Toutes les erreurs de la critique commises ?

Toutes les erreurs de la critique commises ? mon ?gard, ? mes d?buts, furent qu’elle ne vit pas qu’il ne fallait rien d?finir, rien comprendre, rien limiter, rien pr?ciser, parce que tout ce qui est sinc?rement et docilement nouveau – comme le beau d’ailleurs, porte sa signification en soi-m?me. La d?signation par un titre mis ? mes dessins est quelquefois de trop, pour ainsi dire. Le titre n’y est justifi? que lorsqu’il est vague, ind?termin?, et visant m?me confus?ment ? l’?quivoque. Mes dessins inspirent et ne se d?finissent pas. Ils ne d?terminent rien. Ils nous placent, ainsi que la musique, dans le monde ambigu de l’ind?termin?. Ils sont une sorte de m?taphore.
— Odilon Redon,

I like to work in watercolor, with as

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.
— Alan Lee