A Quote by Jeffrey Brown

Generally, I don't pencil, especially with the autobiographical comics, although I've usually planed out composition in my head during the scripting stage. I like to work directly in ink, to keep the spontaneity and expression conveyed by a less worked over line.
Both liquid and pencil eyeliner can be used on the top and bottom eyes. I then use eye shadow over the pencil to blend evenly to ensure there's no skipping and patchiness. With pencil as a base, it's easier to get a seamlessly blended effect. If a stronger line is desired, trace over the pencil line with liquid eyeliner.
I work pretty quickly. I'd probably draw somebody once or twice in pencil, then just go to ink. Not really care too much about it, and it just kind of worked out.
I have worked with a great many comedians as opposed to comics, although I have worked with comics as well, I make the distinction.
Like most filmmakers and writers, there are roots in my own life, but they are stories that I invent. There was a period of time in my life when I made directly autobiographical films where I truly told what happened to me. But, now, I don't make directly autobiographical films anymore. I am more for renouncing that and being in front of history. The large part of my work tells about something I know. It's close.
One day when I was studying with Schoenberg, he pointed out the eraser on his pencil and said, 'This end is more important than the other.' After twenty years I learned to write directly in ink.
People ask, 'Are your things autobiographical?,' and I think, no, they're not autobiographical directly, but of course my life has informed my work.
My work has never been autobiographical. Although the subjects are driven on a personal perspective it's sort of elevated above me. I try to express something that is more a collective expression of crisis.
It [lighting the set up] is quite a process. It's like drawing. It's like being an artist. You pencil it in first, and then you ink it. When you're filming, it's like you're penciling it all in. You know where everything is going to go. But, that application of the final ink takes some time.
I gave her a smile that I hoped conveyed something like: Hey, you know I’m on your side. Gods are such jerks! But what can you do? Probably my expression actually conveyed: It’s not my fault! Please do not kill me!
I start with an idea in my head. I sketch it out quickly as a line drawing, using pencil. It never comes out quite right - usually a bit better than my mental picture.
I know that the materials found on the streets is rich and wonderful, but my experience is that the way I am accustomed to work, slowly planning my composition etc. is not suited for such work. By the time I have the composition or expression right, the picture is gone. I guess I want to do the impossible and therefore I do nothing.
There's nothing like the spontaneity of making something work on stage.
To my way of thinking, the concept drawings that Rembrandt did, the drawings he made that he used to model his artists, to work out the compositions of his paintings: those are cartoons. Look at his sketch for the return of the prodigal son. The expression on the angry younger brother's face. The head is down; the eyebrow is just one curved line over the eyes. It communicates in a very shorthand way. It's beautiful, expressive, and, in a peculiar way, it's more powerful than the kind of stilted, formalized expression in the final painting.
I used to work over a bar. That was - there was no stage. I stood over a tiny bar. Louis Prima, rest his soul, he worked there. I was the guy that filled in when he was off the stage.
Creativity arises out of the tension between spontaneity and limitations, the latter (like the river banks) forcing the spontaneity into the various forms which are essential to the work of art or poem.
Eating together is the most intimate form of kinship. By scripting a work where we share the same kind of food with fish, I'm scripting our interrelationship with them.
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