I got into animals by drawing hair follicles. I liked drawing hair, and from that I got into feathers and fur, then into images of animals. The patterning is the same, but the proportions of the body change from one animal to the next. A lot of it is just geometry and consciousness.
A lot of Irish people perform. They perform in drawing rooms. They sing songs and they play piano.
Why go now? That is the question people asked when I announced I was retiring. A combination of things made me feel it was all drawing to a natural end.
We connect the dots in the drawing with our mind. We give them a meaning, a figurative sense, which is self-reflexive in that it creates us, because we are the experiencer of the moment.
Walk in nature. Take the time to be still. Practicing arts, arranging flowers, doing some drawing, working on a computer, brings a sense of stillness into your life.
You'll notice all around the Hindu temples couples, statues and drawings, in various erotic forms of love-making. This used to give the British a lot of trouble because they were kind of white and uptight. It didn't quite fit. How could a temple of God be covered with pictures of people, in their term, fornicating?
People try to look for deep meanings in my work. I want to say, 'They're just cartoons, folks. You laugh or you don't.' Gee, I sound shallow. But I don't react to current events or other stimuli. I don't read or watch TV to get ideas. My work is basically sitting down at the drawing table and getting silly.
I got into underground comics fairly early on and kind of wandered away from the superhero stuff, but I was an art student and I was drawing a lot as a kid.
You know, it's a hugely difficult thing to take any work of art or drawing and say 'make that real.'
Above and beyond drawing my creations, I try to incorporate some kind of message. I try not to end as merely a question but try to provide a conclusion within the work.
In pre-school, I was drawing dinosaurs - I was huge into dinosaurs. I wanted to be a paleontologist, not a cartoonist or a filmmaker or anything like that - just a paleontologist. So I would draw dinosaurs.
Cartoons are not real drawings, because they are drawings intended to be read.
Drawing on a computer doesn't make any sense to me. It's not intuitive.
It takes more drawing to tell a story in pantomime.
I was always tinkering around with stuff but nothing serious at the time. I was doing animations and drawing like crazy, but I wasn't imagining that I'd be performing music for people, that's for sure.
You should be drawing awareness from a deeper part of your being. Your deeper mind has everything already. It knows everything already. It has all the answers.
When a man's intellect is constantly with God, his desire grows beyond all measure into an intense longing for God and his incensiveness is completely transformed into divine love. For by continual participation in the divine radiance his intellect becomes totally filled with light; and when it has reintegrated its passible aspect, it redirects this aspect towards God, filling it with an incomprehensible and intense longing for Him and with unceasing love, thus drawing it entirely away from worldly things to the divine.
As my early drawings warned me, where humans go, lions and tidal waves follow.
Since I was a child I have always been cutting things out and gluing them together rather than drawing them.
I used to work at NASA in Virginia. It was nothing glamorous; I was just tasked with making code compile for obscure projects, and I wasn't very good at it. Now I spend most of my time drawing pictures and looking at funny things on the Internet, which in retrospect is largely what I did at my old job, too.
I've been drawing since I was about 3 and I come from a family of artists.
Comics are so full of amazing work. And I can’t look at a drawing of a woman without thinking of, for instance, Wallace Wood and his amazing way of capturing beauty.
I think television scripts have become really intriguing and well-done. And writers have stopped drawing any actual line between film and television they used to never cross.
People from the village come up and tease me: 'We hear you've started drawing on your telephone.' And I tell them, 'Well, no, actually, it's just that occasionally I speak on my sketch pad,'
The object of your training in drawing should be to develop to the uttermost the observation of form and all that it signifies, and your powers of accurately portraying this on paper. Let painstaking accuracy be your aim for a long time. When your eye and hand have acquired the power of seeing and expressing on paper with some degree of accuracy what you see, you will find facility and quickness of execution will come of their own accord. Unflinching honesty must be observed in all your studies. It is only then that the ‘you’ in you will eventually find expression in your work.
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