A Quote by Gilbert K. Chesterton
Real development is not leaving things behind, as on a road, but drawing life from them, as from a root.
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To live is to have worries and uncertainties. Keep them inside, and they will destroy you for certain--leaving behind a person so callused that emotion can find no root in his heart.
The fatal metaphor of progress, which means leaving things behind us, has utterly obscured the real idea of growth, which means leaving things inside us.
I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.
From an early age, I had always loved drawing. Laying on the floor, in front of the fire, drawing from my imagination, marching soldiers, dive bombers, spaceships and monsters. Now, suddenly, I was drawing from real life!
I always had a sketchbook with me when I was young. I was hiding behind it, basically, hiding behind drawing because I couldn't cope with people in real life; I was very shy and very nervous around people.
It's one thing to be sitting at a drawing board, alone in your home and coming up with a fantasy character, and drawing her whichever way you feel like drawing, then dealing with a real performer. All of a sudden, things change. It's amazing, in working with actors, how much I learn from them and how many new lines will come to mind because of their personality or their strengths.
I don't like leaving work behind. I hate the idea that something might be happening on the drawing board at home that I am going to miss.
I always urged my contemporaries to look for interest and inspiration to the development and study of drawing, but they would not listen. They thought the road to salvation lay by the way of colour.
That's gotta be one of the principles behind reality. Accepting things that are hard to comprehend, and leaving them that way.
In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting and no figure drawing, still-life drawing, various things, they miss a great deal.
It's hard to find a writer that really understands the intricacies of flirting and the development of love, the development of getting to know someone, the development of chemistry in real life.
I leave, and the leaving is so exhilarating I know I can never go back. But then what? Do I just keep leaving places, and leaving them, and leaving them, tramping a perpetual journey?
Stories set in the Culture in which Things Went Wrong tended to start with humans losing or forgetting or deliberately leaving behind their terminal. It was a conventional opening, the equivalent of straying off the path in the wild woods in one age, or a car breaking down at night on a lonely road in another.
I am trying to represent design through drawing. I have always drawn things to a high degree of detail. That is not an ideological position I hold on drawing but is rather an expression of my desire to design and by extension to build. This has often been mistaken as a fetish I have for drawing: of drawing for drawing’s sake, for the love of drawing. Never. Never. Yes, I love making a beautiful, well-crafted drawing, but I love it only because of the amount of information a precise drawing provides
We seem to know when to 'tap the heart.' Others have hit the intellect. We can hit them in all emotional way. Those who appeal to the intellect only appeal to a very limited group. The real thing behind this is: we are in the motion picture business, only we are drawing them instead of photographing them.
Parks and gardens are the quintessential intimate landscapes. People use them all the time, leaving their energy and memories behind. It's what's left behind that I like to photograph.
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