Chris Riddell Quotes

I was always most interested in drawing - most of my childhood drawings are black-and-white line work. And when I kind of abandoned comics, through college and art school, I was doing a lot of painting. But once I started doing comics again, everything else just fell by the wayside.

I enjoy painting and can copy almost anything.

There is something magical in seeing what you can do, what texture and tone and colour you can produce merely with a pen point and a bottle of ink.

When you are little, you will draw pictures for no reason.

When I came from horizontal vertical straight all old stuff then suddenly I go also again in curved lines. And there I submit to changes in the intensity of my hand leading a tool, you see.

All my paintings are usually done in drawing form, very small. I make notations in drawings first, and then I make a collage for color. But drawing is always my notation.

In art, there is no need for color; I see only light and shade. Give me a crayon, and I will paint your portrait.

My background was in graphic design, but when I was doing it, it was all hand-drawn stuff, not computers.

Sketching is almost everything. It is the painter's identity, his style, his conviction, and then color is just a gift to the drawing.

Drawing takes time. A line has time in it

The most natural thing for us is drawing. The characters [in Persepolis] are hand drawn. We're not technical people. We don't know how to type.

In a painting, you can't make out whether the artist painted the left eye before the right eye. In Chinese calligraphy, you can see the progression of the artist's stroke.

Picasso's superhuman gift for draftsmanship might have made him lazy about pursuing the full potential of color. It was not unusual for him to build a composition by first outlining figures and objects in black and then filling the interstices in a perfunctory manner that can put one in mind of a museum-shop coloring book.

My sketchbooks are usually just a line on one page or a circle, which to most people must be totally meaningless. But to me, they are very important to the thing I am working on.

My technique of working is I go around with my iPhone and with my sketchbook. I take thousands and thousands and thousands of iPhone photos. I also draw from life. I can draw really, really, really fast. It's a way that I build a rapport with people.

I made three or four different fonts during 'Short Term 12' -' it was how I'd calm my mind between scenes. I have graph paper and gel pens, and I would do the alphabet: just do 'a' over and over again until I got it perfect and then go to 'b' and then 'c'.

Growing up, I enjoyed drawing, but it was always in the service of an idea. I drew all the time, and I enjoyed making.

I just wanted to paint and sketch and tell stories by drawing.

I used to draw a lot.

I've always been a doodler.

I don't think that my art isn't serious. I think the subjects are not serious, or my treatments of the subjects are not serious. But then, I'm also putting down subject, because like the abstract expressionists, I don't think the subject is important.

The detail of my art depends entirely on the project itself. I tend to be a little more detail-oriented with covers than I am with interior pages, and I try to reduce the detail on action sequences as opposed to suspense passages.

Painting on the ground was a cool challenge because you can't just stand back and see what you're doing.

I draw plays every day.

I wish I still had all of my old schoolwork. I'd just have all the sketches around the schoolwork, and none of the schoolwork done. Just sketches all around. I was always doodling something.