Frida Kahlo Licensing Group’s Beatriz Alvarado and Adam Colp and James Oddy of Vize discuss the key to successful creative collaborations

Guys, it’s great to chat. Vize has plenty of strings to its bow, but let’s start with your character art work. How would you describe how you approach this area?
Adam Colp, Co-Founder, Vize Creative: We understand character art and how to bring illustration to life. We have talented character artists who can truly capture how characters pose and move. In terms of our process, we first nail the character DNA with loose sketches and from there – once the client is happy with the direction – we’ll go through an inking stage, then to colour, until we have a finished piece of art.

James Oddy, Co-Founder, Vize Creative: Clients present us with characters with somewhat static poses – typically following core style guides – and ask us to inject more energy and dynamism. Sometimes, the task requires us to keep the character’s traditional look, while other times, it involves exploring new directions. we’re capable of both.

We excel at embracing various styles. Recently, we worked with the Frida Kahlo brand on a highly detailed painted render, but we’ve also ventured into more abstract work. Our broad skill set enables us to take on diverse and exciting projects, and we’re fortunate to work on so many unique briefs.

“It’s all about thinking like a fan.”

Adam: We can work across any genre, with any type of brand. We’ve worked on everything from Wednesday to Frida Kahlo, The Pink Panther to Transformers… It’s an eclectic mix of work.

Does your approach to character illustration give your style guides a certain edge? Can it make them more effective, more versatile?
James: Yes, it effectively turns us into a single-source provider. We cover both illustration and style guide needs, which means brand owners don’t have to seek out different agencies for these services. We manage both aspects seamlessly.

Beatriz Alvarado, International Affairs, Frida Kahlo Licensing Group: There are many talented artist out there who can draw and create, but what keep us working with Vize is their ability to truly understand what we need. Unlike other studios – not just because their incredible talent, but because they also understand the deeper intent behind every piece they create. That kind of insight is rare. Although they are an external studio, I consider them a part of our brand, an extension of my team. Vize doesn’t just work for us; they work with us, as if they were part of our own team.

James: Recently, we sent Bea a project we worked on, and she said, “You read my mind; that’s exactly what I envisioned.” We always strive to connect with our clients’ vision. Bea is super creative with lots of ideas, and we love at bringing her vision to life.

Bea, do you see a commercial effect with regards to how Vize’s creative is embraced by licensees?
Bea: Great creative work should serve a commercial purpose, absolutely. Whether it end up in a book, or on a coffee cup. It’s important that all our brand extensions authentically capture the soul of Frida Kahlo. That’s what resonates with our customers and our licensees – and that’s what Vize excels at. Take, for instance, their work that went into the illustration book for kids… That’s an amazing piece that will stay with us for years; people will remember it – and their great work is a key part of that. Their work on this year’s guide was equally incredible, especially considering how challenging this request was.

“We can work across any genre, with any type of brand.”

James: Yes, it was a guide inspired by AI. We imagined how Frida Kahlo, if she were alive today, might feel about AI as an artist. While we explored the theme of AI, the work itself wasn’t AI-generated—it was painted. We drew inspiration from the technology to create something truly original. To my knowledge, no one has ever created an AI-inspired hand painterly style guide before. It’s a fresh concept that challenged us creatively, and we loved every moment of it.

What do you feel is the key to successful enduring relationships between brand owner clients and a creative studio like yourselves?
James: Our focus on putting in the extra effort has proven effective in retaining clients. Since our clients all work differently, maintaining flexibility is important.

Adam: Transparency is another big one. You’ve got to be able to be honest and able to question each other. And we’re genuinely fans of the brands we work with, so we’re into the work – and that shows in the effectiveness of what we create. These are all passion projects for us. We’re also big on communication and collaboration. We don’t just take a brief and run with it. We like to talk and discuss briefs to ensure we fully grasp what the partner wants.

Bea: For me, it’s all about understanding the client. We’re a global brand – our immersive exhibition has travelled to 20 cities around the world. Despite our size, we stay true to Frida Kahlo’s values. We’re not corporate; we’re warn, inviting and infused with the Latin spirit and soul of the brand… At our shows, we talk about life as much as we do about business. What makes our relationship with Vize so successful is their deep understanding of who we are – but then they can switch their mindset and work with a brand that have a completely different approach.

“Although Vize are an external studio, I consider them an extension of my team.”

On that, what is your process for getting to grips with brands?
James: You’ve got to do the research and know the brands and characters inside out. Every company is different; every request is different. It might be a large core guide or a shorter trend guide. Creative versatility is essential, as you might find yourself working on both a preschool guide and an adult guide simultaneously.

Adam: If we’re working on a kids’ brand, I’ll sit down with my two mini experts at home and watch the show or film together.

James: We also work with retro brands, like American Psycho, which was truly a dream come true for us. The same applies to Ace Ventura. We have a strong connection to these brands from our childhood, and infusing new life into these iconic IPs is very rewarding

Adam: One thing we also do is engage with related trends or material that might complement what we’re trying to do. If we’re working on a manga brand, it can be useful to spend time engaging with other manga brands. When we worked on a guide for Universal Monsters, we tried to empathise with a horror fan. It’s all about thinking like a fan and immersing yourself in their world as best you can.

Sounds like a winning strategy. Thanks again guys.