Rian Shadowhorse

Personal Note: A Little Time Away

2011-02-02T00:07:00.000-08:00

I've not been able to post any updates in recent weeks due to my grandmother's failing health and eventual death, which occurred just a few weeks ago in January. There have been a number of things to take care of in the aftermath, and I am still very much grieving the loss of such a wonderful lady.

I will update my blog again, after this bereavement time, when I have had the chance to heal a little bit. In the meantime, here is a poem I composed on the night after my grandmother's funeral. It's entitled “Wolf Moon,” after the January full moon.

Many thanks go out to friends and family who have given their condolences, thoughts, prayers, and comforting words. It means a great deal to me, and I appreciate every bit of your kindness.

Me ke aloha,
-Rian S.

To view the poem “Wolf Moon,” please click on the Read More link below.

Sketchbook: “Pablo, 11 Months Old”

2010-12-20T23:52:00.000-08:00

“Pablo, 11 Months Old,” ink and
coloured pencil on paper; approx. 3" x 5"

Detail: “Pablo, 11 Months Old”

Note: this sketch was done prior to my brain injury.

Muse of Winter: Layers

2010-12-18T16:14:00.000-08:00

I'm blogging from my phone, so things are looking visually sparse here.

In observing people today, I became quite enamoured by all the different layers of clothing we wear during winter. Also fascinating are the multi-layered gingerbread houses on display, as well as all the decorated Christmas trees everywhere I turn.

These layers are often reflective of what we carry inside: the layered relationships we have with others, with ourselves. It got me to thinking about all the layers I wear just to please those around me. It's almost silly how I do that to myself.

That will definitely make it to my to-do list of things to work on this New Year.

Poetry: "Nine Positions"

2010-12-17T14:23:00.000-08:00

I was travelling all day yesterday, so here is a belated Poem Day poem:

"Nine Positions"
winter rain dulls
my gasping breath
steam rises from
my collar bone
it's cold outside

Me, in 140 Characters

2010-12-15T07:49:00.000-08:00

I was on Twitter a while back, but it got too crazy. It was like a big party in which everyone was talking, and no one was really listening to each other. So I stopped; I stuck with Facebook; and now I'm on Twitter again with a fresh, new profile that's free of clutter. So if you feel like tweeting with me, then cool. And if not, then you can always check out my brain-blurbs in my sidebar gadget on this site.

Sketchbook: “Pho”

2010-12-13T00:00:00.000-08:00

“Pho,” ink and coloured
pencil on paper, approx. 3" x 5"

Note: this sketch was done prior to my brain injury.

Muse of Baking: Kitchen Duty

2010-12-11T19:52:00.000-08:00

Photo from simplyrecipes.com

Being in the kitchen is a chore for me. I don't like the idea of having to prepare food, as opposed to wanting to prepare food. To combat this distaste for the chore, I normally phase out of my brain, and then my body somehow runs on autopilot until the task is complete and I'm free to return to consciousness. It's a good process.

Today I did something different, and instead of needing to prepare a meal, I decided I wanted to prepare something extravagant: gingersnap cookies. I followed the recipe from simplyrecipes.com, and everything turned out delicious. If you like gingersnaps, I highly suggest you wake up your Muse of Baking and make some. Your taste buds will thank you.

Book Project: “Zomburbs - Zombies in the Suburbs”

2010-12-10T00:00:00.001-08:00

“Zomburbs,” front of page

“Zomburbs,” back of page

A friend and fellow designer, Patti Bachelder, recently asked me if I'd like to participate in a wonderful project - a limited edition collaborative book project called the Howizine, created by participants of the HOW design forum. She's been organising these themed zines for quite some time (current zine is #16), and our mutual friend Karma Savage - whom I've mentioned on this site before - has been a regular participant as well, even designing the covers for the myths and legends-themed book.

I've never participated, and the zombie theme sounded like a great way to add some fun creative play into my current workload.

“Zomburbs,” bonus identity badge

There's been lots of zombie inspiration lately - Crossed comic book series and Walking Dead on AMC, to name two - so it's easy to get into the undead mindset. The direction I chose was a lighthearted comic strip approach on the front of my page, and a sign-in form to join a zombie club for the back. As a bonus, I also designed and included the actual ID badge one would receive from the fictitious sign-in form. The title of the comic strop is Zomburbs: Zombies in the Suburbs. This particular zine is limited to only twenty-five handmade editions; I'm glad to be a part of it.

Poetry: “Fragrant” - FREE Broadsheet!

2010-12-09T00:00:00.000-08:00

View and download your FREE broadsheet for “Fragrant” (from my upcoming chapbook, His Spirit is Las Vegas), below - as a thank you for visiting my blog. Live bravely, and give back often!

Me ke aloha,

-Rian

If you're unable to see the image below, please click here.

Sketchbook: “Swordfish”

2010-12-06T00:00:00.000-08:00

“Swordfish,” ink and coloured
pencil on paper, approx. 3" x 5"

Note: this sketch was done prior to my brain injury.

Muse of Palettes: Your Personal Colour Palette

2010-12-04T16:12:00.000-08:00

Look up at the sky at dusk. Name all the colours you can discern from twilight until just after the sun sets. Here in Orange County the sky gets dusty, toned-back shades of lilac, lavender, cadet blue, rose, and then light ochre, peach, goldenrod, and mango toward the setting sun. Observe how these colours affect the tints, shades, and highlights of the objects around you: plants; buildings; vehicles and machinery; animals and people.

Notice the mood that is created by the colour palette where you are. Your environment is a large part of your personal creative influence; it's the Universe's imprint on your soul. Learn from that mood; allow it to infuse your visual or written work, and see what comes of it.

Poetry: “Points for Honesty” - FREE Broadsheet!

2010-12-02T11:05:00.000-08:00

View and download your FREE broadsheet for “Points for Honesty” (from my upcoming chapbook, His Spirit is Las Vegas), below - as a thank you for visiting my blog. Live bravely, and give back often!
Me ke aloha,
-Rian

If you're unable to see the image below, please click here.

Sketchbook: “Sushi”

2010-11-29T20:44:00.000-08:00

“Sushi,” ink and coloured
pencil on paper, approx. 3" x 5"

I drew this late one night by booklight. I have a habit of staying up even after I've gone to bed; it's the need to get an image or words out of my brain and onto the page.

Detail: “Sushi”

Note: this sketch was done prior to my brain injury.

Muse of Subtitles: Foreign Films

2010-11-27T18:49:00.000-08:00

One of my favourite ways to nurture the inner muse is by watching foreign films, especially films from countries that are not heavily promoted in America (at least, not yet). Today, I enjoyed a Swedish film called The Girl Who Played with Fire, based on the Millennium Trilogy by the late Steig Larsson (this film is the second in his trilogy, preceded by The Girl with the Dragon Tattoo, and followed by The Girl Who Kicked the Hornet's Nest, all starring Noomi Rapace as the lead character, Lisbeth Salander).

Sketchbook: “Chair”

2010-11-22T00:00:00.000-08:00

“Chair,” ink and watercolour on paper, approx. 5.5" x 5.5"

Detail: “Chair”

In my travelling sketchbook, I sketch with a non-erasable pen – no pencils beforehand – because I like the idea of mistakes and of working the mistakes into the end result. It captures honesty; there's no way to hide from a stray line or an ink blot; and there is every opportunity to make peace with serendipity.

On this particular evening, I was waiting for a writer friend at a café in Old Towne Orange. I had just enough time to sketch out a chair before a woman rested her laptop case on it.

Detail: “Chair”

Muse of Visual Merchandising: Holiday Decorations

2010-11-20T00:00:00.000-08:00

Image from homemakers.com

Take a trip to your local mall, shopping centre, or nearest department store, and take in the sights and lights of their holiday decorations. Have a beverage, sit down, and get comfortable. Note the combinations of colours and textures; look for non-traditional approaches to holiday décor; and take particular care in observing the lines, shapes, and negative spaces of the various arrangements. Bring a sketchbook if you like, and take an hour or so to take visual sketch-notes - and remember to do this by yourself.

Writing Prompt: Colours of Autumn

2010-11-19T00:00:00.000-08:00

Without naming actual colour names, describe the colours of autumn. You can approach this literally (e.g. trees and leaves in a forest), or you can approach it metaphorically (e.g. the autumn of someone's life). Think of different ways of describing colour, perhaps through similes, metaphors, or allusions. Write for one page, front-and-back. Go!

Poetry: “Skin Circus” - FREE Broadsheet!

2010-11-18T00:19:00.000-08:00

View and download your FREE broadsheet for “Skin Circus” (from my upcoming chapbook, His Spirit is Las Vegas), below - as a thank you for visiting my blog. Live bravely, and give back often!
Me ke aloha,
-Rian

If you're unable to see the image below, please click here.

Sketchbook: “Brown Bed”

2010-11-15T00:00:00.000-08:00

“Brown Bed,” ink and coloured
pencil on paper, approx. 3" x 5"

Note: this sketch was done prior to my brain injury.

Muse of Taste: Work Your Tongue

2010-11-13T00:00:00.000-08:00

Image from justinsomnia.com

Take some time out to do a tasting - of wine, chocolate, olive oil, or anything else you have a passion for. Wake up your taste buds, and become more attuned to your personal flavour palette. While this activity is fun to do with friends, try it yourself first. It's good practise for self-awareness and personal meditative-like quiet time.

Image from tcho.com

Writing Prompt: Thanksgiving

2010-11-12T00:00:00.000-08:00

Focusing only on your sense of smell, describe a Thanksgiving dinner memory. If you don't celebrate Thanksgiving, describe another feast or celebration, again focusing only on your sense of smell. Write for ten minutes without stopping to edit yourself. Go!

Poetry: “Showgirl” - FREE Broadsheet!

2010-11-11T00:00:00.000-08:00

View and download your FREE broadsheet for “Showgirl” (from my upcoming chapbook, His Spirit is Las Vegas), below - as a thank you for visiting my blog. Live bravely, and give back often!

Me ke aloha,
-Rian

If you're unable to see the image below, please click here.

Creativity Tip: Work in Small Bursts

2010-11-10T21:36:00.000-08:00

If you feel your enthusiasm or energy for a project begin to wane, change your approach to the task at hand. Set a timer for five, ten, or twenty minutes, and then work non-stop for the full length of that time. When the time is up, stop everything and step away from your work. Take a break of two to three minutes, and then reset your timer for another burst of five, ten, or twenty minutes. By working non-stop in small bursts, you'll train your mind to set aside all distractions and keep pushing forward. Sometimes it's fun to rush yourself, because you can always go back later to edit, revise, and polish.

Sketchbook: “Superman”

2010-11-08T00:00:00.000-08:00

“Superman,” ink and coloured
pencil on paper, approx. 3" x 5"

Note: this sketch was done prior to my brain injury.

Muse of Made Up Dialogue: Feeding Birds

2010-11-06T00:00:00.000-07:00

From greenwichmeantime.com

This is one heck of a Muse Day outing: I'm writing from Delaware!

Here's a Muse Day idea for you: take a stroll to your nearest park, or any other place that has birds, for an hour or two. Bring some stuff that birds can eat, and feed them while you sit and watch. As you observe them, make up conversations that the birds would have with one another; learn about their personalities through what they say, how they say it, and even what they don't say to one another. This is great practise for developing dialogue, tension, timing, and humour - all lessons which can later be applied to your creative work.

Creative Exercise: Naughty Paper Dolls

2010-11-05T05:00:00.000-07:00

Image from
andyswist.com

This is a naughty — and completely immature — version of paper dolls. Draw some nude, or nearly nude, characters in various poses. Then draw some fetish items, costumes, and adult accessories for them, too, if you'd like; be sure to include folding tabs to help them hook onto your characters.

If you're feeling enthusiastic and proud of your work, paint or illustrate a background or setting (or make up several scenes!) for your characters to romp. Name your "adult actors," pose them, and create stories around them. Use them as inspiration for short fiction, poetry, or even a screenplay for your own adult film.

Check out these fantastic examples of HBO's True Blood characters from illustrator/graphic designer Andy Swist.

Image from

andyswist.com

And if you feel so inclined, send in pictures of your finished products; I'd love to see them!

Image from

andyswist.com

Poetry: “Where is His Underwear?” - FREE Broadsheet!

2010-11-04T00:00:00.000-07:00

View and download your FREE broadsheet for “Where is His Underwear?” (from my upcoming chapbook, His Spirit is Las Vegas), below - as a thank you for visiting my blog. Live bravely, and give back often!
Me ke aloha,
-Rian

If you're unable to see the image below, please click here.

Writing Prompt: Denied

2010-11-02T01:33:00.000-07:00

Write a poem or story about a time when you wanted something so badly but couldn't have it.

Sketchbook Project 2011: Topic - “Secret Codes: Food”

2010-11-02T01:22:00.000-07:00

The title of my sketchbook in progress is Secret Codes: Food. It's a gluttonous romp through myriad facets of the food industry, fockolate (my term for fake chocolate), ingredients and nutrition labels, obesity and eating disorders, and the disgusting pleasures of eating packaged meat. It's sure to gross out at least a few readers while simultaneously teaching that there's nothing wrong with eating terribly, as long as you're aware of the horrible things you're putting into your body. Look out for images in the coming weeks!

Sketchbook: “This Man Stinks”

2010-11-01T00:00:00.000-07:00

“This Man Stinks,” ink and coloured
pencil on paper, approx. 3" x 5"

Note: this sketch was done prior to my brain injury.

Muse of Travelling Artists: Stocking an Artist's Knapsack

2010-10-30T15:04:00.000-07:00

Military Map Case
Shoulder Bag,
12" x 8.5" x 4.5"

Yes, I carry a murse! No, it's not a blow to my masculinity. I'm a friggin' artist; it's my survival gear.

Click on the post title to find out what I stuff in my sack.

For creativity on-the-go, I've got a selection of five or six different knapsacks/backpacks in various sizes that I use. The two I use most often are a cheap, generic high school knapsack purchased at the local Wal-Mart, and a military map case shoulder bag. For practical purposes, I empty them out before storing them each day, which prevents works-in-progress from being forgotten and ending up as dead weight in the knapsacks.

Although I switch out the items I bring on any given day, here is a list of the standard materials I would normally pack and carry on Muse days, as well as for random art excursions:

• Strathmore spiral sketch pad (12" x 5.5")

• Strathmore Bristol board (6" x 6" size or standard ATC 2.5" x 3.5" size)

• hand•book trav•e•logue sketchbook (5.5." x 5.5")

• Moleskine sketchbook and Moleskine notebook (both 3" x 5")

• 4" x 6" index cards, for notes, et cetera

• Clear plastic envelope with zip-type closure

• Approximately 30 Prismacolor pencils (colour pencils or watercolour pencils)

• A dozen sketch pencils, ranging from 4H to 8B

• Uniball Vision Micro pens, black (waterproof, fade-proof ink)

• Brass pencil sharpener

• Kneaded eraser

Creative Exercise: Naughty Dough Bits

2010-10-29T18:00:00.000-07:00

Image from diyalert.com

Yes, you read that correctly, and it is precisely what it sounds like. Mix up a batch of salt dough (recipe follows), and sculpt some naughty bits. Let your inhibitions go as you create the breasts of your dreams. Get expressive with penises and testicles. Get detailed and introspective with delicate vaginas and labias.

There are too many censors that cover up the nude figure in television, films, books, and magazines. Hiding genitalia, especially in the context of art, implies shame. This is a terrible message to perpetuate, and so be bold with your dough bits; allow yourself to feel silly, shocked, and pleased by what you create. There is nothing shameful about the nude human figure.

Bake them or allow them to air dry to preserve them; you can even paint and varnish your bits when they're completely dry. And when you're finished, be sure to send in pictures of your naughty bits; I'd love to see them!

Salt Dough Recipe:
Dissolve 1 cup of salt in 1/2 cup of warm water. Add 1 cup of flour, and mix until a good, doughy consistency forms. If your dough is too wet, add more flour; if it's too dry, add more water, a little bit at a time. To bake, set your oven to 150 or 200 degrees (or the lowest setting your oven has) and allow to bake until your creations are dry (depending on the thickness, it can be anywhere from 10 minutes to several hours). Usually, dough sculptures will turn white when dry and will be hard to the touch; don't let them turn brown or burn; you may need to babysit the oven. If air drying, allow to sit undisturbed for at least 24-48 hours — again, drying time is dependent upon the thickness of the sculptures, as well as current humidity.

Poetry: “I Used to Be Him” - FREE Broadsheet!

2010-10-28T00:00:00.000-07:00

View and download your FREE broadsheet for “I Used to Be Him” (from my upcoming chapbook, His Spirit is Las Vegas), below - as a thank you for visiting my blog. Live bravely, and give back often!

Me ke aloha,
-Rian

If you're unable to see the image below, please click here.

Creativity Tip: Spread Your Cheeks, and Push Your Pucker

2010-10-26T00:00:00.000-07:00

I've helped a lot of artists, writers, and musicians get over their creative blocks in the past fifteen years, and many of those people just needed some simple tweaking to the way they use their bodies. Sitting for long periods of time is one of the worst things you can do to your back, so if your job or projects require you to be seated for most of the day, be sure to stand up and stretch frequently to get blood and oxygen circulating through all your body's bits. Also, keep in mind that the proper way to sit is to straighten your posture, spread your butt cheeks, and sit on your anus. Most people sit on their tensed gluteal muscles, which encourages poor posture and can actually cause back problems after prolonged sitting. Being creative on demand is not always easy, and optimising your body's comfort and efficiency is often the quickest way to help open up your creative mind.

ATC Series: “Wool”

2010-10-25T06:00:00.000-07:00

“Wool,” Dream/Nightmare Series

“Wool 1”

I had been working on a series of artist trading cards (ATCs) to trade with the good people of the Doodle Swap Group, and this season's theme was dreams/nightmares.

Several months ago, I was disturbed to learn that the process of obtaining wool for yarn is horrific. Sheep owners and sheep shearers do monstrous things to their sheep, and it's all because of profit and cost-savings. I've been so bothered by what I learned that I decided to release it from my head through the ATC medium.

“Wool 7”

Even though my ATC group included only nine people (I was the ninth), I still created ten cards, so that I'd be able to easily remember how many I needed to do.

In addition to the ten cards of every ATC series I create, I also illustrate a #0 card, which is added to my private collection. So there are actually eleven cards in each of my ATC series. Note: the #0 card is not pictured.

To view the cards and read the artist statement, please check out the illustration gallery of this site.

Sketchbook: “Marshmallow Landscape”

2010-10-25T00:00:00.000-07:00

“Marshmallow Landscape,” ink and
coloured pencil on paper; approx. 6" x 5"

Detail: “Marshmallow Landscape”

One day, I felt the need to create a landscape of marshmallows.

Detail: “Marshmallow Landscape”

Marshmallows are symbolic of numerous things: comfort; security; children; playfulness; and laughter, among many other lighthearted whimsies. They are also symbols of obesity, poor nutrition, bad health, food fights, horrible ambrosia concoctions, and the total corruption of perfectly healthy sweet potatoes or yams. They are truly wolves in sheep's clothing. Pictured here are marshmallows in all their sinister cuteness.

Note: this sketch was done prior to my brain injury.

Muse of Buds and Blooms: Succulents

2010-10-23T00:00:00.000-07:00

Giant Zulu plant (a.k.a. carrion plant);
cuttings from my mother-in-law

Flowers are a great source of inspiration for me; I'm in love with their swooshing and twisting contours and the way light and shadow play upon their forms. Succulent blooms and blossoms are even more inspiring, because I don't get to see them often. To me, they are some of the best sketching, drawing, and painting subjects. If I can't get a model, nude or otherwise, to sit for me at any given moment, I'll take a plant or flower any day.

Writing Prompt: Food of the Gods

2010-10-22T05:00:00.000-07:00

The ancient gods (of Egypt, of Greece, or from your own imagination), have a passion for food and lovemaking. They invite you, a mere mortal, to dine with them and partake in a majestic feast while seducing you and enchanting you to submit to their whims.

Write a poem or story about what they feed you, how they seduce you, and how you react. Incorporate as many of your senses as possible.

Poetry Reading: “When My Leaves Turn Brown”

2010-10-21T10:24:00.001-07:00

Poem - 001 - Whenmyleavesturnbrown by Rian Shadowhorse
Download now or listen on posterous

poem-001-WhenMyLeavesTurnBrown.mp3 (2106 KB)

Here's an extra-special treat today for Poetry Thursdays. This poem is from my book WOLF! A Collection of Dirty Little Words (2008).

Me ke aloha,

-Rian

Poetry: “Nevada Twilight” - FREE Broadsheet!

2010-10-21T00:00:00.000-07:00

View and download your FREE broadsheet for “Nevada Twilight” (from my upcoming chapbook, His Spirit is Las Vegas), below - as a thank you for visiting my blog. Live bravely, and give back often!

Me ke aloha,
-Rian

If you're unable to see the image below, please click here.

Creativity Tip: Get Out of the House/Office/Studio

2010-10-19T05:00:00.000-07:00

Going for a walk is one of the best go-to ways to allow your subconscious mind to simmer. If you've been staring at a work-in-progress for too long, then it's possible that getting lots of fresh air will reinvigourate your current project. Tip: when going for a walk, silence your mobile; leave behind your music player; and allow your senses to fully absorb your surroundings.

Sketchbook: “Sadness Is”

2010-10-18T00:00:00.000-07:00

“Sadness Is.” ink and coloured pencil
on paper, approx. 6" x 5"

Detail: “Sadness Is”

This actually happened to me. I was devastated.

Detail: “Sadness Is”

Note: this sketch was done prior to my brain injury.

Muse of Cafés: Ambience

2010-10-16T00:00:00.000-07:00

At Frankie's Italian restaurant, Dover Downs Casino;
Dover, Delaware, October 2010

It was in Bordeaux, France, that I first learned to fully appreciate a café environment. I was a fifteen-year-old juvenile delinquent at the time, exploding with enthusiasm at a big, wide world away from family.

Going to the various cafés of vieux Bordeaux was a daily treat, and when I moved back to the States to attend university, it was beautiful to discover that Atlanta, Georgia, had its own offerings of café settings.

Tiny chairs, minuscule tables, and lots of foot traffic of passers-by are some of my most favourite ingredients for a creative block of time. Because of this, a lot of my sketchbook practise and doodling include illustrations of breads, pastries, coffees, teas, chairs, place-settings, and other café patrons. I've also written countless poems, essays, and fiction at the various cafés I've frequented over the years.

Poetry: “Hot Girls Want to Meet You” - FREE Broadsheet!

2010-10-14T00:00:00.000-07:00

View and download your FREE broadsheet for “Hot Girls Want to Meet You” (from my upcoming chapbook His Spirit is Las Vegas), below - as a thank you for visiting my blog. Live bravely, and give back often!

Me ke aloha,
-Rian

If you're unable to see the image below, please click here.

Sketchbook: “Tina (Glitter Girl)”

2010-10-11T00:00:00.000-07:00

“Tina (Glitter Girl),” ink, watercolour, and
coloured pencil on paper, 11" x 5.5"

Detail: “Tina (Glitter Girl)”

The human figure has always been my preferred subject, and I love working in the traditional, or academic, style: in a studio with a live model, dirtying my hands with compressed charcoal, breathing in the scents of an old wooden drawing horse, a fresh pad of paper, and the charcoal-dusted rag at my shoulder.

The world seems simpler and quieter when all I have to focus on is the light: how it falls and reflects off the model's skin; how the shadows dance over the musculature and hair.

Detail: “Tina (Glitter Girl)”

That scenario is a luxury in my current life, unfortunately. Nowadays, I have to find my models where I will, and the model for this piece is a woman who works at a local post office.

Rendering her figure in an academic style could not possibly express her surreal charms: the hair would never look as wild and rebellious; her bony figure never as knobby. She is a beautiful woman; she reminds me of a rained-on cat, and her heavily-accented howling for the next number in queue stretches upward in tones that can pierce one's mind clean open when heard first thing on a Monday morning. She has more vitality than an espresso doppio.

Detail: “Tina (Glitter Girl)”

On this particular day when I sketched her essence, she was particularly proud of her glittery pink nail polish that had already begun to peel at the tips and edges. Still, to witness her hard face smile, as she thought about her son's wedding for which she had painted her nails herself, was a marvelous thing. For a fleeting moment, I caught a glimpse of the little girl she once was.

I had to depict her loveliness before my damaged temporal lobes would have it melt away into blackness.

What Is Muse Day?

2010-10-09T17:35:00.000-07:00

In Julia Cameron's book The Artist's Way, two of the key disciplines she practises and preaches are morning pages and artist dates.

If you're not familiar with this book, morning pages are basically three handwritten pages that you write, nonstop, every morning as soon as you wake up; the point of which is: in the practise of writing nonstop, you will be training your mind and body to get used to the act of writing on a schedule; it's not meant for you to compose lengthy, flowery prose; it's a brain-dump, if you will, of whatever comes to mind just so you can get through your three pages of writing.

Artist dates are when you take time out for yourself once a week and do something to nourish your creative mind and spirit - by yourself. The point of nurturing your creativity by yourself is so that you learn to focus, let your guard down, and allow yourself to fully experience whatever it is you're doing (drawing, making music, strolling through a museum, etc.).

I've been doing artist dates since my childhood, long before even reading Cameron's book; I just never called them artist dates. For me, it is about reconnecting with the part of me who is Muse. We can't always look outside ourselves for inspiration when we feel blocked; it's not always practical nor possible, so we must learn to develop inspiration within ourselves, and we do this by constantly feeding our subconscious mind with ingredients for creativity.

Just as in nutrition with food, it is the same for your brain: if you take in a lot of junk, then you'll produce a lot of junk. Take in good, healthy doses of art, literature, enriching music, reconnect with nature - these are the ingredients your creative mind needs to function optimally.

Whether you call it an "artist date" or a "muse day" or just "hanging out by yourself," it's important to feel comfortable with yourself and your thoughts. Try it for a month and see if it makes a difference.

Poetry: “American Autumn” - FREE Broadsheet!

2010-10-07T06:00:00.000-07:00

View and download your FREE broadsheet for "American Autumn," below - as a thank you for visiting my blog. Live bravely, and give back often!

Me ke aloha,
-Rian

If you're unable to see the image below, please click here.

Creativity Tip: Choose Your Foods & Beverages Wisely

2010-10-06T15:10:00.000-07:00

If you find that you're a frequent victim of creativity blocks, then examine first all the foods, beverages, and chemicals you choose to take into your body. Your job as an artist, writer, musician, etc., is to remain as clean and pure as a conduit for creative energy as possible; an unclean, or rusted, wire will not be as good a conductor for electricity as a clean one; the same goes for a human body. This means that, for the sake of your art, you must treat your entire body with the reverence it deserves.

Here's what you can do:

• Decrease or eliminate your caffeine intake…permanently: or, at the very least, do your research and learn about how caffeine affects the body, so that you can then make an informed decision as to what's best for you, your body, and your creative process.

• Eat better: more dark green, leafy vegetables; lots of fruit and fibre; all the stuff you learned about good nutrition will apply here. Junk food will junk up your internal system and make you age faster, wrinkles and aches and pains and everything that goes with it. Healthier foods will clean up your system and make you a more efficient live wire of creative energy.

• Don't smoke or take drugs recreationally or drink excessively, etc., etc. These chemicals negatively alter the way your body works, which means that you become a less effective conduit for creativity. Yes, there have been some great artists, writers, and musicians who thrived on chemical intoxication; many of them are also dead because of it.

• Sleep fully and deeply for at least seven to eight hours every night. Pay attention to how much sleep your body actually needs; some people are hard-wired to run most efficiently on only five or six hours of sleep, while others need nine or more hours altogether. Basically, if you wake in the morning feeling refreshed and revitalised, as opposed to sluggish and tired, then you're good to go; you or your doctor would know best how to get to the point where you're feeling refreshed every morning.

• Control your temper and frustration. For lots of people, this can be the most challenging thing to control – especially during a spell of creativity blockage – and it's also one of the most essential things to practise regularly. Some creatives are exceptionally passionate: they're either in "creation mode" or "destruction mode," and that can often lead to physical, mental, emotional, and relationship problems. So when you feel like you're getting close to the point of erupting like a volcano, find a way to channel your energy in a different way, or learn how to dissolve that anger and frustration and get back in touch with your tranquility.

Remember: Inspiration and creativity will always go where there is love and laughter.

Short Essay: “Greying Muses”

2010-10-05T20:50:00.001-07:00

I have come to the realisation that I inexplicably equate writing - and the act of writing - with middle-age women who have bad posture, greying hair, and wear capri pants. And sandals.

For me, these kinds of women have always felt like they carry an earthy, salty wisdom; they are the kind who are unafraid to face emotions - theirs or anyone else's - who have a strength that many would not even fathom nor imagine. They are the ones who love Joni Mitchell and sandalwood incense, Fourth of July and simple food - fruits and vegetables, of course - and who believe in love, even though they have suffered great heartaches and disappointment more than once. For me, these women find their escape and release in the written word, in the very act of putting pen to paper and letting loose their avalanche of thoughts and ideas that were, at one time in their lives, suppressed by those who told them how to be good little girls, those who were afraid to have them grow into brave and strong women.

These greying-haired ladies are muses to me. They smell like cinnamon and know how to laugh and who appreciate soup in a bread bowl. They love all kinds of music - even the wind in the trees is music to them, because they know that fairies (or faeries) appreciate that kind of music, too. They hope and dance and love everything around them, bravely, and they sometimes forget what they look like, as do I. They wear what's comfortable and sometimes symbolic, and so do I. I feel like a kindred spirit with them. And when I am around these women, they forget that I am a younger man, a polar opposite to their paradigm; because, to them, we are the same; one cloth and different threads. They are kind and have a deep connection with the Universe.

And they write. My goodness, these women can - and do - write. Unapologetically, they scribble out poems, songs, whisperings; they scratch journal entries into the air and into the sand; they bang out heartfelt messages onto keyboards with their fingertips.

These women are muses, are conduits of the Universal creative wellspring. They write boldly. They are unafraid of words, and they teach me, too, to be unafraid. They extend a hand to me, and I take it willingly. They are some of the most beautiful women I will ever know and meet. In one body they carry the spirits of Mother, Daughter, Sister, and Creator; they are imprinted with the essences of past and present lovers, and they are at peace. I will dedicate poems, stories, and books to women like these because they are the ones who continue to inspire, who take in and help others at various times in their lives, merely because that is their nature, and they do it without fear nor judgement. Only love. They live as adventurers, explorers, and conquerors, and they leave behind more than just words on paper and pictures in the sand. The greying muses are eternal.

Creativity Tip: Breathe Deeply, Often

2010-10-04T23:22:00.000-07:00

Breathe full, deep breaths throughout the day, especially when brainstorming. Too often, people forget to breathe deeply, which doesn't allow for optimal brain function. Shallow breathing can lead to nervousness, increased tension, and constricted thinking, which are all detrimental to the creative work process.

Sketchbook: “Mom’s Posh Yard Sale”

2010-10-04T23:14:00.000-07:00

“Mom’s Posh Yard Sale,” ink and watercolour on paper, 5.5" x 5.5"

When someone says "yard sale," I automatically think of piles of old - mostly useless, broken, and/or smelly - junk that shouldn't cost more than $3 apiece. In my mind, a yard sale is a tiny step up from straight-out donation to a local non-profit. Therefore, it should be fun, lighthearted, and a chance to purge one's home of unnecessary clutter.

The funny thing about having a posh mother whose roots go back to a small island is that her idea of a yard sale is exactly that - loads of stuff for dirt-cheap - except with a twist on the items for sale. Along with the standard $.25 junk bin, her yard sale also included a $.50 jewellery stand, several pairs of sparkly and flashy brand-name high-heel shoes, evening gowns (of a petite size, mind you, because she's always maintained her girlish figure), and piles of fashionable and internationally-acquired clothes, many of which were rarely worn - or never worn at all and still had tags dangling off them.

Detail: “Mom’s Posh Yard Sale”

It was a Saturday morning, and I was able to steal a few moments from facilitating the yard sale to ink a small portion of the day's scenery. While I took a sketch break, my aunt became the main salesperson, and she was delighted to see that I had included her coffee mug near the plant that she had been nursing to life over the past few weeks.

Detail: “Mom’s Posh Yard Sale”

As usual, I sketched using a pen loaded with waterproof ink, because I knew I would go back later with watercolours. One challenge to this was the limited colour palette of my Winsor & Newton travel watercolour kit: there is no black paint cup in the kit. It's rare that I use black watercolour anyway, and I didn't want to use solid black ink to colour in the evening gowns, so I opted to paint them first in blue, and then glaze over it with raw umber. This gave the dresses a satiny texture on the paper, which worked out well for the sketch.

Due entirely to personal preference, I have a great dislike of using a ruler or straight-edge in my work; I much prefer an animated, expressive line with all its glorious imperfections. The popular and prolific use of computer technology to produce extra-slick digital artwork - even for sketching - strengthens my affinity for the hand-drawn line. Also, I grew up in a household of maniacal, obsessive-compulsive perfectionists and over-achievers, and since I left home at age fifteen, I have continued to create and welcome opportunities to bask in my wavy, meandering line-work.

Detail: “Mom’s Posh Yard Sale”

Make no mistake: I do not dislike digital art; on the contrary, I have been working with digital media right from the very beginning of my career in the creative industry. What I love about the digital medium is that I'm still able to retain a hand-done look to my work, thanks to excellent software - in addition to the standard Adobe Illustrator and Photoshop, I also illustrate/paint with Corel Painter.

If you're a digital artist, then I encourage you to keep doing what you're doing, and then keep pushing the boundaries of what's expected of digital art. It's mavericks like you who are helping to carve out the evolutionary path of our very ancient human need to create art and visual communication.

I've always believed that the best way to stay in control is to let go of it, and then surrender to the possibilities.

Sketchbook: “Aloe: Sunset in Anaheim”

2010-09-27T17:48:00.000-07:00

“Aloe: Sunset in Anaheim,” ink and
watercolour on paper, approx. 11" x 5.5"

Detail: “Aloe: Sunset in Anaheim”

This sketch was done in a new-to-me sketchbook, Hand•Book's Travelogue 5.5" x 5.5" square format (128 buff-coloured, acid-free, heavyweight blank pages, 130 gsm (normal drawing paper is about 80 gsm). Its pages are toothy (slightly rough), and it's suitable for light usage of wet media - for sketching, I use a Uni-ball Vision Micro waterproof pen, and for colouring, I use Winsor & Newton watercolours. I typically don't like to sketch with pencil unless graphite is the final medium I am working with for a particular piece. I encourage you to sketch in ink because it helps you to become acquainted with your natural rhythm, your manner of working, and your imperfections. If it scares you at first, then you're doing it right; after a while, it will begin to feel more natural.

This style of home and its background are typical of central Orange County's flatness. The landscape is generally wide and open; surrounded on two sides by mountains, Orange County would be a valley, were it not for its remaining side being a long segment of the Pacific Ocean. Many of the "older" homes were built in the 1950s (as opposed to the even older homes back in Georgia, some of which were built in the 1800s and earlier) with only a few minor variations of architecture in each neighbourhood, or subdivision.

Detail: “Aloe: Sunset in Anaheim”

When sketching, I like to incorporate written notes to remind me of what I illustrated, the story behind it, and my impressions at the time. This habit has helped a great deal in filling in blank spots in my memory during the nearly three years of amnesia.

Strengthen your brain: For artists who do not normally include written notes in sketches, I would encourage you to give it a try for several weeks and see how you like it (or don't like it). The same advice goes for writers: I would encourage writers to include doodles, sketches, and visual cues along with written notes. The reason behind this is to maximise the use of both the left and right hemispheres of the brain, as well as to engage both the visual and auditory senses. It has been proven again and again that utilising more than one sense during brain-heavy activities increases learning, intellectual growth, and retention of information, as well as sharpening one's creative analytical skills.

Detail: “Aloe: Sunset in Anaheim”

Contrary to popular belief, most of the now-emblematic palm trees are not native to Southern California. Trees native to Orange County include several species of pine and ash, cypress, juniper, big leaf maple, and California sycamore, among others. And for many years now, city and state officials have encouraged residents to plant more succulents and other native drought-resistant plants in their yards and flower beds, as opposed to water-thirsty grasses and flowers, which can drink up large amounts of precious water resources. This sketch is an ode to central Orange County.

Detail: “Aloe: Sunset in Anaheim”

Playing with type: Typography has always played a large role in my sketching, and it only grew in importance during and after my formal training in the graphic arts during in my late teens and early twenties. Because a sketchbook is about playing, be fearless when it comes to making marks in your book. It's okay to be afraid of making mistakes, and it's certainly normal to worry about creating something ugly. We all make mistakes, and we all create something ugly every now and then, and that's okay. It's a sketchbook; that's what it's for. So be brave, and create.

Muse of Orange County: Colour Influence of Sunsets

2010-09-22T00:51:00.000-07:00

Sunset at Laguna Beach, Orange County, CA

Sunsets in Orange County are different from the rest of America; they are more smokey and toned-back. The reason for this is due to the large amounts of pollution that hover over the landscape here; through the grey-brown haze of smog, the sun's fiery reds and oranges are brought into the grey tonal range, producing magnificent accompanying lilacs, lavenders, and ochres.

Sunset at Laguna Beach, Orange County, CA

It's heartbreaking that such a terrible thing as pollution can result in such beautiful and inspiring twilights. I've lived in a lot of places, and no other sunset I've seen has this smokey quality. That's a good thing, because it means there is not as much pollution in other parts of the world (though I hear Mexico City has equally beautiful sunsets as Orange County).

The Orange County sunset colour palette has influenced my work greatly since childhood. Lots of my earliest work depicted skies of pinks gradating to blues. These days, the smouldering colours of white-gold, yellow-orange, and rose, paired with the coolness of lilac, lavender, cadet blue, and indigo feature heavily in both my fine art as well as commercial design work. It's a huge departure from my beloved Bordeaux, France, where grey is a beautiful colour because all the weather there is grey.

Do It With Me: Sketchbook Project 2011

2010-09-21T12:47:00.000-07:00

The Sketchbook Project 2011

A positive way to look at the recovery from my brain injury is to think of it as a forced sabbatical from my creative work. Since I've been thinking of it as a sabbatical, as opposed to medical treatments, I've been fortunate to experience a kind of renaissance with my visual art, and I am once again well enough to create new pieces to exhibit, display, and sell.

A dear friend, fellow artist, and colleague, Karma Savage, told me about The Sketchbook Project, sponsored by the Art House Co-op. Here are some reasons why I decided to sign up, and why I think you should, too:

• Whether your work has already been displayed across the country (or internationally), or never seen the light of day, it's a good way to participate with thousands of other creatives in promoting the visual arts.

• It's a non-juried exhibit, which means that if you turn in your sketchbook on time, it will be displayed right along with everyone else's; there are no rejections. Translation: be fearless with your creativity.

• It's a travelling exhibition. When I signed up, they were booked in six cities; as of this writing, they have expanded to nine cities. Have a look at their map here.

• Creating art is much more fulfilling and enriching than sitting around and watching her, this, or them.

• The Sketchbook Project is a fantastic way to connect with fellow creatives. So if you're even the least bit curious, then I encourage you to sign up, and let's have our work shown together. It will be my privilege.

Sketchbook Project 2011: Moleskine surgery

2010-09-21T09:40:00.001-07:00

Moleskine hardcover sketchbook

The given sketchbook is the Moleskine large cahier ("cahier" is French for "workbook" or "sketchbook" and is pronounced "kah-YAY"), softcover with a single 80-page signature of very thin paper. Because the media I'll be using are ink and coloured pencils, the thin paper is unacceptable for my usage. Upon receiving the cahier, I immediately undid the saddle-stitched spine. By pulling out the threads, I was instantly fully committed to the recreation of this sketchbook, for better or worse, before I'd had a chance to get nervous or scared about what I was doing. Then it was on to the surgical process - on my bamboo work surface because I have much islander pride.

On the left is a hard-cover Moleskine sketchbook. Its interior pages (or guts, as we call them in the design industry) are of a very smooth, cardstock weight paper that are terrible for watercolours and other wet media but great for coloured pencils and other dry media; because of its smoothness, it doesn't allow water to penetrate into its fibres as well as proper watercolour paper does. The hard-cover sketchbook contains nine signatures (groups of pages) of 12 pages each. On the right is the Moleskine cahier. A visual estimation shows that the cahier's cover can comfortably accommodate up to four signatures of the thicker sketchbook paper.

The signatures of the hard-cover sketchbook were carefully cut out using an X-Acto knife. This was much easier and less time-consuming than if I had gone out and bought another kind of paper, measured and cropped each page, and prepared them all for binding. Time = Precious.

Because the thicker sketchbook pages are wider than the cahier itself, I needed to remove approximately 1/4" from its width. The easiest and fastest way to do this was to give it a deckled edge. A deckled edge is nice because it's rough; it's casual; it feels like a sketchbook would. There is no shortcut in this process; I had to tear each and every page individually. It's good; every page now carries my intentions for this project.

Because I went to art school, it is apparent that my math skills are not always accurate. I had removed too much from the width of the new signatures.

So I had to go back to the second step and cut out some more signatures from the hard-cover sketchbook. Then I re-deckled the edges, this time removing less than 1/4" from the width. Because of my extensive art training and many years of experience, I can't tell you exactly how much I removed because I used a much-loved technique called eyeballing. If you're a designer, you are probably familiar with this technique and have gleefully employed it on many occasions. The number of pages in the cahier has now been greatly reduced; the original, thinner paper made up a big 80-page signature; the new thicker paper only comes out to a little more than half that.

Example of my excellent eyeball.

The cahier cover originally had a curved spine, because it contained only one large signature. The new guts' spine gives it more of a square shape, so in order to better fit the guts into the cover, I had to square off the cover using a fingertip and a solid table.

While the corners of the guts are not rounded like the cover, I'm okay with it; I much prefer the signatures to span the full width of the book.

Binding: While I am capable of executing numerous and pretty ways to bind a book, I did not want to take a chance on the pretty binding not falling apart. Also, while I could have sewn the binding (à la style Japonais - in Japanese style, for example), that would have taken away precious real estate from the page to create the spine; plus the pages don't lay flat when opened; in short, I feel that it would have taken away from the experience of flipping through this particular sketchbook. This book must be like the village bicycle (or the village whore) - allowing everyone to have a go at it.

After much internal debate about how best to bind the cahier, I came to the conclusion that I wanted this sketchbook to be bound by the easiest and most practical way that this little book can be held together, and I decided upon spiral binding, and here's why:

• This sketchbook will (hopefully) be handled by lots of viewers/readers, and so the spine needs to be able to hold up to many, many page turns over time without falling apart.

• Spiral binding will allow the pages to lay flat when opened.

• It will also reduce fatigue/stress on the book's spine.

I've also decided to bind this sketchbook only when all the guts' artwork is completed. That way, it will be easier for my hand to draw and colour without being hindered by the spiral coil.

The Moleskine surgery was not as complicated as I had originally imagined it would be. It all went well, with my eyeballing glitch being the only snag in the process; and even that was helpful -- I am always on the lookout for learning experiences. If I were to participate in a future Sketchbook Project, I would not hesitate to once again perform the necessary operation to switch out the guts of one sketchbook for another.

Sketchbook: “Storefronts” and “Kites”

2010-09-20T13:27:00.000-07:00

"Storefronts," coloured pencil on paper, approx. 6" x 5"

This particular sketch is interesting on a personal level because it was illustrated before the car accident that caused my brain injury, and then I later coloured it sometime during the months following the accident, when I was still in medical treatment - which would last for well over a year. While I have no memory of drawing it, I do recall colouring it.

"Storefronts," detail of stucco wall

This style of sketching is typical of my earlier pieces, when I had done a lot of light, whimsical, child-like illustration work, many of which were used for advertising and branding campaigns and collateral materials for various companies. Those commercial illustrations were executed using thicker markers and were almost always finished with digital colouring; for sketching purposes, I normally use a thin-line waterproof rollerball pen and Prismacolor coloured pencils or Winsor & Newton watercolours.

"Storefronts," detail of pink and yellow ochre usage

This style of colouring, though, is markedly different from my previous work. The artwork done prior to the brain injury shows a primary concern only for conveying the idea of the colours, as opposed to the actual depiction, or portrayal, of colours. Whereas before, my work would contain a smudge of blue to indicate water or sky or shadow, this sketch is the first piece in which I've combined colours to create more interaction between warm and cool, light and shade. Another noticeable element is texture: this sketch is much richer with texture than any of my previous sketches in the same book. From the hatches and tiny swirls in the stucco wall to the oxydised metal of the building numbers, there is far more play with coloured pencils involved, giving added depth to the piece. A more subtle element is the addition of pink; I have noticed that my prior work contains virtually no pink, whereas now, pink and yellow ochre are staples in my regular colour palettes and usage, which provide a quiet warmth and resonance that do not appear in earlier pieces.

"Storefronts," detail of pink and yellow ochre usage

As a creative professional, it is fascinating to see tangible evidence of some of the effects of a brain injury. It is clear, when comparing my older work to that of the present, that my perception, approach, and manner of working has changed greatly. Leafing through my old sketches feels like I am looking at the work of a different artist; it's nothing to which I can relate; there is no emotional connection there because it doesn't feel as though it came from me.

Example of earlier sketch: "Kites,"
coloured pencil on paper, approx. 3" x 5"

"Kites" is an example of a sketch that was illustrated and coloured prior to the brain injury.