Académique Documents
Professionnel Documents
Culture Documents
1.
When
you
draw
you
must
clean
yourself
of
deep
feelings
(hate,
happiness,
ambition,
etc)
2.
It's
important
to
educate
the
hand,
attain
obedience,
to
full
fill
ideas.
but
careful
with
perfection,
to
much,
as
well
as
too
much
speed,
as
well
as
their
opposites
are
dangerous.
to
much
looseness,
instant
drawings,aside
from
mistakes,
there's
no
will
of
the
spirit,
only
the
bodies.
4.
Another
thing
to
learn
with
affection
is
the
study
of
the
human
body,
the
positions,
the
types,
the
expressions,
the
arquitecture
of
bodies,
the
difference
between
people.
the
drawing
is
very
different
when
it
come
to
a
male
or
a
female,
because
in
the
male
you
can
change
a
little
the
lines,
it
supports
to
have
some
impressions.
but
with
the
female
precision
must
be
perfect,
if
not
she
may
turn
ugly
or
upset.
then
no
one
buys
our
book!
so
for
the
reader
believes
the
story,
the
characters
must
have
life
and
personality
of
their
own,
gestures
that
come
from
character,
from
their
diseases;
the
body
transforms
with
life
and
there's
a
message
in
the
structure,
in
the
distribution
of
fat,
in
every
muscle,
in
every
fold
of
the
face
and
body.
it;s
a
study
of
life.
5.
When
you
make
a
story
you
can
start
with
out
knowing
everything,
but
making
notes
(in
the
actual
story)
about
the
particular
world
of
that
story.
that
way
the
reader
recognizes
and
becomes
interested.
when
a
character
dies
in
a
story,
and
that
character
has
no
story
drawn
in
his
face
in
his
body,
in
his
dress,
the
reader
does
not
care,
there's
no
emotion.
and
then
the
editors
say:
"your
story
is
worthless,
there's
only
one
dead
guys
and
I
need
2)
or
30
dead
guys
for
it
to
work"
but
that
is
not
true,
if
the
dead
guy,
or
wounded
guy
or
sick
guys
or
whomever
is
in
trouble
has
a
real
personality
that
comes
from
study,
from
the
artists
capacity
for
observation,
emotion
will
6.
Jodorwosky
says
I
don't
like
drawing
dead
horses.
it;s
very
difficult.
it's
very
difficult
to
draw
a
body
that
sleeps,
that's
abandoned,
because
in
comics
you're
always
studying
action.
it;s
easier
to
draw
people
fighting
thats
way
Americans
always
draw
superheroes.
it;s
more
difficult
to
draw
people
talking,
because
there
are
a
series
of
movements,
very
small,
but
that
have
a
significance,
and
that
accounts
for
more,
because
it
need
love,
attention
to
the
other,
to
the
little
things
that
speak
of
personality,
of
life.
the
superheores
have
no
personality,
all
of
them
have
the
same
gestures
and
movements
(pantomimes
ferocity,
running
and
fighting)
7.
Equally
important
is
the
clothing
of
the
characters,
the
state
they;re
in,
the
materials,
the
textures
are
a
vision
of
their
experiences,
of
their
lives,
their
situation
in
the
adventure,
that
can
say
a
lot
with
out
words.
In
a
drew
there's
a
million
folds,
you
must
chose
2
or
3,
but
the
good
ones.
9.
When
an
artist,
a
drawing
artist
goes
out
on
the
street,
he
does
not
see
the
same
things
other
people
see.
what
he
sees
is
documentation
about
a
way
of
life,
about
people.
These
are
basic
symbols
for
reading,
that
exercise
a
fascination,
a
hypnosis.
you
must
have
a
consciousness
about
rhythm,
set
traps
for
the
reader
to
fall
on
to,
and
if
he
falls,
and
gets
lost
and
may
move
inside
them
with
pleasure
because
there's
life.
you
must
study
the
great
painters,
the
ones
that
speak
with
their
paintings,
of
any
school
or
period,
that
does
not
matter,
and
they
must
be
seen
with
that
preoccupation
for
physical
composition,
but
also
emotional.
in
what
way
the
combination
of
lines
on
that
artist
touches
us
directly
in
the
heart.
o
11.
Narration
must
harmonize
with
the
drawing.
there
must
be
a
visual
rhythm
from
the
placement
of
words,
plot
must
correctly
maneuver
cadence,
to
compress
or
expand
time.
must
weary
of
the
election
and
direction
of
characters.
use
them
as
a
film
director
and
study
all
different
takes.
13.
There's
a
connection
between
music
and
drawing.
but
that
depends
also
on
the
personality
and
the
moment.
for
perhaps
10
years
I've
been
working
in
silence,
and
for
me
the
music
is
rhythm
of
the
lines
(the
music
he
listens
to).
To
draw
is
sometimes
to
hunt
for
findings,
an
exact
(fair,
just)
line
is
an
orgasm!
14.
Color
is
a
language
that
the
artist
(drawing
artist)
uses
to
manipulate
the
readers
attention
and
to
create
beauty.
there's
objective
and
subjective
color,
the
emotional
states
of
the
character
influence
the
coloring
and
lighting
can
change
from
one
panel
to
the
next,
depending
on
the
space
represented
and
the
time
of
the
day.
the
language
of
color
must
be
studied
with
attention.
15.
Especially
at
the
beginning
of
a
career,
one
should
work
on
short
stories
but
of
a
very
high
quality.
there's
a
better
chance
to
finish
them
successfully
and
place
them
on
a
book
or
with
editors.
16.
There
are
times
when
we
are
headed
to
failure
knowingly,
we
choose
a
theme,
an
existence,
a
technique
that
does
not
suit
(convene)
us.
you
must
not
complain
afterwards.
17.
When
new
pages
are
sent
to
editors
and
see
rejection,
we
should
ask
for
the
reasons.
we
must
study
the
reasons
for
failure
and
learn.
it's
not
about
struggle
with
our
limitations
or
with
public
or
the
publishers.
it's
more
about
treating
it
like
in
aikido;
the
strength
(power)
of
the
attack
is
used
to
defeat
him
with
the
same
effort.
18.
Now
it
is
possible
to
find
reader
in
any
part
of
the
planet.
we
must
have
this
present.
to
begin
with,
drawing
is
a
way
of
personal
communication,
but
this
does
not
imply
that
the
artist
must
envelop
himself
in
a
bubble;
it'
communication
with
the
beings
near
us,
with
oneself,
but
also
with
unknown
people.
Drawing
is
a
medium
to
communicate
with
the
great
family
we
have
not
met,
the
public,
the
world.
August
18th
1996
compiled
by
Perez
Ruiz