input: Geisel's early artwork often employed the shaded texture of pencil drawings or watercolors, but in his children's books of the postwar period, he generally made use of a starker medium--pen and ink--normally using just black, white, and one or two colors. His later books, such as The Lorax, used more colors.  Geisel's style was unique - his figures are often "rounded" and somewhat droopy. This is true, for instance, of the faces of the Grinch and the Cat in the Hat. Almost all his buildings and machinery were devoid of straight lines when they were drawn, even when he was representing real objects. For example, If I Ran the Circus shows a droopy hoisting crane and a droopy steam calliope.  Geisel evidently enjoyed drawing architecturally elaborate objects. His endlessly varied but never rectilinear palaces, ramps, platforms, and free-standing stairways are among his most evocative creations. Geisel also drew complex imaginary machines, such as the Audio-Telly-O-Tally-O-Count, from Dr. Seuss's Sleep Book, or the "most peculiar machine" of Sylvester McMonkey McBean in The Sneetches. Geisel also liked drawing outlandish arrangements of feathers or fur: for example, the 500th hat of Bartholomew Cubbins, the tail of Gertrude McFuzz, and the pet for girls who like to brush and comb, in One Fish, Two Fish, Red Fish, Blue Fish.  Geisel's illustrations often convey motion vividly. He was fond of a sort of "voila" gesture in which the hand flips outward and the fingers spread slightly backward with the thumb up. This motion is done by Ish in One Fish, Two Fish, Red Fish, Blue Fish when he creates fish (who perform the gesture with their fins), in the introduction of the various acts of If I Ran the Circus, and in the introduction of the "Little Cats" in The Cat in the Hat Comes Back. He was also fond of drawing hands with interlocked fingers, making it look as though his characters were twiddling their thumbs.  Geisel also follows the cartoon tradition of showing motion with lines, like in the sweeping lines that accompany Sneelock's final dive in If I Ran the Circus. Cartoon lines are also used to illustrate the action of the senses--sight, smell, and hearing--in The Big Brag, and lines even illustrate "thought", as in the moment when the Grinch conceives his awful plan to ruin Christmas.

Answer this question "How is Geisel's early artwork?"
output: Geisel's early artwork often employed the shaded texture of pencil drawings or watercolors,

Question: Jones was born in Eatonville, Florida, and lived in a four-bedroom house with his family of ten. Jones attended Hungerford High School, where he played football, baseball, and basketball. During high school, Jones developed a lump in his thigh and learned that it was a tumor; he had surgery to remove it. When he was 14 years old, he witnessed a carload of white teenagers laughingly hit an elderly black church woman with a watermelon.

Jones was considered by many to revolutionize the position of defensive end. He was credited with coining the phrase "sacking the quarterback". In 1999, Jones provided an L.A. Times reporter with some detailed imagery about his forte: "You take all the offensive linemen and put them in a burlap bag, and then you take a baseball bat and beat on the bag. You're sacking them, you're bagging them. And that's what you're doing with a quarterback."  What separated Jones from every other defensive end was his speed and his ability to make tackles from sideline to sideline, which was unheard of in his time. He also was the first pass rusher to use the head slap, a move that he said was, "...to give myself an initial head start on the pass rush, in other words an extra step. Because anytime you go upside a man's head ... or a woman; they may have a tendency to blink they [sic] eyes or close they eyes. And that's all I needed. " "The head slap was not my invention, but Rembrandt, of course, did not invent painting. The quickness of my hands and the length of my arms, it was perfect for me. It was the greatest thing I ever did, and when I left the game, they outlawed it."  Pro Football Weekly reported he accumulated 173 1/2  sacks over his career, which would be third on the all-time sack list. (Jones would have ranked first all-time at the time of his retirement, and since has been surpassed by two fellow Hall of Famers Bruce Smith and Reggie White.)  In 1967, Jones had 21 1/2  sacks in only 14 games; he tallied 22 sacks in 14 games the following year. If official, this would have stood as an NFL record until Harvey Martin's 1977 campaign, in which he totaled 23 sacks. (The term "sack" had not yet been coined at the time, and official sack statistics were not recorded by the NFL until 1982.)  (Source: St. Louis Rams, San Diego Chargers and Washington Redskins Media Guides)

Using a quote from the above article, answer the following question: Are there any other interesting aspects about this article?
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Answer:
He was credited with coining the phrase "sacking the quarterback".