Daniel Clowes
Daniel Clowes
Daniel Gillespie Clowesis an American cartoonist, illustrator, and screenwriter. Most of Clowes's work first appeared in Eightball, a solo anthology comic book series. An Eightball issue typically contained several short pieces and a chapter of a longer narrative that was later collected and published as a graphic novel, such as Like a Velvet Glove Cast in Iron, Ghost World, and David Boring. Clowes’s illustrations have appeared in The New Yorker, Newsweek, Vogue, The Village Voice, and elsewhere. With filmmaker Terry...
NationalityAmerican
ProfessionAuthor
Date of Birth14 April 1961
CountryUnited States of America
Believe it or not, the characters are all like people I went to art school with in the '70s.
My feeling is that it's one of the very few things that comics can do that you really can't do in any other medium. I feel like the reader accepts all of these styles, and after a certain point you can flip the pages and see a character rendered very differently than you saw on an earlier page, and it's not jarring. It suggests things that you can't suggest just in the writing or in the plotting.
That's been my main interest for the last 15 years, is to really make sure the story and the characters take precedence over everything else, and that I give them everything I can to make them exist as actual people.
I'm more interested in characters who are a little difficult.
Comic characters have to have some kind of life breathed into them, and I'm never exactly sure how that's done, but you can tell when it works and when it doesn't. There's nothing worse than looking at a comic when somebody doesn't have that. It's like looking at store windows or something.
When people get things for free, they tend to not take them as seriously.
Try letting a Kindle protect your heart from sniper fire!
That's the biggest part of doing comics: You have to create stuff that makes you want to get out of bed every morning and get to work.
That'll be my claim to fame: My grandmother-in-law is the oldest iPad user!
When I close my eyes to draw I always think Chicago in 1975.
Working on movies made me realize how fluid the medium of film was.
Usually when I put together a book like this Death-Ray hardcover or that Ghost World special edition, then I have to reread it and see if there is anything I want to change or any re-coloring I want to do. That's when I'm faced with the actual work. When I'm working, I'm too close to it. I'm sort of inside, and I can't see it at all. So when I have that experience of rereading it years later, it's jarring.
I started drawing at a very young age. Writing a story wasn't satisfying, but to actually draw our own world - it's like controlling your own dreams.
Before I could read, I remember trying to piece together the stories from the images. It was a very primal experience.