Discover the most popular and inspiring quotes and sayings on the topic of Describing. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Describing Quotes And Sayings by 98 Authors including John Daido Loori,Michael Oakeshott,William Shakespeare,George Eliot,Saint Augustine for you to enjoy and share.

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To know objects only through dissecting and cataloguing them is to miss their full reality. It is to fall asleep amidst the mystery and to become numb to the wonder of this great Earth.
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To define a thing is to see it clearly, to see it as distinct from other things and at the same time to see its exact relationship with other things: for a thing is its relations and activities.
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Hear the meaning within the word.
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Attempts at description are stupid. Who can all at once describe a human being? Even when he is presented to us we only begin that knowledge of his appearance which must be completed by innumerable impressions under differing circumstances.
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The words printed here are concepts. You must go through the experiences.
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There's a difference between describing and evoking something. You can describe something and be quite clinical about it. To evoke it, you call it up in the reader. That's what writers do when they're good.
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Something that could not easily bu put into words and indeed might never be.
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Things are not as easily understood nor as expressible as people usually would like us to believe. Most happenings are beyond expression; they exist where a word has never intruded.
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She described people, scenes, and objects she had never seen with the detail and precision of a Flemish master. Her words evoked textures and echoes, the color of voices, the rhythm of footsteps.
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Exhilaratingly new and unmistakably familiar, like a childhood memory that felt dreamlike until photographic evidence was found in an old box in the attic.
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An image is better than one thousand words
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The book depicts thoughts, unveils imaginings, answers unspoken questions, clarifies doubts, resolves arguments, and finally reveals the very atoms of the most curiosity-driven desire.
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What a gulf between the self which experiences and the self which describes experience.
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Experiences, Examine, Explore!!!!
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To be described is to be seduced. Shit. One turn of phrase. One thing noticed that she'd never noticed. It works always.
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We are all the subjects of impressions, and some of use seek to convey the impressions to others. In the art of communicating impressions lies the power of generalizing without losing that logical connection of parts to the whole which satisfies the mind.
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Critique by creating.
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People may be understood through the art they produce or by descriptions from friends and family, by observation, or through their dreams.
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It is convenient to distinguish the two kinds of experience which have thus been described, the experienc-ing and the experienc-ed, by technical words.
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I think that physical actions are always hard to describe, to translate.
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The notion of the infinite variety of detail and the multiplicity of forms is a pleasing one; in complexity are the fringes of beauty, and in variety are generosity and exuberance.
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No words are too good for the cutting-room floor, no idea so fine that it cannot be phrased more succinctly.
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The critic is he who can translate into another manner or a new material his impression of beautiful things.
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Looked at again and again half consciously by a mind thinking of something else, any object mixes itself so profoundly with the stuff of thought that it loses its actual form and recomposes itself a little differently in an ideal shape which haunts the brain when we least expect it.
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Thoroughly to unfold the labyrinths of the human mind is an arduous task ... In order to dive into those recesses and lay them open to the reader in a striking and intelligible manner, 'tis necessary to assume a certain freedom in writing, not strictly perhaps within the limits prescribed by rules.
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You paint the picture of your surroundings. Paint it beautifully.
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It is of great consequence to have previously determined the concept that one wants to elucidate through observation before questioning experience about it; for one finds in experience what one needs only if one knows in advance what to look for.
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Breath and heat and contact and shirts off and skin on skin and smiles and murmurs and the enormity revealing itself in the tiniest of gestures, the most delicate sensations.
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We encounter and enter our richest, most humanly defining experiences by way of a tear in the fabric of things, because we are running late, or because we recognize, across a crowded room, a face whose lack of perfection allows a unique light to shine through and to stir us with uncommon wonder.
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How can you describe anyone, really? The inside and outside can be so different.
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It's this beautiful thing you can never reach. No matter what you do, you'll never touch it. You can only look and imagine what it would be like to hold it.
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When I have a model who is quiet and steady and with whom I am acquainted, then I draw repeatedly 'til there is one drawing that is different from the rest, which does not look like an ordinary study, but more typical and with more feeling.
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To describe externals, you become a scientist. To describe experience, you become an artist.
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Creating a world within the imagination one day at a time through words and colors.
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The critic should describe, and not prescribe.
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[The child receives impressions like] a photographic exposure that can be developed after any interval of time and transformed into a picture.
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A picture can tell a thousand words,
but a few words can change it's story.
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Sometimes the painting starts to relate very directly to either sights seen or experiences felt, other times it just goes off on a tangent that you really can't articulate.
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All that you can imagine you already know
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Photography is my method for defining the confusing world that rushes constantly toward me. It is my defensive attempt to reduce our daily chaos to a set of understandable images.
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Nothing too long imagined can be perfect in a wordly way.
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It is easy to take good pictures, difficult to take very good pictures, and almost impossible to take
great pictures.
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What's descriptive isn't necessarily prescriptive.
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To demonstrate is to show clearly & deliberately, and to describe is to give a detailed account in words.
That thing called 'Love' is defined when demonstrated, not when described.
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I attain a different kind of beauty, achieve a symmetry by means of infinite discords, showing all the traces of the mind's passage through the world, achieve in the end some kind of whole made of shivering fragments.
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You begin to understand your personality, your response, and the functions of your body, heart and mind into different situations, events and with different people, with the inward attention.
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Contemplating an object fixedly with the mind, asking myself, 'What is it?' without thinking of any other object or relating it to anything else for hours on end.
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Details, when they are successful, are not mere decoration. They do not distract or entertain. They lead to an understanding of the whole of which they are an inherent part.
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Anything that we think is incredible and beautiful and wonderful, we ascribe to something that we don't know what it is.
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So many words, so little time.
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The critic, to interpret his artist, even to understand his artist, must be able to get into the mind of his artist; he must feel and comprehend the vast pressure of the creative passion.
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When I make a representation of something, this, too, is an analogy to what exists; I make an effort to get a grip on the thing by depicting it.
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To understand matters rightly we should understand their details; and as that knowledge is almost infinite, our knowledge is always superficial and imperfect.
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Painting doesn't mean just describing; it's a state of spirit.
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An educational activity which aims to reveal meanings and relationships through the use of original objects, by firsthand experience, and by illustrative media, rather than simply to communicate factual information.
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It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.
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[T]o a limited being its limited understanding is not felt to be a limitation; on the contrary, it is perfectly happy and contented with this understanding[.]
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Our task is not to penetrate the essence of things, the meaning of which we do not know anyway, but rather to develop concepts which allow us to talk in a productive way about phenomena in nature
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Good painting is like good cooking; it can be tasted, but not explained.
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Begin not from preconceived idea of what to say about image but from jewel center of interest in subject of image at moment of writing, and write outwards swimming in sea of language to peripheral release and exhaustion.
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You have to record as many details as possible and achieve an order, without taking away the complexity of the real. To voice the real and at the same time to create an image that is a world in itself, with its own coherence, its autonomy and sovereignty; an image that thinks
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The moment you are there You know but the moment cannot be explained for it is beyond language and expression. It is a moment of silence, joy, bliss, void, crying, dancing but nothing confirms to normal.
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It's like trying to describe what you feel when you're standing on the rim of the Grand Canyon or remembering your first love or the birth of your child. You have to be there to really know what it's like.
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To feel the soul without explaining it, without vocabulary, and to represent this sensation.
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You collect impressions from people, from life, from your own daydreams.
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...[I]n any inquiry you are likely to attain more nearly to knowledge of your object in proportion to the care and accuracy with which you have prepared yourself to understand that object in itself[.]
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I don't need words. It's all in the phrasing.
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Nothing is what you imagine. Her mind hovered above this simple and alarming thought. The variables were too great, the particularities too distinct, life a flood of translations from the shadow-edged yearnings of the heart to the immutable aspects of the physical world.
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There is an art of seeing things as they are: without naming, without being caught in a network of words, without thinking interfering with perception.
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A tongue in a bag. Teeth. A room drenched in blood.
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Language is a very difficult thing to put into words.
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It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it
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Standing in this glittering room with the music in the background and the press and hum of scores of people, the clink of glasses, the faint smells of warmth, champagne, stiff material and sometimes of flowers and perfume,
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Picture yourself in a boat on a river With tangerine trees and marmalade skies. Somebody calls you, you answer quite slowly A girl with kaleidoscope eyes.
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If you become a writer you'll be trying to describe the ?Thing all your life: and lucky if, out of dozens of books, one or two sentences, just for a moment, come near to getting it across.
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When you start to try to understand everything in terms of words, the understanding of the words becomes the experience, and the experience gets lost.
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A pleasure so exquisite as almost to amount to pain.
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To describe my mother would be to write about a hurricane in its perfect power. Or the climbing, falling colors of a rainbow.
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How People Learn. If you want people to be able to pay attention, don't start with details. Start with the key ideas and, in a hierarchical fashion, form the details around these larger notions. Meaning before details.
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I begin by imagining an artwork verbally. I try to describe in writing what the project is, what it is trying to do. I need to understand the artwork without giving it a specific materiality or solid form.
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It was like the moment before you open a present, still hidden inside its box and wrappings; while you're waiting to find out what it is, the eagerness and impatience and curiosity and anticipation grip you in an even stronger, more thrilling way than you feel after you find out what's inside.
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When you see a picture of the ocean, it's cut off at the edges. You know it goes on and on to the right and on and on to the left, but you never really know how it feels to see that until you actually do see it.
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[E]ducation is a holistic endeavor that involves the whole person, including our bodies, in a process of formation that aims our desires, primes our imagination, and orients us to the world
all before we ever start thinking about it.
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Shadows which you see with difficulty, and whose boundaries you cannot define ... these you should not represent as finished or sharply defined, for the result would be that your work would seem wooden.
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Experiences, much more than instruction, are a seeing with the inner eye - finding a channel to our essential inner life, a door to our deepest understanding wherein we have the capacity for universal response.
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It is impossible to say just what I mean!
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Whatever the thing you wish to say, there is but one word to express it, but one verb to give it movement, but one adjective to qualify it; you must seek until you find this noun, this verb, this adjective.
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The true seeing is within; and painting stares at you with an insistent imperfection.
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I like to use simple words, but in a complicated way.
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[H]uman experience is determined as much by the nature of the mind and the structure of its senses as by the external objects whose presence the mind reveals.
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A masterpiece of vagueness.
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A child lies like a grey pebble on the shore until a certain teacher picks him up and dips him in water, and suddenly you see all the colours and patterns in the dull stone, and it's marvelous for the stone and marvelous for the teacher.
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I must learn to express the gentle vibration of things: the intrinsically rough texture. I must find this expression in drawings; in the way in which I draw my nudes here in Paris, more original and at the same time sensitively observed.
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It is extremely natural for us to desire to see such our thoughts put into the dress of words, without which indeed we can scarce have a clear and distinct idea of them our selves.
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A good dictionary can only help.
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To use the same words is not a sufficient guarantee of understanding; one must use the same words for the same genus of inward experience; ultimately one must have one's experiences in common.
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The thing itself is never just out there in the world waiting to be framed by the photographer's Leica; rather, it is something dynamically produced in the act of representation and reception and already subject to the grids of meaning imposed on it by culture, history, language, and so forth.
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I told him I'd always found the description a little too long on adjectives and a little too short on specifics.
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Realization that is beyond characteristic or designation is marvelous!
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Our means of receiving impressions are absurdly few, and our notions of surrounding objects infinitely narrow. We see things only as we are constructed to see them, and can gain no idea of their absolute nature. With five feeble senses we pretend to comprehend the boundlessly complex cosmos.