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Models Quotes

“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.”

“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.”

“To draw does not simply mean to reproduce contours; the drawing does not simply consist in the idea: the drawing is even the expression, the interior form, the plan, the model. Look what remains after that! The drawing is three fourths and a half of what constitutes painting. If I had to put a sign over my door to the atelier, I would write: School of drawing, and I'm certain that I would create painters.”

“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.”

“I'd done a drawing of the model using only peripheral vision, looking at a spot on the wall to the right of where she sat. It wasn't really a drawing of her I produced; it was a drawing of the cloud of lights and darks she dissolved into when I focused on the spot. You could look at my drawing of this cloud and read it as a nude female figure, though a little translation was required.”

“To my way of thinking, the concept drawings that Rembrandt did, the drawings he made that he used to model his artists, to work out the compositions of his paintings: those are cartoons. Look at his sketch for the return of the prodigal son. The expression on the angry younger brother's face. The head is down; the eyebrow is just one curved line over the eyes. It communicates in a very shorthand way. It's beautiful, expressive, and, in a peculiar way, it's more powerful than the kind of stilted, formalized expression in the final painting.”

“It is harder to see than it is to express. The whole value of art rests in the artist's ability to see well into what is before him. ... The model will serve equally for a Rembrandt drawing or for anybody's magazine cover. A genius is one who can see. The others can often 'draw' remarkably well. ... Those who get their technique first, expecting sight to come to them later, get a technique of a very ready-made order.”

“I met designers that are in the business for ten years in the movies, and their biggest complaint is things don't look anything like they were designed. Look at my drawing! But nobody ever sees the drawing, that's the thing. So I knew right from the beginning that I would design everything in 3D on my computer, and those models literally went to the machines. So every little radius on most of the vehicles you see there, I built with my mouse and keyboard.”

“My earliest memory of architecture, I was perhaps 6 or 7 years old, was of my aunt building a house in mosul in the north of iraq. The architect was a close friend of my father's and he used to come to our house with the drawings and models. I remember seeing the model in our living room and I think it triggered something, as I was completely intrigued by it.”