Top 420 Drawings Quotes & Sayings

The experienced illustrator subscribes to the principle of the application of the seat of the pants to the seat of the chair. Should inspiration whisk down your chimney, be at your table. The first ten thousand drawings are the hardest. Put another way, you have ten thousand bad drawings within and should expel them as quickly as possible.

I got a signed document from Bullock's saying that they had such-and-such drawings on consignment. Of course, nobody bought any of them, but otherwise, I was a big success: I had my drawings on sale at Bullock's!

The novels have done so well because the drawings are abstract, black-and-white. This adds to the universality of the story. "Persepolis" also has dreamlike moments, and the drawings help maintain cohesion and consistency.

If there is no idea in the drawing, there is no idea in the constructed project. That's the expression of the idea. Architects make drawings that other people build. I make the drawings. If someone wants to build from those, that's up to them. I feel I'm making architecture. I believe the building comes into being as soon as it's drawn.

The first ten thousand drawings are the hardest. Put another way, you have ten thousand bad drawings within and should expel them as quickly as possible.

I love drawings, so I've always enjoyed making drawings that exist on their own.

Most architects think in drawings, or did think in drawings; today, they think on the computer monitor. I always tried to think three dimensionally. The interior eye of the brain should be not flat but three dimensional so that everything is an object in space. We are not living in a two-dimensional world.

I decided to sell my drawings. However, I didn't want people to buy my drawings because the professor of physics isn't supposed to be able to draw - isn't that wonderful - so I made up a false name.

I like to draw, and my drawings are what yell and scream for me.

Buildings are always better than drawings and models.

To my way of thinking, the concept drawings that Rembrandt did, the drawings he made that he used to model his artists, to work out the compositions of his paintings: those are cartoons. Look at his sketch for the return of the prodigal son. The expression on the angry younger brother's face. The head is down; the eyebrow is just one curved line over the eyes. It communicates in a very shorthand way. It's beautiful, expressive, and, in a peculiar way, it's more powerful than the kind of stilted, formalized expression in the final painting.

Drawings are only a few lines on paper. Therefore it's easy to carry around in plastic bags. Drawings are cheaper than paintings. They don't pretend they'll last forever.

Every great artist must begin by learning to draw with the single line, and my advice to young animators is to learn how to live with that razor-sharp instrument or art. An artist who comes to me with eight or ten good drawings of the human figure in simple lines has a good chance of being hired. But I will tell the artist who comes with a bunch of drawings of Bugs Bunny to go back and learn how to draw the human body. An artist who knows that can learn how to draw ANYTHING, including Bugs Bunny.

Can I start by asking why your drawings abnormally suck?

I'd like to study the drawings of kids. That's where the truth is, without a doubt.

I know that when I finish a drawing, my anxiety level decreases. The realistic drawings are a way of pinning down an idea. I don't want to loose it. With the abstract drawings, when I'm feeling loose, I can slip into the unconscious.

I'm too old to make drawings.

I'd become the little surfer in my childhood drawings.

Playing acoustic and line drawings are the two things I'm most competent at.

One of the first drawings I did in Paris - I wasn't thinking of doing drawings, but somehow or other, I kept drawing - I bought a hyacinth flower with a lot of leaves, just to make me feel like spring.

My drawing came out of editorial-style cartoons. Music was one thing and art was another, and there weren't really any standards for my art. My work was just drawings. They weren't done with any aspirations of becoming a part of punk scene. They weren't about punk. They were just collections of drawings, some of which I xeroxed and sold.

Any questions?" "Ya why do your drawings suck so bad?

I like the drawings. And as a photography fan myself, I would look at Helmut Newton or Irving Penn and like to see the initial notes or drawings, to see where the ideas grew from. Also my sketches are key to my work because I came to realise early on that by doing drawings, I could formulate a plan of what I was thinking of - I could take control and direct the work.

The principle factor in my success has been an absolute desire to draw constantly. I never decided to be an artist. Simply, I couldn't stop myself from drawing. I drew for my own pleasure. I never wanted to know whether or not someone liked my drawings. I have never kept one of my drawings. I drew on walls, the school blackboard, odd bits of paper, the walls of barns. Today I'm still as fond of drawings as when I was a kid - and that was a long time ago - but, surprising as it may seem, I never thought about the money I would receive for my drawings. I simply drew them.

When I was 10 or 11, I started to sketch, and my drawings happened to be like fashion drawings... I'm lucky to have had this dream to chase since I was very young.

I started my own magazine with drawings, commentary, news, film reviews and drawings.

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 drawings that I show - the drawings that I present to people are finished works in themselves. They're meant to be thought of that way and not necessarily lead to larger pieces or anything like that. And that's the way I work now.

Whenever I am tired of making photographs of drawings, I make drawings of photographs.

Like music my drawings transport us to the ambiguous world of the indeterminate.

I got a job as a dishwasher in Oakland, and I would draw all day. It was nice because the lady who ran the boardinghouse where I worked let me live there for nothing if I gave her some drawings every week - mostly park drawings of birds and such.

It's fun to sit down and do a few drawings, but when you have to sit down and do hundreds of drawings whose value only depends on getting to the end of the chain, then you've created a different kind of monster.

But the drawings are not created only to be sold.

Sometimes I draw with my left hand and I am pretty terrible. The drawings end up just looking like shakier/inconsistent (worse) versions of my right hand drawings. Sometimes I like drawing with my eyes closed.

I consider drawings finished works of art, first of all. However, the ideas can be something that can be developed into something larger. I don't make so many drawings anymore since I'm working with language. I used to make more when I worked with sculptural things, especially the wire pieces.

Where as in animation you have to kind of do a series of drawings in between to complete the movement.

[Shoji] Hamada's [drawings] were little one-line notations of something he wanted to remember about a pot or a piece of furniture or a landscape or something like that, and they were just done very quickly and they had, he thought, no artistic quality. They're not great drawings, but they served to remind him of something he had in his mind, so that when he then went to the studio, that would stick in his mind and he could explore the making of the pot with the clay on the wheel.

My drawings are the result of my sculpture.

I see drawings and pictures in the poorest of huts and the dirtiest of corners.

All my work begins with drawings.

A diary with no drawings of me in it? Where are the torrid fantasies? The romance covers?

My home is in West Vancouver, B.C. My husband built it from drawings to design and colour.

We don't sell technical drawings except when they are incorporated into a drawing or a collage.

Cartoons are not real drawings, because they are drawings intended to be read.

A critic in my house sees some paintings. Greatly perturbed, he asks for my drawings. My drawings? Never! They are my letters, my secrets.

I have made it a rule for a long time, not to part with the copyright of my drawings, for I have been so copied, my drawings reproduced and sold for advertisements and done in ways I hate.

Before he did all those lovely line drawings, Matisse would make really detailed charcoal drawings and tear them up. He wouldn't leave them about... I understand what he was doing: discovering what's there... to make the line meaningful, to find a linear solution.

As a child, I copied Duerer drawings and Bruegel.

You've got a million bad drawings in you; you better get started.

I don't work from drawings. I don't make sketches and drawings and color sketches into a final painting.

Drawings, paintings, and sculptures. That's the three pillars of art academia.

The drawings are terribly good.

I know I draw without taking my pen off the page. I just keep going, and that my drawings I think of them as scribbles. I don't think they mean anything to anybody except to me, and then at the end of the day, the end of the project, they wheel out these little drawings and they're damn close to what the finished building is and it's the drawing.

[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.

If you start with character, you probably will end up with good drawings.

All my work begins with drawings. I don’t labor over my drawings. I want to get freedom in the line. I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.

In the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself.

I learned early that I could get attention from adults with my drawings.

I really wanted to be a cartoonist, and I was in 4th or 5th grade and I would bring my drawings in, and I'd look around, and everyone could draw better than me. Everyone. My drawings were just awful. So that's why I had to write.

I don't labor over my drawings. I want to get freedom in the line.