Few artists working today can make the supernatural feel both elegant and unsettling, and Yuko Shimizu stands at the very top of that list. Her illustrations for The Folio Society’s upcoming edition of Japanese Ghost Stories channel centuries of folklore through a modern, fiercely expressive lens. One that captures not just the spirits themselves, but the emotional gravity they carry. Based on some of Japan’s most enduring tales, this collection is full of atmosphere, melancholy, and subtle terror. And Shimizu’s elegant artwork transforms each story into something hauntingly alive.
As Japanese Ghost Stories approaches its release, we caught up with Yuko to delve into her creative process, the cultural influences shaping her art, and how she weaves beauty, fear, and emotional honesty to revive these timeless spirits for modern audiences. So, let’s welcome the talented Yuko Shimizu to GVN Talking Comics.
Advertising to Art School
GVN: Thank you for your kind attention, Yuko. As I read your bio, I saw that you spent 11 years in corporate PR before moving to New York and continuing your art studies. What inspired you to leave advertising during that period and pursue your own artistic career?
YUKO: I always loved to draw and paint, but because I grew up in a typical Japanese family, and I did not have anyone around me who was making a living making art, that path was written off by the time I was going to college. I studied advertising and marketing, because In thought that was the most creative way to be practical.
I did not hate my job, it was interesting, but I really didn’t fit into a corporate world. At around age 30, I realized I was not a kid anymore and I should really think about my long term life goal, and in the end, I realized it was about time I should give art a shot. I moved from Tokyo to NY, went back to art school at the age of 34, then I started my second career around age 38.
An Impressive Resume
GVN: You have worked for a veritable who’s who of companies and publications. From The New York Times, TIME, Newsweek, DC Comics, Penguin Random House, Scholastic, and advertisements for BBC, Apple, Google, Microsoft, Intel, Universal Pictures, Sony, and Paramount. At any time were you ever intimidated by any of those projects, or did you reach the point where that is no longer even a thought?
YUKO: Every new project, big or small, can be intimidating, because someone is paying me to make art, and it is my responsibility to do the best I can. So, at the start of any project, I get nervous. I think it is good. You are over when you start to feel like you are all set and stop being too comfortable.
The Folio Society’s Japanese Ghost Stories
GVN: So, let’s get into this exciting new book from the folks at The Folio Society, “Japanese Ghost Stories.” This collection brings together twenty haunting tales from classic Japanese folklore. What drew you to this project, and what excited you most about illustrating such a culturally rich and eerie anthology?
YUKO: It is a book of Japanese ghost stories recorded and retold by an American journalist/author living in Japan. This is not just a popular book abroad. It is also a book Japanese people embrace and cherish as their best known book of ghost stories. I was always interested in a chance to illustrate it. As a Japanese illustrator living and working in New York, and often telling stories of my homeland I left more than 25 years ago to a mostly Western audience. I feel it is like a full circle moment.
GVN: Japanese ghost stories often rely on mood, subtlety, and psychological tension. How did you approach translating those qualities into visual form without overwhelming the quiet horror that defines the genre?
Inspirations of the Edo Period
YUKO: To illustrate this book, I looked at a lot of, many obscure, illustrated books from the Edo period. Thanks to internet and online antique book sellers, I got to see some fantastic artworks that are totally forgotten by time. I tried to get the essence of those into my images.
Visual Translations
GVN: Your work frequently engages and celebrates Japanese cultural motifs. How did your personal connection to these stories shape your artistic decisions for this edition?
YUKO: I left Japan more than 25 years ago, and I think I see Japan in a way that is different from either local Japanese artists or non Japanese artists who are trying to depict my culture. If I were to illustrate this book for the Japanese audience, I probably did something completely different. In a way I was a translator of the stories to English in the visual sense. I tried my best to take the readers into the world they may not know much about.
Working with The Folio Society
GVN: The Folio Society is known for premium, collectible editions. How did working with them influence the scale, detail, or presentation of your illustrations?
YUKO: It is always fun working with them. They carefully choose which artist is the right match with which book. And once that’s done, they are confident enough to leave the artists alone to create what we believe to be the best visual interpretation.
Striving for Authenticity
GVN: Ghost stories tend to rely heavily on atmosphere. What was the most challenging aspect of capturing supernatural elements while keeping the illustrations grounded in emotional truth?
YUKO: The hardest parts were to make the images look authentic, but not old. The stories are old but the images exist in the 21st century, and I believe balance is the key.
Tools of the Trade
GVN: Your exquisite linework and textures have a distinct, recognizable rhythm. What techniques or tools did you rely on most while creating the artwork for Japanese Ghost Stories?
YUKO: I use traditional Japanese calligraphy brushes and black ink on paper (then colored on Photoshop). I initially started working this way, because I started drawing mimicking manga when I was small, and manga from my childhood had the signature soft thick and thin lines, which are also signature look of the Edo period book art. I felt my medium and style were a perfect fit, and went overboard with it. I also sanded drawings so there is a look of weathering woodblock printed pages. You gotta go all the way! 🙂
What Readers Will Take Away
GVN: Thank you again for your time, Yuko. Ultimately, this edition will introduce many readers to both classic folklore and your unique interpretation. What do you hope readers will take away from this visual experience, and does this project open doors that excite you for future exploration? Perhaps another collaboration with the Folio Society?
YUKO: I hope the readers will enjoy this new illustrated edition. I had a lot of fun making it, and hope they feel that through reading. I get excited when I finish a project and the next project is something completely different.
I have two Folio Society books coming up. One is getting announced soon, the other one I am in the midst of working right at the moment. Very different books from Ghost Stories. I get to work on challenging, fun, exciting illustration projects. They are all different. This is why I became an illustrator.
Our sincere thanks to Yuko Shimizu for sharing her insight into the artistic journey behind The Folio Society’s Japanese Ghost Stories. Through her remarkable blend of elegance, atmosphere, and cultural authenticity, she has helped bring new life to some of Japan’s most enduring supernatural tales. The result is a collection that honors the rich legacy of these stories while inviting a new generation of readers to experience their beauty, mystery, and lingering power. For admirers of exceptional illustration, folklore, and fine bookmaking, this edition promises to be a hauntingly unforgettable addition to any library. You can find this book here.
Senior Writer at GeekVibesNation – I am a 60 something child of the 70’s who admits to being a Star Trek/Star Wars/Comic Book junkie who once dove headfirst over a cliff (Ok, it was a small hill) to try to rescue his Fantastic Four comic from a watery grave. I am married to a lovely woman who is as crazy as I am and the proud parent of a 21-year-old young man with autism. My wife and son are my real heroes.
