Quotes About Illustration

Be able to draw an illustration as least well enough to get your point across to another person.

A lot happened in Vancouver. It was my first Western experience. I learned English, which is my second language. I became very acquainted with Western culture. I had my first sewing machine when I was 9. I trained in fashion illustration when I was in school.

I still draw a lot though. Ballpoint pen is my preferred medium.

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.

When I teach the formal curriculum, I have the chance to think about it ahead of time. I can rehearse it. I can illustrate it with self-deprecating humor and humble-sounding personal disclosure. I can try to make it comes out just right.

The floating vapour is just as true an illustration of the law of gravity as the falling avalanche.

Example is better than precept.

That innovator is the aforementioned Hugh Thomson, who might be called the Colin Firth of Austen-inspired book illustration." (P. 52)

You wring your hands to see it, and that's another illustration of love; in the end you are too heavy to move with the greediness of the stomach.

The whole truth is not taught in a single passage: we must always bear in mind the exact point of an illustration.

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.

Social equity is based on justice; politics change on the opinion of the time. The black man's skin will be a mark of social inferiority so long as white men are conceited, ignorant, unjust, and prejudiced. You cannot legislate these qualities out of the white - you must steal them out by teaching, illustration, and example.

I'm interested in illustration in all its forms. Not only in books for children but in posters, prints and performance as a way of drawing people into books and stories.

I don't like drawing characters facing right.

It is good to tell people what we mean, but it is infinitely better to show them. People are looking for a demonstration, not an explanation.

People are looking for a demonstration, not an explanation.

Whatever we think about the revolutions, the original slogan of the French Revolution – liberté, égalité, fraternité – was just a slogan, and nobody troubled to ask themselves whether liberté and égalité were compatible in practice. Really the subsequent history has been an illustration of that conflict between them.

The transfiguration was a physical illustration of what the renewed mind looks like in the spiritual.

When I did sports cartoons, I used to uh, go to fights.

To be an illustration seems to me the only ideal worthy of a contemporary woman.

Writing a comic book series, you're so reliant on whoever the artist is. It truly is collaboration.

I've always loved the wild rumpus in 'Where the Wild Things Are' by Maurice Sendak, because the words disappear, the pictures take up the whole page, and we move forward in the story by turning the pages.

My great influence has been Maurice Sendak, who drew 'Where the Wild Things Are.' His characters really interact with each other.

I suppose illustration tends to live in the streets, rather than in the hermetically sealed atmosphere of the museum, and consequently it has come to be taken less seriously.