When I was a kid I loved wall paper it added a lot of fiber to my paint chips.

And that's what we'll do every day. If you or your friends spray-paint obscenities on our walls, we'll scrub them off, and the people will come. if you break our windows, we'll fix them, and the people will come. If you hurt us, we'll wash off the blood, slap on some bandages and the people will come...any wound you inflict, we'll stitch up. We're not going to stop, no matter what you do. This work is too important. Too many lives are at stake.

"In painting a palette with a wide array of information, before painting the picture of your brand...

Nobody wants a sales pitch. So instead of trying a hard sell, focus on telling a story that captivates your audience by painting a vivid picture of your vision. When you get good at storytelling, people want to be part of that story, and they'll want to help others become part of that story too.

I don't want you to become like a man. You have to be a woman. You have to keep your uniqueness, you have to keep your differences. Assert your independence, your freedom in every field including the spiritual field. Be expressive. You have to be artists, you have to be poets, you have to be painters, you have to be sculptors, you have to be musicians, you have to be dancers. You have to assert yourself in all the dimensions, wherever your talent and your genius lead you. Don't imitate man. Remain grounded in your womanhood.

All these media houses with their journalist that are control by politicians and rich powerful people. When you call them out. They don't accept their wrongs , apologize and change, but what they do . They go after your head. They attack you personally. They will dig dirt on you and to paint you as a bad person. They are doing character assassination. This is just abuse of power.

Flashy pictures of materialistic wealth, lavish vacations, and 'perfect' relationships paint a very unhealthy picture of expectation for society.

"Recognize, each story filled differently. As a plethora, where each substance more or less explored. Each field of knowledge [something] to gain from the careful mixing of paint/colours.

"My Inspirational comes from many sources. Clearly, Mother Nature has always occupied an important position in this regard, which is tied up to my early experiences in Mexico. In addition, the patterns used in Mexican arts and crafts-ceramics, textiles, tiles, masks, etc.-also have been present in the development of my mental and artistic imaginary from the very beginning. Other elements that I can mention are indigenous myths and legends, the expressions of other artists from various cultures, iconic historical figures, and the works of poets and other writers, some of whom are my friends. Obviously, my surroundings are also a big source of Inspirational, as my series of paintings on the Pacific Northwest clearly show.

I've been strongly influenced, in technique as well as subject matter, by some of the early 20th-century book illustrators - Arthur Rackham and Edmund Dulac in particular, Burne-Jones and other Pre-Raphaelites, and the Arts-&-Crafts movement they engendered. I'm continually inspired by Rembrandt, Breughel (I've wondered whether his brilliant "Tower of Babel" had inspired Tolkien's description of Minas Tyrith), Hieronymous Bosch, Albrecht Durer, and Turner; it's not necessarily that they influence my work in any particular direction, more that their example raises my spirits, re-affirms my belief in the power of images to move and delight us, and shows me how much further I have to go, how much is possible. Having visited Venice and Florence for the first time, I am besotted with the Italian Renaissance artists - Botticelli, Bellini, da Vinci and others. Their work is calm, controlled, and yet each face and landscape contains such passion. In Botticelli's paintings, every pebble and every leaf is rendered with a religious devotion; there is reverence inherent in paying such close attention to every stone, turning painting itself into a form of worship, an act of prayer.

It has been my personal experience that as I allow the painting to speak I become lost, it is delicious and at the same time frightening. The best ones, to me, have a life of their own.

"There is no ready vocabulary to describe the ways in which artists become artists, no recognition that artists must learn to be who they are (even as they cannot help being who they are.) We have a language that reflects how we learn to paint, but not how we learn to paint our paintings. How do you describe the [reader to place words here] that changes when craft swells to art?

She preferred the quiet solitary atmosphere, to create in her own world of paint and colour, the thrill of anticipating how her works would turn out as she eyed the blank sheets of paper or canvas before starting her next masterpiece. How satisfying it was to mess around in paint gear, without having to worry about spills, starch or frills, that was the life!

If a picture paints a thousand words, then a let a picture inspire a thousand words.

You have a masterpiece inside you, you know. One unlike any that has ever been created, or ever will be. If you go to your grave without painting your masterpiece, it will not get painted. No one else can paint it. Only you.

You have to find your own shtick. A Picasso always looks like Picasso painted it. Hemingway always sounds like Hemingway. A Beethoven symphony always sounds like a Beethoven symphony. Part of being a master is learning how to sing in nobody else's voice but your own.

I like to work in watercolor, with as little under-drawing as I can get away with. I like the unpredictability of a medium which is affected as much by humidity, gravity, the way that heavier particles in the wash settle into the undulations of the paper surface, as by whatever I wish to do with it. In other mediums you have more control, you are responsible for every mark on the page - but with watercolor you are in a dialogue with the paint, it responds to you and you respond to it in turn. Printmaking is also like this, it has an unpredictable element. This encourages an intuitive response, a spontaneity which allows magic to happen on the page. When I begin an illustration, I usually work up from small sketches - which indicate in a simple way something of the atmosphere or dynamics of an illustration; then I do drawings on a larger scale supported by studies from models - usually friends - if figures play a large part in the picture. When I've reached a stage where the drawing looks good enough I'll transfer it to watercolor paper, but I like to leave as much unresolved as possible before starting to put on washes. This allows for an interaction with the medium itself, a dialogue between me and the paint. Otherwise it is too much like painting by number, or a one-sided conversation.

"Just above our terror, the stars painted this story

If you have a painting in you, paint. If you have a song to sing, sing. Don't judge your creation. Just create it. Banish doubt and fear and step out of your own way if you have to. Write if you're a writer and invent if you're an inventor. Do what you were born to do. Only then will you know a remarkable life.

take criticism, smash it into dust, add color & use it to paint breathtaking images of unicorns frolicking thru endless fields of greatness

Shogo. I know I'm repeating myself, but I have to say it. If I were Keiko, this is what I'd say. Please Live. Talk, think, act. And sometimes listen to music... Look at paintings at times to be moved. Laugh a lot, and at times, cry. And if you find a wonderful girl, then you go for her and love her.

I dream my painting and I paint my dream.

I carried [Rudy] softly through the broken street...with him I tried a little harder [at comforting]. I watched the contents of his soul for a moment and saw a black-painted boy calling the name Jesse Owens as he ran through an imaginary tape. I saw him hip-deep in some icy water, chasing a book, and I saw a boy lying in bed, imagining how a kiss would taste from his glorious next-door neighbor. He does something to me, that boy. Every time. It's his only detriment. He steps on my heart. He makes me cry.

"The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail.