When i left high school my idea was to do multimedia and photography. When i went to see the university and find out about the degree, i got the feeling that it was too focused on photography. Almost at the last minute i decided to continue my studies at the joso school. There i met many colleagues who instilled in me the love for comics and i was lucky enough to start working before finishing classes. You can say that i have always wanted to work drawing, but i have never known exactly what specialty, i have been carried away by each moment i suppose.
Tell us a little about la trastería, how did the idea of transferring artisanal printing to the world of illustration arise? We had the feeling that there were few elaborate Phone Number List things made in illustration that were exclusively designed to be printed in artisanal printing specifically in letterpress , because there have always been wonders in screen printing , that moved us to create the project and investigate ways to take advantage of the limitations of letterpress printing. Where did you get the Minerva Heidelberg from the s? Is it a family inheritance.
We are dying to know your story la pecosa , as we affectionately call it because of the flecks of ink that cover its entire chassis after so many years of service, we bought it from a printer who had retired, before even having defined what the la trastería project would be. He taught us the four notions to be able to use it. Then came months of blood, sweat and tears to learn the trade well, but fortunately we had good teachers. Do you think that in the digital age we are experiencing a resurgence of artisanal techniques? Are you having success with la trattoria.
