Quotes of All Topics . Occasions . Authors
I'm an illustrator. I have to accept my role.
I wanted to become an illustrator as a child.
In my youth I dreamed of being an illustrator.
As an undergraduate I held many small jobs as an illustrator.
Fashion illustrator Antonio Lopez was a major part of my early career.
My mom was a biological illustrator for a time before computers replaced that job.
The writing process isn't something I'm in love with. I'm an illustrator who writes.
As the years went by I became a writer and illustrator, although exclusively of fantasies.
Before that I wanted to be a magazine illustrator - I probably would have painted Gothic scenes.
My older sister achieved her dream of being an artist. She's an illustrator living in Manhattan.
I wanted to become a cartoon artist, a portrait artist, and an illustrator. This was my first idea.
Balancing an illustrator and author can be tricky, but I was an illustrator mostly before I wrote my books.
I never wanted to be a writer. I wanted to be a book illustrator. I used to hurry home from school and draw.
Dad was an amazing storyteller and illustrator, which he did in his spare time - very inspiring and dramatic.
I grew up wanting only to be an illustrator. I studied art at Laurel School in Cleveland and at Smith College.
I wound up studying art and design, got a job at Lonely Planet Publications as a designer, cartographer and illustrator.
I'm sometimes a cartoonist, and there's an audience for that, and I'm sometimes an illustrator, and there's an audience for that.
I wrote 'And Two Boys Booed' several years ago, but we really chased around looking for the perfect illustrator, so it took a while.
The great children's author and illustrator Shirley Hughes marks her 90th birthday by appearing as Michael Berkeley's guest in 'Private Passions'.
I don't think there's an illustrator who's as good as a Titian or a Rembrandt... but then, Rembrandt was a bit of an illustrator on the quiet, you know?
I had started out my grown-up life in New York City, but I couldn't figure out how to be an actor there. And so I had been a magazine illustrator instead.
I don't think of myself as an illustrator. I think of myself as a cartoonist. I write the story with pictures - I don't illustrate the story with the pictures.
I love illustrating for other writers because I am given stories I never would have thought of, and my work as an illustrator is always in support of the story.
You don't put your head above the parapet and become a personality if you're an illustrator - it's not part of it; it's not possible. You are a servant to the story.
I love being an illustrator because I get to read really great stories, work with amazing people, travel and see places I never would've seen. And I get to draw all the time.
After art college, I got a job as a medical illustrator, and I was pretty good. I had to imagine what was going on in the operations because the photographs just showed a mess.
My husband wrote the story for my first book, but then he didn't want to do that anymore. So if I was going to go on being an illustrator, I had to start writing the stories, too.
Kendrick Lamar taught me that life experience is an important part of being a good illustrator. When you're illustrating a story, you have to go based off of your personal experiences.
The reason I love comics and have collected them for 37 years is because I always wanted to be an illustrator and a writer - and comics are really the perfect blend of those two mediums.
It's like a candy store for an illustrator, I connected with Harry pretty quickly and loved the way J.K. described everything; she's such a visually thinking person. You can't pass that up.
My father spent his entire early career as an illustrator for comic books: EC Comics like 'Tales from the Crypt' and 'Creepshow,' then moving on to such magazines as 'Mad' and 'Weird Science.'
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.
I'm sure it came as no surprise to my friends and family when I became an illustrator and then a writer because, from about the age of five, I was one of those children who always had his nose in a book.
I never knew what my role in art was, because I was such a deep appreciator and such a passionate appreciator. But every time I would try to sit down and be an illustrator or painter, it was just not my best use.
I write plays and movies, I live and work at the borderline between word and image just as any cartoonist or illustrator does. I'm not a pure writer. I use words as the score for kinetic imagistic representations.
As an illustrator you need to understand the human body - but having looked at and understood nature, you must develop an ability to look away and capture the balance between what you've seen and what you imagine.
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.
I grew up under the spell of London. Illustrator Kerry Lee's evocative 1950 wall map of the city hung above our breakfast table at home in Canada. Over my corn flakes, I traced the capital's high roads and medieval alleys.
Tove Jansson was the most successful Finnish illustrator and writer of children's books of her day, and she was the most widely read Finn abroad. She began her life as an artist early - she had her first drawing published at fifteen.
Usually, an author writes a manuscript that is handed in to the editor. The editor will then work with an art director to find just the right illustrator for the job, and off they go. Many times, the illustrator and author never meet.
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.
Some people have been kind enough to call me a fine artist. I've always called myself an illustrator. I'm not sure what the difference is. All I know is that whatever type of work I do, I try to give it my very best. Art has been my life.
Even tiny children looking at a picture book are using their imaginations, gleaning clues from the images to understand what is happening, and perhaps using the throwaway details which the illustrator includes to add their own elements to the story.
I'm a classically trained painter, and I was an illustrator in New York working with Fortune 500s companies as well as the NBA and the Olympics. I first got into sculpting when I created a sculpture based on a painting I had done for the 1984 Olympics.
I'm not a painter by any stretch of the imagination; I'm a dyed-in-the-wool traditional illustrator, and I begin with black and white. If I need colour, I add it over the top. There's a calligraphic element to it... it's about the texture of lines on the page.
I've just written a very gritty, non-magical take on the King Arthur legend, 'Here Lies Arthur,' and I'm currently toying with some other historical ideas, as well as working with the illustrator David Wyatt on some sequels to my Victorian space opera 'Larklight.'
I get asked a lot if I'd want to get into live-action movies, and the answer, honestly, is 'no.' I'm an illustrator, and I think animation is an extension of that way of expressing myself. That's not to say I'd never make a live-action movie, but I don't strive for it.
Roald Dahl worked with other illustrators, but it was only when he teamed up with Quentin Blake that the chemistry began to fizz. Quentin Blake is Britain's greatest living illustrator and has that special talent all the great illustrators have, of unobtrusive brilliance.
Fifty percent of all meaningful education takes place in the home. What do you share with your child? You share your interests. I was a book person. I read with my son. My wife is an artist. She dragged his little butt around to museums. He's an illustrator of children's books.
It's not really an easier racket than acting is. For some reason, I guess it had - the rejection of an illustrator's life is less penetrating than the rejection of an actor's life. So I was able to manage that. But all the while, I still nursed that old dream of being an actor.