A Quote by Burton Silverman

My best training came from doing illustrations because it taught me to compose my paintings more effectively, to improve my colors, and to be ruthlessly selective. — © Burton Silverman
My best training came from doing illustrations because it taught me to compose my paintings more effectively, to improve my colors, and to be ruthlessly selective.
Just as one can compose colors, or forms, so one can compose motions.
The best thing about football for me is the reacting. It's a lot of instincts. But training, for me, it's more for the meditating. And I spend more time training than actually playing football. So I get into that zone during training more than anything.
I have to hope that my instincts will do the right thing, because I can't erase what I have done. And if I drew something first, then my paintings would be illustrations of drawings.
The thing it taught me was that winning's a helluva lot more fun than losing. It also taught me that the team with the best players that worked together the best wins.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
The illustrations in picture books are the first paintings most children see, and because of that, they are incredibly important. What we see and share at that age stays with us for life.
My engineering training taught me to be a systems thinker. I looked at companies as "systems" and saw work as a system of tasks - that needed to be reengineered. I was also focused on operations, getting things done and built. My engineering training taught me to be a pragmatist.
After the training session, video analysis. You can see the good and the bad, show players how to improve. Not because I want to find blame. Sometimes 20 or 30 minutes of video is more important than three training sessions.
What you compose with is neither here nor there, you compose with words, or you compose with stone plants and trees, or you compose with events; the Sheriff's officer, or whatever.
I think I tended toward the Russian training because my first teacher taught a version of Vaganova, and it was drilled into me that that was the best system, and also at the time there were a lot of great Russian stars.
What inspires me to paint is life, my emotions, through my paintings I want people to understand that life isn't always happy but you should be always hopeful that's why I use bright colors in my paintings, that's what I want people to feel about me and when they see my art.
I believe that 100, 200, 300 years from now, all these paintings will be around because they're the first paintings of humans doing things off this Earth.
educators best serve students by helping them be more self-reflective. The only way any of us can improve—as Coach Graham taught me—is if we develop a real ability to assess ourselves. If we can’t accurately do that, how can we tell if we’re getting better or worse?
I've made some films for the military that are teaching things like cultural awareness and leadership issues, that sort of stuff. And try to, in essence, look at what training they're doing and say, 'This is how you can improve the training from a humanistic point of view.'
I try to find inspiration in books, paintings, illustrations and the one thing I try to avoid is just being inspired by other movies, because then you just are talking about movies in movies. I try to talk about movies that are culturally and spiritually a little more diverse.
They were wrestling with canvases, using violent colors and huge brush strokes. I arrived with gray, silent, sober, oppressed paintings. One critic said they were paintings that thought.
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