A Quote by Bill Luff

Those watercolourists who work from light to dark know that the darks do the damage. — © Bill Luff
Those watercolourists who work from light to dark know that the darks do the damage.

Quote Topics

Quote Author

If you begin with the middle-tone and work up from it toward the darks so that you deal last with your highest lights and darkest darks, you avoid false accents.
To go in the dark with a light is to know the light. To know the dark, go dark. Go without sight, and find that the dark, too, blooms and sings, and is traveled by dark feet and dark wings.
Not only do you become what you think about, but the world also becomes what you think about. Those who think that the world is a dark place are blind to the light that might illuminate their lives. Those who see the light of the world view the dark spots as merely potential light.
Of all the facts I daily live with, there's none more comforting than this; If I have two rooms, one dark, the other light, and I open the door between them, the dark room becomes lighter without the light one becoming darker. I know this is no headline, but it's a marvelous footnote; and comforts me in that.
I don't personally see my work as being dark. What interests me is a balance between light and dark.
Watercolour is not especially difficult, but I must warn you to steer clear of those pretty English watercolourists, so skilful and alas so weak, and so often too truthful.
Death is pitch-dark, but colors are light. To be a painter, one must work with rays of light.
It seems as though, at the approach of a certain dark hour, the light of heaven infills those who are leaving the light of earth.
Even a room which must be dark needs at least a crack of light to know how dark it is.
Light seeking light doth light of light beguile: So, ere you find where light in darkness lies, Your light grows dark by losing of your eyes.
Very great charm of shadow and light is to be found in the faces of those who sit in the doors of dark houses. The eye of the spectator sees that part of the face which is in shadow lost in the darkness of the house, and that part of the face which is lit draws its brilliancy from the splendour of the sky. From this intensification of light and shade the face gains greatly in relief and beauty by showing the subtlest shadows in the light part and the subtlest lights in the dark part.
Dark matter is needed to hold galaxies together. Your mind is a Galaxy. More dark than light. But the light makes it worthwhile.
Put light against light - you have nothing. Put dark against dark - you have nothing. It's the contrast of light and dark that each give the other one meaning.
Avice for a human. 87. Dark matter is needed to hold galaxies together. Your mind is a Galaxy. More dark than light. But the light makes it worthwhile. 88. Which is to say: don't kill yourself. Even when the darkness is total. Always know that life is not still. Time is space. You are moving through that galaxy. Wait for the stars.
It's like you run into this dark tunnel, trusting that somewhere there's another end to it where you're going to come out. And there's a point in the middle where it's just dark. There's no light from where you came in and there's no light at the other end; all you can do is keep running. And then you start to see a little light, and a little more light, and then, bam! You're out in the sun.
I always think of shade as being full of light. That is why I like to use the word shade rather than light and shadow. Shade seems to play over the thing, envelop it, better define it, while shadow seems to fall on the thing and stain the surface with darks.
This site uses cookies to ensure you get the best experience. More info...
Got it!