What is the role of shape and form in your art? Do you have standard shapes and forms that you find you default to or are you constantly searching for the right ones?
Join me in this third installment of my design lessons series for an overview of an often sidelined couple of elements—shape and form. I’ll talk about how to define them, what they can add to your work, and ways to think beyond the usual forms and shapes you may think you have no choice in. Find out how to hone your familiarity with, and your language of, these essential design elements with an eye to making them an important yet intuitive part of your art making process.
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CREDITS:
Cover design by Sage; Illustration by Olga Kostenko
Yellow-Red-Blue painting (right half) by Wassily Kandinsky
Music by Playsound
Transcript
Transcript
00:00:00
Because this will become intuitive if it’s not already slightly intuitive and you just need to learn to trust that you know what the language of shape is and just being aware of it will allow you to make changes and corrections as you go along. Hello all my beautiful creative thank you for joining me on the Sage Arts podcast sage.
00:00:20
Speaking here, of course I am in the studio on my own today, but it leaves you lots of room to come in. Amber’s not even here. I don’t know.
00:00:27
We went, so it’s just me and come on in. Have a seat. We’re going to talk about design today. It is the first episode of the month and also happens to be the first of the month. But learn about design is not going to be a first. For those of you who have been listening since we started doing this couple of months back, the first episode of the month would be about some design aspect that I want to teach.
00:00:48
Slowly so that you can build up a knowledge base and learn to intuitively figure out design just by being exposed to it a little bit at a time. This one is going to be on shape and form. We’ve already done Marks and lines, so if you haven’t listened to those two episodes, I would encourage you to go back and listen to them.
00:01:08
Not necessarily before this one, although I think it is a little bit more helpful because we’re really building on what you learned in the last two episodes. There’s a lot of similarities in terms of trying to figure out how these elements communicate with your viewers, your audience, your customers. So do take a listen to those when you have.
00:01:26
Chance I’m going to apologize ahead of time because I.
00:01:29
Feel really out of it.
00:01:31
I have ongoing problems with some of my. I guess my skeletal system, my joints and whatnot, and I’ve been having a really hard time. The last. Honestly, the last couple of months, but it got really bad this last.
00:01:42
Week so I start.
00:01:43
Taking muscle relaxers? Just I just.
00:01:45
Do it for like.
00:01:45
A day or two to see if it’ll calm things down.
00:01:47
Which it seems too, but it makes me.
00:01:49
Really sleepy? I just want to nap all day and that kind of is difficult for productivity. So I’m going to try to keep my energy up and keep you guys interested. I will try not to mumble.
00:02:01
So yeah, those are my present struggles right now. But in any case, let’s get a little business taking care of things to support this podcast, things to support you as listeners. Let’s start with a quick shout out to Paula of Paula Scott design. She helped with a little financial support, bought me a few coffees and let’s a wonderfully kind.
00:02:20
Words. She said that she listens to the podcast while she’s.
00:02:22
Making jewelry or.
00:02:23
Painting and sculpting, sewing and somehow she finds all the conversations relevant to whatever she’s working on. At that time. It sounds like some kind of wonderful serendipity going on.
00:02:33
And maybe it is to some extent, but it may also be because a lot of these subject matters are about creativity in general, and most of them tie into all of the types of projects that you could have all kinds of goals that you may have on some level. They do as I think I’ve noted before, even though this is about visual art, I have a lot of people who are writers.
00:02:53
We have a couple of musicians, just people working in other creative art forms who I know. Listen to this because this stuff is relevant to creativity in general. So you can take the things that I tell you here and use it in other areas. If you are a multi creative which many of us are and obviously Paula is.
00:03:12
So thank you, Paula, for that little bit of reminder and thank you so much for the coffee and the kind words. I also want to thank Christine DuMont who was a guest last week who also financially supported me this past week. I don’t know what it is about my guest. They turn around and tend to donate after being on and I feel like they do so much for us. But I do really appreciate that they appreciate.
00:03:33
What I’m doing so so much give and take so much win win going.
00:03:36
Down here, right, just goes to show what generous souls artists are, I think. And Speaking of previous guests, I also want to thank Megan Skelton a little. Shout out to her for her constant enthusiasm and feedback. I interviewed her like it was about four months ago, Episode 21, the one about community. And she has been like a fan ever since.
00:03:56
So that was a fantastic discussion about the importance of community, which is actually something that I have been really big about lately too, because it’s just it’s a really hot summer. We’re not getting out a lot because of things going on around the house. We have the sick dog and we.
00:04:12
Haven’t gone anywhere, so I’m.
00:04:13
Feeling really alienate.
00:04:15
But community is really important and hopefully you are reaching out and keeping connected with other people and keeping your enthusiasm up and your motivation and your work up through that part of what I’m trying to do here with the podcast is to actually make you feel like you’re not alone and donations are no. I do want to hear from you. You can go to the contact page at the sagearts.com.
00:04:35
To send an e-mail or you can go to instagramorfacebook@thesagearts.com podcast pages to leave me a message in the post or.
00:04:43
Direct message to me there.
00:04:45
And if you happen to be cruising around on the sage arts dot.
00:04:48
Com web page.
00:04:49
Be sure to sign up for the news and notice this newsletter comes out just Sunday morning. That’s it. Don’t use.
00:04:53
The list for.
00:04:54
Anything else and you’ll find that button for that at the top of the home page, and then I also appreciate reviews if you wanna review in whatever podcast player you have. If you’re enjoying the show, let people know what you think.
00:05:05
So that they have something to understand why they may want to listen to it as well.
00:05:10
OK. Business aside, let’s talk about shape and form. So questions you might ask yourself as you’re listening to this would be things like how do you use shape inform in the work that you do and do you have some standard shapes and forms that you kind of default to the same circle beads or the?
00:05:30
Same square elements or the same shaped canvases? And why is that? Is it because it’s easy and it’s something that you’ve always done?
00:05:39
Or have you given a lot of thought? Have you really said these elements in these shapes or these forms in which I make the pieces do say something about what I am trying to show my viewer?
00:05:50
So you can think about how you deal with shape and form as.
00:05:53
We talk about shape.
00:05:54
In form now this is such a basic element. I think a lot of times it gets kind.
00:05:59
Of skipped over or.
00:06:00
We default to some familiar shape or form like I was hinting just a moment ago on which to place our imagery or textures, or surface design or whatever it is that you feel is at the heart.
00:06:11
Of what you’re making, but in.
00:06:12
Reality this shape or form on which you create.
00:06:15
Or the shapes and forms of.
00:06:16
The elements that you create.
00:06:17
With are a serious part.
00:06:20
Of the work now, sometimes they can be settled, sometimes they can be really obvious.
00:06:25
But the part of the message or the thing that you’re trying to share, and if you don’t consider shape and form, sometimes those elements don’t end up working cohesively with the rest of your design decisions, cause they’ve kind of been left to a default mode.
00:06:38
You see shape.
00:06:39
And form communicate in the same way as the symbolic innate perception of components produced in.
00:06:45
Remarks in lines like we talked about.
00:06:47
In the other two episodes.
00:06:48
The difference with shape and form is that we start going broader and in the case of form we start going dimensional. This also means it can get a bit more complicated, but luckily shapes are also something we learned from a very young age and since they are used symbolically all around us as well.
00:07:05
We tend to.
00:07:06
Have a fairly innate sense of what they mean.
00:07:09
So my aim here is to increase your awareness of them and what they communicate so you can make conscious and intentional decisions on what shapes or forms to use and how to employ them in your work.
00:07:21
OK, So what is shape and form? And more importantly, what’s the difference between the two? Well, shapes are finite areas of two-dimensional space, right? The shape is what defines that space, usually through the use of.
00:07:35
Some kind of line?
00:07:36
Or Edge created to define the boundary of the shape. They could be as simple as drawing a circle.
00:07:41
To find like a full moon or cutting out a teardrop in clay to create a petal of a flower or the shape.
00:07:48
Could be made.
00:07:49
With boundary where there is a change in color or texture or positive versus negative space with negative empty space.
00:07:56
And sculpture that.
00:07:56
Kind of thing. The characteristics of that defining line or edge becomes a characteristic of the shape it defines. So lessons learned from last month, like I said, with line, we’ll give you a step up when understanding kind of what those shapes might communicate. Now how is form different from shape? Well, form is shape, but it’s just three-dimensional.
00:08:18
So if a circle is a shape, then an equivalent form would be a sphere. Right now we can talk about 3 basic shapes, that being the circle, the square and the.
00:08:28
Triangle likewise for basic forms. There’s a sphere, a cube or block. I I like the word block cause the kind is more generalized. It can be rectangular or whatnot and a pyramid, so those are just three-dimensional versions of the same three basic shapes. And although we could talk about the characteristics of shape.
00:08:46
And form with.
00:08:47
Those basic shapes, the circles, the spheres, the squares, the blocks.
00:08:51
I don’t think those are the most helpful ways to think of shape. I think it’s kind of limiting. Instead, let’s talk about shape and form being curvilinear, blocky or angle.
00:09:02
Every shape and form will have one or more of these characteristics, and then like with line, you can define the kind of things, the shapes and forms can communicate by understanding what those characteristics convey so curvilinear is like round and curvy, and it suggests gentleness, often femininity, nature.
00:09:22
Flowing just easy.
00:09:24
Movement and the movement part is actually very important.
00:09:28
Things that are curved do tend to show movement, but in a calm way. Then there’s blocky, which is like squarish or boxy. You know, rectangles and squares that are three-dimensional, and they tend to feel stable, kind of more masculine, heavy, grounded, rooted, and in stasis that they tend not to.
00:09:48
Denote movement. Then there’s Angular which is peaked or slanted. This is kind of equivalent to diagonals and lines, because they speak to.
00:09:56
Force and dynamic energy, as well as strength and even things like danger and direction, of course. So curvilinear, blocky and angular. That gives you 3 basic characteristics to describe your shapes with, but like so much of the visual art world, nothing is ever so simple as to divide things into just a few basic categories when you’re talking.
00:10:16
Shape and form it’s even I think more complex because they use Marks and lines to create them right?
00:10:24
So there’s got.
00:10:25
To be more to.
00:10:25
Them than just those 3 characteristics curvy block your.
00:10:31
There are two other areas as well actually going to be three other areas. I’d like to kind of put into your mind to consider in terms of your shape and form choices. They also have two kind of basic categories. They can be geometric or they can be organic. So geometric is the kind of idealistic versions of shapes and form.
00:10:50
Was created with.
00:10:51
Precision and balance. Usually some consistency. They predominantly appear in our world in man-made objects and symbols.
00:10:59
But we’ll get to.
00:11:00
Why symbols are a little bit different in?
00:11:02
Just a second, especially things.
00:11:03
Like circles and triangles and hexagons.
00:11:06
But many geometric shapes make regular appearances in nature as well, no matter where they are found, geometric forms are going to commonly add a sense of certainty and strength to your work or a particular section of your.
00:11:20
Then there is the organic category and these.
00:11:23
Shapes and forms are characterized primarily by irregularity. They are generally far more inviting, warm, comforting than like geometric shapes. Because they’re not only familiar, they’re kind of more like us. They’re usually kind of imperfect and of the natural world.
00:11:40
Of course, these are found throughout nature. They are also found in man made things like splashes of paint or torn pieces of paper or lumps of clay. So there’s organic forms in man made things. They’re geometric forms in nature, you know. So they’re not clearly delineated by man-made or not, but they are delineated by how organized and precise they.
00:12:00
Will consider as an example of how these categories affect the creation of a shape that even though we can say a square communicates stability, there’s still a big difference between the stability in a geometric square with straight and equal sides.
00:12:15
And one that’s.
00:12:16
Loosely hand cut or hand drawn, the free form square.
00:12:20
With size that.
00:12:21
May look uneven, maybe even a.
00:12:23
Little bit curvilinear will feel less stable, but.
00:12:26
Probably more energetic and casual those.
00:12:29
Are options for you, right?
00:12:31
So most shapes can be broken down into geometric, organic, or a combination of the two. But there’s one other area that kind of is separate. This can include geometric or organic and curvilinear, blocky and angular.
00:12:45
It is so.
00:12:45
Strongly communicative that I think it needs to.
00:12:48
Have its own category.
00:12:49
And that is abstract or symbolic.
00:12:52
Shapes. Now these are usually simplified versions of complex objects. For instance, the iconic shape of a heart is an abstract representation of a very complex.
00:13:02
Organ abstract form symbolize or evoke a particular meaning or concept that is universal, at least in a particular culture, if not the whole world, and is easily understood by most of your intended viewers. So love, of course, is associated with the abstract shape of the heart, so you can say love by just putting a heart on something in that whole crazy complex concept.
00:13:22
Of love is included in there since abstract shapes can convey so much and without actual words, they need to be used rather carefully because they’re rarely going to be subtle. So you want to be sure that if you’re using them, they are very specifically supporting the intention of your work.
00:13:42
The other thing about abstract or symbolic shapes and forms is that the standard characteristics of curvilinear blocking and angular won’t always apply, because the meaning of the shapes and forms are usually going to be predetermined and they’re going to be dominant. Even so, a lot of them actually do follow the meanings of particular characteristics that define their shape or form.
00:14:02
Like the heart.
00:14:03
Is both curvilinear and angular and it represents love which can be thought of as feminine and gentle, but is also forceful and dynamic. So Angular being more forceful and dynamic and curvilinear, being more feminine and gentle. The heart actually has both of those in that one geometric.
00:14:20
So those are kind of the ideas you can work with curvilinear, blocky, angular along with geometric versus organic and then keeping an eye on the abstract or symbolic shapes that say a lot more than what a normal basic shape would. That gives you a quick idea of what each shape and form might relate to the viewer, the kind of sense of things.
00:14:40
Characteristics that are very similar to things we talked about with Marks and.
00:14:44
Minds. But I think when it comes down to it, we can look at shapes and forms. All of us. I do truly believe this and feel that it’s delicate or strong or bold or calm or whatever. As a small child, you learn these things from other people because we refer to certain shapes, meaning things. You have items that actually use nothing but shapes.
00:15:05
To convey sometimes simple stuff, sometimes complex stuff. But we get used to a language of shapes as we grow up, right and now it’s just you don’t even think about it. Like for instance on a tape player or record player or a digital.
00:15:20
Player or whatever.
00:15:21
We use the same symbols pretty much on all of them. You have a circle, a square and a triangle, and those basic shapes are used to tell you how to work that machine or that program. So a circle means to record because circles are open, they’re meant to be filled. They’re meant to be explored. So that’s opening something that’s opening up the recording.
00:15:43
And then to stop it is a square because like we were talking about before, squares are static and rooted and grounded, and they’re like a wall. You know you can’t get.
00:15:51
Through them so.
00:15:51
That’s a stop symbol for us.
00:15:53
And then triangles are very directional, right? So they say go forward and just like we would read from right to left, most of those arrows also where the triangles become arrows. They point to the right, like we read from right to left. And that’s why those symbols you look at them and.
00:16:07
You know which button to push. You don’t even tell yourself. Oh, that circle is a record button. You just know it’s a record button.
00:16:14
Also helps, that’s usually red, but.
00:16:16
But the shapes are there and.
00:16:18
Those are the most basic shapes, right? And yet we fully understand how to use that machine based on those basic shapes, because there is a language of shape and form already out there that we have learned.
00:16:29
We were little so although I’m giving you summaries of what these things could mean, use your instincts. That’s something you already have. Nothing you have to learn. Think about the shapes that you could be using and ask yourself, what does that feel like? Does it match the mood or the message or the aesthetic of the piece?
00:16:46
That I’m working.
00:16:46
On just trust in yourself that you.
00:16:49
Know these things.
00:16:50
I’ll give you.
00:16:51
A way to test your instincts at the end and kind of hone them. So hold on.
00:16:54
That now, here’s a couple other notes about working with shape and form. One thing I should emphasize is that even though shape is A2 dimensional element and form is a three-dimensional element, it doesn’t mean that if you work in 2 dimensions as you’re only going to be using shapes. And if you work in three dimensions, it doesn’t mean you’re only going to be using form like if you’re painting.
00:17:15
Something representational and there’s a ball in your painting. You’re going to need to consider what a ball. What a three-dimensional object that that a ball is will say versus just a circle or versus making that a square. And if you work in three.
00:17:29
Mentions you’ll run into two-dimensional shapes, potentially on the surface of your three-dimensional form or in the negative space shaped by holes or what not in your three-dimensional form. So both shape and form can come up regardless of the type of work that you’re doing.
00:17:45
Shape and form also apply universally to every visual aspect of your work, from the individual items that are put into your piece, like trees and landscape, or a mountain or the lip of a ceramic pot.
00:17:59
But also to the.
00:18:01
Overall shape or form of the actual object itself. So if you’re doing a painting on a rectangular canvas, because that’s what most of the canvases come in the rectangular shape, then the rectangular characteristics do come out to play. Maybe kind of sadly, because most people expect paintings to be on a rectangular.
00:18:18
On the surface, but if you painted it on a circle and there are circular canvases out there, it would dramatically.
00:18:25
Change the.
00:18:26
Feel of the image that you.
00:18:28
Painted or if you’re.
00:18:29
Creating necklace instead of making it circle the neck. Of course the neck is around and makes sense to make it in a circular form, but what if you gave it right angles like the way it falls, it falls in a straight line with a horizontal line at the ends of the necklace meet. So then you have right?
00:18:45
Angles in it forming.
00:18:46
The square opening, basically the necklace goes from having some of those soft characteristics, losing them to a more rigid, blocky shape, and that can really change the kind of thing you’re trying to convey or certain.
00:18:59
Aesthetic that you have.
00:19:00
Now, even though it’s common to paint on squarish canvases and make necklaces in circles, this just shows you how some shapes are foregone conclusions when they can actually be an intentional choice that you make, that you can really use to take up your work to another level and add to the potential.
00:19:21
Choices and innovation that you have available to.
00:19:24
And The thing is, every aspect of your work deserves consideration, if only because it opens up those options so you don’t fall into the usual way of doing things. OK, we’ve talked a little bit about what these things mean, how they communicate now, how do you apply shape and form in your work?
00:19:44
Well, first of all, every part every element is going to have some kind of form that you can decide.
00:19:50
Hit on. If it’s imagery you may feel like you don’t have a lot of choices, especially if you’re doing something realistic, but you do you decide what forms are shown. You decide what ones are emphasized and what to replicate from whatever your source material is. For instance, if you’re painting a portrait, if Angularity feels like that matches the personality of the person that you.
00:20:12
Painting. Then you can push that. You can emphasize the angles in the face and make their face more blocky. You can emphasize the cut of the collar and put in an angular triangle on the chest area. You can create or choose triangular shapes and diagonal lines in the background to work that into the frame to emphasize that angularity that you want to bring.
00:20:32
Now you do have choices. You don’t need to replicate just what’s in the photograph, or the pose or whatever it is that you’re working off. And like I was saying with jewelry, like the necklaces, there are so many options that you can change up when it comes to shape. So you can consider things like not just the shape of the bead or the shape of the necklace.
00:20:53
We talked about, but also the shape of the links. If you’re using chain and the piece or the shape of the closures, if you’re.
00:20:58
Using closures or if you’re sculpting realistically you can still have form and shape decisions from the form of the sculptures base to.
00:21:05
The shape of like if it’s a creature, the creatures ears, you can make them round a triangular or squarish and try that and change it up to see how it changes the perception of the creatures personality and your intention, what it is that you’re trying to get across so common. Yeah, you have the option to make decisions about shapes for every single thing that you add.
00:21:26
Into your work, but I do not propose that.
00:21:30
With each piece.
00:21:31
That you make you go through some kind of checklist for every element that you add, that’s not what these lessons are about. It’s really just about being aware of your.
00:21:40
Options if you consciously work on each design element for this month, like this, month will be shaping for. If you think about shape and form in terms of every single decision that you make by the end of the month, it will start to become automatic and intuitive.
00:21:54
So eventually it becomes an unconscious decision, and you’re unconsciously aware of even making those.
00:22:00
Decisions. But now knowing it, having that knowledge, if you into it, that something isn’t quite right with your work, you’re just not happy with how the piece is working out. You can ask yourself about.
00:22:12
All those decisions you.
00:22:13
Can actually go through your Marks and your lines.
00:22:15
And your shapes and.
00:22:16
See what your options would be like. What if I change this squarish thing into?
00:22:21
More round or very organic loose thing? And how does that affect the work? Does that help say what you’re trying to say, or show what you’re trying to show? It’s not going to be, and I don’t know what to do with.
00:22:32
This anymore kind.
00:22:33
Of thought when it comes to your work not meeting your expectations and trying to figure out what to do or what to change up.
00:22:39
You’re going to be able to easily and thoughtfully go through these elements of your work. All these design elements and see the possibilities and most of the time, that’s really just what we need to know, what the possibilities are. So don’t get concerned that you’re going to be too self-conscious or too aware of all the individual things that you have to do.
00:23:00
Because this will become intuitive if it’s not already slightly intuitive and you just need to learn to trust that you know what the language of shape is and just being.
00:23:08
Aware of it will.
00:23:09
Allow you to make changes and corrections as.
00:23:12
You go along.
00:23:14
But what will?
00:23:14
Really help is actually doing some practice this month. If you are game for it, you can try some really simple exercises maybe once.
00:23:21
A week or daily.
00:23:22
Daily would be fantastic. Just whatever you can do to increase your weariness and hone your intuitive sense of shape and form.
00:23:30
The first thing I’d suggest is doing a kind of viewing exercise, viewing as and looking at things. So just kick back and look at other people’s work, or at your past work just probably not your work in progress because you’re probably too close to.
00:23:41
Right now, just find the piece that you admire or react to strongly and ask yourself what ideas or concepts the piece communicates to you. Don’t look at those specific little bits in there, just look at the.
00:23:53
Whole come up with.
00:23:54
A couple of words, or even a short story. Whatever works for you. And then I would suggest, you know, maybe getting out a pad of paper and writing.
00:24:01
These things down.
00:24:02
So that you can just look at your notes as you go through this.
00:24:06
Then start looking at the shapes after you determine what you think this thing is about are the shapes, geometric or organic? Is it dominated by curvilinear shapes or blocky shapes, or angular shapes? Or is it balanced between?
00:24:19
Two or all?
00:24:20
Three of those types of things.
00:24:22
What characteristics about these kinds of shapes or forms in this piece match your initial thoughts about what the piece was communicating? Can you see how they inform the feeling or the mood or the message of the piece?
00:24:37
Or you can ask what characteristics do the shapes and forms bring to the piece.
00:24:42
In either case, this kind of observation, this very intentional observation, will bring it to the top of the mind shape and form as you work on your own pieces throughout the month, and all you’re trying to do with this exercise is get your mind used to seeing shapes as the communicative objects that they are not just background elements for color or surface design or imagery.
00:25:03
For the more attention grabbing stuff, the more you focus on this, the more you’ll see just how much shape and form matters in a.
00:25:11
If you’re looking at your own work, especially as you’re working in your works in progress, you can also ask yourself how changing shapes could change the feel, or the message, or the impact of the piece.
00:25:23
In fact, if you can test that out by.
00:25:26
Sketching the work.
00:25:28
With those different shapes in mind, or you can take a picture and put them into like a tablet or a phone, and there’s all these programs like procreate that and allow you to draw over them and so you can kind of change them up and see how it feels just by drawing on them. Or just use your imagination. I mean, that’s.
00:25:43
What’s the old standard rate for?
00:25:44
But it’s just try to imagine it in your head. And what would it look like if this particular piece had more angles? Or this particular piece had less curvilinear shapes? What would that do for what you’re trying to say and the look?
00:25:56
Of the piece.
00:25:57
If you commit.
00:25:57
To some time doing these kinds of analysis it.
00:26:01
Will just take you leaps and bounds when it comes to recognizing shape and form.
00:26:05
And what it is that you can do with it. So I would highly suggest that I will try to back you up with some more reels and stuff. I didn’t do a really good.
00:26:12
Job last month with line at.
00:26:14
All because of all the craziness here, but I’m going to try to pick up the pace on social media, so if you need a nudge, drop in at Facebook or Instagram, Instagram is probably a little bit more active. Just source for the Sage Arts podcast for those pages on social media. So that’s your little free lesson for the day. And if you like these little free lessons and.
00:26:34
You want to give back. You are more than welcome to click on that PayPal or buy me a coffee button that I mentioned earlier. You can find them halfway down on the homepage of the sagearts.com website or in the show notes or description section of the podcast player that you’re listening to this through.
00:26:50
Another way to support this podcast if you’d like, is to just simply click the follow button on your podcast player. It just helps us with the rankings in the search engine so we can get more people to join us, but it also lets you know when a.
00:27:02
New episode is.
00:27:03
Available. You can also do things like leave a review on the podcast player through which you listen to this podcast and with the exception of the reviews, because I don’t know podcast.
00:27:12
Where you’re listening to this through but all.
00:27:14
The links and anything that I mentioned in here that we should have a link will be in your show notes or description section of your podcast player. So now that you have your marching.
00:27:22
There’s now that you.
00:27:24
Have some increased awareness, hopefully of shape and form. Go out there and look for them and see how they appear to you. Check in on that language that you have of.
00:27:34
Shape and form.
00:27:36
I personally am going to go do that myself. I’ve been getting into the painting a little bit this last week.
00:27:40
Getting some free time.
00:27:42
To actually work on my own.
00:27:43
Stuff for once. It’s been like a month but shape and forms are on my mind as well. So let’s all get to work and whip our pieces into shape with shape and go form new ideas with new forms and OK, I better stop before I get too corny here.
00:27:58
Enough of my corny efforts. Just go out and look at the world and in new Way today see the shapes and forms out there. Go find those new experiences that will offer those to you. Feed your muse. Stay true to your particular version of weirdness and we’ll see you again next time on the Sage Arts podcast.
