I just thought it made sense to call a book 'Not Garbage,' even though the majority of it was going to be the scraps from people's studios; like newspaper clippings, weird drawings and stuff they might not necessarily show as artists.
Many are they who have a taste and love for drawing, but no talent; and this will be discernible in boys who are not diligent and never finish their drawings with shading.
I was absolutely lost in love and life when I did my drawings. Time stood still.
As a child, I copied Duerer drawings and Bruegel.
We feel closer to the drawings on the walls of Chauvet than the painting of, say, an Egyptian mural. These artists are not remote ancestors; they are brothers. They saw like us; they drew like us. We wear essentially the same clothes against the cold.
My ideas I can find anywhere. And I draw because I have to note down my ideas or flashes - I call them flashes, because they come to me, like that. Not so much in the plant drawings. I have to see them.
Possibly the strangest book ever made, the 'Codex Seraphinianus' is an encyclopedia of an imaginary world, with illegible calligraphy - it is written in an alphabet no one can understand - and surreal drawings of odd beasts and machines.
I've always been a 'write first' artist: the drawings are always in service of the writing.
I don't look at my films or my old drawings much, so that was an interesting way to kind of reconnect with myself a bit.
My own interest in art was because of my mother. My father didn't like contemporary art, so he didn't give her large sums to spend. So, she began buying prints and drawings. During my school days, I remember sitting in on many of the early meetings.
Stan is a rescue Chihuahua mix. He was the role model for Bob, the dog in 'Ivan.' The drawings in the book look precisely like Stan.
Here I am, a not over-good business man, a second-rate engineer. I can make poor mechanical drawings. I play the piano after a fashion. In fact, I am one of those proverbial Jack-of-all-trades who are usually failures. Why I am not, I can't tell you.
It is difficult to talk about fashion in the abstract, without a human body before my eyes, without drawings, without a choice of fabric - without a practical or visual reality.
I see drawings and pictures in the poorest of huts and the dirtiest of corners.
The comics were not only stories to enjoy; for me they were drawings that possessed me.
I grew up with the idea of the cyborg and the robot, but at the same time I felt this intense disconnection between the things I was engaged with and inspired by in terms of fun and play. It seemed like paintings and drawings were so static.
When I was young, I colored in the line drawings in vintage editions of the Oz books that had been handed down through generations in my family. This was a bad thing to do.
I really wanted to be a cartoonist, and I was in 4th or 5th grade and I would bring my drawings in, and I'd look around, and everyone could draw better than me. Everyone. My drawings were just awful. So that's why I had to write.
Something happened when I was in elementary school. A Disney artist named Bruce McIntyre retired, and he had done drawings for 'Pinocchio' and 'Snow White' that was just classic stuff. He moved to the town I grew up in, Carlsbad, and he became a part-time art teacher at our elementary school.
I sit, I think, I make some drawings. As a designer, you cannot retire totally.
I became a fashion designer by accident. I loved to make portrait drawings when I was a teenager, and from that came the interest in what people were wearing and why they were wearing it.
I do a lot of work that's permanent. The drawings, the sculptures, they're permanent.
'Painting like a child' isn't a negative for me... it's something only great artists can really achieve. The childlike quality of some of Picasso's drawings is precisely what makes them so masterful and extraordinary; the ability to express complete visions, feelings and portraits through a continuous line.
