Status Updates From Comics Sketchbooks: The Pri...

pg 292- Jim Steranko: I treat all [creative assignments] as puzzles to be solved using three tools: imagination, intelligence and integrity."

pg 288- Mark Allen Stamaty: "if you want to be a writer, write [...] it's also an effort to evolve my work, to explore my unconscious, which is, I believe, an essential source of originality and creativity, an effort to discover something new from within [...] it allows [ideas] to come out and [...] resonate with others. [...] if I could explain it, I wouldn't have painted it."

pg245- Bill Plympton: "I believe that once an artist begins to rely on an old style and keeps repeating it, his career is done. The excitement for me is the search for a more bizarre and interesting vision."

"pg 225- Joanna Neborsky: "Marshall Arisman says that when you begin to make something, you start out deep in ego (thinking, 'What Will They Think?', or the always problematic 'Look, I'm a Genius' until you discover yourself in the rarer state of unselfconscious creation. Then it's just gravy. [...] Sketching is a kind of purposeful wandering."

pg 216- Saxton Moore: "The first image has the most soul in it."

pg 212- Rutu Modan- "Sketchbooks are for everything I do [...] I do not have a separate planner. In the sketchbook I sketch, I write meetings, phone numbers, grocery lists, ideas for stories and quotes from strangers I eavesdropped on the bus.

Also David Mazzuchelli's point that one can get discover new interests simply by immersing oneself in different environments, nature, situations etc (pg 210).

195- Patrick McHale: "sketches are missing the story - they're missing the perspective. When you make something for an audience, you have to guide them [...] My sketches are a jumble of stuff all over the place. It's like a dog without a leash."

pg 177- Étienne Lécroart: "it is the text that I use for my research. I even describe the picture in words, as I write faster than I draw. If I can do without drawing, I pass [...] These sketches are not done to be shown."

pg 160- Peter Kuper: "When I travel [sketchbooks] serve as a document of the trip and a way to absorb the flavor of the different places I've visited." [...] His sketches have gotten him food, gotten him out of some close scrapes, gotten him through closed doors, and entertained and interpreted for him when he couldn't speak a word of the language.'

pg 150- Nora Krug: "sketching is like a dialogue between my brain and my hand."

pg 149- Matej 'Koko' Kocjan: "[drawings in sketchbooks] in itself is actually a meditative discipline where everything is allowed - because you can change and re-use your mistakes, and put pictures, as cave people did, in 'palimpsests' [...] The real thing is that I don't understand [imagined images] so I have to draw them in every possible way [...] that's the way my perception renovates the 'old data'."

pg 124- Kevin Huizenga: "...how many ideas for projects I have that will never appear in any finished form, and I get that feeling again of being paralyzed by all that there is to do and how little time there is to do it."

“The goal is to draw freely and without purpose. It’s also a place of observation and self-teaching.”
Ref: Max de Radiguès on how he utilise his sketchbook