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柔靜的途中風景 │ Iban Barrenetxea

於 1973 年出生於西班牙北方小城 Elgoibar 的 Iban,是一個自學插畫家,繪畫與 書籍是構成他整個人的重要成分之一,並且花了一段時間把熱情轉變成專業。在成 為插畫家之前,他以平面設計師的身份工作了十年,並在第十年後決定為自己的人 生下個賭注而在 2010 年以 OQO 出版的“El cazador y la ballena(The hunter and the whale)”成為一個繪本插畫家。最近也在創作新的繪本書,部分插畫作 品也會在 Sàrmede 所舉辦的第二十八屆“Le immagini della fantasia”中展出。 I was born in Elgoibar, a small town in the north of Spain in 1973. Self-taught (and still learning), drawings and books have always been part of who I am. It took me a long time to realize that I could turn my passion into my profession. One day, after 10 years working as a graphic designer, I

Iban Barrenetxea

decided it was about time and so I made my debut as a picture-book illustrator with "El cazador y la ballena" (The hunter and the whale, 2010) published by "OQO editora". Currently I'm working on a new picture book (as author of both text & illustrations) which will be published by "A buen paso" later this year. Some of my illustrations will be exhibited at the 28th edition of “Le immagini della fantasia” (Sàrmede, Italy October-December 2010)

Iban 的作品就如他所崇尚的那樣充滿凝止的敘事力量,充滿探險旅 途元素的畫面卻像棉絮般以粉蠟筆的柔軟筆觸綿密展開。儘管作品 充滿手繪質感,但身處技術轉換年代的他並不排除以數位技術加入 創作,希望插畫能成為與孩童間的對話平台。



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01. Bombastica naturalis 01


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柔靜的途中風景 │ Iban Barrenetxea

崇尚凝止的敘事力量 Iban 對亞述古文化、中古世紀手稿、早

his way of leaving clues in his illustrations so that anyone can build stories around a single image. Then there is Edward Gorey, and Miroslav Sasek too... I’m almost glad I did not meet his work


earlier; I fi nd it so charming I’m sure I would have


ended up becoming a mere imitato r. About

這些藝術形式中的純粹、和諧線條與形 塊,靜態而非現實的姿態就像是凝止在時

describing my own style... I would not know how to do it, it would be like trying to describe one’s own voice.

間之中,充滿著敘事力量,全都深深吸引 著他。打自孩童時期就非常喜歡洛克歐威


爾,包括那些無能言喻的繪畫技巧以及令 人深陷其中的故事敘事。「他總是在畫面




的觀點建立新的故事。」另外 Iban 也非


常喜愛擅長細膩鋼筆畫的 Edward Gorey

第一本書,由 OQO 出版社所出版的“El

與經典童繪畫家 Miroslav Sasek,「他們

cazador y la ballena”即是以這種方式







入創作。Iban 非常喜歡傳統技巧,但也並








and “real” paper, but I’m tr ying really hard to achieve an



invisible technique. I’m in the middle of a transitional period

dpi : Are there any art period or style has



influenced you? And how would you describe your


own style?


to sharpen my pencil anymore! About my working process, I



spend a lot of time with the text, trying to understand deeply

dpi : What material, tool and techniques did you use and why

illustration is part of a book, I also have to consider it’s place

you choose that? Usually, what’s your working process when you

in the narrative architecture of the work. I seldom do any


previous sketching. My sketchbooks are actually notebooks.

Iban : I’ve been using coloured pencils on paper for some

I prefer to write the ideas in short descriptive sentences I can

years, applying layer after layer of colour as uniformly as

easily recall later as images. That’s for me both my favorite

04. Edelweiss

possible. It’s an extremely slow and sometimes exhausting

and the most important part of the process of illustrating: the

05. Bombastus Dulcimer

technique. After completing my first picture book this way

previous visualization of the image, “dreaming” the illustration.

06. Cartero

(“El cazador y la ballena”, OQO editora 2010), I began to

The rest is just sitting at my drawing board or computer and try

wo r k d i g ita l l y i nco r po rat i ng p rev i ous l y sca n ned penci l,

to do my best applying the techniques I know.

Iban : I think my interest in ancient forms of art like Assyrian relief, Medieval illuminated manuscripts,

得到樂趣!」至於創作的流程,通常 Iban

early Renaissance frescoes, etc... caused a big


change in my style. I was captivated by their


purity, their harmony of form and line; their way of narrating by static, unrealistic gestures that

02~03. El cazador y la ballena

seem frozen in time but are nevertheless so full 02

of expression and narrative power. I have also admired Norman Rockwell since I was a child. His


amazing technique is of course beyond all praise,


but what really fascinates me is his storytelling,



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pastel, and some real textures. I really enjoy using traditional techniques but I feel comfortable this way too and I’m fi nding new advantages and possibilities every day. There is always the risk of missing the warmth of working with “real” pencils

between techniques, learning, investigating, having fun...; at the moment I have enough trying to remember I don’t have

ever y detail until the images for m inside my head. If the


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柔靜的途中風景 │ Iban Barrenetxea

與孩童溝通的平台 當了 37 年小孩的 Iban 說,「我打從小時候就開始練習成為小 孩,所以那些童繪只是我試著創造出來去跟其他小孩(或其他年紀 小孩)說話的平台。只是這這樣而已。」他希望談話不只是文本的 飾品,而能促使書變得更完整。「這意思並不是說插畫必須成為一 個封閉的、明確的文本,相反的,圖象必須對讀者是尚未解開的 謎,讓讀者能夠藉之創造自己的故事。」Iban 這樣認為。 “Dr. Bombastus Dulcimer”這個作品是目前手上正在進行的 繪本故事中的主角(「或者,在我看來他其實就是作者!」Iban 說。),是以達爾文惡名昭彰的祖父 Erasmus Darwin 為藍本創作 出來的角色。Iban 說,「他是一個植物學家,一個真正的啟蒙時 代的人,一個自然哲學主義者,同時也是詩人、探險家以及為詮釋 世界而畫的 18 世紀藝術家。他的生活充滿了各種成就:他是第一 個解釋了雲的構成,發明了鋼架。喔,而且他還因為太胖而必須把 桌子裁切成半圓形來容納他的肚子。」因此,當 Iban 要創造一個 植物學家角色時,他很自然地就讓 Erasmus Darwin 博士的形象進 入 Dr. Bombastus 角色的形象中。 dpi : We found that your works full fill an atmosphere of poetic childlike delight. Could you share your aesthetic or philosophy about your work? Iban : I have a lot of practice being a child (I’ve been one for 37 years), so I just try to create images that will easily talk to any other children (of any age). I think that’s all... I want to create images that talk, that not only serve as a decoration to a text, but contribute to make the book a whole. With that I don’t mean that the illustrations should be a closed, defi nitive vision of the text. Pictures in a book should leave further unanswered questions for the readers to answer and so make the story their own. dpi : Would you please talk about your work "Dr. Bombastus Dulcimer", the character here is so fascinating. What message would you like to convey? Iban : Mr. Dulcimer is the main character (actually, I should say he is the author!) in the picture book I’m working on right now. I’m half way through the wor k, so I don’t want to spoil it too much. The character is loosely based in Erasmus Dar win, Charles Dar win’s notorious granddad. He was a true Enlightenment man: a botanist, a “natural philosopher”, a poet, an inventor, an 18th century atheist trying to explain the world... His life is full of achievements: among many other things he was the fi rst to explain the formation of clouds, devised a method of steering carriages not unlike the one used in modern cars... Oh, and he was so fat that eventually he had to cut a semi-circle in his table to fi t his belly. When I created a story about a botanist I could not avoid letting some of Dr. Erasmus’ characteristics into the character of Dr. Bombastus.

07. Bombastica naturalis




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柔靜的途中風景 │ Iban Barrenetxea



Iban 沒辦法說哪一個作品對他來說是最重要的,「有時候會有一些作

而“El mejor viaje del mundo”則是一個自

dpi : Which works is the most special or the

good while before I can really judge it. But, I

most favorite for you? Would you please share

sincerely do try to do my best in every work,

the work and the reason as well with us?

so in that sense, if I’m allowed to consider

Iban : I’m afraid I can’t answer that... There

my i ntenti ons and not the resu lt s, eve r y


are times, especially if it’s a drawing that

single one is my favorite.


i s ta k i n g m e a l o n g t i m e to c o m p l ete,




一旁,希望有一天可以繼續進行,可能會從 草稿重新開始。作品的標題是參考自 Apsley Cherry-Garrard 的南極探險經典《世界上

when I lose all my objectivity and I’m not

dpi : What’s your creating plan in the future?

su re of w hat I’m do i ng anymo re. So I’m

Iban : If possible, to continue creating and


constantly bombarding my patient friends

having fun while there is someone who likes


with unfinished drawings ask ing for thei r

what I do. A travel to Antarctica would be

feedback. I need to let my work rest for a

nice too.


最糟的旅程(The Worst Journey in the World)》,但是因為 Iban 的故事是從企鵝 的角度出發,所以便成為《世界上最棒的旅 程》。「有好幾年只要是跟南極有關的事情都 會讓我產生極大興趣,」Iabn 說,「Cherry-

dpi : Please describe your series works "El mejor viaje del

illustrators and writers. As a late beginner I have been

Garrad得這個童話,他跟 Robert F. Scott 那

mundo", what’s the story about?

very lucky to meet authors and publishers always ready

Iban : They are part of a personal project I like very much.

to share their experience with me and help me with their

I had to abandon it temporally, but hopefully will resume

encouragement and good counsels. But as an author I


it someday, probably starting from scratch. The title is a

think that my roots are rather literary than geographical. I


reference to Apsley Cher r y- Gar rard’s Antarctic travel/

mean that I believe it’s unlikely you will guess where I live

故鄉西班牙之於 Iban 來說,是一個充滿刺激

adventure classic “The Worst Journey in the World”, but in

only by looking at my drawings, but you will probably get


this case, as the story is told from a penguin’s point of view,

a fair idea of what I read. Of course, I could not do without

it turns into “The Best Journey in the World”. Ever ything

my walks in the woods and mountains (when the weather


related to the Antarctic continent has been a passion of

permits), that is when I let my mind wander and get most


mine for many years. Cherry-Garrad’s tale, his experience

of my ideas.



with Robert F. Scott’s ill fated expedition to the South Pole, is much more than a story of danger and exploration. It’s


about fi nding one’s place in the world, a sense of purpose,


nature, friendship...


dpi : As an artist, have you been influenced by your own


country Spain? Would you please to share the creating


experience or illustration environment there?

子裡到樹林與山中散步,讓他的靈感也能自由 釋放。 36

I ban : A s someone w ho has j ust a r r ived i n th i s wo r l d of i l lustrated book s, I have found Spain a stimulating

08. El mejor viaje del mundo 08


09. Fox 10. El mejor viaje del mundo 11. El cazador y la ballena

09 11 12

12. El cazador y la ballena (cover)

sce n e th r i v i n g w ith a n a m a z i n g a m o u nt of ta l e nted


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圖片影像資料來源由 Iban Barrenetxea 提供  責任編輯:施怡妙 美術編輯:陳語萱 協力翻譯:劉佳旻


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