You know that feeling when you’re flipping through a magazine and an illustration stops you cold — not because it’s loud, but because it feels like you could reach out and touch it? That’s the sweet spot Jessica Fortner has carved out for herself in the world of contemporary illustration.

Based in Toronto, Jessica Fortner is one of those artists who makes you do a double take — then a triple. Her work pulls you in with its lush textures, surreal little worlds, and a sense of playful storytelling that never takes itself too seriously. She’s an illustrator, designer, and (in my book) a bit of a magician, too — conjuring up tactile universes out of digital and traditional tools in equal measure.

Fortner’s work nails that sweet spot where it feels hand-crafted, even when she’s working digitally. There’s a dimensionality to her illustrations — layers of shading, fine lines, fuzzy edges — that make each piece feel like you could peel it up off the page. She mixes analog textures with digital color and composition, creating a hybrid that’s unmistakably hers. It’s a trick that sounds simple but is anything but — this is the kind of work that rewards a closer look.

Fortner’s subjects live in a surreal zone that feels equal parts dream and joke. Think foxes in letterman jackets, oddball human-animal hybrids, bright botanicals twisting around unlikely characters. Nothing is quite what you expect it to be, but that’s exactly the point. It’s a reminder that illustration can be fun, smart, and weird all at once — and that’s where the magic happens.

What really resonates with me is how she balances narrative and form. Every piece feels like a short story frozen in time. She’s got this knack for capturing characters mid-thought, mid-stride, mid-something — you get the sense there’s a whole world living beyond the frame. It’s the same energy I chase when I’m sketching or layering up an AI-assisted collage: that sweet spot where your viewer’s brain gets to fill in the blanks.

And don’t get me started on her sense of color. Fortner’s palettes are like candy for the eyes — warm, muted pastels that pop in all the right places, inviting you to linger a little longer. There’s restraint here too; it never feels like overkill. She lets her textures and forms do the talking, with color acting like the final wink that seals the deal.

It’s not surprising she’s worked with everyone from The New York Times to Wired to The Walrus. Her editorial illustrations feel tailor-made for stories that need a twist — the ones that play with absurdity or complexity and need an image that can do the same. Fortner doesn’t just decorate a page — she elevates the whole narrative.

Fortner, in my book, deserves the spotlight — proof that great illustration is all about layers: literal ones you can see, and the hidden ones you feel. If you want to wander through her surreal playground, treat yourself to a scroll at jessicafortner.com. Just don’t be surprised if you want to stay awhile.