I'm trying to entice people, and sometimes my information is very hard hitting. So I've always wanted to have a soft approach.

You have to leave room in life to dream.

I work closely with the printer to get the final print the way I want it.

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.

There is an exercise I teach at colleges: Get yourself a canvas and a bunch of acrylics and go into a very dimly lighted room. Dip a brush into one of the colors, slap it on the canvas, don't look, close your eyes, make a painting, don't look, turn the lights on and see what you've got. I think this releases people from the editor in their life that's always standing over their shoulder saying, "Oh, you don't have any talent; who do you think you are?"

Sixteen million colors in your palette are hard for any artist, especially a beginner, to turn down.

I had a teacher's degree and a degree in Oriental Philosophy from the University of Massachusetts. I thought I was going to India to study but all of a sudden, I had a career in music. It really surprised me.