Colour Contrast Quotes

That's because only a real artist knows the actual anatomy of the terrible or the physiology of fear - the exact sort of lines and proportions that connect up with latent instincts or hereditary memories of fright, and the proper colour contrasts and lighting effects to stir the dormant sense of strangeness.

To express the love of two lovers by the marriage of two complementary colours, their blending and their contrast, the mysterious vibrations of related tones. To express the thought of a brow by the radiance of a light tone against a dark background. To express hope by some star. Someone's passion by the radiance of the setting sun. That's certainly no realistic trompe l'oeil, but something that really exists, isn't it?

At sunset you see a mix of humanity's regrets and some wishes coming true, thus the exploding and contrasting colours. On Sunset

Massive cerebral damage and abdominal bleeding in automobile accidents could be imitated within half an hour, aided by the application of suitable coloured resins. Convincing radiation burns required careful preparation, and might involve some three to four hours of makeup. Death, by contrast, was a matter of lying prone.

I keep hoping that I’ll come up with something. To express the love of two lovers by the marriage of two complementary colours, their blending and their contrast, the mysterious vibrations of related tones. To express that thought of a brow by the radiance of a light tone against a dark background. To express hope by some star. Someone’s passion by the radiance of the setting sun.

The curious double strands in Farfrae's thread of life - the commercial and the romantic - were very distinct at times. Like the colours in a variegated cord those contrasts could be seen intertwisted, yet not mingling.

The disposition of everything in the rooms, from the largest object to the least; the arrangement of colours, the elegant variety and contrast obtained by thrift in trifles, by delicate hands, clear eyes, and good sense; were at once so pleasant in themselves, and so expressive of their originator, that, as Mr. Lorry stood looking about him, the very chairs and tables seemed to ask him, with something of that peculiar expression which he knew so well by this time, whether he approved?

Scene: Darkness. Suddenly, a single spotlight illuminates Apollo standing on the front porch of the Big House. The house is a bold red colour, a stark contrast to the short white chiton Apollo wears. He clears his throat and speaks. Apollo:<\b> A poem by Apollo, recited dramatically by ... Apollo: O Immortal Chiron, Centaur wise and true, Trainer of our heroes, Just remember who taught you. - The opening scene of Welcome to Camp Half-Blood Apollo's chiton was so short, I held my breath throughout this scene, praying he didn't bend over. - P. J.

Hugo diagnosed oesophageal varices, which made sense as the patient was the colour of Homer Simpson - from the early series, when the contrast was much more extreme and everyone looked like a cave painting. 

Fine old Christmas, with the snowy hair and ruddy face, had done his duty that year in the noblest fashion, and had set off his rich gifts of warmth and colour with all the heightening contrast of frost and snow.

His limbs were in proportion, and I had selected his features as beautiful. Beautiful!--Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips.

Before the swallow, before the daffodil, and not much later than the snowdrop, the common toad salutes the coming of spring after his own fashion, which is to emerge from a hole in the ground, where he has lain buried since the previous autumn, and crawl as rapidly as possible towards the nearest suitable patch of water. Something – some kind of shudder in the earth, or perhaps merely a rise of a few degrees in the temperature – has told him it is time to wake up ... At this period, after his long fast, the toad has a very spiritual look, like a strict Anglo-Catholic towards the end of Lent. His movements are languid but purposeful, his body is shrunken, and by contrast his eyes look abnormally large. This allows one to notice, what one might not at any other time, that a toad has about the most beautiful eye of any living creature. It is like gold, or more exactly it is like the golden-coloured semi-precious stone which one sometimes sees in signet rings, and which I think is called a chrysoberyl.

Black and white images often benefit from higher levels of contrast than the same image in colour. Our brains tend to perceive contrast between colours as well as differences in light and dark tones. When we remove the colour from an image we can also inadvertently reduce the perceived contrast.

And what was she like?” “Tall, fine bust, sloping shoulders; long, graceful neck: olive complexion, dark and clear; noble features; eyes rather like Mr. Rochester’s: large and black, and as brilliant as her jewels.  And then she had such a fine head of hair; raven-black and so becomingly arranged: a crown of thick plaits behind, and in front the longest, the glossiest curls I ever saw.  She was dressed in pure white; an amber-coloured scarf was passed over her shoulder and across her breast, tied at the side, and descending in long, fringed ends below her knee.  She wore an amber-coloured flower, too, in her hair: it contrasted well with the jetty mass of her curls.

The more ugly, old, mean, ill, poor I get, the more I want to take my revenge by producing a brilliant colour, well arranged, resplendent. Jewellers too get old and ugly before they learn how to arrange precious stones properly. And arranging the colours in a painting in order to make them vibrate and to enhance their value by their contrasts is something like arranging jewels properly or designing costumes

Their sister, who sat between them, with left leg balanced on right knee, was, by contrast, perfectly composed, having liberally applied perfume and changed into a green gingham frock to offset her colouring. Her sandals revealed an ankle bracelet and toenails painted vermilion. The sight of these nails gave Briony a constricting sensation around her sternum, and she knew at once that she could not ask Lola to play the prince.

Scene: Darkness. Suddenly, a single spotlight illuminates Apollo standing on the front porch of the Big House. The house is a bold red colour, a stark contrast to the short white chiton Apollo wears. He clears his throat and speaks. Apollo: A poem by Apollo, recited dramatically by ... Apollo: O Immortal Chiron, Centaur wise and true, Trainer of our heroes, Just remember who taught you. - The opening scene of Welcome to Camp Half-Blood Apollo's chiton was so short, I held my breath throughout this scene, praying he didn't bend over. - P. J.

In the Latin malus19 (to which I juxtapose µέλας)20 the vulgar man can be distinguished as the dark-coloured, and above all as the black-haired (‘hic niger est’),21 as the pre-Aryan inhabitants of the Italian soil, whose complexion distinguished them from the dominant blonds, namely the Aryan conquering race;22 at any rate Gaelic23 has afforded me the exact analogue – fin (for instance, in the name Fin-Gal),24 the word designating the nobility, finally – the good, the noble, the pure, but originally blonds in contrast to the swarthy, black-haired aboriginals.

Sometimes people ask me, Why flowers, Ella? The truth is I cannot remember when life, for me, wasn’t about flowers. Right from when I was tiny and I used to collect wild flowers on walks with my gran, mesmerised by the colours and the scents and the way you could make the whole impact and mood change by combining them in different ways. The simple, joyful sunburst of a huge fistful of primroses, then the softening and mellowing effect if you added in just a few bluebells for the surprise, the contrast. The hint of the Mediterranean, with the blue and the yellow together.

It was a savagely red land, blood-coloured after rains, brick dust in droughts, the best cotton land in the world. It was a pleasant land of white houses, peaceful plowed fields and sluggish yellow rivers, but a land of contrasts, of brightest sun glare and densest shade. The plantation clearings and miles of cotton fields smiled up to a warm sun, placid, complacent. At their edges rose the virgin forests, dark and cool even in the hottest noons, mysterious, a little sinister, the soughing pines seemed to wait with age-old patience, to threaten with soft sights: "Be careful! Be careful! We had you once. We can take you back again.

J. M. W. Turner is regarded by many as Britain’s greatest artist, whose works have become iconic symbols of the Romantic art movement. He became known as ‘the painter of light’, due to his increasing interest in brilliant colours and the contrast between light and dark in his many landscapes and seascapes. Turner was born on 23 April 1775 in London. His father, William Turner (1745-1829), was a barber and wig maker and his mother, Mary Marshall, came from a family of butchers. In 1785, his mother suffered from severe mental illness and was admitted first to St Luke's Hospital for Lunatics in Old Street in 1799 and then Bethlem Hospital in 1800, where she died four years later.

them flouncing into the pool, drinking, tossing up their heads, drinking again, the water dribbling from their lips in silver threads. There was another flounce, and they came out of the pond, and turned back again towards the farm. She looked further around. Day was just dawning, and beside its cool air and colours her heated actions and resolves of the night stood out in lurid contrast. She perceived that in her lap, and clinging to her hair, were red and yellow leaves which had come down from the tree and settled silently upon her during her partial sleep. Bathsheba shook her dress to get rid of them, when multitudes of the same family lying round about her rose and fluttered away in the breeze thus created, "like ghosts from an enchanter fleeing." There was an opening towards the east, and the glow from the as yet unrisen sun attracted her eyes thither. From her feet, and between the beautiful yellowing ferns with their feathery arms, the ground sloped downwards to a hollow, in which was a species of swamp, dotted with fungi. A morning mist hung over it now—a fulsome yet magnificent silvery veil, full of light from the sun, yet semi-opaque—the hedge behind it being in some measure hidden by its hazy luminousness. Up the sides of this depression grew sheaves of the common rush, and here and there a peculiar species of flag, the blades of which glistened in the emerging sun, like scythes. But the general aspect of the swamp was malignant. From its moist and poisonous coat seemed to be exhaled the essences of evil things in the earth, and in the waters under the earth. The fungi grew in all manner of positions from rotting leaves and tree stumps, some exhibiting to her listless gaze their clammy tops, others their oozing gills. Some were marked with great splotches, red as arterial blood, others were saffron yellow, and others tall and attenuated, with stems like macaroni. Some were leathery and of richest browns. The hollow seemed a nursery of pestilences small and great, in the immediate neighbourhood of comfort and health, and Bathsheba arose with a tremor at the thought of having passed the night on the brink of so dismal a place.

Some series teach us that ethnic features must be "fixed," by drastic means if necessary. Plastic surgeons with questionable ethics give insecure women of all ethnicities boob jobs, liposuction, and face-lifts on shows such as Extreme Makeover, The Swan, and Dr. 90210, ignoring medical risks and reinforcing problematic ideas about women's worth. Yet they don't make white surgical candidates feel like their cultural identity should also be on the chopping blocking - or that they'd be so much more attractive and fulfilled if only they didn't look so... Caucasian. In contrast, TV docs' scalpels reduce or remove racial markers on patients of colour. Black women's noses and lips are made smaller. In an increasingly common procedure targeting Asian women, creases are added to Asian women's eyelids.

Once it had been second nature to savour the contrast of new grass against dark, tilled soil, or an amethyst brooch nestled in folds of emerald silk; once I'd dreamed and breathed and thought in colour and light and shape. Sometimes I would even indulge in envisioning a day when my sisters were married and it was only me and Father, with enough food to go around, enough money to buy some paint, and enough time to put those colours and shapes down on paper and canvas or the cottage walls. Not likely to happen anytime soon- perhaps ever. So I was left with moments like this, admiring the glint of pale winter light on snow. I couldn't remember the last time I'd done it- bothered to notice anything lovely or interesting. Stolen hours in a decrepit barn with Issac Hale didn't count; those times were hungry and empty and sometimes cruel, but never lovely.

The fall of dusk upon the Egyptian scene is an unforgettable event, an event of unearthly beauty. Everything is transformed in colour and the most vivid contrasts come into being between sky and earth. I sat alone on the yielding yellow sand before the stately, regal figure of the crouching Sphinx, a little to one side, watching with fascinated eyes the wonderful play of ethereal colours which swiftly appear and as swiftly pass when the dying sun no longer covers Egypt with golden glory. For who can receive the sacred message which is given him by the beautiful, mysterious afterglow of an African sunset, without being taken into a temporary paradise? So long as men are not entirely coarse and spiritually dead, so long will they continue to love the Father of Life, the sun, which makes these things possible by its unique sorceries. They were not fools, those ancients, who revered Ra, the great light, and took it into their hearts as god.

Madge, her eldest sister, looked about forty, rather than thirty two. Her black dress drained her of colour; her shoulders had adopted their perpetual hunched position, which she had adopted to compensate for her height. As a child Madge had towered over her peers, stopping only when she reached five foot eleven. Lesley knew, without seeing them, that she would be wearing the usual flat shoes, the only footwear she would allow anywhere near her size eight feet. Sitting beside Madge, Pamela, her youngest sister, blonde hair flowing over her shoulders, was thankfully dressed fairly decorously in a black coat over a black pinstripe tunic dress with a high neckline. Remembering Pamela’s usual mode of dress, Lesley could only deduce that their mother must have prevailed upon her this time, in deference to the occasion. To her left Alan, at twenty four, the baby of the family, was talking in low tones to his girlfriend Erica, his fair hair and her dark locks forming a striking contrast. From Erica’s expression however, she guessed that Alan was currently on the receiving end of her infamous (and often malicious) acerbic wit.

Completed in Arles late in 1888 and now housed in the National Gallery, London, this painting depicts the artist’s humble chair and pipe. The work was completed shortly after Gauguin’s departure from the Yellow House. The two artists had quarrelled bitterly, causing Gauguin to write to Theo, “The incompatibility of both our characters means that Vincent and I cannot live together peacefully. It is imperative that I leave.” Vincent was devastated, seeing his dreams of establishing an artists’ commune with Gauguin shatter and disappear. In response, he painted his and Gauguin’s empty chairs, symbolising the loneliness and isolation that he felt. Van Gogh’s wooden chair is more modest, with the pipe and tobacco adding to its humble image; whilst Gauguin’s more elaborate chair, holding a book and candle, suggests learning and ambition. Van Gogh’s choice of colours for his chair include yellow and violet, hinting at daylight and a metaphorical idea of hope for the future. In contrast, Gauguin’s chair is depicted in darker colours of red and green, which along with the candle, enforce the idea of night-time. Together, the pictures represent day and night, with the painting of Gauguin’s chair suggesting that the absent friend had brought light and happiness to van Gogh’s evenings.

The Cistercian monks built simple and harmonious buildings out of the local limestone, with plain colours and few ornaments. The plans involved regular repetitions: the doors, windows and roof vaults wouldn’t vary much, so that the eye would easily find points of reference. Everything felt solid and enduring. Our natural human frailty was to contrast with the immemorial tone of the masonry. The monks were particularly keen on cloisters: covered walkways opening onto a quiet central square around which one could take de-stressing walks even on a rainy afternoon. The abbey at Cîteaux was just one of thousands built with similar intentions over a period of hundreds of years. It’s not an accident that architecture that sets out to create a contemplative and serene atmosphere can easily get labelled ‘monastic’, though in truth there’s nothing inherently religious or Christian about the pursuit of calm. The longing for serenity is a continuing, widespread human need, although the overtly religious background to abbeys and monasteries has an unfortunate association: making calm places erroneously seem as if they were inherently connected to a belief in Jesus. We need to rediscover the search for calm as a fundamental ambition of all architecture, not least for the buildings of our own harried times.

Sniff, swill, sip 329 words Leading whisky expert Charles MacLean on the underrated art of downing a good Scotch. USE ALL YOUR SENSES We all love a splash of golden liquor now and then, but the fine art of appreciating whisky requires a heightening of the senses. 'Nosing' whisky, a technique employed by blenders, is called sensory evaluation or analeptic assessment. Prior to sipping, examine its colour and 'tears', which are the reams left behind on the glass after you swirl it. Even our sense of hearing can help us judge the whisky; a full bottle should open with a happy little pluck of the cap. APPRECIATE A GOOD MALT Appreciation and enjoyment are two dimensions of downing a stiff one. Identify how you like your whisky (with ice, soda or water) and stick with it. Getting sloshed on blended whisky is all very good, but you will need single malt and an understanding of three simple things to truly cherish your drink. A squat glass with a bulb at the bottom releases the full burst of its aroma when swilled. A narrow rim is an added advantage. Instead of topping the drink with ice, which dilutes the aroma, go for water. NIBBLE, DON'T GOBBLE Small bites pair best with your whisky. It excites the palate minimally, letting you detect the characteristics of the whisky through contrast. If you're not a big fan of food and whisky pairing, skip it. OLD IS GOLD While old whiskies are not necessarily better, it's a known fact that most of the finer whiskies are well-aged. I would consider whiskies that are anywhere between 18 and 50 years as old, but it also depends on the age of the cask. If the cask is reactive, it will dominate the flavours of the whisky within ten years of the ageing process. If you leave the spirit in the cask for much longer, the flavour of the whisky will be overpowered by the wood, lending it a distinct edge. Maclean was in Delhi to conduct the Singleton Sensorial experience.

The opposition between women who are people and women who are something less does not only rest in the vague contrast between the women of the comedies and the women of the tragedies. There are more explicit examples of women who may earn love, like Helena who pursued her husband through military brothels to marriage and honour in All’s Well, and women who must lose it through inertia and gormlessness, like Cressida. In The Taming of the Shrew Shakespeare contrasted two types in order to present a theory of marriage which is demonstrated by the explicit valuation of both kinds of wooing in the last scene. Kate is a woman striving for her own existence in a world where she is a stale, a decoy to be bid for against her sister’s higher market value, so she opts out by becoming unmanageable, a scold. Bianca has found the women’s way of guile and feigned gentleness to pay better dividends: she woos for herself under false colours, manipulating her father and her suitors in a perilous game which could end in her ruin. Kate courts ruin in a different way, but she has the uncommon good fortune to find Petruchio who is man enough to know what he wants and how to get it. He wants her spirit and her energy because he wants a wife worth keeping. He tames her like he might a hawk or a high-mettled horse, and she rewards him with strong sexual love and fierce loyalty. Lucentio finds himself saddled with a cold, disloyal woman, who has no objection to humiliating him in public. The submission of a woman like Kate is genuine and exciting because she has something to lay down, her virgin pride and individuality: Bianca is the soul of duplicity, married without earnestness or good-will. Kate’s speech at the close of the play is the greatest defence of Christian monogamy ever written. It rests upon the role of a husband as protector and friend, and it is valid because Kate has a man who is capable of being both, for Petruchio is both gentle and strong (it is a vile distortion of the play to have him strike her ever). The message is probably twofold: only Kates make good wives, and then only to Petruchios; for the rest, their cake is dough.

Right from when I was tiny and I used to collect wild flowers on walks with my gran, mesmerised by the colours and the scents and the way you could make the whole impact and mood change by combining them in different ways. The simple, joyful sunburst of a huge fistful of primroses, then the softening and mellowing effect if you added in just a few bluebells for the surprise, the contrast. The hint of the Mediterranean, with the blue and the yellow together.

Anyone can be anything, irrespective of their stars; Anyone can be anything, irrespective of their sex (or orientation, if you may); Anyone can be anything, irrespective of their age; Anyone can be anything, irrespective of their size; Anyone can be anything, irrespective of their religion (or choice of nonconformity); Anyone can be anything, irrespective of their colour (or absence thereof); Anyone can be anything, irrespective of any previous defining moments; Anyone can be anything, irrespective of anything; Even if, just, for a while. It all comes from a place of choice, will, and determination. And if you, probably, wonder if I blunder when I juggle such trivial and contrasting ideologies, That’s simply because I can be just about anything. CHECK: Anyone can be anything, but not everything is expedient for everyone.

The sun glared down upon the thick cobblestone walls, leaving stark, vivid shadows contrasting with the blinding bright reflections. The spiked shadows of the portcullis loomed like the twisted teeth of the long lost dragons. [...] Tantalising smells wafted from the marketplace where colourful stalls selling everything imaginable sat in a confused muddle like a group of baby birds within their nest, the walls of the castle. [...] Enticing scents wafted between the stalls as bread and other pastries were made, adding their strength to the already vivid smells of the castle. Rising above the bustle below like four eagles rising on an updraft, four towers stood stark against the sunlit sky giving an overwhelming sense of power, control, and beauty.

He had dark blond hair cut so it fell endearingly into his eyes, which were this amazing contrast of a light honey colour and framed by dark lashes. He had a face so beautiful it would make the Madonna weep, and the voice of a damned angel.

When we read or listen deeply - it should be as a movie playing in our mind. That's why speed can be an important consideration for someone with an important message, although it may be possible for the observer to adapt and ease into tempo (a warmup). Perhaos most important - subjective insight, not what the message means to me but what the message means to the author. To make matters worse - each languages is more or less visually descriptive than others and even if a word translates, the true meaning can differ gradiently. The complexity of the movie depends on our minds ability to grasp geometry and dimensions beyond two. Colour is not as important as contrast. Each word should paint a vivid image, otherwise we need to learn more about the word itself or the way in which we structure our minds. //Easy is a tree, challenging is analysis.

When we read or listen deeply - it should be as a movie playing in our mind. That's why speed can be an important consideration for someone with an important message, although it may be possible for the observer to adapt and ease into tempo (a warmup). Perhaps most important - subjective insight, not what the message means to me but what the message means to the author. To make matters worse - each languages is more or less visually descriptive and even if a word translates - true meaning can differ gradiently. The complexity of the movie depends on our minds ability to grasp geometry and dimensions beyond two. Colour is not as important as contrast. Each word should paint a vivid image, otherwise we need to learn more about the word itself or the way in which we structure our minds. //Easy is a tree, challenging is analysis.

When we read or listen deeply - it should be as a movie playing in our mind. That's why speed can be an important consideration for someone with an important message, although it may be possible for the observer to adapt and ease into tempo (a warmup). Perhaps most important - subjective insight, not what the message means to me but what the message means to the author. To make matters worse - each languages is more or less visually descriptive and even if a word translates - true meaning can differ gradiently. The complexity of the movie depends on our minds ability to grasp geometry and dimensions beyond two. Colour is not as important as contrast. Each word should paint a vivid image, otherwise we need to learn more about the word itself or the way in which we structure our minds. Touchable or not.

120 stunning color combination ideas - We take you through the basics of combining colors and offer 120 stunning color combinations inspired by nature, wildlife, food & drink, and travel. Your choice of colors can set the tone of your entire project, so choosing wisely is crucial. After all, you don’t want your colors conveying a mood that is opposite to what the project calls for and you certainly don’t want a color combination that is off-putting or confusing to the eye. We briefly explain the science behind choosing the right mix of colors, and then give you 120 beautiful color combinations that you can start using immediately. Let’s jump right in! The science of combining colors Believe it or not, there’s a science to creating color combinations and it’s actually not complicated to grasp. All you need is the color wheel, and an understanding of five different combination styles that each has its own place in your bag of tricks. Complementary color combination Complementary refers to a 2-color combination where the colors are opposite from each other on the color wheel. The two colors complement each other through their contrast, which allows each color to stand out. Monochromatic color combination Monochromatic refers to a combination of different shades, tones and tints of the same color, by adding black, white or grey to the original color. A monochromatic color combination is traditional and subtle. Triadic color combination Triadic colors refers to a 3-color combination that forms a perfect triangle on the color wheel. There’s not as much contrast as there is with complementary colors, but there’s enough to let each color do its thing. Analogous color combination Analogous is another 3-color combination, this time colors that are adjacent to each other on the colour wheel. With this color combination, it’s best to make one color dominant and use the others as accents. Tetradic color combination Tetradic refers to a 4-color combination where the colors are placed in a perfect square around the color wheel (essentially two pairs of complementary colors). To achieve balance with so many colors, it’s best to keep one color dominant and use the rest as accents. Color combination based on nature Sometimes nature knows best. If you find a color combination that appears somewhere in nature, chances are it’s a winning combination, as you can see from the examples in many of the examples that follow.

Griffin’s narrative, by contrast, seems more steeped in indignities. Some of the scenes he endures are stomach-turning: being shooed away from white restaurants, as if his race will taint the food; hearing from Blacks about the difficulty of taking even brief trips away from home due to the scarcity of “coloured” bathrooms and drinking fountains, effectively confining them to their own neighbourhoods; being constantly questioned by white men about his sexual prowess and where they themselves could find loose Black women. Most painful to Griffin is what he refers to as the “hate stare.” He writes: “Nothing can describe the withering horror of this. You feel lost, sick at heart before such unmasked hatred, not so much because it threatens you as because it shows humans in such an inhuman light. You see a kind of insanity, something so obscene the very obscenity of it terrifies you.” It is this, beyond everything, that starts to get to him: not racism’s physical threats, but the way it distorts the mind and dehumanizes everyone it touches, both the hated and the one who hates.

So far we have considered the effects of varying the type of illumination, so at this point we can sum up how one specimen can be imaged in four separate ways. In a conventional microscope with bright field illumination, contrast comes from absorbance of light by the sample (Figure 7a). Using dark field illumination, contrast is generated by light scattered from the sample (Figure 7b). In phase contrast, interference between different path lengths produces contrast (Figure 7c), and in polarizing microscopy it is the rotation of polarized light produced by the specimen between polarizer and analyser (Figure 7d). This is ‘converted’ into an image that has colour and a three dimensional appearance by the use of Wollaston prisms in differential interference microscopy. For virtually any specimen, hard or soft, isotropic or anisotropic, organic or inorganic, biological, metallurgical, or manufactured, there will be a variety of imaging modes that will produce complementary information. Some of the types of light microscopy we have looked at above have direct parallels in electron microscopy (Chapter 4).

Vision is acute in the typically diurnal lizards, where it is essential for catching live prey such as fast-moving insects, and even grabbing flying insects out of the air as they pass. Their colour vision is also excellent, better in some ways even than that of humans, because as well as discriminating between the three primary colours that we do, some lizards’ eyes also have receptors sensitive to ultraviolet light. It is therefore no surprise that colour plays a more important role in the behaviour of lizards than in any other group of reptiles. Some species display extraordinarily conspicuous vivid colours and patterns to attract mates, even at the risk of increasing the chances of their being caught by a predator. For example, the garishly multi-coloured male of the Augrabies flat lizard of South Africa combines a bright blue head, greenish-blue front trunk, yellow front legs, orange hind legs and trunk, black belly, and tan and orange tail, not to mention a UV-coloured throat invisible to us. The female, in contrast, is mostly dark brown with cream stripes.

It is quite beautiful, that level of death, although to some it could be considered nightmarish. Whatda see old pal? Do you see death? Is he waiting at your doorstep for you and ya kin? Does he carrya scythe? Is he hooded like the healers? Or are you fortunate enough to gaze upon his face? Do you see an old, wrinkled man there? Eyes the only thing darker than his skin, with his hair in stark contrast? You kow what they say, black isn’t a colour, but a shade. Void of all colour, just like my pal there is void of all life. Or do you see a young man hell bent on revenge, trying to bring a loved one back from the grave? Trying so hard he will put every living soul in the ground to lift his love out of it? Is he pissed off that he can grant death, but the one thing he wants, life, is out of his grasp? Does he speak to you at night? When you sleep, with all the lights out, does he glide silently to your bedside and touch you? Does it hurt? Or do you not feel anything, just close your eyes and never open them again? Do you fear death, Steven?

When viewing photographic images, say in magazines, the overriding concern is for how the photo is conveyed; its mood, its colour, contrast and shading usages, its perspectives and image quality. However, the actual subject of the image, which other types are likely to concentrate on first, takes a back seat unless it is unavoidably dramatic.

.. and finish my letter by telling you of Ilam's chief outdoor charm: from all parts of the garden and grounds which I have told you of, and my bedroom window has a perfect panoramic view of them. I watch them under all their changes of tint, and find each new phase the most beautiful. In the very early morning I have often stood shivering at my window to see the noble outline gradually assuming shape, and finally standing out sharp and clear against a dazzling sky, then as the sun rises, the softest rose-coloured and golden tints touch the highest peaks, the shadows deepening by contrast.

An old man, thin as a rake, with cheap Clicks Pharmacy reading glasses perched on his nose, was leaning on the counter, paging through Die Burger newspaper. When he looked up, Leon involuntary took a step back. The man had the most intense blue eyes, strikingly contrasting his tanned bony skull. But it wasn’t the colour of the eyes that stopped Leon in his tracks, it was the expression on the man’s face. His eyes were limp, blank, incarcerated by an unfocused daze. He stared straight through Leon into, what felt to Leon as if into a vast abyss of nothingness.

Darkness. Suddenly, a single spotlight illuminates Apollo standing on the front porch of the Big House. The house is a bold red colour, a stark contrast to the short white chiton Apollo wears. He clears his throat and speaks. APOLLO: A poem by Apollo, recited dramatically by … Apollo: O Immortal Chiron, Centaur wise and true, Trainer of our heroes, Just remember who taught you. – The opening scene of Welcome to Camp Half-Blood

Dear …, I’m writing as a Canadian woman and a member of one of the so-called “visible” or “ethnic” minorities to protest the exclusionary—racist and sexist—practices of Canadian publishers. Why racist? Because they discriminate against white writers. Why sexist? Because they discriminate against male writers. I feel quite perturbed about Penguin Canada’s submission policy which solicits exclusively unagented LGBTQIA2S+ and BIPOC writers (as well as those from "traditionally underrepresented” communities). This is publishing madness that has gone too far in the name of diversity. If publishing exclusively white male writers (and that has never been the case) is a clearcut wrong, two wrongs do not make a right. Oddly enough, only Penguin Canada has this bizarre exclusionary policy. Penguin Australia and Penguin New Zealand, in contrast, welcome submissions from writers of all backgrounds. Penguin UK Merky Books New Writers’ Prize aims to discover new UK voices and writers regardless of race, creed, or colour. Could this be the reason why Canada lags so far behind UK and arguably even Australia/NZ in reputation in the literary and publishing worlds? You may say, oh, look at the history, white male writers have traditionally dominated the publishing field. But why should white male writers TODAY be discriminated against in order to address the inequities of the past? That's the crux of the problem created by Penguin Canada’s woke madness. So, let’s look at the books published recently. Are white males still dominating the field? The truth of the matter is, they don’t, with a whopping 73% of editors being female (Editor Demographics in the United States, 2023). The quality of books isn’t decided by a writer’s colour or gender. It’s decided by the story and writers’ skills in presenting that story. As an avid lifelong reader of books in 3 languages (one of them English), I love books. At times I can’t even remember a writer’s name, far less their skin colour or sexual orientation, but I DO remember the story. Yet today’s exclusionary publishing policies at Penguin Canada imply that only people of colour have the chops to write about people of colour (ditto for any social subgroup you choose). This not only suffocates the world of fiction writing but, as a logical corollary, limits writing about 59-year-old, ethnically Chinese, twice-divorced soccer moms with 2 mortgages SOLELY to 59-year-old, ethnically Chinese, twice-divorced soccer moms with 2 mortgages. For the record, I—and thousands of others, judging by mountains of internet posts—am interested in how men write about women, how white writers write about other races, how old men write about youth—and of course vice versa. I’m interested in how writers see the world regardless of their sexual orientation. Paying the piper to play only a single +ALPHABETSOUP tune, we get to hear only that single tune, reducing the depth of human experience to only what passes through that one artificially imposed filter. One last example: Simon & Schuster (US) has books like us first novel contest to discover new local writers regardless of who they are. Only in Canada’s Orwellian publishing world some writers are more equal than others. Shame on my country. Let the books speak for themselves!!

Dear …, I’m writing as a Canadian woman and a member of one of the so-called “visible” or “ethnic” minorities to protest the exclusionary—racist and sexist—practices of Canadian publishers. Why racist? Because they discriminate against white writers. Why sexist? Because they discriminate against male writers. I feel quite perturbed about Penguin Canada’s submission policy which solicits exclusively unagented LGBTQIA2S+ and BIPOC writers (as well as those from "traditionally underrepresented” communities). This is publishing madness that has gone too far in the name of diversity. If publishing exclusively white male writers (and that has never been the case) is a clearcut wrong, two wrongs do not make a right. Oddly enough, only Penguin Canada has this bizarre exclusionary policy. Penguin Australia and Penguin New Zealand, in contrast, welcome submissions from writers of all backgrounds. Penguin UK Merky Books New Writers’ Prize aims to discover new UK voices and writers regardless of race, creed, or colour. Could this be the reason why Canada lags so far behind UK and arguably even Australia/NZ in reputation in the literary and publishing worlds? You may say, oh, look at the history, white male writers have traditionally dominated the publishing field. But why should white male writers TODAY be discriminated against in order to address the inequities of the past? That's the crux of the problem created by Penguin Canada’s woke madness. So, let’s look at the books published recently. Are white males still dominating the field? The truth of the matter is, they don’t, with a whopping 73% of editors being female (Editor Demographics in the United States, 2023). The quality of books isn’t decided by a writer’s colour or gender. It’s decided by the story and writers’ skills in presenting that story. As an avid lifelong reader of books in 3 languages (one of them English), I love books. At times I can’t even remember a writer’s name, far less their skin colour or sexual orientation, but I DO remember the story. Yet today’s exclusionary publishing policies at Penguin Canada imply that only people of colour have the chops to write about people of colour (ditto for any social subgroup you choose). This not only suffocates the world of fiction writing but, as a logical corollary, limits writing about 59-year-old, ethnically Chinese, twice-divorced soccer moms with 2 mortgages SOLELY to 59-year-old, ethnically Chinese, twice-divorced soccer moms with 2 mortgages. For the record, I—and thousands of others, judging by mountains of internet posts—am interested in how men write about women, how white writers write about other races, how old men write about youth—and of course vice versa. I’m interested in how writers see the world regardless of their sexual orientation. Paying the piper to play only a single +ALPHABETSOUP tune, we get to hear only that single tune, reducing the depth of human experience to only what passes through that one artificially imposed filter. One last example: Simon & Schuster (US) has books like us first novel contest to discover new local writers regardless of who they are. Only in Canada’s Orwellian publishing world some writers are more equal than others. Shame on my country. Let the books speak for themselves!!

When colours are surrounded by black they glow out of the dark and that gives the colours a special importance. If you put colours on white, in a white frame or in white surroundings, then they appear muddy. White dulls the colours.