Saturday, January 15, 2011

Can D&c Remove Fibroid

For the towns of Macerata: Interview with Javier Zabala

roguish eye, dissolved enriched dall'intercalare spoken the word "hombre", Javier Zabala brings all the sympathy English and professionalism that only a great artist can have when it's time to open up to others with humility and generosity.


I met Javier in Macerata, as evidenced by the title of the post at one of the courses they take to Ars In Fabula - Factory Fables, where I could observe the work with students. What I was struck by Javier, is a mixture of empathy and rigor that is able to maintain in the classroom, as in life can expertly stirring sensitivity and fun, shyness and uninhibited. Qualities that shine through even in his work, full of little references curious, carefully balanced color, characters sketched with that style so peculiar to that atmosphere and frankly so masculine that filter from its tables.



During his distinguished career as an illustrator, Javier has competed in the work of undoubted complexity: from the illustrations of Don Quixote , those of Santiago of Garcia Lorca (for which she won an honorable mention at the Fiera di Bologna), illustration of Hamlet in Shakespeare's version for adults. Among other texts also explained Melville and Rodari. Let's just say that you are not missing anything done! Probably has little hesitation in embarking on new challenges, which honestly I particularly welcome, because it is symptomatic of a great desire to evolve and pursue a path of research and study, a professional, in my humble opinion, should never give up. Each of his book, as related by a common thread that resides in the sensitivity the artist himself, in his view of the world and skills which translates them into language of images, adjusting from time to time in the targeted public, it is different.



In his tables, in which there is an obvious mixture of elements deriving from cultural references and personal experiences, the English artist manages to give voice and expression to a pictorial language with rich connotations of avant-garde ideas.

But we do not lose further time is now to pass the interview!

I have the piacere e l'onore di essere con un maestro dell'illustrazione, originario di Léon in Spagna, Javier Zabala. Ciao Javier.
Hola, buenos dias, ciao.

Ti farò una prima domanda forse un po' insolita: mi piacerebbe sapere qual è il tuo luogo preferito della tua città natale, se c'è.
Il mio posto preferito della mia città natale è, senza dubbio, La Colegiata de San Isidoro, una chiesa romanica, bellissima, con splendidi affreschi. Qui è dove giocavo da bimbo, dopo essere stato al cinema a vedere i film sui romani, con i miei fratelli ci divertivamo a percorrere le mura del dodicesimo secolo. Questo è il posto che io preferisco della mia città.


Da piccolo eri un buon lettore, ti piaceva leggere? C'erano libri che prediligevi, oppure preferivi già disegnare?
Io e tutti i miei fratelli abbiamo letto abbastanza. Io però non ero il fratello che leggeva di più, il mio fratello maggiore superava tutti in questo. Però mia mamma, più che mio padre, leggeva moltissimo, per cui la mia casa è sempre stata piena di libri. Per quanto riguarda il disegno ho un ricordo molto vivo dei miei inizi. Difatti ho iniziato a disegnare una volta che andammo in ferie nel nord della Spagna, vicino al mare, il tempo lì era sempre abbastanza schifoso e, per intrattenerci, My mother was always inventing things for us are. In reality there were six more other friends, so little people. Once, because it was always raining, mom invented a drawing contest. I well remember that day I went fishing with my cousin when we got back I asked him: "You did something for the drawing contest?" And he said: "No, I did not do anything" but it was a lie, because when we arrived at home he showed us all a nice drawing great, great, and everyone. He won the first prize. It was not only designed an award, there were many, but I still remember the color of this award: I was angry with him very much, because I had told a lie. I remember very well that, the next day, I began to draw, and I continued to do until now. This time I drew an army of Egyptians, with crayons, and my mom gave me a prize, do not know why, there was no contest, but I guess that was to encourage me.

So we can say that your drive illustration came from a challenge. And challenges in your career, you have addressed many: in addition to beautiful picture books that you produced, you also illustrated poetry and now you approached the classical theater, Shakespeare. There are major challenges because it is not easy to illustrate poetry (I mean Santiago Garcia Lorca), or a classic as Hamlet by William Shakespeare.
Yes, in fact, a classic is never easy, because it has already been explained many times, everyone has a reference, or more than one. In reality, however, in the case of Santiago of Lorca, I must admit that I like to illustrate poetry, because it is so free as a literary concept, as an illustrator can do almost anything. As with Rodari: Rodari I like it because it is very suitable, his lyrics are always open and you can put all their world.


Returning to Santiago , I remember a book that I have done some fatigue at the beginning, because I could not find the right way. The first attempt I made was linked to southern Spain, where he lived Lorca in Granada. However, this is not communicated to me anything, it was not my country: in fact, Leon and Granada seem to belong two different countries, they are not able to do so. The second way I tried was La Residencia de Estudiantes: it was a place where Dalí, Buñuel and Lorca - Lorca and Dali were roommates, were parties, was a way of living and studying the people of that time in Spain - drawings were all together was the period of surrealism. At that time, Lorca did so many designs, so I decided to do even this step, approaching a bit 'Lorchiana aesthetics, but I was not even possible to reach a result with this. In this second path I have taken only a small moon that made him a moon close, with an eye in the forehead, which is very nice as a design and who is in the book. In the end, the way we do Santiago, came when I turned my gaze to my life because I was born in the middle of the road to Santiago, my city is there, all my life I have seen people walk the path Santiago. I too have done, and many experiences in this book are my own personal experiences.

Sketches for Santiago (Cows)

For example: the cows, so that has nothing to do with the text, are the cows that I saw when I was hungry, after thirty miles of road. Then lunch, as well as everything else when you do the Camino de Santiago, it becomes a bit 'medieval experience: everything is on a human scale, all you can do with your feet you can, the rest no . Finally he goes so far as to despise the machines that sometimes go on the road. It is a very interesting experience, so I moved the text a number of small symbols of the journey, and my personal life, and I think I got a sincere book.

For
Hamlet was different: I had no personal references, but they are a bit 'suicide bomber, I did not think much when I was asked to do Hamlet . Actually, I think if you have more or less honest and, above all, if you let yourself be transported, everything is done because in the end it always comes at a more personal interpretation, which may be more or less good, but it is still yours. In this book, I remember that was the technique that I use the monotype, to show me the way and after I got carried away. I have always liked the idea of \u200b\u200bmaking artwork for adults, and this is something that can be done now in Spain.


Sketches and tables for Hamlet

In fact, the interesting thing is that the path you started with Hamlet is a course intended for adult audiences. This leaves you more freedom of expression, or feel that there is still freedom of expression regardless of the public to whom do you turn?
is possible that the freedom of expression, in a book for adults, is a bit 'better, because there are things you can not make: for example you can make a scene where he kills a man without too many problems in a noir novel can draw a man who smokes or drinks. But I am convinced that children in the picture you can do what you want, it's what I've done so far. I also know that you must be a bit 'brave to go a bit' over the top, or dribble to anticipate the market, knowing that sometimes even what is proposed will not be accepted, but this is our job: we have to go a little 'later, because you can not do the same things that you proposed in the past. It takes courage, not the great courage that a surgeon when he goes to open a heart, but the research is our little way of being brave.


  Schizzi e tavole per Amleto

Essere coraggiosi implica però anche la disponibilità ad aprire una parte si sé che non sempre si lascia vedere agli altri. Quindi ci vuole un po' più di coraggio forse?
Infatti questo è vero. Io dico sempre che il mestiere di un artista è tagliare tutti i sovrastarti che la società, la scuola, la mamma la nonna, ti mettono dopo una certa età, quando si hanno più o meno sei, sette anni, quando si inizia il cammino della socializzazione per avvicinarsi all'altro. Questo è quanto viene fatto a scuola, no? An artist must be an individual who, at some point, free from the layers that are derived from taxes experiences, each layer must be cut to work with an open heart. I always thought that the artist's work serves this purpose, to protect something that is vulnerable, valuable for the individual, but utterly vulnerable because when a book comes out talking.

Geese S. Eulalia

Javier, I know these are your beautiful pictures around the world and there have been many exhibitions in recent months, Mexico, Madrid and many other places. Can you talk about these events?
Actually I remember four exhibitions: one was at The Villa Book to Urueña, an exhibition was a bit 'special because it was almost exclusively of sketches that told how to approach a book, was held in a very large space, in a medieval town full of bookstores, so the event was called the city of the book. This exhibition is completed at the end of August. Afterwards there was an exhibition in Madrid, organized by the Faculty of Fine Arts which was held in a historical library, the Biblioteca Histórica Marqués de Valdecilla : even this was not an exhibition normal because it was also a kind of retrospective, being set in a library in which they are exposed ancient books, the plates were placed in caskets of crystal. Twenty plates were exposed to large. My idea was to play my studio, to carry it there.


workshop in Madrid Javier

Atelier recreated at the Biblioteca Histórica Marqués de Valdecilla

The third exhibition was coordinated by Fundación Germán Sanchez Ruiperez , this is a traveling exhibition that was inaugurated in September 2009 and is currently shooting in Spain and the world has come to Bilbao, the inauguration of the Cultural Center Alhondiga that is a very important center, at the same time there was also an exhibition of Rebecca D'Autremer . This exhibit has been in Mexico City in November and then in Guadalajara. In Latin America there was another group, a beautiful show called Dibújame a Cuento , where there were a total of fifteen illustrators between Spaniards and Latin Americans, but all interesting me!

[ Editor's Note: For reference, in December there was another exhibition of illustrations by Javier at the exhibition halls of the Galleria degli Antichi Forni di Macerata, at Libriamoci 2010 - Show International Illustration (in collaboration with the Municipality of Macerata, Macerata Culture Institution Library and Museum and Factory of Fables). The exhibition has welcomed hundreds of works from some texts of Cervantes, Garcia Lorca, Melville, Shakespeare, Rodari. The exhibition was held December 5 to 21.]


do not believe it! However, for those young illustrator, you would learn through your experience, you teach during the summer with Ars In Fabula. Let me know how you can share your experience with the students? What kind of path do you do?
Every time I do a course, and is long enough that I do not really have no fear in it but I have more respect for those who come to them. There is now a town of people who came to do the course with me, who grew up, who's not. Usually students do courses with many people, not just with me, and every teacher shall send them a little 'one's own way of doing, and students obviously take their cue from this, however, then, should move a little, 'get away ...

notebooks with sketches (Santiago, etc.)

take its own path ...
Yes one thing to teach the technique, the other is forward technique together with a personal style, there are two things that often go together and it costs a bit 'away from it. I think this is the hardest part of the course. If I think I think I would have loved when I was that age, have all the information that can be received today in the courses: in fact, usually give information not only about what I did but I try to make a path storico. Poco fa però sentivo alcune allieve, chissà perché in Italia sono quasi tutte donne, che parlavano della paura provata nei primi tre giorni di corso, ne parlavano con distacco perché ora sono contente: hanno avuto un progresso meraviglioso di cui io stesso mi sono stupito. Ovviamente vedendo i progressi fatti si sono tranquillizzate, però è curioso sapere che tutti hanno iniziato impauriti. In effetti, a ben pensarci, con la tecnica che insegno, che è una tecnica mista e molto personale, gli alunni devono metabolizzare il procedimento a modo loro e non è facile iniziare. Tante altre volte, quando uno è più fermo in una proposta grafica è più facile forse fare tavole più o meno ordinate; qui invece the path is a little 'longer, however, when it comes to finding the right key, I think it's also very nice and satisfying. I do not know, depends on each one, maybe you should ask them.

No City 1

The answer I've heard of it: I know you're a teacher, much loved and highly demanded by students. As well as on your technique, this week of course, also worked on the concept of a storyboard, or developing an idea, the design? Or arrive with their existing projects and follow them?
Sometimes someone comes already with a project and is my favorite thing, because it seems more useful for them, but it is not so common. For this type of work here in Macerata is also a specific course. But the development of the course, for me, a lot depends on the people in front of me: usually the first thing I look at their drawings, is a job a little 'input. There are always things are essential, as the story-board, because if you do a book project we have to solve all the problems in their story-board. But what matters is going to work on the storyboard, it's a different path: it is a technical research first, then all elements are added, the events, the characters and then the pace of the book, which is the most important thing. Making the book, build all the elements, is the first practical step, then comes the sensitivity of each. Sometimes, when I ask for explanations, I say they have done in a certain way for many reasons, and my answer is that readers can go home to explain to them how to have designed the book: if a picture can not be explained by alone is not good. Sometimes I see students that I have not done so much, sometimes I think a week is not right for them because one week is still strong, strong, always comes the crisis, almost always on Wednesdays, on Monday come with joy, curiosity the new professor, is the day when we talk about everything, Tuesday is the day of work because we are here to work on Wednesday is the day of questioning and, moreover, the crisis in manufacturing is essential. After the crisis, however, always come out beautiful things.

No City 2

The latest question is about your future plans, whether for adults or children.
I'm working on about ten projects, including three with close deadlines, these are projects with small publishers English and Italian that I can not speak. I also designs books for adults, one in particular that I can not say anything because the text is clear, is a wonderful project with a publisher friend that I constantly press to know if I'm done. I think that will come out to the fair in Bologna, I'll tell you in person. And then I'm preparing for a stage work: we have now resumed after a break due to the crisis ..

So another challenge: the illustration of a tragedy passes directly to the scenery!
Yes, it's funny how do things I once did a poster for a work that had been held in a English theater, seeing the poster wondered why I had not done it and so is the scenery begun. Actually I'm not designer, so there is a team that helps me thankfully, are very nice and tell me what you can do and what not. For me it's fun to do the scene, so far has been a wonderful experience.

And this scene from when we see?
Hopefully by September 2011.

In a little 'less than a year ..
Yes, yes, it's a gone a bit 'long but it is beautiful.

Javier, thank you very much for your time, I am very happy to have had this opportunity to speak with you. And I hope to soon!
When you want to. Thank you.


Characters Sketches for the Guide to Madrid

The Pivot Questionnaire Seven Impossible Things Before Breakfast :

7-Imp: What is your favorite word?
Harmony.

7-Imp: Which one you love less?
Abula

7-Imp: What turns on your creativity, spirituality or emotion?
Things sincere and authentic.

7-Imp: What are you off?
routine, clichés ...

7-Imp: What is your favorite curse word?
¡Joder! (English is, of course ...)

7-Imp: What sound or noise do you love?
The noise of the fire, the sound of pen on paper ... seagulls ...

7-Imp: What do you hate?
The noise made by agglomeration of people ... both at the football stadium, is a demonstration in the street, the noise they make the feet of soldiers who walk together ...

7-Imp: What profession, as well as yours, would you experiment?
Undoubtedly musician ...

7-Imp: What you would not want to do? Many
eh! Working in a office in the bank ... in an advertising agency ...

7-Imp: If Heaven exists, what would you tell God when you arrive? Javier
Madonna! How come you here? (Ha, ha)




© Copyright images and photographs, Javier Zabala 2010. The thumbnails and the pictures of this post have been published with permission.

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