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Anyone want to part with a physiological trick or two, or a nugget of wisdom?
What goes in your minds in that moment right before picking up a project to work on?

I began work on oil painting years ago, after few weeks left it in storage, pulled it out of the storage this year and brought it in, and it has been sitting in me room for pass 6 months.
The spark and interest had before are no longer there because of changed perspective.
But I still want to finish it. Just looking at it, want to finish it, but cant start.

One brush stroke at a time.

I tell myself I am going to do one more colour and start with that.

Even if I get called away or the interest does not grab me...well I am one colour closer to finishing.

My two cents,

CB

 Captain Brown wrote:
One brush stroke at a time.

I tell myself I am going to do one more colour and start with that.

Even if I get called away or the interest does not grab me...well I am one colour closer to finishing.

My two cents,

CB

Thanks. One brush stroke at the time indeed.
I was always of mind set that it is essential to force self to start and the enthusiasm will kick in during the process.
But the initial force start is a bit rusty.

hereis pick btw.
30X60 canvas.

That is imoressive. Honestly, I would just want to finish that...

Man, that's looking AMAZING!

As for motivation, all I know is that discussing the hobby with others tends to raise my motivation levels.

 queen_annes_revenge wrote:
That is imoressive. Honestly, I would just want to finish that...

 Soul Samurai wrote:
Man, that's looking AMAZING!

As for motivation, all I know is that discussing the hobby with others tends to raise my motivation levels.

Let me try!
In general, the idea was a lamentation of a chapter master.

Well, firs thing that pops into my mind when I consider working on it is the mistakes, the problems, and fears.

1-Unsolved first part of the image, its the foreground, that empty space of reflected floor. I can't think of a good way to compositionaly solve that.
The solution is that I know I will get good ideas when I begin working on it, its a matter of beginning to work on it.

2-Scale problem, I did not pay attention and some space marines are out of scale in relationship to the floor, the distance, and to the umies. That is not solved yet.
And that is a problem because I am afraid to cover already painted areas and repaint them correctly.
The solution is that I know never to be too attached to your piece because it is not the best and not the last.

3-Cathedral, and I am afraid my skill is not good enough to pull off what I see in my mind for it.
The solution is that I know that skill is irrelevant and only thing that matters is just putting Hrs into it.

4-I am afraid that I will spend months on this and it will not look like what I want it to look like
The solution is that it will look like I want it because I will make it the way I want it.

5-I have changed perspective and goals in life that render old projects like these not as fun as they used to be.
The solution, I dont know.

6-I am not confident enough I can fake the lighting and atmosphere good enough. I can paint from my head, but only up to a point.
It will never never look as good as if it was painted from good and accurate image reference. And I do not have accurate image reference for the huge mob of armored knights in a dim lit cathedral with directional light from top right.
The solution would be to find real cathedral, go there and talk to folk in charge to allow me to paint quick studies inside, but does this painting worth the effort?

7-Perspective, there are issues with perspective that make adding something to foreground empty area quite tricky.
The solution, repaint large sections or start over.

8-Anatomy, is a problem. Not the accuracy, but in proportions.
The Solution, separate preliminary study drawings for each character need to be done to serve as reference material for the painting.

9-I am afraid that all the work with monochrome will somehow be ruined when color is introduced. I do not have experience moving large piece into color.
The Solution, I dont know, learn as you go.

So, this self therapy session ends with ether just do what you can with this one, or start a new one.
I want to start painting by Mon27th... wish me luck, will send progress photos

Thank you guys.

Wow, you *really* need to finish this, there's already so much work you've did on this piece ...

I think you can halfway ignore your point 2 with the scale problem, I mean having scale problems is even kind of consistent with Warhammer aesthetics
But if you think you need to repaint some bigger parts, well, go for it ... I come from an arts background myself but am mostly writing by now, and there's always this moment when I realize that some chunk of my work doesn't really fit and I try to ignore it for a while, but in the end it's even kind of cathartic to replace it with something better ... but of course reworking a painting is rather irrevocable, compared to editing a text - which is also why I'm mostly writing instead of painting/drawing, haha.

About the atmosphere & lighting, do you have experience with 3D software? Maybe just building some kind of simple model could give a general idea of the light in the space and effects on different materials.
And about the colours - where do you want to take this in regards to colour, in general? Closer to a painterly style like, let's say, 19th century history painting, or to a more illustrative style, like the older Dave Gallagher pieces for GW? (Actually I don't even know if any of the pre-digital GW folks used oil for their colour pieces, Gallagher is inks or gouache, Wayne England & Blanche acrylics AFAIK)
Anyway, looking forward to how this will progress!!

Do you have formal art training/education? I've always drawn and painted, and lately have got into renaissance and baroque art history. Ive never painted a canvas in oils before, but I would like to give it a go.

Honestly, I would plough on with this. It's amazing already. You clearly have the ability to finish it. And, honestly, you'll probably neve be fully happy with it. No artist ever is. Don't obsess too much about redoing parts until it's perfect, as you'll be going forever. Take them as learning points for next time.

 queen_annes_revenge wrote:
Do you have formal art training/education? I've always drawn and painted, and lately have got into renaissance and baroque art history. Ive never painted a canvas in oils before, but I would like to give it a go.

Honestly, I would plough on with this. It's amazing already. You clearly have the ability to finish it. And, honestly, you'll probably neve be fully happy with it. No artist ever is. Don't obsess too much about redoing parts until it's perfect, as you'll be going forever. Take them as learning points for next time.

Oh "going on forever" strikes home.
Ill kick me self into gear by Mon, and share progress with community for motivation until damn thing can run it self. sheeesh.

Thank you!


Yes, I grew up in career artist family, and was always drawing painting as far as I can remember.
Got Bachelor in FIneArts and was working as contractor and art lead with few computer game developers, burned out, reevaluated things, took down all my art sites, and left the industry 2yars ago.
You can see some of me old digital work here Kogun
I was never good with miniatures, but always found them relaxing and distracting.

Key #1 is to enjoy the process, the long and the boring, I can go on 3 page rant on it, because it is so crucial.

1) For oil painting I would say start with a small still-life. You can set it up where it is not in the way, and have one light source. Still life will not change on you, and you can always comeback to it, light is same, shadows same. You will learn how light works, and how shadows work, and your hand will learn more and more to do what you want it to do.
2) Along side still-life, I would recommend doing quick 20/30 min studies outside. That will teach you to see color and learn how light and colors behave in atmosphere.

The main goal to paint from life and avoid painting from pictures is to train the eye to feel the "air" around an object, to see the 3Dmentionality while painting, that will over time translate into the way you paint. In addition pictures warp things slightly in proportions and color. They are absolutely invaluable as reference material when you already know what you are doing, but pictures are poor resource for learning to paint.

The main principal in oil is that all dark and shadows are to be painted transparent, and all lights and highlights are opaque! You can see that in any classical painting, the shadows look like there where scribbled with a thin wash, and lights look like they have been caked.
The purpose is to create depth.

The key in oil painting is mastering paint consistency! consistency not as a constant, but as a viscosity.
Mini talk would be- just to master how much to thin your paints and when.

When you get oils. get basics colors, basic brushes, basic canvas while you are studying. You can always get fancy later.
Because if you don't like long dry time, or the smell begin to give you headaches,or you realize that oil is not as fun, then you can leave it without investing a lot into quality tools.

I have moved to acrylics now, BUT! I cant stand to use acrylics like I use oil, instead I use acrylic like watercolor, thin it out.
There are most amazing photorealists all use acrylic like that.

 MobileSuitRandom wrote:
Wow, you *really* need to finish this, there's already so much work you've did on this piece ...

I think you can halfway ignore your point 2 with the scale problem, I mean having scale problems is even kind of consistent with Warhammer aesthetics
But if you think you need to repaint some bigger parts, well, go for it ... I come from an arts background myself but am mostly writing by now, and there's always this moment when I realize that some chunk of my work doesn't really fit and I try to ignore it for a while, but in the end it's even kind of cathartic to replace it with something better ... but of course reworking a painting is rather irrevocable, compared to editing a text - which is also why I'm mostly writing instead of painting/drawing, haha.

About the atmosphere & lighting, do you have experience with 3D software? Maybe just building some kind of simple model could give a general idea of the light in the space and effects on different materials.
And about the colours - where do you want to take this in regards to colour, in general? Closer to a painterly style like, let's say, 19th century history painting, or to a more illustrative style, like the older Dave Gallagher pieces for GW? (Actually I don't even know if any of the pre-digital GW folks used oil for their colour pieces, Gallagher is inks or gouache, Wayne England & Blanche acrylics AFAIK)
Anyway, looking forward to how this will progress!!

Thanks!
Yes lolz, I think it is that OCD if having unresolved things fixed so everything is neat and tidy!

I did 3D waaay back in the day, but there is no way I can create a scene in 3D now. Because I need real light effect on real colors, and real reflections. 3D will give general idea, and general idea I already have in me head. And I can render materials no problem. What I need is the relationship of multiple figures in an environment with multiple light sources, but not that just, but to feel that there is space between them... Here the best example I can give is Repin.
Look at closeup images, they look abstract, and look at far away image, it looks like a damn picture. That I want.

There are 3 GW artist that for me are absolute masters, it is all preference of course, for example, I am not a fan of old school style as much, and even less of a fan of most recent digital work. I will look up their names later.

If you are not really excited about the army you are painting and cannot wait to see it done, then it is a real struggle. My hat's off to commission painters that have to do a whole army quickly and the army holding no connection or likability for them at all, beyond the measly paycheck....

Yeah I'm really not a fan of digital art. I can't really place my finger on an explicit explanation of why..best I can come up with is that it feels somehow soulless. I mean, the mass produced stuff gw puts out now, a lot just looks generic and rushed for whatever it's promoting, but even the better things done digitally, I don't know. Maybe it's something similar to an uncanny valley.. like they're too perfect and it makes them somehow repellent... Maybe its because they can just remove the last layer of mistakes as if it never existed, there's just no character or depth to them.

 MDSW wrote:
If you are not really excited about the army you are painting and cannot wait to see it done, then it is a real struggle. My hat's off to commission painters that have to do a whole army quickly and the army holding no connection or likability for them at all, beyond the measly paycheck....

That is why enjoying the processes is the key.
I believe it is possible to train your self over time to enjoy the slow and the boring!

I did it with me self and miniatures.

I realized that my motivation for mini was to hold a finish min in hand, and too show off new painted things at local store.
And when getting to the (holding finished mini in hand) took too long, and when guys at local store where not always around and showed more interest in the game than in a paint-job, my motivation was gone, and minis piled up.
So, my motivations can NOT be
Money, because if no one buys it for the price I need then i will not want to paint minis
Having finished model, because if if it takes too long then i will not want to paint minis
Buying new things, because once you bought it, motivation is gone, and i will not want to paint minis
Finishing model...
Seeing finished models on shelf...
Finished army...
Getting feedback...
Getting good feedback...
Getting ego boost...
Showing it off...
Selling it...
Making the sell...
Getting money from the sell...
Spending the money that you got from the sell...
ets

The only thing that will allow you to paint minis NO MATTER WHAT!
Is if you enjoy the process:
Taking things off the spruce
Cleaning the mold lines,
Finding good spot to prime the models
Priming it.
Basecoat
ets

I remember telling me self "I should be enjoying this, I should be enjoying this"
Now I do, and having finished model in hand became irrelevant.

Same thing for Any type of work really! Especially for the main source of income, because you still have to do it, might as well learn to enjoy it.
Now I just need to do the same for my oil painting and I am good.

 Mothsniper wrote:
hereis pick btw.
30X60 canvas.

Strewth.

I could tell you the secret to motivation... but someone'd have to tell it to me first. Best I can do is tell myself 'I'll just do a little bit' and then forget to stop.

Creative motivation is a very difficult thing and something that I haven't learnt a lot about recently. I think the best way to describe it is that it's all about stakes. High-stakes or low-stakes. High-stakes things matter; it's important you get them right, they should show your best work, they are valuable when they are finished. Low-stakes things are the opposite. Working on anything high-stakes can stressful, hard to start work on, and frustrating. Low-stakes work is fun - it feels good to work without fear.

I think that all kinds of creative block and struggles with motivation are ultimately caused by thought processes and actions that create a 'high-stakes' feeling when creating art. In order to feel motivated and to work more often in a way that's enjoyable, you need to actively beat yourself into shape. You have teach your brain that making art is something with no stakes, and that 'perfectionism' is a grand-sounding word that means you never get anything done.

A big turning point for me was hearing from someone that an event that was pivotal to their artistic growth was a teacher of their telling them to destroy their own work that they were proud of. You have to reduce how valuable the things you create feel in order to be a productive artist. If you make a great start to a piece of work, you can end up paralysed by the fear of not wanting to ruin it. Make the piece of work worthless to you and you can risk the whole piece in order to finish it; often it will impove. If you spend too long thinking of ways to impove a WIP piece, you'll get snagged on all the things that need to be changed and never get it done. The longer a project is active for, the less likely it is to be finished.

Nothing will ever be your magnum opus! You can never sit down and decide to make your best work. After every single piece your skills as an artist are better than they were before; it's constant journey with no destination. The single best thing I have done for my own motivation, and creative growth more generally, is to teach myself to finish a piece of work in one sitting. I practiced drawing and painting in single sittings, making each piece finished on the same day as starting it. It feels awful to begin with, and making things that you don't think are good is painful. Very quickly that feeling goes away, and once you've have a dozen or more drawings or paintings you can really appreciate the work you have done and what you have learned. It did wonders for my ability to just get on with things, and my creative time is so much more productive and FUN than it was before. It's not that you have to only make things in one session, but doing that for a while will teach your brain a better way to approach making art, and when you go back to making longer-term pieces, that change in attitude is so helpful. For me at least, it completely changed my relationship with making art for the better.


Hopefully that isn't all completely nonesense... I have never tried to articulate that before...

Also your WIP looks awesome! Love the contrast in texture and light on the armour vs. the skin in particular. Put it in the back of your closet and start again; it will be better and it will actually get done next time!

 Vermis wrote:

 Mothsniper wrote:
hereis pick btw.
30X60 canvas.

Strewth.

I could tell you the secret to motivation... but someone'd have to tell it to me first. Best I can do is tell myself 'I'll just do a little bit' and then forget to stop.

So the secrete is to not to overthink.


Automatically Appended Next Post:

shmvo wrote:
Creative motivation is a very difficult thing and something that I haven't learnt a lot about recently. I think the best way to describe it is that it's all about stakes. High-stakes or low-stakes. High-stakes things matter; it's important you get them right, they should show your best work, they are valuable when they are finished. Low-stakes things are the opposite. Working on anything high-stakes can stressful, hard to start work on, and frustrating. Low-stakes work is fun - it feels good to work without fear.

I think that all kinds of creative block and struggles with motivation are ultimately caused by thought processes and actions that create a 'high-stakes' feeling when creating art. In order to feel motivated and to work more often in a way that's enjoyable, you need to actively beat yourself into shape. You have teach your brain that making art is something with no stakes, and that 'perfectionism' is a grand-sounding word that means you never get anything done.

A big turning point for me was hearing from someone that an event that was pivotal to their artistic growth was a teacher of their telling them to destroy their own work that they were proud of. You have to reduce how valuable the things you create feel in order to be a productive artist. If you make a great start to a piece of work, you can end up paralysed by the fear of not wanting to ruin it. Make the piece of work worthless to you and you can risk the whole piece in order to finish it; often it will impove. If you spend too long thinking of ways to impove a WIP piece, you'll get snagged on all the things that need to be changed and never get it done. The longer a project is active for, the less likely it is to be finished.

Nothing will ever be your magnum opus! You can never sit down and decide to make your best work. After every single piece your skills as an artist are better than they were before; it's constant journey with no destination. The single best thing I have done for my own motivation, and creative growth more generally, is to teach myself to finish a piece of work in one sitting. I practiced drawing and painting in single sittings, making each piece finished on the same day as starting it. It feels awful to begin with, and making things that you don't think are good is painful. Very quickly that feeling goes away, and once you've have a dozen or more drawings or paintings you can really appreciate the work you have done and what you have learned. It did wonders for my ability to just get on with things, and my creative time is so much more productive and FUN than it was before. It's not that you have to only make things in one session, but doing that for a while will teach your brain a better way to approach making art, and when you go back to making longer-term pieces, that change in attitude is so helpful. For me at least, it completely changed my relationship with making art for the better.


Hopefully that isn't all completely nonesense... I have never tried to articulate that before...

Also your WIP looks awesome! Love the contrast in texture and light on the armour vs. the skin in particular. Put it in the back of your closet and start again; it will be better and it will actually get done next time!

The longer a project is active for, the less likely it is to be finished. That is very very true!
I agree with the concept of tricking your brain run in low-stakes mode when it comes to these things.

I agree with not being attached to work. and i dont think I ever was, but maybe I am.

"Nothing will ever be your magnum opus" Oh yeah, that I understand!
In fact everything makes sense, expect one:
I never though about finishing something in one sitting. For example, obviously it is impossible to finish 10 men squad of marines in one sitting with cleaning all moldlines, gluing, all the dry time, all highlights, details and decorate the base in one sitting.
So is that you finish a single task in one sitting like (today I will clean moldlines for whole squad and not get up until all mold lines are clean)
or is it that you actually finish something in one sitting like (today I will clean mold lines, paint and base, one guy from spru to light-box)

I guess we need to define terms - what do you mean by (finish) and what do you mean by (one sitting)

This is interesting to me, I am trying to understand it, lolz I know its hard to communicate but bear with me!

I'm glad I made some kind of sense at least!!

 Mothsniper wrote:
I guess we need to define terms - what do you mean by (finish) and what do you mean by (one sitting)

This is interesting to me, I am trying to understand it, lolz I know its hard to communicate but bear with me!

What I meant in my post was:

Finish: Call something done. Put it aside and don't do anymore work on it again. 100% done.

One sitting: "I am working on this thing for as long as I can/ am enjoying/ have time for in any one day". This depends how much free time you have, I got into the groove of 2 or 3 hour sessions where I would take something from start to finish. I think what's important is that you can call something done in 1 session; if all you can spare is 30 minutes in an evening, then make your 'one sitting' 30 minutes.

What I think worked for me initially was to choose a creative task that wasn't a 'normal' thing for me. I really think it's most important to free yourself from any expectations or pressure. What I did was paint, draw and sculpt hands. I just picked a subject that was interesting to me and was kind of new. I put aside some of my time over a few months and made dozens arbirary sketches and models of hands that didn't matter to anything or 'count' towards a broader project. I found the knowledge that I wasn't working towards making anything big or impressive very important. It also made me really good at drawing hands, lol.

For this reason I think maybe working on hobby stuff could be a bad idea; there's a lot considerations about things fitting into an army and being consistent etc. that I think makes the process difficult. You could totally make it hobby-related though. Maybe buy some-easy-to-build minis and do a different quick and dirty paintjob each time.

 Mothsniper wrote:
So is that you finish a single task in one sitting like (today I will clean moldlines for whole squad and not get up until all mold lines are clean)

This is how I have taken to working on my hobby stuff now, which kind of came naturally after practicing with the hand drawings. Again, I think it's important to take a little bit of time every so often to work on something that isn't related to the kind of art you would normally want to make.



I think it's not necessarily about saying "everything I do from now on will only be done in 1 sitting", and more about just keeping regular practice at doing some things in one sitting. That way you keep training that part of your brain, which helps your attitude towards all your hobby/ art time. I found it crazy how many HANDS I drew in such a short time. It really made me realise how much time I was stretching projects out for.

I only buy models I want to assemble and paint.
I don't just buy models because I game with them - gaming is about fourth on that priority behind assembly and painting.

I also tend to churn through it once I have them. It's rare for me to take longer than 3-4 days from go to whoa. It also doesn't usually leave time for WIP photos.
(when I do, it's because certain parts are time intensive, or I need to wait for certain other parts. The last terrain kit I built took me 3 weeks for example. Painting, wiring up electronics, assembly. Had a delay because I needed a certain set of hinges for the doors. The slow down actually made it more possible for me to document the steps I went through.

First thing, though.
Don't let "perfect" be the enemy of "done."
You'll NEVER get it "perfect". You'll get it close enough. Call it at that and move onto the next project. You can always come back later to add stuff.
"Art is never finished, merely abandoned."

 chromedog wrote:
I only buy models I want to assemble and paint.
I don't just buy models because I game with them - gaming is about fourth on that priority behind assembly and painting.

I also tend to churn through it once I have them. It's rare for me to take longer than 3-4 days from go to whoa. It also doesn't usually leave time for WIP photos.
(when I do, it's because certain parts are time intensive, or I need to wait for certain other parts. The last terrain kit I built took me 3 weeks for example. Painting, wiring up electronics, assembly. Had a delay because I needed a certain set of hinges for the doors. The slow down actually made it more possible for me to document the steps I went through.

First thing, though.
Don't let "perfect" be the enemy of "done."
You'll NEVER get it "perfect". You'll get it close enough. Call it at that and move onto the next project. You can always come back later to add stuff.
"Art is never finished, merely abandoned."

I guess it is not the perfection, but just trying to solve unsolved areas. Otherwise unsolved areas bother me, I need to learn for things not to bother me.
"Art is never finished, merely abandoned." Can I quote you on that, because I like it! so true.

Thank you!



Automatically Appended Next Post:

shmvo wrote:
I'm glad I made some kind of sense at least!!
What I meant in my post was:

Finish: Call something done. Put it aside and don't do anymore work on it again. 100% done.

One sitting: "I am working on this thing for as long as I can/ am enjoying/ have time for in any one day". This depends how much free time you have, I got into the groove of 2 or 3 hour sessions where I would take something from start to finish. I think what's important is that you can call something done in 1 session; if all you can spare is 30 minutes in an evening, then make your 'one sitting' 30 minutes.

What I think worked for me initially was to choose a creative task that wasn't a 'normal' thing for me. I really think it's most important to free yourself from any expectations or pressure. What I did was paint, draw and sculpt hands. I just picked a subject that was interesting to me and was kind of new. I put aside some of my time over a few months and made dozens arbirary sketches and models of hands that didn't matter to anything or 'count' towards a broader project. I found the knowledge that I wasn't working towards making anything big or impressive very important. It also made me really good at drawing hands, lol.

For this reason I think maybe working on hobby stuff could be a bad idea; there's a lot considerations about things fitting into an army and being consistent etc. that I think makes the process difficult. You could totally make it hobby-related though. Maybe buy some-easy-to-build minis and do a different quick and dirty paintjob each time.

Ah, thanks for explaining it, I get it now, just do something, and when your time is up, whatever is done just call it done and move on! You know, I will try thta with minis for sure! And I do have plenty of reaper minis in the box!
Lolz, wish could do that for work! but nooo.

shmvo wrote:

This is how I have taken to working on my hobby stuff now, which kind of came naturally after practicing with the hand drawings. Again, I think it's important to take a little bit of time every so often to work on something that isn't related to the kind of art you would normally want to make.

I think it's not necessarily about saying "everything I do from now on will only be done in 1 sitting", and more about just keeping regular practice at doing some things in one sitting. That way you keep training that part of your brain, which helps your attitude towards all your hobby/ art time. I found it crazy how many HANDS I drew in such a short time. It really made me realise how much time I was stretching projects out for.

Interesting, because my hand drawing period was complete opposite lolz. It has to be proportioned and I have to learn to draw hands to the point when I can draw hands in any shape and any perspective from my head without using reference. And I need to draw them at least as good as these 20 artist I admire. Being the best is how you get into the industry, and have a good career in the industry is what will allow you to pay off student debts.
Sidenote - being best or good at something doesn't mean you will be successful. It is more about being in right place at right time, and just knowing right people tbh.

You can quote me, but I stole it.
AFAIK, it's a quote by Paul Valèry.
The full text (translated) is this one:

In the eyes of those who anxiously seek perfection, a work is never truly completed—a word that for them has no sense—but abandoned;

Great job with the painting.

For myself, I buy too many miniatures on KS, so have a continual backlog of miniatures to paint. The cheat is that I'll paint the easiest miniatures first, typically terrain. If I "need" a miniature (eg. for an upcoming Gloomhaven game), I'll speed paint through it.

I also have a backlog of music to listen to (: and will listen to music while painting. I'm too impatient to just sit down and listen to music or watch something.

First let go of the shame of not starting.
When you stop worrying about being lazy and telling yourself "I have to do this", you can focus on when to actually start.
Sounds stupid, especially since the goal is to start, but I realized that I paint as a hobby and felt bad when I didn't paint for a few days, but then I was like 'it's my hobby and I don't have a time shedule, I paint when I want' and that way it's less of a chore.

The other thing that movitates me is to listen to audiobooks or podcast and when I have one that I'm looking forward to listen to, the painting is the best excuse to do that. Otherwise I wouldn't just sit down and listen to one, doing nothing else.

 chromedog wrote:
You can quote me, but I stole it.
AFAIK, it's a quote by Paul Valèry.
The full text (translated) is this one:

In the eyes of those who anxiously seek perfection, a work is never truly completed—a word that for them has no sense—but abandoned;

SweeT!
that is awesome


Automatically Appended Next Post:

 ced1106 wrote:
Great job with the painting.

For myself, I buy too many miniatures on KS, so have a continual backlog of miniatures to paint. The cheat is that I'll paint the easiest miniatures first, typically terrain. If I "need" a miniature (eg. for an upcoming Gloomhaven game), I'll speed paint through it.

I also have a backlog of music to listen to (: and will listen to music while painting. I'm too impatient to just sit down and listen to music or watch something.

Ah Dave Ramsey approach to miniature backlog I see!
respect

Combining both backlogs into one, minis and music, well for me not so much music.
But ether lectures and audio-books

Thank you


Automatically Appended Next Post:

Statistx wrote:
First let go of the shame of not starting.
When you stop worrying about being lazy and telling yourself "I have to do this", you can focus on when to actually start.
Sounds stupid, especially since the goal is to start, but I realized that I paint as a hobby and felt bad when I didn't paint for a few days, but then I was like 'it's my hobby and I don't have a time shedule, I paint when I want' and that way it's less of a chore.

The other thing that movitates me is to listen to audiobooks or podcast and when I have one that I'm looking forward to listen to, the painting is the best excuse to do that. Otherwise I wouldn't just sit down and listen to one, doing nothing else.

I think this is it. It used to be dun, before it became a career and paycheck depended on it.
Audiobooks indeed. Speaking off, I need to find me self audiobooks for DUNE, and relisten to them again.

Thnak you