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Bold & Fearless Design

Lesson 16 of 26

Mark Making Tools Game Show

 

Bold & Fearless Design

Lesson 16 of 26

Mark Making Tools Game Show

 

Lesson Info

Mark Making Tools Game Show

So now we're gonna have a game show. It's a game show at the James Tora game show. It's called gain show. I never made up a title for it, but we've got two bowls. They were going to come around to you. Um, one bowl has a word, and like I said, it's a non specific word because I don't want you to have any connection to it or try toe. Try to make it look like anything. It's just a word, and there's some bizarre. We're gonna have to go. Look, some of this stuff up. It's crazy. There's one where I don't even tell you that that one word means it's nuts. But there's a word, and you have to make that word on a piece of paper is a black piece of paper white people. Paper doesn't matter if to make that word. The other piece of paper that you're gonna pull from is a handicap, and you'll see what I mean when you get it. Let's pass those around. And the whole idea here is that you play that I am inviting you to do something you have not done be for um, listen, we don't have. We should have put dow...

n sheets of plastic on the floor, so be somewhat, somewhat conscious. But listen at home or in your studio or at work. Go for it. Go for. There's nothing more freeing than getting messy. You know, Tell your boss I need a new room. Can you get me like a lot of plastic and big pieces of white paper? And you know, there's one thing that there's one thing. At some point in my career I keep promising myself this and I haven't done it yet. But at some point I'm going to go out and get huge pieces of white arches paper and, like, big, bigger, bigger Sumi brushes and just go for it. Just make a hole to spend a month making a series of marks or a series of drawings, right? I think there would be nothing more exciting than that. Let's go through and find out. Remember, use a microphone or whatever. Let's find out what, um what words you got? Um, let's start in the back, Juliet. What's your word for fee for fee? Do you know what for feedings. Anybody no good, darling Age, age. Last page last. Sounds like something doesn't mean that thing. What's next? What we got next? My microphone, please. Nearly pip Little Pip. Later, Pip. Excellent word. OLS. I'm sorry, Juliet. Let's go back. What's your handicap? I can use any. I can use any tool, but I can't use pain. Any tool? No paper. What do you draw on? Uh, probably, uh, any volunteers, So figure that out. You got some time to figure that out? Lisa, what's your handicap with interpreting interpretive dance? No, There's another card left, isn't there? There's another. We have a real card for you. That would have been cool, though, for FY. This is for fee. I am for feet. Another word. She got another word? Um, with your buddy. Oh, Europe it with your body. That means you can't use any of the brushes. All right? Or any of the tools you have to use your body. You can use acrylic or ink or white out or whatever, but you have to use your body. You can't use a pen or a brush or anything. Okay? Okay. Awesome. We were searching for a word. You know what? Because you got interpretive dance. I'm gonna allow you to choose somebody else's, so pay attention. So, Franco, your word, Heidi Picnic, picnic, picnic. It's not what you think it is. Looking white tape, black and white tape. Okay, so you have to choose what color paper you're gonna go on. You have to do black and white paper. Cleo. It clipped. He clamped excellent pronunciation. Thank you. Assuming to me and no tools can I use my hands off course? Are you asking permission? I thought we were over that. I have qualita Well, talk qualita, I guess. And And Sumi? Ink and brush and brush. Oh, that's so easy. Uh, it s it's a souped. Okay, I'm guessing it's English Word. Any tools? Negative space, Only negative space only you can't draw the actual letter forms. You have to draw around. That's a long word. Who I was I was shying away from long words, Scott. Oh, Chris, I've got ah, graph a graph. Do you know what it is? No pants me after there's only one or two that I remember. The a graph cursive with scissors. Our scissors. What do you have? Yeah, right. You've gotta draw with in cursive A list with white with white out. Awesome! Awesome. Hey, the curse of with scissors thing is interesting. I've never done that. I want to do that. I have never done that. But, um, I had mentioned this Polish designer, Hendrick Thomas Shefki his his his his wife Teresa Pongo ska. I was an artist, and she'd did. There's at least one piece that I was remember from her. It was just exquisite. It was just She had cut with cursive out of paper, and it was phenomenal. I have never done that technique. So a list with white out Stephanie Galpin I'm not sure, Halpenny, Galpin. And with paper. No tools. So just with black or white Or both papers with paper, but no tools. Figure that one out. Melvin Minds de Deheishe Deheishe. I know you would stencil with the stencils. How you gonna do that? You know what a stencil is, right? Yeah. Yeah, Okay. You figure it out. Got skop. See, Scott. See, I'll tell you that later. Whoo! It's a crazy word on with three tools with three tools. So you gotta figure out which ones. Cool. There's no limitation. Three to any three tools. I hung Nelly Nelly pot. Not a neti pot. That's different things When he stays out of your nose Was curse who was take cursive with tape? That could be cool and digging me Dig Dig me Dig me The end is giving me Okay, It's Sarah type with scissors Serif type with scissors. Ok, so now you gotta dio something fancy. Something looks like typography. Ok, um uh you've got three minutes. No, I'm kidding. I'm although who are watching online that they should be falling along with this is well, so if you're watching out online If you heard a word or a handicap that sounded fun to you, give it a try. And the good thing is that when you create something like this, you can upload it. Go to the student work section on the course page Click that you will see all the student work that people have posted for this course. Upload an image of the work that you are doing. Alright. Awesome Hayes. Anybody need gold tape? It's some tape and it's made of gold. It's gold tape. No, they're all busy. No one's listening. So I would say best advice. Don't think about it. Just move. How much time do we really have? You got, like, 25 minutes. Oh, gosh. Yeah. You guys got time. You guys got, like, 25 30 minutes to make and then we'll talk. Huh? Three minutes will be. So I go and I will keep talking while you do this. I did a project similar to this and, ah, a couple of months ago. It was called a seven minute movie poster. And they give you a theme, and they give you on the computer a few. Ah, few prompts, like you're allowed to use one. You know this set of typeface, and you have to use these images and you have to make an image. And I was I couldn't use the computer, so I had to basically get someone from the audience to be my hands. Um, Awesome. There you go. You're not even your just like that's cool. See? So it's scissors and Sarah. Nice. Nice. And I didn't say you couldn't use tape, so look at that. Brilliant. Brilliant. You guys can just figure this out, figure your way into it. So about the setting and about inspiration and stuff. We had a somebody calling from burning questions a road in for about burning questions. And it was really it was an interesting question. They said, Listen, James, how can you be creative? You know all the time? Like he says, he says, I have a job. I got a full time job and I show up. But I'm nine o'clock and from 9 to 2, he says, I'm golden. I'm just like creating. He says that after two o'clock, it kind of peters out, he says. I've just noticed this, he says. It peters out. Um, he says, How can I create how could have a longer period of creativity? And I had again? A lot of this is kind of reframing the conversation. I had to look at him and say, Dude, 9 to 2, That's awesome. That's amazing. Take advantage of that time and understand that. And don't use that for your distraction. Time after two o'clock, have a late lunch, get back in the office, and then you can do your e mailing and your this and your that right. But 92 you're blessed. If you have that much time, you know, here's I got another. Another caveat about about tools. And I talk about, you know, 10 years of mastery and all that kind of stuff. But one of the things is that that that we hold in the studio is I don't want to get good at anyone. Tool. I think it's not like I practiced with a Sumi brush. Or like I practiced with tape type. I haven't done in a project with tape type in a while. I actually don't want to get that good. I mean, yes, you could learn how to use chalk, or you could hear learn how to use a Sumi brush, and you can make a career at it. But what I would say is be careful, because that's what you're going to be doing for a while. Make sure you love doing that. I'm more like, more like, you know, the jazz trumpeter. That doesn't practice. You know, there was a bunch of years ago. You guys know Chet Baker. Chet Baker, California Cool, baby. You should know Chet. Um um, somebody asked yet, like they were out drinking. I know these stories because Paul Bacon, my old boss, was was a jazz guy, so he you know, he he knew people who knew people. So, um, he would tell me that Chet would be out drinking with pals and it would get like, 34 o'clock in the morning and the other guys ago. Oh, man, I gotta go home because I, you know, I got to get up in practice and Chet Baker literally said, Practice, man, you're just going to get good. You know, it's not about getting. It's not about getting good. It's just about it's about having it be fresh all the time and have a being new and interesting. Maureen, I see you like being very proper and making something beautiful. Don't worry about that so much, I would say. If you get it done, get it done four times or get it done and put your feet up. You know, I don't think the idea Teoh with ease, um, handicaps is to keep you from doing the stuff that you normally dio to keep you from making the marks that you're so used to making. What's your handicap? Marina, Clearly cursive with tape. That's lovely. That's really awesome, But you got a long way to go. Ao listing What's your What's your out, white out. Oh, yeah. Whiteout ism. Ism is messy to work with, uh, using water and white out. I don't know. Let's go for it. You are dangerous. Scott. That is freezing. Get that man a special test. Lyra. Pip Looking good. Any tool? No paper. Oh, for FY. What's going on? That's cool. Oh, tape. It's not paper. Technically right. Scores. I read the dictionary. Literally. Read the dictionary. It's fun. Be careful. You might learn something. That stuff. It's never gonna dry. It's never gonna die. It's a lot of water on. There is never gonna dry. Three tools. I blow on it. O negative space. Looking good. I should have given you a size requirement to write. Forced you to work really small. It's still soup. Oh, nice. Good choice like that. Look, Sarah, Sarah with scissors. So instead of cutting out that negative space, look at how smart that is. Trump lamp. Add on negative space. So there's an idea that's going to come up in our next conversation. That's an interesting, an interesting thing to talk about and interesting here when you guys were because I you know I can see the smoke rising from your years. What we're going to talk about in a little bit is about beautiful and ugly. And what matters does it does. Does is beauty something that we're always searching for or is maybe sometimes ugly. The right answer. Something to think about when you're making these. What you what you on the surface feel are ugly marks. Chris, what's going on there? You know, this one is tough. I'm doing the cursive with the scissors for a grog graph. Oh, excellent. So you just draw it first, then cut it out. Yeah, well, I did that, but then I kind of just did a couple of different versions of it, and then I'm just using a little bit of negative space and just taping it all. Is the Matisse in the making right there right now? Live at creative life. Oh, my gosh. This is amazing. Working with geniuses here, Melvin, what was the Andy CAPP stencil with Stansell? Stansell? So this is a designer that I have to put on the on the on the go look at list. Um, and with this, you might really dig him. His name is Ivan Chermayeff. I don't know If you guys know Ivan, he's he's amazing. Amazing, amazing guy, I was asked recently, There's a There's a nice new film at the art on the Architectures Club has got this little Siris of films or doing. They did a nice one on Ivan Chermayeff recently, and they asked me to have a little do a little blurb, a little thing about it. What I said about Ivan was that he's one of the few designers that I know that have maintained a level of childlike curiosity and play his entire career. That's hard to do because we go way. I usually say that the best designers on the planet are usually 28 29 years old, because what happens is you. Once you hit 32 or life starts coming in. You have a girlfriend. You have. You want a bigger house or a dog and all these things that you have to start paying for these all these circumstances. And you know what we talk about is not letting those circumstances depict what you're doing and how you're doing it. You know, there's some serious play going on here, and then we'll, uh, we'll take a look at these in a little bit and, uh, they will have some questions. You will have questions. I demand that you have questions. They any Chris anything. Any questions coming up on the You know, everybody's just busy. Like I mean, I'm so busy with paying attention. That's cool. Yes, Sorry about that. Online people here. I got tape on my but I am. I like my fingers. I can't You know I'm doing this right now, but I know I As I said, I encourage everybody out there to do this while we're doing it. I know some people were uploading to the student work sections will be taking a look at those as they come in, but cool. I'm hoping everyone at home is covered with tape and paint and scissors right now, too covered with the love of making Don't say that wrong, because although it's that's fun, too. And one thing that we're gonna, um, that we're going to make available that Laura and I are going to make available is there's going to be another class in the Creative Life catalog about so a lot of what we're doing is working what they call it just, you know, by hand, because that analyzes and longer than what they say. I hate that word. I hate that word. Traditional is about how to get this into the computer. What do we do now? Like that's kind of everything in my studio leaves through the ether, leaves through, You know, um um, we transfer or whatever. You know, whatever we used to, you know, send out work. Everything has to go through the computer. So, what do you do with this? Like, especially this. Look how beautiful this is. Oh, my gosh. I can hold it up. Is it fragile? You know, what do you do with this? How do you scan and how do you What do you do to maintain its integrity and get it? You know, get it to the client or get it out into the world. So we will talk about that, You know, we'll talk about you know I can you know, if I got a job, you know, today I could have it done by tomorrow morning because I've got my cellphone here, which is crazy that I could do that now. I could make something by hand I can I can on I'll just make something my hand and then just photographic with a cell phone and sentence because we heart we We use that a lot these days instead of, ah, the scanner. You know, something to think about. So Laura and I are gonna have a gonna film a little bit and show you how to get the stuff into the computer. The easiest way for people to get that piece of content is when it comes out. If you're are sleeping for this course, we are going to email you when that courses available. As James said, that's going to be in the creativelive catalogue. So if you've RSVP'd for this course, we're gonna let you know when that's up so you can go take a look at it. But it's gonna be great. And if you're enjoying this, it's gonna be a great companion. As James said, you're gonna learn a little bit more about how to take what you've created and get it into the digital world and take the next step with your creations. So RSVP'd click the R S V p, but on the course page, and you will be notified when that course is ready. I can't. I can't stand to see a brush that's got ink on it and not use it. So I'm gonna make a little who? Well, that's wet through that. Yeah, have to. We'll see how this is received. Hey, Laura. I made a card for you. Made something for you. Laura knows how much I like my truck. So that's a big statement. Uh, how's it going? Cowboys? Were you really working that thing? Ruining brushes? Yeah, it's OK. They clean up. So what else? What else you got going on here? Just one more letter. But I kind of wanted you more very cool. So Yeah. Nellie Pot. That's brilliant. It's almost too pretty. Damn it. Right. It's great house. How? What else has anybody else got? Got some stuff going on. That's good. You won't be. You want building? Well, that's good. I think that's a good thing not to pick that up. And so what? Three tools would use tape this funky brush? Oh, yeah. House painting, brush and assuming Yeah, you got those little foam triangle Russia. I have never used it before. I have a night and we see is that ink? That's Sumio. So sue me. So I says so. Sue me. I don't see this brush may see, and he said I can't remember any that calligraphy. I took a calligraphy class about a 1,000,000 years ago. Uh, it was before I even moved to New York. So there was a real kid, and and the problem with it, it was taught by a guy who really knew his stuff. But the problem was I felt like if everybody in the class followed the directions rules and did the right that the goal was that everybody's work would look the same. And I think that's ludicrous. So I think what you're supposed to maintain, You're supposed to maintain the angle, right? Or actually, weight is supposed to have an angle. I forget. You know, I stink. Oh, yeah, This is tough. This list. Yeah, well, we take it you can have it back. Take it back. Although my Although my son's name is tattooed on my wrist in in in Gothic calligraphy, you know, if you live if you love type, put it all over you

Class Description


Short on time? This class is available HERE as a Fast Class, exclusively for Creator Pass subscribers.


An empowered designer is a truly creative designer. Let designer, author, artist, and activist, James Victore show you how to trust your instinct and embrace imperfection in Bold & Fearless Design.

When you follow the trends your ideas stagnate and you don’t create the kind of memorable pieces that get you noticed. Victore knows the antidote to that creative rut. Victore has been exhibited at the Museum of Modern Art in New York and is represented in the permanent collections of museums worldwide. His commercial work continues to wow by being sexy, strong, and memorable.

Learn how you can make work that is captivating and uniquely you by taking a behind-the-scenes look at this renowned designer’s method, thinking, and inspiration. Victore will talk about playing with different tools (not just digital ones) and rethinking the role of a designer. 

You’ll learn:

  • Exercises for generating concepts and design solutions
  • How to incorporate your hand into your work
  • Unexpected image-making tools and techniques
  • Software strategies for turning the analog into digital

Poster design inspiration is the perfect blank canvas for experimentation. Posters can be adapted for anything from a book covers to dinner plates. In this class, the poster format provides a launching point for discussing by-hand design and reimagining creative possibilities.

Don’t be boring. Watch Bold & Fearless Design with James Victore and energize your unique creative spark.

Reviews

Jephiner
 

I am not a graphic designer, I'm an artist, but this class translates beautifully. James' teaching style is nothing short of delicious - fresh, alive, fun, exciting - while being full of depth and poignant, valuable content, much of which transcends medium and brings value to any creative individual. I found particular value in the lessons around tools (and altering tools), the criteria for good work, the need to infuse your opinion into your work, the value of abandoning perfection, paying attention to cancer that is one's ego and that we are meant to be creators, and not 'the help'. More than anything else though, I benefited from being reminded, with such a burning passion, that we are not put on this earth to pay a mortgage and support a family, but to identify our true work and to bring it into existence in this world. So nice to reminded of something I know but forget on a regular basis. One of the best online classes I have ever taken - a real home run.

dlevans
 

I loved this course! Exceeded every notion I had. The design, concepts and principles were fun, funny and insightful. But James went so far beyond the "poster design" and into the philosophy, thinking, inspiration - huge! I am so glad I watched this course not only for the quick wit and fast humor (Jame's is smart! Sharp... And Really Funny - compliments his teaching and design), but the reading list he suggests, ways to nudge your creativity and the fashion with which he gets you thinking... Invaluable! Organic, Rich, Impact and message - this course has the design "how-to" covered, the real pearls are Jame's humble experience and generosity. Great Course... Oh, and check out his book! "Victore! or, Who Died and Made You Boss?" Inspiration and fun!

a Creativelive Student
 

Came to this course (and site) via Anna Dorfman's blog. Loved the motivational and philosophical aspects of the course. Very entertaining and inspirational. Also loved listening to Victore discuss his own work and process-- the stories of how he got specific ideas, tinkered with them, perfected them, etc.. As for the critiques of student and online work, I didn't find them very useful. I would love to see him pick out a few of the very best, and then give his own short and sweet-- and specific-- insights into how HE would improve them. Or just abandon the critiques entirely and instead show and discuss more of his own or other successful designers' work. Overall, fun and inspirational, with some helpful tips.