[-warm-up, drawing-]

Here’s a creative warm-up exercise that uses categories.

Choose a category each day to draw in your journal. Divide your paper into 8 - 12 small sections. Decide on the length of time you want to devote to this. My suggestion is to start with no more than ten minutes. Quicker sketches will loosen you up. Later on, you may want to devote more time to the sketches.

Draw a version of your chosen category in each of the sections.

The idea is to warm-up your creative brain by doing quick, non-threatening, simple drawings. Doing a lot of drawings of one thing helps you explore your visual knowledge of that category. You will find that you’re going to learn a lot about yourself, your visual memory, your ability to express a simple thing quickly and you’ll find yourself being more observant of that category once you’ve done the exercise.

Here’s my “Fruit” category page:
As you see, this isn’t great art. They are quick simple, even iconic sketches. And yet, I found out a lot from doing them.

I found out quickly that to distinguish between a drawing of an apple, a peach, a plum and even a lemon is tricky, but can be done. I found out that though I have removed plenty of them, I couldn’t, when I started, remember what the stem of a pineapple looks like. I found out that in order to make a peach look like a peach, you have to turn your pencil on its side to get a softer edge. I remembered that the skin of a lemon is pitted and that’s a bit of a different pencil mark that the tiny seeds of a strawberry. I found out that in order to sketch a bunch of grapes, it’s easier (and more fun) to sketch the dark, negative spaces that just draw the overlapping grapes. I found that sometimes a fruit is best depicted by the drippy, wetness that ends up on the surface below it. I found out that it was hard for me to come up with twelve fruits and that I didn’t seem to have a clue what shape a fig is.

Try it. It’s fun and you’ll be amazed how much it will stretch you.

Here’s a list to get you going:

I threw in the last three to remind you that these don’t have to be solid objects. But stick with the simpler ones at first. See what happens. After doing these for a while, revisit a category so you can see how the first sketches compare with ones you do after sensitizing yourself to this process and to thinking visually.

And, let us know what you learned by doing this exercise!

[-exercise, un-blocker-]

by Nancy Waldman

Do you feel creative but still have difficulty creating?
Is something holding you back but you’re not quite sure what or why?
Are you feeling blocked?
Do you feel that your output is a trickle instead of a flood?

Here is a exercise designed to explore these kinds of problems in a new way.

In Marks Have Meaning, I made the point that small, quick, abstract marks can and do communicate emotions and concepts. This same concept can be used as an effective tool for problem solving.

The idea for and way of using marks as problem solving devices came to me from Betty Edwards, Drawing on the Artist Within, which I highly recommend.

Get several pieces of paper and a pencil with an eraser.

Sit down for a moment and think about your life. Choose an issue that is a challenge or an on-going problem, something that you don’t really have a handle on. It does not have to be a creative problem but if one of those questions at the top of this article is bothering you, it might be a good place to start.

Once you’ve decided on a problem, don’t think about it. Begin to draw.

Ms. Edwards suggest that you first draw a boundary on your paper. She calls this a format for the problem. It does not have to be a rectangle or square. Make it any size or shape that seems right.

Then begin to draw the problem. This drawing should take focus as a photograph developing before your eyes. Be in the mind of the issue you’ve chosen but don’t control this drawing with words. Let it come. The main thing to remember is that it should not include any representational or symbolic icons or figures. No hearts, or words, or lightning bolts or pictures of any kind. Just lines and abstract imagery.

Draw for as long as it takes. Remember, you are letting another part of your brain work for you. You are letting the r-mind communicate in the way it can. Enjoy the feeling of being wordless.

If one drawing doesn’t seem enough, do another. Don’t forget to ‘format’ it first, even if you choose to let the edges of the page be the boundary line.

Once the drawing or drawings are done, take a moment to assess how you feel. Are you refreshed? Frustrated? Feeling lighter? Or do you feel silly? Whatever it is, jot the word(s) on the back of the drawing.

Then think about what the drawing is telling you about your problem. Now is the time to try and put it into words. Say out loud what you see, how it makes you feel, what you observe about what you’ve drawn. It’s a similar process to recounting a dream. Often in retelling a dream, there is a process of identifying, of focussing. We might say, “There was a cat in the corner and that cat was—spooky…no, not really spooky, that’s too strong a word. More eerie. That cat gave me an eerie feeling that was like…well, surprisingly it reminds me of Great-grannie Gertrude!” And so on.

Turn your drawing over and on the back write the words that your r-mind has communicated to you. Ms. Edwards suggests that you “memorize” the drawing and the words. The idea is to hold both in your mind at once. Don’t let the words take over because the drawing may have more information in it than you can see right away. Before leaving this exercise, close your eyes and try to picture the drawing you did. Is it memorized? Then think about the words and hold them both in your mind at one time. It isn’t that hard, since you created both. They came from you and therefore are not foreign. The process has simply put them into your awareness in a new way.

Here’s a drawing I did years ago. I was trying to figure out why I couldn’t sustain creative efforts to completion.

In the same way that my dream would have significance to me, but would not to you, this drawing will mean nothing to you. Even if I point out the barriers and the difference between one side of the drawing and the other, it’s not your mind, your problem or your experience and therefore, not significant. However, what you should know is that I gained multiple insights from this and similar drawings. Doing these drawings over the years helped me deal with situations in my life with a broader understanding and awareness of them. In the same way, if you go through the process with openness, your drawings will have deeper significance because they came out of you.

Give it a try and see what happens in your life. For those of you who try it, share your experience with our readers by making a comment below.

[-r-mindfulness, exercise-]

by Nancy Waldman

Before beginning your creative work for the day, try this as a warm-up. It is an excellent way to access your R-mind and to lift your awareness from everyday mode into a heightened realm.

This warm-up is a drawing exercise but it’s not just for visual artists. It will help no matter what kind of creative endeavor follows.

Pick an object to draw. It can be anything, simple or complicated but, especially if you are new to this, choose a small object that can be brought to your drawing table so that you can focus on it easily.

Try to set aside ten to twenty minutes of uninterrupted time. Set a timer if you have one. Because you know there’s a set limit, this will help you to ‘forget’ the passage of time as you work. This will enhance the experience.

Using paper and pencil (it doesn’t have to be a pencil, but I enjoy the resistance that graphite on paper gives) you are going to draw the object. But this is no ordinary drawing. A contour drawing is one where your eyes never leave the object you are drawing and your pencil never leaves the paper once you’ve begun.

The end result will not look like the object you’ve chosen. This is okay because the purpose of this contour drawing is not to have a representation of that object; it is instead to focus on the edges, the lines, the boundaries, the negative space, the contours of the object in a new way. Here is a contour drawing I did of my hand.

The first thing you probably notice is that it doesn’t look like a hand. Good. It’s not supposed to. Now, notice the very specific quality of the line. In contour drawings, you are focused only on *seeing* and moving the pencil as you move the eye. Usually, there is another step between putting what we see on paper. Normally, you would look at the object, then look at the paper, decide on the placement of the line and begin to draw. By that time, though, the specific quality of what you’ve seen has already become somewhat diluted.

In a contour drawing, because the usual connection between what is being seen and what is going down on the paper is removed, the lines show the specificity. They are usually quite beautiful and sensitive, but even that is not the purpose of doing the drawing.

The purpose is to get your brain away from its usual mind-set. After you do your drawing, ask yourself how it felt. Did you notice that you were a little irritated at first? Perhaps you felt frustrated or silly. All of these less than positive responses are quite normal ones, especially if you’ve never done a contour drawing before.

That’s your everyday mind rebelling against an exercise that is completely different. The goal here is to persist with the drawing long enough to pass through these objections and into another mode, a different way of thinking.

Once you’ve done the drawing, then start your day of novel writing or oil painting or composing or whatever your creative work happens to be. You’ll find yourself in a less mundane, more relaxed, focussed and flexibly creative state of mind.

[-exercise, writing-]

If you’re having trouble getting started in fiction or need a helpful exercise, try this:

ONE TRUE MEMORY/TWO LIES

• Choose one real childhood memory.
• Make up a lie that relates to that true incident.
• If you think of them as lies instead of ‘using your imagination’ it won’t throw you into a creative crisis of confidence.
  Lie innocently … as a child might.
• Then make up one more lie, this one more brazen. Have fun with it!
• Write for 20 - 30 minutes about these three and see what happens. Try this every day for a week without looking back at what you’ve written. Next week you can evaluate if you have anything that you’d like to expand upon but as a beginning, keep it in the realm of - you guessed it - practice

.

TRIGGERS

Is your MIND BLANK? Suddenly you can’t think of anything that happened to you in your childhood?
Here are some triggers:

• * source of heat
• * what we ate on Sundays
• * report cards/grades

Originally published in the July 2005 issue of The Practically Creative Quarterly, theme: space and spaces

[-r-mind, perception, exercise-]

by Nancy S. M. Waldman

If, when you try to create, you find yourself full of doubts about your abilities, you are by definition, NOT in a state of R-mindfulness. The R-mindful brain is not worried about wasting time. It’s not worried about lack of talent. It’s not worried about product. In fact, it’s not worried about anything.

An R-mind is focused on the activity of creating, not on the person doing the work. In order to successfully create, we must get to that space/place within ourselves where the work becomes the focus instead of doubts about ourselves.

Because our “everyday” mind (the “L-mode”) is so used to being in the forefront, making decisions, doing the daily mental chores, it won’t give up control easily. That is why we often must fight down the sudden urge to clean the kitchen floor when we sit down to finish a short story or begin a sewing project. To the everyday mind, it makes perfect sense that the kitchen floor needs our attention more than this impractical, optional creative project. But that creative activity is as much a part of us - more, it could be argued - as the practical activities of daily living. It’s just that the creative mind is a gentle, subtle, easily cowed part of us. We must learn how to let it take the stage.

Since our theme is Space … and spaces, this issue’s trick involves focusing on negative space. The magic lies in being able to trick your L-mode into giving up control. When the everyday mind is confused, confronted with a sensory puzzle it can’t readily solve, it will recede and you will be on your way to being R-mindful.
Read the instructions several times before trying it.

Before beginning your creative project, sit comfortably at your desk, sewing table or wherever the work will occur.

1. Close your eyes, take a big deep breath, and let it out slowly.
2. With your eyes still shut, breathe deeply, in and out, very slowly, exactly three times.
3. Open your eyes. SEE what is in front of you.
4. Notice the word: “see” instead of “look at.” they aren’t the same.
5. Expect to see something that you haven’t noted before or at least noticed in a while.
6. Focus on one thing or a part of a thing. if you find yourself unsure, zone in on the edge of something. See it.
7. While keeping your eyes on your focal point, shift your focus. let your awareness go to the immediate space around that thing.
8. Keep breathing. stay with that sight for a few moments. allow yourself to relax into this time apart.
9. Shut your eyes. breathe in and out exactly three times.
10. Open your eyes and begin to work.

Try this each time before you begin and see if it helps. You may want to read the information on R-mode in the metAphorism feature of our first issue, here.
When you see this symbol in The PCQ be aware that this is information that may help you understand and access this part of yourself.

Originally published in the July 2005 issue of The Practically Creative Quarterly, theme: Space and Spaces