Textured Paint Quotes

You look like a Turner painting and I want to learn your textures with my fingertips. You are the most fascinating thing in this beautiful house. I'd like to introduce my fists to whoever taught you to stop talking about the things that interest you.

Every brush stroke on the canvas, every dab of color introduced, the fine textures impressed in the paint—this accumulation of many small acts combines to shape a final work of art.  And so it is with life; each step, each deed, each brief choice builds gradually, day by day, to shape both character and destiny.

He handed me a bandana. "Tie that on." "Why?" I said, but I did it anyway. "Norman, you are way too into ceremony." "It's important." I could hear him moving around, adjusting things, before he came to sit beside me. "Okay," he said. "Take a look." I pulled off the blindfold. Beside me, Norman watched me see myself for the first time. And it was me. At least, it was a girl who looked like me. She was sitting on the back stoop of the restaurant, legs crossed and dangling down. She had her head slightly tilted, as if she had been asked something and was waiting for the right moment to respond, smiling slightly behind the sunglasses that were perched on her nose, barely reflecting part of a blue sky. The girl was something else, though. Something I hadn't expected. She was beautiful. Not in the cookie-cutter way of all the faces encircling Isabel's mirror. And not in the easy, almost effortless style of a girl like Caroline Dawes. This girl who stared back at me, with her lip ring and her half smile - not quite earned - knew she wasn't like the others. She knew the secret. And she'd clicked her heels three times to find her way home. "Oh, my God," I said to Norman, reaching forward to touch the painting, which still didn't seem real. My own face, bumpy and textured beneath my fingers, stared back at me. "Is this how you see me?" "Colie." He was right beside me. "That's how you are.

When I paint, there’s always a moment where I just know that I’m finally finished. The colors and textures come together to depict a feeling of rightness.

Robin managed to hold his tongue on something truly unwise like You look like a Turner painting and I want to learn your textures with my fingertips. You are the most fascinating thing in this beautiful house. I’d like to introduce my fists to whoever taught you to stop talking about the things that interest you.

The darkness behind my closed eyelids was like the cloud-covered sky, but the gray was somewhat deeper. Every few minutes, someone would come and paint over the gray with a different-textured gray - one with a touch of gold or green or red. I was impressed with the variety of grays that existed. Human beings were so strange. All you had to do was sit still for ten minutes, and you could see this amazing variety of grays.

Despair. I’d been told I suffered from it too. The thing was, I never sensed myself in despair, but rather, in love with something I felt closest to only when walking or riding my bike in the city. I felt it when I kept my windows open all night, or sitting on the rickety wood of the porch my landlord called a fire escape, peeled paint flaking under my hands and feet, looking over the empty lot. It had to do with a texture, with the moon and a stray white cat I’d been feeding, a cat that saw me as home now.

I picked up scallop shells in diverse colors and sizes — warm reds and yellows; cool, stippled grays — and reflected on the diversity of God’s creation, and what might be the use and meaning of his making so many varieties of a single thing. If he created scallops simply for our nourishment, why paint each shell with delicate and particular colors? And why, indeed, trouble making so many different things to nourish us, when in the Bible we read that a simple manna fed the Hebrews day following day? It came to me then that God must desire us to use each of our senses, to take delight in the varied tastes and sights and textures of his world.

Become a great artist. That is the only way to justify what you are doing to everyone's life.'... I did not understand what he meant. I did not feel I had to justify anything... I did not want to paint in order to justify anything, I wanted to paint because I wanted to paint. I wanted to paint the same way my father wanted to travel and work for the Rebbe. My father worked for Torah. I worked for - what? How could I explain it? For beauty? No. Many of the pictures I painted were not beautiful. For what, then? For a truth I did not know how to put into words. For truth I could only bring to life by means of color and line and texture and form.

I inspect everything more closely, and there is about every surface—the river, the forest, the bark of the trees, the underbrush between them, even my own skin—there is about it all the unmistakable texture of linen stretched and framed. And this is when I feel the camel’s hair brush and the oil paint dabbing tenderly, meticulously, at the space below my navel.

Sometimes she sat against the wall, longing for the warm finger of paint to wander just once more down the side of her nose, or to watch the sandpaper texture of her papa’s hands. If only she could be so oblivious again, to feel such love without knowing it, mistaking it for laughter and bread with only the scent of jam spread out on top of it. It was the best time of her life.

But now I saw the emotional landscape quite differently—more like the pointillism of a Seurat painting: each color made up of many other colors. Look closely, and it’s dots. Stand back, and it’s an afternoon on the lake—all the colors relying on each other for texture and meaning.

The walls were painted teal and had the texture of psoriasis.

I repaired a tear she sustained a couple of weeks ago during a spontaneous vaginal delivery. Dear Adam, Just wanted to say thank you. You did a fantastic job – my GP checked my stitches and said you could hardly tell I’d had a baby, let alone a third-degree tear! I’m extremely grateful to you. Thank you again. Everything about it is so thoughtful, the kind of thing that makes the whole job totally worthwhile. She’d even made it herself – beautiful textured white card adorned with her baby’s footprint in gold paint on the front. Then again, I guess she didn’t have much choice – there can’t be much call in Paperchase for ‘Thanks for mending my anus!’ cards.

When I started to draw, most of my influences were from other painters and illustrators, so I was drawing landscape at second hand, really. The trees were Rackham trees, or trees that I had seen in paintings rather than from my own observation...and I started to feel this was a real lack in my work. Everything was too generalised, and not based on real experience. Then in 1975, after having worked for some years in London as a book cover illustrator mainly, I came down to Devon and stayed with some friends up on the moor. In the course of this one weekend, wandering around the moor, finding rivers and ancient woods, I realised that everything that I would ever want to draw was actually here. There was so much richness in the texture and forms of these fantastic trees...and I decided in the course of that weekend to come and live here. I looked at a couple of houses, found one, and made an offer on it, all in that one weekend!

At times, in that basement, she woke up tasting the sound of the accordion in her ears. She could feel the sweet burn of champagne on her tongue. Sometimes she sat against the wall, longing for the warm finger of paint to wander just once more down the side of her nose, or to watch the sandpaper texture of her father's hands. If only she could be so oblivious again, to feel such love without knowing it, mistaking it for laughter and bread with only the scent of jam spread out on top of it.

You look like a Turner painting and I want to learn your textures with my fingertips. You are the most fascinating thing in this beautiful house. I’d like to introduce my fists to whoever taught you to stop talking about the things that interest you.

I pulled up my feet, bent my knee, and rested my chin on my hand. Then I closed my eyes. Still no sounds. The darkness behind my closed eyelids was like the cloud-covered sky, but the grey was somewhat deeper. Every few minutes, someone would come and paint over the grey with a different-textured grey – one with a touch of gold or green or red. I was impressed with the variety of greys that existed. Human beings were so strange. All you had to do was sit still for ten minutes, and you could see this amazing variety of greys.

Robin managed to hold his tongue on something truly unwise like ‘You look like a Turner painting and I want to learn your textures with my fingertips. You are the most fascinating thing in this beautiful house. I’d like to introduce my fists to whoever taught you to stop talking about the things that interest you.

Which is this? This is persimmons, Father. Oh, the feel of the wolftail on the silk, the strength, the tense precision in the wrist. I painted them hundreds of times eye's closed. These I painted blind. Some things never leave a person: scent of hair of one you love, the texture of persimmons, in your palm, the ripe weight.

A flower is beautiful as it is, transient, full of colour and life for the time it blooms, but it's simple, shallow even. A flower is just a flower. But art? Art is a flower painted so it won't die. A flower on the skin of a woman with depth and texture to her soul? It's the context that gives it beauty," he spoke in a voice like velvet rubbing against my sensitive skin.

Sometimes she sat against the wall, longing for the warm finger of paint to wander just once more down the side of her nose, or to watch the sandpaper texture of her papa’s hands. If only she could be so oblivious again, to feel such love without knowing it, mistaking it for laughter and bread with only the scent of jam spread out on top of it. It was the best time of her life.

Having studied art history, as opposed to political history, I tend to incorporate found objects into my books. Just as Pablo Picasso glued a fragment of furniture onto the canvas of Still Life with Chair Caning, I like to use whatever's lying around to paint pictures of the past--traditional pigment like archival documents but also the added texture of whatever bits and bobs I learn from looking out bus windows or chatting up people I bump into on the road.

Grant paused in the act of turning the thing over, to consider the face a moment longer. A judge? A soldier? A prince? Someone used to great responsibility, and responsible in his authority. Someone too-conscientious. A worrier; perhaps a perfectionist. A man at ease in a large design, but anxious over details. A candidate for gastric ulcer. Someone, too, who had suffered ill-health as a child. He had that incommunicable, that indescribable look that childhood suffering leaves behind it; less positive than the look on a cripple’s face, but as inescapable. This the artist had both understood and translated into terms of paint. The slight fullness of the lower eyelid, like a child that has slept too heavily; the texture of the skin; the old-man look in a young face. He turned the portrait over to look for a caption. On the back was printed: Richard the Third. From the portrait in the National Portrait Gallery. Artist Unknown.

He was saved not by the sky but by writing. He had written a number of books during his time in the re-education camp—always on the one piece of paper he possessed, page by page, chapter by chapter, an unending story. Without writing, he wouldn’t have heard the snow melting or leaves growing or clouds sailing through the sky. Nor would he have seen the dead end of a thought, the remains of a star or the texture of a comma. Nights when he was in his kitchen painting wooden ducks, Canada geese, loons, mallards, following the colour scheme provided by his other employer, he would recite for me the words in his personal dictionary: nummular, moan, quadraphony, in extremis, sacculina, logarithmic, hemorrhage—like a mantra, like a march towards the void.

STAINS With red clay between my toes, and the sun setting over my head, the ghost of my mother blows in, riding on a honeysuckle breeze, oh lord, riding on a honeysuckle breeze. Her teeth, the keys of a piano. I play her grinning ivory notes with cadenced fumbling fingers, splattered with paint, textured with scars. A song rises up from the belly of my past and rocks me in the bosom of buried memories. My mama’s dress bears the stains of her life: blueberries, blood, bleach, and breast milk; She cradles in her arms a lifetime of love and sorrow; Its brilliance nearly blinds me. My fingers tire, as though I've played this song for years. The tune swells red, dying around the edges of a setting sun. A magnolia breeze blows in strong, a heavenly taxi sent to carry my mother home. She will not say goodbye. For there is no truth in spoken farewells. I am pregnant with a poem, my life lost in its stanzas. My mama steps out of her dress and drops it, an inheritance falling to my feet. She stands alone: bathed, blooming, burdened with nothing of this world. Her body is naked and beautiful, her wings gray and scorched, her brown eyes piercing the brown of mine. I watch her departure, her flapping wings: She doesn’t look back, not even once, not even to whisper my name: Brenda. I lick the teeth of my piano mouth. With a painter’s hands, with a writer’s hands with rusty wrinkled hands, with hands soaked in the joys, the sorrows, the spills of my mother’s life, I pick up eighty-one years of stains And pull her dress over my head. Her stains look good on me.

And if what they say is true—if every great painting is really a self-portrait—what, if anything, is Fabritius saying about himself? A painter thought so surpassingly great by the greatest painters of his day, who died so young, so long ago, and about whom we know almost nothing? About himself as a painter: he’s saying plenty. His lines speak on their own. Sinewy wings; scratched pinfeather. The speed of his brush is visible, the sureness of his hand, paint dashed thick. And yet there are also half-transparent passages rendered so lovingly alongside the bold, pastose strokes that there’s tenderness in the contrast, and even humor; the underlayer of paint is visible beneath the hairs of his brush; he wants us to feel the downy breast-fluff, the softness and texture of it, the brittleness of the little claw curled about the brass perch.

THE BOOK OF A MONK’S LIFE I live my life in circles that grow wide And endlessly unroll, I may not reach the last, but on I glide Strong pinioned toward my goal. About the old tower, dark against the sky, The beat of my wings hums, I circle about God, sweep far and high On through milleniums. Am I a bird that skims the clouds along, Or am I a wild storm, or a great song? Many have painted her. But there was one Who drew his radiant colours from the sun. My God is dark- like woven texture flowing, A hundred drinking roots, all intertwined; I only know that from His warmth I'm growing. More I know not: my roots lie hidden deep My branches only are swayed by the wind. Dost thou not see, before thee stands my soul In silence wrapt my Springtime's prayer to pray? But when thy glance rests on me then my whole Being quickens and blooms like trees in May. When thou art dreaming then I am thy Dream, But when thou art awake I am thy Will Potent with splendour, radiant and sublime, Expanding like far space star-lit and still Into the distant mystic realm of Time. I love my life's dark hours In which my senses quicken and grow deep, While, as from faint incense of faded flowers Or letters old, I magically steep Myself in days gone by: again I give Myself unto the past:- again I live. Out of my dark hours wisdom dawns apace, Infinite Life unrolls its boundless space ... Then I am shaken as a sweeping storm Shakes a ripe tree that grows above a grave ' Round whose cold clay the roots twine fast and warm- And Youth's fair visions that glowed bright and brave, Dreams that were closely cherished and for long, Are lost once more in sadness and in song.

Were the earth as smooth as a ball bearing, it might be beautiful seen from another planet, as the rings of Saturn are. But here we live and move; we wander up and down the banks of the creek, we ride a railway through the Alps, and the landscape shifts and changes. Were the earth smooth, our brains would be smooth as well; we would wake, blink, walk two steps to get the whole picture and lapse into dreamless sleep. Because we are living people, and because we are on the receiving end of beauty, another element necessarily enters the question. The texture of space is a condition of time. Time is the warp and matter the weft of woven texture of beauty in space, and death is the hurtling shuttle… What I want to do, then, is add time to the texture, paint the landscape on an unrolling scroll, and set the giant relief globe spinning on it stand.

Witnessing the panoply of beauty in all of nature takes us out of our shell of self-absorption and makes us realize that we are merely bit players in the game of life. Witnessing the majesty of beauty confirms that the real show lies outside us to observe and appreciate and not inside us to transfix us. True beauty charms us into seeing the grandeur of goodness that surrounds us and by doing so, the pristine splendor of nature releases us from wallowing in the poverty of our self-idealization. The bewitching spell cast by the exquisiteness of nature levitates our souls and transforms our psyche. When we see, hear, taste, smell, or touch what is beautiful, we cannot suppress the urge to replicate its baffling texture by singing, dancing, painting, or writing. Opening our eye to the loveliness of a single flower is how we stay in touch with the glorious pageantry of living.

Beneath the window, set between gravel walkways, a few woody lavenders, etiolated rosemary bushes, and ornamental thyme made up the aromatherapy garden that he had seen described in the brochure. Beyond this, however, running a long arc down the gentle slope of lawn, camellias in unrestrained bloom provided an alternative tonic. The lawn gave way to a flower garden, itself fringed by a wood, so that the incarcerated had at least the consolation of a pleasant enough outlook. Gabe stood in front of the fireplace and examined the painting that hung above the mantelpiece. It was a still life. It showed two apples and a brown and white feather laid on a velvet cloth on a table placed by a window. Although the picture was not, Gabriel assumed, of the highest artistic value, and was cheap enough to reside at Greenglades, and though it could not be said to have a photographic reality, and though he suspected it of not being "good," he was drawn to look at it and could see the ripeness of the velvet, reckon the bursting crispness of the apples, and the feather had a certain quality that he had never before observed, just as the painted window offered something that he had failed to notice at all when looking through the real one: the texture, the tone, the way the light fell, the very glassness of the glass.

She took my wings,' he whispered. Tamlin's green eyes flickered and I knew right then, that the faerie was going to die. Death wasn't just hovering in this hall; it was counting down the faerie's remaining heartbeats. I took one of the faerie's hands in mine. The skin there was almost leathery, and, perhaps more of a reflex than anything, his long fingers wrapped around mine, covering them completely. 'She took my wings,' he said again, his shaking subsiding a bit. I brushed the long, damp hair from the faerie's half-turned face, revealing a pointed nose and a mouth full of sharp teeth. His dark eyes shifted to mine, beseeching, pleading. 'It will be all right,' I said, and hoped he couldn't smell the lies the way the Suriel was able to. I stroked his limp hair, its texture like liquid night- another I would never be able to paint but would try to, perhaps forever. 'It will be all right.' The faerie closed his eyes, and I tightened my grip on his hand. Something wet touched my feet, and I didn't need to look down to see that his blood had pooled around me. 'My wings,' the faerie whispered. 'You'll get them back.' The faerie struggled to open his eyes. 'You swear?' 'Yes,' I breathed. The faerie managed a slight smile and closed his eyes again. My mouth trembled. I wished for something else to say, something more to offer him than my empty promises. The first false vow I'd ever sworn. But Tamlin began speaking, and I glanced up to see him take the faerie's other hand. 'Cauldron save you,' he said, reciting the words of a prayer that was probably older than the mortal realm. 'Mother hold you. Pass through the gates, and smell that immortal land of milk and honey. Fear no evil. Feel no pain.' Tamlin's voice wavered, but he finished. 'Go, and enter eternity.' The faerie heaved one final sigh, and his hand went limp in mine. I didn't let go, though, and kept stroking his hair, even when Tamlin released him and took a few steps from the table. I could feel Tamlin's eyes on me, but I wouldn't let go. I didn't know how long it took for a soul to fade from the body. I stood in the puddle of blood until it grew cold, holding the faerie's spindly hand and stroking his hair, wondering if he knew I'd lied when I'd sworn he would get his wings back, wondering if, wherever he had now gone, he had gotten them back. A clock chimed somewhere in the house, and Tamlin gripped my shoulder. I hadn't realised how cold I'd become until the heat of his hand warmed me through my nightgown. 'He's gone. Let him go.' I studied the faerie's face- so unearthly, so inhuman. Who could be so cruel to hurt him like that? 'Feyre,' Tamlin said, squeezing my shoulder. I brushed the faerie's hair behind his long, pointed ear, wishing I'd known his name, and let go.

She retrieved the beads she had dropped from under the sewing tables, and strung them again. She made and painted more beads, added the slimerod cores she had dried, the seed pods of this plant, tufts of long hair from cows’ tails caught in brush… she wasn’t sure what she was making, only that she liked the patterns of chunky things and thin ones, color and texture and line. When she put the construction on her body, she realized it needed a bit more here — another length of beads — and something else there to balance the weight and keep it from slipping off her shoulders. She looked in the mirror. Odd how seldom she’d done that, not since before the other landing. She had not wanted to see her expression; she had been afraid that she might frighten herself. But now the figure in the mirror hardly looked human. She stared. She felt the same — mostly the same — and in the mirror her own face scowled at her, the familiar scowl with which she had always greeted her mirror-self. Her eyebrows were thinner and whiter; her white hair a tousled bush of silver. But the inner self that had been so intent on stringing beads and feathers and wool and cows’ hair and seedpods, that had been so sure where to lace this string to that, and how to hang the tassels — that self had not imagined how she would look in anything but the old drab workshirts and skirts and bonnets of earlier years. Indecent, the old voice said. Amazing, the new voice said, with approval. Her body was old, wrinkled, sagging, splotched with the wear-marks of nearly eighty years… but hanging on it in weblike patterns were the brilliant colors and textures of her creation.

‌* When the coughing stopped, there was nothing but the nothingness of life moving on with a shuffle, or a near-silent twitch. ‌* Mistakes, mistakes, it’s all I seem capable of at times ‌*No matter how many times she was told that she was loved, there was no recognition that the proof was in the abandonment. ‌*It’s much easier, she realized, to be on the verge of something than to actually be it ‌*When death captures me,” the boy vowed, “he will feel my fist on his face.”. ‌*he’d turned for one last look at his family as he left the apartment. Perhaps then the guilt would not have been so heavy. No final goodbye. No final grip of the eyes. Nothing but goneness. ‌ *Wrecked, but somehow not torn into pieces. ‌*Life had altered in the wildest possible way, but it was imperative that they act as if nothing at all had happened. ‌*“If we gamble on a Jew,” said Papa soon after, “I would prefer to gamble on a live one,” and from that moment, a new routine was born. *‌you should know it yourself—a young man is still a boy, and a boy sometimes has the right to be stubborn.” ‌*The fire was nothing now but a funeral of smoke, dead and dying, simultaneously. ‌*Even death has a heart.. ‌* In truth, I think he was afraid. Rudy Steiner was scared of the book thief’s kiss. He must have longed for it so much. He must have loved her so incredibly hard. So hard that he would never ask for her lips again and would go to his grave without them. ‌*There is death. Making his way through all of it. On the surface: unflappable, unwavering. Below: unnerved, untied, and undone. *‌That damn snowman,” she whispered. “I bet it started with the snowman—fooling around with ice and snow in the cold down there.” Papa was more philosophical. “Rosa, it started with Adolf.” *‌There were broken bodies and dead, sweet hearts. Still, it was better than the gas ‌*They were French, they were Jews, and they were you. ‌*Sometimes she sat against the wall, longing for the warm finger of paint to wander just once more down the side of her nose, or to watch the sandpaper texture of her papa’s hands. If only she could be so oblivious again, to feel such love without knowing it, mistaking it for laughter and bread with only the scent of jam spread out on top of it. *‌Himmel Street was a trail of people, and again, Papa left his accordion. Rosa reminded him to take it, but he refused. “I didn’t take it last time,” he explained, “and we lived.” War clearly blurred the distinction between logic and superstition. ‌*Silence was not quiet or calm, and it was not peace. ‌*“I should have known not to give the man some bread. I just didn’t think.” “Papa, you did nothing wrong.” “I don’t believe you. ‌ * I’m an idiot.” No, Papa. You’re just a man.. ‌*What someone says and what happened are usually two different things ‌* despised by his homeland, even though he was born in it ‌ *“Of course I told him about you,” Liesel said. She was saying goodbye and she didn’t even know it. ‌*Say something enough times and you never forget it ‌*robbery of his life? ‌*Those kinds of souls always do—the best ones. The ones who rise up and say, “I know who you are and I am ready. Not that I want to go, of course, but I will come.” Those souls are always light because more of them have been put out. More of them have already found their way to other places ‌*One could not exist without the other, because for Liesel, both were home. Yes, that’s what Hans Hubermann was for Liesel Meminger ‌*DEATH AND LIESEL It has been many years since all of that, but there is still plenty of work to do. I can promise you that the world is a factory. The sun stirs it, the humans rule it. And I remain. I carry them away.

These associations—Cavafy, my mother polishing the silver, a missionary aunt who fled the familiar turf of Tennessee for the otherness of Korea (presumably with the intent of teaching them something, hopefully with the result of being taught), my Mamaw’s fragrant old bureau with its smell of wax and polish—all of them would be brought to bear upon my painting of peppermints, but none of them would be visible; there’s no reason the viewer would know any of this. I could render only what can be seen—color and form, though the painter’s splendid artifice reveals to us texture, too, and rich associations of scent and flavor, all arriving through the gates of the eyes. And yet there is something more here, and that something is what nags at me to write this book, what tugs at my sleeve and my sleep. Why, if all that is personal has fallen away, should these pictures matter so? Why should they be alight with a feeling of intimacy? Interiority makes itself visible. In my imaginary still life, the “context and commentary” of my experience would be gone, but something would remain, something distilled and vibrant in the quality of attention itself. Is that what soul or spirit is, then, the outward-flying attention, the gaze that binds us to the world? Coorte’s asparagus, his gooseberries and shells, distill this quality down to its quietest, most startling essence: the eye suffuses what it sees with I. Not “I” in the sense of my story, the particulars of my life, the way my father tended his old asparagus beds each spring, the way my beloved loved the forms and colors of shells. But “I” as the quickest, subtlest thing we are: a moment of attention, an intimate engagement. Is that the lesson, then, that ultimately I becomes an eye? What is left of Adriaen Coorte but this? Isn’t that enough? […] That, I think, is the deepest secret of these paintings, finally, although it seems just barely in the realm of the sayable, this feeling that beneath the attachments and appurtenances, the furnishings of selfhood, what we are is attention, a quick physical presence in the world, a bright point of consciousness in a wide field from which we are not really separate. That, in a field of light, we are intensifications of that light.

There is no fault that can’t be corrected [in natural wine] with one powder or another; no feature that can’t be engineered from a bottle, box, or bag. Wine too tannic? Fine it with Ovo-Pure (powdered egg whites), isinglass (granulate from fish bladders), gelatin (often derived from cow bones and pigskins), or if it’s a white, strip out pesky proteins that cause haziness with Puri-Bent (bentonite clay, the ingredient in kitty litter). Not tannic enough? Replace $1,000 barrels with a bag of oak chips (small wood nuggets toasted for flavor), “tank planks” (long oak staves), oak dust (what it sounds like), or a few drops of liquid oak tannin (pick between “mocha” and “vanilla”). Or simulate the texture of barrel-aged wines with powdered tannin, then double what you charge. (““Typically, the $8 to $12 bottle can be brought up to $15 to $20 per bottle because it gives you more of a barrel quality. . . . You’re dressing it up,” a sales rep explained.) Wine too thin? Build fullness in the mouth with gum arabic (an ingredient also found in frosting and watercolor paint). Too frothy? Add a few drops of antifoaming agent (food-grade silicone oil). Cut acidity with potassium carbonate (a white salt) or calcium carbonate (chalk). Crank it up again with a bag of tartaric acid (aka cream of tartar). Increase alcohol by mixing the pressed grape must with sugary grape concentrate, or just add sugar. Decrease alcohol with ConeTech’s spinning cone, or Vinovation’s reverse-osmosis machine, or water. Fake an aged Bordeaux with Lesaffre’s yeast and yeast derivative. Boost “fresh butter” and “honey” aromas by ordering the CY3079 designer yeast from a catalog, or go for “cherry-cola” with the Rhône 2226. Or just ask the “Yeast Whisperer,” a man with thick sideburns at the Lallemand stand, for the best yeast to meet your “stylistic goals.” (For a Sauvignon Blanc with citrus aromas, use the Uvaferm SVG. For pear and melon, do Lalvin Ba11. For passion fruit, add Vitilevure Elixir.) Kill off microbes with Velcorin (just be careful, because it’s toxic). And preserve the whole thing with sulfur dioxide. When it’s all over, if you still don’t like the wine, just add a few drops of Mega Purple—thick grape-juice concentrate that’s been called a “magical potion.” It can plump up a wine, make it sweeter on the finish, add richer color, cover up greenness, mask the horsey stink of Brett, and make fruit flavors pop. No one will admit to using it, but it ends up in an estimated 25 million bottles of red each year. “Virtually everyone is using it,” the president of a Monterey County winery confided to Wines and Vines magazine. “In just about every wine up to $20 a bottle anyway, but maybe not as much over that.

Language is not unlike art in that words contain values of lights and darks, hues and tonalities, texture and sensuality. Words can paint complex pictures.

Activities to Develop the Tactile Sense Rub-a-Dub-Dub—Encourage the child to rub a variety of textures against her skin. Offer different kinds of soap (oatmeal soap, shaving cream, lotion soap) and scrubbers (loofah sponges, thick washcloths, foam pot-scrubbers, plastic brushes). Water Play—Fill the kitchen sink with sudsy water and unbreakable pitchers and bottles, turkey basters, sponges, eggbeaters, and toy water pumps. Or, fill a washtub with water and toys and set it on the grass. Pouring and measuring are educational and therapeutic, as well as high forms of entertainment. Water Painting—Give the child a bucket of water and paintbrush to paint the porch steps, the sidewalk, the fence, or her own body. Or, provide a squirt bottle filled with clean water (because the squirts often go in the child’s mouth). Finger Painting—Let the sensory craver wallow in this literally “sensational” activity. Encourage (but don’t force) the sensory avoider to stick a finger into the goop. For different tactile experiences, mix sand into the paint, or place a blob of shaving cream, peanut butter, or pudding on a plastic tray. Encourage him to draw shapes, letters, and numbers. If he “messes up,” he can erase the error with his hand and begin again. Finger Drawing—With your finger, “draw” a shape, letter, number, or design on the child’s back or hand. Ask the child to guess what it is and then to pass the design on to another person. Sand Play—In a sandbox, add small toys (cars, trucks, people, and dinosaurs), which the child can rearrange, bury, and rediscover. Instead of sand, use dried beans, rice, pasta, cornmeal, popcorn, and mud. Making mud pies and getting messy are therapeutic, too.

Turning from the dressing table, Cass went to her armoire. Inside, behind all of the neatly folded gowns, was the picture of her that Falco had painted. She pulled it out and carried it over to her bed. As she sat beside it, her fingers tracing the paint’s uneven texture, her heart remembered each moment of the night the painting had been started. The girl on the canvas was a stranger. She looked young and innocent. Delirious with joy. Her eyes were filled with light. “Those were the days, weren’t they?” That voice. Could it be? With her heart trembling and her breath lodged in her throat like a stone, Cass lifted her eyes. It was. “Falco,” she breathed. His bruises from being beaten at de Gradi’s workshop had healed. He looked a little thinner than Cass had remembered, but otherwise the same as the day they had met. Smiling fondly down at the painting, he said, “I’m glad that you kept it.” “How did you--” “Get inside?” He spun around once, and Cass realized he was wearing the blue-and-silver livery of the Querini estate. “You act as if I’ve never done this before.

Everyday I became more convinced that good literature has little or nothing to do with trivial fancies such as “inspiration” or “having something to tell” and more with the engineering of language, with the architecture of narrative , with the painting of texture, with the timrbres and colors of the staging. With the cinematography of words, and the music that can be produced by an orchestra of ideas

10. Materials • Examine the durability, fixing methods, cost, sheet size and ease of use of materials. • Check the fire rating of materials to ensure that they conform to local fire regulations. • Specify combinations of materials and types of construction accurately, in conformity with local building regulations. Where possible, be specific about the supplier of a material, its surface texture, colours (including the appropriate paint or the surface treatment) and the required fire resistance. • Ask suppliers for produce prototypes wherever possible. • Build a library of samples that you can refer to quickly and easily.

There is one quality of the creative act which may, however, be described. In almost all the products of creation we note a selectivity, or emphasis, an evidence of discipline, an attempt to bring out the essence. The artist paints surfaces or textures in simplified form, ignoring the minute variations which exist in reality. The scientist formulates a basic law of relationships, brushing aside all the particular events or circumstances which might conceal its naked beauty. The writer selects those words and phrases which give unity to his expression. We may say that this is the influence of the specific person, of the “I.” Reality exists in a multiplicity of confusing facts, but “I” bring a structure to my relationship to reality; I have “my” way of perceiving reality, and it is this (unconsciously?) disciplined personal selectivity or abstraction which gives to creative products their esthetic quality.

One of the things that has always attracted me to abandoned locations is the austere beauty of the neglected or forgotten. The textures, colors, shadows, and lines speak of a life once lived within the confines, and the absence is as empty as it is filled. I can feel the wheel of time turn within these places as nature takes back what was only borrowed, infiltrating the cracks and seams with the tendrils of her vine-fingers, while spray painting the surfaces with moss, mold, and dirt.

If I examine a painting through a microscope I shall learn about the texture of the paint, but nothing about the artists intention in painting the picture

I went into my bedroom and noticed for the first time how much my chenille bedspread resembled a medieval tapestry. Every shimmering thread stood out for singular contemplation. Yet, at the same time, I could admire the totality of the weave—while noting every gradation of hue and texture. In a matter of minutes, my aesthetic had accelerated light-years beyond even Mr. Rogavere’s. I sat on my bed and examined the hairs on my arm. They formed calligraphic patterns more exquisite than any Chinese brush painting. Aldous Huxley was right. Beyond the narrow doors of perception lies a realm of wide-screen, big-budget Technicolor spectacles. All that was lacking was Victor Mature in a toga lashed to a marble column.

You look like a Turner painting and I want to learn your textures with my fingertips. You are the most fascinating thing in this beautiful house. I'd like to introduce my fist to whoever taught you to stop talking about the things that interest you.

If we look at depictions of Abraham sacrificing Isaac, or the Wedding at Cana, or the Sermon on the Mount, there is far more variability in how Renaissance painters imagined the scenes. So why this strict adherence to form in the case of the Annunciation? I would argue (and have argued; see Renaissance Quarterly volume XX, issue 3) that for the Renaissance masters the Annunciation was the equivalent of the sonnet for the Elizabethan poets: an artistic endeavor with strict rules that tested the ingenuity of the craftsman and allowed him to showcase his talents to his peers. The Annunciation was the perfect subject matter for such a game because it simultaneously required the rendition of a landscape in the distance and an architectural space up close, interior and exterior light, the human and divine forms, and the varied textures of fabric, feathers, and a flower. In other words, if one could paint an Annunciation, one could paint anything. Needless to say, in tackling his Annunciation, DiDomenico followed form.

To a highly literate and mechanized culture the movie appeared as a world of triumphant illusions and dreams that money could buy. It was at this moment of the movie that cubism occurred, and it has been described by E. H. Gombrich (Art and Illusion) as “the most radical attempt to stamp out ambiguity and to enforce one reading of the picture — that of a man-made construction, a colored canvas.” For cubism substitutes all facets of an object simultaneously for the “point of view” or facet of perspective illusion. Instead of the specialized illusion of the third dimension on canvas, cubism sets up an interplay of planes and contradiction or dramatic conflict of patterns, lights, textures that “drives home the message” by involvement. This is held by many to be an exercise in painting, not in illusion. In other words, cubism, by giving the inside and outside, the top, bottom, back, and front and the rest, in two dimensions, drops the illusion of perspective in favor of instant sensory awareness of the whole. Cubism, by seizing on instant total awareness, suddenly announced that the medium is the message. Is it not evident that the moment that the sequence yields to the simultaneous, one is in the world of the structure and of configuration? Is that not what has happened in physics as in painting, poetry, and in communication? Specialized segments of attention have shifted to total field, and we can now say, “The medium is the message” quite naturally.

For example, there have been many experiments running rats through all kinds of mazes, and so on—with little clear result. But in 1937 a man named Young did a very interesting one. He had a long corridor with doors all along one side where the rats came in, and doors along the other side where the food was. He wanted to see if he could train the rats to go in at the third door down from wherever he started them off. No. The rats went immediately to the door where the food had been the time before. The question was, how did the rats know, because the corridor was so beautifully built and so uniform, that this was the same door as before? Obviously there was something about the door that was different from the other doors. So he painted the doors very carefully, arranging the textures on the faces of the doors exactly the same. Still the rats could tell. Then he thought maybe the rats were smelling the food, so he used chemicals to change the smell after each run. Still the rats could tell. Then he realized the rats might be able to tell by seeing the lights and the arrangement in the laboratory like any commonsense person. So he covered the corridor, and, still the rats could tell. He finally found that they could tell by the way the floor sounded when they ran over it. And he could only fix that by putting his corridor in sand. So he covered one after another of all possible clues and finally was able to fool the rats so that they had to learn to go in the third door. If he relaxed any of his conditions, the rats could tell. Now, from a scientific standpoint, that is an A‑Number‑l experiment. That is the experiment that makes rat‑running experiments sensible, because it uncovers the clues that the rat is really using—not what you think it’s using. And that is the experiment that tells exactly what conditions you have to use in order to be careful and control everything in an experiment with rat‑running. I looked into the subsequent history of this research. The subsequent experiment, and the one after that, never referred to Mr. Young. They never used any of his criteria of putting the corridor on sand, or being very careful. They just went right on running rats in the same old way, and paid no attention to the great discoveries of Mr. Young, and his papers are not referred to, because he didn’t discover anything about the rats. In fact, he discovered all the things you have to do to discover something about rats. But not paying attention to experiments like that is a characteristic of Cargo Cult Science.

IThe epiphany in this thought is that we simply cannot and do not create in isolation. As I paint my blank canvas others leave their mark on my masterpiece. Many have added colors and textures I knew not existed, greatly improving my creation..and yet...and yet... There are those who have punctured the fine leather and scraped at the rainbows of my mind ... creating stormy patches where there were once colors beaming from the page.

The epiphany in this thought is that we simply cannot and do not create in isolation. As I paint my blank canvas others leave their mark on my masterpiece. Many have added colors and textures I knew not existed, greatly improving my creation..and yet...and yet... There are those who have punctured the fine leather and scraped at the rainbows of my mind ... creating stormy patches where there were once colors beaming from the page.

But now, after the news of Barthelme’s death, this simple fact of presence or absence, which I had begun to recognize in a small way already, now became the single most important supplemental piece of information I felt I could know about a writer: more important than his age when he wrote a particular work, or his nationality, his sex (forgive the pronoun), political leanings, even whether he did or did not have, in someone’s opinion, any talent. Is he alive or dead? — just tell me that. The intellectual surface we offer to the dead has undergone a subtle change of texture and chemistry; a thousand particulars of delight and fellow-feeling and forbearance begin reformulating themselves the moment they cross the bar. The living are always potentially thinking about and doing just what we are doing: being pulled through a touchless car wash, watching a pony chew a carrot, noticing that orange scaffolding has gone up around some prominent church. The conclusions they draw we know to be conclusions drawn from how things are now. Indeed, for me, as a beginning novelist, all other living writers form a control group for whom the world is a placebo. The dead can be helpful, needless to say, but we can only guess sloppily about how they would react to this emergent particle of time, which is all the time we have. And when we do guess, we are unfair to them. Even when, as with Barthelme, the dead have died unexpectedly and relatively young, we give them their moment of solemnity and then quickly begin patronizing them biographically, talking about how they “delighted in” x or “poked fun at” y — phrases that by their very singsong cuteness betray how alien and childlike the shades now are to us. Posthumously their motives become ludicrously simple, their delights primitive and unvarying: all their emotions wear stage makeup, and we almost never flip their books across the room out of impatience with something they’ve said. We can’t really understand them anymore. Readers of the living are always, whether they know it or not, to some degree seeing the work through the living writer’s own eyes; feeling for him when he flubs, folding into their reactions to his early work constant subauditional speculations as to whether the writer himself would at this moment wince or nod with approval at some passage in it. But the dead can’t suffer embarrassment by some admission or mistake they have made. We sense this imperviousness and adjust our sympathies accordingly. Yet in other ways the dead gain by death. The level of autobiographical fidelity in their work is somehow less important, or, rather, extreme fidelity does not seem to harm, as it does with the living, our appreciation for the work. The living are “just” writing about their own lives; the dead are writing about their irretrievable lives, wow wow wow. Egotism, monomania, the delusional traits of Blake or Smart or that guy who painted the electrically schizophrenic cats are all engaging qualities in the dead.

A painting of all one color has far less beauty than one that skillfully combines different the different colors to bring a concept or a scene to life.  Without variety in color, there is no depth, no detail, and no texture. 

Directly above her head, blood peppered the ceiling, a “castoff” spray that permeated the pimply white paint. It looked a little as though someone had taken a straw filled with red paint and aimed it high. But then again, wasn’t that essentially what happened when you opened a vein? Not the creative sort, the ones beneath your flesh. Essentially, blood left the body in a number of ways. It might spurt, drip, spray, ooze or gush. And even if you didn’t hit an artery, head wounds bled more than most. The stain on the textured ceiling above was a spatter pattern, consisting of minute red stains that reached areas of the ceiling no human hands had touched since the sheetrock

Several shades of the color, cloudy, silvery shades, churn underneath the surface of his skin, making him look marbled, textured. It paints a barely believable portrait. Every feature on him works in harmony to create, well, a person. But he’s unlike any person I’ve ever seen.

When we paint the picture of our salvation for others to see, we may use different colors, textures, and shapes on the edges of the parchment. But in the center can only be a cross. Anything else cheapens grace and cheats the believer.

The initiate, a boy of no more than twelve, was wailing and a group of older boys were holding him down on a log while a few men cut into him, making hundreds of small slits on his back and shoulders. They dropped a citrus mixture into each wound so that the skin would puff up and the scars would be raised and textured to look like crocodile skin. His blood had soaked the log in dark striations. When they were done they painted him with oil and turmeric and smeared him with white clay and carried him off weeping and half conscious into seclusion until he healed. Fen and I walked down to the beach. I’d seen dozens

The Big Ear is a necessary tool for anyone attempting to describe the physical world or the world of the imagination. It helps concentrate our attention, block out distractions and provide access to the mysteries hidden beneath the surface. But these gifts are not granted free and clear. In exchange, we must pay the price of increased awareness. Like the boy in “The Big Ear,” we may overhear what we could have happily done without, something that changes forever the way we navigate our world. In giving our attention to the thing itself—the sight or smell or taste or sound or texture—we may forget to say what we originally thought we wanted, or needed, to say, some thought or purpose that probably calcified years ago. We become so involved in bringing forth the qualities of the thing itself that we are thrown headlong into the present moment. The roar, the squeak, the corduroy, the itch of it so fully consumes us that we can’t stop to think of what it all means—or what our inner censors have warned us not to say. We no longer have to struggle to force breath into our description. Suddenly it gasps and sputters. It begins to breathe on its own. EXERCISES

Walls are more than stone and mortar. They are silent sentinels, their eyes following every movement, their mouths sealed yet harboring countless reminiscences. They're silent storytellers. They witness hushed secrets and grand pronouncements, absorbing the laughter and tears that reverberate within their confines. Their textures saying under its breath, of the lives lived within. The worn wallpaper narrating chronicles. The chipped paint flecks capture fleeting moments, and the floor creak with impressions unseen. The silence of walls holds the weight of history. A chronicle of lives lived within their embrace.

Line: An artist’s tool used to illustrate the outer edges of shapes and forms. Technically, no physical lines exist in nature. For example, there is not an actual line around an apple to distinguish it from the table it’s sitting on, nor is there a physical line between the sky and the land at the horizon; therefore, lines in art are an artist’s interpretation of the boundaries between forms in a scene, or the perceived edges of shapes in a composition. Repeated lines can also be used to create values and textures in two-dimensional and three-dimensional art. Shape: The outside two-dimensional contour, outline or border of a form, figure or structure. Form: The three-dimensional representation of a shape. In drawings, paintings and other two-dimensional art, the artist creates the illusion of a three-dimensional form in space using light, shadow and other rendering techniques. In sculpture, the form is the manifestation of the object itself. Texture: The distinctive surface qualities found on all things as well as the overall visual patterns and tactile feel of objects and their surroundings. Value: The relative lightness or darkness of shapes, forms and backgrounds of two-dimensional or three-dimensional compositions. Value plays a prominent role in both black-and-white and color artworks, potentially adding dramatic contrasts and depth to an otherwise bland composition. Color: The spectrum of hues, values and intensities of natural light and man-made pigments, paints and mineral compounds that can be used in all art forms.

Ambrose!” he cried. “Paint Ambrose! For the lid of a chocolate box, I presume. Trivona is paintable, I admit (her bones are good, and the texture of her skin takes the light well). Trivona, I say, is paintable, but what use is that when she cannot pose for two consecutive minutes without fidgeting? Ambrose could pose for an hour but has the face of a Botticelli angel—My God!” said Mr. Marvell, violently, “I could paint Ambrose with my eyes shut. An art school would leap at Ambrose. Here am I, stuck in the depths of the country with no models to be had for love or money, and God afflicts me with Trivona and Ambrose.

There is an odd but revealing phrase – ‘in the flesh’ – for seeing art in reality, not reproduction. With Lotto and other Venetian painters it’s almost exact: to appreciate them properly you have to stand in front of them. Only then can you sense the carnal reality of the people they depict, the glistening of their skin, gleam in their eyes, the weight of their bodies, the texture of their clothes. These are physical experiences, because paint is a physical substance: a layer of organic and inorganic chemicals that reflects the light, and consequently changes every time the light alters. There is no substitute for being there.

I had two great passions at the time: one magical and ethereal, which was reading, and the other mundane and predictable, which was pursuing silly love affairs. Concerning my literary ambitions, my successes went from slender to nonexistent. During those years I started a hundred woefully bad novels that died along the way, hundreds of short stories, plays, radio serials, and even poems that I wouldn't let anyone read, for their own good. I only needed to read them myself to see how much I still had to learn and what little progress I was making, despite the desire and enthusiasm I put into it. I was forever rereading Carax's novels and those of countless authors I borrowed from my parent's bookshop. I tried to pull them apart as if they were transistor radios, or the engine of a Rolls-Royce, hoping I would be able to figure out how they were built and how and why they worked. I'd read something in a newspaper about some Japanese engineers who practiced something called reverse engineering. Apparently these industrious gentlemen disassembled an engine to its last piece, analyzing the function of each bit, the dynamics of the whole, and the interior design of the device to work out the mathematics that supported its operation. My mother had a brother who worked as an engineer in Germany, so I told myself that there must be something in my genes that would allow me to do the same thing with a book or with a story. Every day I became more convinced that good literature has little or nothing to do with trivial fancies such as 'inspiration' or 'having something to tell' and more with the engineering of language, with the architecture of the narrative, with the painting of textures, with the timbres and colors of the staging, with the cinematography of words, and the music that can be produced by an orchestra of ideas. My second great occupation, or I should say my first, was far more suited to comedy, and at times touched on farce. There was a time in which I fell in love on a weekly basis, something that, in hindsight, I don't recommend. I fell in love with a look, a voice, and above all with what was tightly concealed under those fine-wool dresses worn by the young girls of my time. 'That isn't love, it's a fever,' Fermín would specify. 'At your age it is chemically impossible to tell the difference. Mother Nature brings on these tricks to repopulate the planet by injecting hormones and a raft of idiocies into young people's veins so there's enough cannon fodder available for them to reproduce like rabbits and at the same time sacrifice themselves in the name of whatever is parroted by bankers, clerics, and revolutionary visionaries in dire need of idealists, imbeciles, and other plagues that will prevent the world from evolving and make sure it always stays the same.

Finishing the Painting At this point in your painting, you have the opportunity to work on your brushwork. The painting is essentially finished and, if you just don't have any more energy or time left, you could call it "done". But if you have the time and energy, make your painting dazzle and sparkle with brushwork that satisfies the soul. Your painting ought to look great from across the room, of course, but when the viewer gets up close, you want to take their breath away and that, dear artistic friend, is success. Here’s your final checklist: add variations of colors sharpen the focus, soften the secondary add interesting brushwork, surface textures add final details and sparkles walk away, come back with fresh eyes sign it

You look like a Turner painting and I want to learn your textures with my fingertips. You are the most fascinating thing in this beautiful house. I’d like to introduce my fists to whoever taught you to stop talking about the things that interest you.

In this studio class that I’ve taken, the teacher had a joke that I should take pictures of my paintings, because he would come over, and I would have a painting of a boy, and he would go away, and then an hour later it would be a painting of a tree, then he would go and come back and it would be a painting of a shoe, and it’s still the same canvas. What I would say to him is that I was just trying to build up a surface. What I hate is a white canvas, and I don’t like one layer of paint. I like the texture of it, so the only way to get to that is to keep painting stuff and erasing it, and painting on top of it and struggling with it so the layers would be hidden.

...his paintings are distinctly Vincent: vivid colors thick paint textured fields and skies and flowers and trees and houses all in blues and oranges and yellows and pinks and whites and greens and reds.

The estate sprawled across a rolling green land. I'd never seen anything like it; even out former manor couldn't compare. It was veiled in roses and ivy, with patios and balconies and staircases sprouting from it's alabaster sides. The grounds were encased by woods, but stretched so far that I could barely see the distant line of the forest. So much colour, so much sunlight and movement and texture... I could hardly drink it in fast enough. To paint it would be useless, would never do it justice. My awe might have subdued my fear had the place not been so wholly empty and silent. Even the garden through which we walked, following a gravel path to the main doors of the house, seemed hushed and sleepingg. Above the array of amethyst irises and pale snowdrops and butter-yellow daffodils swaying in the balmy breeze, the faint stench of metal tickled my nose. Of course it would be magic, because it was spring here. What wretched power did they possess to make their lands so different from ours, to control the seasons and weather as if they owned them?

Plants add life. Books offer exploration and contemplation. Rugs and paintings give warmth and texture and transform the sound of voices into the voices secrets are exchanged in by lovers. Replace the uniform light from above with pockets of light that guide you to the best places. The floor lamp by the sofa whispers, “Grab a book from the shelf and join me.” The green lamp on the wooden desk with the old-school typewriter asks you to come and play. In the corner a globe sends your eyes and your imagination walking.

...a flash of colour amid a shadowy, gloomy background made me stop, a riot of colour and texture that compelled me to face the gilded frame. I'd never- never- seen anything like it. It's just a still life, a part of me said. And it was: a green glass vase with an assortment of flowers drooping over its narrow top, blossoms and leaves of every shape and size and colour- roses, tulips, morning glory, goldenrod, maiden's lace, peonies... The skill it must have taken to make them look so lifelike, to make them more than lifelike... Just a vase of flowers against a dark background- but more than that; the flowers seemed to be vibrant with their own light, as if in defiance of the shadows gathered around them. The mastery needed to make the glass vase hold that light, to bend the light with the water within, as if the vase did indeed have weight to it atop its stone pedestal... Remarkable.

We must take literally what vision teaches us: namely, that through it we come in contact with the sun and the stars, that we are everywhere all at once, and that even our power to imagine ourselves elsewhere—"I am in Petersburg in my bed, in Paris, my eyes see the sun"—or to intend real beings wherever they are, borrows from vision and employs means we owe to it. Vision alone makes us learn that beings that are different, "exterior," foreign to one another, are yet absolutely together, are "simultaneity"; this is a mystery psychologists handle the way a child handles explosives. Robert Delaunay says succinctly, "The railroad track is the image of succession which comes closest to the parallel: the parity of the rails." The rails converge and do not converge; they converge in order to remain equidistant down below. The world is in accordance with my perspective in order to be independent of me, is for me in order to be without me, and to be the world. The "visual quale" gives me, and alone gives me, the presence of what is not me, of what is simply and fully. It does so because, like texture, it is the concretion of a universal visibility, of a unique space which separates and reunites, which sustains every cohesion (and even that of past and future, since there would be no such cohesion if they were not essentially relevant to the same space). Every visual something, as individual as it is, functions also as a dimension, because it gives itself as the result of a dehiscence of Being. What this ultimately means is that the proper essence of the visible is to have a layer of invisibility in the strict sense, which it makes present as a certain absence...There is that which reaches the eye directly, the frontal properties of the visible; but there is also that which reaches it from below—the profound postural latency where the body raises itself to see—and that which reaches vision from above like the phenomena of flight, of swimming, of movement, where it participates no longer in the heaviness of origins but in free accomplishments. Through it, then, the painter touches the two extremities. In the immemorial depth of the visible, something moved, caught fire, and engulfed his body; everything he paints is in answer to this incitement, and his hand is "nothing but the instrument of a distant will." Vision encounters, as at a crossroads, all the aspects of Being... There is no break at all in this circuit; it is impossible to say that nature ends here and that man or expression starts here. It is, therefore, mute Being which itself comes to show forth its own meaning. Herein lies the reason why the dilemma between figurative and nonfigurative art is badly posed; it is true and uncontradictory that no grape was ever what it is in the most figurative painting and that no painting, no matter how abstract, can get away from Being, that even Caravaggio's grape is the grape itself. This precession of what is upon what one sees and makes seen, of what one sees and makes seen upon what is—this is vision itself.

Painting...gives visible existence to what profane vision believes to be invisible; thanks to it we do not need a "muscular sense" in order to possess the voluminosity of the world. This voracious vision, reaching beyond the "visual givens," opens upon a texture of Being of which the discrete sensorial messages are only the punctuations or the caesurae. The eye lives in this texture as a man lives in his house.

Mom’s approach to cuisine came from her art school days, inspiration hitting her on the spot. The ingredients she chose were paints you’d throw at a canvas, each chosen for its color and texture rather than its taste. If your fava beans didn’t click with the polenta? All you had to do was toss in a kilo of shrimp and the pink would bring out the dull off-white.

How to Make a 3D Character Modeling, Character Rigging and Animation By GameYan Studio Using your concept art, create 3D Character modeling with Game Development Studio software like Maya. Then, paint your models to give them a distinct look. Finally, animate your Game Character Modeling Studio to bring them to life. Create 3D models for every character, environment, and item in your game, based on your concept art. Texture is a Add colors, textures, and lighting to your 3D Character modelers to give them a unique look. After modeling and texturing a 3D character Models it is time to make it move. Rigging is the first step in creating a skeletal 3D animation. 3D animation rigging is the process of creating a virtual skeleton of a 3D model. Rigging is Build a control structure for items that need movement, like characters, so animators can bring them to life in the game. Specifically, Character Rigging Service refers to the process of creating the bone structure of a 3D model. This bone structure is used to manipulate the 3D model like a puppet for animation. Rigging is most common in animated characters for games and movies. This technique simplifies the animation process and improves production efficiency. Once rigged with skeletal bones, any 3D object can be controlled and distorted as needed. After a 3D model has been created, a series of bones is constructed representing the skeletal structure. For instance, in a character there may be a group of back bones, a spine, and head bones. These bones can be transformed using digital animation software meaning their position, rotation, and scale can be changed. The rigging process results in a hierarchal structure where each bone is in a parent/child relationship with the bones it connects to. This simplifies the animation process as a whole. When an artist moves a shoulder bone, the forearm and hand bones will move too. The goal is to mimic real life as accurately as possible. Animation Add movement to 3D Character Models and objects to give them life and make your game more fun to play. There are endless possibilities. Our specialty are stylised characters and expressive figures. We offer the whole package from designing a character collaboratively with you, over 3d modelling, rigging, texturing and rendering. We also provide workflows for export to realtime uses like Virtual Reality and Games. Have a look at some work samples we did in the past. GameYan Studio is a trusted Character Animation Company service providing company delivers high-quality character animations in a tight within the stipulated time. Our specialization in 3D Character Animation Studio helps our clients to meet their needs just they prefer.

The wall was an eyesore in its newness, grayness, lack of grace. That much blank space might not set a regular person's blood racing, but to an artist, it's like opening up a new sketchpad, the kind with heavy textured paper. Impossible to leave it empty.

He wanted to know her. He wanted to put depth and shadow and texture to her outline. He wanted to discover the timbre of her voice, to watch her hands move as she talked, to know her stride, her pace, to hear her snap at him in annoyance, to feel her hand on his arm as she made him pause to look at something that had caught her eye. He wanted to know how she sat, how she held her cup, how she brushed her hair. He was surprised by how much he wanted to see her room, to know what color it was painted, what light it got, whether her desk was wide or narrow. He wanted to know how she moved in the world, so that he could recognize her in a crowd just from the way she tucked her hair behind her ear.

His next attempt turned out exactly like the others. As did the one after that. He could paint nothing but the cat-beast and the snarling woman. Bitter and depressed, he welcomed his wife’s scoldings. He deserved them; he was a failure. He carried his failings to a nameless alley. He entered a nameless establishment where neither beauty nor virtue were to be found—just cheap wine, which he slung down his throat until he could see nothing clearly, until everything inside and outside his head was a tilting carousel, spinning around in a blear of colors and textures. He had to dull his senses, had to keep himself from envisioning the cat-beast and its female companion.

The foil packet sighed as I pulled it open, hissing as it yielded its bounty. Clouds of steam puffed upward, releasing the tantalizing aroma into the air. The fish's reddish skin had a beautiful overlapping pattern that looked as if it had been painted by some wayward mermaid. My sharp scissors snipped the stitches in its belly, spilling the filling onto the plate. I scooped us both two helpings of the garlic fried rice and portioned the desirable parts of the fish, the head and the belly, for Celia, while I took the tail. The piece of fish on my fork bore the sign of perfect execution: moist, milky translucence, and a silky texture that sprang to the touch. Infused with the fragrant stuffing, the tender fish melted in my mouth, dissolving in a mélange of delicious flavors- the trio of boldness from the coriander, garlic, and red onion tempered by the sweet tanginess of the tomatoes. Success.