A Quote by Catherine Stock

My biggest fear is expending the best and most exciting energy in sketches, no matter how quickly executed. I often need to empty the rubbish bin several times before regaining the fresh quality of the initial exploratory sketches.
I don't use the computer. I do sketches, very quickly, often more than 100 on the same formal research.
I carry a notebook full of sketches of pictures I want to take - they are really scruffy sketches, but at least I am going out there with a clear objective.
When Tim asked me to do Frankenweenie, he had his original sketches from before he did the short, of what Sparky looked like, and he drew Victor and some of the other crucial people. The remarkable thing about working with Tim is that, once he's read a script, he sketches out everybody else.
I think the biggest challenges for franchises are keeping them fresh and exciting, and most times, you need a good bad guy to make that thing continually work, and sometimes they don't.
I have learned patience, for sure. Pre-publication is a long waiting game, especially for authors of picture books. We write the manuscript, sign the contract, and wait. It takes a while for the art director to find an illustrator and then the illustrator works on the sketches, and depending on those first round of sketches, it could be a few more months before you see a final illustration. I was surprised at how long it takes for all the pieces to come together.
I don't work from drawings. I don't make sketches and drawings and color sketches into a final painting.
I am always making sketches of how information should look or mapping out a marketing campaign. When I present my notes, people start responding to them. Desktop publishing makes everything look slick. When you present sketches, it helps start the dialogue and collaboration.
People get this very romantic vision of a fashion designer who in one night makes 25 sketches and in the morning throws them on the table and there are a lot of women in white aprons with the pins on the lapel and they start to grab the sketches and... It's not like that.
In Comme des Garçons, I hardly do any sketches; there's no fittings on bodies, there's no models that come in and say, "Oh, a little bit like this." In the beginning, there isn't even a theme. It's like getting the whole world at your feet - to empty your mind of everything that's ever happened before, to get an empty space.
You can't do sketches enough. Sketch everything and keep your curiosity fresh.
At any comic book convention in America, you'll find aspiring cartoonists with dozens of complex plot ideas and armloads of character sketches. Only a small percentage ever move from those ideas and sketches to a finished book.
I started writing sketches when I was 13. I liked Vic Reeves, Fry and Laurie, and Paul Merton, and I thought you could just send sketches to the BBC, and they'd go, 'Great. We'll put these on telly.' But I gradually realised that you either had to go to university and join a club, or do standup.
I wish I still had all of my old schoolwork. I'd just have all the sketches around the schoolwork, and none of the schoolwork done. Just sketches all around. I was always doodling something.
The kitchen was bright, cheerful yellow, the walls decorated with framed chalk and pencil sketches Simon and Rebecca had done in grade school. Rebecca had some drawing talent, you could tell, but Simon's sketches of people all looked like parking meters with tufts of hair.
I think the future belongs to the comedic polymath. It belongs to the person who can generate the most good material in the biggest variety of ways, whether it's sketches or stand-up or songs or tweets or television or films.
But my motivation was more a matter of wanting to create order - to keep track of things. All those boxes full of photographs and sketches weigh you down, because they have something unfinished, incomplete, about them. So it's better to present the usable material in an orderly fashion and throw the other stuff away. That's how the Atlas came to be, and I exhibited it a few times.
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