Drawing Quotes
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What I've found about 'Cinderella' is that what it provokes in an audience is really extraordinary. It appears to be a deceptively simple tale, but I've heard nothing but people drawing all different things out of it.
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I ended up reading comics and just started drawing at a very young age. By high school, I was putting together longer stories. In college, I started doing strips for the newspaper and doing mini-comics. It sort of grew in scope and scale over time.
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Life is the art of drawing without an eraser.
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People who see a drawing in the "New Yorker" will think automatically that it's funny because it is a cartoon. If they see it in a museum, they think it is artistic; and if they find it in a fortune cookie they think it is a prediction.
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The principle factor in my success has been an absolute desire to draw constantly. I never decided to be an artist. Simply, I couldn't stop myself from drawing. I drew for my own pleasure. I never wanted to know whether or not someone liked my drawings. I have never kept one of my drawings. I drew on walls, the school blackboard, odd bits of paper, the walls of barns. Today I'm still as fond of drawings as when I was a kid - and that was a long time ago - but, surprising as it may seem, I never thought about the money I would receive for my drawings. I simply drew them.
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I was always drawing eyes, even as a child. Eyes fascinated me.
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I've always loved painting and drawing. I wish I'd developed it more and exhibited.
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If you've worked over all of your drawing, it should finish itself - often when you least expect it.
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I wouldn't want to be defined so much by comics or cartoons. My work is more narrative than that. If you take your basic cartoon, there's always a punchline or a joke at the end. My drawings don't depend on that so much.
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I still do a lot of drawing on a daily basis.
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Making drawings with text in the first place, it really was born of a desire to be economic, and to do things as simply as possible, and to do as much as I could by the most economic means.
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Drawing on a computer doesn't make any sense to me. It's not intuitive.
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My work is so unorthodox that from one panel to the next, the drawings are completely different... totally opposed to the way of working in something like animation, where every drawing has to look like the one before.
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The characters are born from repetition, from repeatedly thinking about them. I have their outline in my head. I become the character and as the character I visit the locations of the story many, many times. Only after that I start drawing the character, but again I do it many, many times, over and over. And I only finish just before the deadline.
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My one failing as an artist is that I depend on reference material to perhaps a greater extent than I should. Delacroix said that if you can draw a man falling out of a window and have the drawing finished before he hits the ground then you're a real artist. I wasn't that kind of artist.
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When I talk to children, I show them a typical drawing I made when I was six and point out to them that when I was their age, I didn't draw any better than any of them.
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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.
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When I was a little girl my parents always told me do everything you want in an artistic way. If you want to draw, make a drawing. Just do it. And if you want to play piano, play piano. It was a very free childhood where everything was possible.
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I do a lot of research, I try to think about how it relates to music and I just do a ton of drawing. It's much easier to work your ideas out that way.
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Writing a mystery is like drawing a picture and then cutting it into little pieces that you offer to your readers one piece at a time, thus allowing them the chance to put the jigsaw puzzle together by the end of the book.
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Visual storytelling of one kind or another has been around since cavemen were drawing on the walls.
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We must cling only to drawing.
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This drawing is three quarters ball, one quarter philosopher, which might be about the right space to keep a philosopher in his place.
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In order to be totally spontaneous, you can't be too obsessed with accuracy, but if you're inaccurate in a drawing, it will look fake, and when you act, it will sound fake. You have to find miraculously some proper balance between the two, but there's no formula.
