Cliff Chiang Quotes
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'Human Target' was probably one of the best projects I ever worked on - that and 'Dr.Thirteen.' I just appreciated how smart Peter Milligan's writing is. It was smart and entertaining.
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Ditko isn't a direct influence, but I really admire his work and how his personality always comes through the drawing. There's a honest and quirky humanity to it, and you always feel the artist behind the comic. That's really rare.
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To be honest, my first instinct when I heard about the 'Greendale' project was that it was a licensing thing. As I learned more about the project, I saw how pure it was.
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One of the funny things about Wonder Woman is that everybody does love her. She does win everybody over at some point.
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Each book requires a different look. Sometimes I get to take a personal direction that's appropriate for the story. I try to push things within a range. Some are rougher, some more expressionistic, some are slicker graphically and call for a prettier drawing style that I can do. Some have a more classical vibe, and some are in between.
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There is a tendency for the New Gods to work best as guest stars.
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Something like 'Dr. Thirteen,' which features no big characters, was probably the most fun thing I've worked on because the story was so great, and it was written so well.
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What impresses me the most about DC characters is how long a lot of them have been around.
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Paul Smith's artwork was so elegant and so graphic, so I think that's always had a strong effect on me, especially starting out.
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Comics and music have historically had a pretty dicey relationship.
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I feel like we're always learning about ourselves, but at twelve, you're learning big things that shape your identity.
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The '80s were a really different time for kids. Technology has changed so much of how we stay in touch and keep tabs on people. Back then, as a kid, you could really just do whatever you wanted until your parents got home.
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Really, subtlety is what is really important to me and my work.
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What I've been trying to do with my art, which has been feeling very graphically sharp - to soften it up and make it feel more hand-done.
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I'm always changing my style.
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I don't like to be pigeon-holed.
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After a couple of years at Vertigo, I realized that if I was going to be a professional artist, I'd have to devote myself to it full time, so I ended up leaving my job there and went freelance.
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Everybody has said or done the wrong thing and regretted it later, but at the time, you really couldn't help it! As you get older, you're more guarded, but that's a really tough process of learning, to be brutally honest, about some things and keeping your mouth shut about others.
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A lot of times we look at the past as something that was really great, but we ignore things that have actually gotten better since then.
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I'm really happy that more and more people are making their own comics. I remember how daunting it was for me to just put pen to paper, page by page, until you had a finished comic, but the way new creators are doing that and bravely bringing their unique voices and experiences to their work is really inspiring.
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I guess you could blame it on being raised by comics and television, but I've always loved robots in any shape or size.
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I've always preferred comics that really rely on visual storytelling. It's what makes comics special. Otherwise, you're better off reading a novel.
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One of my earliest jobs drawing was 'Wonder Woman: Our Worlds At War,' with Phil Jimenez, which was a really cool jaunt through her history. I got to draw this two-page spread that was set in the Golden Age.
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'Paper Girls' in 1900 would be really cool. The girls could ride those old bicycles with the giant front wheel!