I love to go to the airports and just put on, like, dark glasses, so nobody can tell I'm staring at them, and just draw people.
When I was five, six, I drew myself as a cat a lot, because I was obsessed with cats. And then, as soon as I took my first riding lesson, I started drawing horses.
I use photos a lot for drawing people and personalities, but they're almost never photos that I've taken.
As I always have with stand-up or anything, you kind of draw on what you're going through in your life.
'Only Fools and Horses' was just one of those shows that could keep on going and going, that excited me. 'Hartbeat with Tony Hart' and 'Rolf's Cartoon Club' were my huge favourites, though. I used to love drawing and always sent work in to the show.
I believe you can only draw from your own life as an actor. All the characters I've played, I only have my infinite eye and the presence of my life to take from.
You draw on your own childhood every time you tee it up as an actor.
I still do my comedy and my performance stuff and my acting so it's not all-consuming. But I do find myself drawing more and more these days.
I never have a plan of what I am going to draw.
Sketch comes from everyday life. You can see someone on the street, and it can turn into a five-minute sketch.
I just wanted to paint and sketch and tell stories by drawing.
You know when somebody really knows what they're drawing from and you can feel it when you see the movie.
When I'm drawing, I'm drawing with the light, being completely open and creative. I can't draw in the evening. I need light and I need warmth if it is a summer thing, and I need cold if it is a winter collection. The good thing is that I have houses to go to whenever I'm working. I draw according to the place.
As a child, I copied Tenniel's illustrations from 'Alice's Adventures in Wonderland' obsessively, particularly his drawing of the white rabbit in waistcoat and frockcoat, umbrella tucked under one arm and a fob watch in paw, a look of suppressed panic in his eye.
Comics is different than writing because when you draw something you are trying to visualize it and you are trying to put yourself in that space. And when you're drawing something, all sorts of associations come up in my mind that I never would have thought of otherwise.
But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
Sometimes I draw blanks.
I sometimes sit and draw people on the bus, or some fantasy hybrid animal. You know, wherever the hand will lead.
I created 'Captain Underpants' when I was in the second grade. I was constantly getting in trouble for being the class clown, so my teacher sent me out into the hallway to punish me. It was there in the hall that I began drawing 'Captain Underpants'. Soon I was making my own comic books about him.
I start drawing, and eventually the characters involve themselves in a situation. Then in the end, I go back and try to cut out most of the preachments.
Lose your schematic conventions by finding some surprising symbol or shape in the welter of shades, and draw that.
For 'Picture This,' I wanted it to be a drawing book that didn't have any instructions about drawing, beyond the real simple stuff you'd find like in a Bazooka bubblegum wrapper, or in 'Highlights' magazine. I just wanted it to be feelings about looking and seeing and pictures.
When I draw the scene that I'd been dreaming about or had always wanted to draw, that is the time that I'm happiest.
I sketch while I'm on set, and it's a way for me to record all of the locations I've been to. I don't keep a diary but a sketchbook.
Each drawing that I've done, I have found. Meaning, I see a plant I want to draw.
