A Quote by Matt Smith
My palette contains a warm and cool of each primary, plus four modifiers: Yellow Ochre, Burnt Sienna, Blue-Violet and Phthalo Yellow-Green just mix as I go for each painting.
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Bastian had climbed a dune of purplish-red sand and all around him he saw nothing but hill after hill of every imaginable color. Each hill revealed a shade or tint that occured in no other. The nearest was cobalt blue, another was saffron yellow, then came crimson red, then indigo, apple green, sky blue, orange, peach, mauve, turquoise blue, lilac, moss green, ruby red, burnt umber, Indian yellow, vermillion, lapis lazuli, and so on from horizon to horizon. And between the hill, separating color from color, flowed streams of gold and silver sand.
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.
Painting it was hard graft... in addition red, yellow, brown ochre, black, terra sienna, bistre, and the result is a red-brown that varies from bistre to deep wine-red and to pale, blond reddish.
I like to carry a concealer palette that has a green, a yellow, and a tan color. I like to carry the green one because when I have a pimple, it's good to use that to contrast the red. Then you put the yellow over it, and it helps it disappear.
Maybe it's because I'm a designer, but when I am in a state of excitement, everything is so sharp and colorful and amazing, and I can look at blue and I see the yellow in it and the green in it, and the green-blues, the yellow-blues, so.
If you take blue paint and yellow paint and you mix them, you get green paint. But if you take blue light and yellow light and mix them, you get white light. This is a shock to most people.
Painting and art cannot be taught. You can save time if someone tells you to put blue and yellow together to make green, but the essence of painting is a self-disciplined activity that you have to learn by yourself.
Fame stole my yellow. Yellow is the color you get when you're real and brutally honest. Yellow is with my kids[...]The bundle of bright yellow warming my core, formerly frozen and uninhabitable[...]They got yellow from me, and I felt yellow giving it to them and it was all good[...]So, why am I leaving my show? It took my yellow. I wanted it back. Without it I can't live. The gray kills me.
On a traffic light green means 'go' and yellow means 'yield', but on a banana it's just the opposite. Green means 'hold on,' yellow means 'go ahead,' and red means, 'where the hell did you get that banana at?'
If we seek for the simplest arrangement, which would enable it [the eye] to receive and discriminate the impressions of the different parts of the spectrum, we may suppose three distinct sensations only to be excited by the rays of the three principal pure colours, falling on any given point of the retina, the red, the green, and the violet; while the rays occupying the intermediate spaces are capable of producing mixed sensations, the yellow those which belong to the red and green, and the blue those which belong to the green and violet.
If we were to imagine an orange on the blue side or green on the red side or violet on the yellow side, it would give us the same impression as a north wind coming from the southwest.
It's untrue to say the colors I use are not those of reality. They are real: The red I use is red; the green, green; blue, blue; and yellow, yellow. It's a matter of arranging them differently from the way I find them, but they are always real colors. So it's not true that when I tint a road or a wall, they become unreal. They stay real, though colored differently for my scene.
Yellow wakes me up in the morning. Yellow gets me on the bike every day. Yellow has taught me the true meaning of sacrifice. Yellow makes me suffer. Yellow is the reason I'm here.
When I tell her what I’m thinking and she tells me what she’s thinking, our each ideas jumping into the other’s head, like coulouring blue crayon on top of yellow that makes green.
It will be readily admitted that brown tints have never coursed beneath our skin; it will be discovered that yellow shines forth in our flesh, that red blazes, and that green, blue and violet dance upon it with untold charms, voluptuous and caressing.
I am a simple man and I use simple materials: Ivory Black, Vermilion, Prussian Blue, Yellow Ochre, Flake White and no medium. That’s all I’ve ever used in my paintings.
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