Zitat des Tages über Illustrator:
Fashion illustrator Antonio Lopez was a major part of my early career.
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.
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.
Before that I wanted to be a magazine illustrator - I probably would have painted Gothic scenes.
For me, the perfect film has no dialogue at all. It's purely a visual, emotional, visceral kind of experience. And I think one can create wonderful depth and meaning and communication without using words. I started out as an illustrator and a cartoonist and caricature artist, so for me the visual is primary.
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 wanted to become a cartoon artist, a portrait artist, and an illustrator. This was my first idea.
As an undergraduate I held many small jobs as an illustrator.
In my youth I dreamed of being an illustrator.
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.
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.
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.
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 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 love Maira Kalman. She's an amazing illustrator and writer. I've loved her since I was in college, but when I moved to New York and experienced the same city she was drawing and writing about, I developed a whole new appreciation. Her work made me observe everything so much deeper and more joyfully.
I never wanted to be a writer. I wanted to be a book illustrator. I used to hurry home from school and draw.
When you start writing a picture book, you have to write a manuscript that has enough language to prompt the illustrator to get his or her gears running, but then you end up having to cut it out because you don't want any of the language to be redundant to the pictures that are being drawn.
I wanted to become an illustrator as a child.
I wound up studying art and design, got a job at Lonely Planet Publications as a designer, cartographer and illustrator.
Dad was an amazing storyteller and illustrator, which he did in his spare time - very inspiring and dramatic.
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'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 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 was going to go to a four-year college and be an anthropologist or to an art school and be an illustrator when a friend convinced me to learn photography at the University of Southern California. Little did I know it was a school that taught you how to make movies! It had never occurred to me that I'd ever have any interest in filmmaking.
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 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.
As the years went by I became a writer and illustrator, although exclusively of fantasies.
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.
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'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'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.
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.'