17 Aug 2015
Time to keep on with our interview series, right? But this time we didn't talk with an illustrator, but with a unique, very special publisher.
Ceferino Lopez is the founder of Chucherías de Arte (spanish for "Art Treats"), a publishing micro-firm that produces small illustration gems: illustrated badges with booklets, photocollections and unique illustration sketchbooks. He has published work from illustrators such as Paula Bonet, Enrique Flores, Laura Castelló and many more.
Tell us a bit about yourself: how did you end up doing proffesional photography and later publish with Art Treats?
I've always worked on photography, but since new technologies began becoming more affordable, I got into editing, graphic and web design to add more value to my current customers with a competitive edge. This was on the 80s-90s (last century, actually!)
Photography helped me to understand the visual foundation about compisition, color, perspective, etc; graphic and web design broadened my visual language getting me more close to the publishing world in the design and layout phases.
Finally, with this experience background I began crafting at home unique formats with illustrations and photography from a variety of authors. The resulting work seemed to fit in the publishing world, hence see me becomed a publisher without knowing a lot about it.
We know you do everything in the production process (printing, packaging, ). Could you tell us about the craftmanship behind Art Treats?
When I get the digital files with the author's work, I begin with layout and share the process with the author, until we both are satisfied with it. Then I begin with the printing process, which I do on a Xerox Workcentre 7232. It gives me a superb quality over Fedrigoni special paper.
Once a series is printed, is time to cut, (guillotinar, plegar, alzar, grapar, repelar), make the badges, package, label and store. Then I made photos and videos to the final product, upload them to our website and spread them through email and social networks.
And the process is far from complete. Now is time to contact the "real world". Through all the year I travel to art fairs, festivals, markets and everywhere I can show to people our publications.
Fancy a bit more? At the same time of all previous work, we have to research and design the stuff that comes along with the publications, such as packaging, publicity, stands designs, events research, etc.
And aside all that there's still room to manage your stock, sales, make repositions, support online sales, invoicing, shipping, etc.
What do you seek on an illustrator to work with her/him on a project?
I want to see her/his work talking about personal, complex, intimate matters. I'm not interested in posing or appealing the market.
We see a lot of startups and projects appearing lately around the world of illustration. Do you think this will continue to grow, or is it some kind of "heat of the moment"?
The worst thing that can happen is that the one thing you most love becomes fashionable. I'm quite concerned with that.
And last but not least: any advice to aspiring illustrators who seek to work with publishers?
Be sure and clear about the road they want to walk and know as precisely as possible where is the food and where are the emotions.
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