Embrace Opposing Forces
Highly creative people tend to welcome paradoxes, melding two seemingly contradictory ideas that lead to greater innovation.”There are a lot of so-called dichotomies that aren’t really dichotomies at all,” says Kaufman. For example, when it comes to the creative process, there’s no sharp demarcation between work and play. Other lines blur as well. “People who are really creative are good at trusting and having faith in their intuition but also at being rational in their analysis of whether or not something is correct.” Strength and sensitivity also seem contradictory, but the distinction may not always be so clear. ” Creative people tend to have extraordinary sensitivity but also are capable of staying true to their values, even in challenging environments.” Highly creative people have a tendency for post-traumatic growth, an ability to learn from distressing experiences.
Dr. Scott Barry Kaufman
BE OPEN TO NEW EXPERIENCES
According to Kaufman you need to create a space where you can discover things about yourself, and that is most likely to happen when you leave yourself open to new experiences. And what exactly does that mean? At the core it’s ” the drive for exploration and curiosity, and the constant temptation to get outside your comfort zone and embrace the unknown, ” Kaufman explains. “In your everyday life you could be open to new experiences in any moment. Try as best as you can to keep your prior stereotypes and anxieties to yourself and try not to impart them into the world. Try to see things as they truly are and be curious about everything. Be curious about ANYTHING.
2. Understand the Bias.
Whether they’re in elementary school or a corporate office space, people who think and process in unique or creative ways might feel stifled by conforming to traditional means of production output. “We do seem to be biased in most schools and workplaces against individual expression and unique choice,” says Kaufman. “That sort of standardization of behavior is really a Killer of Creativity.” How can students and nine to fivers overcome confining and rigid structures? By trusting in your own intuition when you show enthusiasm or excitement in something new, and then finding some kind of outlet to express it
I teach drawing and design and one of the first sketchbook assignments I give to the students is to pick a shape and draw it 50 times 50 different ways. This gets their imagination flowing and allows them to address different design concepts we’ve discussed; line,value,variety , etc.
I myself engage in this exercise often, making a several variations of a shape . I have posted the many variations on a shape….. there are definitely more I could come up with.. color being an additional aspect I have even touched yet. try it yourself with a shape of your own choosing.
Do you see the basic shape I started with and it’s variations throughout all the sketches?
DESIDERATUM – something wanted or needed.
ORENDA – a mystical force present in all people that empowers them to affect the world or to effect changes in their own lives.
QUERENCIA – a place from which one’s strength is drawn, where one feels at home; the place where you find your most authentic self.
MERAKI- THE SOUL, CREATIVITY, OR LOVE PUT INTO SOMETHING; THE ESSENCE OF YOURSELF THAT IS PUT INTO YOUR WORK.
Some more of my long lost notes….
Underpainting – an underpainting stimulates imagination . A black and white canvas is tedious and arouses very little initiative
Pigments for underpainting require little oil . It’s best to underpaint in neutral colors, grays or pinks.
For grays – use white lead and umber and prussian blue
For pinks – use white lead and venetian red
A midtone surface gives more flexibility than white as both dark and light will show up.
Thin color (glaze) is used for shadowand thick paint is used for highlights.
1. “basic” (caucasian) – equal parts burnt sienna & white
2. Add to ‘basic’ skin color for darker tones and variations – raw umber, cadmium red, alizarin crimson, cadmium yellow, lemon yellow ultramarine blue
3. for lighter white tones – white + burnt sienna & raw umber
+ cadmium red, burnt sienna
+ alizarin crimson & burnt sienna
+ burnt sienna & cadmium yellow
+ burnt sienna & lemon yellow
+ burnt sienna & ultramarine
Structure and Imagery: In Process with Valerie Brennan.
I have posted this article today that I got through a blog that I follow…. I always enjoy seeing other artist’s studios and their work in progress.
I am struggling these days with what I want the purpose of this blog to be. Last year whenI started it I had a different intention in mind. I went through wanting it to be a self promotion type of site, then an educational site, an inspirational site, and now, lately , I’ve been finding articles and writings that I like so much I want to pass them on. Maybe they’re all one in the same and I just have to be more – uh – regular with posting.
Enjoy the article.
STUDIO CRITICAL. This is a blog site I follow. I thought I would post this article as an example of stuff I read there. I love reading about how other artists work . I love the question /answer situation. There are more than the one interview so I encourage you to keep reading . ENJOY !
“I notice that students often start laying in colors and paint just to cover the canvas, without being very attentive to what’s going down–colors and values all over the map! They are feeling they want to get started and hope to refine it later. The problem is, the surface of the picture plane is so alive and active that every inattentive mark you put on it is taking you away from what you had intended to paint faster than you can possibly realize . It makes a lot of sense to try and get it right the first time as if it really mattered, moving intelligently right now toward your idea. And it really helps to have an idea. But just laying in paint as an unhelpful foundation completely confounds our ability to see what we’ve accomplished and where we need to go next. Every part is now reverberating with every other in a chaotic and confusing jumble, and trying to dig ourselves out of that mess may be too much for any painter.
This brings up 2 points.First, so much of what we do while we paint is a reflection of our character and shows us, for better or worse, and if we choose to perceive it, our true nature. Not taking time to lay in a strong and meaningful foundation may be something that manifests in other areas of our life. Art can be a remarkable feedback mechanism for our life.
This is not the same as trying to get it perfect. It justs means trying to get it as right as you can as you go along. “Right” means being aligned to your idea. Trying for perfection takes the life out of expression. to be continued………..
Creative Authenticity- 16 Principles to Clarify and Deepen Your Artistic Vision by Ian Roberts
“I know alot of students who are distracted by an artist’s color or painterliness. They want to paint like that.Yet what isn’t always clear is that, if the artist is any good , the color and bravado is embedded in a foundation . Jon Carlson, the landscape painter, said, “confidence of execution comes from practice and long experience.”
We can run into trouble comparing ourselves with another artist’s work when our temperament is completely different from his or hers, which means that we could never do what they do.
We can admire all manner of art and artists. We can learn from all kinds of paintings. But it is unproductive to compare and evaluate ourselves againt someone else’s work. What we’re trying to compare doesn’t. and it can be harshly discouraging to try.
Certainly it’s foolish to compare what you accomplished in an afternoon session at a painting class with a model whose pose you didn’t set, with ten other artists vying for a decent view with decent lighting, with a painter who was moved by an idea, hired a model specifically for achieving the idea, and set the stage, model and lighting to reflect his vision nd then had a week of six-hour days to accomplish it. The same would apply if you tried to compare a two-hour-on-location landscape with something that was done in the studio over several weeks with far more planning and adjusting than you can ever afford with a quick sketch.
Creative Authenticity by Ian Roberts