Words matter. These are the best Illustrations Quotes from famous people such as Chris Raschka, Anita Shreve, Paula Fox, Kate DiCamillo, Chris Riddell, and they’re great for sharing with your friends.
For a long time, I was brilliantly achieving drawings that were inert, suffocating and dark. If ever you need illustrations that are inert, suffocating and dark, I know how to do them.
My favourite books series as a young child was the Frank L. Baum ‘Wizard of Oz’ series. They were beautifully written, oversized fat books with wonderful type and illustrations.
My father brought me a box of books once when I was about three and a half or four. I remember the carton they were in and the covers with illustrations by Newell C. Wyeth.
To me, this is one of the great things about writing kids’ books: the illustrations.
In the digital future, texts will be annotated visually, animated and illustrated like never before. The austere ‘prayer book’ paper that permitted the space for Shepard’s illustrations to Pepys’ diaries is now being recreated in the digital era.
When I left art school and went in search of work, visiting publishers and showing them my drawings and illustrations, I was met with a polite and sometimes enthusiastic response but no commissions.
I never knew my grandfather. He died the year before I was born. But as a child, he did, of course, those wonderful illustrations, ‘Treasure Island,’ and whatnot.
Inflated descriptions by the pen or exaggerated illustrations by the pencil.
In other words the pictures are in a kind of relationship with each other which is touching only at points rather than pictures being illustrations of poems or poems extrapolations of the pictures.
I like working on stories where I can explore the darker corners of childhood without illustrations but with humor.
Illustrations can be a big window: a looking glass into the author’s imagination.
As a child, I copied Tenniel’s illustrations from ‘Alice’s Adventures in Wonderland’ obsessively, particularly his drawing of the white rabbit in waistcoat and frockcoat, umbrella tucked under one arm and a fob watch in paw, a look of suppressed panic in his eye.
Reading about Queen Victoria has been a passion of mine since, as a child, I came across Laurence Housman’s play ‘Happy and Glorious,’ with its Ernest Shepard illustrations.
No man with a conscience can just bat out illustrations. He’s got to put all his talent and feeling into them!
‘Mrs Funnybones’ is based and structured around my columns, and it’s about how a modern woman looks at India and how India looks right back at her. Since I have a weakness for illustrations, there are also a few funny illustrations in there as well.
I remember, as a child, the confusion of not knowing what this place was where I was supposed to spend the night: it’s a disquieting experience for a child. And what I would do was quickly unpack my books and go back to a book I knew well and make sure the same text and the same illustrations were there.
Once I have the story in my head, I write it down. The illustrations usually come last.
Passing into practical life, illustrations of this fact are found everywhere; the distant, or the unseen, steadies and strengthens us against the rapid whirl of things around us.
I always wrote little things when I was younger. My first opus was a book of poems put down in a spiral notebook at five or six, handsomely accompanied by crayon illustrations.
We may smile at these matters, but they are melancholy illustrations.
I’ve got lots of weird illustrations of me from Japanese fans.
For me archaeology is not a source of illustrations for written texts, but an independent source of historical information, with no less value and importance, sometimes more importance, that the written sources.
Open a magazine from the 1930s and ’40s and look at the illustrations in it. There’s nobody alive that could touch the way they could draw back then.
What is it about animation, graphics, illustrations, that create meaning? And this is an important question to ask and answer because the more we understand how the brain creates meaning, the better we can communicate, and, I also think, the better we can think and collaborate together.
For much of America, the all-American values depicted in Norman Rockwell’s classic illustrations are idealistic. For those of us from Vermont, they’re realistic. That’s what we do.
Not to make him blush, but any story illustrated by Mike Mignola does things that prose alone can’t accomplish. The illustrations create mood and atmosphere, drawing the reader more deeply into the story than words could do on their own.
I really love to make sweeping historical gestures that are like little illustrations of novels.
In the literal sense, there has been no relevant evolution since the trek from Africa. But there has been substantial progress towards higher standards of rights, justice and freedom – along with all too many illustrations of how remote is the goal of a decent society.
I think comics are faster to draw with a pen and then fill and tone by computer. But my illustrations are all done via computer. I even draw the lines on a tablet.
People unacquainted with graphic novels, including journalists, tend to think of ‘Watchmen’ as a book by Alan Moore that happens to have some illustrations. And that does a disservice to the entire form.
