There are two categories of writers, it could be said: The author who is just a voice, and the one who is also creating a picture. I belong to the latter, because I have an acute visual sense.
I have sketched since a young age, so there's always been an artistic side, a visual side to my personality.
And I also see how this body influences external images: it gives back movement to them.
I'm really happy when I'm immersed in the art of it all - immersed in the music, the dance, the visual. Tapping into joy - it saves you.
The media of sameness and separation represent the world in its most religious form - the structuring of the social in images.
Today's cinema is a proliferation of comedies, which are in some ways creating caricature images. They're one-dimensional.
Instagram is a media company. I think we're about visual media.
My mind works like Google for images. You put in a key word; it brings up pictures.
We could say that Romanian Onirisme was born from painting and not from surrealist literature. The visual is primordial. Dimov said, 'Dreams are not a source, but a canon, a legislative model.'
I enjoy the drawing more than the writing, so I try to think of ideas that will allow me to develop the visual side of the strip as fully as possible.
If you imagine yourself as a craftsman at ILM, you spend your days tumbling buses and animating shards of glass. You're doing a lot of visual effects work.
Most of the images of reality on which we base our actions are really based on vicarious experience.
Through a process of trial and error and experimentation, I discovered the simplest method - using only black - produced work with the strongest visual impact installed.
The cold stream of visual impressions failed him now as if the eye were a cup that overflowed and let the rest run down its china walls unrecorded.
I'm not trying to denounce the visual past. It just seems impossible to me to be able to keep making the same image that I made six years ago.
4chan gets almost one million posts per day, hundreds of thousands of which are images.
Sketching on a regular basis requires you to pay close attention to the visual world around you. With practice, you begin to see things you never noticed before.
Sometimes when you get in this game, you think that you're going to take off if you do a song with someone big. But that's not the truth. Everything with you got to be good - the visual, the push, the production.
The multiculturalism of Britain is one of our greatest strengths in music, literature, and visual art, but the TV and film industry doesn't tap into the multicultural talent pool in the U.K. as much as they do in the U.S.
Expensive advertising courts us with hints and images. The ordinary kind merely says, Buy.
The movies are all about visual, and television is all about character and dialogue.
Francis Lawrence is an astonishing filmmaker, an incredibly gifted visual filmmaker. I have great respect for his work.
I see plainly how external images influence the image that I call my body: they transmit movement to it.
I even see the cinema itself as a woman, with its alternation of light and darkness, of appearing and disappearing images
The computer is a tool, just like pencil or charcoal, allowing illustrators to manipulate images from their sketchbooks.
In putting images together I become active, and excitement is of another order - synthesis overshadows analysis.
The visual is everywhere in the streets, but in the industry, it's like you have to show up at this party and you can't take on the world in one day. It's a gradual process, but you can't let it frustrate you; you just have to keep grinding.
Had I left those images hidden in the emotions, I might have been torn to pieces by them.
People should never worship images. The spread of mental darkness is due to the prevalence of idolatry.
I come from a visual background. I used to work in the camera department at Warner Bros. when I was a teenager. I grew up dusting lenses and learning about photography.
Videos are more like photography. It's not as much about trying to tell a story as it is creating images.
To experience visually, and to transform our visual experience into plastic terms, requires the faculty of empathy.
I think the media plays into the hands of false induction, genuine seduction taking place, wrong deductions, and the inevitable reductions. That's the way and the path of the visual.
When you are adapting a book to a visual medium, you tend to leave a few things and add a few new ones.
The popular eye is not untrained; it is only wrongly trained - trained by inferior and insincere visual representations.
The thing with computer-generated imagery is that it's an incredibly powerful tool for making better visual effects. But I believe in an absolute difference between animation and photography.
I've always thought of the book as a visual art form, and it should represent a single artistic idea, which it does if you write your own material.
I have a commission to do a piece in a place in California, Oliver Ranch, which has an eight-storey structure called The Tower designed by the visual artist Ann Hamilton.
Most of the time I write visually. I get a visual of me in the audience watching the concert. I usually come up with the hooks first. Like with 'Old School.'
Also the pictures themselves give a visual to the audience tuning in, that makes them a very important part of law enforcement, or pulling families together.
The comics medium has some unusual features that do make it very different, in that it's combining a verbal narrative with a visual one that allows for much richer possibilities of transmitting information.
Portraying visual impairment is difficult. I can see what's going on, but I have to act like I can see nothing. And this can be quite a challenge.
Unlike art, the consumption of fashion is not based primarily on knowledge or education but functions through visual awareness, a type of sensuality and perception of the corporeal self.
I think there's almost nothing I can't excuse except perhaps worshiping graven images. That seems to be idiotic.
Democracy is still a radical idea in a world where we often confuse images with realities, words with actions.
Steal moments of happiness if you have to, and then collect them until they are the dominant images in your psyche.
I've always been obsessed by visual art as I have been by music personally, but that doesn't mean anything professionally.
I have no style. There are certain people who just have a visual sense that defines their work. You could probably watch 30 seconds of anything they do and you'll know exactly who directed it. I don't have that skill.
Large-budget movies start to lose focus on the story and the actors, and it becomes purely about the visual, or CGI, or framing with the cranes, or whatever it may be.
We know that ever woman wants to be thin. Our images of womanhood are almost synonymous with thinness.
A visual experience is vitalizing. Whereas to write great poetry, to draw continuously on one's inner life, is not merely exhausting, it is to keep alight a consuming fire.
I often think of my work as visual haiku. It is an attempt to evoke and suggest through as few elements as possible rather than to describe with tremendous detail.
Visual pollution is more poisonous than any other pollution because it kills the soul.
I don't like the lip-syncing-type videos. I like for people to listen to the words and see the visual.
I would be extremely stupid if I said that my looks had absolutely nothing to do with what I do, it [moviemaking] is a visual medium. I'm perfectly aware of that, the face and the body help. Of course they do.
The eye and brain are not like a fax machine, nor are there little people looking at the images coming in.
I write mostly as a director. That's why my screenplays are very detailed. So I get into the images I see. I like that.
The visual system of the brain has the organization, computational profile, and architecture it has in order to facilitate the organism's thriving at the four Fs: feeding fleeing, fighting, and reproduction.
Music has always been a part of me and art in general. I love visual art as well.
Artists who have produced experimental innovations have been motivated by aesthetic criteria: they have aimed at presenting visual perceptions. Their goals are imprecise, so their procedure is tentative and incremental.
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