Il nostro partner Studio Creativity ci segnala la buona notizia di Alessandro Battara, uno dei suoi associati che è stato notato e apprezzato in oriente grazie oltre alle migliaia di contatti professionali(studi di animazione 2D e animazione 3D, studi grafici, agenzie di pubblicità e gallerie d’arte)che Studio Creativity ha in tutto il mondo. Alessando Battara nasce nel freddo 23 Novembre del 1972 nella piccola e nebbiosa città di Ferrara dove ancora vi risiede, lavora e vive, ed è freelance dal 2004 nel campo grafico e dell’illustrazione. Nel Settembre del 1978 decide di iscriversi alte Scuole Elementari Biagio Rossetti ma dopo i primo anno il suo temperamento eccessivamente vivace (probabilmente un genio incompreso) viene fortemente penalizzato costringendolo a lasciare quell’Isituto per iscriversi l’anno seguente alla G. Govoni, dove dopo quattro anni brillanti conseguirà l’ambito Diploma di quinta elementare. Nel 1984 avviene l’iscrizione alle scuole medie G. Garibaldi, dove trascorrerà tre anni assenti e dalla difficile socializzazione. Arriva il 1987, dove contro l’opinione della sua professoressa di educazione Artistica che lo ritiene incapace di disegnare, avviene riscrizione all’Istituto d’Arte Dosso. Dossi. È l’inizio di cinque anni caratterizzati da una vivacità al limite del gestibile fuori e dentro l’Istituto d’Arte; sarà un periodo turbolento dove il carattere scontroso di Alessandro prenderà il sopravvento anche sulle sue capacità artistiche relegandole in secondo piano per diversi anni anche dopo la maturità. Non c’è tempo per scegiere quale e se frequentare l’Università perché la partenza nel 1991 per l’anno di leva è imminente, mentre si butta dall’aereo conseguendo il Brevetto Militare,arriva la convocazionenella Nazionale Miliare di Pugilato a Roma, si, Alessandro aveva iniziato una brillantissima carriera nella boxe già all’età di 9 ami, iniziando a combattere sul ring all’età di 12 (giusto per sfogare quella sua vivacità). Nel 1995 verrà conseguita la Qualifica biennale post-diploma in “Grafico anatomi-co nel campo medico scientifico”. È il momento di decidere se continuare la carriera sportiva oppure restare una grande promessa e sterzare decisamente tentando di divenire un grafico-illustratore…La risposta a questa domanda è in questo sito. Dal 2005 al 2008 ho fatto parte del gruppo TLA in qualità di grafico-ilustratore commerciale. Ho arricchito in modo significativo I bagaglio dele mie conoscenze e delle mie capacità stando costantemente a contatto con tutto quello che riguarda la concezione grafica di un lavoro ed il conseguente processo tipografico acquisendo così la capacità di gestione di un progetto a 360 gradi. Dall’inizio del 2008 collaboro come free-lance in qualità di grafico illustratore alla Minerva Edizioni di Bologna. 2002/05 diverse collaborazioni e pubblicazioni con il gruppo Hera. 2007 tra i finaisti nel concorso internazionale “Arena del
fumetto”, Bologna. 2008 vincitore del concorso per illustratori “Copertine al Tratto” indetto da “Subway Letteratura” e sponsorizzato da Tratto Pen. Milano. 2009 contattato, intervistato e in attesa di pubblicazione, da DPI Magazine (Taiwan), rivista d riferimento nell’ilustrazione e grafica in tutto il Sol Levante, distribuita negli U.S.A., Australia, Giappone. Ho lavorato in prima persona alla realizzazione dei volumi sul centenario del Bologna calcio, e personalmente ho progettato e realizzato il catalogo Memorabilia, oltre a 2 copertine dei 3 volumi riguardanti il Bologna calcio appunto. Attualmente impegnato nella progettazione grafica di una collana di criminologia.Ecco un estratto dell’intervista del giornaledpi a Alessandro Battara: “dpi : Would you please talk about your philosophy of art first? Alessandro : Basically, my aim is to strike hard taking what’s negative around us-like a piece of news, the social or political situation- and turning it into a manifesto, even including the lettering when required. A manifesto that hits you in the stomach and makes people think. I believe what we saw and lived first hand in our lives is very helpful, the more things touched us, the more we have to say and express, even violently. I’m always trying to turn my illustrations into a sort of cinematographic manifesto; the situation or the fact that I’m illustrating becomes my own fi lm, that I must summarize in a poster. dpi : How would you describe the evolvement of your career? Alessandro : I graduated from the Dosso Dossi School of Art in Ferrara, then I got a two year qualifi cation in anatomical design. Unfortunately there weren’t many job opportunities available at the time so I had to take every sort of humble job. I wanted to make money in order to start my own life. A few years later I got the opportunity to go back in the graphic design business. I took out my colours and dusty brushes and started drawing and working on my computer for hours because I felt a bit rusty and…you know what? I discovered I had so much to say! I met every sort of person. In a work environment like a factory, for example, you can meet nice people, desperate people and even the outcast. I haven’t spent my life inside a graphic studio and this helped me a lot, despite what I myself used to think, because having seen life as it really is and having experienced hard work that I profoundly hated I have now dpi : Is there artistic period which infl uence you the most? Or is there any artist is your favourite? Alessandro : I have been influenced by whatever can be described as PULP, I’m simply fascinated by Quentin Tarantino’s work and I adore Robert Rodriguez. Two of my favourite cult films are “Blade Runner”
and “Taxi Driver”. In the fi eld of illustration and comics I love Simon Bisley, Martin Emond, Jim Murray, the creators of Ranxerox Stefano Tamburini and Tanino Liberatore, Frank Frazetta and Kent Williams. I’m influenced by whatever is sharp and provoking, that tends to break the rules and cross the line and shows traces of handwork in any form, like a stroke of the brush, a plaster, a piece of adhesive tape maybe placed with that touch of imperfection that, in my opinion, gives life to the work of art. dpi : In your works there are always some items like blood, or violent people, some dark corners in the city. What’s the message you convey from them? Ales sandro : B lood i s an es sent ial element that makes the atmosphere of the illustration harsh and dramatic. I very often realize it myself by combining different colours until I get the effect I want. Blood can have dif ferent meanings according to the illustration. Sometimes it’s a symbol of sufferance, like in “the Bitter World of Boxing” or in “The Italian Politicians” where it symbolizes the sufferance of the Italian people who feel betrayed and exploited by their political class. In “Drug History”, “Pusher” or “A Window on the World” it’s a synonym of pure violence, homicide and squalor. The dark parts of the city are like dens of that parallel world that lives beside us in our cities; the world that we don’t want to see or pretend it doesn’t exist: that mixture of degradation, violence and squalor that comes to life during the night and lives in the dark corners of our cities. We think it’s so far from us but it can almost touch us… I divide our society in three “trains” running very close two each other on three parallel tracks. One is the train of the big opportunities of life, fame and celebrity, with very few people on board. The second is the train of normal life, usually honest with many duties and few pleasures. This train is slower than the first and crowded. Many people would like to jump on the fi rst train but often they can’t and the end is tragic. The third train is that of failure. It isn’t crowded but there are many people anyway and it’s full of every negative human form: drug addicts, criminals, murderers, corrupted people, maniacs, thieves, the outcast and any other negative thing you can think of. This train is very slow and a few mistakes are suffi cient to end up on it, often pushed by the crowds from the second train. At this stage it becomes impossible to fi nd enough space to try and jump back on the second train or even the first. dpi : Would you please talk about the piece “Trash” which is the first work on the webpage of Studio Creativity, in which there is a character in a truck? What’s the story? Alessandro : “Trash” was commissioned by an advertising agency for a campaign on separate collection of waste. The slogan
was “Be careful, waste is dangerous”. In my style, I represented the degeneration of waste becoming a sort of monster that threatens to devour us if we continue with our superficial approach, not caring about the environment. Unfortunately this work was prophetic. The pictures of the piles of rubbish in Naples went round the world, turning what I’d expressed with my illustration into reality. dpi : Another work, the one “a/hallucination”, would you talk about this man with two different eyes? Alessandro : This work went through many phases: this is the first of five postcards representing five different phases, that I realized on “a one night journey into the effects of drugs”. The complete work is called “Postcards from a trip”. “Hallucination” is the phase in which the character (an ordinary boy) is contemplating the possibility of getting high, and then surrounds himself with all the elements he needs for his trip: cocaine, pills, marijuana, etc… The clock is there to make us sink into the night and the “bunny” is the icon of this “getting high”, an illusion, a puppet that seems to be there to entertain you (that what is often believed of drugs) while it actually destroys you because, behind that sweet and funny look is an evil soul ready to kill the naive consumer. The second phase is taking the drugs. I created an effervescence effect in the background, similar to that of a tablet dissolving when taking an acid. The character’s face starts mutating. The third phase is the split personality. Drugs evoke the worst part of a person, our personality is altered and changes, making our animal side emerge. The shark has a double meaning. It’s both the drug that’s devouring us and the animal the character is turning into. The fourth is “delirium”. The last effect that drugs cause. The world around the character is acid green, it’s the fi nal exaltation, but death is approaching. It’s a predictable ending for the observer but not for the character who thinks he’s in control whilst it’s death that is actually in control. The fifth phase needs no explanation. It’s death, the often unexpected destination of the traveler. dpi : Which work is your best favourite and why? Or would you please talk about the piece which is the most special for you? Alessandro : I love “The Bitter World of the Boxing” very much because it represents an important part of my life. Nobody in the world of illustration knows that the central figure in the background is me at ten, at the beginning of my sporting career. The image at the top left also portrays me during a match. Whoever used to know me at the time and meets me today can hardly believe I became an illustrator whilst those who’ve known me since I became a professional graphic designer/ illustrator could never
imagine the years of fights on the ring in my past. It’s kind of funny and, somehow, amusing that my life is divided into two separate periods: the first is perfectly portrayed in this illustration, and the second is the one I’m living now and it is very much infl uenced by the fi rst from an artistic point of view. dpi : What material is your favorite for creating? And would you please talk about your general process of working? Where does your inspiration from? Alessandro : In most cases I start from a pencil drawing, in other cases I start from a photo. I love drawing and colouring with dense watercolours, and refine my work with watercolour pencils with an ink effect that I often complete with a brush lightly dipped into EcoLine. Usually my working process is divided into four steps: The first is frustration: I feel that I have something in my mind but nothing concrete comes out of it. In the second phase I decide what elements I need. I make this decision after a photographic research, after having been to a library or wandered around the town (often at night). In the third phase all the elements start fi tting like a jigsaw puzzle. I try to fi nd a good balance between the different elements and the colours. If the elements don’t match perfectly I usually start over again. The fourth phase is the lettering. I love fonts and once I’ve created the image I search for the most suitable font. In my opinion every font expresses a different atmosphere that must resemble what I’m trying to convey with my illustration. I take inspiration from many things. I have often realized that I get some ideas out of the most common things. I have two laboratories of ideas: one is my car windscreen when I’m driving to work or around. The windscreen becomes a sort of blackboard where I project my ideas. That’s how “A Window on the World” was born. I was driving on a winter morning, it was raining heavily and a truck going through a puddle splashed my car. I sawthe water red and my eye was trying to see through the red so I imagined what kind of world I could have seen peering through that little opening that was forming in the red. Then I continued at home. The other laboratory of ideas is my bed, at night, where I see what is in my head like a short fi lm. They go very fast and I start cutting and putting images together, mixing, redesigning and personalizing them. When I get something good I put my idea down on a drawing in the morning. I need to hear my wife’s opinion on everything I do and to see my children’s reaction. If they jump it usually means that what I did has some sort of impact. dpi : Since you depicted some dark scenes in city corners, what does the city mean to you? Alessandro : I see the city like a box, a container divided into many parts. Inside this box the life stories intertwine, almost touch each other or clash. Not everything can be easily seen, many things take place in the dark corners. My illustrations try to zoom in on these corners. dpi : Would you please talk about what you are working on recently for our readers? Alessandro : I’m working on a project for the covers of two novels, on a range of 50’s style biker T-shirts and I’m completing the graphic design of my website. Alessandro Battara
Studio Creativity troverete un elenco di illustratori italiani e internazionali, fumettisti, artisti, autori, grafici, esperti di animazione 2D e 3D, editori e scuole artistiche. Uno spazio dove ogni professionista della creatività può creare la propria galleria di lavori realizzati; una vetrina in cui esporre il proprio portfolio on-line e cercare nuove collaborazioni.
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