A Quote by Norman McLaren

Animation is not the art of drawings that move but the art of movements that are drawn. — © Norman McLaren
Animation is not the art of drawings that move but the art of movements that are drawn.
I went into Hollywood and met Mike Aarons and went to Grantray-Lawrence Animation to work on the, by today's standards, extremely cheap and crude Marvel superheroes cartoons which basically consisted of taking stacks of the comic book art, taking parts of the art, pasting it down, extending it down into drawings and occasionally a new piece of art to bridge the comic book panels and limited animation and lip movement.
Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.
In every art beginners must start with models of those who have practiced the same art before them. And it is not only a matter of looking at the drawings, paintings, musical compositions, and poems that have been and are being created; it is a matter of being drawn into the individual work of art, of realizing that it has been made by a real human being, and trying to discover the secret of its creation.
Animation is tremendously resilient. Animation will recover, as art always recovers. There's always cycles of good art.
My drawing came out of editorial-style cartoons. Music was one thing and art was another, and there weren't really any standards for my art. My work was just drawings. They weren't done with any aspirations of becoming a part of punk scene. They weren't about punk. They were just collections of drawings, some of which I xeroxed and sold.
It is neither Art for Art, nor Art against Art. I am for Art, but for Art that has nothing to do with Art. Art has everything to do with life, but it has nothing to do with Art.
I used to always make art for girls. That was the thing I did for girls to like me. I did portraits, drawings, letters that formed outlines of significant things in our relationship. Art. I just used art in general. It usually worked.
I love hand-drawn animation, but I have to say I have fallen in love with CG animation. What you can do in terms of visuals is pretty stunning, and I think if I did go back and do a hand-drawn animation, I would want to make sure that, from a stylistic standpoint, it would be as beautiful as 'Hunchback of Notre Dame' at least!
All my work begins with drawings. I don’t labor over my drawings. I want to get freedom in the line. I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.
I'm very drawn to the way in which a life lived can be an art of sorts or a failed art, and a life-lived-told can be art as well.
When you're so drawn to art, to making pictures and looking at art, it's really all you want to think about.
Prehistoric art came to move me much more than Greek art. Greek art has beautiful women and handsome men, but I don't care.
The art of avoiding extremes is an art that is drawn on the canvas of maturity and painted with the abstract strokes of many experiences.
Animation should be an art…what you fellows have done with it, making it into a trade…not an art, but a trade…bad luck.
Realistic, naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art.
Graphic design is a popular art and a practical art, an applied art and an ancient art. Simply put, it is the art of visualizing ideas.
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