It's good when someone comes to a book or a movie and interacts with it. It's the difference between an illustration and a painting. An illustration serves a specific purpose, and a painting is something you can immerse yourself in.
If you're drawing a Western town, you can duplicate that Western town from instinct alone. Some artists may take it from other illustrations or duplicate what you've drawn, but it will never have that gut reality that's instinctive in the artist.
Hindu religious literature, indeed all religious literature, is full of illustrations to prove the truth.
Have been reading "Genesis" several Sundays, not as a Christian reads for "spiritual consolation," "instruction," etc., not as aninfidel reads to carp and quarrel and criticize, but as one who wishes to be informed and furnished in the earliest and most wonderful of all literary productions. The literature of the Bible should be studied as one studies Shakespeare, for illustration and language, for its true pictures of man and woman nature, for its early historical record.
We're living in a world where everything moves very quickly. We've become a very visual society, so I think it's a very natural thing that people are captivated with the illustrations in a story.
I used to draw and illustrate, but I don't do that anymore because I just like to write. I like to leave the illustrations to actual professional illustrators.
Paris, hours in the café, a certain spirit of rebellion, one side a bit too stubborn, the sea, the true, in Bretagne, the walking in Provence, the taste, the passion for literature, the libraries, the beautiful editions, remaking the world in a set of hours around a table and a bottle of wine. Talking without really saying nothing, just for the pleasure of talking. The museums, the theatres, the elegance, the delicacy, the heritage of the Illustration, a humanistic philosophy. The balance we got between a nordic rigor and a latin savoir-vivre, the insolence and the freedom.
You need to be, like, turning down high-paying illustration work because you want to work on your comic. That's when you know you're doing something good.
If you want to make something clear to someone, you mustn't forget the main point, the most important thing, and if you bring in something else as an illustration you mustn't wander off into endless irrelevancies.
As an author, you can't expect a movie to be an illustration of the book. If that's what you hope for, you shouldn't sell the rights.
Artist Allen Crawford brings Whitman's undying text to new life in gorgeous hand-lettering and illustrations, transforming the 60-page poem originally published in 1855 as the centerpiece of Leaves of Grass into a breathtaking 256-page piece of art.
Whereas, to borrow an illustration from mathematics, life was formerly an equation of, say, 100 unknown quantities, it is now one of 99 only, inasmuch as memory and heredity have been shown to be one and the same thing.
An earthly immortality belongs to a great and good character. History embalms it; it lives in its moral influence, in its authority, in its example, in the memory of the words and deeds in which it was manifested; and as every age adds to the illustrations of its efficacy, it may chance to be the best understood by a remote posterity.
Illustrations have as much to say as the text. The trick is to say the same thing, but in a different way. It's no good being an illustrator who is saying a lot that is on his or her mind, if it has nothing to do with the text. . . the artist must override the story, but he must also override his own ego for the sake of the story.
For centuries, as pope and emperor tore each other apart in their quarrels over power, the excluded went on living on the fringe, like lepers, of whom true lepers are only the illustration ordained by God to make us understand this wondrous parable, so that in saying 'lepers' we would understand 'outcast, poor, simple, excluded, uprooted from the countryside, humiliated in the cities.' But we did not understand; the mystery of leprosy has continued to haunt us because we have not recognized the nature of the sign.
I always love design but the more I designed for clients, the less I liked the process of designing for them. I do lettering and illustration for money, which clients don't mess with too much and web design for fun.
The most heterogeneous ideas are yoked by violence together; nature and art are ransacked for illustrations, comparisons, and allusions; their learning instructs, and their subtlety surprises; but the reader commonly thinks his improvement dearly bought and, though he sometimes admires, is seldom pleased.
I try to find inspiration in books, paintings, illustrations and the one thing I try to avoid is just being inspired by other movies, because then you just are talking about movies in movies. I try to talk about movies that are culturally and spiritually a little more diverse.
In reading we must become creators. Once the child has learned to read alone, and can pick up a book without illustrations, he must become a creator, imagining the setting of the story, visualizing the characters, seeing facial expressions, hearing the inflection of voices. The author and the reader "know" each other; they meet on the bridge of words.
WARNING: The following is a transcript of a digital recording. In certain places, the audio quality was poor, so some words and phrases represent the author's best guesses. Where possible, illustrations of important symbols mentioned in the recording have been added. Background noises such as scuffling, hitting, and cursing by the two speakers have not been transcribed The author makes no claims for the authenticity of the recording. It seems impossible that the two young narrators are telling the truth, but you, the reader, must decide for yourself.
May I ask you what these questions tend?' 'Merely to the illustration of your character,' said she, endeavouring to shake off her gravity. 'I am trying to make it out.' 'And what is your success?' She shook her head. 'I do not get on at all. I hear such different accounts of you as puzzle me exceedingly.
In the world of comics, Jack Kirby and Will Eisner may have been more influential artists, but Joe Kubert was its most influential man. Even if he were to be remembered solely for his body of illustration work, he’d still be one of the greats, but by opening the Kubert School in 1976, he was able to personally mentor and educate literally thousands of successful artists who owe their careers to his teachings.
In the literal sense, there has been no relevant evolution since the trek from Africa. But there has been substantial progress towards higher standards of rights, justice and freedom - along with all too many illustrations of how remote is the goal of a decent society.
I am a living illustration of Bosnian mixing and converting. My grandparents lived in eastern Herzegovina. Very poor. The Turks came and brought Islam. There were three brothers in the family. One was Orthodox Christian. The other two took Islam to survive.
By the 'mud-sill' theory it is assumed that labor and education are incompatible; and any practical combination of them impossible. According to that theory, a blind horse upon a tread-mill, is a perfect illustration of what a laborer should be -- all the better for being blind, that he could not tread out of place, or kick understandingly. According to that theory, the education of laborers, is not only useless, but pernicious, and dangerous. In fact, it is, in some sort, deemed a misfortune that laborers should have heads at all.
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