A Quote by William Tapley Bennett Jr.
When you want full color perception, you must give up preferring some colors and hating others, for you can only hate one aspect of a color, not a whole color, it seems, hate being blind, like 'love.
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Hue does not refer to how light, dark, or intense, but only what kind of color: what hue. It takes all three aspects to make a color, therefore 'red' is not a color, but only one aspect, the hue, of some partially defined color.
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.
But when I fell in love with black, it contained all color. It wasn’t a negation of color. It was an acceptance. Because black encompasses all colors. Black is the most aristocratic color of all.... You can be quiet and it contains the whole thing.
It seems obvious that colors vary according to lights, because when any color is placed in the shade, it appears to be different from the same color which is located in light. Shade makes color dark, whereas light makes color bright where it strikes.
There's one thing which I hate about color films... people who use up a lot of their despairing producer's money by working in the laboratory to bring out the dominant hues, or to make color films where there isn't any color.
Everybody's going to do the 3D slightly differently the same way that people are going to deal with color differently. Some movies downplay the color, some color is very vibrant. Color design is very different. We've got to think of 3D like color or like sound, as just part of the creative palette that we paint with and not some whole new thing that completely redefines the medium.
For many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. And the color of where you can never go.
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.
The fact is, that of all God's gifts to the sight of man, color, is the holiest, the most divine, the most solemn. We speak rashly of gay color and sad color, for color cannot at once be good and gay. All good color is in some degree pensive, the loveliest is melancholy, and the purest and most thoughtful minds are those which love color the most.
No one is born hating another person because of the color of his skin, or his background, or his religion. People must learn to hate, and if they can learn to hate, they can be taught to love, for love comes more naturally to the human heart than its opposite.
The difficulty with color is to go beyond the fact that it's color ? to have it be not just a colorful picture but really be a picture about something. It's difficult. So often color gets caught up in color, and it becomes merly decorative. Some photographers use it brilliantly to make visual statements combining color and content; otherwise it is empty.
'Color-blind' comes up - people say 'Oh, I'm color-blind and therefore can't be accused of racism,' but I think that if we are going to have an honest dialogue about racism, we have to admit that people of color are having a different experience.
My favorite name for a color is "puce." It's kind of a dried blood color. It's a hideous color. But I love the word. It's so euphonic. But my favorite colors are lavender, purple, periwinkle blue, and white.
Munch writes poetry with color. He has taught himself to see the full potential of color in art His use of color is above all lyrical. He feels color and he reveals his feelings through colors; he does not see them in isolation. He does not just see yellow, red and blue and violet; he sees sorrow and screaming and melancholy and decay.
Color is life, for a world without color seems dead. As a flame produces light, light produces color. As intonation lends color to the spoken word, color lends spiritually realized sound to a form.
Light and color are closely linked. The colors can make a crucial change in nature, if you switch from daylight to artificial light or just from strong to weak illumination. In addition, color perception is affected by the material structure. Even if a piece of textile can have the same color as a shiny enamel plate, then they will act completely different.
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