Illustration is an ample market for creativity, but style constraints and the specific demands of each market mean that few illustrators manage to succeed in several niches at the same time.
This is what makes the art and talent of Daniele Dickmann all the more remarkable.
With a distinct illustration style that blends dynamic lines, digital technology, and traditional artistry, Daniele has crossed-over several art forms and markets, with a career that started creating storyboards for film and advertising, before moving on to the editorial market, illustrating comic books and children's books.
This versatility has provided Daniele with a unique expertise in the fields of illustration and visual communication, which he shares with his students, as professor at the Europe Institute of Design in his native Rome.
Daniele's images are full of character, fine details and humor, and are in turn a reflection of his creator's personality: of rich cultural background and kind manner, approachable, easy-going, and with a profound universal vision.
Daniele took a break from his tight schedule and sat to talk with A Curious Culturalist about art, the importance of style and film reference in illustration, a surfer’s view of the business, and the evolution of the soul.
Join us for an engaging conversation with commercial artist, illustrator, and Professor Daniele Dickmann.
A Curious Culturalist – Daniele, How and when did you decide you wanted to become an illustrator?
Daniele Dickmann - I started drawing when I was a child, but the idea of making it a profession, or at least dedicating myself to drawing, came to me during my military service.
ACC - Wow! That sounds like quite a interesting story! Can you tell us more about it?
DD - Well, I’ve done many things in my life, and one of them was being part of the Carabinieri, the Italian military police. It was a very formative year, full of interesting experiences and important events.
When I was on surveillance duty, alone, I would carry notebooks with me and draw funny stories or imaginary characters. In truth, there’s no direct connection between my military service and my decision to dedicate myself to what I do now — it was more like an experience along the way that still left me with a lot.
Before, during, and after that time, I’ve always felt the need to express myself and share something with others.
ACC – A natural-born artist, for sure. Who would you name as your main artistic influences? Do you have any favorite artists?
DD - I don’t have one in particular. Throughout my journey I’ve had many influences, and each of these masters has left something behind and taught me something.
With Jean Jacques Loup and his illustrated book “Patatrac”, I laughed so much! It was full of details and truly funny scenes! Then there’s Jacovitti’s “Pinocchio”, simply inimitable! Hugo Pratt, with his watercolors and his masterful synthesis; and last but not least, Andrea Pazienza, a well-known Italian comic artist. So yes, I’d say these masters have all contributed to my growth.
ACC - Your illustrations always display an interesting array of human expressions and gestures, which reveal an acute attention to the world around you. Do you carry a sketchbook with you at all times, or do you rely on visual memory?
DD - Both things. I pay close attention to reality and its funny contradictions… to be honest, human beings are the most contradictory of all.
ACC - How do you approach a new project? Do you read, research, and sketch beforehand? What is your creative process?
DD - Every project brings new challenges and new ways of approaching the work. I do a lot of research online, which is an enormous source of material, and each time I end up knowing more — and that’s what interests me the most.
ACC – What are your following steps and what tools do you use in your creative process?
DD - First of all, I carefully read the script and try to read between the lines to understand what’s expected to come through in the drawings. I try to grasp the characters — sometimes they resemble people I know, so I imagine them, try to walk in their shoes: how they might dress, their main attitudes.
I pay a lot of attention to how people talk and move. I almost need to become like an alien who knows nothing of this world, to become more perceptive. Then I start sketching out previews of the characters, the locations where the scenes take place, equipped with props that are just as important as the characters themselves, since they help the reader immerse themselves in the image and spark their curiosity.
It’s like being a cook with different ingredients, trying to prepare something good. That’s how I approach images: as if I were cooking, thinking about what I’ve been asked for and who the “meal” is meant for.
If, for example, I’m working on a horror story, I research everything related to that theme and start selecting the ingredients: color palettes, camera angles, landscapes, atmospheres, characters, etc.
Then I extract a fragment of the script and start sketching.
Watching many films is fundamental — pausing frames, studying who and what was done before you.
ACC – It’s interesting that you mention films, because your process is similar to that of an actor when getting into the skin of a character. But, in addition to characters, much of your work requires specific historical backgrounds, such as Frankenstein or Macbeth, and even your contemporary illustrations display lots of details from actual places - do you keep a file of visual references, or do you research for every new project?
DD - As I mentioned before, every new project requires research. In Frankenstein, as in Macbeth, Usborne carefully provided me with very detailed references. In any case, whenever I needed something more, I carried out further research on my own.
ACC –You do story boards and comics, and these two are tightly related art forms, in what sometimes is referred to as sequential arts; but what would you say are the main differences between these two?
DD - Storyboards are an excellent exercise for working quickly and simplifying the line while still keeping the stroke confident and readable. For me, the difference lies in the final purpose of their use; otherwise, they are quite similar.
Having worked in the field of visuals and storyboarding has been very formative — it has helped me a lot in learning how to frame images and give them a more interesting cut.
ACC - Where do you get your inspiration from?
DD - If I work on commission, it’s a mix of experience and knowledge. If I draw for myself, when no one is watching, I dig into my subconscious, assemble faces, get lost — I need to get lost in order to find something.
When I do find it, if it scares me, I paint it with irony. You just need to take some distance to see things as a little less serious.
ACC - On Behance you have posted several Livestreams in which you show your work process, using digital tools. How long does it take you to complete a project such as "Around the World in 80 Days"?
DD - About six months, more or less. Of course, it depends on the complexity of the project. Working digitally means you can make corrections much faster without having to scrap everything and start from scratch, though that can still happen even in the digital world.
Basically, working digitally reduces the production time, but mastering a program can take months -if not years- to learn really well.
The value of paper and hand-drawn work lies in its uniqueness and unrepeatability, while working in digital form, a file can be endlessly replicated. Yet the execution process remains quite similar to that of creating an artwork by hand.
ACC - As an illustrator, is there any difference between working on a comic books project, a children's book reader, or in advertising?
DD - They are three very different things, because they are different languages. In most cases, those who illustrate for children specialize in that style; the same goes for those who do comics, Marvel-style, etc.
Creating illustrations for advertising, such as visuals, also has its own language — you need to be as clean and appealing as possible, let’s say “polished.” It all depends on the language you want to adopt, within the limits of your own abilities.
ACC - Part of the job of an illustrator is to stay true to a certain defined style - clients and publishers expect the illustrator to produce the same type of work they have seen in the artist's portfolio and previously published works. How do you balance this expected consistency when faced with different projects and clients? How do you manage to stick to a certain style so as not to be repetitive or worse, become bored?
DD - This is one of my biggest existential question marks. I have many styles that have allowed me to work in an experimental way - I would have a very, very funny style, which no one has ever asked me for.
Having a very specific style means becoming an author/designer with your own stories, so you are better accepted. The fact that I am ductile, for example, allows me to get less bored and do things even very differently from each other, but I am less identifiable as a style.
ACC - You graduated from the European Design Institute, and you also teach there. In your opinion, how important is it for illustrators to study and get a degree from an established arts academy?
DD - Well, doing a specific course of study helps you find yourself in what you want to achieve and share this experience with those like you who feel they have something inside to pull out. So going to school is very important. Also, because there are teachers who can be consulted, who can pass on their knowledge to you; it is an important evolutionary process.
ACC - What would you say are the most important skills that an illustrator should have?
DD - You have to be smart, overall.
ACC - In what sense?
DD - Being intelligent means paying attention to what surrounds you: observing, timing things right, knowing where to look, sharpening your craft day after day…
Don’t just glance at things randomly, but contemplate them. If you see a work of art that interests you, go see it at the museum, sit in front of it and study every tiny detail. Don’t judge it, don’t overthink it — let it enter you without filters. You’ll discover things.
And last but not least, a solid background in film is invaluable.
ACC - Do you think that illustrators should target their work towards a specific market?
DD - Yes, surely having clear ideas from the beginning helps a lot. It’s important to have a clear direction because I didn’t, and I got lost in a thousand different things. So, if I can give a piece of advice, that would be it — it comes from my own experience.
That said, on the flip side, if you feel too boxed into a narrow niche, then try as many different experiences as possible, even making mistakes. Sometimes you need to get lost in order to find the right course — as Captain Barbossa from Pirates of the Caribbean would say.
For years, I worked in visuals and storyboarding for advertising, storyboards for films with great Italian directors, and even with Spike Lee for a commercial here in Italy. This versatility allowed me to survive, but I often think it stole time from more interesting projects I could have done.
So, in the end, I don’t think there’s a single safe route to follow — you need to think more like a surfer: if you think the wave is good, ride it. It’s up to you…
ACC - Illustration is a competitive field that's known for quick changes and fleeting trends. How does an illustrator remain relevant and hired through the years?
DD - Work on style.... Focus on doing, constantly. In order to be more visible or recognizable as artists in the field of illustration, one needs to work a lot on their own drawing style and take into account the fact that there are many of us in the market.
ACC - What do you mean by working on style?
DD - It means refining your distinctive way of doing things — something you already have from the start, but it’s raw and immature. With steady practice, the lines become more confident and interesting. Some illustrators are recognizable immediately, which allows them to stay relevant longer.
But today, the world is overloaded with content, so staying visible is quite difficult. Everything lasts so briefly that there’s hardly time to absorb it. Let’s see what happens.
ACC - What do you like the most and the least about working as an Illustrator?
DD - I like to illustrate what gives me the opportunity to learn more about the things around me. For example, if I decide to draw a tree, a willow for example, once finished it will stay with me in my mind and I will understand how it works the movement in space.
The thing I like the least is the frustration if I can’t draw well....
ACC – What would you advise illustration students about to start their careers right now?
DD – Take small steps, exploring the paths that open up; some have a continuation, others don’t… Challenge yourself while knowing your own limits.
ACC – Wise words. Young illustrators nowadays have AI tools to work with in addition to all the rest of art tools at their disposal. In your opinion, Daniele, is artificial intelligence a helpful tool for illustrators or is it unfair competition?
DD - I see artificial intelligence as an additional tool, but honestly, I have no idea where it will take us or how it will evolve.
ACC - Do you use AI in your work or as a tool to help you work your illustrations?
DD - Obviously, to keep up, I can’t avoid using it — or at least understanding what it’s about. I’ve experimented by turning some of my visions into prompts to see what would come out, and I have to admit I was amazed, especially by the speed.
For work, I’ve used it when I couldn’t find the right camera angles, and I’ve relied on it for some sketches. But what entertains me most is consulting it about philosophy.
ACC – Indeed, it comes up with the most peculiar answers. But, with the rise of AI and all, how do you foresee the future of illustration?
DD - With a crystal ball, bat wings, and toad dust (LOL).
Just kidding, of course, I don’t have a well-defined opinion but, obviously, as in the previous question, the introduction of AI will lead to a significant creative leap, taking us by the hand into multidimensional universes. Books might even become structures within which we move our steps.
ACC – Do you have any future projects?
DD - I just finished a graphic novel on Pearl Harbor, and now I’m working on another graphic novel, again for Capstone, a documentary about a mysterious disappearance.
ACC – Sounds most enticing! And finally, Daniele, is there anything else you wish I had asked but haven’t?
DD - If I had to add one question, it would be: what is your conception of time in relation to the evolution of the soul? I know it has nothing to do with drawing - Or maybe it does…? (LOL).
ACC - What would your answer be?
DD - A relationship is like wine: in some cases, the more time passes, the more it matures; in others, it turns to vinegar.
What do you see in a starry sky? In a tree moved by the wind and the sound it creates? The gentle lapping of the sea on a pebble beach…?
The soul is the perception of things — a sort of extra sense that draws from all our brain’s channels of perception. Maybe it’s like a radar that allows you to see what you otherwise couldn’t. The problem is, it’s not always switched on.
I think this extra sense is very useful when drawing; it helps you better understand the world around you.
ACC – A wonderful answer to a wonderful question. Thanks so much for your time and for sharing with us your expertise, Daniele. We can’t wait to see your new work, and we wish you all the best of luck in your upcoming projects.
To Learn More…
*To keep abreast of Daniele Dickmann’s projects, follow him on Instagram:
https://www.instagram.com/danny_van_dick/?igsh=eG9teDNzbm84Mm9o&utm_source=qr#
*To see more of Daniele’s works and to commission artworks from him, please visit:
https://illozoo.com/portfolio/daniele-dickmann/
All images courtesy of Daniele Dickmann
All images copyright ©Daniele Dickmann
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