Don't follow in any footprints, make your own prints. Because, you are the future of tomorrow.
Print is predictable and impersonal, conveying information in a mechanical transaction with the reader’s eye. Handwriting, by contrast, resists the eye, reveals its meaning slowly, and is as intimate as skin.
Nothing prints more lively in our minds than something we wish to forget.
We may print, but not stereotype, our opinions.
Print-based libraries developed in an age of scarce printed resources.
You are putting on paper, in print, what you sense and feel in your mind.
There's nobody between you and the print. Nobody. It's you and the subject and the final print. And if you get it published that way, you've said it.
Although I am even now still a layman in the area of mathematics, and although I lack theoretical knowledge, the mathematicians, and in particular the crystallographers, have had considerable influence on my work of the last twenty years. The laws of the phenomena around us--order, regularity, cyclical repetition, and renewals--have assumed greater and greater importance for me. The awareness of their presence gives me peace and provides me with support. I try in my prints to testify that we live in a beautiful and orderly world, and not in a formless chaos, as it sometimes seems.
My dream scenario would be that you could go into a bookshop, examine copies of every book in print that they're able to offer, then for a fee have them produce in a minute or two a beautiful finished copy in a dust jacket that you would pay for and take home.
I love prints of skulls and bones and have some taxidermy - a crow and a rabbit - to remind me of home. I like art and have a big portrait of Bjork.
A woman once rang me up and said, 'Mr. Escher, I am absolutely crazy about your work. In your print -Reptiles- you have given such a striking illustration of reincarnation.' I replied, 'Madam, if that's the way you see it, so be it.'
Print encourages a sense of closure, a sense that what is found in a text has been finalized, has reached a state of completion.
Any innovation that is evident in my paintings is a direct result of something that happened in the course of making a print.
Personally, I don't really have a set style or look. It's pretty much what I feel like wearing that day, from a floral-print dress and high heels to ripped jeans and army boots.
Everything you've ever read of mine is first-draft. This is one of the peculiarities of the comics field. By the time you're working on chapter three of your masterwork, chapter one is already in print. You can't go back and suddenly decide to make this character a woman, or have this one fall out of a window.
We've got to lift our game tremendously. We'll sell our business news and information in print, we'll sell it to anyone who's got a cable system, and we'll sell it on the Web.
New online formats gutted the newspaper-ad business. Why pore over tiny print looking for a job in the want ads when you can tap a few keywords into monster.com, then click through and apply? Why pay a steep per-character rate for a classified when you can hawk a whole garage full of used stuff on EBay or Craigslist for free?
There isn't much room for an outsider point of view in print any more.
The great thing about being a print journalist is that you are permitted to duck. Cameramen get killed while the writers are flat on the floor. A war correspondent for the BBC dedicated his memoir to 50 fallen colleagues, and I guarantee you they were all taking pictures. I am only alive because I am such a chicken.
I want to print books by people in the film industry.
I try in my prints to testify that we live in a beautiful and orderly world, not in a chaos without norms, even though that is how it sometimes appears. My subjects are also often playful: I cannot refrain from demonstrating the nonsensicalness of some of what we take to be irrefutable certainties. It is, for example, a pleasure to deliberately mix together objects of two and three dimensions, surface and spatial relationships, and to make fun of gravity.
When I was young, my favorite picture book was 'Fletcher and Zenobia,' written by Edward Gorey and illustrated by Victoria Chess. It's long out of print now, but its mix of macabre humor and 1960s psychedelia made it a perfect children's book for the times.
I could have been a dental hygienist with nothing bad ever appearing in print about me, but that's not how I've chosen to lead my life. I knew that you put yourself under a microscope the more famous you become.
Negatives are the notebooks, the jottings, the false starts, the whims, the poor drafts, and the good draft but never the completed version of the work The print and a proper one is the only completed photograph, whether it is specifically shaded for reproduction, or for a museum wall.
Visually Agincourt is a pre-Raphaelite, perhaps better a Medici Gallery print battle - a composition of strong verticals and horizontals and a conflict of rich dark reds and Lincoln greens against fishscale greys and arctic blues.
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