Discover the most popular and inspiring quotes and sayings on the topic of Diffuses. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Diffuses Quotes And Sayings by 97 Authors including Taryn Simon,Shade Aura Melanson,Gustave Flaubert,Kurt Schwitters,Nicholas Sparks for you to enjoy and share.
In my work, I construct texts and images. Between those two points the blur occurs. Each is altered by the other again and again, back and forth.
One the stuff hits the fan ... swirl a pair of (Chinese) stress balls.
[The artist] is like a pump; he has inside him a great pipe that reaches down into the entrails of things, the deepest layers. He sucks up what was lying there below, dim and unnoticed, and brings it in great jets to the sunlight.
The medium is as unimportant as I myself. Essential is only the forming.
depositions - and
There is something fluid about [packs] during the course of any individual manifestation. [p. 127]
Painting dissolves the forms at its command ... it melts them into color.
It's evening, one of those gray water-color washes, like liquid dust.
Transform the Material.(Chuang Tzu)
My still-life painting has more to do with light and shadow than with the objects themselves.
Every drop makes a ripple...
I am an architect. I try to feel the transparency in contemporary buildings and I try to understand the transparency in Zen poetry. I just want to mix all those things.
Intensity is all that matters in painting.
Simplicate and add more lightness.
In all my works, light is an important controlling factor.
My works look to how images are produced, but specially based upon how the material reacts.
I did what we call dry for wet effects, some of the miniatures work and two animation sequences.
Sunlight streamed in a steady flow, casting flecks of gold onto the floor, bathing my skin. I inhaled deeply. Already, the air inside my bedroom had been perfumed with nature. A breeze whispered softly and breathed carefully onto my skin.
I listen to the rainfall,
my words wanna flow!
Droplets run down the wall,
where do they go?
Letters in the raw,
mesh together for the show!
By close inspection ... you will discover the manner of handling the artifices of contrast, glazing, and other expedients, by which good colorists have raised the value of their tints, and by which nature has been so happily imitated.
Their blissfully soft texture calmed me but alerted me at the same time. I couldn't explain the gentle spark of light that dripped off the edges. And of course, the aqua trim felt way too familiar.
You think the shadow is the substance.
Whether we electrons, light quanta, benzol molecules, or stones, we shall always come up against these two characteristics, the corpuscular and the undular.
Among those who study painting, some strive for an elaborate effect and others prefer the simple. Neither complexity in itself nor simplicity is enough.
I am trying to find out why a subject does look so marvelous, and trying to make that sensation manifest on a flat surface.
Grandeur of effect is produced by two different ways which seem entirely opposed to each other. One is by reducing the colors to little more than chiaroscuro ... and the other, by making the colors very distinct and forcible ... but still, the presiding principle of both those manners is simplicity.
Turner watercolour
Nothing more powerfully excites any affection than to conceal some part of its object, by throwing it into a kind of shade, whichat the same time that it shows enough to prepossess us in favour of the object, leaves still some work for the imagination.
Ebru, or water marbling, is formed by drawing designs with dye on the surface of water and then transferring the whirled image onto paper placed on the water.
It is remarkable how very individual technique becomes in watercolour. Every man of personality finally arrives at a method peculiarly his own, as unique as his own fingerprint.
My paintings always feature trails that dissolve into mysterious areas, patches of light that lead the eye around corners, pathways, open gates, etc.
Mother's life flowed radiant. Flourescent-tipped waves on incoming tides.
I often see the materials of photography as being a type of terrain. Emulsions, liquid developers, silver salts, and fixers interact, and I construct a landscape that I need to first explore in my mind's eye if I am to make it manifest as an artful image in silver.
vague as a soft copper pulse of moonlight through blossoming sea coast fog.
A harmonious combination ... enough abstraction that the image is sustained by the eye; enough reality that it is sustained by reason and experience. Share this quote with a friend
A gentle mixture of furniture expresses life and continuity but it must be a judicious mixture that flows and mixes well. It is a bit like mixing a salade. (I am better at room than salads).
Control, edit and distill.
Shine: clear dew aching with light.
A simple style is like white light. Although complex, it does not appear to be so.
Make it nice where you are, and put the density on top.
There's a generative material relationship between the material and the image that comes up.
in painted quiet and concentration
astonishing splashes of colour
Rawness and refinement are not opposite ends of a luxurious spectrum ... they are two complementary features with which to populate a luxe environment.
A lot of my work is about what's abstract and what's pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line and watching things dip this way and that.
When realistic images or patterns are seen in an abstract painting, they are often parallels brought about by processes in painting which echo processes in nature.
In abstract painting, I worried about the limited range of possibilities that, as time went on, became increasingly important to me. I wanted to express or deal with differences that an all-over paint and canvas 'presence' neutralized.
Simultaneous contrast is not just a curious optical phenomenon - it is the very heart of painting.
Through the sharp air a flaky torrent flies, Mocks the slow sight, and hides the gloomy skies; The fleecy clouds their chilly bosoms bare, And shed their substance on the floating air.
Everything is really about lighting.
A scrap of seventeenth-century sunlight compressed into dots and pixels,
Light is impressionism.
Dust Glitter Rain
I wanted to create a kind of substance by means of brush-work. But that is the kind of discovery which one makes gradually ... Thus it was that I subsequently began to introduce sand, sawdust and metal filings into my pictures.
Laying complements next to each other makes them scintillating, but mixing them produces a 'muddy' rendering of each color. The mud is good stuff ...
Flowers and flames. And color. Color as color, not as volume or light - only as color.
What is it you want your audience to see? Who is your audience? What does surface signify? Does it carry meaning? Do you fully understand and know what you are doing? WHY are you using encaustic?
It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color.
I like to compare my method with that of painters centuries ago, proceeding from layer to layer.
Even the sky a hybrid - here clean and black and starred, there roiling with a brusque signature of cloud or piled in strata like folded linen or the interior of rock.
Let you light shine from the inside out.
What is the colour of abstraction? What is the smell of hope?
Banish Air from Air
Divide Light if you dare
When your attention is diffuse, it's like a broad, weak beam of light that doesn't reveal much. Concentration brings the weak beam down to a single, sharply focused, supremely bright, exponentially more illuminating point.
But there are other things than dissipation that thicken the features. Tears, for example.
The materials shape your idea.
My palette contains a warm and cool of each primary, plus four modifiers: Yellow Ochre, Burnt Sienna, Blue-Violet and Phthalo Yellow-Green just mix as I go for each painting.
Your skin is transparent as distilled moonlight
Shining through tears, like April suns in showers, that labour to overcome the cloud that loads 'em.
Seeping in through his clothes and his skin until it was gone - or not gone. Absorbed.
to enhance the visual impact of the
Perfumes, colours and sounds echo one another.
to describe. It still felt like paper, of course - a medium
Seek the strongest color effect possible ... the content is of no importance.
There is in them a softer fire than the ruby, there is the brilliant purple of the amethyst, and the sea green of the emerald - all shining together in incredible union. Some by their splendor rival the colors of the painters, others the flame of burning sulphur or of fire quickened by oil.
The two of us warmed by a bold beam of light that wicks the moisture from my dress, my hair, and my skin - returning it to the sky where it promises to find me again in the form of dew, snow, or rain.
I wanted to paint with shadows and capture what light would look like in clothes.
In designing my bridal collections, I love mixing luxe fabrics, which give the most beautiful texture and dimension to my creations.
border - shades of vermillion, raw sienna, and burnt umber that would grow bolder and more vibrant with the strengthening
Bring out the nature of the materials. Let their nature intimately into your scheme.
What's dry?' 'Good question. Next question!
My work has the abstraction underneath it all now & what I deliberately set out to do down here, for this is the perfect realistic abstraction in landscape.
Over the years I must have spent thousands of hours silently brushing on the liquid coatings, preparing each sheet in anticipation of reaching the perfect print.
Every day I studied the nude, and movement in the streets and in the shops. Out of the naturalistic surface with all its variations I wanted to derive the pictorially determined surface.
They are the gateway for our modern esthetic development, the prophets of the new time. They are most of all, the primitives of the way they have begun; they have voiced most of all the imperative need of essential personalism, of direct expression of direct experience.
The way I put together images is a reactive art.
A soft breeze plays with her hair, bringing with it the mingling scent of dusty tomes and damp, rich ink.
The tinkle of a wind chime stirred from over a window. Purple and white phlox cascaded cheerfully over the top of a nearby stone wall. Sunlight sifted through the weave of her straw hat, casting freckles of light on her nose and cheeks that shifted, out of focus, as she walked.
And in the evening concealed fluorescent tubes light the room so evenly that it is no longer illuminated, it is a pool of luminosity.
I organize the opposition between colors, lines and curves. I set curves against straight lines, patches of color against plastic forms, pure colors against subtly nuanced shades of gray.
Light is incredibly generous, but also gentle.
Shined, combed, brushed and gorgeous
Symbols are oracular forms-mysterious patterns creating vortices in the substances of the invisible world.
Nuzleaf Grass/Dark
Evanescent like ice that is melting away;
It is to be noted that when any part of this paper appears dull there is a design in it.
Only this shimmeriness is the real living. The shape is a dead crust. The shimmer is inside really.
Light that is One though the lamps be many.
People love buying into a lifestyle and an overall concept. So when they buy a shell-colored lip gloss, they can also buy shells for their house, as well as sunglasses and [items in] other categories [in that shade] to create one consistent image.
After Ive enjoyed a floral bouquet to its fullest, I drop a few petals in a bottle with distilled water to create my own soothing toner.