From Troy in Oct - Christoph No. 10

This is from Troy - and I really wish I could post all the fun stuff that Troy has sent and ideas he has tossed out. He had an idea for a slogan for the blog/exchange -- and his ideas were very clever. I'm sure the email is in my stack of emails - and maybe someday I will find it.  Realistically - there's maybe a 1% chance - because the hoard of emails is most likely more than I can manage in whatever time I have left. 

AND.... Troy is not the only one who sends fun stuff that I intend to share on the blog - but it gets lost in the stack. I appreciate hearing from each and every one of you. Once in a while - something from the stack finds its way out -- we will have an example tomorrow. 

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Christoph No. 10

Sitting at my desk is always right.

I’ve spent a lot of time thinking about how to make good work. There are millions of tips and tricks and manifestos out there. But at the end there’s only one single truth for me: sit down and start drawing.

I agree with Christoph. This is a perfect way to sum up the other 9 tips. Put in the hours. 

The only thing he does not mention in his 10 tips is anything about where to get ideas. I suspect that he is on board with everyone else who likes to make things - we all know that we sponge up ideas from everywhere else - and then channel them into/onto our projects.

So - go forth and make envelopes (or whatever you feel like making).

If anyone wants the entire manifesto in one place - here it is:

A Manifesto by Christoph Niemann

1

The only relevant artistic talent is the ability to deal with frustration.

Most of what I produce is not good enough. It’s too complicated, too simple, or has been done before (by myself or others). This is and always will be frustrating. But I can only survive as an artist if I can constantly brush it off and start over again with childish enthusiasm. It is the most important superpower.

2

Be reckless. 

A piece won’t be great unless you risk it being terrible. By that I mean sometimes a drawing starts out nicely, but then I’m so afraid of ruining it that I become hesitant - which inevitably ruins it.

3

Deliberately ruin a drawing. 

This is a liberating (and incredibly difficult) exercise. Make a drawing using your usual tools, then step on the gas and drive it into a wall at full speed. Make it pompously, unapologetically, irrevocably ugly and wrong.

4

Be less precious about your art. 

The benefit of this exercise (no. 3): you remember that if you don’t like it, you can always do another one.

5

Draw like nobody’s watching. 

Nobody sees what you are doing in your studio. You can make 97 bad drawings and three great ones. As long as you only show the the three good ones, people will believe you’re a great artist.

6

Trust the drawing to have its own life. I start with an idea from my head. By default this is derivative and predictable. When I start putting it on paper, it starts having its own agenda. It is only when I manage to let go of my original intentions , that something interesting begins to happen

7

Accept that only a fraction of your work is *great.* (Whatever *great* means)

8

Walk away. Then come back.

Wait a few days before deciding whether a piece is *great* or not. Drawing is hard and requires all your attention. Thinking about the merits of a piece is a waste of energy. You’ll be a much better judge tomorrow.

9

Don’t count the hours.
Art is not efficient. Sometimes a good piece is born in minutes, but even then it’s usually surrounded by days of seemingly fruitless poking. Accept this and you’ll be much happier.

10

Sitting at my desk is always right.

I’ve spent a lot of time thinking about how to make good work. There are millions of tips and tricks and manifestos out there. But at the end there’s only one single truth for me: sit down and start drawing.