Quotes About Craftsmanship

I learned embroidery," Kaede said, "But you can't kill anyone with a needle." "You can," Shizuka said offhandedly. "I'll show you one day.

A man always writes absolutely well whenever he writes in his own manner, but the wigmaker who tries to write like Gellert ... writes badly.

For two months I bottled oranges and apricots, peaches and pears, raspberries and nectarines, plums and figs in a rich sugar syrup laced with lemon zest. I pickled olives and cucumbers in brine, and packed mushrooms, pepperoni, artichokes, and asparagus in jars with olive oil. I made jams and preserves of berries and fruits, which then lined the shelves on the walls in the cellar, each one labeled in my own hand and bearing the date of my agony.

Forced to weigh your words, you find out which are the styrofoam and which are the heavy gold. Severe cutting intensifies your style, forcing you both to crowd and to leap.

In revision, as a rough rule, if the beginning can be cut, cut it. And if any passage sticks out in some way, leaves the main trajectory, could possibly come out — take it out and see what the story looks like that way. Often a cut that seemed sure to leave a terrible hole joins up without a seam. It's as if the story, the work itself, has a shape it's trying to achieve, and will take that shape if you'll only clear away the verbiage.

Topiary has always seemed like a good occupation, comparable in some ways to writing short fiction.

Sculptors, poets, painters, musicians--they're the traditional purveyors of Beauty. But it can as easily be created by a gardener, a farmer, a plumber, a careworker.

Even if he doesn't go to college, he could at least learn to make something. Nobody in this country knows how to sink a nail anymore. They're all dependent on the tradesmen their kids are taught not to become.

Por eso no tenía paciencia para con la descabellada distinción entre arte y artesanía que ponía a esta última en situación de desventaja desde un punto de vista comercial. Una jarra de barro para agua no valía prácticamente nada, pero si tenía un agujero en el fondo y era «arte», se podía pedir por ella un ojo de la cara. ¿No era una putada?

At last she got it: concept is incidental; execution is all.

Well, that's the thing about knots, isn't it? If you don't know the trick, it's a muddled predicament. But in fact each loop of every knot is carefully placed, one end twisting into the other in a way you might not have expected. I find them rather beautiful, really.

Manufactured objects testify to who made them; they describe values.

More and more, I enjoy hearing people who are good at their instruments and who've found a distinctive voice. In death metal, a lot of guys are Eddie Van Halen disciples, but they take his style to really expressionistic places. It's a real pleasure for me to hear people pushing their craft.

It doesn't use shading, but it does use stroke length variations.

I have played a terrorist in 'Goodachari,' a feudal lord in 'Rangasthalam' and a factionist in 'AS.' The variations in all these characters are so different. It's only because of my directors that this was possible.

I do feel like animated films really combine a lot of different of art forms: film-making and writing and drawing and painting - to a certain extent, even sculpting. It's a wonderful medium to work with as a craftsman because it's such so rich and so varied and so expressive.

I try to acquire some new approach with each role in order to build up a varied acting technique.

Funnily enough, the most difficult style to do is the plain pump because it needs to look good on a variety of feet.

I may demonstrate the various stages of making a loaf on stage, but they don't end up in the final product I lift out of the oven at the end. If it were real food preparation, I'd wear a hair net, a hat, and rubber gloves - not a pretty sight.

Prior to the Industrial Revolution, hand-production methods were abundant. Craft defined everything. The craftsman had an almost phenomenological knowledge of materials and intuited how to vary their properties according to their structural and environmental characteristics.

I'm trying to write books that taste like ice cream but have the nutrition of vegetables.

My life at home is super simple. My local bar with my mates, cooking for my mother, making tables, planting vegetables: It's the classic idea of the artistic existence.

I believe that a cook in a kitchen isn't producing an entree: he's producing a reaction. The product is the reaction; the entree is just the vehicle.

Cooking is just a vehicle to express yourself, like painting and acting... The reason why we're cooking is not because we want to put something on the plate. It's so much more complex than that.