“It was and still is fundamental: to begin the work with the same tools with which it will be ended, without making a preliminary drawing. on the wood, stone, or metal. Sketches and drawings done in advance clarify the intention, and with it ready in the head, the requisite tool realizes the idea.”

— Max Pechstein

Buchheim, Künstlergemeinschaft Brücke, p. 304; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 54

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Max Pechstein14

German artist 1881–1955

James Wesley Rawles (1960) Survivalist-fiction author and blogger

Source: Tools For Survival (2009), p. 150

“The Etch a Sketch is the toy for drawing that makes drawing almost impossible. It simulates what drawing would be like if you had crippling arthritis.”

Jared Logan

The Wall Street Journal, "Comedy Comes Clean," December 1, 2006, page W12, column 1

“I do both: I make preliminary drawings, other times I paint directly, other times I start a painting and then paint it out so that it becomes another painting or nothing at all. If a painting doesn't work, throw it out. When I work from preliminary sketches, I don't just enlarge these drawings, but plan my areas in a large painting by using small drawings for separate areas. I combine them in a final painting, often adding to or subtracting from the original sketches.... There are certain canvases here in my studio - the little one over there – that I've worked on for a good six months – painting most of it out and then painting it over and over again. I think I've got it now.”

Franz Kline (1910–1962) American painter

1958
1960's, Talks with Seventeen Artists, 1962

“Your Excellency, I went without delay to the well of which Y. E. had written, and made a sketch of it, from which Y. E. will see how the matter stands; but I wish that sketch not to go alone, so send another with it of a well after the fashion of this country. Should these drawings appear to have been done in a manner not agreeable to the greatness of your illustrious Signorina, or in accordance with my humble desire to serve Y. E., I hope to be excused; and that Y. E. will ascribe, the cause to an earnest longing that the work should be done rapidly. I am entirely at command should the drawings be considered unsatisfactory, and am ready to furnish others..”

Titian (1488–1576) Italian painter

Quote from Titian's letter to the Duke Alfonso of Ferrara, From Venice, Feb. 19, 1517; from the original in Marquis Campori's Tiziano e gli Estensi, p. 5; as quoted by J.A.Y. Crowe & G.B. Cavalcaselle in Titian his life and times - With some account ..., publisher John Murray, London, 1877, p. 178-79
1510-1540

“I intended all of that. And this is what I like about this, and drawings like draw, like the gunman. I call this the shoot out, the high noon draw. That was also my intent as well as drawings; draw a bucket back to the cables and the whole idea about drawings…”

Lorna Dee Cervantes (1954) American writer

On how drawings are used in all of its forms as a recurrent theme in From the Cables of Genocide in “Poetry Saved My Life: An Interview with Lorna Dee Cervantes” https://opencourses.uoa.gr/modules/document/file.php/ENL9/Instructional%20Package/Texts//Readings/Chicana%20Movement-%20Further%20Reading/An%20Interview%20with%20Lorna%20Dee%20Cervantes.pdf (Spring 2007)

“The solution of important problems may be delayed because the requisite tools are not perceived. Or the availability of certain tools may lead to an awareness of problems, important or not, that can be solved with their help.”

Tjalling Koopmans (1910–1985) Dutch American economist

Source: Three Essays (1957), p. 170

“I don't work from drawings and colour sketches into a final painting. Painting, I think, today – the more immediate, the more direct – the greater the possibilities of making a direct – of making a statement.”

Jackson Pollock (1912–1956) American artist

Source: 1950's, Interview by William Wright, Summer 1950, p. 144

“He [Renoir] is a subtle and brilliant draughtsman.... all these preliminary drawings [in Renoir's studio] would astonish the public who obviously imagine the 'Impressionists' work at tremendous speed. I don't believe one can go further [in making sketches as studies] than this in the study of form in a drawing. I am charmed by his 'Nude Bathers' quite as much as those by Ingres. He [Renoir] tells me that he thinks the nude is absolutely indispensable as an art form.”

Berthe Morisot (1841–1895) painter from France

note in Berthe's Journal, c. 11 Jan. 1886, after visiting Renoir in his studio; in 'Carnet Beige', Morisot Enchantment, Huisman; as cited in Berthe Morisot, the first lady of Impressionism, by Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3), 1996, p. 234
1881 - 1895

“It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one. Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear and I feel the drawing making itself, the image taking hold. This in turn moves me towards painting -anxious to get to the same place, with the actuality of paint and light.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 73-75

“Man is a tool-using animal…Without tools he is nothing, with tools he is all.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

Bk. I, ch. 5.
1830s, Sartor Resartus (1833–1834)

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