Ellsworth Kelly Quotes

In teaching color, you teach people how to look something and see the tone in it and break it down to be able to paint it and reproduce that color. But then, I'm psychedelic, so I look at color differently. I like colors that are in contrast with one another, so that they flicker back and forth.

It's a dirty little secret that I'm pretty self-conscious about coloring my own work. I just see so many people who love color more than me that I get freaked out every time I hit Photoshop. Black and white? I know exactly what to do, but color offers a million solutions to problems I don't even know exist.

I've never been one for color theory or color wheels or undertone rules or anything like that. I don't know if my red lipstick 'should' be more blue or more orange.

I'm passionate about color. My best friend and I sit and look at Pantone books for fun.

Don't put needless expense into painting a head! Don't try to match tints! Rose and pearly colours blend into each other so that no one can unite them if painted separately. Keep the impression of your subject as one thing!

But what is of great importance to me is observation of the movement of colors.

On the other hand, the artist has much to do in the realm of color construction, which is so little explored and so obscure, and hardly dates back any farther than to the beginning of Impressionism.

Color is a big part of what I do. It's like music. There are only so many notes in the scale, but there are endless permutations; there's no limit to the number. Color on the walls or furniture can reflect back and distort the reality of the true colors of lipsticks and eye shadow.

I don't like mixed colors that much, like plum color or deep, deep colors that are hard to define.

Simultaneous contrast is not just a curious optical phenomenon - it is the very heart of painting.

You must try to match your colors as nearly as you can to those you see before you, and you must study the effects of light and shade on nature's own hues and tints.

Stick to primary colors.

You can't get along without a knowledge of the principles and rules governing the influence of one color upon another. A mechanic might as well try to get along without tools.

I use dull colors in my drawings because I started out using a root beer base, because it seemed like an interesting idea, and when it turned out that it worked quite well as an ink, I started using other colors that would complement it, like grays from Higgins black writing ink and, more recently, Dr. P.H. Martin's olive green and vermilion.

I'm all about colors.

Not enough people enjoy working with color, which delights and inspires me.

You buy any book on color theory today, and it's just complete poppycock. Everybody comes out of school painting pink, purple and green. The whole damn cartoon industry has pink purple and green on their mind.

There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.

The chief concern of the French Impressionists was the discovery of balance between light and dark.

Color is definitely an important factor for me during all phases of producing a cover. I always start out with a loose idea of what I want to see when I'm doing my initial sketches. This choice can be informed by anything, but I usually tend to lean toward more simple color schemes... something with a very obvious push between warms and cools.

Sixteen million colors in your palette are hard for any artist, especially a beginner, to turn down.

Sunset is still my favorite color, and rainbow is second.

It's really easy to get colors right. It's really hard to get black - and neutrals - right. Black is certainly a color but it's also an illusion.

I'm thinking about color all the time. Sometimes even as far back as the plotting sequence.

I love seeing colours of various hues; they simply fascinate me.