A Quote by Daniel Negreanu

Don't try to make a big bluff on the turn with a drawing hand. With only one card to come, even a big draw is an underdog against a made hand. Keep the betting small. — © Daniel Negreanu
Don't try to make a big bluff on the turn with a drawing hand. With only one card to come, even a big draw is an underdog against a made hand. Keep the betting small.
You know, it's quite all right to give the underdog a hand, but only one hand. Keep the other hand on your pistol - or he'll try to eat the one you gave him!
Beginning players are predictable and rarely bluff. They tend to focus only on their own hand and simply hope to catch the one card they need to improve.
I would draw my own comic book characters listening to metal. The drawing and music kind of went hand in hand.
Fiction demands structures and recognizable shapes. Big surprises only draw attention to the writer's hand.
I certainly didn't come to entertain the crowd. I am here to get my hand raised and make it to the big events like WrestleMania, where I can make an even bigger payday. And that's what I am going to do.
We need to keep government small, but we also need to keep the influence of big business small, and we need to keep the power in the hands of the people, where it belongs. Big government and big business aren't the only two alternatives.
Powerful drawing hands, like a pair with a flush draw or even conventional straight and flush draws, are often good opportunities to try a semi-bluff - making a bet or raise that you hope will not be called, but leaves you some outs if it is.
I made silk screens of my drawings. I could add a drawing that was made with a machine or digitally to a drawing that was made by hand. What I love is that you can't tell how they're made. For some reason, fooling the eye really excites me.
I got a kick out of having a big bankroll in my pocket. Even if I only made a couple hundred dollars, I'd always keep it in fives and tens so it'd look big.
We're going to start with small, easy things; then, little by little we shall try our hand at the big things. And after that, after we finish the big things, we shall undertake the impossible.
In our twenties, when there is still so much time ahead of us, time that seems ample for a hundred indecisions, for a hundred visions and revisions—we draw a card, and we must decide right then and there whether to keep that card and discard the next, or discard the first card and keep the second. And before we know it, the deck has been played out and the decisions we have just made will shape our lives for decades to come.
You don't accidentally turn into a big band. Not even Nirvana accidentally turned into a big band. They toured - they wanted to become a big band. They didn't necessarily want to become that big of a band, but they still wanted to make a really good record and wanted to come out and tour.
As far as CGI and hand-drawn animation, I consider them both nothing more than tools for drawing pictures, the same as crayons or oils. Which is why, to me, the most important thing is what it is you are drawing, and in the themes that I depict, I think hand-drawing is the most effective.
My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone.
Sometimes I draw with my left hand and I am pretty terrible. The drawings end up just looking like shakier/inconsistent (worse) versions of my right hand drawings. Sometimes I like drawing with my eyes closed.
I'm afraid that we all make mistakes. One of the things that defines our character is how we handle mistakes. If we lie about having made a mistake, then it can't be corrected and it festers. On the other hand, if we give up just because we made a mistake, even a big mistake, none of us would get far in life.
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