EP04 - Sara Pichelli

SARA PICHELLI - INTERVIEW 2025

First I’d like to say thank you for taking the time to do this. It’s been a real pleasure to be able to talk with my favorite creators in comics. I always mention this, but for context it’s helpful: I’ve been a lover of comics since I can remember and the most informative ones were the Ultimate Universe, this is where I first saw your beautifully illustrated artworks. What really struck me was the seamless blend of manga and western influences.

I read that you started out as a Character Designer and Storyboard Artist in Animation. What was that experience like and how did that pave the way for later working in comics?

I originally studied to do animation, so the experience was really important for me. I had the chance to work in that ambient and to fill all kind of roles, I’m talking about storyboarding, texture in character design and so on. All kind of things that I brought later to my comic works. Obviously learning character design helped me a lot with the making of Miles Morales.

I love Italy. and been visiting it annually partly because of family friends and because I really love Rome, Venice and Florence, thankfully it’s only a 2 hour flight away from my hometown. How much did comics play a part in your life growing up there? I personally know most of the comics in the late 90s / early 00s that were available here in Romania were the italian imported L’uomo Ragno (Amazing Spider-Man), those served as my first exposure to the character in comics besides the animated series.

I lived in a small town where there were no comic book stores. The only comics I was able to read were the one I could fine at the News Kiosk, mostly Mickey Mouse. Beside these, the first time I read a comic was when I was 25, which is approximately the same period as my first steps in the comic industry. So It was mostly a fortuity for me to get in touch with comics.

You worked on NYX:No Way Home and Runaways among your first assignments at Marvel as far as I know. Can you talk about what that experience was like and what did you take away from it going forward, especially collaborating with other artists?

I started on the NYX series as a fill-in artist and that was actually my very first experience. I have loving memories of that period because I knew nothing, I was young and inexperienced so I brought that experience with me, my very first impact with Marvel. Instead Runaways was were I have been the main artist, even if I substituted another artist back then, so for the first time I had the whole graphic responsibility. Very formative and very traumatic.

You joined the Ultimate family with Ultimate Spider-Man Vol.2 #15. Can you talk about what it was like and how you approached it? I remember the first time seeing your work there and being immediately captivated by it. Your work was distinct enough, but also a natural follow up to what Mark Bagley, Stuart Immonen & David Lafuente already established within the series.

It was just wonderful, a great experience and an even bigger responsibility to work on a character like Spider-Man. In addition to that I arrived after a legend of the comics like Stuart Immonen, so I was truly honored to have the chance to work on that project. Shortly after that Miles Morales co-creation came, so I think the path I have travelled has been not bad at all.

Ultimate Fallout #4 featured the introduction of fan favorite Miles Morales, whom you co-created with Brian Michael Bendis. What conversations, if any, have you had with him when working on introducing this character, who went on to be featured just within a short few years in animation and video games as well? I’m more than sure and absolutely deservedly, fills you with pride seeing him gain such popularity.

It took from 4 to 6 months to complete his creation. At first me and Brian had a few brainstorming sessions, he came up with some sort of idea of Miles, a general idea of what he wanted him to be. Then, with the Marvel team support as well, we worked together to try to give life to the character. Then we began working on his face, his somatic traits, his nature and so, only later we started working on his costume and after many proposal and exchanges of ideas we arrived at the Miles we all know now.

Ultimate Fallout #4 - Art by: Sara Pichelli

Following Miles’ introduction, a solo title was launched, Ultimate Comics: Spider Man. Can you talk about how it was like working on an ongoing series that was also your co-creation and introduced several new versions of characters, but also new ones, that now were part of a wider universe?

All the evolution of the character and the new characters make me very proud. It’s nice to know that something I worked on evolved in the way it did.

Speaking of Spider-Man and a wider universe. I was super excited when it got announced that J.J. Abrams and his son Henry were working on a Spider-Man comic and you were gonna be the artist on it. I liked J.J. since Alias, Lost and Fringe. Those shows had a great effect on me and interestingly enough a movie he produced was something that in a way jump started my career as a Graphic Designer (worked on the promotional material for Lou for Netflix), so I would be really curious to know how that project came about and what is was like working on it?

If I remember correctly, they asked specifically for me. A great honor indeed! On the other side working with a world known movie director has its big differences when it comes to directing a comic and most importantly writing for comics. It was a project with logistic complexity and not easy to realize and overall it was made during the COVID period, so I have memories of having a hard time. But at the end I was very happy to be part of the project and it’s very nice to be able to say that I had the chance to work with such important names.

You worked on Guardians of the Galaxy (which also featured Angela, whom fans will know as the co-creation of Todd McFarlane & Neil Gaiman from Spawn and has a complex history). Can you talk about your time on that series and the approach you took, compared to other titles? I love how your art remains recognizable, yet with each new comic series, it manages to feel fresh and unique.

It was a totally different genre of comics for me, so at first I had to get used to it. After that I can say I had a lot of fun working on it because I had enough free hand to create characters and worlds, BUT it was also the most exhausting run I made because of the really thight deadline I had. Brian is a wonderful writer, but in those comics there were lots of character, lots of dialogs and all of them in almost every single panel and with those deadlines it was very very hard.

As a Star Wars fan, I just wanted to take a question regarding that and ask about what it was like working on variant covers for various titles? What was your approach to it and which one particularly might be your favorite? Mine is the one you did for the main Star Wars title, with Greatest Moments Variant titled “Anakin’s Revenge”, from Ep. II Attack of the Clones, when Anakin, after the death of his mother Shmi, slaughters the Tusken Raiders.

I prefer to work on not action packed covers, I love the ones that are more intimate and full of atmosphere. I feel more inspired and to be able to create situations and compositions maybe more interesting. On the action ones there’s a risk of repeating already covered paths.

Star Wars #61 Greatest Moments variant "Anakin's Revenge"- Art by: Sara Pichelli

As far as influences go, whose work had the biggest one on you yet and who are your inspirations?

I had a lot of inspirations in the past years, but the ones who lighted the sparks are indeed Claire Wendling, Alessandro Barbucci and Stuart Immonen.

Totally nerdy question, what does your sketchbook look like?

At the moment I have more than 10 years of sketches of faces, body parts, portraits, weird creatures all around my sketchbooks. I’ll try to organize them and make something out of them.

Which is your favorite variant that comes to mind, that you’ve done over the years, or the one that is your most cherished?

Spider-Man #12, the one with Miles and Gwen kissing.

Spider-Man #12 - Art by: Sara Pichelli

If you could recommend a comic to someone who never saw your work before, which one would be?

I’d probably recommend Spider-Men and Spider Men II.

AI is now making lots of headlines. What are the pros and cons of working traditionally versus digitally, for you? How does the process differ and what would you recommend watching out for in this regard?

For me, the traditional/digital matter is really a question of timing. Digital allows me to work much faster, but traditional is much more enjoyable. Besides, in general, if you ask me for an opinion, I recommend to do traditional technical training—because being a digital native is possible, it can be done, but it's risky if you lack traditional technique—the result could be colder.

What are you working on right now and / or do you have plans to publish creator owned comic books in the near future?

I can’t say much right now, but yes, there are plans for a creator owned comic.

Last question, what was the best and worst advice you got?

The best one is to never answer to an email when on an emotional wave. Calm down first and then answer.

The worst one is to think the work environment is like a family. It’s not, we are colleagues, professionals.

Thank you Sara so much for answering my questions. I know you’re really busy, so just simply taking the time to do this really means a lot! Hope you have a great day and can’t wait to see what’s next!
You can follow Sara Pichelli on Instagram.