Best 30 quotes of Scott Mccloud on MyQuotes

All through my comics career, I was always trying to reinvent the form.

A medium is a bridge between two minds.

And what better way to reinvent the form than to toss virtually 99% of everything that's been done with it and start with a brand-new canvas, reinvent it from the ground up? Digital comics gave me the opportunity to do that, and producing things digitally gave me the opportunity to do that.

Art, as I see it, is any human activity which doesn’t grow out of either of our species’ two basic instincts: survival and reproduction.

As I see it, mainstream comics now speak only to the hardcore few who stayed; conversing in a weird, garbled, visual pig latin only they can understand - rendering the term 'mainstream' a hollow joke - while the true mainstream, the other 99.9% of the populace, find enjoyment elsewhere.

By stripping down an image to essential meaning, an artist can simplify that meaning.

Comic book readers are just as abandoned by the corporate system as the creators, despite the importance supposedly given their hard-earned dollars. The average comics shop can offer only a tiny fraction of an industrywide selection that is itself extremely limited in scope. And even when readers know exactly what they want, the search can be maddeningly futile.

Creator and reader are partners in the invisible creating something out of nothing, time and time again.

Form and content must never apologize for each other.

I don't think the potential for comics in nonfiction has been exploited nearly as much as it could be.

If a comic comes out on the scene and it's really knock-out brilliant, the community is pretty good about getting the word about good newcomers.

If you just write the kinds of stories you think others will want to read, you'll be competing with cartoonists who are far more enthusiastic for that kind of comic than you are, and they'll kick your ass every time.

I've always been very forward-looking, and it was actually kind of difficult to turn my gaze backwards to look at comics history.

I wouldn't necessarily have been making books about how to make comics if I'd really felt I knew how to make comics.

Learn from everyone. Follow no one. Watch for patterns. Work like hell.

My dad was an engineer and so I had this picture of science and technology and pursuits of the mind as being more impressive than artistic pursuits, which I saw a as kind of frivolous.

My dad was an inventor, and I think I've always had a rosy view of technology, or at least its potential.

My first influences were superhero artists.

Nobody knows what will work until they try it. Some of comics' biggest success stories in recent years have explored subjects that no one was writing about at the time - stories no one had any reason to think would succeed. My advice? Write what you want to read. You'll have more fun doing it - and if all else fails, you'll always have at least one loyal reader.

Space does for comics what time does for film!

The ancestors of printed comics drew, painted and carved their time-paths from beginning to end, without interruption, ... the infinite canvas.

The idea that comics stores, distributors and publishers simply 'give the customers what they want' is nonsense. What the customers wanted they didn't get - and they left.

The notion of getting under the hood and explaining how something works, that's fairly familiar territory to me.

There's a very big part of me that just wants to take all of comics history and toss it on the bonfire. I'd sort of like to get on to the future.

Today, comics is one of the very few forms of mass communication in which individual voices still have a chance to be heard.

When you're free of editorial control, you owe it to yourself to obtain feedback from friends and readers. Some take those criticisms to heart and incorporate it into their work, and some ignore them.

All the things we experience in life can be separated into two realms, the realm of the concept and the realm of the senses.

Ask any writer or filmmaker or painter just how much of a given project truly represents what he/she envisioned it to be. You'll hear twenty percent...ten...five...few will claim more than thirty. The master of one's medium is the degree to which that percentage can be increased, the degree to which the artist's ideas survive the journey -- or, for some artists, the degree to which the inevitable detours are made useful by the artist.

I'm back, boys and girls! back from the pink padded couch palace!

...when you look at a photo or realistic drawing of a face, you see it as the face of another. But when you enter the world of the cartoon, you see yourself.