Zitat des Tages über Drucke / Prints:
The drawing of a 'Pipeline Wave' started with Billabong as a commission for their 2009 Pipeline Masters campaign. My 'Pipeline Wave' drawing later became the start of my 'Waterworks Collection' for gallery prints.
There is - you know, there's receipts for rented cars and license plates and guns and hand prints and palm prints and fingerprints. You know, I want to wait until I'm in a court.
Wearing a bold print gets harder as you get older. It's safer to stick to subtle prints or block colours. I have always found prints quite tricky. My daughter Carly, who is on the design team at Stella McCartney, is obsessed with them.
A lot of my friends were mostly working in black-and-white - people like Lee Friedlander, Diane Arbus, Garry Winogrand, and others. We would exchange prints with each other, and they were always very supportive of what I was doing.
World War II was a historical event, but also a movie genre, and 'Fury' occasionally prints the legend. The rest of it is plenty grim and grisly. Audience members may feel like prisoners of war forced to watch a training-torture film.
Colors and prints are part of my style.
Animals come from nature. They were not designed. All my inspiration comes from nature, whether it's an animal or the layout of bark or of a leaf. Sometimes my patterns are very bold, and you can barely see where they come from, but all the textures and all the prints come out of nature.
An editor is someone who separates the wheat from the chaff and then prints the chaff.
I just love the whole idea of conversational prints.
Plant thy foot firmly in the prints which His foot has made before thee.
I love floral prints for little girls, and I love mixing prints.
I've met people with my prints tattooed on them, my face tattooed on them - I have that commitment and love.
A trip to the picture framer's, with a selection of prints, is the most joyous outing I can imagine. I've spent more money on framing than on anything else I own.
Kindle Singles is publishing on skates. It prints like lightning; our book meets readers in hours. I've spent so many years waiting for publishers to consider whether they wanted to print a book of mine, making contracts, taking months to fit it into the Fall list or the Spring list, fitting it into an advertising plan.
I think that a woman wears so many hats, we have so many aspects to us that we're not just one thing. We represent so much within us and that kind of comes across for me as a designer through mixing prints and colors.
I was a very, very careful printer when I used 8-by-10 film. I probably spent more time on printing than anything else. The more the prints were appreciated, the more time I spent on them.
I was born in Seoul, South Korea; then I moved to New York City at the age of seventeen. In New York, I studied art and photography. I thought I would be a painter; then I saw Walker Evans when I was in college, and that had a great impact on me. Being in the darkroom making B&W prints was such a magical experience.
There are countless artists whose shoes I am not worthy to polish - whose prints would not pay the printer. The question of judgment is a puzzling one.
The resulting prints of 'History's Shadow' make the invisible visible and express through photographic means the shape-shifting nature of time itself and the continuous presence of the past contained within us.
I was trying to write an autobiography using prints and patterns that reference emotional, psychological, and personal development in my work, as a person growing up, figuring out who I was. I used fabrics to stand in for occurrences.
A neighborhood friend showed me how it was possible to go to a camera shop and pick up chemicals for pennies... literally... and develop your own film and make prints.
I really like collections of things. I love antique botanical prints with a bunch of different weeds and seeds.
If you want to get an email to Robert Redford, you send it to his assistant, and she prints it out. And then he will write you a letter, which is incredibly rare and incredibly classy. Unfortunately, I can't be that removed from technology.
At times he could be very critical. He didn't like prints on me. He didn't like stripes. He didn't like boldness. He said I was petite and that was taking away from my looks.
I have always been a Peter Blake fan and love street art and graffiti. I really like this street-art collective called Faile. They're from Brooklyn and make these prints of beautiful women.
I'm pretty selective. I generally edit the contact sheets and then do work prints. Because I have my own lab and printers, I can afford the luxury of going through the contact sheets for black-and-white, making up work prints, seeing them big, and honing them down.
I like to wear colors and prints in the summer and play with extravagant accessories.
People are often a bit more adventurous with swimming costume prints; they like the idea of something a bit more jolly.
I love 'Victoria's Secret Sport' because what they do so well is the fit and how it makes you feel. They sculpt all the right parts of your body. Plus, there's so much to choose from - colors, prints, and cool details. It's dangerous - you want everything.
'The Next Wave' started as a drawing for a new silkscreen fine art print. I ended up doing the prints digitally because the water-based inks were better for the environment than the oil based inks. So, I learned about the Epson digital printers to get the image I wanted.
My own interest in art was because of my mother. My father didn't like contemporary art, so he didn't give her large sums to spend. So, she began buying prints and drawings. During my school days, I remember sitting in on many of the early meetings.
I gravitate toward floral and graphic prints.
I would never wear anything with a logo. That I really find difficult. It's a frustration that I'll find a nice shirt or something and it's got 50 prints of the logo on it - why do they do this?
I love the journeys of research and discovery their development takes me on. I see prints as less 'decorative' than many might, and more fundamental to a garment's core.
I'm known for color and prints and embroideries.
I'm staying with film, and with silver prints, and no Photoshop. That's the way I learned photography: You make your picture in the camera. Now, so much is made in the computer... I'm not anti-digital; I just think, for me, film works better.
