Workshop manga comics the song!
The workshops are a key part in the personality of COMIC MOSTRA programming. The Hispanic descent artist JM Ken Niimura Japanese taught a course on comic manga and environs, explaining his experience in the field. A path that has led recently to sign "I Kill Giants", scripted by American Joe Kelly ("X-Men"). Niimura is in turn responsible for titles like "Japanese cartoons", "Other cages", "Underground Love", "Clockworld", "absolute vacuum", "On the way Hank" and "Comics," among other works . In Valencia explain the key of a continuously expanding. This answers some questions about the intricacies of the story.
The cartoonist born or made? 
MOSTRA giving a workshop in COMIC. How do you take these kinds of events around the comic?
The first rooms to which I was fifteen years was like a party where he was to buy and see things from the series that I liked. Later, when I started doing fanzines, it was time to go and sell the fanzine people enjoy living and everything going on there day between zinesters and visitors. Right now I see it more as a meeting place for everyone in the media that I know as well as a place to move projects. It is still very fun, but otherwise.
's also a chance to meet your fans.
increasing number of such events.
Especially thanks to the fans who are really taking the word in this type of event.
What artists will attract attention and have come to influence your work?
Too many influences to put them on paper, in addition to that, of course, have changed over time. Yes there are some names that for one reason or another have always been there: Hayao Miyazaki, Miguelanxo Prado,
Ernst Lubitsch, Julio Cortázar ...
You started with a manga style, but now have a more personal ...
Like all artists, one starts with a number of references in the head. In my case, there is a difference from my early work, and I started with 16 years to publish in journals of manga, when most of my references were practically in the Japanese comic. Today, I try not to crush me a lot with this idea of \u200b\u200bstyle, it is important that the drawing is a tool to easily transfer the ideas from your head to paper and be faithful to the idea of \u200b\u200bdeparture. Based on authors read and see, I have been blurred in my mind the typical barriers that separate the Franco-Belgian comic American or Japanese, because deep down they all share common concerns.
conducts workshops on manga.
is something that has emerged spontaneously. Luckily I did not time consuming, allow me to change of scenery on the work at home and it's a good way to compare ideas and to learn by seeing how students work. What they are workshops on "manga" is tricky, because in reality I do not teach how to draw big eyes and stuff like: what interests me is that people leave with a concrete idea of \u200b\u200bhow it has to tell the stories, to drive the narrative or the pace of the stories. What is the real work of "manga", come on. And the funny thing is that I find it much easier to teach all this comparing with other types of manga comics, impossible for me to speak Japanese comic without putting it in relation to the American or French.
What would you recommend an artist who is starting?
say that everyone grows acquires basic knowledge for drawing: images and words we know and handle all and the specific language of comics is not alien to us either. The rest is to want to tell stories or draw them. I think everybody would be a good comic narrator, only so many people do not even try ... Most comic artists are those who continued to make puppets at the edges of textbooks and one day decided to put them on a separate sheet.
MOSTRA giving a workshop in COMIC. How do you take these kinds of events around the comic?
The first rooms to which I was fifteen years was like a party where he was to buy and see things from the series that I liked. Later, when I started doing fanzines, it was time to go and sell the fanzine people enjoy living and everything going on there day between zinesters and visitors. Right now I see it more as a meeting place for everyone in the media that I know as well as a place to move projects. It is still very fun, but otherwise.
's also a chance to meet your fans.
Yes, especially when I see people who come to that firm. Many time I know that when doing fanzines or magazines published in manga information, I am very surprised that some know my work for so long. Abroad, I freaked out more than once when I have brought a book that only was published in Spain or the entire collection of "I Kill Giants" in its English edition. Nor I can forget about a girl who came to Joe and I will sign in the comic book fair in New York this year. He had finished the comic fair way and could not hold back tears in front of us. And we almost do not.
How would you explain to a layman what a living?
By definition, should be a gathering of professionals and amateurs around comic, roundtables, lectures and exhibitions, but usually power than the commercial side, which often are nothing more than a big market for comics ... Moreover, as I checked, is a good chance to meet people who share the love of comics, to see what the state of the market and have a good time. increasing number of such events.
Especially thanks to the fans who are really taking the word in this type of event.
Too many influences to put them on paper, in addition to that, of course, have changed over time. Yes there are some names that for one reason or another have always been there: Hayao Miyazaki, Miguelanxo Prado,
Ernst Lubitsch, Julio Cortázar ...
You started with a manga style, but now have a more personal ...
Like all artists, one starts with a number of references in the head. In my case, there is a difference from my early work, and I started with 16 years to publish in journals of manga, when most of my references were practically in the Japanese comic. Today, I try not to crush me a lot with this idea of \u200b\u200bstyle, it is important that the drawing is a tool to easily transfer the ideas from your head to paper and be faithful to the idea of \u200b\u200bdeparture. Based on authors read and see, I have been blurred in my mind the typical barriers that separate the Franco-Belgian comic American or Japanese, because deep down they all share common concerns.
conducts workshops on manga.
is something that has emerged spontaneously. Luckily I did not time consuming, allow me to change of scenery on the work at home and it's a good way to compare ideas and to learn by seeing how students work. What they are workshops on "manga" is tricky, because in reality I do not teach how to draw big eyes and stuff like: what interests me is that people leave with a concrete idea of \u200b\u200bhow it has to tell the stories, to drive the narrative or the pace of the stories. What is the real work of "manga", come on. And the funny thing is that I find it much easier to teach all this comparing with other types of manga comics, impossible for me to speak Japanese comic without putting it in relation to the American or French.
What would you recommend an artist who is starting?
For me the most important thing is to draw a lot, be curious about things, traveling, learning, experience and still have some time to put any of that on paper. Move a lot, teaching things here and there is also an asset. And especially not at any time to lose motivation, or forget the emotion of drawing a new line on the paper and go to shape a story.
