Sergio Aragones Quotes

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

That's what I find so special: when you actually imagine something. But really, when it comes to you in a dream, and then you can bring it to life on the screen, it's very powerful.

Try drawing or painting a scene you're working on. Often this will help free up you imagination.

Growing up, I enjoyed drawing, but it was always in the service of an idea. I drew all the time, and I enjoyed making.

Things shape themselves before my eyes just as a I draw them.

I try to think of the songs as little movies. They're always pretty visual to me. I can always sort of see them. I don't always know what the end result is going to be, and I don't know exactly what it's going to sound like, but I can kinda see them.

I have always liked drawing, when you draw you see things more intensely.

I often use hypothetical situations to generate information and imagery for paintings and to create a fictional space where a subject can be put into play.

Imagination is the key to my lyrics. The rest is painted with a little science fiction.

For me, drawing is a way of navigating the imagination, and it remains the fundamental vehicle of my practice. Drawing allows me to be at my most inventive.

Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither.

I love illustrating for other writers because I am given stories I never would have thought of, and my work as an illustrator is always in support of the story.

You can't do sketches enough. Sketch everything and keep your curiosity fresh.

For me, I get a part of an idea here and a little bit of an idea there, and then finally it accumulates into a movie.

I think when I'm drawing, I'm seeing what's happening on the page almost as if it were unfolding like a movie in my head.

When you're drawing something, you kind of run a movie in your head. You might close your eyes or stare into the distance and kind of see a movie unfolding and, you know, grab a certain moment or think, 'Oh, yeah, that's when we need just the point that he appears around the corner but just as she's getting into the car,' you know?

To some extent, I draw on what I see around me; in other places, I imagine what I write.

After I'd produced about two dozen pen and ink drawings, one evening I decided that they needed poems to accompany them. I still have no idea where that notion came from, but it took me about two hours to produce verses for these creatures.

I think if you want to do a thing properly you have to take a lot of care. I've always found it's easier to draw comics if you know clearly in your head what you're drawing, rather than if you try and make it up as you go along.

I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene.

I use a lot of film images, analogies, and imagination.

So much of what we do as artists is a combination of personal experience and imagination, and how that all creeps into your work is not so linear.

Traditionally, the only way I come up with cartoons is by sitting at my desk and thinking.

From an early age, I had always loved drawing. Laying on the floor, in front of the fire, drawing from my imagination, marching soldiers, dive bombers, spaceships and monsters. Now, suddenly, I was drawing from real life!

I love being able to create something from the page and bring it to life.