Reading Baby Wipes

No, no, this is not as dreadful as it sounds. Most artists use baby wipes in their art–to wipe up smears, to spread ink, to clean fingers. I use mine to read, to let my mind wander and come up with new ideas.

Sometimes when I sit down at the art table, I need a few minutes to move from what I was doing before to a creative mindset. The shift is not always automatic. This morning, I found a used baby wipe (no babies in the house, this was an alcohol ink wipe) and immediately began to see figures in the ready-to-discard wipe.

There are figures pressed into this baby wipe, and as the ink soaks into the grooves, allowing figures to stand out.  Here is a close-up of another wipe I played with.

Using a Tombow pen, I pulled up a little robot of inspiration. He’ll have to work hard to bring me new ideas, and with those friendly antenna, he should pick up ideas from far off.

Yes, you can see it as a demon, but I decided to befriend the abstract as a robot. You can even see the extension cord on this guy.

By the time the outline was done, I had an idea and was ready to work. Taking your mind off your work allows ideas to float to the top of your mind. And it’s kinder than sitting down and saying, “I need ideas, and I need them now!”

Quinn McDonald is a creativity coach who often needs to get to creative ideas by a long path and the back door.

 

 

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What I Learned From Failure

My artwork didn’t get accepted into a juried competition. It’s an experience every writer and artist knows as rejection. It’s not a question of  if, it’s a question of  when.

Over the years, I’ve let rejections destroy my confidence and make me wonder if a skilled PhotoShop user has a better chance of success than I do.  I’ve let the inner critic out of the cage to gnaw on my soul, leaving it half-eaten in the rain of self-doubt.

This is the accordion book I made with alcohol inks. It represents the five seasons in Arizona–spring, early summer, monsoon, autumn, and winter. The length of time the sun is above the horizon is reflected in the length of each piece of art. © Quinn McDonald, 2018.

This time, having worked on a skill that separates creative self-expression from outside judgment, I was disappointed, but only for 10 minutes. And it was disappointment, not crushing self-defeat. I can talk about it without shame. I’m writing about it to see if what I learned (over time) helps other artists who put their work on display to be judged by strangers.

Every artist (I’m including writers, musicians, dancers, performers and every other art form) takes their creative work, tosses it in the air and risks judgment, ridicule, and being ignored.  We are hoping for delight, engagement and maybe a sale.

The skill that I learned, the one that helped me survive rejection, is called non-attachment. I developed it through practice.  Like every other skill, it takes practice to get comfortable with, and then good at, non-attachment. First, non-attachment does not mean not caring, not investing yourself, or ignoring your emotions.

The accordion book laid flat. The white numbers under each panel is the length of time the sun is above the horizon on the 21st of the month in the middle of the season. © Quinn McDonald, 2018. All rights reserved.

Non-attachment is rooted in a simple idea: creators create for self-expression. In my creativity coaching practice, I’ll ask “Why are you writing this book?” (Or painting, composing, singing–engaging in expressing creativity.) Most often, the answer is, “I want to get it published and make money.” That’s where the problem festers.

Yes, artists have to sell their work to pay the grocery, plumber, and mortgage. If that is the primary reason they create, all creative decisions  will be made through the marketing plan and all success will me measured in sales. I’ve been there, and it is a dry, lifeless place of relentless competition and incremental failure.

The reason to create, to practice, to struggle with your creative urge is to express creativity. That’s it. That’s the prime directive of the creative soul–express your creativity. It is the process of creating that lifts the soul, not the price tag.

When you create work that requires your concentration, full attention, joy, fear, satisfaction–that is the reward.

What others think of it is their opinion. You might grow from another opinion, but if you let random opinions steer your creative expression,  you will forever be chasing approval. Your creative expression will no longer be tethered to your idea, it will be tied to someone else’s preferences. That’s an impossible space in which to create.

Here are 10 clear steps to get to non-attachment:

1. Work regularly. Creative work builds endurance and creative muscle.

2. Work relentlessly. Self-doubt? Keep working. Not sure the piece is good? Keep working. Tired? Get some rest, then keep working.

(This stage includes re-writing, editing, overpainting, noodling with those six bars in the refrain, anything that is improving the work.)

3. Work until you are satisfied.  Don’t know if you are done? How satisfied are you? Not sure? Not done. Don’t ask Facebook, Instagram, your mom or best friend if you are done. They are related to your inner critic, not your creative expression.

4. When you have worked hard and made meaning for yourself, you will feel satisfied. Happy, if you give yourself permission.

5. Give your piece a name or title. It’s an ancient tradition that naming something gives you power over it and distance from it.

6. Send it out into the world. Enter a juried competition, put it up for sale, go to a gallery. Because your creative work brought you joy in creation, what someone else says is an opinion, not absolute Truth with a capital T.

7. If you are turned down (the term I prefer instead of “rejected,”) you will still have your hard work, your idea, and your satisfaction. The rest is someone else’s opinion.

8. You cannot live in the judge’s head. They might not like your kind of art. (That’s their opinion.) They may know what price-point sells in their gallery and choose that kind of work. (Their marketing decision.) They may choose a piece that fits a certain space, one that reminds them of the curtains in their childhood home, or something that their dog wagged his tail at–all decisions that have nothing to do with you. Your artistic decisions are complete. What happens next is not yours to control.

9. If you are turned down, you still have your joy and satisfaction. You may feel disappointed that all the unknown decisions didn’t line up right for you, but those decisions were not yours to control. The ones you do control were ones that you were satisfied with. That’s the core of creative self-expression. Once you are satisfied with the quality of your effort and your result, no one can take it from you.

10. Go to the show that didn’t accept you. Enjoy the work, congratulate the artists. Feeling happy for others is a skill that stretches your soul to make it fit more easily.

Quinn McDonald is a certified creativity coach, writer, and artist. She helps artists learn non-attachment.

 

 

 

White Pens and Graphite Review

 Sakura Gelly pens have been popular for a long time (they were invented in 1984), but it was not until about five years ago that the quality of the white pens were reliable. The earlier white pens blobbed and wrote unevenly, particularly if you tried to write fast or stored them standing upright. No more. These pens are wonderful.

The paper is a firm-surface black sheet with a hint of shimmer in it. As a result, it doesn’t show up as deep black in the photos. You can see the difference in the pen widths.

My most recent discovery was the 3-pack of fine, medium, and broad-writing white pens that look crisp and snowy on black paper. The pens come in 0.5mm, 0.8mm, and 1.0mm and write easily and smoothly. No blogs, no skips. Changing widths helps you create emphasis and details at will.

At $8.74 for the pack of three (prices may vary), the price is well worth the quality of the pens.

My next discovery was the white graphite by ArtGraf. The piece is the size of tailor’s chalk, about 02.25 inches square. ArtGraf has already made many graphite products–sticks, kneadable graphite, graphite powder, and other colors of graphite (red, blue, yellow) as well as metallics. The white is new. And quite wonderful.

You can write with the edge of the square, scribble, or, (sigh!) use a wet brush and write or draw with it. It dries either opaque or translucent, depending on how much water you carry on the brush.

The graphite is true white. In the photo, it shows as blue, which is another trick of the lighting and my camera. But it has not a bit of blue in it when used, it’s a beautiful, rich white.

Interestingly enough, it also works on alcohol ink drawings . . .for a while. Below, you can see a fresh application of three faux letters looking rich and thick. Which it is. I used a generous amount of graphite and loaded the brush with water. (This is an experimental sheet, so there is writing with various black markers on it as well.)

Ten minutes later, when the water evaporated, most of the graphite vanished along with the water.

You can still see the writing, but it is so faded that I put a yellow arrow on the demo piece so you can see it.

If you want to write on alcohol ink art, your best bet are markers like Micron, Pitt Pens (Faber Castell), or, yes, the white Sakura Gelly Roll pens. If the ink is totally dry, the white stays crisp and bright. If the alcohol ink is less than 24 hours old, a tiny bit of the color leaches into the white gel pen, softening the color. Experimentation is worth the work.

I purchased these products myself. No one paid me to give an opinion.

-Quinn McDonald is a writer and creativity coach who enjoys creative self-expression.

Creativity in Black and White

Black paper is attractive. But applying color is not always easy. Copic (alcohol ink) markers don’t show up. Watercolors aren’t ideal. You have gel pens, acrylic ink, or colored pencils. Twinkling H20s work, too. Still, not a lot of choice.

Today, while I was at a big box home repair/supply store, I found a can of  spray paint. Except it was really not paint. It was Krylon webbing paint. Spray it on hard surfaces for a faux marble approach. I have no idea how you are really supposed to use it, because I used it on black paper. And it gives a lot of different effects.

If you are going to try this, protect the area you are going to spray. This can will “decorate” your walls, floors, and mirrors.

First, I sprayed it quickly across the black page, which is about 6.5 inches by 11 inches, bound on the short side.

Next, I sprayed more slowly, but aiming above the paper, so the paint drifted down. The interesting effect of the paint on the bottom row was a mix of an erratic ECG and a map of an ant exploring a tunnel. Still, really interesting.

Finally, I used gel pens to fill in the tiny gaps with color. Just a few, for effect. Then, because this one looked like a map, I added asemic writing on the left, and a map helper on the right.

This technique is worth exploring more. I hope you do, too.

-Quinn McDonald is a writer and writing teacher, creativity coach and artist who loves mixing words and art.

 

Alcohol Ink on Black Paper

Creativity often happens when we are trying to solve some other problem. Looking for another substrate for alcohol inks (other than Yupo), I came across an artist who used black tiles. (Sadly, I didn’t write down her name.) She said she had used black chalkboard paper as well. That didn’t work for me, but here is what did work.

1. Black, shiny-surface tiles work. I don’t want to store tiles, so I went on the search for black, glossy paper. Not as easy as it sounds. But I did find Stardream in Onyx, 105-lb cover stock. It is lightly coated with a mildly sparkle-finish. I found it at a local Phoenix outlet of Kelly Paper.

2. Use both Pearl (translucent) and Snow Cap (opaque) ink by Ranger. Put both on the paper. Add one drop of Eggplant (Ranger.)

3. Immediately put a piece of plastic wrap over the ink and rub to blend lightly.  Make sure there are strong wrinkles in the plastic wrap.

4. Leave the plastic wrap in place until the ink dries. This takes about 15 minutes in Phoenix, but at 5 percent humidity, it’s not a good measure for other locations.

5. Peel off the plastic wrap. I added the stem and flower base with a paintbrush and Snow Cap.

Quinn McDonald is a writer, a creativity coach, a writing trainer, and an abstract artist who combines writing with images.

Experiments with Alcohol Inks

Alcohol inks are the best color application tool since crayons. They are bright and crisp. Unlike crayons, they are not easy to control. In fact, when I teach a class in alcohol inks, the class hears about control, letting go, happy accidents, and going with the flow long before we start the technique section of the class.

While I’ve loved making landscapes, florals have always eluded me.  This weekend, with enough time and Yupo, I experimented with florals. (You can read more about Yupo and acrylic inks in this blog post. Some landscapes are here.)

First, I selected three coordinating colors for each flower. One drop of the darkest color goes down first. I blow on it carefully with a big-bore straw. That pushes the color out without causing “legs” to form. The second drop goes on next, blown into place with a small cocktail-stirring straw.  I use a small, inexpensive, brush to keep the colors in the same area.

For the leaves, I use the tip of the bottle to shape the leaf, while applying the ink in a slow, even motion. Brushwork keeps the leaves from spreading. Careful brushwork shapes the stem on the far-left flower. It makes the leaf look translucent and adds depth.

The writing on the images? I created the letterforms, but the meaning is left for the viewer to decide. It’s not a code, it’s a graphic addition to the floral.

Quinn McDonald is a certified creativity coach and writer.

Letters and Visuals

Combining words and images is the idea I’ve been chasing for about two years. I didn’t want to be middling-good with calligraphy. Hand-lettering is a better idea for me. Quotes from others are wonderful, but many other artists have done that, and done it better.

While scrolling through the images on my phone, I came across the photos I take of graffiti and marks put on the street by utility workers. Those interesting hieroglyphics make me think of alien alphabets. Alphabets that can be written, but not read. Suddenly, it came together. How we struggle to say what we mean and be understood. How we long to be heard and understood.

Here are the first three works in progress.

The abstract landscape is easy enough to understand, but what do the three lines at the top mean? It’s not a code; it is deliberately not explained. Just like much of what we say and write.

This night landscape can be calm or eerie, depending on what you interpret the letters to be. Meaning-making, the purpose of creativity, is always up to the viewer.

Is this an explanation for the abstract? Is that a waterfall? Is the sun rising over the left part of the landscape, or is it burning? All up to the viewer. All left to your imagination. Because I believe we all are imaginative beings.

Quinn McDonald is a writer who teaches writing. She is also a creativity coach.