements.
As I draw, I use patterns and textures similar to those found in vintage etchings, and vary the intensity of the line work in thickness and quantity to convey the depth of different elements within my work. I find the contrast of black against the highly detailed areas of line work draws focus through my illustrations to tell the story to the viewer. It is the richness of pattern and texture that gives dimension and depth to my work.
Q: After your recent exhibitions and illustration fairs, what are you working on now?
A: I am currently working on a personal project titled "Postcards from the Other World", where I take my audience on a journey through the land of my imagined landscapes and allow them to explore the space between the familiar and fantastical.
This is a project I have been excited to start for a long time, as alongside each hand-drawn original artwork I will also include a short extract of a story. It will give me the opportunity to develop my storytelling alongside my artworks.
As well as crafting "Postcards from the Other World", I am also further developing my cartographic studies to create an intricate map of my imagined worlds. Inspired by other artists such as Tove Jansson and J.R.R. Tolkien, I am working on a fantastical story that I am writing and illustrating myself. It is a way for me to bring together all my artworks and connect my audience to the wider meaning and vision of my work.
These are my main new projects—but there are so many other personal projects I would like to finalise during the next year. This includes a deck of hand-drawn classic playing cards featuring my fantastical creature illustrations. This year feels like it will be a big one; I can’t wait to have you along for the journey!
