Drawing Quotes - Page 10

Imagine my surprise when, after a lifetime of teaching me to keep personal things to myself, Mom insisted my drawings were the start of a comic strip for millions of people to enjoy.

I don't have to come up with a ha-ha belly laugh every day, but drawings with warmth and love or ones that put a lump in the throat. That's more important to me than a laugh.

One must always draw, draw with the eyes, when one cannot draw with a pencil.

I paint; I'm a woman but I don't paint china. The first time I got a canvas I felt free. Art is overreaction to life. I love these early drawings; they show my innocent beginnings in a small town. Life is a sentence -- you live it out. Maybe these portraits jump out at you too much. People like things that conform.

I've always just loved drawing and loved cartoons. Growing up, I loved Disney films, I loved The Simpsons, and I was a big fan of the comic strip Calvin & Hobbes and the way that they would have weird fantasy and then down-to-earth funny character comedy.

My doodles and sketches are not the work of an academic engineer. They represent many years of design study in attempts to produce the best value for money in the field of small car design.

It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one.

To draw you must close your eyes and sing.

I have a very dear friend, a great painter, called me up very upset, the work wasn’t going well… He asked me to come to his studio -- which I did -- I looked around at the work, dozens of sketches, drawings, large pictures, and I was very close to his work, intensely involved with his work, and he asked me, ‘What’s wrong?’ And I said, ‘Simple – it’s a loss of nerve.

I think it is an inborn talent - just luck. Some people can learn languages; some can throw a ball. Most people have something. My talent is drawing and painting.

Human beings have a lot of problems identifying themselves with other human beings who don't resemble them exactly. But there's something about drawing that means that anyone can identify to a drawing. I mean, people can identify themselves with Donald Duck and Mickey Mouse.

In fact, Western culture has spent decades drawing lines and boxes around interconnected phenomena. We've chunked the world into pieces rather than explored its webby nature.

I love tattooed women, maybe because they are uncontrollable, they are themselves to the point of drawing symbols of their power on their skin. Talk about owning your own body, being in your body, claiming yourself. I love it. When the world is in an uproar over whether women should have a choice or not when it comes to their own bodies, being tattooed is one of the most visible choices of all.

Yesterday, happiness came in suddenly, as it used to, and remained for a moment in the great, dark, silent drawing room.

So long as we continued to attach more importance to our own narrow group membership than to the 'global village' we would propagate prejudice and ignorance. There was absolutely no harm in being part of a small group - indeed, with our hunter-gatherer band mentality it gave comfort, provided us with an inner circle of friends who could be utterly trusted, who were absolutely reliable. It helped give us peace of mind. The danger came only from drawing that sharp line, digging that ditch, laying that minefield, between our own group and any other group that thought differently.

With experience it seems to be possible to control the flow of paint, to a great extent, and I don't use - I don't use the accident - 'cause I deny the accident... it's quite different from working, say, from a still life where you set up objects and work directly from them. I do have a general notion of what I'm about and what the results will be. I approach painting in the same sense as one approaches drawing, that is, it's direct.

Our common stock of words embodies all the distinctions men have found worth drawing, and the connexions they have found worth marketing, in the lifetimes of many generation; these surely are likely to be more numerous, more sound, since they have stood up to the long test of thee survival of the fittest, and more subtle, at least in all ordinary and reasonably practical matters, than any that you or I are likely to think up in our arm-chairs of an afternoon-the most favoured alternative method.

The characters are born from repetition, from repeatedly thinking about them. I have their outline in my head. I become the character and as the character I visit the locations of the story many, many times. Only after that I start drawing the character, but again I do it many, many times, over and over. And I only finish just before the deadline.

Walt had a seat-of-the-pants approach on what he wanted musically. We kind of 'read' the boss and had a very high batting average, but there were occasions when he felt we had just written the wrong piece for the situation he wanted. We invariably listened to what he wanted - he was very descriptive in what he wanted and we could read him. We'd go back to the drawing board and work out what he wanted. He was a great inspiration, but a tough taskmaster.

Our current use of time is not rational. There is therefore no point in seeking marginal improvements in how we spend our time. We need to go back to the drawing board and overturn all our assumptions about time.

Drawing is a kind of hypnotism: one looks in such a way at the model, that he comes and takes a seat on the paper.

Like music my drawings transport us to the ambiguous world of the indeterminate.

Professors typically spend their time in meetings about planning, policy, proposals, fund-raising, consulting, interviewing, traveling, and so forth, but spend relatively little time at their drawing boards. As a result, they lose touch with the substance of their rapidly developing subject. They lose the ability to design; they lose sight of what is essential; and they resign themselves to teach academically challenging puzzles.

I'm very artistic - I feel like ever since I was born I've been drawing. I actually have a picture in my room that I painted, and people are always like "Where did you buy that?" It's cool that people are impressed by it.

Practice by drawing things large, as if equal in representation and reality. In small drawings every large weakness is easily hidden; in the large, the smallest weakness is easily seen.