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El Arte De Lobato Portafolio Las mujeres de Benicio El gran maestro brasileño nos muestra su obra Revista virtual de todas las artes AÑO 3 # 41 - Abril 2011 EN ESTE NÚMERO: Entrevista Historieta El arte de La historia de Lobato Linterna Verde Ahora que llega a la pantalla grande Gran caricaturista e ilustrador argentino que Humor sorprende por su capacidad de síntesis Mello desde para lograr sus Brasil notables caricaturas. Una joven promesa que ya es una realidad Animación Pixar cumple 25 años Un paseo por los famosos estudios de animación Además: Noticias, concursos, datos, webs, blogs, libros, revistas, etc. ENTREVISTA “Es importante conocer a fondo al retratado” Pablo Lobato es un caricaturista sui generis, trabaja con figuras geométricas y espacios visuales que nos remontan al cubismo picassiano, artefacto pero con su propio sello personal. Sus trabajos se publican en las revistas Es una publicación mensual dedicada más importantes del mundo y con él hablamos en exclusiva. al quehacer artístico en nuestro país y Entrevista: Omar ZEVALLOS del mundo. Editor -¿Cuándo nace tu interés por la Omar Zevallos Velarde caricatura? Colaboradores De muy chico traté de dibujar caras conocidas. Hace poco encontré en un viejo Carlos Alberto Villegas (España) proyector de juguete unos dibujos que hice Nando (Argentina) Pepe Sanmartín (Perú) aproximadamente a los 9 años. Entre esos Gabriel Rodríguez (Perú) dibujos, en papel calco, hechos con Pedro Paredes (Canadá) rotulador había una caricatura de “Charles Jorge Paco (Arequipa) Ingalls”. [email protected] Contacto -¿En qué momento determinas el estilo Hecho el Depósito Legal en la Biblioteca Nacional del Perú: 2009-01995 Razón Social: Omar Zevallos Encontrar la esencia Dirección: Calle Guillermo Peratta 235 Surco, Lima PERÚ. del personaje, no Edición Nro. 41 importa demasiado Gracias a encontrar la curva http://artefacto.deartistas.com/ que nos brinda su hosting para exacta de la nariz” colgar la la revista. 3 en tu trabajo? proyectual que artística a la hora de pensar PREGUNTAS Fue algo deliberado. En un momento, las ilustraciones. alrededor del año 2000 decidí que si quería trabajar como ilustrador debería ofrecer algo -¿Es complicado lograr el parecido con líneas geométricas? al vuelo definido. Yo venía haciendo un poco de Es complicado lograr el parecido. La 5 todo, según lo que el cliente me pidiera. Me encerré durante un par de años en mi geometría sale casi sola. ¿Qué libro de arte estudio y solo salí cuando se me acabó el 1 te marcó? dinero que había ahorrado con mi trabajo -¿Cuál es la esencia de la caricatura? Portraits Rolling como diseñador gráfico y necesité nuevos Eso, precisamente, la esencia. Encontrar ingresos. la esencia del personaje, su personalidad, Stone. no importa demasiado encontrar la curva -¿Crees que ha influido tu formación de exacta de la nariz o la forma precisa de la ¿A qué caricatura le diseñador gráfico? cabeza. Sí, definitivamente. Tengo una manera más 2 tienes especial afecto? Jack Nicholson. ¿Qué obra de arte 3 tendrías en tu casa? Alguna ilustración de LOBATO Jim Flora. ¿Publicarás un libro 4 con tus obras? Me encantaría. ¿A qué caricaturista 5 admiras? ¿Tengo que decir uno? Hoy: Andre Carilho 4 -Los caricaturistas sabemos que trabajar que para mi son totales desconocidos. a un personaje famoso tiene sus ventajas Hago muchos bocetos porque está en el inconsciente colectivo; a lápiz, bocetos rápidos -¿Cómo trabajas una caricatura? ¿Haces pero hacer una caricatura de un bocetos previos? personaje anónimo con tu técnica ¿es que si no me gustan los Trato de juntar mucho material fotográfico y complicado? ¿Logras el parecido? videos, le doy mucha importancia al Siempre es más fácil dibujar a alguien tiro al tacho” momento de la investigación. Es famoso, pero no creo que sea porque mucha fundamental para mí tratar de conocer a gente lo conozca sino porque yo lo conozco. fondo al retratado. Hago muchos bocetos a Conocerlo me permite evaluar si logré el ser visto por gente que lo conoce mucho. lápiz, bocetos rápidos que si no me gustan parecido o no. Para mi tiene el mismo nivel Al trabajar para revistas extranjeras eso los tiro y empiezo uno nuevo. Una vez de dificultad dibujar a Brad Pitt que a algún suele pasarme bastante seguido. He decidido cual boceto voy a elaborar, lo amigo mío. El problema mayor es dibujar a tenido que dibujar a estrellas de football digitalizo y calco en un programa de alguien que veo por primera vez y que va a americano, tremendamente populares y vectores, en esa instancia suelo hacer 5 muchos cambios, en la composición y en los -¿Hubo influencias en tu estilo? rasgos fisonómicos. Me animo mas en la Una caricatura no sólo Sí, por supuesto, muchas y algunas muy computadora, pruebo cosas que con el lápiz marcadas. Caricaturistas como David no. tiene que lograr el Cowles, Raul Fortín, Zach Trenholm, Philip parecido, también Burke, Hermenegildo Sabat, Hirschfeld, -¿Te toma mucho tiempo hacer una pero también ilustradores como Jim Flora, caricatura? tiene que comunicar un Gary Kelley, Luis Scafati, El niño Me toma el tiempo que tenga. Si son cuatro Rodríguez, Javier Olivares, Joe Morse. Y mensaje” pintores: Picasso, Pettoruti, Gris. -¿Prefieres trabajar ilustraciones o caricaturas? Las caricaturas son ilustraciones!! Una caricatura no sólo tiene que lograr un parecido. También tiene que comunicar un mensaje y ser estética. Las veces que no tengo que ilustrar caras horas: cuatro horas. Si tengo 2 meses, es probable que este los 2 meses elaborando el dibujo. Solamente lo doy por terminado cuando llego la hora de la entrega. -¿Qué programas utilizas para trabajarlas? Programas de vectores. Hice los primeros pasos en Corel Draw pero luego me mudé al Illustrator. 6 conocidas, son pocas y por eso las disfruto has caricaturizado te han pedido una mucho, me siento más liviano, más libre, sin copia de tu trabajo? la obligación del parecido. Aunque hacer un Prince, Joshua Bell, Wendie Malick, la retrato y lograr el parecido que uno buscaba directora de “The Kids Are All Right” y es también muy gratificante. algunos más que no son muy conocidos. -¿Cómo ves la evolución de tu trabajo? -Una curiosidad ¿por qué no firmas tus Veo que geometrizo cada vez más, los caricaturas? estilos marcados tienen la tendencia a cerrar No lo tengo muy claro, lo pienso ahora y caminos, a hacerse más puristas. Cosa que creo que hay dos razones probables: una por un lado es buena pero por otro no. Gano es porque la firma me molesta en la algunas cosas y pierdo otras. Creo que soy composición, siempre, no encuentro el más eficiente, que adquiero más oficio cada lugar físico donde ponerla. La otra razón día pero pierdo un poco de frescura. Pero mi es me parece que las firmas son cosa de trabajo evoluciona mas allá de las pintores, de artistas y me siento ilustraciones que publico, hago otras cosas pretencioso haciéndolas. Pienso un poco que algún día, si puedo, sacaré a la luz. más y se me ocurre una tercera razón: La firma es una manera de poner un punto -¿Alguno de los personajes famosos que final, cuando uno logra la convicción de que el trabajo está terminado y no vale la pena seguir elaborándolo y a mí, eso nunca me sucede. De todas maneras siempre cuido que el crédito figure, afuera de la ilustración, en algún lado de la página. La firma es una manera de ponerle punto final cunado uno logra la convicción del trabajo terminado” ANIMACIÓN 7 cumple 25 años Escribe: Fernando ZAVALA Pixar es una fábrica de sueños, Es una fría y nublada tarde en esta éxitos como 'Toy Story', 'Monsters, Inc.', tranquila ciudad ubicada a las afueras de 'Ratatouille' y 'Up'. un lugar que pareciera estar sólo San Francisco. Hace frío y el pronóstico del La lámpara, bautizada como Luxo, es el tiempo dice que hay posibilidades de lluvia. símbolo de la compañía, que este año Pero en el número 1200 de la calle Park cumple un cuarto de siglo de vida. En el en la imaginación de los niños y Avenue, una enorme propiedad de seis interior del edificio de 20 mil metros hectáreas, la calidez se engancha en el cuadrados, inaugurado en el 2000, el de algunos grandes. Ese lugar corazón de cualquier niño, y también visitante recibe la bienvenida de enormes adulto. figuras de Woody y Buzz Lightyear existe y ha cumplido 25 años Luego de transitar un largo camino en (construidos en lego), Mike y Sully de medio de verdes prados, una gigantesca Monsters, Inc. y algunos autos de Cars. haciéndonos la vida más divertida lámpara da la bienvenida al edificio A un lado, un panel con todos los premios principal de los cuarteles generales de que han ganado sus películas, incluidos Pixar, la empresa líder en cine animado de sus seis Óscar (el último de ellos obtenido y entretenida. la actualidad, creadora de inolvidables en febrero pasado por 'Toy Story 3') y, 8 enfrente, un amplio hall desprovisto de sillas área creativa y el área tecnológica, y que El edificio, que antes de ser Pixar era una o mesas. sirve para una tradicional competencia de elaboradora de frutas en conserva, incluye Esto no es accidental. Steve Jobs -que en aviones de papel. Y en ambos costados, tres salas de cine -donde se revisa material 1986 fundó la compañía e ideó las una serie de oficinas y escritorios donde guardado bajo estricta confidencialidad- y características del edificio- propuso un punto trabaja buena parte de los 1.200 un estudio de grabación, en cuyo muro de para que los empleados intercambiaran empleados que tiene Pixar en la actualidad entrada los artistas firman un autógrafo. ideas, sin necesidad de oficinas o correos (10 años atrás, eran apenas 400).
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