Top 26 Quotes & Sayings by Chris Raschka

Explore popular quotes and sayings by an American artist Chris Raschka.
Chris Raschka

Chris Raschka is an American illustrator, writer, and violist. He contributed to children's literature as a children's illustrator. He was U.S. nominee for the biennial, international Hans Christian Andersen Medal in 2012.

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Achieving Activity Allowed Amount Arts Artwork Audacity Audience Avoid Award Hide All Be Careful Begin Bicycle Bike Blend Book Books Born Bronx Brush Busy Call Careful Carried Carried Away Carry Charlie Child Classroom Classrooms Color Color Wheel Complex Content Correct Covers Crayons Create Crucial Daisy Danger Dark Days Diagram Discoveries Dragging Drawing Drawings Drown Early Early Days Easy Emotion Entire Events Express Face Face-To-Face Finally Find Fist Form Found Four-Year Friendship Full Generally Generation Girl Goal Good Good Book Gorgeous Grateful Great Grew Group Hand Happen Hard Harder Heavy Home Hugely Human Human Inventions Humanity Illustration Illustrations Images Imaginary Implications Important Instill Inventions Inventive Kids Kind Knit Labor Laying Learn Learner Light Lightness Lingering Little Girl Loneliness Long Long Time Longer Looked Loss Made Maintain Make Making Manner Marks Matter Meaning Mind Minimal Mistakes Monk Music My Wife Named New York Noble Number Open Openness Our Planet Pacing Page Pages Paint Painted Paper Parker Part Passed People Perfectly Person Picture Picture Book Pictures Place Placement Planet Play Poem Point Present Process Read Reading Regularly Repair Requires Response Ride Riding Rooms Sadder Safer Same Time Scale Sciences Scribbling Sense Shape Show Showing Single Size Skills Someplace Splits Standard Start Stayed Stop Stopped Story Structure Students Stunned Subject Suffocating Surf Survival Tail Takes Teacher Text The Most Important Theme Things Thinking Thirty Three Things Time Tired Tone Treat Tree Understood Visible Visit Waste Watercolor Wheel Wife Words Work Work Together Working Works Worry Wrestling Write Year Years York Young Young Person Less More Hide All See All
Can you really learn to knit from a diagram? Try it. Do you want to learn to ski or surf by yourself? You could drown or run into a tree.
If you labor heavily upon a work of art, then part of what you are saying is, 'This is a heavy work of art.' If you happen to be trying to say something about lightness, then the art should be light as well.
There has to be the right pacing of images to tell the story. I'm always stunned at how little you can put in. — © Chris Raschka
There has to be the right pacing of images to tell the story. I'm always stunned at how little you can put in.
For the continued survival of our planet and humanity, it is crucial that certain discoveries and skills and inventions made by people over the years be passed on from one human generation to the next, from one person, face-to-face, to another.
I never quite know if what I do will be understood.
I want each and every entire brushstroke to be seen. I want the marks made by the tip of the brush to carry as much meaning as the marks made by the dragging tail end, the part that splits open as the paint pulls away, thins and dries.
Whether it's music, loss of something, loneliness or friendship - if that emotion is heightened in some way and painted to fit in between the covers of 32 pages, that can become a picture book.
To learn to ride a bicycle, as with the other great noble human inventions, is a hugely complex activity. Generally, it requires three things: the learner, the teacher and the bicycle, all in the same place at the same time, most often outside someplace.
Hand any four-year-old a fist full of crayons, and it is a very, very few who don't get busy with them, drawing, coloring, scribbling. I have not stopped scribbling.
When I present the Charlie Parker book, I do a call and response that works quite well. With the Thelonious Monk book, I play the music and work with kids in a group to create a color wheel and show how the wheel can be mapped on a 12-tone chromatic scale.
The Caldecott Award has allowed me to keep doing what I'm doing for some time longer, for which I am ever grateful.
Usually, a number of events will be going on around me to start me on a book. What I mean is, I will have read a poem or seen a picture that is lingering in my mind.
It will always take a certain audacity to write or to make art of any kind.
I wasn't always minimal. In the early days, I was laying it on as thickly as I could, trying very hard to get it right. But I found that the harder I tried, the more tired whatever it was I was working on looked. And then I grew tired of it as well.
For a long time, I was brilliantly achieving drawings that were inert, suffocating and dark. If ever you need illustrations that are inert, suffocating and dark, I know how to do them.
Somewhere in this process, I begin reading and showing my book to my audience. When I say my audience, I mean a single imaginary child who is a blend of myself as a young person, the students in my wife's classroom of first- through third-graders, and the students from two classrooms I visit regularly in the Bronx, New York.
Whatever I'm thinking about has got to fit into thirty-two pages, the standard picture book size. So that's something. But the structure and the form for me are almost the most important, because these will express as much as words and images will the content of the work.
If it's just brushstrokes wrestling around, it isn't much of a picture book, is it? There still has to be a picture. And maybe it needs to be a picture of a dog named Daisy or a little girl riding a bike. So I have to be careful before I get too carried away in the manner itself.
Sometimes I worry about the amount of paper I waste.
Openness is something any teacher strives to instill in his or her students.
Any teacher in the arts and sciences has to maintain a sense of childlikeness to be truly inventive. — © Chris Raschka
Any teacher in the arts and sciences has to maintain a sense of childlikeness to be truly inventive.
With any book, I try to find where the manner of the making of the book is appropriate to the matter of the subject.
Part of why I like watercolor is that mistakes are visible, and you can't really repair much. It has to look easy. When it comes out, it looks easy, but to get to that point takes a lot of doing.
My goal is to create a book where the entire book-text, pictures, shape of book-work together to create the theme. The placement of images and text on the page is crucial for me.
I always try to treat the book itself as the artwork. I don't want you to stop while you're reading one of my books and say, 'Oh! What a gorgeous illustration!' I want you to stop at the end of the book and say, 'This is a good book.
You are all perfectly correct in your implications that we would be safer if we stayed home in our rooms...But we would also be duller, stupider, and, finally, sadder. If you want to avoid danger, don't get born. Once you are born, make something of it!
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