Studio visit: Anna Walker, picture book author and illustrator

Anna Walker is one of Australia’s most established and beloved picture book creators. She has published twenty-fivebooks in a career spanning twenty years. Her newest book, Florette, has just landed in bookstores and is a beautiful meditation on how to become comfortable with change.

I met Anna in her studio, a converted shirt factory she shares with a printmaker, an interior designer, a tea importer, and a book designer. You know you’re talking to a visual thinker when she says, “I wish I could respond to your questions with a painting instead of with words.” But as you read on, I think you’ll agree that Anna’s words more than suffice!

Starting out

Anna had the good fortune of knowing what she wanted, right from the get go. “I remember looking at the illustrations in a book of fairy tales and thinking, ‘Those are so beautiful; that’s what I want to do when I grow up,’” she said. How did she turn that early inclination into a rewarding career? It was hard, she explains, and there were obstacles, but she would “try to find ways of overcoming them.” Anna is petite but possesses a stubborn determination, to which she largely credits her success.

After studying graphic design at Swinburne University (where “there were no illustration courses,” she said), Anna set up shop straight out of school. Her parents ran their own business, so working for herself felt more like a natural step than a leap of faith. Besides, she says, “I had nothing to lose.” At first, it was all design work. Whenever there wasn’t enough work, she would invent briefs for herself and treat them as real commissions. After a few years, all of her work was illustration-based. Gradually, picture-book illustration became the foundation of her business.

The importance of presentation

For illustrators still building their businesses, Anna stresses the importance of presentation and attention to detail. Small details—like a visual link between your website and your business card—matter. She also suggests finding ways to put your work in front of potential clients, both online and in hard copy. This might mean incorporating an illustrated element into your email signature, or sending out postcards, bespoke holiday cards, or, occasionally, original artworks. “People don’t get that kind of thing very often,” she said, “and they appreciate it.”

Giving work space and time

Anna and her character Mae in Florette have something in common. They like to be immersed in an environment that is beautiful and familiar. While Anna’s studio retains the exposed brick and pipework of its industrial heritage, she has transformed it into a bright, welcoming space. It feels like a loft, though it is actually a basement.

Her desk looks out through an arched window at street level. She enjoys watching the passing foot traffic, including a Greek neighbor who always bends down to wave hello and children who look through her window.

“I’ve always shared a studio,” she said. “I go a bit crazy working by myself at home.” Having others around provides moral support and an exchange of ideas, both vital to a happy work life. And from a business perspective, having to meet an overhead (rent) pushes you to find work.

Just as important as environment is time. Anna devotes a year to each book, a pace that allows her to let the work develop fully, take on select commissions to subsidize her picture-book work, and be present for her three teenage children.

Personal style

Anna uses a variety of techniques in her work, including collage, woodblock printing, etching, watercolour, and ink. She’ll sometimes redo an illustration twelve times before she feels it’s right. Regardless of the method, her illustrations always seem to strike the perfect harmony between detail and simplicity.

Anna suggests not worrying too much about developing a personal style.  “It was years before people started saying, ‘I recognize your work,’” she said. “You can’t have a style until you’ve got a volume of work behind you. Just do the work.”

The power of knitting

Like many creatives, Anna references self-doubt as one of her biggest challenges. She tempers those unhelpful thoughts by running three times a week, sharing a studio, keeping in touch with other illustrators, and…knitting. Anna knows she’s bringing too much work anxiety home when her husband says, “Now, where’s your knitting?”

I asked Anna what she does with her ideas-in-waiting: ideas she’s had but hasn’t had the chance to use. Her response was golden. She thinks of ideas as little scraps of fabric. A book is like a sewing project: you assemble the bits you need, make a start, and keep going until it’s finished. “You don’t need to feel badly [about the ideas that] haven’t been used yet,” she said. “They’re just waiting there, ready to make the next thing.”

Meeting business challenges

For many illustrators, the biggest challenge is making a living. “Getting your folio out there and meeting with publishers is important,” she said. “When things are quiet, you worry about when the next job will come in. But that’s when it comes back to sending out postcards, freshening up your website, reminding people you’re here. If your focus is book illustration, joining the Australian Society of Authors is a must.”

Certain things, like cold calling and quoting, never get easier. Anna doesn’t have to do the former as much these days, but her motto when something’s difficult is: do it anyway. She suggests viewing cold calling, networking, or whatever “thing” you find difficult as just one part of your business.

If you’re not sure how much to charge for a job, Anna suggests talking to other illustrators. Take into consideration how the artwork is going to be used. Is it for one product, or multiple products? Will it be used locally, or globally? Also consider the duration of the usage license. Is it for one month? One year? In perpetuity?  “I don’t part with copyright for anybody,” she said. There’s a way to give the client what they need and protect yourself. As she explains, “An exclusive license has just as much weight as copyright.” Don’t be afraid to request amendments to your contract.

What’s next?

“I’m working on a book with Janie [Godwin, a long-time collaborator],” Anna explained, “and I’m also working on my own story about a walrus.” Anna often starts a project by crafting her character in toy form. She showed me a loosely stitched walrus plushy. “So far, that’s what I’ve got,” she laughed. Recently, the final step on her projects has become creating a book trailer using stop-motion animation.

“I’ve always believed in the picture book as an art form,” she said. “It’s important to me that every aspect is crafted to be the best it can be.”

For more about Anna Walker, visit annawalker.com.au.

Jo Watson is a Melbourne-based screenwriter and artist. Visit her on Instagram (@diaryofapicturebookmaker).

Photos by Jo Watson

What is (creative) leadership?

Discussions of leadership are all around us. Business titans and sportsmen offer up the secrets of leadership in countless “how-to” books lining the walls of airport bookstores, yet we hear less about creative leadership. We’re more likely to see a leadership book written by the captain of the Australian cricket team than by the director of a blockbuster film. Personally, I don’t think we give creative leaders the respect they deserve.

Have you ever stopped to ask: what actually is leadership?

We are told by employers and business coaches that we all should aspire to be leaders, but there’s actually very little agreement as to what leadership is. In 1994, one researcher wrote that more than seven thousand academic articles had been written on leadership. Even with all these words, no definitive definition has been agreed upon, then or since.

Different perspectives of leadership For some, leadership relates to hierarchy: those in management and in positions of authority or seniority. In art and culture, we often look toward artistic directors, gallery heads, CEOs, and general managers of our large institutions as examples of community leaders. But leadership is not management. The operational running of an enterprise is an exercise in the coordination of resources and administration; it’s not leadership, which is removed from day-to-day operations.

Theoretically, what constitutes leadership has changed over time. At first, leadership was considered an innate set of qualities identified in a lucky few. This was known as the “great man theory,” for obvious reasons. While the “leaders are born, not made” argument seems easy to dismiss, it has recently returned to popularity, with studies linking leadership to physical characteristics, such as height. Some have even claimed to uncover a “leadership gene.”

In the 1950s, focus shifted to understanding what leaders do. Leadership became a set of behaviours that could be learned and applied. We all could be leaders if we developed the right skills—a view still prevalent in the world of leadership development today. Unfortunately, this approach often neglects the environment in which leaders operate. In response, research began to consider the context, or situation, in which leadership occurs. In all these theories, leadership is embodied within an individual, with a strong focus (particularly since the 1990s) on characteristics such as charisma.

In more recent decades, however, there has been a shift to consider leadership as a more holistic concept. A widely shared TED talk by Derek Sivers, called “How to Start a Movement,” highlights the crucial role of the first follower. Critics of traditional leadership theory tell us that what we call “leadership” neglects the incredibly important role of followers. Leadership is not embodied in one man (or woman), but is a process that occurs between people. Without followers, there is no leadership.

For most of us, particularly anyone working in the creative sector, where, according to the 2011 Australian Census, more than 90 percent of people work in businesses of less than twenty employees, leadership can be something else entirely. Leadership in the creative sector is often what is known as distributed, or relational. It is a fluid process that exists in networked groups, which come together to achieve shared goals through collaborative processes. It doesn’t relate to job titles or pay grades, but emerges within a group to guide the team as needed at a particular moment, and may change from person to person as required.

Is creative leadership different than “regular” leadership? Discussion of creative leadership has echoed the development of leadership theory in many ways. Leadership in the creative sector has been studied predominantly from the organisational perspective, examining the intersection of the artistic and the administrative in large arts companies or institutions.

In today’s knowledge-driven economy, however, where companies aspire to be the next Apple, creativity and innovation are seen as “silver bullets,” leading many in the business world to examine creative leaders with renewed focus. Orchestra conductors, for example, with their ability to bring seventy musicians together into a single, cohesive musical unit, are seen as leadership role models by many. And theatre directors, who enlist diverse talents to construct and communicate a shared vision, are identified as great un-lockers of creative potential.

Leadership and creativity are similar in that they were both originally thought to be individual qualities. As in the “great man” theory of the past, creativity—or talent—was seen as a “gift” bestowed on a lucky few. We now know that creativity and leadership both emerge as processes between individuals, and can be fostered and shared.

For many, leadership has always been linked to the achievement of defined goals. But for a creative individual or organisation, goals might be harder to quantify than for a bank or retail organisation. Creative leadership is not as simple as breaking even, or delivering a return to shareholders. Leadership in the cultural sphere is, as Sydney Festival Director Wesley Enoch writes, “…creating space for opposing voices, about imaging a future, exploring the repercussions of our values and promulgating public debate through the work we make and the relationships we create.” (Source: “Take Me to Your Leader: the dilemma of cultural leadership,” issue 40 of Platform Papers).

Creative leadership is about more than meeting performance goals. It is about imagining a future for our communities, and bringing people together to communicate those visions. This is what makes creative leadership such an exciting concept.

What does this mean for you as a creative practitioner? When someone asks if you are a leader, do not measure yourself against an idealised, organisational version of leadership. Consider instead your vision and the ways you are achieving it in partnership with others. This is what makes you a leader.

Kim Goodwin is an academic researcher and arts manager with a background in leadership, human resources, and career development. Since leaving her corporate career, Kim has focussed on building understanding in how creative leaders are developed while working in a variety of arts organisations and academic environments. She can be found on LinkedIn, or follow her on Twitter (@KimAroundTown).

Interview with creative women: Renae Handy, Wallflower Floral Design

Based in the seaside suburb of Sandgate in north Brisbane, Wallflower Floral Design is the brainchild of Renae Handy, florist and all-round creative lady. Wallflower has had a steady rise since it started in 2015, and Renae and her four staff are kept on their toes arranging and delivering flower orders, creating floral bouquets and installations for weddings, and being part of events and photo shoots.

How did you come to being a florist?

My parents own a wholesale nursery and I grew up surrounded by plants. My first job was putting things in pots when I was six years old, working in the nursery. So it’s in my blood, the horticultural thing.

It all really started when I did the flowers for a friend’s wedding. I cut a whole lot of sunflowers from my dad’s neighbour’s farm and just arranged them. People loved it and I really liked doing it. So I started doing flowers for friends’ weddings for free and for fun… using Woolworths flowers!

Then I thought, maybe I could make this into a business. I registered the name and created an Instagram page. I did a cert II and cert III at a flower school after I opened the business. I didn’t write a business plan; I’ve just been following the tumbleweed!

I was that person who was always chopping and changing jobs. I went to see a career counsellor and said, “Look, I don’t know what to do with my life. I want to start a café, be a real estate agent, or be a florist.”

And she said, “If you want to start a café, you need money and a business degree. You’re too nice to be a real estate agent; that whole industry will destroy you. And florists, they don’t make money so don’t be a florist.”

For so many years I tried many different things, which has meant that this business has a really solid grounding.

What does a typical day look like for you?

Bunch colourful

I go to the market on Mondays and Thursdays and pick up whatever we need for our week’s orders and for the shop. On market days, I get up at four am—so if someone wants to be a florist and she’s not a morning person, it’s not the job for her!

While I’m at the market, I’m thinking on my feet, making decisions about what is going to work. If I’m buying for a wedding, I try to imagine the bride, which colours she looks good in, and what her vision is. When I’m buying for the shop, I have to think about what’s going to look good, what’s going to sell, and what’s going to last.

If you don’t make quick decisions, the florist behind you will probably snatch up the flowers. It’s a bit of a scramble in the mornings! It can be stressful, but also fun.

At around seven am., I bring back the boxes of flowers. Then the girls and I spend time preparing them. We use tools to take the foliage off the stems, then cut the stems and put them in water. That takes a long time. We do a lot of work to ensure the flowers last as long as possible. We then do all the orders, talk to customers, and make up arrangements. We get a lot of walk-in enquiries. I also do bride consultations, so I’ll talk with brides and do up quotes. We often get stylists and photographers coming in, too.

Then we might do some deliveries and close up around four or five pm. It’s a pretty busy day.

Describe your floral philosophy. What does a Wallflower arrangement look like?

Our arrangements are whimsical, textural, eclectic, and natural. We pride ourselves on not being predictable.

Traditionally, florists are trained to have a hero flower, like a big rose or lily, then a complementary flower, a filler flower, and some greenery. That’s the basic recipe; florists have used it for so long, over and over again. I think that’s one reason I was so passionate about starting this shop—because of that recipe and tradition. Flowers are so beautiful, but because they were being presented in such a bland structure, people lost appreciation for their natural beauty. I’m passionate about showcasing flowers in their natural form.

Arbour

What are the challenges of being a creative and an owner of a small business?

Some people think being a florist is a fairytale job, which sometimes it is because we do get to play with flowers. But sometimes it can be high pressure; it’s stressful to come up with something creative when you don’t have enough time.

Renae and flowers.crop

It’s hard to be a creative and a businessperson at the same time. I’m split down the middle. There’s the voice saying, “You’ve got to protect your brand. You’ve got to make money.” But then there’s the other side saying, “Stick to your true self, do what you love.” As an artist, you’re emotionally attached, and you take time to make something beautiful, but as a businessperson, time is money… It’s such a battle.

Another challenge is to ensure my staff are happy. I want to encourage them personally and to help them find their place in Wallflowe. If my staff isn’t happy, nothing works.

In my family, my dad’s the businessman and my mum’s the creative. My dad is my business mentor. Every Thursday, we have a family dinner and I talk to him about my business challenges. He gives me great advice.

What does the future hold for you and Wallflower?

It’s important to keep learning, so I’ve got my eye on some courses I’d like to do to challenge myself.

For Wallflower, I’d like to increase the scale of the work we do, and do more installations, events, and weddings. More connections and collaborations. I want us to stretch ourselves and what we can do. It’s an exciting time.

Renae’s floral creations can be viewed on the Wallflower Floral Design website, Facebook page, and on Instagram (@wallflower.floral.design).

Kate Shannon is a freelance writer based in Brisbane after many years living in Darwin. She spends a lot of her time in the garden with her two little girls, and loves writing and learning about creative people, flowers, and plants.    

Photos by Renae Handy (top, middle) and Kate Shannon (bottom).

Tax basics for small creative businesses

Just want to be creative and not think about your tax? So do most of us, however there are many administrative tasks to running a small business and sometimes they can get in the way of being creative and doing what you love. Unfortunately, most of these tasks are important and avoiding them can land you in trouble. Tax is definitely one of those things, admittedly one that a lot of people find the least enjoyable. Here are some tips to help you prepare for your tax.

Business versus individual It can be really easy to lose the distinction between “your” money and “the businesses’s” money, especially when you’re just starting out or are a sole trader. To make tax simpler, ensure that these are clearly defined. A simple way to do this is to have a business bank account in addition to your personal bank account, and make sure all funds going in and out for the business are coming from here. It’s not a bad idea to have a few business accounts, such as a savings account, a credit card, and a GST payment account (if applicable) that you can transfer funds into as sales are made.

Be ready Don’t leave it to the last minute; it is much easier if you prepare yourself as you go throughout the year. When it comes to your tax, you need supporting documentation. So instead of scrambling to find your receipts at the last minute, file them as you go. The ATO will accept electronic or paper receipts, so either scan and file them on your computer or put paper receipts into a folder. Find a system that works for you and is easily retrievable. The types of documentation that you are required to have are:

• Sales receipts
• Expense invoices
• Bank statements
• Credit card statements
• Employee records (wages, super, tax deductions, contracts, etc.)
• Vehicle reports
• List of debtors and creditors
• Assets purchases

Not great at filing as you go? Get a tray or plastic folder and just put them all in there. Then set yourself up a regular calendar reminder to spend thirty minutes each week or month doing your filing. That should be enough and will make tax time much easier.

Don’t forget, the ATO requires that you keep your records for five years, so make sure you keep your files once lodged.

Doing it yourself If you decide to lodge taxes yourself, you can use myGov as this is now for individuals and sole traders (e-tax has been replaced). This is an easy, quick, and secure way to lodge. Once you’ve opened a myGov account, you will get access to a number of useful calculators and tools. (Note: if using a tax agent, speak to him or her first before opening a myGov account.) There is also an ATO app that will help you record deductions, access online services, find key dates and set reminders, lodge and track your tax return, plus many other useful things. Find it in the Apple app store, on Google Play, or in the Windows phone store.

Small business tax concessions If your business is earning less than two million dollars (that’s gross income, excluding GST), you may be eligible for small business tax concessions, such as immediately writing off purchases under twenty thousand dollars. To see if you’re eligible, talk to your tax agent or check out the ATO website for more details.

Need more help? Get assistance from a small business qualified tax agent for peace of mind. There is no harm in knowing when to outsource help. Each business is different, so get a specialist to help you or have a look at the ATO’s digital services for small business tools; they may be helpful.

Being organised throughout the year will help with most aspects of running your business, and will make tax time, especially, more seamless and less stressful, allowing your creative juices to flow freely without added tax-time stress!

Jes Egan is a “practical creative” and very busy lady, doing the business in a digital agency and working as an artist and university lecturer. Follow her on Instagram at @paper_chap.

Branding basics: Building your brand

By Mirella Marie

Building a brand is one of the most important parts of business, yet also one of the most overlooked. For a brand to be sustainable, it must evolve with a business’s life cycle and meet the changing needs of its audience.

Here are five things to consider to when building your brand:

1. Vision

A strong brand starts with a vision. If you’re unsure what yours is, ask yourself the following:

• Who do you want to serve?
• What are your brand’s values?
• What is your “why”? (Meaning, why do you do what you do?)

Once you identify these points and present them in a clear way people can understand, you’ll start attracting an audience that shares those values and relates to your “why.”

2. Credibility

It’s natural that people will wonder if you can really deliver what you say you can, so having a quality designed brand identity and website is the first step to instilling trust in your audience. Testimonials, case studies (where applicable), and high-quality photos of your work will also help alleviate doubt, convey professionalism, and establish your expertise. Credibility by association is another way to positively shape people’s perceptions of your brand, so make an effort to align your business with leaders in your industry (and others) and people who are smarter than you.

3. Authenticity

There is no shortage of pretenders on the Internet, which is why being authentic is so important. While many businesses might have a tightly curated Instagram feed, people want to see what goes on behind the scenes because it’s more relatable. For example, showing sketches of your latest design will give people a look into your creative process instead of just the final product. Being true to yourself, knowing your brand, and injecting your personality into it will help you stand out in your competitive industry and attract people who resonate with you.

4. Visibility

Your brand needs to be visible in order for people to recognise it. Positioning your brand in front of the right people in the right places at the right times will keep your brand front of mind and help it become memorable. For example, if there’s an event your audience will be attending, find a way to promote your brand to them through that event. The more it is seen, the more likely people are to remember you when they need the products or services you offer. Never give people time to forget about you.

5. Consistency

As with anything, consistency is key to achieving results, and your brand is no different. Being consistent shows that you’re reliable; in turn, people will know what to expect when dealing with you. For example, having the same imagery across all your communications will encourage trust and brand recognition. If you’re consistent with when and how you communicate, your brand will grow sustainably.

Remember, your brand is one of your business’s most valuable assets and building it is an ongoing process that takes time, work, commitment, and passion to be successful.

Mirella Marie is the owner and creative director of Vertigo, a Melbourne-based graphic design studio specialising in brand identity and design. She is also a contributor for Women of Graphic Design, a project examining the work of female designers around the world. Join her on Instagram at @studiovertigo.

My Advice: Adding Value

By Andrea McArthur

How to define value and add value to your product or creative service for customers and clients.

It's a big question but one that can create a spark! I've always found that clients and customers are always happiest when they have their expectations met and exceeded. For me (being in design) it's really important to fulfil and exceed clients expectations it's what can set me apart from other designers.

Small business tweaks can pay off! It's the small details which manifest as your brand which show your worth. Showing that you care about your brand, your service and your presentation are all important details. When you strive for excellence - clients will see the additional value in your business.

But the best and truest form of value-add that I've seen in practice is showing that you understand your client's business and their needs. Clients are open to receiving recommendations. By going a step further and exploring tailored options you will blow their mind, add value and possibly have more work. Creative solutions show value and keeps clients coming back for more!

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Diana Scully, Principal (Interior) Designer www.spacesbydiana.com.au // Blog  www.spacesandplacesblog.com

Working in a service based industry, adding value to what I offer comes down to my relationships with clients and therefore can be different for each project I work on. For me, its about understanding what's important to my client, then going the extra mile to deliver it. This may seem obvious, but for me, it about supporting my client through the process in a way that best suits their needs.

For potential new clients I have set up a lifestyle blog Spaces and Places where I discuss topics of interests relating to interior design. Sometimes its about understanding how certain pieces of furniture can work in your home, where to go shopping or breaking down the process of design so that readers understand how to apply the idea into their own home. I've even set up a Handbook page which has a list of showrooms and stores I usually visit for client projects! I hope that by sharing my knowledge and experiences with the community, they receive a benefit from my services, even before they have engaged me.

Without a doubt, adding value to my business means improving customer service, as I've learnt, people are predominately emotional beings when it comes to their home. They are greatly impacted by warmth, friendliness, being helpful and supportive. This may sound simple, but to me, this is a crucial aspect of adding value when you work in a service based industry. A positive attitude and level of enthusiasm towards a project is what can distinguish your service from the next, especially if you're working in an industry where there's plenty of competition! I find that offering to manage aspects of the project like collect/return samples, process orders or make myself contactable, even after hours, are just a few little ways I can make the process more convenient and rewarding for my client.

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Steph Parsons and Micaela Cleave, Two of a Kind Events www.two-ofakind.com // Instagram  @two_ofakindevents

As we are still a young business (only a year and a half old) we are constantly asking ourselves how we can define the value we offer to our clients. As cliched as it sounds, so far it really has been a process of finding what works for us through a lot of trial and error. Event styling itself is sometimes a hard concept to define, with our clients often expecting a concrete product for their money.

Recently we have introduced a clear step-by-step process for each of our service pathways which our clients receive when they book with us. This acts as a reference point for them to see which stage of the event design process we are up to at any given time. We've found this to be really helpful with managing a client's expectations and ultimately allowing us to exceed those expectations.

We also think it's really important to be our authentic selves in all aspects of our business. This of course impacts the relationships we form with our clients, and is something that we can offer them that no one else can. We are our product, and staying true to that has allowed us to connect with like minded people who have ended up becoming friends along the way.

{Image by Geelong Advertiser}

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Andrea Finch, Graphic Designer & Virtual Assistant www.andreafinch.com.au // Twitter  @andreafinch_

I'm great at delivering exactly what I promise, when I promise. My clients are always impressed with what I have to offer. But I can do more by going the extra mile.

Here are three things that I do to add value that you might also find helpful.

Creativity. When I'm designing a logo for a client, I go the extra mile and also save it out at the right size for their profile picture for their Facebook business page. This might seem little but it creates a big impact on the client. I try to be creative and think of something small that I can include to delight my clients.

Professional Advice. As a supplier, I have the chance to offer a professional perspective on a clients’ business. My advice can help take them to the next critical step in growing their business (winner!). Professional advice could play a huge role in highlighting issues a client may not have yet considered, and if that input can help them reach big results, then the added value will be appreciated.

Communication. I’m a strong believer that you can’t do business without communication. It is the key ingredient to running a successful business. Ensuring I keep clients up to date with where I am at with their project (even if they don’t ask) is not only good work ethic but it tends to give me brownie points when you’re keeping them in the loop.

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Thanks ladies for opening up and explaining some of your processes that work to add value in your creative businesses.

Andrea McArthur (www.andyjane.com) has a passion for all things visual and works as an Art Director and Designer for the Brisbane Festival. Design is her true love and she goes weak at the knees over strategic branding. You’ll find her sharing on Instagram @andyjanemc.

My Advice: Conquering creative doubt

By Andrea McArthur Have you experienced the voice that creeps in – asking you: What if? What if it doesn't work out, what if people don't like what I've done, what if this is less than perfect? But what if you could be more courageous and positive, then you could accomplish your goals, be happier and even more creative. Today, we ask three CWC Members for their advice when it comes to conquering doubt in your creative work, projects and life.

Kate James, Career and Life Coach, Total Balance

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Every creative person I’ve ever worked with has told me they experience days filled with self-doubt. Ironically, it’s often the people with exceptional talent who are afflicted most.

When you’re going through a patch of creative doubt, it’s important to remember that you’re not alone, it’s completely normal and it does pass. You just need to make sure it doesn’t become an excuse to sabotage your practice or give up on your dreams. Try these tips to help you over a creative hump.

Make space in your life Sometimes this is easier said than done, particularly if you’re balancing parenting with work. If possible, clear your diary for a day and give yourself time to rest and to breathe. Revisit your ‘to do’ list to work out your real priorities and give yourself time to recharge. A little bit of rest will do wonders for your creativity.

Move your body, get into nature Get away from your desk, your computer or your studio and out into nature. Take a walk, go for a swim or just lie on the grass and look up at the trees. Let your mind move away from your creative challenges and as best you can, be completely in the moment.

Stop comparing yourself It’s not helpful to look through Instagram and compare your life with the lives of others. It may look like people are doing way more interesting things than you but remember, even those who look enormously happy and successful from the outside have days of self-doubt too.

Keep at it Once you’ve given yourself some breathing space, get back to your craft as quickly as you can. Break your bigger goals into manageable little chunks so you can tick one thing off your list today. This will feel like an achievement in itself.

Don't let self-belief come second Self-belief is a by-product of behaviour, which means you don’t need to wait until you’re confident to do something that takes you out of your comfort zone - just keep doing and the confidence will eventually come.

Elizabeth Geddes, Creative Director and Copywriter, Chops for Tea

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There's always an answer, and often it's right there in the [project] brief.

Perhaps your doubt comes from the feeling of wandering aimlessly with no direction because the brief is non-existent, woolly or too generic. A good brief gives you boundaries, a measuring stick and finish line all in one. When starting a project, at the very minimum get your brief in writing in an email from your client. Or, after a conversation, write the brief yourself, email it to the client and get them to acknowledge it. With a brief you can prove you have answered what the client has asked for. Plus, if you have no written contract with your client then the brief is justification for getting paid.

As for how creative the solution is depends on the creativity, aesthetics and bravery of you, the client, and people higher up the client's chain of command. Always make sure that the person giving the final approval has signed off on the brief (and the costs!) before you even start.

I'm about the idea first, execution second. You can put lipstick on a pig but that's not fooling anyone. So here's the crux: and it's something I heard Siimon Reynolds say on one of those Andrew Denton TV shows in the 80s. Siimon was a creative director (famously of Grey at only 21) and so dealt in advertising concepts. For a brief he would exhaust his well of ideas — say 100+ concepts. Then he'd dig some more. It's about getting all the expected stuff out of your head first so it doesn't rattle around, and allows the more obscure stuff to be mined.

Another thing Siimon said was use a dictionary (or any book really). Open a page, randomly take a word and build an appropriate concept around it. I still do this to this day. My favourite projects are naming jobs. A combination of the Macquarie dictionary, Roget's thesaurus, serendipity and diving head first down rabbit holes from the Google search results page always gets me the right answer, and the confidence I need to quash any doubts that I'm not on the right track.

Kate Taylor, Business Owner and Creator, Taylor and Cloth

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Just create!

I find the best way to conquer creative doubt is to just create! I know that not everything I make will be good enough to blog about or sell, but that's not what it's about for me anyway. I love making things and using my creative brain. I enjoy actively trying to come up with ideas and then taking the time to nut them out. If the ideas work and I'm happy with the outcome, then great! If not, but I really want the idea to work, I'll talk to my Mum. She’s an old school maker! She crochets like a demon and we both get seriously excited about craft. So if the idea is good but it's not working out like I hoped, talking about it with her will always lead to an outcome, either we find a solution, create a better idea or we leave it! In which case I just put it away and try not to stress about it.

All creative ideas are relevant and more often than not they lead to others. For me its about the ideas that come while you are busy working on something. It can start off as one thing and then you have an idea that takes you in completely different direction and you love that idea so much more than the first.

To break it down my advice for conquering creative doubt is as follows:

1. The best way to conquer creative doubt is to just create! 2. Don't worry about the outcome, focus on the creative journey and watch one idea turn into more. 3. Surround yourself with creative people or find a creative person you can bounce ideas off. 4. Its ok to get feedback (read: personal cheer squad) as long as deep down you are happy with what you have created. 5. Make creating the goal rather than focusing on the outcome. 6. Above all, don’t forget to have fun.

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Thank you ladies for sharing your own experiences and tips for conquering creative self-doubt.

Andrea McArthur (www.andyjane.com) has a passion for all things visual and works as an Art Director and Designer for the Brisbane Festival. Design is her true love and she goes weak at the knees over strategic branding. You’ll find her sharing on Instagram @andyjanemc.