{"id":318,"date":"2026-08-29T08:04:28","date_gmt":"2026-08-29T08:04:28","guid":{"rendered":"https:\/\/thejournalingmagazine.com\/?p=318"},"modified":"2026-08-29T08:04:29","modified_gmt":"2026-08-29T08:04:29","slug":"painter-creative-process-documenting-ideas","status":"publish","type":"post","link":"https:\/\/thejournalingmagazine.com\/index.php\/2026\/08\/29\/painter-creative-process-documenting-ideas\/","title":{"rendered":"No Journal Required: How One Painter Documents Her Entire Creative Process"},"content":{"rendered":"\n

Welcome to the part of The Journaling Magazine where we investigate what other people do with all the stuff going on inside their heads.<\/p>\n\n\n\n

And no, you don\u2019t have to own seventeen beautiful notebooks, journal every morning at precisely 6:14, or keep colour-coded records of your inner existence to end up here.<\/p>\n\n\n\n

These interviews aren\u2019t necessarily about journaling in the traditional sense. We\u2019re interested in something much broader: how people capture, keep, develop or completely fail to record their thoughts, ideas, experiences, memories and creative processes.<\/p>\n\n\n\n

That might happen in a journal or sketchbook. Or on a phone, a scrap of paper, the back of an envelope, in photographs, paintings, collections, unfinished experiments, suspicious little piles of things or entirely inside someone\u2019s head.<\/p>\n\n\n\n

We want to know where ideas begin, what happens to them along the way, what gets saved, what gets thrown away, what somehow survives for thirty years in a drawer and what disappears forever because somebody was absolutely convinced they would remember it.<\/p>\n\n\n\n

Because documenting a life doesn\u2019t always look like a journal.<\/p>\n\n\n\n

And that makes it all the more interesting.<\/p>\n\n\n\n

Meet Corrie<\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Corrie is one of my nicest Threads friends, who happens to know a few things about life, health challenges and art.<\/p>\n\n\n\n

She paints with acrylics, collects ideas wherever she finds them, keeps entire painting processes on her phone and apparently has a cupboard where failed paintings are quietly sent to be reconsidered later.<\/p>\n\n\n\n

Because before a finished painting ends up on a wall, quite a lot has already happened that nobody ever sees.<\/p>\n\n\n\n

Photos have been taken, screenshots saved, colours mixed, ideas rejected, things changed and, occasionally, something has been banished to the aforementioned cupboard.<\/p>\n\n\n\n

So I asked Corrie to take us inside her creative process from the first spark of an idea to the finished painting.<\/p>\n\n\n\n

Where does a new painting usually begin for you?<\/h2>\n\n\n\n

A new painting begins with an idea. This can be a photo from a magazine, a photo from the internet, or a photo I took while travelling.<\/p>\n\n\n\n

Sometimes I create a composition myself, for example using real flowers, as I did for the painting of the gerberas.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

If I make a painting on commission, the client provides the idea, including the photo. I then decide whether or not I will accept the commission.<\/p>\n\n\n\n

I am always looking for new ideas or inspiration.<\/p>\n\n\n\n

For my painting of the Algarve, for example, I took a photo during a boat trip, which I later developed into a painting.<\/p>\n\n\n\n

Do you record your ideas somewhere beforehand, or do they exist only in your head until you start painting?<\/h2>\n\n\n\n

I usually take a screenshot of ideas, or I choose a photo from a magazine and put it on a separate shelf in the cupboard.<\/p>\n\n\n\n

Does what you envision beforehand actually end up in the painting, or do you deviate from it along the way?<\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

What I envision beforehand usually ends up in the painting. If certain things don\u2019t add anything, I sometimes leave them out or change them. That is my artistic freedom.<\/p>\n\n\n\n

The common thread is that my use of colour is always somewhat more intense and expressive than the original photo I base my work on.<\/p>\n\n\n\n

Every painting tells a story about the phase of life I am in at that particular moment and about my thoughts and feelings. This happens automatically and cannot be controlled.<\/p>\n\n\n\n

What happens to failed paintings, experiments and ideas?<\/h2>\n\n\n\n

Failed paintings end up in a cupboard. I do keep ideas, as they may still come in useful for a later painting.<\/p>\n\n\n\n

But not every idea suits me and\/or my painting style, so I sometimes put ideas aside as well. It has to be suitable for painting with acrylics on canvas and I also want to be challenged.<\/p>\n\n\n\n

Is it important to you to preserve something of the process, or not at all?<\/h2>\n\n\n\n

I regularly take photos of the work I am doing. I share these with the client, if there is one, and with others who like to follow the progress. I also talk about the process and explain why I take certain steps, because I enjoy sharing my knowledge.<\/p>\n\n\n\n

When I was working on my painting of the rose, the client regularly came by to see my progress.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

The image I am painting is on my smartphone, so that way I can always see how far along I am in the process and what I still need to do or adjust.<\/p>\n\n\n\n

It is always nice to see how a painting develops, from the initial pencil outline on the canvas and the first brushstrokes to the moment of signing it.<\/p>\n\n\n\n

A painting is finished when I feel that I have given it my best and that nothing else needs to be added. That moment cannot be predicted.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

In fact, the entire process from beginning to end is on my phone, apart from a sketch that I sometimes make beforehand and mixtures that I compare on paper.<\/p>\n\n\n\n

Is there a painting or other piece of your creative life that means a lot to you?<\/h2>\n\n\n\n

I am currently working on a painting of the Mezquita in C\u00f3rdoba. I first made a sketch of it on paper before setting up the painting on the canvas.<\/p>\n\n\n\n

When I walked around the Mezquita in 2019, I thought: one day I am going to make a painting of this. The atmosphere and the sense of tranquillity I experienced there made a great impression on me.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

This is an enormous challenge in terms of perspective and mixing all the different shades of colour.<\/p>\n\n\n\n

In my view, this will be my masterpiece, but for now it is not finished yet.<\/p>\n\n\n\n

I will finish this painting first before possibly accepting new work or starting a piece for myself.<\/p>\n\n\n\n

This painting is the one that is dearest to me compared with everything I have made. I will never part with it.<\/p>\n\n\n\n

I am most proud of my painting of the Algarve (2024); this was quite a challenge. I also consider the mushrooms (2020), the tulips (2008), the gerberas (2022) and the freesia (2025) highlights of my work so far.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Has the way you create changed throughout your life?<\/h2>\n\n\n\n

As a child, I already drew a lot, and my drawings were almost always published in the school newspaper. I had high expectations of art class in secondary school. The art teacher emphasised other means of expression, such as linoleum cutting. I grew to dislike the subject and never drew again.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

In January 2003, my mother was dying. By coincidence, I read about a course at the art rental gallery I always visited. She encouraged me, and she thought it was a nice idea.<\/p>\n\n\n\n

Six months later, the course started, and gradually it became clear that painting with acrylics suited me best. It turned out that I even had talent: I could create depth, and my use of colour stood out.<\/p>\n\n\n\n

I took courses until 2009. After that, I did not paint much anymore, until I started again in 2019. My development progressed quickly, and I gained enough experience to be able to solve any technical problem I encountered in painting.<\/p>\n\n\n\n

About Corrie<\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Corrie didn\u2019t originally come from a creative background. After studying economics and languages, she graduated in 1990 and went on to build a career in insurance, working for ING and Nationale-Nederlanden. In 1999, illness brought that career to an end.<\/p>\n\n\n\n

Years later, there was finally room for something new: painting.<\/p>\n\n\n\n

Painting, she says, has made her happy and helped her regain confidence in her own abilities. Her philosophy is wonderfully straightforward: \u201cAs long as you know what you are doing, any painting can be realised.\u201d<\/p>\n\n\n\n

Today, she works primarily with acrylic paint on canvas. Problems with her wrist can make painting a serious challenge, but with what she describes as \u201ccourage and careful consideration\u201d, she continues to create whenever she can.<\/p>\n\n\n\n

And perhaps that is the most interesting part of Corrie\u2019s story: documenting a creative life doesn\u2019t necessarily require a journal or notebook.<\/p>\n\n\n\n

Ideas can live in screenshots, photographs, sketches, scraps of paper or on a phone.<\/p>\n\n\n\n

What matters isn\u2019t where you keep them, but that somehow, somewhere, pieces of the process are preserved from the first spark of an idea to whatever it eventually becomes.<\/p>\n\n\n\n

Corrie on Threads: https:\/\/www.threads.com\/@corregie_66<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Welcome to the part of The Journaling Magazine where we investigate what other people 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