Akiko Stehrenberger began her career in New York doing spot illustrations for SPIN, The Source, New York Press, Filter, XXL, and more. Upon moving back to Los Angeles in 2004, she became an art director/designer for movie posters while maintaining steady freelance illustration for magazines, character and toy design, cd album artwork, and portraiture. How lucky were we to stumble upon her work? Having seen her work for years but finally learning about the woman behind it was a real treat for us. Read below for the full interview…
For the Funny Games poster you had a strong opinion on how the outcome of the poster should be. As an art director how do you know which battles to pick and which to pursue to retain the integrity of a design?
Akiko: For me it’s just personal preference. If a film or director is important to me, I’ll fight for what I feel is right. I prefer smaller films because there are less committees making decisions and watering down to appeal to the masses. It’s not worth it to me to fight over an action, romantic comedy, or big budget movie as I find their advertising formulaic and I favor projects open to more creative work.
It seems that the art of movie posters has died over the years, and has resorted to mundane designs or ‘floating heads’. Being well-versed in poster advertising, is your intent to bring art back into that undustry?
Akiko: I’d be lying if I said it was my intention to try to change the industry when I first got into it. My main goal was to do work I was proud of and eventually people started appreciating it and asking for more of it. Leaving a small influence and getting to work with some of the best creative directors in this industry, is just the cherry on top!
What brought upon your decision to leave New York and freelance in L.A.?
Akiko: I moved back to LA because my mother was sick. I loved New York, and always will. I still miss the ambition and public transportation, but I’m now at the age where I like my space and having peace and quiet.
As a person who like traditional work using acrylics and graphite, what enjoyment do you get out of digital art? Do you enjoy switching between the two mediums?
Akiko: I was apprehensive to do things digitally at first because it felt like cheating to me. It still does, but for as quickly as the movie poster advertising industry deadlines are, it definitely comes in handy and allows me to push illustration without having to ask for special time exceptions. My illustrated work is often presented with a bunch of photographic based work from other designers and poster shops. If I want illustration to have a chance, I have to be able to revise and create things as quickly as the other designs are presented. When appropriate I try to do things as hand done as possible. I enjoy switching between mediums because I like challenging myself and often feel certain ones communicate better for certain projects. As far as my personal work, I will still only keep to tangible traditional media.
As an active panelist and college mentor, what is the one thing you try to get across as a lesson to people that are willing to listen to your advice?
Akiko: With the internet bringing instant gratification and mass content that goes as quickly as it comes, I still encourage quality over quantity. I don’t believe in cutting corners just because the world now has ADD or just sees something small online. The people I like working with most, appreciate attention to details, which is almost becoming a lost art form these days.
You also do toy design as well. Does this include vinyl? I know L.A. is a big hub with Giant Robot and other toy conventions there. Any involvement with that?
Akiko: I did toy character design for Lego when I first got out of school. I quickly moved on to editorial illustration when I moved to New York. I haven’t been involved in any of the toy conventions as movie poster work became the majority of my projects when I moved back to Los Angeles in 2004.
If you had to recreate the movie poster for ‘In The Mood For Love’, how would you approach it?
Akiko: I actually really love the red poster released for it. If I had to take a stab at recreating it, I’d illustrate it of course, referencing 1940′s Chinese art.
You stated L.A. wasn’t a good inspirational place for your art. I would think, since everyone is an artist out there, it would be easy. Why do you find the source of creativity out there difficult?
Akiko: Though I don’t by any means take my work too seriously or consider it fine art, I feel a lot of people out here do art for the wrong reasons because it’s now “cool”. It also could just be how things are these days in general and I’m having a hard time excepting it. I feel a lot of people are more interested in fame than acknowledgement for good work. People are more concerned about getting out there, rather than what they’re getting out there. Don’t get me started about “likes” either. I’m not saying there is no good work in L.A. as I have a lot of amazingly talented people around me. It’s just harder to find because you really have to weed through some major douches. It’s also hard to find jeans in L.A. that don’t have excessive stitching or weird pockets.
[Laughs] Do you create movie posters for films you are a fan of personally? Or is it just work, no matter what?
Akiko: If it becomes “just work”, then I have to move on to new challenges or even a new career. I don’t see the point in the attitude of just clocking in and out for anyone truly creative. A truly creative person is not content without growing and new challenges. Even when working on some major doozers, the challenge is making a poster that I would find interesting regardless of how crappy the film. I really cherish when I get to create movie posters for films or directors that I respect. But for other projects, the main challenge is finding a way to make the poster making process interesting for me even if the film isn’t, and hopefully it shows in the end result.
Want to keep tabs on all of Akiko’s upcoming projects or explore his past works? Follow her cookie crumb trail below:
http://akikomatic.com/
Image Credits:
Funny Games – Official One Sheet
Key Art Award Finalist 2009
Client: Warner Independent
Creative Director: Jon Manheim, Crew Creative
Art Director & Illustrator: Akiko Stehrenberger
400 Blows-Official Blu-Ray DVD Cover – Artist Series
Creative Director: Pablo Maqueda, Avalon, Spain
Art Director & Illustrator: Akiko Stehrenberger
Father’s Day – Official One Sheet
Client: Troma/Astron-6
Art Director & Illustrator: Akiko Stehrenberger
Casa De Mi Padre – Official One Sheet
Bronze Key Art Award/Clio Winner 2011
Client: Lionsgate
Creative Director: Damon Wolf, Cimarron Group
Art Director & Illustrator: Akiko Stehrenberger
Code Unknown – Official Blu-Ray DVD Cover – Artist Series
Client: Michael Haneke
Creative Director: Pablo Maqueda, Avalon, Spain
Art Director & Illustrator: Akiko Stehrenberger
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