Aude Abou Nasr is a French-Lebanese illustrator, animator, and visual artist based in Beirut, Lebanon. Coming to illustration later in life, her self-taught approach has shaped a distinct visual language that blends vibrant storytelling with deep socio-political reflection. From character design to community-building initiatives, her practice centers on memory, belonging, and Middle Eastern narratives.

In this interview, we talked about her current creative projects, her evolving artistic process, and how her roots shape her work for both local and global audiences.

Beyond the official bio and what turns up in a search, who is Aude? Where are you currently based, what are you working on these days, and could you share one surprising fact about yourself that people might not know?

I live in Beirut. At the moment I’ve got a few things going at once: an animation video clip for the musician Tamara Qaddoumi, a comic for Crucial Comix, and some watercolour workshops with my friend, the artist Mohamad Kraytem. A surprising fact? Haha, okay: I’m a Scorpio sun and Scorpio rising, and most of my chart is in Scorpio. Make of that what you will.

I’m an illustrator myself, and I have to say, I’m a huge fan of your style. It’s so characteristic, especially your color palette, that I think anyone who’s followed your work for a while could spot an Aude Abou Nasr illustration instantly. What inspires you, and how did you develop such a recognizable style?

Thank you so much, that really means a lot. It’s honestly hard to say how my style developed. I didn’t study art, and I came to comics and illustration pretty late in life, so I think it came out of limitation at first and grew into what it is now. If I’d been shown too many references early on, I probably would have frozen and struggled a lot more to find my own thing. When I was younger and drawing characters, they already looked like the ones I draw now. I was just a bit shyer back then about exaggerating their features and pushing things further.

As for what inspires me, so many things: life, the colour combinations you see in nature and in everyday life, fabric patterns, the people I meet, and of course the incredible illustration scene here and beyond.

How does your creative process typically begin? As someone who primarily produces digital art, do you still create traditional hand-drawn works to start? Do you initiate with an image, a story, a feeling, or something else entirely?

It depends! Sometimes I draw by hand and colour by hand with watercolours, sometimes I draw by hand and colour digitally, and sometimes I work fully digitally. It mostly comes down to how much time I have, how many edits I’m expecting, and the type of project. Usually an image comes to me first, or a feeling. I should also say that I make watercolours too. I’ve exhibited and sold them here in Beirut, and I draw by hand nearly as much as I draw digitally, I just publish it less. Commission work is what led me to work more digitally, but my practice isn’t limited to that. Usually there’s an image stuck in my head and I just have to draw it.

Your work often draws on personal and collective histories, incorporating introspective narratives around memory, shared experience, place, and belonging. You’re also involved in a number of socially driven projects. How have your roots and the Middle East shaped your creative process? And what do you think about the power of visual work to help people understand different cultures and global affairs?

It’s hard to answer. Obviously, growing up with certain stories, and seeing the consequences of what the Middle East is going through in the people who raised you, makes you sensitive to all of it. Growing up in diaspora does that even more. You feel the huge gap between what your family lived through and what’s considered a normal experience abroad. I used to believe a lot in the power of visual language to open people’s eyes.

Honestly, since 2023 I think about that less. We witnessed an awakening that ended up getting commodified, so I’ve gone back to focusing on community work, the way I was at the beginning, and I try to be realistic about the limits of illustration and visual language. Those who want to see will see. There’s already enough content out there at this point.

What’s your favorite collaboration you’ve worked on so far?

That’s an impossible question, haha. I don’t have one favourite project, and every collaboration is its own thing. I had a lot of fun designing a carpet with Amer Albarzawi. I was really honoured to draw the map of Jnoub for the Lebanon Pavilion at the Venice Biennale. And working with Zoulikha Tahar on her series El Sardines was incredible. I could mention so many projects I loved, each one in its own way.

Is there an upcoming project you’re especially excited about?

I’m excited overall about focusing more on comics and textile design over the next couple of months. Those are the two things pulling at me right now.

Do you have any advice for emerging illustrators who are still trying to find their own voice?

Be true to yourself, to your weirdness and to what matters to you, and learn from your peers! Your local illustration community can be a very warm and supportive one to be part of.

For more of her works check out her instagram and website.