At first I had some idea that the absence of color made the work more physical. Early on I was very involved with the notion of the painting as an object and tended to attack that idea from different directions.
Cigarettes are an instant signifier in culture. It punctuates a joke, or puts that extra zing on a punch line. I like them as a prop. I think it can be really useful for character and texture and contrast and all of that.
The riot isn't seen in the movie, but it is alluded to. He has this one speech that gives a great sense of texture and paints a picture of what was happening in Harlem then.
Color is whatever comes out of the material and keeps it what it is.
Contrast is what makes photography interesting.
The painter I really thought I could learn from was Cezanne - some sort of resemblance to oranges and greens and browns of the dry season in St. Lucia.
I have a visual sense for the music. It has to stay true to a certain sense of period. I rely on a sense of colors and mood in my approach to the arrangement.
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.
The essence of architecture is form and space, and light is the essential element to the key to architectural design, probably more important than anything. Technology and materials are secondary.
Stay crunchy, even in milk.
I'm not a painter by any stretch of the imagination; I'm a dyed-in-the-wool traditional illustrator, and I begin with black and white. If I need colour, I add it over the top. There's a calligraphic element to it... it's about the texture of lines on the page.
Velvet is great. It's warm as well. And it's snug.
I do love pears. All types of pears. Not too firm, not too soft; they have to be at the right time of their life.
How can you turn down Marks and Gran? Their scripts are so rich in texture.
If I have ideas, I want to put them in the movie. It's not a minimalist approach at all but I feel like it's for the audience. It's about seeing how much texture we can give it and seeing how many things are there for people to latch on to... I just want to do it the way I want and I feel like it won't be helpful for me if I start worrying about that. I just have to follow my instincts. Everyone is going to respond differently to it and everybody's right - that's their point of view. That's how the story intersects with their lives.
I, who cannot see, find hundreds of things to interest me through mere touch. I feel the delicate symmetry of a leaf. I pass my hands lovingly about the smooth skin of a silver birch, or the rough shaggy bark of a pine.
Texture is very important. Just the feel of everything. It's not always about recording everything in pristine quality and having everything mixed where it's absolutely perfect. It's more about a vibe.
I do not like a quiche with wet, undercooked pastry underneath, and that is that.
....he said it was interesting. He used the word 'textured'. He said 'smooth' is boring but 'textured' was interesting, and the scar meant that I was stronger than whatever had tried to hurt me.
Music is very similar to comedy: It's all about texture, timing, context, vocabulary, performance. When someone's onstage doing a solo, essentially it's the same thing as what a comedian does. They're in the moment. They're listening.
Too many companies want their brands to reflect some idealised, perfected image of themselves. As a consequence, their brands acquire no texture, no character and no public trust.
Painters must speak through paint, not through words.
Think of an abstract painting as very, very low relief - a thing, not a picture.
the snow ... came in thick tufts like new wool - washed before the weaver spins it.
The color, the shape, and the texture--none of it is accidental. Every item we wear has a glorious (or sometimes not so glorious) history, and that history extends back years--centuries, even--before Oscar de la Renta's 2002 collection.
