Infografías de Arquitectura e Interiorismo
Portfolio en http://www.wix.com/alexcaso/alexcaso
Todas las imágenes Copyright Alex Caso 2010
Instalación Virtual
Bestias de la Playa
Copyright Alex Caso 2010
Colección "Extraño Comportamiento"
Copyright Alex Caso 2010
ArtSlides
Copyright Alex Caso 2002
Diseño Postal "Decídete Ya"
Copyright Alex Caso 2004
Interview with Alex Caso
Latinarte Magazine
05.2001
Argentine Digital Illustration pioneer and current Art Director in graphic and audiovisual formats, Alex Caso talks about the link between art and technology.
Interview with Alex Caso
By Maria Gainzai
What were the challenges that you had to face when you stopped working with traditional elements and starting using new technologies?
I was tired of conventional tools; I needed something faster. And I got it: in 1986 I bought my first computer. Since then, graphical production changed radically for me. I was able to explore the other worlds of neo graphics, 3D, animation, composition, editing and graphical manipulation, both with photograms and with video sequences.
How would you define your profession?
As methodical and creative, sometimes a bit stressing, since an idea is not a mathematical equation.
How do you develop an idea?
When I think of an idea I need to visualize it. Sometimes I sketch a basic diagram with a pencil, only its shape. From that point, I begin to work and perfect it. And I need to choose the adequate technology to produce a given effect or a digital editing station for the graphic composition in video format.
What has been the most interesting project in which you have worked?
I produced graphic post production and introductions for documentaries in high definition (HDTV). it was a real challenge. High definition technology has been completely redesigned during recent years.
Some of your works show a particular treatment of the photographic image. Do you work with the image in audiovisual productions the same way than in graphical productions?
Actually, it is the same thing, but with a greater complexity. A static photograph requires a more committed language, since it remains in the space-time. While in video, at a speed of twenty-five photograms per second, the second lasts a second, so you have to show some- thing quickly and directly, besides working individually with each of the photograms in the work.
How do you manage to keep the experimental and creative aspects in your work without weakening the commercial aspect?
Each work offers experimental possibilities, whether it is designed as a mass product, or an exclusive piece or a film. I believe that is the artist .
Latinarte Magazine
