Laura Aldofredi is an animator, picture book illustrator and teacher from the Netherlands. She's currently busy writing and developing two short animated films, but she took a few minutes out to speak with us as part of our First Impressions series of artist interviews.
She tells us how she discovered the authenticity of her style and why she likes to use traditional mediums for her art. If you're inspired, see our pick of the best watercolour paints and the best watercolour pencils for artists.
What’s your main source of inspiration?
For a long time, I thought I needed specific sources of inspiration to do this job. But now, while I still have strong interests, I don’t believe I need to refer to any of them as inspiration. I’m realising that who I am and the way I live my life are enough to keep me going in the artistic universe, and that alone makes my work authentic.
When working on a project, I’m now thinking, “What’s the added value I can give this subject?” It turns out the life I’ve lived, am now living, and want to live already offer me all the ingredients I could need to answer those questions.
Is making a living as an artist all you thought it would be?
During my studies, a publisher visited our class and said, “Oh my, you guys have chosen one of the most difficult jobs ever.” At that time I didn’t understand what she meant. I wasn’t aware yet of the amount of vulnerability connected to this job. I didn’t understand that with my art I would be constantly exposed, judged, and so on.
It’s true, It’s not a job for the weak. Now I understand and have learned to deal with that.
If you were starting out now, what advice would you most appreciate?
The more we live, the more we understand about life and art. We don’t need to have all the answers immediately. It takes time to shape your own artistic path, so allow yourself kindness and patience, even and above all in failure.
Are there challenges to working traditionally over digitally?
Working traditionally, I’m aware that I don’t have the luxury of big mistakes. Erasing is difficult, often simply impossible, so I have to work around it with more preparatory sketches and at least one developed test using the final technique.
However, that lack of full control is also fascinating. Sometimes those mistakes have a reason to be there and become part of the final work. Another challenge is the colour quality. You need to know materials and their properties very well to achieve the colour vision you want.
Do you tend to stick to a single medium, or do you mix and match? If so, what and why?
For years I worked traditionally only, then for a while digitally only. Now I’m in an experimental phase. I mix different analogue techniques (charcoal, graphite, watercolours and gouache), and combine them with digital. I’m seeking a creative process that feels my own and can merge my strengths in each.
Are you working on any passion projects at the moment?
Yes! Into the Woods, an intimate, coming-of-age fairy tale about confronting your inner darkness. I’m developing this project both as a silent picture book and as an animated short film. It’s interesting to see the different creative choices I make for each format, while still defending the core of the story.
What’s your next step in art or life?
I’m focusing on strengthening my author’s voice and signature, so I’m making more space for personal projects. At the same time, I’m also letting my own personal style be more visible in my work. For a long period I’ve chased the ideal of being unique, different and special – all words that I now find misleading.
Finally, I’m understanding that my style is already more authentic than I think. I don’t need to chase anything, just be myself. That’s also interestingly connected to the rise of AI. If there’s one thing AI can’t do, it’s being me and drawing as I do, with my mistakes and insecurities!
You can see more Laura's work at lauraaldofredi.com.
For more inspiration, see our recent interview with 8 artists about how their art careers have changed in 10 years.
We also recently spoke to Deadpool director Tim Miller about how he went from drawing Playboy centrefolds to creating hit movies and series.
This article originally appeared in ImagineFX. Subscribe to ImagineFX to never miss an issue. Print and digital subscriptions available.
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