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Mural","Streetart","\u002Fstreetart",36,{"Description":196,"GermanDescription":197,"GermanUrl":198,"GermanLinkDescription":197,"Id":199},"Technical","Technik","\u002Ftechnik",48,{"Description":201,"GermanDescription":202,"GermanUrl":203,"GermanLinkDescription":202,"Id":204},"Vector","Vektor","\u002Fvektor",25,{"Description":206,"GermanDescription":207,"GermanUrl":208,"GermanLinkDescription":207,"Id":209},"Watercolor","Aquarell","\u002Faquarell",86,{"notFound":211,"artist":212,"profile":217,"images":237,"galleries":441},false,{"Name":213,"ReverseName":213,"Id":214,"PortraitUrl":215,"PortfolioUrl":216},"leinegrafik Animationswerk",4041,"\u002FImageScaler.aspx?info=3&src=deprofile&sz=170&crop=y&name=636-portraitsquare-fdc6b338-dd68-4c69-825e-24983bce46cf.jpg","\u002Fillustrator\u002Fleinegrafik-animationswerk",{"GermanArtist":218,"Title":219,"TitleEn":220,"Caption":221,"CaptionEn":222,"IntroEn":223,"InterviewDe":224,"VideoId":225,"Intro":226,"Clients":227,"ImgStudio":228,"ImgFeatured":227,"ImgStudioUrl":229,"WebsiteUrl":230,"Interview":231,"ImgIv1Url":232,"ImgIv2Url":233,"Favorites":227,"ImgPortraitDe":234,"CurrentPortraitCropUrl":235,"Id":236},true,"Patricia verbindet digitale Präzision mit handgemalten Texturen aus Tusche und Aquarell.","Thinking stories in images: Patricia works at the intersection of illustration, animation, and narration – precise, experimental, and storytelling-driven.","Geschichten in Bildern denken: Patricia arbeitet an der Schnittstelle von Illustration, Animation und Narration – präzise, experimentierfreudig, erzählerisch.","Patricia is blending digital precision with hand-painted textures in ink and watercolor.","For Patricia, stories never begin with words alone – they demand images. From early on, she has drawn, expanded, and reinvented worlds. Today she brings this narrative passion together with the craft of illustration and the energy of moving images.\r\n\r\nHer strength lies in the mix: digital precision with Illustrator and After Effects, combined with hand-painted textures in ink or watercolor. The result is a visual language that is both clear and vibrant, technically assured yet unmistakably personal.\r\n\r\nPatricia doesn’t aim for decoration, but for the spark that turns images into carriers of emotion, memory, and meaning. Whether in film, animation, or illustration – she thinks visually like a storyteller: curious, exploratory, and open to the unexpected.\r\n\r\nThe outcome is work that doesn’t just illustrate stories, but extends them – and lingers with the audience long after.","Wie ist es dazu gekommen, dass Du Illustratorin werden wolltest?\r\nGeschichten wollten bei mir schon immer Bilder haben. Als Kind habe ich \"Das letzte Einhorn\" seitenweise nachgezeichnet und dabei gleich neue Abenteuer erfunden. Sie vervielfältigt und verschenkt. Später war ich überzeugt: Bücher schreiben ist mein Weg – also Belletristik-Studium. Heute weiß ich: Das war nicht der ganze Weg, aber sehr nützlich, zum Beispiel fürs Drehbuchschreiben. Erst mit Illustration und Film hat sich alles gefügt – und jetzt mache ich meine Geschichten einfach selbst.\r\nHast Du Illustration studiert?\r\nNicht direkt. Illustration und Animation habe ich mir größtenteils selbst beigebracht – mit Neugier, Ausdauer und vielen Sicherheitskopien. Grafikdesign habe ich auf zweitem Bildungsweg studiert, während meine Kinder klein waren. Im offenen Atelier kamen Acryl, Tusche und Aquarell dazu, später ein freies Studium bei einer Illustratorin und diverse Kurse. Gerade in der Animation war’s viel Learning by Doing – und wenn’s hakte, half mein Netzwerk.\r\nMit welcher Technik arbeitest Du?\r\nHauptsächlich arbeite ich digital mit Adobe Illustrator und After Effects. Je nach Auftrag greife ich aber auch zu echten Farben wie Tusche oder Aquarell, um Strukturen von Hand zu gestalten. Diese digitalisiere ich anschließend und füge sie in meine Filme ein – so bekommen die Projekte ein Stück ‚Handmade‘-Charakter.\r\nWo bist Du aufgewachsen?\r\nGeboren wurde ich in Wuppertal. Mit fünf zog ich mit meinen Eltern und Geschwistern nach Hannover – dort bin ich auch geblieben, abgesehen von einem kurzen Zwischenstopp am Rhein.\r\nHast Du eine Kindheitserinnerung, die mit Zeichnen\u002FKunst zu tun hat und die Dir wichtig ist?\r\nAls Teenager war ich so unzufrieden mit meinen Zeichnungen, dass ich sie für Jahre komplett beiseitegelegt habe. Aber der Wunsch, kreativ zu arbeiten, war immer da. Später im Atelier habe ich neu angefangen und so lange weitergemacht, bis die Blockaden verschwanden. Seitdem treibt mich die Frage an, wo meine Grenzen liegen – bisher konnte ich keine entdecken.\r\nWo lebst Du jetzt und was hat Dich dorthin gezogen?\r\nIch lebe in Neustadt bei Hannover. Eigentlich wollte ich damals raus in die große Welt – meine erste Ausbildung im Hotel brachte mich an den Rhein und fast nach Frankreich. Am Ende bin ich aber wegen meines späteren Mannes zurückgekommen. Bereut habe ich es keine Sekunde.\r\nHast Du ein Haustier im Studio?\r\nUnser Elo Rüde „Bosse“ ist immer in meiner Nähe. Elos sehen ein wenig aus wie Border-Collies und sind tolle Familienhunde. \r\nBeschreibe den Blick aus Deinem Fenster.\r\nGarten, Terrasse, Ponywiesen. Und ständig neue Episoden: ausgebüxte Puten, ein Fuchs, der Schuhe klaut, Igel auf nächtlicher Tour, Rehe mit großen Augen und eine Nutria, die hier eingezogen ist, als wär’s gebucht. Keine Idylle – eher eine Freiluft-Sitcom mit ständig wechselnder Besetzung.\r\nWer oder was ist Deine größte Inspiration?\r\nMich inspiriert David Hockney. Mit über 70 hat er angefangen, auf dem iPad zu zeichnen. Er zeigt, dass Technik die Kreativität erweitern kann. Besonders beeindruckt mich sein Blick auf Licht und Natur, wie er Jahreszeiten und Landschaften immer wieder neu interpretiert. Sein Forschergeist motiviert mich, selbst neugierig zu bleiben und alte wie neue Techniken zu verbinden. Genau so sehe ich auch KI – nicht als Ersatz, sondern als Werkzeug, das neue kreative Möglichkeiten eröffnet.\r\nSammelst Du etwas?\r\nIch liebe Tee und hätte eine Schwäche dafür, Teetassen zu sammeln. Zum Glück halte ich mich zurück – sonst hätte ich wahrscheinlich schon ein kleines Vermögen darin investiert.\r\nWas sind Deine Interessen außerhalb der Illustration?\r\nAbseits der Illustration verbringe ich am liebsten Zeit mit meiner Familie. Gemeinsames Lachen, Kochen oder kleine Alltagsmomente bedeuten mir sehr viel. Morgens gehe ich gern in den Wald auf Hunderunde und wir laufen vier Kilometer. Und wenn es um Musik geht, mag ich große Konzerte mit richtig viel Energie im Publikum. Sonst fotografiere ich gerne. \r\nWas macht ein gutes Kundenbriefing aus?\r\nEin gutes Briefing ist wie eine klare Landkarte: Ziel, Botschaft und Zielgruppe müssen drinstehen oder erarbeitet werden. Der Rest darf gerne offen bleiben. Ich brauche keine 30 Seiten Text, sondern ein paar klare Infos und dann Vertrauen in meine Kreativität. Die Richtung entwickle ich gemeinsam mit meinen Kund:innen, damit das Ergebnis nicht nur kreativ, sondern auch passgenau wird.\r\nWer ist Dein Lieblings-Künstler?\r\nMein Lieblingskünstler ist Claude Monet. In meiner Lehrzeit habe ich mir von meinem Azubigehalt einen teuren Kunstdruck - Gardner’s House at Antibes (1888) - geleistet. Für mich war das ein besonderes Stück. Das Licht und die Farben — fantastisch! Es hing viele Jahre in meinem Schlafzimmer – bis es irgendwann verblasst war.\r\nWer ist Dein Lieblings-Musiker?\r\nGanz klar: U2! Sie greifen Themen auf, die andere oft meiden. Ihre Konzerte sind Energie in Reinform. Bono hat einmal gesagt, ihre Auftritte seien wie ein Chemiebaukasten – und genauso empfinde ich es auch: wie eine besondere Reaktion zwischen Band und Publikum. \r\nWenn Du kein Illustrator wärest, was würdest Du sein?\r\nDann wäre ich wohl Psychologin mit eigener Praxis. Das Interesse daran begleitet mich schon lange, und mein Wissen im Neuromarketing setze ich heute gezielt in Animationsprojekten ein – um zu verstehen, wie Bilder und Geschichten im Gehirn wirken. \r\nWas ist der beste Ratschlag, den Du je bekommen hast?\r\nHör zu, bevor du zeichnest.\r\nWenn Du irgendeinen Ort auf der Welt besuchen könntest, wohin würdest Du gehen?\r\nGanz klar zu Pixar nach Emeryville, Kalifornien – ich möchte einfach mal sehen, wie die ihre Welten zum Leben erwecken. Und wahrscheinlich würde ich dort stundenlang wie ein Kind durch die Studios laufen, voller Staunen und mit tausend neuen Ideen im Kopf.\r\nWelche Persönlichkeit würdest Du gern einmal treffen?\r\nIch würde gerne George Lucas treffen. Wo andere Grenzen sehen, baut er Lösungen. Als die Effekte für Star Wars fehlten, gründete er ILM. Für besseren Filmsound erfand er THX. Und als digitale Kameras noch Zukunftsmusik waren, hat er sie mitentwickeln lassen. Statt Grenzen zu akzeptieren, hat er neue Standards für die ganze Branche geschaffen.\r\nWenn Du in die Vergangenheit reisen könntest, in welche Zeit würdest Du zurückgehen?\r\nIch würde in die 80er reisen, um das Live Aid Konzert 1985 mitzuerleben – ein weltweites Benefiz-Event gegen die Hungersnot in Äthiopien. U2 waren damals noch nicht die Weltstars von später, überzeugten aber mit ihrem Auftritt. Roger Taylor von Queen sagte später, sie wollten einfach besser sein als U2 – daraus wurde einer der legendärsten Momente der Musikgeschichte.\r\nHast Du verborgenen Talente?\r\nVielleicht ist Kochen mein verstecktes Talent. Ich kann dabei genauso kreativ sein wie beim Zeichnen – nur dass man das Ergebnis essen kann.\r\nWenn Du irgendwo leben könntest, wo würde das sein?\r\nEine kleine Küstenstadt wäre ideal – mit dem Risiko, dass meine Produktivität in den Wellen versinkt. Ich kann stundenlang aufs Wasser starren. \r\nWelche Themen oder Inhalte in der Welt inspirieren Dich?\r\nMich inspirieren vor allem Menschen – und die Frage, wie ihr Gehirn tickt. Neuromarketing finde ich spannend: Warum bleiben bestimmte Bilder hängen, warum lösen Farben Emotionen aus, warum merkt man sich Geschichten besser als Zahlen? Dazu kommen Alltagsmomente, Humor, Natur und die Vielfalt der Kulturen – alles, was uns auf einer tieferen Ebene bewegt.\r\nWelchen Film könntest Du immer und immer wieder sehen?\r\nDa gibt es viele. Star Wars zum Beispiel oder Der Herr der Ringe. Aber ich schaue Filme nicht nur zur Unterhaltung – ich achte immer auch darauf, wie große Filmemacher arbeiten: Wie sie Kameraführung einsetzen, Spannung aufbauen oder einen Plot verdichten. Da kann ich jedes Mal etwas lernen – selbst beim zehnten Mal.\r\nHast Du ein Lieblingsspiel?\r\nIch spiele Gesellschaftsspiele eigentlich selten, weil ich fast immer verliere. Auf Dauer weckt das nur Frust. Wenn, dann greife ich auf der PlayStation zu Action-Spielen mit historischem Hintergrund. Mich fasziniert, wenn Spielwelten Geschichte erlebbar machen – das ist fast wie interaktives Storytelling.\r\nWas hörst Du während der Arbeit?\r\nWenn ich Musik höre, dann selten in deutscher Sprache – besonders nicht, wenn ich Texte oder Drehbücher schreibe. Englische Songs kann ich besser ausblenden, da stören die Texte nicht so sehr. So bleibe ich konzentriert und trotzdem im Flow.",1012,"Für Patricia beginnen Geschichten nie mit Worten allein – sie fordern Bilder. Schon früh hat sie Welten gezeichnet, erweitert, neu erfunden. Heute verbindet sie diese erzählerische Leidenschaft mit dem Handwerk der Illustration und der Energie bewegter Bilder.\r\n\r\nIhre Stärke liegt in der Mischung: digitale Präzision mit Illustrator und After Effects, kombiniert mit handgemalten Strukturen in Tusche oder Aquarell. So entsteht eine Bildsprache, die zugleich klar und lebendig, technisch sicher und unverkennbar persönlich ist.\r\n\r\nPatricia sucht nicht das reine Dekor, sondern den Funken, der Bilder zu Trägern von Emotion, Erinnerung und Bedeutung macht. Ob Film, Animation oder Illustration – sie denkt visuell wie eine Erzählerin: neugierig, forschend, offen für das Unerwartete.\r\n\r\nDas Ergebnis sind Arbeiten, die Geschichten nicht nur illustrieren, sondern sie weiterführen – und beim Publikum lange nachhallen.","","636-studio-35e507d3-96fd-4510-bbaf-601eb1edf89a.jpg","\u002Fmedia\u002Fmisc\u002Fdeprofile\u002F720\u002F636-studio-35e507d3-96fd-4510-bbaf-601eb1edf89a.jpg","https:\u002F\u002Fwww.leinegrafik.de\u002F","How did you decide to become an illustrator?\r\nStories always need to be accompanied by images with me. As a child, I used to copy The Last Unicorn page by page and invented new adventures while doing so. I would make copies and give them away. Later I was convinced: writing books was my path—so I studied creative writing. Today I know: that wasn’t the whole path, but it was very useful, for example in screenwriting. Only with illustration and film did everything come together—and now I simply create my own stories.\r\nDid you study illustration?\r\nNot directly. I taught myself most of illustration and animation—through curiosity, perseverance, and lots of backups. I studied graphic design later on, as a second-chance education, while my children were small. In an open studio I worked with acrylics, ink, and watercolor, later I took a private program with an illustrator and various courses. Especially in animation it was a lot of learning by doing—and when I got stuck, my network helped.\r\nWhich techniques do you work with?\r\nI mainly work digitally with Adobe Illustrator and After Effects. Depending on the project, I also use real media like ink or watercolor to create textures by hand. I then digitize them and integrate them into my films—this gives the projects a touch of “handmade” character.\r\nWhere did you grow up?\r\nI was born in Wuppertal. At age five I moved with my parents and siblings to Hanover—and that’s where I stayed, apart from a short stopover by the Rhine.\r\nDo you have a childhood memory related to drawing\u002Fart that’s important to you?\r\nAs a teenager I was so dissatisfied with my drawings that I put them aside completely for years. But the desire to work creatively never left me. Later, in the studio, I started again and kept going until the blockages disappeared. Since then, the question of where my limits are has been driving me—so far, I haven’t found any.\r\nWhere do you live now, and what brought you there?\r\nI live in Neustadt near Hanover. Back then I actually wanted to get out into the big wide world—my first training in the hotel business took me to the Rhine and almost to France. In the end I returned because of my later husband. I’ve never regretted it for a second.\r\nDo you have a pet in your studio?\r\nOur Elo dog “Bosse” is always nearby. Elos look a bit like Border Collies and are wonderful family dogs.\r\nDescribe the view from your window.\r\nGarden, terrace, pony pastures. And always new episodes: runaway turkeys, a fox stealing shoes, hedgehogs on their nightly tour, deer with wide eyes, and a coypu that moved in here as if it had a booking. Not really an idyll—more like an open-air sitcom with a constantly changing cast.\r\nWho or what is your greatest inspiration?\r\nDavid Hockney inspires me. In his seventies he started drawing on the iPad. He shows that technology can expand creativity. I’m especially impressed by his view of light and nature, how he reinterprets seasons and landscapes again and again. His spirit of exploration motivates me to stay curious myself and to combine old and new techniques. That’s exactly how I see AI—not as a replacement, but as a tool that opens new creative possibilities.\r\nDo you collect anything?\r\nI love tea and have a weakness for collecting teacups. Luckily, I hold myself back—otherwise I’d probably have invested a small fortune in it already.\r\nWhat are your interests outside of illustration?\r\nOutside illustration I love spending time with my family. Shared laughter, cooking, or little everyday moments mean a lot to me. In the mornings I like going into the woods with the dog—we walk about four kilometers. And when it comes to music, I enjoy big concerts with lots of energy in the audience. Otherwise, I like photography.\r\nWhat makes for a good client briefing?\r\nA good briefing is like a clear map: the goal, the message, and the target group have to be included or worked out together. The rest can remain open. I don’t need 30 pages of text, just a few clear details—and then trust in my creativity. I develop the direction together with my clients so the result is not only creative but also the perfect fit.\r\nWho is your favorite artist?\r\nMy favorite artist is Claude Monet. During my apprenticeship I spent my trainee salary on an expensive art print—Gardner’s House at Antibes (1888). For me it was something special. The light and the colors—fantastic! It hung in my bedroom for many years—until it eventually faded.\r\nWho is your favorite musician?\r\nDefinitely U2! They tackle subjects others often avoid. Their concerts are pure energy. Bono once said their shows were like a chemistry kit—and that’s exactly how I feel: like a special reaction between band and audience.\r\nIf you weren’t an illustrator, what would you be?\r\nThen I’d probably be a psychologist with my own practice. I’ve been interested in that for a long time, and I use my knowledge of neuromarketing in animation projects today—to understand how images and stories work in the brain.\r\nWhat’s the best advice you’ve ever received?\r\nListen before you draw.\r\nIf you could visit any place in the world, where would you go?\r\nDefinitely Pixar in Emeryville, California—I just want to see how they bring their worlds to life. And I’d probably spend hours wandering through the studios like a child, full of wonder and with a thousand new ideas in my head.\r\nWhich personality would you like to meet?\r\nI’d like to meet George Lucas. Where others see boundaries, he builds solutions. When the effects for Star Wars were missing, he founded ILM. For better film sound, he invented THX. And when digital cameras were still futuristic, he had them developed. Instead of accepting limitations, he created new standards for the whole industry.\r\nIf you could travel back in time, which era would you choose?\r\nI’d travel back to the 1980s to experience the Live Aid concert in 1985—a global benefit event against famine in Ethiopia. U2 weren’t yet the superstars they later became, but their performance was outstanding. Roger Taylor from Queen later said they simply wanted to be better than U2—and that turned into one of the most legendary moments in music history.\r\nDo you have any hidden talents?\r\nMaybe cooking is my hidden talent. I can be just as creative as in drawing—only you can eat the result.\r\nIf you could live anywhere, where would it be?\r\nA small coastal town would be ideal—with the risk that my productivity might sink into the waves. I can stare at the water for hours.\r\nWhich themes or subjects in the world inspire you?\r\nI’m most inspired by people—and the question of how their brains work. I find neuromarketing fascinating: Why do certain images stick, why do colors trigger emotions, why are stories easier to remember than numbers? Then there are everyday moments, humor, nature, and cultural diversity—everything that moves us on a deeper level.\r\nWhich film could you watch over and over again?\r\nThere are many. Star Wars, for example, or The Lord of the Rings. But I don’t just watch films for entertainment—I always pay attention to how great filmmakers work: how they use camera angles, build suspense, or condense a plot. Each time I can learn something new—even on the tenth viewing.\r\nDo you have a favorite game?\r\nI rarely play board games, because I almost always lose. Over time, that just gets frustrating. If I play, it’s usually action games with historical settings on the PlayStation. I’m fascinated when game worlds make history come alive—it’s almost like interactive storytelling.\r\nWhat do you listen to while working?\r\nWhen I listen to music, it’s rarely in German—especially not when I’m writing texts or scripts. I can tune out English lyrics more easily, so they don’t interfere. 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