Roundup of Well Executed Graphic Design Work

Yeah, that’s right! We’re back with a new roundup with a wonderful mix great design work from across the globe. So without further ado, here’s some new pieces that will hopefully help getting those creative juices flowing.

“Lou Dorfsman (USA) became a member of AGI in 1955. He joined the Columbia Broadcasting System (CBS)…”

Vignelli tribute poster series, just for fun.

Breaking "StereoTypes:" a Look At the Stranger Side of Typography | AIGA Eye on Design

Wrangler

Deepyellow

Mike McQuade

WIP seafood signage design by Refinery43

Dzikusy. Louatah Sabri by Krzysztof Iwanski

The Gist of Reading

Fenplast

IS Creative Studio

REEEP Annual Report 2016 by The Design Surgery

Design House Stockholm / Catalogue, Pleece Collection by Håkan Ängquist

Black Mirror Animated Posters by Francesco Hashitha Moorthy

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How We Removed Paint from the Brick on The Merc

Dudes! We’re renovating an 1928 mercantile store and turning it into our dream home! Start from the beginning here!

Uncovering the brick on the front of the Merc has been a huge undertaking. In the 1940’s when the original store was added on to, the brick was covered up and has been buried under 2″ plaster ever since.

When I was planning the exterior reno I knew that I wanted to uncover it, but the problem with that is that you have no idea what you’re going to find. The brick had 3 layers of paint on it and had been HEAVILY scarred so that the plaster would stick to it. It wasn’t the pristine and perfect brick of my dreams, thats for sure.

One good thing that came out of the plaster removal was uncovering the original Santa Clara Merc Sign. Oh my gosh, guys it was the BEST!!

Even with the brick in as rough of shape as it was, we weren’t coving it back up so we had some work to do. We tried a few different techniques for taking the paint off and some worked better than others. Loads of you thought we should just leave it, but because the building on either side will have white stucco I was worried that there wouldn’t be enough contrast and really wanted the brick to be its original color.

The first thing we tried was power washing it.

We tried 2 different pressures with it. The first one took off 2 of the layers, but the bottom layer stuck. (This is the lowest section of the wall in the picture above)

The second one was a higher pressure, and while it took the layers off, it also ate away at the brittle brick and left it looking worse than before. (The middle section in the picture above)

The next thing we tried was using a paint stripper and it did absolutely nothing.

We also tried a wire brush on a grinder and while it took the paint off, it destroyed the brick.

After so many failed attempts we finally found one that worked! We used flap disc sanding pads that you put on a grinder and they work SO WELL. We got ours at Home Depot (they’re these ones!)

 

Look at that!!!

They do take off part of the brick, but just enough to remove the gouges and smooth it all flat. The little indents that you can still see are from where they nailed the chicken wire to the walls.

The lower section where we power washed it is still a little rough but waaaayyy better than it was. I think we’re going to go over it with a belt sander just to smooth it out a little bit more!

Its definitely labor intensive but SO worth it! Can the husband of the year get a round of applause?!

Up next is getting the grout lines prepped and ready for new grout! Its a good thing I’m a pro at this already 😉. We will definitely need to seal it to protect the brick because its so old, do you have any suggestions on a good brick sealer? Something that doesn’t leave a sheen is what we’re looking for!

The post How We Removed Paint from the Brick on The Merc appeared first on Vintage Revivals.

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Creative: Making Prints

“I’m still working on my book.”

“I’m trying to make it perfect.”

“Do you have any coupon codes?”

I’ve heard these lines countless times over the past ten years, and I can say with one-hundred-percent conviction that those who utter these lines not only don’t create interesting books, most of the time they don’t make books at all. I’ve run into the same person over a multiyear timeframe who is working on a 24-page, softcover and can’t pull the trigger. I find this puzzling.

You want a code, follow Blurb on Twitter and you will be a happy camper. There is no such thing as perfect, and the books created with that concept in mind tend to be boring and look a lot like books I’ve seen before. And at some point you HAVE to hit print.(Especially on the test copy.)

“How do you make so many books?” is another question I get a lot. Let me answer that. First, I enjoy the process. With all the awful stuff we have to deal with in life, bookmaking is a joy. I never lose track of this reality. Second, I’m prepared and I’m focused. I don’t spend my life on social, don’t surf the Internet, don’t watch TV and I practice my craft whenever possible. I know how to edit, know how to sequence, have my digital asset management system in place, keep my monitor calibrated which all allow me to get a lot done in a short amount of time.

And I print my work.

I’m just going to say it. If you don’t print your work you aren’t a serious photographer. You might be a seriously online photographer, but who doesn’t print? Amateurs. Nothing wrong with being an amateur photographer, nothing at all, but tossing your images around in cyberspace is what consumer/prosumers do, but making and showing prints is what real photographers do. What real photographer’s dream is to get an online gallery? Answer, nobody. What real photographer wants on those walls of the gallery or museum? Nearly everyone. Those printed pages of the magazines? Nearly everyone. Those books that cement your position in the history of photography? Nearly everyone.

Printing is FUN. And it sure does separate the wheat from the chaff. What’s good? What’s not? Printing makes bookmaking so much easier, and printing these days is SO inexpensive. Even large prints are dirt cheap. I make cheap prints on a cheap printer and paste them in a cheap book, but you can bet your ass by the time I’m done I’ve got my edit and sequence ironed out and my book is that much further along in the publishing process.

Yesterday I printed old Wyoming images. The book is done and off to the printer. Less than a week after returning home, and this while having four additional Blurb tasks on the to-do list for the week.(It’s very doable people.)

And before the consumer society makes this process more complicated than it should be. It doesn’t matter what printer I have, or what paper I use or how any of these things look. It’s just about making prints. Keep it simple and enjoy your success. Good printing leads to good bookmaking. Good luck, have fun.

Source: http://shifter.media

Liu Bolin turns invisible in Iceland for Annie Liebovitz for new Moncler campaign

Liu Bolin & Annie Leibovitz for Moncler FW17

Chinese artist Liu Bolin is a master at this craft. Meticulously painting his body, he seamlessly blends into the environments behind him, as a means of commenting on mans role with nature and social strife. So it’s interesting to see that his latest project is a collaboration with American photographer Annie Leibovitz who’s well known for her glamorous cover photos of A list celebrities. Even more surprising is that it’s an ad campaign for super fancy outdoor brand Moncler, who admittedly make some really great clothes.

The campaign started last season, photos from the SS17 collection are toward the bottom of the post, and now continue to FW17 with a journey through Iceland. I’m shocked that Bolin’s art of painting of himself still feels exciting and new through the years. It feels like he continues to try and outdo himself with each project and utilizing the incredible backdrop of Iceland is a smart choice. I love the incredible contrast of bright blues with the deep grays and blacks. Really stunning work created by all.

Liu Bolin & Annie Leibovitz for Moncler FW17

Liu Bolin & Annie Leibovitz for Moncler FW17



Liu Bolin & Annie Leibovitz for Moncler FW17

Liu Bolin & Annie Leibovitz for Moncler FW17

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Introducing VSCO Mobile Presets 02

Photo by manuelavargasisaza / Edited with Q3

Building on MP1, VSCO Mobile Presets 02 (MP2) allows you to utilize celebrated looks from VSCO’s mobile app when editing your images on desktop. In addition to community favorites like the Low Contrast Series (V1-V8) and the Chromatic Collection (C4-C9), this pack includes branded presets, such as those designed for Levi’s (LV1-LV3), Krochet Kids (KK1-KK2), Neocha (NC), TA-KU (TK), and NikeLab (ACG). If you missed downloading these limited-time, branded presets in-app, now is your chance to own these looks on desktop.

BUY VSCO MOBILE PRESETS 02 (MP2)

* Use the coupon code VSAG17 by September 10th to receive $10 off all Presets for Desktop.

VSCO Mobile Presets 02 (MP2) offers an assortment of 55 presets compatible with Adobe Lightroom CC, 6, 5, and 4 or Adobe Camera Raw for Photoshop CS6 and CC. Thanks to the diversity of presets included in MP2, you will find a selection of looks suited for editing a wide range of subject matter, including lifestyle photography, portraiture, still-life, and landscapes.

Get creative with MP2, and share your results on VSCO with #VSCOMP2.

Photo by fwiheden / Edited with E4

Photo by evan / Edited with C7

Photo by lxna / Edited with TK

Photo by dorottyak / Edited with C7

Photo by arthurcharles / Edited with LV1

Photo by tamidoncic / Edited with V5

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Hong Kong Autumn Sales 2017 | 28 SEP – 3 OCT

AUCTION PREVIEW

ASIA TRAVELLING EXHIBITIONS

26 – 28 August

Jakarta

30 – 31 August

Shanghai

2 – 3 September

Beijing

6 – 7 September

Seoul

9 – 10 September

Singapore

16 – 17 September

Taipei

SALE CALENDAR

29 September

Finest and Rarest Wines

 

 

30 September

Wines from The Cellar of Fux Restaurant

 

Finest and Rarest Wines

 

Modern and Contemporary Art Evening Sale

 

 

1 October

Fine Classical Chinese Paintings

 

Modern and Contemporary Southeast Asian Art – Day Sale

 

Morita Shiryu: Bokujin

 

Contemporary Art – Day Sale

 

Modern Asian Art – Day Sale

 

 

2 October

Fine Chinese Paintings

 

Contemporary Ink Art: Confluence

 

Important Watches

 

 

3 October

Water, Pine and Stone Retreat Collection – Treasures

 

Song – Important Chinese Ceramics from the Le Cong Tang Collection

 

The Edward T. Chow ‘Bajixiang’ Bowl

 

Three Masterpieces from the Collection of an English Lady

 

The Heart of Tantra – Buddhist Art Including Property from the Nyingjei Lam Collection

 

Important Chinese Art

 

Magnificent Jewels and Jadeite

 

HONG KONG EXHIBITIONS & SALES

28 September – 3 October 2017
Hall 1, Hong Kong Convention and Exhibition Centre

 

ALSO ON VIEW

The Best of the Best – The MQJ Collection of Ming Furniture
29 September – 2 October 2017

Important Jewellery and Jadeite
Auction | 12 October 2017

Fine Timepieces
Auction | 13 October 2017

Eternal Water: Paintings by Wucius Wong
Selling Exhibition | 18 – 30 October 2017

Sotheby’s Diamonds

Sotheby’s Wine

Related Videos

The Best of the Best – The MQJ Collection of Ming Furniture

Passion for Food and Wine at Fux Restaurant

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Doug Tuttle: August 28, 2017 Rough Trade NYC

Doug Tuttle, originally known as a member of the New Hampshire psych voyagers MMOSS, is now three albums deep into his journey as a solo artist. What he has proven across those three records, including his latest, Peace Potato, is how adept he is with melodic songcraft, with Chilton-esque hooks and an acid-washed, classic sound that matches his multilayered vocals perfectly. What this live show at Rough Trade NYC established, though, was that Tuttle remains a serious instrumentalist, capable of leading those earworm hooks into florid, all-out jams. Adding to the inspiration on this night was the truly incredible liquid light show courtesy of Mad Alchemy, whose work set the perfect generational and visual tone for what was going on onstage. If one had to pick some highlights from the night, my votes would go to a snappy version of “Bait the Sun” from Peace Potato, “Lasting Away” from Doug’s self-titled first album, and the night’s mind-bending conclusion, as “Turn This Love” segued into a twelve-minute untitled jam that was both the set’s most cosmic of all.

I recorded this set with Schoeps MK22 “open cardiod” microphones and a feed of engineer Dustin Myers’ house mix. The sound quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC/Apple Lossless]

Doug Tuttle
2017-08-28
Rough Trade NYC
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK22 (at SBD, DFC, PAS bar)>KCY>Z-PFA + Soundboard (engineer: Dustin Myers)>>Sound Devices MixPre 6>24bit polyWAV>Adobe Audition CC
(align, mix down, adjust levels, compression, limiter)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.3 (track, amplify)>FLAC ( level 8 )

Tracks [Total Time: 1:24:31]
01 A Place for You
02 Leave Your Body
03 Where You Plant Your Love… Is Where It Grows
04 Time Will Show the Wiser
05 E Kraut
06 [tuning]
07 Bait the Sun
08 Can It Be
09 All You See
10 Lasting Away
11 Falling to Believe
12 C Firebrand Jam
13 [tuning2]
14 It Calls On Me
15 Saturday-Sunday
16 Painted Eye
17 Turn This Love>
18 jam

SUPPORT Doug Tuttle: like him on facebook and buy his records directly from Trouble In Mind or, head on over to his bandcamp

Source: http://www.nyctaper.com

A Wedding Gift – From Katharine Hepburn to Vivien Leigh

What would you buy a couple of A-list stars such as Vivien Leigh and Laurence Olivier to celebrate their wedding day?

VIVIEN LEIGH AND LAURENCE OLIVIER.

In Katharine Hepburn’s case it was an inscribed silver goblet by Georg Jensen, which features in the upcoming Vivien: The Vivien Leigh Collection sale in London on 26 September.

It’s believed Hepburn’s gift may have been chosen as a thoughtful nod to Vivien and Larry’s Old Vic production of Hamlet in the courtyard of Kronborg Castle at Elsinsore in Denmark three years earlier. And the goblet is an elegant memento of what appears to have been a rather chaotic day.

GEORG JENSEN, THE HEPBURN WEDDING GOBLET. ESTIMATE £8,000–12,000.

Katharine Hepburn was one of only four guests at the wedding, which took place on 31 August 1940 at the San Ysidro Ranch in Santa Barbara, California, owned by the actor Ronald Coleman and his wife Benita.

The marriage took place in secret and Hepburn was later described as a ‘snappy maid of honour’ by the screenwriter Garson Kanin, who she was dating at the time.

The actress was responsible for driving Leigh and Olivier to the wedding – and the journey descended into mayhem when they got lost en route. Recalling it years later, Kanin said: “They [Vivien and Larry] started quarrelling rather bitterly. She was sharp-tongued, Larry was tough as hell. They were scrapping all the way…”

GEORG JENSEN, THE HEPBURN WEDDING GOBLET. ESTIMATE £8,000–12,000.

The ceremony itself lasted only three minutes, presided over by an ‘absolutely potted’ municipal judge who had succumbed to an offer of alcohol to prevent him from returning home when the wedding party were running late.

Katharine Hepburn later said of her famous friend: “What to say… Vivien, dear Vivien… exquisite actress, thoughtful, fearless, gracious, and enormously kind…  A lovely little pink cloud floating through the lives of all her friends, hovering over the setting sun, and thinking of everyone but herself.”

A GOLD RING INSCRIBED ‘LAURENCE OLIVIER VIVIEN ETERNALLY’. ESTIMATE £400–600.

Other highlights featured in the sale include a gold ring inscribed ‘Laurence Olivier Vivien Eternally’ and a diary belonging to the actress where she writes about her decision to leave her husband Leigh Holman for Olivier.

Vivien: The Vivien Leigh Collection sale is in London on 26 September.

What would you buy a couple of A-list stars such as Vivien Leigh and Laurence Olivier to celebrate their wedd… http://ift.tt/2eHs21s

Happenings: Author Kevin Birth To Lecture At The Horological Society Of New York

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In the history of timekeeping, there have been periods during which multiple ways of reckoning time have existed. At the September 2017 meeting of the Horological Society of New York, Professor Kevin Birth will discuss several cases concerning political uses of horology in contexts of time pluralism. Cases to be discussed include late medieval York, Habsburg diplomacy, Fernando Wood’s hijacking of the 1859 New York Democratic Party Convention, the enforcement of liquor laws in 19th century England, and todays issues surrounding the leap second. Each case will explore different ways in which horology and politics become intertwined, and will explore how our current horological practices are very much an outcome of political and cultural compromises.

17th century Nuremberg Ivory Diptych sundial showing latitudes for different cities, Italian hours, Babylonian hours, and the number of hours of daylight and darkness (inventory no. 7899, The Collection of Historical Scientific Instruments, Harvard Univer

17th century Nuremberg Ivory Diptych sundial showing latitudes for different cities, Italian hours, Babylonian hours, and the number of hours of daylight and darkness (inventory no. 7899, The Collection of Historical Scientific Instruments, Harvard University).

Ottoman Pillar Dial showing equinoctial hours and time alla Turca (inventory no. 7184, The Collection of Historical Scientific Instruments, Harvard University)

Ottoman Pillar Dial showing equinoctial hours and time alla Turca (inventory no. 7184, The Collection of Historical Scientific Instruments, Harvard University)

About Kevin Birth

Kevin Birth

Kevin Birth

Kevin Birth (Ph.D., University of California at San Diego) is a professor of anthropology at Queens College of the City University of New York. He studies cultural concepts of time in relationship to cognition and politics. His publications and presentations cover a wide ranging array of topics including chronobiology and globalization, comparative calendars, timekeeping in Roman Britain, culture and memory, cognitive neuroscience, early modern clocks, ideas about roosters in the Middle Ages, and current time practices and policies. He is the author of four books: Any Time is Trinidad Time (University Press of Florida), Bacchanalian Sentiments (Duke University Press), Objects of Time (Palgrave Macmillan), and Time Blind: Problems in Perceiving Other Temporalities (Palgrave Macmillan).  

Doors open at 6:00 PM; lecture begins promptly at 7:00 PM. For more information, visit HSNY’s website.

Tuesday, September 5, 2017, 6:00-9:00 PM

HSNY at the General Society Library, 20 West 44th Street, between 5th & 6th Avenues, New York, NY 10036

HODINKEE is a sponsor of the Horological Society of New York.

Top photograph: Augsburg table clock, 17th century. Metropolitan Museum of Art.

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Grayson Perry on rigour

In this essay for a University of the Arts London project examining the creative process, Grayson Perry explores his own working methods and how he is influenced by “the two artists living in my head: the obsessive, meticulous Hobbit and the bold, mischievous, provocative Punk”.

Rigour (US rigor) The quality of being extremely thorough and careful … severity or strictness … harsh and demanding conditions … from Old French rigour from Latin rigor ‘stiffness’. (New Oxford Dictionary of English, 2003)

I remember once asking a curator of a well-respected modern art gallery what shows he had coming up. He mentioned a Pop artist whose work I liked very much. I wondered aloud why this artist was not more famous and/or more widely exhibited. “I’ll tell you why,” he replied. “It’s six weeks ’til the opening and I haven’t seen any work yet. He’s a nightmare to work with.” Whenever I find myself sitting next to a curator at dinner I ask them which artists are the worst to work with, and hear tales of deadlines missed, tantrums thrown and sloppy work.

There is a lingering myth that artistic success is God-given and that all the artist need do is lounge around drinking absinthe and then, occasionally, in a fit of impassioned inspiration, knock out a masterpiece in a furious bout of divinely prompted creation.

Most successful artists are pragmatic and work-obsessed; in a word, rigorous. All the talent in the world can be wasted if an artist struggles with punctuality, good relationships and hard work.

Rather, in my experience, most successful artists are pragmatic and work-obsessed; in a word, rigorous. When I am asked, “if you could give a student one tip about how to get on in the art world, what would it be?”, I often reply, “Turn up on time, be nice and put in the hours.” All the talent in the world can be wasted if an artist struggles with punctuality, good relationships and hard work. This reply I give in a mischievous and provocative spirit, for I know that a lot of art students may find my advice ‘oh so square, daddy-o’. That is my style, though – I have long rebelled against the ‘rebels’.

The etymology of the word ‘rigour’ comes through an old French word, rigour, meaning stiffness. This I find interesting, as I think rigour in art should be used judiciously. ‘Stiffness’ is not a compliment in the art world.

I often joke about having two artists in my head, whom I characterise as the ‘Hobbit’ and the ‘Punk’. My personal Hobbit is the one more prone to rigour. He likes obsessive detail and craftsmanship and he will work away for hours on a meticulous task in order to achieve a certain effect. Hungarian psychologist Mihaly Csikszentmihalyi, in his book Flow: The Psychology of Optimal Experience (1990), suggested that this state of energised focus was pretty much as happy a state as it was possible to experience. I have a deep affection for the Hobbit style – I love nothing more than dibbing away for hours on a skilled yet repetitive task while listening to the radio. I often apply layer upon layer of clay slip to my pots – sometimes up to 20 coats in different shades, sometimes stencilling out areas that I fill with 20 different coats. Often, I then stamp small images or patterns into the soft slip and inlay these images with yet more, different colours. Then, when the pot is of exactly the right dryness, I very carefully scrape back through the layers, which altogether are only two or three millimetres thick, to create a multi-coloured marbled surface. This process can take tens of hours over the course of a fortnight, only for this surface to be used as the mere background on which the headline imagery of the work will be overlaid – imagery usually suggested by the Punk.

The Hobbit often plays his part in support of the Punk. The Punk, like his three-chord ancestors, likes bold, messy, mischievous gestures – often political and provocative. The Punk in my head usually provides the concepts and the humour. He tests and teases, checks for bad habits, turns things over; he is light on his feet and, above all, flexible.

The Hobbit can be a bit of a stick-in-the-mud. On his own, the Hobbit would be a fine craftsman but a rubbish artist. I have seen many beautifully made but hideously ugly objects, particularly in the field of contemporary craft. Rigour in art can often lead to the dead end of perfectionism. Perfectionism is an unlovable trait. It assumes that there is a final state in which everything will be completely correct, beautiful and happy forever. But a happy life lies, in fact, in steering a course between rigidity and chaos, and good art is no different.

These days, I work a lot with digital image-making. I enjoy the vast range of techniques and facilities it opens up to me, but I have noticed that it also murmurs suggestively in my ear of perfectionism. Every mark, colour and effect achieved on the screen is contingent, changeable, perfectible, whereas paint, clay, wood or textiles, by contrast, will fight back, often irreversibly. The diligent pixel will only do what you ask of it. Paint will splash, clay will shrink, wood will split in unpredictable ways. Working with them develops a part of the artist that has to say ‘that will do’. Working digitally, I find myself having to ask, ‘What is my style? When will this image look like a Grayson Perry image?’ With digital, the creative process is much more cerebral.

The arguments between the Hobbit and the Punk are more apparent to me. While working with physical materials, the Punk (with his streak of chaos) often has an ally. The paper will tear anarchically, pigment will bleed, glaze will run and the Hobbit’s idea of rigour is often thwarted. The Punk will say, ‘I kind of like the way this has gone wrong – it gives the piece energy, freshness,’ and the Hobbit will reluctantly agree. And I find myself thinking, ‘that’ll do’.

This is not to say that my Punk does not have his own kind of rigour. I would say that often, in the contemporary art world, the Punk’s version of rigour takes precedence, in fact. The Punk has political posters up in his bedroom; he reads books full of ideas; he wants to make a splash. The Punk does not worry that the seams are crooked or that the nail has split the wood and the canvas is sagging, as long as the work has energy and is in the fashionable style and the content is ‘edgy’. Rigour, in terms of skills, takes a long time to achieve – 10,000 hours or so, according to Malcolm Gladwell, in his 2008 book Outliers. The Punk does not have time to pin himself down, learning how to sew a buttonhole or carve a marble bust – that’s for drones, and the Punk is a ‘revolutionary’. He is rigorous, though, in his loyalty to the art school ethos: to experimentation, observation, provocation, intoxication. He is hypersensitive to bullshit; he is extremely observant; he notices things – an absolutely core skill for an artist. He will turn things over in his mind and not rest on his laurels. The downside of the Punk is that poor craftsmanship can distract from his good ideas. Things get left unfinished. I need both my Hobbit and my Punk rigours to make good work.

Many contemporary artists now outsource the ‘skilled’ element of their art production to studio assistants or fabrication studios. Because I hand-build my ceramics on my own, I am often used as the poster boy for craftsmanship in arts practice, but I am happy to seek help. I use print workshops, digital-production expertise, foundries and all sorts of craftspeople – from dressmakers to custom-motorcycle builders – to help create my work. One thing I have always been most rigorous about, however, is that every aesthetic decision – the shape, colour, texture, size and material of everything – is mine, usually made by making many detailed drawings and overseeing tests and production. I look at work that has been fabricated for an artist and it often seems a bit lifeless, like an idea efficiently carried out. I joke that I could never let anyone else make my pots for me, because they would be unable to make them ‘wrong’ in the right way.

As my career has thrived, I have become very anxious to avoid a trait I have noticed in some successful artists. As demand for their work, from dealers, collectors and museums, increases, their work becomes less rigorous and more dilute. This dilution manifests itself not just in the decreasing man-hours they personally put into each piece, but also in the richness of their ideas. This thin-ness is emphasised by the fact that their works become larger, to fit the vast acreages of polished concrete that are today’s contemporary art galleries.

Concepts are spread thinly; an idea that would have justified a single work becomes the theme to a whole show of pedestrian variations. The ‘upside’ is that every museum or collector can buy a ‘typical’ work, because they all look the same.

Just as every artist develops their own style and writes their own career plan, they also need to notice where a degree of rigour is important in their work….All artists need rigour.

Just as every artist develops their own style and writes their own career plan, they also need to notice where a degree of rigour is important in their work. Is it in managing a huge staff well and getting those expensive surfaces beautifully polished? Or does it lie in keeping their output small, so as to maintain a personal touch and good quality control? Are they rigorously making sure that their judgement does not get dazzled by the cult of their own celebrity, and are they listening to an advisor who suggests that branching out into figurative painting is a bad idea? All artists need rigour.

It is not without irony that I find myself agreeing to write about rigour when I am feeling under stress, diligently trying to complete a number of projects to my satisfaction. I feel as if I am suffering from rigour. I say yes to too many things and then find I cannot do any of them half-heartedly, so end up agonising over the preparation of every college lecture and every charity postcard drawing. I find it hard to just toss things off. I suppose I have been asked to write about rigour because my work looks like it takes loads of effort, care and skill to make, which it does! I suppose I am a pretty rigorous person, except when it comes to researching essays – then I just make things up. There. Finished. That’ll do. 


This essay was originally published in The Creative Stance, a collection of writing on the creative process published by Common Editions and UAL is reproduced with permission, see common-editions.com

The post Grayson Perry on rigour appeared first on Creative Review.

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