At some point in everyone’s life they will have to become re-inspired, and reconnect with what truly drives and motivates them. People grow, interests change, and if you are a social innovator, maintaining your creative edge will help to keep your social venture thriving. The ability to be mindful can come in handy when you find yourself lacking inspiration and motivation. Think about these three suggestions the next time you find yourself in need of some creative inspiration:

1. Discover YOU. As your interests and ideas change over time, it is important to always be in a constant state of learning and discovery about who you are and what you want in life. Discover and question your own brand of creativity by trying new activities, contemplating divergent ideas, meeting new people, and making time for yourself every day. When you find yourself in a comfortable rut, sometimes experiencing a little discomfort helps to invigorate and motivate you to take action towards a new and exciting path.

2. Take action NOW. As the famous psychoanalyst Carl Jung once said, "You are what you do, not what you say you’ll do". Those who truly seek change, will do whatever it takes. Find out what it takes, and go do it! You don’t have to get it right the first time, or second. You don’t even have to finish right away. What’s important is that you start. Feeling insecure? Talk to like-minded people to gain support or enlist a trusted mentor to help your confidence and get advice. Feeling overwhelmed? Carry a pen and notebook with you to record thoughts or your mobile phone, most basic ones have note pad apps so no excuses! It is vital and a master tool to note anywhere and anytime you feel inspired. Above all, don’t be afraid of where this may take you, as there is always the opportunity to learn something new.

3. Make sure it’s FUN! If you are going to set out to become inspired, it’s definitely going to be more challenging if you don’t plan to have fun along the way. Part of re-discovering what motivates you, is doing the things that you are passionate about. Spending time doing the things you enjoy doesn’t have to be frivolous, hobbies can strengthen skills and create new opportunities for learning and adventure. It’s up to you to take the plunge!


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Creative fuel | Awareness
   

Stand firm and fiery in your beliefs, trusting that everything that is has the power to change minds and concepts – yours and the world’s as the future it’s written on. When your life plans swoop you into a path unrecognised by your inexperience; it will carry you over to where you should be, carving out the intrinsic pieces designed to be your ultimate purpose. It may take some time to find yourself in the chaos but when you eventually do, it will always make sense.

Rendani Nemakhavani has an innate talent that doesn’t shout for recognition. Instead, it draws you close to pay attention and admire its sugary murmur. She shows off and reveals her remarkable insight of her world and how peculiar life really is and yet so simple enough to live. Talent is uneducated, and it takes listening close enough to not ignore the silent deep confessions of the heart to know what’s true. She eavesdrops on all her senses and waits to be inspired and then explores her creative senses, treading carefully in its revelations.

I spent P-hive Minutes with Rendani Nemakhavani feeling encouraged to embrace the future and its prospects by living in the present and taking life experiences as they come.

How would you describe your childhood? Were you always attracted to the arts?

My childhood was great but it had its awkward moments as most childhoods do –or so I think. I can’t call my passion for illustrating an as attraction to the arts, it’s how I’ve always been. I’ve always been creative. My whole being has been art. This is my purpose and I’ve been chosen to do this, I wouldn’t have any other way.

Rewind back to how you were introduced to taking up a career as an illustrator and graphic designer. Has it always been part of the plan?

I didn't have clarity as to what graphic design was or that it existed. I didn’t know I could do this for the rest of my life. In my last year of high school, I did research on careers I could do and be part of the creative industries. I enrolled at the University of Johannesburg for the Graphic Design course and the way graphic design was explained seemed simple enough but I wasn't very good at drawing. I avoided participating in any free-hand drawing classes but to my disappointment, that’s exactly what happened. I got through it and in my final year, I found my style. There wasn't a grand plan; I just didn't want to end up in a 9 to 5 job that would force me to have a solid routine. I'm terrible at following a routine.

Product design is also one of your interests, such as furniture and textile designing. How are those plans coming along?

Yes, product design is what I’d like to focus on in the near future. Those plans are under wraps right now so I can’t say much about them. Keep an ear to the ground.

What’s the idea behind ‘JoburgMyHomeburg’? What sparked it and what was your initial aim and the direction you wanted to take with it?

The idea behind ‘JoburgMyHomeburg’ is my love for the city. It's my personal narrative of how I move around and interact with people and the activities within it. Being a taxi commuter sparked the idea. I started taking photos on my iPod and the rest was magic really. I didn’t have a particular direction when I started working on the idea because I felt as though if I had planned everything in detail, I would only be limiting myself. So I allowed the idea to flow when everything works together.

You were part of a successful collaboration with other talented artists in the ‘30 Days and a City’ exhibition in 2014; what did you take away from the experience and do you plan on working on more collaborations in the near future?

As the initiator and curator of 30 Days and a City, the project was an enormous learning curve for me and the artists that were part of it. We had two exhibitions; the first was launched online in 2014 and thereafter we collaborated with Studio X Johannesburg and had a tangible exhibition where all the featured artists showcased their work. The results were amazing! All the work submitted by the participants was better than what I had expected it to be. This is definitely a project that will continue in the future.

What was most interesting about ‘30 Days and a City’?

Everything about it was exciting! This was a dream coming to fruition and I was doing what I love most. Even with all the stress, preparations and admin that had to be done, it was fulfilling. Learning from first-hand experience is always worthwhile.

How do you manage to remain level-headed and focused when you work? Do you ever feel pressured to always produce great artwork?

I don't allow myself to succumb to the pressures of the world. I know what I want and how I want it done, so I always work at my own pace. It's the only way that I can get things done and the way they should be done. The only pressure I feel is the pressure that I put on myself. I always aspire to create a better version of my previous creations and of myself.

How do you deal with the attention you’ve been receiving? Do you ever feel overwhelmed by it?

It can get overwhelming because I tend to be withdrawn. My interactions are somewhat selective and maybe it's an energy thing – but I do enjoy meeting new people. I may come across as strange at first encounter and I'll admit to being socially awkward at times. I try by all means to not let the attention get to my head but I do enjoy it, I feel appreciated.

Outside of your work as an illustrator and graphic designer; what else are you involved in? How does it contribute to your success?

I'm involved in my life and everything I’m doing! I don't always get to do the things that I want to do that much anymore; like hangout and spend time with my family. So whenever I can get the chance, I get to it. These are the people who created a part of who I am and witnessing their happiness contributes immensely to my success.

What do you find most challenging about being an illustrator? How do you work through the difficulties?

When I create the work, there’s nothing particularly challenging in getting the work out and finding the appropriate platforms to present the finished work. Inventing various methods to produce work that isn't repetitive is what I find to be a challenge, but I work through it. I continue exploring myself and the environments I find myself in because I always aspire to create work that carries a whiff of novelty.

Are there any creatives you’d like to work with on collaborations? What projects would you like to work on?

I could name them all, I really would but there are so many people I’d like work with. I have this dream that needs fulfilling and it involves exploring Africa in order for it to happen. I want to work with amazing African artists because there’s so much talent here and there’s still so much to do and create within the industry. I’d also love to collaborate with other various artists outside of Africa; brands that are especially depend on sub-cultures to stay relevant.

How do you think you’re changing people’s minds and concepts about life experiences through your work? What do you want to contribute to the arts?

I think that the way that I see the world assists in contributing to conversations about the parts of life that some people – and by some people I mean elite people – don't get to see. I also don't think of it as a matter of changing people’s minds because it's more of me building an awareness of what’s going on. The world isn't black and white because there‘s always activity in the grey areas and that's what I'm bringing into the light. I am contributing real life events to the arts. I'm contributing myself to the arts.

Was there ever a time when you wanted to quit your work and pursue another career? What changed your mind otherwise?

Yes of course. I sat down and weighed out the advantages and disadvantages of what I wanted to do versus what I was able to do at that moment. In the position I was in; a vile voice would tend to sneak up on me and make me doubt myself. But because I know that I can't spend the rest of my life building someone else's dream, I can't give up on the reality of my own. Giving up is never an option because I come from a clan of hard workers and maximum achievers. I couldn't be the one who breaks the chain.

Apart from being an illustrator; what other career prospects would you like to pursue?

I'm working towards being a lecturer. I really want to teach design and illustration. There's so much I wish I had been introduced to when I was in varsity that I only came across after I graduated. I'm also going into product designing, as I believe in evolving in my craft. There’s no staggering for me from here onwards. #spiritualawakening #life #selfless #now #presence 

As an illustrator and graphic designer, what is art to you?

Art is life. As long as something is created, it becomes art. It may not always be pretty to look at, but it does exist.When you are encouraged to be what you’ve always wanted to become, you take on a refreshing definition of being your true self. This ownership is life-changing and worthwhile and no one can take it from you. Do what you’ve always looked forward to experiencing, holding nothing back from all possibilities. You are who you are for a reason; denying your purpose will only kill your spirit and that helps no one. Embrace yourself and it’ll be easy to accept and love everything that is a part of you.

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Sithembiso Promise Xaba | Words That Start With P | Illustrators 

Ben O'Brien (aka Ben the Illustrator), a Cornwall based illustrator, predominantly creating colourful ethereal landscapes for advertising and editorial. After graduating from an animation BA around 10 years ago, I went on to follow a dream and work in music videos, animating and directing for Skint Records, Sony Japan and Domino Records. I then became creative director of a small design/animation agency in London, where I got to learn a lot about different media and creative markets. I was also always doing illustration jobs on the side, then in early 2005 I had an epiphany and realised it was the illustration jobs that I really enjoyed, so I left my position in the agency and went solo, became 'Ben the Illustrator'. I now work alongside my wife Fi, who is often the creative mind (and usually the business mind) in a lot of our projects and products.

www.bentheillustrator.com - my regular site, mostly commercial illustration work

www.speakerdog.com - My illustrated character, more of an 'art' project, we take Speakerdog out for exhibitions and produce a variety of products

www.buybentheillustrator.com - Our online shop, posters, prints and plush toys a plenty

When did you first decide to become a graphic designer/ illustrator?

Drawing is all I've ever really done, since childhood, I always knew I wanted to be creative or some kind of 'artist' in life. At school it was often my only enjoyment, although I also have a great love for mathematics!?! I was studying at Central St Martins in the mid-90s when music videos where becoming incredibly exciting, with Spike Jonze, Michel Gondry, Hammer and Tongs all coming to light. So I went into animation, while always continuing to create a lot of illustrations. My career led me into animation quite heavily, music videos, kids tv and later, online animation projects. Until a few years ago I decided that my strongest skills were simply in illustration, and since then it's all been super!

Was there a pivotal moment?

In my life, there's been a few... Aged 6 or 7, Mr.Stevens history class, we were all told to draw a picture of any imagined scene from history, I started work on a piece involving pirates storming a beach, I remember being so keen to get the waves right and trees on the beach and hills in the distance. Afterwards my drawing became some kind of junior school masterpiece! That was when I decided that drawing was 'my thing'. Aged 11, my folks (who have always been very supportive) bought me a book about the work of Brian Cook, a fantastic British bookcover artist from the 1940s who used wild colours to paint scenes from countryside life, that book remains one of my favourites (it's on a shelf right behind me right now). Aged 16, my school art teacher (Mr John Dutfield, to whom I owe a lot), took us on a trip to The Tate Gallery (Tate Britain as it is now, before the Modern opened) where I saw 'Whaam!' by Roy Lichtenstein face-to-face for the first time and a room filled with four huge Gilbert & George pieces. I was overwhelmed by all, by the colours and the striking imagery, art had never felt so powerful. The most pivotal moment since was the day I realised I could make a living out of illustration work and it didn't have to be small jobs on the side of my position in a design/animation agency. I walked out of the studio, went home, sat on the sofa for two days drinking tea, feeling enlightened that I could actually pay the rent by doing illustration.

Who or what inspires you?

There are literally millions of artists... Brian Cook for his use of colour; Keith Haring for his boldness; most of the late 70s and early eighties graffiti artists from NYC (the Wild Style/Style Wars artists, especially Doze, Lee, Dondi, Seen, Skeme) for their pure guts and skill; Takeshi Murakami for his enthusiasm and ideas; other current artists and illustrators that inspire me include Paolo Arriano, Sauerkids, Phibs, Noferin, Jeff Soto, Airside, Thomas Campbell (and all those beautiful losers) and Alejandro Paul. Also, special mention for Harvey Ball, who designed the smiley face! I also find a lot of inspiration in the outside world, my wife and I like to walk a lot, take ourselves off on dreamy adventures! And finally music, lots and lots of music, The Polyphonic Spree, The Beatles, Adem, The Beastie Boys, I could list for hours!

Where does your training come from? Self-taught? College/Art School?

I loved art class at school, then I studied animation at college, but I think my illustration training is more self-taught. I developed my drawing style from simply sketching for years. I taught myself how to use Adobe Illustrator, which is now priceless for me in what I do.

How do you keep "fresh" within your industry?

I always keep interested in what's going on, what other illustrators are up to, I love sites like the Little Chimps Society for finding new illustrators, but I think my work keeps fresh simply because I'm always striving to do something better than I've done before. I really don't want to get too stuck in a rut or bored of what I do. Hopefully creating exciting work from the heart will keep things fresh and appealing to the industry.

What are some of your current projects?

I've a new exhibition opening up next week with my character Speakerdog, that's been keeping us busy. It's half new artwork by me, printed nice and big and half new plush toys made by Fi. For the exhibition we've also produced a bunch of new posters in our 'World Lovin Posters' range, that's one of our favourites things at the moments, producing posters, we use an eco printers, so they're all printed using vegetable inks on FSC certified paper, hence the 'World Lovin' Posters'. I've also been involved in a project for BBC and Fallon, questioning what culture is, it's been a great project, now launching online to coincide with the new series of The Culture Show. I'm also working on a couple of things for Computer Arts, who are always a pleasure to be involved with, such a great bunch of people producing a strong design magazine, and really dedicated to giving novices and professionals alike good worthwhile information and tutorials.

Which of your projects are you the most proud of? And why?

One of my favourite regular clients are Smart Cars, who I've been working with for a couple of years now, on an 'alternative ad campaign' throughout Europe. Last year I illustrated a landscape which they had printed wrapped all over a new Smart Car, for a big show in San Jose, California. Seeing my work taken onto that kind of medium is quite a thrill. I was also very proud when I was asked to do some work for design studio extrordinaires, Airside. I had been a huge fan of their work for some time, then I got an email from them asking if I'd come on board freelance and do some illustration work for them, it was a dream come true. When I finished the first piece for them and got the ok from them and the client, I couldn't quite put into words the pride, something I'd never really felt before.

Are there any areas, techniques, mediums, projects in your field that you have yet to try?

Oil paint! I'd love to learn how to use oil paint, that's a real craft, a beautiful medium, one day I would love to take some time off and teach myself, maybe take my illustration left-field a little and craft my style with a brush in oils rather than using a Wacom in Illustrator. Saying that, I'm still today discovering new things I can do in Illustrator, it's such a deep program. As for projects, I would ove to do some bookcovers, like the great Brian Cook. Or perhaps go back into animation, but only as a background designer work with a team of really great animators, that would be very exciting.

Any advice to the novice designer/ illustrator?

Work hard, keep observing, keep exciting, try everything. A lot of young creatives pigeonhole themselves too early and don't have a go and at all the marvellous aspects of design, from type to portraits, products to animation, just indulge yourself in the wonderful world of design. I hear from a lot of students, which is always a pleasure, and I always see a lot of enthusiasm, however I think colleges/mentors/employers need to ensure that it can be a hell of a struggle to make it in the industry, not everyone graduates and gets that job at the design agency or gets picked up by a top agent. We all have to make sacrifices and really push to get somewhere, it's not easy. Saying that, it's worth the ride!

What makes a designed piece or illustration successful?

If it's commercial, for advertising or editorial etc, then the key is whether or not it does it's job, does it sell the product, or tell the story? If it doesn't then your client will tell you so. Design and illustration, although sometimes are simply just to be enjoyed, they frequently serve a purpose. when working on a piece you always have to keep in mind why you're doing it. It doesn't necessarily have to be colourful, or strong imagery, it doesn't have to appeal to everybody, but it needs to be perfect for it's purpose, whether it's to stand in an exhibition and excite people, or to grab people's attention regarding a serious cause or to sit quietly alongside a small article in print to back up a story. Design is functional, enjoy letting it function, let it function enjoyably.

What do you do to keep yourself motivated and avoid burn-out?

It seems to come quite easy to me, I enjoy illustration so much, I feel blessed to be able to spend my days drawing and Fi and I love thinking up new ideas for projects and products, our heart and soul is focused on creating new things, we excite ourselves with the possibilities. I'm also incredibly critical of my own work, and often hide away older work which I no longer enjoy, so I've never had to stick in the same area for too long. The design and illustration world is fairly fast-paced and exciting, you just cruise along naturally with it and you'll be fine.

Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

Forest ranger! As a teenager I worked voluntarily with my local forestry rangers and tree-surgeons and loved it, if I hadn't followed this path I'd go back to making fences around conservation areas, sawing down pine trees to preserve the heathers and building big steps out of tree-trunks to prevent erosion.

And finally, what is the best thing on prime-time TV right now?

Anything with Hugh Fearnley Whittingstall growing vegetables and treating farm animals with a little love before he lights the fire and whips up a banquet of goodness.

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Design Inspiration | Illustrators 

Born in 1987, Libode, Eastern Cape Lwandiso Njara came from humble beginnings and made some great of his life. in 2009 He created a sculpture that was sold to the Presidency in less than a week after he had been named the runner-up in this year's PPC Young Concrete Sculptor Awards.

A thrilled Lwandiso Njara says that he has very pleased with the recognition and that it will stand him in good stead on his way to establish a name for himself as an artist.

As the runner-up of the PPC Young Concrete Sculptor Awards, Lwandiso received prize money of R25 000 with his sculpture of nine Metro bus drivers on a journey in aid of a wage increase.

"The sculpture symbolises the struggles of the working man frustrated with his condition and the violence, intimidation and disruption that arises from it," says Lwandiso, who hails from the Libode Village near Umtata in the Eastern Cape. He says that he started drawing at a young age and that after finishing school decided to follow his passion of becoming an artist.

In their report of this year's work, the judges say the seemingly precarious balance of Lwandiso's work and the awkward positioning of the people are disturbing elements that set the viewer on edge. They also describe it as a technically well-executed sculpture with an interesting combination of media.

The PPC Young Concrete Sculptor Awards has been on the art calendar for the past 18 years and has become one of South Africa's most prestigious art competitions. The competition invites young artists to submit sculptures using concrete as the primary medium and is open to persons with or without formal training in sculpting.

The judges included, among others, Kay Potts, a professional sculptor from the USA who resides and works in South Africa; Elfriede Dreyer, associate professor in Fine Arts at the University of Pretoria; and TUT's Renier le Roux, a full-time senior technical assistant at the Department of Fine and Applied Arts and award-winning sculptor in his own right.


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