{"id":14460,"date":"2026-02-09T12:11:06","date_gmt":"2026-02-09T11:11:06","guid":{"rendered":"https:\/\/www.breradesigndistrict.it\/?p=14460"},"modified":"2026-02-09T18:27:43","modified_gmt":"2026-02-09T17:27:43","slug":"","status":"publish","type":"post","link":"https:\/\/www.breradesigndistrict.it\/en\/news\/brera-design-week\/intervista-allillustratrice-chiara-ghigliazza\/","title":{"rendered":"Illustrator Chiara Ghigliazza interviewed ","raw":"Illustrator Chiara Ghigliazza interviewed "},"content":{"rendered":"\n
\n

The new image of the Brera Design District takes us on a journey aboard a Milanese tram<\/h2>\n<\/div>\n\n\n\n

Born in Milan in 1990, Chiara Ghigliazza is an award-winning illustrator and collaborates with leading Italian and international companies. For Brera Design Week 2026 she has captured a view from the city’s oldest and most beloved means of transport: the tram. We asked her a few questions to find out more about her, her career, and her creative process.<\/strong>


<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

\n\n\n\n

You chose to depict one of the city’s most iconic symbols. How did this idea come about?<\/strong><\/p>\n\n\n\n

My work is rather sedentary and introspective, so I often need to look outside for inspiration. Traveling by tram has become a little habit of mine, because watching the landscape go by outside the window helps me clear my mind and daydream. It’s a particularly useful habit when I feel short of ideas.<\/p>\n\n\n\n

The tram makes me feel a bit like a tourist in my own city; it allows me to observe familiar places from a different angle and rediscover them. Being on the move perfectly captures the spirit of Milan, just like bouncing from one location to another \u2014 exploring and getting lost is my way of experiencing the Design Week.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

How did you get into illustration and how has your career evolved so far?<\/strong><\/p>\n\n\n\n

I have always studied art and cultivated drawing with different techniques and languages. When I was younger, I was oriented towards comics, then I studied engraving at the Brera Academy, had a brief stint as a tattoo artist, and finally found my way by attending a master’s degree in editorial illustration at Mimaster.<\/p>\n\n\n\n

I started working as a freelancer in 2015, initially with Italian magazines and publishers, and soon my circle expanded to include international clients and collaborations with companies in various sectors.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Your illustrations stand out for their bold color combinations. How do you choose your color palettes?<\/strong><\/p>\n\n\n\n

I come from a completely black-and-white background, so it took me a while to introduce color into my life and work. Today I find it a very enjoyable part of the creative process, where images gain depth and character.<\/p>\n\n\n\n

I choose palettes very instinctively. I usually start with a color that matches the atmosphere I want to convey, and from there the combinations develop naturally. I have a few favorite colors that tend to emerge in my illustrations, but I always try to expand my color archive. Wherever I go, I take note of the color combinations that strike me\u2014in people’s clothes, building facades, landscapes\u2014and then embody them into my work.<\/p>\n\n\n\n

<\/p>\n\n\n\n

As a digital illustrator, what is your relationship with paper?<\/strong><\/p>\n\n\n\n

When I started working as an illustrator, I moved almost entirely to digital in order to respond to fast turnaround times and corrections. The sketchbook remained a secondary tool used only for quick doodles and notes to fix ideas during the brainstorming phase.<\/p>\n\n\n\n

In recent years, I have felt the need to reintroduce paper into my process. Working on a traditional medium allows me to take a more spontaneous approach, where I am less in control. This transition is very therapeutic because it forces me to face my fear of mistakes and imperfection, which potentially do not exist in digital, but are fundamental characteristics in creative processes.<\/p>\n\n\n\n

Traveling by tram has become a little habit of mine, because watching the landscape go by outside the window helps me clear my mind and daydream. The tram makes me feel a bit like a tourist in my own city; it allows me to observe familiar places from a different angle and to rediscover them.<\/p>Chiara Ghigliazza<\/cite><\/blockquote><\/figure>\n\n\n\n

Tell us about your creative process: how do you create your illustrations?<\/strong><\/p>\n\n\n\n

I start with a research phase to identify the fundamental concepts of the theme I am working on and to look for further information if necessary. Later I make associations with other words that stem from the original concepts. The goal is to convert something abstract into concrete symbols that can be drawn. Once I have defined the symbols, I combine them in different ways: I reverse their meaning, change their size, relationships, and position, looking for a combination that can communicate the subject in a clear and original way. At this stage, I make quick sketches, and when I find an idea that works, I sketch a composition that enhances it while respecting the constraints of the project. Finally, I try out color combinations and define the final image.<\/p>\n\n\n\n

<\/p>\n\n\n\n

What are your main sources of inspiration?<\/strong><\/p>\n\n\n\n

Much of my inspiration comes from my everyday circumstances, situations and moments, or even clich\u00e9s. I play around with them from a different perspective, turning them upside down or exaggerating them, until they become something paradoxical or amusing.<\/p>\n\n\n\n

I also draw inspiration from other people’s creativity: films, books, exhibitions, workshops, chats with colleagues. All these experiences settle in my mind and create fertile ground. When I sit down at my desk, I draw on this material and rework it into ideas and images.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

The illustrations for Brera were animated by the motion design studio Alkanoids. Had you worked together before? What is your experience with animation?<\/strong><\/p>\n\n\n\n

All the animation projects I have worked on so far have been done together with Alkanoids. Working with them is extremely stimulating; they are very focused and always look for new and unconventional solutions.<\/p>\n\n\n\n

I am fascinated by animation because adding the dimension of time allows you to realize ideas that are completely different from static illustrations, playing with rhythm and the viewer’s perception. It is a language that I would like to integrate more often into my work, as it opens up very interesting narrative and visual possibilities.<\/p>\n\n\n\n

I also enjoy experimenting on my own by animating just tiny details of my illustrations, which creates a feeling of subtle movement.<\/p>\n\n\n\n

What is the first word that comes to mind when you think of Brera?<\/strong><\/p>\n\n\n\n

Accademia<\/em>, which is the art school where I studied engraving.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What is your favorite spot in Brera?<\/strong><\/p>\n\n\n\n

There are too many! The cobbled streets behind the Carmine church, the fine art shops, the botanical garden where I spent so many lunch breaks.<\/p>\n\n\n\n

<\/p>\n\n\n\n

What is your relationship with Milan Design Week? Do you always visit Brera during Fuorisalone?<\/strong><\/p>\n\n\n\n

I always try to take a few days off during Design Week so I can see everything. I especially like going to places that are normally closed to the public, and I love seeing how contemporary objects and installations interact with the historic buildings in which they are placed. <\/p>\n\n\n\n

Brera is a must-see for me. It’s one of the most beautiful neighborhoods in Milan, and during Fuorisalone, it comes alive in a special way.<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n","protected":false,"raw":"\n\n\n

Born in Milan in 1990, Chiara Ghigliazza is an award-winning illustrator and collaborates with leading Italian and international companies. For Brera Design Week 2026 she has captured a view from the city's oldest and most beloved means of transport: the tram. We asked her a few questions to find out more about her, her career, and her creative process.<\/strong>


<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

\n\n\n\n

You chose to depict one of the city's most iconic symbols. How did this idea come about?<\/strong><\/p>\n\n\n\n

My work is rather sedentary and introspective, so I often need to look outside for inspiration. Traveling by tram has become a little habit of mine, because watching the landscape go by outside the window helps me clear my mind and daydream. It's a particularly useful habit when I feel short of ideas.<\/p>\n\n\n\n

The tram makes me feel a bit like a tourist in my own city; it allows me to observe familiar places from a different angle and rediscover them. Being on the move perfectly captures the spirit of Milan, just like bouncing from one location to another \u2014 exploring and getting lost is my way of experiencing the Design Week.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

How did you get into illustration and how has your career evolved so far?<\/strong><\/p>\n\n\n\n

I have always studied art and cultivated drawing with different techniques and languages. When I was younger, I was oriented towards comics, then I studied engraving at the Brera Academy, had a brief stint as a tattoo artist, and finally found my way by attending a master's degree in editorial illustration at Mimaster.<\/p>\n\n\n\n

I started working as a freelancer in 2015, initially with Italian magazines and publishers, and soon my circle expanded to include international clients and collaborations with companies in various sectors.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Your illustrations stand out for their bold color combinations. How do you choose your color palettes?<\/strong><\/p>\n\n\n\n

I come from a completely black-and-white background, so it took me a while to introduce color into my life and work. Today I find it a very enjoyable part of the creative process, where images gain depth and character.<\/p>\n\n\n\n

I choose palettes very instinctively. I usually start with a color that matches the atmosphere I want to convey, and from there the combinations develop naturally. I have a few favorite colors that tend to emerge in my illustrations, but I always try to expand my color archive. Wherever I go, I take note of the color combinations that strike me\u2014in people's clothes, building facades, landscapes\u2014and then embody them into my work.<\/p>\n\n\n\n

<\/p>\n\n\n\n

As a digital illustrator, what is your relationship with paper?<\/strong><\/p>\n\n\n\n

When I started working as an illustrator, I moved almost entirely to digital in order to respond to fast turnaround times and corrections. The sketchbook remained a secondary tool used only for quick doodles and notes to fix ideas during the brainstorming phase.<\/p>\n\n\n\n

In recent years, I have felt the need to reintroduce paper into my process. Working on a traditional medium allows me to take a more spontaneous approach, where I am less in control. This transition is very therapeutic because it forces me to face my fear of mistakes and imperfection, which potentially do not exist in digital, but are fundamental characteristics in creative processes.<\/p>\n\n\n\n

Traveling by tram has become a little habit of mine, because watching the landscape go by outside the window helps me clear my mind and daydream. The tram makes me feel a bit like a tourist in my own city; it allows me to observe familiar places from a different angle and to rediscover them.<\/p>Chiara Ghigliazza<\/cite><\/blockquote><\/figure>\n\n\n\n

Tell us about your creative process: how do you create your illustrations?<\/strong><\/p>\n\n\n\n

I start with a research phase to identify the fundamental concepts of the theme I am working on and to look for further information if necessary. Later I make associations with other words that stem from the original concepts. The goal is to convert something abstract into concrete symbols that can be drawn. Once I have defined the symbols, I combine them in different ways: I reverse their meaning, change their size, relationships, and position, looking for a combination that can communicate the subject in a clear and original way. At this stage, I make quick sketches, and when I find an idea that works, I sketch a composition that enhances it while respecting the constraints of the project. Finally, I try out color combinations and define the final image.<\/p>\n\n\n\n

<\/p>\n\n\n\n

What are your main sources of inspiration?<\/strong><\/p>\n\n\n\n

Much of my inspiration comes from my everyday circumstances, situations and moments, or even clich\u00e9s. I play around with them from a different perspective, turning them upside down or exaggerating them, until they become something paradoxical or amusing.<\/p>\n\n\n\n

I also draw inspiration from other people's creativity: films, books, exhibitions, workshops, chats with colleagues. All these experiences settle in my mind and create fertile ground. When I sit down at my desk, I draw on this material and rework it into ideas and images.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

The illustrations for Brera were animated by the motion design studio Alkanoids. Had you worked together before? What is your experience with animation?<\/strong><\/p>\n\n\n\n

All the animation projects I have worked on so far have been done together with Alkanoids. Working with them is extremely stimulating; they are very focused and always look for new and unconventional solutions.<\/p>\n\n\n\n

I am fascinated by animation because adding the dimension of time allows you to realize ideas that are completely different from static illustrations, playing with rhythm and the viewer's perception. It is a language that I would like to integrate more often into my work, as it opens up very interesting narrative and visual possibilities.<\/p>\n\n\n\n

I also enjoy experimenting on my own by animating just tiny details of my illustrations, which creates a feeling of subtle movement.<\/p>\n\n\n\n

What is the first word that comes to mind when you think of Brera?<\/strong><\/p>\n\n\n\n

Accademia<\/em>, which is the art school where I studied engraving.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What is your favorite spot in Brera?<\/strong><\/p>\n\n\n\n

There are too many! The cobbled streets behind the Carmine church, the fine art shops, the botanical garden where I spent so many lunch breaks.<\/p>\n\n\n\n

<\/p>\n\n\n\n

What is your relationship with Milan Design Week? Do you always visit Brera during Fuorisalone?<\/strong><\/p>\n\n\n\n

I always try to take a few days off during Design Week so I can see everything. I especially like going to places that are normally closed to the public, and I love seeing how contemporary objects and installations interact with the historic buildings in which they are placed. <\/p>\n\n\n\n

Brera is a must-see for me. It's one of the most beautiful neighborhoods in Milan, and during Fuorisalone, it comes alive in a special way.<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n"},"excerpt":{"rendered":"","protected":false,"raw":""},"author":11,"featured_media":14463,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_it_post_content":"\n\n\n

Classe 1990, Chiara Ghigliazza \u00e8 una pluripremiata illustratrice (milanese DOC) che collabora con le pi\u00f9 importanti realt\u00e0 italiane e internazionali. Nella sua immagine per la Brera Design Week 2026 ha restituito un punto di vista dal mezzo di trasporto pi\u00f9 antico e amato della citt\u00e0: il tram. Le abbiamo fatto qualche domanda per scoprire qualcosa di pi\u00f9 su di lei, il suo percorso e il suo processo creativo.<\/strong>

<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n\n

\n\n\n\n

Partiamo dal soggetto: hai scelto di rappresentare dall'interno uno dei simboli pi\u00f9 iconici della citt\u00e0. Come \u00e8 nata questa suggestione?<\/strong><\/p>\n\n\n\n

Il mio \u00e8 un lavoro piuttosto sedentario e introspettivo, per cui ho spesso bisogno di cercare spunti all\u2019esterno. Viaggiare in tram \u00e8 diventata una piccola consuetudine, perch\u00e9 osservare il paesaggio che scorre fuori dal finestrino mi aiuta a svuotare la mente e a fantasticare. \u00c8 un\u2019abitudine particolarmente utile nei momenti in cui mi sento a corto di idee.<\/p>\n\n\n\n

Il tram mi fa sentire un po\u2019 turista nella mia stessa citt\u00e0; mi fa osservare i luoghi che conosco da un\u2019angolazione diversa, riscoprendoli di nuovo. L\u2019essere in movimento poi riassume bene lo spirito di Milano, cos\u00ec come rimbalzare da una location all\u2019altra, esplorare, perdermi, \u00e8 il mio modo di vivere la design week.

<\/p>\n\n\n\n

<\/p>\n\n\n\n

Come sei arrivata al mondo dell'illustrazione e in che modo si \u00e8 evoluto il tuo percorso finora?<\/strong><\/p>\n\n\n\n

Ho sempre studiato arte e coltivato il disegno con tecniche e linguaggi diversi. Da pi\u00f9 giovane sono stata orientata verso il fumetto, poi ho studiato incisione all\u2019Accademia di Brera, ho avuto una breve parentesi da tatuatrice, e infine ho trovato la mia strada frequentando un master in illustrazione editoriale al Mimaster.<\/p>\n\n\n\n

Ho iniziato a lavorare come freelance nel 2015, inizialmente con periodici e editori italiani, e dopo poco il mio giro si \u00e8 ampliato a clienti internazionali e collaborazioni con aziende in vari settori.

<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Le tue illustrazioni sono eleganti ed essenziali, e spiccano per gli accostamenti cromatici decisi. Come scegli le tue palette colori?<\/strong><\/p>\n\n\n\n

Arrivo da un background completamente in bianco e nero, quindi ci ho messo un po\u2019 ad inserire il colore nella mia vita e nel mio lavoro, ma oggi lo vivo come un momento molto divertente nel mio processo creativo, in cui le immagini acquistano profondit\u00e0 e carattere.<\/p>\n\n\n\n

Scelgo le palette in modo molto istintivo. Di solito parto da un colore affine all\u2019atmosfera che voglio raccontare, e da l\u00ec gli accostamenti si sviluppano naturalmente. Ho alcuni colori preferiti che tendono a voler emergere nelle mie illustrazioni, ma cerco sempre di ampliare il mio archivio cromatico. Ovunque vado, annoto gli accostamenti di colori che mi colpiscono \u2014 nei vestiti delle persone, le facciate dei palazzi, i paesaggi \u2014 per poi incorporarli nel mio lavoro.

<\/p>\n\n\n\n

<\/p>\n\n\n\n

Da illustratrice digitale, che rapporto hai con la carta?<\/strong><\/p>\n\n\n\n

Quando ho iniziato a lavorare come illustratrice, per rispondere alle tempistiche veloci e alle correzioni, mi sono spostata quasi interamente sul digitale. Lo sketchbook \u00e8 rimasto uno strumento secondario utilizzato unicamente per scarabocchi veloci e appunti per fissare le idee nella fase di brainstorming.
Negli ultimi anni ho sentito l\u2019esigenza di reintrodurre la carta nel mio processo. Lavorare su un supporto tradizionale mi permette un approccio pi\u00f9 spontaneo, dove sono meno in controllo. Questo passaggio \u00e8 molto terapeutico perch\u00e8 mi costringe ad affrontare la paura degli errori e dell\u2019imperfezione, che potenzialmente nel digitale non esistono, mentre sono invece delle caratteristiche fondamentali nei processi creativi.

<\/p>\n\n\n\n

Viaggiare in tram \u00e8 diventata una piccola consuetudine, perch\u00e9 osservare il paesaggio che scorre fuori dal finestrino mi aiuta a svuotare la mente e a fantasticare. Il tram mi fa sentire un po\u2019 turista nella mia stessa citt\u00e0; mi fa osservare i luoghi che conosco da un\u2019angolazione diversa, riscoprendoli di nuovo. <\/p>Chiara Ghigliazza<\/cite><\/blockquote><\/figure>\n\n\n\n

Ci racconti il tuo processo creativo: come nasce una tua illustrazione?<\/strong><\/p>\n\n\n\n

Inizia con una fase di ricerca, in cui individuo i concetti fondamentali del tema su cui sto lavorando e, se necessario, cerco altre informazioni. Poi faccio delle associazioni con altre parole che derivino dai concetti iniziali. L\u2019obiettivo \u00e8 convertire qualcosa di astratto in simboli concreti, che possano essere disegnati. Una volta definiti dei simboli, li accosto in modi diversi: ne inverto il significato, modifico dimensioni, rapporti e posizione, cercando una combinazione che possa comunicare l\u2019argomento in modo chiaro e originale. In questa fase realizzo degli scarabocchi veloci, e quando trovo un\u2019idea che funziona, abbozzo una composizione che la valorizzi e al tempo stesso rispetti i vincoli del progetto. Infine provo delle combinazioni di colori, e definisco l\u2019immagine finale.

<\/p>\n\n\n\n

Quali sono le tue principali fonti di ispirazione?<\/strong><\/p>\n\n\n\n

Gran parte della mia ispirazione nasce da quello che mi circonda ogni giorno, situazioni e momenti quotidiani, o luoghi comuni. Gioco a guardarli da un punto di vista diverso, ribaltarli o esagerarli, fino a trasformarli in qualcosa di paradossale o divertente.<\/p>\n\n\n\n

Prendo ispirazione anche dalla creativit\u00e0 di altre persone: film, libri, mostre, workshop, chiacchiere coi colleghi. Tutte queste esperienze si depositano nella mente e creano un substrato fertile. Quando mi siedo alla scrivania attingo a questo materiale, e lo rielaboro in idee e immagini.

<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

<\/p>\n\n\n\n

Le illustrazioni per Brera sono state animate dallo studio di motion design Alkanoids. Avevate gi\u00e0 lavorato assieme? Qual \u00e8 la tua esperienza con l\u2019animazione?<\/strong><\/p>\n\n\n\n

Tutti i progetti di animazione a cui ho lavorato finora sono stati realizzati insieme ad Alkanoids. Collaborare con loro \u00e8 estremamente stimolante, sono molto attenti e cercano sempre soluzioni nuove e non convenzionali.<\/p>\n\n\n\n

Sono affascinata dall\u2019animazione perch\u00e8 aggiungendo la dimensione temporale si possono realizzare idee completamente diverse rispetto alle illustrazioni statiche, giocare con il ritmo e la percezione dello spettatore. \u00c8 un linguaggio che vorrei integrare pi\u00f9 spesso nel mio lavoro, apre possibilit\u00e0 narrative e visive molto interessanti.<\/p>\n\n\n\n

Personalmente mi diverto a sperimentare in autonomia animando solo alcuni dettagli delle mie illustrazioni, il che crea una sensazione di delicata mobilit\u00e0.

<\/p>\n\n\n\n

<\/p>\n\n\n\n

Qual \u00e8 la prima parola che associ a Brera?<\/strong><\/p>\n\n\n\n

Accademia, che \u00e8 dove ho studiato incisione.

<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Qual \u00e8 il tuo angolo preferito di Brera?<\/strong><\/p>\n\n\n\n

Ne ho troppi! Le stradine acciottolate dietro la chiesa del carmine, i negozi di belle arti, l\u2019orto botanico in cui ho passato tantissime pause pranzo.

<\/p>\n\n\n\n

<\/p>\n\n\n\n

Che rapporto hai con al Design Week a Milano? Passi sempre a Brera durante il Fuorisalone?<\/strong><\/p>\n\n\n\n

Cerco sempre di prendermi dei giorni liberi durante la Design Week per poter vedere tutto. Mi piace soprattutto entrare nei luoghi che normalmente sono chiusi al pubblico, e amo molto vedere come gli oggetti e le installazioni contemporanee dialogano con gli spazi storici in cui sono inseriti. Brera per me \u00e8 una tappa obbligata, \u00e8 uno dei quartieri pi\u00f9 belli di Milano e durante il Fuorisalone si anima in maniera speciale.

<\/p>\n\n\n\n

<\/p>\n","_it_post_name":"intervista-allillustratrice-chiara-ghigliazza","_it_post_excerpt":"","_it_post_title":"Intervista a Chiara Ghigliazza, illustratrice per Brera 2026","_en_post_content":"\n\n\n

Born in Milan in 1990, Chiara Ghigliazza is an award-winning illustrator and collaborates with leading Italian and international companies. For Brera Design Week 2026 she has captured a view from the city's oldest and most beloved means of transport: the tram. We asked her a few questions to find out more about her, her career, and her creative process.<\/strong>


<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

\n\n\n\n

You chose to depict one of the city's most iconic symbols. How did this idea come about?<\/strong><\/p>\n\n\n\n

My work is rather sedentary and introspective, so I often need to look outside for inspiration. Traveling by tram has become a little habit of mine, because watching the landscape go by outside the window helps me clear my mind and daydream. It's a particularly useful habit when I feel short of ideas.<\/p>\n\n\n\n

The tram makes me feel a bit like a tourist in my own city; it allows me to observe familiar places from a different angle and rediscover them. Being on the move perfectly captures the spirit of Milan, just like bouncing from one location to another \u2014 exploring and getting lost is my way of experiencing the Design Week.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

How did you get into illustration and how has your career evolved so far?<\/strong><\/p>\n\n\n\n

I have always studied art and cultivated drawing with different techniques and languages. When I was younger, I was oriented towards comics, then I studied engraving at the Brera Academy, had a brief stint as a tattoo artist, and finally found my way by attending a master's degree in editorial illustration at Mimaster.<\/p>\n\n\n\n

I started working as a freelancer in 2015, initially with Italian magazines and publishers, and soon my circle expanded to include international clients and collaborations with companies in various sectors.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Your illustrations stand out for their bold color combinations. How do you choose your color palettes?<\/strong><\/p>\n\n\n\n

I come from a completely black-and-white background, so it took me a while to introduce color into my life and work. Today I find it a very enjoyable part of the creative process, where images gain depth and character.<\/p>\n\n\n\n

I choose palettes very instinctively. I usually start with a color that matches the atmosphere I want to convey, and from there the combinations develop naturally. I have a few favorite colors that tend to emerge in my illustrations, but I always try to expand my color archive. Wherever I go, I take note of the color combinations that strike me\u2014in people's clothes, building facades, landscapes\u2014and then embody them into my work.<\/p>\n\n\n\n

<\/p>\n\n\n\n

As a digital illustrator, what is your relationship with paper?<\/strong><\/p>\n\n\n\n

When I started working as an illustrator, I moved almost entirely to digital in order to respond to fast turnaround times and corrections. The sketchbook remained a secondary tool used only for quick doodles and notes to fix ideas during the brainstorming phase.<\/p>\n\n\n\n

In recent years, I have felt the need to reintroduce paper into my process. Working on a traditional medium allows me to take a more spontaneous approach, where I am less in control. This transition is very therapeutic because it forces me to face my fear of mistakes and imperfection, which potentially do not exist in digital, but are fundamental characteristics in creative processes.<\/p>\n\n\n\n

Traveling by tram has become a little habit of mine, because watching the landscape go by outside the window helps me clear my mind and daydream. The tram makes me feel a bit like a tourist in my own city; it allows me to observe familiar places from a different angle and to rediscover them.<\/p>Chiara Ghigliazza<\/cite><\/blockquote><\/figure>\n\n\n\n

Tell us about your creative process: how do you create your illustrations?<\/strong><\/p>\n\n\n\n

I start with a research phase to identify the fundamental concepts of the theme I am working on and to look for further information if necessary. Later I make associations with other words that stem from the original concepts. The goal is to convert something abstract into concrete symbols that can be drawn. Once I have defined the symbols, I combine them in different ways: I reverse their meaning, change their size, relationships, and position, looking for a combination that can communicate the subject in a clear and original way. At this stage, I make quick sketches, and when I find an idea that works, I sketch a composition that enhances it while respecting the constraints of the project. Finally, I try out color combinations and define the final image.<\/p>\n\n\n\n

<\/p>\n\n\n\n

What are your main sources of inspiration?<\/strong><\/p>\n\n\n\n

Much of my inspiration comes from my everyday circumstances, situations and moments, or even clich\u00e9s. I play around with them from a different perspective, turning them upside down or exaggerating them, until they become something paradoxical or amusing.<\/p>\n\n\n\n

I also draw inspiration from other people's creativity: films, books, exhibitions, workshops, chats with colleagues. All these experiences settle in my mind and create fertile ground. When I sit down at my desk, I draw on this material and rework it into ideas and images.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

The illustrations for Brera were animated by the motion design studio Alkanoids. Had you worked together before? What is your experience with animation?<\/strong><\/p>\n\n\n\n

All the animation projects I have worked on so far have been done together with Alkanoids. Working with them is extremely stimulating; they are very focused and always look for new and unconventional solutions.<\/p>\n\n\n\n

I am fascinated by animation because adding the dimension of time allows you to realize ideas that are completely different from static illustrations, playing with rhythm and the viewer's perception. It is a language that I would like to integrate more often into my work, as it opens up very interesting narrative and visual possibilities.<\/p>\n\n\n\n

I also enjoy experimenting on my own by animating just tiny details of my illustrations, which creates a feeling of subtle movement.<\/p>\n\n\n\n

What is the first word that comes to mind when you think of Brera?<\/strong><\/p>\n\n\n\n

Accademia<\/em>, which is the art school where I studied engraving.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What is your favorite spot in Brera?<\/strong><\/p>\n\n\n\n

There are too many! The cobbled streets behind the Carmine church, the fine art shops, the botanical garden where I spent so many lunch breaks.<\/p>\n\n\n\n

<\/p>\n\n\n\n

What is your relationship with Milan Design Week? Do you always visit Brera during Fuorisalone?<\/strong><\/p>\n\n\n\n

I always try to take a few days off during Design Week so I can see everything. I especially like going to places that are normally closed to the public, and I love seeing how contemporary objects and installations interact with the historic buildings in which they are placed. <\/p>\n\n\n\n

Brera is a must-see for me. It's one of the most beautiful neighborhoods in Milan, and during Fuorisalone, it comes alive in a special way.<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n","_en_post_name":"","_en_post_excerpt":"","_en_post_title":"Illustrator Chiara Ghigliazza interviewed ","edit_language":"en","footnotes":""},"categories":[1],"tags":[],"class_list":["post-14460","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-brera-design-week"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts\/14460"}],"collection":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/comments?post=14460"}],"version-history":[{"count":58,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts\/14460\/revisions"}],"predecessor-version":[{"id":14539,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts\/14460\/revisions\/14539"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/media\/14463"}],"wp:attachment":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/media?parent=14460"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/categories?post=14460"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/tags?post=14460"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}