Federica Dal Lago’s refined watercolour illustrations
“I’m Federica Dal Lago, an illustrator from Vicenza, Italy, born in 1991.
I have always had a particular propensity for drawing, which began with the use of pencils and was later improved through colour. My artistic training began at the Boscardin Technical Institute in Vicenza and then went on to the three-year course in Illustration at the International School of Comics in Padua. Here I began my stylistic research: a continuous personal investigation that led me to attend both drawing courses (including those of Damiano Bellino) and watercolour courses.”
What inspires you? Is there a particular artistic movement or artist that makes this happen? One of the first artistic movements that attracts my attention was Art Nouveau, especially Klimt with his flat background works full of detail contrasting with simpler backgrounds. Later my way of looking at the world was also influenced by Schiele’s expressive line, Gauguin’s colours, Klee’s synthesis and his textures; they are all strong artists in their diversity, but united by the strength of the sign that takes shape: this is where my passion for decorative elements was born, my use of a “texturing” of surfaces and patterns that take part in my works first through the insertion of many details and then through the repetition of natural motifs. Over the years I have also been inspired by many illustrators such as Marina Marcolin, Joanna Concejo, Carll Cneut, Elisa Talentino and many others.
When did you realise that drawing would be your destiny? I realised that illustration was my destiny at two different times and in two different ways. The first moment was after graduation, when I chose to continue my artistic education by pursuing studies in illustration. The second moment, which let’s be honest answers this question best, was about three years ago when I became aware of what I wanted to be and of my abilities: I took my life into control, I quit a job that absorbed too much time and energy and I started to devote much more time to what I wanted to make a full-time job. Since then, I have realised that regardless of successes or defeats, when you start moving in the right direction, a whole range of possibilities are set in motion around you, even in the most diverse forms.
Where and how do you see yourself in twenty years? How do I see myself in twenty years?! It’s not an easy question to answer: I like to think that everything follows a flow driven by choices and opportunities taken or lost, and therefore, as Bruno Munari would say, “One thing leads to another”. I know that art and illustration will always be part of me but I don’t know how many different forms they will take. I like to think that during my journey I will meet many illustrators and artists who will influence me, just as I will influence them, and that this will be a source of evolution for me. It is for this reason that one of my goals, in addition to publishing illustrated books, will be to have a shared studio, a space to work but also to compare notes, to work on both personal and collective projects. Will they become reality? We will only find out by living!
How would you describe your style? In all illustrations I always try to include natural elements. I like the line, I try to create details and elaborations on shaded backgrounds. I like everything that is raw, dirty, stained. I am very intrigued by spots because I imagine shapes in them and I often evolve my work from there. I could call my style decorative because of the continuous presence of elements and patterns that are repeated. My passion for patterns influences my illustrations through a mixture of solids and voids given by both the colour and the interplay of alternating details and backgrounds.
What value does analogue have for you? I prefer analogue, although I am conscious that a specialist needs knowledge of both practices. I am attracted by the material aspect and I love getting my hands dirty with colours! With digital this is of course not possible. I think it is priceless to be able to mix colours with the brush (yes, I use watercolour a lot). The real challenge and strength of this technique is that YOU CANNOT TURN BACK because no fixes are possible. If, by chance, the sheet of paper gets dirty with watercolour, for me it becomes the starting point to create something else, because it is from the defect that something can be born.
Contact: @federica_dallago