Quotes About Prints

I like to design funky things, and I love to mix prints and patterns together.

I really follow Balmain. I follow designers who make floral prints and bright-colored clothes.

I like to wear colors and prints in the summer and play with extravagant accessories.

I really have to think of myself as a painter first because sculpture came much, much later. As a student at the Art Institute in Chicago, I simply never became involved in sculpture. I did prints, and I did paintings.

My affinity for beef extends into my home life, so you'll notice canvas prints of cows, a cowhide rug and prints of Smithfield meat market.

Prints mimic what we are as humans: we are all the same and yet every one is different. I think there's a spiritual power in repetition, a devotional quality, like saying rosaries.

Fashion comes and goes; prints come and go. Proper camo never really goes away.

I feel more kinship and intimacy with certain characters described in books and certain images I've seen in prints than I feel with many so-called real people, who are of that metaphysical insignificance known as flesh and blood. And 'flesh and blood' in fact describes them rather well: they're like chunks of meat displayed in the window of a butcher's, dead things bleeding as if they were alive, shanks and cutlets of Destiny.

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.

I love going to art galleries. The Tate Modern is one of my favourite things to do. But I don't invest in the history of it and I don't read up on it. I am a guy who would buy a print rather than buy an original.

Skin was earth; it was soil. I could see, even on my own skin, the joined trapezoids of dust specks God had wetted and stuck with his spit the morning he made Adam from dirt. Now, all these generations later, we people could still see on our skin the inherited prints of the dust specks of Eden.

fingers of wind combed the lake into ridges—icy palm prints glistened wherever it rested

I always give a print to everybody I photograph, and some of my subjects have told me they have a hard time hanging them up at home.

His 1831 wood-block series, "Thirty-Six Views of Mount Fuji," is the world's most famous work of ukiyo-e, and one of these prints in particular, The Great Wave of Kanagawa, is one of the most famous works of Japanese art.

Skin was earth; it was soil. I could see, even on my own skin, the joined trapezoids of dust specks God had wetted and stuck with his spit in the morning he made Adam from dirt. Now, all these generations later, we people could still see on our skin the inherited prints of the dust specks of Eden. I

Skin was earth; it was soil. I could see, even on my own skin, the joined trapezoids of dust specks God had wetted and stuck with his spit in the morning he made Adam from dirt. Now, all these generations later, we people could still see on our skin the inherited prints of the dust specks of Eden.

When time marches on, it steps on your nose and tail, and leaves boot prints down your back.

I love prints of skulls and bones and have some taxidermy - a crow and a rabbit - to remind me of home. I like art and have a big portrait of Bjork.

I tend to lean toward a more minimal aesthetic, so when I use wallpapers in my interiors, I like for one or two prints to be the star of the show. I would recommend being careful in your use of strong prints so the room doesn't get too busy. Use one print that dominates and one as an accent.

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.

Designing the prints was very much like writing a story with characters, [inspired by] some of my my favorite icons of the time: Eva Perón and Josephine Baker.

As a filmmaker, you complete a film you have spent years obsessively making, and you know the release prints will never look quite the same; prints get scratched and dirty.

Oh land of farms and green hills mild Once formed by giants rough and wild With massive paws they gripped and tore With one great rip they formed the shore Where heavy boots left prints so deep Blue lakes remain 'tween summits steep The giants fought beneath our skies And from their bones our mountains rise

When time marches on, it steps on your nose and tail, and leaves boot prints down your back.