Tuesday, October 15, 2019

Why Learn Art?

"Every child is an artist. The problem is how to remain an artist once we grow up."
  - Pablo Picasso

All children are naturally talented and creative, the problem is that too often their wings get cut by teachers, family and society striving to make them fit into artificial categories of good art vs.bad art, intelligence vs.ignorance, talent vs. non-talent, regardless of the harm that this does to their self-confidence and creative potential.

Especially for children between 5 to 10, creativity should be about experiencing different mediums, playing, having fun, making a mess and making mistakes.

Some kids will show skills in drawing, others in colouring, others in crafts, and others in understanding theoretical concepts – all are equally valuable, thus we must support each child’s unique interests, as well as nurture their natural talents and individuality.

Children’s development is also very different: some kids will be seemingly quicker learner than others, but learning is not so much in a straight line, and high scores do not necessarily define intelligence, intelligence is a lifelong pursuit and often requires time and practice, as well as life chances and opportunities. And academic success is nothing without creativity and out of the box thinking; most of those we today call “geniuses” in fact were often outcasts which failed at traditional education and standardized tests.

So why should kids learn art? Not so that they can strive to be the next creative genius, or fulfill the wishes and expectations of teachers and parents, children should learn art because it will teach them to see the world from multiple perspectives, be creative thinkers and problem solvers, because it can show them how to actualize ideas and how to navigate a future which is often precarious and constantly changing; and last but not least, because it is fun!

And while it is true that not all children will grow up to be the next Frida Kahlo, an art education will prove to be an asset to any career path: whether this will be in finding the cure for cancer, or a job that helps tackling the many social injustices of the world.


Friday, April 20, 2018



So You Want to Study Art, Design or Film in Switzerland? – Better Have a Great Portfolio Ready! By Amanda J. west

Before applying to any of the Art, Design or Film degrees in Switzerland or for that matter internationally, you will need a really top notch portfolio. A “Foundation Design Course” or “Gestalterische Vorkurs” is offered in many Cantons in Switzerland. It is a high quality year long program, during which an extensive portfolio is produced. The course is divided into four sections- Basics, Orientation, Focusing, and Extension.

Basics include drawing and painting lessons. Students are taught the different ways of working with plastic and sculptural materials and ways to deal with the perception of form and space. In the drawing and painting lessons, artistic-creative methodology is tested, and personal style is developed. Working with a sketchbook and logbook is an important part of the training from the start. This part of the course includes: Digital Media, 3D objects in Space, using metal, wood, clay, plaster. Animation. Drawing, Painting, Documentation and Presentation.  Art History, Screen Printing, Photography and Bookbinding.

In the Orientation courses students gain insights into the creative fields that deal with writing and typeface design in various optional courses that include: Product Design, Textile Design, Video, Illustration and Scientific Illustration, Graphics, Ceramics, Fashion Design, Photography, Interior Design, Digital Media, Jewellery Design, Typeface, Computer Documentation and Presentation, as well as technical theory.

In the Focus section students decide on their specialization. The choices include Animation, Video, Camera Arts, Digital Design, Graphic Design, Illustration, Art and Media, Sculpture and design of objects, Textile Design, Jewellery design or Interior Design. The students research, design and work on independent projects in the chosen field. This strengthens ability and depth of knowledge before applying for a bachelor’s degree.

Extension is the last module where a deepening of insights is acquired through the production of an extended 3D project. The students are also assisted in the admission procedures for their desired University Study. To conclude the course an annual exhibition takes place.

Aargau offers the Foundation Course at the “Schule für Gestaltung Aargau” in Aarau, and residents of Aargau get a reduced price of the tuition fees.


The “Zürcher Hochschule der Künste” offers a “Gestalterisches Propädeutikum”- also partly funded for those living in Canton Zürich.

A popular choice for the Foundation Course is at the Lucerne University of Applied Sciences and Arts. More expensive for out of Canton Students, but the school of Art and Design has an excellent reputation.

All the schools offer open days during the year, and it is well worth it to go and have a look to see which environment you feel most at home in.

For most applications you will need to submit a portfolio in the January of the year of study. You will also have to do a drawing exam at the school once your portfolio has been accepted.

You can see what students think about the Foundation Course at Lucerne in this video:-



Once you have spent that year producing an amazing portfolio showcasing your talent- you can use it to apply not only to Swiss Universities, but to get into Art and Design courses all over the globe.


Tuesday, February 27, 2018

Amanda on Architecture.

Zaha Hadid the Iconic Woman Architect of our Time.

I cannot remember when I first became aware of Zaha Hadid, but I will always remember the shock of hearing of her untimely death in March 2016. An indomitable creative force smashing all the glass ceilings, she was a true pioneer and role model for women architects. I felt crushed for weeks following her death, and after reading all the obituaries written by her close friends, I understood the enormous stress she endured in paving the way for women architects, and the terrible toll it took on her health.

Zaha Hadid was born in Bagdad in 1950 and graduated from the famous Architectural Association School of Architecture in 1977.  Yasmin Shariff’s description of her in an article following her death brought home to me how strong Zaha’s spirit was from the start:-

“I will never forget the day I sat outside the principal’s office hearing raised voices. Zaha appeared, tears streaming down her face, angry and shaking. Her work wasn’t considered good enough and she stormed out of that office determined to “show them”, and show them she did – winning the coveted AA Diploma prize in 1977; the Pritzker prize in 2004; the Royal Institute of British Architects’ Stirling prize in 2010 and 2011, and last year the Riba royal gold medal.”

Zaha’s buildings redefined our ideas of what was possible in architecture, yet she faced continual criticism in the media. Every positive piece written about her seemed to be countered by many others that cast doubt on her abilities. All women architects of our generation, I think can empathize with such hostile reactions, having had to face the same ourselves, albeit on smaller scale. Sadly, even other women gave her negative reviews. I found Lucy Kellaway‘s interview in November 1995 for “Lunch With the FT” particularly acerbic. Perhaps that is the time I really took notice of Zaha Hadid for the first time, working myself at that moment on a large hotel design and facing continual obstacles from all sides.

Kellaway focused on the way Zaha was dressed “Zaha Hadid looked all wrong”, and the fact that most of her work had not been built- not true- she had few buildings in the UK- but she had projects all over the world at the time. Kellaway did at least write one small paragraph that struck a chord. “She started to explain that what matters about a building is not what it is made of, or any of the details, but the space itself. “Good space transcends taste and values. It’s a weird, mystical thing. It‘s very difficult to achieve, but you know when you‘ve got it.””

Hallelujah to that!

To understand the genius of Zaha Hadid‘s buildings is to move through them. Technology was unable to convey the true quality of her work early in her career, but as CAD developed she was able to take us on journeys through her buildings. Since that is the best way to experience them, I have included some walk-through‘s for your contemplation.

Bee‘ah Headquaters in Sharjah. UAE  


The Dubai Lighthouse and Pier Project   



Changsha Meixihu, China



….and one from the practice itself in 2014 that reflects on their design philosophy in their own words.



In closing I include a quote from Hugh Pearmanarticle from the Sunday Times on 4 June 2006, titled “Iraquitect: Zaha Hadid commands the Guggenheim, but remembers her roots”

“Whatever you think an architect looks like, whatever you think an architect does, wherever you think an architect comes from, disabuse yourselves of those notions. And consider instead Zaha Hadid, the most extraordinary success story that this notoriously volatile profession has ever produced.

Women traditionally don’t rise to the top in architecture – not on an international level. Not in the stratosphere where Zaha now exotically moves, where a handful of global superstar architects is constantly airborne like some design equivalent of a nuclear deterrent. Women don’t get invited into that club. And as for a notoriously short-fused, allegedly tyrannical, hugely imaginative and sometimes sweetly charming woman from Baghdad of all places – no, that script would be turned down by Hollywood as just too inherently implausible. Besides, no actor on earth could play the mercurial Zaha.”

Sunday, January 28, 2018

Introduction to "Amanda on Architecture."


The concept of the artist that we have today, usually male, white, mad, divinely inspired by God and working alone, was constructed in the context of the Renaissance and the Italian city-state, in particular, in their need to politically establish themselves and their influence over other city-states. Art thus, was used as tool to display a city’s/region power and status, wealthy families such as the Medici in Florence, therefore, commissioned art not only because they loved and appreciated beautiful works, but as strong political statements.

Cities such as Florence, thus, became prolific centers for the promotion of artists as a way to secure the prestige and influence of a particular region.

Women, in this historical and political context, were not allowed to practice as artists, nor to pursue an education in the arts, those who did, were usually from wealthier families and dabbled in art as a hobby but not as a profession.

An exception to this was Artemisia Gentileschi - a Baroque Roman painter - the daughter of an established artist – Orazio Gentileschi – managed to become a professional artists working and making a living from her art.

Although today it is still difficult for women to become established in a field that for so long has been dominated by men, there are nevertheless an increasing number of successful female artists.

Yet, while I can relatively easily list female painters, I struggled to come up with names of famous architects; this is why I asked Amanda to write a blog about women architects.

An architect herself, originally from South Africa, Amanda currently lives in Switzerland. She teaches an evening class and is due to begin a course of 10 classes on architecture, as well as a workshop on urban planning.

In her blog “On Architecture” she discusses the work by Anya van der Merwe, and in particular, a project called Tree House.

When looking at this work, I wondered if the architects had been inspired by Gothic architecture and in particular the fan volts of English cathedrals and especially Exeter's multi- ribbed ceiling.

Yet, as much as I like Gothic architecture, I think that the tree house approach is perhaps more honest, as it provides a solution that tries to co-exist and blend the inside space with the outside environment, not to dominate it, diminish it, nor transcend it.

I also wondered what might be the challenges of a female architects working today; one challenge may be that they have no other role models than the narrow ones provided by history and the past. Another one may be how to assert themselves in a field that is already so strongly established. But perhaps, the real challenge for female artists and architects today, is not so much  how to fit in and strive into a pre-existing milieu, but is how to carve a new one, one that celebrate new methodologies and more harmonious and integrative ways of creating space, while at the same time allowing for multiple voices, ideas and perspectives to co-exist together.

Amanda on Architecture

Anya van der Merwe of Van der Merwe Miszewski Architects (VDMMA)

In my introduction to architecture lesson I talked about a house in Cape Town called Tree House, which was designed by VDMMA in 1999, and marked a turning point in the career of Anya van der Merwe, who is one of the directors of the practice. Anya was few years ahead of me, studying at University of Cape Town, and was one of the legendary women students of our generation. I studied at University of kwaZulu Natal, but even from so far away we were inspired by her bold and innovative thinking.

Tree House went on to win the UK Architectural Review’s International Competition, beating nine hundred other designs from around the world. In 2013 the SABC’s Top Billing featured the Tree House, with Anya and Macio giving a personal tour of the house.



In 2012 Anya was the first woman architect in South Africa to receive an AIA Lifetime Achievement Award for architecture.

Tree House remains one of my personal favourite house designs, because, apart from being so innovative in it’s structure, it also gently and beautifully fits into the “Spirit of Place” of it’s site. The canopy of umbrella pine trees provided a starting point in the design, and are referenced throughout in the structure.

The innovation in the structure of this house lies in the way the tree like columns support the roof structure, allowing the enclosing transparent steel and glass walls of the house the freedom to be placed independently from the main structure. Space can thus flow easily and the plan is able to take up a life of its own. The house itself becomes tree like, offering a canopy of shelter, and rooted into the ground, but at the same time bringing nature right into the spaces. The feeling is one of living in a tree and being one with nature.

For more information About Amanda Jane West please see: 

http://www.jartstudiogallery.com/AboutAmanda.htm

For more info on Amanda's 10 lessons course on architecture 
 and urban workshop - please see:

Monday, August 11, 2014

We Have it All

 
 
 "Luce Irigaray accepts that women do not have the phallus. But she counters this with her claim that women in effect do not need the phallus: women have something else: the two lips. Women have essence of being by virtue of their anatomy that has its own integrity, its two-ness which is always folding back on itself."
 
-- Frances Gray  in Jung, Irigaray, Individuation: Philosophy, Analytical Psychology, and the Question of the Feminine. 
 
The "we have it all" in this painting is used in a sarcastic tone, but on the other hand, it does also assert that women actually do HAVE it all! I think that as an artist it is important for me to express my point of view  in my work, as well as my political motives - if I didn't, I would be giving my power away. However, with the mirrors I also try to  keep the painting fluid, flexible and open to interpretation.

 

Tuesday, August 6, 2013

Hand Painted Hearts ♥

I love these ...

 They are available for purchase both at JArt Studio-Gallery as well as online:
 


 
 
 
 
 

Monday, December 17, 2012

Monday, September 3, 2012

Inspirational


Found this quote on an artist's Facebook page ( If you would like to check her art, this is the link: https://www.facebook.com/ArtByCedarFans) and enjoyed reading it, so I though of sharing it as well:
 
'Go placidly amid the noise and haste, and remember what peace there may be in silence.

As far as possible, without surrender, be on good terms with all persons. Speak your truth quietly and clearly; and listen to others, even to the dull and the ignorant, they too have their story. Avoid loud and aggressive persons, they are vexations to the spirit.

If you compare yourself wit
h others, you may become vain and bitter; for always there will be greater and lesser persons than yourself. Enjoy your achievements as well as your plans. Keep interested in your own career, however humble; it is a real possession in the changing fortunes of time.

Exercise caution in your business affairs, for the world is full of trickery. But let this not blind you to what virtue there is; many persons strive for high ideals, and everywhere life is full of heroism. Be yourself. Especially, do not feign affection. Neither be cynical about love, for in the face of all aridity and disenchantment it is perennial as the grass.

Take kindly to the counsel of the years, gracefully surrendering the things of youth. Nurture strength of spirit to shield you in sudden misfortune. But do not distress yourself with imaginings. Many fears are born of fatigue and loneliness.

Beyond a wholesome discipline, be gentle with yourself. You are a child of the universe, no less than the trees and the stars; you have a right to be here. And whether or not it is clear to you, no doubt the universe is unfolding as it should.

Therefore be at peace with God, whatever you conceive Him to be, and whatever your labors and aspirations, in the noisy confusion of life, keep peace in your soul.

With all its sham, drudgery and broken dreams, it is still a beautiful world.

Be cheerful. Strive to be happy'.

Max Ehrmann c.1920
 
 

Tuesday, April 24, 2012

A Separation

The other day a friend rented for me A Separation, the Iranian movie that recently won an Oscar for best foreign film and suggested that I watched it. So after my classes the other night, at about 10 pm, while my husband was away for work, I  took the opportunity to seat, relax and see what was this movie all about and form my own opinion of it.

It was an enjoyable watch and it kept me fully engaged and thinking for the whole duration, it touched upon many issues revolving around Iranian society including gender, class and religion.

But, although it was an interesting watch, and it was nice for a change to see a movie that allows for multiple interpretations and points of view without dictating a priori what is good or bad, right or wrong, I have to admit that it left me with mixed feelings – which I also embrace and appreciate too.

The movie tries, in my opinion, to provide a view of class - in particular - as well as gender, without making the one category better or worst, so the middle class’ point of view, for example, is as good and “truthful” as the working class/poor’s point of view. Yet to me, the movie still portrays a view of class which is stereotypical and fixed, and still privileges the upper/middle class over the working/under class.

So, for example, middle classness in this movie is portrayed with stereotypes such as education, reasonable amount of wealth, savings in the bank, a decent place for leaving, and even a "charming personality". On the other hand, working/under classness is associated with having to take public transport, doing lower paying jobs as well as less “dignified work” such as cleaning, and being religious.

And it is Termeh, the educated daughter, that in the last scene of the movie has to make the choice between her two parents, which is perhaps an allusion to the fact that there is hope for Iran if the bright, intelligent youth can make future choices and take over the country, yet this is a privilege which is only given to upper/middle class part of society, the working class/poor’s voice is still not worth listening to and suppressed - not to mention that the latter do not even get to choose weather to leave their country for better opportunities abroad.

The movie also deals with issue of gender and feminism - although I must admit that I do not really understand these in the context of Iran, inequalities between genders are also still perpetuated in western societies - although in a much less blunt and direct way. Feminism thus, in my opinion, is still as much relevant today as it was forty years ago, both in the east as well as in the west - even though apparently women now seem to “have it all”; but what does having it all means anyway? Obviously it means different things to different people, for me, having it all means being able to choose, making choices based on subjective preferences. But until the opportunity to choose is available to all women in society, not just the rich/ upper/ middle classes, feminism is still an important matter.

And what does it mean to be a feminist, to be an emancipated liberated woman? It seems to me that the general understanding is that in order to be a feminist today and assert your arrival in such category you need to have specific discriminatory qualities such education, a high paying job, working in business, being on the board of a company directors, professionally successful, powerful, assertive, strong – basically a woman needs to posses “manly” qualities – not that these are, but the structure of society more often associate these with masculinity rather than femininity, because of the way we are socialised into the world, so boys and girls, through education, are taught to act and perform their genders.

What I am trying to say, is not that having these qualities is not good for women, but we have to allow for all types of women, even those that prefer to associate themselves with more traditional feminine characteristics, such as those who perhaps enjoy being mothers – I think today, in our capitalist society, being a mother has become a dirty world more so than feminism, “what, you are just a mother? You have no other aim in life than reproduce and have children”?

Who says motherhood is not as equally engaging or dignified as being a professional working in the world. The only difference is that the latter gets paid for her job whereas the former doesn’t. So the government should perhaps introduce wages for mothers, as without mothers there would no society, workers, nor professionals to begin with. Another common view is “well if you really want to be a mother, then you have to do it all, juggle motherhood as well a successful career.

The problem however is not in women choosing to be mothers, as this entails as much hard work as any other professions. The problem is the fact that society does not recognise it – which is another tactic for perpetuating discrimination, as when a  woman chooses to work in her home and for her family, her place in society is lessened: often not financially independent she has to rely either on her husband or on government benefits.

Thus, just because we have achieved some levels of equality for certain social groups, this does not mean that there is no more work left to do. Until all women can gain from the achievements of feminism, I think the latter is still an important matter and should be used to benefit the whole of society not just a few. But on the other hand, this term should not be used to create further discrimination against women that perhaps don’t fit into the stereotypical “feminist” category. Regarding class, yes these differences do exists, but differences are not bad in themselves, yet they are not absolute. However, in my opinion, consciously or unconsciously, most people still prefer to take sides, and although I admire Mr Farhadi for trying to portray an impartial image of the different facets of his society and country, I feel he was ultimately unable to extricate himself from his own personal assumptions and prejudices related to his own specific position, gender and class.

Sunday, January 15, 2012

More quotes I like...




"The painter takes his body with him…



Indeed we cannot imagine


how a mind could paint”


- Paul Valery -




"The self is relatedness...


The self only exists inasmuch as you appear.



Not that you are, but that you do the self.



The self appears in your deeds

and deeds always mean relationship".


- Carl Jung -

Monday, December 12, 2011

"To see a world in a grain of sand,



And a heaven in a wild flower,



Hold infinity in the palm of your hand,



And eternity in an hour".


William Blake


Monday, August 22, 2011













































When I made this painting I was thinking about identity and in particular how it is not inherently fixed onto a person, but rather, it is continually shaped in social space, and how it always takes form in relation to other people as well as the context a person finds herself/ himself in.

Keeping this in mind, I wanted to create an open ended piece which is not fixed and original and which includes not only the meaning I wanted to give to the artwork but also allow for other possible interpretations – again, depending on the particular audience viewing the piece as well as the context it is viewed in.

I thought this was particularly challenging to do in an oil painting as they tend do be more often seen as fixed original and intentional objects, especially if one thinks at the artwork produced by modernist artists, this was in fact, what they set themselves to achieve: artworks that are fixed in their meaning, original and separate from life and its particular context.

However I was also aware that in comparison to performance or body art in general my work would have had some limitations, such as the fact that although I am both subject/object because I have included myself in the painting and I am the art maker, my body is “without organs” and is a representation rather than the real thing: a breathing, living, thinking, feeling and desiring body. But my aim was to provide another perspective, particularly on painting, and try to break down the assumptions regarding its absolute status, especially when considering that painting is often seen as the medium of the male artist par excellence and women – apparently the muses inspiring his genius - where reduced to mere objects that aroused the artists as well as the (supposedly male) viewers pleasure.

So, by including the mirror in the artwork, I wanted to link the piece back with its context and the world; art and life are therefore no longer separated but they support each other in a constant flux. The reflection of the mirror becomes part of the painting and the painting needs its surrounding for the reflection. In addition, the piece is never fixed: light reflected will never be the same at different moments in time, the background provided by the mirror will always change depending on the viewers and where the artwork is viewed.

Another possible limitation for this piece could be that I am a “thin white body” and I am not trying to break pleasure but I actually instigate it. With regards to the former, I think that that the “thin white body” is who I am, and as an artist, I still want to be able to provide my own point of view regardless of the colour of my skin, or what I look like – even though they might be regarded as “normative” features. Sometimes I think discrimination could also work the other way around. In addition, although I do not have any visible marks or features pointing to specific body alienation, this does not mean that I am not an alienated subject. With regards to trying to instigate rather than break down pleasure, this is what I actually wanted to do, but by including the mirror so that the viewer is also reflected in the painting, she/he can no longer remain veiled and hide her/his own investments and desires; this, for me, is what allows myself not to be objectified, and not by simply trying to avoid at all cost pleasure, as most women artists working in a strictly anti-essentialist manner would often claim.

Moreover, by reflecting the viewer onto the painting she/he becomes also both subject and object and thus the relationship between viewers and the artwork/artist becomes interdependent and intersubjective, and it is a relationship which is based on simultaneous subjective/objective identifications rather than one which, as in most of Western painting tradition, gave absolute status and power to the disembodied viewing subjects objectifying the body-woman. The viewer is no longer veiled or disembodies and thus can no longer make any disinterested and absolute claims, but rather, has to acknowledge her/his own contingency, motives and investments.

This artwork seems to be really popular, every time someone sees it in my studio they always ask me about it. And it is funny because although I am a representation in this piece, people seem to give for granted that I am a real body and one of the question I am often asked is what am I thinking about, which to me is also quite interesting for the fact that, by looking at my body posture, the way my head is turned towards the mirror I give the impression that I am pensive - and not the other way around “I think therefore I am”.

Another thing I like about this work is that it really does engage with its surroundings and with the audience, often I find people checking themselves in the mirror, or I get told what a great idea I had to include a mirror in a painting – for its use value to be put in a bedroom for example - and they want to commission me with a similar piece. So I can say that although there might be some limitations regarding this work, I think I have perhaps managed to merge art (in particular painting) and life, as well as subject with object, but most of all I hope I was able to create an interdependent and mutual relationship between the audience, the artwork and the world, as well as challenge common assumption about women, painting and art viewing.

Friday, January 28, 2011

Primitively Modern



I took these photos while on a holiday in the Namibian Desert, in particular, in the mining ghost town of Kolmanskop near Luderitz. I was very fascinated to see how nature and culture shaped and interacted with each other, and how they engaged in a constant flux and becoming.

In some areas of the town, for example, one can see how time and the elements have deteriorated and smashed much of glass from the houses windows, but where it still remains intact, the sand has deposited and formed a golden layer providing the perfect background for tourists to write their names, dates, and comments using their fingers.

Where instead the sand was not obstructed by the windows, it was able to reach inside the houses creating small dunes which now cover floors, room, stairs, and furniture. Tourists visiting these empty houses often need to walk on top of the sand, leaving once again their own marks and footprints…But only until the next change, event; or until the wind will bring new dust that will cover or blow away these traces, creating other intriguing shapes, patters and spaces.

Tuesday, September 28, 2010

10 Tips for Art Students and Professional Artists

Bare in mind that I have to constantly remind myself of these too :)

1 - Paint and draw with your heart, not your head.

2 - Paint and draw because you ENJOY doing so.

3 - Place yourself in a comfortable room/work area with good lighting, somewhere you feel inspired and relaxed. Close the door to the world. Put some music on if it helps you. ENJOY.

4 - Don't rush through an artwork, take your time. Art is like a child: it requires a LOT of care and attention - the outcome of a piece is proportioned to the time/attention you put into it; at least for realistic subjects.

5 - NEVER be afraid of making mistakes! Mistakes are good, they help you get better. The problem in fact, is not in finding the mistakes, but the problem arises when you don't see them, as then you cannot fix them and improve your work.

6 - Be proud of your artwork and don't be too critical - you can always do better in the next piece.

7 - If you feel frustrated with a work, and you cannot quite figure out where you went wrong with it, leave it for a couple of days and then go back to it with a fresh mind...you might actually be pleasantly surprised and feel your work is not as bad as you initially thought :) - and it might also be easier for you to see if something needs changing.

8 - If you are not in the mood or have no inspiration, LEAVE IT! You are only going to make things worst and end up with a lot of frustration! Go for a walk, take a break and then go back to your art.

9 - Do get inspiration from other artists; yet not too much. Remember: you are you and your work is yours. Don't compare yourself to others, you are unique.

10 - And finally...something I often tell my students but perhaps don't stress enough: don't be afraid to experiment or bend the rules. A good artist is not just someone that can copy and follow all the steps, instead, she/he is someone who knows the processes but is not afraid of using her/his own instinct/judgment and imagination to experiment, and create something new!