I think being an artist is having courage to be original. It’s hard to describe, because many great artists, including Picasso, have all been influenced by the great master paintings, Spanish paintings, whatever. Their art has looked like them, they’ve been influenced by them, and then finally, they leap, they take off. And then they become themselves. Then it looks like they just came out of nowhere. Just like, “Pow!” So I’m a reactionary, and I sort of — I don’t like my work to look like anyone else’s. So 20 or 30 years ago, I knew a Japanese artist who won a scholarship to Majorca, and when he got there, he met a Swedish artist who was doing the same kind of calligraphy, so both of them promptly stopped that. So with the advent of communication, and the word getting around, and photographs getting around, I think that it’s less likely to copy, or to unknowingly work in a similar vein. And I think that’s interesting. But I think it’s important to learn how — it’s important to study, to learn. To polish up on drawing, which is very academic. Like drawing from plaster casts, because it’s handy to be able to know how to do that. And then when you have everything polished, and all your senses ready, then if an idea does happen, you can do something about it. You can maybe convince yourself with your abilities that way. Because a lot of art is well meant, but it looks like child’s play, or it looks like anyone could have done that. And it’s hard to see through that veil to see what the artist is really getting at.