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Usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes.

Roy Lichtenstein

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

Art Creative Education Form Plain Transform
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
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
I take a cliche and try to organize its forms to make it monumental. The difference is often not great, but it is crucial.
ROY LICHTENSTEIN

Cliche Differences Form Make Monument Organize Trying
You have no idea where reality is, so to have an idea of what people think is pretty hard.
ROY LICHTENSTEIN

Hard Idea People Pretty Reality Think
There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you’re trying to make.
ROY LICHTENSTEIN

Almost Certain Consistency Depend Field Generalization Hold Make Modulation Nothing Say Statement Try
As long as the marks are related to one another, there is unity. Unity in the work itself depends on unity of the artist’s vision.
ROY LICHTENSTEIN

Another Artist Depend Itself Long Mark Relate Unity Vision
I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
ROY LICHTENSTEIN

Architect Architecture Art Form Kind Result Think Thinking
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
Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEIN

Color Consistency Hard Painting Trying Very
I like to pretend that my art has nothing to do with me.
ROY LICHTENSTEIN

Architecture Art Do Nothing Pretend
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.
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Certain Dot Draw Drawing Paint Paper Sure Thing Want
We’re not living in a school-of-Paris world, you know, and the things we really see in America are like this. It’s McDonald’s, it’s not Le Corbusier.
ROY LICHTENSTEIN

Country Living Mcdonalds People Peron School Thing World
In America the biggest is the best.
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Best Biggest Country Standard
I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.
ROY LICHTENSTEIN

Between Cliched Fact Rigid Seem Tension Think Way
Pop Art is industrial painting.
ROY LICHTENSTEIN

Art Country Industrial Painting Pop Thinking

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