Painting is a blind man's profession. He paints not what he sees, but what he feels, what he tells himself about what he has seen.
I used to paint landscapes without any people in them but now I paint people who happen to be in a particular place. They might be outside a pub, or on a beach or in a studio. They might have clothes on or they might not.
Never fear having your ideas stolen. Your creative idea is a image you are painting like a picture on a canvas, they may "steal" your idea, however they cannot steal your paints.
A paint brush is the only tool I use extensively in my works, to push paint on canvas and conduct melodies. And that's exactly what Garden Avenue is, and all of my projects after that.
For me, a paint brush is the only tool I use extensively in my works, to push paint on canvas and conduct melodies. And that's exactly what Garden Avenue is, and all of my projects after that.
No, you don't shoot things. You capture them. Photography means painting with light. And that's what you do. You paint a picture only by adding light to the things you see.
Technically, a makeup artist's canvas is the face and body. The difference is that my painting of makeup is integrated into the painting of the flesh and not on top of it. I think in some ways it is more difficult to expressively deploy makeup.
And also the new excitement and variety of ways that the abstract expressionists were applying paint. You could put it on as though it were colored air and it would be painting.
I had a quite unconventional childhood, in the sense that I traveled a lot and I went to 10 or 11 schools. I was completely confused academically, but wherever I went, I could paint. I painted an inordinate amount.
Life is a Canvas. Every action of ours is a stroke of paint and at the end, how beautiful our painting is will depend upon all our strokes, all our Actions. -RVM
Know what you're trying to do before you do it. Turning knobs at random isn't enlightening any more than throwing paint at a wall blindfolded will let you paint a nice picture.
The worlds I paint leave a lot to engage the imagination by hinting at what lies beyond the four edges of the painting. I think getting beyond the four edges of an opportunity or challenge is one of the basic skills you need in business.
I had bohemian parents in Seattle in the last '60s living in a houseboat. My dad wrote science fiction novels and painted big murals and oil paintings.
My early paintings weren't that good - I was very influenced by Francis Bacon. But there was a kind of intensity there. And however influenced they may have been by other people, even my earliest paintings were recognisably my own.
Some people would say my paintings show a future world and maybe they do, but I paint from reality. I put several things and ideas together, and perhaps, when I have finished, it could show the future.
I find painting a much slower process than comedy, where you can go a mile a minute verbally and hope to God that some of the people out there understand you. I don't paint every day. I'm not that motivated.
I've done everything from cater, wait tables, pre-school teacher, painting, to being Cinderella, Elmo, a clown, nanny, selling hair... I would do kid's parties and entertain and do magic and paint faces and balloon animals. The highlight of my life.
I had always loved expressionist painting, like every European. In fact I admired it all the more because these were precisely the paintings despised by my father's generation.
There is nothing more difficult for a truly creative painter than to paint a rose, because before he can do so he has first to forget all the roses that were ever painted.
It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
I do paint, and I wanted to actually be a painter. Sometimes I'll whip out paints. It's tough to find the motivation, but it's also a solitary, lonely occupation. What I like about acting is that it is such a collaborative thing.
