“To do this job requires a lot of patience and flexibility,” he explains Jean Claudio Vinci. His studio is full of tables, completed or even just sketched digitally. His job cartoonist And illustrator he absorbs it in a way he describes as “imaginative and provocative.” You see it in his eyes, the passion that lights him up.

He was born in Sanluri forty-three years ago. First experiences with the club Wandering Chainsseveral successful projects (inclRadio Punx“). Then the huge but impressive leap into children’s publishing and comics.

The quality is high. So much so that a collaboration with Disney Pixar. Two comic mini-series are born The Incredibles. A Sardinian signing an American product. Stuff to rub your eyes on.

When did you approach design and illustration? Who were your role models?

I was drawn to drawing from a young age, thanks to the anime shown on TV and the comics I bought at the newsstands. I’ve always spent time drawing, even in high school when I added manga to my Marvel reading… and slowly imagined that this could become a job. Among the models I drew inspiration from are writers such as Shingo Araki, numerous American designers and Andrea Accardi.

You started with the club Chine Vaganti. What was and is this experience for you?

I entered China when I was around 20, after attending a comics school in Cagliari. In China I found a daily exchange with those who had the same passion as me to tell stories through images, the experience of those who had already taken their first steps in professionalism, advice on reading material and authors unknown to me, teachings. It was a necessary path for me: without the corporate life in China, I would never have become a professional. Now I continue to keep the club alive and follow the young members who are starting to follow the path I did 20 years ago.

When you moved to the big publishing houses (Einaudi, Mondadori, etc.) did you pay the jump or did you immediately find the key to better meet the needs asked of you?

The China experience certainly proved to be an excellent education. Having to deal with self-production of comics, time management and editing, it took me into my first publishing projects with extra confidence. I adapted and learned over time to speed up my work and put into practice that narrative sensibility I had cultivated through years of reading and drawing exercises.

Then you came to work for Disney Pixar: how did the contact come about, what did you do and how did you get along with them?

For Disney Pixar I created 2 comic mini-series about the Incredibles, the famous superhero family. They were published in the United States by the publisher Dark Horse Comics and this possibility came to me by surprise thanks to the collaboration with Arancia Studio, an agency I have been working with for some time for the French and American markets. The 2 new stories continue the events of the second motion picture. Needless to say, painting these paintings was an honor and a lot of fun for me! Despite the major brand above the title, I have to say it was one of the most peaceful jobs I’ve ever done, albeit with tight production times… it’s part of the game.

What would you recommend to those approaching the world of comics and illustration today?

Definitely a lot of patience and flexibility. I would recommend experimenting as much as possible and knowing how to adapt to what each project requires. Training your professionalism pays off over time, and publishers appreciate it. Another tip: don’t design for yourself, don’t tell yourself… the goal is the readers, everything should be understandable, clear and pleasing to the eyes of the end reader. Good storytelling is the main focus.

There’s been a lot of talk lately about comics made with artificial intelligence. Do you think the future will no longer see “handmade” images but will be all mechanized?

In this regard, I suggest you take a look at EGAIR, a movement whose goal is to regularize the use of artificial intelligence to protect the intellectual properties of artists. I think that “handmade” art (on paper or digital) will definitely continue to exist, having to coexist with useful new tools. I consider artificial intelligence something interesting to study with due care. But I am convinced that first of all there is a need for a strong awareness of art (and good taste). Knowing how to distinguish the result of the work of a real artist from the result of the processing of a genetic artificial intelligence (which works with simple text instructions and processes the result by mixing images taken from the web, often without real consent ), would already be a great step.

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