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Did you drew on walls when you were young? Yes, I actually did draw on my bedroom walls when I was young. I remember drawing these huge people and animals all over the place in my room. I would never plan out what I was going to draw, it was very spontaneous and free. My parents were great about it as well, they respected my creativity and let me draw what ever I wanted on my walls.

What can you tell us about the technique that in your work?

you use

I start by drawing a quick sketch to make sure the composition that I’m seeing in my head is balanced and works well for what I’m try to visually communicate. Then I use pen and ink for the overall outline of my work. Adding color is added digitally, other times I use various types of markers and sometimes it’s a combination of both. To me color choice is just as important as the subject matter for the illustration because color generates a strong presence in addition to the subject matter.

What do you want people too in your illustrations?


I guess for me its not really what they see but what they feel. I believe if my work evokes a feeling for its intended use whether that be a poster, editorial piece or book cover then it is successful and I have done my job.

Do you listen to

musicwhileyou’re working ? Yes, music is a huge part of

the creative process for me. Essentially its like a soundtrack for what I’m creating. Some regular stuff that I listen to while working include Team Sleep, Air, and Le Tigre.

when you are not drawing? Recently I’ve been doing a lot of bicycling. Its a great way to clear my head and relax.

whathaveinspired you recently?

Recently every day things that I’ve seen all of my life really inspire me. It’s like I’m seeing them in a whole new perspective. I’m talking about things like houses built before 1960, and pine trees. I believe it is because they are very ordinary and I want my chance to breath new life into them.

What do you do

In this I will talk the En estaoccasion ocasión hablaré de about la técnica Redscale hace technique, a meses few months Redscale, algunos me di ago I took time to make this experitiempo para hacer este experimento, ment; I sorprendido was surprised by los the resultaresults, quedé con very excited! dos, muy emocionado! Esta técnica encontré en I found thislatechnique inuna grupo flickr de flickr, básicamente consiste en group, it basically consists of turning voltear film deof unarollo 35mm. around elthe film 35mm roll. Esto This hará tomes fotosingle solo will doque thatcuando when you takelathe pasará roja, pass ya que photo it la justluzgonna the volteaste red light, el turned around the film. since Los resultados pueden variar The results can vary depending dependiendo on the type of del roll, tipo somedeofrollo, them algunos tienen superficies have denser surfaces that más don’t densas que no dejan pasar bien let pass the light well, I realized la luz, me di cuenta de eso en la that in practices *sigh*. practica *sigh*.

1 2

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move all the thetodo roll Primero hay film quefrom sacar we are del going to waste and we el film rollo que vamos a will leave approximately 1cm desperdiciar y le dejaremos of film, thisaproximadamente will serve to tie it solo 1cm with theesto otherservirá film. para emde film, patarlo con el otro film. As we see in photo three, we will have to cut tongueComo vemos en the la foto tres, piece that comes at the betendremos que cortarle la ginning theviene film, the one lengüetaofque al inicio that serves usnos to sirve introduce del film, la que para itintroducirlo better in de to mejor our camera. manera Since we have cut this a nuestra cámara. Ya part, que we will put stickyesta tapeparte, to it hayamos cortado to be able to cinta stick adhesiva it to the le pondremos other para film. poder pegarlo al otro film. Put attention in image five because we arecinco going pongan to stick En la imagen the films,atención the roll that we will mucha ya que vause havelostofilms, be turned mos will a pegar el del

around, is, the layer that rollo quethat usaremos deberá normally would have to go inquedar volteado, es decir, la side, outside, we can capa will quegonormalmente desee photo. beríathat de in ir the dentro, irá fuera, en la foto se observa muy bien.

3 5 4 Aquí el grupo en flickr, el howto está en italiano, pero entendible.

Now, with a knife, scissors or someAhora,likecon una navaja, unas thing that, we will coil the filmtijeras that o algo porempty, el estilo had been thisnos to filldispondremos it with the a enrollar el film que había quedado film that will be inverted, so now we are vacío, topara conorelcloset, film que going useasí thellenarlo darkroom quedará we invertido, esto this nosinserbecause will havepara to make virádark. el cuarto o elit reached armario, toya the In oneoscuro occasion que tendremos total enter a little light que and Ihacerlo obtainedena very oscuridad. Yo lo hicephotos, una vezso, y alcanzó intense effect in the it’s a entrarle un poco de luzthis! y conseguí un great to experiment whit efecto muy intenso en las fotos, experimenten, es lothe de scissors, hoy! At least, with we will make


the again, so we can Por tongue-piece ultimo, con las tijeras, haremos la introduce it to our camera. Ok,que let’s lengüeta de nuevo, de forma podatake some pictures now! mos introducirlo a nuestra cámara. Ahora si, a tomar fotos!



Aquí el grupo en flickr, el howto está en italiano, pero entendible.

What it would happen if one day Anthony González (M83) decided to join with Connor Kirby-Long (Khonnor) to record a disc and to collaborate a little more in that noisy sentimental music, that’s full of soul? If this hypothetical case occurred it would leave a disc like the one that Nathan Fake did; a 21 years old boy, born in Northfolk, this Brat of the Border Community (the seal of James Holden) makes clear in this work that he doesn’t wants, and he is not interested to be a simple dj dedicated to fill the dancing floor or do electronic music to dance all night, hi is interested in going further, much far, he wants to accomplish the feeling, the sonorous landscapes and melodic atmospheres with soul. The album title is already quite revealing “Drowning in a sea of love” (Border Community; 2006), eleven themes of melodic cut, suggestive, with which he tries to make us back down in the time of his childhood, to evoke sensations of extreme melancholic happiness, in fact, all artwork of the CD has been elaborated from photos removed from the familiar album of Nathan: the house where he grew, the caravan of the vacations, himself as a boy surrounded by cows in the meadows of Northfolk... pure digital crafts.

Photo by: Mónika León

It opens with the first cut “Stops” which is the one that has more flavor to IDM, but don’t think about the IDM of Autechre, no, is perhaps a more sensible one, of more infantile beauty. This

“Drowning in a sea of love” shows us the true Nathan Fake, a guy that is understood with atmospheres, rustic melodies and electronic psicodelia, most of the work runs by the calmest lands of the electronics, of beautiful crystalline and relaxed themes, the melancholic passages near the indietronic promulgated by Morr Music and until Warp or the ambient pop collection of Kompact, possible to emphasize wonders like “Grandfathered”, “Long Sunny” or “Bubblechord” and small moments like “Charlie´s House” or “Superpositions”, nearer to organic sounds than to music done by machines, as we understand it today. Although it is a round, great disc, that does not have a skinny side, is nothing like track 8 “You Are Here” pure Shoegazer sound in laptops, as the link that would end up uniting the electronics public, to which they long for My Bloody Valentine and which they love the Indietronica, a wonder... and obvious it had to come the so famous cut “The Sky was Pink” but in its original version, not the one released a pair of months ago, mixed by James Holden. This is a record that will disappoint the fans of music exclusively done for the dance floor, but will enchant the people who look for something more in electronic music. Marinho Aguilar A.

ntic or a rom 40s e a ke he 19 ectiv i l t is f rsp i o e n l i p t ar usica lobal M nk ood m th a g i P “ i llyw but w ern” o H – od s m 0 s 5 ch i whi

Pink Martini o Romance 2.0

Sound|Wave Now that the adjective 2.0 is so popular, i didn’t want to go off the key. Pink Martini it’s difficult to listen, to classify or to describe... I could start by telling that their songs are singing in 3 languages, at least: English, Portuguese and ¿Arab?. I’m sure that you’ll feel weird when you listen to the first song of the record and you’ll think that is an old vynil record of your dad, but, no. As their musical director says: “Pink Martini is like a romantic Hollywook musica of the 1940s or 50s - but with a global perspective which is modern” Suddenly you’ll feel in a tripp of which you don’t want it to end, besides that it will be difficult to forget those chords that in conjunction with the lovely voice of China Forbes they surround you and make you feel like you’re on the 50’s, high definition version of course. The songs that deserve attention are Tempo Perdido, the hallucinating Mar Desconocido, something of bossa nova, Canta e Dance and the indescriptible Syracuse. From my point of view, Hey Eugene is the worse song of this record, very predictible and out of tone in comparsion with the whole style of the others. Romantics v2.0, it is time to renew your horizons and stop listening to Camilo Sesto or Napoleon. In the next issue we’ll talk about Four Tet.

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Les Luthiers Who said that the skillful executions and brilliants compositions of academic music are always based on an arduous tedious and absorbent work? Who said that the musicians are introverts, boring and serious? For those who believe in that, you must listen Les Luthiers and discover in Them the show and tradition not only in Argentina but also in all Latin America that they have become. For them who do not know them and for those who already enjoyed their music, their peculiar instrumental sound and their extraordinary sense of humor, here it is some of the excellent details around their music and history. This unusual band formed in 1965 when some members of the choir of the Faculty of Engineering of the University of Buenos Aires participated under the name of "I Musicisti" in a festival where they interpreted music composed by his founder, the architect (peculiarly) Gerald Masana; the central work was the "Cantata Laxatón" with humorous text allusive to a laxative. What it catch more attention was the rare instruments they were playing, constructed with recicled material made by the same Masana. These instruments combined with the high level of execution and the charisma of the musicians eventualy end up in presentations in important rooms, theaters, festivales and other events that generated success and good critics to them. This is how Les Luthiers born, they work in a new spectacle every two years and give tours in countries of America and Europe. Some of their popular discs are: Cantata Laxatón (1972), Mastropiero que nunca (1979), Muchas gracias de nada (1980) and Cardoso en Gulevandia (1991). All the members count on an ample musical instruction. Carlos Lopez Puccio Is licensed in orquestal direction, at the moment he is a professor in the Faculty of Music, has directed to operas and he is founding the Estudio Coral de Buenos Aires. Carlos Nuñez is Doctor in Chemistry and piano concertist; it is impressive to see him playing complex scores while he tells a joke at the same time. Daniel Rabinovich is a Public Notary, guitarist, percussionist, singer and actor, as strange this might seems. Also, he plays trombón, percussions, flauta, guitar and violin. Ernesto Acher is an excellent musician and architect. In some interview for an Argentine newspaper he commented: "After many years of work and doubts, I decided to leave the architecture and to dedicate myself to music; the architects applauded and the musicians kept respectful silence ". Jorge Maronna, composer and guitarist have been recognized by his theater music and important interpreters have released some of their contemporary works. Mundstock marks is the official speaker, their fantastic voice maintains the public interested at any moment. He has the ability to stay serious while narrating something that could kill of laughter to anyone. The instruments are essential part of the band. Les Luthiers counts with an ample collection that goes from a violata (violin done with a can), to bass-pipe to twig (enormous tube with wheels of low and rough sounds), passing trough a marimba of coconuts, omni (not identified musical object), yerbomatófono, a mandocleta and an Antenor (musical robot). At the moment, Hugo Domínguez and Carlos Nuñez are the ones in charge to maintain the worshop of laudería. In order to conclude, I will make quot of poetic verses of Mundstock Marks. "I love lilys because of their purity, all my love is pure, of lilys... Dora enchants me who is charming, or my cousin Rose, i would animate with Ana Maria, but I only respond to the voice of Laura, canejo. Oh, God, i hate hates, I detest the storm, the mist crushes me! When I feel tlike this, by the floor, I seat down in the floor to think: i find consolation in the ground. In the goodbyes I am touched, good bye becomes cloudy to me. Good bye, is becoming cloudy, good bye ".

23 His beginnings like costume designer for films that today very few remember (except for his works with Woody Allen, specially interior design) seem to have fed the conception on the cinematographic direction of a less reliable Joel Schumacher (in case that he has ever been reliable), because this craftsman films resembles every time more the costume designer work, making dresses, more than of its dramatic function, can hide the infinity of defects that the carrier of the clothes keeps in his body. The logic, then, of which the appearance is worth more than what it is below, has passed from being that young designer to an already veteran director. The majority or maybe all of his films have not stopped being luxurious visual devices, of always sumptuous surfaces but devoid of solid contents. Because in the films of Schumacher, the photographic quality and the design of production, halfway between kitsch and the adorned, thereâ&#x20AC;&#x2122;s always these arguments full of hollows, pretentious, badly developed and terribly solved as if a very devaluated version of Scott - Ridley and Tony- duo. The previous thing comes to story not because it interests to us to make a revision of the trajectory of this impersonal producer, but by his more recent work: The number 23 (U.S., 2007), film of interesting premise (the obsession on the brink of madness of an ordinary man by the number 23) that is immediately boycotted by a clumsy full development of absurd and uncertain direction that seems to confuse the tones of the narration. They are two histories here: the one of Walter Sparrow (Jim Carrey, again in a paper far from his humorous registries), a nobleman street hunt-dogs which is interested in a progressive way in the fiction of a novel titled like the film, in which it finds enormous similarities with his own passed life, and the one of Mr. Fingerling (the own Carrey), the protagonist of the fiction that so eagerly follows that reader become absorbed in thought. The life of Sparrow is, by its dimensions, a psychological thriller that flirts with the horror when seeing itself touched by the mysterious fiction. The one of Fingerling, it is a type of noir novel, so topical (declining Detective, suicide blond femme fatale, sadomasochistic eroticism) that comes near to a cartoon. In the end both histories manage to merge in an exaggerated crazy climax, as over searched as foreseeable, although it remembers us a lot to the Schumacher has been incapable to obtain a dramatic progression that considerable Satanic Heart (Parker, EU, 1986). allows the film to shake it of its uniformity. The experience is extremely boring, because the script lacks of different shades that could have allow waking up the curiosity of the spectator, to hook it and to surround it in an obsession that by entrance felt like vertiginous and wild. Where an exhausting and sickly climate had to reign, it only reaches after a series of poor details that constantly put in doubt the supposed seriousness of the film. They abound, for example, situations of a disarming involuntary humor (the dog-"conscience" of Sparrow like a funny recurrent reason), coarse aesthetic effects (the clumsy transitions of the reality of Sparrow to the fiction of Fingerling) and an involuntary ambiguity in the recreation of that fiction contributed by the damn novel (following the history of the detective, one remains the doubt of if it supposed to be serious or if it tries to be a paradoxical, sensation that the own Carrey seems to experiment when he acts as if he was repressing his humorous vein). Ok, then, What did Schumacher have been able to do in this film? To show his designer talent. To adorn in excess the appearance. Again the photographic quality, the overwhelming effects of filter and illumination and an over forced, irrelevant and also falsely sinister oppressive atmosphere borrowed from 8mm (Schumacher, U. S., 1999), it appear to try to fill the emptiness. (Jose Abril)

Etel #0 english version  
Etel #0 english version  

number 0 of Etel MAgazine, english version