#aspettandoBologna Francesca Sanna
Among the protagonists of the next illustrators exhibition of the Bologna Children's Book Fair we find Francesca Sanna, already known for many of the jobs landed on uk shelves, stories that, even in the kindness of the style, touching on themes not at all discounted in the landscape of literature for children as the war, the anguish.
→ You can follow her through her website or through Instagram.
Waiting to see his works exhibited at the exhibition of illustrators, here's what she answered to our short questions. Thanks!
1) what does it mean to you to illustrate?
For me the idea of illustrating depends a little bit on how was born the project that I have to illustrate. Take the case of a book. I find it is quite different to illustrate the text of another author, or another author, or illustrate a story written by me. In the first case the attention is on the relationship between a written story that already exists, you must create a relationship, a harmony (or disharmony) between two items when the first is already there. In the second case, this report is always to create but starting from scratch, and I often start from the illustrations and then the words that follow the images. I think that the most important thing in every case is the focus on this relationship between the two, and that it is this relation (of analogy, of rupture, of parallelism), which creates the list shown.
In the case of tables that are selected for the Illustrators Exhibition, for example, are illustrations based on a text very poetic, Patricia MacLachlan, that doesn't tell properly a story, but contains of the images. I with the illustrations I occupied a little space that was left free, trying to outline a story and at the same time I have tried to respect the text, I try not to repeat didascalicamente the elements that were already present (I hope I have succeeded!).
2) how do you work?
Work fairly messy. Since I move often, once I pencil the sketches of my drawings, go ahead digitally, with a library of textures that I carry with me in my computer or ipad. The process always changes a little bit depending on the book, but there are steps that remain – for example, call for every book the palette of color and its changes during the story before starting anything else. For the illustrations selected in Bologna, for example, I started from a “limit” that was chosen for the design of the book to have some cuts in the pages to connect the shapes to the sheet to those of the next. These cuts, “the net” have led me to work more usually with geometric shapes.
3) what do you love about your job?
I like to have to do with topics, themes, elements, ideas very different, depending on the book project in which I work. Another element that I really like is that usually each project takes a period of several months (if you also consider the production of a book and the promotion even several years!), and then the final result counts, but also counts all of the research and the process that precedes it. You learn so many things by illustrating or writing a book, and there are always elements that remain, even when the book is finished.
Article #aspettandoBologna Francesca Sanna seems to be the first on a low Shelf.