A Quote by Rosser Reeves

Brand-image campaigns establish contact with the subconscious of the consumer below the word level. They do this with visual symbols instead of words, Mr. Martineau says, because the visual symbols are far more significant. They communicate faster. They are more direct. There is no work, no mental effort. Their sole purpose is to create images and moods.
My favourite stuff is visual, and I always want to work with visual artwork. I think it depends on the person, but for me, photographs of an image of something interesting or inspiring is worth a lot more than words to me. I think every concept I've come up with and turned into films or that will be hopefully become a film comes from images first.
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.
A book is a physical object in a world of physical objects. It is a set of dead symbols. And then the right reader comes along, and the words—or rather the poetry behind the words, for the words themselves are mere symbols—spring to life, and we have a resurrection of the word.
Why take notes? The obvious reason is to remember. Visual note-taking translates what we hear into pictures that give context, color, and meaning. By adding symbols, visual metaphors, likenesses of people, and room layouts, we add several dimensions.
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.
The image is a great reminder how we create our world through interpretations made up of language and symbols. Our language and symbols are always incomplete versions of a greater reality. Here is why inquiry is such a powerful tool when compared to simple advocacy. Inquiry allows us to discover what might be outside the cave instead of arguing about the shadows on the wall.
Of course, it gave the studio an enormous power, because I don't know any other place who had that skill with images to communicate with. And the need of these kinds of images are even greater now than they ever were because we are losing our life symbols.
More than anything, there are more images in evil. Evil is based far more on the visual, whereas good has no good images at all.
I like visual images and there are certainly other bands that have strong visual images going all the way back to Elvis Presley, but it's kind of like that's never really been my bag. Probably because I'm too shy.
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.
A religion is a system of symbols which acts to establish powerful, pervasive, and long-lasting moods in men by formulating conceptions of a general order of existence and clothing those conceptions with such an aura of factuality that the moods and motivations seem uniquely realistic.
I began as a graphic designer. As part of my work, I created film symbols for ad campaigns. I happened to be working on the symbols for Otto Preminger's 'Carmen Jones' and 'The Man With The Golden Arm' and at some point, Otto and I just looked at each other and said, 'Why not make it move?' It was as simple as that.
If an artist has the possibility to contact an infinitely larger public through the pages of a publication, he should try to invest more rather than less and go as far in his effort to communicate his inner image as he can.
Around the time I began starving, in the early eighties, the visual image had begun to supplant text as culture's primary mode of communication, a radical change because images work so differently than words: They're immediate, they hit you at levels way beneath intellect, they come fast and furious.
What I am trying to do when I use symbols is to awaken in your unconscious some reaction. I am very conscious of what I am using because symbols can be very dangerous. When we use normal language we can defend ourselves because our society is a linguistic society, a semantic society. But when you start to speak, not with words, but only with images, the people cannot defend themselves.
I had to train myself to focus my attention. I became very visual and learned how to create mental images in order to comprehend what I read.
This site uses cookies to ensure you get the best experience. More info...
Got it!