Story Card Teaching Pack

I love the Soulful Story Card process, and offer an abbreviated version a couple of times a year for my Red Thread Circle. I quickly realized that if I saved some of the process papers, I wouldn't need to "reinvent the wheel" each time I offer it, and would have several sample old stories/ issues and antidotes to share!

Story Card case and process papers

My deck is housed in a plastic 3×5" card file that I found at the Dollar store. It has several compartments where I keep:

• Some of my Story Cards
• Painted blank cards with sample backgrounds
• Process papers with an "old story" on one side, and the antidote on the other (scribbles, cross-outs and all!)
• Blank Index cards and colored paper for doing the process cards

The kit makes it simple to offer a story card class. While it was the first Red Thread Event I offered during my CoW Quest, that's one of the few times I've had beloveds craft a full deck! 

Our monthly Circle is 2-3 hours, so a simple project works best, and we usually make 3-6 cards. I encourage them to "own the process," and create more on their own as they recognize old stories.

Cards from the teaching kit

I usually use watercolor paper from a pad, and have them create the background, then we move on to the old stories and antidotes while that's drying. They take home both their own competed cards and blanks. 

* The first SC class I taught, two of my 3 beloveds got so engaged in painting the background, they didn't want to move on!! My Time Angels Card helps us keep moving these days! 

I make a few new cards with them, sometimes working with a old story, at others, cards for my classes like "When in doubt, GLAZE!" I use extra  background cards for business cards (torn in half again) and like using calligraphy pens and Inktense pencils for the words and designs. Shimmer watercolor paint adds sparkle without the mess of glitter! (I also just have them use watercolor rather than acrylic paint)

In one of our circles, we played with Mark making and symbols rather than words. I've often thought in a longer workshop, it would be fun/ helpful to make a few cards for old stories that arise, and to write about the symbols! Sometimes a "group issue" will come up, and several participants will make cards on that.

Here's the announcement for one of my story card classes:

"Do you find yourself frequency revisiting the same old stories? Your creative Muse is ready to keep you rewrite a few, and give you a new Oracle for guidance! 

"Come celebrate yourself, and tap her magical nature and whimsical wisdom. We will identify several 'old stories,' and using our collective vision and wisdom, create colorful Soul Vision cards to remind us of our new declaration."

This is a great process to revisit as old stories come up, and I recommend making a few new cards periodically! I've often thought it would be good to create a few insight cards during a longer painting class.

Have you offered this as one of your RT classes? 
You're invited to share any tips, or personal favorite cards! 

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?  

13 Step Prompt Cards

When I began teaching IC classes, I had a notebook with the 13 steps, and my ideas  for that particular class. It was kind of cumbersome, and I sometimes got lost ... So I made a flow chart, moving from step to step - then hit on making prompt cards! 
Viola! Much easier! 

13 Step Prompt Cards

You can make a set of prompt cards for Red Thread circles, as well, and can adapt the process for prompts for any class you're offering, it's very adaptable for your needs. Here is the little video tutorial Sepha and I created for the class of 2018.

Materials

• 140# watercolor paper (can be from a pad)
• 13 step overview (or other class process you'd like cards for)
• Watercolors or acrylics, Neocolor 2 crayons, Inktense
• Calligraphy pen, markers, sharpie
• Brushes and water container, aqua brush
• Binder ring and hole punch (optional)

Preparation

• Spend some time with each step and sketch out ideas
• Symbols and images for the concepts
• Name of step
• description for back of card

Creating the cards

• Set your intention for making the cards
• Paint the background and let it dry - not too dark
• Fold and tear cards - from around 2x2" - 3x4" 
• Write the name of the step in the painted side in calligraphy pen or Sharpie
• Draw symbols and images for that step with marker, Inktense or watercolor pencils and activate with water
• Write the instructions for the step on the reverse
• Create a Card for each of the steps
• Make a folder for the cards, or punch a hole in the corner, stack in order and connect with a binder ring.  

Optional teaching cards

• Card with the 13 steps in order (the names and order occasionally change)
• Symbol Override - what additional information is coming through?
• Red Thread Circle and closure cards
• Favorite short quotes to read during class
• Inquiries for journaling
• Antidotes for "I hate my painting!" : a movement break; tea and chocolate; black and white photo for value/contrast; sit back and "take it to the journal," "when in doubt/angst - glaze!"
• Several inquiries for Red Thread circles
• When you're offering a new class, sit with your deck and fine tune the flow for this class. Do you need to rearrange the order? Are there any special techniques or instructions that you need a card for?
• Create card/s for your theme, i.e. "Queen of your own heart:" crown, heart, orb, sovereign symbol and a few words about the meaning of each (you could do this on larger paper, and keep them in a notebook, or create a handout with symbol ideas)

Personal Support

• Go through your Story Cards and pull out several related to teaching, confidence, having something to share, connecting with beloveds, etc
• Totem cards, inspired by totems/symbols which appeared on your paintings: Milne include Humming Bird, for keeping place work and encouraging my beloveds, Time Angels for staying "timely," and Beloveds. These often go on the altar.
• You may wish to make a couple of new story cards after class, as you gain new insights, or additional prompt cards. 
• Did new symbols come through? You might make additional symbol/totem cards for your teaching deck.
• Journal after the class about what came up for you or your students, and ideas for follow up. You may wish to dedicate a journal to classes, including both process and ideas for future offerings.

Having this set of prompt cards has simplified my class preparation and flow. I've made a couple of additional sets, as insights have come, and review them before teaching. When working on a class demo, I pull out my deck and make adjustments as needed. 
I hope you find them helpful for your classes! 

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! 

Rosaries and Rose Beads

The Rose, by Ann Mayhew, illustrated by Michael Pollard, includes "myths, Folklore and Legend." Ann writes, "The rosary is believed to have originated in the Orient, and is used as a devotional aid in many religions. ...In the East, Rose-beads are still made. Dried rose petals are crushed to powder, moistened with rose water and formed into pellets, which are strung, dried and polished, ready for use." 

This is essentially the process I came to, after much experimentation! 

My grandmother Mary grew and used herbs. My mama had a Rose bead necklace grandma Mary made 20 or 30 years before I was born! Sadly, I never knew my grandmothers Mary Irel and Minnie Vestella, so was fascinated by anything I could learn about them.
My first attempt to make rose beads, using a recipe from 'American Girl Magazine,' looked rather like raisins, as the instructions included simmering, but not mashing! 

Next go - round, I simmered my petals as instructed, "an hour a day for three days," then ran the mash thru the foley mill. Several years later, I began whirring my mash in a blender, with much better results. The outer necklace is one I made by that method 50 years ago, while in my teens. I used little brass beads and stung them on nylon line from the fishing supply (my dad was a fly fisherman), as we didn't have a bead shops. 

*****

In an herb class in the late 80s, our teacher Glen Nagle suggested storing dried herbs whole, then whizzing a small batch of "crispy dry" herbs in an electric seed/coffee mill when ready to use. 

Ah- ha! I could do that with the rose petals, as I generally used a combo of fresh & dried petals for my beads. Viola! The inner necklace, strung with rose quartz, is about 30 years old, the first made with the dried petal method.

Making Rose Beads

Drying: Remove the extras: stamens, hips and greenery, dry and store the petals (powdered or whole) in Jars or tea tins. Add "potpourri herbs to help preserve the fragrance: small amounts of cinnamon, pumpkin pie spice, cloves, ground nutmeg, cardamom... Other good additions are some lavender flowers and a few rose geranium leaves. If you have roses saved from a special bouquet, you may wish to add some of these petals to your beads.

Powder: Make sure your petals are crispy dry when you whizz them in an electric coffee/herb/seed grinder in small batches. You can grind a bit of lavender and rose geranium leaves along with your petals or not, as you please. Pick out any lumps, you can use a wire mesh to sift, and regrind the coarser bits. I usually prepare a cup or so of rose powder, and store in tea tins.

Tisane: Steep Rose petals, lavender, & rose geranium leaves with favorite spices (cinnamon, cardamom & nutmeg, or perhaps Garam masala) in hot water 10 minutes when you're ready to make beads. You want it to smell rosy, so don't overdo with the spices. Rose geranium leaves aide having a lovely rose fragrance! 

Cooking: A small electric potpourri crock pot (thrift store!!) is ideal for the heating & mash making process. Mix some of your rose tea with 1/4-1/2 cup of your powdered those petals, stir, turn on the pot, and let it simmer an hour or so, stirring occasionally, adding more tea as needed.

Jude the Obscure

My original recipe called for "simmering the petals an hour each day for 3 days." Now, I may just do one round, but it is easy to have it simmering daily for awhile when you're painting! 
Add more tisane (herbal tea) as needed, you don't want it soupy wet. If it gets dry, scrape the sides and add a bit more tisane. If it's too wet, add more rose petal powder.

Pour some tisane for yourself as well - ahh 

You can put the mash in the fridge for a few days, or freeze it if you can't make the whole batch into beads!

Beads: The word bead comes from the Anglo Saxon word bede, prayer, to "bid spirit to enter." Rosary comes from the Latin rosarium, Rose garden or rose bed. 
In 1990, I was at an Earth Day gathering, wearing my "new style" necklace, and a Native American man was speaking about praying with the flute, the hollow allowing breath, allowing spirit and sacred sound to flow. And the space in beads.
I (after arguing with my guides!) spoke into a lull in his words, adding the meaning of bead, "to bid spirit to enter." After, he asked where that word came from. "Anglo Saxon, like most of our words." He nodded, and invited me to pass the necklace around the circle.

This is like playing with clay! Take a small amount of your mash out of the pot. (You can leave the pot on, adding a bit more tea.) You want your mash a 'playdough' consistency. Roll the beads in the palm of your hand, about twice as big as you want - they'll shrink! Add some dry powder if you need to. 
Yes, it's messy! But oh, so sweetly fragrant! Have a bit of the tisane in a small bowl to dip your fingers, or use rosewater, as they do "in the East." Scrape residue off your hands and drop it back in the pot.

I make several size beads, as I like to string in patterns of 3s & 5s.
Set the beads on small dishes to dry for a day or so, till slightly firm, before piercing with a large needle. (if one breaks, just drop it back into the 'mash.')

Pierce with a large "carpet needle," and string on waxed carpet thread, hemp cord, or fishline, about a dozen beads on a string, & hang from pushpins along the edge of a shelf or above a door. You don't want them close to heat! (They'll dry too fast and fall apart!) Turn then on the string every few days till they have shrunk and dried. You can leave them on their strings till you're ready to string them. 

The original instructions suggest using all white and yellow rose petals for paler beads, like the outer necklace from a friend pictured bellow, strung with pearls and glass beads. Mine usually end up dark.
 If you want to insure they are dark, you can add a rusty nail while they simmer.  I store the strings of beads & finished necklaces in tins & jars with rose potpourri, a few whole roses & sprigs of lavender. If you wish, you can rub them with a silk scarf to polish the beads.

Stringing: from The Rose: bead numbers in different traditions: 

• India: Buddhists use a rosary of 99 beads
• China and Japan, 108
• Mohammedan: 108
• Greek: 100
• Russian Orthodox: 103
• Catholic: 165 (15 sets of 10 "hail Mary," 15 large: Pater Noster)

String as you would other beads, in a way that is pleasing to you. Tiger tail is great for stringing actual necklaces with clasp closure, and natural stones, pearls, glass beads can be added in patterns.
You could also make a prayer bracelet, stringing fewer beads.

When teaching a rosebead class, I buy small tins at the thrift stores, & make a bag or sprinkle potpourri in the bottom, to gift the students. The beads smell more fragrant when worn, as your body heat warms them. Just keep them dry, & they'll last a long, long time.
I've written earlier on making Rose Beads here.

Red Thread Circles

Tonight's my monthly Red Thread Circle, and we're doing Medicine Baskets.

This is a

Medicine Baskets

short, two hour group, where we'll share a RT circle, brief journey, and creative time. I've invited participants to being bring Art Journal and any favorite supplies. 
It's by donation, and a good introduction to IC. I pay $25 for the room, so always hope several come (some months, I just pay half of what I received!) I've been holding a monthly circle for over 2 1/2 years, and attendance varies, but it's always appreciated!

I held my first Red Thread Circle early in my CoW journey, as part of a Reiki I class. One of my 2 students was Lora Pirtle, a recent CoW graduate, so it was a gentle beginning! That was in the spring of 2015, and this evening, it's time to circle up again. 

I chose those Story Cards and Medicine Basket as my RT Event during my quest, and learned a lot! I had "artists" in each class, who wanted to do their own thing, and needed to learn how to field that! Shiloh gave me the helpful tip of inviting them to, "try it this way this time," ... And saying, "If you do it another way, or choose different materials I may not be able to help you, it would really help the other students if you try it this way this time." And they may need to go their own way, as long as it's not disruptive, we may need to just let it go!

What could go wrong with those simple projects? 
With story cards, the "artist" wanted to bring her own materials, and not pay for instruction, as she already knew how to do it (! ... It was the one event she attended) She did chip in for the room, and mostly went her merry way ... she didn't really address old stories, but enjoyed the cards she made. I needed to reign her in when she challenged an "old story" another beloved was processing, as not being a bad trait ... I explained again that our process was supporting the other student in discovering an antidote!

Reiki 2 Journal Cover

For my second Event, I offered Red Thread Reiki 2, and we created Reiki journals, with Medicine Baskets on the cover! 
In Reiki 2, we learn three symbols, and I've had my students grind the ink and paint the symbols using Sumi-e. 

For the journal covers, we tore the rice paper practice sheets into strips, and glued them to our background papers, then painted medicine baskets on the covers, and did more collage with our medicine gifts. 

Challenge: 

• If you've made a Medicine Basket, what gifts do you claim? Are there still appropriate? Share a photo and a little about your gifts in our Facebook group.
• Haven't done it yet? The instructions are in the CoW kajabi site, you're invited to tap the group energy and pull out your paints! 
• Have you written about your Medicine Basket (or House of the Heart, if you choose that) for your initiate book? This is a good time to document it.
• Did you offer Medicine Basket as one of your Red Thread Events? It's a great one to do, and well received! I love the variety it affords, grad Lorraine Tilburg works with horses, and offers it as "saddle bags!" With kids, you can do backpacks. 
• It can also be done on canvas, in a short "Paint Party style event. I did that art a friend's home around Easter.
• Is it time to look into getting a class on the schedule? 

So, what happened at that second Event? 
One of the "artist" students (not our CoW SiStar!) wanted to use the oil pastels on her cover, rather than paint (I brought the pastels for our grounding page!) ... 
Then, she was disappointed I didn't have a hair dryer along to set them! ... In both classes, the other students kept on with their own projects, and didn't seem distracted, which helped. After that student got home, she was able to use her familiar materials,  deconstructed the cover, and was  ultimately happy with the journal. 

I began holding regular 2 hour Red Thread Circles in the back door studio later that year, and have offed Medicine Basket in that format several times. I often use a pad of watercolor paper, and watercolor paints (rather than acrylics) for these circles. When my friend Sepha was going through the training, I did a larger one on half a sheet of watercolor paper. I enjoy it each time I lead it, with new insights about my gifts.

What have been some of your circle experiences? 
I'd love to hear about them, here or in the FB group. 

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