Andrea Ucini is a freelance conceptual illustrator born and raised in Italy and currently living in the countryside of Hundested, Denmark.
His working process is based first of all, on the deep research finding the idea which will clash against the classic point of view, still keeping a respectful tone or a critical eye or even, a sarcastic touch. All depends on theme´s, story´s or situation´s needs.
Roughs on paper because old days pencil and paper are still his preferred, time permitting.
He loves working on all kind of topics, with no exception.
Magazines, Universities, Theaters, Advertisings, Campaigns, and any other thing(?)where an illustration is important for makes this ting more important, it is what he works for.
Andrea has been recognized and rewarded from different Illustrations competitions as 3x3 International, Communication Art, AOI World Illustration Award and many of his Illustrations/covers has been award-winner in the field of Illustrations.
Andrea has been judge at 3x3 International Contest, CASE V award among others.
The New York Time, The Guardian, The Economist, The Washington Post, Oprah Magazine, The Wall Street Journal, The Sunday Time, The Time, The Rolling Stone, Bentley Magazine, Entrepreneur Magazine, Foreign Policy, Advertising Age, Barron´s Magazine, Boston University, Handelsblatt Magazine, Chronicle of Higher Education, The National Magazine, The Museum of Selfies, Calgary Theater, Mosaic Science, Desert Companion, LaVie, LeMonde, UCLA Magazine, Nexus Magazine, Zetland, Einaudi, Die Zeit, New Scientist, Bompiani, Crain Magazine, Dartmouth Alumni Magazine, Carey Business Magazine, Stanford University, 5ASH, Onward Magazine, 5280 Magazine, Action Patrimonie, British Heart Foundation, Calibre Magazine, Capital Magazine, Cassette Type, Contently Job, Corriere della Sera, Dot Editorial, Europa Editorial, Endpoint Helisyum, Folkeskolen Magazine, Foreign Policy, Il Foglio, L´Express France, LDS Living, Magnolia Journal, Mind Magazine, Mother Jones, Newcastle University, Ohio Magazine, On Being, Outside Magazine, Penta Magazine, Philosophie Magazine, Politiken, Sette7, Springer Nature, Berkeley Law Magazine, The Foundry, The Journal, The Pharmaceutical Journal, Quarto Group, Tuft Dental, University of New Hampshire, Virginia Tech, Weekend Avisen, Iscene Magazine, Wortees, The Virginia Tech, Weekend Avisen, Iscene Magazine, Wortees, The Wharton Magazine, The Markup, Texas Observer, Tempus Corporate, Rotary Magazine, Nuvo Magazine, ItalGas, Interni Magazine, Finans Magazine, Brandeis Magazine, Boston Globe, Arte Magazine, University of Miami Medicine, Certo Magazine, Chicago Booth Review, Cristianity Today, Dow Jones, American Academy of Family Physicians, Havas Milano, HEC Stories, Johns Hopkins University, Massachusetts Institute of Technology, Montecristo Magazine, Ovation Press, Proto Magazine, Shopify, The Fundrise, Veterinary Business Magazine, Zahori Books, Journalisten, MandagMorgen, In Trust Magazine, New Republic, Axcel, Resources Magazine, The Foundrise, TUFTS Magazine, The Post Internazionale, WebMD and moreRead more
Can you recall the first time you realized you were going to be an illustrator? What were your earliest impressions?
It was when I was 6-years-old. I liked to draw chairs. I don´t know why but there was something special about chairs. I drew every chair I saw. Drawing was pure relaxation.
Who or what influenced your art when you were young?
I think my art has been greatly influenced by music. I remember that while playing the piano I was thinking of what it would be like if the song was a drawing.
I started to draw what the music suggested to me. Today music has become the metaphor of my artistic language.
Do you remember what your first artwork looked like? Do you still have it?
A chair and I unfortunately I threw it out!
Why did you choose illustration as your life’s work instead of, for example, filmmaking, law, or even medicine?
I honestly always imagined becoming a pianist or something that had to do with music until a few years ago. I graduated in classical piano and music composition at the Musical Academy of Florence.
I moved to Denmark a few years ago and my passion for design and color returned. Because the weather is mostly grey here in Denmark, I needed color more than sound.
Did you study art in school?
Not drawing. I’m self-taught.
Where does your inspiration come from; your impulse to make art? Do you have a source for your ideas?
Inspiration comes from anything that strikes me. There is nothing specific. It depends on the moment, the situation, the mood. At its essence, however, is a critical sense of the world we live in. Let’s say melancholy inspires me more than joy.
How would you describe the process of creating art?
It’s like bringing water from a gaseous state to a solid state resulting in ice.
Basically, ideas are abstract, not tangible, except in the mind’s eye. Finding ways to freeze an idea and make it visible in the real world is what I love about the process.
Do you have a favorite illustrator? What is it about that illustrator’s work you like?
Not one, in particular. I love the creative mind of Chrisoph Niemann, the style of Gary Taxali, the textures of Edel Rodriguez, the minimalism of Nora Bar, the atmosphere of Emiliano Ponzi, the humor of Brian Rea. I try to hold them near while speaking with my own voice which is sometimes difficult.
If you could do something else, other than creating art, what would it be?
I’d find another way to create art.
Do you have a favorite illustrator supply, a favorite method, or favorite location, where you like to create artwork?
Any place would be fine as long as there is silence and no one around me. Music would be my only company.
If you could give a viewer clues to understanding your art, what would you say?
I try to find metaphors that reflect everyday life. Then I add a little deception so an illustration’s content is not immediately understood.
Do you think illustration has the eye of the public or could public awareness of this field be improved upon?
I think that illustration is attracting more and more people.
Illustration can have a very strong impact. It’s a quick and intelligent way to describe what’s happening in our times.
Why does art matter to you? Why might it matter to the world?
I think art is the perfect mix of intelligence, naiveté, and senility. The world needs these things to change and become more beautiful. Everything revolves around money today. Art doesn’t.
If you could look back or forward a hundred years, do you think the life of an illustrator was or will be better than today?
I have three jobs, but I´m happy to make a contribution with my art. I hope I’m wrong, but I think in one hundred years, art will be seen as revolutionary: a form of propaganda. It’s happened in the past.
Ethical and moral ideals will be invaded by an unnecessary hunger for power. Something very important will be lost. We will need to rethink art. Fortunately, art will have yet another Renaissance.
Illustrating the future
We work with the world's most brilliant and visionary creatives to bring the boldest concepts to life.