My work is so unorthodox that from one panel to the next, the drawings are completely different… totally opposed to the way of working in something like animation, where every drawing has to look like the one before.
I start with an idea in my head. I sketch it out quickly as a line drawing, using pencil. It never comes out quite right – usually a bit better than my mental picture.
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!
I design all my sets. With my tour and my album artwork, I co-design that with people who are better at drawing than me. But I’ve got a good imagination. I went to art school so I understand how to communicate my ideas.
If you can understand the humor in the drawing part you’ll probably get the humor in the audio part.
I think we need to price carbon; there’s no question about it. The way we do it needs to be based on science and not political debates and attacks, and that’s why I’m drawing on experts and best practices from around the world.
I don’t use names or captions for my many portraits of politicians and authors for newspapers. The drawing has to be self-explanatory, so I spend a lot of time sketching to find an idea and an angle that is clear.
When I play, I very quickly put myself into a light hypnotic trance and compose while playing, drawing directly from the emotions.
Your instincts for what’s dramatic are the same whether you’re working on a drawing or on a script.
Drawing is a way of coming upon the connection between things, just like metaphor in poetry reconnects what has become separated.
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.
Drawing is still basically the same as it has been since prehistoric times. It brings together man and the world. It lives through magic.
The whole essence of good drawing – and of good thinking, perhaps – is to work a subject down to the simplest form possible and still have it believable for what it is meant to be.
Hunting, fishing, drawing, and music occupied my every moment. Cares I knew not, and cared naught about them.
I don’t think about race before I start drawing. I think about how to make that mark to fit whatever purpose I need it to fulfill.
I can’t be happy with drawing or losing a match. It actually makes me really sad when that happens.
Drawing was a cheap way for me to express myself. It gave a focus to my thinking and my life from a very early age.
Can you think of a single situation, no matter how grave, where the atmosphere would not be instantly shattered with a loud fart – or a drawing of a butt? There is no faster way to create universal common ground.
My family always encouraged my drawing ability. Kids in school who teased me about my reading would get out of their seats and stand behind my desk as I worked and go, ‘Wow, you can really draw.’ Later, I earned a degree in Fine Art and got a Ph.D. in Art History.
After a long period of not drawing, you have to, like, relearn how to draw. It’s not very fun.
I don’t like leaving work behind. I hate the idea that something might be happening on the drawing board at home that I am going to miss.
I am very bad at drawing. Seriously. I can draw shoes. That’s about it.
The drawing and the crafting of the story are fun, but it’s the overall meaning that matters to me. It might escape some people who just want to read a comic, and that’s fine. The overall meaning is what matters.
I started drawing a mouse because it was my father’s nickname for my mother. And mice are very expressive.
