{"id":8504,"date":"2025-01-30T09:25:17","date_gmt":"2025-01-30T09:25:17","guid":{"rendered":"https:\/\/www.breradesigndistrict.it\/?p=8504"},"modified":"2025-01-31T15:01:06","modified_gmt":"2025-01-31T15:01:06","slug":"","status":"publish","type":"post","link":"https:\/\/www.breradesigndistrict.it\/en\/news\/brera-design-week\/intervista-a-marta-signori-autrice-della-nuova-illustrazione-per-brera-design-week-2025\/","title":{"rendered":"Interview with Marta Signori, Author of the New Illustration for Brera Design Week 2025","raw":"Interview with Marta Signori, Author of the New Illustration for Brera Design Week 2025"},"content":{"rendered":"\n
\n

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.<\/h2>\n<\/div>\n\n\n\n
\n\n\n\n

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

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

\n\n\n\n

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

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

\n\n\n\n

Where did you start, and what inspired you in creating these illustrations?<\/strong><\/p>\n\n\n\n

I wanted to create illustrations that were as much about form and color as possible.<\/p>\n\n\n\n

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

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

In your opinion, what added value can an illustration offer today?<\/strong><\/p>\n\n\n\n

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

The added value of illustration is its ability to convey a message in an engaging way\u2014a sort of spatial and visual bubble that envelops the viewer, allowing them to get lost in the colors and details.<\/p>\n\n\n\n

\n\n\n\n

How does your creative process begin when working on a new project?<\/strong><\/p>\n\n\n\n

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

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

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

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.<\/p>Marta Signori<\/cite><\/blockquote><\/figure>\n\n\n\n

The illustrations for Brera have been animated by motion designer Valerio Di Mario. Have you worked together before?<\/strong><\/p>\n\n\n\n

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

\n\n\n\n

What is your experience with animation? Is it exciting to see static drawings come to life?<\/strong><\/p>\n\n\n\n

Seeing a static image come to life is pure magic\u2014it immediately makes me think of the Harry Potter universe and the animated photos in the Daily Prophet.<\/p>\n\n\n\n

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\u2014a parallel universe.<\/p>\n\n\n\n

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

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

How does the creative process change knowing that the drawings will be animated by someone else?<\/strong><\/p>\n\n\n\n

My initial creative process doesn’t change much. I don\u2019t think about what comes next\u2014I 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\u2019m satisfied with the draft and it’s time to move forward, the process shifts.<\/p>\n\n\n\n

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\u2014every character, object, and detail\u2014must 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!<\/p>\n\n\n\n

\n\n\n\n

Back to Design Week\u2014do you attend it regularly? Or, more broadly, are you involved in the worlds of art, design, and fashion?<\/strong><\/p>\n\n\n\n

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

\n\n\n\n

So, will we see you in Brera from April 7 to 13? That\u2019s when your images will be displayed all over the district!<\/strong><\/p>\n\n\n\n

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

\n\n\n\n

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

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

\n\n\n\n

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

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

\n\n\n\n

Where did you start, and what inspired you in creating these illustrations?<\/strong><\/p>\n\n\n\n

I wanted to create illustrations that were as much about form and color as possible.<\/p>\n\n\n\n

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

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

In your opinion, what added value can an illustration offer today?<\/strong><\/p>\n\n\n\n

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

The added value of illustration is its ability to convey a message in an engaging way\u2014a sort of spatial and visual bubble that envelops the viewer, allowing them to get lost in the colors and details.<\/p>\n\n\n\n

\n\n\n\n

How does your creative process begin when working on a new project?<\/strong><\/p>\n\n\n\n

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

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

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

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.<\/p>Marta Signori<\/cite><\/blockquote><\/figure>\n\n\n\n

The illustrations for Brera have been animated by motion designer Valerio Di Mario. Have you worked together before?<\/strong><\/p>\n\n\n\n

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

\n\n\n\n

What is your experience with animation? Is it exciting to see static drawings come to life?<\/strong><\/p>\n\n\n\n

Seeing a static image come to life is pure magic\u2014it immediately makes me think of the Harry Potter universe and the animated photos in the Daily Prophet.<\/p>\n\n\n\n

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\u2014a parallel universe.<\/p>\n\n\n\n

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

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

How does the creative process change knowing that the drawings will be animated by someone else?<\/strong><\/p>\n\n\n\n

My initial creative process doesn't change much. I don\u2019t think about what comes next\u2014I 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\u2019m satisfied with the draft and it's time to move forward, the process shifts.<\/p>\n\n\n\n

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\u2014every character, object, and detail\u2014must 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!<\/p>\n\n\n\n

\n\n\n\n

Back to Design Week\u2014do you attend it regularly? Or, more broadly, are you involved in the worlds of art, design, and fashion?<\/strong><\/p>\n\n\n\n

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

\n\n\n\n

So, will we see you in Brera from April 7 to 13? That\u2019s when your images will be displayed all over the district!<\/strong><\/p>\n\n\n\n

Absolutely!<\/p>\n"},"excerpt":{"rendered":"","protected":false,"raw":""},"author":11,"featured_media":8547,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_it_post_content":"\n\n\n

\n\n\n\n

Qual \u00e8 la prima parola ti viene in mente quando pensi a Brera?<\/strong><\/p>\n\n\n\n

La Pinacoteca. \u00c8 stato il primo museo che ho visitato appena trasferita a Milano. La pittura \u00e8 l\u2019espressione che pi\u00f9 sento affine ed \u00e8 sempre una grande emozione quando vedo dal vivo le opere classiche che studiavo al liceo.<\/p>\n\n\n\n

\n\n\n\n

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

Via dei Fiori Chiari e dei Fiori Oscuri mi sono sempre state simpatiche per il loro nome. Mi piace partire da l\u00ec, lasciare l\u2019Accademia e scendere su via Brera fino a raggiungere Pellegrini, la mia bottega d\u2019arte preferita e l\u00ec far rifornimento di colori.<\/p>\n\n\n\n

\n\n\n\n

Da cosa sei partita e cosa ti ha ispirato nella creazione di queste illustrazioni?<\/strong><\/p>\n\n\n\n

Volevo realizzare delle illustrazioni che fossero il pi\u00f9 possibile forma e colore.<\/p>\n\n\n\n

Sono quindi partita da una palette molto contrastata di quattro colori: rosso mattone, bianco sporco, verdone e nero. Volevo riuscire a creare delle figure e dei contesti che potessero far trasparire sia la vitalit\u00e0 di Brera sia l\u2019immaginario iconico del mondo del design. I colori mi piaceva che fossero accattivanti, e che mi permettessero di creare composizioni di forme e che le figure potessero trasmettere eleganza e contemporaneit\u00e0, con la calibrazione di pochi dettagli.<\/p>\n\n\n\n

\"\"
Illustrazione di \/ illustration by Marta Signori<\/em><\/figcaption><\/figure>\n\n\n\n
\n\n\n\n

Secondo te, quale valore aggiunto pu\u00f2 offrire oggi un\u2019illustrazione?<\/strong><\/p>\n\n\n\n

Mi piace pensare che l\u2019illustrazione possa essere una finestra colorata che altera la realt\u00e0 e ce la fa vedere da un punto di vista diverso. Ci fa tuffare in un mondo parallelo con colori, e forme nuove, dove tutto \u00e8 possibile.<\/p>\n\n\n\n

Il valore aggiunto che pu\u00f2 offrire \u00e8 quello di veicolare un messaggio in un modo entusiasmante, una sorta di bolla spaziale e visiva che permette a chi la guarda di esserne avvolto e potersi perdere nei colori e nei dettagli.<\/p>\n\n\n\n

\n\n\n\n

Come inizia il tuo processo creativo quando lavori a un nuovo progetto?<\/strong><\/p>\n\n\n\n

Inizio con un brainstorming di parole e di disegni veloci: lascio fluire tutti i concetti che mi vengono in mente sul dato progetto e inizio a dare forma con la matita ad alcuni pensieri. In questo atto i tratti sono spontanei e sinceri e mi servono da guida per tutto il lavoro.<\/p>\n\n\n\n

Una volta fatto questo processo, che \u00e8 molto veloce, inizio a dar forma pi\u00f9 definitiva alle idee iniziando la vera illustrazione. In questo passaggio inizio con il comporre una palette che sia coerente con il progetto e il pi\u00f9 possibile ristretta.<\/p>\n\n\n\n

A volte mi \u00e8 utile guardare contesti, immagini, fotografie che sono affini all\u2019argomento e farmi ispirare da forme, oggetti o colori e una volta elaborati gli stimoli, mi piace sempre arrivare a una sintesi.<\/p>\n\n\n\n

Mi piace pensare che l\u2019illustrazione possa essere una finestra colorata che altera la realt\u00e0 e ce la fa vedere da un punto di vista diverso. Ci fa tuffare in un mondo parallelo con colori, e forme nuove, dove tutto \u00e8 possibile.<\/p>Marta Signori<\/cite><\/blockquote><\/figure>\n\n\n\n

\n\n\n\n

Le illustrazioni per Brera sono state animate dal motion designer Valerio Di Mario. Avevate gi\u00e0 lavorato assieme?<\/strong><\/p>\n\n\n\n

Con Valerio collaboro da svariati anni e mi sono trovata sempre in sintonia; non ho avuto dubbi, quindi, su chi chiamare quando mi \u00e8 stato chiesto di affiancarmi a un videomaker per questo lavoro.<\/p>\n\n\n\n

\n\n\n\n

Qual \u00e8 la tua esperienza con l'animazione? \u00c8 emozionante vedere i disegni statici prendere vita?<\/strong><\/p>\n\n\n\n

Vedere un\u2019immagine statica prendere vita \u00e8 pura magia: la mia mente va subito al mondo di Harry Potter e alle foto animate della Gazzetta del Profeta.<\/p>\n\n\n\n

La prima illustrazione che ho animato da sola era per ILMagazine, un paesaggio toscano con in lontananza una vespa che percorreva una stradina ombreggiata dai cipressi. \u00c8 stato divertente creare tutto su Photoshop, livello su livello, improvvisando su movimenti ed effetti: sono rimasta affascinata dal risultato e, sebbene fosse uscito da un processo un po\u2019 rudimentale, ne ho visto le potenzialit\u00e0. Ho realizzato di essere di fronte a un mondo a parte, un mondo parallelo.<\/p>\n\n\n\n

Quando mi sono arrivate le prime richieste per dei video illustrati e sono stata affiancata a degli animatori, \u00e8 stato elettrizzante! L\u2019illustrazione, quando \u00e8 in mano a dei veri professionisti del movimento, si trasforma e prende una nuova vita.<\/p>\n\n\n\n

\"\"
Illustrazione di \/ illustration by Marta Signori<\/em><\/figcaption><\/figure>\n\n\n\n
\n\n\n\n

Come cambia il processo creativo sapendo che i disegni andranno poi animati da qualcun altro?<\/strong><\/p>\n\n\n\n

Il mio processo creativo iniziale non cambia molto. Non devo pensare a ci\u00f2 che verr\u00e0 dopo e butto gi\u00f9 le idee come le sento. La bozza e i primi colori sono praticamente sempre su un singolo livello, e disegno ragionando sulla composizione finale. \u00c8 quando sono soddisfatta della bozza e si deve passare all\u2019azione che il processo cambia.<\/p>\n\n\n\n

Inizio a ragionare su uno storyboard, su come il movimento entra in scena e cosa succede nella storia che si vuole raccontare, quali passaggi di scena inserire. A questo punto, lo scambio d\u2019idee con l\u2019animatore \u00e8 essenziale per scolpire meglio lo storyboard, definirlo e sintetizzarlo. Capiamo allora assieme i movimenti che potrebbero rendere meglio l\u2019idea da trasmettere. Tocca a me poi aggiungere elementi, sfondi, chiudere e definire ogni forma. Ogni elemento, ogni soggetto, ogni oggetto che prevede l\u2019animazione deve essere suddiviso in parti che ne permettano il movimento. Non per ultimo, si deve avere presente che il file di lavoro deve essere condiviso con l\u2019animatore, e ci\u00f2 significa che deve essere pulito e chiaro: quindi, livelli ben nominati e soggetti raggruppati!<\/p>\n\n\n\n

\n\n\n\n

Tornando alla Design Week, la frequenti abitualmente? O pi\u00f9 in generale il mondo dell\u2019arte, del design e della moda?<\/strong><\/p>\n\n\n\n

Vivo a Milano da dieci anni, e da dodici non ho mai mancato una Design Week. Ho una laurea triennale in Scienze dell\u2019Architettura e il design ha forgiato prima i miei studi e poi la mia quotidianit\u00e0.<\/p>\n\n\n\n

\n\n\n\n

Allora ci vedremo dal 7 al 13 aprile a Brera? Cos\u00ec potrai vedere le tue immagini in ogni angolo del distretto!<\/strong><\/p>\n\n\n\n

Certamente!<\/p>\n","_it_post_name":"intervista-a-marta-signori-autrice-della-nuova-illustrazione-per-brera-design-week-2025","_it_post_excerpt":"","_it_post_title":"Intervista a Marta Signori, autrice della nuova illustrazione per Brera Design Week 2025","_en_post_content":"\n\n\n

\n\n\n\n

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

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

\n\n\n\n

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

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

\n\n\n\n

Where did you start, and what inspired you in creating these illustrations?<\/strong><\/p>\n\n\n\n

I wanted to create illustrations that were as much about form and color as possible.<\/p>\n\n\n\n

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

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

In your opinion, what added value can an illustration offer today?<\/strong><\/p>\n\n\n\n

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

The added value of illustration is its ability to convey a message in an engaging way\u2014a sort of spatial and visual bubble that envelops the viewer, allowing them to get lost in the colors and details.<\/p>\n\n\n\n

\n\n\n\n

How does your creative process begin when working on a new project?<\/strong><\/p>\n\n\n\n

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

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

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

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.<\/p>Marta Signori<\/cite><\/blockquote><\/figure>\n\n\n\n

The illustrations for Brera have been animated by motion designer Valerio Di Mario. Have you worked together before?<\/strong><\/p>\n\n\n\n

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

\n\n\n\n

What is your experience with animation? Is it exciting to see static drawings come to life?<\/strong><\/p>\n\n\n\n

Seeing a static image come to life is pure magic\u2014it immediately makes me think of the Harry Potter universe and the animated photos in the Daily Prophet.<\/p>\n\n\n\n

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\u2014a parallel universe.<\/p>\n\n\n\n

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

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

How does the creative process change knowing that the drawings will be animated by someone else?<\/strong><\/p>\n\n\n\n

My initial creative process doesn't change much. I don\u2019t think about what comes next\u2014I 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\u2019m satisfied with the draft and it's time to move forward, the process shifts.<\/p>\n\n\n\n

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\u2014every character, object, and detail\u2014must 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!<\/p>\n\n\n\n

\n\n\n\n

Back to Design Week\u2014do you attend it regularly? Or, more broadly, are you involved in the worlds of art, design, and fashion?<\/strong><\/p>\n\n\n\n

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

\n\n\n\n

So, will we see you in Brera from April 7 to 13? That\u2019s when your images will be displayed all over the district!<\/strong><\/p>\n\n\n\n

Absolutely!<\/p>\n","_en_post_name":"","_en_post_excerpt":"","_en_post_title":"Interview with Marta Signori, Author of the New Illustration for Brera Design Week 2025","edit_language":"en","footnotes":""},"categories":[1],"tags":[],"class_list":["post-8504","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\/8504"}],"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=8504"}],"version-history":[{"count":57,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts\/8504\/revisions"}],"predecessor-version":[{"id":9253,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts\/8504\/revisions\/9253"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/media\/8547"}],"wp:attachment":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/media?parent=8504"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/categories?post=8504"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/tags?post=8504"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}