Most campaigns rely on photographs because the moment you do something that is a graphic interpretation where any artistic license has been taken, I think a lot of people are scared that it's going to be perceived as propaganda.
Unless you're involved with thinking about what you're doing, you end up doing the same thing over and over, and that becomes tedious and, in the end, defeating.
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 had discovered that I'm much less special than I thought I am. So whatever I find true for myself, other people might also relate to.
By far, the most determining factor of any brand is the product or the service the company produces. Branding companies have very rarely any significant influence on that, but it is, of course, in their interest to amplify their importance.
It's important for people who criticise architects - whether what they build is or isn't to your taste - to appreciate how they devote themselves and put everything into bringing a building into existence.
The leg system of the beach animals works because of a combination of certain lengths of tubes. Because of the proportion of lengths, the animals walk smoothly. You could say that this range of numbers is their genetic code.
I actually feel like the phrase 'big in Japan' is not appropriate for me. The reason is that there are more people who sympathize with my practice in America than there are domestically in Japan.
My identity is not based on performance; it's based on something that's pre-determined by someone else, and I don't even understand what that is because I'm an African who came to America.
I don't think about race before I start drawing. I think about how to make that mark to fit whatever purpose I need it to fulfill.
Industry in art is a necessity—not a virtue—and any evidence of the same, in the production, is a blemish, not a quality; a proof, not of achievement, but of absolutely insufficient work, for work alone will efface the footsteps of work.
My contribution to the world is my ability to draw. I will draw as much as I can for as many people as I can for as long as I can.
When it is working, you completely go into another place, you're tapping into things that are totally universal, completely beyond your ego and your own self. That's what it's all about.
The scene then as now was centered in New York. For the most part, I've kept a bit apart from that attractive and seductive city. I've done it by living in the country within commuting distance.
I always say I'm Catholic - but a cultural Catholic. I wouldn't say I'm a spiritual person, although I pray every day.
To express your emotions, you have to be very loose and receptive. The unconscious will come to you if you have that gift that artists have. I only know if I'm inspired by the results.
And, since the model he faithfully copies is not going to be hung up next to the picture, since the picture is going to be there on its own, it is of no interest whether it is an accurate copy of the model.
Painting is sometimes like those recipes where you do all manner of elaborate things to a duck, and then end up putting it on one side and only using the skin.
The procedure was that an artist got a mural and then he would have anywhere from two to ten assistants depending on the size of the mural and how many assistants he needed, or she needed.
I don't know if I'm an impressionist or an expressionist. You can call me an American first... I've been labeled doing neimanism, so that's what it is, I guess.
I played an artist in a comedy called 'Rooster.' It was a zany film by Glen Larson, a friend who produced several successful television series including 'Magnum PI.'
