The things that keep me awake at night are things like textures and instrumentation and plotting out what things are going to do and what the sounds are that I'm trying to capture.
I'm a producer. I'm a musician. And my job is to come in and, you know, put - you know, I treat all of the artists that I work with, like, you know, the way da Vinci was looking at Mona Lisa, you know, there's an interesting backdrop.
The space between the dish and the pitcher, that I paint also.
Nature can afford to be prodigal in everything, the artist must be frugal down to the last detail. Nature is garrulous to the point of confusion, let the artist be truly taciturn.
Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.
I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating.
There is a better chance of getting an exciting painting from a laboured study with texture than from a fine drawing without it.
With Millais's paintings, it's microscopic; when he does hair, it's extraordinary: you can see every strand.
You will have to scrutinize the model sharply to find the proportions - how the weight is supported, how each joint is functioning... Look for the color and tone and texture... how the light falls on the figure, especially the face.
Expression is not a matter of passion mirrored on the human face or revealed by a violent gesture. When I paint a picture, its every detail is expressive.
The most important quality of art and its aim is illusion; emotion, which is often obtained by certain sacrifices of poetic detail, is something else entirely and of an inferior order.
We wanted to take as much time and effort making the video as we did the song.
A lot of those little things that I really like doing are just moments of cool articulation, just little moments of phrasing that probably go over everybody's head.
I've been called many names like perfectionist, difficult and obsessive. I think it takes obsession, takes searching for the details for any artist to be good.
I want each and every entire brushstroke to be seen. I want the marks made by the tip of the brush to carry as much meaning as the marks made by the dragging tail end, the part that splits open as the paint pulls away, thins and dries.
One does a whole painting for one peach and people think just the opposite - that particular peach is but a detail.
Nothing in a portrait is a matter of indifference. Gesture, grimace, clothing, decor even - all must combine to realize a character.
Imagination helps the realism of every detail, and only sees the beauties of the work.
I never think I have finished a nude until I think I could pinch it.
Breughel is an example of an artist - I mean, this is true about artists and painters in general, but he is a specific example of an artist whose work contains more than you think it does at first glance. Whose work rewards, sustains attention and looking.
The computer can't tell you the emotional story. It can give you the exact mathematical design, but what's missing is the eyebrows.
Drawing a funny animal, you don't need a lot of detail to make it work. But to draw a sexy girl, there's certain things you can't leave out.
One always has to spoil a picture a little bit, in order to finish it.
Hyperrealism can create an atmosphere of surrealism because nobody sees the world in such detail.
This making studies and then taking them home to use them is only half right. You get composition, but you lose freshness; you miss the subtle and, to the artist, the finer characteristics of the scene itself.
