A Quote by Jan Brett

I remember the special quiet of rainy days when I felt that I could enter the pages of my beautiful picture books. Now I try to recreate that feeling of believing that the imaginary place I'm drawing really exists. The detail in my work helps to convince me, and I hope others as well, that such places might be real.
The detail in my work helps to convince me, and I hope others as well, that such places might be real.
I figured I could read more than five pages tonight since I'd been deprived for the last couple of days. When I finished the fifteenth, I discovered I was three pages from the next chapter. Might as well end with a clean break. After I was done, I sighed and leaned back, feeling decadent and spent. Pure bliss. Books were a lot less messy than orgasms.
When I was little, I loved books that gave me lots of detail so that I felt like I could be transported to this other place, or, in the case of an illustration, I felt like I could walk into the page.
The first time I saw you, when you stepped into that Skiz ring against Kaede, I thought you were the most beautiful girl I'd ever seen. I could've watched you forever. The first time I kiss you..." That memory overpowers me now, taking me by surprise. I remember every last detail of it, almost enough to push away the lingering images of the Elector pulling June to him. "Well, that might as well have been my first kiss ever.
I might cry tomorrow, but I may be smiling the day after. That's enough. That's the way life is. If I don't lose hope - tomorrow will come. Tomorrow will come if we don't lose hope... I learned that from Nana. But rainy days still make my cheeks wet with tears, even now. It was pouring, on that rainy day.
I am trying to represent design through drawing. I have always drawn things to a high degree of detail. That is not an ideological position I hold on drawing but is rather an expression of my desire to design and by extension to build. This has often been mistaken as a fetish I have for drawing: of drawing for drawing’s sake, for the love of drawing. Never. Never. Yes, I love making a beautiful, well-crafted drawing, but I love it only because of the amount of information a precise drawing provides
There are certain days that are forever locked in our memories. They represent special times, places, and people that we capture in the scrapbook of our minds. Just a fleeting thought of these memories can bring us back to that special time and place as well as the emotion we felt when we were there.
the best way to remember a beautiful city or a beautiful painting is to eat something while you are looking at it. The flavor really helps the image to penetrate the body. It fixes it as lacquer does a drawing.
When I'm drawing, I only do that at home, really, at my drawing table. But writing I could do in other places. So I've written in airports, in hotels, different places.
I work just as much as I always worked. And I can't explain the fact that there have been a series of books coming rather regularly out of me. I work most days and if you work most days and you get at least a page done a day, then at the end of the year you have 365. So the pages accumulate and then I publish the books.
Sometimes, as practice for trying to convince myself that God exists, I try to convince my shadow that the sun exists.
The real trick to producing great work isn't to find ways to eliminate the edgy, nervous feeling that you might be swimming out of your depth. Instead, it's to remember that everyone else is feeling it, too. We're all in deep water. Which is fine: it's by far the most exciting place to be.
I felt a rush of trust--felt that life might be not just tolerable but beautiful, if I could only remember to find the bare Present.
I still follow the lifestyle of the Mormon church. I try to go to church every Sunday even when I'm on tour. It's not only my upbringing, but it helps me stay sane. It helps me remember my purpose and the overall picture of what is important to me and what makes me happy.
I type most of my books for the first chapter or two - I use a manual typewriter for the first 50 pages or so - and then I move to the computer. It helps me keep the work lean so I don't end up spending 10 pages describing a leaf.
With 'Enter the Void,' I didn't know you could go to this place of surrealism in a movie. I felt sick when I watched it. It really stuck with me.
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