Interviews met Bealuz Villavicencio

The idea for Nella Pancia Della Balena began with a dream. I dreamt that I entered a whale because it was sick, only to find its belly filled with trash. That image stayed with me for a long time and eventually became the foundation of the story.

The main principle behind the book was to communicate through images alone. Rather than explaining environmental issues with words, I wanted readers to experience the story through empathy and discovery. My hope was that by caring about the whale first, readers would naturally begin to care about the ocean as well.

My main focus was creating a story that could be understood without language. Every illustration needed to communicate emotion, movement, and narrative clearly enough that readers of different ages and cultures could follow the journey.

I also wanted to approach environmental awareness in a hopeful way. Instead of focusing on fear or guilt, I wanted the story to celebrate kindness, teamwork, and the idea that even small actions can make a meaningful difference.

I hope Nella Pancia Della Balena continues to reach readers from different parts of the world and encourages conversations about caring for the environment. Because it is a silent book, it has the ability to cross language barriers and be shared by families, educators, and children from many cultures.

The project has also inspired me to continue creating visual stories that explore important themes through imagination and empathy. I hope this is only the beginning of a much longer journey in children's literature. The book is available online, grab a copy and experience the story with me.

It began with a dream. I woke up in the middle of the night, worried that I would forget it, so I immediately grabbed my pen and sketchbook to record both the images and the story while they were still fresh in my mind. Those rough sketches became the starting point of the entire project.

From there, I slowly developed the story into a sequence of pages, refining both the narrative and the illustrations as the book gradually took shape.

Since I have a full-time job, I couldn't rely on long, uninterrupted hours in a studio. Instead, I worked whenever I found a little bit of time, during commutes, while traveling, or in the evenings. The portability of the iPad allowed me to carry the project wherever I went. Looking back, I think that gradual process became one of the strengths of the book. It gave me time to reflect, revisit ideas, and carefully refine every spread. From the first sketch to the completed book, the entire process took a little over a month.

This was a personal project inspired by my curiosity, imagination, and love for whales. I simply wanted to tell a story that felt meaningful to me. Later, the book was published by Carthusia Edizioni in Italy.

As a child, I often wondered what a picture book without words would feel like. When I finally decided to create one myself, I wanted it to tell a story that could be understood anywhere in the world. Nella Pancia Della Balena became my way of exploring that idea while encouraging readers to see the ocean through empathy rather than instruction.

The primary audience is children, but I also hope the book can be enjoyed by families, educators, and anyone who appreciates visual storytelling.

I've always enjoyed creating for children because I believe they are naturally curious and open to imagination. They don't need everything to be explained. They observe, ask questions, and often discover meanings that adults overlook.

With *Nella Pancia Della Balena*, I wanted to create a story that children could enjoy first as an adventure, while gently encouraging empathy for nature and the environment. I believe that when children care about a character, they begin to care about the world that character lives in.

What makes Nella Pancia Della Balena different is that it communicates an environmental message without relying on words. Instead of telling readers what to think, it invites them to discover the story through observation and emotion.

I also wanted to approach the subject with hope rather than fear. The focus is not on blaming people for pollution, but on showing that empathy, teamwork, and small acts of kindness can make a difference. I believe that emotional connection is what makes the story memorable.

Nella Pancia Della Balena is Italian for "In the Belly of the Whale." The title reflects the heart of the story, where the main characters enter the whale to discover what is causing its suffering.

When I first developed the project, my working title was simply Pancia Della Balena ("Whale's Belly"). I've always been drawn to short, simple titles. During the publishing process, however, the title evolved into Nella Pancia Della Balena, an editorial decision that I was happy to embrace. I think it creates a stronger sense of curiosity and invites readers to wonder what awaits inside the whale before they even open the book.

One of the biggest challenges was telling a complete story without using a single word. Every illustration had to communicate the narrative clearly enough that readers could follow the story regardless of their language or age.

Finding the right emotional balance was equally important. I wanted the whale's situation to feel serious enough for readers to care, but not so overwhelming that it became frightening for children. Throughout the process, I kept refining the pacing, expressions, and compositions to make sure the story remained hopeful and engaging.

Balancing the project with my full-time job was another challenge. I worked on the book whenever I could, often during commutes, while traveling, or in the evenings. Looking back, that slower process became an advantage because it gave me time to step away, return with fresh eyes, and continue refining both the story and the illustrations.

The decision actually began with a friend's encouragement. They believed the project had the potential to reach a wider audience and suggested that I submit it to an international design competition.

At first, I saw *Nella Pancia Della Balena* simply as a personal project that grew from a dream and my love for whales. Submitting it gave me the opportunity to share the story with a much broader audience and see how people from different cultures would respond to it.

Receiving the A' Design Award was both an honor and an encouragement. It reinforced my belief that visual storytelling can cross language barriers and connect with people through shared emotions and experiences.

Growing up, I didn't even know design was a profession. What I knew was that I loved drawing and making things. My family wasn't connected to the arts, so there wasn't a clear path toward a creative career, but that curiosity never left me.

Over time, that interest led me into graphic design, branding, and eventually illustration. Today, I work as a Brand Design Lead while continuing to create picture books and personal projects. Looking back, I realize I wasn't chasing a specific career. I was simply following my curiosity, one project at a time.

For me, design is about communication. Whether I'm designing a brand identity or illustrating a silent picture book, my goal is the same: to help people understand and feel something without unnecessary complexity.

Good design is not decoration. It creates clarity, builds emotional connections, and leaves a lasting impression. The best designs often feel effortless, but they are usually the result of careful thinking and refinement.

I enjoy projects that combine strategy with creativity. Brand identity design is especially rewarding because it allows me to shape how people experience a company over time. I also love illustrating picture books because they give me the freedom to tell stories that connect with readers emotionally.

Although the projects are different, they both begin with the same question: "What do I want people to feel?" Everything else grows from that.

One project that is especially meaningful to me is Nella Pancia Della Balena. It began with a dream about entering a whale filled with trash and eventually became a silent picture book about empathy and caring for the environment.

What makes the project special is that it challenged me to tell an entire story without using a single word. Every illustration had to carry the narrative and the emotions. Receiving the A' Design Award for the book was a wonderful encouragement and reminded me that visual storytelling can connect people across different languages and cultures.

The iPad has become one of my favorite creative tools because it allows me to work almost anywhere. Since I also have a full-time job, being able to sketch ideas on the go has been invaluable.

That said, I don't believe creativity depends on the tool. Whether I'm using an iPad, Illustrator, Photoshop, or pencil and paper, the idea always comes first.

I usually begin with the story. Before thinking about colors or typography, I ask what the design is trying to communicate and how I want people to feel.

Once that becomes clear, every design decision becomes much easier because everything supports the same purpose.

Curiosity is probably the strongest one.

Every project begins with questions rather than answers. As the work develops, curiosity turns into excitement as different ideas begin to connect. There's also satisfaction in seeing a concept become clearer through each revision.

AI is huge these days but I don't think AI will replace designers. I think it will raise the standard. Technical execution is becoming easier, which means ideas, taste, judgment, and storytelling will become even more valuable. Designers who remain curious and continue learning will have more opportunities than ever before.

Stay curious and keep learning. Trends, software, and technology will continue to change, but curiosity will always help you grow.

I also think it's important not to rush your development. Some of the most valuable lessons come from refining your work over time. Talent may give you a starting point, but consistency and the willingness to improve are what help you build a meaningful career.

Alongside my work in branding, I hope to continue creating picture books and developing original stories that can be enjoyed across cultures. I'm also building Soulfolks, a world of characters inspired by everyday kindness, imagination, and human connection.

Ultimately, I want to create work that people can return to years later and still find meaningful. That's the kind of legacy I hope to build.

The story began with a dream. I dreamt that I entered a whale because it was sick and needed help. When I got inside, I found chaos. Its belly was full of trash. The image stayed with me for a long time and eventually became the story.Because the book has no words, I focused on the moments that would carry the emotional journey: finding the whale, discovering what was making it sick, cleaning its belly, and seeing it recover. I wanted the story to be easy to follow, but I also wanted readers to have space to make discoveries on their own.For me, one of the beautiful things about silent books is that they trust the reader. Not everything needs to be explained.

Although the book talks about environmental issues, I didn't start with the idea of making an educational book. It began with my love for whales and that dream image that stayed with me.I wanted children to understand the story through emotions rather than explanations. That's why I used familiar objects inside the whale, like bottles, tires, and even a piano. Children immediately recognize that something doesn't belong there. What surprised me most was how quickly they understood the story without words. Many talked about pollution, but just as many talked about kindness, helping others, and caring for animals. They often found meanings that went beyond what I originally intended.

One of the practical reasons I created the book on an iPad is that I have a full-time day job. I don't always have long hours to sit in a studio, so the iPad allowed me to work whenever I found a little bit of time, during commutes, while traveling, or in between daily responsibilities.I treated it very much like a sketchbook. The biggest advantage was flexibility. I could experiment with compositions, pacing, and character placement without starting over every time.Even though the book was created digitally, I wanted it to feel warm and hand-drawn. The technology helped me tell the story, but the emotional connection was always the priority.

I grew up in Manila and later moved to Seoul, so I've experienced life in two different cultures. That made me aware of how people can have different languages and backgrounds, but still connect through the same emotions. When creating a silent book, that awareness became very important. I couldn't rely on words, so I focused on feelings and situations that are easy to understand no matter where a reader comes from. A whale in need, friends working together, and the joy of helping are things that can resonate across cultures. I think that's one of the reasons I love silent books. They allow people to share the same story without needing a translation.

That balance took a lot of trial and error. I wanted readers to understand that the whale was suffering, but I didn't want the story to feel heavy or scary. One way I approached it was by including unexpected objects inside the whale, like a piano. It's clearly part of the problem, but it's also surprising and a little funny. Moments like that create curiosity and keep the story playful. I wanted children to feel concerned for the whale, but also hopeful. The story is ultimately about helping and healing.

The format became part of the storytelling itself. When the book is open, the spreads become wide and panoramic, which allowed me to show the scale of the ocean and the whale's journey. I often thought of each spread like a scene in a movie. The extra space helped me guide the reader's eye and create a sense of movement. Since there is no text, composition does a lot of the storytelling. The format gave me room to let the images breathe and unfold naturally.

One of the most rewarding aspects of this project has been seeing how readers from different countries respond to the same visual story. Through opportunities to share the book with audiences in Bologna, Turin, and China, I was able to observe how people from different cultural backgrounds engaged with the narrative. What struck me most was how consistently readers understood the emotional core of the story. Children and adults alike recognized that the whale was in distress and that the characters wanted to help it. Even without words, the story was able to communicate empathy, care, and hope. At the same time, different readers often noticed different details. Some focused on the environmental message, while others were drawn to themes of friendship, teamwork, and helping those in need. Children were especially observant and often pointed out visual details that adults overlooked. These experiences reinforced my belief in the power of visual storytelling. Silent books invite readers to become active participants, bringing their own experiences and interpretations to the story. Seeing people connect with Nella Pancia Della Balena across different cultures reminded me that while languages may differ, emotions are often universal. For me, that is one of the most beautiful qualities of a silent book. It creates a shared reading experience that can travel across borders and connect people through images alone. I am also grateful that the book found its way to readers through its publication with Carthusia Edizioni.

Receiving the A' Design Award was both encouraging and motivating. As an illustrator, I usually focus on storytelling and the emotional experience of the reader. The award reminded me that visual storytelling is also a form of design, where every decision, from composition and pacing to color and format, contributes to how effectively a story communicates. What I appreciate most is that the recognition highlights the value of visual narratives that can be understood across languages and cultures. Nella Pancia Della Balena began as a personal idea inspired by my love for whales and my concern for the environment. Seeing it recognized on an international platform gave me confidence that stories told through images can create meaningful connections with readers around the world. The award has encouraged me to continue exploring visual storytelling and to approach future projects with even greater curiosity and ambition.

From the beginning, I wanted readers to care about the whale before thinking about the environmental message.I designed the whale to feel gentle, vulnerable, and approachable. Even when it is suffering, I wanted readers to see a living creature that needs help rather than a symbol of a problem. I believe empathy is more powerful than guilt, especially for children. If readers care about the whale, they will naturally care about the ocean as well.

One thing I learned is that a silent book is not just a picture book with the words removed. Every image has to do a lot of work. My advice is to focus on storytelling first. If the story works as a series of rough sketches, it will remain strong when the final illustrations are added. I also think many people underestimate pacing. In a silent book, the page turns are part of the storytelling. What happens between images can be just as important as the images themselves. Most importantly, focus on emotion. Readers connect with feelings before they connect with ideas. If they care about the characters, they will stay with the story until the very end.