“[I]f you don’t know who you are,” Robert Greene says. If you’ve never pulled aside what obscures the distance between yourself and your obscurities. If you’ve never taken particular notice of the particular things about yourself that you’ve pushed to the periphery of your being.
My pleasure! I’m constantly confronted with how little I see, how much I miss, and how rarely i see things for what they really are. Everything I make is attempt to see more, to see better, to see differently.
Thank Treasa! They're index card sized pieces. I’ve got a couple digitally designed pieces that will printed and displayed in an Upcoming show in South America, that are the largest pieces I’ve ever designed: A2 and A3. Wish I could see them in person. I’ll be posting them in this Sunday’s newsletter.
And another on Enneagram Type 4. I lived my whole life till recently not knowing about these, and it's been transformative to understand who I am, and why I need to write like I do.
Thank you Jeremy! I really appreciate that! Usually the thing that takes me the most time in putting a newsletter together is the pairing of imagery and words. I don’t always get it quite right, but when it happens, it’s the best feeling.
Especially loved that last one, Duane. Are those done digitally? If so, how do you work on the composition when using type? (Sorry for all the questions, I'm just constantly fascinated by collage and your work's awesome.)
Thanks James! The very last two pieces in the newsletter for the Fault Lines show are both digital. I would have preferred analog but it was a tight dead line to get the work to the curator in time. I was concerned that mailing in analog work wouldn’t make it. Sinclair Neeson, who’s in the UK, offered to print my pieces and mail them in with his submissions.
I have a love/hate relationship with type. I love it so much aesthetically, but I really struggle with it. Basically, I’m a collage artist that wishes he could be a graphic designer but doesn’t have the patience, skillset, or talent for it.
I always work on the type last. I construct all my imagery and background elements first. This gives me a better understanding of space, a better indication of where and how the type can live in the piece. I usually add the type one letter at time so I can adjust scale, and position in a more free form way. I try to strike a balance between abstraction and readability. I want the words to be legible but I also want the viewer to have to look closely. With that in mind, I also try to convey a sense of movement. I try to use the type to guide the viewer through the visuals of the piece, so that a piece feels more like a process or a journey.
Once I have a typesetting I’m happy with, I start destroying the type. I use angular shapes to mask out parts of the type so it looks like it’s been cut into. I also make gritty textures with a copy machine that I can mask the type with as well to give it more character and distress.
It can be a time consuming process and it can definitely be exhausting. It’s probably why I find myself doing less and less of these pieces, lol.
Everything about this is beautiful—the images, the words, and spirit in which you offer them. Thank you, Duane for all the ways you help me see.
My pleasure! I’m constantly confronted with how little I see, how much I miss, and how rarely i see things for what they really are. Everything I make is attempt to see more, to see better, to see differently.
The collages are amazing!
Thank you! that's so kind! I appreciate it!
These are all so good, Duane!
Thanks Nolan!!
Do something ❤️❤️ Are the pieces for exhibition index card or larger pieces? they are so powerful.
Thank Treasa! They're index card sized pieces. I’ve got a couple digitally designed pieces that will printed and displayed in an Upcoming show in South America, that are the largest pieces I’ve ever designed: A2 and A3. Wish I could see them in person. I’ll be posting them in this Sunday’s newsletter.
👏👏👏👏💜💚
Thanks!
Beautiful words and imagery and pairings and expression as always, Duane.
Here's a link for you
https://youtu.be/mtftHaK9tYY?si=BW3LwlHRssS-Ge7R
And another on Enneagram Type 4. I lived my whole life till recently not knowing about these, and it's been transformative to understand who I am, and why I need to write like I do.
Love it! Thanks for sharing!!
Beautiful!
Thank you!
These are exquisite works. And I love the way you paired your words with them. 👏
Thank you Jeremy! I really appreciate that! Usually the thing that takes me the most time in putting a newsletter together is the pairing of imagery and words. I don’t always get it quite right, but when it happens, it’s the best feeling.
You're welcome.
I love your work, and am I delighted I found it.
So kind of you! Means a lot to me! 🙏🙏🙏
You're most welcome! Thank you for the work you do. I find it very inspiring and stimulating.
Especially loved that last one, Duane. Are those done digitally? If so, how do you work on the composition when using type? (Sorry for all the questions, I'm just constantly fascinated by collage and your work's awesome.)
Thanks James! The very last two pieces in the newsletter for the Fault Lines show are both digital. I would have preferred analog but it was a tight dead line to get the work to the curator in time. I was concerned that mailing in analog work wouldn’t make it. Sinclair Neeson, who’s in the UK, offered to print my pieces and mail them in with his submissions.
I have a love/hate relationship with type. I love it so much aesthetically, but I really struggle with it. Basically, I’m a collage artist that wishes he could be a graphic designer but doesn’t have the patience, skillset, or talent for it.
I always work on the type last. I construct all my imagery and background elements first. This gives me a better understanding of space, a better indication of where and how the type can live in the piece. I usually add the type one letter at time so I can adjust scale, and position in a more free form way. I try to strike a balance between abstraction and readability. I want the words to be legible but I also want the viewer to have to look closely. With that in mind, I also try to convey a sense of movement. I try to use the type to guide the viewer through the visuals of the piece, so that a piece feels more like a process or a journey.
Once I have a typesetting I’m happy with, I start destroying the type. I use angular shapes to mask out parts of the type so it looks like it’s been cut into. I also make gritty textures with a copy machine that I can mask the type with as well to give it more character and distress.
It can be a time consuming process and it can definitely be exhausting. It’s probably why I find myself doing less and less of these pieces, lol.
Sorry for such a long answer. Hope that helps.