Top 1200 Visual Imagery Quotes & Sayings - Page 2

Visual forms are not perceived differently from colors or brightness. They are sense qualities, and the visual character of geometry consists in these sense qualities.

In sport, mental imagery is used primarily to help you get the best out of yourself in training and competition. The developing athletes who make the fastest progress and those who ultimately become their best make extensive use of mental imagery. They use it daily as a means of directing what will happen in training, and as a way of pre-experiencing their best competition performances.

Because it's visual art, a lot of it comes from childhood experience but then a lot comes from the visual language - in advertising and stuff like that - which is around us.

The world of visual perspective is one of unified and homogeneous space. Such a world is alien to the resonating diversity of spoken words. So language was the last art to accept the visual logic of Gutenberg technology, and the first to rebound in the electric age.

We all accept the visual shorthand used throughout comics: if something's farther away, it'll be drawn with a thinner, simpler line, eventually leaving out most visual information and becoming a gesture, a skeletal representation of a thing.

There's a definite connection in terms of objects at hand - dealing with objects or material at hand. Pop art was very much enamored with popular imagery, and popular imagery was of course available and at hand. And land art was also using what was at hand.

When people play action games, they're changing the brain's pathway responsible for visual processing. These games push the human visual system to the limits, and the brain adapts to it.

I haven't had the opportunity to study visual art, but it was always my first love when it came to artistic expression. I started drawing and experimenting with visual art when I was 5.

I don't really think about a visual aspect to the work at all; I just think about making the piece. And everything that occurs visually comes out of the subject matter you are dealing with so that I find it difficult to treat the visual element as a separate entity.

'The X-Files' from the beginning was a very visual show, and with Bob Mandel directing the pilot and Dan Sackheim being involved in the production of the pilot and directing the first episode, they brought a visual style to it that was elaborated on by so many good directors.

That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.

The idea of discussing psychological and philosophical ideas in a visual medium was really exciting to me. I thought I was going to go into philosophy...and suddenly I found this way to combine that with my love for visual mediums.

The literary artist lends verbal depth to the visual. The visual artist provides visible articulation for the literary.

Innate mechanisms endow the visual system with highly specific connections, but visual experience early in life is necessary for their maintenance and full development. Deprivation experiments demonstrate that neural connections can be modulated by environmental influences during a critical period of postnatal development.

Sometimes when I write lyrics there are images in them, usually on a quite simplistic level, like colors. But most often music comes first and then later I sit down with visual people and we chat about what we want to do. I don't look at myself as a visual artist. I make music.

If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.

I'm quite an untidy person in a lot of ways. But order makes me happy. I have to have a clear desk and a tidy desktop, with as few visual distractions as possible. I don't mind sound distractions, but visual ones freak me out.

For me, the perfect film has no dialogue at all. It's purely a visual, emotional, visceral kind of experience. And I think one can create wonderful depth and meaning and communication without using words. I started out as an illustrator and a cartoonist and caricature artist, so for me the visual is primary.

The most important thing is that you have to have the visual effects working for you, instead of you working for the visual effects.

I was a painter before I was a writer, so I was always a visual artist. And my writing, to me, was always visual.

To visualize is to see what is not there, what is not real - a dream. To visualize is, in fact, to make visual lies. Visual lies, however, have a way of coming true.

I've been interested in art and fashion for as long as I can remember because they are so visual. I am fascinated by the idea of visual creation from the ground up, which is a challenge in ballet when the audience has seen every show of yours, every other principal that you've shared a role with, and every different production.

I'm so in awe of what visual artists do and I do understand the differences of what visual artists do. I have a small art collection I hope to expand.

The advice I would give to any photographer - young, old or in-between - is to explore anything visual because this is, after all, how you express your artistry. Look at paintings, movies, drawings, sculptures - look at anything visual and try to integrate that into your visual sense. After that, go out and take pictures and keep on taking pictures!

I was a rapper and a DJ, and if you wanted to be involved in hip-hop, you had to be involved in the sonic, the kinetic and the visual aspects. The visual was graffiti.

I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.

In sound design programs now, you can literally sculpt the sound on visual graphs. Sometimes the visual programs are even more interesting than the music that's making them

John Cage is someone I got into as a visual artist, before I even knew his music. I don't think a lot of people even know that he does visual art.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

Not only has photography so thoroughly saturated our visual environment as to make the invention of visual images seem archaic, but it is also clear that photography is too multiple, too useful to other discourses, ever to be wholly contained within traditional definitions of art.

For ages I thought I'd wasted my career doing visual effects, I wanted to be a filmmaker. And then I've learnt at the end of it all that actually visual effects was probably the best training ground I could have had.

Images are not only visual. They're also auditory, they involve sensuous impressions, bundles of information that come to us through our senses, and mainly through seeing and hearing: the audio-visual field.

Everything today is such a massive visual show. It's very rare to get a film where the characters are raw and real - and you can take people back to where they are watching live cinema. With character-driven action. Not visual-driven action.

The process of drawing is... the process of putting the visual intelligence into action, the very mechanics of visual thought. Unlike painting and sculpture... the artist makes clear to himself and not to the spectator what he is doing. It is a soliloquy before it becomes communication.

Visual supervision is a joke for development workers. Visual supervision is for prisoners.

The only reason that you do visual is solely for the visual. That's the only reason. It doesn't sell your music for you.

I can't separate the process of writing from the visual process. I'm speaking only for myself here, but I'm a highly visual writer. In my imagination, when I'm thinking of a scene, I think of every last detail of it: The space, the color palette, the blocking of the actors, the placement of the camera.

I think that music and visual arts can complement themselves nicely. They do different things - the music forces you into a different mood and perspective whilst the visual stuff can engage you in a more direct cognitive manner.

Writers and musicians know well the importance of extensive reading for successful writing or extensive listening for musical composition. Likewise, visual artists... understand that successful artistic creativity depends upon extensive visual exposure.

When I was really young, I gravitated towards the visual arts first. I feel that's what comes most naturally to me. I've always had an immediate proclivity towards making visual art and I was a really tactile kid.

Unlike a lot of choreographers, I don't always start with the music. I often start with a visual artist, and then find music that fits the world of that visual artist.

I don't necessarily think there's a difference in terms of how the film industry and the ad industry view visual effects. If visual effects (or the lack thereof) are used as a tool to strengthen an idea, they're great. If they are meant to carry more of a load in the absence of a concept, they're a waste and a distraction.

I moved out to Los Angeles with the idea of becoming a director, which thousands, if not tens and hundreds of thousands, of people do, every year. It's a very competitive field, of course. I immediately got swept away into the visual side of things, starting with visual effects, and then designing.

I'm a really visual artist, and I love writing treatments for music videos, photo shoots, fashion, and all the visual parts that go along with making an album.

At times I can't help going for visual comfort. Sometimes a picture fills up your head, and you try to move the actors around to make that visual statement.

Nothing scales quite the way a sci-fi feature does, I mean, you can always add more visual effects; you can spend a lot of money on the visual fidelity alone.

In the visual arts, for example, the semiological approach to graphics provides a rigorous analysis of the visual means used by the artist. It defines the basic properties and laws governing the arts and suggests objective criteria for art criticism.

'Instagram' is a media company. I think we're about visual media. I explain ourselves as a disruptive entertainment platform that enables communication through visual media. I don't think it's just photos.

Tattoo is the magic word. It hits people in a way that no other visual medium does. And it is not simply visual, but visceral. Everybody has an opinion about it and everybody has a gut reaction. And because they are permanent, tattoos raise all these issues about life and death.

It's a tremendous asset if you have a visual eye because you can make huge visual statements in a very theatrical way and play to the strength of theatre. But the high end of directing is working with actors and making the acting the best it can be.

I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it's visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.

I like visual images and there are certainly other bands that have strong visual images going all the way back to Elvis Presley, but it's kind of like that's never really been my bag. Probably because I'm too shy.

Why take notes? The obvious reason is to remember. Visual note-taking translates what we hear into pictures that give context, color, and meaning. By adding symbols, visual metaphors, likenesses of people, and room layouts, we add several dimensions.

I am a musician who stopped working with music. Now I work with visual music, or audio-visual music.

I enjoy 'Life Aquatic.' I think that one, from a visual standpoint, is just such a fun, visual movie to look at, whether it's the shots of the ship cut down the middle, that set where you can see everyone in each of their rooms doing whatever and moving about - something like that, I could watch that on a loop for an hour.

My fiction has been influenced by the visual arts, though not in obvious ways, it seems to me. I don't offer tremendous amounts of visual information in my work.

I have a longstanding fascination with visual art. I do, in fact, draw as well, as I did in 'The Summer without Men.' I also write essays about visual art.

I'm a visual thinker, really bad at algebra. There's others that are a pattern thinker. These are the music and math minds. They think in patterns instead of pictures. Then there's another type that's not a visual thinker at all, and they're the ones that memorize all of the sports statistics, all of the weather statistics.

As human beings we're visual creatures, and it's so easy to play the guitar by looking at it. It's a real challenge to go from that visual way of perceiving the guitar to getting back to that pure sound connecting to the instrument.

But I think we're also just talking about the literacy of the audience. The visual literacy of the audience. They've seen so many images now, especially here in the States. There's so much to look at, to watch. So the visual storytelling literacy is harder to impress.