Skip to main content

Jean Giraud (also known as Moebius / Mœbius) was a French artist who has influenced pop-culture through his creative and boundless imagination. He shaped the look of Alien, Tron, The Abyss, Empire Strikes Back and The Fifth Element. He reimagined the Silver Surfer for Stan Lee. And he is an acknowledged influence on everyone from Japanese animating great Hayao Miyazaki to sci-fi writer William Gibson. (See more art below).



Watch In Search of Moebius (BBC Documentary):

18 Art Tips from Moebius, Jean Giraud

Full source:

  1.  when you draw you must clean yourself of deep feelings (hate, happiness, ambition, etc)
  2. it’s important to educate the hand, attain obedience, to full fill ideas. but careful with perfection, to much, as well as too much speed, as well as their opposites are dangerous. to much looseness, instant drawings,aside from mistakes, there’s no will of the spirit, only the bodies.
  3. perspective is of sum importance, it;s a law of manipulation in the good sense, to hypnotise the reader. it;s good to work in real spaces, more that with photos, to exercise our reading of perspective.
  4. another thing to learn with affection is the study of the human body, the positions, the types, the expressions, the arquitecture of bodies, the difference between people. the drawing is very different when it come to a male or a female, because in the male you can change a little the lines, it supports to have some impressions. but with the female precision must be perfect, if not she may turn ugly or upset. then no one buys our book! so for the reader believes the story, the characters must have life and personality of their own, gestures that come from character, from their diseases; the body transforms with life and there’s a message in the structure, in the distribution of fat, in every muscle, in every fold of the face and body. it;s a study of life.
  5. when you make a story you can start with out knowing everything, but making notes (in the actual story) about the particular world of that story. that way the reader recognizes and becomes interested. when a character dies in a story, and that character has no story drawn in his face in his body, in his dress, the reader does not care, there’s no emotion. and then the editors say:   “your story is worthless, there’s only one dead guys and I need 2) or 30 dead guys for it to work” but that is not true, if the dead guy, or wounded guy or sick guys or whomever is in trouble has a real personality that comes from study, from the artists capacity for observation, emotion will emerge (empathy). In the study you develop an attention for others, a compassion, and a love for humanity. it’s very important for the development of an artist, if he wants to be a mirror, it must contain inside it;s consciousness the whole world, a mirror that sees everything.
  6.  jodorwosky says I don’t like drawing dead horses. it;s very difficult. it’s very difficult to draw a body that sleeps, that’s abandoned, because in comics you’re always studying action. it;s easier to draw people fighting thats way Americans always draw superheroes. it;s more difficult to draw people talking, because there are a series of movements, very small, but that have a significance, and that accounts for more, because it need love, attention to the other, to the little things that speak of personality, of life. the superheores have no personality, all of them have the same gestures and movements (pantomimes ferocity, running and fighting)
  7. equally important is the clothing of the characters, the state they;re in, the materials, the textures are a vision of their experiences, of their lives, their situation in the adventure, that can say a lot with out words. In a drew there’s a million folds, you must chose 2 or 3, but the good ones.
  8. the style, the stylistically continuity of an artist is symbolical, it can be read like the tarot. I chose as a joke the name Moebius, when I was 22, but in truth there’s a meaning to that. if you bring a t shirt with Don Quixote, that speaks to me of who you are. in my case, I give importance to a drawing of relative simplicity, that way subtle indications can be made.
  9. when an artist, a drawing artist goes out on the street, he does not see the same things other people see. what he sees is documentation about a way of life, about people.
  10.  another important element is composition. the composition on our stories must be studied, because a page, or a painting, is a face that looks towards (faces) the reader and that speaks to him. it’s not a succession of panels with out meaning. there’s panels that are full and some that are empty, others that have a vertical dynamic or a horizontal one, and on that there is intention. the vertical excites (cheers), the horizontal calms, an oblique to the right , for us westerners, represents the action heads towards the future, and oblique to the left directs action toward the past. points (points of attention) represent a dispersion of energy. something places in the middle focalises energy and attention, it concentrates. these are basic symbols for reading, that exercise a fascination, a hypnosis. you must have a consciousness about rhythm, set traps for the reader to fall on to, and if he falls, and gets lost and may move inside them with pleasure because there’s life. you must study the great painters, the ones that speak with their paintings, of any school or period, that does not matter, and they must be seen with that preoccupation for physical composition, but also emotional. in what way the combination of lines on that artist touches us directly in the heart.
  11. narration must harmonize with the drawing. there must be a visual rhythm from the placement of words, plot must correctly maneuver cadence, to compress or expand time. must weary of the election and direction of characters. use them as a film director and study all different takes.
  12. careful with the devastating influence of north american comics in mexico, they only study a little anatomy, dynamic composition, the monsters, the fights, the screaming and teeth (grin). I like them as well, but there are many other possibilities that must be explored.
  13. there’s a connection between music and drawing. but that depends also on the personality and the moment. for perhaps 10 years I’ve been working in silence, and for me the music is rhythm of the lines (the music he listens to).to draw is sometimes to hunt for findings, an exact (fair, just) line is an orgasm!
  14. color is a language that the artist (drawing artist) uses to manipulate the readers attention and to create beauty. there’s objective and subjective color, the emotional states of the character influence the coloring and lighting can change from one panel to the next, depending on the space represented and the time of the day. the language of color must be studied with attention.
  15. especially at the beginning of a career, one should work on short stories but of a very high quality. there’s a better chance to finish them successfully and place them on a book or with editors.
  16. there are times when we are headed to failure knowingly, we choose a theme, an existence, a technique that does not suit (convene) us. you must not complain afterwards.
  17. when new pages are sent to editors and see rejection, we should ask for the reasons. we must study the reasons for failure and learn. it’s not about struggle with our limitations or with public or the publishers. it’s more about treating it like in aikido; the strength (power) of the attack is used to defeat him with the same effort.
  18. now it is possible to find reader in any part of the planet. we must have this present. to begin with, drawing is a way of personal communication, but this does not imply that the artist must envelop himself in a bubble; it’ communication with the beings near us, with oneself, but also with unknown people. Drawing is a medium to communicate with the great family we have not met, the public, the world.

Support my artistic endeavors by buying one of my books on Amazon!
My Author Page Here
My most recent fairytale Picture Book The Stumps of Flattop Hill Here

6a00d83451b3d069e2016763a1f347970b-800wi 6de6b8d9303a41363884e6f66d50da42 29cbec619825b45e02a095dc6688ba54 40_days_in_the_desert_B_p46 40-days-1-739557 40days-11_905 047e42 067e441 155 180856-comics-Mœbius-artwork-waves 321747b4c999e8c0e800baba885b5f97 1187875_orig 6861389656_751971e979_b 6861390626_5b2e243eae_b-1 6861391198_76e93b8b06_b 6869761462_4490bd3233_o artworks-000021092278-h3dvlp-original arzach Batman_by_Moebius d57b8817c317e60146b531e7ebfe3ea6 dante-im-comic_moebiusiii duke-leto-atreides giroud-d-tails-du-torrent-moebius-giraud-artbooks-fr-cbr-t-117157-820x615 guild Harzakcp5-820x1147 Jean_Giraud_Moebius_Dune_02_Duncan_Idaho_Gurney_Halleck jean_giraud_moebius2 Jean-Giraud-aka-Moebius-Crowded-Streets Jean-Giraud-aka-Moebius-Hunter KillianEng landscapes futuristic desert artwork vehicles traditional art moebius french artist 1024x768 wall_wallpaperswa.com_2 martin_dupuis_gh_29 mbius-les-yeux-du-chat-1359817260_b mobiues_jodorowskys_dune_00 mobiues_jodorowskys_dune_01 Moebius Lizard Rider moebius__by_bloodyalchemist-d552qnc moebius_03 moebius_arzach_1975 Moebius_chaos_39 moebius_crystal_saga_1 moebius_reflection moebius_willow_1 moebius-1 moebius-3_905 moebius-aka-jean-giraud-18-of-41 moebius-alien001 moebius. arzak. page. 008 Moebius1 moebius2 Moebius45-450x606 nonplayer4 paul-atreides smMQOiv smuggler star_wars_visions_moebius tumblr_le73ep1bum1qf0aafo1_1280 tumblr_loap9zH1qH1qf0aafo1_1280 tumblr_m9rq7fhZqU1qeya02o1_1280 tumblr_mtqnqn8sge1rom810o1_1280 tumblr_mtsqocjMB11rtuovlo1_1280 tumblr_nm54j07huR1rtynt1o1_1280 tumblr_nxoildK6ez1skwl5to1_400 voyagedhermes_moebius_03-copy voyagedhermes_moebius_05 WEB_Moebius-Exhibition-Doc-4 WillowMoebius6 WillowMoebius12



Author / Illustrator at