This omnipresent idea of inevitable growth seems really strange to me. That every year you are supposed to produce more and more. That you should employ people and aim to transition from productive labor into the managerial position (because laborers don't make enough money, I guess?). I don't think I would enjoy that—I like to make things much more than telling other people what to do. And yes, of course, the fact that I can be in full control of the outcome is crucial. I don't really know what part of my work I could delegate. Can I ask somebody else to draw some characters? But in that case, I would probably spend more time revising, correcting and explaining how I want the characters to look like. Ask somebody else to do the kerning? But it's such a crucial part of the typeface—for me it is inseparable from spacing and even drawing (and again, explaining to someone else how I want kerning to be and then checking and correcting the results would probably take much more time than just doing it myself).
combinatory play. Combinatory play is the “act of opening up one mental channel by dabbling in another”
“Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.”
― Ira Glass
'Concrete, marble, steel, brick: little else made by human hands seems as stable, as immutable, as a building. Yet the life of any structure is neither fixed nor timeless. Outliving their original contexts and purposes, buildings are forced to adapt to each succeeding age. To survive, they must become shape-shifters.'
There's always these consultants with buzzwords selling you something. The price you pay is your attention. I'm always careful with my attention. Am I going to add another facet to my life that will take away from concentrated sketching time?
Ursula K Le Guin, on tech workers:
"Real power goes to waste. Every wizard uses his art against the others, serving the men of greed. What good can any art be used that way? It's wasted. It goes wrong, or it's thrown away. Like slaves' lives. Nobody can be free alone. Not even a mage. All of them working their magic in prison cells, to gain nothing. There's no way to use power for good."
- "The Finder", from "Tales from Earthsea"
If you copy, you’re wrong. But in the courts, copyright infringement is an evolving legal concept. The courts are continuously working out the moment when someone’s words cross over into property that can be protected; as with any intellectual property, the courts have to balance the protections of creators with a desire not to stifle innovation.
This term “grooming” often refers to the time in which a young artist cuts their teeth, gathers momentum and hones their practice in order to be scooped up hopefully by a blue-chip gallery or institution which has given nothing to the process of the artist’s refinement in their early years. The people that provide that are generally those that run project spaces, off sites, lower-tier galleries, digital critical platforms or are unpaid curators. Generally, these avenues are also understaffed and juggling multiple sources of a precarious economy in order to refine their content and give the maximum support to every artist who passes their threshold. So we started to look at how technology could eradicate this problem.