Dealing with Creative Gremlins | Angelique Noll | Skillshare

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Dealing with Creative Gremlins

teacher avatar Angelique Noll, Artist and Writer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

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About This Class

In this class we play with our creative gremlins and get a bit of distance from them, but we also identify our inner creative support/creative spirit. We all have a little voice inside of us that urges us on to create, but we don't often take the time to listen to it. Instead, we give all our attention to the inner critic and allow it to dictate our creative expression. In this class, we take the time to listen to both the critic AND the supporter.

The materials used are simple and were picked especially for their non-threatening nature, so that our inner critic can relax and we can enjoy the process. 

So if your creative expression is held back by a dominating inner critic, then join me here;-) See you inside!

Meet Your Teacher

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Angelique Noll

Artist and Writer






My name is Angie, and I'm a writer and artist.


My writing journey started many years ago when I took journalism and advanced journalism courses and started writing freelance articles and short stories for magazines, which were published in South Africa, New Zealand and Australia. I also designed and hosted a writers workshop, which took place over the course of a month, with weekly in-person meetings and lots of writing from the participants in between meetings. 


My fine art journey started right here on Skillshare, in 2017. I took some fun art classes in many different media because I had never done fine art before and had no experience, but I knew I wanted to learn. Gradually... See full profile

Level: Beginner

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1. CG Intro: I everyone, My name's Angie, and I've got a few right to score City on skill shape. I'm a writer living in Auckland, New Zealand, but I also enjoy expressing myself in other forms of art. So this is the first class in the Siri's off crosses that I want to develop on creative journaling for anybody who is not entirely comfortable with the creative process and would like someone to start my focuses on using what I have around the house for any of my classes on the are journaling, I would encourage you to really strike out on your own. And if I'm using a tool that you don't have been, don't go and buy it. Rather, just look around your house and see what can you improvise with, and how does it change the that you're creating? I think for me that's a big thing. Is being able to really create with what you have in the moment and leading the process unfold from the inside out rather than having um, a preconceived image in your mind that you're striving to create? So that's that's the way I approach my art journal. Today's project is going to focus on our inner gremlins and dealing with Ian equivalents and getting those out of the way. If you're looking for a simpler way to get going on our journaling, give it a go and see what you think. 2. CG 01: hi and welcome to our listen on Dealing with are in agreements. So the first step is in identifying what your inner critic has to say. The second step would be in objectifying it in some way, putting it in some form. And then the third step would be to put it away from you outside of you, but where you can see it, so getting some distance from it. So for your first step in identifying with you in, a critic has to say you just need a pen and paper and you're going to just make a list for take 5 10 minutes and just take it. Just be a little bit quiet and write down what you're in. A critic has to say so think about those little words that you get every time you sit down to draw or paint or write whatever it is that what you're creative market, what do you hear? What is it that holds you back from really creating fully and freely? So for some people, it's you can't do this that stupid Nobody's gonna want to see this. That sounds wrong. You don't know what you're doing. Any of those But it can also be overprotective things where you feel like you can't create fully because but there's something you're in a critical to more protective role rather than a damning and critical role. So you have to take five or 10 minutes now with pen and paper and just make a list off what your inner critic says to you so that you can identify its voice when it speaks to you. And once you've done that, you come back and we'll see in the next lesson where we explain to create an acronym critic . See you then. 3. CG 02: Okay, so now that you have your list off what your inner critic sounds like or your grandma know your monster, or you can call it what if you like, Really, we're going to use that list and that the feelings more so than anything else, the feelings that it evokes need to create an object or to create a picture off your in agreement. I decided I needed a way to work with my inner critic. That way I didn't feel pressure to create something that looked like something. And they One thing that I came up with was with cold cold, which could just know anyone. And so you would need some wig glue with nozzle. And this, to me felt like something I could work with where I didn't feel like I had to. There was an expectation to create something that looked in a particular way, so to create your inner critic. So this is what mine looked like when I created mine. I've seen pictures off other people's in the critics where they look like real little monsters. They felt they could draw little monster or created a creature I've seen in a critics being represented as just words and sometimes just as lines and shapes. And usually they form quite jagged lines and shapes. So, um, there is no what it's supposed to look like yours. You in a critic doesn't have to have, doesn't have to be a monster with eyes and a mouth, for instance. It can be a block could be aligned. It could be a shape. It could be a word. It could be a blank page. It could be whatever it is for you if you just get your wig glue, you'll see what I mean about feeling really free when you create it, so I'll show you how I did it. I've got to How did it and then So you just take a few minutes to think about that, lest you made about your inner critic and what you know what it says to you And remember, with would clue, You can't do detail, which is a really nice piece, and it's never gonna turn out perfect with with Blue, because blue it's pledges and does it? Don't think so. You just take your glue and you just decide what it would do in a critic looks like so it's really an internal process. So for me it was quite simply making the lines just they have to be a straight as possible . And while you're doing this, it's also really good to keep your list in mind and let it guide you and direct you. Because, to be honest, when I did mine in a critic like this, the first time in the straight lines came out. I thought, Now that's too perfect. My inner critic won't be like that. And as I thought that I thought, I know, But that's exactly the right thing. That's exactly what my critic is like it once perfection, it doesn't want mistakes. But with this flu, even if you were to draw a monster or lines, there's no pressure for it to look a certain way or be colorful will be composed or have definition or any of those things that are in. A critic might actually want us to think we really need. So this takes a long time to dry. You would probably dipping your wick. When you're doing this. You probably need to leave it for at least 24 hours and also depends on how thick, your would lose and the way they're in the humidity. Nowhere. So once it's dry, then you can come back to annexation. I'll show you what we do with it. See you then. 4. CG 03: hi and welcome back. So now that you've done your inner critic Ondas nice and dry, you'll see it's gonna be quite drive. There shouldn't be any weight spots when you touch it. Um, now you want to put some color on it. And obviously, if you're in a critic is kind of bland and has no color, well, then you don't put any color. But for me, my inner critic really wanted to be dark like funder, cloudy dog and miserable and just grumpy. So I guess that's how you'd feel if you want to be perfect the whole time. So that's what I did, and I and when I do our general, I really tried to keep it simple, but I really like to work with my hands instead of brushes because I like the tactile feel . I like feeling the paint, and I'm feeling the glue, like reading the paper. For me. It's a personal thing. I love working with my hands, and it also somehow feels a bit more freeing, like there's not so much pressure to be perfect when you're working with your fingers. So I chose a really dark I've got some every black and you just need really a little bit, too. Depends, of course, on the size of your in a critic page that used I used a tiny little a five size and because I wanted mine to be really dark in color, I just I just mix them and you just go over them until you're in. A critic looks the way you want, and so your color choice is obviously entirely dependent on you. And again, this is an internal prices. Ask yourself. You know, there's no some people in the critics unevenly think or lovely, like palace, because the meaning of the color is entirely up to you and because I've done this prices more than once. My inner critic wasn't always thundercloud. Sometimes my inner critic was read, I'm, But he does tend to be colors that I don't really like that much of colors that don't make me feel happy. And that doesn't mean that it doesn't make you feel happy. You might love read, and you might choose Raiders. You're happy color. But for me, maybe blue sometimes that the black is in your because it's kind of thunder cloudy, so you have to ask yourself, then go to with preconceived that years of what? The meaning off colors all it's entirely up to you. So for me, I just know my inner critic to be dark and thundery and what I had I didn't have any people . So what I have was I'm not a deep purple, blue and black, and that was sufficient. So that's all you have to do you how much your color is up to you. And it depends on what your inner critic looks like. That's really a very freeing process. You don't have to use your finger. Use a brush. If you want to use your sponge, choose whatever you want again trying. Create this from the inside out instead of just following my instruction. This is my inner critic, but really nice for you to create yours in your own way from your own inside out. And they're not seeing the next listen when we get to get some distance, see you then 5. CG 04: Okay, so welcome back to dealing with our inner critic. So once you've painted yours, you include it. You've painted it with some color on it, given it'll the characteristics that you wanted to the point of it is not too, is not to forget about it but actually to keep it in mind because you want to be able to recognize it. And before you start in the art project, you want to be able to look at your inner critic and say what? If you want to say to it, I see you, they This is not a place for you to come out and play. This is my place to come out and play. So what I do with my inner critic picture and if you're says a shape looker, any other other than just a rectangle, he could cut it out if you want and stick it up some way. I just keep mine on my desk, usually where can see it wherever I'm working. And so that's kind of a reminder that when I hear the things that I wrote down in that list in the beginning, that I don't have to listen to them then and the it's also the inner critic and sometimes have a very useful role. So it's not something that you really want to deny or shut off or just completely do away with. It is a part of you, and it actually serves a purpose. And so you know, the purpose that it serves is an entire class by itself. So but for now, it's just important to remember that your inner critic is It's just a part of you. And even though it serves a purpose, it doesn't need to serve a purpose at the beginning. Faces off creativity. So whatever you put your inner critic next, your computer on your desk in your handbag. We've just make sure that it's visible every time you sit down to creates it, and that it's away from your physical distance. It's nice and symbolic, but it also keeps a away from you. Okay, so now the truth deal belt with the inner critic. We have to do the opposite, which is going to be our in a supporter, our moral support. So I'll see in the next Listen, we were going to deal with that moral support 6. CG 05: welcome back. So obviously dealing with the inner critic least two sides of the coin. Not only do we haven't in a critic, will seven in a supporter. There's a part of us that really wants us to create and that urges is on to create, and that could be a great ally in our creative process. So in the same way that you did your inner critic, you also want to identify your in a supporter. We don't have to go through the whole processing lessons again. Now you know the process. It's the same steps. First, just find yourself five or 10 minutes alone and make a list off what your in a supporter might be saying to you. And this. This might be a little bit harder to make because we're so used to listening to our inner critic. We don't need a lot of time to figure out what it says to us, but when it comes to in a supporter, we don't always know what it says because we don't listen to it. It's kind of a little voice that we squashed down some way. So take some time now and just sit down and think there's a very quiet, silent little voice inside you somewhere that urges you onto create That says it's OK that that wants you to open up and express yourself. What does it sound like? And what does it say to you? And then once you've done that list, we come back to the next Listen see, they 7. CG 06: welcome back. So I know for myself and for some people that have done this exercise with making the list for in a supporter is quite a revealing process. And a lot of times people say, Wow, I didn't know there was such a part of me inside of me such a Evert supporter who really wants me to create. So I hope that the process of identifying it to making the list was useful to you. And now we just do the same thing as we did use your clue. And when I sat down to think about what might my inner supporter, I guess it's not so much. What does it look like? But what does it feel like? Like with my inner critic is more? But what does it feel like? If I had to represent it in some way, what does it really feel like? And for me, my inner supporter felt circular spiral something very soft. No jacket ages, no street corners. And just with that thought in mind, I just simply started on my page and I felt like something. Maybe Spira Lee would be good, something circular, but that felt a bit too perfect. And so I also felt like it might go this way. And so I created what to me, feels a bit like a, um, an outer space kind of shape, you know, bookstores, orbits or something like it. It felt circular and loving, and it felt like a hug, and it felt encouraging. And the fact that it's circular to me felt very much like the process off creativity and allowing that process off going forwards coming back, putting out going back in that sort of circular nous. But circles and round shapes to me feel very allowing and very forgiving and very nurturing . And that encapsulated with my with my inner supporter felt like so once again, you're in a supporter. Could feel very different. You're in. A supporter could have a face. It could have a body. It could have. It could be a person. It could be a word. It could be random lines or shapes. It doesn't matter. It will be interesting to see what you create. So again, just go inside, allow the feelings of it to guide us to what you want to create, and then you come back our next steps 8. CG 07: hi and welcome back. So another two in a supporter has dried. We're gonna do the same thing as we did with our inner critic. And again, it's entirely up to you. I'm going to use my fingers. It's up to you to identify which colors you're in. A supporter Matthey. When I thought about it, I thought, minus supporter has to be a very soft think white, maybe a little bit of orange. That was the kind of colors I would associate with it. And the one thing that I really like about this process is that the pressure off trying to color something in and shaded and make it look nice when you work with glue and with random shapes isn't the which is kind of free. - I'm happy with that. To me, it feels soft and loving. Onda feels kind of freeing, an unhappy. It feels happy, and that's the feelings that I want because that's my inner supportive feels like. So again, you're just going to put its separate from you. Put it outside of you, where you can see it every time that you create so that you're reminded that not only do you have an inner critic. But you also haven't in a supporter that's there to support you until you on and actually wants you to create. So you can see it as a support system and put it somewhere where you it's visible and so that you can forget about it. And it's quite useful to do this every nine again because are in a critical night in a supportive can change. Okay, I hope you enjoy the process. 9. CG 08: Okay, so now that you've created your inner critic and you're in a supporter and you've got them outside of you, I hope that you feel some sense of connection with him when you create and that you actually use them in your creative process so that the inner critic doesn't step in and block you and that you actually listen to the voice of your inner supporter because they are there to serve you in some way, whether it's protective or encouraging, there are there to help you. So, like I said, this is the first class in the Siri's off creative journaling classes that have got plan, and it is aimed at expressing from the inside out. So if you're interesting, that sort of journaling or expression and I hope to see in Mannix loss