A Quote by Chris Ware
Cartoons are not real drawings, because they are drawings intended to be read.
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All my work begins with drawings. I don’t labor over my drawings. I want to get freedom in the line. I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.
I decided to sell my drawings. However, I didn't want people to buy my drawings because the professor of physics isn't supposed to be able to draw - isn't that wonderful - so I made up a false name.
I like the drawings. And as a photography fan myself, I would look at Helmut Newton or Irving Penn and like to see the initial notes or drawings, to see where the ideas grew from. Also my sketches are key to my work because I came to realise early on that by doing drawings, I could formulate a plan of what I was thinking of - I could take control and direct the work.
The novels have done so well because the drawings are abstract, black-and-white. This adds to the universality of the story. "Persepolis" also has dreamlike moments, and the drawings help maintain cohesion and consistency.
My drawing came out of editorial-style cartoons. Music was one thing and art was another, and there weren't really any standards for my art. My work was just drawings. They weren't done with any aspirations of becoming a part of punk scene. They weren't about punk. They were just collections of drawings, some of which I xeroxed and sold.
I like that cartoons are now not only animated drawings, they are a way of doing something: 'That song sounds very cartoony', or 'He has a cartoon face'. Like the word 'poetic', which usually means something different than a poem. But most of all cartoons are comforting, that's the real reason I need them.
I started my own magazine with drawings, commentary, news, film reviews and drawings.
I love drawings, so I've always enjoyed making drawings that exist on their own.
A critic in my house sees some paintings. Greatly perturbed, he asks for my drawings. My drawings? Never! They are my letters, my secrets.
I got a job as a dishwasher in Oakland, and I would draw all day. It was nice because the lady who ran the boardinghouse where I worked let me live there for nothing if I gave her some drawings every week - mostly park drawings of birds and such.
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.
When I was 10 or 11, I started to sketch, and my drawings happened to be like fashion drawings... I'm lucky to have had this dream to chase since I was very young.
I have made it a rule for a long time, not to part with the copyright of my drawings, for I have been so copied, my drawings reproduced and sold for advertisements and done in ways I hate.
Drawings are only a few lines on paper. Therefore it's easy to carry around in plastic bags. Drawings are cheaper than paintings. They don't pretend they'll last forever.
In the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself.
One of the first drawings I did in Paris - I wasn't thinking of doing drawings, but somehow or other, I kept drawing - I bought a hyacinth flower with a lot of leaves, just to make me feel like spring.
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