After interviewing this season’s MI Vintage protagonist, El Dios de los Tres we decided to pick the brains of four more illustrators to discover how they think, create and change the worlds around us. We start with Sanz i Vila who is known for only using three colors on his illustrations. Then we interview the talented Madrid based Alba Blázquez whose style is recognisable by her cartoony drawings. Then we interviewed the quirky Vogue favourite illustrator, Monserrat Salvat, who we met in our Eixample office, to discuss an exiting future collaboration. ; and last but not least, the internationally renowned Marylou Faure who has made illustrations for digital giants like Facebook, Instagram and Google.
SANZ I VILA
What inspires you when you are making your illustrations?
Its very difficult to pinpoint to one thing as I don’t have a specific style and for this reason I don’t have a specific inspiration. For a long time the concept of love between three people formed a big part in my work and thinking along with animals because they interest me not just for their aesthetic but also because of their free spirited nature. And of course my signature three color style is the seed that introduce every theme in my illustrations.
Which project has been the most interest-ing throughout your career?
Each project carries something special which triggered my interest toward it and for this reason all of them are equally inter-esting, otherwise I would not have been involved in these projects. However if I had to choose one, it was my collaboration with Instagram for the creation for their localiza-tion stickers for Madrid, as through them a wide audience got familiar with my work and I see my work in the Insta stories almost every day!
When you are drawing, do you have any interesting processes or rituals…?
It depends on the type of work I produce- if it is a brand collaboration or an editorial illustration assignment I always allow a couple of documentation days as I love to be informed about everything that I draw. For example I can’t make a drawing of a singer without knowing her music or for a book that I haven’t read and thought about it. My biggest obsession is to get to know everything well before I even touch my pencil and because of this my work consists of reading thousands of pages online. In the case that the drawings I make are for plea-sure something similar happens, the idea comes throughout the day but it is not until the next day that I sit down and I draw it as I would like to give my thoughts some rest. Regarding work space it is very important or me to have everything organized and tidy.
In fashion we are always look in the past. Do you think it is the same in art?
Of course, it is important in every profession to be familiar with the past so one can know what is important to keep and what can be left out in the construction of future works. There are themes in art that have existed for centuries, for example the theme of “Love” which has been used extensively, but each time in a dierent way. So it is important always to look back but not to copy it, but to trans-form it.
If you had to create an illustration with the 80s and 90s as a concept, what is the first thing that comes in mind? Could you make a sketch for us?
The first thing that comes to mind when I think about that period are the objects of the period, not the fashion, or the hair styles or the music. I think about my first mobile phone for example or stickers that I found in my gym or toys I had at home, forgetting about them and rediscovering them when we talk about our childhoods, for me, these objects provide the true spirit of those decades.