A Quote by Gerhard Richter
Based on mixtures of the three primary colours, along with black and white, I come up with a certain number of possible colours and, by multiplying these by two or four, I obtain a definite number of colour fields that I multiply yet again by two, etc. But the complete realization of this project demands a great deal of time and work.
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I use a wide selection of colours. It is impossible to produce work like mine using only the primary colours as they only mix a certain range of colour.
The first colour charts were unsystematic. They were based directly on commercial colour samples. They were still related to Pop Art. In the canvases that followed, the colours were chosen arbitrarily and drawn by chance. Then, 180 tones were mixed according to a given system and drawn by chance to make four variations of 180 tones. But after that the number 180 seemed too arbitrary to me, so I developed a system based on a number of rigorously defined tones and proportions.
Number one is my faith, number two my family, number three is my friends, and number four, my fans.
Fred didn't have a favourite colour. He was just pleased that he could see all of the colours in the colour chart. That was his wish for everyone. Fred wanted people to experience the joy of seeing vivid colours - in nature: the greens and browns of the mountains; in their work: the orange, red and black of the back of the retina; and in life.
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.
Only if the third necessary thing could be given us. Number one, as I said: quality of information. Number two: leisure to digest it. And number three: the right to carry out actions based on what we learn from the interaction of the first two.
The Mogadorian caught Number One in Malaysia, Number Two in England, And Number Three in Kenya. I am Number Four. I am next..." - I AM NUMBER FOUR
Thirty ways to shape up for summer. Number one: eat less. Number two: exercise more. Number three: what was I talking about again? I'm so hungry.
White... is not a mere absence of colour; it is a shining and affirmative thing, as fierce as red, as definite as black... God paints in many colours; but He never paints so gorgeously, I had almost said so gaudily, as when He paints in white.
If you have been brought up with attacking and trying to get to number two, number three, number four goal, not getting one goal and defend, if that's sort of the mentality that's engraved in you, it's really difficult to do the other thing.
Put a colour upon a canvas - it not only colours with that colour the part of the canvas to which the colour has been applied, but it also colours the surrounding space with the complementary.
I've come up with the three things you never want to hear at your kid's parent/teacher conference. Number one: 'You're only responsible for the first $10,000 worth of damage.' Number two: 'We have medication for this.' And number three: 'It was more than an ounce and he was less than a hundred yards from the school.'
Black is always elegant. It is the most complete colour in the whole world, made of all the colours in the palette.
The White Company offers its loyalists an altogether better, whiter world. The White people have edited out any colours that aren't white, off-white, milk chocolate, grey, taupe or black. They can't be doing with Johnnie Boden's cheery Sloane jokes, his spots and stripes, his occasional 'if it's me, it's U' loud colours.
Nail the colours to the mast! That is the right thing to do, and, therefore, that is what we must do, and do it now. What colours? The colours of Christ, the work He has given us to do- the evangelization of all the unevangelized.
It is comparatively easy to achieve a certain unity in a picture by allowing one colour to dominate, or by muting all the colours. Matisse did neither. He clashed his colours together like cymbals and the effect was like a lullaby.
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