They say you should never judge a book by its cover. Of course, this cliché doesn’t really apply to the work of LA-based art director/illustrator Akiko Stehrenberger, who has created a plethora of exciting, iconic images for some of the best films and bands/artists of the past decade.

She has worked on film posters for A Serious Man, Away We Go, 500 Days of Summer, The Squid and the Whale, Lust, Caution, and The Kids Are All Right, as well as illustrated The White Stripes, Snoop, Kurt Cobain, The Yeah Yeah Yeahs, Britney Spears, and N*E*R*D for different magazines.

Stehrenberger’s work often blurs the lines between reality and illusion, bringing a whole new dimension to traditional caricatures.

For her now legendary poster for Funny Games (which was nominated for a Key Art Award for best best horror poster), Stehrenberger digitally painted the crying Naomi Watts without the help of a useable film still. The result was a hauntingly beautiful illustration that looks strikingly real.

My Liner Notes caught up with Stehrenberger to discuss her artwork, LA versus New York, and why she can’t openly diss Tyler Perry‘s films.

How much creative freedom do you have in your illustrations?

In editorial work, I have all the freedom. With movie poster advertising, I usually have a lot of freedom if I am choosing to illustrate on my own. (Which I try to do as much as possible when for the appropriate project.) If it is a client’s specific direction to ask for illustration, they usually have some visual references that I try to come close to. Luckily, there hasn’t been much nitpicking. It’s either they run with my illustration, or nix it completely. I would rather have it this way rather than totally butcher a piece.

Who and what are your inspirations?

It’s hard to pinpoint my inspirations, because they come from everything: some linear, some totally random. I think first and foremost, traveling inspires me. I think it’s imperative to get out of the L.A. bubble, furthermore, the movie poster advertising bubble. I try to travel as much as humanly possible. With a European dad, it’s hard not to have that travel bug! Secondly, the people around me inspire me. I have quite a creative group of friends and family. Aside from that, I often look at photography, exhibits, books, and art blogs to get the creative juices flowing.

Though many of your pieces contain some common elements, you are able to maintain a level of versatility that many illustrators often have trouble exhibiting. How are able to do this so effortlessly, and more importantly, how do you decide which style to take on for a specific piece?

I know the approach for my personal pieces isn’t appropriate for every movie poster project, as it can often have dark undertones and be overly exaggerated. When I am doing movie posters, I am an art director first, and illustrator second. I have to put emphasis in communicating the right thing. Thank you for calling it effortless! However, it doesn’t mean I don’t research or seek out reference to make sure I communicate accurately. I think versatility is important or else I would get bored with my work, and feel like I stopped growing.

For the Funny Games poster you used digital illustration for the first time, and needless to say it was a success since most people can’t tell whether it’s an illustration or a photograph. Is this a style you think you will adopt for certain pieces in the future?

It’s quite possible. I’ve always been stubborn about doing things tangibly for the most part. However, with movie poster deadlines, sometimes doing things digitally saves a tremendous amount of time, and allows for more flexibility. Being classically trained, there’s an automatic apprehension imbedded that digital is bad or cheating. Especially when everyone and their mother can create a digital illustration and claim to be an illustrator. However, I can usually tell when someone without classic training tries to do a digital illustration because they don’t know what to simplify or edit out. Goes back to the saying, “Draw what you know, not what you see”. But for me, as long as it doesn’t act as a replacement, I just see digital as another medium.

Between art direction and illustration, which do you prefer and why?

I think art direction is more challenging, and I love that I have to keep pushing myself. However, I definitely can’t beat the feeling I get when I paint. It’s so therapeutic and fulfilling for me. No overbearing clients, just my paints and me!

Why did you decide to move back to LA after pursuing freelance editorial illustration in New York for four years?

I actually moved back once I found out my mother was sick. I enjoyed my time in New York tremendously, and took back to L.A. what I had learned creatively and ambitiously.

Is the West Coast really the Best Coast?

Good question! I miss the constant inspiration and general ambition that NY has to offer. However, I enjoy my peace and quiet here. I may have to look a little harder to find refreshing work, ways to avoid traffic, and good Italian food, but nothing beats sitting in my own backyard. I don’t know if I will live here forever, but for now, it ain’t half bad!

A lot of your work is for music and film. What do you listen to and watch?

I’m totally inconsistent with what I watch and listen to. On one hand, I can be a total art snob, and the other, I know when to not take myself so seriously and kill a few brain cells. I listen to a lot from the ’60s to ’90s. I’m not really on top of newer bands nor have I been one to seek out the super obscure. But I’ll listen to anything from Bowie, Eno, Joy Division, Pulp to Snoop Dogg, Nirvana, and Arcade Fire.

Have you ever had to illustrate an artist/band or film that wasn’t your cup of tea?

The only thing that comes to mind is Dashboard Confessional from many years back. Luckily it was for an article FILTER wrote, dissing the band.

On a completely unrelated note, what did you think of Madea’s Family Reunion?

The movie, or the actual poster? [Laughs.] Well, it wasn’t as bad as I thought (the movie). My 11- year old niece is obsessed with Tyler Perry plays and movies, so I’ll have to be diplomatic on this one!

Aside from Funny Games and Life During Wartime, I haven’t seen a lot of the movie posters in public. Why is this?

I put in my portfolio the stuff I want to do, rather than the stuff I can do or do get printed. A lot of what you see on my site, is unprinted artwork that was presented to the client, possibly revised and then later nixed out of the equation. Why? There can be so many reasons. Usually, it’s when a client is nervous that something other than a big photo of an actor, won’t get theatre seats filled. In this economy, not many take chances. But in my art direction portfolio, there are some printed posters that I am not too ashamed to stick in my book, such as W., Surfwise, and a few others.

Which celebrity has been your favourite to illustrate so far?

Hmmm, that’s a tough one. I really liked painting Kurt Cobain for FILTER Magazine, because I wanted to focus more on his character than his likeness. It was also a great project because FILTER later asked me to paint the portrait on three different guitars that were signed by Kim Gordon for sweepstake prizes for the Gus Van Sant’s Last Days. Three great things in one, Kurt Cobain, Kim Gordon and Gus Van Sant!

We all know that in caricatures, the artist typically exaggerates physical features. But in the case of your Jarvis Cocker illustration, would you agree that his fingers are actually that freakishly long?

He’s a tall, wirey, sexy man, so yes, I guess I did give him freakishly long fingers [laughs]. Better to point at cameras and dance with!

Have you ever thought about illustrating a children’s book or comic book/graphic novel?

Yes, I have. I’d be more interested in a children’s book rather than a comic book/graphic novel. I think it’d be a lot of fun, if I could really embrace my personal approach. I grew up with books from Shel Silverstein, and Where the Wild Things Are, where the drawings weren’t so predictably cute and were more strange than anything. If i could do something like that, or even similar to the book “Little David”, illustrated by David Hughes, (he drew a butt hole on a cat!) I’d be very excited! I’m also obsessed with my niece and nephews, so hopefully I get on it before they’re into comic books!