Colour Palette Quotes

Emotion that I experienced on first seeing the fresh paint come out of the tube.. ..the impression of colours strewn over the palette: of colours - alive, waiting, as yet unseen and hidden in their little tubes...

India appeals to everybody. For me personally, I always felt like we would come here when we wanted to embrace all colours. I don't mean racially, but literally; just all the colours of the world.

I think it is very hard to design in colours you don't feel right about.

I do like to play around with colour, although day-to-day, I probably wear a lot of black.

I sometimes go for the strongest, most vivid colour on the palette, which in the case of movies is violence.

I always bring an orange scarf, not just so I can wear it or tuck it into my pocket, but also so I can throw it over a lamp in the hotel room. Orange is my favourite colour, and it gives a lovely, warm ambience.

When you are shooting over a period of six months, you tend to forget how dark or bright it was. And when you are using different technologies, having a look book helps during the final grading of the film. So you can design what the film is going to look like even before the colouring process begins.

I use a wide selection of colours. It is impossible to produce work like mine using only the primary colours as they only mix a certain range of colour.

I feel music-making is more like a psychological game; each film has its own colour that needs to be identified and addressed.

I've spent so much of my life examining the smallest details. In some ways, it's where I feel most at home. For me, it's super-important to understand all of the different nuances of light and shade. But if you can't paint in primary colours, no one's going to listen to your songs, because they need to feel like something.

In an endless jungle of websites with text-based content, a beautiful image with a lot of space and colour can be like walking into a clearing. It's a relief.

The habit of breaking up one's colour to make it brilliant dates from further back than Impressionism - Couture advocates it in a little book called 'Causeries d'Atelier' written about 1860 - it is part of the technique of Impressionism but used for quite a different reason.

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.

We have to thank the members of the Romantic movement for the sober colours of suits. It was their love of the Gothic that put us in grey and black but the suit stuck.

On the speech day, the production designer, who has a lot of say in things, and sometimes I didn't agree with him but I had to do what I was told, wanted the speech day to be all in neutral colours for the women, which was a good thing.

In the studio, we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palate... The whole world as we experience it comes to us through the mystic realm of colour.

Full, saturated colours have an emotional significance I want to avoid.

As you get older, your skin tone will change, and that means the colours that suit you best change, too. Take a trip to a department store and ask for advice, or simply hold colours close to your face in the mirror, as this should give you a good idea of what works.

My parents have influenced my fashion choices. I inherited many of their older garments, and I like their style. I love my mother's elegant and dramatic couture dresses and the feeling for colour my father has.

I never had the time or luxury to think about inventing my own colour theory. When colour came, I was interested in expressing things that happened around me in time.

I have improved the way in which I paint. The colours are cleaner and there is more energy in the brush work.

Know your colours. It's all about your complexion and your tones. I now only use brown, taupe and copper, as they suit my blue eyes. When you're younger no one really teaches you - you just slap on the bronzer and you're not really thinking about what's going to complement your features.

If you ask me about my chosen colour palette for the clothes I wear myself, I'm usually one for more neutral, subtle shades.

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.

I love dishes that feature the various shades of a single colour, making you stop to check what's in there.