ah pasti udah pada bisa ah....hehehehe....
I ever opened the discussed page. it s so wonderful art...... :D
ton....
dodo karundeng <[EMAIL PROTECTED]> wrote:
terjemahin, ton,
buat si kondor.
hahaha...dk
Interview with Jan Op de Beeck (English version)
Back
Interview: Stegun�and Paffaro
Traduction: Cibele Oliveira
(Fabricarica Mar/2005)
Presentation:
�
When I first got interested in caricatures, round 2000, one of the first and
most interesting websites I found, during my caricature searches, was Jan Op
de Beeck`s (www.opdebeek.com).
Since than, I�ve been keeping up his works.
With a spontaneous and precise stroke, his main characteristic is the great
distortion applied in his caricatures.
Op de Beeck was born in Congo, in 1958 and moved to Belgium in 1960, where
he still lives.
Rewarded in several countries, he was elected in 2003 the World�s Best
Caricaturist by the �Iran�s Professional Cartoonists Association�.
He travels the world doing workshops about caricatures, and has already
published 3 books about it.
In exclusive interview to Fabricarica Jan Op de Beeck tell us a little about
his professional life.
�
Interview to Fabricarica website
�
1) Hi Jan! Firstly we�d like to thank you for your time and attention given
in our interview.
First of all, we�d like you to introduce yourself, and tell us a little
about how and when you started to be part of the art business.
�
Jan: I am married, and have three grown up children now.
I teach arts in an advertising department in Mechelen, my hometown. I am
alse an independant caricature artist, doing party caricatures, walking
dinners etc.
I try to find time to work on my new book about caricatures.
I started doing caricatures in secundary school, drawing the teachers, like
so many people do.
Professionally I started about 1991, doing editorial cartooning for the
biggest paper in Belgium.
�
�
2) Which artists have influenced your work the most?
�
Jan: During my youth I have been reading a lot of comics, which was
permitted and even stimulated by my father. The best European artist is not
Herg�, but Franquin, who lived and worked in Brussels.
Probably my first influence in caricature was the American David Levine, who
was published widely in Europe since the sixties. Afterwards came Mulatier,
the great French caricature artist. By studying these two artists I learned
how to do the crosshatching
�
��
�
3) Which works you consider most important in you carrier? Tell us a little
about them.
�
Jan: I have not too many works by which I am satisfied. It is so easy to
find mistakes when you make them yourself! Maybe the drawing of Einstein is
technically the best I ever made, just with penscil/crosshatching.
I do love, however, a lot of my sketches, because they are vivid, loose.
Sketching is the most important part in caricatures: you see the �hand� of
the artist, whithout any tricks.
Lately I have been doing some digital drawings in Photoshop, and some of
them really please me. I have to evolve a lot, though.
I hope my best work is still to come.
�
4) What is caricature to you?
�
Jan: Caricature can mean a lot of things.
When I do it live, it is communication between an artist and his model.
When I am in my studio, it is a personal thing. As an assignment, I do not
enjoy caricature half as much as when I do it for myself.
For me, the exaggeration is very important. I see so many caricatures that
are done badly. The artist really should look well before starting.
Also a caricature must have an _expression_. A caricature artist should be
able to capture the soul of the person he is drawing.
�
�
5) Describe your caricature making process.
�
Jan: I cannot describe without examples� On the forum of the NCN (National
Caricaturist Network) I have posted several step-by-step drawings with
comment, but this cannot be done here�
�
�
6) Tell us a little about the different caricatures� techniques and styles.
Which one is your favorite and why?
�
Jan: As I mentioned before, I like sketching. In my studio sketches I work
with markers and� colored pencils. When I draw live, I use gray markers and
a black brush marker for the linework.
�
�
7) What do you think is essential and can�t be missed in a caricature?
�
Jan: The right exaggeration and the likeness. Th emagic is to combine them
well.
�
8) Do you have any difficulty doing a new caricature? If you do, which one
(s)?�
�
Jan: Everybody can be drawn. The problem is that for some famous persons, we
do not have the right photos. I had tried Julia Roberts in the past, and
only made bad drawings. At one moment, the right photo fell into my hands,
and immediately I made a good drawing. This means that the person (although
he can be easy or difficult to draw) is less important than having the right
photo of that person.
�
�
9) How do you see the caricature production nowadays?
�
Jan: There is a lot of mediocre work, of which mine is a part.
�
�
10) Nowadays, which artists do you admire?�
�
Jan: The best caricature artist is without any doubt Sebastian Kr�ger.
Furthermore (running the risk of forgetting some), I like Roldan, Superbi,
Turcios, Brodner, Levine, Silver, Richmond, Drucker, �
The best live artists can be found in the USA. Some of the best are Joe
Bluhm, Chris Rommel, Court Jones and Glenn Ferguson. There are many other
fantastic caricaturists in the USA.�
�
�
11) What does it take to be a good caricaturist?
�
Jan: The ability to see. And, you have to be able to draw normally before
you start exaggerating.
�
12) What are your tips for those who are thinking about starting the graphic
humor?
�
Jan: Practice every day, and copy the work of the ones you admire.
Stephen Silver said: if you practise every day, you don�t have to look for
your own style. Your style will find you.
�
�
13) Leave a final message for our Fabricarica�s surfers.
�
Jan: Don�t stop practicing, not even when you get only good comment on your
work. If you do stop, you�ll stay mediocre.
�
---x---x---x---
( Information�and contact�: http://www.opdebeeck.com )
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