A Quote by John Barton
I became intrigued with colour theory. The absurd pronouncements of the Colour Institute, a group that decides what colours are hot each year or season, amused me.
Related Quotes
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 often use colour to attack form, to break it down a little or begin to dissolve it. But I am not at all interested in 'pure' colour or in colour as a transcendental presence... So if I use colours to begin to dissolve forms, I also use forms to prevent colours becoming entirely detached from their everyday existence.
The plate at each point only sends back to the eye the simple colour imprinted. The other colours are destroyed by interference. The eye thus perceives at each point the constituent colour of the image.
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.
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.
For me, pink or lilac is the colour of innocence, it's the colour of love, it's the colour of everything happy.
The true colour of life is the colour of the body, the colour of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest colour of the unpublished blood.
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 prejudice many photographers have against colour photography comes from not thinking of colour as form. You can say things with colour that can't be said in black and white... Those who say that colour will eventually replace black and white are talking nonsense. The two do not compete with each other. They are different means to different ends.
In the studio, we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palate... The whole world as we experience it comes to us through the mystic realm of colour.
There is a brain mechanism that works to identify colour differences directly, without first identifying the absolute colour of each surface. So on my view there is no reason to suppose anything like ten million colour responses to surface viewed singly.
I never had the time or luxury to think about inventing my own colour theory. When colour came, I was interested in expressing things that happened around me in time.
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.
I don't want any colour to be noticeable... I don't want it to operate in the modernist sense as colour, something independent... Full, saturated colours have an emotional significance I want to avoid.
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.
Fine colour implies a unified relationship, in which each part is subordinate to the whole, and the transitions between them are felt to be as precious and beautiful as the colours themselves. In fact, the colours themselves must be continuously modified and broken as part of the transition.
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