Alain Poncelet - Erotisk illustration

Alain Poncelet er efterhånden ved at være fast inventar på danske tegneseriefestivaler, og det skal vi være glade for. Han er supersympatisk og dejlig at snakke med, og så tegner han erotiske tegninger.
Det fik jeg en interessant snak med ham om på Copenhagen Comics 2026, hvor vi kom lidt ind på, hvad det kræver af ham og modellerne han tegner, og mange af dem har han et langt samarbejde med.
Og hvad siger hans kone mon om det?
Lyt med og bliv klogere på erotisk illustration og følg Alain Poncelet på Facebook.

Transcript

unknown 0:00

Hale.

SPEAKER_02 0:12

Og velkommen til en masse afstænder på kø. Så jeg forhåbentlig kan være på forkant resten af året. Det har så været en lidt højere periode siden af jeg havde foret mig. Og både arbejde og privat følg. Men tegener har også følt meget. Og det er der kommet en del snakket med Tegnser folk ud af. Kopenhagen Comics blev jo afholdt i pænsen, og det var en ordentlig omgang. Jeg fik nok snakket med Færden jeg vil, og kun køb en enkel tegneserie, om den var i to bænde. Men jeg fik langnet en masse retbelt magasin for tegnser over disken, og snakkede med folk om, hvor glæde de er for at have et fysisk magasin om vores øsker kurs form. Og så fik jeg snakket med diverse Copenhagen Comics gæster på to af scerne. Og en af de samtaler får vi her i dag. Alles er belgisk illustrator, som har gæstet både Copen Comic og Ardople, og er dermed begyndt at blive en fast tilbage på danske Tegnserfestivaler. Han har selv valgt udgiv to af sine værker medotiske illustrationer på dansk, og det var erotisk illustration, jeg tog en snak med ham om pense søndag.

SPEAKER_03 1:37

God fornøjelse.

SPEAKER_02 1:39

Hej. Og velkommen til Koben Comic. Og det her det sidste programlet på den her scene, jeg hedder Arning, og jeg er podcastværd på en podcast, der hedder Tegnesær at jeg snakke. Og med mig i dag har jeg fået en mand, som er begyndt at komme ganske ofte til Danmark efterhånden. Så jeg skifter lige over til engelsk og snakker ikke så godt fransk, og det er ikke sikkert på, I gør hellere. Hallå?

SPEAKER_00 2:05

Yes.

SPEAKER_02 2:06

Welcome back to Denmark.

SPEAKER_00 2:07

Thank you, yes.

SPEAKER_02 2:08

Third time.

SPEAKER_00 2:10

Third time in Copenhagen, yes.

SPEAKER_02 2:11

Third time in Copenhagen. And you've been to Aarhus for Red Bull as well. Last year, yes. Yeah, exactly. So welcome back to uh to Denmark.

SPEAKER_00 2:19

Thanks.

SPEAKER_02 2:19

And you've brought the good weather with you from France, from what I can tell.

SPEAKER_00 2:23

Yeah, apparently.

SPEAKER_02 2:25

Yeah. That's something we uh I come from Iceland, so that's something we say often that when Icelanders travel out of Iceland, they bring the bad weather with them. But thank you for bringing the good weather.

SPEAKER_00 2:35

You're welcome.

SPEAKER_02 2:36

Now, this is uh a panel or or or talk which we are turning into uh an impromptu live draw.

SPEAKER_00 2:45

Yes.

SPEAKER_02 2:46

And one of the reasons that we're doing that is because you have some wonderful work which is erotic art.

SPEAKER_01 2:54

Yes.

SPEAKER_02 2:54

And I know that some of the books are lying on the floor next to you, but you've we've decided that instead of maybe looking at the books to start with, that you're gonna be penciling while you talk and we'll see what comes out of that.

SPEAKER_00 3:09

Always something interesting, I guess. Yes.

SPEAKER_02 3:12

Yes. Um and one of the things that you mentioned just before we came on stage is the fact that you work a lot with live models.

SPEAKER_00 3:19

Yes, I do.

SPEAKER_02 3:20

So could you talk us a bit through working with live models for erotic art?

SPEAKER_00 3:27

For me it's important because if um working with live models makes it more realistic. Makes it the fact that I draw real women and not phantasm women, you know. When you start working without live models, you start working uh drawing um women like you have seen them before, you know, like superheroes, uh the stereotyped women. So for me it's important to draw real women and with uh diff specific um yes characteristics. And to get that, I have to work with live models. So I have I would say ten different models, which which I I work now for years, so I know them well, I know their bodies well, and um so I can get really women, real women actually.

SPEAKER_02 4:15

And what is the sort of if if somebody were sitting and an aspiring artist who wants to to go beyond, as you said, uh drawing from your imagination and getting into drawing live models um outside of a croque session, for example, what is the what is the way to to start that kind of working relationship that then builds? What what do you do to to like help a uh a relationship grow?

SPEAKER_00 4:47

So with my models. Yes. Yes, yes. Yeah, first of all, you have to meet them, you have to talk to them. I have always first on first rendezvous where I show them my art. And I have always a project also. It's never I never gonna work with them just to to draw women. I mean, I have always a project, so it's very precise, and they uh so I work with them for that specific project. But that puts them in so they are confident, I mean, therefore. And then it's the fact also that you uh we talk a lot and I start working. I mean, the respect is very important. I mean respect women, never impose anything, so I I let them pose how they want. So it's that that creates uh confidence b between uh them and me, yeah.

SPEAKER_02 5:35

So uh and I'm guessing without knowing that that this, as you said, can be a process that can take a long time in order for them to feel comfortable enough to take off all their clothes or pose. Do they select the poses that you draw?

SPEAKER_00 5:52

Do you select the poses? But it depends. Some girls are more shy than others, of course. Some if in fact some will take one or two sessions to take their clothes off, others will pose immediately and you would no problem. And also I have um a lot of uh models that have friends from my former models or sisters, yeah. And so so they know me already, they are in confidence, and that's very important. Yeah. And never go beyond what they want to do, never impose anything.

SPEAKER_02 6:23

Exactly.

SPEAKER_00 6:24

That's very important.

SPEAKER_02 6:25

Yeah.

SPEAKER_00 6:25

Yeah.

SPEAKER_02 6:26

I bet. So once you start drawing and which you're doing now, um do you have any any specific way in which you start? Um I know it's is it hard to see it on the screen? Is it good?

SPEAKER_00 6:43

Maybe I could try with the maybe I could try with the might be with the pen, maybe with the this one's. Yeah.

SPEAKER_02 6:50

Yeah, I think because I think it works with you with your lifting up. I don't know if if it's the lighting upstairs. It looks like we can't see the line quite clearly. I don't know. Is it okay from down there? Okay, let's see what happens once he switches over to a pen. Better? Uh excellent.

SPEAKER_00 7:10

Yeah, yeah, much better. Okay, okay, okay.

SPEAKER_02 7:13

It's always uh always a question of lighting as well.

SPEAKER_00 7:16

Yes. Um choice of weapons. Sorry? My choice of weapons.

SPEAKER_02 7:23

Your choice of weapons, yes. Um so when you when you start working um you said with projects, what is it that uh defines the project for you? Do you do you look for something classical or do you want to try out different things?

SPEAKER_00 7:42

I left you to sing out of the box. I was doing something special. Uh I'm doing mainly art books, some comic books too, but many art books. And it's generally I have that idea and I want to do something about it. And I have done a a book uh three years ago about mirrors. That was because I had an exhibition in Paris, and that was about my erotic stuff, and there was uh a part of the exhibition they want to do something more spicy. And so the galleries say, Yeah, let's do some spicy, uh, erotic air. And I said, Okay, wow, could I do that without being vulgar, without being like, you know, uh I don't want to do pornography, then we want to to keep it erotic. So I talked with it with one of my models, and we came up with the idea of of uh mirrors. We did a whole session about mirrors where the model could see herself in the mirror and I was drawing the two, and where she could see herself more detailed, more uh explicitly. Yeah. And so we had that twist, so it was more spicy, but it it was still erotic because there was that mirror because my model was okay with it, and she came up with ideas. Yeah. So that kept it cool and so I um talking also with my models about my my project, my ideas. And sometimes they go somewhere else because they bring some nice ideas and it's okay, let's go there. Okay. So it's teamwork basically. Yeah. So how far are we here? I'm talking, I'm not drawing.

SPEAKER_02 9:14

Well, it's always it can be difficult both talking and drawing at the same time, I imagine.

SPEAKER_00 9:19

Yeah, yeah, but let's try do it. Let's try to do it.

SPEAKER_02 9:22

Yeah. So you don't talk much with your models while you're drawing. Yeah, yeah, I talk a lot.

SPEAKER_00 9:27

I talk a lot, yeah.

SPEAKER_02 9:29

And and in terms of um the I suppose it's newfound Puritanism all over the place, uh, how how do you feel that the public at large is is uh receptive to the idea of the of erotic art and and erotic drawings. Has that changed uh over the the past couple of years?

SPEAKER_00 9:57

It has changed, yes, yes, because if of course people when they say, Oh, okay, he's drawing naked women, okay, he's a man, he's over fifteen, you know, it's like it's like very retro. And um so I have to explain what I'm doing. So they have to read it, and then they they change their minds. Especially I got that book about uh my models where I asked them to write their this the meaning and why they are posing for me. And that was something very important. So I tell that to the people, yeah, okay, um it's not only naked women, it's beyond that. And that helps. But first is always yes, like, oh okay, once again erotic, once again a man doing something for men.

SPEAKER_02 10:38

Yeah. But Yeah, because I I I'm starting to think, um thinking about all the artwork that you see at museums, all the statues of naked men and women. Uh in antiquity it was no problem with nudity.

SPEAKER_00 10:54

With nudity, yes, because there were men, and then came the nudity of women in art drawn by men, because at that time there were no female. There were female artists, but nobody wanted to expose them. So basically all the museums are full of paintings done by men of naked women. So that's the problem. And so here again, I'm here drawing naked women by a man. So it's once again here we go. But I try not to to do what they did at that time and to keep all those feminist um theories which are completely uh completely agree with that. And it's important to talk to my brothers because they are they are young and uh they are feminists. So I asked them, okay, you are feminist because you tell me about that. How is it that you are uh here lying naked in front of an an old man here, yeah, all dressed up throwing you? And they all told me, tell me often the fact that I'm naked in front of you is it's like a manifest means I do it because I want it. And so that's my my um my uh we say my art to say it to to prove myself, to show my body.

SPEAKER_03 12:01

Yeah.

SPEAKER_00 12:01

It's it's important. Also the fact that I draw them like they are, so I don't go improvise or I don't draw them big boobs if they have small boobs, for example. I just respect their bodies. Yeah. And they find it good because it gives them more uh uh we say self-confidence. A lot of women have problems with their self-confidence because of all the stereotypes they see in advertising in art or anime. So you have to be slim, you have to have big boobs, and uh and if you don't have big boobs, yeah, it's okay. And the fact that I'm drawing women like they are. So they feel um yeah, they feel good actually seeing themselves drawing like that.

SPEAKER_02 12:39

So there is some sort of juxtaposition in the way that um magazines portray women. They are often photoshopped thinner than they are in reality.

SPEAKER_00 12:52

Yeah, of course.

SPEAKER_02 12:52

There's all the talk about how the camera adds kilos. Do you feel that that um pencil art or or drawn uh art of the the body, rather not just the female body, but the body in general, is more representative, or or does that also fall on the artist to to do a proper job?

SPEAKER_00 13:17

It depends on the art to do a proper job, yes, of course, because there will be artists who are going to draw, like I really love Manara, for example. But he's drawing this kind of women. It's not a realistic women, it's an it's Manara women. Therefore I like somebody like Liberator, Tanino Liberator, he is drawing real women, and that's important to me. And I have tried to respect the bodies because it's the only way to to do it and to get it and uh that the mindset of people uh evolve. I'm trying.

SPEAKER_02 13:48

Yeah. And and we earlier we just jumped straight into it. Drawing naked women, drawing erotica.

SPEAKER_01 13:56

Yes.

SPEAKER_02 13:56

Um but what is your uh artistic background before you you started attending comic book shows and and what what was it that got you into uh the arts in general?

SPEAKER_00 14:08

I did uh artistic studies in Brussels and uh I started in uh advertising agency. Okay. Yeah, because y you have to eat. Yeah. And uh in uh as as an artist, one of the only uh sectors where you can get money it's advertising. So I did that a lot, and I did my comic books uh in the evening. Like I know a lot of artists do it. And I started with horror horror uh comics. Big horror fan. And but I always put some erotism in into my horror books because it I think it's all very linked when you're a big movie fan. Yeah. So when you see especially Friday 30s, it's always when women uh young couples are into the woods and doing things, and then when it's Don Jason comes and just it's Big America who says that was wrong, true, I kill you. So also all those stereotypes.

SPEAKER_02 15:06

And and you said you said Brussels, and of course I start thinking okay, Brussels Valouny, and and all of the the great uh Belgian artists that have come out um throughout the years. Are you inspired by them as well in terms of how you draw women or or yes?

SPEAKER_00 15:28

I I read a lot of uh BD Franco-Belge, as we tell it, yes. Not especially women, actually. I would have loved Hermann, for example, who passed away a couple of months ago because he was a great storyteller. I mean nobody drew or told storyline like he did. Um I love Franquin because of all his great art he did. But women, it's especially Italians. I mean Libertori, Guido Clepox, and uh yeah, I think yeah. What erotic it means for me it's more Italian artist than French.

SPEAKER_02 16:02

Okay. Yeah. And I say how far are we here?

SPEAKER_00 16:06

Yeah, I'm sure. I don't know.

SPEAKER_02 16:08

I don't know how how when when do you know that you finished the piece that you're working on?

SPEAKER_00 16:14

That's very hard to know. That's very hard to know the part. You just say, okay, now it's done. I would say here it's done. Maybe I shouldn't have done this here, but I could do another one, for example.

SPEAKER_02 16:24

Let's do another one. What do you say? Wanna do another one?

SPEAKER_00 16:26

Another one? Okay, let's go for another one. Let's do some a back, for example. I like drawing backs.

SPEAKER_03 16:35

You have to?

SPEAKER_00 16:35

The draw the backs is very interesting. Yeah. Okay, there is nothing to draw. Basically, a back.

SPEAKER_02 16:41

Oh, the back? Oh yeah.

SPEAKER_03 16:43

So that's interesting to do. I know I'm being very quiet now.

SPEAKER_02 16:50

I really do enjoy artists just drawing because I've I can't draw. Do any of you guys draw?

SPEAKER_00 16:57

You draw? Yeah.

SPEAKER_02 17:00

Don't ever don't ever stop.

SPEAKER_00 17:02

No, don't ever stop then. The only way to get it is never to stop.

SPEAKER_02 17:07

Yeah. So uh what sort of projects then have you been working on recently? You mentioned one where you said that the women wrote texts about how they feel. Maybe we should pick up the books to show people. Because that also seems like a very um liberating way for people to I think you can just turn around so. Oh, it's like that.

SPEAKER_00 17:34

Okay, okay, okay.

SPEAKER_02 17:36

Well, currently it's it's mirrored here, but uh Oh, it's good. Okay, okay, great.

SPEAKER_00 17:41

Yes, yes, yes, okay. Yeah, it was liberating for some women, that's that's for sure, because actually when I'm talking to all those my models, a lot of them told me, yes, I it makes me feel good when I see how you draw me. And so I asked them, could you write me a story or a text about what it meant to you to pose? And I got very, very nice text. Very touching sometimes of it. For example, I've got Dust here, which I never suspected because it's really a very beautiful woman. Ever for example. And she wrote me a text that she was uh she was at war with her body and said to my I can I can read it aloud in Danish if you want.

SPEAKER_02 18:26

Because it's mirrored up there. At poceren er at give sig selv muligheden for at opdage sig selv på en ny måde. Det er at se sig selv under en anden, et andet pris. Bage efter har mit forhold til min krop ændret sig. Vi er endda end med at slutte fred kroppen og jeg. That's uh that's a good take. It's a good take.

SPEAKER_00 18:50

And when you see how she looks, it's who could imagine that that woman would have problems with her body?

SPEAKER_02 18:58

So it's and I'm just thinking how how women would react, how how they are uh if they're thinking differently in if this were uh f photographs, for example, um how how would they be reacting? And I'm not asking you to enter their mind or anything, but but it's maybe more direct because it depends on the photograph, also.

SPEAKER_00 19:24

It depends on the type of I did a couple of drawing sessions with women who had uh breast cancer. Okay. And who had been, I don't know what you say in English, who have been uh her breasts have been uh taken off.

SPEAKER_02 19:36

Yes, I can't remember the word either, but I know what you mean.

SPEAKER_00 19:39

And they have of course problems with the uh feminity being a woman without breast. Yeah. And I know there was in some clinics they're doing photographies and I did it with drawings. And it was very touching to see how that woman reacts to her drawings and said, Oh yeah, with me, finally it's yeah, it's not so bad. So it was interesting. And the fact that it was drawings was more direct because photography is of course like a mirror. So it's very, very, very realistic. Yeah, with drawings, there's always the the the eye of the artist who do some interpretation of the woman. So yeah. So there is a filter more, there's a little more space between and and it was yeah.

SPEAKER_02 20:22

And how long would a a drawing which this one is more detailed than the one you were doing earlier, how long would they have to stay in in a pose or or fifteen to twenty minutes.

SPEAKER_00 20:33

Okay. Yes. Generally there were some more m faster. The ones who are a little bit more those are very quick sketches. But when I take my time it's yeah, twenty minutes, it's those sketches is fifteen minutes for example, something like that, yes.

SPEAKER_02 20:54

But but drawing from life rather than drawing from from photos and drawing from uh your imagination. What do you feel that that both gives to to the person being drawn and what does that give to you as an artist as well?

SPEAKER_00 21:11

To me it brings surprises. Because when they when they move when they pose, there is also the most interesting are the in-between the poses. When they when they move, when they try to find a new pose. And sometimes it's just, oh stop, it's perfect. Or sometimes they are just oh, I have a look at my phone, you know, and then okay, stop, it's just perfect. But they have to stretch, and then it's just perfect when they stretch. Yeah. So just they give me surprises. And for them, yeah, as I talk to, I think they gave them uh self confidence. Yeah.

SPEAKER_02 21:42

And and yeah, they it gives them the confidence that they're gonna be able to do. I think that they wish they had earlier, perhaps.

SPEAKER_00 21:50

Yeah, they had earlier, they have before she she has been a mother. So her body I have drawn her before and after her pregnancy. And she's yeah, I will pose, but you You know, my body has changed and of course it had not changed that much. But it was important for her to pose again and to see how she was now uh her body was as a mother. So it's and every woman has her story and her reason to pose. Yeah. And I have to respect that. Or her reason to stop posing, for example. Some tell me about ten years about that and said, okay, I I'm done. Uh I've posed for ten years. Nothing to see with you, but just uh for me I it's done.

SPEAKER_02 22:30

Okay.

SPEAKER_00 22:31

So I have to respect all those decisions too.

SPEAKER_02 22:34

And and to to get slightly go slightly back to something you you mentioned earlier with the I'm not gonna call it accusations, but but the insinuations rather that now here's uh an elderly, well not a not an elderly, a middle-aged white man drawing naked women, uh, and I believe that that's your wife sitting over there.

SPEAKER_00 22:58

That's my wife sitting over. That's Helen. She notes all my models, for example.

SPEAKER_02 23:03

So so what do you do in in terms of of reducing that sort of stress both for on her part but also for for your models? So she's introduced to them as well and and everything.

SPEAKER_00 23:16

Yes, she knows a good part of them. And I want to do some immediately, I mean, but uh but one way or the other they see her my wife. Yeah. Sometimes I'm going to draw at my uh model's house. Sometimes they come by me at home, so we meet, and uh she always sees my sees my drawings when I'm when coming back, so there is no hidden agenda or nothing. It's yeah, it's clear. And she's great. I know I have a lot of chance that she is not jealous.

SPEAKER_02 23:44

That's good.

SPEAKER_00 23:45

Um here we go for my for my back.

SPEAKER_02 23:49

Looking at a little lady from the back who has her hair slightly whipped to the side from what I can tell. Yes, or do you have any sort of advice for either artists or aspiring artists when it comes to to opening up for the possibility of live drawing? What what do you feel you had known when you started doing live drawing that that you wish you had known before you started?

SPEAKER_00 24:24

Actually, I I started drawing life model at school. So I was quite young and so I learned it. I there is really nothing that I I I will not say that I know everything. I mean there was no surprise about it. So just all you can say is respect women. Respect as as they are and and accept what they give you.

SPEAKER_02 24:48

Yeah.

SPEAKER_00 24:49

Yeah.

SPEAKER_02 24:50

So let them let them let them do the the that that do the post that they want to do and then you draw.

SPEAKER_00 24:55

If you have an idea, you can always I'm talking about it. And if it's okay, we're doing it. If she's not okay, we don't do it. Yeah. It's as simple as that. And I think if you respect that the deal it's done. Yeah. Yeah. All the rest is just let's go and do it. Yeah.

SPEAKER_02 25:13

And how long have you then been doing uh erotic art?

SPEAKER_00 25:18

Uh I would say now. Oof, that's my microphone. About something about 10 years. Okay. 10-15 years, yeah.

SPEAKER_03 25:28

Yeah.

SPEAKER_02 25:29

And and as a result, I believe you have been invited to several galleries with exhibitions all over the place.

SPEAKER_00 25:39

And I was New York, for example, I was in Angouleme, you know, that festival in Angouleme. And there came a gallerist, and he has looked at me and yeah, it's nice what you're doing. Uh I've got a gallery, um, but I I don't have an aerotic artist, so would you like to be uh exposed in my gallery?

SPEAKER_02 25:56

Was that Philippe?

SPEAKER_00 25:57

That was you know Philippe?

SPEAKER_02 25:58

I don't I haven't met him, I've heard of him. I know he's uh he's got a wonderful gallery in his.

SPEAKER_00 26:03

He's got a wonderful gallery, yeah. Um and he came along and he's a French man, so he speaks in French, so I was not really surprised. So, oh yeah, why not? Nobody says no, I don't want to.

SPEAKER_03 26:13

Yeah.

SPEAKER_00 26:13

I said, okay, I don't have time to talk to you right now. He's very speedy. But I will call you back when I'm back in New York. And I say, when you're back in New York. Yeah, yeah, I will call you. My gallery is there. So I did it. He it was in the beginning of the year, and six months later I was there exposing.

SPEAKER_02 26:29

So I was and how long ago was this?

SPEAKER_00 26:32

It wasn't 22. So four years ago, yes.

SPEAKER_02 26:36

Okay. So and and how was how was the art received?

SPEAKER_00 26:40

I mentioned the Puritanism before, and in 22 that was still been under that was still at the bar then because I don't go back right now because I did a lot couple of uh comic ons since since then. But now, yeah, I don't go. I just no way I'm going to the States right now.

SPEAKER_02 26:58

I'm not I I don't think I could even get in, to be honest. I mean I post a lot of stuff I yeah that they won't like.

SPEAKER_00 27:05

And and I want to take the chance or the risk to to get arrested or whatever. So no, I I I would just wait at his stuff.

SPEAKER_02 27:14

But during during your visit there, did you did you experience any sort of indication of the the puritanical shift that's been happening there? Or perhaps did you did you get to draw live models in the US while you were there? Yeah, yeah. Okay, no.

SPEAKER_00 27:33

But I don't expect puritanism because I think in the comic cons it's a very cool public. I mean it's like here people are open-minded and there's no problem and that's how yeah, it was a good, always good sales in America. Yeah, correct. Of course, they always wanted with superheroes. I mean they wanted to have yeah, uh erotic art, but it has to be a Wonder Woman erotic, or I know, you know, or Spider-Woman or whatever. So they they they need the comic sets. They are really, really branded with those uh superheroes. Um so they can go against that. But there was no no even also in the gallery, it was good accepted and yeah. And I had some my first uh American client, he was oh yeah.

SPEAKER_02 28:15

So nobody came with a request to draw Wonder Woman naked.

SPEAKER_00 28:18

No, no, I didn't get Inquisition or so, no, it was no, it was nice.

SPEAKER_02 28:23

So I noticed there was a hand in the crowd when there was no no not not for a question, but that you were an artist. And I was just wondering if you act if you do have a question. You're just here to enjoy it. That's fine. Okay, thank you. I'm just gonna check the time. Are we on time? We're we're have we have about nine more minutes left to go.

SPEAKER_00 28:45

Oh right. I have to talk for nine minutes now. Okay. Or do another drawing, for example.

SPEAKER_02 28:53

Well, the the nice thing about drawing live is that and and with this audience that they can get a drawing home with them if they want it afterwards.

SPEAKER_00 29:00

Of course they can get it home. So we got three people, so three drawings.

SPEAKER_02 29:04

Three people, three drawings.

SPEAKER_00 29:06

Hopefully I were not 25.

SPEAKER_02 29:08

We have to say it because this is being recorded, that there are people who have left, unfortunately. Yes. There were more people. Bad luck for them, bad luck for them.

SPEAKER_00 29:16

Yeah, yeah, yeah. I have talked too much. I don't know, have you?

SPEAKER_02 29:20

I don't feel that way.

SPEAKER_00 29:21

No, no, no.

SPEAKER_02 29:22

So, in terms of of um this project that you just had, this one this book was uh translated into Danish, and you've just released a second book in Danish as well. That is that is also on the other side there.

SPEAKER_03 29:35

Yes.

SPEAKER_02 29:36

Why when when there is the possibility of just doing it in English, why do you want to do it in uh Danish?

SPEAKER_00 29:46

Because I think it's more have more chances to sell it. So basically I don't know Denmark to speak English, but in France, for example, you won't sell one single book in English. It has to be in French. Yeah.

SPEAKER_02 29:59

So I know But France is uh is a huge market, whereas Danish is a relative uh modest market compared to that.

SPEAKER_00 30:07

Yes.

SPEAKER_02 30:07

Um so so why Danish though?

SPEAKER_00 30:10

Why in Danish? Yeah, why? Because I'm Denmark. And because now we have um we have digital uh prints, yeah, which permits us to do some short prints. Okay. So I don't have to print uh 5,000 copies in Danish. So we can do some short uh short runs and it's interesting.

SPEAKER_02 30:28

Yeah, and with this having been, well, being your third visit, I'm sure you ha aren't finished with Denmark either.

SPEAKER_00 30:33

I'm not Felix with Denmark, sorry for you guys, but I hope I will be back. And yeah, and people come back, that that's very cool. Yeah. Because when you sell books it's okay, but when people come back year after year, that means that they love what you do. Yeah. And that's very nice.

SPEAKER_02 30:48

Yeah. And was there any difference in the approach that you took in this book as compared to uh the book we saw earlier?

SPEAKER_00 30:55

Yes, there is a different approach in the way that I'm yeah, I'm telling some little bit of stories through the illustrations. So I'm telling actually my my my love for the black and white art for photography, for for uh paintings, for drawings. So I'm talking about the photographers like Marpeltom, like uh Helmut Hutton, but also like um people like um Alfred Hitchcock with Lagolot. And so I was trying in those books to put so here we see for example that's the the the sketches I did with my model, and then I put them in some kind of story. And people can imagine what's happening. Here for example, that was two separate drawings they put together and then you put the hotel and it becomes an hotel room. What happened in those hotel rooms? I don't know. But the reader will can imagine what happened. Yeah. So that was basically the difference between that one. There was no story told, that was just drawings with the the testimony of my of my models. But here you can imagine all kinds of stories. That was basically what I told you, the surprises. There was a break between two poses. Oh yeah. And my model took her phone just to text a message. And I told her, okay, don't move, it's just perfect. And there was a total road too. So I would never imagine drawing a total there. Yeah. But because it was just on her sofa, that brings something very cool. Yeah. So that's typical of Yeah, that was also about when you're going to New York, of course, you're you have to draw New York. I mean, it's not like it's those stupid cities who just you're branded by New York when you come back. It was. Yeah, it was the same also. Yeah. Like all those they can't stand without looking at their mails for two hours. Yeah. So we have to do some mail poses. And she was looking at her mail then. That was drawing in Brussels, and then that was uh because I was in Toronto, I said, well, that would be nice to put her in Toronto.

SPEAKER_02 32:58

And so it's Okay, so there is in in this book, there is for the sake of storytelling, you are are using some of the the sketches that you had in the other book. The other book and and creating uh a a different narrative. Yeah.

SPEAKER_00 33:13

Yes, in relation with my influences in comic books or or painting or stories or travels or whatever. Here was I wanted to do all that was to do it when she came out of the shower.

SPEAKER_03 33:25

Yeah.

SPEAKER_00 33:25

What was the good pose? So I did here six different poses to try and then that one was cool because it was also pose you don't are used to see. Maybe this one is more used to see.

SPEAKER_02 33:35

So it's actually an interesting contrast to the exhibit that's on the other side of this wall. If you guys haven't seen it, go check it out. I I love it. And it's a slice of life kind of thing, and and I actually feel the the same applies to this work, whereas the other is is dark humor and and to a degree very mean. This is that slice of of life where yeah, the woman was just getting out of the shower, drying her hairing her hair, and just and I'm just taking sketches. Yeah, exactly. So so and and there is there is something very appealing about it. It's not it's not sexual in any way. No, it's just and it's just some lifestyle. Very beautiful art. Yeah, thank you.

SPEAKER_00 34:26

So they did it with Indian ink. I'm a big fan of Indian ink, that's great.

SPEAKER_02 34:32

And did you No, you didn't start start just straight up with Indian ink on any? It was always a pencil press.

SPEAKER_00 34:39

Yes, yes, yes, yes.

SPEAKER_02 34:40

Yes, yeah, it looks wonderful.

SPEAKER_00 34:44

Yeah, yeah. Also those surprise and if you see it. But she has a little dog who's always sleeping. Yeah. And farting.

SPEAKER_02 34:52

Well the dog was farting. Oh yeah, my goodness.

SPEAKER_00 34:56

So but so I quit to roll the dog and I quit the Kleenex, yeah. Yeah. And that makes it look real because I lit all the stuff of the of the apartment stand and see if you see it like this, yes. And so the dog is on it, and that's what I call surprises. And that that you don't get that if you have not live models.

SPEAKER_02 35:15

And what's then again, if if we were to uh to contrast the last thing that you brought with you to the stage, which is the pinup models that you also have. So again, what is uh what is the difference then between the work that we've seen so far and and the drawings that you've done on the stage and now these uh wonderful pin-up models?

SPEAKER_00 35:35

Those pinups. Those were made for an exhibition in Belgium about um the Second World War or the D-Day. It was the 80s anniversary last year, I think. Yeah. Although this year, no, last year. 45, 45, yeah, last year. And so the galleries told me, yeah, we're doing something about uh the D-Day, and everybody was drawing planes and ships and soldiers and and dying soldiers and whatever. Do me something, uh, what what the hell should I do? And I say, yeah, actually, um, let's do my models and go ahead. And and I really love the pinup art from the 50s, 40s, 50s, what they call the nose art, you know, on the planes. So I tried to to to do something as uh how we call it homage in French, I don't know. Tribute homage, homage or tribute, yes, an homage. To all those um those pinup arts where pinups were posing too at that time. There were models who were posing for those those artists.

SPEAKER_02 36:33

So those things will be coming back to So again, these models were these drawn then live with models?

SPEAKER_00 36:41

Actually, it was some of them and some of them was by photographs. Okay. The one who was jumping was a photography, for example, yes.

SPEAKER_02 36:47

Well you could you could cheat and just have her on live.

SPEAKER_00 36:50

No, I did I I didn't cheat, I took a both. Let's be honest.

SPEAKER_02 36:53

But when no, when I say cheat, I mean she could have jumped. She she could well you it's very I think it's very hard to draw somebody jumping.

SPEAKER_00 37:01

I could have taken pictures of it and I don't know.

SPEAKER_02 37:03

No, but but I was just thinking she she just has to look like she's jumping.

SPEAKER_00 37:07

Yeah, sometimes I'll do something like that. But here I I I didn't think about it. I just took a picture of a woman. Okay. And it was Yeah.

SPEAKER_02 37:15

But I think that's our time for today. The show is closing in a few minutes, unfortunately. But there is enough time for you guys to run to uh Fun Sanzik Faye, where Alain will be in a few minutes. Um I really enjoyed this. It was nice to get uh to get to know you a little bit better. We haven't had a chance to talk when you've visited previously. So thank you very much for joining us.

SPEAKER_00 37:42

Thank you so much, and maybe next year then.

SPEAKER_02 37:44

Yeah. Okay. Yeah, let's do it.

SPEAKER_00 37:46

Okay, and if somebody wants, I can sign.

SPEAKER_02 37:48

If anybody wants one of these, quickest hand on the draw, and a quick hand on the draw.

SPEAKER_00 37:54

And one, two, okay, it's there.

SPEAKER_02 37:55

Yeah, that was which one do you want? I'm asking you were first, so I'm asking you first. That one? Okay, you got this one. Come on up and pick up your drawings. Or maybe have them have them sign themselves. Of course, of course, of course. Thank you guys for coming.

SPEAKER_00 38:09

Thank you. Thank you so much.

SPEAKER_02 38:14

Det var det for dengang. Og om to uger vender jeg tilbage med et nyt afsnit for Kopenhagen Comic. Husk at smide en like på podcasten, skriv en kommentar, smudt forbi nogle af de andre gode danske podcast som Tanser, Radio Rakom, Super Snake, Verden i Følgere serie magasinet og mankak. Måske tekniskt set ikke dansk, men produceret i Danmark. Og så som altid læst nogen tjänser.