I felt the need to get back to painting and I thought the best way was to start drawing, so I enrolled in a life drawing class. I soon discovered that people made very interesting subjects and I am still surprised that I had never discovered it before.
Even as a kid in drawing class, I had real ambition. I wanted to be the best in the class, but there was always some other feller who was better; so I thought, 'It can't be about being the best, it has to be about the drawing itself, what you do with it.' That's kind of stuck with me.
Even as a kid in drawing class, I had real ambition. I wanted to be the best in the class, but there was always some other feller who was better; so I thought, It cant be about being the best, it has to be about the drawing itself, what you do with it. Thats kind of stuck with me.
In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting and no figure drawing, still-life drawing, various things, they miss a great deal.
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
I was always interested in drawing and painting. I enrolled in college to study painting. But I didn't have any livelihood when I graduated. My mother died very young, and I didn't have any home, so I had to find a way to earn a living. It seemed to me that photography - to the great disappointment, I have to say, of my painting teacher - could offer that. So I went and did a degree in photography, and then after that I could go out and get paid for work. For portraits, things like that.
I'm not going back to acting class, although I've thought of it. The classic training that people get usually when they start out, I never had, and I always felt and still feel the lack of it, so there's a lot of basic stuff that I just don't have a clue about.
Usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes. I kind of do the drawing with the painting in mind, but it's very hard to guess at a size or a color and the colors around it and what it will really look like. It's only a guess at the beginning, and then I try to refine it.
One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.
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.
It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one.
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.
I've been drawing as long as I can remember. I think all children draw as soon as they figure out the thumb and can grab crayons. The only difference with people like myself is that we never stopped drawing.
Lying in the bed that had once held two, Lisey thought alone never felt more lonely than when you woke up and discovered you still had the house to yourself. That you and the mice in the walls were the only ones still breathing.
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!
It wasn't that I wanted to be an artist. But when I took my first drawing class with the painter Doug Ohlson, I could never finish a drawing.
The important thing is to keep on drawing when you start to paint. Never graduate from drawing.