10 Questions: Maria Francesca Melis

Maria Francesca Melis is an illustrator and multidisciplinary designer based between Sardinia and New Zealand. Drawing from her childhood immersed in nature, she creates richly detailed illustrations that echoes the psychedelic-era work of Heinz Edelmann and Peter Max; blending vintage botanical aesthetics, bold ’60s and ’70s design and Sardinian folk traditions to striking effect. Continuing with our series of issue 10 contributors, here Maria Francesca talks research the enduring influence of John Alcorn and the significance of Armenian tapestries. 

 

Could you define the approach or philosophy of your work? 

My work blends memory, nature, and cultural heritage. I draw on my Sardinian roots, filtered through experiences abroad, creating decorative, dreamlike worlds. Illustration is my way to slow down, observe, and explore emotion, identity, and the quiet bond between humans and nature.

Above: Cover for Linkiesta Etc Issue 9

Which piece of work or project have you learned the most from and why?

I’m working on my first fully illustrated children’s book, and it’s taught me more than anything else. Each illustration has to work alone and as part of a larger story, balancing consistency, colour, and originality. It’s challenged me technically, conceptually, and stylistically, and helped me find my own voice within a connected visual narrative. 

Above: Personal Figs

'Illustration is my way to slow down, observe, and explore emotion, identity, and the quiet bond between humans and nature.'

 

What do you think are the skills needed of a good art director and how does it help to improve your work? 

Clarity, curiosity, and empathy. A good art director communicates a vision, explores possibilities, and understands the artist’s voice. Their guidance pushes me to refine ideas, make intentional choices, and balance personal expression with the needs of the project.

Above: Les Echos 

How important is research to your work and why does it matter?

Research is essential. Looking at botanical forms, textiles, folklore, mythology, and art history keeps my work authentic, sparks ideas, and opens unexpected paths, connecting tradition with innovation.

Above: Society Officiel

Which illustrator alive or dead do you most admire and why?

John Alcorn. His work is playful, decorative, and sophisticated. I love his bold shapes, intricate patterns, and brilliant, simple colour palettes. He embraced ornamentation freely while maintaining a strong visual identity, which continues to inspire me.

What is one part of your working process that you do well, something you could improve and something you wish you never had to do again?

I’m good at creating immersive, detailed worlds filled with symbols and textures. I’d like to step back and simplify more. Organising files, folders, and backups is something I’d happily skip forever.

Above: APRA Awards Identity (celebrating New Zealand's songwriters and composers)

What is your favorite film poster and what film do you wish you could have done the poster for?

I love Sunset Boulevard, Zazie dans le Métro, Playtime, Seven Samurai, Ride the High Country and The Color of Pomegranates. If I could, I’d design The Color of Pomegranates. Its poetic imagery, rich colours, and deep Armenian cultural roots make it more than a film, it’s a celebration of tradition and identity.

Above: A still from The Colour of Pomegranates (1983, Dir. Sergei Parajanov)

What film do you recommend to others most often and why?

Cinema Paradiso. It takes me back to discovering the world through stories, like I did as a child. Ennio Morricone’s score adds longing and nostalgia, and the film’s reflection on memory, love, and time always reminds me of the magic in ordinary moments. 

What object from a film do you wish you could own and why?

A tapestry from The Color of Pomegranates. Its intricate patterns and symbolism capture Armenian tradition and identity, and owning it would feel like holding a piece of that cultural heritage.

The great film critic Roger Ebert described film as an 'empathy machine' suggesting it is a way for us to connect fully with lives and experiences of others that we will never ourselves live. With this in mind, what film have you watched that has had the greatest impact on you emotionally and tell us why if you can?

Big Fish. Its mix of imagination, emotion, and fantasy resonates deeply, reminding me of my childhood. My dad used to tell fantastical stories from his youth, blending real events with imagination, and watching the film felt like revisiting those moments. It showed me the power of stories, for connecting with others and keeping memories alive. ∆