A Quote by Robert Beverly Hale

First we draw what we see; then we draw what we know; finally we see what we know. — © Robert Beverly Hale
First we draw what we see; then we draw what we know; finally we see what we know.
First you draw what you see. Next, you draw what you know, and only then will you know what it is that you see.
The women I draw all have the same sort of personality. I can't draw gentle girls; I only know how to draw ones who are strong-willed.
A draw is the lesser of two evils. A loss or a draw, then obviously we are going to take the draw.
Don't worry about how you 'should' draw it. Just draw it the way you see it.
I read somewhere that Rubens said students should not draw from life, but draw from all the great classic casts. Then you really get the measure of them, you really know what to do. And then, put in your own dimples. Isn't that marvelous!
Most people draw from the mind, not the eye. They draw the idea of a table or a face, not what's in front of them. We don't actually see the line of the jaw as a line and we don't see an eye as a perfectly outlined almond shape.
I rarely draw what I see. I draw what I feel in my body.
You may find somebody refreshing until they drop the N-word on you and then you're no longer feeling refreshed, you're just feeling offended. And where we draw that line as a society is sort of akin to what the Supreme Court said on pornography, you know, you know it when you see it. And it's different for each person.
When we mean to build, We first survey the plot, then draw the model; And when we see the figure of the house, Then must we rate the cost of the erection.
I'm a self trained, autodidactic artist, so all I was ever trying to do was to draw as realistically as possible - but that's what comes out, because I don't really know how to draw! I think when I draw characters, I'm able to reduce them down to little marks that capture the most distinct elements of them.
And you finally get to a consensus, where you get a sense of what really ought to be done, and then they give it to me and then I draw it. I mean draw it in the sense, the philosophical sense.
You know what I am going to say. I love you. What other men may mean when they use that expression, I cannot tell. What I mean is that I am under the influence of some tremendous attraction which I have resisted in vain, and which overmasters me. You could draw me to fire, you could draw me to water, you could draw me to the gallows, you could draw me to any death, you could draw me to anything I have most avoided, you could draw me to any exposure and disgrace. This and the confusion of my thoughts, so that I am fit for nothing, is what I mean by your being the ruin of me.
If you know how to use a pencil to draw, you could draw anything. Now apply that to everything in life.
I draw all the time. Drawing is my backbone. I don't think a painter has to be able to draw, I just think that if you draw, you better draw well.
Draw near to Nature. Then try like some first human being to say what you see and experience and love and lose.
I draw because words are too unpredictable. I draw because words are too limited. If you speak and write in English, or Spanish, or Chinese, or any other language, then only a certain percentage of human beings will get your meaning. But when you draw a picture everybody can understand it. If I draw a cartoon of a flower, then every man, woman, and child in the world can look at it and say, "That's a flower.
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