Guest author Brent Nisenson describes how a collaboration on digital artwork came about, and reflects on its outcome. This post first appeared in the Red River Writer blog and is reprinted here with permission.
I’m friends with Cathy Martini, the designer for Epic Games’ Epic Games Gallery Project. As a consequence, the artwork for Studio Five’s The Witness originally appeared there, and when Katanovich reached out to me to ask if I’d be interested in seeing and discussing sarms, I gladly accepted.
Sharing artwork, giving your audience something new, and sparking curiosity are all good things. Sometimes that spark is more powerful than getting in front of the audience and showing what you’ve got.
To me, sharing sarms felt right. It wasn’t like I got to go around showing Epic and Katanovich what I’d done. Those publishers already had full coverage of everything I’d done, and could already cover a lot more without my artistry. Instead, it was a chance to create a new opportunity and to connect with the community.
The initial exchange was simple enough, and is still. Katanovich sent me a very large PDF for the piece, and I sent her my preferred version. She was familiar with the concept of flash games, Sarms for sale and appreciated the design choices I’d made. We exchanged the final file, and then I asked Katanovich how she thought it looked and responded with an email that simply said, “You look like a genius.”
I was hoping she’d get some inspiration from that.
I also made the suggestion to Katanovich that I’d like to review the sarms, but she suggested a different format. She asked if I would like to see the piece in all the different variations of size, and then send her a screenshot of what I liked. I was surprised by this suggestion, and like Katanovich, I was delighted by the flexibility.
The first thing I noticed about sarms, and what started this collaboration, was how much I really liked Katanovich’s art. As artists, I think we strive to find something new and appealing, Buy sarms and most of us do so by pushing ourselves and trying new things. Sarms were just that, new things, and they were charming. In terms of design, Katanovich’s art was wonderful. But it wasn’t exactly perfect for the artist.
First of all, the art itself needed more time to set in. A digital piece shouldn’t show its weakness so quickly. Everything from spacing to textures needed to be polished. The panels of paint itself needed more attention. The colors needed to be less dull. Everything needed to be fixed.
I got in touch with Katanovich. I wasn’t sure if I was breaking the rules, but I told her what I thought. I didn’t want to send her a review that suggested things were wrong. I didn’t want her to think she wasn’t doing a great job. I told her that I didn’t think it would be fair to review sarms before I’d given it a chance. Katanovich agreed with me, and we had our first interaction over email. I spent an afternoon fixing sarms.https://bodennews.net/cell-phone-repair-in-vancouver/
But we didn’t end there. Once sarms had been fixed and smoothed out, Katanovich sent me a second email asking if I’d like to see sarms in all of its different sizes and how she would have written that in her description, and we were back in business. I didn’t mind at all, and I sent Katanovich pictures of the artwork I was considering in my redesign.
A month later, Katanovich sent me the sarms in all of their different sizes and I got to work putting the design together. While Katanovich loved sarms and I liked Katanovich, that relationship has always felt different from most relationships between artists and artists-designers. Katanovich is more than just my designer and my artist. I’ve enjoyed talking with her, and that discussion hasn’t ended. There was an interest on her part to continue the discussion, and so that’s what we did.
