Quotes About Drawings

James Thurber was an inspiration because his drawings were so primitive. I am self-taught - I didn't go to art school - so I thought when I started doing them, 'If James Thurber can be a cartoonist, I can,' because his stuff is very raw.

'In-between' is sort of - an animator does the key poses. He'll do extremes, you know, like a character reaching out for a glass of water and then another one of him drinking. And the in-betweener has to do all the drawings that goes between those two. You know it could be 12, 23 whatever in-betweens.

The pleasures of the imagination are as it were only drawings and models which are played with by poor people who cannot afford the real thing.

Folks had draped strange flags over their iron porticoes with drawings of pineapples and the word WELCOME. The South was like that, festive but impenetrable.

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.'

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.

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 use dull colors in my drawings because I started out using a root beer base, because it seemed like an interesting idea, and when it turned out that it worked quite well as an ink, I started using other colors that would complement it, like grays from Higgins black writing ink and, more recently, Dr. P.H. Martin's olive green and vermilion.

I don't look at my films or my old drawings much, so that was an interesting way to kind of reconnect with myself a bit.

I had drawings that were the first time that mathematics was put into visual form.

In this same library we saw some drawings by Michael Angelo (these Italians call him Mickel Angelo,) and Leonardo da Vinci. (They spell it Vinci and pronounce it Vinchy; foreigners always spell better than they pronounce.)

Charcot's drawings of convulsing hysterics agree in every detail with the scenes that left Deodat Lawson reeling.

A few grass mats, some cave drawings, the heads of my enemies mounted on the wall ... it could be quite pleasant.

I have seen and drawn dying, poisoned worlds. I published a book of drawings called 'Death of Wood' about one such world, on the border between the Federal Republic of Germany and what was then still the German Democratic Republic.

But now with technology I could sit down and do a bunch of character drawings and scan them into a computer, and the computer using my exact style could bring it into life, where it would have been edited by various human beings before.

He loved a book because it was a book; he loved its odor, its form, its title. What he loved in a manuscript was its old illegible date, the bizarre and strange Gothic characters, the heavy gilding which loaded its drawings. It was its pages covered with dust — dust of which he breathed the sweet and tender perfume with delight.

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!

To my mind, the most successful and the best comic book illustrators are those who translate the real world into a consistent code. If you look at Jack Kirby or Steve Ditko, their drawings look nothing like the real world, but they are internally consistent. In terms of a comic book it can work just fine.

He knew that in his internal universe, there was a mission etched in a secret language, like drawings on the wall of an ancient cave, that gave him his direction and meaning. It could not be altered and it would always be there to guide him to the right path.

The architect who first inspired me to follow this profession was Sir John Soane and his Regency home; well, his three homes, now a museum. The place is like an encyclopedia of paintings, antiquities, furniture, sculptures, and drawings.

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.

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

He'd broken the man's bone. And now he should break his fingers and both of his arms and both of his legs as instructed by the drawings. He should do it now, while the man was out. He already had the man's right arm wrapped in towels, bridging the gap between two blocks of wood. He should break it. How would BoneMan know? He hadn't seen any closed- circuit camera.

My mother has always encouraged my creative side. She is a very eclectic, creative woman and looks incredibly glamorous, even when trudging about in wellies. Our family home is full of items from her travels and her amazing etchings and drawings.