A Quote by Chris Ware

"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words.
[Donald] Trump has quietly rolled out an immigration plan with specifics and everyone wants specifics. He's got immigration with specifics, a black and Hispanic outreach plan with specifics.
When I draw something, I try to build some kind of history into it. Drawing an object that has a certain amount of wear and tear or rust; or a tree that is damaged. I love trying to render not just the object, but what it has been through.
I work in a dramatic context, meaning we write with a lot of character specifics, a lot of story specifics. There's a lot of architecture in our songs.
I draw because words are too unpredictable. I draw because words are too limited. If you speak and write in English, or Spanish, or Chinese, or any other language, then only a certain percentage of human beings will get your meaning. But when you draw a picture everybody can understand it. If I draw a cartoon of a flower, then every man, woman, and child in the world can look at it and say, "That's a flower.
I grew up with a pencil. A pencil was my computer at the time and so drawing, drawing, drawing and the tools of drawing where the usual ones and eventually then you graduated from the tools when the work increases and you start to draw by freehand as precise as possible and as accurate as possible, and I was pretty good at that.
Draw things that have some meaning to you. An apple, what does it mean? The object drawn doesn't matter so much. It's what you feel about it, what it means to you. A masterpiece could be made of a dish of turnips.
A lot of times, the idea of a comic will be, 'Wouldn't it be cool if you...' But instead of doing it, I'll draw a comic about it.
I draw all the time. Drawing is my backbone. I don't think a painter has to be able to draw, I just think that if you draw, you better draw well.
One of the things you have to be able to do, as a comic strip artist, is to draw things repeatedly from a variety of angles, so you need references, and you find the best picture you can.
Working with the kind of talent that I've gotten to work with, like the cast of Sin City, it makes me think probably more fully dimensionally about what is going on behind their eyes. But I draw the way I draw, and ain't nothing gonna change that. Although, I draw Marv and I think, "Boy, I could throw a little Mickey [Rourke] in there."
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 vividly remember my first 'Superman' comic, which my granddad bought me when I was about 7. From that point on, all I wanted to do is draw comics. And specifically, superhero and science fiction comics. Basically I used to copy comic books, and draw my own comics on scrap paper.
If you're going to draw a comic strip every day, you're going to have to draw on every experience in your life.
I don't draw every day. I tend to draw intensely during certain periods of time. I draw to amuse myself on occasion, when I am bored and drawing is the only fun to be had.
I'm never drawing the object itself; I'm only drawing a depiction of the object - a kind of crystallized symbol of it.
When it comes to improv, Specifics beget specifics.
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