Best 1116 quotes in «drawing quotes» category

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

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

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

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

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 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 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 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.

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

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

In drawing, nothing is better than the first attempt.

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 felt oppressed because of my gender. When I'm writing a poem or drawing, I'm not a female; I'm an artist.

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 never draw except with brush and paint.

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.

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.

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.

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 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 the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself.

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.

In printmaking, I essentially use the same process as in painting with one important exception ... to try, with sensitivity to the medium to emphasize what printing can do best ... better than say, painting or collaging or watercolour or drawing or whatever ... Otherwise, the artist expresses the same vision in graphics that he does in his other work.

In reality some images or drawings have a greater impact than many buildings that are built.

Intellectually, perspective [drawing] is a breakthrough, because here, for the first time, the physical space we live in is being depicted as ifit were an abstract, mathematical space. A less obvious innovation due to perspective is that here, for the first time, people are actually drawing pictures of infinities.

In the Chauvet Cave, there is a painting of a bison embracing the lower part of a naked female body. Why does Pablo Picasso, who had no knowledge of the Chauvet Cave, use exactly the same motif in his series of drawings of the Minotaur and the woman? Very, very strange.

In the drawing room [of the Queen's palace] hung a Venus and Cupid by Michaelangelo, in which, instead of a bit of drapery, the painter has placed Cupid's foot between Venus's thighs. Queen Caroline asked General Guise, an old connoisseur, if it was not a very fine piece? He replied "Madam, the painter was a fool, for he has placed the foot where the hand should be.