Top 1200 Drawing Conclusions Quotes & Sayings - Page 2

As you are aware, no perceptions obtained by the senses are merely sensations impressed on our nervous systems. A peculiar intellectual activity is required to pass from a nervous sensation to the conception of an external object, which the sensation has aroused. The sensations of our nerves of sense are mere symbols indicating certain external objects, and it is usually only after considerable practice that we acquire the power of drawing correct conclusions from our sensations respecting the corresponding objects.

For me, drawing is a way of navigating the imagination and it remains the fundamental vehicle of my practice. Drawing allows me to be at my most inventive.

It's one thing to be sitting at a drawing board, alone in your home and coming up with a fantasy character, and drawing her whichever way you feel like drawing, then dealing with a real performer. All of a sudden, things change. It's amazing, in working with actors, how much I learn from them and how many new lines will come to mind because of their personality or their strengths.

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.

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.

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.

I shun drawing which is too easily formulated. It does not seem fertilized enough to produce consequences, and a drawing should be a provider of consequences.

Drawing is the cornerstone of the graphic, plastic arts. Drawing is the coordination of line, tone, and color symbols into formations that express the artist's thought.

When I'm drawing a bottle or a town or a market, I transport myself there. So I start drawing everything that I'm looking at while I'm there. Here's a guy selling the meat, and he will have a hook, and you start adding things, and it's a lot of fun.

I think the most important thing you can do is to keep drawing no matter what. And to not be afraid of drawing whatever interests you. If there is something that you want to draw, to make, then I think you should pursue it and not let anybody tell you that you can't do it.

I can earn more in a single weekend of convetioneering than I would in an entire month drawing comics. And I get a pretty high rate drawing comics.

All that you need in the way of technique for drawing is bound up in the technique of seeing - that is, of understanding, which after all is mainly dependent on feeling. If you attempt to see in the way prescribed by any mechanical system of drawing, old or new, you will lose the understanding of the fundamental impulse. Your drawing becomes a meaningless diagram and the time so spent is wasted.

There was about six months when I was absorbing other stuff and not drawing very much. After a long period of not drawing, you have to, like, relearn how to draw. It's not very fun.

For the surf idol Duke Kahanamoku portrait, which I created for the Surfrider Foundation, I took a photo from a book cover and abstracted the photo image into a drawing. This drawing was laminated onto a surfboard and auctioned to a buyer.

My attitude towards drawing is not necessarily about drawing. It's about making the best kind of image I can make, it's about talking as clearly as I can.

When a drawing doesn't come out right it's because I haven't figured out where the joke is. Not that every drawing has a joke, but every drawing has a point. At least it should have. And you figure out where the point is.

I do a lot of work on computers, but I am so practiced in drawing that I can draw it full size, and you can take the measurements off my drawings. It's like drafting, but it's a work of art - a really beautiful drawing.

I was drawing professionally by the time I was 12. I used to do very detailed sort of photorealistic pen-and-ink work, and I burned out on it around, like, high school. And cartooning really got me back into drawing.

Man, fountains pen are a pain to use, drawing backgrounds is a also a pain... Drawing manga really is a pain. In short living is a pain... I want to become a cheesburger

The subject should be observed more for shape and color than for drawing... precise drawing is dry and hampers the impression of the whole, it destroys all sensations.

It wasn't a problem for me drawing humans although I had originally come to the studio with the idea that what I had to offer them was my knowledge in the drawing of animals.

For me, drawing is the greatest joy. Animation is never as good as when I'm sitting at that desk drawing. Even when it's up on the screen, it's never as wonderful as those moments when it's drawn, to me.

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.

For desired conclusions, we ask ourselves, “Can I believe this?”, but for unpalatable conclusions we ask, “Must I believe this?

The ultimate obscenity is not caring, not doing something about what you feel, not feeling! Just drawing back and drawing in; becoming narcissistic.

You can't use a drawing to prove a war crime. A drawing doesn't have that notion that it's proof of a reality. Because of that, you can do all sorts of interesting things in it.

But 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.

He found a formula for drawing comic rabbits: This formula for drawing comic rabbits paid. Till in the end he could not change the tragic habits This formula for drawing comic rabbits made.

Drawing is more fun to me than writing. I think it's interesting to talk to different cartoonists about how those activities work for them. I'm a very writerly cartoonist. I certainly spend more time on the writing than I do on the drawing, even though the drawing, of course, is very time-consuming.

I can be happy with something I did, like a drawing or a dress I designed, and yet be very disappointed with the same drawing, or the same dress the day after.

If we wish to draw philosophical conclusions about our own existence, our significance, and the significance of the universe itself, our conclusions should be based on empirical knowledge. A truly open mind means forcing our imaginations to conform to the evidence of reality, and not vice versa, whether or not we like the implications.

For me, drawing is a way of navigating the imagination, and it remains the fundamental vehicle of my practice. Drawing allows me to be at my most inventive.

The reason they look the way they do is that the first drawing I did of them was really small so I didn't draw fingers, nose, ears, etc and this drawing had a certain appeal that I really liked.

I tend to write first thing, and then do my drawing later. I like to draw at night. But often I go for long stretches without drawing, because I'm trying to figure out what I'm writing.

A good drawing has immense vitality because it is explanatory. In a good drawing even its faults have become virtues.

The subject of the lesson itself should not become more important that the underlying basis. Drawing thus provides first the written forms of letters and then their printed forms. Based on drawing, we build up to reading.

All my paintings are usually done in drawing form, very small. I make notations in drawings first, and then I make a collage for color. But drawing is always my notation.

Ideas mostly come from the work itself. Often when I'm drawing, the words will be bouncing around in my head, and when I'm writing, ideas about the drawing happen.

When I get to the drawing, I really enjoy taking a big chunk of time and working on the drawing and nothing else. That allows me to make sure that I'm really challenging the art, making each picture as interesting as I can.

In the final analysis, a drawing simply is no longer a drawing, no matter how self-sufficient its execution may be. It is a symbol, and the more profoundly the imaginary lines of projection meet higher dimensions, the better.

I have a fairly limited drawing style. I'm not like my friend Derek Kirk Kim, who can pretty much change his style at will. My drawing style can handle some of my stories, but not all of them.

I couldn't go into the haphazard drawing or the paintings, the splashing of paint. I wanted to go back to a completely dry drawing, a dry conception of art.

I did the drawing and writing - for five years. I made a lot of short films the whole while and I made a promise to myself in front of the mirror that I would stop drawing when I signed my first contract for a feature film.

Primitive, naive drawing can also be good drawing but it's hard to pull off. I don't think most submitters realize that.

Just drawing back and drawing in; becoming narcissistic.

Mathematics is the most exact science, and its conclusions are capable of absolute proof. But this is so only because mathematics does not attempt to draw absolute conclusions. All mathematical truths are relative, conditional. In E. T. Bell Men of Mathematics, New York: Simona and Schuster, 1937.

In 1971, I put together the 'Johnny Face' drawing as a concept, with the words as part of an image in a circle. Combining my abstract drawing with the headline 'Crazy World Ain't It' created an emblem and became a button.

All comic books take place in built environments, and I was very good at drawing people and animals, and stuff like that, but I hadn't spent much energy drawing buildings. So I thought, maybe I could, and then I became an architect.

There is, however, a change going on in the world. There's far more interest in drawing now than there has been in a long, long time. Schools are beginning to teach drawing again in a serious and meaningful way.

I think that the FIDE leaders have to reconsider the current drawing rules - their advantages aren't very clear, but their shortcomings are obvious. Artificial drawing of the lots is detrimental for everyone.

I like doing clay work. It's different from drawing on a page because you have something to mold into different shapes. It's quite visual, it's a thing you can hold and feel, and that makes it different from drawing.

Architectural drawing is a language with conventions where the rules can be deliberately misused; a well-composed architectural drawing can both contain correct and incorrect arrangements of meaningful things.

I'm never drawing the object itself; I'm only drawing a depiction of the object - a kind of crystallized symbol of it.

When I'm drawing, I only do that at home, really, at my drawing table. But writing I could do in other places. So I've written in airports, in hotels, different places.

I was aware that the teaching of drawing was being stopped almost 30 years ago. And I always said, 'The teaching of drawing is the teaching of looking.' A lot of people don't look very hard.

I started drawing in first grade. Because the kid next to me was drawing, and I remember thinking: I want to be able to do that!

Intuition is a combination of insight and imagination that was once attributed to spiritual communication. Mathematicians call it 'fuzzy logic,' drawing conclusions from vague or subjective input. The mind becomes aware without the direct intervention of reasoning. Once you can imagine something you can begin the process of creating it. Executives use intuition to make many product, investment, and hiring decisions, even if they deny it. Success in business may depend on an accurate gut.

My drawing, like that of most cartoonists, is intended first of all to be functional: to create believable space, and communicate information. My strongest point in drawing has always been my ability to show characters' nonverbal communication through facial expression and posture.

For me, travelling and drawing the world, experiencing as much as possible first hand, has been very important. Making notes, drawing and writing on the move, became second nature.

I think the most important thing you can do is to keep drawing no matter what. And to not be afraid of drawing whatever interests you. If there is something that you want to draw, to make, then I think you should pursue it and not let anybody tell you that you cant do it.