Update 44: 09/01/2018 Tribute to Moebius new adds:
We add to his curriculum "Los Pacificadores", also with DISAD and the collaboration in the book of charitable stories for the fight against cancer "The stone of truth and other stories", written by Alfredo Sánchez.
- TBE: Within your professional career, do you have a "thorn in your back" that you want to take away, like working with a specific artist, or working for an editorial, or in a professional field that you have not explored?
This week with us:
Rubén Mudito
Rubén Mudito
Rubén
Mudito (Rubén Martín Ojeda) was born in Santander (Cantabria) in 1977.
He published his first works in comic in 1995, in the
university newspaper "El Gallo".
Rubén took part in the digital magazines "Alternativa Sindical", "Hobbies Bloggers" and in the Spanish Sindicate CC.OO. magazine "Shortening Distances".
He has published comic strips regularly since 2009 in the newspaper "El Mundo de Cantabria", until its closure.
In 2010 he was selected by DISAD to develop the adaptation to the comic of Juan de la Cosa and the discovery of America.
The following year (2011), he published Histories of here and there, "The crazy history of Cantabria" and "Luis Vicente de Velasco and The Battle of Havana", after being again selected for it by DISAD.
Rubén took part in the digital magazines "Alternativa Sindical", "Hobbies Bloggers" and in the Spanish Sindicate CC.OO. magazine "Shortening Distances".
He has published comic strips regularly since 2009 in the newspaper "El Mundo de Cantabria", until its closure.
In 2010 he was selected by DISAD to develop the adaptation to the comic of Juan de la Cosa and the discovery of America.
The following year (2011), he published Histories of here and there, "The crazy history of Cantabria" and "Luis Vicente de Velasco and The Battle of Havana", after being again selected for it by DISAD.
The crazy history of Cantabria
We add to his curriculum "Los Pacificadores", also with DISAD and the collaboration in the book of charitable stories for the fight against cancer "The stone of truth and other stories", written by Alfredo Sánchez.
This is our interview with Rubén Mudito:
- TBE: What has been your greatest artistic influence and how has your way of drawing evolved?
Vázquez, Ibañez, Jan and Raf, in that order. The Bruguera school like any Spanish old school artist.
As for my evolution I wouldn't know what to say, I guess that every time I draw I do a little better but that should be said by others, not by me.
As for my evolution I wouldn't know what to say, I guess that every time I draw I do a little better but that should be said by others, not by me.
I'm self-taught and I take ideas here and there. I'd love to draw like many people but I'm aware of my limitations
and I try to get the drawing to support my good vibes without getting
involved in things that I can't get out of.
- TBE: Within your professional career, do you have a "thorn in your back" that you want to take away, like working with a specific artist, or working for an editorial, or in a professional field that you have not explored?
I try not
to get obsessed with those things, I'd like to work with
the biggest ones, draw with the biggest ones and live like a football
star surrounded by lots of money, of course. But I'm afraid that I've chosen a bad profession if I want to live in luxury and that there
are many people much better than me who deserve it more than
me.
I am happy enjoying my hobby, the drawing continues to serve as an escape valve and source of fun. I do not pursue the glory with what I do, I follow that pleasant sensation that it provides me, every time I draw I feel like the child who spent the whole day doing scribbles.
I am happy enjoying my hobby, the drawing continues to serve as an escape valve and source of fun. I do not pursue the glory with what I do, I follow that pleasant sensation that it provides me, every time I draw I feel like the child who spent the whole day doing scribbles.
- TBE: What is your favorite technique when it comes to drawing and coloring?
Pencil, pencil and more pencil. I have to ink if I want my scribbles to be understood by someone other than me, but what I like the most is that pencil that is overflowing with the ink of my calibrated ones.
As for the color I scan and I usually make it digital but I love highlighters and watercolors. Aftermath of Pulgarcito, I guess.
- TBE: At what point in your career have you felt more comfortable working and with more creative freedom?
Always. As I do not draw for a living I usually do what I want and for whom I feel like it. That gives me almost absolute freedom in what I draw and in this way it continues to serve me for what it want the most: Escape.
I think everyone who draws loves the smell of ink and paper from a recently opened comic. I am not an exception.
I'm not very into downloading anything digital, and if I do, I always pay for it, even though it often stays in some lost folder. I like to read like everyone sitting on the toilet and turning pages, not sliding my finger. But neither I nor anyone else can stop progress. We will have to adapt to whatever comes, whether we like it or not.
Pencil, pencil and more pencil. I have to ink if I want my scribbles to be understood by someone other than me, but what I like the most is that pencil that is overflowing with the ink of my calibrated ones.
As for the color I scan and I usually make it digital but I love highlighters and watercolors. Aftermath of Pulgarcito, I guess.
- TBE: At what point in your career have you felt more comfortable working and with more creative freedom?
Always. As I do not draw for a living I usually do what I want and for whom I feel like it. That gives me almost absolute freedom in what I draw and in this way it continues to serve me for what it want the most: Escape.
- TBE: What do you
think of the digital format in comics or in digital publications
such as magazines and fanzines, (with the constant threat of massive
pirate downloads) and how will it affect the survival of the authors and
the industry?
I think everyone who draws loves the smell of ink and paper from a recently opened comic. I am not an exception.
I'm not very into downloading anything digital, and if I do, I always pay for it, even though it often stays in some lost folder. I like to read like everyone sitting on the toilet and turning pages, not sliding my finger. But neither I nor anyone else can stop progress. We will have to adapt to whatever comes, whether we like it or not.
- TBE: What can you tell us about your current job? Do you have any project in mind in the medium and / or short term?
There are
always exciting little things out there, but they are castles in the air
and things that can't be revealed yet, I'm afraid. One always has to have proyects in mind.
- TBE: What are your memories / relationships / influences with Jean Giraud and his artworks?
Well, I'd lie to you if I told you that it was one of my influences and that I had a lot of memories of him in my childhood. I have always been more caricatural than realistic and used to turn the pages of my comics when the war or western stories came.
I've known Giraud, and he was undoubtedly an amazing author with a legion of followers among whom, I'm afraid, I can not be found.
Greetings to all and congratulations on your website and the work you are accumulating.
I've known Giraud, and he was undoubtedly an amazing author with a legion of followers among whom, I'm afraid, I can not be found.
Greetings to all and congratulations on your website and the work you are accumulating.
It's an honor counting on you in this tribute, Rubén, and having here this wonderful illustration you have created. We will follow your next creations and projects.
Greetings and good luck!!!
