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Tag: making

Game of This and That

Game of This and That

Sometimes a cheap, pandering title is just the thing to tangent from.

We obsess over stories like nothing else. It’s another essentially human thing. Obsession is good, in moderation. We have to have some measure of it to stick with anything when it gets hard.

Just as it’s hard to watch made up people you care about get killed off on screen, it’s hard to watch your ideas fail to find a firm place to take hold and then fade. But there are always more ideas. If we keep on making them, there will be a few that make it.

Why Do We Do The Art Thing at All, Anyway?

Why Do We Do The Art Thing at All, Anyway?

It’s not as if it’s a guarantee of anything, even that you’ll feel creatively fulfilled—or some other vague notion—or emotionally stable.

I used to see the phrase “you do it because you have to,” sprinkled around. This seems designed to weed out the casuals and dilettantes, only serious commitments, please. But obsessive-compulsive behavior can be destructive. And I’ve always thought we need more casuals and dilettantes. Art isn’t for trained professionals, it’s for everyone, it’s part of what makes us human. We should all make it.

We want to feel the deep connection to the universe outside and our deepest selves within. Art is the bridge. It blooms from within by processing everything without. Sure, want to feel it really, really badly, if you’re driven to create.

But if you only want to a little, it’s okay. We still need it out here.

You Gotta Do Your Best, Except When You Don’t Know What That Is

You Gotta Do Your Best, Except When You Don’t Know What That Is

It’s a simple equation, but not necessarily an easy one. You do your best work in any given situation—except when you exceed your expectations, or utterly fail to meet them.

What matters is that you dig dee enough to lose yourself in the creating. Flow will take care of both uncertainty and evaluating the past work. If you try to make something “great,” or similar superlatives, it’s a distraction. What you’re aiming for is to melt away judgment and doubt. That happens when you have a habit of falling into a piece and finding its soul, for lack of a more real term.

This takes time and practice. But it’s a common and easily understood phenomenon for creators of all types. You know when you’ve reached the point when you’re on the other side of it.

Finding a Center to Hold To

Finding a Center to Hold To

If you’re lucky, it’s more art. But even if you have a specific task or ritual of creativity you return to again and again, that becomes the base from with you go out into the wilds. Metaphorically.

The Good Drawings and the Bad Drawings Are Always in You

The Good Drawings and the Bad Drawings Are Always in You

There’s a very popular trope that gets thrown around all the time—without qualification—that

you, a prospective artist, have 10,000 bad drawings in you, and until you get them out, you won’t be good.

But I’m here to tell you that you can always make a bad drawing. Or song. Or film.

It isn’t that artists are just good one day, after climbing the mountain of practice and forever rolling greatness down its slopes. You get to a place where you’re used to how it feels to be in flow, how your muscles work in concert to get things composed in a pleasing (or at least intentionally specific) way, and you know better when to stop.

But you can always, and will occasionally, make a crummy drawing. That’s perfectly fine, you can always make another. No one has to see the bad one.

This matters to know, because if you make a lame piece of work, and you think you’re past such stumbles, you’ll get discouraged and depressed, and it’ll be harder to make the next thing. Don’t worry about getting past your bad drawings. Just keep making things at all, and they’ll be few.

Getting Past Your Need for Perfection and Finishing Your Work Is Vital

Getting Past Your Need for Perfection and Finishing Your Work Is Vital

There’s no shortage of creativity coaches out there. Advice abounds on techniques and tools, finding styles, getting inspired and so on. I don’t think it’s stated enough that you should finish your things. People really do get stuck in attempts to make the best thing they can make.

In art school, you often have no choice about finishing pieces, because there’s a bloody deadline breathing down your neck with a fearsome fiery breath, and you’re going to damn well get your ass in gear. I think this is an advantage to paying money for art school. You get a set of projects and have to complete them.

I tend to believe you should:

  1. Work. Exercise your praxis. Do the thing.
  2. Finish the stuff you begin.
  3. Make another thing.

It’s totally true that a lot of would-be artists/writers/musicians never get anything done because they can’t start. They’re so wrapped up in the vision and their (imagined) inability to match it, fear stops them cold. They’re the Never-Good-Enoughs.

Then there are those who start a boatload of things because, hey, art! But they never finish them because it’s hard to get through the boring middle part where you realize it’s a hell of a lot of work to complete things. These are the Forever-Beginners.

One secret I learned pretty fast is that your finished piece will never match your vision—except in extraordinarily rare circumstances. The artists who get a lot of shit done are very okay with this fact, and by getting a lot of stuff done, ironically, they get ever closer to matching their vision to their work.

it happens gradually, but you need things to compare to, and there’s nothing that shows your progress more than the thing you made three years ago, if you kept making things along the way. This is being simply an artist. You’ll learn how long you should take on a piece the more you make.

The Time Dilation Effect on a Rainy Day

The Time Dilation Effect on a Rainy Day

Today was a strange day. It seemed to stretch on for hours longer than it’s allotted time, when no matter what I did, there was still more time before work.

But it was nice, and reminded me of the sensation you get when you lose yourself in the flow of art making. Time just seems to open up and you lose yourself in the work. More of those days, please.

Doing at Least One Thing in the Spirit of the Ideal

Doing at Least One Thing in the Spirit of the Ideal

Just the image, and a mindfulness of what I’m after, here. I think the thought of giving helpful advice can toughen after a while. I’m not sure how much more wracking my brain for different things to say about making art is than keeping on making a brand new image. I’m

Not sure that isn’t just the nature of this dualistic mash-up that I’ve started.

The Experience of Failure and Its Diminishing Negative Effects

The Experience of Failure and Its Diminishing Negative Effects

NaNoWriMo has come and gone. For the second time, I haven’t finished my novel. I have failed to do something.

It’s really no big deal. I fail at a lot of things I try. So does anyone who attempts anything big, or beyond their comfort zone, their routine. Unless you were all talk, it matters that you didn’t just say you were going to do something, but that you actually tried. The important thing is to recognize you broke out of the regular day and leapt.

There are always lessons to learn in any creative attempt. The things we learn today can be applied to what we do tomorrow. They help make those things easier, and there will be successes based on everything we know and have learned. And, often, we had fun! There was joy in making things we didn’t know how to make.

The more we try these new things, unfamiliar things, harder and deeper and more demanding things, the more we learn about life, ourselves, and creativity. The more we do them, the less importance failure has on our existence, and the easier it is to try something else that’s new, or that we know better how to complete.

The fact that I fell down isn’t as important. Getting up and keeping moving forward is.