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Giulio Bonasera

Rome, Italy

Motion/ Animation​

Motion/Animation | Illustration | about Giulio
Rainy Day - Personal Work
Science Opens Wide For Oral Health - Nature
Get Ready - Personal Work
Manage Your Energy - Senn Delaney
Text While Walking. What Could Go Wrong? - New York Magazine
How To Surprise People With Video Calls - New York Magazine / Visible

Illustration

Motion/Animation | Illustration | about Giulio
How To Service Your Clients - PLANSPONSOR
The Everything Vaccine - New Scientist
Are Superfoods Really All That Super? - GQ Magazine
Falling - Personal Work
A.I. Powered Marketing Series - Harvard Business Review
Should Liberalism Be Chained Up? - Die Zeit
The Truth About Low-Carb Diets - New Scientist
This Election Isn’t Just About America - POLITICO
This Is Not A Test - Harper's Magazine
Docs "Under-Test" To Impress Peers - Johns Hopkins Carey Business School
A Shakeup Accelerated By a Virus - POLITICO
Joyful - Personal Work
Emissions Come Back, and America Bows Out - POLITICO
The New Art Of Leadership - Capital Magazine
Cure - Personal Work
A New Way To Invest Abroad - The New York Times / TBrand Studio
Hiding Behind a Badge “How racism undermines police authority” - The Nation
Can You Regrow Your Hair? - GQ Magazine
Fish - Personal Work
When Should I Get My Cholesterol Checked? - GQ Magazine
Hug - Personal Work
How To Stop Snoring - GQ Magazine
How Human Craft Began - Nautilus Magazine
Hearing Loss Explained - GQ Magazine
Imagine - Personal Work
Monday Mood - Personal Work
The Real Reason Workers Can't Get A Raise - Personal Work
Peace - Personal Work
American Illustration Winners: What Gets Your Attention? - AIAP Winners
An Apple a Day - "How good habitudes can work to prevent diseases." - Focus Magazine
Meet The Baconator - ProPublica
More Awareness Is The Result - Johns Hopkins Carey Business School
Into The Fray - The Wall Street Journal
Parents And Children Remain Separated By Miles And Bureaucracy - Personal Work
How to Handle Pain - GQ Magazine
Xanax: what you need to know - GQ Magazine
The Overcommitted Organization - HBR's OnPoint Magazine
Cracked Pillar - The Nation's "Oppart"
Doubled - Personal Work
Just Disconnect - Two Cheers For Boredom
Japanese Investments - Kiplinger's Personal Finance
How Thinking We're More Different Than Alike Has Become A Mud Throwing Contest - Indiana University Alumni Magazine
Found - Personal Work
Mental Edge - How to Finish Without Failing - "Be cruel, until the very end" - Tennis Magazine
The Facts About Liposuction - GQ Magazine
Stop The Meeting Madness - HBR's OnPoint Magazine
Collaborative Overload - HBR's OnPoint Magazine
The Healing Power Of Economics - CT Magazine
State-sponsored Killings - The Economist
How CEOs Manage Time - HBR's OnPoint Magazine
The Cloven Viscount

about Giulio

Motion/Animation | Illustration | about Giulio
Bio:
​Giulio Bonasera, 1986, is a freelance illustrator and animator. His work has appeared in the pages of The New York Times, Harper’s, The Wall Street Journal, Politico, GQ, The Economist, among the others and has been recognized by the Society of Illustrators, American Illustration, Communication Arts Magazine, 3×3 Magazine illustration competition.

Morphing iconic signs in a playful combination of elements, he likes to keep his compositions tied to a stylized and minimal approach, creating conceptual images in a graphic style, warmed and characterized by etching-based brushes and layers.
Selected Client List:
​AARP – All Nippon Airways – Bayard Presse – Blackrock Investment – Die Zeit – Discoveries Magazine – Einaudi – Focus Magazine – GQ – Harper’s – Harvard Business Review – Indiana University – Kiplinger’s Personal Finance – L’Espresso – La Repubblica – Nature – Nautilus – New Statesman – New York Magazine – Propublica – Santa Clara University – TBrand Studio – Tennis Magazine – The Boston Globe – The Economist – The Nation – The New York Times – The Wall Street Journal – Travel+Leisure – Vice USA – Village Voice – XPrize Foundation
Interview with Giulio Bonasera:
When did you first know you wanted to be a professional illustrator…?
While I seemingly had a classical artistic education, at the Academy of Fine Arts of Rome, I actually took my MFA in printmaking, an experimental course where, during the years, I got closer and closer to applied art and, consequently, illustration. Although I have always had a fascination for storytelling in its various forms, it was then that I started to concentrate my research solely on illustration.


What or who inspires you?
The details, those unique features of the things we encounter everyday, almost hidden at first glance but able to suggest unexpected points of view, always new solutions.


Has the pandemic affected you, and if so, how?
Illustration is a "solo" career for many, and so it is for me. Being used to working alone in my home studio, not much has actually changed. Still, I will certainly be glad when we are past all of this!


What is your take on the future of advertising/publishing?
Personally I think the future of advertising is already here: we are at the beginning of a new decade and, with users blind to traditional ads and hungry for a change, there is more and more room for a "narrative experience" where the goal is to make people feel specific emotions rather than remember technical specs, when thinking about a product or a brand. All this poses new creative challenges and opens the doors to new languages and visual approaches where illustration can flourish in different ways.


Is there one campaign you’ve worked on that stands out more than others?
Recently, it has been a pleasure to collaborate with Madwell agency on "We Are The Countervirus”, a public service campaign launched in March 2020 to raise awareness about the importance of individual behaviours to fight the COVID-19 outbreak.


Is your work mostly digitally generated or do you also draw/paint in a traditional way?
I feel I'm 100% digital. Although the hard core of my work is expressing ideas in images and developing visual concepts, and sometimes I still use pencil and paper, I nearly always work with a tablet even when sketching out basic shapes because I can be faster and more dynamic. This saves me a lot of time in terms of production and allows me to focus my work in the search for the best possible forms and ideas.


Instagram or Facebook or…??
​Sociality and sharing are always a good thing, regardless of the "media" through which they are showed.


What would your ideal job be or consist of?
I don't think I have an ideal job, or at least a precise idea of what it might be. I see every project as a source of new and often unpredictable components, and what generally fascinates me is this dynamism in which I find myself trying to give my best, time after time.
Providing the most professional and talented illustrators in the world for over thirty years.
Salzman International illustration representatives | artist agency
​​​Richard Salzman
​Artists' Representative​​​

+1.7o7.822.55oo


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