Intuition – Lee Muir-Haman Watercolor Painting

September 24, 2019January 13, 2020

Fostering Creativity.

How many of us are secretly afraid, although we hope it is not true, that we don’t have the abilities necessary to be creative? How many of us feel it is too late for us to become artistic and reinvent ours lives? How many of us don’t know where to start even though we have a desire to be creative?

If you’ve ever wondered about these issues, let me assure you: you are already creative, and you can become a still more creative artist if you wish. Creativity – bringing something new into being – is a tool we can all access and utilize. As the poet Maya Angelou has said, “We need to remember that we are all created creative and can invent new scenarios as frequently as they are needed.” And similarly, according to Brenda Ueland, “Everybody is talented, original, and has something important to say.”

Cooking can supply an example of how creativity enters into even everyday processes. At first, you learn the lay-out of the kitchen and how to use equipment; you learn how to read a recipe and where to find and how to prepare ingredients. However, with a little practice, time, and effort, you begin to change the recipes, combine two or three different recipes, adapt a recipe to use ingredients on hand. You have begun to create something – perhaps dreadful, but often wonderful – with your own style. You are being creative! You take the time and make the effort needed to finish cooking the meal. You persist through difficulties and interruptions. You focus on what you’re doing, observe the process. You might take a chance and trust your intuition, adding less of one ingredient and more of another. With luck, you do not judge the results negatively, put yourself down, or feel a failure, and you are not afraid to try again, make a mistake, or feel foolish. Instead, you taste and evaluate the product, keeping in mind what worked well and what you might improve next time. You note your reactions and ideas, are inspired to plan another meal and to keep practicing your skills. You continue to experiment.

Once you’ve decided you want to get acquainted with your creative self, where do you begin? How do you jumpstart the creative process? First, be yourself; you are original.

With mass production, mass marketing, and mass media, it is important to remember that an artist needs to be independent of pressure groups and popular opinion. Have the courage not only to say no to superficial trends, but to say yes to your own emotions, thoughts, and creative impulses.

Don’t be in a rush! Take the time to get to know yourself. Get beneath the surface, and observe your reactions to what goes on in and around you, allowing yourself to notice details you might have missed. This patience and openness will allow you to recognize the invitation of inspiration, whether the stimulus is an idea, a hunch, a thought, or an impulse. (See my related blog post, titled “Painting Begins With Looking and Seeing”, https://leemuirhaman.com/2018/12/18/painting-begins-with-looking-and-seeing/, published December 18, 2018.)

When you choose to follow your inspiration, whatever it may be, it needs to be captured and recorded. One of the best (and most adaptable) tools available is a journal to help provide a “visual record the way your creative ideas evolve.” Write down what you want to make. Think about your project – subject, materials, technique, color, time, cost, style, shape, whatever seems relevant. “Record everything.” In writing (or sketching) your thoughts, you honor their value. Brainstorm. Research. Plan. Get organized. Create reminders of what you are doing and symbols that are visible to you.

The next part of the creative process may take an hour, a week, or months. Don’t be impatient – you mustn’t be in a race to the finish line! The project may need time to come together, to simmer, to mature, to evolve. Allow the time necessary for this incubation. It often helps to carve out a corner as a sanctuary where you can sit in quiet reflection. Spend time regularly in your creative space. A ritual, or simple routine, can often spark the creative process, whether it is taking a walk, lighting a candle, or sitting with a cup of tea. Interestingly, shaking up your routine can also cause a creative spark. Try some new things, a museum, gallery, or art fair, and expose yourself to new ideas. New experiences will stimulate your imagination. (See my related blog post, titled “Creativity Can Be Learned”, published January 8, 2019.)

It’s one thing to have an idea, but it’s quite another to trust your idea and follow where it leads. Translate your thoughts into a plan of action. Take the risk and begin! Many of us have been taught to be too cautious, too nice, to play it too safe. To be truly creative, you must be willing to try and fail, and then get over it. Remember that perfection is NOT the goal – this is the time to experiment! Have courage and heed your intuition. Sample or test, change a variable, and sample again. Do the work and DON’T give up!

Avoid judging yourself by whether your project is a “success.” Enjoy the journey instead of focusing only on your results. If your goal is creativity, it’s the process that matters. Trust that if the process is good, the end will be good as well. And NEVER allow other people’s opinions to intimidate you or make you feel vulnerable.

You might seek out mentors, role models, or advisors who are supportive of your uniqueness and expression. Creativity flourishes within an atmosphere of security and trust but dies if surrounded by a climate of criticism and stress. One thing a mentor might tell you is to leave enough time in your life to do something that makes you happy. Keep in mind that what you really WANT to do is what you are really MEANT to do. Don’t feel guilty or selfish! Take the time to make painting (or whatever else you choose to do) fun, and strive for your dream.

Creativity is within your grasp. It means you being yourself, thinking your own thoughts, responding to what you feel, NOT rotely copying someone else or a reference photo. Creativity transforms conditions as they ARE into conditions as they COULD be or OUGHT to be. You create only when you bring forth something that was not there before. There is no need for you to make your painting abstract, realistic, or any other particular style if these options make you uncomfortable. Make your own shapes, values, and color!

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January 8, 2019January 16, 2020

Creativity Can Be Learned!

CREATIVITY CAN BE LEARNED!

By adopting a creative outlook, you open yourself up to both new possibilities and to change. You become able to find new answers, new solutions, and new ideas. A creative mind can transform one thing into another – can look at the same thing as everyone else but think something different. Creative artists can change their perspective and, by using their knowledge and experience, can make the ordinary extraordinary. Creative ideas come from manipulating and transforming your resources, and you can choose from many creative techniques and strategies when transforming those materials. The stages of this creative process include identifying, preparing, incubating, reaching a breakthrough, and finding a resolution. In the preparation stage, techniques for modifying and changing your vision can include comparing, reversing, connecting, imagining, eliminating, and rearranging.

Everyone has the potential to be creative. In other words, with a little effort, you can increase your level of creativity. The quickest way to kill your creativity, however, is to think you have neither talent nor creativity. Believing that you have insurmountable limitations can be a self-fulfilling prophecy. In other words, if you think you are not creative, you hesitate to try, and – sure enough – you fail to be creative.

Instead, believe in yourself. Attitude is important! Develop your skills: skills build confidence. Improve your drawing, and practice your painting techniques. Improvement comes with practice. Emphasize the fun of creating rather than the achievement of results. Try to notice the good things you’ve done, and don’t dwell on mistakes. Set yourself achievable goals, and persevere.

Try new things, and expose yourself to new ideas. Look at artwork in museums and galleries and at art fairs. Read books and magazines. Look around you, and observe. New experiences stimulate your imagination. Similarly, vary your routines, and do the unexpected. CHANGE jumpstarts your creative thinking, and creativity becomes more accessible when you can begin to act more impulsively in your life. Change a problem by sneaking up on it from a different direction. You can try something fresh – a new way with an old theme, a different point of view, a new technique.

A childlike playfulness allows you to relax your mind so that creative images come to you. IMAGINATION plays a large part in the process. Take a few minutes every day to work on freeing up your imagination. Think of this as a way of stretching your creative muscles, getting them limber. You should aim for a state of relaxed attention, when you can be free of interruptions. Let yourself daydream, and empty your mind of all the distracting “clutter” of chores or things that need to be done. (Natalie Goldberg calls this negative state of mind “monkey mind.”) Allow spontaneous images to come and go. These images express your connections with your inner self, and that connection is what creativity is all about.

OBSERVING AND BEING AWARE of what is around you is important to developing your creativity as well. People tend to look at things without really seeing them. They block out the unfamiliar and allow access only to what they feel comfortable with. (See my blog dated 12/18/18, “Painting Begins with Looking and Seeing”, https://leemuirhaman.com/2018/12/18/painting-begins-with-looking-and-seeing/, at leemuirhaman.com.) Try to focus your awareness on what is around you and discover things you may have overlooked, details that others don’t see. CHANGING YOUR FOCUS increases your creativity. Train yourself to look closely and refocus.

While no subject is totally new (everybody has painted water or mountains or trees), your unique experiences and observations influence everything you paint or draw. You modify, add to, or subtract from what is there to make something new. Your subject often chooses you. It doesn’t matter how ordinary the subject is: what you bring to it that is new is YOURSELF. Your point of view is different from everyone else’s. Tap your inner resources to find your responses to life’s experiences. What makes you happy, angry, calm, nostalgic? Use your EYE, MIND, AND HEART in your artwork. Strive to make your art your own and not to copy; copying denies your uniqueness. When you paint or draw, you are making visible something that you might not be able to express in words, something that combines how the subject appears to you with what you think about it and how you react to it emotionally.

There are definite steps to the creative process, whether they occur over a long period of time or happen very quickly. The first step in the creative process involves the IDENTIFICATION of the subject or problem to be solved (for example, selecting what to paint or learning a new technique). Nothing creative can happen until you recognize what you want to do.

The PREPARATION step follows, during which you consider many possible solutions. You may make a thumbnail sketch, plan color schemes, consider altering the composition by eliminating or adding components, decide on the placement of a focal point. You also consider the mood, time of day, and season of the year for the painting. In watercolor painting, most of this THINKING AND DESIGNING phase is done before you start to paint. It is advisable to decide exactly what you are trying to do and consider possible plans of attack.

In the INCUBATION phase, you set the project aside for a time. All the information that you accumulated and thought about in the preparation stage needs to be sorted in your unconscious mind. This stage may take only minutes while you organize your paints or take a quick break. On the other hand, it may take a much longer time for all the information to gel into a final solution.

BREAKTHROUGH is the next stage in the creative process, when the solution/plan becomes apparent. Your solution does not come out of the blue fully formed but is a result of all of your previous thinking. At this point, RESOLUTION completes the process, and you’re ready to try your solution and see how it works.

Okay, so you’re ready to be more creative! Where do you find ideas? If you can observe carefully, approach your art playfully, and not concern yourself with the approval of other people, you will discover painting ideas everywhere you go. Ideas are in familiar places like libraries, malls, food markets, farmers’ markets, coffee shops, the beach; at work, in newspapers or magazines, at museums, galleries, art fairs, at home, in sunlight or moonlight, outside on a walk or inside looking out the window. If you can change your focus to discover things you may have overlooked and things that others don’t notice, you will have many images and ideas come to your attention. Some images will interest you more than others, because we each have different passions. It is helpful to get in touch with yourself and come to understand what issues and ideas are important to you. Are you repeatedly drawn to animals in their natural surroundings or to baby animals? Do you enjoy images of the hustle and bustle of the city or see people as isolated in the city? Do you find connections between the grandeur and power of nature and an individual human? The subjects that suddenly surface in your mind and pique your curiosity are usually topics you feel strongly about, and thus they will likely be excellent topics for you to paint. If it feels good, paint it!

The faculty of creating is never given to us all by itself. It always goes hand in hand with the gift of observation. And the true creator may be recognized by his ability to find about him, in the commonest and humblest thing, items worthy of note.

Igor Stravinsky, The Poetics of Music

October 16, 2018May 6, 2020

Designing A Strong Painting With Good Composition!

A good painting is a successful illusion in two dimensions that creates the impression of a reality in three dimensions. Artists can use SHAPES, VALUES, EDGES, and COLOR changes to arrange elements within a picture to produce an interesting and unified image. Seldom is a real life scene so perfect that it cannot be made more interesting by moving things around, changing sizes, tones, colors, and so on. As artists we strive to get our viewers to see what we want them to see. This involves establishing a focal point and center of interest. Artists strive to inject energy into their painting, while avoiding unnecessary and distracting details.

The job of the artist is to incorporate design elements for maximum visual effect into a pleasing and balanced design. Whatever your style as an artist, the arrangement of elements in your picture (COMPOSITION) should always appear to have purpose and be under control. Your composition, or design, is what captures the viewers’ attention.

DESIGN ELEMENTS.

What are these DESIGN ELEMENTS that work together to make a strong picture? How are you supposed to put them together? There is no one way to compose a painting, yet some rules and guidelines can help you think about what makes a good composition. In time and with practice, you may become less reliant on these guidelines and learn to rely more on yourself and your own intuitive preferences.

For now, be aware that you have only so many tools to work with. These ‘tools’ are the ‘elements’ of design. They are VALUE, SHAPE, LINE, COLOR, and FORM. With these tools, painters can create certain effects; these effects are referred to as the ‘principles’ of design. More specifically, these principles include UNITY, BALANCE, VARIETY, RHYTHM, CONTRAST, MOOD, MOVEMENT, and PERSPECTIVE. These terms may seem confusing at this point, but think of the matter this way: You can use COLORS to create MOOD, as well as aerial PERSPECTIVE, and VARIETY. Or you can use LINE to create a sense of linear PERSPECTIVE, MOVEMENT, or RHYTHM.

UNITY is the sense of wholeness or completeness in your picture and is one of the most important design principles. You can create UNITY by letting some element be dominant — that is, by emphasizing it in the picture (DOMINANCE). Dominance needs to be tempered, however, in order to create BALANCE and VARIETY. Some of the opposite element needs to be included so the dominant element is not overwhelming. You may wish to compose a warm picture, so your palette of colors might contain a variety of warm pigments. If they are all warm, however, they lose their effectiveness. Smaller amounts of cooler, complementary colors should be scattered about the painting to mix with the warm colors and help balance the effect.

You can create RHYTHM by repeating a certain distinctive element in a painting, such as SHAPES, LINE, COLOR, or SPACES. For instance, specific shapes not only reveal the basic qualities of the subject matter but can be repeated to increase UNITY in a picture. Repeated tree trunks or an arrangement of rocks on a shoreline would be examples of SHAPES and LINE used to create RHYTHM.

CHOOSE ONE OR TWO DESIGN ELEMENTS.

The true purpose of unity and dominance is to make your painting more appealing by giving it an emotional punch and an intriguing ‘personality.’ Dominance and unity are easier to achieve if you choose only one or two of the elements to emphasize in a picture. You might choose one VALUE (light or dark) and one type of LINE (perhaps curved), while the remaining elements, COLOR or SHAPE, for instance, play supporting roles.

It is natural for people to react to certain visual stimuli, and an artist ought to know and use these stimuli to create more effective compositions. For instance, our eye automatically goes to anything out of place or different from its surroundings (CONTRAST). An artist can employ contrast of VALUES (light vs. dark, dark vs. medium, and so on) to improve a painting. We are naturally attracted to the lightest objects or areas that we can see. To surround a light area in a picture with dark values increases contrast and draws attention to that light area. We tend to skip over lesser degrees of contrast, although these play an important role in setting a mood in a composition — for example, dark corners in a sunlit room.

CONTRAST in COLOR can be useful as well. Colors can contrast in HUE (the basic color, such as red or blue), VALUE (light or dark), INTENSITY (pure or dull), and TEMPERATURE (warm or cool). An artist will often employ color contrast using more than one of these kinds of contrast at a time, perhaps using pale, dulled blue (HUE, INTENSITY, TEMPERATURE) as well as darker, pure orange (HUE, VALUE, INTENSITY, TEMPERATURE) in a painting, for example.

CONTRAST in SHAPE and LINE (or edges) is a good way to get things of interest to stand out from their surroundings. We notice hard edges and shapes that are different from each other, whereas soft edges blend and can subtly avoid attention, as in camouflage.

How we see our physical surroundings affects our emotions. Think about how you feel as the sun breaks out after days of dreary, overcast skies. In a painting, though, the emotional environment involves more than just the weather or the sky. The MOOD (or atmosphere) is the whole pervasive setting for your painting subject. A specific atmosphere or mood (for instance, the gloom inspired by the shadowy edge of a dark forest) adds drama and appeal to your composition. (See another of my blogs entitled “Get In The Mood” dated September 4, 2018 for a more detailed discussion of mood and atmosphere.)

MOVEMENT is a way to add energy and excitement to your composition. Movement attracts our attention. You can create it in several ways – by IMPLYING movement, by POINTING the viewer’s eye to a specific target with shapes, or by providing a PATH for the viewer’s eye to follow.

Since anything that parallels the frame of your picture tends to be viewed as stable and balanced, an artist might try to place shapes and lines at an angle to the frame. Curving lines IMPLY more MOVEMENT, energy, and character than do straight lines. Further, if a painting is too SYMMETRICAL, it will seem stiff and unexciting. A bit of ASYMMETRY (imbalance), by contrast, creates tension to move the viewer through the painting.

Many of the objects you put into a painting can have a POINTING quality that leads the viewers’ eye in a certain direction. This pointing can be useful in getting the viewers to see what you want them to see. By simply arranging objects in a painting in a certain way, you can suggest action and movement.

You gain control of what viewers look at when you can direct their eyes to follow a PATH in your picture. Try to arrange and position shapes to lead a viewer to look toward points of interest. Visual pathways create MOVEMENT and will lead the viewer in the direction you choose. Artists commonly use a road, path, or river as an invitation to viewers to move into a painting.

A PATH can also be a FORMAT (structure) for a painting. Different types of structures exist, including CLOSED (any path that comes back on itself and thus contains or surrounds the subject matter) and OPEN (a path that causes the eye to move back and forth, such as a zigzag or a spiral).

PERSPECTIVE is what gives the illusion of depth to your composition and makes it appear three dimensional. LINEAR PERSPECTIVE works by making objects seem further away because they appear smaller. As objects move back in the distance, they grow proportionally smaller and closer together. For example, in a sky with rows of clouds, the cloud formations become smaller and closer together (and may even appear to overlap) as they proceed toward the horizon. A series of overlapping shapes can increase the illusion of depth. Darkening a foreground or showing only a part of an object in the foreground can give the viewer a feeling of peering deep into a landscape. AERIAL or ATMOSPHERIC PERSPECTIVE creates a feeling of distance by observing the effect the atmosphere has on the landscape. Objects in the distance seem mistier, paler, and less distinct than in the foreground. Colors become lighter, cooler, and grayer when further away, while details are progressively reduced into the distance.

Skillful use of the principles of design improves any composition. A good composition depends on the artist’s knowledge of these rules, yet also is dependent on the use of intuition (or instinct). The intuitive aspect of composition is what makes each piece of art unique. Using your instincts adds flavor and creativity to your art. Move different parts of your painting around to emphasize or strengthen your composition until the painting feels right to you. The rules of composition are there to solve design problems, but rules can eliminate creativity if followed slavishly. Try to think of design elements as a foundation to base your composition on. Then trust your intuition!

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