I feel ya man. I still remember in college our professor teaching drawing had this exercise: draw that bowl of fruit and you have 20 minutes. Then he ratcheted down the time to 10, 5, 2, 1 minute and the final challenge - draw it in 30 seconds. I learned that the progression was needed for us graphic design students to get to loose, it was not doable with one ratchet down but it took 3, 4, 5 ratchets down.
Maybe there’s a similar ratcheting down process for these, where you have to start tight and loosen by degrees? It’s very much a process after being trained to ratchet the other way all of your career.
I’ve done that exercise too, and I always hated the end result of the shorter time lines.
At the same time, I am looking at Deus’ entire brand identity and I’ve noticed something significant. All of these graphics, and their imperfect logos all came from cleaner versions first (or so I assume). They make the clean ones and then reinvent by getting more imperfect.
Might be worth an experiment (probably a series of them) to see if that works for you. Maybe you need another set of eyes to pick the ratchet level when you're there?
Raising my hand having resonated with the built up scar tissue of “perfect”. Lots of good stuff here that hits, and there’s some sadness that comes up for me…when we are no longer serving the boss or client with our work we must serve ourselves, and that scar tissue has often prevented me from truly knowing what I love, what I really want… A few questions I’m left with for you (and for me, as I ask them I’m learning) Lost Mixtape is the brand…what does that mixtape sound like? Where is it? Have you made contact with the “tape” and dropped it into the cassette player, what record did you drop on the table today, what liner notes did you pour over? How can the work find a stronger connection to the namesake? The nostalgia for good old days and past technologies be translated into graphics? Thanks Dave!
So, the way I see it, a mixtape is individual; the mood depends on the recipient (not very scalable).
As I build this, I’m finding that the lost mixtape is less physical and more metaphorical for what we’ve left behind but trying to get back to. It’s about pulling ourselves out of these digital moments more often and into things that actually make long-term memories… to become nostalgic for us later.
Also, the rough edge I’m looking for in the work is slowly moving its way into things, and it will show itself more on the site in the coming days/weeks/months (as I have time to adjust.
Love this. Totally know what you mean, polishing and polishing cause well, that's what we do as professional craftsmen.
Have you thought about instituting a no-touch up rule? I sometimes have that with my calligraphy, take a few shots, and then just go with the best one. (And when you're walking the wire without a net, it's such an adrenaline rush!). Also have you tried writing/drawing with your non-dominant hand. Sometimes that breaks "normal" in a good way (and sometimes it's just broken!)
Instituting and abiding by it can be two different challenges entirely. I’ve also done the left hand trick, but that comes out more loose than I’m comfortable with right now… which may be my real problem, not letting go enough.
I feel ya man. I still remember in college our professor teaching drawing had this exercise: draw that bowl of fruit and you have 20 minutes. Then he ratcheted down the time to 10, 5, 2, 1 minute and the final challenge - draw it in 30 seconds. I learned that the progression was needed for us graphic design students to get to loose, it was not doable with one ratchet down but it took 3, 4, 5 ratchets down.
Maybe there’s a similar ratcheting down process for these, where you have to start tight and loosen by degrees? It’s very much a process after being trained to ratchet the other way all of your career.
I’ve done that exercise too, and I always hated the end result of the shorter time lines.
At the same time, I am looking at Deus’ entire brand identity and I’ve noticed something significant. All of these graphics, and their imperfect logos all came from cleaner versions first (or so I assume). They make the clean ones and then reinvent by getting more imperfect.
Might be worth an experiment (probably a series of them) to see if that works for you. Maybe you need another set of eyes to pick the ratchet level when you're there?
Yeah, I’m breaking out the tracing paper.
Raising my hand having resonated with the built up scar tissue of “perfect”. Lots of good stuff here that hits, and there’s some sadness that comes up for me…when we are no longer serving the boss or client with our work we must serve ourselves, and that scar tissue has often prevented me from truly knowing what I love, what I really want… A few questions I’m left with for you (and for me, as I ask them I’m learning) Lost Mixtape is the brand…what does that mixtape sound like? Where is it? Have you made contact with the “tape” and dropped it into the cassette player, what record did you drop on the table today, what liner notes did you pour over? How can the work find a stronger connection to the namesake? The nostalgia for good old days and past technologies be translated into graphics? Thanks Dave!
Dang, I didn’t know there would be a test.
So, the way I see it, a mixtape is individual; the mood depends on the recipient (not very scalable).
As I build this, I’m finding that the lost mixtape is less physical and more metaphorical for what we’ve left behind but trying to get back to. It’s about pulling ourselves out of these digital moments more often and into things that actually make long-term memories… to become nostalgic for us later.
Also, the rough edge I’m looking for in the work is slowly moving its way into things, and it will show itself more on the site in the coming days/weeks/months (as I have time to adjust.
Love it - Thanks for the thoughtful reply... I love this metaphorical angle and how it could evolved and be more expansive. Nice!
Love this. Totally know what you mean, polishing and polishing cause well, that's what we do as professional craftsmen.
Have you thought about instituting a no-touch up rule? I sometimes have that with my calligraphy, take a few shots, and then just go with the best one. (And when you're walking the wire without a net, it's such an adrenaline rush!). Also have you tried writing/drawing with your non-dominant hand. Sometimes that breaks "normal" in a good way (and sometimes it's just broken!)
Instituting and abiding by it can be two different challenges entirely. I’ve also done the left hand trick, but that comes out more loose than I’m comfortable with right now… which may be my real problem, not letting go enough.
Maybe I’ll try it agian.