[-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.

[-photo essay, fiber art-]

by Nancy S.M. Waldman

Patchwork quilting is an exacting process. There is a great deal of planning, measuring, precise cutting and piecing. Some of us are cut out (ahem, *sorry!*) for that and some aren’t. Or perhaps it’s a discipline that we enjoy at some times and not others.

At times we may just want to be spontaneous, playful and get quick results create with our textiles.

Here are some examples of a kind of stitchery that requires none of the planning and precision of quilting, but that can give stunning results.

There is no one name that sums up this kind of work. It includes raw edge collage, surface stitching, whole cloth manipulation and fabric weaving. The idea is to make a new textile by combining more than one kind of fabric by layering the elements and using surface stitching rather than hidden seams to make them one.

Here is an example of a simple and quick project. It is a placemat made from three fabrics woven together and surface stitched until it becomes one. Below, you see the base fabric cut into wavy strips.

A strip of fabric was left uncut at one end. This edge was basted onto a piece of interfacing the size of the finished mat.

The two alternating fabrics were also cut into wavy strips.

These were then woven into the base fabric. Don’t worry if all the corners don’t meet exactly. You can remedy that with your overstitching. Pin or lightly hand-basted the strips to the interface backing to keep everything in place while it is being stitched.

This one is top-stitched in a wavy, random pattern in both contrasting and matching thread colours. In order to add durability to a project that will have to stand up to fairly frequent laundering, there are vertical strips of zig-zag stitches in various colours.

Once the stitching is finished, it’s backed and the edges finished and in a afternoon’s work, you have a lovely new placemat for your (or someone else’s) table.

This kind of weaving can be done with straight edges for a more traditionally patchwork look.

Decide beforehand what kind of surface stitching best matches the fabrics and results you want. They can be contrasting colours or ones that blend in, or both. They can be random or follow a deliberate pattern. The patterns can be angular, squared-off or wavy. Use plain or decorative, zig-zag or straight, single or double stitching.

This table cover was also made using this technique —but taken to extremes. The fabrics are swatches from decorating sample books. They were cut into random slits, woven in random directions, over-stitched and sometimes re-cut into strips and re-woven. The table base that this was designed to cover has curved sides and front and this technique worked beautifully to be able to mold it to the precise shape needed.

This is rather old and has been washed several times. The fraying, raw edges are more pronounced, but the whole piece is quite sturdy.

Another fun alternative is to cut slits in the middle of a piece of cloth, weave other fabrics into it and over stitch the whole thing. Here’s a more delicate “shabby chic” pillow top that uses this technique. This pillow was one I had purchased years ago. The front was made from old linen and lace. The linen fell to pieces a while back, but the lace and structure of the pillow was intact. To refurbish it, I cut slits in the white lining and wove in strips from old handkerchiefs. These were then top stitched extensively.

In addition to the weaving, other bits of fabric can be appliqued to the surface design. As long as your raw edges are securely stitched, it will hold up well.

This small lap quilt I made for my niece, emily, shows this technique as well as the interspersed woven sections. I divided the whole cloth of the floral background fabric into thirteen squares (3 rows of 3, 2 rows of 2). Strips were cut into those areas and then interwoven with other floral fabrics and top stitched to secure all fabrics. Appliques of additional fabrics were also added and surface stitched.

Raw edge collage is also wonderful for representation or impressionist fiber art as well. Here is one from fiber artist, Suze Corte. It’s titled, Coming Apart at the Seams and uses vintage quilt scraps, fabric, buttons, lace, threads and a shard from a china dish—all with raw edge technique.

© 93-07 suze corte, all rights reserved

Stayed tuned! We’re going to be showing you more of this kind of fabric collage work in the months to come.

For more instruction in all these techniques, you might be interested in
On the Surface, by Wendy Hill.

[-graphic reminder-]

Other posts about marks:
Making your Mark - essay about self-promotion
Marks have Meaning - art tutorial

All such Graphic Reminders are the playful fault of Nancy S.M. Waldman
© 2007 all rights reserved

[-alteration, crafts, how-to-]

by Nancy Waldman

Here’s a fun little project that grew out of The PCQ’s Alteration Challenge.

It took less than a half an hour to put together. If you have your own tin (they are easy to find at garage sales or online auctions) you can make one of these for well under $10. The ‘clockworks’ can be found at hobby stores.

Just take your drill - you do have one, don’t you? - checking the package to find out what size drill bit you need to use - and drill a hole. Insert the metal piece inside the hole and attach the battery pack to it from the backside of the tin’s lid. From the front and still using the simple directions on the clock works package, put on the spacers and the hands of the clock.

From there you just put in a battery and watch (pun intended 8)) it go!

I used a Sharpie permanent marker to draw in the numbers but you can find press on numbers that would serve the purpose.

I wanted this one to be a counter clock since the word “soap” was written on side; I can even use for storing - yes, that’s it - soap. But the same clockworks can be used to make a hanging clock.

Here’s another idea. This is a photo of a clock I bought. It’s made from a metal tin that is open on the back side. The face of the clock is a piece of paper glued to the front. This brings up endless possibilities. Find a great picture and paste it on or better yet, do a collage. Fabric could also be used. Just be sure that your clockworks are high enough to lift the hands away from the face of the clock, especially if your collage gets a bit thick. They do come in several heights so this shouldn’t be a problem.

Easy. Quick. Fun. Functional. And, what great gifts they would make.

Originally published in the April 2006 issue of The Practically Creative Quarterly, theme: alterations; edited slightly for republication

[-process, journaling, found poetry-]

by Nancy Shepard Metzger Waldman

In the course of researching Altered Books for the January 2006 issue of The PCQ, I couldn’t resist tackling my first altered book. Here is the journal and some photos I made of the process and progress so far.

Take heart other beginners, from the lumpy pages and [way]less than professional results.
It’s a beginning!

ALTERED BOOK PROJECT

First Question—How can I mess with a book?
Tomes are SACRED, aren’t they?

So, I found a book in a give-away bag…Country Walks in Connecticut.

Since I live in Nova Scotia now, I’m unlikely to use it ever again. Plus, it’s well-used already. Dog-earred and warped, it also has a very ugly stain on the cover and through the first 7 pages or so.

It’ll do. It has some lovely maps and black and white photos.

MAKING IT MANAGEABLE

1st step - glue pages together … eeek… it’s not easy for me to get over the feeling that I shouldn’t be doing this. I have to think of it as recycling, renewing, making art out of what has become a book no one wants.

It takes me a couple of hours to glue the pages. I used white craft glue diluted with water. It’s lumpy … but it worked!

NOW WHAT?

Since the book is about trails through the woods, I decide to make the art about a trail through the book….

I jot down words from the page that I like or that seem to relate to each other. The last word on the page is “connects.” This makes me smile!

JASPER JOHNS: “Do something…. do something to that…”

I color the words I want to HIGHLIGHT in CRAYON (goldenrod)… I try covering up the words I don’t want. First I use some brown ink that I’ve had forever. I like that I’m using what’s here … it looks nice on the page but the print shows through. ENTER: “Acrylic Colored Gesso, Unbleached Titanium” That should cover up anything…

I took digital photos of the book so far… then began modifying the photo of the photo on the righthand page. Put in loads of color - played with Hue & Saturation, Brightness & Contrast, Tone Adjustments, and Negative.

Tried to print out on TRANSPARENCIES but my printer objected. Had to make do with card stock.
NEXT I …

until …. VOILA! here are the first two pages:

The found poem on the right hand page is:

It was fun but I haven’t gotten back to it since. I love looking at other artist’s altered books but it may just not be ‘my thing.’ How about you?

Have fun!

Here’s lots more articles on artistic Alterations.

Originally published in the January 2006 issue of The Practically Creative Quarterly, theme: alterations

[-essay, creative challenge-]

by Nancy S.M. Waldman

My grandmother, Polly Mahala Reed was a talented seamstress. When I think of the word “Alterations” I think of her.

She, like many of her generation, made most of her family’s clothes. My mother can describe in detail the colors and fabrics of the outfits she and her sister are wearing in the black and white photos from her childhood in the 1920’s and 30’s. But when I knew my grandmother, she was working as a seamstress in a smart little dress shop in San Diego. She did alterations.

Making clothes from scratch is a pretty great skill, but the idea of taking something ready-made and tailoring it to meet the needs of a particular body or taste, is even more amazing. Polly had to not only be able to envision what would work and how, but also have the technical skills to carry out those changes and have the finished product look better than new.

Altering anything can make it new again.

So here’s an Alterations Challenge!

Here are some functional items you could play with to transform into art:

* toothbrushes
* hair brushes
* broom
* pet toys
* plant pots
* old technology (be careful with the ‘innards’; many have toxic materials)
* any kind of recycling - plastic, cardboard, cans

We’re using the term “art” broadly to mean something that is fun, beautiful, wacky, decorative, playful, colorful, wonderful, unexpected, instructive, metaphorical - but NOT primarily functional.

Here’s a great example that was featured in the original PCQ:

Here’s another favourite of mine:

Clean out your make-up items that are not being used and make an assemblage out of them. Construct a shadow box or doll furniture (ok, so that’s slightly functional but we’ll count it as art) . Try playing cards, match boxes, pin cushions, ashtrays, magazines. See our Altered Books article for inspiration.

Here’s a sun-catcher I made from a used gelpen:

As for the other side of the challenge: use old, dusty, dog-eared, torn, faded, broken or “failed” art or photographs as the raw material for something beautifully useful, such as:

* jewelry
* containers (for cell phone, glasses, jewelry)
* frames
* pots
* waste baskets
* pillows
* lamps
* small furniture

Here’s a box I made out of a painting I did years ago:

This was a ready-made craft store box that I covered in old photographs and paper:

Use things you have around the house that would otherwise gather dust, or be thrown or given away.

How about broken glassware or dishes? They make great mosaics and jewelry.

Do you have old craft projects that will never get finished? Think about them in a new way. It’s great for dealing with that I-didn’t-finish-it guilt that can sap and sabotage our creative energy.

Be aware of what’s around you, what you are throwing away or what is on the shelves of your closet or in your junk drawers. Raise your level of consciousness and take the time to experiment.

remember:

Alterations can make things New Again

© 2007 all rights reserved by the artist on all images

We have a lot of fun alterations on our site. check out these other PCQ articles and examples:
Baywhale
- How to Make a Photosandwich
Maureen Shaughnessy - altered photographs
- thoughts and images
- tutorial and images
Cynthia Korzekwa
- On Colour
- Art Begins at Home: recycled and reused items made into art
Karen Hatzigeorgiou
- Altered books / Found Poetry
coming soon:
Nancy Waldman
- Found Poetry
- Article about Norman Sherfield’s, “Six Pac”: Naturally Good

Or just click on the topic: Alterations.

Originally published in the January 2006 issue of The Practically Creative Quarterly, theme: alterations
Altered slightly for re-publication in The Practically Creative Quarter

[-photography, art-]

These images were among those featured in The PCQ’s first issue, April 2005. Our theme was Inspiration.
Read the rest of this entry »

[-cartoon-]

by Nancy Waldman

Read the rest of this entry »

[-metaphorism, inspiration-]

metAphorism is a word I coined to mean a simple, everyday thing, concept or event that points us in the direction of a deeper lesson. metaphor - figure of speech giving an implicit comparison: this is that. aphorism - concise statement of a truth or opinion.

The metAphorism:
The Costume Box
The Lesson:
unplanned, unsorted accumulations are important sources of creative productivity

by Nancy S.M. Waldman

When I was a little girl, we had a big cardboard box in the closet that held anything that could be thought of as “costume.” Never sorted through, never planned, it looked only like an unholy mess. Feathers and ribbons. Fabric to drape and pin. Hand-me-downs and hand-offs from relatives that could never be used in real life. A rabbit-fur muff. A fox stole. A “gypsy” skirt made from horizontal rows of brightly contrasting fabric. There was an evening bag that would bring hundreds on E-bay today. Clip-on earrings without mates. Belts. Beads. Broken things. Unlikely bits of felt and plastic and leather and cotton and wire and pipe cleaners.

The specifics are less prominent in my mind all these years later than the enticing assortment and variety of things.

It was used, of course, at Halloween to devise costumes which were never store-bought. While we sometimes had help from our creative parents, we often came up with our own creations right out of the Costume Box. The other major use was for the garage musicals that my sister, Suze and I put on regularly for fame and profit. Suze was the creative genius behind “Dance through the Centuries” and many others. One was carried out entirely on roller skates (must have been where Sir Andrew Lloyd Weber got the idea). The Costume Box provided the raw materials for transforming us into stage-ready performers.

When I had children, it was second-nature for me to have a box that I threw things into to form their own Costume Box. One summer we rented a condo on the beach with another family. There were five boys in all and I took the Costume Box along, hoping it would provide some entertainment if it rained the whole week. One evening the adults were sitting outside with other people from the condos and our boys came down dressed as characters from Star Wars. Even though there were no store-bought costumes in the box, we watched in amazement as they trooped down in identifiable personages. “There’s Darth Vader!” a child exclaimed. “Oh look! He’s a Stormtrooper!” said an adult. There they were: BobaFet, R2D2, Chewbacca.

It’s truly stunning what our imaginations can do with almost nothing.

None of us became professional performers or costume designers, but the creations that adorned us out of the Costume Boxes had a lasting effect nonetheless. When you have had the experience of making something new out of old cast-offs you remember it forever. It’s not only fun, it’s creative confidence-building in a box.

So when you think about creativity, remember the Costume Box. Don’t let those clutter-clearing shows on TV make you feel too guilty about your accumulation of stuff. Junk drawers, untidy tool sheds, archivist attics, overflowing garages, toy and costume boxes provide raw materials for creative productivity.

Originally published in the October 2005 issue of The Practically Creative Quarterly, theme: collecting

© 2005 - 2007 all rights reserved

[-essay, survey, collecting-]

by Nancy S.M. Waldman

- Originally published as an editorial for the October 25 issue of The Practically Creative Quarter, theme: collections - This version was edited slightly to reflect the new context -

When we came up with the idea of COLLECTIONS as a theme for this issue, it seemed like a good fit. Collections are visually interesting and mentally stimulating and collecting is an activity that a lot of creative people - whether they mean to or not - engage in.

I didn’t have a clue that putting together an issue on collections would teach me so much. A zine, I quickly realized, is itself a collection.

Collecting is often thought of as a self-indulgent need to accumulate things but I began to notice - and soon couldn’t help but see - that many of our everyday activities are about collecting. On a personal level, we are collecting when we bookmark web pages, sort emails, gather contacts on Facebook or Flickr, put our recipes in boxes or notebooks, journal our daily experiences, file our papers, hang art on the walls, maintain bulletin boards, blog our thoughts. On an organizational level scientific laboratories gather data, corporations gather customers, libraries, museums and fashion designers - well - they either acquire or create collections, don’t they?

As human beings we seem hardwired to gather things into categories. It’s part of how we make sense of our complicated world, allowing us to claim some special relationship to certain things or people and keep others at arms length. Our relationships with our collections aren’t always comfortable but on some level, they do make sense to us.

Collecting can be divided into two main types. The first is the collection that we purposefully add to, keep, treasure, trade, display but have no intention of using - or - using up. The other kind is the collection we can’t help. It is usually some functional (the accent on fun!) thing that we love to use and therefore cannot help but acquire. And so we acquire and acquire and acquire it until we have so much that we could never use it up! Art and office supplies, books and cds are tops among this kind of collections.

Be sure to check out our these links to our other Collections issue articles and photo essays. I ask your forgiveness in advance for missing your favorite collectible. Putting in every kind of collection is like putting in the WORLD!

• Art supplies (and an interview) with Teesha Moore
• Ephemera
• Toys
• PEZ heads can head here
• Ways to organize collections

We asked our collecting contributors about their habits a short survey and their responses are enthusiastic and fun to read! The survey is below with links to the results. The first three questions are grouped on the same page; the others each have their own post-page. To add your answers and responses, click on the questions, have fun reading the answers and leave your comments after the posts.

Collectors Survey

1. How many collections do you have?

10. What has collecting taught you about people or life?

a good gathering link:
ibiblio - a ‘collection of collections’

In doing this survey, I found out that people are very passionate about their collections so don’t hold back!

A special thank you to all our generous contributors! Please click on their links to see more of their work and play.

Originally published in the October 25 issue of The Practically Creative Quarterly, theme: collections