A Quote by Marc Davis
It wasn't a problem for me drawing humans although I had originally come to the studio with the idea that what I had to offer them was my knowledge in the drawing of animals.
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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.
When I was at Disney and was a character art manager and handing out artwork that had to be inked we had a thing where if there was any lettering on it I'd hear, "I don't letter," and I said, "Look at it. It's drawing. Ink the drawing." I just learned from Mike Aarons how each letter was just part of the drawing.
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 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
The available worlds looked pretty grim. They had little to offer him because he had little to offer them. He had been extremely chastened to realize that although he originally came from a world which had cars and computers and ballet and Armagnac, he didn't, by himself, know how any of it worked. He couldn't do it. Left to his own devices he couldn't build a toaster. He could just about make a sandwich and that was it.
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.
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.
The reason they look the way they do is that the first drawing I did of them was really small so I didn't draw fingers, nose, ears, etc and this drawing had a certain appeal that I really liked.
I got into animals by drawing hair follicles. I liked drawing hair, and from that I got into feathers and fur, then into images of animals. The patterning is the same, but the proportions of the body change from one animal to the next. A lot of it is just geometry and consciousness.
I like drawing. I like to spend the day drawing, the process is important for me. Drawing is a just a pleasure and it's nice to keep it going.
I had no idea about where I was going. I had no sense of art as anything other than a problem to be fixed, you know, an itch to be scratched. I was in that studio trying my best to feel content with myself. I had, like, a stipend. I had a place to sleep. I had a studio to work in. I had nothing else to think about, you know. And that's - that was a huge luxury in New York City.
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.
Humans — who enslave, castrate, experiment on, and fillet other animals — have had an understandable penchant for pretending animals do not feel pain. A sharp distinction between humans and 'animals' is essential if we are to bend them to our will, make them work for us, wear them, eat them — without any disquieting tinges of guilt or regret. It is unseemly of us, who often behave so unfeelingly toward other animals, to contend that only humans can suffer. The behavior of other animals renders such pretensions specious. They are just too much like us.
People were very nice to me. They knew I didn't have the money to do figure-drawing classes, so they let me annex the figure-drawing classes that the animators had.
I seemed to have instinctually a strong idea of how the strip had to be written from the beginning. That changed too, but it was more in the direction of where it was headed. I didn't have a clue as to the drawing style, because the drawing style that I was groomed on from the beginning was newspaper comic strips, which were much more conventional.
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.
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