A Quote by James Sanborn

Going from the written, flat word to the three-dimensional object, that was one of the more enriching things that I've done. — © James Sanborn
Going from the written, flat word to the three-dimensional object, that was one of the more enriching things that I've done.
Since a three-dimensional object casts a two-dimensional shadow, we should be able to imagine the unknown four-dimensional object whose shadow we are. I for my part am fascinated by the search for a one-dimensional object that casts no shadow at all.
Since I found that one could make a case shadow from a three-dimensional thing, any object whatsoever - just as the projecting of the sun on the earth makes two dimensions - I thought that by simple intellectual analogy, the fourth dimension could project an object of three dimensions, or, to put it another way, any three-dimensional object, which we see dispassionately, is a projection of something four-dimensional, something we are not familiar with.
Most architects think in drawings, or did think in drawings; today, they think on the computer monitor. I always tried to think three dimensionally. The interior eye of the brain should be not flat but three dimensional so that everything is an object in space. We are not living in a two-dimensional world.
I love the fact that there are more and more young people out there who still want to make a flat two-dimensional surface come alive with three dimensional magic.
... Rembrandt is not a painter at all. He is a creator, who creates his beings, three dimensional living beings, on a two-dimensional flat surface which acts as a mute, and enforces silence on them.
There is something I feel when I animate something; you can never really understand the character you're animating unless you've had the opportunity to turn it around. Once you've done that, you know it is a three-dimensional object.
If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe.
Genes are effectively one-dimensional. If you write down the sequence of A, C, G and T, that's kind of what you need to know about that gene. But proteins are three-dimensional. They have to be because we are three-dimensional, and we're made of those proteins. Otherwise we'd all sort of be linear, unimaginably weird creatures.
Carbon has this genius of making a chemically stable, two-dimensional, one-atom-thick membrane in a three-dimensional world. And that, I believe, is going to be very important in the future of chemistry and technology in general.
You don't want the men to be written in a three-dimensional way and the women, not.
Light has not just intensity, but also a vibration, which is capable of roughening a smooth material, of giving a three-dimensional quality to a flat surface.
The peculiarity of sculpture is that it creates a three-dimensional object in space. Painting may strive to give on a two-dimensional plane, the illusion of space, but it is space itself as a perceived quantity that becomes the peculiar concern of the sculptor. We may say that for the painter space is a luxury; for the sculptor it is a necessity.
Things danced on the screen do not look the way they do on the stage. On the stage, dancing is three-dimensional, but a motion picture is two-dimensional.
It was a gift to get to play a gay role that was written in a three-dimensional, human way.
There are many things one thinks about in a painting. Often, it's how to handle your chosen medium and how to best reveal the light in a three-dimensional form on a two-dimensional surface.
I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.
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