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!