Winslow Homer Quotes

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

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.

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

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.

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.

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.

Gray goes with gold. Gray goes with all colors. I've done gray-and-red paintings, and gray and orange go so well together. It takes a long time to make gray because gray has a little bit of color in it.

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

Stick to primary colors.

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

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 love every color!

I'm all about colors.

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.

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

I general don't color my stuff - I'm pretty horrible with color. Usually, I'll get one of my cartoonist friends to help me out.

I became intrigued with colour theory. The absurd pronouncements of the Colour Institute, a group that decides what colours are hot each year or season, amused me.

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

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.

Independent of harmony rules, any color 'goes' or 'works' with any other color, presupposing that their quantities are appropriate.

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.

I used to rely on black-and-white, and while I was working on 'Smile,' I learned to adapt to color on my end.

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.

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!