Quotes from Jeffrey Brown

I was always most interested in drawing - most of my childhood drawings are black-and-white line work. And when I kind of abandoned comics, through college and art school, I was doing a lot of painting. But once I started doing comics again, everything else just fell by the wayside.

Here's a pretty shell for you. -Oh, thank you my baby. -Look, here's another one! -Thank you. -Look at this pretty one! -Thank you. -Here's a REALLY pretty one. -Um, thank you.

I like the way you touch me." "I like to touch you... That works out for us, huh?

Some guy stopped by to see you. -Who was it? -I don't know. -You don't know? Was he cute? Did you fall in love with him?

Theirs was a forbidden love.

and then I said, "I love you" and all he said back was, "I know". "I know"... what does that mean?!

yaaaaawwwwwwwwwwwwwnnnnnnnnn smack smack smack

How do you know it's love and not obsession?

I don't need you making me feel like an evil person every time I do something. I gave up smoking weed for you and that's a pretty big thing. I can't hold your hand 24 hours a day. Can't hold you 24 hours a day. Can't kiss you 24 hours a day. Can't have sex 24 hours a day.

Don't feel happy at me.

Don't be happy at me.

Use the Force! But use the bathroom first if you need to.

Clarity Cliche--polished package that wraps the unwrappable Here it is, your day from "Nightly News" in The News: Poems

I keep up with James Kochalka's online strip, and if I see a link somewhere or someone tells me about something, I'll look at it, but I don't usually keep up with any sites other than the 'American Elf.' I always have this feeling that there's not enough space in the screen, like everything's always getting cut off.

I think I've been able to build up a wide range of styles in storytelling, using comics in different ways from project to project. I think my art has become more accomplished, although I try to keep it from becoming slick or superficial.

Write a lot and don't think about publishing - just the writing.

I usually balance out autobiography with goofy, amusing stuff to help keep the humour in my more serious work.

When you're looking for a sketchbook, you've got to find the right paper for the pens you like to use. I like to draw on both sides of the page.

I've never written a book with the intention of winning someone back or getting back at someone or anything like that. It's always just been about thinking about life and how relationships fit in to what life means.

One thing I think is that comics are really good at expressing emotion. I think there's a way that comics characters can be drawn not-realistically, but the emotional reality is still very sincere. So you can have these exaggerations that express inner emotion through physical appearance.

My books should feel like you're getting a peek into a private world: a diary no one was meant to read. As soon as I start thinking, 'This book is going to be published,' my drawing becomes calculated and deliberate. It's one of the ways I trick myself.

I always try to write from memory, and I always try to use memory as an editor. So when I'm thinking of something like a relationship or whatever, then I'm letting my memory tell me what the important things were.

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.

I think comfort, stability, and love are the things that really let me be happy. Deep down inside I'm a little boring, I guess.