The Artists Mind by Kathryn Vercillo – an interview

A Creative Life, art book review, Artist interviews and profiles, artistic inspirations, Authors, books, creative thinking, Emotional health, food for thought, life of the mind, mental health, publications - publishing, reading, Sustainable creativity

My longterm readers know I’ve an interest in both creativity and mental health. When I saw “The Artist’s Mind” by Kathryn Vercillo I had to interview her. Fortunately Kathryn generously responded to my questions about her new book!

Clancy: What are you drinking while we’re chatting? I’m having a dark french roast coffee.

Vercillo: Yum. I am a lifelong coffee drinker with at least a couple of cups every morning, usually heavy on the cream.

Your new book is titled “The Artist’s Mind: the creative lives and mental health of famous artists” What made you think of the intersection of mental health and creativity as a topic to explore?

This is the work that I’ve been doing for a long time, something that grew out of a combination of my lived experience and personal interests. In my late twenties, I fell into a life-threatening depression, which I emerged out of with help from many things including crochet. (Here’s a podcast I recently did about that.) I started writing about the mental health benefits of crochet from my own perspective, hearing about it from others, one thing led to another and I spent about a decade developing an expertise in this area. I had an eight-year-long monthly column called Crochet Heals, I interviewed hundreds of people, and I learned a lot about how crochet specifically and crafting in general is therapeutic for people.

I ended up going to grad school to get a Masters in Psychological Studies. Over time, I became curious about why writing was therapeutic for me in ways that differed from crochet. Although there are many reasons, the primary one was that writing is my job that I get paid for and the monetization of the art changed it therapeutically. (Writing still offers me many benefits; it’s just different.) Another big part was that in depression (which recurs for me despite good treatment) I often go into brain fog and can’t write the way that I’d like to whereas I can still pick up hook and yarn and make something. So, I became curious about how mental health symptoms impact creativity. That’s what I’ve been studying in depth over the past few years and what I’m passionate about continuing to explore.

Why did you want to write a book about this topic as opposed to doing a podcast or a series of YouTube videos?  

Well, the short answer is that I’m a writer 🙂

I actually have been thinking for a while that I want to do a podcast on this topic. I just feel a bit daunted by the technology of getting started. Audio and visuals aren’t my forte so there’s a learning curve there that I haven’t tackled, yet. However, it actually seems really easy to record audio on Substack, so I’m considering starting with a few things here and seeing how that goes.

I think we all have various stages of mental health during a day, a week a year… mental health (baring organic diseases), emotional health is rather like the weather – it has seasons, it changes and is affected by events, whether you slept well or if you’re hungry…so often being mentally healthy and maintaining it becomes about coping, recovery, and learning new thinking skills. So why does your book specifically focus on artists as opposed to say accountants?

I definitely agree with you on that. I also think that all of us are creative to some degree or another. (My go-to post to send people to on Substack is my post We are all artists with mental health experiences …) My book focuses on artists because that’s the particular relationship I’m interested in – “how do these challenges specifically affect people who make art for a living (or for whom it’s a huge portion of their lives?”

I think many of us tend to write the things that we ourselves want answers to, we try to write our way to those answers. Questions around “madness and genius” have always interested me. I read Kay Redfield Jamison’s books, for example, decades ago, with a strong interest in her experiences with bipolar hypo/mania as it relates to creativity. I am always trying to figure out my own relationship with art and mental health. And so I write about it and ask people about it and write more about it.  

Accountants are important people, but I don’t have a particular interest in how mental health impacts them. This is true even in populations where I know that the topic is interesting … for example, mental health in the military has a lot of fascinating aspects and yet it doesn’t tend to draw me in personally (except perhaps in regards to how art, animal therapy, and virtual reality are being utilized in PTSD treatment.)

There’s also a little bit of behind-the-scenes to the book in that I was writing for a website called Sartle on this topic, and we collaborated together to bring this book into existence. So that’s why this book is specifically about famous painters and sculptors from history and not about other art forms. I research and want to further research and write about mental health among writers and poets and filmmakers and performance artists and musicians … This book is just a starting point.

As I read about Joan Miro, Diane Arbus, Jacob Lawrence, Gustave Dore, and several of the other artists in your book I began to notice how often cultural systemic events such as war, racism, intergenerational trauma and poverty impacted the artists mental health – it seemed that it was almost a chicken/egg question as to how much the artist was affected by the cultural time and place in which they lived and how much was personal. Are there ways artists today can creatively respond honestly to the real world without being pulled under by it personally?  

It’s such a big question, isn’t it? One of the goals of my research is to puzzle together some general themes that affect artists with specific mental health conditions in order to offer individual artists some tips, support, and solutions for when challenges impact their art. So, for example, it’s common that depression creates fatigue, which reduces the ability to actually create, and one of the tips I can offer is to find portable, easily-doable art forms that don’t require a lot of set-up (choosing crochet instead of setting up a sewing machine, choosing watercolors and a sketchpad instead of oil paint and a canvas.) This is a pretty general example but the idea is to ultimately come up with a range of solutions for what people face.

I share this as relevant to your bigger question to note that my perspective is that it’s not “bad” that we have mental health experiences that change or impact our creativity. It’s all about figuring out what the impact is for us as individuals and how we want to work with that to make the most out of our art as well as our holistic health. I don’t think we can or should just try to stop all symptoms forever and have some constant peace and happiness where we joyfully create. That doesn’t seem realistic to me.

Just like we can’t separate ourselves from our minds, we can’t really separate ourselves from our experiences in the world. We are going to be impacted, informed, affected, altered, shaped by the intersectional experiences we have related to various aspects of identity and environment. How that impacts each of us differs, but I don’t think we can deny that we’re impacted. So to “creatively respond honestly to the real world without being pulled under by it personally” … I think that’s a matter of figuring out for yourself what the impact is and has been and what you want to do with that moving forward. Some people will want to make the crux of that their life’s work through their art. Some people will want to create art that is as separate from that as possible.

Each person’s experience of the role of art is going to be different. In terms of practical advice to someone who might ask me directly about creating art about difficult topics without being pulled under by it, I would say this:

  • ● Ask yourself honestly (and often) whether creating art is helping or harming your mental health. If there’s harm, how can you mitigate the harm? For example, people who create art to process trauma can heal tremendously but the act can also be triggering. In such a case, pausing the work until it can be done in a therapeutic setting might be wise. Or changing your own setting, your materials, your approach.
  • ● Practice balanced self-care as much as possible. I tend to get really immersed in my writing at the expense of other things if I’m not careful. So, I’m careful to make sure that I get some fresh air and read books just for pleasure and do other things than just dwell on the work.
  • ● Find community. Artists can stay solo so much of the time but it helps a lot to be in community with people who have some of the same experiences or background that you do.

I also wonder how much of a role the availability of or lack of mental healthcare played in the lives of the artists you described… like Basquiat, I can’t help but wonder if he’d had access to a doctor who was not white would he still be painting today? Do you have any thoughts about diversity in mental healthcare? Is it better nowadays?

Oh so interesting that you picked Basquiat. I thought for sure you were about to name one of the artists from further back in history – for example, Richard Dadd who had no access to the kind of medication that sometimes helps people with schizophrenia today. But Basquiat is a great example of a more contemporary individual. And he shows how it’s complicated because it’s not just that he had no person of color as a doctor or therapist but really that there were such few other Black men in the art world then at all.

Is it better now? …

I want to start by acknowledging that I’m a cis-gender white female from a middle class background. So, I work to be aware of diversity issues particularly within the art and mental health fields, but I am limited to some extent by the privilege inherent in my own experience.


With that in mind … I think that it’s better but that we have a long way to go. There’s more representation of different types of diversity among therapists. There’s more training within the field about cultural considerations. And there’s decreasing stigma among many groups that previously tended to avoid therapy because it wasn’t culturally accepted, so more people of diverse backgrounds are benefiting from therapy. With the availability of telehealth, people from diverse backgrounds living across the US may find it easier than before to access mental health services from therapists representative of their own backgrounds. So, yes, it’s better.

But all that being said … a lot of issues still remain. When I personally have looked for a therapist vs. a psychologist vs. a psychiatrist, I have found that a majority of therapists are still white women, psychologists tend to be white men and women, and psychiatrists are mostly white men. That’s my personal experience here in the Bay Area. And when you factor in all of the other levels of intersectionality including income, there’s even more work to do. And then there are niche aspects of this topic – like mental health care (or lack thereof) in prisons which are disproportionately filled with people of color from low-income backgrounds. So, much work left to do …

In my own artistic life I’m aware of the positive changes in my mental health- and in my creative output – by relocating away from a conservative state that actively discriminates against women, LGBTQ and deafness and to a more liberal state where being female, LGBTQ and deaf doesn’t matter. I feel like in my new home there’s a place for my voice and my creativity is welcome. When we were thinking about moving I did wonder how the absence of actively struggling against society would affect my artwork. I was glad that you pointed out in your book that creating art is a way to cope with difficulties. It definitely is! I also think I saw you hint at artists, Yayoi Kusama and Alice Neel to name two, who were also creating art as a way to triumph. Did I really see that? Care to elaborate on art making as a way of coping and as a way of celebrating?

Oh, I think you touch on so many important things here. First of all, I grew up in Tucson and although Arizona is conservative, Tucson is liberal. When I was 26, I moved to San Francisco for no other reason than that I love it here and thrive creatively here. We have our problems (income disparity, a lack of racial/cultural diversity in comparison with large cities like New York) but for the most part it’s obviously a liberal place with opportunities for women, LGBTQ+ support, etc. And I really can’t imagine living somewhere that didn’t offer that.

Your story about your own move made me think of the moves that the artists in the book, and other artists I have researched made, and the impact on their art and mental health. For example, Georgia O’Keeffe had business/art success in New York but the city wasn’t good for her mentally, so she would often leave for quieter places, ultimately relocating to New Mexico. Julia Cameron of The Artist’s Way is another author who writes about dividing her time between those same two places. Yayoi Kusama went to New York to make art but ultimately went back to Japan to inpatient mental health care. I think each artist has to answer for themselves the question of what “place” means to their mental health as well as to their art. For me, I hope to always be in San Francisco, and I believe that it’s good for my art and mental health to be here for many reasons … but it’s also a very expensive city to support myself in with writing and the financial stressors do impact both my mental health and my creativity.

Before moving on, I really want to highlight something else you said here: “I did wonder how the absence of actively struggling against society would affect my artwork.” That’s so interesting and I hope you’ll share more about that in your own writing. My immediate reaction is, “oh we still have plenty to struggle against even here.” My second, more considered, thought is that consciously or subconsciously I think that a lot of artists with mental health challenges worry that without their struggles they aren’t going to create great art. I think this directly relates to the trope of the tortured artist, which is where so much research into the relationship between art and mental health has been over the decades.  

That’s key to what interests me about this topic: would we still be moved to create great art if we weren’t suffering? It’s what historically has been a challenge for a lot of people with bipolar disorder because medication might level them out but then leave them feeling numb and unable to create in the same way … the high of hypomania offers some people a level of creativity that they miss when they don’t have it. I think we’re always struggling with something as humans – whether that’s internal or external or a combination of both. I think that informs the art that we create.  

Okay, so I’m giving a really long-winded answer to your question because I thought your points were so interesting. But what you actually asked about was “art making as a way of coping and as a way of celebrating.” You pointed out Kusama and Neel, two great examples. And I’d argue that to some degree every artist in the book does this. I think it’s the aspect of art that most mental health experts understand as well … art as therapy, art as healing. Life is really hard and making art and even viewing art can be ways to make it less hard, to cope with it, to, as you say, even triumph. Neel’s portraits really celebrate the different people she encountered, something I loved seeing when I visited an exhibit of her work, and her own famous nude self-portrait from her later years really speaks “triumph” to me. She has said that she felt suicidal all her life and yet only had one attempt in her youth and had a decades-long art-making career.

What did you drink while you worked on the manuscript? Did you have “help” from a cat or a dog?

Coffee with cream in the mornings, red wine at night, water when I’d remember that it’s important to drink water 🙂

When I first began the book, I had my dog Katara who really was my soulmate dog, but she passed early on in the writing of it. Before she passed, I had gotten my puppy, Bumi, so I still had him. He’s about 3 and a half now and we have a one year old pup named Kya as well. She’s always trying to “help” with Zoom calls and podcast interviews so I usually have to do those outside of the house 🙂 They’re great, though, and really do help in the sense that they remind me to stop writing sometimes and just be present in the moment with them. They’re rescues from the Korean dog meat trade industry.

Did you do anything- like read or go for walks- to help keep yourself inspired and excited about the topic as you worked?

The topic was then and still is constantly circulating in my brain, and I remain regularly excited about it. But specifically what I did for inspiration while actively working on the book was watch movies related to the artists. It was something that felt less like work than the reading and writing but was still inspiring.  

In normal times I probably would have gone to more art shows and theatre events but I wrote much of it during the pandemic lockdown.  

What was something you learned as a result of your work on this book that’s relevant to your own work as a writer?

It really helped me see my own work as a body of work that’s larger than the one thing I’m writing right at this moment. For each artist, I would really try to look at a big swath of their body of work. From that retrospective perspective, you can see a whole lifetime of work (albeit a short lifetime for a few of the artists.) This is alongside a lifetime of challenges, including for some (but not all) of the artists a lifetime of really challenging mental health symptoms. It reminded me that a life has so many ups and downs, ebbs and flows, summers and winters … and that so does the creative work. So in times when it’s hard for me to write, I remember that what I’m creating is a full body of work, not one article or one book.

What is one of your favorite self-care go-to techniques especially when you were writing this manuscript? What helps you now as you promote your book? Is it the same or different?

Massage. It’s one of the few things I really splurge on regularly. I spend a lot of time sitting at a computer and no matter how much I try to remember to stretch and take breaks and sit up better, I basically always have aching shoulders. So I go get massages fairly regularly. In fact, that was the thing I missed the most in the pandemic

Is there one section or part of your book that feels most satisfying to you, something that really is on target for your topic?

Ooh, good question. Honestly this book feels like just the tip of the iceberg for the research I’m continuing to do. I am satisfied with it in many ways but also see all the things I want to add to the next thing I do. Overall, though, I think what satisfies me more than a specific section is that I was able to bring in a range of different examples of how art helped and hindered different people and how mental health impacted art in many different ways. I hope that this opens up a conversation that goes deeper and broader.

What questions do you wish someone would ask you about your book?

The book went through a lot of changes in the editing process so I wish people would ask what isn’t in the book that I wanted to be in there. Although the answer to that is long and probably requires another book to say it all 🙂 But the short answer to that would be that I included “fun facts” for every chapter that didn’t make it into the final cut.

For example, from the Georgia O’Keeffe chapter:


Fun fact: Georgia O’Keeffe corresponded with a number of other artists with mental health issues. She was an early mentor to Yayoi Kusama who, like her, struggled with anxiety. She corresponded with Andy Warhol who has been suggested to have had a hoarding disorder, which is an anxiety disorder. And when she was in the hospital for depression, Frida Kahlo wrote to her.

Who did the illustrations for your book?

The cover design is by Molly Shields. The illustrations are by Tania Houtzager. And the book design overall is by Danielle D. Farmer. The publisher, Schiffer, organized all of that.

Where can we buy a copy?


On Amazon or from Schiffer … I hope that if you buy one, you find something inspiring in the pages. And if you like what you read, it really does help to leave positive reviews on Amazon and Goodreads.

Thank you Kathryn for writing such a thoughtful and encouraging book! And thank you for taking the time to answer all of my questions!

This post is part of The Artist’s Mind virtual book tour which includes other author interviews, book excerpts, guest posts, giveaways and more. Visit this post to find all of the stops on the tour. The book tour stop just prior to the one here in my blog was at Great Books + Great Minds! Here’s another book tour stop with a wonderful  synopsis titled “Seven Mental Health Lessons from The Artist’s Mind

Thanks everyone for reading, sharing and commenting! I hope you’ve found it enjoyable. I’ll clear away our coffee cups and see everyone again next Monday!

Take care of your minds this week!

Thinking outside boxes and The Artist’s Mind by Kathryn Vercillo

A Creative Life, artistic inspirations, books, Emotional health, fine art, life of the mind, mental health, reading, sculpture 3d, sketchbook, Sustainable creativity, words and pictures

This week I realized there are many cardboard box color variations. In my studio alone I count 10 different colors of brown box material. So the phrase “Thinking Outside The Box” has been on my mind and I’ve begun a new 8 inch wooden cube sculpture by painting it to look like a cardboard box. In the photo below my in progress sculpture is in the background and in the foreground is a box I’m using as a model for the flap-fold edges. (A different box was the model for the color…)

Here’s some of my thinking: I noticed that many commercial cardboard boxes have writing on them. In my city’s downtown there are murals on the sides of many of the buildings. Some of the murals have stylized text on them. The act of writing things down is a way to think…

So I began thinking “what about creating a character who is painting a mural with lettering on the outside of a cardboard box”?

Below is one of my sketchbook pages related to this project. I chose an elephant character because I also thought of the “memory of an elephant” phrase. That led to thoughts of how both memory and imagination are integral parts of creativity and the ability to think outside the boxes.

I did contemplate a cat character and cat boxes … as you see below my cat made certain I thought of this.

He even pointed out, by rubbing his chin emphatically on the box edge, that his favorite box is lovely shade of brown…

My cat’s chosen box is indeed a very nice brown color – and I do love cats – however I’m going with the elephant character in my artwork for the reasons described above… sorry kitty.

“Humph” pouts the cat.

Anyhoo, in addition to the meanings of particular words and phrases as I’m working on my sculpture I’m thinking about thinking itself; being creative, being logical and utilizing critical thinking skills. Generally I think and read regularly about mental and emotional health for many reasons but chiefly because our brains and thought processes are our main tools for creativity.

Creativity itself can be a tool for good mental health. Yes, there’s a chicken/egg aspect here – but regardless of whichever comes first I want to use my own thinking processes as well as I can. So besides reading philosophy or about mental health whenever I’m reading fiction, biographies and history I’m looking for the thinking, the words and actions over time that led to the events described as well as the responses to those events.

Recently I became aware of a new book “The Artist’s Mind” by Kathryn Vercillo. Because this book is directly on the topic that is on my mind so gosh-darn often I asked the author if I could chat with her about her book and share our conversation publicly. She kindly said yes!

Kathryn Vercillo even sent me a reader’s copy in a mail art envelope that she made! It was a fun touch! As of writing this blog post I’ve read her book and we’ve begun talking! [To somewhat reciprocate her generosity as well as to let her know where I’m coming from I sent her a copy of the book I illustrated for a psychiatrist “Dr. Bob’s Emotional Repair Program First Aid Kit“.]

About the author: Kathryn Vercillo is a full time writer with a master’s degree in psychological studies. She is the owner of Create Me Free, a small business that researches the link between art and mental health in order to educate, inspire and empower artists to achieve financial and creative success while maintaining well being. She is the author of eight books, including Crochet Saved My Life, which is about the health benefits of handcrafting. When not creating, she’s enjoying life in San Francisco with her loved ones and her rescue pups.

We’re talking together about the content of Kathryn’s new book The Artist’s Mind and the many ways artists throughout history dealt with issues in the real world – stressors like illness, poverty, war, racism, bigotry etc – and kept creating their work. Naturally we’re also discussing coping skills artists can use today!

I’m enjoying a front row seat for her virtual book tour – it’s an amazing community effort – and I’m honored to have a backstage pass, so to speak, by getting to do an interview!

I look forward to sharing our finished conversation next Monday Aug 7th!

See you next Monday!

Mundane magic – aka joy breaks

A Creative Life, art commission, art gallery, artistic inspirations, books, creative thinking, fine art, life of the mind, mental health, poetry, Sustainable creativity, whimsical art, words and pictures

A friend asked how I maintain creativity while doing a commission. My reply: a schedule and lots of joy breaks. I deliberately make the mundane magical. Especially via joy breaks.

Joy breaks, also called “Joy Snacks“, is purposefully taking time to recognize and savor small pleasures. Think of the old fashioned coffee breaks office workers were allowed within a work day but for me now it’s a scheduled “check in” with whatever seems pleasant to me at regular intervals throughout a day. It’s allowing myself to fully feel the pleasure I feel however small the feeling may be. I add a corollary that it’s also avoiding killjoy thoughts – including those U.S. Southern style self depreciating cynical put downs of my own pleasures. It’s taking time to make note of a memorable moment in my journal/sketchbook each day. Yes, notes of things I’m grateful for but also just things I enjoyed and the surprising things that pleasantly caught my attention during the day. It’s also taking a moment to maintain awareness of what is within my control and what isn’t – a crucial thing to remember during creative deadlines – while allowing myself to relax and let go of some things in the Stoic philosophical manner.

In a technical/physical sense while doing an art commission (my current one is for the Caplan Art Designs Gallery) there are times I need to wait for parts of the commission to dry before doing other parts. There are also times when I have extra paint that I mixed for the commission leftover. So part of the mundane creativity task is to monitor the commission as it dries – to stay on task – and yet also use up any excess paint. This week I did a painting of a pig titled “Red Eye Gravy Train”… (details of the painting, the related limerick and a view of my sketchbook is on my Substack  https://sueclancy.substack.com/p/early-starts )

Red Eye Gravy Train by Clancy

I had mixed a pink color for my commission and had a wee bit leftover so I added a bit more of the white and used it on “Red Eye Gravy Train”.

During another days work on my commission I was mixing a particular shade of light blue and the tube of blue suddenly smooged out too much color in a gush. So I had a huge amount of leftover blue color to deal with.

So I consulted my sketchbook for ideas and with a watercolor pencil quickly drew a design and filled in with the extra blue paint (and the wee bit extra green too).

Even after painting that there was still extra blue paint left so I covered two boards edge to edge with the blue till the paint was used up. No clue at this point how I’ll use these new blue boards…but that’s what creative thinking is for!

Since I’ve been so busy working we’ve had lots of beans and rice for our lunches. I have a keeper of my precooked magic beans in the fridge so I toss a scoop or two in on top of the rice in my “push here dummy” rice cooker, to quote my adopted Mom’s phrase for simple kitchen appliances.

I add spices, freshly chopped onions and other vegetables to vary the dishes from meal to meal, press the cook button and head back to the studio to work some more.

Even though these beans and rice bowls I make are simple and cooked in a busy-artist-hands-free-cooking way they still feel like homemade comfort food. (My beans and grains bowl recipe/strategy can be found in my kitchen sketchbook “Favorites So Far“)

I like handwritten works, homemade food and just about anything made by hand. So I  enjoyed this post by Austin Kleon about how AI (and algorithms) can’t kill anything worth keeping.

And I admit to getting a joy snack style chuckle from this article about today’s teenagers going luddite and ditching social media and smartphones in favor of handmade real life!

The additional poetry book title by Andrea Gibson, the new favorite poet I wrote about last post arrived this week! I love it that it looks handwritten. I know it’s a font…but I like the look. Gibson’s words feel so true to my own experiences and the semi-handwritten hand illustrated look adds a sense of comradeship for me.

Speaking of handwritten poetry… I read a fun article about a park ranger who got creative and made a free little library style kiosk for poetry in the park!

One of the most delightful joy breaks was this video of what happened when a girl gave a street musician a coin.

And I hope today’s post itself gave you a small joy break. Remember to take breaks and notice pleasant things. See you next Monday or thereabouts.

Discretion and a psalm

A Creative Life, art exhibit, art gallery, artistic inspirations, books, dog portrait, fine art, hopepunk, Odditerrarium, reading, sketchbook, Sustainable creativity, words and pictures

Here’s a dog portrait in my Odditerrarium series. A bird dog exercising discretion. 🤣 Yes, I laugh at my own jokes. This painting is 8 x 10 inches and created with ink, gouache and collage on board.

Here’s a closer look.

Jokes aside – as I worked on this painting I was thinking that it’s not our first thought or an event that’s the important factor it’s our second thought and the actions we do next in response. It’s having the discretion to choose wisely what our next thoughts and actions will be that’s most important.

That thought popped up again when I made a mistake in my sketchbook. I started to attribute the quote to Seneca but it was by Epictetus. So I shared how I fixed the mistake I’d made, in permanent ink, in my sketchbook in this email newsletter titled: 95% of being an artist (or a human) is knowing how to deal well with mistakes.

Here’s my sketchbook with the mistake corrected.

This week Amy, the owner of the Caplan Art Designs gallery came to pick up the Odditerrarium series for exhibit in October. It was great to see her and visit!!

Here’s the box of 20 artworks – many of them new for the October exhibit. I’m still enjoying being a miniature artist and having an entire exhibit fit in one box!!

After the visit with Amy I made notes about our discussion of future projects then I celebrated my accomplishment with time to read! This book pictured below was very hard to put down! While reading it feels like I’m on a vacation. Here’s a link for book info in my books to cheer up by booklist: https://bookshop.org/books/a-psalm-for-the-wild-built/9781250236210?aid=86356&listref=books-to-cheer-up-by

Do you ever get suddenly tired of typing? I do. I have more I’d love to share with you about this book (in the pic above), about my projects in progress… but my typing fingers are tired. So I leave you with a sketchbook doodle and a hope that your week is pleasant. See you next Monday.

Dogs, boxes, old stories, cards, nachos and video vibes

A Creative Life, art exhibit, art gallery, artist book, artistic inspirations, author illustrator, dog portrait, Dogs in Art, pet portraits, public art, publications - publishing, published art, recipe illustration, sketchbook, whimsical art, words and pictures

The text for my newest childrens book project “The Professional Dog” is shaping up. I’m still collecting dog photos from friends but I’ve almost gotten them all. The project still feels vague but it’s more in focus than it was last week. I’m content to view it with my peripheral vision so to speak.

Dog photos came this week from a Gallery owner, a Reporter, a Park Ranger, a Sculptor, an Assistant and a Bus driver.

So one of the focal points this week was a masked-up very quick in person visit to the Caplan Art Designs gallery in Portland Oregon. The Gallery invited some of the Gallery artists to participate in a “Holiday Box Exhibit”. We were given wooden box cubes and asked to do something with the cube in our art style. The cubes are 8 inches square. 

This box project is now a vague project on my work schedule. It’s much more nebulous at this point than The Professional Dog book! In a creative life learning to deal well with uncertainty and insecurity is as much an essential creative skill as the ability to draw!

Of course while I was at the Caplan Art Designs Gallery I enjoyed looking at my Odditorium exhibit and seeing the red dots indicating sales and the spaces indicating that my pieces have gone to their new homes! About a year ago my Odditorium project was itself a vague nebulous notion. I dealt with all of the uncertainty and now my Odditorium project is a very solid real thing!

Odditorium by Clancy at Caplan Art Designs https://caplanartdesigns.com/

The other focal point this week was my exhibit “The Old Stories” that opened in Oklahoma at Downtown Art and Frame. Each of these paintings are about stories: a folktale, a myth, or an ancient children’s rhyme or saying. For example the one with the dancing sheep is titled “Ewephoria” and it’s about the history of the rhyme “ring around the rosies, pockets full of posies…” (Black Death)

“The Old Stories” is an artexhibit of my larger artworks – anyway, all of these pieces refer to classic ideas from mythology or fables –
The titles of my collage paintings give you clues…

Panda Dora’s Box – 24″ x 24″
Woolrich Family Yarn – 24″ x 24″
Long Dog Love – 11 3/4″ x 12 3/4″
Just In Time For Cookies. 10 1/4″ x 12″
Ewephoria 24″ x 36″
Cheetahs at Cards. 24″ x 36″

Please contact Downtown Art and Frame in Norman Oklahoma for more information
https://www.facebook.com/profile.php?id=100057154703557

If you’re wondering- no I didn’t visit Oklahoma in person. I just talked with the Gallery owner there via phone. I have worked with Barney at Downtown Art and Frame since the late 1980’s and we can darn near read each other’s minds! Makes long distance projects like this so much easier! They ship art all over this globe the way you and I would switch a book from one hand to the other.

The third focal point this week was the Aurora Gallery https://auroragalleryonline.com – I made sure they had plenty of my greeting cards and my various artist books. I also got, via no-contact delivery, new white boards from them cut to my various sizes so that I have plenty to work with for my Professional Dog book project as well as for my greeting card designs.

I’m particularly glad they have copies of Favorites So Far as I intend to do more recipe postcards and place some at the Aurora Gallery.

Just look at all these lovely blank boards in the photo below! A vast expanse of open potential!! Wahoo!!!

This week the long awaited video thingamajig (see last post) came in the mail!! At first all I had time to do was get it out of the box and read the instructions. Then…

… later I had a very brief chance to practice with the new thingamajig so I did this flip through of a book https://youtu.be/tOf3q9ALNoA It was really nice to have both hands free to turn pages! My brain is a whirl with possibilities!

We’ll see what happens next week with this new gadget… I’m hoping I’ll have time to play with it.

I hadn’t made nachos in a while so I remedied that! Spouse and I had such a delightful off-grid sort of evening! Especially during busy times playing is important!

This recipe is from Favorites So Far – and definitely one of the recipes I plan to eventually put on a postcard!

Clancy’s handwritten illustrated recipe from Favorites So Far https://www.blurb.com/b/10863384-favorites-so-far

No matter how busy your week is I hope you remember to play at least a little! See you next Monday!

How To Draw A Dragon, fine art and postal whimsy

A Creative Life, art exhibit, art gallery, Art Word Combinations, artist book, book design and layout, children's book, creative thinking, ebook, fine art, greeting cards, household surrealism, Odditorium, Sustainable creativity, visual thinking, whimsical art, words and pictures, writing and illustrating

If you got a post titled “Dragon postal whimsy” I accidentally hit a button. Here’s the real post about “How To Draw A Dragon“! After a week spent creating cover art and scanning 36 pages there’s now a coloring book poem that exists in the world!

This is the book description:

“How do you draw a grumpy dragon? This coloring book story poem written and illustrated by the artist sue clancy shows you how.

This whimsical poem is also about how creativity works, how our creative child selves and our analytical adult selves can work together.”

Below is a look at the original manuscript.

I used the computer to put the text on the front and back covers. I thought long and hard about handwriting it all but I learned when I did Patch La Belle that handwritten text on a cover isn’t “searchable” and could be harder for people to find. That searchable issue isn’t a big concern for me coming from the art world as I do where one-of-a-kind things are the norm. But after thinking a while I opted to type the cover text for “How To Draw A Dragon” even though I hand drew and hand colored everything else.

So here’s the cover becoming…

And here’s what the cover became.

https://www.blurb.com/b/10815467-how-to-draw-a-dragon

I’m especially pleased that my book layout “thinking in page spreads” turned out so well! They line up in the middle when bound! In the first photo below you see my original art. Below that you see the printed book.

Since we’re still in a pandemic I have added a free printable pdf file for this book to my “shop” page where I have several of my free downloadable artist books. It’s on my to-do list to make a portfolio page for How To Draw A Dragon and have everything in one spot.

Storyberries will, eventually, also do a free ebook version of How To Draw A Dragon and have a link to the free printable pdf too. But that’s still in progress. I will update my still-to-be -made portfolio page and this blog when it’s been set up at Storyberries.

On another topic: My Odditorium exhibit will open in September at Caplan Art Designs with some additional new art for the series!

Since we are still in a pandemic the Gallery is doing all the prudent safety measures and I’m doing my part as best I can. Besides doing the virtual page about Odditorium I have done a series of videos on my YouTube channel about this exhibit as well as about why I do this work. I’ve made 5 videos in all but here’s the one about this exhibit. The Gallery will post my videos and share them with clients digitally thereby minimizing everyone’s exposure. I’m glad and grateful to work with a gallery that cares about the health of both their artists and their clients.

On still another topic: A friend recently enjoyed getting a card from me and called it “postal whimsy”. I like that phrase and asked for and was give permission to use it! So I’ve updated my Zazzle collection of odd greeting cards both with the “postal whimsy” phrase and some new card designs. I am getting serious about sending postal whimsy and helping cheer people. Below is one of my favorite cards…

https://www.zazzle.com/hare_in_the_sink_postcard-256418650416992132

This week was so busy that while I did make sure to eat meals of fruits, vegetables and whole grains – more often than not – I didn’t do any sketches or photos of the food. I just stuffed my quiche-hole and got to work.

Despite all of the busy-ness I still did drawings in my sketchbook in the mornings and my evening reading of books before bed. Makes for nice creative bookends, pun intended, to a day.

However busy your week is I hope it is bounded by pleasant things. See you next Monday? Or before then if I hit a wrong button again…

Numpurrs and a dragon

A Creative Life, art techniques, Art Word Combinations, artistic inspirations, author illustrator, Authors, books, cat portrait, Cats in art, ebook, fine art, illustrated poem, math and numbers, Numpurrs, pet portraits, poetry, product design, publications - publishing, visual story, visual thinking, words and pictures, writing, writing and illustrating

It’s barely been a week and Numpurrs on Storyberries.com has been read over 3000 times! Here’s one kind comment:

“Thank you, this is exactly what teachers are looking for, online opportunities during virtual teaching makes teachers lives so much easier. That was perfect timing! And a beautifully illustrated and written book! The weird thing is, I just did a cat drawing lesson for 1st grade. Now we can read the book and learn how to draw a cat!”

How nice is that?! It made my artist heart sing! 

Here’s a link to my book Numpurrs on Storyberries.com – where you can see it (and many other stories) for free – https://www.storyberries.com/bedtime-stories-numpurrs-by-clancy-free-counting-books-for-kids/

So this week quickly filled with additional efforts to help teachers and parents: I also made a poster, a calendar and then a 676 piece jigsaw puzzle too.

Here’s what the poster looks like. It’s big, 23 inches square, big enough to be seen in the backgrounds of online classes.

Numpurrs posterhttps://www.zazzle.com/numpurrs_poster-228224328093121348

My copies of the printed book version of Numpurrs also arrived at my studio this week! So I photographed the book and created a portfolio webpage to hold all of my work on Numpurrs in one spot – to help the teachers find things easier – here’s that page https://sueclancy.com/portfolio/numpurrs/

Below are just a few of the photos of the printed book…you can see more on that portfolio page I just mentioned

I’m pleased with how the book turned out! Of course I can nitpick and find things I could have tweaked – that’s always the case with any creation. I think of art making as similar to cooking, you do your best to create a good meal then you say “good enough, let’s eat” and you go on to the next thing. Perhaps you make a note for yourself on that recipe as to what you’d do differently in the future – but you enjoy the meal as it is and you go on.

Speaking of going on: for years now I’ve been regularly jotting short poems in a small 3 x 5 inch book with my fountain pen. Now, as per discussions with the people at Storyberries, I’m working on illustrating some of the poems for a new book. As I wrote my last post I’d thought I’d do more on this new project this week than ended up happening – so more on these illustrated poems in coming posts.

Here’s a look at my little poetry sketchbook with some of the potential to-be-illustrated poems flagged with sticky notes.

I write with a fountain pen because they’re refillable. Fewer plastic bits of discarded pens to end up in the landfill this way. Besides a fountain pen – if you have a good quality one – can be super smooth to write with.

For those who say a nice pen and hand bound book would be “too precious to use” I reply “your thoughts are precious too”. Buy quality supplies and use them with joy. It’s just stuff on Earth here to be enjoyed. (And if you just can’t bear it then buy whatever supplies you will actually use and get your thoughts written down. But remember that you really deserve the best.)

Below is the dragon poem you can see my handwritten draft of in the photo of my book above and the handwritten poem and illustration I got done this week with ink and gouache on nice paper.

More of that kind of thing here next Monday – I hope. Thanks for reading. Have a good week.

Numpurrs 20 & it sums up…

A Creative Life, art techniques, Art Word Combinations, artist book, artistic inspirations, author illustrator, books, cat portrait, ebook, fine art, food in art, graphic design, illustrated poem, illustration, math and numbers, Numpurrs, pet portraits, printed books, Sustainable creativity, visual thinking, words and pictures, writing, writing and illustrating

There now! Despite all the odds (see last post) I finished “Numpurrs”! I’ve also sent it in to Storyberries for distribution. When I sent it in this last week Storyberries said “I just LOVE it Sue!!! It has come together so nicely !!!! Thank you so much for sharing your beautiful work with us!!”

So I think it’s safe to say that they’re pleased! The book will be live on Storyberries.com very soon as they said they’ll “…schedule it for 9am Gold Coast time Australia on Monday morning.” Which works out to about 4 pm in Washington state, USA on Sunday. And I post these blog posts on Mondays but write them on Sunday morning’s… so, yes, I can have a bit of time zone confusion.

[Update: here’s the link to Numpurrs on Storyberries.com: https://www.storyberries.com/bedtime-stories-numpurrs-by-clancy-free-counting-books-for-kids/ ]

Time zone differences between where I live on the western US coast and the time where Storyberries is in Australia can confuse me even when I have help from the internet. My solution to working across continents and time zones is the same in publishing as it has been when I’ve done fine art exhibits outside of the U.S.A; get it all done early and everything into their hands as soon as humanly possible then let the people I’m working with sort the what-happens-when out at their end.

It helps that I work on the graphic design part of any book almost simultaneously with creating the fine art illustrations. This way by the time I finish creating the fine art illustrations I’ve almost finished the book design too.

The graphic design informs and affects my illustrations – in the number of illustrations needed, the size of them and so forth. But what I want to do in the first place with my illustrations/fine art at my easel (using ink and gouache on board) will also affect the graphic design.

This interdependence (and writing the poem is in there too) is related to the construction of my book idea in the first place in a which-comes-first chicken-or-egg kind of fashion. As a result of my working method the posting I do online nearly always slightly behind the action. My motto is create the thing first talk about it later.

Anyway, here’s a pic of me working on my laptop doing the book layout. I often do my computer work in the corner of my dining room near the cookbooks and am almost always cooking something on the stove. Taking breaks to stir something on the stove is so nice!

Sue Clancy creating “Numpurrs”

And here are the last poem lines in my book:

Twenty butters bread, risen with yeast

And it all sums up to a wonderful feast!

In the printed book my three panel “feast scene” will flow in sequence left to right and will line up side by side. But it worked pretty well in scroll ebook form too even tho it doesn’t line up at the edges. As I worked I had to think of both of these “flow” patterns when I was creating the images.

Even though I’m doing so much myself – which sounds like a lot of freedom – there are still constraints: page flow, number of pages allowed within the publication formats, where the blank pages must fall, printing product options, ebook construction and so forth. I see these constraints as the path, the way forward, the technical issues become part of my creative process.

When it came to creating the feast scene artwork in Numpurrs I consulted this book, Food and Feasting in Art by Silvia Malaguzzi

Many of these art historical images had the viewers eye moving left to right and or moving up and down. This served as a guide as I created my cat feast illustrations. (I love art history!)

Running into the graphic design publication constraints I mentioned earlier I only had 3 pages within which to fit my feast. When, in an early sketch, I fitted all 20 cats in – the cats were too small and the numbers couldn’t be easily read. Since the point of the book is to distinguish between cats and to recognize numbers I decided to make the cats and numbers bigger even tho it meant leaving out some cats.

Besides at almost every group photo I’ve ever participated in there were several people who declined to be in the picture. Perhaps we can pretend some of the cats in my artwork were similarly shy?

After sending everything in to Storyberries, and after being given the release schedule, I was asked to send in a new photo of all three of the feast panels as one image. There are design constraints and issues at their end too – and we’re in this project together. So I hustled (time zones remember…) and sent this photo in:

Since my book idea is about distinguishing between cats and numbers I also used 4 of my allotted pages to include the photos of real life cats that my friends had sent to me for use as reference to create my artwork. Like the feast scene artwork not every cat illustrated in the book is on the cat photo pages… again it was a case of if I fit in every photo the cats were too small to see well. And in some cases the photos my friends sent was fine for my art reference use but it wasn’t high enough resolution for a printed book. Since I’m doing both print and ebook forms I had to design for both to look the same. Perhaps it can add fun to also distinguish which cat is there and which isn’t and also to see some of the source material I worked with?

Here’s what the Numpurrs book cover looks like, and the dedication page where I thank my friends for all of their help.

Numpurrs by Clancy – https://www.blurb.com/b/10297565-numpurrs

You can see a preview of the entire book Numpurrs via this link: https://www.blurb.com/b/10297565-numpurrs

You can see all of my artwork and my blog posts containing my thinking as I developed this project on the webpage here.

Here, again, is the link on Storyberries where you can see what they ended up doing with the new feast scene photo I hustled to send in …. https://www.storyberries.com/bedtime-stories-numpurrs-by-clancy-free-counting-books-for-kids/

On my Instagram page I will tell more about Numpurrs as things on Storyberries develop. (An audiobook version is in the works etc)

Next Monday this blog will move on to my next art project…

Thanks again for reading and adding to the Numpurrs fun!

lord of the fries

A Creative Life, animals in art, artistic inspirations, books, Dogs in Art, drinks in art, food in art, visual thinking

I’ve learned that all fries are not the same; here in the Pacific Northwest the local brew pubs serve “Jojo’s”, which are often baked, not fried. From the plate of Jojo’s you could assemble whole potatoes Jenga game style and dip them in a special sauce as you eat the, ahem, game pieces. I’ve discovered that I like the Jojo’s much better than the limp, soggy with grease, loaded with salt, fries I remember from the past.

I’ve even tried cooking Jojo’s at home several times and had success! It was so easy to make I didn’t even do my usual kitchen sketchbook notes about the dish: briefly boil medium size unpeeled potatoes (one per person), let them cool. Preheat oven to 425 degrees. Cut each cool potato in half and then into thick strips. (The potatoes are still firm). Lay parchment paper on a baking sheet with a lip. (Or if only serving 2 people grease a casserole dish) Pile the cut potatoes on the pan, drizzle olive oil, garlic, and/or salt and/or pepper, and/or cheese and mix with hands. Spread out into a layer and bake for 20 to 30 minutes. Watch carefully and at the end of baking, broil to make the potatoes crispy to suit. Here’s a photo of one of my efforts (in a casserole dish, potatoes with garlic and cheese)

My growing awareness of methods of cooking potatos tumbled into current politics, as the news has been about behavior in the American White House that reminded me of William Golding’s book “Lord Of The Flies”. I checked the book out from my public library and reread sections of it. I read this book back in high school but I’ve slept since then. Yes, I was remembering the book well; the way the book depicts the conflict between savagery and civilization. I didn’t reread the whole book. Current events mirror the books conflict well enough. Let’s just say I’m in favor of civilization, rule-of-law and basic human decency. (And also in favor of good quality hot chocolate)

Anyway, my mind kept contrasting the extremely unhealthy fries from my past with the still indulgent but healthier Jojo’s here in the PNW; contrasting the horrifyingly savage qualities of the current American administration with the ideals of Democracy, civilization, human rights – and hoping things will end better than they did in Golding’s book.

Here’s the painting I did with all of these thoughts – titled “Lord Of The Fries” – I’m sure you’ll see that I made artistic use of looking closely at my homecooked Jojo’s.

“Lord Of The Fries” by Clancy – 11 x 8 inches – ink and gouache on board

Slaughterhouse Chives or what came from my sketchbooks

A Creative Life, art techniques, artistic inspirations, Authors, books, Books In Art, creative thinking, Dogs in Art, drinks in art, fine art, magic realism, Narrative Art, reading in art, sketchbook, visual thinking

My last post featured my sketchbook pages and those sketches added to my reading in Slaughterhouse Five by Kurt Vonnegut were combined in my mind becoming this fine art piece I’ve titled “Slaughterhouse Chives”

“Slaughterhouse Chives” by Clancy – 24 x 18 inches – gouache and ink on board.

If you saw my last post you may recognize the man’s gesture from my “loosey” sketchbook studies.

I combined the man’s gesture with my soup thoughts, a recipe I cooked this week (and posted on my Instagram page) from my kitchen sketchbook. Then I read around in both Fahrenheit 451 by Ray Bradbury and Slaughterhouse Five by Vonnegut.

The Vonnegut title, with its focus on time (and other things) fit best with the thoughts I’d noted in my sketchbooks. (And my thoughts about current absurd American politics.) Reading the Vonnegut book helped me pull together all of my thoughts. Then I did a preliminary drawing, tweaked the drawing over a few days, transfered it to a board and painted.

Here’s some closeup details of sections within my painting:

There now. As Kurt Vonnegut says so often “And So It Goes”.