The Myths That Faded - How Some Projects Evolve (and Sometimes Quietly Fade)

Over the years, I’ve set myself a series of creative projects to push my skills and explore new ideas. From taking a photo every day for a year, to building a balloon sculpture a day (My Daily Balloon), to recreating a movie scene each week (Twisted Cinema), these challenges have taught me a lot about creativity, persistence, and what works — and what doesn’t. One of my more recent projects focused on myths and legends, and that’s the story I want to share today.

The plan was simple…ish. I would start with the 12 Labours of Heracles and then branch out into other myths and legends: trolls, the Loch Ness Monster, King Arthur, and more. For years, I’ve been fascinated by Greek myths — ever since I was a kid, I found their stories and heroes utterly captivating. So the Labours felt like the perfect starting point: structured, epic, and full of opportunities for balloon creativity.

And they were a joy to make. Each labour gave me a chance to push the limits of balloon sculpture while telling a story. I could see the project taking shape, and for the first time in a while, I felt completely immersed in something new.

Then came the other myths. The Salmon of Knowledge. Brownies and Boggarts. The Lambton Worm. And this is where things got…tricky.

For some reason, the energy shifted. Maybe these stories didn’t land as well with my audience. Maybe the connection that worked for Heracles’ labours didn’t translate to trolls or salmon. Maybe it was just timing. Whatever it was, engagement seemed to drop off. The project lost a little of its magic — at least from the outside.

So what did I do? Nothing. I quietly let those final myths fade. The Lambton Worm never even made it online. From everyone else’s point of view, the project was complete after the 12 Labours. Finished. Done. Dusty.

For me, though, it’s still there in the back of my mind. I put a mental bookmark at the end of Heracles’ last task. Those other myths? They’re a creative seed, waiting for the right moment. I know I’ll return to them someday — but in their own way, on their own terms.

Interestingly, the 12 Labours now exist as their own stand-alone project. They’re perfect for publicity, for talking about at events, and for inspiring others. They’ve taken on a life of their own — and in doing so, they freed me from feeling like everything had to be published or perfect.

The lesson here? Not every project needs to be fully completed in public. Sometimes, letting parts fade quietly is just as valuable as finishing them. It gives you space, perspective, and a reserve of ideas to return to when the time is right. Creativity doesn’t always follow a straight line — sometimes it meanders, takes detours, and leaves some things on the shelf. And that’s perfectly fine.

Have you ever worked on a project you loved, only to quietly let part of it fade? How did that feel for you?

Finally revealed: the Lambton Worm
Seen for the first time.

Level Up Your Balloon Skills: Why Practice Makes All the Difference in Twisting

Hey fellow balloon enthusiasts! We all know the satisfaction of creating stunning balloon decor. Whether it's elegant arches, smaller centerpieces, or eye-catching installations. We master some awesome decorator techniques, perfect the basics, and suddenly we're able to create some magic. And that's fantastic!

And that's where the misconception often lies. While there's definitely overlap in the balloon world, twisting is a different beast altogether. It's not just about knowing the basic twists (though those are crucial!). It's about developing muscle memory, building that instinctive 'feel' for the balloon, in a way that's unique to the art form.

Think of it like this: Decorating is like painting a mural. You learn the techniques, the colour mixing, and the composition. Twisting, on the other hand, is like sculpting. You're manipulating the material in three dimensions, developing the skills to create something new. It requires a different set of skills, and those skills are built through one thing and one thing only: practice.

I can't stress this enough. You can watch all the YouTube tutorials in the world (and trust me, there are some amazing ones!), but until you pick up those balloons and start twisting, you won't truly progress. It's about repetition, trial and error, and pushing yourself beyond your comfort zone.

So, how do you get started? Here are a few tips:

• Start small: Don't try to tackle complex designs right away. Master the basics first: the pinch twist, the loop twist, the tulip twist. These are the building blocks of everything else.
• Set aside dedicated practice time: Even 15-20 minutes a day can make a difference. Consistency is key.
• Don't be afraid to make mistakes! Consider them 'balloon experiments gone slightly sideways.' Everyone messes up, especially when learning something new. It's all part of the fun (and the learning).
• Find a community: Connect with other twisters online or in person. Sharing tips, asking questions, and getting feedback can be incredibly helpful.
• Have fun! Twisting should be enjoyable. If you're not having fun, you're less likely to stick with it.

I know you're busy. You have orders to fill, events to plan, and clients to impress. But trust me, investing the time in practicing your balloon twisting will pay off in the long run. It's an investment in your skills, your creativity, and your business. And if you're looking for resources to help you along the way, check out The Bow Tie Balloon Club. It's a great place to find tutorials and connect with a community of fellow twisters.

So, pick up those balloons, start twisting, and watch your skills soar! You might surprise yourself with what you can achieve.

Happy twisting!

Rob

Exploring the Environmental Weight of Helium

As I embark on this discussion about helium usage in the balloon industry, I feel it's essential to reiterate a point I've made in previous blog posts: I am predominantly a balloon twister, not a balloon decorator. While I've dabbled in balloon decor over the years, my passion and expertise lie in the art of balloon twisting.

Why is this distinction important? Well, it's crucial for you, my readers, to understand where I'm coming from as I delve into the topic of helium. You see, my journey as a balloon artist has exposed me to various techniques and materials, including helium. Yes, I've seen helium be used a lot in the past, and yes, I've considered the idea of helium-filled balloons in my creations.

However, it's precisely because of my ideas with helium that I feel compelled to share my thoughts on why balloon artists, myself included, need to reconsider their reliance on helium. But let's be clear: what follows are solely my opinions, shaped by my experiences and observations in the industry.

Join me as I explore the environmental implications and the resource scarcity surrounding helium in the realm of balloon artistry. Remember, it's not about pointing fingers or casting blame; it's about fostering awareness and initiating conversations that could lead to positive change within our community.

So, whether you're a fellow balloon artist, an enthusiast, or someone simply curious about the world of balloons, I invite you to join me on this journey of exploration and reflection. Together, let's elevate our understanding and embrace responsible practices in the wonderful world of balloon art.

One of the main reasons I dislike helium usage? It's a rare resource, and its reserves are running low. While some argue that helium used in the party industry is often recycled from other sectors, it's important to recognize that this gas is primarily mined from deep below the earth's surface. My concern lies in the perpetuation of demand: as long as helium remains in demand, customers will continue to expect its use without fully grasping its scarcity. Many are unaware of its crucial role in the medical industry and the dwindling availability of this precious resource.

Another significant reason for my aversion to helium is its cost. Over the past few years, I've witnessed a dramatic rise in helium prices, a trend echoed by numerous complaints on social media platforms. While theoretically, businesses could simply pass these rising costs onto customers, the reality is more complex. Increasing helium prices could drive customers away, as they seek more affordable options elsewhere. Balancing the economic feasibility of helium use with customer satisfaction poses a challenge for balloon artists and businesses alike.

One last issue with helium is its association with balloon releases. While many balloon artists refrain from participating in balloon releases due to their environmental impact, some still engage in this practice. Even for those who advocate against balloon releases, it's ultimately up to the customer to adhere to these guidelines. However, accidents can and do occur, resulting in unintentional releases despite the best intentions to prevent them.

When someone requests a helium-filled balloon, I respond by explaining my stance on helium usage. I make it clear that I refrain from using helium due to its status as a rare and valuable resource. I take the opportunity to discuss the environmental implications and highlight its rising cost. My aim is to encourage them to consider alternatives, such as air-filled balloons, which offer a more sustainable and cost-effective option.

As I've mentioned previously in this post, these viewpoints represent my personal opinions. I'm not advocating for an immediate cessation of helium usage. Rather, I offer insights from the perspective of someone who predominantly works with non-helium-filled balloons and recognizes the growing challenges associated with helium use.

What are your thoughts on the current and future use of helium?

An accurate depiction of how helium is mined

Shades of Satisfaction - Why Exact Matches Don't Matter (and What Does)

For those familiar with my work, I primarily specialize in the realm of balloon twisting and magic shows. My job revolves around the artistry of crafting intricate balloon sculptures that bring joy to both children and adults alike, while also performing magic shows that mesmerize audiences across a diverse spectrum of events. In addition to these, I've also ventured into the realm of balloon decor, using my skills as a twister to add various twisted elements to larger balloon displays.

When twisting animal balloons for children, I often inquire, 'What colour would you prefer?' If the response is 'blue,' my palette unveils a spectrum of blues to select from, these could include Baby Blue, Caribbean, Sea Glass, Cyan, Cornflower, Robins Egg, Deep Teal, Royal, Navy, and beyond. However, in the child's world the specific shade rarely matters as much. Instead of meticulously deliberating over which hue of blue to use, I typically opt for a shade that I have a lot of, unless the creation pertains to a recognizable character like Thomas the Tank Engine. In such cases, adherence to the character's signature shade is important, but for most youngsters, any shade of blue will make them happy.

When it comes to balloon decor and catering to adults we reveal an entirely different dynamic. Unlike children, adults have a preference for precise colours and are often unwavering in their choices. In this sphere, the ability to match their exact colour preferences becomes paramount, as meeting their expectations elevates the overall experience and ensures their satisfaction.

In sharing my perspective on this matter, I must emphasize that it reflects solely my own views and may not resonate with every customer. However, in my experience, I've come to believe that the majority of customers do not care (or know) about colour. What they care about is the feeling of control.

Before delving into further detail, it's essential to clarify that my intention isn't to imply that you, as a fellow balloon artist, lack appreciation for colour. On the contrary, I acknowledge that you likely possess a keen understanding of balloon coloration, or if not, I encourage you to explore its more.

An anecdote that recently came to my attention highlights the intriguing dynamics of colour perception in balloon decor. In this scenario, a specific colour palette was meticulously chosen for a balloon decor piece. However, upon the customer's arrival for collection, it was noted that some balloons didn't quite match the expected colour. Sensing the importance of meeting the client's expectations, the balloon artist calmly requested a brief moment to rectify the issue. Retreating to their workshop, they took a moment to gather themselves, perhaps indulging in a cup of tea. Interestingly, without altering the sculpture in any way, they returned to the customer, who, to their delight, now perceived the colours to be as intended.

I am not saying you should do this for your customers, this anecdote just highlights my point of view. The customer's primary concern wasn't solely about the colour discrepancy but rather their desire for control over the situation. By being the ones to identify the perceived fault and assertively taking charge of resolving it, the customer reclaimed a sense of authority. In this instance, they emerge as the victors, empowered by their ability to influence the outcome and ensure their satisfaction.

Frequently, I come across individuals on social media posting images of balloons accompanied by inquiries such as, 'What colour is this, please?' Initially, my instinctive response tends to be, 'Have you tried identifying it yourself? It appears to be Eucalyptus green.' However, upon reflection, I recognize that this query may stem from a lack of familiarity with where to seek such information. I firmly believe that achieving a close colour match is sufficient in most cases. Once you've identified a colour similar to the one requested, a simple acknowledgment such as 'I've found a match, and what an incredible colour you have chosen!' can go a long way in reassuring and delighting the customer.

What I've found to be effective in my experience is placing the customer in the spotlight when discussing colour choices. I strive to make them feel empowered and confident in their decisions. While gently guiding them towards colours that I believe would work well, I ensure they feel ownership over the final decision. When they ultimately choose the colours I've suggested, I make it a point to congratulate them for their excellent choice of colour palette. This approach not only fosters a positive interaction but also ensures that the customer feels valued and satisfied with their decisions.

While I do advocate for striving to achieve the closest colour matches possible for your customers, the essence of this blog post lies in alleviating unnecessary stress surrounding colour precision. It's essential to prioritize customer satisfaction and make sincere efforts to meet their expectations. However, it's equally important to recognize that, in many cases, customers may prioritize other aspects of their experience over precise colour matching.

Have you encountered any memorable success stories with colour matching?

The Distorted Truth

As a seasoned balloon artist with years of experience, I've delved into a vast array of techniques, even pioneering a few of my own. Some techniques have become my staples, while others, despite their merits, don't resonate with me. Today, I'd like to discuss one particular technique that, in my opinion, holds limited commercial value.

Before I proceed, I want to emphasize that this is solely my perspective. I acknowledge that you may have a different take, and I welcome your input. I understand that my opinion may not sit well with everyone, and I'm open to a healthy debate.

Despite its limitations, I've observed that this technique remains popular among some balloon twisters and enthusiasts. It's often discussed, admired, and even used in various settings.

so, what is the technique?

Distortion.

There, I've said it. I've gotten it off my chest. I believe that distortion has limited commercial value in the balloon industry. If you're unfamiliar with balloon distortion then it is the art of manipulating balloons into unconventional shapes and you can read more about it more on The Very Best Balloon Blog by Sue Bowler.

Allow me to explain my stance on distortion's limited commercial value through a personal anecdote.

A few years ago, I was showing some photos from a balloon art competition to a friend who is not involved in the industry. As we browsed through the intricate sculptures, I noticed her expressing disapproval of certain entries.

One particular piece that stood out to her was a sculpture of a well-known Disney character. Upon closer inspection, she pointed out the oddly shaped elements. "Well, it's not all made from balloons," she declared. I inquired about the specific parts she deemed non-balloon, and she confidently asserted that the oddly shaped components were undoubtedly pre-moulded.

Her observation highlighted a crucial aspect of distortion that, in my opinion, lessens the art of balloons. When a customer looks at my work, I want them to instantly know it is made from balloons. The last thing I want is for a customer to scrutinise my creations and dismiss them as mere pre-moulded plastic.

Don't get me wrong, as someone who understands balloons and distortion, I can appreciate the skill and creativity involved in creating distortion pieces. However, from the perspective of a customer who is unfamiliar with balloons, the perception may be quite different. When a customer looks at a distortion flower that has taken an hour to create, they may not see the skill that went into it. They may simply see a piece of plastic that resembles a flower that could have been purchased from a local wholesaler.

Another factor that contributes to the limited commercial value of distortion is its time-consuming nature. Creating a distortion piece can take significantly longer than traditional balloon twisting techniques. Unless you have a long client list of Russian oligarchs, with their vast wealth, who may be willing to pay exorbitant prices for unique and intricate distortion pieces, I really do think that distortion has no place in the current balloon industry.

After all that I have said, I want to make it clear that I am NOT saying you should abandon distortion techniques. I wholeheartedly encourage balloon artists to explore distortion and other techniques, regardless of their commercial viability. Experimentation, learning, and expanding one's artistic repertoire are essential for personal growth and artistic development. Distortion, with its unique aesthetic and challenges, can serve as a valuable tool for honing one's skills and pushing creative boundaries.

However, in my opinion, distortion's limited commercial value makes it less suitable for those seeking to rely on balloon twisting as their primary source of income. The time commitment required to create distortion pieces and the potential disconnect with the general public's perception of balloon art, can all hinder an artist's ability to generate a consistent and profitable stream of income.


Distortion, does indeed have a place within the balloon world, As balloon artists, we should embrace experimentation, learn from each other's techniques, and continue to push the boundaries of what's possible with balloons. After all, the essence of art lies not in its commercial value but in its ability to inspire, evoke emotions, and spark creativity.


What are your thoughts on balloon distortion techniques?

"Oh What A Picture"

Photographing balloons is a challenging task, but I believe it is also an essential part of our business. I come from a family of photographers, I have always understood the difficulty of capturing the beauty of balloons in a single image. I regularly spend hours at home creating and refining new balloon designs, and I would never want to do my work a disservice by taking quick, sloppy photos.

Imagine spending hours crafting a masterpiece, only to snap a quick photo of it in a cluttered and messy environment. It would be a waste of time and effort, and it would not represent the true quality of your work. The photograph is often the thing that customers will see, on social media and on your website, you need your balloons to look at their best for this reason.

That is why I take the time to carefully compose and photograph my balloon designs. I want to create images that capture the magic and wonder of balloons, and that showcase my work in the best possible light.

I am a huge fan of the idea that it doesn't matter what camera you have, you may have a smart phone or a cheap digital camera, it's not the equipment that matters, it's how you use it.

Over the years, I've developed a handful of tricks to help me capture my balloon work in the best possible way. One trick in particular is simple to apply and ensures that your photographs look their best.

Here's what to do:

1. Set up your balloon and take a photograph.
2. Leave the balloon set up and walk away.
3. Spend some time looking at the photograph, taking in everything about the scene. If possible, open the photograph on a larger screen so you can see all the details.
4. Pay attention to the positioning of the balloons, the background, and whether everything is straight. Look at every single detail. Make notes if necessary.
5. Now it is time to go back to your balloon and make the adjustments. Reposition any balloons that looked out of place, move any objects that were in the background, and clean up any popped balloons. Make all those fine adjustments.
6. Now time to retake that photo and repeat the process again. I sometimes repeat this process 4 or 5 times, each time making little adjustments. You'll find that you can't see all the little details that need changing until you view the balloon sculpture in a photograph.

I hope you found this photography tip informative and helpful. What is your favourite tip for taking great photos of balloons? Please share it in the comments below.

Unicorns and Candyfloss

I have developed some wonderful friends in the party industry, and one of my most recent friends has become one of my closest friends. For the purpose of this story, let's call her L. We met at a balloon event and bonded quickly. I could see she had an amazing talent, and I wanted to help her on her journey. L often asked me for advice and shared her worries with me, and I was more than happy to help.

One of L's early worries was that a local woman had started up a party balloon business with a very similar name to her own: Unicorns and Marshmallow Balloons, compared to L's Unicorns and Candyfloss Balloons. I could instantly see the problem: the two businesses had very similar names. I chatted to L about this and asked her a few questions about the other business. To our surprise, the businesses were somewhat different. Yes, they were both party balloon businesses, but this new competitor offered a lower-end service, whereas my friend L was supplying a very high-end service.

As time went on, a few other instances arose with L and even with some other friends. Essentially, another person or business has done something to make them angry, such as copying a balloon design or starting to advertise in the same area. In fact, this is a common complaint on social media. It's a common problem that will likely continue, unfortunately, that's the nature of business.

My advice to L and to anyone else who is facing similar competition is always the same: ignore them. Getting angry or upset about a competitor is a waste of your own precious energy. Instead, focus your energy on your own business. Why waste it on someone else?

I have made some lovely friends in the local balloon industry, but one thing I make sure to do is not follow them on social media. I don't want to see what they're up to, when and where they're working, or what balloon designs they're working on. I've always made this clear to my local balloon artiste and entertainer friends. By not following them and not seeing what they're up to, I can focus 100% on my own business and be unique.

Have you ever had to deal with competition in your business? How did you handle it? Share your tips in the comments below!