It is, because, like, I will start off, and I have no idea what I'm going to make, but I will splatter it with just whatever colors that I like. And so the composition of colors, which is a reflex, mostly, I'm not thinking about it really, but you let it, whatever. And then a lot of times the whole thing might get covered or it will be incorporated into it as you chisel, and then you start tightening later when you want to really, you know, shape it up.
But at first, if you do this loose and let it go stuff and let the work talk to you, you become the tool, basically, and it guides you through the work. I guess otherwise you're trying to get your muse into a hammer lock. Yes.
Yes. You change rates. No.
That's when I feel... Oh, I'm sorry. No, no, please, go ahead. I was just going to say, when I try to make a piece conform to something I think it should be is when I ruin it.
It's never... I'm never pleased with it, and it doesn't feel honest. It has to be able to become itself. Yes, because you're thinking too much and then you start analyzing from way before.
That's what happens to me when I do digitally on the Procreate. I'm so busy, I was thinking about where the hell is which button because I don't know the whole thing yet. Yes.
I'm trying to find the button, then I'm trying to find the undo, then I don't find the undo, I forget to undo, then I go to erase it, then I erase every damn thing. I'm like, no, I was just trying to erase this one little dot, what the heck, because I was not doing layers. Oh, right.
I didn't make layers. So I'm stopping and thinking too much. And that conversation of thought is like, I don't need it when I create a flow.
It's like learning to drive for the first time and you're hitting the brakes. Yes. So you need a neck brace for that.
