“The advance from drawing to painting should be gradual, and no serious attempts in colour should be made until the student has obtained proficiency in outline and in light and shade. If the artist cannot draws objects in a rather masterly way there is no point in his attempting colour.”

“You reason colour more than you reason drawing Colour has a logic as severe as form.”

“You cannot teach painting because everyone's colour sense is different. But drawing.. you either get it right or wrong. You can tell whether people have drawn from life from their pictures.”

“The sensation of colour cannot be accounted for by the physicist's objective picture of light-waves.”

“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.”

“Pure painting or the art of drawing whose point of departure is based on purely formal criteria is, in my opinion, passé. I do not reject it if other artists make attempts, but as far as I am concerned, this is what I believe. if I do not place a text next to my drawings, I consider the work on such programmes to be futile.”

“There is an intimate relationship between my pictorial [2-dimensional] and my sculptural work. I would never begin on a sculpture without first gaining an idea of the colour... My mind is captivated by this task until I start to put down the colour on paper and imagine that this colour will become a drawing. And then, suddenly, the drawing begins to acquire shape, the shape, and this shape becomes the real shape.”

“Draw a line; draw a line that pleases you. And remember that it is not the artist's role to copy the outlines of things but to create a world of his own lines on paper." (pp.28-29)”

“This book an attempt will be made to outline the principles of cybernetics and relate them to what we know of behaviour, both from the point of view of experimental psychology and also from the point of view of neurophysiology.”

“Yes, the aluminum paint... What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush.”