Where Do You Start with Art? Part 1

 A collection of ethnic textiles might be where you start.

One of the creative skills I will be taking my Southwest School of Art class through is that of making a study as a way to develop ideas and images for a series of art quilts. As we work though these ideas (the course meets weekly on Mondays from February 4- March 25) we'll be building a stash of ideas and information focused on one theme or topic. This is often the way I work on a piece of art for a submission when the theme is one that I am considering for the first time.

These notes were written by my Missing Alphabet colleague Dr. Cynthia Herbert, and were originally developed for our teacher training program in Dallas for our afterschool program (part of Big Thought). I've adapted them for artists, with her permission, and will share them here in a series of posts his week.

DOING A STUDY

A STUDY is a sustained investigation of a single concept, thing, theme or idea. In a study, a child explores many, many different viewpoint, contexts and materials. The Sensory Alphabet is used as nine “lenses” through which to view the object of the study. After many explorations, the child expresses a personal definition or viewpoint through one or more original forms.

BRAIN RESEARCH SAYS:

Current brain research and cognitive psychology tells us that human beings can only learn very low-level tasks and ideas through drill and rote memorization. For learning to be faster, longer lasting and of a higher order, each of us must “construct” our own personally meaningful definitions. Although we will all have common notions, the depth and variety of our experiences will determine the depth and dimensionality of our understanding.

For any one of us to be able to use a concept to solve problems, make decisions, express ourselves, and enrich our quality of life, we need a well-elaborated mental representation—a concept that looks very like a complex spider web of interconnected experiences and ideas. The STUDY makes the development and elaboration of mental representations an overt process that leads to “deep understanding” and “transference,” what has been called the “so what?” of learning. This is a valuable way to start an art project or any project that needs more than superficial responses.  

FORMAT: A study is divided into three parts: Priming, Invention and Reflection. Today, I'll list the kinds of activities that are part of priming. Some of these are more appropriate than others for the kind of thinking that art-making is about, but since we do all of these with kids in our classes, I'm listing them all!

PRIMING: Priming activities are intended to prepare each mind to be ready to construct (create)  his or her own definition of the subject being studied. Here are the first two ways to PRIME the mind (more coming next post).

Connect.

Connect the subject with your former experiences, current feelings or opinions and curiosity. Write, journal or search through your collections, stash and memories to make a connection to the theme. IF you can't find a connection, this may not be a good topic for your art -- but most of us, give our lovely capacity for experience, have many connections to much of the world!

Observe and Collect.

Make direct observations and collections in regard to the subject. Focus observations using the Sensory Alphabet and physical "lookers"  to make notes or drawings. Sometimes new ideas for note taking are employed. Take photos, videos or recordings to project/replay and share and use all your senses.

Pina, Extraordinary

Run, don't walk to Netflix to see Pina by Wim Wenders.

Working from Limitations

 Sometimes what makes us powerful are our very limitations. I'm fully devoted to the notion that we find our best and strongest work by working from our strengths -- that is, after all what my book The Missing Alphabet is all about--  but defining one's strengths takes astute and deep consideration. Sometimes what looks like a weakness or disability to a parent, a teacher, the culture at large, or even to oneself can become, with a change of perspective, our greatest strength.

This article in the New York Times about artist Chuck Close makes the point.

“I wanted people to notice me, not that I couldn’t remember their faces or add or subtract,” Close said, referring to the learning and neurological disabilities that set him apart from his classmates when he was growing up in Monroe, Wash.

A terrible writer and test-taker, Mr. Close used art to make it through school. Instead of handing in a paper, he told the children, “I made a 20-foot-long mural of the Lewis and Clark trail.”

What are you calling a limitation that could be a defining element of your work?

All good and fine direction is defined by the "rules" that limit its scope. We don't (often or successfully) try to include every trick pony in the stable in one piece of art. Or use every color in equal proportions.

Some limitations need addressing, maybe a technical skill we need to improve, or our eye for a strong composition. But some things that I hear artists bemoaning on line --- their age, that they aren't good at drawing, that they only have a couple of hours in the week to make art-- might be just the "rules" that can help define their work. For example, in my case, I don't draw very well, I am getting better, but sketching is probably never going to be my FAVORITE art activity, and certainly understanding and mastering line and value, as good sketch artists do, is not something I am cut out to do.

I long ago figured out that I could cut shapes and forms far better than I could draw them (go figure, its just the way my brain works). I had to figure that out in order to proceed in making my work have the narrative content I wanted to share.  I don't compare my weakness in drawing to Close's neurological inability to recognize faces, but I do count finding an approach to art that was a work-around one that is a great gift and strength in my work.

Some limitations, like Close's, might even turn out to be the great stand-out quality in our work.

For more about Close, listen to this podcast from PBS.

Waving in the New Year

Intentions:

1. Keep my eyes on the prize.

2. Breathe deeply at every stoplight.

3. Watch more birds and less TV.

4. Connect, adventure, create, align and imagine.

Sweet Sounds of Inspiration

WHAT DO YOU NEED TO CREATE ART?

Here's one way to answer that question:

Looking Beyond the Art Village Where We Live

We fiber artists live in a very rich and connected community. And sometimes (often, actually) it's important to travel outside to see what other "countries" in this universe of art are up to. The valuable messages may come in the form of technical tips, some new materials that could enrich your own work, or in broader messages about the business and/or creative trajectory of being an artist. 

This great podcast showed up on my phone this morning on my commute into Palo Alto College for more bookmaking with the Centeral American teachers. If the copy and link don't show up for you, you can find the page link to the Design Observer site here. Louise Fili is a wonderful typographer, designer and inspiration to those of us who like to include text and lettering in our work. This interview is a wonderful reminder about the power of timing, about paying attention to opportunities and the importance of  taking what my coach Lesley Riley calls "imperfect action."

"AUDIO DESIGN MATTERS 2009-2012

Louise Fili

Louise Fili designs specialty food packaging and restaurant identities, and is pazza for tins that speak Italian.  A graduate of Skidmore College, Louise designed books at Alfred A. Knopf in the mid 70's, worked for Herb Lubalin from 1976-78 and then joined Random House as Pantheon’s art director in 1978. In her eleven-year tenure as art director of Pantheon Books she reinvented book jacket design. Louise’s passion for 1930s Italian and French poster design migrated from her book covers to her restaurant design. You can read more about Louise in the  introduction to her most recent book, Elegantissima. 

Design Workshop with Central American Teachers

Today, (a couple of days this and next week) I'm working at Palo Alto College in San Antonio with 20 Central American and Caribbean teachers -- part of an international education program that I have been part of for the past 10 years. These teachers (and those who have been here over the years) come to San Antonio for the equivalent of an education degree from rural "underserved" communities in El Salvador, Honduras, Guatemala, Nicaragua and Dominican Republic for 6 month or 1 year terms of study. They return to share their knowledge in their schools, communities and nations. This program, funded by USAID and administered by an international expert staff at Georgetown University (and our own Alamo Colleges International Programs) is one reason I don't mind paying taxes. 

These teachers who work under conditions that most U.S. teachers would find impossible (50-60 kids in a SMALL classroom, few if any books and supplies, often limited electricity and no running water, in communities with high incidence of absentee fathers, illiteracy and poor nutrition. They work long hours for not much pay -- many of them work second jobs to make enough to support their families.

Today I am facilitating a design workshop to help them find their strongest illustration style for personal stories that will become the first books in their classroom and school libraries of handmade books. These are simple products, made with inexpensive and recycled materials, and the teachers return home to teach their students and parents how to make the books based on their own experiences. I LOVE these books and have a great collection of art from throughout the past years -- I'll share some favorites over the next few days.

Paying Attention

The just-past post covered a lot of territory. As I take on this new expanded adventure of art out into the world, it's a good idea to think about my story, and what I bring to the table. (Perhaps you should do so, too! Post a link in the comments to your blog about your creative path and we'll see where this takes us...)

Where does my story as an artist begin? With paying attention.

Paying attention, this skill, like any other, needs focus, practice and to be honored within the environment (culture) of its practice. Fortunately from my childhood, I had mentors, parents and teachers who gave me that skill and fostered it's development.

First, a family who loved nature and beauty: Birdwatching was the usual activity on any trip; a geology pick was always in the back seat; composition books for note-taking are STILL a Christmas stocking standard. We looked at plants and creeks on Sunday afternoon drives as we searched for farmland (soon thereafter purchased with the GI Bill). My chemist father shared his love of observation and my intellegent stay-at-home mom nurtured beauty in the everyday life; both of them honored the skill of paying attention and modeled it to us four.

The concepts in The Missing Alphabet speak to my second set of lessons in paying attention. When 12, I was enrolled in a Children's Theatre at Baylor University, part of the department of drama headed by legendary regional director Paul Baker (he also headed the Dallas Theatre and worked with Frank Lloyd Wright on the design of that forward-thinking structure on Turtle Creek). His wife Kitty, and the young woman who became my mentor for decades, Jearnine Wagner, had started a children's program based on the same principles and ideas that were at the heart of the college drama program. These were: that each of us is creative and has a unique story to tell in our art and that all art/perception and creative thinking can be discerned through a vocabulary of form: line, color, shape, movement, light, rhythm, space, sound and texture. These perceptual/sensory tools could be harnessed by the artist (no matter his or her genre or field) as tools for telling that unique story. These, called by Baker "the elements of form," have moved into our missing alphabet book as "the sensory alphabet," a change of language that helps us explain to parents and educators that these are not just "art" words.

I've been able to take these perceptual and creative tools into my life in so many ways, I use them daily as "screens" for my thinking and inventing and imagination. They are the tools that I teach to the participants in many of my workshops, retreats and courses. I find them invaluable in defining and critiquing, in helping other artists find their own strong suits, their own voices and their best ways of working, simply by asking them to pay attention to these perceptual elements in their lives and work. The Missing Alphabet, while its a book targeted at parents, is still a useful resource for emerging artists who would like some specific information about the sensory alphabet, as well as lots of activity ideas that have no expriration date according to age!

Art school introduced me to another set of tools for paying attention, principally, that of drawing. I am not a natural "drawer." In fact, as a young woman (and even in art school) I pretty much decided I could never be a "real' artist because my drawings in junior high and high school never measured up to the cpaturing of reality that I expected as artist should be able to achieve. And though my college drawing classes at Trinity University were dully attended, I still never really fell in love with drawing until much later -- like a couple of years ago.

Paired with the sensory alphabet, some simple ways to approach the blank page have helped  me to get over my fear of drawing and to actually treasure the time I can carve out to pay attention through drawing.* I have a new group of "drawing" mentors, in real life, my friend and artist Sarah Jones, in the digital and print world, the work and writing of John Berger . 

That's why I am looking forward to the next Fearless Sketching workshop here at El Cielo. It's scheduled for April 12-14, costs $180. There is still room for a couple more participants, so if you are interested, send me a note through the comments or on the contact form on the sidebar to the right. 

Pulling Me all Together

Perhaps you have this problem, too. Lots of different people living under one head (or in one).

I've been challenged to tell the story of how and what I do that ties it all together. This book, The Missing Alphabet, my teaching (here and there), art work (big and little), my work with Central American teachers...the occassional foray into designing kid's programs, training teachers at Big Thought in our New World Kids programs or volunteer work in pr for the upcoming SDA conference. (Whew!) What is the strand -- well, perhaps multifiliment cable is a better image -- that ties it all together?

At the core of what I do is a deep and well-grounded interest in the creative process, an interest, and profession, that has 50 years of history behind it. I was one of those lucky kids who found a creative path at a young age, nurtured by a very, at the time, radical children's theatre program. That was not only integrated racially, but integrated creatively. And this in Waco, Texas, go figure. 

What those early experiences in inventing, presenting, working long hours, delving into personal and collaborative visions did was to give me a grounding in both the how and the what of creative work. As a result of that children's theatre I had experiences as a teen, young woman and young professional that took me from, at age 18, running a visiting  children's program for 20,000 participants at HemisFair '68 to the Year of the Child with Erik and Joan Erickson (PS she was also a weaver) at the Smithsonian Institute, to a fulltime model school that won international accolades and a Ford Foundation designation of model educaitonal program, to the Kennedy Center for exhibit and program design, to Cleveland in the era of serious racial disharmony to teach in inner city neighborhoods, from there to Neiman-Marcus with window designs and products that showed up in the Christmas catalog. (again, whew) I am so grateful for such a rich and complicated creative path.

The new book for parents, The Missing Alphabet, is ONE summary of thaat informed inquiry that started when I was twelve and developed through that career in first in arts education, then in journalism, museum exhibit design, writing and art making. This book is what's come of my experiences and those of my co-authors (with similar and diverging paths) as written for parents who want their children to meet the challenge of 21st Century thinking and literacy sklls.

Other summaries have developed into courses I teach to adults, such as Creative Jumpstart, Finding Your Path as an Artist, and the Artist's Journey. But the philosophy and approach informs all of the workshops and retreats that I teach -- even those that are somewhat technique oriented. I always try to move beyond or below or above or inside of a technique or tool, teaching it as a means for someone to find as the ideal expression for her or his story. At the core of my teaching is a deep and abiding belief in the power of individual story and expression. I do firmly believe that each person on this earth has a unique, powerful and absolutely unrepeatable experience to express in some or another medium, be it art, science, music, research, homemaking, poetry or any other field you can come up with. And I make art myself because I am passionately drawn to figuring out what it is I have to say -- and, besides, how could I have any credibility in this world of wonderful artists I find myself in, if I didn't make my own statements?

I've had many ways to express my story and my creativity in my life, in my art, in my relationships, in my teaching, writing and designing. I love having the opportunity to open the doors for other's creative work though example and through nurturing connection and conversation. The personal values I have selected as guiding stars for the next stage of my creative life are: CREATIVITY, CONNECTION (CONVERSATION), ADVENTURE, IMAGINATION, and ALIGNMENT

Post Script: And speaking of conversation between the this and that of our lives, here is another wonderful piece from David Whyte:

What Stories are Just Old Stories?

In an effort to make my story bolder, bigger and more adventurous, I recently signed up with a coach (I'll share more about that as the process processes!) and, as a result, am doing some of that deep-digging internal work that is both exhilerating and terrifying at the same time. Like trying to answer the question: What do I really want in my creative life? And, what do I need (to have, to do, to think about, to change) to make that happen?

And, of course, as often happens when one is paying attention to one thing or another, two smart amazing people whose work I follow came through with related posts. 

First, poet, creative consultant and teacher David Whyte wrote a wonderful "letter from home," and in it he describes this aha moment:

One of the most beautifully disturbing questions we can ask, is whether a given story we tell about our lives is actually true, and whether the opinions we go over every day have any foundation or are things we repeat to ourselves simply so that we will continue to play the game. It can be quite disorienting to find that a story we have relied on - is not only not true - it actually never was true. Not now not ever. There is another form of obsolescence that can fray at the cocoon we have spun about ourselves, that is, the story was true at one time, and for an extended period; the story was even true and good to us, but now it is no longer true and no longer of any benefit, in fact our continued retelling of it simply imprisons us. We are used to the prison however, we have indeed fitted cushions and armchairs and made it comfortable and we have locked the door from the inside.

The imprisoning story I identified by the time the entree was served was one I had told myself for a long time. “In order to write I need peace and quiet and an undisturbed place far from others or the possibility of being disturbed. I knew however, that if I wanted to enter the next creative stage, something had to change; I simply did not have enough free space between traveling, speaking and being a good father and husband to write what I wanted to write. The key in the lock turned surprisingly easy, I simply said to myself, “What if I acted as if it wasn’t true any more, what if it had been true at one time, but now at this stage in the apprenticeship I didn’t need that kind of insulation anymore, what if I could write anywhere and at any time?” One of the interesting mercies of this kind of questioning is that it is hard to lose by asking: if the story is still true, we will soon find out and can go back to telling it. If is not we have turned the key, worked the hinges again and walked out into the clear air again with a simple swing of the door.

Read the rest of the story here to find out what happened when David Whyte took action with that insight. And join me in asking what are just old stories I am telling myself?

Also in my inbox, a newsletter from Lisa Call, another of my on-line gurus. A systems analyst by day and artist in heart and soul, Lisa has a work ethic I admire, and such complex and organized systems for her own creative goal setting that they make my little improvisational soul quiver. I don't even aspire to such a level of organization, but I do really find her inspiring and motivating. She says:

I just received an email from my coach addressed to "Big Rock Lisa". * What a great reminder to stay focused.  I love my coach! I've gone through periods of trying to hold it all together without the support of a paid coach or mentor, and I can do it.  But it's a lot easier with one. Sometimes it's good to get a neutral party to have a look at my ideas, plans and actions as they often see things that those closer to me do not.  It was my coach that said "you are always busy but you don't seem to get the most important things done".  Well duh! And now I focus on the big rocks first.  Like my studio.  I'm spending more time making art this month - with a consistent and sustainable pace - than I have in a long time.  Woohoo!

To come clean about my coaching commitment, I've signed up with Lesley Riley and even after just a week o work on visioning my goals and how to go about them, the universe is responding in kind. I decided to take this step of hiring her as my coach after seeing an amazing panel discussion that Lesley put together (and only half of it at that) at the International Quilt Festival. She invited a group of successful artists to talk about their work, approaches and how they capitalized on their strengths and talent to get where they are. Lesley has online courses and does one-on-one coaching with her Artist Success programs -- check it out!

Three More Workshops, and That's It for 2013

Artist's Journey, iPad for Artists and Fearless Sketching

Wouldn't one of these upcoming El Cielo Workshop/Retreats make a wonderful gift? If no one you know has asked what you really want, perhaps your inner artist needs a restoration, recreation and renewal gift just from you! 

If you have meant to make it out here to the Hill Country studio before, now's the time to make the commitment --I've decided to take a sabbatical from the El Cielo workshops from May 2013 through April 2014 in order to spend more time in the studio, and to consider other ways to teach and share my approaches to creativity. I will be teaching online, teaching private workshops, and I also anticipate teaching at the International Quilt Festival in Houston in 2013, but for this year I won't be an instructor at the Southwest School of Art or holding any other workshops here at El Cielo after these next three.

Early spring (and that often starts here in mid-February!) is a wonderful time out here on the ridge, so check your calendar and shoot me an email if you are interested.

Limited spaces, as usual, are available, as each of these special events is designed for a maximum of seven participants. The fee is $180, but I am offereing a discount for all who send a deposit before the year is out.

Out of town participants are welcome to book an extra day or two of private work and consultation for an additional fee. As usual, first come, first choice on accommodations -- there are three private bedrooms ($30 for both nights) and a couple of comfy couches (free) as well as the sleeping porch (also free) and a cot-sized bed and private bath in the studio. The meals are great, the company inspiring and the views spectacular... and the hot tub is ready to go!
 

Artist's Journey/Artist's Journal

How do you make your time and space as an artist work for you? Where are you on your creative path? What do you want more of and what do you need less of? This retreat offers a beginning-of-the-year chance to look at and share your creative accomplishments, make plans for the future and put in place some new tools for reflection, renewal and re-creation of your artist self. The workshop is a combination of journaling with fun mixed media materials, using your own photos for art inspiration, and planning ahead for 2013. All supplies except for a sketchbook or journal are included and you'll take home a large calendar filled with artist dates and your own plans for the year.

Ipad for Artists

If you've recently acquired an iPad, this workshop will help you take it into your world of creativity and art.I've explored dozens of sketching tools, art journaling, collage and photo apps and this workshop will take you through some hands-on work -- then into the studio to print, make thermofaxes and use what you've done on the tablet for fabric printing to use in your art quilts, mixed media or other work. If you don't have a tablet yet (and are trying to decide what or if to buy), you may still want to attend, I'll have a try-out table that one or two participants can share (yes, we are a two iPad family!). This El Cielo workshop retreat will take place March 1-3 (optional Friday night potluck) ending about 3 pm on Sunday. The workshop fee, including most supplies, is $180.

Fearless Sketching

April 12-14 at El Cielo Studio we'll be attacking that sneaky little fear that so many of us carry into our work from early days in school -- when someone else drew the best faces or people or horses. Whether you consider yourself a talented textile artist, colorist or quilter, you may have a secret lurker within who disparages your drawing skills. I know I do! A couple of years ago, I made a conscious effort to address my fears and to start a fearless sketching practice. I'm still not a master draughtsman, or even "skilled" at drawing, but I am no longer afraid to draw, no longer hypercritical of my abilities and that makes me open to improving my skills. 

You can get there, too. And this workshop can be your first step-- we test piloted this workhshop in September and all the participants really improved both skills and attitudes about drawing! My friend Sarah Jones will be co-teaching this workshop. She is amazing and fun and so will be the retreat!

You can find the entire newsletter here at this link.

Words to Live By from Eleanor

Roosevelt:

Someone once asked me what I regarded as the three most important requirements for happiness. My answer was: 'A feeling that you have been honest with yourself and those around you; a feeling that you have done the best you could both in your personal life and in your work; and the ability to love others.'

But there is another basic requirement, and I can't understand now how I forgot it at the time: that is the feeling that you are, in some way, useful. Usefulness, whatever form it may take, is the price we should pay for the air we breathe and the food we eat and the privilege of being alive. And it is its own reward, as well, for it is the beginning of happiness, just as self-pity and withdrawal from the battle are the beginning of misery From Brainpickings today

Gifts for Those Who Love Shape

Continuing in the vein of gift-giving, I'm working on a series of posts for The Missing Alphabet blog that reccommends gifts for kids who have proclivities and strengths in a particular sensory alphabet element (line, color, shape, movement, rhythm, space, texture, light, sound). You may be interested in that post about creative gifts if you have a child, grandchild or other child in your life whose creative imagination you'd like to spark. But maybe you would just like to honor your own inner artist child who loves shape!

So, I adapted that blog, expanded and edited it here for the grown-up lover of shape. You may recognize yourself or a friend, and find something here that makes for an imaginative gift -- or maybe you just need to gift it to yourself! We all need to do a little encouraging of creative playtime in our lives!

Stencils and stamps

Any shape lover will have a ball with different kinds of stamps and stencils. Find a set of simple geometric shapes, perfect for fabric or mixed media uses from Discount School Supply: set of 14 geometric Easy-Grip Shape Stampers. Though made for kids, these are really ideal for fabric stamp work, and the alphabet stamps at the same company are great, too. 

You can also buy giant ink stamp pads from the same source and use them with thin fabric inks or paints. Discount School Supply also carries a wide variety of stencils, best to use with rollers or foam brushes. Some basic shapes are in this kit. 

Origami paper and how-to books

SHAPE lovers might be interested in origami and other paper folding crafts. This is probably one of those activities you should “test out” before investing in books or materials. Your public library (and the web) has plenty of origami resources.  Here are some websites to check out: http://www.origami-instructions.com, http://www.origami-fun.com

And if it’s a go, you can find beautiful origami papers, at this site (and others)  http://www.origamicorner.com

A shape collage kit

Fill a plastic shoebox with shapely stickers, glue sticks, double-sided tape, paper die-cut shapes, hole punches that make different shapes, a good pair of craft scissors and colored origami paper (fun because of its two-sided color). Give this kit along with a pad of bristol board or card stock, some sturdy paper that holds up to collage fun and games. Die cut shapes are available at local dollar stores often, or you can find them online, too. 

Great shape collectibles

If the shape lover you know likes to look at shapes, consider a collectible such as a beautiful ceramic piece, a woven vessel, Mexican folk art masks, antique bottles or jars, or any wonderful shap-ey object of beauty. 

I've mentioned some of these apps before, but all of them are good for shape sensitive minds.

Tablet and Smart Phone apps for the SHAPE Lover:

If you have a digital tablet (or smart phone for some of these), there are some great art apps out there with lots of shape fun to be had. Some of our favorites:

Stencils from 7Twenty7  at http://www.7twenty7.com/apps/stencils

Draw Free from David Porter Apps for Ipad, also available for Android. This free app (has ads in a small banner) strikes a great compromise between features and ease of use. 

Hope Poster makes a strongly shape oriented graphic poster design of any photo in your photo file with just a few clicks and swipes. , also available for Android. Poster is a similar app at

Digital Tangram Puzzles can be found with these and other apps: Tangram Mania (non-traditional tangram-style puzzles with different shapes), https://itunes.apple.com/us/app/tangram-mania-free/id514992796?mt=8 and New LetsTans Premium, a traditional puzzle set (free version is available, but lower ratings) is at https://itunes.apple.com/us/app/new-letstans-10-in-1/id548830132?mt=8

PS: I've linked up with Nina Marie Sayre's Friday gang of creative posters/bloggers with this post. Check out the site here. 

10 Great Gifts for Artists

Speaking as one, here's what I think any artist would love to get as a gift this holiday season (from big ticket to stocking stuffers). 

1. A handwritten letter that specifically and deliberately tells me what you like, enjoy, appreciate and find interesting about my work. We so often feel like our work is out there in a vacuum. We would love to know what you like about it, what it makes you feel like. I know these things are hard to put into words, but putting them into the words you can really would make us happy!

2. Scratch materials -- what do you see in my studio that gets used over and over? Maybe (for any textile artist, any way) a terrific new set of scissors, even a coupon for scissor sharpening or a sewing machine cleaning would be very appreciated gifts. Quality watercolor pads are expensive and always welcome for the water media painter. A gallon of gel medium or tar gel might make the heart of any mixed media artist happy. If all else fails, a gift certificate from one of the online art stores or fabric stores could be just the ticket. Check out Jerry's Artorama, Dick Blick, Dharma Trading Company, or Pro-Chem.

3. If the artist on your lists likes blank books, just some really functional ones like the black bound ones from any art or book store will do. Different sizes are fun to have.

 4. At the top end of the gift bestowing standard, (if your artist doesn't already have one) a new iPad tablet. Whooo Hoooo! Or if your artist already has one, how about an iTunes gift card for those apps that just need testing out. Another idea would be an iPad workshop for said iPad-owning artist -- there are some online ones, and (modestly, I say) I am teaching one here at El Cielo March 1-3.

5. Speaking of workshops, another welcome gift might be a gift certificate for travel or lodging to be used at a workshop or conference, or a workshop or conference fee paid in advance. The Surface Design Association conference will be held in San Antonio in June, a great gift to give any fiber, mixed media or textile artist on your list. For an event less directly art related, but inspirational for any artist, see if there is a TEDX event scheduled in your community and offer your artist the means to attend (there might be a fee, parking, babysitting, whatever it takes).

6. At the other end of the supply spectrum from a supply something used everyday, how about giving a luxury, unusual, international or unusual material that you think your artist could use in her or his work. Some treats that I've seen online lately:

Shizen papers -- handmade papers from Asia and elsewhere -- (lots of arts stores online carry these)

7. Something inspiring. For example, an art book of one of your artist's favorite artist. A big beautiful picture/photo book of something your artist includes in his or her work (fruit, flowers, landscapes, shells). A book about creativity, such as my own THE MISSING ALPHABET (yes, for parents, but it's a great book for those of us looking for artist dates for our inner artist kid)  Inspired, How creative people think, work and find inspiration, or The Art of Looking Sideways:

8. Travel. Travel is inspiring to most, if not all, artists. Maybe its just an overnight to a nearby city with an art exhibit worth seeing, or a weekend to a nearby spot of natural beauty -- or an extravagant gift of India or Italy. Be sure to package the gift with an appropriate postcards, set of travel tools (book, watercolor or sketch tools, guidebook or tickets!). 

9. A gift certificate for your artist to make a hard-cover book of his or her art  using iPhoto, Blurb or Lulu, or another of the online publish-on-demand sources. You can specify hard cover or soft, size, type of paper (choose the upgrade for better art reproduction).

10. With caution I suggest, A studio clean-up partnership-- just make a little coupon offering your services for a weekend clean-a-thon, and throw in some new storage containers, plastic boxes, filing ideas or other support for an organized workspace. You'll know whether your artist would welcome or reject such a gift -- some of us like our messy ways, others would love some help putting things into order (even if chaos was just around the next corner!) For additional inspiration, add a subscription to Studios, the Interweave Press publication that showcases wonderful artist studios of all kinds, sizes and shapes.

Do you have idea? Post them in the comments section and we'll see how many of us get the gift we really want this holiday season!

Pattern Play

Tile Deck patterns are amazing and beautiful!

Certainly this is one obvious strong suit for most textile artists: PATTERN. Pattern, to me, is the visual rhythm that moves me around a textile, or through the story within a piece of art. I posted a short blog on our new and wow, so cool, MISSING ALPHABET site -- and thought I would expand and make a more textile related post here, as well. 

I've been exploring pattern TOOLs in the world of apps, in anticipation of my next iPad workshops (one in Alaska in January and one here at El Cielo March 1-3). I admit to a combination of looking at referals when I see them (that's where Tile Deck came from -- an online magazine article by Jane Davila in the last issue of IN STITCH) and also just in random app store surfing using interesting search terms. It's become my latest recreation, such so that I think I may have to make a firm budget line item for app store purchases!

Here are the apps I have downloaded recently. Some of them are really easy right off the bat, others take a little bit of learning curve. If you want the blow-by-blow (and fiber art specific applications for the art that these apps help you make) sign up for the March workshop soon. It's filling up fast!

TileDeck -- the best of the lot and an amazing tool for making repeating patterns, then changing them around with mirroring and flipping functions. This one is definitely worth paying for.

Playing around with Stencils

Kaleidoverse -- one of many digital kaleidoscope tools out there, and one that I like most

Doodle Dandy -- particularly easy for little kids to use, but with plenty of sophisticated controls

überdoodle -- an app version of the spirograph, with gears, pen sizes, and other variables to play with. The free version offered enough for me to start with, but there's a paid one with more variable options included.

Amacolor -- another kaleidoscope that makes black line patterns to color in -- the black line patterns will be great for thermofaxes.

Amacolor kaleidoscope design

Stencils -- Make multiples with predrawn stencil shapes for interesting art applications, alter and overlap them, use the letters and numbers for textured designs using the different brushes.

Yes, you are invited.

OK, this is kind of ridiculous, I know. I have done nothing on this blog except ask you to stuff for a few weeks now. So, this is my life, lovely. Busy. And full of flat out get it done.

Sometimes life is like that, and we who are lucky enough to work at what we love get the benefit. I have been a bit crazy, stitching my way into a solo show, getting ready for quilt festival, trying to think about next year with that half an ear on the future. NOTHING, NOTHING,  has been done exactly the way I'd wish it to be.. but it's done (or nearly). I hope to post a link to an online gallery here in the next couple of weeks. If you can't make the opening but want to see the show, call or email me and I'll make arrangements to meet you at Don and Jacob's for lunch sometime before it all comes down in January. There will also be a couple of other parties and special events there over the holiday season.

The solo show opens on Sunday, and you are invited.

Tomorrow and Monday I prepare for the festival workshops and demos. Saturday a dear friend has asked me to "do" a special workshop with him, for a birthday gift of creativity. The book is out. The website launched.

http://www.themissingalphabet.com/

You can order here on Amazon (Kindle version, too).

Please, if you have any desire for this book -- great for kids and parents and grandparents, order it soon, so Amazon reorders! On such, books are made and lost. We have spent money, lots of time and it's kind of a legacy thing for me and my co-authors. You won't regret the purchase -this is the real thing with lots of great ideas for getting kids off to a creative thinking start.Save & Close

Shape, Shapely and Shaped

Today at my Southwest School of Art class on Finding Your Artist Path, we will be looking at and thinking about and working with SHAPE and CONTRAST. Here are a few of the notes, some things to think about as you go about your creative work today!

SHAPE
A shape is a self contained defined area of geometric or organic form. A positive shape in a painting automatically creates a negative shape.

CONTRAST

Contrast is the juxtaposition of opposing elements eg. opposite colours on the colour wheel - red / green, blue / orange etc. Contrast in tone or value - light / dark. Contrast in direction - horizontal / vertical.
The major contrast in a painting should be located at the center of interest. Too much contrast scattered throughout a painting can destroy unity and make a work difficult to look at. Unless a feeling of chaos and confusion are what you are seeking, it is a good idea to carefully consider where to place your areas of maximum contrast.

These design elements and principles work together (as they all do!) But I think that working with shape gives the artist the perfect laboratory for investigating contrast in a very concrete direct way.

What kinds of shapes do you doodle on napkins, notecards and the item formerly known as a phone pad? What shapes show up at the tip of your pen or pencil.

Do you like clear, well defined shapes that are simple and concrete, easy-to-describe? Or amorphous, vague, or organic shapes?

Do you work with shape in a “flat” 2-D world? Graphically, all one plane? Or as three- dimensional shapes, whether you paint or sculpt them?

Where is the strongest shape contrast in your work? Do you have big shapes, little shapes and medium shapes (remember the “rule of three”)?

Do you layer shapes in your work? Are the layers close together or far apart? Can you see through them or around them? DO you show space through layering? Or light? Or size? Or all of the above?

What shapes your art practice? The time available, what’s left over after everything else, what you think you SHOULD do? What if you gave it another shape?

Try cutting NOTAN shapes as a studio shape practice for a week to develop your shape muscle. What happens?

LINKS to NOTAN:

http://en.wikipedia.org/wiki/Notan

From Jane Dunnewold 

From my blog.

Some “SHAPE” artists and their work (please add other suggestions to the comments section!):

M.C. Escher --especially his mathematical tesselation art

Lee Shiney’s CIRCLES 

Robert Motherwell 

Henry Moore -- Sculptor 

Ilsa Iviks Textile artist 

Paul Klee  

On Developing a Visual "Voice"

Here's what we'll be tackling during my next course at the Southwest School of Art. I think the class is full (whoppee!) or nearly so. However, I think this is such an important facet of our work as artists. Discovering our own certain and individual voices as artists is what can take us past our own limited view of our work and in new and exciting directions.

Here's one of the handouts I'll be doling our during the first session -- you're welcome to try out the ideas on your own!

It seems to me that there are several parts to this process, and several important approaches to this self discovery process.

Pure Form: I believe – and my belief is supported by more than 30 years of work with children in creative learning environments – that each of us is born with an innate preference/leaning toward a particular way of perceiving and giving form that is directly connected to what I (and my colleagues in this work) call the sensory alphabet. This vocabulary of non-verbal qualities – line, color, shape, space, light, texture, movement, sound and rhythm  -- is a way of thinking about and organizing one’s individual strengths of perception and invention. Looking at one’s preferences and natural tendencies through this lens serves as both a way to self discovery and as a bridge to understand other creative work. This vocabulary is not just an artistic one – it can hold as true to creative work in business as in design, in science as in art.  (This, by the way is what our new book, THE MISSING ALPHABET is all about.)

 Think about which  of these constructs is easiest for you to notice, to manipulate, to play with –is it pattern (rhythm) or texture or color? What did you love as a young child?  Which of these elements are most important to you in your home, your environment? What artists do you resonate to? Design exercises and experiences for yourself that feed your mind’s natural interests, or find teachers that share your sensibilities (look at their work and see what they say about it) who can provide classes that feed your perceptual strengths 

An understanding of your own creative style in terms of this vocabulary can be the starting place for finding your voice – and even help you find the best and strongest medium for work.  For example, if color is my strong suite, I might take time to do dye and discharge samples, study Albers and other colorist’s work, take photos exploring color themes, investigate watercolor and glazing, look at color as understood by chemists and physicists, etc. If movement is a strong suite, I might see how to incorporate moving elements in my textile work, take up techniques that use my body in strenuous and challenging fashion, look at how movement blurs an image and how to capture that sense with dyeing or printing, I might even want to dye fabrics and construct garments for dance performances or architectural installations with moving components.

Most of us have three or four of these strong suites that interact in interesting ways and can pose intriguing puzzles for our work. Tracking down your strongest perceptual elements is usually just a matter of paying attention to preference, to what you notice in a space, to the materials that call your name. Journaling about childhood preferences and doing detective work in your closet, your home, your memory bank can help you name your sensory strengths.

 Content and themes: Another part of personal voice has to do with content and subject matter –Many artists who are just starting out jump around from one topic to another, one genre to another and this is an important part of learning. Sooner or later though the time comes to get beyond the surface of a topic or interest, whether it is rural landscapes or flowers or political activism or portraiture. Committing to solving the same problem different ways has a real benefit In the process of finding one’s voice. How do you pick?  Start with something that holds some passion for you – something with enough personal interest that you might have a chance of making it interesting to someone else.

Sometimes the content of one’s work is directly related to “formal” interests (for example, an artist interested in rhythm, might find a study of African mudcloth patterns particularly inspiring and influential, or maybe exploring the visual idea of windows would appeal to an artist who likes spatial concepts.) For others, a theme or content is something important because of experience, story and memory – journaling can help you identify these kinds of themes.

Themes and content lead one to develop personal imagery, ways of handling materials and tools, narrative content sometimes.

Materials and media – Part of one’s voice has to do with the materials and media that are central to the form. Both experimentation and fluency play a role. Experimentation means taking the time and having the will to push a media or material beyond what you have seen others do with it. Fluency means playing with possibilities and with the borders between media, combining it with other materials and using new tools with the medium. Fluency also requires “just sticking to it” long enough to get beyond the first easy idea, and this I think is the dirty little secret behind developing facility and technical skills. A lot of artists want their first of something to be fabulous, but most of us who have stuck with it long enough know that expertise does clarify the voice. Experience with the technical handling of the media, the tools, the physical material of one’s art and craft means that the message becomes clear, the hand of the artist is consciously visible rather than intrusively visible. You’ve simply got to keep at it and the “it” has to be something you like enough to carry you over the drudge, slog and boring parts.

Creative process – Finally, the entire process that you as an artist use to come up with and bring to life original work is part of your voice. No two people have identical creative processes. Some of us need lots of incubation and collection time. We want to look at other people’s work and make sketches. Other people need to amass piles of materials to dive into with no idea of the outcome; other artists are meticulous planners, with sketches and maquettes. Some need people around, music, noise and lots of feedback; other artists require long periods of solitude and silence. The more you know about and respect your own creative process, the clearer your voice will ring.

Knowing and respecting your creative process is again a matter of paying attention, of doing personal detective work through journaling, of metacognitive investigation—ie. thinking about thinking.

Look and See (and Listen)

Today is all about fun and games. Here are a few fun links for those of the visual and textural persuasion (that's you, right?)

Art Images from the Exploratorium: http://www.exploratorium.edu/imagery/art_images/index.html

Beautiful sounds from TED TALKS. Here, "Rokia Traore sings the moving "M'Bifo," accompanied on the n'goni, a lute-like Malian stringed instrument with a soulful timbre." from this TED site.

For making your own "BEAT BOX" videos: MAD PAD app for iPad and iPhone at http://www.smule.com/madpad

 

And, thanks to Valerie's recommendation, this is a great newsletter about creativity -- all phases and stages. Your can subscribe from the website here.

I found this about the site its originator from the ABOUT page:

"Because creativity, after all, is a combinatorial force. It’s our ability to tap into the mental pool of resources — ideas, insights, knowledge, inspiration — that we’ve accumulated over the years just by being present and alive and awake to the world, and to combine them in extraordinary new ways. In order for us to truly create and contribute to the world, we have to be able to connect countless dots, to cross-pollinate ideas from a wealth of disciplines, to combine and recombine these ideas and build new ideas — like LEGOs. The more of these building blocks we have, and the more diverse their shapes and colors, the more interesting our creations will become."

Here's a fun example of a book review from the site:

"In there mere three weeks since we firstfeatured the delightful 344 Questions: The Creative Person’s Do-It-Yourself Guide to Insight, Survival, and Artistic Fulfillment by ever-inventive designerStefan G. Bucher (of You Deserve a Medal and Daily Monster fame), it has quickly become the most popular book in Brain Pickings’ entire five-year history. The lovely pocket-sized gem, illustrated in Bucher’s unmistakable style, helps you flowchart your way to personal and professional happiness and figure out life’s big answers.

Let’s be clear: I want this book to be useful to you. There are many great how-to books and biographies out there, and even more gorgeous collections of current and classic work to awe and inspire. But looking at catalogs of artistic success won’t make you a better artist any more than looking at photos of healthy people will cure your cold. You’ve got to take action!” ~ Stefan G. Bucher"

New World Kids (1) Now on Sale!

My co-author Susan Marcus and I and Dr. Cindy Herbert, another colleague from LAL days have been working on a rewrite/expanded new book for parents, to be released this fall by Greenleaf Book Group. It will be titled "The Missing Alphabet." (Isn't that cool?) 

And to get ready, we are having a great sale on the last book for our readers and supporters., So if you would like another (or a first) copy of NEW WORLD KIDS, and the accompanying teacher's guide don't miss this special deal. If you are interested, please order through Foundry Media directly -- the info is in the letter below (YOU ALL count at "a person at one of our events" since I consider reading this blog an event, so you are eligible for the special pricing):

Dear New World Kids reader:

This Fall, the authors of New World Kids, the Parents Guide to Creative Thinking, will be publishing a new book, The Missing Alphabet, a Parent's Guide to Developing Creative Thinking in Kids. In preparation for the release of the this book, we want to extend a special offer to of our customers:

Now until  May 30 we are offering New World Kids, The Parents' Guide to Creative Thinking at $7.00 per copy and New World Kids, The Teachers' Guide at $10.00 per copy both with free shipping! That compares to the list price of $14.95/$19.95 + shipping! This offer is being made only to those people who purchased from our website over the past couple of years or in person at one of our events.

Texas residents will have to pay 8.25% sales tax (sorry!) and we will only accept checks. Purchases will be shipped Media Mail.

Please place your order by replying to this message to  foundrymedia@me.com, calculating the total cost (with applicable sales tax per above). We will ship your books immediately and you can send us your check.

If you have any questions, email us at newworldkids@me.com or call us at 512-328-1920.