Traces of my most diverse chalk (V)
Here is a multifaceted synthesis of several works of Prado, commented by the same.
“For two years, I weekly made the illustration of a text about a city or a place in the world, which was alternatively writtten by a group of journalists and writers, for the Sunday supplement El Periódico de Cataluña. It was a wonderful experience. I never met personally any of my travelmates, but for some telephone conversations. Our contact was via e-mail. Nevertheless, due to the chosen places (it was their choice) and their way of “viewing” them, certain complicities were established with some of them.”
“All drawings are ink on paper and the colour is digital. There was no time that, once the illustration was finished, I didn´t regret not having done the colour by natural means…”
“If I find the time to do it, I like collaborating on press from time to time. I feel atraccted to that immediate contact with reality and by the possibility of reaching different readers from those who know the rest of my work.”
“Regarding illustration of books; most of the times it is about friends´ works. Most of the books I have illustrated are children´s books or, mainly, juvenile books.”
“El cuento de Sirena”
The centenary of Gonzalo Torrent Ballester´s birth will be this year. Ézaro Ediciones have proposed me the edition of an illustrated book commemorating El cuento de Sirena, a short narration that is brimming with Torrente in each page. Appart from the admiration and the respect I feel for his work; those of you who read this tale (I had not done it) will immediately understand why I enthusiastically accepted the proposal.
“Fantasmas de luz”
“Agustín Fernández Paz, as well as a great friend, is undoubtedly the writer of the most books I have illustrated. There are many examples of this long collaboration in the” Enlightenment “section. Almost a year ago Agustín sent me a text with the proposal to illustrate it. I accepted immediately but, truthfully, I found it very difficult to find the tone of the images. Of most of the illustrations there have been two previous versions – already destroyed – that will never be seen. ”
“Some of the many drawings I have made for covers, posters, ONGs… are gathered in this gallery. Somehow, it could be said they are my favorite ones…”
“This is a sample of some of the posters I have made for several fairs, festivals, and conventions.”
“These are some of the covers of books and magazines that I have made.”
«El dragón que cambiaba de cuento cada vez que estornudaba»
“The story, by David Aceituno, tells the adventures of an allergic dragon that every time he sneezes, he changes his story.”
Special collaborations …
“There are stories that are the result of special proposals.”
Guillermo del Toro called me one night late. We did not know personally each other, we expressed mutual admiration for one another (I had watched Cronos and I had loved it) and he told me he had a writer friend who would like me to make a comic to be included in her second novel. A film had been made from the first one: Like water for chocolate. The writer was called Laura Esquivel. I had also watched that film myself and read the novel, and I liked them very much. But I told Guillermo about my problems to work with other´s stories. He answered me that, once the contact had been established, it would be better if she spoke to me and explained me the project. And so it was, Laura insisted on explaining live to me; she invited me to go to Mexico so that I could “understand” what we were expected to tell in that story. The first dinner we had together was enough for her to persuade me. My staying in Mexico, accompanied by her and Víctor, her assistant in those days; was unforgettable. One year later, having the work nearly finished; Laura came to A Coruña to put the final touches to the book.
We made some presentations together, and we haven´t met again. The novel was entitled The Law of Love and includes a comic in six chapters of eight pages in which I tell in images, without texts, a part of the story.
Laura made me draw something I would never have depicted on my own initiative and to which I was so reluctant as I could: some men dying by impalement.
“Although it is not very frequent, I prepare some silk screen printings from time to time. I always work on the ink separations myself.”
“This is the series of paintings from which, long afterwards, the idea of De Profundis emerged.
Actually, it is a natural sequel to the previous series, Aquaria. And many of the paintings in both of them were painted at the same period.”
“All the six canvans appear in the film.”
“Some works are difficult to be sorted. They are very assorted proposals: wine labels, postage stamps, bookmarks… A selection of some of them will be gathered in this section.”
“During the promotion campaign of the Hércules Tower candidature for Human Heritage (2008), one of the initiatives consisted in 30 fiberglass reproductions, “personalized” by that many artists. It was my contribution. Now it is placed in the Aquarium Finisterrae (A Coruña / Galicia / Spain).”
“There are prizes and recognitions that, for particular reasons, are especially dear. CEMMA (Coordinator for the Study of Marine Mammals) is an NGO working in Galicia since 1990 in the study, dissemination and conservation in this field. In August 2012 CEMMA named me Partner of Honor and Arroaz Maior. Thank you for that appointment. Cetaceans have been part of my stories frequently, ever since my first book, Fragments of the Delphic Encyclopedia.”
“I believe that I have made some more lables, but these are the ones I preserve evidences about.”
“In 1994 Streak of Chalk won the Judges Special Award in the Sierre Festival (Switzerland.) The next year I was asked to make the lable of a white wine with an image referring to the book. I am absolutely certain that they sent me a 12-bottle box. But the civil servants in custom in A Coruña retained the consigment and persisted in considering it a “commercial importation” for which I would have to pay an exorbitant amount. Either lack of common sense or intention of bothering. Or intention of drinking wine for free… So neither could I see how the lable looked nor keep any of them.”
“In 2002, the Comune from Montefalco (Umbria, Italy) asked me an image for the label of the harvest ofSagrantino red wine.”
“And in 2004, I was asked a label for the white wine El perro verde, a really delicious verdejo wine from Rueda.”
From here, to follow the Actuality of the Miguelanxo Prado Work from your own hand, we leave you the link to your Official Facebook
The epoch of the Graphic Work with magnificent grounds, where Miguelanxo Prado, in addition, will develop what he considers his novel culmen, to date, Ardalén. The Galician Architects Association (Colexio Oficial de Arquitectos de Galicia or COAG) asked me to
“Pieces recovered from the deepest of the ocean. It’s a bit a unchaste…as it is to show the photos from the first Communion, or as a baby on the towel with the naked ass”
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