A Quote by Michael Foreman
For me, travelling and drawing the world, experiencing as much as possible first hand, has been very important. Making notes, drawing and writing on the move, became second nature.
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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
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.
When I draw it feels very natural - intuitive. I don't think about it, I just do it. My visual vocabulary is self-selecting and second nature to me. Writing is harder for me. It's something I struggle with. Drawing always comes first.
Drawing is more fun to me than writing. I think it's interesting to talk to different cartoonists about how those activities work for them. I'm a very writerly cartoonist. I certainly spend more time on the writing than I do on the drawing, even though the drawing, of course, is very time-consuming.
I grew up with a pencil. A pencil was my computer at the time and so drawing, drawing, drawing and the tools of drawing where the usual ones and eventually then you graduated from the tools when the work increases and you start to draw by freehand as precise as possible and as accurate as possible, and I was pretty good at that.
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.
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.
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.
The writing is hard, and the drawing is fun. It's very satisfying to see a drawing start to come together.
I've been painting and drawing and taking pictures as long as I've been writing music - and I've actually been drawing longer than I've been writing music.
For me, the Bild-Dichtung [image-poem] is the ideal form, because the drawing process is constantly being interrupted or contrasted by the writing. And since I always have something to say when I am writing, the effort has a balancing effect. Drawing and writing are wonderful complements.
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.
In 1971, I put together the 'Johnny Face' drawing as a concept, with the words as part of an image in a circle. Combining my abstract drawing with the headline 'Crazy World Ain't It' created an emblem and became a button.
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.
Well, it's always been my nature to take chances My right hand drawing back while my left hand advances
I tend to write first thing, and then do my drawing later. I like to draw at night. But often I go for long stretches without drawing, because I'm trying to figure out what I'm writing.
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