We share an interesting conversation with the young illustrator of the book "The Story of Doctor Doolittle" - Maria Solovyova. They talked about how she succeeded in her first project, why she chose the technique of combining digital and watercolor, what inspires her, and how quarantine affected creativity.

We know that you are studying at NAOMA, majoring in "Book Graphics". Why this specialty? Do you plan to continue illustrating books?

When I chose this direction, I was guided by the principle where I would be able to get more opportunities to implement ideas. It was graphics, and a little further, books, that were able to meet these criteria thanks to the large number of disciplines that are possible apply in the modern world.The book became a kind of joy for me, because I really like to systematize everything and "lay out on the shelves", and the book has just such a structure, where you need to clearly think through a single structure, tying all the details to it.I would very much like to continue to implement projects related to the illustration and the book in in general, because I intend to replenish my professional baggage with new techniques that I want to apply little by little in the illustration.

A book with your illustrations, The Story of Dr. Doolittle, is due out now. When you were working on the publication, what did you do? was given the easiest, and what was the hardest? What is your favorite episode from history?

The most difficult, but most interesting for me is always the process of creating sketches and imagining how I see the characters of the book and plots in the format of illustrations, I create an image and character of the character in my head, based on his actions, mannerisms and internal state.In my opinion, the process of performing the illustration itself is the easiest, when you have already decided and agreed, what will be the composition and in what palette. And all you need to do is sit down and draw it with love, even if it's this one the process is also not without difficulties, because you have to bring everything to the stage of completion, when it will suit everyone result, especially you personally.

My favorite episode is the one in which I see life and which is already turning into a picture in my head. Out of all of them, I'm a taster read the chapters that described the habitat of each animal that lived in the Doolittle house, as well as the moment when Jeep searched for the smell of a fisherman and generally their meeting in the rock. Hugh Lofting managed to very humanely convey the moment when he is a fisherman Doolittle's team arrived.

Why did you decide to make the book in this technique (combination of watercolor and computer graphics)?

For me, watercolor was the most familiar technique at that time, because I worked in it for a very long time. Probably, that's why I chose her, because for my first such an important project, I decided not to rush between different ones that were still experimental at that time technicians. And computer graphics was a good helper in improving each illustration, because when you are many days if you work on one picture, it is very difficult to "refresh" it, both in your own eyes and in the eyes of the publishing team. Computer graphics help to make a watercolor illustration more vivid and add details to help make work completed.

Share what are your main sources of inspiration?

Generally speaking, I am constantly inspired by the projects of other artists and the passion with which they implement them. People inspire, both with their inner state and actions; life situations and in general, I belong to those people which can be inspired by anything, the main thing is the right moment for it and my inner state. But if you take a separate one project, I find inspiration when I fully immerse myself in the atmosphere in which I work, get inspired by references, similar projects of others, and I try to fully immerse myself in the world that I depict, sometimes I surround myself with thematic things or music to fully immerse yourself in the atmosphere.

Many people have been affected by the quarantine. Has it been reflected in your work and has it changed you as a person?

Definitely changed, first of all it affected my rhythm of life and perception of many situations. I always had it is important that everything goes according to my plan, and when the plan collapses, and usually this is what happens, then I am very painful perceived But during the quarantine, when the world is changing rapidly, I began to live more in the moment and do everything I can it depends on me at this time. In creativity, the quarantine became an impetus to think about how I do - I should do only with love and the way I see and feel it, not to be afraid to try new things and experiment, which I periodically and did during this time.

Three favorite illustrators and three movies you recommend watching?

If we take those who inspire the most by their dissimilarity, then the approach to airy and light illustration of representatives of Korea - Lee Kyut and Jinhee Lee, experiments with collages and others techniques of the Italian illustrator Beatrice Alemani and the conceptual approach of the Polish illustrator Marta Ignerska.

From the films, I can name all the films and animations of Wes Anderson, Tim Burton and the last one, which was very inspiring - "Work without authorship" by Floriana Henkel von Donnersmarck.

Is there a thirst for new knowledge? Maybe learn new techniques? Master another specialty, for example?

If you take an illustration, then I really want to master the digital sphere and feel like a fish in water in it, because I have not yet used to interacting with an unreal image that cannot be touched and twisted in the hands. I am still planning experiments with collage and various techniques of its combination, because I really like to play with interesting textures. Regarding others specialties, then I gravitate towards mastering animation and something spatial, perhaps installations, where the artistic world will be connect and interact directly with the viewer.

If not for drawing, what profession would you have?

I don't know if I would be able to leave the field of creativity, maybe it would be music or acting, because I have there has always been and will be a need to pour out one's fortune somewhere, and creativity is an apt door in my case for the sublimation of one's experiences

Do you have a dream project? Maybe it's an illustration of a book, or something else interesting?

I would really like to work in the field of book illustration, to try myself in animation and installation, in the future to do some workshops and teach illustration. The artistic field offers many possibilities that the eyes run away from options where you can realize yourself.

How do you like to relax?

For me, this is rest, or taking care of myself and relaxing for a few days to let myself go, all responsibilities and new ones forces to return to the usual rhythm, or when the eye gets tired from monotonous work on something, or if the work is not goes, then the best rest is to switch to another occupation.

Which countries would you like to visit?

The countries of Northern Europe really resonate with me: Holland, Norway, Scotland, Iceland with their atmosphere and melancholic nature. There is also a dream to go to New Zealand and immerse yourself in their world, which, they say, completely differs from ours in relation to the life of the population itself. Also in plans to visit Asian countries: India, Tibet, Japan, Korea to be inspired by the atmosphere of each culture.