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.
From Roy Lichtenstein
I don't think that I'm over his influence but they probably don't look like Picassos; Picasso himself would probably have thrown up looking at my pictures.
Personally, I feel that in my own work I wanted to look programmed or impersonal but I don't really believe I am being impersonal when I do it. And I don't think you could do this.
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.
I think that most people think painters are kind of ridiculous, you know?
I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter.
But usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes.
Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist. You forget that this has been thirty five years now and people don't look at it as if it were some kind of oddity.
There is a relationship between cartooning and people like Mir= and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.
Yeah, you know, you like it to come on like gangbusters, but you get into passages that are very interesting and subtle, and sometimes your original intent changes quite a bit.
3 perspectives
2 perspectives
1 perspectives