#illustrating

I think when somebody's painting they don't necessarily... I'm not illustrating what I know. I'm mapping out, like topographically, some terrain I am satisfied with, how awkward that mark is. ↗

— Julian Schnabel

#awkward #how #i #i am #i think

The Architect is just one of a series of works which examine the confrontation of innocence and experience, illustrating the complex ethics of power that exist between reader and writer, critic and artist, the human and the divine. ↗

— John Scott

#artist #between #complex #confrontation #critic

There is too much illustrating of the news these days. I look at many editorial cartoons and I don't know what the cartoonists are saying or how they feel about a certain issue. ↗

— Paul Conrad

#cartoonists #cartoons #certain #days #editorial

I have been illustrating Tolkien's books ever since I first read them, long before illustration became my profession. ↗

— John Howe

#been #before #books #ever #first

I’ve had so many influences and sources of inspiration as an illustrator that it is impossible to name just one. I loved Aubrey Beardsley when I was a student, and then Edmund Dulac and other Golden Age illustrators made a big impact, as well as Victorian painters like Richard Dadd and Edward Burne-Jones. My long-term heroes though are Albretch Durer, Brueghel, Hieronymous Bosch, Jan Van Eyck, Leonardo, Botticelli, Rembrandt, Turner and Degas. What most of them have in common is brilliant draughtsmanship and a strong linear or graphic quality. Most are also printmakers. The one I keep going back to and who fascinates me the most is JMW Turner, the greatest watercolourist. ↗

— Alan Lee

#illustrating #influences #age

I've been strongly influenced, in technique as well as subject matter, by some of the early 20th-century book illustrators — Arthur Rackham and Edmund Dulac in particular, Burne-Jones and other Pre-Raphaelites, and the Arts-&-Crafts movement they engendered. I'm continually inspired by Rembrandt, Breughel (I've wondered whether his brilliant "Tower of Babel" had inspired Tolkien's description of Minas Tyrith), Hieronymous Bosch, Albrecht Durer, and Turner; it's not necessarily that they influence my work in any particular direction, more that their example raises my spirits, re-affirms my belief in the power of images to move and delight us, and shows me how much further I have to go, how much is possible. Having visited Venice and Florence for the first time, I am besotted with the Italian Renaissance artists — Botticelli, Bellini, da Vinci and others. Their work is calm, controlled, and yet each face and landscape contains such passion. In Botticelli's paintings, every pebble and every leaf is rendered with a religious devotion; there is reverence inherent in paying such close attention to every stone, turning painting itself into a form of worship, an act of prayer. ↗

— Alan Lee

#illustrating #inspiration #art

The depressing majority of comics seem to be about violence of one sort or another, [...] And I just don’t enjoy violence. I can see that narratively it is often a powerful spike in a story, but I certainly don’t want to dwell on it. I don’t want it in my real life, I don’t find violence entertaining in and of itself, or exciting, or funny. But sex is happily part of most people’s lives, and crosses the mind most days, I would say, even if it’s just watching your partner get out of bed in the morning. [...] Most pornography is pretty awful. I mean, it does the job at the most utilitarian level, but it rarely excites other areas of the mind, or the eye. It’s repetitive, bland and often a bit silly. I was interested in trying to do something that has an aesthetic beauty to it if possible, and something that tickles the intellect as well as the more basic areas of the mind. Maybe that’s not possible, and as soon as you start to think too much, it stops working as pornography. I don’t think so, but I guess it’s in the eye and mind of the viewer. (speaking about Celluloid - http://www.comicbookresources.com/?pa...) ↗

— Dave McKean

#drawing #illustrating #sensuel #sex #violence

I like to work in watercolor, with as little under-drawing as I can get away with. I like the unpredictability of a medium which is affected as much by humidity, gravity, the way that heavier particles in the wash settle into the undulations of the paper surface, as by whatever I wish to do with it. In other mediums you have more control, you are responsible for every mark on the page — but with watercolor you are in a dialogue with the paint, it responds to you and you respond to it in turn. Printmaking is also like this, it has an unpredictable element. This encourages an intuitive response, a spontaneity which allows magic to happen on the page. When I begin an illustration, I usually work up from small sketches — which indicate in a simple way something of the atmosphere or dynamics of an illustration; then I do drawings on a larger scale supported by studies from models — usually friends — if figures play a large part in the picture. When I've reached a stage where the drawing looks good enough I'll transfer it to watercolor paper, but I like to leave as much unresolved as possible before starting to put on washes. This allows for an interaction with the medium itself, a dialogue between me and the paint. Otherwise it is too much like painting by number, or a one-sided conversation. ↗

— Alan Lee

#illustrating #inspiration #watercolor #inspirational

This preparatory sort of idealism is the one that, as I just suggested, Berkeley made prominent, and, after a fashion familiar. I must state it in my own way, although one in vain seeks to attain novelty in illustrating so frequently described a view. ↗

— Josiah Royce

#although #attain #berkeley #described #familiar

I have a private press. I'm a book artist. I publish books of other authors and artists. I do the illustrating. I set the type. I print it myself on my press. I do everything but bind it. ↗

— Gloria Stuart

#artists #authors #bind #book #books