Best 1116 quotes in «drawing quotes» category

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

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 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 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 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 never let one day go by without painting, or at least without 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 about two years old when I first started drawing recognizable characters.

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

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

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

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

I was very nervous about doing the Entertainment Weekly cover, because I thought, "Okay, this is the first taste, this is the first visual moment." By then I obviously knew a lot of the more iconic moments in his comic history, but still it's me. It's not a drawing, it's not an artist; it's me and I'm kinda frightened, but it seemed to go down.

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.

I went to the archives to see what Dumbo work there was, not for current film, but just for my love of animation. And I couldn't believe all the artwork the guys had done to find this universal empathy to Dumbo. There was one drawing where they used his ears as a sign: "Eat at Joes!" These guys were continually searching and digging to see what that is.

I will never tire of recommending the custom, practiced by the best architects, of preparing not only drawings and sketches, but also models of wood or any other material. These... enable us to examine... the work as a whole... and, before continuing any further, to estimate the likely trouble and expense.

I worked at Disney many years ago. They just let me sit in a room for a couple of years and draw whatever I wanted to draw, so it's a very personal thing to me. Drawing and everything you do there is something meaningful and personal.

I work on stretched linen canvas, sized so that the surface already has a sense of tension when I begin. It is a very rich and reactive surface. I begin by drawing on the canvas with a kind of loose line, very simply and freely. I paint very thinly, which allows me to change the drawing if I want to.

I work on drawing as a final product.

I would always be painting and drawing. If I was stuck at home, I was in the basement working on a painting.

I would love to collaborate on a graphic novel with an artist - I'm terrible at drawing but I really love that genre.

I would rather teach drawing that my pupils may learn to love nature, than teach the looking at nature that they may learn to draw.

I write separately from the inking up. I'm sure this varies from cartoonist to cartoonist; I find that the writing is the hard part and the drawing is the fun part.

Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.

Just as the unmusical ear is not competent to judge music, so it is likewise with pictures, whether they are paintings, drawings or photos. Only a sensitive and trained eye gives us the right to judge.

Keep a bad drawing until by study you have found out why it is bad.

Knowledge itself is a neutral tool that can be used for good or evil. Wisdom, in contrast, always directs us toward happiness. The task of education must be to stimulate and unleash the wisdom that lies dormant in the lives of all young people. This is not a forced process, like pressing something into a preformed mold, but rather drawing out the potential which exists within.