Create for the Inner Child – Painting and Drawing on Scraps of Paper
This week I have a new free video for you! It’s about using small paper scraps for playing and dreaming, but it also goes deeper. I hope you’ll enjoy it!
Whether you want to play, be “on the bridge” or paint freely, welcome to my online classes!
Building and Breaking – Revealing Artistic Potential
This week, I talk about the hidden potential behind artworks and how we can reveal that by not only building but also breaking.
Modern Maximalist
I have just designed a collection of surface patterns called Modern Maximalist. It’s drawn digitally in Adobe Illustrator and more modern than my work usually is. However, I love modern, especially the 1960s and 1970s styles. I was born at the end of the 1960s, live in a house built in the same era, and my love for retro has been too hidden in my art. But still, I didn’t want to design the collection based only on the images of others, but to build a bridge from my art to design. So, most of the motifs were based on this watercolor painting that I made a couple of weeks ago!
More Artistic Potential by Building and Breaking
Often when we create art, we build. We communicate the big picture and compose bits and pieces so that they work together. We get happy accidents (and sometimes some not-so-happy ones) and aim to make an image where the overall atmosphere takes over the details.
But to reveal more, we also need to break. Then the romantic flower that was painted to represent a dreamer, becomes a more stylish and symbolic figure.
Yellow flowers and all the yellow washes can be more geometric when they are away from the big picture.
The juicyness of the fruits and other decorative details can be reorganized.
Picking Ideas from Other Images
We can also add more fuel, and break and pick from other images. This design called “List Maxima” uses motifs from the painting, but also the idea of a list that came from playing with the name of the collection, and fashion pictures that showed puffy and full dresses of the maximalist style.
By breaking and picking, we also develop our ability to curate – to see which inspiration suits what we have already done. It’s an essential part of a style-development and and growing artistic vision.
I saw a pleated skirt on Prince Charles’s wife Camilla Parker-Bowles, not a maximalist style at all, but wonderfully modern so I broke and picked the image and got creative from that.
Artists often say to me: “I need to focus!” But by focusing on narrowing, we non-creatively force ourselves to do one thing. By breaking and picking, we can curate all kinds of inspiration and be creative so that it grows our artistic vision.
Revealing the Artistic Potential
No matter where you are in your artistic journey, your art benefits from the idea of building and breaking. Build to go deeper into the experience and break to reveal more ideas and potential! In practice, building often means painting, and breaking is often connected to drawing – even if, of course, you can use any techniques that suit you.
What was first a watercolor painting, could now be a quilt!
Building and breaking can alternate endlessly when we combine new ideas and results with old ones.
Here I am breaking and picking to create something new into my art journal.
Here’s what I built by cutting and glueing new prints and old hand-decorated papers.
And I couldn’t resist checking if this could work as a repeat too!
I hope you found this post about building and breaking inspiring!
Need help for finding your artistic potential and building artistic vision? Sign up for my coaching program called Artistic Vision!
Vision Who You Want to Be as an Artist!
If you are a long-time follower, you know that I have run a coaching program called The Exploring Artist. It’s been on a break, but now I have something new for you. It has just taken some time to get developed.
You see, when we first start creating, it all feels like a really quick thing. One little drawing doesn’t take so much time, and if it doesn’t quite hit home, it’s always exciting to start a new one. Only a matter of practice, right?
Except it’s not.
The more you create, the wider the world of art becomes. It’s like you have first had a small puddle, then followed a stream, managed to find a river, drifted to a lake, and suddenly you are in the middle of a big ocean feeling smaller than ever.
There are so many flows, and to move forward, you should pick one, and preferably one that leads you where you want. At least that’s what business people say, they only take the safe routes and do fine!
Except it’s terribly difficult for artists.
When you are an artist, you are also an adventurer. The unseen is part of art. That’s why we often fail when we try to set a routine or stick with one boring thing.
For six years, I have created an annual vision that guides what I do. Because I come from the business world, I first started with the way businesses create their vision. Then I joined a business coaching program to make sure I was doing it in the right way. Slowly, year by year, I have moved away from how business visions are made.
When you create art, it’s not the same as working in a factory or selling pens. Art is personal, and it also has its own way.
When I call my inner artist to build an annual vision with me, I must be extremely cautious and gentle because she is not happy with the interruption. She would only like to create. “The next piece will be better,” she assures me, “I just need more time for creating.”
But we all know that time is limited and that quantity doesn’t always replace quality. It’s just this life that we have.
“Adult talk,” my inner artist sighs.
When I look at my inner artist, I see a child with all the wisdom built in her. There is no artistic vision if it lacks that spontaneous wisdom.
So, my annual challenge has been to give enough space to that child and that wisdom. Not to try to fit everything into one ship, but to see that there are several routes in the ocean of art, some being steps to the unknown. It’s exciting!
We are then no longer swimming alone in a big ocean, trying to find and follow another swimmer, feeling distracted by every wave and exhausted after staring one point at the horizon for too long.
My artistic vision is focused, and then it’s not. Focusing and narrowing down are not happy words for my inner artist, so I try not to use them. If you look at my classes, illustrations, designs, abstract art, there are several styles and techniques.
And then there’s YOU. An artist who likes to imagine, who gardens and crafts, who sees magic in life’s little things.
You who likes to play and draw in, for example, Animal Inkdom and Magical Inkdom.
You who yearns beauty and watercolors and, for example, Floral Fantasies.
There’s also you who wants to dive deeper and move forward, not only create but also vision. Maybe only you (or this side in you) reads this post from beginning to end?
For you, I have a new program called Artistic Vision!
>> See more!
Three Design Styles, a Gelli Plate, and a Brush
One of my goals for this year is to learn surface pattern design. I want to move back and forth between art and design, and add more design to this blog as well. This week, I picked three of my favorite designers and played with Gelli Plate to imitate their style. These don’t replicate any of their work, just their style.
Three Designers from Three Centuries
My three favorite designers are Tricia Guild, William Morris, and Wassily Kandinsky.
Tricia Guild a designer from the UK, and she has a company Designer’s Guild, and I have been her fan since the 1990s when I discovered her book Design and Detail. It’s been my interior design guide for 30 years, and all my homes have got ideas from that book.
William Morris is also English, but he lived earlier, in the 19th century. Two rooms of our home have curtains designed by his company, and I regularly admire their clever repeats and ornamental shapes.
Wassily Kandinsky was more of an artist than a designer, but he taught designers in a famous Bauhaus art school in the early 20th century. For me, he is the father of modern design. I see his paintings in the works of most midcentury modern designers. Lately, he has felt even closer, when I have been built a class Floral Freedom that is based on his and Paul Klee’s teachings.
Who are your favorite designers?
Three Designers – Three Color Palettes
I have always liked making hand-decorated papers. Actually, my most popular blog post is this ancient one: How to Make Your Own Patterned Paper from 2010. So let’s get back to basics and make some!
First, I painted the backgrounds with acrylic paints and a flat brush. This set a color palette for each paper.
Muted pastels and rich darker tones remind me of Tricia Guild. She often uses stripes or checks too. William Morris has greyish colors and many of his designs have dark backgrounds. Wassily Kandinsky often had a very light background in his paintings.
Three Design Styles – Three Kinds of Shapes
I continued each of the papers by mono-printing motifs with a Gelli Plate. For Tricia Guild’s style, I used a small plate and painted the motifs with a brush on a plate, then pressed the plate on the paper. Because Tricia’s style is often quite relaxed, there was less pressure for perfect outlines.
William Morris’s designs are very sharp and ornamental. I cut out ornaments freehand from paper and used both negative and positive shapes. I used both a big Gelli Plate and a small one.
Here’s how the paper looked after mono-printing.
Wassily Kandinsky’s shapes are mostly geometric, so I cut templates that had circles, lines, squares and triangles.
Here’s how the paper looked after mono-printing.
Three Design Styles – Three Levels of Detail
After mono-printing, I finished the papers by painting. I used a narrow brush and made small tweaks only.
I like Tricia Guild’s designs because there modern meets classic and historical. They feel luxurious, but still comfortable. They don’t require similar perfection from the space than William Morris’s designs. So I didn’t perfect every shape or line, just added a bit more realism to the floral motifs. Here’s the finished paper.
William Morris’s designs are full of outlined motifs, and I connect them with books. “For people who have a library,” I wrote in a notebook that I keep for studying. But I quite liked my mono-print, and didn’t want to stiffen everything. So I only outlined a part of the motifs, and added some small dots and thin lines inside the shapes.
Here’s the finished paper. I really like the big yellow motif! Maybe that could be a part of my future designs.
Wassily Kandinsky’s work didn’t lack details either. But if William Morris is for bookworms, then maybe Wassily is for systematic thinkers – for more scientific than humanistic introverts, and for those who love mathematics.
I used the monoprint as a foundation for the composition of shapes and followed Wassily’s advice and ideas from his book Point and Line to Plane, the book that I teach in the class Floral Freedom as well. Here’s the finished paper.
Three Wallpapers
I wanted to see how these papers could work as repeats. I didn’t have time to play with the repeats properly, but here are some quickly made images to demonstrate how the motifs would look in a smaller scale, for example, as a wallpaper.
It was a full day, but I had fun making these! Tell me, which three designers would you pick?