IF CHILDREN?S BOOK ILLUSTRATIONS TODAY are regarded with pride and promise, it is because the industry had icons to look up to, individuals who blazed the then unknown trail in the early ?80s. Adarna House, the pioneer publisher of children?s books, began with a small team of talents in the fledgling initiative, the Children?s Communication Center. But what a roster it carried?writers Virgilio Almario and the late Rene O. Villanueva, and illustrators Ibarra Crisostomo and Albert Gamos, among them.
The death of Albert Gamos at age 58 on Nov. 3 due to diabetes complications is a big loss to children?s literature for he practiced his art for over three decades?and developed the art form to an admirable level of sophistication. Reading guru Lina B. Diaz de Rivera noted that Gamos? art shows a love and respect for the young?and impressive research. He let loose the children?s imaginations, for his art told the story as much as the writer?s words did.
His exceptional skill was outstanding even as a young artist and book designer. He was recognized with an honorable mention citation at the 1985 Biennial of Illustrations in Bratislava, Slovakia, one of the oldest and most prestigious international awards for children?s book illustrators.
He was a runner-up at the 1992 Noma Concours for Picture Book Illustrations, a competition of the Asia/Pacific Cultural Centre for Unesco to discover new illustrators, graphic designers and artists. He was also nominated to the 2009 Astrid Lindgren Memorial Awards, named after the Swedish author known for her Pippi Longstocking series.
Together with bosom friend Rene O. Villanueva, he created the much loved Batibot characters, Pong Pagong and Kiko Matsing, a part of a young generation?s consciousness.
A sought-after illustrator, he has titles with Adarna, Tahanan Books, the popular Our World of Reading series and several of the Lola Basyang storybooks retold by Christine Bellen for Anvil. Anvil?s Karina Bolasco says that if all of the books Gamos illustrated or designed were to be gathered, they would constitute a sizeable library.
But knowing the artist beyond his byline is more precious than all these citations. Poet and Cacho publisher RayVi Sunico rues that they never worked together on a book as Gamos was always busy with other projects. They did collaborate on the covers of Anvil?s Disney line of storybooks, with Gamos doing the drawing and Sunico doing the colors to create the 3D effect. In more recent times, they met again when photographer Wendy Floro Sunico needed Gamos to sit as illustrator for the Lola Basyang series?he came dressed for the occasion, in a vest and with vintage horn-rimmed glasses.
Ani Almario brims with childhood memories of Gamos as one of the original full-time artists of Adarna she and elder sister Asa were closest to. They would ask the artists to draw all kinds of things in between their official work. As soon as Asa heard about Gamos? death, she grieved and posted on Facebook a portrait he had drawn of her at the age of 6. Ani attributes this rich exposure to such creative individuals as the reason her sister fell in love with art and why Ani herself thrives in running Adarna today.
Even as an established artist, Gamos would be actually surprised, nay, embarrassed that he had a following that eagerly sought his autograph and wanted to have a photo with him. Totet de Jesus recounts how he and his fellow artists were awestruck one day. When the Ilustrador ng Kabataan (Ang InK) had a meeting with their acknowledged forefathers?Crisostomo and Gamos?in attendance two years ago, they naturally needed to document that event for posterity, leading Gamos to ask, ?Bakit nagpapa-picture kayo sa amin? Parang mamamatay na kami a.?
During the wake and also at last week?s 40th day commemoration, there were glimpses of Albert Gamos as a caring brother and kin. He was the sole breadwinner for his seven siblings and even sent cousins to school and then his wife Amy and their five children, truly living on his art. One of his early jobs as an artist was to sell hand painted jars with Aztec designs, which he and his brother sold in Farmers Market to earn for the family?only one such jar remains today. In that stall, he also sketched portraits for walk-in customers.
Yet he never appeared to be in financial straits. When one of his publishers offered him an advance to help defray the cost of the laser surgery on his eyes to prevent blindness, he refused, saying he did not think it right to receive money for something he had not done any work for.
We have not lost the gifted Albert Gamos who may rightly be called the father of Philippine children?s book illustration, because fortunately for all of us, his art lives on in his many books.
Neni Sta. Romana Cruz is a member of the Philippine Board on Books for Young People, the Foundation for Worldwide People Power, and a trustee of the Sa Aklat Sisikat Foundation. Email comments to nenisrc@gmail.com.
