> A pen that produces faint, smudged lines, encouraging ambiguity and reflection rather than bold certainty.
I dislike being this negative. Given these are prestigious awards I was expecting higher standards. Apart from the death-grip in the photo which makes me wince for the poor pen, this entry unfortunately shows the pretentiousness of the whole thing. Artists (drawing and painting kind) have been using broad felt markers for as long as they’ve been around as part of a rough-in specifically because it leaves enough ambiguity where the imagination can fill in the details, allowing them to move forward through a concept without committing to any specific idea (see Syd Mead, Scott Robertson, and so on). This is an actual part of the work, not a stationary that a salaryman uses for some profound moment of reflection.
> A pen that produces faint, smudged lines, encouraging ambiguity and reflection rather than bold certainty.
I dislike being this negative. Given these are prestigious awards I was expecting higher standards. Apart from the death-grip in the photo which makes me wince for the poor pen, this entry unfortunately shows the pretentiousness of the whole thing. Artists (drawing and painting kind) have been using broad felt markers for as long as they’ve been around as part of a rough-in specifically because it leaves enough ambiguity where the imagination can fill in the details, allowing them to move forward through a concept without committing to any specific idea (see Syd Mead, Scott Robertson, and so on). This is an actual part of the work, not a stationary that a salaryman uses for some profound moment of reflection.