Originally from Veneto and now a Milanese by adoption, Marta Signori collaborates with major national and international publications, from Repubblica to Monocle. This year, her illustrations interpret the Brera district for Design Week 2025.
What is the first word that comes to your mind when you think of Brera?
The Pinacoteca. It was the first museum I visited when I moved to Milan. Painting is the form of expression I feel most connected to, and seeing the classical works I studied in high school live is always an emotional experience.
What is your favorite spot in Brera?
Via dei Fiori Chiari and Via dei Fiori Oscuri have always amused me because of their names. I like starting from there, leaving the Academy, and walking down Via Brera until I reach Pellegrini, my favorite art supply store, where I stock up on colors.
Where did you start, and what inspired you in creating these illustrations?
I wanted to create illustrations that were as much about form and color as possible.
So, I started with a highly contrasting palette of four colors: brick red, off-white, deep green, and black. I aimed to create figures and settings that could convey both the vibrancy of Brera and the iconic imagery of the design world. I wanted the colors to be captivating, allowing me to compose shapes that exude elegance and modernity, with a careful balance of details.
In your opinion, what added value can an illustration offer today?
I like to think of illustration as a colorful window that alters reality, showing it to us from a different perspective. It immerses us in a parallel world of new colors and shapes, where anything is possible.
The added value of illustration is its ability to convey a message in an engaging way—a sort of spatial and visual bubble that envelops the viewer, allowing them to get lost in the colors and details.
How does your creative process begin when working on a new project?
I start with a brainstorming session of words and quick sketches. I let all the concepts related to the project flow onto paper and begin shaping some ideas with a pencil. These spontaneous and sincere strokes serve as a guide for the entire process.
Once this initial and very fast step is completed, I refine the ideas and start the actual illustration. At this stage, I define a color palette that is consistent with the project and as limited as possible.
Sometimes, I find it useful to look at contexts, images, and photographs related to the subject to draw inspiration from shapes, objects, or colors. After absorbing these stimuli, I always strive for synthesis.
I like to think of illustration as a colorful window that alters reality, showing it to us from a different perspective. It immerses us in a parallel world of new colors and shapes, where anything is possible.
Marta Signori
The illustrations for Brera have been animated by motion designer Valerio Di Mario. Have you worked together before?
I have been collaborating with Valerio for several years, and we have always been in sync. So, I had no doubts about who to call when I was asked to work alongside a videomaker for this project.
What is your experience with animation? Is it exciting to see static drawings come to life?
Seeing a static image come to life is pure magic—it immediately makes me think of the Harry Potter universe and the animated photos in the Daily Prophet.
The first illustration I animated on my own was for IL Magazine: a Tuscan landscape with a Vespa in the distance riding along a cypress-lined road. It was fun creating everything in Photoshop, layer by layer, improvising movements and effects. I was fascinated by the result, and even though the process was somewhat rudimentary, I recognized its potential. I realized I was stepping into a whole new world—a parallel universe.
When I started receiving commissions for illustrated videos and began working alongside animators, it was thrilling! Illustration, when in the hands of true motion professionals, transforms and takes on a new life.
How does the creative process change knowing that the drawings will be animated by someone else?
My initial creative process doesn’t change much. I don’t think about what comes next—I simply sketch out ideas as they come to me. The draft and first colors are almost always on a single layer, and I draw with the final composition in mind. Once I’m satisfied with the draft and it’s time to move forward, the process shifts.
I begin working on a storyboard, figuring out how movement enters the scene, what happens in the story being told, and what scene transitions to include. At this point, exchanging ideas with the animator is crucial to refining and streamlining the storyboard. Together, we determine which movements best convey the intended message. Then, I add elements, backgrounds, and finalize each shape. Every animated element—every character, object, and detail—must be broken down into parts that allow for movement. Finally, I ensure that the working file is clean and clear, as it needs to be shared with the animator. This means well-labeled layers and properly grouped elements!
Back to Design Week—do you attend it regularly? Or, more broadly, are you involved in the worlds of art, design, and fashion?
I’ve been living in Milan for ten years, and for twelve, I have never missed a Design Week. I have a bachelor’s degree in Architecture, and design has shaped both my studies and my daily life.
So, will we see you in Brera from April 7 to 13? That’s when your images will be displayed all over the district!
Absolutely!
Marta Signori, originally from Bassano del Grappa and now a Milanese by adoption, is an illustrator born in 1990. She trained within the editorial team of IL by Il Sole 24 Ore and has been a regular contributor to both Italian and international publications, as well as major publishing houses. She exhibited at Illustri in 2024 and at the Society of Illustrators in New York in 2019. Her clients include Monocle, La Repubblica, The New Statesman, Mondadori, Zanichelli, Arduino, Linkiesta, Maize, Loro Piana, Icon Design, Les Echos Weekend, Terna, Sea, Natuzzi, Generali, and La Stampa.
Valerio Di Mario
Italian graphic and motion designer born in Rome. He has worked in fields such as infographics, visual identity, design and motion graphics of the culture, art and technology sectors. His multidisciplinary approach defines a language that uses simple elements, enabling communication on different levels while maintaining simplicity.
