After teaching

 

You Did It!

Your 13 Step painting class is finished, the students have gone home or exited zoom - whew!! And now what? 

After documenting the process and what came up - for you, for your beloveds, and some self care, there's your Canvas, in a special after- class limbo! What's next in your own process?

I try to take time after teaching to connect with my demo painting and do some of my own Journaling - as I usually don't get much time for that whilst teaching! Sometimes *another* Old Story has come up for clearing, and I make some new story cards. Did any recurring or new codes symbols come through? What do they have to say? 

If I did a demo before class, I may bring that out, and begin a dialogue with both. Perhaps I'll bring her out to my porch for morning café, and into my bedroom for awhile to inspire my dreams. 

Forest Queen 👑 

This can be a good time to consult our own Oracle - pulling a card or two from the Soulful Story or Wild Card deck can bring insights and inspire the next step ❤ 

Several years ago, Shiloh suggested this process for reclaiming a demo painting: To really change it up, set aside some time,  smudge, spray your canvas, and paint a strip of white (or white with a bit of color) along the top of the canvas - spray again, then sit back (6' away or so) and journal while it drips! Use that as a guide to move on, and reclaim her! Spending at least a long on the painting after a class as you allotted duringthe workshop allows you to listen for the painting's voice. 

Other options I've used after Journaling and sitting with the painting awhile, are to go in with another round of Lights and Darks, tending details, perhaps adding code and prayer dots, then glaze again. 

If I skipped any steps for ease of teaching, I might revisit those - pulling out my 13 step cards helps me refocus! I may also have had some insights around using the cards, and be ready to rework one or two! 

If the canvas calls for bigger shifts, I might do directional glazes, using different colors on each side, spraying and letting it drip, then turning the canvas and repeating.  I sometimes use gold for this, or my beloved interference paint! 

Sometimes m all the demo painting really needs is another round of Lights and Darks m a partial glaze, some listening and adornment! And sometimes m they seem fine for months - or years - then begin nudging is for attention!! 

She Changes

Mama Gaia Class

Another element of the after class process is a follow up connection with students, both for feedback and perhaps tending if a lot came up for them! While we're only responsible for our piece of the thread, when that piece includes teaching, there's also connection and tending. 

You may wish to schedule an occasional Open Studio session, where beloveds can bring their own WIP and receive support and tips! One beloved called me 18 months after class, and was ready to do more on her painting, so we scheduled a private session on her covered deck! I brought She Changes, which had been my class demo, and we painted together. 

Learning to balance your own creativity process and tending your students is ongoing, we've got this! 

Stardust Guild SiStars

 In 2018, Shiloh Sophia revived the medieval practice of gathering those who have developed proficiency in an art or trade into a Guild of Journeywomen for the graduates of the Color of Woman teacher training. We'd had a Graduate group for several years - this was the 'next step.' 

With the addition of the Motherboard Coaching program, and Red Thread Guides, the Guild now includes graduates of those programs as well. (The Certifications page has links to the prospectus for each program.)

Active Guild benefits include a group on iMUSEA, a monthly call, which may include a teaching, and access to a graduate Video library for Continuing Ed appropriate to each training. For CoW, this includes additional classes of varying length at no charge, and sign ups for several we can receive a license to teach after completing the painting and any additional requirements. (These include Apothecary, Legend, Diva X... ) 

There's a link to add yourself to the Guild directory, and volunteer or employment opportunities are offered to active guild members first. 

Sepha, Nadya and Shiloh, 2016

There is also a Regional component. Nearly 20 Guild Gals currently live in Oregon and Washington, and several of us met for the first time in classes, at graduation, during travels, or an in-person gathering. (You can find local graduates and Guild members in the directory.) 

In November 2019, I invited the local gals to a Gathering at the studio in MECA gallery (since closed). We set our circle for the afternoon, and Jan from Southern Washington, 3 hours away, choose to stay overnight! 

Sharing Purple thread with Sepha and Janet

While we do Red Thread circles when gathering with students and beloveds in our broader community, when meeting with other Guild members, we often use a Purple Thread of Leadership. I've shared purple thread with several SiStars as they traveled through Oregon, weaning strands of connection. It's always a delight when we gather, and this was no exception! 

Olivia, Sepha, Uma, Nadya, Jan  - Nov 19

During that fall gathering, we shared chocolate and tea, warmth and SiStarhood. Our Muses must have consulted - our colors were delightfully coordinated! We passed the thread, and shared highlights from our year, and dreams for the future. 
We planned to share a Metacognative drawing practice, but after our check-in round we just kept talking!  And talking - laughing, commiserating, and finally said our fond goodbyes, with a stronger connection and sisterhood.

In 2021, Musea added regional 'Constellations' of Guild Members, with Guides for each group, and ours began having monthly calls in the spring. Our PNW 'Stardust SiStars' begin with a circle, sometimes followed by a short teaching or activity. We have begun scheduling separate "Nuts and Bolts" sessions sharing info on making prints, and other practical tips. 

We may be drawn to Collaborate with others from afar, or in our area. I've co-facilitated in person classes with several, beginning with Lora Pirtle during my own Color of Woman training, then Sepha, when she entered the following year. 

Olivia and Uma collaborated many times while they both lived in Portland, and after Uma moved out of the area, offered the first 'guild led' Legend class virtually in the spring, and I was their Art Doc! 

Another local grad and Guild member Linda Allen and I co-facilitate bimonthly Virtual Red Thread Circles as a pivot during lock down. These are so fun, drawing women from around the globe!! (as far as NZ and India!) Graduates or students in our area are also invited to post their offerings in our PNW MeetUp.

Purple Thread cuffP

I used the purple yarn from several circles with my Guild SiStars to crochet this little cuff bracelet. It's both decorative and a wonderful reminder I can just give a tug, and the support and love from my Guild sisters is on the other end! 

I extend the thread to you, and invite you to explore guild membership!

Recycling Content

 I love to write - and I am lazy frugal enough to want to use what I've written different ways! One is between blogs (I confess, I have several!!) I often borrow content from a personal blog, to repost on one of the support blogs, editing to match the audience. I've done the same with my website, and if I want to post something on Instagram or Facebook, it often appears on my blog before or after.

Atelier Altar

I began my first blog after reading an article about how simple they were, and could be set up in 15 minutes - who could resist?? And it worked!! Often students and graduates who don't already have a website feel a bit stuck as they consider starting one - 

• What platform to use? 
• How to start?
• Who will help? 
• Can I edit and update myself?

A blog is a simple way to start, and figure the rest out later!! I happened to choose blogspot, and have enjoyed sharing content this way. Our IC Sister Hobby Parent had a blog on the same platform, with 'pages' which made it more like a website - an About page, events page, Gallery .... and I realized I could add those to mine as well!! It's easy to edit pages - as long as we remember, tee hee! 

It's simple to copy and paste from the blog to Instagram or FB, and share a poem or inspirational thought, a bit of a story .... and to use 'labels' (or 'hashtags') suited to post topics. Either can inspire content for the other (I usually go into edit to copy and paste from one to another) 

Hashtags I commonly use include #intentionalcreativity #intentionalcreativityoregon and #iammusea Be sure to have a link in your bio that takes the visitor to a link list or your blog or website. 

Do you have a blog? Post the link in the comments! 

Here are some of mine:

Creation Station, King's Touch Reiki, Red Thread Circles

New Moon Altar

 One of the simple practices we often use in our Intentional Creativity® community is setting up an altar. Home altars have been used since ancient times throughout the world, be people from many traditions. 

An altar can be as simple or intricate as you wish, often set on a lovely cloth, holding momentos of loved people, pets, items from the natural world - rocks, a bowl of water, a candle, some smudge or incense ... I have little altars on surfaces all around my home!

Today marks the first New Moon of 2021, with the sun and moon both in Capricorn. New Moon can be a good time for setting intentions and celebrating new beginnings, and a lovely time to create or reset your altar. 

A couple of years ago Shiloh Sophia shared a process of gathering and blessing water, drawn from a service at her church. From Dr Maseru Emoto's work on water, we know that water responds to intention and spoken words, and can be patterned.

Altar with Magïc brushes and Holy Water

My blessed water from our session included well water, Bulgarian Rose Oil, Hathor oil blend, and Our Lady of the Cosmos flower essence bouquet (formulated for Red Madonna 2015). I placed it in a cut glass, stoppered bottle, which I'd used for Holy Water from a Buddhist lama in the mid 90s. 

I often "charge" water by placing it in a bowl in the moonlight, sometimes with crystals in it as well. We can add some of this blessed water to our paint water, and to a spray bottle. 

The altar cloth is a placemat from France, and holds my Magïc paint brushes, crystals and coral, a carved red turtle (Kenya), dragon on a small pottery plate, reindeer antler, a goddess of fossilized horn and silver, Hathor oil, rose  beads (around the angel), the flower essence bouquet, smudge sticks, a Red Jar candle, and chocolate!

2020 - Altar for Mystic Legend 

Some of my altars are set on cloths, others directly on a shelf. There are crystals, feathers, shells, Oracle cards, a candle or olive oil lamp, gifts from students, small baskets, flowers, holy water, smudge sticks, figurines ... Some are little arrangements on window sills - blue bottlers, a little bowl, bells ...

Denise Linn has written a lovely book on Altars and Shrines. While Zsuzsanna Budapest wrote a one on bringing altars and the Goddess into your workspace 

Do you have home altar? 

Classes and Support

When we begin sharing intentional Creativity with others, we we may encounter unexpected challenges as we support our students' process. While some classes flow almost seamlessly, others have a "problem student" or unexpected issue.

Breathe! You've got this!  In my classes and sessions, I've developed strategies to address some that may be helpful. 

Carol's paint station - Gaia

Class set up: know your materials, and plan your set up. 

• I often use a less expensive paint for the first layers (Amsterdam tube paint) and have that out first. I demonstrate how much to put on their palette (paper plate) and have them come to a central table for refills. (If it's a higher price class, you'll likely want to with with Golden from the beginning) 
• When we switch to Golden at the glaze, I stress we only need a dime size of several colors, and dispense their first colors. I mention we may use any extra on the sides, the "lingerie." 
• I bring 1 oz bottles of my Golden paint to class, especially shorter ones, plus 4 oz bottles of white, Quinacridone Nickel Azo Gold, brown, and primaries red, blue and yellow. (The small bottles help get across that we don't need much paint!)
• A selection of several brushes, T-shirt rag, water and spray bottles are at each person's station, along with their canvas and a table easel. For a palette, lids from yogurt containers are a handy size for classes, and can be reused.
• I have square trays ($ store!) for each student's table setting - which helps corral and identify their supplies. 
• Remind them to put their "Brushes in the water" when ready to share the next step. 
• Pitchers for water in the paint table, and a bucket to dump paint water in are handy.

I go over the general flow of the class with the students at the beginning, and use my 13 step prompt cards to stay on track. If it's a shorter class, I spend a bit of time thinking about steps to combine. I often paint a demo before the class, sorting out inquiries, planning the visioning, etc. 
When I teach, it's a combo of planning, and intuitive process - tuning in to the group. I mark quotes to read throughout the class, and which paintings I'll bring for inspiration. I often bring small journals for students who haven't brought one, and encourage its use throughout the class.

What comes up? Ooo, it's different each time! 

The critic is likely to appear, wearing a variety of hats! 

• "I'm not artistic" - the Tyranny of Talent! 
• Comparison Queen - your painting looks better!
• I just don't like my painting! And on ... She's too pale, now she's too dark, ...

When the critic first appears, I often thank the student, and mention that they may be speaking for others in the group as well. I'll comment that it's long been her job to keep us safe, and it's sometimes uncomfortable when we try something new/different. 

I give some options, she can count rocks in the parking lot, or shall we set her up with a drink by the pool? She can hold the map and help navigate, but we won't let her drive, and may ask if the student can identify her voice - who along the way is she parroting?

"What if there was nothing we could get wrong?"
"It's only paint!"

I suggest this is a great time to journal, maybe "hand her the pen!" And then give the pen to the muse. Does she have a name? This is a great time for a movement and journal break, have everyone move back from their canvas (if you can - they don't always want to stop painting!) 

Different materials - gals who identify as artists may bring their own materials - if it doesn't upset the flow of the class, and they are in the flow, I let them be, and may ask about materials they are using. I'm often inspired, and want to try them myself, lol! (This is the nearly compete painting, which my artist student Carol continued to work on after our one day Gaia Encounter class)

Carol used acrylic ink and stencils

I generally encourage them to "try it this way, this one time," and some do, some won't! 

I invite them to use the Golden fluids for most of their work. If they brought less expensive paint, they will likely be disappointed, and it's hard to guide them - I may say, "I'm sorry, but if you use different materials, I may not be able to help a much... This is a good time to try something different! You can always use what you're familiar with next time!" 

Wanting to paint over or even gesso - this may happen toward the end - three of my favorite tools for times like this, or when they're feeling stuck are:

• Take it to the journal! Move back from the painting, and perhaps dialogue with the muse/critic around what's coming up. Is this something they encounter at times in their day to day life? How do they usually handle it? Would they like to try something else? You might have some journal prompts on slips of paper, and have them choose a couple. I aim for at least one journaling session during a one day class, and often suggest an extra journal break if they are getting frustrated. In a longer class, you could lead a second visioning at this point. 

• Grey scale - this is a great time to have them take a photo and edit it to show contrast in grey! I show them how, or do it on my device - it's an excellent way to see where contrast is missing, and that may help redirect them. It's also a good way to see if the features feel balanced, and invite them to make subtle shifts.

Grey scale and enlarged

• When in doubt glaze! Glazing is scary - and so potent! It's a great tool for engaging the Muse! While we'll generally just do one glaze in a class, each repeat adds depth. 
• They want to gesso? Bring out a couple of color possibilities for glazing, show them the transparent scale on the back, and mention that a glaze preserves these luscious undershirts they've built, but allows the old stuff to "compost." 
• ** Have them eat some chocolate and journal while the glaze dries. 

• Glaze Options: in addition to glazing the whole canvas, there are several other options. 
• Partial glazes with a couple of colors - lay the painting flat, have them glaze, then show them how to burnish with a rag.
• Glaze half the face a different colour
• 4 direction glazes - choose 4 colors, spray and paint one color at the top, spray and play with drips... Then rotate the canvas and use the next color ... 
• White! If they really want to gesso, suggest they try a white glaze at the top (Zink white is more translucent than titanium) - spray and let drip ... Maybe spray, then paint white in the area they're uncomfortable with - and spray again ... They can also use White in the 4 directions, turning the canvas. 
• Gold or another metallic is another choice for a student wanting to gesso - shiny objects distract the critic!

• Shiloh suggests a white glaze for reclaiming our own demo canvas after a class. Journal about the class, insights, challenges, your own process, perhaps take yourself through the journey again. Smudge, then bless and spray the canvas, with a large brush, paint white at the top, then let it drip ... Sit back with a cuppa, and journal. 
• I sometimes use a combo of white and gold for this! I've also flipped the canvas and begun over on the face, without gessoing! 

• Codes and symbols - this may be a good time to ask if any symbols came through, and how they want to depict them. Jane they noted them in their journal?

• Biophotons, Stars and Prayer Dots- I mix white with glazing medium when I'm painting stars or sometimes when adding prayer dots - if they want to cover with gesso, a layer of light may be what's indicated! 

These are a few of the issues that arise - I've had students create very different paintings from my basic instructions - including landscapes with wonderful creatures rather than a lady! If it doesn't interrupt the flow of the rest of the class, and they are happy in their zone - I let them be! 

I bring out metallic and interference paint toward the end for "adornment"'- not as messy as glitter, and so satisfying! Then invite the students to hand Her the pen, and receive Her name and message.

What are some of your teaching challenges, and how did you handle them?