Instagram

 Yay, I now have 1000 followers on Instagram! 

I began posting on Instagram two years ago, after Maestra Shiloh Sophia suggested we do so, and use the #intentionalcreativity, to boost the numbers of posts tagging our brand to over a thousand - We are now at 13.4 K! 

In those early days, I wrote, "It's been fun playing with my pictures for posts, making little montages (which don't always behave!) And meeting new virtual friends! I love the journal pages @quantummemoir does, and ... I'm @nadyakingartist ❤"

• When you start typing a tag, suggestions will come up - bypass ones that have over a million, and look for ones in the 50 - 500k range ... 
• Look at tags other friends and colleagues in your community use - make a note of those which fit! 
• Choose a few that are unique to you, or your small group. Recently I added red thread Creatives, as that's the name of my Facebook group. 
• It's a good idea to check out the tag, and see how the posts match your intention - I usually click "recent" as well 💖
• I took part in a pod early on, where 6-8 of us tried to post daily, follow each other, and like and comment on each other's posts - Quantum Memoir was one of the pod, and we're still in touch.

Here's a recent post with other suggestions on using hashtags.

Instagram is a great way to connect with folks who are interested in our art, and to promote classes. A couple of years ago I saw a sweet hand drawn poster for a workshop at my favorite retreat center, communicated with the teacher, and decided to register. I often make designs on Canva, including flyers for my circles and class, and post them on Instagram.

Are you on Instagram? You're invited to post the link to your account, and share an tips you've discovered. 

Journalong and Reclaiming

As you travel through your CoW Quest, if you're like me, you likely have been filling journals with your process and progress! I use spiral bound art journals for sketches and Metacognative drawings, and covered and repurposed a bunch of composition books following Catt Geller's lead. 
I have a page on my blog with some tips on journaling, and recently wrote about continuing process journaling on their own for my students. I intend to print this and offer it as a handout, or email it as a PDF after the class.

Star codes

When I'm teaching, one of the things I find hardest to do is my own journaling during class! I give the prompt for my students, and may jot a few notes, but rarely do as much as I might on my own. I may also have done a trial painting on my theme before the class, to work out the kinks. It's helpful to leave some of these unfinished, and include them in the "Ladies" I bring as examples to the class. It is especially helpful for new painters and for those in shorter classes to see simpler work.

Soo... 

I try to take time after class to connect with my painting and journal. I also make notes on what came up for students, insights, sketch symbols, flesh out ideas for the next class, and ways to improve the teaching, set up, etc. When I co-facilitate classes, we try to meet for tea and debrief a few days later! 

Muse -2016 with Livestream

You may wish to dedicate a new journal for your class notes and insights, and include a section for messages from your demo paintings. This is a great place to record new class ideas, the journey and poem you plan to include, etc. Revisit it after the class, to add notes, sketches and do some journaling with your new muse.

A delightful suggestion from Shiloh on reclaiming that demo painting after class is to spray the canvas, run a swath of white paint along the top, spray again, then sit back with your journal as you watch the drips! What's going into the Fog? What came up during class you're ready to process/release? What new insights are emerging?

Same canvas, flipped for Muse 2018

This is a canvas I began supporting the Livestream for muse in 2016, when my friend Sepha was in CoW. I didn't really connect with it, and it sat for a couple of years ... 
I rarely gesso over a canvas, so I likely did a glaze or two, and I think used the white glaze tip, then flipped it and used it for the 2018 Muse. 

Soul Spark

Like Shiloh, I often have several canvases in process at one time, and use left over paint on different ones ... Soul Spark now has Star codes and I've been adding to her recently.

Do you have any favorite tips on journaling or your process work your demo painting? 
Share in the comments! 

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?  

Reset

Muses light fuses! 
What has your muse been whispering? Mine seems to have been on a bit of a sabbatical this year - I wish we could say we've been somewhere fun!! I've led my monthly circles, but only taught a few classes, and painting has been sporadic as well. As I feel into my piece of the thread, I pull out the new 18 month daybook/calendar I got this fall, and jot down notes.

What's your process for organization? When I began my CoW quest, I found a little red

Vision flower

checkbook style calendar at the dollar store, and entered each month's assignments in the notes at the bottom of the page, in addition to marking quest time each week. It was fulfilling to check them off, or Tune into what I needed to do to finish. I'm someone who can tend to procrastinate, and push deadlines, so it was often tight! i also like to play with Color and make plans in a less linear way, like this vision flower.

As you enter the next leg of your quest, I invite you to consider a reset.
 As we often did between paintings, this is a good time to clear and reset your altar, hang a different piece of art on the wall, set out a new candle. Choose a story card and place it on the altar. Spend some time in your studio, making it easier to work in. Sweep the floor, organize supplies, make a list of ones you need. Do you have enough light? A cozy chair for cafe and journaling? A place to sit "at least 5 feet back" from your painting/s? 

One of my periodic practices is calling council with my paintings! Like getting information from an individual lady, I set paintings around me, and invite their wisdom. I got a small journal to record these messages from my quest paintings and other ladies, for a dose of inspiration when I need it! 

For this next phase of your quest, you'll be setting your own time line, so this is a great time to take stock. Do you need a new calendar and/or art journal?  What Insights about your journey have come in?

What do you still need to compete? Are some almost done? Are any of those "good enough" already? 
Are they in the Color of Woman file on your computer? Have you offered your RT circles and 13 step class? You may want to rank your "to do" list by ease of competing, and alternate easier with more challenging tasks. 

Here are some ideas for a reset:

• Reset your studio and altar
• Refresh your Supply list (watch for sales, add add items to your wish list)
• Get a new calendar and schedule time each week/month for CoW
• Spend some time with your journal, process and inspiration

• Set goals and time frame for completion
• Prioritize assignments to write up and check off 
• Call Council with your ladies
• Revisit your Future Teacher visioning, has something changed?

• Choose a story card for your altar each week
• Revisit your vision plan book for ideas, contacts, 
• Connect with an Accountability buddy 

Tugging on the Red Thread, you've got this! 

Social Media - Artist Page and Groups

If you're on Facebook, an easy next step is to create an artist page for your business. You can post photos of your own work, creations from your circles and your classes, post inquiries, and invite friends to "like" your page. As you host events, you can promote them by posting an Event invitation from your artist page, and share that on your personal page and in local groups. 

A way to let folks easily find that page is to add it as a "workplace" and a link will show up on

your profile page! Here's a video which shows how! 
My page is Nadya's  Atelier, and if you click on the link, you'll see some of the ways I use it. (I have several pages for my various "hats," massage, harp, Reiki and Qigong) 

One suggestion is to post on a regular schedule, say Monday, Wednesday and Friday. If you have a blog, you can put up a link to a recent post, or one that's timely. You can also share invitations to Shiloh's and out RT sisters online offerings, short videos, etc. 

Once you're offering circles and classes, you may also wish to start a group for your beloveds, and add them as they attend. You can set it as private, and set basic groundrules.
You may decide to keep it local, or add other women as they express interest. Again, you can post events from your group (though the invitation will only go to group members) or share events you've posted from your artist page. 

Invite gals to get involved by posing inquiries and inviting them to post. Here's our local group, which is mainly for Creatives in our area. I offer invitations to WIP Wednesday, to post in both our group and the RT cafe classroom, share event and other information.
Down the road, you can also create a group for an online class, like Amber's "Women Unleashed"  

Creating an Artist Page and linking it to your personal page is a good first step in extending the Red Thread to beloveds, and sharing what you have to offer. This is also a way to begin to tap into your own Soul Work, what are your beloveds hungry for? What do you have to offer?

Here's the "about" blurb for my page:
Transforming stories and lives through Intentional Creativity® 
Ate-lier 
noun \a-tal-'yā\ A room where an artist works