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Elisa Talentino

Elisa Talentino is an Italian artist working with illustration, graphic art, painting and animation.

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Elisa Talentino was born in Ivrea (Turin, Italy) in 1981.

She realized illustrations for The New Yorker, The New York Times, The Washington Post, Hachette, Bloomsbury Publishing, Yale University Press, La Repubblica, Il Corriere, Mondadori, Einaudi, Bur-Rizzoli, Bompiani, Il Saggiatore, Edizioni e/o, Goethe Institut amongst many others.

She won for two consecutive years (2017/2018) the Gold Medal of 3×3 Mag Professional Show of New York and has been selected in international illustration competitions such as Ilustrarte (2014), Bologna children book fair (2015) and Society of Illustrators Annual Exhibition (2019 and 2020).

In 2020, together with Sara Gamberini, she published the illustrated book “Quando il mondo era tutto azzurro” for the Topipittori children publishing house.
She illustrated the covers of Dacia Maraini’s complete work for Corriere della Sera-Bur-Rizzoli.
She made the animated short film Dandelion, which was selected in the main international festivals, and from which the homonymous book published by Lazy Dog Press was taken.

Other publications of her are Le jardin d’hiver (Print About Me, 2013), Bendata di stelle (Inuit Editions, 2014), Metamorphosis
(La Grande Illusion, 2016), The Burmese sunset (Add Editore, 2016).
She specialized in printmaking: through the screen printing technique she personally create prints with experimental techniques.
A selection of her works are part of the Permanent Collection of the Farnesina of Rome, Collection of Contemporary Art
of the Ministry of Foreign Affairs and International Cooperation.

She lives and works in Turin




Stampe d'arte in serigrafia:

Le illustrazioni in vendita su questo shop sono realizzate personalmente dall’autrice con la tecnica della serigrafia, un processo di stampa artigianale che consiste nel trasferire un disegno da una matrice in tela – il telaio serigrafico – su carta.


Elisa Talentino utilizza una tecnica sperimentale in cui le matrici sono realizzate dipingendo un originale direttamente a mano sulle pellicole, con un processo associabile a quello dell’incisione (le parti in negativo sono incise con punte, le texture sono realizzate in monotipo).


In serigrafia i colori di cui è composta l’immagine vengono stampati uno per volta; tramite un procedimento fotografico il disegno viene impressionato sul telaio serigrafico, e stampato manualmente un colore alla volta per mezzo di una apposita spatola (racla), senza l’ausilio di stampanti.


Se ipotizziamo quindi una stampa formata da tre colori (bianco, rosso e blu) con una tiratura di cento esemplari, si devono realizzare a mano tre matrici (una per colore).
A questo punto viene stampato cento volte il bianco su tutti i fogli, che poi vengono messi ad asciugare.
Poi sugli stessi fogli viene stampato cento volte il livello del rosso, che va a sovrapporsi al bianco, e messo ad asciugare.
Infine viene stampato il blu, sempre per cento volte sugli stessi fogli.
La stessa tiratura a con una stampa a dieci colori significa quindi mille passaggi di colore.
Una stampa in serigrafia è quindi un prodotto artigianale realizzato con estrema cura, che parte da un originale per diventare un multiplo realizzato a mano in ogni parte della lavorazione.
Ogni esemplare è numerato e firmato sul fronte.


Silk-screen printing works:

All the illustrations for sale in this shop are personally made by the artist with the screen printing technique, which is an handmade process consisting of transferring a drawing from a silk-screen frame to paper.

Elisa Talentino uses an experimental technique, in which the screens are realized by handmade painting the original drawing directly on the acetate. This process is similar to the etching (the negative parts are engraved with gouges, whereas the textures are monotype realized).

The colors are printed one by one: the drawing is engraved on the silk-screen frame through a photographic procedure, with a specific squeege, without usign any printer.

If we hypotisize to have a three color print (white, red and blue) and we want to do one hundred prints, it is necessary to realize three different frames (one for each color).
At this point we’ll have to print the white color one hundred times on each paper and let it dry. Then, on the same papers, we’ll have to print the red level one hundred times too, overlapping the white one, and let it dry. Lastly, we’ll have to print the blue color, again for one hundred times on the same papers.
Therefore, a one hundred printing of ten color print needs one thousend color transfers.
For these reasons, a screen printing work is an artisan product realized with an outstanding attention: it originates from a master copy and it develops into a multiple which is handmade realized in every single part of its production. Each sample is numbered and signed on the front.


ph Eunice Brovida