noviembre 9, 2013
El Platillo Volante y otros sueños sobre extraterrestres.
Por niñas y niños de México y España + Rafa Blanco + Teddy Goldenberg + Junelee + Álvaro Santamaría + Wren McDonald + Gabriel Góes.
Librito de bolsillo que reúne, en forma de cómic, seis testimonios del encuentro de niños soñadores con seres de otros planetas. Edición limitada de 88 ejemplares, a publicarse en enero 2014. Encárgalo aquí.
octubre 26, 2013
Dentro de mi pelo. Por Thomas Wellmann.
Seis sueños escritos por niñas y niños en Oliva, Valencia.
septiembre 19, 2013
Mar Rojo. By Teddy Goldenberg.
septiembre 12, 2013
The Perfect Sleepwalker. By Matt Houston.
Six dreams written by boys in Valencia, Spain.
The perfect sleepwalker
I dreamed about a truck driver who was a sleepwalker. At night he dreamed that he had a racing car and he sleepwalked and turned the truck into a racing car. Next day, there you go, a racing car! And so he became a pilot.
(Alejandro, aged 10)
El sonámbulo perfecto
He soñado con un camionero sonámbulo, que por la noche soñó que tenía un coche de carreras y se levantó y convirtió el camión en un coche de carreras. Al día siguiente, ¡toma ya, un coche de carreras! Y entonces se hizo piloto.
(Alejandro, 10 años)
Small Interview · October 2013
-If drawing is to daydream, which symbols appear naturally (unconsciously) when you draw?
Matt: Oh I’ve been thinking about this lately. I draw the same symbols and shapes a lot. I like to draw circles and tubes a lot, big curving shapes. I always draw accessories like bags and sticks and knives and hats. I love giving characters puffy little turtleneck things. Belts. Chin straps. Cloaks. I’m depressingly repetitive now that I think about it.
-One man, a thousand of styles. Looking at your body of work gives the impression that the drawings belong to different authors. Do you deliberately choose styles, shapes, concepts before starting every piece? Does your daily mood affects your style?
I don’t usually deliberately choose the style I’m going to work in, unless it’s specified by a client or something like that. Currently I’m working in pencil because I’ve been doing ink for a while and I feel like a change. I also find that working with different tools makes me draw differently and creates different results and feelings. My mood affects my style a lot. Sometimes I feel energized and precise, and sometimes I feel sloppy and depressed. This also affects the subject matter I draw.
-In your actual phase, is drawing closer to intuition (and the wise movements of your hand), or it´s closer to documentation and references?
I would say, at this point, it’s about 95% intuition. I’m learning to trust myself and to go with what I feel is right and looks good. I know how to draw realistically, but I much prefer to lean on abstractions and symbols to portray messages.
-You have a fascinating series of drawings done with your left hand. What have you discovered about working with the left hand? What qualities you like that you can´t get using your right hand?
I have been drawing with my right hand for my whole life, and at a certain point I got really tired of it! I found my lines getting more and more predictable and boring, so in a moment of frustration I started scribbling with my left hand, and it felt amazing! It was such a strange sensation to look down at my drawing and not recognize the lines! It felt like someone else was drawing, and the lack of control freed my mind to explore strange and new ideas that my precise right hand ignored. I recommend it to anyone who feels stuck in their style. It gives you this naive, vibrant, unpredictable line that is nearly impossible to achieve with your normal hand, and these “mistakes” can turn into something beautiful.
-What would be your ideal equipment for a bunker to draw nonstop for a week?
A pad of 8.5 x 11 inch printer paper, a mechanical pencil, some Micron pens, a laptop, Photoshop, and a scanner. And some watermelon and fried chicken.
-What is the most gratifying part of drawing?
Creating something I’ve never seen before, and other people liking it.
-Once you finish a drawing, is there any trace of the thrill and energy that made you start?
Yes. In the beginning of a drawing there is excitement and energy, then it can slowly turn into drudgery and work, but then as you approach the finish the energy and excitement comes back. I just have to try and survive the middle part. In fact, I normally try to work small and simply so that I can finish a drawing before I get to the middle part.
-Does looking at the finished piece excite you as much as starting to draw?
Sometimes it does. Sometimes it’s more exciting than when I start, because I don’t always start drawing with an idea of what I’m trying to make, so it’s a surprise.
-What did you like most about illustrating the dreams for “The Perfect Sleepwalker”?
It was a fun challenge making a drawing that size. It was very long, so there was a point where it was daunting and a lot of work, but once I got to the end I was very exciting! I loved drawing the unicorn dream, that one was my favorite.
-Can you share a dream of your own?
I dreamed that I shaved my head, which revealed a long, strange scar on my head.
septiembre 5, 2013
By Fitnat & Roni Fahima.
I dreamed that if you say a lie you will die. Lots of people lied so they died. The only way to not die was to not lie for one day but we couldn´t so everybody died.
(Fitnat/ 9 years old)
Soñé que si mentías morías. Mucha gente mintió y murió. La única forma de no morir era no mentir por un día, pero no pudimos, así que todo mundo murió.
(Fitnat/ 9 años)
Interview with RONI FAHIMA
about the making of “Lie Die”
Roger: What is the origin of this dream leporello?
Roni: Well, on the last day of your visit to Israel you met me and some other israeli illustrators in a small cafe in Jaffa’s flee market, you told me about your visit to Tabita School in Jaffa, collecting dreams. One of the girls gave you her dream diary and you asked whether I would be interested in illustrating some of her dreams. I said yes, of course yes! I always find it interesting diving into someone elses subconscious, especially when this someone is a child.
-What motivated you the most about illustrating Fitnat´s dreams?
The honest answer would be that the main motivation was this being a small project that can be finished in a relatively short time. Most of my projects drag on indefinitely and get lost along the way. And also… Fitnat’s dreams are amazing!
-The title of the leporello comes from one of Fitnat´s dreams: “Lie Die”, a dream where people die if they lie. You illustrated this dream with some phrases: “Obviously I like brussels sprouts”, “I am innocent”, “I never cheat the test”… Were these the kind of lies that you said as a kid?
I guess I’ve grown older, I didn’t think of the child in me when I wrote these sentences, I tried thinking of lies that children tell. When I was a child I didn’t even know what brussel sprouts were, I discovered them as a teenager and fell in love with them instantly.
Another innocent lie I wrote was “I hate you, you are weird!”. I find it interesting that although children can be very honest and direct, when it comes to their emotions they are already off their guard. I teach a comic class in elementary school. This week I saw a group of boys fighting with a girl that wanted to play football with them. They said terrible things like “Girls don’t know how to play football” or “Don’t give her the ball, her hands stink”. Obviously they only said it because they were embarrassed to be seen playing with a girl (and even more afraid losing to one).
-The dreams were written by a girl from Jaffa, and you said you wanted to draw some houses the way some local houses actually look. Can you describe shortly Jaffa´s arquitecture and houses?
Jaffa is beautiful, it’s a port city that started as a large estates city, stone houses with courtyards, tall ceilings with flat roofs surrounded by orchards. With time the orchards were destroyed, buildings got crammed one next to the other, housing projects and industrial buildings were added, desolation and destruction seized the houses and the city lay forgotten in favor of it’s young more progressive neighbor, Tel Aviv. The idea of setting the illustration in Jaffa was abandoned at some point, in the beginning I wanted the vegetation in the illustration to be more Israeli with palm trees and cactuses. I start out with certain intentions but I don’t always succeed at realizing them, perhaps there is still a trace of this idea in the opening page with the girl sinking into a giant hippopotamus.
-Did you find that these series of dreams could be related to Jaffa, or you consider them as pure fantasy?
Fitnat is a Jaffait girl that lives, studies and dreams in Jaffa. I find it interesting to get a glimpse into her dreams. On one hand they embody universal worries. On the other hand, a very specific girl had these very specific dreams and this related to her specific world.
I wouldn’t think Fitnat’s dreams are fantasy. They all have a feeling that something is motivating them to. It is clear to me that she has high morals, sensitivity and a very developed intelligence. It always surprises me how dark children’s dreams can be.
-You have a beautiful daughter. How being a mother transformed your approach to illustration and color?
I don’t know whether motherhood influences my work, I still don’t draw for Anna. It’s hard to admit, I draw for people who are important to me, or for people whose opinion I value. It’s a bit like a mask, I want my illustrations to be everything I’m not, a bit cheeky but naive. And my lines to be aggressive and soft simultaneously.
The main influence motherhood has on my illustration is the lack of time. I have to find quicker methods of drawing. I usually work very slowly (as you well know).