American - Artist | 1978 -
I love trying to forge a contract between creator and audience in which we are able to meet halfway, each injecting a part of our own experiences into a story that's being told.
Nate Powell
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The comics I made from 1990 to 1997 were largely based in vaguely urban, vaguely dystopic settings because that was my reference point for comics storytelling in general.
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The books that stuck with me most as a child were 'A Wrinkle In Time', 'Dracula', 'Hatchet', 'Bunnicula', 'White Fang', and this YA/kids' book called 'Nobody's Fault' where a kid drowns one weekend as friends play around a flooded ditch.
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Doing representations of real people is not my strongpoint as a visual artist, and I know that.
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There's nothing that compares with the time spent all by myself on a creation that is all my own. I still think of my solo work as my 'home planet' in comics, though I've learned to listen much more to editors and trusted friends for feedback.
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We all accept the visual shorthand used throughout comics: if something's farther away, it'll be drawn with a thinner, simpler line, eventually leaving out most visual information and becoming a gesture, a skeletal representation of a thing.
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My sense of politics and justice was deeply shaped in adolescence by my involvement with the underground punk - rock scene, and though lots of social and political issues had come forth in my comics, it wasn't until my late 20s that I felt properly equipped to address certain issues of race, power, and violence in my work.
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My narrative style centers around intimate, highly subjective depictions of personal experience and internal landscapes. In 'March,' everything fell into place as soon as I began identifying strongly with John Lewis as a young boy and saw how we shared the same kind of gravity and intensity as youngsters.
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There are constant challenges in the drawing process, especially in a period piece, and therein lay the fun.
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Comics creators are generally screwed in life: Most of us who are fortunate enough to do comics full time - which is very few of us - will literally draw until we die because we have no employment structures intact for retirement, much less insurance!
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As a visual storyteller, a lot is learning what to include so you're not being redundant between images and text.
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I am filled with uncertainty and fear when thinking about how my two daughters will grow into this world as Hoosiers, as Americans, as women and free thinkers.
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