Lionel Darian: Retro-modern illustration with Affinity

Illustrator Lionel Darian creates playful, retro-modern artworks that blend geometry, warm nostalgic tones, and storytelling. In this interview, he shares his influences, evolving style, and why Affinity is his go-to tool.

Please, tell us a bit about yourself.

My name is Lionel, and I grew up in the southwest of France, where I still live today. As a child, I was rarely bored—I was always tinkering or creating something: drawings, models, paintings, huts, costumes—and the days never felt long enough. I’m a fairly discreet person and not very talkative, which makes me the perfect profile for an interview!

What made you want to become an illustrator?

I never set out to be an illustrator—it wasn’t part of a career plan. But over time, illustration naturally became part of my daily life. Drawing has been with me since childhood, so I had never thought of it as a profession. A few years ago, I was in a job where I didn’t thrive, and a close friend encouraged me to focus on my passions—that’s when illustration became the obvious path.

Can you remember some of your earliest influences?

I didn’t grow up in a creative environment, but my parents always encouraged me and gave me complete freedom—even when my projects were a bit overwhelming. If I had to name my earliest influence, it would be two films that left a deep impression on me as a child: Batman and Batman Returns by Tim Burton. I’m not sure if that universe still influences my work today, but those films definitely opened my mind.

When did Affinity first come into your workflow, and what drew you to it?

I started using Affinity in June 2020. I had known about the software for a long time and kept up with its updates, but it was hard to move away from Adobe Illustrator since I was so used to its tools—and I initially thought some were missing in Affinity. At a point when I wanted to evolve my style and explore new creative techniques, I realised that Affinity, with its dual vector and pixel capabilities, was the ideal solution. Since then, we’ve become best friends!

Which projects have played the biggest role in shaping your creative journey?

One of the first projects that played a key role—a kind of turning point in how I approached characters and light—was an illustration called The Other World. Another important project was my Circles series, a short story told in nine illustrations using just two tones of colour. I had long wanted to create a personal project divided into multiple illustrations, and this one took the form of a short suspense story with a simple, figurative aesthetic.

Since then, my style has evolved in other directions, but those projects were fundamental in that they gave me a sense of artistic freedom.

What motivates you in your work?

Curiosity. When you begin a project, you can never fully know what the end result will be. Along the way, the work draws on many elements—your knowledge, experiences, culture, and imagination. It’s this element of the unknown, present throughout the creative process, that motivates me.

Where do you gain inspiration for the subjects or themes of your work?

It may not sound very original, but my inspiration comes from everywhere—literature, cinema, photography, advertising, other illustrators, and archives.

How long do you usually spend on a project from concept to finished piece?

It really depends on the project. Some take just a day, while others can stretch over several weeks—though I don’t like projects that drag on too long. After a while, the initial energy and motivation can fade. The work still gets finished, but it may lose some of its flavour—either because my interest has shifted or because other projects have stolen the limelight from it.

Do you have a dream project or goal that you'd love to accomplish in your illustration career?

I don’t have a single big dream or goal in illustration. My main ambition is to keep living from this passion and to keep exploring new creative experiences. I’m curious about mediums like animation and comics, but I don’t want those interests to become fixed goals with all the pressure that entails. If I get to work on them, I’ll be happy—and if not, I know I’ll have other equally exciting projects to pursue.

Do you have any advice for illustrators just starting out and looking to develop their style and identity?

I don’t feel I’ve been in this profession long enough to give real advice. But for me, the most important thing is not to betray who I am, so I can fully stand by what I create.

What project is your personal favourite to date and why?

That’s a difficult question. I don’t really have one favourite project—I love all my illustrations for different reasons. Each one elicits a different emotion in me: sometimes it’s the composition, the colours, the attitude of a character, or the subject matter—and sometimes all of those at once.

Finally, do you have any self-enforced rules or mottos you work by?

Eat chocolate! More seriously, I try to play down the act of creation as much as possible. Missing the mark on an illustration happens to everyone, and it never stops you from continuing. Sometimes it comes easily, other times it means working harder or redoing certain parts.

You can explore more of Lionel’s captivating work on his website and Instagram.