Anastasia Soare Quotes

It is essential to an architect to know how to see: I mean to see in such a way that the vision is not overpowered by rational analysis.

Artists realise that mathematicians have a way of looking at the world that can make them see things differently.

Well, in any art there are a lot of technical things that you can get to like.

Indeed, an engineer designing a structure is not unlike an artist painting one. Both start with nothing but talent, experience, and inspiration. The fresh piece of paper on the drawing board is as blank as the newly stretched piece of canvas.

I see the world in rectangles. If I am talking to someone, I find myself analysing their face, working out how to recreate it in bricks.

One must always draw, draw with the eyes, when one cannot draw with a pencil.

When I'm ready to make a photograph, I think I quite obviously see in my minds eye something that is not literally there in the true meaning of the word. I'm interested in something which is built up from within, rather than just extracted from without.

I like engineering, but I love the creative input.

I have a visual imagination.

Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.

Directing is the best job going. I don't understand why everybody doesn't want to direct. It's an absolutely fascinating combination of skills required and puzzles set on every level - emotional and practical and technical. It calls up on such a wide variety of skills. I find it completely absorbing. I just love the whole process.

To put down an ideogram of a table so that people will recognize it as a table is not the work of a painter, but to sense it for a moment as a magic carpet with a leg hanging down at each corner is the beginning of a painter's imagination.

About 1998, when 'Wide World of Sports' and the 'Footy Show' came to an end for me, I couldn't type. When I started architecture, it was a very aesthetic, creative, an almost art process, where lettering and thick line were how you expressed yourself on the paper.

I didn't discover curves; I only uncovered them.

To confer the gift of drawing, we must create an eye that sees, a hand that obeys, a soul that feels; and in this task, the whole life must cooperate. In this sense, life itself is the only preparation for drawing. Once we have lived, the inner spark of vision does the rest.

Designing comes easy and quickly to me. I don't need to spend hours to complete an X amount of work for me. I feel designing is in me.

I'm a relentless sketcher. It goes back to how you process the world around you - the whole left-brain, right-brain thing. Some people are data-driven. I've always been more visual.

It's difficult for people to visualize from my drawings what it's going to be, so I often find myself talking them into things that they go along with, and when they see what's been made, they are surprised.

Us visual thinkers like me, be good at things like industrial design, graphics, art, those kind of jobs.

With photography, everything is in the eye and these days I feel young photographers are missing the point a bit. People always ask about cameras but it doesn't matter what camera you have. You can have the most modern camera in the world but if you don't have an eye, the camera is worthless. Young people know more about modern cameras and lighting than I do. When I started out in photography I didn't own an exposure meter - I couldn't , they didn't exist! I had to guess.

It's not about knowing all the gimmicks and photo tricks. If you haven't got the eye, no program will give it to you.

Good composition is merely the strongest way of seeing.

The important thing is not the camera but the eye.

I've always been very interested in the visual aspect of what I do.

I can draw and write, and you'd be foolish not to hire me.