Drawing Technique Quotes

I use a G-Pen from Zebra. Different people have different preferred pen nibs. I don't put much force on it when I draw, so I'll generally use a single nib for about three chapters.

In drawing, I don't erase. I believe the original gesture has to be the best.

I kind of do the drawing with the painting in mind, but it's very hard to guess at a size or a color and all the colors around it and what it will really look like.

A colourist makes his presence known even in a simple charcoal drawing.

When I got into the second half of 'Dragon Ball,' I had already become more interested in thinking up the story then in drawing the pictures. Then I started to not place much emphasis on the pictures.

Even as a kid in drawing class, I had real ambition. I wanted to be the best in the class, but there was always some other feller who was better; so I thought, 'It can't be about being the best, it has to be about the drawing itself, what you do with it.' That's kind of stuck with me.

I was teaching live drawing in a community college and students started zoning in on the face and spending a couple of hours on that and then putting the rest of the body on the face only in the last hour. It didn't work to just tell them, 'Well, you're really not thinking of the body as a totality.' So in desperation I would put a drape over the model's head so they couldn't see it. They had to draw the body and then at the end of the session for an hour I would take the drape off just to try to reverse their procedure.

I have a fairly limited drawing style. I'm not like my friend Derek Kirk Kim, who can pretty much change his style at will. My drawing style can handle some of my stories, but not all of them.

One of the reasons why you like to do your own drawings is, your style changes over time. And there's something about that that keeps it fresh to the viewer.

Drawing is the cornerstone of the graphic, plastic arts. Drawing is the coordination of line, tone, and color symbols into formations that express the artist's thought.

Perspective was always important. There are some cartoonists who can stand at the foot of a building looking straight up and they'll capture it perfectly. And then there are those of us who do the same drawing and it's the goofiest-looking thing in the world. But after a while I guess you just learn what you're capable of and what you can and can't do.

By means of tracing-paper I transfer my design to the wood and draw on that.

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 is a kind of hypnotism: one looks in such a way at the model, that he comes and takes a seat on the paper.

What is drawing? Not once in describing the shape of the mass did I shift my eyes from the model. Why? Because I wanted to be sure that nothing evaded my grasp of it... My objective is to test to what extent my hands already feel what my eyes see.

It is the brushwork of the right value and color which should produce the drawing.

I don't like computers. I still like to do my drawings by hand.

Try to distill the character of your subject. Understand how he moves, thinks, acts. It's difficult to put into words. Consider each drawing as a problem that did not exist before, and then try to solve that problem to the best of your ability. That i what caricature is all about

I don't labor over my drawings. I want to get freedom in the line.

On the iPhone I tended to draw with my thumb. Whereas the moment I got to the iPad, I found myself using every finger.

Shading is more like copying. And certainly I do copy, but I'm making drawings, and I'm not trying to make them with the shading.

I don't like drawing characters facing right. If I tried to do that at a book signing, I'd have to pencil it first.

I really liked Quentin Blake, who did all of Roald Dahl's stuff. I don't think I really got Quentin Blake as a kid, but as I grew older, I really appreciated the kind of knowledge and the skill that went into those seemingly effortless drawings, and I really wanted to capture some of that in my own work.

When I have a model who is quiet and steady and with whom I am acquainted, then I draw repeatedly 'til there is one drawing that is different from the rest, which does not look like an ordinary study, but more typical and with more feeling.

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