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How Does Christoph Niemann Make Art Look Effortless? With A Lot Of Work
A couple years ago, Christoph Niemann felt like he needed to shake things up.
CHRISTOPH NIEMANN: When you do any kind of creative job for a while you become better, you become more routine. But I think you always become a little bit more predictable.
SHAPIRO: Neimann was already very good at his creative job. He is an artist and illustrator whose work appears in places like The New Yorker. He had a regular Sunday column in The New York Times magazine. To get out of his routine, he decided to start a project called Sunday Sketching.
Each week he took a random object – a paper clip, some bananas. He set that physical object on a sheet of paper and incorporated it into a sketch. So he drew around a pair of socks to make them a dinosaur’s head and neck. Half an avocado became a baseball glove at the end of an outstretched arm. The pit lands in the center as the ball. These drawings are whimsical and surprising. And Christoph Niemann has collected them, along with more of his work in a new book called “Sunday Sketching.”
NIEMANN: The first one where I really sat down and say, OK, let’s see if I can make this work was when I took the crumpled up headphones of, like, the regular iPod. And they’re nothing. They’re just like weird, random white wires. And they mean nothing, they looked like nothing. And then eventually I saw a mosquito in there.
SHAPIRO: I’m looking at the sketch right now and there’s a photograph of this crumpled up set of earbuds. And the two earphones are eyes. And then the jack is the nose. You’ve drawn on six legs and two wings in black. And then at the tip of the nose there are a few red drips, like blood.
NIEMANN: And it kind of worked. And usually when I draw, I know exactly what’s happening. So by default I cannot ever laugh at my own jokes or be entertained or emotionally touched. In this case, it was like, oh, wow, this actually looks like a mosquito. And that moment was fun.
SHAPIRO: One of the images that I just love – partly because it is so recognizable and so unexpected – is you’ve taken the idea of the famous “Jaws” movie poster, where somebody is swimming at the top of the water and the shark is coming up from underneath. But instead of the shark, it is a white woman’s shoe. And the opening where the foot goes is sort of that perfect semicircular mouth of the shark coming up towards the swimmer at the top.
NIEMANN: Yeah. Well, this is actually the wedding shoe of my wife. The way I’ve been doing these is I always started with an object with absolutely no idea of what the outcome would be. And so in retrospect, I hope the drawing makes sense and might even look somewhat inevitable. But the actual genesis of an image like that is I stare at a shoe and hope that something happens.
SHAPIRO: So what I get from you is that this kind of work – to do it well – requires a combination of training, practice, craft and also the bolt of inspiration from out of the blue.
NIEMANN: The bolt of inspiration is what the reader is supposed to feel when they look at the drawing. What creates that moment is a hundred very boring, unsexy steps. You know, move the line a little further to the left, draw a dog instead of a cat, you know, like, draw a chair instead of a table. I sometimes get from clients, oh, can we just see sketches? We just want to follow your process. This implies you start at zero. And let’s say an idea is a hundred. This implies that halfway through you would be at 50. In reality, you go from zero to -250, and then you go to 17,000, and then you go to R and then you end at a hundred.
NIEMANN: If you would share that with people, they would be utterly confused. I think it’s very important to accept that this is not a linear process.
SHAPIRO: You describe the discomforts that you have to go through to get to a great sketch, even after you’ve been doing these illustrations for years. Is that just an essential quality of the field that you’ve chosen, that you will always have that moment of ugh before you get to the moment of oh?
NIEMANN: Often I find to get to an interesting point with the work, you need friction. You need this moment of unease, of, like, emotional dissatisfaction. By default this is a moment of discomfort.
SHAPIRO: And so this job you’ve chosen will inevitably just make you feel bad pretty much every day? Is that the takeaway?
NIEMANN: Well, you know, I guess once you accept certain facts it becomes a little easier. When you run, you know that you’ll be sweating and you’ll be exhausted. And once you accept that, there’s other parts that you can enjoy. And what I found with these drawings is when you accept them, when you give up control and you really throw yourself into the uncertainty, there’s actually another level of work that can be very satisfying.
SHAPIRO: You’re very popular on social media. Your Instagram account and your Facebook page have lots of followers. And you talk in the book about the difference between getting likes on social media and actually doing work that is of value.
SHAPIRO: Well, the whole algorithm is really geared to a certain kind of quick (laughter). It’s like an endless two-second joke. It’s kind of like the default taste, like a bag of Pringles which taste great and then after.
SHAPIRO: Salty, crunchy. Yeah.
NIEMANN: . You’ve eaten two packs, you just feel terrible.
NIEMANN: And then, of course, you have the vanity. You want people to like something. And I think it’s so important to fight that impulse and to not let the number of likes and followers dictate where you’re going.
SHAPIRO: Does it bother you that somebody looks at a witty visual pun and they laugh and they turn the page and they don’t see the hours and hours and hours that went into coming up with that little bit of wit?
NIEMANN: You can’t have people like the work that you create and also be in awe of how hard it is to do it. The one thing that I sometimes take somewhat offense to – and I know it’s a figure of speech – but this idea of talent. That when people say, oh, you’re so talented, I could never do that. I always feel like, no, like when you listen to a pianist playing a Beethoven sonata wonderful you would never say, oh, I couldn’t do that because, well, you didn’t sit down for 10,000 hours and practice.
NIEMANN: It’s all about sitting down and the time you spend on your desk.
SHAPIRO: Well, Christoph Niemann, it’s been a pleasure talking with you. Thank you so much for joining us.
NIEMANN: It’s been my pleasure. Thank you.
SHAPIRO: Christoph Neimann’s new book is called “Sunday Sketching.” And he has another book out this month as well called “Words,” a visual dictionary for kids.
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Building an Ambiance of Innovation
An art studio isn’t just a room brimming with paints, brushes, and easels. It’s a source of inspiration, a space that nurtures your creative spirit. It’s not merely about the elements present in the room but how they converge to enhance your artistic journey.
Creating a Space that Echoes Your Personality
An art studio should mirror you, emanating your personal traits, interests, and passions. Imbuing your workspace with items of personal relevance can ignite the flame of creativity. These items can range from cherished photos to unusual curios acquired over the years. The primary goal is to render your space undeniably yours.
Artists thrive in environments that reflect their inner world. So ask yourself, what defines you? Is it an old vinyl record, a mosaic lamp from Morocco, or a potted plant from your grandmother’s garden? Use these items as your talismans of creativity. Let them tell your story; let them spark a conversation with your inner artist.
The Undeniable Power of Colors
Colors wield a powerful influence on our mood and productivity. Blues and greens, for instance, have a calming effect, centering us, while reds and yellows tend to be stimulatory and invigorating. As you design your studio, reflect on the emotional responses you aim to elicit as you create and paint your studio walls accordingly. Don’t fear stepping out of the conventional bounds – art, after all, is about bending and breaking norms, isn’t it?
Consider the science behind color definition in art and the psychology of art. Red is associated with urgency and passion, perfect for pushing through artistic blocks. Green, linked to growth and renewal, can foster a fresh perspective. Blues can provide a sense of tranquility, a space to contemplate and delve into deeper creative layers. Hence, by strategically using colors, you can shape your creative journey.
Clutter: The Silent Strangler of Creativity
Clutter can be a stealthy assassin of creativity, obstructing your cognitive processes and drawing away your focus. It’s crucial to devise a storage system that keeps your materials organized and within reach. Not only does this create a more harmonious environment, but it also streamlines your creative process, reducing unnecessary interruptions.
An organized studio equals an organized mind. Without the distraction of clutter, you’re free to immerse yourself in the creative process. Use shelves, drawers, pegboards, or even digital organization systems. Remember, the goal is not perfection but functionality. You want your system to support your creative flow, not hinder it.
Lighting: The Neglected Muse of Creativity
Ever observed the sway of your energy levels under varying light conditions? The same principle applies to your art studio. The quality and type of light significantly impact your mood, productivity, and ultimately, your creativity.
Harnessing the Power of Natural Light
Natural light is the best ally an artist can have. It offers the most accurate rendition of colors, and it has a multitude of health benefits. Make the most of natural light in your art studio by ensuring windows remain clear and even considering the use of mirrors or other reflective surfaces.
The ever-changing dance of shadows and highlights throughout the day can be an inspiration in itself. A sunny afternoon can paint a dramatically different picture compared to a misty dawn or a cloudy twilight. Each of these natural variations brings a unique ambiance, stimulating different creative responses.
Navigating the World of Artificial Light
However, there will inevitably be days when natural light is scarce. This is when you resort to artificial lighting. Fluorescent, incandescent, LED – each type comes with its strengths and weaknesses. Consider a mix of these lights, and always bear in mind the color temperature too!
For example, fluorescent lights offer a cool, bluish light, which is great for detailed work, while incandescent lights cast a warmer, cozier glow, perfect for creating a relaxing ambiance. LEDs, on the other hand, are energy-efficient and have a broader color temperature range. By understanding the properties of each type, you can craft a lighting strategy that best supports your creative needs.
Surround Yourself with Inspiration
Creativity isn’t self-generated – it thrives on inspiration. By surrounding yourself with sources of inspiration, you can significantly enhance your creative output.
Art that Moves You
Adorn your studio with art that resonates with you. This doesn’t only mean your own pieces, but also the works of artists who inspire you. These can serve as potent motivators when your creative well seems parched.
Seeing art that moves you can evoke strong emotional responses. Whether it’s a timeless masterpiece from Van Gogh or a contemporary piece from a local artist, having these visual stimuli can keep your creative juices flowing. Remember, inspiration can strike from the most unexpected sources.
Nature: The Quintessential Artist
There’s a reason many artists retreat to the countryside for creation – nature is the quintessential artist. If possible, position your studio with a view. If not, bring elements of nature indoors. This could be anything from a humble potted plant to a grand aquarium teeming with life.
Trees, mountains, flowers, seashells – nature is rife with patterns, colors, and forms that can spark off ideas. Even the changing seasons can bring forth a flux of fresh inspirations. Remember, as artists, we don’t mimic nature; we interpret it. By immersing ourselves in it, we are not just observers but participants in its intricate dance.
What triathletes are saying about the course!
[/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row admin_label=”row”][et_pb_column type=”1_2″][et_pb_testimonial admin_label=”Testimonial” author=”Karl Weber” url_new_window=”off” quote_icon=”off” use_background_color=”off” background_color=”#f5f5f5″ background_layout=”dark” text_orientation=”left” portrait_url=”https://effortlessswimming.com/wp-content/uploads/2015/05/Karl-Weber.jpg” use_border_color=”off” border_color=”#ffffff” border_style=”solid”]
“The first time I entered the pool after the course…I was aware of my feel for the water.”
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What is the Art Of Triathlon Swimming?
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Here at Effortless Swimming we’ve worked closely with hundreds of athletes at our freestyle clinics and one-on-one sessions. We’ve seen every style of freestyle you can imagine, from beginners to professionals and everything in between. We have condensed our swim improvement system into the Art Of Triathlon Swimming video program, so you get access to our program wherever you are in the world. The course features professional triathletes Clayton Fettell and Annabel Luxford and Australian swim team physio Helen Walker, because our philosophy stems from modelling the best in the sport. You’ll learn what it takes to go from beginner to reaching your full potential in the swim leg. Whether that’s simply being confident starting in a pack or dropping fifteen minutes from your Ironman swim time, it’s all covered in The Art Of Triathlon Swimming.
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Note: The course is 100% digital and delivered online so you get access right away. It is not a physical DVD.
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“I just had a PB this morning at an Olympic distance race. Seven minutes quicker! This is THE best investment I have ever made. I now think spendings few $1,000 on the bike is ridiculous.”
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“It’s given people that I’ve interacted with, myself included, a joy of swimming which I never thought I’d say five years ago.”
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Frequently Asked Questions
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The Art Of Triathlon Swimming is 100% digital, meaning you can stream it from any device and access it right away from your computer, tablet or phone. This means there’s no waiting around for DVD’s to arrive in the mail.
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This course is ideal for anyone who’s been swimming for longer than 6 months. As long as you have some experience in the water and you can swim 100m without stopping, this course will help. If you’re a beginner we recommend adult learn to swim lessons in your local area before trying the program.
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As with all of our online programs, if you haven’t learnt at least one thing that will help you swim faster with less effort just contact us at [email protected] for a full refund within 30 days.
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