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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.
You know, most of my career I wrote about moments in time. All of us have felt one thing or another and it didn't last very long. Now I'm drawing from real experience. It's a huge difference.
There was about six months when I was absorbing other stuff and not drawing very much. After a long period of not drawing, you have to, like, relearn how to draw. It's not very fun.
I like to make sculpture because it makes my life social. When I make drawings, I work alone. When I work with sculpture I have someone I can work with.
I'm English and I'm used to coming from a world of period dramas, where there's a very polite restraint to everything. Everybody's sort of sitting in drawing rooms.
In my mind, the men and women of NASA are history's modern pioneers. They attempt the impossible, accept failure, and then back to the drawing board while the rest of us stand back and criticize.
I have a very low tolerance for animation. I'm used to the perfect integrity you get from drawing your own comics. There's something about that that animation always loses.
I've felt that in the past, where I just felt like I had to keep drawing in the same way to maintain this sameness and rhythm throughout an entire book, and it was not really necessary.
I can look at my early work and see what a pained struggle it was to draw what I was drawing. I was trying so hard to get this specific look that was in my head, and always falling short.
I loved painting and drawing for many reasons. One of them was that all it really required was me, a pencil and a pad. It was something I was passionate about, and still am.
Life can be a fearful thing. Everyone needs someone drawing alongside, saying “You can do it. Don’t quit.” Everyone needs someone who believes in them. Everyone needs encouragement.
Making drawings with text in the first place, it really was born of a desire to be economic, and to do things as simply as possible, and to do as much as I could by the most economic means.
Then one day I thought it would be wonderful to make a whole book, to make my text and my drawings together, and that's how I started doing children's books.
Growing up working with my dad, I really had no interest in doing the actual work, so I was always like drawing on the wood, doing stuff like that. It just has a real hands-on approach.
I always urged my contemporaries to look for interest and inspiration to the development and study of drawing, but they would not listen. They thought the road to salvation lay by the way of colour.