i was on the same plane coming over here from cali as the JET kids heading to japan. jesus christ the shoes those people wore. the fucking shoes. one of them had those two toes ninja gardening shoes, like on his feet, in a both serious and professional capacity.
the shoes. they haunt me. a dark mirror, reflecting back greasy visions of my own undertaking, fatly distorted
i love calling in to meetings, seriously if you have a meeting give me your conference code, i’ll call in
i will call in and mute the line and turn on the speaker phone then lean back in my chair with a pencil in my mouth eraser first, nodding thoughtfully towards the phone while i read on the internet
you can ask me questions and i’ll tell you that i will “check with human resources” or “get back to you on that” and at 2-3 points in the meeting i will unmute the line to offer a suggestion that will be correct and good but too vague to bee useful
Do you start drawings knowing how you want them to look, or do they transform as you work?
It is now mostly the former; it used to be the latter. I remember it being a really big breakthrough the first time I had completed an image that looked pretty much how I was expecting it to look. It happened about 4 years ago.
All learning artists can expect to have to adjust their mental image as they work, because they’ll run into their lack of skill and experience before they get the picture in their head into the picture on the page. It’s frustrating, but you just keep working at it long enough and eventually you hit those roadblocks less and less. When I do hit one, I try to face it and repair whatever my blind spot is, instead of cheating around it. Unless I’m on a deadline.
It’s important to keep working on this stuff, otherwise your work will get lazy and stale as you lapse into a pre-recorded set of angles, poses, and motions. I’m constantly paranoid about this. My environmental/machine/landscape skills are shit, for example. I should do something about that.
What do you think of that art with practically only allusive content, like stuff by that photographs of photographs guy or that shitty Shepard Fairey? Isn't it shitty? Also, pediatric morbidity: bad?
The shortest answer is that I really don’t look at art.
The longer answer is that I have no opinion because I find the stuff you describe so aggressively dull that I don’t spend any time thinking about at it. I’m sort of aware of them as cultural entities but couldn’t tell you anything about them, what they do (Fairey did the OBEY thing, I guess?), or why they are considered interesting enough to have reputations or followings.
The question is always raised about whether or not these guys “deserve” their various accolades, and the answer is that talent, skill, and appeal to the public or to the art establishment have never had anything to do with each other. Even if you do get famous, it’ll almost certainly be for the wrong thing or with the wrong fans, and your diverted career into award-winning cartoons will haunt you for the rest of your life when really what you wanted to do was become the Thomas Kinkade of girls-in-their-bras oil portraiture.
Although doesn’t Fairey do original design work? I’m not sure why you’re lumping him in with a dude who takes photos of photos.
No sistema de transmissão de internet, os crimes de arte são considerados especialmente hediondos. No Sweatshop, os artistas dedicados que perpetuar esses crimes cruéis são membros de um esquadrão de elite conhecido como Unidade de Vítimas suado.
“i just want to interview these guys. when they tell me “well, uh, we’re not europe!!!” i’d be like “ok, and? what does that mean?” and they would be like “we’ve got freedom!” and i’d be like “ok, and? what does that mean?” and they’d sputter and say “this interview is over sir!””—3 Million Cut Off In Two Months
I’m glad I was able to help, although my own foot expertise is pretty limited. Feet are almost as important to the “selling” of a figure as hands are. I couldn’t tell you why that is, but everyone knows a bad foot when they see it, maybe even more than they know a bad face.