Federico Jordán interviewed by Taiwan DPI Magazine

Federico Jordán has been recently interviewed by Taiwan DPI Magazine. By Effie Lin. (July 2009).

Federico Jordán (born 1969) is an editorial and advertising illustrator. His work has been published in Forbes, Harvard Business Review and The New York Times among others.
Born in Torreón, Coahuila, México he received formal training as an architect at Universidad Autónoma del Noreste in Saltillo, Coahuila and took courses at Antigua Academia de San Carlos in México City. Jordán received a master's degree in art education from the Autonomous University of Nuevo León. He lives in San Luis Potosí, México.


What are you currently working on?
Presently I've different tasks going on, among them there is one that pleases me, a dingbat that I've called Fantisius and that I have lovingly dedicated. Fantisius will be published by Font Bureau and it is a product that contains more than 100 characters. That is the proyect in which I am interested for the moment to talk about.
What is your philosophy in your art world?
My world is the field of illustration and in due time I have made line schemes around my production. I conceive the image of illustration as a paratextual element that clarifies a narrative, the illustration finds its nature in this sense and not in the solitary image but in agreement to its text. The illustration is bimedia and it is important to understand this precept.
Has any art period or art style ever influenced your works? What artist do you admire most?
I fill my work with intertextualty and paraphrasis that enrich my arsenal of resources in codes. At the moment, it calls my attention to rediscover the work of José Guadulupe Posada and Francisco José de Goya, centering my attention in the rhetoric and composing resources to accomplish empathy with the public.
What's the most challenging or difficult thing while creating and producing progress of your works usually? What's the biggest challenge to you in art filed? How do you deal with that usually
Several, one of them is the persuasion with the goal of finding clear codes to be puntually decodified, in this way, the rhetoric art is a constant in my production. Another challenge that I face constantly is that my line of work is interdisciplinary and that many art directors, editors, producers, etc. intervene, and it is here where I use my skills in communication with other areas related to production.
Which one of the illustration is your favorite? Or which one made you spend the most of time and effort? What message you would like to convey through this work?
The Fantisius Project is a dingbat of more than 100 characters, in which I use the resource of prosopopeia as a unit in each one of the pictograms. Not all the objects that I had chosen could be represented in the personification and sinthesis that requires this dingbat font. Each drawing was solved in my notebook and suggested as a whole with Gabriela Fanti. Some images ended up with the help of the erudite eyes of the art director Óscar Estrada and the typographer David Berlow. This font was carried out in Adobe Illustrator and FontLab Studio, and will be published and marketed by Font Bureau.
It seems you like to draw a kind of symbols? Why?
It's interesting that you noted this characteristic of my work that shows my interest for the symbol to confront the poetic image behind the sign. I don't have the tendency to load with noise the message in my illustrations and I always seek to reduce the codes and forms systems in my images. I prefer the forcefulness and synthesis in my work. I like for my images to express a clear message and the appropiate synthesis of signs that accomplishes the effect that I am searching.
For you, what is the contemporary art?
Contemporaneous art is a polyhedral and my vision is from the field of illustration in direction to the base of the narrative and its reproduction. Walter Benjamin has emancipated the aura in this direction and in singular objects of art and has furnished its own autonomy to the objects mechanically reproduced to the audience of the masses, as it is the case of the illustration. I conclude that the image of the illustration is pioneer in this sense, because it doesn't start in this route in times of the modern mechanical reproduction, not even in times of the invention of the Gutenberg Press; it starts with the illumination of the manuscript book, in the monastic or Persian book production. The illustration is the only object of ancestral art searching the goal of reproduction to the masses.
What are your future goals in the art world?
For the moment I don't have a longing to enter to other art fields apart from making puntual illustrations for the editorial and publishing fields.

Federico Jordan

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