Pere Ginard

Illustrator

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Beautiful black and white

Pere's drawings are sophisticated and at times quite sombre
He uses two techniques: pen drawing and collage
His drawings are usually completed by a few words or short texts

As a child, Pere Ginard suffered terrible nightmares and feared the dark until after the age of eight. He says it was something irrational, a fear with no explanation, and very slowly it disappeared. But monsters and ghosts have remained a fascination in Pere’s life, so much so, that nowadays they are the favourite subject of his illustrations. Pere is a sociable and jovial person, but his work is fuelled by the hidden, by what has no explanation. His drawings are dark and sophisticated, but also comic and ironic. “Editors have always considered my style unsuitable for a child audience,” he admits. “At first this bothered me, but now I feel comfortable in drawing for adults and teenagers. This has allowed me to illustrate works by Verne, Poe, Hemingway, even Seneca and Marcus Aurelius. What more could I ask for?”

Interview

You are also a filmmaker. How does this activity interact with your illustrations?
The creative process for illustrations and films is similar. I am constantly collecting and classifying texts, videos and images. When I have a new idea, I work on this archival material, manipulating and rearranging it until it crystallises into a new book or film.
Can you describe your technique?
I have two. One is pen drawing, a very simple and intuitive type of drawing in black and white. The other is collage, for which I use magazine clippings, old engravings, images from dictionaries. I always work analogically, with pen, scissors and glue. Only when I have the finished images do I edit them digitally.
What is your favourite colour palette and how do you use colour?
My colour palette is very limited. The truth is that colour does not interest me much. If it were up to me, all my illustrations would be in black and white! When I am asked by a client to use colour, I use it to create moods or sensations, never to decorate.
Are words important to make a drawing complete?
Yes, and vice versa. In my opinion, illustrations should amplify the message of the text, suggest hidden aspects, and enrich the reading experience. On the other hand, a line of text, even if short, supports drawings. For me, a good illustrated book is one in which image and text are inseparable.

Pere Ginard is a master artisan: he began his career in 1999 and he started teaching in 2008