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A solid work ethic drives someone to show up, even when they’d rather not. If there’s work on their desk, they’ll take it on. Discipline, on the other hand, is the ability to say ‘no’ to free up focus and resources for the work that’s worth saying ‘yes’ to.
2 months ago

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More from Seth's Blog

Publicity or public relations?

Publicity is the hard work of getting media outlets and social media influencers to talk about you. Hustle for attention and mentions. Public relations is the much harder work of engaging with internal teams to make something worth talking about. It’s not spin, it’s story telling that resonates and holds up to scrutiny. Sometimes, organic […]

20 hours ago 2 votes
The future doesn’t care

It doesn’t care whether you’re excited or filled with trepidation. It arrives, regardless. What an opportunity. Or a threat. Up to us.

2 days ago 3 votes
Not smart vs. stupid

Not smart is a passive act, remedied with learning, experience and thought. Stupid is active, the work of someone who should have or could have known better and decided to do something selfish, impulsive or dangerous anyway. The more experience, assets and privilege we have, the less excusable it is to do stupid things. And […]

3 days ago 4 votes
Three choices

Everything flows from the strategic decisions we make early in the process: Choose your landlord. The rent is due every month. The place we set up (whether it’s a retail storefront, a social media platform or a warehouse) determines our cost structure, our deal flow and the space we have to work with. Choose your […]

4 days ago 6 votes
Diagnostics

“If it breaks, we’ll know how to fix it.” Old cars had an oil light, and that was about it. Often, we build things hoping they’ll work. But complex systems are more resilient when we build in the diagnostics for failure from the start. A multi-unit retail chain, a medical practice, a school–they need a […]

5 days ago 7 votes

More in creative

Meet The Maker: Ben Goodman

Hello. I’m a wood engraver and printmaker who specialises in portraiture. I work from my studio in South Bristol where I’m lucky enough to have an old Albion Press. I’ve lived in Bristol for 18 years and love the friendly and open-minded spirit which it seems to attract. Describe your printmaking process.  I use the 'reduction technique' which involves printing many layers from one block. I cut a bit – print a layer – cut a bit more – print another layer over the top of the first – and so on. The process is very simple and mind-boggling at the same time. Also, if I make any mistakes, the whole print edition is ruined! Portraiture has always been part of my practice. I love the shapes, colours, depth, and variety in human bodies and faces. The closer I look, the more detail and nuance emerges. Capturing this has become some what of an obsession. Recently I have been experimenting with ‘glazes’ as part of a research project at UWE Bristol. If you’re not familiar with Glazing, it uses a mixture of oil, resin and certain transparent pigments to create a very translucent and saturated paint or ink. By layering the glazes I am able to create a print which has a subtle glow or luminance.  How and where did you learn to print? Printmaking was encouraged during my time studying Illustration at UWE Bristol. Whilst in my second year, I went to an exhibition of Thomas Bewick’s engravings, with my parents. I was totally captivated by his minute vignettes and started to teach myself wood engraving. The Society of Wood Engravers gave me some funding to buy additional tools and I’ve been doing it ever since. Why printmaking? Part of the lure of printmaking is the kit – particularly the old and traditional equipment. I love being part of something with such a rich history. And compared to the endless possibilities of Photoshop, I love how finite print is. When it’s done, it’s done. I also enjoy how challenging it can be. The pressure to get every cut perfect, focuses the mind. It’s meditative.  Where do you work? Since 2011 I’ve been at BV Studios in Bedminster, Bristol. I share a large, cold room with a few other artists, and my corner is piled high with books, paper, lead type, jars of pigments and oil. The whole environment puts me in the mood for engraving, printing, and creating. Describe a typical day in your studio. After a quick breakfast and coffee at home, I cycle in and get cracking straight away. First I will look at the previous day’s prints with fresh eyes and remind myself which layer I have finished and what needs to come next. Then the engraving begins – which usually lasts a few hours. Then I’ll mix up some glazing medium with oil colour or dry pigments and print a proof. Once I’m happy with the engraving and the colour, I will spend the rest of the day printing the edition. How long have you been printmaking? Not including the obligatory linocut at school, my interest in printmaking started during my Foundation year at UWE. The Printmaking Department there is incredible and one of the best equipped in the country. The staff were very encouraging and nurtured my teenage interest in all the wonderful machines and chemicals. I started engraving in 2009 after visiting the (previously mentioned) Bewick exhibition at The Icon Gallery. After graduating in 2011 I took a part-time job working in the Print Department at UWE, where I remain to this day. What inspires you? I find human bodies fascinating. The colours, curves, bones, shadows, pits, layers and variety is captivating. As I look at someone and deconstruct their body or face or skin into colours and shapes, I am constantly mesmerised by the depth and nuance of nature. With in every colour there is more colour. With in every shape there are more shapes. I love to recreate this subtlety in my work. What is your favourite printmaking product? Ahh such a tricky question. The answer changes all the time. If I had to choose, I would say the woodblocks made by Chris Daunt. They are works of art, and wood is such a beautiful material to work with. What have you made that you are most proud of? At the time of writing – my latest print ‘Hera’. It turned out better than I had hoped and it's the culmination of much experimentation and research. It’s also, as far as I know, the first print to be made from ‘glazes' Where can we see your work? Where do you sell? I sell directly from my website and from the SWE website  What will we be seeing from you next? I will be having my second solo exhibition - The Ink That Glows - at Centrespace Gallery in Bristol. The private view is 8th August 6-9pm (All welcome), Open Daily 11-5pm from 9th to 12th August 2025. This will showcase all my recent engravings and lots of the preparatory and experimental work. Join my mailing list to find out more.   Do you have any advice for other printmakers and creatives? Learn how to do something and then do it differently To see more from Ben, follow him on Instagram!

6 hours ago 2 votes
Publicity or public relations?

Publicity is the hard work of getting media outlets and social media influencers to talk about you. Hustle for attention and mentions. Public relations is the much harder work of engaging with internal teams to make something worth talking about. It’s not spin, it’s story telling that resonates and holds up to scrutiny. Sometimes, organic […]

20 hours ago 2 votes
A Rabbit Rides a Chariot Pulled by Geese in an Ancient Roman Mosaic (2nd century AD)

If you head to the Louvre, make sure you visit the Mona Lisa, Venus de Milo, and Liberty Leading the People. But then swing by the Department of Greek, Etruscan, and Roman Antiquities. There you might find (no guarantee!) a Roman mosaic featuring a rabbit riding a chariot pulled by geese. Discovered at Hadrian’s villa […]

21 hours ago 2 votes
The future doesn’t care

It doesn’t care whether you’re excited or filled with trepidation. It arrives, regardless. What an opportunity. Or a threat. Up to us.

2 days ago 3 votes
Watch Animated Sheet Music for Miles Davis’ “So What,” Coltrane’s “Giant Steps,” and Charlie Parker’s “Confirmation”

Miles Davis’ Kind of Blue changed jazz. It changed music, period. So I take it very seriously. But when I see the animated sheet music of the first cut, “So What,” I can’t help but think of Charles Schulz’s Peanuts cartoons, and their Vince Guaraldi compositions. I mean no offense to Miles. His modal jazz […]

2 days ago 3 votes