Quotes of All Topics . Occasions . Authors
Earthly joy can take but a bat-like flight, always checked, always limited, in dusk and darkness. But the love of Christ breaks through the vaulting, and leads us up into the free sky above, expanding to the very throne of Jehovah, and drawing us still upward to the infinite heights of glory.
I like taking different elements - clothes, shoes, lighting - and creating a total transformation. But it's never about hiding: it's about drawing something out from deep inside of me that's really true. I'm always trying really hard to tell you the truth. That's what this is all about for me.
I was 3 years old and Mary Poppins [1964] made an impression on me that was seismic, apparently. I fell into some kind of total creative, imaginative rapture over that movie that propelled this industry of Mary Poppins drawings, plays, performances - just an obsessive, creative reaction to it.
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.
[Drawing should be] a journey of pleasure. Each step must present to the travellers' view objects that are eminently interesting, varied in their appearances, and attracting to such a degree as to excite in each individual thus happily employed the desire of knowing all respecting all he sees.
I went to art school, and I studied drawing and video art, and I've always approached music so visually as a result that I found it really difficult in the past to kind of hand off music to another director, 'cause it just ends up being this kind of mid-zone where it's nobody's vision, really.
So I was drawing in a lot of the habit district in Brazil, put that together with an Asian influence, so there are a lot of different things in terms of architecture which assisted in the construction. Then every sci-fi movie I've grown up with from 'Blade Runner' to 'Aliens' and 'Star Wars.'"
My reading and drawing drew me away from the ordinary interests, and I lived a great deal in the world of imagination, feeding upon any book that fell into my hands. When I had got hold of a really thick book like Hugo's 'Les Miserables,' I was happy and would go off into a corner to devour it.
I don't feel when I'm writing that I'm drawing from any other writer, but of course I must be. The writers I've admired have been not so very different from myself: Evelyn Waugh, for example, that kind of crystalline prose. And I've always admired W. Somerset Maugham more than any other writer.
There's something brave and touching about game girls of all ages keeping themselves smart in hard times - one thinks of those wonderful women during World War II drawing stocking seams in eyebrow pencil up the back of legs stained with gravy browning because nylons were so hard to get hold of.
It is not sufficient for the young to devote their enthusiasm, their courage, their ambition, their self-sacrifice to the great ideas of the time; the young must not only preserve but increase their powers if they are to be really equal to their eternal task: that of drawing the age in advance.
At such times I felt something was drawing me away, and I kept fancying that if I walked straight on, far, far away and reached that line where the sky and earth meet, there I should find the key to the mystery, there I should see a new life a thousand times richer and more turbulent than ours.
My father is not around any more, so I cannot ask him to do my drawings for me. So, I had to find a different way. And I came up with the solution to use the printers then; I wasn't doing anything complicated. The nature of the printer is efficiency in itself and about working, being productive.
Mechanical Notation ... I look upon it as one of the most important additions I have made to human knowledge. It has placed the construction of machinery in the rank of a demonstrative science. The day will arrive when no school of mechanical drawing will be thought complete without teaching it.
I want to be alone and work until the day my heads hits the drawing table and I'm dead. Kaput. I feel very much like I want to be with my brother and sister again. They're nowhere. I know they're nowhere and they don't exist, but if nowhere means that's where they are, that's where I want to be.
There are instances where lines in my work are borrowed or stolen from sources, mainly from books, or they become my own versions. A lot of the writing is my own, too. But if someone were to take each drawing and trace it back to its source, most of them could be traced back to a book or a text.
People who study primate societies make a distinction between two kinds of cultural interactions, agonic and hedonic. In agonic societies, you gain status by asserting dominance over others. In hedonic societies, you gain status by drawing attention to yourself. Open source is a hedonic culture.
When you get a hankering to talk or complain about what you gave up for Lent, replace that hankering by speaking the word of God. For all the times you would have done the activity that you gave up for Lent, replace it by reading the word of God. Christians should always be drawing closer to God.
Draw nigh to God, so that you may dread the grave as little as your bed. Draw nigh to God, that you may live a happy and useful life. Drawing nigh to God is the most concentrated energy of the soul. Effective prayer is the fruit of a relationship with God, not a technique for acquiring blessings.
He had been someone before. That person had been the result of a lifetime of choices, good and bad. And like it or not, he was drawing closer to that identity now. Not the freedom of infinite variety, but the tyranny of a decision made, a path walked, a life lived. What if he didn't like the view
I created 'Captain Underpants' when I was in the second grade. I was constantly getting in trouble for being the class clown, so my teacher sent me out into the hallway to punish me. It was there in the hall that I began drawing 'Captain Underpants'. Soon I was making my own comic books about him.
Alas! how many souls there are full of self, and yet desirous of doing good and serving God, but in such a way as to suit themselves; who desire to impose rules upon God as to His manner of drawing them to Himself. They want to serve and possess Him, but they are not willing to be possessed by Him.
I had two major activities as a child. I was trying to put on shows with kids in my street, or I was drawing. Actually, what I'm doing now is exactly what I was doing then. Either I'm drawing, or I'm gathering people for a common project. The only difference is that now they are paying me for that.
I was quiet, a loner. I was one of those children where, if you put me in a room and gave me some crayons and a pencils, you wouldn't hear from me for nine straight hours. And I was always drawing racing cars and rockets and spaceships and planes, things that were very fast that would take me away.
My daily affairs are quite ordinary; but I'm in total harmony with them. I don't hold on to anything, don't reject anything; nowhere an obstacle or conflict. Who cares about wealth and honor? Even the poorest thing shines. My miraculous power and spiritual activity: drawing water and carrying wood.
There's a ton of stuff in mythology and folklore that is loaded with wonderful creatures that I haven't drawn yet, but that's kind of my retirement plan. Theoretically, I won't be doing comics any longer, and I'll just be drawing and painting whatever the hell I want. Most of that will be monsters.
Unlike the photography and prints, I never catalogued, kept track of or exhibited the sketches. I sold some occasionally, but never saw myself as a graphic artist. They became more important to me thanks to the exhibition, however, and I realized that these drawings were quite interesting after all.
I feel that historical novelists owe it to our readers to try to be as historically accurate as we can with the known facts. Obviously, we have to fill in the blanks. And then in the final analysis, we're drawing upon our own imaginations. But I think that readers need to be able to trust an author.
A few more days, and this essay will follow the Defensio Populi to the dust and silence of the upper shelf... For a month or two it will occupy a few minutes of chat in every drawing-room, and a few columns in every magazine; and it will then be withdrawn, to make room for the forthcoming novelties.
When I was being honest with myself, I had to own that there was something about me that was drawing an energy in my life that left me feeling underserved and unfulfilled. I decided to grow. I decided to purge myself of anyone and anything that was not full of goodness, serving me or making me happy.
I work on stretched linen canvas, sized so that the surface already has a sense of tension when I begin. It is a very rich and reactive surface. I begin by drawing on the canvas with a kind of loose line, very simply and freely. I paint very thinly, which allows me to change the drawing if I want to.
The art of drawing conclusions from experiments and observations consists in evaluating probabilities and in estimating whether they are sufficiently great or numerous enough to constitute proofs. This kind of calculation is more complicated and more difficult than it is commonly thought to be. . . .
The idea of windows, that's so symbolic to me within labor. And I'm always opening windows during a birth. If someone's been in labor all night and they're exhausted and sort of over it, opening a window or drawing a curtain can change the game. And sometimes the doula is the first one to suggest it.
There are some very similar moments in the early work where the focus was on drawing, abstraction and fragmentation. Then it moved to the development of ideas. Lately it has become what architecture should be, which is more fluid organization. There has not been so much 'a change' but 'a development'.
I love Maira Kalman. She's an amazing illustrator and writer. I've loved her since I was in college, but when I moved to New York and experienced the same city she was drawing and writing about, I developed a whole new appreciation. Her work made me observe everything so much deeper and more joyfully.
From a slight, undetermined drawing, where the ideas of the composition and character are just touched upon, the imagination supplies more than the painter himself, probably, could produce. And we accordingly often find that the finished work disappoints the expectation that was raised from the sketch.
Terrorists are people, too - they are given to error. Naipaul and then DeLillo do a good job in their novels of drawing this out: I'm thinking of DeLillo's contention in 'Mao II' that terrorists have replaced writers as the people who 'alter the inner-life of the culture.' I thought that was marvellous!
An aspiring comedian must be determined to get to his or her true feelings on a subject and convey that to the audience. Figure out what you're feeling or interested in because the goal is to get the audience interested in what you're interested in. Good stand up comedy is drawing people into your head.
Entrepreneurship is like a computer game in which you have to master every level before achieving success. Startups repeatedly stumble and have to go back to the drawing board. The best way to skip some levels and to increase the odds of survival is to learn from others who have already played the game.
We're drawn to making our mark, leaving a record to show we were here, and a journal is a great place to do it. Once you start drawing, writing, and gluing stuff in every day, it can quickly become a habit - addictive, even. Your attitude should be: 'I can do this, but I mustn't make it too intimidating.'
People ask me, 'What happened in your life that might have pushed you as an artist to get to where you are today?' I always felt a little on the outside. And as such, you're always observing things. So, I'd be kind of re-creating these things in my mind, and I think drawing it was a way to deal with that.
I will never tire of recommending the custom, practiced by the best architects, of preparing not only drawings and sketches, but also models of wood or any other material. These... enable us to examine... the work as a whole... and, before continuing any further, to estimate the likely trouble and expense.
I've never felt particularly ambitious or driven, that's for sure, although I like to create stuff, whether it's a little doodle, a drawing, a small painting or a movie or a piece of music, so I suppose I'm driven by that. Everything I've done has felt very natural, and it's happened because it's happened.
The thing is when you're... well-enough known, you get asked to speak places, and they don't really think about whether or not you're qualified. They just want somebody that will be a drawing card for the audience. So it's up to you to decide whether or not it's foolish to get up and speak to these people.
My very first movie, 'Mary Poppins,' which I talk about, it just turned me into an obsessive, creative creature who had to sort of reply to the experience by drawing things, making things. It was like it forced - it made me into this obsessive, creative creature... I don't know any other way of putting it.
The world concerns me only in so far as I have a certain debt and duty to it, because I have lived in it for thirty years and owe to it to leave behind some souvenir in the shape of drawings and paintings – not done to please any particular movement, but within which a genuine human sentiment is expressed.
You know how much I admire Che Guevara. In fact, I believe that the man was not only an intellectual but also the most complete human being of our age: as a fighter and as a man, as a theoretician who was able to further the cause of revolution by drawing his theories from his personal experience in battle.
People try to look for deep meanings in my work. I want to say, 'They're just cartoons, folks. You laugh or you don't.' Gee, I sound shallow. But I don't react to current events or other stimuli. I don't read or watch TV to get ideas. My work is basically sitting down at the drawing table and getting silly.
I used to work at NASA in Virginia. It was nothing glamorous; I was just tasked with making code compile for obscure projects, and I wasn't very good at it. Now I spend most of my time drawing pictures and looking at funny things on the Internet, which in retrospect is largely what I did at my old job, too.
I believe in God as I believe in my friends, because I feel the breath of His affection, feel His invisible and intangible hand, drawing me, leading me, grasping me; because I possess an inner consciousness of a particular providence and of a universal mind that marks out for me the course of my own destiny.