On Creativity: The Secret to Creating Great Art

    My stint as a visiting artist at Hartwick College earlier this year was nothing like I expected yet everything I could have wanted. Being placed somewhat unexpectedly in the role of educator alongside the familiar one of puppet-builder proved both challenging and rewarding in a myriad of ways I could have never anticipated. It is an old axiom that the teacher learns more than the students. I found this to be very true. One of the most surprising aspects of teaching for me was the way it confronts you in a very real and tangible way with what you know.

     Since the end of my residence, I have been slowly trying to compile observations about living the creative life in a series of essays. I am attempting to confront the realities of the creative process in as pragmatic and rational manner as I can. I do this partly to record my own ideas in a coherent form, but mostly out of a sense of gratitude to my former students and colleagues. It is my fervent hope that these writings can help others along their journey. To this end, I will endeavor to speak in the broadest possible terms, using the word "Artist" in it's most general sense.  

    On a personal note to all those I associated with during my Residency: I apologize for those moments when I could be cranky irrational and overly demanding. The only defense I have to offer is that I felt that I could relentlessly demand excellence from you because time and again you proved capable of it.
I am extremely proud of the work we did together!

"Here are my Principles, and if you don't like them...well, I have others!"

-Groucho Marx

The Secret of Creating Great Art

There is a moment that every working creative dreads. It is that moment when an enthusiastic and appreciative person asks “How do you do that?” They don't mean how was one specific project accomplished. They want to know how to PAINT, How to WRITE, How to ACT! It as if the artist could, by some magical act of beneficence tell them a simple universal truth that would part the veil and magically welcome the questioner into the sacred order. Any answer that can be given is going to come as a terrible letdown. It will ring false or trite in the ears of the audience. They come to you seeking to unlock Truth and Beauty and are forced to make due with cliches like “Write what you know”.

No artist can tell you what you want to learn in a few short sentences. They can give you a few pointers, certainly they can draw you a map, but you need to embark on your own voyage. The process is always going to be your greatest teacher. I have been fortunate enough to have had the guidance of many wonderful instructors, both in a formal and casual capacity, and have found their insights of inestimable value. At the end of the day, however, I must admit it was the wood that taught me the most about how to carve.

I have discovered that there is,after all, a great and universal truth to the creative process that can be stated simply and succinctly. Here it is-At long last revealed the secret that every successful artist knows! I should warn you, it's terribly disappointing the first time you learn it

The secret to creating great artwork is simply this: Make bad art.

Behind every masterpiece painted lies a graveyard of terrible drawings. Every soaring violin composition reached it's heights on a scaffold of hours worth of scratchy shrieked notes. That beautiful inspiring passage from your favorite writer is only possible because of pages and pages of poisonous prose. Those dancers that float effortlessly across the stage have fallen more times then you can count

This is another one of those stories we tell ourselves as artists: Some people are just “born with it”. They are naturally talented, and so opportunity falls in their laps. They are blessed by the gods with something divine that makes them more that the rest of us.
That's true. It's called a work ethic.

Don't get me wrong, Natural talent is real. There are people who are more musically inclined, more graceful, more visually oriented from birth. I have met these people. This is an excellent start. It opens the door for them but rest assured they have to climb the mountain just like anyone else.

Here's what really happens: A young person shows some aptitude for a task. They are praised by their friends and family, and so they continue to try. With a little more effort and a little more positive reinforcement, they realize that they really enjoy doing this more than anything else. Because they are doing what they love, they embrace it. They work hard and never notice the effort because they enjoy every minute. Obstacles become challenges. The desire for praise turns inward. Instead of wanting the praise of parents, the young artist wants to be the best, to say something original. Parents worry about these new found obsessions and start to encourage their child to do pursue other interests. Peers may even mock the young artist for their strange new obsession, but by now none of this matters as much as the passion. Like any other addiction, it takes hold of the person's being and begins to define them. As the process of learning the craft gets more difficult, the artist becomes less and less capable of extracting themselves until they can barely imagine doing or being anything else. I know this to be so because it is my story, along with thousands of others.

The special trait that artists have that you believe you don't isn't talent. It's passion and determination. Successful creative people are simply those who continued to work. Stop telling yourself that you aren't “Born with it” or whatever other convenient excuse you are hiding behind. Nobody wants to hear how you can't even draw a stick figure. That's a cop-out. If you truly want to draw, pick up a pad of paper and fill it in. Once you've finished that one, move on to the next. Make your mistakes like everyone else, and learn from them. Don't expect to get it right the first time. You won't. Keep trying. Each attempt teaches you something new. Remember, you are honing a skill. It's a lifelong process.

Sketchbook Project -Quandary

For my birthday this year, my younger  sister, Sarah, of the blog Sarah Draws Things (a blog everyone who reads this and likes great illustration ought to be following, by the way!), signed me up forThe Sketchpad Project . The way it works is this: You are given a small blank sketchbook to fill out and mail back to them by January. The sketchbook is then part of a traveling exhibition and becomes a part of Brooklyn Art Library's permanent collection. My sketchbook came in the mail last month along with a snazzy orange sketchpad sleeping bag, a strange pencil made out of recycled blue jeans and an information card complete with  a list of themes to chose from (see below)

• Travelogue
• Memoir
• Narrative
• Atlas
• Almanac
• Chronicle
• Sketchbook
• Chapbook
• Documentation 
• Photo Log
• Dwellings
• Strangers
• Participate
• Diagrams
• Warnings
• Lists
• Creatures
• Dinosaurs
• Upstairs
• Mystery
• I'll classify my book later (Which I am currently singed up under)

The sketchpad has sat on my bedroom table since. Not much has happened with it yet aside from the occasional admiring glances from the residents of a nearby reptarium (an anole and a green tree frog, since you're wondering). I don't know what to do with it. I have entirely too many ideas and can't seem to commit to one. I thought maybe if  I wrote them out here maybe that would help me decide, or I could possibly get some useful feedback. So- here's what I'm thinking:

Travelogue- I'd like to do something with this, but my budget and schedule won't let me run away to Africa right now. Of course I could always do it based on my past travels (India, Guatemala, Professional touring, etc) but they aren't as fresh and immediate as I'd like. My sister is using this category and doing a beautiful book on Venice. I could always do a travelogue of a fictional place as well

Narrative- It might be kind of fun to tell some sort of visual story with the book, I just don't have any focused ideas yet. I've also considered doing illustrations for all of those recently discovered Fairy Tales they just found in Germany, but frustratingly, they have yet to be released in English.

Sketchbook- This seems the easiest option, but I'd still like it to be a little more concentrated, focus on trees or birds or something.

Dwellings:  An exploration of where different things live. Might be fun.

Diagrams- An unusual choice. I could do something in the nature of an instruction manual on puppetry, small animal care, tracking, woodcarving, or any of those myriad of other unusual and utterly unemployable abilities I have.

Warnings-This might be fun. A book of all kinds of ridiculous warning labels and signs, or possibly the rulebook for navigating Fairie

Creatures- This is probably the one most in my wheelhouse. I could do a field guide about my own versions of dragons or griffons or other mythological beasts, or a book of recently discovered species. Something like that.

Dinosaurs- Pretty self explanatory. Dinosaurs are cool.

Mystery: No real ideas for this one. Seems like it could be fun, though.

Well, that's what I'm thinking. I'd love to hear your suggestions
-J

Save The Arts! An Open Letter to The Upper Darby School Board

The school district I attended is planning to cut it's arts and physical education programs in a shortsighted attempt to save money. I think that this is an absolutely devastating and foolish decision. Everything that can be done to prevent this should be attempted,  Please do your part and sign the petition Here. I wrote the letter below to express just how important this issue is. I regret that I cannot be more personally involved due to the fact I no longer live there. Please feel free to forward this to anyone you feel needs to see it. I know I plan to.

Dear Upper Darby School Board:

    You have recently announced plans to cut funding for the arts in your schools, effectively eliminating them. While this may provide you with short term financial benefits, I believe that the consequences of this action are greater than you could anticipate I am writing to encourage you to reconsider. I work as a professional puppeteer who tours throughout elementary schools all over the country. I therefore get to witness the impact the arts have on the lives of children. Unfortunately for your purposes, these effects are not easily quantifiable. How do you measure laughter or inspiration? Unlike most other subjects, the nebulous benefits of arts education are notoriously difficult to gauge. Fortunately, as both a professional artist and alumnus of you school system I am into the unique position to provide you with some statistical information.

    According to The Pennsylvania Youth Suicide Prevention Initiative's website (PAYSPI), an average of 1300 young Pennsylvanians take their own lives. I can state with absolute authority that in the period between 1986-1993 that, because of active participation In Upper Darby's arts programs, at least one less young person cut their own life short.

    Some well meaning adult told me during my senior year that someday I would look back on my high school career as the best time of my life. They were not at all amused when I responded by jokingly requesting to be shot. This was typical of my attitude towards school, which I also recall comparing to a minimum security prison. I was an introverted and socially awkward student, combating clinical depression and the added social stigma of having been classified as “Learning Disabled”. I was relentlessly bullied by my peers for being “weird” and “different”. The overall result was that I was one of those students that are the bane of a teacher's existence: a reasonably bright student who refused to apply himself. I was miserably unhappy and contemplated suicide often. I even made a few attempts at it.

    When I tell you that participation in several excellent arts programs, including Summerstage, Marching band, and various visual art classes, saved my life, I am by no means exaggerating or employing hyperbole. Learning that I had some aptitude for drawing and theater gave me a focus and sense of purpose that I couldn't find in any of my other courses. Through these programs, I found that I was no longer alone. I met new friends who showed me that would never fit in with the mainstream, I was funny, talented, and likable. I learned to cherish my “weirdness” as a manifestation of my creativity. I clung to the arts like a life raft. I auditioned for every production I could and began to spend lunch and study hall periods in the art department whenever the understanding faculty would let me. I found something to live for. Through persistence and hard work I developed my abilities to the point where I was accepted to a good art school. Today I am a living example of a very different statistic: I am one of the 5% of art school graduates who work in their chosen field.

     I hope that when it comes time for you to make your final decision, You will consider my story. Arts programs can actually save lives. I realize that my experience is not typical, but consider this: while they may be in the minority, there are others out there like myself who need the arts programs on a fundamental level. Their lives are worth saving. Mine certainly was.

John A. Ryan

Puppeteer and Sculptor
Upper Darby High School Class of 1993

Hearts and Minds

The battle is as old as humanity itself. It has raged on virtually unceasing since our species could first ask "Why?". The problem is, the fight is rigged. 

In the battle between the Brain and the Heart, the Heart never fights fair and the Brain can never understand this. The Brain follows a strict code of conduct and expects it's opponent to do so as well. The Heart changes the rules and tactics as it goes to suit it's needs. The Brain lines up it's troops in orderly formations thinking time and again that reason will win the day. The Heart only acknowledges reason when it can use it to it's advantage. It takes hostages, ambushes with emotions and lays siege to thought.The Brain has elaborate strategy to minimize damage where the Heart is willing to sacrifice anything for it's cause, even itself. It fights like a true believer. The Brain negotiates and bargains. The Heart makes threats and demands. The Brain can surrender with grace and accept defeat, The Heart sulks and throws tantrums. The Brain is straightforward and honest in approach, the Heart, devious and manipulative. Facts and Logic melt like sugar before the flamethrower of  "I WANT!".  It seems the Brain can only achieve any form of victory when it's nemesis finally comes battered and exhausted  to plead for mercy and help to extract it from the trap the Heart has built for itself and cannot get out of alone.

A Tutorial on Job hunting for the Professional Puppeteer

     In these tough economic times, finding work can be challenging for almost any professional.  For the creative professional, the search for employment presents special difficulties and requires a highly specialized skill set.  As a public service to my younger and less experienced colleagues, I have decided to leave detailed instructions on the process of searching for gainful employment as a puppeteer. I cannot guarantee success , of course, but this is the procedure I have always used. It has gotten me where I am today and… well, there’s just no arguing with results!

Part  1

Updating your Resume

 Realize that you haven’t updated your resume in quite some time now. Find a copy. If it is on software that has not yet gone obsolete, this is a plus. Review. Reassure yourself that the cavernous gaps in your employment history are perfectly normal and acceptable on the grounds that no prospective employer will care about your vast experience in retail or waiting tables. Add your most recent work experiences, taking care to frame them in the most impressive way possible.  Remember:  the more job titles and responsibilities you can attribute to yourself, the more impressed you future boss will be!  Edit your references, carefully making sure you have their correct contact information and that you still are on speaking terms. Erase anything under the heading “References” and replace with “Available upon Request”.   Read your “Special Skills” section. Realize how random and implausible it looks, in spite of the fact it’s all perfectly true. Update and refine this section before invariably editing it out for taking up too much space, and because ultimately no one will care whether or not you can juggle.

Pro Tip: Remember to save a copy with the “References” and “Skills” section intact. This will inevitably be the only copy that somehow survives. 

Part 2

The Hunt

    Go online. Open your search engine. Type in the phrase: “Puppetry Jobs”. Be astonished at the sheer number of results this produces. With a sense of hope and optimism begin scanning the listings of a major job search site. Notice about three pages in that most of these are for a software program called “Puppet” which you hadn’t previously heard of and don’t know how to operate. Swear. Change your search term to either “Puppetry “or “Puppeteer” Browse through the results. Eliminate any that include the words “Intern” or “Volunteer”. This should narrow your search down to about 3 listings. To any basic job posting there are three basic reactions. They are as follows:

1)      Amused Contempt:  Upon researching the company’s website, you are astonished by the bald faced incompetence of their puppet design, ugly website and cheesy show selection.  You decide instantly it isn’t worth your time to apply and marvel to yourself how such rank amateurs can possibly stay in business. This reaction will be appropriate for about 97% of what you’ll see.

2)      Mild Interest: After reviewing the company website, you are not blown away, but this company seems to have things relatively together.  Working for them would seem to be a distinct possibility. Then you read what they’re asking for. They want you to sing. They expect a minimum of 3 years in interpretive dance training. You must be ten years younger, seven inches shorter and probably the opposite gender. There is absolutely no creative input from the performers.  Preference in casting is given towards full blooded Fijian natives. You need to fly cross country on your own expense to attend the audition in two days. They pay 50 dollars per week. Moving on.

3)      Delight:  This listing might even be for a troop you’ve heard of. Their website looks really cool. The puppets are beautiful. Their shows are really interesting and innovative. You watch their videos and are genuinely impressed. You start to fantasize about working alongside these people who will doubtlessly be funny and cool and listen to your ideas. They are even based in a city you want to go to.  Also, the position was filled three months ago.  

Go to another Jobsite. Repeat process. Repeat process. Repeat process. Decide you’ve earned a break for a quick game of FreeCell. Two hours later, repeat process.  Look on a puppetry specific website. Realize that the listings are pretty much the same as what you’ve been looking at all along. Only this time, they're accompanied by idiotically chirpy and obvious pointers on how to find work.  Find another puppetry site.  Find out they’ve been defunct for several years. Check in on Facebook. Read the updates of your performer friends who are all happily employed and doing really fun projects. Decide that you now hate them. Open bottle of whiskey. Make yourself a drink (Pro tip: After this stage, it is vitally important that you do not contact any prospective employers. Trust me).  Go back to searching. Ten websites and two drinks later, notice that you’re looking at all the same websites over again. Look up that one troop you kind of liked on Youtube. Begin drinking straight from the bottle. Decide that the video you like reminds you of that amazing puppeteer who inspired you to follow your dream in the first place. Try to find that famous sketch of his. You know that hilarious one with the lobsters?  Spend the next hour obsessively trying to find it before remembering it was called “The Lobster Sketch”.  Watch it. Wonder why you can’t make something so utterly brilliant. Read the comments on the video. Become annoyed by one idiot who clearly doesn’t understand how good this is. Consider writing a scathing comment at him until you realize that even though you might be drunk, your judgment isn’t nearly impaired enough for a “Comments section “. Take another swig. Go to the bathroom. Catch sight of your own reflection. Notice your bald spot is bigger. Notice that you’ve gained weight. Notice the lines around your eyes.  Decide to start exercising and eating healthy. Order a bacon and onion pizza. While eating, get all maudlin and sentimental about your passing youth. Call an old dear friend in a distant city. Whine at them. Complain that the opportunities are all for younger people. Mention that you’re afraid of dying alone, obscure, and unloved.  Weep. Allow them to pacify you. Talk for hours until they point out that its two a.m. and they have to get up in the morning. Hang up. Put the empty bottle in the recycling.   Save the last slices for breakfast.  Go to bed. Wake up hung-over the next morning and start all over again. Continue this process until you actually find work or your remaining friends have staged yet another intervention.