As I am writing this series, I realize that I am not the only voice on watercolor. I love having fellow illustrator friends because we can geek out on watercolor techniques, paper gram counts and all the other inside baseball details that only a fellow illustrator can know about.
I asked my friend, fashion illustrator and live event artist Francesco Lo Iacono a few questions I wanted to know about his watercolor technique. We share an agent and often catch up over coffee when he’s in town for fashion week. The first time we met, I was slap happy to chat with someone who had an opinion on Winsor and Newton watercolors. Francesco works with a wide range of clients including fashion designers, high-end department stores and fashion magazines. You’ve heard of them all. Think Dior, Prada and Louis Vuitton. His first book, 'Watercolor Fashion Illustration', was published by David&Charles in 2021.
I asked Francesco some burning questions about how he articulates his technique, materials and a few pointers for the not-yet convinced potential watercolorist.
Q: I’m totally butchering this quote, but Mark Rothko said something along the lines of "I paint draw color, I paint the light." Any thoughts on this as a watercolorist? I think that light is just as important as color in watercolor.
A: Honestly, I haven't really thought about that before, but I do remember that sometimes while talking to other illustrators who don't use watercolour I said that with watercolour was easier when I have to work quickly. Mostly because with watercolour, I can more easily render shapes than lines. I use watercolour to build shapes and I don't get bothered with details and construction at first. Light is part of this way of drawing as well, as shapes are often created by lights and shadows.
Q: I know you went to art school, but are you a self-taught watercolorist? What is it that you like about watercolor in particular?
A: This is a sort of eternal debate. I think all creatives are self-taught in a way because our style and work are often the products of trial and error. Nobody ever held my pencil when I started to draw! But attending art school indeed gave me the time and the platform to try out how things may work. That being said, I remember using watercolour as a child and then when I started creating more intentionally as a young adult, watercolour was always my first step, especially when I created drafts for paintings on canvas or such. It was my playground and I always used watercolour for my sketchbooks, when traveling etc...
I think, besides the final results and look, I love that watercolour can be quite versatile. You can use it fast and loose or take your time and build details layer after layer.
Q: There's a real sense of light in your work and reserving the white of the paper. Any tips on how to do this? Drawing gum? Pencil sketches?
A: When I work in my studio pencil sketches are usually the first step, I try to keep them as light as I can, but I think it can be useful especially if you are starting with watercolour or if you're going to create something quite complicated. I rarely use drawing gum, maybe because I don't feel like it's necessary for my kind of work but also because I tend to get messy with it!
So, I prefer to be careful and consider from the beginning the areas that have to stay white.
Q: You do live illustrations at soirees. Can you share any tips on capturing the essence of what is in front of you with so little time?
A: Practice over the years made my live work better and easier. I have my own guidelines that I developed through time and I feel now less stressed before and during a live event. I think you need to be essential and simple, observe the person in front of you for a few seconds. Understand their features and what makes them different and unique. For me, it's often the eyes, their shape and colour. I think eyes are possibly the most distinctive feature of our face so that's where I focus the most. It's also my starting point, always. I usually say to myself that if I've managed to get the eyes, then I'm halfway done.
Q: I know the only way to get better at anything is to commit to doing it more often. Any tips on how to love watercolor more (materials, inspirations etc)?
Yes, certainly practicing is key. I think materials are also important, specifically the brand and kind of watercolour and brushes that you choose. So I would suggest taking some time to try out different kinds of watercolours and brushes: they are often underestimated, but using different brushes in shape and size can really be game-changing. Also, what works for me may not work for someone else. We are all different, so it's worth taking some time trying out different stuff. Above all, watercolour is a medium that certainly needs some time to master, so it can be a bit frustrating at first. You need to be confident and "control" it in a way, it's different from a pencil or a marker. It has a completely different feeling, so it can be a bit difficult at first. Patience is very important with watercolour, but once you can master it, it's going to be pure joy!
Thank you Francesco for taking the time to answer my questions. I’m going to buy some new brushes thanks to you. Follow Francesco, buy his book and consider him to live illustrate your next event.
I like what he says about how all artists are self-taught in one way or another. Even if you go to art school, you still need to put in the work to find your voice, get better and develop a style.
Stay inspired, dear reader. And don’t drink the watercolor water. -jkw