Interview: Tamar Kali

Tamar Kali is fierce. She's also obervant, intelligent, worldly, artistic and maybe even a little bit of a romantic. A few years ago I caught her pyscho-acoustic set up in Harlem and it felt like going to church. At least my fictionalized dream of what church should be. Join her for a drink or see her live show and you realize that she is who she is. There's no front and there's no room for pretense. 

How would you describe you what is it that you do?

I’m a performer, composer, vocalist and songwriter.

Is there another artist from whom you draw inspiration?

Many. Musically my inspiration ranges from Beethoven to Bad Brains with some Riot Grrl and Grace Jones in between.

Have you ever had a mentor? If so, who was he/she and what was the single greatest lesson you learned from them?

I have a range of artist mentors in ‘the business’ from older more experienced artists to programming directors at cultural art centers who have helped to facilitate the space and opportunities to broaden my forms of expression.

You’re creative vision spans different musical style and includes dance and other theatrical elements. Sometimes, but not always, these elements overlap. How much do integrate, or separate, your interests from one another?

In terms of the different mediums I use for artistic expression, they do overlap out of necessity or serendipity but I have never made the conscious decision to integrate them.

I am first and foremost, a musician, dance is my second art and I use it as a means of buffering the hazards of doing music professionally. It’s all love, no risk, no stress. I am also inclined in the visual arts and get to utilise that expression in designing promotional materials for my music: cd covers, flyers etc.

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?

I am a second generation musician and ran from the thought of being an artist initially. I went to University to pursue a BA in education but that was short lived. I worked in retail in my 20’s while playing out in bands and when dance came back in to my life I was able to transition into a full time working artist as a group fitness and dance instructor to supplement when I wasn’t gigging or on the road.

What is the most challenging thing about practicing your craft? How do you deal with that challenge?

NYC is one of the most expensive cities in the world. The hustle gets in the way of the practice. It can be a struggle to balance managing the cost of living while trying to immerse myself in the work. Full immersion is what’s on the golden pedestal for me.

Do you still practice? If so, what do your practice sessions look like?

My ‘practice’ is in a constant state of reconstruction (as per my previous answer) I mostly prepare but hope to be able to say that I practice daily soon.

Where do you find inspiration?

Through life experiences but I’ve learned that I really have to engage to receive it. I can’t be a bystander in my ownlife or just muddling through. When I am fully engaged whether in challenge or celebration, wholly giving myself over to the experience of live as opposed to just going through the motions; I am inspired.

Where are you when you have the most a-ha moments?

In the midst of problem solving or when being confronted with an unexpected challenge.

What do you do to maintain a creative flow?

Open up and dig in.

How much do you rely on feedback from other to help shape your ideas?

I share with folks I have a deep respect, for who I know will give candid, earnest love-based criticism.

What is the greatest obstacle to creativity?

Self doubt.

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?

I feel very blessed to visualize and manifest my visions pretty spot on. It’s how I create imagery for performances and shows and write music. I hear everything as a complete piece in my mind, separate the sounds, transcribe and execute.

How do you know when you’re done?

When I’m empty again.

How do you resolve creative differences with clients or creative partners?

When entering a collaborative project I am very open and don’t usually meet challenges I think it’s because it is not a standard in the work I do as a solo composer and artist so when I do collaborate I have specifically chosen my partner based on synchronicity.

What keeps you motivated even if you don’t connect personally with the project?

n/a

What do you do when you are stuck and have some sort of deadline or other pressure?

Push through!!! I can’t allow myself to be burdened by the fear or anxiety. I just go in hard ‘til I’m done.

How do you achieve your creative vision with a limited budget?

Adapt it becomes a work in progress with room to grow into the complete vision.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.

Heart, my voice and my guitar.

What are the top 3 creative habits that have proven to be the most useful for you in your career?

Funny enough I believe it is personal life practices that have helped me the most in my career, time and space to breathe and release or enjoy the creativity of others the afford me the opportunity to problem solve and create from a clear space.

If you could offer a single piece of advice to a budding professional, what would it be?

Be clear and very honest as to what it is that you actually want to create/do and then work backwards from the ultimate goal sketching out the steps required to achieve it. Things will ebb and flow but that clarity (truthfulness with yourself) is everything.

Learn more about Tamar Kali

Interview: TINA GUO-MORABITO

Tina Guo-Morabito is an internationally known cellist, a photographer, a philosopher of metaphysics, and a really nice person. She expresses all of these loves and skills daily and with a level of commitment that suggests she really enjoys what she's doing and respects her creative/intellectual pursuits enough to do them well. And she doesn't just do them well, she kicks their asses.

How would you describe you what is it that you do?

I play the cello and the electric cello.  Classical, Metal, and New Age are my favorite genres to dabble in.

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?

Both of my parents are classical musicians and I guess I just grew up assuming I would also be a musician.  I went to USC to study classical cello, and that’s when I started performing and doing recording sessions professionally.

You have a distinctive image how did this develop? Is this a deliberate step away from the conservatism of classical music?

I always did have a desire to be different and stand out in a way, as I’m sure everyone does- but I don’t feel that my image was something deliberately created for any other reason than to just express what is inside me.  For as long as I can remember, I was always attracted to all things dark and goth.  Hence, all of my music and art has been a mixture of a very conservative and classical upbringing with my curiosity about the other side- I think my image manifested naturally from that.

What kind of music do you listen so for inspiration?

My favorite cellist is Jacqueline du Pre, but of course Yo-Yo Ma, Han Na Chang, Rostropovich- are all geniuses and amazing. I’m also a big fan of Metal and Industrial Metal, and love Rammstein-  Finally, Cinematic Music is, to me, the perfect blend of all genres of music and I love listening to different soundtracks and trailer music.

What is the most challenging thing about practicing your craft? How do you deal with that challenge?

For me, maintaining focus and creating a regimented schedule for myself is always a bit of a battle.  Sometimes I’ll have a good run where I wake up early, practice for hours, remain focused- and some days I feel super lazy and have to force myself to even practice for a few minutes!  For me, I practice predominantly on the classical cello, and if I don’t have an upcoming recital or concert to prepare for, it’s hard to force myself to practice.  For that reason, I try to always have at least one classical appearance every other month or so to help myself maintain focus.  It’s easy for me to get lost in my studio writing and recording music, and I love recording music for other composers and artists- but to maintain my actual technical skill requires dedication and focus, that would be my biggest challenge.

Do you still practice? If so, what do your practice sessions look like?

If I’m learning a new piece of music, my practice sessions are long and slow- upon embarking on a new concerto for example, I usually research first on youtube other cellists and how they interpret the piece.  Then I play through the entire thing to get a general feel, and begin the process of detail work- one note at a time, with careful repetitions of difficult passages, to build familiarity and muscle memory.  Once the technical aspects and memorization feels okay, I work on interpretation, try playing in different phrasing/bowings, etc.   

Where do you find inspiration?

Music is an expression of ourselves, and an expression of our deepest emotions-  I find inspiration in my experiences, my internal battles, and my hope.

Where are you when you have the most a-ha moments?

Usually when I’m driving or sitting on a plane… long periods of almost meditational nothingness.  My mind is usually too full of thoughts and ideas, but when I’m in a situation where I’m forced to be silent, musical ideas, as well as general a-ha moments about life in general pop up.  

What do you do to maintain a creative flow?

Listening to music, the radio, different genres of music, and keeping new ideas flowing in helps feed new ideas into the stream-  I’m usually pretty motivated myself though, to continue creating new art--- it’s all I’ve done since I started cello at age 7, so by now it’s like sleeping and eating to make music as much as I can and hope that others can find some kind of pleasure in it as well.

How much do you rely on feedback from other to help shape your ideas?

Compliments are always great and easy to handle, but I try to listen to honest criticism despite not wanting to.  Usually it starts with my defenses immediately rising, but after a few minutes of calming down, my mind always wanders back to whatever comment was made and I try my best to evaluate purely logically if what they said is right- and usually, there always is something I can learn from critique.  I think that as a human being as well as a musician, responding to feedback one way or the other, and constantly evolving and learning is an important thing to do.

What is the greatest obstacle to creativity?

Everything for me is emotional.  If there is something in my personal life that’s wrong, it’s still possible for me to force myself to practice and work, but I find it very hard to concentrate.  My creativity doesn’t function well when there’s unrest inside-  but often that eventually later becomes a source of inspiration and creativity.  I need some level of serenity and peace to be open to receiving inspiration and creative ideas.

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?

I actually don’t think there is a right or wrong- if I started writing a piece of music that was supposed to be one way but ended up in a completely different genre altogether, it was meant to be that way.  Of course for larger concept projects, like the Metal EP I’m working on at the moment- everything is analyzed and mapped out carefully, so it will not very likely turn into a polka album.  I think it depends on the situation and project. 

How do you know when you’re done?

When I hear a piece or see a video and it feels right, I know it’s the right time.

How do you resolve creative differences with clients or creative partners?

That’s a tricky one!  I’ve found ways to work with different people- with clients, I’ve never had an issue performing or recording for anyone.  With creative partners, it becomes more of a personal thing, and sometimes it can be hard especially if you’re also in a personal relationship.  With my husband, we have a music production company together specializing in music for licensing and trailers, and have found a good way to work together where we are not limiting each other’s creativity and only add input that is invited and enhances each other’s original output.  I try to remind myself that having creative differences is the same thing as personal differences- no two people will feel the exact same way about music, pizza, religion- it’s best to find a way to coexist peacefully and connect at the areas at which you do agree.  

What keeps you motivated even if you don’t connect personally with the project?

I tell myself that I always have something new to learn from every person and every experience.

What do you do when you are stuck and have some sort of deadline or other pressure?

I drink coffee… eat chocolate… maybe cry or scream or both, and then write down exactly what I need to do with the most pressing matter on top and begin in a calm state to cross out each item on the list.  Clearing your mind and your energy, and stepping away from what you’re trying to do for a moment is the best way to move out of panic mode, although that is difficult to do!

How do you achieve your creative vision with a limited budget?

I’ve been lucky to work with so many talented and creative people.  For my own classical, new age, and cinematic music, I record most of it myself at my home studio.  For rock/metal, I do go into the studio to have everything recorded professionally.  In the past, I’ve put all of my personal savings into a music video or project because it was just something I felt like I needed to create and was willing to take the sacrifice.  On a more logistical level, I often trade musical recording services with friends: 1 hour of cello-ing for their project in exchange of 1 hour of their drum/guitar/bass recording for mine.  It’s a great way to collaborate, support each other, and help with the budget issue.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.

My instruments.  My Mac computers and programs on it- Logic, Lightroom, etc.  And also the Voice Memo app on my iPhone for song ideas I get while driving that I sing (badly) into my phone to be kept for future writing/recording sessions in the studio.  

What are the top 3 creative habits that have proven to be the most useful for you in your career?

1. Persistence - persistent practicing, persistent building of my musical skills because in the end, underneath the image and pictures and videos is the music.

2. Self Promotion via lots of creative output- I create new songs and music videos, tutorial videos, etc. as much as I can and share it online- I’ve had so many amazing opportunities through the internet and from not being shy about sharing my music.

3. Flexibility- learning to be flexible, to go with the flow and remain positive.  Always reminding myself that there is something to be learned from every situation, and to constantly try to grow as a musician.  Being able to improvise and learning to play in different styles has also helped my career as a recording musician very much as well.   

If you could offer a single piece of advice to a budding professional, what would it be?

Work hard and work smart- and be persistent and kind to everyone.

Learn more about Tina Guo

Interview: Baba Israel

I almost never bump into Baba Israel in NYC but the past two times I've been in Amsterdam I've seen him on the street. The same street, outside a cafe called Baba's. He's like that. He gives and receives creative energy equally and, as a consequence, things just seem to happen around him. He manifests opportunity and, as a poet, an artist, a teacher, an emcee and a beatboxer he's always involved in something interesting.

How would you describe you what is it that you do?

I am an artist, producer, educator and an improviser. I was raised in NYC and found my creative voice in Hip Hop culture. I was raised in political and community based theatre and that is a big influence on my choices and focus. Specifically I am an emcee, writer, beatboxer, beatmaker, and theatre director. 

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?

I have always been an artist and spent the early years doing a lot of free and street performance. When I moved to Australia I learned more about both the commercial industry and the arts sector. After many years as a freelance artist and educator I made the move to the UK and got a position as the AD/CEO of a venue called Contact. I spent 3.5 years running the org and learned a lot about the other side of the arts. My focus was programming, curating, artist development, producing, and directing. In 2011 my father passed and it meant a return to NY and a return to being a freelance artist. I learned a lot about what it takes to be a sustainable artist during my time at Contact.

What is the most challenging thing about practicing your craft? How do you deal with that challenge?

The greatest challenge for me is balancing the time it takes to raise funds, book gigs, and build audiences with the actual process of creating and performing work. I am dealing with this by building a team and creating infrastructure to support the business of being an artist. In the past I tried to do everything by myself- management, marketing, fundraising, booking, networking. This did not leave a lot of time to be an artist and limited my reach. I have spent the last year building producing infrasture for my theatre show in collaboration with Leo Kay and his company Unfinished Business and have secured a manager/publicist for my music project. I am starting to feel the real benefits of this.    

Do you still practice? If so, what do your practice sessions look like?

I practice beatboxing all the time. I practice while walking down the street, on the subway, while cooking, and looking after my daughter. I practice freestlying as an emcee in a similar way. I am starting regular practice sessions with my collaborators and its been great to get back in a rehearsal room with a live band. I have built a relationship with Funkadeilc studios in NYC which is a great space to jam.

Where do you find inspiration?

I find inspiration through improvisation.. I recently  finished  a music video shoot with Emmy award winning director David Barnes. We decided to make a video.. there were not storyboards.. no long meetings.. we hit the street and worked with the environment..Rhyming in a snowstorm at 4am will get you some great shots.. we developed the Snow Graffiti technique. I also get inspiration from collaboration.. from a meaningful connection with a fellow artists. I like to build community and collaborate with my community.

Where are you when you have the most a-ha moments?

• Shower
• Train
• Plane
• In between sleep and waking
• Walking

What do you do to maintain a creative flow?

I think stress and anxiety are challenges to creative flow- I have been practicing tai-chi and trying to be more disciplined about exercise. I also try to read interesting articles and books, travel, and make a point to connect with older and young artists who give me great perspective. It is also important to go see other peoples work or take time to listen to other music.

How much do you rely on feedback from other to help shape your ideas?

I like to share my creative process informally in conversations, or at open mics and jam sessions, as well as structured feedback sessions. Feedback can be useful but I think its important to ask for it when you are ready to digest it.

What is the greatest obstacle to creativity?

Mindstate.

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?

I try to keep open and wants whats best for the project- if it radically transforms and it feels like the most creativity and intgreity have been achieved! I am cool!

How do you know when you’re done?

Sometimes you just have to be brave and say that's it! sometimes it an intuitive feeling, sometime its simply times up!

How do you resolve creative differences with clients or creative partners?

I try to take a process approach, a lot of self-reflection and then get clear on both sides of the issue.. Listening is key and building awareness about the others perspective. Ultimately though you can find some compromises but you have to a line that you wont cross.

What keeps you motivated even if you don’t connect personally with the project?

Sometimes to be honest its the money I am earning but I always try to find something I can learn from the project.

What do you do when you are stuck and have some sort of deadline or other pressure?

I like pressure.. but when it becomes to much I have mentors I can reach out to and also release energy by playing b-ball

How do you achieve your creative vision with a limited budget?

Utilise the resources that are free or based on exhange- I live in a city full of possibilty and have such a talented and creative community I am not afraid to call on their support when the time is right.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.

Google drive, headphones, iphone.

What are the top 3 creative habits that have proven to be the most useful for you in your career?

Developing my memory, focusing on the fun of it all, and building community.

If you could offer a single piece of advice to a budding professional, what would it be?

Develop a team and learn how to delegate while maintaining a long terms vision and strategy.

Interview: Pete List

In addition to being a good friend Pete is an animator, multi-instrumentalist, and beatboxer. Over the years we've collaborated on a number of musical projects, such as our band Djinn, and I'm always amazed by his abilities as a technician and an artist with a distinct vision. He's ambitious, a perfectionist, and he lays down some phat beats. After all these years it's interesting to get some insight into his creative process.

How would you describe you what is it that you do?

I’m a multimedia character animator and composer. I create hand drawn animation, stop motion, photo animation, clay, but always animating characters. I play a number of different instruments, but I think of myself more as a composer than a musician.

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?

I’ve always been interested in animation. I love the work. On one hand, the logic of the math, physics, and timing of motion to create movement with weight and realism, and on the other the magic of giving life and expression and emotion to an inanimate objects.

Music has always been a natural expression for me. I think my interest again is the contrast of the logic and math of rhythm and notes with the intangible emotional expression of music.

What is the most challenging thing about practicing your craft? How do you deal with that challenge?

With animation, I work a lot by myself. Sometimes this can make me a bit crazy. I’ve often rented a work space just to have a social outlet during my work day. Also, I find my music life provides a social balance to my often isolated animation work.

Do you still practice? If so, what do your practice sessions look like?

These days, usually my practice is my work. With music, the only time I really practice is when I have a deadline. When I have a show, I finish songs and practice intently. Otherwise I noodle.

With animation, I never practice. Every job is a bit different, and most of the work has limited time to complete. You have to get it right the first time. There is no time for practice. I've done enough animation, that I just trust my instinct and do it.

Where do you find inspiration?

Most of my music ideas come from other music. When I hear music I like, I usually copy some part of the idea of that music, whether is is the rhythm or part of the melody or something of the sensibility. As the idea develops, it usually changes enough that the original influence is not obvious to anyone but me.

I've been hired on occasion to replace music. In this case someone has created video of a choreography, or a piece of animation to some music which they cannot get permission to use or cannot afford the rights to. I have to match the tempo and feel and certain moments of the existing composition. It's an interesting way to create. The first time I did a project like this, I thought the music would come out as an identifiable copy of the original, but the final piece was significantly different. It was an amazing experience. I found that when working within a strict structure, sometimes creativity comes easier. And it forced me to create music I never would have made otherwise.

Where are you when you have the most a-ha moments?

After the fact. Most of these moments occur for me when I'm reflecting on finished animation after I've had an extremely tight deadline or had to work under pressure. At those times I have a tendency to think less and make decisions instinctively. That's when I tend to do some of my best work. Sometimes I don't even remember the best parts of this kind of work until I see the final edit.

What do you do to maintain a creative flow?

Stop thinking. I try to do planning and thinking at the beginning and then stop thinking.

How much do you rely on feedback from other to help shape your ideas?

Feedback is always helpful for me. It gives me ideas. I don't necessarily follow feedback directly, but I usually try to use feedback as a way to identify what is not working. In my experience, a client will always know what they don't like, but they can't always identify why or vocalize what they do want. When a client asks for specific revisions I find I need to try to understand the issues behind the suggested revisions.

What is the greatest obstacle to creativity?

Focus and time. I had a friend in college who had some brilliant ideas for visual art and could talk about them for hours, but he could never seem to sit down and make them. We used to joke that he was the ultimate conceptual artist because his art was never more than an idea. I seem to have an unlimited number of ideas with images, music, animation. My greatest weakness is focus and followthrough. Making time is always a challenge. I've been trying recently to schedule time to be creative. This may seem like a bit of an oxymoron, but there is always an element of work to being creative, and scheduling time to be creative is an idea I'm trying to implement in my life.

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?

Not often. I've gotten to a point with my animation where I try not to conceptualize too much. I tend to work front to back and see what happens. I also have a tendency to do finish work first. Not always a great idea, but I'm lucky enough to have a bit of creative breathing room most of the time. I've been making films from children's books for the last 7 or 8 years. With these projects there is a map to go from (the original book), so I just start to work front to back. I don't usually conceptualize and rough out. I just go. I trust that it will hold together in the end and many times it comes out better than I expect.

I think this also stems from doing stop motion commercial work. Many times on these jobs, I plan what I'm doing to develop an idea of what I'd like to see, and I then start to animate and stop to think. With commercials, you must work fast and do it right the first time. You have to trust your instinct. Often with this kind of work, there is a hitch. The animation models don't move quite the way you want, or the framing doesn't allow for certain action, so I try not to have a concrete idea of what I'm striving for... more of a gesture.

How do you know when you’re done?

Usually when I'm out of time. If I have a deadline, I'm usually done when I think it's "good enough". I'm a bit of a perfectionist, so good enough is usually better than it needs to be.

If I have no deadline, it's done when changes don't seem to improve anything. There is a point when more work makes the result less.

I learned a great lesson when I was directing a job once. We got to a point with the work when the client was happy. I was not. I wanted to make a few more changes, but the producer protested. He said, "The client is happy. The job is done." Sometimes it's that simple.

How do you resolve creative differences with clients or creative partners?

Usually I am in charge or I am a hired hand, so my role is pretty clear. I also try to keep perspective on what the intent of the work is. For commercial work, in the end, the client is always right. Even when they are wrong.

What keeps you motivated even if you don’t connect personally with the project?

I usually find something I enjoy in all my work. I enjoy process, especially with animation. I love animating. When a project doesn't appeal to me, usually the actual act of animating is enough for me. Luckily, I've had a lot of varied and interesting jobs. Being a freelancer, many jobs are short and most are very different from each other. And usually there is enough of a challenge or at least an element that I enjoy, that I'm never really without motivation. Occasionally a job holds very little interest, and then a paycheck has to be enough motivation.

What do you do when you are stuck and have some sort of deadline or other pressure?

• Switch it up for a moment. Play some guitar. Play a video game.

• Ask a friend. Sometimes a fresh perspective helps.

• Or just work on a different aspect of the project.

• Or just work through it. I find a lot of solutions result from making a draft. For me many times the draft is close to, or actually, the final.

How do you achieve your creative vision with a limited budget?

Simplicity. Most of the time simpler is better. When you have a limited budget, simplicity is usually necessary. I also know that I tend not to work simply, so I've also learned to say no to low budget work unless there is a personal stake of some kind in it. Saying no is hard, but sometimes it's for the better.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.

For song writing, a guitar, my looping pedal setup and a room to myself. For animation, Flash, After Effects, instinct.

What are the top 3 creative habits that have proven to be the most useful for you in your career?

1. Be willing to throw away your work. Everything always changes. Being precious about work or ideas stops you from moving forward.

2. Work through it. When I'm stuck, sometimes I just have to keep doing, and the problem works itself out.

2 ½. When working through it doesn't help, leave it until tomorrow.

3. Keep a regular schedule. I find that I wake up every day around the same time. I start and end work around the same time. As a freelancer, this is really important for my productivity. When possible, I try not to work more than 8 hours a day. In my experience, sometimes the work of two 8 hour days is equal to the work of two 12 hour days because after a certain amount of time, I'm just not effectively productive.

If you could offer a single piece of advice to a budding professional, what would it be?

Be flexible. Enjoy the process, and don't be too precious with your ideas. Be open to the idea that your work and your life will likely go in a different direction than you expect.

Visit Pete's website for more info

Interview: Ryan Daniel Beck

Ryan Daniel Beck is a contemporary dancer, choreographer, and visual artist. I'm not sure if he'd describe himself as a philosopher but, after reading his interview, I'm sure you'll agree he's an active thinker on a whole bunch of levels.

How would you describe you what is it that you do?

I consider myself a visual art teacher, working through the medium of dance. Unlike the static forms of sculpture, photography, or painting, my medium is constantly changing and evolving, but the underlying principles of visual art remain constant.

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?

Prior to teaching and choreographing, I was a working dancer, performing around the world. I danced for Beyonce, Black Eyed Peas, as well as concert work with MOMIX, Danny Ezralow, and Dario Vaccaro.

What is the most challenging thing about practicing your craft? How do you deal with that challenge?

The biggest challenge for choreographers and teachers relates to funding and time management. Fortunately, I have had some serendipitous opportunities that allowed me to pursue choreography and teaching in an unfettered way. I know many teachers and choreographers who simultaneously juggle multiple jobs just to continue practicing their craft. It must be a labor of true love, otherwise it would be too frustrating and unsustainable.

Do you still practice? If so, what do your practice sessions look like?

My personal practice sessions are primarily geared toward conditioning and maintenance of my own instrument (the body). I ask a great deal from my dancers, and I believe in leading by example. I would never ask a dancer to do something that I am not able to physically demonstrate (knock on wood).

Where do you find inspiration?

Inspiration for me comes in the form of a curious mind. I strive to maintain an attitude and environment of saying “yes” when a new experience presents itself.  Whether it is a food I’ve never tried, a location I’ve never seen, a film I’ve never viewed...whatever. As a visual artist, shapes, forms, textures, lines, geometry, symmetry, asymmetry all inspire my movement in different ways.  And all these things give me information when I am developing new processes of creation. The final dance is just a documentation of the process that my dancers and I conducted.

Where are you when you have the most a-ha moments?

Usually in the dance studio. There is a quote that says, “Creativity is making mistakes, Art is knowing which ones to keep.” When I am in the studio with dancers, we intentionally create a playful atmosphere, that allows us to make lots of “mistakes.” My job is to select a handful of these “mistakes” and mold them in a meaningful, mindful way.

What do you do to maintain a creative flow?

One of my personal favorite exercises, involves the Russian Turkish bath on East 10th. It is wonderfully shabby establishment, rich in history and culture. The heat is almost unbearably intense, and will “creatively meditate” in that warm darkness. Something about the tranquility of the flowing water and the visceral sting of the radiant heat, creates a highly sensory mental place that feeds my creativity immensely. My mind goes wild when I am there.

How much do you rely on feedback from others to help shape your ideas?

Feedback is helpful when I am creating an immersive environment for the audience. However, if I am making a statement through my work, I am more concerned with the authentic justification that I use as the foundation for my movement. And since this authenticity originates internally, I tend to disregard outside feedback, since it lacks the perspective that I have in the first person. Its like putting on noise cancelling headphones to create the sensitivity required to hear your inner voice.

What is the greatest obstacle to creativity?

If you work from a process-based approach, you must take into account that the process will yield a final product, but it might take some time. Its like waiting for a seed to germinate. The commercial market demands high productivity and prolific content. But the smart artist knows that each process is different, and sometimes quality takes time. For example, Pina Bausch would create just one show a year, since six months of rehearsal was dedicated to research. For Richard Serra’s first show, his process involved hundreds of experiments with different material combinations, resulting in just few, interesting “mistakes” that made the final cut and were included in the gallery exhibition. But it literally takes hours and hours to drudge through the “process” before the final product reveals itself.   

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?

It depends on the client and the project. If I am working in a commercial environment, it is more important that the client is satisfied and happy with the result. So in this instance, I play a much more active role in making sure that the result falls within “industry standard.” Its as if a client says, “I want something that tastes like a Caramel Machiatto from Starbucks.” Well, in that instance, I am not going to generate a process that “might” yield a product that tastes like a dirty martini. It must fall within the client’s expectations, but with a “signature twist”. Using the coffee analogy, I would make sure that the product tastes like Starbucks, but was served in far more sophisticated glass, with an unexpected flourish of cinnamon garnish. In this way, the client is satisfied, and I can walk away from the project having improved the original concept. On the other hand, if I have the luxury of time and there are no pre-determined expectations to be met, I love to go on a wild adventure, without any notion of where the final product will take us!

How do you know when you’re done?

In the same way you know that you are done eating...you feel full and satisfied

How do you resolve creative differences with clients or creative partners?

If its a commercial client, the trick is to allow them to think that the idea was their own. This is especially true if I am dealing with a middle manager, who is trying to impress their superior (CEO, director, etc)  I am more than happy to lavish credit on someone for an artistic choice, knowing that the long term dividends are more valuable than short term validation. On the other hand, if I am collaborating with other creatives on project, I am careful to choose like-minded individuals, who understand that no one “owns” any idea, and we are all on the same mission to find the BEST solution for the show, no matter whether it originates from me or someone else. Leave the creative ego at the door.

What keeps you motivated even if you don’t connect personally with the project?

I probably wouldn’t agree to do a project that failed to resonate with me personally….I mean, what’s the point? I suppose I could do it for financial reasons, but to me, art is sacred and I would feel massively uneasy doing something “artistic” just to pay bills. I would rather do something non-artistic or gratis.

What do you do when you are stuck and have some sort of deadline or other pressure?

I am very proactive in making sure I don’t get stuck in the first place. I am constantly creating content and documenting it. I am perpetually writing down ideas for future processes I want to try. I don’t wait for a deadline to present itself and then create. I have a stockhouse and reservoire of ideas and concepts ready and waiting when the opportunities present themselves.

How do you achieve your creative vision with a limited budget?

One of the beauties of process based art, is that you become keenly aware and skilled in the art of “rules.” A creative process is like a game that you play for a specific project.  And like all games, it has “rules.” For example, I might say that today’s dance project has three rules: “all the movement must be related to the color green, it can only involve your elbow and your hips, and it must alternate between stillness and bursts of speed.” Interestingly, people generally associate “rules” with limitations, but in this sense, it gives my dancers a focused and specific area, within which they are able to play and explore. If I give them too many choices, it becomes overwhelming and unfocused. So to answer the question, if budget is an issue, I will simply incorporate it into the “rules” of that project. Humans have been creating works of art for thousands of years, with little to no “resources” at all. For the tenacious artist, a “limited budget” is just an opportunity in disguise.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.

1. My passport

2. My music editing software

3. My five senses

What are the top 3 creative habits that have proven to be the most useful for you in your career?

1. Constantly replacing self-doubting thoughts, with what I know to be true internally

2. Surrounding myself with non-dancers (designers, musicians, animators, physicists, etc)

3. Living everyday with a deep sense of gratitude and curiosity

If you could offer a single piece of advice to a budding professional, what would it be?

Originality is innate...you were “original” the day that you were born...therefore, since originality comes from within, it is not an external goal to be discovered….the more sensitive you are to your inner voice, your background, your heritage, the smell of your grandmother’s kitchen, the texture of your lover’s skin, the time you got stranded in Albuquerque, the moment you realized that you were no longer a virgin, the earliest memories you had from childhood, your most personal insecurities, your receding hairline, your cellulite, your bad ankle….every single thing that makes you who you are….when you bring all of this into your art, it is DEEPLY original and no one can deny you that….they might be able to critique your execution, but they can never argue your source….PERSONAL IS UNIVERSAL

Interview: Sean Mosher-Smith

You may not know Sean Mosher-Smith by name but I’m willing to bet you know his work. For almost 20 years he has been a go-to visual designer for the music industry and, in recent years, has expanded his vision in other markets. He has developed a distinct photo-illustrative style that is elegant, dark and immune to trends. Like many of the creatives I’ve featured he is disciplined with both hemispheres of his brain and works well solo or collaboratively. 

How would you describe you what is it that you do?
I am a Creative Director and Image maker.

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?
I have always done this since graduation, I started in the music industry and still draw a large amount of inspiration from music but 7 years ago left the industry in order to expand my portfolio and start including a bit more branding as well as digital (Iphone apps and web) with my own company.

What is the most challenging thing about practicing your craft? How do you deal with that challenge?
I have 2 challenges…

Since it is only 3 partners at my company now, soliciting for new work and promotion is difficult while also trying to keep current clients happy and make deadlines, The other is “shutting off”  I am getting better but the one thing non-creatives don't understand (and sometimes this includes clients), is that creativity is hard to switch on and off, when an idea hits you, sometimes in the middle of the night, it has to be worked out. On the other side of that, trying to pull something out when you are not in the mindset at the time is not easy. I don’t believe in forced brainstorm sessions for this particular reason, unless its for more business than creative purposes.

Do you still practice? If so, what do your practice sessions look like?
I do. I get myself in a comfortable place and explore the things that inspire me. Sometimes its music, sometimes its something I see or read, other times I explore what my peers are doing and it gets me inspired to create..

Where do you find inspiration?
All around me. Like the answer above it can come from anywhere. Sometimes my moods dictate the style of art I do as well.

Where are you when you have the most a-ha moments?
Looking out over Lake Ontario at my lake house. Sometimes I have to get to the point of desperation with a creative block before I hit on something that ignites the creative flame

What do you do to maintain a creative flow?
Step away.

How much do you rely on feedback from other to help shape your ideas?
An occasional different point of view is a good thing, especially if you are working alone. In order for a project to be successful for a paying client, you have to listen to that client. With skill, you can sway a clients bad ideas to your point of view also.

What is the greatest obstacle to creativity?
Money, time, and commitments.

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?
Sometimes it is dead on, sometimes it has been manipulated so much that it does not resemble it at all. Sometimes thats a good thing. As you design or create, you learn, subtle changes can begin to take shape that can expand on the original idea, sometimes complete accidents occur that make something amazing happen, I like those moments, the work has a life of its own.

How do you know when you’re done?
I’m never done.

How do you resolve creative differences with clients or creative partners?
As long as you can stand behind your decisions, and there is a rationale behind them, its up to your powers of negotiation to convince others. It doesn't always work and I believe in compromise. There have been times when I have put my foot down and refused to do something if I don't agree with it. It works both ways, even with my partners, I argue my case, they argue theirs and we see where we meet.  I have fired clients who I have felt were not working with me for my creative views but as just a pair of hands. Life is too short to waste time.

What keeps you motivated even if you don’t connect personally with the project?
The hope that I will learn something from the experience and put it in the toolbox

What do you do when you are stuck and have some sort of deadline or other pressure?
Keep calm and trust that it will come, sometimes hours before but something is always there to build on, even if its not “The” idea.

How do you achieve your creative vision with a limited budget?
The internet is a wonderful thing. I connect to people online to share work, promote myself or just reach out to people.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.
Cintique, iPad (with a stylus and sketching app that allows me to transfer to my computer) and a good ol’ #2 pencil

What are the top 3 creative habits that have proven to be the most useful for you in your career?

• Trust your creative instincts.

• Stay alert and open to new things.

• Go outside.

If you could offer a single piece of advice to a budding professional, what would it be?
A terrible trend I have noticed with younger creatives is a feeling of entitlement and superiority trumping experience and traditional skills. Advice would be listen to your peers and have a good work ethic, don't expect everything to be handed to you...stay grounded and work hard.

Learn more about Sean Mosher-Smith

Interview: Rob Mastrianni

It was New Years Eve, maybe fifteen years ago, when I first saw Rob playing guitar at a small downtown music venue called Baby Jupiter. I was struck by the realization that he was an artist - not a person cultivating the identity of an artist, but a true honest-to-goodness creator. Fourteen years later the club has come and gone but Rob has continued playing and I’ve been fortunate to call him a friend and we have gigged on occasion. He is a deeply passionate, ego-free, person who is always composing, practicing and learning. He's also a park ranger and expert on birds of prey. 

How would you describe you what is it that you do?
I’m a guitarist and composer. I love to create music. I play unconventional guitars like the Coral Electric Sitar guitar (aka Electric Harp Guitar). I utilize the 13 sympathetic strings like a high pitched harp by playing melodies with my right hand, while hammering bass riffs on the guitar neck with my left hand simultaneously. I also play finger-style guitar that is inspired by Spanish classical, flamenco, punk, Jimi Hendrix and the late great American guitarist Michael Hedges.

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?
I’ve been performing my music in bars, theaters, music venues and restaurants for 20 years.

I also have a day job as a Park Ranger. I lead environmental education programs, wildlife management which includes rescuing sick or injured wildlife in Manhattan. I’ve been working as a Ranger for 8 years now and I love it.

Do you still practice? If so, what do your practice sessions look like?
I don't have a set routine. When I sit down with my guitars I work on composing songs, riffs, melodies, finalizing new ideas and memorizing tunes that are finished. Some of the music I compose is challenging to play, so it takes some time for me to learn it and get the music into my fingers. So I’ll break it down and practice the music slowly, especially when I'm composing for my sitar guitar, which has a 13-string harp with high-pitched treble strings. Those 13 harp strings are very close together, so I spend a lot of time practicing melodies and finger picking patterns on those strings.  

When I first started playing guitar at age 12, I would have a practice routine of playing scales and classical guitar repertoire. I would do this for up to 7 hours a day. A few years ago I got really into practicing traditional flamenco guitar. This involves a lot of work on right hand techniques called picado (alternate picking with index and middle fingers), rasguedo (strumming techniques that involve all the fingers of the right hand), golpe (percussion accents that are done by striking the guitars top like a drum) and improvising in the "compos" 12 beat rhythmic cycle. I've been working on the traditional "Solea" compos for a few years now and practice improvising melodies in that 12 beat cycle with the accents on 3, 6, 8, 10 and 12.

Where do you find inspiration?
Inspiration and composing are very mysterious to me. It just happens naturally without much thought and sometimes it can be a challenge. It's always a different experience. Sometimes I'll wake up from a dream with a melody and rhythm for a new song. I seem to write a lot when I'm tired and exhausted.

My passion and obsession for the guitar as an instrument is a huge inspiration to me. I'm in love with the sound and tone colors the guitar and sitar guitar (harp guitar) can create. I have a collection of guitars and I believe that music is alive in the instruments and it’s my job to discover that music.

I also find people watching, especially when I busk in the NYC subways inspiring. The fast paced rhythm of the subway commuters rushing around, inspired me to compose my songs "Passing By", "Revolt" and "Wish". I wanted to create something that would grab the attention of New Yorkers in a rush. So "Passing By" was actually born at the busy Union Square station.

Actively listening to different styles of music and of course everyday life, love and relationships are always inspiring.

Where are you when you have the most a-ha moments?
When I'm commuting to work on the train or walking alone on a busy city street.

What do you do to maintain a creative flow?
I record my ideas right away with my iPhone voice memo app. Some music gets done fast and easily while others can take weeks to finish. I’ll usual focus on working on 3 tunes a day.

How much do you rely on feedback from other to help shape your ideas?
It's always helpful to hear what people connect with. The best way for me to shape ideas is to perform live and see how the audience reacts to the music. Performing for dancers also helps me get a grasp on what inspires dancers to improvise and choreograph.  

What is the greatest obstacle to creativity?
Having a day job is an obstacle. I’m lucky that I truly enjoy my day job but it takes me away from my music 8 hours a day. I wish I had more time to professionally record my music a few times a week. Being overwhelmed with ideas can also be an obstacle and of course the biggest obstacle is procrastination.

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?

I’m rarely happy with my performance in the recording studio. As far as a project that closely resembles my initial concept would be the recent Beatbox Guitar “Duality” CD. That CD captured the energy of a live performance, which was our conceived idea.

How do you know when you’re done?
You know you’re finished, when your instinct tells you to move onto the next project or song.

How do you resolve creative differences with clients or creative partners?
Communication, integrity and compromising are the keys.

What keeps you motivated even if you don’t connect personally with the project?
Sometimes that tension and disconnect can push you to come up with something unexpectedly cool. A positive outlook also helps.

What do you do when you are stuck and have some sort of deadline or other pressure?
I drink a lot of Yerba Mate tea.

How do you achieve your creative vision with a limited budget?
Make the best with what is available in that moment.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.
My sitar guitar, flamenco guitar and the voice memo iphone app.

If you could offer a single piece of advice to a budding professional, what would it be?
Don’t try and imitate others. Develop your own style, sound and stay true to your integrity.

Learn more about Rob Mastrianni.

Interview: Tamalyn Dallal

I know people who are adventurous but Tamalyn is one of the few whom I would describe as an Adventurer. She is a dancer, a teacher, an author and filmmaker. In a world where safety, lawsuits and cultural conservatism are rampant she consistently seeks out those corners of the world that would be deemed by the mainstream as dangerous or unworthy of attention. And in these remote villages she finds stories that are more human than anything we see on the news. Everything Tamalyn does is a reminder of what someone can do when they stop worrying about what other people think and follow their heart.

How would you describe you what is it that you do?
I teach bellydance, and produce supplementary cultural information in the way of books, music, and films. These can range from instruction on Middle Eastern dance, to an introduction to life in the Muslim world, and films about dances of East Africa.

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?
I have always been a bellydancer, but over the years it has transitioned from being a performer to running a dance school and non profit organization, then being a touring instructor, allowing me time and resources to make films and write.

What is the most challenging thing about practicing your craft? How do you deal with that challenge?
The most challenging thing is the stigma that goes with this dance form. I deal with the challenge through trying to educate dancers and the public about dance as art, culture and how it can enhance and heal people's lives.

Do you still practice? If so, what do your practice sessions look like?
I do. It depends on if I have a show coming up. Preparation for a show is merely warming up, then doing the dance between 3-7 times. Otherwise, I practice in 2 hour segments, with warm up, Ipod shuffle (improv to random music), and targeted work on shimmies, veil, zils or vintage songs that I want to better understand and express.

Where do you find inspiration?
I find inspiration from watching people on the street, from watching non-professionals dance for joy, and from what comes out when I am practicing.

Where are you when you have the most a-ha moments?
Usually in a studio - either teaching or practicing.

What do you do to maintain a creative flow?
Practice, keep learning and travel.

How much do you rely on feedback from other to help shape your ideas?
I don't.

What is the greatest obstacle to creativity?
Negativity and fear that there is not enough for everyone. Or holding onto ideas/knowledge and not sharing.

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?
It develops and unfolds as it goes along. I have a concept, but never expect to control the outcome. That is how I do theater shows or festivals.

How do you know when you’re done?
My dances are improvised, so they are never done or never done the same way twice.

How do you resolve creative differences with clients or creative partners?
I try not to have creative differences. I collaborate with people whose artistic vision I respect and who respect mine.

What keeps you motivated even if you don’t connect personally with the project?
If I don't personally connect I am not motivated.

What do you do when you are stuck and have some sort of deadline or other pressure?
I don't usually feel stuck.

How do you achieve your creative vision with a limited budget?
I usually visualize the outcome and enough money usually comes my way to do what I want.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.
Ipod, glue and rhinestones.

What are the top 3 creative habits that have proven to be the most useful for you in your career?
Visualization, tenacity, and lots of work.

If you could offer a single piece of advice to a budding
professional, what would it be?
Don't stop learning.

Learn more about Tamalyn.

Interview: Marc Scheff

Marc is a renaissance man. That’s going to embarrass him but it’s true. He is the rare breed of artist who equally occupies all spheres of his brain - an illustrator, painter, art director and former computer scientist who approaches his work with discipline and humor. I don’t know for sure but I’d bet he can also cook.

He’s an inclusive, articulate, social person (and professional) who surrounds himself with talented people and he’s eager to share the glory. I expected I’d learn something from his interview and I wasn’t disappointed.

How would you describe you what is it that you do?
I am an artist and an art director, so I make art for clients, and I hire artists for other clients. I also write, and work on creative side-projects.

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?
I was a comp sci major in college. After a few years in the tech field I took an art class, then two, then three. Then I quit my job and went back to art school. I have always loved art but a career as an artist seemed CRAZY to this fairly conservatively-raised Boston kid. Still, I knew from my first day in tech that I wanted to be on the visual side, and focused on front-end engineering which interfaced directly with the design teams. It really just took that first class to get me hooked. I worked in games, and after moving to NYC and working with the nothing-short-of-brilliant Brad MacDonald, I went freelance started doing my own collaborative projects and going to workshops like the Illustration Master Class (the IMC). When one of those went viral, I was offered a gig doing AD work for custom merch for big video games at Treehouse Brand Stores. That was an easy yes. After years pounding pavement, I understood the trials of finding work and getting paid, so I was happy to step into a position to help others like me as I continued to develop my own work.

What is the most challenging thing about practicing your craft? How do you deal with that challenge?
On the illustration side, finding my voice has been the biggest hurdle. Every artist deals with this, especially commercial artists who not only have to find something personal to say but something that they can market as well. Because I have been able to create multiple income streams through AD work and teaching, I have made that exploration a priority. My most recent challenge here is doing this work with real paint, not pixels. I have been focused on this for a month or two now, and post progress shots on my instagram.

On the AD side, it’s all about communication. I recently co-authored an in-depth article on the challenges herein with Lauren Panepinto on Muddy Colors. I would say the biggest challenge is just making sure everyone has what they need and a clear understanding of how to get the best product. And when things go wrong, it’s up to me to figure out how to navigate the project to success. If that sounds vague, I encourage you to read the article.

Do you still practice? If so, what do your practice sessions look like?
Every day.  I sketch, paint, and gather feedback on my work. On the AD side I read a lot about leadership styles, effective management, and keep up on what and who is hot. When I can, I get to a figure drawing session too, but with the constant juggling plus a family, it happens less than I care to admit.

Where do you find inspiration?
Is “everywhere” too pat an answer? I really do try to approach even mundane day-to-day with an eye out for possible ideas. My iPhone is my notebook, and I keep a lot of reference pics, some of which may just be a reminder of an idea or an actual reference for a painting I’m working on. I went to Morocco with my wife and I think I have 400 close-up pics of hand-carved doorways, which I recently used to design patterns for a piece for the Science Fiction Book Club.

Where are you when you have the most a-ha moments?
Falling asleep at 3am. If I’m up that late, it’s because my mind is running. Again, my iPhone is my trusted friend and I often wake up to find drowsy emails from myself with a few words, a quick sketch in the Brushes app, and reminders of ideas.

What do you do to maintain a creative flow?
I try to eat well, exercise, and take breaks. I also try to focus when I’m working and make sure I have the time to do so. I don’t check email on weekends or before noon. I look if I have a project that I know needs attention, but for the most part my teams and clients have my cell phone and are welcome to use it. So I feel relaxed about unplugging and letting my mind and body rest. There’s plenty of research on this, and 99u had a nice piece on the subject.

How much do you rely on feedback from other to help shape your ideas?
I have a mentor, the fabulous Rebecca Guay who does both illustration and fine art work. She is my good friend, my boss, my mentor, and my go-to for feedback on work I’m creating. She has helped me fine-tune both my style and my message.

In general, I’m a big fan of peer review when working on new work, especially as a freelancer. I can’t think of a piece that wasn’t improved by a second set of eyes. I have even just killed pieces that weren’t working and started over with a better, fresher idea.

That said, at some point, every artist has to make their own way and stretch themselves. I have been creating new work this month and seeing how far I can take it on my own. I recommend a mix of both.

What is the greatest obstacle to creativity?
Life? Kids? Wanting to sleep or watch a movie? Anything can get in the way if you let it. I think you have to shift perspective and let everything else you do serve to feed your creativity. Like I said, breaks are good, and they can provide the inspiration you can’t find at your desk.

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?
For client work, that’s pretty important. If I ever do deviate from my original I _always_ get the AD approval. And as an AD, I always appreciate it.

Sticking to your concept is good, however, if a better idea comes along and you don’t chase it, that’s can be a missed opportunity. Every painter and project manager has had that moment where they notice something is off and is faced with the choice to fix or try to get away with it. My advice is fix it, get the better piece, learn something, and maybe lose a little sleep to get it. I have never regretted making even big changes when I knew it was in service of a greater idea.

How do you know when you’re done?
Da Vinci said it best, “Art is never finished, only abandoned.” I have definitely put a piece down, with plans to come back, and when I came back I realized it was done. In fact, I never really know until I step away for some time. Still, it is often hard to tell with your own work and that’s where peer or mentor review can help.

How do you resolve creative differences with clients or creative partners?There are three things that help: Communication, Communication, and Communication. Everyone has a different way of asking the same questions, and it’s easy to assume they mean something they don’t if it’s not the way you would ask. The ability to step back, even count to ten or take a day to reply to an email you found challenging. That ability can set you apart from the pack.

 What keeps you motivated even if you don’t connect personally with the project?
I always try to make a project work for me, and if I can’t I try not to take it. I recently did a series of 25 portraits of famous scientists. It’s not necessarily “in my wheelhouse” but I used the project to explore some ideas I had around digital paint application. Right place, right time for them to approach me. With other assignments, I always try to come up with ideas that meet the client’s needs as well as my own portfolio. However I come in to a project, I try to make it serve either exploration or portfolio. If it really can’t do either, I don’t take those jobs.

What do you do when you are stuck and have some sort of deadline or other pressure?
I ask for help, or take a walk. Sometimes a friend, or my wife, might have an idea that I can work with or change to fit the assignment. An environment change also does wonders, especially if my eyes are out for ideas. I will go to my living room and look at art books, or take the dogs for a walk, or go for lunch with a friend. Anything to shake something loose.

How do you achieve your creative vision with a limited budget?
As an AD, I am lucky enough to have a decent budget and can get some great artists. Still, we know we have a limited number of opportunities to review the work and we build our communication lines with our client to get as much as we can early on so the artist isn’t making big changes after a finish. That doesn’t always work, and when things drag on diplomatic communication is key.

As an artist, I always try to create the best piece possible, regardless of budget, but I don’t take every job. I know enough now to look at a brief and budget and know if it is the right project for me. I will occasionally take a low budget project if it’s something that is just the perfect thing for me to work on at that time.  

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.
Other than approach and process:

• Photoshop CC
• Sketchbook and pencil
• My 3 year old son. That kid says the funniest things, and a few of my recent personal pieces have been inspired by his obsessions with wolves and other things. 

What are the top 3 creative habits that have proven to be the most useful for you in your career?

1. Seek inspiration.
2. Seek education.
3. Seek connection.

These are all ways of approaching the world, and can be habitual if you make them so.

If you could offer a single piece of advice to a budding professional, what would it be?
Be good and be nice. If you’re not good enough, keep working and do whatever it takes to get better. If you’re not nice to people, good luck, you’ll need it.

Learn more about Marc

Interview: Paul Dinletir

I don’t know anyone who has invested as much time and energy into their own personal growth as Paul Dinletir and the results show. He’s a gifted composer and creative power behind Audiomachine, one of most successful companies producing music for movie trailers. That’s a niche, right? Well, he’s turned this niche into a success story because he’s motivated, disciplined, talented and loves what he does. Everytime I hang out with Paul it’s a life affirming event and listening to his music will make you want to wield an axe.

Do you still practice? If so, what do your practice sessions look like?
A few years ago, I read an interview with John Williams where he gave advice to up and coming composers, he said to work on your craft every day even if you only have five minutes. I took that to heart and I have been composing something everyday since then, I sit and work on the piano for as little as two minutes or a few hours working in and out of my comfort zone, eventually the good ideas make it to the studio where I can then explore them further.

Where do you find inspiration?
Inspiration comes from odd places, I once saw a Michael Jordan documentary that had a lasting effect on me, with the hardwork and dedication of his craft, I wanted to translate that to my world. I’m inspired from watching a great dancer (like my wife), or the underdog that wins the Ironman, a great piece of music that is not in my style gets my juices flowing in a direction I don’t usually take, and sunsets, walks on the beach blah blah blah.

Where are you when you have the most a-ha moments?
When I’m working on something for a very long time and I do something by mistake, all of sudden a light bulb goes on, and everything starts flowing.

What do you do to maintain a creative flow?
I get away from it, a little hike or a yoga practice even a couple of days away makes me more creative.

How much do you rely on feedback from others to help shape your ideas?
I usually accept critical feedback and always reject the good stuff, I don’t need a pat on the back, I don’t rely on it that much at this time in my career as art is very personal and can mean a lot of different things to different people. I however, will be very critical and try to observe it from a different angle, difficult but can be done.

What is the greatest obstacle to creativity?
Interruptions and time, It’s like a runners high, you need a few miles before you feel it. If I get interrupted then I need sometime to ramp up again to my composer high, if I don’t have enough time that day, I treat it like practice.

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?
In my field, most of the time I start with a piano and finish with a 90 piece orchestra and a lot of adjustments in the middle, I used to be more attached to my original concepts in the beginning, even if it didn’t translate well. Now I feel that my pieces are more of an organic fluid creations that comes together at the end with all the nuances that get added along the journey, sometime my original concept is completely different from the finished work.

How do you know when you’re done?
I just know LOL, I say it took me 20000 hours before I could make the call.

it’s just one of those things, after you put in the hours and get good at your craft, you get a feeling in your body saying “that’s it”. Before you get to this point, you keep messing with it for hours or days with no added advantage.

How do you resolve creative differences with clients or creative partners?
With clients, I tell them “I am a soldier and I’ll do whatever you need” and usually cry myself to sleep LOL. Kidding aside, in my world there’s a lot of egos making decisions and whoever I end up dealing with, has a bunch of people that they have to answer to and they don’t need more ego from me, so I’ll offer up my point of view and most of the time end up doing two versions (my idea and theirs) so they’ll have options and choices. With creative partners it’s no different, I will present my idea but I will also try not to impose my methods, and try to see it from their point of view.

What keeps you motivated even if you don’t connect personally with the project?
To be able to do it at the highest level, the idea is to push the boundaries of every project, if I don’t connect with the style or concept, I then concentrate on the production value, there’s always a lesson in every project.

What do you do when you are stuck and have some sort of deadline or other pressure?
I plow through it, I step away for a few minutes when I’m stuck, then come back with another approach, also a little research of similar finished works can be very helpful.

How do you achieve your creative vision with a limited budget?
I create for the tools I have. Most of what I do starts with me writing with samples emulating instruments in a music program (Logic), when the sample doesn’t react well (sounds unnatural) with the line I write I change the composition to fit the sample so it will sound good, at the end of the day you want to be proud of what you do and you learn how use the tools you have.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.}
Software, piano and amazing sound libraries.

What are the top 3 creative habits that have proven to be the most useful for you in your career?
1. Take risks
2. To improve from the previous project
3. Research and inspiration

If you could offer a single piece of advice to a budding professional, what would it be?
Work on your craft, if you love what you do, this should be easy. The most successful people have worked thousands of hours with a lot of ups and downs before they got where they are now. Your craft becomes your passion. I fall asleep and wake up thinking about it.

Check out the epic music at Audiomachine

Interview: Keavy Landreth

I first met Keavy a few years ago, right about the time she made the bold decision to switch careers so she could bake cupcakes for a living. She was friends with some of my co-workers and was bringing batches of freshly baked cupcakes to our office for feedback on her recipes. Since then her business Kumquat Cupcakery has taken off and she’s begun a new venture, Butter & Scotch, a baked goods and booze bar in Brooklyn.

Do you still practice? If so, what do your practice sessions look like?
I guess my practice would be when I get to play around in my own kitchen.  To be honest this doesn’t happen often.  I’m typically so exhausted by the time I get home from baking that all I want is a large glass of wine and a movie. 

Where do you find inspiration?
Lots of my inspiration comes from what I ate and loved growing up. My mother used to make me this sheet cake that she would poke holes into and drench with caramel sauce before topping it with whipped cream and toffee bits. I find myself still wanting to do that to most of the cakes I bake!

Where are you when you have the most a-ha moments?
After I’ve stepped away from the product for a little while. 

What do you do to maintain a creative flow?
Giving myself time in the kitchen to play. Most of my days at the moment are spent doing stuff I’ve made 1,000 times over and when you make something that many times you can forget that it’s even food. Forcing myself to be in the kitchen when we don’t have orders coming in is a great way for me to get back to that place where I can just play around and have fun.  

How much do you rely on feedback from others to help shape your ideas?
So much!  Having a business partner who basically shares my same palate is wonderful - we are constantly bouncing things back and forth when coming up with new recipes.  

What is the greatest obstacle to creativity?
Having to work all the time. We are still so small that I’m basically in the kitchen producing 6 days a week. It’s exhausting!

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?
Not often. I’m constantly updating and adding things to the recipe as I go along. I can become really obsessed when I have an idea in my head, so I will end up tweaking it (and not be able to think of anything else) for days until I think it’s perfect.  

How do you know when you’re done?
When it taste fucking delicious.

How do you resolve creative differences with clients or creative partners?
Allison and I don’t often disagree with many things when it comes to matters of taste - but we do have some personal quirks: she hates fruit blended with cream, and I hate dry cake or anything bready touching ice cream.  Somehow, so far, we’ve simply been able to avoid those two things completely! So I guess avoidance? 

What keeps you motivated even if you don’t connect personally with the project?
I try to connect with every dessert that leaves our kitchen - whether it be for smorgasburg or someones wedding. People pay us because they like us and our desserts…..so that’s what we give them. There’s no compromising.

What do you do when you are stuck and have some sort of deadline or other pressure?
Get it done! make it work! All those things. With food you just gotta hussle.

How do you achieve your creative vision with a limited budget?
I don’t find that I get more or less creative when it comes to budget -- it’s more about what the person wants from me. If it’s something that I can immediately connect with it’s going to be way easier.  

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.
Sugar, butter, SALT.

What are the top 3 creative habits that have proven to be the most useful for you in your career?
Snacking on everything, having a huge sweet tooth, and always thinking about food.

If you could offer a single piece of advice to a budding professional, what would it be?
Make sure that you pick a product, or style of pastry, that is really all about YOU.  People will be able to connect with your desserts much more if they are really honest and made with love (and lots of salt).  

Learn more about Kumquat Cupcakery

Learn more about Butter & Scotch

Interview: Edward Minoff

When I first met Edward he was Ted and we both worked at MTV Animation. He was an instigator, a good natured trouble-maker, graffiti artist and gifted illustrator. His drawing was effortless and full of energy. Between then and now he made a serious transition - he is now a mature, disciplined and gifted painter known primarily for his studies of water. This New York kid captures the tranquility and peace of nature with a poet's touch. His story is one of talent but also dedication and living in the moment.

Do you still practice? If so, what do your practice sessions look like?
Practice never ends. In my case, I feel like there is some linear trajectory to my artistic career, so in some way each painting is practice for the next painting. I think this is particularly true of my ocean paintings. I spend so much time studying wave forms and the nature of water and air and the interaction between the two. Each painting reflects an attempt to better understand some aspect or property of the ocean environment. They all start with an idea or an emotion, but once the painting is underway it becomes a puzzle to solve. I guess my solving that puzzle, or acceptance of a lack of resolution is practice for the next painting where I will try to overcome some new obstacle or carry on trying to resolve an ongoing challenge.

Where do you find inspiration?
I think that if you are open to it, inspiration is everywhere. I have often found it in sports. I remember watching Roy Jones Jr. in his prime or Roger Federer and being incredibly inspired by either man’s ability to be so far beyond any of his opponents. They each also seemed to love their sport so deeply and I found that inspiring. I also find it in looking at nature. The relationship between bees and flowers always strikes me as such an absurd and inconvenient solution, but it is so beautiful to watch and has such an inspiring rhythm to it. When I see bees hovering over the little flowers on my tomato plants I just feel like the world is perfect. And that makes me want to paint it.

Where are you when you have the most a-ha moments?
Most of my a-ha moments come to me in the studio. That is really why I go there. Every day for at least a little time I like to be alone in my studio and look around at what I am working on, what I have finished and what I am not working on. I think that in a creative field one needs to construct a workspace that will lead to those a-ha moments. Maybe that is primarily an internal construct -- my workspace is my studio, but sometimes my studio is a beach or mountain top and other times it is the top floor of my house.

What do you do to maintain a creative flow?
I think that going to work every day is critical. Whether I feel it or not, I force myself to work. Sometimes the work itself will not be good and will get destroyed, but I don’t think that it is possible to produce something great through avoidance. I treat painting like I was going to work in an office and had a boss who would fire me if I didn’t show up. It might sound like a contradiction, but I also think that breaking out of the routine can do wonders. I think back to MTV when we were working together. I found that it was a lot easier to get my work done if I spent at least half of my time doodling, or making fun of our cubicle-mate with you or starting a prank war with Paul. I used to get sent to the producer’s office often for crashing a bike in the office or starting a food fight or some other misbehavior, but somehow that was what kept me motivated and how I got the work done.

How much do you rely on feedback from other to help shape your ideas?
I have a pretty great network of artistic friends and I rely heavily on their feedback. In the renaissance there was a dialog between artists. People often talk about the renaissance in Florence being supported by the openness of the studios and workshops there. Maybe Leonardo and Michelangelo never spoke but there was a dialog in their work. It is much more apparent with Raphael. The idea that an artist’s vision must be completely personal has led to lots of art that is completely inaccessible, at least for me. My favorite artists and art have come from movements that are larger than one individual, and speak to a wider public. I hope that my paintings resonate with an audience that extends beyond myself, so I love hearing from the voices that I most respect on where I am succeeding and failing. Back when I was doing Grafitti, all of the big walls that I painted were collaborations with other writers. I loved that. And the feedback was very direct. If your wall sucked, somebody would go over it pretty quickly, but if you did something great, everyone would respect it and let it run for a long time. Sometimes years.

What is the greatest obstacle to creativity?
Probably anxiety in all of it’s forms. I also find this in parenting. When I lapse and begin to feel like my two year old will never not scream like he’s fighting for his life when he hears the word “no”, I lose my ability to handle the problem creatively. In a calmer moment, I might be able to laugh at it and find it within myself to extend a hand and help him find perspective rather than get mad and throw away all of his toys. And when I am too worried about paying my mortgage or framing bill, I get paralyzed and I can’t paint well. Pressure can be a great motivator, and can help clarify decision making, but anxiety seems to lead to a dark and very uncreative paralysis.

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?
I think a painting rarely looks exactly like what I initially intended. I find that openness to this is important. I can always go back and paint what I wanted to paint, but I find that the diversions along the way often lead somewhere more interesting. When you are consumed by single painting for several months, it is critical to be able to find freshness in every day’s work and every brushstroke. Maybe some people could remain engaged and on task for that entire period, but I need to be able to explore new directions during that span.

How do you know when you’re done?
There is a terrible cliché about this. I am haunted by my memories as a 14 year old at the Art Students League of New York of being approached by all of these older people telling me that the hardest part of a painting is knowing when to stop. I never thought of that as an issue, like a eating a slice of pizza - it is done when it’s all gone. Not surprisingly, as I am getting older I am finding that cliché to be true. I guess those folks at the Art Students League generally used the phrase to express a desire to preserve some spontaneity. I am finding almost the opposite; that I am increasingly having to do more fine tuning that lasts longer, and that when I think I am just about finished, I have a lot more work ahead than I could have possibly imagined. I recently spent about a month on a painting. I told my gallery it was done. Then I spent another month reworking it. I sent the gallery an image to go into a few magazines. Then I spent another month reworking it and repainted most of the foreground. It is not completely unrecognizable, but I am hopeful that other people will see improvements in all of the changes many of which are, unfortunately, documented.

How do you resolve creative differences with clients or creative partners?
I am luckily in a position where my galleries give me little or no input. Sometimes, I actually wish that they would say more, but I am generally free to paint whatever I want. Similarly with commissioned work, the clients with whom I work select me because they like what I do, and give me lots of leeway to be creative in my own way. I have actually been working on portrait commissions from drawings that I make with limited sittings with my clients. I am trying to connect to the art of portraiture before photography -- the art of a Van Dyke or a Rubens portrait, which was often executed from drawings of the sitter. The portrait clients must accept that the painting becomes about the painting and will not look like a photograph of them. I am refreshingly surprised by the interest that I have seen in this, but it requires a huge leap of faith.

What keeps you motivated even if you don’t connect personally with the project?
Again, I really am lucky to get to work only on what I connect to. I think that when I lose interest in a particular painting sometimes I can put it down and come back to it at a later date, but more often, struggling through and plugging away even if I have to scrape out the entire day’s work in the evening is productive. I can’t paint my way out of an impasse by not painting.

What do you do when you are stuck and have some sort of deadline or other pressure?
I love deadlines. I find myself most productive and most decisive when I am under lots of pressure. I probably had one of my most productive periods of painting just after my first son was born. I felt so much pressure to provide. I would be in my studio painting all night long. I also find that when I am painting for a show and the deadline is getting close my decisions are so clear and I simply don’t have time to get stuck. There are a ton of distractions that come up, like framing, shipping, and cataloging the work that take me away from the easel. That is the only time that I really feel stuck: When I am not free to paint.

How do you achieve your creative vision with a limited budget?
That is difficult. I don’t know. I think of Rembrandt going bankrupt a lot. I feel like you need to extend yourself and take a risk for your vision. You owe that to yourself. It is the worst thing imaginable to look back on your past and feel like you never really gave your vision a shot. People shoot films on iPhones, and record music in a garage with a laptop, so there is always a way to work within your means. But bottling up creativity seems dangerous.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.
Pencil, paper and...eraser.

What are the top 3 creative habits that have proven to be the most useful for you in your career?
Drawing is at the top of my list. Drawing is how I figure things out. It is what I have done since I was a little child, and I have always found it to be all consuming and a great way to lose myself. I also find it to be the best way to solve problems and to study the things that I want to paint. It is where the translation between an idea and the visual expression of that idea occurs. I find that a breakthrough can even come from the doodling that I do in a meeting, or while I am giving my son breakfast.

Teaching has been a welcome surprise. I began teaching at the Grand Central Academy, and have been off and on as an adjunct at Columbia University. Having to share my thoughts and ideas with students has helped clarify them in my own mind. In order to explain them I have had to devise creative analogies that have provided new insights about my own ideas or in some cases helped me to rethink and escape my own orthodoxy. Teaching has also helped me to be more disciplined -- I feel like a fraud if I am telling my students one thing and doing something else, so I find myself being more careful and thoughtful about staying true to my ideals.

Lastly, I am obsessed with cooking. It is a hobby and has less to do with painting than getting me out of having to give my kids a bath, but it is another creative outlet. I actually worked in the kitchen of a great restaurant called Maialino learning things like how to make my own ravioli or how to butcher a whole pig. The chef, Nick Anderer, is massively generous and is a big talent in the NYC restaurant scene. I also found that we have a great swath of common ground in the honing and perfecting of a craft. I am so inspired by the concept of cooking with love. I think that it actually comes from painting. This idea that a picture can be a symphony of brushstrokes; each one playing it’s part with perfection and love. My great-grandfather was a musician who came to America from Palermo. He was the youngest soloist ever to play at Teatro Massimo. He had this old world philosophy that an artist must do everything beautifully, whether it is playing music, repotting a plant or making dinner. So inspiring.

If you could offer a single piece of advice to a budding professional, what would it be?
Love what you do. If the love isn’t there move on and find something that you do love. It is the single most important ingredient, particularly in a creative field. I think that it is what all great people have in common. I am sure what makes Warren Buffett so great an investor is that he loves it so much that he has a devoted a lifetime to knowing his field inside and out. I find a weekend without painting or drawing to be depressing. It is what I want to do all week long, and when I finally have some time off it is all I want to do then as well. You have to find that. Life is too short to spend such a large percentage of it working if you do not feel fulfilled by it in some powerful way.

Visit www.edwardminoff.com

Interview: Carmine Guida

When I asked Carmine if I could interview him he seemed surprised because he's not a visual designer. But he is visionary. An accomplished musician, gifted programmer and an entrepreneur. His organizational skills are second to none, he is a natural leader, a teacher and inclusive collaborator. Where you find Carmine you'll find people pushing themselves and having fun.

Do you still practice? If so, what do your practice sessions look like?

With programming. I’m always programming. I program every day. I don’t know if “practice” is the word. But there is a lot of trying out an idea / quickly prototyping, and then deleting it.

With music practice. This is more about “keeping my chops up” making sure my skills/speed/tricks are where they should be. I don’t practice music too often really because I play out and teach every week.

Where do you find inspiration?

I get very inspired by other artists. Being in NYC, there is always someone “better” than you around. You can see so many talented people here. It also doesn’t even need to be in the same discipline as me. I could see an amazing painter and that might inspire me to hone my craft of music more.

Where are you when you have the most a-ha moments?

I’ve had most of my breakthroughs while in the shower. Something about being isolated, no Internet/phone/other people/etc. I also think the white noise of the water helps relax you and gives your mind a chance to do it’s thing.

What do you do to maintain a creative flow?

I think it’s like any other muscle. If you stop using it, it’ll go weak. If you use it a lot, the flow will keep coming.

How much do you rely on feedback from other to help shape your ideas?

Really not too much or too often. I think the more emotionally vested in something, the less I listen to others. I’m always open to more mechanical advice (try this camera, software, etc.) but for the core idea, I usually listen to myself.

What is the greatest obstacle to creativity?

Not knowing how to say no to people.

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?

I’m not a perfectionist. With my latest game, I really learned that you need to: “Take half of your planned features, and get rid of them… then take the half that’s left, and get rid of half of those too”. It’s good to dream big. But I think a lot of projects fail because they are just too lofty. I’m very good at cutting my losses (so I guess I’m ok with it not being the same as initial concept).

How do you know when you’re done?

To me, music projects usually have a beginning and end. I want to make a 10 song album… I consider it done when I can tell someone to go to the itunes store and see it there.

How do you resolve creative differences with clients or creative partners?

I’ve learned that you really need to pick your battles. Sometimes you have to let go of a detail here and there, but you need to have a good relationship with the people you are working with to say, “This is important to me, I’d like to have this”. I’ve learned to really let go of some things. I think in the end it all works out.

What keeps you motivated even if you don’t connect personally with the project?

This happens with some of the website projects I do. Usually I try to work on a piece that I’m in the mood to work on that day. So if I feel like photoshopping that day, I do that. If I feel like programming that day I do that. I just think I’m more effective that way.

What do you do when you are stuck and have some sort of deadline or other pressure?

I never bullshit people with projects. So if I’m really stuck. I talk to people. I tell them I can’t make the deadline. People are people and they (usually) understand.

How do you achieve your creative vision with a limited budget?

I try to be realistic about project scope and what I can do based on my resources available BEFORE I start a project. (not sure if that answered the question).

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.

I fucking love graph paper and I have a 4 color pen (black, blue, red, green). I do most of my planning this way. I also use a couple of online tools (google docs/trello) to just dump ideas and random stuff.

What are the top 3 creative habits that have proven to be the most useful for you in your career?

Write first and edit later. Cut down on distractions (tv, facebook, etc.). Learn to say No.

If you could offer a single piece of advice to a budding professional, what would it be?

Work on your own personal projects all the time, this way you have a portfolio ready if your dream job comes up. I never understood why an unemployed person looking to get hired by me didn’t use their time to build at least a personal website/portfolio of some kind. (especially when I was looking for website designers).

Visit www.carmine.com