Overcoming Negative Self Talk as an Artist

I asked artists in my community a question:

“What are some of your biggest pieces of negative self talk?”

It turned out that artists at all levels have inner-self haters and demons that would make a grown man weep on his knees. Not a single artist responded with “I never have defeatist thoughts” or “I never doubt my ideas.”

With self-talk defining our realities, and with the risk that self-talk could turn negative at any moment, we came up with a list of the nastiest myths and stories we tell ourselves as artists, as well as strategies to transcend negative self talk in art.

Self-Talk Foe #4: “These Materials are Too Nice to Use”

That perfect box of oil paints or pastels. Brushes made of the finest synthetic hair. The handmade paper from Tibet. The handmade paintbrush from France.

They’re great materials. So great that they’re TOO GOOD TO USE.

The ‘Too Good to Use’ problem will come up in all facets of life - cooking, business, clothing, everything. We’ve all done it - we’ve all bought a cooking oil that is so nice, we never use it, or wine that is so fine it sits on a shelf for years. Almost everyone has an outfit stationed in their closet that we think of as ‘too nice to wear.’ Or we’ve carefully made cookies that are so finely decorated, none of our guests want to eat them. Or we’ve been one of those guests who feels bad about eating the immaculately decorated cookies. Sometimes, things are just too perfect!

To bust this self talk:

The people who created the paint/markers/paper didn’t create it so that it could sit in a corner or sit in a box gathering dust. They created it for you, the artist, to use and thrive with. Even if the art you make is the worst art of all time, that is much better than the materials sitting unused in a box. It’s like the toys in Toy Story - they want dearly to be yours.

I had the ‘Too Good to Use’ problem with this set of Caran D’ache watercolor pencils. They all looked so perfect when I first opened the tray.

After using the pencils for a while, the package no longer looks perfect or instagrammable, but, I kinda like it that way:

Self-Talk Foe #3: “I’ll Never be as good as my Peers/Friends/That Guy on Tumblr”

We all have that one friend who seems to float through the sky like an anime princess, wave their white-gloved hand, and magical art appears like fireworks all around them. I’ll call this person the Magical Art Friend. They pirouette, flutter their eyelashes, and BOOM - the most amazing art you’ve ever seen blossoms across their Instagram feed, perfect and fully-formed like Athena out of Zeus’s forehead, thousands of likes pouring in from across the galaxy. Now they’re on the cover of a magazine!

To bust this self talk:

Your Magical Art Friend also has a Magical Art Friend in their life.

They may be magical themselves, but there is a whole world of Magical Art Friends out there, with artists looking up to each other in an infinite hall of mirrors.

The Magical Art Friend also has ... unmagical moments. We’re all sharing our best moments on Instagram, but it’s good to know that this isn’t the whole picture. Sometimes things suck, for everyone, and sharing suckage in a hypercompetive environment doesn’t make sense. Things that suck also pass, we forget about them (or try), while we struggle to perserve good things. It only makes sense that after a while, everything looks very, very magical.

Self-Talk Foe #2: “I can’t start this project until I am a better artist”

Let’s start by saying this is a tough one. This piece of self-talk arrives at our mental doors wearing the garb of logic and restraint. Logic and restraint are good, right? Artists need it! Discipline is good!

Though discipline is good, we have to transcend this seemingly logical piece of self talk if we ever want to get anything done.

To bust this self talk:

Sit down with me. Have you ever seen the first few panels of Garfield? Garfield changes … a lot from Day 1 to the present day. Here’s old Garfield:

The same can be said of The Simpsons. The first couple episodes do not represent what the Simpsons look like at all.

The characters and character designs… totally changed. They improved. And it was fine. Better than fine, even. The first couple tough installments blazed a path for a better vision.

As an artist you sometimes have to let yourself run into problems actively, take on what you can, circle back and make changes, or power forward, just get it released and in front of people. The reality of art is a bit like a particle of light under quantum theory - it’s a particle or a wave, depending on if someone looks at it or not. When art is observed, the reality of the art is different.

Self-Talk Foe #1: “The art I made does not match my vision”

Missing the mark. A failure to communicate. Poor execution.

Failed art hurts so bad.

We’ve all been there. We have a fantastic vision for the painting/drawing/animation/knitting project, and then upon execution … oh dear lord it looks terrible. It looks nothing like what we wanted!

This piece of negative self talk is the most brutal of all. It’s the reason why most people give up on art. It’s the reason we put down our pencils at around 6th grade and we tell ourselves “I’m not good at drawing.”

Unfortunately, this doesn’t go away over time. The Vision is always there along with The Reality, two sides of the same spinning coin.

When the reality doesn’t match The Vision, it feels like a failure of engineering. It’s like getting a math problem wrong or asking your crush on a date and getting rejected. It’s like following a recipe with 1960s housewife diligence, and the cake still looks terrible.

To bust this self talk:

Remember that everybody fails and that failure happens all the time - we just don’t talk about failure. There’s no class in school where you talk about failure. Nobody goes to a weekly staff meeting and reads out a list of their failures.

Because we don’t talk about failure, it feels like failure doesn’t exist.

You know what, let’s talk about failure for a second.

Cakewrecks.com is a blog dedicated to cakes that don’t quite make the mark. Okay, that’s being nice. Explicitly stated, the cakes on the website are absolute wrecks. They are the saddest cakes you will ever see.

What’s funny about Cakewrecks is there is a never-ending stream of cake wreckage content. Every day, there are new sets of wrecked cakes to see on Cakewrecks.com. Some wrecks are user-submitted, some are found by the website’s author, or curated and compiled out of other posts around the internet. But one thing is for certain: no matter where the cakes come from, there are many, many failed cakes out there. Cake making is hard.

Another way to get over this is to remember that sometimes, action can outperform vision. You might have a vision for a piece of art, but the more you draw, the more you chip away, sometimes action will take over.

Other people, not just artists, miss the mark all the time. We might try hard, we might pour hours of work and money into the perfect cake, we might have the most pristine vision of a cake in our head, and it might still fail and look nothing like the cake we envisioned at all.

I hope this blog helps you bust the patterns of negative self talk that you see in your art, be it painting, writing, or any kind of creation or higher-level thinking. Let’s face it, negative self talk appears in all walks of life, even far beyond Planet Art. The sooner we spot patterns of negativity and realize why we are enacting the pattern, the sooner we can break free. You wouldn’t talk so negatively to your friends, would you? Let’s be as kind to ourselves.

Related blogs:

Who the hell wrote this?

Comics and art are alive in Tokyo!

Crow Magnum - Sneak Peek!

I’m happy to announce I am working on a graphic novel adaptation of a short story by author Laurel McHargue!

A high-octane visual psychic thriller, Crow Magnum tells the story of Ruby and Jade, twins who make an unlikely discovery about their mother’s mysterious death.

The comic is drawn in a dramatic black-and-white style in the spirit of Frank Miller - with a modern twist! Here’s a sneak peek for now - enjoy!

I’ve loved every minute of adapting this short story to graphic novel form!

About Laurel McHargue:

Award-winning author Laurel McHargue, a 1983 graduate of The United States Military Academy at West Point, was raised in Massachusetts, but somehow found her way to the breathtaking mountains of Colorado, where she completed Waterwight, her fantasy adventure trilogy. Laurel's goal is to author as many books as possible in genres of every type. She produces and hosts the podcast Alligator Preserves about storytelling and the human condition, and blogs about life—real and imagined—at leadvillelaurel.com. She also has been known to act!

Laurel will be at Denver Pop Culture Con this year, go see her!

Featured on the Clip Studio Paint website!

Clip Studio Paint has featured one of my tweets on their Artist Testimonial page. The art is a sketch for a book I am working on for author Laurel McHargue. Laurel is awesome, one of my favorite books by Laurel is this one, Waterwight.

I love Clip Studio Paint and my ultimate dream is to bake a Clip Studio Paint appreciation cake and mail it to the software developers who made it. Clip Studio Paint understands artists and what artists need most!

Related blogs:

Clip Studio Paint for the iPad Pro (2017)

Clip Studio Paint AI Colorize Feature

Clip Studio Paint for the iPad Pro Revisited

Fan Art Friday - The Watchmen, Earthbound

I wanted to make a drawing of the artists on Veidt’s island in Watchmen. Ms. Manish and Mr.Shea only show up for a couple panels, but I could draw a whole comic just with them in it.

It’s unclear what Veidt has them doing exactly, but what is clear is that they’re out there on the island playing some creative role in creating a monstrosity. On the first readthrough of Watchmen, these episodes make less sense than Dr. Manhattan creating his own Citadel on Mars.

Earthbound

I’ve been having too much fun playing Earthbound or Mother 2 on the SNES classic. The SNES was the Nintendo I never had while growing up. I could only play it at friend’s houses down the street. I missed Earthbound completely.

So, I’m playing it as a 32 year old and it gives me so much hope for the world. The best part of the game is that it’s not neat and tidy - characters say things that make no sense, motivations are all over the place, and there is no clear exact goal right away. Doesn’t that sound a lot like … life?

I made this painting of the guy who sells Hints in Earthbound. I love this guy. He has a house and sets up an outdoor booth .. inside his house. Hints cost money. Or should I say HINT$? ? It was fun to paint this guy and chat on Instagram livestream with a couple folks. I wish I could do more livestreams, maybe that could be something for 2019 8) .

What’s funny about Earthbound though is every time I play it, I want to paint it again. I started over-making Instagram stories about it, recording every little bit of the game, and as I posted video after video, I asked myself, Is this too many videos? It was all coming from a place of wanting to capture this game and show it to the world and project it from the mountaintops. This game makes me want to invite people over to my house to play it for days on end. That’s how I feel about this game. I can’t wait to paint more of it.

Much more art on the way!

The Punishing Truth of Art Critique

Haters are always there for you

You’d hang a painting on the wall, and 30 people in a room would make comments on the painting. You couldn’t say anything while the other students were offering critique.

“I hate it.”

“It reminds me of my mom…”

“I don’t get it.”

“You could have worked on it harder.”

Ask anyone who has been through an art major or art school and they’ll probably talk for miles about the drama of critique. Usually, artists hate critique sessions. It drives deep seeds of unhappiness into artists, and it’s hard to say if it works as an educational model, but I will say that it’s an honest experience.

Critique is painful, but it is the most true-to-life moment of art school.

Once your art is done and out in the world, you can’t possibly defend every piece of criticism lodged against the work. It’s done, and you have to stand behind it, or be convinced to abandon it.

If 1000 people see the art and 200 people think it’s terrible, it’s impossible to argue and defend against 200 individual people.

You have to let it be.

A lot of people hated the paintings I made in school but I showed them anyways.

The peace of critique is that there will always be people out there who don’t like what you do. Haters are like McDonalds - always there for you and always the same service, state after state, country after country. The sooner we accept this and move past it, probably the better.

Once when I was young, my family and I went to a swimming pool park in Florida and I made a sand sculpture of a turtle. An even younger girl, probably three years old, walked up to the turtle, looked it over for a few seconds, and ran her foot through it. I remember feeling sad for a second, and then realizing “It’s sand, it would all have washed away anyways” and “she’s a three year old, what do you expect?” and then feeling the liberation of letting it all go.

Most art disappears or gets destroyed. A lot of people hate art. A lot of people don’t get it. Do it anyways.

Related blogs:

What Makes a Helpful Art Critique

Medium Moment: Oil on Yupo

On a total lark, I bought a sheaf of Yupo paper from the DickBlick store in Washington D.C. last spring. The ‘paper’ was unlike anything I’d ever seen.

Placing colors on Yupo is like putting the color in a vacuum - a color’s unfiltered brightness and truest essences emerge when on Yupo.

After working with Yupo for a while, you realize that it definitely isn’t paper in any sense - made of recycled plastic, it rebuffs water like a duck’s feathers. Colors don’t sink into it, they float on top of it, roiling softly, blending like a dream. It’s more like working on glass than paper or canvas. Think Bristol board but not made of trees. Like painting or drawing on Mylar, Yupo is extremely mutable. You can make a mistake in ink, and remove the mistake with a bit of rubbing alcohol.

Given all of this, I could see no reason why oils wouldn’t work on Yupo, where oil is like ink and turpentine works to erase like rubbing alcohol. That said, oil isn’t exactly advertised to work on Yupo - the Yupo pad itself states that the surface is great for watercolor, alcohol inks, and acrylics. No mention of oil paint anywhere.

I gave it a try, and spoiler, it’s amazing.

To get started with oils on Yupo I used Yupo Heavy (purple packaging) instead of the Yupo standard (orange packaging) paper. I tend to paint with heavy layers of thick oil paint and painting on anything less sturdy than card seemed unfair, or like it would end in disaster.

I hadn’t seen Yupo Heavy in stores until lately. (Sidenote our local art store in Hyattsville, Maryland is probably the most intimately-stocked store I’ve ever seen. I feel like this store knows my deepest desires, like it knows artists better than they know themselves. More on them soon)

To get oil to flow smoothly over Yupo, I wouldn’t recommend using anything heavy like linseed oil or stand oil. Winsor and Newton Liquin is the key:

Winsor and Newton Liquin medium

The painting above doesn’t even look like an oil painting, it’s more like a watercolor or acrylic ink at this point. Liquin makes layering easy and provides the mutability needed to make oil on Yupo work.

One part Liquin gives oil on Yupo a glassy, alcohol-ink-like feel, with all of the benefits of blending in oil. While Liquin makes oil paints a bit more like acrylics in that it speeds up drying time, it doesn’t dry so fast that you can’t go back and rework within 2 hours.

Without Liquin, oil paint can kind of get stuck on Yupo. It goes onto the Yupo and your brush just kind of sticks there - controlling it isn’t as easy.

I did not use Liquin in bulk on these paintings:

The first challenge is getting the Yupo paper onto an easel-like surface - since it is a sheet rather than a board, it’s a good idea to put the paper on a board or something like it. I used this wooden canvas backing as a support for the Yupo.

Without a decent amount of Liquin I had to keep brushstrokes shorter, and the model looks more like she was cut like a stone rather than flowing.

(Sidenote: the Android Google Pixel 2 camera is dope AF for taking photos of paintings and artwork. If things look a bit clearer above, this is why.)

I did like painting on smaller pieces of Yupo but for range, larger pieces (around 8 x 12 or so) work much better. It turns out you can get huge rolls of Yupo, similar to rolls of mylar, for larger work.

More oil on Yupo discoveries:

Will oil paint crack or split on Yupo once dry?

No, it bends as easily as the plastic it’s sitting on. Freezing weather would likely cause cracks, but that’s all I could think of. It’s been a few weeks since making my first painting on Yupo and it’s holding up beautifully.

Since plastic has extreme longevity (think of all the pictures of plastic in the ocean and its tendency to never biodegrade) oil paintings on Yupo could last for a long time. I don’t see yellowing as a problem, as long as the paint utilized is pretty good. I’ll get back to you in a couple years.

Does Yupo work for thick, heavy layers of paint?

The answer is YES, it works just fine and can support quite a lot of paint and impasto medium, up to about half a centimeter at highest. I’d recommend the Yupo heavy version for painting with thick paint.

The smaller Yupo surface worked well for experiments and compact painting, so I decided to branch out and try a larger size.

What else works on Yupo?

To be honest, just about anything. Watercolor pencil looks great, acrylic ink pours on and Yupo holds the color brilliantly. Copic markers work and since they are alcohol-based and the paper is smooth, they blend even more fluidly.

Related blogs:

First Yupo tries! https://www.beckyjewellart.com/blog/2018/1/6/medium-moment-yupo-paper

Washington D.C., Virginia, Yellow Line Metro Drawings

For the past four weeks I’ve been taking the Yellow metro line from downtown Washington D.C. over the Potomac and into Virginia where I go to work in Crystal City. If the Yellow Line breaks I take the Green line.

Up until this time, I’ve been driving to work for my entire life. The peace of the subway hasn’t worn off yet - it’s a solid 20-30 minutes where I can sit and draw instead of worry about other cars or traffic or merging.

For people riding the metro, the only thing that stands out more than an artist drawing on an iPad are people playing the new Nintendo Switch. It would be impossible for me to make drawings on a giant iPad in a subway - people are just too fascinated and I am extremely shy while making art, so what I do is draw just a couple core elements of the people I see for a few minutes. From there I take the iPad home and finish the drawing there.

I am producing a lot of Tilted Sun while riding the metro as well. Making art while traveling is hit or miss - the airplane/train is either bumpy and it’s impossible, or it’s smooth sailing. All art is this way. Painting in plein air brings challenges like wind and dirt and bugs, and the subway is the same. You just never know if you’ll get a seat or if conditions will be right, which is half the fun.

Fortunately, Washington DC’s subways are relatively smooth and everyone keeps to themselves for the most part. Everyone seems to be on their phone despite the lack of service - Bubble Burster and Bejeweled are the great equalizers of our time. The DC metro doesn’t like it if you eat or drink on the train, and riding the yellow line near the Pentagon is the most orderly, composed ride on a subway you could ever imagine.

All of these drawings are made in Clip Studio Paint on an iPad Pro. Basic tools, nothing fancy. Someday I’ll make my own brushes and pencils but until that day I’m thrilled with the default tools. Defaults are something that Clip Studio Paint does well with - as an artist/user I don’t have to think, I don’t have to triangulate my settings into the blue oblivion. I can just sit down and create. As much as I love tinkering, I love production even more. Most artists have to love both to a certain extent but I’d say most would choose creation over tool selection.

The places where I’ve lived before the East Coast are’t so hot on trains - Texas and Colorado are more about cars and trucks for people, and trains are reserved for commerce and big cargo.

So I’m still in love with the metro here in DC. It really is so amazing that there is this machine that will just spirit you away to another part of town.

To explain the DC Metro system to anyone not familiar, here is a map I drew, where the Yellow Line crosses the Potomac into Virginia.

I forgot the silver line but it runs between the orange and blue lines.

Paintings and Drawings of Cats

Real Cats: Bitty

The painting above I made from a photo of cat on a rock in a pond - it was such a cool photo, I had to ask - how did the cat get there? And, why would she ever leave the rock? The rock seemed like such a cool place to be, surrounded by water and flower petals. 

Real Cats: Marl

I wanted to make a painting of my cousin's cat, Marl, who is a striped cat with beautiful markings. It was fun to paint Marl basking in the sun on a checkered carpet, it was especially fun to paint Marl's little footpads. 

^ Here is Marley Cat hanging out at my cousin's place. 

Real Cats: Flash

One day in Houston at my grandpa's house, a mostly white kitten appeared and stopped by to eat the kibbles of grandpa's much older cat, Xena. Fairly common in Houston, stray cats tend to come and go -  everyone in the family was expecting the wayward white kitten to move on to another house, but the kitten decided to stay. The kitten would appear intermittently and would race about the yard, and so the family named the kitten "Flash." He was fully adopted and now has his shots/tags and is overall here to stay. I made the above drawing of Flash in the garden, and the below drawing of Flash in Clip Studio Paint. Flash is white, but I reimagined him as a cat in the shade. 

Imaginary Cats

I started out this series of colorful cats in oil with a sort of "Wayne Thiebaud Cakes, but with Cats" kind of take. The thick oil paint makes the bright colors stand out quite a bit. I'd love to do more in this sereis with non-pale backgrounds, maybe more with leaves/foliage or household surroundings. Overall these were just fun to make. 

Painting this cat's feet was fun. ^ At this level of thickness in paint, the paint takes on a sculptural quality, and I'm not even painting so much as sculpting or building dimensional form. I often start out paintings like this with a small undersketch in orange (so that it is easy to see) and then I fill out the full-bodied paint forms from there. It's interesting how no matter what kind of paintings you make, it all starts with the foundation of drawing. 

Cats but with watercolor or acrylic ink. 

For Inktober 2017 I made the cat above, what's interesting is people see a lot of different shapes in this cat. It's a bit like a cloud in this way.

Several cats also make an appearance in Tilted Sun, a sci-fi fantasy comic that you can check out on TiltedSun.com. 

Art Journal May 20 2018

Lately I've been looking at a few big changes in life, mostly adjusting to life on the East Coast! 

This weekend I worked on a couple small watercolor pencil drawings made on the paper from France (Paris art store blog here!) Although my trip to Paris was in November, it took me a while to think about what I wanted to put on these delicately handmade pieces of paper. Perhaps I shouldn't say 'delicately handmade' - they're really strong and sturdy pieces of paper, yet you can feel the care and time that went into creating them. 

Indian Paintbrush

For these small watercolor pencil drawings I am still using the Caran d'Ache Supracolor pencils, wonderful pencils in every way. The variation of colors in the 80 pencil set prove to be a dynamic and sophisticated range.

I couldn't decide on many of these pieces to add water to them or not. The seemed to look fulfilled with no water added, so I let them be for the most part. 

A couple happy hummingbirds 

On the other side of the studio, I've been working through a list of Things I Want to Paint, a list of photos that I have assembled on Facebook of memories, things, and people that I want to paint. 

I decided to keep a running list of Things I Want to Paint after one day where I was stuck in front of my easel without a thought in my head of what I wanted to do. There is little worse than scraping along and finally getting time to paint and then suddenly... not knowing what you want to paint! 

"Things I want to Paint" is a public gallery on Facebook, so even if you are not my Facebook Friend, you can still hop over and take a look! (I am extremely friendly I just don't have time for Facebook too much anymore...) 

Below are a couple results of "Things I Want to Paint" 

A photo of my friend's vacation to Tahiti, including a shark swim, and the painting: 

A photo of my mom relaxing with Geddy the Poodle, and the painting: 

These paintings are fairly in keeping with my style and outlook, I like to paint with bright colors only, I usually stay away from using brown or gray. 

This month has also been a good month for digital art. I am still loving every moment of Clip Studio Paint on the iPad Pro. I'm finished with the very generous free trial and am grateful for every feature, every penny is worth it. If I meet the developers of this app I will hug them. 

One aspect of Clip Studio Paint on the iPad Pro that stands out and that probably doesn't get enough laudation is the basic pencil tool. The pens are great. The watercolor effects are bangin. But the regular old pencil tool really... just drives it home. It seems so simple, but it's so very powerful. Most importantly, it feels natural. 

I made a couple drawings in Clip Studio Paint using a light lavender pencil on a black background. It's a lovely etching, scratch-paper like effect. Here is a portrait of my grandfather's cat, Flash, who has an interesting pattern on his back which resembles a broken heart: 

I'm also working on this larger digital piece of two lovers surrounded by foliage - I was thinking about leaves from all of the places I have lived in the past 5 years, and incorporated leaves from Maryland, magnolia leaves from Houston, aspen leaves from Colorado, and forget-me-not shaped flowers from Leadville. I'll probably work on this one a bit more .... 

I haven't made as many romantic paintings or drawings this year, not sure what it means, I both struggle and resist in putting words to most of my best art - this is probably why. 

Lastly it's been a great couple weeks of Tilted Sun being released and out in the open. The comic launched on May 1 and releases a new page every Tuesday and Thursday. It's also featured on the top level navigation of this website. For some reason I always leave Tilted Sun for last, I'll have to not do that next time! 

Tilted Sun is free to read online! Tether Orbs, cyber horses, electric guards, spy birds, and all kinds of cool things await you in the world of Tilted Sun! 

Until next time ... excelsior! 

Washington D.C. Cherry Blossom Festival 2018

It was a picture perfect day on March 31, 2018 in Washington D.C., perfect to grab some photos of the blossoming cherry trees! 

After seeing these beautiful trees, the story of George Washington chopping down a cherry tree becomes even more poignant. 

The Cherry Blossom Festival also includes an amazing kite festival, where kites of all kinds are flown along the National Mall. You can bring a kite or buy one on-site! It looked really fun.

There were several blooming trees to be seen near the White House: 

Like any good festival, there were also many occasion-specific souvenirs available, featuring cherry blossoms on almost any kind of product you could imagine!  I'm not always a sucker for souvenirs, but I was so in love with the cherry blossoms that I felt drawn in by these little items.

The National Mall itself looked stunning in the rare clear blue skies and the bright sun. 

Four Key Takeaways from The Keys by DJ Khaled (For artists!)

Here are my Four The Key takeaways from The Keys: 

1. 🔑 Major Key: Stay Fresh.

"If you want to be treated like a boss, you've got to look the part." 

DJ Khaled even says it's good to get a haircut twice a week. The logic here is, you never know when you will get a chance to prove yourself. You might meet Jay-Z tomorrow and you should have great hair at all times just in case. Although Khaled does recognize that not all of us can afford twice-a-week haircuts (until we've made it, that is), he is a huge ally for self care and respecting yourself through dress.

This does make sense for your everyday visual artist - while I prefer to have paint-splattered clothes in the studio, it is nice to add a good piece here or there for wearing to shows and museums. 8) 

2. 🔑 Major Key: Pick up the Phone.

Khaled tells us: "If you have a situation, you pick up the phone. You set up a meeting and you talk among grown men and grown women." 

It's easy to resonate with this major key because... sometimes you can't solve everything through email, Twitter, or chat. It's much better to pick up the phone, take time, listen, and solve problems as grown men and grown women.

While Khaled loves Snapchat, he isn't the biggest fan of social media or the culture of online witchhunts. "I can't imagine a bigger waste of time. Who has all this energy to stir things up? People who aren't successful and people who aren't working hard, that's who."

I loved this piece of advice from DJ Khaled because, as artists, we need to work on our work - stirring up trouble online is a short term game to win attention. Good work and solid art are the keys to longterm success. 

The book THEY don't want you to read

3. 🔑 Major Key: Real Talk, Don't Jetski at night.

Just search Youtube for DJ Khaled Jetski Night. You'll see why this is a Major Key. 

The incident of the jetski at nighttime also made DJ Khaled more famous. When Khaled got lost on the water and started up his SnapChat app to document the experience, it showed that he cared about his fans and that his fans cared about him. When he was in trouble, he couldn't call the police, he couldn't exactly call home... but he could call his fans in the time where he needed them most. Like the poet Saul Williams once said, Vulnerability is Power.

Yet... be careful about Jetskiing at night.

Art I made in 2015 of DJ Khaled Jetskiing at night

As far as how to not jetski at night as an artist ... I suppose it is a matter of having fun and taking risks, but not taking too many risks. 

4. 🔑 Major Key: Keep Two Rooms Cooking at the Same Time.

In this chapter, DJ Khaled reveals that as a producer, artist, and CEO, he knows how to do every job, even the smallest, most menial jobs in his organization. He stays humble. Knowing all the parts of the machine and working on at least two projects at once keeps up the momentum in his production studio. 

In our world where focusing is as prized as gold, and where industries push their best and brightest into hyper-specializations, it is nice to know that at the end of the day, it's not only okay to be a renaissance man, or a jack-of-all trades ... but... it's cool. It's a good thing to have experience in every dimension of your business. It's okay to take on more than one project at once. In fact, crossovers of knowledge and overlaps in projects can fuse together and make the most rare and valuable beat of them all: something new.

The practice of keeping two rooms cooking at the same time works for visual art as well. When the paint is drying, it's good to start another painting or pick up a new drawing. With the technology and resources that are available today, artists are able to be so multidisciplined. #D animators can be poets, collage artists are businessowners, and sculptors are painters. Never limit yourself. Or, as Khaled would say "Don't play yourself."