There’s no one better than Trini herself to tell us her story.

Some 20 years ago, in 1983, a summary of her biography, which she wrote, was published in the issue 25 of the Spanish magazine “Bruguelandia”.
 

Trini in her study, 1983 Trini in her study, 2003


20 years later, in 2003, Trini continued – or, better, updated – her autobiographical sketch for an interview made by the journalist Màrius Siurana.

Here we offer you both texts – that of 1983 and that of 2003. (The pictures have been added by TriniTinture.com)

 

Autobiographical sketch, 1983
 

I was born in Lleida in the middle of the civil war and, although I don’t recall it anymore, I am sure that right after leaning out I thought “si lo sé no vengo” [if I’d known, I wouldn’t have come]. In case I carried a pencil in my hand, as it is said that artists use to be born, mine must have got lost in the midst of such mess, because my mother does not remember seeing me holding it until I was 3 or 4 – when I already began filling with scratches the back of the electricity bill, calendar leaves, rationing card, etc.
 

My father was a carpenter, and his artisan work fascinated me. My mother was a housewife in a rather big house with 6 family members and some relatives passing through. When I thought about starting to offer my help, as far as possible, to the common cause, I decided to give a hand to my father. Every day after school I went to the small workshop, and there I remained while he left to do some works in building sites and private residences; so I took whichever orders were placed during his absence, and I whiled away my time drawing with his carpenter’s pencil on the spare chunks of wood.

Trini and her mother, in the 80ies

Trini obtains the medal for the first prize in Fine Arts in Lleida (1955)
My family considered my fondness for drawing to be as useless as beautiful. My mother particularly liked it; she sometimes found a break between her multiple domestic tasks in order to sit down and draw with me. I remember her very delicate and personal style, which she still keeps. She would probably have achieved great perfection if it had not been swallowed by the pots and other household goods. That began to make me feel uneasy. I realised that, due to my condition as a woman, I really would have to watch out if I didn’t want them to change my pencil for a broom.


Quite naturally, there was in Lleida not much to choose from if I wanted to find my way. Only the train. The story of what it took me to convince my family that they allowed me to undertake the adventure of leaving home would deserve several independent volumes.  


Fortunately I had a great-aunt in Barcelona and thanks to her intervention I was permitted to attempt my “launching”. To me – who did not even know the landscape of the other side of the railway station – that was similar to what must have been felt by the first astronauts.

I cannot claim that my beginnings were too difficult. Through ways that I found myself, I got to know some wonderful people who initiated me into comic. It was a time (around the 60ies) where the fairy comics were very fashionable and there was quite some work. With the samples I did I already obtained a job in a small publishing house and that was the first little stone to achieve my dream of staying in Barcelona and devoting myself to drawing.
 

Trini makes a portrait

Later on, and only for the sake of trying, I did some advertising. Not that it went badly, but I realised that neither did I understand the art of advertising nor did it understand me.


Magazines of that period
I liked comic and I thus stuck to it. I collaborated in several children’s and teenagers’ collections (I do no longer remember all the names; some of them were “Piluchi”, “Mercedes”, “Mª Luz”, “17 años”, etc.) until I entered the Bruguera publishing house, drawing some “Celia” and several “Sissi” in all its derivations.
But soon the first jobs for England and Scotland arrived, and they continued uninterruptedly during almost 20 years. It’s a huge number of characters and titles, but especially in the already disappeared magazine “Jurtz” I made many, many serials. One that left me fond memories was “Oh, Tinker!”, whose main character was a little fairy. Detail from "Oh, Tinker!"


Despite having drawn so much about romance and schoolgirls, the children’s style is the one I most feel and, I believe, the one I’m best at.

Heading of "Curly"

It is precisely on a children’s subject that I have been doing for 20 years, and I continue doing, a weekly page for the Scottish magazine “Twinkle”, whose characters are a girl and her little lamb “Curly”. At least in this serial I have a great fan secured, who waits for me to finish the page so that I explain it to her. It’s my 5-year-old daughter, my toughest or most flattering critic, but honest, of course.


My latest character is “Emma”, for “Lily”. It occurred to me that she should be a modern witch in order to give the subject some distinctiveness. The scriptwriters undertook to develop the idea and we hope and wish that it continues being well accepted amongst the Spanish readers.

In a short summary, this is my path till now.  

With its sorrows and joys as in all professions (I assume), but what is most important for me is that I feel very happy for being so lucky as to be able to start every morning – apart from lovingly preparing the sandwiches for my family – with the great thrill of sitting down at my table to work at what I like most.

Trini working in her study

 

Autobiographical sketch, 2003
 

It is time to take up again the thread of my mini autobiography which around 1983 the Bruguera Publishing House asked me to write in order to publish it in the magazine “Bruguelandia”.
 
Portrait of Trini by Edmond, published in Bruguelandia This was in the last century, the one that is still around the corner. But since then 20 years have passed, the same number of years which, at that moment, had elapsed since I had started drawing as a profession and seriously, provided there is anything serious in drawing comic. And, as it happens, I do think there is.

We were, thus, in the year where I had begun the serial “Emma es encantadora” [Emma is enchanting] directly for Spain. I was more “enchanted” than Emma herself, drawing on the basis of my own idea and for the girls of my country.

Inside cover of "Emma"


Cover of "Biggi"

But approximately two years later the Bruguera Publishing House had to close its doors and I saw myself suddenly absorbed by a very important German publishing house which offered me to create a serial for the girls’ magazine which would moreover bear the name of my character: Biggi.

I worked over five years on this job. I made all the covers in colour and each story had 18 pages. Since, in addition, “Biggi” appeared on a weekly basis, it became necessary that a team of artists relied on the stories I was making in order to copy the characters, so that every week the required pages could appear. It was very stressful.


In Holland they saw the publication of my drawings, and they bought the “republication” for their magazine TINA. One day they contacted me through an agent and friend and offered me to collaborate weekly in their magazine with the character “Micky”. And I am still there. I now do not make serials for personal reasons; the short stories, not having a fix submission date, allow me to draw calmly.

Detail from "Micky"

Trini and Nit

I have further been collaborating for a long time in the magazine “Penny”, which is Dutch as well, drawing illustrations and many a funny story about ponies and horses. I have also done many other works, but in general terms I have described you the most relevant.

I am still greatly enjoying myself in front of the drawing-board, and I hope to be able to continue 20 more years, after which I will again give you an account of the realised work, even if I have to do so by dictation… At least I will greet you and tell you that I have been very fortunate in many things and I am very grateful to life. But my work has acted as a strong prop in some difficult moments of those we all must go through. And it has resisted well.

Long live the comic!