Two challenges have popped up in the art community this month; illustrator Jake Parker has been running Inktobersince 2009, sharing one ink drawing a day all month long. Simultaneously, Autodesk Sketchbook is putting on Drawtober where they post up daily drawings prompts on Deviantart and share the responses.
I’m having my ink-soaked-illustrator-nerd-cake and eating it too by participating in both at once. I’ve got a late start but hopefully will catch-up this weekend.
This first prompt was “Tuesday Twos” - an attempt to combine the words “grass” and “phone.”
Working on a new series which for lack of a better label I can only describe as “floating stones.” More to fix my light logic knowledge and play with painting techniques than anything else. Plus I have this thing for big, floating, purple rocks. Bonus points if you can find the face on this one.
Louis C.K. went on Conan last night to offer surprisingly profound and compelling reflections on how perpetually gazing into a smartphone changes our ability to be in the world.
"The thing is you need to build an ability to just be yourself and not be doing something, and that’s what the phones are taking away. It’s the ability to just sit there. That’s being a person, right?
You know, underneath everything in your life there’s that thing, that forever empty thing. The knowledge that it’s all for nothing and you’re alone. You know, it’s down there. Life is tremendously sad just by being in it.
When I start to get that sad feeling, I reach for the phone. You know what, don’t. Just be sad. Just let the sadness stand in the way of it. And let it hit you like a truck. You’re lucky to live sad moments. You have happiness rushing in to meet the sadness.
The thing is because we don’t want that first bit of sad, we push it away with like a little phone ****. You never feel completely sad or completely happy. You just feel kind of satisfied with your product.”
Another Day, Another Magical Hat Digitally Painted.
I woke up today with intentions of filling out forms, mailing bits of paper, and tromping through the internet maze of beaurocratic systems. But instead I opened up photoshop… and then this happened. #couldbeworse
Doodling while listening to audiobook excerpts of The Perfect Bait by Bobby Chiu – the supremely talented and generous concept artist who runs Schoolism (an online art programme taught by working professionals).
This has become a familiar and favourite quote for me – a reminder to think bigger than the details. In the post-graduation lifestyle, days with my head stuffed in dark, tiny, narrow trees (be it bills or graduate school or renting housing) seems to be a fairly common occurrence…
There Are No Rules, Don’t Let Anyone Tell You Otherwise.
Difficult to remember and yet wonderfully liberating if you manage to commit to believing it. If you think there are rules for the way things are “supposed” to go, you will likely follow them. If there are no rules to follow, things will just go. And likely be far more interesting.
On a bit of a hand-lettering kick since watching Sean McCabe tell us To Do What We Love. I love perhaps far too many things, and exploring the different ways to write letters is part of that package. A primary school teacher once reprimanded me for playing around with my handwriting so much that parts were illegible or too small for the human eye to discern its content (despite every letter being terribly, terribly neat – just in size 3 font). I clearly didn’t know there were “rules” to writing yet…
On podcast episode 60 of Chris Oatley’s Artcast (a phenomenal resource for designers and illustrators), the theme was “There Are Easier Ways To Become A Professional Artist,” and guest concept artist Noah Bradley just kept saying “When in Doubt, Draw.” Which I took as some fairly solid advice. And therefore felt the need to hand-letter.
Ira Glass on Fighting Your Way Through Bad Creative Work
I have always loved this quotable segment delivered by Ira Glass in his Series on Storytelling. It is now something I end up telling myself every morning – “What you’re making isn’t so good. It’s trying to be good. It has ambition to be good. But it’s not that good.” Good creative work requires a technique and a style and a process that takes a substantial amount of effort and time to build. And until you get there, “you just have to fight your way through that.”