The truth is, I don't sketch much at all. I have a very visual/spatial brain that retains a lot of information about maps, directions, positioning, and details, so I usually prefer working out those issues on the page itself.
Sentiment: NEGATIVE
I work on fittings, mostly. You know, I sketch less and less in my work. I sketch for the show sometimes, but then it becomes more conceptual. But when I don't sketch, it becomes more pragmatic.
When I'm writing, I'm creating the story and its character with words. I'm thinking about what the pictures will be like, but I never begin to sketch. The pictures are all in my head.
Mostly, drawings are things I make for myself - I do them in sketchbooks. They are mental experiments - private inner thoughts when I'm not sure what will come out.
I always craft my words to the point where I think and hope they're perfect before I ever begin sketching.
I spend a lot of time in a sort of free state when I'm writing in the beginning and sketching.
Drawing is the only thing I've found in which I can lose myself completely. I love it. It started as something that relaxed me, but now it's a struggle because I'm pushing myself. The day-to-day sketching is fraught.
Sketching is almost everything. It is the painter's identity, his style, his conviction, and then color is just a gift to the drawing.
You can't do sketches enough. Sketch everything and keep your curiosity fresh.
Sketching is like dancing. It's process as much as product. You can turn your head off and just sort of dissolve into the now. Doing a giant, super thought-out painting is the opposite of that.
Sketching in general - anywhere, not just in Gitmo, but in life, in the world - is a profoundly disruptive act. Because you're creating something when you're kind of expected to consume or sit passively. I've always sketched things as a way to get into them, whether it was a fancy nightclub or, you know, to have kids think I was cool, whatever.