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Finding Your Voice as an Artist

January 14, 2020 by Douglas Bonneville

“To be nobody-but-yourself — in a world which is doing its best, night and day, to make you everybody else — means to fight the hardest battle which any human being can fight.”

— E.E. Cummings

E.E. Cummings

The Battle for Creative Individuality

E.E. Cummings broke every rule of poetry. He ignored capitalization, invented punctuation, split words across lines, and arranged text spatially on the page. His work looked like nothing that came before because he refused to let convention dictate his expression. The quote above explains why: being yourself requires active resistance against the pressure to conform. For designers, this pressure comes from multiple directions. Clients want work that looks like what their competitors have. Design trends create homogeneity across the industry. Software defaults and templates push everyone toward similar solutions. Finding your own voice requires consciously pushing back against all of these forces.

Developing a Distinct Perspective

Your unique viewpoint comes from your specific combination of influences, experiences, and obsessions. No one else has read exactly what you have read, seen exactly what you have seen, or cares about exactly what you care about. That combination is your raw material for originality. The challenge is accessing that material while under pressure to deliver work that meets external expectations. Cummings solved this by refusing to separate his experiments from his “real” work. Everything he published reflected his authentic exploration, even when critics rejected it.

Practical Steps Toward Authenticity

Keep a file of work you love regardless of whether it is trendy or commercially successful. Notice what these pieces have in common. That pattern reveals your genuine taste, uncorrupted by what you think you should like. Take on projects where you have creative freedom, even if they pay less. The work you do without constraints often reveals your true direction. Over time, bring that sensibility into your client work, one element at a time.

How to choose from among all your great ideas

June 17, 2019 by Douglas Bonneville

The Paradox of Too Many Ideas

Creative people rarely suffer from a lack of ideas. The problem is usually the opposite: too many ideas competing for attention, each one feeling urgent and promising. This abundance creates paralysis. How do you know which idea deserves your limited time and energy?
“I have lots of ideas. How do I pick the right one? Execute on as many as possible. The right idea will pick you.”

— James Altucher

Altuchers advice sounds counterintuitive at first. If you cannot decide between ideas, executing on all of them seems like it would scatter your focus even further. But there is wisdom in this approach that becomes clear once you try it.

Why Execution Reveals Truth

Ideas in your head exist in a perfect, untested state. They seem equally viable because you have not encountered the friction of making them real. Once you start executing, some ideas immediately reveal themselves as more difficult, less interesting, or less viable than they appeared in the abstract. Other ideas gain energy from execution. The more you work on them, the more possibilities you discover. New connections emerge. The work itself generates enthusiasm rather than draining it. These are the ideas worth pursuing. You cannot determine which ideas will respond this way without trying them. Thinking harder about which idea to choose just keeps you stuck in your head where all ideas remain equal.

Practical Application

When facing competing creative directions, give each one a small trial. Spend a few hours on each idea, doing real work rather than planning. Notice which ones make you want to keep going and which ones feel like obligations. The idea that survives contact with reality and still excites you has proven something. It has demonstrated that it can sustain your interest through difficulty. That track record matters more than any amount of speculation about potential.

What you see is not always what you are looking at

June 14, 2019 by Douglas Bonneville

All the balls are the same color — and that color is *brown*! pic.twitter.com/JriPXHnNYR

— Chaz Firestone (@chazfirestone) June 14, 2019
This is amazing. If you cover the colored lines that pass over each ball, you’d see the balls are all the same color. Cones, rods, and brain are all playing a game!

The Key to Unleashing Your Natural Creativity

June 14, 2019 by Douglas Bonneville

Could the key to creativity be multitasking in slow-motion? Not only are successful people found multi-tasking several projects at once, they’ve also found time for hobbies. Studies reveal how mixing it up can be surprisingly beneficial and can help us sharpen our senses and change perspectives.
What can we learn from the world’s most enduringly creative people? They “slow-motion multitask,” actively juggling multiple projects and moving between topics as the mood strikes — without feeling hurried. Author Tim Harford shares how innovators like Einstein, Darwin, Twyla Tharp and Michael Crichton found their inspiration and productivity through cross-training their minds.

An Artist According to Mondrian

June 14, 2019 by Douglas Bonneville

Mondrian quote on art

Mondrian and the Pursuit of Pure Form

Piet Mondrian spent his career stripping away everything unnecessary until only the essential remained. His famous grid paintings with primary colors represent the end point of a long journey from representational landscapes to pure abstraction. For Mondrian, an artist was someone who could see past the surface of things to the underlying structure. This vision of the artist as someone who perceives deeper patterns has profound implications for design. Every successful design solution involves finding the essential truth of a communication problem and expressing it with clarity.

Reduction as a Design Principle

Mondrian removed curves, removed secondary colors, removed texture, removed everything that did not serve his compositional goals. Designers can learn from this relentless editing process. Every element in a design should justify its presence. If something can be removed without losing meaning, it probably should be. The challenge is knowing when to stop. Mondrian spent years refining his approach, and his late works show an artist who had found exactly the right balance of elements. Reaching that point requires both the courage to remove and the wisdom to recognize when enough has been taken away. Look at your current project. What could be removed? What is there only because you put it there, not because it serves the communication goal? Mondrian would have asked these questions constantly.
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About BonFX

Douglas Bonneville has been a graphic designer since 1992 and has written about type here since 2009. BonFX is a blog about typography and design, and the books that came out of it.

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