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Filipino award-winning illustrator Frances Alcaraz (also known as Panch) has illustrated more than 15 books for children, including two of her own, and received many accolades for her work.
In 2006, she was named one of Ateneo Library of Women’s Writings’ new stars of Philippine literature.
Her artwork has been featured in various group exhibits in New Delhi, Tokyo, Bratislava, Bologna, Paris, Shanghai, Singapore, London and New York. In 2008, Ballet Manila staged three of Lola Basyang's tales retold by Christine Bellen, using Frances' illustrations as inspiration for the costumes and sets.
She lives in Manila, Philippines.
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Q&A
You have recently had some of your book illustrations exhibited in Singapore for the first time, as part of an exhibit featuring the Philippines' top illustrators. What was this experience like for you, and who were you sharing the spotlight with?
The exhibit was a chance to highlight the importance of visual narrative and the art of illustration. It was a very challenging experience because I had to paint my own concepts (I ended up focusing on women as elemental beings and adding fairy tale imagery). I shared the exhibit with veteran children’s book illustrators Beth Parrocha-Doctolero, Bernadette Solina, Robert Alejandro, Ferdinand Doctolero and Paul Eric Roca. It was such an honor to be among such talented people!
How would you describe your style?
I would say my style is eclectic. I like to vary my approach to best reflect the tone of each story. Since in picture books the illustrator acts as co-author, I am always thinking of the visual narrative. If the story is funny, or has a very light tone, I go for a more modern style. But if it has a somber tone, I tend to use a more classic style. I always push myself to try to make every book better than the last. For this reason, my favorite book is always the one I am working on.
Do you have a favorite technique?
I love working with acrylic and gouache. First, I use a blue lead pencil to sketch in the characters. Then, I use acrylic as a base (because it dries quickly) and a mixture of gouache and acrylic for the other layers. I use colored pens to add certain details.
On your website you say you have a "fondness for monsters, especially the kind that lurks under the bed." Do you happen to know the origins of this fondness?
The most creative stage of our lives is childhood. It is the time when we let our imaginations loose and we create fantastic, unknown worlds. We dream impossible things. Creating monsters allows us to break barriers and go back to the time when we were not afraid to think of possibilities. I always try to challenge myself to think beyond what is safe and what is considered normal, because that’s when my art starts to soar. For me, monsters represent the courage to explore our imagination, which most of us lock away when we grow up.
Do you have any books in the pipeline?
Yes. Menggay’s Magical Chicken, written by Nikki Alfar, and Alamat ng Dugon, written by Segundo Mattias Jr. I am also working on a series about Juan dela Cruz, which will be written by Mary Ann Floresta.
Posted October 2009 |
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email her
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by Frances Alcaraz:
Heaven’s Butterfly
written by Cathy and Pia Babao Guballa
(Anvil, 2009)
Leaf & Shadows: Stories about Friendly Creatures
written by Cyan Abad
(Anvil, 2008)
Pipo The Clown
written by Nati Santos
(Vibal, 2007)
Lola Basyang's Ang Kapatid Ng Tatlong Marya
written by Christine Bellen
(Anvil, 2007)
A Great Miracle
written by Mary Ann Ordinario-Floresta
(ABC EDC Publishing, 2003)
The Broken Eggs
retold by the artist
(Shinseken Lmtd., Japan, 2002)
The Lost Necklace
retold by the artist
(Shinseken Lmtd., Japan, 2001)
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More on the web:
For a complete bibliography and more information, visit her website.
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