George Perez Quotes

'The Great Comic Book Artists' is about three score of the best practitioners of graphic story art.

I feel like there are comic book artists who are comic book artists, and then there's comic book artists who are cartoonists.

When I and the other young artists were working in comics, our work carried with it a particularly American slant. After all, we were Americans drawing and writing about things that touched us. As it turned out, the early work was, you might say, a comic book version of Jazz.

I'm very much influenced by your traditional comic book artists like Jack Kirby, Alex Toth and Walter Simonson. Their styles were sort of what I was gravitating towards.

I decided I was going to tell these stories. I went around and met Crumb. He was the cartoonist. I started realizing comics weren't just kid stuff.

I still do some inking here and there and I've actually got a book that I'm going to ink entirely.

I came to think that nobody from England could draw American comic books, because they were clearly all done by this sort of Mafia, all these guys with Italian and Irish names who had the whole thing sewn up. It was actually seeing a comic book drawn by Barry Smith, who was about my age, and English.

At any comic book convention in America, you'll find aspiring cartoonists with dozens of complex plot ideas and armloads of character sketches. Only a small percentage ever move from those ideas and sketches to a finished book.

Comics are so full of amazing work. And I can't look at a drawing of a woman without thinking of, for instance, Wallace Wood and his amazing way of capturing beauty.

Spider-Man initially made me want to come to New York and work for Marvel; I wanted to be a comic book artist.

Today, comics is one of the very few forms of mass communication in which individual voices still have a chance to be heard.

Comic books are a big passion of mine.

I tried to get into comics initially after I graduated Clemson in 1994. I spent a year trying to get in, and I quit reading books because not getting in made me sad.

I'm working on a new creator-owned series for Vertigo called 'The Discipline.'

I didn't read many comics as a kid - I've always been a really fast reader, and I would fly through a comic book in a few minutes and be so mad that it ended so quickly. But now that I've been in the business, I tend to look at the panels so much more carefully, and realize that so much of it is about the art; I don't think I got that before.

Frank Miller and David Mack are incredible artists.

I knew I really wanted to work in comics in 1979.

The first time I shopped at a comic shop, it was because I had been published in a comic book. As I became more involved in comics, I started going more and more, usually to support my friends or lady-friendly comics.

When I started in the comic book business, 'Art Of' books were strictly the provenance of the greats, like Rembrandt and Da Vinci. But times change, and so do attitudes. Now the comic is considered an art form, and I hope 'A Life in Words and Pictures' contributes a little to that art form's history.

One of the reasons that DC, Marvel, and other comic book companies have always asked me to do covers and variant covers is because they know that when they tell me 'icon,' I jump over their words, and I give them an iconic cover - but while I'm doing it, there is going to be an idea there.

The first work I ever did in comics was for Archie Comics, and I didn't do that very long because I did other stuff.

I'm a big comic book guy.

My own personal geek culture years were when I was much younger. I collected comic books up until a certain age. I wanted to be a comic book artist when I was younger.

I've wanted to write comics ever since I figured out it was a job.

Despite all the criticisms that have been leveled at the comics community, both in terms of fans and creators, I have always felt more comfortable and accepted in the comics community than I have in any other medium of publishing that I've had the pleasure of working in.