VYARA BOYADJIEVA

Vyara says the best way to learn how to draw is to spend more time living than you do drawing. In addition to her talent, she clearly has a good command of said balance, since her drawing is so exquisite. Bulgarian readers are more familiar with her illustrations and cover artwork for the Bulgarian editions of books by Maya Angelou, Jonathan Safran Foer and Jane Austen. In the hearts and minds of “Vij” she will forever be the artist who illustrated the centenary issue of our magazine. Since 2020 when London’s Victoria and Albert Museum named her “Student Illustrator of the Year Runner-up” at their annual Illustration Awards, she has had no fewer than three books released by various international publishing companies. Two of them (“Mise Mise” and “A Day That’s Ours”) showcase her talents as an artist, while the third – “Word Trouble” (Walker Books 2023) marks her debut as an independent author. We caught up with her at her current home in the Netherlands, where she was working on a project commissioned by Meta (until recently Facebook), shortly before attending the MELBA MEETINGS on June 1 to launch a new book dedicated to Sofia, a joint effort with “Tochitsa” publishing house. 

Yellow Lemon

Where did you get your most valuable lessons as an illustrator?

Interesting question. My personal and professional life have always gone hand in hand. Illustration is so closely linked to psychology that the personal growth of an illustrator, the enrichment of his inner world, would inevitably lead him to professional maturity. Which is why I always advise budding illustrators to spend more time living than they do drawing. 

Why is sketching random people or situations you observe a valuable experience for you and what are your favourite places for sketching?

It’s a face to face encounter between you and life – it’s “drawing from life” as the English say. It’s useful because it sharpens the senses (not just the sight), teaches curiosity, empathy, courage, meditation. It’s definitely given me more than just “artistic skills”.

I like sketching Sofia, this mad, funny, but also sad city. I don’t think it’s possible to draw it without at least ten conflicting feelings and thoughts running through you and that makes me feel alive. 

Part of the book Misé misé (La Joie de lire, 2022)

What are the usual and unusual associations people make when you specify that you’re an illustrator from Bulgaria? 

I can’t generalize, because I haven’t worked on that many projects abroad, but the more unusual (or maybe that’s the norm) case was when a rich client offered me a ridiculously low fee precisely because I’m Bulgarian. It’s a long story, but that was the first time I felt what it’s like to be a victim of racism and discrimination in a professional (intellectual) environment.  

А bird matter

The press release for your first book as an author, “Word Trouble”, says that, after all, kindness and laughter are universal languages. What other universal “languages” do you use?

I think that colour and movement within figures are universal languages that any audience, regardless of its culture and language, appreciates. 

In your experience, what are the main differences between working with Bulgarian and foreign publishers?

There’s more freedom when working with Bulgarian publishers and clients. I get more trust and support, but lower pay. With foreign companies I gain more “fame and credibility”, I get more money, but have less control over the project. I learn my lessons and select my projects more carefully, depending on my priorities. 

Part of the storybord from the book A Day That's Ours с автор Blake Nuto (Flying Eye Books, 2022)

What lucky coincidences have proved fateful for you and your work? 

I recently got interviewed for professor Martin Salisbury’s new book, “Drawing for Illustration”, which was very satisfying from a professional point of view. He is the author of a series of wonderful books related to publishing and the art of illustration, so it was a huge honour for me. The introduction, titled “Drawing, what is it?”, there’s”, features a sketch I did of the chess players in front of the National Theatre. I still can’t believe it!

Have you established any work rituals? Where do you get your muse from when you don’t feel inspired, but have deadlines to meet? 

I don’t have any rituals, but when I can’t get going I pray to God. Seeing what ultimately remains most important has a sobering effect on me. This feeling of peace helps me grit my teeth and carry on patiently, until the creative crisis blows over. 

Part of the book Misé misé (La Joie de lire, 2022)

Which books are we likely to find on your nightstand or in your library? And what’s on your desk?

Currently residing on my nightstand are Mark Twain’s “Comment parvenir à tout rater” (“Как да успееш да прецакаш всичко“), Rainer Maria Rilke’s “Letters to a Young Poet” and Toon Tellegen’s “De egel, dat ben ik” (“Таралежът, това съм аз“) which I’m trying to read in Dutch because I’m learning the language - I highly recommend Tellegen!

Sketchbook, (June 2020) 

What new books featuring your illustrations can we expect Bulgarian editions of and when? 

I’m working on a visual letter to Sofia. We – me and Totchitsa publishing house - have a very exciting book coming out soon, more adult-oriented (although I’m sure the kids will understand it too). I will try to tell my story of the city in a very personal way, through subtleties that only the locals know – you definitely shouldn’t expect a tourist guide. 

What projects are you currently working on?

In addition to this book, I’m also working on the Meta (Facebook and Instagram) thing, as well as another, more confidential project for Bulgaria, which will undoubtedly appeal to travelers! 

Find more at @vyaraboya and vyaraboya.com

Translated by Nasso Ruskov