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Read through the most famous quotes by topic #color
I hear the question upon your lips: What is it to be a colour? Colour is the touch of the eye, music to the deaf, a word out of the darkness. Because I’ve listened to souls whispering – like the susurrus of the wind – from book to book and object to object for tens or thousands of years, allow me to say that my touch resembles the touch of angels. Part of me, the serious half, calls out to your vision while the mirthful half sours through the air with your glances. I’m so fortunate to be red! I’m fiery. I’m strong. I know men take notice of me and that I cannot be resisted. I do not conceal myself: For me, delicacy manifests itself neither in weakness nor in subtlety, but through determination and will. So, I draw attention to myself. I’m not afraid of other colours, shadows, crowds or even of loneliness. How wonderful it is to cover a surface that awaits me with my own victorious being! Wherever I’m spread, I see eyes shine, passions increase, eyebrows rise and heartbeats quicken. Behold how wonderful it is to live! Behold how wonderful to see. I am everywhere. Life begins with and returns to me. Have faith in what I tell you. ↗
The downfall of the attempts of governments and leaders to unite mankind is found in this- in the wrong message that we should see everyone as the same. This is the root of the failure of harmony. Because the truth is, we should not all see everyone as the same! We are not the same! We are made of different colours and we have different cultures. We are all different! But the key to this door is to look at these differences, respect these differences, learn from and about these differences, and grow in and with these differences. We are all different. We are not the same. But that's beautiful. And that's okay.In the quest for unity and peace, we cannot blind ourselves and expect to be all the same. Because in this, we all have an underlying belief that everyone should be the same as us at some point. We are not on a journey to become the same or to be the same. But we are on a journey to see that in all of our differences, that is what makes us beautiful as a human race, and if we are ever to grow, we ought to learn and always learn some more. ↗
Things could change, Gabe," Jonas went on. "Things could be different. I don't know how, but there must be some way for things to be different. There could be colors. And grandparents," he added, staring through the dimness toward the ceiling of his sleepingroom. "And everybody would have the memories." "You know the memories," he whispered, turning toward the crib. Garbriel's breathing was even and deep. Jonas liked having him there, though he felt guilty about the secret. Each night he gave memories to Gabriel: memories of boat rides and picnics in the sun; memories of soft rainfall against windowpanes; memories of dancing barefoot on a damp lawn. "Gabe?" The newchild stirred slightly in his sleep. Jonas looked over at him. "There could be love," Jonas whispered. ↗
My eyes change color depending on my mood and what I’m wearing. If I’m wearing an acorn brown shirt, my eyes look like squirrel fur. And if I’m wearing no shirt at all, my eyes look more nude and flesh-colored. I guess my ex girlfriend, Zelda, said it best when her friend asked her what I look like and she said: “He looks like you’d imagine him to look like, if you had no imagination. ↗
#eyes #flesh #girlfriend #imagination #shirt
What a strange thing it is to wake up to a milk-white overcast June morning! The sun is hidden by a thick cotton blanket of clouds, and the air is vapor-filled and hazy with a concentration of blooming scent. The world is somnolent and cool, in a temporary reprieve from the normal heat and radiance. But the sensation of illusion is strong. Because the sun can break through the clouds at any moment . . . What a soft thoughtful time. In this illusory gloom, like a night-blooming flower, let your imagination bloom in a riot of color. ↗
The phrase and the day and the scene harmonized in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose? ↗
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. ↗
I like to work in watercolor, with as little under-drawing as I can get away with. I like the unpredictability of a medium which is affected as much by humidity, gravity, the way that heavier particles in the wash settle into the undulations of the paper surface, as by whatever I wish to do with it. In other mediums you have more control, you are responsible for every mark on the page — but with watercolor you are in a dialogue with the paint, it responds to you and you respond to it in turn. Printmaking is also like this, it has an unpredictable element. This encourages an intuitive response, a spontaneity which allows magic to happen on the page. When I begin an illustration, I usually work up from small sketches — which indicate in a simple way something of the atmosphere or dynamics of an illustration; then I do drawings on a larger scale supported by studies from models — usually friends — if figures play a large part in the picture. When I've reached a stage where the drawing looks good enough I'll transfer it to watercolor paper, but I like to leave as much unresolved as possible before starting to put on washes. This allows for an interaction with the medium itself, a dialogue between me and the paint. Otherwise it is too much like painting by number, or a one-sided conversation. ↗
