I am a great lover of art, in many forms: paintings, objets, textiles. I don't have the talent for painting, but I have a very good sense of colour, a love of visual beauty.
Up until the last minute, it was art and drawing for me. That was the first real and natural thing I thought I was good at and loved to do. But I developed a similar kind of love for music.
All along we find that social life - religion, politics, art - reflects the stages reached in the development of the knowledge of self; it shows the social uses made of this knowledge.
There were no museums or galleries in Shanghai, but I was very keen on art - I was always sketching and copying, and sometimes I think that my whole career as a writer has been the substitute work of an unfulfilled painter.
I have a studio at my house, and there is a sister studio for Disney which is about 45 minutes away, and we haven't dropped a beat. In the art of animation and voiceover work, you can pretty much work from anywhere.
A man is most happy when he is most perfect, and he is most perfect when all his faculties are proportionately and harmoniously developed. Thus developed, nature and art and society supply him with a thousand sources of enjoyment.
Too often, complaint is not about principled objection on moral grounds, but opportunistic objection on grounds of self-interest. To rectify this, we need to work on mastering the art of complaint.
Art produces ugly things which frequently become more beautiful with time. Fashion, on the other hand, produces beautiful things which always become ugly with time.
Well, any time you do anything good, it's man versus himself, right? That's the art, the challenge.
I'm guilty of being fascinated by gadgets and toys and technology, but any penny that I spend, I try to make it be a part of what I do for a living. Because then you are forwarding. You are forwarding that art, forwarding that career ahead.
I was told I was talented when I applied to Falmouth School of Art and that I should consider skipping the course and proceeding directly to degree level.
In my regular life, I am very involved in commissions for cities and sometimes countries. And I think of public art as a team sport. The outcome is only possible with the interaction of all the players.
What lists and awards don't measure - and I feel this strongly - is the lasting value of any work of art. They're a snapshot of a moment, and one should always consider their judgments in that context.
I love to bring humour into my work. Because comedy is not a huge part of the art world. And big-business film takes itself very seriously.
During the Middle Ages they understood that words accompanied by imagery are much more memorable. By making the margins of a book colorful and beautiful, illuminations help make the text unforgettable. It's unfortunate that we've lost the art of illu...
I don't think you can approach any piece of art with boundaries or rules. I think respect is a very important thing, but I also think what we discover along the way is really important.
The films I grew up loving, and the art that I love, is not generally the kind of postmodern ironic winking stuff. What lasts is the stuff in which the artists are totally in league with the subject.
Does any art have a practical value? People love to talk about how expensive a painting is. That's the only way we can talk about paintings in this century.
That's the test of street art - to see if anybody stopped. People would cross out ones they didn't like and would star others. I liked that people would engage with them.
I have wanted to be a fine artist painter, and I reached the point in art schools were I'd like to understand more about images and how images communicate information to people. And I was not getting very far in that from my professors.
While 'The Endless Summer' poster was designed at the Art Center College of Design in the contemporary style of its time, the image grew out of my relationship with Rick Griffin and our deep relationship to surf images.
