The time crunch is loosening up a bit. I don’t know how long it will last, but I’ve got some breathing room, now. Tomorrow, I want to work with my watercolors a bit in the daytime. I have that one abstract plaything that I never finished…
I was thinking about going off tomorrow to take a three-hour impromptu workshop on watercolor fundamentals, but realistically…well, there are other ways to get that information (and save the fee).
Also: I just took a look at a different set of watercolor workshops, and the workshop I was thinking about attending tomorrow is relatively overpriced (about $23/hour?). For $5 more I could get two extra hours of assistance, and not deal with being given supplies that I don’t need. My major issue at this point is how to envision things that don’t exist, not how to copy things that do (although I’ve gotten the point that the latter may be much easier using blocks of color rather than line).
I also need to work on my use of positive and negative space.
I have a rough idea of how I want the above play to turn out, but the thing is, I could do a series of these and have them all be different. That is, the patterning isn’t hemming me in, here. And I can see some of the next steps, already (though granted, I saw some of the next steps a few days after reaching the point you see above). The reason I stopped here? I felt I might have been overworking things, and I ceased to be able to see what would come next.
Relatively speaking, the ability to “see” where to put my next mark is a bit frightening for me, but now that I have some study of creativity and the brain under my belt, I think that the issue is that I get into a “Flow” state and don’t understand it, so I tend to avoid it. It isn’t necessarily that I’m being directed by something invisible (other than myself); it’s that I’m tapping into a brain-state that I normally don’t experience…which can lead to the explanation that I’m doing something metaphysically-based, when I may not be (or probably am not, but I’m leaving some wiggle room for the unexplained, here).
I just seem to be one of those people who enjoys using their creativity, but is always scared when embarking. For me, in a sense, it’s like skydiving (not that I’ve skydived, but): it may be exhilarating on the way down, but I’m scared to get on the plane and I’m scared that my parachute may not open. Even though it’s been OK, pretty much every time so far. And I’m not going to die if I can’t solve a creative problem during whatever time I’ve allotted myself to solve it.
My actual problem seems to be in using my creative faculties to whip up reasons not to use my creative faculties.
In other…arenas, I took a sketchbook with cheap paper (which I had been journalling within) to work, today. I felt a little disappointed with myself when I started practicing kana with my Pentel Pocket Brush Pen instead of designing a block print, like I had intended (although I realized I again lost offhand memory of some of the kana — though I would probably recognize them if I read them)…but then I started writing a new journal entry to myself. That book has been with me for years — the better part of a decade, I’ll say — and the entries are sparse but intriguing (to me, at least).
I’m not sure what the draw to language means, if it means anything.
And the Pentel Pocket Brush Pen is vastly better for Japanese writing than is the Sakura Pigma Micron Brush Pen. The former has bristles; the latter…I’m not sure, but it’s stiffer and squeakier, with less line-weight variation. The big drawback to the Pentel Pocket Brush Pen is that it is so incredibly sensitive that you need a light touch and almost need to hover over the page (though there is still some tactile feedback of the bristles).
I should get out of here and get ready for bed…