Quotes About Visual

Samuel Spade's jaw was long and bony, his chin a jutting v under the more flexible v of his mouth. His nostrils curved back to make another, smaller, v. His yellow-grey eyes were horizontal. The v motif was picked up again by thickish brows rising outward from twin creases above a hooked nose, and his pale brown hair grew down—from high flat temples—in a point on his forehead. He looked rather pleasantly like a blond satan.

and deeply seductive, storytelling tropes that you see in cinema.

Flesh decays; bone endures. Flesh forgets and forgives ancient injuries; bone heals, but it always remembers: a childhood fall, a barroom brawl; the smash of a pistol butt to the temple, the quick sting of a blade between the ribs. The bones capture such moments, preserve a record of them, and reveal them to anyone with eyes trained to see the rich visual record, to hear the faint whispers rising from the dead.

It's too bad for us 'literary' enthusiast, but it's the truth nevertheless — pictures tell any story more effectively than words.

Language alone is one of the worst means of expressing form, while drawing is incomparably the best.

A movie is so visually powerful, so overwhelming, that it tends to crowd out how you might have imagined things.

A movie will do in one second, with one image, what it will take a novelist at least a page to describe.

I am reminded, now, of Leonardo's advice to painters: You should fix your eyes, he says, on certain walls stained with damp. You will see in these the likenesses of divine landscapes, adorned with mountains, ruins, rocks, extensive plains; and you will see there battles and strange figures engaged in violent actions. For in such walls the same thing happens as in the sound of church bells, in whose reverberations you may find every word imaginable.

He looked down at the pattern of black, interlocking rings on the brown carpet.

Red is much nicer than blue.

What cannot be borne in reality, becomes a source of pleasure when it is transposed into the visual and somatic fiction of the dramatic spectacle.

Weaned on educational games and multimedia encyclopedias, kids naturally seek out the trivial when forced to read books. While visiting a school librarian, I listened to a high school senior seek help with an assignment: "I'm writing a report about Napoleon," he said. "Can you find me a thin book with lots of pictures?

A picture may be worth a thousand words but it needs a thousand words to describe a picture.

Significant Form" is the one quality common to all works of visual art.

I like form and shape and strength in pictures.

Typography is two-dimensional architecture, based on experience and imagination, and guided by rules and readability.

Lá no alto, sobre a cumeada, uma mancha compacta de sobretudos verde-escuros feitos de agulhas. Por baixo, rigorosamente alinhadas, até onde a vista alcança, as pernas de pau dos troncos, que param quando paras, andam quando andas e correm quando corres.

Her hair falls loose in a cascade of black curls, caught in a crown of magenta bougainvillea.

She reminded Lars of one of Renoir's women: small-faced and round-eyed with curly hair piled on top of her head, creamy-skinned, plump, and bosomy, possibly a little vacuous,

I have exquisite taste, but I just don't know how to put tasteful things together in any semblance of visual harmony. No. I am not good at creating visual harmony. It's OK. I'm good at lots of other things.

I had to admit the man looked amazing in jeans. The ancient denim clung lightly to his hips and followed the long lines of some remarkable thigh muscles. And although I made a point of not checking out his rear view, my peripheral vision was having a very good day." ~ Haven Travis on Hardy Cates

I've dropped myself into straightforward character pieces in order to explore that form and reap its values. But you are sort of restricted visually when your first requirement is to tell a fairly straightforward story.

I love dishes that feature the various shades of a single colour, making you stop to check what's in there.

My job as an editor is to gently prod the attention of the audience to look at various parts of the frame. And that - I do that by manipulating how and where I cut and what succession of images I work with.