Interviews

Franziska Barczyk

Franziska’s work spans illustration, motion, collage, and sculpture. She’s collaborated with major editorial outlets like the New York Times, Pro Publica, the Washington Post, and Teen Vogue. Through it all, no matter the subject or setting, there’s a distinct Franziska aesthetic and wit that we love.

What do you like to hear when someone approaches you about a project?

I like to hear that there is a general knowledge of my previous work and that the possible new project is aligned with my visual values. I’m interested to hear about a direction or visual goal, as well as having visual parameters/restrictions there is actually more room to experiment. My favorite line is ‘I’m interested to see what you come up with’. I also value projects that have a good cause or are of timely interest.

Conversely, what common red flags fill you with dread?

One of the biggest red flags would be to get a commission inquiry in exchange for ‘exposure’. I strongly believe any time invested on a project should be compensated. If a client wants to see a direct translation of their vision. I often find this difficult to match, I think that as an illustrator their skill is to come up with visual concepts/solutions.

“I avoid drawing city scenes because they have to be correct.”

Do you always have personal work you’re developing outside of client work? We loved your recent sculpture work!

Thanks! Yes, I think it’s really important to translate your own observations into your own voice. I also think it’s a way to get better technically. For me, I use observational drawings as a way for social commentary and to practice life drawing. Self-directed projects highlight my own interests and questioning in the world, whether it’s political commentary or private experiences. These observations are part of the dialogue that people can relate to. For example with the sculpture piece, I wanted to comment on the dating culture, specifically in the psychology of apps. And the illusion there will always be someone better, a paradox of choice, so I created the ‘make out face’. I created many sketches for it, and translated these sketches through different mediums. Each medium gave me a new perspective and new piece. It’s taking one concept and creating derivatives from it, each revealing a new point of view. Next I want to explore songs, and translate those into video collages.

What have you always been really good at drawing? What do you avoid (like, a lot of people shy away from drawing hands, that sort of thing)?

Faces. And characters. I love drawing people that evoke personalities. I avoid drawing city scenes, because they have to be correct.

“My favorite line is ‘I’m interested to see what you come up with.’“

Any tricks to staying inspired and avoiding burnout?

Burn out will happen, but only if you forget about your well being. There are always phases when life is overly busy. It’s good to stick to a schedule where you know you will go to the gym or yoga. Listen to music, meditatie, catch-up with friends.

What’s your favorite, most-used tool?

My wacom tablet. I love it. I feel like I have control over details and it’s the best for animation.

We love the way you mix illustration and motion—the Skype Kiss is one of my faves! You have a few different styles and mediums you like to work in. Did one evolve out of the other, or have you always juggled a few different approaches?

I started out in a traditional way to approach illustration, I went to school at OCAD University in Toronto and majored in illustration. I feel my medium depends on the concept or story I’m working on. I feel with collage I can be more abstract and interpretive. Because of the nature of it, collage still feels like the compositions happened by ‘chance’. When doing illustration style I feel there is a direct message I need to convey. It was a natural way for me to be between these two mediums. I think during the process of creating an illustration there is an inner dialogue that happens, and choices are made!

How do you think your own personal style or stamp comes through no matter the client?

I think my style comes through as bold, fun, original, and daring.

Is there anything that art directors could do to get your best work out of you?

Sending references of previous work, or describing the mood the final piece should evoke.

View Franziska’s portfolio.