You can make a sordid thing sound like a brilliant drawing-room comedy. Probably a fear we have of facing up to the real issues. Could you say we were guilty of Noel Cowardice?
When great causes are on the move in the world, stirring all men's souls, drawing them from their firesides, casting aside comfort, wealth and the pursuit of happiness in response to impulses at once awe-striking and irresistible, we learn that we are spirits, not animals.
I generalized rashly: That is what kills political writing, this absurd pretence that you are delivering a great utterance. You never do. You are just a puzzled man making notes about what you think. You are not building the Pantheon, then why act like a graven image? You are drawing sketches in the sand which the sea will wash away.
Some sculptors make drawings, I make heads.
Even the bold will fly when they see Death drawing in close enough to end their life.
It looks to me to be narrow and pedantic to apply the ordinary ideas of criminal justice to this great public contest. I do not know the method of drawing up an indictment against a whole people.
Averageness is a quality we must put up with. Men march toward civilization in column formation, and by the time the van has learned to admire the masters the rear is drawing reluctantly away from the totem pole.
I started to get bored with that stuff about only drawing men and I've taken it out of the slideshow.
Sometimes I wish the writing and drawing were more integrated.
I started my own magazine with drawings, commentary, news, film reviews and drawings.
A few more days, and this essay will follow the Defensio Populi to the dust and silence of the upper shelf... For a month or two it will occupy a few minutes of chat in every drawing-room, and a few columns in every magazine; and it will then be withdrawn, to make room for the forthcoming novelties.
But usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes.
But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
Unlike the photography and prints, I never catalogued, kept track of or exhibited the sketches. I sold some occasionally, but never saw myself as a graphic artist. They became more important to me thanks to the exhibition, however, and I realized that these drawings were quite interesting after all.
I believe in God as I believe in my friends, because I feel the breath of His affection, feel His invisible and intangible hand, drawing me, leading me, grasping me; because I possess an inner consciousness of a particular providence and of a universal mind that marks out for me the course of my own destiny.
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 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.
It's as if I were collaborating with myself, revealing my relationship to the material. My hand would make the drawing. Then my mouth would transmit it.
When I was a barber, me being extreme was how I got popular: you name it, I was drawing it on someone's head.
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.
Then one day I thought it would be wonderful to make a whole book, to make my text and my drawings together, and that's how I started doing children's books.
If the machines can take the drudgery out of it and just leave us with the joy of drawing, then that's the best of both worlds - and I'll use those computers!
I always think I know the way a novel will go. I write maps on oversized art pads like the kind I carried around in college when I was earnest about drawing. I need to have some idea of the shape of the novel, where its headed, so that I can proceed with confidence. But the truth is my characters start doing and saying things I don't expect.
Even the National Bank of Romania doesn't have the huge resources needed to intervene in the market and keep the leu at an acceptable level, because they're drawing close to a floor below which the bank's reserves can't drop. The central bank has to wait for a moment of calm to efficiently conduct its interventions.
Maybe I could have been good as a drawer if I had done it as much as I did writing, but it's more scary to draw. It's more revealing. You can't disguise yourself in drawing.
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