Visual Reference Quotes

What we do sometimes when we're in the sessions recording the dialogue is we'll set up a video camera and we'll video the whole session. So then the animator, if he wants, can draw upon those tapes to pull expressions, mouth shapes, maybe some gesturing that happens.

I go through periods, usually when I'm editing and shooting, of seeing only old films.

When I want to draw a camel I no longer limit myself, as I once did, to looking only at camels.

During a color consultation, I like to reference food as a visual. Hot fudge and orange marmalade paint a clearer picture and helps prevent end results that leave you feeling unsatisfied.

One of the things you have to be able to do, as a comic strip artist, is to draw things repeatedly from a variety of angles, so you need references, and you find the best picture you can.

If you go into a studio without a set effectively, you've got a blue screen. As a DP you have to light it of what you think it should look like. You don't have any reference of what the background looks like. You might have some concepts, but effectively you're lighting it as what you think it should look like.

I always collect a bunch of images for every film that I do, that reminds me of an essence of the character, or the time that they live in, or what they're experiencing.

The goal is to align with your core group of collaborators, who understand your vision and aesthetics. I usually show them visual material of what I have in mind, as well as a color spectrum of mood boards.

When I close my eyes to draw I always think Chicago in 1975.

Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.

The photograph is like a quotation, or a maxim or proverb. Each of us mentally stocks hundreds of photographs, subject to instant recall.

I very rarely write anything before what I see what I'm writing for.

Painting directly from nature is difficult as things do not remain the same; the camera helps to retain the picture in your mind.

...she needed to confirm its presence. Like the keeper of the lighthouse and the prisoner, she regarded it as a mooring, a checkpoint, some stable visual object that assured her that the world was still there; that this was like and not a dream. That she was alive somewhere, inside, which she acknowledged to be true only because a thing she knew intimately was out there, outside of herself.

I'm a big fan of Clint Eastwood, but the Westerns I draw from most directly come from an earlier period in Hollywood. I actually look back at movies like 'Rio Bravo' and others I've liked over the years, and I capture pictures from the movies and use them as a reference for the scenes I create.

I am very much aware of the visual side of things. I do a lot of photography. I often take Polaroids of things that strike me as visually interesting, just to remember them and perhaps use later.

You draw the character from all angles - side, profile, back, etc. so the animator has this character in all the ways it looks like.

Sometimes I really want to paint somebody and I don't get a photograph that I want to work from.

I know dock leaves pretty well, but I should not attempt to introduce them into a picture without having them before me.

When I started working in fashion, I didn't have money to buy photographs, so I'd Xerox pictures from magazines and put them in notebooks. When I'd start a collection, I'd sit with my old notebooks and look through them for inspiration.

Photography obviously lends itself so well towards fashion. It's capturing that moment and that inspiration, and as a designer you are constantly walking through the world assimilating those visual references you have and so being able to solidify that into a photograph and keep it on your mood board is essential to creating a collection.

There's an arbitrary idea that the horizontal edge in a frame has to be the point of reference.

I looked at a lot of the comics and I tried to just get an idea from that. Not necessarily specifics of what my look would be or what the plan would be because I knew the script was evolving. I then started the discussion with Ken, who had been in discussion with you guys, intimately. And that they'd pared it down.