In this month’s YKRA Faces, meet Juli Tudisco, an animation filmmaker who also creates illustrations, known for her colorful, folk art–inspired style. Whether she’s working on her animated series Tulip or sketching vibrant ideas in her notebook, Juli’s visual world is both playful and distinctive. Learn more about what drives her creative process — and take a peek at what she carries in her YKRA bag!

Hi Juli, we’re eager to get to know you better! Tell us about yourself. What do you do?

I'm primarily an animation filmmaker, and I also do illustration alongside that. From time to time, I take on applied animation work as well, often contributing to other people’s films—for example, as a background artist. 

What kind of projects do you take on?

My main focus right now is developing my animated series Tulip. We’ve started production on Episode 0 in Lille, France, and we’re currently in talks with our dream French broadcaster, fingers crossed we can start working together soon. 

While I rarely animate myself, I focus on building the visual world, designing characters, and shaping the overall mood of the project. I also contribute to other animated films (that I’m not directing), usually as a visual designer or background artist.

 Alongside that, my projects vary depending on the opportunities that come my way. On Instagram, I often receive illustration commissions, usually for personalized gifts like wedding invitations or family portraits. I create these digitally, and clients then print them however they like.

How can one recognize your work? Do you have a unique style?

Yes, I believe I have a distinctive visual style. My works are colorful with a naive, playful aesthetic. I'm inspired by folk art, children's drawings, and nature, and my illustrations often feature plants, trees, flowers, and—since I've adopted cats—cats frequently appear too.

I enjoy exploring deeper, occasionally melancholic themes, yet my visuals always remain light and playful.

How does your typical day look? Do you have a set routine?

My workdays are quite varied, and I don’t follow a fixed routine. I travel frequently, especially for film festivals, which requires flexibility in how and where I work. Sometimes I find myself working on a plane or in a hotel; other times, I work at home or at my grandparents' place in Sicily, where the inspiring surroundings fuel my creativity.

At home, I typically tackle more tedious, technical tasks. For creative work—like brainstorming new episodes or illustrations—I prefer an inspiring location. For instance, I love generating ideas in the garden in Sicily, beneath a lemon tree.

The only constant in my day is breakfast: when I'm home, I always have oatmeal. Evenings are also predictable—I feed my cats and then do the dishes.

Tell us about your creative process! How do you approach creating illustrations or animated films?

Illustrations usually start with a client brief, though these are often vague, prompting me to ask many clarifying questions. For instance, for family commissions, I inquire about relationships, shared memories, and significant details to personalize the illustration.

I typically create multiple sketches, though often the first one captures what the client envisioned. After final feedback, I refine and color the image.

Animated films involve a more extended process. Initially, there's brainstorming and sketching, followed by consultations with a scriptwriter or dramaturg. This collaboration helps me stay clear and engaging, as I tend to become deeply immersed in the project.

Next is the storyboard, capturing the key scenes, followed by an animatic—a rough, timed version of the film—to refine rhythm and duration. Adjustments are made here if needed. During the layout phase, backgrounds, characters, and actions are finalized. From this point, a larger team takes over, completing animation, line cleaning, character coloring, and synchronizing elements. My primary responsibility lies in visual design and backgrounds. The final cleanup, involving detailed line refinement, coloring, and post-production assembly, is usually handled by other team members.

How many people work on an animated film?

It depends on the project's length and complexity. My graduation film, lasting 11.5 minutes, involved over 50 people, though not all worked simultaneously. Large animation studios have core teams handling projects, whereas smaller projects—like a 30-second commercial—can be managed entirely by myself.

Animation involves artistic creativity but also securing funding. I regularly apply for grants and present projects at forums to obtain support, contributing to why some projects take longer.

What's in your bag? Where is it from, and what story does it hold?

I bought this bag for a film festival trip to Japan, which turned out to be an incredible experience—I even got the grand prize of the festival. Every glance at this bag reminds me of that success and journey. While in Japan, two elderly gentlemen in a bath village complimented it. I also use this bag when hiking, packing drawing materials and a warm sweater, as I'm sensitive to cold.

Pencil Case

My pencil case contains watercolor pencils and Caran d'Ache Luminance pencils, known for vivid colors and their ability to blend beautifully with water. I also carry compact, vivid watercolor crayons and a practical water container, allowing me to paint even on airplanes. Another favorite is liquid graphite, discovered at a drawing event in Portugal—a friend who spends months there gifted it to me. It's excellent for quick sketching with just a brush. Additionally, I always carry a 4B pencil, my go-to graphite.

Sketchbook

This smaller sketchbook is convenient for days with lots of walking or smaller bags. I use it for more detailed sketches. I also have another sketchbook for rapid ideas and rough drafts—these sketches aren’t necessarily polished but serve as visual notes.

Second Pencil Case

My other pencil case always has an eraser, a small Muji sharpener, and several graphite pencils. I frequently drop and break pencils, so extras are essential. Without drawing materials, I feel anxious—even if I don't plan to draw, having the option reduces stress. Drawing also helps clear my mind whenever things feel chaotic.

Postcards

I always carry two postcards. One is from my graduation film, "Children of the Bird," currently featured at film festivals—handy for exchanges with professionals or festival contacts. The other postcard promotes my upcoming series, "Tulip," and includes a QR code linking to my Instagram for easy networking.

Glasses

My glasses are always with me, essential for drawing and driving. Without them, prolonged work quickly gives me headaches.

Perfume

Recently, I bought a cologne in Sicily. While I don't usually carry perfume, I adore this bottle’s shape and color, making it pleasant to have in my bag. Occasionally, I remember to use it—I love items with appealing textures, unique shapes, or colors, and this cologne is the perfect shade of pink.