Bill Nye Quotes

There is a sun, a light that for want of another word I can only call yellow, pale sulphur yellow, pale golden citron. How lovely yellow is!

What I wanted to do was to paint sunlight on the side of a house.

Light in Nature creates the movement of colors.

Shadows sometimes people don't see shadows. The Chinese of course never paint them in pictures, oriental art never deals with shadow. But I noticed these shadows and I knew it meant it was sunny.

The substance of painting is light.

Color is crucial in painting, but it is very hard to talk about.

Colors are the deeds/ and sufferings of light.

My goal is to formulate a new color theory based on the full spectrum of visible light.

One might not think of light as a matter of fact, but I do. And it is, as I said, as plain and open and direct an art as you will ever find.

Stick to primary colors.

Color is a passion; painting is a passion.

My wife and I water color, paint water colors.

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

If you think about art, if you look at Rembrandt and Vermeer and Caravaggio, if you look at Turner and Constable and all the Impressionists and the Hudson River School, there's a tradition of light in art, especially painting.

Stained glass is unique from the outside, but as a painting insider, I know that oil painting's all about light. And it's about the depiction of light, the way that it bounces off different types of skin, different landscapes. The mastery of that light is the obsession of most of my painter friends.

In painting, the most brilliant colors, spread at random and without design, will give far less pleasure than the simplest outline of a figure.

Based on mixtures of the three primary colours, along with black and white, I come up with a certain number of possible colours and, by multiplying these by two or four, I obtain a definite number of colour fields that I multiply yet again by two, etc. But the complete realization of this project demands a great deal of time and work.

Remember the enemy of all painting is gray: a painting will almost always appear grayer than it is, on account of its oblique position under the light.

My painting represents the victory of the forces of darkness and peace over the powers of light and evil.

Turning to the colour-classification methodology: The starting point are the four pure colours red, yellow, green and blue; their in-between shades and scales of brightness result in colour schemes containing 16, 64, 256 and 1,024 shades. More colours would be pointless because it wouldn't be possible to distinguish between them clearly.

The color of the object illuminated partakes of the color of that which illuminates it.

Color is crucial in painting, but it is very hard to talk about. There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you're trying to make.

There is no blue without yellow and without orange, and if you put in blue, then you must put in yellow, and orange too, mustn't you? Oh well, you will tell me that what I write to you are only banalities.

I know for sure that I have an instinct for color, and that it will come to me more and more, that painting is in the very marrow of my bones.

The distinct blue, red, and yellow colors... though they have not the kind of harmony which is produced by a variety of broken and transparent colors, have the effect of grandeur.