The children's book Maie and Mummi, written and illustrated by Kadri-Maria Külaots, was named one of the 25 best-designed Estonian books of 2024 and won the ADC*E Estonia Design Award. It is currently being showcased at the legendary Bologna Children's Book Fair. Trickster is happy to feature Kadri-Maria in our illustrators series!
Your first drawings as a kid?
Blobs with faces and tiny legs. A bit later came first nudes, which my grandmother supposedly wasn’t too thrilled about.
Is illustration a tool or an art form, and why?
It’s definitely both. Illustration, by definition, is a visual explanation of a text/idea, but at the same time, taking a deep dive into anything, it becomes an art form. And once the images start to speak to you on their own – especially with new perceived meanings – who’s to say that’s not art?
What do you think about when you draw?
I usually listen to podcasts, lectures, and interviews. Often, the points discussed there align with my creative decisions. Some might call it confirmation bias, others might view it as something divine – I choose to believe the latter. I love that when I look at my work, I can clearly remember exactly what I was listening to during the process, so those ideas feel woven into the piece.
It’s fascinating how unexpected and random these connections can be. For example, when I was working on my book Maie ja Mummi, I started watching The Wire for the first time. As I do whenever I become obsessed with a film or series, I listened to interviews with the actors and creators, which sparked many encouraging and inspiring ideas for my process. These connections might not be immediately obvious when you look at the work, but they were crucial to my creative journey.
How did you find your style?
I’ve always felt more drawn (hehe) to analog techniques because I work better within restrictions. The vast possibilities – and inevitable learning curve – of digital tools can feel overwhelming to me. Even when I do work digitally, I tend to use as little as possible, which has naturally shaped my style.
For the past ten years, I’ve been creating backdrop illustrations for a children’s concert show held twice a year (Lasteekraani Muusikastuudio). Each song gets a unique illustration, but the final program is confirmed only about a week before the show. That means I have just a few days to produce around fifteen (or more) images, leaving no time for overthinking or excessive polishing. I used to sketch in pencil before finalizing the work, but now I draw vectors directly (and quickly) with a mouse. This approach has dictated certain shapes that I’ve come to like. Looking back, I’ve realized that my characters resemble the drawings my dad used to make when I was little, so I’m sure that influence is there too.
As for my current favorite technique, ripped paper, it came directly from my search for a personal style. I knew I could draw, but it always felt like a standalone skill – something I enjoyed but that didn’t fully belong anywhere outside of my professional work, which was always shaped by external expectations. So, I mapped everything out as a designer would, pinpointing what resonated most with me. That led me to children’s books and collage (see the book Tõmblukuga kass for example). But cutting still left too many possibilities, so I started ripping the paper instead. The effect is almost like choosing a preset filter on a computer. I love that this technique partly dictates the shapes, while all my previous experience and experimentation remain beneath it as a foundation.
Color or line?
Do you want a short or long answer? No problem, here comes the long one. I feel like we tend to overthink these this-or-that formats – probably an inevitable byproduct of short-form media. My instinctive answer would be “line” (my colleague Robi Jõeleht can definitely confirm that), as a line feels more like an idea, while color feels more like a form. And I usually lean toward an idea before form. But now that I think about it, color (and form) can absolutely be an idea in itself.
Character or situation?
Ok, let’s say "situation." Buuuuut… a single line drawing (!) of Cheburashka from Gena the Crocodile stories can also be perfection.
Who are your favorite artists?
These questions always make me nervous because I know I’ll forget someone important. But let’s go with the best answer for this moment. Off the top of my head: Evi Tihemets, Anu Põder, Kaarel Kurismaa. As a teenager, I really loved Edward Hopper’s work. And I always get drawn into the Pre-Raphaelites – they feel like the visual equivalent of smelling fresh herbs.
I wouldn’t call myself a huge art buff – some of these names I had to double-check on Google – but I deeply value the experience of being moved by an artwork. It’s good for the soul.
Who are your favorite illustrators? Name at least 3.
Of the classics, I’d have to say Fiep Westendorp. And my childhood wouldn’t have been the same without Edgar Valter or Tove Jansson. Also, when I was little, I could endlessly look through the Kunio Sato “Animal Illustrations” someone had brought me from abroad.
When I consciously started moving toward illustration, I was in awe of Tomer and Asaf Hanuka. Their work, especially the way they drew hands, had a huge influence on me—I’m sure that’s why so many of my early works focus on hands. My long-time colleague Robi was already on another level, both professionally and artistically, long before I dared to look in that direction. And I can’t not mention Marja-Liisa Plats.
What are your favorite places in Estonia and the world?
In Estonia: Pääsküla, Tartu, Kääriku. In the world: Berlin, Bangkok, Buenos Aires.If I had to pick in a this-or-that scenario, I’d definitely say Estonia in general.
Advice for beginners?
I didn’t learn about the concept of a plateau in personal development until my early thirties. Before that, I had quit so many things, thinking they weren’t going anywhere – when in reality, those "stagnant" periods were just long, quiet sizzling phases before the next leap. So if you need to hear this (and are as clueless as I was), look it up. It might change the way you see progress.
What do you need to have a productive workday?
I’ve noticed that the earlier I start, the more I get done in less time. Somehow, if I begin at 8:20, I’m far more effective than if I start just an hour later. It feels like after 10 o’clock, time starts moving faster. That said, I think it’s completely fine not to be productive all the time – but short bursts of high productivity definitely come in handy when juggling two little kids (and, of course, clients).
Do you think of drawing as of work or as of fun?
It’s extremely fun work! I especially enjoy the monotonous parts, where I can listen to interviews or music at the same time. I also love tuning into old comedy radio shows and absurdist podcasts – ones where not a single serious point is made. That way, I literally get to laugh while I work.
Have you ever been stuck creatively, and how have you dealt with it?
For most of my life, I felt more stuck than not. I remember the first time vividly: I must’ve been around five, and I had made a collage out of magazine photos with my mom. It was so much fun! But the next time I wanted to do it on my own, I couldn’t. There were too many options, and I didn’t know where to begin. That feeling stuck with me for years.
But I’ve learned to slowly move out of that state. One of the most valuable lessons I took from writing my master’s thesis was realizing that these stuck phases – where progress feels slow or nonexistent – are actually part of the process. It’s inevitable to hit dead ends, even science works that way. So now, instead of feeling unaccomplished at the end of an unproductive day, I think: Great. That part is done!
How do you combine your different skills – design, drawing – and your various professions? Is it helpful, or do they ever become competitive with each other?
I find it incredibly helpful. I've come to realize that design is a universal profession, where skills like decision-making, categorizing, prioritizing, and simplifying can be applied in almost any context. It took me years to fully understand the breadth of this, but it’s one of the rewarding aspects of aging – beginning to recognize these kinds of patterns.
Please make a little drawing of Trickster as a fantasy character!