I have had sculptures cast in bronze, silver and aluminium. My drawings are all graphite or pigment ink and gouache on paper.
I still make paintings and use the figure; it's hard to do and hard to succeed. On some levels, because I am working with black figures and black pigment, it's even harder because I have to be more responsible for the image. I try to be really careful about the presence the figure projects.
People hurried past, the others of the street, endless anonymous, twenty-one lives per second, race-walking in their faces and pigments, sprays of fleetest being.
Values create dimension, but color usually receives all of the attention. When painting with oils, placing dark and light pigments next to each other can be an accident waiting to happen.
There is joy in feeling the bristles of a quality brush, seeing the richness and lush color of truly good pigment flowing onto the paper or canvas. The cheap stuff just makes for harder work and lesser results.
Strange are the pictures of the future that mankind can thus draw with this brush of faith and these many-coloured pigments of the imagination! Strange, too, that no one of them tallies with another!
Water and stones. Those are the unpromising ingredients of two very different endeavors... painting, because artists' pigments are made from fluids... mixed together with powdered stones to give color... and the other is alchemy, the stone the ultimate goal.
I always have lipstick, and use the same lipstick for my cheeks as blush, so that it looks very natural. It's a good trick I learned from my mother. I like NYX or MAC because they have a lot of pigment and they're matte.
I was looking to be pale, you know, like the kind of person who has that pigment in their skin where no matter what the weather is they have pink cheeks. I had a couple of friends like that. But it was all very instinctive in a way. I never really thought that much about it.
My pigment is of the earth, and collecting my sacred fire from my solar plexus with the central sun of the earth.
The best artists know what to leave out.
My mantra is, 'Don't be afraid of color.' What did it do to you? Do a color testing in alternate kinds of light you desire in the room because the pigment will change. And I refuse to believe that pale pale or white colors in a small room will buy you more square footage. Go with color all the way.
For me, painting is that magical material, that beautiful stuff that was invented, the ground-up pigments in oil which makes it very malleable. It can be manipulated and changed, darkened, lightened, given different hues and colors, so that by manipulating this material somehow I can find that figure I'm looking for, that figure that represents all the issues I'm bringing up and addressing.
I knew exactly what I was, and there was no hang-up with me. None whatsoever. The fact that the pigment of my skin maybe being lighter brown than other people of my race, maybe some of them, but you know our race has all colors.
I had a great time investigating the pigments of different mutant fruit flies by following experimental protocols published in Scientific American, and I also remember making my own beetle collection when it was still acceptable to make such collections.
Mexico was most powerfully my father's smile and not, as you might otherwise imagine, not language, not pigment.
Mattia was right: the days had slipped over her skin like a solvent, one after the other, each removing a very thin layer of pigment from her tattoo, and from both of their memories. The outlines, like the circumstances, were still there, black and well delineated, but the colors had merged together until they faded into a dull, uniform tonality, a neutral absence of meaning.
Scan your subject for things that are clearly impossible. After all, paint isn't magic! If you see that certain elements in the subject are beyond the limits of your pigments, try to form an idea beforehand of how you are going to handle those areas when you get to them.
The approach to "building" a story with words and phrases is no different than "building" a painting with brushes and pigments.
Filmmakers don't work for posterity. We create with celluloid and chemical pigments that don't last very long. They fade away. In 200 years there will be nothing left of our work but dust.
Potassium cyanide," says the talent wrangler as she leans over to pick up a paper napkin off the floor. "Found naturally in the cassava or manioc roots native to Africa, used to tint architectural blueprints in the form of the deep-blue pigment known as Prussian blue. Hence the shade 'cyan' blue.
I hope you will love your baby. I hope it will be a boy. That husband of yours, I hope, will always treat you well, because otherwise my specter shall come out of him, like black smoke, like a demented giant, and pull him apart nerve by nerve. ... I am thinking of aurochs and angels, the secret of durable pigments, prophetic sonnets, the refuge of art. And this is the only immortality you and I may share, my Lolita.
Lorenzo de' Medici seeks highly skilled, aesthetically oriented individual to conceive and implement several major public projects. You are a generalist with sound training in structural engineering, synthesis of pigments and Christian iconography. Some climbing involved
Lately, however, on abandoning the brindled and grey mosquitos and commencing similar work on a new, brown species, of which I have as yet obtained very few individuals, I succeeded in finding in two of them certain remarkable and suspicious cells containing pigment identical in appearance to that of the parasite of malaria. As these cells appear to me to be very worthy of attention ... I think it would be advisable to place on record a brief description both of the cells and of the mosquitos.
With God thoughts are colors, with us they are pigments-even the most abstract one may be accompanied by physical pain.
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