Exclusivo: Te presentamos a la Reina de la Plastilina, la inglesa Karen Caldicott

Ella es la Reina de la Plastilina. Esta inglesa de Leicester hoy vive en las afueras de Nueva York y ha cambiado la concepción visual de publicaciones tan tradicionales como The New York Times, que sólo publicaban ilustraciones.
1. What techniques and what materials do you use?
I use pasticine, it's a modeling clay, the type that's used in clay animation, or for instance for a bust that will be cast in to a bronze. It's non hardening so art directors can easily get me to change things, and they usually do! (Para ver paso a paso, cómo trabaja Caldicott, entrá en Chillart)

2. How was it working for McCafe? What parts do you like best?
McDonalds ...
I've never eaten a Mc.burger, I'm vegetarian. And also I'm a tea drinking English lady, coffee of any kind makes me sickly.
However I was thrilled when I received a phone call from the Vienna office of DDB saying that my clay work was just what they were looking for, for an upcoming print campaign.
The entire process was extremely hard work, the art director knew exactly what he was looking for, but conveying that to an artist is often, I think, a trial and error kind of thing. We did both get to a point when we were sick of each other, but the end result is something that everybody seemed to be happy with.
I love seeing the McDonalds logo next to my odd looking characters! I think it was amazing that the art director managed to get the client to approve this project, because it really is a little out there!

3. How does a profession not known for having many women in it?
It is such an isolated profession for the most part, that in truth I'm not aware of being surrounded by so many males.
The fact that one does work alone is some thing I absolutely love... right now I'm based in the wilds of rural upstate New York,
not another illustrator or art director in sight!
However I do stay in touch with what my peers are up to, that’s what Facebook is for!

4. What is the feminine traits that you put to work?
I'm kind of a tomboy... if you can call a married, middle aged women that?
Feminine.... at a push, it's perhaps the attention to fine detail that I enjoy.

5. How do you choose the characters that will work?
I love old men or fat people, big, bad and ugly ... lovely!
Pretty, young, and sweet, I'm not so enthralled.
However, usually I don't have a choice. I'm asked to make a certain character and I'm always happy with the problems that any face gives me.


6. What are your artistic influences?
I'm not so much influenced by illustration trends or styles. I do post images on my blog from artists that interest me. http://littleclaybits.blogspot.com/
I don't go to enough shows, but when I do I'm usually impressed and inspired with what is being made these days.

7. Where did the inspiration for Michael Jackson make a very formal, almost British?
I think that for so long he was very strange and scary looking, his face was really quite unreal. I decided to make his attire somewhat understated to balance the weirdness of his face. He was an excellent subject for me.

8. How long does it take you to do one of these works as, for example, Jack Black?
It varies, some times it can be a day, but more often there's a struggle some where in the process, so it can be 24hrs
to a week, or longer....
Jack Black was part of the New York Magazine series. Back in 2006 I was asked to make a head a week for the magazines listings pages. This character would be seen in 6 or 7 different poses, enjoying different aspects of NY: restaurants, galleries, night life, etc.
A week was quite a tight deadline to both get a likeness and change the expression and clothes for each additional pose.
It was great fun. A huge big thanks to the amazingly talented Creative director, Luke Haymen, for the best assignment I’ve had to date.

9. How would you describe your style?
Well, what I’m not is a caricature artist. I like the idea that when you come across one of my pieces, be it on line or in print, you’re not exactly sure what you’re looking at. At their best, I hope for a little bit of unease, If the viewer asks, "what am I looking at here?" then I think I’ve done my job.