A Quote by Bil Keane

I never studied art, but taught myself to draw by imitating the New Yorker cartoonists of that day, instead of doing my homework. — © Bil Keane
I never studied art, but taught myself to draw by imitating the New Yorker cartoonists of that day, instead of doing my homework.
The art editor in charge of the covers at the 'New Yorker' is Francoise Mouly. She's very familiar with the eccentricities and personalities of cartoonists, so working with her is very easy.
Instead of art I have taught philosophy. Though technique for me is a big word, I never have taught how to paint. All my doing was to make people to see.
My mother taught me this trick: if you repeat something over and over again it loses its meaning, for example homework homework homework homework homework homework homework homework homework, see? Nothing. Our existence she said is the same way. You watch the sunset too often it just becomes 6 pm you make the same mistake over and over you stop calling it a mistake. If you just wake up wake up wake up wake up wake up wake up one day you'll forget why.
I never designed before. I wasn't formally trained in design, I went to photography school at the ICP. But over time, I taught myself to draw, and I studied different techniques, various hemlines, and then I would take the ideas to a manufacturer and a patternmaker and have them produced into garments.
I'm constantly saying, 'I read a fascinating article in 'The New Yorker'... ' I say it so often that sometimes I think I have nothing interesting to say myself, I merely regurgitate 'The New Yorker.'
One of the perks of being a New Yorker cartoonist is that you get to hang around with interesting people. My fellow cartoonists are all interesting, and all highly creative.
I get 'The New Yorker,' and I'm usually about three issues behind. But I do catch up. The problem is that it always seems like homework, but then you start reading it and go, 'Why am I not doing this all the time? These are such great stories!' But, yeah, that stack gets so big and dense.
I taught myself how to play the guitar. I never studied music.
Making art, I try to just gently persist, instead of having freak-outs where I'm like, Oh, my god, I'll never draw again. You are going to draw again, so you might as well relax.
I consider myself a 3-D philosopher. I am not a designer at all. I studied aerodynamics, I studied philosophy, I studied sculpture. High technology on one side, and on the other side, art.
I think that anyone who likes writing views 'The New Yorker' as the, you know, pinnacle of the publishing world. If you get 50 words published in 'The New Yorker,' it's more important than 50 articles in other places. So, would I love to one day write for them? I guess. But that's not my sole ambition.
If you find yourself imitating another writer, that doesn't have to be a bad thing, especially if you are a young or a new writer. However, you should be conscious of exactly how you are imitating him - word choice, sentence structure, motifs? - and think about why you're doing it.
My family goes way back in New York. So I am a New Yorker; I feel like a New Yorker. It's in my bones.
My parents always taught me that my day job would never make me rich; it'd be my homework.
My father was a painter and he taught art. He once said to me, 'I never knew an Indian child who could not draw.'
To paraphrase president Kennedy's inaugural, the torch has been passed to a new generation of cartoonists and they are doing really interesting stuff, taking the old cliches and breathing new life into them and inventing new ones. This doesn't mean the previous generation of which I'm a charter member isn't doing good stuff but this new material is invigorating everyone.
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