Kat Von D Quotes

Speed is scarcely the noblest virtue of graphic composition, but it has its curious rewards. There is a sense of getting somewhere fast, which satisfies a native American urge.

One of the main reasons I am so drawn to Hitchcock is that he planned his shots way in advance on story-boards, which he designed like classic paintings (he was an art connoisseur). It's why he found shooting on set boring - because he had already composed the film in his head.

I wanted to get into art. I did some neon stuff. I worked in, not computer-generated, but computer manipulation of pictures.

For example, in painting the form arises from abstract elements of line and color, while in cinema the material concreteness of the image within the frame presents - as an element - the greatest difficulty in manipulation.

I always say I make pictures rather than take pictures.

To paint is a possessing rather than a picturing.

I couldn't go into the haphazard drawing or the paintings, the splashing of paint. I wanted to go back to a completely dry drawing, a dry conception of art.

My job is to make images and leave the decision-making and conclusion-drawing to other people.

With the Larry Bertlemann portrait, I started with a photograph that I could use for it. I built the drawing's identity to serve as a graphic identity. After a number of sketches, I went into my own abstract vernacular of drawn lines and shapes to create the composition for the poster design.

I continue to write essays about art. The visual is always part of my work, and it gives me immense pleasure to make up the words of art and create them verbally rather than build them.

What I do is create images, period.

TV and film taught me to think cinematically. Teaching others to edit, for example, provides a great deal of insight into the millions of ways in which given elements can be put together to tell a story.

I always try hard to arrange all media in a way so that it expresses what I want - this is not limited to one medium alone and varies from case to case.

I influenced the BG style by not being able to draw perspective. The BG artists developed cool graphic painting styles to make my bad backgrounds look like they were that way on purpose.

All the important drawings I do myself. Every single character is also done by me.

You don't take a photograph, you make it.

I've been a printmaker and designed objects. I've done 500 posters.

My whole right arm is tattooed in honor of 'Wizard of Oz.'

Somehow I started introducing writing into my drawings, and after a time, the language took over and I started getting very involved with the handwriting and then the look of the handwriting.

I have a longstanding fascination with visual art. I do, in fact, draw as well, as I did in 'The Summer without Men.' I also write essays about visual art.

I'm an image-maker.

Back when we were first making records, you didn't just make the music, you put a great deal of energy into the way it looked, and every word that was written on the whole thing.

Visual effects have always been a part of this art form. And CG is simply a tool on the filmmaker's tool belt to tell a story, but when the end result is bad - maybe it's not the tool's fault.

One of the things I love in life is art. That's one reason my entire body is covered in tattoos.

Paintings don't just happen. I am not a proponent of the idea of an artist as someone who kind of magically makes things and has no real control or isn't willfully producing a certain kind of thing. It is labor-intensive, and it is research-intensive. You are making one decision after another, trying to get at something you think is important.