A Quote by Harvey Dunn

To paint a mass simple and big you must keep out all the lights and darks that do not belong to its general value. — © Harvey Dunn
To paint a mass simple and big you must keep out all the lights and darks that do not belong to its general value.
If you begin with the middle-tone and work up from it toward the darks so that you deal last with your highest lights and darkest darks, you avoid false accents.
Some days, who can stare at swathes of sky, leafage and bad-complected whale-gray streets, tailpipes and smokestacks orating sepia exhaust, or the smaller enthusiasms of pistil and mailbox key, and not weep for the world's darks on lights, lights on darks, how its half-tones stay unchanged in their changings, or how turning wheels and wind-trash and revolving doors weave us into wakefulness or dump us into distraction?
One of my first films was Zebrahead. I remember the producer asking me, "Can you handle the big lights?" And I thought, Do I want to be sarcastic, or do I want the job? So I said, "I don't handle the big lights, I just tell big men where to put the big lights and they do it."
The big moment came when it was decided to paint...Just To Paint. The gesture on the canvas was a gesture of liberation, from Value- political, aesthetic, moral.
Intrinsic value can be defined simply: It is the discounted value of the cash that can be taken out of a business during its remaining life. The calculation of intrinsic value, though, is not so simple. As our definition suggests, intrinsic value is an estimate rather than a precise figure, and it is additionally an estimate that must be changed if interest rates move or forecasts of future cash flows are revised.
Study your subject through half-closed eyes before starting to draw - you'll find that the lights and darks are exaggerated and easier to identify.
Nature is economical. She puts her lights and darks only where she needs them.
A background can be painted in the same range of values as the foreground by reversing the light effect. In the shadow plane, paint the lights cool and the shadows warm, and in the sunlight plane, paint the lights warm and shadows cool.
But I begin to think the chief difficulty in writing a book must be to keep out what does not belong to it.
Colouring does not depend on where the colours are put, but on where the lights and darks are put, and all depends on form and outline, on where that is put.
Power and those in control concede nothing ... without a demand. Hey never have and never will... Each and every one of us must keep demanding, must keep fighting, must keep thundering, must keep plowing, must keep on keeping things struggling, must speak out and speak up until justice is served because where there is no justice there is no peace.
There are so many good ones to paint and if you paint as well as you really can and keep out of all other things and do that, it is the true thing.
The spectator, as he walks the gallery, will stop, or pass along. To give a general air of grandeur at first view, all trifling, or artful play of little lights, or an attention to a variety of tints is to be avoided; a quietness and simplicity must reign over the whole work, to which a breadth of uniform and simple color will very much contribute.
There are big issues, like the reform of the Security Council. These kinds of questions are something the President of the General Assembly must keep his eye on.
It's not what you paint. It's how you paint it. You don't have to paint elaborate things. Paint simple things as beautifully as you can.
Paint your picture by means of the lights. Lights define texture and color - shadows define form.
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