A Quote by Catherine Taylor
Sometimes I will look away very quickly, and freeze frame that first impression, pleased with myself that I have outsmarted my own smartness, and perceived a colour as it actually is.
Related Quotes
In the movies first impressions are everything. Or, to put it less drastically, in the movies there are no later impressions without a first impression, because you will have stopped watching. Sometimes a critic persuades you to give an unpromising-looking movie a chance, but the movie had better convey the impression pretty quickly that the critic might be right.
Images flicker, each one bringing its own sorrow or its own smile. Sometimes both. At the very worst, an impenetrable and sightless black and at best, a happiness so bright that it hurts the eyes to see, coming and going on some unseen projector perpetually turned by an invisible hand. One, then another. The hollow click of the shutter. Now stop. Freeze this frame. Pluck it down and hold it close and be damned by what you see. Henri always said: the price of a memory is the memory if the sorrow it brings.
The essence of building your own brand. People having heard of you - and having a positive impression - before you've even met them. If you can create that effect, doors open for you. A close second, if that's not possible, is people getting a good impression of o very quickly when they Google you
I have lived in a flurry of images, but I will go out in a freeze frame.
Sometimes you're fooled quickly. You want to be fooled. If you can't trust your first impression you're going to have a harder time than you should.
I'm very interested in how colour and shape are perceived.
Trust your feelings entirely about colour, and then, even if you arrive at no infallible colour theory, you will at least have the credit of having your own colour sense.
When I look back, I was so mean to myself, and I was so uncomfortable in my own skin. I still feel that very loudly sometimes, but to try and really nurture that sense that you are your own friend.
I know I can't make time slow down, can't hold our life as it is in a freeze frame or slow my children's inexorable journeys into adulthood and lives of their own. But I can celebrate those journeys by bearing witness to them, by paying attention, and, perhaps most of all, by carrying on with my own growth and becoming. Now it dawns on me that the only way I can figure out what I'm meant to be doing is to try to understand who I'm meant to be...I will not waste this life, not one hour, not one minute. I will not take for granted the blessing of our being here...I will give thanks.
A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
Sometimes I'll read an audition and I'll get a very strong first impression about who the person is, and I usually go with it.
Some beings will walk with you for the duration of this bodily existence, up to the very end. Some will come with bright promises, bright lights, but they fade quickly. Others come, they don’t look like they will go very far, but they are marathon runners; they’re there with you all the time. You cannot determine this... Somehow in the flow of your own unique river, you will see that everything is as it should be.
When you first hear Mozart's music, your first impression is that it's very alive, but if you peel away the layers, you can hear sorrow and sadness behind it, and that's what I try to be: multi-layered.
Sometimes I can see colour without opening my eyes. I saw that Billy's heart was no colour and every colour. Like water or diamonds or crystals, it's pure and reflects the light.
I was pleased that two very disparate photographs, two images that each worked in their own way had appealed enough to other people for them to buy them. I was also relieved they weren't the last ones purchased, and that they sold for a pound more than the frame was worth.
I do read very, very quickly. I do process data very quickly. And so I write very quickly. And it is embarrassing because there is a conception that the things that you do quickly are not done well. I think that's probably one of the reasons I don't like the idea of prolific.
