It's funny because it's sad.
Для художников, не для меня.
2002:
2012:
Блог Брауна
Интервью, данное в связи с выходом книги Darth Vader and Son. Да, несколько страниц из неё вы, наверное, уже видели. Если нет, то вот.
Выдержки из интервью:
Some people tend to think of poetry in formal terms, but I've always been more interested in the conceptual side, thinking about why and how poems can express things in very particular ways. I like when my comics can do that, when they can get at a very specific feeling or idea that can't be expressed any other way.
...
Part of the aesthetic I've been developing over the years is letting flaws and accidents stay. I don't want perfection of product, I want perfection of idea, and part of the ideas I'm interested in is how flawed and clumsy people can be. In terms of the act of drawing itself, I like there to be a sense of immediacy, of things coming straight from the heart and not worked over extensively. With my first few books, it was easier to let things go, but as I've become more specific about what I'm trying to express, anytime there's something that distracts or disrupts that, I need to change.
...
Maybe people forget that each book only shows part of me, that there's more to me and those events than what I've written. In a way, it almost turns these memories and parts of myself into fictional stories, so it's kind of giving up ownership of them in the service of art.
2002:
2012:
Блог Брауна
Интервью, данное в связи с выходом книги Darth Vader and Son. Да, несколько страниц из неё вы, наверное, уже видели. Если нет, то вот.
Выдержки из интервью:
Some people tend to think of poetry in formal terms, but I've always been more interested in the conceptual side, thinking about why and how poems can express things in very particular ways. I like when my comics can do that, when they can get at a very specific feeling or idea that can't be expressed any other way.
...
Part of the aesthetic I've been developing over the years is letting flaws and accidents stay. I don't want perfection of product, I want perfection of idea, and part of the ideas I'm interested in is how flawed and clumsy people can be. In terms of the act of drawing itself, I like there to be a sense of immediacy, of things coming straight from the heart and not worked over extensively. With my first few books, it was easier to let things go, but as I've become more specific about what I'm trying to express, anytime there's something that distracts or disrupts that, I need to change.
...
Maybe people forget that each book only shows part of me, that there's more to me and those events than what I've written. In a way, it almost turns these memories and parts of myself into fictional stories, so it's kind of giving up ownership of them in the service of art.