Visuals Quotes by Gabriel Campisi, Lee Child, Hiromi, Walter J. Phillips, Judy Fiskin, Adrian Younge and many others.
Today, with computer-generated visual effects, everything is possible. So we’ve seen everything. If it can be imagined, it can be put on screen.
I think my books come out very visual, which is an obvious consequence.
The really strong key thing always comes direct to your heart. Even if it’s a visual thing it doesn’t come to your eyes! Even if it is a listening thing it doesn’t come to your ears, it goes directly to your spirit!
Drawing is the representation of form – the graphic expression of a visual experience.
In my work, the information is the least important part. It’s there, and the work wouldn’t mean the same thing without it, but it isn’t structured around the information. The most interesting part to me is the visual play… looking at this little universe of representation that I can make out of the world.
When people score films, the job is to be visual. When people make music, it’s about evoking feeling. It’s great when you get both feelings and being out of their head.
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.
My mother is an artist, and I have a strong visual sense. I almost always choose the cover art for my books.
I wish I could be a better writer, but writing is so difficult. I get seduced by visual aesthetics. Because I just like making beautiful pictures, sometimes I wander away from making a clear statement.
The abstracting of visual elements in order to recognize their particularity has become automatic, but seeing, combining, and creating them as integrated ‘wholes’ will remain a lifelong challenge.
Often times at a concert, I just close my eyes. Music is very transportive and visual for me like that.
Architecture is my first love, if you want to talk about what moves me… the ordering of space, the visual pleasure, architecture’s power to construct our days and nights.
So, I’m always around video games but I’ve always been interested in them from a visual perspective, with the graphic design and that whole thing. I don’t know if that comes from my love of photography or what but that’s always what’s held my interest about them.
Some people… cling to the idea that the photograph is an inherently real or honest image and as such is always on a different plane from an obviously subjective form of visual communication such as painting.
Creating music, visual art, producing music and film are always at the forefront of my life.
There is no off position on my visual switch, and I don’t want one. I love, and always have, telling stories with my camera.
‘Ex-Boyfriend’ is a really funny story that is that much funnier when you have visuals attached to it as opposed to just hearing it. I couldn’t let a song like that go un-videoed.
I don’t want to be entertained. I don’t want visuals or musicals. I don’t want a vacation. I don’t want to quit. I don’t want sympathy. The cry of my heart is ‘Just Give Me Jesus.’
I hate not understanding the words, because it kind of squashes the song. It shrinks the visual landscape that you’ve made for the sounds. And, all of a sudden, the content eclipses things.
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.
My visuals are typically very powerful. The rhythm is fast. The cuts are fast.
Visual tonics such as ‘timed creativity’ need to be introduced to refresh and refurbish the muse.
The most important thing is that you have to have the visual effects working for you, instead of you working for the visual effects.
Dance, like music, is the expression of the human spirit. Dance is ‘visual music’.
The whole visual language of the movie is developed way before we get to set. Especially when you’re doing visual effects and you don’t have a lot of money to mess around, which we didn’t, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.
It seems to me that the natural world is the greatest source of excitement; the greatest source of visual beauty; the greatest source of intellectual interest. It is the greatest source of so much in life that makes life worth living.
Seeing, despite the name, isnвЂ™t merely visual.
A certain type of critic doesn’t really want French movies to be visual. They think movies started from books and they forgot this part of moviemaking, like Chaplin and Buster Keaton, which I didn’t forget.
It is no longer enough to simply read and write. Students must also become literate in the understanding of visual images. Our children must learn how to spot a stereotype, isolate a social cliche, and distinguish facts from propaganda, analysis from banter and important news from coverage.
Poetry is prose bewitched, a music made of visual thoughts, the sound of an idea.
Two things I’m obsessed with are the countryside and fields and being in the open space and body parts, so you’ll hear me mentioning body parts and human anatomy. I’ve listened to my songs and I think I am quite visual and I talk about bones and flesh a lot.
The images are visual, auditory, olfactory, kinesthetic. They aren’t laid down on the same tracks as thought. And sometimes, when they return to you, it is as if you feel them for the very first time. Memory lives on in the details, like the color of a room, a tone of a voice, the touch of a child, the smell of a man.
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.
I have been interested in visual arts since high school and, after realising that I had absolutely no interest in the economics degree I had undertaken at ANU, I started a BFA in Sydney which I completed at VCA in Melbourne.
When you make a movie, you know you’re making a long-form thing, so the visuals are different than for a video where it has to be more obvious or in your face, I think, a little bit.
While films are a very visual and emotional artistic medium, video games take it one step further into the realm of a unique personal experience.
…visual truth lies in the structure of light.
The life of a designer is a life of fight. Fight against the ugliness. Just like a doctor fights against disease. For us, the visual disease is what we have around, and what we try to do is cure it somehow with design.
Now, by and large, people are recording material to put on YouTube. I have a theory that YouTube is, in the end, the #1 media for musicians. Which is strange, because there’s a visual associated with it.
I hope my visual language inspires others to tell their stories and challenges people’s thinking.
One of the more distant concerns is with the visual interpretation of the music. I find it fascinating but I don’t always particularly get involved with it.
Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
When you boil it down, it’s all a visual expression. In a sense we are all storytellers through what we wear, who we want to be, how we want people to perceive us. Life, people and the stories they consciously or unconsciously tell inspire me everyday.
With the search for the Higgs, we’re involved with 5% of the visual universe, and now we have 95% of the invisible universe that’s coming into view. That’s amazing.
What underlies great science is what underlies great art, whether it is visual or written, and that is the ability to distinguish patterns out of chaos.
I’m in awe of the universe, but I don’t necessarily believe there’s an intelligence or agent behind it. I do have a passion for the visual in religious rituals, though, even though they may be completely empty and bereft of substance. The incense is powerful and provocative, whether Buddhist or Catholic.
There are so many sitcoms, especially in animation, that we’ve almost forgotten what animation was about – movement and visuals.
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.
Everyone concedes that photography is now a medium of exchange as much as a mode of documentation…. photographing has become the visual equivalent of cellphone chatter.
Today the challenge is not visuals, but to be able to tell a riveting emotional story, something that can reach deep down inside the audience’s heart and twist it like a toy to make them laugh, cry or jump out of their seats to root for the hero.
The artist does not illustrate science; … [but] he frequently responds to the same interests that a scientist does, and expresses by a visual synthesis what the scientist converts into analytical formulae or experimental demonstrations.
A third or more of the brain is devoted to visual processing, not true of any other sense. We have color vision and it is truly binocular. This sophistication is not true of other senses, such as smell, where many genes are actually mutated and no longer work.
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.
Some people I see – people who do more or less have prerecorded tracks – their persona is such that the visual side of just them is way more important and multi-dimensional. Me, I’m boring to look at.
We really like to express ourselves artistically with all of the visuals and the theatrical side. It all plays a really important part to us.
No one likes to admit that in the end we all die by inches, gradually losing all the defining visual characteristics that make us us
I’m a big fan of film for one reason: because it is visual.
Reading in the third millennium B.C. may therefore have been a matter of hearing the cuneiform, that is, hallucinating the speech from looking at its picture symbols, rather than visual reading of syllables in our sense.
OneвЂ™s visual language is not something that manifests overnight. It develops organically over a life-time. The shifts can be so subtle as to be virtually imperceptible and, at times, will come to fruition so rapidly, and with such force, that the profundity is all-consuming. That is lifeвЂ™s work.
What is the nature of the genetic endowment? How does acquisition proceed? Etc. Scientists do routinely ask similar questions about the visual system, system of motor organisation, and others – including, in fact, the digestive system.
Fashion is a mysterious energy, a visual moment-impossible to predict where it goes.
I wanted to be a visual artist because I grew up around a lot of painters and photographers and had a very artistic upbringing. And I fantasized about being a drug-dealer when I was a kid. I thought it would be a good opportunity; I knew that the market would be strong. Is that bizarre?
I’m a visual thinker, not a language-based thinker. My brain is like Google Images.
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.
I was an artistic dilettante for a while, in photography and collage and the visual arts.
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.
The visual palette suggests the creepy pastel paintings of Guy Peellaert (Rock Dreams); the fantasy battles with monsters and samurais echo the muscular landscapes of Frank Frazetta and Boris Vallejo. The movie is like an arrested adolescent’s Google search run amok.
I like telling the story in a visual way. I don’t like explaining a lot in dialogue.
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.
I also felt The Kite Runner was a story that would lend itself well to a visual retelling in a graphic novel.
I’m quite a softy, yes. I have a blank spot with respect to visual art, but I have perhaps a compensating hypersensitivity to poetry and music.
A lot of rappers been putting out a lot of sub-par visuals. I feel like the visuals could be better.
Lisp has all the visual appeal of oatmeal with fingernail clippings mixed in.
A visual understanding of great composition and how to use a camera and expensive lenses can be learned, but drive and a real hunger for making photos and telling stories… I don’t think that part can be learned. You either have that inside, or you don’t.
Acting is primarily is where I want to go. But seeing how the visual effects guys work, and the special effects guys and the art department guys, how they work and seeing their visions is really interesting. I don’t think those guys get the recognition they deserve.
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.
Today there is no greater force in the molding of the North American mind than the invasion of the imagination by the visual media.
Musically, it’s difficult to believe Jim has only two hands and one set of vocal cords. You would think that there were a dozen of him if you closed your eyes and listened. From a visual artist’s standpoint, Jim is a man of a thousand faces, all spellbinding.
I know that I’ve played a lot of comedic roles. It’s a visual medium. When you get one role, you start to get cast in that role for awhile because that’s what people have seen you do, and have hopefully seen you do it successfully.
I often envy my friends who are visual artists. Visual artists have other things to work with. Other media. I envy my sculptor friends: they have hunks of matter. Marble. Wood. It’s physical, which I find very appealing. What we have is nothing, is just glaringly blank.
We’re living in a world where everything moves very quickly. We’ve become a very visual society, so I think it’s a very natural thing that people are captivated with the illustrations in a story.
Simplicity is all. Simple logic, simple arguments, simple visual images. If you can’t reduce your argument to a few crisp words and phrases, there’s something wrong with your argument. There’s nothing long-winded about ‘LibertГ©, Г©galitГ©, fraternitГ©’.
I felt I really wanted to back off from music completely and just work within the visual arts in some way. I started painting quite passionately at that time.
I am fascinated by language in daily life: the way it can evoke an emotion, a visual image, a complex idea, or a simple truth.
I’ve always been a visual person, I’m formerly a graphic designer. I’ve always seen myself as an observer. I like to maintain objectivity and don’t get too intimately involved in my subjects.
I’m a visual thinker. With almost all of my writing, I start with something that’s visual: either the way someone says something that is visual or an actual visual description of a scene and color.
People judge you because of your weight and your food issues. It’s very visual.
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.
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.
The danger of these collaborations across disciplines is in having too strict of a division of labor – in my case, of getting stuck doing the music. When I make an album, I write music, I write lyrics, I come up with the visual design, etc. I get to do all of that stuff.
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.
Sometimes there’s a disjoint between what works on the page and what works with visual story telling.
My visual quest is driven by a desire to create a universe capable of supporting feelings and ideas.
Beyonce is such a visual artist. This was just trying to figure out another side to her that could be fun and young and exciteful and a great video.
We share a huge visual memory bank, mostly through painting and other images in history. I think when a modern photograph taps into those, sometimes very subliminally, it makes people respond.
Visit your local supermarket or retail chain. You’ll experience a lot of visual stimulus, but it’s unlikely that your other senses will encounter any compelling messages.
Visual art and writing don’t exist on an aesthetic hierarchy that positions one above the other, because each is capable of things the other can’t do at all. Sometimes one picture is equal to 30 pages of discourse, just as there are things images are completely incapable of communicating.
It is striking how our language reveals the visual nature of our thoughts about the future state of affairs. When we invent the future, we try to get a mental picture of what things will be like long before we have begun the journey. Visions are our windows on the world of tomorrow.
If I don’t see a music video to it while writing it, I just scrap it immediately. It’s very visual.
Can the vast technology beneath our gaze be anything but a representation? Any optical artifact… The city panorama is a theoretical (ie visual) simulacrum: in short, a picture, of which the preconditions for feasibility are forgetfulness and a misunderstanding of processes.
Unfortunately, young Russian artists are in a difficult position today. Painting, like all other arts, rests on a continuity of experience. More than anything, young painters and sculptors need to know the works of their immediate elders. Such a continuity does not exist here to a sufficient degree in the visual arts.
After meeting the family, they really felt like a sitcom family, … I thought it would be cool if we did a reality show, but told it with the visual language of a sitcom format.
I think most albums deserve a documentary because [an album] is a visual book. You don’t have to read up on it because you can listen and watch the whole story. I would love to see lots of albums [become films.]
This recognition, in real life, of a rhythm of surfaces, lines, and values is for me the essence of photography; composition should be a constant of preoccupation, being a simultaneous coalition – an organic coordination of visual elements.
There’s definitely a visual aspect and an emotional aspect to a song. And that harks back, for me, to theater.
Having visual impressions is, of course, necessary for seeing things, but it is not sufficient. What must be added is not anything sensible. And it is precisely this that unlocks the outer world for us; for without this non-sensible something, each of us would remain locked up in his inner world.
To accept Naturalism is to reject such entities as Cartesian minds, private visual and tactual spaces, angelic beings and God.
Making my work more visual is something I am increasingly excited about. I am hopeful that it will broaden access to some of the ideas being engaged in activist and scholarly communities of which I am part.
I’m a big non-believer in manual driver and kernel configuration, be it visual or not.
Sometimes you’re writing a song and you have an image whilst writing a song. I don’t think you ever base a songwriting process around a video, but when you’re writing a song sometimes it’ll be a very visual song.
Modernism has a reputation for being a forbidding phenomenon: its visual arts disconcertingly non-representational, its literary efforts devoid of the consolations of plot and character – even its films, it’s argued, fall well short of that true desideratum: entertainment.
There are people who seem to be on the verge of going either way, and something kicks in to support either the visual or the auditory. Maybe if you are in a rush for success you follow the one that is the most successful, and the other falls to the wayside.
Drawing from art history and mythology allows me to connect with viewers in a familiar, yet loose visual framework. Blending disparate histories and themes can give the overall presentation a recognizable, yet unique flavor.
At the end of the day it’s not a weight contest, it’s a visual contest. And it doesn’t matter what you say you weigh, if you don’t look that big then you don’t look that big.
I’m personally more struck by visual things more than musical.
Each time you do a film you gain a lot of experience and build a visual resume where people get to know who you are.
Pay attention to your visual themes.
The film that really struck me was Ridley Scott’s Blade Runner. That was a film I watched many, many times and found endlessly fascinating in it’s density. I think the density of that film is primarily visual density, atmospheric, sound density, moreso than narrative density.
Some visual artworks are made to be talked about more than to be seen, others are made to be seen more than to be talked about. I think I belong in the latter category.
I use depth in my visuals even in 2-D, and found that 3-D is actually liberating.
Well, visual language is another boring discussion about the nature of film.
A part of me wants to rely less and less on comedic visuals and make more substantial standalone music. And get a sitcom on TV where I can let my comedy do the talking there.
I write when I have to; I write when the song is done and I deal with the idea and I just go with it and I’ll become what that song is all about until I have finished it. And when you do that, it makes the song more visual, it makes it more personal.
Visuals are as artistic as sounds, so being serious about both isn’t a contradiction to me.
Both the writing and the visuals in that sense are very exploratory. It goes back to my rule for myself [in] making it.
Art in the United States is a kind of visual entertainment focusing on expected narratives.
Art shouldn’t be something that you go quietly into an art gallery and dip your forelock and say ‘I have to be very quiet, I’m in here amongst the art.’ It’s here, art’s everywhere. It’s how you use your eyes. It’s about the enjoyment of visual things. And it’s certainly not for any one group of people.
A written word gets preserved in so many forms. But movies which comprise of both audio and visuals have to be done with care and a lot more details.
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.
To dismiss basic contexts such as link colours, page layouts, navigation systems, and visual hierarchy as ‘boring’ or ‘pedestrian’ is akin to laughing at a car’s steering wheel as unimaginative.
I like photography because it is a reality medium, unlike drawing which is unreal. I like to mess with reality…to bend reality. Some of my works beg the question of is it real or not?
I wasn’t a big fan of social anthropology. And, luckily, that created room for me to work in visual arts because I sort of ignored my requirements. I think I was attracted to social anthropology because I liked to travel and was always interested in far-off places.
I’ve always liked puzzles, since I was a kid. I like party games, silly games. I loved chess. I enjoy jigsaw puzzles, but I’m not particularly visual.
Intuition was not just visual but also auditory and kinesthetic. Those who watched Feynman in moments of intense concentration came away with a strong, even disturbing sense of the physicality of the process, as though his brain did not stop with the grey matter but extended through every muscle in his body.
Boys, young men, men of all ages are being captivated by the new visual grammar which pushes men to pout and posture.
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?
the paper is static, flat. How are we to represent
the rich visual world of experience and
measurement on mere flatland?
I draw on a lot of cinematic influences like Ingmar Bergman and Wim Wenders, artists who let a story take its time. Comics are a visual medium, and visuals should be allowed to tell some of that story.
For me nature is not landscape, but the dynamism of visual forces.
I just think that pop music is very interesting in how it can reach so many people. I like that I can tell stories and I just wanted to be heard more, I guess. That’s why it’s pop, but in my mind I don’t really view my music as pop, I don’t really view it as anything. I just look at it as a picture, I like visuals.
I like my visuals to feel like movies.
Even if I don’t think in visuals about the music while I’m doing it, after the music is finished, it could be great to incorporate that in the live show or doing my own music videos.
I am interested in ideas, not merely in visual products.
I could quite happily just make music because it conjures up a whole visual world for me in my mind.
If you ever saw All That Jazz , Bob Fosse was kind of raised dancing in strip joints and the whole era of burlesque, and that form ran his visual aesthetic, the pacing and rhythm of what he did.
It’s as though aesthetic value, quality, could be preserved only by concentrating on ‘absolute’ or ‘autonomous’ art: thus on visual art… that held and moved and stirred the beholder as sheer decoration could not.
There’s that kind of song, “Whoah baby, I love you,” which doesn’t have a visual element, but a very strong emotional element, and these are the great songs to me – those ones that you put them on and they just make you feel great, or whatever.
I think Catholicism took root very quickly in Ireland because it’s a very superstitious religion, the holy ghost, the holy spirit, it has a goddess, very visual, the music.
You must have a visual sense if you want to be a photographer. It is a very subtle thing, this visual business.
I think visual literacy and media literacy is not without value, but I think plain old-fashioned text literacy and mathematical literacy are much more powerful and flexible ways to organize your mind.
By the visual pattern, but mostly I’m guided entirely by my ear, what I hear.
Good design is a lot like clear thinking made visual.
I really love the fact that instrumental music can have you do your own inner-movies or your own visuals to the sound. There’s not lyrics dictating what you should feel.
I’m really a nightmare for the fashion designer because I take away all of his authority, and I become the authority, and I turn him into my assistant. You could say I intervene, and I intervene in a very determining way in all the aspects that have to do with the visual construction of the film.
If you want to add visuals to your blog posts, presentations or whatever it is, and you’re as bad at drawing as I am, I think tracing photos is a good place to start.
The thrill of doing visual effects doesn’t exist.
As bad as we are at remembering names and phone numbers and word-for-word instructions from our colleagues, we have really exceptional visual and spatial memories.
I’m very fond of the strictly visual cartoons I did when I was breaking in in the 1970’s. Over time I migrated to a more verbal approach.
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.
The tone of the picture and the atmosphere was in my head and in my blood in a way once I’d decided to make the picture. I had to find my way through that to choose, select, emphasise certain visual elements and sound.
A picture book is a small door to the enormous world of the visual arts, and they’re often the first art a young person sees.
The visual is essentially pornographic, which is to say that it has its end in rapt, mindless fascination.
My bottom line is that I think Ridley Scott is one of the greatest visual artists of our time and I feel very privileged that he wants to work with me, so I go with that flow.
It’s about the characters, it’s about the film, it’s about the process of making stunning visuals and a huge, epic movie. It doesn’t matter if my head was covered in a black plastic bag and I was bouncing around in a space hopper: That’s the villain of Chris Nolan’s ‘Batman!’
I wanted to write something visual that I could read to the children. This was when I created the idea of Redwall Abbey in my imagination. As I wrote, the idea grew, and the manuscript along with it.
Radio is such a perfect medium for the transmission of poetry, primarily because there just is the voice, there’s no visual distraction.
The way I create music is maybe like a painting, to compose in a more visual way. Basically it’s the music that I want to hear- that’s my inspiration and bottom line. I just try to get ideas from books, movies, paintings.
I’m super interested in visual, and I love that being in a band can be as much about making an image as it is about making a sound.
In the work of Seurat, you can see the dots of neutral colors carrying the form and then the dots of more intense color that make the color texture. It is a totally different principle that than of the Impressionists who used broken color to imitate visual effect.
Erwin Schrodinger has explained how he and his fellow physicists had agreed that they would report their new discoveries and experiments in quantum physics in the language of Newtonian physics. That is, they agreed to discuss and report the non-visual, electronic world in the language of the visual world of Newton.
With a short lens I can reveal the hidden things near at hand, with a long lens the hidden things far away. The telephoto lens provides a new visual sensation for people: it widens their horizons. And, conversely, the things under our nose invariably look good when blown up really big.
For me the visual is just as important as the music. I would never record without my red lipstick. It was my way of getting into character, sort of like Method singing.
I’m a great believer in visual distinctions.
Every day the eye is subject to a thousand tiny shocks as a thousand industries compete for the eye-kick, the visual hook that will lock the consumer into product for that crucial second where the tiny – or not so tiny – leap of the imagination is made.
Problems with visual design can turn users off so quickly that they never discover all the smart choices you made with navigation or interaction design.
The action movies changed radically when it became possible to Velcro your muscles on. It was the beginning of a new era. The visual took over. The special effects became more important than the single person. That was the beginning of the end.
Use your freedom to experiment with visual ideas.
Pixar has outdone itself in visual magic and vivid storytelling.
I want everything to build and create a massive artwork composed of different songs, colors, physical art and visuals.
I love to perform not only music, but to make performances extremely visual, and create almost a magical fantasy. It’s really an uplifting style of art that combines visuals and music in very dreamlike ways.
I was always creative with the artwork. Always creative with the visuals. That’s what made me standout.
Semiotics is a general theory of all existing languages… all forms of communication – visual, tactile, and so on… There is general semiotics, which is a philosophical approach to this field, and then there are many specific semiotics.
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.
I like visual arts, and what I love doing is participating in the making of it.
Well, I have an idea, usually a visual image of some sort. A setting. A particular, I don’t know, urban scene, a particular time of day. Something that grips my imagination for some reason.
I like looking at the characters. Seeing them always brings up some voice or attitude. I am much more visual, and that works so much better than having someone tell me what the character is all about.
The visual impact of a United States battleship springs from its ability to put Soviet ships on the bottom of the sea and to put devastating firepower ashore – nothing else.
I’ve always said if I had to pinpoint what’s more important in a scary movie, the soundscape or the visuals, I’d pick the sound.
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.’
The theme, or harmony, of a painting can be created by any one of its visual elements. A single colour… repetition of shapes… Light can be a theme.
I think too many comic book covers are way too busy, crammed with far too much information, both visual and verbal, that just becomes a dull noise.
I knew I had to write a good screenplay to be taken seriously, and I knew I needed to present Mississippi on visuals instead of just saying, ‘Hey I wanted to film it in Mississippi.’ It would seem like it was a hometown boy just wanting to be home.
I think every writer has their waves of inspiration and their ways of doing things. But writing is very difficult for me. It’s something I haven’t practiced as diligently as my visual art. I’ve been doing visual art because I think it’s easier for me to construct, whereas words are very difficult.
We are aiming to create a new genre with a new style in terms of visuals and sound. A mixture of dance and metal which strays away from the traditional or conventional metal band.
I like visual imagery in my head.
I go to a very visual place when I’m singing. It’s very cinematic and I get this feeling of space. I love when music does that.
Music and visual performance have to influence each other. Designers and musicians have to be the nexus of all things pop culture, so I think about designers when I’m making music.
Film is much more visual, a scene is typically a lot shorter, youвЂ™re dealing with a lot more characters, a lot more locations and youвЂ™re able to rely on things that you just can never do on the stage.
I’m up for a massive, bombastic tour with hydraulics, robots, lasers, 15 costume changes, projecting on a power station, big impact, big visuals. I’d love to realize the theatricality of the whole thing. To be overwhelming, to surprise you, maybe to play in hidden spaces.
I use visual perception as a way of bringing people into my space.
There is a reality to the way the actors play the scenes, given that there is a real, animatronic, moving robot in the room. So the level of nuance and realism in performance was higher because we built the real ones, and it keeps the visual effects guys honest.
The richness of our contemporary visual world must be seen as a danger. It is an overwhelming and oppressive world. A world that manifests itself fundamentally through the image is only a few steps from totalitarian manipulation.
There is no society ever discovered in the remotest corner of the world that has not had something that we would consider the arts. Visual arts – decoration of surfaces and bodies – appears to be a human universal.
Nowadays people’s visual imagination is so much more sophisticated, so much more developed, particularly in young people, that now you can make an image which just slightly suggests something, they can make of it what they will.
People are visual and hands on learners.
Racism is a visual pathology.
So to me it’s very similar in terms of trying to distill within the image, those elements that are gonna form, hopefully, a compelling visual statement.
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 try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.
I was born inside the movie of my life. The visuals were before me, the audio surrounded me, the plot unfolded inevitably but not necessarily. I don’t remember how I got into the movie, but it continues to entertain me.
What I am really curious about is the visuals of cinema… the form.
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.
I believe in a visual language that should be as strong as the written word.
When I began making art, I just thought I liked it. As a woman who was placed in spaces with various conditions, conventions, and restrictions on self-expression, turning to art – whether visual art, writing novels, or writing articles – was to gain freedom from the space around me.
For us the most important thing is to be visual, and for the cats watching us to have fun. This is all we want. We get very upset if people get bored when we’re only half way through smashing the second set.
I just see in pop culture, music, visual art, books, etc., a real hunger for the new and different, and I think that’s amazing. Satisfying this hunger is part of the responsibility of a creative person.
To me, photography is not just a visual art, but something closer to poetry – or at least to some poetry, such as the haiku.
I should say that I am a visual person. I experience with my eyes and never, or rarely, with my ears… to my constant regret.
Certain Academy Awards like Sound and Visual Effects and Editing are sometimes referred to as technical awards. They’re not technical awards. They’re given for artistic decisions. And sometimes we make them better than others, and I guess we made a couple of good ones on this one.
I got a job as the Visuals Art’s Teacher at my Alma Mata, St. Mary’s College. Then my interests shifted to animation. Ironically, it was one of my students who sparked this energy in me by introducing me to an animation program called FLASH. So I dabbled and played around with it.
Gardeners often focus exclusively on plants, missing the absolutely essential visual role played by structures, from paths to pavilions.
I have so much music that I do. Just like how a visual artist is always sketching something but they might not share it, I’m always writing songs or coming up with melodic lines on piano or guitar. It’s therapy. It’s always happening.
If you write a good action sequence well in a novel, you’re already writing it for film, because the only way to do it well is to use some of the same tricks. They’re rhetorical, not visual, but it’s the same move.
I try to write from a really honest place when I write pop music and carry the song into a more deep and more symbolic visual
There is a director who should make ‘Silver Surfer’ – he is mentally committed to it. He’s doing another movie now. What’s most important to me about this guy, first, is that he’s incredible with visuals. But he’s also a spiritual guy, a Zen Buddhist. … Galactus is a force of nature, not a being. That’s all I’m saying.
I don’t see perfection as far as a visual image of perfection. “Perfection” to me is, I walk away from a situation and say, “I did everything I could do right there. There was nothing more that I could do.” Like, I worked as hard as I possibly could have. That’s perfection.
The visual arts must communicate to the human spirit, forcing individuals to reflect on themselves and their existence beyond their own self-interest.
The visual does seem to me the most thoroughly grasped and recorded among my impressions; sight seems to be my principal sense organ, and “seeing” supplies the key metaphors for reporting the perception.
By the way, pornography? It’s a new synaptic pathway. You wake up in the morning, open a thumbnail page, and it leads to a Pandora’s box of visuals. There have probably been days when I saw 300 vaginas before I got out of bed.
Movies are a complicated collision of literature, theatre, music and all the visual arts.
My work makes people understand things in a visual way that I could never understand in a literal way – like the way you deal with and break down problems, and don’t come up with answers, but [find] a pathway that becomes clearer.
I start by thinking I’m going to make use of all possibilities without troubling any longer about problems when something starts to be art. I don’t make the ETERNAL work of ART, I only give visual information.
Film fixes a precise visual image in the viewer’s head. In fiction, you just hope you’re precise enough to convey the intended effect.
Music is so visual now.
Television has accustomed us to brief, intimate, telegraphic, visual, narrative messages. Candidates are learning to act, speak, and think in television’s terms. In the process they are transforming speeches, debates, and their appearances in news into ads.
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.
Words, isolated in the velvet of radio, took on a jeweled particularity. Television has quite the opposite effect: words are drowned in the visual soup in which they are obliged to be served.
When I would present my work as a student, often I would hear, “Your project is too formal” – it’s too form-based; it’s too form-driven. Which is kind of shocking for a visual practice, for someone to say something discouraging about a focus on an exploration of aesthetics.
I feel it’s my job as the artist who is making the music to pair it with visuals that I see in my head while writing the music in the first place.
I write on a visual canvas, ‘seeing’ a scene in my thoughts before translating it into language, so I’m a visual junkie.
The system is the work of art; the visual work of art is the proof of the System. The visual aspect can’t be understood without understanding the system. It isn’t what it looks like but what it is that is of basic importance.
Communication is the key, and it’s one thing I had to learn-to talk to the actors. I was so involved with the visual and technical aspects that I would forget about the actors.
There will be scenes in a movie where people are walking through the park, or through a forest, and you’re seeing the flickering leaves around them, and they’re walking, but you’re also hearing their words. It’s an interaction between where they are and what they’re saying that’s both visual and verbal.
The visuals are equally as important as the music. It’s all a complete experience.
Comics are such a powerful educational tool. Simply put, there are certain kinds of information that are best communicated through sequential visuals.
We are not passive exhibitors of visual or auditory or tactile images. We have selves. We have a Me that is automatically present in our minds right now.
For me the visual is just as important as the music.
Every act is a visual judgement.
I always liked the visuals to be choice and at the same time minimalist. And, I love black boxes. After all, that’s what theatre is, it’s an empty space, and it’s both limited and unlimited because the space is the space, but what you can do with people’s imaginations is really endless.
Visual media is the dominant art form in our present day culture, whereas poetry is, at best, a proxy. Yet poetry and film are both “dream factories.”
Different people have different styles, but there is an opportunity as a director to be a writer in every moment, with every visual cue and every piece of production design. Everything is a decision, and everything can be obsessed over.
The hope for me going back into television – after doing what will have been two years of radio – is to bring that authenticity with me. And, to not have the visual be overpowering the content.
When you make a 3-D movie you actually have to plan the way the visuals look because there’s a parallax issue, and there’s an issue of editing; you can’t edit very quickly in 3-D because the eye won’t adjust fast enough for it.
My mom is an artist and my own fiction is deeply visual.
Lucifer is the patron saint of the visual arts. Color, form – all these are the work of Lucifer.
I try to think of the songs as little movies. They’re always pretty visual to me. I can always sort of see them. I don’t always know what the end result is going to be, and I don’t know exactly what it’s going to sound like, but I can kinda see them.
I am primarily a writer of books, and I enjoy that. But I come to realize that a lot of people prefer a visual medium.
Everything is pointing to one’s own activity of looking, to an awareness and sort of hyper-consciousness of visual perception. The only way I know how to invite this experience is by removing the other things (i.e., subject matter) for you to think about.
One should really use the camera as though tomorrow you’d be stricken blind. To live a visual life is an enormous undertaking, practically unattainable. I have only touched it, just touched it.
Music has always been a part of me and art in general. I love visual art as well.
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.
The paradox in the evolution of French painting from Courbet to Cezanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity.
When you walk around, your vision system is processing a whole bunch of signals in milliseconds and judging that a visual object is a wall, or an imminent cliff, or a car heading towards you. This might be disturbing to a lot of people, but some of those guesses are errors.
Rollerball is an incoherent mess, a jumble of footage in search of plot, meaning, rhythm and sense. There are bright colors and quick movement on the screen, which we can watch as a visual pattern that, in entertainment value, falls somewhere between a kaleidoscope and a lava lamp.
I should feel the air move against me, and feel the things I touched, instead of having only to look at them. I’m sure life is all wrong because it has become much too visual – we can neither hear nor feel nor understand, we can only see. I’m sure that is entirely wrong.
I try to make songs visual and tactile to kind of put you into the action.
You have to realize I like doing big movies that appear on a big screen. So the visuals and the audio have to be of a certain quality before I start to get excited about the thing.
When you combine the great stories from the comics with the action and visual excitement of the movies, it doesn’t get any better!
Ant Prune was holding one of the squirrels in her hand. вЂAnd once a day, we have ta clean their little private parts with a Q-tip, so they’ll learn ta clean themselves.’ That was a visual I didn’t need
Some of the most remarkable and profound worship encounters I’ve experienced have happened in churches with no production, no lighting, no exciting visuals or amplification, sometimes with not even a single musical instrument.
Men are so visual, they see a woman who appeals to them physically, and it will trigger the romantic love system faster.
When I hear a song, I close my eyes and see a lot of stuff happen, and I love making those visuals come to life. It’s always been a passion.
The only purpose of the visuals, in any film, is to serve the story.
I don’t worry about great visuals that they showed that weren’t actually running on real hardware. It doesn’t matter. Gamers don’t make their purchase decisions based on movies that were shown in May for products that come out in March.
Some directors, like Stevens [George Stevens], shoot full circle, 360 degrees, and that’s what’s right for them. I generally shoot at about a seven to one ratio. But part of that is because I’ve worked on every screenplay, so I’m further along in the visual concept.
My approach is to 100 percent get the concept and the visual right. Get the client to love the space. Once they love the space, everything’s possible.
I generally wear a lot of black clothes, and I think that comes from wanting to be as neutral as possible. We use a lot of visuals on stage, so I kind of hope people are watching those and not looking at me.
I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.
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.
It entered the visual vocabulary of photographers, painters and sculptors and focused on what pictures and words look like and what they can mean.
In visual art it’s better once to see, than one hundred times to hear.
The thing is, the better the hardware, the more time we spend to improve the visuals to take advantage of the hardware.
Fat people are so rarely included in visual culture that fat is perceived as a blot on the landscape of sleek and slim.
For me, the subtlety of black and white inspires the imagination of the individual viewer to complete the picture in the mind’s eye. It doesn’t attempt to compete with the outside world. I believe it is calmer and gentler than colour, and persists longer in our visual memory.
The image isn’t just created with the camera. That’s just part one. The editor gets an imprint. The colorist does something to it. Visual effects does something to it. It’s not just what you capture that people are going to see. The image gets made in many ways. In production and then in post.
I’m a visual artist myself and always have been so it’s very natural for me to be very concerned with presentation, whether it’s artwork or onstage.
The panorama-city is a ‘theoretical’ (that is, visual) simulacrum, in short a picture, whose condition of possibility is an oblivion and a misunderstanding of practices.
Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.
At the age of 80, I’m becoming a visual artist. This could be my rebirth.
I’ve always enjoyed film, but I’m a little afraid of it because I think it is very powerful as a medium. You have the visuals, the sound, the colors, all of these things coming at you, and they transport you physically so it becomes this surround sound, virtual reality.
Creating music, visual art, producing music and film are always at the forefront of my life. Everything great that has come into my life has been through channeling and manifestation of a vision or dream. Pure passion equals love.
I love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.
Mary’s [Hamill] working from an outsider perspective and I’m working from an insider-outside perspective. In this case, it will bring an added dimension to the visual aspects of the work. Also the processes and approaches that I’m thinking are about learning. I’m playing it by ear to experiment and see what happens.
I’ve always admired people with really strong presences and felt that caring about the visual component of what you do is not intrinsically superficial or vain.
An echo is a good way to describe the photogram, which is a visual echo of the real object. That’s why I like to work with the photogram, because the contact with what is represented is actual. It’s as if the border between the world and the print is osmotic.
It’s just weird because like when I was writing Cry Baby I like…the only thing that I was thinking about, when writing it, was the concepts and the visuals, and the way that it sounded kind of happened naturally.
I can’t stop thinking about cutting myself up. Visual bruises can be covered with make-up, but down to the core, I’m all bruises.
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.
If there is going to be visuals for a song, I want them to be equally as good or better than the song.
In addition to writing in received forms, I have also had fun making up forms – MГ¶bius strips and visual poems, particularly.
Hypotyposis is the rhetorical effect by which words succeed in rendering a visual scene.
I’ll listen to a song so much that ideas start to form out of daydreaming. It’s as if I’m reverse-scoring the track and building visuals around a specific beat or riff that’s grabbed me.
A community united by the ideals of compassion and creativity has incredible power. Art of all kinds—music, literature, traditional arts, visual arts—can lift a community.
My son was so excited about me doing three roles, and Jo and my parents loved the craft work and visuals, and I think ’24’ will be the most favourite movie of mine at home, and they are all waiting to watch the film in theaters.
I guess through my learning disability, through dyslexia, I’ve always been a visual learner – I take in everything through my eyes.
I’ve never lived in the visual world. I live very much in an emotional-contact world.
But audio is a component of video, so there’s always been that anyway, and although we’ve never expressed a visual side apart from the Grateful Dead movie, I don’t find it that remote, you know what I mean? It’s a departure of sorts, but it’s like a first cousin.
We also use our imagination and take shortcuts to fill gaps in patterns of nonvisual data. As with visual input, we draw conclusions and make judgments based on uncertain and incomplete information, and we conclude, when we are done analyzing the patterns, that out picture is clear and accurate. But is it?
If you do not have an alert and curious interest in character and dramatic situation, if you have no visual imagination and are unable to distinguish between honest emotional reactions and sentimental approaches to life, you will never write a competent short story.
The young generation has a different curiosity that is more visual.
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.
I’ve always written songs with a visual counterpart in my mind that no one else can see.
Is the scene always visual? It can be aural, the frame can be linguistic: I can fall in love with a sentence spoken to me: and not only because it says something which manages to touch my desire, but because of its syntactical turn (framing), which will inhabit me like a memory.
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.
To write well, to have style … is to paint. The master faculty of style is therefore the visual memory. If a writer does not see what he describes-countrysides and figures, movements and gestures-how could he have a style, that is originality?
Just as water, gas, and electricity are brought into our houses from far off to satisfy our needs in response to a minimal effort, so we shall be supplied with visual or auditory images, which will appear and disappear at a simple movement of the hand, hardly more than a sign.
Painting is the making of an analogy for something non-visual and incomprehensible – giving it form and bringing it within reach. And that is why good paintings are incomprehensible. Creating the incomprehensible has absolutely nothing to do with turning out any old bunkum, because bunkum is always comprehensible.
I think almost always that what gets me going with a story is the atmosphere, the visual imagery, and then I people it with characters, not the other way around.
It’s so important to unclutter the mind. For me, creativity is greatly impeded just by the chatter and visual clutter of life. It’s really important to have a space that is really clear for whatever is emerging to come.
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
It is my entire visual art practice: I eat, sleep, think, write about and do drawing.
We are attacked by radio and television and visual communication at such speed and with such force that painting seems very old fashioned …why shouldn’t it be done with that power and gusto [of advertising], with that impact.
A conscious decision to eliminate certain details and include selective bits of personal experiences or perceptual nuances, gives the painting more of a multi-dimension than when it is done directly as a visual recording. This results in a kind of abstraction… and thus avoids the pitfalls of mere decoration.
I don’t think we have reached a point where art really translates into science. Perhaps for some people, having good visuals can help translate into science.
My Vocabularies vary, its so exclusionary You’ll find my baby pictures in modern dictionaries Next to mighty mercenaries, and visual visionaries
The costumes, the light rigs and the effects are seamlessly joined. I’m kind of bummed that I don’t get the experience that you get with just watching it cold. By the time we’d seen all the visuals put together, I’d sort of become used to that world. It’s still pretty impressive.
We used the camera only as a means of expression and as a visual medium that offers possibilities found in no other artistic technique, possibilities that the eye cannot catch in their totality. We tried to establish a characteristic vision of photography.
My primary process of perceiving is muscular and visual.
My paintings have an ongoing dialogue with photography. There are many painters who would say the same, I’m sure. The difference is that I’m thinking more about the temporal aspect of photography, rather than the visual.
I hope that many visual journalists will be hired or funded along the way as well – we urgently need their perspectives.
Since my early childhood, I’ve played drums in visuals as well as sound.
The style of ancient Egyptian art is transcendently clear, something 8-year-olds can recognize in an instant. Its consistency and codification is one of the most epic visual journeys in all art, one that lasts 30 dynasties spread over 3,000 years.
I don’t really do too many interviews – I like creating and being visual, shooting videos and movies. I just like showcasing my skill and challenging myself.
[Mel Gibson] played this kind of sadistic motorcycle cop. He was terrific. And he had this great sense of visual comedy.
I can’t do fiction unless I visualize what’s going on. When I began to write science fiction, one of the things I found lacking in it was visual specificity. It seemed there was a lot of lazy imagining, a lot of shorthand.
An aspect of the work has to do with altering the literal/cultural meaning of existing public images by making minimal changes and additions. Using superimposition, juxtaposition and other contextual changes, I am functioning as a visual guerrilla.
What is it about the English countryside вЂ” why is the beauty so much more than visual? Why does it touch one so?
Thai society rarely attempts to control literature in the same way that it vigilantly polices visual art. It’s ironic because people in this society are more aware of literature than they are of art.
Directing is about as visual as I get and I will leave artmaking to the rest of the family.
For me photography is not an intellectual process. It is a visual one…. Whether we like it or not, we are involved in a sensual business.
In the seventies, a group of American artists seized the means not of production but of reproduction. They tore apart visual culture at a time of no money, no market, and no one paying attention except other artists. Vietnam and Watergate had happened; everything in America was being questioned.
What we cannot express by the art of thinking, by the art of science or philosophy or logic, we can and should express by the poetic, visual, or some other arts.
More than anything, there are more images in evil. Evil is based far more on the visual, whereas good has no good images at all.
Architecture is a visual art, and the buildings speak for themselves.
The creation of the island, or the impression of the island, as it changes in the mind of the character also came in to play… there was another very important collaborator, Rob Legato, on special visual effects. And then ultimately there’s Thelma Schoonmaker, who keeps me focused during the editing of the picture.
Visuals are compelling, but sometimes the only way to get your point of view and purpose across is through words. Great copy can be embedded in any medium, any technology.
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.
Making a movie is the same as an orchestra; it’s moving all the different instruments and the sounds, the kinetic and the auditory and the visual all together. I’m probably the trombone.
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.
I think we will always have the impulse towards visual poetry with us, and I wouldn’t agree with Bly that it’s a bad thing. It depends on the ability of the individual poet to do it well, and to make a shape which is interesting enough to hold your attention.
When people in stadiums do the Wave, it’s the group-mind collective organism spontaneously organizing itself to express an emotion, pass time, and reflect the joy of seeing the rhythms of many as one, a visual rhyming or music in which everyone senses where the motion is going.
You always exaggerate things in a movie. If it makes a good visual and it excites the kids that’s good.
extreme visual clarity, tunnel vision, diminished sound, and the sense that time is slowing down. this is how the human body reacts to extreme stress.
There are many aspects about what and why we photograph: visual pleasure, personal empathy, intellectual stimulation, technical excellence, etc. Serious photographers and artists will try to create works that are original. Over a career period they may develop a singular identity in their images.
MP3 players and flash memory devices are good for data storage and playback of music and digital talking books, but they offer little or nothing in the way of visual presentation of information and communication.
Visual supervision is a joke for development workers. Visual supervision is for prisoners.
The essential function of the (design) profession in our society is to enhance and cultivate communications toward: Easier understanding of ideas and complex problems, in the shortest possible time and higher visual and auditory retention of data.
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.
Dreaming is another form of thinking, more concrete, more economical, more visual, and often more emotional than the thoughts of the day, but a thinking through of the day, nevertheless.
I like language, and in film, language is diluted by the visuals and the music. Theatre is what I was trained for.
Psychotic hallucinations, whether they are visual or vocal, they address you. They accuse you. They seduce you. They humiliate you. They jeer at you. You interact with them.
I never seeВќ God. I seldom run into visual clues that remind me of God unless I am looking. The act of looking, the pursuit itself, makes possible the encounter. For this reason, Christianity has always insisted that trust and obedience come first, and knowledge follows.
If you look closely, there is no book more visual than Three Trapped Tigers, in that it is filled with blank pages, dark pages, it has stars made of words, the famous magical cube made of numbers, and there is even a page which is a mirror.
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.
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.
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 wanted to see how funny I could be without making the choice that every 10 minutes something big and visual had to happen.
We believe that the all-new ES 350 epitomizes Lexus’ new design direction. Every element of this vehicle invites participation — both visual and tactile. Its design is something drivers will need to experience and not just observe.
I consider myself more of a visual comedian than a physical one.
Everything about video games has changed. The writing, the acting, the visuals, obviously – everything has gone to a new level. And the difference that I see as an actor is that I don’t have to push that extra bit to sell what’s going on.
I’m not going to wait on anybody to put out music or a visual. Everything I will do is on my own. I’m not waiting on anyone.
I’ve been working with music videos and commercials, they are naturally very music driven and visual driven. So that feels like my natural element to be working with that.
I’ve had moments where I’ve met people who were complete, like, idiots, who could not understand visual culture to save their lives.
Man is used to the fact that there are languages which he does not at first understand and which must be learned, but because art is primarily visual he expects that he should get the message immediately and is apt to be affronted if he doesn’t.
(True,) the white hole said. (My name is Khairelikoblepharehglukumeilichephreidosd’enagouni-) and at the same time he went flickering through a pattern of colors that was evidently the visual translation.
When I’m creating characters, I definitely think of theme songs. Writing for me is very visual, so I sometimes think of it in terms of a movie with a soundtrack, and try to transfer that to words.
The Western memory museum is now mostly a visual one.
Concrete poets continue to turn out beautiful things, but to me they’re more visual than oral, and they almost really belong on the wall rather than in a book. I haven’t the least idea of where poetry is going.
Drue [Langlois] and I started making music together before we started the Art Lodge, so I guess musical collaboration came first. The music we made, and our performances, always had a visual component. I could never play an instrument, so these other elements compensated for that a little.
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.
Stereotypes are ways of making extremely primitive and simple differentiations. Differentiations of gender, race, class, social status – so ordinary social life is very much built upon a whole repertoire of stereotypes we carry around. And those are immediately laminated onto people, and it isn’t just visual.
Black and white photography is truly quite a ‘departure from reality’, and the transition from one aspect of visual magic to another was not as complete as many imagine.
I think people should be able to have at their behest, like, four hours of music, entertainment, visual knowledge, different pathways[.] That’s what I’m trying to do with modern technology, not just another song and another song.
Taika [Waititi] came up… We kind of had and we sort of named this girl Moana, named after the ocean. And we had a very, a visual outline of the story. And we heard about Taika from people in the South Pacific that we talked to.
Us visual thinkers like me, be good at things like industrial design, graphics, art, those kind of jobs.
There are so many films now where you know the story is a supporting role to the visual effects.
Had I not been told to look, I would have quite, ignorant of what was really there, because I had ‘made plans’ and was wearing visual and emotional blinders that limited my perceptions and my vision.
I like visual layers, stylistically, that’s something I enjoy and seek to do.
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.
If the United States is the melting pot of the world, you need entertainment – you need visuals that represent that.
Yes, for me audio-visual performance has its roots in my experience working as an improvising musician and composer.
The popular eye is not untrained; it is only wrongly trained – trained by inferior and insincere visual representations.
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.
A lot of people in the art world hate to use the word “Photoshop”, like it’s cheating or easy or something. I say bollocks to that – for me, it’s my tool, my paintbrush if you like, and lets me create my own visual language.
All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression
I’m more of a visual person, but I think that reading’s extremely important. But I’m very easily distracted. It takes certain books to really grab you in.
Everybody is trying to make something real, something with a core of substance, and of course, an exciting action movie with a lot of terrific stuff and fantastic visuals and everything, but at the core of it, it’s a movie with substance and something that is going to make people think.
You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.
It is difficult to say why I decided I wanted to be an artist. Obviously, I had some facility, more than other people, but sometimes facility comes because one is more interested in looking at things, examining them, more interested in the visual world than other people are.
In the same way that musicians inspire me, artists and photographers like David LaChapelle influence me with their visuals. A photographer like LaChapelle creates an entirely new and unique visual for their work, and that’s what I’d like to do with the Charli XCX world as well.
In visual futurism, the line between total fantasy and futuristic is a thread of reality.
My exposure to visual art all my life was intensive.
The Germans were much more graphical. The expressionism is much more than cinema. It was a movement with artists, painters, music and architecture, so it’s really graphic and visual. And the French were something else.
The musician of disordered sound, the poet of decomposed language, the painter and sculptor of the fragmented visual and tactile world: they all portray the break up of the self and, through the rearrangement and reassemble of the fragments, try to create new structures that possess wholeness, perfection, new meaning.
Maybe there is a sort of a sweet middle ground there, where you can do something with something with like 20 to 40 million and do something which is much more character driven, but still create a sort of visual spectacle around it. That is what I’d like to do.
So much of my poetry begins with something that I can describe in visual terms, so thinking about distance, thinking about how life begins and what might be watching us.
I was thinking about sort of the similarities between “art movies” and lowbrow movies like kitschy sexploitation films. I think they share certain qualities, whether they’re hyper-stylized or overly emotive or just very visual.
From my personal taste, it needed more of a visual style. It’s so hard when you’re adapting something that’s so visually scrumptious like Mike Oeming’s drawings. They’re so unique to comics, but they’re a voice.
I can hear you and I can watch your mouth move, and then I put together the sounds and the visual image and I can understand the words as I integrate the two signals.
I just want to be a storyteller, and I think the way to do that is by your lyrics, by your visuals, by your choreography, by your dance. It’s imperative as an artist.
We [Rodriguez and Frank Miller] wanted to take the movies and turn them into a graphic novel, so that people wouldn’t even know what they were looking at. It’s still visual storytelling, but it’s approached completely different. The two mediums don’t have to be separate mediums. They can be one and the same.
Visual renditions of war not only establish what can be seen, and the audio-track established what can be heard, but the photographs also “train” us in ways of focusing on targets, ways of regarding suffering and loss.
I don’t like seeing myself on television and I don’t enjoy filming. What I actually enjoy is thinking about how I am going to express something or how we are going to make the visual metaphor.
When I write my scripts, there’s a point at which if I’m not starting to see them visually, I feel like I’m kind of cheating. So my scripts are laden with a lot of visual description, which makes them not so much fun to read – I kind of weigh them down.
You set up the look, the visual effects and the sets, and that’s awesome, but I enjoy the casting most of all. That’s where you really get to define the show.
What sets you apart from the rest of humanity is your ability to give visual form to an idea – the skill to transform it into something more than merely the insight or perception alone.
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.
We are still struggling with people who don’t feel comfortable going into museums. As a visual artist I ask how artists can be part of enacting a change.
We visual communicators have so much good to share: rather than sharing our chemical and style addictions, we could be using our professional skills to help communicate health information, conflict resolution, democracy, technology.
Hey, I wasnвЂ™t a weirdo. I was in the audio-visual club.
Literacy, the visual technology, dissolved the tribal magic by means of its stress on fragmentation and specialization and created the individual.
Comics don’t work without the visuals, obviously.
Many an object is not seen, though it falls within the range of our visual ray, because it does not come within the range of our intellectual ray.
As far as I am concerned, taking photographs is a means of understanding which cannot be separated from other means of visual expression. It is a way of shouting, of freeing oneself, not of proving or asserting one’s own originality. It is a way of life.
When you think of a brand, you should immediately understand it from the advertising attitude, from the words and visuals.
‘Junglee’ was a magical journey. When you see the visuals of the film or the song ‘Fakeera,’ it reminds you of Dehradun.
Adam does most of the work when it comes to videos and he basically does the same as I do with the lyrics. The videos are his visual interpretations of our music.
I wanted wherever possible to lean into the comic form and do things in the story telling that could only be done in comics and which pay homage to the many strands of comic and visual storytelling tradition.
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.
The idea of a visual icon that gives you a sense of information very quickly and that you can easily just say “That’s what the style is.”
For me nature is not landscape, but the dynamism of visual forces, an event rather than an appearance. These forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles.
I think songs and visuals are so evocative of each other.
The visual is important. “Let’s get to work” says let’s get it done, and that’s what they want.
The sound is the key; audiences will accept visual discontinuity much more easily than they’ll accept jumps in the sound. If the track makes sense, you can do almost anything visually.
I’m not as klutzy as I used to be… I’ve had visual therapy and all kinds of things to help, but I still wrap my purse around chair legs when I stand up to leave. I do ridiculous things on camera because I do them in my life all the time.
Art works because it appeals to certain faculties of the mind. Music depends on details of the auditory system, painting and sculpture on the visual system. Poetry and literature depend on language.
I’m always trying to find something unique or a project that I can do something unique in. When the director has a vision for a piece that I’ve never heard before, and they can back that up with visuals and they talk a good game, I get really interested in the world that they’re trying to create.
An individual’s ability to draw is… the ability to shift to a different-from-ordinary way of processing visual information – to shift from verbal, analytic processing to spatial, global processing.
The presidency has become a series of visuals I don’t know how a woman fits into.
I’ve been obsessed with this kind of visual storytelling for quite a while, and I try to create material that allows me to explore it.
A modeled form is less striking than one which is not. Modeling prevents shock and limits movement to the visual depth. Without modeling or chiaroscuro depth is limitless: movement can stretch to infinity.
After about the first Millennium, Italy was the cradle of Romanesque architecture, which spread throughout Europe, much of it extending the structural daring with minimal visual elaboration.
All of my early images were really visual experiments to me. They were attempts to answer unasked questions like, what happens if you put images of six men and six women together, or if we combined a monkey’s image with a human, would the result approximate an image of early man?
I know that everyone who listens to radio creates you in a visual image that they need you to have. Whatever that is, I thought, let them have it. Let me be who the listener needs me to be and let me not contradict that with the reality of my photograph and risk disappointing them.
As a comic, you learn to use your voice because you don’t have the benefit of visual things.
The different aspects of my activity, whether it’s writing criticism, or doing visual work that incorporates writing, or teaching, or curating, is all of a single cloth, and I don’t make any separation in terms of those practices.
Sometimes we need to step back and understand the power of video games. ‘Dear Esther’ does just that. Through visuals, audio, and narration, this title weaves a story around the player as they explore different areas in the game.
It always sounds kind of trivial, but when I was a kid I was always so impressed by how serious the comic books were. I always liked how they were half way between literature and the cinema. I liked the visuals and I liked the simplicity of a certain type of moral dilemma.
Animation remove you from a visual reality – if it was live action, you wouldn’t be able to see through the person’s mind. But animation takes a step away. It creates a very stylized landscape, but at the same time it is the form that is best able to address the reality of being alive and being in pain.
Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics.
I had no special training at all; I am completely self-taught. I donвЂ™t fit the mold of a visual arts designer or a graphic designer. I just had a strong concept about what a game designer is вЂ“ someone who designs projects to make people happy. ThatвЂ™s his purpose.
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.
The ultimate role of photography as a contemporary language of visual communication consists of its capacity to slow down our fast and chaotic way of reading images.
Detroit 1-8-7′ – the numbers are police slang for murder – is filmed in that blue-collar Michigan city, providing a flavor of authenticity. Detroit offers a unique visual landscape that tells the story of the city and what it’s been through.
I see myself as a recorder of history, sort of a visual historian.
You grow up trying to interpret, worshipping, visual symbols. It’s a body-soaked imagery that you’re looking at.
The best visual effects are when you shoot as much of what you can in camera. And it’s really good for the actor’s performance to have something real.
I know that in some ways I operate from a kind of antiquated interest in imagery, while many contemporary poets are not so interested in imagery. I think part of it is my training, and just my visual sense of things.
Taste tends to develop very unevenly. It’s rare that the same person has good visual taste and good taste in people and taste in ideas.
Which even though we do have a very visual aesthetic and identity, we love it when people make their own videos to the music.
Be able to describe anything visual, such as a street scene, in words that convey your meaning.
For me, I’m not a great wordsmith, and so maybe from lack of great dialogue writing, I thought it’s easier and better to express a story through visuals.
For me, when I started writing, it was mostly poetry. And poetry is very visual. I feel the same way about the way that I approach direction. There might be a theme within the visuals that you’re choosing that people don’t consciously pick up on, but that they feel.
In images,… beauty was the agency that caused visual pleasure in the beholder; and any theory of images that was not grounded in the pleasure of the beholder begged the question of their efficacy and doomed itself to inconsequence.
Medieval and ancient sensibility now dominates our time as acoustic and multisensory awareness displaces the merely visual.
By phonemic trans-formation into visual terms, the alphabet became a universal, abstract, static container of meaningless sounds.
To experience visually, and to transform our visual experience into plastic terms, requires the faculty of empathy.
I found that it wasn’t so oddball to like music and poetry and visual arts, they’re kindred spirits.
Both of them are close to how I’d envisioned them. In Ico’s case the design and in SotC’s the visual look were very close to what I’d imagined.
Today every city, town, or village is affected by it. We have entered the Neon Civilization and become a plastic world.. It goes deeper than its visual manifestations, it affects moral matters; we are engaged, as astrophysicists would say, on a decaying orbit.
I really want to do a book on the history of the no-wave music scene in New York, how it extended out and formed lots of other things. It was such a great visual culture.
The funny thing is musicians often love to go to see visual art because you’ve got all these pictures to turn into metaphors.
Instagram is a media company. I think we’re about visual media.
I think television has betrayed the meaning of democratic speech, adding visual chaos to the confusion of voices. What role does silence have in all this noise?
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.
Life rarely presents fully finished photographs. An image evolves, often from a single strand of visual interest – a distant horizon, a moment of light, a held expression.
Everything for me is visual. That’s just how my head works.
Just the textures of things are really important to me as I’m writing; I think atmospherics and visuals can have such emotional impact if you can harness the thematic thread between how scenes look and how your characters feel. I like to tug on that thread.
Smells are so powerful and evocative, sometimes stronger than visual cues.
We live in a society where we basically live and strive on what people think about us. WeвЂ™re more visual people so what we see is basically what we believe which is not necessarily true.
taste governs every free – as opposed to rote – human response. Nothing is more decisive. There is taste in people, visual taste, taste in emotion – and there is taste in acts, taste in morality. Intelligence, as well, is really a kind of taste: taste in ideas.
For me art is a continuous discovery into reality, an exploration of visual data which has been going on for centuries, each artist contributing to the next generation’s advancement. I wanted to go a step further and extend the boundaries.
Mark Ryden is my favorite visual artist.
When cars have the sensory systems around them, GPS intelligence, they’re looking at the world not only in visual spectrum, but infrared, ultraviolet and everything else that’s going on and they’ve got reaction times in microseconds. Not a tenth of a second. They’re a hundred thousand times faster.
A lot of musicians are good cooks, and a lot of cooks are musicians, but I think that may just be a result of the creative impulse finding several means of expression. Probably an equivalent number are visual artists, woodworkers or compulsive liars.
One of my first things I was fascinated with when I got on set was how does Grant do all this Flash stuff? it looks so good as the end product, but how does the special effects team work? How does the visual effects team work?
It sometimes happens that you just know… You have a feeling that things are coinciding, and that they operate and work on a number of levels – obviously visual aesthetics, but also content and narrative in terms of the bigger picture. When document and metaphor come together.
Typography is the craft of endowing human language with a durable visual form.
I’d always want to decorate my bedroom. I needed visuals and to be stimulated by things. I’m still like that. It’s the way I see the world.
I just – I kind of see it that way. I find the higher angles down. I do – look, you can go back to the staircase shots in “Third Man” or the staircase in “La Dolce Vita.” So I just find that visual construction in a frame.
Designing a tour is a daily thing.
I work on it every day for several months. IвЂ™m involved with every department, from lighting, sound, music direction, the visual direction. The set list is something I create myself and thatвЂ™s the root of everything
I work on it every day for several months. IвЂ™m involved with every department, from lighting, sound, music direction, the visual direction. The set list is something I create myself and thatвЂ™s the root of everything
Let’s find visual excitement in what nature has to offer.
I like doing clay work. It’s different from drawing on a page because you have something to mold into different shapes. It’s quite visual, it’s a thing you can hold and feel, and that makes it different from drawing.
Some things can be perfectly expressed by sound alone and images would only be disturbing. Other times, sound would be possible, but visuals are much stronger and closer to what I want to express and then again, they sometimes overlap perfectly.
By the end of this decade, computers will disappear as distinct physical objects, with displays built in our eyeglasses, and electronics woven in our clothing, providing full-immersion visual virtual reality.
I do this sort of thing where, even for my own shows, I like to supply my own fingerprint of creativity. Not just ideas, technical things: offering model data, creating visuals for my stage show myself, babysitting renders, learning that technology as I go. That’s what makes me feel like an artist.
I love composing and writing music and dancing and performing and conceptualizing creatively for visual mediums. I love to create.
I’m huge on visuals. I love visuals.
But he didn’t need to seek visual confirmation of what he’d just heard to know she had. And the truth was, he couldn’t blame her. He’d not have let her die, either. He’d have moved mountains. He’d have battled God or Devil for his wife’s life. She’d betrayed him. He smiled faintly.
In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.
After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.
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.
I grew up in the dance school my mother owned, and I see everything in body shapes, everything visual.
I think it’s very, very important that people outside the capital cities, not just Sydney and Melbourne but also Brisbane Perth Adelaide and so on, have the greatest access to the best cultural experiences they can in both the performing arts and the visual arts.
Typography at its best is a visual form of language linking timelessness and time.
I was just trying to blend the standup that I do almost with like the visual sketch stuff that I did on “Saturday Night Live.” And so in terms of how elastic in the world is, we’ll see what we can get away with [in John Mulaney show].
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.
There is visual illiteracy with text-oriented films like bloody ‘Harry Potter’ and ‘Lord of the Rings.’.
I was interested in ideas, not merely visual products. I wanted to put painting once again at the service of the mind.
Visual journaling allows us to access our inner language of imagery and express it both verbally and visually, while exploring the connection between image and word.
That’s very important to me as well: presentation and how people perceive you, the visual of how things look, your posture. I learned that from [Bob] Fosse and Jerome Robbins, from all the great theater directors and the Busby Berkeleys. You overdeliver: visually, emotionally.
When the target audience is American teenage kids, you can have problems. My generation prized really fine acting and writing. Sometimes you have to go back to the basic principles which underpin great visual comedy.
What to paint was a problem for the war artist… the old heroics, the death and glory stuff, were gone forever… the impressionistic technique I had developed was now ineffective, for visual impressions were not enough.
When you’re actually making a film, it’s just people on your back all the time wanting stuff and you’re constantly having to it deal with them. It’s probably the most time consuming of all the arts, but I do love it because it is a great mix of visual art and music and writing.
I am charmed by concrete poetry (but it’s very hard to do well, I think) and in general by the idea of mixing the visual and the textual.
Slowly poetry becomes visual because it paints images, but it is also musical: it unites two arts into one.
I’ve written all of my songs, I directed all my videos. Every part of what I’ve done for music, from the visuals to the business, I did it. And I’m really proud of that.
It’s a nice visual. I had just done Blade and I put on more weight for Blade and I thought I might as well use it so I kept it and added a little more. I wanted him to be a big bear.
I find a lot of inspiration through visuals. When I was 12, I saw Aurora’s ‘Runaway’ music video. Something inside me clicked, like, ‘That is what I want to do, no matter whether it goes anywhere or not.’
To say that a body or its gravitational field ‘bends in space’ in its vicinity is the discuss visual space in acoustic terms.
All the arts, music, the visual arts, acting and dancing arts, cooking arts, and I believe sports, will save the human race because they can leap over barriers, religions, leap over barriers of race, politics.
I’m very open to any visual conceits and any possibilities at my disposal to be better explain to people the ideas I’m exploring.
With all the arguments and discussions about the Vietnam War, what did the visual image do? It ended the war.
If people get inspired by ‘Baahubali’ as a film, and they realize they can make a big film or a historical film which has good drama and good visuals, if they realize there are good stories to tell here, then it is good.
I was at a time of my life of making choices, I suppose: am I a writer, am I a visual artist? And when I was a teenager. I thought I would be a film-maker. Am I a musician? If so, what kind of musician am I?
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.
It was van Gogh’s madness that prevented him from working; the paintings themselves are ineffably sane, if sanity is to be defined in terms of exact judgment of ends and means and the power of visual analysis.
As a visual arts teacher, I have to keep my mind open. I have explores styles from pointillism to cubism.
Music is a spiritual doorwayВ its power comes from the fact that it plugsВ directly into the soul,В unlike a lot of visual art or textual informationВ that has to go through the more filteringВ processes of the brain.
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.
When you make a 3-D movie you actually have to plan the way the visuals look because there’s a parallax issue, and there’s an issue of editing, you can’t edit very quickly in 3-D because the eye won’t adjust fast enough for it.
A film only works when its content works. The visuals can be breathtaking, but if the content is not good, it won’t work.
When I was in the sixth grade my friend and I always won writing contests, and we read a lot of books. We were always the ones that read the most books in class. I thought about writing but visual arts weren’t part of my vocabulary.
For me, visuals are as important as the music. I just love escapism and giving people something to escape to. To me, that’s what art is.
I’m photographing all the time. I’m such a visual person and I don’t want to miss that moment.
When you make art, those things change shape into something else. It’s transformation into a body of different visual elements.
PowerPoint is like being trapped in the style of early Egyptian flatland cartoons rather than using the more effective tools of Renaissance visual representation.
When a person has access to both the intuitive, creative and visual right brain, and the analytical, logical, verbal left brain, then the whole brain is working…And this tool is best suited to the reality of what life is, because life is not just logical-it is also emotional.
We are limited by our visual, physical senses; yet from the Scriptures we can readily conclude that heaven is indeed not distant at all. It is nearby.
I am a visual man. I watch, watch, watch. I understand things through my eyes.
I saw a commercial for the maxi pads for the bigger gals they’re making now. That was a nice visual while I was eating.
[DMT] raises all the questions in a hurry. It’s so intense and so oriented toward the other and the visual and the hallucinogenic that it isn’t really like a drug. It’s more like an event that you ran into. You just came around a corner and there was the unspeakable.
For me, photography must be visual, rather than intellectual and ideological.
Design is a form of competitive advantage. People tend to think of design as good art, good visual language, which it absolutely has to be. But it’s also about the ability to do systems thinking.
All of a sudden I pulled up short and harked back to Ridley [Scott] holding up the script in Manhattan, at the St. Regis breakfast room, and saying, “It’s very visual, isn’t it,” and realized it was the key to my whole life since then.
Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.
As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.
Develop your visual memory. Draw everything you have drawn from the model from memory as well.
What draws me to theater and religion are these rituals made to make you feel emotion. It’s so banal in an interesting way. In visual art it’s about making you feel emotional, but it’s more subtle.
I feel the theatre is the most unique one of all [the arts] for collaboration. I feel very fortunate to be in a field where I really do get to have long conversations with the visual artists, the actors, the musicians. It’s all art forms rolled into one and I feel very fortunate to be a part of it.
I mean, we should only be talking about the merits of film [“Moonlight”] because one of the great things about the visual language is that it is the great equalizer.
When the director has a vision for a piece that I’ve never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they’re trying to create.
If a chemical drug like Viagra is accepted by society and by the world to ignite desire, then what is the problem with my audio-visual drug called cinema which ignites desire? Both are basically doing the same thing!
It’s about love and loss, it struck me as a meaningful and compelling story, and the shifts in reality offered up strong visual possibilities.
The visual image is a kind of tripwire for the emotions.
But, working with directors whose history is in performance, I feel like there’s a different kind of focus, as opposed to directors who are more prone to being really technically proficient or visual. I feel like there are two schools of both, and a director needs to have both.
New Yorkers only cross water for visual culture if the water is an ocean. The East River throws us for a huge loop. If we started going to Queens and the Bronx for visual culture, many of our rent, space, and crowding problems would be over indefinitely.
In mixed company women practise a kind of visual shorthand that they later decode in detail in other women’s company.
If you want a lot of visual humor, the way to do it is have visual people do it.
We’ve been working on the visual effects for a year, so we’re trying to raise the bar. Stuff will absolutely come out at the screen, but it will absolutely not look as bad as that tire in Final Destination.
It’s the same with visual arts, you have some really cool, wonderful striking images that make you think and then again you have wonderful striking images that just take you away from the existing world for a second. And I like the latter a bit more
You have only 30 seconds in a TV commercial. If you grab attention in the first frame with a visual surprise, you stand a better chance of holding the viewer. People screen out a lot of commercials because they open with something dull. When you advertise fire-extinguishers, open with the fire.
Most writers are unhappy with film adaptations of their work, and rightly so. ‘Field of Dreams,’ however, caught the spirit and essence of ‘Shoeless Joe’ while making the necessary changes to make the work more visual.
I think the benefit of a Catholic childhood is your belief in visual symbols as transmitters of information and clues about life, whether it’s the mystery of life or life in general.
We can write the new chapters in a visual language whose prose and poetry will need no translation.
Evidently the arts, all the visual arts, are becoming more democratic in the worst sense of the word.
Color, like everything else concerning visual expression, usually boils down to a gift, an innate sensibility and sensitivity. Ultimately, artists develop their own palette and color sense.
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.
I’m really visually stimulated more than anything. I don’t really listen to music. I’m more into watching telly or watching movies and visual art.
Try to reach for a simple, visual phrase that tells you what the picture is all about and evokes the essence of the story
I’ve always been very interested in the visual aspect of what I do.
I’ve always been obsessed by visual art as I have been by music personally, but that doesn’t mean anything professionally.
I went in and read for ‘Maleficent,’ and it was hard to get a concept of what the imagery would be like. So you have a hard time seeing how you’ll fit in to the movie through the visuals.
Seeing sound, the high order stuff that’s not audible still affects how everything else behaves. There might be a visual metaphor for that somewhere.
How the visual world appears is important to me. I’m always aware of the light. I’m always aware of what I would call the ‘deep composition.’ Photography in the field is a process of creation, of thought and technique. But ultimately, it’s an act of imaginatively seeing from within yourself.
If you were blind you would hardly have fallen in love in the first place. But now, do you truly wish to see the beloved in the cold clarity of the visual apparatus? It may be in your better interest to throw a veil over the gaze, so as to keep her alive in her archetypal, goddesslike form.
I had to train myself to focus my attention. I became very visual and learned how to create mental images in order to comprehend what I read.
Painting for process is the visual equivalent of journal writing, done not for the sake of being seen or published, but purely for the telling itself.
Visual presentation of our heritage in glass is needed.
You always like to be the collaborator. I don’t want to take over the movie, because if I want to do that, I should really become a director because then you have the control of everything, basically. I’m very happy to just be the visual part of it, doing the visual part of the movie.
Since I started as an actress in the film industry, I realised the power of visuals and how that can fuel the imagination of our mind. It is very powerful. Therefore, I always cater to my own sensibility first and then to the world.
The small visual inconvenience of e-books is made up for with find and search functions, and the fungibility of digital text.
I try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.
What I’m trying to produce is the visual equivalent of the chord change that makes the hairs on the back of your neck stand up.
I don’t think comedians take advantage of the fact that television and film are visual mediums.
We don’t usually start out with a plot that we can pitch in two lines. We spend a year brainstorming and discussing ideas that are sometimes of a visual nature, sometimes just about characters and then we try to structure the story.
I am a musician who stopped working with music. Now I work with visual music, or audio-visual music.
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.
The concrete is better than the abstract. The detail is better than the commonplace. The sensual [through the senses] is better than the intellectual. The visual is better than the mental.
The Hulk was a unique character because of his strength and power. He doesn’t have a costume like Spiderman or like Superman – The Hulk is more visual. His passion and his strength, that is what separates him from anything else.
It is difficult to talk about fashion in the abstract, without a human body before my eyes, without drawings, without a choice of fabric – without a practical or visual reality.
I love coming up with the stories and being creative and working with creative people and coming up with visuals and creating characters.
The visual and literary arts are of perennial interest to me, and these art forms have become more and more a part of my life; they have become companions of sorts. I cannot imagine my day to day experiences without the presence of these art forms. They’re absolutely essential.
My name is Raquel Welch. I am here for visual effects, and I have two of them.
My favorite films, I would put my answering machine up to the television set and hit record. I’d tape my favorite movies and then I could go back and listen to them again. I only had the soundtrack, I didn’t have the visuals. But I think it made me really pay attention to the soundtracks.
Readers, transformed by film and TV, are used to seeing stories. The reading experience . . . is increasingly visual.
Sometimes the guys who run the visual effects shop will bury it in and not tell us. We’ll be in the middle of the edit, watching it for the fifth or sixth time, and we’ll be like, “What’s that big W on that building? I don’t think we can do that. We haven’t asked DC.” And then, they take it out.
A lot of the films now are more focused on the visuals than on the actors. I think all directors should go to drama school.
I like working closely with artists. I think that’s very important in fantasy and science fiction – the visual aspect of the worlds and the characters.
When you’re in a club or a theater or even an arena, yeah, you want visuals, you want a good light show. But Slayer has always been about the sound. We have to sound good. It has to be tight.
Visuals are important, as listeners like to ‘see’ the song.
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.
The visual can seduce you, leading to false deductions, and ultimately, even the finest ideas can be reduced. Take for example, sexuality. If it is reduced down to the moment and to pleasure, things like that, that’s not what sexuality is all about. Sexuality was to be in tandem with the sacred, not amputated from it.
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.
Visual storytelling of one kind or another has been around since cavemen were drawing on the walls.
And also the idea of not making it apparent that it’s different from the rest of the film, even though there are visual differences, the audience is supposed to think that they are with him when he wakes up in the morning.
Today with the Internet, I search for film and video archives online. It’s an ever-growing moveable visual feast of delicacies from all around the world.
We have a great responsibility. Whatever we make will become the truth, the visual reality that a generation will accept.
It frequently happens that I begin a novel with just a visual image of something, a vague sense of people in three dimensional space.
A cinematographer is a visual psychiatrist, moving an audience… making them think the way you want them to think, painting pictures in the dark.
‘Zabriskie Point’ was a time when I was in a lot of change and flux, and these incredible visuals hit me like they had rearranged the organs in my body. The ending and the free-floating debris and everything is an image that burned itself in my consciousness.
I begin with movement… I believe that all human visual experiences are born from movement..
By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards – new architecture, design and show-off contemporary art. The Sloane domestic aesthetic – symmetry, class symbolism and brown furniture – became as unfashionable as it had been hot in the early Eighties.
What a man sees depends both upon what he looks at and also upon what his previous visual-conceptual experience has taught him to see.
I am a horrible visual artist. I can’t fix a car, sew, knit, cook, etc. Statistically, there is more I don’t do than do.
This is one of the things I don’t like so much about French cinema – we have tendency to concentrate on actors and dialogue and we don’t care so much about the visual aspect. I love when you use all the elements at your disposal.
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.
The human digestive and visual systems did clearly evolve over a very long period.
The most inspiring objects are books. I have about 5,000 volumes in my home library. It’s an unending source of visuals and ideas.
The goal is to align with your core group of collaborators, who understand your vision and aesthetics. I usually show them visual material of what I have in mind, as well as a color spectrum of mood boards.
My interest in filmmaking was always very much the visuals and images.
Movies are visual, aural, they involve people, and life, and ideas and art, they are so elastic. They can hold anything, withstand everything, and make you feel anything. Other arts can do that, but movies are the only ones that can incorporate other media into cinema.
Video is just exploding on Instagram – motion is the new filter. We’re going to help people use visuals to tell their stories.
It’s a visual world and people respond to visuals.
It’s interesting vocalizing something that is visual.
And the camera position, the organization, looking for repeating forms, shapes, trying to set up a visual rhythm seemed to come very natural. All of a sudden I was in a forest of aluminum and steel rather than a forest that we might think of in a traditional sense.
I’m definitely inspired by Michael Jackson. I watch all his videos all the time. And Busta Rhymes, early Busta Rhymes – I really was inspired by him. He’s really the reason why I started rapping. Because all his visuals. I loved his videos when I was younger.
There’s some connection between visual images and music. But there’s plenty of old records where I have no idea what the band looked like, or even what sort of context the music was played in.
I would have been a visual artist. When I was in high school, that was one of the things… I had to make a decision what I was going to go to college for, and at the time, I also painted and sculpted. I got more attention for my performing, so I thought that was a better idea.
Art is good, bad, boring, ugly, useful to us or not. It does or doesn’t disturb optical monotony, and succeeds or fails in surmounting sterility of style or visual stereotype; it creates new beauty or it doesn’t.
To put the matter in Aristotelian terminology, visual impressions are prior in the order of being to concepts pertaining to physical color, whereas the latter are prior in the order of knowing to concepts pertaining to visual impressions.
I often find myself privately stewing about much British art, thinking that except for their tremendous gardens, that the English are not primarily visual artists, and are, in nearly unsurpassable ways, literary.
For me, movies should be visual. If you want dialogue, you should read a book.
No picture, no footage, no story. The people these days require some visual evidence in order to believe what they read.
I guess why the Ocean’s films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it’s a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
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.
The horror genre has been for me an original way of taking an explicit visual and visionary approach to directing.
I am very much aware of the visual side of things. I do a lot of photography. I often take Polaroids of things that strike me as visually interesting, just to remember them and perhaps use later.
But in the old days, visual artists used to fall into two distinct categories: those of us who created images with cameras and those of us who applied stuff onto other stuff, with brushes or other tools.
I collect art books. I have hundreds and hundreds of them and they get me to start hearing things. Sometimes people look at them, but I find that visual art gets me listening, gets me hearing things.
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.
Communicate with visual literacy – Make good use of all the non-verbal ways of communication – color, shape, form, texture.
Visual ideas combined with technology combined with personal interpretation equals photography. Each must hold it’s own; if it doesn’t, the thing collapses.
Writing, in its physical, graphic form, is an inseparable suturing of the visual and the verbal, the вЂњimagetextвЂќ incarnate
When I see somebody sun-drenched in a shot with their espadrilles and a cup of coffee, I’m like, “Your life is amazing. It’s so perfect.” I get drawn into that very easily so it totally worked, because the visual style sucks you in. It makes you want that.
Light comes to us by the sensibility. Without visual sensibility there is no light, no movement.
Create instructions or a visual diagram for something that normally wouldn’t need them.
Most screenplays, most motion pictures, owe much more to the screenplay. Ingmar Bergman has such an economy of language, so little language in his piece, it is so visual, his moods are introduced and buttressed by camera rather than by word or character. But again, that’s unique.
I’m interested in concrete poems – anything that complicates the line between the written and the visual.
I think the artwork is very important because it gives people a visualization of my music. I wanted to create a whole visual aspect, so that the people listening to me can get a better understanding of my universe and integrate it fully into their own worlds.
I’ve always been more visual-based. I’ve kept my musical tendencies kind of in the closet.
As the spiral of modern art history continues to wind down, we can see the increasing demand for tradition in the visual arts.
I foresee online gaming changing when there are good audio-visual links connecting the participants, thus approximating play in a face-to-face group.
One of the things I’ve always personally tried to stress with this band was to have some kind of visual aspect and to be consistent with it – like, not to change.
Every artist who evolves a style does so from illusive elements that inhabit his or her visual storehouse.
Video is a funny thing. It’s one thing to be an artist, singer-songwriter, and use words and create pictures in people’s minds. And then be asked to do video for it, to actually give a certain visual for your song.
I’m also developing my own narrative, because I’m the son of a widow. And so, while working with women and gathering their oral histories, I’m taking a step back to do my own art book and visual work.
There is no way that my mother hasn’t influenced my career. She’s my first critic. She’s my best critic. She has the best instincts from writing to style to editing, to the visual elements of my career.
I’ve always put a lot of stock in aesthetics and visuals. I truly believe a picture is worth a thousand words and that fashion and glamour have the power to transport and transform someone.
A picture means I know where I was every minute. That’s why I take pictures. It’s a visual diary.
Me being able to be acting and doing other things has opened me as an artist, and I think even more from a visual standpoint.
Two respondents described dreams which they had related to the procedure. Both described dreams of vomiting fetuses along with a sense of horror … In general it appears that the more direct the physical and visual involvement the more stress experienced.
That’s the kind of visual that you’re trying to attract – something that in some way or another, connects you to what’s happening there in a realistic way.
The eye is the inlet to the soul, and it is well to beware of him whose visual organs avoid your honest regard.
When I first became really interested in building furniture, I went to Toys-R-Us, and spent $200 on Transformers toys. By taking the toys apart and studying how they moved, I was able to figure out how to hide a table leaf, what type of contraption I’d need to slide it under the table. I’m a really visual learner.
Big cities are chaotic. And chaos for humans – who have experience from their ancestors – is the last step before conflict. So, in the park, every kind of visual contradiction has been eliminated.
I’d have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn’t been able to shift into fiction.
I was pretty shocked [having concert in the Madison Square Garden]. It could have gone either way. But I think it’s the right time. Nobody does what we do with taking the visuals and making it a complete rock ‘n’ roll show with the really good songs. Nobody’s done that in a long time.
Cinema is ultimately a work of art, it is all about sound and visuals.