A Quote by Scott Adams
I burned out my drawing hand by using it too much. The common word for it is writer's cramp. The fancy words for it are focal dystonia. The symptom in my case was a pinky finger that went spastic when I tried to draw.
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I have studiously tried to avoid ever using the word 'madness' to describe my condition. Now and again, the word slips out, but I hate it. 'Madness' is too glamorous a term to convey what happens to most people who are losing their minds. That word is too exciting, too literary, too interesting in its connotations, to convey the boredom, the slowness, the dreariness, the dampness of depression.
I don’t know what boldness came over me, but the resolute heaviness of Dash’s demeanor threatened to crush my soul. My pinky finger crept over and nestled against his, for comfort. Like a magnet, his pinky finger latched onto and intertwined with mine. I like magnets a whole lot.
I've tried wearing more than one ring on one hand and it doesn't look good. It's overkill, I think. So I think a ring on either hand. Nine times out of ten I'll go for pinky rings, but not always.
One of the things when you're drawing a comic book is that you're spending four or five times as long to draw it as the writer takes to write it. In my career I've had to spend a week drawing something that a writer has thrown out in an hour. And there's nothing worse than having to work on something that no previous thought has gone into.
Truth has nothing to do with words. Truth can be likened to the bright moon in the sky. Words, in this case, can be likened to a finger. The finger can point to the moon's location. However, the finger is not the moon. To look at the moon, it is necessary to gaze beyond the finger, right?
I tried to exploit such freedom to create those drawings like if I was a boy. I tried to draw with that freedom and that love that I remember from being a child and spending a day drawing without worrying about whether what I'm drawing is real or strange.
Sometimes I'm drawing onto a computer directly, sometimes I'm drawing on paper , so I can't really talk about drafts. It's just like having soft clay until it hardens. At least as much of the problem has to do with the decisions of what to represent, how to represent that, and how to reduce it down. The words in the balloons aren't particularly poetic necessarily, but it has the same problem as poetry, which is that one has to do great reduction. And if I tried to draw everything, you'd just have a tangled mess of a picture. The stripping down takes much longer than building up.
I tried not to write about the O.J. Simpson case too much because so much has already been said about it, but there are a lot of questions left worth asking. However, the case is very useful to illustrate other points. The case is a common reference point because everybody knows the ins and outs of it, more than any other case in this generation, so it becomes useful to reference other points. In itself, there aren't that many questions about it that remain unanswered.
"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words.
I'm often wary of using the word 'inspiration' to introduce my work -- it sounds too much like a sun shower from the heavens, absorbed by a passive individual enjoying an especially receptive moment. While that may be the case on rare occasions, the reality is usually far more prosaic. Staring at a blank piece of paper, I can't think of anything original. I feel utterly uninspired and unreceptive. It's the familiar malaise of 'artist's block' and in such circumstances there is only one thing to do: just start drawing.
It took two months from the day my fiance proposed to my first Google search for 'wedding planning: how?' Now, let me interrupt myself here and share how much I hate using the word 'fiance.' It's so fancy, and it's hard not to sound like a jerk saying it. Which is why I will be using my own word for fiance: gloob.
Think, for a moment, of the countless happy childhood hours you spent with this amazing device: Drawing perfect horizontals, drawing perfect verticals, drawing really spastic diagonals, trying to scrape away the silver powder from the window so you could look inside.
George Carlin is brilliant with words, and Johnny Winters is very creative. It's taking something common and drawing out the humor, being clever with words.
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.
I believe that writer's block is a symptom. It's not a disease, it's the symptom of a disease. So what I try to do is kind of do it like 'House'; write down the symptom and write down the other symptoms. Try to work backwards to figure out what the problem is.
Using words to talk of words is like using a pencil to draw a picture of itself, on itself. Impossible. Confusing. Frustrating ... but there are other ways to understanding.
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