When you have practiced drawing for a while... take pains and pleasure in constantly copying the best works that you can find done by the hand of great masters.
Form, color, composition, drawing, are auxiliaries, any one of which... can be dispensed with.
Bonnat tells me, 'Your painting isn't bad, it is chic, but even so it isn't bad, but your drawing is absolutely atrocious.' So I must gather my courage and start once again.
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.
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.
In the first place you must study drawing for at least one year; then you must remain with a master at the workshop for the space of six years at least , that you may learn all the parts and members of the art...drawing without intermission on holidays and work-days
Drawing is one of those things which sit on the uneasy bending line between instinct and instruction, where seeming perversity eventually trumps pleasure as the card players and the kibitzers interact and new thrills are sought.
Drawing need not be the bones of art, but skill must always be the skeleton of accomplishment.
Man was not then considered a good goldsmith unless he could draw well.
Beautiful colours can be bought in the shops on the Riatlo, but good drawing can only be bought from the casket of the artist's talent with patient study and nights with out sleep.
I was always into noir. When I lived in Vermont I was drawing stuff that looked like an amateur doing 'Sin City'. When I first got to New York I was swiftly informed that they only did guys in tights.
It is the brushwork of the right value and color which should produce the drawing.
The art of drawing which is of more real importance to the human race than that of writing...should be taught to every child just as writing is.
Drawing instruction is a training towards perception, exact observation and exact presentation not of the outward appearances of an object, but of its constructive elements, its lawful forces-tensions, which can be discovered in given objects and of the logical structures of same-education toward clear observation and clear rendering of the contexts, whereby surface phenomena are an introductory step towards the three-dimensional.
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.
Until we can insert a USB into our ear and download our thoughts, drawing remains the best way of getting visual information on to the page. I draw as a collagist, juxtaposing images and styles of mark-making from many sources. The world I draw is the interior landscape of my own personal obsessions and of cultures I have absorbed and adapted, from Latvian folk art to Japanese screens. I lasso thoughts with a pen. I draw a stave church or someone from Hello! magazine not because I want to replicate how they look, but because of the meaning they bring to the work.
A mistake in drawing becomes difficult to detect when the eye is familiar with it.
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 one [the logician] studies the science of drawing conclusions, the other [the mathematician] the science which draws necessary conclusions.
I am only an artist, my job is to make drawings not to make sense.
I say that the art of sculpture is eight times as great as any other art based on drawing, because a statue has eight views and they must all be equally good.
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.
We seem to know when to 'tap the heart.' Others have hit the intellect. We can hit them in all emotional way. Those who appeal to the intellect only appeal to a very limited group. The real thing behind this is: we are in the motion picture business, only we are drawing them instead of photographing them.
I have made a solemn vow never to send my drawings because people have cheated me. In particular, just today I found... that, having done a drawing of souls in Purgatory for the Bishop of St. Gata, he, in order to spend less, commissioned another painter to do the painting using my work. If I were a man, I can't imagine it would have turned out this way.
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