exemplos das minhas leituras mais recentes. quem não conhece estes dois autores ( Aaron $hunga e Igor Hofbauer) aconselho vivamente a conhecer. Estes últimos meses não tenho dado descanso aos meus olhos, tenho visto muito ilustração/Bd, e a verdade é que quando se conhece um artista com ele vêm sempre mais dois ou três, é uma cadeia sem fim. My work is my play and my hobby.
Para quem tem curiosidade, deixo aqui uma entrevista de 2011/2012 da TimeOut Croata que encontrei com o Igor Hofbauer! (http://timeoutcroatia.com/illustrating-the-city/).
Q: How did you start drawing posters, did your interest in music lead
to your interest in posters, or was it the other way round?
A: Whenever I try to work out how and why I started, I always go back
to the impact of the first poster I ever remember seeing as a child. It
was a poster for a reggae band (Black Uhuru, I think) that featured a
half-naked man with a monkey on his shoulder. It was stuck to the wall
of a dark pedestrian underpass that led towards my local tram stop in
Novi Zagreb, and it conveyed some kind of conspiratorial aura. Although I
didn’t really understand the codes of alternative culture at that age, I
did experience some kind of turbulence, and a desire to get out of my
neighbourhood and explore the rest of what was still for me an unknown
Ten years later I went to a concert by Russian-Estonian ska-punk band
Ne Zhdali and saw a DIY poster that had been made for them by the
Pula-based musician Nadan Rojnić. It was drawn in felt pen and then
photocopied, but looked wonderful. From that moment I knew that I also
wanted to belong to that scene, and soon afterwards I was designing
posters for Močvara. I also started with simple black-and-white designs
that were drawn in marker pen and then photocopied. It was a great way
of learning how to deliver the maximum amount of graphic impact with a
minimum of resources.
Q: Are there any examples of Croatian graphic art that were a particular inspiration?
A: The first things that left a big impression on me – a much bigger
impression than anything in the graphic world might have today – were
the huge theatre posters made by Boris Bućan. Bućan treated his posters
as a way of putting fine art into public spaces. The informational
content of the poster – which is supposed to be the main message – was
reduced to a strip of hard-to-read writing that went around the side,
but the visual content screamed out at the public. The Croatian National
Theatre benefited hugely by being associated with Bućan’s visual style –
they’ve never had a stronger visual identity.
Another important influence was the graphic work of design duo
Greiner and Kropilak, who perfected a retro look, working with old fonts
from the 20s and 30s and printing on sepia paper – the results looked
really very distinguished.
Q: Is there a particular Croatian tradition of illustration and did it have any impact on your style?
A: When I was a child everything I knew about life came from a book
called ‘Svijet oko Nas’ (‘The World Around Us’), an illustrated
encyclopedia that employed a team of graphic artists that were among the
best in Croatia. It’s from that book that I discovered how information
could be made to look visually enchanting. I have constantly used it as a
source of ideas; in fact I use ‘Svijet oko nas’ in the way that other
people use Google images.
Nowadays most Croatian children learn about the world from the
(largely American- or British-made) factual programmes shown on
international TV docu-channels. ‘Svijet oko Nas’ was a shining example
of the many things that were made for children in Croatia at that time,
when we didn’t import knowledge from outside, but produced books
ourselves. It represented our perception of how the world functioned, it
wasn’t brought in from somewhere else.
Q: How did you move from being a poster designer to writing and illustrating your own graphic short stories?
A: I started illustrating the monthly programme booklets for Močvara
in about 2000, and my artwork for them frequently took the form of a
short comic strip of four or five frames. After I’d done about 40 of
those I had the confidence to go into longer strip-cartoon narratives.
Compared to posters, graphic storytelling is very demanding and you
really have to throw yourself into it 100 per cent.
Q: Your stories are frequently set in grey urban landscapes,
particularly among the Limenka (‘Tin Box’)-style blocks that
characterise parts of Novi Zagreb. Why is the particular aesthetic of
Novi Zagreb so present in your work?
A: Novi Zagreb became an important setting for my graphic fiction
when I realised that this was a world that I knew far better than the
all-powerful American iconography around which all other strip cartoons
seem to revolve. Novi Zagreb provided me with a totally convincing
landscape in which my narratives could unfold. Of course I used artistic
license to depict a place that is home to me and thousands of others as
a derelict ruin, a dystopia. In a way this is a reflection of Novi
Zagreb’s unfulfilled destiny as a socially-planned ideal space.
Q: Concert posters and flyers have almost disappeared from the Zagreb streets. What is the future for graphic art in the city?
A: The city is increasingly packed with corporate advertising, a form
which nobody really experiences as visual culture. So you could say
that authentic visual culture is disappearing from the streets, but on
the other hand it is mutating into other forms, such as street art, or
web art. Street artists like Oko and Filjio have a strong presence and
people are always excited to see what they do next.
Q: The Polish 20th-century artist Witkacy always wrote down a list of
the drugs he was taking when producing his more phantasmagorical
pictures. Do you have any similar confessions to make?
A: People often ask me what I took when I was drawing a particular
piece. The world of comics and graphic novels is by its nature bizarre
and it’s no surprise that people connect it with drugs. The truth is
that it is absolutely impossible to draw anything unless you have full
concentration. Even a beer will slow you down. What any graphic
storyteller really needs is a strong cup of coffee.
Q: Finally, what are your plans for 2012?
A: My French publisher is talking about doing a book that will
involve about 50 pages of graphic fiction. I am providing the narrative
as well as the pictures. A horde of Adriatic zombies taking over a
holiday hotel will probably feature in it somewhere.
I won’t be going to any comic festivals this year because they always
end up being one week of drinking followed by one week of recovering.
That’s not because drinking is an official part of the programme; it’s
more because I tend to suffer from what you might call ‘intensive
Quem chegou ao fim da entrevista ainda tem mais uma prenda!, para quem não sabe o The Metropolitan Museum of Art disponibilizou uma Coleção gratuita de e-books sobre história da arte para DOWNLOAD em pdf.
Iniciei um novo diário gráfico, o anterior estava a desfazer-se aos bocados! fica aqui um apanhado do que anda na minha cabeça! o desenho da última página para quem não sabe é um auto-retrato. Prazer em conhecer-vos.
Com sorte sou a sócia nº 100 da Chili com carne! pois ao que tudo indica foi por uma questão de minutos que não fui a sócia nº 101! É nestes momentos que penso que a sorte está comigo! É o que me faz estabilizar o coração.
Lisboa está doente e apressa-se a ser uma Lisboa desaparecida!!!!!!!!
NO CENTENÁRIO DA LIVRARIA SÁ DA COSTA, a livraria vai fechar. Os
trabalhadores tiveram conhecimento da decisão da Juíza do Tribunal do
Comércio esta manhã. A partir de segunda feira, dia 22 de Julho, esta
Livraria centenária estará encerrada!!!!!!!!
Faremos parte da “Lisboa
desaparecida”. Os amigos da livraria/editora “Letra Livre”
editaram o “MANIFESTO CONTRA O DESATROSO ENCERRAMENTO DAS LIVRARIAS DA
CIDADE DE LISBOA NO CENTENÁRIO DA LIVRARIA SÁ DA COSTA”. o Lançamento, irá ser antecipado para este Sábado.
Manifesto descontentamento, a Baixa Lisboeta desaparece de dia para dia. Para quem goste de livros, é favor de evitar a Baixa Lisboeta a partir de Domingo.
Este é o Post nº 101 e Parece-me que sou a sócia nº 100 da Associação
Chili Com Carne! Ainda não houve confirmação mas ficarei a saber hoje
no Adufe Bar, a partir das 22h! Apareçam que também é a Inauguração da
exposição Bestiário Ilustríssimo de Joana Pires! e eu vou lá estar!