Alex Orbe shares with us his 2012 tribute creation and answers our questions.
Alex defines himself as a cartoonist with many years of experience in cartoons (storyboard, layout, animation), comic book, children's books, textbook, storyboard advertising and any kind of illustration one can think about. As you can see, he is a real all-terrain artist.
He wanted to collaborate with us since we contacted him and has shared with us his 2012 creation honoring Moebius, awesome. He also agreed to answer our questions in this interview.
Thank you so much for everything, Alex.
Mario: What has been your biggest artistic influence and how has your way of drawing evolved?
Alex: Even if you don't appreciate it, my main influence is the classic Belgian humorous drawers like Uderzo, Morris and Franquín, although I also remember spending hours copying cartoons of Jeremiah or Blueberry.
Mario: Who would you like to work with?
Alex: I do not care so much about the name of the scriptwriter that corresponds as the fact of the type of history that he proposes to me and that there is a good chemistry and a fluid working relationship.
Mario: How do you perceive the digital format in the comic book, and how will it affect the survival of the authors and the comic industry?
Alex: I have no idea. Personally, I prefer paper because of the definition of the image and the "palpable" fact of the product. The very few digital comics I have bought got lost in some sub-folder of the computer and I value them very little (I do not speak of the artistic sense, of course).
Mario: What can you tell us about your current job, and any clues to your upcoming projects?
Alex: I'm a merc and I sell my work to the highest bidder or whoever calls me, really. I do not have the capacity to be able to choose a great deal even if I sometimes reject any offer. The next thing that is going to come out with my signature is the children's book IXON, about texts by Ana Jaka (in Euskera, publishes Elkar) and I have to finish the second volume Las aventures du bourlingueur, with script by Lapuss' (edits La renaissance). And things for Xabiroi and more projects, the wheel never stops turning.
Mario: What memory / relationship / influence do you have with Jean Giraud and his work?
Alex: Well, all of it, Blueberry I've read it innumerable times, especially from the saga of the iron horse to Angel Face, I was crazy about drawing, rhythm, adventures ... I could spend hours staring at a beginning, those prepared by Giraud. I also went through my Moebius phase, which I particularly like Arzak, The Long Tomorrow and The Hermetic Garage, but for me, the work of Blueberry, is the best for me. There were much worked scripts behind and his way of facing each page was more demanding.
Mario: Thank you so much !!
Alex: You're welcome, hugs.
And this was it, a very pleasant experience dealing with Alex, and we wish him all the best in his upcoming events.
He wanted to collaborate with us since we contacted him and has shared with us his 2012 creation honoring Moebius, awesome. He also agreed to answer our questions in this interview.
Thank you so much for everything, Alex.
Mario: What has been your biggest artistic influence and how has your way of drawing evolved?
Alex: Even if you don't appreciate it, my main influence is the classic Belgian humorous drawers like Uderzo, Morris and Franquín, although I also remember spending hours copying cartoons of Jeremiah or Blueberry.
Mario: Who would you like to work with?
Alex: I do not care so much about the name of the scriptwriter that corresponds as the fact of the type of history that he proposes to me and that there is a good chemistry and a fluid working relationship.
Mario: How do you perceive the digital format in the comic book, and how will it affect the survival of the authors and the comic industry?
Alex: I have no idea. Personally, I prefer paper because of the definition of the image and the "palpable" fact of the product. The very few digital comics I have bought got lost in some sub-folder of the computer and I value them very little (I do not speak of the artistic sense, of course).
Mario: What can you tell us about your current job, and any clues to your upcoming projects?
Alex: I'm a merc and I sell my work to the highest bidder or whoever calls me, really. I do not have the capacity to be able to choose a great deal even if I sometimes reject any offer. The next thing that is going to come out with my signature is the children's book IXON, about texts by Ana Jaka (in Euskera, publishes Elkar) and I have to finish the second volume Las aventures du bourlingueur, with script by Lapuss' (edits La renaissance). And things for Xabiroi and more projects, the wheel never stops turning.
Mario: What memory / relationship / influence do you have with Jean Giraud and his work?
Alex: Well, all of it, Blueberry I've read it innumerable times, especially from the saga of the iron horse to Angel Face, I was crazy about drawing, rhythm, adventures ... I could spend hours staring at a beginning, those prepared by Giraud. I also went through my Moebius phase, which I particularly like Arzak, The Long Tomorrow and The Hermetic Garage, but for me, the work of Blueberry, is the best for me. There were much worked scripts behind and his way of facing each page was more demanding.
Mario: Thank you so much !!
Alex: You're welcome, hugs.
And this was it, a very pleasant experience dealing with Alex, and we wish him all the best in his upcoming events.
