I feel like I'm kind of trying too hard in a lot of ways. And that's entirely contradictory to what the whole idea of the One Thousand Thousand project is all about. So I'll stop doing that. Or at least work on it.
I rarely set out with any real intentions for a certain set and I was purposely trying not to think of anything 'Valentine's Day-ish" for the pieces I was doing on the 14th. I'd talked about doing a set specifically intended for use as a Valentine's Day card but talked myself out of it as I didn't have the time and I ended up thinking it was too expected in some way. [Not sure why I am so set on expected being something to avoid. I could be wrong.]
Anyway, so I scrapped the notion of adding some heart imagery or anything like that and even got bugged by the use of pink and red in the set. So I consciously decided to do something dramatically different and was looking through some old collage materials and found some LIFE magazine from the 50's or 60's. There were these terrific old photos of George Washington Carver teaching a class. I am obsessed with science imagery of all sorts and saved the photos because they were black and white shots of a science classroom. But then I continued over-thinking it and realized that the photos I decided on just happened to be photos of black folks mostly and I was reminded that February is also Black History Month. So that would be some obvious conclusion for someone to make. So I stopped with that. And then I was bugged that these color choices and line gestures and design elements reminded me of some Basquiat stuff.
It went on and on like that for a while. Trying to think of ways to not think too hard. Trying to intentionally have no intentions. It's ridiculous.
[It's not unlike what happened with Peter Venkman. Or at least it reminds me of that for sure.]
And so the little set from that day took forever to finish and it bugged me to no end. And I can always tell that I've had some similar dialogue in my head when I look back and see the finished pieces. Some just suck. And others are really nice.
I'd absolutely say that the average rating for the work done for the project works out where almost all of the work is pretty good. Surprisingly so. When I'm working in that 'flow' space I'm almost invariably satisfied with the results. [I'd stand by what I said to Stephen Layton about 90% of the work being really solid while just 5% or so completely suck.]
And I am positive that the whole of the suck comes from when I'm thinking too hard or trying for some end result or working towards some specific end result.
I've scanned the pieces from this set ahead of a lot of others waiting in the Need to be Scanned stack I have staring at me all the time. I wanted to get them moving on so that I could do the same thing.
So, yeah. There are a few from this set that I really, really like a lot. And a couple that I don't like at all and hate to include them.
I'm not saying which ones are which.
I've added a few process/overview photos of this set as they were being completed.
They are behind the READ MORE break right there. Click it and see what I'm talking about.
I rarely set out with any real intentions for a certain set and I was purposely trying not to think of anything 'Valentine's Day-ish" for the pieces I was doing on the 14th. I'd talked about doing a set specifically intended for use as a Valentine's Day card but talked myself out of it as I didn't have the time and I ended up thinking it was too expected in some way. [Not sure why I am so set on expected being something to avoid. I could be wrong.]
Anyway, so I scrapped the notion of adding some heart imagery or anything like that and even got bugged by the use of pink and red in the set. So I consciously decided to do something dramatically different and was looking through some old collage materials and found some LIFE magazine from the 50's or 60's. There were these terrific old photos of George Washington Carver teaching a class. I am obsessed with science imagery of all sorts and saved the photos because they were black and white shots of a science classroom. But then I continued over-thinking it and realized that the photos I decided on just happened to be photos of black folks mostly and I was reminded that February is also Black History Month. So that would be some obvious conclusion for someone to make. So I stopped with that. And then I was bugged that these color choices and line gestures and design elements reminded me of some Basquiat stuff.
It went on and on like that for a while. Trying to think of ways to not think too hard. Trying to intentionally have no intentions. It's ridiculous.
[It's not unlike what happened with Peter Venkman. Or at least it reminds me of that for sure.]
And so the little set from that day took forever to finish and it bugged me to no end. And I can always tell that I've had some similar dialogue in my head when I look back and see the finished pieces. Some just suck. And others are really nice.
I'd absolutely say that the average rating for the work done for the project works out where almost all of the work is pretty good. Surprisingly so. When I'm working in that 'flow' space I'm almost invariably satisfied with the results. [I'd stand by what I said to Stephen Layton about 90% of the work being really solid while just 5% or so completely suck.]
And I am positive that the whole of the suck comes from when I'm thinking too hard or trying for some end result or working towards some specific end result.
I've scanned the pieces from this set ahead of a lot of others waiting in the Need to be Scanned stack I have staring at me all the time. I wanted to get them moving on so that I could do the same thing.
So, yeah. There are a few from this set that I really, really like a lot. And a couple that I don't like at all and hate to include them.
I'm not saying which ones are which.
I've added a few process/overview photos of this set as they were being completed.
They are behind the READ MORE break right there. Click it and see what I'm talking about.
By the way, this is what happened to Peter Venkman:
A bolt of lightning crackles from the swirling dark cloud and strikes the rooftop. The Ghostbusters stand there facing their new God like Moses on Mount Sinai. And then Gozer speaks to them in a voice that can be heard throughout Metropolitan New York and parts of New Jersey.
GOZER:
SUBCREATURES! GOZER THE GOZERIAN, GOZER THE DESTRUCTOR, VOLGUUS ZILDROHAR, THE TRAVELLER HAS COME. CHOOSE AND PERISH.
VENKMAN: (shouting to be heard) Is he talking to us?
WINSTON: What's he talking about? Choose what?
STANTZ: (to the heavens) What do you mean "choose?" We don't understand.
GOZER: CHOOSE!!
SPENGLER: I think he's saying that since we're about to be sacrificed anyway, we get to choose the form we want him to take.
STANTZ: You mean if I stand here and concentrate on the image of Roberto Clemente, Gozer will appear as Roberto Clemente and wipe us out?
SPENGLER: That appears to be the case.
VENKMAN: (quickly) Don't think of anything yet. Clear your minds. We only get one crack at this.
GOZER: The choice is made. The Traveller has come.
VENKMAN: (in a panic) We didn't choose anything! (to the others) I didn't think of an image, did you?
SPENGLER: No. They look at Winston.
WINSTON: My mind's a total void! They all look at Stantz.
STANTZ: (guilty) I couldn't help it! It just popped in there!
VENKMAN: (desperately) What? What popped in there?
STANTZ: (pointing) Look!
A bolt of lightning crackles from the swirling dark cloud and strikes the rooftop. The Ghostbusters stand there facing their new God like Moses on Mount Sinai. And then Gozer speaks to them in a voice that can be heard throughout Metropolitan New York and parts of New Jersey.
GOZER:
SUBCREATURES! GOZER THE GOZERIAN, GOZER THE DESTRUCTOR, VOLGUUS ZILDROHAR, THE TRAVELLER HAS COME. CHOOSE AND PERISH.
VENKMAN: (shouting to be heard) Is he talking to us?
WINSTON: What's he talking about? Choose what?
STANTZ: (to the heavens) What do you mean "choose?" We don't understand.
GOZER: CHOOSE!!
SPENGLER: I think he's saying that since we're about to be sacrificed anyway, we get to choose the form we want him to take.
STANTZ: You mean if I stand here and concentrate on the image of Roberto Clemente, Gozer will appear as Roberto Clemente and wipe us out?
SPENGLER: That appears to be the case.
VENKMAN: (quickly) Don't think of anything yet. Clear your minds. We only get one crack at this.
GOZER: The choice is made. The Traveller has come.
VENKMAN: (in a panic) We didn't choose anything! (to the others) I didn't think of an image, did you?
SPENGLER: No. They look at Winston.
WINSTON: My mind's a total void! They all look at Stantz.
STANTZ: (guilty) I couldn't help it! It just popped in there!
VENKMAN: (desperately) What? What popped in there?
STANTZ: (pointing) Look!
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