A Quote by Jason Polan
Sometimes I draw with my left hand and I am pretty terrible. The drawings end up just looking like shakier/inconsistent (worse) versions of my right hand drawings. Sometimes I like drawing with my eyes closed.
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I know I draw without taking my pen off the page. I just keep going, and that my drawings I think of them as scribbles. I don't think they mean anything to anybody except to me, and then at the end of the day, the end of the project, they wheel out these little drawings and they're damn close to what the finished building is and it's the drawing.
The drawings that interest me most are made with closed eyes. With eyes closed, I feel my hand slide down on the paper. I have an image in mind, but the results always surprise me.
My recent drawings that personal ones aren't fashion-related. I sometimes sit and draw people on the bus, or some fantasy hybrid animal. You know, wherever the hand will lead.
One of the first drawings I did in Paris - I wasn't thinking of doing drawings, but somehow or other, I kept drawing - I bought a hyacinth flower with a lot of leaves, just to make me feel like spring.
I do a lot of work on computers, but I am so practiced in drawing that I can draw it full size, and you can take the measurements off my drawings. It's like drafting, but it's a work of art - a really beautiful drawing.
The principle factor in my success has been an absolute desire to draw constantly. I never decided to be an artist. Simply, I couldn't stop myself from drawing. I drew for my own pleasure. I never wanted to know whether or not someone liked my drawings. I have never kept one of my drawings. I drew on walls, the school blackboard, odd bits of paper, the walls of barns. Today I'm still as fond of drawings as when I was a kid - and that was a long time ago - but, surprising as it may seem, I never thought about the money I would receive for my drawings. I simply drew them.
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.
I decided to sell my drawings. However, I didn't want people to buy my drawings because the professor of physics isn't supposed to be able to draw - isn't that wonderful - so I made up a false name.
I got myself a really nice nib pen, with like 15 kinds of India Ink, and tons of different nibs; I think I was just procrastinating, like, once I have the right nib, the book is just going to jump right out of my fingertips... but then it just ended up looking like the shitty drawings that I usually do.
Sometimes when I am drawing outside - when it is cold out it gets difficult (my hand gets slower when it is really cold) because I do not like wearing a glove while drawing, because I cannot feel the paper right.
Looking down on it from the helicopter, with a bottle of Jack in my left hand, a bag of pills in my right hand, and a blond head bobbing up and doen in my lap, I felt like the king of the world.
I tried to exploit such freedom to create those drawings like if I was a boy. I tried to draw with that freedom and that love that I remember from being a child and spending a day drawing without worrying about whether what I'm drawing is real or strange.
I don't like computers. I still like to do my drawings by hand.
I made silk screens of my drawings. I could add a drawing that was made with a machine or digitally to a drawing that was made by hand. What I love is that you can't tell how they're made. For some reason, fooling the eye really excites me.
My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone.
I like the drawings. And as a photography fan myself, I would look at Helmut Newton or Irving Penn and like to see the initial notes or drawings, to see where the ideas grew from. Also my sketches are key to my work because I came to realise early on that by doing drawings, I could formulate a plan of what I was thinking of - I could take control and direct the work.
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