A Quote by Byron Howard
People were very nice to me. They knew I didn't have the money to do figure-drawing classes, so they let me annex the figure-drawing classes that the animators had.
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I've done figure drawing classes or whatever.
I usually use quick sketches that I accumulated from the figure drawing classes I once instructed.
I went to the Chicago Art Institute, which was the best painting school in the area at that time. And I took painting classes - basic elementary painting classes and drawing classes of all sorts.
In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting and no figure drawing, still-life drawing, various things, they miss a great deal.
I have friends and illustrators who can't stand drawing on the Cintiq. [A graphic pad tablet used by digital animators] There's a certain tension and friction when you draw on paper that they miss. The tablet is very slick. It's like drawing on glass. But that didn't bother me at all.
When I took over 'New Mutants,' writing and drawing, and I figure this is a big deal, I'm 23, 22 at that time, and I am nervous because I've had nothing but success. And now they're giving me the entire platform to create. And I figure, if I fall flat on my face here, it's going to hurt. It's going to set me back.
In the middle of my second year at school, in 1943, I got drafted into the army, was gone for three years, and when I came back, I tried to get into the painting classes which I wanted, but because of all the returned GIs [the GI Bill], everyone was in school and the classes were all full. So I looked at the catalogue and found that there was a ceramic class offered and that there was space in that. I registered for a ceramic class and some drawing classes.
I like drawing. I like to spend the day drawing, the process is important for me. Drawing is a just a pleasure and it's nice to keep it going.
I'd done a drawing of the model using only peripheral vision, looking at a spot on the wall to the right of where she sat. It wasn't really a drawing of her I produced; it was a drawing of the cloud of lights and darks she dissolved into when I focused on the spot. You could look at my drawing of this cloud and read it as a nude female figure, though a little translation was required.
I was really grateful for the photography classes, the art classes, and the video classes. They would let me skip all my other classes and stay and work on my projects.
I was in acting classes from the age of 9, dance classes, music classes - my mom put a lot of energy and attention into me, so no matter what happened in my life, I always had this basis of discipline. So I really worked hard for everything I had from a very early age.
While he writes, I feel as if he is drawing me; or not drawing me, drawing on me - drawing on my skin - not with the pencil he is using, but with an old-fashioned goose pen, and not with the quill end but with the feather end. As if hundreds of butterflies have settled all over my face, and are softly opening and closing their wings.
I've been drawing as long as I can remember. I think all children draw as soon as they figure out the thumb and can grab crayons. The only difference with people like myself is that we never stopped drawing.
I thought I would draw or paint or be an architect. I was always drawing portraits. My mom put me in art classes in the summer.
I tend to write first thing, and then do my drawing later. I like to draw at night. But often I go for long stretches without drawing, because I'm trying to figure out what I'm writing.
I have a personal definition of cartooning, which is, simply, "imaginative drawing." Anything you're drawing that is not in front of you but is a mental construct that you want to express in a drawing is, to me, a cartoon.
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