After a little break, I’m back with a new design focus for you… the concept of Space. I go over the wide range of implications from positive and negative space, to boundaries and limitations, to the mental and temporal space all creatives need for a fulfilling artistic experience.
I’ll also touch on the ideas of composition and just defining the difference between design, composition, and space to unmuddle the imperfect but immenstly useful concepts that make up the elements and principles of design.
So join me for this last design dip of 2023!
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CREDITS:
Cover design by Sage; Illustration by Olga Kostenko
Cover painting by Rick Guidice for the NASA Ames Research Center
Music by Playsound
For Transcript click on the episode here: https://rss.com/podcasts/thesageart
Transcript
Space as an element of art really refers to the area around above and within the imagery or objects that you’ve created. That is a textbook definition of what space is, and to be honest, I don’t. Find it really helpful. I think it’s better to talk about space as a whole as defining the boundaries of the work. Hello all my. Fabulous and patient creatives out there. Thanks for joining me on the Sage Arts podcast. This is sage and I’m finally back after my little break and I’m not completely off of it. And we’ll kind of explain that in a second, but so much has been going on here at the House. I’ve also been dealing with insane allergies. Just getting a chance to record when I could actually speak clearly. Has been a. Real challenge in the last few weeks, so I had planned on having this out last week to at least give you something to focus on this month, but I am going to give you something actually to focus on through the end of the year. In this conversation, we’re going to have today about space. So I’m just kind of jump into it before something else happens outside and they start making a ton of noise. We’re having landscaping down. We had roofing done, we had solar repair, we had the house painted just. It’s been one thing after another and it all started with me. Well, me right. And I wanting to replace the grass in the backyard because we live in Southern California and we’re always. In a drought? And you know, one thing led to. Another so it. Just kind of got in the way of the usual day-to-day work here. Especially since I record in this House and somebody’s been pounding, sanding, running machinery nonstop for. Like the last. Five weeks. So we’re at the point where we now have control over when that noise happens. I do have some things that still have to. Done. And we’re going to get those wrapped up hopefully in the next week or two. So in any case, that should allow me to do at least a couple more here this year. I’m not actually going to be able to do it every week because other stuff has come up as well and I decided to not keep fighting. Whatever energy is out in the universe. Saying you need to take a break and just take care of everything that needs to. Be taken care. Of through the end of the year and then at the beginning of the year, I will get back on to the weekly track. But in any case, I have the one today I have two more already written up and I’ll get like two more out before the end of the year or I’m not exactly sure the timing I’m think. Seeing the last weekend of November and the second weekend of December, probably just because of the holidays here in the US, we have Thanksgiving the week after next and it’s also bretts in my university. And your family comes in and people go shopping. I figure everybody’s kind of busy and distracted, at least in the US, and then we. Get into the holidays. In December, so in any case today. We are going to talk about another sort of kind of element sort of kind of not and I’ll explain all that in just a second now. The last few months we’ve gone over elements of design. Those items were concepts that can be used not unlike the way you use your material in creating your artwork we talked about. Line marks shape and form and texture. We still have color to talk about, but I’m going to wait until after the first of the year because that’s going to be like a three month journey. I think there’s just so much to go through with color, so. And then technically, there is one more element to go over, but it’s not listed on that sheet sheet that I sent out when we started on this journey earlier this year. By the way. You can find that CHEAT SHEET, which is the list of elements of design and principles of design on the Instagram page for the Sagers podcast. If you need that. And so yes, the. CHEAT SHEET is a. Little incomplete. I go back and forth on 2 concepts of design. One is composition, which is on the list under elements, even though that’s kind of not correct. Explain that as well and in space which is the conversation. Today and just in case you missed it or don’t recall the difference between an element and a principle of design is that an element is an item that you put into the work, and a principle is a rule or concept that directs what you do with those elements. The reason composition doesn’t really fit into either category is because composition is the arrangement. Of the elements, but it uses principles of design. A lot of the times as well as a set of principles specifically for composition. So composition it’s just hard to define it as a separate principle from the others because it’s kind of all-encompassing in terms of all these principles that we use and the arrangement of elements. I know it’s confusing, right? Well, I’ll speak to composition a little bit today only because it has a really strong connection to the use of space, which is the one that I didn’t put on the list because I kind of go back and forth on whether it belongs there. There are several different ways to look at how space works in art, but sometimes it feels like space should just be discussed in connection. With composition, except for the aspect of positive and negative space. Which is by. The way a fantastic and super helpful and extremely important aspect of design, it just doesn’t neatly fit as an element. Or a principle. So we will spend a bit of time on well primarily. Negative space today. But also talk about space in terms of boundaries of your work and. Then we’ll talk. A little bit about space in terms of just mental space and time. So the subject today is yes, about space, but we’re going to discuss it from a couple of different angles and. Like I said, I’m going to touch on composition, mostly because I want you to have an idea of how space works with composer. And why composition is not specifically designed or how design is different than composition? Because a lot of people confuse the idea of design with composition and then sometimes composition is confused with the idea of space so. What do you? Say, let’s start with. Quick definitions of these three terms. Design, composition and space. Let’s kind of start at the top of the big overriding encompassing label design. Design is all the choices that you make. All the elements you choose and how you use them. In other words, the concepts and rules that you use or break in order to fill your intention and create the work is design. So yeah, design is about your creative decision making as a whole. Composition, on the other hand, is about the arrangement of the elements, oftentimes using principles to accomplish it. Now, how is that different from design? Because it seems like it’s including everything. Well, you aren’t making choices about what to do with all your elements. As a means of developing composition, composition is about how you use the space that you have, specifically the arrangement within the space of the elements that you choose. This is kind of like the difference in buying decor for your house and actually hanging or arranging it. You shop and choose which things to bring into the house, like choosing the elements that go into your work. Then you choose what room they go into, what pieces will be hung and where they’ll be. Placed next to what? Furniture or whatever, that’s the compositional type of work. And I know we haven’t gotten into the principles yet, so. You may feel a little ungrounded in terms of what I’m discussing, because maybe you don’t have a very good concept of principles, but just think of them as like the rules. The way that you work with these things, the way that you arrange. And I know this stuff can be confusing and you aren’t alone. And basically it comes down to the fact that the organization of these concepts and the elements is rather imperfect. So a lot of things have exceptions to them. So if the whole idea of a design and these different things we talk about doesn’t come across perfectly clear to you. Just because they aren’t perfectly clear in the 1st place, but just the awareness of these different elements, these different principles exist will help you in the creation of your work and help you improve what you’re doing. So let’s get on to the idea of space defining. That space is the room that you have to work out your composition. It’s the area you have to place all the elements that you’ve chosen. It’s the boundary that restricts many of your design decisions. But space is also about differentiating the parts of the various sections you’re working in. Primarily that concerns positive. And negative space positive space being the area in which chosen elements are placed and negative space is the unadorned blank or minimally worked areas in between those chosen. So space really is about what you do or don’t do within the boundaries of the workable area of your art piece, and your choices about space, which can be affected by the element of shape and form, as well as the principles of size, proportion and scale. And This is why it feels weird to categorize space. As its own element, it both uses and is affected by both elements and principles of design. So today we’ll try not to categorize too much. I think it just becomes a little too confusing, so let’s hopefully just have this clear definition of space as the area that you work in composition as the arrangement and design as all the collective decision making. So now that you hopefully have have a fairly clear definition of how space is not composition and composition is not designed. Let’s get into the space thing. I’d like to start with the concepts of negative and positive space, which I I personally find really interesting, and I also think it’s an area of design that we often don’t really consider. We kind of forget about it or we’re not really aware of it in the 1st place especially. Negative space I. Just think it’s so important for good design and well done art to be aware of negative space. But not like hyperware. We’ll talk about that in just a second. So first, what is the idea of negative space and positive space? Well, positive space is simply the idea of space that feels visually active, while negative space feels inactive. Neutral. The whole idea of even considering negative and positive space is to bring you an awareness of how you’re collected. Elements in the positive space create their own effects as a whole, especially when it comes to shape and the negative space can do that same kind of thing. It can develop shape and form and can create proportions and size and. Various principles that have gotten into yet.
But you can see both work.
The same way they’re just looking at positive spaces. The area that we usually recognize, because that’s where all our active items are, those are the things that we want to say. That’s where they’re. But so we do think about positive space rather intuitively. So let’s kind of get that out of the way because negative space is the one that’s a little bit more under. Under understood, that’s not even a phrase. So anywhere where there’s active elements, things that we are purposely putting into the space that we’re working into, everything outside of that, that’s negative space. That’s what’s left out. What is left blank? I think your choice of negative space is as important as your choice of positive space, really. But that is definitely not the way most of us approach it. Even if we’re very aware of the negative.
Place it’s.
The positive space that we are most often thinking about, since that more directly represents our ideas and things we want to share, the things we want to talk about, what we’re trying to present to the viewer. So it makes sense that we give a lot of consideration to that space, right? But what a lot of. Artists don’t realize is. That the negative space actually says. A fair amount as well for. Example, if the viewer sees an empty space in your composition. They will assume that the blankness you left there was intentional and not just unfinished, and they will let that empty space. These informed their perception of the positive space. So let’s say you draw or paint or sculpt a flower. If you choose for the flower not to have any kind of associated items around it or behind it, just kind of blank that conscious choice puts all the focus. Of course on the flower. So if you would feel that you really like that particular flower or maybe you. Really like that? Color or the texture of? This petals or whatever it is that you might. Into the viewer is going to consciously or unconsciously read that from how much negative space there is around that flower. But if you put the flower in a vase on a table or in front of an open window, or have other objects in the background, or even in the. Foreground then those other. Elements begin to inform and tell more of a story, giving the flower more context for what. You, as an artist want to show people or what they might get out of the piece. So if there’s a lot of negative space, it can emphasize what little there is left and give what’s positive a tremendous amount of importance. Of course, but if you feel the negative space, you’re putting a lot more information into the work, which will obviously change the viewer’s thoughts and ideas about the work. As a whole. In addition, keep in mind that negative space, which is also called white space, does not literally have to be white or blank or empty. It can be filled with color or a consistent texture. But it should. Be an area that is easily dismissed by the viewer for having no real information to tell them about what the piece is about, what you’re trying to say. So if you fill space with something pretty neutral, something that can be easily ignored, it can still be considered negative. Now, not all work actually has negative space, but having some negative space is usually beneficial for most work, so you can fill in all the space, so it’s all positive space and really no negative space. But that really only works if your intention is to have it be busy or crowded or crazy or chaotic or something of that sort. But for work that doesn’t have that particular objective or intention, negative space gives the eye a bit of a rest between areas of high energy or heaviness, or just space. It’s very detailed. It can also delineate and organize the elements that you have by creating separators or boundaries. And I’ll talk a little bit more about that in just a moment. Now, I don’t think you should spend too much time trying to figure out what your negative space is going to be. I know that sounds kind of contradictory to my emphasis about how important negative space is, but really your best approach, if you haven’t already developed one, is probably going to be looking at the negative space after you’ve figured out what’s going into your positive. Days you can ask questions. Things like do I have enough negative space to support what I’m trying to do? Like if the work is quiet and calm, you might want a lot of areas that are undeveloped left blank or treated so minimally as to easily be disregarded so that there’s spaciousness in which to feel that quiet. But if the work is more intense and high energy, do you have areas of well place? With unobtrusive negative or white space here and there for the eye to rest, that kind of questioning. And like I mentioned, you can see negative space as a type of organizational. Element when there’s negative space between two areas of well developed positive space, it’s going to separate the spaces, making them feel either unattached or unrelated, or it could direct the viewer to see each of those positive spaces as single collective holes separate from the next positive space, if that makes sense, just like you might put a separated between your spoons. Your forks or your dark socks and your white socks separators. Let us know that certain things are being seen as grouped together, being related. That helps develop relationships between the elements. In your work, but negative space is kind of a less obtrusive way of doing this versus using something like lines, which can be very definitive, or a dramatic change in texture. For instance, negative space can be used similarly, and is sometimes just a little bit more subtle than some of these other types of approaches. So if subtle fulfills your intention better than something dramatic. Really delineated. Then maybe negative space for separators is. The way to. So in a related application, negative space can also be used to create shape which I believe I touched on in the form and Shape podcast a couple months ago. You may have a lot of different shapes or items in your work that will dominate the atmosphere of the piece. What’s being read by the viewer due to the characteristics of those positive. Base element. But negative space can also create shape, which in a more subtle way can also add atmosphere or increase the specific message or intention that you are putting through with your positive elements. So go back and look at what your negative space actually become after your positive space is in. There is a negative space. Organic or geometric or squares or triangular or free form, or symmetrical? All those things that we talked about that in part, particular characteristics into your work and see if these characteristics can help you determine if anything needs to be adjusted in the negative space. To match the tone or the story or whatever the intention is of the work. So apply what you’ve learned about shape to the shape of your negative space and one other thing about negative space, which isn’t necessarily design, but when you are trying to create realistically or recreate from what you’re seeing in a visual source. The best way to see what is. Actually there is to try recreating the negative space. This first, so if you’re. Drawing a human body, for instance, don’t draw head and the shoulders and the torsos and. The arms and legs. Draw the space around the body. The triangular space between the crooked arm and the rib cage. That kind of thing, because when you look at an object you’re familiar with, you make assumptions about how that object should look. But with negative space you make. No assumptions about how the negative space is going to look, and therefore your mind does not try to recreate from memory what it thinks it knows about the shape of, like the human body. Like the idea that the head is round, right? Well, think of the head is round. Really. We’re taught that very young, but it’s not. However, we draw them round because it’s been kind of a shortcut thing that our mind has taken on about the human head. But if you draw the space around the head that you’re observing, you will find yourself drawing things that look like blobby hockey sticks. Or waves or sideways mountains because the lines around the head aren’t. Usually particularly circular. Sometimes they aren’t even very curvy, and the negative space will show. You that. It’s really a. Way to trick the mind to stop taking shortcuts and your mind is always taking shortcuts because you have so much information coming in all the time and so much information is being processed that the mind is always looking for ways to not deal with new information, but drawing something that you’ve never tried to recreate before, like the negative space. Which is just. A shape or form, not an actual familiar object, means it needs to take in the the mind that is needs to take in all new information to process what you are trying to. Create OK so that last bit wasn’t much about design as it was about seeing as an artist. But even if you’re not trying to recreate something realistically, it wouldn’t be a bad idea to try to draw the negative space of something that you’re observing. I think it drives home that you’re probably not seeing negative space. The way you could so an exercise like that is a way to train your eyes to see negative space and what it really looks like and not just the positive space we all put so much time and attention into. So if your game and you never have tried to draw negative space, take a stab at it really is not that hard at all, and you’ll be surprised how well you actually draw negative space without all these shortcut things that the mind does all the time. OK, now that we’ve defined negative space, and I’m sure you understand positive space. Now, here’s a couple more definitions of types of space. There are three other ones that are often. Used in art, they are. Deep space, shallow space and three-dimensional space. Deep space and shallow space refer to the depth or shallowness represented in two-dimensional art. Basically, the amount of dimension in the visual illusion that’s created within A2 dimensional type of imagery. The things that represent actual 3 dimensional objects or places. Now it’s neither good or bad to have shallow space. Or deep space or flat space. It’s all about what? It is you’re trying to do. It’s about your intention as an artist, right? But it is something to be considered. Do you want a lot of deep space you want to use a lot of illusionary techniques like perspective and shading and that kind of thing. Or do you want it to just be kind of more representational symbolic, more like a kids drawing or simplified type of forms? Just whatever fulfills what? It is you’re trying to share or show. Right then there’s three-dimensional space, which is simply the space that a three-dimensional object exists in, or the space that it takes up, and that includes the negative space. So, for instance, if you have a sculpture with a lot of thin radiating bits, like a tree sculpture, the three-dimensional space is all the space that the trunks, the branches, the leaves, all those things that they take up, including the negative. Spaces between the branches and the leaves and such. This is important for three-dimensional artists because it helps define a boundary and the negative space formed between the parts of the sculpture because those negative spaces, like I said before, come into play in terms of shape or density. If there is little or no negative space within that three-dimensional boundary or three-dimensional space that creates A denseness that can relay a sense of solidity or groundedness or heaviness. If there’s a lot of negative space between the parts, there is airiness and lightness, so it’s important for three-dimensional artists to recognize. The three-dimensional space they’re working in that will include all the elements that somebody will be looking at, including the negative space and its shapes, dimensions, proportions, etc. OK, now let’s talk about space as a design element in kind of more general terms. And I know it seems like I’m kind of working backwards on this, but I feel like starting with. The negative and positive. Space gave you something concrete, and now we can kind of sit back and talk about the general sense of space. So space as an element of art really refers to the area. Around above and within the imagery or objects that you’ve created, like we’re talking about the negative positive space and three-dimensional space, all that stuff right collectively though that is a textbook definition of what space is. And to be honest, I don’t find it really help. I think it’s better to talk. About space as a whole as. Defining the boundaries of the work. Obviously a painting or drawing is bounded by its substrate, meaning the canvas or. The paper or the? Board or wherever it is that. Is being used to create the two-dimensional. Work surface and functional objects usually have boundaries based on the ability for them to be used in the manner. Which they are intended like if you sculpt artistic mugs, you want them to be big enough to hold an acceptable size serving of the intended beverage, but not so big as to be unwieldy and difficult to drink. Now you could sculpt them in unconventional or difficult sizes, but then you’re making a statement and becomes less functional, right? So let’s talk about 3 dimensional fine art like sculptures. Some people might say that sculpture doesn’t really have a boundary, but many sculpting materials do come with restrictions, like how big you can really make it. And sometimes that question of how big you can make it is due to artist financial restrictions. How much of the material can you actually afford to work with or the workspace in? Which you are. Creating it if you don’t have a lot of space and it’s going to limit how big a piece you can do or it could be limited by its intended final home. Like if a sculptor is expecting to sell their work to homeowners, that will put it in their living room, it’s going to have to have a size that works in a living room area, right? Versus if they were commissioned for a piece that goes. Into an outdoor park. Where they will have a lot of space and they can make things really big, so the boundaries are sometimes defined by those kinds of restrictions. So maybe the boundaries aren’t as specific and as limited, sometimes with sculpture, because you don’t have to have like this size canvas or this size piece of paper, but it still does have its restrictions and its boundaries. When we get. To the principle of design on scale and proportion, by the way, we’ll talk more about how space is used under limitations. But essentially, just think in terms of space that you essentially decide on how much space. Will be available for. Your work, and once that decision is made, that is kind of like your first major boundary. And then within that space, you may create other boundaries for particular elements, like creating that positive space, working out those relationships with things that are related or things that are not related, like dividing the positive space into thirds with. Negative space as your. Separator then each of the sets of elements within each of those 3. Areas will seem related and conceptually they’ll all seem related as well. We’re always looking for those connections, but they will have a different type of relation between the sections versus the stuff that’s in each of those areas. So those become a kind of secondary boundary and they’re positive space boundaries, right? And with the definition of those boundaries, you can look at your positive and negative space and look at the balance between them. See if that works with your particular intention. So what I’m getting at overall is that the space you have to create. That needs to be considered. Overall as a whole, as well as thinking about the individual things that go into that space and a lot of that will have to do with principles that we haven’t heard yet, balance, emphasis, hierarchy, all these things that we’ll get into next year. But This is why space is kind of a weird thing to put down as an element of design because like. The position that really dips its hands into all kinds of areas. So how does all this help you? If you want to concentrate on spaces, design focus for the month or for the next couple months. Basically through the end of the year. This is why I spoke so much about negative space. I think it’s a good idea to have this background on what space is and making you more aware of the potential choices you have about how to use the space. You have to work in, but it really helps to know actually all the principles of design as well to do a really deep dive into the concept of. Space. So without having talked about those principles yet, you can ask some basic questions about your use of space. You can ask if you feel like there’s a balance between your different areas, your negative and positive space in your work, you can ask, are you giving yourself as much space as you need for your intention, or do you use up too much space? And less could be more. For now, just go with your gut on how much space you are giving yourself to work. In this month. For instance, I’ve been working on rather small canvases with my painting, mostly because I am practicing techniques that I haven’t done before. Haven’t done a long time, but I don’t feel like I’m able to really let go and express. Anything with such a small size. So in realizing that I know I need to start working bigger, even if it’s just practice because I need to get a sense of what size canvas or substrate is going to allow me to put what I need into. The work, some of which is literally the physical action of painting, and I think I want the physical action to be bigger. So having asked myself if I’ve given myself enough space for my intention, I found I don’t think I have yet. And so I’m going to explore giving myself more literal space, a bigger boundary for what I’m working into. And you can do the same thing and. Then also think about how. Much negative space you leave in your work because again, a lot of people aren’t really aware of their use of negative space. Maybe you need? To pull back on the positive space and allow for more negative space, maybe spend the whole month even fighting that inclination to fill every bit of the open space and your work. If you do that, maybe even going so far as to make work that is mostly negative space and see how that feels and what that does for the elements that you. Right. Doing that this month, we’ll prepare you for a discussion about composition that was actually scheduled for December. But like I mentioned, I’m going to wait and and just not do a design element for December, which is all too distracted. And composition is kind of a big subject. I don’t know how many of us have the focus and bandwidth during the holiday season to really. The time that would be needed for you to take in this very, very important. Subject. So what I. Propose is that you use this month and the rest of the year, whatever time you have. To focus on space and then in December in particular, if you have time, maybe look at the design elements that we’ve been learning about and if they’re any of them that aren’t really coming on automatically that you’re just confused on that you just didn’t get enough time with them in some previously busy months, then go ahead and. Focus on them if you have time in December to focus on something. Additional that way we. All get some space to work on the things that we specifically need to work on and to also focus on family and all these other things that come up this time of year and that way also I can put together a really good segment on composition for January and then in February we’ll actually get started in color, which I’m super stoked about. It is so much fun. It is also pretty intense, so I want to not do it in January because most of us are. Kind of exhausted from holidays. Anyways, so composition composition is fun and easy, and so you’ll be able to try those out and probably have some instant success if there’s things that you don’t already use now in terms of the other types of. Episodes that I put. Out you know how to make yourself a better artist. My interviews with artists and all those other kinds of. Things there’s still. So much going on over here, I’m just not sure when all the. How stuff is going to be completely done. But like I said, I have a couple of other ones that are already written up, so I’m going to try to get those recorded and. Least have a. Couple more for you before the end of the year is up, then get. Back to it, probably the. First week of January, I think the 1st Friday is January 5th. I was trying to push back to releasing things on Thursday, so we’ll just have to see because the we do have company that week, so we’ll see what I can get. One, but in any case, that’s my present plan. A couple more lighthearted or whatever easier things that aren’t about design coming to you before the end of the year and then once. I start up. In January, we’ll go back to weekly. Episodes so that is my present plan, because here’s the other thing about space as an artist, if you’ve been listening to the podcast for a while, you already know that I feel we need to give ourselves more space not to create, but to prepare ourselves to create, to give our muses and our imaginations and our voice time to process and mature. Our ideas inside of us and when life is string, a lot of things at you at the same time as you are trying to create and keep yourself motivated and keep. Your work fresh. It tends to do the very. So by easing up on the podcast production through the end of the year, both you and I can focus on giving ourselves breathing and thinking space, while we also look at the way we use space in our artwork. I hope that works for you. If you listen to this at some future point, then you might just be able to jump into the next episode. Right away and lucky you. But if the idea. Of giving yourself more space, including not listening to podcasts or getting on the phone or computer, or even reading. Looks and just letting all the information that you’ve been taking in in all these various types of materials just let it like, marinate in your brain for a while. I do encourage you to do this. Just take some time off from all that input and let the beautiful creative mind of yours work it’s magic and. All the great stuff. That you’ve been hearing or reading or seeing. I’m actually actively trying to take more. Time away from other stuff to let my mind just work on things because we’ve been doing all this landscape work. I’ve been out in the garden a lot and I’ve been really appreciating just being out there with. The sounds of. The the wind and the trees and the birds and and and nothing else. And my mind can just, like work on things in the background while I’m trimming things and moving things and digging and. Whatever you know. So I’m physically active and my mind is mentally active, but in the background not receiving input, which is a little bit more passive, but actually working out things. And I’ve found that my writing because I’ve finally have gotten back to working on the novel, which I put aside as well as everything else. This month and half and just it’s just flowing so much easier because I have had that space in my day to not be taking in the information, but just let the information that I have processed. This does mean I’ve had less time for some of the other things. Normally I would do as a business person, like I haven’t been on social media much. That all the past month I do check in couple times a Week 3 * a week or whatnot for sure, but. I will continue. To do that through the end of the year, while I get all this other stuff done in the House, I’ll get all the basics posted. So if you’ve been using social media for your notices for when next episodes are. But that will still happen, and if you write me I will get messages and I will get back to you. But I do want to leave a lot of. Space in my. Mind. And in my day to focus on for one, getting my long To Do List done that we have to do to get all this stuff done in the house and then being able to focus on my creative endeavors. Which as I. Said I’ve not been doing a lot of the last month and 1/2. So time to give space to my muse. And if you have the opportunity and way to do that, I would love to hear that you’re doing. As well, however. Keep in mind I don’t mean that you can’t bother me. I still love. To hear from you and I still would like you to write me if you have any thoughts, ideas, your own input, whatever you want to comment or criticize, anything that I’m doing. I love to hear it all. Just go to sagearts.com and use the. Contact page for your. E-mail you can still drop in on Instagram or Facebook and leave me a message on the posts or direct message me. And of course, if you find value in what I’m doing and you want to give back those PayPal buttons and and buy me a coffee, buttons can be found on the homepage of the sagearts.com as well as in the links found in your show notes or description. This section of whatever you’re listening to this podcast from, everything I mentioned that can possibly be linked is in that area also. Now hit that follow button on your podcast player if you haven’t already done so, because that’s going to be one of the best ways to be notified when the new episodes do come out. You can also sign up for the newsletter, which you can find on the news and. Notices little button on the homepage of the sagearts.com and I will send out a newsletter when the new episodes come out. So you know that they’re there as well. That should cover everything that you need to cover for now. So let’s just leave that there. I do hope you have the ability to give yourself space for your creative work in the upcoming weeks and that the whole idea of space visually. Opens up ideas and motivation for your work. I think you can be surprised at how much that in itself can feed your muse along with getting out and having your novel experiences. So do that. Keep feeding it. Muse of yours stay true to your weirdness and we will see you next time on the Stage Arts podcast.
