I met Tania Vicedo on the day of the Monogatari Release party set up. I love the pared-down style of her images. She really gets to the essence of her subject. I enjoyed speaking with her about her work. She graciously took the time to answer questions about her art and creative process for her story in Monogatari.
Q: How long have your been making sequential art?
I made my first comics when I was a teenager inspired by manga and the cartoons on TV. However by that time I don’t think I finished any of the stories completely.
During my MA Communication Design at Kingston University, London (2014–2016) I got interested again in sequential art specifically in wordless stories. I really enjoyed books by the independent publisher Nobrow. In consequence to that, my final project was a wordless and completely handmade book on the topic of emotions. To see the project please visit this link: https://taniavicedo.net/Emotional-Symmetries-book
After I graduated, I made a short graphic story for the Observer/Cape/Comica graphic short story prize, which got shortlisted and exhibited in Orbital Comics, London. Because of this I decided to make a zine version of this story which I have been bringing with me to several zine and illustration events. Please see the project here: https://taniavicedo.net/In-a-not-so-far-future-zine
Nowadays, even though my main focus is on creating conceptual illustrations, I keep creating sequential art for personal projects or collaborations, such as Monogatari.
Q: What do you like about sequential art compared to other forms of expression?
I like that there is always a narrative to it. It is a medium for telling stories, and it is as diverse as films or books can be.
As I mentioned earlier I am particularly interested in wordless visual stories for several reasons. I like that they are universal, anyone can read the visual language despite of the word language they speak. However the visual language is not a precise one, so anyone will interpret in their own unique way and will perceive the story differently, which in my opinion that makes it a very interesting experience.
Q: What inspired your story for Monogatari?
I was inspired by my neighborhood charming irregular buildings which remained me of the wabi-sabi philosophy, that’s why I decided to make a series of images on this topic.
Wabi-sabi in its origins referred to the solitude felt when living in nature and it was also linked to the tea ceremony. It is also about looking closer, appreciating imperfection and the pass of time.
In my story I made a sequence of images so they are a continuous close up, one vignette leads to the other, so the next vignette is a close up of the previous one (except for the two last ones).
Q: What are you most proud of in your story?
I am happy I was able to tell a story completely without words this time. Also I am happy about how I found this story; during the brainstorming stage I had the ideas for what could be some other stories, but I reached a point where I was drawing a tea cup, and then I drew the crack on it, and then I could see the crack looked like a mountain. From that moment, I was able to build the story quite smoothly. I am happy I could find an idea in the serendipity of the process.
Q: What was the biggest challenge in making your story?
Coming up with a story is always challenging. But it also was working in black and white, as I usually work using colours.
Do you have any favorite stories or sequential artists that you recommend to readers?
I really recommend the work of Marion Fayolle, especially her book ‘In Pieces.’ Her stories are incredibly ingenious and funny.
Also the work by Jon McNaught is very interesting. He creates these quiet, poem like graphic stories which are also very beautiful. I like his book ‘Birchfield Close’.
Q: Where can people find out more about your work?
In my website and social media: