A Quote by Alberto Giacometti
When I make my drawings... the path traced by my pencil on the sheet of paper is, to some extent, analogous to the gesture of a man groping his way in the darkness.
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[Bernard Leach] was an incredible draftsman, and at the end of breakfast time, for instance, he would push his plate back, and he'd pull an old scrap of paper out of his pocket and a little stub of a pencil, and he'd begin to make small drawings, about an inch and a half, two inches tall, of pots that he wanted to make. And they were beautiful drawings. I really wish I'd stolen some of those scraps of paper, because those drawings were exquisite explorations of his ideas of form and volume in a ceramic piece.
There's an easy method for finding someone when you hear them scream. First get a clean sheet of paper and a sharp pencil. Then sketch out nine rows of fourteen squares each. Then throw the piece of paper away and find whoever is screaming so you can help them. It is no time to fiddle with paper.
I don't understand the feeling of, the way people speak of writing as though it were, like, some kind of djinn to be summoned or like it's the Loch Ness monster or seeing a shooting star. It's a physical act. It is a thing you do with your muscles and your body and your willpower. Watch, I'll show you: get a piece of paper. Get a pencil. Put the pencil on the paper and write the word 'something.'
I was given some designer colors for ink pens a long time ago and I haven't used them, and I have some handmade paper, and I just have the desire to drip on wet paper. It reminds me of when I was seven years old and had my tonsils out, and one of the first artworks I made was on toilet paper with a colored pencil; it was sort of half paint and half colored pencil. But I got very involved with color and absorption and I think, you know, 78 is a good time to go back to the beginning.
I was really relieved not to have to drag something in front of the camera; I could use a pencil and paper. A regular pencil and typing paper. That appealed to me.
If you are a poet, you will see clearly that there is a cloud floating in this sheet of paper. Without a cloud, there will be no rain; without rain, the trees cannot grow; and without trees, we cannot make paper. The cloud is essential for the paper to exist. If the cloud is not here, the sheet of paper cannot be here either. So we can say that the cloud and the paper inter-are.
I think talent decides everything. More than the method, what's important is the talent using it. There's nothing inherently wrong or right about a method, whether it be pencil drawings or 3-D CG. Pencil drawings don't have to go away, but those who continue to use the medium lack talent. So sadly, it will fade away.
The one thing a writer has to have is a pencil and some paper. That's enough, so long as she knows that she and she alone is in charge of that pencil, and responsible, she and she alone, for what it writes on that paper.
Some ministers preach from notes and some don't. They have argued about it for centuries. Let every man be fully persuaded in his own mind. Two Welsh preachers were on their way to a meeting. One noticed that the other carried written outlines. 'Ah,' he remonstrated, 'you cannot carry fire on paper.' 'True,' replied his companion, 'but you can use paper to start a fire!'
If you are a poet, you will see clearly that there is a cloud floating in this sheet of paper? ?To be? is to inter-be. We cannot just be by ourselves alone. We have to inter-be with every other thing. This sheet of paper is, because everything else is.
The history of humanity has, to a large extent, been one of groping blindly in the dark, fearing for the future and yet resisting the guiding hand of inspired men who would willingly lead mankind in the path of safety.
You know that fiction, prose rather, is possibly the roughest trade of all in writing. You do not have the reference, the old important reference. You have the sheet of blank paper, the pencil, and the obligation to invent truer than things can be true. You have to take what is not palpable and make it completely palpable and also have it seem normal and so that it can become a part of experience of the person who reads it.
When you come up with a theory, you fall in love with the beauty the simplicity and elegance of it. But then you have to get a sheet of paper and pencil and crack out all the details. Hundreds and hundreds of pages. Because you have to prove it.
Whoever makes an attempt on a man's life, on a man's liberty, on a man's honour inspires us with a feeling of horror in every way analogous to that which the believer experiences when he sees his idol profaned.
When someone tells a man to be a man, they mean that there is a way to be a man. A man is not just a thing to be-it is also a way to be, a path to follow and a way to walk. Some try to make manhood mean everything. Others believe that it means nothing at all. Being good at being a man can't mean everything, and it has always meant something.
When you can sit down with a plain sheet of paper in front of you and make some notes, and, little by little, you see it take shape and become a concept for a movie or a TV show. That's a real thrill. You watch it go from notes on a paper to a meeting with writers and directors and actors. I can't think of anything that's more exciting.
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