A Quote by Bill Luff

I see my subject as an orchestration of shapes, patterns, shade, cast shadows, tonal groupings and aerial perspective. — © Bill Luff
I see my subject as an orchestration of shapes, patterns, shade, cast shadows, tonal groupings and aerial perspective.
When autumn shadows throw their patterns across the land, they are not the images of fragile, dying leaves, not the bared arms of lofty elms, not shadows of a fading summer; but swinging shapes as of books upon a strap, of round and square boxes held under an arm, of hurrying little people heading towards the nearest school.
... I was reminded of a remark of Willa Cather's, that you can't paint sunlight, you can only paint what it does with shadows on a wall. If you examine a life, as Socrates has been so tediously advising us to do for so many centuries, do you really examine a life, or do you examine the shadows it casts on other lives? Entity or relationships? Objective reality or the vanishing point of a multiple perspective exercise? Prism or the rainbows it refracts? And what if you're the wall? What if you never cast a shadow or rainbow of your own, but have only caught those cast by others?
There are only patterns. Patterns on top of patterns, patterns that affect other patterns, patterns hidden by patterns, patterns within patterns.
There are only patterns, patterns on top of patterns, patterns that affect other patterns. Patterns hidden by patterns. Patterns within patterns. If you watch close, history does nothing but repeat itself. What we call chaos is just patterns we haven't recognized. What we call random is just patterns we can't decipher. what we can't understand we call nonsense. What we can't read we call gibberish. There is no free will. There are no variables.
When I look at a wildlife or nature subject, I dont see the feathers in the wings, I just count the wings. I see exciting shapes, color combinations, patterns, textures, fascinating behavior and endless possibilities for making interesting pictures. I regard the picture as an ecosystem in which all the elements are interrelated, interdependent, perfectly balanced, without trimming or unutilized parts; and herein lies the lure of the painting; in a world of chaos, the picture is one small rectangle in which the artist can create an ordered universe.
There are varying degrees of shade. There is funny shade, warning shade, tea shade, and mean girl shade.
Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal. (An "atonal" folk-music, in my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind in our creative work, it is quite self-evident that our works are quite pronouncedly tonal in type. I must admit, however, that there was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.
They enter, locking themselves in, descend the rugged steps, and are down in the Crypt. The lantern is not wanted, for the moonlight strikes in at the groined windows, bare of glass, the broken frames for which cast patterns on the ground. The heavy pillars which support the roof engender masses of black shade, but between them there are lanes of light.
John [Cassavetes] had shot a great deal of Shadows and I had to go fulfill my contract in California, so he and all the rest of the Shadows cast came out to California and they finished it off and he cut it. He turned the garage into an editing room and he was by then a director of Shadows. That's the only thing he'd directed. But, he loved it.
I always choose strong, direct backlighting that creates patterns of intricate abstract shadows. These shadows become strong design elements that lie across and touch other objects in the set up.
Humor is the balance of the tonal. Within the tonal you've got reason and humor. The two balance each other so that the tonal can accept and understand the journeys into the nagual.
You see, proteins, as I probably needn't tell you, are immensely complicated groupings of amino acids and certain other specialized compounds, arranged in intricate three-dimensional patterns that are as unstable as sunbeams on a cloudy day. It is this instability that is life, since it is forever changing its position in an effort to maintain its identity--in the manner of a long rod balanced on an acrobat's nose.
Because those events are so real that they cast their shadow forward and backwards through all time, whenever men think of these matters at all. Even if they are mired in ignorace, they will see...fragments of the Truth, as men imprisoned in a cave see shadows cast by the sun. Likewise, all men derive their moral intuitions from God; how not? There is no other source, just as there is no other way to make a wheel than to make it round.
Real shapes and real patterns are things you would observe in nature, like the marks on the back of a cobra's hood or the markings on a fish or a lizard. Imaginary shapes are just that, symbols that come to a person in dreams or reveries and are charged with meaning.
A hunter of shadows, himself a shade.
All these perfect days, made of glass Put on the shelf where they can cast perfect shadows that stretch and grow on the imperfect days down below. ... perfect shadows that shift and glow... ... perfect shadows that shift and grow..." "Sam singing on page 256 of Linger.
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