A Quote by Robert Paul Weston

I always hope that the artwork will complement and enrich a story. — © Robert Paul Weston
I always hope that the artwork will complement and enrich a story.
In a sense, the artwork is the most important thing in getting somebody to buy a book. The person probably won't buy a book if he doesn't like the artwork. Once you buy it for the artwork, you hope that the story will also be good.
Whenever I work on an album and the time comes to do all the artwork, the only thing I think of is the LP artwork. When we worked on the 'Electric Trim' artwork, we spent weeks and weeks making the LP artwork great, and then the CD artwork came together in a day or two. The LP is what's important to me.
No matter how good a story is, if you're at a newsstand and you see a lot of comic books, you don't know how good the story is unless you read it. But you can spot the artwork instantly, and you know whether you like the artwork, whether it grabs you or not.
I see all art as a complement to telling people's stories. I'm in the storytelling business. I believe that the humanity that all of us share is the stories of our lives, and everybody has a story. Your story is as important as the next person's story.
And so I write this for you, My Sarah. With the hope that one day, when you’re old enough, this story that lives with me, will live with you as well. When a story is told, it is not forgotten. It becomes something else, a memory of who we were; the hope of what we can become.
I don't know your story or your dreams or the things that steal your sleep, but I know they matter. I hope you story is rich with characters, rich with friends and conversation. I hope you know some people who carry you, and I hope you have the honor of carrying them. I hope that there's beauty in your memories, and I hope it doesn't haunt you. And if it does, then I hope there is someone who will walk you through the night and remind you of the promise of the sunrise, that beauty keeps coming, that there are futures worth waiting and fighting for, and that you were made to dream.
For me, each book is kind of like a silent film. If you were to remove the words and just look at the pictures, you should be able to tell what the story is about without having to read a word of text. That's what I think I brought from doing artwork for film to doing artwork for books.
I hope that people will be inspired by Madam Walker's story. I hope that they will see her as a complex human being, and that they will want to dig more deeply, that they will want to know the details of her life.
With the new game I'm going to be involved from the ground up. I have had story input and the whole thing will have my imprint on it. Even if I don't hands-on do every bit of artwork, I certainly will direct the look of the whole thing.
Audience members are only concerned about the story, the concept, the bells and whistles and the noise that a popular film starts to make even before it's popular. So audiences will not be drawn to the technology; they'll be drawn to the story. And I hope it always remains that way.
No matter what the results, the act of searching will always enrich my work.
My hope is that when people read my story, it will inspire them to reach for their goals and not give up. The real story is this: if I can do it, you can too.
If your hope disappoints you, it is the wrong kind of hope. You see, hope in God never disappoints, precisely because it is hope *in God.* This means that hope placed in any other thing will always end up disappointing.
Description needs to slide into a story like a snake through grass - silently, almost invisibly, without calling attention to itself. It should enrich every story moment without slowing the action.
If you wish to enrich days, plant flowers; If you wish to enrich years, plant trees; If you wish to enrich Eternity, plant ideals in the lives of others.
The real art is in the street, is making the artwork, and for that you have to involve people. The action is actually the artwork.
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