Lesson Info
9. like tarantino
Lessons
Look at Me
1seen, heard, loved
08:35 2knowing your butt
06:07 3why we're here
05:55 4your work is a gift
04:45 5a song to sing
03:31Love
6love (the assignment)
07:42love (the crit)
28:49Always the Other
8the ass divot
01:48 9like tarantino
04:30 10always the other (the assignment)
12:06 11the cliche
11:12 12always the other (the crit)
45:13Explodes in the Brain
13Explodes in the Brain
30:32Big Nothing Little Nothing
14big nothing little nothing (the assignment)
01:54 15don't fall in love
04:35 16big nothing little nothing (the crit)
53:23There Ain't No Rules
17ain't no rules
01:16 18yesterday, today, tomorrow
08:33Allow Freedom
19allow freedom
01:41 20show & tell
22:29Born (wildly) Creative
21born (wildly) creative
01:48Subscriber Bonus Lessons
22do the work
34:35 23show & tell (part 2)
16:04Lesson Info
like tarantino
I wanna talk a little bit about kind of the process what we're doing, right? Because we're getting into, uh, new assignment. So this is where the rubber meets the road. This is the work. This is, uh, um, like I said, love was a trap, but the idea was to kind of get you to start thinking and throwing out ideas and learning how to, like, start whittling that stuff down to, to finding, finding the important parts, right? So we did love, um, you know, we had the assignment of love. The funny thing about love is, it's just this big, clumsy, um, um, idea. But I was going through the, uh, um, going through a store the other day and it was just racks and racks of, of, of greeting cards. And I was thinking about like Valentine's cards, right? And the kind of Valentine's card where, where, where it's like poetry on the outside with this, you know, out of focus photograph of a couple on the beach and you've opened it up and the poetry finishes, you know, but does anybody ever read that poetry whe...
n they get the, when they get the, the, when they get the card, right? Um It's a rarity because, you know, it wasn't written for you. There was no honesty there, there's no truth. There's no authorship, you know, and I want your work to be a gift, I want your work to feel like it's a gift to, to, to, to mankind, a gift to humanity. I used to say to my students at S VA I say, listen, we're being, we're in a super critical atmosphere, a very rare rarified air here. And if you think I'm asking you to work like Quentin Tarantino or Hemingway, then you're fucking right. You were fucking right. I'm dead serious about this shit. I don't wanna turn on, I don't wanna send you off as designers. So you're comfortable with, with, with gray carpeting and cubicles and fluorescent lighting. I want you, I want you uh uh um allergic to that, right? I wanna give you a taste of your power and you like never wanna give it up again. So we're going to go into the next assignment and it's uh it's one of these abstract assignments and um the where these assignments came from were um I had a uh a mentor and a pal who was, I mean, I started hearing of his work and seeing it. I won't tell you the super long story when I was 10 years old and I hung out in the library because my mother worked there and she kept me busy with bringing me, bringing me, um she knew I liked to draw. So she brought me picture books, but they were design annuals from the fifties and the sixties and the seventies and I started seeing this guy's name and seeing, started seeing his work and all the other, all my other heroes. I started seeing them in these books and his name was um Henrik Tomaszewski Polish designer. He's, he's largely considered the father of the modern poster. And when I was in my thirties, um or yeah, early thirties, um I, I met him and I knew him for um the uh a span of time. Um He died in his mid eighties, uh a number of years ago. Um but he taught at the University of Warsaw and these were his assignments and the reason he did these assignments is because he didn't wanna create little mini mes. The whole idea was like, this is, you know, don't design the way I design. That's mine. I'm keeping that. But I wanna know how do you think? And he also told me he says, I don't know how to teach people how to draw. I don't know how to teach people how to paint or how to design, but I can teach him how to think and that was important. So a lot of the assignments come from, um um I knew him and I knew his students and I would go and go off to you know, to, to, to, to, uh, Paris and London and, and, and the Czech Republic and Poland and talk to his students and they gave me his assignments and I didn't even know how to teach him. I just had the assignments. So I've just kind of been making this thing up. Um, but the assignments are abstracts meaning they have no discernible meaning on their own. They just seem like a jumble of words. But what happens is by getting comfortable with them, we can find really deep, intense meaning, you know, not only for ourselves but for other people and that's, that's the good stuff.
Class Materials
Class Materials
Ratings and Reviews
Richard Lynch
I really enjoyed the frank style that the class was delivered. Jealous of the 4 students who were in person. I work as an Aerospace engineer and am trying to find a way to relearn to be creative. This class and the exercises made me think and I have noticed that I enjoy taking different perspectives during boring meetings and drawing doodles that make me smile. Unexpectedly, my coworkers have said my work has improved lately. I think because I have become more open to possibilities outside of the tried and true.
Student Work
Related Classes
Design Inspiration