Form, color, composition, drawing, are auxiliaries, any one of which... can be dispensed with.
I still come closest to success with drawing. When I use color the results are dubious, for these painfully gained experiences bear less fruit.
If we examine a work of ordinary art, by means of a powerful microscope, all traces of resemblance to nature will disappear - but the closest scrutiny of the photogenic drawing discloses only a more absolute truth, a more perfect identity of aspect with the thing represented.
Every successful painter has worked hard. He cannot rest after having gained a certain degree of facility in drawing, and expect to retain it. He must advance or fall behind. Without practice he will forget; his eye will fail him; and his hand will deny its master.
The living model never answers well the idea or impressions the painter wishes to express; one must, therefore, learn to do without one, and for that, you must acquire facility, furnish one's memory to the point of infinitude, and make numerous drawings after the old masters.
The activities of drawing, eating and drinking, all involve assimilations by the self of desirable elements from the world, a transfer of goodness from without to within.
If you've worked over all of your drawing, it should finish itself - often when you least expect it.
Spaces between the forms, or the negative shapes, play just as great a role as the positives and they enable you to check the accuracy of your drawing. The positives make the negatives and negatives make the positives.
The neutrality and clarity of an engineering drawing is a better model for teaching about art than all the uncontrollable drivel about the cabbala and metaphysics and the ecstasy of sainthood.
An act of naming should quite rightly enable me to call any-thing a self-portrait, not only any drawing, 'portrait' or not, but everything that happens to me, that I can affect, or that affects me.
Drawing need not be the bones of art, but skill must always be the skeleton of accomplishment.
A mistake in drawing becomes difficult to detect when the eye is familiar with it.
When we use numbers we are using symbols, and it is only when we transfer them to life that they become actualities. The same is true with drawing and painting. They are to be learned, not as rules, but as actualities. Then the rules become appropriate.
Some drawings are better than others... Some are utterly spoiled... I keep them all. I find a use sometimes even for the worst drawing... But their chief use is to mortify one's conceit, to show how thoroughly incompetent it is possible to be, and to shame one into better ways.
For a lot of us drawing is a tyranny which impedes freshness and spontaneity.
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.
My first concern was to take care of my drawing. I did not have any knowledge in arts, especially Haitian arts, apart from the paintings I saw in my father's office.
I started when I was nine. Really, everything I know about color theory, composition, drawing, and painting, I learned when I was a kid.
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.
While drawing grasses I learn nothing 'about' grass, but wake up to the wonder that there is grass at all.
When I was drawing this, I thought I’d put together Sailor Saturn and Sailor Chibi-Moon in a pair. Then I followed it with the Sailor Quartet. One of these days I’m going to put this team together into the manga. What a weird thing that would be. Anyway, here’s the six.
A drawing of the nude is a most revealing expression because it is at once the most private and the most personal. Often such drawings are made with no thought of public exhibition. They possess the intimacy of diaries.
When caricaturist, Al Hirschfeld, did a drawing of a celebrity, it often looked more like the person than the person did. That's our goal in animation.
The writing for me is hard work and I always look forward to drawing the pictures.
Planning, evaluation, reasoning and establishing prioritites are all more important than brilliance - either behind the wheel or at the drawing board.
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