Speed Hound by Arthur Stringer. Ladies' Home Journal, July 1933
"Иллюстратора можно сравнить с режиссёром кинокартины или театральной постановки. Ему необходимо знать своих героев – их эмоции и желания; он должен поставить сцену, управляя аранжировкой и действия и драматического конфликта. Поступок каждого персонажа должен быть им пережит. Ему следует сделать декорации, подобрать костюмы и проработать световые эффекты. Его иллюстрация должна быть глубже, чем плакат, потому что он обязан заставить своих персонажей жить, дышать и реагировать друг на друга так, как задумал автор" - Пруэтт Картер (анг. Pruett Alexander Carter; 1891-1955)
The Old Garden Speak by Viven R. Bretherton. Good Housekeeping, Sep. 1935
The Doctor by Mary Roberts Rinehart. Good Housekeeping, Feb. 1936
Try and Hold Me by Norma Patterson. Good Housekeeping, Sep. 1936
A Ticket to Samarkand by Viven R. Bretherton. Good Housekeeping, Aug. 1938
Tomka Squaw by Martha Ostenso. Good Housekeeping, Sep. 1938
Cross Roads by Kathleen Norris. The American Magazine v122 n06 (1936-12)
Deep and Dangerous by John Randolph Phillips. The American Magazine v124 n06 (1937-12)
I could go for you, Janie by William O'Farrell. The American Magazine v133 n01 (1942-01)
What the Doctor Ordered by Mildred Harrington. Cosmopolitan v101 n05 (1936-11)
The Home Front by Vina Delmar. Cosmopolitan v113 n02 (1942-08)
The Story of Dr. Wassell by James Hilton. Cosmopolitan v114 n04 (1943-04)
He Married a Doctor by Faith Baldwin. Cosmopolitan v115 n03 (1943-09)
"The illustrator may be likened to the director of a motion picture, or a spoken stage-play. He must know his characters – their emotions and desires – he must set the stage, and direct the arrangement and action and conflict of drama. He must live the part of each actor. He must do the scenery, design the costumes and handle the lighting effects. His illustration must be deeper than a poster, for he must make his characters live and breathe and react to each other as the author intended" - Pruett A. Carter