11.2.10


Entrevista Canarias Creativa :: Canarias Creativa Interview


Hace poco me hicieron una entrevista en Canarias Creativa, una pagina dedicada al diseño, comunicacion y artes graficas de las Islas Canarias.

Espero que les guste!



EN:

For those english speakers I'll try to translate it. Please excuse my english :P

CC: HerbieCans comes to represent a new illustrative design scene in the Canary Islands. Young, talented and with a fresh style that has permeated the net.

Hello Herbie,...first,thanks, and second, how would you like us to cal you from now? hehe

HC: Hahaha hi Sergio, no,no, thank you! HerbieCans is the pseudonym I which I'd like to be known.^__^

CC: Well, getting serious. What does a girl like you in a world like this? How did you begin to devote yourself to your illustration artwork?

HC: Well, actually I'm in the animation field, illustration is a collateral damage I'd say,hehe. Uhmm I guess sometimes, events draw us toward what we're ment to do. I think that's what happened to me.

I had been almost two months studying architecture in Madrid when by chance I walked into a comic shop. That action changed my life and am very grateful to Edu, (the guy who flirted with me hehe)for telling me he was studying animation. Suddenly a childhood dream came back to me as a revelation saying: That's it!

So the next day I left college. I studied 3 years animation in ARS Animation. Then I returned to Gran canaria and was hired by Bitestudio ,a design studio based in the capital of Gran Canaria: young, dynamic, innovative and where the working environment couldn't be better. I owe them a lot and learned a lot. Above all what I'll always thank them most is that they awoke in me the germ of design. They are to blame for my transition from animation to the static. So I'd date there my first approaches to illustration (in terms of something more serious) but it wasn't until next year when everything would began to jell.

I also workedat Cool city project with now named Machango Studio, a very good experience. Then I went to Valencia, where I worked at Black Maria studios.

This is where my illustration skills started developing. At that time I was already combining my work with my personal project (which I try to give shape in my blog: yesland.blogspot.com): Create a world full of cute and lighthearted characters, keeping a
(Madrid) and then I went back to Gran Canaria, where, against all odds I found work as character animator. After that I was hired as animator and character designer. I gained a lot experience, friends, and was also a dream place to work at. I'm proud of having worked with them.harmonious aesthetics. Thanks to which I made a tutorial for the magazine Arte y Diseño (No. 96-kawaii cool design). Since then I attempt to promote my work by putting"Yesland" stands. The first one was at international design exhibition "Design Festa, Tokyo. I lived half a year visually and personally nurturing from this city. After that I promoted myself at home: in the third Manga room of Gran Canaria and the Tenerife Lan Party, whose organization was great.

Then came my first solo exhibition at the lighthouse of Maspalomas, and my body took more work.
Er...,
tremendous paragraph hahaha!Sorry! I rolled up a bit.

CC : Have you preserved any sketches at maths books of those years at school? Do you think your style has evolved with you or that you're the one that has evolved to what was coming out of your pencil?

HC : Sure! I keep drawings since I was 4 , but .. we all do .. right? . For the second question .. I don't know,it would be a bit like asking what came first, the chicken or the egg? I wouldn't know what to answer.

CC : For those wondering: Age? Training?

HC: 26, I studied traditional animation at ARS, Madrid. Where I had great teachers like Carlos Martinez and Jorge Pozo. Also I was fortunate to learn from other great animators Joanna Quinn, Raul Garcia, Sergio Pablos, Borja Montoro and many people that I've been finding on the road.

CC : In recent years, the animation scene in the Canary Islands seems to be turning on and looking for it's little place in the market. The door opened a bit more with Machango studio and colleagues who are slowly creating a school. In your case, where does the determination to give movement to your designs come from?

HC: Yes, I'd also want to send them a hug and encouragement from here. They're doing a great job and we need to enhance the animation film industry here in our land. I worked with them when they were Dachefa productions with Coolcity draft, and was a good experience. I hope to repeat soon!

More than giving movement to my characters I want to bring them alive. Actually my early steps were in animation field so, it's funny that now I'm doing the opposite thing, bringing them to static. I'm also trying other formats .. as figures and other type of merchandise (badges, T-shirts, postcards ...) We'll see a sample of that at Marlaska gallery from March 26th. Whoever wants to go .. I just drop it here hahaha. In shorter-term at "Café Central" I'll be exposing from February 24th.

CC: Your style is peculiar and easy to recognize, that's very difficult to see in this era of information. Still, I suppose you drink from many sources ... tell me some ....

CH: Ehh .. you just killed me. haha,Yes, I feed on many things for sure, but I'm not quite aware of what. I like many people's work but it may not be semilar to what I do. Anyway it's not a good thing that your drawing style is recognizable for an animator hehehe ... and it's something I try to avoid when animating. At least in my illustrator facet it's got good connotations. ^ __ ^

To say something and not leaving the answer in innopia, my sources may be my trips to Asia, dreams, paranoias (yup,I'm a bit crazy), all whom I've learned something and the music,which really inspires me.

CC: At facebook you delight us with freehand sketches and in your blog we've seen many times the "before" and "after". Tell us a little about the process that you follow, techniques and software you use.

HC: It all starts by drawing a sketch by hand. Then I scan it and decide whether to vectorize it (which is usually the option chosen at least for the outline) or redraw it entirely in Photoshop (something I've started doing recently). Normally I'd sketch by hand, flash vectorize the outline and either finish the artwork in this program or take it to Photoshop that gives me more room to trim level. You see, I have no mystery hahaha.

CC: In the last dates you're working in a short animated film with people recruited to 2.0 style. Can you anticipate how and when the project will see the light?

HC: Yes, it's about nothing in particular, it depends on the reading that you want to give. A character enters the scene suffers several transformations. It's a about 50 seconds long, done in flash and my intention was to send it to the Pictoplasma festival but because of a lack of time it won't be possible. In its place I'll be sending it to other festivals. I hope that we¡ll view it at Animayo's festival, though it'll be probably finished at mid-February. I'll upload it at my blog and let you know on Facebook.

I want to thank Sergio Morales for offering us space in the Gran Canaria Digital Space, forgive the repetition. And Fausman, whose collaboration and motivation has been relentless since the beginning of this project.

CC : At a level of training, what would you improve in the current studies that you think would benefit talented illustrators?

HC : Well, in the illustration field I'm a newcomer. I know that the school of art of GC offers an illustration course but I ignore the rest of the island offers . I feel more comfortable talking about animation that is more my field. In that aspect I think there's a very little supply, although it's starting to be some. I consider it a disgrace that talented people in the islands must go out to study animation. (although there is something such as "La casa animada" in Tenerife) I impart particular animation lessons , but I'm thinking about opening an animation and illustration studio-school in Gran Canaria in the future.

CC : And now, a classic: the quick test .... Ready? There goes the first: "Moleskine or recycledsheets ?

HC : Not Moleskine, any book will do, and with recycled sheets even better .

CC : Watercolors "or markers?

HC : Markers

CC : " Hand drawn sketches or directly into the computer?

HC : Hand drawing

CC : "Pixel or vector?

HC : Both but more towards the vectorized shot.

CC : "Illustrator, Freehand or Corel?

HC : Flash ... Take that. XD

CC : "Mac or PC?

HC : PC please.

CC : "Soundtrack to work?

HC: Wow, that's a big question!. Synthesizing:
For happy moments K-pop/J-pop : (Humming Urban Stereo), (Casked), (Clazziquai), The pillows, Chemistry ...

Serious time / concentrated Electro-minimal: Ellen Allien, Justice, Digitalism ...

Melancholic moments songwriters and BSO: (Nell), Gackt, Kenji Kawai ...

CC : Soundtrack to celebrate the end of a job

HC : That's a (Big Bang) moment haha

CC : "Static or animated?

HC : Both have their charm. If I choose one I betray the other, it can't be

CC : A color (the one you want ... Pantone, RGB, CMYK) and why.

HC : C = 0 M = 48 Y = 88 K = 0 or, which is the same, Pantone 1375C Because I like yellows and oranges alive and this is not all bad.

CC : An illustrator you admire...

HC : The great Mel Milton for his high quality and versatility. he's a crack.

CC : Something that has impressed you lately?

HC : I recently found the illustrator Oscar Llorens and I really liked his work. :)

CC : well that's all ... I don't bother you anymore. Thanks for the interview and the best of lucks in the coming gigs!

HC : Thank you Sergio! Congratulations for Canarias creativa and the initiative of the Fanzine.
^___^




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