Giulio Bonasera
Rome, Italy
about Giulio
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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. 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. |
