I'm a big fan of a lot of graphic novels - 'Fables,' 'Y: The Last Man' and 'The Walking Dead,' which I like a lot more.
Graphic design is the fiction that anticipates the fact.
In the beginning I was really, really lean. For the longest time I did it all. I played every hat. I was in the factory, doing the graphic design, the photography, the selling - literally everything. I saved money doing what I could myself. It was hard but I learned. I learned that nobody's better than you to get your business off the ground. The experience you get is priceless.
I graduated from school for graphic design, and I started to get into acting class just to get over severe fright. I was an extremely shy person. I could barely say hello to anybody.
My platform has been to reach reluctant readers. And one of the best ways I found to motivate them is to connect them with reading that interests them, to expand the definition of reading to include humor, science fiction/fantasy, nonfiction, graphic novels, wordless books, audio books and comic books.
Just looking at pictures used to be considered cheating. No longer. The graphic novel is booming. Comics, heavily illustrated texts, books with no words are now accepted as reading.
That's always been Guillermo's preference, is to have as much there practically as is humanly possible, and that digital graphic images are more a punctuation mark than they are a replacement.
Playing Destroyo, who was sort of a 'Silence Of The Lambs' type character, I'd say I was wearing about 50 pounds of rubber and foam rubber and makeup. But I had no idea who The Tick was. I'm not a big graphic-novel guy. I don't even know if 'The Tick' was a graphic novel!
Tightly-plotted, well-researched and beautifully drawn, this book is a real delight. Garen Ewing's mix of engaging characters, exciting old-school adventure, attractive ligne claire artwork and fluid storytelling makes The Rainbow Orchid easily one of the best graphic novels of the year.
People unacquainted with graphic novels, including journalists, tend to think of Watchmen as a book by Alan Moore that happens to have some illustrations. And that does a disservice to the entire form.
I respond very well to rules. If there are certain parameters it's much easier to do something really good. Especially when readers know what those are. They know what to expect and then you have to wrong-foot them. That is the trick of crime fiction. And readers come to crime and graphic novels wanting to be entertained, or disgusted.
I didnt think that personal style had much value in graphic design.
Anybody hear the great news, today? Jimmy Swaggart under investigation! Oh Ja-eezus! One day every one of those cocksuckers will get caught! I understand in the case of Mr. Swaggart, that he claims that it was not multiple encounters with many prostitutes - apparently, only one sweet young thing. And he did tell Cal Thomas of the Moral Majority that the sex act itself was not fully consumated. However he did admit to doing something por-no-graphic with the girl. Let's use our imaginations, ladies and gentlemen.
Whenever summer rolls around I begin to realize that I'm a complete and utter book snob. In relation to reading, I have absolutely no guilty pleasures at all. No graphic novels. No murder mysteries. My summer read is really no different from my winter read. I know many bookshops and magazines would have me believe that our summer forays are different, but literature is literature, and unfortunately snobbery is snobbery.
I won't read a new graphic comic novel until the writer has completed the entire series. I got burned a few times when I got turned on to a book, plowed through it only to find out the author was in the middle of writing the next.
The graphic style itself is influenced by a lot of very layered and detailed comics that I read as a kid, like Vagabond by Takehiko Inoue.
I've always been a visual person, I'm formerly a graphic designer. I've always seen myself as an observer. I like to maintain objectivity and don't get too intimately involved in my subjects.
I often notice how students can gain the capacity to use certain critical methodologies through engaging with very different texts - how a graphic novel about gentrification and an anthology about Hurricane Katrina and a journalistic account of war profiteering might all lead to very similar classroom conversations and critical engagement. I'm particularly interested in this when teaching law students who often resist reading interdisciplinary materials or materials they interpret as too theoretical.
As a graphic artist, my job on a local paper was creating the advertising as well as working as a journalist on sports and community issues. There are many more jobs I've done in my day, I can't remember them all.
Graphic design was largely about communication in an artistic or creative manner, much like writing is used to convey ideas. Many designers completely miss that aspect of the "art." Some are completely satisfied with just making things pretty, without taking the communication element into consideration.
I have friends and illustrators who can't stand drawing on the Cintiq. [A graphic pad tablet used by digital animators] There's a certain tension and friction when you draw on paper that they miss. The tablet is very slick. It's like drawing on glass. But that didn't bother me at all.
In the '40s and '50s, a lot of teachers and librarians saw the graphic novel as the enemy of reading.
I never think there's any competition between films. I root for everybody's films. I especially have a fond place in my heart for graphic novels and comics.
To become a painter or a sculptor or a graphic designer is quite an isolated way to spend your life.
Just look at the cinema itself: It's comprised of lots of movies about graphic novels, and if you're not 20 years old and wearing a cape and a mask and white, you're out of business. Today's cinema is a proliferation of comedies, which are in some ways creating caricature images. They're one-dimensional.
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