Introduction to The Work Between

Descripción

TIMED TRANSCRIPT STATIC TRANSCRIPT Hi. I'm Nic Steenhout, and this is The Work Between. Before I get into what the show is, I want to say whose land it's made on. This podcast is recorded on the traditional, ancestral, and unceded territory of the Stó:lō Coast Salish peoples: The People of the River, whose presence in the Fraser Valley stretches back thousands of years. I name this territory because it belongs with what this show is about. The ways we decide whose lives are valued, whose work is taken seriously, and whose experiences are treated as problems to be managed. Those decisions shape everything. This show sits inside that. This is, was, and always will be First Nations land. That's not a formality. It's consistent with everything I and this show stand for. So. What this show is, and what it is not. A lot of shows about artists follow a familiar shape. Someone faces hardship. The hardship changes them. The change makes the work better. You come away feeling inspired. It's a satisfying arc. It's also a version that tends to flatten the work, and tidy up lives that aren't typically tidy. The question I keep coming back to is this: how does your life and your creative practice shape each other? Both in motion. Pushing, pulling, sometimes in conflict, neither one staying still long enough to be a fixed point. That's The Work Between. And understanding that means getting into the actual work. If someone's a sculptor, we're talking about materials, form, and process. If they're a musician, we're getting into sound and structure. If they paint or quilt or cook, I want to understand how they actually do it; the decisions, the constraints, the techniques. The craft isn't background. It's half the conversation. And it’s often where these questions about identity and experience show up most clearly. These are long-form conversations. Unhurried, sometimes a bit uncomfortable, and specific. I'll ask questions, I'll follow threads, and I'll leave space when it matters. Not everything needs to resolve cleanly. I'm not interested in turning people's lives into neat narratives, or using difficulty as a way to make the work more palatable. And I'm not interested in presenting disability — or anything else — as something to be admired from a safe distance. What matters here is what people actually think, and how they actually work. I make things. I sketch and paint in watercolor. I quilt. I photograph birds and wildlife. I spent years working as a professional chef before changing direction entirely. I tried several other creative endeavours. Some of it stuck. Some of it didn't. But I've been asking myself the questions I'm bringing to this show for a long time. I've also spent nearly three decades working in web accessibility. My other podcast, A11y Rules, has been running since 2017, with over 160 interviews across two series. What that work taught me — slowly, and sometimes the hard way — is that the most useful thing you can do is listen to someone's actual experience rather than your assumptions about it. That's the discipline I'm trying to bring to every conversation here. This show is for people who make things, and for people who want to understand how creative work actually happens — especially when it doesn't fit a clean story. A lot of these conversations sit at the intersection of creativity and disability — but you don’t have to be disabled yourself for the work to resonate. I'm talking to painters, sculptors, fiber artists, musicians, photographers, writers, and chefs. People who work with their hands, their bodies, their materials. People making things that didn't exist before they made them. The work might be visual, physical, edible, wearable, or something that lives in sound. What connects them is that they're all trying to make something that matters to them. Some guests will have a clear sense of how their disability shaped their work. Some will push back on the question. Some won't have worked it out yet. And that's all right. They get to be complicated. They don't have to arrive with a lesson. They don't have to leave you feeling uplifted. They just have to be honest about what they actually think. Every episode has a full, human-edited transcript. That's not a nice-to-have. That's just how the show works. I'll also provide extensive show notes. Episodes will be released every 2 or 3 weeks. I'm Nic Steenhout. This is The Work Between. If this sounds like your kind of conversation, subscribe — and I'll see you in the next episode. KEY THEMES * Quilting [/tags/quilting/] * Photography [/tags/photography/] * Sketching [/tags/sketching/] * Digital accessibility [/tags/digital-accessibility/] SHOW NOTES ABOUT NIC Nic Steenhout is a watercolor painter, quilter, wildlife photographer, and former professional chef. He has spent nearly three decades working in web accessibility, and has hosted the accessibility podcast A11y Rules since 2017, with over 160 interviews across two series. ABOUT THE SHOW * Episodes are released every 2 to 3 weeks * Every episode includes a full, human-edited transcript * Extensive show notes are provided with each episode LINKS * A11y Rules podcast [https://a11yrules.com]

Dr. Alessondra Springmann on quilting

TIMED TRANSCRIPT STATIC TRANSCRIPT Nic Hi, I'm Nic Steenhout, and this is The Work Between. This podcast is recorded on the traditional, ancestral, and unceded territory of the Stó:lō Coast Salish people, the people of the river, whose presence in the Fraser Valley stretches back of years I named this territory because it belongs with what this show is about the ways we decide whose lives are valued whose work is taken seriously and whose experiences are treated as problems to be managed those decisions shape everything this show sits inside that this is was and always will be First Nations land that's not a formality It's consistent with everything I and this show stand for. My guest today is Dr. Alessandra Springman. I know her as Sondi. Sondi is a planetary scientist with a PhD from the Lunar and Planetary Laboratory at the University of Arizona. She spent years studying asteroids and comets, and her work has included the NASA OSIRIS-REx asteroid sample, returning mission, and two years of planetary radar observation at Arecibo Observatory in Puerto Rico. She quilts. Her quilting practice lives on Instagram at at intergalactic cactus. So today we're talking about quilts, what draws her to the work, and what making things by hand means when your professional life is built around looking towards outer space. Sondy, welcome to The Work Between. Sondy Thank you, Nic Now, for my listeners, I have to be open. Sondy and I go way back and we've been talking about quilting a lot but let's let's try and formalize things a little bit tell me a little bit about your creative practice what is it that you do obviously quilting but tell me more about that Sondy For the most part when I make quilts I am turning secondhand fabric into something more interesting than stuff that doesn't get sold at the thrift store that may wind up in a landfill. The project that I'm working on now is a lot of work shirts and work pants from an uncle figure of mine who's a contractor who builds boats, repairs boats. He met his wife while they were working at a boat yard. She was the manager and he rose up in the ranks because he could weld and he was smart um he's a he's a real uh he's so we were going through his clothes a couple years ago when I was staying um in a little cottage on their property and he was saying that he would love a quilt made from secondhand shirts because it was it would be soft I said okay richard um so here we are almost two years later and it's been a really fun way to figure out how do you take something you know how do you take a set of half a dozen work shirts and carhartt pants all made of canvas and denim and other tough materials and make them make them something soft and how do you arrange them in an pleasing way and how do you do it in a way that doesn't make you want to lose your mind, or if you are going to lose your mind, providing for losing your mind in the process. So I'm doing something called quilt as you go, which involves cutting out the batting for each little part of the quilt before hand, rather than sewing the top of the quilt, sewing the back of the quilt, and then sewing the top of the quilt, the batting and the back of the quilt together in uh one big sandwich and so for this I'm making tiny little hexagon sandwiches and rather than lose my mind cutting out each hexagon of batting and fabric uh by myself by hand I went to the library makerspace and used the laser cutter to laser cut the batting into hexagons and to laser cut his uh denim work pants and work shirts into in canvas work pants and work shirts into hexagons so I didn't ruin all my uh cutting tools at home so it's been a fun way to you know take something as mundane as you know the clothes off his back but you know clothes that have been well loved and some of them have fun paint stains and some of them you know there's the fading that's really interesting under the seams uh men's work shirts often have like a little I think it's a pleat at the back of the neck and so the that area under that doesn't fade as much as the rest of the shirt. So I've managed to capture that in a few places. So I think it's a really fun way to take something, you know, like his, you know, these clothes that are such a fundamental part of us, you know, they're close to our heart, we wear them out, and they sort of fade into the woodwork, and to turn them into something soft, something comforting, and something that will, you know, keep him warm. Nic How do you take something that's not inherently soft like denim or or work canvas and make it into something soft and cozy Sondy First of all you give those garments to someone who will wear them until they are worn out and they have been washed so many times that they are incredibly soft on their own and then one of the things I have figured out in quilting is if your fabric is ugly or if your fabric is otherwise too much if you cut it small enough it suddenly is less ugly or less firm so having these um pieces of you know canvas carhartt work pants cut to hexagons that are about six inches tall makes it much easier to have them be soft and the whole quilt isn't denim or canvas there's a lot of um there's thrift store shirts there's shirts from friends there's some corduroy pants in here there's quilting cotton all the backs the hexagons are quilting cottons so there's a huge variety so if you don't have the hard things dominating your quilt you can get away with a lot Nic How did you learn quilting Sondy Well in 2020 uh in march 2020 when my roommate at the time and I were like well we're at home what do we do with ourselves she had gone to fashion design school. And so she had been an accomplished sewist. She had done costume design in New York, including Broadway musicals. And so she was, she was very competent. And so we said, let's sew some masks. And I thought I knew how to sew. I'd, you know, done some basic garment sewing. I'd sewed my prom dress in high school. And, you know, after I borrowed a sewing machine from a friend and Carrie looks at my sewing and she, you know, you can tell the thoughts are going through her head. Like, wow, Sondy, you think you could sew? That's a really nice idea you have there. But she taught me kind of how to sew as an adult rather than seat of the pants sewing that my mother had taught me. And once you do something hundreds of times, and we sewed 500 masks. I had a spreadsheet tracking all this. Once you do something hundreds of times, you get decent at it. So I sort of got more consistent with my pinning, got more consistent with stitching, learned some binding, learned all sorts of things, learned some very silly couture techniques, which I've never really used since, but it's good to know that they exist. And, you know, after it became clear that supply chains had resolved themselves and we could get good N95 masks. Again, I had all the scrap fabric left. And one of my friends in town was an astronomer who was moving to a job at an observatory in Hawaii, and she was downsizing. And she gave me a bunch of fabric that I didn't realize was like fancy designer quilting fabric until I had all these scraps sitting around and said, what should I do with them? Uh, and I'm, I'm Jewish, but you know, most of my friends are celebrate Christmas. And I decided to make a Christmas stocking for a friend out of these scraps and didn't quite realize that what I was doing was quilting until I had done it and realized, Oh, this is, this is quilting. I should, I should learn more about this. So I went to the library and I went to the shelf of the library that had quilting books. And I this was you know a neighborhood branch it wasn't the main branch and I grabbed the five most interesting books out of six that they had on the shelf and I took them home and I found one by Blair Stocker called Wisecraft Quilts and she turns fabrics into meaningful patchwork and I read this book you know I opened this book I read her philosophy and I turned a few pages in and I saw this quilt where she was using the value or the brightness of fabrics rather than the color or the pattern to dictate the pattern dictate the layout of the quilt and I was completely sold and probably within within three weeks of making that Christmas stocking I had put an alert on Craigslist for sewing machines at estate sales and yard sales I had driven 45 minutes down to a suburb of Tucson. I threw elbows. I got a gigantic Janome sewing machine that Ginger Downing had spent like $2,600 on new that I got for $600. And it came with all the accessories. And I have sewn so much on that machine since. And I've made some pretty cool quilts, if I don't say so myself. It's been really fun to finally feel like I have a creative practice. Both of my parents are artists my mom has done oil painting and acrylic uh big big canvases she's done some mixed media but she really sticks to like big abstract acrylic canvas works my dad was a portrait photographer for most of his career he photographed Georgia O'Keeffe in 1974 at Ghost Ranch so he's you know so my mother's father was an animator her mother was an illustrator my dad's mother sewed and she crocheted and she knitted so you know I come from this family of creatives and I'd never really done anything regularly and I think everyone was sort of like sitting around waiting for me to do something consistently so when I finally started quilting I think everyone I think my mom in particular breathed a sigh of relief and four months after I started quilting she came to visit me in Tucson and I was picking up my sewing machine from being serviced at the, um, the sewing machine store and she paid for it. And she's like, no, I want to encourage this. So it's been, it's been cool to get into quilting. It's been cool to find out how many people around me quilt or know someone who quilts, uh, you know, someone's mom tried quilting and she gave me the, what they call a pig, a project in a grocery bag of her first attempt at quilting and she decided she didn't like quilting after she'd started that. And I looked at what she'd done and I said, yeah, of course you didn't like quilting, Pat. You were not, no one taught you how to do this properly. No one taught you how to cut your fabric properly. Of course you hated this. So, you know, it's fun. And then I've moved up to Boulder a few years ago and through a desperate post on the Young and Millennial Quilters Facebook group, found a wonderful long arm quilter up here and joined the Boulder Modern Quilt Guild. And it's been great to meet other people who are really interested in secondhand materials quilting. There's one guy in the Quilt Guild, Elu Hernandez, who's a bit of a big deal making quilt set of reclaimed jeans. And so he's been really encouraging about this project. And there was a Quilt Guild open sew and he said, give me seven of those hexagons. I want to take them home to sew them together for you. So he took seven of the 188 hexagon pieces and sewed them together. So now I get to add his name to this quilt. So it's been really fun to learn this, to find the community, community. I try to read a lot, you know, random quilt books, blogs. The Facebook group has been fabulous and educational. There's a lot of Facebook groups that are badly moderated or that tolerate very bad politics and behavior from their members. And this Facebook group is, I would say, it's one of the things that keeps me vaguely active on Facebook. And by vaguely active, I mean logging in twice a month to ask a question or see posts there. So I've enjoyed the community. I've enjoyed being able to make things. Nic I want to come back to community in a little bit, But before we explore that, I want to talk influences. Obviously, your family background is very much into creativity, but it sounds like nobody really quilts. Have they? Sondy My dad has started quilting in the last few years. Nic As a follow up on what you're doing, right? So the influence into quilting from their creative and artistic endeavors, has that tickled through or is just, tell me about that relationship. Sondy I think it's interesting because my mother loves color. She loves reds and oranges and yellows and she loves her blues and her greens and things of that nature. But my mother doesn't really think about value in her her paintings she doesn't think about the contrast between colors she just says you know she's a very intuitive painter and you know she went to she I think she went to art school for a little bit she had some um post-college art education so I know you know I know she's familiar with color theory I know she's familiar with value and contrast and tints and tones and shades and all that um but she you know I she knows all that but it's all you know in her heart at this point we've talked about sort of like patterns and scale but you know she she creates with paint she creates very fundamental she creates in a very fundamental way with paint whereas you know I'm using things that already exist and I'll look around you know at the fabric and say hmm this would be good for this I think it's a very different creative process than than what my mom does and I have some of the fabrics that her mother designed as an illustrator for the launch of salzburg in los angeles and I'm like a lot of this stuff is just like not it's just not interesting to me like I can't figure out what to do with it but I hold on to it because Nic Because it's fabric right how how can you not hang on to fabric and stuff Sondy It's the great thing about having a quilt guild and a center for creative reuse in boulder is that I can just bring fabric to quilt guild and say hey who wants this or bring fabric to the center for creative reuse Nic That quilt guild uh you're part of that as a community what does that connection do for you Sondy For one thing uh this hexagon quilt that I'm working on that I started just under two years ago. I started working on it at an open sew and L.U. Was enchanted by the process. I don't think he was really familiar with doing hexagons for quilt as you go. And then I let it sit for a while because it was parts of it that were frustrating and I hadn't quite figured out how to mitigate the frustrating. And at some point in the last year, LU asked hey how's that hexagon quilt going and I kind of grumbled at him and so I started working on the hexagons again so it's been really nice to have encouragement uh it's been really nice to have feedback when I need feedback it's been nice to have a smaller place to ask for smaller scale advice there's now a couple of us who have been inducted into the singer featherweight cult though uh I think all of us have one featherweight so we're not really cultists Nic You ever have enough featherweights Sondy I don't know I take issue with like I've got 10 featherweights and I sew on none of them like get them out in the ecosystem folks say they uh they need to they need to be used so for folks who are not familiar with singer featherweights Singer made these lovely little sewing machines between the 1930s and the 1960s. And they are mechanical. They draw 0.7 amps, less if you put an LED bulb in them. I mean, they draw less current than your phone does when it charges. And they are, some of them have been running for 90 years. If you keep servicing them and keep putting oil and grease on them, they will run for another 90 years. I mean, they are the most robust little machines. And I like to say that they are the most heterosexual sewing machines of all time, because you will not find a straighter stitch on any other sewing machine. So it's been fun to learn the basics of featherweight maintenance and where to grease and where to oil and how to clean things with kerosene and how to adjust the timing and what has changed in the intervening uh 81 years since my sewing machine has been made and what has not in you know what remains the same between this machine and modern machines like the needle that this machine uses it's the same needle that modern machines do Nic Yeah Sondy The bobbin case okay yeah bobbin cases are very particular on the featherweights but modern machines are very similar into how that all works. So it's just a really cool way to sort of fundamentally understand how sewing machines have evolved and haven't evolved and how to use them. And I feel like it informs better how I use my machine that was made 15 years ago. And yeah, it's nice to have more technical understanding of how a sewing machine works and how to adjust it and how to tune Nic It well we're talking about equipment but one thing I'm curious about is um what does your workspace tells you about yourself that you didn't really decide it kind of involved or arrived at Sondy So I I've got some lower back stuff from uh being rear-ended twice while driving my car So I have figured out that standing for machine sewing is best for my ergonomics. I have also discovered that since getting a heart rate tracker about nine months ago, that standing to sew also does really goofy things to my heart rate. I don't know if it's a POTS thing because I can walk like three or four miles a day, no problem. But it's the standing that seems to just not agree with heart rate stuff, which is fascinating or that like stand sewing is just like a stressful thing is, you know, it's, it's creative, but it's like, am I just sort of like going into like, you know, high stress focus mode to do this? So that requires more, experimentation and investigation, but I've now gotten to the point where all these hexagons have been, I've done everything I need to do for the hexagons themselves to machine sew them. Now I'm joining them by hand, all seams of them and that can be done on the couch it can be done at my partner's wood shop it can be done uh at parties it you know it's a very portable task in that regard so that's been cool and it's also like okay I will not be worsening my heart rate while I do this part of this project I will have to stand to sew to do the machine binding but it's also just a nice way to slow down a bit and kind of figure out how do I do hand sewing because I've never been interested in doing hand sewing I've always found it annoying but when you do something uh you know 127 times you you get a little better at Nic It you could always hand stitch the binding Sondy I don't I'm really bad at sewing straight like sewing like long straight lines whip stitching to join hexagons is is fine uh because you've already got the straight line there but I don't know I guess I could try it but I feel like that would just be when it comes to putting binding on a quilt I'm just like get me through this let's just go like Nic Final mile final get it out Sondy And uh I know richard probably will not listen to this but I know that richard will never um he will never wash this quilt and a lot of the fabrics you know there's some like a thrift store skirt that had boats on it and a few other ones that I'm like yeah this would be fun to include but it's way too light and I got some indigo dye and did indigo dyeing last year to darken some of these fabrics and so the fabric I have I'd gotten in Ghana for uh and had originally given to his wife Millie but you know they were never going to use it and so I'm like oh I have an idea of what to do with it but it's kind of a like a medium light sky blue with like a darker vine print on it and so I've been darkening that with indigo with the idea of using it for the binding because the binding of the quilt is part of the quilt that is used the most and gets like all of your oils from your fingers on it from like pulling it and touching it and I don't like fighting reality right like I accept that gravity is is a thing I don't like to fight gravity unless well there are circumstances in which I have successfully fought gravity and won we can we can get back to that one um so I like making sure that the bindings of my quilts are dark so that they don't show as much finger oil don't need to be washed as often Nic If it comes down to a choice between working alone on a quilting project and working in a group what what's your preference why Sondy So another march 2020 thing that I started was a zoom crafting group uh so rather than it being stitch and bitch I named it loom and zoom and here we are six years and uh a month and seven days later and we are still going twice a week on zoom where we work on crafting projects together we have a group chat where we talk about ideas so for me really up until I moved to boulder and joined this quilt guild quilting sewing whatever was not really a in-person social event um but you know I still I still like hanging out on zoom to do things with folks and now I can have a project that is portable I can take it places there is a hand sewing group that the quilt guild has I think they meet in coffee shops and so now I'm kind of like huh I should make sure I have a hand hand sewing project at all times and the quilt guild open sews those are fun I've really enjoyed those I'm the only person masked them but that's fine and now that I have a it's much easier to bring a sewing machine to them than to haul like all 26 pounds of my main sewing machine downstairs in the car take it over to the community center Nic I'm gonna ask you about your relationship with disability you you mentioned a few things you mentioned pots you mentioned um chronic back issues so what's your disability what's your relationship to that Sondy For I have had ibd for over 20 years I have got you know another fun constellation of other other things you know laryngopharyngeal reflux and interstitial cystitis and some lower back stuff from, uh, drivers in Tucson. Um, I deal with headaches. I deal with some joint stuff and RSI stuff. Um, so for like half, half of my life, I've been dealing with, living with chronic illness and some form of disability. And I have found that most of my friends are disabled, have some sort of disability of one type or another. A lot of my friends have a chronic illness or deal with chronic illness. There's someone at Quilt Guild who, you know, I've interacted with her very briefly twice and she says she doesn't drive. And I'm like, huh, that's interesting. You know, there's so many reasons that a person may want to drive, whether it's from disability or from a moral perspective. And I'm like, I kind of want to get to know you better because you've thought about this. You've made a decision that runs contrary to what the rest of the world expects or experiences. That, you know, huh, interesting. And so that's one of the things that I really appreciate about disability communities is that disabled people have thought about how they move through the world, how they interact with the world and whether it's their choice or otherwise they they have had to think deeply about sort of the fundamental tenants that society uh expects and that's something I really appreciate about disability community Nic Yeah that's funny you say that I was I was gonna ask you um I was gonna to say some people argue that navigating a world not built for you produces a kind of creative thinking and do you think that connects to your practice or is that just too neat a framing but you mentioning getting to meet and talk to people that have been doing that kind of thinking before Or leads me to think that, yeah, maybe it works for you? Sondy I think I've, at least for quilting, I'm someone who likes, I like solving problems in interesting ways. Or I've done sort of enough thinking from reading, you know, reading about color theory or value quilting. Or like looking at a stack of fabric and being like, what can I do with this? This is the project in the grocery bag. This is the pig fabric that was given to me by the friend's mom who decided she didn't like quilting and for some people they see what I wind up doing and they're like wow that's wild like how can you look how can you look at these strips of these fabrics and turn them into you know this thing I'm like well I've been thinking about value and contrast for a while and like what what combinations of fabrics you would need to have you know to make something effective out of to make this particular thing and have it be effective and so people don't necessarily see all of that like thinking and experimenting and work that goes into producing something that looks really cool but also you know folks in the quilt field being like I don't understand how your brain works that you can have these, you know, go from this step to that step. And I'm like, oh, there were a lot of steps in between and a lot of frustration. There was a lot of experimenting. There was a lot of banging my head against the wall and being frustrated that I put all this effort into this thing and then abandoned it. But, you know, two years later, coming back to it in a completely different way no one sees all those experimental steps that led up Nic To Sondy It and you know for this hexagon quilt you know figuring out oh yeah I've used the laser cutter a couple of times at the library makerspace including for a really cool quilt that I made for a mutual friend of nick's and mine so you know had some precedent you know there'd been some in my life for doing laser cutting for quilting so you know there's there's a lot of work that people haven't necessarily seen that leads up to my current creative way of moving through the world you know it comes from like going to the there's a the colorado quilting council puts on a quilt affair once a year and someone was doing a demo of her reverse applique system and you know sitting there watching her do this and I was like I don't I need to make a quilt that has Chinese characters in it but I don't want to do any of this by hand and I'm watching her do this reverse applique and I you know figured out from what I knew about laser cutting and her reverse applique method that I could do this could have a laser cutter do a couple of steps for me and not have to worry about figuring out a bunch of stuff by hand and having it look not the way I wanted it to look so it's um yeah it's been fun in that regard to figure out how to put a bunch of disparate things together and also kind of fun to see people just blown away by the end result Nic I like this contrast between Sondy is using a nearly 100 year old featherweight singer's sewing machine and is using the latest laser cutting technology I think that's that's just awesome Sondy are you a disabled quilter or are you a quilter who happens to be disabled Sondy I think I'm a disabled quilter uh I'm always trying to find more ergonomic ways to do things I'm very aware of how the ergonomics of pretty much any fiber art are awful doesn't matter what you're doing you know is it knitting is it crocheting is it uh needle you know needlepoint needlework is it cross stitch is sewing on a machine all of this is bad it you know you're hunched over on your machine some people put wedges under their machine to tilt it up a bit but I like having the big extension table off the side of my machine so like having the machine tilted up doesn't like creates this other problem so I feel like you can't really fundamentally separate how I quilt from my being disabled and yeah this heart rate stuff this is interesting um I don't really have a provider I can talk about this with but I don't know I guess I I guess I need to ask around and see what what other people experience Nic What are you trying to get better at right now Sondy I'm trying to get better at being consistent and doing things at a sustainable pace um for me it's sort of this like this boom bust cycles of doing things now that I feel like I've gotten to the point where, you know, 24, 23% of the way through sewing these hexagons together, I'm just like, I just want to crank them out. I just want to get them done. I want to get them out the door. Like, let's go. And that's, you know, after like months of not doing anything, you know, then I'm like staying up past midnight hand sewing and I'm like it's not not great yeah I've got this other quilt that I've like should be working on I'm like trying to get back to but like you know it's like okay well I need to deal with this well that means dealing with that and then you're like five steps away from the original issue and it's like that's so be nice to consistently show up and do work without it sort of being too much or not at all. Yesterday I was up at my partner's woodshop hand sewing, and he always likes having a body double there to kind of keep him on task. And I was saying, hey, is it helpful having me here? He says, well, you know, I'm pretty locked in on this task I'm doing. You know, I think I would have been doing it and stayed focused on it even if you weren't here. You know, but it's nice it's nice to have company uh and he asked you know is this helpful for you and I'm like well I'm not trying to make a living off of my quilts necessarily Nic Yeah Sondy But you know it's like I really should be cleaning the house I should be doing physical therapy I should be doing should be like cooking more meals I should you know I should be tidying the sewing room which is just devolved into chaos uh yeah there's a whole bunch of things I should be doing and well okay we're gonna we're in a boom we're in the boom part of the cycle uh that's just how it's going there will be times when I'm in the bust Nic It seems like you're you're working in cycles Do those cycles relate to either feeling stuck and then kind of not abandoning but slowing down or, you know, hey, it's going well, let's get things accomplished while it's going well? Or is it something unrelated to that that dictates the boom-bust, quick, slow approach? Sondy Sometimes it's related to disability in october we doing botox injections for this headache and I got the fun reaction of uh my so when you do botox sometimes your neck muscles are like whoa whoa whoa what my head is so heavy and your head is the same weight your neck muscles are just responding completely differently. So I got all of this like neck perceived neck muscle weakness that caused tremendous pain if I bent my head forward for more than like a little bit at a time. And that was really terrible. And I couldn't machine sew. And I'd been kind of like okay yeah let's get back to machine sewing um but fortunately fortunately uh the guy who had serviced my sewing machine had screwed something up so I couldn't sew until that got fixed Nic Right Sondy And I couldn't sew because of my neck um and so like yeah that really sucked but there was like that in combination with something else was not not the worst Nic Has making the work the quilting has it made it harder rather than easier so you know you're you're making these quilts you've you've had uh the the botox and and you've had barriers but you're also keeping at it so I'm I'm assuming doing the work the quilting is is actually somehow making your life easier in some ways but has it also made it harder Sondy Yeah I think you know there's definitely the times where it's like oh look I'm staying up too late hand sewing or I'm getting distracted by this to the uh I'm getting distracted by this and it's you know negatively affecting other things in my life um I mostly buy secondhand fabric or I inherit fabric or I you know given fabric so spending money on this hobby isn't necessarily a problem especially since I make t-shirt quilts for friends occasionally and you know that helps subsidize things so yeah like the ergonomics of hand sewing right now you know like having like poked myself in the finger so many times or like how it's worsening this really thick callus on my thumb which means that like the sense you know the nerves are now like having a hard time it's like okay yeah the sensitivity of like the left side of my or the outside edge of my dominant hands thumb is like having an issue um or like oh I should really be doing pt but look at me I'm sewing instead I'd had ankle surgery last year and was like finally out of the boot and probably should have had the boot on but like my sewing machine had been on the floor and I'm like okay I'm gonna lift it up and put on the table and I'm like should I have been lifting 26 pounds at that point Nic Yeah Sondy Probably not it could have been much worse I guess but it's um I guess for the most part sewing has generally been a positive thing because it really felt like before the pandemic started in 2020 that I didn't I was never getting enough done as a grad student that I was always uh not productive enough to have hobbies and that was really a time where it's like yeah no one's getting anything done like having a hobby having a hobby that involves like sewing masks socially great keep up the good work you know it was like oh I'm not gonna get anything done I'm gonna go for a hike and I'm not gonna feel guilty about it so I think for the most part sewing has been generally a positive thing in my life and has not been too detrimental damaging or distracting from other things. Nic Have you ever made something you regret making? Sondy I've certainly started projects where I'm like, I don't... Do I really want to finish this? Do I really want to get back to this? Okay, if I was starting this now, I would make all these different choices. So that's definitely been, been the case for some, some things. Nic You could always just shove it all in a bag and give it to somebody else. Sondy Yeah. Okay. I do, I do regret one thing. I had a friend in town who moved nine months ago, coincidentally when this headache started. And anyway, the move, the move was a shipwreck of epic proportions. And before she was moving, I'm like, Hey, I'll, I'll make a t-shirt quilt for you and so I've like stabilized all these shirts of hers I've cut some of them out she even like came to the library makerspace and helped me with some of the stabilizing and cutting and now I'm just like ah darn it what do I do with these they're like all in a bin plastic storage bin like shoved under you know like on the bottom of a shelf in a cabinet where like I can't see it but you know she hasn't thanked anyone for helping with the move she hasn't apologized to anyone. This is not the first move that I've bailed her out of. So kind of like regretting that. And I'm like, she did give me her FedEx number. I'm like, I could just FedEx all this to her. And I know a lot of t-shirt quilters like hate, hate, hate taking on t-shirt quilt projects that other quilters have started. But like, I'm no amateur. I've made, I've made three t-shirt quilts one that a friend has paid me for I'm precise I'm accurate I am not sloppy a lot of people who start t-shirt quilt projects don't they haven't done a lot of reading they don't know what the common pitfalls are and I think anyone who got this uh pib project in a bin would not be unhappy yeah uh like given that I've done most of the most annoying parts of the work and given that it's been like nine months and she hasn't apologized to anyone Nic Yeah Sondy I don't think it's worth having this taking up space in the house Nic That seems making sense to me Sondy Yeah Nic That's Sondy But hey she didn't move nick I'm not joking t-shirts Nic That's a massive quilt Sondy And uh no it's not and but like in another dozen garments if each t-shirt is 12 by 12 inches that's a foot a queen size quilt is eight by eight feet that's 64 shirts Nic Yeah all right that works Sondy So it probably won't be king size but Nic Yeah when you make a quilt what are you hoping it does how are you hoping it's received and and does it land that way usually Sondy Two years ago two years ago a friend graduated from library school and she didn't know I was making her quilt but I'd actually been working on it while she was showing up at crafting group on zoom like right under her nose and she would she would practice the cello while I worked on this quilt on zoom like right under her nose and so the quilt was supposed to show up the day before graduation and it didn't but it showed up the day of graduation and her parents got these photos of her wearing her cap and gown opening this box not knowing what's in the box and just like the look on her face and you know just how excited she was and she she's just looking more and more excited and like the final photo is her like with it around her shoulders like a cloak and she's like spinning her you know head with the cap and the tassel and she looks ecstatic uh and I posted this on young and millennial quilters and they're you know every so often there's a post there with someone being like I made this quilt for you know my mother-in-law or my and you know she was so ungrateful and she sent it to the thrift store and like or this person was you know I'm like hey don't make quilts for people who are going to be ungracious right like don't do that but a lot of people were like right this is this is why we do what we do and this is the correct response to receiving a handmade quilt so people have been people have been pretty happy and you know I think I put some fun surprises in I made a t-shirt quilt for someone that like some of the t-shirts have like interesting tags one of them was uh the brand was junk food with like a heart-shaped american flag so you know I put labels on my quilts and I included that as one of the labels I'm like sure this is fun and weird Nic Is there a quilt someone else made that you wish you'd made Sondy There's a bunch of these like judy niemeyer quilt works quilts and I'm like man I really want to do that but I also don't want to spend 400 on fabric some of the some of the color schemes for some of the judy niemeyer quilts that people come up with I'm like I see why you're into that that is not to my liking but I would like to do I would like to do more of those but you really you have to put a lot of and time and effort into the planning because you can't just be like I'm gonna buy these fabrics when there's like fabric options they have a quilt planning tool where you can try out different fabric combinations color combinations the the fabric picker is a huge pain in the butt it's not just like let me filter by red like just let me put red here let me put blue here you know just just give me like a you know a hex code color picker right come on those exist there's apis for them Nic What do you know now about your quilting practice that you couldn't have articulated when you started five six years ago Sondy I think it's really important for me not to cut all the fabric for a project before I start. I think it's really important for me to cut sections because if I get bored with a project or decide I want to do something a different way and I've got the fabric all cut, then that's a problem that, you know, it's hard to reuse it if it's been cut a certain way. For me, it's really important to put a lot of time and effort into precision and accuracy uh people like that's just you being a raging perfectionist I'm like well no there's a purpose to it and that is if you do things in these certain if I do things in these certain ways it's easier to get a it's easier to put things together it just makes subsequent steps easier so if you invest the time into getting things a certain way here it's those problems are not going to propagate out the way they would if I was just being like it'll be fine and I don't know like I look at I've got one quilt I've got a quilt pattern for something that I want to try and I'm like this is one of it's not like the most popular quilt pattern of like the last 10 or 15 years that's like the exploding hearts one that's all half squares triangles which like forget about it miss me on that one but it's the ranges quilt by modern handcraft and that one I'm like people have been putting this together and it's looked fine and people have like not been accurate with it they've not put in the effort to have it you know and it's turned out fine so like let's put it together and see what happens Nic You talk about perfectionism and that always makes me think a long long time ago I was a chef and people say chefs are artists and I kept saying I'm not an artist I'm an artisan an artist has the luxury of failure the artisan doesn't and I'm curious in view of your raging perfectionism are you an artist or are you an artisan Sondy Yes um I think there's there's time you know that the first project I started that's still you know sitting in a bin upstairs that I don't know if it's a failure it'd be really great to finish it I don't know what finishing it is going to look like I think it's going to be a lot of time it's like oh I really want to take all these apart and sew them back together knowing what I know now because it would make it much easier blah blah blah um and you know is that a failure I don't know it's part of the learning process that's you know like you had to go to cooking school right you had to learn you had to fail a lot before you were a professional so there's a thousand hours yeah exactly um so there's that expectation that you have to learn somehow and you know there's you have to invest that I think, you know, it's just really important to understand that, you know, I'm not, I'm not punching out t-shirt quilts for a living. There are people who do that. And, you know, I could, I could, I guess, if I really wanted to, but I can't stand the smell of people's fabric softeners. You know, they can, they can make my headaches worse. So no thank you on that regard. And yeah so I think you know there's an this is a craft at some level uh I do it mostly for fun if it wasn't fun I would probably not do it I'll probably make a t-shirt quilt or two more for friends over over the years um I got I got one quilt finished last year part of what I mean I did have foot surgery at the end of February, but it was just, just didn't, just didn't sew a lot last year. There was, you know, the issues with machine, there was the issues with like my head and my neck. And that's, that's fine. It's a, my partner is a woodworker. He he wants to be a commercially successful woodworker. He has an artist background. He's, you know, painting oil painting. Uh you know he's got a lot of experience with color and creativity and he doesn't feel like he's got the space to fail right now yeah really that he's got the space to experiment because he wants to be able to make a living uh making art and you know so it's like well yeah I mean you've and you know an artist is worried about marketing and so I think you know at some point this is kind of is still sort of a hobby but I think it's it's both art and craft for me it's art and artisan and you know it's just fabric nick no one's gonna get food poisoning right like no one's gonna leave me a bad review on yelp or whatever right like it's I'm not gonna give anyone an upset stomach or send them to the emergency room it's just fabric Nic Yeah well have you tried eating fabric it'll give you an upset stomach Sondy Yeah but if anyone's eating my quilts we have other problems nick right like I so I don't use scented scented um spray starch I don't use scented laundry detergent yeah I tell people not to wash things in scented detergent because those you know all that buildup can reduce the lifespan of the fibers in the quilt um I try to avoid using polyester thread when you know or polyester anything if I can avoid it my quilter prefers using polyester thread because it's stronger when it's wet and I'm using polyester thread to join these hexagons by hand because I know there's gonna be a lot of stress on these seams but you know I try to use cotton for everything and try to think about try to think about how things are going to be used the person using it um try to use good quilt batting yeah so hopefully yeah hopefully I don't give anyone an upset stomach or you know a migraine Nic Yeah what do you wish people asked you about your work that they don't Sondy That's a good question uh I think you know the point of like yeah like what is the toll on you like what is you know clearly this is something that compels you to to make and create but like what are what are the downsides like what is this doing to your body I think a lot of people don't kind of realize the brutalness of all of these quote unquote traditional women's crafts you know the things the the fiber arts that they're just really hard on a body and I don't think people realize that I don't think that people respect that and a lot of people see quilting as sort of like oh yeah this is this is what grandma does and you know but the average quilter is like a 60 something year old wasp um that that this is yeah like you know if you look at the quilt guild it's a whole bunch of you know gen x white femme presenting women in the quilt guild plus lu hernandez right like it's uh yeah like okay we have a couple people over 60 the demographics are not you know we're not like treated you know average demographic but it's still like what what makes this interesting and different and um and also like what are what are the hard aspects of this Nic Yeah Sondy You know you hear about port like all the accommodations for knitting like how do you make knitting hurt less you know there's the portuguese knitting there's people who take uh tennis balls or makeup brushes and stick their crochet hooks in them Nic Yeah Sondy So they can get a more ergonomic grip uh I want to look into getting a needle puller or um some more like finger protectors because like this is this is a lot of grip strength pulling this needle through and I think I can do better Nic You know what I've noticed makes a big difference do hide homemade thimbles one on the thumb one on the index and suddenly I don't need to grip the needle as strongly and there's more friction so I can pull the needle easier Sondy Yeah I've got this uh I think it might be doe hide it's a very soft Nic Yeah um yeah that looks a little bit like what I do Sondy So it's nice but then like if I'm tying knots I have to take the thimble off and yeah I might want to learn how to tie knots better I don't know I check out books from the library on quilting I'm like certainly one of these quilt as you go books won't suck so many of these quilts okay I checked out a bunch of books on garment sewing from the library and all of the examples are stitched with like contrast thread on fabric but the quilt as you go community is like oh no Nic No Sondy Any example quilt that we use in our books has to be a final quilt that we're gonna like want to give away to someone yes no contrasting thread the fabric is a solid so it's the same on the front as the back so you can't see like what's the front of the fabric and what's the back of the fabric oh well if you want to do it by machine just do it by machine it's like no this is a hand stitching example you got to give us the mystique I don't know I kind of like want to write a quilt as you go book of like you know quilt as you go that doesn't suck like Nic There's your next project in your downtime Sondy I I read through uh I don't know I was reading through the alumni magazine of where I went to undergrad and I was like damn I need to write a book I don't know what this book's gonna be but like salty quilting Nic Now you do hey Sondy I really have enjoyed this conversation um I want to ask you one last thing um is there something that you would like to say that I haven't covered that ties your quilting with your disability Sondy I think those of us who've been forced to look at the world differently, I think we get to make more interesting choices about what we make. Those of us who can't sort of take everything for granted, whether it's our bodies or how society lets us move through the world. I think there's a lot of disability inherent in quilting. I think there are a lot more disabled quilters out there than folks may admit to themselves that, you know, especially for hand stitching, right? Like if you can't sit, you know, there's hand stitching available. Or if you can't, you know, sit up at a machine, you know, if you, you know, there's so interesting like you know posts on these facebook groups of like hey I can't do this or I need I need a thing that does that and you know all the people who are happy to hop in and be like yeah here's an accommodation for that here's an accommodation to that or like I've got the same thing and it sucks like it's uh I appreciate and I know that's not like terribly really personal. But I think there's just so much of, you know, a lot of us who are disabled can't take, we can't take things for granted. We have to think, we have to question, we have to create new ways of moving through the world and interacting with things. And, you know, as you create something that no one else has before, I think that's a lot of fun. You know, there can be a playful aspect there's a lot of joy there and that's something that I've really appreciated about disability communities is seeing you know thriving disabled joy in a way that society society doesn't want you to society you know and you know quilt quilting wants you you know buying other people's patterns and using other people's ideas and not like and you know there's a lot of folks who are like yeah there's space in the quilt industry for people to come up with their own patterns and to come up with their own things. That, you know, not everyone, that it's, you know, it's hard for me, especially to keep like a whole bunch of thoughts in my head at once. And so to have time and to be able to read and to think and to put different things together is really validating. That's something that's been really hard for me as a scientist to come up with my own research ideas to do to you know read through the literature I really have never enjoyed that aspect or I've never like kind of figured out the right accommodations to be able to do that or to ask interesting questions and so to have a thing in my life where I feel like I can do that is uh it's really it's really great you know someday there'll be a you know science support and facilitation position where my weird weird experiences will be rewarded um but we haven't gotten there yet Nic Yeah hey I just thought of something we you mentioned microgravity earlier and we didn't come back to that now I know from past conversations that you've actually been on microgravity flights doing experiments which sounds like a lot of fun what would quilting look like in microgravity or no Sondy Funny you should ask that astronaut karen nyberg has quilted in space Nic How awesome is that Sondy Yeah yeah it's pretty cool um she even has two lines of quilting fabric uh called earth views one is prints that are really cool I actually have the whole set I'm gonna do a bigger hex bigger hexagons that have been like traditionally machine pieced for a friend out of those she does um like mars mission work where she you know her she works on one of these cameras that points down at mars and gets really cool landscape aerial landscape photos of mars and then karen's next fabric line is going to be batiks if it's I think it's already come out Nic Cool Sondy So yeah someone someone someone's done that there's been there's been quilts in space if I ever uh get an llc for my t-shirt quilts it'll be quilts in space awesome like muppets pigs in space Nic Sondy thank you so much for talking to me about quilting about disability about the work between um where can people find you or more about your quilting Sondy I have not really been active on social media in a while so uh if you happen to be in a you know the same discord or slack that I'm in um look for me there some maybe someday I'll post things on intergalactic cactus I think I have a blue sky for quilting but yeah you're just gonna have to social media has just not been fun for me so Nic Yeah I can relate to that Yeah, so I've just Sondy Enjoying putting my time and effort into smaller communities and doing the thing. Nic Awesome. Dr. Alessandra Springman, quilter, scientist, and a good friend. Thank you. Sondy Thank you, Nick. You're the best. Nic That's it. I'm Nic Steenhout. This is The Work Between. If this sounds like your kind of conversation, subscribe, and I'll see you in the next episode. KEY THEMES * Quilting [/tags/quilting/] * Inflammatory bowel disease [/tags/inflammatory-bowel-disease/] * Repetitive strain injury [/tags/repetitive-strain-injury/] * Chronic headaches [/tags/chronic-headaches/] * Laryngopharyngeal reflux [/tags/laryngopharyngeal-reflux/] SHOW NOTES QUILTING, DISABILITY, AND MAKING YOUR OWN WAY THROUGH THE WORLD WITH DR. ALESSANDRA “SONDY” SPRINGMANN Dr. Alessondra “Sondy” Springmann studies asteroids, comets, and planetary science. When she’s not doing that, she’s making quilts from secondhand fabrics, worn-out work clothes, and other materials that still have something left to give. In this conversation, quilting becomes the doorway into much larger topics. We talk about disability, adaptation, community, and the practical reality of making things when your tools, your environment, or your body don’t always cooperate. Sondy shares how she learned to quilt during the pandemic, why she combines ninety-year-old sewing machines with laser cutters, and some of the physical demands that come with fiber arts. We also explore the connection between disability and problem-solving, and the ways creative people build systems that let them keep making the work they care about. It’s a conversation about quilts. It’s also a conversation about finding ways forward when the obvious path isn’t available. IN THIS EPISODE * Turning worn-out work shirts and denim into quilts with history and meaning * Learning to sew by making hundreds of masks during the early pandemic * Combining traditional quilting techniques with laser-cutting technology * The role of community in sustaining a creative practice * Disability, adaptation, and creative problem-solving * The physical realities of quilting and other fiber arts * Boom-and-bust creative cycles and the search for sustainability * Artist, artisan, or both? * Why experimentation matters more than getting things right the first time * Quilting, science, and finding ways to ask better questions A QUOTE THAT STAYED WITH ME > “I think those of us who’ve been forced to look at the world differently make more interesting choices about what we create.” ABOUT SONDY Dr. Alessondra “Sondy” Springmann is a planetary scientist whose work has included asteroid and comet research, participation in NASA’s OSIRIS-REx mission, and planetary radar observations at Arecibo Observatory. She is also a quilter whose work often incorporates reclaimed and secondhand materials. LINKS * Boulder Modern Quilt Guild [https://bouldermqg.com/] * Modern Quilt Guild [https://www.themodernquiltguild.com/] * NASA OSIRIS-REx Mission [https://www.nasa.gov/osiris-rex/]

28 de may de 20261 h 3 min

Mia Seljubac on watercolor and game development

TIMED TRANSCRIPT STATIC TRANSCRIPT Nic: Hi, I'm Nic Steenhout, and this is The Work Between. Before I get into what the show is, I want to say whose land it's made on. This podcast is recorded on the traditional, ancestral, and unceded territory of the Stó:lō Coast Salish people. The people of the river, whose presence in the Fraser Valley stretches back thousands of years. I named this territory because it belongs with what this show is about. The ways we decide whose lives are valued, whose work is taken seriously, and whose experiences are treated as problems to be managed. Those decisions shape everything. This show sits inside that. This is, was, and always will be First Nations land. That's not a formality. It's consistent with everything I and this show stand for. My guest today is Mia Seljubac, and we just discussed how to pronounce the name, and I know I fluffed it up, but my apologies. Mia is a games lawyer, turned game developer and co-founder of Serial Mug Games. She's currently working on a cozy narrative game called I Am the Cat, where all the animation and textures are completely hand-painted in watercolor. Mia works in a variety of mediums, including ink, watercolors, and acrylics, and she sells hand-painted jackets at her local tattoo parlor. Hi, Mia, thanks for joining me for this talk about creativity. How are you? Mia: I'm good. Thank you, thank you for having me. Nic: So there's a lot to talk about here, but my first question really is how does one go from being a lawyer to being a game developer? Mia: It's kind of an interesting story. It's not like one happened and then the other happened. Like, um, all the way back to the beginning. So I grew up playing video games, always loved them. Um, I liked a lot of fighting games like Street Fighter and Dead or Alive, and that led me down a path of learning martial arts, and then my first job was actually as a martial arts instructor, and I taught kung fu classes. And I had to learn a little bit about business and being self-employed. And then COVID happened, and you can't have people punching each other when there's a pandemic, so I was like, okay, I'm going to retrain. I find the kind of contract negotiation stuff interesting. I'd done volunteering with a few organizations that worked with lawyers, so I went and retrained as a lawyer. And then I found out that video game lawyer is a job that exists. So I kind of do law within the games industry for the love of it, uh, and it's an industry that I know quite well, having just been immersed in it from like as long as I can remember. Yeah. I was part of a weird generation of lawyers that were told that if you don't learn how to code, the machines are going to take your job. And I actually went and did it, and I'm like, well, why can't I try and use these skills to make a game myself and give it a go and see how that pans out? And, uh, it's panning out well, and having a lot of fun. Nic: Fantastic. I want to explore that game thing a little bit more, but, um, I had no idea you were a martial artist, and I find it interesting because I starting at age six, I did 18 years of judo, and the only reason I didn't end up getting my black belt is because, uh, the only way I had access to do it is on points and competition, and people are just vicious in competitions. I was not interested. And then I, um, I didn't do kung fu, but I did, uh, Taoist Tai Chi for about six years, so very, very different. Mia: yeah, no. Um, so my style of kung fu that I specialize in is Wing Chun, and it has a lot in common with Tai Chi, right? And, uh, one of my Wing Chun instructors is also a Tai Chi instructor, so I've learned both styles from him, and, yeah, no, Tai Chi is awesome. Nic: that's kind of neat. Uh, a bit of commonality that was not expected. So we'll speak about, um, game development, but because your game is rooted in watercolors, I'd love to learn more about your watercolors. Tell me about that. How, what is it you do? Obviously, watercolors, but what style? How do you work with watercolor? Mia: so I'm very inspired by like really old illustrated children's books like Books and the Paddington books. I try and wanted to, I wanted to make the game feel like it was in a storybook, um, and that's the kind of style that I've tried to adopt. It's very loose, uh, the line work is very kind of sketchy and rough, and I wanted it to just kind of feel like, you know, I feel like a drawing that was alive, if that makes sense. Nic: So a lot looser than strict. And, you know, quite Mia: yeah. It's interesting because when you're animating in watercolor, like, it's all completely hand-painted, like, using a light box, so I have to trace animation frames on top of each other, and when you're doing that, the paint kind of behaves the way that it wants to. Like, you can control watercolor to an extent. Nic: Yeah. Mia: so for some of the animations that are in the game, I completely embrace that. I let the watercolor do what it wants, and I like the feel of like the moving in weird ways that animation doesn't tend to, but when you've got characters that you're looking at all the time, like the cat that you play as, um, I have to take it into a program and kind of normalize some of that out, like add some filters to it so that it doesn't look too jarring or too tiring on the eye to look at all the time. Nic: How many illustrations, how many watercolors do you have to do for, I don't know, a segment of one minute of gameplay? Mia: So it's all done in loops. So the cat, at the moment, the walking animation is about 16 frames moving in different directions. Um, but there are lots of different little animations for interacting with things. I think I've drawn like, I think I've drawn about 120 versions of this cat at this point. Um, but other NPCs have, like, the other characters that walk around the world, the walking animations are quite like low frame rate, so some of them have like four frames in each direction walking, but they'll have more complex and detailed animations. Like, I decided to animate a character who's a barista, like making a coffee, like taking the portafilter out of the machine and tamping it and putting it back in the machine, and all of those little movements take a lot of individual drawings. Um, so some characters have a lot more than others. Nic: That's amazing. How did you learn watercolors? Mia: so my mom was always really artsy, so whenever we'd go anywhere, uh, she'd kind of encourage me to take a little sketchbook and like draw what I see. And it's really cheap and easy to get your kid, like, one of those little, like, they have these little red tins that you can pick up, and like, we used to be able to grab them in like an and they cost like under a fiver, and you could get one of these little tins and just learn. Nic: Yeah. Mia: So that's how I picked it up initially. But I only kind of decided to get serious about it much later. Like, I got myself a nice set of watercolors on sale and just got stuck in, watched a bunch of tutorials. Nic: So you're self-taught rather than having someone teaching you how to do it beyond your mom encouraging you, obviously. Mia: Yeah, so she taught me how to use paints and how to mix colors. She's a professional artist. She went from fashion design, where a lot of the illustrated in color. She uses watercolor and color pencils for that, and then she moved into stained glass, so she's got like quite an artsy background, and she went to college for ceramics and stained glass as well. So I had quite a good set of knowledge in my household to like draw off of. Nic: Is your mother an influence in your art? I mean, obviously she taught you, but is her style of work an influence in your style of work? And if not, or if yes, do you have other influences? Mia: Yes and no. Like, her art is very classically inspired. Like, she draws a lot of inspiration from artists like Leonardo da Vinci, and, uh, she used to take us to different exhibits at like the V&A and at different museums around London, and take inspiration from lots of different places. Um, my main inspirations for the game are like I mentioned, the Paddington Bear book, that's a big one, and like the illustrations. Um, in terms of other influences, it's hard to pin down because it's such a huge mix of things. Like, I have lots of artists that I really love and I'll like borrow little bits from here and there. Um, like, I initially learned how to paint with inks, which is a little bit different, and I was really inspired by, like, uh, a video game artist like Yoshitaka Amano, who's the illustrator for like the Final Fantasy concept art, and his illustrations are extremely beautiful, and like they have that loose, flowy movement style that's got like a lot of fashion design influences. Yeah. Nic: Painting with ink, that's, uh, just, do you do ink washes, adding water to the ink, or just pure ink? Or how do you do that? Mia: So I got like one of those old dip pens, like, from a craft shop when I was a kid, uh, so I'll like dip that directly into my little inkwell and sketch. Uh, but then when I go to color, I'll do different washes. Like, usually I'll stick to like one or two colors and just get the variation by adding water. Nic: Right. Are you an artist or an artisan? Mia: What is the difference? Nic: I think for me, an artist is, there's room to fail, there's room to be wrong. Uh, an artisan has to be able to replicate what they're doing. And I guess in this context the idea of artist versus artisan is important, because as a watercolorist you can be an artist, but as a games maker where you're relying on your painting, you don't, I mean, yeah, okay, watercolor has a mind of its own, but you don't have that much room for error. Mia: It's interesting because I found, when I'll do like a character concept, it will be very loose and free-flowing in terms of my process, and I'll let the paint do what it wants to. I'll let my mind wander and do what it wants to. And then you kind of, even if you're not trying to, when you go through the process of drawing each frame over and over and over, you get more precise and you get a lot cleaner, and you kind of have to almost fight back against that. And, like, I, it was this process when I first started animating characters with watercolor, to kind of embrace the chaos a little bit, because I had to make a decision of whether or not I wanted to try and replicate what I did the first time for every single frame, or lean into the differences. And I hope that it kind of gives the game a little bit of a unique feeling, the fact that I've gone with the latter approach, and just embraced the fact that all of the frames aren't going to look perfect. Like, if I was animating digitally, Nic: I really need to grab the game and try it. I'm very curious about what that actually looks like. What keeps you coming back to this? What's the motivation between, you know, doing the watercolor and doing it over and over for that game? Is the game, having a completed game, the motivation itself? Is the watercolor why do you keep going and doing Mia: it? One of the things that's so amazing about game development is you really do have to learn to love every single bit of the process. Um, and there's a lot to it. Like, it's not just the watercolor animation. It's also the programming and the writing. There's a lot of elements that need to come together. So one thing that keeps me going with it is the fact that if I'm getting tired of animating, if I'm getting a bit, like, my brain is getting tired or my hands are getting tired, I can switch to something else. I can think about what the characters are saying to each other, and it allows you to kind of, you know, pick up where your energy Nic: is. Yeah. Mia: I am very motivated by finishing the game because a lot of people who I've shown it to have said that they're really keen to see the finished product, and that's terrifying, but it's also like, okay, people are waiting for this to come out. I actually have to finish it. But it's one of those things, a lot of people pick up game development and they don't finish their game because they've got a lot of ambition, but sitting down and actually doing it becomes a bit of a chore. Nic: Yep. Mia: So yeah, learning to enjoy every bit of the process. Like, you get into a bit of a flow state when you're animating a bunch of frames, and you're painting them one by one, and then it all comes together, and you see you see the cat walk in a little circle or curl up and go to sleep, and it's just like, it's just a really nice feeling. Nic: Yeah. I bet. What do you make that you don't show anyone else? Mia: I have a sketchbook that's just for me. Um, and I feel like I need that to let the mind wander and keep it as something that I enjoy. Like, I studied English literature at university, and I always had a book going that wasn't part of my syllabus, to remind myself I enjoy reading. Nic: Yeah. Mia: And I feel like, you know, my own sketchbooks that I don't show people are kind of that, because when you're doing art for a product, it kind of can start to feel like you're doing it for other people. And you need that little bit of, you know, that little bit of privacy to explore and grow, and kill the perfectionist. And, Nic: yeah, so, draw things other than cats, right? Mia: Draw things other than cats. Yeah. I've been really inspired by fashion illustration lately. I've been looking up like drawings of clothing and trying to copy those in ink, and trying to put a little bit of my own flair on it, and because it's a completely new style that I've never done before, it doesn't look great. So, or it doesn't look great all the time. Sometimes it does, sometimes it doesn't. And you're not going to get good at something unless you just do it, and you do it badly at first. Nic: Is it about ending up with a good-looking drawing or painting, or is it about the journey to getting there? Mia: I think it needs to be about the journey, and like, being able to draw something without the pressure of how it's going to turn out is really, really freeing. Um, so like, as much as it's really rewarding to see the skills develop and to see it build, and to see that finished product starting to look better and better each time, like, it's about just being able to do something that relaxes me and brings me joy. Nic: Yeah. So when it doesn't bring you joy, when you're stuck, what does that feel like? And how do you get unstuck? Mia: That is the million-dollar question. Different things get me unstuck. Usually, if I'm feeling stuck, um, you either have to power through or change pace. Like, if I'm doing animation frames, it's something that I've done, I know that I'm good at. I can do it and I can kind of almost zone out and just do it, and that can kind of get the hands moving in a way that feels familiar. And it's just like, oh yeah, I can draw. And it doesn't feel like you're trying to overcome a creative block because you're not really doing anything new. You're doing like something that you're used to. It's like breathing. Uh, but when you're trying to, like, you know, oh, I need to design this new environment for the game, and you're actually trying to exercise those creative muscles a little bit, that can be really frustrating. I find the things that get me out of those blocks are turning to other artists. Like, I recently played a game called Sorry We're Closed, which has just the most incredible visual style, like, all of the environments, all of the character art is just so gorgeous, and it's one of the most unique-looking games that I've played in a really long time. And like, I was going through a little bit of a creative rut when I picked it up, and then it's like, you just, you just get all of these ideas. It's like, okay, all right, I'm motivated to draw. I'm gonna go and I'm gonna try and make some things. Nic: What's the most useful criticism you got Mia: on, like, my work? Or Nic: yeah, on your work? Not personally, but has there been anyone that said, hey, you know, this part of your work it's no good, and make it better, or whatever? Mia: I, it's, useful criticisms, that's kind of hard because I feel like a lot of people, if they have thoughts, if they have something that they don't like about a piece of art, people tend to, you know, keep that to themselves. Nic: Yeah. Mia: yeah. And I went through what I'm sure a lot of people have gone through, where you do art at school and you're trying to do something that's a little bit different, or a little bit like not the syllabus, and art teachers have kind of tried to like shut you down and go, no, you need to know this exactly how we say it. And that kind of, I was always like a little bit of a rebel growing up, so it'd be like, I knew that you have to play the game to get the good grade. So I would try and like balance that criticism. I didn't ignore it. I understand the importance of learning the fundamentals and why we're told to, you know, do still life and, you know, not jump straight into stylism. But it also kind of made me value exploring those different styles that my teachers were telling me not to do. Yeah. I don't know if that makes sense. I'm kind of, Nic: what I'm hearing is being basically told to conform to what is there and what you have to do and what you have to learn, but those limits also being, um, a motivation to go outside of the bounds of the trail and to explore what's out there as a way to grow. Mia: Yeah. Like, um, I think that if you get very good at doing art in school, if you're one of the kids that gets the good grades, you kind of almost are encouraged to become a little bit of a human photocopier. If you're a kid that doesn't like doing that, you just get very bored. You're like, yeah, but it doesn't, I'm not saying anything, I'm not doing anything new. This picture already exists. I've just copied it. Is Nic: saying something important to you? Mia: I think that's, saying something is everything. Nic: What do you want to say? Mia: So if we bring it back to the game, like, the thing that motivated me to make the game was, I was working in a corporate job in London and I was incredibly lonely. And I, like, there was this, there was a cat that lived on my street that everybody knew by name. Nobody knew who she belonged to, and like, people would constantly be sitting with her and like just spilling their guts. And I would do this too. I'd go get a coffee from the coffee shop, and I'd just sit on the bench, and this cat would come and climb on my lap, and it'd just be like, and I just imagine, like, what are the stories that this cat must hear from people who are just, you know, really stressed and really lonely and don't really have anyone to talk to? So I kind of wanted to say something about community and about loneliness and about how human it is to seek out that connection. And like, it feels really silly, like, spilling your guts to a cat, telling a cat your deepest, most vulnerable feelings. But it's also something that's really human and something that we all do. Yeah. So I wanted to treat the idea with a lot of sincerity. Um, like, I want people to feel a little bit seen. Nic: Yeah. I like that. So this podcast is about creativity and identity and disability. What's your relationship with disability? Mia: so I'm diagnosed with ADHD. I was diagnosed as an adult. But, um, I think a lot of people knew quite early on. I was one of those kids that got put in detention quite a lot for like drawing on the tables and forgetting my homework and, you know, all of the classic, you know, bright kid who just can't quite get it together, you know, that a lot of people experience. Um. And I also suffered a spinal injury when I was 19, in a gymnastics accident, that has like inhibited my mobility. Um, which is huge because, like, martial arts has always been a really big part of my life. I also got very into dance for a little while. Right before the injury, I was competing in and, uh, that's something that's been, like, you know, something that I've had to grapple with a lot. And it's something that's, you know, contributed to those really lonely feelings. Like, particularly when I was working in these oppressive corporate jobs, you know, can I have an extra work-from-home day because I will literally destroy my body doing this commute? And being told, well, everybody else is doing Nic: it. Mia: It's just like, you know. But it's it's a little bit different Nic: in terms of identity being so focused on body movement, on martial arts, on kung fu, which is a lot of internal, not just external. A spinal injury would really have thrown you for a loop, I would imagine. Mia: yeah. Um, there was a period very shortly after the injury where I couldn't, I could barely walk. I, the doctor told me that I could leave the hospital as soon as I could walk out myself, so I walked with the help of about four people who helped, like, kind of assisted-walk me to a car. I was dropped off at my flat, and I could do very, very little for a good few weeks. And then when I was finally able to like walk by myself again, I went back to kung fu, and they were like, hey, where have you been? I was like, ah, I've not been able to sit up for like three weeks. it's a really, it's an interesting thing with spinal injuries in specific, because it was damage to the nerve, and you have to very slowly reintroduce new movements, and every time you do something that your body isn't used to, it hurts like a bitch, pardon my French. Yeah. And, uh, you have to kind of build up a lot of courage to experiment with movement again, and to like make yourself do these movements that you haven't done in a long time, knowing that your back could just go nope at any minute, and you're just going to be flat on your back on the floor again, and you don't know when you're going to be able to get up. Uh, so that's hard, and that was life for quite a long time. Nic: How does that tie into your watercolor illustrations and your game development? Mia: So, when you can't sit up, you can still draw and you can still write. Um, it's something that kind of gets me out of myself a little bit, something that feels very internal and very personal, that I can still do and still do comfortably when my body isn't listening to me. Some, like, it's really hard to keep that, to not just become very depressed by all, and to not just kind of shrink back into yourself and go, I'm just gonna sit and stare at the ceiling and just, you know, be sad. And sometimes you need to be sad, but it's hard to keep yourself from going too far down that dark hole. Nic: Yeah. Mia: and allowing myself some kind of a creative outlet really helps me to just maintain a bit of a positive attitude and be like, hey, you know, this is temporary. It's a part of life. Nic: Yeah. Mia: And, uh, it'll pass, and I'll be up again. And you have to, you kind of have to tell yourself that. Nic: Do you think of yourself as a disabled person who makes things, or as a maker who is disabled? Mia: I'd say that I'm a maker who is disabled. I prefer that. That feels more fitting to me. Um, because I've been creating forever. Like, it's always been something that's brought me joy, and it's something that continues to bring me joy. I've always had ADHD, even if I haven't always known it. But I haven't always, you know, had a physical disability. Nic: ADHD, a lot of the people that I know that have ADHD tend to be serial hobbyists. Mia: Yeah. Nic: Have you, um, have you gone down that path? And if yes, what has, why have you settled on watercolor and directed that towards game making? Mia: I think that making games is something that really like scratches that serial hobbyist itch, that it lets you lean into that impulse, because, like I said, there are so many different elements to it. Like, you can swap between coding and writing and drawing and whatever else the game needs. Um, so, like, my game is a narrative game where there's not a huge amount of like mechanical gameplay. But if you're making a game that's really mechanics-heavy, that's another way that you can let your brain wander and let yourself be creative. I mean, I'm also selling jackets at the tattoo parlor, like, and I'm doing martial arts in the evenings, like, you know, the things don't end. Yeah. I struggle to say that I've settled on anything at any given point because there's always something on the horizon. I do see myself doing game dev for a long time, because it is something that, you know, allows me to lean into that, you know, impulse to do lots of things. Nic: Yeah. Yeah. I do watercolor and sketching, and I do quilting, and I do photography, and I've tried so many different things, and I've kind of settled on those, you know, sketching and quilting and photography. But that's what I'm doing now. Who knows what I'm going to be doing two years down the road? In terms of creative thinking, um, there's this idea that navigating the world when you're disabled, and the world isn't really built for you, for example, your teachers saying, hey, you have to do these things and don't get out of there, um, people say it produces a kind of creative thinking that is more, or different. Do you find that connects to how you work? Mia: Growing up with ADHD, you're always finding your own way of doing things, and you're building coping strategies upon coping strategies. And I think, I don't know if this is relatable to a lot of people with ADHD, but sometimes your coping strategies will work brilliantly for like nine months, a year, two years, and then just stop. So you kind of have to focus and refocus and change tack, like, quite a lot. And you need to rotate through your toolkit and see what's working for you one day, what's not working the next day. And I think that kind of keeps your brain active in a really creative way. Nic: You mentioned loneliness earlier. Do you work better when you work alone, or do you work better as part of community? Mia: So I love working in teams. Um, the industry that I've chosen, like the legal industry, isn't very inclined towards disabled and neurodivergent people. Um, you kind of have these really oppressive hierarchical structures at play, and if you don't fit into the mold, you'll just kind of be hung out to dry. So I've chosen like a self-employed path because it allows me to use my skills in a way that, you know, I know works for me, and that isn't, you know, restricted by these structures. But I think that the thing that I like about this job, and where I found balance, is that it is very social still. Like, I'm working with lots of different clients. I'm working with a lot of creatives, and I get to bounce ideas off of other people on the daily, and I never feel like I'm alone in it. I also have really good mentors. Like, there are so many games lawyers around. I didn't know there were, like, so many of us. But there are plenty of game lawyers running around, and they're all just such cool people. So I always feel like I have people that I go to if I have questions or if I need support. I feel a lot less lonely as a self-employed person than I did when I was working in corporate and surrounded by people every day. Nic: So if we were to apply that same question to your game development and your watercolor, does the same thing hold? Mia: I can be a little bit of a control freak when it comes to my work. I am collaborating with other creatives on the game. I'm working with a 3D artist at the, to try and bring some of those 2D drawings into a 3D world, and like, somebody who's just very good at blending those two worlds and can see the vision and is on board with it. And that's really easy. Uh, I'm also working with composers, and I know nothing about music. Like, I did singing as a kid, and, you know, my husband's really into jazz and knows a lot of music theory, and, you know, there's a lot of putting chords together. And like, I know some of the basic vocabulary, but like, it sometimes can be hard to just let creatives do their thing, because I know they're going to make their best work if I just take my hands away. Yeah. Um, I can get quite anxious about that collaborative process, but I've been, I like to think I'd be quite good at letting my team do the things that they're good at, and things are working out really well, and I'm really happy with it. But yeah, I definitely have that tendency in me. Nic: What have you made that you regret making? Mia: I don't think I regret making anything. Like, I've made things that haven't always turned out the way that I wanted. Um, I've worked like as part of creative teams where we weren't aligned and it was kind of messy, and the product as a result wasn't good. But all of it is learning, and learning how to hone your own craft and your own skills, and learning how to work with other people, and sometimes learning when to walk away from a project. Um, so I don't regret making anything. I think even those projects that kind of get left on the cutting room floor, there's value to be gained there. Nic: When do you decide to leave something? When, if there is one, what's the trigger to say, oh, all right, this isn't gonna work? And let's move on. Mia: when people in the team don't respect each other. Um, like I said, I had that control freak tendency in me. Nic: Yeah. Mia: I know that I can't do better than what my composers are doing, because that is their craft and they know it a lot better than I do. If I was being very critical of them and critical of their skills, uh, they should leave. Like, you know, it's, like, there's constructive ways to say, oh, you know, can you tweak this? Or we're going for more of this kind of a feeling. But if it gets to the point where it's like, somebody isn't respecting your ability to create, Nic: yeah, Mia: not respecting what you bring to the table, that's when I say it's time to walk away from the project. Um, yeah, because I think when you're working collaboratively on something creative, like, trust is everything, respect is everything. And you need to be able to, you know, pull things apart and critique things and build something cohesive, build something together. And you can't, you have to have respect for your fellow creators. Otherwise that just that just doesn't work. Nic: Yeah. Respect is so important. Are there things you feel you can't make, subjects or forms that you feel are off Mia: I mean, I don't have all of the skills in the world. Um, I've tried to dip my toe into 3D modeling and it did not go well. Uh, the original vision for my game didn't involve watercolor illustration. I opened up Blender and I opened up Unreal Engine, which at the time I kind of naively thought was, it's got a bit of a reputation for being the engine that you use when you want to make games that are really pretty and really visually stunning. Um, so I picked that up and I made something that looked like an absolute trash fire. And I spent about three months on it, and I sat back from it after three months and went, so I like coding and I like drawing and I haven't done either in the whole process of making this game for three months. Nic: Right. Mia: Let's pivot. So, like, I don't think that 3D modeling is off limits. It's definitely something I can't do now. I have so much respect for people who can do it. Maybe I'll give it a go and try and pick it up again when I've got like the and the time and the mental energy to try and tackle it again. Uh, but right now I'm happy leaving that to the 3D artists. Nic: Your game hasn't released yet. Um, but I imagine you've shared your progress with other people. Have you noticed a gap between what you intend people to take from what you're doing and what they're actually feeding back to you? Mia: so when I first started sharing the build, it was very, very rough. Like, some of the writing had been done. I'd written, I think I'd written a couple of storylines completely, but the characters were like little outline stick The cat was four frames of like a walking animation, but it was just an outline with no color, and everyone was just a box. Like, it was just like a gray box moving around a 3D space with a picture of a cat on the front. And I was surprised when I was showing that around to people, being like, hey, I got the box to move, how much the vision was already starting to come across. Like, people were getting the vibe from the dialogue and what I was trying to do. And then as it started to come together, like, the art being added on top, like, actually finished and painted, it felt like I was successfully communicating an idea to people. I think still, like, points in which people misunderstand, like, my game is completely narrative. You can't really affect the story. You're a cat. Like, you're just there to experience the story through the characters who are talking to you. You can meow at people. Um, you cannot meow at people, uh, but you can't like talk back to them or say anything that's going to materially change their lives, aside from them feeling comfort in your presence. Um, I've had people not quite get that aspect. Some people, like, oh, do the people give you quests? Do they ask you to do things? Can you change the outcome of the story by doing different things? It's like, no, you're a cat. Like, yeah, that's the main thing that I think that some people don't really vibe with, with the game. But plenty of people like a linear narrative story where you're just kind of vibing out and experiencing it. So, you know, my game is for the people that get it, and I'm finding that a lot of people get it and a lot of people are excited for Nic: it. I think there's something to be said about storytelling in a different way, rather than you have to be FPS, kill everything in sight and interact with everything, and, oh, is this loot? I think different paces is important for different people at different times. Mia: Yeah. And I grew up playing a lot of FPSs and shooting things and picking up loot. And it's a different kind of experience. But the thing that I've always loved about games, whether you're shooting things and picking up loot, or, you know, talking to characters and getting a story that way, is that the story is always kind of told through the world, through interacting with the world, whether it's, you know, shooting at the world or talking to the world. And that's something that a lot of games have in common, and that's something that I really wanted to lean into. Um, I like games that feel very mundane and make you feel really small. Like, my favorite, one of my favorite Legend of Zelda games is Wind Waker, like, you're just a kid and the world is flooded, and you sail around, and it feels really peaceful, but you also feel really tiny because you spend ages on the sea sailing from place to place. And that's something that I really enjoy. Nic: Is there a game that you wish you'd made? And why that one? Mia: I wish I'd made. I would have, if I could have been on the team for Sorry We're Closed, that would have just made my entire life. I'd be like, I could die happy. This is like one of the coolest, most unique pieces of art that exists in the gaming space. Um, like, I make most of the game by myself, as a solo project. Uh, I don't see any games out there that I'm like, I could have made this, or I would have wanted to have made this, because I think with solo devs it's very kind of personal, it's a very unique creative vision. But I've seen games that I'm like, man, I would have loved to have been like a character artist in this game, or I would have loved to have been a writer in this game. And I think, like, Sorry We're Closed is one. Um, one of like one of my more rogue influences is a game called Deadly Premonition, which is just absolutely insane. It's heavily inspired by Twin Peaks, and it's a game where you're solving a murder in a small town. And you think this has nothing to do with the game where you're playing as a cat. But one of the things that I really like about it is, you can go into people's houses and see how life is moving on in the wake of this tragedy. And like, you can see people comforting each other and bonding with each other, and you really get like an insight into the fact that these are real people dealing with grief. And that's a huge influence in my game. So like, looking at these projects, these are projects that I'm not like, oh, I wish I'd made this. But I'm really very inspired by it, and like, I think about the team and all the people who are responsible for injecting it with these little details. And it's just like, art to have been part of that. That would have been cool. Nic: So eventually, this game is going to be finished. What are you going to be doing after that? Or what would you be doing now if you weren't doing game development? Mia: If I wasn't doing this game, there are other ideas cooking. I've already thought about, like, I'm not necessarily, the next title that I'm make, but at least the next idea that I'm gonna workshop, because it is such a process, when it comes to game development, of, like, you know, finding the fun and finding the idea that works, and what people are vibing with. If I wasn't doing game development, um, I really want to get good at oil painting. It's something that I've been afraid of for a long time. Uh, I'd probably be leaning into that and giving that a go. Um, yeah, I'm addicted to picking up a hundred different hobbies and constantly trying new things. So I'd be just scouting around for, yeah, what the next thing is, to keep that impulse. Nic: I probably would not recommend trying to do frame-by-frame animation with oil painting unless you have the patience. Mia: Absolutely not. Nic: Has your creative practice ever changed something you thought about yourself or believed about yourself? Mia: I think that happens constantly. I think when it comes to doing something like game development, where it's a piece of art that's like the process is drawn out over many, many months, you spend ages working on the same thing, uh, sometimes you step back from something and you're really, like, you don't realize the amount of time that you've put into something until you're stepping back from it, like, months later, going like, whoa, I built this. Nic: Yeah. Mia: Like, it's made me feel a lot more confident in my ability to pick things up and put things together. Uh, another thing is, I've always been kind of self-critical about my art and about showing it to people. But like, drawing game assets, they kind of take on a life of their own. And like, you see the thing that you drew in its own little world doing its own little thing, and you know, that something about that just feels really special. Like, if you draw a piece of art in your sketchbook and then you take it out and you frame it and you put it on your wall, and it's like, now part of a space, and it's, you know, giving that space an energy, it just feels different to letting it just exist in its sketchbook. And like, game development's a little bit like that. Like, I've drawn this cat a hundred times, each individual frame doesn't really have a purpose on its own. But it's part of something that's like a little bit bigger than itself, and that's made me feel a lot more confident in my own art and in showing people my art and feeling like people are understanding what I'm trying to do. Nic: Yeah. Technical question for you, which isn't so technical, but I'm curious about it. What is your favorite brand of watercolors, and what paper do you like to use? And what's your, uh, your ink of choice? Mia: Um, so I missed that last bit. Was the last part, the last Nic: bit, what is your ink of choice? Mia: Okay. So, favorite watercolors, I use Winsor Newton. Um, I use the pan ones, not the, Nic: yep, Mia: like, if I use the tubes, I like, let it dry out into a pan, use it like that. Um, I use the little Winsor Newton field kit. They don't do it with the professional colors anymore. They now do it with the Cotman colors. Um, but you can get the set and fill it with whatever colors you want from whichever range you want. I also use Winsor Newton ink. I'm a bit of a Winsor Newton purist. Um, when I was learning watercolors, I just picked up the cheapest notebook that I could find. It wasn't even watercolor paper. And you paint on it, and the paint just kind of sits on top of the paper and it's very unforgiving. Yeah, colors down and then it's down. Uh, I recently bought my sister-in-law a sketchbook, like a nice Moleskine sketchbook, uh, for Christmas. And whenever I gift somebody a sketchbook, I always do the first page, because I think the first page is a little bit intimidating. And it's also just kind of nice, like, hey, remember I got this for you? And, oh my god, painting on that paper, which is like, it just took the paint and it just looked amazing, and it was so much easier. I was like, um, this is a nice experience. Nic: Yeah, Mia: I've been using the Faber-Castell watercolor pads for the animation for the game. I haven't been punishing myself by using regular notepaper. It's not quite as nice as the Moleskine sketchbook paper, though. Nic: I will suggest that if you want to up your game in the sketchbook world for watercolors, you might want to try the Hahnemühle 100% cotton sketchbook, because it is as much better from the Moleskine than the Moleskine is from cartridge paper. It is a world of difference. But anyway, that's just me geeking out. over Mia: I want to try the 100% cotton paper eventually, but I feel like I need to build up to that level. Nic: Well, that's the thing. At least for me, is that I was intimidated by using good, expensive paper. But when I started, I realized, oh my god, I'm so much better than I thought I was, and the results are a lot more pleasing, so it's less of a struggle. Mia: That makes a lot of sense. I think with me, this is something that I've learned to do. Um, like with ADHD and picking up hobbies perpetually, it's very easy to spend an awful lot of money. So I've put like parameters on myself, like, if I'm sticking with a hobby for x amount of time, I'm allowed to invest in some nice things for myself, like x amount of materials. I'm trying to resist the urge to go out and make a lot of purchases unless I know that I'm really in this for the long haul. Nic: That makes sense. Mia: yeah. And I wouldn't switch to different paper now for the game, because you need a level of consistency there. Maybe once the game is out I'll treat myself to a nice 100% cotton sketchbook. Nic: Yeah. Or for your private sketchbook that you show nobody else. Mia: Yeah. Maybe, Nic: yeah. What does your art and game making give you that nothing else does? Mia: I think that with the game making in particular, it gives you an amazing community. Like, I started getting into the games industry professionally by going to playtest parties and like seeing people's work in progress. And like, I think with game development in particular, it really gets you out of your comfort zone. And especially, it kind of forces you to kill any perfectionist tendencies that I think a lot of artists have, because you need to test if a game is viable before you invest potentially years into making it. If you want to sell it. If you're making something just for you and you don't plan on showing it to anyone, that's a completely different thing. Nic: Yeah. Mia: but I wanted to kind of test myself to see if I could make a game that I could release on Steam. And that forces you to go out and show people the gray box, just a graphite pencil where everything is, you know, blocky and looks a bit weird. Like, it forces you to show people that version of the game to see if you're onto something. And I think that's really, really helpful, because you're getting early feedback, you're kind of getting out of your own ego in terms of, like, I can't show this yet, it's not quite ready. And you're getting into the habit of talking about your process and your creative work with other people who are also doing the same thing. And it gives you confidence as well, because you get to see other people's work in progress. And it's like, okay, I can show this, because, you know, nobody is being, you know, oh, but that's not good enough, or that doesn't look right. Yeah. Everybody understands that it's a process. Nic: Yeah. Second-to-last question for you. Is there something we haven't discussed that you would like to discuss, as it relates to disability, creativity, game making? Mia: I think that the games industry in particular has got a lot of participation by an extremely, like, diverse kind of groups of people. Um, you get a lot of people with disabilities in the games industry. Um, you get a lot of people of, like, marginalized genders in the games industry. And I think everybody is very accepting, and people connect over being, like, a little bit weird. Because I think creatives are all a little bit weird. I feel like you have to be. Um, and just being a little bit of a rebel and a little bit of an outcast. And I think that it's a very, like, safe environment to kind of put yourself into, because I think there's a lot of stereotypes. You know, people think of gamers, they think of, like, 14-year-olds on Xbox Live playing Halo and like yelling slurs at each other. But if you go to like a playtest party in London, uh, the community is so vibrant and full of all different kinds of people, and is so welcoming and is so nice. And I think that that's been really, really good for me, because it's allowed me to connect with people who I can relate to, and in ways that I couldn't relate to people when I was working in corporate law. Nic: Thank you. Last question for you. Where can people find you? Where can people find your work? Uh, because I assume people are going to be as interested to discover this game that you're making and seeing your illustrations as I am. Mia: So, um, I post a lot about my game development on LinkedIn, so that's just me as Seljubac on LinkedIn. I'm really easy to find. Um, I'll post, I post about, you know, the work I do with other creatives as a lawyer, uh, on there. But I also will post about my game and the creative process and how things are going. Uh, I have an itch.io where there is an extremely early build of the game. It looks a lot better now than the version in there. But if you want to get like an insight into that super early process and what the game looked like six months in when I was first starting, uh, you can play that now. Uh, my itch.io profile is called S-A-L-Y-U-M-A-N-D-E-R, so like a salamander, but right, Salyumander. Um, and you can follow I Am the Cat on Steam, and you can wish-list it, and you'll be updated when the demo is out and when the final game is out. Nic: Thank you. This has been a great chat. Mia: Thank you very much. Nic: That's it. I'm Nic Steenhout. This is The Work Between. If this sounds like your kind of conversation, subscribe and I'll see you in the next episode. Mia: Bye. KEY THEMES * Watercolor [/tags/watercolor/] * Games [/tags/games/] * ADHD [/tags/adhd/] * Animation [/tags/animation/] * Spinal injury [/tags/spinal-injury/] SHOW NOTES ABOUT MIA Mia Seljubac is a games lawyer, game developer, and co-founder of Cereal Mug Games. She’s currently building I Am the Cat [https://store.steampowered.com/app/3719920/I_am_the_cat/], a cozy narrative walking simulator where all characters are hand-painted in watercolor. TOPICS COVERED * I Am the Cat [https://store.steampowered.com/app/3719920/I_am_the_cat/] on Steam (wishlist now) * Mia’s early itch.io build [https://salumander.itch.io/] — handle: Salumander * LinkedIn [https://uk.linkedin.com/in/mia-seljubac-aab797122] * Mia’s career path: martial arts instructor, then lawyer, then game developer * Wing Chun [https://en.wikipedia.org/wiki/Wing_Chun] and its overlap with Tai Chi * COVID shutting down in-person teaching and triggering a pivot to law * Specializing as a games lawyer * Animating in watercolor using a light box: embracing the chaos vs. normalizing for playability * Visual influences: Ladybird Books [https://www.ladybird.com/], Paddington [https://paddingtonbear.co.uk/], and Yoshitaka Amano [https://en.wikipedia.org/wiki/Yoshitaka_Amano] * How she learned watercolor: her mother, a professional artist, then self-directed tutorials * Keeping a private sketchbook separate from the game work * The street cat in London that inspired the game’s premise: loneliness, community, and the things people tell cats * ADHD: adult diagnosis, serial hobbyism, building and rotating coping strategies * Spinal injury at 19 in a gymnastics accident: mobility impacts and the role of drawing during recovery * Identity: “a maker who is disabled” * Self-employment as a practical response to inaccessible workplace structures * Games that influenced her: Sorry We’re Closed [https://store.steampowered.com/app/1951290/Sorry_We_re_Closed/], Deadly Premonition [https://en.wikipedia.org/wiki/Deadly_Premonition], The Legend of Zelda: The Wind Waker [https://en.wikipedia.org/wiki/The_Legend_of_Zelda:_The_Wind_Waker] * Materials: Winsor & Newton [https://www.winsornewton.com/] watercolors and ink

18 de may de 202655 min

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