Reconciliation Efforts

Table of Contents

• Effort and Persistence
• Improvement and Growth
• Planning and Preparation
• Creativity and Artistry
• Learning and Adaptation
• Precision and Detail
• Separation and Unity
• Constraint and Innovation
• Collaboration and Teamwork
• Other

Effort and Persistence

I want to try making things right because picking up the pieces is way better than leaving them the way they are.

I am almost at the finish line.I am trying to make it the best way I can.

Be proud of yourself for the effort, especially the parts that no one else saw.

With today's work, I'm about one-fourth of the way through the whole cut. At least, one-fourth of the way through the drilling. Then I'll have 759 little chunks to chisel out. And I'm not sure how well carbon composite is going to take that. But NASA'll do it a thousand times back on Earth and tell me the best way to get it done.

Ironing is a great diversion from the reality you dont want to face.

When you visualize, then you materialize.

The best part of making a list is, you guessed it, crossing things off.

To me, that’s one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that’s a completely different approach.

I found I’m quite happy working on a sentence for an hour or more, searching for the right phrase, the right word. I compare it to the work of a stone cutter – chipping away at the raw material until it’s just right, or as right as you can get it.

Every time I do a project, it always comes with a level of discomfort and not knowing how to do it.

People often want the big dramatic works, not the smaller quieter ones, but I don't worry about how it fits together anymore; I just have to do it. I feel compelled to make a work: it's like an itch I have to scratch, and once it's been scratched, it goes away.

I must cut lots of weight. Isn't nice, but it's part of my job and I can make it very easy.

I think being part of Pentatonix has helped my arrangement style a lot, and that's helped me expand myself.

Improvement and Growth

I like to pick things apart, analyse them and put them back in a better order than they had been in before

The easiest thing to do is throw a rock. It's a lot harder to create a stained glass window. I used to get upset at the people who threw rocks but now I'd rather spend my time building the stained glass windows.

Strike hard and fast and do not separate.

That is the artistic task: To choose the best from these solutions.

The whole idea is to get an edge. Sometimes it takes just a little extra something to get that edge, but you have to have it.

It’s about whittling. It’s about taking something and whittling and whittling and getting it sharp and perfect. Then you’ve got something.

Words: First practice leaving no traces. Then practice leaving things better than you found them.

Picking up the pieces is way better than leaving them the way they are.

I had been wanting to peel back the layers of who I am for so long, but I felt like I needed to prove how solid my work is first.

I don't do anything without measuring 10 times and cutting once.

How many ways can you cut a steak? How many ways can a chord go? I've been in this business so long, I know how to cut it.

It's really fun to just stretch out and not have any boundaries or just try something for the craft.

I want to fuse the abrasive and the beautiful.

Planning and Preparation

But if you are going to do something properly you have to plan ahead or you will end up cutting the moment wrong. Then events will be all wrinkled and puckered.

While it's difficult to take cuts like these, it's important to take them quick so we can get back to the mode we want to be in, which is high growth. This is one of those difficult things but unfortunately if you don't do it in an industry like this, you can die by a thousand cuts.

You have all these plans to act, and maybe do it rather elegantly, and then they turn the rain machine on.

Work first and then rest. Work first, and then gaze, but do not use golden ploughshares, nor bind ledgers in enamel.

It's not exactly easy to make the short ones out here this week, ... The trick is, not to leave yourself too many of them. For the most part, I've been able to do that.

I rely way too much on Seamless, and I really need to learn how to feed myself.

Certain key words, like, 'break it down,' 'this is how we do it' - they'll always end up on my tracks.

I try to do things in one take, but doubling rhythm parts is always difficult, especially if you want things to cut the way I want them to cut.

I don't know how to plan my way out of a paper bag.

Wood carving is such an amazing skill and very underrated; once you cut it, it's hard to go back.

Creativity and Artistry

The sculpture is already complete within the marble block, before I start my work. It is already there, I just have to chisel away the superfluous material.

Fill in the shapes with the right tones and the form takes care of itself.

I've always wanted to learn how to hook rugs. A wonderful artist named Leslie Giuliani taught me how. The nice thing is you can change it as you go along.

I always like to start with a matte base then add shimmer.

To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach

Just build a classic horseshoe of wood and plaster, and fill it with statuary and curtains, then sit back and savor the beautifully blended results.

The easiest thing to do is throw a rock. It’s a lot harder to create a stained glass window. I used to get upset at the people who threw rocks but now I’d rather spend my time building the stained glass windows.

To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach.

It's really fun to just stretch out and not have any boundaries or just try something for the craft.

I want to fuse the abrasive and the beautiful.

Wood carving is such an amazing skill and very underrated; once you cut it, it's hard to go back.

I think being part of Pentatonix has helped my arrangement style a lot, and that's helped me expand myself.

Learning and Adaptation

I’ve embarked on personal adventures with each of these quilts. I want to teach you how to do the same.

Layers are not difficult for me. You have the luxury of takes, so if you feel like, say, you did not take in the fact that your aunt is across the way in one take, you do it again and try to add that piece.

I just try to take bits and pieces wherever I can. Seeing how different people finish from around the game is the best way to do that.

I've always wanted to learn how to hook rugs. A wonderful artist named Leslie Giuliani taught me how. The nice thing is you can change it as you go along.

I was blown away to know it was something I could learn to do. I have cut hundreds and hundreds of stencils since then.

I think this is the ultimate creative challenge. We have a clean sheet of paper that comes with hitting rock-bottom.

Use a make-up table with everything close at hand and don’t rush; otherwise you’ll look like a patchwork quilt.

I remember finding this book, which showed a New York subway train that had been covered in so much graffiti you couldn't recognise it was a train. I thought, 'I want to do that... how do you do that?'

I have to learn to knit.

I have this ability to really leave set and just cut off from it immediately.

Wood carving is such an amazing skill and very underrated; once you cut it, it's hard to go back.

Precision and Detail

Sharpen one blade at a time.

For me, not knowing your theme until your finished is like using a scalpel to turn a kangaroo into Miss Universe – there will be a lot of deep cuts, and there’s a high chance it won’t work.

But if you are going to do something properly you have to plan ahead or you will end up cutting the moment wrong. Then events will be all wrinkled and puckered.

If you take away print and embroidery, you have to challenge yourself a bit more on the cut.

All I've got to do is make one cut and go.

Often we are so busy with sawing that we forget to sharpen the saw.

You always need a bit of low-tech.You always need a pair of scissors, it seems to me. You can do better things.... The high-tech, somehow, you do have to combine it with low-tech things.

I'll even cut things. Or, I'll guesstimate it, and I'll have my assistant get it hemmed for me because I don't have time.

Carving is easy, you just go down to the skin and stop.

I've found that I'd be the first one to cut lines.

All it takes is six cuts,” he said near her ear. She nodded, relaxing against him as he guided her hands with precision. One deep stroke of the blade neatly removed an angled section of wood. They rotated the pencil and made another cut, and then a third, creating a precise triangular prism. “Now trim the sharp edges.” They concentrated on the task with his hands still bracketed over hers, using the blade to chamfer each corner of wood until they had created a clean, satisfying point. Done.

Knitting is not enough.

I don't do anything without measuring 10 times and cutting once.

Separation and Unity

Sawing a lady in half is easy. Sawing a lady in half and then joining her up together again is less easy, but can be done with practice.

I WANT TO CUT THROUGH THE SPACE THAT SEPERATES US.

Strike hard and fast and do not separate.

When a piece gets difficult, make faces.

But scissors are really intended for one job alone – snipping things in two. Dividing by force. Everything on one side or the other, and nothing in between.

Oh, baby. You have no idea what I’d do to get through those layers and down to the good stuff.

All it takes is six cuts,” he said near her ear. She nodded, relaxing against him as he guided her hands with precision. One deep stroke of the blade neatly removed an angled section of wood. They rotated the pencil and made another cut, and then a third, creating a precise triangular prism. “Now trim the sharp edges.” They concentrated on the task with his hands still bracketed over hers, using the blade to chamfer each corner of wood until they had created a clean, satisfying point. Done.

Those are my favorite kind of parts to do, just being a goofball and seeing how far you can go with something until you’re just way out of line.

I was just taking my sketchbook to Kinko's and making photocopies and hand-assembling them - folding them over and stapling them.

To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach.

I must cut lots of weight. Isn't nice, but it's part of my job and I can make it very easy.

Constraint and Innovation

While it's difficult to take cuts like these, it's important to take them quick so we can get back to the mode we want to be in, which is high growth. This is one of those difficult things but unfortunately if you don't do it in an industry like this, you can die by a thousand cuts.

The ideas keep going, you have the material, you cut because there's a limit to the space allowed to you. And the space is limited because of some other constraints that have to do with money or printing or whatever.

We strip them down to bare bones and add the armor material and the protected glass and then put them back together. We put them together so that you can't tell that they're armored at first glance.

I have certain signatures, certain cutting principles. It could be a raw-edged seam; it could be leaving the lining of sheepskin exposed so it's not perfectly finished. I invent new ways to do it, but the end goal is always the same.

Your job is to find better ideas, mine is to cut holes in the ones you have, and you’ve already done that pretty well.

The ideas keep going, you have the material, you cut because there’s a limit to the space allowed to you. And the space is limited because of some other constraints that have to do with money or printing or whatever.

How many ways can you cut a steak? How many ways can a chord go? I've been in this business so long, I know how to cut it.

I have this ability to really leave set and just cut off from it immediately.

I don't know how to plan my way out of a paper bag.

Collaboration and Teamwork

Dear Superwoman, The best way to make it in life is by holding on to the Way Maker.

We're working very hard on both sides and very progressively. Both sides would like to nail this down tonight.

To me, that’s one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that’s a completely different approach.

Go as hard as you can on the first piece and then pray that you get switched. Repeat.

To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach.

It's really fun to just stretch out and not have any boundaries or just try something for the craft.

I think being part of Pentatonix has helped my arrangement style a lot, and that's helped me expand myself.

Other

Keeping up the appearance of having all your marbles is hard work, but important.

You cut life to pieces with your epigrams.

But first I had to get through the ironing. It took a lot of patience. I had none. It took forever, and then I had to press the whole shirt again to get out the creases I’d pressed into it.

Do not make, the difficult for yourself to engaging in unnecessary work if the things are straight, smooth, and clear to go.

Do not make, the difficult for yourself to engaging in unnecessary work if the things are straight, smooth, and clear to go

Don’t cluster too much plans to do within a relatively minimum time. As beginner, you must not cut your coat according to your elder brother’s size. Know your limit.

Your job is to find better ideas, mine is to cut holes in the ones you have, and you've already done that pretty well.

Dear Superwoman,The best way to make it in life, is by holding on to the Way Maker.

Shred all that, then take the pieces to the incinerator at the end of the hall for burning. I like to be thorough.

I will resist the urge to underestimate the complexity of knitting.

Those are my favorite kind of parts to do, just being a goofball and seeing how far you can go with something until you're just way out of line.

As much as you know it, and you know the method, you can pretty much do what you want. No idea is going to be shot down. You just put it in the garbage later. You have to say the lines in many different ways. So they have a lot of material to work.

I'd like to cut down on the work a little bit.

Use a make-up table with everything close at hand and don't rush; otherwise you'll look like a patchwork quilt.

I am not trying to do material which I cannot do full out.

For me, it's very interesting to take one object and really dissect it to as many layers as possible.

Then I will tape the sets and even though I`m not very successful sometimes I will try to cut out the fat and put the jokes closer together.

First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.

I have added some ploughmen to the landscape form the park pales which is a great help, but I must try and warm the picture a little more if I can... but I look to do a great deal better in future. I am determined to finish a small picture in the spot for every one I intend to make in future. But this I have always talked about but never yet done - I think however my mind is more settled and determined than ever on this point.

It's very easy to distance yourself from period pieces because either through costuming or whatever, they don't seem to be as much of our time.

Looks like you can pretty much sew this one up,

I want to get the rust off and get ready, ... Because when it starts up for real, that's when it counts, and I need to go in and work out any kinks I have right now.

I had always done these 3D things that you could walk through. They were always done off the seat of my pants without blueprints or course.

The thing with high-tech is that you always end up using scissors.

Most of the time, all you are doing is trimming them up and shaping them up.

Pick very few objects and place them exactly.

Well, there's lots of different things going on at the moment, I'm in talks with some people from Japan to do something and I'm also talking to Hugo Boss to do a very small line, which I want to keep to just 10-12 pieces, but what I want to do is sit with the designers for a couple of days bashing some stuff out...

I'm trying to focus on original material. That is what I've had my luck with.

When you're on set, you have to perform and look the part.

There is an endless range of parts I have not played. I would love to do a whole slew of period pieces. I also used to do a lot of stage work, and I would like to go back to that from time to time.

I want to make each piece of clothing work 15 different ways.

I try to make puzzles range all the way from easy to hard, and to leave many open at once.

Cover the canvas at the first go, then work at it until you see nothing more to add.

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

This kind of work takes too much time. Mine's all needlework.

Ripping up carpet is easy, tiling is the issue.

I had to chip cement off some of the tiles. But, oh well. You do what you have to do.

Then I will tape the sets and even though I’m not very successful sometimes I will try to cut out the fat and put the jokes closer together.

I’ve found that I’d be the first one to cut lines.

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