Stop the bullsh*t. Stop drawing lines in the sand like previous generations [have done].
I've been through a lot of ups and downs. I've been on both sides of it all, I guess. So there's not one specific event or thought that I'm dealing with or drawing from necessarily.
I love to draw. I spend hours every day drawing.
Everyone [of my kids] can ride a bike now, so the park has had a big resurgence in our life. We also play a lot of dumb drawing games.
[Drawing] and making things was all we ever did. My brother and I built the entire New York World's Fair of 1939 in miniature out of wax. The floor of our room was covered with little waxen buildings. Nobody else could come in.
You know, most of my career I wrote about moments in time. All of us have felt one thing or another and it didn't last very long. Now I'm drawing from real experience. It's a huge difference.
The more attention we can devote to helping developing leaders tune in to their core values - drawing on their real experience and their true aspirations in life - the more likely it is they'll make smart choices about how and where to invest their talents.
It was by coincidence that I ended up opening my first shop in 1968, and I haven't stopped since. I now find myself trying to do everything. I couldn't live without creating my collections, without writing, drawing and reading. But I couldn't either live without being close to my children on a daily basis and also to my grandchildren, and to all the people I love. I guess I am like every woman today, one who juggles her work and family life.
In the same way, I can wake up with a very positive idea of what I want to do for my collection, and be completely desperate at night regarding the same thing. And I do a lot of other things too: Writing for me is almost as important as drawing my collection.
I can be happy with something I did, like a drawing or a dress I designed, and yet be very disappointed with the same drawing, or the same dress the day after.
I think it's important to understand that a cartoonist is not drawing for favourable reviews from politicians. What we're trying to do is capture the popular feeling of the time about a politician or a particular political issue. For that reason I think it sums up public attitudes that is very helpful to historians down the road.
That's the type of thing you need to keep in mind when drawing comics. The storytelling. Consider the action and the space available to you, that's what will make it a great comics page. Once you've figured that out, you can always find/make the reference to support your storytelling decisions. So by all means, study film, but as with any reference, the results are better when they inform the craft and not dictate it.
The Secret of Drawing consists of just two things: 1) Making lines on paper; and 2) Choosing where they go.
I never thought Greek philosophy could make a damn bit of sense to me. And most of it didn't, but those words just seemed right. 'Love is composed of a single soul, inhabiting two bodies.'" He took her by the shoulders drawing her close. "It rang true for me, in a way nothing else did. Whatever soul I had, Katie, I think I placed it in your keeping twenty years ago. And now, it's as if...every time we kiss, you give a little piece of it back.
True compassion comes from free will by drawing empathy from within.
Erich Mendelsohn's drawings are expressive and beautiful. If he'd had the computers we have now, everything I've done he would have done before me. I would have had to figure out something else.
You've seen the first issue and what happened in the last page. Some pretty awful stuff. I don't know why I seem to be very good at drawing it!
I love drawing what the character is feeling, in my comics, with no dialogue.
You work for so long on a graphic novel that it's easy to question your ideas or to burn out on drawing. But you plug away at it and trust in the story you want to tell. It's a marathon, but the finished product is really satisfying.
In animation and comics, the viewer breezes past the drawings. But with picture books, each page is going to be stared at and touched and read over and over. Maybe even chewed on a little. Everything needs to be thoughtful and economical, thirty-two little masterpieces.
I think people are quite surprised that the handwriting I use in my drawings and paintings is my own handwriting. They're slightly shocked when I write them a letter.
Making drawings with text in the first place, it really was born of a desire to be economic, and to do things as simply as possible, and to do as much as I could by the most economic means.
I had been doing wall drawings, but they were always black and white. Then in 1993 I painted all the walls of a room to make an installation and as soon as I saw the colour on the walls, it changed my whole life.
I was 11 when I was first introduced to live drawing classes and going to art school.
I was very nervous about doing the Entertainment Weekly cover, because I thought, "Okay, this is the first taste, this is the first visual moment." By then I obviously knew a lot of the more iconic moments in his comic history, but still it's me. It's not a drawing, it's not an artist; it's me and I'm kinda frightened, but it seemed to go down.
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