I’ve been asked how I manage projects, like my “Readings From The Heart” exhibit, over a long duration. Half jokingly I replied “one bite at a time”. My joke is in reference to this saying I have thumbtacked to my art studio wall.
Seriously though when starting I create a general big picture, a kind of map for the entire project. Or, if you prefer, an outline. When I design a long project I do a hybrid blend of the two writing techniques: outlining and seat-of-pantsing. I apply these writing technique concepts to fine art making. I described in my last post what my big picture became for this exhibit that opens this week; the exhibit statement and the exhibit catalog Readings From The Heart. Here’s a few photos of the printed catalog. An ebook version is also available.
But when I began, more than 8 months ago, my big picture for this project was extremely vague. It was akin to a map of a forest without many details. It was akin to a book jacket blurb, with barely a teaser of what might be inside. It was akin to a writer’s outline with whole sections labeled ‘more research needed’.
My big picture map/ loose outline, was handwritten on a legal pad. Vague as it was it still served as a starting point. I keep a notebook/file box for each project so I can store all of my notes in one spot for easy updating and consultation as I work by the seat of my pants and a lots of “Very Small Goals” (VSG) for the project.
Then with the vague map in hand I identified some Very Small Goals (VSG) that would help me start and proceed on my project. These VSG’s can be as small as ‘buy a new art boards by Friday’. The VSG’s change as the process develops. The trick with VSG’s is to make them absurdly small, easily achievable and very specific – including what and when. It’s important to also find some way make each VSG fun.
I think of the creative life as an Eco-system rather than an Ego-system – what’s important is participating, showing up and finding ways to keep things fun. I can’t stress enough the importance of playing and keeping things fun. That makes creativity over a long project sustainable. Here’s another saying I have thumbtacked to my studio wall.
As I proceed to work I know many changes to my big picture/exhibit design will happen. I also know I don’t live in the big picture. I move organically back and forth from big, medium and small pictures of a project. It’s okay to be uncertain, to experiment and play. I just remember to update my big picture map as I have new thoughts. Slowly over time the picture map comes into focus. A project also changes as life happens.
In this case I began my Readings series well over 8 months ago. Then the pandemic happened and threw a monkey wrenchs in my plans. For example I had to suddenly adapt the way I was artistically inspired: to change from being inspired by things I experienced out in the world to a stay-at-home life, things that I read about or only happened in my imagination.
So to think through how to cope with the pandemic and quarantine I reread Dr Bob’s Emotional Repair Program First Aid Kit, which I had created some time back, about mental health coping skills and wrote notes, drew pictures in my sketchbook in order to think.
I also worked daily in my sketchbook on the topic of how to adapt finding books to read, and the development of one’s mental life to a stay at home quarantine situation. Eventually this book was published as Another Sketchbook in order to share my entire process.
Being in quarantine meant cooking at home more so I consulted our Favorites So Far book. This is a sketchbook full of recipes that were enjoyable ways to feed body and mind. You could say that my work on these artist books/sketchbooks is the medium picture, the inset details within the bigger map, the more developed areas in the outline.
All of this sketchbook work inspired my fine art, where I developed specific thoughts with ink and gouache on board. You can almost think of the fine art as the most visible leaves and fruits on the artist book “trees”. In the exhibit catalog I’ve tried to show the connections between the artist books and the fine art I created.
Sometimes, as the pandemic continued, the fine art on the topics of reading, cooking and thinking felt too serious. Needing some self comfort and to have some fun I began drawing portraits of dogs and cats. In order to organize these dog and cat drawings I decided to make them into a children’s book as a gift for some kids in our friends’ lives. Many of my adult friends enjoy my dog and cat portraits so I decided to share each pet portrait on my Instagram page as I finished it in hopes of cheering my friends as I created the kids book.
The finished artwork became an artist book titled Alphapets and was picked up by Storyberries.com. A sequel Alphapets Too followed. Many stories begin with love and an alphabet – so this portrait project felt fun, relaxed and like a small picture, a detailed map insert or a sample bit of text to be fitted into an outline. (In fact, I spoofed some of the pet portraits within my larger fine art paintings.) Here are the pages in the big picture book Readings From The Heart that tell about the smaller picture of Alphapets and how it fits in.
The original artwork for both Alphapets and Alphapets Too is on exhibit at the Aurora Gallery during August and September. More details about those projects here with lots of pictures of the artwork.
When all of the artist books and all of the artworks were finished I reread my notes and used those to create the exhibit statement I spoke of in my last post. I also used these notes to create the exhibit catalog Readings From The Heart. That was the very last thing I did for the August and September exhibits at Burnt Bridge Cellars, the Aurora Gallery and Caplan Art Designs. Well, the last thing besides the framing and art delivery.
Below is a photo of all of my artist books that relate to my Readings From The Heart exhibit. Additionally I’ve created a webpage with all of this projects more than 20 fine art pieces and details about each of the 3 exhibits here.
I hope this look at how I work on long projects has been amusing for you. The exhibits open this week. Many of my upcoming Instagram posts will likely be about that. And I will update the above mentioned portfolio pages too.
Then next Monday when I post here I hope to be beginning a new long-ish project; an illustrated poem for a children’s book titled Numpurrs. I found I quite enjoyed the serialized posts I did for Alphapets and Alphapets Too. So I look forward to doing that again!
They came in a big box. My early copies of the new print version of “Dr. Bob’s Emotional Repair Program First Aid Kit”! The official release of this book is November 1st – but you can click here for early access. I’ll be able to look at a print copy tonight while I brush my teeth – and that’s what I’d hoped for back when I started this project! But first – more happy dancing around the living room!
I’ve decided recently to practice my poetry and short-short story writing by writing something, no matter how bad, every day. If there’s anything illustration worthy I’ll illustrate it. Out of all I’ve done thus far this seemed worthy:
poem and illustration by Clancy
Doing the poem text with a brush was new and different for me. It was looser and I think I like it. Typically I’ve used a dip-pen and been “tight” about it. I’ve also tended toward handwritten capital letters as you know from my illustrated recipes. It’s a text-style habit that harkens back to my years as a professional cartoonist and biological illustrator.
But for this poem when I used capital letters via ink-and-brush the text seemed too thick and shout-y. I’m now thinking I’ll experiment with all lower case writing. And a smaller brush. Or maybe a fountain pen rather than a dip-pen.
I’ll try a different hand-written style, and technique, if I happen to write another illustration worthy poem. We’ll see… I’ve got a lot of bad poetry to write between now and then I suspect.
What do you think about the all capital letters via brush style?
I do better now, writing words-in-a-row, than I did once upon a time. Reading text has never been a problem for me – but speaking, and writing. Whew! Lets just say good speech therapists, theatre-acting coaches and writing class instructors are worth their weights in all the precious things in the world combined. As a kid practicing speaking by reading aloud from a comic book or a picture book felt less intimidating than reading aloud from a text-only book.
Even today I enjoy visiting art museums and galleries and looking at the artwork first, reading the labels last. I enjoy looking at coffee-table books with big glorious pictures – forming my own thoughts first – reading the words later.
Nowadays I read plenty of books cover to cover that have text only, no pictures at all. I even give demo’s and talk in front of 200 or more people without as much as a blink. (Wish my 10 year old self, who threw up at the thought of giving an oral book report, could see me now!)
So it has become a philosophical point to ponder with me – when is text important? When is an image important? When to have the words? When to have the pictures? How much of either?
For example I love it that signs for the restrooms are often pictograms. You can “read” them no matter what your language – or your linguistic skill level. Much of our international travel culture utilizes visual maps and non-verbal way-finding signs for things like hospitals, airports and government buildings – using pictograms rather than single language dependent text.
As I’ve worked on a new artist book containing my cat themed fine art I’ve thought a lot about whether or not to have text along with the images. If text – how much? Text located where in the book?
When I did my book “Dogs” I had the text at the end – and didn’t include much of it there either. The majority of the book is images.
On the one hand I spend quite a lot of time coming up with the titles for each of my artworks and it seems almost a shame to not list the titles. But I’ve often noticed – at museums and galleries – that people read the label-wall-text and sometimes forget to look at the pictures.
So sometimes I deliberately create text for use in my fine art gallery exhibits… just to be contrary. I’ve even created whole artist books with text and sketches to accompany my fine art exhibits. But sometimes I omit text completely and rely on my art images alone, the curious can ask the person running the gallery for more info. In this way I purposefully encourage people to verbally-talk with each other. Which way I go – words and/or pictures – often depends on the exhibit.
Like I say for me the words and pictures question is an ongoing, almost daily, one.
People seem to enjoy my Dogs book as it is – largely without text. And I’ve noticed that I’ve sold that book fairly well in non-English speaking countries. People of all ages seem to like it. So….
“Cats by Sue Clancy” will be largely wordless too. Here’s what the cover will look like:
The book is square, 7×7 in, 18×18 cm and 22 pages – full color. Here’s an early-reader link to the book http://www.blurb.com/b/8837851-cats In fact “Cats” has even fewer words than “Dogs” does – but more pictures in full color.
I’m sure I’ll continue to have this words and pictures discussion with myself in every book and every art exhibit I create. But I’m curious about your thoughts: do you look at words first? Or pictures first? What are your thoughts about wordless books?
This coming Friday, June 1st at Burnt Bridge Cellars my cat portrait exhibit “Purrsuits of Pleasure” opens. Because I don’t think artistic inspiration needs to be mysterious I include the story behind each art piece. The text illustrates, so to speak, my visual images.
Here are some of the artworks in the exhibit:
“Purrfecting Happy Hour” by Clancy36 x 24 x 2 inches (h x w x d)Handmade paper and acrylic on cradled board
“Purrameters of Pie” By Clancy 36 x 24 x 2 inches Hand dyed paper and acrylic on cradled board
“Strad O’Varius” by Clancy – 30 x 24 inches – hand dyed paper, acrylic and color pencil on cradled board.
“Cat A List” by Clancy 30 x 24 x 2 inches Hand dyed, hand stenciled paper and acrylic on cradled board
“Alpha Betty” – by Clancy 24 x 20 x 2 inches Hand dyed and hand stenciled paper and acrylic on cradled board
Purrfect Entertainment By Clancy 24 x 24 x 2 inches Hand dyed, hand stenciled paper and acrylic on cradled board
And here are some of the stories that illustrate them as they’ll be posted on the walls in the exhibit (of course readers of my blog have seen more details than what’s included below… but then you’re special):
Purrfecting Happy Hour by Clancy
I’m part of a feral happy-hour group; between 7 and 14 of us get together once a month somewhere local for happy hour. Often the trays of drinks that arrive at our table look like a collection of fine jewels.
Purrameters of Pie by Clancy
In several local cafés, bistros and pizzerias I’ve discovered that I can get either a savory or sweet pie of almost any size: small hand-pies, “personal” pies, pie slices, medium and large pies and “family size” pies. The trouble is deciding which size to get.
Strad O’Various by Clancy
Going to music events during the winter is a delightful way to combat any “rainy-day blues”. This last winter I particularly enjoyed seeing the crowd, and some musicians, bustling in for a concert in their colorful coats and scarves.
Cat A List by Clancy
Wine tastings – and being friends with Mark at Burnt Bridge Cellars – have opened my eyes to the subtle differences between wines from one year to the next, how type of grape, the weather, water and soil affect the flavors. Small things can be a catalyst.
Alpha Betty by Clancy
The local libraries and bookstores are, for me, a large treasure-toy box. Which got me thinking of how we select books according to our interests. The libraries and bookstores also have books available in a wide variety of languages – and its fun to see them too. This got me to thinking about the alphabet. Each language has its own – and when we say “the alphabet” we immediately think of our native tongue whatever it is. Likewise, when we think of “good books” we think in terms of our own interests and preferences. But when we’re aware of bi-lingual people and the multiplicity of this world – perhaps we are better able to remember that our languages and personal preferences are just frames of reference. And that frames are adjustable. So what frame of reference would a cat have? A mouse obsessed one of course!
Purrfect Entertainment by Clancy
My friend Kevin and I were talking about local music, feral cats and handmade musical instruments. Specifically, we talked about the “found object” instruments we were both aware of in the Southeastern parts of the U.S. – guitars made out of cigar boxes or banjos from cookie tins. Our conversation drove me to the library to research “handmade music instruments in the Pacific Northwest”. I discovered a long tradition of using local wood scraps to hand-craft musical instruments. The native woodgrain was often a prominent decoration. These instruments were works of art not at all like the “found object” instruments of the SE. I also discovered that here in the PNW playing music in public, on porches, patios, anywhere outdoors was, and still is, the norm during “nice” weather. There has also been a strong connection between music, food and community no matter what the weather. But I could only get so much into one painting.
This book is now in it’s 4th edition and there’s one chapter by me titled “Why Make A Zine or Artist Book?”.
Back in 2003, if I remember correctly, my work was included in the first edition. Rereading my work now in the new 4th edition I’m still proud and honored to be included! It really is a useful-in-creative-life book – I’m not just talking about my own chapter.
Here’s a teaser hint of some of the book contents in addition to mine.
And here’s a teaser page spread from my chapter within this useful book:
Sharp readers of my blog will probably notice that I’ve used one of the book-stitching techniques I mentioned in “Making Stuff…” on my current project “Time Tavern” (here’s a link to some Time Tavern posts; stitching the book here and more progress here.)
And here’s a panoramic photo of me along with Sweetie and one of our friends (the 4th friend was taking the photo) outside the bookstore Annie Bloom’s Books in Portland Oregon. http://www.annieblooms.com/
On Saturday I’m participating in a “Words and Pictures Festival” at my local library. I’ll be signing two of my book titles (more about my books here: https://sueclancy.com/artist-books/ ) and doing some of my dog drawings and talking about how I create my images. I’ll talk about my ideas, show my tools and discuss methods.
The challenge for me is the talking-while-drawing part of the demo equation. So to help myself I’ve done a video of me drawing… this way I can watch myself and think of what I need to talk about. When you watch the video do you have questions that you’d like me to answer?
I’m getting ready for a one-woman fine art exhibit held at Burnt Bridge Cellars and set up by the Caplan Art Designs gallery – and part of getting ready is writing an “exhibit statement”. I prefer creating pictures to writing non-fiction/prose so I’m making my exhibit statement as visual as possible. One thing I’ve done is collect some of my sketchbook pages into a free downloadable eBook. This eBook relates to my exhibit… more about that in future posts. Here are pages from my “Glad To Be Alive Sketchbook – drinks and music edition 2017″… you can see more information and download it from my artist book webpage here https://sueclancy.com/artist-books/ or via this direct link: GladToBeAliveDrinkMusicEd – Enjoy!