A Quote by Sergio Aragones
When you're drawing comics, you get very involved in how the story is going to develop and you spend more time daydreaming on that particular subject.
Related Quotes
Drawing is more fun to me than writing. I think it's interesting to talk to different cartoonists about how those activities work for them. I'm a very writerly cartoonist. I certainly spend more time on the writing than I do on the drawing, even though the drawing, of course, is very time-consuming.
I can earn more in a single weekend of convetioneering than I would in an entire month drawing comics. And I get a pretty high rate drawing comics.
I was very influenced by comics. The drawing style, definitely, I was interested in. My style of drawing is largely a comic style, but it's also much more obvious than comics.
The first time I shopped at a comic shop, it was because I had been published in a comic book. As I became more involved in comics, I started going more and more, usually to support my friends or lady-friendly comics.
Writing comics and drawing comics is a really very specific art form. It's a lot easier to get it wrong than it is to get it right.
It might be a very human thing across the board, but we, in America, love a story - we need a story to get involved in. But then everything becomes more about how the story protects a certain perception as we pick sides.
I'm going to spend some time with my family. My kids are really in the years where I'm starting to miss more stuff, and we're going to stay very involved in politics.
I quit comics because I got completely sick of it. I was drawing comics all the time and didn't have the time or energy to do anything else. That got to me in the end. I never made enough money from comics to be able to take a break and do something else. Now I just can't stand comics. . . . I wish my work would be recognized by a larger crowd of people as more art than be stuck with the cartoonist label for the rest of my life.
I was very concerned about who was going to take my story and realize it, so I was very particular and spent a lot of time going over things with him, talking about how I wanted it to be told.
Do you know what a showmance is? It is like being at a summer camp when you're a teenager. You spend summertime away from your home. When you spend three months very closely with someone at a particular place, it is like a summer love. You have no choice but to get involved with that person.
We, in America, love a story - we need a story to get involved in. But then everything becomes more about how the story protects a certain perception as we pick sides.
There's sacrifice involved. Either you're going to work a lot and not get to spend time with your kid, or you're going to spend a ton of time with your kid, and you're sacrificing your career.
There's something very strange and wrong-seeming about drawing realistic eyeballs in comics, at least in the mode of comics where action is carried more by the movement of the characters rather than where narration links disparately framed selected images.
The magic of comics is that there are three people involved in any comic: There is whoever is writing it, and whoever is drawing it, and then there's whoever is reading it, because the really important things in comics are occurring in the panel gutters, they're occurring between panels as the person reading the comics is moving you through, is creating a film in their heads.
I get kind of emotionally involved very quickly, and I'm not going to spend time with someone unless I love them. But it's not hard for me to fall in love.
When I was there at Marvel, everybody thought if you could draw well and you could do sensational panels, that you were going to be a success. The truth is that no matter how good or bad you are as a draftsman, if you can't tell a story, you don't last in comics. ...About halfway through my stay at Marvel, I realized I was being paid to tell a story, not do a drawing. That's why my stuff is always rather simple and uncomplicated compared to a lot of guys.
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