In A Life In Books, author and graphic design visionary Warren Lehrer crafts a vivid kaleidoscopic odyssey that frames one man’s life through not one, but one hundred different books—and book jackets... An unmistakably modern evocation of the illuminated manuscript.
An artist need not be a minister or a collector in church, but he must have a warm heart for people, and I find it a noble thing that, for example, no winter passed without The Graphic doing something to keep alive sympathy for the poor.
There are many people who get beat up, who suffer, who are victimized, and then they sit down to write and they write crap. How many of these graphic novels over the years are from really talented people? Most of them actually, if you look at them, are self-pitying confessionals about "poor me".
Art uses many different styles, but his voice is very consistent. He's always concise and clever and funny. That's true of somebody like Chris Ware, who has an emotional quality to his work - but it's boiled down and it's very sober and spare. Each word has great weight. Comics are not just pictures, but it is graphic design in the sense that they are composed and architected in a specific way.
I am a big gamer. I am kind of in the beginning stages of creating a graphic novel entity that would encompass a game and a movie. I would die happy if I could be a voice in a game that I would actually play and create easter eggs with the team. That's my dream.
I love the idea of engaging the object, whether it be architecture or a piece of good graphic design, or a good painting, or piece of sculpture, or even a piece of industrial manufactured object. A piece of engineering can be quite beautiful, too, or a photomicrograph, or a cosmic photograph. We're physical beings and why deny that. So in that sense, it's very sensual to have an object that has the power to communicate some emotion or a state or give you some sense.
Jonathan Meese is not interested in the history of reality. Everything radical and precisely graphic is sustainable. Human ideologies like religions and politics are based on the past and therefore irrelevant to art. Art always transforms radicalism of the past into the future. Art is always the total time machine. Jonathan Meese is interested in the history of the future. Art is never nostalgic.
What is interesting is that John Lewis actually got interested initially in the civil rights movement because of a comic book. So part of it, he's paying homage to this tradition that you can tell serious stories and talk about serious issues in graphic form.
The kind of people who become graphic artists may not be mathematically inclined. They're artists, artistically inclined.
When I was doing the screenplay, people who read the book Call Me by Your Name would go, "Oh god, what are you going to do about the peach scene?" I'd say, "I don't know, but I'll do something." And finally I figured out that there was a way of doing it without being totally graphic. You can do it in a way where the audience gets it and accepts it.
The extraordinary thing about comic books and graphic novels is that they cannot exist without the art. If my words disappeared tomorrow, well, whatever. This is a visual medium in which the eye and the mind work together to bear witness to story, to lives.
I also think that there's something about the graphic, political nature of such attacks, mixed with the fact that it all seems completely random to the victims.
There were [in Wilson] a lot of clues in it that you don't normally get, you know, normally you use your imagination or whatever, you get some clues in the script, of course, but yeah, it was really helpful, and I really like the graphic novel. There's stuff in there, there's a couple things in there I really wanted to use that they couldn't get in the movie, but it's definitely, he's a unique guy, you know, I never read a character like this before.
That [silk-screen process experience] carried over when I returned from the Army and took more graphic classes at the Institute. And Alix [MacKenzie] and I actually began to produce a line of textiles, which had silk-screen patterns on them.
There are many things Calvin Klein would have never done - he would have never put men in leggings in a show; he would have never done a fluorescent suit - but these are things that are right for the moment. For example, a fluorescent suit is graphic, and Calvin Klein is about being graphic. And Calvin Klein is always modern at its core, so I inject my own research and my own innovation, and I make it my own. But I never deny that core, because that would be stupid.
Cartooning is completely different from other media: it is closely related to film and prose, other narrative forms, but the skills needed to realize a story are very different, and include not only drawing and writing dialogue and narration, but graphic design and the ability to depict time passing visually. It's a whole suite of skills that has to go into making a comics page, skills that are quite distinct from those that go into writing a page of prose, or making a film.
Simplification seems to be the removal of objects for the goal of making a graphic as clean and uncluttered as possible. Whereas, with optimization, it feels like there's more intelligence in that. It maintains the usability, but tries to distill something down to its essence. But with some data-sets you have to be careful because, as with linear, print journalism, it's easy to shave off facts that don't quite fit the flow.
I've been working on a graphic about carbon emissions. It's an incredibly simple graphic - a bunch of blocks and a table below it - but it's taken me three weeks to design. For some reason it just wasn't working. Then finally I realized there was a number present, which I was rendering in each version, that wasn't necessary for the understanding of the piece. This figure was getting in the way and distracting from the main flow of the narrative. As soon as I pulled that graphic out of the design, it sprang into focus. Suddenly it worked.
I'm more interested in moving toward writing stories - thinking about the graphic novel form, and just something more long-form. I did a lot of literary translation in college. Translation is an art. But for sure writing has always been a part of how I think through my ideas.
I've painted, but I've also done graphics since as long as I can remember. So even people with little to spend could afford it. But even the graphic works are only bought by those who buy the big, expensive paintings. I think that's troublesome.
Now I'm in nonfiction. To me any given story has its appropriate form. There might be some story I get involved with that's begging to be a graphic novel, so that will have to be that way. There's always that matching of the content and the form, and that means everything to me. I spend years thinking about what that match is going to be before I can really make it work.
In Mexico, muralism is an important part of the artistic vocabulary, and it has a very different place than it does in the US. Here, you see mainly commercial signage and dead slick graphic works, or murals that are incredibly narrative and littered with too much content - bad political art. But in Mexicali, all kinds of artists work with mural art. In Mexicali, the social practice of art existed in a completely authentic and unselfconscious way.
Successful blog is a unique voice; and depending on the blog, your own style factors in. To some extent, it might have to do with the graphic aesthetics of a blog. Pretty pictures go a long way these days and many personal style blogs owe a lot to a decent DSLR.
Where the Truth Lies rating has a lot more to do with the political climate in America today than it does with the film. It wouldn't have had this rating five years ago. There's nothing graphic in this film on screen; you can look at it, but you won't be able to see it, it's not there. There's nothing graphic sexually that's not about the story telling.
I guess I consider myself a cartoonist first, though I was "trained" as a painter/printmaker/sculptor. If there's still any resistance to cartooning in the nuts-and-bolts world of acquiring the means of survival, it's probably mostly on the pay scale. If graphic novels are selling really well and are "growing the book market" or whatever it is a businessman would say about them, I don't see it in the remuneration offered by some of the publishers.
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