A Quote by Sylvia Townsend Warner

... 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.
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.
We are actually fourth dimensional beings in a third dimensional body inhabiting a second dimensional world!
No human beings are one-dimensional, and if they feel one-dimensional to you, it's because you don't know them.
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.
Even when I'm writing animation, I think of them as real people. I think of them as completely three-dimensional beings, even if it's a talking teapot. I don't think of them as one-dimensional drawn characters running around. Maybe that's why, to me, there's really no difference in writing the two - animation versus live action.
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.
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.
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.
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.
One thing is sure - we have to transform the three-dimensional world of objects into the two-dimensional world of the canvas.. ..To transform three into two dimensions is for me an experience full of magic in which I glimpse for a moment that fourth dimension which my whole being is seeking.
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.
I like the idea of taking three-dimensional objects and making them two-dimensional so that they look like cartoons.
Painting does what we cannot do—it brings a three-dimensional world into a two-dimensional plane.
Painting does what we cannot do - it brings a three-dimensional world into a two-dimensional plane.
We are three dimensional beings: body, mind, spirit.
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