Top 1200 Visual Imagery Quotes & Sayings - Page 19

I don't think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.

There is a visual narrative that is implicitly understandable even when you don't understand the words and in a good comic, and they are hard to find, but good comics have parallel intertwined narratives.

So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.

I'm a situationist when it comes to anything creative, and that stands with the visual part of anything I do as well. I deal with the concrete things I have in front of me, and I think that's a wise way to be.

The visual for 'Holding The Gun' is a love story. It's about a ride or die and unapologetic type of love and a kind of loyalty that only comes once in a lifetime.

So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point

It's kind of the filmmaker's job to use visual, cinematic language in a way possible to tell a story that reaches and touches as many people as possible.

I think I managed to trick people a little bit into thinking I'm more arty by making creative, artistic, visual work and applying it to commercial music. Maybe. I don't know.

Watching a documentary with people hacking their way through some polar wasteland is merely a visual. Actually trying to deal with cold that can literally kill you is quite a different thing.

Film is probably the medium best suited to reach the most people - the visual, the aural, the limbic, the intellectual: it captures all these parts of our mind and soul. No other art form comes close.

I believe education in music, theater, dance, and the visual arts... is part of a well-rounded education and can provide so much joy, now and in the future.

You have kids studying master class visual arts who are pushed to make films that will be successful economically; that's what they focus on. So they work for corporate interest instead of artistic expression.

Music is more than words. It's a visual experience, too, and people really feel my music because of the way I move and put on a show.

Habitual texters may not only cheat their existing relationships, they can also limit their ability to form future ones since they don't get to practice the art of interpreting nonverbal visual cues.

It's like a visual connection between the girl I'm shooting and me, a bunch of triggers. A lot of girls I'll just shoot once or twice, but with certain special ones I'll go a bit further.

I think of mythology as a function of biology; the energies of the body are the energies that move the imagination. These energies are the source, then, of mythological imagery; in a mythological organization of symbols, the conflicts between the different organic impulses within the body are resolved and harmonized. You might say mythology is a formula for the harmonization of the energies of life.

To be honest, I wasn't crazy about the kind of poetry I found in high school English books. I didn't get really excited about poetry until I discovered Lorca in college. If it wasn't for surrealism, I'm not sure I'd have become so involved in poetry. I was attracted by the extravagant imagery and elements of fantasy. This was in the '70s and it seemed to fit the psychedelic mood of the times. I found it liberating.

Music is a spiritual doorway its power comes from the fact that it plugs directly into the soul, unlike a lot of visual art or textual information that has to go through the more filtering processes of the brain.

I'm very visual when I write and get a lot of inspiration from scrolling through Tumblr or Pinterest. I have picture folders to most of the songs I've written. It would be cool to release it as a book one day!

In the editing process, I delete what I do not want to use, move what remains around if necessary and add elements that I feel will make my visual statement as clear and understandable as possible.

In music, they're not endlessly rewriting Beethoven's 'Third Symphony;' in visual art, they aren't painting portraits of 16th-century royalty. Art moves forward.

The visual possibility of seeing the historical person (as opposed to the eternal Qur'anic man) on screen is arguably the single most important event allowing Iranians access to modernity.

If the seams are showing, there is something wrong with the performance or the construction of the piece. This idea is completely at odds with our modern visual experience, because everything today is based on montage.

The visual impact of the stupa on the observer brings a direct experience of inherent wakefulness and dignity. Stupas continue to be built because of their ability to liberate one simply upon seeing their structure

Carl Rinsch has a good balance between the visual and the drama and action, so I thought if he's going to direct, we can make a new, epic film. My fear was gone when I met him.

But being quiet and meditating on sound is something completely different and will be discovered very soon by a lot of people who feel that the visual world doesn't reach their soul anymore.

To me, as a visual artist, I don't want to get into the theory of Buddhism. There are many Buddhism theories and they fight each other, like Christians as well.

I’ll abide by my word, but you will never win me back! Believe me, in two weeks I will slice open your throat, drink from your blood, and then pierce your heart and laugh while your body explodes into dust. (Zephyra) Beautiful imagery. You should write for Hallmark. (Stryker)

I've always been involved in the visual aspect of my work, and moreover, it's very important in days where technology allows us to push the boundaries even more than when I started out.

A lot of the work in, say, construction or restaurants involves visual and motor flexibility. It also requires adaptability, in terms of answering questions, giving people directions, or taking orders.

When I re-read the Odyssey, it felt like I was reading PD James or Minette Walters - you feel that you are sharing in something that hundreds of millions of people have read with love, and I think that this is worth holding onto. It is not a matter of canonical texts or elitism, which the universities are trying to make us wary about. It is about shared language and metaphor and experience and imagery and that is all good.

I'm a very visual person when it comes to writing music. I like to see something besides just a script, even if it's just a storyboard or pictures from the set.

Neither is there figurative and non-figurative art. All things appear to us in the shape of forms. Even in metaphysics ideas are expressed by forms. Well then, think how absurd it would be to think of painting without the imagery of forms. A figure, an object, a circle, are forms; they affect us more or less intensely.

I foresee online gaming changing when there are good audio-visual links connecting the participants, thus approximating play in a face-to-face group.

When we started EA in 1982, our goal was to make games as big a media as visual entertainment or movies. That was how big we dreamed at the time.

Our public description, a visual bookmarking tool, tends to resonate with people. That's why we use it. When we talk to the tech press we tend to describe it as a company solving a discovery problem.

I'm not trying to be in your face and take a picture that is like a journalistic kind of image. I got interested in a kind of complicated, compiled, visual field.

In the last twenty-five years a change has come over the visual habits of Americans . . . From being a wordminded people we are becoming an eyeminded people.

Why do we use flash at all? Because photography is not the same as eyesight. We can see in low-light situations where cameras, dependent upon a physical process to record visual information, are half blind.

Once introduced discontinuity, once challenge any of the properties of visual space, and as they flow from each other, the whole conceptual framework collapses.

We've tried to use some visual motifs [in Beauty and the Beast]. As far as the cinematography and the lensing and all that, we are presenting a different view into that world. It's a little sleeker, but we're keeping the gothic feel underneath it.

Our knowledge of shape and form remains, in general, a mixture of visual and of tactile experiences... A child learns about roundness from handling a ball far more than from looking at it.

As a visual discourse, architecture requires trained individuals to work on the refined philosophical debates. School gave me the necessary training, and I've built on this based on my own aesthetics, as most do.

I've always been a very visual creator. I make mood boards or sit with coloured pencils and scribble and try and figure out what I'm trying to work through musically.

What is to be sought in designs for the display of information is the clear portrayal of complexity. Not the complication of the simple; rather the task of the designer is to give visual access to the subtle and the difficult - that is, revelation of the complex.

Aging is one of the most visual diseases on the planet and includes things that we all know like wrinkles and grey hair, but also brain atrophy, muscle wasting and organ damage.

The world is complex, dynamic, multidimensiona l; the paper is static, flat. How are we to represent the rich visual world of experience and measurement on mere flatland?

I've always loved painting, although I never show anyone what I've done. Mainly because I don't do it well. But it's like a form of visual diary for me. A way of fixing things in my mind.

When I work, I'm thinking in terms of purely visual effects and relations, and any verbal equivalent is something that comes afterwards. But it's inconceivable to me that I could experience things and not have them enter into my painting.

... the attempt to render visual intricacy makes words feel unwieldy, like sacks of meaning that must be lugged into place, dragged here and there, then still don't fell accurate.

A decade or so ago, all over the world, cinemas underwent one of those prince-into-frog mutations, and became, instead popcorn-restaurants, which offered the option of visual diversions for diners.

In my day the library was a wonderful place.... We didn't have visual aids and didn't have various programs...it was a sanctuary.... So I tend to think the library should remain a center of knowledge.

I see my work as visual meditations on the human experience and my attempts to capture the thin, otherwordly realm I believe exists between what we see and what we cannot.

Despite the fact that I'm not highly skilled in any visual art, aesthetics have always played a strong role in my art, including my first albums.

'Twelve' was a total indie drama character piece. It wasn't that it was more about the performance, but it was just a very different thing where, with horror, there's this whole added element of the visual and the technical and the choreography.

I'm really inspired by the interplay of visual art and music, a total artistic environment where there's sound and visuals. When I think about that I get stimulated and excited. It's a feeling that you can't label with words.

Being quiet and meditating on sound is something completely different and will be discovered very soon by a lot of people who feel that the visual world doesn't reach their soul anymore.

Theatre is a more difficult visual medium than films. You need to hold the attention span of the audience without goofing up and be able to express yourself as vividly as possible.

I love storytelling, I love being a visual person, and it just made perfect sense to be an underwater photographer and explore the ocean and work with scientists.

For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. It is by economy of means that one arrives at simplicity of expression.