A Quote by Jimenez Lai
Architectural drawing is a language with conventions where the rules can be deliberately misused; a well-composed architectural drawing can both contain correct and incorrect arrangements of meaningful things.
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To apply poetic license or to apply incorrect arrangements requires the idea or the understanding of correct arrangements - becoming an expert of the conventions of correct arrangements in order to misplace them. In other words, misplacing things with the understanding, or even the mastery, of normalcy is actually quite poetic. These are rule-based operations.
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
It's unfortunate that a certain type of stripped-down classicism became the in-house architectural language for 20th-century fascism. Can an architectural language recover from such an association? Yes, I think it can, because in the end what you're talking about is a column and beam.
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.
The Crystal Cathedral is not an attempt to be an architectural ego-statement. It's probably the ultimate spiritual and psychological statement that could be made in architectural terms.
I think when you look at architectural photography it doesn't help to have piles of old clothes lying on the floor. Architectural photography sets up an artifice.
I'd say that my profession ends where architectural thinking ends - architectural thinking in terms of thinking about programs and organizational structure. These abstractions play a role in many other disciplines, and those disciplines are now defining their 'architectures' as well.
I think that the FIDE leaders have to reconsider the current drawing rules - their advantages aren't very clear, but their shortcomings are obvious. Artificial drawing of the lots is detrimental for everyone.
I have been using the computer as a work aid since the mid-90's. It is extraordinarily well suited to how I think and work and has transformed my practice. Nearly everything I have done in the past 15 years would have been impossible without it. I use the computer for drawing, composing and colour planning everything, from postage stamps to paintings to architectural-scale installations.
As far as CGI and hand-drawn animation, I consider them both nothing more than tools for drawing pictures, the same as crayons or oils. Which is why, to me, the most important thing is what it is you are drawing, and in the themes that I depict, I think hand-drawing is the most effective.
And after drawing comes composition. A well-composed painting is half done
It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.
There is, however, a change going on in the world. There's far more interest in drawing now than there has been in a long, long time. Schools are beginning to teach drawing again in a serious and meaningful way.
I have a personal definition of cartooning, which is, simply, "imaginative drawing." Anything you're drawing that is not in front of you but is a mental construct that you want to express in a drawing is, to me, a cartoon.
I made a drawing for a book I'm working . It's a little drawing of a girl who's ashamed and upset and hides in the corner of the closet. It's the kind of drawing that I feel like I'm really good at.
While he writes, I feel as if he is drawing me; or not drawing me, drawing on me - drawing on my skin - not with the pencil he is using, but with an old-fashioned goose pen, and not with the quill end but with the feather end. As if hundreds of butterflies have settled all over my face, and are softly opening and closing their wings.
