A Quote by Jorma Kaukonen
We do a wealth of stuff (live), drawing from over the years.
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I do a lot of voice over for Japanese anime titles as well as live-action stuff and original stuff from the States. 'Legion of Super Heroes,' 'New Wolverine: The X - Men' animated series, 'Afro Samurai' and some live-action stuff, TV shows here and there - I like to mix it up.
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.
Alfred Hitchcock talked about planning out his movies so meticulously that when he was actually shooting and editing, it was the most boring thing in the world. But drawing comics isn't like shooting a movie. You can shoot a movie in a few days and be done with it, but drawing a comic takes years and years... That's the biggest part of doing comics: You have to create stuff that makes you want to get out of bed every morning and get to work.
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
To draw does not simply mean to reproduce contours; the drawing does not simply consist in the idea: the drawing is even the expression, the interior form, the plan, the model. Look what remains after that! The drawing is three fourths and a half of what constitutes painting. If I had to put a sign over my door to the atelier, I would write: School of drawing, and I'm certain that I would create painters.
The Reagan-Bush years have exalted private gain over public obligation, special interests over the common good, wealth and fame over work and family. The 1980s ushered in a Gilded Age of greed and selfishness, of irresponsibility and excess, and of neglect.
Iwas a sculptor.Butthat'sreallydrawinga drawing you fall over in the dark, a three-dimensional drawing.
I have concluded that most PhD economists under appraise the power of the common-stock-based "wealth effect," under current extreme conditions... "Wealth effects" involve mathematical puzzles that are not nearly so well worked out as physics theories and never can be... What has happened in Japan over roughly the last ten years has shaken up academic economics, as it obviously should, creating strong worries about recession from "wealth effects" in reverse.
People go back to the stuff that doesn't cost a lot of money and the stuff that you don't have to hand money to over and over again. Stuff that you get for free, stuff that your older brother gives you, stuff that you can get out of the local library.
There was about six months when I was absorbing other stuff and not drawing very much. After a long period of not drawing, you have to, like, relearn how to draw. It's not very fun.
I try to be nice, I try to respect other people, but over the years I've learned that all this stuff we do is a bunch of crap. That doesn't mean it doesn't have its place. We are living in a material world, so why not live with something beautiful?
Dealing with effects, as a job it's great, but with Mythbusters, the stuff we've seen, the stuff we've absorbed over the years, has just been fantastic, and I wouldn't change it for the world.
All comic books take place in built environments, and I was very good at drawing people and animals, and stuff like that, but I hadn't spent much energy drawing buildings. So I thought, maybe I could, and then I became an architect.
If our economic system is to survive, there has to be a better distribution of wealth ... we can't have a system where some people live in superfluous, inordinate wealth, while others live in abject deadening poverty.
You know, dealing with effects, as a job it's great, but with 'Mythbusters,' the stuff we've seen, the stuff we've absorbed over the years, has just been fantastic, and I wouldn't change it for the world.
The only band I was really over-into was Cream. And the only thing I really liked about them was their live stuff 'cause they played two verses, then go off and jam for 20 minutes, come back and do a chorus and end. And I love the live jam stuff, the improvisation.
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