![]() Because when I start to write CNF, especially if it’s anything resembling memoir, there’s an instinct to throw a lot of different experiences and details into the mix. What is the biggest challenge when writing CNF?įor me, the biggest challenge is knowing where to place the “border” around a piece, where to focus. I’m really excited to see the rest of the work in the issue. ![]() “Roots” as a theme invites a lot of interpretations I think. But then when I read the theme, I felt that this piece fit the bill in an interesting, oblique way. I had already written “Buddy Boy” before I knew about the specific theme for this issue. I like to think of both genres as “tools” in my “toolbelt.” And then, of course, within CNF and fiction are all the different forms, which really expands the unique possibilities for how a piece takes shape.ĭid you have a piece already written when you learned about Epoch’s theme, or did you write a new piece? If so, how did you approach the theme of Roots in the creation of your work? Sometimes, though, it’s not ideal to go that route for any number of reasons, and it comes out as a story. For me, when I’m exploring a potential idea that I know I want to write, CNF gives me that option of coming right out and saying it and dropping the more traditional artifice of calling it fiction. I have written fiction for a long time, and I still love to write fiction, but there is something so immediate and, often, obviously, more personal about essays. ![]() But as soon as I tapped into that mode, it quickly became apparent to me that it was something that had long been missing in my complete ability to express myself. I only very recently, in my first year of graduate school, began to write CNF. Why do you write CNF, and do you explore other genres in your work? What’s more.Stephen Haines’s piece, ‘Buddy Boy’, can be found in EPOCH Issue 03: Roots, available to purchase here. He shows you how, by making full use of the Perspective tools available in Illustrator CC, you can effortlessly add attractive artwork to existing photographs… while easily maintaining one, two or more perspective points!īy the end of this inspiring course, you’ll be excited by the possibilities of using all 3 dimensions to their fullest in your professional Illustrator projects. Next, Iain ventures into the area of Perspective Planes and their associated tools. Along the way, he shares numerous additional pro tips, packing more value into this already action-packed course. He quickly accelerates your learning into other kinds of 3D extrusions and shows you advanced methods on how to edit and map artwork onto these objects. Iain then shows you the classic technique of creating extruded 3D Text. Once you’ve created the 3D shape, he shows you how intuitive it is to edit the 2D object, which automatically updates its 3D form! Fantastic! Iain starts off by showing you how easy it is to create a 3D solid shape by performing a Revolve with a 2D outline in 3D space. In this course, master trainer Iain Anderson shares his excitement around Creating 3D objects in Illustrator CC. It’s as if you are somehow bringing them closer to real-life. There is an inherent excitement when taking 2D objects and making them 3 Dimensional.
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