A is for Amber Vittoria. Amber illustrates the female form like no-one else. Her subjects are lumpy, hairy and magnificent; both whimsical and incredibly real.

B is for Beci Orpin. Her warm, dreamy style traverses so many mediums. The little critters in this animation were made from garden cuttings and craft drawer snippets.

C is for Grace D. Chin. Grace is a bastion of intersectionality and inclusivity, and soaking up her work feels like some kind of poetic, political therapy.

D is for Deejennarate -- and also for derrière! Jenna Josepher’s cinemagraphic work is titillating, deeply intriguing and always unexpected.

E is for Ellen Porteus. Ellen’s work is polished and punchy. The linework in her juicy, pastel illustrations is so clean, and her looping animations are mesmerising.

F is for Louise Fili. Mother of lettering (and probably dragons), reviver of deco, creator of so much timeless typography, Louise Fili sets the benchmark.

G is for Rosalie Gascoigne. Her mixed-media, text-based collages made abstract art of found objects, highlighting the curves and negative space of lettering.

H is for Lisa Hanawalt. Her half-human, half-animal creatures are surreal, absurd and somehow so relatable; twisted but mundane, and gritty but beautiful.

I is for Imakestagram. Rachel Burke fills me with so much joy. Everything in her wake is vibrant and dazzling. This shimmying ‘I’ is an ode to her glorious tinsel jackets.

J is for Laci Jordan. Her bold, vivid work spans many mediums, but the common thread is always a celebration of black culture. It’s feminist, political and fun.

K is for Yayoi Kusama. Her works - bursting with saturated, repetitive patterns - are visually iconic, and testament to the therapeutic, redemptive power of art.

L is for Libby van der Ploeg. Libby is a champion of empowerment and equality, and her illustrations and animations are textured, playful and uplifting.

M is for Mona Chalabi. Mona is a journalist who draws data. Her scientifically accurate and visually engaging graphs make statistics intelligible.

N is for Nadia Hernandez. Nadia's paper cut illustrations are striking, full of movement, and layered with narratives of culture, identity and politics.

O is for Oh Happy Day. It’s all a celebration of colour and light and goodness, and I will take a big fat second serving of that every time.

P is for Kitiya Palaskas. Between her larger than life props, piñatas of every persuasion, and paper collages, Kit makes everything pop.

Q is for Angie Quintanilla Coates. I love the way she folds politics and pop culture into her art, which always seems to come from a desire to lift others up.

R is for Rupaul. Gender-bending, binary-rejecting, and an unconditional love of colour and sparkle. We’re all born naked and the rest is drag!

S is for Nike Savvas. Nike is a conductor of colour and geometry, and creates kinetic, immersive, sensory worlds you can escape into.

T is for Tierney Milne. Tierney is a master of tessellated, geometric landscapes; balance and colour; and stop-motion that is like voodoo sorcery.

U is for Under Over The Moon. Nancy Liang’s work feels textured and organic. It's often dark but curious - exuding serene stillness with a pinch of sparkly whimsy.

V is for Vichcraft. Jenna Blazevich uses art as activism. Her multi-media work is inclusive and intersectional, and always radiates a bold, witchy vibe.

W is for We Are Clay. Anastasia Tumanova's work has an earthy, organic energy; translating ephemeral nature into something more permanent.

X is for Jennifer Xiao. She folds so much nuanced emotion and humour into the vibrant visual language of her anthropomorphic illustrations.

Y is for Yukai Du. An expert storyteller, her animations and illustrations are intricate, swirling constellations that vibrate with pattern and texture.

Z is for Alexandra Zutto. Alexandra illustrates the most enchanting dreamscapes, full of softness but also mystery and intrigue in the finer details.