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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Around Beginning Color Draw Four Guess Kind Mind Painting Refine

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I don’t really know what to make of it. There’s something terribly brittle about it. 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

Basket Interest Make Matter Picnic Prefer Something Strip Subject Suppose Terribly
My use of evenly repeated dots and diagonal lines and uninflected color areas suggest that my work is right where it is, right on the canvas, definitely not a window into the world.
ROY LICHTENSTEIN

Area Canvas Color Diagonal Evently Repeated Suggest Tight Uninflect Use World
You know, as you compose music, you’re just off in your own world.
ROY LICHTENSTEIN

Compose Ideas Just Music Own Reality Thinking World
Yeah, you know, you like it to come on like gangbusters, but you get into passages that are very interesting and subtle, and sometimes your original intent changes quite a bit.
ROY LICHTENSTEIN

Change Come Gangbuster Interest Interesting Passage Sometimes Subtitle
Outside is the world; it’s there. Pop Art looks out into the world.
ROY LICHTENSTEIN

Art Look Out Outside Pop World
Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEIN

Color Consistency Hard Painting Trying Very
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
Im interested in what would normally be considered the worst aspects of commercial art.
ROY LICHTENSTEIN

Art Aspect Commercial Consider Interest Normally Thinking Way Worst
Art doesn’t transform. It just plain forms.
ROY LICHTENSTEIN

Art Creative Education Form Plain Transform
Use the worst colour you can find in each place – it usually is the best.
ROY LICHTENSTEIN

Best Colour Each Place Use Worst
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

All Change Direction Expression Happen Impact Thought Time Want
When I met Steve Kaufman, I thought he was Gene Simmons, but what an artist talent he is. He will be an art force in the art world to deal with.
ROY LICHTENSTEIN

Art Country Deal Force Met People Person Talent Work World
All my art is in some way about other art, even if the other art is cartoons.
ROY LICHTENSTEIN

Art Cartoon Even Some Way
Organized perception is what art is all about.
ROY LICHTENSTEIN

Art Organized Perception
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.
ROY LICHTENSTEIN

Advocating Certain Commercial Forceful International Teenagerism Really Stupidity Terrorism Thing Usable Vital
Personally, I feel that in my own work I wanted to look programmed or impersonal but I don’t really believe I am being impersonal when I do it. And I don’t think you could do this.
ROY LICHTENSTEIN

Believe Belive Feel Impersonal Impression Look Own Personally Programme Thinking Wanted Work

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