Top 1200 Drawing Pictures Quotes & Sayings - Page 3

When you work fast, what you put in your pictures is what your brought with yoiu - your own ideas and concepts. When you spend more time on a project, you learn to understand your subjects. There comes a time when it is not you who is taking the pictures. Something special happens between the photographer and the people he is photographing. He realizes that they are giving the pictures to him.

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.

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.

I always say I make pictures rather than take pictures.

We think of photography as pictures. And it is. But I think of photography as ideas. And do the pictures sustain your ideas or are they just good pictures? I want to have an experience in the world that is a deepening experience, that makes me feel alive and awake and conscious.

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.

A painter paints pictures on canvas. But musicians paint their pictures on silence.

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.

There are people with their iPads are taking pictures so much that they're not experiencing the moment. They go home and look at the pictures later.

I'm aware of other artists, but what I'm really most interested in is viewing individual pictures. I like dramatic pictures.

The pictures feel as essential to me as the text. I was always interested in including pictures with writing.

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.

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.

When people talk to me about picture hunters, I very quietly laugh. I'm not a hunter of pictures, I'm a fisher of pictures.

I thought I was taking pictures of things that I hated. But there was something about these pictures. They were unexpectedly, disconcertingly glorious.

To an ever greater extent out experience is governed by pictures, pictures in newspapers and magazines, on television and in the cinema. Next to these pictures firsthand experience begins to retreat, to seem more and more trivial. While it once seemed that pictures had the function of interpreting reality, it now seems they have usurped it. It therefore becomes imperative to understand the picture itself, not in order to uncover a lost reality, but to determine how a picture becomes a signifying structure of its own accord.

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.

I'm a 'Power of Now' kind of guy, always have been. I don't really hang on to a lot of pictures. I have pictures of my daughters.

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.

It is easy to take good pictures, difficult to take very good pictures, and almost impossible to take great pictures.

I don't remember taking pictures with eighty percent of the people that I have taken pictures with.

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.

Part of the role of photography is to exaggerate. Most of the photographs in your paper, unless they are hard news, are lies. Fashion pictures show people looking glamorous. Travel pictures show a place looking at its best, nothing to do with the reality... Most of the pictures we consume are propaganda.

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.

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.

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.

I trust pictures, but no pictures made in my world - because I know what goes on.

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.

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'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.

I don't like pictures in books. I feel that the pictures diminish the words, and the words diminish the pictures, and it doesn't work.

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 come at a subject from a profoundly photographic level. I am not interested in pictures that ultimately don't work as pictures.

Instagram. Pictures. Lots of pictures! I don't really care to read everyone's thoughts.

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.

Sometimes I think all my pictures are just pictures of me.

I see pictures of myself and I always knew that what I was feeling didn't look like that guy in the pictures.

Little wonder that we. . .find the old pictures of openness - pictures usually without any blur, and made by what seems a ritual of patience - wonderful. They restore to us knowledge of a place we seek but lose in the rush of our search. Though to enjoy even the pictures, much less the space itself, requires that we be still longer than is our custom.

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.

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.

Artists are interested in pictures as sources of ideas for their work. Where the pictures come from and how they are made is of little concern to them.

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 think fame and all that madness, people taking your pictures all the time, drives me insane. It's a catch 22...the more they take pictures of you, the more upset you get by it and the more crazy you look and the more pictures they take of you. I think it's disgusting what's happened with that kind of celebrity culture right now.

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.

Maybe we should always show pictures. Bin Laden, pictures of our wounded service people, pictures of maimed innocent civilians. We can only make decisions about war if we see what war actually is - and not as a video game where bodies quickly disappear leaving behind a shiny gold coin.

My mother had found this album of all these old slides from the '50s of me as a kid and I said, 'We should have these made into pictures because the color's so beautiful.' There were pictures of me from 1955 as a little baby wearing all these elaborate outfits, and in these pictures was this amazing story of a gay man and his mother.

With my pictures, what I hope is that it encourages the reader to imagine more pictures of his own.

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.

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

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 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.

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.

I think people remember pictures not dialogue. That's why I like pictures.

I came to terms with living mostly in a world of horror pictures or genre pictures.

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.

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.

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.

All the good pictures that came so easily now make the next set of pictures virtually impossible in your mind.

But we did see the process develop. I remember going to the Rocket Pictures base and they had something like 40 people there, drawing. They didn't know what the characters looked like yet and I remember on the walls seeing 30 or 40 different versions of Juliet. So, it was then that I realised that someone's got to come in and make some really executive decisions.

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.