A Quote by Giacomo Casanova
I saw that everything famous and beautiful in the world, if we judge by the descriptions and drawings of writers and artists, always loses when we go to see it and examine it closely.
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When writing loses touch with the beautiful surface of the world, it loses its way. You always want to be in touch with how things look and what people say and what they call their dogs.
An artists job is to see. And to go out in the world and see it firsthand, just as it is; to report with line and words what is seen. To be in the world, not just study about the world, that is the artists task
Have the daring to stop doing the things you really don't want to do. Can you see them? Look closely. Can you observe the many things you do because you reluctantly feel you should or must? Watch closely. Examine every action and reaction. Do you act naturally or do you act because you feel compelled? If you feel compelled, stop. Compulsion is slavery. Example: Refuse to go along with the crowd.
We get better product when the focus is on the fans and the artists - all artists; musical artists; singers, the graphic designers, the painters, the DJs, I mean everybody, the writers. We can't allow ourselves to feel as if we're not important in the equation when we are everything!
Most architects think in drawings, or did think in drawings; today, they think on the computer monitor. I always tried to think three dimensionally. The interior eye of the brain should be not flat but three dimensional so that everything is an object in space. We are not living in a two-dimensional world.
It is good that the window should be transparent, because the street or garden beyond it is opaque. How if you saw through the garden too? It is no use trying to 'see through' [everything]. If you see through everything, then everything is transparent. But a wholly transparent world is an invisible world. To 'see through' all things is the same as not to see.
You see so many beautiful things happening in this world, and you see so many things that make you want to cry and crawl under a rock. But there's an underlying feeling of magic and mystery in everything that I live for. I feel like all of my art is trying to get people to see that underlying, subtle energy that lives within everything that we see and what we don't see in this world.
I feel as though I am trying to describe a three-dimensional experience while living in a two-dimension world. The appropriate words, descriptions, and concepts don't even exist in our current language. I have subsequently read the accounts of other people's near-death experiences and their portrayals of heaven and I am able to see the same limitations in their descriptions and vocabulary that I see in my own.
I had this desire to see the world. I couldn't see any of it, but I saw it in my imagination, and that's why I always read books, and I could go to Mars or Middle Earth or the Hyborian age.
When a man makes up his mind to become a rascal, he should examine himself closely and see if he isn't better constructed for a fool.
That's really the essence of what any fiction writer does. Some of it is research-based, but most of it is a really long-term, imaginative, empathetic effort to see the world the way someone whose experiences remote from yours might see it. Not every writer works that way; some writers make a wonderful career out of writing books that adhere very closely to how they view the world. The further I go with this, the more interested I get in trying to imagine my way into other perspectives that at first seem foreign to me.
Unfortunately, I haven't thought sufficiently about art. What I never realized - and it's really stupid - is the art world is the art world because all these thousands of famous and not-famous artists do things, over centuries. This hadn't occurred to me.
He who loses wealth loses much; he who loses a friend loses more; but he that loses his courage loses all.
A tree you pass by every day is just a tree. If you are to closely examine what a tree has and the life a tree has, even the smallest thing can withstand a curiosity, and you can examine whole worlds.
You've got to give kids really beautiful children's books in order to turn them into revolutionaries. Because if they see these beautiful things when they're young, when they grow up they'll see the real world and say, 'Why is the world so ugly?! I remember when the world was beautiful.' And then they'll fight, and they'll have a revolution. They'll fight against all of our corruption in the world, they'll fight to try to make the world more beautiful. That's the job of a good children's book illustrator.
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.
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