A Quote by Paul J. Meyer
Life is a painting, and you are the artist. You have on your palette all the colors in the spectrum - the same ones available to Michaelangelo and DaVinci.
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Sixteen million colors in your palette are hard for any artist, especially a beginner, to turn down.
Words in the mind are like colors on the palette of the artist. The more colors we have access to, the easier it is to create a captivating picture on the canvas, and the more practice we give to using those many colors appropriately and uniquely, the more likely we will be to create a masterpiece of self expression.
To me, writing and composing are much more like painting, about colors and brushes; I don't use a computer when I write, and I don't use a piano. I'm at a desk writing, and it's very broad strokes and notes as colors on a palette.
Any artist, in any field, wants to press deeper, to discover further. Image and sound play are among the strongest colors available to poetry's palette. For a long time, I've wanted to invite in more strangeness, more freedom of imagination. Yet music, seeing, and meaning are also cohering disciplines. They can be stretched, and that is part of poetry's helium pleasure. But not to the point of breaking.
I usually build my collections on colors and on staples, so when you buy pieces, you are really adding to your wardrobe, and you're getting a new color palette to play with. The clothes are timeless and modern at the same time.
The painter's only solid ground is the palette and colors, but as soon as the colors achieve an illusion, they are no longer judged.
A full-spectrum approach to human consciousness and behavior means that men and women have available to them a spectrum of knowing - a spectrum that includes, at the very least, the eye of flesh, the eye of mind, and the eye of spirit.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
If Michaelangelo or Leonardo Da Vinci were alive today they’d be making Avatar, not painting a chapel.
Painting is an unspoken and largely unrecognized dialogue, where paint speaks silently in masses and colors and the artist responds in moods.
I'm hoping that autism is going to get to that same point, where it becomes quite ordinary to say, 'I have autism,' or 'I have Asperger's syndrome,' and that there will be many more resources available to make life easier for people on the autistic spectrum.
In printmaking, I essentially use the same process as in painting with one important exception ... to try, with sensitivity to the medium to emphasize what printing can do best ... better than say, painting or collaging or watercolour or drawing or whatever ... Otherwise, the artist expresses the same vision in graphics that he does in his other work.
I much prefer playing the bad guys. I think they are always the most interesting characters. I liken it to painting: if you're playing the good guy, you get three colors: red, white and blue. But if you're the bad guy, you get the whole palette.
When I was a student looking at Leonardo DaVinci and all those guys - Italian, Dutch, or whatever - it's incredible how each piece of the painting fits to the main theme that they want to express.
Victor Faust did much more than help me escape a life of abuse and servitude. He changed me. He changed the landscape of my dreams, the dreams I had every day about living ordinarily and free and on my own. He changed the colors on the palette from primary to rainbow—as dark as the colors of that rainbow may be.
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