I definitely take inspiration from runway trends but also throughout my travels, I see editorials all over in all of the different publications.
My drawing came out of editorial-style cartoons. Music was one thing and art was another, and there weren't really any standards for my art. My work was just drawings. They weren't done with any aspirations of becoming a part of punk scene. They weren't about punk. They were just collections of drawings, some of which I xeroxed and sold.
For the individual, as I can testify, a brief grounding in semantics, besides making philosophy unreadable, makes unreadable most political speeches, classical economic theory, after-dinner oratory, diplomatic notes, newspaper editorials, treatises on pedagogics and education, expert financial comment, dissertations on money and credit, accounts of debates, and Great Thoughts from Great Thinkers in general. You would be surprised at the amount of time this saves.
It's all about setting new goals. I reached one goal when I got the Sports Illustrated cover, which was such a surprise to me. Then after that I had a meeting with my agency who asked, "What do you want to do next?" I'd love to do more TV, I want to do more editorials, more high-fashion stuff. It's like picking it all and doing it.
And if you are somebody who needs to get a pat on the back for everything that you do, editorial is not for you.
It's all just so fraught when you're writing and then going through the editorial process. It feels like this shape-shifting thing. When it's done, and you can't change a single word, it's a totally different thing. I was surprised by what that thing was.
My days are kind of controlled by my projects, so sometimes they're album covers. Sometimes they're commission portrait shoots. Sometimes they are editorial, so it kind of - I don't dictate it.
I think any good cartoon sums things up for people. It's kind of ironic we appear on the editorial pages of newspapers, but now of course we're transferring over to the net, and that gets a lot more attention.
I was never asked to join the Editorial Cartoonists Of America. No fraternity would have me in college, either. I think they know something.
I feel like I'm guiding the teams and we're all making this together. It feels more free-spirited and less structured, but we have our deadlines and that's important. We have an editorial team, but we're having fun. I get to guide them.
Broadly speaking, in the past few years, we've more than doubled the editorial staff [in Mother Jones], as part of ramping up daily operations that have resulted in huge gains in audience, a slew of awards, new multimedia endeavors, and of course scoops like the 47 percent.
You can teach taste, editorial sense, but the ability to say something funny is something I've never been able to teach anyone.
When you're free of editorial control, you owe it to yourself to obtain feedback from friends and readers. Some take those criticisms to heart and incorporate it into their work, and some ignore them.
There is too much illustrating of the news these days. I look at many editorial cartoons and I don't know what the cartoonists are saying or how they feel about a certain issue.
It occurred to me that nothing is more interesting than opinion when opinion is interesting, so I devised a method of cleaning off the page opposite the editorial, which became the most important in America and thereon I decided to print opinions, ignoring facts.
If Playboy ever loses its editorial balls, then it will deserve to be knocked over by a younger, more vigorous magazine in the coming generation. But that won't happen so long as I'm alive, I can promise you that.
Curators are great, but they're inherently biased. Curators are always making an editorial decision. Those biases have really big implications.
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