lunes, diciembre 27, 2010

Entrevista en DPI Magazine, Taiwán.

1. Are there any art period or style has influenced you? And how would you describe your own style?

I could say all of them. From some engravings like the prisons of Piranesi, until some paintings from the modern Pop surrealism. But from the begining, when I was very young, I was very absorved by the Ilustrator books that my father had on his studio at home. Ilustrators like Brad Holland, Caza, Brian Froud, and others that I don’t remember now, they show me some thinks that my “regular “ children books couldn’t make me feel. Those strong images where stocked on my brain, and I grow up with them. And that’s what I’m trying to do with my work. When there is a tragical scene in the story, I try to make it tragic, I work a lot with the expresions, the atmosphears. I want to show if the main character is happy, or sad, playing with diferents situations of the “camera”, colors, etc. I don’t know how to describe my one style… every body call it the Olmos style.

2. What material, tool and techniques did you use and why you choose that? Usually, what’s your working process when you create?

Actually most of my work I use Oil paintings on paper. They are handmade finished in an 80, 90%. The rest it’s finished by computer using Photoshop.

Before I used Gouache, and some oils. But now I do all in oil.

Now I’m trying to finish all the ilustrations painting them whith the oil, and use the computer only to alter some colors, very tiny details, contrast ang brightness.

I like to have a 100% originals on paper, to show them in exibitions.

Normaly, the frist sketches are made out from the studio. I take a pad, a pencil and I go to a bar, I have a tea, and I create the caracters, the storyboards and everything, I don’t like to do those things at home… When everythig it’s approved by the publishers, I strart from the frist page until the last one. I took from 2 to 3 days to finish one page, some time more, it depends of the scene. The cover has to wait the last day, always. I start doing a color base whith oil on the white paper, once it’s dry, I draw with the pencil, a very soft one. Then, I start with the shadows and finish whith lights.

3. And would you please give a simple definition to your creating style? Could you share your aesthetic or philosophy about your work?

Well, I think that I’ve been trying to find new resourses in every book that I’ve done. For me it’s very important to not have a unique kind of style. Of course I’ve been trying to find a tread that defines me, but I like to be able to do from a very crazy book, to a very serious one. And the most important, the sense of humor. This has to be present in almost every image (if the situation allows it..). I like to create little parallel storys on the image, small situations that daily happens to us, that we don’t give any importance, but when we see them represented on the illustration, it make us smile, from childrens to grown ups.

4. Also would you please talk about your book "Andrew Head down"? You created lots of children books, and what’s your main idea when you display for children book?

“Andrew Head down” It has been very funny to work in it. It’s a very simple and surrealistc story. I’ve enjoyed a lot drawing all the muscles, veins, different (invented) organs and lots of secretions. I wanted to show all the travell he does through the different bodyes, trying that the reader fiels all the up’s and down’s of Andrew. That’s wy I did the cover in that way, Andrew it’s inside a few Matryoska dolls, representing the diferent animals who ate him. That story gave me the chance, as I told before, to tell other storyes. Like what really happened to the Little red riding hood, it was to late for her, the gastric juices melt all her skin in to the stomac of the wolf. Or all the princess that the dragon ate, or we can find also the little futuristic ship from the movie from the 80’s “Innerspace”.

Wen they propose me to ilustrate a book, I have to feel confortable with the story. I check the visual possibilities that the tale offers me, the atmosphear that it creates has to be atractive. The final work has to surprise the reader, tiny little details that you don’t see in a frist reading, can be discovered in a second one. If theres is a tension moment on the story, I have to represent it with all the elements. With the light, the colors, the point of vue expresions... Even for humor, sadness or mistery

5. Further, we discovered you have depicted many characters in interesting way, and what’s the most important thing you thought when you created characters?

His psychology, I like to create a rare image, sometimes grazing the grotesque (mainly wen he is the bad guy) that’s what was recorded on my mind wen I was young, and I saw some ilustrations books from the Library of my father. I like to think that my characters are going to rest on their little minds, in a positive way of course. It’s nice to break the old cannons of what it was considered “ this is for children, they are small persons, so we do things for small brains.”

6. For you, which work is the most special or the most favorite one? Would you please share the work as well the reason with us?

Everyone has their story, but perhaps I like most is "The Prince of entanglements" of Roberto Aliaga .I had much time to do a license to do what I wanted, and also ends badly.

Is closely related to the times in which we live, "mobbing" property is in, and this story is a clear example. I enjoyed doing the crow, and especially the tree. I wanted to give true worth at the time of his death. A laborious work in the bark, indicating long winters and hot summers suffered, and then, a insignificant raven came and destroy him

7. As an illustrator, what do you predict for the future of Illustration? In your imagination, what the forward illustration world would be in the future?

I can not really predict the future of illustration, at least in a long term. But for now, has been a very good performance. Illustrators very good come out, and most importantly, the Publishers are losing their fear to publish things that years ago would not have dared. At least in Spain, albeit slowly, is happening. Small publishers like OQO, Kalandraka, The Red Fox, Barbara fiore and others... modestly began to appear on the market with bold titles, and images that the public was not accustomed to watch for children, and this it’s been expanding to bigger publishers.

8. Finally, would you please share your creating plan in the future with us?

In the future I may spend more to painting, I will illustrate for publishers, researching new ways to express. But I also realize that much is published today, maybe too much, not enough time to settle a free to the public, it is very difficult for him to become a classic. The following month leave many more, and the other, and the other .. published too. paint me feel more free, no delivery date, you do presentations, is another format that interests me, large canvases, summarizing an entire situation in one image.

martes, diciembre 21, 2010


Un detalle de Escuela de Superheroes, que publicará Anaya en su colección Sopa de libros. La historia es de Roberto Aliaga.