Creative Process

The artist, like the God of creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.        –James Joyce

Let’s spend a couple minutes thinking more about this…

What is Heaven going look like for us?

We have heard some crazy stuff…

Kum-by-ya…on repeat…

Harps…tambourines…given to all

Think about it…

How terrible would that sound?

Halos…wings…

Surely we all get a set

Clouds that have all the characteristics of a trampoline

I am not sure where those ideas originated…

But they did not originate in the consistent application of scripture…

Songs come and they go. An idea is just a flicker of something beyond you, and then it’s gone. The game is catching it – very similar to a child catching a lightning bug…it’s not impressive that you write something in an instant, that you produce a work in a very short amount of time; it’s necessary. The idea presents itself like a deer in your headlights, but instead of avoiding it, recoiling yourself, you pursue it, you throw yourself into it…you catch it, you have something. If you don’t, you don’t. The great composer Hector Berlioz articulated it so well – “Every composer knows the anguish and despair occasioned by forgetting ideas which one had no time to write down.” Writing songs, composing, it’s really just a kid catching lightning bugs, a kid digging in a sandbox. Then comes craft.        –John Coker

To be honest we don’t hear a lot in scripture…

But what we do hear…is absolutely amazing…

The picture pointed to…both here and elsewhere…

Is back to the original creation

And the original purpose of man…

Creation, including man…

Displays the glory of God.

I do not have a consistent set-in-stone method or procedure. Some days I just get overwhelmed from deep inside me to draw or paint.  Sometimes it’s just for a few minutes, an hour or two; in my younger years I’ve even been known to paint around the clock. I did so without true awareness of the time. I just had to get it out on the canvas or paper. It just was inside me and I had to try and express what I saw in my “mind’s eye” or felt deep in my soul, my memory.

Man was

Created for fellowship with God

Created to reign with God

Created to rule with God

Created to work…tend…care for…God’s creation

Created to create…

I would and still do see something that so moves the artistic bend in me that I have to do some sketches or a watercolor and catch what I see, what I feel. Sometimes I can only take a photo of it or sketch it out on any available paper even on receipts with a ballpoint pen. But the real process starts when I wander and look and see, really see the shapes, hues, value tones. I feel the energy of a wave coming onto shore, the wind rustling the aspen leaves, the alertness of the cow lifting her head with a watchful eye; I observe and soak in the view. I become part of that scene.  With pencil I will quickly sketch out the scene trying hard to catch the energy, the life, or in some cases the quietness.  I will do more than one sketch; some for value tones, some for composition, and some with detail of a certain object or area where I really like what’s going on. I will have more than one study of what I feel will make a good focal point of my future finished drawing or painting. I also jot notes about the hues, specific colors to use, the light direction, and any thoughts, inspirations that have popped into my mind at the time in a sketch. If I had planned this paint trip as a plein air I will have watercolors and pad and do quick watercolor.  If I have a camera I will take photos. But I mostly like to rely upon my sketches and visual memory.

All art constantly aspires toward the condition of music                                          –Walter Pater

In my studio I like to get my mind off everything else. I start by getting out the media I plan to use, whether it is drawing with pencils, pen and ink, watercolors or oils.  I make sure I have more than one canvas, stretched watercolor paper or type of surface to work on; usually it’s at least three. I put out brushes, easels, media I will use; if paint, I lay out the tubes where I can easily get to them. I set up my palettes like paper or canvas always more than one. Why? Just in case I suddenly get inspired to do something different or also if things aren’t going well I can move to another painting surface for later. Sometimes a later look changes my view of it. Next I try to get my mental and emotional state in a creative mood if it’s not already.  I lean toward Vivaldi, Grieg, Schubert, and Mendelssohn. It’s 90% of the time classical music. As I listen I pull out both pencil and watercolor sketches, also photos if I have then. I take a sheet of paper and will make a value tone composition of what I want to paint.

These inform us to the nature and purpose

Of the this final creation

And final purpose of man

Created for fellowship with God

Created to reign with God

Created to rule with God

Created to work…tend…care for…God’s creation

Created to create…

When painting, I decide on my focal point and where it is to be placed on the surface. I decide the mood and values I want. I lay in my undertones in large brush strokes. If watercolors, I decide what areas to do wet in wet, dry brush, etc. I always work on two watercolor paintings at a time so that I don’t, in my impetuousness, ruin the painting.  I lay in the areas of hues, using washes, then as areas dry on one surface I start the finishing process with details. I step back at least three feet from my easel during the painting process to get a better perspective of what I am doing. Many times I will even put the painting across the room or under different lighting to see if it’s progressing how I want it. I often turn it upside down to help me see if my composition and value balance is what I consider correct. I try to be a part of the work. When I come to the point where it’s finished or I know I need to quit as I might overwork it, I clean up brushes, palettes, etc. then sit down to study the picture. Once more I critique the ones I left partially finished and just consider what I did and what I could do different. I am usually exhausted but have that good peaceful feeling.          –Linda Krumel

Working as God intended…

Without the “futility” brought by sin

The curse will be reversed!

The first place we get stuck is identification with the body. The dancer is really “playing” the body as a musical instrument by manipulating energies to express ideas. For the most part, the body is usually a disappointing tool for the limitless realms that are going on in the dancer’s mind. When the vessel is empty, the Spirit enters. Most of us are double- or even triple- minded, looking in one direction with the mind and really meaning something else. When you witness someone who is single-minded, it is very powerful. The dancer has to be single-focused in action.

At the dance studio, there is a daily examination of what the purpose of being there is, the understanding of the body in its relation to the mind and the soul, the origins of form and their meaning, and what uniqueness we are bringing to art.         –Alonzo King

Adam and Eve were placed in the garden not only to enjoy it

They were to take care of it as their service to God.

This was an act of worship…

Would not our role in the new creation be similar?

Enjoying the gift of God…

To fly, that’s one of the greatest dreams of all…  I’ve always been a builder, even when I was young.  And I’ve always enjoyed airplanes.  I took ground school as a high school elective.  As a young man I remember sitting at a friend’s house saying to build an airplane – that would be the ultimate project.  A little later I learned that there were people who actually did that and they were part of what’s called experimental aviation, and that it’s legitimately advocated by the FAA.  I even helped make some parts for a friend who was building a Thorp T-18 before I knew what it was. But after some careful searching and comparison of all sorts of plans I decided that’s the one I’d choose if I’d ever build one.  My criteria: sporty, all metal, two-place, low wing, good performance, and no dependence on factory supplied parts.  From a safety standpoint it had to be a well proven design and have a helpful group of fellow builders.

And taking care of it…

A major difference being that

All of our lives will be oriented toward God

Not distracted with the orientation toward self…

John Thorp offered me time in his shop where guys would work and share tools and get advice.  By the time I came along that was all history, but that’s the start of my ‘project’.  I had a fuselage skin that came from the template used in the Thorp shop.  By this time I was totally hooked.  The typical recommendation is to try something small, like ailerons, and get a feel for how you like it.  But I didn’t have to; I worked around machine shop all my life.  Although I had no clue on the time commitment, I jumped in head-first and started with the biggest part.

Having the joy of using our talents and gifts eternally…

The T-18 set of plans is exceptional: well drawn, clear to read, very accurate.  Only a few errors exist and they’ve been documented.  Materials are clearly specified and drawings show both preceding and succeeding parts and assemblies.  Finishes, tolerances, and heat treatments are also specified where necessary.  Most important beyond that is the help provided by the ‘Mutual Aid Society’, a group of Thorp builders who support each other and contribute to a quarterly newsletter.  Every topic has been covered more than once.  There have been many how-to’s, suggestions, and lessons learned shared in the group.  To date, there have been over 144 newsletters, and an estimated 700 aircraft have been built over a period of many years.  John Thorp is a legendary figure in aircraft design.  The T-18 has a proven track record, with a permanent place in the history of the experimental aircraft movement.  I’m confident that this project, when complete, encompasses a very safe, well understood design.         –Les Krumel

I really like building stuff…and I am good at it…

What about you…now imagine that…

Without futility

Without pain

Without money and the concerns of it

Not worrying about job security

And having a perfect boss…God

In writing lyrics, occasionally I’m inspired by ideas I hear from conversation. Either ones I overhear or ones I’m actively engaged in. Sometimes there’s a certain phrasing of the idea that seems to stand out from the rest of the conversation. And if it’s a phrasing that really strikes my fancy, I’ll steal it outright. But more often than not it needs a little modification. That phrasing, that becomes a lyric, won’t fit in the rhythm unless its syllables fall on the right accent.      –Matthew Greco

In our labor…God will be worshipped!

What if heaven for most of us follows a similar pattern as earth.

We work for 6 days

We get together on the 7th

For worship and rest and a huge party

Christmas and Easter all rolled up into one eternal joy.

In a sense, my method for writing is a constant relay between creativity and calculation. Creativity, for me, often has to begin at the climax—at the point where everything must move toward—and spread outward from that point. I frequently get the initial concept for this heart of the story via a spark of imagery. This grows into a concept, which then becomes a theme. That theme dictates the plot while simultaneously molding the essential characters. Then, once these concepts are gathered, creativity gives way to structure, the deliberation of intricate details. Once this framing is in place, creativity is free to take over again, to give the now three-dimensional story color and life, though calculation will undoubtedly come into play again and again throughout the project.   –Meagan Briggs

N.T. Wright puts it this way:

“the redeemed people of God in the new world will be the agents of his love going out in new ways, to accomplish new creative tasks, to celebrate and extend the glory of his love.”

–Adam Mihm

compiled by Rebecca Krumel

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