Customizing the Mark Making Tools
So now we're basically we're talking about ways of, of, of customizing tools, changing the markers. It probably works with a, uh Oh, yeah. Here's a Sharpie with a chisel. Tip again. We're not. We're not calligraphers. They've got them all set up for calligraphy. It would probably work with this tune. To is to is to is to cut it up. It's just felt I want to invite you guys to work with tape black tape. I did a workshop a couple years ago and invited to designers pals of mine to come, and we said, Listen, we got this huge white wall. Could you do something with it? And they showed up with a shopping bag full of black tape, and they did the most exquisite and just went They didn't draw anything. They just went and built this beautiful drawing in black tape on. It was wonderful, like, what else have we got here? Clear tape. White tape is kind of like black the's we got. Have you guys ever? Some of some of the ink pots. This is just in a pot. Some of them have a little a little nozzle on to...
p with just a little like like the way ah glue comes out right. There you go that you squirt it into another bowl. Have you ever drawn with just the squirt? Try it. It's great again. Something you can't control. Excellent years you're holding. It was that. Is that the white out? Oh, hey, Chuck that up here? I don't know. Here, here's mine. Oh, my gosh. I went out. I went out the other night. Um, um, way got in and a friend came by and it was like he was like, um, like, hair. You prepared for the thing I'm like, Oh, my God. I just went out and I got, like, the most powerful tool. This is gonna be so awesome. He's like what I was like, Behold white out and this white out that's got that little triangle on it. This is an awesome tool to draw with. You know why? Because you really can't control. It's really like, Can you imagine? If you just open it up and make some marks with it, could you? It dries up really quickly, so you gotta work quick. Can you imagine if you've got good with this, right? What? You could do. I have not done my 10 years worth of apprenticeship at this, and you can't even hold like a pen. Right? So, um, but I like drawing with it, Um, because all these things happen, and then you what? You we draw with the draw with white out, and then you can draw on top of it with, you know, with with something else. And then the two of them mixed together and make goofy. I mean, I'm not saying that's good. It's just trying something, or this is really this is the last thing I'm gonna show you, and then we'll get into something, something good. Okay, so that's black. And that's white ebony and ivory over here. So he makes the black in first, and then you make the white end, Uh uh And then and then you've got it on vellum here so you can put it on different colors and see what happens. Like that's just it on basically gray, which is very sexy. That's a very cool. So we're gonna give you what? I'm gonna give you an opportunity t mess with these things. And it was funny because years ago I used to it. I was an apprentice. I worked at a zone assistant to a book jacket designer named Paul Bacon. Kinds of genius. He's like 93 right now. He's amazing guy in the smartest guy I ever met. Um, he was He did all the all of Robert Ludlum's covers. All of James Clavell is covers all of, um um, what is it? Catch 22. Joseph Heller's covers, right? He was has been around forever, and he would create these beautiful illustrations this size in gua sh with a pen that had, like, three hairs, you know, these beautiful illustrations of White House lawn with helicopter and sky and a guy running across the grass with a rifle like this Big right, And he would just he had a little piece of cardboard over here. His hands were always meticulous. I'm usually a mess. His hands were always meticulous, never got any paint on his clothes, and he had a little piece of carbon here where he would clean off his brush and me being not the guy who's drawing the White House lawn stuff. I'm much more of an abstract expressionist, right? I I appreciate the the Gusteau of like, Robert Motherwell or Rothko or something. So I would look at that little piece of cardboard and I would just see such beauty in it, because it was just where he clean off his brush. You know, um, interesting. I'll take my water glass here. So, listen, here's that. Here's the Here's the big reason. I customize everything. I drawn everything. I changed everything like I've got. So I used to have it. We share of this assistant. Her name is unique, and she hated that. I used to draw on everything. So we get, like, a new scanner or something, and I'm like, I'm gonna make it. Mine should be like, No, no, Stay away from the skin and no, dude. So I So I finally got by her and I wrote her name on it. Why? We still have the unique scanner, um, customize everything. You know, why never ride stock, you know, and what I'm trying to impress upon you is basically the power of any tool. So I'll take you quickly through a couple of pieces that that we designed and basically the tool involved in it. So this is the These are the actual slides of the, uh, just say no on the Does he go home? Um, and that's just tape type. This is the Papa poster. It was for exhibition that was in Holland and Switzerland and these air Swiss size posters, big fluorescent orange and black posters. And you can see that white under painting is a whole another late layer it Some of it is on that little sketchy thing I sent over. Two showed you. It's just like some clumsy, clumsy brush underneath it. So we did the catalogue and we did the poster on the poster. Really huge. It looks great. But then we had to do the catalogues catalogues only about this big. So if you take finger painting and you make it small, it looks kind of smaller than hand. Bigger than hand is great. Smaller than hand looks weird. So I was like, Oh, the catalogue is called Pop up the pop up generation. I'll never be able to paint that whole thing. So we just did pop up Jen and in the corner says oration. And again we did it. We didn't ask permission, and they were like James, we love it so then that's what the sort of the close up of the close up of the the finger painting. Very sexy. This is a project we did for Yogi Yamamoto, the amazing Japanese fashion designer. Work is the art of the men's the art director for the men's line for a couple of years, and this was a situation where we were making a poster and that looks like some bad Xerox is sitting on a piece of paper. This is a printed printed poster. It's all black and white except that little teeny guy down in the corner in the right hand corner. He's, he's he's full color. And it literally I was drawing with with one of these brushes and I was drawing yogis. You know, Yogi's name and using this kind of like blocky, blocky, scribble e typeface, Square square, tight face. And then I said, OK, let me just let me just blow it up, blow it down on the copy or my Xerox machine at home. Like, you know, rely on that probably more than I do on the computer, blowing it up and down, and I put it down and I scan in my scanner with my Excuse me. My Xerox was having a problem with streaks were coming out, and I look in that. I'm like, This is awesome. This looks great. So he literally got the camera put up Here. Went We're done. You know, um, if you look closely, you know, even with the actual poster, if you look, you know, you could you would scratch at it. To think that the letters are going to come off was crazy.