drawing is something that seems
extremely peaceful
but in fact
each time we finally
make a drawing I have the impression
that I am in danger
if I mess up in the drawing it it's
fucked up. That's it. That's it. It's like...
It's like a game. It's like when I was
walking when I was younger.
I was going to school so I was walking on
the edge of the sidewalk and then I
said to myself, "from the side of the sidewalk everything is fine
and if I fall in the gutter it is a
bottomless precipice."
So I walked along the precipice.
Then I saw myself inside but
it was something missed. I said to myself,
"No no, but it's not missed.
It's because I haven't been through with it."
When I really can't take it anymore I stop.
Curiously, when I find it,
sometimes years later, I tell it, "tomorrow
I'll leave." I thought I was wrong. I
thought it wasn't going well. but in fact
I was in the process of discovering something.
it's because I was in the unknown.
I was in the
title in the unseen.
*****
Overall, let's just say that
when you've been a pro for a long time and
that when you've been drawing for a long time we have we have
security systems. We have football guards.
Anyway I know that
as soon as I'm delirious (that is to say, as soon as
I'm in control) it is
still a disaster.
You see, there is a time when we cannot
do anything in drawing
we must
"respect," in quotation marks, a certain number of
rules, such as the fact that I am
always tempted to go off the
rails a little.
My only safeguard is to have a
frame.
*****
What I discovered is the pleasure
I have and the beauty that happens when we
start to make
colors that are in the harmonies
of the rainbow.
That is to say, pass the fade of the blues
and the Greens, oranges and yellows,
blues and purples.
The trap is the most important because
if the feet are poorly placed everything goes
wrong
so we end up doing the most
important thing. The feet that
determine the way in which the character
exists and is posed.
Me - what do I do when I
draw? I try to
contact something in me which is -
I would not say extraterrestrial - but which
is extremely
not necessarily superior. Besides it
can be
infra-human,
can be something that will surprise me.
It is also to avoid getting bored.
The human being is well done, you see,
because the human being he has done, he does
with boredom.
Boredom is a signal of alarm that we
are asleep.
But I know that for the designer
it is a funny thing to say that
it is a good indicator that said there are
people who are never bored so they
do things which seem to
always be the same thing and then when we
know that, only when you look very
very carefully, that it's
not that there are lots of
very fine little variations.
*****
I like to work with the cream
*****
I got into the habitof
discovering lots of things, like that, of
starting to draw
without knowing where I'm going.
Sometimes we live in a kind
of anxiety because we say to ourselves, "but
what am I doing?
This it's a disaster right now."
I'm telling myself it was a
disaster
it started well there, but the bottom is
weird.
We'll see.
But
there something great is
happening.
And why not?
I think it would be good if I
made stories or
I got personally involved with my
head now, and then my thoughts, etc.
I like it as an idea but
oddly enough it remains a bit to the dream state.
I haven't really taken the
plunge on that yet to think that
professional activity
is spiritual,
that is to say that it
trains the mind and the conscience, even
in the most trivial part. The
great writers, the great poets, they
like to take
despised situations like that and then to enter
into imagination in
the minds of these despised people and then to
show that in fact
beauty, holiness, genius are in
action.
Invisible on invisible through the
most humble acts it is perhaps
a poetic view but it appealed to me.
I am struck that
by believing in it, I believed. And we believe in it
somewhere. I live it and I think that,
to the people of drawing in my corner like
that, the comic strip which is still
something despised, still all the same and well
there it can be passing illuminations.
*****
The comic strip genre is when
it continues to be something
considered as it doesn't matter
and it's very good like that once
again it's very good oddly enough
it frees us that's it, it frees us
from the gaze of parental pressure but
in addition - what I mean is
that -
paradoxically, we are all more or less
rather wondering on the whole but
somewhere it is still very
present. There is a great desire for
recognition.
Comics. Why it is
despised is because it
always tells little stories of
little importance. Finally you see it does not bring
into play
very serious philosophical or political or ethical positions we
can transgress in comics without
being blacklisted.
That's it. It's good.
Comics.
It's a field that comes out of the
distraction somewhere light.
My work. I don't know if we can talk about
work. It's a work and, well, I
characterize it by the
one kind of
bluffing no attraction that
I did, you see, which was to play on
several tables and not to limit myself to
one genre, one style. It's a bit what characterizes me
{THE REST TO BE FORMATTED}
in my idea
and while doing of comics
I didn't fall into vulgarity and
line that's for me that's
the obsession a bit since always it's
to avoid the
hardening the death of the line
because yes because in
comics you have to be very efficient you
have to be fast you have to be stable and
a lot of designers force themselves
to
stay within a
very, very narrow framework at the level
of the line, let's say, it has to be
recognized, it has to be effective,
it's a job that has to be profitable, that has to be profitable.
be done quickly so I'll
try by all means by all
kinds of parallel work of
discipline tries to keep
areas of freedom from uncertainty
then I try to connect myself to a
classical conception
a classical conception of drawing you
see I try to find roots
in the 18th century in the 17th century
even in the in the in the Renaissance
even before among the primitives not in a
completely targeted way but in a kind
of spirit like that you see I put myself
I always have to put myself a little in
continuity with a tradition I do
n't always follow very light in my work
but I like that too it's
one of the things that I like to
experiment is to be light but
also to experiment the
heavy you see sometimes I say to myself oh
I would like to do something with
the other I know I know I have difficulty
besides because I tend to
be a little too light it's true
there is a lot of cooking in the
drawing in the and when we look the
classics or the great artists
there are wonderful artists it is
it's those of the 20th century in the
first half of the 20th century everything
that predates the
war years because they were people who
were in modernity and who
were looking for new things but who
were still very attached then a
presentation and the
technical cooking at the end on listening to the
brush the little cool strokes of the
touches of color there is still something
that came from the impressionists and yeah
I looked at that a lot I really like it
there lots of there are lots of
discoveries in this hunter there they
are interesting to look at
and but that has disappeared a little
now it's we're in a kind
of world that's a bit weird
artistically
it's conceptual it's really
interesting but
to get into that -inside you have to be in a
break you can really be in an
almost total break there you almost have politics
with a certain conception of
it is completely out of your head
something which must still remain
relatively light
[Music]
my days like that make drawings
[Music]
of a half hour but when we make
drawings there are drawings which
we know that we are going to embark on for a
long time so it's not at all the
same thing that's it's really of the
of the 'light improvisation
when we start when we start with a
complex drawing which involves a
lot of imposition a lot of people a
lot of elements a lot
of information then you have to
prepare it you have to prepare your sheet to
put yourself in a state of a very strong state of tension
and we go for something of 3-4
hours but it's nothing the old ones
they took a little thing like that
then they had a month of work
on it
put a month of work on a surface
like that you can imagine the madness
that means that you have to go in you
have to go in in
financial concepts and then you have to work you
have to explore the cell
for 20 years for a month let's say you
see that's the thing about why
I'm talking to you about
perception and drawing is playing with
the levels of perception is the
level of rapid perception
when you go into car in a
landscape then you have a little perception
sitting in front of the landscape for
a whole afternoon it's very different in
the first case it's you who moves in
any case it's the landscape which moves
around you
[ Music]
[Music]
he's funny
[Music]
[Music]
[Applause]
[Music]
good
[Music]
and drawing is weird it's like
painting because on one side
you might think that it was a
problem of inspiration and then
how I could say intention
pure intelligence but generosity of
sincerity but all that is true but
at the same time it's a
technical problem it's a thing so
it's it's ambiguous what we can believe we can
fall into a trap which would consist of
thinking that
everything is in the technique or that everything
is
it's not true
[Music]
I noticed that by dint of
drawing we perfect
you see it that is to say that we are more
and more we are more and more interested in
getting into the secret of
drawing in
the morphology in the
incredible beauty of an eye of a wrinkle of a
labyrinth of hair and then we
still see that even RG over
years he has he is afraid to perfect his
work but you have a lot of painters
they cannot perfect or
forced reactions to perfect our
direction really probable what
I like in art is the freedom
it is the surprise because that if yes we will
I have already seen because
even so there is the freedom to
choose colors and themes we
are all those
ah but we always see a little midday
each time
we are always tempted by a certain
intolerance
that's him
[Music]
drawing is something that seems
extremely peaceful
but in fact
each time we finally
make a drawing I have the impression
that I am in danger
if I mess up in the drawing it it's
[ __ ] up that's it that's it it's like
it's like a game it's when I was
walking when I was younger than
I was going to school so I was walking on
the edge of the sidewalk and then I
said to myself from the side of the sidewalk everything is fine
and if I fall in the gutter is a
bottomless precipice
so I walked in the precipice there
then I saw myself inside but
it was something she missed I said to myself
no no but it's not missed
it's because I haven't been through with
it
when I really can't take it anymore I stop
curiously when I find him
sometimes years later I tell him tomorrow
I'll leave I thought I was wrong I
thought it wasn't going well but in fact
I was in the process of discovering something,
it's because I was in the unknown,
I was in the
title in the unseen
[Music]
overall, let's just say that
when you've been a pro for a long time and
that we've been drawing for a long time we have we have
security systems we have football guards
[Music]
anyway I know that
as soon as I'm delirious, that is to say as soon as
I'm in control, it's a thing is
still a disaster
you see there at a time when we cannot
do anything in drawing
we must
respect, in quotation marks, a certain
number of
rules such as the fact that I am
always tempted to go off the
rails a little
my only safeguard is to have a
frame
[Music]
what I discovered is the pleasure
I have and the beauty that happens when we
start to make
nail colors that are in the harmonies
of the rainbow,
that is to say say pass the fade of the blues
and the Greens, oranges and yellows,
blues and purples
[Music]
the trap is the most important because
if the feet are poorly placed everything goes
wrong
so we end up doing the most
important thing is the feet that
determine the way in which the character
exists and is posed
me what do I do when I
draw I try to
contact something in me which is
I would not say extraterrestrial but which
is extremely
not necessarily superior besides it
can being
infra-human
can be something that will surprise me
it is also to avoid getting bored
the human being is well done you see
because the human being he has he does
with boredom
boredom is a signal of alarm that we
are asleep
[Music]
but I know that for the designer
it is a funny thing to say that
it is a good indicator that said there are
people who are never bored so they
do things which seem to
always be the same thing and then when we
knows that only when you look very
very carefully that it
's not that there are lots of
very fine little variations
[Music]
[Music]
[Music]
[Music]
[Music]
[Music]
I like to work with the cream
[Music]
I got into the habit and that I
discovered lots of things like that of
starting to draw
without knowing where I'm going so
sometimes we live in a kind
of anxiety because we say to ourselves but
what am I doing
this it's a disaster right now
I'm telling myself it was a
disaster
it started well there but the bottom is
weird
we'll see
but
there something great is
happening
and why not
and I think it would be good if I
made stories or
I got personally involved with my
head now and then my thoughts etc.
I like it as an idea but
oddly enough it remains a bit to the dream state
I haven't really taken the
plunge on that yet to think that
professional activity
is spiritual,
that is to say that it
trains the mind and the conscience, even
in the most trivial part, the
great writers, the great poets, they
like to take
despised situations like that and then to enter
into imagination in
the minds of these despised people and then to
show that in fact
beauty, holiness, genius are in
action
invisible on invisible through the
most humble acts it is perhaps
a poetic view but it appealed to me
struck that
by believing in it I believed and we believe in it
somewhere I live it and I think that
to the people of drawing in my corner like
that the comic strip which is still
something despised still all the same and well
there it can be passing illuminations
[Music]
[Music]
the comic strip genre is when
it continues to be something
considered as it doesn't matter
and it's very good like that once
again it's very good oddly enough
it frees us that's it, it frees us
from the gaze of parental pressure but
in addition but what I mean is
that
paradoxically we are all more or less
rather wondering on the whole but
somewhere it is still very
present there is a great desire for
recognition
comics why it is
despised is because it
always tells little stories of
little importance, finally you see it does not bring
into play
very serious philosophical or political or ethical positions we
can transgress in comics without
being blacklisted
[ Music]
that's it it's good
comics
it's a field that comes out of the
distraction somewhere light
my work I don't know if we can talk about
work it's a work what and well I
characterize it by the
one kind of
bluffing no attraction that
I did you see which was to play on
several tables and not to limit myself
to
one genre a style it's a bit what characterizes me
in my idea
and while doing of comics
I didn't fall into vulgarity and
line that's for me that's
the obsession a bit since always it's
to avoid the
hardening the death of the line
because yes because in
comics you have to be very efficient you
have to be fast you have to be stable and
a lot of designers force themselves
to
stay within a
very, very narrow framework at the level
of the line, let's say, it has to be
recognized, it has to be effective,
it's a job that has to be profitable, that has to be profitable.
be done quickly so I'll
try by all means by all
kinds of parallel work of
discipline tries to keep
areas of freedom from uncertainty
then I try to connect myself to a
classical conception
a classical conception of drawing you
see I try to find roots
in the 18th century in the 17th century
even in the in the in the Renaissance
even before among the primitives not in a
completely targeted way but in a kind
of spirit like that you see I put myself
I always have to put myself a little in
continuity with a tradition I do
n't always follow very light in my work
but I like that too it's
one of the things that I like to
experiment is to be light but
also to experiment the
heavy you see sometimes I say to myself oh
I would like to do something with
the other I know I know I have difficulty
besides because I tend to
be a little too light it's true
there is a lot of cooking in the
drawing in the and when we look the
classics or the great artists
there are wonderful artists it is
it's those of the 20th century in the
first half of the 20th century everything
that predates the
war years because they were people who
were in modernity and who
were looking for new things but who
were still very attached then a
presentation and the
technical cooking at the end on listening to the
brush the little cool strokes of the
touches of color there is still something
that came from the impressionists and yeah
I looked at that a lot I really like it
there lots of there are lots of
discoveries in this hunter there they
are interesting to look at
and but that has disappeared a little
now it's we're in a kind
of world that's a bit weird
artistically
it's conceptual it's really
interesting but
to get into that -inside you have to be in a
break you can really be in an
almost total break there you almost have politics
with a certain conception of
it is completely out of your head
something which must still remain
relatively light
[Music]
my days like that make drawings
[Music]
of a half hour but when we make
drawings there are drawings which
we know that we are going to embark on for a
long time so it's not at all the
same thing that's it's really of the
of the 'light improvisation
when we start when we start with a
complex drawing which involves a
lot of imposition a lot of people a
lot of elements a lot
of information then you have to
prepare it you have to prepare your sheet to
put yourself in a state of a very strong state of tension
and we go for something of 3-4
hours but it's nothing the old ones
they took a little thing like that
then they had a month of work
on it
put a month of work on a surface
like that you can imagine the madness
that means that you have to go in you
have to go in in
financial concepts and then you have to work you
have to explore the cell
for 20 years for a month let's say you
see that's the thing about why
I'm talking to you about
perception and drawing is playing with
the levels of perception is the
level of rapid perception
when you go into car in a
landscape then you have a little perception
sitting in front of the landscape for
a whole afternoon it's very different in
the first case it's you who moves in
any case it's the landscape which moves
around you
[ Music]
[Music]
he's funny
[Music]
[Music]
[Applause]
[Music]
good
[Music]
and drawing is weird it's like
painting because on one side
you might think that it was a
problem of inspiration and then
how I could say intention
pure intelligence but generosity of
sincerity but all that is true but
at the same time it's a
technical problem it's a thing so
it's it's ambiguous what we can believe we can
fall into a trap which would consist of
thinking that
everything is in the technique or that everything
is
it's not true
[Music]
I noticed that by dint of
drawing we perfect
you see it that is to say that we are more
and more we are more and more interested in
getting into the secret of
drawing in
the morphology in the
incredible beauty of an eye of a wrinkle of a
labyrinth of hair and then we
still see that even RG over
years he has he is afraid to perfect his
work but you have a lot of painters
they cannot perfect or
forced reactions to perfect our
direction really probable what
I like in art is the freedom
it is the surprise because that if yes we will
I have already seen because
even so there is the freedom to
choose colors and themes we
are all those
ah but we always see a little midday
each time
we are always tempted by a certain
intolerance
that's him
[Music]