Jordi Lafebre@jordilafebre

At that point the 90%of the work was done on brush on semi glossy paper. There was already a nice combination of straight and curve lines and some character on them, but something was missing. ( still 'Lydie' @EditionsDargaud 2010)

Jordi Lafebre@jordilafebre

So I went further. My next book ( La Mondaine )was my ALL-IN. I tried everything I got. Brushes, dip pens, white gouache, much grain paper, and some crazy stuff I won't admit here. I went mentally and economically broke to find new ways. (Do not try it alone at home, kids)

Jordi Lafebre@jordilafebre

At some point- I don't know if there was by fatigue or an inner expression of my character - my lines started to be open, not closing the figure. I can even tell when was first time it happened consciously; In that particular line of the boot ( on brush ). That was something.

Jordi Lafebre@jordilafebre

With some years of hard work, came the whole orchestra: Brushes, dip pens, liquid ink, more dense ink, much more grain paper, white gouache, grattage, markers of all kinds, closed lines, open lines, straight lines smoothie curves; When to push, when to loose, when go hard...

Jordi Lafebre@jordilafebre

...and when go subtitle. Every page was like Vagner on drugs with Valkirias singing full Cleary too much; Beautiful but not honest enough. Everything was in the ankles, the fingers, the grain on the paper and the material I had on my hands. But again, much lack of something.