Today, we are joined by Sara Bianchi, she is a Graphic Designer . You can view her portfolio here.

  • Firstly, I’d like to thank you for the interview. We’d like to understand how your interest for illustration and Branding started shaping up. Tell us a bit more about what made you go this route!

When I was a child I had a sketchbook in every house of my relatives, and everybody made me draw to keep me quite!

Then when I was teenager I attended an art school in which I discovered design and the social role of the designers.

I also practiced several techniques as screen printing, fresco, sculpture etc. etc.I discovered graphics at university and the rest has come naturally.

  • Tell us a bit more about how you learned it all. What changed in the last few years in terms of ease of expanding your skills and knowledge?

At the very beginning, the relationship with my classmates was very important to me, because there was a really exchange of opinions, experiences and knowledge’s.

Another important step was the collaboration with Alizarina, the first studio who hired me for working. There I really learned how to think about the project and how to finalize it, there the research and the confrontation were important, and I took these teachings with me.

Today I opened my own studio called Atto with my partner Andrea and everyday we take sometime to explore internet and books to find out new solutions or inspirations to share between us.

  • What does your creative process look like?

In this one I answered with my partner, because we always engage the creative process together. We start doing a free research. In this case everything that give us inspiration could be good: a photo, an song, a book we’ve read, an newspaper’s article etc etc. Then we try to focus on the matter doing more analytic research about possible competitors and the state of the art. The research process is not only a confrontation between us, but also with the client, with the aim to have solid roots in which the project can grow. Then we start to draw different solutions, and here again, the confrontation between us is fundamental. Nothing is published or show to the client if is not appreciated by the two of us. In this process we try to keep focused on details, but at the same time we try to not lose the sense of the project in his integrity. It’s a continuos work of zoom-in and zoom-out.

  • Do you have any recommendations in terms of good books, programs you use, or media choices you’re willing to share with us?

Books: Grid System by Josef Müller-Brockman (an evergreen, because you never studied enough!) 100 views by Sol Lewitt (for his incredible passion about details, and great way of thinking)

Programs: Sketch by Bohemian Coding (finally a good and cheap software to design websites) invisionapp.com (the best way to present websites to clients)

Movies: To be or not to be by Ernst Lubitsch (because it’s really smart and funny)

  • Do you have a special place or object that boosts your inspiration and helps your creative drive? What is it like and why does it have this effect on you?

There’s no a “Eight Ball” that gives you answers!

The inspirations come primarily working hard and trying different solutions.

But sometimes also stop thinking about works, relax and put your brain on different stuff can be effective.

  • Can you detail the identity design process and how long this usually takes?

It’s pretty the same of answer 3. Designing an identity it’s really a complex semantic work.You need to keep it clear but at the same time to be effective. It’s really an hard work of calibration and equilibrium! There’s no a specific time, the duration of creative process; sometimes could be really fast and sometimes, you need more time to get the target. That could be determinated also by the relationship with the client, if it’s a consolidated relationship everything is simpler.

  • What are common challenges which identity designers encounter?

Sometimes clients want to be too much descriptive in the way that everything must be inside the identity. This is really in contrast the will of being clean and clear. One of the biggest challenge is to get the trust of the client and make him understand that  the project is a collaboration between designers and clients.

  • What is your stance on today’s ever growing opportunities enabling artists to take on remote design work?

One of my best dreams is work by the sea! For now I didn’t achieve it, but I’m working on it  :)That’s to say that I’m completely favorable to remote work, because it gives you the possibility to work for abroad clients who has different vision of the world, knowledge and background. To me the exchange between culture is a good way to learn and grow up.

  • What would you prefer: a steady, well paying job in a local agency, or the freedom and often stressful life of a freelancer? Why?

I tried both, and the life of freelance is stressful: all the responsibilities are on your shoulders, you have to organize the studio, get clients etc. etc.

Despite this I prefer this last one because there’s no filters between me and the client, and I’m the designer of my own destiny.

  • How would you describe “the ideal project”? Did you have any recent opportunities to come close to this?

The ideal project is the project that is near to your interesting, in which the client trust you and collaborate with you, with the shared aim of creating something new and effective.

And last but not least, a project in which client has money and time to invest in research and in materials.

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