When I read Alison Bechdel's 'Fun Home,' it was the first time I saw drawings that looked like me.

I used to draw cartoons of my teachers which used to get passed around the class and I'd always wind up getting caught which often meant detention. But they sometimes said the drawings were good!

When I read Alison Bechdel's 'Fun Home,' it was the first time I saw drawings that looked like me.

I started my own magazine with drawings, commentary, news, film reviews and drawings.

I used to always make art for girls. That was the thing I did for girls to like me. I did portraits, drawings, letters that formed outlines of significant things in our relationship. Art. I just used art in general. It usually worked.

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.

Here I am, a not over-good business man, a second-rate engineer. I can make poor mechanical drawings. I play the piano after a fashion. In fact, I am one of those proverbial Jack-of-all-trades who are usually failures. Why I am not, I can't tell you.

I do a lot of work on computers, but I am so practiced in drawing that I can draw it full size, and you can take the measurements off my drawings. It's like drafting, but it's a work of art - a really beautiful drawing.

I've always been concerned with my sculpture. The drawings I do at night at home to relax. And for a long time, I just gave them to friends or my wife and didn't really show them.

For a long time, I was brilliantly achieving drawings that were inert, suffocating and dark. If ever you need illustrations that are inert, suffocating and dark, I know how to do them.

When I left art school and went in search of work, visiting publishers and showing them my drawings and illustrations, I was met with a polite and sometimes enthusiastic response but no commissions.

Cartoons are not real drawings, because they are drawings intended to be read.

Being on a trapeze is like dreaming. I feel totally outside of myself when I'm flying. You know, designing shoes, my imagination is flying in my drawings.

My drawing for women is really curvy. My drawings for men are actually quite angular.

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.

And for every project, because it takes years, you can see the early drawings and collages as just a simple, vague idea, and through the years and through the negotiations of getting the permit, you see that every detail is now clarified.

Therefore, when we arrive in a place and talk to new people about a new image, it is very hard for them to visualize it. That's where the drawings are very important, because at least we can show a projection of what we believe it will look like.

It's very important to understand that we never do the same thing twice; each of our projects is unique. We'll never do another 'Gates.' Each project is a unique image. We do not know in advance how the work will look. I do preparatory drawings, but they are only projections of our vision.

But the drawings are not created only to be sold.

We don't sell technical drawings except when they are incorporated into a drawing or a collage.

I do a lot of work that's permanent. The drawings, the sculptures, they're permanent.

Drawings help people to work out intricate relationships between parts.

If you start with character, you probably will end up with good drawings.

Well, directing is doing the key drawings, not the key animation, mind you.

'Painting like a child' isn't a negative for me... it's something only great artists can really achieve. The childlike quality of some of Picasso's drawings is precisely what makes them so masterful and extraordinary; the ability to express complete visions, feelings and portraits through a continuous line.

To my mind, the most successful and the best comic book illustrators are those who translate the real world into a consistent code. If you look at Jack Kirby or Steve Ditko, their drawings look nothing like the real world, but they are internally consistent. In terms of a comic book it can work just fine.

I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume - there's a flatness to them.

With mania, is it dangerous to ride that euphoric feeling. You feel very animated and creative; I would fill journals with drawings. It feels good and you want it to last, but it can lead to being delusional. The delusions can be as real as you thinking you can fly.

My own interest in art was because of my mother. My father didn't like contemporary art, so he didn't give her large sums to spend. So, she began buying prints and drawings. During my school days, I remember sitting in on many of the early meetings.

Okay, so, when I was a kid, definitely the drawings and the illustration. Then I stopped in sixth grade or so. And then I started again when I was in my twenties. I really didn't progress since then, so the way I draw is the way I drew in sixth grade.

I have been doodling since childhood. I have a passion for illustrating but cannot paint or colour for that matter. I illustrate what I am trying to communicate through my writing. My images are like drawings in a science text book.