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"I drew a picture on the back of a calendar in pencil. In those days they used to give out free calendars, I had no art paper, so I took whatever else I could."
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"And it seemed at last that there were two musics progressing at one time before the seat of IlAovatar, and they were utterly at variance. The one was deep and wide ad beautiful, but slow and blended with an immeasurable sorrow from which its beauty chiefly came."
"One should be a painter. As a writer, I feel the beauty, which is almost entirely colour, very subtle, very changeable, running over my pen, as if you poured a large jug of champagne over a hairpin."
"A picture is a voiceless poem, a poem is a vocal picture."
"The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail. But then, in a sense, all poetry is positional: to try to express one's position in regard to the universe embraced by consciousness, is an immemorial urge. Tentacles, not wings, are Apollo's natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time."
"The discipline of creation, be it to paint, compose, write, is an effort towards wholeness."
"Let music ignite your vivid inner colors and bring you harmony inside and out."
Explore more quotes by Joe Shuster
"I came from Canada when I was about 10 years old, and our family settled in Cleveland, Ohio."
"I did all the work at the beginning up until the point where I couldn't handle the increasingly heavy art production burden alone. I needed, and got, assistance."
"He was mostly leaping tall buildings in the beginning. There were cases where he would leap off a tall building or swoop down, and at that point he would look like he was flying, I suppose. It was just natural to draw him like that."
"I think initially we wanted to use the first letter of the character's name. We thought S was perfect."
"Jerry reversed the usual formula of the superhero who goes to another planet. He put the superhero in ordinary, familiar surroundings, instead of the other way around, as was done in most science fiction. That was the first time I can recall that it had ever been done."
"And I agreed the feeling of action as he was flying or jumping or leaping - a flowing cape would give it movement. It really helped, and it was very easy to draw."
"In the beginning, we had a great deal of freedom, and Jerry wrote completely out of his imagination - very, very freely. We even had no editorial supervision to speak of, because they were in such a rush to get the thing in before deadline. But later on we were restricted."
"Jerry often says that Slam Bradley was really the forerunner of Superman, because we turned it out with no restrictions, complete freedom to do what we wanted; the only problem was that we had a deadline."
"Jerry and I always felt that the character was enjoying himself. He was having fun: he wasn't taking himself seriously. It was always a lark for him, as you can see in my early drawings."
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