The Two-Day Workshop of “Javier Zabala” with Open Meeting Summer 2011

The Two-Day workshop
These days the name Javier Zabala is well known among Iranian artists. Javier Zabala is known by his success and hard working in the period of contemporary illustration. His books have been publishing by famous international publishers. He has a lot of international invitations from illustration exhibitions all around the world since 2003 and many times he has achieved best book awards from great international exhibitions in the world.

An important part of his current professional activities is his work as a teacher in illustration courses and lectures in universities, libraries and schools of art in Europe and countries around the world such as, Colombia, Ecuador,

Mexico, Cuba.

Last year, an illustration workshop was held in Saeed Ensafi's visual art studio followed by a one-day exhibition and an open meeting in Mohsen Art Gallery by Javier Zabala, with the management of the studio. The previous

workshop was a major step towards the establishment of cultural relations between this artist and the art community in Iran. Similar to last year, this year the studio held a two-day workshop and a meeting with Javier Zabala.

The first day of the workshop was held on 20th of September in the studio. This year, the workshop was more influensive than last year because the members have had become more familiar with the artist and were better

prepared to participate in the workshop. The subject of workshop was ‟Ali Baba and the 40 thieves” for adults, which had been announced before.
Members began their activity and Javier Zabala started his speech with the aid of his translator: "In these two days we will work on principles of designing an illustrated book. The preparation process of storyboard, character design and finding an appropriate technique. At first we will start with designing the main and secondary character.

In one illustration work, there are some elements which are important, also some elements that aren't as much important and act like a noise. There are a lot of these kinds of noises in an amateur illustrator work that can destroy the concentration of the observer. You have to pay attention to important and significant elements for making a good illustration. You should also be cautious about noises if you want to tell the message obviously. It is very important to have concentration on this issue from storyboard because you will face trouble if you don't do so. For starting, we have to have a visual research. I mean search about visual traits in story, for example finding the points like which color matches to character or which technique is sufficient."
After Javier Zabala’s speech, members continued their character designing. Finally workshop was finished in late hours of afternoon and members showed their drawings to Javier Zabala.

 

The second day workshop started from morning by working on storyboardJavier Zabala explained about the way of working: "Storyboard has two usages; the main useful aspect is for us. It’s too difficult to create a book without storyboard. And the second usage of it is the time that you want to show your book to the publisher. But it is necessary to be mentioned that publishers who are familiar to your art work, don’t need storyboard. There are some important points about working on storyboard. The first is that don’t put anything important in the middle! Another important factor about storyboard is the rhythm of the book; we consider about two points, when we talk about a rhythm. First the visual rhythm of the book and last the rhythm and speed of reading of the story. You can do something that reader read the entire of story very fast and you can reduce the speed of reading by putting some pauses.
This language is used in cinema too and looks like to language of cinema. One thing you can do for improving the quality of your work is watching good movies. In one movie one sequence can be very calm and another one can increase the rhythm of story. We have this rhythm in illustrated books too. The visual rhythm is more important for us. Another point in pre-production level we should know is color, although most of the storyboards are black and white but an illustrator should be careful about colors tonalities of the whole book. For example, if in first page, the dominate color is red, the second page should have orange. I believed that most of the times the best
stories which are illustrated, are the stories that was written by illustrator. I mean those kinds of books which has same writer and illustrator. Because communicating with yourself is easier

than communicating with other writer’s text. If a person writes and works on his text independently, he can show those works in various festivals to the publishers very easily. In conclusion, when you work on a project, you would think that it is your last art work. So you have to work with your heart and without it you wouldn’t enjoy and achieve anything."

A meeting about the world recent illustration events

A meeting was held on Thursday morning, 22nd of September with "Javier Zabala", "Saeed

Ensafi", "Morteza Zahedi", "Sahar Bardaei" and a group of enthusiasts in Saeed Ensafi visual art studio.

The recent events of world illustration under the title of the meeting which was started by Javier Zabala's speech:

"This subject that Saeed asked me to talk about is a little difficult for me. I start from the things that I remember. I have traveled a lot recently. I did some of my books during my travels. I remember I was far from home last year: Madrid for 4 months. The positive point of traveling is that you keep out of routine life and you can get familiar with the active people in publishing and also different markets of illustration in other countries. So when you come back home you have plenty of things to do. I believe that when you stay at home you just see one tree but when you travel it looks like you see the whole jungle! I think a professional illustrator’s life could be a heavy and serious life. Always we have little time for working on a book or any project in illustration field. So when the publisher wants the project results you have to say: “It is not ready yet!” Maybe you will need a year for finishing

and obtaining the results of some projects. By the way, I like this typical procedure and I think I told it during my workshop that, it is attractive for me.

In my point of view, it’s better that the illustrator has a delay on due date, rather than the project being finish on time but with poor quality! No one can actually understand the exact time that an illustrator spends on his/her project except the artist who dedicates his/her time to that artwork. At last, when the illustrator presents his/her work, others will never ask about how much time he/she has spent on his/her artwork. They just make a judgement on whether it is good or bad! An artist’s life is heavy and voluminous, however some are better in time planning, but over all time shortage is very common. I like my professional life as is and I prefer that everything passes by very quickly. I believe that the processing stage is stressful by itself and the illustrator doesn’t need additional stress from publisher or involved in the project. I want to conclude on the introduction of my speech: It is very important for an illustrator to find free time.

Another important issue that illustrators and generally artists may not like to talk about is financial issues. From my point of view each illustrator should do all he/she can for making money, which helps you have some free time. Because when you have enough money for living, you don’t need to accept books to illustrate frequently. If a person works on many books, always one part of his/her will be missing which is: time! Because in such projects, the illustrator needs time for research about his/her work and for slip and this is the time that passes away! If the financial issue is ok, you don’t face any trouble. Another important point is that an illustrator should treat the work as the final and there is no tomorrow! A book named "Barcelona" that I worked on a few years ago and had a small size is an example. When it was observed by my friends, they told me that it was just an ordinary work. A small book like those that are given to the tourists. But I could expand my profession by this book because of its successful financial achievement. It was distributed around Europe and several versions of it were published.

And now this part of my speech relates to world illustration. I travel a lot and my nomination of “Christian Anderson awards” helped me to understand a lot about world illustration’s market and become familiar with the events of Latin America. I have illustrated in classic method before. I worked by the inspiration of many illustrators like “Lisbeth Zwerger”, an important Austrian illustrator, and others. Now that we want to talk about world’s illustration it’s good to have "Morteza Zahedi" here because apparently he is working on a book about world’s illustrators.

"Morteza Zahedi": “In fact it isn’t a book, there are some articles that are increasing, however I haven’t got find

publisher for yet.”

"Javier Zabala": “It will be good if a publisher is found! Creation of a collection of different nationality of world’s illustrators, introduction of some artists who haven’t won any awards and thus, aren’t known could be very useful for enthusiasts of this field.

Something happened in my work like a revolution. Which has also happened in the illustration atmosphere of Europe and America. Today you can find publisher for any style that you like to work. Also I can say each work finds its publisher. Nowadays, we have free markets and it’s an open mind one for different works, we just have to find a correct place for them. It’s better to concentrate on the type of work that you like and then search for a publisher rather than the other way around. Search for a publisher and match your art work to that specific publisher.

Now I'll talk about the difference between publishers in Europe. I took two awards from “Bologna” for two different

books. The first one was with a well-known publisher and the second award was with a much smaller publisher.

Although the latter was considered a very small one and had a low-income but our work was of a very good quality.
The day I received the award, that well-known publisher held a celebration in which the princess of Spain and the

culture minister of Spain attended. The second publisher however arranged a small party in which my friends and I attended. However, this is what happens when working with small publishers. They may publish really good artworks and take too many risks and also they might have less incomes. Although that award had national value, the Spanish media did nothing about it, because that publisher didn't have good relations with the media...

Last year a Spanish illustrator won an award from the festival of “Bratislava”, which is an important event on my opinion. The publisher however didn't even gave out the news itself formally! These kind of stories might happen in everywhere from Spain to France. Maybe in Europe there is not enough focus on illustration, when the TV and

other medias focus on a phenomenon, that phenomenon becomes very important. I remember years ago, cycling and basketball in Spain were not so much considered. Sometimes they were on the TV, but they were not focused, thus the athletes had very little income.They mostly followed their career for their own interest, but nowadays the athletes in Spain have great income because the media has focused on them. For example in art, I can refer to photography: when I was younger photography was considered to be an ordinary course of art but nowadays it is treated as an important course. The transition in photography had two reasons: The first is because people understood the importance of photography, perhaps by the help of different medias which considered photography. The second reason which is very important on my opinion is that the photographers didn't ever give up and always continued their career. They were always ready to present their works. The thing that I'm completely sure about is that illustration is hard work, whether in Iran or in Spain or Mexico or wherever you are, so if someone wants to become a millionaire it's better for him to go and look for another job. there is an award, that’s a good thing but if not, only the work matters and nothing else.”

"Morteza Zahedi": “Someone who is close to himself, can also put impact on his observers. The one who hasn't still found himself can not affect on his observers, that’s for sure if you pass this stage then you'll be able to create an artwork which last and it will analyze the untold layers of a text for an observer. But an artwork not such prepared won’t have any effect on the observers; An artwork can be created in a very artistic manner, an artist like "Kveta Pakovska" who has reached an individuality can influence”.

"Javier Zabala": “I think a children's book should be appealing for everyone, even a hundred year old person. You should see a child as an intelligent creature which is just small and perhaps has an open mind, and even understands more than an adult! On the other hand, adults book doesn't have to be understandable for children! I make an example from one of my books "Hamlet" that I've made for adults. In this theatrical artwork a lot of people die, and I could show the death issue, but on the other hand I won't use the illustrations of this book for a children's book. If we have the death issue for a children's book, I'll use another way to indicate death. A way that would be more acceptable for a child, using metaphors and symbols. Again, I say that every illustrator must look for his appropriate publisher.

All publishers are not the same. Some of them prefer a best seller book to an artistic book, but some publishers

work on both of them. I make an example of my book "Der einsame drache" which has the same condition. The publisher of this book was interested in publishing both kinds: creative and also best selling books. My book was however kind of hard to be sold in the market of Europe, so one day the publisher came to me and said: "you've created and extraordinary book, but let’s find out how we can sell this book." I answered him: I'm so glad that this is going to happen but this is your business! I remember that my book was successful in America but in Germany it was known as a difficult book for children. Books created as an artwork are not produced for sale, so they won't have a good sales statistics. On the other hand, they bring a certain prestige and credibility for the publisher.

′′Carl Cnut′′ is an artist who works without any financial concerns. I can name "Skapate" and other illustrators who are in the same conditions, conditions that helped them as an artist. However, we are not from Belgium or Argentina or Croatia. We are Spanish and Iranian! Those illustrators are at my age and we have the same career but they work in a better condition that has helped them, however life is to be accepted! they have had the chance to be candidates for “Andersen Awards” for several times but for me it happened recently! This is because they are the only and special illustrators in their own country but in Spain or France and Italy there are millions of great illustrators! Therefore finding their own place in their country is the first challenge for such illustrators!”

"Morteza Zahedi": “That was a very good point that you said: “Illustration is hard work! After boxing, badminton is the heaviest sport in the world, but most of the people consider it as a recreational sport! Illustration is one of the heaviest visual behaviors but most of the people consider it as an ordinary course of art because the

observers are children!

After the last national illustration festival in Iran in 2002, there has been no other events in Tehran's artistic environment. During that time, some newcomers were introduced to the illustrators society. A publisher named "Shabaviz" started to press a series of illustrations which were completely artistic and specifically based on painting fundamentals: At that time, it was decided that three type of books be publieshd. (I totally disagree with this point of view. please don’t think that I confirm!) One kind were only supposed to enter to biennials like “Bratislava” and “Bologna”.

The publisher had no tendency for their marketing. The publisher only wanted to discuss them at the festivals for its own credibility. Another kind of books were published for the propose of entering the international market and had no relations with the festivals. They were not artistic and were made only for the market. Another kind of books were printed only for school libraries and mosques. You can't find any publisher anywhere in the world like "Shabaviz" which had three different attitudes to separate its funds in such a disordered manner. This resulted in the loss of ability to continue to work after eight years. While the "Andersen Press" publisher has introduced the worlds most prolific illustrators to the market for eighty years.”

"Javier Zabala": “I think the conditions for artists outside of Iran is much better, the free times which I discussed at the beginning of my speech is something that anyone must look for, I make an example of a Belgian illustrator named "Carl Cnut" which is a known illustrator in the world. In a region where they are in fight for cultural positioning, he earns 50,000 $ from the government for being an important artist! Every year he works on only one book and not any more because he has no need to do so. As a professor, he teaches in an art school in his own country for one hour a week which he earns salary for. He works with many publisher around Europe, publishing his books in series of 200,000! He received awards and earns money for publishing his books all that brings him a social prestige.”

"Morteza Zahedi": “Is there any affect on his career by winning awards?”

"Javier Zabala": “Definitely yes! However the goal of following a career shouldn't be just for awards anyway! You must follow on if

At first an illustrator should look for the right publisher for himself. The next step is to know how to communicate with the publisher. Finally he might know several languages. He should consider many issues, so he can keep

in touch with good publishers. Good publisher are always looking around, studying and they have a good understanding. The last thing I want to discuss is that we (Illustrators) are not painters or sculptors or any thing like that. A part of our career must be dedicated to the world of art and another part should be closer to the market. I liken an illustrator as a person whose head is above the clouds and feet on the ground. So that we need to dedicate a part of our career to the market in order to spend our lives! An illustrator has to do many things that have no relation to illustration. He should be a translator, work as an air agency, have public relations, and in one word: Have the ability to do thousands of things which have no relations with art itself! However, the name of our career is illustration, and I love it with all of its madness, with all of its problems and challenges."

"Saeed Ensafi": "One of the things that I do believe Javier Zabala is a specialist in, is the way he adjusts his books for adults and for children. He deals with "Hamlet" very sadly: He puts no points as a joke to release the mind. Other books also have the same expression. In his books of children with very little jokes, he softens the energy and makes a book suitable for children. This kind of adjustment is very unique and I call it an ability. This is a strength when you are yourself, you can relate your various artworks, and you don't change the quality of your work for different orders. One thing that Javier Zabala always does is to think by his drawings, and when he faced a new text, he matches his characteristics with the text. I do believe that the technique he uses also helps him, because the time spent to make an artwork is also important. He creates his artworks very fast, with an expressive technique which is emotional and full of incidents.”

"Javier Zabala": "I do believe that everyone is what he creates, if you are a fool so that you will draw very silly, if you are sensitive, your work would be sensitive too, if you are hilarious, your drawings will be ridiculous. Sometimes you are not exactly one character but all sorts of these emotions, finally you should make a harmony of all these emotions in a book. Perhaps this harmony falls in the relationship between us and our works. There are so many issues that live in someones heart. For example it is likely that he hates something and loves another. This is what exactly we can use in our work: When we hate something we can use it in our work as an exaggeration. I have an illustrator friend who used to say that we're simply healing ourselves psychologically because we put our feelings from inside on paper!”

Translators: Sara Shamsi, Shiva Shojaei