How picture book illustrator Hoang Giang’s career is blossoming

With accolades pouring in for her imagery in Flower Block, Vietnamese artist Hoang Giang is a rising star in children’s illustration.

The world could use a little more Flower Block right now. Beautifully illustrated by Ho Chi Minh City-based artist Hoang Giang, Lanisha Butterfield’s story is about a little boy called Jeremiah, whose sunflower seeds grow out of control all the way up through the apartment block where he lives. But instead of chaos and discord, the magical plant brings the community together.

In a gentle, organic palette, with jaunty little characters full of wonder at the incredible stalk, Giang’s artwork strikes the perfect tone alongside the narrative. Her illustrations in Flower Block have won the Derby Children’s Picture Book Award 2025 and have been longlisted for the Carnegie Medal for Illustration. The book has also been shortlisted for the Jhalak Prize and has been added to Dolly Parton’s Imagination Library.

Despite the growing recognition for her work, Giang is as humble as can be. “I think the success of Flower Block comes largely from Lanisha Butterfield’s story,” she says. “It captures the harmony of community – something deeply important and relevant in today’s world, especially at a time when we’re witnessing so much division and polarisation across the globe.”

Originally from Dalat in the highlands of Vietnam, Giang moved to Ho Chi Minh City to study economics but found her way into illustration driven by a life-long love of art. For years, she taught herself the tools and techniques of the trade, illustrating stories, drawing comic zines, and freelancing. Then, she moved to the UK to study for an MA in Illustration and Book Arts at Angela Ruskin University in Cambridge.

Now back in Vietnam, she’s represented by the agency Illo and is busy with the brushwork on a variety of projects with UK publishers. September will see the release of Bear Heart by Louise Greig, published by Flying Eye Books. We can’t show you pictures just yet, but keep an eye out for them.

“I’m most drawn to stories I can personally relate to – where I can feel the truth of the author’s experience behind the words,” says Giang. “And when both the author and publisher share the same vision with me for how the story should be visualised, that’s the perfect collaboration.”

One of the interesting things about Giang’s journey in children’s illustration so far is the variety and flexibility in her artwork. Rather than establishing a strong, individual style, she adapts the look and feel of the images to each narrative she tackles. “I used to criticise myself for not having a single, recognisable style,” she explains. “But over time, I’ve come to realise that what matters most to me is the story. Depending on the tone or feeling a story requires, I choose the visual approach – whether in style or medium – that feels right.”

If AI ruins the illustration scene, Giang’s backup plan is to make and sell onigiri rice balls as breakfast takeaway food in Vietnam. She’ll also always draw comics and picture books on the side.

Her self-initiated comic series Xóm Om Xòm has reached five volumes in Vietnam, and she’s busy with the next instalment. It’s her creative commentary on traditional life in Vietnam and what happens when that collides with the country’s rapid modernisation in recent decades.

“It’s a collection of humorous stories about a group of animals living in a rural Southern Vietnamese village,” says Giang. “While the characters reflect the thoughts and behaviours of modern people, it’s set years ago – before technology became such a dominant force in daily life. The series blends nostalgia with satire, and it’s my personal way of observing and commenting on society through a playful lens.