A Quote by John Kricfalusi

Not very many people can draw who are illustrators today. — © John Kricfalusi
Not very many people can draw who are illustrators today.
I love Inuit art, and most anything you would find in a folk art museum, as well as children's art or children's book illustrators or illustrators in general - all the kinds of work that my paintings would draw comparisons to.
Illustrators are word people who happen to draw. We work with one foot in a book, the other stuck in a paint pot. Our shoes are a disgrace.
I have friends and illustrators who can't stand drawing on the Cintiq. [A graphic pad tablet used by digital animators] There's a certain tension and friction when you draw on paper that they miss. The tablet is very slick. It's like drawing on glass. But that didn't bother me at all.
Art is for the elite because it has a very high price-point of entry. And when one is in that social strata, they look down at illustrators because they just draw things directly for a few hundred dollars, and that's seen as being a bit grubby. Galleries allow artists to stay relatively divorced from the financial aspects of their trade.
I used to draw and illustrate, but I don't do that anymore because I just like to write. I like to leave the illustrations to actual professional illustrators.
My contribution to the world is my ability to draw. I will draw as much as I can for as many people as I can for as long as I can.
There are many wells today, but they are dry. There are many hungry souls today that are empty. But let us come to Jesus and take Him at His Word and we will find wells of salvation, and be able to draw waters out of the well of salvation, for Jesus is that well.
Roald Dahl worked with other illustrators, but it was only when he teamed up with Quentin Blake that the chemistry began to fizz. Quentin Blake is Britain's greatest living illustrator and has that special talent all the great illustrators have, of unobtrusive brilliance.
Art is for the elite because it has a very high price-point of entry. And when one is in that social strata, they look down at illustrators because they just draw things directly for a few hundred dollars and that's seen as being a bit grubby. Galleries allow artists to stay relatively divorced from the financial aspects of their trade. I am lucky because I do fine art, and that is half of my living. And then illustration provides the other half.
I get to draw what I like to draw, basically people hangin' around, and write very humanistic kinds of situations and characters. But I do also like to draw adventure stories - more in terms of drawing them than writing them - and letting my imagination go wild.
The corporatization of something as basic and intimate as eating is, for many of us today, a good place to draw the line.
I have a knack - and still do - where I can look at a guy and tell you if he's going to draw you money or not. That's very difficult to do. I haven't met too many people who can do that.
Many people say that I don't know how to draw because I don't draw particular forms. When will they understand that execution, drawing and color (in other words, style) must be in harmony with the poem?
Coming from the world of comics, I was very surprised that writers and illustrators, for the most part, don't talk, and they don't collaborate.
I worked at Disney many years ago. They just let me sit in a room for a couple of years and draw whatever I wanted to draw, so it's a very personal thing to me. Drawing and everything you do there is something meaningful and personal.
Many churches today have special programs for people who are grieving, and these can be very helpful.
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