Top 1200 Drawing The Line Quotes & Sayings - Page 3

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 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.

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 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.

My favourite British line is the West Highland line. It was built across moorland where no one had succeeded in building a road. So everything in that area is there because of the railway line.

I've been creating work by silk-screening images of arms and legs and heads and objects on paper - like drawings of vegetables, guns, hats, whatever - and then also printing sheets of patterns, colorful polka dots and line drawing patterns.

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 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.

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.

Even when there's not a joke or a hook, the first line has to be good and snapem to attention. Songs ain't novels. You don't have 30 pages to slowly wrap somebody in. They're more like short stories or poems. If the first line hasn't grabbed them, you won't get to the second line. Once you've developed an audience, you may have some luxury and trust, so you don't have to knock 'em over the head with line one.

It is impossible to discuss realism in logic without drawing in the empirical sciences... A truly realistic mathematics should be conceived, in line with physics, as a branch of the theoretical construction of the one real world and should adopt the same sober and cautious attitude toward hypothetic extensions of its foundation as is exhibited by physics.

Home gigs can be hard because it's an odd collision. More than anything, I feel self-conscious when my family are in the audience. I'm doing this job which is not quite acting - part of it is me, part performance. You're presenting a cartoon of yourself to people who know you as a line-drawing.

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.

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.

It is possible to combine a story line and plot line in the same work. Usually the storylines comes first, serving as a background to the plot line, but not always.

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.

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.

There is a fine line I have to walk throughout the writing process in a novel. It is this line between drama and melodrama, and it is this line between evoking genuine emotional power and being manipulative.

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.

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.

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.

This is the line of life, this is the line of growth, and this is the line of well-being in India - to follow the track of religion.

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.

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.

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.

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.

A song doesn't happen as a whole verse; it happens linearly, line by line, almost word by word, phrase by phrase. And if each phrase, each line, has a proper emotional feel and connects to the line before it and the line after it, the song will be doing what it should be doing.

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.

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.

I've always tried to walk a line between being incisive and acerbic, but not mean. Sometimes I'm going to tip over the line a little bit, but that's usually a line I try not to cross.

I was always most interested in drawing - most of my childhood drawings are black-and-white line work. And when I kind of abandoned comics, through college and art school, I was doing a lot of painting. But once I started doing comics again, everything else just fell by the wayside.

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.

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.

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.

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.

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.

The poverty line in the U.S., for example, has nothing to do with the poverty line in India. It is a relative poverty line. It is reset from time to time but it is related to U.S. median income, so if I set that to be the absolute poverty line everyone in India would essentially be poor.

In every operation there is an above the line and a below the line. Above the line is what you do by the book. Below the line is how you do the job.

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

Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear. Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.

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.

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.

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.

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.

Everything in life, is a question of drawing a life, John, and you have to decide for yourself where to draw it. You cant draw it for others. You can try, of course, but it doesn't work. People obeying rules laid down my somebody else is not the same thing as respecting life. And if you want to respect life, you have to draw a line.

As a writer, you're always trying to say the best thing. You're always thinking about what's the best thing to say, and what's the hardest way to say it, and what's the best line? Sometimes the best line is the simplest line. Sometimes the best line is the line that evokes more feeling than actual wordsmithing.

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 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.

I would like to see an animating passion. Tim Kaine actually had a good line. What animated you before you got into politics? And she actually does have a story there to tell about children. And so drawing that animating passion will do good.

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

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.

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.

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 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.

When you are in the line of your duty, it is like standing in front of a line of posts, and every post is in line. But step one step aside, and every post looks as though it were not quite in line. The farther you get away from that straight line, the more crooked the posts will appear. It is the straight and narrow path of duty that will lead you and me back to the presence of God.

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.

The straight line has a property of self-similarity. Each piece of the straight line is the same as the whole line when used to a big or small extent.