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Autor: Aline Abreu | Publicado: 2014-03-17T07:33:00-07:00

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#mywritingprocess



Foi muito gostoso fazer este exercício de reflexão sobre minha prática e agradeço à querida&nbsp;Lúcia Hiratsuka pelo convite para participar desta rede que costura os processos criativos de artistas de vários países. Meus convidados vão entrar na dança só no próximo mês. Darei notícia disso por aqui quando estiverem prontos.

[To think about my practice has been a very enjoyable exercise and I thank Lúcia Hiratsuka for the invite to take part in this network that weaves together the creative processes of artists from many countries. The authors I invited will join our dance only next month and I will&nbsp;announce&nbsp;it here when they are ready.]



Estou trabalhando em…
[What am I working on]





Estou entre projetos.
Passei os últimos meses estudando, sem poder desenhar tanto quanto eu gostaria,
mergulhada em livros e teorias para concluir meu mestrado em literatura.
Felizmente meu assunto foi o livro ilustrado contemporâneo e, apesar de sobrar
pouco tempo para desenhar, o estudo me alimentou e inspirou novos projetos e
ideias.&nbsp;No momento tenho desenhado pelo prazer de desenhar, tentando não pensar muito, aproveitando para experimentar formas de misturar de materiais que sejam novas para mim. Este processo é um aquecimento antes de começar a criação de imagens para um livro sobre sonhos. Mas, por enquanto, ainda estou sonhando esse livro... Mais adiante mostrarei aqui no blog como vai indo o processo de criação.




[I'm between projects. I spent the last months studying, swamped by books and theories, in order to conclude my master's degree in literature. Thankfully my subject was the contemporary picturebook and, although I couldn't draw as much as I would like during this period, I felt nourished and inspired for new projects and ideas. Right now I'm drawing just for the sake of it, trying to keep it less rational, and experimenting with the mix of mediums in ways I usually don't. This process is a warm up to begin creating new images for a book about dreams. For now this project is only being dreamed and hopefully, further on, I'll show it's development here.]



Como meu trabalho se diferencia de outros de seu gênero

[How does my work differ from others of its genre]









Em&nbsp;Cheirinho de talco&nbsp;a menina sente uma saudade que não passa mas que carrega memórias&nbsp;felizes.&nbsp;[In Cheirinho de talco [A little scent of talc] – Autêntica ed, 2012 –&nbsp;the girl feels a longing that won't go away but that brings back many happy memories.]&nbsp;



Em meus dois últimos livros percebo como cada vez mais se evidencia a qualidade agridoce das histórias. Gosto de escrever sobre sentimentos e suas ambiguidades e, portanto, naturalmente há em minhas histórias uma presença marcante de dualidades como: leveza/humor x profundidade/seriedade; alegria x tristeza; delicadeza x peso.

[Looking back at my last books I can
now identify in these stories a bittersweet quality. I like to write about
feelings and their ambiguities so, naturally, there's always a clear presence
of opposite feelings such as humour x seriousness; joy x sadness; delicacy x
weight.]




Por que escrevo o que escrevo
[Why do I write what I do]




Meu principal desejo como autora é garantir às crianças possibilidades de entrada na história. Volto-me para dentro e, assim como já comentado por muitos autores (Eva Furnari, por exemplo), entro em contato com a criança que fui e com a parte dela que ainda sou. Quando crio uma história viro também personagem e sinto o que a personagem supostamente sente. Isso é bastante incontrolável e revelo aqui um pequeno segredo: me percebo fazendo caretas enquanto escrevo e recito mentalmente, ou desenho as expressões de um personagem.


Acredito que, se eu conseguir deixar portas entreabertas, as crianças poderão escolher seu caminho para se relacionarem com a história. Haverá possibilidade de empatia. Desta forma o livro será para todos aqueles que se identificarem de algum modo, sejam crianças, jovens, ou adultos.

[My main wish as an author is to make
sure that children have ways into the story. To try and achieve this result I
turn to my interior and get in touch with the child I once was and partly still
am. When I create a story I too become a character and feel what the character
supposedly feels. This is something quite impossible for me to control and here
I reveal a small secret: I find myself making frowns and faces while I write
and draw.



I believe that if I succeed in
leaving doors ajar then children may choose ways to relate to the story. There
may be possibilities for establishing empathy. This way the book will aim any
reader that can relate to the book: child, young or adult.]




Como funciona meu processo de escrita
[How does your writing process work]



Por ser ilustradora muitas vezes penso primeiro em imagens e depois vêm palavras ou não. Mas, em geral, meus textos nascem bem caóticos, uma parte de palavras, uma parte de rabiscos. Tem muito a ver com essa forma de criar a minha necessidade de fazer o primeiro rascunho do texto sempre à mão. Jamais escrevo um texto diretamente no computador. Se tento fazer isso eu travo.&nbsp;Mas às vezes as coisas acontecem de um jeito diferente como quando escrevi&nbsp;menina amarrotada.

[Because I'm an illustrator many times
prior to words I think of images and later I may write words to tell part of
the story or not, but, usually, my texts are created in a very chaotic manner,
part words, part scribbles. The fact that I have necessarily to write my first
draft by hand has a lot to do with that. I never write a texts directly in my
computer. If I try that I freeze.&nbsp;But sometimes things happen differently like they did when I wrote&nbsp;crumpled girl.]



menina amarrotada,&nbsp;Jujuba editora, 2013

[crumpled girl]



Num dia que eu desenhava ao acaso, surgiu a imagem de uma menina sobre um papel amassado. Imediatamente pensei: esta é uma menina amarrotada.&nbsp;

[One day, when I was drawing randomly,
emerged the image of a girl in a piece of crumpled paper. Instantly I thought:
this is a crumpled girl.]



Esta primeira imagem foi abandonada mais tarde mas foi ao olhar para a ela que pensei em todo um texto que contasse a história de uma menina que não consegue identificar muito bem o que sente e vai ficando cada vez mais amarrotada.


[Later on this first image was left
behind but it was when I looked at it that I thought of a story about a girl
who can't identify what she feels and while she tries to get out of the
situation she gets more and more crumpled.]


Depois desse primeiro momento trabalhei apenas com as palavras por um longo tempo sem pensar nas ilustrações. Somente quando senti que as palavras diziam exatamente o que eu queria delas parti para as ilustrações e busquei inseri-las na trama narrativa de modo que os sentidos fossem ampliados, que os silêncios fossem preservados. Um aspecto decisivo neste ponto do trabalho foi a definição do formato do livro e do sentido de abertura (vertical), que, no contexto deste projeto, poderia comunicar muito melhor a ideia de&nbsp;lá e cá&nbsp;tão importantes para uma compreensão ampliada da história.



[After this first moment I worked only
on the words and during this period, that was quite long, I didn't think about
the illustrations for the story.&nbsp;Only when I felt the words were saying
exactly what I wanted from them I started working with the illustrations and
tried to weave them into the verbal narrative in a way that the meanings were
amplified and the silences preserved. An important aspect at that point of the
process was the choice of the books format and the way it opens (vertically),
what, in the context of this book, could better communicate the idea of there and here witch is so important to a greater understanding of the story.]



Costumo dividir o texto verbal antes de começar a rascunhar as imagens mas não significa uma divisão definitiva. Costumo fazer um primeiro roteiro visual onde consigo anotar com maior rapidez as minhas primeiras ideias de imagens para a história.

[I usually split the verbal text in
parts before I start the first drafts but it doesn't mean a final
configuration. I like to make a first visual script where I can quickly put my
first ideas of images to the story.]



Primeiro rascunho para&nbsp;Eduardo e os elefantes&nbsp;de Celso Sisto, ed. Melhoramentos, 2013&nbsp;[Fist draft for&nbsp;Eduardo and the elephants]


Funciona mesmo como uma escrita rápida, um rascunho onde anoto o que desejo comunicar sem pensar tanto na forma, algo a ser retrabalhado mas que tem para mim o valor da espontaneidade das primeiras impressões.




[It works as a quick writing, a draft where I register what I wish to communicate without thinking so much at the form, something that needs to be reviewed and redone but has to me the value of spontaneous first impressions.]













Num segundo momento passo a um trabalho mais racional ao pensar em como será a forma de cada imagem. Aí costumo desenhar as páginas e monto um boneco para trabalhar em como será a interação entre o objeto, a palavra e a imagem.



[After that I turn to a more rational part of the work when I start thinking about the form of each image and each page. I then usually draw the pages and assemble a mockup to start thinking how will be the interaction between object, word and picture.]



O próximo passo é a finalização das artes.

[The next step leeds to final artworks.]
















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Para mais #mywritingprocess visite:

[For more #mywritingprocess visit:]



http://luciahiratsuka.blogspot.com.br

http://cristinabiazetto.com.br/blog/blog-tour/

http://evamontanari.blogspot.it

http://criseich.blogspot.com.br































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