A Quote by Rudolf Steiner
When children draw or do rudimentary painting, the whole human being develops an interest in what is being done. This is why we should allow writing to develop from drawing.
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In early childhood, children develop a set of symbols that 'stand for' things they see in the world around them... Children are happy with symbolic drawing until about the age of eight or nine... when children develop a passion for realism. Our schools do not provide drawing instruction. Children try on their own to discover the secrets of realistic drawing, but nearly always fail and, sadly, give up on trying.
Drawing is the first language of the human being before writing. It's a transcription of how the human being sees reality, not reality itself.
I spent a lot of time being creative as a child - painting, drawing and writing poetry.
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.
The first writing of the human being was drawing, not writing.
We cannot overlook the importance of wild country as source of inspiration, to which we give expression in writing, in poetry, drawing and painting, in mountaineering, or in just being there.
In my early life, and probably even today, it is not sufficiently understood that a child's education should include at least a rudimentary grasp of religion, sex, and money. Without a basic knowledge of these three primary facts in a normal human being's life --subjects which stir the emotions, create events and opportunities, and if they do not wholly decide must greatly influence an individual's personality --no human being's education can have a safe foundation.
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 go out each morning and draw. I can't really start a painting in the morning until I've done a drawing.
I would like to say to children, 'Don't stop drawing. Don't tell yourself you can't draw.' Everyone can draw. If you make a mark on a page, you can draw.
I enjoy the drawing more than the writing, so I try to think of ideas that will allow me to develop the visual side of the strip as fully as possible.
When I'm drawing, I'm drawing with the light, being completely open and creative. I can't draw in the evening. I need light and I need warmth if it is a summer thing, and I need cold if it is a winter collection. The good thing is that I have houses to go to whenever I'm working. I draw according to the place.
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.
I think that music, being an expression of the human heart, or of the human being itself, does express just what is happening - the whole of human experience at the particular time that it is being expressed.
I believe in recognizing every human being as a human being--neither white, black, brown, or red; and when you are dealing with humanity as a family there's no question of integration or intermarriage. It's just one human being marrying another human being or one human being living around and with another human being.
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.
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