Making Do
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By Paul Marcus Fuog

MPavilion, Queen Victoria Gardens, Melbourne

Last summer we teamed up with Jacob Klein from Haw-Lin and Adli Klein from Such Agreeable Friends to deliver a workshop for MPavilion in Melbourne titled Making Do.

Creative output is often crippled by overthinking. All creatives are familiar with the paralysing effect of projecting too far ahead and focusing on outcomes. Procrastination, sitting infront of a blank computer screen, over complication and confusion are all too common aspects of the working lives of designers.

This workshop was about thinking as making, trusting your intuition, rapid creation and being present in the moment. Sometimes just by starting something we are able to spark new creative thought–and then evolve and develop ideas while doing.

Uriah, Adli, Jacob, Paul

We presented each participant with a box containing a collection of unremarkable materials–things you would likely find lying around the home. Participants were then tasked with making four pairs of shoes with 15 minutes allowed per pair. The shoes needed to have functional and aesthetic qualities but the style was completely up to the participant.

In between the 15 minute making intervals participants needed to present and discuss their shoes to the group by walking in them to a nearby platform.

The workshop encouraged design experimentation and improvision. It was about jumping in, not overthinking and not looking back. It was wonderful to observe the different approaches. One participant cleverly evolved his shoe design at each interval–embedding new learning from the previous round into each subsequent iteration. By the end of the hour his shoes where relatively resolved. Others experimented with completely new designs each time. And some participants incorporated the developments and thinking of others into later iterations, demonstrating how design can be shared.

Drawing Without a Trace
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By Paul Marcus Fuog

Willem de Kooning. Untitled. 1966.

I’ve always been fascinated with Willem de Kooning’s ‘Closed-Eyes’ drawings. They feel performative and intuitive. I wanted to find out more about this suite of drawings and while researching, I found an article titled Flying Blind: de Kooning’s ‘Closed-Eye’ Drawings written by Thomas Mitchell. In the article, he sites two essays, With Closed Eyes: De Kooning’s Twist by art historian Richard Shiff and The Legacy of Jackson Pollock by Allan Kaprow to highlight the similarities in the way both authors describe how the two artists split sight and touch, and intellection and spontaneity. Although my fascination for the blind approach to drawing started with Willem de Kooning, it was the quote from Allan Kaprow’s essay on Pollock that inspired me to conduct my own drawing blind experiment.

“We saw in his example the possibility of an astounding freshness, a sort of ecstatic blindness. With the huge canvas placed upon the floor, thus making it difficult for the artist to see the whole or any extension of “parts,” Pollock could truthfully say he was “in” his work”.

Jackson Pollock painting, summer 1950

It was the idea of being ‘in your work’ that really struck me.  A few years back I had a series of personal calamities and I started searching for ways to be more present in the moment. I was seeking experiences that were meditative to keep me in the now. I saw blind drawing as a way of achieving this and I researched a couple of different techniques:

 1. Draw an object while looking at it the entire time. Do not look down at the drawing.

2. Study an object for two minutes. Close your eyes. Draw the object from memory.

I liked the above exercises but found fault with both of them. It was too tempting to look down at the paper with the first approach and too disorientating drawing with my eyes closed with the second approach–both of which distracted me from being in the moment. Trialling them did help me arrive at my own approach.

Do Design Space, State of Design, 2011

Do Design Space, State of Design, 2011

I was interested in being able to see the object and look at the page, but not see what I was drawing, and to achieve this I developed a technique where I used a magnet as my drawing implement. I used the positive side of the magnet to draw the object on the easel, leaving no trace of my drawing on the front side of the paper. The negative side was felt tipped and dipped in ink. It was magnetised to the back side of the easel and moved with the magnet in my hand. It was here, on the back side, that my drawing was revealed, invisible to me. The above videos capture some of my first experiments with this technique.

The resulting drawings are spontaneous and childlike.

This technique of drawing without a trace is something I am continuing to explore…

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