Transcript
Helen (0:23)
Welcome, welcome. This week we've got a brilliant question and it goes. I am very motivated by other people's expectations and deadlines, but I find it hard to prioritize the ideas and projects that are more for me. How do you three make room for more playful personal artwork? Hope you haven't tackled this already. If so, I will re. Listen. Would love to hear about Studio Spaces too. We did Studio Spaces.
Katie (0:47)
Talked about that.
Helen (0:48)
Couple of podcasts back. But let's tackle trying to do personal projects.
Katie (0:54)
Yeah, I'm very motivated by other people's deadlines and things as well. Maybe all illustrators are like other.
Tanya (0:59)
Yeah, that's what I'm thinking.
Katie (1:01)
Publisher deadlines, editorial map deadlines and the actual event deadline.
Helen (1:05)
Yeah, yeah.
Katie (1:07)
I don't know.
Helen (1:08)
Yeah, I. I go through phases of being able to make work for its own sake and then I'll run out of energy or like that idea that I had that motivates me to do some self mated, self motivated, self mated motivated stuff. At the end it runs its course and then I don't do any for ages until something like really, really grabs me. But nothing's grabbed me like that for quite a while. I mean, I have vague ideas that I would like to do. But am I in deficient? So that's my excuse. It's only newly iron deficient. Just newly, freshly ironed it. I know I'm gonna blame it on that.
Katie (1:49)
Everyone has to first have the iron levels checked.
Helen (1:52)
Yeah.
Katie (1:53)
There.
Tanya (1:54)
And then if you can't, don't worry. Just do the jobs.
Katie (1:56)
Yeah.
Tanya (1:57)
I think this touches quite close to that awkward fine art illustration division that people who are really motivated to do their own thing, I think are more likely to be fine artists. I know it sounds a bit kind of lumpen to say that because there's lots of other aspects that make you a fine artist versus a commercial artist, but that sort of drive to pursue your own playful wackiness or particular ideas, whatever it might be. Whereas having come from that side in the beginning and I really didn't like it when I'd finished my BA in painting and printmaking, I was. I don't know anything about the world. I can't imagine what is really important for me to say. Strangely for quite a gobby person, I didn't think I had a lot to say or to contribute visually. And I didn't know whether I could make work just on that. And that's when illustration and design was like that. I wouldn't work with other people, solving a problem, working with them on A kind of. It made it more real to be involved in problem solving or working in partnership with other people. So it's really hard to go back to. My idea is enough.
