A picture story just doesn't run like a film. It doesn't have 24 frames per second. It doesn't deal with this illusion of movement. It's more like if you did an illuminated novel. I think both of those things should be running at full blast, not less of both so it becomes an easier thing. I think it should be twice as dense. That's just what interests me.
I have a fairly limited drawing style. I'm not like my friend Derek Kirk Kim, who can pretty much change his style at will. My drawing style can handle some of my stories, but not all of them.
At Getty, I would have 20 different options for the same kind of event rather than focusing on the one image that will summarize the story.
In employing fiction to make truth clear and goodness attractive, we are only following the example which every Christian ought to propose to himself.
I am writing graffiti on your body. I am drawing the story of how hard we tried.
Bringing words to life, storyboards show you things that words can't.
I think with 'Chunky Rice,' it felt novel to me to give this emo twist on these funny animals.
When I first met my husband, he was sculpting Vilnius out of clay - a sort of Vilnius, anyhow: a map of an imaginary European city based on the Lithuanian capital - to illustrate his second novel.
The exciting thing about doing art for someone else's story is how I can translate their world through pictures, and that's always a pretty big challenge.
If you look closely, there is no book more visual than Three Trapped Tigers, in that it is filled with blank pages, dark pages, it has stars made of words, the famous magical cube made of numbers, and there is even a page which is a mirror.
Visual storytelling combines the narrative text of a story with creative elements to augment and enhance the traditional storytelling process. By design, it is a co-creative process resulting in an intimate, interpretive, expressive technique.
I write all the time. I do artwork that's part of a diary, and I write short stories to go with them pretty much every day.
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 enjoyed doing the gag covers better than the story ones because they were usually simpler. A cover based on an incident in the plot took a great deal of staging to tell a little story that was still part of the book. And it had to make sense on its own.
I had always wanted to include images in a novel, and with my first book, 'Telex From Cuba,' I made an elaborate website that is basically all images.
