Let's get right to it: What is creativity?&nbsp;HT: "My definition of creativity is staying true to yourself, not paying too much attention to external influences, and not being too hard on yourself. You should never strive for perfection."&nbsp;&nbsp;How does this apply to your way of working?&nbsp;HT: "When I started out, I worked solely in black and white. Using pen and ink, I'd draw these lines over and over. But then, I switched to markers and started working with flat shapes instead of lines. I began making small drawings just for myself as a form of relaxation. There was no pressure, no specific purpose. I told myself these drawings couldn't fail; they were just for me. I had one rule: I had to continue drawing till the whole page was filled, and then I could decide whether to continue with it or not. This shift allowed me to become a more relaxed type of illustrator. Ultimately, I let go of the strict pursuit of naturalism, which felt right."

Changing your medium of choice is quite a big step.&nbsp;HT: "It definitely was a significant change. I had bought a small set of markers and a sketchbook and just began making simple drawings, taking it step by step. I took the markers everywhere: on holiday, to the beach. The thing is, I can't sit still or lie in the sun for too long, so I would draw instead. It gradually became a kind of pastime. I didn't think this would eventually become my new style of illustration. It was just a hobby. Something I did in my spare time. It eventually became my new working method but that was a natural evolution. There was no preconceived plan."&nbsp;&nbsp;By then, had you already graduated from the Academy of Arts, or was this pre-college?HT: "I had already graduated by then. I recently looked it up: I graduated in 2009, and my first marker drawings date from 2016. I was already working as an illustrator by then and had clients who hired me specifically for my black-and-white line drawings. But then I started experimenting by adding color to my work."

Were you nervous about changing your style and possibly losing clients or work over it?&nbsp;HT: "Not really. And that's partly because I took up a part-time job at around the same time. In the early years of my career, financial worries were a real thing. But by getting this job I created more room for creativity. I no longer felt the constant pressure to illustrate solely for money, which inspired me to really start doing my own thing."&nbsp;&nbsp;They say you don't need money to be creative, but not having any money can be a significant block for creativity. Financial worries can undoubtedly affect your creativity, right?&nbsp;HT: "Absolutely, because at the end of the day, you still need to pay your rent and cover your basic needs."&nbsp;&nbsp;<blockquote><h1>Collaboration is about giving and taking, compromising, and being open to new ideas during the creative process.</h1></blockquote>&nbsp;When did you start painting murals?&nbsp;HT: "I spent a lot of time in Surinam, my father's country of birth. And over there I did quite a few murals, but I had never done one in The Netherlands. In Surinam, there's a culture of murals and advertising that I found fascinating. I even set up a collective with a friend there: we allowed young artists to paint murals on vacant buildings and old structures.&nbsp;I painted my first 'Dutch' mural during the early days of the COVID pandemic. I was asked to do a mural but by then my style had changed significantly, so I had to find a way to translate my new style to match the mural's requirements. In the end, it all began with a drawing that I blew up onto the wall."

From murals to textiles: Again, it seems like a giant leap, but you seem to make the switch effortlessly.&nbsp;HT: "I've always had a fascination for textiles. In fact, I used textiles in my graduation project in 2009 but didn't explore it much after that. When we were stuck at home due to COVID, I was painting in my studio, and that's when the idea hit me. I thought: ‘Why not transform my paintings into applied textile pieces?’ I started cutting the shapes from the fabric and making collages to create textile wall hangings. That's how it all began."&nbsp;&nbsp;<blockquote><h1>“I've learned that collaborating with other people gives you fresh perspectives.”</h1></blockquote>&nbsp;That's creativity at work, right there. Making do with what you've got. Finding inspiration in limitations and restrictions.&nbsp;HT: "Exactly. Restrictions can be inspiring, although that's something I realized later in my working life. In college, collaborating was challenging for me because I'd feel like, 'I have an idea, but I might not connect with the other person's idea.' Since then, I've learned that collaborating with other people gives you fresh perspectives. You may not initially resonate with their ideas, but when you work together, you find ways to make it cohesive and exciting for everyone involved."

How do you go about collaborating?&nbsp;HT: "For me, it's about working with people whose work I already adore. That means I can't always collaborate with everyone: the project needs to feel right. For example, I collaborated with Brian Elstak on a book. We both admired each other's style. However, we still needed to ensure the book had a unified look. So, I suggested sticking to a specific color palette to create cohesiveness; fortunately, Brian agreed. Collaboration is about giving and taking, compromising, and being open to new ideas during the creative process. Collaborations allow me to evolve as an illustrator and be open to new possibilities."&nbsp;&nbsp;Speaking of collaborations, what does a collab look like when the other party is a big company, like the work you did for IKEA? Usually, the one who pays has the final say.&nbsp;HT : "Well, in the case of the Ikea collab: the creative brief allowed for a lot of freedom. Ikea wanted to upcycle furniture, and I wanted to work with textiles, so it was a project where everyone could contribute in their own way with ideas and interpretations. Collaborating with companies can sometimes mean your work reaches a broader audience, and yes, it may become more commercialized. However, I've seen that people who are genuinely passionate about their art and craft will find their way. You need to have endurance and focus to sustain yourself in this world. It's not about just getting a continuous stream of commissions. It's about being genuinely passionate about what you do and staying committed to it."

You've developed a very distinctive and recognizable style. It must be challenging seeing others copying or trying to imitate it. How do you deal with that?&nbsp;HT: "I believe that when you stay true to yourself, you'll always be unique. I have my own techniques, color palettes, and themes that are specific to me. It's nearly impossible for someone to copy all three aspects. Also, if someone chooses to copy my style, that's on them. I might not like it, but ultimately, it's their choice. Also, I think my interests and my world are quite specific, making it challenging, if not impossible, to replicate."&nbsp;&nbsp;<blockquote><h1>Find your passion, stay true to yourself, and don't be afraid to explore and evolve your art.</h1></blockquote>&nbsp;Any words of wisdom for young artists who are just starting out?&nbsp;HT: "Find your passion, stay true to yourself, and don't be afraid to explore and evolve your art. Be patient, as it takes time and perseverance to establish yourself in the art world. Also, drawing inspiration from everyday life and staying connected with the society around you is extremely valuable. Spending time in places like Suriname allows me to step away from the fast-paced art world and be more relaxed and contemplative. Drawing inspiration from ordinary things, like the streets or daily life, keeps me grounded and connected to the broader society rather than confined in the art bubble. It's important to have that balance."

Disclaimer: This interview was conducted at the Illustratie Biënnale Haarlem, the illustration and graphic art festival. We’re proud to call the Biennale one of our partners. For more articles and design challenges check back soon.&nbsp;<a href="www.illustratiebiennale.nl">www.illustratiebiennale.nl</a>

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Hedy Tjin is an Amsterdam-based illustrator and designer. Since graduating from the Academy of Arts in Utrecht, Tjin has established herself as an artist with a trademark palette, an alluring aesthetic, and a strong social conscience. The world is Tjin's canvas, literally, for she designs anything from murals to books and from furniture to textiles.

HEDY TJIN: THE WORLD AS A CANVAS

Disch attended the Art Academy before working as a graphic designer at LAVA design. Subsequently, he worked as art director and team lead at Edenspiekermann and GRRR. Currently, he’s the Design Director at Bravoure, a Dutch digital agency. He leads a team that mainly designs for the cultural sector, creating big digital platforms for music festivals and museums. In addition, he's a guest teacher at several colleges, co-founder of the Variable Font Course, and has a newsletter on digital design and typography. In short: he is one busy man, but thankfully found the time to sit with us and talk about the creative process.&nbsp;

You wanted to do the interview here at the NDSM; why is that? [NDSM is a former shipyard and up-and-coming neighbourhood in the northern part of Amsterdam - Ed]JD: “Imperfection is essential to my work. Nothing is perfect here and that feels comfortable to me. In communication and design, you need imperfection. Our job as designers is to create memorable stuff. In order to be remembered, you want to stand out and be different from the competition. So imperfection, things that are a little weird or out of the norm, help to make something memorable.”

What is your definition of creativity?&nbsp;JD: “Creativity has to do with knowledge - you need to know your stuff - and it has to do with imagination and reflection.&nbsp;You need a couple of ingredients to foster creativity. The first one is play. Feeling free to play is essential when coming up with ideas, because when you play you're in a much more creative mood than when you're focusing on other things, like results. I allow my designers to experiment and fool around a bit.&nbsp;You also need boundaries. If a brief or project is too vague or broad, it will not work. You also need to set boundaries in time and space. I usually advise my designers to go somewhere else: get out of the studio, go to a cafe to work or stay home and lock yourself up in a room where no one will disturb you. Also, give yourself a strict deadline. Decide what you will focus on that day and stick to that deadline. And don’t forget to allow time for reflection. We set aside time at the studio and then reflect on a project we’ve done.&nbsp;Every creative person needs boundaries. As designers working with clients, we are trained to work within certain limits, but at the same time, we try to step out of that frame and find new combinations of existing elements. That’s where creativity comes in.”&nbsp;<blockquote><h1>“Feeling free to play is essential when coming up with ideas, because when you play you're in a much more creative mood.”&nbsp;</h1></blockquote>

How do you apply creativity in the work you do?&nbsp;JD: “There are different phases in the creative process. When working on a new project, you always start with research. You dive into the subject, collect all these ideas and images, and create a collection of knowledge and inspiration. And then you stop. The biggest enemy of creativity can sometimes be inspiration. That might feel counterintuitive, but my experience is that collecting inspiration for too long will block the creative process.Once you’ve concluded your research, the really hard part comes: resisting the urge to start designing straightaway. It’s very tempting to start thinking about solutions, especially for designers, because that’s what we are trained to do, but it’s vital that you don’t.&nbsp;The next phase is chewing on the material you have gathered. How do the different parts relate to one another? How can I combine stuff? What ideas can I work on? Chew on your material, then let it rest and do something completely different because that's the moment where your unconscious comes in. Things can take hours, days, and sometimes weeks to grow in your unconscious mind. But you will find that once you start working on the project again, ideas will pop up. And then it’s time for the final phase where you refine your ideas. Show it to others, improve on it, make it better.”Could you elaborate on the unconscious? It feels elusive, something that you have little control over.&nbsp;JD: “The unconscious part is really just a phase in the creative process. So first you collect stuff, then you chew on the material, and then it needs to go to your unconscious mind and sit there while you do something else. For example, a lot of people get the best ideas while cycling or taking a shower. In those moments, you are physically active, but your mind can wander. And that’s when ideas pop up. You don’t have to do anything for it; it just happens naturally.”

Isn’t there an inherent tension between allowing time for the creative process and running a studio that involves things clients and strict deadlines?JD: “It’s a tough combination for sure. On the one hand, there's a deadline; on the other hand, you want to have the time to explore new ideas. There’s the certainty of the process and how it works, but there’s also this big unknown in that you don’t know what the end result will be. You just have to be confident that your process is correct.”Has your view on creativity changed throughout your career?JD: “When I look back at what I did 20 years ago, it's more or less the same as what I do now. My role changed, but what I do and the way I do it are still the same. However, my perspective has broadened with each new job. When you start out as a designer, you tend to work solo and are really focused on the project or client at hand. As a design lead, you open yourself up to more perspectives. You open up to clients by thinking with them instead of for them. You're much more open to your team as well and even to society at large.”

<blockquote><h1>“I have this internal drive to do better, I think most creatives can relate to this.”&nbsp;</h1></blockquote>

If what you do, in essence, is the same thing, how do you keep it from becoming repetitive?JD “Challenging myself is not that hard because I'm never really satisfied with what I’ve done. I have this internal drive to do better, I think most creatives can relate to this, and so I see each project as a new opportunity to do better.I also keep pushing myself to learn things. For instance, five years ago, I started the newsletter Halfvet, which is about digital design. It allows me to reflect on what I see and form an opinion. I always look for topics that interest me but that I don't know a lot about, so it's a way for me to learn about this topic."You also work as a guest lecturer: any advice for the next generation of creatives?JD: “As a student, I did a lot of different things, which really helped me find out what I'm good at. I studied graphic design but also worked with video and film. And that gave me a lot of different options. And if I could give one piece of advice to current students, it would be to take your time and not rush through it.&nbsp;It’s nice when you can find one focus point, one thing that really interests you and own that. It can be a specific field of interest or a tool you master. Trying a lot of different things while also having one specialisation really helps you focus your career and be visible to others.And finally, your career consists of phases, just like any creative process. So you start out as a student, get exposed to many different things, and work in other disciplines. And that’s good. Be inspired, try different things. It’s okay that in this phase of your career you don’t yet know what it’s all about. That will become apparent later. Trust the process.”&nbsp;<a href="/profile/jeroen">Check out Jeroen's TIOC page here.</a>

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Jeroen Disch has over 15+ years of experience in branding and digital design. He's worked for renowned agencies, has a deep love for typography, and is the driving force behind Halfvet, a bi-weekly newsletter about digital design and typography. A conversation about the need for play, boundaries and trust.&nbsp;

Visual Design

HEDY TJIN: THE WORLD AS A CANVAS

JEROEN DISCH: TRUST THE PROCESS

Visual Design

HEDY TJIN: THE WORLD AS A CANVAS

JEROEN DISCH: TRUST THE PROCESS

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