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I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten m
I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten m
I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten m
I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten m
I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten m
I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten m
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Ellsworth Kelly:
I don't labor over my drawings. I want to get freedom in the line.Ellsworth Kelly:
All my work begins with drawings.Ellsworth Kelly:
In Boston, I developed my eye from the drawing. In Paris, I was fascinated by what my eye saw in thEllsworth Kelly:
When I see a white piece of paper, I feel I've got to draw. And drawing, for me, is the beginning oEllsworth Kelly:
My ideas come, wh-pheww. And I draw. Just recently, when I'm searching for ideas for paintings andEllsworth Kelly:
My ideas I can find anywhere. And I draw because I have to note down my ideas or flashes - I call tEllsworth Kelly:
Shading is more like copying. And certainly I do copy, but I'm making drawings, and I'm not tryingEllsworth Kelly:
In Paris in the late '40s, I started making my first reliefs. They are separate panels. I wanted toEllsworth Kelly:
I have trained my eye over and over ever since I was a kid. I was a bird watcher when I was a littlEllsworth Kelly:
I was taught to draw very well when I was in school at Boston. And I grew to enjoy drawing so much