Loris F. Alessandria, an Italian freelance illustrator who loves Lego and dogs, feels that inspiration is not in and for chosen few, but all around for us to recognise, acknowledge and appreciate. He goes on to expound on his own insightful findings owing to being open to them along the way.
CG. Having a strong sense of design and the ability to put yourself out there, where do you see yourself in the next couple of years?
LA. Thank you. I am working hard to improve my skills, and to find some new ways to communicate. In the next couple of years, I’d like to see myself as a trusted freelancer; one who gets the opportunity to work with very cool people around the globe.
CG. How is your approach different from others around you? What is the inspiration for the same?
LA. I do not know if my approach is different or not, but I personally think it is not. The chosen approach depends on the project at hand i.e. what is required and apt for it so that it comes into effect in the best way possible. Usually, though, I like to make use of expressive characters and even play with a lot of colours. My inspiration comes in different forms and mediums; they could be in the form of illustrated books, graphic design projects or animated movies as well. I’m always inspired by the thousands of talented people around me.
CG. How do you narrow down to a specific element and work on making it more important? How does your core thought (the subject of your work, or the way it is executed) make its way from sketches to the final render?
LA. Usually, the final illustrations are really similar to my sketches; more like an extension of the sketches. It’s a little different when I sketch for storyboards; in this case, it’s more important for me to focus on actions instead of the design by itself.
CG. Your illustrations seem to be woven around a lot of colours; a relatable character and, essentially, human-based themes. How do you manage to tell this story in a stationary frame?
LA. Well, that’s the hardest part of our job. I try to give personality and temperamental qualities to my characters. Likewise, I also make an effort to create a good environment that stays in sync with the characters, so that the two elements gel well with one another and produce an impactful effect, in turn. The focus of attention is laid upon the action or the message that the illustration is intended to convey to or bring about in the audience
CG. Do you consider technology a big part of art today, and its impact on constantly changing trends? What inspires your work and keeps you updated on modern techniques and styles?
LA. I think technology is a big player in today’s times and era, whether it is in the form of the wide and diverse range of tools one has at disposal, or of the innovative ways you can stay connected with other creatives. I usually use Tumblr and Instagram to find inspirational things, and they also prove to be helpful mediums to keep updated every day.
CG. We live in a multi-media world where people want fast information and fast response rates. How has this turned creative business trends into essentials?
LA. Everything is fast. The world of communication, too, is affected by this rhythm. Most of the times, my commissions have very tight timelines, and that can sadly cause some loss in terms of quality. Sometimes, using simple images is the best way; sometimes it’s not.
Published in Issue 37
The issue includes interactions with Preeti Vyas from VGC on ‘How to pitch for clients or retain the existing one’ and Ashish Deshpande from Elephant on ‘Challenges of working with a startup’, along with some best freelancers like Archan Nair, Shreya Shetty and Paul Sandip, sharing their knowledge of working with various clients. Also, Sachin Puthran from Thatzit.com gave a 10-point no-nonsense guide for studios to handle their finances. A must read, if you are planning for the financial year ahead or worried about your handling your money matter, this issue can give you much-needed insight and guide you to a better financial health of your business or freelancing.
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