Colored Pencils Revisited – A Story Behind Intuitive Coloring
This week, I have a personal story about my newest online art class Intuitive Coloring.
In 2014, I made a business plan to quit my day job. My goal was to teach online art classes, and I listed titles that sound funny now, like “Colored Pencils Revisited.”
I presented the plan to a local business advisor. Even if she didn’t know much about teaching internationally, she felt that I should do it.
“If you fail, you won’t fall from high,” she said,
referring to my modest list of investments and expenses.
Starting small is a beautiful thing. To gather what you have and mix it with something new. To revisit what mattered once and find a new intuitive way to do it again.
Revisiting – What Mattered and Still Does
As a child, I ran a craft shop in the attic. I remember the excitement when I heard my sisters on the steps and the satisfaction when my sister held a simple crochet chain and said: “Oh, Paivi, this is so long that it should be priced higher,” laying much more coins on my hand than expected.
I also remember the joy when my mother had just sharpened colored pencils. They were in a small open plastic box and ready to be picked. Many of them were too short to go to the sharpener, so my mother had used a knife. She did that weekly because the pencils got used all the time.
I guess Intuitive Coloring could also be called Colored Pencils Revisited.
With the pencils, we will revisit the inner attic and connect with what matters.
It’s a small risk and a small investment, but still, something that can start small and grow bigger.
Intuitive Coloring will begin on Monday, Sept 20. Sign up now!
Pick your pencils and come to color with us!
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Starting a Colored Pencil Journal
This week, I started a project that I have been thinking about for quite a while: a colored pencil art journal! I hope this post inspires you to keep a visual journal too.
From Mundane to Fantastic
The idea of this journal is to connect everyday events with the world of fantasy. I want it to be a visual diary that is inspired by the ordinary but still goes beyond it. I
Books and Pencils
I have kept small art journals before too, and they still feel inspiring many years later. The two old art journals below are Moleskine sketchbooks.
The new one is a blank notebook from Archer & Olive. I chose it because I really like Archer & Olive as a company, and I’ve grown to like their bright white paper for bullet journaling. The size of the new notebook is A5 (5,75 x 8,25 inches), so a little bigger than the old sketchbooks but still very manageable.
When ordering the notebook, I got a discount code, so click here to get 10% off if you haven’t purchased from Archer & Olive before.
I have been purchasing new pencils too. Yesterday, I went to Helsinki to visit art supply stores and got some colored pencils – a mixed selection to expand my knowledge of different brands. So far, I have mostly used wax-based pencils like Prismacolor Soft Core and Caran d’Ache Luminance, but now I also got oil-based Faber-Castell Polychromos pencils. I also bought some Caran d’Ache watercolor pencils and more Luminance that has been my favorite so far. I have always mixed all kinds of pencils in my drawings and continue to do so!
Starting a Colored Pencil Journal
I usually fill an art journal by choosing the pages randomly. But because this journal is about my everyday life, I wanted it to be chronological and start from the first spread. It’s exciting to see how it will change and what kind of secondary stories the images will tell.
What to Draw First?
I suggest you let your journal develop intuitively so that you move from one association to another and mix all kinds of ideas together. So often, the fantasy is in the mix, not in the single element.
My first ideas: a horse and moss greens. A horse because I love to draw them and moss because currently, our garden has plenty of it. We like it more than grass, so we are not complaining!
I don’t use water often, but now with the thick 160gsm paper, I smoothened the strokes of the bottom layer with a water brush. After drawing the moss horse, dandelions and all kinds of weeds came to my mind. Namely, while watching the puppy, I have been weeding almost daily and thinking that weeds are quite pretty too.
Let the Ideas and Associations Flow!
Then, of course, there’s this puppy, Saima! She makes me look at the leaves, twigs, stones, everything that she can find on the ground. My favorite moments in creating are those when I focus on the details and forget the surrounding world. I think Saima does the same many times in a day. For her, reality feels like a fantasy. We, adults, need to find the fantasy in our minds.
I tried Derwent’s burnishing pencil for the first time and quite liked it.
I was also inspired by rain, the wet tiles in the backyard, sunny mornings, and how I love old portrait paintings even if I can’t fully understand why. My favorite fruits are lemons, and it will be exciting to see how many times they reappear in the journal.
A spread with pencils is not a big project like a canvas painting, but can still feel satisfying, especially when the journal progresses.
What do you think?
P.S. For more colored pencil inspiration, remember to sign up for Intuitive Coloring!
Intuitive Expression – Mix of Fantasy and Real
This week, I share a couple of pieces that I made in colored pencils and talk about intuitive expression.
I try to keep the everyday events out of my art, but it has been hard recently. We have a little mischief-maker who dominates the family life.
Intuitive Expression in Colored Pencils
I started the piece with the techniques that I had developed for Intuitive Coloring. I really enjoy coloring this way.
The more I worked on the picture, the more clear it became that Saima, our puppy, is there in a form of a bird!
Saima has very expressive eyes that reach my heart and soul. But she definitely has ideas of her own!
Look at that little girl! No wonder that real life inspires my art currently.
Mixing Outer and Inner World
“Hey, Paivi,” I said to myself. You can’t just share puppy pics! Make another drawing that’s not about the puppy.”
So I started this one, deliberately not so freely as the first one. But as soon as I put all kinds of things hanging from the horse, I realized that it’s like Saima carrying all kinds of stuff!
But then, I thought about nomads, bonfires, dark nights, and a wilderness. Despite being a homebody in the outer world, I am a vagabond in the inner world!
I really like this idea of using geometric shapes to add tension and drama.
The expression is very different from the fantasy horse that I made last week.
The Inspiration for Intuitive Expression
Creativity doesn’t make a difference between fantasy and real life. All inspiration is equal. I have been thinking about starting a dedicated journal for these kinds of pieces that begin from one end and reach another.
What do you think?
P.S. Don’t forget to sign up for Intuitive Coloring!
Monet in the Box – Creativity and Shame
This week, I show my latest finished painting and talk about Monet and the hall of fame – no! – the box of shame!
Last week, I participated in an online event organized by the Finnish Illustration Association. One of the speakers was Eeva Kolu, who talked about maintaining balance in life, not letting work take over all of it. She referred to a book that she had written which is unfortunately available only in Finnish. It’s called “Korkeintaan vähän väsynyt” (free translation: A Little Tired At Most)
I have been listening to the book on daily walks, and even if I am not finished yet, I already like the inner dialog that it raises. It makes me stop to ponder, sometimes agree, other times disagree. It’s not only pleasant, and yet, it’s definitely worth reading. One of the things Eeva Kolu brings up is shame. She says that shame defines the size of the box where we live. The box can become so small there’s not much room for life.
Eeva Kolu made me think about all the things I am shame of. Surprisingly, one of them is central to my art.
My Relationship With Old Art
When I was in my twenties and thirties, all I wanted to see was contemporary abstract art. In museums, I rushed through the old paintings because representational and traditional art was for mediocre people, and I didn’t want to be one of them. I felt shame about my uneducated family and the lack of abstract thinking in the surroundings where I came from. I had a new life with higher education, and my love for mathematics was well aligned with geometric shapes and lines.
But age has made me understand more about my background and art as well. I have begun to love old art, and still, it’s something that causes me shame as well.
“Waterlilies,” my husband said when he saw this painting.
It made my box shrink. My intention was not to do any Monet. I just painted the dreamy blue that needed to come out, not make any imitation of anything.
I Kind of Hate Monet’s Waterlilies
I have seen them in National Gallery in London. They are captivating. People love them.
But instead of making what people easily love, I would like to be an artist who sees to the future. Who builds paintings that are like complex machines. I should be a Leonardo of this age, imagining something technical that engineers will skillfully implement someday.
But my art has a mind of its own. No, a mind of mine. Or would I dare to say: a mind of my shame. I am stuck to the past, so I paint the past. I reach the worlds that feel excitingly unknown first but turn out familiar once the painting is finished. I end up recreating instead of inventing. That’s my shame.
In my classes and in this blog, I talk about old art now and then. But compared to the amount I think about stiff renaissance portraits, romantic baroque sceneries, frilly victorian dresses, cubistic still-lives, and all the masterpieces from the 15th to 20th century, it’s very little.
“My Readers Want Their Art to Be Current”
That’s what I say to myself often. The readers – you – don’t like old art so I try not to write about it. And still, the expected goal to be current seems ridiculous sometimes. There’s a bridge between current and old, and it’s very difficult to be current without knowing what’s not.
That bridge – or should I call it a long historical timeline – is the place where my creativity naturally lies. My shame is also my utmost love. When I paint, I don’t think about Rubens, Monet, Picasso, or Kandinsky. When you love something deeply, with the skills, it comes out naturally.
“Everyone discusses my art and pretends to understand, as if it were necessary to understand, when it is simply necessary to love.”
Claude Monet
Monet’s attitude seems very unintellectual. And yet, if you think about what you create and have created, can you relate? That sometimes it’s necessary to omit the feeling of intellectual understanding, bypass the shame, and simply love – so, widen the box instead of trying to get out of it?
Thumbs up or down for talking about art history and old masters? Share your thoughts in the comments!
P.S. Claude Monet is “a guest teacher” in the class Floral Freedom!