Second part of the Interview to SAME, young promise of illustration.
In this article, we have the privilege to make the second part of the interview to SAME. Young and talented promise in the world of illustration.
We review his tastes and inclinations, which are his artists of reference, tips, advice, and much more. Continue reading to not miss any detail!
Beginning of the second part of the interview
We continue then, with the interview with SAME, multimedia artist, who tells us his secrets when it comes to making his various works. Pay close attention to his advice!
How do you manage to capture your own style in different media, besides illustration?
I never consider myself a person who only paints, draws, or only does ceramics. It’s a little bit what they tell you when you study art. A sculptor has to know how to draw, an animator has to know perspective.
The one who draws, also has to go through the three-dimensional. That way he will understand better what he is drawing.
Understanding how things move when I animate them helped me a lot, to learn to be more sensationalist in the planes I use in the comics, and to reach more interesting situations.
The three-dimensional was a great help, to understand how something has to move to animate it, because I’m seeing it, live and direct.
In turn, I understand how it can look from different sides, and when I animate it, I get a better result.
Who are your reference artists?
From Argentina I really like Del Pérez Adán (@estampita).
I’m very inspired by Pablo Roldán (@prr__. v._) and Ezequiel Torres (@ezetorr3s), the founders of Rudo Company.
Pablo is a graphic designer, I really like how he uses his color, and his way of synthesizing, and Ezequiel, he makes things move in a very interesting way.
Another one I really like from this country is Jess Bianchi (@jesicajba), she is an illustrator. She uses a lot of effects and loads everything with so much color, I find it very interesting how she composes it.
As for comic artists, I really like Moebius, he caught me because of the illustration, but when I read his comics, I liked him a lot more. He never loses the illustration, all the pictures have their aesthetics.
I also like Winsor McCay , because he was an animator and cartoonist, he was one of the first animators who existed, and who made his work public. Also, I like the Blacksad comic saga, and I enjoy manga a lot.
I see that you draw a lot of fanart.
We all have an obsession with something, I became obsessed with cartoons.
What I always liked to achieve in my characters, is that someone makes a fanart of them, that they become obsessed with doing it. I want to have “fanartists”, (laughs).
The works exist for the viewer to interpret and recreate as they wish.
It’s really great, it generates a community of people who make fanart, who have a good time, who have fun. It’s good because you get job offers, collective fanzines, you meet a lot of people who do very interesting things, and perhaps all for looking at the same cartoon.
Have you always worked as a freelance?
Yes, but I haven’t always worked as a freelancer for studios, or not always as a freelancer. Sometimes people come in and say Hey, I have an idea, can you do it for me, and then we do a project.
Sometimes there are projects that are already done, and I come in for a while to work, they are different ways.
What was the hardest thing for you to learn to draw?
It was very hard for me to work on the effects, for example, they would tell me, do something that is underwater, but how do I do the perspective, and the color? I used to rack my brains thinking about it, I was very anguished.
Then the human figure, the hands, the feet, which is difficult for everybody, eventually, at some point, you learn it or you get frustrated, and they come out the way they come out. But when you want to generate a specific climate, that complicates me.
And what do you like to draw the most?
I like to draw human figures, but very deformed. I love when they tell me, do a man running in some pose. Because I can make it completely deformed and full of colors, when I can deform the figure.
What do you think is indispensable to be a good cartoonist?
For me, to consume a lot of multimedia. If you want to go to the museum, go to the museum, watch live action, animated series and movies.
If you find an old French film that you liked an image, watch it anyway, it will help you. Keep in mind, meet many successful artists, get more into the local community you have. You will discover artists close to you, from whom you can learn experiences.
If what you want is to learn to draw, to have your own style, the best thing to do is to fill your head with information. This way, when you sit down to draw, you will have many things to draw references from where to get inspiration.
Conclusion
SAME reveals to us what is indispensable to be a cartoonist, with some valuable tips and advice.
He also tells us what took him the longest time to learn, what was the most difficult, what cost him the most, his reference artists, and his work as a freelancer. Watch the whole interview Don’t miss any part of it!
Here ends the interview Thank you very much, SAME! It was of great value.
However, we invite you to investigate Same’ s networks (@sameconcarne), to learn more about his work, and his undisputed talent.
Don’t overlook the artists he has recommended to us, they are really good!
We look forward to seeing you in the next interview!
