Building From Past Creations

There's something I've noticed about myself as both an artist and a designer. I never liked having to scrap past designs that didn't make the cut. It makes me feel bad about all the effort put into that project that never made it. Because I've never liked this feeling, I maintain a project-research folder that allows me to look back on many of my past creative outputs. This is very useful as a design practice because the originality and impact of a previous work can help you to manifest something similarly bold, but better in taste and effectiveness. The plus side to this method is that there wouldn't be any design infringement issues because the work that you are building upon is actually your own. 

Get into the habit of utilizing everything that you create, whether it be for research, building, compiling, marketing or other purposes, it is always better to keep in mind that all of this was generated by your creative energy. Anything that may not be appropriate for your project today, may very well be exactly what you're looking for tomorrow. Getting into the habit of storage and recycling old creative output will save you both time and effort, without compromising your design's overall working impact. When I created , I had several of my designs compiled into a working folder. I built on elements that I preferred and began to compose a website that was able to acquire the best elements of my previous draft designs.

 When it comes to sculpture creation, this method also works in a number of different ways. It affects the working process in two stages, the sketching / drafting and the actual clay modeling. Old sketches for example, may have parts or elements that are unwanted or inappropriate for your project, but they may also have other elements that are full of impact and would a great addition to another future design.

I can take advantage of this knowledge by storing these sketch elements, combining them with one another or building upon them when creating a new design altogether. This design composing strategy can also be used during the clay phase when certain areas of the sculpture are blank thoughts in your head. This applies frequently when being unsure of the designs in less visible elements such as the back torso or legs of the figure piece.


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