(Part One, Part Two)

Part Three: Realizing a Vision

In Part Two, I said that if someone hasn’t had the opportunity to explore different media and materials to see what they do, he or she will have no idea how to achieve the desired goal. Learning new skills is both exciting on its own and a means to an end; sometimes it begins as one of those and progresses to the other. Do you want to re-create somebody else’s vision, or know how to express your own? I want to do the latter, and I want my kids to be able to do the latter, too. I learned embroidery because I wanted to embroider poetry on my jeans, but in the process it became another way for me to express myself, and while I embroidered some commercial patterns at the beginning, while I was learning, I can’t see doing that anymore, because I’d rather use embroidery as part of my own artwork.

Practicing embroidery

My 8yo, who already knew embroidery’s properties so well from having watched me, and already knowing how to sew, decided to learn how to embroider so he could make his aunt a snowflake ornament, based on his own vision of the finished project. I helped him with the angles of the snowflake and transferred it onto the felt for him, but the idea was all his. And we didn’t have an example of “this is what your felt snowflake ornament should look like,” either. It was all his own thought process and design.

Following directions give us the skills to re-create somebody else’s vision. There is nothing essentially wrong with that. I have no problem with knitting a sweater somebody else designed if I like it and want to wear it. It saves me the trouble of doing the design work myself. But if I have an idea in my head, I appreciate having the ability to make it a reality, rather than trying to find somebody else’s vision that sort of approximates my own. Following directions is certainly a useful skill to have, and prevents any of us from having to re-invent the wheel. But exposure to process-based activity is essential to gain the skills and confidence to realize our own unique vision.

“Just messing around” with materials allows the space for accidents to happen, for unexpected results, for discoveries, and that is when we learn. If something unexpected happens when the goal is to re-create a predetermined end product, it can be perceived as a disaster. If it happens during a process-focused exploration of a material or technique, it is a delightful discovery, leading to knowledge that is filed away for future use. When and if we have an idea that requires that particular effect, we know how to obtain it. Process-based art is not pressure-filled. It is fun. It is play. It is essential, for children and adults.

We cannot expect children to be creative, original thinkers if we only present them with so-called “art activities” that involve following directions to reproduce an end product. They deserve (as we all do) the space and time to develop the confidence and skills to determine their own end product, and then figure out how to get there. When I said, “I’m going to knit a stocking,” having never knit before, nobody was around to tell me I couldn’t. When my child says, “I’m going to make a snowflake ornament out of felt and embroidery,” even though he’s never embroidered before, I’m not going to say, “You can’t do that.” I don’t even say, “Let’s look and see what patterns you can follow.” My response is: “Let’s practice embroidery so you know how to do it. Sketch out what you’re thinking. You can totally do this.”

The process of looking for an already-existing project that meets your criteria versus creating the project you have in your head is so very different. Children who only have experience in following directions to produce a version of somebody else’s vision may not ever make the leap into realizing they can create the steps to produce their own vision. It takes more work on the adult’s part to mentor a child’s individual vision. It is harder to have a room full of children interpreting new materials or techniques in different ways, rather than following directions all at the same time. I see my job as facilitator, and I am on my toes when we’re in the studio, especially if we’re doing something new. But this sort of mentoring is essential, because the ability to have an idea and realize that idea is essential. And one way to raise children who have the confidence and skills to not only realize their ideas but to have the idea in the first place is to provide plenty of exposure to process-based art.

(Part One)

Part Two: Knowing the Materials

When a child (or adult) has an idea and a specific end result in mind, if he or she hasn’t had the opportunity to explore different media and materials to see what they do, he or she will have no idea how to achieve the desired goal. I can’t stress this enough. It seems so basic, but I see so many people going about it backwards. Until we learn how to use various materials, we have no idea which one is best for the task at hand. If we have a vision in our mind but have a limited number of techniques from which to choose, we may never reach our vision.

When my children come into the studio with an idea, they have a vast array of materials from which to choose. They learned how to use these materials not by following step-by-step directions to reproduce a project designed by someone else, but by experimenting with the materials in a controlled way. Parameters are, I think, necessary when learning a new material or technique. I didn’t just give them watercolors and leave the room. We used, at different times, watercolors wet on wet, wet on dry, pan watercolors, liquid watercolors, watercolors from a tube. The different methods and materials yield different results, and we learned what they were by doing. In the same way, watercolors are different from acrylics and gouache and tempera. So when my kids say they want to do X and they need paint, I can now ask them, What kind of paint? And they will think about their desired end result and decide what they think they need.

The same thing is true of every material in our studio.

Non-representational creativity is often difficult for adults to understand. They think kids are just “messing around,” the painting is “random,” the activity is “aimless.” If it’s not a picture OF something, an adult often doesn’t see the point. Firstly, if the child is enjoying himself, is another point necessary? But beyond that, quite a bit is going on—or can be going on—when someone is “just messing around” with a material. The first thing I did when I bought new watercolor pencils was scribble with them and add water to see what happened. It would be frustrating to try to use a material for a specific end result if I didn’t know what the material could and couldn’t do.

Exploring tints and shades of blue.

In the same way, a child learns quite a lot while “smearing” paint around. He’s learning how paint moves, how much to put on the paintbrush to get different effects, what happens when wet paint touches. If it’s quality paint, he learns what happens when different colors mix. When my middle child was about five, he spent weeks investigating different paint colors, a couple at a time. He learned about tints and shades and secondary colors while he moved the paint around on large sheets of heavy paper that I’d pinned to the wall. Limiting the color palette meant that he could see what happened when just those two or three colors mixed. This is, again, about setting parameters to help a child learn about the materials in a useful, meaningful way.

During this time, he happened to be painting while an adult relative was over, and that adult stared at the non-representational paper that held all that exciting information about tints and shades, and instead of asking my son about it (and he would have eagerly explained what he’d done to get that range of color), she stared and stared until she found something that sort of looked like a flower and pointed it out. “You painted a flower.” No. But now, when he does want to paint a flower, or anything else, he is confident that he can mix any color he needs or wants, in a variety of paint types. In fact, like me, he’d rather have just the primaries, white, and black in his palette, and mix his own colors.

For more on this sort of sequential introduction of materials (as well as how to talk—and NOT talk—to children about what they’re doing), I highly recommend Susan Striker’s Young at Art.

Next: Part Three—Realizing a Vision.