We talk to Jo Caughtry, from Sea of Ideas Design Studio

5 min read

I am originally from Birmingham in the UK where I actually studied hairdressing after finishing my schooling. I have always loved art, architecture, fashion, all things creative really, so hairdressing was a great outlet for me to have a bit of creative fun- this was the late 80s so definitely some interesting looks back then mind you!

Unfortunately, life took a bit of a turn and after caring for a family member through a terminal illness, I went back to University and retrained as a Registered Nurse. The caring aspect has always appealed to me and I worked for many years in aged care, specifically managing nursing homes and dementia care units. It was working in dementia care that I really noticed the significance between the environment we live in and the impact on our health. It took a while but after a bit of a push from my partner, I went back to study interior design, with an interest in biophilic design, and built my knowledge on how using elements from the natural world in our living and working spaces can elevate not only our mental health, but emotional and physical health as well.

So ultimately, I discovered a link between my health and caring interest, and my creative interest, and that’s where Sea of Ideas Design Studio was born!

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What do you have on your desk at the moment?

A better question is what don’t I have on my desk at the moment?! Ha-ha. 

Laptop, fabric swatches, Pantone guide, pile of magazines, teacup, plants, and a cat.

How would you describe your career so far and how did you get into Interior Design?

To look at, my career probably seems like crazy jumps- hairdressing, nursing, interior design, but ultimately there is a shared element from my first two career choices leading to my third. When I explain that it’s the way that interior design can combine aesthetically beautiful pieces and aspects but also enhance your life and wellbeing, I think it makes a lot more sense to people!

What have been some of the highlights?

My first client! There was a buzz that came with me realizing “hang on, I’m actually doing this!”

I also recently rebranded- new logo, new website, and a whole new look. It has really made me feel like I have taken my company up a level. I feel like it reflects me and my ideas more now.

And the challenges?

I know I am not alone when I say COVID-19. With a lot of people weary of close contact and watching how they spend money for the time being, refurbishing the home isn’t the top of everyone’s list…. Even though after spending a lot of time at home people are certainly wanting to revamp!

Can you tell us about Biophilic design principles, and how they affect the well-being of your clients?

Biophilic Design is an architectural and design concept of increasing occupant connectivity to the natural world using direct and indirect natural experience, as well as space and place conditions. Biophilic design incorporates nature into the built environment to create restorative and connective spaces. It’s more than just the addition of a potted plant or two. Natural light, vegetation, living walls, natural textures and materials and nature views will provide a positive impact.

As stated by Terrapin “Biophilic design can reduce stress, enhance creativity and clarity of thought, improve our well-being and expedite healing; as the world population continues to urbanise, these qualities are ever more important.”

The 14 Patterns of Biophilic Design articulates the relationships between nature, human biology and the design built environment so that we may experience the human benefits of biophilia in our design applications. Despite the human biological need to connect with the environment, we currently spend approximately 90% of our time indoors, and this is where Biophilic Design becomes so important. Being surrounded by and connected to nature is inherent for optimal well-being.

How did you first get interested in biophilic design?

The love of the outdoors and how it makes you feel started my interest. Being a nurse, I also loved how residents and patients became connected and how behaviours and mood changed when we connected with the natural environment. The positive impact of a well-lit room, the smell of fresh air, the joy of plants, the different textures and the sense of calm when wood is applied. That took me on the journey of connecting wellness and interiors

Can you take us through one of your favourite projects?

I am currently introducing biophilic design into an over 55’s village. Watching the spaces come to life has been so rewarding. It started with the refreshing of the sales suites as they couldn’t sell them (one a two storey home and the other a low-lit single level home). By just changing the décor, introducing light, textures and plants gave both places a new look, a real refresh………

What do you do in your ‘down time’ (and do you have a guilty pleasure)?

I love to get down to the South Coast, Southern Highlands and the Central Coast when time allows, just to explore with my partner, Rob. My ultimate guilty pleasure is curling up on the lounge with a good book, my cats, and a glass of gin. 

What advice would you give to your younger self?

It’s warmer in Australia, hurry up and move!

Website seaofideasdesign.com
Instagram seaofideasdesign

Meet Tracey Lamb – sculptor, self-taught welder and lifelong creative

Image credit : Nina Sanadze

5 min read

I’m from England but have grown up in Melbourne, I have also previously lived in Perth for seven years and I have three adult children. I have worked on and off over the years, having had various jobs from being a secretary back when that was a thing to waitressing to working in interior design.

I started my art practice in my 40s and have been creative for my entire life. I enjoy a challenge and learning new things.

I have been a sculptor for about 12 years, I am a self-taught welder and now work primarily with steel. I also occasionally take photographs. I left school at 16 and now have a couple of diplomas in Interior Design and Decoration and Visual Arts. I also have a BFA (Hons) from the Victorian College of the Arts and an MFA from MADA, Monash University.

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What are you working on at the moment?

I am working on small welded sculptures, making some works I leave as polished, clear coated steel and others I am painting in bright enamels. They are a mix of free standing and wall sculptures.

I’m creating a small sculptural project for a Melbourne gallery that is an activity for kids and adults to do together whilst we are in isolation. It will go on Instagram and online. I am also making a short video on my work and home studio for Craft Victoria.

How would you describe your practice/career so far and how did you get into this area?

I originally studied sculpture at the Council of Adult Education in 2008 and went on to study sculpture at the Victorian College of the Arts. This was a natural progression for me as I had worked with interior design and enjoyed how one could transform an environment spatially and aesthetically to affect the psychology of space.

I started welding at the VCA in 2011 where I was shown the basics. In 2012 I was given a fabulous opportunity to make a large work which I did with the assistance of my brother. I kept up welding because I enjoyed it and I felt it was something of a feminist action to work with skills and materials traditionally used by men. Welding allowed me to make large sculptures and I loved the idea that my installations could take up space. Historically this was something women would never be encouraged to do as non-domestic space and especially public space was and to some extent remains a male domain.

What have been some of the highlights of your artistic practice?

• Creating a 6.5-meter welded sculpture for a public art commission next to the water at Docklands.

• I was awarded funding and undertook a three-month art residency in Berlin where I showed work. A bike was my primary mode of transport and I was able to get to see so much art all over Berlin. I often rode my bike to visit the Bauhaus museum which I loved. I was also given the opportunity to show my work in Milan.

• I was asked to create a commission of 36 sculptures for a client.

• I have received several awards for my art.

• My work is now represented in Sydney by Curatorial & Co.

What have been some of the biggest challenges in your career?

When you practice in an area where there are so many talented people all vying for recognition, it can be very hard to stand out. I have become much better at dealing with that and understanding the subjective nature of art and relationships. I’m an introvert and it can be difficult and exhausting to extend myself socially, especially at large gatherings. This affects my ability to make connections and I know that a lot of opportunities are naturally made through relationships.

I’d also suggest that as an older woman there is a level of invisibility and this of course is related to the previous paragraph about relationships. I’m grateful to make connections through organisations like CWC, the Women’s Art Register, and Craft Victoria. Happily, by continuing with my practice and showing my work regularly, engaging through Instagram and my website, more opportunities have been coming my way.

What are some of the day-to-day challenges you face in your creative practice?

It is physically challenging to work with steel. I work in all kinds of weather and I need to be appropriately dressed from head to toe which is unpleasant on hot days. Some of my installations can weigh in excess of 100 kilos making them difficult to move about and thus far I have made my work without assistance.

I work exclusively from my home studio and it is challenging not having anyone around to bounce ideas off. I imagine I have this in common with many creative people, especially at this time.

The current stage 4 lockdown for Covid-19 seems to me to be psychologically harder this time around. I think that those of us in Melbourne need to remember life is extra challenging and to be kind to ourselves and include some extra self-care. Some days I need time away from the dirty studio work and I am okay with that.

What do you do in your ‘down time’ (and do you have a guilty pleasure)?

I love a French champagne! I absolutely do not feel guilty about that! I look forward to dinner with my husband at the end of the day. We are both working from home but keep separate spaces. We share the cooking and happily he is a good cook!

Under normal non-covid circumstances, I enjoy catching up with close friends to visit a gallery or see a movie, followed by a meal, a wine and a chat. Apart from eating and drinking, which I clearly love, I read, listen to podcasts, grow veggies and herbs and go for walks.

A guilty pleasure would be 4 hours of binge watching a series on the telly now and then.

What are some of the things which inspire you?

When I see women in any industry doing well, taking risks, speaking up and out. I have been very fortunate to study under loads of fabulous women artists (and men) who have encouraged and inspired me and my work.

I have a great group of artist friends whom I met through the VCA. We get together when we can to support each other and to discuss and plan projects we can collaborate on. These fabulous women inspire me.

I’m inspired by mid-century interior design and architecture and use that as a point of focus for my art. I have made some large-scale installations inspired by the work of some brilliant women who have been erased from these mid-century design and architectural histories.

What advice would you give to someone who wanted to make a living as an artist?

I do not ‘make a living as an artist’ in the true sense. Any income I receive contributes to the household funds, but I could not live off the proceeds of my art. You only have to look at the excellent caliber of artists who work in education and other areas to see that it is very common to need to supplement an artist’s income.

As artists and people in the creative industries, a lot of what we do is done without payment which to some extent is structural and cultural. The arts in general are not well funded by the federal government, which is part of the problem. You really need to love what you do!

I would suggest anyone with passion and determination can become an artist. Art encompasses a huge area of creativity. If circumstances allow and you have the desire to push yourself, grow your skills and knowledge and create your own opportunities you can be an artist. Be realistic and know that it’s a rare person who will make a living entirely from their art making. I acknowledge that I am fortunate to do what I love and there are many non-monetary rewards to making art.

What’s next on the horizon?

I’m continuing to develop and work on a series of small welded works. I am looking to work with other galleries or design stores to represent my work.

Website https://tracey-lamb.com

Instagram tracey_d_l

All images by Tracey Lamb, unless otherwise credited.

Many creatives haven’t necessarily been trained formally in business. What are some common mistakes people make with managing their money?

5 min read

One mistake that is commonly made is not seeking financial help or advice from a professional. We recommend that businesses either work with an external accountant monthly or hire a CFO or Head of Finance internally.

The language of business is accounting and unless you are well versed in it—you are dabbling! Some owners will have copious numbers of reports and yet they have no idea how to read, interpret, or understand them.

Leaders generally have enough to do between generating new work, designing, and ensuring your existing projects are on track—the business needs to put an expert in charge of this area. By outsourcing the accounting function to a specialist service partner, the business can focus its attention on other key areas that directly impact its profitability. This will free up the directors to lead with confidence in a competitive market, with the knowledge that the finances are in safe hands.

Another mistake that businesses often make is not implementing a cash forecasting system. Cash can be your single most important asset - it’s the lifeblood of your business. You need a cash system that allows you to forecast, as accurately as possible, your cash in and cash out. This may start as a monthly forecast, but depending on your needs, it could turn into a weekly or even daily system.

Starting with historical numbers, you can build out your first cash forecast using either a cash management system or simply MS Excel. The first time you create your forecast, everything is based on historical numbers and future assumptions. Each month that passes is going to tell you something about the accuracy of those assumptions and give you the opportunity to assess and revise.

Ask yourself the following:

• What was inaccurate about your assumptions?

• Was this a “one-time thing”?

• How can you refine your forecast based on the actuals that just happened?

A cash flow forecast, coupled with your P&L, gives you an accurate picture of the financial position of your business and where it is heading. Most importantly, it gives you the knowledge to make more informed strategic decisions. If you don’t have the capability or capacity to create cash flow forecasts, work with an experienced accountant to create them for you.

What is the difference between cash flow and profit, and why should it matter?

Firstly, profit and cash are different. Profit is the business’s earnings (revenue) minus the expenses (which are the costs that the business incurs to generate the revenue). Profit is simply put ‘a theory’ – because you can’t spend it.

Each business transaction will affect the profit and cash in different ways – and at different times. For example, paying salaries and wages, paying tax, purchasing computers and equipment, waiting on debtors to make a payment, or the creditors that have not been paid yet – all of these situations affect the profit and cash position differently.

Most of the time, the effect on the cash position can be delayed and occur after the change in your profit position. For example, say your fees for June were $500K – in by mid-July you are unlikely to have received any of the $500K that’s reported in your profit and loss statement. On the flip side – those salaries and wages incurred to produce the $500K worth of fees – say that equates to $250K incl on-costs – would have already been paid by now – and have reduced your bank account accordingly.

So, which one is more important? Profit or cash? The answer is more complicated—and the two are interrelated. As your business develops, the more you will probably need to invest in systems, equipment, additional people, and premises—all of which require cash. In most cases, you are investing this cash before you earn any additional profit, so to make more profit or grow your business, you will require more cash. Of course, you can also borrow it or receive it from shareholders or investors, but the point is, to understand how cash and profit impact each other.

In saying this, the age-old saying “cash is king” usually prevails. There have been plenty of profitable businesses that were forced to close because they ran out of cash. Having a loss on your Profit & Loss statement (P&L) does not mean you’ll go out of business, running out of cash is much harder to recover from.

Looking at just one of these metrics (profit and cash) doesn’t tell you the whole story. Just because you had a profitable month doesn’t mean you had a positive cash flow month. Similarly, just because you have cash in the bank doesn’t mean your business is performing well. That’s why cash flow and a P&L must be looked at together.

As a small business, sometimes it's hard to know when to enlist professional help and when to save money and do it yourself. At what point do you think it’s important to seek professional advice?

Most creative professionals start with a passion for design and execution. Their education and experience have prepared them for this, and it is what they excel at. However, creative people often do not have the education and experience to understand financial information and how it affects their business. Simply reporting finances is not enough, how can you use this information to make you more impactful and effective.

It’s important to what know your strengths are and which areas you can receive assistance from other experts, i.e. people who can not only prepare your numbers and reporting but interpret the financials for you and help you to make impactful decisions for your business.

Given this, seeking advice is necessary and important for your business from the beginning of your business. If you are a director or business leader, having a solid understanding of the current business finances and position will give you peace of mind, and the confidence to focus on the aspects of your work they are best at.

What are some steps you can take to manage your cashflow?

1. Hire an expert

By outsourcing the accounting function to a specialist service partner, the business can focus its attention on other key areas that directly impact its profitability. This will free up the directors to lead with confidence in a competitive market, with the knowledge that the finances are in safe hands.

2. Know your numbers

The language of business is accounting. How do you know where you need to go if you don’t know where you are?

3. Set your KPIs

Are you measuring your day-to-day activities? Have you set targets that align with your strategic plan? Analyse your data and select relevant metrics to help you define business success. For example, do you know your debtors days? This KPI has a direct impact on your cashflow and should be measured monthly. Do you know your % of technical salaries to fees? This is another valuable measure to use to keep your business in check.

4. Measure, measure, measure

Management guru Peter Drucker is often quoted as saying that “you can’t manage what you can’t measure.” What gets measured is what gets done. If you are not measuring it you are not managing your business effectively.

5. Compare/benchmark

You need to compare to how you are tracking year in year out as well as comparing your results with those of appropriate peers — that is, firms that are similar in size and business model to your own.

6. Take the right action — create change

Of course, knowledge without action won’t benefit your business. You’ve got to use the information you gather to make smart strategic moves that will enhance your success.

On being creative and having a resume

5 min read

I can write almost anything for anyone however when it comes to writing my own resume, something terrible happens. 

As a communications professional of 14 years, my resume is still the most agitating and draining task to face. The irony being that my resume says how well I can write, it says I have attention to detail and how well I generate creative solutions to complex problems. 

It’s very ‘meta’ writing a resume about copywriting skills and same for a web designer’s website. It tends to be all or nothing, and there can be no errors or otherwise I am not walking my own talk. The slightest oversight, double space or outdated format will see my resume be the faux-pas that gets overlooked.  

It’s enough to make me want to run for the hills, get work as a gardener swapping skills for rent and never return to civilisation again. The uncomfortableness of being visible and signifying that I am creative but professional has always been a tight rope to walk. 

However, in more recent years, I came in to some huge unexpected barriers. 

I had shifted out of traditional workplaces in to start ups, freelance work and then I faced some personal tragedies and great losses. All work and decisions were impeded by a grief fog and my resume suffered greatly for it. 

As the grief slowly shifted, and in an attempt to meet home loan requirements, I went through several foiled interviews for day jobs but for the first time in my adult life, I struggled with my identity and explaining my scenario because it was no longer straight forward like it had been in my late 20s and early 30s.  

I had significant life events outside of work but that didn’t mean I had been stripped of my skills or experience in any way shape or form, my degree and experience doesn’t magically disintegrate if I take a short break to recover. If anything, it greatly improved my professional confidence, capacity for joy, hunger for intellectual stimulation and need for fun and light heartedness with my colleagues and friends.

But none of that mattered because it was all unexplainable in a resume format. It turns out there is no place for women’s lived experiences in a job application.

I tried to shine it on as best I could but I was coming across plain confusing to people. Startups thought I was too old yet traditional workplaces with interview manels didn’t like that my linear career had taken some very small and slight detours. I had found myself between worlds, between identities, between stages of life and it was all stopping me from moving forward. I had also run out of savings.

It was at this turning point I started the biggest job application research project of the century.

I booked resume writers, career counsellors, met with recruiters, quizzed my contacts, studied the history and philosophy of resumes and I volunteered. There was no school of thought about these topics that I didn’t devour and try on for myself in applications. After about a year of trial and error, I finally learnt how to have a good resume again, as a mid 30s woman. 

And I learnt how to have a resume as a creative woman. 

I now have a part-time day job as well as making websites and resumes for other women as part of my new business. I named my business Joan and Daughters after my grandmother and her five daughters to acknowledge the work of women in my family. The work that has so many transferable skills, creativity, colour, style, unmatched quality and ‘human centred’ elements. 

The work that ought to pay, and pay well. The work that can be outlined, highlighted and celebrated.

Your resume and LinkedIn are great ways to do exactly that! 

Here are some of the things that helped turn it all around for me:

1.    Career ‘Stories’

There needs to be a cohesive theme that is obvious at first glance. This alone, trips a lot of people up.

Lack of cohesion can be derailing for anyone, it’s kryptonite to people who have lives outside of work (how dare you) but as with my own story, it doesn’t have to keep being a roadblock for you. All you have to do is elevate and spotlight the common elements, skills, themes, industries, position titles, or even locations. 

Make sure you explain the connection between each of the companies, positions, and projects - modifying the language so it’s all connected goes a very long way. Say who the clients are, include your volunteer work and list your professional development courses to better capture the level you are at.

Wrap up all your efforts in an amazing container that is super clear and amplifies the direction you are going in. It needs to have some things in common with where you want to be next so (unfortunately) customising for each and every application is a must.

2. Formatting is (almost) more important than content

• Show people instead of telling them. 

• Creative flair is best demonstrated in your folio, or online presence rather than in the resume document.

• Scannable position titles, keywords and company names rather than tangled sentences. Those keywords and phrases are vital when applying at larger companies thanks to AI.

• No daggy photos or fonts, no more than one colour if you’re using a designed template.

• Use single columns, good spacing and classic styled bullets.

• For LinkedIn, use all the functions and fields as they are intended to be used.

• If it looks polished like any other serious business document, then you’re more than halfway there. 

3. Numbers

• Include data, numbers, statistics, percentages and ratios to demonstrate the impact your work has had.

• The credibility of business outcomes and outputs will shift the perception of you significantly, as long as you don’t lean on them like they are a signpost.

• Having a few stats will level up applications for in-house roles as well as things like getting funding for art-based projects, tenders, securing finance and it will illuminate your freelance work in a way that words alone cannot.

4. Forge past those ‘old chestnuts’

A big chunk of our purpose is from the work we do so it can feel very brutal when you are rejected. Unsuccessful interview feedback for creative women can often be contradictory and perplexing if others don’t perceive you to fall in to a clear category.

I am sure recruiters mean no disrespect when they come at you with old chestnuts like ‘you’re over qualified’ but the very next week you’re under qualified for a similar role. The bottom line is if you didn’t get it, they have to say something to you (or at least they feel they do).

I have sat on panels and seen perfectly suited candidates turned away because of strict recruitment policies where there’s a voting system where the majority rules, and nothing more than that. My favourite was when I applied for the exact same role I had held previously, at the same university but in a different department to be told over the phone that someone else had ‘closer, more relevant experience’. 

It’s important these old chestnuts don’t derail you, or your future applications. Focus and forge on because your work matters, even if someone else says otherwise in an awkward attempt to let you down gently.

Updating your resume can be pivotal (as much as it can be painful). But you are capturing the work of a creative woman that may not otherwise be acknowledged or said anywhere else, ever. If you’re out of sight, you’re out of mind and you’re out of work. 

Simply listing it out and declaring what your work means both now and in the future is a powerful thing. If all else fails, there is always a need for gardeners.

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Author Bio: 

Emily is a web designer, copywriter and owner of Joan and Daughters. She helps creatives and businesses translate their work into websites, resumes and more. Emily has had an extensive communications career and loves working with women who are forging their own path and creating their own damn jobs. 

Say hi to Christie Brewster

Over the past 16 years, Christie Brewster has been very busy. She has worked in Sydney, London and New York, providing creative solutions for brands such as Qantas, BBC, Australian Chamber Orchestra, Carnegie Hall, Pinchgut Opera, Open Data Institute, Hitachi Vantara, and TEDx London. We chat with Christie about her career, and how she gets to do what she does.

Tell us a bit about yourself…

I’m currently Senior Graphic Designer for Medium Rare Content Agency working with brands such as Qantas magazine, Coles magazine, Bunning, Officeworks and David Jones. I’m responsible for digital graphic design presence, and also work closely with our Art Director on storyboarding, illustration and mock-ups, to on-location shoots and social media executions – I love seeing a creative project come to life from concept to completion.  

Having studied Photography a few years ago, and choosing to work with a ‘somewhat’ controversial mirrorless camera – I’ve enjoyed approaching photography with consideration between image and typography and partnering the two to generate a meaningful and engaging piece of content.

What is your current business/creative pursuit/job?

I’m specifically inspired by travel, hospitality, the arts and fashion with my short-term goal to be Art Director for a magazine brand. My bigger picture of goal is to own my own creative agency one day. 

How would you describe your career so far and how did you get into this industry?

My role has varied over my career, starting out as a junior designer operating digital print presses, to working as an in-house designer for marketing departments in art organisations such as The Sydney Symphony, BBC Proms, and Australian Chamber Orchestra. These roles contributed to several career highlights, including attending the Last Night of the Proms after-party at the Royal Albert Hall in London, and meeting Ita Buttrose to work on the Sydney Symphony concert brochures,  to photographing Lang Lang at the Sydney Opera House and traveling as the resident photographer for the Australian Chamber Orchestra’s tour to Tokyo, Japan.  I’ve been incredibly fortunate that graphic design has opened my world to travel and experiences that I could never have imagined when I graduated from Western Sydney TAFE 16 years ago.

Last year, I chose to broaden my experience and skills in an agency environment, where I see long-term progression to Art/ Creative Direction. Medium Rare Content Agency delivers high quality, best-in-class creative digital, social, and print native content across a diverse range of clients which I have been fortunate to work with on many levels. I enjoy collaborating and coordinating with internal and external members.

What does a typical work day look like for you? 

At the moment our office is working remotely and the team starts every day with a work-in-progress Zoom call at 9am sharp where current and ongoing work is reviewed and divided amongst the team. Each workday is varied for me – from working on advertorials for brands such as Armani, Destination NSW, or Rockpool Restaurant who advertise in Qantas magazine, to designing HTML 5 webtiles for Amex or Red Energy or storyboarding Officeworks’ latest ‘Geeks to You’ video – each day is diverse and deadline-driven which keeps me engaged and on my toes!

What is the most important aspect of your job/ creative pursuit?

• Creating honest output and contributing quality work that is an asset to my team.

• Researching insights and trends that are occurring in Australia and abroad and applying findings to relevant campaign pitches.

• Sharing knowledge, being helpful and kind to others.

What have been some of the biggest challenges in your career? 

Professionally, making the switch from being an in-house designer to agency designer, when so many others were transitioning the other way. In hindsight, I probably had a lot of anxiety around it because I’d heard many horror stories about agency work. I’m fortunate that my current place of work value work-life balance and are a great team of creatives who genuinely care about creating quality work.

Personally, I’ve really benefitted from having some guidance in defining my career direction, specifically related to how I make the next step to Art Direction. In addition to engaging a career coach, I recently completed the CWC Member Mentoring Program,  a great initiative that provided me with support to connect and develop my skills. I’ve found both experiences incredibly valuable - providing me with a framework for my career, a timeline for my goals and a new way of thinking about the way I can adapt, evolve and transform in my journey.

What are some of the things which inspires you?

Beautifully designed publications that have gorgeous paper, finishing, typefaces or clean font styling, some titles I love are:

• Qantas magazine

• Numéro magazine

• Vogue magazine

• Gritty Pritty digital magazine

Best creative memory?

Managing the editorial design for the BBC Proms Guide in London and designing the first Proms Guide Ebook – an exciting digital development that gained promotion from Apple and met sales target within two weeks.

What would you tell your younger self?

• Listen to your instinct – if it doesn’t feel right, it probably isn’t.

• Make that move overseas you’ve been thinking about – you won’t regret it! 

What advice would you give to someone who wanted to break into the industry you are in?

• Bring something someone else can’t. I’ve wanted to work in magazines for most of my career, the reason I was got to where I am today was that I could bring a different way of thinking.

• When working on creative projects aim to bring a holistic approach to your design method – look at the end result first and assess how the content will be utilised, whether that be in print or online, then work backward and divide the creative process into manageable tasks to deliver your vision.

Tips for taking DIY profile pictures at home

Photo by Portuguese Gravity on Unsplash

During this unprecedented amount of time at home you may be working through those ’nice to have’ projects, one of which may be the dreaded ‘profile picture’. I certainly found it daunting and was procrastinating like crazy, however, I had a deadline and finally sat down and worked out what to do. So, I thought I would pass on some tips and things I learnt along the way. 

Before I start, I would like to acknowledge that these tips in no way take away from getting professional headshots from a photographer, but rather are some DIY hacks if you aren’t in a position to engage a professional right now.

Diffused, natural light

I found a spot in my house that was bathed in natural light (next to tri-fold french window-panelled doors) with a neutral background.

TIP: Take photos on your phone during different times of the day to see how the light changes. This will give you an idea of what time to plan your photo session.

Consider your surroundings

I now knew where I wanted to take my photos, the colour of the background wall and the type of warmth the light gave off. These considerations helped to decide on pops of colour for my clothing, jewellery and make up. Saying that, this is an outfit I would wear to work normally so I did feel quite comfortable and genuine in my presentation.

TIP: Black clothing can look striking but it can also flatten you because there isn’t as much light refracting so I would recommend lighter shades that work with your background.

Burst Mode

Use a camera that has Burst Mode which will allow the user to hold the Shutter Button down so it will keep taking photos (think cliche fashion photographer). 

TIP: Have an empty SD card in your camera because you will end up with a LOT of photos.

Friendly face behind the camera

Find as many ways to feel comfortable in a pretty contrived situation. Get your partner, sibling, friend or whoever you feel really comfortable with to take these photos. Brief them beforehand about talking to you through the photo session, getting you to laugh naturally from the conversation and generally instilling a fun atmosphere – it will result in genuine and natural expressions.

TIP: Play music that you love, that gives you energy, have fun and for a laugh channel your inner fashion model.

The 90/10 rule

You will undoubtedly end up a vast quantity of photos, I think I had around 300 by the end of my session. Brace yourself because most of these, about 90%, will be unusable just from blinking, talking, hair not cooperating etc. But, I guarantee you will find some gold in there too, approximately 10% of it. So, work your way through sorting the pictures and pull your favourites into a folder.

TIP: Aim to have about 10 options maximum to choose between for any number of uses. 

Save and repeat

Take your chosen picture and apply any photo editing before exporting versions you may need. Generally, you will need a square (1:1) version at about 300px x 300px however it might be worth saving a portrait (3:4) and landscape (4:3) version too. 

TIP: Always keep a copy of your original photo and the native edited file in case you need to revert back or export larger sizes.

I am slightly mortified to see so many of my own profile pictures in one spot but I hope it served to illustrate my points. If you have any questions feel free to contact me at samantha@creativewomenscircle.com.au

Do your tax: advice from creatives to set you on your way

Image: Photo by Anna Shvets from Pexels

The month of June means crips winter mornings and cold nights. The idea of bunkering down with a glass of wine or hot chocolate and doing something homely in my spare time is oh so enticing and alluring. However June also means…. tax time is looming.

If you’re anything like me, tax is something that is subject to extreme procrastination because it’s not particularly fun, and I admit numbers send my eyes into a glaze. However, as a creative with a small business and several side hustles on the go its imperative that it’s done right.

So, with June 30 looming, I’ve dived into the trusty CWC blog archives to help whip myself into gear and found some gems from over the years. Here are some useful blog posts which will hopefully set me on the right track, and help you out too.

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Tax Basics for small creative businesses

by Jes Egan.

Just want to be creative and not think about your tax? So do most of us, however there are many administrative tasks to running a small business and sometimes they can get in the way of being creative and doing what you love. Unfortunately, most of these tasks are important and avoiding them can land you in trouble. Here are some tips to help you prepare for your tax. Read more here.

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Organise me - it’s tax time

by Andrea McArthur

Tax time. Time to get serious. The count down to June 30 is on and we only have 5 days left. Now is definitely the time to start thing about your Tax. Below are some ideas to get you thinking about your Tax this year. Read more here.

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My Advice: Staying on top of admin

By Lizzie Stafford

We asked three organised business owners how they stay on top of the books without going insane. In the wise words of potter Ilona Topolcsanyi: “Admin is like a leg wax: if you move quickly, the pain is minimal and the results are pretty damn sexy.” Read more here.