Sophia Green, painting with cement

Estudio al aire libre de Sophia

El otro día conocí a Sophia. Ella pinta sobre tablas de madera preparadas. Pero no usa pintura en sus cuadros, sino cemento. Me pareció un proceso muy bello y quedamos para hacer un video. Este fue el resultado.

Para más info visiten su web: www.sophia-green.com

People I meet

El otro día conocía Sarah, una chica de Ohio muy maja, con la que me reí un rato y nos tomamos alguna birra. Me dijo que es de Akron, un pueblecito de donde son muchímas bandas y músicos famosos. Le sorprendía que tuviesemos cafeterias starbuck en Madrid!

Bill, se echa una siesta frente al mar en Santa Mónica

In Los Angeles everyone is a Star

“Hollywood is a place where they'll pay you a thousand dollars for a kiss and fifty cents for your soul. I know, because I turned down the first offer often enough and held out for the fifty cents.” ― Marilyn Monroe

Canon EOS M

El otro día vino a casa mi amigo Erich Kemp, con su nuevo juguete, la Canon EOS M. Es la que quiere usar para grabar su nuevo guión que está escribiendo. Erich es de los mios, le gusta grabar como quiere que quede para casi no tener que alterar el color en postpo.

SIGMA 22 mm f:2.8

Pistol grip

Pistol grip y apoyo de hombro

Canon 50 mm f:1.4

Canon 50 mm f:1.4 + Mirage adapter

SIGMA 22 mm f:2.8 + RED color filter

Canon Eos M + Zoom H4N

SIGMA 10- 20 mm f.4

L'homme qui plantait des arbres

El hombre que plantaba árboles es un cuento alegórico del autor francés Jean Giono, publicado en 1953. Cuenta la historia de los esfuerzos de un pastor para convertir un desolado valle en las estribaciones de los Alpes, cerca de la Provenza, en un bosque a lo largo de la primera mitad del siglo XX.

VERSIÓN DE JEAN GIONO 
Realizado por  Philippe Noiret. Frédéric Back, Canada 1987
VERSIÓN DE BENJAMIN FLAO
Realizado por Benjamin Flao y Clothilde Durieux en 2013

Pen-se-mos

Don´t wait too long

18 tips for comics artists by Moebius "brief manual for cartoonist "

• 1 when you draw you must clean yourself of deep feelings (hate, happiness, ambition, etc)
• 2 it's important to educate the hand, attain obedience, to full fill ideas. but careful with perfection, to much, as well as too much speed, as well as their opposites are dangerous. to much looseness, instant drawings,aside from mistakes, there's no will of the spirit, only the bodies.
• 3. perspective is of sum importance, it;s a law of manipulation in the good sense, to hypnotise the reader. it;s good to work in real spaces, more that with photos, to exercise our reading of perspective.
• 4.another thing to learn with affection is the study of the human body, the positions, the types, the expressions, the arquitecture of bodies, the difference between people. the drawing is very different when it come to a male or a female, because in the male you can change a little the lines, it supports to have some impressions. but with the female precision must be perfect, if not she may turn ugly or upset. then no one buys our book! so for the reader believes the story, the characters must have life and personality of their own, gestures that come from character, from their diseases; the body transforms with life and there's a message in the structure, in the distribution of fat, in every muscle, in every fold of the face and body. it;s a study of life.
• 5. when you make a story you can start with out knowing everything, but making notes (in the actual story) about the particular world of that story. that way the reader recognizes and becomes interested. when a character dies in a story, and that character has no story drawn in his face in his body, in his dress, the reader does not care, there's no emotion. and then the editors say:   "your story is worthless, there's only one dead guys and I need 2) or 30 dead guys for it to work" but that is not true, if the dead guy, or wounded guy or sick guys or whomever is in trouble has a real personality that comes from study, from the artists capacity for observation, emotion will emerge (empathy). In the study you develop an attention for others, a compassion, and a love for humanity.
• it's very important for the development of an artist, if he wants to be a mirror, it must contain inside it;s consciousness the whole world, a mirror that sees everything.
• 6. jodorwosky says I don't like drawing dead horses. it;s very difficult. it's very difficult to draw a body that sleeps, that's abandoned, because in comics you're always studying action. it;s easier to draw people fighting thats way Americans always draw superheroes. it;s more difficult to draw people talking, because there are a series of movements, very small, but that have a significance, and that accounts for more, because it need love, attention to the other, to the little things that speak of personality, of life. the superheores have no personality, all of them have the same gestures and movements (pantomimes ferocity, running and fighting)
• 7. equally important is the clothing of the characters, the state they;re in, the materials, the textures are a vision of their experiences, of their lives, their situation in the adventure, that can say a lot with out words. In a drew there's a million folds, you must chose 2 or 3, but the good ones.
• 8. the style, the stylistically continuity of an artist is symbolical, it can be read like the tarot. I chose as a joke the name Moebius, when I was 22, but in truth there's a meaning to that. if you bring a t shirt with Don Quixote, that speaks to me of who you are. in my case, I give importance to a drawing of relative simplicity, that way subtle indications can be made.
• 9. when an artist, a drawing artist goes out on the street, he does not see the same things other people see. what he sees is documentation about a way of life, about people.
• 10. another important element is composition. the composition on our stories must be studied, because a page, or a painting, is a face that looks towards (faces) the reader and that speaks to him. it's not a succession of panels with out meaning. there's panels that are full and some that are empty, others that have a vertical dynamic or a horizontal one, and on that there is intention. the vertical excites (cheers), the horizontal calms, an oblique to the right , for us westerners, represents the action heads towards the future, and oblique to the left directs action toward the past. points (points of attention) represent a dispersion of energy. something places in the middle focalises energy and attention, it concentrates.
• these are basic symbols for reading, that exercise a fascination, a hypnosis. you must have a consciousness about rhythm, set traps for the reader to fall on to, and if he falls, and gets lost and may move inside them with pleasure because there's life. you must study the great painters, the ones that speak with their paintings, of any school or period, that does not matter, and they must be seen with that preoccupation for physical composition, but also emotional. in what way the combination of lines on that artist touches us directly in the heart.
• 11. narration must harmonize with the drawing. there must be a visual rhythm from the placement of words, plot must correctly maneuver cadence, to compress or expand time. must weary of the election and direction of characters. use them as a film director and study all different takes.
• 12. careful with the devastating influence of north american comics in mexico, they only study a little anatomy, dynamic composition, the monsters, the fights, the screaming and teeth (grin). I like them as well, but there are many other possibilities that must be explored.
• 13. there's a connection between music and drawing. but that depends also on the personality and the moment. for perhaps 10 years I've been working in silence, and for me the music is rhythm of the lines (the music he listens to).
• to draw is sometimes to hunt for findings, an exact (fair, just) line is an orgasm!
• 14. color is a language that the artist (drawing artist) uses to manipulate the readers attention and to create beauty. there's objective and subjective color, the emotional states of the character influence the coloring and lighting can change from one panel to the next, depending on the space represented and the time of the day. the language of color must be studied with attention.
• 15. especially at the beginning of a career, one should work on short stories but of a very high quality. there's a better chance to finish them successfully and place them on a book or with editors.
• 16. there are times when we are headed to failure knowingly, we choose a theme, an existence, a technique that does not suit (convene) us. you must not complain afterwards.
• 17. when new pages are sent to editors and see rejection, we should ask for the reasons. we must study the reasons for failure and learn. it's not about struggle with our limitations or with public or the publishers. it's more about treating it like in aikido; the strength (power) of the attack is used to defeat him with the same effort.
• 18. now it is possible to find reader in any part of the planet. we must have this present. to begin with, drawing is a way of personal communication, but this does not imply that the artist must envelop himself in a bubble; it' communication with the beings near us, with oneself, but also with unknown people. Drawing is a medium to communicate with the great family we have not met, the public, the world. 
• august 18th 1996 compiled by Perez Ruiz  

Cine de ilustradores: Drew Struzan

Veo el documental DREW: THE MAN BEHIND THE POSTER. Este documental relata la vida artística de Drew Struzan, dibujante, creador de alguna de las mejores portadas de discos y posters de películas. Mientras lo veía, me entró el gusanillo de dibujarle.

VER TRAILER DEL DOCUMENTAL

Cine de ilustradores: Hervi

Entre los 70 y 80, Hervi dibuja personajes y atmósferas que con ironía fina retratan los sinsentidos de la dictadura militar chilena. Muchos sonríen cómplices al ver publicadas las viñetas en diarios y revistas.
A través de cinco décadas, Hervi observa el país y de su cabeza brotan imágenes como espejos de nuestra cultura. Este documental propone un juego de miradas que revisa la dictadura mediante los ojos de Hervi y, a su vez, revela al dibujante con los ojos de los artistas Carlos Reyes, Rodrigo Salinas y Rodrigo Dueñas.

 Ver documental A PUNTA DE LAPIZ

Muere Amparo Baró

La gran actriz de teatro, cine y televisión Amparo Baró San Martín. ha fallecido este jueves a los 77 años en el hospital de Puerta de Hierro de Madrid como consecuencia de un cáncer.

Cine de ilustradores: Ralph Steadman

 

Johnny Depp pays a visit to Ralph Steadman, the renown artist and the last of the original Gonzo visionaries who worked alongside Hunter S. Thompson.

Johnny Depp le hace una visita a a Ralph Steadman, el renombrado artista y el último de los visionarios Gonzo que trabajó al lado de  Hunter S. Thompson.

Gracias a Enrique por la recomendación.

VER DOCUMENTAL ONLINE

Fin del cuaderno blanco

Tuve un sueño en el que era boxeador y llevaba estos guantes. En cada mano tenía una palabra, que formaban "quiero paz" en árabe. Mi entrenadora era Yolanda y luchaba contra un saco negro.

Obra de teatro, Crime and punishment, a la que me invitan

Viaje a Philadelphia

Antes de terminar el año viajé a Filadelfia con AZ.

Cine de ilustradores: MOEBIUS

Below is the complete BBC documentary, "Moebius Redux: A Life in Pictures," filmed five years before Jean Giraud's death.

One of the most influential cartoonists of the 20th century, Jean Giraud, who also drew work as "Gir" and "Moebius," talks about his life and influences. Included are interviews with Alejandro Jodorowsky, Philippe Druillet, H.R. Giger, Stan Lee, Jim Lee and Mike Mignola. Some wonderful moments here, and so many terrific quotes from Moebius and his collaborators and admirers.


"Moebius Redux: A Life in Pictures" es un documental que muestra a Jean “Moebius” Giraud (1938-2012) trabajando, hablando sobre su vida y obra, con comentarios de Alejandro Jodorowsky, sobre la adaptación de “Dune”, Jim Lee, Stan Lee, Mike Mignola, Dan O’Bannon o H.R. Giger. Un recorrido por la vida de este genio del dibujo.
http://www.imdb.com/title/tt1029340/
Duración: 52 minutos

WATCH IN FRECH WITH ENGLISH SUBTITLES

VER DOCUMENTAL ONLINE DOBLADO AL ESPAÑOL

VEDI IN ITALIANO 

Cine de Ilustradores: TOMI UNGERER

 Far Out Isn't Far Enough: The Tomi Ungerer Story depicts one man's wild, lifelong adventure of testing societal boundaries through his use of subversive art. This 98-minute film combines traditional documentary storytelling with original animation from over 70 years worth of art from the renegade children's book author and illustrator. Using a historical palette of 20th century events to paint an artist's epic yet controversial life story, this HD documentary film offers a feature-length retrospective of Ungerer's life and art, pondering the complexities and contradictions of a man who, armed with an acerbic wit, an accusing finger and a razor sharp pencil, gave visual representation to the revolutionary voices during one of the most tantalizing and dramatic periods in American history. Far Out Isn't Far Enough explores the circumstances of his meteoric rise and fall on American soil, but also delves into Ungerer's formative years leading up to, and prolific years since, his time in America.
Havn´t found an online version yet
Watch trailer here

There is another documnetary about Tomi Ungerer that has been just uploaded into youtube. It´s a docu screened by the franco-german tv channel ARTE, recorded on vhs in the 80´s-90´s