Buffy Sainte-Marie Quotes
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We also have the option of scanning in an image from outside the computer... a photo, or a sketch done with traditional tools; and we can then paint, manipulate, process, change, and further develop the image within the computer, watching our progress on the monitor.
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By looking at the questions the kids are asking, we learn the scope of what needs to be done.
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I've always had that attitude about my career: it's something that I do, but it's not my whole life. I have a real life, a personal life: I've got a lot of chickens, I've got a horse, I've got a kitty-cat, I've got a lot of goats, I've got animals all over the place.
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I've had a different kind of career on the periphery of show business. I've never been on any kind of corporate timetable whereby every six months I have to pop out a record like a pulping mill. I've called my own shots. When I get tired, I take time off.
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When we draw on the tablet, the drawing shows up on the computer screen. If we have chosen to tell the computer that the stylist is to behave like a piece of chalk, or a pen, or a wet brush, it will.
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Instead of kids just hearing about beads and baskets and fringe, and about what 'was' and 'were,' we present Native American culture as a living contemporary culture.
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I didn't get into the music business because somebody made me take piano lessons, you know. I got into music because I was a natural writer and had a lot of curiosity about sound.
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We allow each other so little enjoyment or even tolerance for our individualities, our uniquenesses, and yet to me, that's what it's all about.
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When somebody says, 'Oh, Buffy, you're such a warrior for peace', I stop them and say, 'No, I'm not really a warrior for peace. What I promote is alternative conflict resolution'.
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For me, the hip word is 'mutate.' We're ripening all the time.
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I'm not like a professional writer with professional skills. Songs kind of come into my head the same way they did when I was a kid. I say I'm an overgrown kindergarten kid. I work on songs.
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But in the old days, visual artists used to fall into two distinct categories: those of us who created images with cameras and those of us who applied stuff onto other stuff, with brushes or other tools.
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As a teenager I started painting and playing guitar.
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The input of Idle No More has been a lightning rod for people who were already thinking this way. We are reaching clarities on bigger issues like fracking and GMOs and climate change.
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The artistic process in digital art is very much the same as for making other kinds of paintings.
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Digital art software has empowered both the painterly side of photographers, and the photographer side of painters.
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I was very unhappy when I used to record and things wouldn't turn out the way I would want to, because I was being such a nice girl. I wouldn't complain when things were going wrong.
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The paintings are transferred from my computer to a disk, and I can hand it to the printer this way; or I can modem the painting to the printer over the phone lines from my house in Hawaii.
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I see myself as having three families: my birth family, the family that raised me, and my Cree family, who I was reunited with in my late teens, so I consider myself to be lucky.
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Another time factor is output: proofing and printing. That is, getting your work out of the computer and onto paper and having it satisfy you. It can be time consuming and expensive.
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The key is in remaining just aloof enough from a painting so that you know when to stop.
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Once an artist explores the vast variety of tools and features available on the great programs, we're hooked.
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If I'm interrupted, it's just a minor inconvenience, but not a disaster, because it's easy to get back where I was: that is, the paint has not changed consistency; the light has not moved.
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I was an infant when I was living in Canada, but when I was adopted, I was a baby, so I grew up in Maine and Massachusetts, and I returned to Saskatchewan as - in my late teens.