Richard MacDonald Quotes
You have to make thousands and thousands of drawings before an illustration is perfected.
Quotes to Explore
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My fiance likes drawing on napkins, which I save. I'm always scared I'll get caught taking a linen napkin from a restaurant!
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I design all my sets. With my tour and my album artwork, I co-design that with people who are better at drawing than me. But I've got a good imagination. I went to art school so I understand how to communicate my ideas.
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The Hindu nationalists see a religion near perfection save for the tampering of Muslims and Christians. So they fall upon these groups, rather than try to reform their own practices by drawing on India's sophisticated philosophical traditions.
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Above and beyond drawing my creations, I try to incorporate some kind of message. I try not to end as merely a question but try to provide a conclusion within the work.
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The mere drawing and painting world of the pattern designer and the applied artist must become a world that builds again.
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I think all children draw, as soon as they figure out the thumb and can grab crayons. The only difference with people like myself is that we never stopped drawing.
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I was always interested in the arts as a child - drawing, painting, and piano - but acting became a favourite. I was a major theatre geek in high school - if I wasn't in the drama room at lunch rehearsing, I'd be in the art room finishing up some type of project.
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It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.
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Nobody gets any fun out of baseball any more. I guess a kid's crazy not to be serious about it when he's drawing down $20,000 or $30,000 a year, and any smart-aleck gag you try may be your last. But what's life without a laugh?
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I did photography, painting, and drawing, but I prefer sculpture. I like it because it's very physical.
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I was quiet, a loner. I was one of those children where, if you put me in a room and gave me some crayons and a pencils, you wouldn't hear from me for nine straight hours. And I was always drawing racing cars and rockets and spaceships and planes, things that were very fast that would take me away.
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Terrorists are people, too - they are given to error. Naipaul and then DeLillo do a good job in their novels of drawing this out: I'm thinking of DeLillo's contention in 'Mao II' that terrorists have replaced writers as the people who 'alter the inner-life of the culture.' I thought that was marvellous!
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I am very bad at drawing. Seriously. I can draw shoes. That's about it.
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I've always said the bass just happens to be the crayon I picked out of the box. I'd still be drawing the same pictures... should I have picked trumpet or accordion or guitar, whatever it may be. The sounds in my head are still the same.
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What you do is, you have your drawing board and a pencil in hand at the telescope. You look in and you make some markings on the paper and you look in again.
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It always amazes me that Japanese comics have, like, 200 pages. How do they do that? They're fat books; it's a whole different kind of comic that's very close to their films. So I'm drawing from that history and bringing it here - bringing it to Katana.
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Fights with my father were really quite brutal. I would not live his vision. I would not become who he wanted me to be. Everything I did was criticized. I would spend three months drawing something and show him, and he would look up from his paper and just look back down. I got no approval from him for anything I did that was creative.
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I want to be alone and work until the day my heads hits the drawing table and I'm dead. Kaput. I feel very much like I want to be with my brother and sister again. They're nowhere. I know they're nowhere and they don't exist, but if nowhere means that's where they are, that's where I want to be.
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I did take my camera along, as I felt there wouldn't be enough time to draw the things I wanted to do. I did some drawing and did a lot of photography but I was not part of Stryker's outfit at all.
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It's my belief we developed language because of our deep inner need to complain.
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The natural response of the old-timers is to build a strong moral wall against the outside. This is where the world starts to be painted in black and white, saints inside, and sinners outside the wall.
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The lack of literature on the topic was a handicap, but my great teacher, Elvin Semrad, had taught us to be skeptical about textbooks. We had only one real textbook, he said: our patients. We should trust only what we could learn from them—and from our own experience.
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You have to make thousands and thousands of drawings before an illustration is perfected.
