Drawing is still basically the same as it has been since prehistoric times. It brings together man and the world. It lives through magic.
The scariest people to turn a movie over to are always the people who are drawing up the poster, because that's the first impression it's going to make. And very often it's portraying a very different film from the one the actors actually did.
When I was younger, I just lived my life on paper. I didn't really live in the real world very much. As a consequence, I couldn't cope with the real world and real people very well. That in itself became life threatening, so I had to stop drawing so much and learn how to cope with people.
I think all children draw, as soon as they figure out the thumb and can grab crayons. The only difference with people like myself is that we never stopped drawing.
I still do a lot of drawing on a daily basis.
Creativity, for a lot of young people, is a coping mechanism. It's the only place they feel comfortable. It's the only time they feel like they're being heard or can make a difference, is if they can go into a room and do a drawing or go to a garage and play a song or retreat to this world.
I have been drawing and creating visual works my entire life, as long as I can remember.
Drawing on real life is what novelists do. It's not the same as reconstructing real life, which is what historians do.
I paint; I draw and paint - I've been doing that since I was in third grade, drawing realistically and then changing to abstract art. That was my first creative thing before guitar or comedy.
For a while, I was drawing on good paper, but now I've gone back to the bad stuff. I put matte medium on it. If you put matte medium on it, it seals up, so it doesn't really matter.
We still insist, by and large, in thinking that we can understand China by simply drawing on Western experience, looking at it through Western eyes, using Western concepts. If you want to know why we unerringly seem to get China wrong... this is the reason.
Not to make him blush, but any story illustrated by Mike Mignola does things that prose alone can't accomplish. The illustrations create mood and atmosphere, drawing the reader more deeply into the story than words could do on their own.
I still have some of my old University essays, and I do still have my drawing book from primary year seven.
I don't really picture anyone when I'm drawing. They just become their own completed person with googly eyes.
Someone asked me if I was afraid to write my memoirs. I told him: 'We have to stop drawing up accounts of fear! We live in a society in which people are allowed to tell their story, and that is what I do.'
The drawing teacher has this problem of communicating how to draw by osmosis and not by instruction, while the physics teacher has the problem of always teaching techniques, rather than the spirit, of how to go about solving physical problems.
I burned out my drawing hand by using it too much. The common word for it is writer's cramp. The fancy words for it are focal dystonia. The symptom in my case was a pinky finger that went spastic when I tried to draw.
At art college, I started to do music and then painting and drawing - and that would have been my ideal life, to be an artist and be paid for it, to be able to create stuff. I realized it was difficult, but I don't know if I had the application for it.
Drawing is rather like playing chess: your mind races ahead of the moves that you eventually make.
I've been trying to pinpoint what keeps drawing me back to the Gulf of Mexico, because I'm Canadian, and I can draw no ancestral ties.
It became clear to me that I had to push it toward a more representational way of drawing.
My wife was the first art collector in the family, and I didn't become interested until around 1973. The first important artwork we bought was a Van Gogh drawing of two peasant houses in Saintes-Maries-de-la-Mer.
Sometimes when I'm watching television and something, an image, will come on that has to do with 9/11 or some of these families telling their stories, or children talking about drawing pictures of airplanes flying into towers, you know, I find myself still choking up.
Hunting, fishing, drawing, and music occupied my every moment. Cares I knew not, and cared naught about them.
I try to think of the social function of fiction as drawing the individual toward larger social and political questions. But I'm also very comfortable in saying that my novel - any novel - doesn't matter as much as larger questions of how we can see justice done.
I look at graphic design as communication, meaning that the work has to have a vibe to connect to the viewer or perceiver. I make a black and white drawing and then add color digitally, bringing in a contemporary pattern to the composition to create a vibrance.
I'm a very compulsive person, so I spend most of my time drawing or writing my diary, patching things up and carving bits of wood - I've carved two of my guitars.
Architecture is my work, and I've spent my whole life at a drawing board, but life is more important than architecture. What matters is to improve human beings.
It is by developing the individual that he is prepared for that wonderful manifestation of the human intelligence, which drawing constitutes. The ability to see reality in form, in color, in proportion, to be master of the movements of one's own hand - that is what is necessary.
I feel that historical novelists owe it to our readers to try to be as historically accurate as we can with the known facts. Obviously, we have to fill in the blanks. And then in the final analysis, we're drawing upon our own imaginations. But I think that readers need to be able to trust an author.
I've been drawing since I was about 3 and I come from a family of artists.
My fifth grade teacher Mr. Straussberger noticed I was having trouble with some of my book reports, but he knew I loved to draw. He gave me extra credit if I did a drawing from the book that I was reading.
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 started drawing when I was about 2, mostly pictures of my mother and my sister. When I got into school, instead of taking the notes that I should have been taking, I was drawing in all of my notebooks. It was an artwork thing for me at first.
Pampering my skin with moisturiser is very important, but so is drawing. I like sport, but I have to be really interested in it.
Why not take a science fiction comic and put the characters in a small town to gain their particular perspective? A lot of that comes from me growing up in a small town on a farm, so that's what I know and what I'm comfortable with. My drawing style is also very sparse and minimalist, so a rural setting complements that.
