Drawing Quotes
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Make a drawing. Start it all over again, trace it. Start it and trace it again.
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Not to make him blush, but any story illustrated by Mike Mignola does things that prose alone can't accomplish. The illustrations create mood and atmosphere, drawing the reader more deeply into the story than words could do on their own.
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I sometimes think there is nothing so delightful as drawing.
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You are always drawing from your personal life and using your imagination to fill in the blanks.
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I think the most important thing you can do is to keep drawing no matter what. And to not be afraid of drawing whatever interests you. If there is something that you want to draw, to make, then I think you should pursue it and not let anybody tell you that you can't do it.
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What is a forest? A marvelous insect. A drawing-board, what do forests do? They never go to bed early. They are waiting for the tailor. What is the high season of the forests? It is the future..
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The thing to do is just make sure that as part of a disability community, we're not isolating ourselves by drawing differences for the sake of progress.
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I was raised by my grandparents, and they always made sure that I had a pencil and some paper, whether we were in the car or at a restaurant. While they were enjoying a nice meal, I would be sitting there drawing funny pictures of the waitress.
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All the other kids in ninth grade were drawing hot rods and cocker spaniels and getting blue ribbons in art class. I was getting rejection slips from the 'Saturday Evening Post.'
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If you're drawing a Western town, you can duplicate that Western town from instinct alone. Some artists may take it from other illustrations or duplicate what you've drawn, but it will never have that gut reality that's instinctive in the artist.
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I've been falsely accused of drawing too much from real life. But I am a petty thief - I take little things. And, I mean, I can hardly write 10 words before I start to make things up. I start to invent, because that's what I want to do. I'm running away to an invented place.
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I had been drawing my weekly comic strip, 'Life in Hell,' for about five years when I got a call from Jim Brooks, who was developing 'The Tracey Ullman Show' for the brand-new Fox network. He wanted me to come in and pitch an idea for doing little cartoons on that show.
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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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The most distinguishing element of my novels is that I try as hard as I can - within the context of a popular commercial thriller - to make them feel authentic. Drawing on real locations and real events is part of that authenticity.
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I no longer enjoy drawing people's pets. I just want to draw what I want to draw and have people not tell me what to draw.
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My books should feel like you're getting a peek into a private world: a diary no one was meant to read. As soon as I start thinking, 'This book is going to be published,' my drawing becomes calculated and deliberate. It's one of the ways I trick myself.
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Matisse makes a drawing, then he makes a copy of it. He recopies it five times, ten times, always clarifying the line. He's convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt.
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The first money I ever earned was for drawing stone tools.
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There is, however, a change going on in the world. There's far more interest in drawing now than there has been in a long, long time. Schools are beginning to teach drawing again in a serious and meaningful way.
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I want to put the joy of creativity, of drawing every day, of having a go and being surprised at what one can achieve with just a pencil and an idea at the heart of my term as laureate. I want to make sure people have fun whilst addressing fundamental issues I care about passionately.
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I think there's a mystery to drawing - to the weight of the lines. The sweep of a line around a corner to create an effect that someone is moving.
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What is the good of drawing conclusions from experience? I don't deny we sometimes draw the right conclusions, but don't we just as often draw the wrong ones?
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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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I was literally 3 years old when I started drawing. I did it all my life, through primary school, secondary school, all my life. I always, always wanted to be a designer. I read books on fashion from the age of twelve. I followed designer's careers. I knew Giorgio Armani was a window-dresser, Emanuel Ungaro was a tailor.
