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I also paint, draw and I'm into film and photography as well, and the same thing applies to all of them. You're presenting this material to the general public and hoping that they're going to 'get' what you're doing. Some don't, some do.
The worlds I paint leave a lot to engage the imagination by hinting at what lies beyond the four edges of the painting. I think getting beyond the four edges of an opportunity or challenge is one of the basic skills you need in business.
I like to treat paint as material - to daub it, drop it, let it slide. There was Action Painting, but I also compare it to paint effects found on the streets. This approach is superimposed on a sculptural surface that is also 'painterly.'
In the trunk of her car, my mother used to keep a collapsible easel, a clutch of brushes, a little wooden case stocked with tubes of paint, and, tucked into the spare-tire well, one of my father's old, tobacco-stained shirts, for a smock.
All of my art is suitcase-sized. I always paint in mediums that dry pretty quickly because I've got to throw them in my suitcase and go. And I have so much because of that, because it's what I've always done to pass the time and I like it.
I reenact everything. I love to paint a picture for my audience. I'm a lot like Richard Pryor in that aspect. I do a lot of acting on stage, acting out and visualizing stuff. I love to do that. I'm into it so much, it just comes out of me.
When teams are crowded in the paint, it's very hard to get in there and penetrate, but you got to find ways to get into transition and get into your strengths. It's a lot of thinking out there, you got to make sure you think and strategize.
What we're seeing is a backlash against any attempt, whether from the world of scholarship or popular culture, to paint non-white people back into the British past. Those of us who write about this history have long been familiar with this.
All of my art is suitcase-sized. I always paint in mediums that dry pretty quickly because I've got to throw them in my suitcase and go. And I have so much because of that, because it's what I've always done to pass the time, and I like it.
You don't have to paint your walls lime green just to try to have your home feel decorated. If you're a classic dresser or preppy dresser or a modern dresser, you wear a lot of black - whatever it is - your home should reflect that as well.
I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.
My favorite moment is when someone says, 'I like 'Unleashed.' 'Now You See Me' is so much fun.' That's what I want to do: smart, fun and big movies. I cannot lie, I love working with those big paint brushes. I have a blast doing these movies.
There's certainly pressure to find your audience early. You need to paint the picture, but it's tough trying to find the balance between a show that people can tune in on any given week while still grabbing the people who are there every week.
Because I'm so busy and because I think of myself as a painter, I desperately guard the time that I have to paint. And sometimes I'm irresponsible to my career in order to paint. Because painting is obsessive. I forget to eat. I forget to sleep.
I'm not particularly interested in painting, per se. I'm interested in a painting that has that mysterious life to it. Anything that doesn't partake of that magic is halfway dead - it returns to its physical elements, it's just paint and canvas.
My mother painted and wrote. She always had a painting in progress on an easel in the kitchen, so our house always smelled like oil paint. At night, she wrote after she'd put my sisters and me to bed, and the sound of her typing was our lullaby.
I believe we create our own lives. And we create it by our thinking, feeling patterns in our belief system. I think we're all born with this huge canvas in front of us and the paintbrushes and the paint, and we choose what to put on this canvas.
Movies are boring. It's like watching paint dry. I did a little role in a movie, and it was eight lines. I was there for three days. It's just horrible. Television is 15 hour days. Movies are 18 hour days. And it's 18 hours of doing not a thing.
I mean, I certainly wouldn't want to paint myself as, you know, the evangelist for practical effects or some sort of anti CG guy because it's really a tool. Like filmmaking is this toolbox and you use what's appropriate in relation to the story.
Brushes are crucial for applying glazes, sauces, and oils. The pastry brushes that you find in homestores can be pricey so pay a visit to your local hardware store and pick up a few paint brushes which are less expensive and work equally as well.
If I hold up a red square for 30 seconds and take it away, you will see a perfect green square. It's how the eye works. So if you want to paint a really good red painting, you have to strategically place in some green, so the eye is brought back.
I read very one-note. Teacher's pet, Goody Two-shoes. I'd hate to be annoying. Who wants to see movies with someone annoying in them? But it's hard for me to paint myself as anything but whatever it is I come across as - which is pretty together.
When I paint, I seriously consider the public presence of a person - the surface facade. I am less concerned with how people look when they wake up or how they act at home. A person's public presence reflects his own efforts at image development.
I'm an independent artist, but I do have a good business relationship with Lego, since I'm a unique customer. They're aware of what I'm doing. A painter may not have a relationship with a paint maker, but there's only one company that makes Lego.
I have always been making art from an early age but for nearly forty years did computer programming to earn a living. I bought a house and put my wife and three children through college. Now that diversion is over so I can finally paint full time.
I've always been a bit of a mix between art and technology. I used to paint a lot, but I'm not very good with my hands. It has always been a fusion between my computer gaming interests and being exposed to the rich data of society that we live in.
Sting was one of my first and biggest influences. One night in North Carolina, when I reached out and touched his shoulder, he had the face paint on, and I didn't know why, but I loved it. I wanted to be just like him, and I was only 11 years old.
I've always felt like an artistic person. I can't draw or paint or sculpt. I never really had technical skills, but I've always felt like I appreciate really beautiful things, and part of taking a good photograph is being able to recognize beauty.
In fiction, when you paint yourself into a corner, you can write a pair of suction cups onto the bottoms of your shoes and walk up the wall and out the skylight and see the sun breaking through the clouds. In nonfiction, you don't have that luxury.
I was trained as a fine artist. I went to a progressive public school in Pennsylvania that developed these talents, but I was never able to apply to a decent college because I had no math, no science - I was allowed to just paint all day and write.
Neurologically, I'm a quadriplegic, so virtually everything about my work has been driven by my learning disabilities, which are quite severe, and my lack of facial recognition, which I'm sure is what drove me to paint portraits in the first place.
American Ballet Theatre's rehearsal studios are at 890 Broadway, an old building where exposed pipes clank and hiss in uneven accompaniment to piano music. The high ceilings wear a toupee of dust. The wall paint peels like a newbie ballerina's toes.
I see myself as no color. I can play the role of a man. I can paint my face white if I want to and play the role of white. I can play a green, I can be a purple. I think I have that kind of frame and that kind of attitude where I can play an animal.
The old, sad art colors are gone. Now I paint bright colors. I paint paintings which are happy, where children are laughing and playing with animals. I paint paradise on Earth. I still paint sadness sometimes, but there is sadness in the world, too.
I knew a bit about the capabilities of HTML5 and have always had a preoccupation with technology. I wanted to delve deeper, to see what else it could do. The technology becomes the palette that you make the artwork with, your palette and your paint.
I've done everything from cater, wait tables, pre-school teacher, painting, to being Cinderella, Elmo, a clown, nanny, selling hair... I would do kid's parties and entertain and do magic and paint faces and balloon animals. The highlight of my life.
I don't really have hobbies. I paint. I write. I direct videos. I take photos. I'm a creative person. A normal day for me is doing all of those things. Sometimes I stay up until 5 A.M. writing a song because I make music. It's the same with writing.
I tried to be a goth for a while. I'd pour baby powder on my face and paint my lips black, but that didn't last long. I thought I looked cool at the time. But then you look back and wonder, 'Why did anyone let me out of the house looking like that?'
It's to paint directly on the canvas without any funny business, as it were, and I use almost pure turpentine to start with, adding oil as I go along until the medium becomes pure oil. I use as little oil as I can possibly help, and that's my method.
I think that there was a lot of undisclosed money that came into South Dakota, driving a message to paint me as a Washington partisan, which I don't believe that I am, but it was a message that resonated, after pounding it away for a number of weeks.
Very few people possess true artistic ability. It is therefore both unseemly and unproductive to irritate the situation by making an effort. If you have a burning, restless urge to write or paint, simply eat something sweet and the feeling will pass.
The work ethic at art school is completely different than the work ethic amongst people who get into music. People who paint, it's an honorable thing to spend all day and all night in front of your canvas - that is the romantic vision of the painter.
Aesthetes have it all over intellectuals in one very important respect: You'll rarely catch us hustling anyone off to the nearest guillotine. We're too busy trying to make the world more beautiful. Our hands are stained with ink and paint, not blood.
If you're an impressionistic painter and you want to paint expressionism, you've got to change. You've got to figure out a way to do it and do it. If you've been playing jazz all your life and you want to start to play rock n' roll, blues, then do it.
I could never really imagine myself doing one thing, and I'm pretty sure that I'll end up doing four or five different things. I want to be a Renaissance woman. I want to paint, and I want to write, and I want to act, and I want to just do everything.
I remember one time in my junior year, in my art class, our teacher had us doing, like, finger paints, and I went and put a stripe on a girl's shirt, and it turned into a big paint fight. Paint all over the walls, all over everybody. It was pretty fun.
It's like a painter with various layers of paint. I start with a drum loop and add keyboards, and then melodies start to take shape. The vocals happen later. I've never really done therapy before, but it's a form of therapy. Everything else falls away.
If it were my decision, I'd knock the Superdome down. If I couldn't knock it down, I'd just open the roof and gut the whole inside - totally modernize it. If you just dust it off and paint a little bit but don't reimage it, the legacy will be horrible.
There are, of course, always painters whom I admire and find fascinating. I've often thought, 'Goodness, if I could paint like the Danish Golden Age painters, the early 19th century painters, the way they could paint a landscape - absolutely beautiful.'
There are all sorts of reasons why I don't do much work in the theatre, the main one being that after two performances I feel I've given all I can. I hate repetition, I really do. It's like asking a painter to paint he same picture every day of his life.