Yes and No

I’m sticking with the minis for a little while because they are giving me a platform to figure out how to eventually work with these on a larger scale, potentially by combining multiple small pieces, or finding bigger paper (posters perhaps?) and cutting that.

These are two experiments from this week where I wanted to use more limited colors, and bolder, thicker patterns. There were as always mixed results, this one below is not working.

It’s too blocky, lacks elegance, the cuts aren’t that great and the top of the perimeter is askew. It’s a big fat NO.

This was more successful, the shapes were more graceful, the pop of color behind the gray pushes it forward, and keeping the thickness of lines similar kept them from competing.

I learned something here, I am not exactly sure how to articulate it but it will come back to me in peripheral awareness as new ones are made.


4 Responses to “Yes and No”

  1. Working big in a new process sometimes sounds like a good idea as a sort of “baptism” by fire. It forces you to do the new thing a lot which should teach you. But if you get far into it only to realize your initial assumptions about several things were wrong, you’re screwed. So working on a lot of smaller practice runs is probably the best. Any mistake results in a small loss so you can experiment and get more experience easier. It’s important to pay attention as you go and try to explain what you’re learning, but in the long run most lessons take several months of years to ingrain themselves into you more intuitively.

    • Toni Tiller Says:

      exactly, which is why i am having such a hard time articulating what i am learning, even though i know i am learning it. questions i ask myself about making bigger pieces is would i make the marks bigger too, so they would look like larger versions of these, or keep my lines as fine as they but just create the patterns on larger pieces of paper. that would be a LOT of cutting, but it might look really impressive in the end. so far no matter what size the biggest challenge has been in layering the patterns and not having them fight each other or get lost.

  2. laelia e. mitchell Says:

    i know for me, spending more learning time on small makes the transition to big much more successful and technically fluent. the times (and there are many) i insist on working large with a new concept or tool set, if it fails (and it usually does) the psychological failure is even worse. i admire your commitment to working out the big ideas on a smaller scale first. i’ll take that as a learning lesson (again)

    • Toni Tiller Says:

      it’s a lesson i have taken from watching jd actually, but it is also informed by the materials, magazines only come in specific sizes and finding big blocks of color is difficult. there is plenty of variety in the 2 inch by 3 inch realm though, and i have millions of cards to mount them on. work with what you’ve got right?

      but i am also taking on what you are saying about the psychological fallout of larger pieces failing because i feel like that i s a fear of mine. i keep saying i am going to work big, but then jump right back to small, and i think there is element of anxiety driving that.

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