A Quote by John Walford
As far as stimulus from the visual arts specifically, there is today in most of us a visual appetite that is hungry, that is acutely undernourished. One might go so far as to say that Protestants in particular suffer from a form of visual anorexia. It is not that there is a lack of visual stimuli, but rather a lack of wholesomeness of form and content amidst the all-pervasive sensory overload.
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I'm a visual thinker. With almost all of my writing, I start with something that's visual: either the way someone says something that is visual or an actual visual description of a scene and color.
Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
Well, I think my stand-up is often kind of visual. Not like Carrot Top visual, but visual.
My fiction has been influenced by the visual arts, though not in obvious ways, it seems to me. I don't offer tremendous amounts of visual information in my work.
In the visual arts, for example, the semiological approach to graphics provides a rigorous analysis of the visual means used by the artist. It defines the basic properties and laws governing the arts and suggests objective criteria for art criticism.
That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
I don't necessarily think there's a difference in terms of how the film industry and the ad industry view visual effects. If visual effects (or the lack thereof) are used as a tool to strengthen an idea, they're great. If they are meant to carry more of a load in the absence of a concept, they're a waste and a distraction.
When I was really young, I gravitated towards the visual arts first. I feel that's what comes most naturally to me. I've always had an immediate proclivity towards making visual art and I was a really tactile kid.
Nature's purpose in relation to the visual arts is to provide stimulus not imitation. From its ceaseless urge to create springs all Life - all movement and rhythm - time and light, color and mood - in short, all reality in Form and Thought.
If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
I'm a really visual artist, and I love writing treatments for music videos, photo shoots, fashion, and all the visual parts that go along with making an album.
We are visual creatures. Visual things stay put, whereas sounds fade.
You must have a visual sense if you want to be a photographer. It is a very subtle thing, this visual business.
I'm a visual person - when I write, my input is always visual. I worked in television for several years.
The advice I would give to any photographer - young, old or in-between - is to explore anything visual because this is, after all, how you express your artistry. Look at paintings, movies, drawings, sculptures - look at anything visual and try to integrate that into your visual sense. After that, go out and take pictures and keep on taking pictures!
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