Cover Art Quotes

Graphic novels and comic books, by and large, as you know, have cover art, and they have interior art. The interior art is never as detailed as the cover art.

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

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.

Writers usually don't get to pick our own covers. I know it's surprising to hear that.

When I did the cover of 'Cosmo International,' Turkey picked it up and I got a lot of backlash for it.

I've always played 'NBA Live' since I was a kid, so to be on the cover is a blessing.

We made this really dumb decision to put on the cover nothing from South Park but just a real life photo of a piece of pooh dressed up like Mr. Hankey, and a lot of people didn't, they didn't even know what it was.

I realize that this is not what you want to put on a cover with Wonder Woman emblazoned on it. She could be in trouble, but she doesn't need to be completely out of control. So whenever I'm doing these covers, I try to make sure that there's an element where, even if there is danger, it's not something where agency is taken away from her.

As a kid, I'd buy novels with these magnificent Chris Fosse covers which showed an enormous contraption hovering over a planet, and you'd always think 'Where's that going to come in?' And it never did! It was always slightly disappointing when the contents of a book never lived up to the cover.

I believe in advancing the story with the cover so that the audience gets taken in immediately with that cover.

First of all there was a guy named Charles Nicholas, who used to do all of the inking that Jack and Simon didn't do. Simon used to do splashes and covers, but Charles Nicholas, after a while, did the inside of all of the stuff.

The mystical poetry of William Blake's artwork also forms the basis for the album cover.

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.

The first comic book I ever read was an issue of 'Legion of Super-Heroes' where the earth was surrounded by all of these chains. I remember the cover; I got it at a birthday party.

That became a big time in comic books because it's when people were starting to break out into independent stuff, the market was getting choked with speculators and everybody was trying to do their own trick covers.

With 'Greek Gods,' I wanted to go with the blue and green hues of sky and water; with 'Heroes,' I felt the color needed to be more dramatic and give a sense of battle, rage, and yes, of blood. That's the world these demigods lived in, and I felt that orange and red would also compliment the greenish blue of the 'Gods' cover.

More often than not, the fans really gravitate towards who's on the cover as opposed to how it's drawn or how it's composed, and so, a lot of the time, what an artist likes will be very different from what a fan likes.

Especially with Elektra, because I'm doing a lot of the covers for the new version of Elektra.

You can't underestimate the importance of cover art.

My attitude with covers is, make it your own or else leave it alone.

I steer clear of books with ugly covers. And ones that are touted as 'sweeping,' 'tender' or 'universal.'

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.

The 'Fortune' I came to work for on Jan. 25, 1954, was a monthly, with pages significantly larger than what you're reading; 'art' covers that did not relate to stories inside; and a newsstand price of $1.25.

I thought it was amazing to work with authors, to get a manuscript and try to make up a cover for it.

One thing I learned working at magazines was that if you couldn't get people to look at a page or a cover, then you were fired. It was all about how you create arresting works, and by arresting I mean stop people, even for a nano-second.