Before you start making any marks, it’s important to know that having preconceived expectations about what the art should look can create a feeling of dissatisfaction if reality doesn’t match them. Needing art to look a certain way before any marks are made is a sure way to frustration, and ultimately to giving up prematurely. But as most beginner art is going to be a big learning curve full of wonderful mistakes, mess and imperfections, it’s a shame if those imperfections aren’t seen as valuable steps and tools in the creativity process.
Susan Jeffers in Feel the Fear and Do it Anyway encourages us to “Throw away your picture… If you are focused on “the way it’s supposed to be,” you might miss the opportunity to enjoy the way it is or to have it be wonderful in a totally different way from what you imagined.”
Any preconceived expectations or picture held in your mind before making art could block you from seeing the magic in any unexpected and unknown outcomes. Try looking for the good in the way things are as opposed to wishing they were different and let your creativity unfold naturally, without judgment. Creativity doesn’t need judgment to flourish, it needs an open mind, patience and practice.
The process of making art as a beginner adult can be a hidden lesson in self-compassion. When trying to make something out of nothing, the mind can create a lot of resistance to the process if the fruits of your action are judged as inadequate. Being a beginner, the chances are your skills aren’t has honed as a master painter who has 30 years experience, whose artwork you may be comparing yourself against. Judgmental thoughts may arise such as “I’m no good at this, what’s the point” and “this is bad,” which offer no support while in the creating process. This self-criticism may ultimately lead to stopping making art altogether.
How can we defend against self-criticism to ensure future practice? Susan L. Smalley and Diana Winston in Fully Present suggests that the opposite of self-criticism is self-compassion. In order to be more self-compassionate and to deal with difficult thinking, they suggest through thinking itself: “You can use thoughts to soothe other thoughts and feelings. For example, if you are anxious because you are caught in traffic and late to an appointment, you may start talking to yourself: It’s okay, I don’t have control over the traffic, I’ll get there when I get there. This is quite a skillful response to the situation. Called “positive self-talk,” or self-soothing it’s a kind of thinking you use to counteract other kinds of thinking in order to soothe yourself, regulate your emotions, or generally bring some wisdom to the part of your mind that may seem out of control because you are scare, angry, or sad.”
Self-soothing when making art might sound like “I’m learning as I go and am focusing on how it feels to make art” when a judgmental thought around not being ‘good’ pops up. Just as you would reassure a loved-one that their efforts are completely useless, reassure yourself in the same way with soothing and compassionate words. Then get back to making your art and continue to greet each future criticism with kindness.
Getting into an open frame of mind is essential before embarking on drawing as an adult. With limited experience beyond art classes at school, it’s going to be a challenge to get through early attempts making marks on a black page. The challenge lies in subconscious expectations about what ‘good’ art looks like and if similar art that speaks of ‘good’ or demonstrates skill isn’t made instantly, the mind will have a field day judging every single mark made. The belief you’re either born with creative talent or not will limit any future potential and may even halt the art making process entirely. Talent can only get you so far and doesn’t always produce the most interesting art, while ‘mistakes‘ and messiness can have more expression and aliveness to them. With this in mind, it seems illogical to focus only on things being perfect and ordered so having an open mind to what is ‘good’ is essential moving forwards creatively.
In Drawing Portraits by Henry Carr, written in 1961, he suggests that for students who have a natural ability to draw beyond the average, it can be a danger to have such ease: “Not having to work so hard at drawing they tend to become superficial.” The really important aspect, is to have “overwhelming interest.” This interest will help you persevering in the face of failure and disappointment. Carr encourages that “Things that have to be acquired by great effort are sweeter than free gifts.”
Be intrigued by your chosen subject and use that interest to fuel the fire whenever you feel disheartened. You don’t have to be perfect to continue because ‘superficial drawings’ are not the goal—the process of drawing something from scratch is.
When drawing or making art, snap judgments can be made about the quality or successful of the art. Labels such as ‘good’ or ‘bad’ can quickly be added to art, even while in the process of making it. It’s challenging to let go of the labels that pop up while creating, labels that make you feel disheartened and may even make you force you to question continuing. How can move through these moments of doubt in order to continue the joyful experience of making art?
Henepola Gunaratana in Mindfulness in Plain English suggests to see things as they really are: “… we do not mean seeing things superficially, with our regular eyes, but seeing things as they are in themselves, with wisdom.” Can we look at the art with deeper wisdom that is more forgiving that the judgemental voice in our minds? The wisdom that knows you’re not an expert and that the art doesn’t need to be a masterpiece. It knows the joy is found within the process and not in the visual outcome of the art.
Gunaratana encourages “Don’t cling to anything, and don’t reject anything. Let come what comes, and accommodate yourself to that, whatever it is. If good mental images arise, that is fine. If bad mental images arise, that is find, too. Look on all of it as equal, and make yourself comfortable with whatever happens. Don’t fight with what you experience, just observe it mindfully. Let the judgements sit with you, don’t hurry them away. Before long you may find they start to quieten and slip away as you get into the momentum of making.
When getting creative, it’s important not to judge artwork during the actual process of making, and instead to focus on the action taking place. Evaluating artwork before it’s finished takes you from being present in the moment of creating, into a judgmental (often emotinally challenging) position of editor and critic. The added pressure of evaluating everything while in the creative mode could turn into second-guessing every mark made and force you to be cautious about getting anything ‘wrong’ at all. Artwork could be prematurely rejected before even finishing which could limit unexpected discoveries or the space to practice.
A constant judging-while-making-process doesn’t help you develop as an artist, encourage ‘bad’ art, messy mistakes or allow for the unexpected. The judgmental editor thinks it’s helping by critiquing the artwork but actually is limiting potential growth and improvement. Shut the editor down and focus on the making. It’s the way to improvement in the long run.
We all have biases and judgments about what we consider to be ‘good’ or ‘bad’ art. When making art it’s important to question why you choose to label something as good or bad, especially because you may not even realise the real reason why. Alain de Botton and John Armstrong in Art as Therapy explain “Ideas about what is ‘good’ art are not formed by themselves. They are the result of complex systems of patronage, ideology, money and education, supported by university courses and museums, all of which guide our sense of what makes a work of art especially worthy of attention.”
Simply put, your beliefs around what art is ‘good’ are comprised by other people, institutes and industries beliefs. How could you not be influenced when viewing ‘successful’ art in a national gallery space, building a visual set of rules about what constitutes ‘good art?’ Just because someone else believe X artwork is brilliant, doesn’t mean their opinion is the hard and fast rule of good/bad. This is worth questioning because having the courage to make your own art may bring up black and white rules and discourage you from making more art if you don’t seem to measuring up to an invisible standard that’s been subconsciously bought into.
Make your own rules about the art you make and measure ‘good’ by the amount of enjoyment you feel when making the art. That’s a far more accurate (and kinder) measure of attention.
Do you believe every person has the potential to be creative through practice, or that you’re born naturally talented? The answer reveals whether you have a growth (there’s potential) or a fixed (born that way) mindset. Having a fixed mindset will limit your potential for growth and development because as Carol Dweck in Mindset suggests, “No matter what your ability is, effort is what ignites that ability and turns it into accomplishment.” Effort is key because talent only gets you so far in the beginning. Effort will take further in the long run, but only if you’re willing to persistently and consistently show up.
Shaun McNiff in Trust the Process notes when viewing children’s art we can see every child has the ability and permission to create. But through a schooling experience, “freedom is restricted for the majority of people as the identification of “talent” tends to overshadow universal participation.” We get disheartened if our art isn’t ‘good’ enough and believe we should stop if doesn’t showing visible signs of ‘talent.’ McNiff argues that a person’s license to create cannot ever be taken away, it’s “as natural as breathing and walking.” This can be a challenging notion to accept if you believe you’re not creative either by self-judgment or through the judgment of others. Is it is possible to move from not-being-creative to being-creative? Always. McNiff encourages “Training in creativity requires the ability to relax in periods of uncertainty and to trust that the creative intelligence will find its way” as well as “an inclination to step into the unknown as well as the ability to persist when there is no end in sight.”
If you can spend a few moments sitting with the uncertainty, (the uncomfortable feeling of not-knowing) not rushing the feeling away or stopping the art-making process, you will discover that the uncertainty will rise and fall if you allow it to just be. Whisper some encouraging words to yourself, take a breath and continue to make your art.
When making art, it can be hard to not judge work as failures. Thoughts around it not being good enough or not looking the way you think it aught to–or the hundreds of other judgments that pop up–can stop you from making anything else for fear of repeating the failure. The feeling of failure stings and this is something the mind wants us to avoid experiencing and therefore explains why you may feel like giving up so soon. Pema Chödrön in Fail, Fail Again, Fail Better speaks of the ‘Fine art of failing’ and how succeeding has a lot of emphasis and hype placed on it. But if you consider the definition of success as it working out that way you hoped, “failing by that definition is that it didn’t work out the way you wanted it to.”
Chödrön talks about hearing a quote from James Jocye’s Ulysses that described how failure leads to discovered, but instead of using ‘failure’ Joyce used the word ‘mistake.’ “Mistakes are the portal to creativity, to learning something new, to having a fresh look on things.” Reframing a ‘failure’ to a ‘mistake’ may mean you give yourself more space (and self-compassion) to not get things ‘right’ all of the time.
Failing better means seeing failure as part of the journey,”to see it as your connection with other human beings and as part of your humanness.” The idea that we should get everything right all of the time is an unrealistically high bar for ourselves and leaves no space of the unexpected, delightfully imperfect and spontaneous results that being creative allow us access to. “Failing better means when these things happen in your life, they become a source of growth, a source of forward.” Growth and forward is a bi-product of failure and making lots of mistakes, and is to be embraced instead of feared, when making our art.
When making or reviewing your art, have you noticed the amount of negative self talk pops into your mind? Judgmental comments or thoughts about the art not being good enough? This judgmental voice or self critic can derail our enthusiasm, confidence and future practice if we believe it’s telling the truth.
Psychologists Barbara Markway and Greg Markway explain in this article the 3 functions the self critic serves:
- As motivation: “If it cracks a whip, it will motivate us to do a desired behavior… we cling to the believe that by berating ourselves, we can achieve more.”
- To feel in control: “When we criticize ourselves, we reinforce the illusion of control.”
- To keep us safe: “Self-criticism taps into the brain’s threat/defense response. The system is designed to protect us and keep us safe. It’s hard-wired into our brain and worked great when the threat was a lion running after us. But when the threat is to our self-concept, self-criticism does not work well”
So if you view you or your art as a problem, the ‘reptilian brain’ as Markway & Markway describe, attacks in the form of self-critical self-talk. Understanding your brain is wired this way to react to perceived ‘threats’ allows self-compassion for moments when you find yourself being self-judgmental.
Mindfulness expert Jon Kabat-Zinn explains ‘Non-Judging:’ in this video: “My working definition of mindfulness is the awareness that arises through paying attention on purpose, in the present moment, non-judgmentally. And the non-judgmentally is the real challenge because when you start to pay attention to what’s on your mind, you very rapidly discover that we have ideas and opinions about everything… So when we speak of mindfulness as being non-judgmental awareness, it doesn’t mean that there won’t be judgments. It means you will be aware of how judgmental we actually are and then not judge the judging…. Our judging is very often black and white. It’s either this or that… good or bad… and we get imprisoned by that kind of view.”
Noticing is the first step. Our poor reptilian brains do like to jump to judgmental conclusions often and quickly and that’s okay. Allow the thoughts to surface and greet them with compassion. And then get back to making your art.
Allowing yourself to spontaneously create art—without judging as you make—can be a challenge. Ignoring the inner critics, resistance or distracting negative thoughts takes bravery and a commitment to continue making art regardless. Why should you allow yourself to make “bad” or embarrassing art in the face of self-judgement? Lewis Hyde in The Gift quotes Allen Ginsberg, who speaks of spontaneous writing: “Spontaneous writing could be embarrassing… The cure for that is to write things down which you will not publish and which you won’t show people. To write secretly… so you can actually be free to say anything you want.”
Being able to create, without the art needing to be shown to anyone, or it needing to be “good” gives you freedom to explore more fully, perhaps in places you wouldn’t venture if you knew others were watching. Ginsberg again: “… settling down in the muck of your own mind… You really have to make a resolution just to write for yourself…, in the sense of not writing to impress yourself, but just writing what yourself is saying.” While Ginsberg talks of writing, this is relevant for any art medium. You have to make a resolution to make art for yourself so you can explore what wishes to be created within you. The letting go of seeking approval or validation from other people allows you to create for the sake of creating—to make art because you enjoy it.
The muck of your mind may surprise you with what it comes up with. Allow yourself time and space to be curious and go explore in the mud.
If you’ve regularly been spending time making art and have made it a habit in your daily life, it can be frustrating when suddenly you don’t have the energy to make anything. It’s as if your creative energy lifeforce has been zapped out of you. This energy zap, or creative block, is a spanner in the works to your rhythm and creative flow. Being sick quickly can drain all energy, but sometimes it seems for no reason you feel drained. The block can creep up on you when you least expect it, especially if you’ve had a good run of being creative.
Is it okay to stop during these periods or should you press through making art regardless? There is no right answer because both options are okay. If you stop, be kind to yourself. Your self-judgment no doubt will rear up and tell you off for not being productive and pushing through. Sometimes though, in order to let the energy flow more easily in the future, we have to take a break to refuel and recharge. Given we are human beings and not robots, we cannot stay in doing-mode all of the time. Breaks are a necessary part of the process. And if you choose to continue making, set your bar of expectation for the art as low as possible. If you’re not feeling your best, your art may reflect that, or may be noticeably different than usual. It’s also important to you be kind to yourself here because self-judgement may have a field day with any art it deems not as good as usual. Let it be enough you made something. Making one tiny sketch/drawing/piece of art is your new bar of acceptable.
Whichever path you take when creative energy is low, it’s okay to feel stuck. Low energy and creative blocks don’t last forever so have faith that there will be a point in the future where your energy will start to tip in the other direction. In the meantime, let yourself and your judgment rest.
Negative black-and-white thinking about your art can be harmful to your confidence and future art-making practice. While you may think labelling the art as “rubbish” or “bad” is stating the obvious, it could be blinding you to all the positive aspects of your art. Whatever your brain focuses on expands therefore looking at only “negative” aspects of your art, they will appear bigger, especially with similar repeated thoughts over time.
Kevin Gyoerkoe and Pamela Wiegartz talk about this extreme viewpoint in 10 Simple Solutions to Worry: “All or nothing thinking, or black-and-white thinking means viewing things in extreme categories. For example, you might describe a presentation you gave as “perfect” or “horrible.” Instead of a more balanced, reasoned view, you overlook the shades of gray, the subtleties of life, and force experiences into either-or categories (ie. describing yourself as “irresponsible” if you overlook a task or calling yourself a “failure” if you don’t meet an important personal goal.”
If by giving yourself constructive feedback you feel encourage to continue practicing then that’s great. But if you feel disheartened by your own feedback—especially if it’s black and white thinking—look for the more neutral “grey areas” instead. If you’re unable to find any small areas of the art you like, can you find one positive aspect? One specific line or dot? You can’t notice what you don’t look for. And “perfect” art is overrated. If we could do it perfectly instantly, we’d get bored very quickly. There’d be nothing new to learn and no joy from each step of growth accomplished over time. Look for the grey and let go of the pressure for your art to “be better” than it is right this moment.
Self-critiquing allows reflection on current progress but it is also is a tool for your future self. Looking at thoughts about past art allows you to spot development over time. While visually the art may have improved or changed, it’s the insight into how you felt at the time—your inner world—that can provide valuable feedback. If when making some of the first drawing attempts, you wrote how unconfident you felt, today you may have forgotten how nervous you were back then. Comparing against the past self, you recognised today you don’t feel as nervous and so your inner world has changed. Many small steps of progress that can’t be measured visually can be overlooked or ignored, but they add up in big ways over time. It could be argued that this inner development is more important than the visual improvement of the art: when inner confidence is grown, effects other areas of life in a positive way.
Get into the practice of regularly writing a small critique for some of the art your make. If you’re drawing in a journal, consider writing a note next the the art, or if on paper, write it on the back. Otherwise write on a post-it note and stick that on the work. Or use a seperate journal/notebook but make sure to date art as you make it so it’s easy refer back to specific pieces when writing about them in your notebook. Dean Nimmer in Art From Intuition suggests “Your sketchbook can also be a good place to write down notes to yourself about any topics that relate to your art, or to your creative process. For example, writing down self-critiques about what you think of your own work.”
Self-critiquing: While every ‘mistake’ in an artwork can be glaring obvious, feedback only why something is ‘bad’ isn’t as useful (or kind) as constructive feedback. If a friend asks for feedback on a drawing, you wouldn’t list all things wrong with it. You’d want to encourage them by focusing on the positive aspects of the art. You should offer the same encouragment for yourself. A helpful comment might look like: “It was tricky deciding on the colours. I like the blue corner best because its bright and I enjoying making it. The red area looks messy. I felt better using colours but want to work on drawing smaller details. I enjoyed the sensation of drawing the curves.” Or a shorter version: “Fun to make, love the squiggles, enjoyed making while listing to x music. Want to do more like this.”
However you choose to critique yourself, remember to be kind and compassionate. Making art takes a great deal of courage as an adult so there’s no need for harsh judgements. We are all doing our creative best and that’s good enough.
Most answers to most of your creative problems are so simple, you may not believe them. Making art as an adult can be challenging if you’re out of practice. Why then, if children make their art with so much freedom, do adults find it difficult to create with that same freedom? Dan Roam in Draw to Win suggests that we find drawing difficult because of our own beliefs about our drawing abilities and the answer is “you mostly just need to get out of your own way.”
He identifies a list of things that make drawing hard: Impatience, wondering what to draw, worrying about what’s next, editing as you go, a blank sheet and “art.” Then he suggest things that make drawing easy (which are also all solutions to the above issues): Curiosity, starting with a circle, letting your hand go, drawing now and editing later, making marks on the page and “just do it.”
Do you think the suggestions for what makes drawing easy are too simple to be true?For example, if you feel paralysed by blank paper you should make marks? But the mind is your biggest obstacle and it will try to resist at every turn (via the inner critic). “Make marks?” It scoffs. “What’s the point in that if it’s not “‘proper’ drawing? This is a waste of time!” But making marks warms up your hard and starts the creative process. It puts you in a different frame of mind, one where negative chatter can falls away so you can get on with the fun of being creative.
While the mind speaks louder and more forcefully about what to do, the heart has a gentler, wiser perspective. When making art, the mind may bombard with negative talk about the quality and usefulness of everything. Talk like “I should be doing something more important” or “This is rubbish! Stop immediately!” The mind wants to be instantly good at everything it tries and will go into survival mode to keep you ‘safe’ from the perceived pain/danger of being ‘bad.’ Listen only to this overdramatic voice and you’ll never make art again.
The heart on the other hand, knows you’re safe and no real pain will come from making something messy or ‘bad.’ It’s interested in what feels good and lights you up. It loves when you do more fun things, when you stop listening to the negative mind voice and embrace the play of making art. When you listen the calm heart, you hear how good it feels to make marks for fun. How playful you feel colouring something in and how relaxed and refreshed you feel after doing it.
Paulo Coelho in The Alchemist encourages “Listen to your heart. It knows all things… Because where your heart is, that is where you’ll find your treasure. Keep listening to what it has to say.” When making your art, listen to your wise heart and let the mind take a mini vacation. Its opinion is not needed.
Option A: set a goal to improve art-making skills. Focus only on the technical aspects and visual progress made. Consistently judge the art and push yourself to improve. If progress is deemed acceptable for the time spent, you’ll be encouraged to continue. If progress is not seen quick enough in polished ‘final pieces,’ question if time investment is worth it. Focus only on the external visual qualities of your art because the goal is improvement.
Option B: decide to make art because it seems like a fun thing to do. You want to feel more colourful, engaged or creative and making art can help you access those feelings. Let you curiosity and enthusiasm guide you and focus on the fun aspects of making something out of nothing. Get a mug of your favourite drink, find a quiet place to nestle into and make art just for the fun of it.
Option A is how we’ve been taught to think.
Option B is where the joy and real creativity lies.
Self-judgement can quickly show up when you start making art. The small whispers of “you’re no good,” “don’t waste your time” or “you can’t improve.” Self-judgment, or the inner critic, can paralyse progress if you believe the stories it spins. It wants to minimise ‘danger’ because the mind feels threatened attempting anything new or unfamiliar and so seek safety in the known and predicatable (in this case not making any art). Shaun McNiff in Imagination in Action argues “The inhibition to act in unfamiliar or apparently strange ways combined with the harsh inner critic is the most essential one-two punch of repression, and for the most part it resides completely within the person, manifesting itself with great power even in situations unconditionally supporting creative expression.” But it’s not just beginner art-makers who suffer from the harsh inner critic’s feedback. “Even the most accomplished artists are stricken when approaching creative expression.”
So how do we overcome this? “Suspend judgement” McNiff suggests. “We all need egos to help in the making of decisions, and arguably artists require ego strength to persist in the face of obstacles, but during the process of insisting the formative forces of expression, ego (and its tendencies towards control) restricts the free and unplanned circulation of possibilities.”
Our brains really do have a mind of their own and that’s why you can’t believe every judgmental thought they tell you. Adyashanti on Oprah’s Supersoul podcast talks about a dream world where we live “primarily in our brains.” He asks us to question “What am I, before my thoughts, before my memories, before my ideas about myself, good and bad and indifferent?” After discovering a quiet space, “our minds do not know what do do with that. So they tend to run away, they go back to the mind.”
The mind is programmed to think a certain way and can run away from you so how do we quiet the mind to access our creative potential? Question judgemental thoughts. See them as a concerned but overdramatic and repressive voice that doesn’t know what’s best when it comes to your creativity. It’s not easy to do, but with practice comes confidence and freedom.
The sixth century B.C. ‘Fables of Aesop‘ tale of The Wind and the Sun speaks of a competition between gentleness and force:
“The North Wind and the Sun were disputing which was the stronger, when a traveler came along wrapped in a warm cloak. They agreed that the one who first succeeded in making the traveler take his cloak off should be considered stronger than the other. Then the North Wind blew as hard as he could, but the more he blew the more closely did the traveler fold his cloak around him; and at last the North Wind gave up the attempt. Then the Sun shined out warmly, and immediately the traveler took off his cloak. And so the North Wind was obliged to confess that the Sun was the stronger of the two.”
The moral of the tale being: “Gentleness and kind persuasion win where force and bluster fail.” How can this message apply to your art-making practice? How can you be more kind to yourself when negative whispers pop up and you judge your messy art harshly? Instead of forcing yourself to be ‘better,’ what if you took a more gentle approach and focused on the fun of making something? Aside from enjoying yourself, a benefit of regular consistent practice IS improvement in skill, and in confidence. So is it necessary to even worry about improving if it’s going to happen naturally, over time?
Try the sun’s warm and gentle approach to create a more compassionate space to make your art.
If you make some art and share it online, seeking approval from your peers or via social media can be seductive. The ding of acceptance and seeing rising numbers makes the ego/mind happy. The approval is shown in a physical, measurable way so if the numbers are high, you feel good. And higher numbers are better aren’t they??
“Fame in a world like this is worthless.” — Marcus Aurelius, 121-180 A.D
But those numbers are a distraction, empty of real meaning and approval. We chase the numbers because we believe they can evaluate our art and give us external validation – the permission to continue to make if the feedback is good. But if the numbers are small, or the feedback is not so good, does that mean you feel disheartened about your art? Do you judge your own enthusiasm, enjoyment and self-approval on the judgements of others? And if so, why does their opinion count more than your own?
Seth Godin argues “The narrative of social media grooming is a seductive one, but it’s as much of a dead end as spending an extra hour picking out which tie to wear before giving a speech.” Spending more time grooming an online image is time and energy consuming and can keep you from making the art. Creating art in secret may be a more nourishing way to tap into creativity by distancing yourself from seeking others approval or permission.
But if you do decide to share online, know that the numbers can never make you happy. They will never be big enough for your mind to be content and the joy comes from the physical act of making your art.
Making art again after a big gap in time will use up a lot of mental energy because the brain has to work harder at things it’s less familiar with. Add to the mix feeling you’re not ‘good’ at art and it won’t be long before your brain sabotages your efforts. Most people talk themselves out of continuing via listening to the negative voice in your head (the ego) that judges every mark you make. It gets louder if you pay it any attention and will never leave you completely, even if you become a prolific artist.
Winifred Gallagher in New: Understanding Our Need for Novelty and Change explains “The first step in stretching your experiential boundaries is to override your brains strong tendency to conserve energy by conducting business as usual. One of its favourite economies is to rely on familiar, sloppy but efficient categories and stereotypes: “I’m no good at sports/art/travel,” say, or “That kind of person/activity/place has nothing to offer me.”
As you can’t get rid of those sloppy negative stereotypes thoughts, the goal is to find a way to gently ignore them. Understand that the brains default is to be efficient by conserving energy and that shows up as the negative voice questioning what you’re doing. Thank the voice for it’s concern — “It’s okay I’m no good at art, because I’m having fun and I’m improving each time I try,” — and turn your attention back to making art. With time and practice the voice will soften and will loose its tight grip on your creative potential. Don’t trust that the judgemental voice knows what’s best for you, it’s just following autopilot intructions.