Quotes About Texture

The other dry shampoo I was using was wet feeling but I love Prive's smell and how light and airy my hair feels afterwards!

I love things that have a vintage feel to them, just because there's a certain texture to them that we just don't have anymore. In fact I think I've been stuck in the 50s or 60s for a while...

Without stories we end up with stereotypes -- a flat earth with flat cardboard figures that have no texture or depth, no INTERIOR.

Think of an abstract painting as very, very low relief - a thing, not a picture.

An ice cream sundae isn't complete without a crunchy element.

If, however, we try to draw these mental images, we quickly realize that we don't have nearly enough information about shape, proportion, contour, or texture to do the job with much precision or character.

The three principles of a French plate are color, volume, and texture. They are rules of presentation. If your dish uses color strategically, volume (i.e., has height), and texture (mixes soft and hard, or juicy and crunchy), then it will appeal to a diner.

I've never tasted a store-bought tortilla that compares in texture or flavor with one made by hand, so I'm happy to invest some time. It's worth it just to see a friend take her first bite and understand, finally, that a flour tortilla is meant to be an essential component, not just a lackluster wrapper.

The novelist's obligation to remake the sensuous texture of a vanished world is also the historian's. The strongest fiction writers often do deep research to make the thought and utterances of lost time credible.

Proust writes, he remembers, physically. He depends on his body to give him the information that will bring him to the past. His book is called 'In Search of Lost Time,' and he does it through the senses. He does it through smell. He does it through feeling. He does it through texture. It is all physically driven, that language.

Memory is quite central for me. Part of it is that I like the actual texture of writing through memory.

Writing nonfiction is more like sculpture, a matter of shaping the research into the finished thing. Novels are like paintings, specifically watercolors. Every stroke you put down you have to go with. Of course you can rewrite, but the original strokes are still there in the texture of the thing.

Memory is quite central for me. Part of it is that I like the actual texture of writing through memory. I like the atmospheres that result if episodes are narrated through the haze of memory.

Un beau carré de gruyère, apporté dans un journal, gardait imprimé: 'faits divers' sur sa pâte onctueuse

Blue, green, grey, white, or black; smooth, ruffled, or mountainous; that ocean is not silent.

The colour, which resembled some of the bands in the meteor's strange spectrum, was almost impossible to describe; and it was only by analogy that they called it colour at all. Its texture was glossy, and upon tapping it appeared to promise both brittleness and hollowness.

There is silence, and then there is rural silence, silence you could feel and reach out and touch, silence with texture and distance.

Because of this the representation I'm interested in is of those things only the eye can touch.

'Tim Timtya' was different from what I usually do. I had to develop a texture to go with the song. In fact, many told me I sounded like Shreya Goshal, which came as a pleasant surprise. Transitioning from tracks like 'Sunny Sunny' to this one was quite different.

Mixing natto 424 times (don't ask me why 424 times) mostly eliminates its sliminess.

I love to create interesting textures with language. You can do it as long as it seems like a discovery.

If clothes look like a couch or an ottoman or a love seat, you just wanna stay away from it.

I've always liked long, flowing clothes,...I used to rummage around in my grandmother's trunks trying to find them. I love the feeling of chiffon and lace.

I love playing around with vintage fabrics and lace.