Continued thread
I'll also be delivering a short session during Saturday's BLAG Meet: Inside Issue 06 (https://bl.ag/meet).
This is'ot strictly connected to the latest issue of the magazine, but I'm using the free, online event to share details of my forthcoming Kickstarter that aims to raise funds to finish a short film I've been working on: When Better Letters Met Brian Walker.
You can pre-register for the Kickstarter now: https://www.kickstarter.com/projects/samroberts/when-better-letters-met-brian-walker-a-short-biopic?ref=9wh6qg.
![It was definitely a pivotal moment of crisis and re-evaluation. I had a sense of tremendous disappointment in what I was doing, a sense of inadequacy and failure—that the work wasn’t good, that it was one bad painting on top of another. So I destroyed all the paintings I had made. This wasn’t a conceptual thing; it was because I thought they were shit. Training to be a signwriter wasn’t about changing my direction as an artist; it just struck me as a way that I could maybe make some money. I was good with a paint brush, I love lettering and I’d done a lot of design work for posters over the years. But something happened in the process of learning [signwriting] and it was to do with the delivery of the material. Painters express themselves, whereas a signwriter wants the delivery to be invisible. The artist’s personal touch is such a big facet of modern painting, and signwriting freed me from that because it is just the paint on the thing; it doesn’t pretend to be something else. Any symbolic aspect had been emptied out. It drew me to the language of graphics, and I could go to the studio with just the idea. When I open a can of paint, I just love how it looks; I almost want to drink it.](https://typo.social/system/media_attachments/files/114/256/712/276/303/947/original/8545737027f81754.jpg "It was definitely a pivotal moment of crisis and re-evaluation. I had a sense of tremendous disappointment in what I was doing, a sense of inadequacy and failure—that the work wasn’t good, that it was one bad painting on top of another. So I destroyed all the paintings I had made. This wasn’t a conceptual thing; it was because I thought they were shit. Training to be a signwriter wasn’t about changing my direction as an artist; it just struck me as a way that I could maybe make some money. I was good with a paint brush, I love lettering and I’d done a lot of design work for posters over the years. But something happened in the process of learning [signwriting] and it was to do with the delivery of the material. Painters express themselves, whereas a signwriter wants the delivery to be invisible. The artist’s personal touch is such a big facet of modern painting, and signwriting freed me from that because it is just the paint on the thing; it doesn’t pretend to be something else. Any symbolic aspect had been emptied out. It drew me to the language of graphics, and I could go to the studio with just the idea. When I open a can of paint, I just love how it looks; I almost want to drink it.")
