Top 1200 Visual Imagery Quotes & Sayings - Page 17

I am a visual person, given that I am deaf.

We love displays and symbols and stuff that quickly and silently tells the world who we are. Better yet, we love visual reminders of who we want to be.

Fat people are so rarely included in visual culture that fat is perceived as a blot on the landscape of sleek and slim.

I go to a very visual place when I'm singing. It's very cinematic and I get this feeling of space. I love when music does that.

The theme, or harmony, of a painting can be created by any one of its visual elements. A single colour... repetition of shapes... Light can be a theme.

What is it about the English countryside — why is the beauty so much more than visual? Why does it touch one so?

I think setting a goal, getting a visual image of what it is you want. You've got to see what it is you want to achieve before you can pursue it.

To me, photography is not just a visual art, but something closer to poetry - or at least to some poetry, such as the haiku.

I'm a Mac user. I think it depends on how you were brought up, and I was introduced to Apple quite early. They're certainly the best for visual stuff and film-directing.

For me the visual is just as important as the music. I would never record without my red lipstick. It was my way of getting into character, sort of like Method singing.

We are attacked by radio and television and visual communication at such speed and with such force that painting seems very old fashioned ...why shouldn't it be done with that power and gusto [of advertising], with that impact.

I think of myself as a translator. I just change the dry, unfeeling language of data into a visual language that allows for feeling.

I am a great lover of art, in many forms: paintings, objets, textiles. I don't have the talent for painting, but I have a very good sense of colour, a love of visual beauty.

In virtual reality, we're placing the viewer inside a moment or a story... made possible by sound and visual technology that's actually tricking the brain into believing it's somewhere else.

Big cities are chaotic. And chaos for humans - who have experience from their ancestors - is the last step before conflict. So, in the park, every kind of visual contradiction has been eliminated.

I think so. I can't think of anything that requires more finesse than comedy, both from a verbal and visual point of view.

For some reason I have a visual intuition that allows me to design things in an interesting way, and I don't know where that came from. Because I don't have this formal training, I seem to drift in a different direction.

My bottom line is that I think Ridley Scott is one of the greatest visual artists of our time and I feel very privileged that he wants to work with me, so I go with that flow.

In a film we have limited time and space to say what we have to, hence the visual language and brevity needs to be paramount. In a novel, however, we can dissect each thought and emotion and build on it.

The Word of God makes use of poetic imagery when discussing... formless intelligences but... it does not do so for the sake of art, but as a concession to the nature of our own mind. It uses scriptural passages in an uplifting fashion as a way, provided for us from the first, to uplift our mind in a manner suitable to our nature.

I love visual gags and gimmicks; I love them.

Chad Michael Ward is a master of the storytelling craft. His imagery, both still and moving, reaches deep into the darkest corners of the mind, combining the macabre and the sensuous Revealing humanity's secret daydream atrocities. CMW taps into our most excitable of emotions with a blend of fear and human sexuality. Like an erotic car accident we can not look away from.

It's hard to brief in the Oval. You know, you can't - no visual aids, hard to roll out something in front of somebody.

Today, with computer-generated visual effects, everything is possible. So we've seen everything. If it can be imagined, it can be put on screen.

I grew up in the dance school my mother owned, and I see everything in body shapes, everything visual.

I love composing and writing music and dancing and performing and conceptualizing creatively for visual mediums. I love to create.

I have a crazy imagination, and it's a visual one that can be scary from time to time.

I’m very interested in sublimation. I love the way Francis Bacon talked about the grin without the cat, the sensation without the boredom of its conveyance… I’ve always wanted to be able to convey figurative imagery in a kind of shorthand, to get it across in as direct a way as possible. I want there to be a human presence without having to depict it in full.

Songs like 'Everything To Help You Sleep' or 'Claws in Your Back' took a little bit more grappling with the actual poetry for me to feel comfortable with the song. And there's a little bit more song crafting going on, and I had a specific idea in mind of the imagery I wanted to evoke.

Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.

?omen, we think differently than guys. Guys, you know, are very visual. Women, we work a little different.

Design must be functional, and functionality must be translated into visual aesthetics without any reliance on gimmicks that have to be explained.

The abstracting of visual elements in order to recognize their particularity has become automatic, but seeing, combining, and creating them as integrated 'wholes' will remain a lifelong challenge.

Design must be functional and functionality must be translated into visual aesthetics, without any reliance on gimmicks that have to be explained.

I'm very open to any visual conceits and any possibilities at my disposal to be better explain to people the ideas I'm exploring.

While it's easy to sit back and cherry pick bad visual effects and blame the industry for making movies the way they are, you're really not seeing the whole picture.

I'm never going to be one of those people who is good at organization. But I'm very visual. I have a catalog in my head of things I already own, so it's easy to shop and I always know exactly what I'm looking for.

PowerPoint is like being trapped in the style of early Egyptian flatland cartoons rather than using the more effective tools of Renaissance visual representation.

And also the idea of not making it apparent that it's different from the rest of the film, even though there are visual differences, the audience is supposed to think that they are with him when he wakes up in the morning.

As a visual person, I love a creative resume. Putting in a little effort on the design side will show that you care about making things look good.

I have been collecting pictures of airport carpets since the early 2000s because I am fascinated by their role as the world's largest interior visual design medium.

Language, I think, has nothing to do with film-making. It is how you make your point and whether you exploit the visual medium maintaining a certain standard that does the trick.

When I was a kid, it was thought I would do something in the visual arts because I was always drawing, but when we emigrated to Australia from Holland when I was seven, I learnt the English language, and I fell in love with it.

That's the kind of visual that you're trying to attract - something that in some way or another, connects you to what's happening there in a realistic way.

Illusions as bad as mine make people aware of the fallacies of visual information and the pleasure to be derived from such fallacies.

Everything I do is very visual and very aural, so I don't read music, and I draw as much as I write out lyrics.

When I was in the first years of university, I fell in more with the visual arts crowd because it was more interesting than where music was.

In movies, you can basically buy the audience into the theater. If you spend enough money on visual effects, even if you are lacking in story and character, you might still pull it off.

From my personal taste, it needed more of a visual style. It's so hard when you're adapting something that's so visually scrumptious like Mike Oeming's drawings. They're so unique to comics, but they're a voice.

After many years of hip-hop as a nation we should have the sophistication to accept that their are distinctions between the corporate manifestation of hip-hop, sold as a commodity and package with sensational race, sex and violent imagery, and the hip-hop culture that kids are living everyday at a local level, which often doesn't dabble in that terrain.

Writers need their totems, their altars. Mine, I feel, share the same randomness and utility of those belonging to painters I know, who are relentlessly visual and even poetic.

We're visual creatures. Probably, when we were hunter gatherers... that was the kind of thing that mattered. And remembering, say, phone numbers was, like, not that important when you're hunting down a mastodon or whatever.

I try to educate people about materialism through my work. I try to show them real visual luxury.

What I like best about underwater photography is giving a visual voice to the invisible. What I like least is the prospect of drowning.

The visual quality of the cameras now is such that you can shoot with available light, and if people are willing to mount a microphone on the camera and maybe even on the subject, then you're good to go.

Francis Lawrence is an astonishing filmmaker, an incredibly gifted visual filmmaker. I have great respect for his work.

My art is a disciplined high dive - high soar, simultaneous & polychromous, an exaltation of the verbal-visual... my dialogue.

Some people... cling to the idea that the photograph is an inherently real or honest image and as such is always on a different plane from an obviously subjective form of visual communication such as painting.

No one likes to admit that in the end we all die by inches, gradually losing all the defining visual characteristics that make us us

The paradox in the evolution of French painting from Courbet to Cezanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity.