Quotes & Sayings About Paper Works

As a matter of fact, it was only through the dealer Fred Jahn that I succeeded in overcoming my reservation about the works on paper and exhibiting them. Added to this, of course, was the fact that after ten years I could see the watercolours in a different light, and in conjunction with pictures painted afterwards, they had at least become more comprehensible to me. — Gerhard Richter

How many of the ragged workingmen who pass him in the street are secret authors of works that will outlast them: roads, walls, pylons? Immortality of a kind, a limited immortality, is not so hard to achieve after all. Why then does he persist in inscribing marks on paper, in the faint hope that people not yet born will take the trouble to decipher them? — J.M. Coetzee

I know more about Emily Bronte than anyone I know. I know enough about her family to have been a part. I've walked with her on her damp luscious lonely moors, watched her strain to write on miniscule scraps of paper, seen her hide her works from prying eyes.
I've brooded alongside her and participated in her taciturnity. Before her death at the ripe old age of 30, I nursed her from the things that ultimately killed her: tuberculosis with a side order of Victorian thinking. — Chila Woychik

I myself saw the great works of Western civilization for the first time in my high school in Lithuania in bad black-and-white reproductions on miserable paper. That was, for many years, what art was for me. But from those miserable black-and-white reproductions, I got something, something unmistakable. — Jonas Mekas

[Cat] found a complete set of the works of Edgar Allan Poe, with little tabs of paper sticking out. The were scrawled over with the witch's comments to herself, "Fun!" "Try this, but with exploding feathers!" and "Gotta love him
deeply sick. — Gregory Maguire

I've been collecting art for much of my adult life. I started around 1960. And my wife and I really enjoy art a great deal. We don't have a lot of money, so we have works on paper, but we enjoy them a great deal. — Eric Kandel

I only put down on paper what works for me, and since I started out as a human train wreck, the ways I've learned to be happy also work for others. — Martha N. Beck

The "public" does not work - a sentence like "most of the American public works in the service industry" would never appear in a magazine or paper, and if a journalist were to attempt to write such a sentence, her editor would certainly change it to something else. It is especially odd since the public does apparently have to go to work: — David Graeber

The United States is primarily a guilt-based culture. The dominant method of social control in this country involves teaching people to feel guilt about not living up to personal expectations. Contrast this with shame-based cultures like Japan. As researchers Ying Wong and Jeanne Tsai explain in their paper, Cultural Models of Shame and Guilt, shame is "associated with the fear of exposing one's defective self to others. Guilt, on the other hand, is associated with the fear of not living up to one's own standards." In this formulation, guilt is based on failing to achieve personal ideals; shame is based on social exposure ["The Anti-Vaccine Movement Should Be Ridiculed, Because Shame Works," Gizmodo, February 6, 2015]. — Matt Novak

The local Red Cross chapter volunteered to publish his book. It came out in a deluxe, gold-embossed, Japanese-paper edition to remind the reader of human artistry, which can be a refuge from evil and a source of new, platonic stirrings. One copy was reserved for His Imperial Majesty Nicholas II. (The Tsar fairly devoured mystical works, believing that hell could be avoided by a combination of education and deceit.)

"The Book of Kings and Fools," p. 136. — Danilo Kis

Light control works; close control leads to overreaction, sometimes causing the machinery to break into pieces. In a famous paper "On Governors," published in 1867, Maxwell modeled the behavior and showed mathematically that tightly controlling the speed of engines leads to instability. — Nassim Nicholas Taleb

The thing about how that process works is that it's more about the editing and time for judging the ideas. Most pieces I publish each week have been around for months. This is a response to the beginning of the strip, when I was making them so quickly. I would just conceive a piece, finish it, and then the next day see it in the paper. That was when I was doing dailies four days a week. — Paul Madonna

They never asked, "Were you able to work today?" Maybe they had, twenty or thirty years earlier, but they'd gradually learned not to. There are empty spaces that must be respected - those often long periods when a person can't see the pictures or find the words and needs to be left alone.
When Mari came in, Jonna was on a ladder building shelves in her front hall. Mari knew that when Jonna started putting up shelves she was approaching a period of work. Of course the hall would be far too narrow and cramped, but that was immaterial. The last time, it was shelves in the bedroom and the result had been a series of excellent woodcuts. She glanced into the bathroom as she passed, but Jonna had not yet put printing paper in to soak, not yet. Before Jonna could do her graphic work in peace, she always spent some time printing up sets of earlier, neglected works - a job that had been set aside so she could focus on new ideas. After all, a period of creative grace can be short. — Tove Jansson

One might better try to sail the Atlantic in a paper boat, than try to get to heaven on good works. — Charles Spurgeon

The old master oil paintings were usually done in transparent oil colors on top of a black-and-white underpainting, which was often painted in egg temperas. My version of this technique was to start with a watercolor underpainting, which is fast drying like tempera, but I have an easier time controlling it. Then I seal the underpainting with a coat of clear, matte acrylic medium. That keeps the oil paints, which come next, from soaking into the paper, where they would turn dull and flat. Instead, thin layers of transparent oil paint can be smoothed into glowing colors and bold, glossy surfaces, with a depth and space that I don't think can be gotten any other way. It isn't easy to do, but when it works, the results can still surprise me. — Paul O. Zelinsky

The next prisoner looks twelve. He says he's sixteen. He knows it is shameful to fight for the FNLA, but they told him that if he went to the front they would send him to school afterward. He wants to finish school because he wants to paint. if he could get paper and a pencil he could draw something right now. He could do a portrait. He also knows how to sculpt and would like to show his sculptures, which he left in Carmona. he has put his whole life into it and would like to study, and they told him that he will, if he goes to the front first. He knows how it works - in order to paint you must first kill people, but he hasn't killed anyone. — Ryszard Kapuscinski

Before signing any contract, you have to assume that the guy on the other side of the desk is handing you a shifty piece of paper that works to his advantage. I know that sounds cynical, but it's really that simple. — Bun E. Carlos

I use an Electrix repeater [for live looping]. It works ... it's unstable and the MIDI implementation was written by a sped. I think it's Canadian but that may be a coincidence. I've been through all sorts, the original jam man was great but clicked on the loop if you didn't get it just right, something I am familiar with. As I said in another answer I have an RC50 but haven't fired it up yet. On paper it looks great. — Robin Guthrie

...those who succeeded the Voltaires, the d'Alemberts, & the Diderots at the head of the movement when these giants died, & who inherited their social acclaim, had little new to say...These swarming hacks hoped, like the great heroes of the Enlightenment before them, to write their way to fame & fortune. They found fame & fortune already monopolized by second-rate socialites who did not even put pen to paper most of the time, & yet who had the power & prestige to censor & condemn their works out of hand. — William Doyle

Learn how to meditate on paper. Drawing and writing are forms of meditation. Learn how to contemplate works of art. Learn how to pray in the streets or in the country. Know how to meditate not only when you have a book in your hand but when you are waiting for a bus or riding in a train. — Thomas Merton

In 1915 Sophie Tauber and I carried out our first works in the simplest forms, using painting, embroidery and pasted paper (without using oil colors to avoid any reference with usual painting). These were probably the first manifestations of their kind, pictures that were their own reality, without meaning or cerebral intention. We rejected everything in the nature of a copy or a description, in order to give free flow to what was elemental and spontaneous. — Hans Arp

As a physicist, I can state that none of the 18 physicists who signed the Statement works in this field; nor to my knowledge has ever published a paper on this subject. — David Douglass

My paper has to be very long and complex," I said. "I shall cite all the great thinkers - Karl Marx, Sigmund Freud." "What about Adolf Hitler?" "Oh, him. He's not a thinker. He's just a ranter and raver." "There may come a time," said Pepi, "when people cannot tell the difference." "Impossible," I solemnly predicted. "I have read Hitler's book Mein Kampf and also some works by his colleague Herr Alfred Rosenberg because I am a fair-minded, objective person and I believe one should always hear out all sides before making a decision, and so I can tell you from firsthand knowledge that these men are idiots. Their ideas about how the Jews have poisoned their so-called superior Aryan race and caused all of Germany's troubles are utter nonsense. No intelligent person could possibly believe them. Hitler is laughable. He will soon disappear." "Just like all your old boyfriends," Pepi said with his sly smile. — Edith Hahn Beer

I have graded my separate works from A to D. The grades I hand out to myself do not place me in literary history. I am comparing myself with myself. Thus can I give myself an A-plus for Cat's Cradle, while knowing that there was a writer named William Shakespeare. The report card is chronological, so you can plot my rise and fall on graph paper, if you like:
Player Piano B
The Sirens of Titan A
Mother Night A
Cat's Cradle A-plus
God Bless You, Mr. Rosewater A
Slaughterhouse-Five A-plus
Welcome to the Monkey House B-minus
Happy Birthday, Wanda June D
Breakfast of Champions C
Wampeters, Foma & Grandfalloons C
Slapstick D
Jailbird A
Palm Sunday C — Kurt Vonnegut

Sometimes knowing what's right isn't a rational decision, or even what works on paper. Sometimes leaving is the best course of action after all. — Jodi Picoult

At its heart, this book touches on a mystery of economics: what exactly is happening in our world, and why does it often work so well? As the authors show, apparently messy systems - such as untidy desks - actually exhibit a high degree of order: the piles of paper are close to hand, and the most important documents tend to make their way to the top while un-needed ones sink to the bottom. If the mess works, why mess with it? — Nicholas Blincoe

The traditional notion of an architect having a vision of a building and then drawing it either on paper or on a computer and then constructing it isn't really how architecture works, and in reality, the computer has a lot of influence on design. — Michael Hansmeyer

It's hard to explain how this works, and I admit that it's fairly implausible or untenable as a way of life, but that seems to be how I go about my days: peaceably in person, fiercely on paper. — Katie Roiphe

Zalasiewicz is convinced that even a moderately competent stratigrapher will, at the distance of a hundred million years or so, be able to tell that something extraordinary happened at the moment in time that counts for us as today. This is the case even though a hundred million years from now, all that we consider to be the great works of man - the sculptures and the libraries, the monuments and the museums, the cities and the factories - will be compressed into a layer of sediment not much thicker than a cigarette paper. — Elizabeth Kolbert

Over two thousand years ago, Aristotle taught us that money should be durable, divisible, consistent, convenient, and value in itself. It should be durable, which is why wheat isn't money; divisible which is why works of art are not money; consistent which is why real estate isn't money; convenient, which is why lead isn't money; value in itself, which is why paper shouldn't be money. Gold answers to all these criteria. — Doug Casey

... The Book is more important than your plans for it. You have to go with what works for The Book ~ if your ideas appear hollow or forced when they are put on paper, chop them, erase them, pulverise them and start again. Don't whine when things are not going your way, because they are going the right way for The Book, which is more important. The show must go on, and so must The Book. — E.A. Bucchianeri

If I tried to write long-hand, I suppose I'd never finish a novel. I edit too much as I write - the paper would be "white-out" and sharpie marks. Writing with a computer works for me, so I stick with it. — Nicholas Sparks

The foundations of population genetics were laid chiefly by mathematical deduction from basic premises contained in the works of Mendel and Morgan and their followers. Haldane, Wright, and Fisher are the pioneers of population genetics whose main research equipment was paper and ink rather than microscopes, experimental fields, Drosophila bottles, or mouse cages. Theirs is theoretical biology at its best, and it has provided a guiding light for rigorous quantitative experimentation and observation. — Theodosius Dobzhansky

Wyatt was, in fact, finding the Christian system suspect. Memory of his fourth birthday party still weighted in his mind. It had been planned cautiously by Aunt May, to the exact number of hats and favors and portions of cake. One guest, no friend to Wyatt (from a family "less fortunate than we are"), showed up with a staunchly party-bent brother. (Not only no friend: a week before he had challenged Wyatt through the fence behind the carriage barn with - Nyaa nyaa, suckinyerma's ti-it-ty ... ) Wyatt was taken to a dark corner, where he later reckoned all Good works were conceived, and told that it was the Christian thing to surrender his portion. So he entered his fifth year hatless among crepe-paper festoons, silent amid snapping crackers, empty of Christian love for the uninvited who asked him why he wasn't having any cake. — William Gaddis

At Christmas, for example, when you see a big, brightly wrapped package under the tree with your name on it, you're interested. But it's not the wrapping paper you're looking forward to. It's the present inside. Lingerie works the same way. It's nice - but naked is always better.

Except for this.

This is the wet dream of every man born after 1975.

It's the elite of eroticism.

The ultimate fantasy.

Oh yeah - it's the Princess Leia bikini. — Emma Chase

Please do, however, allow me to deliver one very personal message. It is something that I always keep in mind while I am writing fiction. I have never gone so far as to write it on a piece of paper and paste it to the wall: Rather, it is carved into the wall of my mind, and it goes something like this:
"Between a high, solid wall and an egg that breaks against it, I will always stand on the side of the egg."
Yes, no matter how right the wall may be and how wrong the egg, I will stand with the egg. Someone else will have to decide what is right and what is wrong; perhaps time or history will decide. If there were a novelist who, for whatever reason, wrote works standing with the wall, of what value would such works be? — Haruki Murakami

It is easy to speak God's name and to record his glory on paper and walls; but to praise God with an upright heart, to bless him for his benevolence, to call upon him in every distress, and to seek consolation from him - those are truly the greatest works, though rarely seen, alongside faith. When — Martin Luther

In the depth of my soul there are songs unwilling to take the garb of words, songs living as seed in my heart. They will not flow with ink onto paper. Like a translucent veil, they are wrapped about emotions that can never flow sweetly on my tongue.
Yet how can I even whisper them when I fear what the particles of air may do to them? To whom shall I sing them when they have become accustomed to live in the house of my soul and fear the harshness of other ears?
Were you to look into my eyes, you would see the image of their image. Were you to touch my fingertips, you would feel their quick movements. The works of my hands reveal them as the lake reflects the twinkling of the stars.
My tears disclose them as the mystery of the rose petal is disclosed at the moment the heat dissolves the drops of dew when that rose withers.
... Who can combine the roaring of the sea and the warbling of the nightingale? Who can link the crashing thunder with the baby's sigh? — Kahlil Gibran

Writing - like any art - is so damned personal that there really isn't a right way to do it. You do what works for you; what matters is getting the words on the paper. Sure, if you hear advice, and it works, then excellent. But, if it doesn't, you have to realize that perhaps nothing is wrong with you. You don't jive with the advice. — Mur Lafferty

I cared nothing; my point of view in that instance, as in all others like it, was, that if the paper chose to send an outsider and an ignoramus to criticise works of art - especially the works of a new and tentative and experimental school - then, on the head of the paper let the just doom fall. — Arthur Machen

I decided honestly that comic art is an art form in itself. It reflects the life and times more accurately and actually is more artistic than magazine illustration - since it is entirely creative. An illustrator works with camera and models; a comic artist begins with a white sheet of paper and dreams up his own business - he is playwright, director, editor and artist at once. — Alex Raymond

We wrap up our violent and mysterious world in a pretence of understanding. We paper over the voids in our comprehension with science or religion, and make believe that order has been imposed. And, for the most of it, the fiction works. We skim across surfaces, heedless of the depths below. Dragonflies flitting over a lake, miles deep, pursuing erratic paths to pointless ends. Until that moment when something from the cold unknown reaches up to take us.
The biggest lies we save for ourselves. We play a game in which we are gods, in which we make choices, and the current follows in our wake. We pretend a separation from the wild. Pretend that a man's control runs deep, that civilization is more than a veneer, that reason will be our companion in dark places. — Mark Lawrence

Every new routine I have ever written and performed probably occurred extemporaneously. Then after you have fleshed it out and tried it out in front of a number of audiences and it works, you put it down on paper. — Bob Newhart

Of all the means of expression, photography is the only one that fixes forever the precise and transitory instant. We photographers deal in things that are continually vanishing, and when they have vanished, there is no contrivance on earth that can make them come back again. We cannot develop and print a memory. The writer has time to reflect. He can accept and reject, accept again; and before committing his thoughts to paper he is able to tie the several relevant elements together. There is also a period when his brain "forgets," and his subconscious works on classifying his thoughts. But for photographers, what has gone is gone forever. — Henri Cartier-Bresson

Literature cannot develop between the categories "permitted" - "not permitted" - "this you can and that you can't." Literature that is not the air of its contemporary society, that dares not warn in time against threatening moral and social dangers, such literature does not deserve the name of literature; it is only a facade. Such literature loses the confidence of its own people, and its published works are used as waste paper instead of being read.
-Letter to the Fourth National Congress of Soviet Writers — Aleksandr Solzhenitsyn

The Surprise Attack. This is when you think someone scaring you will frighten the hiccups away. Of course, popping a paper bag behind you or clapping in your ear isn't going to cut it. No, this only works when somebody shoves you off a tall skyscraper ledge into a properly rigged-up safety net forty stories below. — Neil Pasricha

Eyeglasses had been in use since the turn of the century, allowing old people to read more in their later years and greatly extending the scholar's life of study. The manufacture of paper as a cheaper and more plentiful material than parchment was beginning to make possible multiple copies and wider distribution of literary works. — Barbara W. Tuchman

I write description in longhand because that's hardest for me and you're closer to the paper when you work by hand, but I use the typewriter for dialogue because people speak like a typewriter works. — Ernest Hemingway,

This is exactly how the World Wide Web works: the HTML files are the pithy description on the paper tape, and your Web browser is Ronald Reagan. — Neal Stephenson

I mean, how do we know it works? Right now it's just a drawing - you can't take fear away from a piece of paper, it doesn't have any to begin with. — Cassandra Clare