Grant Snider for the New York Times. (Oh, and Grant has a book out too)
Comments closedTag: creativity
New Lines
Self Initiated: Stanley Chow
Like their first film about illustrator and typographer Daren Newman, the second short in the ‘Self Initiated’ series by the folks from Manchester-based Daylight is about a local talent.
Even if you don’t immediately recognize Stanley Chow‘s name, you will have seen his illustrations for The New Yorker, Wired, and Entertainment Weekly among other places. Most likely, you have have seen his portraits of pop culture icons online too. In the film, Chow talks about his process, inspiration, and doing the work he loves:
You can buy prints of Stanley Chow’s work from his print shop.
Comments closedMichael Bierut — The Creative Influence
In this new short film for The Creative Influence documentary series, designer Michael Bierut talks about his mentor Massimo Vignelli, what makes an enduring logo, and how the internet has changed the way we work:
Comments closedLike Knows Like: James Victore
In a new video for Like Knows Like, Brooklyn-based designer and educator James Victore opens up about his life and work:
And if you like the cut of Mr. Victore’s jib, he also has a YouTube series called Burning Questions (and a book).
(via SwissMiss)
Comments closedSelf Initiated: Daren Newman
Self Initiated is a lovely and inspiring short film about the seemingly very down-to-earth designer, illustrator and typographer Daren Newman:
(via Quipsologies)
1 CommentDavid Byrne on Creativity and Constraints
David Byrne talks about music, technology and his recent book How Music Works (now out in paperback), at Salon:
Comments closedI’m not saying that the artist doesn’t put their feelings into it, or any part of their biography, but that there’s a lot of constraints and considerations and templates that they work with – unconscious decisions or constraints put upon them that guide what they’re going to do… Our imaginations are constrained by all these other things — which is a good thing. There’s kind of a process of evolution that goes on where the creative part of you adapts to whatever circumstances are available to you. And if you decide you want to make pop songs, or whatever, there’s a format. You can push the boundaries pretty far, but it’s still a recognized thing. And if you’re going to do something at Lincoln Center, there’s a pretty prescribed set of things you are going to do. You can push that form, but kind of from inside the genre. So I guess I’m saying that a lot of creative decisions are kind of made for us, and the trick is then working creatively within those constraints.
Steve Albini: Aspire to Great Things
(This has been doing the rounds, but it is kind of great…)
Letters of Note has published the letter Steve Albini sent to the band Nirvana, prior to recording their final album In Utero, laying out his methodology:
Comments closedI like to leave room for accidents or chaos. Making a seamless record, where every note and syllable is in place and every bass drum is identical, is no trick. Any idiot with the patience and the budget to allow such foolishness can do it. I prefer to work on records that aspire to greater things, like originality, personality and enthusiasm. If every element of the music and dynamics of a band is controlled by click tracks, computers, automated mixes, gates, samplers and sequencers, then the record may not be incompetent, but it certainly won’t be exceptional.
Distortion is Character
Brian Eno talks about art, music and his creative process in this video for Alfred Dunhill:
(via David Pearson on Twitter)
Comments closedMidweek Miscellany
Look Closer — Adrian Tomine talks about moving to New York, and his new book of drawings with The New Yorker:
I’m not one of those artists with an incredible imagination who can just make things up out of nothing, and I’m not the kind of person who would throw himself into some exciting or dangerous situation just to get material. So I tend to go about my normal, boring life, and just try to look at things a little more closely. And even though I’ve lived in New York for eight years now, I still feel like a recent transplant, and I think that’s a big influence on how I see and draw the city.
Invisible — Jeanette Winterson on Tove Jansson and the Moomins, for The Telegraph:
I keep the Moomin books in my study and if I am tinkering about preparing for work I will often open one at random and read a page – they are funny and subversive, (Hemulens of either gender only wear dresses). And playful. Whatever happened to playfulness? Why, as adults, is serious/superficial the boring binary of our lives?… Tove Jansson believed in happy endings… Not the Disney kind but more solid and ambiguous, which is a paradox, but more truthful than black-and-white solutions. Ever-after is what is invisible on the next page.
Approaching Zero — Michael Faber reviews How Music Works by David Byrne, for The Guardian:
Everyone knows that the music industry is in terminal decline. Unlike many doomsayers, however, Byrne feels the changed landscape is good for musicians. Even 20 years ago, any artist wishing to make a record needed a huge sum of money to pay for studio time (and thus needed a large corporation to loan it to him). A lucky few shifted the millions of units necessary to repay the industry’s investment, but the majority got hopelessly into debt. Nowadays, recording costs are “approaching zero”. Distribution costs in the digital era are also negligible compared to the days of physical warehousing. As long as artists can find ways of holding on to a fair percentage of their income (an impossible challenge in the heyday of the record companies), even modest sales can sustain a career. Indeed, says Byrne, “there have never been more opportunities for a musician to reach an audience.”
And finally…
A Short Lesson in Perspective — A fantastic essay by Linds Redding. First published in March of this year, this seems to have taken on a life of its own. If you work in a ‘creative industry’ and haven’t read it yet, make sure you read the whole thing:
The compulsion to create is unstoppable. It’s a need that has to be filled. I’ve barely ‘worked’ in any meaningful way for half a year, but every day I find myself driven to ‘make’ something. Take photographs. Draw. Write. Make bad music. It’s just an itch than needs to be scratched. Apart from the occasional severed ear or descent into fecal-eating dementia the creative impulse is mostly little more than a quaint eccentricity. But introduce this mostly benign neurosis into a commercial context.. well that way, my friends lies misery and madness.
Comments closed