Drawing Quotes - Page 30

And, of course, I began drawing so much - wild, undisciplined pencil drawings and watercolors of knights battling and such.

Antonin Artaud wrote on one of his drawings, "Never real and always true," and that is how depression feels. You know that it is not real, that you are someone else, and yet you know that it is absolutely true.

Drawing is the sum of directions.

Sometimes I wish the writing and drawing were more integrated.

Picasso and Matisse were the guys I wanted to get away from, and cubism is all still lifes. Their paintings are all closed drawings. And still life is a perfect form for that. By the mid-'50s, I sort of dropped the still life. The large picture was a way of getting around them, too. The abstract expressionists were also into the large form because it was a way of getting around Matisse and Picasso. Picasso can't paint big paintings. Matisse didn't bother after a certain point.

Cursed in earth and subdued by death, man found himself beset by time, and his instincts put to the test. Only then, he realized that with love he could survive, and that for a certain purpose he would toil. For those whom my love can not immune from death, are dedicated these paintings, in the hope they may express in drawing the reality of a resonant mind.

Lose your schematic conventions by finding some surprising symbol or shape in the welter of shades, and draw that.

Drawing is one of those things which sit on the uneasy bending line between instinct and instruction, where seeming perversity eventually trumps pleasure as the card players and the kibitzers interact and new thrills are sought.

Defend me, therefore, common sense, say From reveries so airy, from the toil Of dropping buckets into empty wells, And growing old in drawing nothing up.

I took a number of graphic courses, lithography and etching and wood engraving [at Art Institute]. And particularly as I got more and more into ceramics, I thought, life drawing doesn't have anything to do with ceramics.

The experienced illustrator subscribes to the principle of the application of the seat of the pants to the seat of the chair. Should inspiration whisk down your chimney, be at your table. The first ten thousand drawings are the hardest. Put another way, you have ten thousand bad drawings within and should expel them as quickly as possible.

As for 'drawing you out,' please believe I don't do such things deliberately, with an object -- It's only that I am, as a rule, far more interested in people than they are in me -- But it makes me a nuisance, I know: only an innocent nuisance.

I started drawing comics, and at first I was very influenced by the whole pop art movement, you know, Batman was on TV and all that pop art stuff? But then my next influence was in 1966, or maybe it was '65, I don't know. Somebody showed me a copy of the "East Village Other", which was an underground newspaper. And... it had comics in it! And they weren't superhero comics.

I am proud of having drawn the first comic about a lesbian - and it didn't even occur to me that I was drawing a first. I just wanted to tell the story of my roommate.

I like drawing. I like to spend the day drawing, the process is important for me. Drawing is a just a pleasure and it's nice to keep it going.

Leaders are visionaries. They see the outcome. Leaders are communicators. They tell us what they're seeing. They hold the dream, letting us feel that it's possible. Our minds open up to what they show us could be. We dream with them. We get excited with them, drawing on all our abilities to create the future.

I sketch the faces upside down because it's like drawing from the left side of the brain or the right side of the brain. I never took an art lesson in my life.

I'm just working with ideas in my head and with drawings that the artists did. And suddenly to see these things come to life in movies - it's just wonderful.

I can be happy with something I did, like a drawing or a dress I designed, and yet be very disappointed with the same drawing, or the same dress the day after.

Few people know that I am also an artist; I truly enjoy sketching and drawing.

As a child, I copied Duerer drawings and Bruegel.

See all these buildings, Russell? All these buildings were once a drawing on a piece of paper, and before that they were an idea in someone’s head. Any idea that you have, you can make manifest.

The words represent ideas first of all. That is something you have to understand. I mean, it is not just an object, but it is an object with a history and it is loaded with all kinds of implications and ideas. They exist in the world in a very special way. So they kind of represent some aspect of the world that we perceive, as do photographs, as do drawings of trees or whatever. And they are not a one to one. They are not the world, but they kind of refer to the world and they also exist in the world.

Films are made the same today, as they've ever been made, in certain respects. The scriptwriting, the pre-production, the storyboarding, and the designing are all the same. The technique of animation has changed, in the sense that rather than drawing it by hand, we use a computer as a tool. The computer has become a pencil to draw or paint the images that we see in a film.

The drawings need to be strong enough to stand alone, and not just work as part of a sequence.