Quotes About Colour

The colour of the water seems to be the colour of the glass into which it has been poured'.

In my house there is no attempt whatever to secure harmonies of colour, or form, or furniture.... I am entirely independent for daily happiness upon the sensual qualities of form or colour-when I want them I take them either from the sky or from the fields.

I'm actually a 'Witch' not Wiccan...justa Witch. I started reading Tarot when I was 8 years old. I dabble in astrology, Candle Magick, gems/stone Magick and I mainly use herbs for cooking. But cooking is it's own Magick-when done right. Actually, when I colour Tarot...I do use a form of Colour Magick..colours do influence mood...so I conscienciously choose certain colours for certain scenes.

We can form no idea of the millions of pounds that are spent every year in the making of dress in the West. The dress-making business has become a regular science. What colour of dress will suit with the complexion of the girl and the colour of her hair, what special feature of her body should be disguised, and what displayed to the best advantage-these and many other like important points, the dressmakers have seriously to consider. Again, the dress that ladies of very high position wear, others have to wear also, otherwise they lose their caste! This is FASHION.

Turning to the colour-classification methodology: The starting point are the four pure colours red, yellow, green and blue; their in-between shades and scales of brightness result in colour schemes containing 16, 64, 256 and 1,024 shades. More colours would be pointless because it wouldn't be possible to distinguish between them clearly.

The theme, or harmony, of a painting can be created by any one of its visual elements. A single colour... repetition of shapes... Light can be a theme.

Red, of course, is the colour of the interior of our bodies. In a way it's inside out, red.

We perceive nature through the senses, which give us images of forms of colour, sounds etc. A form which exists only in relation to another form on its own, it does not exist.

When my friend Melot set the trap, I think I knew it. I turned to death full face, as I had turned to love with my whole body. I would let death enter me as you had entered me. You had crept along my blood vessels through the wound, and the blood that circulates returns to the heart. You circulated me, you made me blush like a girl in the hoop of your hands. You were in my arteries and my lymph, you were the colour just under my skin, and if I cut myself, it was you I bled. Red Isolde, alive on my fingers, and always the force of blood pushing you back to my heart.

I wish myself to be a prop, if anything, for my songs. I want to be the vehicle for my songs. I would like to colour the material with as much visual expression as is necessary for that song.

I believe that here in South Africa, with all our diversities of colour and race; we will show the world a new pattern for democracy. There is a challenge for us to set a new example for all. Let us not side step this task.

Colour is not the issue in America; class is.

I sometimes wish taste wasn't ever an issue, and the sounds of instruments or synths could be judged solely on their colour and timbre. Judged by what it did to your ears, rather than what its historical use reminds you of.

It is wonderful how much depends upon the relations of black and white A black and white, if properly balanced, suggests colour.

When singing, you need performing skills and a bit of imagination. You have to treasure the emotions, and to not deviate from the colour of the song while pouring your heart into it.

Style has no formula, but it has a secret key. It is the extension of your personality. The summation of this indefinable net of your feeling, knowledge and experience. Take colour as a totality of relations within a framecolour is joy. One does not think joy. One is carried by it.

In my early work I didn't use much colour. I had no confidence about how I could do this.

The very truth hath a colour from the disposition of the utterer.

I thought I could not breathe in that fine air That pure severity of perfect light I yearned for warmth and colour which I found In Lancelot.

"What is truth?" said jesting Pilate, and would not stay for an answer. Pilate was in advance of his time. For "truth" itself is an abstract noun, a camel, that is, of a logical construction, which cannot get past the eye even of a grammarian. We approach it cap and categories in hand: we ask ourselves whether Truth is a substance (the Truth, the Body of Knowledge), or a quality (something like the colour red, inhering in truths), or a relation ("correspondence"). But philosophers should take something more nearly their own size to strain at. What needs discussing rather is the use, or certain uses, of the word "true." In vino, possibly, "veritas," but in a sober symposium "verum."

Wisdom teaches us to do, as well as to talk; and to make our words and actions all of a colour.

I love the sea's sounds and the way it reflects the sky. The colours that shimmer across its surface are unbelievable. This, combined with the colour of the water over white sand, surprises me every time.

My Father is a photographer, so it was always around. I was trained in painting, so I learnt a lot of skills about composition, light, colour, the formal attributes of images.

Makeup is my world, and I know that a little things . . . the right technique, colour or brush . . . can make all the difference.

There is something magical in seeing what you can do, what texture and tone and colour you can produce merely with a pen point and a bottle of ink.

Phoebe Marks was a person who never lost her individuality. Silent and self-contained, she seemed to hold herself within herself, and take no colour from the outer world.

Alfred Nobel stipulated that no distinction of race or colour will determine who received of his generosity.

It was octarine, the colour of magic. It was alive and glowing and vibrant and it was the undisputed pigment of the imagination, because wherever it appeared it was a sign that mere matter was a servant of the powers of the magical mind. It was enchantment itself. But Rincewind always thought it looked a sort of greenish-purple.

And a face above mine, white and beautiful, eyes as large as the moon. You saved me. A hand on my cheek, cool and dry. Why did you save me? Words welling up on a tide: No, the opposite. Eyes the colour of a dawn sky, a crown of blond hair, so bright and white and blinding I could swear it was a halo.

Hair is the greatest thing to experiment with because it's not permanent. If I didn't like my colour, I'd just change it.

In the case of composite colour, an infinity of systems must be obtained for maxima infinitely slight and with an infinity of interval values separating them - that is to say, the whole thickness of the sensitive layer is occupied in continuous manner by these maxima.

The ideal garden is one in which a collection of trees, shrubs and plants have been procured and allotted to the best space available and are so arranged and tended that they are seen to their advantage, each in relation to the other. Every plant, of whatever shape or size, should be chosen not only for its individual merits but for its power to enhance the charms of neighbouring plants by contrast or combination in foliage or in flower colour.

IN THE CINEMA A DIRECTOR EXPRESSES HIS INDIVIDUALITY FIRST AND FOREMOST THROUGH HIS SENSE OF TIME, THROUGH RHYTHM. RHYTHM GIVES COLOUR TO A WORK BY DISTINGUISHABLE STYLISTIC CHARACTERISTICS. RHYTHM MUST ARISE NATURALLY IN A FILM, A FUNCTION OF THE DIRECTOR'S INNATE SENSE OF LIFE AND COMMENSURATE WITH HIS QUEST FOR TIME.

You said, 'I'm going to leave him because my love for you makes any other life a lie.' I've hidden these words in the lining of my coat. I take them out like a jewel thief when no-one's watching. They haven't faded. Nothing about you has faded. You are still the colour of my blood. You are my blood. When I look in the mirror it's not my own face I see. Your body is twice. Once you once me. Can I be sure which is which?

One can derive the same fun from print-making as from making mud pies and great subtlety can be achieved through the use of transparent inks, half-tone screens and even accidental colour combinations, which is often where the art hides.

The aura given out by a person or object is as much a part of them as their flesh. The effect that they make in space is as bound up with them as might be their colour or smell ... Therefore the painter must be as concerned with the air surrounding his subject as with the subject itself. It is through observation and perception of atmosphere that he can register the feeling that he wishes his painting to give out.

Bear in mind that the children of life are the children of joy; that the lower animals are only unhappy when made so by man; that man alone of all the creatures, has "found out many inventions", the chief of which appears to be the art of making himself miserable, and of seeing all Nature stained with that dark and hateful colour.

I have been using the computer as a work aid since the mid-90's. It is extraordinarily well suited to how I think and work and has transformed my practice. Nearly everything I have done in the past 15 years would have been impossible without it. I use the computer for drawing, composing and colour planning everything, from postage stamps to paintings to architectural-scale installations.

I took a year of karate. It was like obligatory... every kid was taking like one year of karate and one year of piano in my town. It was Bruce Lee and Liberace. But I was not a white belt. I graduated. I had a colour belt - but that's all you need to know. It could have been black, it could have been yellow, or it could have been anything in between.

Imagine (if you dare) a whimsical marriage of Lord Dunsany and S.J. Perelman, and you have something approaching the tales of Rhys Hughes, filled with gaudy colour, slapstick, puns, fantastic creatures, and the occasional unexpected chill. Hughes' world is a magical one - and his language if the most magical thing of all.

The fundamental grey which differentiates the masters, expresses them and is the soul of all colour.

If there's loads of material going by you don't notice the individual things quite so much. Also it really foregrounds the sonic dimensions like electronic ambient music, it's pushes all of that colour to the foreground so you hear little every atom of sound.

Riley squinted. He ran his fingers along my neck. When he found the collar he explored the surface and tried to tug it. "No seams. It doesn't fell like metal. The colour is amazing". "Why?" (Trella) "It blends in. It matches your skin. Didn't you know?" (Riley) "No mirrors in my cell." (Trella) He gasped with mock horror. "So cruel! How did you ever survive?" (Riley)

I think the bottom of the totem pole is African-American women, or women of colour. I think they get the least opportunities in Hollywood.

The eighteenth-century view of the garden was that it should lead the observer to the enjoyment of the aesthetic sentiments of regularity and order, proportion, colour and utility, and, furthermore, be capable of arousing feelings of grandeur, gaiety, sadness, wildness, domesticity, surprise and secrecy.

Football makes nonsense of class. It may make nonsense of colour in some circumstances.

True beauty is a ray That springs from the sacred depths of the soul, and illuminates the body, just as life springs from the kernel of a stone and gives colour and scent to a flower.

I cannot stand forward, and give praise or blame to any thing which relates to human actions, and human concerns, on a simple view of the subject as it stands stripped of every relation, in all the nakedness and solitude of metaphysical abstraction. Circumstances (which with some gentlemen pass for nothing) give in reality to every political principle its distinguishing colour, and discriminating effect. The circumstances are what render every civil and political scheme beneficial or noxious to mankind.