Best 1116 quotes in «drawing quotes» category

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 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 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 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 best way to understand a painting is by drawing it.

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

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

The drawings that interest me most are made with closed eyes. With eyes closed, I feel my hand slide down on the paper. I have an image in mind, but the results always surprise me.

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.

The drawing and the crafting of the story are fun, but it's the overall meaning that matters to me. It might escape some people who just want to read a comic, and that's fine. The overall meaning is what matters.

The drawings need to be strong enough to stand alone, and not just work as part of a sequence.

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 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 experienced illustrator subscribes to the principle of the application of the seat of the pants to the seat of the chair. Should inspiration whisk down your chimney, be at your table. The first ten thousand drawings are the hardest. Put another way, you have ten thousand bad drawings within and should expel them as quickly as possible.

The experienced physician, mechanic, or physiologist looking at a wound, an engine, a microscopic preparation, "sees" things the novice does not see. If both, experts and laymen, were asked to make exact copies of what they see, their drawings would be quite different.

The drawings that I show - the drawings that I present to people are finished works in themselves. They're meant to be thought of that way and not necessarily lead to larger pieces or anything like that. And that's the way I work now.

The essence of drawing is the line exploring space.

The fatal hour of this ancient game is approaching. In its modern form this game will soon die a drawing death - the inevitable victory of certainty and mechanization will leave its stamp on the fate of chess.

The first things I remember drawing were battles - big sheets of paper covered in terrible scenes of carnage - though when you looked closely there were little jokes and speech bubbles and odd things going on in the background.

The first ten thousand drawings are the hardest. Put another way, you have ten thousand bad drawings within and should expel them as quickly as possible.

The first degree of proficiency is, in painting, what grammar is in literature, a general preparation for whatever the student may afterward choose for more particular application. The power of drawing, modeling, and using colors, is very properly called the language of the art.

The first things to study are form and values. For me, these are the things that are the basics of what is serious in art.

The great gift of conversation lies less in displaying it ourselves than in drawing it out of others. He who leaves your company pleased with himself and his own cleverness is perfectly well pleased with you.

The goal is glorifying God by drawing circles around the promises, miracles, and dreams He wants for you.

The important thing is to keep on drawing when you start to paint. Never graduate from drawing.

The greatest value of a picture is when it forces us to notice what we never expected to see.

The legislative department is everywhere extending the sphere of its activity and drawing all power into its impetuous vortex.

...their eyes are full of kindness as each feels the full effect of novelty after a short separation. They are drawing a relaxation from each other's presence, a new serenity.

The line must follow some direction of policy, whether rooted in logic or experience. Lines should not be drawn simply for the sake of drawing lines.

The long night of human history is drawing at last to its conclusion.

The "just say no" campaign at this point is a lot like drawing sea-monsters over certain unexplored areas of the map and expecting people to stay away. It may work for some, but explorers live for this kind of thing.

The magic of comics is that there are three people involved in any comic: There is whoever is writing it, and whoever is drawing it, and then there's whoever is reading it, because the really important things in comics are occurring in the panel gutters, they're occurring between panels as the person reading the comics is moving you through, is creating a film in their heads.

The magic of comics is that there are three people involved in any comic. There's whoever's writing it and whoever's drawing it. And then there's whoever's reading it because they are creating the movement. They are creating the illusion of time passing.

The message from all quarters is the same: our undisciplined consumption must end. If we continue to gobble up our resources without any regard to stewardship and to spew out our deadly wastes over land, sea, and air, we may well be drawing down the final curtain upon ourselves.

The method of producing comics in Japan is very hectic, but it's also rewarding because it's possible to do both the story and art all by yourself. In this way, it's possibly to bring out one's individuality. If this idea appeals to you, I call on you to try drawing your own manga.

The living model never answers well the idea or impressions the painter wishes to express; one must, therefore, learn to do without one, and for that, you must acquire facility, furnish one's memory to the point of infinitude, and make numerous drawings after the old masters.

The modes of expression of men of genius differ as much as their souls, and it is impossible to say that in some among them, drawing and color are better or worse than in others.

The mind which is most capable of receiving impressions is very often the least capable of drawing conclusions.

The misery of other people is only an abstraction something that can be sympathized with only by drawing from one's own experiences. But as it stands, true empathy remains impossible. And so long as it is, people will continue to suffer the pressure of their seemingly singular existence.

The most distinguishing element of my novels is that I try as hard as I can - within the context of a popular commercial thriller - to make them feel authentic. Drawing on real locations and real events is part of that authenticity.

The most natural thing for us is drawing. The characters [in Persepolis] are hand drawn. We're not technical people. We don't know how to type.

The neutrality and clarity of an engineering drawing is a better model for teaching about art than all the uncontrollable drivel about the cabbala and metaphysics and the ecstasy of sainthood.