His house is also his studio. I go up the stairs and find him waiting for me at the door with his hands in his blue shorts. He greets me and invites me in.

I met Jaume one night at Philipe’s house, a mutual friend, at one of Camper’s famous parties.

I notice the way that he talks, he seems to have a great inner peace. He looks reserved, even timid, although if you wind him up, he plays along.

He tells me that he studied industrial design in Barcelona and that he worked with food packaging in Soller for 12 years. That was where it all began. Little by little he went from package design to graphic design, until finally focusing primarily on illustration.

After 12 years of working with the same company, he was in a comfortable position and had a good salary. But at the same time, as the business was growing, the work became dehumanized. So he felt that a change had to be made.

At that time, anyone would have expected good luck to befall him. But this was not the case. He and Gabriel decided to quit their Jobs at the same time (also the same time his daughter Lola was born). It was easy to predict that this would be a disaster, but it was not the case.

Jaume attributes a large part of his success to Gabriel, “The most important thing is to know how to sell, and she is extraordinary. She spoke with everyone.”

Regarding his influences, he talks to me about the 19th century etchings that his father had which he would go through when he was a child. And from there, he developed his desire to create chiaroscuros. 1960s advertising, where illustration had a specific function: to communicate, is another of his influences.

“Do you believe in the phrase ‘Steal like an artist’?” I asked him.

“Yes,” he answered emphatically, “One must see, be inspired, and copy, then adapt that to your own style.”

Berto Martínez, whose weekly illustrations he collects, and Gabriel Moreno are two of his current influences. They both have their own personal styles.

After chatting for an hour he shows me some of his work, amongst which I see originals that were published in ICON magazine; and when I see the illustration of Leonard Cohen, I immediately try to think of where I can hide it so that I can take it home with me.

Later on, we say goodbye, and I leave with crazy desires of experimenting with watercolors, much like when someone sees a good football match and wants to start playing with a ball.