Illustrator of Ukrainian publishing house BookBanda Tatia Koviz: I believe that the dark genre exists for me, and I was born for it

Tatia Koviz is a Ukrainian dark illustrator and co-founder of the publishing house "BookBanda". She firmly believes that the dark genre was made just for her. Tatia is the illustrator of Aya Neia's books "Nord" and Oksana Kyrychenko's "The House in Nowhere". Tatia shared with us her journey to becoming an illustrator, the creation of BookBanda, and the presence of traditional Ukrainian mythological imagery in her work.

Interviewer: Why illustration? What inspired you to pursue a career in this field?

Tatia: For me, as someone who has been drawing and writing since childhood, moving into book illustration seems like a very logical step. At least now, it feels like it couldn’t have happened any other way. One of the first things that pushed me toward illustration was my own stories. When you start creating a vast world and know that you can draw, the idea of visualizing it becomes almost obsessive over time. That’s how my journey in this field began. Books I read had a similar effect on me. It mostly relates to characters – when you become really attached to someone, it’s impossible to resist the urge to bring that character to life by pulling their image out of your head.

Interviewer: Tell us about your collaboration with BookBanda. How did it all start?

Tatia: I can proudly say that I’m one of the co-founders of BookBanda, which is something I’m very proud of. It all started as a random online meeting with like-minded people, which evolved into a literary group and eventually became an official publishing house. In the beginning, each of us did everything we could to make BookBanda work. Now, I’m the artist and illustrator for the publishing house. I work on projects, meaning I illustrate books when the author or the team decides that my style fits the story best. Illustrated editions are a unique feature of BookBanda – if you’ve noticed, each one is filled with visuals. I also assist with design elements for typesetting, covers, and sometimes merchandise. On the publisher's page, you can see our corporate characters and mini-comics featuring them – those are also my work. I used to run a special column about Ukrainian mythology, which was published on BookBanda’s social media and always accompanied by thematic original illustrations.

Interviewer: You illustrated Aya Neia’s book Nord. How did your collaboration begin, and what was the process of preparing illustrations for this book? How did you create the characters?

Tatia: I have a long history with Nord. It’s one of the books that marked the beginning of my journey as an illustrator. I can’t remember all the details, but I clearly recall that one day, Aia reached out to me. That’s how our collaboration started – Aya had ideas, and I was figuring out how to bring them to life through illustration. We worked very closely, reviewing dozens of references, quotes with descriptions of specific scenes, and additional interpretations from the author. Initially, we focused on the characters, but later we decided to try illustrations in the style of ranobe (light novels). This became a signature feature of Nord and Aia’s other books as well. I have a deep affection for these works. Even some of the earliest illustrations in that style still hold up as successful pieces. Creating characters has always come more naturally to me than, say, designing environments. I need to read the character's description in the text, a few dialogues, or a significant action they take. It’s even better when the author provides additional clarifications. Then I start drawing, keeping all this information in mind. Fresh impressions of the character help me subconsciously infuse the image with something that I personally can’t explain. But because of this, people often say something like, “Oh, that’s him (or her)! That’s exactly how I imagined them.” When I hear something like that, I know I’ve succeeded.

After Nord, I also participated in illustrating several other projects by Aya, including The Wings of Ostara.

Interviewer: Tell us about the imagery in your illustrations. Why dark?

Tatia: I believe this genre chose me. There’s always been something uniquely captivating, almost eerily beautiful, in thunderstorms, twilight, stories about village witches, curses, and mystical coincidences in life. I lived near a cemetery, feared dolls and mirrors. In short, looking back on my memories, I realize I was a child deeply influenced by impressions, and this had to manifest in some way. Although I didn’t arrive at this right away – at first, I tried many different things, imitating and recreating more neutral themes. Once I honed my skills and gained enough academic knowledge, I started experimenting with what truly appealed to me. Now, I believe the dark genre exists for me, and I was born for it.

Interviewer: "Nord" isn't the only book you've illustrated. Among your works is "The House in Nowhere". You mentioned that this book is special to you because you illustrated it from start to finish. What was the process like? How challenging was it to design the characters? Why do you focus on fantasy and magical worlds?

Tatia: "The House in Nowhere" is indeed a very special project for me. I worked on everything – the cover, endpapers, illustrations, and page decorations. Oksana Kyrychenko, the author, gave me complete freedom and allowed me to do a lot based on my own judgment. Regarding the cover, I constantly consulted with the publishing team and with Olya Gnats, who designed the book title. During the typesetting, I spent a lot of time with Lesya Yatsuta (the head of BookBanda and also the typesetter), brainstorming page decorations and testing different options. As you can see, it was a team effort. Before starting the illustrations, I read the entire book, then went through it again, looking for elements and moments that became part of the drawings. I also had an additional file from the author with descriptions of the characters' appearances and personalities, as well as descriptions of the rooms in the house (which was crucial). Each illustration is a composition of elements found throughout the book’s chapters. The front endpapers depict the characters at the beginning of their journey, while the back endpapers show them after all the events they’ve experienced in the House. Understanding what these changes mean is only possible after reading the book. Why do I focus on fantasy and magical worlds? Simply because I get the most satisfaction when working on something like that. I let that feeling guide me.

Interviewer: Among your works, there are many examples with Ukrainian ritual themes. Tell us about this series of illustrations. The motanka dolls, the image of the goat… why did you choose them?

Tatia: Ukrainian mythology and ritual themes have been my passion for many years. I’ve always felt a bit hurt that while other cultures’ interpretations are explored widely, our own traditions are often considered uninteresting. Only in recent years has this started to change, which is very encouraging. In my opinion, our traditions offer many fascinating stories that are mysterious both in their original forms and in reinterpretations and reimaginings. That’s where the image of the horned goat from the goat-driving ritual and the motanka doll, as a powerful ritual object, came from.

These are some of the most vivid images from our traditions and very striking examples of my work. They emanate mysticism, enigma, something otherworldly and yet seemingly very close to us but at the same time elusive. I also wanted to add a bit of spice and sexuality that would feel organic and natural. I know that many people online perceived this as satanic or vulgar. They have the right to their opinions, though I disagree with them. I think this series will continue in the future.

Interviewer: Which illustrations did you enjoy working on the most? Which ones did you feel the most connected to?

Tatia: I absolutely love every project I’m involved in. If I had to choose, though, here are some favorites: the endpapers and the back endpapers for The House in Nowhere. The idea of depicting the characters’ changes “before” and “after” came easily, and adding details was a highly satisfying process. The portrait of the main character in Daynara. Out of all the attempts to illustrate a heroine, this illustration managed to capture her character through her gaze, and I’m not sure if I’ll achieve that again. The ranobe-style illustrations from the first book, Nord. They are special to me because of the experience with this new type of novel, and exploring this new path was thrilling. I also adore the latest edition of the collection The City of Memories: it is filled with amazing illustrations from the entire team of artists, not just mine. However, I also worked on the endpapers and cover, and I absolutely love their atmosphere.

Interviewer: What challenges do you set for yourself in the field of illustration? Are there subjects or types of work that you wouldn’t illustrate for any amount of money? And what would you illustrate even for free?

Tatia: Right now, I’m trying to find a new approach to working on illustrations. I’m looking for a personal method that is comfortable for both me and the author. My current challenge is to view each project as extensive and grand. I want to dive deeply into it, really delve into the details, and bring out the hidden meanings. According to my own feelings, I still lack the strength for this. As for subjects I wouldn’t illustrate for any amount of money, I’m not sure. Nothing specific comes to mind. I’m quite open to proposals and willing to experiment. Naturally, my focus is mostly on mystical and fantastical worlds, but who knows? Everything is very individual. I’m willing to work for free, and I often do, to support projects that I’m really passionate about.

Interviewer: What projects are you currently working on?

Tatia: At the moment, I’m working on several projects. One of them is an electronic collection of horror stories by Oksana Kyrychenko titled Horrific Stories Heard in the Black Room: 14 illustrations for 14 dark stories. It’s going to be something truly eerie. I’m also creating illustrations for overlays for a flip book featuring the novels Own Stranger and Punishment Squad by Anna Stadnik and Yan Braz, which will soon be released by BookBanda (and, by the way, the book itself will also include my illustrations). Lastly, I’m just starting work on an extremely large project: illustrating my own novel, Daynara, which I’m currently writing. As you can imagine, this allows me to fully immerse myself and explore new creative possibilities.

Interviewer: Describe the world of illustration you create in one word. What would it be?

Tatia: If I had to choose one word, it would probably be "mysticism." At least, that’s how I feel about it.

Picture were taken by Yevheniia Petryshyna