Quotes About Technique

I did some pastels and I did other pieces in which there was just basically one color per square, and then they would get bigger and I could get 2 or 3 colors into the square, and ultimately I just started making oil paintings.

Eric Clapton's scales - when he comes off a high note and it's time for a refrain or a little bit of a rest, he peals off scales going downwards that are so good it's unbelievable.

In 1936, Gerhard Gentzen provided a proof of the consistency of arithmetic, but to do it he needed to use a controversial technique known as transfinite induction. This technique is not among the usual methods of proof, and it hardly seemed appropriate for guaranteeing the consistency of arithmetic. What Gentzen had done was prove the obvious by assuming the doubtful.

Always, even with the U17s in Spain, U19s, we play from the back, and we try to improve on that a lot. So I always enjoy having the ball at my feet.

Not a lot of people or pros in this game know how to train correctly. That's why they don't have a long career. Their body gets banged up. They get into a rhythm of heavy sparring and heavy work, but through that, they're limiting movement.

Sparring with southpaws have been different but nothing to worry me.

I'm engaging my diaphragm as I'm speaking to you right now.

My coach from the time I was a kid was a specialist of hard courts. He teach me a different forehand than the rest of Argentinian players. That's why I am able to work better on hard courts.

Guillotine is my specialty. I love it.

I've been learning martial arts - nothing specific, as then it becomes one-sided - but basic exercises.

The spectacular things come automatically if you're a good goalkeeper, but it's very important that you do all the basics right.

I went to Julliard where they use a lot of voice and speech exercises.

When practicing, it's great to break a part down into its different elements, start slowly, and then try to build up the speed until you're playing as fast as you possibly can.

Mostly, I would like people to ask other writers about the craft of their writing so we could learn from one another. We ask movie directors why they chose to use certain lights and angles and speeds of film, but most of the time, we ignore the craft of a writer.

At Isleworth, they get the greens up to the sort of speeds we see at Augusta, so it's really helpful.

My game is not always built off speed, it's just my craft to where I can run routes and get in-and-out of my breaks as a big guy keeps me at a consistent level for a long time.

I'm a pure boxer. I have lightning speed that hurts guys. But I love to box. I love to be on my back foot. I love to work my jab and combinations.

For 100 m., you have to go out fast but also bring it back, so we've been doing a lot of work on the back-end speed.

But to be fair, if you take players from my era to now, the game has changed and the players have many more shots. They use them differently than we did. The speed of the game has changed.

I'm just trying to shoot in rhythm. That's the biggest thing for my shot from long range. I don't try to speed it up too much.

The first 300 m., I go slow and pick up speed at the bend. That's Hima's style.

To me, there's no question that using a metronome develops your speed and accuracy. If you're learning scales or you're jamming on parts that you can't quite pull off, it's a must.

If you do an outside spin with the ball, it's more difficult to control it, so I try to pass it in a way that allows them to take the ball quicker in their path. That way, they may have more of an advantage to score or create themselves.

To apply spin with security, you must learn to make a snug bridge with your forefinger looped over the cue. When you hit the cueball, follow straight through; don't let your cue rise in the air after impact.