A Quote by Rhea Pillai

I am very partial to Lucknow Chikankari work. My colors that I love to work with are ivory based colors, to make it more festive I throw in Mukesh embroidery which brings the color alive.
Colors which stand the test of time are Valentino red, white and black. For the festive look, using these colors, you can work with embroidery and sequins to add some bling element to it.
It's an enormous amount of work: there are 28 separate buildings, and I work on the choice of the colors for everything. Outside colors, balcony colors, etc.. And all of this has to work together, in harmony.
Color really doesn't have interaction if it's full of colors. It's the interaction or relationship among or between colors that makes a color image. This usually happens with a few colors, not a glut of them.
I very rarely use a Metro system but I'm glad to see the world-class things which are present in Lucknow now. I loved the artworks, especially at the Hazratganj Metro Station where chikankari work has been depicted.
'Color' is quite different from 'colors.' In an image with many colors, we find that all the colors compete with each other rather than interacting with each other. The results" colors.
In the work of Seurat, you can see the dots of neutral colors carrying the form and then the dots of more intense color that make the color texture. It is a totally different principle that than of the Impressionists who used broken color to imitate visual effect.
Colors close together on the color wheel are analogous and will make a calm room. Colors that are farther apart are complementary and add drama.
Art is a creation of a higher order than a copy of nature which is governed by chance.... By the elimination of all muddy colors, by the exclusive use of optical mixture of pure colors, by a methodical divisionism and a strict observation of the scientific theory of colors, the neo-impressionists insures a maximum of luminosity, of color intensity, and of harmony- a result that has never yet been obtained.
I like black for clothes, small items, and jewelry. It's a color that can't be violated by any other colors. A color that simply keeps being itself. A color that sinks more somberly than any other color, yet asserts itself more than all other colors. It's a passionate gallant color. Anything is wonderful if it transcends things rather than being halfway.
In black and white there are more colors than color photography, because you are not blocked by any colors so you can use your experiences, your knowledge, and your fantasy, to put colors into black and white.
I come from a very warm island, where colors are very important, very vibrant, and obviously the color has been an influence on my work.
I just love matching sets. Tops and bottoms that are the same color are awesome to me, because you can get them in so many different colors - neon colors.
Before I started LimoLand, I mainly bought my clothes in Harlem, where I found clothing my size in fun colors. I still like to go there and see the vibrancy and colors of the neighborhood. I am also very influenced by the colors of my contemporary African and Japanese art collections.
One color alone means nothing. I acts as in a vacuum, with no other colors to relate to. It is only when colors relate to other colors that the fun begins.
My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the experience of my sensibility. Inspired by certain pages of Delacroix, an artist like Signac is preoccupied with complementary colors, and the theoretical knowledge of them will lead him to use a certain tone in a certain place. But I simply try to put down colors which render my sensation.
The West is color. Its colors are animal rather than vegetable, the colors of earth and sunlight and ripeness.
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