Artists From England

"He was a gifted artist, brilliant raconteur, loving dad, the best Guinness drinking buddy I have ever had."

"Steve Dillon was one of the best comic book storytellers there was. It also happened that he was a true gent to match."

"Steve Dillon's art is perfect for the [Preacher] story. It puts tainted saliva on the fangs of Garth Ennis's prose. It puts the shadow behind the curtain and makes the blood on the floor crawl."

"Making comics for adults — not stolid, "highbrow" comics, but explosive, shocking comics that tickle grownup palates — is a challenge for many creators, but it's one that artist Steve Dillon embraced with gusto."

"The acting side of comics is quite important to me. The facial expressions, how they interact and all that sort of thing. [...] I can [draw big fight scenes] if I need to, but not as good as some, because some people have a love for it, so that love shows through. I have a love for drawing people sitting in the pub talking. My specialised subject!"

"Steve Dillon was one of our best quiet dramatists."

"Steve was one of the definitive artists on 2000 AD. He was a titan."

"Dillon will be remembered as one of the best storytellers the comics medium has seen; and rightly so: because all he needed was an eye-level angle, a single point of focus, and his repertoire of facial expressions to take you from expansive sci-fi worlds to demons and vampires to a couple on the bed discussing their relationship— all using the same approach, all telling complete and interesting stories entirely visually. And maybe best of all: he made it seem so effortless; and that's the true thing we'll miss from comics, going forward. It wasn't brash, it wasn't showing off; but what it was was incredibly simple, incredibly economic, with incredibly well-crafted storytelling."

"[I]'ve got so much workload that [I] work about 12 hours a day. The last thing [I] want to do when [I] finish is read comics. It's like what Garth was saying. [I] work and then do something completely different. [...] It's part of the job really to keep aware of what other people are doing. But I just really haven't had the time to do anything else, anything else rather than the comic."

"What Dillon did better than just about anybody was tell stories using the human form. If we were to deploy a cinematic metaphor, Dillon was exceedingly good at cinematography, but he was unparalleled at directing, if you will, his characters. He conjured body language and facial expressions that could break your heart, crack you up, or make you gasp."

"Master storyteller - brilliantly immersive, [a] true original. Contributions to the form immeasurable[.]"

"I knew he was good but, to my shame, I never realised quite how good. One of the most brilliant artists ever to put pen to paper for 2000 AD."

"I haven't re-read [Preacher] yet. [...] Occasionally I see pages from it, and probably like most comic artists, the moment you see a drawing you did – no matter how many years ago – you can remember exactly how you did it, what the situation was when you were doing it, what time of night it was, whether you were drinking coffee or whether you were half-pissed! It all comes flooding back, just like smells or music bring back memories."

"It's been ironic, really, because I got into comics wanting to draw superheroes. I used to draw superheroes for fun when I was a kid but in my career, from the earliest days, I wasn't drawing superheroes. Nick Fury: Agent of SHIELD wasn't really a superhero. The first thing that I did, the Hulk, wasn't really a superhero either. If you look at the Doctor Who stuff, what I did for Warrior, then if you look at the work I did on Hellblazer and Preacher as well, that's not superheroes either. The closest I ever got to doing a superhero comic was Wolverine: Origins."

"One of the greatest British comic artists of all time, and a lovely guy."

"I always end up working with writers with a twisted sense of humour and a fine sense of warped violence. And that's right up my strasse."

"I did a long series that I did on my own, Cry of The Werewolf. [...] I spent a whole summer drawing werewolves and there was my girlfriend and her mate sunbathing topless in the back garden, but I was there drawing werewolves. And there was nothing I could do about it because I had to do six pages a week. (laughs)"

"Paul was a great help to me. He saved me a lot of time because one of the problems I had was that I used to draw comics when I fancied it, and suddenly now I had to draw comics when I had to. So I had to do three pages a week whether I wanted to or not. That'd be a luxury now, just doing three pages a week. But at the time it was a bit much for me to handle and Paul helped me make a quantum leap which would have taken me months longer if I'd been doing it myself."

"Most of you already know there are few in the history of comics [who] could touch Steve for storytelling, and I fear I [might] have picked his brain ad nauseum on the subject - but this is the point, and why I loved Steve - he made me feel like an equal, a colleague in "the trenches". [...] His work has been a huge influence on mine, and his kindness and frank wisdom even moreso."

"Dillon was a storyteller with few peers, able to render everything from a bloody confrontation to a quiet conversation, from moments of gut-busting comedy to the most crushing heartbreak imaginable."

"Steve Dillon was the finest of artists [and] finest of people. Working with him was an honor."

"It was his ability with character – to say so much with what looked like so little – that was really one of the secrets of Steve's success, and therefore, the secret of our success together."

"As [Garth and I] talked it over, I thought [Preacher] was a great idea for a story. I was very conscious that nothing like it had been done by a big, mainstream comic publisher before and I wondered if we’d get away with the stuff we wanted to do. As it turned out, DC, and Vertigo's Karen Berger in particular, were great. There were a few battles but, for the most part, we managed to get it done the way we wanted it."

"He completely inspired me. I was six years old when he started working professionally in comics. [...] I loved to see him drawing, all the amazing things he would do. He put my name backwards on a spaceship in Nick Fury, and in Block Mania he drew a Judge with a "Glyn" badge; he was always doing stuff like that for me. He was my hero and he was drawing superheroes -- when you're six, there's nothing better than that."

"Steve was best man at my wedding and my good and dear friend. I think he probably taught me more about what that word means than anyone else."

"I've been lucky to have worked with some really good writers on Punisher. There's been Garth Ennis, Daniel Way, Jason Aaron and now Becky. I just look forward to seeing the scripts come through. When a writer knows what they're doing and know[s] the story they want to tell, it makes life a whole lot easier."

"The artist of Preacher was, and is—and could only ever have been—my good friend Steve Dillon, and he captured exactly what it was I wanted."

"When I start work with a new writer, they often ask "What do you like to draw?" and my pat answer is always, "A good story". I'm not one of these artists into drawing giant robots or soldiers or big-titted women. Because for me, it's all about the story."

"[Creator-owned projects] give you the chance to do your own ideas. But there's a lot of fun to be had working on characters that somebody else owns. I mean, before I die, I'd love to do a Batman [story]. I won't get as much money for it, unless it sells really really well. But it's something I'd like to do."

"I've changed my technique a few times in my career. [...] Sometimes you just change to challenge yourself. But also over the six years of Preacher, [my] style [changed] a bit. It's unusual to have a run that's so long that you can actually notice how the characters change. If I'd only done it for a year it wouldn't have changed that much. The characters just evolved naturally."

"I aim to find time in my schedule for a decent night's sleep without cutting into my drinking time."

"[Preacher is] funny, dirty, a little bit frightening, but, ultimately, very satisfying—a bit like losing your virginity."

"I think a lot of mainstream comics don't appeal to women, because that's the male fantasy of superheroes. [...] Preacher's more character-driven than it is action-driven."

"Superheroes, the best superheroes, tend to be more soap opera-ish -- like the X-Men, and the old Spiderman stuff. But, that's for a continuing-forever sort of series. We've got a definite [Preacher] story that's got a definite finish, so soap opera is a bit of a disjointed term. But we do have the character subplot stuff going on."

"I was more than happy to do [Hellblazer] as I ended up not being that happy on Animal Man, as it wasn't the book for me. Because I hate drawing animals, so it was rather silly of me in the first place to say yes. But it was the first offer of a regular (ongoing) comic book, which, for me, was a big thing."

"Further, it should be clear that meat in itself as protein is not much superior to eggs or nuts and could not alter the evolution of the brain – if this were so, this miracle food would have continued to enlarge humans’ brain size in succeeding years when much greater amounts of meat were consumed."

"Concrete poetry is a fusion of visual art and poetry."

"Happenings are a fusion of visual art , music and theatre."

"Sound poetry is a fusion of music and literature."

"If you haven't done it twice, you haven't done it."

"All form is a process of notation."

"What truly remains of me Is that very thing- my absence."

"I am a polyartist."

"I never feel quite complete unless I'm doing all the arts-visual,musical,literary."

"I guess that's why I developed the form 'intermedia'.You are always focussing on all kinds of media to express yourself."

"The great Inventor is one who has walked forth upon the industrial world, not from universities, but from hovels; not as clad in silks and decked with honors, but as clad in fustian and grimed with soot and oil."

"If I am lucky, the picture will paint itself."

"Sarah Maple's exhibition It's A Girl at Aubin Gallery is brilliant."

"It's just a penis, it's just a bit of flesh, just this one organ, people think makes you superior to another sex."

"Islam is the new black."