Best 1116 quotes in «drawing quotes» category

I see the iPad as a wonderful new drawing medium, but I am at a loss as to how to make it pay.

I shan't get free of my emotion by copying the tree faithfully, or by drawing its leaves one by one in the common language, but only after identifying myself with it.

I showed the grown ups my maasterpiece, andI asked them if my drawing scared them. They answered why be scared of a hat? My drawing was not a picture of a hat. It was a picture of a boa constrictor digesting an elephant.

I sit, I think, I make some drawings. As a designer, you cannot retire totally.

I sketch the faces upside down because it's like drawing from the left side of the brain or the right side of the brain. I never took an art lesson in my life.

Isn't it amazing what a pencil can have inside?

Isn't the drawing board the place where all the best work happens? It's not a bad thing to go back there. It's the entire point.

I sometimes draw just for its own enjoyment.

I sometimes think there is nothing so delightful as drawing.

I spent much of my childhood in northern Quebec, and often there was no radio, no television - there wasn't a lot to entertain us. When it rained, I stayed inside reading, writing, drawing.

I started my own magazine with drawings, commentary, news, film reviews and drawings.

I started drawing comics, and at first I was very influenced by the whole pop art movement, you know, Batman was on TV and all that pop art stuff? But then my next influence was in 1966, or maybe it was '65, I don't know. Somebody showed me a copy of the "East Village Other", which was an underground newspaper. And... it had comics in it! And they weren't superhero comics.

I started drawing in first grade. Because the kid next to me was drawing, and I remember thinking: I want to be able to do that!

I started to draw desert islands. They were just rough, shapes in the middle of the page. Then I began drawing shapes within those shapes and I was amazed how quickly the islands got better. It took off from there.

I started when I was nine. Really, everything I know about color theory, composition, drawing, and painting, I learned when I was a kid.

I started to get bored with that stuff about only drawing men and I've taken it out of the slideshow.

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.

I still have some of my old University essays, and I do still have my drawing book from primary year seven.

I suppose no matter what I'm drawing, there will always be some sort of question in my mind about it. A work of art (even cartoon art) is never really finished; it is abandoned.

It constantly remains a source of disappointment to me that my drawings are not yet what I want them to be. The difficulties are indeed numerous and great, and cannot be overcome at once. To make progress is a kind of miner’s work; it doesn’t advance as quickly as one would like, and as others also expect, but as one stands before such a task, the basic necessities are patience and faithfulness. In fact, I do not think much about the difficulties, because if one thought of them too much one would get stunned or disturbed.

I tended to faint when I saw accident victims in the emergency ward, during surgery, or while drawing blood.

I tend to write first thing, and then do my drawing later. I like to draw at night. But often I go for long stretches without drawing, because I'm trying to figure out what I'm writing.

I think context, location matters a lot. Because location obviously in my situation, it's the space in which the work is going to be exhibited. And since some of the work I do is created onsite, it requires a different type of space, versus the smaller drawings or more subject-oriented work. So that the context becomes important.

I think it's important to understand that a cartoonist is not drawing for favourable reviews from politicians. What we're trying to do is capture the popular feeling of the time about a politician or a particular political issue. For that reason I think it sums up public attitudes that is very helpful to historians down the road.

I think it's important not to start drawing parallels, for example, between Theresa May, a fairly traditional conservative politician, who's now prime minister and Le Pen in France. Those aren't the same and the situation in each country is different.

I think it is an inborn talent - just luck. Some people can learn languages; some can throw a ball. Most people have something. My talent is drawing and painting.

I think when you're an actor and you're drawing on your emotions all the time, you need to be quite steady.

I think television scripts have become really intriguing and well-done. And writers have stopped drawing any actual line between film and television they used to never cross.

I think that the FIDE leaders have to reconsider the current drawing rules - their advantages aren't very clear, but their shortcomings are obvious. Artificial drawing of the lots is detrimental for everyone.

I think most people see drawing as subservient to the subject, a sort of meditation, a studying, a searching observation, in my case, for its own sake.

I think people are quite surprised that the handwriting I use in my drawings and paintings is my own handwriting. They're slightly shocked when I write them a letter.

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 cant do it.

I think when I'm drawing, I'm seeing what's happening on the page almost as if it were unfolding like a movie in my head.

I thought of the character being real, a living person, not a drawing.

I thought the iPhone was great, but this takes it to a new level - simply because it's eight times the size of the iPhone, as big as a reasonably-sized sketchbook... Anyone who likes drawing and mark-making will like to explore new media.

It is impossible to discuss realism in logic without drawing in the empirical sciences... A truly realistic mathematics should be conceived, in line with physics, as a branch of the theoretical construction of the one real world and should adopt the same sober and cautious attitude toward hypothetic extensions of its foundation as is exhibited by physics.

It is commonly supposed that the uniformity of a studious life affords no matter for narration: but the truth is, that of the most studious life a great part passes without study. An author partakes of the common condition of humanity; he is born and married like another man; he has hopes and fears, expectations and disappointments, griefs and joys, and friends and enemies, like a courtier or a statesman; nor can I conceive why his affairs shuld not excite curiosity as much as the whisper of a drawing-room, or the factions of a camp.

It is indeed immensely picturesque. I can fancy sitting all a summer's day watching its shadows shorten and lengthen again, and drawing a delicious contrast between the world's duration and the feeble span of individual experience. There is something in Stonehenge almost reassuring; and if you are disposed to feel that life is rather a superficial matter, and that we soon get to the bottom of things, the immemorial gray pillars may serve to remind you of the enormous background of time.

It is in order to really see, to see ever deeper, ever more intensely, hence to be fully aware and alive, that I draw what the Chinese call 'The Ten Thousand Things' around me. Drawing is the discipline by which I constantly rediscover the world. 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.

It is not bright colors but good drawing that makes figures beautiful.

It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.

It is not in our drawing-rooms that we should look to judge of the intrinsic worth of any style of dress. The street-car is a truer crucible of its inherent value.

It is not the bee's touching on the flowers that gathers the honey, but her abiding for a time upon them, and drawing out the sweet.

It is often said that Leonardo drew so well because he knew about things; it is truer to say that he knew about things because he drew so well.

It is not our heads or our bodies which we must bring together, but our hearts. . . . Humanity. . . is building its composite brain beneath our eyes. May it not be that tomorrow, through the logical and biological deepening of the movement drawing it together, it will find its heart, without which the ultimate wholeness of its power of unification can never be achieved?

It is one of history's most mocking ironies that the German customs union, which set out to dominate Europe and conquer Britain in the form of Bismarckian or Hitlerian military force, has at last vanquished the victor by drawing Britain into a Zollverein which comprises Western Europe and aspires to comprise the Mediterranean as well. If the ghosts of the Hohenzollerns come back to haunt this planet, they must find a lot to laugh at.

It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one.

It is the brushwork of the right value and color which should produce the drawing.

It is the common defect of modern art study. Too many students do not know why they draw.

It's a funny thing that people are always ready to admit it if they've no talent for drawing or music, whereas everyone imagines that they themselves are capable of true love, which is a talent like any other, only far more rare.