Second part of the interview to Alejo Vigliani, talented young Argentine cartoonist, who delights us with his art in the world.
In this article, we are pleased to be able to make the second part of the interview to the artist Alejo Vigliani.
He will tell us about the importance of working on a live model, he will tell us which are his reference comic artists, which are the requirements to be a great artist, and much more, but for that, keep reading!
Artists who inspire: Alejo Vigliani Part 2, exclusively for TFC
We continue with the interview to Vigliani, an extraordinary artist, who will reveal his tips to draw perfectly the human figure, and any other element you want.
I notice that in your drawing you worry about making things look very accurate.
I think it’s in stages. There were moments in my drawing when I was looking for a certain precision, especially anatomical. Then I found that this obsession with the precision of the figure and objects led me to a point of never ending.
I was looking for more and more perfection in what, for me, was precise.
Lately, I am finding that, in the synthesis of certain figures, I can communicate more. Even with a more plausible feeling, without the need to resemble nature.
It is important that there is a certain precision, having the possibility of interpreting what is being seen and giving it an imprint.
That something can be recognizable as an object or human body, but that it works with an interesting aesthetic value.
Important tips for learning how to illustrate the human figure
What advice would you give to someone who wants to learn to draw the human figure?
First, make a step towards naturalism, but without remaining superficial. In the books that we generally get, such as those by Andrew Loomis (which are excellent), there is limited information about what the human body is and how it works.
It is much richer for one, as an artist, to delve as deep as possible, always from our perspective as draftsmen.
I’m not going to pick up a medical book and study the human body, in that sense, because I’m not interested, since I’m not going to be a surgeon.
Important: Knowing the anatomy of the human body.
Knowing the movements of the body, how the bones are arranged, and how the muscles follow the forms of that movement. I see how they style and relax, so I can have a more convincing drawing.
In this way, I will be able to synthesize it better, either looking for my own style, or trying to find a new one. In other words, some more interesting way to present it to the viewer.
You can’t draw hyperrealistic in every frame of the story, it’s not necessary, and you probably don’t have the time to do it.
Working with a live model is vital and of utmost importance.
Do you believe in the importance of working with a live model?
Yes, it is the most important thing, with any object that you can have in your space.
It is better to study it this way because we have a more direct perception of our senses.
We can study a photo or a video, but they are only interpretations of nature seen through the lens of a camera.
There we have limitations of perception, on the other hand, if you have a model posing from a distance, you will be able to walk around, move and see different perspectives of it.
In this way, you will have your own perception of your senses, and not just one lens.
It is important not to stay only with the photo, you have to imagine that you have the figure in front of you, or if you have a mirror, make a similar pose, and see what happens.
Sometimes, due to camera lens issues, there is a different depth of field than we perceive.
For example, we see a super giant foot, but in reality it doesn’t look like that.
These are all camera effects, which can be used as aesthetic resources, but we don’t have to fall into that deception.
I see you have an obsession with cyberpunk.
(Laughs) I don’t know about obsession, but it’s an aesthetic that I find fascinating.
I like science fiction and fantasy. When I saw Blade Runner, I loved the idea of transhumanism and cyborgs. Logically, it’s also because of video games or series, since I love to draw that.
Fundamental: Always have reference artists
Who are your reference artists?
There are many. Alberto Breccia seems to me a great artist. He was the first one, with whom I was very surprised with the visual quality and the sensitivity that his drawings transmit.
Another one I like a lot is Zaffino, son and father.
From the international scene, the Italian Sergio Toppi drives me crazy, and Karl Kopinski also, because he has a particular way of transmitting this naturalism.
He is a naturalist, but at the same time he is not, he has a synthesis and a combination, very fascinating.
You notice the complexity of the anatomical knowledge, but you grasp that simplicity. The quality of the stroke, and the agility he has when drawing, surprises me a lot.
Comics as a source of inspiration
What comic strip has fascinated you?
El Eternauta had a great impact on me. I read it when I was a child, and I didn’t know it existed in Argentina. It was a very complex and interesting story, it seems to me very underestimated, by many people, who enter comics now.
What things do you think are essential to be a good cartoonist?
The fundamental thing is to study what you want to draw!
Not only how it looks, but how it works, what it’s for, this complements the drawing a lot.
It would be ideal to study from the foundations of drawing. If you want to learn how to create convincing three-dimensional spaces, you have to study everything related to that, be it perspectives of different types, how you control the values, but, above all, understand them.
If you simply replicate what you see, you will be halfway there. Whatever you want to draw, always study it thoroughly, with all its elements, from the drawing elements to the things you want to represent.
Of great importance is to investigate the history of art. It is a very good tool, to do new things, and, rediscover others, that perhaps we were ignoring.
A clear example, to practice techniques of old masters, and to understand the historical events.
Conclusion second part
Alejo, revealed to us, data of great value to take into account, such as, for example, having knowledge of human anatomy. He also gave us an overview of the elements he believes you should have to be a good artist and much more. With interviews like this, you just have to read and learn!
He also tells us what took him the longest time to learn, what was the most difficult, what cost him the most, his work as a freelancer. But better, watch the whole interview, don’t miss any part! If you have any questions, you can go back to the beginning.
Here ends the interview, we thank you for all your advice, Vigliani!
Surely you, dear TFC reader, have taken note of the experience of this formidable artist.
We invite you to investigate Vigliani’ s networks (Ig @alecvigliani / www.artstation.com/vigliani) to learn more about his work. We look forward to seeing you in the next interview!
