Top 1200 Commercial Art Quotes & Sayings

People in Kolkata know me well for both commercial and art cinema.

I'm a commercial artist, both in music and art.

I have a problem with the present definition of commercial films. To me, 'Ghare and Baire' is an absolute mainstream film. There are also many films I have worked in that have been called art films by many. But I consider commercial.

People want to make a distinction between what's commercial and what's art.

The novel may be dead as a commercial form. When art forms things die as commercial forms, something happens to the practice of those arts that isn't very pleasant. It used to be that a poet like Tennyson could keep his house and his coach-and-four and his staff of six servants on the income from poetry. That doesn't happen anymore.

Tampon commercial, detergent commercial, maxi pad commercial, windex commercial - you'd think all women do is clean and bleed.

It's an extreme to go from an artist like myself to a commercial artist with art directors looking over your shoulder, or any other knucklehead telling you what your art should look like.

I was inherently slightly more bitter or cynical and that kept me from going to the commercial formulaic crowd. Also, I went to an art college and I did my foundation in art.

We both [with Jo Andres] think that it is really important to our culture that we support all kinds of music, all kinds of theatre and all kinds of art because you never know what moves people. We've always believed that there should be a strong voice outside the commercial world. Certainly, the commercial world has a huge place in our culture and we also support that - but, we also want to support the stuff that lives outside of that.

All I do all day is think of ideas and implement them. That's an industry, you know. I'm trying to make art on a commercial scale.

Films are an art form which are sold after packaging in this commercial world

It is said that anyone who does commercial cinema is not acting, and anyone who does an art film is acting. I don't believe it. I feel whenever you are doing a film, you are acting. So you need to be applauded for that. I won't do art house cinemas. I want to make commercial films. I want my films to make money.

I am all for high art but I owe it to myself to be clever about it and do commercial things too.

My first professional audition - god, I've never told anybody about this - was for a test commercial, I think it was for Xbox. It involved me getting kidnapped by a granny who wanted to play the Xbox. It was very weird and I definitely had no idea what I was doing. I actually got the gig. It wasn't a commercial; it was what directors did when they wanted to show the company what they would do with a commercial.

At first, I didn't want to do unicorns. The artist in me said no. Then I thought, 'Wait a minute: this is commercial art. Let's do what's going to sell.'

One of the first jobs I did was a commercial, a local commercial on the Chinese channel here in Los Angeles, and the whole thing was in Cantonese, I think, and I didn't have any lines, but I was kind of the focus of the commercial.

Commercial art is traditionally delivered to a client in a brown-paper bag with an invoice stapled to the outside.

My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way.... People mistake the character of line for the character of art. But it's really the position of line that's important, or the position of anything, any contrast, not the character of it.

I really love sharing with young Canadians the changes we're seeing in the space program right now with what we call "commercial space." We have commercial cargo delivery to the space station, and now we have what we call "commercial crew," where we're going to be delivering people to low orbit on new vehicles that are being designed by Boeing and SpaceX.

I'm interested in what would normally be considered the worst aspects of commercial art. I think it's the tension between what seems to be so rigid and cliched and the fact that art really can't be this way.

I'm very pro-Israel. In fact, I was the head of the Israeli Day Parade a number of years ago, I did a commercial for [Benjamin] Netanyahu when he was getting elected, he asked me to do a commercial for him, I did a commercial for him.

Art has to be severe. It cannot be commercial. It cannot be for the producer or even for the public. It has to be for oneself.

Having previously graduated from a 2-year commercial arts class, I thought that commercial illustration was the best way to make a living doing art. But the more tattoos that I did, the more I realized what artistic career potential tattooing had and I enjoyed it.

Artwork is not like a commercial business; there is no such thing as a schedule for art. You can't hurry art.

People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.

One clear difference between art and commercial work is that commercial work is exploitive: the work may be high quality but the intention is to sell product or tickets. Art exists with or without ticket sales.

I never intended to become a commercial filmmaker in the first place. What I do requires time and experimentation. Commercial work is often not the best way to get the most innovative work, because it's about money and marketing. Although advertising is now embracing non-commercial people.

I never expected to sell my art. It wasn't like today where you come out of art school and they promise you a future. Now it's almost regulated in a way. When we came out of school, we just wanted to make art that'd blow your hair back and do it for sport. There was no commercial possibility that we saw.

Im interested in what would normally be considered the worst aspects of commercial art. I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.

I'm for mechanical art. When I took up silk screening, it was to more fully exploit the preconceived image through the commercial techniques of multiple reproduction.

My forever mission is to take the best elements of both commercial and independent films and bring them together. I learned so much about the art of independent films and I have so much fun in commercial ones. I think that a mix of both is good.

Business art is the step that comes after Art. I started as a commercial artist, and I want to finish as a business artist.

Who are you writing this for? For a commercial reason, or because you want to make great art and give it to your fans?

What I'd tell any kid in high school is, 'Take business classes.' I don't care what else you're gonna do; if you're gonna do art or anything, take business classes. You can say, 'Well, I don't want to get commercial,' but if you do anything to make any money, you're doing something commercial.

I don't like differentiating between art and commercial cinema.

The initial response to 'Yennai Arindhaal' was that it didn't have all the quintessential commercial elements, though I consider it as my most commercial venture.

I am not a commercial industry creator. I don't believe in making art to make money.

By some curious mischance, a couple of my plays managed to hit an area where commercial success was feasible. But it's wrong to think I'm a commercial playwright who has somehow ceased his proper function. I have always been the same thing - which is not a commercial playwright. I'm not after the brass ring.

I'm scared to death to fly commercial I have not flown commercial since 9/11.

I just want to act - commercial, mainstream, niche or art - my choices are not defined by labels.

I have respect for those who make money at art and do it well and smartly, because that commercial aspect keeps the world going and running, in a sense.

I think it's always hard for people to get their head around the fact that populist, commercial films can also actually be great works of art.

Art isn't only a painting; it's anything that changes someone for the better, any nonanonymous interaction that leads to a human (not simply a commercial) conclusion.

I have done a Hamburger Helper commercial, a Hardees commercial, a McDonalds commercial. American Express commercial.

When we even use the term 'specialized world,' we already have a problem! We're making art; they are making art... these worlds are not far apart from each other. For instance, pieces of art that hang on a wall can be seen in museums or can be used in a variety of commercial ways. That art is everywhere, so the message is that it's a part of everyday life.

I don't make a division between an art film and commercial art.

I'm a commercial director; I do some very very commercial stuff in the commercial world. My music videos are always analyzed. I need to think about what the audience is going to think.

I got hit up for a tampon commercial and so I asked [JD and Jo] if they had anything. Jo sent that over and I was like, "I love this track. Oh my god. It's so upbeat. It's so positive. It would be so great for a tampon commercial." That commercial never came through, so then I just had it. I was like, "That would be great for a Hillary [Clinton] song." I think it's so funny that it could be a tampon commercial.

I'm scared to death to fly commercial... I have not flown commercial since 9/11.

My first commercial ever was a Dr. Pepper commercial. And then I did a Mountain Dew commercial. A lot of soft drinks.

I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.

Commercial Art tries to make you buy things. Graphic Design gives you ideas.

As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.

In Mexico, muralism is an important part of the artistic vocabulary, and it has a very different place than it does in the US. Here, you see mainly commercial signage and dead slick graphic works, or murals that are incredibly narrative and littered with too much content - bad political art. But in Mexicali, all kinds of artists work with mural art. In Mexicali, the social practice of art existed in a completely authentic and unselfconscious way.

My first commercial was an Old Navy commercial where I stood in line in front of a club, and Fran Drescher was in it.

I'd rather do anything than make commercial art. I didn't go to school for art. Making art has certain advantages for me but they would never be in commercial direction.

I have cut four albums so far, and all of them have been trendsetters and commercially successful. I believe that once you start taking art in commercial terms, it ceases to be art.

It is neither Art for Art, nor Art against Art. I am for Art, but for Art that has nothing to do with Art. Art has everything to do with life, but it has nothing to do with Art.

It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.

I don't think it's right to define films as commercial or art house. What's important is that a film evokes a certain emotion when it's being watched.