Valeria Cunto

Valeria, you started your career as a graphic designer in Rome, then specialised in Digital Art Direction and UX Design in Milan, working in prominent advertising agencies. How has this training contributed to your evolution as an illustrator, and which elements of your graphic background influence your current work? Working in a communication agency has greatly influenced my approach to illustration. I tend to be an adaptive illustrator, in the sense that I try to adapt my style according to the project I am facing, since every job has its own soul and specific purpose. My background as an Art Director has taught me the distinct difference between communication and art, and that a particular personal style may not always be the right fit for every product. Art direction has instilled in me the importance of observation and deepening. My curiosity, on the other hand, has led me to form a basic culture composed of a wide range of elements, from books to films, embracing everything that is popular. This constant curiosity provides me with numerous ideas and insights when it comes to transposing concepts onto paper. Taste and personal vision always emerge, in some way, but possessing a certain versatility means being able to give a distinctive identity to a project, making it appropriate and precise for the type of product I have to represent or communicate. On the graphic front, my technical training has been particularly useful, especially in situations where I have worked on apps or websites. For example, it has helped me manage the composition of the image, the export of files, and the understanding of the relationship between the copy head and the space to be illustrated. In addition to this, I have been able to implement an effective work organisation, maintaining consistency in the creation of concise Illustration Systems. An aspect that I took from the experience in advertising also concerns the work of still life, video, and 3D, especially in the context of food. The representation of elements in three dimensions has become rooted in me like glue, significantly characterising my work as an illustrator.

You have collaborated with very well-known brands, from Luxottica to Miele Italia. How do you navigate the challenge of conveying a brand’s vision and values through your illustrations, and how do you tailor your approach to suit the unique requirements of each client? When working with clients, I focus on establishing an empathetic dialogue that transcends basic transactional interactions. I therefore strive to go beyond words, trying to grasp what might not have been explicitly said, positioning myself in a receptive way and going beyond the requests. Working with Luxottica and Miele Italia presented me with two distinct experiences, each with its own set of dynamics and requirements. The former is an indirect client, as my collaboration came through Tango, a Milan-based agency under the creative direction of Filippo Solimena. Luxottica presented me with a concept to develop, which had to include a wide set of icons for an app related to their brand. During the initial stages, I made preliminary sketches using paper and pencil in various styles to determine which approach was most effective. Following this, I created replicable stylistic elements on a large scale, digitising the entire project. Miele, on the other hand, was a direct client, who commissioned me to create illustrations based on my personal style. In this case, the final project involved the creation of a poster, in which I tried to create elegant illustrations, inspired by a concept of realism. I then meticulously ensured that all elements, whether regarding shape, size, or colour, were harmonious and adaptable for both individual and collective applications, according to the project’s specific needs.

As a digital nomad, you have focused your attention on working as an illustrator. How has this choice influenced your creative vision and how have you found a balance between working on illustrative projects and your ongoing exploration in the visual arts? Travel holds a significant place in my life, though I must confess it also intimidates me. My notso-brave nature has rendered each transition from one place to another quite daunting, transforming it into a sort of personal challenge. Confronting these situations demands small yet significant acts of courage from me, helping to conquer my fears. Overcoming these challenges not only empowers me but also broadens my perspective. I’ve come to realise that, much like in other facets of my life, not being confined to a specific label or a fixed workplace is an essential part of who I am, and I wouldn’t have it any other way. From a more practical point of view, I have managed to reconcile all this thanks to a part-time remote job. As a freelancer, I allocate several hours a week to a communication agency, focusing on social campaigns, while the remainder of my time is devoted to illustration projects and personal development. Travel has offered me the opportunity to immerse myself in different contexts, particularly in areas related to video games and animation. Among these, Concept Art is a discipline I’m eager to explore more deeply in the near future. It aligns seamlessly with the concept of creative direction, which has been a guiding principle since the onset of my career.

Can you tell us about a project that you feel particularly connected to? If so, why? I am strongly attached to the project realised for Sistemir, a company specialising in the regulation of medical devices in Europe. This collaboration was facilitated alongside Cantiere Creativo, a Florence-based creative agency. It was one of my initial commissioned projects, and during this time, I had the pleasure of working with Leonardo Gubbini, an exceptionally talented Art Director. He provided clear stylistic guidelines while still allowing room for my creative expression. The assignment involved creating eight website headers, each representing a different stage in the certification process of a medical device. I endeavoured to find a unifying theme that linked these stages, thereby crafting an engaging yet coherent journey through the world of Sistemir. I chose to create panoramic images that would allow the visitor to move smoothly through these scenarios. The keywords that guided me were: journey, agility of movement, and serenity. It was truly a stimulating project that will always stay with me.

Looking ahead, where do you envision yourself in 10 years as an illustrator? I hope to find myself immersed in colours up to my nose, perhaps in a beautiful atelier! I believe I have much to contribute creatively. I want to work more and more in the field of product communication, particularly within the food industry, which I’m passionate about. However, the aspect of creating worlds and narratives resonates most with me. I see myself increasingly gravitating towards Concept Art and Character Design, channels that allow me to fully unleash my creative potential.

Contact: @valeria_cun.to