Pop characters brought to life through a distinctive monochrome style—this is the world of illustrator Chocomoo.

In her works, creatures of the sea and land, plants, musical instruments, and other elements that would never normally meet coexist effortlessly, creating whimsical and imaginative worlds of their own.

Her unique visual language has earned recognition both in Japan and abroad, leading to collaborations with numerous artists and brands.

We spoke with Chocomoo about the landscapes of her childhood, the influences that shaped her work, and the creative journey that brought her to where she is today.

Nurtured by Kyoto’s Traditional Culture

— You were born and raised in Kyoto. Are there any childhood experiences that continue to influence your work today?

I grew up surrounded by temples and shrines, which were a natural part of everyday life in Kyoto. I also practiced calligraphy from a young age and played Japanese taiko drums for many years.

At the time, I wasn’t particularly aware of it, but looking back now, I realize how deeply I was influenced by traditional Japanese culture. Calligraphy, especially, taught me how to consider the balance of an entire composition and make confident marks in a single stroke. That sense of composition still informs my live painting performances and the way I build images today.

My paternal grandfather was also a kimono painter. Whenever I visited his house, there were countless brushes lined up everywhere. Looking back, my love of drawing may have been something passed down through my family.

Finding My Path as an Illustrator in New York

— What inspired you to pursue a career as an illustrator?

It all started when I visited New York for the first time.

At the time, I was completely immersed in hip-hop culture and decided that if I wanted to experience it firsthand, I had to go to New York. Until then, I had barely left Kyoto. I saved up for the trip and took the leap.

When I arrived, I was overwhelmed by the energy of the city. The graffiti, the street culture—everything felt completely different from Kyoto.

One day, while I was sketching in a park, a passerby approached me and asked if I would like to display my artwork in his shop. I immediately bought some canvases, painted a few pieces, and brought them to him. To my surprise, he actually displayed them.

Some time later, he contacted me to say that one of the works had sold. I could hardly believe it. It was the first time I realized that living through design and illustration was even a possibility. After that, I started posting my work on a blog, and that became the beginning of my career.

— Where does the name “Chocomoo” come from?

When I was staying in New York, I couldn’t drink coffee, so I was always carrying around a chocolate drink instead.

A friend started calling me “Chocomoo,” inspired by a character from Spike Lee’s film Clockers. I liked the sound of it, and the name simply stuck.

A Borderless World Drawn in Monochrome

— How did your visual style develop? Why are you drawn to monochrome expression?

I think it comes largely from the world of ink in calligraphy, as well as the black-and-white Disney animations I watched as a child.

I love looking at colorful works, but for some reason, the images that appear in my mind are always black and white. Monochrome leaves room for viewers to imagine their own colors and stories, and I really value that sense of openness.

— One striking aspect of your work is the way unrelated motifs coexist within the same scene.

I love imagining worlds where creatures and objects that would never meet in real life can happily share the same space.

Sea creatures and land animals, plants and musical instruments—there’s something exciting about bringing together things that don’t normally belong together. Looking back, I think I’ve always been drawn to worlds where different characters gather in one place.

— Do your characters have detailed stories or backgrounds?

Not really. The only character with an actual name is the heart-shaped one called Don’t Touch-kun.

I prefer leaving things open to interpretation. Where are they? What are they talking about? I want viewers to imagine those details for themselves.

The same artwork can tell a completely different story depending on who is looking at it or what mood they are in that day. I find that fascinating.

The Joy of Drawing

— What does your creative process look like?

I rarely make preliminary sketches.

I usually begin with a larger motif and then gradually fill the surrounding space with characters. My awareness of negative space probably comes from calligraphy.

When I’m drawing, I become completely absorbed in the process. I simply keep adding lines while considering the overall balance of the composition. I genuinely enjoy that time.

— Is there something you hope people take away from your work?

I never want my work to leave people with negative feelings.

Even though my pieces are monochrome, I want them to feel fun and uplifting. I’ve always loved drawing purely for the joy of it, and I hope that sense of enjoyment is something people can feel when they encounter my work.

In a way, it’s similar to how I used to cover my walls with all the things I loved as a child. My artwork feels like a portfolio of who I am.

Within the limited time we have in life, I want to preserve the things I loved and the moments that brought me joy through my work.