I learned my "facts of life" on toilet walls. I'd walk up in school bathrooms and there would be crude drawings and figures engaged in sex. That's how I learned.
If I can avoid doing freelance work, I prefer to. Not just because it takes me away from drawing comics, but also because it's just annoying having to deal with art editors, and having to read people's articles or books or whatever.
Isn't the drawing board the place where all the best work happens? It's not a bad thing to go back there. It's the entire point.
I rarely draw myself, in general, and if I do, I tend to do little cute manga-esque, almost bite-sized drawings of myself.
To make it really clear and simple, let's call this movement across history we see in passages like the ones we just looked at from Exodus and Deuteronomy clicks. What we see is God meeting people at the click they're at, and then drawing them forward.When they're at F, God calls them to G.When we're at L, God calls us to M.And if we're way back there at A, God meets us way back there at A and does what God always does: invites us forward to B.
As an architect it is very important that you distinguish between different realities. There's the reality of the drawing and the reality of the building. So one could say, or at least it is the common belief that architecture has to be built; I always denied that, because ultimately it is based on an idea. I don't ever need a building to verify my idea. Of course, what with a building is more its vanity and actual physical experience. But I anticipate; I wouldn't even build it if I could not anticipate how it would be.
Shape and color are my two strong things. And by doing this, drawing plants has always led me into my paintings and my sculptures.
All my paintings are usually done in drawing form, very small. I make notations in drawings first, and then I make a collage for color. But drawing is always my notation.
All my work begins with drawings. I don’t labor over my drawings. I want to get freedom in the line. I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.
My drawings have to be quick. If they don't happen in 20 minutes or a half hour, then they're no good.
I don't labor over my drawings. I want to get freedom in the line.
Shading is more like copying. And certainly I do copy, but I'm making drawings, and I'm not trying to make them with the shading.
I sit, I think, I make some drawings. As a designer, you cannot retire totally.
The person who screams, or uses the superlative degree, or converses with heat puts whole drawing-rooms to flight. If you wish to be loved, love measure.
By an irony of fate, my first employment was as a draughtsman. I hated drawing; it was for me the very worst of annoyances. Fortunately, it was not long before I secured the position I sought, that of chief electrician to the telephone company.
I recognize that it is through the engagement with my craft - by recognizing an idea and drawing it out, building physical models, collaborating with experts, constructing the sculptures at urban scale, and maintaining them through years of weather and interaction with the public - that a new art for cities has become real.
I liked painting and drawing, and I liked humanities mainly - poetry, literature - this speculative attitude toward life.
I was born and raised in Ohio. During my childhood, I spent most of my time drawing and reading fairy tales and myths.
The problem is, when you're making an animated movie, the studio has an illusion in their minds - and it's really not true - that because it's a drawing, it can be changed at any time.
I have been doodling since childhood. I have a passion for illustrating but cannot paint or colour for that matter. I illustrate what I am trying to communicate through my writing. My images are like drawings in a science text book.
Never, never do I set to work on a canvas in the state it comes in from the shop. I provoke accidents - a form, a splotch of color. Any accident is good enough. I let the matiere decide. Then I prepare a ground by, for example, wiping my brushes on the canvas. Letting fall some drops of turpentine on it would do just as well. If I want to make a drawing I crumple the sheet of paper or I wet it; the flowing water traces a line and this line may suggest what is to come next.
The first things I remember drawing were battles - big sheets of paper covered in terrible scenes of carnage - though when you looked closely there were little jokes and speech bubbles and odd things going on in the background.
Many of us who walk to and fro upon our usual tasks are prisoners drawing mental maps of escape.
The Nuffield report suggests that there is a moral imperative for investment into GM crop research in developing countries. But the moral imperative is in fact the opposite. The policy of drawing of funds away from low-cost sustainable agriculture research, towards hi-tech, exclusive, expensive and unsafe technology is itself ethically questionable. There is a strong moral argument that the funding of GM technology in agriculture is harming the long-term sustainability of agriculture in the developing world.
The planets are never the same twice, they're always different, so they could compare the markings I had drawn with their current photographs and they knew that I was drawing what I was really seeing and it wasn't copied from somewhere.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: