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.
There are certain things in there that no one else would recognize, really. I see details of my life that I didn't even intend to put in when I was doing the work. For example, I noticed that every single kid in the high school in The Death-Ray is based on somebody I went to high school with.
In an art school it's very hard to tell who is the best.
For example, I noticed that every single kid in the high school in 'The Death-Ray' is based on somebody I went to high school with.
Face it, you hate every single boy on the face of the Earth!" "That's not TRUE, I just hate all these obnoxious, extroverted, pseudo-bohemian art-school losers
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.
Alfred Hitchcock talked about planning out his movies so meticulously that when he was actually shooting and editing, it was the most boring thing in the world. But drawing comics isn't like shooting a movie. You can shoot a movie in a few days and be done with it, but drawing a comic takes years and years. 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.
I like to leave a little room to innovate and change things around while I'm working.
I actually start drawing things. Usually they're abandoned before I commit too much time and effort.
If I could have somehow been the kind of artist who could crank out two or three issues a year, that's different. That's sort of what it's all about, to get this thing out so that there's some kind of continuity. But to do a comic book every year or two was just so anti-climactic.
I've felt that in the past, where I just felt like I had to keep drawing in the same way to maintain this sameness and rhythm throughout an entire book, and it was not really necessary.
I think if you had different artists approaching the material in different styles, that's very different. I think it's an interesting thing to discover, what's present in the work even when you're shifting the styles. I've just found it a much stronger way to work.