![]() Grace: When you say rules for drawing, is that similar to the concepts in your new book, Idea Diary?Ĭhristoph: Well, the kind of drawings are similar. And some coding on a strange video artwork. Grace Ebert: What have you been working on today? What was your day like?Ĭhristoph Niemann: Today was some conceptual drawings about rules for drawing, like very clean line drawings, then some very messy watercolor landscapes. Shown above is “Turning The Table” (2022), from the book ‘Idea Diary.’ All images © Christoph Niemann, shared with permission This conversation has been edited and condensed for length and clarity. The conversation veers from poetry, distillation, and the purpose of art to the downsides of pitching and finally, to his profound and enduring love for the humble act of putting ink on paper. Over Zoom in February 2023 when Niemann was in his Berlin studio, we discussed his practice and process, how he consumes news and culture, and how his openness when experiencing a new city or space has changed since the pandemic began. ![]() The clever drawings he produces are the result of a precise and somewhat painstaking process, and no matter how many New Yorker covers he illustrates ( there are dozens) or books he publishes (also quite a few) or how many people interact with and enjoy his work on a daily basis, all of these external factors are irrelevant when sitting down to a blank canvas. A wildly successful artist, author, and animator with a keen wit, Niemann reiterates that “there is no trick” to making the creative process easier. The act of drawing, of envisioning an idea and conveying it visually, produces the same feelings in Christoph Niemann ( previously) as it did when he was a child.
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