A Quote by Debbie Millman

Visual storytelling utilizes both language and art to pass on the essence of who we are. — © Debbie Millman
Visual storytelling utilizes both language and art to pass on the essence of who we are.
Visual art is a foreign language I'm fluent at, but my native language is language.
In animation, what's wonderful is that when you start to work with multiple nationalities, the common language becomes a visual language rather than a spoken language, which blends beautifully with the art form.
Because it's visual art, a lot of it comes from childhood experience but then a lot comes from the visual language - in advertising and stuff like that - which is around us.
Graphic design is a visual language uniting harmony and balance, color and light, scale and tension, form and content. But it is also an idiomatic language, a language of cues and puns and symbols and allusions, of cultural references and perceptual inferences that challenge both the intellect and the eye.
Everything in the world was about creativity: belief and creation. Storytelling was the essence of both.
Art and morality are, with certain provisos…one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. Love is the extremely difficult realization that something other than oneself is real. Love, and so art and morals, is the discovery of reality.
The world of visual perspective is one of unified and homogeneous space. Such a world is alien to the resonating diversity of spoken words. So language was the last art to accept the visual logic of Gutenberg technology, and the first to rebound in the electric age.
Because storytelling, and visual storytelling, was put in the hands of everybody, and we have all now become storytellers.
I'm a big fan of fiction film where you have a story and you have to transform that into a visual language, basically working with actors and also transforming that into how you pronounce that in the visual language of the shots, the construction of the shots and the lighting. All of that appealed to me from the beginning of my career at the university. When I graduated from the university, I wanted to deal mainly with that, with the visual aspect of the movie.
I am a film director, and I work with a visual language, with a visual medium. And I try to make virtue of the use of this visual medium. And I try to make sure what I do speaks the language of cinema.
In learning the art of storytelling by animation, I have discovered that language has an anatomy.
Right before 'American Dreams,' I started to pursue these avenues, like short films and getting into a couple night courses to really study photography and cinematography, and the language of visual storytelling.
We are obliged to steal pieces of language, both visual and textual.
No one questions the fact that verbal language has to be learned, but the commonplaceness of visual experience betrays art; people tend to assume that, because they can see, they can see art.
So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point
So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.
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