Spanish Candidate for Hans Christian Andersen Award 2020

Elena Odriozola Elena Odriozola Index

Introduction by:

1 Elena Odriozola

It is often said that Elena Odriozola is a subtle, delicate illustrator. stay in our memory or our imagination is not what happens to That may be true, but this widespread statement says very little them but the way in which they look at the world. What Elena of the merits of this Basque artist and undoubtedly these qualities Odriozola brings to the text does not consist of transporting the do not constitute a suf!cient motive to nominate her for the Hans argument of the word into the picture. What this illustrator offers Christian Andersen Award. By contrast, we do believe there are other is her highly personal interpretation of the literary work. Thus, weighty reasons for which she would deserve this accolade. Firstly, the reader has the chance to read what the text says, to read what for her capacity to bring her own personal interpretation to a literary the image says and to !nd a third reading: their own. text, which is able to increase its meaning and signi!cance (even If we feel like spectators when we enter the books illustrated by when illustrating works as famous as Frankenstein, Cinderella Elena Odriozola, it is because she has been researching the dramatic or La Celestina). Secondly, for her successful and creative use of narrative genres from the past (such as paper theatre, panoramas, the possibilities of the illustrated book for several years. Above all she plays and experiments with the staging, she depicts the superposition of transparencies or the traditional Spanish aleluya, a series of pictures with captions arranged on a single page) when characters’ con"icts without succumbing to simpli!ed viewpoints appropriating literary works. Thirdly, for offering young readers a or overacting and she particularly concerns herself with the rhythm, complex and close vision of the psychic reality, which makes both movement and time that each of the illustrations articulate in a identi!cation and play possible. Lastly, for the fact that her talent uni!ed narration. Therefore, it is not the same to see an Odriozola and artistic excellence transcend an aesthetic search in order to illustration framed on a wall or decontextualized in a catalogue delve into the truth. Elena Odriozola is not content with merely as to read one of her illustrated books. Her work often makes the producing beautiful images, she aspires to understand what is reader (whether child or adult) feel they need to read the book hidden behind the obvious and to express her !ndings using the again. Her books de!nitely gain as much with re-readings as with only medium through which she knows how to: illustration. the re"ections and conversations they tend to provoke. For each project Odriozola creates her own !ctional universe. She Elena offers each child an intimate space in which to !nd themselves. gives the impression that the characters which inhabit it have a life This space might be warm and tender, or sometimes playful and outside the book: they already exist before the !rst page and will carefree; it might be marked by a nostalgic luminosity, or it might undoubtedly continue to exist when we have closed it. Through the even show anxiety and the sense of fragility. The chiaroscuros of narrative sequence we readers are witness to a particular moment in childhood reside in her illustrations and, like the children for their biographies. It is almost as though we have poked our head whom she illustrates, Elena Odriozola has the curiosity and the out of a window only to suddenly see how the life of the protagonist need to understand things that many adults no longer worry about. is undergoing a moment of in"ection that will change their story. Gustavo Puerta Leisse But what makes us !x our attention on them and makes them Peripatetic School of Children’s and Young Adults’ Literature

2 Elena Odriozola Biography Elena Odriozola San Sebastián 1967

Having worked in an advertising agency for eight years, in 1997 Odriozola began working as a full-time illustrator. Since then she has illustrated over 100 books (as well as posters and covers, among other things), mainly published in Spain but also in France, the United Kingdom, Mexico and Taiwan. Her books have been published in Basque, Spanish, Galician, Catalan, English, French, Portuguese, Chinese, Japanese, Korean, German, Italian, Brazilian Portuguese, Dutch, Polish and Turkish. Highlights in her career include the following: Selected for the 2005 exhibition “Illustrious. Panorama of Children’s and Young Adults’ Illustration in Spain” at the Bologna Book Fair, at which Spain was the Guest of Honour.

Included in the IBBY Honour’s List 2006 for the book Atxiki sekretua (Keep the Secret). Second prize for Best Children’s and Young Adults’ Illustrations 2006 for her work in the book La princesa que bostezaba a todas horas (The Princess Who Yawned at All Hours; OQO). Finalist for the Kate Greenaway Award 2004.

3 Elena Odriozola Biography Elena Odriozola San Sebastián 1967

Selected at the Biennial of Illustration Bratislava in 2003, 2013 and 2015. Seleccionada en la Bienal de Bratislava en los años 2003, 2013 y 2015. Basque Award for Illustration 2009 for her work in the book Aplastamiento de las gotas Después de trabajar durante ocho años en una agen- (ThePremio Smashing Euskadi of the de ilustraciónRaindrops) 2009 by Julio por su Cortázar trabajo (Laberintoen el libro de“Aplastamiento las artes). And de in las 2013 gotas” for cia de publicidad, en 1997empezó a trabajar como Tropecistade Julio Cortázar (Tumbler) (Editorial by Jorge Laberinto Gonzalvo de (Barbara las artes). Fiore Y enEditora). 2013 por el libro “Tropecista” de Jorge Gonzalvo (Barbara Fiore Editora). ilustradora. Desde entonces ha ilustrado (además de Selected for the Bologna Book Fair exhibition in 2010. carteles y portadas entre otras cosas) algo más de 100 Selecionada para le exposición de la feria de Bolonia en 2010. CJ Picture Book Award 2010 in the New Publications category for the book Oda a una libros, publicados por editoriales en España (princi- CJ Picture book award 2010 en la categoría “new publications” con el libro “Oda a una estrella (Ode to a Star) by Pablo Neruda (Libros del Zorro Rojo). palmente), Francia, Raino Unido, México y Taiwan. estrella” de Pablo Neruda (Libros del Zorro Rojo). Sus libros han sido publicados en Euskera, Español, Invited to the 28th and 30th International Fair of Invitada en las 28 y 30 Mostra Internazionale Gallego, Catalán, Inglés, Francés, Portugués, Illustrations for Children “Le immagini della fantasia” (The d´illustrazione per l´Infanzia “Le immagini della fanta- Chino, Japonés, Koreano, Alemán, Italiano, Bra- Images of Fantasy) in Sarmede, Italy, 2010 and 2012. sileño, Holandés, Polaco y Turco. sia”. Sàrmede, Italia, 2010 y 2012. NomineeCandidata for al the Astrid Astrid Lindgren Lindgren Memorial Memorial Award Award 2012, 2012, Seleccionada en 2005 para la exposición “Ilustrísimos. Panorama de la ilustración infan- 2013, 2014, 2015 and 2016. til y juvenil en España” en la feria del libro de Bolonia, dónde España fue el país invitado. 2013, 2014, 2015 y 2016. Junceda International Award 2014 for Frankenstein by Incluida en la lista de honor del Ibby en 2006, con el libro “Atxiki sekretua”. Premio Junceda Internacional 2014 “Frankenstein” Mary Shelley (Nórdica Libros). Recibió el segundo premio a las mejores ilustraciones infantiles y juveniles en 2006 de Mary Shelley (Nórdica libros). por su trabajo en el libro “La princesa que bostezaba a todas horas” (OQO editora). NationalPremio NacionalAward for de Illustration ilustración 2015. 2015.

Finalista del Kate Greenaway Award 2004. BIBBIB Golden Golden Apple Apple 2015 2015 for por Frankenstein “Frankenstein”.. Sentimientos Encontrados (Discovered Feelings) Sentimientos Encontrados

4 Elena Odriozola BibliographyElena Odriozola Bibliografía

5 Elena Odriozola Bibliography

6 Elena Odriozola Bibliography

7 Elena Odriozola Bibliography

Oda a una estrella

8 Elena Odriozola Bibliography

SENTIMIENTOS ENCONTRADOS Gustavo Puerta Leisse y Elena Odriozola

OdaOda aa unauna estrellaestrella (Ode to a Star)

9 Elena Odriozola Bibliography

AgureZergatik Jakagorria ez du kantatzen axa mixa zilarra cuentos de las 1001 noches Thetxantxangorriak? Old Lady In The Red Jacket Txiliku Juan Tébar Txiliku Xabier Mendiguren Elkar 2000 Anaya 2001 Elkar, 1995 Elkar 1997 ISBN 84-8331-657-9 ISBN 84-667-0654-2 ISBNISBN 978-84-7917-508-584-7917-692-X gorritxo eta beltxiko marlene eta taxizapata Zergatikahatetxoa ez eta du sahatskantatzen negartia Joxantonio Ormazabal Mariasun Landa txantxangorriak?Mariasun Landa WhyElkar Doesn’t 1997 the Robin Sing? Elkar 2000 SM 2002 XabierISBN 84-7917-683-0 Mendiguren ISBN 84-8331-631-5 ISBN 84-348-8627-6 Elkar 1997 txoko txiki txukuna magalik badaki siete noches con paula ISBN 84-7917-692-X Joxantonio Ormazabal Patxi Zubizarreta Patxi Zubizarreta / Juan Kruz Igerabide ahatetxoaElkar 1998 eta sahats negartia Anaya 2000 Edebé 2002 TheISBN Duckling 84-8331-382-0 and the Weeping Willow ISBN 84-207-4152-3 ISBN 84-236-6209-8 Mariasun Landa botoi bat bezala / kofi itsasora bidean aduskide mexikarra Elkarcomo 1997 un botón Javier Cillero Joxemari Iturralde ISBNJuan Kruz84-7917-683-0 Igerabide Aizkorri 2001 Baigorri 2002 Anaya 1999 txokoISBN 84-207-9251-9 txiki txukuna ISBN 84-8263-328-7 ISBN 84-95663-28-7 Tidy Little Corner Joxantonioortzadarraren Ormazabal kantua dindirri diez amigos ElkarJon Suarez 1998 Anjel Lertxundi Inés Rosales ISBNAizkorri 84-8331-382-0 1999 Baigorri 2001 Imaginarium 2002 ISBN 84-8263-320-1 ISBN 84-925663-12-0 ISBN 84-95824-31-0 “botoi bat bezala”/como un botón Likela historia a Button de un bihotza zubi hiztegi jolastia Juanhombrecillo Kruz Igerabide de papel Joxantonio Ormazabal Joxantonio Ormazabal AnayaJosé Cañas 1999 Elkar 2001 Elkar 2002 ISBNEverest 84-207-9251-9 1999 ISBN 84-8331-738-9 ISBN 84-8331-916- ISBN 84-241-7711-7 ortzadarraren kantua izar euria horazio eta jaguarre Zak zikoina The Rainbow’s Song Joxemari Iturralde Felipe Juaristi Txiliku Jon Suarez Elkar 2001 Elkar 2002 AizkorriElkar 2000 1999 ISBN 84-8331-737-0 ISBN 84-8331-870-9 ISBNISBN 84-8263-320-184-8331-621-8 Cuentos del mundo (World Stories) Cuentos del mundo Frankenstein

10 Elena Odriozola Bibliography la historia de un hombrecillo dindirri=flick de papel Dindirri= Flick The Story of a Little Paper Man Anjel Lertxundi José Cañas Baigorri 2001 Everest 1999 ISBN 84-925663-12-0 ISBN 84-241-7711-7 bihotza zubi Zak zikoina The Heart Is a Bridge Zach the Stork Joxantonio Ormazabal Joxemari Iturralde Elkar 2001 Elkar 2000 ISBN 84-8331-738-9 ISBN 84-8331-621-8 izar euria axa mixa zilarra Shower of Stars (The title is a play on words in Felipe Juaristi Basque for this book of riddles.) Elkar 2001 Txiliku ISBN 84-8331-737-0 Elkar 2000 ISBN 84-8331-657-9 cuentos de las !""! noches Tales from !""! Nights gorritxo eta beltxiko Juan Tébar The Red Ant and the Black Ant Anaya 2001 Joxantonio Ormazabal ISBN 84-667-0654-2 Elkar 2000 ISBN 84-8331-631-5 marlene eta taxizapata Marlene and the Taxishoe magalik badaki Mariasun Landa Magali Knows at Last SM 2002 Patxi Zubizarreta ISBN 84-348-8627-6 Anaya 2000 siete noches con paula ISBN 84-207-4152-3 Seven Nights with Paula Patxi Zubizarreta / Juan Kruz Igerabide kofi itsasora bidean Edebé 2002 Kofi Is Drawn to the Sea ISBN 84-236-6209-8 Javier Cillero Aizkorri 2001 ISBN 84-8263-328-7 Frankenstein

11 hosto gorri, hosto berde los despistes de matías poemas para las horas Juan Kruz Igerabide Marjaleena Lembcke y los minutos Atenea 2002 Edelvives 2003 Juan Kruz Igerabide ISBN 84-931844-8-7 ISBN 84-263-4963-3 Edelvives 2003 Elena Odriozola Bibliography ISBN 84-263-5113-1 usoa. lehen kanpamendua la princesa y el guisante los moais de pascua aduskide mexikarraPatxi Zubizarreta usoa. zelatan Hans Christian Andersen The Mexican Friend Jordi Sierra y Fabra Erein 2002 Usoa. Spying Anaya 2003 Joxemari Iturralde Patxi Zubizarreta Edebé 2003 ISBN 84-9746-014-9 ISBN 978-84-667-2551-4 Baigorri 2002 Erein 2002 ISBN 84-236-6706-5 ISBN 84-95663-28-7 ISBN 84-9746-015-4 usoa. zelatan txori kantariak diez amigos Patxi Zubizarreta usoa. karpeta morea poeta hegalatiak Ten Friends Usoa. The Purple Folder Inés Rosales Erein 2002 Patxi Zubizarreta Ruben Ruiz Imaginarium 2002ISBN 84-9746-015-4 Erein 2003 Aizkorri 2003 ISBN 84-95824-31-0 ISBN 84-9746-106-1 Translated into Italian,usoa. French karpeta and morea ISBN 978-84-8263-382-4 Portuguese Patxi Zubizarreta usoa. bidaia kilikagarria Erein 2003 Usoa. The Exciting Trip hiztegi jolastia Patxi Zubizarreta Alphabet Fun ISBN 84-9746-106-1 Erein 2003 Joxantonio Ormazabal ISBN 84-9746-132-0 Elkar 2002 usoa. bidai kilikagarria ISBN 84-8331-916-1Patxi Zubizarreta osaba bin floren Erein 2003 Uncle Bin Floren horazio eta jaguarre Txiliku Horatio and theISBN Jaguar 84-9746-132-0 Elkar 200 Txiliku ISBN 384-9783-065-2 Elkar 2002 osaba bin floren ISBN 84-8331-870-9Txiliku zaldiko-maldikoan Elkar 200 Carousel Horse hosto gorri, hosto berde Varios autores Red Leaf, Green LeafISBN 384-9783-065-2Aizkorri 2003 Juan Kruz Igerabide ISBN 84-8263-338-4 Atenea 2002 zaldiko-maldikoan ISBN 84-931844-8-7Varios autores los despistes de matías Euskal Mitologia Aizkorri 2003 Matthew’s Forgetfulness (Basque Mythology) usoa. lehen kanpamendua Marjaleena Lembcke Usoa. The First CampingISBN 84-8263-338-4 Trip Edelvives 2003 Patxi Zubizarreta ISBN 84-263-4963-3 Erein 2002 Euskal Mitologia The farmer and his rice Paddy ISBN 84-9746-014-9

12 hosto gorri, hosto berde los despistes de matías poemas para las horas Juan Kruz Igerabide Marjaleena Lembcke y los minutos Atenea 2002 Edelvives 2003 Juan Kruz Igerabide ISBN 84-931844-8-7 ISBN 84-263-4963-3 Edelvives 2003 Elena Odriozola Bibliography ISBN 84-263-5113-1 usoa. lehen kanpamendua la princesa y el guisante la princesa y el guisante los moaislos moais de pascua de pascua Patxi Zubizarreta Hans ChristianThe Princess Andersen and the Pea The Statues of Easter Island Jordi Sierra y Fabra Erein 2002 Anaya 2003Hans Christian Andersen Jordi Sierra y Fabra Anaya 2003 Edebé Edebé2003 2003 ISBN 84-9746-014-9 ISBN 978-84-667-2551-4 ISBN 978-84-667-2551-4 ISBN 84-236-6706-5ISBN 84-236-6706-5 usoa. zelatan poemas para las horas txoritxori kantariak kantariak Patxi Zubizarreta y los minutos poetapoeta hegalatiak hegalatiak Erein 2002 Poems for the Minutes and the Singing Birds Hours RubenFlying Ruiz Poets ISBN 84-9746-015-4 Juan Kruz Igerabide AizkorriRuben 2003 Ruiz Edelvives 2003 Aizkorri 2003 usoa. karpeta morea ISBN 84-263-5113-1 ISBN 978-84-8263-382-4ISBN 978-84-8263-382-4 Patxi Zubizarreta Erein 2003 ISBN 84-9746-106-1 usoa. bidai kilikagarria Patxi Zubizarreta Erein 2003 ISBN 84-9746-132-0 osaba bin floren Txiliku Elkar 200 ISBN 384-9783-065-2 zaldiko-maldikoan Varios autores Aizkorri 2003 ISBN 84-8263-338-4 The farmer and his rice Paddy

Euskal Mitologia The farmer and his rice Paddy

13 Elena Odriozola Bibliography

eta txorimaloa norak suhiltzailea amona basoan mintzatu zen izan nahi du galdu zenekoa Ruben Ruiz Arantxa Iturbe Arantxa Iturbe Aizkorri 2003 Elkar 2003 Elkar 2003 ISBN 978-84-8263-382-4 ISBN 84-8331-975-6 ISBN 84-9783-042-3 margarita hirugarreneko sorgina haydn-en loroa Rubén Darío Patxi Zubizarreta Felipe Juaristi Imaginarium 2003 Baigorri 2003 Aizkorri 2003 ISBN 84-96034-34-8 ISBN 84-95663-38-4 ISBN 84-8263-414-3

EguberriaEguberria (Christmas) Haizelami

14 eta txorimaloa norak suhiltzailea amona basoan mintzatu zen izan nahi du galdu zenekoa Ruben Ruiz Arantxa Iturbe ElenaArantxa Odriozola Iturbe Bibliography Aizkorri 2003 Elkar 2003 Elkar 2003 eta txorimaloa mintzatuISBN zen 978-84-8263-382-4norak suhiltzailea izanISBN nahi 84-8331-975-6 du amona basoan galduISBN zenekoa 84-9783-042-3 And the Scarecrow Spoke Nora Wants to Be a Firefighter When Granny Got Lost in the Ruben Ruiz margaritaArantxa Iturbe hirugarrenekoWoods sorgina haydn-en loroa Aizkorri 2003 Elkar 2003 Arantxa Iturbe ISBN 978-84-8263-382-4 Rubén DaríoISBN 84-8331-975-6 Patxi ZubizarretaElkar 2003 Felipe Juaristi Imaginarium 2003 Baigorri 2003 ISBN 84-9783-042-3 Aizkorri 2003 margarita hirugarreneko sorgina Margarita ISBN 84-96034-34-8The Witch on the ThirdISBN Floor 84-95663-38-4haydn-en loroa ISBN 84-8263-414-3 Rubén Darío Patxi Zubizarreta Haydn’s Parrot Imaginarium 2003 Baigorri 2003 Felipe Juaristi ISBN 84-96034-34-8 ISBN 84-95663-38-4 Aizkorri 2003 ISBN 84-8263-414-3

Haizelami

Eguberria Haizelami

15 Elena Odriozola Bibliography euria euria genoveva Rain Daniel Nesquens Malika Ferdjoukh Daniel Nesquens Aizkorri Aizkorri2003 2003 Alfaguara 2004 ISBN 84-8263-342-2ISBN 84-8263-342-2 ISBN 84-204-0159-5 enid el viento en los sauces enid y elMalika secreto Ferdjoukh del acantilado Kenneth Grahame Enid and the Secret of the Cliff Malika FerdjoukhAlfaguara 2004 Anaya 2004 AlfaguaraISBN 2004 84-204-0092-0 ISBN 978-84-667-5213-8 ISBN 84-204-0092-0hortensia atxiki sekretua Malika Ferdjoukh Patxi Zubizarreta hortensia y el teatro de la vida HortensiaAlfaguara and the 2004 Theatre of Life Elkar 2004 Malika FerdjoukhISBN 84-204-0092-0 ISBN 978-84-9783-170-3 Alfaguara 2004 ma famille et moi ISBN 84-204-0092-0 Imaginarium 2004 ISBN 84-9780-033-8 el arca y yo Vicente Muñoz Puelles Anaya 2004 ISBN 84-667-4438-X mi mejor amigo

Fin (The End) Jo Hoestlandt bettina y cien recetas para vivir Edelvives 2004 Bettina bettinaand One Hundred Recipes for ISBN 84-263-5286-3 Living Malika Ferdjoukh vegetable glue Malika FerdjoukhAlfaguara 2004 AlfaguaraISBN 2004 84-204-0158-7 Susan Chandler ISBN 84-204-0158-7 Meadowside 2004 ISBN 1-904511-95-3

Fin Geopolítica del pimiento

16 Elena Odriozola Bibliography euria genoveva ygenoveva el arte de desaparecer Daniel Nesquens Genevieve andMalika the FerdjoukhArt of Disappearing Malika Ferdjoukh Aizkorri 2003 Alfaguara 2004Alfaguara 2004 ISBN 84-8263-342-2 ISBN 84-204-0159-5ISBN 84-204-0159-5 enid el viento enel losviento sauces en los sauces Malika Ferdjoukh The Wind inKenneth the Willows Grahame Alfaguara 2004 Kenneth GrahameAnaya 2004 ISBN 84-204-0092-0 Anaya 2004 ISBN 978-84-667-5213-8 ISBN 978-84-667-5213-8 hortensia atxiki sekretua atxiki sekretua Malika Ferdjoukh Keep the SecretPatxi Zubizarreta Alfaguara 2004 Patxi ZubizarretaElkar 2004 ISBN 84-204-0092-0 Elkar 2004 ISBN 978-84-9783-170-3 ISBN 978-84-9783-170-3ma famille et moi ma familleImaginarium et moi 2004 My Family andISBN Me 84-9780-033-8 Imaginarium 2004 ISBN 84-9780-033-8el arca y yo Vicente Muñoz Puelles el arca y yo The Ark andAnaya I 2004 Vicente MuñozISBN Puelles 84-667-4438-X Anaya 2004 mi mejor amigo ISBN 84-667-4438-X Jo Hoestlandt mi mejor amigoEdelvives 2004 bettina My Best FriendISBN 84-263-5286-3 Jo Hoestlandt Malika Ferdjoukh Edelvives 2004vegetable glue Alfaguara 2004 ISBN 84-263-5286-3 ISBN 84-204-0158-7 Susan Chandler vegetable glueMeadowside 2004 Susan ChandlerISBN 1-904511-95-3 Meadowside 2004 ISBN 1-904511-95-3 Fin Amona basoan galdu zenekoa (When GrannyGeopolítica Got Lost in del the pimiento Woods)

17 Elena Odriozola Bibliography

la sirenitala sirenita y otros y otros cuentos cuentos peter pan els secrets de la iholdi The LittleHans ChristianMermaid Andersen and Other Tales James Matthew Barrie Mariasun Landa Hans Christian Andersen Anaya 2004 Edebé 2005 Cruïlla 2006 Anaya 2004 ISBNISBN 84-667-4514-9 84-667-4514-9 ISBN 84-236-7405-3 ISBN 84-661-1303-7 gorputz osorako poemak el brujo del viento begira begira gorputz osorako poemak PoemsJuan for Kruz the IgerabideEntire Body Paloma Sánchez Varios autores Juan KruzAizkorri Igerabide 2005 SM 2005 Elkar 2006 AizkorriISBN 2005 84-8263-350-3 ISBN 84-675-0504-4 ISBN 84-9783-432-1 ISBN 84-8263-350-3 la princesa supersonic tonic tres bichos raros la princesaque bostezaba que bostezaba a Stephanie Rosenheim Mariasun Landa todasa todas horas horas The Princess Who Yawned at All Hours Meadowside 2005 SM 2006 CarmenCarmen Gil Gil ISBN 1-84539-074-1 ISBN 84-675-1191-5 OQOOQO 2005 2005 ISBNISBN 84-96573-06-0 84-96573-06-0 marte y las princesas voladoras euskal mitologia Translated into Italian, French, Basque, María Baranda Andrés Ortiz-Osés / Luis Garaglaza rumbo sur Japanese, Korean, Polish and Turkish. Fondo de Cultura Económica 2006 Nerea 2006 Manuel L. Alonso ISBN 968-16-8141-X ISBN 84-7173-488-5 rumboEdelvives sur 2005 Heading South ManuelISBN L. Alonso 84-263-5948-5 Edelvivestres 2005 amigos ISBN 84-263-5948-5 Patxi Zubizarreta tresEdelvives amigos 2005 ThreeISBN Friends 84-263-5915-9 Patxi Zubizarreta Edelvivesla bella 2005 mandarina ISBNLaura 84-263-5915-9 Pons Vega la bellaImaginarium mandarina 2005 The BeautifulISBN 84-9780-171-7 Mandarin Lady Laura Pons Vega Imaginarium 2005 ISBN 84-9780-171-7 Translated into Italian and German. Tropecista (Tumbler) Usoa, llegaste por el aire

18 la sirenita y otros cuentos peter pan els secrets de la iholdi Hans Christian Andersen James Matthew Barrie Mariasun Landa Anaya 2004 Edebé 2005 Cruïlla 2006 ISBN 84-667-4514-9 ISBN 84-236-7405-3 ISBN 84-661-1303-7 Elena Odriozola Bibliography gorputz osorako poemak el brujo del viento begira begira peter pan begira begira maitagarrien hiru ipuin Juan Kruz Igerabide Paloma SánchezJames Matthew Barrie Look,Varios Look! autores Three Fairy Tales Aizkorri 2005 SM 2005 Edebé 2005 VariosElkar autores 2006 Gustavo Martín Garzo ISBN 84-236-7405-3 Elkar 2006 Elkar 2006 ISBN 84-8263-350-3 ISBN 84-675-0504-4 ISBNISBN 84-9783-432-1 84-9783-432-1 ISBN 84-9783-271-X el brujo del viento la princesa zaharrak berri, euriak supersonicThe Wind tonic Wizard trestres bichos bichos raros raros que bostezaba Same Old Rain Again Stephanie PalomaRosenheim Sánchez ThreeMariasun Strange Landa Creatures a todas horas SM 2005 Mariasun Landa Yolanda Larreategui MeadowsideISBN 2005 84-675-0504-4 SMSM 2006 2006 Gero 2006 Carmen Gil ISBN 1-84539-074-1 ISBNISBN 84-675-1191-5 84-675-1191-5 ISBN 84-271-2757-X OQO 2005 supersonic tonic ISBN 84-96573-06-0 marte y Stephanielas princesas Rosenheim voladoras euskaleuskal mitologia mitologia María BarandaMeadowside 2005 BasqueAndrés Mythology Ortiz-Osés / Luis Garaglaza rumbo sur ISBN 1-84539-074-1 Andrés Ortiz-Osés / Luis Garaglaza Fondo de Cultura Económica 2006 NereaNerea 2006 2006 Manuel L. Alonso ISBN 968-16-8141-Xmarte y las princesas ISBNISBN 84-7173-488-5 84-7173-488-5 Edelvives 2005 voladoras Mars and the Flying Princesses cuando sale la luna ISBN 84-263-5948-5 María Baranda When the Moon Rises Fondo de Cultura Económica 2006 Antonio Ventura tres amigos ISBN 968-16-8141-X Thule 2006 Patxi Zubizarreta ISBN 84-96473-42-2 els secrets de la iholdi Edelvives 2005 Iholdi’s Secrets ISBN 84-263-5915-9 Mariasun Landa Cruïlla 2006 la bella mandarina ISBN 84-661-1303-7 Laura Pons Vega Imaginarium 2005 ISBN 84-9780-171-7

Tropecista Usoa, llegaste por el aireUsoa, (Usoa. llegaste You Came por on el the aire Wind)

19 Elena Odriozola Bibliography

Odriozola Konserbak

20 Elena Odriozola Bibliography

fincuando sale la luna ilunorduakthe opposite eta furia TheAntonio End Ventura argilaurdenakTom MacRae Patzi Zubizarreta AlejandroThule 2006Fernández HoursAndersem of Darkness Press 2006 and Bromera 2007 Minutes of Light 2006ISBN 84-96473-42-2 ISBN 1-84270-482-6 ISBN 978-84-9824-172-3 SS-1076/06 Joxantonio Ormazabal maitagarrien hiru ipuin Elkarthe 2007story of noah un regalo del cielo the opposite ISBN 978-84-9783-514-5 TomGustavo MacRae Martín Garzo Stephanie Rosenheim Gustavo Martín Garzo AndersemElkar 2006 Press 2006 sekretuakMeadowside belarrira2006 SM 2007 ISBN 84-9783-271-X WhisperedISBN 1-84539-190-X Secrets ISBN 978-84-675-1807-8 ISBN 1-84270-482-6 Ruben Ruiz zaharrak berri, euriak marrazkitan blai tres hermanas ladronas the story of noah Aizkorri 2007 StephanieYolanda Rosenheim Larreategui ISBNDaniel 978-84-8263-363-3 Nesquens Txabi Arnal MeadowsideGero 2006 2006 furiaAizkorri 2007 OQO 2007 ISBNISBN 1-84539-190-X 84-271-2757-X FuryISBN 978-84-8263-366-4 ISBN 978-84-96788-06-0 Translated into Spanish, French Patzi Zubizarreta fin bularretik mintzora usoa, llegaste por el aire and Dutch Bromera 2007 Alejandro Fernández ISBNItziar 978-84-9824-172-3 Zubizarreta / Aurélio Edler Patxi Zubizarreta marrazkitan2006 blai Galtzagorri 2007 Edelvives 2008 DrenchedSS-1076/06 in Drawings ISBN 978-84-612-0284-3 ISBN 978-84-263-6438-8 Daniel Nesquens un regalo del cielo Aizkorri 2007 Ailunorduak Gift from Heaven eta un secreto del bosque Gustavoargilaurdenak Martín Garzo ISBN 978-84-8263-366-4 SM 2007 Javier Sobrino Joxantonio Ormazabal bularretik mintzora ISBN 978-84-675-1807-8 OQO 2008 Elkar 2007 From the Breast to Books ISBN 978-84-9871-038-0 ISBN 978-84-9783-514-5 Itziar Zubizarreta / Aurélio Edler tres hermanas ladronas kafka eta panpina bidaiaria Galtzagorri 2007 Three Thieving Sisters sekretuak belarrira Jordi Sierra y Fabra ISBN 978-84-612-0284-3 Txabi Arnal OQORuben 2007 Ruiz Elkar 2008 ISBNAizkorri 978-84-96788-06-0 2007 ISBN 978-84-9783-572-5 ISBN 978-84-8263-363-3 cuentos del mundo usoa, llegaste por el aire Ana María Shua Usoa. You Came on the Wind Patxi Zubizarreta Anaya 2008 Edelvives 2008 ISBN 978-84-667-7690-5 ISBN 978-84-263-6438-8 CuentosCuentos del mundo del mundo(World Stories) Cenicienta

21 Elena Odriozola Bibliography un secreto del bosque A Woodland Secret Javier Sobrino OQO 2008 ISBN 978-84-9871-038-0 kafka eta panpina bidaiaria Kafka and the Travelling Doll Jordi Sierra y Fabra Elkar 2008 ISBN 978-84-9783-572-5 cuentos del mundo World Stories Ana María Shua Anaya 2008 ISBN 978-84-667-7690-5 amilami Amilami Juan Kruz Igerabide Elkar 2008 ISBN 978-84-9783-632-6 mi cole My School Jordi Sierra y Fabra Bromera 2008 ISBN 978-84-9845-082-8 aplastamiento de las gotas The Smashing of the Raindrops Julio Cortázar Laberinto de las artes 2008 ISBN 978-84-612-3798-2 Cenicienta (Cinderella)

22 Elena Odriozola Bibliography

amilami the story blanket Juan Kruz Igerabide Ferida Wolff / Harriet May Savitz Elkar 2008 Andersen Press 2009 ISBN 978-84-9783-632-6 ISBN 978-1-84270-694-7 mi cole oda a una estrella Jordi Sierra y Fabra Pablo Neruda Bromera 2008 Libros del zorro rojo 2009 ISBN 978-84-9845-082-8 ISBN 978-84-92412-36-5 aplastamiento de las gotas sasi guztien gainetik Julio Cortázar Itziar Zubizarreta / Zuriñe Fernández Laberinto de las artes 2008 Galtzagorri 2010 ISBN 978-84-612-3798-2 ISBN 978-84-614-4871-5 al ritmo de las cosquillas the farmer and his rice paddy Juan Kruz Igerabide Itziar Zubizarreta / Zuriñe Fernández Pearson 2009 Galtzagorri 2010 ISBN 978-84-205-5743-4 ISBN 978-84-614-4871-5 zumo de granada y un tictac ¿cuánta tierra Juan Kruz Igerabide necesita un hombre? Pearson 2009 Lev Tolstói ISBN 978-84-205-5657-4 Nórdica 2011 ISBN 978-84-92683-35-2 la princesa ojerosa Juan Kruz Igerabide haizelami MacMillan 2009 Joxan Ormazabal / Mitxel Murua ISBN 978-84-7942-390-2 Elkar 2011 ISBN 978-84-9783-978-5 le fil d’ariane Javier Sobrino Thule 2009 ISBN 978-2-7467-1462-5

Educación y Biblioteca Zumo de granada y un tic tac

23 Elena Odriozola Bibliography

al ritmo deamilami las cosquillas sasi guztienthe gainetikstory blanket To the Rhythm of Tickles On Top of All the Weeds Juan Kruz IgerabideJuan Kruz Igerabide Itziar ZubizarretaFerida Wolff/ Zuriñe / Harriet Fernández May Savitz Pearson 2009Elkar 2008 GaltzagorriAndersen 2010 Press 2009 ISBN 978-84-205-5743-4ISBN 978-84-9783-632-6 ISBN 978-84-614-4871-5ISBN 978-1-84270-694-7 mi cole oda a una estrella zumo de granada y un tictac the farmer and his rice paddy Jordi Sierra y Fabra Pablo Neruda Pomegranate Juice and a Tic Tac Itziar Zubizarreta / Zuriñe Fernández Juan Kruz IgerabideBromera 2008 GaltzagorriLibros 2010 del zorro rojo 2009 Pearson 2009ISBN 978-84-9845-082-8 ISBN 978-84-614-4871-5ISBN 978-84-92412-36-5 ISBN 978-84-205-5657-4aplastamiento de las gotas sasi guztien gainetik Julio Cortázar ¿cuánta tierraItziar Zubizarreta necesita / Zuriñe un Fernández la princesa ojerosa hombre? The HaggardLaberinto Princess de las artes 2008 How MuchGaltzagorri Land Does 2010 a Man Need? Juan Kruz IgerabideISBN 978-84-612-3798-2 Lev Tolstói ISBN 978-84-614-4871-5 MacMillan 2009al ritmo de las cosquillasNórdica 2011the farmer and his rice paddy ISBN 978-84-7942-390-2 ISBN 978-84-92683-35-2 Juan Kruz Igerabide Itziar Zubizarreta / Zuriñe Fernández Pearson 2009 Galtzagorri 2010 haizelami el hilo deISBN ariadna 978-84-205-5743-4 ISBN 978-84-614-4871-5 Ariadne’s Thread Haizelami Javier Sobrinozumo de granada y un tictacJoxan Ormazabal¿cuánta / Mitxel tierra Murua Elkar 2011 Thule 2009 Juan Kruz Igerabide necesita un hombre? ISBN 978-2-7467-1462-5 ISBN 978-84-9783-978-5 Pearson 2009 Lev Tolstói Nórdica 2011 ISBN 978-84-205-5657-4 tropecista the story blanket ISBN 978-84-92683-35-2 Ferida Wolffla / Harriet princesa May ojerosaSavitz Tumbler Andersen Press 2009 Jorge Gonzalvohaizelami Juan Kruz Igerabide Barbara Fiore Editora 2012 ISBN 978-1-84270-694-7 Joxan Ormazabal / Mitxel Murua MacMillan 2009 ISBN 978-84-15208-30-3 ISBN 978-84-7942-390-2 Elkar 2011 oda a una estrella ISBN 978-84-9783-978-5 Ode to a Starle fil d’ariane sábado Pablo Neruda Saturday Javier Sobrino Alfonsina Storni Libros del zorroThule rojo 2009 2009 ISBN 978-84-92412-36-5 Taller de comunicación grá!ca 2012 ISBN 978-2-7467-1462-5 ISBN 978-607-774-612-6

Educación y Biblioteca Zumo de granada y un tic tactac (Pomegranate Juice and a Tic Tac)

24 Elena Odriozola Bibliography eguberria cenicienta euskal herrietako Christmas cinderella ipuin gaiztoak Juan Kruz Igerabide Charles Perrault / Jacob y Wilhelm cuentos crueles del Nerea 2012 Grimm país de los vascos ISBN 978-84-15042-55-6 Nórdica libros 2015 Juan Kruz Igerabide ISBN 978-84-16112-93-7 Denonartean 2018 la celestina ISBN 978-84-16791-86-6 La Celestina: Tragicomedy of euskal herrietako ipuinak Calisto and Melibea cuentos del pais de los vascos sentimientos encontrados Fernando de Rojas Juan Kruz Igerabide Discovered feelings Teide 2013 Denonartean 2017 Gustavo Puerta Leisse ISBN 978-84-307-6130-2 ISBN 978-84-16791-52-1 Ediciones Modernas El Embudo 2019 ISBN frankenstein en el bosque Mary Shelley In the forest Nórdica libros 2013 Ana María Matute ISBN 978-84-15717-60-7 Libros del zorro rojo 2017 ISBN 978-84-947734-3-3 elsa eta paradisua Elsa and Paradise Mariasun Landa Edebé 2014 ISBN 978-84-8378-295-8 ur: euriaren liburua UR: Book of Rain Juan Kruz Igerabide Denonartean 2014 ISBN 978-84-15756-48-4 mundua baloi batean The World in a Ball Patxi Zubizarreta Elkar 2014 ISBN 978-84-9027-313-5

Euskal Herrietako ipuinak

25 Elena Odriozola Trabajo en proceso Elena Odriozola Works in Process

cuentos clásicos Nerea 2015

Cuentossentimientos Clásicos encontrados ClassicGustavo Tales Puerta Leisse Nerea 2017

26 cuentos clásicos Libro compuesto por 20 cuentos Elena Odriozola Works in Process clásicos. Cada cuento lo ilustra una imagen, formada por dos cuentos clásicos que se superponen. Book comprising 20 classic tales. Técnica: lápiz. Each tale is illustrated with one picture created from two images cuentos clásicos which overlap each other. Libro compuesto por 20 cuentos clásicos. Cada cuento lo ilustra una imagen, formada por dos Technique: pencil que se superponen. La Sirenita

Técnica: lápiz.

La sirenita The Little Mermaid

La Sirenita cuentos clásicos Libro compuesto por 20 cuentos clásicos. Cada cuento lo ilustra una imagen, formada por dos que se superponen.

Técnica: lápiz.

La Sirenita

27 Elena Odriozola Works in Process

Blancanieves

Blancanieves Snow White

Blancanieves

Blancanieves

28 Elena Odriozola Works in Process

Los zapatos gastados de bailar

Los zapatos gastados de bailar The Twelve Dancing Princesses

Los zapatos gastados de bailar

Los zapatos gastados de bailar

29 Elena OdriozolaElena “Bularretik Odriozola Mintzora”“Bularretik Mintzora”

30 Elena Odriozola “Bularretik Mintzora”

With the aim of developing a systematic campaign to encourage reading, “Bularretik Mintzora” (From the Breast to the Word, www.bularretikmintzora.org) was founded in The Program 'Bularretik mintzora'2007 aims as toa result make ofthe a collaborationparents between the Basque Government’s Department of Culture and sensitive to the importance of the reading. Galtzagorri Elkartea (Association for the Promotion of Children’s and Young Adults’ Literature The Program tries to guaranteein the the euskera'sBasque Language), knowledge of which Elena Odriozola has been a member since it was established. and its use among younger generations and promote the family transmission. This campaign is now held in 21 locations in the Basque Autonomous Community and involves 56 schools, 542 teachers and 8,819 children. With that purpose, the parents of the newborn babies will receive in the hospital didactic material inThe euskera campaign (songs, is especially plays, aimed at parents and teachers of boys and girls between the ages tales and poems). The parents with childrenof 0 and 8.under Their 4 objectiveyears will is to establish children’s reading habits in their natural surroundings: be presented with another CD-BOOK containing different poems, songs and tales, adapted to their age.at school, at home, in the library, even in their local medical centre. In order to do this, the campaign offers different workshops, materials and activities to adults and educators who live The objective is to give reading material in euskera to the newborn parents to aware them of thearound importance the children. of stimulating The idea is to train the adults so they can in turn encourage the children’s the childrens' intellectual, emotional,reading social habits. and linguist development. All the printed material for this campaign is designed by Elena Odriozola: the logo, graphics, posters, pamphlets, bookmarks, backpacks and suitcases. As a basis for this campaign, Galtzagorri Elkartea published two CD-books containing Basque tales, lullabies, clapping games and poetry. The material was designed to transmit these elements of traditional Basque culture to parents and teach them how to tell stories, sing songs and recite poems to their children.

31 Elena Odriozola “Bularretik Mintzora”

Bularretik mintzora CD-book. Songs, plays, tales and poetrys.

32 Elena Odriozola “Bularretik Mintzora”

Information and poster.

HAURRAREN GARAPENA ETA KOMUNIKAZIO ILDOAK bularretik mintzora ahoan hasi eta belarrira

0 - 6 hilabete Haurrak gurasoen aurpegia, gorputza eta ahotsaren doinua “badaki irakurtzen”. Begirada finkatzen ikasten du ahotsaren norabideari jarraituz. Eskuari begiratzen dio. Bere emozioak entonazioa eta bokalizazioen bidez adierazten ditu.

Haurra besoetan, sehaska kantak eta jolasak erabili: txaloak, atzamarrak zenbatu... Gurasoek Eroso eseri eta liburua bere aurrean ireki: testua esan eta ilustrazio jakin batzuk erakutsi, objektuak izendatuz...

6 - 18 hilabete Haurra esertzen da, begirada zuzentzen du interes guneen bila. Atzamarraz nahi duena erakusten du. Arrastaka, katamarka eta azkenik oinez, mugitzeko autonomia lortzen du. Silaba errepikapenekin hasi eta lehenengo hitzak adieraziko ditu. Liburuen orriak pasatzeko gai da eta begirada hainbat ilustrazioetan finkatzen du.

Errimak, sehaska kantak eta esku jokoak eritualizatu. Eguneroko gaiak eta pertsonaiak dituzten liburuak erakutsi: Gurasoek objektuak, pertsonak eta animaliak izendatu eta erakutsi... Trokelak, testura desberdinak eta bestelako errekurtsoak dituzten liburuak eskaini.

18 hilabete 3 urte Ziurtasunez ibiltzen da oinez. Mugimenduari esker, nahi duena bereganatzeko independentzia lortzen du. Bere burua identifikatzen du. Hizkuntzaren bidez komunikatzen da; perpausa sinple eta hainbat menpekozkoen bidez, nahi duena adierazten du.

Une apropos bat sortu egunero haur literaturako baliabideak erabiltzeko. Eguneroko erreferentziak dituzten ipuinak kontatu, ipuin klasikoen eskema erabiliz. Gurasoek Errima eta poesia jokoak irakurri eta ikasi errepikatzeko. Erritmoa duten ipuinak behin eta berriz errepikatu eta jokoak egin. Album ilustratuak erabili; irudietatik abiatu testu idatzira eta alderantziz. Irakurketa ohiturak sustatu etxean.

3 - 6 urte Hiztegia zabaldu eta ikasteko zaletasuna erakusten du. Hizki eta zenbaki jolasak ditu gustuko, errimak eta bestelako hitz jokoak modu espontaneo batean erabiltzen ditu. Hizkuntzaren esanahia manipulatu eta umorea dastatzen hasten da. Idazkeran trebatzen hasten da, oraindik ez nahikoa testu luze bat ulertzeko. Istorio luzeak maite ditu eta bere liburuak aukeratzen ditu. Behin eta berriz errepikatzea nahi izaten du gustuko ipuinak.

Ozenki irakurri eta kontatzeko ohiturarekin jarraitu Etxean Irakurketa denborak sortu, norberak bere testuak irakurtzeko Gurasoek Liburu egokia aurkitu harraren eta gurasoen gustuko, irakurketak partekatzeko. Tradiziozko ipuinak, amandre ipuinak, alegiak, poesia, egunerokotasunean gauzatzen diren ipuinak...

Galtzagorri elkartea

Galtzagorri elkartea

33 Elena Odriozola “Bularretik Mintzora”

Sasi guztien gainetik CD-book. Songs, plays, tales and poetrys.

34 Elena Odriozola “Bularretik Mintzora”

lehenengo irakurketak HAURRAREKIN IRAKURRIZ LEYENDO CON LOS NIÑOS primeras lecturas

Haur txikien giro naturalean irakurketa ohiturak sustatzeko egitasmoa. Proyecto para fomentar los hábitos de lectura en el ámbito natural de los pequeños.

Galtzagorri elkartea

Books guide and information about the programme.

Galtzagorri elkartea

35 Elena OdriozolaElena some Odriozola Poster Some Poster

36 Elena Odriozola Some Poster

“adiorik gabe” sin adiós Cuando el Libro era un Bosque (No Goodbye) When the Book Was a Forest

37 Elena Odriozola Some Poster

Cuentos para Tres Biblioteka Eguna Stories for Three Biblioteka Eguna

38 Elena Odriozola Some Poster

Día de la Blibioteca Poesía ilustrada Library Day Illustrated Poetry

39 Elena Odriozola Some Poster

## Quincena Musical de Donostia ##th Musical Fortnight of Donostia

40 Elena Odriozola Some Poster

Ilumina

ILUMINA is the reading and book promotion programme organised by the Government of Castile and León’s Department of Culture at book fairs, libraries and other similar forums in the region. Gatherings and workshops with illustrators, authors, storytellers, magicians and publicshers provide an opportunity for readers and creators to share spaces and experiences.

41 Elena Odriozola Some Poster

Mujeres y el mar women and the sea

View on line

42 Elena Odriozola Exhibitions

Elena Odriozola Exhibitions

Image from “txoritxoak” exhibition catalogue Image from “txoritxoak” exhibition catalogue

43 Elena Odriozola Exhibitions

Txoritxoak Elena has taked part in some individual and colective exhibitions. In 2009 she did an individual one named “txoritxoak”(little birds in basque language), in San Sebastián. The sculptor Javier Malavia made the birds and Juanjo Elola the wood work. All designed and painted by her. The writer Alejandro Fernández gave them a history. The birds were exactly like she thought.

View on line Txoritxoak Elena has taked part in some individual and colective exhibitions. In 2009 she did an individual one named “txoritxoak” (little birds in basque language), in San Sebastián. The sculptor Javier Malavia made the birds and Juanjo Elola the wood work. All designed and painted by her. The writer Alejandro Fernández gave them a history. The birds were exactly like she thought.

http://www.youtube.com/watch?v=qAR9NWoFniM

http://www.youtube.com/watch?v=qAR9NWoFniM

1 Pájaro Bobo Noruego, 2 Ruiseñor García, 3 Pájaro nublado, 4 Pájaro Pillo, 5 Pájaro Bufón, 6 Chin Pón, 17 Pájaro Chorlito Bobo Noruego, del mediterráneo, 2 Ruiseñor García, 3 Pájaro nublado, 4 Pájaro Pillo, 5 Pájaro Bufón, 6 Chin Pón, 7 Chorlito del mediterráneo, 8 Ave Rapazzzzzz, 8 Ave Rapazzzzzz, 9 Ave César, 10 Pájaro Incógnita, 11 Jilguero de casa ajena, 12 Plumífero, 13 Pío XIII, 914 Ave Pájaro César, 10 enPájaro mano, Incógnita, 15 11 Rara Jilguero Avis. de casa ajena, 12 Plumífero, 13 Pío XIII, 14 Pájaro en mano, 15 Rara Avis.

44 Elena Odriozola Exhibitions

Txoritxoak

45 Elena Odriozola Exhibitions

Txoritxoak

46 Elena Odriozola Exhibitions

Txoritxoak

47 Elena Odriozola Exhibitions

Las Mujeres y el Mar Women And The Sea January to November, 2016 This exhibition of own production reveals to the general public the relationship that women have had with the sea throughout history without forgetting the place they occupied since ancient times in the imaginary and mythology of the maritime world. The exhibition offers an approach to the subject from a global perspective, although it deals with the Basque coastal space. Elena Odriozola is the author of the graphic design of the exhibition.

Mujeres y barcos. (Women and ships).

48 Elena Odriozola Exhibitions

Las Mujeres y el Mar Women And The Sea

El trabajo portuario: bateleras, cargueras y sirgueras. (Work in the Port: Boatwomen and Female Stevedores and Barge-Pullers)

En torno a la pesca. (Around !shing).

49 Elena Odriozola Exhibitions

Las Mujeres y el Mar Women And The Sea

Sirenas, vírgenes y brujas. (Mermaids, virgins and witches).

Piratas y corsarias. (Pirates and corsairs).

50 Elena Odriozola Exhibitions

Las Mujeres y el Mar Women And The Sea

Deportes acuáticos. (Water sports).

Baños de Ola. (Wave Baths).

51 Elena Odriozola Exhibitions

El Bazar The Bazaar Bookshop “Panta Rhei”, 2015 Presents a series of illustrations under the title “BAZAR - Catalog of toys”.

52 Elena Odriozola Exhibitions

El Bazar The Bazaar

53 Elena Odriozola Exhibitions

El Bazar The Bazaar - Catalog of toys

54 Elena Odriozola Exhibitions

El Bazar The Bazaar

55 Elena Odriozola Exhibitions

El Bazar The Bazaar

56 Elena Odriozola Exhibitions

El Bazar The Bazaar

57 Elena Odriozola Exhibitions

Capas, manchas, teatrillos, movimientos, siluetas, tiras y demás trastos Layers, Smudges, Puppet Theatres, Movements, Silhouettes, Strips and Paraphernalia. Valladolid 2016. A journey through her entire career.

58 Elena Odriozola Exhibitions

Capas, manchas, teatrillos, movimientos, siluetas, tiras y demás trastos Layers, Smudges, Puppet Theatres, Movements, Silhouettes, Strips and Paraphernalia.

59 Elena Odriozola Exhibitions

Capas, manchas, teatrillos, movimientos, siluetas, tiras y demás trastos Layers, Smudges, Puppet Theatres, Movements, Silhouettes, Strips and Paraphernalia.

60 Elena Odriozola Exhibitions

Capas, manchas, teatrillos, movimientos, siluetas, tiras y demás trastos Layers, Smudges, Puppet Theatres, Movements, Silhouettes, Strips and Paraphernalia.

61 Elena Odriozola Exhibitions

Capas, manchas, teatrillos, movimientos, siluetas, tiras y demás trastos Layers, Smudges, Puppet Theatres, Movements, Silhouettes, Strips and Paraphernalia.

62 Elena Odriozola Exhibitions

Capas, manchas, teatrillos, movimientos, siluetas, tiras y demás trastos Layers, Smudges, Puppet Theatres, Movements, Silhouettes, Strips and Paraphernalia.

63 Elena Odriozola Exhibitions

Capas, manchas, teatrillos, movimientos, siluetas, tiras y demás trastos Layers, Smudges, Puppet Theatres, Movements, Silhouettes, Strips and Paraphernalia.

64 Elena Odriozola Exhibitions

Capas, manchas, teatrillos, movimientos, siluetas, tiras y demás trastos Layers, Smudges, Puppet Theatres, Movements, Silhouettes, Strips and Paraphernalia.

65 Elena Odriozola Exhibitions

Capas, manchas, teatrillos, movimientos, siluetas, tiras y demás trastos Layers, Smudges, Puppet Theatres, Movements, Silhouettes, Strips and Paraphernalia.

66 Elena Odriozola Selected Books

67 Elena Odriozola Selected Books

1. EGUBERRIA

Granny pointed to the horizon and whispered an old saying in my ear: “The white Christmas sun: a candle about to go out”.

My bedroom window faces south. The Christmas sun gently knocks on the window shivering with cold. I let it in and it lies down on the bed sweetly, just like a newborn child. Granny showed me how to do that.

Publishing details: Granny knows lots about Astronomy, because she’s “Eguberria: 24 ohitura, kantu eta got a book about the stars and planets and because she’s spent a long time looking at the sky; you see, istorio” she’s very old. She told me the Christmas sun rises Nerea, 2012. pp.76 above the horizon as if it were lying down, like a ISBN: 978-84-15042-55-6 !re about to go out. Rights sold: Nerea (Spanish) And she told me how when she was a child they Excerpt: Christmas used to light a big bon!re on the farm to warm up the sun and revive it. And this is what they used Synopsis: to shout: “The old Sun is dead. The new Sun has The book gathers old and new habits been born”. linked to Christmas. The narrator is the granddaughter and she is busy making And I’ve been watching and it’s absolutely true: the Christmas preparations together with on those days the sun goes right down low, as if her grandmother; at the same time, the were dead. elderly woman tells the little girl all kinds of tales and superstitions, and they sing Book in Spanish Christmas carols together. This book won the National Prize of the Spanish Ministry of Culture for best book published in the category of books for children and young people in 2013.

68 Elena Odriozola Selected Books

2. SÁBADO (SATURDAY)

SATURDAY

P. 3 I arose early and walked barefoot through P. 9 Then I put on a clarion dress lighter than the hallways: gauze itself. P. 4 I went down to the gardens and kissed the P. 10 With a light jump plants. I carried to the vestibule my straw chair. P. 5 I absorbed the clean vapours of the earth, stretched out on the grass; Fixed on the gate my eyes remained P. 6 I bathed in the spring that green canna !xed on the gate. lilies encircle. P. 11 The clock told me: ten in the morning. P. 7 Later, Inside a sound of crockery and cut glass: wet with water, dining room in shadow; I combed my hair, Publishing details: hands preparing tablecloths. perfumed my hands “Sábado” with odorous juice P. 12 Outside, sun like I have never seen on the Alfonsina Storni of Arabian jasmine. white marble of the steps. Fixed on the gate my eyes stayed, !xed. Taller de comunicación grá!ca 2012 P. 8 Fine, prissy herons from my skirt stole P. 13 I waited for you. ISBN 978-607-774-612-6 golden crumbs. Book in Spanish Book in English

69 Elena Odriozola Selected Books

3. APLASTAMIENTO DE LAS GOTAS (The Smashing Of The Rain Drops)

THE SMASHING OF THE RAINDROPS

P. 4 I don’t know, look at that rain. It’s terrible. P. 11 now it is a huge, pregnant drop hanging majestically, P. 5 It is raining non-stop, dense and grey outside, with big fat hard drops against the P. 12 And suddenly, plop, there it goes, splash, balcony nothing, slime on the marble. P. 6 that audibly splash and smash like slaps, P. 13 But there are some that commit suicide one after the other, how tiresome. and give themselves up immediately, they appear on the frame and throw themselves P. 7 Here comes a droplet at the top of the window frame; down there and then; P. 14 it seems as if I see the vibration of the leap, P. 8 it hangs on, quivering against the sky, which fragments it into a thousand dulled their little legs pushing them off sparkles, it grows and wobbles, P. 15 and the cry which intoxicates them in Publishing details: the nothing of falling and annihilating P. 9 it is about to fall but does not, it does not “Aplastamiento de las gotas” fall still. It is hanging on by all its claws, themselves. P. 16 Sad drops, round, innocent drops. Julio Cortázar P. 10 it does not want to fall and one can see how Nórdica Libros, S.L. 2016. it grips with its teeth while its belly grows; P. 17 Goodbye drops, goodbye. ISBN: 978-84-15042-55-6 Book in Spanish Book in English

70 Elena Odriozola Selected Books

4. FRANKENSTEIN

Publishing details: “Frankenstein” Mary Shelley Nórdica libros 2013 ISBN 978-84-15717-60-7

Synopsis: Mary Shelley’s Frankenstein in an edition notable for the illustrations by Spanish illustrator Elena Odriozola. Using a type of paper puppet theatre placed at the beginning of the book, a pregnant woman wanders around a desolate stage and the curtain opens and closes until we are allowed to catch a glimpse of one of the most monstrous creatures in literature.

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71 Elena Odriozola Selected Books

5. LA PRINCESA Y EL GUISANTE (The Princess and the Pea)

Allí fuera había una princesa. ¡Pero, Dios mío, qué aspecto tenía, con aquella lluvia y aquella tormenta! El agua le escurría por el pelo y la ropa, le caía desde la nariz a las punteras de los zapatos y salía por los talones. Y dijo que era una princesa de verdad.

Publishing details: “Prindsessen paa Ærten” Hans Christian Andersen Anaya 2003 ISBN 978-84-667-2551-4

Synopsis: Once upon a time there was a prince who travelled the world in search of a Una noche, hacía un tiempo espantoso. —¡Oh, terriblemente mal! —dijo Había relámpagos y truenos, y llovía la princesa—. Casi no he podido pegar ojo a cántaros. ¡Era horrible! Llamaron en toda la noche. Dios sabe lo que habría true princess. One night, in the middle a la puerta y el viejo rey fue a abrir. en esa cama. Debajo había algo duro y tengo todo el cuerpo lleno of a tremendous storm, a young woman de moratones. ¡Es horrible! knocked at the palace door. Could she be a real princess?

The Princess and the Pea is a classic story written by the marvellous Hans Christian Andersen. Book in Spanish

72 Elena Odriozola Selected Books

6. EN EL BOSQUE !IN THE FOREST)

Publishing details: “In the forest” Ana María Matute and Elena Odriozola Zorro Rojo 2018 ISBN-10: 8494773437

Synopsis: This edition includes a booklet with the text “In the forest”, by Ana María Matute (extracted from the speech on the occasion of its entry into Book in Spanish the Royal Spanish Acadamia), and a collection of nine illustrated cards, which combined at random and arranged in a row , they allow to create more than three hundred thousand scenes and in!nite stories within the same landscape: the forest. An interactive pastime inspired by the popular nineteenth-century mirioramas.

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Elena Odriozola Selected Books

7. UR: LIBRO DE LLUVIA (Ur: Book of Rain)

The Game of Listening and Reading: Artistic Games: With The Family, In The Classroom UR: Libro de lluvia (Book of Rain) Depending on the child’s age and their reading The diverse types of rain that Elena Odriozola speed, they can start by just listening to the has designed, from the lightest drizzle to the recording and then by listening again and heaviest downpour, can be combined with one following the text with their eyes. Younger another so that each reader can create different readers can do it in parts or they can read rains. They can superimpose them or place them poems that are easy for them before gradually over the scenes of the characters in each series of increasing the level of dif!culty. According to silhouettes so that the scene takes place under the some pedagogical experts, following the text rain of their choice. There are multiple possible with their eyes while listening to the recording combinations to play with the images. Apart is one of the best exercises to improve reading from all this material, you can create your own Publishing details: comprehension. But most importantly, it is a book of rain using some or all of the material “Ur: Euriaren liburua” great way to enjoy listening and reading in in the box. You can also invent your own texts, Juan Kruz Igerabide unison. illustrations and melodies. Denonartean 2014 Book 1 Book 2 Book 3 ISBN 978-84-15756-48-4

Synopsis: These texts were created by playing with memories of a rainy childhood. Elena’s illustrations were created by playing with rain and the texts. Oihane’s music was created by playing with melody, the rain and words. And these recorded recitals were created at a party with friends who got together to play with the melodies and the words. This box of surprises is an invitation to play with the rain, an invitation to the game of life which rains down on the world and carries us to its sea. Many children, parents and friends have spent several enjoyable afternoons recording the texts, repeating them until we were satis!ed, experiencing the emotion of each word.

74 Elena Odriozola Selected Books

8. SENTIMIENTOS ENCONTRADOS !DISCOVERED FEELINGS)

sentimientos encontrados (discovered the book. In addition to reading the page and feelings) is a book that talks about feelings the sequence, the book enables combinatorial and emotions, and for that it uses a house and reading since each page is divided into five its inhabitants. It consists of sixteen full-page strips (four dedicated to the illustration and illustrations in which the longitudinal section one to the text) individually punched in such a of a house is represented. In each one of them way that the sixteen illustrations that make up we can observe the activities carried out by the !rst "oor can be combined with any of the its seven human inhabitants (there are also sixteen illustrations that make up the second animals), in the four "oors that make it up. In "oor and with any of the sixteen illustrations this way, when we see a page individually, we that make up the third "oor and with any of the participate in the story that is narrated in it. sixteen illustrations that make up the fourth SENTIMIENTOS But we can also turn the pages and follow the "oor and with any of the sixteen texts. Allowing ENCONTRADOS Gustavo Puerta Leisse y Elena Odriozola story of a character and its evolution throughout a total of 1,048,576 possible combinations.

Publishing details: “Discovered feelings” Gustavo Puerta Leisse and Elena Odriozola Ediciones Modernas El Embudo

Book in Spanish

Vemos caer motas de polvo: brillan al atravesar un rayo de sol y Nadie acepta que estemos aburridos. Nos dicen que hagamos esto o Nos puede aburrir no hacer nada. También nos puede aburrir Aburrimiento después desaparecen. Sentimos el peso de una nube. Oscurece la aquello, que nos animemos. ¡Cómo si fuera tan fácil! Nos reprochan lo que estamos haciendo. Cuando nos aburrimos aparece la habitación y se rehúsa a seguir su camino. Escuchamos el tic tac. nuestra falta de motivación e iniciativa. No se dan cuenta de que monotonía, la sensación de que el tiempo se detiene y el aire se Tedio Un martilleo que marca el difícil avance de las agujas del reloj y cuando uno se aburre las cosas pierden su sentido, de que estamos solidi!ca y la conciencia de que nuestras energías se agotan. Si el evidencia la silenciosa inexorabilidad del tiempo. Observamos una cansados de hacer siempre lo mismo o de que, por más que inten- aburrimiento se instala en nuestro presente y parece que no desea Hastío araña. Está tan quieta que parece muerta. Ni siquiera comprobamos tamos recuperar el interés, no entendemos lo que, por ejemplo, el querer abandonarnos, entonces lo que nos ha embargado es el tedio. si respira. Una pregunta: “Cuando muere una araña: ¿cae inevitable- profesor explica. Cuando sentimos día tras día que nada cambia, que siempre todo mente al suelo o se mantiene sujeta a su tela?”. (Vaya tontería). Surge es igual, que nos sentimos vacíos e impotentes ante la misma rutina Algunos compran compulsivamente; otros, saquean la nevera; hay otra: “¿Una araña puede ser atrapada por su propia seda?”. (Es inútil, y estamos hasta las narices, entonces es el hartazgo el que consume quienes se interesan por las miserias del vecino para olvidarse de su nada nos emociona). Sin razón alguna, nos olvidamos de las motas nuestras fuerzas. Por cierto, una pregunta: ¿qué hace que conside- aburrimiento. Y es que es muy difícil dejar de estar aburrido. Solo de polvo, de la nube testaruda y de la araña muerta… Seguimos remos que una persona es aburrida? la intensidad de una vivencia, cambios en nuestras rutinas o nuevas aburridos. 75 experiencias nos permiten dejar atrás esa desazón. Elena OdriozolaOdriozola Interviews Interviews

76 Elena Odriozola Interviews

Six Characters in Search of an Illustrator. Elena Odriozola’s Career Path. CLIJ Magazine. Nº 216. Junio 2008. Author: Pep Molist Elena Odriozola is undoubtedly one of the most individual illustrators in the !eld of children’s book illustration. In this study of her work, Pep Molist reveals the key aspects of her style: the characters’ bodies and faces as the essential elements of telling any story; the lack of super"uous details; the ability to exploit the relationship between the !gures and their backgrounds; the restricted use or sometimes complete lack of exteriors and landscapes; and her skill in creating an atmosphere....

Picture caption Elena Odriozola, Peter Pan, Edebé, 2006

77 Elena Odriozola Interviews

José Zugazti. While she was at secondary school, Ever since I !rst saw her illustrated books, Elena spent several years studying with the I have been captivated by the work of Elena sculptor, from whom she learned a great deal. Odriozola and enchanted by her capacity for When she !nished her !nal exams she wanted suggestion, her balanced compositions and her to study architecture, but left the course after ability to create spaces by using the smallest !nding it too challenging. She also abandoned her features. Sometimes an article is the best excuse to studies in Fine Arts as she disliked the teaching delve into a subject that has aroused your curiosity. style, and ended up studying Art and Decoration After reviewing her bibliography and choosing the by a process of elimination. In June 1989 she most important works, and having captured the !nished her university studies and in September overall vision of her work, I decided to contact she began working at an advertising agency, !rst her to !nd out more about how she creates the as a layout artist and later as an art director in the protagonists of her illustrations: the characters. agencies Publis and MAR. Meanwhile, a colleague Childhood, the Beginnings of an Illustrator introduced her to the publishing house Elkar, for whom she illustrated textbooks. Elena Odriozola Belastegui was born in San Sebastian in 1967. She states that she owes Seven years later, when the agency she was a lot to the seven years she spent working in working in closed down, Elena was not at all upset. advertising, but she also expresses gratitude to her She could see her future clearly. By that time she father. Although he was not involved in drawing had already published two books and decided not professionally, he was a good artist, and what has to look for work. Her career evolved naturally. “It stuck in her memory is that during her childhood has always been that way,” Elena says. The phone there was never a lack of notebooks or drawing calls started to come in and her illustrations began materials. Her grandfather was also an artist, as to be seen in book shops, where they received more well as owning a company which sold paint. and more recognition. And so it has continued to Her childhood was also marked by the number the present day. of books in the house and by her great-aunt, who Her Work as an Illustrator thinks she could do better. She doesn’t overthink told her stories every night. She remembers a things. She does her research, although not too In terms of her idols, Elena Odriozola has nothing book of short stories in English that she would much, and works as she goes. She walks around, look at longingly while getting dressed, gazing but admiration for Lisbeth Zwerger (“I really like travels and lives without a sketchbook at hand. at princesses, witches and fairies, who would later her work for a reason that I cannot put my !nger on; become regular features in her illustrations. it gives me a strange feeling in my stomach,” she While she has many, she does not dare to show them. Elena keeps everything in her head. Her Elena also talks of the summers in her childhood writes in an article on Zwerger in the 75/76 edition work in advertising has helped her to interpret that she spent in Baztan, a valley to the north of of Peonza magazine). She is also drawn to the work Navarre, a beautiful natural and human landscape of Arthur Rackham, Gabrielle Vincent and Sempé, the text, to see what it suggests. When she has that somehow in"uenced her way of seeing the world. and to the atmospheres created by the artists Carl a structure in mind she starts to draw and she Larsson and Gustav Klimt. is not fond of repeating herself. She uses pencil, Education as an Illustrator Elena Odriozola draws what she likes the most, watercolours and inks in "at colours. Her computer When she was 13 years old her father signed drawing for herself rather than thinking about the is only used for scanning and formatting. She has her up for drawing classes in the studio of sculptor reader. When she sees her illustrations, she always no desire to use it for illustration.

78 Elena Odriozola Interviews

Playing with the white space on the paper Six characters in search of an illustrator, six types is increasingly appealing: “Adding anything of character – in reference to Pirandello’s work – else is too much.” When she reads a text, she to de!ne the illustrator’s approach to illustration immediately sees the character in her head, but and style over time. Let us delve into the most she !nds it dif!cult to talk about them, although important works for each type of character and many critics often use the same adjectives when analyse the way Odriozola communicates meaning talking about her illustrating style. through her characters. “I want to express feelings and emotions, «“Yet if the characters are alive, really alive, sadness and joy, all with the absolute minimum. for their author, he does nothing but observe the With a look, with gestures, with postures... That’s words and gestures they suggest to him; he needs the most important thing.” A simple and eloquent to accept them as they want themselves to be.”» declaration of her principles. (From Six Characters in Search of an Author.) Six Characters in Search of an Illustrator • Animals When looking closely at Elena Odriozola’s work, From Ahatetxoa eta sahats negartia (The Duckling and when talking to her, one has the feeling that and the Weeping Willow) to The Story of Noah by her characters have a life of their own. There are so way of Diez amigos (Ten Friends) and Dindirri. many of them and they are so diverse that, out of Elena Odriozola began her career as an illustrator context, they could !ll the walls of a museum with with two books featuring animals as the main Picture caption a world bursting with people and life. Some of them characters: a robin in Zergatik ez du kantatzen Up: Elena Odriozola, have names, but many do not. Most of them show txantxangorriak? (Why Doesn’t the Robin Sing?) Diez Amigos (Ten Friends), the artist’s signature style. Sometimes they move by Xabier Mendiguren and a duckling in Ahatetxoa Imaginarium, 2003 inscrutably and slowly, while others are expressive eta sahats negartia (The Duckling and the Weeping Down: Elena Odriozola, The and quick. They gaze out with round eyes, showing Willow) by Mariasun Landa, both part of collections Story Of Noah, Meadowside, kindness or surprise, or they simply pose, neither for early readers. 2006 looking at us nor showing us anything, but Landa’s book is a work of !ction in which, as a duckling who wants to be a diver is observed suggesting an in!nite range of feeling. And there in most stories in the genre, illustration is used are many more characters who constantly call out and offered advice by a weeping willow, while his to illuminate the story and make reading more companions are against his dream. An incident to be featured in their own story. Once drawn, the enjoyable. Although this is her main aim, Elena with a couple changes their mind and reaf!rms the characters embark on dramas, adventures and joyful manages to narrate the story by using just a few main character’s decision. moments of their own, even though there is a story brushstrokes and a minimal amount of space. On that tries to determine their destiny. each double page there is an illustration, in most The book offers a good example of the illustrator’s «“DIRECTOR. But what do you people want here? cases a detail or a scene, which can sometimes occupy work on composition on a blank page. Without the FATHER. We just want to live, sir! the entire page. The only colour is on the cover. need to specify details and while using minimal DIRECTOR. [Ironically] For eternity? The title alone (The Duckling and the Weeping elements, such as a line of grass or a wavy line that FATHER. No, sir. But for a moment at least. Willow) gives the reader a clear idea of where the marks the surface of the water, the illustrations In you.”» story is going through the drawings, as should be perfectly outline the spaces in which the action (From Seis personajes en busca de autor {Six Characters the case in any illustrated book, even though in takes place, and the movement of the characters in Search of an Author} by Luigi Pirandello) this type of the story this is not necessary or usual: gives information about where they are.

79 Elena Odriozola Interviews

The weeping willow is de!ned by its drooping branches and serious, haughty face, the most enigmatic in the story. Here, the human characters drawn by Odriozola are thin with spindly legs, they wear dresses that have a hint of a pattern and have faces with slight dots to symbolise the eyes and sometimes a smile. These dots, this minimal gaze, among other things, start to de!ne her style. As for the animals, the action focuses on the protagonist, who is shown as gentle and energetic, characteristics de!ned by the lines of movement the artist uses to frame him. In this book, he is the only one who elicits certain empathy from the reader. His companions are drawn with great realism and with a minimal level of expression on their faces, which could be called neutral, Picture caption and therefore represent an objective channel of Left: communication. They are static, inexpressive Elena Odriozola, El Arca y Yo (The Ark and I), Anaya, 2004 characters, who could easily belong to a textbook Right: or similar, accurate representations of their real Up: Elena Odriozola, Magali image with little or no subjective feeling. This is por !n lo sabe (Magali Knows at most clearly seen in Anjel Lertxundi’s Dindirri and Last), Anaya, 2000 in Stephanie Rosenheim’s The Story of Noah. Down: Elena Odriozola, Botoi When addressing very young children the bat bezala (Like a Button), Haritza Anaya 1999 illustrator uses the channel of empathy, a trait which can be observed by comparing some of Rosenheim. In both works there is an emphasis in a landscape format, there is a notable double the works for readers of different age groups; this on the power of the sky in the background page spread showing several pairs of animals of is particularly clear when she draws animals. In landscape, painted in watercolour, with different different species (elephants, giraffes, etc.) on their these cases, her characters are energetic and have shades that conjure up either the coming storm way to the ark. They are drawn realistically, with kind expressions, shown in their smiles, their or the subsequent calm. Both versions manage to their essential features and an expressionless face, round shapes, the larger size of their faces and the communicate the grandeur of nature in contrast to and in this case it would be dif!cult to guess the use of warm colours. One example is Diez amigos the smallness of the characters. People and animals illustrator in question, which is not the case with (Ten Friends), a tale that aims to help readers appear with the same degree of protagonism, and her other characters. count to ten. in the second book they can be admired in all their For the majority of the book the illustrator The Story of Noah splendour. plays with the double page format, giving her Odriozola has twice illustrated the story of In both works, the animals are approached in landscapes a vast scope; on other occasions she uses Noah: in El arca y yo (The Ark and I) by Vicente the same way: they are not the main characters, but two separate pages with the intention of narrating Muñoz Puelles and again in the book by Stephanie they do play a decisive role. In the book, printed different scenes. She also plays with colour, both in

80 Elena Odriozola Interviews the background to describe the forces of nature, and often: Mariasun Landa, Juan Kruz Igerabide and in the protagonists, managing to transmit strength especially Patxi Zubizarreta. They are connected and fragility at the same time. The reader can see by a similar sensibility and style when it comes to that not only does the illustrator not fear the white telling a story, transmitting ideas and awakening background, which she uses to situate and give the reader’s emotions. This is a notable aspect emphasis to her characters, but also that she uses in Zubizarreta’s work; the author is known for it as an integral part of the landscape, action, and her poetic, concise prose, which has a unique illustration, as we will see in other works. sensitivity and shows a great admiration for the power of the written and oral tradition. • Girls One of the !rst books by Zubicarreta and From Magali por !n lo sabe (Magali Knows At Odriozola is Magali por !n lo sabe (Magali Knows at Last) to Els secrets de la Iholdi (Iholdi’s Secrets), by Last), in which the main character does not know way of Botoi bat bezala (Like a Button), Usoa and what she wants to be when she grows up, unlike Vegetable Glue. her peers. The arrival of her older sister helps put “Could a story exist without any characters? her mind at ease. The novel is for readers aged 7 Fortunately it seems impossible, because it is and up and is written in short sentences with a through the characters that we can have other clear plot line that reaches the heart of the reader experiences. Illustration tends to highlight as well as having a sincere protagonist, who shows the protagonists and remind the reader of the herself as she really is. importance of each character.” This is how The drawings of the characters are energetic, character is de!ned in Siete llaves para valorar friendly and have a great expressive delicacy, Picture caption las historias infantiles (Seven Keys to Assessing supporting the text in its aim to bring the character Elena Odriozola, Hosto gorri, hosto Children’s Stories; Fundación Germán Sánchez closer to the reader by transmitting her worries berde (Red Leaf, Green Leaf), Ruipérez, 2002), and it can be seen in many of and feelings. The main focus of the composition is Centro de Lingüística Aplicada Atenea, 2002 Elena Odriozola’s works. Magali, her smiles and her gaze, which, although Whether by chance or by choice, several of the only depicted by simple dots, are clear and express After a while, these stories developed into a series more realist books illustrated by Odriozola have a range of emotions. The illustrator still refrains of four books that told her story from childhood to a girl as the protagonist. While in the majority from emphasising the settings, but !lls the adolescence. They are very personal books, ones in of her works the reader focuses more on the type background with the characters and objects that which the illustrations focus on human !gures on a of character than on their name, in these books are part of Magali’s everyday life. white background, !gures like the one on the cover there is almost always a clear, speci!c name for Another character that brought the author and of the !rst edition. Some wear clothes with stripes, the main character: Magali, Usoa, Iholdi and so illustrator together is Usoa (Paloma in Spanish). She checks or lively colours, and the protagonists’ necks on, as mentioned in the titles. They are names was !rst seen in the story Paloma, llegaste por el aire are surprisingly thick or they simply have no neck that embody stories from real life and which the (Paloma, You Came on the Wind; La Galera, 1999), at all. The proportions are peculiar and they have illustrator depicts as they go about their daily lives. which described the adoption of an African girl and disturbing expressions, which are not at all clear or This category of her work can be divided into was illustrated by Asun Balzola. Shortly afterwards, gentle like the expressions shown by Magali. They two types of books: narrative stories and collections Usoa was shown growing up in stories published have been called “enigmatic” and this description is of poetry or short stories. The books are written every Saturday in the Basque newspaper Egunkaria, even more apt for the characters that represent evil by some of the authors she has worked with most written by Zubizarreta and illustrated by Odriozola. and in the works aimed at young people and adults.

81 Elena Odriozola Interviews

As for the anthologies, this is where we can Do when You’re Scared?) in which Landa compares capture the essence of Odriozola’s illustrations, fear with a toad. The illustration shows a frightened characterised by a minimal use of pictures to express girl, however, upon closer inspection we see that her as much meaning as possible, and they show her skirt is in the shape of a toad. Minimal elements extraordinary ability to make use of the relationship shown with the maximum expression and precision. between !gures and the background. At certain points the scenes are depicted using just a line or a • Witches and Fairies smile. The lack of super"uous details stands out: the From Atxiki sekretua (Keep the Secret) to illustration is reduced to the bare essentials, placing Maitagarrien hiru ipuin (Three Fairy Tales) the main focus on the character – a !gure who is The admiration for the oral tradition that is shown usually stylised and given great expressiveness – or in some of the stories by Patxi Zubizarreta and his on the idea expressed in the poem. This is where, work with Elena Odriozola reaches its peak in Atxiki more than anywhere else, her statement from the sekretua. Sorginaren eskuliburua (Keep the Secret. conversation we had before writing this article The Witch’s Manual). Xabier Etxaniz described really holds true: “I want to express feelings and it in edition 176 of CLIJ magazine in November emotions with the absolute minimum. With a look, 2004: “Starting with a short story about the main with gestures, with postures... “. character’s elderly neighbour, the author weaves One such example can be found in Botoi bat together a series of folk tales about witches through bezala/Como un botón (Like a Button) by Juan Kruz the relationship between the old woman and Joana, lgerabide. It contains short poems in"uenced by the narrative voice. Through a series of magical Picture caption the Japanese haiku, which describe an idea with journeys the girl undertakes with Graziana, the old Left: Elena Odriozola, Atxiki only the most crucial words. The illustrations woman, and especially through the stories she tells, Sekretua (Keep The Secret), aim to re"ect this in the same way. Another good Joana discovers the fantastical world of witches.” Elkar, 2004 example comes from 2006 with Els secrets de la Etxaniz says that it can be taken as a collection of Right: Elena Odriozola, Iholdi (Iholdi’s Secrets), a collection of stories by Basque folk tales, but this would be a disservice to Margarita, Imaginarium, 2003 Mariasun Landa in which Iholdi, a young girl, half the book, which shows the relationship between “... with its strange, intricate characters in describes the world from a fantastical, innocent and a young girl and an elderly woman as well as telling peculiar proportions, which are both elegant and ironic point of view. The stories are accompanied us about love, loneliness and many other things. disturbing at the same time... giving the story by some of Odriozola’s illustrations in black If the realist works showed us a vast array of a special sense of enchantment,” describing La and white, in which Iholdi appears in different characters, in Atxiki sekretua (Keep the Secret) princesa que bostezaba a todas horas (The Princess poses and with different gestures that, without they increase both in number and variety to Who Yawned at All Hours; CLIJ magazine, no. expressing anything explicitly, implicitly suggest incorporate the mysterious world of witches and 191). a great deal. Her !gure is shown in the foreground, fantastical characters. In addition, this touch of taking up almost the entire page, accompanied by mystery matches some of the adjectives that critics “The ever-stylised, elegant and enigmatic some tiny items which make up the background. have always used to describe Elena Odriozola’s illustrations,” in reference to El arca y yo (The Ark Her !gure is powerful and suggestive, subtly illustrations: and I; CLIJ magazine, no. 180). magnifying the ideas shown in the text. “... with the enigmatic !gures that are the The two protagonists, Graziana and Joana, could To give yet another example, there is a story signature of her style,” on the work Rumbo sur belong to books about real people, both for their entitled Qué cal fer quan es té por? (What Should You (Heading South; CLIJ magazine, no. 189). traits and for the characteristics of their clothes and

82 Elena Odriozola Interviews movements. The only difference is that their faces de!ning the !gures with a precise and very !ne have a greyish, sombre background, in keeping line, weaving in the "oral prints of their clothes with the stories about witches and with the dark in a fantastical way that is increasingly subtle and backgrounds the illustrator uses to envelop some delicate. The !gures are scattered throughout the of the landscapes and characters in the book. book, in the outdoor scenes as well, and Odriozola Joana and Graziana’s expressions are in some de!nes the absence of expression on their faces, cases alert and attentive, unlike those of the other suggesting a rich, hidden inner world, and plays characters – witches, giants and demons – which are with the !ne lines of their hair. shown as deadened, hard and terrifying, as be!ts the These two books palpably show the elements tragic events that befall them. But all of the characters that de!ne both the outdoor scenes designed by – and this could be extended to the entire the cast of illustrator and the characters that make up her actors that Elena Odriozola brings to life – do not varied catalogue, which can broadly be divided just communicate with their facial expressions, but into two categories: the real and the fantastical. also with their bodies, which the illustrator controls To this catalogue we should also add princesses, to perfection. Their postures and gestures tell us characters which come from classic fairy tales but about the personality of the characters. which the artist uses to combine ingredients from In the book, we also enter some of the illustrator’s both tradition and the real world in order to unite habitual landscapes. Outdoor scenes that are these two worlds. In the stories in which princesses dif!cult to attribute to any real place: meadows, are the main characters, she fuses reality with lakes and skies captured in watercolour; tree trunks fantasy to show the communicative power and the reminiscent of poplars crossing the page from top to recurring features of her illustration. Picture caption bottom; branches that fork out and cross the page Both: Elena Odriozola, La from left to right; isolated houses; stagnant waters. • Princesses Princesa que bostezaba… (The These are the backdrops for scenes that create From La princesa y el guisante (The Princess and Princess Who Yawned…), atmospheres rather than feelings, something that is the Pea) to La princesa que bostezaba a todas horas (The OQO, 2005 extremely important in her work. Princess Who Yawned at All Hours) by way of La The character of the princess, which we will bella mandarina (The Beautiful Mandarin Lady) In Maitagarrien hiru ipuin (Three Fairy Tales) by examine in three very different examples, can also Gustavo Martín Garzo, real people are again mixed It is interesting to note that, coincidentally or be related to the appearance of her illustrations in with fantastical characters: in this case, fairies and not, princesses have become a recurring theme picture books – the penultimate rung on her career dragons. Here, the drawings are in black and white in Elena Odriozola’s illustrations. She turns the ladder – in which her unique style can be admired. and are very clear, with !ne, delicate lines in pencil duality between girl and princess into a resource Her !nal step to date is the illustration of classic or ink. that allows her to delve into their main descriptive stories, where the publisher looks for an artist with As for the landscape, the illustrator again uses characteristics. In this duality, she unites her most their own consolidated reputation. logs and branches with a forest or house as a realist side with her most imaginative, fantastical backdrop to evoke the atmosphere of the stories. side: she designs incredibly intricate prints for In La princesa y el guisante (The Princess and They are landscapes that are unidenti!able and their dresses; she gives them her most enigmatic, the Pea), the illustrator once again shows her could therefore be described as “non-places”. But haughty faces; and she envelops it all in an serene use of empty space. You only have to look the important thing is that the characters "oat on atmosphere that is sometimes Gothic, sometimes at the drawing of the pea, proof of the princess’s a white background. The illustrator focuses on unreal, sometimes fantastical. authenticity, on the last double page. A very thin

83 Elena Odriozola Interviews thread holds it in place under the curious gaze of some children at a museum. The characters in the story, who are almost all royalty, are shown in the foreground wearing tight-!tting dresses in muted colours and discreet prints. They are shown moving among external objects, such as the staircase railing, which allows the illustrator to play with a Gothic stamp, or the bed where the princess will spend the night. Almost all of these characters have an expressionless face, with Picture caption thick necks that give them a noble look or without any neck at all, emphasising their faces. Their Left Page: Left: Elena Odriozola, Hiru eyes and mouths are closed and their faces have Lagun (Three Friends), Idaizabel, a shade somewhere between white and grey with 2005 pink cheeks. The only one who shows a "icker of Middle: Elena Odriozola, Un expression or emotion is the princess, although she regalo del cielo (A Gift From does so in a contained way. The royalty examine Heaven), Sm, 2007 her with a sad air that transmits the melancholic Right: Elena Odriozola, Tres air of Hans Christian Andersen’s tales. bichos raros (Three Strange Friends), Sm, 2006 In La bella mandarina (The Beautiful Mandarin Right page: Lady) the characters become tiny, like those of an Left: Elena Odriozola, Peter Pan, ancient Chinese miniature, and the colours are Edebé, 2005 reduced to just two – orange and brown – or three Right: Elena Odriozola, El viento if you count the sepia tone of the paper, which en los sauces (The Wind In The represents antiquity and, as with the habitual Willows), Anaya, 2006 white page, also becomes a part of the illustration. decides not to give an orange to the poor man. knows how to set aside her usual style and provide The illustrator clearly wants to measure up to Her anger and sel!shness is so strong that the different results. In the picture book, the illustrator a story that relates events from time immemorial. illustrator makes her grow in size. In fact, in this is dealing with a format that she can use to try out It really looks like a story from ancient China book, Odriozola does something that we have new possibilities, something that does not happen and conveys the atmosphere of the country. It is only seen in books of poetry or short stories: she in the narrative works. a very distinctive book, alternating between very creates a metaphor through a picture. When the different formats and layouts on the pages, and the One of the most highly regarded works by the text states that the lord’s heart is large enough to aim of capturing the story is applied coherently. artist is La princesa que bostezaba a todas horas (The shelter many people, the illustrator draws a tree Evidently, some of her recurring features appear, Princess Who Yawned at All Hours), which has with branches extending across a double page but in this book the characters lose the personality earned Odriozola many awards. In this book she the illustrator normally confers upon their faces. spread in which all of these people sit. employs another resource that is unusual in her She uses characters and objects in small sizes, La bella mandarina (The Beautiful Mandarin work, using a colour background on the pages except for a particular moment that changes the Lady) becomes an exercise in which Odriozola to differentiate between the action that occurs course of the story, when the powerful lord’s wife shows us that, when the story requires it, she indoors and outdoors. The intense colours, such

84 Elena Odriozola Interviews as fuchsia and blue, are sometimes mixed with as some people believe; it is not even a matter of those of the main characters, giving each of the technique. It is a quality of vision, the revelation double pages a certain intensity. The characters of a particular universe,” said Marcel Proust in a here are large and often shown in the foreground. quote that appears in La materia de l’esperit (The The expression on their faces is softened (except for Matter of Spirit; Proa, 2005) by Jaume Cabré. the adults, who maintain their coarseness), which Through this subjective means, the illustrator makes them seem more appealing and closer to the tells us how he or she reads and understands the age of potential readers. The illustrator focuses on text. “In literature everything leads to style. The the details, mostly "oral prints, which are shown style is the writer [in this case the illustrator]. It is both on the clothes and in the landscapes. the place that shows a glimpse of their soul and it One particularly notable aspect is the sensation is illuminated not so much by the things that are of movement created by the characters and the explained, but by the way in which they are told,” fact that Odriozola manages to achieve this with said Cabré. the use of shapes and curved lines. While you Let us look at those illustrators who can follow the story through the illustrations in communicate using their own visual poetics. other stories as well, this book accentuates that “What the illustrator aims to achieve is the most feeling. Accustomed to more static !gures, in authentic aesthetic voice that can be conjured this book they become more dynamic through from his palette, or rather, his own poetic voice. their movement, which is treated with a different He knows that he is the gatekeeper to a poetic approach on each of the double pages. world that belongs to him and that only he is Her work on the princesses and picture books able to express,” says Teresa Duran in the article Picture caption secures Elena Odriozola’s place in terrain reserved “En el ruedo de la ilustación” (In the Arena of Left: Elena Odriozola, Amona for well-established illustrators, which will allow Illustration; Peonza, no. 75/76), adding that the basoan gaidu zenekoa (When her to experiment with illustration and layout and risk of miscommunication when taking this route Granny Got Lost In The Woods), Elkar, 2005 to give the best of herself to each new work. Her is very high. approach varies depending on each story, showing Over the last few years, in which Elena Odriozola’s stereotypes. In the other two works it is clear that her "exibility and her boundless ability to change, career has really taken off, she has received requests her work is determined by the type of book and adapt and evolve. Moreover, the range of authors to illustrate a number of classics in which we can the layout of the pages. Peter Pan was published in she works with is ever greater. see this subjective means of communication, 1911. Over nearly one hundred years it has been expressing what the artist sees and how they see it. • The Classics read by countless readers and illustrated by artists In chronological order, she has illustrated editions such as Arthur Rackham, M. L. Atwell and Mercé From La sirenita y otros cuentos (The Little of La sirenita y otros cuentos (The Little Mermaid and Llimona. It has also reached a far wider audience Mermaid and Other Stories) to El viento en los sauces Other Stories) by Hans Christian Andersen, Peter through cinema, with the work being interpreted (The Wind in the Willows) by way of Peter Pan Pan by J. M. Barrie and El viento en los sauces (The by directors such as Spielberg or Disney. When republishing classic books, the publisher Wind in the Willows) by K. Grahame. Although wants to offer a new vision or reading of the work in all of these works we can see her interpretation The version of Peter Pan illustrated by and often entrusts it to an illustrator with an as well as the features shown in many of her works, Odriozola aims to bring the classic tale to children established career and unique style, looking for the it is in Peter Pan where Odriozola takes more risks of a younger age than the original intended work of a true artist. “Style is in no way a decoration and works more freely, breaking with existing audience. It is an adaptation that encapsulates

85 Elena Odriozola Interviews and maintains the essence of the original and one in which the accompanying illustrations are outstanding in terms of their style and beauty. The main characters in the book in particular do not closely resemble the previous models offered by Atwell, Disney, Rackham or Llimona, ones which have lived in our imagination until now. Odriozola’s illustrations convey tenderness and magic, although at times they show coldness. Because they break with tradition, it is harder for the reader to understand them, but anyone who pays close attention to them will be guided into the fantastical world she illustrates. Through the clothes worn by the characters and through the furniture, Elena Odriozola centres the action in an unmistakeable universe: the bourgeois Picture caption world of early twentieth-century England, where Left Page: the delicate prints are barely painted onto the Left: Elena Odriozola, Gorputz ample dresses and the curtains of the window that osorako poemak (Poems For The Entire Body), Aizkorri, 2005 leads to Neverland. The window in question is one Right: Elena Odriozola, Furia of the best details in this edition. When it appears, (Fury), Erein, 2007 it is so tall that the page is not high enough to !t Right page: it all in. It is as in!nite as the night that carries the Elena Odriozola, Cuando sale la characters to the land of Peter Pan. luna (When The Moon Rises), Thule, 2006 Peter Pan, the most surprising character, is depicted as a tall, gangly, lacklustre teenager give to the other characters. She particularly plays see his expressions and understand his feelings at with a face that shows an inde!nite age and has with colour and action when drawing the Lost that instant. a neutral, sometimes enigmatic, expression. He Boys, who sometimes form a magni!cent border Peter Pan is a milestone in Elena Odriozola’s does not look anything like the boy we knew from on the white of the page with their striped t-shirts, career, an homage to a classic that showcases earlier versions, except for his discreet out!t of lack of necks and friendly faces. The same applies her most outstanding qualities: her signature ochre-coloured leaves. Another surprising fact is to her illustrations of the baddies, who do not characters, her unique way of describing them that he does not appear during a !ght or adventure appear as threatening as they might hope. Both scene at any time. Hook and his pirates are in some cases portrayed in and making them expressive, her serene use of Wendy is drawn as a young woman wearing a a more personal, sweeter way. Smee, for example, the white page and her sparing use of resources plain dress in neutral tones, the same as those used looks more like a friendly teacher who has fun with that reveals a great capacity to convey a poetic, for her face and thick neck. Her expressions are his students than a pirate. But during moments of melancholic mood. A singular and daring vision similar to those of Peter Pan, although she does action his expression becomes evil and he grows so that provides new nuances and stands among the exude a mother’s tenderness and warmth. But what large that the page is not wide enough to capture most notable readings which illustrators have Elena does not apply to the protagonists she does him. His image is truncated, although we can still created for J. M. Barrie’s classic tale.

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• Objects friendliness through their eyes and the gestures they From Cuando sale la luna (When the Moon make towards the reader. Rises) to the present As with most of the works illustrated by the Cuando sale la luna (When the Moon Rises) was artist, the longer you look the more you are published in 2006, when I was !nishing the outline surprised by the details. For example, the use of of this article. I decided that, because of its unique the white page, which is not a gratuitous colour or nature, it would be a good way to end the piece. It is a background landscape but is instead part of the a work in which Elena uses a type of character that is story. In this case, it is the colour of the box where the toys live and on several pages almost seems to different from those used so far: humanised objects. be one of the protagonists; the artist uses it to create What is more striking than that is the technical different perspectives and to give the text and the and descriptive way in which they are drawn, which characters she draws more prominence. She chooses could even be a turning point in her career or, to a diminutive size for the characters and cheerful be less dramatic, a new direction. This different colours that are still delicate, like their smiles. approach, just like others she has offered in the past, again highlights her remarkable versatility and the There are some noteworthy characters, such as the varied scope of her talent and artistic skill. pink elephant, who is the most mobile in the scenes, or the two rabbits who sit on the edge of the box as Cuando sale la luna (When the Moon Rises) if it were the top of a wall, watching as the story is a story for early readers in which extraordinary unfolds. In the background, one of the highlights things happen – for instance, when, on a moonlit is another in!nite window that shows us the face night like any other, the toys come out of their box of the moon. It is more modest than the window in to play – but are treated as if they were everyday Peter Pan but equally expressive. The pattern on the Picture caption occurrences. It is worth noting that at !rst glance blanket covering the protagonist, who pretends to it would be dif!cult to attribute the book to Elena Odriozola, Botoi bat bezala sleep, also stands out. It is a print with a different (Like A Button), Haritza/Anaya, Elena Odriozola. But if we examine the characters pictorial treatment compared with that used for the 1999 carefully, we see that they combine several of the fur and hides of some of the animals. It seems less traits from the different styles the illustrator has well de!ned, rougher, as a way to differentiate the —A precise delimitation of the different spaces employed over time. The protagonists do not elements of the real world from those of fantasy. on the page. She has an exceptional ability to have strange proportions, like some of her real or exploit the relationships between the !gures and In short, it is a work in which, when we stop fantastical characters, but the toy animals here have the background and places importance on the white quite a realistic appearance – perhaps that is why to analyse the details, shows most of the elements that have become recurring themes throughout on the page, not just as a background but as another it is hard to attribute them to the artist – just like Elena Odriozola’s career. If we list these traits, element which forms part of her illustrations. the animals she draws, although they are shown in they will serve to de!ne the way in which she unrealistic colours. They are more static in their —The use of different channels of communication communicates meaning: movements, something that the illustrator is able to depending on the type of characters, the work in depict with great mastery of gesture and movement —The main focus is always on the characters. question and the target age range: an objective by showing them as toys. They are shown to have She uses them to transmit the meaning of the story. channel in her work with animal characters; an an appealing friendliness that is typical of characters —A minimal and considered use of resources empathetic channel in the characters aimed at early aimed at young children, but here this feeling is and no super"uous details with the aim of readers; and a subjective channel in the majority of somewhat constrained. Above all, we observe this achieving the maximum level of expression. her work.

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—The body and faces of her characters are the sometimes break with her usual methods yet do main elements that express meaning. They feature not betray her style and which always enhance her very particular traits, including: the thick necks, progression as a professional illustrator. which give the characters an incredible strength, or «“DIRECTOR [at the end of his rope] Fiction! the lack of a neck, which highlights the characters’ Reality! To hell with all of you! Lights, lights, facial expressions; their !ne, delicate gazes, which lights! [at a single stroke the whole stage and are sometimes warm and friendly but more often auditorium is "ooded with very bright light. The inexpressive; the subtle colours of their skin; and DIRECTOR breathes again, as if freed from an the movement of their bodies, with an excellent incubus, and they all look each other in the eyes, command of different gestures and poses through bewildered and lost.] Things like this don’t happen which she expresses each character’s personality. to me, they’ve made me lose a whole day. [He looks All of this along with her enormous capacity to at his watch] Go, you can all go. What could we do elicit a range of feelings and different adjectives to now anyway? It is too late to pick up the rehearsal apply to her way of illustrating. where we left off. See you this evening.”» —The patterned decoration of clothes and other (From Seis personajes en busca de autor {Six Characters personal items belonging to the characters in order to de!ne their daily life, personality, attitude in Search of an Author} by Luigi Pirandello) towards life and main traits, as well as serving to *Pep Molist is a librarian and writer. enhance the characteristics of each type of story or This article is the result of a research project carried genre. out in the Master’s Degree in Books and Literature —The scant or sometimes non-existent speci!city for Children and Young Adults (Autonomous in landscapes and the outdoors, leading us to talk University of Barcelona {UAB} and the Banco del about “non-places”, and her talent for creating an Libro in Venezuela). Picture caption atmosphere that envelops each story. Elena Odriozola, Peter Pan, Edebé, 2005 —Her use of a highly varied colour palette Bibliography adapted to the tone, genre and type of story as well as to the age of the reader. Txiliku, Agurre jakagorria (The Old Lady in the Red Cañas, José, La historia de un hombrecillo de papel (The Jacket). San Sebastian, Elkar, 1995. Story of a Little Paper Man). León, Everest, 1999. Increasingly, all this is treated with extreme delicacy and greater subtlety. Her potential as an Landa, Mariasun, Ahatetxoa eta sahats negartia (The lgerabide, Juan Kruz, Botoi bat bezala (Like a Button). Bilbao, Haritza/Anaya, 1999. (Spanish illustrator is demonstrated by her career to date: Duckling and the Weeping Willow). San Sebastian, edition: Como un botón.) she does not stay in one place nor label herself, Elkar, 1997. she is as diverse as a box full of different toys. Mendiguren, Xabier, Zergatik ez du kantatzen Suarez Barrutia, Jon, Ortzadarraren Kantua (The Her potential comes from within and expresses txantxangorriak? (Why Doesn’t the Robin Sing?). Rainbow’s Song). Bilbao, Aizkorri, 2003. itself freely, just like the toys leaving the box San Sebastian, Elkar, 1997. Iturralde, Joxemari, Zak zikoina (Zach the Stork). San when the moon rises and just like the six types Landa, Mariasun, Amona, zure Iholdi (Grandmonther, Sebastian, Elkar, 2000. of characters who will continue to look for an Your Iholdi). Vitoria-Gazteiz, Euskal Herria. Eusko Lertxundi, Anjel. Dindirri = Flick, San Sebastian, illustrator like Elena Odriozola, whose style has Jaularitzaren Argitalpen Zerbitzu Nagusia, 1998. Gara, 2000. continually matured and become more de!ned Ormazabal, Joxan, Txoko txiki txukuna (Tidy Little Ormazabal, Joxan, Gorritxo eta Beltxiko (The Red Ant and who surprises us with particular ideas, which Corner). San Sebastian, Elkar, 1998. and the Black Ant). San Sebastian, Elkar, 2000.

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Txiliku, Axa mixa zilarra: euzkaraz jolas egiteko Andersen, Hans Christian, La princesa y el guisante liburua [The title is a play on words in Basque for (The Princess and the Pea). Madrid, Anaya, 2003. this book of riddles]. San Sebastian, Elkar, 2000. Darío, Rubén, Margarita. Zaragoza, Imaginarium, Zubizarreta, Patxi, Magali por !n lo sabe (Magli 2003. Knows at Last). Madrid, Anaya, 2000. Igerabide, Juan Kruz, Bosniara nahi [Translation Cillero, Javi, Ko! itsasora bidean (Ko! Is Drawn to unknown]. Bilbao, Aizkorri, 2003. the Sea). Bilbao, Aizkorri, 2001. Igerabide, Juan Kruz, Poemas para las horas y los Cuentos de las mil y una noches (Tales from 1001 minutos (Poems for the Minutes and the Hours). Nights). Adapt. Juan Tébar, Madrid, Anaya, 2001. Zaragoza, Edelvives, 2003. Igerabide, Juan Kruz, Hosto gorri, hosto berde/Hoja Iturbe, Arantxa, Amona basoan galdu zenekoa (When roja, hoja verde (Red Leaf, Green Leaf). Madrid, Granny Got Lost in the Woods). San Sebastian, Centro de Lingüística aplicada, Atenea, 2001. Elkar, 2003. Juaristi, Felipe, Izar euria (Shower of Stars). San Iturbe, Arantxa, Norak suhiltzailea izan nahi du (Nora Sebastian, Elkar, 2001. Wants to Be a Fire!ghter). San Sebastian, Elkar, 2003. Ormazabal, Joxan, Bihotza zubi (The Heart is a Bridge). San Sebastian, Elkar, 2001. Juaristi, Felipe, Haydn-en loroa (Haydn’s Parrot). Bilbao, Aizkorri, 2003. Dueso, Antón, Roke izeneko comuna [Translation Lembcke, Maijaleena, Los despistes de Matías unknown]. Bilbao, Aizkorri, 2002. (Matthew’s Forgetfulness). Zaragoza, Edelvives, Gonzalez, Maite, Maiderren taupada bilduma 2003. [Translation unknown]. Irún, Alberdania, 2002. Martínez Gil, Isabel, Mi familia y yo (My Family and Landa, Mariasun, Marlene eta taxizapata (Marlene and Me). Zaragoza, Imaginarium, 2003. the Taxishoe). Madrid, SM, 2002. Nesquens, Daniel, Euria (Rain). Bilbao, Aizkorri, Picture caption Mugertza, Juan Luis, Astoari kon!turak (Donkey 2003. Elena Odriozola, , Atxiki sekretua (Keep The Secret), Eikar, 2004 Jam). Bilbao, Aizkorri, 2002. Rosales, Inés, Diez amigos (Ten Friends). Zaragoza, Ormazabal, Joxan, Hiztegi jolastia (Alphabet Fun). Imaginarium, 2003. –Usoa. Karpeta morea (Usoa. The Purple Folder). San San Sebastian, Elkar, 2002. Sierra i Fabra, Jordi, Los moais de Pascua, (The Statues Sebastian, Erein, 2003. Ruiz, Ruben, Eta txorimaloa mintzatu zen (And the of Easter Island). Barcelona Edebé, 2003. Andersen, Hans Christian, La sirenita y otros cuentos Scarecrow Spoke). Bilbao, Aizkorri, 2002. Txiliku, Osaba Bin Floren (Uncle Bin Floren). San (The Little Mermaid and Other Stories). Madrid, Txiliku, Horazio eta jaguarra (Horatio and the Sebastian, Elkar, 2003. Anaya, 2004. Jaguar). San Sebastian, Elkar, 2002. Ruiz, Ruben, Txori kantariak poeta hegalariak Chandler, Susan, Vegetable Glue. London, Zubizarreta, Patxi, lgerabide, Juan Hz, Paularen (Singing Birds, Flying Poets,) San Sebastian, Elkar, zazpi gauak (Seven Nights with Paula). Sondika, 2003. Meadowside, 2004 Giltza, 2002. Various authors, Zaldiko-maldikoan (Carousel Horse). Cillero, Javi, Esne katilu batean ezkutatu egiten zen Zubizarreta, Patxi, Usoa. Lehen kampamendua (Usoa. Bilbao, Aizkorri, 2003. neska (She Hid in a Cup of Milk). Bilbao, Aizkorri, The First Camping Trip). San Sebastian, Erein, Zubizarreta, Patxi, Usoa. Bidaia kilikagarria (Usoa. 2004. 2002. The Exciting Trip). San Sebastian, Erein, 2003. Ferdjoukh, Malika, Bettina y cien recetas para vivir Zubizarreta, Patxi, Usoa. Zelatan (Usoa. Spying). San –Hirugarreneko sorgin (The Witch on the Third (Bettina and One Hundred Recipes for Living). Sebastian, Erein, 2002. Floor). Bilbao, Baigorri, 2003 Madrid, Alfaguara, 2004. (Four Sisters series.)

89 Elena Odriozola Interviews

– Enid y el secreto del acantilado (Enid and the Secret of Zubizarreta, Patxi, Hiru lagun (Three Friends). the Cliff). Madrid, Alfaguara, 2004. (Four Sisters Amorebieta, Ibaizabal-Edelvives, 2005. series.) Baranda, María, Marte y las princesas voladoras (Mars – Genoveva y el arte de desaparecer (Genevieve and the and the Flying Princesses). Mexico, Fondo de Art of Disappearing). Madrid, Alfaguara, 2004. Cultura Económica, 2006. (Four Sisters series.) Begira, begira: Tradizioaren leihotik (Look, Look! – Hortensia y el teatro de la vida (Hortensia and the Tradition Out of the Window). San Sebastian, Elkar, Theatre of Life). Madrid, Alfaguara, 2004. (Four 2006. Sisters series.) Grahame, Kenneth, El viento en los sauces (The Wind Igerabide, Juan Kruz, Txirrina (Doorebell). Etxebarri, in the Willows). Madrid, Anaya, 2006. Zubia, 2004. Landa, Mariasun, Els secrets de la Iholdi (Iholdi’s Hoestland, Jo, Mi mejor amigo (My Best Friend). Secrets). Barcelona, Cruïlla, 2006. Zaragoza, Edelvives, 2004. Landa, Mariasun, Tres bichos raros (Three Strange Muñoz Puelles, Vicente, El arca y yo (The Ark and I). Creatures). Madrid, SM, 2006. Madrid, Anaya, 2004. Larreategui, Yolanda, Zaharrak berri, eurial (Same Old Zubizarreta, Patxi, Atxiki sekretua: sorginaren Rain Again). Bilbao, Mensajero, 2006. Eskuliburua/Guarda, el secreto. Manual para brujas Ortiz-Osés, Andrés, Garagalza, Luis. Euskal mitologia. (Keep the Secret. A Manual for Witches). San Izena duen guztia omen da/Mitología vasca. Todo lo Sebastian, Elkar, 2004. que tiene nombre es (Basque Mythology. Everything Alonso, Manuel L., Rumbo sur (Heading South). Which Has a Name Exists). San Sebastian, Zaragoza, Edelvives, 2005. Fundación Kutxa, 2006. Barrie, James Matthew, Peter Pan. Adapt. Josep- Rosenheim, Stephanie, The Story of Noah. London, Francesc Delgado. Barcelona, Edebé, 2005. Meadowside, 2006. Gil, Carmen, La princesa que bostezaba a todas Ventura, Antonio, Cuando sale la luna (When the horas (The Princess Who Yawned at All Hours). Moon Rises). Barcelona, Thule, 2006. Pontevedra, OQO, 2005. Arnal, Txabi, Tres hermanas ladronas (Three Thieving Igerabide, Juan Kruz, Gorputz osorako poemak (Poems Sisters). Pontevedra, OQO, 2007. for the Entire Body). Bilbao, Aizkorri, 2005. Martín Garzo, Gustavo, Un regalo del cielo (A Gift Martín Garzo, Gustavo, Maitagarrien hiru ipuin from Heaven). Madrid, SM, 2007. (Three Fairy Tales). San Sebastian, Elkar, 2005. Zubizarreta, Patxi, Furia (Fury). Alzira, Algar, 2007. McRae, Tom, The Opposite. London, Andersen Press, 2005. Pons Vega, Laura, La bella mandarina (The Beautiful Mandarin Lady). Zaragoza, Imaginarium, 2005. Rosenheim, Stephanie, Supersonic Tonic. London, Meadowside, 2005. Sanchez Martinez, Paloma, El brujo del viento (The Wind Wizard). Madrid, SM, 2005.

90 Elena Odriozola Interviews

91 Elena Odriozola Interviews

92 Elena Odriozola Interviews

93 Elena Odriozola Interviews

94 ElenaElena Odriozola Odriozola Courses, Colaborations Workshops, etc.

95 Elena Odriozola Courses, Workshops, etc.

ILUSTRATOUR 2011

96 Elena Odriozola Courses, Workshops, etc.

International course of illustration and graphic design. Albarracín, 2013

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97 Elena Odriozola Courses, Workshops, etc.

Saramago Foundation Lisboa, 2016.

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98 Elena Odriozola Courses, Workshops, etc.

DOMESTIKA Learning course for creatives online.

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ILUSTRAPADOS Other Interviews Professional days for illustrators. • ORAIN: 48 Elena Odriazola (Euskera)

• El Universo Creativo de Elena Odriazola (Spanish)

• ILUSTRAMUNDOS (Spanish)

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99 Translation by Sarah Marshall