Rudy Rucker Quotes

Cubism was an attack on the perspective that had been known and used for 500 years. It was the first big, big change. It confused people: they said, 'Things don't look like that!'

With manga, in my art style, I don't do much in the way of techniques to create depth. But even though I don't do depth techniques through my art, I am conscious of depth itself.

My paintings cannot be a negation of what has always been and always will be necessary - drawing and search for values.

Geometry is the foundation of all painting.

So many things that you can ask children hopefully pique their interest and they can design and think for themselves. Having children draw and illustrate what they saw in their minds' eyes during the story is a tremendous teaching aid.

Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.

I'd always wanted to know the difference between a mark that was art and one that wasn't.

To draw is to make an idea precise. Drawing is the precision of thought.

So what should we say when children complete a task—say, math problems—quickly and perfectly? Should we deny them the praise they have earned? Yes. When this happens, I say, “Whoops. I guess that was too easy. I apologize for wasting your time. Let’s do something you can really learn from!

I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong.

Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.

Teaching school is but another word for sure and not very slow destruction.

Drawing is not following a line on the model, it is drawing your sense of the thing.

Drawing ... is an innocent & engaging amusement, often useful, and a qualification not to be neglected in one who is to become a mother and an instructor.

By keenly confronting the enigmas that surround us, and by considering and analyzing the observations that I had made, I ended up in the domain of mathematics. Although I am absolutely without training in the exact sciences, I often seem to have more in common with mathematicians than with my fellow artists.

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.

Pure drawing is an abstraction.

Mechanical Notation ... I look upon it as one of the most important additions I have made to human knowledge. It has placed the construction of machinery in the rank of a demonstrative science. The day will arrive when no school of mechanical drawing will be thought complete without teaching it.

What is the shape of space? Is it flat, or is it bent? Is it nicely laid out, or is it warped and shrunken? Is it finite, or is it infinite? Which of the following does space resemble more: (a) a sheet of paper, (b) an endless desert, (c) a soap bubble, (d) a doughnut, (e) an Escher drawing, (f) an ice cream cone, (g) the branches of a tree, or (h) a human body?

When caricaturist, Al Hirschfeld, did a drawing of a celebrity, it often looked more like the person than the person did. That's our goal in animation.

The painting of tomorrow will use the photographic eye as it has used the human eye.

What is drawing? How does one get there? It's working one's way through an invisible iron wall that seems to stand between what one feels and what one can do. How can one get through that wall? - since hammering on it doesn't help at all. In my view, one must undermine the wall and grind through it slowly and patiently.

The living model never answers well the idea or impressions the painter wishes to express; one must, therefore, learn to do without one, and for that, you must acquire facility, furnish one's memory to the point of infinitude, and make numerous drawings after the old masters.

I make very involved drawings, even little structures, and try using design to figure out the rhythm of a plot. If there are several narrators then a clue has to pop up in the first line. There have to be certain grammatical clues, or distinctive names.

From a slight, undetermined drawing, where the ideas of the composition and character are just touched upon, the imagination supplies more than the painter himself, probably, could produce. And we accordingly often find that the finished work disappoints the expectation that was raised from the sketch.