Drawn! The Illustration and Cartooning Blog

I got the pleasure of interviewing Kirsten Ulve and pick her brain about what it is like (and what it takes) to be a successful graphic illustrator.  Kirsten is a very successful artist and you can see it at her work at galleries, products, music, Japan and all over the rest of the developed world.

I asked her tough questions and she gave me great answers.  So if you are looking to break it into the "Freelance Illustrator" biz, this may be a great interview for you to read.

20 Questions with Kirsten Ulve

1. With the accessibility of digital graphics programs out there for computers, any Dick or Jane can deem themselves "digital artist." Knowing this, how do you see the future for digtal artists such as yourself?

"Digital" is just another medium. The thoughts and ideas you bring to the program (or canvas, or paper) are what make your work unique to you. The important thing is to focus on artistic growth. So I think the future depends on your artistic merit, not the tools you use.

2. Artistically, where do you see yourself in twenty years? Do you
plan on continuing commercial art or are you hoping to move into
something else?

2O years… hopefully I’ll be drawing poolside at my penthouse studio
using telepathy. Yes, I’ll probably continue with commercial art and
the occasional gallery show or product. I like the variety. Eventually
I’ll be cranking on something animated.

3. Your artwork always displays characters having the time of their
life or at very least, having a good day. It’s also apparent that
some of your pictures have a slightly dark side to them (but still
look like they are having a good day). Do these pictures with a
darker aura about them come around naturally or is it something
provoked.

You don’t have to be Darth Vader to appreciate the Dark Side.

4. Some people are motivated by money others by religion and some just
by the sheer love of art, what drives you to continue being an artist?

I love the exciting feeling of growing artistically, seeing progress in
my work. Plus if I wasn’t doing this, I’d have to get a real job.

5. With the dawn of political correctness, illustrators have had to pay
particular sensitivity to race, gender and ethnicity. How do you
handle this when you start a project?

If you think it’s going to be an issue, just ask and draw accordingly.

6.Do you accredit your success to dumb luck or hard work?

Good luck is the result of hard work.

7. Once in an interview you said that you were a graphic designer.
Knowing that, most designers are very picky about how their work is
centered and lined up. It is apparent to me that this trickles into
your illustration work. Do you do this on purpose or is it something
that comes out naturally?

Bringing other elements of your life into your work is what shapes your
style. So yes, naturally you can see some evidence of graphic design in
my drawings. You may also detect some ballet, fashion, the fact that I
love puppets and fireworks and haunted houses…it’s a gigantic tossed
salad of my interests.

8. All modesty aside, where would you rank yourself on the Food Chain
of current illustrators today? Would you be the pick of the Pride? Or
would you be scavenging vulture (and you can’t be that because I’ve
got that job all wrapped up!).

I really have no idea. I’m happy with where I am though.

9. Once you take the plunge and go down the freelance route, you get
bombarded with tons and tons of people wanting you to advertise with
them. They make great claims that they will market you out to good
clients and that you will be exposed only to the tip-top publishing
firms. What is your opinion on this? Do you think it’s wise for
someone to drop 1000-2000 dollars on advertising in a groupbook with
several other illustrators?

If you want to do commercial work, I do think it’s a good idea to
advertise. Letting people know you exist is half the battle of being an
illustrator. Yes, those books are a bit mall-like, but lots of art
buyers rely on them.

10. Representatives and Agents. Some illustrators think it’s a must,
seasoned illustrators sometimes hate them, what is your opinion on the
situation? Should all illustrators have an agent and how should they
go about getting one?

I really appreciate my agents (one in the US, one in Japan). They take
care of a lot of legalities and street beating, so that frees me up to
focus on my work. Advertising agencies often prefer dealing with reps
on big jobs with complex usage, so it’s good to have one to open doors
for you. There’s no magic formula for finding one, just send samples to
whomever you think would appreciate your work. Try to reach an
agreement that’s comfortable for both of you instead of handing over
all control…it’s usually ok to handle some “house accounts” yourself.
I also think it’s a good idea to test drive each other for a while to
see if you get along.

11. Until you just have gobs of money, freelancers face two stiff
financial concerns..saving for retirement and insurance. How do you
handle this? What advice could you give new (or struggling)
freelancer about how to keep themselves insured and something to fall
back on?

Circumstantial differences aside, I do think health insurance is
important. I also have disability insurance. If my hands get chopped
off, I’m screwed, right? Unless I learn to use that blinking computer
Steven Hawking uses, which is unlikely. Anyway, one way to get a good
insurance rate is to contact a broker and get a group rate with other
freelancers. I hope to keep working until I drop dead, so I don’t have
too much going on in the way of retirement funds yet.

12. Speaking of insurance, what is your view on health? Is it important
to keep a good diet to remain alert and attentive to your jobs or do
you think that freelancers should enjoy the lavish life of Martinis at
noon and chocolates at three?

Uh…if I lived that way, I’d be drunk and fat.

13. Many times freelancers are hit really hard with several jobs at one
time thus forsaking friends, family and loved ones. How do you handle
this?

Pretty much everyone I know here in NYC is focused on their various
missions, so it feels normal to be super busy. Then when you do catch
up, you appreciate each other more. And sometimes you just have to say
no so you don’t turn into Gollum.

14.You’re in the middle of a project and then you realize the client
is a total jerk about things. How do you put the client in check to
keep him/her from making your life a living hell?

Usually you can tell if the client is a jerk right away and just
sidestep that landmine altogether. It’s also important to have
protective guidelines in place to avoid disaster – like establishing a
limited number of sketches and rounds of edits for the agreed upon fee.

15.It is very apparent that you are doing well in the illustration
world. I’m sure Uncle Sam realizes this too. Can you shed a bit of
light on how you manage your finances/taxes?

I have a financial advisor and an accountant to scold me so I don’t
spend everything on shoes and travel.

16. One thing many illustrators face is those harsh times when no one
calls them and they start to worry where they are going to get their
next paycheck. I would only guess that you may have been a position
similar to this situation as well. What advice could you give about
handling those “barren times” when no jobs are coming in?

If you’re really worried about getting work again, use this time to
work on a killer new promo postcard or your next great drawing or an
animated e-card! People love those. Otherwise, this can be a chance to
focus on other things. Give your mind a rest. Catch up with your
friends or research Chinese shadow puppets or see tons of movies or
take up fencing. You’ll be surprised when you come back to drawing that
you have a refreshed perspective.

17. Your work has been shown at art galleries before. Since you are a
digital artist, who and what did you use to display a printed version of
your work?

Sometimes I just show prints on heavy printmaking paper, sometimes I
show pieces printed on canvas, which have to be professionally printed.
The cool thing about having something output professionally is that you
can make things GIANT.

18. It seems that each day clients demand the rights to a freelancer’s
illustrations however they are unwilling to pay for them. New and
out-of-work illustrators don’t really have the luxury of turning down
too many jobs however what would be your position on this? Is giving
up the rights freely the same as cutting off your drawing arm?

It’s pretty rare that a client actually needs all rights to your art.
They can be surprisingly flexible about ammending greedy contracts for
shorter periods of time for specific media. In theory, it also costs
less money for limited usage, which can give you some leverage in
negotiating. But if it’s a standard contract that’s set in stone, you
need to make a judgement call based on how desperate you are for cash.

19. Going back to digital, do you still use paper or have you migrated
totally over to using a tablet and/or digital tools from start to
finish?

I always make pencil sketches on paper first, then scan them to use as
a template in Illustrator. It adds a human element to the final piece.

20. Lastly, who are your main artistic influences? What inspired you
to go the route you did with your current style and what would you call your
style?

My style is just a comglomeration of my experiences, the things I love
and the influences of artists I admire. No name for it. This list is a
random combo of what may seep into my work:

candy, jewelry, Christmas lights, Rankin Bass cartoons, Erte, animals
in clothing, Al Hirschfeld, David Klein, Bullwinkle, Chuck Jones,
Maurice Noble, Paul Rand, Alex Steinweiss, dollhouses, lite-brite,
Edward Landon, Robert Risko, John Galliano, Vivienne Westwood, Jean
Paul Gaultier, Bob Mackie, Atari, fireworks, ballet (and all dance),
Eyvind Earle, Mary Blair, Disneyland in general, cuckoo clocks,
origami, 60s theater/tv set design, skiing, Enid Collins, Edward Gorey,
Gene Kelley, Fred Astaire, technicolor musicals in general, the Black
Forest, ancient history, magic.

–Thank you Kirsten for taking the time in doing this interview. I know that I, as well as many others, will gain great insight from your thoughts and wisdom.