Mould Map 3 — Comics for THIS present. The hippies had their utopia mags. Now what can WE make? Read more
This project was successfully funded on December 1, 2013.
Wave If You're Real.
THANK YOU to Everyone on the Internet!!!
Mould Map 3 * IS * Coming : )
Luxury print production preparation is underway! PREPARE FOR GREATNESS! See below for schedule. Basic artist fees and production costs are secure - all further £$¥ will be split evenly between each artist.
OK - More exciting updates!!!
Here's a threatening new preview from a brand new 8 page Jonny Negron story for Mould Map 3 that we haven't even seen yet! Who are these Menacing Men?!?
MM3 Artist Interview: Olivier Schrauwen
'I didn’t use any reference material (apart from the Nokia phone and the walkie-talkie). In fact I mostly try to avoid visual references both out of laziness and because I don’t want external pictures getting in the way of my original vision for the story. I tried a few stories before I settled on the one I’ve sent to you. So I’m giving you a few panels out of the stories I’ve discarded.'
Olivier Schrauwen. BE.
See also Blog / Fantagraphics
MM: You've recently published large serious full colour volumes and small one colour zines and you work in a vast range of different styles, with possibly the most varied approach in contemporary comics production. What draws you to working in this way?
OS: I don’t really know what draws me to it. In my personal life I am not mercurial. When I get an idea for a story or a book, what tempts me to develop it further is that it seems different, that it might lead me in a new territory. An idea will always present itself as a shred of a story with a distinct atmosphere. Visually it’s not concrete, it’s more like a dream image, you know what it feels like rather than what it should look like. When I try to put it on paper I’ll try different styles or graphical techniques to get as close to it as possible. And usually the idea also suggest a way of printing and publishing That said to me it seems like I always stay within a certain esthetic realm. There’s a lot of stuff I can’t or won’t draw. And whatever style I draw in I always make the same drawing mistakes; characters have no necks, when I draw a figure from an ¾ angle I mess up the arms, etc.
Displacement and abduction are recurring themes in your work. Is there a reason for this?
When I was growing up in Belgium there was a period when a bunch of children were being abducted. Some were later found alive others dead in a hidden cellar. There was talk of a network of pedophiles and child abusers and there where claims the chain of connections lead up to the upper ranks of Belgian society. At a certain point even the king was said to be present at some dark paedophilic sex party. There were witnesses coming forward with the most insane stories. It caused massive national hysteria and paranoia Has this caused these themes to pop up in my work? Probably not.
As someone making comics in English as a second language do you try to be as accurate as possible in your writing or do you think of minor errors as another layer to the work?
Both. I can’t really judge if my particular mishandling of the English language is interesting in any way. I certainly try to write correctly, consciously cultivating some awkward Anglo-Belgian Dutch seems like a bad idea. What I enjoy the most about writing in English is that I have no control over the writing style. When I write in Dutch I’ll fuss endlessly over certain words. Phrasing that I associate with the wrong kind of popular media or literature is unusable. In English I’m happily ignorant of the stylistic mess.
You appear as a character in a few of your own recent works. Are these abstract diary comics? Do you have a personal relationship with science fiction?
Having myself as a character in my recent comics seems like the least autobiographical aspect of them. I’ll use ‘Olivier Schrauwen’ as a ‘John Doe’; a fairly uninteresting, middle-aged everyman. The fact that he is a graphic novelist only adds to the randomness. The stories are diaristic in a more oblique, semi-spontaneous way. I try to accommodate autobio-elements by working chronologically, a page a day and changing the story at whim, according to the mood of the moment. So the stories are not so much autobiographical in a factual way rather then they’re attune with the way I feel, and what I’m occupied with at a certain time.
Have you ever buried a time capsule?
No, but sometimes I try to communicate with my future self. When I’m doing a boring task or making a boring walk, I’ll think “In one hour I will think back at my past self here in this very moment. Of course an hour later when I’m relaxing, released of my boring task or walk I never think back to my past self.
(Interviewed by Hugh Frost, via email Autumn 2013)
Here's a look at the schedule we're aiming for:
Dec 1st - Funding ends. Last chance to back or upgrade (new patches & posters etc)
Dec 2nd - Questionnaire sent to all backers to gather names and addresses - important!
Dec 6th - Final artwork > Printers
Dec 9th > 19th - Wet proofing, printing, binding, folding etc
Dec 20th > 22nd - Delivery to temporary studio
Dec 23rd - Dispatch
The Christmas rush will be straining the courier system, so for the UK delivery is likely to be in the strange inter-event limbo between xmas and new year when there's not much happening. Good timing! International delivery will probably be between 1-3 weeks. Hold tight!