In this post, you will find great Visual Quotes from famous people, such as Martin Villeneuve, Kerry Washington, Christopher Wylie, Gaspar Noe, Maggie Rogers. You can learn and implement many lessons from these quotes.
Honestly, I’ve been reading a lot of books on visual art. I’ve been reading a lot of books by Olivia Lang, I’ve been listening to a lot of folk and singer-songwriter music, but also a lot of electronic and really hard techno. I’m just trying to create something that pulls from everywhere and that hopefullyfeelsunique.
I guessstandup is really painting pictures with words – especially for me, as I describe quite fantastical, visual things. My art teacher, Dexter Dalwood, always seemed to think they were linked. We bonded over our love of Vic Reeves.
Despite their lack of visual impact, headline sex-appeal, and their ‘out of sight, out of mind’ nature, we should all care about aquatic dead zones because we are all connected to their causes and we all feel their impacts.
I’m a very visual thinker, so the characters are running through my head, doing what they’re doing when I’m writing them. And there’ll be moments where I’ll just kind of throw a look off to the side as if I’m talking to one of the characters. It’s always been something that I’ve had with me since I was a little kid.
I really believe that the movie will never be as good as the book, both because the book goes on longer – a movie is basically an abridgment of a book – and because books are internal. But they are incredibly powerful. The visual format is, you know, amazing.
What I take from writers I like is their economy – the ability to use language to very effective ends. The ability to have somebody read something and see it, or for somebody to paint an entire landscape of visual imagery with just sheets of words – that’s magical.
So, I’m always around video games but I’ve always been interested in them from a visual perspective, with the graphic design and that whole thing. I don’t know if that comes from my love of photography or what but that’s always what’s held my interest about them.
I’ve often been asked why my shot-taking is not stylish, why I don’t think about visual statements. The truth is, style is irrelevant. I never think of the shot as much as I think of the characters and what they are saying and doing.
I love writing picture books and story books because of the exciting, visual life that artists and illustrators give to them. And most of all, I love writing novels because of the inner, emotional journeys that they take me on. Hopefully, the reader comes with me!
If you can have a great story that people can follow the mystery and get the suspense, and then you have those moments of tension and a splash of visual fun, then you kind of get everything. You get your money’s worth.
You don’t go see Primus to see what kind of new clothing I’m wearing or what my new hairdo is. You come to see Primus for the musical experience and the visual experience. I think, anyways. Maybe I’m wrong!
I was at art school that had quite a celebrated film course as well. I tried for that film course when I was 18, but they said I was too young. I tried this audio and visual design course instead. Two years later, I reapplied for that higher course, but they said I was still too young and to try in five years.
With regards to music, I don’t want to pigeonholemyself and say I am a musician or a visual artist, because I feel like it’s all-encompassing, and I feel like every bit of my art is related to the other.
I try to write cinematically. Let me define what I mean by that. First of all, I try to write in a visual way so that the reader can watch a movie in their head. And it keepsmoving. I try to structure the stories like a screenplay may be structured.
After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.
I learned first of all not to be intimidated by any visual effects that I don’t understand. It can all be learned. You can then use them as tools to tell your story. I also learned that you have to be really vigilant, the more complex the movie, to not lose yourself and to not lose sight of the priority.
The way I create music is maybe like a painting, to compose in a more visual way. Basically it’s the music that I want to hear- that’s my inspiration and bottom line. I just try to get ideas from books, movies, paintings.
Videos come definitely after the music has been created, but I have always felt, and especially today, that videos are vital in the album process. I think that we live in a very visual era, and if you make a mistake with a video, those images will accompany the song forever.
Some of our best writers are self taught. Screenwriting is a combo of craft and art. The craft part can be taught, about how to be visual and economical with scenes. However, finally it’s the individuality of the writer that will come into play.
Not only is writing more important than ever, but visual literacy is vital. We don’t teach enough design, art, visual things. We have to recognize what we’re seeing. It matters if you send someone a cluttered design. It matters more than ever.
I think each film I do has less and less dialogue. It really helps a lot for foreignsales, because when I go to Europe, there’s very little problem with communication. All the gags are visual. The music they can understand, and it helps communicate a lot better.
The style of ancientEgyptian art is transcendently clear, something 8-year-olds can recognize in an instant. Its consistency and codification is one of the most epic visual journeys in all art, one that lasts 30 dynasties spread over 3,000 years.
I write my novels longhand. I love the feeling of writing; I love to see pen on paper. It feels more creative than typing, and it’s a more visual process for me – I can picture the entire scene in my head and am merely writing what I see.
I do not have a history in set design. I have a history in art. I draw. But I learned set design when I couldn’t afford to have a team and I didn’t want to look like I was indie. I wanted to give fans the visual.
There’s a lot of two-hander dialogue in ‘True Detective,’ and I needed to place those guys in locations where there were other levels of visual storytelling. It didn’t necessarily have to move the plotforward, but it had to add tone or add to the overall feeling.
I write when I have to; I write when the song is done and I deal with the idea and I just go with it and I’ll become what that song is all about until I have finished it. And when you do that, it makes the song more visual, it makes it more personal.
Man is used to the fact that there are languages which he does not at first understand and which must be learned, but because art is primarily visual he expects that he should get the messageimmediately and is apt to be affronted if he doesn’t.
I was always a visual person. I could see things visually. I had a harder time with numbers and logic, and I always had more of an artistic sensibility. So that I could do. And it was something that I really loved.
It is a common fact that we see light flashes in a darkenvironment while living up here, and this experiment is essentially trying to detect how we humans detect these flashes – not sure if these are visual, if they are some type of radiation maybe sensed by some other part of the brain.
For me, when I started writing, it was mostly poetry. And poetry is very visual. I feel the same way about the way that I approach direction. There might be a theme within the visuals that you’re choosing that people don’t consciously pick up on, but that they feel.
Every day the eye is subject to a thousand tiny shocks as a thousand industries compete for the eye-kick, the visual hook that will lock the consumer into product for that crucialsecond where the tiny – or not so tiny – leap of the imagination is made.
The clarification of visual forms and their organization in integrated patterns as well as the attribution of such forms to suitableobjects is one of the most effective training grounds of the young mind.
A visual understanding of great composition and how to use a camera and expensive lenses can be learned, but drive and a real hunger for making photos and telling stories… I don’t think that part can be learned. You either have that inside, or you don’t.
When I was a kid, it was thought I would do something in the visual arts because I was always drawing, but when we emigrated to Australia from Holland when I was seven, I learnt the English language, and I fell in love with it.
I am always telling students that a story is not just words. You can tell a story with dance or paint or music. Kids and adults are visual learners, auditory learners. There are those of us who need to touch it. Storytelling encompasses so much more than words on paper.
I am a film director, and I work with a visual language, with a visual medium. And I try to make virtue of the use of this visual medium. And I try to make sure what I do speaks the language of cinema.
In a film we have limited time and space to say what we have to, hence the visual language and brevity needs to be paramount. In a novel, however, we can dissect each thought and emotion and build on it.
I’d probably play games obsessively if I didn’t write, although I admit I don’t read novels partly because I don’t enjoy it, not just because it’s the wrong side of the creator-consumer barrier for me. I’m a visual writer. I think in moving 3D images and write down what I observe.
When you’re on camera, even though you try to lose yourself in the character, you are aware that there is a camera there capturing every moment of it visually. With doing a voiceover job, you are worried about the sound of it, and you have to make all those visual colors come out with your sound.
It’s a tremendous asset if you have a visual eye because you can make huge visual statements in a very theatrical way and play to the strength of theatre. But the high end of directing is working with actors and making the acting the best it can be.
You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences – whether they know it or not – most want an emotional connection to character.
I’m a situationist when it comes to anything creative, and that stands with the visual part of anything I do as well. I deal with the concrete things I have in front of me, and I think that’s a wise way to be.
I would really love to collaborate with Gwen Stefani and M.I.A.; artists that kind of make sense with me vocally. And in terms of style, I’m a very visual artist. I really love Pharell. I love people that really care about drums, and I like beat-heavy.
I draw on a lot of cinematic influences like Ingmar Bergman and Wim Wenders, artists who let a story take its time. Comics are a visual medium, and visuals should be allowed to tell some of that story.
If the Frieze Art Fair catches on, I imagine at least two great things happening. First, we will once again have a huge art fair in town that isn’t too annoying to go to. More importantly, Frieze may finally show New Yorkers that we can cross our own waters for visual culture. That would change everything.
When I’m working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we’ve shot the scene, the director is not looking at the visual effects.
I read things and imagine them and then kind of start trying to kind of take what I imagine and make it visual for everybody else to see. It just happens to be my personal vision, and every person’s is going to be different, every book reader.
If the seams are showing, there is something wrong with the performance or the construction of the piece. This idea is completely at odds with our modern visual experience, because everything today is based on montage.
Pottery was what sandal-wearing, windchime-lovers did. Art is sensitive to areas of visual culture that havent yet been colonised by the art world, and perhaps what they sensed back then was, here was an area that hadnt been fully explored.
Let’s face facts, this is visual medium, there’s a very high premium put on people who are good-looking. But the minute you rely on that you get yourself in trouble. You certainly don’t make a career out of that anymore as an actor.
I’ve been designing since I was 8. I started sketchingdresses I could wear when skating. I was always involved in all aspects of skating, not just the technique, the choreography, the music, but the visual aspects, too – what I should wear.
For 8,000 years, we’ve had lyric poetry; for 400 years we’ve had the novel: theatre hands its meaning down in text. Let’s find a medium whose total, sole responsibility is the world as seen as a form of visual intelligence. Surely, surely, surely the cinema should be that phenomenon.
I learned in the computer game business early on that all senses are not equal. The best example is, you’re listening to a radio play and you’re drivingdown the road, and suddenly you realize you haven’t seen the road in five minutes. It’s because your visual cortex has been partying with your imagination, basically.
With ‘Wagon Wheel,’ I loved the visual it painted, and it’s a song I can truly say I look forward to performing every night.
When you’re a kid, you learn whatever your parents think until you start taking in media. Because all your friends are your age as well, media is the third parent that you ever have. So I think about that a lot, what visual imagery is teaching us, and media in general having a huge impact.
Concrete poetscontinue to turn out beautiful things, but to me they’re more visual than oral, and they almost really belong on the wall rather than in a book. I haven’t the least idea of where poetry is going.
I know that everyone who listens to radio creates you in a visual image that they need you to have. Whatever that is, I thought, let them have it. Let me be who the listener needs me to be and let me not contradict that with the reality of my photograph and riskdisappointing them.
You know, there’s so many great bands out there, visual bands, that we have to do something that makes us individual, and makes us stick out from everybody else, and something that is even bigger than just the music.
Film and theater are about misdirection and making the audience see something. I find it interesting. One of the things we do in ‘True Blood‘ is shoot all of our stunts in camera. Instead of doing some kind of visual effect, we try to make it happen.
Because Bin Laden’s culture doesn’t permit the worship of images, they understand how powerful images are. We wouldn’t have thought of creating a visual bomb. In a way, he’s chopped down two iconic buildings, and used our very truth imagery, to express himself. It’s fascinating… I mean, dreadful.
They will be given as gifts; books that are especially pretty or visual will be bought as hard copies; books that are collectible will continue to be collected; people with lots of bookshelves will keep stocking them; and anyone who likes to make notes in books will keep buying books with margins to fill.
I spent 10 or 15 years doing visual effects and, if I learned anything from that time, it’s that you do the best work when you let things go wrong and embrace the happyaccidents. Then suddenly it feels fresh and you’re somewhere new.
SpikeLee is one of my biggest influences. What I love about Spike, other than he’s just a fun guy to hang around, is that Spike is fearless. As much as people talk about him being politicallyoutspoken, let’s not forget that he’s one of the best screenwriters, ever, in addition to being a visual master.
For ages I thought I’d wasted my career doing visual effects, I wanted to be a filmmaker. And then I’ve learnt at the end of it all that actually visual effects was probably the best training ground I could have had.
When I teach classes at the School of Visual Arts,, I’ll ask the students, ‘How many of you have been to a museum this year?’ Nobodyraises their hand and I go into a tirade. If you want to do something sharp and innovative, you have to know what went on before.
But I think we’re also just talking about the literacy of the audience. The visual literacy of the audience. They’ve seen so many images now, especially here in the States. There’s so much to look at, to watch. So the visual storytelling literacy is harder to impress.
In my own research when I’m working with equations, I never feel like I really understand what I’m doing if I’m solely relying on the mathematics for my understanding. I need to have a visual picture in my mind. I’m constantly translating from the math to some intuitive mind’s-eye picture.
I have a good visual memory. I’m good with faces, but names – I get in trouble a lot; I can’t seem to remember people. People think I’m rude. As a side comment, you know, I’m not being rude: I just kind of blank out.
If I give a book as a gift, it is invariably a children’s book with beautiful artwork and a simple text. I adore the feel of them, the care taken in the artwork, and the high visual stimulation that sets off the simple but often powerful message the text conveys.
I’m a visual thinker. Research tells us that only 20 per cent of people think visually. So what about the other 80 per cent? Don’t they think in pictures? I mean if you imagine washing and preparingpotatoes you visualise the process, right?
Photographs don’t ‘reveal‘ much at all but instead help us generate a kind of visual vocabulary that we can use to make sense of the world and direct our attention to certain things around us. In other words, they help us learn how to see.
Film is much more visual, a scene is typically a lot shorter, you’re dealing with a lot more characters, a lot more locations, and you’re able to rely on things that you just can never do on the stage.
You have kidsstudying master class visual arts who are pushed to make films that will be successful economically; that’s what they focus on. So they work for corporate interest instead of artistic expression.
I would never suggest that the geography or visual environment of the film is more important than what’s going on with the people, but it’s a major factor in getting the right tone. Certainly, it influences the actors tremendously.
The funny thing is musicians often love to go to see visual art because you’ve got all these pictures to turn into metaphors.
We are visual creatures. When you doodle an image that captures the essence of an idea, you not only remember it, but you also help other people understand and act on it – which is generally the point of meetings in the first place.
The two sensibilities, the visual and the verbal, have always been linked for me – in fact, while reading a particularly evocative passage, I will imagine what the photograph I’d take of that scene would look like, even with burning and dodging notes. Maybe everyone does this.
I think that if someone told me I could have been a visual artist, I might have been a visual artist instead. And if I’d known I could have done art history, I would have done that. But I just didn’t know.
Robin Coste Lewis
There are a lot of visual marks that have to be hit, and lines that need to be said in a right way – so there wasn’t really any improvisation on the set when it came to the bulk of the script.
The world we live in is not purely visual. For me it’s totally poly-sensorial so the tactile, sensual aspect of living in the work that I do is brought to the fore.
I won’t usually just sit down to write. I’d have done it in my head already. I visualise a story just like a film strip running in my head. I guess that is also a reason why my books have such a visual element to them. And it’s what I tell young writers: plan your story ahead.
Traditionally, the role of the bassplayer was just to keep things simple and solid, so it’s really a special thing when you can get a player that can actually bring in a lot of presence and also a visual presence, too.
I think it’s an important part of the visual effects supervisor‘s job to get really deeply embedded in production and keep us all focused on trying to generate the best result. I’m not proprietary about, ‘I would rather do this effect than let physical effects do it.’ No, let’s do the smartest thing for the movie.
Drawing and visual arts was kinda my first passion going all the way back to when I was a kid. I always felt like it was what I was supposed to do – but in reality I don’t know that I ever had the skill to make it a profession.
I ended up going to college for visual arts but moved up to New York after I graduated from college in 2006 and started going gung ho to the UprightCitizensBrigade, and I realized that that was what I was really interested in and what I really wanted to do.
I love writing dialogue, and I think a lot of my writing is visual and very cinematic.
I love to perform not only music, but to make performances extremely visual, and create almost a magical fantasy. It’s really an uplifting style of art that combines visuals and music in very dreamlike ways.
When I write a screenplay – and I think it’s one of the reasons why it was frustrating for me just to be a screenwriter – I’m not thinking of it in terms of words on a page; I’m thinking in terms of visual images – basically, a comic book. I’m thinking of it in a series of shots.
I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it’s visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.
I love to look good – I love to get glammed up – but it’s not the most important thing in my world, and I’m not afraid to not be perfect. I can see where there is a lot of pressure ’cause we live in a very visual world, but I try to go a bit deeper than that. Things are just more important!
If you write a good action sequence well in a novel, you’re already writing it for film, because the only way to do it well is to use some of the same tricks. They’re rhetorical, not visual, but it’s the same move.
I think we will always have the impulse towards visual poetry with us, and I wouldn’t agree with Bly that it’s a bad thing. It depends on the ability of the individual poet to do it well, and to make a shape which is interesting enough to hold your attention.
I had done student films for the School Of Visual Arts and for NYU and all these schools in New York, so those were my first film experiences, but they were student films, so I guess they don’t really count.
And the camera position, the organization, looking for repeating forms, shapes, trying to set up a visual rhythm seemed to come very natural. All of a sudden I was in a forest of aluminum and steel rather than a forest that we might think of in a traditional sense.
Visual storytelling of one kind or another has been around since cavemen were drawing on the walls.
‘Instagram’ is a media company. I think we’re about visual media. I explain ourselves as a disruptive entertainment platform that enables communication through visual media. I don’t think it’s just photos.
I played the violin my whole life. I wanted to play from the time I was just a little kid, and I’ve always loved dance as well. I wanted to make people smile. I wanted to add an extra energy to my playing and make it visual and make it unique and fun.
I think so. I can’t think of anything that requires more finesse than comedy, both from a verbal and visual point of view.
Drawing is not only a way to come up with pictures: drawing is a way to educate your eye to understand visual information, organizing it into a more hierarchical way, a more economical way. When you see something, if you draw often and frequently, you examine a room very differently.
I would have been a visual artist. When I was in high school, that was one of the things… I had to make a decision what I was going to go to college for, and at the time, I also painted and sculpted. I got more attention for my performing, so I thought that was a better idea.
In the same way that musicians inspire me, artists and photographers like David LaChapelle influence me with their visuals. A photographer like LaChapelle creates an entirely new and unique visual for their work, and that’s what I’d like to do with the Charli XCX world as well.
Sometimes when you get in this game, you think that you’re going to take off if you do a song with someone big. But that’s not the truth. Everything with you got to be good – the visual, the push, the production.
Right before ‘American Dreams,’ I started to pursue these avenues, like short films and getting into a couple night courses to really study photography and cinematography, and the language of visual storytelling.
When I was thinking of video ideas for this song, I wanted it to reflect the energy of the music and express the big eye roll that ‘Sit Here and Cry’ is. I had a very specific visual vision for it, and when I saw Sam Siske’s reel, I knew he was going to get it.
I have suffered from migraines since childhood and have long been curious about my own aching head, my dizziness, my divine liftingfeelings, my sparklers and black holes, and my single visual hallucination of a little pinkman and a pink ox on the floor of my bedroom.
I have a music-video background, and I feel like the responsibility of a music-video director is to do something that hasn’t been done before in a really cool visual way. So much innovation has come in filmmaking through music videos.
How the visual world appears is important to me. I’m always aware of the light. I’m always aware of what I would call the ‘deep composition.’ Photography in the field is a process of creation, of thought and technique. But ultimately, it’s an act of imaginatively seeing from within yourself.
I always see my songs in colors, and I’m often more inspired by movies and photographs than I am by other songs when I write my music. I’m also inspired by fashion, and I want my music to be a visual painting of what’s in my mind.
I’d just sort of gravitated toward the arts, and I had always loved music and really loved theater, even though I didn’t want to act. For some reason, being in Kansas, you can either be a graphic artist or a visual artist, so I decided, ‘I guess I’m going to be a painter.’
As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.
Everything I try to do wants to be able to push communication through the notion of the visual image.
Sometimes when I write lyrics there are images in them, usually on a quite simplistic level, like colors. But most often music comes first and then later I sit down with visual people and we chat about what we want to do. I don’t look at myself as a visual artist. I make music.
I know that I’ve played a lot of comedicroles. It’s a visual medium. When you get one role, you start to get cast in that role for awhile because that’s what people have seen you do, and have hopefully seen you do it successfully.
As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together. This happened in 1989. Since then, it’s been a long road of educating myself in every possible way.
Modernism has a reputation for being a forbidding phenomenon: its visual arts disconcertingly non-representational, its literary effortsdevoid of the consolations of plot and character – even its films, it’s argued, fall well short of that true desideratum: entertainment.
With the violin, for example, one understands culturally that the sound comes from the instrument that can be seen. With electronic music, it is not the same at all. That’s why it seemed so important to me, from the beginning of my career, to invent a grammar, a visual vocabulary adapted to electronic music.
I don’t use film cameras. I don’t do visual effects the same way. We don’t use miniaturemodels; it’s all CG now, creating worlds in CG. It’s a completely different toolset. But the rules of storytelling are the same.
Quite honestly, if I were doing work related to a living being or historical being where there was visual or audio recordingsavailable, I would find that extremely difficult because I don’t know how you would avoid the process of mimicry. And mimicry, to me at any rate, is a very dullprospect.
I think the filmmakers that I love are ones that cross genres and do different thinks, the way that David O. Russell can do something like ‘Flirting With Disaster‘ but then go do ‘ThreeKings‘ which is like an incredibly visual film – that’s a huge reference point.
In the 1950s we use to feel that television was taking away our comic readership; with today’s exciting, powerfully visual movies I have to wonder about their effect on the kids’ loyalty to the comic book medium all over again.
For me, I’m very visually inspired. I’m more inspired by photographs and movies than I am by listening to other music, so for me to create an amazingly intense visual live show is a dream, so I would love to be on that level for sure.
I’m a visual person, so it always starts with a picture, and then I get obsessed with the idea, sometimes too much. I have these blank books in which I take notes, and I add postcards and other physical items.
It’s always a challenge to adapt a novel for screen, a visual medium.
It’s the same with visual arts, you have some really cool, wonderfulstriking images that make you think and then again you have wonderful striking images that just take you away from the existing world for a second. And I like the latter a bit more.