From the memoirs of Lydia Sooster: "Here, I've finally got around to it, look!" The magazine "Children's Literature" of February 1968... an article signed by our friend, the wonderful artist Victor Pivovarov... Ülo was rubbing his hands together happily: he was very pleased with the appearance of this article".

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"On üllatav, kui suurel määral vastandlikud on isegi terviklikud isiksused.

Kui ma aastaid tagasi sattusin esimest korda Ülo Soosteri ateljeesse, siis esimene asi, mis mind vapustas, oli kujuteldamatu korralagedus. Tuba täitsid konikuhilad, tühjad värvituubid, tüsedad joonistuste mapid, lõuendid ja raamatud. Aga kui ta näitas oma töid, siis nägin otsekui medali teist külge - selle inimese vastandomadust - raudset loogikat, ran­get rütmilist korda, mõtet, mis oma väljenduses on erakordselt lihtne ja tugev nagu kellalöök. Soosterisse on sobitunud veel kaks vastandit: üks on lapsepõlvemälestustega seotud erakordselt tugev alateadvuslik impulss. Väga tundlikult on vahendatud muljed kadakate okkalisest kirjast, kaldakivide ümarusest, merelainete lõputust kordumisest ja kalaparvede kirglikust mängust.

Teine on see, et tema loodusenägemises ei ole ei vahetut suhtumist, üllatust ega imetlust.

Pigem on tal asjade saladuse sisusse tungiva teadlase pilk. Kunstnik otsekui otsiks mingit ideaal­set looduse ja selle tsentrilisuse valemit, valemit, mis oleks niisama täiuslik ja lõplik ning niisa­ma keeruline nagu muna. Soosteril ei ole vastuolu selle vahel, mida ta teeb maalis, ja selle vahel, mida ta teeb raamatukunstis. Valinud peamiselt populaarteadusliku ja teaduslik-fantastilise kirjanduse illustreerimise, arendab ta ka raamatukunstnikuna oma meelisteemasid."

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"It is surprising to what extent even integrated personalities are contrary. When I stumbled into Ülo Sooster's studio for the first time years ago, the first thing that amazed me was the unimaginable disorder. The room was filled with piles of canvas, empty paint tubes, thick folders of drawings, canvases, and books. But when he showed his work, I saw as if the other side of the medal - the contradictory nature of this person - iron logic, strict rhythmic order, a thought that in its expression is extraordinarily simple and strong like a strike of a clock. Two more opposites are embedded in Sooster: one is an exceptionally strong subconscious impulse related to childhood memories. Impressions of prickly juniper foliage, the roundness of beach stones, the endless repetition of sea waves, and the passionate play of shoals of fish are conveyed very sensitively.

The second aspect is that there is no immediate attitude, surprise, or admiration in his vision of nature. Rather, he has the gaze of a scientist penetrating the essence of things' secrets. The artist seems to be searching for some ideal formula of nature and its centrality, a formula that would be as perfect and final and as complex as an egg. Sooster has no conflict between what he does in painting and what he does in book art. Choosing mainly to illustrate popular science and scientific fiction literature, he also develops his favorite themes as a book artist.”