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komorebirei · 5 years

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The Water Was Never Afraid - Chapter 20: Kettle

(AO3)

“I was wondering if you’d come by.” Marinette closed her sketchbook and straightened up, crossing her legs like a pretzel in her lawn chair.

Chat Noir found it incredibly cute how she could still fit comfortably in the chair, sitting in such a childish way.

“We’re becoming good friends now, aren’t we, Chaton?” Marinette grinned.

“The best of friends.” He winked and flashed a winning smile, hoping to make her blush… she didn’t. Ah well, worth a try. “By the way, how’s learning the piano going?”

“Heh… not going, really. I’ve been busy with work lately, so I haven’t had time to practice. And I’m not taking lessons or anything, so… still as lame as ever.”

“Don’t sweat it, Princess.” He perked up as an idea hit him. “Hey, how about I play for you?” That was a friendly, non-flirty thing to do. His guilty conscience could be okay with that.

Marinette quirked an eyebrow. “Didn’t you say you couldn’t?”

“Not while transformed.” Chat tilted his head, chasing a wink with his cutest kitty smile as he let the implication set in.

“Chat Noir…” She leveled him with a warning look that reminded him of the way Ladybug got when he pushed the line with their identities.

Chat laughed off her seriousness. “C’mon, Princess, don’t be like that. You think I’m trying to reveal myself to you? I know better than to play with fire. We’ve got eyelids for a reason. Go ahead, make yourself comfortable on the couch and close your eyes.”

She tapped her lips with a finger and hummed, feigning deep deliberation. “I don’t know, Chat… seems a little risky.”

“What’s risky about it? You’ll be nice and safe on the couch, temptation-free. Unless I’m so good that you can’t resist taking a peek.” He grinned his trademark Chat Noir grin, more wolfish than catlike.

Marinette shot him a look that could curdle milk.

Chat deflated. “Okay, you’re a warrior princess—I respect you. I know you’d never cave and look. That’s why I trust you!”

Marinette’s expression was still dubious, but her lips quirked up at the corners, showing that her resolve was crumbling.

Chat gave another push. “Don’t you want to hear me play? I’m willing to bet you will love these songs I have in store for you.”

“… All right, fine, you win. I really do want to hear you play.” With a smile, she stood up and unlatched the door, holding it open for him. “After you, Minou. No funny business.”

“Thank you, Princess!” He bounded inside excitedly. He knew Marinette would be squealing in minutes. He slid into the piano bench as Marinette followed him in and settled into the couch. “Tell me when you’re ready.”

“Ready—Wait, hold on. Let me heat water for tea.”

“Go ahead.”

While Marinette put on the kettle, Chat Noir ghosted his fingers on the keys, brushing up his memory.

“Okay, you can detransform.”

Chat glanced over and took in a side-view of Marinette curled up on the couch, sunken into the cushions, her lips peacefully upturned.

“Don’t do anything shocking,” she warned. “I might accidentally look.”

“The only thing that would shock you is how stunningly handsome I am,” Chat joked.

“Don’t make this hard for me,” Marinette teased back.

He blushed, abandoning the sinking ship.

He realized he felt very nervous. He was about to detransform in front of Marinette. There would be nothing but two paper-thin layers of skin separating this moment from the utter chaos of Marinette finding out it had been Adrien Agreste, her boss’s son and a taken man, visiting her home all along.

Terror clawed at his chest, and he was about to call it off, when Marinette called out quietly, “Minou?”

He took a deep breath and glanced at her, waiting patiently with her eyes closed, her forehead furrowed with concern due to his lack of response. She had felt reservations about doing this, but she trusted him enough to let him. He decided that he trusted her.

“Claws in.”

As the magic left him, materializing in the form of a tiny floating cat beside him, and the world didn’t implode, a mad grin swept across Adrien’s face.

Plagg shot a questioning look between him and Marinette.

“All in good fun,” Adrien assured him quietly. Yes—this was fun, not terrifying. “Marinette knows about kwamis, so you don’t have to be too subtle.��

Letting a momentary silence clear the air in preparation for the music, Adrien pressed the opening jazz chords of the first number, butter-smooth. Since the style was different from the original arrangement, it took a moment for Marinette to recognize what he was playing, but her reaction betrayed the exact moment when she did.

“Oh my gosh, Minou!!!” Marinette squealed, sitting up in excitement with her eyes still closed.

Adrien smirked. He had expected this reaction. He knew her favorite Ghibli films and which songs she played on repeat while stitching for hours.

“Merry Go Round of Life—a jazz version? I love it!! You’ve watched Howl’s Moving Castle, Chat?”

“Of course, Princess,” Adrien answered without stopping. I’m the one who recommended it to you, after all. “It’s my favorite. Don’t you think I’m as charming as Howl?”

“Much more charming,” Marinette replied slyly, and Adrien’s heart skipped a beat. “If by charming, you mean over-the-top and ridiculously dramatic.”

He chuckled. “Ah, but Princess, you’re far too kind.”

Marinette snorted and settled back into listening. “The jazz style sounds so cool! You’re really good, Chaton.”

He soaked up the praise, feeling on top of the world. Plagg jumped on the keys, dodging Adrien’s fingers, a game he often played to make his chosen’s practice sessions more fun. Adrien laughed when Plagg was too slow and he felt the odd sensation of his finger going through his kwami.

“Ouch, speared me, kid!” Plagg teased and fell dramatically onto the keyboard, letting the keys buffet his little body, tossing him here and there.

Adrien laughed again at Plagg’s antics.

“Is that your kwami?” Marinette asked. “You guys are cute.”

Plagg flew over to say hello.

The kettle started to whistle.

“Chat,” Marinette nudged.

Right, she couldn’t get up and walk around while he was detransformed.

He stopped playing. “Got it.”

“The tea bags are in the top drawer to the left of the stove… take your pick.”

Adrien switched off the kettle and opened the drawer to find a variety of colorful boxes neatly nestled together like a Tetris board. “And for the Princess?”

“Plum for me, please!”

“And cheese for me!” Plagg piped up.

He found the box labeled ‘Plum Tea’ in Chinese.

“It’s the pink box in the front,” Marinette guided him unnecessarily.

“Found it.” He knew where she kept the mugs, so he took two out of the cabinet, selecting for her the red one he’d seen her use before.

“Ah, and there’s cheese in the fridge.”

There was only Gruyère, but Plagg liked it well enough.

“Just to let you know, my favorite’s Camembert,” Adrien heard Plagg tell Marinette in a stage-whisper. Funny how well they seemed to be getting along. Nothing seemed to faze Marinette. What an admirable girl.

“Which tea did you pick, Chaton?” Marinette asked curiously.

“Plum.” He smiled to himself. “So we can share the experience, to make up for the fact that you can’t see me.”

Marinette snorted. “What a sap.”

Once the tea had finished steeping, he brought the mugs over and placed Marinette’s on the coffee table by her knees. “Careful with your fingers—it’s hot.” He set his own on a round mini-table by the piano, beside a photo of Marinette posing in the bakery with her parents. He missed the bakery.

“Any requests?”

“Finish Howl’s first. It’s my favorite!” Marinette gave him a pleading smile, eyes squeezed shut adorably. “Actually, could you start over? Please?”

“Anything for you, Princess.” He started over.

She listened in contented silence, and Plagg came to dance on the keys some more.

After finishing, she gave him enthusiastic applause. He moved on to another Ghibli jazz number, this time from Spirited Away, smiling at the appreciative noises she made.

In the middle of playing, she stopped him. “Okay, pause.”

“Hmm?”

“Your tea’s getting cold! Why don’t you drink some before you continue?”

“As the Princess wishes.”

He stopped and took a sip. It was pleasantly warm, instead of hot—the perfect temperature to drink. She must have known because hers was that temperature right now, too. Adrien smiled, savoring their shared experience more than the tea.

“How did you know I would like this music?” she asked.

“Just a hunch.”

The transient perfection of this moment—drinking tea with Marinette, the memory of Ghibli jazz lingering in the air like a fragrance—made his heart ache. It was like freshly fallen cherry blossom petals on their last breath before decay. He sighed, watching her eyelids tremble with the effort to stay shut.

This moment didn’t belong to him, Adrien Agreste. It belonged to Chat Noir. Chat Noir, who could be anybody. Or nobody.

He could run into Marinette at the office tomorrow. Unlikely, but possible. If he did, she’d give him her usual professional greeting, and the same smile she gave everyone.

That thought felt like a punch to the stomach.

He placed his hands on the keys and started to play again, shifting his mind away from these distressing thoughts. The chill, whimsical notes that filled the air seemed laced with melancholy this time. Maybe only in his own ears, though.

As he played, he watched her longingly. She and Plagg were talking in voices too low for him to overhear over the piano. A sad smile tugged his lips when she doubled over, giggling. The pain settled deeper into his chest, the longer the moment wore on.

“Want to watch one together when you’re done, Chat?” Marinette asked in a small voice.

“‘Watch one’?” He stopped playing and stared at her incredulously. “A Ghibli film?”

“Yeah, whichever one you want—I have the collection. You put me in the mood.”

His chest warmed. Marinette hadn’t watched any Ghibli films before he introduced them to her, and now she loved them enough that she had the whole collection? He counted this as a conquest, as proof that they were two peas in a pod.

There was work waiting for him at home, but nothing he minded losing sleep over if it meant a couple more hours basking in Marinette’s presence. “I’d love to, Princess. How about now?”

“One more song, please?”

“How could I refuse?”

He played one last, an upbeat, jazzy version of the Totoro opening theme song. Marinette wiggled her shoulders in a playful accompanying dance, Plagg doing the same in the airspace around her.

Cute.

Smiling at her fondly, he beckoned Plagg and called his transformation back on.

“Open your eyes, Princess.”

When Marinette opened her eyes, she was bursting with glee and enthusiasm to convince Chat Noir of his talents. “Chat, you’re amazing! I can’t believe you play so well.”

He gave her a lopsided smile. “Only because a beautiful girl was listening.”

This time, she did blush, which did something to soothe the ache in Chat Noir’s chest.

“Want to watch Howl’s Moving Castle?” Marinette asked. “You said it’s your favorite, right? Or—whichever one you want.”

“Sure. But next time, Kiki’s Delivery Service. It’s about you and me.” He winked. “Though, honestly, Jiji acts more like Plagg.”

Marinette laughed. “You got it, Minou.”

Next time—the words echoed in Chat Noir’s mind like a dangerously enticing promise.

How had they fallen into this?

—

In the middle of the film, Marinette suddenly slid an arm behind Chat’s back and draped her other arm across his stomach, nestling her head in the dip between his shoulder and chest.

Melting against her, Chat wrapped his arm around her. “Don’t tell me you’ve fallen for my charms, Princess,” he joked, the line falling from his lips as naturally as an exhalation. He barely even felt guilty for flirting with her anymore. It was inevitable. She was irresistible.

“This is your hug of the day.” Her voice sounded more serious than he would have expected. “I can tell when you’re sad, Minou.”

“Wow, Princess. Are you sure you don’t have super powers?” He tightened his grip and rested the corner of his mouth on her head, inhaling her scent—rose shampoo and something sweetly Marinette—wishing to press a kiss to her hair if that weren’t crossing the line.

Marinette didn’t answer, but she hugged him tighter, taking his response as confirmation that he was feeling down.

They stayed like that for the rest of the movie, then Chat Noir went home, feeling like a moth whose wings had been crippled by the flame.

#Miraculous Ladybug #Miraculous Ladybug Fanfiction #Marichat #Adrienette #Adrigami #The Water Was Never Afraid #Adrien Agreste #Marinette Dupain-Cheng #Chat Noir #Cat Noir

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md3artjournal · 4 years

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7:19 PM 9/3/2020 It's come to my attention that although my reblog text under the cut is hidden from a post's Notes/Replies on Tumblr-desktop, it is all very visible on Tumblr-mobile/phone version. Ugh. So I could no longer simply reblog the referenced post, and hide all my comments under a cut. So here are all my angsting thoughts again, after doodling this drawing, but as a separate post, for my art journal blog.

10:42 PM 9/2/2020

I don’t even know what I'm doing anymore. Today, I sat down to draw and I must have wasted 15+minutes, indecisive about what to draw with. I wanted to just use one of my fountain pens, but

1) Yesterday's line bleeds proved that the Pilot Petit is just not good for my tiny doodles;

2) My only other fountain pen is my Platinum Preppy, but I should be saving that ink for writing in my habit tracker; that's what I bought it for; and it's not so easy to just buy more ink cartridges during this pandemic;

3) My fountain pens' inks are not waterproof? What if halfway through my drawing I decide I want to use half watercolors? Again?

So then my safest option was my Copic Gasenfude. Impervious to water, alcohol marker ink, everything. But my pen is so dry... I tested it beforehand, to convince myself it was still fine. But the test felt very different from the drawing. During drawing, I missed the smooth flow of my fountain pens sooooooooooo much. I should've just opened one of my new Gasenfude pens for this drawing. But I'm too chicken about using up supplies, in general. x_____x;;;;;;;;;

What's with my Copic Multiliners? Do they just bleed more on my cheap sketchbook paper? Because I remember my lines being fuzzy on the close-up scans too. Or am I just so out of practice drawing with them now, that all my lines end up stiffer than usual? Or maybe they're getting dry too? They are pretty old pens by now. ~.~;

*sigh* I miss my fountan pens, but I need waterproof ink for my linework. x_x;

I heard that Indian ink is waterproof after it dries, but all my bottles of Indian Ink dried up decades ago. Plus, all my dip pens are rusty and don't even work with my acrylic inks that I already have. I don't want to buy more supplies, then they turn out to not really work for me. I've done that too much already. ...Though I do have my eye on that Deleter trial dip pens set...and Indian ink sounds too good to be true... But I have so many supplies lying around, I really should just find a way to use them. Even if they turned out to not really work for how I naturally think/work, I already spent the money on them. I should *find* a way to make them work. I'm so simultaneously wasteful AND cheap with my art supplies! X~x!

That's also why I want to be able to switch over to cheap $1-store/Daiso watercolors, instead of using up Copic ink on full drawings. But if I never know when I'm going to need that mid-way medium switch, then I need waterproof/Copic-proof ink.

Well, no matter the case, it probably wouldn't help my terrible terrible drawing too much. I mean, today's doodle gave me problems making lines because the ink just would not flow out of my drying Gasenfude pen. But also, I had to realize that I've become out of practice with true brushpens. I've been using Copic Sketch and nylon nib "brushpens" all this time, thinking I've stayed in practice. But bristle brushpens are too different, and I forgot that. I've become horrible with brushpens, and the Gasenfude used to be my go-to. x_______x;;;;;

Anyway, nothing about drawing today has been good for my self-esteem. I made a horrible drawing, that wasn't even pretty, I started too high on the page and too close to yesteray's doodle, so Akira and Ryuji's heads ended up squashed on top, to fit into the page space. I was reminded how easily I lose skill even with mediums/tools that I used to be competent at. I proved yet again that I just can't make beautiful drawings---and maybe that's more of an issue of me not actually wanting to be good at drawing. I didn't want to admit it, but maybe that's something I have to do. Maybe I don't actually want to become good at drawing. I hate studying, I can't stand brushing up on human antomy, perspective, gesture motions, all those fundamentals, and every time I force myself to, I get so frustrated, I'm horrible to myself and everyone else around me in real life. That can't be worth scribbling a bunch of skeletons that end up ugly an reinforcing my low self-esteem anyway.

My sister commented once that even though being an artist was hard, at least I enjoyed drawing. At the time, I told her that I don't actually like drawing. I told her that I liked "having had drawn". Since then I did find that those statements weren't true. I have found drawing cathartic, even while I was drawing. I even felt horrible on days where I didn't get to draw. I liked drawing.

...I'm just REALLY REALLY REALLY bad at it, and I have no inclination to put in the hard word to make my drawing better. But I will spend all day, comparing myself to better fan-artists online, and lamenting how I can never make anything beautiful. x___x;;;;;;

So I go around telling people that "I'm actually more of a sculptor than an illustrator", as if distracting to a medium that most people are less familiar with, and that is easier for people like me to make beautiful things, would do anything to help my horrible lack of drawing skills.

I remember, all the times I've tried to learn a new videogame, and I'm inclined to believe tha tmaybe I jsut don't like learning new things. Even for games that eventually became my favorites, my comforts, my completely intuitive flow states, I was still compeltely frustrated and horrible to be around, while learning. I shouldn't be surprised then that I don't play videogames as much anymore, even though I'm desperately reluctant to let go of my gamer identity. But I recall the last party I was invited to, and I was wrangled into learning a new tabletop game. I was completely against it, all throughout, during, and at every moment. I was just waiting for it all to end. I don't think I like games, because learning to play, leaning sets of rules, and functioning within MORE systems, must be the last thing my brain wants to do during leisure time. I can even remember a few moments when I was obstinately inattentive or simply refusing to abide by office expectations and protocols---and I don't know why! Why was I just _so_ exasperate and unwilling to put effort into following simple rules? I'm beginning to I think that maybe as I get older, the less energy I have to learn things. Which is only a theory, because even when I was younger, I didn't like playing games because I didn't want to learn rules. Plus, I've always been "someone who loves to learn"...Just academic knowledge and inforational stuff, not games. Games and human interaction in general, have always been too much work for me to enjoy. So if there's any reason why I can't get myself to study illustration fundamentals, no matter how much I lament not being able to draw something beautiful (at least to warrant my making a living in artist alley!) then I have to wonder if my inexplicable disdain for learning new rules is the reason.

I don't even know what I'm writing about. I think I was originally just hoping that drawing with a new Gasenfude that wasn't drying, would help me draw lines more easily. x_x; Please ignore my venting.

#venting #please ignore my idiocy #quitting art #is this even chibi? I messed this up so bad x_x;

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connorrenwick · 5 years

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Where I Work: Zai Divecha

Zai Divecha is a Bay Area native artist based in San Francisco, California, whose creative explorations began with metal. After graduating from Yale (both undergrad and grad), the cycling enthusiast became a metalworker who just recently transitioned into working with paper. Now she’s creating small and large scale geometric works made from paper featuring repetitive pleat patterns. For this month’s Where I Work, Divecha opens the door to her shared studio space in the Dogpatch neighborhood for a look at her process.

What is your typical work style?

I’m a morning person, so I like to get my day started early. A few days a week, I get up at 5am to do a 30-mile bike ride before going into the studio. There are few things I love more than cycling. And going out at dawn — when the fog is still thick and the light is a cool, grayish blue — is the absolute best.

I usually get into the studio by 10am, and work until 7 or 8pm, taking breaks to chat with my studiomate or take Simi out for a walk. Some days end up being more computer- or admin-heavy; other days are more focused on making. Unless I’m really in the zone, my brain typically shuts off around 8pm, and I’m useless after that.

What’s your studio/work environment like?

The studio is bright, cozy, and clean. A huge skylight lets tons of light in. When we moved into this space, my studiomate and I laid the flooring ourselves, and we chose a pale gray color in order to bounce as much light as possible into the room. We mop the floors regularly to keep the dust under control. Lots of plants, candles, and furs make it feel cozy and welcoming. I’m a neat freak, so I need the surfaces around me to be clean in order to think clearly and feel creative. The less clutter I have in sight, the more focused and creative I am.

My studiomate Emi Grannis is a big part of my daily life. She’s a metalsmith who makes fine jewelry, and she’s also one of my very closest friends. Even though we each run our own separate businesses, Emi and I help each other out constantly throughout the day: she’ll take photos or videos of me working for my Instagram; I’ll help her draft tricky client emails. She’ll weigh in on my design decisions; I’ll help her triage her to-do list. We know each other’s strengths and needs, and we’re good at making the other person feel supported, focused, and happy. It’s pretty special. I don’t know where we’d be without each other.

How is your space organized/arranged?

We have a small studio space on the mezzanine level of a shared metal shop called ShopFloor. It’s located in the Dogpatch neighborhood of San Francisco, and it’s three blocks from where I live (best commute I’ve ever had). Our studio is 270 square feet, so it’s pretty compact. I have my little zone at one end of the room, Emi has her workspace in the middle, and at the back, we have a lounge area with a couch and a makeshift kitchen (mini fridge, microwave, tea kettle). The couch was a game-changer — having a soft, comfy place on which to take breaks (or naps!) means that our days can be longer, more productive, and more sustainable.

How long have you been in this space? Where did you work before that?

I’ve been working out of this building for two and a half years, but it’s only the last nine months that I’ve had this cozy studio space on the mezzanine level. Before that, I rented a bay on the ground floor, in the metal shop. I was making welded steel vessels and mosaic steel wall hangings at the time, so it afforded me easy access to the metal shop tools. But I didn’t have walls, private space, or heat, so while it was utilitarian, it was not particularly inspiring or comfortable.

But now that I’m primarily working with paper, a medium that doesn’t require any machinery at all, it’s been lovely to have a contained, quiet space away from the noise and grime of the metal shop. I have walls, heat and air conditioning, a comfy couch, and, of course, one of my best friends nearby, so I’m much happier and more productive now.

If you could change something about your workspace, what would it be?

A teeny bit more space would be nice. I routinely have to downsize my tools, prototypes, and projects in order to make space for everything.

Is there an office pet?

Yes! My dog Simi often comes with me to work. She’s a chill, low-key dog most of the time, but she’s become infamous for starting to hump her dog bed as soon as clients walk in. She can be a liability.

Do you require music in the background? If so, who are some favorites?

I tend to listen to downtempo electronic music when working. It needs to be melodic, hypnotic, and a little edgy. Nicolas Jaar, Chet Faker, Polo & Pan, Glass Animals, Zhu, and Alina Baraz come to mind. Here’s a playlist I made of my favorite songs for work. If I’m doing repetitive measuring, scoring, and folding, I’ll often put on a podcast to keep my brain engaged. The Guilty Feminist, Reply All, The Daily, and Planet Money are current favorites.

How do you record ideas?

I have all kinds of systems. I have a notebook that’s just for my daily to-do lists, I have a separate sketchbook for drawings and diagrams, and I have a series of digital notes that are synced across my devices.

Do you have an inspiration board? What’s on it right now?

All of my inspiration boards are digital at the moment: I have dozens of Pinterest boards, and a number of Instagram collections of saved posts. Lately I’ve been saving things like 3D-printed ceramics, hand-carved wood home goods, geometric murals, blackwork tattoos, installation art, and parametric architecture.

What is your creative process and/or creative workflow like? Does it change every project or do you keep it the same?

I often start by examining prototypes and sample pleats I’ve made in the past. I hold them in my hands, and collapse and expand them. I imagine how they’d look or behave if I made changes to the pattern. What if I altered the angles or spacing of the pleats? What if I pinched it at one end, and let it fan open at the other? What if I made this out of a translucent Mylar instead of paper? What if I made a collage, where I put this pleat next to this other pleat? Then I’ll make a quick mock-up using scrap paper. I love that it’s so easy to prototype with paper. I can test out ideas quickly.

Once I have a plan, and I’ve figured out all the measurements, the execution is a series of repetitive motions: measuring out a grid, scoring lots of lines, and working with my hands to pleat the paper. I love settling into a meditative routine, and making only minor changes with each sheet of paper to optimize my efficiency and precision.

What kind of art/design/objects might you have scattered about the space?

A tiny painting of Point Reyes by Susan Hall, who’s a dear family friend. Ceramic pieces by Two Hands Full, Pinckney Clay, and ShanMan Clay Co. A half-moon shaped serving board I made out of Cocobolo wood. A concrete sculpture of hands by Rheal. Two brass Ganesh statues that my mother gave me when I was little. A sweet note that Emi left me one day. And a handful of items collected from nature: a Cholla cactus branch, an antler, and a dozen potted plants.

Are there tools and/or machinery in your space?

Now that I’m primarily working with paper, my tools have been pared down to just the most unassuming and lightweight ones: pencil, rulers, cutting mat, X-Acto knives, painter’s tape, needle and thread, and bone folder.

What tool(s) do you most enjoy using in the design process? The bone folder. It’s a bookbinding tool made out of bone that’s used to score paper. It lets me make precise, sharp folds. It feels smooth in my hand — so simple and primitive.

Let’s talk about how you’re wired. Tell us about your tech arsenal/devices.

I have an iPhone X, a MacBook Pro, and a Canon 5D Mark II with a few different lenses. I store all my notes, documents, and photos on Box, so they’re accessible from any device (I used to work at Box; old habits die hard). Instagram is my main marketing and sales tool, so I spend a fair amount of time on it.

What design software do you use, if any, and for what?

When I was doing metalworking, I used Illustrator and SketchUp to design wall hangings and prep vector files for lasercutting. Now that I’m working primarily with paper, my creative practice is blessedly analog! The less time I’m on the computer each day, the better.

Is there a favorite project/piece you’ve worked on?

I recently finished up a large hanging paper installation, and my partner Phil Reyneri added subtle light effects to it using Lightform, his company’s tool for projection-mapping. Each edge and facet was illuminated with projected light patterns.

Do you feel like you’ve “made it”? What has made you feel like you’ve become successful? At what moment/circumstances? Or what will it take to get there?

I definitely don’t feel like I’ve “made it.” I have so many things I still want to make, and so many goals I still want to hit. But I suspect I’ll always feel that way, even if I’m making a lot more money. There’s a famous cycling quote by Greg LeMond that I love: “It never gets easier, you just go faster.” I think this is true for running a business, too. I feel like I’m hustling just as much as I was three years ago, but when I compare the work I was making and the types of problems I was solving now, it’s clear that I’ve made a lot of progress.

Tell us about a current project you’re working on. What was the inspiration behind it?

I’m developing a series of smaller paper pieces with stitched red accents. The goal is to sell them framed in shadowboxes with glass fronts, so they’re ready to hang. I’m excited to offer pieces that are elegant but also accessible — at a price point that my friends could afford.

What’s on your desk right now?

I have a cutting mat, some rulers, a mug filled with pencils, pens, and X-Acto knives, a few pieces of pleated paper, my reading glasses, and my laptop. I try to keep it as bare-bones as possible.

Do you have anything in your home that you’ve designed/created?

Just a few random craft projects here and there. I have a set of ceramic fruit bowls I made in high school, and some dog beds that I sewed out of canvas drop cloth and painted (I made one for my studio and one for my home). One day, I’ll do a proper paper installation for our place!

Photos by Zai Divecha, Emi Grannis, Phil Reyneri, and Andy Wong.

via http://design-milk.com/

from WordPress https://connorrenwickblog.wordpress.com/2018/12/18/where-i-work-zai-divecha/

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