Best 1116 quotes in «drawing quotes» category

Sketching is a continuing source of learning rather than a string of performances.

Skip meeting him? The butterflies, the pounding heart, the blushing? The part where you enter each other's magnetic fields for the first time, and it's like invisble lines of energy are drawing you together-

Sketches always have more vitality than paintings because you're finding things out through doing them.

So I was drawing in a lot of the habit district in Brazil, put that together with an Asian influence, so there are a lot of different things in terms of architecture which assisted in the construction. Then every sci-fi movie I've grown up with from 'Blade Runner' to 'Aliens' and 'Star Wars.'

Soldiers are citizens of death's grey land, drawing no dividend from time's tomorrows.

So long as we continued to attach more importance to our own narrow group membership than to the 'global village' we would propagate prejudice and ignorance. There was absolutely no harm in being part of a small group - indeed, with our hunter-gatherer band mentality it gave comfort, provided us with an inner circle of friends who could be utterly trusted, who were absolutely reliable. It helped give us peace of mind. The danger came only from drawing that sharp line, digging that ditch, laying that minefield, between our own group and any other group that thought differently.

Some days you feel like this is really going well. You can tell. Other days, you're just drawing like a farmer and you don't know why.

Someday when I understand more things than I do now, the fundamentals of my drawing will be so tightly woven into those of existence that I will easily and naturally find the design which is the answer to many questions. Meanwhile, I draw continuously.

Some drawings are better than others... Some are utterly spoiled... I keep them all. I find a use sometimes even for the worst drawing... But their chief use is to mortify one's conceit, to show how thoroughly incompetent it is possible to be, and to shame one into better ways.

Somehow I started introducing writing into my drawings, and after a time, the language took over and I started getting very involved with the handwriting and then the look of the handwriting.

Somehow I felt that if Fox Talbot had had more time and more drawing talent, he would have filled in the interval between his two drawings and made a complete panorama. Now, 163 years later, I was able to use his great invention to elaborate on his youthful dream of capturing and fixing the fleeting image. In doing so, I may also have added another little bit to the soul of this extraordinary place.

Some of my job consists of me drafting and making technical drawings. So everything I did back then has materialized into something substantial for me today. Whatever kids are into, that might be their thing.

Someone asked me if I was afraid to write my memoirs. I told him: 'We have to stop drawing up accounts of fear! We live in a society in which people are allowed to tell their story, and that is what I do.'

Someone who is incapable of drawing, and cannot master line or colour perspective can always express themselves in some form of abstraction.

Some people like to paint pictures, or do gardening, or build a boat in the basement. Other people get a tremendous pleasure out of the kitchen, because cooking is just as creative and imaginative an activity as drawing, or wood carving, or music.

Something about glamour interested me. All my schoolbooks had drawings of women on terraces with a cocktail and a cigarette.

Some sculptors make drawings, I make heads.

Sometimes a collage element I hit upon can inspire the entire drawing.

Sometimes I draw with my left hand and I am pretty terrible. The drawings end up just looking like shakier/inconsistent (worse) versions of my right hand drawings. Sometimes I like drawing with my eyes closed.

Sometimes people think drawing and painting is mucking about when actually it is a highly skilled activity.

Sometimes I wish the writing and drawing were more integrated.

Sometimes the things I learn making paintings or drawings - composition, colour, expressionism, texture - can directly influence the making of a film. Sometimes it's great that they are different, and simply taking a break from one medium to spend time with another, recharges the batteries and I feel refreshed.

Spaces between the forms, or the negative shapes, play just as great a role as the positives and they enable you to check the accuracy of your drawing. The positives make the negatives and negatives make the positives.

Sometimes when looking through my pile of drawings, I find an image that... awakens in me a passionate desire to inhabit it, as though I were to feel more at home in it than in myself.

Sometimes when I am drawing outside - when it is cold out it gets difficult (my hand gets slower when it is really cold) because I do not like wearing a glove while drawing, because I cannot feel the paper right.

That's wrong," she declared. "Everyone must have one thing that they can excel at. It's just a matter of drawing it out, isn't it? But school doesn't know how to draw it out. It crushes the gift. It's no wonder most people never get to be what they want to be. They just get ground down.

Stop the bullsh*t. Stop drawing lines in the sand like previous generations [have done].

Survive first. Figure out crayon drawing of destiny later.

That can happen when people die, the argument with them drops away and people so flawed while they were drawing breath that at times they were all but unbearable now assert themselves in the most appealing way, and what was least to your liking the day before yesterday becomes in the limousine behind the hearse a cause not only for sympathetic amusement but for admiration

Study the great brush drawings of the Chinese and Japanese... When we try to imitate their conventions for perspective, form and texture we lose the content, because those artists were part of an ancient tradition. Our tradition changes rapidly, our schools of thought come to fruition quickly and decay again. We see differently.

That Moorish architecture is all over the place, of course. It affects me everywhere I see it, as it does so many people. But Brand Library was a special place to me, and I know I've paid homage to it many times in my drawings.

That's the type of thing you need to keep in mind when drawing comics. The storytelling. Consider the action and the space available to you, that's what will make it a great comics page. Once you've figured that out, you can always find/make the reference to support your storytelling decisions. So by all means, study film, but as with any reference, the results are better when they inform the craft and not dictate it.

The advice I would give to any photographer - young, old or in-between - is to explore anything visual because this is, after all, how you express your artistry. Look at paintings, movies, drawings, sculptures - look at anything visual and try to integrate that into your visual sense. After that, go out and take pictures and keep on taking pictures!

The activities of drawing, eating and drinking, all involve assimilations by the self of desirable elements from the world, a transfer of goodness from without to within.

The artist does not see both eyes alike. There is always 'the eye' and the other eye... It adds life and plasticity to the drawing if the eye in the light is darker than the one in the shadow. It gives the head vividness.

The authentic insight and experience of any human soul, were it but insight and experience in hewing of wood and drawing of water, is real knowledge, a real possession and acquirement.

The art of drawing conclusions from experiments and observations consists in evaluating probabilities and in estimating whether they are sufficiently great or numerous enough to constitute proofs. This kind of calculation is more complicated and more difficult than it is commonly thought to be. . . .

The art of drawing is the art of omission.

The average artist, if he chooses, could render an exact drawing of what he sees. Artistic work not only allows but demands some deviation from form and line. Just how far this may go depends on the viewpoint of each painter.

The basis of national identity is to say, "This is authentic to me or my forebears," and is there even such a thing? How authentic is it to your life? Just because your grandfather did it, what does that have to do with you? If I say I'm working in the style of Rembrandt, so what? You can say it, but are you really? No, because when you try to literally copy a cultural artifact, you change it. It dissolves, and then who's looking at it? People who appreciate that kind of drawing, or people it means nothing to?

The comics that are just conversing with you up there and drawing on their own life, yeah, I guess so. I guess some do political humor, some do topical humor, but the ones that I like, the ones that are appealing to me, were guys who were just talking to you about their life.

the best way to remember a beautiful city or a beautiful painting is to eat something while you are looking at it. The flavor really helps the image to penetrate the body. It fixes it as lacquer does a drawing.

The best way to understand a painting is by drawing it.

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.

The comics were not only stories to enjoy for me they were drawings that possessed me.

The construction of the human figure, its tremendous variety of balance, of size, of rhythm, all those things make the human form much more difficult to get right in a drawing than anything else.

The director's job should give you a sense of music without drawing attention to itself.

The difference between what we see and a sheet of white paper with a few thin lines on it is very great. Yet this abstraction is one which we seem to have adopted almost instinctively at an early stage in our development, not only in Neolithic graffiti but in early Egyptian drawings. And in spite of its abstract character, the outline is responsive to the least tremor of sensibility.

The drawings don't start with 'a beautiful mark'. It has to be a mark of something out there in the world. It doesn't have to be an accurate drawing, but it has to stand for an observation, not something that is abstract, like an emotion.

The divisions of Perspective are 3, as used in drawing; of these, the first includes the diminution in size of opaque objects; the second treats of the diminution and loss of outline in such opaque objects; the third, of the diminution and loss of colour at long distances.