Two Twins, One Design Career

Identical illustrators Anna and Elena Balbusso are winning praise by working together.

Those of a certain age might recall the fictional Cathy and Patty Lane, identical cousins on The Patty Duke Show, and Hayley Mills as Sharon McKendrick and Susan Evers, identical twins separated at birth in The Parent Trap. Two generations later, Lindsay Lohan portrayed Hallie and Annie in The Parent Trap remake (could the judicial system handle two Lindsays today?). Jeremy Irons played Beverly and Elliot Mantle, evil twin gynecologists, in Dead Ringers. And there's, of course, the Olsen Twins making movies as well. Identical twins, in other words, have long provided a rich vein of entertainment.

The art world also has some famous monozygotic duos, like Doug and Mike Starn of Starn Studio. Right now, another pair of twins are taking the illustration world by storm. Anna and Elena Balbusso from Milan, Italy, who call themselves Anna+Elena=Balbusso, have garnered some of this year's top honors at the Society of Illustrators and elsewhere for images that are enticingly Renaissance and eerily new wave. Their award-winning illustrations for an edition of Margaret Atwood's The Handmaid's Tale are darkly luminescent.

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Twins are known to finish each other's sentences and, some say, even read each other's minds. But how can two individuals produce one piece of expressive art? I asked Anna and Elena to explain their similarities and differences as individually as possible, which, given that they finish each other's thoughts, is not as easy as it sounds.

When and where you born and how long after did you decide to become illustrators?

Anna: Sorry, we are women! We prefer not tell our date of birth [laughs]. However, we have been working for 16 years, and full-time with the same signature since 1998. Before moving to Milan to study painting at the Brera Academy, we studied graphic design and photography in high school at the Istituto D'arte G.Sello in our birthplace, Udine in the Friuli Region (in northeast Italy).

Elena: We also studied printmaking techniques such as etching, woodcut, engraving, screenprint, and linocut.

Anna: During the summer holidays in Udine, while we were still studying drawing and painting at The Academy of Fine Arts of Brera in Milan, we worked separately as graphic designers with studios and advertising agencies. Upon graduating, we had intended to work as graphic designers in Milan, but in the mid '90s, advertising and graphics were in crisis so we decided to join the Italian Illustrators Association (as separate illustrators) because drawing has always been our passion since we were three years old.

Elena: We were lucky enough to find an important Italian graphic designer, Angelo Sganzerla, who believed in us and gave us our first commission. From that moment, illustration was our life's work.

Anna: At that time we had separate portfolios and drawings done with various techniques: watercolor, gouache, acrylic, collage. For a couple of years we worked almost exclusively doing packaging with Angelo Sganzerla. At the same time, we were making appointments with publishers and ad agencies to start careers as freelancers.

Elena: Often one of us would get an appointment to show our portfolio. An hour later, the other one would have an appointment with the same person. This didn't help us, there was too much confusion. That's when we created a single identity, but our style still wasn't clear. Our style and our signature began to form in 1999-2000 with the creation of our first website.

There is no mistaking that you are identical twins. Do you work identically too?

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Steven Heller is a contributing writer for The Atlantic, the co-chair of the MFA Design program at the School of Visual Arts, and the co-founder of its MFA Design Criticism program.

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