"The distinct contrast between a advancing solid and transparent receding surfaces-see quality of the universality of space and time. To give this picture coherence, units must be organized each in relation to a background." PRM

"The picture may be started with the dominant linear movements to break up the rectangle into related areas of meaning and space. This stage is followed by introduction of tones to further related areas and to start the foreword and backward relationships. Color is incorporated with the use of tones. Finally meaning is clarified and the solid and open areas are established with textures, lines and color." PRM

"Recently on portraits. Depth and space are suggested by contrast. The refocusing of the eye to see contrast gives the sensation of distances. Contrasts are read near to one another. The rhythmic sequences are so controlled as to lead the eye, keeping constant contact, with out making long jumps over arid areas. This continuity of neuromuscular manipulation builds up a more powerful a emotional climax then a sudden jump across the picture plane because contrasts are not connected or related in sequence." PRM

"Composition procedure 1. Use shellac paint on cloths--one red, one olive, one yellow. Draw masses in movement and space development--this may call up associations with actual subject matter. When subject and design are fairly definite, proceed with enrichment by first glazing shellac paint with sun thickened linseed oil. Into the oil glaze, work color glazes, to give bolder pattern to composition. Into the bold glazed color patterns, paint opaque, breaking the patterns into more dynamic color gradations and intensify the depth movements with texture and contrasts of line against tones. Retain some of the original equivocal forms to give creative urge to the spectator's eye." PRM 1946