black
grey
blue
red
brown
white

I kind of do the drawing with the painting in mind, but it’s very hard to guess at a size or a color and the colors around it and what it will really look like. It’s only a guess at the beginning, and then I try to refine it.

Roy Lichtenstein

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People mistake the character of line for the character of art. But it’s really the position of line that’s important, or the position of anything, any contrast, not the character of it.
ROY LICHTENSTEIN

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Art doesn’t transform. It just plain forms.
ROY LICHTENSTEIN

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You forget that this has been thirty five years now and people don’t look at it as if it were some kind of oddity.
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Pop Art is industrial painting.
ROY LICHTENSTEIN

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The big tradition, I think, is unity. And I have that in mind; and with that, you know, you could break all the traditions- all the other so-called rules, because they are stylistic.. and most are not true.
ROY LICHTENSTEIN

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I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter.
ROY LICHTENSTEIN

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My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way….
ROY LICHTENSTEIN

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Im not really sure what social message my art carries, if any.
ROY LICHTENSTEIN

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I think the meaning of my work is that it is industrial, it’s what all the world will soon become. Europe will be the same way, soon, it won’t be American; it will be universal.
ROY LICHTENSTEIN

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All of it had an impact – as did happenings – because I could see that art was changing from expressionism, which I was doing at the time, or thought I was doing. But it wasn’t the direction I really wanted to go.
ROY LICHTENSTEIN

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Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEIN

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What interests me is to paint the kind of antisensitivity that impregnates modern civilization.
ROY LICHTENSTEIN

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Organized perception is what art is all about.
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I’d always wanted to know the difference between a mark that was art and one that wasn’t.
ROY LICHTENSTEIN

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There are certain things that are usable, forceful, and vital about commercial art. We’re using those things – but we’re not really advocating stupidity, international teenagerism, and terrorism.
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Advocating Certain Commercial Forceful International Teenagerism Really Stupidity Terrorism Thing Usable Vital
But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
ROY LICHTENSTEIN

Certain Dot Draw Drawing Paint Paper Sure Thing Want

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