Hand lettering – Tuesday Tips

tuesdaytips angela porter 2018 My #tuesdaytips are all to do with hand lettering this week, but taken generally, the advice applies to any skill, artistic, creative, practical or otherwise I’m sure.

Lots of people aren’t happy with their handwriting, for many reasons.

I actually am, when I don’t rush any ways.  I worked hard on my handwriting when I was in school; I didn’t like my writing (it was too much like my mother’s), so I worked to change and develop it. It did take time and conscious effort on my part, but I enjoyed writing, I always did. Doing all my homework and re-writing and re-organising my notes in school and in University gave me plenty of practice in honing my handwriting skills.

However, handwriting and hand lettering are not the same thing.

Handwriting is something we do without a lot of thought about how we form the letters, it is a practiced, automatic skill.

Hand lettering involves drawing the letter shapes; it’s more of an artistic skill.

I’m working on my hand lettering skills.  I’m happy with my handwriting, generally, but my writing is naturally very small.  To write big, bold quotes and sentiments is a challenge for me, one that I had to face during my work on A Dangle A Day.

My first and most important tip about hand lettering is practice, practice and more practice.

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Here are some of the pages from my hand lettering collection in my BuJo. The pens are a Uniball UniPin, a Faber-Castell Pitt Artist Pen and a Lamy fountain pen with a fine nib.

The more you practice, the more you develop ‘muscle memory’ which makes it easier to be consistent in your lettering in terms of shape and so on.  It also helps it feel more natural and for you to speed up.

You can’t become an expert without first being a beginner.

My second tip is to start by practicing your natural writing style, your printing.  In these days of fonts by the million and perfect replication by computer and printing, I like to see the unique style that only your hand can bring to your hand lettering.

Practice your own printing until you are happy with the shape and style of your lettering, keeping it simple for now.  These letters will form the foundation of every other style you develop.

It’s easy to vary the style of your lettering by making simple changes to the letter height, width, line weight and so on. However, you need foundation letters you are happy with. So focus on this first and foremost.

My third tip is don’t compare your own writing to others’ or give up because you can’t seem to write as beautifully as you think they do.  Practice, practice, practice and work towards becoming the best you can be; it doesn’t happen overnight, it takes a lot of time.

“Daily learning of your craft makes you a master of your craft.” – Seema Brain Openers

“If people knew how hard I worked to get my mastery, it wouldn’t seem so wonderful at all.” – Michaelangelo

My fourth tip is to practice daily, or as often as you can.  In my BuJo (bullet journal) I have a section on my monthly tracker for hand lettering practice. Keeping a BuJo means I do get daily hand lettering practice, but it’s still not enough for me to keep developing the skill.

There’s plenty of advice out there and practice sheets and exercises for hand lettering, calligraphy, faux calligraphy, brush lettering.  What I like to do, however, is to write, using just my basic hand lettering ‘font’.

Writing out the alphabet again and again is productive, but not always enjoyable.  It doesn’t help you with putting the letters together in terms of words.

One of my happy memories is of English lessons when I was in primary school (aged 7 to 11) where we used a book called ‘A New First Aid in English’ to learn about nouns, similes, verbs, plurals and so on.  I enjoyed learning, but I enjoyed writing lists and answers down a lot too.  It so happens I have a copy of this book, one of the few remaining books from my days as a science teacher, and so I dip into this as a source of material to practice my writing.

Of course, you can use anything you like – quotes, names, lyrics, poems, anything that you enjoy but won’t distract from the focus of drawing the letters.

The last tip I will give is to use paper with guide lines on.  I printed paper out to suit my needs; I created it in Microsoft Publisher.  Dot grid or squared (graph) grid paper works well too.

My last words are – practice, practice, practice!

A Dangle A Day

As it’s WIP Wednesday, I thought I’d share the cover of my current work in progress – A Dangle A Day.  It’s all about drawing dangles and stuff the Angela Porter way. I’m doing all the illustrations plus the writing too!  It’s not a colouring book, it’s a tutorial book. There’s going to be a little bit in it about BuJos (bullet journals) too!

It’s available for pre-order now on Amazon; release date is 6 Sept 2018.

reMarkable tablet – my first impressions

cofFinally, today my reMarkable tablet has arrived, and I am so pleased with it!

I’ve had a few worrisome moments that I may have decided on something that wouldn’t be of much use to me, or wouldn’t work for me (as was the case with the Slate).

I need not have feared.

Although I’d like a bigger screen, one that is almost or a little bigger than A4 in size, the experience of writing or drawing on the reMarkable is as close to pen and paper as I think you can get.  The sound of the pen on the screen is even reminiscent of the sound of pen on paper.

The friction between the screen and the pen tip means it feels like writing on paper too.

A totally pleasurable sensory experience.

Setting up was easy enough, you’re walked through it by the device and the website.

Using it after that is easy too, it’s meant to be.

I love all the different templates for different paper types that are available; there’s even music manuscript paper, as well as an isometric grid!

I have looked at the simple sketch/doodle I’ve done on the screen on the Surface, and ok, it’s pixelly, which you’d expect from a 100dpi png image.  The page size is 8 x 10.5 inches (approx) which is perfect! It means I can export an image from the reMarkable to my puter and into Autodesk Sketchbook, adjust the resolution and then use the sketch as a basis for a finished drawing.

No scanning.

I detest scanning … but it’s now not necessary as long as I use the reMarkable.

Ok, there’ll still be times when I’ll need to scan work in, such as finished coloured works of art and so on, but as far as sketching out drawings and so on, well no more!

A  plus side of this is that there could be a lot less paper ‘floating’ around my home!  That would be great, there’s a big pile that is overdue for sorting and filing as it is.

Not only that, I can set up sketchbooks, yes books in the plural, on the reMarkable, so it should help me organise files on my ‘puter a bit better.

So yes, I’m happy.

Oh, did I mention that there’s different styles of pens and pencils, with different thicknesses?  No?  Well there is!  Ok, not as many as in Autodesk Sketchbook, but enough to keep me happy.

Did I mention that the pen and surface is pressure sensitive?  No?  Well it is.

Lots of playing around to be done by me with it, and a lot of work to be done with it.

Yes.  I’m happy.  Very happy with the reMarkable.

Mixed Media ACEOs, and updates

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Mixed Media ACEOs/ATCs

I’ve spent the last four or five hours creating this set of four ACEO/ATC cards.  It’s been a while since I did any mixed media work, but I felt the need to get a bit messy.

Each card measures 2½” x 3½” (approx. 6.5 cm x 9 cm) with the substrate being some fairly thick Kraft card.

I started by using some yellow Frog Tape to hold the cards together so I could make the background at the same time.

I started by applying PaperArtsy Fresco Paints to the kraft card until I had a finish I liked.  The colours I used were Cheesecake, Rose and Sherbet.

The next step was to add some Windsor and Newton Modelling Paste through a couple of stencils (one was the dot fade stencil by Tim Holtz, the other a mini dragonfly stencil by Creative Expressions).

Once the modelling paste was dried, which I hurried along using a Tim Holtz Heat Tool from Ranger, I watered down some Alchemy Waxes from Imagination Crafts  (white gold, tulip and apple green)and used a paintbrush to colour the dragonflies.  I then used the wax and a piece of Cut and Dry Foam from Ranger to apply some of the waxes over the dot patterns.

Once I’d finished applying the wax, I wasn’t happy with the result on the dragonflies, so I used Daler Rowney System 3 acrylic paint in Rich Gold to re-colour them. I was much happer with the results, especially the dragonflies that I’d coloured pink/red.

The next step was to have a furtle through various coloured diecuts I have in my stash.  Every now and again, I spend a day cutting out various die cuts (mainly cogs, flowers and foliage, but sometimes other things too) and then colouring them to add to my stash.  It saves on time when I have the urge to do some mixed media work. It also makes use of my rare urges to do die cutting, which I find a very tedious process.

After a good furtle, I found some cogs that would work on two ACEOs that had just the dots on the background. I couldn’t find anything I’d want to add to the dragonflies; I was just happy with them as they were.

The die cuts were applied with Cosmic Shimmer Acrylic Glue from Creative Expressions, then some Vintage Photo Distress Oxide Ink with a wet brush was used to add shadows.

I used a Quickie Glue pen from Sakura and Gold Superfine Embossing Powder from WOW to add some gold dots and to areas where there was no embossing paste.  Following this, I edged the cards using a piece of Cut and Dry foam and black Archival Ink from Ranger.

 

I then chose some words from the Tim Holtz Chit Chat stickers and glued them down with the Cosmic Shimmer Acrylic glue, and used a damp brush and a China Black Inktense pencil from Derwent to add shadows around the stickers.

The very final step was to add some sparkly gems, and they were done!  Once all is dry, I can add my information to the back and so on, and I have some ACEO cards to use on other mixed media projects or in my art journal.

Other arty news

Over the past week I’ve been keeping myself artfully busy learning a bit more about Autodesk Sketchbook Pro and how it works for me; you could say I’m building up a relationship with it.

For now, I’ve been drawing LOTS of mandalas!  I’m keeping them back from t’internet as I hope to publish them (some are already spoken for by the Colorist app), and other people asked if I was going to make some available for purchase.  So, I’m building up a collection of them for that purpose – either with a publisher, or I’ll self-publish if necessary.  I’ve also done a couple more small mandalas that work nicely as designs to be coloured and made into greetings cards, kind of like digital stamps.

Talking of digital stamps (digi stamps), there are some ideas rattling around my noggin that I’d like to try out, so there’ll be more news on this later on no doubt.

It looks like I’m going to be doing a colouring book of spooky templates in the near future, so if anyone has any ideas for ‘spooky’ or ‘eerie’ then feel free to share!

I also have a few ideas for written books rumbling around my noggin; however, it’s really hard for me to do something with them as I doubt myself so much, think they’re silly ideas, and so on.  The ideas aren’t wholly in my noggin, I do have notes on them on the ‘puter which need tidying up…but I’m finding it difficult to do this because of all my self-doubt and self-criticism. I just need to keep saying to myself, ‘But you have recorded these ideas so they are there for you, so you have made progress).

Other things going on in my life

A week ago, I finally had the hedge at the front of the house removed, as well as the back garden completely cleared.  My garden is tiny, but it’s amazing how much space was hidden by the cotoneaster and forsythia!  I do have some clean up to do, but there’s no great rush on that.  I also need to consider what to do with the back garden.

The process of getting this done has caused me great anxiety, but there was an ah-ha moment when I realised that some voile panels in the windows in my front room would help me to feel ‘safer’ and more ‘private’ while letting in daylight.  For a long time I’ve hid behind curtains; well, I still am, but at least I can see out through the voiles even if people outside can’t see in!  Why I didn’t think of this a long while ago, I don’t know, but thank goodness I did!

I’ve done a couple of anti-stigma talks for Time to Change Wales, and I’m seriously wondering if I’m really making any difference as my story is so bland and ordinary … after all it’s not a dramatic tale to tell, and I really don’t think it’s anything people haven’t heard/seen on TV on the soaps and so on…so I’m really feeling quite downhearted about that at the moment.

I know it may very well pass, but at the moment … it’s difficult….my therapy?  Art of course!

 

Art and my healing journey

 

 

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A page of floral sketches from my sketchbook.

This is a little bit of a different blog post from me.

As I’ve mentioned before, I experience CPTSD (complex post-traumatic stress disorder), which presents itself in many ways, including anxiety, depression, and a low self-esteem.

I’ve had lots of counselling over the past eight years or so, and for the last two and a half years I’ve had a lovely therapist who specialises in EMDR therapy.  It’s taken a long while for me to get to the point where I believe that such a gentle kind of therapy works, and works for me.  It’s still a slow process…but progress is being made.  A major change in employment nearly a year ago seriously helped with that.

Last week, my counsellor suggested I read a book called ‘Tapping In’ by Laurel Parnell.  In the book, Laurel Parnell describes how the process of bilateral stimulation by means of tapping the knees or outer thighs can be used to reinforce a safe place, helpful guardians and other tools to help during both therapy and everyday life.  My own therapist has successfully used it to reduce anxiety during a dental appointment as well as aiding in sleep.

She suggested I read the book and we do some work on the resources I need before continuing with EMDR as the last few sessions have left me rather upset, fragile, and, unsually for me, unable to find my ‘safe place’ at the end of a session, so that I can leave the fragile and upset state behind.

So,  yesterday we worked on my safe place, with me coming up with a new one and ‘tapping in’ the contentment, peace and safety I feel when I imagine myself there. The bilateral stimulation from alternating taps to the outer knees, helps to reinforce the feeling of the place, and actually helps to intensify it.

I have no problem imagining places I can go to in my imagination; I’ve used guided meditations over the years for various purposes.  When it comes to me coming up with my own imaginary places, it never ceases to surprise me what these places are like!

The other thing that was suggested after I’d verbally described my place, was to spend time over the week drawing/painting/creating images of this place, as well as practicing the process of tapping in my safe place and using it to help me manage my current high anxiety levels.  (My anxiety intensified greatly yesterday, not as a result of counselling, but by the decision to hold a ‘snap general election’ and my worries about what is happening in this country, in the world, which then gets transferred to worrying about finances as I’m now self-employed, and so on and the constant chatter of anxiety winds itself up if I’m not careful).

Me being me, I get to it almost straight away…starting with these mandalas

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Mandalas based on the feelings I get when I’m in my ‘safe place’.

Carl Jung used mandalas to represent/express the current state of the self:

“My mandalas were cryptograms concerning the state of the self which was presented to me anew each day…I guarded them like precious pearls….It became increasingly plain to me that the mandala is the center. It is the exponent of all paths. It is the path to the center, to individuation. ” – Carl Jung

So, I started with some abstract, intuitive mandalas to try to express the feelings I have when I think of my safe place, when I remember the feelings I have when I’m there.

Next, I wanted to draw some kind of representation of a view from one of the windows of my place.  And this is what I came up with, though the view changes all the time!

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Yes, I know water isn’t yellow, but in my inner world it can be!  It also shimmers with gold and has lots of shining gold and blue ‘dots’ in it.  Lots of happy creatures and colours there, all entertaining me … diverting my attention away from my anxiety.

Yes, I use art to help me manage my mental health.  When anxious, doing art helps me become less so; when depressed, art lifts my mood.  I’m sure the inner critic chatters away even when I’m ‘arting’, but the art takes my attention so the critic’s voice can be ignored.

Oh, before I drew anything, I took time to write a clear description of my safe place, as words are how I build up mind images.

I’m looking forward to ‘tapping in’ help for creativity, amongst other things… I’m also looking to intuitively drawing and creating some more of the living things that I can see from my safe place – all friendly and protective of course, nothing scary allowed there!  Which suits my tendency to rather whimsical, cutesy, artistic style.

So, I’ve shared a little of my ‘safe place’, but I’m keeping a lot of details to myself – no offence, but I don’t want any gate crashers there!

Tea and musings around liminality

Yesterday I sat at a table lit by the golden light of the late spring sun, enjoying the feel of a soft breeze contradicting the warmth of sunlight on my skin while the glorious sound of birdsong gently caressing my ears in the café at the Blaenavon World Heritage Centre. On the table was a lovely pot of tea and a home-made fairy cake (small ‘cupcake’) topped with vanilla buttercream icing and my journal-sketchbook into which I would be recording my thoughts and observations. This was a treat after picking up a batch of mugs that I’ve had printed with a piece of my artwork and a short greeting for my lovely year 11 class who are leaving on Thursday. That will be a day filled with tears and joy, a liminal moment for the pupils as they stand on the threshold of the next phase of their life. The leavers’ assembly being an opportunity to mark this transition point, a liminal point, with celebration, with laughter and with the memories of experiences.

The view from the window was of the neglected graveyard attached to St Peter’s Church which falls away towards the valley bottom as the café abuts the eastern edge of the graveyard and I realised that I was sat at a liminal place, but not one of one phase of life to another. This liminal place marks the boundary between the living and those who have passed out of this earthly existence.

As I realised this, a pair of magpies flitted from tree to tree, their tails twitching as they settled on branches, and sunlight on their plumage revealing the iridescent purples, blues and greens that are so often missed. A solitary cabbage white butterfly careened from plant to plant, it’s pale colour standing out against the brown tangles of brambles and the bright greens of spring growth, signs of life surrounding the memorials of those long dead.

Magpies are associated with bad omens, and one such superstition is that if you see a single magpie on the way to church then death is close (myth-making at blogspot). Considering that many churches have a graveyard around them or close to them, then that is quite true! I love magpies and the other members of the corvidae family of fine feathery friends, despite their gloomy reputations.

As one thought bounced to another, I realised that I too, was at a liminal point in my life as I continue to work on unravelling the tangles of the past through journaling, meditation, self-hypnosis, gratitude and pennies-dropped-epiphanies as I’m becoming more aware of the inner critics and their continual sussuration of negative messages about me. I’m learning how to dis-empower them, little by little, and I may be approaching a turning point for myself in how I view myself and what my beliefs are.

The grave markers were splotched with lichen and algae, patterns reminding me of growths of penicillin on laboratory agar plates or stale and mouldy bread. Tumbled tangled brambles wrapping round them, seemingly pulling them down, down, down into the ground, the Earth reclaiming what had been taken from it, and with it the memories of those long passed. Despite the pull of time and neglect, the taller columns and headstones bravely rose above the tangles, holding their heads up high in the sunshine, proud of their leprous appearance, suggesting age and longevity, that they remember even if the living no longer do.

Others, however, seemed to be surrendering to the gradual depredations of time. Their sharp leaning stance, the first phase in laying down, showing an acceptance of their fate. No one alive who remembers them, who cares for them enough to tend to the memorial of a life once lived. The connections between the present generation and the past generations fading and weakening with time as symbolised by the tumble-down state of the gravestones. This was reflected in the laughter and chatter of the living enjoying beverages and vittles in the bright, warm, life-giving sunshine. The proximity to the necropolis and it’s visible symbols of death, funerary rites, and grief having no effect upon the high spirits of the living.

Perhaps that is because a wall, a visible boundary separates the activities of the living from the area of the dead. If we were to dine and party on their graves, perhaps we may feel differently, irreverent perhaps; an attitude maybe not unique to our own culture or time. I saw this video about dining with the dead in Georgia on the BBC news website earlier this week, and an example of how different cultures approach death and the places of the dead and how rigid and solid the boundary between us, the living, and our deceased friends and family are.

Death is, essentially, a great leveller; the great and the good lie alongside the poor and meek. Only the memorials tell us who is who,and only a skilled osteologist would be able to tell which was which were their skeletons disinterred and separated from any clothing, jewellery or other funerary offerings that they were interred with. To most of humanity they would be the remains of people, equal in death as they were not in life. Given enough time, all return to the Earth, return to what we were created from, very few leaving traces that will last for centuries, millennia or the aeons of time.

Traces remain in the bones that remain of their lives; hardship, luxury, adversity, ease all leave their marks in the bones. As the flesh decays, as memories fade, so do the individual stories of each person’s life, the stories that make each of us unique. The funeral monuments may tell us about them, there may be hints of their life in written records, but so much about them, such as whether they were kind or cruel, loving or neglectful, are lost.

Gloomy thoughts? Not at all! I like what the we can learn of our ancestors from their funerary rites, from records, from stories still held in the memories of the living, maybe experienced first hand or tales handed down through the generations. It matters not whether they are iron-topped tombs of the magnates of Blaenavon or the ring-barrows of a person from the Bronze Age, or the fossilised remains of our distant relatives. For many, we can only make educated guesses about their life and times, sometimes more educated than others when written records exist.

Of course, the choice of a place for cemeteries is a story in itself. In ancient times where a lot of effort was expended to bury a few in monuments such as cairns, ring barrows, cists, long barrows, then they weren’t just plonked in the nearest available place. The choice of place had meaning, just as the choice of place has meaning to us whether it’s where we go on holiday, where we choose to live and experience life. We choose places that give us meaningful experiences, be they linked to happy or sad times. The same is true when we choose places for funerary rites, whether we choose them ourselves before we die or whether we choose them for our loved ones who have passed away. My father’s cremains were buried beneath a sapling plum tree in a country lane where he used to collect all kinds of fruits and plants to make wine from. A friend’s father’s ashes were sprinkled from a bridge to return to the sea which he loved and sailed while serving in the Navy. Another friend’s father’s ashes are to be buried with his brother, if permission can be gained from her aunt.

If we take time and care to choose an appropriate resting place for the physical remains of our loved ones, I’m sure our ancestors did so too, even though it may not have seemed so to us as in many cases we have no ideas of their beliefs and the practices that stemmed from them. Nor do we know for sure why certain people were accorded such seemingly prestigious and important funerals, whether they were the great and the good or whether their deaths had a different meaning and the funeral a different purpose than commemoration and a reminder of our connections to the people of the past, to our ancestors, to those who have shaped the society we life in at any particular point in history.

I couldn’t help but wonder what stories the land could tell us if we could access it’s memory. I’d love to know what events the stones beneath my feet have witnessed in their long aeons of existence. What lovers’ trysts and promises. What betrayals, joys, toils, griefs. Whose feet have passed over them and what is the story of the lives. I don’t just want to know about the great and the good, people whose lives are most probably fairly well documented. I want to know about the ‘ordinary’ people as well. Everyone has a story to tell, everyone’s life experience is unique to them due to their unique perceptions, beliefs, actions, reactions and personality, and what thoughts and beliefs they had about themselves and others.

Perhaps the land, the position of the cemeteries, their relationship to the use of the land in the past and the present, the stories told about the land, it’s people all serve to keep alive the memory of the ancestors, aiding in remembering their stories and the stories previous generations and in so doing keeping the ancestors alive, in memory, and our connection to them stronger. The scape surrounding the cemetery becomes woven into the stories of the recent ancestors and the myths of the more ancient ancestors, acting as aide-memoires to the tales. Each feature in the land around the cemetery is not devoid of emotion, of meaning, and for each feature these would change as the time of day, the season of the year and the weather changes. We interact with these scapes through the feelings and meanings and the way that we make use of them and that induces a feeling of belonging to them. Ideas such as these are propounded by archaeologists such as George Nash.

I realised then, how much I’d enjoyed writing my thoughts, how going to a different place other than home allowed me the inspiration I needed. It’s also brought up links between things that are occurring in my life at present, and that will help to unravel any tangles knotted by the inner critics in the past.

Soggy Sunday Afternoon…

Self-love, journal writing and letter writing to heal.

It’s been a while since I last blogged something.

Life has been both interesting and uninteresting.  I’ve had a lot of thinking to do, a lot of ‘down time’ has been needed to recover from the emotional stresses and strains of my working life.

I’ve spent a lot of time reading, the latest books are about using a journal as a method of self-love and healing oneself from the events of the past.  Something I need to do.

I have kept a journal for many years now, and I do vent and rant in it and find my way to some kind of clarity.  I have become a little disheartened at times as I seem to end up ranting about the same things over and over.  The books I have read ( Writing to Heal by Jacqui Malpass and Journalution: Journal writing to heal your life and manifest your dreams by Sandy Grason) have shown me that this isn’t a problem, that it may take many times through the same thing to come to clarity, forgiveness (of self and others) and to let go and move on.  In other words, I need to be kinder to myself and not be such an overachieving perfectionist!  And I mean that kindly

My plans for my journal today are to make a list of people who I need to write letters to for the hurts done to me in the past (even if such hurt and pain was not their intent) and to people I’ve not had ‘completion’ with. These letters that will never be sent but will allow me to let out of myself the anger, fear, hate, upset, disappointment and so on, and work my way towards forgiving them and myself.

I’ve swallowed down hurt and upset and anger and fear and so many more emotions with copious quantities of food.  The emotional reactions have been locked away, though they burst out at times, quite explosively at times, and it scares me that this ‘ice maiden’ has such energetic emotions.  I’ve spent a lifetime of nearly fifty years suppressing my feelings, not sharing how I feel with others for fear of rejection, embarrassment  conflict, hatred.  I’m not good at putting into words what I think and feel if I’m upset in anyway.  I am, however, much better at writing things down, as shown in my journaling of the past decade or so.

I won’t keep the letters either.  I’m going to burn each one as it’s finished.  If I need to return to the same person or group of people over and over again to clear things up for me, then I will do so.  I will keep doing this until I can write a letter that forgives them, and one that forgives me too.

Some of the letters may be apologies for the way I behaved.  I do have a tendency to cut people off, dead, if they upset me or betray me in any way.  To keep myself safe, I walk away, ignore them when they are around.  If I’m expected to work with them I can be cold and short with my words, protecting myself with such a thick wall of icy feelings and icy words.

This is kind of a scary thing to do.  It’s not the first time I’ve tried this, but this time has the feeling of ‘the time is now’ about it.  Pennies have dropped about the purpose of the letter writing, of letting out all the things I’ve kept bottled up for years inside me in a controlled manner, the writing being the control.

Art

Art has been pretty much on hold as I struggle with the idea that I deserve to love myself, finding out what self-love and self-esteem are all about, and just letting ideas filter through the conscious to the unconscious mind.  Inspiration for art has been, maybe not lacking, but put on the back burner for a while.  However, there are some creations, some that are works in progress, others that are finished pieces.Rising above the pale©AngelaPorter2013

Tangled Border © Angela Porter 2013

Across the divide WIP © Angela Porter 2013

Abstract May#1 © Angela Porter 2013

Abstract May#2 © Angela Porter 2013