Mattia Riami
Venice, Italy
about Mattia
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Biography:
Born and raised in Venice, Mattia Riami received his training at the city's School of Art, and later continued his studies in Milan at the European Institute of Design (IED), where he was awarded a scholarship for the three-year course in Visual Communication, specializing in illustration. His professional career began in the graphic design offices of Love Therapy by Elio Fiorucci, and later at United Colors of Benetton, where he developed solid experience in Graphic Apparel Design. Following this, Mattia embarked on a freelance career as an illustrator, collaborating with various companies and magazines. He has distinguished himself for his ability to blend traditional techniques with modern digital technologies, creating works that stand out for their originality and innovation. As of 2024, Mattia is a member of the board of Autori di Immagini, the leading association for illustrators and visual creatives in Italy, where he actively contributes to the dialogue and promotion of visual culture. He is also a member of Our Voice, an artistic and socio-political organization through which he uses his art to support civil engagement causes. Alongside his artistic work, Mattia teaches Illustration and Graphic Design at the School of Comics in Padua, sharing his experience and passion with the next generation of artists. He is also one of the artists represented by the gallery Garance and Marion, where his works create a space for dialogue with the contemporary public. Mattia's artistic practice is driven by a continuous aesthetic exploration, where the digital and analog worlds merge, giving rise to visually powerful and conceptually profound works. Selected Clients:
Foscarini, DONDUP, Chora Media, TEDx, ZigZagZurich, Peuterey, Bastille Magazine, Feltrinelli Education, Mondadori Education, Slow Food Editore, Corriere della Sera, De Morgen, Beer52, Glug magazine. INterview with Mattia:
How old were you when first realized you wanted to become an artist? I was about 11 or 12 years old. I had always been drawing, ever since I was a child. I created my own illustrated children’s books and copied Disney drawings, but I always saw it as just a game. Then, in middle school, I started to consider becoming an artist. I was taking a painting class after school, and it was there that I realized I wanted to pursue it more seriously. Do you still have any of your early artwork? Yes! I still have a few pieces that I picked up from my parents' house some time ago mainly drawings on paper. Some of my first paintings are still hanging on the walls in various relatives' homes. But, unfortunately, I have to say that most of the drawings I did starting from elementary school have been lost. I remember one very clearly from elementary school, drawn during an English class, where I sketched the Loch Ness monster it turned out so well! I can’t find that one anymore, and I’m really disappointed about it. I still have a good idea of what it looked like, though, so maybe I’ll try to recreate it! Have you studied art formally? Yes, I attended the Art Institute in Venice, where I studied life drawing, painting, descriptive geometry, and art history, along with practical workshops where we worked on real design and decorative painting projects. Later, I studied at the IED (Istituto Europeo di Design) in Milan, where I specialized in illustration. There, too, we focused a lot on art history and classical drawing alongside modern techniques. Today, I’m taking a few courses at the Academy of Fine Arts in Venice, studying painting and art history, because there’s always more to learn. Is there an artist whose work you admire? What is it about their artwork that intrigues you? There are many! I have a particular admiration for Egon Schiele I love the roughness of his lines and the way he portrays the human form with raw realism, which greatly influences my own work. I also admire Picasso for his remarkable ability to simplify forms. I'm drawn to contemporary artists as well, like Marlene Dumas and Alex Foxton. There are also several illustrators I consider true artists and especially admire, one of whom is Mattotti. How did you arrive at your current style. What techniques or authors inspired you? My style is a blend of various influences, inspirations, and studies over time, shaped by experiments. I would describe it using some words from others that resonate with me, as they have captured it perfectly: "A quick, nihilistic, and nervous line." I can confirm this I've always had a very physical relationship with my work, whether on paper or with digital brushes. I energetically use pencils on paper, sometimes even accidentally piercing it, or I fear damaging the screen. I like that you can feel the path my hand took to draw that line, and there’s a mysterious force that pushes me to trace it exactly that way or to color in a certain manner. I’ve certainly been influenced by my professors at IED in Milan. I believe my approach has always been like this, but it has refined over time through study and research. I combine traditional techniques with digital tools, creating a very personal and effective mix that adapts well to different projects. What are the sources for your inspiration? Do you have a muse? Do you have a process you employ to generate ideas? My sources of inspiration are books, both written and illustrated, the posters I see on the streets, and all the visual stimuli I encounter at exhibitions, films, fashion, everything! My process starts with initial research and reflection on the ultimate goal of the project. This leads to the very first ideas, which I quickly jot down or sketch in my journals really rough, almost indecipherable sketches, just to capture the concept. Then, I move on to more refined drafts, and finally, the final version. The story takes shape during the first two stages. Where do you find inspiration, concepts or images for your illustrations? Do you have a purpose, a key message about important topics you wish to portray through your artwork? I have to say that pure visual expression strongly attracts and influences me. In everyday life, I am captivated by many visual stimuli drawings, illustrations, paintings, posters, and so much more and this affects my desire to draw simply to express the shapes and colors that arise within me. However, during the conceptual phase, these shapes take on meaning, and I enjoy building a story behind each project. Nature also inspires me greatly the shape of plants, leaves, flowers, and clouds; they are natural architectures or design masterpieces. I am always curious and drawn to visual communication in general. My eye is constantly drawn to posters, book covers, and everything visual. I take many photos with my phone as reminders, which I later study carefully to understand what caught my attention. I’m also deeply interested in human emotions and the human condition. I want to create fantastical worlds filled with a nostalgic atmosphere that speaks of happy moments. What clues might you provide to help viewers understand your art? o understand my art, one should watch old films from the 40s, 50s, and 60s. I love the imagery from that period, particularly from a stylistic point of viewthe clothing, the hairstyles, the elegance, and the fashion! I’m also a big fan of the advertisements from that era. I always strive to create a warm atmosphere, especially through color, that evokes those moments. I also love the black and white aesthetic of that time, and sometimes I mix it with color in my work. What upcoming projects are you working on? Currently, I am working on posters for a French Romantic classical music theater located in a palace here in Venice. I have also created various illustrations for magazines, and I’ve had the opportunity to work on several food-themed projects, a subject I really enjoy illustrating. How do you set up your job when you get a new contract? I begin by conducting research related to the project's themes and create initial sketches to organize the ideas that emerge during this phase. Then, I develop more detailed drafts to share with the client, and gradually, we work together toward finalizing the illustrations. Can you describe your creative process? My method begins with initial research and reflection on the project’s intended goal. This process sparks the very first ideas, which I quickly jot down or sketch in my journals really rough, almost indecipherable sketches, just to capture the concept. Then, I move on to more detailed drafts and finally, the final version. I build the story during the first two phases. There are days when I can’t easily figure out how to best approach illustrating the concept; in those cases, I try to clear my mind by going for a walk, watching a film, or reading, maybe in a park. But above all, walking helps me unblock myself in those moments. What tools do you use most in your work? I mainly use pencil for my work, preferring thick pencils with a strong, blunt tip, and soft ones, like 2B or even 6B. I enjoy making the paper look messy, then I scan it and often color it digitally, keeping the natural smudges left by the graphite. I also draw various shapes on paper using brushes and markers, then scan and work on everything digitally to change the colors while preserving the original, freehand feel. Procreate is an excellent program for blending traditional and digital techniques. I define the final details in Photoshop, my best friend! How do you re-charge when a difficult assignment nears the deadline? Great question! It’s tough, but I think the anxiety that kicks in during those moments serves as a strong boost of energy! Normally, I don’t drink coffee because it gives me too much of a racing heartbeat, but during those times, I have a few cups and go full speed like a train to meet the deadline. Fortunately, it’s rare for me to get to the last minute. What is your favorite activity when you take a break from the studio? I especially enjoy going out on my small boat in Venice, reading, and watching movies and TV shows. What would be your dream illustration assignment? Creating the illustrations for the communication of the Venice Film Festival! |
