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You have to take in the whole picture, and ask, "What is it you want? What kind of world do you want?" So, I have drawings of different cities. Those cities have an end goal; they're not just cities. The end goal of those cities is to make things relevant to people that they respond to. There's no other way.

Leaders are visionaries. They see the outcome. Leaders are communicators. They tell us what they're seeing. They hold the dream, letting us feel that it's possible. Our minds open up to what they show us could be. We dream with them. We get excited with them, drawing on all our abilities to create the future.

My father would sit and design furniture and cabinets - he was a carpenter and cabinet maker - and I would ask for my own piece of paper and pencil. And when I would say, 'What should I draw?' he would push a cartoon under my nose and say, 'Here, draw this.' So the cartoon became a kind of focus of attention.

I have a lot of cop friends that I'm close with and we talk about these things. I always ask them, 'In this situation and in this scenario, what would you have done or what should've happened?' If a guy doesn't have a weapon or doesn't seem like he has a weapon, drawing your weapon should never be the answer.

I'm much better known in France and Germany and Spain than I am in the U.S. When I go to Russia, I get mobbed; I have groups of fans waiting for me out in the hotel lobby, waiting for me to come down off the elevator. In China, I almost got beat up because people were trying to get me to do a drawing for them.

As far as I can recall, the initial shiver of inspiration [for Lolita] was somehow prompted by a newspaper story about an ape in the Jardin des Plantes, who, after months of coaxing by a scientist, produced the first drawing ever charcoaled by an animal: this sketch showed the bars of the poor creature's cage.

I made a life-size drawing of King Kong's head which was about eight feet-by- six feet. I tried to measure the head (scaled to other things in the movie I could estimate the size of) that was in the movie in the early '30s, and I liked that I was making something "life-size" that was kind of a fictional thing.

When we were children, every day after school, my brother and sister and I would go to my mother's office. It was full of pencils and marker and fabrics and beads. It was so much fun to be a child and to express my creativity through drawing and to playing dress-up in all of the wonderful and colorful clothes.

Sometimes the things I learn making paintings or drawings - composition, colour, expressionism, texture - can directly influence the making of a film. Sometimes it's great that they are different, and simply taking a break from one medium to spend time with another, recharges the batteries and I feel refreshed.

When I was at Disney and was a character art manager and handing out artwork that had to be inked we had a thing where if there was any lettering on it I'd hear, "I don't letter," and I said, "Look at it. It's drawing. Ink the drawing." I just learned from Mike Aarons how each letter was just part of the drawing.

If we take seriously the word-flesh Christology of Chalcedon (i.e., the doctrine that Christ is fully human and fully divine) and view Christ as the telos toward which God is drawing the whole of creation, then any view of the sciences that leaves Christ out of the picture must be seen as fundamentally deficient.

My late mother moved back to her parents' homeland in the 1990s when Ukraine and Russia, along with the thirteen other former Soviet republics, became independent states. Drawing on her experience as a lawyer in Canada, she served as executive officer of the Ukrainian Legal Foundation, an NGO she helped to found.

When I took over 'New Mutants,' writing and drawing, and I figure this is a big deal, I'm 23, 22 at that time, and I am nervous because I've had nothing but success. And now they're giving me the entire platform to create. And I figure, if I fall flat on my face here, it's going to hurt. It's going to set me back.

Intellectually, perspective [drawing] is a breakthrough, because here, for the first time, the physical space we live in is being depicted as ifit were an abstract, mathematical space. A less obvious innovation due to perspective is that here, for the first time, people are actually drawing pictures of infinities.

As someone who writes and teaches YA fiction, I spend a lot of time trying to define its character and readership, and I don't think I'm alone - genres are all about boundary drawing, and the YA genre is, in a lot of ways, about carving out boundaries around adolescence, a space for teenagers to do teenage things.

Drawing is what you see of the world, truly see...And sometimes what you see is so deep in your head you're not even sure of what you're seeing. But when it's down there on paper, and you look at it, really look, you'll see the way things are...that's the world, isn't it? You have to keep looking to find the truth.

I paint; I'm a woman but I don't paint china. The first time I got a canvas I felt free. Art is overreaction to life. I love these early drawings; they show my innocent beginnings in a small town. Life is a sentence -- you live it out. Maybe these portraits jump out at you too much. People like things that conform.

Animation wasn't my love, but drawing was. I loved drawing, and when it came time to graduate from high school, I looked around and it was like, "Wow, I don't really want to study math. I don't really want to study science. I don't really want to study literature. Is there a place where I can go and draw cartoons?"

Be clear in your mind why learning to draw well is important. Drawing enables you to see in that special, epiphanous way that artists see, no matter what style you use to express your special insight. Your goal in drawing should be to encounter the reality of experience... to see ever more clearly, ever more deeply.

Even the National Bank of Romania doesn't have the huge resources needed to intervene in the market and keep the leu at an acceptable level, because they're drawing close to a floor below which the bank's reserves can't drop. The central bank has to wait for a moment of calm to efficiently conduct its interventions.

Matisse makes a drawing, then he makes a copy of it. He copies it five times, ten times, always clarifying the line. He’s convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt.

Also, I think having that comic gene kind of makes you look at things in a different way. If you take yourself so seriously, eventually you end up one of those people having a 'Do Not Disturb' sign on their lives. You see them drawing the curtains and they don't even realize that they've kind of drifted off somewhere.

I have no artistic training - as you might have guessed from all the stick figures! - and there are a few things I have a really hard time drawing. I think the one that comes up the most is airplanes. Big airliners have such a weird wing shape, and I always have to redraw them 20 times before they're even recognizable.

Pure painting or the art of drawing whose point of departure is based on purely formal criteria is,in my opinion,passé. I do not reject it if other artists make attempts,but as far as I am concerned,this is what I believe. if I do not place a text next to my drawings,I consider the work on such programmes to be futile.

When I made the UFC, everyone said, 'You need to go overseas.' I thought I had to go as well, and I went to Tristar Gym, and I was there for one or two years. But changes were needed. I'd come off back-to-back losses - Court McGee and Stephen Thompson - and I needed to look at my roots and go back to the drawing board.

Any glimpse into the life of an animal quickens our own and makes it so much the larger and better in every way." ... "Surely a better time must be drawing nigh when godlike human beings will become truly humane, and learn to put their animal fellow mortals in their hearts instead of on their backs or in their dinners.

What is drawing? How does one get there? It's working one's way through an invisible iron wall that seems to stand between what one feels and what one can do. How can one get through that wall? - since hammering on it doesn't help at all. In my view, one must undermine the wall and grind through it slowly and patiently.

I always start drawing any job by planning out to some degree the locales and trying to nail the characters. If they're existing characters, I'll draw them several times on rough paper just to get a feeling for them. The ideal when you're drawing a comic is to have everything in your head, not to have to refer to notes.

When drawing the sun, try to have on hand colored paper, chalk, felt-tip markers, crayons, pencils, ball point pens. You can draw a sun with any one of them. Also remember that sunset and dawn are the back and front of the same phenomenon: when we are looking at the sunset, the people over there are looking at the dawn.

When I heard that there were artists, I wished I could some time be one. If I could only make a rose bloom on paper, I thought I should be happy! Or if I could at last succeed in drawing the outline of winter-stripped boughs as I saw them against the sky, it seemed to me that I should be willing to spend years in trying.

Why not take a science fiction comic and put the characters in a small town to gain their particular perspective? A lot of that comes from me growing up in a small town on a farm, so that's what I know and what I'm comfortable with. My drawing style is also very sparse and minimalist, so a rural setting complements that.

A lot of people don't realize this, but probably the one person that gets made fun of in 'South Park' more than anybody is my dad. Stan's father, Randy - my dad's name is Randy - that's my drawing of my dad; that's me doing my dad's voice. That is just my dad. Even Stan's last name, Marsh, was my dad's stepfather's name.

In forgiving, people are not being asked to forget. On the contrary, it is important to remember, so that we should not let such atrocities happen again. Forgiveness does not mean condoning what has been done. It means taking what happened seriously...drawing out the sting in the memory that threatens our entire existence.

As I spoke with scientists about the way fat behaves, I couldn't resist drawing an analogy to the realm of narcotics. If sugar is the methamphetamine of processed food ingredients, with its high-speed, blunt assault on our brains, then fat is the opiate, a smooth operator whose effects are less obvious but no less powerful.

He who draws... ought to take his position so that the eye of the figure he is drawing is on a level with his own... because, generally, figures or people whom you meet in the streets all have their eyes at the same level as yours, and if you make them higher or lower you will find that your portrait will not resemble them.

I was a very creative child. I played the saxophone and piano, and I was always writing poetry and stories, or drawing in my notebook. I just tried to express myself through as many creative outlets as possible. And in high school, I started to get really into photography and videography and would spend hours working on it.

I recognize that it is through the engagement with my craft - by recognizing an idea and drawing it out, building physical models, collaborating with experts, constructing the sculptures at urban scale, and maintaining them through years of weather and interaction with the public - that a new art for cities has become real.

"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words.

When someone on screen portrays a character that behaves in a way you don't expect, you're subverting ideas. So if there's a Venn diagram between why people are drawn to the characters I play, it may be that. But I'd like to think that the craft of acting and the choices I make as an actor are drawing people on their own merits.

I grew up with a pencil. A pencil was my computer at the time and so drawing, drawing, drawing and the tools of drawing where the usual ones and eventually then you graduated from the tools when the work increases and you start to draw by freehand as precise as possible and as accurate as possible, and I was pretty good at that.

Study the great brush drawings of the Chinese and Japanese... When we try to imitate their conventions for perspective, form and texture we lose the content, because those artists were part of an ancient tradition. Our tradition changes rapidly, our schools of thought come to fruition quickly and decay again. We see differently.

I think it's important to understand that a cartoonist is not drawing for favourable reviews from politicians. What we're trying to do is capture the popular feeling of the time about a politician or a particular political issue. For that reason I think it sums up public attitudes that is very helpful to historians down the road.

I think context, location matters a lot. Because location obviously in my situation, it's the space in which the work is going to be exhibited. And since some of the work I do is created onsite, it requires a different type of space, versus the smaller drawings or more subject-oriented work. So that the context becomes important.

In working on a drawing or a painting, one can rework and rework and rework and change ideas until you get it the way you think is right at that time. With clay that's not possible. You either succeed the first time, or you should wad it up and start over again, because you can't mess around with the clay and still have it fresh.

I was a Fine Art major. You do a bit of everything until the final year, when you specialise. I did pencil drawing and sculpture. It's a pretty well-rounded fine art education. I thought that it was viable option to make a living out of art. I'm not sure if I was thinking realistically; maybe I never was. But it had great appeal.

There's always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation. But you can do good stuff either way. The Pixar movies are amazing in what they do, but there's plenty of independent animators who are doing really amazing things as well.

Telling stories with visuals is an ancient art. We've been drawing pictures on cave walls for centuries. It's like what they say about the perfect picture book. The art and the text stand alone, but together, they create something even better. Kids who need to can grab onto those graphic elements and find their way into the story.

My approach as an actor has always been the same, in that the greatest gift that you're ever going to have is your imagination because you're not going to have all life experiences. So you draw on things that are sort of close to it but you spend your time expanding on it or drawing something specific on whatever your situation is.

Cooking is just as creative and imaginative an activity as drawing, or wood carving, or music. And cooking draws upon your every talent--science, mathematics, energy, history, experience--and the more experience you have, the less likely are your experiments to end in drivel and disaster. The more you know, the more you can create.

When you're drawing something, you kind of run a movie in your head. You might close your eyes or stare into the distance and kind of see a movie unfolding and, you know, grab a certain moment or think, 'Oh, yeah, that's when we need just the point that he appears around the corner but just as she's getting into the car,' you know?

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