A Quote by Rohit Saraf

For me, pink or lilac is the colour of innocence, it's the colour of love, it's the colour of everything happy. — © Rohit Saraf
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 It is the modest colour of the unpublished blood.
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.
Pink is my favourite colour. I used to say my favourite colour was black to be cool, but it is pink - all shades of pink. If I have an accessory, it is probably pink.
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.
The colour of my skin determines what opportunities I have; the colour of my skin says there's only room for one or two of us to be accepted in a certain job; the colour of my skin has dictated everything I've done in my whole life.
There is an infinity of landscape here, caused by the purity of the atmosphere. It has been said that there is a lack of colour. It is not so obvious as the greenness of England, but it is infinitely more varied and more delicate in tone. The landscape is a pinky mauve, a lilac, and the reflection of the sun of the particles of the atmosphere is a warm amber. So I should say our colour scheme is amber and lilac.
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.
In Asia, red is the colour of joy; red is the colour of festivities and of celebration. In Chinese culture, blue is the colour of mourning.
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.
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.
I had an idea for a story about a young woman who was living with people who were different, not just superficially different - such as hair colour, or eye colour, or skin colour - but different in some significant way.
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.
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 wear a lot of block colour dresses on television as the simplicity translates well on camera and blue is often a colour I rely on as it goes with everything.
We see in colour all the time. Everything around us is in colour. Black and white is therefore immediately an interpretation of the world, rather than a copy.
This new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour.
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