Archive for the ‘Stuckness’ Category

Showing Up

Chuck Close at WorkWhen you’re creating things, you can’t rely on inspiration alone, only painting, writing, sculpting, whatever, when the mood strikes. You have to show up on a regular basis, day in and day out. Creative efforts require a lot of commitment and professionalism. When you do this, you will be “favored by the Muse(s),” if you follow a more mystical viewpoint a la Stephen Pressfield or Julia Cameron. I like how Chuck Close puts it:

“I always say that inspiration is for amateurs; the rest of us just show up and get to work.”

In an interview with NPR, Chuck Close talks about how his modular marks (I think of them as hot dogs) wind up becoming massive nine-foot self-portraits just through hard work and dedication.

Put this practice into action by setting specific times to work, then stick to it. It doesn’t necessarily have to be 8:00 am to 5:00 PM, but it does need to be consistent and regular. (I know one artist who goes to bed at 8 or 9 PM and gets up at 3 AM to paint, and he does some pretty amazing stuff.) Personally, I try to set aside Tuesday evenings and Saturday afternoons to paint, since that’s what works best with my schedule.

Morning Pages are another form of showing up. (In fact, I think Julia Cameron uses the phrase “showing up at the page” in her book The Artist’s Way.) You show up and you write, dumping out everything that’s in your mind and on your chest, stream-of-conscious style. Showing up like this also gives you the benefit of figuring out what you really need to be doing.

So if you really want to bust creative block and “turn professional,” you have to show up on a regular basis.

Creative Block and the Seasoned Pro

I’ve talked about gumption traps a lot recently: gumption traps in general and in specific for artists and graphic designers. Gumption traps, or creative blocks as they’re more commonly called when applied to creative disciplines, are common to all, but they appear to crop up most often for beginners. The seasoned artist experiences blocks, too. Perhaps as often if not more often than the beginner. The thing is, the pro isn’t set back for very long, while the beginner may get stuck on something for a long time.

How the Professional Confronts Creative Blocks

When faced with a trap or a block, the seasoned professional:

  • Recognizes traps for what they are
    They’re setbacks that can get you stuck if you let them, but nothing that can’t be overcome.
  • Has dealt with them before
    He or she knows from experience what to do in those tricky situations that stump beginners. Not to imply that every problem has a ready-made solution out there, but an artist will encounter a lot of similar problems in his lifetime.

Does an experienced artist whine, gripe, and complain about a particular piece? You betcha. But he moves on and keeps doing his work, not letting a little setback keep him down. It’s part of “turning pro” as it’s explained in The War of Art. It’s all about attitude.

I’m not dead yet!

The bottom line is this: the dedicated professional knows he’ll survive no matter what blocks come his way. He’s lived through them before. So why get worked up over one little setback now, if the setbacks in the past were overcome at some point?

Gumption Traps for Graphic Designers

On Tuesday I wrote about gumption traps for artists. Today I’m going to talk about gumption traps for a subset of artists, graphic designers. I figure I’m pretty qualified to write about this since I myself am a graphic designer, and I’ve been pushing pixels and type for about 9 years now.

In thinking about the different things that frustrate the fire out of designers, I’ve realized that you can group them into categories different from the ones discussed in Zen and the Art of Motorcycle Maintenance. There are internal and external frustrations, like with everything else. It should be noted that where fine art is internally driven, graphic design is externally driven. A graphic designer is quite often given a task by someone else, or the designer creates his/her own tasks in order to fulfill some external requirement (such as generating new business). The same principles of line, color, form, texture are at work in both disciplines, so the two practices have a lot in common. But Graphic Design, formerly known as Commerical Art, is driven by commerce rather than self-expression. This is an important distinction to make, and if a new designer isn’t careful, it can be the source of many frustrations. I can’t remember who said it, but I remember reading many years ago an interview with some late, great designer who said that “design is about solving problems, and art is about making them.”

External Gumption Traps

So with the thought in mind that many of the gumption traps for designers are external, I’ve found they fall into four main categories:

  • Environmental Traps
  • Communication Traps
  • People Traps
  • Project Traps

Environmental Traps

These are the ones where your environment prevents you from accomplishing what you need to do.

  • Insufficient equipment - If your computer is 10 years old and has almost no RAM or hard drive space, you’re sunk. You’ll be watching spinning beach balls all day while Photoshop tries to do a Gaussian Blur. Get the best equipment you can afford. It’ll save you hours of frustration. It’ll make you a faster and more productive worker in the end.
  • Poor ergonomics - When your mouse makes your wrist hurt constantly or your chair makes your lower back hurt, or you’re otherwise uncomfortable, it distracts you from focusing on doing good work. I want to encourage design managers everywhere to invest in good furniture that won’t hurt workers.

Communication Traps

There are a lot of problems that can be prevented by clear communication upfront, regardless of what field you’re in. One thing I’ve learned: never assume anything. If you’re in any doubt, ask.

  • Unclear communication - When objectives are unclear or there’s a lack of communication, it’s hard to know what to do on a project. Once I was working on a project I thought was a trifold, but it turned out to be a rack card (roughly 4 by 9 inches, two-sided). It was an embarrassing miscommunication. The trick here is to be pro-active and ask. Don’t be afraid to ask questions, no matter how dumb or silly it may seem. Remember that the only dumb question is the one that goes unasked. This is important to remember no matter what your role is. If someone asks you a question you think is dumb, bite your tongue. they’re trying to save themselves (and you) a lot of trouble later on.
  • Client expectations are way off or just plain wrong, or they dumb down the work - When this happens, you need to be proactive in communicating to the client what to expect, and make sure you have all the project details in writing, agreed upon by both sides.

People Traps

Unfortunately they don’t teach interpersonal relations in art school, and I’ve learned that it’s important to have a thick skin around other designers. If somebody doesn’t like the logo you’ve done, don’t take it personally. Commerce is objective, not subjective, and that objective is to sell something. You have to remember that design work is not personal; it’s commercial. Save the personal expression for your fine art.

  • Office politics - This happens just about wherever you go, no matter what industry you’re in. The key here is to learn how to work with people.
  • Someone else is in a bad mood - If you’re in a small office, this can be demoralizing. Learn how to deflect people’s bad moods, or learn to ignore it. If there’s someone who absolutely can’t stand being around, you may need to talk to your manager and request to be moved farther from that annoying peson. If all else fails, consider a change of jobs. Life is too short and too long to work with obnoxious people, although it can do a lot to build your character.

Project Traps

Sometimes it’s the work itself that saps your enthusiasm.

  • Work is tedious and repetitive - It may be OK for some people, but most really creative people tend to like variety. I think a lot of designers are bored easily, so tedious projects get old in a hurry. However, this may be a good time to sharpen your organizational skills, since it’s easy to get sloppy with tedious work. Take pride in a tightly-assembled project.
  • Deadlines are too tight or close together, or there are too many at once - Nothing causes burnout faster than burning the candle at both ends to get everything done. If you’re in the position to do it, learn to say “no” when necessary. You’ll be doing everyone a favor, not only because you’ll cause less stress for yourself and your team, but the client won’t get a hastily-put-together product.
  • Skills/talents are underused/undervalued - This is perhaps the most frustrating issue of all. Let’s say you’ve got a knack for a certain type of project that you always gets assigned to someone else. If you’re unsuccessful at convincing management to grant you more of those projects, or you can’t come up with these sort of projects on your own free time, it’s probably time to look for a job that lets you do these things. Or you feel like you’ve maxed out at this particular job. In that case, it’s probably time to move on.

Internal Gumption Traps

As for the internal gumption traps that come to designers, they’re very often the same as those of artists (coming at something from the wrong angle, focus is too narrow or too broad, fussiness, mistaken either/or thinking, etc.). If you’re still stuck by running through all of those, it’s probably a good idea to step away from your work for a little bit and come back with fresh eyes. Take a walk around the building to clear your head. Or go peruse the design annuals. A change of environment can do you good. Also, try to get another pair of eyes looking at your work. Two heads are always better than one.

This is by no means complete, and I’m sure that as I move on up into more and more senior positions, I’ll discover other kinds of problems that destroy enthusiasm. I get the feeling that those kinds of problems are more common among management than design.

Have any gumption traps you’ve run into as a designer? Feel free to share in the comments.

Gumption Traps for Artists (and What to Do About Them)

About a month ago, I wrote on Gumption Traps, those things that slow down one’s momentum and enthusiasm, as mentioned in the book Zen and the Art of Motorcycle Maintenance. We all run into them, no matter what our area of work is. But artists are particularly prone to them, since we put so much of ourselves into what we do.

As a quick refresher on Gumption Traps, allow me to quote myself:

It’s important to remember that there are two primary sources of gumption traps: external, which are really setbacks, and internal, which are really your own hang-ups of some kind. Knowing where the source is helps you figure out the solution, whether it’s something outside of you, or something to do with your own approach to the problem that’s keeping you stuck.

I also mentioned how external setbacks come in a variety of forms, and there are a number of strategies for dealing with them, many of which are already available if you do a little research. External setbacks can be frustrating, but it’s the internal hangups that you really have to watch for. And since artists so often do self-defined work, most of the setbacks they experience are internal. That brings us to the three kinds of internal hangups:

  1. value traps
  2. truth traps
  3. muscle traps

Value Traps for Artists

Since value traps are the ones where your thinking is not as clear as it should be, it’s easy to see how the first one, value rigidity, comes into play whe we put the emphasis on wrong area in our work. Our focus may be too narrow or to broad. We may get all caught up in one particular thing that the rest of the artwork gets ignored or ends up halfway done. The solution is similar to that of truth traps: change your focus and shift it to something else. Another solution is to consciously avoid developing one area more than the rest of the piece, and develop it all at the same time.

If you’ve got a lot of anxiety about the piece you’re working on, you’ll see it in your fussiness, nervousness, and generally overdoing things. In this case, you’re probably expecting too much out of yourself. You have to relax and lower your expectations. Don’t put up with mediocrity, but don’t be hard on yourself if every piece you produce isn’t a blue-ribbon winner.

Along the same lines, you might be really overwhelmed by the magnitude of your project, no matter how awesome you know it is. when this happens, try breaking it down into more manageable pieces.

Truth Traps for Artists

When you’re thinking of things in terms of either/or answers, try thinking of a third option. As I’ve said before, it might be that the “question” you’re trying to ask is too small, or just plain irrelevant. Try changing your angle. You might be coming at your piece too directly or too obliquely. Try doing just the opposite of what you’re doing.

Muscle Traps for Artists

Like I said before, muscle traps deal with your physical capabilities and available tools. Sometimes the equipment you have is not adequate and hinders you from getting the job done. Low-quality brushes, paints, canvas, pencils, clay, paper, scissors, computer hardware and software, etc. will do you in and frustrate you more. Invest in the best tools you can afford.You’ll be glad you did.

Another muscle trap for artists is a lack of strength or knowing how far to push your materials. Mechanic’s feel is a great analogue for this. This problem crops up with throwing pottery on a wheel or stretching a canvas, or anything that requires a bit of physical strength. The trick here is to know how far your materials and tools can and should go. This comes with experience.

As I mentioned last month, your physical environment can affect you a lot, bordering on external setbacks. If you’re hot, you get frustrated and angry easily. If you’re cold, you get in a hurry and make mistakes. You become careless. Pay attention to ergonomics and comfort. Make sure you have adequate lighting and ventilation, especially when working with oil-based paints, clay, or airbrush/spray paint.

I’ve tried everything and I’m still stuck

I can think of two things here: you’ve got something else bothering you on a deep level and you haven’t taken care of it, or you just need to take a break. Know your own limits.

Making Large, Ambitious Projects More Manageable by Breaking Them Down

Cherry pie with a slice removedLet’s say you’ve gotten into a project you’re all excited about, and you’re brimming full of ideas and ambition. Your project gets bigger and bigger, and before you know it, you’re in over your head, completely overwhelmed by it. You know you have something good, but it’s just too big and unwieldy and it’s just become a monster, a nightmare of a project, and you are the one who cooked it up. What to do? It’s a bit like eating an elephant — you do it one bite at a time. Get out your mental Henckels steak knife, and start cutting your work down to make it more manageable.

Remember that Art & GTD series I did a while back when I first launched the site? Well, that started out as one big honkin’ post. I felt good about it, and I knew the content was worth writing. The problem was, it was just too big, and I knew it. I vetted it around to several people, including the guys at Black Belt Productivity and Alyson Stanfield at Art Biz Blog and Art Biz Coach. They liked it, but I think everyone agreed that it was way too long.

So I broke it down into separate posts where the topics changed and where the subheads came up. That one long article became five articles of sufficient length. In addition to these five posts being more easily read, they now formed a series that could last a whole week. Furthermore, they’re more search-engine optimized by default, since people searching the web are probably looking for one specific piece of information, not a lot of other extraneous information. Finally, it made me feel better since I wasn’t so overwhelmed by such a huge post. It was more organized in the end.

So the next time you find yourself in over your head by some really big project, especially if it’s written, try breaking it down into smaller, more contained pieces.

Here are some examples of projects you may need to break down:

  • A really long blog post like mine — break it down into smaller pieces and put them in a series
  • Elaborate story arc for a novel — focus on just one part of the story and make it a trilogy or something. It worked for Star Wars and Lord of the Rings. Conversely, I’ve heard it said that the Dune movie did too much by trying to put a whole trilogy in one film, and thoroughly confused people who hadn’t read the books. (I haven’t seen it yet, but I probably will this week as I’ve checked it out from the library.)
  • A very ambitious painting — Try doing multiple paintings on the same theme, focusing on different aspects of a concept, scene, or narrative. Or make a triptych.