Top 259 Quotes & Sayings by Famous Illustrators - Page 3

Explore popular quotes by famous illustrators.
There is no tube of paint that says, 'Don't know.' I have to come to grips with it.
If in making a picture you introduce two ideas, you weaken it by half-if three, it weakens by compound ratio-if four, the picture will be really too weak to consider at all and the human interest would be entirely lost.
Stupidity isn't the only thing humans carry inside of them. I'll show you that we also have the power to purify. — © Yellow Tanabe
Stupidity isn't the only thing humans carry inside of them. I'll show you that we also have the power to purify.
I like people. Humanity. My family is a part of my work. They contribute throughout the process with critiques, advice, opinions, etc.
Once you step onto the fairy path, it's almost like there's no way off. You have to keep going.
Far Out is never far enough because one challenge, if it is worthy at all, has to be followed by a greater challenge.
For me getting paid for art is a class issue. I don't have the luxury not to care. It's great if your parents buy you a house and you can sell your 400-page book for $2. But for marginalized people it's not as cool to martyr yourself.
A good deal of large and rather interesting work is drifting my way.
I criticise these compositions by analysis but an illustration cannot be made that way - it must be made by inspiration.
To me, the circle and the square where the sky and the earth, as symbolized by the ancient Oriental religions; they formed a kind of rudimentary alphabet by means of which everything could be expressed with the most limited means. They evoked prehistoric runes and the early I-Ching, or Book of Changes.
Part of what I feel is that the so-called bad fairies are really only there to get you to pay some attention. They trick you up until you're lying flat on your back and you literally have another point of view. They're about loosening up being rigid. They trip you over to break the barrier between you and the world. So their so-called "badness" actually can be quite instrumental in helping you with things.
I had a job as an illustrator, and I wanted to change the direction of my work. I moved to the country, and immediately I started to paint fairies and trolls.
For children in their most impressionable years, there is, in fantasy, the highest of stimulating and educational powers.
I keep drawing the trees, the rocks, the river, I'm still learning how to see them; I'm still discovering how to render their forms. I will spend a lifetime doing that. Maybe someday I'll get it right.
If you want to be a chef or a scientist, you've got to know what the current thinking is, so if you want to write comics or draw comics find out what the very best ones are and look at them all and then you'll know where the bars are because the bars are often very high, if you are going to make a splash and make yourself known, you need to get to that level.
It's fun to sit down and do a few drawings, but when you have to sit down and do hundreds of drawings whose value only depends on getting to the end of the chain, then you've created a different kind of monster.
There is no other dog that can compare to a Corgi. They're the epitome of beauty. — © Tasha Tudor
There is no other dog that can compare to a Corgi. They're the epitome of beauty.
I like to talk about my challenges as they relate to all of us, and I try to leave them with a sense of what it feels like to succeed at something and to arrive at a goal. I talk a lot about finding that thing that you feel is important to you, that's your calling, and about the reward you will get from staying with it, no matter what the challenges are.
I love the silent era because you can see the rules being written, the grammar of film being created. Most of my films are in some way love letters to the silent era.
Don’t worry about a style. It will creep up on you and eventually you will have to undo it in order to go further.
Continuity was the kind of place where anybody who came into the city from out of town to deliver some work could come over and hang out and we'd go down and have a few drinks.
I started studying as an artist, but I got fed up with the fact that you can paint terrible pictures and if you explain them in an erudite way it's called great art. I thought this was rubbish.
Corgis are enchanted. You need only to see them in the moonlight to know this.
Sometimes the things I learn making paintings or drawings - composition, colour, expressionism, texture - can directly influence the making of a film. Sometimes it's great that they are different, and simply taking a break from one medium to spend time with another, recharges the batteries and I feel refreshed.
My objective in teaching my pupils is that they should be fitted for any kind of art.
I feel the calmest when I'm drawing or when I'm creating images. I love connecting the mind with the hand and producing something - that is very comforting and centering for me.
I love telling stories. And even in single images, I tend to have stories inside them. I've always loved film, but I was making drawings and paintings and photographs. And you put art and narrative together, and that really is comics.
When I illustrate a cover or a book, I draw upon what the author tells me; that's how I see my responsibility as an illustrator. J.K. Rowling is very descriptive in her writing — she gives an illustrator a lot to work with. Each story is packed full of rich visual descriptions of the atmosphere, the mood, the setting, and all the different creatures and people. She makes it easy for me. The images just develop as I sketch and retrace until it feels right and matches her vision.
Your subjects have had a history - try to reveal it in your picture.
(H)ope, be it never so faint, bringeth a gleam into darkness, like a little rushlight that costeth but a groat.
I have many who keep me going, I am very fortunate in this sense. There is nothing like a child who knows more about your books than you do!
We almost need another word for fairy, that's the thing. Once people get to see what fairies' real power is, then they understand.
How long a book tends to illustrate depends on the book. The Awful Aunty took me 10 days.
It was hard for me to move forward, because I take responsibility for what I introduce into the world through my paintings. So to actually introduce something evil or bad was quite hard for me.
In the 20th century, artists did a great disservice to fairies. They painted fairies in a way that was shallow and trite. So when people see my stuff, they suddenly realize the depth of fairies.
I put on my dream-cap one day and stepped into Wonderland.
I have to believe that when I finish a project, that I will not only grow as an artist, but as a person.
What I do I am driven to do. I follow the dictates of a looming and unseen force. I try to become like a musical instrument, intruding no sound of its own but bringing forth such tones as are played upon it by a master's hand.
If you want to be an artist, you have to know that art is an ongoing practice, that you're part of a long line. Take this test: if someone offered you a billion dollars, but you could never draw another illustration or write another word, would you take it? If you reject it, you need to find another way to pay the bills, but you're still an artist.
In order to have creativity, you have to allow for dead ends to happen. — © Christoph Niemann
In order to have creativity, you have to allow for dead ends to happen.
So I really love this very difficult feeling of being completely out at sea. I don't know what I'm doing, and I kind of like this feeling. So I think for the moment, I'm going to continue to try and nail film down in some sort of shape where I'm happy with it.
But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.
When I draw something, I try to build some kind of history into it. Drawing an object that has a certain amount of wear and tear or rust; or a tree that is damaged. I love trying to render not just the object, but what it has been through.
I've always felt that if I worked hard enough and continued to refine my craft, while staying curious about our times and our world, I just might have something to contribute.
Film gives me live actors, editing, music, sound, a huge and powerful toolbox to play with. If there is a problem for me, it is that film gives me too much. There is less room for the audience to add their side of the conversation.
There is no peace that cannot be found in the present moment.
I went and studied graphic design, because it seemed to me that advertising is more honest - the image actually has a function. But once I started on that, I realized that was really boring.
When I'm not working on a children's book, I'm painting abstract paintings. That's probably the most joyous thing for me as an artist. But I do love children's books.
I always begin my stories as experiments - on large yellow tablets - a mixture of writing and sketching.
With time some poems just fall by the wayside. Other poems get better over time with revision, revision, revision. My ladybug poem took 10 minutes to write but was 10 years in the making.
People who choose to cut their parents out completely are super brave, but it's complicated and for me, I'd rather give the relationship a little bit of a try, however imperfect it is.
We all wish we were better. I wish I were a better artist, wish I were a kinder person, wish I were all kinds of things. But we're stuck with ourselves. I have good friends. And that in itself convinces me that I deserve to live.
Faeries are seen through the heart, not through the eyes. Remember that faeries inhabit the interior of the earth and the interior of all things, so look, in the first place, in the interior of yourself.
To me, intolerance leads down a dreadful path that the world sometimes seems to be going to. — © Brian Froud
To me, intolerance leads down a dreadful path that the world sometimes seems to be going to.
Remember, as each man and woman is a microcosm reflecting the larger natural world, so healing of the self is also a healing for the world. As above, so below.
I am of use to the younger artists through the advice and criticism which I give them.
I do very, very, very simple, skimpy doodles, nothing too committed. Because people tend to fall in love if they like it - if you color it in and they like it, then they want exactly those colors, even if they were just indications. You really have to do it as simple as possible so they can concentrate on the idea and composition. And then all of the energy goes into making the final piece. And the final piece can be anything - it can be a drawing, a painting, a collage - and usually, it's obvious what that should be. Usually, the idea dictates what medium you use.
Awards are great, but they're not who you are, and pop culture isn't who you are.
An I must drink sour ale, I must, but never have I yielded me to man before, and that without wound or mark upon my body. Nor, when I bethink me, will I yield now.
I visited the Museum of Modern Art and viewed the exhibition of Picasso's sculptures, and I couldn't help but think about what it would be like to have a room full of school children explore Picasso's approach to making art.
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