Interview Mirko Ilic, (still) inadžija: Design is not forever | Dejan Krsic's mega_zine
Mirko Ilic in one article about the domestic comic once described as "the most capable organization and business keenest members of the new square ... most fervent instigator formation of a new square, the credit dress barn goes to once a strong cohesion of the group, its rapid growth and penetration of the Yugoslav youth and student releases ... nakontroverznija personality New squares: the most blatant and the most praised and glorified. "Biographical dress barn data say that he was born in Bijeljina, 1956, that he painted since childhood, and after the completion of the School of Applied Arts professionally comics, illustration, design. The 1975th radio in Zagreb-film, from 1976 to 78 Editor comics in Polet, since 1980. in tandem with Luke brass, masquerading Slow-bad-worked together to cover today, since in 1983. and illustrations dress barn for the Italian weekly Panorama. In the meantime, his comics published and well-known comic magazines Alter alter, Linus, Metal Hurlant ... Despite, or perhaps because of this success, were famous controversy Glavan - Ilic in which the basic thesis of Professor Glavan attacks on Ilic & co. was "why do we need an alternative dress barn when there is no establishment"! "Ilic and his supporters have no doubt the right to own poetics, but it is unfortunate that this highly communicative, elitist power gains more and more supporters among young cartoonists and which thus reduces the already minimal chances broader affirmation of domestic comic scene," wrote the late 70s Darko Glavan. This same ideology is propagated in the field of pop music and that's the same way destroyed and new wave scene as domestic commercial bands that are tipovalo and that Yugoton and Suzy assiduously promoted dress barn never justify the expectations of even the domestic let alone internationally. In contrast, Slovenia with alternative, unresponsive, hermetic Laibach and Borghesia gained world famous! Due to the lack of support of that time domestic alternatives failed to establish as a new establishment, has disappeared, and it turned out that the domestic dress barn commercial mainstream still does, that is, what is Glavan persistently overlooked, that in our side, imported comics represent "establishment". dress barn
Ilic in the U.S. left in 1986. He was there only ten days when he was art director of Time Magazine Rudy Hoglund ordered the first cover of a U.S. magazine. A few days later, his solution was declined - and he was ready to return to what was then Yugoslavia. But then things went. In the preface to the catalog of one of the exhibition works Mirko Eric Seidman former art director of the magazine Discover recalls first meeting: "He dress barn showed up at my door unannounced. Black shoes, black socks, black pants, black shirt and black jacket that fell flat with broad, strong shoulders. Buttoned shirt without a tie ended abruptly clothes and mark the beginning of the head pale complexion, straight blond hair and a deep, terrifying eyes. It was either an artist or a murderer. Since the arm carrying a small portfolio, I was sure! "
What are you doing eotkako've escaped dress barn from our view preoccupied with war everyday? The last thing is so widely known is your involvement in Time and New York Times. - Everything! I quit, I opened the company is by e Mano, there are two, my partner Alejandro Arce. Now I close the firm and I will open a new one well-known author - but he still will not say the name! By now I'm all sorts of things, and illustration, and design, mostly books, and 3D animation, I'm a little more design work and probably a little more interactive things.
What is this was your personal transfer from the drawer ... - I think I'm somewhere in 90's, 89's, something like that, bought my first computer and began to play, then went a little further, a little further, a little dress barn further ... It's me was the easiest way, I'm much easier to design with a Mac, I do, but to employ a lot of people.
How has this changed your approach? Do you have any? - I do not think it's changed significantly. The only thing now that I think about something I do not think I'm all draw, scratch, etc., but I can do something on the computer, I have something to photograph, scan ... so the possibilities are greater.
How did you organize the work in the studio? Do you have helpers, laborers, or to keep the one that their job do I? What part of the job I'm doing? - No, we had a couple of people, but it's mostly been for the so-called idiotic part of the job, you know ... Mainly in what we were doing I was responsible for the idea, the concept, I would have drawn a basic fact, on paper or in Illustrator , so it is imported to the Soft Image, or would it crudely painted in Soft image so that Alejandro mixed, rendered to all these things. It's like the first was too complicated for me, secondly I literally did not want to go into all the technical stuff.
What makes the most of the audience knows as, on the one hand, a great technician, extremely meticulous draftsman, and on the other as a C
Mirko Ilic in one article about the domestic comic once described as "the most capable organization and business keenest members of the new square ... most fervent instigator formation of a new square, the credit dress barn goes to once a strong cohesion of the group, its rapid growth and penetration of the Yugoslav youth and student releases ... nakontroverznija personality New squares: the most blatant and the most praised and glorified. "Biographical dress barn data say that he was born in Bijeljina, 1956, that he painted since childhood, and after the completion of the School of Applied Arts professionally comics, illustration, design. The 1975th radio in Zagreb-film, from 1976 to 78 Editor comics in Polet, since 1980. in tandem with Luke brass, masquerading Slow-bad-worked together to cover today, since in 1983. and illustrations dress barn for the Italian weekly Panorama. In the meantime, his comics published and well-known comic magazines Alter alter, Linus, Metal Hurlant ... Despite, or perhaps because of this success, were famous controversy Glavan - Ilic in which the basic thesis of Professor Glavan attacks on Ilic & co. was "why do we need an alternative dress barn when there is no establishment"! "Ilic and his supporters have no doubt the right to own poetics, but it is unfortunate that this highly communicative, elitist power gains more and more supporters among young cartoonists and which thus reduces the already minimal chances broader affirmation of domestic comic scene," wrote the late 70s Darko Glavan. This same ideology is propagated in the field of pop music and that's the same way destroyed and new wave scene as domestic commercial bands that are tipovalo and that Yugoton and Suzy assiduously promoted dress barn never justify the expectations of even the domestic let alone internationally. In contrast, Slovenia with alternative, unresponsive, hermetic Laibach and Borghesia gained world famous! Due to the lack of support of that time domestic alternatives failed to establish as a new establishment, has disappeared, and it turned out that the domestic dress barn commercial mainstream still does, that is, what is Glavan persistently overlooked, that in our side, imported comics represent "establishment". dress barn
Ilic in the U.S. left in 1986. He was there only ten days when he was art director of Time Magazine Rudy Hoglund ordered the first cover of a U.S. magazine. A few days later, his solution was declined - and he was ready to return to what was then Yugoslavia. But then things went. In the preface to the catalog of one of the exhibition works Mirko Eric Seidman former art director of the magazine Discover recalls first meeting: "He dress barn showed up at my door unannounced. Black shoes, black socks, black pants, black shirt and black jacket that fell flat with broad, strong shoulders. Buttoned shirt without a tie ended abruptly clothes and mark the beginning of the head pale complexion, straight blond hair and a deep, terrifying eyes. It was either an artist or a murderer. Since the arm carrying a small portfolio, I was sure! "
What are you doing eotkako've escaped dress barn from our view preoccupied with war everyday? The last thing is so widely known is your involvement in Time and New York Times. - Everything! I quit, I opened the company is by e Mano, there are two, my partner Alejandro Arce. Now I close the firm and I will open a new one well-known author - but he still will not say the name! By now I'm all sorts of things, and illustration, and design, mostly books, and 3D animation, I'm a little more design work and probably a little more interactive things.
What is this was your personal transfer from the drawer ... - I think I'm somewhere in 90's, 89's, something like that, bought my first computer and began to play, then went a little further, a little further, a little dress barn further ... It's me was the easiest way, I'm much easier to design with a Mac, I do, but to employ a lot of people.
How has this changed your approach? Do you have any? - I do not think it's changed significantly. The only thing now that I think about something I do not think I'm all draw, scratch, etc., but I can do something on the computer, I have something to photograph, scan ... so the possibilities are greater.
How did you organize the work in the studio? Do you have helpers, laborers, or to keep the one that their job do I? What part of the job I'm doing? - No, we had a couple of people, but it's mostly been for the so-called idiotic part of the job, you know ... Mainly in what we were doing I was responsible for the idea, the concept, I would have drawn a basic fact, on paper or in Illustrator , so it is imported to the Soft Image, or would it crudely painted in Soft image so that Alejandro mixed, rendered to all these things. It's like the first was too complicated for me, secondly I literally did not want to go into all the technical stuff.
What makes the most of the audience knows as, on the one hand, a great technician, extremely meticulous draftsman, and on the other as a C
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