A Quote by Jrue Holiday

You don't have to get all the way into the paint to still draw attention or get contact. — © Jrue Holiday
You don't have to get all the way into the paint to still draw attention or get contact.
Whatever it is, if you draw, you paint, you're a carpenter, you play football, the more you do it, you're a journalist, the more stories you write, the more people you interview and navigate your way through these different personalities to get your story, the better you're going to get at it. Acting's no different.
I still get stage fright horribly. I still get nervous. I do tend to find when you're playing characters, often - just for the time you're playing them - there are sides of your personality that get stronger because you draw on them more.
A work of art is itself an object, first of all, and so manipulation is unavoidable: it's a prerequisite. But I needed the greater objectivity of the photograph in order to correct my own way of seeing: for instance, if I draw an object from nature, I start to stylize and to change it in accordance with my personal vision and my training. But if I paint from a photograph, I can forget all the criteria that I get from these sources. I can paint against my will, as it were. And that, to me, felt like an enrichment.
I like the Internet as place to get instant gratification: posting a comic online is the quickest way to get attention for your art, but I have been talking to a lot of younger, aspiring cartoonists who very quickly get discouraged if they aren't getting a lot of attention immediately. This can also be aggravated by artists who appear to be really quickly Tumblr-famous, and get lots of notes on their work.
Don't get me wrong. I don't take anything for granted. But it seems like the better I play, the more attention I get. And I can't get away from it. You play great, you get attention. But I hate attention. It is weird. I'm in a bind. The more you win, the more they come.
Painters love paint itself: so much that they spend years trying to get paint to behave the way they want it to.
The essence of paint ball is the fact that when you get hit by a ball full of paint, it hurts just enough to say, 'Ow, I gotta get out of the way,' but not enough to say, 'I quit.'
If you're an artist, you need to work. It doesn't matter how old you are, who you are. It doesn't matter if you're 12: if you draw, you draw. If you're 85 and you paint, you paint.
A man can get my attention by smiling at me and then coming over and talking to me. The best way to get a girl's attention is to start a conversation.
Drag is great way to get people to pay attention to me, but it's a difficult way to get people to take me seriously as a musician. So it's a weird Catch-22. It's like a gimmick that gets them to pay attention, but when they see my image, they're like, 'There's no way this is going to have any legitimacy to it.'
Everyone at Fox could see that the way to get attention, to get promoted, to get ahead was to hitch a ride with Trump and never look back.
I think that I can get into the paint anytime I want to. What I have learned is that when I do get into the paint, I do have options.
As a receiver, you want to run through contact. That's the biggest coaching point that most coaches give them. You're going to get grabbed and you're going to get into adverse situations. But if you run through contact and do not confuse the quarterback, more than likely you're going to get the football.
What you do when you paint, you take a brush full of paint, get paint on the picture, and you have faith.
It's a lose-lose situation to get in a confrontation on the street. If you can break contact and get away, break contact and get away. That's what you should learn self-defense for.
Wherever I wander off to, when I draw, when I paint, I get my life back. I am lucky that I am an Artist.
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