Top 144 Textures Quotes & Sayings - Page 2

What I'm dealing with is sound. I don't pretend to be dealing with music. I'm just dealing with sound elements, textures and sounds.

I actually prefer to hear small groups of instruments. Orchestras seem to lack a texture for me, or variety of texture. There's only about ten things you can do with one note in a string section. But a lone violin is continuously changing textures.

Listen to the triple fugue in 'Magnificat' - the first subject is seven voices, the second one has 52 different voices, the third uses five; then I combine all together. Such textures you cannot call primitive.

How fascinating to a child are words: the shapes, sounds, textures and mysterious meanings of words; the way words link together into elastic patterns called "sentences." And these sentences into paragraphs, and beyond.

Design, whether it's on your body or in your home, is the same thing. It's mixing different colors, different textures, and unexpected patterns - elements that you wouldn't often put together in an interesting way.

I'm the type of individual that I enjoy watching any different cultural lives, and I see the common humanity even though the hair textures are different or the skin tones are varied.

I love blue in all its shades and textures. I wear navy like others wear black, and I love the blue in flowers - cornflowers, delphiniums.

I animated everything traditionally, on paper. I love how the texture of paper looks (it also matches textures of papier-mâché) and I love the tactile process.

The inspiration starts with the armor my parents collected. The references are subtle, whether in the mix of textures (woven, quilted, pleated) or in the tapestry brocades and florals. The focus is on clean, strong silhouettes with bold embellishments. Accessories reflect the mood - belts with chain details, lace-up ghillie heels and muffs.

If you want your kids to have fun learning about food, you need to let them explore it in their own way. Let them figure out for themselves what textures and flavors go well together. Who knows, maybe they'll invent the next French-fry-dipped-in-a-Frosty trend.

Appealing to the five senses is the feature that will always set writing apart from the visual media. A good writer will tell us what the world smells like, what the textures are, what the sounds are, what the light looks like, what the weather is.

Don't build a bar for yourself. Build it for your customers. It's all about them: the walls, the finishes, the textures, the food, the beverages, literally everything has to be for them.

Just the textures of things are really important to me as I'm writing; I think atmospherics and visuals can have such emotional impact if you can harness the thematic thread between how scenes look and how your characters feel. I like to tug on that thread.

I'm not inspired by space in that kind of futuristic sense, but I've never liked retro. Of course, we always get references from the past, but that doesn't mean that the clothes have to look like the past. We need to look forward, which is why I'm fascinated by new materials, technologies, techniques, and unusual ways to use colors or textures.

When I was a kid I believed everything I was told, everything I read, and every dispatch sent out by my own overheated imagination. This made for more than a few sleepless nights, but it also filled the world I lived in with colors and textures I would not have traded for a lifetime of restful nights.

Persian cuisine is, above all, about balance - of tastes and flavors, textures and temperatures. In every meal, even on every plate, you'll find both sweet and sour, soft and crunchy, cooked and raw, hot and cold.

I'm attracted to wilderness in any sense. Which is why I'm attracted to New York in a way, because I feel like it's a wilderness of people and textures. Just like, there's so much life and richness here. And you can get lost in it.

It requires a certain kind of mind to see beauty in a hamburger bun. Yet is it any more unusual to find grace in the texture and softly carved silhouette of a bun than to reflect lovingly on the hackles of a fishing fly? Or the arrangements and textures on a butterfly's wing? Not if you are a McDonalds's man.

A wine goes in my mouth, and I just see it. I see it in three dimensions. The textures. The flavours. The smells. They jump out at me. When I put my nose in a glass, it's like tunnel vision. I move into another world, where everything around me is gone, and every bit of mental energy is focused on that wine.

I just love details; I love trying to make the reader smell what I was smelling at the time and see what I was seeing. Textures, too - all that kind of stuff is probably my strong suit as far as my writing goes, I would say.

Even though there are so many different 'kinds' of music - different textures, different timbres, different attitudes - there is something divine at the core of all music.

I personally don't think of the music as being particularly dark, though many seem to disagree as I often have to answer that question. I try and make the Lustmord sound have a real mass and a tangible presence, which some choose to interpret as dark. It's an interesting distinction. Although there are dark elements interwoven within the whole, it's only one of many textures.

The SynthAxe enables you to achieve a whole world of sonic textures that you cannot get with a guitar. There was nothing like it before and nothing like it since.

Australia is one of the few places that I can think of where the cities, at least those I've been to, seem to have strikingly different characters and visual textures. To an American like me, there's basically Melbourne, Sydney and Brisbane and the rest is all bush.

I've been good at creating new textures and new fabrics, like vocal hocketing, or interlocking guitars, or suggesting new ideas for style... that's what the band has really excelled at.

Me and my wife were interested in avoiding style, in eliminating voice, in getting away from the poetry logics, textures, and propulsions that we normally employ in our writing. But we arrived at even this organically and separately.

Only in black and white can I see the design and textures. I don't consider color photography art. Black and white is an interpretation. Color is a duplication.

I tend to work in layers. There's a huge orchestra in the film, but I also record a lot things with very intimate groups, and I like to be able to use the textures of those intimate groups.

When I'm problem-solving with something, I have, effectively, a CAD program in my head that's like a room that has specific qualities to it that I go to some deal of effort to populate. Textures and smells, something like that.

For me, wellbehaved books with neat plots and worked-out endings seem somewhat quaint in the face of the largely incoherent reality of modern life; and then again fiction, at least as I write it and think of it, is a kind of religious meditation in which language is the final enlightenment, and it is language, in its beauty, its ambiguity and its shifting textures, that drives my work.

I think the book struck me in a few ways that I thought very interesting to pick it as my first martial arts film. It has a very strong female character and it was very abundant in classic Chinese textures.

I like textures and tones. Sometimes, it will be a melodic feedback from a song or something. I like warm, ethereal sounds. That kind of gets covered in every genre of music, so it could be a rock sample, jazz, soul, reggae.

Looking through the camera lens reduces noise; as humans we see a million shapes, colours and textures. What the lens does, what art does in general, is get rid of all the noise. It hones in and isolates the qualities of a scene.

Weston's sensual texture or Cartier-Bresson's implacable composition are apt to close over themselves, attaining the perfection of a certain sensual and harmonious bliss. We see textures, volumes, equilibrium - and reality, open and ragged, is lost and transcended.

I love mixing and playing with different textures and the whole taking different designers and mixing them - I was one of the first, I think, to not do a full runway look, yet there's always a method to the madness, which is the harmonious discord.

Dramatic use of color, harmonious design, the interplay of light and shadow across a variety of textures, the portrayal of the figure and other subject matter that reflects the sophistication and beauty I find in nature - all presented from a unique point of view - can only be successfully achieved with a sound command of the painter's craft... history will determine how successful I have been.

It struck me at some point that the things I wanted to say had to be wordless. I had to renounce words in order to go deep into the practice of making materials and textures that would express what I'm trying to say more accurately.

The design process usually starts as a fantasy, with ideas that I dream of and visualize. These ideas become a reality by bringing various ingredients together, from the lifestyle of my bride, her age and sex appeal, to the textures of the finest fabrics and embroideries that we produce in my family factories in India.

Some of the Junior Boys' textures may be borrowed from synthpop but, formally, their songs would be impossible without twenty years of the rave discontinuum. And where synthpop was self-consciously European, the Junior Boys have pioneered an electronic Pop that speaks in a Canadian accent.

It wasn't a thing I had consciously missed, but having it now reminded me of the joy of it; that drowsy intimacy in which a man's body is accessible to you as your own, the strange shapes and textures of it like a sudden extension of your own limbs.

We also had a team of costumers that would do samples for us, of fabrics, textures, people doing silhouettes of things up on dress forms, just to kind of inform the design process. Through all of that we got to the point that we had to figure out how to light them up. So that was a huge undertaking.

Clean lines have always been important to me, both in terms of interiors as well as fashion. For interiors, I am more interested in textures and surface treatments than bold color or print - the vein on a wood or the shine on a lacquer, for example. I know immediately when something isn't working - usually it's a question of consistency - and I make instantaneous decisions on how to remedy the situation.

I love listening to Radio Head's 'Everything in its Right Place' because it's all major chords, it makes you feel really good. It's soothing, it's got a beautiful voice, crazy textures. When I'm down I listen to that song and it really makes me feel good.

As a guitar player, I've been influenced by dance music - it was Crystal Method and The Prodigy back in the day. I would listen to those textures and try to approximate them on the electric guitar.

I don't have the educated knowledge of what textures, colors, shapes and spaces need to be put together to make something just right. I'm learning it by trial and error, which is something that's slow going.

I went home and went to Mustang, in the mountains between Nepal and China, and was so inspired by the landscape and the rich culture and heritage. I loved the textures, the draping, the palette. Everything was so beautiful. This little kingdom wasn't open to the world until 1991.

When we pay attention, whatever we are doing...is transformed and becomes a part of our spiritual path. We begin to notice details and textures that we never noticed before everyday life becomes clearer, sharper, and at the same time more spacious.

Animals come from nature. They were not designed. All my inspiration comes from nature, whether it's an animal or the layout of bark or of a leaf. Sometimes my patterns are very bold, and you can barely see where they come from, but all the textures and all the prints come out of nature.

Bassist Steve Uccello's Symmetria is filled with cool and unique sounds, textures, and musical ideas, evoking an imagined atmosphere of open spaces influenced by Ry Cooder's desert dusty roads as much as anything a bassist could conjure up. It fits a mellow, contemplative mood perfectly.

Usually I'm very, very involved with choosing my character's wardrobe and knowing exactly how I want the character to look and this is the color palette and the textures and these are the kinds of shoes she'd wear.

The most appealing thing to me about food is combining and layering flavors, tastes, and textures. So the perfect sandwich has to be toasted. It has to have Emmenthal Swiss cheese and a combination of sweet and savory - some cranberry or fig thing happening - with different kinds of meats like Black Forest ham and roast beef.

The sheer sensory experience of San Francisco is unlike anywhere else. Not just the physical beauty, but the textures, the feel, the wind, the ocean. It's a monumental feeling unrivaled by anywhere else. Its a world class, gorgeous city. And the coffee is great.

Coming out of university, one of my obsessions was that in the novels I was reading, they seemed to be portraying a world that had a social fabric. People knew each other in 'War and Peace.' They went to all the same balls. These were societies with tightly wound, woven, social textures.

It's fun to use all of my range; there are so many different colors and textures that come out, revealing different parts of my voice. I know what my voice is capable of, and I try to fit it to each song, evoke a mood.

Most of the time I sit down with my guitar or at the piano, and I play for awhile until I get a new riff or groove that I like a lot. Then I'll concentrate on building around that line of thought by adding words and textures. At first I'm only trying to please myself, and hopefully what I like will appeal to others.

It was spontaneously composed as I was playing it. And then I added a couple of other overdub textures on top of it after the fact. But it's one of those things where I wouldn't be able to sit down and specifically write that. That's just what came out.

Finger foods can help little ones to explore food at their own pace. They are also great for helping them to develop hand-eye coordination and encouraging them to try out a variety of textures.

They couldn't have a little kid occupying an important spot on the front row, so I sat in the back where all the models changed clothes. I remember vividly the rustling and the rush of the fabrics of the clothes and the swoosh of textures and color as they went by. I was in the back, but I had a front-row seat, in my opinion.

A little bit more than 50% of what you see on screen is handcrafted and the other 50% was about emulating these textures on the computer. However, for us, when we were making it, we had to believe it was all handcrafted.

There are not many A-list directors who get to make the movies they want to make. I know two: Woody Allen and Tim Burton. Two different textures, but both get to do what they want, and that's rare.