A Quote by Hans Hofmann
A work based only on a line concept is scarcely more than a illustration; it fails to achieve pictorial structure. Pictorial structure is based on a plane concept. The line originates in the meeting of two planes ... we can lose ourselves in a multitude of lines, if through them we lose our senses for the planes.
Related Quotes
I came to the destruction of volume by the use of the plane. This I accomplished by means of lines cutting the planes. But still, the plane remained too intact. So I came to making only lines and brought the colour within the lines. Now the only problem was to destroy these lines also through mutual oppositions.
And in the process, we have come up with fuels - algae-based fuels, isobutanol-based fuels and other fuels - that we think will power the planes in the future so that, you know, by 2020 I hope that our planes will be powered on fuels that are clean fuels and are not polluting the environment so that we'll have a green airline and an airline that actually has fuels that will be hopefully cheaper than the dirty fuels of the past. So [we're] doing good and also turning a profit at the same time.
But where do they find these lines in nature? I can only see luminous or obscure masses, planes that advance or planes that recede, reliefs or background. My eye never catches lines or details.
With pencil there is a tendency to be timid, either using very faint lines or erasing bad lines... Line sketching tends to emphasize the structure of a drawing rather than the nuances of media.
How many times do we lose an occasion for soul work by leaping ahead to final solutions without pausing to savor the undertones? We are a radically bottom-line society, eager to act and to end tension, and thus we lose opportunities to know ourselves for our motives and our secrets.
Maybe time is nothing at all like a straight line. Perhaps it's shaped like a twisted doughnut. But for tens of thousands of years, people have probably been seeing time as a straight line that continues on forever. And that's the concept they based their actions on. And until now they haven't found anything inconvenient or contradictory about it. So as an experiential model, it's probably correct.
We have as many planes of speech as does a painting planes of perspective which create perspective in a phrase. The most important word stands out most vividly defined in the very foreground of the sound plane. Less important words create a series of deeper planes.
I saved $725 million on the 90 planes. Just 90. Now there are 3,000 planes that are going to be ordered. On 90 planes I saved $725 million. It's actually a little bit more than that, but it's $725 million. Gen. Mattis, who had to sign the deal when it came to his office, said, "I've never seen anything like this in my life." We went from a company that wanted more money for the planes to a company that cut. And the reason they cut - same planes, same everything - was because of me. I mean, because that's what I do.
The two black lines on the armband means that they're the deceased's family. One line means they are either friends or acquaintances. One line of the arm, one line on the heart. The bastards who stood by my side with two lines, they'll be the hardest farewells I'll have to make in my life, and they're the luckiest fortune I've met in my lifetime.
I have stood on the line in Everett, Wash., where we have thousands of workers who go to work every day to build these planes. I would challenge anybody to tell me that they've stood on a line in Alabama and seen anybody building anything.
I am convinced that an electronic machine, no matter how smart and intelligent, being still a mere spatial structure in concept, can neither innovate nor even understand the self-evident proposition: 'No spatial structure can be a representation of any feeling'. Such innovation can only be a work of a non-spatial mind, like a human being, and only such innovation, it should be acknowledged, can pave the way for further scientific achievements.
I recognize this in my writing process. A consistent writing structure opens the door to amazing insights. I recognize the truth of this in my daily habits. When I set my keys in the place I, with practice, always set my keys... I do not lose them. In many instances an ordered external structure can be an invitation for an extraordinarily unfettered, creative and unbounded inner structure.
Outside of nirvana, the planes begin, the subtlest planes of light that vibrate fastest, all the way on down through the astral realms through the physical and so on.
I write a line and then I revise the line and then I write two lines and then I revise lines one and two and then I write one, two and three and I revise one and two and then I write seven and eight and then I see that should be line four and I continually work it over as I go.
A lot of my work is about what's abstract and what's pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line and watching things dip this way and that.
I'd rather win two or three, lose one, win two or three more. I'm a great believer in things evening out. If you win a whole bunch in a row, somewhere along the line you're going to lose some, too.
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