A Quote by Joe Hill

I felt like it needed some color down there, so I painted the walls with the motherfucker. — © Joe Hill
I felt like it needed some color down there, so I painted the walls with the motherfucker.
During college, when I was working full time for my father [the decorator Mark Hampton], I rented an apartment and I just couldn't take time off to paint it. So I went there one evening and stayed up all night painting the place what I thought was a lovely pale yellow. When the sun came up, I realized I'd painted the walls the color of insanity. I had to immediately mix in all my trim color to tone it down. Yellow is an electric color and wholly misleading. It becomes more yellow with the sun's yellow light on it. The moral is, even if you think your yellow is the one, go paler.
Imagine someone pointing to a place in the iris of a Rembrandt eye and saying, 'The walls of my room should be painted this color.
Color is a very personal thing. You need to make sure to choose a color that makes you happy. But I don't recommend accent walls - choose a color you can live with on all four walls.
I only painted when I felt like it and needed money. But it never really became a professional thing, even though the dealers would have liked that.
Some felt my looks would not go down with the Bengali audience. They felt I was not photogenic. Others felt I was just what Bengali cinema needed when there was lack of glamour for heroine roles and there were few leading ladies around.
I felt like I needed to be a 'pretty girl' for someone else. I felt like I needed to change a lot about who I actually was to be perfect for them instead of just being who I am genuinely.
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.
Color in color is felt at any and every place of the pictorial organization; in its immediacy - its particularity. Color must be felt throughout.
There are designers who say, 'Oh! I see wallpaper and blue carpet.' I usually start by knocking down walls. 'You thought you just needed some new drapes? Well, guess what: That wall's gotta go.'
I've never felt at home in Kortedala, or in Gothenburg, so I always felt like I needed to go somewhere and find some kind of perspective on things.
When I was a kid I painted the walls in my room like 30 times!
The water crumbles on it's way down as my hands and feet push me forward. The world is lightening, taking shape, and turning to color. It feels like it's being painted around me.
I still did some things in football, but I needed to get away from the game. I needed closure. And once I felt I'd achieved that, the hunger came back. That fire in your belly, the desire to feel the adrenaline at the weekend. That's when I felt I was able to go again.
I had been doing wall drawings, but they were always black and white. Then in 1993 I painted all the walls of a room to make an installation and as soon as I saw the colour on the walls, it changed my whole life.
The miracle is that some have stepped out of the rags of the Republic's definition to assume the great burden and glory of their humanity and their responsibility for one another. It is an extraordinary achievement to be trapped in the dungeon of color and to dare to shake down its walls and to step out of it leaving the jailkeeper in the rubble.
Color is a big part of what I do. It's like music. There are only so many notes in the scale, but there are endless permutations; there's no limit to the number. Color on the walls or furniture can reflect back and distort the reality of the true colors of lipsticks and eye shadow.
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