David Gothard
February 2006
Today's Rejected sketch
Man, thought this would liven up a totally dry (zzzz) biz article for a magazine job. Back to the drawing board to exercise the containment of good ideas.
*!*@!**#@!.....and that's all I have to say at the moment.
Rush Jobs
Ok Rob, you asked for it. I am pretty good at handling 2 same day assignments a day(generally from 12:00 - 4:00), but this week I had two days where I was juggling three. The WSJ & Newsday call on me alot for 3 hour turnarounds. It's doable only under perfect conditions, ie; smart client, no interuptions, image not too complicated, etc. It was rough going since my environment was less than perfect. But it gets done and I don't miss deadlines (would they call me again if I did?). What am I thinkin about? "I'M WORKIN, I'M WORKIN". Stress as a result of overwork is very different from the scary variety that seeps in when the phone is silent. This job (image) was one afore mentioned - done in an hour, on the divisions in Turkish society. DG
Remember when....
OK - so I'm gonna try to get this articles thing happenin right here and now. A number of us have been in the illo biz long enough to remember pre tech times...and then came the Faxeolithic and Macolithic eras, respectively. I've got plenty o' spunk left in me, so the last thing I wanna start is a thread of "the good ol' days". I am thinking, however, that it would be interestin for those artists who have started up their careers in the age of communication, to hear just a little about how dramatically the illo world changed in terms of locations, deadlines, workloads, portfolios etc. with the advent of technology. Like everything else, this change brought some pros and cons. One big result is that it scattered us out from NYC like a tear in the bottom of a big bag of marbles. all rollin in different directions. Which is why we are using this current form to connect. Before fax made it possible to exist outside NYC's boundaries, there was an even bigger concentration of artists living and working in the one community. Freindships were formed amomg artists and between artist and client. There were a few spots that served as a kind of social club for artists. I'm thinkin of the NYTimes bullpen. I met a few of you "drawgers" there. Now, of course, if you tried to hang there you'd be hauled off fer loitterin, but there was a time (if you care to remember).
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