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НаписалAnna Deericheva10 апреля 2009

Maureen Gubia художник и иллюстратор из Эквадора. Так вышло, что сначала я наткнулась на его ранние работы, датированные 2006 годом. "Эко вас, товарищ Губиа, скукожило!"- подумала я. Но вот работы последних 2-х лет мне как человеку с академическим образованием были крайне приятны) Мастерское владение акварелью! Браво!

Из раннего.

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Интервью 2007 года:

Tell us a little about your background and how you became an illustrator?I was born (1984) and raised in Ecuador. I’ve always liked to draw but I was most likely to paint on coloring books from cover to cover when I was younger. I love mixing colors and making up my own color palettes the most. I’m self-taught.How would you describe your style of illustration?Loose. A little bit grotesque. colorful. Introverted.

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Please tell us about your creative process in as much detail as possible?I’m not a very disciplined person, so I’m more inclined to be random and messy. Whatever piece of paper I find will do. I favour thin, unbleached paper for the most part. Same goes for the brand of watercolors or gouache or oil paints. I actually like bad quality, cheap materials - the texture it gives. it makes sense to use them now. to muster the best out of them.

as for the creative process itself, I prefer to work from photographs. out of necessity though, because if I try to draw from life, the subjects I’m trying to portray won’t collaborate with me or sit still. I try and render the figures in a way that they remain unrecognizable.

I usually draw/paint whenever I feel like it and do not take more than two days to complete something. I used to be very hardcore and invest a lot of time and effort into my paintings, but ultimately I got tired of that routine and minor obsession with craftmanship/skills. Now I just think I’m being lazy, but I’m trying to practice restraint more than anything. Make more stark, ascetic looking art. It’s really really hard for me to be moderate when it comes to the use of color and well defined, proportioned figures. i’d hate to be bombastic for that matter. I want things to be intensely quiet, almost violent.

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One thing I’m very keen on doing right now is painting with water soluble markers and using them as watercolors, basically. They leave a very marked yet warped trail of colors. It’s an interesting effect.Do you find the process of creating an illustration enjoyable or does all the satisfaction come from the final piece?yes, it’s very enjoyable and so is contemplating the final result. That’s if you ever achieve whatever you had in mind, which is seldom times.How important has having your own website been in gaining opportunities?very very important and key to getting to be known better. it’s really amazing the amount of invitations to participate in exhibitions and artbooks I’ve gotten through it. Freelance work too. It’s an online portfolio for anyone in the world to peek, to be inspired by most importantly.

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Did you build your website yourself or employ the services of a web designer?I built my site from scratch. I used to redesign the layout every two months earlier on, but I finally decided upon a more direct, simple layout. I like the fact that the main page looks so cryptic and the main links to the galleries and sketchbooks are sort of hidden. You have to click around to get there. Many people just link my site straight up from the art section because of this. The site and its mechanisms can be like an extension of your own little presence on the internet. it’s worth paying attention to it. Lasting impressions and being practical most of all.

What is the most effective thing you have done to gain your work more exposure?Besides having a website, I’d say participating in international published artbooks and exhibitions.

How much do you get paid per assignment and how do you decide upon a price?I think it’d be wise to always charge no less than a hundred dollars for serious freelance work. You have to learn how to negotiate a lot if you want to get a fair share. art is something that’s rather hard to measure in money value, so still you have to be prudent about not undercharging. To me, the price depends on how much time they give you and how much control you have over the final result. There’s also the royalties issue and whether the artwork itself is handed over or just scanned. I normally don’t send the original artwork to company clients. Don’t send a high res scan if you haven’t received at least half of the money by then.

Also, I used to be very generous at first; I mean I would take random requests from people all over. For a while it was a good thing because it kept me productive. It was like a challenge, but there comes a time when you’ve sort of reached your goals. Some people can be inconsiderate (unconsciously so, which makes it more frustrating) and demand drawings from artists, half-jokingly, winsome-like; don’t get suckered in. your time and will is so valuable. Don’t give in and draw for others so genuinely. Those people think it’s no work, emotionally speaking, for artists to even gather oneself to pick a brush/pencil and actually enjoy drawing someone else’s mental images or portraits for free. Family members can do that to you sometimes. Watch out.

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И, наконец, работы 2009 года.

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