I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
Design and color are not distinct and separate. As one paints, one draws. The more the colors harmonize, the more the design takes form. When color is at it's richest, form is at its fullest.
I learned from Seurat this important thing about colour and light, that 'a light' can be built from colour. I learned a great deal about interaction, that 'a blue' in different parts will play all sorts of different roles.
I like to have the screen full of color, twenty colors on the screen at once, fifty colors. There are no dominants despite what people have said.
Film has far more color shades. It's called 'bit depth' in digital terms. And most bit depth in digital is about twelve, but film bit depth can be twenty to thirty. And so you just have more shades of yellow and red and oranges and everything.
A colour is a physical object as soon as we consider its dependence, for instance, upon its luminous source, upon other colours, upon temperatures, upon spaces, and so forth.
I wasn't surprised to find Samsung's OLED screen to be bright, vivid, and clear. It's beautiful, although in viewing some photos and videos, I found, as I have in the past, that - to my eye, at least - Samsung tends to oversaturate colors.
Many photographers are apt to confuse color with noise, and to congratulate themselves when they have almost blown you down with screeching hues alone-a bebop of electric blues, furious reds, and poison greens.
The most important thing in imaging for me is the dynamic range. The dynamic range means the tones that you can capture from highlights to dark and the bits, the depth of color that you can capture.
A certain color tones you up. It's the concentration of timbres.
Any ground subtracts its own hue from the colors which it carries and therefore influences.
It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color.
Daylight reveals color; artificial light drains it.
The chief concern of the French Impressionists was the discovery of balance between light and dark.
Colour itself is a degree of darkness.
I think there's too much saturated color in comics, thanks to digital color techniques.
The problem is, photographic dyes and printing inks aren't as good as paint, actually.
No small dabs of colour - you want plenty of paint to paint with.
The spaces I want to be in are nurturing and soft and saturated with color. Our cities don't have enough of that, and as humans we need it.
It is comparatively easy to achieve a certain unity in a picture by allowing one colour to dominate, or by muting all the colours. Matisse did neither. He clashed his colours together like cymbals and the effect was like a lullaby.
I get on the airplane and there's a screen in front of everything. You get into a taxicab in New York, there's a screen blinking at you. I think it's going to have a tremendous effect on our brains, because those bright, saturated colors and those strong lines, they do things to your brain.
'Trolls' was a blank slate - there was no world, no mythology. We talked a lot about the Grinch and we liked how they showed his heart growing, but how do you show a photographable device like that for the Bergens? We ended up using color for a lot of that: desaturating and then pulling the saturation up.
I hate Technicolor. Everybody in a Technicolor movie seems to feel obliged to wear a lurid costume in each new scene and to stand around like a clotheshorse with a lot of very green trees or very yellow wheat or very blue ocean rolling away for miles and miles in every direction.
