Zitat des Tages über Visuell / Visual:
I try not to be overly literal. When I'm writing songs, I write down a lot of words, and then I try to simplify it. I like to give people hints or words that make visual pictures for them.
I don't really care what the visual is looking like. I've gotten away from - not shenanigans, but spectacle.
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.
We're really interested in more visual storytelling, figuring out a way to blend our level of observation with a bigger visual scope.
Visual presentation of our heritage in glass is needed.
I think almost always that what gets me going with a story is the atmosphere, the visual imagery, and then I people it with characters, not the other way around.
I really like books that you can kind of hear as much as think about, that are so graphic and visual.
The power of elegy, even in the face of an unbounded grief, to provide a containing form is vividly embodied by Anne Carson's 'Nox,' a nocturne with carefully controlled visual and tactile properties.
I think too many comic book covers are way too busy, crammed with far too much information, both visual and verbal, that just becomes a dull noise.
I've always been so interested in both the visual beauty of mollusks and the tactile feel of them. As a kid, I collected them all the time.
Visual elements are, of course, the director's job.
The clarification of visual forms and their organization in integrated patterns as well as the attribution of such forms to suitable objects is one of the most effective training grounds of the young mind.
We all accept the visual shorthand used throughout comics: if something's farther away, it'll be drawn with a thinner, simpler line, eventually leaving out most visual information and becoming a gesture, a skeletal representation of a thing.
I come from a family of storytellers. Growing up, my father would make up these stories about how he and my mother met and fell in love, and my mother would tell me these elaborately visual stories of growing up as a kid in New York, and I was always so enrapt.
I was a screenwriting and studio art major in college, so even though I don't have any training as a floral designer, I have a very particular visual aesthetic.
The system is the work of art; the visual work of art is the proof of the System. The visual aspect can't be understood without understanding the system. It isn't what it looks like but what it is that is of basic importance.
My mum always liked poetry, and she had pictures on the wall, so there was this visual stuff around.
I've been obsessed with this kind of visual storytelling for quite a while, and I try to create material that allows me to explore it.
It seems to me that the natural world is the greatest source of excitement; the greatest source of visual beauty; the greatest source of intellectual interest. It is the greatest source of so much in life that makes life worth living.
Create your own visual style... let it be unique for yourself and yet identifiable for others.
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.
At the age of 80, I'm becoming a visual artist. This could be my rebirth.
'Detroit 1-8-7' - the numbers are police slang for murder - is filmed in that blue-collar Michigan city, providing a flavor of authenticity. Detroit offers a unique visual landscape that tells the story of the city and what it's been through.
My entire learning process is slow, because I have no visual memory.
Portraying visual impairment is difficult. I can see what's going on, but I have to act like I can see nothing. And this can be quite a challenge.
Use visual cues to prompt yourself to put away more. A photograph of the beach house where you and your husband can envision spending your retirement will remind you to bump up the contribution to your 401(k); a snapshot of your child in a college sweatshirt can encourage you to put more into a 529 college savings plan.
I wish myself to be a prop, if anything, for my songs. I want to be the vehicle for my songs. I would like to colour the material with as much visual expression as is necessary for that song.
The movies are all about visual, and television is all about character and dialogue.
I don't say I create. I copy, of course. I've never been interested in the point of view of the tailor or creator. Fashion is a visual impression. This is why I often refuse the name of fashion designer. It's a superficial, stupid job. The social-psychological aspect is more interesting.
I have an unusual type of thinking. I have no visual memory whatsoever. Everything is conceptual to me.
Light comes to us by the sensibility. Without visual sensibility there is no light, no movement.
A visual image is a simple thing, a picture that enters the eyes.
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.
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 crucial second where the tiny - or not so tiny - leap of the imagination is made.
Blinking is some way of tabulating - a kind of carriage return, click, or save to disk - that helps the process of 'Okay, now change the subject.' Every time you move your eyes, there's an interruption in the visual field - you go momentarily blind when your eyeballs are moving.
The possibilities that come with thinking about the camera as a portal into the realm of information and services are attractive not only to Snap but also to every other big player in the tech world. Facebook, for instance, has slowly been enhancing the visual capabilities of its Messenger.