www.kakofonia.com

Illustrator | São Paulo, Brazil

Hello Kako! Could you describe yourself in a few words and tell us how you started drawing?
Hello :o) I’m 33 years old, I live in São Paulo with my wife Carla and for the past 6 years I’ve been working as an editorial and advertising illustrator for both national and international market. I’ve been published on Communication Arts and on the Society of Illustrators Illustration annuals and recently I’ve been selected for the “Lürzer’s Archive 200 Best Illustrators Worldwide” book. I started drawing professionally in mid 90’s but only as a part time job. At the time I had other interests such as fine arts and cinema, so I got into college do study painting and started working as assistant camera on a advertising movie company. Circumstances made me quit both college and job and I got back to illustration, but again I divided that time working as a graphic designer too. After a short period working as web designer I decided it was time to choose between Illustration and all the other stuff and today I’m sure I made the right choice.
How would you explain your style of illustration?
Dark and Dirty!
What are your creation processes? What part in the work process is the most difficult?
Most of my work is done for editorial magazines and these clients know me for going an extra mile when it comes to improve any article, especially when it comes to historical articles or info graphs. I believe that as an illustrator is my duty to give the reader the best image that will represent that particular article. Somebody may use it on paperwork for school or use it as a reference for another illustration and that’s a great responsibility. Therefore all my creative processes revolve around a deep and continuous research, not only visual but also facts and theories. It helps me to create illustrations that have layers of understandings. They can work only visually, visually and conceptually or complement the article with details that can’t be brought to the readers by words. There is also something I really love to do when possible which is hiding subliminal messages on my work and sometimes people find that and it’s very fun.
A great collateral effect that comes from all this research is that all this knowledge boosts the ideas of my personal projects giving them conceptual basis instantly. Of course not always it functions that way, sometimes things are pretty basic, like making a simple a sketch for example.
There is another process which is created in a totally different and instinctive way, something I do in my sketchbooks. I simply turn off the brain, get a pen a start painting the pages. Sometimes a funny doodle appears, sometimes an cool idea for an illo and sometimes a whole concept for job. I call it “defrosting”.
The most difficult part of any job for me is the start, which is basically the briefing meeting. I work under a very tight schedule, between drawing and taking care of business, and I need to plan all the way before the job begins, so later I won’t have any surprises. If I get out of my workstation, that time away must be rewarding. Communication is very important on the start and people tend to procrastinate a lot, sometimes they go to this briefing meetings not prepared enough and it always gets me in trouble. If I don’t have the right feedback from my client during this meetings I know we’ll have major problems through the whole process, and if one was already busy, things will only get worse. Drawing is not difficult. Having ideas is not difficult. Communicating is difficult.


Tell us more about your participation in archive 200 best illustrators.
It was a great thing that happened to me and I wasn’t expecting it. This showcase book is different from other competitions or illustration annuals because you have to be invited to participate. First your name has to be proposed by a number of international art directors and only then you are invited to submit your work for judging. I was told I was selected by the end of 2006, submitted a number of Illos and to my surprise 10 of them were selected for the book, which according to the Archive’s staff never happened before on their books and magazines. I was thrilled. By the end of last year I was also told that I was being considered to do the cover, which unfortunately didn’t happen. But I believe they made the right choice using Hanoch Piven’s portrait of Kin Jon Il, which is an awesome and powerful Illustration that fit perfectly on the cover.
In which point do you think technology can help an artist?
In many ways and I don’t mean only on the creative point of view. As a freelance illustrator I have to take care of my own administrative business, and technology pretty much saves me a lot of time. It makes networking easier, helps to organize and remind me of my schedules, ayouts and final arts have never been sent so fast, etc..
What programs do you use to create your illustrations?
I use Adobe Illustrator with KPT Vector Effects plug-in and Adobe Photoshop.


What would you tell for those who are starting in this area?
Trust your style, but don’t be afraid to evolve. Watch out for bad clients. Don’t forget to stretch and take a walk every couple of hours.
Your favorite artists?
From the past: Gustav Klimt, Egon Schiele and Hokusai. From the present: Mike Mignola and Takashi Murakami. From the future: Sam Weber, Matthew Woodson and Gez Fry.
As to illustrate the covers for Cornwell’s Saxon Stories?
I’ve always loved Bernard Cornwell’s books. The King Arthur Trilogy is one of my favorite stories ever. When designer Marcelo Martinez, who is in charge of all Cornwell’s book covers in Brazil, called me to do the Saxon Stories I was in heaven. I couldn’t believe it. It is one of the most gratifying works I’ve ever made, and the covers turned out to be beautiful. Martinez’s choices of using metallic paper and making a poliptic when putting all covers together created a very powerful design. It is striking to see all the books on the bookstores windows. They simply pop up!!!


Which draw was the most difficult to do?
Any draw that comes with a bad briefing is difficult.
Your computer?
It’s and old PC. I call him Rupert.
What is your favorite food?
I like every kind of food, I just can’t eat hot spices anymore. Doctor’s orders.


What kind of music do you like?
Whatever music that helps me go through a long working night. Music influences me a lot during work, not only when I’m drawing but when I need to focus on research. From serene classical tunes to the loudest heavy distortions, I simply can’t work without it.
Do you have any hobbies outside of digital art and computing?
Yes, I do. I like to work on my sketchbooks and I’m starting to paint. I really want to start working with serigraphy as soon as possible too.
Any final comments?
Yes… have you seen my umbrella? I swore I left it here somewhere…