Discover the most popular and inspiring quotes and sayings on the topic of Renders. 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 Renders Quotes And Sayings by 96 Authors including Alejandro Gonzalez Inarritu,Edward Weston,Dan Hawkins,Clement Greenberg,Jen-Hsun Huang for you to enjoy and share.
The way I put together images is a reactive art.
Through this photographic eye you will be able to look out on a new light-world, a world for the most part uncharted and unexplored, a world that lies waiting to be discovered and revealed.
Loads of computer graphics equals a terrible video in my book.
The dissolution of the pictorial into sheer texture, into apparently sheer sensation, into an accumulation of repetitions, seems to speak for and answer something profound in contemporary sensibility.
The display is the computer.
But when you read a book, what you see are black squiggles on pulped wood or, increasingly, dark pixels on a pale screen. To transform these icons into characters and events, you must imagine. And when you imagine, you create.
It is imperative that the artist reveal through the medium in which he is happiest, what he sees, thinks and feels about his surroundings.
The artist should fear to become the slave of detail. He should strive to express his thought and not the surface of it. What avails a storm cloud accurate in form and color if the storm is not therein?
A world of colors on the palette remaining ... wandering ... on canvases still emerging.
Laughter changes to screams, blood stains pastel stones, real smoke darkens the special effect stuff made for television.
When the object that is produced, the photographic image has the ability to make tears come to your eyes; to inspire you to the point where you have to catch your breath, then nothing else matters.
This recognition, in real life, of a rhythm of surfaces, lines, and values is for me the essence of photography; composition should be a constant of preoccupation, being a simultaneous coalition - an organic coordination of visual elements.
You still think like a child, don't you? Clay figurines sunk to their ankles in the sand, one here, one there, standing just so. One says this, the other says that, then you reach down and rearrange them accordingly. Scenes, vistas, stark with certainty.
The best works of art are never innocuous: they alter the viewer's perceptual predictions. It is only when the patterns of our vision are disrupted that we truly pay attention and must ask ourselves what we are looking at.
I try to construct a picture in which shapes, spaces, colors, form a set of unique relationships, independent of any subject matter. At the same time I try to capture and translate the excitement and emotion aroused in me by the impact with the original idea.
Painting, n.: The art of protecting flat surfaces from the weather, and exposing them to the critic.
It is the special privilege of the fine artist to reveal immediate data with a clarity, intensity and purity that promotes them to a special degree of reality.
the illusion of the artistic rendering of a nerve stimulus into images is, if not the mother, then at least the grandmother of every concept. In
No matter what the level of funding or success may be, there's always money missing, and you still want to have a gorgeous image, an endless cast and a flawless rendering.
Creating a world within the imagination one day at a time through words and colors.
Paint what you really see, not what you think you ought to see; not the object isolated as in a test tube, but the object enveloped in sunlight and atmosphere, with the blue dome of Heaven reflected in the shadows.
I did what we call dry for wet effects, some of the miniatures work and two animation sequences.
I keep drawing the trees, the rocks, the river, I'm still learning how to see them; I'm still discovering how to render their forms. I will spend a lifetime doing that. Maybe someday I'll get it right.
We create an interior 'movie' in the reader's head through words on the page.
Animation can explain whatever the mind of man can conceive. This facility makes it the most versatile and explicit means of communication yet devised for quick mass appreciation.
My monochrome pictures are not my definite works, but the preparation for my works. They are the leftovers from the creative processes, the ashes. My pictures, after all, are only the title-deeds to my property which I have to produce when I am asked to prove that I am a proprietor.
Every sky with its varied tints and every feather of each bird were coloured by hand; and when it is considered that nearly two hundred and eighty thousand illustrations in the present work have been so treated, it will most likely cause some astonishment to those who give the subject a thought.
Flowers and flames. And color. Color as color, not as volume or light - only as color.
From the mingled strength of shade and light A new creation rises to my sight, Such heav'nly figures from his pencil flow, So warm with light his blended colors glow ... The glowing portraits, fresh from life, that bring Home to our hearts the truth from which they spring.
They are the gateway for our modern esthetic development, the prophets of the new time. They are most of all, the primitives of the way they have begun; they have voiced most of all the imperative need of essential personalism, of direct expression of direct experience.
While the aesthetics of consumption (photographic or otherwise) requires a heroicized myth of the artist, the exemplary practice of the player-off codes requires only an operator, a producer, a scriptor, or a pasticheur.
One can only display complex information in the mind. Like seeing, movement or flow or alteration of view is more important than the static picture, no matter how lovely.
With all art expression, when something is seen, it is a vivid experience, sudden, compelling, and inevitable.
The postmodernist critique of representation undermines the referential status of visual imagery, its claim to represent reality as it really is - either the appearance of things or some ideal order behind or beyond appearance.
It is my intention to present - through the medium of photography - intuitive observations of the natural world which may have meaning to the spectators.
A story is told that Whistler once painted a tiny picture of a spray of roses. The artistry involved in the picture was magnificent. Never before, it seemed, had the art of man been able to execute quite so deftly a reproduction of the art of nature.
Homage to Michael Snow's environmental sculpture 'Blind.' The film proposes analogies, in imitation of 3 historic montage styles, for three perceptual modes mimed by that work.
We designed a number of features from the ground up, like custom display and optics technology with very high refresh rates and pixel density. We added integrated 3-D audio, a built-in microphone so you can speak to friends inside virtual worlds, and precise mechanical adjustment systems.
astonishing splashes of colour
To understand the limits and opportunities of algorithms in the context of artistic creation, we need to understand that the latter usually consists of three elements: discovery, production, and recommendation.
You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.
My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.
All life rests on appearance, art, illusion, optics, the need for perspective and for error ...
If we examine a work of ordinary art, by means of a powerful microscope, all traces of resemblance to nature will disappear - but the closest scrutiny of the photogenic drawing discloses only a more absolute truth, a more perfect identity of aspect with the thing represented.
I haven't yet managed to capture the colour of this landscape; there are moments when I'm appalled at the colours I'm having to use, I'm afraid what I'm doing is just dreadful and yet I really am understating it; the light is simply terrifying.
Every day a new picture is painted and framed, held up for half an hour, in such lights as the Great Artist chooses, and then withdrawn, and the curtain falls. And then the sun goes down, and long the afterglow gives light.
The screen is a window through which one sees a virtual world. The challenge is to make that world look real, act real, sound real, feel real.
The best graphics are about the useful and important, about life and death, about the universe. Beautiful graphics do not traffic with the trivial.
Son of man,
You cannot say, or guess, for you know only
A heap of broken images,
How ramshackle, how brilliant, how haphazardly & rendered we are. Gloriously, fantastically mixed & monstered.
Sometimes magnificent visual art takes root in the humblest of soils. Advertisements painted on old barns, tattoos, fruit crate labels, hot rod embellishments - all these media and many other non-galleried forms have hosted and fostered esthetic delights that satisfy any rigorous definition of art.
You paint the picture of your surroundings. Paint it beautifully.
To paint a human figure you must not paint it; you must render the whole of its surrounding atmosphere.
What simple and
ordinary lives we live,
underneath the shadows
of projection screen
artists
Abstract pictures are fictive models, because they make visible a reality that we can neither see nor describe, but whose existence we can postulate.
When your eyes freeze behind the grey window and the ghost of loss gets in to you, may a flock of colours, indigo, red, green and azure blue come to awaken in you a meadow of delight.
The reason we think that computer graphics technology has succeeded in faking reality is that we, over the course of the last hundred and fifty years, have come to accept the image of photography and film as reality.
THE STRIKING CONTRAST
The hard part is how to plan a picture so as to give to others what has happened to you. To render in paint an experience, to suggest the sense of light and color, of air and space.
In nature, golden illustrations lie upon the surface.
Through the side window, a screen of late-afternoon sunlight is projected onto the wall. Shadows of birds flit across it.
Some shadows are sharp, some shadows are blurry.
I've seen them before in another time and place.
A tendency toward the abstract is inherent in linear expression: graphic imagery being confined to outlines has a fairy-like quality and at the same time can achieve great precision.
And after drawing comes composition. A well-composed painting is half done
What the computer can do in art and design has turned aesthetics on its head ... with the computer, things are not so much created as they are produced, with the producer-director becoming the star and the controlling force of much that was in other hands at other times.
Cinema is a matter of what's in the frame and what's out
We have - through a hundred years of photography and two decades of film - been enormously enriched ... We may say we see the world with entirely different eyes.
I hate the word 'rendering,' as it equates to 'pouring concrete' on ideas that demand continuing dialog. 'Trade secrets' imply hoarding of knowledge.
Scenes must be beautiful which daily view'd
Please daily, and whose novelty survives
Long knowledge and the scrutiny of years.
As a re-creation of reality, a work of art has to be representational; its freedom of stylization is limited by the requirement of intelligibility; if it does not present an intelligible subject, it ceases to be art.
My tendency towards bareness and simplification has been practiced in three fields: modeling, colors, and the figuration of the personages.
I'm not a big fan of visual effects.
We live in a time of the greatest precision and of maximum contrasts: photomontage offers us a means to express this. It shows ideas: photography shows us objects.
After defining an idea of what I want to achieve, through a series of storyboard images, I'll go to the ends of the earth to create it, whether that involves obscure camera lenses or the latest electronic techniques.
You are to draw not reality, but the appearance of reality!
The work produced is a thing among things, able to be experienced and described as a sum of qualities. But from time to time it can face the receptive beholder in its whole embodied form.
Content is a glimpse.
Having visual impressions is, of course, necessary for seeing things, but it is not sufficient. What must be added is not anything sensible. And it is precisely this that unlocks the outer world for us; for without this non-sensible something, each of us would remain locked up in his inner world.
The sign of a masterpiece: A painting when there's a lack of resolution.
Let us not be afraid to allow for post-visualization. By post-visualization I refer to the willingness on the part of the photographer to revisualize the final image at any point in the entire photographic process.
The fusion of art and technology that we call interface design.
We used the camera only as a means of expression and as a visual medium that offers possibilities found in no other artistic technique, possibilities that the eye cannot catch in their totality. We tried to establish a characteristic vision of photography.
The world of the cinema and of painting are very different; precisely, the possibilities of photography and the cinema reside in that unlimited fantasy which is born of things themselves ... a piece of sugar can become on the screen larger than an infinite perspective of gigantic buildings.
In a dreamlike state, with eyes closed (I found the daylight too unpleasantly glaring), I perceived an uninterrupted stream of fantastic pictures, extraordinary shapes with intense, kaleidoscopic play of colors,
Photography does not form a separate, barren field of art. It is only a means of execution, uniform, rapid and sure, which serves the artist by reproducing with mathematical precision the form and effect of objects and even that poetry which at once arises from any harmonious combination.
Think not of what you see, but what it took to produce what you see.
Images break with a small ping, their destruction is as wonderful as their being, they are essentially instruments of torture exploding through the individual's calloused capacity to feel undifferentiated emotions full of longing and dissatisfaction and monumentality.
I don't really think too much about special effects because that's not really something I can clearly visualize, so I leave that to the pros.
Many methods have been proposed by the emulation community in order to make the old games graphics be better displayed on modern video devices. These methods were created
An artistic endeavour comes into the world naked, unnamed, and vulnerable. Every creative effort requires the artist to wrest something from nothingness, a purposive cosmos from an apparently indifferent chaos.
I admire cool renderings of hot topics.
And there in the snow lay the pictures, like jewels bedded in white silk. They were paper-thin sheets of colored transparent isin glass of every size and shape, some round, some square, some damaged, some intact, some as large as church windows, others as small as snuffbox miniatures.
I like to add props to render the specificities of place - paintings, food, clothing, signs, infrastructure, music, sayings and slang particular to the region and particular to the character. And props shouldn't just sit there; they should get used.
The spectacles of experience; through them you will see clearly a second time.
The richness of our contemporary visual world must be seen as a danger. It is an overwhelming and oppressive world. A world that manifests itself fundamentally through the image is only a few steps from totalitarian manipulation.
Design is thinking made visual.
Among those who study painting, some strive for an elaborate effect and others prefer the simple. Neither complexity in itself nor simplicity is enough.
Photography suits the temper of this age - of active bodies and minds. It is a perfect medium for one whose mind is teeming with ideas, imagery, for a prolific worker who would be slowed down by painting or sculpting, for one who sees quickly and acts decisively, accurately.
It was a foggy day in London, and the fog was heavy and dark. Animate London, with smarting eyes and irritated lungs, was blinking, wheezing, and choking; inanimate London was a sooty spectre, divided in purpose between being visible and invisible, and so being wholly neither.
The artist gazes upon a reality and creates his own impression. The viewer gazes upon the impression and creates his own reality.
When a scene is shrouded in mist, it seems greater, nobler, and heightens the viewers' imaginative powers, increasing expectation -
like a veiled girl. Generally the eye and the imagination are more readily drawn by nebulous distance than by what is perfectly plain for all to see