A Quote by Walter J. Phillips
Colour is as variable and evanescent in the form of pigment as in visible nature.
Related Quotes
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.
We perceive nature through the senses, which give us images of forms of colour, sounds etc. A form which exists only in relation to another form on its own, it does not exist.
The blood pigment haemoglobin is a compound which can be split by diverse methods into its constituents, pigment and protein.
Nature is a light, and by looking at Nature in her own light we will understand her. Visible Nature may be seen in her visible light; invisible Nature may become visible if we acquire the power to perceive her invisible light.
In my house there is no attempt whatever to secure harmonies of colour, or form, or furniture.... I am entirely independent for daily happiness upon the sensual qualities of form or colour-when I want them I take them either from the sky or from the fields.
Grey. It makes no statement whatever; it evokes neither feelings nor associations: it is really neither visible nor invisible. Its inconspicuousness gives it the capacity to mediate, to make visible, in a positively illusionistic way, like a photograph. It has the capacity that no other colour has, to make 'nothing' visible.
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.
Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.
Water, whether still or in motion, has so great an attraction for the lover of nature, that the most beautiful landscape seems scarcely complete without it. There are no effects so fascinating as those produced by the reflexions in nature's living mirror, with their delicacy of form, ever fleeting and changing, and their subtle combinations of colour.
I figured out some basic stuff: that form and colour defines your perception of the nature of an object, whether or not it is intended to.
The soul of man is one of those subtle and evanescent substances that, as long as they remain still, the organ of sight does not remark; it must become agitated to become visible.
Every form is a base for colour, every colour is the attribute of a form.
The eye and soul are caressed in the contemplation of form and colour. The subtle changes of colour over a surface - transitions that are like music - are intangible in their reaction upon us. There is an immediate sensuous appeal!
It was octarine, the colour of magic. It was alive and glowing and vibrant and it was the undisputed pigment of the imagination, because wherever it appeared it was a sign that mere matter was a servant of the powers of the magical mind. It was enchantment itself. But Rincewind always thought it looked a sort of greenish-purple.
You reason colour more than you reason drawing Colour has a logic as severe as form.
True conformity to the dictates of nature requires reverence for the past and solicitude for the future. 'Nature' is not simply the sensation of the passing moment; it is eternal, though we evanescent men experience only a fragment of it. We have no right to imperil the happiness of posterity by impudently tinkering with the heritage of humanity.
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