Drawing Quotes
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I've never quite worked out how to do holidays. I've got a house in France which I suppose is a kind of holiday house. But it's really only so I can go on drawing when I get there. I'm never far away from the feeling that I want to be getting on with something.
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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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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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Architecture is my work, and I've spent my whole life at a drawing board, but life is more important than architecture. What matters is to improve human beings.
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I want the 'Roots' biopic to be animated - I see Charles Schulz drawing us. I think it would be more hilarious with the voices of children.
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My interior is very, very dense - Proustian-looking, sort of Henry James. The walls are covered in pictures, and I transformed the big drawing room into a library lined with books.
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Sketching is almost everything. It is the painter's identity, his style, his conviction, and then color is just a gift to the drawing.
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I'm pretty terrible at writing, so the way I kind of therapeutically get through things is by drawing.
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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 remember reading [ Studs Terkel's] "Working" when it first came out and just finding that very powerful. I was going into community organizing. What stuck was to reveal the sacredness of ordinary people's lives. That everybody has a story. And I think Studs is terrific at drawing out that shimmering quality of people's everyday struggles.
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I'm big into not drawing conclusions for people. I think that's what makes for the most exciting, compelling films. I get bored when the politics of the filmmaker are the subject of the film that I see.
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The director's job should give you a sense of music without drawing attention to itself.
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I created 'Captain Underpants' when I was in the second grade. I was constantly getting in trouble for being the class clown, so my teacher sent me out into the hallway to punish me. It was there in the hall that I began drawing 'Captain Underpants'. Soon I was making my own comic books about him.
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With the Larry Bertlemann portrait, I started with a photograph that I could use for it. I built the drawing's identity to serve as a graphic identity. After a number of sketches, I went into my own abstract vernacular of drawn lines and shapes to create the composition for the poster design.
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Music isn't just for professionals. We delegate all of our music and our dancing and our art to professionals. It's silly. We should be doing our own dancing and drawing.
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My approach as an actor has always been the same, in that the greatest gift that you're ever going to have is your imagination because you're not going to have all life experiences. So you draw on things that are sort of close to it but you spend your time expanding on it or drawing something specific on whatever your situation is.
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Well, the first War of the Machines seems to be drawing to its final inconclusive chapter - leaving, alas, everyone the poorer, many bereaved or maimed and millions dead, and only one thing triumphant: the Machines. As the servants of the Machine are becoming a privileged class, the Machines are going to be enormously more powerful. What's their next move?
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We seem to know when to 'tap the heart.' Others have hit the intellect. We can hit them in all emotional way. Those who appeal to the intellect only appeal to a very limited group. The real thing behind this is: we are in the motion picture business, only we are drawing them instead of photographing them.
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There are constant challenges in the drawing process, especially in a period piece, and therein lay the fun.
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I've found from years of trial that the only way I can work is to make sketches in pencil from Nature, purely as reference material for future use in the studio.
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I’m not interested in truths, like drawing an accurate picture of the real world. I’m interested in exploring the verities of the human condition.
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People try to look for deep meanings in my work. I want to say, 'They're just cartoons, folks. You laugh or you don't.' Gee, I sound shallow. But I don't react to current events or other stimuli. I don't read or watch TV to get ideas. My work is basically sitting down at the drawing table and getting silly.
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I used to find great difficulty in drawing feet.
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Mickey Mouse popped out of my mind onto a drawing pad 20 years ago on a train ride from Manhattan to Hollywood at a time when business fortunes of my brother Roy and myself were at lowest ebb and disaster seemed right around the corner.
