Visual Balance Quotes

To create architecture is to put in order. Put what in order? Function and objects.

The very essence of architecture consists of a variety and development reminiscent of natural organic life. This is the only true style in architecture.

When I was a young kid at art school, I loved the sensual geometry of Poliakoff, which, of course, is inherent in my own work.

When the color achieves richness, the form attains its fullness also.

In every picture there should be shade as well as light.

Quality doesn't mean deep blacks and whatever tonal range. That's not quality, that's a kind of quality. The pictures of Robert Frank might strike someone as being sloppy-the tone range isn't right and things like that-but they're far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he's doing, what his mind is. It's not balancing out the sky to the sand and so forth. It's got to do with intention.

One thing living in Japan did for me was to make me feel that what is left out of a work of art is as important as, if not more important than, what is put in.

If there is a reason for keeping the wall very quiet, choose a pattern that works all over without pronounced lines...Put very succinctly, architectural effect depends upon a nice balance of horizontal, vertical and oblique. No rules can say how much of each; so nothing can really take the place of feeling and good judgement.

Copy, art, and typography should be seen as a living entity; each element integrally related, in harmony with the whole, and essential to the execution of an idea.

Just as Pollock used the drip to meld process and product, Richter 'found' and used the smudge and the blur to ravish the eye, creating works of psychic and physical power.

I think space, architectural space, is my thing. It's not about facade, elevation, making image, making money. My passion is creating space.

Finding tricks to create flattering body shape is the key to style.

It was hard to see the ‘art’ because everything partook of the art. Even the victrola had been painted so as to be in harmony. I must have missed a lot, because it was all one big decor, and the things in the foreground were lost against the things behind. But behind all was the wall running from one window to the other and at a certain spot Mondrian had tacked on it rectangles of the primary colors, and black, gray + white. In fact there were several whites, some shiny some matte.

I don't think there is anything wrong with white space. I don't think it's a problem to have a blank wall.

Do not be afraid of large patterns, if properly designed they are more restful to the eye than small ones: on the whole, a pattern where the structure is large and the details much broken up is the most useful...very small rooms, as well as very large ones, look better ornamented with large patterns.

It is wonderful how much depends upon the relations of black and white A black and white, if properly balanced, suggests colour.

The whole arrangement of my picture is expressive. The place occupied by the figures or objects, the empty spaces around them, the proportions, everything plays a part.

I don't particularly follow the Bauhaus school of design, where you make everything into a black box - simplify it.

Beauty is all about form; proportions and the relationships between one line and another.

I assure you that there's a lot involved in compositions with figures. ... It's like weaving... you must control and keep an eye on several things at once.

It is not how much empty space there is, but rather how it is used. It is not how much information there is, but rather how effectively it is arranged.

When I design buildings, I think of the overall composition, much as the parts of a body would fit together. On top of that, I think about how people will approach the building and experience that space.

For painting, I like strong lines, powerful pieces.

My theory of composition? Simple: do not release the shutter until everything in the viewfinder feels just right.

There's something always instinctively visually right about nature. There's no difference, to my eye, between looking at a great painting and looking at nature. Because painting, when it's great, has the same immutable rightness, unquestioned rightness, about it.