Top 144 Textures Quotes & Sayings - Page 3

The emotional, physical and aesthetic value of a sound is linked not only to the causal explanation we attribute to it but also to its own qualities of timbre and texture, to its own personal vibration. So just as directors and cinematographers (even those who will never make abstract films) have everything to gain by refining their knowledge of visual materials and textures, we can similarly benefit from disciplined attention to the inherent qualities of sounds.

When a child’s life is full of sights, sounds, tastes, smells, textures, people and places, he will learn. When he feels safe and loved, he will learn. When parents begin to recover from their own ideas of what learning should look like (what they remember from school), then they begin a new life of natural learning, too.

Every Thanksgiving table should be blessed with the presence of a long-married pair who bring out the best in each other, are completely enamored despite their differences, and leave every other guest thinking, I’ll have what they’re having. Our holiday pies honor such so there’s a pleasant mix of textures and flavors in every bite. No matter how you slice partnerships, each spotlighting the perfect marriage of crust and filling these six irresistible desserts, there is a whole lot to love.

It is puzzling to me that otherwise sensitive people develop a real docility about the obvious necessity of eating, at least once a day, in order to stay alive. Often they lose their primal enjoyment of flavors and odors and textures to the point of complete unawareness. And if ever they question this progressive numbing-off, they shrug helplessly in the face of mediocrity everywhere. Bit by bit, hour by hour, they say, we are being forced to accept the not-so-good as the best, since there is little that is even good to compare it with.

"Humanism" is to be human, to think, to analyze, and to probe. To respond and to be stimulated by all living things - beasts, fowl, and fishes. To respond through touch, sight, smell, and sound to all things in nature - both organic and inorganic-to colors, shapes, and textures - to not only look at a blade of grass but to really see a blade of grass. These things, to me, are what life and living are all about. I would call it "Humanism."

I have scars on my hands from touching certain people...Certain heads, certain colours and textures of human hair leave permanent marks on me. Other things, too. Charlotte once ran away from me, outside the studio, and I grabbed her dress to stop her, to keep her near me. A yellow cotton dress I loved because it was too long for her. I still have a lemon-yellow mark on the palm of my right hand. Oh God, if I'm anything by a clinical name, I'm a kind of paranoiac in reverse. I suspect people of plotting to make me happy.

It's one thing having a great song, but I think for me if you take it to the next level... say you had a guitar and a vocal, and the song was amazing but the vocalist wasn't that great and it just was a guitar and vocal acoustic track, switching that to something like an amazing voice singing the exact same song with the instrumentation being really nice and lush or unique in some way and interesting and diverse... I think it's all about the instrumentation and textures in the sound.

What is such a resource worth? Anything it costs. If we never hike it or step into its shade, if we only drive by occasionally and see the textures of green mountainside change under wind and sun, or the fog move soft feathers down the gulches, or the last sunset on the continent redden the sky beyond the ridge, we have our money's worth. We have been too efficient at destruction; we have left our souls too little space to breathe in. Every green natural place we save saves a fragment of our sanity and gives us a little more hope that we have a future.

Even if chords are simple, they should rub. They should have dissonances in them. I've always used a lot of alternate bass lines, suspensions, widely spaced voicings. Dfferent textures to get very warm chords. Sometimes you're setting up strange chords by placing a chord in front of it that's going to set it off like a diamond in a gold band. It's not just finding interesting chords, it's how you sequence them, like stringing together pearls on a string. ... Interesting chords will compel interesting melodies. It's very hard to write a boring melody to an interesting chord sequence.

Black women are some of the most colorful women in the world. We come in all shadeshave so many hair textures..eye colors..body types. In this generation, it's sad to see so many black girls claiming ethnicities that they know nothing about in hopes of impressing a man or appearing 'exotic'. So many people act as if being black and beautiful is impossible. It's not. If we wanna get technical and look at our history, almost every black American is mixed. But we must stop implying that a woman's beauty comes from a part of her that is not black.

Obviously, where art has it over life is in the matter of editing. Life can be seen to suffer from a drastic lack of editing. It stops too quick, or else it goes on too long. Worse, its pacing is erratic. Some chapters are little more than a few sentences in length, while others stretch into volumes. Life, for all its raw talent, has little sense of structure. It creates amazing textures, but it can't be counted on for snappy beginnings or good endings either. Indeed, in many cases no ending is provided at all.

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. It's very applicable to Calvin Klein because Calvin Klein has always been about modern-ness.

All my early memories are of forms and shapes and textures. Moving through and over the West Riding landscape with my father in his car, the hills were sculptures; the roads defined the form. Above all, there was the sensation of moving physically over the contours of fullnessess and concavities, through hollows and over peaks - feeling, touching, seeing, through mind and hand and eye. This sensation has never left me. I, the sculptor, am the landscape. I am the form and the hollow, the thrust and the contour.

Facion goes in cycles but nothing has changed. When it's ridiculous it's more ridiculous than ever, and when it's wonderful it becomes more wonderful than ever because now more people think: "I dress the body I have, not I have to change the body to wear the fashion." That's what I admire about the growth of the fashion industry. I also think it's wonderful that there is the opportunity to use different textures and fabrics on different colour skins. I am inspired by that.

Whenever we make changes in our surroundings, we can too easily shortchange ourselves, by cutting ourselves off from some of the sights and sounds, the shapes or textures, or other information from a place that have helped mold our understanding and are now necessary for us to thrive. Overdevelopment and urban sprawl can damage our own lives as much as they damage our cities and countryside.

THE STORIES WE TELL fearlessly explores the textures of the human heart, finding a path toward hope through a Savannah that is jagged with class issues, faith misused, and broken trust. Henry loses you in a landscape peopled with secret keepers, storytellers and liars, and proves that in the end, love is the only reliable compass. This is everything you expect from Patti Callahan Henry—lyrical writing, characters worth rooting for, a sure-footed belief in the power of goodness—plus a twisty plot that will keep the pages turning long into the night.

It takes skill to bring something you've imagined into the world: to use words to create believable lives, to select the colors and textures of paint to represent a haystack at sunset, to combine ingredients to make a flavorful dish. No one is born with that skill. It is developed through exercise, through repitition, through a blend of learning and reflection that's both painstaking and rewarding. And it takes time. . . . If art is the bridge between what you see in your mind and what the world sees, then skill is how you build that bridge.

Rice and peas fit into that category of dishes where two ordinary foods, combined together, ignite a pleasure far beyond the capacity of either of its parts alone. Like rhubarb and strawberries, apple pie and cheese, roast pork and sage, the two tastes and textures meld together into the sort of subtle transcendental oneness that we once fantasized would be our experience when we finally found the ideal mate.

We live and breathe words. .... It was books that made me feel that perhaps I was not completely alone. They could be honest with me, and I with them. Reading your words, what you wrote, how you were lonely sometimes and afraid, but always brave; the way you saw the world, its colors and textures and sounds, I felt-I felt the way you thought, hoped, felt, dreamt. I felt I was dreaming and thinking and feeling with you. I dreamed what you dreamed, wanted what you wanted-and then I realized that truly I just wanted you

Magic is a sudden opening of the mind to the wonder of existence. It is a sense that there is much more to life than we usually recognize; that we do not have to be confined by the limited views that our family, our society, or our own habitual thoughts impose on us; that life contains many dimensions, depths, textures, and meanings extending far beyond our familiar beliefs and concepts.

At birth we begin to discover that shapes, sounds, lights, and textures have meaning. Long before we learn to talk, sounds and images form the world we live in. All our lives, that world is more immediate than words and difficult to articulate. Photography, reflecting those images with uncanny accuracy, evokes their associations and our instant conviction. The art of the photographer lies in using those connotations, as a poet uses the connotations of words and a musician the tonal connotations of sounds.

Photography has an amazing ability to capture the fine detail of surface textures. But far too often these intricate patterns are loved by the photographer for their own sake. The richness of texture fascinates the eye and the photographer falls easy prey to such quickly-caught complexities. The designs mean nothing in themselves and are merely pictorially attractive abstractions. A central problem in contemporary photography is to bring about a wider significance in purely textural imagery.

In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.

When I look at a wildlife or nature subject, I dont see the feathers in the wings, I just count the wings. I see exciting shapes, color combinations, patterns, textures, fascinating behavior and endless possibilities for making interesting pictures. I regard the picture as an ecosystem in which all the elements are interrelated, interdependent, perfectly balanced, without trimming or unutilized parts; and herein lies the lure of the painting; in a world of chaos, the picture is one small rectangle in which the artist can create an ordered universe.