Celebrating Creativity

Hi I'm Kadira Jennings, welcome to Unfolding Creativity, a portal to Abundance Through Creativity.

I am a creative artist celebrating and encouraging the creative in all of us.

My blog is a discussion, and creativity resource. Please take your time, look around and join the conversation if you would like to.
It is my passionate belief that we all have deep within us a creative genius just waiting for half a chance to get out no matter what field we work or play in.

''There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, it will never exist through any other medium and it will be lost. The world will not have it.''
Martha Graham

Songs Of The Sea

SONGS OF THE SEA

As always – I began with an underpainting. – burnt sienna and then blocked in with the French Ultramarine and Burnt Sienna mix as usual.  I have begun with the sand area at the top of the painting.

Songs of the sea - under painting

Under painting

This work is taken off an image I shot while on a helicopter ride one day. Near where I live is a place called The Entrance where a narrow sea inlet feeds into a large lake system.  The day I took this image I was flying of a stretch of dunes and water just to the north of this area.

Songs Of The Sea - green blocked in

First layer of the ocean has been applied now

This painting involved several thin layers of paint to establish the almost translucent look of the water. I used a lot of medium with the paint.  By the next post you will see the finished work.

If you would like to see more of my completed work, head on over to my on line portfolio.

Next Thursday’s Post: Songs of the Sea Finished

Next Monday’s Post:  Guerrilla Marketing – a book review

Posted By: Kadira Jennings

 

 

 

Colour Mixing Blues

Colour Mixing – BLUES

What you need to know about colour mixing Blues before you start.

mixing Blues

Warm and cool Blues

French Ultramarine (Hidden Violet)
This Violet biased Blue is semi transparent and contains a large amount of Violet. When you compare
it to a green biased blue you can definitely see the Violet colour within it. Ultramarine Blue was
– according to Ralph Mayer – originally made from ground and refined Lapis Lazuli and therefore
one of the most costly of art materials. Even more confusing is the fact that some paint manufacturers
put out an Ultramarine (Red Shade) and an Ultramarine (Green Shade).
Cerulean Blue (Hidden Green)
This Green biased Blue is semi opaque and contains a large amount of Green. When you compare
it to the Violet biased Blue you can see the Green colour within it. Cerulean Blue is a fairly weak
colour and while great for skies, I tend to use a Pthalo Blue if I am needing more intensity.
The green biased blue family seems to have more colours in it than all the other colours – the main ones  are – Pthalo Blue, Winsor Blue, Cerulean Blue, Prussian Blue and Manganese Blue.

This week’s Question: Can you look at your paint charts and identify which bias each of your blues has – does it have a violet or a green bias?

Next Thursday’s Post: Songs of The Sea

Next Monday’s Post: Guerrilla Marketing for creatives

Posted By: Kadira Jennings

Underpainting

Underpainting – what value does it have? If you have been  following my blog for a while, you will have noticed my shift to underpainting most of my works now.  Why do it? Well the main advantage is that it can give great depth to your work if it is covered by several thin layers of paint over the top.

Underpainting is not only a rapid and economical way to envision and develop compositions, it also aids the artist in creating a number of optical effects that cannot be achieved by direct painting with color.

Traditionally underpaintings were usually executed in warm earth tones on neutral gray or warm brown grounds. Raw umber, at times mixed with black, were frequently used for this purpose. Another great mix is Burnt Sienna and French Ultramarine Blue. This mix can give you very neutral grey tones (with the addition of a little white) or the underpainting can be made either warm or cool depending on whether it leans towards the Burnt Sienna or the Ultramarine Blue.

Cool gray underpaintings were also often employed.  In the work below you can see Andrea del Sarto’s half-finished portrait and notice how the flesh has only been worked up on one side  and the underpainting is revealed on the rest of it.

underpainting Andrea del Sarto - unfinished portrait

Andrea del Sarto – unfinished portrait

‘In it’s simplest terms, an underpainting is a monochromatic version of the final painting intended to initially fix the composition, give volume and substance to the forms, and distribute darks and lights in order to create the effect of illumination.’ (1)

If you are going to experiment with underpainting only apply color over the underpainting  when it is thoroughly dry.

Not many painters use the underpainting technique today as most of them are after the immediacy of direct painting i.e.  coloured paint straight onto a white ground.  The problem with this approach is that many opportunities for subtlety are missed as underpainting is often the only way to achieve great depth and luminosity in a work.

Next Thursday’s Post: Songs Of The Sea

Next Monday’s Post: Colour Theory  - Mixing Blues

Posted By: Kadira Jennings

(1) Essential Vermeer 2.0

Pix Credit: Essential Vermeer 2.0

 

Creative Processes – talking about Resistance

Unfortunately most of us don’t recognize our resistance. Instead we sit safely in denial, in our illusion, pretending that the art class or the lessons in stage makeup are just something else that we are filling up our lives with. I know this because I spent 40 odd years of my life pretending I wasn’t an artist. I know all the distractions, excuses and rocky stones on this path of Resistance.  They are old well-loved friends, hard to leave behind. Here’s a list of a few of the things that will stop you from doing your true work in the world.

  •  I’ll do it later – when I have time
  • When the kids are going to school – I’ll have time then
  • It would be selfish of me to spend that money when my partner needs a new widget for his car
  • I’ll just do (x) before I look into it
  • Who am I kidding – me, a film director, dancer, artist ………. fill in the blank
  • I’m too old now
  • Everyone else has a head start – they will always be better than me
  • It’s just a pipe dream

This True Work –   It’s what I call SOUL WORK.

This has nothing to do with religion.  It has everything to do with developing the deepest core of your self, which is why we are all so afraid of it.

Now Resistance and Self worth kind of over lap, because often resistance occurs owing to our lack of self-worth.  How does this manifest?

Well unfortunately, often owing to religious beliefs, we have been taught that we are worthless. We have been conditioned to decry our gifts, to exalt our unworthiness and so give away our power. This is why creative people are often found on the fringes of society.

Sadly we often, must disown our tribes, be they familial, political or religious, in order to move forward, free from the strictures that want to contain our creative spirits.  Creativity threatens the tribe because by its very nature it is perceived as anarchy.  It brings with it change and horror of horrors GROWTH!!  And Growth ALWAYS  challenges the status quo and threatens those in power.

creative-freedom resistance

creative freedom

 

You see, creative spirits need to be free. They cannot create within the bound confines of strangling political and religious systems. It is the work of creatives to push at the boundaries of human understanding. Which of course why so many of them are not recognized as a genius until after they are dead. Society takes a while to catch up and because it does, and for all the reasons stated above, creatives and free thinkers are considered revolutionaries ( which of course they are) and are often persecuted.

Stepping out of Resistance

Stepping out of Resistance

Therefore we have resistance.  We want to hide.  We don’t want to be different. The call of the tribe is strong.  We don’t want to take up the responsibility because it means admitting who we really are and then doing something about it. Sometimes hiding from ourselves seems a lot safer.

This Week’s Question: Can you list at least 5  forms of resistance you are currently using to avoid your creative calling?

Next Thursday’s Post: Waitete Revisited

Next Monday’s Post: Colour Mixing – The Blues

Posted By: Kadira Jennings

Pix Credits: Creative Freedom, Business design

 

Waitete Revisited

This is a theme that has been popping up a bit this year.  A couple of weeks ago I was commissioned to do a painting to match one that one of my collectors  bought earlier in the year. She requested a similar scene but with a more moody/misty feel to it.

Here is the painting’s history.

Waitete Revisited Kadira Jennings,New Romantic Paintings

Waitete Revisited – Underpainting – block in

OMG there’s an elephant in the sky!!

Which progressed to an under layer of colour and establishing the sky clouds.  These clouds flowed really smoothly – such a pleasure  to paint when it all works!

Waitete Revisited Kadira Jennings,New Romantic Paintings

Initial colour layer and cloud work

And many layers later  - after more work on the clouds, mist and foreground we have …….

Waitete Revisited Kadira Jennings,New Romantic Paintings

The Finished Painting
18″ x 18″

And here they are together

Waitete Paintings

Waitete Paintings

 

For a better look at it – please visit my website Waitete Revisited

Next Thursday’s Post: The Value of Underpainting

Next Monday’s Post: Creative Processes – Talking About Resistance

Posted By: Kadira Jennings

Mixing Colours Yellows

Mixing Colours YELLOWS

What you need to know about yellow before you start mixing colours

Mixing Yellows

Mixing colours Yellows

Cadmium Yellow (Hidden Orange)
This Orange biased Yellow is opaque and contains a large amount of
Orange. When you compare it to a Green biased Yellow you can definitely see the Orange
colour within it. Even though Cadmium Yellow is also from the cadmium heavy
metal family, it’s toxicity is so low as to hardly register and it too is considered quite
safe whilst bound into a paint medium.
Lemon Yellow (Hidden Green)
This Green biased Yellow is very transparent and contains a large amount of Green.
When you compare it to the Orange biased Yellow you can see the way it leans towards
Green.

This weeks Question: Can you look at your paint charts and identify which bias each of your yellows has – does it have a green or orange biased?

Next Thursday’s Post: Waitete Revisited

Next Monday’s Post: The Creative Process continued

Posted By: Kadira Jennings

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