{"id":6571,"date":"2017-01-22T17:32:20","date_gmt":"2017-01-22T17:32:20","guid":{"rendered":"https:\/\/faidutti.com\/blog\/?p=6571"},"modified":"2018-02-10T17:15:32","modified_gmt":"2018-02-10T17:15:32","slug":"david-cochard","status":"publish","type":"post","link":"https:\/\/faidutti.com\/blog\/blog\/2017\/01\/22\/david-cochard\/","title":{"rendered":"David Cochard"},"content":{"rendered":"

La publication sur ce site du Kamasutra<\/a>, qu’il a illustr\u00e9 avec finesse, a \u00e9t\u00e9 l’occasion de faire une longue interview de mon ami David Cochard, un personnage hors du commun.<\/p>\n

<\/a><\/p>\n

\u2022 Bruno : La plupart des illustrateurs que je connais sont venus au jeu de soci\u00e9t\u00e9 parce qu\u2019ils \u00e9taient d\u00e9j\u00e0 joueurs. Ce n\u2019est pas ton cas. Comment es-tu devenu illustrateur de jeux\u00a0?<\/span><\/p>\n

David : Il est vrai que malheureusement, je suis un handicap\u00e9 de l\u2019esprit de comp\u00e9tition, et cela m\u2019emp\u00eache de profiter pleinement de la plupart des jeux. Si je peux sans probl\u00e8me comprendre la m\u00e9canique d\u2019un jeu, et parfois m\u00eame \u00eatre capable de proposer des am\u00e9liorations, mon d\u00e9sint\u00e9r\u00eat absolu de mon sort ou de celui de mon \u00e9quipe dans une comp\u00e9tition fait de moi un horrible client pour ce genre d\u2019activit\u00e9. Je r\u00eavasse, pense \u00e0 autre chose, m\u2019ennuie, pendant qu\u2019autour de moi la col\u00e8re contre le boulet que je suis commence \u00e0 monter.<\/span>
\n Si je suis tomb\u00e9 dedans, c\u2019est parce que dans les ann\u00e9es 90, deux options existaient pour un dessinateur comme moi passionn\u00e9 de science-fiction ou de fantasy\u00a0: la bande dessin\u00e9e et les jeux de r\u00f4les. Mais d\u00e9j\u00e0 dans les ann\u00e9es 90, les \u00e9diteurs de bande-dessin\u00e9es proposaient des contrats que je trouvais intol\u00e9rables. De plus la bd n\u2019autorise pas la diversification des styles comme peut le faire l\u2019illustration. Donc les jeux de r\u00f4les \u00e9taient mon terrain de jeu. J\u2019y ai rencontr\u00e9 des gens que j\u2019appr\u00e9cie toujours maintenant, Didier Guiserix, Pierre Rosenthal, etc. Et c\u2019est par l\u2019interm\u00e9diaire de l\u2019un deux, Serge Olivier, transfuge de Casus Belli, le magazine de r\u00e9f\u00e9rence du jeu de r\u00f4le jusqu\u2019en 2000 vers Tilsit \u00e9ditions, \u00e9diteur de jeux de plateau fran\u00e7ais, que j\u2019ai rencontr\u00e9 Didier Jacobee, puis Vlaada, etc<\/span><\/p>\n

<\/a>
\nHimalaya, de R\u00e9gis Bonness\u00e9e, publi\u00e9 chez Tilsit (2002)<\/em><\/span><\/p>\n

\u2022 Tu travailles souvent pour les m\u00eames \u00e9diteurs, notamment CGE (Czech Games Edition), pour qui tu as illustr\u00e9 beaucoup des jeux de Vlaada Chvatil, et Sweet November, o\u00f9 tu as notamment fait les dessins de mon Waka Tanka. Pour quelles raisons\u00a0?<\/span><\/p>\n

Pour des raisons de personnes. Je ne peux vraiment bien travailler que pour une personne que j\u2019appr\u00e9cie.<\/span>
\n Vlaada est un cr\u00e9atif incroyable, d\u2019une rapidit\u00e9 et d\u2019une ouverture d\u2019esprit rafra\u00eechissantes, et avec un humour ravageur. C\u2019est lui qui est venu me chercher en Argentine pour que je l\u2019aide \u00e0 cr\u00e9er son Dungeon Lords.\u00a0Il avait senti que j\u2019\u00e9tais la personne avec qui il pourrait en imaginer l\u2019univers. Nous partageons cela, le go\u00fbt de la cr\u00e9ation de mondes aussi bizarres que possibles. Dans la roue de Vlaada, Filip Murmak, gr\u00e2ce \u00e0 son exigence, et sa patience, m\u2019a toujours permis de me d\u00e9passer.<\/span>
\n Mon amiti\u00e9 avec Didier date de l\u2019\u00e9poque o\u00f9 Tilsit a coul\u00e9 gr\u00e2ce \u00e0 l\u2019intervention de XXXX (Note de Bruno: les initi\u00e9s devineront quel \u00e9diteur David cite ici, j\u2019ai retir\u00e9 le nom pour \u00e9viter les ennuis mais je partage l\u2019analyse)<\/em><\/span> qui se sont comport\u00e9s de mani\u00e8re intelligente selon le capitalisme version Trump, comme des enfoir\u00e9s de mon point de vue. Alors que tout le monde le l\u00e2chait, et qu\u2019il croulait sous les dettes et les emmerdes, j\u2019ai appris \u00e0 conna\u00eetre un type vraiment bien. Je lui ai donc offert mon amiti\u00e9 et je n\u2019ai jamais eu \u00e0 le regretter. Ni l\u2019argent, ni la renomm\u00e9e ne sont pour moi des motivations.\u00a0 Cr\u00e9er, dessiner, m\u2019amuser si.<\/span><\/p>\n

\"\"<\/a>\"\"<\/a>Dungeon Petz, de Vlaada Chvatil<\/em><\/span><\/p>\n

\u2022 Dungeon Lords, Dungeon Petz, Tr\u00f4l qui arrive bient\u00f4t, et aussi, en dehors du monde du jeu de soci\u00e9t\u00e9, ta s\u00e9rie de peintures sur les monstres de Paris – Il me semble que tu aimes bien dessiner les monstres. Sais-tu pourquoi\u00a0?<\/span><\/p>\n

La beaut\u00e9 existe sous de multiples formes. La plus \u00e9vidente est certes int\u00e9ressante, mais je pr\u00e9f\u00e8re la beaut\u00e9 bizarre des monstres. Je suis passionn\u00e9 par la vie, et ses formes les plus extr\u00eames. Les organismes des grands fonds par exemples sont fascinants, mais aussi les champignons, les zooplanctons, les acariens etc. Qui fera l\u2019\u00e9loge du psoque\u00a0si je ne le fais pas\u00a0? Sur un plan plus personnel,\u00a0 j\u2019ai d\u00fb me battre longtemps contre une dysmorphophobie qui faisait que je me sentais d\u2019une laideur si repoussante que je m\u2019\u00e9tonnais quotidiennement qu\u2019on ne me jet\u00e2t pas de pierres, et je pense que c\u2019\u00e9tait une mani\u00e8re de dire que si j\u2019\u00e9tais monstrueux dehors, je n\u2019\u00e9tais pas si pire dedans. Maintenant, \u00e7a va beaucoup mieux, je me trouve normal, et c\u2019est un sentiment grisant.<\/span>
\n<\/a><\/a>
\nD\u00e9couvrez ici Les Monstres de Paris, s\u00e9rie de peintures de david Cochard<\/a><\/p>\n

\u2022 Quel est le jeu que tu as eu le plus de plaisir \u00e0 illustrer ? Pourquoi\u00a0?<\/span>\"\"<\/a>
\nDungeon Petz Dark Alley.<\/strong> Le monde \u00e9tait d\u00e9j\u00e0 rod\u00e9, l\u2019id\u00e9e encore plus dr\u00f4le, plus particuli\u00e8rement destin\u00e9e \u00e0 un public plus jeune et f\u00e9minin (m\u00eame si la m\u00e9canique restait pour les enfants \u00e0 mon avis trop complexe) et que lorsque je proposais des personnages plus d\u00e9lirants les uns que les autres, Vlaada adaptait, quand c\u2019\u00e9tait possible, pour les int\u00e9grer<\/span><\/p>\n

\u2022 Avant Kamasutra, tu avais d\u00e9j\u00e0 illustr\u00e9 deux de mes jeux, Key Largo, il y a bien longtemps, et plus r\u00e9cemment Waka Tanka. As-tu une anecdote, ou un truc particulier \u00e0 raconter sur l\u2019un ou l\u2019autre\u00a0?<\/span><\/p>\n

Key Largo est le premier \u00ab\u00a0gros jeu\u00a0\u00bb que j\u2019ai illustr\u00e9. Je ne savais pas comment et vers quoi aller et j\u2019ai juste essay\u00e9 de faire de mon mieux.<\/span>
\n<\/a><\/a>
\nPour Waka Tanka, j\u2019ai particuli\u00e8rement travaill\u00e9 le style, et je suis tomb\u00e9 par hasard sur l\u2019imagerie traditionnelle am\u00e9ricaine.\u00a0 Ce n\u2019\u00e9tait en r\u00e9alit\u00e9 pas si \u00e9tonnant, car je me suis pas mal inspir\u00e9 de l\u2019imagerie indienne europ\u00e9enne, et en particulier celle de Morris dans Luky Luke \u00c7a a \u00e9t\u00e9 suffisamment r\u00e9ussi pour provoquer un mini scandale outre Atlantique, o\u00f9 l\u2019on a d\u00fb changer l\u2019illustration de couverture.<\/span><\/p>\n

\u2022 Venons-en au Kamasutra. Qu\u2019est-ce qui a \u00e9t\u00e9 amusant\u00a0? Qu\u2019est-ce qui a \u00e9t\u00e9 difficile\u00a0?<\/span><\/p>\n

L\u2019id\u00e9e du jeu est particuli\u00e8rement amusante, et imaginer les gens s\u2019efforcer d\u2019\u00e9clater les ballons dans les positions que nous avons choisies et un plaisir r\u00e9current<\/span>
\n La difficult\u00e9 a \u00e9t\u00e9 de trouver un style qui soit suffisamment mignon pour \u00e9viter tout c\u00f4t\u00e9 salace aux illustrations. Au d\u00e9part j\u2019avais pens\u00e9 \u00e0 des pandas, mais ces sympathiques animaux sont trop courts sur pattes pour se pr\u00eater \u00e0 toutes les positions. Je me suis donc rabattu sur les humains. J\u2019ai donc recherch\u00e9 diff\u00e9rents traitements. Les premiers \u00e9taient trop comiques \u00e0 mon go\u00fbt, d\u2019autres trop r\u00e9alistes, et je suis finalement tomb\u00e9 sur un traitement qui fait penser un peu \u00e0 Arthur de Pins, ce qui est plut\u00f4t flatteur.<\/span>
\n\"\"<\/a>\"\"<\/a><\/p>\n

\u2022 Comment illustres-tu un jeu\u00a0? Techniquement, fais-tu tout sur \u00e9cran, ou commences-tu sur papier\u00a0?<\/span><\/p>\n

\u00c7a d\u00e9pend. Si beaucoup de recherches sont indispensables, je pr\u00e9f\u00e8re dessiner sur papier, et possiblement ailleurs que dans mon bureau. Pour Vlaada par exemple, je vais \u00e0 Pragues ou \u00e0 Brno et je crayonne au caf\u00e9 pendant que Vlaada, Petr, Filip et autres discutent des personnages. Je jette quelques id\u00e9es sur le papier, sur lesquelles ils rebondissent, jusqu\u2019\u00e0 ce que j\u2019obtienne un personnage ou une composition qui satisfasse tout le monde. Je rentre ensuite chez moi et finalise \u00e0 l\u2019ordinateur.<\/span>
\n<\/a><\/a><\/p>\n

\u2022 T\u2019y prends-tu de la m\u00eame mani\u00e8re quel que soit le jeu\u00a0?<\/span><\/p>\n

\u00c7a d\u00e9pend des jeux et du r\u00e9sultat que je veux avoir. Pour Kamasutra par exemple, j\u2019ai fait tous les crayonn\u00e9s \u00e0 la main, et les ai repris sur calque pour avoir un grain sp\u00e9cifique. J\u2019ai ensuite aquarell\u00e9 apr\u00e8s les avoir imprim\u00e9s sur papier (d\u2019o\u00f9 la trame dans les cheveux) et j\u2019ai retouch\u00e9 le r\u00e9sultat sur Photoshop.<\/span>
\n En g\u00e9n\u00e9ral, il est rare que je fasse autant de travail sur papier, mais je voulais un r\u00e9sultat sensuel, et donc j\u2019ai privil\u00e9gi\u00e9 le tactile sur le digital, la main plus que le doigt.<\/span>
\n Sinon, le plus souvent, pour des raisons de d\u00e9lais, je privil\u00e9gie l\u2019ordinateur.<\/span><\/p>\n

<\/a><\/p>\n

\u2022 Pr\u00e9f\u00e8res-tu les \u00e9diteurs qui te laissent libre d\u2019improviser ou ceux qui donnent des consignes pr\u00e9cises\u00a0? J\u2019ai entendu d\u2019autres dessinateurs pester tant\u00f4t contre les uns, tant\u00f4t contre les autres\u2026<\/span><\/p>\n

J\u2019aime les deux extr\u00eames, m\u00eame si j\u2019ai une l\u00e9g\u00e8re pr\u00e9f\u00e9rence sur ceux qui ont des consignes pr\u00e9cises. Mes clients de l\u2019enfer sont ceux qui disent qu\u2019ils ne savent pas ce qu\u2019ils veulent mais savent ce qu\u2019ils ne veulent pas. En r\u00e9alit\u00e9, ils attendent inconsciemment que le dessinateur fasse une vingtaine de propositions diff\u00e9remment g\u00e9niales pour tomber amoureux d\u2019une d\u2019entre elles. Evidemment, cette m\u00e9thode exige un travail dingue de la part du dessinateur, un investissement \u00e9gal pour chaque version, et am\u00e8ne autant de d\u00e9ceptions que de refus pour une seule r\u00e9mun\u00e9ration. C\u2019est un peu comme si un type entrait chez un p\u00e2tissier, go\u00fbtait toutes les p\u00e2tisseries pour n\u2019en choisir qu\u2019une seule, apr\u00e8s bien s\u00fbr qu\u2019il ait comment\u00e9 toutes celles qu\u2019il n\u2019aime pas en disant\u00a0: ah, celle-ci non, j\u2019aime pas la fraise, etc.<\/span>
\n Avec un client qui sait pr\u00e9cis\u00e9ment ce qu\u2019il veut, il suffit d\u2019\u00eatre professionnel. Dans celui qui laisse libre, on doit en plus \u00eatre cr\u00e9atif, et si le sujet inspire, c\u2019est un bonheur, si non, c\u2019est un travail suppl\u00e9mentaire. Si j\u2019aime travailler avec Vlaada, c\u2019est qu\u2019il a les deux. Il a une id\u00e9e pr\u00e9cise mais sait quand l\u00e2cher la bride.<\/span>
\n Toi, tu fais clairement de la seconde cat\u00e9gorie, et je pense que c\u2019est parce que tu as confiance dans la capacit\u00e9 du graphiste \u00e0 exercer son m\u00e9tier\u00a0(Note de Bruno : c’est surtout parce que je suis conscient de mon incomp\u00e9tence totale en mati\u00e8re de graphisme)<\/span>.<\/em> Sache que j\u2019appr\u00e9cie cela \u00e9norm\u00e9ment.<\/span><\/p>\n

\n

The publication here of Kamasutra<\/a>, a card game he has illustrated subtly and cleverly, was a good opportunity for an interview of my friend David Cochard, a very special guy.
\n<\/em><\/p>\n

\"\"<\/a><\/p>\n

\u2022 Most of the boardgame illustrators I know went into the job because they were already gamers. It\u2019s not your case. How did you become a boardgame illustrator?<\/span><\/em><\/p>\n

I\u2019m handicapped by a lack of competitive spirit, and this prevents me from really enjoying most boardgames. I have no problem understanding game mechanics, I can even sometimes suggest some improvements, but I can\u2019t get interested in my victory, or even that of my team, and I\u2019m therefore not a nice guy to play with. I dream, my mind wanders, and fellow gamers start getting angry at me pretty soon.<\/span><\/em>
\n In the ninetiesin France, there were two possible careers for a graphic artist fascinated by fantasy and science-fiction, comics and role playing games. Comics publishers were already proposing the kind of deals I found unacceptable. Furthermore, comics artists cannot change style like illustrators can. Role playing games were my artist playing field, where I met people I still meet occasionally and like, such as Didier Guiserix, Pierre Rosenthal\u2026 One of them, Serge Olivier, who had worked at Casus Belli, the grandad of all French rpg magazines, left for a French boardgame publisher, Tilsit editions, and that\u2019s how I met Didier Jacob\u00e9e, then Vlaada, etc\u2026<\/em><\/span><\/p>\n


\n<\/a>With Vlaada Chvatil<\/span><\/em><\/p>\n

\u2022 You often work for the same few publishers, mostly CGE (Czech Games Edition), where you made the art for most of Vlaada Chvatil\u2019s games, and Sweet November, where you illustrated many small games, including my Waka Tanka. Why ?<\/span><\/em><\/p>\n

It\u2019s all about personal relations. I can only work for people I like. <\/span><\/em>
\n Vlaada is incredibly creative, with a fast and open mind, and a devastating humor. He managed to track me in Argentina to help himon his Dungeon Lords, because he felt I was the guy who could help him imagine the right graphic universe. We both like designing bizarre worlds. With Vlaada, there is always his buddy Filip Murmak, whose exigence and patience (or lack of) always help me to give the best I can.<\/em><\/span>
\n My friendship with Didier dates back to when Tilsit went out of business thanks to the help of XXX (Bruno’s note : insiders will guess whose publisher David is naming here, but though I agree with him, I\u2019d rather not name it)<\/span> who acted in a clever way according to Trump\u2019s version of capitalism, like bastards according to my view. Everybody was dropping him, he was crumbling under debts, and that\u2019s when I found out he was a really good guy. He became a true friend, and I never regretted it. My motives are not fame or money, they are to create, draw and have\u00a0 fun.<\/em><\/span>
\n I\u00a0 could tell why I like you but it would be too personal ;-).<\/em><\/span><\/p>\n

\"\"<\/a><\/em>\"\"<\/a>
\nTr\u00f4l, a game by Christophe Lauras, soon to be published by Sweet November.<\/span><\/p>\n

\u2022 Dungeon Lords, Dungeon Petz, soon Tr\u00f4l, and outside the gaming world your series of paintings about Parisian monsters<\/a>. It looks like you like to draw monsters. Do you know why?<\/span><\/em><\/p>\n

There are many types of beauty. The obvious one is interesting, but I prefer the strange and disturbing beauty of monsters. I\u2019m fascinated by life, and most of all by its most extreme forms, like deep sea creatures, but also mushrooms, zooplanktons, acarids\u2026 Who will praise the Booklice if I don\u2019t? On a more personal note, I\u2019ve long been affected by dysmorphobia, I was feeling so ugly that I was surprised people didn\u2019t throw stones at me. May be it was a way to state that, if I was ugly on the outside, I was not that bad on the inside. I feel better now, normal, and this feeling of normalness is exhilarating.<\/span><\/em><\/p>\n

\"\"<\/a>
\nParisian Monsters, paintings by david Cochard<\/a><\/p>\n

\u2022 Which game did you have the most fun illustrating? Why?<\/span>
\n<\/a><\/a><\/a>
\nDungeon Petz Dark Alleys.<\/span><\/strong>
\n The world was already there, the teamwork already built, but we were targeting other gamers, kids\u00a0 and women (even when, imho, the systems are still too complex for kids), and many times when I was suggesting some zany and bizarre characters, Vlaada managed to bring them into the game.<\/span><\/em><\/p>\n

\u2022 Before Kamasutra, you have already illustrated two of my games. The first one, long ago, was Key Largo. More recently came Waka Tanka. Do you have any fun anecdote about these?<\/span><\/em><\/p>\n

Key Largo was my first \u201cbig box\u201d game. I did not really know how to do it, and I just tried to do my best.<\/span>
\n \"\"<\/a>\"\"<\/a><\/span><\/em>
\nFor Waka Tanka, I thought a lot on the style, trying to make ironical references to American imagery – it was successful enough to raise a small controversy over there, and we had to change the cover for the US edition.<\/span>
\n
\n<\/a>\u2022 What about Kamasutra? What was fun in illustrating it, what was hard?<\/span><\/em><\/p>\n

The game idea is incredibly fun, and I\u2019m always giggling when I\u2019m imagining players trying to pop the balloons in the various positions we have selected.<\/span><\/em>
\n The most difficult thing was to create the right style, cute enough to defuse any vulgarity in the illustrations. The first idea was pandas, but these cute beasts are too short legged for most of the positions. So I reluctantly went back to humans, and tried several styles. The first ones were too funny and comical, the next ones were too realistic. I finally settled on a graphic style a bit similar with Arthur de Pins (a French comic artist).<\/span>
\n\"\"<\/a>\"\"<\/a><\/em><\/p>\n

\u2022 How do you work on game illustrations? Is-it all on-screen work, or do you start on paper?<\/span><\/em><\/p>\n

It depends. If it needs some research and thinking, I\u2019d rather start on paper, and if possible not in my office. To work with Vlaada, I fly to Prague or Brno and sit in some caf\u00e9 while Vlaada, Petr, Filip and the rest discuss the characters. I draw some wild ideas on paper sheets, and they react on them until we got a character or a composition they like, then I fly back home and finalize it on the computer.<\/span>
\n<\/a><\/a><\/em>
\nTash Kalar, by Vlaada Chvatil<\/span><\/p>\n

<\/a><\/em>Dungeon Lords, by Vlaada Chvatil<\/span><\/p>\n

\u2022 Do you always work in the same way, or do you change tools and methods depending on the game?<\/span><\/em><\/p>\n

It depends on the game, and what I want to achieve. With Kamasutra, for example, I first drew sketches by hand (l\u00e0, je n\u2019arrive pas \u00e0 traduire, ne serait-ce que parcequ\u2019il y a des termes techniques dont je ne connaism\u00eame pas bien le sensenfran\u00e7ais – calque, grain, trame\u2026<\/span><\/em>
\n I\u2019ve made all the rough first hand and redraw them with tracing paper, in order to get a nice texture. I printed the result on watercolour paper to paint them in watercolours (the halftone screen dots in the hair come from that stage) and I finally photoshopped the whole in order to fix the mistakes I\u2019ve left.<\/em><\/span>
\n I usually don\u2019t do that much on paper, but I wanted the final result to be sensual, so I needed to handle sensitive tools, working with the hand rather than digital. Most times, due to deadlines, I work more on computer.<\/em><\/span><\/p>\n

\"\"<\/a><\/em><\/p>\n

\u2022 Do you prefer publishers who let you free to improvise, or those who give precise insttuctions for every picture? I\u2019ve heard other illustrators curse the ones and the others.<\/span><\/em><\/p>\n

I prefer those who give detailed instructions, but I can work and enjoy it both ways. What I don\u2019t like are those who pretend they don\u2019t know what they want, but know what they don\u2019t want. In fact, they unconsciously expect the artist to show them a dozen different designs, so that they can get enthusiast about one. This requires more work from the illustrator, the same amount of work for every possible version, with the same final number of disappointments and cancellations but the same pay as a one version work. It feels a bit like someone entering a bakery and tasting all cakes before choosing only one – and making comments about all the ones one dislikes – oh, no, I don\u2019t like strawberries\u2026.\u00a0 <\/span><\/em>
\n When the client knows what he wants, the artist just has to do the job. When the artist is free, the artist must also be creative, which is a pleasure when he likes the setting, and a painful job when he doesn\u2019t. What I like in working with Vlaada is that he works both ways. He has a precise idea of what he wants, but he also knows when to give more rope. <\/em><\/span>
\n You belong to the last type of client, and I guess the reason you let so much rope is that you trust the graphist to know his job, and that\u2019s truly appreciated<\/em><\/span><\/p>\n

<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

La publication sur ce site du Kamasutra, qu’il a illustr\u00e9 avec finesse, a \u00e9t\u00e9 l’occasion de faire une longue interview de mon ami David Cochard, un personnage hors du commun. \u2022 Bruno : La plupart des illustrateurs que je connais … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[417,6,413],"tags":[301,403,414,357,312,415,300],"class_list":["post-6571","post","type-post","status-publish","format-standard","hentry","category-illustrateurs-illustrators","category-friends","category-kamasutra","tag-david-cochard","tag-game-illustration","tag-kamasutra","tag-key-largo","tag-sweet-november","tag-vlaada-chvatil","tag-waka-tanka"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p2HNOP-1HZ","_links":{"self":[{"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/posts\/6571","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/comments?post=6571"}],"version-history":[{"count":12,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/posts\/6571\/revisions"}],"predecessor-version":[{"id":9120,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/posts\/6571\/revisions\/9120"}],"wp:attachment":[{"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/media?parent=6571"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/categories?post=6571"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/tags?post=6571"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}