We met Ytje at the Illustration Biennale to discuss her artistic philosophy, her approach to the creative process, and how she integrates new technologies into her art practice, continually pushing the boundaries of traditional and digital media.&nbsp;Q: How do you personally define creativity?Ytje Veenstra (YV): “Creativity is essentially about problem-solving. I firmly believe that if you want to be creative, you must keep an open mind: be open to new ideas and listen to others.”&nbsp;<blockquote><h1>“Creativity isn't about waiting; it's about engaging actively with your medium. It's about showing up and dealing with whatever the day brings—good or bad.”</h1></blockquote>&nbsp;Q: Many believe creativity is an innate gift. What’s your stance? Can it be taught or enhanced?YV: “I think that creativity can be taught and nurtured. The myth of the solitary artist waiting for the Muse to strike is both outdated and damaging. Creativity isn't about waiting; it's about engaging actively with your medium. It's about showing up and dealing with whatever the day brings—good or bad. The more you engage in the process, the more you can enhance your creative abilities. This persistence, the continual effort, is what fosters creativity, not some fleeting moment of inspiration.”&nbsp;Q: Sounds a little bit like that other myth: that one has to suffer for one’s art.YV: “I’m intrigued by the raw struggle that comes with creativity and the making of art. And it can be a struggle. For me, the process is where the magic happens, so I wouldn’t call it suffering for my art. It’s just that I value the act of creation, often more than the finished piece.”

Q: Can you expand your emphasis on the creative process over the outcome?YV: “It’s a philosophy that helps me stay focused and less fearful of making mistakes. Mistakes and happy accidents are inevitable, and instead of errors, I view them as invaluable learning opportunities. Each project teaches me something new about myself and my craft, regardless of how it ends.”&nbsp;Q: But as an artist, you don’t sell your process; you sell an end product. There’s some tension there, or not?YV: “For me, it’s all related to striving for uniqueness. Authenticity is paramount in my creations. I believe true art should stir strong emotions and provoke thought, not just please aesthetically. It should challenge viewers, pull back curtains to reveal hidden layers, and invite diverse interpretations. I aim for my work to be a dialogue, not a monologue.”&nbsp;<blockquote><h1>“Every tool or platform I use must serve the story I’m telling. The message should drive the medium choice, not vice versa.”</h1></blockquote>

Q: Let’s shift gears: you transitioned from illustration to VR at one point, which must have been a significant shift. How did you first get involved with virtual reality?YV: “My journey into VR started when Tamara Shogaolu contacted me from Ado Ato Pictures. She introduced me to a project that involved telling poignant, real-life stories through a new medium. This shift wasn't just about adopting a new technology and a new way of telling stories. VR allows for a more immersive experience, pulling the audience directly into the narrative world in a way traditional media can't.”&nbsp;<div class="raw-html-embed"><iframe width="800" height="315" src="https://www.youtube.com/embed/5p1vy7vQNwU?si=6X8JGfHALUy_fYy3" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div>&nbsp;Q: With new technologies constantly emerging, how do digital platforms influence creativity?YV: “Digital platforms are reshaping how we create and consume art. They break down geographical and economic barriers, allowing artists to reach global audiences and find previously inaccessible niches. However, every tool or platform I use must serve the story I’m telling. The message should drive the medium choice, not vice versa.”

Q: The blend of art and technology can be complex. How do you navigate these waters?YV: “The key is to stay informed and adaptable. I experiment with new tools to understand their potential and limitations. It's crucial to remain a student of art and technology, continually learning and evolving. By doing so, I ensure that my use of technology enhances my artistic expression rather than overshadowing it.”&nbsp;<blockquote><h1>"Technology is just one part of the equation—your unique voice and vision make your work resonate.”</h1></blockquote>&nbsp;Q: Finally, what advice would you give to artists navigating the complexities of modern technologies and creative expression?YV: “Stay curious and open-minded. Embrace new technologies but remain critical and discerning. Understand what each tool can offer your practice, and think critically about how it enhances or detracts from your artistic message. And remember, technology is just one part of the equation—your unique voice and vision make your work resonate.”

&nbsp;This interview was conducted at the Illustratie Biënnale Haarlem, the illustration and graphic art festival. We’re proud to call the Biennale one of our partners. For more articles and design challenges check back soon.&nbsp;<a href="www.illustratiebiennale.nl">www.illustratiebiennale.nl</a>&nbsp;<img class="image_resized" style="width:50%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/biennaleposter_3532e453e6.jpeg" alt="biennaleposter" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_biennaleposter_3532e453e6.jpeg 156w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_biennaleposter_3532e453e6.jpeg 500w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_biennaleposter_3532e453e6.jpeg 750w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_biennaleposter_3532e453e6.jpeg 1000w," sizes="100vw">

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Ytje Veenstra is an internationally renowned VR artist, animator, and illustrator with a career that spans a diverse array of mediums and styles. Educated in illustration, Veenstra's work is deeply research-based, drawing on a rich tapestry of pop culture references and a keen observance of everyday life.&nbsp;From her early days sketching with pencil through her explorations in papercuts and pigment-based markers, she has continually evolved. Now, she focuses on creating digital art and immersive environments in Virtual Reality. But Ytje's signature style shines consistently, no matter the medium.

BEYOND THE CANVAS: YTJE VEENSTRA ON THE FUSION OF ART, TECHNOLOGY, AND CREATIVITY

<h2>Navigating Society's Hidden Architecture</h2>Studying architecture was an eye-opening experience for Kingma: it provided her with the tools to understand and present complex societal structures. "I am an architecture student at heart. I was obsessed with complex architecture and architectural ideas during my studies," Kingma explains. "Think of capitalism, our educational and healthcare system, or even democracy itself: they're all large structures that consist of agreements, laws, norms, and bureaucratic processes we must navigate. Because of the intricacy of many of these structures, it is difficult to oversee them all: things are often hidden behind facades. And that's problematic: when you don’t understand or oversee a structure, it becomes very difficult to change things." By visually representing the hidden facets of our infrastructures, Kingma hopes to spur discussions and empower individuals to understand and reshape their society.&nbsp;<blockquote><h1>"Architecture is a metaphorical language that transcends language barriers. Everyone understands the concept of a closed door, an ivory tower, or hitting a blank wall."</h1></blockquote>

<h2>Unveiling the Language of Architecture</h2>"In my view, there are two types of drawings in architecture. One is the construction blueprint, which is essential to the actual built. But as a student, I felt a bit disappointed that there was so much emphasis on those blueprints, and rendering them at a scale of 1:100 or 1:200 because what about the drawings that tell the story of architecture? How do you convey things like light, smells, and sounds? Where is the drawing that conveys a narrative?”Inspiration struck when Kingma delved into the work of architects from the 1960s, such as Archigram and Superstudio, who used architecture as a metaphorical language to convey complex ideas and utopian visions. “They created these phenomenal works of art: large drawings that showed the city as a machine. Rem Koolhaas did something similar: he started as a cinematographer, telling stories about modernity through a city. They all use architecture as a language to describe something complex. It's a rich architectural tradition.”This fusion of traditional architectural skills and artistic ways of expression resonated deeply with Kingma. Armed with her architectural training, she discovered that architecture is a language that breaks barriers, which enabled her to communicate profound concepts through drawings and sketches: "Architecture is a metaphorical language that transcends language barriers. Everyone understands the concept of a closed door, an ivory tower, or hitting a blank wall."

<blockquote><h1>"I prefer to draw manually because the composition needs to be felt. You have to sit in front of it and experience it."</h1></blockquote>

<h2>The Waterworks of Money</h2>For her latest project, titled The Waterworks of Money, Kingma delved into the world of money, shedding light on the significant impact of the monetary system on various aspects of society, including inequality, sustainability, and global relationships. “Most of us don't know how and where money is created, how it's put into circulation, or who has the right to it. And while we don't understand the whole structure, we certainly feel the consequences of the monetary system in our everyday life. I felt a strong urge to outline that architecture.”Kingma undertook the self-described "mammoth task" alongside collaborators Martijn Jeroen van der Linden (Lector of New Finance at Haagse Hogeschool) and Thomas Bollen (research journalist at Follow The Money). Kingma compares the process to building a physical structure, with multiple iterations akin to architectural development. Kingma: "The project spanned 2.5 years, with a full year dedicated to extensive research." Over this period, the trio interviewed at least 100 experts, ranging from bank treasurers and CEOs to communication staff, pension fund managers, tax authorities, private equity firms, and central bank representatives. Kingma: "We ended up having this huge wall covered with sketches and flowcharts of how the monetary system works."&nbsp;<div class="raw-html-embed"><iframe width="800" height="315" src="https://www.youtube.com/embed/Ycit4WbJuwE?si=q3CnKzJubEbRR-6Z" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div><div class="raw-html-embed"><iframe width="800" height="315" src="https://www.youtube.com/embed/IszXpzIo_ZQ?si=WFh0I979CJuT3S3H" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div>&nbsp;The creative journey continued for another year and four months to craft a coherent design that served as an accurate architectural representation of the monetary system's inner workings. The final part of the project saw Kingma draw every intricate detail by hand. "Thomas and I worked about 100-120 hours a week, seven days a week. While I drew, he developed the audio tours and thought about how to guide people through the work. Then we launched it at Lowlands and later exhibited it at the Rijksmuseum Twente, and finally at the Architecture Biennale in Venice."&nbsp;

<blockquote><h1>“I don't use digital tools and am not interested in them either”</h1></blockquote><h2>&nbsp;</h2><h2>Manual Mastery in a Digital Age</h2>It's been a labor of love. And in a time where everything can be rendered within seconds, Kingma spent months manually crafting and sketching, painstakingly mapping out and drawing up the current world of money where everything is in motion. “I don't use digital tools and am not interested in them either. When I talk to people like a banker, I have to draw on the spot to illustrate the process. So, I set up flow diagrams, and that's easier and faster to do by hand.”The intricate hand-drawn illustrations allow Kingma to incorporate rich layers of information. Each representation holds meaning. Kingma believes that drawing manually enables her to feel the composition as a whole, connecting with the work on a deeper level. “Ultimately, it's about combining the 100+ elements of the story into a logical working whole, positioning them in relation to each other, creating different scales, and making representations. I wouldn't know how to give all that as input to a computer program. Each representation holds meaning. So, I prefer to draw manually because the composition needs to be felt. You have to sit in front of it and experience it.”&nbsp;Want to see more of Carlijn's work? Watch out for the documentary “The World of Carlijn.”&nbsp;<div class="raw-html-embed"><iframe width="800" height="315" src="https://www.youtube.com/embed/dO2zhe_5p8w?si=6zEmP3Q-YMuXlCz9" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div>&nbsp;

<img class="image_resized" style="width:50%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/image002_1_scaled_f05334289f.jpg" alt="image002-1-scaled.jpg" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_image002_1_scaled_f05334289f.jpg 120w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_image002_1_scaled_f05334289f.jpg 387w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_image002_1_scaled_f05334289f.jpg 581w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_image002_1_scaled_f05334289f.jpg 774w," sizes="100vw">We're very proud to call NOOK one of our partners.&nbsp;NOOK is the official magazine of the Dutch and Belgian professional associations for interior architecture, BNI and AINB. The magazine offers in-depth content, inspiration, and opinions. NOOK is published quarterly in English.&nbsp;The above article was first published in NOOK, the Drawing issue (2023 / #3).&nbsp;<a href="https://bni.nl/nook/">Order a hard copy of the issue for €12.50, excluding shipping</a>.&nbsp;

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Step into the captivating world of artist Carlijn Kingma (1991). Trained as an architect at Delft's University of Technology, she ventured off the beaten path to become a social cartographer. Today, she creates mesmerizing drawings using the metaphorical language of architecture.

CREATIVITY AT WORK: CARLIJN KINGMA'S CARTHOGRAPHY

Where does your love for illustration come from? &nbsp;LT: “As a kid, I was always drawing. I'd grab a piece of paper and sketch whatever I saw. There were no tutorials back then, so I would just copy stuff from magazines. My journey into art was largely self-taught. I started with traditional methods, focusing on drawing and sketching, before. I got serious about making super realistic portraits. It was all about getting that real-life look, and I got better at it over time.”&nbsp;<blockquote><h1>“I know full well that the process is as important as the outcome, but putting it into practice remains challenging.”</h1></blockquote>&nbsp;Proof that creativity is very much a muscle you can train, then? &nbsp;LT: "Yes, in my case, it was putting in the hours and persisting. It sounds simple enough, but persistence doesn't come naturally to me. I tend to give up when things don't go well, so it's a bit of a miracle I pushed through. I’m a perfectionist and so creating something and not being satisfied with the final product is particularly challenging for me. I find it hard to enjoy the journey because I'm too focused on the destination, on producing a beautiful end product. I know full well that the process is as important as the outcome, but putting it into practice remains challenging.”

So, did you study illustration or go to art school? &nbsp;LT: "No, I went to what's now called Flow Creative Conceptual Design, previously known as International Lifestyle Studies at Fontys in Tilburg. It wasn't directly related to creating art but more about creative thinking and conceptual ideas for businesses. This background, coupled with a minor in art during my third year of study during an exchange in Lithuania, pushed me to make more visual art.&nbsp;I got my first proper drawing lessons in college, which was an eye-opening experience. The teacher asked us to draw a computer mouse, which I did. It looked realistic enough, but I got a lot of negative feedback from my teacher, which frustrated me. He had seen how I had created it, so he wanted me to start over from scratch, explaining that my drawings were very flat. I hadn't considered the object's construction or perspective in space. I had to recreate the image using certain techniques, which was frustrating. And to my untrained eye, the result was almost the same. Still, over time, I came to appreciate how this teacher showed me that understanding the fundamental rules of art and design is important before you can effectively break or bend them.”

<blockquote><h1>“I've developed a technique to summon inspiration by actively creating a step-by-step plan…This structured approach ensures I can meet deadlines and maintain my creativity without solely relying on spontaneous inspiration.”</h1></blockquote>

What does your creative process look like?LT: "I used to believe ideas would spontaneously come to me, which was enjoyable but not practical for making a living. This belief was a bubble that eventually burst. Although it's true that sometimes ideas spontaneously appear, and I have to note them down quickly, I can't rely solely on waiting for inspiration to strike, especially with tight deadlines. For instance, with an editorial piece due for a magazine in just four days, I can't afford to wait for inspiration. I've developed a technique to summon inspiration by actively creating a step-by-step plan. I begin with a mind map, focusing on what an article or brand needs, using keywords as my starting point. This leads me to think deeply about the topic and conduct research. From there, I engage in associative thinking, allowing words that resonate with me to lead my thoughts far from the original concept. This process often yields ideas that, while not directly related to the initial topic, are interesting enough to include. I then compile a library of images, quotes, etc., that spark further inspiration. This method usually results in at least three visual sketches, complete with a color palette, which I then present to the client as initial concepts. This structured approach ensures I can meet deadlines and maintain my creativity without solely relying on spontaneous inspiration."

How have digital tools transformed your creative process? LT: "I always worked traditionally, until I bought an iPad about five years ago. I wanted to try Procreate and I have to say that it has revolutionized the way I create art. These tools provide incredible flexibility, allowing for experimentation and modification that can be more challenging with traditional methods. In Procreate, I can take an element and reshape or resize it in an instant; I found that much more complicated when solely working with pen and paper. It would be much more labor intensive: I'd have to cut out paper elements and scan them, but I still had to edit everything somewhat in Photoshop on the computer. &nbsp;I mainly work on the iPad these days. I sometimes miss the feeling of working on paper, and then I’ll make some personal works using traditional material. I also got a paper-like screen protector for my iPad, making it sound and feel like I'm working on paper because I missed drawing by hand and the little mistakes that can make a work more interesting or beautiful."&nbsp;<blockquote><h1>"There's a common misconception that because it’s digital it is less authentic than traditional art or easier to make."</h1></blockquote>

Yes, because you're a self-proclaimed perfectionist. With these tools, you can create picture-perfect drawings, but you don't want soulless images either. How do you find the right balance? &nbsp;LT: "When working digitally, you can zoom in, remove every little mistake, and edit endlessly. But I'm starting to let go of this need for perfectionism. Maybe because of these AI-rendered images, but I'm leaning toward including small imperfections and showing the maker's hand in a work. And it's funny how, on social media, there is also a newfound appreciation for craftsmanship. I post a lot in Stories, and I’ll get some reactions when I show a digital piece I'm working on. But as soon as I post a story with paint or a pencil I get so much feedback.Digital art is often undervalued and underappreciated. There's a common misconception that because it’s digital it is less authentic than traditional art or easier to make. That is not true because digital art requires just as much skill and creativity. Unfortunately, digital art is often undervalued. It's a shame that there's this kind of bias against it."&nbsp;

The hierarchy people place on it is strange, right? And feels outdated. Reminds me of how people put books, graphic novels, and comic books in different categories and see one as being higher in status. &nbsp;LT: "Yes, and social media isn't helping. You'll have people posting a video of how they create something, and it's edited in such a way that the audience gets the impression that it's all done with the click of a few buttons. They also tend to speed those videos up, which doesn't help either. Reducing your creative process, from sketch to final product, to a 15-second, bite-size video is doing more harm than good. I, for one, enjoy those slower videos, even if they're just 15 or 30 seconds long. I enjoy seeing the brush move over the paper, that watercolor effect. It really brings out the craft in it.”&nbsp;<blockquote><h1>“Reducing your creative process, from sketch to final product, to a 15-second, bite-size video is doing more harm than good.”</h1></blockquote>&nbsp;How is your relationship with social media? LT: "It's a double-edged sword. On one hand, it's a fantastic platform for connecting with fellow artists and showcasing my work. On the other hand, it can be overwhelming and sometimes stifling: seeing all these artists posting their art makes me question the uniqueness and authenticity of my own work.However, social media also inspired me to participate in the Powerful Women project. It originated from a social media challenge I participated in a few years ago. I realized how much I enjoyed that there were so many incredible women around me, women I had looked up to, and so many others I found inspiring, from whom I received so much positive energy. It made me think how beautiful it was that we, despite being almost competitors, genuinely supported and cheered for each other. I found this incredibly uplifting; it gave me a significant boost to see us working together and helping each other. I thought it was beautiful, and then I thought, how wonderful would it be to turn this into a challenge? We aim to combine powerful women and see how we can create and share beautiful work on a larger platform. Using a hashtag ensures that more and more people see it, So, that's how it started, and it led to something so much more beautiful with literally thousands of reactions from illustrators. We created an affirmation deck to showcase even more work and also instill more self-confidence in the people buying the deck.”

In your work, you often explore mental health and women's empowerment themes. What drives you to focus on these topics? &nbsp;LT: "My personal experiences with mental health have profoundly influenced my creativity. They have given me a more profound understanding and sensitivity, which I channel into my artistic work. Being able to express these struggles through art has been not only therapeutic but also a driving force behind my creative endeavors.I'm currently working on a passion project—a book about mental health. The main message is that it's okay to have moments when you don't feel OK. This project, a collaboration with a poet, combines poetry and illustrations to convey messages about mental health, aiming to offer comfort and understanding."&nbsp;<blockquote><h1>“Creativity is a muscle that can be strengthened over time, and challenges along the way are opportunities for growth and learning.”</h1></blockquote> &nbsp;Lastly, what advice would you give to aspiring artists? &nbsp;LT: “My advice would be to embrace your unique voice and perspective. The art world is vast, with room for everyone's expression. Also, take into account the power of persistence and practice. Creativity is a muscle that can be strengthened over time, and challenges along the way are opportunities for growth and learning. Creativity is an innate characteristic that everyone possesses. It's about looking at things from different perspectives and finding unique solutions. It's often associated with specific fields like art and music, but in reality, creativity permeates all aspects of life. Everyone has the potential to be creative, and it's a matter of nurturing and expressing it.”

Love Lisa's work? Visit her <a href="https://www.studiolisa.eu/">website</a> or buy her designs from <a href="https://www.bispublishers.com/search/lisa+den+teuling/">BIS Publishers</a>.

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Studio Lisa is run by illustrator and art director Lisa den Teuling (LT), who is best known for creating digital art with a soft, almost ethereal feel. Lisa’s work, which includes everything from book illustrations to advertising, focuses on themes like women's empowerment and mental health. We talked to Lisa about the creative process, artistic growth, and commercial endeavors.

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BEYOND THE CANVAS: YTJE VEENSTRA ON THE FUSION OF ART, TECHNOLOGY, AND CREATIVITY

CREATIVITY AT WORK: CARLIJN KINGMA'S CARTHOGRAPHY

LISA DEN TEULING: CRAFTING ETHEREAL REALITIES

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