Filipina Illustrator Liza Flores

On Getting Started & the Process of Paper Cutouts (Pt. 1 of 2)

More than words can describe, her art speaks for itself.

Earlier this month, I got the chance to sit down with Liza Flores, illustrator of award-winning book and latest Adarna Digital app, But That Won’t Wake Me Up!, at the Studio Dialogo office in Quezon City, Philippines.

Raw image of Liza’s paper cutout illustration for the But That Won’t Wake Me Up cover. Photos courtesy of Liza Flores.

As I stepped into her office, Liza welcomed me with open arms and even introduced me to the rest of her creative team, a group of talented individuals, who have coincidentally also illustrated for Adarna House through published works such as Hating Kapitad and Guardians of Tradition.

I was humbled by Liza’s amiable presence and her openness to sharing her craft and passion.

If you were to hear the playback of the interview on my recorder, your ears would be filled with the countless, “ooos and ahs,” spilling out of my mouth, as Liza shared the images of her artwork; an experience reminiscent of the visual illustrations that Liza created for But That Won’t Wake Me Up!

Illustration from But That Won’t Wake Me Up! Photos courtesy of Liza Flores

Her story and craft has moved me in different ways. Her sharing makes me proud of where I come from, and humbled that I get to share her story and work with Filipinos from around the world.

Our exchange of words and illustrations take me back to a humid and sunny day in Quezon City, Philippines.

A view from a Footbridge in Quezon City, Philippines, moments before my interview with illustrator Liza Flores. Taken on March 4, 2014 during my last week in Manila.

When did you start illustrating?
Liza: When we were in our second year of college, my friends and I saw an exhibit of INK, the illustrators’ group. That’s when I realized that illustrating would be something fun to do. So I joined the organization and swerte (by good fortune) I landed my first book project within a few months. There was a publisher who came to our Christmas party to ask if anyone wanted to illustrate a book. I raised my hand and got my first book project.

Which book is this?
L: Nagsasabi na si Patpat (Patpat now says when he needs to go). It’s about toilet training. Published in 1995.

My first book with Adarna came three years later with Chenelyn! Chenelyn!

Chenelyn! Chenelyn! Published by Adarna House in 1999. Illustrations by Liza Flores. Story by Rhandee Garlitos. Image from Liza’s personal website, liza.ph.

How did you get connected with Adarna?
L: Through INK also. Every year we come out with this catalogue of our illustrators’ works and send it to publishers. The publishers look for illustrators that could match the stories that they have.

I think that’s how I got it. I’m not sure exactly how I got it [Smiles].

The book industry is relatively small in the Philippines, so if you get a good book project and the publisher likes you, most likely another one will get you to illustrate.

What was it like working on But That Won’t Wake Me Up?
L: Masaya naman (It was a fun experience). I have a PowerPoint actually about the Making of But That Won’t Wake Me Up! I can show it to you.

Before that book, I was working on cutouts. One of my works was for an exhibit that featured them. I made a ton of paper cutouts. When I got the story, I was thinking, “Magpapaint ako ulit? Kasi ang tagal na hindi (How will I paint again? It’s been so long since I’ve painted.) Fortunately, when Ani, VP of Adarna House, approached me about the story, she asked for cutouts.

Can you tell us more about your distinct paper cutout illustrations? What is your process like?
L: First, I paint. I have sheets of white paper and I paint it different colors, so I have pretty much an idea of the color palette that I want.

Then there are all my thumbnail studies… very rough, but at least I get the idea that I want a mom sitting on the bed and a girl jumping.

Liza’s rough thumbnail studies for But That Won’t Wake Me Up! and cutouts in a box. Photos courtesy of Liza Flores

Is that really your signature?
Oh no, that’s just stationary. [Laughs]

I would cut each piece, assemble the pieces, and then put everything in a box. I’d do it over time so inipon ko muna (so I can save it first).

What I like about paper cutouts is that I can use simple shapes. This is just a circle…that’s a triangular shape…so I just cut. I don’t draw on the paper before cutting. I just imagine what the shape will be, that way it’s more organic.

For some reason, I can imagine what it will look like and it turns out okay.

Liza’s paper cutouts for the band scene in But That Won’t Wake Me Up! Photos courtesy of Liza Flores

This is the band page. This one guy. This is the girl. This is the dog.

The band scene from But That Won’t Wake Me Up! Illustration by Liza Flores. Photos courtesy of Liza Flores.

What I like about it [paper cutouts] is that I can move things around. Unlike if I’m drawing it, I have to draw it and then if I make a mistake I have to erase it, and then draw it again.

With the paper cutout process, I can take my time composing the page because I have the pieces.

In between, I put strips of foam board so that there are shadows.

How did you think of the whole process?
For this book, I like the sounds. I made sure that it’s a prominent part of the layout.

Visualizing the sounds of a scene from But That Won’t Wake Me Up! Illustration by Liza Flores. Photos courtesy of Liza Flores.

My current way of doing it….I just developed overtime.

I’ve made so many cutouts, even before this. I feel that each version is a little better than the previous one.

The first ones I made were flat lang (only). I like the shadows. I figured if I insert something underneath, I’d get the shadows.”

This interview was originally published on the Adarna Digital

Part 2 of my interview with the illustrator of But That Won’t Wake Me Up, Liza Flores, can be found on Adarna Digital.