A Quote by Josef Albers

Independent of harmony rules, any color 'goes' or 'works' with any other color, presupposing that their quantities are appropriate. — © Josef Albers
Independent of harmony rules, any color 'goes' or 'works' with any other color, presupposing that their quantities are appropriate.
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.
We all see color. We do. And anyone who says he doesn't see color is confused or isn't telling the truth. Except... and I know how this sounds, but I can't remember any point in my life where I saw other people and thought of their color.
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.
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.
Color in color is felt at any and every place of the pictorial organization; in its immediacy - its particularity. Color must be felt throughout.
You'll understand, I'm sure that I'm chasing the merest sliver of color. It's my own fault. I want to grasp the intangible. It's terrible how the light runs out. Color, any color, lasts a second, sometimes 3 or 4 minutes at most.
My understanding – of course, I’m not a philosopher or a scientist – of an aspect of Goethe’s theory of color is that he felt that color came out of tension between light and dark. I think that is very appropriate when you think about the kind of color that I shoot.
Any film that you see that has any progressive spirits that is made by any people of color or a woman is a triumph in and of itself. Whether you agree with it or not. Something that comes with some point of view and some personal perspective from a woman or a person of color is a unicorn.
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.
Any color works if you push it to the extreme.
Basically, the system works to my disadvantage for no other reason than that I am a person of color, and I am telling stories about people of color.
...they told me of color, that it was an illusion of the eye, an event in the perceiver's mind, not in the object; they told me that color had no reality; indeed, they told me that color did not inhere in a physical body any more than pain was in a needle. And then they imprisoned me in darkness; and though there was no color there, I still was black, and they still were white; and for that, they bound and gagged me.
Anything can be any color at any time depending on what color everything else is at the time.
The shiny red color of the soles has no function other than to identify to the public that they are mine. I selected the color because it is engaging, flirtatious, memorable, and the color of passion.
Dark green is my favorite color. It's the color of nature and the color of money and the color of moss!
Color is a plastic means of creating intervals... color harmonics produced by special relationships, or tensions. We differentiate now between formal tensions and color tensions, just as we differentiate in music between counterpoint and harmony.
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