Top 1200 Drawing Conclusions Quotes & Sayings - Page 3

Even as a kid in drawing class, I had real ambition. I wanted to be the best in the class, but there was always some other feller who was better; so I thought, 'It can't be about being the best, it has to be about the drawing itself, what you do with it.' That's kind of stuck with me.

In the first place you must study drawing for at least one year; then you must remain with a master at the workshop for the space of six years at least , that you may learn all the parts and members of the art...drawing without intermission on holidays and work-days

I was very influenced by comics. The drawing style, definitely, I was interested in. My style of drawing is largely a comic style, but it's also much more obvious than comics.

To confer the gift of drawing, we must create an eye that sees, a hand that obeys, a soul that feels; and in this task, the whole life must cooperate. In this sense, life itself is the only preparation for drawing. Once we have lived, the inner spark of vision does the rest.

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 have friends and illustrators who can't stand drawing on the Cintiq. [A graphic pad tablet used by digital animators] There's a certain tension and friction when you draw on paper that they miss. The tablet is very slick. It's like drawing on glass. But that didn't bother me at all.

I liked drawing and painting, because the only failure would be to listen to the doubters who wanted me to stop drawing and painting because 'you aren't going to make a living doing that.' I liked looking in art books at the work of painters.

I find that I'm constantly drawing. Even when I'm on holidays or when the baby's sleeping, I'll just start doing some automatic drawing, something like that, and then it will turn into a piece, even though I thought I was just doodling.

In drawing after drawing, pastel after pastel, painting after painting, the contours of Degas's dancing figures become, at a certain point, darkly insistent, tangled and dusky. It may be around an elbow, a heel, an armpit, a calf muscle, the nape of a neck.

I showed the grown ups my maasterpiece, andI asked them if my drawing scared them. They answered why be scared of a hat? My drawing was not a picture of a hat. It was a picture of a boa constrictor digesting an elephant.

The correctness of any of our policies has always to be tested and is always being tested by the masses themselves. We ourselves constantly examine our own decisions and policies. We correct our mistakes whenever we find them. We draw conclusions from all positive and negative experiences and apply those conclusions as widely as possible. In these ways relations between the Communist party and the masses of the people are constantly being improved.

Sometimes I will draw people and they will move away too quickly for me to finish what I wanted, and it is not enough for me to consider it a drawing of them. I hope I have gotten better at capturing things quicker in a drawing.

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.

Matisse makes a drawing, then he makes a copy of it. He copies it five times, ten times, always clarifying the line. He’s convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt.

Human beings have a lot of problems identifying themselves with other human beings who don't resemble them exactly. But there's something about drawing that means that anyone can identify to a drawing. I mean, people can identify themselves with Donald Duck and Mickey Mouse.

For 'Picture This,' I wanted it to be a drawing book that didn't have any instructions about drawing, beyond the real simple stuff you'd find like in a Bazooka bubblegum wrapper, or in 'Highlights' magazine. I just wanted it to be feelings about looking and seeing and pictures.

Until I saw my drawings replayed on the iPad, I'd never seen myself draw. Someone watching me would be concentrating on the exact moment, but I'd always be thinking a little bit ahead. That's especially so in a drawing where you are limiting yourself, a line drawing for example. When you are doing them you are very tense, because you have to reduce everything to such simple terms.

I always start drawing any job by planning out to some degree the locales and trying to nail the characters. If they're existing characters, I'll draw them several times on rough paper just to get a feeling for them. The ideal when you're drawing a comic is to have everything in your head, not to have to refer to notes.

and in the meantime don't jump to conclusions.

Drawing and color are not separate at all; in so far as you paint, you draw. The more color harmonizes, the more exact the drawing becomes. When the color achieves richness, the form attains its fullness also

I got into animals by drawing hair follicles. I liked drawing hair, and from that I got into feathers and fur, then into images of animals. The patterning is the same, but the proportions of the body change from one animal to the next. A lot of it is just geometry and consciousness.

Conclusions are not always pleasant.

For me, writing, drawing, and political activism are three separate pursuits; each has its own intensity. I happen to be especially attuned to and engaged with the society in which I live. Both my writing and my drawing are invariably mixed up with politics, whether I want them to be or not.

With drawing, I am acutely aware of creating something on a sheet of paper. It is a sensual act, which you cannot say about the act of writing. In fact, I often turn to drawing to recover from the writing.

I made silk screens of my drawings. I could add a drawing that was made with a machine or digitally to a drawing that was made by hand. What I love is that you can't tell how they're made. For some reason, fooling the eye really excites me.

I've always like 'Dragonball Z' and 'Naruto,' that kind of drawing. My older brother draws so he was always drawing 'Dragonball Z' characters and so I got into it from there.

The best works do not necessarily get to auction. I like to draw, so maybe I give you a little drawing. And then eventually it ends up at auction. And then critics say, 'Oh, that's a bad drawing!' Well, I didn't say it was so wonderful.

The whole point of art school is that you're going to be able to have nudes all day long and a teacher who is there to move you. It's great. I did a tiny bit in the one school in Paris, and it was wonderful because you'd have a nude taking a crazy position, and you'd have 10 seconds to do a drawing. Then you'd do a one-minute drawing.

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.

Hey. Sometimes to conclusions.

Even though I'm usually not conscious of it, I think drawing has always served a sort of therapeutic purpose in my life. There's something about the process of translating the messy chaos of real life into a clean, simple drawing that's always been comforting to me.

And as we live our lives we discover - drawing toward us the thin threads attached to each - what has been lost. I closed my eyes and tried to bring to mind as many beautiful lost things as I could. Drawing them closer, holding on to them.

Drawing is not only a way to come up with pictures: drawing is a way to educate your eye to understand visual information, organizing it into a more hierarchical way, a more economical way. When you see something, if you draw often and frequently, you examine a room very differently.

Sometimes when I am drawing outside - when it is cold out it gets difficult (my hand gets slower when it is really cold) because I do not like wearing a glove while drawing, because I cannot feel the paper right.

I had two major activities as a child. I was trying to put on shows with kids in my street, or I was drawing. Actually, what I'm doing now is exactly what I was doing then. Either I'm drawing, or I'm gathering people for a common project. The only difference is that now they are paying me for that.

Animation wasn't my love, but drawing was. I loved drawing, and when it came time to graduate from high school, I looked around and it was like, "Wow, I don't really want to study math. I don't really want to study science. I don't really want to study literature. Is there a place where I can go and draw cartoons?"

I was always interested in drawing. As a child, I started my own country, which was called Neubern. It was located in the South Atlantic. I did the documentation of Neubern in great detail. I drew everything that was there, all the houses and all the cars and all the people. We even had a navy and an air force. I spent a lot of time drawing.

Even as a kid in drawing class, I had real ambition. I wanted to be the best in the class, but there was always some other feller who was better; so I thought, It cant be about being the best, it has to be about the drawing itself, what you do with it. Thats kind of stuck with me.

There was a period there where I was like, "No, no, no, this is crazy. I don't want to take any more drawing classes and talk about what looks best. I want to study math and psychology and physics and all these nerdy things with computers." That was fun and great, but that didn't work out. At the end of high school, I was like, "Uhh, what's easier? Drawing is easier, I'll do that".

I like drawing most everything I see, but sometimes the light will hit something in a certain way that I just cannot capture the thing the way I would like with a drawing, so I think taking a picture might be the way to document what I am seeing better.

I've been painting and drawing and taking pictures as long as I've been writing music - and I've actually been drawing longer than I've been writing music.

The plain fact is that there are no conclusions.

I work on stretched linen canvas, sized so that the surface already has a sense of tension when I begin. It is a very rich and reactive surface. I begin by drawing on the canvas with a kind of loose line, very simply and freely. I paint very thinly, which allows me to change the drawing if I want to.

Everything in life is drawing, if you want. Drawing is quintessential to knowing the self. Art that survives from one generation to the next is the art that actually carries something that tells society about self.

Personally, I’ve gotten so that I now use a kind of two-track analysis. First, what are the factors that really govern the interests involved, rationally considered? And second, what are the subconscious influences where the brain at a subconscious level is automatically conclusions in various ways — which, by and large, are useful — but which often malfunction? One approach is rationality… And the other is to evaluate the psychological factors that cause subconscious conclusions — many of which are wrong.

I studied graphic design originally. I used to like drawing, and I was quite into technical drawing. I was always interested in the visual medium, but I thought I was going to be an architect or something like that, but it's quite a lonely job.

Low comedies are written for the drawing-room, the kitchen and the stable, and if you cut out the kitchen and the stable the drawing-room can't support the play by itself.

I seemed to have instinctually a strong idea of how the strip had to be written from the beginning. That changed too, but it was more in the direction of where it was headed. I didn't have a clue as to the drawing style, because the drawing style that I was groomed on from the beginning was newspaper comic strips, which were much more conventional.

Drawing - it's the first language of human beings, before writing, before even talking, before words, human beings was drawing.

I felt the need to get back to painting and I thought the best way was to start drawing, so I enrolled in a life drawing class. I soon discovered that people made very interesting subjects and I am still surprised that I had never discovered it before.

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.

You should be careful, tossing descriptors like that around in a situation like this. My ‘problem’ isn’t little. Unless you’re drawing some pretty wild comparisons. Please tell me you’re not drawing wild comparisons. Or blood-relative comparisons.

All I liked to do when I was a kid was draw. My childhood was like my adult life: drawing pictures with my brother, putting the comics up on the glass window, and tracing the characters onto tracing paper or drawing paper and then coloring them. That and making things was all we ever did.

People were very nice to me. They knew I didn't have the money to do figure-drawing classes, so they let me annex the figure-drawing classes that the animators had.

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.

Mathematics has the completely false reputation of yielding infallible conclusions. Its infallibility is nothing but identity. Two times two is not four, but it is just two times two, and that is what we call four for short. But four is nothing new at all. And thus it goes on and on in its conclusions, except that in the higher formulas the identity fades out of sight.

The drawing of a 'Pipeline Wave' started with Billabong as a commission for their 2009 Pipeline Masters campaign. My 'Pipeline Wave' drawing later became the start of my 'Waterworks Collection' for gallery prints.

Painting dissolves the forms at its command, or tends to; it melts them into color. Drawing, on the other hand, goes about resolving forms, giving edge and essence to things. To see shapes clearly, one outlines them--whether on paper or in the mind. Therefore, Michelangelo, a profoundly cultivated man, called drawing the basis of all knowledge whatsoever.

When I was still in prep school - 14, 15 - I started keeping notebooks, journals. I started writing, almost like landscape drawing or life drawing. I never kept a diary, I never wrote about my day and what happened to me, but I described things.

Intellectually, perspective [drawing] is a breakthrough, because here, for the first time, the physical space we live in is being depicted as ifit were an abstract, mathematical space. A less obvious innovation due to perspective is that here, for the first time, people are actually drawing pictures of infinities.