Artist Quotes

I feel the symbolic world is the nub of a problem for an artist.

Content arises out of certain considerations about form, material, context-and that when that subject matter is sufficiently far away.

All ideas grow out of other ideas.

You know that day after day of, Oh God what am I going to do with myself feeling? The fear of the emptiness that it implies keeps me going.

That freedom that Picasso afforded himself, to be an artist in a huge number of ways, seems to be a huge psychological liberation.

It's precisely in those moments when I don't know what to do, boredom drives one to try a host of possibilities to either get somewhere or not get anywhere.

Being an artist is a very long game. It is not a 10-year game. I hope I'll be around making art when I'm 80.

A work will only have deep resonance if the kind of darkness I can generate is something that is resident in me already.

Artists don't make objects. Artists make mythologies.

I am Indian, and I'm proud of it. Indian life is mythologically rich and powerful.

Then the war became a real problem and along with other shortages, they started to have paper problems.

Precision is not one of the qualities that comes out in my work.

Most of us came out of Popeye, so turning Popeye into something believable was tricky enough.

It was exactly an assembly line. You could look into infinity down these rows of drawing tables.

In other words, DC was never harmed by the paper shortages.

If I had one quality that really ruined me and at the same time helped me, it was the fact that I never stopped looking, and by that time I was really working at it.

I was not too smart and constantly mouthed off and didn't know anything.

I was hired to do as many Boy Commando, Newsboy Legion, and Sandman stories as I could.

I was hired as a penciler.

I think the lack of precision and deep focus is why it took me years to build up my work.

I just saw the emotion in everything, so I got to feel everything that was going on and that I was viewing, but I couldn't think in terms of structure, which is the whole point of deep focus.

First of all there was a guy named Charles Nicholas, who used to do all of the inking that Jack and Simon didn't do. Simon used to do splashes and covers, but Charles Nicholas, after a while, did the inside of all of the stuff.

Everything was sensory and I never saw the structure in anything.

DC used to print up all of their pages, they were the only company that did it.

Coming into the business, you'd pass through these little agencies until you got to understand what was happening in the business, unless you were really able to have a style strong enough to go directly to the publishers.

Comics were going down for the second time and here, all of a sudden, came this thing and for the next fifteen years, romance comics were about the top sellers in the field; they outsold everything.

But I was also a big mouth, I started to develop a troubled relationship with Harry Shorten.

But generally speaking, people weren't fired, art jobs were very hard to get, so something really calamitous had to happen to a person who was working there in order for you to find a space.

All of the penciling was consistently done by one person and the inking was whoever could finish on time.

When I first drew him I had eyes in there and it didn't look right.