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Color Quotes

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Color Quotes

“Some things cannot be spoken or discovered until we have been stuck, incapacitated, or blown off course for a while. Plain sailing is pleasant, but you are not going to explore many unknown realms that way. We articulate the truth of a situation by carrying the whole experience in the voice and allowing the process to blossom of its own accord. Out of the cross-grain of experience appears a voice that not only sums up the process we have gone through, but allows the soul to recognize in its timbre, the color, texture, and complicated entanglements of being alive.”

“Which is more like genocide, I have asked some of my black brothers - this, the way things are, or the conditions I am fighting for in which the full range of family planning services is available to women of all classes and colors, starting with effective contraception and extending to safe, legal terminations of undesired pregnancies at a price they can afford?”

“I think life is cotton candy on a rainy day. For those who grew up with cotton candy the old-fashioned way, it is very delicate. Pre-made cotton candy that has preservatives is not nearly as good or true. True cotton candy is sugar, color, and air and it melts very quickly. That was the metaphor - it can't be preserved, it can't be put aside, it can't be banked. It has to be experienced, like life.”

“Everybody's going to do the 3D slightly differently the same way that people are going to deal with color differently. Some movies downplay the color, some color is very vibrant. Color design is very different. We've got to think of 3D like color or like sound, as just part of the creative palette that we paint with and not some whole new thing that completely redefines the medium.”

“I can't describe it in words, but I can see it in my head, its color, its light, its shapes, and I've managed to synthesize my love for myself by way of many different reasonings and processes, and I've been able to really synthesize my own satisfaction and things that do it for me. They've usually been self-taught, self-instructed, self-refined. So to be with anybody else has to somewhat lie in that comfort zone I've created with myself so well.”

“I see myself as no color. I can play the role of a man. I can paint my face white if I want to and play the role of white. I can play a green, I can be a purple. I think I have that kind of frame and that kind of attitude where I can play an animal. If you think in color, then everyone around you is going to think in color and that puts limits on the way you think. I don't think like that. A lot of the roles that I'm doing are roles that a man or a person of any color can do.”

“I'm not inspired by space in that kind of futuristic sense, but I've never liked retro. Of course, we always get references from the past, but that doesn't mean that the clothes have to look like the past. We need to look forward, which is why I'm fascinated by new materials, technologies, techniques, and unusual ways to use colors or textures.”

“I feel like we're looked at as either completely nonsexual characters or overly sexual characters, and I feel like that affects how we're treated in the public space by men. I believe that women of color experience street harassment in a very hyper way. So I wanted to draw these women in their very normal, regular states and put those images out there in the public for people to see, instead of these other, very sexualized, images of women.”

“All hair is away from the face - there's no emotion and all of the personality is taken away. I envisioned the way a 'virtual girl' is drawn in a cartoon. Then I added these different colored extensions - white, red and black, which adds to the synthetic feeling of the hair. I used colors which looked most dramatic against each of the models' real hair. The different colors give you that pop of fakeness so we're not talking about reality. Like a futuristic princess.”

“I wanted to feel good about the way I looked. I didn't understand why style had to be sacrificed for sports technology. I found when going to the gym women were wearing their own tees, without the technology. I started to think, does it make you run faster if you wear that terrible color or sweat less if you wear that horrible fabric? And I challenged it, and the answers were not there to why we were being given poor design work. It was something I wanted to bring to women's wardrobes.”

“Eliminate the clutter. That's the key. Eliminate the clutter and understand the important things. First and foremost, the most important thing is affecting the people around you in a positive way. Second thing is, be one of those guys that's going to out-study every person there is on what you need to do from a game-plan standpoint, what you need to do from a characteristic standpoint to stand apart. The last thing is, throw it to the color jersey we're wearing.”

“Why all this insistence on the senses? Because in order to convince your reader that he is THERE, you must assault each of his senses, in turn, with color, sound, taste, and texture. If your reader feels the sun on his flesh, the wind fluttering his shirt sleeves, half your fight is won. The most improbable tales can be made believable, if your reader, through his senses, feels certain that he stands at the middle of events. He cannot refuse, then, to participate. The logic of events always gives way to the logic of the senses.”

“It [the free market] is an organizational way of doing things, featuring openness, which enables millions of people to cooperate and compete without demanding a preliminary clearance of pedigree, nationality, color, race, religion, or wealth. It demands only that each person abide by voluntary principles, that is, by fair play. The free market means willing exchange; it is impersonal justice in the economic sphere and excludes coercion, plunder, theft, protectionism, and other anti-free market ways by which goods and services change hands.”

“This film [ Blue is the Warmest Color] actually is the result of me talking with my producer Vincent [Maraval]. I gave him a bunch of ideas and then Vincent helped guide me and develop this particular film. I enjoy that rapport to have somebody else help guide me in my choices for the next film. The poetic way of looking at it is which project is going to choose me as a director.”

“I built the film [Boy and the World] this way. I gathered all the tools I usually use such as brushes, color pencils, crayons, watercolors, and everything else I found in my studio, and I put them on top of a table. I had this feeling of freedom and possibility like if I was this boy. I was using the boy's freedom to create this film.”

“The different colors [of water] again refer to the fact that those little jacks, if you want to call them jacks, those little pyramids, can be packed together in all different ways. And depending on how they're packed together.If you Google blue ice, as I did just while your caller was asking his question, you see some beautiful pictures of ice covering a lake.”

“As I wrote Working toward Whiteness, I came to see one historic task on the New Deal - and one in which it succeeded - as the fostering of fuller U.S. citizenship among immigrants from southern and eastern Europe and their kids. But this very achievement separated poorer and often despised immigrant workers from Europe and workers of color in unprecedented ways.”

“The Color Purple really floored me. That book was just incredible because I loved the language. The biggest deal of that book was that I loved the poetry of broken English. Broken English and vernacular. It just floored me that you can actually capture the way people really talked. And I also really connected to the social class element.”

“I agree that all kids of all colors love hip-hop. My point in writing the book was to raise questions about the ways the hip-hop generation and the millennium generation, both who have lived their entire lives in post-segregation America, are processing race in radically different ways than any generation of Americans. I think they have a lot to tell us as a country about ways of addressing race matters.”

“One of the tracks that I have is Carl Philipp Emanuel Bach - by the way, that's Bach's second son - Emanuel Bach's variations on "Le Folie." You'll definitely hear - I mean, I think if we listen to, say, the last couple of minutes of that track, there's a wide range of colors that the harpsichord is capable of. And I think, you know, that gives lie to the assumption that it doesn't have that kind of variety. And I think it very much speaks for itself.”

“I got involved through the director of the show [Top Chef], he's a director of films in Mexico; I worked with him before. I watched the show in English -many times for many years - and I always loved it. As soon as I heard about having an opportunity to showcase Mexico in a different way, to show a different side of Mexico, that is not violent, that has beautiful colors and delicious food... I didn't think about it twice.”

“When I see a movie, the music often gets in the way for me. It's something that, say, for myself and Claire, we never, ever speak about. We never speak about describing emotion. I think it's about color and movement. And I think it's important to let the images be the melody, as well, a lot of the time - to create a kind of a backing for that, to let it sing.”