My kids love anime, but I don't show them the really graphic stuff.
I'm not sure how writers and artists of other graphic novels join forces, but this is how the process worked for me: First, I produced my final script. Then, Mark Siegel, my editor at First Second, assembled information about 10 or 12 different artists and had me look through their portfolios to see what kind of styles appealed to me.
I especially don't like the graphic violence against women and children often depicted in novels such as 'The Girl With the Dragon Tattoo' and others. I'm not sure if it's being done just to entertain or whether it really is necessary for the characters involved.
As a master of graphic creation, as teacher, historian, and roving ambassador of comics, Jerry Robinson has ensured that future generations of talented kids will continue to imagine and then put marks on paper.
The 'Barnaby' books were always intended to be graphic novels.
When I put together a graphic novel, I don't think about literary prose. I think about storytelling.
I love graphic design. I love working with design, and I love storytelling, so I've been working on a children's book for a while, and I'd like to see that through.
A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding.
The core of what I do is solve problems, whether that's in graphic engine flow or rockets. I like working on things that are going to have an impact one way or the other.
I certainly think we're going to see more and more graphic novels and more illustrated novels.
I tend to have an endless number of ideas for writing projects. I don't necessarily say that as a good thing. Maybe it's a good thing, but I have ideas for all kinds of projects: contemporary novels, graphic novels, anything that happens to go through my mind.
I wear the same thing every day. I always pack two black jackets, loads of black T-shirts, loads of white jeans. I feel a little fresh and glamorous and graphic.
This is the launch of the 'Doctor Strange' film interpretation of - in my view - a classic, which has been interpreted many times by other graphic artists, and this is just our graphic interpretation of The Ancient One. I would say the whole approach is about a kind of fluidity.
Many people think that being a graphic designer means going to an expensive art school and buying expensive software that will cost you thousands of dollars. This is so far from the truth. There are hundreds of online education centers that offer top-notch graphic design training.
To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
I dropped out of school for a semester, transferred to another college, switched to an art major, graduated, got married, and for a while worked as a graphic designer.
Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will.
Telling stories with visuals is an ancient art. We've been drawing pictures on cave walls for centuries. It's like what they say about the perfect picture book. The art and the text stand alone, but together, they create something even better. Kids who need to can grab onto those graphic elements and find their way into the story.
That's something I learned in art school. I studied graphic design in Germany, and my professor emphasized the responsibility that designers and illustrators have towards the people they create things for.
With comics, you don't have to worry so much about budgetary constraints. In film and television, however fanciful you want to be, someone can come up to you and go, 'Okay, this is going to cost X amount of dollars, and we only have so many days to film this.' With graphic novels, you can have that alien invasion you've always wanted to see.
Perhaps because of my background as a graphic designer, I'm drawn to rich and beautiful colors.
My agent will say, 'Well, it's another graphic novel.' I don't care. It's better writing than anything else that's out there. The characters are much better.
Writing a graphic novel is hard. It feels closer to a screen play than to a novel.
The idea of the museum is to show my work since the start, and I wanted to show all of it, not just to choose between different pieces. They are grouped together in themes - minimalism, androgyny, black and white, graphic, flowers, and so on - from the earliest designs to the most recent ones.
For 'American Born Chinese,' my first graphic novel with First Second Books, I did mostly 'memory' research. It's fiction, but I pulled heavily from my own childhood.
I've always been a big fan of utopian, future, new-world stories - 'V For Vendetta,' comic books, graphic novels.
Companies that have strong graphic identities have built them through years of use.
I'm sort of like Jean-Paul Goude, the graphic designer who used to style Grace Jones and shoot all her visuals, just meaning that I use all mediums in one - music, fashion, and art. I'm hitting it from all angles.
To me any given story has its appropriate form. There might be some story I get involved with that's begging to be a graphic novel, so that will have to be that way.
I was always interested in art at school, and after year twelve, senior year, I spent three years studying graphic design at college. I worked in advertising for two years but didn't like it much, then began doing a bit of illustration work for various publishers.
People are so afraid to say the word 'comic'. It makes you think of a grown man with pimples, a ponytail and a big belly. Change it to 'graphic novel' and that disappears.
For me, nudity and strong language have never been huge loadbearing elements of how I like to tell a story. Graphic images certainly are.
I'm no mathematician, so I'm stuck with the graphic representations.
I can think of films that I'm producing right now that are extremely hard-hitting, graphic films, that nobody necessarily wants to see, graphic in terms of violence, of adult content and racial and historical subject matter.
I don't believe in using too much graphic violence, although I've done it. It's better to be suggestive and to allow the viewer to fill in the blanks in their minds.
Speed is scarcely the noblest virtue of graphic composition, but it has its curious rewards. There is a sense of getting somewhere fast, which satisfies a native American urge.