A slow fashion success story

Photo by Maggie McGowan, Winnie Duncan from Urapunga, wearing Graham Badari's Nabarlek dja Ngarrbek (Rock Wallaby and Echidna) print.

A social enterprise run by two creative women is bringing fabrics of Northern Territory indigenous communities to the world. Magpie Goose NT is the brainchild of Maggie McGowan and Laura Egan, two young entrepreneurs based in Katherine in the NT.

Maggie and Laura work with Aboriginal art centres in four communities -  Wadeye, Gunbalanya, Tiwi Islands and Maningrida - to produce screen printed fabric, designed by local artists, to be made into women’s, men’s and children’s clothing.

The name is a nod to the classic northern Australian bird, known for its distinct look and quirky behaviour.

“Magpie geese sit on top of mango trees and get drunk on the fermented mangoes,” says Maggie. “That idea is reflected in our brand; we’re bold, bright and strong.”

Maggie came up with the Magpie Goose concept during her travels to indigenous communities in the Territory, working with Aboriginal legal aid.

“I started discovering art centres, particularly the bright colours and patterns of the fabrics made there, and how they told incredible stories of that community,” says Maggie.

“I spent a lot of time going around and having a yarn. Art centres are often the hubs of communities, where artists sit down while they’re weaving or painting, and you can have a chat.”

Photo by Callum Flinn

Feeling disheartened by the underemployment in communities Maggie knew she wanted to contribute in a different way, other than through her legal work.

“There’s so much passion and interest around Aboriginal culture and products, I thought, if I can have my own social enterprise that provided employment opportunities, I could affect change.”

She and Laura pitched their case to Enterprise Learning Projects (ELP), an NT-based organisation supporting inclusive businesses in indigenous communities. ELP funded them to buy 200 metres of fabric to start the production process.

Maggie and Laura went to Bali and had a handful of garments produced in simple designs and started wearing the pieces themselves. At the end of 2016 they did a ‘soft’ launch in Darwin, before all their friends went down south for Christmas. They sold the majority of their pieces, and their customers wore the Magpie Goose garments over summer in other parts of the country, building further interest in the bold designs.

Each design tells a story of people, place and culture.

“There’s definitely a move for slow and ethical fashion and knowing the story behind the clothes you wear. Our clothing is a conversation starter.”

A lightning bolt moment came when Laura was chased through San Francisco airport by people asking her where her clothes were from.

“We then realised that there was a big demand for it,” says Maggie.

Photo by Sarah Mackie.Laura and Maggie (L to R)

The pair started a Kickstarter campaign and reached their target of $20,000 within 24 hours, ending up with over $100,000 of pre-orders.

An important part of the business model is ensuring opportunities for Aboriginal people to be involved, and Maggie says they hope to involve people from the communities that the fabric is produced, through writing stories of the artists and designs; modelling the garments; and liaising with the media.

Maggie says that eventually she’d like to have people in each community employed by Magpie Goose NT.

“Our next steps are to visit all the communities and finding out how Magpie Goose can best work alongside art centres, to enable their growth and provide opportunities as the business expands.” 

Kate Shannon is a freelance writer based in Brisbane after many years living in Darwin. She spends a lot of her time in the garden with her two little girls, and loves writing and learning about creative people, families, flowers, and plants.    

Image credits: Sarah Mackie, Maggie McGowan, Callum Flinn

Georgina Proud, Ceramic Artist

Ceramic artist Georgina Proud creates work that looks like fire and snow all at the same time. Georgina's natural affinity for the Australian landscape is apparent in her ceramic pieces which are gently curved and naturalistic in appearance. The earthy colours of the clay show through matt and glossy glazes, creating pottery with a tactile quality. 'They're made to be enjoyed and held in your hands,' said Georgina.

Georgina's making space

Outside, it is a chilly Melbourne morning. The only sound in Georgina's North Melbourne studio is the whir of her pottery wheel. The studio space where Georgina creates her ceramics is small and neat. The walls are mainly bare, with only a few chosen postcards stuck on the wall above her desk as inspiration. She is also inspired by Japanese pottery and the work of other potters including Bridget Bodenham.

Georgina has set up her studio space simply, with shelving, her wheel and a raw timber table, 'Having the right equipment is really important,' said Georgina. On the studio shelves sit finished ceramic pieces. Georgina shows me a round pot which she has glazed with a traditional Japanese Shino treatment. With its rusty red hues, mottled whites and multiple specks, Georgina describes the Shino glazes' intention is to appear to be like 'snow falling on the ground.'

Georgina creates her own stoneware clays using a mix of dark and light clays. She has also been experimenting with developing her own glazes. 'I use wood ash in some of my glazes, usually red gum ash and that will put a speckle through it.'

The tea pot sitting in pride of place in her studio is a piece that Georgina is most proud of. It's one of her pieces that have been fired in a wood fired kiln. 'It was just the most amazing experience. You were so much more involved in the firing process. You kind of went on the journey with the pots.' The process of wood firing was very different to using her electric kiln. 'We looked in the kiln and you can see the flames travelling around the pots. So that one (the tea pot) is super special to me.'

All of Georgina's pieces are functional, fired at stoneware temperature for durability. Whilst it may be tempting to keep her work on display, they are designed to be used. 'If someone has bought something and they tell me a year or two later that, 'Oh that's my favourite mug and I use it every day,' that's the most lovely thing that I could hear.'

From hobby to business

Georgina's practice has grown from a hobby to a small business in a short space of time. Having worked with clay in high school, she rediscovered her love of pottery in the last couple of years. 'I really just loved it from the moment I started doing it and so just kept wanting to do it more and more.' Initially setting up her wheel at home, Georgina now works in her North Melbourne studio where she comes in one day during the week and also on weekends. 

Her business grew organically. Selling her wares at markets has provided her with positive feedback and created demand for her work. As people began to ask her to make things, her confidence grew. 'People were really supportive and would comment and say, 'I love that' or 'Can I get one for my mum', so it just sort of started and I was like 'Oh, maybe this is a thing that I can actually have a little business out of.'

She finds the opportunity to discuss her work process with the other potters in the studio and the students at the School of Clay and Art invaluable. Georgina values the support of her friends, including artist Indigo O'Rourke. 'A lot of my friends are also creative women and so I find I get a lot of support from them.'

Work process

Whilst Georgina works she listens to podcasts, except when she is working on a complicated piece which requires her full attention without distraction. 'I find that I get really drawn in and I get into that state of flow.' She currently balances her art practice with her job as a project officer at WIRE Women's Information. She also takes pottery classes at the School of Clay and Art. Recognising the need for self-care with her competing demands, Georgina said, 'I have to make sure I give myself a break as well.'

As wheel work can be physically demanding, Georgina ensures that she takes breaks which not only helps her body but also her concentration. 'I think you gradually build up the muscles so it's not too bad, but you have to remember to stop every now and then and maybe walk around.'

Georgina's advice

Georgina's advice to other women thinking about pursuing their art practice is simple. 'Don't be afraid to say yes to opportunities, you never know where they'll lead.' She is inspired by Amy Poehler who said, 'Do things before you're ready.' Georgina cautions against waiting for the right time, 'You've got to just do it and see what happens, if it doesn't work, what's the biggest thing that will happen? You know, you just keep trying.'

Georgina will be part of the new Melbourne Ceramics Market on August 6 at Workshop Melbourne.

Find out more:

Website /  Instagram / Melbourne Ceramics Market/ School of Clay and Art

Jenni Mazaraki is an artist, designer, writer and podcaster who helps women tell their stories. She is particularly interested in the ways that women make time and space for creativity. You can see more of Jenni's work at www.localstoryspace.com or on Instagram @localstoryspace or Facebook

Photos and video production by Jenni Mazaraki.

Learning leadership

In the first two posts within this leadership series, we considered how leadership is a flexible concept that has changed over time, and explored reasons why creative practitioners may be reluctant leaders. This third post discusses how we can learn to be leaders when working in or running creative organisations.

When many of us consider “learning,” we immediately think of courses and programs facilitated by experts in the field. In recent years, there has been an explosion of leadership courses and books, both academic and professional, many of them aimed at those working in the creative sector.

But developmental programs, workshops, and tertiary education can be expensive and, for many in the arts and creative industries, out of reach. While there are professional development grants available from government funders such as the Australian Council for the Arts, they are few and far between, not to mention highly competitive.

How to learn leadership (on the cheap)

What alternatives, then, are there to formal development? Management research shows that on-the-job experience—such as jobs, work-based hardships, and special projects—is the most useful for leadership development. This correlates with my research, which shows that creative workers learn leadership primarily through practice. Importantly, however, it is our collaboration with others that builds the most effective leadership capacity and understanding. When we engage professionally with peers, we participate in a process known as “social learning.” Traditionally, learning was represented as the transfer of knowledge from experienced practitioner to novice learner. Social learning, however, explores how learning relates to the social environment. This approach sees learning as a collective activity, where knowledge is not acquired or passed on from one individual to another, but developed through participation in shared activity. Through collaboration we learn what it is to be a leader within our specific community.

Learning leadership through practice

Even if the most effective way to learn leadership is through social engagement, work, and practice, you can’t just sit back and let leadership "happen." To maximise your capacity to build leadership knowledge, understanding, and skills, you need to be aware of what social learning is and how it can benefit you. Here are a few strategies that might help:

Participate in social learning through professional work or individual creative practice. 

The number one way to learn creative leadership is to collaborate with other practitioners. For some, this comes with the job, working in teams to achieve mutually defined goals. (Yes, all that group work at Uni was for a reason!) If you are a solo practitioner, you can still get involved in collaborative projects in the creative community. Think about joining a co-working space, or getting involved in local groups that provide opportunities to learn from (and share with) your peers. Forums like Creative Women’s Circle are perfect for meeting like-minded people; be proactive and put out the call. Other examples include knitting groups and writing groups that share feedback or evening art sessions. Once in these environments, test out your leadership skills by sharing ideas, exploring group dynamics, and teaching others. You might not recognise it at first, but these environments will give you confidence to lead in more formal settings.

Explore different kinds of leadership and then embrace the style that supports your practice.

A key factor in the development of creative leadership is the ability to lead in a way that aligns with your creative practice. To do this, you must learn about leadership. Observe the leaders around you: the good and the not-so-good. Read books and, if you have a chance to participate in a program, go for it! But observe with a critical eye. Beneficial development expands the idea of leadership and adjusts for personal approaches rather than projecting an idealised set of behaviours.

Create space for personal reflection.

Leadership reflection is the ability to relate theory back to personal experience. Consideration of past experiences may offer new perspectives when coupled with an expanded idea of what leadership looks like. Take the time to consider your role as leader and how it relates to your work and creative practice. Think about key experiences—both positive and negative—and what you learned from them. Consider those around you who are role models and what makes them good at what they do. But refrain from personal judgement, understanding that there is no perfect leader.

Share your leadership stories and learn from others.

Through the sharing and co-construction of stories, and exposure to role models, emerging leaders are exposed to new leadership ideas that take creative leadership from the theoretical to the personal. This means we need to hear a diversity of voices speaking about creative leadership. Moreover, it is important for emerging cultural leaders to be exposed to more than just stories of success from established leaders. Hearing about struggles and failures paints a more realistic picture of what it is like to lead in the creative world. If you can tell your story, do so with gusto.

If you’re an organisational leader, understand your role in developing others.

Lastly, a tip for those who run their own creative organisations or manage others: just because you may not have the resources to send staff on training programs doesn’t mean you cannot contribute to their leadership development. Organisations have the power to create learning through job structure and a focus on learning through experience. In addition, organisational leaders can encourage social learning by creating space for dialogue in meetings, encouraging collaborative work through projects, and through physical workplace design. Developmentally oriented organisations focus on how learning helps achieve organisational goals without having to pay consultants for expensive training programs.

There’s so much more to learning leadership than understanding a set of requisite behaviours that will turn you into the perfect leader. For creative workers, learning leadership involves the melding of creative practice and leadership opportunity in a way that provides a safe, enjoyable space for learning.

Kim Goodwin is an academic researcher and arts manager with a background in leadership, human resources, and career development. Since leaving her corporate career, Kim has focused on building understanding in how creative leaders are developed while working in a variety of arts organisations and academic environments. She can be found on LinkedIn, or follow her on Twitter (@KimAroundTown).

Interview with Deb Hudson, illustrator

Deb Hudson welcomed me into her home for a cup of tea at her rustic kitchen table, which doubles as an art table. Her pencils, organized in tins by colour, are spread out at one end of the table. The room is flooded with natural light. Sometimes, it’s a case of too much of a good thing and Deb has to draw under a brimmed hat, tilted askew to shade the midday sun. Her border collie chases sun shadows about the room and her canary chirrups in the background. Today, her seven-year old son, home from school sick, adds to the menagerie. Deb’s bright, intricate illustrations and daily posting have attracted thirteen thousand followers on Instagram. But as she explains, it took her a while to find her groove.

No, I want to do art In high school, everyone said, “Don’t do art. You’ll never make any money.” So I studied teaching. Then I travelled. I lived in Japan. I taught English at an all-girls school and at an English conversation school. When I was approaching thirty, I was living in the Solomon Islands. I was doing office work. I wasn’t using my teaching degree, and I’d never even really liked teaching. The part I liked most was organising craft activities! I’m not sure—maybe it’s because I thought I hadn’t done anything with my life—but I realized, no, I want to do art.

A degree interrupted I enrolled in fine art at Queensland College of Art. I knew right away I wanted to specialize in illustration. Two years into the three-year degree, I deferred to go overseas again. I had children and, when I wanted to go back to university to finish my degree, I was told I would have to start from the beginning. I didn’t want to do that.

eBay inspo What got me started again was seeing people sell their artwork on eBay. My sister said, “You could do that.” I created a series of three paintings: a bee, a butterfly, and a beetle. I called it The Three Bs. I put them up on eBay. I had tracings of the designs and a stack of blank canvasses. When a set would sell, I’d go out to my workroom and paint them. It was a lot of work: executing, packing, and shipping the paintings. But it was exciting to see my work sell. Then I had my third child and the artwork sort of petered out.

A reboot, by way of adversity I have rheumatoid arthritis. There was a period where I was unwell, and I was really unfit. I couldn’t close my fist for six months. When I got better, I was so happy to be able to hold a pencil that I couldn’t stop drawing. I like drawing birds because they’re a symbol of freedom. Also, you can decorate them however you like. I used to use Gerald, my canary, as a model. Now I’m inspired by folk art.

The pencil person I’ve always used coloured pencils. At university, I was called the “pencil person.” I like them because they’re clean, colourful, and easy to transport.

Last Christmas, I did a series of cards in red and blue. That was good because I only had two tins of colours to pull out and pack up! Sometimes the drawing gets waxy and the white pencil won’t lay down. I spray it with fixative and that helps give it some tooth so the white will stick. People often ask what materials I use: Prismacolour (premier) pencils and plain old Kraft paper.

Online tribe I first saw the 100 Day Project [#100dayproject] three years ago, and decided to try it. Now I’m addicted; I have to do a drawing every day. I also do [Lilla Rogers’s] Make Art That Sells Assignment Bootcamp, which is a five-month online program. I’ve made great friends through those online communities. I use Redbubble to sell my work on a variety of merchandise. I don’t do heaps of marketing. People don’t like it when you use Instagram for advertising. When the Redbubble site features me on their home page, I see an increase in activity. I recently created artwork for the swing tags on a friend’s clothing line. Next, I’d like to execute on the advice I was given by an agent: to design a new collection of greeting cards and refresh my website. With three kids, the challenge is finding the time. But I love it.

For more about Deb Hudson, visit her website or find her on Instragram (@debi_hudson).

Jo Watson is a Melbourne-based screenwriter and artist. Visit her on Instagram (@diary_of_a_picture_book_maker).

Career change 101: Personal development

Are you thinking about changing careers? Perhaps you’ve been wanting to take up your creative pursuit full time and quit your day job, or maybe you’re taking the leap to start your own business, or doing further study to advance your career in a new direction. Whatever your situation, career change can be a minefield. Once you’ve made the decision to move onto something new, it can be difficult to know to where to start. Should you enrol in a course? Create a website? Ask around for advice and find a mentor? Or should you be networking like crazy to get your foot in the door?

All of these options are important when starting afresh in a new industry, job, or business, and it’s easy to concentrate on the practicalities and neglect to pause and look inward first. But career change, like any major life change, requires cultivating skills that we don’t always think of as relevant to our working lives. So take a look at the steps below before you touch that LinkedIn profile, CV, or website theme.

Reflect on your long-term goals (and not just the career ones)

When at a career crossroads, it can be useful to pause and reflect on the bigger picture of your life. This is your chance to plan your career and work around the life you want to create for yourself. What sort of hours do you hope to work? In what sort of environment would you like to spend your time? How much money do you want/need to earn to keep up your security and lifestyle? How much time would you like to dedicate to your family, social life, and volunteer or “passion projects” outside of work? In other words, it’s a good time to think about what sort of life you want, not just what sort of job/business you want. What is your ideal life, and what sort of working life will help you fulfil this in years to come?

Learn to back yourself

Let’s face it, it can be hard to tune out the voices of criticism when you’ve decided to go against the herd and start something new. There will be plenty of people who try to tell you that you can’t—or shouldn’t—do it. The quicker you learn to shut out those voices, the better. One of the biggest mistakes we all make when initiating a big change is to seek out advice…from anyone who will listen. This invariably leads to a melting pot of opinions that can be confusing at best and discouraging at worst. People project their own fears onto you if they feel threatened by your bravery (because you are taking a brave new step!).

Instead of asking anyone and everyone whether they think you should take the leap and how you should go about it, seek out people you know will champion you. They are the ones you want to hear from; simply tune out the rest. And then concentrate on building your confidence and reminding yourself of your strengths and how they can be applied to your new role.

Cultivate self-discipline

Particularly if you’re looking to leave the world of nine-to-five and pursue your own freelance career or business, you’ll need to recalibrate your working style to ensure you can self-motivate when external deadlines are not present. Even if you’re just looking to move from one industry to another, you’ll need self-discipline to get yourself up to speed on developments in that area, market yourself properly, and get out and meet people who can help you succeed in your new field. Develop a singular focus (eyes on the prize!) and remember why you set out to do this when there are a million other tasks and fun plans vying for your attention.

Get used to being uncomfortable

You probably already know that this career change business is uncomfortable. From the very beginning, even before you’ve made the change, planning to take this sort of leap requires stepping out of your comfort zone. You’ll have to learn new things, develop networks, and put yourself out there in a way you may not have had to do for years (if ever). The good news is that being uncomfortable equals growth, which is exactly what you want: to grow into your new career. Not to mention the fact that once you get comfortable with being uncomfortable, you will find this serves you for years to come as you continue to learn and grow and take on challenges in your new role. Discomfort may not be our preference, but when it comes to creating the career you want, it will be worth it.

Bec Mackey is a writer, teacher, and producer of screen-related things. She uses a decade of experience in the business sides of media and arts to help creative people fund and promote their work in ways that work for them. Bec writes about funding, promotion, creative careers, and life on her website, Brightside Creatives.

The reluctant creative leader

What would you say if someone asked you, “Are you a leader?” Would you stand a bit taller and give an authoritative “Yes!”? Or would you hesitate, not wanting to seem a bit, well, pompous?

For those who work in large organisations, leadership is a hot topic and something staff are expected to aspire toward. The Centre for Workplace Leadership found that sixty percent of the Australian organisations they surveyed offered some form of organisational leadership training. The ability to lead and manage others is not only something employees are prepared for; in many companies, staff are told “we are all leaders” regardless of position or title. Leadership: it’s a vibe.

Is it different, however, for those in the creative sector? Leadership, as outlined in my post published in April, is a fluid concept. We talk about it a lot, but we don’t have a solid idea of what it actually is. With this in mind, do creative practitioners aspire to be leaders?

I’ve spent the past four years talking to creative practitioners about leadership across four states and nine different disciplines, from visual arts to digital design and theatre. The vast majority of those I spoke to were undertaking leadership roles: running organisations, managing staff and volunteers, influencing cultural debate, and representing their communities. However, when I asked them, “Do you consider yourself a leader?” I discovered that their relationships with leadership were complex.

Emerging leaders were often hesitant to embrace the title of “leader.” Some worried that it made them seem “up themselves” (a very Australian concern); others didn’t recognise themselves in the media portrayals of successful leaders.

My research considers how we define ourselves as leaders—not only through our internal thoughts and feelings toward leadership, but also how outside forces shape our leadership identity. Some of them may be familiar to you.

Leaders are often held up as an ideal. “Good” leaders are those who win awards, make a lot of money, inspire praise, and receive attention in the media. Think of the late Steve Jobs, Richard Branson, and even Sophia Amoruso, whose book #Girlboss inspired the new Netflix series of the same name. Emerging leaders have a tendency to compare themselves to these ideals, which are often highly constructed and marketed versions of leadership. We also compare ourselves as leaders with those around us. For those who work in organisations, you may look at your managers and peers and consider your skills, knowledge, and experience in light of theirs. Many creative practioners with whom I spoke saw being a leader as something they were not yet equipped to do. They believed they needed more skills, more experience, more recognition.

But being a leader is also something bestowed upon us by others—for example, by being promoted from team member to team leader, or by having “supervisor” or “manager” added to your job title. Many creative practitioners felt the weight of organisational expectation when it comes to leadership, especially when a new role or organisational progression meant moving away from individual creative practice to the management and organisation of others to achieve creative goals. Creative practitioners often felt comfortable being recognised as a leader in their discipline, but were resistant to the idea of managing other people.

There were also personal identity factors that influenced creative workers’ relationships to leadership. Australians like to see themselves as egalitarian in nature, especially in the arts, and have a tendency to shoot down “tall poppies.” Creative leaders are concerned about remaining humble, wanting to be seen as one of their peers rather than putting their hands up to lead.

Gender is also an inescapable topic when considering leadership. Many of the women I spoke to were uncomfortable calling themselves leaders, while these feelings of inadequacy were less likely to be expressed by their male counterparts. Participants in my study—of both genders—also noted that there is an (incorrect) perception that female leaders in the arts are bitchy, catty, and not supportive of their peers. In a number of sectors, leadership was closely associated with competition. Those in positions of power did not have a sense of generosity toward the development of others; their focus was more often organisational survival and gaining access to scarce resources or opportunities.

The result of all these pressures felt by emerging leaders in the creative sector is that they are less likely to identify personally as leaders. We might ask, “So what?” As long as they keep acting as leaders, as many are, who cares if they don’t proudly wear the “leader” label?

If the next generation of cultural innovators, pioneers, and trailblazers are reticent to call themselves “leaders,” they may also be unwilling to apply for leadership opportunities, development, and positions. Leaders require confidence to reach out and grasp what the future offers.

In addition, Australia needs strong, vocal, creative, and cultural leadership. The economic challenges facing creative industries, cuts to funding and arts education, culture wars—all of these all require leaders in the community to be strong not only for their organisations and individual businesses, but for the sector as a whole.

When a leadership opportunity arises, will you be ready to step up to the challenge? Or are you a reluctant creative leader?

Kim Goodwin is an academic researcher and arts manager with a background in leadership, human resources, and career development. Since leaving her corporate career, Kim has focused on building understanding in how creative leaders are developed while working in a variety of arts organisations and academic environments. She can be found on LinkedIn, or follow her on Twitter (@KimAroundTown).

Your creative personality type

Have you ever wondered how your personality type impacts your creativity? You’ve probably heard of the Myer’s Briggs Type Indicator (MBTI)—it’s a widely used psychometric tool for assessing personality. I sometimes use it in my coaching practice to help clients make sense of their personality preferences in the context of their creative lives.

About the MBTI

The MBTI has been used for decades as a tool for enhancing self-awareness and development in business and personal life. It’s based on four dichotomies (pairings) that interact with each other to produce a total of sixteen possible personality types. The preference dichotomies are:

• Introversion (I) vs. Extraversion (E)
• Intuition (N) vs. Sensing (S)
• Thinking (T) vs. Feeling (F)
• Perceiving (P) vs. Judging (J)

A person’s preferences will fall on one side of each dichotomy; across the four pairings this results in a “type.” For example, my type is an INFJ: Introversion/Intuition/Feeling/Judging.

While the complexity of personality can’t be explained by any single assessment, and there are some validity issues with the MBTI, I still find it a useful tool if the results are considered within a broader life context. In my experience, the MBTI genuinely helps people make greater sense of how they interact with the world and how they perceive and process information.

How does your type impact your creativity?

The realm of creativity isn’t “owned” by any one type, although some preferences may help or hinder creativity in different ways. Let’s explore some of these below.

Introversion (I) vs. Extraversion (E)

Contrary to popular belief, “introvert” doesn’t refer to a quiet, shy wallflower, but instead a person who recharges and gains energy from time alone, regardless of how outgoing or friendly she is.

When it comes to building a dedicated creative practice—something that requires a lot of focused, solitary time—introverts may have a head start. The challenge for creative extraverts is to balance social and creative time to meet both needs. Conversely, when it comes to promoting one’s creativity, extraverts’ social ease and larger networks offer more opportunities for connecting with potential collaborators and supporters, a task introverts often find daunting.

Tips:

• If you’re an extrovert, determine how much time per week to spend on your creativity and block it out in your calendar, so social events don’t creep in over the top.
• If you’re an introvert, learn ways to promote your creative practice that are more aligned with introversion, such as blogging. Also, challenge yourself to get out there as the face of your practice.

Intuition (N) vs. Sensing (S) T

he N/S dichotomy describes how we perceive and gather information. People with N preferences are described as big-picture people, abstract thinkers, people who make gut decisions. S people are more concrete and focus on details, data, and evidence; they are the “seeing is believing” type of people.

When it comes to artistic creativity, Ns are all about the expression of ideas, while Ss tend to focus on execution and craftsmanship. In coaching, N clients often need guidance with choosing ideas and implementing them consistently, whereas Ss need more help thinking “outside of the box” and “connecting the dots.”

Tips:

• If you’re an intuitive person, remember that sometimes, the devil is in the details. You may have a great idea, but if it’s executed poorly then will it be appreciated? Take time to learn your craft and hone your technique.
• If you’re a sensing person, be sure to regularly expose yourself to new and interesting people, places, and events to feed your senses and expand your creative ideas.

Thinking (T) vs. Feeling (F) Thinkers make decisions based on logic and facts, as opposed to feelers, who tend to decide based on feelings and perceived impacts on other people.

Because feelers perceive their art as extensions of themselves, they often get caught up in beliefs of how the world will perceive them, which can lead to fear, self-doubt, and creative blocks. Thinkers, on the other hand, tend to dissociate a little from their work and treat it like a project to be delivered, rather than an aspect of themselves. This emotional distance may make it difficult to connect with audiences—something that comes far more naturally to feelers, who are in tune with themselves and the feelings and drives of others.

Tips:

• If you’re a thinker, consider the impact your creativity and work have on other people—asking them is a good start! When sharing your work, notice how people respond to it and use that knowledge in your future projects.
• If you’re a feeler, remind yourself that creative failure doesn’t equal human failure. We all need mistakes and failures to learn and grow. Creating a bit of psychological distance between yourself and a creative work can be healthy.

Perceiving (P) vs. Judging (J) Another common misconception is the J label, which doesn’t mean that a person is judgmental. Instead, “judging” refers to the preference for closure, certainty, and organisation. Perceiving, at the opposite end, is a preference for flexibility, open-endedness, and spontaneity.

When implementing creative projects, judgers prefer a structured approach; they set goals, manage timeframes, and follow through to closure. Perceivers, on the other hand, often feel confined by plans. They tend to procrastinate and go off on tangents (albeit sometimes very interesting ones!), which can lead to half-finished projects. Because judgers are so focused on following through, however, they often fail to notice (or even dismiss) opportunities that open up along the way but feel disruptive to the original plan. Perceivers, on the other hand, are quick to recognise new sources of inspiration and information—and take advantage of them.

Tips:

• If you are a perceiver, keep in mind that while it’d be nice to use all your ideas, is it actually doable? Figure out your best ideas, focus on one thing at a time, and follow through even when you’re tempted to jump ship. Hire a coach or get a friend to support you in reaching your milestones.
• If you’re a judger, remember the John Lennon quote, “Life is what happens when you’re busy making other plans.” The best plan in the world doesn’t make a project a success, so learn to tolerate more uncertainty and take advantage of new opportunities.

Creative self-development and the MBTI When developing your creative self, it’s sometimes useful to tap into one of your preferences more deeply. Other times, it’s beneficial to challenge them and try the opposite. For example, on the J/P dichotomy, I’m very strongly a J. This is great when working solo, because I know how to balance my need for structure with idea exploration, but when collaborating with others my judging tendency can stifle the creative process. I’ve learnt over time to let go and step in as the structure queen only when necessary.

What next?

• Take the MBTI
• Consider whether you’re taking full advantage of your preferences. Tap into the preferences that are working well for your creativity.
• Think about where your preferences are holding you back. Be brave and challenge yourself to move out of your comfort zone.

Bronya Wilkins is a creativity coach and founder of Creative Cocoon, a coaching practice dedicated to helping people connect with their creativity. Bronya is passionate about psychology, self-development, and creative expression. Some of her hobbies include dance, graphic design, music composition, and photography. You can find her Facebook and Twitter, or follow her on Instagram (@creativecocoon).