I remember my mom had a big collection of copies of Saturday Evening Post magazines, and that was really my introduction to those great illustrators.
My older sister achieved her dream of being an artist. She's an illustrator living in Manhattan.
Information and inspiration are everywhere... history, art, architecture, everything an illustrator needs. Europe is, after all, the land that has generated most of the enduring myths and legends of Western culture.
Let's create a World's Fair that captures everybody's visions of tomorrow together and let's celebrate that vision. Let's have articles on it with illustrators imagining how we'd be living differently.
Allowing artist-illustrators to control the design and content of statistical graphics is almost like allowing typographers to control the content, style, and editing of prose.
Just in terms of being able to be a professional artist, but also it's nice to not have to dread introductions. "What you do for a living?" It used to be easier just to tell people that I was a magazine illustrator than try to explain that I did comics, but not the kind of comics that they were used to, and no, it's not pornography, etc. And now people even of our parents' generation are familiar with the term "graphic novel," which is kind of amazing.
I had a job as an illustrator, and I wanted to change the direction of my work. I moved to the country, and immediately I started to paint fairies and trolls.
I wasn't a very good illustrator so I became a designer.
I wanted to do comic books... as a comic book artist, as an illustrator. But I'm not very good so I thought I should do something else! So I went to a film school when I was seventeen and came out when I was nineteen.
I majored in illustration at the Rhode Island School of Design, although I never had any intention of being an illustrator and didn't take any classes in illustration there. It was just that the illustration degree had no requirements.
I have learned patience, for sure. Pre-publication is a long waiting game, especially for authors of picture books. We write the manuscript, sign the contract, and wait. It takes a while for the art director to find an illustrator and then the illustrator works on the sketches, and depending on those first round of sketches, it could be a few more months before you see a final illustration. I was surprised at how long it takes for all the pieces to come together.
I wound up studying art and design, got a job at Lonely Planet Publications as a designer, cartographer and illustrator.
There is a continual exchange of ideas between all minds of a generation. Journalists, popular novelists, illustrators, and cartoonists adapt the truths discovered by the powerful intellects for the multitude. It is like a spiritual flood, like a gush that pours into multiple cascades until it forms the great moving sheet of water that stands for the mentality of a period.
In my youth I dreamed of being an illustrator.
Speaking of line, what artist of line was ever able to find more depth and volume than Hirschfeld? He was an illustrator and a caricaturist, but first and foremost, an artist.
And I had worked at the comic-book store almost by accident, because I was deciding to make a living as an artist, be it as an art tutor or illustrator, and that's how I wanted to make my living.
After that I jumped, especially being in art school, to the illustrators.
My real background was in art studies. At the beginning I was a painter, then I was this graphic designer, then I became an illustrator, then I was a comic artist. But for me it's a different way of expression, a different field of art. They're not separated; everything for me is related.
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.
Fortunately, I'm able to make a living from comics, so I'm privileged enough to be quite choosy, though most cartoonists can't afford to be. It's really an uncomfortable situation, since I'm not an illustrator, though I do get calls from morally indefensible businesses offering me money to decorate their ambitions. It's extremely rare, almost unheard of, in fact, that I am asked to do a comic strip. Do writers get calls to pen Toyota advertisements? Do composers get asked to write chamber pieces about exercise machines?
I love Inuit art, and most anything you would find in a folk art museum, as well as children's art or children's book illustrators or illustrators in general - all the kinds of work that my paintings would draw comparisons to.
I don't relax. My main relaxation is meeting illustrators and publishers in restaurants and bars.
As an undergraduate I held many small jobs as an illustrator.
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.
I used to sit in the studio with a copy of the (Saturday Evening) Post laid across my knees ... And then I'd conjure up a picture of myself as a famous illustrator and gloat over it, putting myself in various happy situations, surrounded by admiring females, deferred to by office flunkies at the magazines, wined and dined by the editor.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: