A Quote by Chris Riddell
My sketchbook is not sacrosanct, and my children would draw on one page while I drew on the other. It was something we shared.
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I would like to say to children, 'Don't stop drawing. Don't tell yourself you can't draw.' Everyone can draw. If you make a mark on a page, you can draw.
I would often draw in my sleep. That alone made for twice the work... I couldn't use the weird stuff I drew while dozing off, so I'd end up having to draw it all over again.
When you're looking for a sketchbook, you've got to find the right paper for the pens you like to use. I like to draw on both sides of the page.
Sisters, while they are growing up, tend to be very rivalrous and as young mothers they are given to continual rivalrous comparisons of their several children. But once the children grow older, sisters draw closer together and often, in old age, they become each other's chosen and most happy companions. In addition to their shared memories of childhood and of their relationship to each other's children, they share memories of the same home, the same homemaking style, and the same small prejudices about housekeeping that carry the echoes of their mother's voice.
For me, I still have feelings for all of my ex-girlfriends. In different parts of my life, I would miss that person. There's something that drew me to that person, and I shared something with them.
A few years ago, kids from poor areas in France were asked to draw items of food. For a chicken, they drew a drumstick. For a fish, they drew a fish stick. Those are extremes, but there is a lot that needs to be done to help children discover good food.
I always drew. I don't remember a time when I didn't draw. And I actually drew comics from the age of maybe ten through twelve.
A psychiatrist once asked me to draw a picture of my family. This is when I was a member of a family of four. I drew the three other people in the family first, bodies and heads. And then, last, I began to draw myself - but gave up.
Free software is part of a broader phenomenon, which is a shift toward recognizing the value of shared work. Historically, shared stuff had a very bad name. The reputation was that people always abused shared things, and in the physical world, something that is shared and abused becomes worthless. In the digital world, I think we have the inverse effect, where something that is shared can become more valuable than something that is closely held, as long as it is both shared and contributed to by everybody who is sharing in it.
The problem with fame is you no longer belong to you. You lose your persona and become the object of other people's obsession. I feel watched 90% of the time, but that is something I drew with the cards that I drew.
Poetry is any page from a sketchbook of outlines of a doorknob with thumb-prints of dust, blood, dreams.
Through a shared aim, shared needs, shared love of a shared result in theatre, from the creation of space... the coming-together of an endlessly repeated climax of shared performance, again and again, something special can appear.
I want to show how much fun you can have drawing... parents and children can draw together as a wonderful shared activity.
My technique of working is I go around with my iPhone and with my sketchbook. I take thousands and thousands and thousands of iPhone photos. I also draw from life. I can draw really, really, really fast. It's a way that I build a rapport with people.
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.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
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