Summary of Talk by Puño - Conferencia ilustrador Puño MAD 2011

00:00:00 - 00:40:00

Puño, a self-taught illustrator, shares his insights and experiences in the field of illustration during his talk in MAD 2011. He emphasizes the importance of drawing as a metaphorical muscle for exercising creativity and encourages people to draw regardless of their artistic abilities. Puño also discusses the need for a methodology to guide the creative process, adapting to the market, and finding inspiration outside of one's workspace. He advises caution when doing free work, stressing the importance of knowing who it is for and what we get in return. Puño also talks about the importance of showcasing one's work on the internet and exploring the roots of inspiration to find unique ideas. Lastly, he gives tips on how to win a contest as an illustrator and emphasizes the importance of transparency and providing as much information as possible to clients.

• 00:00:00 In this section, Puño, a self-taught illustrator, shares his insights and experiences in the field of illustration. He talks about the importance of drawing as a way to exercise creativity, which is a metaphorical muscle. Puño encourages people to draw and explains that as adults, we tend to become less imaginative and more practical, which affects our ability to be creative. He also shares a recipe for a cheap and easy meal, which he learned when he was struggling in his career. Puño's advice can be applied not just in the field of illustration, but also in other professions and in one's personal life.
• 00:05:00 In this section, the speaker talks about how as children, we enjoy drawing without being overly critical of our work, but as we grow older, we become more self-conscious and critical of our artistic abilities, often abandoning them altogether. The speaker argues that this is largely due to the traditional emphasis on the market value of art and the rigid expectations taught in schools. The speaker contrasts this with how we approach other hand-eye coordination skills, such as cooking and calligraphy which we view more as a means to an end rather than an end in themselves. The speaker suggests that if we reframed our approach to drawing as a means to develop and exercise our creative muscles, we could enjoy it more, and overcome our self-imposed limitations.
• 00:10:00 In this section of the video talk by illustrator Puño, he discusses that the belief of not being able to draw is not entirely true as the process of learning to draw, to represent an idea, or express an inner thought is already drawing in itself. It is important to understand that no one is born with the innate ability to draw, and we learn to resolve drawing problems by confronting them head-on. Talents in drawing are actually solutions to problems that we have already encountered and learned from. Anyone can learn to draw as long as they embark on the path of unlearning and acquire the necessary knowledge, with practice and perseverance. The key to creativity is not just improvisation but method as well, which is why there is a need for reflection and education.
• 00:15:00 In this section, the speaker addresses the common problem of not knowing what, where, or why to draw. He introduces the concept of using a methodology to guide the creative process, emphasizing that a methodology is simply a set of necessary operations arranged in a logical order based on experience. The speaker compares using a methodology for drawing to using a recipe for cooking and points out that while cooking has a highly developed methodology, drawing does not. He then shares some tips and methodologies for drawing, including the importance of keeping a sketchbook and predisposing the mind for creativity. The speaker also presents a six-step process for drawing a stick figure and turning it into a more detailed drawing, which could even result in getting a free coffee or a date.
• 00:20:00 In this section, Puño, an illustrator giving a talk, shares advice on how to succeed in the creative industry. He emphasizes the importance of having discipline in one's personal life to develop responsibility and set goals, which translates to a successful work ethic. Puño also advises adapting to the market and choosing a professional niche, while resisting the expectation that illustrators must always be artists. He stresses the need for creative exercise, breaking out of one's comfort zone and finding inspiration outside of one's workspace. Finally, Puño suggests doing free work to build a portfolio and gain experience.
• 00:25:00 In this section, Puño, during his conference in Madrid in 2011, advises caution when doing free work, stressing the importance of knowing who it is for and what we get in return. He proposes always asking for something in exchange, even if it's small, to avoid exploitation. Puño also encourages rejecting those who profit without sharing and finding ways to enjoy the work, even if it seems tedious. He stresses the importance of being consistent and developing personal projects with one's own point of view, drawing on personal experiences to make the work unique and meaningful.
• 00:30:00 In this section, Puño talks about the importance of showcasing one's work on the internet, as there are now many free platforms available that allow artists to display their work and gain recognition. He encourages artists to look back at the original sources of inspiration for their work, rather than simply copying those who are currently trendy or popular. He stresses the importance of creating a referential mosaic to inspire one's work, drawing inspiration from a variety of sources including music, photography, and film. He also warns against blindly copying the work of others, instead advocating for a deeper exploration of the roots of inspiration in order to find truly unique ideas.
• 00:35:00 In this section of the video, illustrator Puño talks about the importance of being aware of what we create and how we create it. He uses the example of artist Matthew Lions, who copies images from various sources and displays them on his website and Tumblr page. Puño believes that while copying is not necessarily bad, the way one assimilates and incorporates the references into their own work is what matters. He also shares a Chinese legend about an art contest in which the emperor chooses a winner based on a Japanese print of an old man carrying water, much to the confusion of the participants.
• 00:40:00 In this section, Puño gives some tips on how to win a contest as an illustrator. One of his main suggestions is to participate and study the works of previous winners. He also advises not to be discouraged by not winning and to keep trying every year until success. Puño also shares his experiences working with clients as an illustrator and stresses the importance of transparency and providing as much information as possible. Lastly, he advises clients to offer a decent budget and to understand that hiring an illustrator is not just about technical skills but also about working together to bring a creative idea to life.