Gita Treice Illustrator from Latvia

As an illustrator I am a restless seeker. The most important thing for me is to keep it interesting throughout the whole process. Therefore, probably, I have come up with some original techniques – by experimenting with paper, paint, and other materials. I have created mobile cardboard dolls for two books – a collection of puppets that are fastened with real metal screws. I have worked with Japanese hand-cast paper that can be torn and tinted in different ways, and the features of which change depending on the level of humidity it is being worked on, thus obtaining various effects. The tissue paper has a different character. It can even be just a simple pencil drawing on a watercolour paper ... Most importantly, the process has to be interesting for myself.

To be honest, I am getting more inspired by painting, sculpture and other kinds of art more than the illustration. Painting is my true passion.

My first printed work was a children’s poetry book. I was still studying at the Art Academy of Latvia. It was a combination of painting and paper collage.

The process of creating my works is very physical. I caress them with my hands several times. In order to achieve that sense of presence, almost the sense of touch, I am showing the originals. Certainly, the print shop and the technological processes linked to it often reduce that miracle. I am used to continuously improve the process of work; my phone is full of works half-done. Then I wake up at night and look at them and understand that this picture should be changed, here and there should be some adjustments. The pictures have gone through my eyes so many times ... I am in contact with my works all the time. I defended my Master’s degree in the department of painting, so I assess everything I do through that prism.

For instance, French artist Jean Dubuffet. His paintings make me smile.

I gladly listen to various broadcasts, music and audiobooks while working.

I love stories where animals portray human characteristics – such as Aesop’s Fables, which I would like to illustrate.

It is always the base of a story I have to represent together with the author.

The struggle usually appears just at the beginning, until I figure out the technique I am going to use for the illustrations. After that I work very fast. And, of course, I get motivated by the deadlines.