Drawing Quotes
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In 1970, I was turning 29 years old, just 4 years out of art school. I had created a black and white drawing style mascot portrait called 'Johnny.' I made a poster for it and sent it around the world to corporate art departments.
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I still do my comedy and my performance stuff and my acting so it's not all-consuming. But I do find myself drawing more and more these days.
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The tongue, the Chinese say,is like a sharp knife:it killswithout drawing blood.
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I started drawing when I was about 2, mostly pictures of my mother and my sister. When I got into school, instead of taking the notes that I should have been taking, I was drawing in all of my notebooks. It was an artwork thing for me at first.
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One of the things I like about doing historical films is drawing the line between now and then.
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The best works do not necessarily get to auction. I like to draw, so maybe I give you a little drawing. And then eventually it ends up at auction. And then critics say, 'Oh, that's a bad drawing!' Well, I didn't say it was so wonderful.
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Throughout my career, when I was finished with the drawing for one film I would go up to the story department and help develop sequences. Sometimes these were for scenes that I would animate later on.
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I think working with kids and seeing how kids are universally children - no matter what you do, they love playing on a bongo and they love drawing and they love playing - that is a great uniter.
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If I had girls to educate I would not have them learn both music and drawing.
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In 1912, when I was working in The Hague, I first saw a drawing by Louis Sullivan of one of his buildings. It interested me.
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In 1971, I put together the 'Johnny Face' drawing as a concept, with the words as part of an image in a circle. Combining my abstract drawing with the headline 'Crazy World Ain't It' created an emblem and became a button.
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MUCKY drawing I AM FeeLing completely mucky today too. everyone at school seems so much tougher + pulled together and not so emotionally involved. I get so mad at MYSELF FOR 'caring so deeply' AND 'MAINTAINING' all this stuff in me that FEELS SO PATHectic. I want to put my tHINKing in HYBernation FOR A WHile.
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I burned out my drawing hand by using it too much. The common word for it is writer's cramp. The fancy words for it are focal dystonia. The symptom in my case was a pinky finger that went spastic when I tried to draw.
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Maybe I could have been good as a drawer if I had done it as much as I did writing, but it's more scary to draw. It's more revealing. You can't disguise yourself in drawing.
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Whenever I write about motherhood - and I write about it a lot - I am drawing on my experiences as a mother and also my experiences as a daughter.
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The original Heart logo was made back in the real early '70s by Mike Fisher, who I used to be in a relationship with. He was first our manager and then our soundman. When I met him, he was in design school for architecture, so he was always drawing.
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When I'm drawing, I only do that at home, really, at my drawing table. But writing I could do in other places. So I've written in airports, in hotels, different places.
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In the days following 9/11, when we were reeling and disoriented, there was a kind of solace to be found in old recordings, and even pseudo-folk singers like James Taylor seemed to be safeguarding something, drawing back bygone days.
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I guess I've always been kind of obsessed with food. I always liked drawing food, and I always liked stories - I think I probably just read somewhere that stories are better if someone's eating in them. I don't know where that came from, but it really stuck, and I always try to put food in.
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Young artists must pave their way to Art by drawing pictures for magazine stories that young authors write to pave their way to Literature.
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When you are older, you realise that everything else is just nothing compared to painting and drawing.
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There's always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation. But you can do good stuff either way. The Pixar movies are amazing in what they do, but there's plenty of independent animators who are doing really amazing things as well.
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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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At 16, I was drawing cartoons, and I wanted to carry on being a cartoonist.
