A Quote by Kevin Henkes

When I'm writing, I'm creating the story and its character with words. I'm thinking about what the pictures will be like, but I never begin to sketch. The pictures are all in my head.
What excites me about picture books is the gap between pictures and words. Sometimes the pictures can tell a slightly different story or tell more about the story, about how someone is thinking or feeling.
I hope for quick, fluent copy and memorable pictures. The words would not 'describe' the pictures; the pictures would not 'illustrate' the words. Together, they would carry a stamp and tell a story.
Pictures! Pictures! Pictures! Often, before I learned, did I wonder whence came the multitudes of pictures that thronged my dreams; for they were pictures the like of which I had never seen in real wake-a-day life. They tormented my childhood, making of my dreams a procession of nightmares and a little later convincing me that I was different from my kind, a creature unnatural and accursed.
I don't like pictures in books. I feel that the pictures diminish the words, and the words diminish the pictures, and it doesn't work.
My movies more often are told through pictures, not words. But in this case, the pictures took second position to the incredible words of Abraham Lincoln and his presence [...] I was less interested in an outpouring of imagery than in letting the most human moment of this story evolve before us.
I think film writing, you're thinking in pictures, and stage writing, you're thinking in dialogue. In film writing, it's also, you only get so many words, so everything has to earn its place in a really economical way. I think for stage writing, you have more leeway.
The one thing I never get involved with is selecting art or pictures for a client. This is a very personal thing. If the clients have pictures, I will hang them. When they do not own pictures I leave the walls blank.
At first, I see pictures of a story in my mind. Then creating the story comes from asking questions of myself. I guess you might call it the 'what if - what then' approach to writing and illustration.
I love the interplay between words and pictures. I love the fact that in comics, your pictures are acting like words, presenting themselves to be read.
That's why I never took this business too seriously, thinking I was something special, when I knew the truly great performers in motion pictures. pictures.
When I got into the second half of 'Dragon Ball,' I had already become more interested in thinking up the story then in drawing the pictures. Then I started to not place much emphasis on the pictures.
I remember when an editor at the National Geographic promised to run about a dozen of my landscape pictures from a story on the John Muir trail as an essay, but when the group of editors got together, someone said that my pictures looked like postcards.
When I think of high school, stills are so important: it's all about the wallet with the kids - they define themselves with pictures, who they know, whose pictures they have. Yearbook pictures.
It's very much a character-based play. Conor's writing is almost musical and paints pictures at the same time. It's a joy as an actor to be able to say the words. It's very conversational but at the same time, tells a story.
The text illustrates the pictures - it provides a connective tissue for me. I usually refine the text last, partly because pictures are harder to do, so it's easier to edit words - I use text as grout in between the tiles of the pictures.
I thought, "Well, I'm writing about early childhood, so maybe it would make sense to write about late childhood as well, early adulthood." Those were my thoughts, and this was how this crazy book [Winter Journal] was composed. I've never seen a book with pictures like at the end, pictures related to things you've read before.
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