In this episode, Youngman explains why he decided not to do the #Cramuary challenge. Yes, the very challenge that he created.
Was it fear? Self-sabotage? Laziness? Burnout? Bitcoin, even?
He's not sure, and he's been too ashamed to talk about it, but by the end of the episode he gets a much better understanding of why, even after two years of constantly thinking and talking about it, Resistance can still hit you with fists of fury.
And that's nothing to be ashamed of.
Full shownotes: http://yourcreativepush.com/287
"I was thinking about doing all of that work and putting in all that time, and I was just dreading it."
"It's not a big deal if you push off your big project. You shouldn't feel shame about realizing that it's not the right time or you're not in the right mindset or place in your life to be able to do something that you care very deeply about. You can always do it later, you can always do it better. As long as you do it."
"I don't know why I felt for so long that I should be invulnerable to creative blocks and burnout."
"I promise to you that I will open up my heart and soul to you and share all of the creative blocks that I am going through myself."
"It's okay to do other projects. It's okay to take breaks. And it's okay to say 'no' to something that you said 'yes' to earlier."
Tom Hart is a cartoonist and the Executive Director of The Sequential Artists Workshop, a school and arts organization in Gainesville, Florida.
He is also the author of the New York Times #1 Bestseller, Rosalie Lightning, a book about the loss of his daughter. Rosalie Lightning has been translated into French, Italian, Portuguese and Chinese, and was featured on many best of 2016 lists, and nominated for two Eisner Awards.
Full shownotes: http://yourcreativepush.com/tomhart
-His early love of Peanuts and the exuberance, confusion and anger that Charles Shultz was able to convey through his characters.
-His artistic educational journey.
-How Scott McCloud’s Understanding Comics changed the way he thought about approaching comics.
-How he was able to continue working on comics through his initial artistic shortcomings.
-Following your instincts.
-His own push towards creating comic strips.
-Dealing with adversity, setbacks and failures in an extremely difficult and frustrating business.
-His book How to Say Everything and how it remained 90% finished for nearly a decade.
-How he got past the roadblock of wanting to say everything by realizing that you have to start by saying something.
-Getting used to putting things behind you and moving forward.
-How SAW started and what its students accomplish.
-Tricking your inner critic into thinking that what you’re doing really isn’t that important.
“In my first year of art school I think I made two pages of comics. I just didn’t get it.”
“You’re never going to say everything. So just say something. Say the next thing.”
“We’ve exalted art in some ways, but it can be simply something that you do.”
Amy Dresner is a former professional stand-up comic, having appeared at The Comedy Store, The Laugh Factory, and The Improv. Since 2012, she has been a contributing editor of the online addiction and recovery magazine TheFix.com. She’s also written for the Good Men Project, The Frisky, Refinery 29, and has been a regular contributor to Addiction.com and PsychologyToday.com, where she has her own addiction blog entitled “Coming Clean.” My Fair Junkie is her debut book.
Full shownotes: http://yourcreativepush.com/amydresner
-How she got into the position to write her first book.
-The misconception of creative people that you need drama, tragedy or addiction to have a significant life or art.
-Finding inspiration by simply being outside of your comfort zone.
-The connection between addiction and creativity and seeking a connection to something outside of yourself or something greater.
-How she was able to be so open, honest and vulnerable in writing My Fair Junkie.
-If you had the nerve to live what you lived, you should have the nerve to write about it.
-Dealing with the resistance of not wanting to put herself in the headspace of active addiction.
-How it is never too late to start something or to change (and how you’ll never feel ready).
-How you do anything is how you do everything.
-Allowing yourself to have “shitty first drafts.”
-How she writes for herself and why she never reads the comments on her articles.
-Putting yourself out there and owning all of your mistakes, flaws and humanness.
“I’d finally had a real narrative arc where I had a transformation and a story to tell. I landed in a different place and I had something to say.”
“What was comfortable for me was the chaos. What’s uncomfortable is any kind of normalcy and things going well.”
“As a writer, I know that the stuff that you don’t want to put down on the page is exactly the stuff that you need to put down on the page.”
“Ironically, the more specific it is, the more universal it is.”
“You get ready by doing it. If you’re waiting to feel ready, you will wait forever.”
“I feel weirdly bullet-proof. A big way that I deal with my own shame is to own it. I put it out there. Because then what is anyone going to say?”
“There is a freedom in owning it. Because nobody has anything on you. There’s no secret.”
“It’s always scary when it’s new. The more you do it, the less scary and hard it becomes.”
“I faked that I didn’t care for a long time. Until I didn’t care.”
“Fuck your feelings and take your action. Take consistent action every day.”
Tom Hart : Website
Kan Muftic is a London-based Animation Director and Concept Artist, who has worked on projects like Annihilation, Godzilla and Guardians of the Galaxy. He is also the animation director for the Netflix and Channel 4 show, Kiss Me First.
Kan's first book, Figure Drawing for Concept Artists is a comprehensive guide for learning figure drawing techniques to aid every concept artist's skill set.
Full shownotes: http://yourcreativepush.com/kanmuftic
-His early desire to be a zoologist and his decision to become an artist instead.
-Discovering concept art and how he knew he had to pursue it as a new career and passion.
-The terrifying decision to leave the stability of his current work in order to learn a new way of approaching art.
-How your interest is the thing that will lead you to success because it will ensure your motivation to keep learning and working hard.
-Having to push past the fact that actors and writers are given directorial roles without question, while traditional artists are doubted.
-How he approached the idea of being the leader of a creative team for Kiss Me First.
-Dealing with moments of extreme self-doubt.
-His practice of mindfulness and how it helped to get him through his rigorous 2-year project.
-How he was also able to complete a book during the busiest two years of his life.
-Realizing the value of being able to communicate through drawing.
-Speaking with Ridley Scott.
-His approach to the uncanny valley.
-The experience of working with Netflix and what surprised him the most about the company.
“It was just a thing that I had to do and it felt completely right. I’ve only had that with concept art and when I met my wife.”
“I realized eventually that the only thing that matters is to do what you really really really want to do and that life takes care of the rest somehow.”
“Listen to that quiet, deep guttural voice inside of you.”
“I had levels of self-doubt that I didn’t even know I had.”
“The ability to communicate through drawing is absolutely invaluable.”