A Quote by Daniel Clowes
I knew how to draw all of the different smokestacks on the old trains and all that stuff, and then I realized that if I can draw trains, which is the thing I was probably the least interested in in the world at the time, I can do anything and find a way into it that will be interesting.
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The slow pace of trains in the U.S. can be maddening, particularly during delays on rail sidings for an hour or more to enable freight trains - which have the right-of-way - to pass.
Art is limitation; the essence of every picture is the frame. If you draw a giraffe, you must draw him with a long neck. If in your bold creative way you hold yourself free to draw a giraffe with a short neck, you will really find that you are not free to draw a giraffe.
I had a very humane, what the great Russian poet Anna Akhmatova would probably have called 'vegetarian,' experience of migration. It involved planes and trains - the actual compartments of passenger trains - and not grueling walking and riding on the roofs of trains.
Is love supposed to last throughout all time, or is it like trains changing at random stops? If I loved her, how could I leave her? If I felt that way then, how come I don't feel anything now?
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.
All my gowns have trains on them. I make a train that goes on forever. I love long trains and then I stand there and twirl around and wrap myself up in it.
If you were to draw Bugs, the easiest way is to learn how to draw a carrot and then hook a rabbit onto it
To write weekly, to write daily, to write shortly, to write for busy people catching trains in the morning or for tired people coming home in the evening, is a heartbreaking task for men who know good writing from bad. They do it, but instinctively draw out of harm's way anything precious that might be damaged by contact with the public, or anything sharp that might irritate its skin.
There's no such thing as an open draw. At least for me - I mean, obviously for Roger Federer, I think every draw feels open for him - but for me there's no such thing as an open draw
When I hosted 'Win, Lose or Draw,' it was always fascinating to me that no one knew where anything was when they had to draw a destination.
Every poet has a certain amount of "stuff." That's what you draw from for imagery. The more stuff you know well, not simply intellectually but sensually, emotionally, intimately, the wider the pool from which you draw.
A genius is the man in whom you are least likely to find the power of attending to anything insipid or distasteful in itself. He breaks his engagements, leaves his letters unanswered, neglects his family duties incorrigibly, because he is powerless to turn his attention down and back from those more interesting trains of imagery with which his genius constantly occupies his mind.
I got to draw shapes. I really like to draw funky, geometric shapes. And I got to use just different fonts and make a joke of how feminine it was, but it didn't even have people in it. To me, it was so exciting and interesting to do that for a while.
You know what I am going to say. I love you. What other men may mean when they use that expression, I cannot tell. What I mean is that I am under the influence of some tremendous attraction which I have resisted in vain, and which overmasters me. You could draw me to fire, you could draw me to water, you could draw me to the gallows, you could draw me to any death, you could draw me to anything I have most avoided, you could draw me to any exposure and disgrace. This and the confusion of my thoughts, so that I am fit for nothing, is what I mean by your being the ruin of me.
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.
Men feel challenged when a woman is in danger, so those types of stories interest women and they interest men on a level that the crimes against men tend to draw a different visceral reaction. Again, not saying it's right, but they tend to draw a different visceral reaction, which is that the man was out in the world doing men stuff and something happened to him.
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