A Quote by T. Allen Lawson

I've started to experiment [in the studio] with texturing the canvas, building up the surface with large brushes, palette knife or fingers. I want to say more in my art. — © T. Allen Lawson
I've started to experiment [in the studio] with texturing the canvas, building up the surface with large brushes, palette knife or fingers. I want to say more in my art.
Most of the paint I use is a liquid, flowing kind of paint. The brushes I use are more a sticks rather than brushes – the brush doesn’t touch the surface on the canvas, it’s just above [so] I am able to be more free and to have greater freedom and move about the canvas, with greater ease.
Instead of using brushes all the time, try a palette knife to paint.
I applied streaks and blobs of colors onto the canvas with a palette knife, and I made them sing with all the intensity I could.
I work on stretched linen canvas, sized so that the surface already has a sense of tension when I begin. It is a very rich and reactive surface. I begin by drawing on the canvas with a kind of loose line, very simply and freely. I paint very thinly, which allows me to change the drawing if I want to.
Envision what the end result is supposed to be... what do you want to be when you grow up? Where do you see yourself? Once we identify what the painting on the wall is, it is so much easier to bring in the right colors, canvas and brushes to paint that picture.
She was an enthusiastic painter of oils and watercolors. She was also very generous. I could mess with her paints and brushes all I wanted. On one condition: that I kept my brushes clean. The only art lesson my mother gave me was how to wash my brushes.
I never want to abandon my roots. I want to give my past and the history of painting the importance it deserves, including the masters like Rembrandt, who built up the surface of the canvas with transparent layers.
Brushes are crucial for applying glazes, sauces, and oils. The pastry brushes that you find in homestores can be pricey so pay a visit to your local hardware store and pick up a few paint brushes which are less expensive and work equally as well.
What is it that an artist does when he is left alone in his studio? My conclusion was that if I was an artist and I was in the studio, then everything I was doing in the studio should be art . . . . From that point on, art became more of an activity and less of a product.
I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. Its the most radical thing.
I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. It's the most radical thing.
I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc.
It is one thing for an artist to experiment on a canvas, but it's entirely different to experiment on a living creature.
To see the butcher slap the steak before he laid it on the block, and give his knife a sharpening, was to forget breakfast instantly. It was agreeable too - it really was - to see him cut it off so smooth and juicy. There was nothing savage in the act, although the knife was large and keen; it was a piece of art, high art; there was delicacy of touch, clearness of tone, skilful handling of the subject, fine shading. It was the triumph of mind over matter; quite.
The challenge of yoga is to go beyond our limits - within reason. We continually expand the frame of the mind by using the canvas of the body. It is as if you were to stretch a canvas more and create a larger surface for a painting. But we must respect the present form of our body. If you pull too much at once, we will rip the canvas. If the practice of today damages the practice of tomorrow, it is not correct practice.
As an actor, you're a color of paint on someone else's palette. But as a director, it's your canvas and you make the painting you want to make.
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