Best 1116 quotes in «drawing quotes» category

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 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 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 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 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 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 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 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.

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 love painting still lifes because there's a feeling of musical, flowing experience. The drawing doesn't matter as much - what you're really after is a feeling of clarity and beauty.

I love tattooed women, maybe because they are uncontrollable, they are themselves to the point of drawing symbols of their power on their skin. Talk about owning your own body, being in your body, claiming yourself. I love it. When the world is in an uproar over whether women should have a choice or not when it comes to their own bodies, being tattooed is one of the most visible choices of all.

I love telling stories. And even in single images, I tend to have stories inside them. I've always loved film, but I was making drawings and paintings and photographs. And you put art and narrative together, and that really is comics.

I made a drawing for a book I'm working . It's a little drawing of a girl who's ashamed and upset and hides in the corner of the closet. It's the kind of drawing that I feel like I'm really good at.

I love when I'm trying to do something I don't know how to do, and it kind of figures itself out along the way. And that means messing up a lot. That means throwing away a lot of drawings.

I made a life-size drawing of King Kong's head which was about eight feet-by- six feet. I tried to measure the head (scaled to other things in the movie I could estimate the size of) that was in the movie in the early '30s, and I liked that I was making something "life-size" that was kind of a fictional thing.

Imagine my surprise when, after a lifetime of teaching me to keep personal things to myself, Mom insisted my drawings were the start of a comic strip for millions of people to enjoy.

I’m amorous but out of reach / A still life drawing of a peach.

I make very involved drawings, even little structures, and try using design to figure out the rhythm of a plot. If there are several narrators then a clue has to pop up in the first line. There have to be certain grammatical clues, or distinctive names.

I'm just interested in meditating on certain ideas, and I like to draw: that's my way of thinking.

I'm drawing the gossip surrounding the celebrity, or the image the celebrity tries to push on us.

I'm good at line-drawing, and some of my color stuff is okay. So I just do it for record covers.

I met Picasso when I was a kid. I turned one of his drawings down which would be worth £37 million now. My dad wouldn't talk to me for a fortnight.

I'm just finding that when I'm sitting down and drawing the pages, it always takes me in a different direction than what I had in mind in my head.

In drawing an inference or conclusion from facts proved, regard must always be had to the nature of the particular case, and the facility that appears to be afforded, either of explanation or contradiction. No person is to be required to explain or contradict, until enough has been proved to warrant a reasonable and just conclusion against him, in the absence of explanation or contradiction.

I moved to New York and was told, "Go back home. We don't need you. Go pump gas. You're from Vermont. We've got no use for you. You're not drawing guys in tights." So, I learned how to draw guys in tights, and I put them in as many crime situations as I could.

In bad weather, I spent hours drawing action figures on paper, coloring them, backing them on cardboard, then cutting them out and creating whole stories around their lives.

In drawing, I don't erase. I believe the original gesture has to be the best.

In drawing, nothing is better than the first attempt.

I never felt oppressed because of my gender. When I'm writing a poem or drawing, I'm not a female; I'm an artist.

I'm never drawing the object itself; I'm only drawing a depiction of the object - a kind of crystallized symbol of it.

In 1951 I took my first art course. And one day I looked over my shoulder and there was this tall gentleman standing, very well-dressed and groomed, and he asked, "What is your name? I don't know you. What is your major?" I said history. And he looked at my drawing and looked at me and said, "You don't belong over there; you belong here." He was James A. Porter.

In a way, the political cartoon drawings are things that are small and have humor and a childhood aesthetic and are often stronger to spread an opinion.

In comparing these two writers, he [Samuel Johnson] used this expression: "that there was as great a difference between them as between a man who knew how a watch was made, and a man who could tell the hour by looking on the dial-plate." This was a short and a figurative statement of his distinction between drawing characters of nature and characters only of manners, but I cannot help being of opinion, that the neat watches of Fielding are as well constructed as the large clocks of Richardson, and that his dial plates are brighter.

In drawing attention to the physical characteristics of women leaders, they can be dismissed as either too pretty or too ugly. The net effect is to prevent women's identification with the issues. If the public women is stigmatized as too 'pretty,' she's a threat, a rival--or simply not serious; if derided as too 'ugly,' one risks tarring oneself with the same brush by identifying oneself with her agenda.

I never draw except with brush and paint.

I Never Liked You. I think that's my best book. I think it works the best as a story, and I like the drawing. It works on both levels, for me at least.

I never talk when I'm drawing a person, especially if I'm making line drawings. I prefer there to be no noise at all so I can concentrate more.

In every art beginners must start with models of those who have practiced the same art before them. And it is not only a matter of looking at the drawings, paintings, musical compositions, and poems that have been and are being created; it is a matter of being drawn into the individual work of art, of realizing that it has been made by a real human being, and trying to discover the secret of its creation.

In fact, Western culture has spent decades drawing lines and boxes around interconnected phenomena. We've chunked the world into pieces rather than explored its webby nature.

In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting and no figure drawing, still-life drawing, various things, they miss a great deal.

In history, a great volume is unrolled for our instruction, drawing the materials of future wisdom from the past errors and infirmities of mankind.

In my mind, the men and women of NASA are history's modern pioneers. They attempt the impossible, accept failure, and then back to the drawing board while the rest of us stand back and criticize.