A11 Illustrdted Explcr<1+1oh

of Credtivity

GRANT SN I DER
Credtor of Incidental Comics
 GRANT SN lt>ER

AN lLLU STRATEt>
EXPLORATION
OF C~EATIVITY

ABRAM<; CoMtCARTS • NEW YORK

Editor: Charles Kochman
Designer. Pamela Notarantonio
Managing Editor. James Armstrong
Production Manager: Alison Gervais

Library of Congress Control Number: 2016958241

ISBN: 978-1-4197-2317·9
elSBN: 978-1-6833-5031-6

Copyright © 2017 Grant Snider

The comics in this collection have all appeared previously online at

incidenralcomics.com. Portions of this book were first published in the followin g
publications and websites:

The Southampton Review: "An Incantation," "Creative Housekeeping," "My

Ideas.· and "My Process.·

The Kansas City Star: "The Conspiracy of Colors," "The Creative Process,"
"Cycles of Life," "Daydream," "Design Like Nobody's Watching," "Draw Like
You've Never Been Taught," "The Elephants ofTypography," "Good Ideas,
Bad Ideas," "How Lo Get Ideas," "The Internal Decathlon," "Life Drawing,"
"Morning," "Painting for Non-Majors," "Paths to Success," "Play Each Day
Like Ja22," "Sketchbooks of the Pros,' and "Theories of Autumn."

Red Lemon Club: "Genius Is" and "Rules for Freelancers."

Medium.com: "American Art," "How to Look at Art," and "Self Portrait."

TI1e Fred Rogers Center: "How Lo Grow Imagination."

Published in 20 t 7 by Abrams ComicArts, an imprint of ABRAMS. All rights

reserved. No portion of this book may be reproduced, stored in a retrieval system,
or transmitted in any form or by any means, mechanical, electronic, photocopying,
recording, or otherwise, without written permission from the publisher.

Abrams ComicArts is a registered trademark of Harry N. Abrams, Inc., registered

in the U.S. Patent and Trademark Office.

Abrams ComicArts books are available at special discounts when purchased

in quantity for premiums and promotions as well as fundraising or educational
use. Special editions can also be created to specification. For details, contact
spccialsalcs@abramsbooks.com or the address below.

For more about The Shape ofJdeas and Grant Snider. visit incidentalcomics.com

ABRAMS The M of Books

115 West 18th Street, New York, NY 10011
abramsbooks.com
This book is dedicated to Anna, Trent, and Logan.
May your ideas shape the future,
and may you never run out of crayons.

-
I ,. --
An enormous thank-you to my first readers:
Kayla, for supporting, encouraging, and tolerating
me in every part of life-including the creative
process- and Gavin, for being my second brain
and helping make most every comic better.
CONTENTS
Dear Reader. . . . . . . . . . . . . . . . . 7

INS Pl RATION ..... .... .. . . 9

PERSPIRATION .. ... . .. .. 22
IMPl<OVI SATI ON ......... 36
ASPIRATION ............. 50
CONTEMPLATION . .. . ... 68
EXPLORATION . .... . .. ... 88
DAILY FRUSTRATION ..... 102
IMITATION .............. 114
DESPERATION ..... ...... 128
PURE ELATION . ......... 138

Index..................... 140
---- GENIUS IS ...
Q

1•1. INSPIRATION 5% IMPROVISATION

8% ASPIRATION 7¾ CONTEMPLATION

13% DAILY FRUSTRATION

11% IMITATION 10.q¾ DESPERATION 0.1•/. PURE ELATION

Dear Reader,

If you have picked up this book, chances are you're a seeker of ideas.
Perhaps you search for them in the shade of a tree in a park on a spring
afternoon. Perhaps you wait for them in the shower, until your toes and
fingertips shrivel like raisins. Perhaps they wake you up at night and compel
you to write at your kitchen table until dawn, leaving you exhausted and
useless the next day.
Maybe your loved ones accuse you of spending too much time inside
your own head. Maybe your friends mock you for carrying a notebook to
bars, restaurants, and children's birthday parties. Maybe you have been
glared at in class or during an important meeting for aimlessly doodling on
scrap paper.
Do you sometimes feel guilty for seeking creative ideas at the expense
of personal relationships or professional success? Do you dream of one
day discovering a bottomless well of creativity, so you will never search in
desperation for a new idea? Do you occasionally fantasize about giving up
the search for ideas altogether and living a life of blissful noncreativity? Do
you fear that one day there might not be another idea?
This book will not help you solve these problems. And that bottomless
well of creativity? It doesn't exist.
But do not despair. Every comic in this book was once a blank page.
(Perhaps one or two should have stayed that way.) Since T began drawing
Incidental Comics way back in 2009, my goal has been to create at least one
full-page comic strip per week. I often keep a sketchbook with me to capture
stray ideas that float by. Most mornings before work I guzzle coffee, sit at
my drawing table, and try to shape these unformed ideas into something
worth showing the world.
I hope this book will provide some insight into the creative process. I
hope you can relate to the joys and pitfalls of creativity. Most of all, I hope
this book encourages you in your own search for ideas.

Grant Snider
Wichita, Kansas
August 2016

7
 I

INSPIRATION
 the shape of ideas

I DEAS TH AT GLOv-J Bf<l~HT AT

NIGHT .

Do NOT OE STROY oLt) \DEAS .

I t>'E.AS TI-IAT ARt DEEP) OARI<., ARE l)EFINITELY WORTH

ANO UNKNOWN EXPLORING .

10
 STRUGGlltJG WITH
A coNC.RETI: IDE A ~ TRY ABS1R.ACT10N .

fi ,,
\
W~tN SEA~CHIN~ l=OR THE
ULilN\ATf I DEA
Do NOT IGNO~t TH~ SMALL,
SIMPLE ONE.

11
 TO O \..OFf't .

~ ,-JJ r'j
~'€}

r ~ ~t1 :A , ~
Q.

{;;;;}

~ ~
fJ ~~ g=
TO O co NVOLVTE ~ . Too 8~ 1GHT. T OO CUTE' .

r oo INS l {;. ftJ/ F"/C,1 NT. ii roo PERIVA TI VE .

G;! ~Im
[§ ~

NO"W, ON TO n1E I l< NOW I T', 1~ HE~£

PE f{ FE CT' I DE A ~ ~oM E W HfRE ...

12
 INSPIRATION FAU~ l'M TOO INIP'AllENT
Lll(E AN Arl'Lf. TO WAIT FOil IT.
Q O 0

PERFECT INS"kATION IT ~f:VE~

f~l.l S LIICli A Qlllt'E
s.iowR.AICE. Rl:ACHE'S
ME.

I WANT INSPIUTllfJ All TAAT 1•HP'1ltAT1Gt,I

10 SlJtl(E LIICE F'ALL~ IS tAIN. FA LL~ FULL '{
Ll'MTNIW~ FO((Nl£1> .

BUT I SIMETIMI!.~ Nlr.HT WHAT 11110UU

PALL 1NTO FALU WITttOIIT "4PPEM IP I
IT Bl sollPRISE. ANY IM SPIR.ATtfN. STA10 uf LAnRr

13
 MY \DEAS
'NC ANl>ESc e NT 8U2"Z woiTH Y BIG

ANONYMOUS c o L L A Bo RAT I VE

. p

ENLIGHTENED SuRltl:ALISTIC NOVEL

11
OVEltWH ELMI NG ~ EL F · SEll'IIN6 IC.NOtlE I)

CAUTIONARY CONFI I'll N f=t

15
 TRAINS OF THOUGHT
A 11/AMED A ~ANDCAR CALLED ·- A STATION NAME'I>
DELUSION PROC~ASTI NATION

·- ~ ~
'- ~ .

' '

16
oPPOflT\)N IT'{ RAflE L'{ MOft~ ofTEN IT .AN\) COMPlETELY
l<NOC.k'S ?OLITELV . KNOC.l<S '101.l o\/ER IG,NOlttS iMt ~ooR.

17
 ME AND THE MUSES

Clio, Mvse of History, Poly hymn id, Muse of Hymns,

never learned my name . set m'I room c1flc!lme .

E:rato, Muse-of S~1<y Poems,

foy in bed till noon.

II

18
 Thar, a I Muse of Comedy 1 Call iope, Muse of Epics,
played jokes at my expense. {a il ed to pa-'f the rent.

Urcmi4, Th• M"'se of Space, Melpomene, Trdgic Muse,

was distaht .s the it6rS. hit m~ with her car.

The Muses left me miSer~ble,

I 'fE'~l"n tor +heir retur11 .

19
 CREATIV~ HOUSEK~EPING
The v4cuurn
9athers dust .
I
-
=
-

The pl~nts are The c.at must The trdsh won't

alive, but barel-y . f i nc\ her own food . take on'I more
coffee grounds .
I

The r,e i9hbors are If there was a The ants own

phone, it would ever'f H,·,n9 .
be9·, nn·1n9 to talk .
90 unanswered .
I '
". ,, ,'
\/\
' ---'
I '

20
Tl/£ CREATIVE FROCESS

21
 /

/ I \

PERSPIRATION
\F YOU DRILL ,.., JusT lHE RIC.I-IT PLACE, THEY ' LL ~ISE To THE SuRFA<E .

il\EY MAY 6£ l'ROOUtEO 8'1 T\-1£ UNLON OF Two VNfAMILIAR T\{tN~S .

YOU CAN CAlCH ONE' W~lLE VOV SLEEP, SVT C.000 LUCk' MA KIN' SENSE OF lf.

sn A UAP. WAIT fATIENlLY. SOt-\ETWIN!a 61(,IS 60UNOTO (OMEALON'1 .

MOS T Of TltE llM£ , rnEV ' L L ftNl> Yov O~l'{ WltEN YOV STof LOOl<INC- .

23
 HOW TO CLIMB A HI LL
If 'IOU f'\JSH TOO
HA"'I>

~OU WILL

-
tF 'i0U T URN IT
QVICl<L'f LOSE
MOTi VAT i ON .

ttJTo A. GAME

THE RE.SULT
Mf.Y 8c
~,~coU~A 41NG.

IF 'i OU ~ IT
ANO Tt-1 1!-IIC
poSITIVE
THOUCaHTS

NOTH IN"
MUC.H WILl
HAPPEN .

I F '{OU OE'-IELoP
A c; iANO, UNU~UAL
PLAN

MAICI: SURf
TttE WE"ATHU.
cooPeltATE~ .

21
 TRY To GET
,oME JlHT.

wHHI MOllNINC. c.,ME,,

HT rMALL, AcHri;vABLE
GOA LS .

ICEE f' MOVIN~

F-OftWA ~I> ...

UNTIL ~ov lffAC.H

rHE rop~

----
WHO j(NOW~
WHAT nu: NeXT
t\11.-L. \/I/ ILL
B~ I N~ 7

TkE WA~
C>OWN IS
ftLWft'fS Qu1c1:eR.

25
 LOOI<, A NEvJ ONE!

::::::=====================:,....I--_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_--'..,
WAS IT WORTH CHASIN4~
ANO MAY ELUOE YOU COMPL!:TtLY. ONLY YolJ CAN l>fC.ll>E.

,,, .... _..__ I ~

26
 BRAINSTORM
I DEA DROUGHT ARTIFICIAL HAZ£

SCATTERED T~OUGHTS UNSTABLE ATMOSPHERE

HIGH-PRESSURt FRONT DRIZZL~ OF INSPIRATION

CREATIVE l)OWNPOUR

27
 AVOID ING PROCRASTINATION
I fl)( l'l~C:,Elf "TO ANI) 1 R'I "To l(; NORt
MV poST

THEN I VANGVISH TH£,',\

W ITlt M~ wo~K. ~

I FINO A TAS IC THAT 15 E\/EN ANI) I PRoaASTINATE

MORE PREA l) FVL FIVM 1T INtTEA I) .

28
29
[ needles and haystacks
A LL THE BEST oNES I SEARCH FOR NE"tlLES
HAV~ BEEN l>ISCoVE~El> . IN SMOIC'ESTACl(S .

@@
~~~§
SoN\tTIMES I FE EL
LI k'E I'M lttt
HAYSTAck.

Ii TU IU-JS TO STRAW SE'EMS Tf.lERE ARE'

~y l>AYLI GHT.

30
 mult itasking
HAV~ You E'VcR TRIED ~oTHIN6 GETS DONE -
I
WORKING oN ONE" THING IT ' S MAl>DENl NG .
ATA TIME?

© ,-..------., Q)

I P!Z-EFER TC fOC.US ON ANl> AcCoMfLISH

EVE~1 TASK AT oNCE EACH ONE - BADLY.

31
 ~ -PJ/DCQM,
.--------~-
I CONC.ENT~ATE UNTIL EVE~YTH ING
~ECOMES \NVISIBLt

THEN ONE BY ON t

IN
VISIBLE INK .

32
 INTER\OR LIFE

M1 broin
could u Se ddjus+ rny
some tidyin9 receptivity
up. to social
signals

33
 HITTING A WALL

A WALL T~AT IS OS:-TEN

SE~f\\ S TO C.O ON FDiE\JER AN l LL\JSION .

31
 OR tcUr
'IOIJ FAiTK~
f~O~ THI& roP.

SoJ\I\E WALLS Alt£

cot-JQUERib NOT
BUT fY
8'f FoR.,c- IMPRO\/ltATION .

ON{.E
-.ou
F.EAL\'21:a
THt WALL IT 8ElOME S
IS A A. DooR. .

35
 -
/ •'
r MPROVISATION
8[ COOL. DfVHOf A srns[ Of STRUCTURE
BUT DON'T ~E TOO SMOOTH. AND REPUITION.

-$, ~ 4'7
'Jt &
- ~
_e
".Jl- dfiJ_ ~
DOWT UVil1AH TG LI STrn. LH ornns BOUNCE
i#PrOy1 S[. lDtAS OH mu.

37
 DRAWtNG TH£ MOON
FIR<;T, FIND AN t Lle PH ANT, BRING HIM A. TRAY ~~
ST~AW6'tR~~ S01>A~ •

NIA'!Ct svia.E Ht F1N1St-1ES .srANP BACK.

E\Jts;l.'f LASi DROP. /

LE1 THE CA~~ONATION

,A ~f Ef fECT.

38
 cvR L 11JT0 A 9ALL

HE WILL
TURN
PAL~ (E"LEPHANTS A~E"
'r/J Af"R A1p oF- I-IE 1c,~1TS)

AND EE<OMc i-t-1t

,Nl'( ~H .RIOUS
l>A'fTIME M<>ON, WOIH<. QVt(f(q
eE:FOfH,
lK f /VI A{. IC.

~I
WfAl:tS OFF,

L-.. - ---------- -~ ________ ____j

39
BLANK PAGE VARIATIONS
CoLLE<aE- P-\J LEO

10
 ABST~ACT CONCRETE

l)IGITAL Mo RN I tJ C,. MOLES\CINE

COM IC. COSMIC

11
 IDYLLIC YOUTH AWKWARD ADOLESCENCE

EXPERIMENTAL PHASt COVRTSHlP

PARENTHOOD MIDLIFE CRISIS

0~~~
._fl ,ft <t -...
REi IRtMENT ~ ECCENTRIC OLD Au.£
~

12
[
LIF£ IS LINEAR.. LIH IS CIRCULAR . LIF£ sr1RALS OUT
0 f CONTROL .

!::===========::: '---------J L-_-_-_-_-_ -_ -_-

LI FE IS AN
_-_ -_ _ _ ......J,_

U FE IS SEAUTlflJL LIFE IS NA<;TY,

ANt> ftlECIOUS! BRUTISH) AND SHORT. ILLUSION, MAN .

~ ~--
~~
\)'

============ ,. ._______, :============::::.

LIFE IS FULL Of ur
WHAT IS THE THAT'S
SURrRIS ES. MEANING OF LIFE? TO YOU!
~

~\ ~=-==========~
~==========~ :===========~ WHAT COMES
L\fE HAS VALUE . LI F£ IS Ef~EMf~AL .
MTER UFf?

. --\\

=========-=--=--=--=--=.
L\ FE HAS ElEGH.JT
:============~
WI-IEN YOU THINK
:::===========~
LlfE BEGINS AN'cW.
PATTERNS AND RuLES. YOU 1-\AVE A Gl{ASP
ON LI FE ...

~ ~~ -~
# t; \ ® ~
13
,,_
Tl-IE M IS
THE~E I~ A PIECE
Of ME
MISSl~b - ~
J·

I DON'T NOTICE IN SOf\'IE

IT -

l'V~ .SEARlHE"l) fO(l. fl.l IN~c; jO THE'{ ~ELP -TEMPOltARILV .

_ ~ FILL THE
C· S'PA(E .

11
I 'VE NOTICE)) OTMERS Al< E
MISSIN'
. PIECES, TOO.

~ I CA~'T SO I C!2fATE TO Fl Ll THE SPACE.

MA-l<E
P. PtAlE
~ WtTH W'4Ar'S
"11 SS IN&i .

\N 1TH EVE.Ry
NEW THING
I MAl<E

15
ALL THE WORLD'S A STAGE ]
A~ A C.IIILb, I SUSPECTED TN~T EV~~YONt ELSE Yl~'i
AM ACTO~ 1111 A PLAV PUT ON AT MY EXPENSE .

I
A, A TEEM, I FiLT TllE EYES OF AN UNSEEN AUDIENCE
CRITIQUING MY &V£R.Y MOVE.

16
Some days
every leap
I take

17
QUALlTY OF LINE
1 WM.IT A LINE
A LINt
w I rn re-12 FE( r
THAT I~
CkAR.A<.TE"R .
S IMPLE

AND
Sf'l ~ ITUALL'/
FOCVSE"t> .

A LINE T\.{AT BLO~SoMS

A LIN E BRANCH ES our.
W\rH N'A TV!lAL
GitACE A~t>
c oMP<>S\JRE .

18
 ,4 LINE
WITH LIFF .

iNSTEAI> I
l<EE"P MAKING
A LIN E"

iHAT Look~
EXAC.TL'I LI l<E
MINE".

., ,

, - ----
19
ASPIRATION
I'M I\JOT IT'S AN IT COULD
ltEAl>Y. IMPOS~l 9L£ BE Pt>,INFUL .
TASK.

TI-IERE 'S TOO CAN'T SEE I CAN SEE

MU(fl COMPETITION. WHAT ' S Gi01N(. EXACTLY WHAT 'S
TO HAPPEN. C.O ING TO
HAPPEN .

...,
...

51
THE NATURE OF AMBITION
IF YOU ARE LUC.KY, YOU WILL OTHERS WILL TAK£
FIND SOMETHING You NOTICE .
LOVE DOING.

You' LL STRIVE To YOUR WORK WILL

IMPROVE YOUR SKILLS . 6 Row TO DEFINE YOU .

EVENTUALLY, You WILL GAIN RECO(iNITION FOR IT.

BUT YoV MAY ENCOUNTER INNER TURMOl L.

BACKLASH .

52
FIERC£ CoMl'tTITION. ANO S£LF - DOUBT.

IN THE STRUGGLE FOR C:,R£ATNEc;s, YOUR WORK

WILL BEC.Otv\E 81C:i6E"~! FASTER\ MORE EXOTIC!

UNTIL YOU fl WALLY LOSE CONTROL .

AND YOU'RE LEFT WITH EXCEPT THE THING YOU

NOT I-I ING . LOVED IN THE FIRST PLAC.E .

53
r

MtTfORI t

~ '
,, .. , fl• , , ..

=========:::::-:::==========~======-=..-=-=-=--=-=-=-=-=-=-----=
MA~D[NING

51
 minimal ism is simple .
GET RID OF THE STOP SEARCHING FOR
UN NECESSARY . CRtATE STRVCTUR E. HIDDEN MEAt-JING.

,
A
EMBRACE WHAT
IS SOLID.

,,~
DON'T BE TOO
STAY CLE.AN. EXPRESSI\JE !

"
LESS IS MORE .
~~
BUT LESS IS MORE
~IFFICULT Tl-lAN IT LOOKS .

• 55
I THIS YEAR
I Will DREAM BIii. I Will FOL LOW MY HtART.

I WI LL f ACE MY FEAR\. I WILL FIND MY TRUE SELF.

'

I Will SHOOT FOi THE STARS.

I WILL LIVE WITH NO R£GHTS . I WON'T LET ANYTHING STAND

IN MY WAY.

•• 56
I DISCLAIMER

WITH SOME IN THE Rl6HT ECONOMY.

NATURAL ABILITY.

AFTER YEARS OF GIVEN IOEAL

STU DY.
DI LI GEI\JT OPPORTUNITIES.

BY NEGLECTING OTHER R£sroNSl81LlTlfS .

[D

YOU CAN 8E A~YTHING BUT CAN '{OU BE

YOU WANT TO BE' .. . EVERYTHING YOU WANT TO BE?

57
 MESSAGE TO A GRADUATE
TO GET AN EDUCATION, SOME ARE ULTRA-
YOU MUST JUMP THROUGH COMPETITIVE .
MAN'l' HOOPS .

OTHERS REQUIRE MANY WI LL SEEM

PERFECT TIMING. UNREACHABLE
AT FIRST.

THERE WILL Bl: MOMENTS YOU WILL GET BlJRNED .

0 F BO~EDQM.

58
AND EVEN EMBARRASSED. BUT OFTEN YOUR
IMAGINATION WILL BE
SPARl<ED .
,;:JI

W 1TH LUCI< AND AND ARRIVE AT A PLACE

COORDINATION, YOU WILL WHERE HOOPS ARI: SCARC~L'<
REACH THE FINAL HOOP... SEEN.

SHOULD YOU STOP NO! NOW YOU MUST

JUMPING? CREATE YOUR OWN
HOOPS.

59
 RESOLUTIONS
SPR E~ O
LoVE~
9 .A
;
wEATHE ll
CHANGES
{f
/

L - - ! ! . - -- - - - i .~ ,___J :=::::;:;::::;:::::;::::::::::=:!:~~ L
. . .-_-_~
- ~
-=-_
_:-~.~,.~
~~-~~_,:J
Ellll8~ACE
CoNF'USION
-W-
_.. .,. , ._,.,.,~-;;
i

STA RT F ~E~ H

60
THE MORE I V-4011,.\( oN M'( RE SOL unows ,/.

FRESH

,,~~'
I I I I
t
.. - ,--' ...~",,.''
,...,_
I
,, .,~
1,
II I
,,,._,.' ',' '\
' It \

-·' ,,, ,,' ,,,' ,,

# ,,
, " •• \ f '

' .. ------ ._..., ,_,./1

'' ' ·- ,, J
I \ , tf- ._ _,, '"
, ..~ , I \

GET MllD!>l l: D
AND lNTf~RUPTED .

I 'M $TILL TM[ SAM~ OL[) Mt .

61
 FINDING YOUR VOICE
SPEA I< SOFTLY SPEAK 8UT STAY OPEN
REASoNA8LV TO NONSENSE.

C.AO-\' A &IC. JV\E"C.APHONE .

SPEAK CONFll>ENTLY

62
SPEAK ~tMPL'I

l)C)t,l 'f G.ET SPEA K You R

l>RUNk' :OFF TllE
.. ~ SouN&,
oF VoUR
~ICE

63
 THEORIES OF DISAPPOINTM~NT
fish onl~ in smAII beware 4 sl igh t
Pol'\dS c.h~t'lce of roi n
' /

& : , I

r-----------, r--
a::;;._ -_ -_ -_ -_ -_ -_ - -_ ....;._ ...J
_ :::::.- -------~
t:>etriQhq preq1dable fi,c lo~t et don't dare to
people to the ground pic.k f lowers

l ~
J'J

a~ Sool"I "s 'f OU for-9Q. t all your t hQy may turn

...... ~k• ~I' dre~ms i hto d i <:.ap f'ointment.

{): I

-)
61
Reach +he hi9he~+ i9nore thG i1weht new
Pl'dnch +orec~st chq tle.n9e~

ex tend i rnprobo ble write down

invitdtions 1our dredmS

thern to Stop to pick remember :

t-lowers there are thit'lgs
wor<;,e +h~h
& di~appoihtme~t.

~ ., ~ ~

~ a~

65
f DAYC>R.E::~rvt I
IN ALARGt UTY. IN AN OLD NEIGHBORHOOD.

ABOUT BtlNfl
SOMEONE ELSE.

cm
IM ADltFER£MT llOlJS£.

IN ACliY \IJlltRt
M~GlCAl THlNu~ HAPPEN.
66
I WOU LI> LI KE MOST TO sn ETC~ OlJT ON LET MCUtNU4G AIR
TO ~E A 8ALLOON . Tl-\£ GRASS FILL MY LUNGS'

..,
-

roW'A RI>
A WI LD N& W
HOR l-Z ON .

'

67
 \ I

--
I - --- -
CONTEMPLATION
 col lectin9 rny
IDLE TM0UGI-ITS B0TTLEl)-UP
thoughts
STfUN~E THOUGHTS
I
T~OU4HTS
.....

OISTANT THOU6HTS ABSTrlACT THOUGHT

•
. . -.. ..
• - • 4:- .,.

. ~·

TM o UGHTLESSN ESS

. • .
W\SHFUL
THINl<ING

b~
69
UNDU AtTIFIClAL LIGHT.
70
 COLORS
unti I green thoughts
I drink c.url dround me .

~
black tecl

m
C , ~

'
Il'\ the ~ellow of th e
li9ht clear day

A11 my or~ng•
focus

71
 Today I will do nothing
but encourage w~ it for the analy2e +he
the gross to grow f lowers to unfurl amb,frons of robins
greener
,N/1 ~ I~

, ,1/(I,~~
_;.,, ,J
- ,«~

study the. read t he wri f rng dS the wind turns

physi cs of sq,u·rrrels of brc~r.ches on Sk.~ m.y unreaq pogei;;.

I wil I

/,-.,-

~I

72
 THE ScCRET
IN lME' LAH MELTIN~
SI\IOW

•
PE.RC.Ht'\) ON A WttlTTEN AC.ROSS
BRANO\ Tlt~ Sl<V

73
THE PROBLEM OF PERCEPTION

But I tend to oversin,pl ity .

71
 Pushed
dhd pulled

b'f torces be'tohd

75
 SUMMER IS
UNCON\PLI c,nE D.

TttE o!IILY
RHLEC.TI ON nvn
M~TTER!.

IS Sl<'I
oN wAr ER .

/) os e; ss oV Elt
WH'f u r-s ?
roSSIBLE" f UTVR~ .

IF '-"'T
I ..,.; roo DEE f'

I WILL Fi tJI)
TliE solU"A C. E

76
 Foll C\JI' I o1 ll'/ .o.N~ 'INITI-\ '1/ER"I f=E~
,._ CoM10RTA8LE PLAC£
EXPLo~ATION
Pl<TRA<TIONS ~

...,..

WHEIU. l~cAS <:.RCW FVLL o f Iii l>PEN A lt.EF\JC.E F ltOM

of.(aANICALL '( 1NSPIRAi10N ISUlt.NOIJT

A !'LA< f 'TO R:E.LAlC RE<HAR<.E

iO SOL\Jf;
P1t..08LEM~

It

LET Ti-tt so8<'0t4SCI0VS ANI) l(t,Jo(I=" 1NT0 A Ntw PLACE

TAKE OVER. '(OU FROM 'j OlJ~ FoF. ll>E"AS .
coMfORTA8LE l'LA ( E

77
MOllNlfJG RAIN JOMN COLTlANE 8LANIC NOTEBOO~

TIM£ TO SIT REFILLS roi FRfE CUP ~3

AN~ LOOI<

CHANCJ\Nu ttEES REE-Rt\NGE CATS OLb MEN IN ~AU

HOUSE wiAPP£1>
IN 'JIN~S

o, ,'
LOITERING

78
TIH WAY OUCKS LOW - HANGIN~
FLV SKY

CONVERSIN6 HflMET HAIR

CH "IR\

THE WAY DUCKS SAfrlE HOUSE, lHE" ~&-WALKING

lRlMMft> tJE"AT HOUR
~EAT~

0 ·~i~~
~
-~
IMPROBA6LE SUNStT THROUGH A FULL 800K OF
ROWERS BRANCHE"S SKETCHES

79
I AM JolNIN~ ... Tl-IE SNAIL RACE!

80
 ACCOMPLISHING NOTHING
AtJYoNE CAN l'A

-"' -~.
ACCO~PLI SH NOTHING.

~" ~
.. 4' VI ....
~~========:=
MAI< E NO
PLANS .

-/

THIS MOM£1\1T
.s-- ~ Will NOT BE

, .~.-.'7-
.a FORGomN.
~ ,

/,Z.
;--
'?

,-z_
.,;

81
 to ~e
ar-non9 the
wis hets .

82
AVT\JMN UNFOLDS LIKE' ASILENT FILM . .. Of THE APOCALYPTIC HORROR GfNRF.

• •• 1,JOl(L 9 MAS Tl)(i-1~0

TO 8 (:tO""'~ ~NO (. OL &.

TM£ , oLD NOltill w 1NP

WILL H enu-,v SOUL.

..
..
., -
83
~----ABOVE THE NOISE
PE Pl APS THE'
WA-4. TO MAI(.!:
youRS-ELF HEARD

BUT To l<Et.P
'/OUR WORDS
M FA ll ef LOW
THE' NOISE AS
poSS/BLE.

81
l HOW TO GROW IMAGINATION ]
t:% A WATER IT IN .
ftND A ~POT WHERE 816 ENOUGH
IT CAN Gf{OW . HOLE .

85
\ I I /

I I '
 GOOD MORNING
THE SOUNl)
OF /?.AtN

ON
ROOFTOP
AND
WINPOWPANE

JS TH E
UNIVERSE
APPLAUPIWG

YOU/{
PfCISIIN TO
REMAIN
1t1 BED.

87
EXPLORATION
 SMALL LEA~ To SMALL BIGC.E R LEAP 10 BIGGER
QVHTlO~S l)ISCoVERIES . Q.uESl IONS Pl'i.COVE:RtES .

SOME QUESTIONS O..,LY REVEAL E'JEN lt '(OU TH~ AN~WER

DEEPER M'fSTERIES. K.r-JOW WHAT MA'# S\JJfRISE 1ou.
alJE rnoN TO As K

ASICIN~ iNOltMoc,s CAN c~,ATr ASl(IN~ 100 CAN MAKE You

QVfSTloNS E.NOltMOU~ MAN'i Qv1.H10NS Loot< ~ll)IC.ULOUS .
PROBLEMS

W~EN 'IOU COME lHtRE'S NOT

1
IUT 'TO tTICIC WITH AIIII) SEE ~HUE
Ac~oss AN MUtH 'TO DO TH£ QUESTION IT TA\CU 'IOU.
u1WSUAL
G\IESTION

I
89
 UTSl DE THE B X
EVERYONE IC:i BUSY TRYING To TI-111-Jl< OUTSll>E THI: 8oX .

IT'S MORE IMPRESSIVE To FIT )'Olllt~EL.F INSIDE T\4f ~ox .

1"0 SE.ETHE 80X fROMA, NEW PEiSPECTIVt .

TO l)ECONSTltUCT THE &OX' AN~ Fl Nb '1 NEW USE Fo~ If.

90
TO Ol'EN A

TO SOL\JE THE' ~l~DLES OF THE SOX.

TO PUSH THE BOX A'i FAP- AS IT WI LL GO.

91
STABLE GIL\)Et) \/OYEUR.lSTI C

>
I"

.~
·rl ~ ~

<:JiEATlV~ EXHIBITIONIST
•

.
I

1_: J; ."'. .I, •.: ~ .·..

.. .

92
 O\IE{l.ANALYT\CAl

SELF- CENT£~Eb INSlbN\flCANT SUR~tA l

93
 ~ ~ ~1
MARINE ~
BIOLOGIST COMMUTER TODDLER

ABSTRACT SURGICAL ANTI-\ROPOMORPI-\IC

Ex.PRESS ION 1ST ILL LJSTRA roR A RC.HI TECT

SELF-CENSORING
'
/
TECl-lNOPHOB!C
ELEPl-lANT POR,!<AITlST
~=======-====-= ~==========::::! .,_. -_-_-_-_-_-------_-_-_
ANIMATOR
--J-

FRUSTRATED ILLITERATE --
PERf:ECTlON 1ST
OR.IGAMIST TYPOG~API-\ER.

91
95
 J

Chuin9 confronting matting minor

ambit-ions furs t-e..,isions.

1~ Jl~ c5Il
crec1+.11~
po11,tl@s\ con+lic:t

Othor people
rem1i11 4 mystery
~~~
-thai r lives are
5tl"•ns11r· thu
-their dreams
as vi1or,nt
we 1mog1ne ,u our own .

w• l ; v~ ;" ,
Sl'1lll ll p l~,~

;J 1[$1Lu
96
 A WALK IN THE PARK

PULL El) g V PULL11J£,.

A ~,MALL l>OC..
LA ll C. t t)OG.~

J 'fOUN(, OLt) 1'1RP LOVERS

;L·-~ _. lf~
LO\/EllS

Fil E"E FROM soct ET'( ' S FACI: I>

c.oN~TP.AtNT~ "7 WITH THI:
~ -~= IIZAtRft.iE'i~
~......a,, OF £ )(1~TENC.E

97
[ new crayons J
A 8RAN0-N£W IT'S SO MUCH
BOX OF CRAYONS! BnnR THAN nlf
OLO Sox .

t
E~CI-I PRECISHY WI TH AN ENDLESS
SHARPtNEO. NUMBER OF Poss I BLE.
COM SIN AT IONS.

THE Y STILL HAYE nm. TIM£ YOU H.«\VE IT'S GOING TO BE EASY
THAT NEW CRAYON SMELL. TO COLOR SOMETMING WITH SO MANY NEW
/UALL'r' Goop . CRAYONS!

98
RULES FOR FREELANCERS
MAINTAIN A STRICT
DRESS CODE .

CREATI: BOUNDARIES BALANCE INPUT AND

BETWEEN WORK ANO HOME . OUTPUT .

SLEEP, OCCASIONALLY. REFLECT ON THE

WORLD AROUNI> Yo\J .
~ A ~

Q DON'T BE AFRAIO TO PROMOTE YOUR WORK .

• 9

99
 SELF-PORTRAIT
SELF - REFLECTION IS BUT TOO MUCH CAN BE
IMPORTANT. SELF- DESTRUCTIVE .

YOU MAY CHOOSE TO AND REVEAL IT ONLY WITH

coNCEA L YOUR TRUE SELF SELF- CONSCIOUSNESS .

IT 'S BETTER TO CREATE AND EMBRACE SELF-

A POSITIVE SELF-IMA~E EXPRESS ION~

100
 THIS TAkES AND SELF-CONTROL .
SELF-coNt:IDENCE

BY PURSUING AND AVOIDING

SELF -ACTUA LI ZATI ON SELF - ABSORPTION

l ~

YOU MA'< CREATE SOMETl-tlN~ 81 GG ER THAN

YOURSELF .

101
 \ I /

/ I \ '

DA\L't' FRUSTRATION
 . .

MONDAY · '
·MO~NING . ·"

103
l~1 ~~, il'1 ffRINKING OR JAW$ SET To
<:R USH 'foV ?

A S1<'1 o F
!<IT ES ANt>
8V TT"ERFLIES?

A SPI RAL c:,~

po11JTL ES'i
Fft.VST~A TI ON '?

101
 STARTING BLOCK MrnTAL 8LOtK

BUILDING BLOCK ICE BLOCK SUN BLOCK

ROAD BLOCK MYTHICAL BLOCK WRITER·~ BLOCK

~ l@l£1J

~~~ L - - - - - L - -- - - - ' ._____, ----J

STUMB LI NG BLOCK rnOPftNG BLOtK UNBLOCKED~

105
 REJECTION
WHE. N oNE. l)OOR ANOTHER DooR
SHUTS OPENS .

LEAl>S NOWHE.R£ T~A P.S yov I t-J A LE:A\/ES '(ov

VICIOUS. CY CLE FEELINC:i UNHINC"'ED.

106
YO u STOP THINl<IN~ ABOUT pooRS
A LTOG.~ TI-I ~R .

107
 LOST IDEAS
WIH.t<.£ t>O THEY <;o \/111-ltN
THEY L.i;A\JE US?

TAk~ T~E l=IRST RISE UP TO j0I N SETTLE oN Tl-t E.

H EA~S oF
TRAIN OUT of TOWN? THE ci~EAT \ t>EA
UNSUSPECTING
tN Tl-\t t.KY?
PA~~ERSBY °?

HAVE AN IDENTITY CRISIS .. .

.AHA!

A c::.("'\.-,
.__:) ./"1/\Y8E. t'M
JV~T WATER
D')
l_--2, : VAl'O~~
~
ONLY TO REDISC.0\/ER
THEIR TRUE NATURE?
B
a~
Fot.L.C,W SNE"Alc: tN AT SOME ANt> ~EFVSE TO LEAVE
uNt:,.Ol)LV HOUR . .. ut./TIL WE PAY
ATTENTION?

tn
n 108
 OUTSIDE MY WINDOW

scc1tter c\nd sput ter the fYlomeni I try to ~et

•rut turh irtto Vclpor them on poper
~ ,0 Q

0 3 ~ "

109
 NOC TU~ NAL

110
I ASCEND ,rs STEPS ANI> l PEER OVER THf IT IS A WISHING WELL .
£1><:iE .
0

IT IS A MIR Ro R . IT IS I\ voRTE')( THAT

HJC.VLFS TIME AN!> ENE~GY .

I Toss SOME
THIN CJS 11-J :

Wl.l'1D
DllEAMS

( C,\REflJL I
TOO MV(H
MIC.HT CLOC.
TllE SY!. TcM .)

THEN f AtJ!> L SEE

E'xERT W~AT (.£TS
SOME
PHYS ICAL
EFFORT ...

IT NE.VER TURtJS OUT "AAY8E THE I ~l~N 'T PUT EtJOU(.M

~ Lll'E I f)(PEC.TEI). PR08LE'M I~ --- OF MYSfl.F INTO IT"

f111
 AN \NCANTATlON
W,\ICE. WHILE ALL THE TO THE MOONLIT" ~E~I<
WO"'LI> \S SLE EftNC-:- e:,o c.~EEPIN~.

801 l SoM E COFFE'E DR INI< Ii TILL TH ERE

lN A. POT coM EC:. A TI-IOUCaH r .

W ~ \r~ lT t)ov,JN ON W 1TH INIC OF EFL

BA.~!< Of stR\JC.E' ANl) G.V ILL OF ~OOSE .

112
 BY FL.IGit·tT OF MOTH WHILE oWLS SCREECH
ANP MAic.~ OF ANTS ANI> (tAcc.ooNS l>ANC.E

sc. RI BllLE",
Sc."'1 BBLF, Co F f' EE [)~ I PS AN t>
TO I L AND TROUBLE ~ MOltE THOU&HTS
8V88LE .

jHE SPELL WI LL MAGICALLY> SoME WOR.'r<

~R.EA I< W !Tl-I MO!lN ING uOT [)ONE .
SUN-

113
I M\TATION
 HOW TO LOOK AT ART

or GETOIJT
YOUR OWN
L
HEAD.

RECOC,NIZE CONTRASTS
OF STYl.E AND FORM .
i
{
DON ' T FORCE
sYMBOLISM

f
UNDERSTAND

l
, AND APPRECIATE
ABSTRACTION.

DEHND
~ illE WORK OF
OTHERS .

. ~-~
i;;TlONt
CELl<BRAT!;

LEAVE
ROOM FOR
{
MYSTERY.

GET INSPIIIED

115
 ONf POIN1 TWO VOINT
PtRffCT
rnE USE
Of
nRsnCTIVL

STIPPLING CON10UR CROSSHATCHIN(i

UNfS
MASHR
MULTIPLE
MU HODS
Of
SHA DING.

DRAW AN \MAG~ NOW DRAW IT NOW O~AW IT wnH

HVAND UPS\Df OOWN. LHT· HANO[O. VOOk £Y[S CLO SEO.
~OUR
TIH s I\ /µG \
AQI LITI ~ S l{Ut1 Ill 1 .
• 0
WITH 1HHE 0

tXfR(IS~~: 0

~
~
CREA1[
D[PTH
IN ~OUR
nRAWING\.

116
~~~~~~ llKf NOBODY'S WATCHING
CHOOSE StKIF SANS· HRIF SU~R-SfRlr
FROM A
VAl\HY Of
a Bh Aa 8b A~~h
LEllUFORMS. Cc Dd Cc Dd c1¢1>~
USE l\NES TMt-lOUILIH DISSONANU
TO EVOK[ xV'~\J\
MOOD ANO
~
O~DER SENSUALITY
MEANlNG.
\IIIII\I
~

11 ~
COMfUMUHA~Y vH\ISfa!HG AWH\VAL
UNDEl~AND Tl\E COLORS COLORS CO~OR S
Gl,l VGU Tllllll<S!
RELAT\ONSHIPS I \ Lll<E
GVHS W\IAT 0~,Do Yau Altl l'M ~GIINA
lOO KGIX)D. ~Oll~ JIIOES. I "EAJ.0 A&OUI THl! Till VllEST EAT voue
fETWEEN UlAC .. \lilt lV[f. Kl~S!

COlOlS.

GEOMU~IC O~GANIC SATANIC

BUILD f~OM
1"£ l"RE[
BASIC lYrEs
Of SHAP[S. • ~
PAY ATTENTION
TO SfAtr IN
YOUR
COMfOSIT\ON .

117
 PA\'NTING FOR NON-MAJORS
nPERIMENT WITH MULTIPLE MtOIA .

WATERC0LOtt PASTEL. ACRYLIC -

TfMPU~A

TVRPHITINE· SABLE
FLAT FAN POINTED .00 \CTE 0

CHOOSE AN EXPRES~lVf COLOR PALETTE .

PASSIVE · ~EAL.L'f UNPRONOUNCEABLE F~IEO CoNfUS~~

AG C. RESSIVE 8U~NT RLUE r G'-"EN
PINK
o~AN~E u OCMJ~

D06S PLAYIN~
PO !(ER YOUR
EMOTIONS

118
 THE ART OF LIVING
WHEN I WAS l FOUNO 8fAU1", WO NOE~, AND M[ANINij
~OUNG, 1 WA~ EVER~ WHERE l LOOK Eb.
AN lDlALIST.

WMEN t (;OT I SAW A WORLD Of ROUGH EDGES AND

OlMR, [ BECAME DIFFICULT TRUTHS.
A REALIST.

..

THIS ,rfW THINGS GOT PRETTY WflRD AFTER THAr

TlRlSOML l
DHIDED 10 8E
A SURREALIST.

119
 AMtRICAN ART
I WANT TO ElCPtRIENCE MODERN AMERICA . WAKE lJP TO THE MORNING SUN .

ANt> A FRESH SLICE OF PIE . STROLL THROUGH THE" COUNTRYSIDE .

REAi> COMIC BOOKS . AND LISTEN TO JAZ?. .

ENGAGE IN OVERCONSUMPTION. START UNNECESSARY FIGHTS .

6~EJBE1B
BEl EJ EJEJ B
ElEJEJEJE18

LOSE MYSELF IN THE NOISE" AND CHAOS . AN D FINI> BEAUTY IN SPITfOF ITALL.

120
NEGATIVE SPACE <HASTE LoNC.UI: UNCHASTE LON GUE
<.HAIR

COSINE CtiAIR 2.1>- PRINTe t> CHA IR AMBIC.VoUS

SorA

OTTOM,\W EMPIRE COLLA8oFATION FtN l iE CHAI~

CHAI~ ANI> !:NOLE!.~ 1:Nl> TABLE

TANGP.AM LIVING ROOM SF:T C:,UMMI C.HAIR

121
I DANCING ABOUT ARCHITECTURE l
SRUTALIST 8Alltl PRAIRIE-STYLE TWO-ST[P

t?E!JP"f~~ EXPR~S\IONIST st<ANKIN~

ART ~ECO MAMtO BAUHAUS BOlJNCt POSTMOO[RNIST PO~O

.....
Q::11
IIZI
G:I)

-
0:D
a:;,

"<al
"'
11:11

f
'IE:P

~ =

FUTURIST ROBOT

122
l S@M£ ®F MY mr FRIENDS ARt m@~os. I
THEU AM RECORbS I 'VE AND RfCORt>S I HAVHJ'T
\..OVED SINCE I WAS A \<II>. HEA"I> f~OM Sl~CE HIGM ~"°°l ·

RECORD~ THAT ALWA'lS ANO RECOkl>S lllAT AU:

WANT TO PARTY. WAY TOO SMART fOR Mt.

~ECORl)S w"os~ C0OLNfSS ANO RECORDS MV OTHER

J'VE TRIED TO IMITATE. f~IENDS CAN'T SrAND.
"i?0l;:;J ~~Ql.jil~
~

~[CORDS THAT HELP ANO ~ECO~l>S l'M WOR\(INC:a

i\11£ ~ELAX . UP Tl\E cou~AuE TO TALI< TO.

123
 COLOR STUDIES
(<ADI() ACTIVE
COL0/2 WH££L COL 0/2 WH£1:L
COLOP WHEEL p_oL UtJG C>OWNH I LL

COOL COLORS UNCOOL COLORS

P~fMARY COL~(l. LUCK/Ly foME'D/JE

BflOIIG.HT ,4 ~!:Cll#PARY
6'fAlH8ALl
iG,4CJt8/1LL
PR.<MA~'I
/l/;/W-lfMLL
{>£ FLAT£[)
 ewE+ REP =

NIANC:.o
SNo- coNt ( ~ 1tl2t 7.<t +,,
~ct ripene u)

IJL UE -t yn.Low ;:

ST/LL Nor
( Wo(H: 1N, .
tJ•Cf TRY .
(
... 6f£E N?

IT A PPE,4/lS 'Nt'lft ;
8EE=tJ LIEP TT>.
 R.OMANTIC.

TO ORAW ArTENTION TO HUM BLY SUPPORT ANO TO REVEAL THE

TO THE TEXT. ITS CONTENTS. THRILLS FOUND WITHIN.

126
THE CONSPIRACY OJ: COLORS
T"HEI~ IN FLUENCt
HAS IN fl L TRATE 0
POPULAR CULTURE .

T~EY ARt GREAT tOl<MINq SHIFTING,

l>FCEIVtRS .. . SINl<;TER ALLIANCES .

[] • Cl
APPEARING WAl<M oNE CONCEALlNb THEl~ TRUE

-----
MOMENT, C.OLO Tl-IE NEXT. IDENTITY: AGENTS OF OA~K'NESS.

1111• 1111
·-· -·
--···
FALL PRE'< TO
--·--
THE INTRIGUE OF COLORS.
You WI LL NEVEF-
• ESCAPE THEIR POWER~

127
DESPERATION
___ r----=-=-=--=-==~~I
1
YOU USO TO HAVE SO
MANY GOO[) IDEAS.
the WHAT HAPPENED?

GHOST of
CRtATIV{TY
PA~T

LOOK AT ALL THESE

PEOPLE OUT HAVING FUN
the WHILE YOU'RE INSIDE
WORKING !
GHOST of
CR[ATlVITY
PRt~ENT

NO ONE WILL

the REMr.MBER you UNLESS

YoV MAI<£ SOMETHING
GHOST of LASTIN~.

CRtATIVITY
YET to
COME
129
 pa1t y cloudy

ON CAREFREE A~TERNOONS I I SIT AN l) WATCH THE

CLIMB MY FA V ORITE H I LL . CLOUbS MOVE ACROSS THE Sk Y.

A. CLUTTE Rt D RUSH-110UR TRt>-fFIC AN AWl<w4Rt>

AfARTMENT CON\/ERSATION

130
UNANSWtRED EMf>.I LS PILES OF M ISSED oppo~TUN lfl ES
sr ul>E.Ni LOAN l) E:H

TH INGS LEFi UNSAID THE VAST, LOOM ING UNKNOWN

If Ft~LS Goot> TO GtT OUTSIDE ANb RELAX.

131
'fr
UNREALISTIC fXPECTATIONS SHF- CONSCI OUSNHS

DISTUCTION

~ #

,1 ·~ ~~~ ~
~==============~ ~============~
FEAR OF SUCCHS BAO WEA~ER

MISPLACED IMAGINATION INFERIOR EQUIPMENT

-

fAl\ uUE UNFORESEEN EV£NTS

132
I GLIMPSE BUT /T fLUDES
TH[ 8RIGl4T ME.
BIRb oF
UAPPINESS

THE SEAGULL OF n4 t MOURNING

SOL /TUDE POVf OF MELANCHOLY.

rHEN /T APPEARS, NOW THAT

W/LP At>/P UNE'X PECTEb. l'Vf FOUNP
HA PP/NESS

HOW
WILL I
~ l<EE.P
rr FRON,
FLYING
AWAY?

133
l DEAi> BIRDS MY $TUOE NT LOAW
DEBT
1\IE SOUL· $TEALIN6
MOON
l

INSOMNIA

~
1-\Y PER INTELLl"ENT
POST- H UM~N
DWARVES

IIANTAVlkUi

131
 THE INftRIORITY COMPLEX
0\/E.!ltOWlfEN SATINC.
FA<;ADE fsP
'TI"l:;:j~~ ~ _J},~
LA 1>l>£RS _,b ,o(J
of SUCCES'. ~

coN Fll)EtKE
0
r"L. . ::·.
SOOSTER

¼,,.J •~

GLAtS
HOOSE

oP l>OU8 T
~

135
 creative
thinking
1 SHOUL~ MAKE E'VE~YTH ING WORTH
50ME11-\ IN6 ~ MAKIN~ HAS ALREAl>Y
BEEN MA~E .

INSPIRATION

THIS IS IT! bO I REALLY ~ESt RVf

M"< BI G BREAK! TH ,c; PRo.:recT?

AMBITION

THERE. ARE TOO MANY

MUCH 8ET,E R.
O\STRACTIONS IN ~E!lt .

FOCUS

136
 I HAVE NO ~OOD IDEAS,
THEREFORE r AM A \3A\) PERSON .

SELF-
ESTEEM
B fl
THIS IS A <;REAT I DEA\ WHERE ~AVE r
SEEN IT BEFOR.E?

ORIGINALlTY

;::============:! 1.---------__.I
THIS TI ME TIMI: THIS rn,s TIME
r f KNOW WHAT

tr·~~
t<NOW wH,H I kNO\,J Wl--tAr

t'M l)OING, .~ I'M 001~,:,jj

LI - LI -
£XPERIENCE TH/5 TIME" T/-itS fJME ! STILL OON 1 T
I l<N OW vJHA T I fCNOW W~AT kNOW WHAT

Tio•NG ~
I'M t)Ol~G, - ~
LI 6 u
I'M
.
oortJr.. .! j

FINISHED! IT'S PERFECT! I WILL NEVER ~AVE

ANOTHER GiOO~ ll>EA .

P[RSISTENCE

137
 -
I I \

PURE ELATION
II

... .
 lNDEX
INS Pl RATION
10: The Shape of Ideas
12: The Perfect Idea
13: Inspiration Falls
14: My Ideas
16: Trains of Thought
17: Opportunity Knocks
18: Me and the Muses
20: Creative Housekeeping
21: The Creative Process
PERSPIRATION
23: How to Get Ideas
24: How to Climb a Hill
26: Good Ideas, Bad Ideas
27: Brainstorm
28: Avoiding Procrastination
29: Nothing
30: Needles and Haystacks
31: Multitasking
32: My Process
33: Interior Life
34: Hitting a Wall
IMPROVISATION
37: Play Each Day Like Jazz
38: Drawing the Moon
40: Blank Page Variations
42: Cycles of Life
43: Life Drawing
44: The Missing Piece
46: All the World's a Stage
4 7: Mind Game
48: Quality of Line
140
ASPIRATION
51: Making the Leap
52: The Nature of Ambition
54: Paths to Success
55: Minimalism Is Simple
56: This Year
57: Disclaimer
58: Message to a Graduate
60: Resolutions
61: (Blurry) Resolutions
62: Finding Your Voice
64: Theories of Disappointment
66: Daydream
67: Lightness
CONTEMPLATION
69: Collecting My Thoughts
70: Morning
71: Colors
72: Today I Will Do Nothing
73: The Secret
74: The Problem of Perception
76: Reflection
77: A Place for Ideas
78: My Favorite Things
80: Snail's Pace
81: Accomplishing Nothing
82: Starry Night
83: Theories of Autumn
84: Above the Noise
85: How to Grow Imagination
86: Bright Idea
87: Good Morning
EXPLORATION
89: Asking Questions
90: Outside the Box
92: Frames of Mind
94: Sketchbooks of the Pros
95: Untitled (Less Is More)
96: Apartment Living
97: A Walk in the Park
98: New Crayons
99: Rules for Freelancers
100: Self-Portrait
DAILY FRUSTRATION
103: Monday Morning
104: Negative Thinking
105: Creative Blocks
106: Rejection
108: Lost Ideas
109: Outside My Window
110: Types of Motivation
111: The Creative Processor
112: An Incantation
111
IMITATION
115: How to Look at Art
116: Draw Like You've Never
Been Taught
117: Design Like Nobody's
Watching
118: Painting for Non-Majors
119: The Art of Living
120: American Art
121: Designer Chairs
122: Dancing About Architecture
123: Some of My Best Friends
Are Records
124: Color Studies
126: The Elephants of Typography
127: The Conspiracy of Colors
[)ESPE RATION
129: The Ghost of Creativity Past
130: Partly Cloudy
132: The Internal Decathlon
133: Chasing Happiness
134: My Biggest Fears
135: The Inferiority Complex
136: Creative Thinking
PURE ELATION
139: Watercolor
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 "Grant Snider's work delivers introspection, humor, and inspiration in visually
stunning drawings. They are a colorful look into the creative process-
from the moments of quiet contemplation to the days of frenzied desperation."
-Susan Cain, author of Quiet: The Power of Introverts
in a World That Can't Stop Talking

What
do ideas look
like? Where do they come
from? Grant Snider's drawings will motivate
you to explore these questions and inspire you to come up
with your own answers. But be careful-they may prompt even more
questions. Whether you are are a creative professional, a student, or a
front-porch dreamer, this collection of comics will provide
insight into the joys and frustrations of creativity,
inspiration, and process-no matter
your age or creative
background.

Grant Snider is an orthodontist by day and an artist by night. His drawings have been
featured in the Kansas City Star, the New York Times, the New Yorker, and The Best American
Comics 2013 anthology. Ile lives in Wichita, Kansas, with his wife, three children, and a
constant deluge of ideas. Visit him online at incidentalcomics.com.

AN IMPRINT OF ABRAMS