Interviews met Stefano Rosselli

The main principle behind “Two of Hearts” illustration was to create something meaningful and strongly related to the specific playing card I had to create an illustration for. The first thing I did before starting conceptualizing anything was to learn about the meaning(s) commonly attributed to the “Two of Hearts” card, so it could help me to build my illustration. Since the “Two of Hearts” card is related with the concept of relationship/love between living beings, it immediately reminded me of “The Little Prince” fable written by Antoine de Saint-Exupéry and more precisely the part with the fox (which, by the way, is one of my favorite animals). So I decided to use this as inspiration to create my vector illustration.

While conceiving this illustration, my main focus was to find the right balance so I could keep the design appropriate (it had to be PG-13), cohesive (stick to the card’s color palette), playable (readability) and at same time to vehicle a meaningful, playful concept visually characterized by my illustrative style.

Since I plan to entirely design a deck of playing cards featuring my own illustrations, I would like to make use of my “Two of Hearts” illustration for this specific project. At this point the project is still an idea that needs to be further developed.

Overall, it took me about twenty hours of work spread over several days. I invested the equivalent of a half working day thinking about the concept, putting together my mood board, sketching on paper and choosing the visual concept I found the most suited for the project. After this, I spent mostly of the remaining time creating the digital version and fine tuning the visual appearance until fully satisfied.

In 2018 I was approached to take part in a non commercial collaborative project bringing together many designers around the world to design 52 playing cards for a very unique deck.

Since I like to play cards with friends, that I always spend very nice moments in doing so, that it was exciting to collaborate with many talented artists from around the globe on a common project and that prior to this I even had in a corner of my mind to create illustrations for playing cards, I gladly accepted the proposal. Once I confirmed my decision to join the project, the coordinator attributed me a playing card which I had to create a design for. And that’s how I started to work on “Two of Hearts”.

There isn't a specific target customer. The illustration was created for a non commercial collaborative project aimed to regroup various artists around the world mainly as a way to potentially generate synergies between them.

The name for this design simply comes from the playing card which I was attributed and which I had to create an illustration for.

During the conceptualization process I simply used paper and pencil. The final design was digitally created on computer (without the use of drawing tablet) thanks to a vector graphics editing program commonly used by digital illustrators.

Technology played an important role as the final illustration was digitally drawn thanks to a vector graphics editing program.

Due to the type of project this illustration was made for, data or analytical research wasn’t required. I only conducted a research on the web to find out which meaning(s) are commonly attributed to the “Two of Hearts” playing card. I used the result of this research as an anchor point which I could build my concept around.

For this illustration, the creative challenge I faced was mainly to find an appropriate, coherent and visually appealing solution to convey a concept related to the type of card which was attributed by the project's coordinator. All that without affecting the playability and by keeping the design clearly legible at a relatively small size (it had to fit into standard poker playing card dimensions) no matter the way the card is vertically hold in hand.

I thought it was a great opportunity to have my design skills reviewed and recognized by a panel of professionals specialized in design. I also saw the fact to take part into an international design competition as a way to considerably increase the visibility and credibility of my work. Self-taught illustrators/designers may be subject to prejudices about their skills, so a valuable and impartial recognition of their abilities represents a non negligible way to gain more respect.

I am a freelance self-taught illustrator and designer. As far as I recall, I’ve always been fascinated by aesthetic and very often I could be seen with a sheet of paper and pencil in hand, creating my own designs. During my younger years, comics and video games played an important role in rising my interest in becoming a professional illustrator and designer. Since 2010 (the year that I started freelancing), I had the pleasure to work for clients such as Thomson Reuters (Geneva, CH), The Swiss Red Cross (Basel, CH), LDES University of Geneva (Geneva, CH), The United Nations Office for Disaster Risk Reduction (Geneva, CH), amongst many others.

I became a designer, because I simply adore to create meaningful and playful designs which may contribute to enhance, in various ways, people’s experience while they interact/come across with the designed product. And as a way to share a vision with others too.

I chose to become a designer. It was part of my childhood dreams. I couldn’t imagine my life without designing, professionally or not.

Digital illustrations, user interface themes, icons, and logos. I used to wish to design more UI themes, but since a couple of years I am so much enjoying to design fully customized playing cards decks that I would like to mainly focus on this kind of projects now on.

This is a difficult question to answer, because it is a blend of so many factors over which we don’t always have control. I would simply advice to be persistent, to always work with great passion, to always look to improve oneself, to be curious, to have an open mind, empathy, welcome feedbacks, to have an eye for details and to create meaningful unique designs which tell stories that resonate with the audience they are made for.

I think that the ability to reach a very high level of clarity about the design intent is what often distinguishes a good designer from a great designer. However, creating an unambiguous striped down design which highly enhance the user experience can be extremely difficult.

In my opinion, a really good design is a great blend between aesthetic (even if this is subjective), meaning, honesty, usefulness, uniqueness, attention to details, user experience enhancement, timelessness, clarity, and effectiveness in solving a problem.

In my opinion, good design is supposed to enhance people’s life. Making life better, easier and, to sum it up, more enjoyable is the aim of good design. Therefore, if economically possible, I think it’s a no brainer why everyone should invest in good design as much as possible.

As a huge fan of sport, I would love to design a full brand identity for a basketball/soccer team and/or a tennis player (all these three sports being my favorite ones).

Beside realizing full brand identities related to the sports I like the most, I really would like to create a wide collection of fully customized playing cards decks.

I would tell that’s all the passion, attention to details and the meaning that I incorporate into all the designs that I create.

James Gilleard and Malika Favre are two design masters who are a great source of inspiration. Both are absolutely awesome artists.

I am a great fan of James Gilleard and Malika Favre illustration design. It’s hard to pick a favorite design amongst their works as they are so many that I particularly appreciate. I really like their designs, because of the high level of sophistication, elegance, but also playfulness they manage to achieve by using simple shapes and geometry. I also highly appreciate their color palettes and, specifically for Malika Favre, her use of negative space (so clever). Their works are absolutely fantastic.

Till now, I think that « Two of Hearts » is my best design. The aspect of that design that I particularly appreciate and makes me think that’s my best design is the way I managed to visually translate the bond between the deep personal meaning I wanted to share with others and the one that’s often attributed to the two of hearts playing card. It is a universal message related to Love that all people who have read « The Little Prince » from Antoine de Saint-Exupéry can connect with.

As first by realizing that they can always do better. Then by always seeking for feedback and various source of inspiration at any moment and any place, by being curious and constantly willing to learn, and finally by not being afraid to do mistakes and to experiment.

Teacher at primary school.

In a nut shell, for me, design is an answer to a problem which can contribute (in a relatively important way) to make people’s life more enjoyable.

Undoubtedly my dear loving wife. She is always there for me no matter what. Her honest and relevant feedback often helped me to improve my designs… even if I must confess that sometimes I had hard time hearing and digesting them ;)

Besides my wife’s tremendous feedback, my passion, dedication, persistence, hard work, attention to details and constant questioning helped me a lot.

Lack of self-confidence, of knowledge, of experience and prejudices toward me based off the fact that I am a self-taught designer.

Many more fully customized playing cards decks, UI themes and various brand identities for personal projects.

To create my own brand(s) and, through it(them), share my vision of design without compromises.

Timeless, well-crafted designs with a particular attention to details. Understanding of their need(s), honesty, respect of deadlines and great communication.

By solving problems that can make life better, easier and, overall, more enjoyable. The happier people are the better society can potentially be.

A new fully customized deck of playing cards.

The creation of two souvenirs playing cards decks. Mainly because it was a long time that I wanted to create items which the design is entirely dedicated to the country and, also, more specifically, the canton where I was born and raised. All that as a modest tribute which could contribute to promote them inside and outside theirs borders and, also, to show my attachment to them. I consider both these projects as my main design legacy.

Maybe less prejudices towards self-taught illustrators/designers.

Quality over quantity.

I think that design sets the trends.

As a digital illustrator and designer, technology plays an important role when designing.

For the first iteration(s) of my designs, I mostly use a simple pencil and paper. Then when comes the moment to create the digital version, I do mainly use the industry leading vector graphics design software, sometimes coupled with photo editing and/or layout ones.

To describe the design process.

By thoroughly analyzing other designers works and understanding the way they convey an intent. Also, by reading as much as possible articles, design presentations precisely describing a design process.

Antoni Gaudí.

Favorite color: royal blue, favorite place: Barcelona, favorite food: mezze, favorite season: spring, favorite thing: playing cards decks, favorite brand: Caran d’Ache.

When I get positive feedback by users/clients (via phone calls, emails, etc.) about my work that for sure makes my day great and gives me even more energy to keep on going.

No, but I for sure wanted to design for a living so I could spend even more time each day doing what I love. That was clear in my mind.

I just would like them to know that all the designs that I create are made with all my heart and that if I contribute to make them happy in any way thanks to my designs that means a world to me and fuels my will to keep on designing.

I am a self-taught illustrator and visual designer. As far as I recall, I’ve always been fascinated by aesthetic and very often I could be seen with a sheet of paper and pencil in hand, creating my own designs. During my younger years, comics and video games played an important role in rising my interest in becoming a professional illustrator and visual designer. This quickly turned into one of my dreams. But, in the end, I was discouraged by many people to follow this aspiration. All that led me on a different path until my passion unexpectedly caught me back. Indeed, while I was studying Educational Sciences at Geneva’s University, one of our professors asked us to work in small groups to create attractive pedagogical tools conveying knowledge about human brain related topics. In the group which I was part of, we decided to create a booklet and I offered to draw myself a series of illustrations that would go along with the explicative text. The positive feedback about the illustrations and the great pleasure I had in using my illustrative skills for an educational purpose sparkled again in me the will to make use of my design abilities in a professional perspective.

The kinds of works that I like designing most are vector illustrations and user interface themes. Concerning illustrations, characters (especially portraits), oneiric scenes, sport, nature, architectural constructions are some of my preferred aspects to feature in my works. About user interface themes, I particularly enjoy to create “dark modes” for applications, web sites or operating systems.

The first thing I designed for a company was a series of digital illustrations for e-learning. Given that I graduated in Educational Sciences, I was really delighted to use my design skills for this kind of project.

This can vary from day to day, but I would tell that usually I am the most creative at morning and/or late at evening. At morning it can be due to the fact that in general I have more energy after resting well during the night and, at evening, there are less chances that I can be interrupted during my workflow or simply distracted by surrounding noises.

The inspiration for my works can literally come from anything surrounding me. Even when I am not supposed to work, if I see, hear something that may be interesting for my design work, I do my best to keep track of it (take a picture, sketch it, write down a note, etc.). It doesn’t necessarily need to be something related with what I am working on at the moment, it can simply be a potential inspiration for future works. Otherwise, I spend regularly time watching design works/items on the web (Instagram, Twitter, Google, Pinterest, Behance, Dribbble, etc.), in books, magazines or shops.

I would define my design style as clean, colorful and playful. I explored more this style, first of all because it has characteristics that I particularly appreciate from an aesthetic point of view, but also because of pragmatical, technical reasons as it adapts very well to many use cases, therefore it offers great versatility. Plus I really like the challenge behind simplifying something so what is central, essential could stand out. In few words, I would summarize my approach to design the following way: understanding the problems to solve, the constraints, the target customer's profile and finding appropriate design solutions that are clean, legible, singular, visually appealing and easy/pleasant to use.

I'm born and live in Switzerland. Personally, I have the feeling that my environment considerably influenced the way I design my works. Indeed, the main principles behind my designs share a lot in common with what can be considered characteristics of the “Swiss style”. No matter if I create an illustration, an icons set, a logo or a user interface theme, I’m very often aiming at making that design to look clean, simple, minimalist and precise. I have also the feeling that I “inherited” from the place where I am living that constant need to push myself forward, to always aim at doing better. This state of mind is clearly something which helps me to constantly improve the quality of my work, but at same time it can turn into an obsession and, therefore, a downside.

My most important job experience to date was when the United Nations Office for Disaster Risk Reduction (UNISDR) of Geneva hired me in 2015 to rework the “Making Cities Resilient Campaign” visual identity for its 2016 re-launch. I was really happy and honored to bring my modest contribution to this international campaign.

It’s hard to only pick one, but if I have to, I would tell user interface design. I really enjoy this type of design work, especially because it can bring together many designs fields which I am particularly interested in, such as icons design, illustration, animation, layout or typography. But also because UI design is something really useful in everyday life. Operating systems, applications, web sites are more than ever part of most people’s life nowadays and will surely be even more in future.

The best way to contact me is by sending me an email. My email address is accessible on my website “www.stefrosselli.com”. Otherwise I can also be reached on platforms such as Behance, Dribbble, Instagram or Twitter (my username on these platforms is "stefrosselli"). But email is definitely the best way to go.

The literary inspiration served as my primary reference point throughout the design process. While the color palette and the symmetrical structure were more design-led choices, the fox’s meaning in The Little Prince guided the rest of my decisions from concept to final composition.I identified what I considered the most iconic emotional lessons behind the fox’s message (connection, patience, and commitment), then selected the elements that could carry those themes in a somehow universally legible way. Because this well-known story is rooted in many childhood memories, I aimed to evoke an immediate sense of recognition while preserving depth and emotional impact for a broader audience.The remaining challenge was translation, i.e. assembling these extracted ideas into a coherent, harmonious, balanced, and comprehensible visual language.

I chose a vector-based approach because it defines my visual signature. For this project, each illustrator was selected specifically for a distinctive style, so the priority was to translate the theme through a method that already felt natural and recognizable to me.

Because the space was limited and the design should, ideally, remain functional for “two-way” playability, I deliberately prioritized simplicity and immediate readability. I kept the symmetrical structure that naturally characterizes playing cards, using it as more than a functional constraint. It became a visual tool to reinforce the concept of duality, mirroring, completion, and connection.

For this project, the warm/red main palette was a constraint for red suit cards, so I had to keep the design primarily in those hues (except for accent colors, which could be freely chosen). But the restricted palette wasn’t a limiting factor, because it was aligned with the emotional tone I wanted to convey.

In the “Luck of the Draw” project, harmony with the full deck was achieved mainly through shared constraints. Especially the overall color palette tied to the suit identity.Because each illustrator was invited to bring a distinctive visual interpretation to the card, harmonization wasn’t an issue in that regard. Therefore, I didn’t have to worry about it.

Winning a Bronze A’ Design Award reinforced that my approach, i.e. pairing literary depth with minimalist, legible design, can land emotionally while still communicating clearly. It motivates me to keep using the same strategy in various future projects.

The most critical decisions were already established even before the early pencil sketch stage, since I clearly pre-visualized the artwork in my mind. I was really happy to see that the imagined concept translated immediately well into a satisfying design.The message I centered on was: “One sees clearly only with the heart. Anything essential is invisible to the eyes.” To translate that idea visually, I simply decided to depict the fox with closed eyes, so “seeing” becomes internal rather than literal. I also made the heart one of the dominant elements and placed it at the composition’s center, ensuring it carried the emotional meaning and became, together with the fox, the first focal point for the viewer while still referencing traditional playing-card design.Once that structure was fixed in the sketch, the vector process focused on refinement, .i.e. enhancing the shapes, reinforcing the precision and symmetry, and applying color.

The most effective elements are the fox’s closed eyes and the central, prominent heart. They translate the fox’s core idea that true understanding of a relationship comes from feeling.The surrounding blooming flowers add a second layer of meaning. They visually represent the lesson from the fox: “It’s the time you’ve spent on your rose that makes your rose so important.” By placing growth and blossoming around the central heart, the illustration connects affection with time invested, showing that relationship value is built.

It taught me to prioritize what must be understood instantly, then structure everything else to support that primary message.Because a playing card is a small functional object, the design needed to communicate clearly at a glance, in a very limited space (comparable to a small device screen). The central heart and the fox facial expression act as the primary focal points, while the surrounding elements (like the flowers) function as secondary cues.

The design bridges traditional playing-card imagery and contemporary vector illustration through a seamless integration of the classic card layout and suit identity with more intricate, vector-driven graphic elements. I believe it helps modernize and enhance the visual appeal while adding depth to the design