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Were it not for the melanin in our skin, myoglobin in our muscles and haemoglobin in our blood, we would be the colour of mitochondria. And, if this were so, we would change colour when we exercised or ran out of breath, so that you could tell how energized someone was from his or her colour.
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There needs to be more film directors of colour. They bandy about the word 'diversity' a lot, but when I say 'of colour,' I mean Asian, black - I mean people of all colour. We need to have those voices given the opportunity, not told that their films will not be distributed or will not sell well abroad.
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In a sense, one could speak of the secret life of colour. Despite its outward beckoning, like true beauty, colour is immensely hesitant in giving away its secrets. Painters learn to respect the hesitancy of colour and endeavour to refine their skill to become worthy of its revelations. A painter learns the language of colour slowly. As with any language, you struggle for a long time outside the language. There is a willed deliberateness to how you sequence the strange words to make a sentence.Then one day the language lets you in to where the words dance to your thoughts with ease and fluency. Perhaps for the painter there is a day when colour lets him in, when his palette sings with synergy and delight.
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The colour blue - that is my colour - and the colour blue means you have left the drabness of day-to-day reality to be transported into - not a world of fantasy, it's not a world of fantasy - but a world of freedom where you can say what you like and what you don't like. This has been expressed forever by the colour blue, which is really sky blue.
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I wouldn't know what to do with [colour]. Colour to me is too real. It's limiting. It doesn't allow too much of a dream. The more you throw black into a colour, the more dreamy it gets... Black has depth. It's like a little egress; you can go into it, and because it keeps on continuing to be dark, the mind kicks in, and a lot of things that are going on in there become manifest. And you start seeing what you're afraid of. You start seeing what you love, and it becomes like a dream.
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I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. Initially I was attracted by the typical Pop Art aestheticism of using standard colour-sample cards; I preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of Albers, Bill, Calderara, Lohse, etc.
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I often use colour to attack form, to break it down a little or begin to dissolve it. But I am not at all interested in 'pure' colour or in colour as a transcendental presence... So if I use colours to begin to dissolve forms, I also use forms to prevent colours becoming entirely detached from their everyday existence.
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Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.
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Although of course I am aware that it changes colour in a jar. But we know why, surely? The heavier melancholic elements in the blood sink, making the top lighter and the bottom darker." "Not so, " I said firmly. "Cover the jar, and the colour does not change. And I can find no explanation of how such separation could occur in the lungs. But when it emerges from the lungs - at least, this is the case in cats - it is very much lighter in colour than when it goes in, indicating that some darkness is withdrawn from it." "I must cut up a cat and see for myself. A live cat, was it?" "It was for a while.
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Imagine you saw a colour in your dream, which you have never seen before. It doesn't consist of any colours or shades that you know. Trying to describe that colour would be as difficult as trying to belive that there is enough love & compassion in the world so every human can feel happiness.
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If the image was sketched onto the canvas and spontaneously drawn, colour would often be restrained and unfree... The most important and the most difficult liberation process we went trough, the one that has distinguished our art, was the freeing of colour, the transition to a painterly spontaneity.
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There either is or is not, that's the way things are. The colour of the day. The way it felt to be a child. The saltwater on your sunburnt legs. Sometimes the water is yellow, sometimes it's red. But what colour it may be in memory, depends on the day. I'm not going to tell you the story the way it happened. I'm going to tell it the way I remember it.
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I let myself go. I thought little of the houses and trees, but applied colour stripes and spots to the canvas... Within me sounded the memory of early evening in Moscow - before my eyes was the strong, colour-saturated scale of the Munich light and atmosphere, which thundered deeply in the shadows.
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The grey is certainly inspired by the photo-paintings, and, of course, it's related to the fact that I think grey is an important colour - the ideal colour for indifference, fence-sitting, keeping quiet, despair. In other words, for states of being and situations that affect one, and for which one would like to find a visual expression.
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There either is or is not, that's the way things are. The colour of the day. The way it felt to be a child. The saltwater on your sunburnt legs. Sometimes the water is yellow, sometimes it's red. But what colour it may be in memory, depends on the day. I'm not going to tell you the story the way it happened. I'm going to tell it the way I remember it. - Great Expectations (1998) directed by Alfonso Cuaron
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An unchangeable colour rules over the melancholic: his dwelling is a space the colour of mourning. Nothing happens in it. No one intrudes. It is a bare stage where the inert I is assisted by the I suffering from that inertia. The latter wishes to free the former, but all efforts fail, as Theseus would have failed had he been not only himself but also the Minotaur; to kill him then, he would have had to kill himself
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She could have wept. It was bad, it was bad, it was infinitely bad! She could have done it differently of course; the colour could have been thinned and faded; the shapes etherealised; that was how Paunceforte would have seen it. But then she did not see it like that. She saw the colour burning on a framework of steel; the light of a butterfly's wing lying upon the arches of a cathedral.
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I took the money and passed the box across the counter and said politely, 'Your choice of colour really lacks style.' I smiled and Beth laughed and the guy asked to see my manager. I got Bert and he leant over the box and looked at the paint and said, 'Ed was being polite. Your choice of colour is shit.
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Turning to the colour-classification methodology: The starting point are the four pure colours red, yellow, green and blue; their in-between shades and scales of brightness result in colour schemes containing 16, 64, 256 and 1,024 shades. More colours would be pointless because it wouldn't be possible to distinguish between them clearly.
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Fred didn't have a favourite colour. He was just pleased that he could see all of the colours in the colour chart. That was his wish for everyone. Fred wanted people to experience the joy of seeing vivid colours - in nature: the greens and browns of the mountains; in their work: the orange, red and black of the back of the retina; and in life.
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Youngsters inspired by Maoism have taken the gun and are spilling blood on streets, but our land needs the colour of progress not the colour of blood. Maoists must not have the gun in their hands, instead they must have agriculture tools and pens so that they can serve others. Raasta kalam, hal aur pasine ka hai, khoon ka nahi.
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He tip-toed past the double bed that had been placed in a corner - wrought-iron headboard, embroidered pillows, amulets against the evil-eye and a satiny, cobalt-blue bedspread. Blue was Iskender's favourite colour. It was the colour for boys, which meant the sky was a boy. So were the rivers and lakes. And the oceans, though he had yet to see one.
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It's barely changed since the faceless colour committee originally selected it in 1908 when the first map of the Underground was designed and the Bakerloo conclusively became brown, a very early twentieth-century brown, which brings something of the nineteenth century with it - the colour of Sherlock Holmes's pipe, a Gladstone bag, a grandfather clock.
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Conversely, the red plant itself burns a brighter red when set off by the green than when it grows among its peers. In the bed I always reserved for poinsettia seedlings, there was little to distinguish one plant from its neighbours. My poinsettia did not turn scarlet until I planted it in new surroundings. Colour is not something one has, colour is bestowed on one by others.
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To me, grey is the welcome and only possible equivalent for indifference, noncommitment, absence of opinion, absence of shape. But grey, like formlessness and the rest, can be real only as an idea, and so all I can do is create a colour nuance that means grey but is not it. The painting is then a mixture of grey as a fiction and grey as a visible, designated area of colour.
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Gray. The overcast skies had the colour of deadened stones, and seemed closer than usually, as though they were phlegmatically observing my every movement with their apathetic emptily blue-less eyes; each tiny drop of hazy rain drifting around resembled transparent molten steel, the pavement looked like it was about to burst into disconsolate tears, even the air itself was gray, so ultimate and ubiquitous that colour was everywhere around me. Gray...
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I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one's sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.
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There is an infinity of landscape here, caused by the purity of the atmosphere. It has been said that there is a lack of colour. It is not so obvious as the greenness of England, but it is infinitely more varied and more delicate in tone. The landscape is a pinky mauve, a lilac, and the reflection of the sun of the particles of the atmosphere is a warm amber. So I should say our colour scheme is amber and lilac.
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God is colourblind. But we are not God. God does not need to see colour and difference. God is far bigger than all of that. We are human. We are destined to grow and learn from each other and with each other and there is no growing, there is no learning, there is no wonder and no majesty in life if we were like God. We were meant to see colour and difference.To deny these is to lack respect. To blind ourselves to these is to fool one another. To shun these is to deny ourselves growth and knowledge.
C. JoyBell C.
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The world is a huge laboratory and life is an experiment where the chemistry between two people create an accident to make you exist. O! My God what a creation on a huge canvas called, "Me". Each one strike a colour brush of their choice and want me to change. Its so tough to find my own portrait where I want to be my own. I am busy right now finding my own colour on my own portrait which I have strike over. Happy Finding till then!
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It is not necessary to have an extravagant food budget in order to serve things with variety and tastefully cooked. It is not necessary to have expensive food on the plates before they can enter the dining room as things of beauty in colour and texture. Food should be served with real care as to the colour and texture on the plates, as well as with imaginative taste. This is where artistic talent and aesthetic expression and fulfillment come in.
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We can form no idea of the millions of pounds that are spent every year in the making of dress in the West. The dress-making business has become a regular science. What colour of dress will suit with the complexion of the girl and the colour of her hair, what special feature of her body should be disguised, and what displayed to the best advantage-these and many other like important points, the dressmakers have seriously to consider. Again, the dress that ladies of very high position wear, others have to wear also, otherwise they lose their caste! This is FASHION.
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The colour grey makes you feel uneasy, makes things seem complicated and hopeless, it upsets the notion of black and white. Good and evil? There is no such thing. There is a little good and a evil, a little black and a little white. Grey is not an attractive colour, but perhaps it is the one that describes the world most accurately.
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I'm actually a 'Witch' not Wiccan...justa Witch. I started reading Tarot when I was 8 years old. I dabble in astrology, Candle Magick, gems/stone Magick and I mainly use herbs for cooking. But cooking is it's own Magick-when done right. Actually, when I colour Tarot...I do use a form of Colour Magick..colours do influence mood...so I conscienciously choose certain colours for certain scenes.
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Whatsoever accidents Or qualities our sense make us think there be in the world, they are not there, but are seemings and apparitions only. The things that really are in the world without us, are those motions by which these seemings are caused. And this is the great deception of sense, which also is by sense to be corrected. For as sense telleth me, when I see directly, that the colour seemeth to be in the object; so also sense telleth me, when I see by reflection, that colour is not in the object.
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What is whiter than snow?' he said. 'The truth, ' said Grania. 'What is the best colour?' said Finn. 'The colour of childhood, ' said she. 'What is hotter than fire?' 'The face of a hospitable man when he sees a stranger coming in, and the house empty.' 'What has a taste more bitter than poison?' 'The reproach of an enemy.' 'What is best for a champion?' 'His doings to be high, and his pride to be low.' 'What is the best of jewels?' 'A knife.' 'What is sharper than a sword?' 'The wit of a woman between two men.' 'What is quicker than the wind?' said Finn then. 'A woman's mind, ' said Grania. And indeed she was telling no lie when she said that.
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He domesticated and developed the native wild flowers. He had one hill-side solidly clad with that low-growing purple verbena which mats over the hills of New Mexico. It was like a great violet velvet mantle thrown down in the sun; all the shades that the dyers and weavers of Italy and France strove for through centuries, the violet that is full of rose colour and is yet not lavender; the blue that becomes almost pink and then retreats again into sea-dark purple""the true Episcopal colour and countless variations of it.
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Do you know why the leaves change colour, Makin?" They did look spectacular. The forest had grown around us as we traveled and the canopy burned with colour, from deepest red to flame orange, an autumn fire spreading in defiance of the rain. "I don't know, " he said, "Why do they change?" "Before a tree sheds a leaf it pumps it full of all the poison it can't rid itself of otherwise. That red there-that's a man's skin blotching with burst veins after an assassin spikes his last meal with roto-weed. The poison spreading through him before he dies.
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Henry had written a novel because there was a hole in him that needed filling, a question that needed answering, a patch of canvas that needed painting-that blend of anxiety, curiosity and joy that is at the origin of art-and he had filled the hole, answered the question, splashed colour on the canvas, all done for himself, because he had to. Then complete strangers told him that his book had filled a hole in them, had answered a question, had brought colour to their lives. The comfort of strangers, be it a smile, a pat on the shoulder or a word of praise, is truly a comfort.
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We'd never seen anything as green as these rice paddies. It was not just the paddies themselves: the surrounding vegetation - foliage so dense the trees lost track of whose leaves were whose - was a rainbow coalition of one colour: green. There was an infinity of greens, rendered all the greener by splashes of red hibiscus and the herons floating past, so white and big it seemed as if sheets hung out to dry had suddenly taken wing. All other colours - even purple and black - were shades of green. Light and shade were degrees of green. Greenness, here, was less a colour than a colonising impulse. Everything was either already green - like a snake, bright as a blade of grass, sidling across the footpath - or in the process of becoming so. Statues of the Buddha were mossy, furred with green.
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By convention sweet is sweet, by convention bitter is bitter, by convention hot is hot, by convention cold is cold, by convention colour is colour. But in reality there are atoms and the void. That is, the objects of sense are supposed to be real and it is customary to regard them as such, but in truth they are not. Only the atoms and the void are real.
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What is the colour of Christmas? Red? The red of the toyshops on a dark winter's afternoon, Of Father Christmas and the robin's breast? Or green? Green of holly and spruce and mistletoe in the house, dark shadow of summer in leafless winter? One might plainly add a romance of white, fields of frost and snow; thus white, green, red- reducing the event to the level of a Chianti bottle. But many will say that the significant colour is gold, gold of fire and treasure, of light in the winter dark; and this gets closer, For the true colour of Christmas is Black. Black of winter, black of night, black of frost and of the east wind, black of dangerous shadows beyond the firelight. I am not sure who wrote this. I got it from page nine of 'A Book of Christmas' by William Sansom. Google didn't help. It is rather true I think, that the true color of Christmas is black. For like the author said in succeeding sentences 'The table yellow with electric light, the fire by which stories are told, the bright spangle of the tree- they all blaze out of shadow and out of a darkness of winter
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