Altpick.com Artist Spotlight: Petra Stefankova

[ September 2, 2009 ]

Talk us through some of the processes involved in producing your work and style. How would you describe it?
I work in two styles - one is very simple and clean (2D vector) and the other one rather rich and heavy (3D). My 3D work mostly is based on the surrealist method of automatic drawing. My goal is to collect the fragments of life and situations, which are difficult to catch in material - it's a drawing of crying after a bad day, drawing of travelling at a London's train on my morning way to work when people are stressed and sleepy in that particular moment, drawing of happiness etc. The most important part of the process is to draw in exactly that and the only intense and fragile moment, which is full of tension and emotion, whatever the condition is.

I have played with the automatism in drawing since 1999 and produced hundreds of sketches. In 2006 I got the idea to get them to another dimension and started to explore the 3D technique. It's a contemporary mixture of surrealism, cubism and constructivism produced with a huge help of state-of-art technology.

What are the main differences or limitations between working on a self-initiated project and a commissioned one?
For the self-initiated project you start with unlimited blank canvas. The basic limitation with a commissioned one is the theme itself, you need to illustrate the given subject. But on the other hand you still get a chance to create an illustrated commentary on the subject, you are free to represent your own vision of it. The writer and the illustrator, they both, have their own points of view and cross somewhere in a discussion. The image illustrates such discussion. Eventually the art editor and art director have their says too.

How do you combine the unconscious results of automatic drawing with the restrictions of commissioned projects?
I have a library of drawings, I sometimes go through them, look for most interesting compositions or ideas and think how they could work for the specific brief, what changes need to be done so I work around it a bit. Sometimes it is better to start with a blank sheet, focus on the theme and let my hand draw whatever the impulses send me.

Some Illustrators say that when doing an illustration for themselves they do not consider an audience. Do you agree with that statement or do you think that not having a defined audience makes us unaware that there is always someone who will see our work?
I have a kind of sixth sense that tells me if a particular piece of work is worth creating before I start it. It must be strong with some appeal, then it always gets some public attention.

Have you ever felt restricted of exploring and developing your style by the demands of clients and audience?
It might be specific to every single market you work for. New York based clients prefer something different to the UK based clients I noticed. I don't feel restricted just needed to find my focus group - the clients who can use the style of work I do.

Do you believe that as an illustrator you develop a visual language and then clients commission you because they like your style or we unconsciously develop our style according to what the market demands?
I developed my two styles which I am working in totally independently. I even did not plan to be an illustrator at all to be honest. I enjoyed drawing & experimenting and one day I put my portfolio together, a few international clients came in surprisingly. It was much encouraging so I started pushing it more with focus. I do believe you can develop your own style and then catch the client's attention intentionally. Still it's quite important for you to find out whether or not this style of yours is commercially applicable enough. It's a great challenge to develop a style which would compete in the overcrowded world of illustration.

When you're creating do you look at something, or are the ideas in your head, floating around?
I google images, photographs and write down relevant words to find appropriate symbols and think how they could work together. I also read articles to study the subject and learn to understand it and find my own opinion.

What do you consider your biggest achievement so far?
It was Channel 4's 4Talent Award for the hottest UK creatives in 2007 and my election to Fellow of the Royal Society of Arts in London. I gained a lot of attention since then including some most important people in international business or politics.

Your dream project?
I love illustrating books and magazines as I feel some additional value here, they make a social impact for years when used effectively. Also illustrating for animation and film, that's fun.

www.yetanotherface.com (3D illustration)
www.petrastefankova.com (2D illustration)

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