Top 259 Quotes & Sayings by Famous Illustrators - Page 4

I wanted to show that an African-American artist could make it in this country on a national level in the graphic arts. I want to be a strong role model for my family and for other African Americans.

All you leave the world is what you've done. No one will ever know the conditions, the comments, the pressures. Only the work remains.

Why can't love be a fairy tale?

I take back all I ever said about the Old Masters. They give great lessons.

Not all meanings are meant to be clear at once. Some ideas take time. Some words are designed to lead us on inner journeys, with truth hidden deep inside them.

Part of what I'm doing with generations is that I try to express in my work pieces of my growing up years that I can look back on with great fondness - specifically, a sense of family.

When a drawing doesn't come out right it's because I haven't figured out where the joke is. Not that every drawing has a joke, but every drawing has a point. At least it should have. And you figure out where the point is.

Happiness, laughter and joy abound, when friends, family, and lovers are around.

I'm always thinking about story, and the development of ideas or images, so with all types of media, I'm simply trying to communicate the feelings and ideas in the story or characters in the most appropriate and effective way.

I never demonstrate how art should be made or what the outcome should look like. Instead, give kids the tools and the materials to make their own art. Have them experience the process.

You do not see fairies through the eyes, you see them through the heart and that took me a long time to learn because I was always trying to see them through my eyes.

Project your mind into your subject until you actually live in it.

If you're just sitting around home it's just too easy to sit around and smoke pot all day and never get anything done.

The sylph is a fragment of the earth's soul in faery form.

I enjoy doing housework, ironing, washing, cooking, dishwashing. Whenever I get one of those questionaires and they ask what is your profession, I always put down housewife. It's an admirable profession, why apologize for it. You aren't stupid because you're a housewife. When you're stirring the jam you can read Shakespeare.

He who jumps for the moon and gets it not leaps higher than he who stoops for a penny in the mud.

My advice to writers is: READ! A lot. Then read some more. read, read, read, read!

The right to suffer is one of the joys of a free economy.

My art's not safe, I don't want it to be safe, it's not meant to be safe, its controversial, it takes you into deep areas, it's a journey, its starts off in safe areas but it gets into deep waters.

Fairies are becoming much more popular. I see fairyland as this big sea, and the tide is sometimes out.

A sense of community has always been important to me. I understood very early that I could not grow as an artist or as a person without being connected to institutions and clients that served the community.

Art always used to involve spirit. Painters painted spirit. They painted by commission things to go into churches, and that was painting spirit. Or they would paint people of wealth, and they would try to show how they had power, and again, this is sort of spirit.

Anytime that is ‘betwixt and between’ or transitional is the faeries’ favorite time. They inhabit transitional spaces: the bottom of the garden, existing in a space between manmade cultivation and wilderness. Look for them in the space between nurture and nature, they are to be found at all boarders and boundaries, or on the edges of water where it is neither land nor lake, neither path nor pond. They come when we are half-asleep. They come at moments when we least expect them; when our rational mind balances with the fluid irrational.

To draw a tree, to pay such close attention to every aspect of a tree, is an act of reverence not only toward the tree, and toward the earth itself, but also our human connection to it. This is one of the magical things about drawing - it gives us almost visionary moments of connectedness.

You will have to scrutinize the model sharply to find the proportions - how the weight is supported, how each joint is functioning... Look for the color and tone and texture... how the light falls on the figure, especially the face.

Throw your heart into the picture and then jump in after it.

I do recall how I got the ideas for some of my books. Many of them are a result of doodling.

The muscularity in my paintings is only an expression of the spirit within. When I paint Nephi, I'm painting the interior, the greatness, the largeness of spirit. Who knows what he looked like? I'm painting a man who looks like he could actually do what Nephi did.

There are so many comics about violence. I'm not entertained or amused by violence, and I'd rather not have it in my life. Sex, on the other hand, is something the vast majority of us enjoy, yet it rarely seems to be the subject of comics. Pornography is usually bland, repetitive and ugly, and, at most, 'does the job.' I always wanted to make a book that is pornographic, but is also, I hope, beautiful, and mysterious, and engages the mind.

I tend to be known for different things. I mean, there are a lot of comics or sci-fi fans out there who sort of think of me doing that kind of work, but there are just as many people who like the CD covers I've done, or the children's books I've done. So different people like different things.

I try not to respond with a pep talk, such as, "Everyone has talent, just try, you'll see." I skirt those kinds of answers.

All of us have places that we can go where we feel most complete.

Perhaps all women are part faerie, for what woman can deny her faerie blood when the portals to her own land are open; when the full moon sings its insistent song; when sorrow and passion and rage pulse through her body at moon times. This is why women are the chosen ones of Faerie, pat of the vibrant, fluid, emotional soul of the world.

Everything I do, I do for love.

Einstein said that time is like a river, it flows in bends. If we could only step back around the turns, we could travel in either direction. I'm sure it's possible. When I die, I'm going right back to the 1830s. I'm not even afraid of dying. I think it must be quite exciting.

If I were to give myself a pat on the back, it would be for sticking with bookmaking as my primary way of expressing myself over the span of fifty years.

Making art, I try to just gently persist, instead of having freak-outs where I'm like, Oh, my god, I'll never draw again. You are going to draw again, so you might as well relax.

I notice inspiration when it comes by. I don't sit down at my desk and try to write.

The human face is the most deeply ingrained image in our brains. It is the two dots and a dash we connect with as babies. It is the focus of our attention in our relationships with each other. The face and the human figure express all we are. Everything else - architecture, art, even landscape - we usually understand in relation to us.

I don't like religion very much. I think it's all about people trying to be very certain about things that are very uncertain.

Drawing is the most direct and personal kind of graphic expression. Unlike painting, it doesn't forgive. You put down your black line, and there it is - as inevitable as death.

Everybody's a bird, locked up in a pretty cage. Sometimes you fly to a slightly bigger one, but you never quite have the courage to abandon captivity completely.

Voices in the forest tell of dark and twisted enchantments - as dark and twisted as the roots and grasping branches of the trees themselves. Even the most gnarled tree is eloquent in the telling of its own tale.

All the students have shown more advance in two months of summer study than they have in a year of ordinary instruction, largely due to their free and wholesome life in the open air.

Why do women want to dress like men when they're fortunate enough to be women? Why lose femininity, which is one of our greatest charms? We get more accomplished by being charming than we would be flaunting around in pants and smoking. I'm very fond of men. I think they are wonderful creatures. I love them dearly. But I don't want to look like one. When women gave up their long skirts, they made a grave error.

I knew then that I wanted to go home, but I had no home to go to-and that is what adventures are all about.

PhotoShop is a program I use all the time with my 2D stuff. And that's an extraordinary program - you really can do anything there, and I've never hit my head on the ceiling. The 3D stuff is incredibly complicated, monstrously complicated, but for the things that I want to do, I've found very simple and interesting ways, I hope, of making images without getting tied up too much in the maps and technicalities.

Some people just have a natural gift and some people really have to work at it and I'm more of the second kind. I always had to grind it out, where from him it just flowed.

I was quite nauseous every day at school - I had some real stomach problems. The thing that saved me was sitting in church and trying to get into these statues and windows and colors. Truly, it transported me. And I can see it now in my own work - my pictures have kind of that look.

When the flood cometh it sweepeth away grain as well as chaff.

Like every young man growing up in the puritanical Eisenhower 1950s, I had a hell of a time getting laid. I suppose that's why I was always intrigued by, and terribly envious of men who had no trouble at all in bedding a vast variety of desirable women.

I like to bring a certain sense of humanity and detail to my work, and watercolor allows me to do that. I have fascination and wonder about the line and transparent quality or properties in watercolor. I use watercolor to give voice to what I would like to talk about.

I just don't think that being unable to forgive someone is the most healing move. It can be, and I've had times in my life when I thought I would be better off without the drama that another person was bringing to me, but cutting someone out isn't always the answer. I know someone who cut her mother out and it didn't magically heal her. She's still haunted. It's not as if you can wipe clean all of your memories of having a mother, or wanting or needing one.

Pride in what and who you are is a strong foundation, but don't be defined by your oppression; use your anger, don't let it use you.

In her whimsical debut author Brynne Barnes celebrates the colors of our world.

What is done is done; and the cracked egg cannot be cured.

Narrative nonfiction was not my forte. I always wanted to let my imagination run free, and the facts sometimes got in the way. At one point I wanted to illustrate Jack Prelutsky's enchanting poems. Unable to do that, I started devising and improvising my own poems, very raw at first. I immersed myself in verse, writing reams of stuff until it gelled.

I feel that what you should illustrate is the space between the words. It's the betweenness, the otherness, that gives depth and dimension.

Your mission isn't your guide. You have to find your own way.

Demons do not cry. You became a demon, because you couldn't cry anymore right? Humans cry and when their tears finally run dry, there's nothing left, not a demon nor a monster and one final prayer for death. So, laugh demon. Laugh that arrogant laugh of your and remember I beat you to it.