Cliff Chiang Quotes

We need people who are open to doing something with theme, something with a cartoonish twist.

Because even very young people are expert readers of pictures, you can convey very complex and subtle messages through pictures that you'd need loads of words to explain. Making a picture book is also a bit like making your own film - and you can make anything you want happen, however impossible!

I'm interested in illustration in all its forms. Not only in books for children but in posters, prints and performance as a way of drawing people into books and stories.

My overall artistic goal is to marry graphic design with comic books and traditional storytelling.

My drawing skills probably froze around when I was 18... Now I'm more interested in the story, how the drawings, the layout can help express the stories and communicate them.

Every film deserves its own unique look.

I have always felt that effect covers are very good covers. They bring you into the story if you pay attention to them.

Well, luckily with animation, fantasy is your friend.

With each of those projects I wasn't thinking about how the layout would really affect the story I was working on - it wasn't the content that was affecting the layout, it was, how I wanted to draw at that point in time.

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.

Anime is intended to have ambiguous features. That's part of the art form.

I'm not an artist. I set the camera up and tell my story.

I try to combine in my paintings cinematic feeling, emotional feeling, and sometimes actually writing on the page to combine all the different elements of communication.

All the pictures I could never do, I'll do it in comics. All the comics I do are the pictures I could never do.

I always knew I wanted it to be illustrated.

Cartoonists' dirty secret is that we tend to come up with stories that involve things that are really fun to draw.

A photographer must choose a palette as painters choose theirs.

The sizes and shapes of the panels have never been important to my stories. It has always been the words and images that drew me in, kind of like watching a movie.

I see myself as an artist who happens to do cartoons.

I'm not particularly good at page layouts. I make an effort to stay out of the way of the artist. What I'll try to express instead is, 'What we're going for here on this page is the idea of the containment of these women's bodies. So I want them framed as though they're bursting out of the panel borders.'

A comic can be aesthetically beautiful. I think they captured it beautifully and accurately.

I always wanted to do an animated movie. I find it to be incredibly liberating as a way of telling a story.

In 1970, I was turning 29 years old, just 4 years out of art school. I had created a black and white drawing style mascot portrait called 'Johnny.' I made a poster for it and sent it around the world to corporate art departments.

If it's just brushstrokes wrestling around, it isn't much of a picture book, is it? There still has to be a picture. And maybe it needs to be a picture of a dog named Daisy or a little girl riding a bike. So I have to be careful before I get too carried away in the manner itself.

I have this certain vision of the way I want my comics to look; this sort of photographic realism, but with a certain abstraction that comics can give. It's kind of a fine line.