Best 1116 quotes in «drawing quotes» category

I grew up with a pencil. A pencil was my computer at the time and so drawing, drawing, drawing and the tools of drawing where the usual ones and eventually then you graduated from the tools when the work increases and you start to draw by freehand as precise as possible and as accurate as possible, and I was pretty good at that.

I had always been kind of obsessed with making a home of my own and was always drawing rooms that I wanted to live in, down to pictures on the wall and the faces that would be in the photographs.

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.

I had been doing wall drawings, but they were always black and white. Then in 1993 I painted all the walls of a room to make an installation and as soon as I saw the colour on the walls, it changed my whole life.

I had drawings that were the first time that mathematics was put into visual form.

I had so many ideas that I wanted to get out at once that it led to simple little drawings and paintings.

I had TB as a child. So I was put to doing things like drawing and reading. And I was raised in a family where manners were important. Maybe that's why I seem so refined.

I have a lot of friends and family that have suffered because of the church's judgment; my best friend in the world is gay. I felt a lot of people around me drawing lines in the sand, and that year I decided: I don't want to draw lines and have to be on one side or the other, but if someone's going to push me to one or the other side of the line, I'm going to stand on the side of those being judged because that's where I feel Jesus meets people.

I have always directed my attempts at the figurative representation of objects by way of summary and not very descriptive brushstrokes, diverging greatly from the real objective measurements of things, and this has led many people to talk about childish drawing.. ..this position of seeing them (the objects) without looking at them too much, without focussing more attention on them than any ordinary man would in normal everyday life..

I have always done my sketches, as people would say, for the fun of it... I have worked to amuse myself, and if it has amused the public as well, so much the better for me.

I have always enjoyed drawing and painting but I don't always find the time to do much these days.

I have a theory that I did most of my observing probably before I was twenty, stored it, and am still drawing on it.

I have a very dear friend, a great painter, called me up very upset, the work wasn’t going well… He asked me to come to his studio -- which I did -- I looked around at the work, dozens of sketches, drawings, large pictures, and I was very close to his work, intensely involved with his work, and he asked me, ‘What’s wrong?’ And I said, ‘Simple – it’s a loss of nerve.

I have been surrounded by artists and paintings throughout my life. My father Ted Dyer is an artist, and from a very early age I have spent time painting and drawing.

I have been to several wars to draw. I went to Vietnam. And made drawings in Vietnam during that period of the war there, and found that to be a very very sad situation.

I have been watching and drawing the surface of Mars. It is wonderfully full of detail. There is certainly no question about there being mountains and large greatly elevated plateaus.

I have drawn my whole life. My parents were in the tapestry restoration business, and as a young girl, I would draw in the missing parts of the tapestry that needed to be re-woven. My ability to draw made me indispensable to my parents.

I have learned that what I have not drawn I have never really seen, and that when I start drawing an ordinary thing, I realize how extraordinary it is, sheer miracle.

I have had sculptures cast in bronze, silver and aluminium. My drawings are all graphite or pigment ink and gouache on paper.

I have friends and illustrators who can't stand drawing on the Cintiq. [A graphic pad tablet used by digital animators] There's a certain tension and friction when you draw on paper that they miss. The tablet is very slick. It's like drawing on glass. But that didn't bother me at all.

I have learned that what I have not drawn, I have never really seen

I have kept a diary as long as I can remember, and drawings are really another kind of diary.

I have made a solemn vow never to send my drawings because people have cheated me. In particular, just today I found... that, having done a drawing of souls in Purgatory for the Bishop of St. Gata, he, in order to spend less, commissioned another painter to do the painting using my work. If I were a man, I can't imagine it would have turned out this way.

I have made it a rule for a long time, not to part with the copyright of my drawings, for I have been so copied, my drawings reproduced and sold for advertisements and done in ways I hate.

I hope I shall be able to make some drawings in which there is something human.

I haven't stopped painting or drawing - I've just added another medium.

I have to hope that my instincts will do the right thing, because I can't erase what I have done. And if I drew something first, then my paintings would be illustrations of drawings.

I know I draw without taking my pen off the page. I just keep going, and that my drawings I think of them as scribbles. I don't think they mean anything to anybody except to me, and then at the end of the day, the end of the project, they wheel out these little drawings and they're damn close to what the finished building is and it's the drawing.

I kind of do the drawing with the painting in mind, but it's very hard to guess at a size or a color and all the colors around it and what it will really look like.

I knelt and opened up my lute case. Moving the lute aside, I pressed the lid of the secret compartment and twisted it open. I slid Threpe's sealed letter inside, where it joined the hollow horn with Nina's drawing and a small sack of dried apple I had stowed there. There was nothing special about the dried apple, but in my opinion if you have a secret compartment in your lute case and don't use it to hide things, there is something terribly, terribly wrong with you.

I know never to take a wine for granted. Drawing a cork is like attendance at a concert or at a play that one knows well, when there is all the uncertainty of no two performances ever being quite the same. That is why the French say, 'There are no good wines, only good bottles.'

I just sit at the drawing board most of the time. I am used to talking to people. I love going to conventions, getting feedback and talking to people. Some artists don't. Some artists sit at their drawing board because their personality actually dictates that.

I learned my "facts of life" on toilet walls. I'd walk up in school bathrooms and there would be crude drawings and figures engaged in sex. That's how I learned.

I liked drawing and painting, because the only failure would be to listen to the doubters who wanted me to stop drawing and painting because 'you aren't going to make a living doing that.' I liked looking in art books at the work of painters.

I like charcoal drawing a lot. I'm not very good, but I always find myself buying canvases and paints whenever I'm on location, because I always have this ambition to fill the hotel room I'm in and turn it into an art studio.

I like drawing most everything I see, but sometimes the light will hit something in a certain way that I just cannot capture the thing the way I would like with a drawing, so I think taking a picture might be the way to document what I am seeing better.

I liked painting and drawing, and I liked humanities mainly - poetry, literature - this speculative attitude toward life.

I learnt earlier on that If you can run one company.You can really run any company.A company is all about finding the right people and inspiring those people,drawing out the best in people

I like a girl with a substantial bottom,' said Renoir, drawing in the air the size bottom he preferred.

I like my drawings to be direct. I don't generally work on them for too long, but that doesn't mean that they are not works in their own right.

I like making books but I'm not sure exactly what I'm doing. Perhaps I just try to arrange a bunch of seemingly random drawings into something that makes a vague narrative sense. Sometimes it sort of makes sense, sometimes it doesn't.

I like the idea of seeing a film that has the artist's hand in there,a film where you can see his strokes, you can see his working patterns. It's like going to a museum and seeing a Renoir drawing. You want to see their work and you want to see how they put it together. For me to see that in animation is really fresh, it's really exciting, it's really original.

I live a very nice life. I have a wonderful time. But it's not lived drawing on a full level. I'm relaxed, cool, and enjoying it.

I like to make sculpture because it makes my life social. When I make drawings, I work alone. When I work with sculpture I have someone I can work with.

I like vocal word stuff. But I don't always write with an instrument, I usually write a capella. It's more like drawing in the air with your fingers. It's closest to the choreography of a bee. You're freer.

I love drawing what the character is feeling, in my comics, with no dialogue.

I loved surrealism and abstract painting, and anything related to those. I always thought painting was the highest form of art. What led me to drawing was seeing so much self-important, pretentious, conceptual-type art in university. I wanted to reject that by making quick, fun art.

I love drawings, so I've always enjoyed making drawings that exist on their own.

I loved painting and drawing for many reasons. One of them was that all it really required was me, a pencil and a pad. It was something I was passionate about, and still am.

I love drawing, whether it's considered work or not, but I'm always drawing, and that's the core of the work. Everything comes from drawing.