Top 1200 Love Drawings Quotes & Sayings - Page 4

Everyone was saying computers were going to be the future of art; everyone had to do something in this medium. And it was almost some sort of rebellion that I wanted to do these small, intimate drawings.

I do have great respect for painting, but I am definitely not a painter. I make drawings of paintings, and I'm jealous of painting for sure, but, for me, the paper gives my work a limit.

I almost never do drawings, because I have found over the years that doing something in one medium and translating into another doesn't work. I like to conceive a painting in real scale and in color.

My mom is a painter, so I've been doing drawings and paintings as early as I can remember. Then there was this gap where I was doing graffiti in high school and making as much [traditional] art.

I like people with guts. I want to feel in the clothes what the designer is really feeling when they're alone with themselves and their fabrics and they're drawings, and what happens when they let the creativity that they have been blessed with come forward. That's why they are who they are.

I think people are quite surprised that the handwriting I use in my drawings and paintings is my own handwriting. They're slightly shocked when I write them a letter.

My father was a painter, so I was encouraged to take a sketchbook everywhere. Cameras are perishable, but I still have tonnes of sketchbooks from all the trips I've ever been on. It gets you by when you don't know what to give people as a gift; drawings are good souvenirs.

Sometimes when looking through my pile of drawings, I find an image that... awakens in me a passionate desire to inhabit it, as though I were to feel more at home in it than in myself.

When I was a kid I always liked scratching myself - making shapes, making drawings, and I always thought I would have a tattoo.

In timing a film, we used to assume that sneaks move slowly. This was great for animators-thirty-six to forty-eight drawings for a single step-but it was sheer hell for the pace of the picture. So the rapid tiptoe was invented.

My work is so unorthodox that from one panel to the next, the drawings are completely different... totally opposed to the way of working in something like animation, where every drawing has to look like the one before.

My recent drawings that personal ones aren't fashion-related. I sometimes sit and draw people on the bus, or some fantasy hybrid animal. You know, wherever the hand will lead.

Dawn is about luminosity and so is the iPhone... The little drawings of the dawn are done while I'm still in bed... If you're in my kind of business you'd be a fool to sleep through that... Artists can't work office hours, can they?

They looked great, you know the drawings of the guys playing looked great and bits of string around their necks. So it didn't seem to be that difficult a thing to do, or that inaccessible.

The Internet is a crazy archive of a lot of old everything. Paintings, drawings, old, new, and everything in between.

The thing that makes me happiest about Simpsons Illustrated are all the drawings that we get from readers. I wish we could print them all. They're really imaginative. They show a lot of hard work.

A designer who is not also a couturier, who hasn't learned the most refined mysteries of physically creating his models, is like a sculptor who gives his drawings to another man, an artisan, to accomplish.

I grew up with the idea of the cyborg and the robot, but at the same time I felt this intense disconnection between the things I was engaged with and inspired by in terms of fun and play. It seemed like paintings and drawings were so static.

We made drawings the size of a whole quarter of a room ceiling, which we would then send on to the model makers. I did this every day for two years. Even now I can draw cartouches with my eyes closed.

The work, I suppose, is made in the editing, whereby I make literally hundreds of drawings, and then a much smaller percentage of those become the finished work.

I have been doodling since childhood. I have a passion for illustrating but cannot paint or colour for that matter. I illustrate what I am trying to communicate through my writing. My images are like drawings in a science text book.

The first time I made any money, I was 27. I went to Bergdorf's looking like a proper guttersnipe and bought a pair of Louboutins. I'd wear them and an old ink-stained kimono and make my drawings and feel indomitable.

Stan is a rescue Chihuahua mix. He was the role model for Bob, the dog in 'Ivan.' The drawings in the book look precisely like Stan.

Being on a trapeze is like dreaming. I feel totally outside of myself when I'm flying. You know, designing shoes, my imagination is flying in my drawings.

During the winter when the weather is too poor to work outside, I do use drawings and photographs, but I change my work so it is not just a time and place study.

I always believe you have to show the symbolism of a civilization, whether it be the cave drawings or somebody drawing in the sand in Darfur to show a massacre.

Those who are not conversant in works of art are often surprised at the high value set by connoisseurs on drawings which appear careless, and in every respect unfinished; but they are truly valuable... they give the idea of a whole.

Imagine my surprise when, after a lifetime of teaching me to keep personal things to myself, Mom insisted my drawings were the start of a comic strip for millions of people to enjoy.

Possibly the strangest book ever made, the 'Codex Seraphinianus' is an encyclopedia of an imaginary world, with illegible calligraphy - it is written in an alphabet no one can understand - and surreal drawings of odd beasts and machines.

Well, what we do is we have a script, of course. But for us, writing is also like storyboarding. It's drawing. And so we will cut all of those drawings together with music, sound effects and dialogue. And we screen this kind of stick-figure version of the film.

I you look at the drawings of aliens made by people who believe that Earth is under saucer attack, you'll quickly note that most of these invaders fit the Tinseltown mold. But you have to admit: the grays are highly anthropomorphic.

There is a rumour that I can't draw and never could. This is probably because I work so much with models. Models are one of the most beautiful design tools, but I still do the finest drawings you can imagine.

I wouldn't want to be defined so much by comics or cartoons. My work is more narrative than that. If you take your basic cartoon, there's always a punchline or a joke at the end. My drawings don't depend on that so much.

14th- and 15th-century drawings are almost unheard-of - and as a result, they generate jealous desire among dealers and curators. Museums in particular value rarity and pedigree more than attractiveness.

Then one day I thought it would be wonderful to make a whole book, to make my text and my drawings together, and that's how I started doing children's books.

With mania, is it dangerous to ride that euphoric feeling. You feel very animated and creative; I would fill journals with drawings. It feels good and you want it to last, but it can lead to being delusional. The delusions can be as real as you thinking you can fly.

The war was a mirror; it reflected man's every virtue and every vice, and if you looked closely, like an artist at his drawings, it showed up both with unusual clarity.

I usually have several things on the go. Whether it is my own drawings for the next work that I am working on while a sculpture is being fabricated or several works at different points in production.

I have been to several wars to draw. I went to Vietnam. And made drawings in Vietnam during that period of the war there, and found that to be a very very sad situation.

The way I make drawings is just with a desktop Epson C88 printer and they are designed to break, they are really cheap. So I bought a lot of them before it became impossible to find them.

The drawings don't start with 'a beautiful mark'. It has to be a mark of something out there in the world. It doesn't have to be an accurate drawing, but it has to stand for an observation, not something that is abstract, like an emotion.

That's kind of how my jobs have happened over the years. It's been referrals throughout the creature effects/make-up world. The drawings happen, and they see that it's a tall, skinny thing, and they go, 'Let's get Doug Jones for that.'

Express yourself through your art - whether it’s your drawings in a sketchpad, tattoos on your skin, the shade of your lipstick, or the clothes that you wear.

I've had my own personal stalker. I would get nude drawings of my body with a knife and a message saying 'I'm watching you' and 'I'm going to get you.'

We've had fiction from the time of cave drawings. I think fiction, storytelling, and narrative in general will always exist in some form.

I'm just working with ideas in my head and with drawings that the artists did. And suddenly to see these things come to life in movies - it's just wonderful.

Every artist has thousands of bad drawings in them and the only way to get rid of them is to draw them out.

All intervening steps, scribbles, sketches, drawings, failed work models, studies thoughts, conversations, are of interest. Those that show the thought process of the artist are sometimes more interesting than the final product

In middle school, I started to draw, and my pencil sketches were huge. They were these 4ft by 3ft drawings, and I got a lot of attention for that, so that was very validating. But I didn't start cartooning until I was in college.

All my drawings always sort of looked funny even if I was trying to do serious stuff and express myself about grim situations. It was always cartoony.

Some of my job consists of me drafting and making technical drawings. So everything I did back then has materialized into something substantial for me today. Whatever kids are into, that might be their thing.

Just as the unmusical ear is not competent to judge music, so it is likewise with pictures, whether they are paintings, drawings or photos. Only a sensitive and trained eye gives us the right to judge.

I've always been concerned with my sculpture. The drawings I do at night at home to relax. And for a long time, I just gave them to friends or my wife and didn't really show them.

I learned my "facts of life" on toilet walls. I'd walk up in school bathrooms and there would be crude drawings and figures engaged in sex. That's how I learned.

Don't animate drawings, animate feelings.

I just recently did a film with Disney, and they put the drawings straight on the computer. And it's all painted on the computer now and not by hand anymore.

One of the reasons why you like to do your own drawings is, your style changes over time. And there's something about that that keeps it fresh to the viewer.

I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume - there's a flatness to them.

Making drawings with text in the first place, it really was born of a desire to be economic, and to do things as simply as possible, and to do as much as I could by the most economic means.

I wrote as a kid, but I never wanted to be a writer particularly. I had been drawing and painting for years and loved that. And I meditate, and one time when I was meditating, I started thinking, "Gee Gail, you love stories -- you read all the time. How come you never tell yourself a story?" While I should have been saying my mantra to myself, I started telling myself a story. It turned out to be an art appreciation book for kids with reproductions of famous artworks and pencil drawings that I did. I tried to get it published and was rejected wholesale.