Lisa Call

Page From My Sketchbook Used to Track Studio Time (click to see larger image)

Tracking Studio Time

I wasn’t planning on writing tonight but I want to write this down while I still remember the thoughts I had today thinking about the post I wrote last night and some of the comments that were left.

I mentioned several times on my blog that I track my studio time. The posts I wrote early in 2008 ( This One and Another One ) are very interesting reads.

These posts indicate a change I made in tracking studio time. I went from being very systematic about it, to taking a more laid back approach. It was all part of the search for who I wanted to be.

I’ve since decided that is a bunch of crap-ola. Yep – I’m going back to a definite plan for how much work I want to get down in my studio.

It Didn’t Work

I discovered that trying to take the "Oh, It doesn’t matter, I’m more floaty and creative if I don’t put rules around it" approach to studio time resulted in my getting significantly less done.

In Jan-Mar of 2008, right after I devised that crazy scheme, I did basically nothing in my studio. My kids were in Europe – I was home alone – there were no excuses or distractions. It was simply me being less systematic. As a result I would often say "I’m tired" or "I don’t feel like it" and stuff like "I’ll do it tomorrow".

None of that stuff really results in things getting done. Instead it’s a good way to get nothing done but have a lot of lofty reasons for why I didn’t.

Like "self care is just so much more important than making art". Hm – NOT! Making art is the #1 thing I say I want to spend my time doing. Not avoid doing.

Why Does A System Work?

So I’ve thought a lot about why my old way of doing things, with rules and precise tracking, worked and I think the answer is it is basically the same thing as setting a timer.

There has been tons written about boosting productivity by using a timers (check out these google results). I think my old plan was essentially that. I timed myself.

When I walked into the studio I trained myself to look and the clock. That was it – timer was running. I didn’t stop working until the time was a even increment of 15 minutes. And then I wrote it down.

Because the timer was running I wasn’t tempted to run off and do other stuff, like check email or do my laundry.

When I left my studio the timer was off – I wasn’t racking up minutes. So I’d hurry back to get the timer going again.

I know this sounds kinda crazy but after seeing it in action and reading all the timer and productivity stuff (my favorite person that write about this is Christine Kane) I’m convinced – it really works. And not just for studio stuff. I now use a timer for my writing and planning art business stuff now also.

I have been spending 15 minutes each morning entering addresses into my snail mail mailing list. Fifteen minutes isn’t a lot but over time it adds up and with no big drama effort, I’m going to have the last 18 months of avoiding this task whipped into shape.

Going with No Goals

In my attempt to be more floaty I also gave up setting goals for how many hours I would spend in my studio each week. I decided to just let it happen. As I mentioned – it didn’t.

What happened is the emotional side of me got all excited and it had a field day. Woohoo – we get to run the show and stop her from doing what she wants.

I only made art when I felt like it. Or when I magically had time.

Okay – really – I work full time as a software engineer. I’m a single mom every other week with 2 teenagers constantly wanting stuff. I own my home, have to pay the bills and do all those house things that need done. There is the yard (okay there was the yard – it’s now dirt). Family, friends, quack quack quack.

I don’t have time to put in 20 hours a week in my studio so of course if I give myself an out I’m going to take it. There weren’t any goals so it didn’t matter. No disappointment so why bother doing it.

Thumbs Up To Goals

So forget that no goals thing. I’m now setting my goal to 15 hours a week. I’m making it lower than before because I also plan on doing a lot more art business stuff than I used to.

By setting goals I have something to aim for. I may not always make that goal but by identifying it and writing it down I have a much better chance of making my goal than without writing it down.

By setting goals I am no longer giving the emotional side of me free reign to do what I want. I get scared or worried or anything about what I’m working on. Great – recognize the feelings – but I’m not going to let it stop me from pushing forward.

Eventually those feelings realize they aren’t in control and they get a little less loud.

By setting goals and being systematic I’m significantly more creative and make much more art than when I’m all new-agey. Trying to be like those non-driven people I sometimes think I should be like, who always seem more creative and spontaneous and fun, didn’t work for me at all.

I need structure and systems for my creativity to work.

Organizing the Studio

Tossing out More Stuff

The above photos are the current state of my studio.

When I moved everything into the house I crammed all of this and more into my studio closet:

Now it’s time to clear it out and keep only the essentials.

I cleaned out some stuff before I moved but I had a bunch of the guilty thoughts like "I really need to finish this – I started it" so I kept way too much. I also recall packing my studio was done in a rush. Much of it done the morning the movers were coming. Not the best time for clear thought.

So now I have the time and I’m sorting out 90% and more. Projects that might be nearly done but that are seriously ugly – gone. Projects that I was going to make for a friend or family member but the event passed years ago – gone. Projects I should finish because I started – gone.

Who Made Up These Rules?

Most of this stuff is 10-15 years old. I’ve kept this stuff around because it’s not bad and aren’t we required to finish everything we start? But you know what. I don’t need that rule anymore.

By getting rid of this stuff I am creating space for new things in my life. I won’t miss any of it and I’m going to love not having it draining my energy as it sits there making me feel guilty.

I have a vision in my head of a very simple and uncluttered home and studio. Where I am surrounded only by things I love and there is nothing negative making me feel bad or guilty. I’m so close to reaching that goal – the energy in my house is incredible.

Home #3
©2008
10.5" x 8"
$550
Purchase Here

TUT

Today’s Notes from The Universe:

No one ever regrets raising the bar, Lisa, ever, ever, ever.

Scare yourself,
The Universe

I love these daily emails – they make me smile – and think, good thoughts.

Fear and my Purple Paint

I thought about my choices for the paint in my bedroom when I first read the email this morning. I was choosing the lighter purples because everyone always says to pick lighter colors for paint and etc etc. So I was following rules but when I did, it so was not what I wanted.

I want a really deep dark royal purple – so scare myself I did by daring to go with the darkest purple I could find. I’m sure I’m going to love the room. Sometimes I have to ignore everyone else’s voice and just go for it to get the results I want.

Raising the Bar

When I first starting writing about my studio addition I wrote about adding on a small studio and living small. Somewhere along the way I raised that bar and went for the studio I really wanted.

Sure there have been a few scary moments along the way (mostly when I get hooked by the fear around the stock market) but it is quickly put at bay because I know this is exactly what I need and want. Absolutely no regrets here.

Same story on raising my art prices. I finally owned my success (to copy a phrase from Christine Kane’s latest teleconference) and it feels great!

 
Where do you need to raise the bar in your life?

Markings #20
©2008
14"x 14"
Sold

New Paradigms

It seems an unwritten rule of the art world is that if you want to be taken seriously you do not sell your work cheaply and you certainly don’t worry about affordable art. I used to buy into this story, thinking that if I wanted to show my work in museums I needed to only make large, serious artwork.

I think the art world is changing with the advent of the internet and old patterns of thinking are no longer necessarily valid. And even if they are, I’ve decided they don’t apply to me.

I’ve decided to take full responsibility for my art career and in doing so have decided I get to come up with my own rules, if I ever feel a need for rules.

Who says I can not make ACEOs and sell them for $25 while at the same time having 6 large pieces in a museum show and also sell my larger work for thousands of dollars? Apparently no one because I’m doing just that.

Quality

I do not think my $3000-$10,000 artwork is devalued by making smaller textile paintings. The main reason for this belief is the quality. I know that I put extreme care into every aspect of my art, from the largest pieces down to the smallest. I also believe my art is really, well, good.

I’m consistently told by collectors that they are impressed with the level of detail and precision in all of my artwork. Every color, each line, each shape is created with care. Even in my small work I am pushing myself to make the best art I possibly can by trying new things and pushing limits on what I think might work.

All of my art is priced about the same amount per square foot. Actually the smaller pieces end up being more per square foot because it takes longer to work on such a scale. My line of affordable art is not a lower quality, but is instead simply smaller so it takes less time and materials to create, so it can be sold at a lower price point.

I’ve considered doing larger affordable pieces but haven’t yet worked out the details. I’d have to do some type of limited edition where I could create the work quicker in quantity, but still with the same quality.

By keeping my quality consistently high I believe the value of the work, no matter the size, will always be evident.

Art for Sale

Markings #20 is another small piece inspired by Markings #19, one of my favorite of the Markings series. I know coming up with $350 to purchase a piece of art is not always possible. I’ve sold a few of my larger pieces in a series of payments and it worked out well for everyone involved so if you are interested in any of my artwork, no matter the cost, and would like to work out a payment plan please contact me and we can figure out something that will work for both of us.

Markings #19
copy;2008
56" x 58"
$17,000