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When I work with my art department on putting imagery together for my blog posts I always think, 'Would I pin this?' That really helps.
As far as the performance goes, I want to create an atmosphere, and use 5.1 sound and imagery and shape and form to transform the stage from one thing to another, as if you're watching a movie.
In Dreams...well, I was slightly overcompensating with that. I was a bit like a director for hire, so maybe I was putting too much imagery that was familiar to me into it.
I don't feel that I decided deliberately I'm going to write something and have it stand alone. Somewhere by the end I think it would probably revert to imagery.
Imagery is the most important to me when singing stories. I try to paint pictures with the words and decorate with little to no singing....let the song do the work.
In a way, this kind of insight or recognition often permeates the way I think of character, how I plot action, and the way in which I use imagery, seeing binaries as false.
Don't worry about how pretty (the story) sounds, how lilting it is, and the imagery, and the metaphor, all that. Most readers don't care. It's the people in your book that matter.
When I first started painting candyland imagery, I was looking for the best possible metaphor for everything that is pleasure, desire and insatiability.
I'm not a fan of 3D. But I am a huge fan of digital imagery. Because it allows a filmmaker much more latitude to appreciate their own visions and dreams.
I've been attracted to imagery and occasionally I've drawn from it, but I never thought I'd be painting these paintings. I didn't have any desire to. I didn't think there was any reason to.
So overjoyed were they at their deliverance that they laughed aloud, and the Earth seemed to them like a flower of silver, and the Moon like a flower of gold.
When one finds oneself in the kind of strange, unsettling circumstances as I presently find myself, it is only natural, after all, to have a few, unusual, vivid dreams.
Pop is about speaking everybody's language. The imagery and iconography we instantly recognize. When you can rely on things that the public already knows, you're dealing with Pop.
Create a world in front of your readers where they can taste, smell, touch, hear, see, and move. Else they are likely going to move on to another book.
Watch, how the sunslowly risesfrom behind my earnew lines, new countriesspring up in my palmsmy rough hairbecome swaying silkand all the leavesin my bodybecome lusher than fruits.