The impressionistic method leads into a complete splitting and dissolution of all areas involved in the composition, and color is used to create an overall effect of light. The color is, through such a shading down from the highest light in the deepest shadows, sacrified an degraded to a (black-and-white) function. This leads to the destructions of the color as color.
Some people start with the lyrics first because they know what they want to talk about and they just write a whole bunch of lyrical ideas, but for me the music tells me what to talk about.
My technique of working is I go around with my iPhone and with my sketchbook. I take thousands and thousands and thousands of iPhone photos. I also draw from life. I can draw really, really, really fast. It's a way that I build a rapport with people.
Well, I have a very simple method of painting.
On 'PG-13,' the way I wrote that is that I would get my tracks ahead of time and then I would write for them, and I wrote fairly quickly.
It's not what a movie is about, it's how it is about it.
The latest literary discussions reflect a struggle between two artistic methods - romanticism and realism, with the latter clearly ascendant for the time being.
I kind of build a novel the way marine polyps build a coral reef, it's millions and millions of little precarious bodies stacked on one another. And in my case, that's thousands of minutes I go through to get from one scene to the next and build it that way.
Craft is a trick you make up to let you write the poem.
Technique bridges among ideas, and sometimes generates them.
Technique is superficial. The method used in applying technique is what gives music its character.
I like to start with the ordinary, and then nudge it, and then think, 'What happens next, what happens next?'
The way I approach things is from an experimental folk music standpoint.
I have friends who are capable of writing a very rough draft and then going back and embroidering - they're sort of the cathedral builders of fiction. I never really know what I'm doing, and all my pleasure's on the level of the line. It's a weird way to move forward. It's kind of like a way to caterpillar your way through these great woods. The best ones, whatever I feel like I'm writing about, some other secret thing will begin to come into focus.
Every actor comes with their own experience, method, methodology.
The question "From where does the poet get it?" addresses only the what, nobody learns anything about the how when asking that question.
Bend color names which should be made of neon or copper tubing. Place an object on a surface - trace the object - then bend the object - leaving some part of it attached.
Since great writers communicate a vision of existence, one can't borrow their methods. The method is married to the vision.
I know that to paint the sea really well, you need to look at it every hour of every day in the same place so that you can understand its way in that particular spot; and that is why I am working on the same motifs over and over again, four or six times even.
I paint from the top down. From the sky, then the mountains, then the hills, then the houses, then the cattle, and then the people.
I drape a lot. I cut. I have to touch. For me, it's almost impossible to start without that.
I start with an image, then I go from the image toward exploring the situation. Then I write a scene, and from the scene I find the character, from the character I find the larger plot. It's like deductive reasoning - I start with the smaller stuff and work backward.
Instead of writing songs for girls, I tend to write albums, which I guess is a bit weird.
When Michelangelo was introduced to Titian, he said... that Titian's colouring and his style much pleased him, but that it was a pity that in Venice men did not learn to draw well from the beginning, and that those painters did not pursue a better method in their studies.
I never use nature as a starting point. I never abstract from nature; I never consciously think of nature when I paint.
