Edi­tor’s let­ter

Computer Arts - - Welcome - BEREN NEALE Edi­tor [email protected]­turenet.com

about fan­tasy art, fine art, pho­tog­ra­phy or de­sign – one topic Since al­ways The hav­ing It comes 19th I’ve comes a unique cen­tury worked from up: the voice ro­man­tic cre­ative on ro­man­tic cre­ative or style au­thor­ship artists mag­a­zines no­tion in your had of a and cho­sen the part – the whether artist to cre­ative im­por­tance play as with au­teur. they’re medium. their of dra­matic self-por­traits – like Gus­tave Courbet’s The Des­per­ate artist front and cen­tre. After mil­len­nia of be­ing brushes for hire Man by the the artist’s – church putting vi­sion, or the rich a (ideally shade pa­trons, of tor­tured, their what soul: mat­tered ideally ut­terly French) was unique, de­pict­ing ge­nius to­tally per­sonal. It’s still how peo­ple like to view artists. But that be­comes a bit tricky when you ap­ply that think­ing to the com­mer­cially cre­ative world, when cre­atives are work­ing for clients to briefs. How much should the work speak of its cre­ator? Or Our is that two to­tally fea­tures in­ap­pro­pri­ate? in this is­sue speak to that di­chotomy a bit. Self-pub­lish­ing (page 42) can of­fer a won­der­fully cre­ative, re­ward­ing – and most ap­peal­ingly of all – per­sonal out­put. On the other hand, look­ing at the trends of the day (page 60) is to con­cern your­self with what’s al­ready be­ing done. Es­sen­tial to know, but not to sim­ply mimic. When Com­puter Arts spoke to de­sign le­gend Mil­ton Glaser back in 2010, he told us: “The best de­sign­ers have a broader look and don’t change with the pre­vail­ing wind. If you’re se­ri­ous about de­sign, you have to be more con­cerned about dura­bil­ity and ideas that go beyond the mo­ment.” Of course, as the two fea­tures sug­gest, there’s def­i­nitely room for both – in­cred­i­bly per­sonal and brief-spe­cific work. The trick – and the fun – is strik­ing that bal­ance!

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