A Quote by Dave Gibbons
One of the things you have to be able to do, as a comic strip artist, is to draw things repeatedly from a variety of angles, so you need references, and you find the best picture you can.
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'Blade Runner' was a comic strip. It was a comic strip! It was a very dark comic strip. Comic metaphorically.
"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words.
The challenges in taking any IP into any other platform are best met by empowering the individuals that can work best in that area and that is one of the things that I really admire about Marvel as a company. They go out and find the best people, whether it is to draw a comic book or create a television series or make a movie.
It seems beyond the comprehension of people that someone can be born to draw comic strips, but I think I was. My ambition from earliest memory was to produce a daily comic strip.
Logic obviously is important. You need to be able to figure things out, to go to the end of a particular problem. But intuition is very important because it references things that logic alone cannot.
The comic strip is what I looked at, and it's another reason I did it. The comic strip, where animals would comment on human behaviour, interested me.
There's a rhythm to the words combined with the pictures [in a comic]. Whenever I'm working on a comic strip I re-read it, probably hundreds of times through to pay attention to how all of those things work. Sometimes even changing the angle of a character's eyebrow can really, seriously alter the effect and overall interpretation of a scene. And the insertion of a pause or a cough or a sniff, and all these things that we do in conversation, can bring it to life in a strange way.
One of the things that's been nice about my career is that I've been able to do so many different things, and variety keeps your creative soul fulfilled. I'm constantly looking to find new things to do. It's just project to project for me. You never know where the next thing's going to come from.
I always think, 'What does this picture mean? What's the best place to put my camera? Do I have anything extra in the picture, things in the background that will distract? Am I in the basic position that will give the essential things for this picture but not too much?'
If you're going to draw a comic strip every day, you're going to have to draw on every experience in your life.
To get syndicated as a comic strip artist is as likely as winning the lottery.
The world clings to its old mental picture of the stock market because it’s comforting; because it’s so hard to draw a picture of what has replaced it; and because the few people able to draw it for you have no interest in doing so.
Charles Schultz is a really interesting case. He wrote that comic strip and drew it himself from beginning to end, and it's a work of genius. It's very simply drawn, but it has some really deep emotions that you don't expect in a silly-looking comic strip.
Being able to draw means being able to put things in believable space. People who don't draw very well can't do that.
I'm a comic book artist. So I think to myself, what do I like to draw? I like to draw hot chicks, fast cars and cool guys in trench coats. So that's what I write about.
I'm a comic book artist. So I think to myself, what do I like to draw? I like to draw hot chicks, fast cars and cool guys in trench coat. So that's what I write about.
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