kiss kiss,bang bang!!
sábado, 26 de mayo de 2012
viernes, 25 de mayo de 2012
jueves, 24 de mayo de 2012
martes, 15 de mayo de 2012
No leer III
Son aviadores de otro tiempo sumergidos en el abismo.
Son viejos nihilistas obstinados en salvarte la vida.
Son enterradores bohemios de sonrisa petrificada.
Son niños prodigio vencidos por la inmisericorde soledad.
Son unos terroristas silenciosos esperando su oportunidad.
Son unos triunfadores venidos a menos.
Son los vigilantes de nuestra libertad.
Son unos bastardos con buenas intenciones.
Son unos hombres lobo arrastrados por la melancolía.
Son unos soñadores buscando la venganza más despiadada.
Son unos suicidas perseverantes.
Son unos enamorados pendientes de la solución final.
Son unos héroes remotos.
Son los que nos separan irremediablemente.
Sí, son todos ellos los que nos separan irremediablemente.
Los ladrones que nos roban la vida lentamente.
Son los cronistas de la nada corriendo en busca del burro volando.
Son unos feriantes dementes amantes del silencio glacial.
Son matasanos fatigados y desconsolados, siempre portadores de malas noticias.
Son poetas embrutecidos y cercenados por el pensamiento positivo.
Son tamborileros descalzos caminando hacia el abismo.
Son banqueros funambulistas y adictos al crack.
Son los que nos separan irremediablemente.
Sí, son todos ellos los que nos separan irremediablemente.
Los ladrones que nos roban la vida lentamente.
Son unos borrachos atenazados por su lucidez.
Son unos vendedores de quebradizas emociones.
Son unos pervertidos abrasados por la aplastante rutina.
Son figurantes prepotentes.
Son unos héroes despectivos que prefieren vivir sin hacer historia.
Son los jóvenes antisistema abandonados en la cuneta.
Son saltimbanquis derrotados por nuestro pesimismo.
Son aventureros con la mente inerte.
Son los que nos separan irremediablemente.
Sí, son todos ellos los que nos separan irremediablemente.
Los ladrones que nos roban la vida lentamente.
miércoles, 9 de mayo de 2012
Humedad recalcitrante
Siempre dormía con la persiana levantada,
costumbres adquiridas en tiempos que recordaba con desagradable nitidez. La
rutina del momento eran galletas integrales y café con sacarina. Me comería un donut. Maquillaje y
eye-liner completaron los actos autómatas mientras la rubia del telediario
decía que la lluvia primaveral era normal. A
esta jodida hija de puta le daba yo galletas integrales normales para
desayunar. Bajó las escaleras mientras pulsaba el botón que sacaba la llave
del coche y la volvía a meter. Tengo que
echar gasolina. La humedad se estampó en su cara cuando abrió la puerta de
la calle, hacía cuatro días que la ligera llovizna no cesaba. Ese tiempo
nublaba el horizonte cual niebla londinense. Como siga lloviendo cualquier día no salgo del trabajo, y no tengo
bragas de repuesto, tenía que haber cogido unas. La caseta de madera que recubría los
contenedores de basura estaba llena de gatos callejeros comiendo peladuras de
naranja. Todos se alejaron según se acercaba. Entonces lo vio. Bueno, lo que me faltaba, otra vez. Esa
maraña de pelos engarzados en un colgante en el lecho del arroyo le resultaba
familiar. El brazo, inconfundiblemente tatuado y separado brutalmente del resto
del cuerpo, estaba un poco más lejos de la carretera, casi cubierto de hierba y
agua. La lluvia hacía que la sangre fuera más acuosa e incluso no pareciese
macabra. Había un trozo de madera, protegido de la lluvia por el techo, que
tenía salpicaduras carmesí. Era incluso fresca. Si no fuera miércoles diría que todavía tengo resaca. El pantalón,
siempre ajustado, volaba en jirones arañado por un zarzal enorme. Si llamo ahora al SEPRONA menudo follón, que
lo redescubra el cartero. Resultaba evidente que había muerto desangrado
entre espasmos. Aceleró el paso sonriendo y abrió el coche, lleno de polen, en
la distancia. No sé quién ha sido, pero
me hubiera encantado hacerlo a mi.
jueves, 3 de mayo de 2012
Vincent Morisset
BLABLA...
Es un film interactivo que explora las bases de la comunicaciòn humana.Fue solicitado por la Nacional Film Board Of Canada a Vincent Morisset.
Morisset es el responsable de proyectos tales como: Neon Bible(Arcade Fire)e INNI(Sigur Ros)
Si querèis interactuar, aquì tenèis el link de la pàgina principal: http://blabla.nfb.ca/#/blabla/es
Su portfolio: http://www.vincentmorisset.com/
Kiss kiss,bang bang!!
Lemony Snicket's A series of Unfortunate Events.
- Director creativo:Brent Watts
- Director/diseñador: Jamie Caliri
- Animadores: Chris Meyer,Joel Fox
- Ilustradores: Joe Esquibel,Tom Aaron
- Tipografìa: Scott Sorenson,Matt Manes
- Productores: Mike Miller,Gary Levine
- Mùsica: Thomas Newman
.jpg)
.jpg)
Kiss kiss,bang bang!!
martes, 1 de mayo de 2012
jueves, 26 de abril de 2012
El autobús amarillo (1/x)
(parte
1 de las X que puedan llegar a surgir)
lunes, 23 de abril de 2012
ENTREVISTA CON DIEGO PATIÑO
Chris Badger & Will Edwards
 |
Jacky Winter Group
First of all, I´d like to thank you for having dedicated the time for this interview.
1. We, all who consider us to be real design lovers, know that you are a very well-known public figure in this subject area. Would you mind telling us a little bit about yourself?
I am really far to reach such a highly recognized status, so thank you; that made me feel very warmly received.
2. Are you a freelancer? If so, what do you do to get clients?
Yes, I have been working as a full time graphic mercenary for the last six years. It is usually considered to be a professional position very closely related to freedom, but actually, it requires plenty of sacrifice. There are good months and bad ones. There´s scarcely no rest, and normally, Saturdays and Sundays are the heaviest days of the week. You must be extremely patient, and in fact, you never really get to know if you will succeed or fail. It means a true risk, so I wouldn´t recommend the experience.
I don´t use any strategy to get clients; I mean, I don´t go for hunting customers because I do not consider myself to be patient enough so as to show me as real sales man.
By the way, I neatly take care of my web profile. Also and for the last period, the Australian Group Jacky Winter represents me, and that fact has turned things easier for me.
Practically speaking, the best thing you can do is to give all you can from that very first work opportunity, and to upload it, to take it to the clouds or whatever they may call that, so as to make it known.
3. How did you start to go in for this? Are you self-educated or did you take any studies?
I´m a journalist. I worked writing about Economy and Technology, but all these affairs didn´t satisfied me at all so I lost interest on it. It was then when I decided to explore other fields such as graphic and publishing design, and as I was working in a publishing house in Bogota, I was asked for the first time to illustrate for Soho. They knew about my drawing, though for me it was just a way to kill my time.
The Soho offer couldn´t have been more appropriate, because shortly after I was allowed to leave the publishing house to deeply dedicate my time to illustrate.
I have no formal education on Arts, so I think that makes me to be self-taught.
4. How is your whole process from the sketch to the final product? Is your work totally handmade?
I sketch the drawings on paper and with pencil, that´s true. But at the moment, I´m focusing more on the idea, rather than on the form. This means serious investigation, so when I finally get to something I really like, I just try to execute it. It´s a dull process like cutting the pieces of a puzzle one by one.
Hereafter you face the postproduction, where the essence is the edition in itself. It is my favorite part of the process because you start joining and giving sense to all that pieces and then you form the puzzle.
It could be also considered like solving a crime. Here is where I consider the computer to be the most appropriate tool. My work is handmade; in contrast, I also work with a digital pen.
There are so many legends going around what is unkindly known as “digital illustration”, when actually, there´s no real distinction at all. I think that people normally have an unnecessary and somehow pretentious caution towards digital tools. But in my opinion, anyone could be amazing either using traditional methods or digital ones.
5. What does inspire you when you are creating? Why do you think that your designs are so special?
My main motivation is thinking of the final product, the illustration, when published, and the people´s impression. I´d like to see their reactions so as to check if my first intention is similar to what they perceive, or if, on the contrary, it has become a complete different thing. My inspiration is inside my work, it has to be like that.
I´m not a graphic designer. There´s an opposite relationship in how they see their own work.
A graphic designer adapts himself to a client by pursuing his identity. However, people want me for what I do and what I did, because it´s closer to my identity, and not to the client´s.
In Darwinian words, I am in a difficult position, because most people don´t like my work.
I don´t know what makes design or graphic arts to be so special. I don´t think of my work very often. Nonetheless, I guess it has to do with being a channel between form and content, and the way they connect with the audience.
6. Did you illustrate as a child? What was your favorite comic? What about a current one?
Yes, it was something I used to do a lot when I was a child. Specially to imitate my brother who was always a better drawer and storyteller than I will be.
I used to read – and I continue doing it- to Tintin and also Superman, Batman, Flash’s comics which Cinco Editora published. I can add Condorito, Memin and Asterix.
My uncle had a Mafalda‘s collection which also caused a huge impact on me. Ah! And the inevitable Fontanarrosa’s Boogie.
Now I read Daniel Clowes, Charles Burns, and Chris Ware and so on, and some Japanese authors such as Moto Hagio and Hitosi Iwaaki in whom I am interested at the moment. Moreover, I feel a big attraction towards crime and horror stories previous to the 50’s censure code and I have recently become a devotee of Oesterheld’s El Eternauta.
7. Do you think that your technique has changed with the passing of the years?
Yes, of course. You can´t help it. But rather than being somewhat experimental, I´ve always known where I wanted to take my work in aesthetical words.
8. Have you got any references?
Yes, I´ve got plenty of them. Hergé, the Garbage Pail Kids, Charles Burns, Tim Lane´s comics…So many things…
9. Do you think that designers are office workers?
That´s not a rule. I guess some of them will, and some others won´t. I´m not an office animal. I wasn´t trained for it, and in fact, I hate leaving home except for sushi, a whiskey bottle or to take a plane. Normally I wake up not earlier than twelve o´clock and I work till two, three or four in the morning. It keeps being monotonous, I guess, but, without a doubt, it is not an office timetable. Besides, when I think I´m not submitted to the humming of bad installed fluorine lights and the stale coffee breath of a mean boss looking at me over his shoulder, I feel so relieved.
Offices are horrible. The only thing they want is to see you early at work. They don’t care about your efficiency, if you are preparing a bill, or fantasizing with the sales girl Facebook profile. They just want you to warm your seat. Offices are the worst and poorest excuse to go out early on Friday.
10. Have you ever felt that you´d lost your creativity? If so, how did you solve it?
When you leave a blank page, it´s because you have nothing to say. Beyond that, there is no mystery.
11. What would you recommend to those people who want to dedicate their lives to the design field?
Giving advices is a horrible habit; I couldn’t do it to anyone. Or maybe yes. Although it’s only something to take into account. That’s what Milton Glaser said about admitting the failure. I already have an email from an editor from Chicago who tells me that my illustrations would surely make her to have nightmares. She, I am pretty sure, considered herself really funny when she sent it to me (and it hurt me really deep when I received it). But later on I thought that it is not so common to cause that kind of reaction in a person. So I can’t be so bad. Her indifference would have hurt me much more.
Failing is essential. We have to accept it and take it strongly.
12. Could you tell us something about your work experience with magazines such as El Malpensante and Soho?
I don’t usually visit any illustration websites, and the few I follow belong to some friends of mine I like to see, just to recreate myself and to know what they feel and think when they are creating.
13. What websites do you usually visit?
As I said, Soho was the magazine where I first published. I owe them that initial confidence though there are some aspects concerning with our relationship that make me feel a kind of displeasure today. I still disagree with the way they see the illustration.
El Malpensante, on the other hand, somehow embodies my home professionally speaking. I owe them my whole career. They have a very professional and serious concept of the work and I've been lucky to rely on the guidance and collaboration of its staff. There is no other magazine where I feel freer to discuss and perform my ideas. No doubt, those are the works I'm most pride of and the most outside awarded works too.
14. You have also worked for Bicentenario Pop. Before the exposition organizers asked you to illustrate the character La Pola, did you already know her? What did you imagine she would be like?
Policarpa Salavarrieta is a very popular character in the Colombian history, so I´ve known her very well since my school days. Along with the Bicentenario Pop exposition, this time, came a more critical investigation process that made me very skeptical in relation to the figure of this woman as a heroine. There is even a previous version, rejected by the organizers, in which I drew her as a giant parasite with a sack of eggs hanging on her.
I think that she was a woman overcome by a very teenager like energy and naïve reasons; and for me, defending a cause so devoted and blindly means distrusting. Maybe that´s why I added some details like the mask and the hidden gun.
15. Where could we find your online portfolio?
16. To sum up, could you tell us what´s your favorite book, film and music group or singer?
It´s hard to choose only three, so I will say the first thing that comes to my mind. A music group, Sparklehorse (or any other project by Mark Linkous). A book, El Mejor de los Mundos, by Quim Monzó. And a film, Heat by Michael Mann.
Translator: Cristina Galdeano Romero
Interview by Doris Curtis
|
Suscribirse a:
Entradas (Atom)