C

Jan Van Der Veken

Illustrator

 

C

Jan Van Der Veken

Illustrator

Fifteen years ago, Belgian illustrator Jan Van Der Veken decided to devote himself entirely to the art of drawing. No need for a complex organization; all he needs is one sheet of paper and a large dose of creativity to carry out his job. His illustrations, including the typography and design, are of his making and even when it comes to remodeling his house, he was the one drawing out the plans together with his father. His home, which looks like it escaped from one of his sketches, all of which are characterized by the Atom Style; a trend that began the late fifties in the design world.

Fifteen years ago, Belgian illustrator Jan Van Der Veken decided to devote himself entirely to the art of drawing. No need for a complex organization; all he needs is one sheet of paper and a large dose of creativity to carry out his job. His illustrations, including the typography and design, are of his making and even when it comes to remodeling his house, he was the one drawing out the plans together with his father. His home, which looks like it escaped from one of his sketches, all of which are characterized by the Atom Style; a trend that began the late fifties in the design world.

If you hadn’t become an illustrator, you would have been an architect.

Architecture takes up a significant part of my drawings. Back in the days, I wanted to be an architect, but I’m bad at math, and I’m a real dreamer. And as a matter of fact, I am glad to be an illustrator, for architects bear many responsibilities, and they are limited by so many rules. I, on the contrary, can build imaginary stuff. I am fascinated by architecture, and I try to incorporate it into every piece, using it as a storytelling tool. Currently, I am working on a series of imaginary ateliers with fictional characters, all inspired by the things that I observe. My work is an imaginary mix of different elements.

Your illustrations feel nostalgic with an intense love for the 50s and 60s.

My drawings have a nostalgic feeling, without really being nostalgic. I am born in this era, but the cross-fertilization between the present and the past makes it interesting. I’m a serious fan of the 50s and 60s because postwar architecture was about having fun. The intention was to create something beautiful. Nowadays, other factors involved. For example, all of the materials used must be recoverable. Back then you could spot large steel windows, brass fittings, etc. Today’s materials have become scarce. My dwelling is a continuation of my illustrations.

You fell in love with your home when you saw it for the very first time. How did you find this wonderful gem?

Ghent is full of classical mansions with a sous-sol, a bel-étage, a narrow façade and everything is developed vertically. This house was totally different, and when I saw it by hazard, I was intrigued immediately. It is a bit off, but it fits perfectly with my style. After I had bought it, I started renovating it, along with my dad. I outlines all plans, and my home has turned out exactly as I had it in mind. It’s a labor of love, and I put my heart and soul into it. I think it’s a beautiful home. After living here for ten years, I’m still in love with it. Renovating is all about puzzling. The same goes for drawing.

As an illustrator, you spend a lot of time in your little workspace. Are you social or more of a loner?

I love being in my studio and I enjoy concentrating on one single drawing during an entire day. It ‘s nice to be alone, but occasionally it’s nice to go out and organize an exhibition. This way I get to know new people and people get to know me and my drawings.  I frequently go on vacation to create travel logs filled with sketches to sharpen my visual memory. But most of my time is spent here at my atelier, alone. My studio functions as a workspace, a storage room, and a library. My music records are all up here, and I am happy to be surrounded by objects that I have collected as a child. An artist functions best in his little habitat, I reckon. [laughing]

We are in Muide, a neighborhood in Ghent, where empty buildings, residential blocks, small houses and obsolete industrial installations give a nostalgic impression. Past glory or a hot borough because of its affordable real estate, attracting a young and creative crowd?

The area still excites a strong community feeling, and I like living here. In the 19th century, it was an upscale neighborhood of the wealthy industrialists. But when the industry repositioned more towards Ghent, the port further developed. Factory workers, dockers, and boatmen lived together here in alleys and laborer’s cottages. Everybody knew everybody. In the second half of the 20th century, there was more decay. The area got caught in a spiral of decline, and it wasn’t until the late nineties that things started to change. Roads were polished, and dilapidated buildings were replaced by new social housing. Muide became attractive again, mostly for young families and creatives. All habitants cherish the old community feeling. Once a month we organize a communal cooking event in the social center and until a few years ago, we also had the Meulesteekoerse, a riders match, for which I designed the posters.

Is there much demand for illustration today?

Yes, it happens more and more. I get a lot of requests from abroad, recently from Penguin Books and The Wall Street Journal. One should know that a long incubation period is needed between school, personal and professional work. And it is important to be paid to value, without under- or overestimating yourself. After 15 years as a freelance illustrator, I’m not stuck in a rut. I feel that I can still continue to grow. And as long as I have that feeling, my job is exciting. Besides working for magazines and books, I want to invest more time in personal projects. I earn my living from commissioned client work. I don’t call it yielding, for I have to make a living. The transition from commercial to personal work is not that evident either. Personal work is an investment in yourself. To behave like an artist, but not being able to make the ends meet, is more annoying than to be smart and combine commissioned with personal work. It’s always that give-and-take.

You have to be smart and combine commissioned with personal work. It’s always that give-and-take.

In all your drawings, your passion for typography is unmistakable. Are you trained as a graphic designer or is it a skill you taught yourself?

I studied typography and design at the Sint Lucas Institute in Ghent under Erwin Claus, and I have always solved my design assignments with drawings. As an illustrator, you start with a white sheet, on which you can do whatever you want. I showed my work to Ever Meulen, who gave me the advice to focus on illustration. After graduation, I was not eager to become a designer. I kept on drawing, because when I draw, I have the feeling I’m in complete control of what I do. I also have a sensitivity to typography. A letter is like an image that should be perfectly incorporated into every piece.

Are you an illustrator or a designer?

I call myself an illustrator-designer because I compose the drawing and typography simultaneously. Not many illustrators in Belgium work this way. From my first sketches to my final pieces: everything is designed. I mostly work manually. And I don’t want my drawings to be too perfect. The coloring is done by computer though because the customer often asks to adjust colors along the way. This way I can finish up one drawing in three days.

You are very keen on details, with each element being perfectly balanced. Are you neurotic?

Designers are neurotics. Everything has to be perfect. Everything should go as planned and that is why we are good at our what we do. We are paid to develop a kind of neurosis. To behave like a visual dictator is the nature of the beast, I guess. My girlfriend often teases me by calling me bossy. But it is true. My work is very manual and precise, and the tone is always positive. Humor is apparent, although my drawings won’t make you laugh out loud. Therefore, they are too aesthetical. It is rather a kind of Jaques Tati humor that makes you smile inwardly. [laughing] 

www.janvanderveken.be
Text: Magali Elali
Photography: Bart Kiggen
Jan Van Der Veken