A Quote by Jane Lindskold
I've never met any artist who illustrated one of my books, although I've corresponded briefly with one. I have always been impressed by the technical expertise involved in the covers, even if sometimes puzzled by the subject matter.
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In those days I was new to covers; merely felt pleased that a story of mine had been honored. I later met Rogers who did some of my early covers and I was impressed with him.
I went out into the world when I was about 22. I wrote books and I illustrated books and did book covers, and I taught tap-dancing, and I was a model in the art school. I had no ability for any of those things, but what else could I do?
Thomas Sowell is America's foremost public intellectual and for good reason. His work covers almost every subject imaginable- race, economics, Marxism, ethnic groups, immigration patterns, just to name a few. He is persuasive and provocative and always scintillating. I've read all his books and never been even faintly disappointed. Black Rednecks & White Liberals is no exception.
The subject matter that I am really spending my time on has become an acceptable subject matter. Living, lifestyle, family, is now in the forefront of interest in America, and I've just stuck with it. I mean, I've been doing this for years, and I never got angry. I never said, you know, listen, I'm fighting for this subject. That wasn't my point. My point was to continue working in a subject matter, knowing full well that finally it would be recognized as a viable subject once again.
Covers, so many covers, so many different, delectable pictures, and although, metaphorically speaking, it is the thing I hate most, when it comes to literature I always judge books by their covers. First the cover will catch my eye, then I read the back of the book, and then finally the first page.
I sometimes feel I have met everyone he ever met, but I never met him. I am afraid to say I have always been - the word I would have to use is - amused by Howard Hughes.
All of our columnists have areas of interest and expertise that they will return to frequently, but the subject matter of any given column is up to them.
It's kind of scary sometimes, I've seen this a lot in Asia. Children are given music lessons, very intensively I might add and involving great technical expertise sometimes, but you can tell that they have been told only to play happy pleasant music.
He who thinks he can have flesh and bones without being subject to any external influence, or any accidents of matter, unconsciously wishes to reconcile two opposites, viz., to be at the same time subject and not subject to change. If man were never subject to change there could be no generation; there would be one single being, but no individuals forming a species.
In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new.
No matter how interminable something feels, there is always, always an ending. Sometimes that's good, and sometimes it's bad; sometimes it's a matter of indifference, and sometimes it's heartbreaking, and your life is never the same thereafter.
I don't know Dr. Rosenberg. I have never met her, I have never spoken or corresponded with this woman. And to my knowledge, she is ignorant of my work and background except in the very broadest of terms.
The thing about covers that's relatively important to remember is that it doesn't matter how good an artist you are: if you don't have good ideas, the covers don't stand out.
I'm not particularly ethnically Scottish; I have one grandfather who is Scottish, although he's called Macdonald, and you don't get a lot more Scottish than that. The Scottish part of my family are from Skye, and I've always been very aware of that - always been very attracted to Scottish subject matter, I guess.
Sports Illustrated is very serious about their covers. They'll never say, like, 'Oh you got it.'
Technical Expertise is composed of all the little and large bits of technique known to the skilled painter, musician, actor, any artist. He adds these things together in his basic presentation. He knows what he is doing. And how to do it. And then to his he adds his message.
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