Sharon Jones Quotes

I used to do jacket design, and I'm very conscious of covers, and probably meddle more than other authors would.

Speed is scarcely the noblest virtue of graphic composition, but it has its curious rewards. There is a sense of getting somewhere fast, which satisfies a native American urge.

One of the first things I picked up when I was very, very young out of a record store was work from Peter Saville - the early things he used to do for Factory Records.

It's aggravating that Hollywood has never gotten credit for the role it played in promoting modern design.

I start each collection thinking how I can refresh my classics.

When I look at designer books I am sometimes puzzled why they don't share their inspiration, when it's obvious somebody had such great inspiration.

Back when we were first making records, you didn't just make the music, you put a great deal of energy into the way it looked, and every word that was written on the whole thing.

You can't underestimate the importance of cover art.

In the Seventies, album artwork became really beautiful items. The whole process of doing an album sleeve, it became a very artistic thing.

Even if it's a song I know isn't gonna do that well, I'm dropping it as a piece of art, so I always want sick visuals to go with it.

The artwork on my packaging was something I painstakingly micro-managed - for example, I treat it like a tattoo, taking into consideration the muscle structure and seeing were the line lands on the existing body.

For me, one of my personal inspirations was designers in the mid-20th century named Charles and Ray Eames.

I think that, in a digital age, album covers are becoming a lost art.

Fashion is a great love of mine. I'm used to looking really hard for clothes that I like and I am really fortunate to have an amazing team of talented artists who work day and night with me to create our visions and make them come alive.

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.

Performing was the natural thing originally and the rest of it [records and so on] is just like offshoots of that. That's how I see it anyway.

Making records is not how it used to be! #stillwerking

Just because you sell lots of records it doesn't mean to say you're any good. Look at Phil Collins.

I still write music, and I still have sessions, and I still record, but I have no plans.

It's a different thing when you go into a studio and you record with the intent of going somewhere and you're marketing yourself for that direction.

You know when a script is good but you don't have any knowledge how visually it is going to look. When this [Happy Valley] came out and I saw the first episode and thought it was terrific.

I'm a beat hoarder. I'll record five songs in a year and I still hoard beats.

I like the idea that people get engaged thinking about design, about creativity. I don't see how it could possibly be bad.

Demos are something you do in the early stages of your career, but when you get going, you just go in and record the song.

Paint is a very sensual material. It's lovely to work with and lovely to look at.