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not the same as I choose to make a note, that one is "autoelija." And I was lucky, almost two years, Charlie Carey, the blog The Sombreritus chose me to make this note. That is something that stands out as interviewing Jorge de los Rios is like talking a bit with a huge chunk of our childhood and is not an everyday thing. Who else, the less I did not have a "fichu" him in their hands?.
With you, the note made in this BIG, in capital letters:

Jorge shows some memories and while we will count. Charlie and myself, looked ecstatic as we hear the Master's work.

J: I had a soccer game armed, and when I finished school, I remember my dad watching me play asked me what I did that, if I was going to feed!. Time passed and once asked me about that game, I took it, I showed and I paid a certain amount of money for each figure, but a check. I went to see my dad to get him to change, he said, "good is good" but when he saw the amount, he said: "What happened?". And I, who had come to him to "give back" or anything like that, I just went to cash the check, I said "see? The pin pin fed me "(laughs)

C: Where born, George?

J: In the Military Hospital. I'm from "gestation Catamarca. It happens that the military was in several provinces. Dad was in Salta, Corrientes and spent time in Catamarca. So I was born here, but of "gestation Catamarca.

G: As a child I always had pencil in hand?.

J: Yes ... came late this year or the samples and they said "it made his dad." .. I have a story once, the son of Dr. Diaz, came to my defense and said, "is the best 'draw' the degree" (laughs). I thought I did not think I had done ... I had to redo notebooks ...

C: you always been self-taught?

J: No ... there are people who proclaim "self" and not ... I was lucky to be before 20 years working with Toño Gallo, Divito, Cale and many others. I was laburando, passed them and I said "is nice to see, give a little more here" ... teachers ... were working side by side ... there is no self, there is always a reference.

G: Toño "Gallo was the one who drew to Cholula, right?.

J: Yes ... those were teachers ... I have been lucky, at age 19 was at an advertising agency, because I liked the sketches, agricultural machinery. And there were circumstances, Abel Ianiro ( http://www.museodeldibujo.com/biografias/ianiro/ianiro.html ) died very early and I had to replace it. I called for "quizzes", and I started doing the covers of TV Channel

G: What was the jump, then that child could not stop the pen when it turned professional later?. The time of advertising illustrator could place it as your first job?

J: Yes, but be careful, because if you grab a package of cartoons when I was twelve, I realize that I always liked the cartoons ... I had a style, setting and drew me ... Yes, that time did my first jobs ...

C: Who admired on cartoons?

J: A Ianiro Abel.

C: And outside?

J: Mad magazine did you see?. I liked Jack Davies. I have many things besides "repurposed" from others, why I say that there is no self, there are people who never studied but has machetes, references. And that's not embarrassing. I remember one time told me TV Channel "are over the gills, ears, pork and stock. And the cartoons have to be all cute because actors complain. " And I do not know ... they tell you that at age 20. And yet I had to make amends caps.

C: Tapas for relief?

J: Yes, one day the director told me "what he did with this guy I was with him and is heartbroken." Logically, I can not tell who was ...

G: Well, I asked out of recorder (laughs). Did it many times?

J. happens happens that when you two or three times, choose to say "from now on, are all cute." I got pats of buying the magazine, especially women who told me: "That's nice, that style, but the cartoonists colleagues told me:" What did you do? "

G: It took time adjusting to these changes?

J: Finding a mechanic and cling. Around a nose shrank and became a "stylized caricature." One day he came Raphael, wanted the top but not caricatures. So it was a stylized portrait type, something made with watercolors. There were people who did not like. Onega Erminda eg One day I said, "not angry, but I never liked those guys with those little bodies heads big, but I want a portrait" (laughs). Of course, what happened?. In 1962 there was photochromic, the slide comes in 1965, and first came to the magazine was a positive for Henry Fonda. So when I hung out with the players (who used to give away photos), I said, "uh, that'll give me, because photographers give us ten, fifteen photos." I'd say that the photographers did a copy and bye, but this was another type of laburo ...

C: At that time the material for you to develop a cartoon was yours?

J: file was, had documentation and also the memory. If you ask me how River was in '47 I tell you, but do not know how to form on Sunday.

G: where he worked as an illustrator for advertising?

J: For Fernandez Insua, was a study. Worked with multi brochures. Cover and layout inside. I was fortunate to meet people who helped me. In addition, the magazine had River, was in top Vélez, I was wrong. While in the journal Channel TV, one day I called one of the directors, who was an artist and asked, "Jorge, what we do." And I said that was the dream of my life doing what he was doing. And he replied: "So?, Are we going to live in the cartoon?. What happens if you close one day this magazine? ". He said, "we do comics." I refused because I said I did not have the style and also, I did not like. Mariano Latorre, the other director, came the next day and told me I had to arracancar with The Three Stooges. "Tomorrow or the day after at the latest." A disaster ... I suffered because I did not like. However, the fourth would say "So?, Are we taking the hand?". So I was lucky that I "just sing the" how could come hand in hand ... So I tell my students, this has to be taken initially as a hobby. I live drawing and drawing, and my hobby is what I feel. Are those pictures that I showed before.

C: When you see his drawings: is very self-critical?

J. Yes, and I was young, but everything has a limit, I try to instill in the boys. Because if that self is aggressively bad. Sometimes a guy tells me "I do not like." And I say "para, tried to add it here and is round." But self-criticism is necessary. When you do a cartoon, and you have the sketch, you know who will walk. It has happened to three, four drafts, and not see it. Then, I apply shading, shadowing, and then at least I approached photographically. Now I see them and say "how he stretched forth with this," because there was no time for rush delivery. Toño Gallo once stood next to me to see how I worked a lid. Toño was a big guy, had braces. He said: "Huey, Huey: You know when a drawing is finished?". I told him I did not know. Then I said, "a picture is finished when it has to go to the shop" and took it. Then came work and said, "What would you add?". I replied that maybe some detail, any little thing. And then I said that already work was published, he had taken and published. Those people were great ...

C: How long had to deal with a lid?.

J: In an era scribbled on a sheet, for example, "cap: 4 hours", "comics: 6 hours" and to those accounts, at one point I realized that I reached day, I had to bail. And the record was 72 hours without sleep. When there is a lot of work one has to cling to something, you have to break a record.

G: Sticking a stimulus ...

J: course, getting a boost. But the self-demand is not good. And the product is not properly, not ready to be enjoyed.

C: And how will this work received in the editorial?

J: They seemed perfect. But inside me, no. García Ferré, besides being a good businessman, has a great special ability. You finished a lid, and had a hand you did not like, but had to be there, then he came and said "ah, there's the cover ... to see ... that hand" (makes the gesture of drawing) and as was. That is someone who knows, you draw.

G: How did it work in the journal River?

J: I started in '59 as a college tutor, and that same year I entered the advertising agency ... to see, I remember when I did the check up for military service and was the magazine ... that time I suffered a disappointment because it would being a parent and you do not know how I did it ... I showed up at Campo de Mayo, a jacket and tie, because I was in the office, but of course, still had not left the judge's order to exempt me because I was going to be a father. I had peeled my dad advised me not to give the soldiers a taste that I peel them, and went there. I said, "see, De los Rios, Destination: Mar del Plata." And wondered how could that be, and I said, "when the judge signs the order, you grab your things and come back." At that time there was no phone could not tell my wife. I boarded the truck and then half an hour, we left. Going slowly, suddenly, the officer comes running and says "De los Rios, down" (laughs). I was saved and others were carrying me, I said, "with the back how can you be exempt," and I answered, "and well, I'll be father."

But what of the journal River was a challenge, because he was an artist, very talented, who had been a soldier of my father and told him: "send it to me to see what you're doing." And among the things I took, showed cartoons and looked, did not like and I thought: "why I say that if this is what I like, so I took it as a challenge. I have seen with my son in a few courses to people who suddenly "popping" and made enormous progress. You can never say "it serves, this is not" the first intention.

C: In what year began with little glasses?. "The first tapas were Don Manuel?

J: In 1964, with the beginnings of the magazine. The first tapas were Don Manuel, and then began to draw Néstor Córdoba. The girl was going to ink and colored partner García Ferré. You learned to work together.

C: In the case of the cover: threw guidelines?

J: Sometimes yes, but Don Manuel gave me lot of freedom. Just was not just what occurred to me, had to be related to the surprise that was given or a specific date as May 25, for example. The magazine grew to a circulation of 700,000 per week. Times were different.

C: Have you met there a schedule?

J: Yes, I tell you how it came to hand. I was in my house, tranqui, and did Petete Gordo Book coming out on television. Were shorter than 3 minutes. Many escaped him do, had to look for documentation, research. And when things started to walk, Garcia said, "It's going to have to come every day." I said, "what happens is that at home I'm quiet, I wake up, I get a coffee ..:". And he replied: "Well, but here you can also do." And although at first not wanted, I agreed.

C: What were your creations in the Editorial?. Do you sign your work?

J: Gnomi and a secondary creation of "Ico". But Garcia met the team and often together, working together and armed by him, that extracts the best of each, were achieved creations. Once I signed a job and I "botoneó" a partner. Garcia took me aside, talked and we agreed. All that would be signed out to outside-Casimir was a success in Spain, and of this world. So what I signed, he did with a signature grandoooota (laughs).

G: How has the work?

J: China ink, and colored leaves. She (Delma, his wife) is "Digital Operator" has always helped me. In the pc, I speak in the colored but mostly she makes.

C: Will it cost some public character to caricature?

J: Yes, Julia Sandoval. The holidays came and had to prepare and when you see 3, 4 drawings that do not break out ... serves and restart. Sometimes I went to was on the bus with the picture "and made" in the head.
Delma spoke in the lecture, the big right hand of Jorge:

Delma: What I always say you have to rest. Sometimes the vacation did not separate the job before the work is taken when we went out after I left him no more do that.

G: Can you live the picture?. The question aimed at those children who leave school and have the inclination ...

J: Yes What can not fail to address is the computer, so that today the digital part is essential. Separate the boys like.

C: What brought him a caricature of which was in "Very Interesting"?

J: depends, if I had more time enjoying it more.

album shows us the figures "badges."

J: Some of these did not reach out, sometimes you called and I said "Morete curb because they sold it to Las Palmas and the work was finished around ...

G: Did you meet in person to Pepe Biondi?

J: Yes, and I have an anecdote: once I had drawn, was dressed as Santa Claus, he liked the drawing and went to the publisher. I was not so I went to see him and my son Toño Fabian Gallo, who was then 3 years. Fabian could not get on an elevator. And it was the 6 th floor. As we walked, we passed a toy and told Fabian: "Miraaa, the Batmobile!". I said "let's see this man, Biondi, and when we left, I'll buy it." Was senile. So we went, and opened the door Biondi, who was stripped and told us: Toño!, De los Rios!, Uhhh. " I was green with polka dot underpants ... "Wait, give me a while because ... appearances, did you see?". And again, again with pants, but with a wig! (Laughs).

G: you worked with Pepe on TV?

J: Yes, and listen to this, once I misunderstood. Biondi did the talking with a famous sketch by telephone. And when finished, the camera away and you see it tail to tail with that famous. At one point I would call a cartoon where the guest, in this case, Amadeo Carrizo, was like a recognition, and as I wanted to post all lo que hacía, se lo manifesté a María Inés Andrés, que era la directora. Llegamos a un arreglo en donde hacía el dibujo pero me permitían una foto con el  retratado. Entonces vino un telegrama que decía “Rolando la Serie (un cantante cubano) se va esta tarde, presentarse urgente en Canal 13 y frenar la caricatura con Carrizo.” Amadeo, esa tarde, generó el “cachet” en la tele, que hasta entonces no existía. Entonces me corrieron para decirme “De los Ríos, mire que Amadeo está doblando allí y se va”. Yo me quedé sorprendido. “¿No quería usted una foto con el famoso?”. Le dije que lo que yo quería ¡era una photo of the drawing made the famous! (Laughs). Because I have provided a picture of everything I do. They understood that I wanted one with the guest!.


(More images of this paper made with Carlos Carella in his blog of The Sombreritus2 clicking here )