A Quote by Mary Beth McKenzie

I usually start by doing one or more color studies of the subject on a piece of canvas taped to cardboard. — © Mary Beth McKenzie
I usually start by doing one or more color studies of the subject on a piece of canvas taped to cardboard.
People have a little more patience for a taped piece than they do a live piece.
The second disk was taped at our all-night anniversary show. And some of those sets are taped at like 4:30 or 5 in the morning, when people are a little groggy and not doing what they would do if they knew it was being recorded. That said, that disk has an entirely different flavor. It's more experimental. It has more of the newcomers on it. It has people doing stuff that you won't see on Comedy Central or HBO specials.
I used to cut guitars out of a piece of cardboard to copy the Strat look. I used a backwards tennis racket for a while and graduated to the cardboard cutout.
Indeed, an engineer designing a structure is not unlike an artist painting one. Both start with nothing but talent, experience, and inspiration. The fresh piece of paper on the drawing board is as blank as the newly stretched piece of canvas.
Numerous studies have shown that students of color achieve better educational outcomes when they have teachers of color in the classroom, and as our student body becomes more diverse we should be doing everything we can to reflect that diversity among the educators who are mentoring and inspiring our next generation of young people.
Subject becoming less relevant, each painting having a life of its own, each stroke leading to the next. It is more about the connection of body and spirit to canvas, over mind to canvas.
I'm really familiar with what Cardboard's doing; it's not a novel concept. Cardboard is in many ways a direct ripoff of FOV2GO, a project I helped work on when I was at ICT, and it was fairly well known in the academic VR community.
Make sure that when you look at your plate, it's a beautiful blank canvas to start with, and you want lots of color on there. You want to make sure you have whole grains and protein. It should not be beige in color; it should be green and bright red, and orange and yellow.
Color is definitely an important factor for me during all phases of producing a cover. I always start out with a loose idea of what I want to see when I'm doing my initial sketches. This choice can be informed by anything, but I usually tend to lean toward more simple color schemes... something with a very obvious push between warms and cools.
In a way, the blank canvas... represents the infinity of trying to use color to express emotions - to assign a linguistic function to color.
This may sound insulting to some of my cult studies friends, but there's a lot of cult studies people who ignore, shall we say, the wider canvas - because they simply don't know about its existence or they don't know how it operates.
The aim of our studies is to prove that color is the most relative means of artistic expression, that we never really perceive what color is physically.
Basically, when I'm writing something, I think about what is the subject of the piece. The subject of the piece is our fear of getting old, which is a variation on our fear of dying.
Social studies was my favorite subject. I remember I portrayed Walter Mondale in a mock debate in my sophomore social studies class.
You sit and you let your fingers go to wherever they are going to go. You wait until you start to hear something, and you start to figure out what it is that you're doing. And then you add another piece next to that piece, and wait to see if some kind of pattern or something interesting starts to grow, and then you cultivate it.
Photographs deceive time, freezing it on a piece of cardboard where the soul is silent.
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