Best 1116 quotes in «drawing quotes» category

It's much more liberating as a artist to feel like you can approach each page and each panel with the way that inspires you the most. I think the thing that bogs down a lot of artists is that you're kind of stuck drawing in a style you've developed.

It's possible to keep drawing this moment out, any moment, hammering it thinner and thinner like beaten gold, like iced chablis, whipping it, whipping it to cheap perfume, each word blown to aneurysm.

It's probably hard for anyone looking at my landscapes today to realize that I was once regarded as a rebel, a dangerous influence; that I've been told I was on the verge of insanity, that my painting was nothing but meaningless daubs. Lawren Harris, the man most responsible for drawing the Group of Seven together, was accused of something perilously close to treason - his paintings, said his severest critics, were discouraging immigration.

It's weird making a drawing of painting. I start to realize that charcoal is this incredibly fragile material. I'm making images of paintings out of dust.

It takes more drawing to tell a story in pantomime.

It takes that je ne sais quoi which we call sophistication for a woman to be magnificent in a drawing-room when her faculties have departed but she herself has not yet gone home.

It was exactly an assembly line. You could look into infinity down these rows of drawing tables.

It was never my goal to capitalize on punk. I could never make it as a commercial artist. I didn't back then and I still don't have the temperament and don't care for drawing or painting or making art for any other purposes other my own.

It was like a miracle, but before our very eyes, and almost in the drawing of a breath, the whole body crumbled into dust and passed from our sight.

It was the building from the drawing in my brain. And if you don’t think that’s a weird sentence, maybe you should reread it.

I use charcoal a lot. Partly because it has such a fantastic range but also because it is very easy to erase. For me, drawing is a lot to do with taking out, with returning to the white of the paper.

I used to find great difficulty in drawing feet.

I used to get people criticizing me for drawing so many women with gorgeous idealized bodies, but I pointed out that I draw a lot of men with muscular bodies, washboard abs, and enormous wangs, and they never got criticized. So those criticisms have stopped.

I use photos a lot for drawing people and personalities, but they're almost never photos that I've taken.

I've always been altering clothing my entire life. But I would have to say my first real amateur endeavor would have to be drawing, designing and then literally cutting and sewing every piece of costume for my first band I formed in Hollywood.

I've always been amazed by Da Vinci, because he worked out science on his own. He would work by drawing things and writing down his ideas. Of course, he designed all sorts of flying machines way before you could actually build something like that.

I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.

I've always believed that you have to have the skills before you destroy the skills. If you want to be crude, be crude, but don't be crude because you don't know how to do it, because you're not perfect at drawing and pattern-cutting.

I've been creating work by silk-screening images of arms and legs and heads and objects on paper - like drawings of vegetables, guns, hats, whatever - and then also printing sheets of patterns, colorful polka dots and line drawing patterns.

I've been drawing authors and politicians for newspapers for many years. I try to read up on the person; in the case of authors, read one of their books. I watch interviews via YouTube and collect pictures via the Internet.

I've been fifty thousand times to the Louvre. I have copied everything in drawing, trying to understand.

I've been drawing all my life, just as a hobby, without really having shows or anything. It's just an agreeable thing to do, and I recommend it to everybody.

I've never let one day go by without painting, or at least without drawing.

I've felt that in the past, where I just felt like I had to keep drawing in the same way to maintain this sameness and rhythm throughout an entire book, and it was not really necessary.

I've had my own personal stalker. I would get nude drawings of my body with a knife and a message saying 'I'm watching you' and 'I'm going to get you.'

I've been very influenced by Inuit art especially some drawings and watercolors I've seen.

I've found from years of trial that the only way I can work is to make sketches in pencil from Nature, purely as reference material for future use in the studio.

I've never felt really creative or intuitive using software. I like paper and pens and paint. I need to angle real lights on my artwork and work with my hands and build props. Computers just take all that fun out of it [animation drawing].

I've noticed a lot of younger artists have less fear of doing different sorts of things, whether it's various types of music, or gallery artists moving between video and sculpture and drawing.

I want to be alone and work until the day my heads hits the drawing table and I'm dead. Kaput. I feel very much like I want to be with my brother and sister again. They're nowhere. I know they're nowhere and they don't exist, but if nowhere means that's where they are, that's where I want to be.

I want to be as though new-born, knowing nothing, absolutely nothing. Then I want to do something modest; to work out by myself a tiny, formal motive, one that my pencil will be able to hold without technique.

I want to do drawings which touch some people... In either figure or landscape I wish to express, not sentimental melancholy, but serious sorrow.

I was 3 years old and Mary Poppins [1964] made an impression on me that was seismic, apparently. I fell into some kind of total creative, imaginative rapture over that movie that propelled this industry of Mary Poppins drawings, plays, performances - just an obsessive, creative reaction to it.

I was about two years old when I first started drawing recognizable characters.

I was a halfway-decent-looking English boy who looked nice in a drawing-room standing by a piano.

I was a fan of Andy's since I was a small kid. I recall seeing an ad of famous people on an airplane together. It was caricature drawing. There was Muhammad Ali, there was Miles Davis, and there was Andy Warhol. I had a fascination with him since I was little.

I was always into noir. When I lived in Vermont I was drawing stuff that looked like an amateur doing 'Sin City'. When I first got to New York I was swiftly informed that they only did guys in tights.

I was asking questions which nobody else had asked before, because nobody else had actually looked at certain structures. Therefore, as I will tell, the advent of the computer, not as a computer but as a drawing machine, was for me a major event in my life. That's why I was motivated to participate in the birth of computer graphics, because for me computer graphics was a way of extending my hand, extending it and being able to draw things which my hand by itself, and the hands of nobody else before, would not have been able to represent.

I was always tinkering around with stuff but nothing serious at the time. I was doing animations and drawing like crazy, but I wasn't imagining that I'd be performing music for people, that's for sure.

Iwas a sculptor.Butthat'sreallydrawinga drawing you fall over in the dark, a three-dimensional drawing.

I was born and raised in Ohio. During my childhood, I spent most of my time drawing and reading fairy tales and myths.

I was aware that my nomination was drawing a lot of attention, particularly in the Latino world, not just in Puerto Rico. It was touching.

I was raised by my grandparents, and they always made sure that I had a pencil and some paper, whether we were in the car or at a restaurant. While they were enjoying a nice meal, I would be sitting there drawing funny pictures of the waitress.

I was drawing professionally by the time I was 12. I used to do very detailed sort of photorealistic pen-and-ink work, and I burned out on it around, like, high school. And cartooning really got me back into drawing.

I was horrified of the dark. I realized that the only way I could get over that fear was by scaring other people, so I became obsessed with ghost stories, drawing monsters, watching monster movies, sneaking into horror movies, and it's just been the love of my life forever.

I was constantly drawing and colouring. I had an immense love for art and anything which involved art fascinated me.

I was three years old when I started drawing. I did it all my life.

I was the kid who was drawing on tables or removing the legs of furniture.

I was the kind of kid who couldn't really stop making up stories during class. I didn't do very well academically because I was always drawing these little doodles in the margins of my notebooks and I wasn't bringing home the best grades.

I was very influenced by comics. The drawing style, definitely, I was interested in. My style of drawing is largely a comic style, but it's also much more obvious than comics.