Something happened when I was in elementary school. A Disney artist named Bruce McIntyre retired, and he had done drawings for 'Pinocchio' and 'Snow White' that was just classic stuff. He moved to the town I grew up in, Carlsbad, and he became a part-time art teacher at our elementary school.

Most architects think in drawings, or did think in drawings; today, they think on the computer monitor. I always tried to think three dimensionally. The interior eye of the brain should be not flat but three dimensional so that everything is an object in space. We are not living in a two-dimensional world.

The pleasures of the imagination are as it were only drawings and models which are played with by poor people who cannot afford the real thing.

The drawings in 'Portal' were actually me scribbling that stuff... I had a funny moment when I realized that someone gotten 'The cake is a lie' tattooed on themselves. It was really interesting to see my handwriting tattooed on another human being. That... that's odd.

Everyone was saying computers were going to be the future of art; everyone had to do something in this medium. And it was almost some sort of rebellion that I wanted to do these small, intimate drawings.

I don't like computers. I still like to do my drawings by hand.

We tell them that we believe it will be beautiful because that is our specialty, we only create joy and beauty. We have never done a sad work. Through the drawings, we hope a majority will be able to visualize it.

You can create something strong in art with a few notes. It is like how Aboriginal drawings have a simplicity that is incredibly rich.

Animation is not the art of drawings that move but the art of movements that are drawn.

The worse my drawings were, the more beautiful did the originals appear.

I've been a comics fan since my first hit of those gateway drawings: Judy, Asterix, and the TV cartoon 'Spider-Man and his Amazing Friend' - which naturally led me to Spider-Man comics.

We all have 10,000 bad drawings in us. The sooner we get them out the better.

I like to work in watercolor, with as little under-drawing as I can get away with. I like the unpredictability of a medium which is affected as much by humidity, gravity, the way that heavier particles in the wash settle into the undulations of the paper surface, as by whatever I wish to do with it. In other mediums you have more control, you are responsible for every mark on the page - but with watercolor you are in a dialogue with the paint, it responds to you and you respond to it in turn. Printmaking is also like this, it has an unpredictable element. This encourages an intuitive response, a spontaneity which allows magic to happen on the page. When I begin an illustration, I usually work up from small sketches - which indicate in a simple way something of the atmosphere or dynamics of an illustration; then I do drawings on a larger scale supported by studies from models - usually friends - if figures play a large part in the picture. When I've reached a stage where the drawing looks good enough I'll transfer it to watercolor paper, but I like to leave as much unresolved as possible before starting to put on washes. This allows for an interaction with the medium itself, a dialogue between me and the paint. Otherwise it is too much like painting by number, or a one-sided conversation.

Antonin Artaud wrote on one of his drawings, "Never real and always true," and that is how depression feels. You know that it is not real, that you are someone else, and yet you know that it is absolutely true.

A diary with no drawings of me in it? Where are the torrid fantasies? The romance covers?

But now with technology I could sit down and do a bunch of character drawings and scan them into a computer and the computer using my exact style could bring it into life where it would have been edited by various human beings before.

Imagine my surprise when after a lifetime of teaching me to keep personal things to myself Mom insisted my drawings were the start of a comic strip for millions of people to enjoy.

The pleasures of the imagination are as it were only drawings and models which are played with by poor people who cannot afford the real thing.

We tell them that we believe it will be beautiful because that is our specialty we only create joy and beauty. We have never done a sad work. Through the drawings we hope a majority will be able to visualize it.

Animation is not the art of drawings that move but the art of movements that are drawn.