Boost your Creativity and become an Illustrator | Maria Avramova | Skillshare

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Boost your Creativity and become an Illustrator

teacher avatar Maria Avramova, Illustrator/Animator/Filmmaker

Watch this class and thousands more

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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

19 Lessons (4h 9m)
    • 1. Introduction

      4:02
    • 2. Materials - In this section we will go through some materials that can be useful during the creative

      2:38
    • 3. Connecting the Dots - This is an introduction to how our brain forms patterns. This is going to be t

      6:29
    • 4. Seeing And Perceiving - How to use your personal experience, memories and ideas to create an illustr

      8:26
    • 5. From Association To Illustration - Illustraiting through Associations.

      18:36
    • 6. From Association To Illustration - Finding the graphic language for each image is different. Here yo

      14:29
    • 7. Applying Associations differently - While painting the background I´m sharing some interesting thoug

      9:38
    • 8. Painting the background and Some Thoughts - While painting the background I´m sharing some interesti

      15:34
    • 9. Working with Color - How you decide what colors to put? How to trust your gut feeling.

      11:15
    • 10. Adding graphic elements can improve your illustration. Here you will learn how to approach that.

      16:40
    • 11. What is Symbolism and how can you use it to create a meaninful illustrations?

      17:51
    • 12. Working with Contrasts - We will start with how a contrast Big/Small can trigger your creativity and

      7:17
    • 13. Big vs. Small - Graphic Language. There is no right and wrong in illustration, there is only a proce

      20:33
    • 14. Another approach with Big/Small. The world of playing with contrasts is endless and you can come up

      6:44
    • 15. Making Color Decisions

      31:08
    • 16. Find the Dragon. Your imagination will be triggered to come up with ideas when you give it a suggest

      20:25
    • 17. What´s behind the Door - brainstorming session. You can do this exercize as many times as you want a

      15:00
    • 18. Make A Library - dogs. Here we are going to work with different styles of dogs to create a habit of

      11:01
    • 19. Make A Library - houses. This is another playful exercize where you create a library of houses and t

      10:45
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About This Class

"It is a really inspiring course! I think that most of the people who want to draw one day faced with the rules "how to draw", "what to draw", "first draw in academic techniques". And as for me, I was a little depressed that I can not study all this stuff because I'm not a young girl in art school. I don't have so much time. But due to this course, I will try to find my own creativity which is possibly not worse than inspiration and manner of famous artists."

Anna Shirina

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"I love this course! I have learned to look at creating differently!"

Robin JOHNSON

If you ever wanted to become an illustrator but you´ve been thinking that you can´t paint or draw, then this is the course for you.

Here you can learn how your own unique experience can make you a unique illustrator and why.

Our brain works in an amazing way, creating associations and patterns in our heads to make sense of reality. To illustrate is not really how you draw but what you draw and what message you convey.

I will teach some very interesting and fun techniques that will immediately boost your creativity and will make you start illustrating without any knowledge of anatomy or the rules of perspective.

You will learn how to convey strong ideas, how to use your memory database to illustrate, and much much more.

You will learn about how to work with color and graphic elements to enhance your illustration.

This course is packed with fun exercises that you can even do with your whole family.

Now, let´s begin.

Meet Your Teacher

Teacher Profile Image

Maria Avramova

Illustrator/Animator/Filmmaker

Teacher

I am a character design, film director, animator, and illustrator.

 

I have worked in the animation industry for over 15 years, bringing characters to life. I have worked with clients such as McDonald's and Ericsson to create top-notch 3D animated characters for their commercials.

 

I´ve had the privilege to direct actors such as Sir Roger Moore and Peter Stormare among all, as voice actors for animated movies. I´ve worked with renowned illustrators and screenwriters such as Iain McCaig, the legendary designer from Star Wars, to breathe life into stories and characters.

 

The TV-show I´ve recently written and directed, called Space Yoghurt, is having a worldwide success and has been featured twice in t... See full profile

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Transcripts

1. Introduction: Hello there and welcome to this course. Here are a few words of introduction. Now, what is an illustration? And illustration is very different for different people. But what you might have thought of illustration is maybe this perfect image, perfect landscape or something down. And that follows the rules of perspective, follows the rules of anatomy. And that's why you have been telling yourself that you can't draw your account illustrate. Well, I'm here to prove you wrong because the variation of illustrations, doubts are so vast that you can't really count them on your fingers. And if you, if you open Internet today, you will see that there are amazing illustrations of RAM children's books do abstract art that our house of this variety of styles and there is no, only one way to illustrate. So what I'm going to do here is proof that you're also on Illustrator. And there is this specific and unique illustration style that is going to bring your creativity to life. Not only does that, this creativity will spill in every area of your wife because you will start seeing things differently. I am going to teach you how our brain connects the dots to make sense of all reality. And also how this can apply to your art and to everything else that you see. You will realize that the memories that you interpret your own personal memories is seen through a specific way of how you see reality. It's an interpretation and thus what an illustration is, it's an interpretation of reality and everyone can be an illustrator. So I'm going to prepare you for some fun times in this, in this lecture that we're going to go through very, very interesting exercise and using words that we're using associations to be able to bring, to bring out this personal touch of yours that is unique only, only to you and, and can help you to become an illustrator. And also, I'm going to talk about shapes and forms, about contrasts, about, about what color do we use, how to use gravity and to enhance, to enhance our illustration? And much, much more. While I'll paint, I'm going to give you some tips and tricks from my personal career. I've been doing that for many years and I have been as a beginner. I was also wondering and scared, maybe like you, you like YouTube. I had, I had artists that I admired. I wanted to copy the style. I wanted to be just like them. But eventually, after I did that, I realized, well, I have my own style. And this is actually what I was looking for, copying this artist and learning Haldane done it. So I hope to and to give you the same experience and to bring the artist in you through discourse, through showing you step-by-step hop, how I do at how I think. It just gives you hints and ideas. How you can unlock this creativity yourself. So get ready for having some fun time with fun exercises. And you know, you can even do them with your family because they're so simple and they're so fun so everyone can do them. And I'll see you in the next lecture. Now, let's get started. 2. Materials - In this section we will go through some materials that can be useful during the creative: Hi there. Here I'm going to talk about materials a little bit. And I'm going to use a number of material. I'm going to use monthly. Does kind of from papers walker are Cornell paper. Also. I am going to use these markers and I'm going to use a watercolor when I paint. These are Russian watercolors. Dots are really like, they have really nice quality and pretty cheap compared to other watercolors. I'm going to use some brushes. I'm going to use some thick watercolor brushes and a small one that has a tip. And I'm going to use also acrylic paint. This is some of the cheaper brands here, dot ableton dispersed more like four children, but they're fine to me. And a query color is more like a tempera. I mean, they have like a thicker consistency. I'm going to variety of colored pencils. And also these are the brushes for acrylic. They're a little thicker and there is a smaller brush too. That's why is that important? Because acrylic color is thicker, isn't. It reminds me of an oil color, but it's water-based basically. It doesn't, it dries really fast and it gives disk this thicker consistency that is different from watercolor. And I'm going to use this pilot here to put my acrylic acrylic color and you see the dry really fast. So you can either use just does watercolor or you can use all of these things, whatever you have, because not everyone has all these colors. But if you want to experiment and you don't have to really buy the most expensive things you can do really well with just just to use the children's children's pencils or markers or anything. The most important is to use your creativity that we are going to do in this lecture and in this course. So I welcome you here and I hope you're going to have fun with it. So CEO inside this course, See you there. 3. Connecting the Dots - This is an introduction to how our brain forms patterns. This is going to be t: Hi there and welcome to this first lecture of how to boost to creativity and become an illustrator. Now, let me start by this simple exercise that will give you something to think about how we make associations. Let's start with this. For example, I'm going to put a random dots on this paper. I'm just going to use a marker. And I'm going to put a random dots, like gout. And after you do this, do you see any figure here? Any pattern? Many would say maybe you do if you zoom out. But basically there is no specific pattern here. Now, let me do another thing and split this dots a little bit closer together. So let's put one here. One here, one here, one here, one here, one here, and one here. Now, do you see dots or do you see pattern? Well, of course you do see dots, but they are now clearly forming a pattern. You see clearly that if you connect these dots and your brain, it is basically connecting them already. You can see a sphere or a circle. Now, notice how our brain works. We tend to see patterns in dots, in, in basically lines that are closer together. And this is very normal because we tried to make sense of all reality. And for example, if we talk about energies, if you talk to even talk about molecules, we not to go to scientific. I'm not a scientist, but basically everything in our reality is built up small, small particles of small molecules and, or brain connecting them into, into objects. So if we are to make more dots closer together to this dots, we will form a certain pattern. And we will look for a pattern to connect these dots and to make a sense out of them. This is something like if you look in the clouds and, and you see that the clouds are forming different animals, so halves or anything. This works in the same way. Or fantasy or a brain is trying to make sense of all reality and make it look like something we're familiar with. Now, what does it look like? It just immediately connects the dots to the dot-dot-dot are closer together and makes, makes a pattern, makes a figure. And the more you draw patterns between these dots, you are not only trying to make a figure, you're trying to make sense of what this figure represents. Now, the more I draw these dots closer together, the figure that this thing represents to me, it's something that will be connected to my own perception of reality. Now, what I see here, for example, is that to me, this one looks like an open mouth. So if I put an I here, doubt maybe your CO2 and this kind of looks like a weird dog. So without even having dots here, I will probably just connect this one and this one enters, make some kind of legs, for example. And this looks like a dog with a big spot on it. So because this circle is inside, I can just shade it and say, well, there is a dog with a big spot on. And usually I know that the dogs don't just have one spot that will basically look more like a dog with a whole anytime after. If I'm looking for to make some kind of our more and that kind of movie or dot kinda drawing, I would leave it like that. And just maybe our limits of a dog with a whole but memoir said like there is a dog weighed spots on. So I'll just do that and that. Maybe I'll have his ears here. Maybe I'll have a TIF here. And this is already from being just a random dots on the paper. Now become a figure of a dog. So this is how our brain works and how we try to see patterns. So I'm going to take this ability of wars of our brain to make associations of different shapes, lines and form, and connect them together to build, to build an image for us. That's an understandable image for us. And I'm going to talk about how this applies to illustrate some in the next lecture. See you there. 4. Seeing And Perceiving - How to use your personal experience, memories and ideas to create an illustr: Hello there and welcome back to the next lecture of how to boost to creativity and the common Illustrator. Now, let's start from where we left it at the last lecture, how our brain tries to connect the dots to make sense of our reality and to make patterns so we can easily navigate through life. So what is illustration? Illustration is not only about the form of drawing, it's not only about what we see, it's also about what we perceive. Now perception is more at the core of illustration and the core of art. Basically more than what we see if we see at the picture, even if it's a photo-realistic picture, the artist has tried to give us just a piece of a reality that we need to perceive in a certain way and interpret. And everyone would interpret this picture differently. So to become a good illustrator is to deliver a message that matters to you. Mostly because we all have different experiences in life. So that's why I am going to talk about, about perception and how your vision is more important than what you are trying to, if you're trying to draw something clean and nice. Now, uh, let me take, for example, a word here and let me see what this word means to me and what this word means to you. Let me, for example, take the word, the word wind. Tried to associate the word wind with your own personal experiences. Now, what does the word, word wind means to me? It basically because I'm brought up near the sea sides, the Black Sea. The word immediately associates to me, the wind, the sea. It's a wave. Let me write some words. It means wave. It means leaning trees. Leaning trees. It means birds. Birds flying off. Just, just write some words. What else does it mean to you? It means clothes in the air. Clothes. Now, let's take this association and put it in some drawings in a clean sheet of paper. Just try to draw the symbols that you wrote down. And don't try to be made with your drawing, just trying to draw the way you can to assault, to associate the word wind to what it means to you. For example, I'll draw a leaning tree like that. A very roughly, I'm going to draw a wave, maybe half of this picture as a tree in C. So I'm just going to draw the symbols of wave, what I see as waves, like doubts. What else did it mean to me? It means a bird's virus in the air. Words in this array, I'm just going to draw the symbol of birds in the air. And what else did it mean to me? It meant a person. Clothes, clothes. India. No, I see that there's a clear direction that the wind is coming from this side. So I'm just going to draw a person, a symbol of a person with his clothes, maybe a scarf in the air. And his body really tense to fight the air. What else did that mean to me? It bends. There is a trees maybe I'll draw another kind of tree. Number of trees. I don't even, I don't even try to make a clean drawing or make sense of perspective. Just draw the association of what this word means to me. And now, now, when you look at this picture, what is the next Association you make with these trees? And there is a clear image here that is forming a clear composition. And what it conveys to me personally, it feels more like an outcome, like loneliness from this image that I started from a wind, I see a lonely person in the wind. It's a feeling of maybe a summer ending. And then our enhance this sense of loneliness by adding a long shadow. Now, I'm trying to work with symbolism and enhance the feeling of loneliness to me. Now, the feeling of loneliness can mean something else to you. And the feeling of, and this image may mean something else to you. Just try to, to find what this image means to you. And what the symbols that you are conveying. What kind of symbols have you, have you found out for this image? Now, this is a very simple, simple image that is already an illustration that conveys an idea. Now. And let me take this image and using this symbols and enhance it with color. And enhance the composition of this image to convey even a stronger idea of loneliness, of autumn, communion of person may be facing a winter and turning his back on the summer, which is in a way for me personally who is was lived in. On, on the C side, it has always been a slide of sound sense of melancholy. One, the summer is over, m1, the tourist are leaving and the town gets empty. And this is a sense of loneliness to mean. This doesn't need to mean the same to you. But what I'm going to convey through illustration of that Image.all I picked up for awards is the same data I experience to you. So you can see the world from my eyes. This is basically how you convey how you design illustration for different people to go out to see the world through your eyes. Now, let me take a different sheet of paper and use these basic symbols to enhance this image into something that will become uneven, clear illustration. 5. From Association To Illustration - Illustraiting through Associations.: So welcome back. So let's continue with the association that we work for. We started with the word wind. And I gave you some association that I make according from my experience of what Wind represents to me. And this might be different from what this word means to you. So try to pick up some words and symbols that this word represent for you. And later on, I just drew the symbols that I wrote down the word means to me. And now, for the steps of associations, what we did in a previous lecture was that it gave me a new association of loneliness, of end up somewhere of emptiness. So let's take this association, father, loneliness, end of some Mar, building up on the words and enhancing this feeling to design an evil stronger illustration. So what does loneliness means? It means that you are alone. You feel like your small in a big world. So let's start with that association and just draw the, the ending, like the beach line in the end, very low corner of the paper. And now I'm drawing, I'm drawing on watercolor paper. So it's a little bit grainy because I'm going to apply colors to it. And I have glued this tape around the paper because when you draw with water column, you want your paper to dry out as in this position. Because if you, if you're painting dries out and it's not tightened up, it's going to boat in places and the illustration will not look nice. So just use any kind of surface and, and use some tape to tighten up the illustration. So I'm just going to go and draw one line. And what I'm looking for here in this association is how to evoke the feeling of loneliness. And this is basically a small person in a big world. This is the association. So I'm going to draw the same guy and very schematically here. And I'm going to use this scarf association, just make the scar bigger. So use any kind of Measurements to be able to make the personal look smaller. And it doesn't have to be anatomically correct. It can be schematically the way you can draw it. And you just play with shapes and forms. And we barely see this person here. And I'm just going to make the scarf longer, which makes him look smaller. And why I do it longer. I can use the association that we will get here. Why? While looking in the shell dot the when is so strong that the scarf is blowing in the wind and it's coming towards us. It gives a kind of a false perspective sense. Dots. And that the scarf is coming towards us. And I'm going to give even this person, just, just tighten his arms here as if he's struggling for the wind. And I'm basically, I'm not going to be able to see his face. Just a small person maybe even give him a hat ahead here. Now it looks more like a, like a woman. It doesn't matter. Just a small person the way you see it. And the scarf, just the ending of this curve gives some graphic elements. Now, what else did I, did I come up, this is, this is near the sea, so I'm just going to draw a shoreline that is also very low. Because what I want to do is I want to make this person and a lot of space here. And I want to make this person feel small. And I'm just going to draw as if the perspective is very low without necessarily following the perspective. And the notion of perspective. I mean, you can make all these surfing's being a C side. This doesn't matter because again, an illustration is conveying a feeling that you can break the rules of perspective. You can break the rules of shape and form in advantage of conveying a feeling. And that's what is great about it, that you can find your own style and you don't have to be necessarily a perfect drawer and very skilled, technically artists to become an illustrator, you can just trust your gut, trust your feeling and make this distinction of what you feel, how you feel because every one of us is unique and each of you convey your uniqueness, your feeling, to your artwork. You will become a great artist without being, being necessarily a very technical artists. So what else did we think about? It was, but I am going to make as if the birds are everywhere, like they're continuing then coming out from the person. And the small birds as if the birds are taking over the summer. The birds are the only one left, left there to be C, and they're exponentially larger than the person. And this is just symbols of words. They're not really real boards. You'll see that they're very simply drone. And I just want to make a diagonal line like that also as a sense of a wind, because now we have a scar. If we have this person leaning, we have a direction of this site as if the wind is taking over. So I'm just going to use more diagonal life. All lines to convey the direction of the wind. And it doesn't have to be many, many parts. You can find the balance of how many birds you want them to be. And as if symbolically, they are kind of following with the person living of leaving the summer. Also the composition of the person being further away from the center. It means that the sense of now something leaving out something ending, he's leaving the picture. So everything is about associations. Now, I've also drawn trees. Now because this symbol already are so strong, conveying loneliness. And if I put more elements in this picture, does how? Anyway, I think you may see it a little different and you can fill up the image with a lot of elements that is suitable for you. But for me, what I want to convey is the sense of loneliness of our small person in a big world. So I want to leave a lot of space for his person to feel small in. So I'm not going to fill it up with a lot of elements. Now, I'm going to start with using watercolor, and I'm just going to use three or four colors to do that. I'm going to start with a big brush and I'm using this set of watercolors. I usually, always by a Russian watercolors. I mean, I'm not rush on, but I mean, they have, Russians have a really strong, strong tradition in art and they have very, very good quality colors and everything. So I usually tend to use them, but you can use any watercolor as you want or any other elements. So I'm just going to start off with black and dark blue and add it to the sky. Just mix so etas, dark blue and just do with a roughly, you can find the first layer of your watercolor painting can be very, very rough. And you don't have to be afraid of making a mess. Because using dust few colors you will see later on how this, without being very good at watercolor or anything, it will create a painting for you that is very strong, is very dramatic. And you have started from just association of the word wind or what the, when the word Wind represents for you. Whatever drawing you're trying to do right now. I mean, I hope he'll following now with the same with Association of wanes and want wind means to you. Now I'm going to paint over these birds because later on I'm going to use another color to take out, to bring out the birds out of this background. Because I want the watercolor just to cover the sky. This is okay to do it and interrupt presents a dark or dark stormy skies of an atom, an atom coming. So I'm just going to to do that. And, but I'm going to leave the person just outside of recoloring area. Tilt, add one bit of color to it. And you see that just because there was a calendar paper are forming very nice elements here. Like they're looking like clouds already. In your English is starting to, to convey this dark, dark skies. If you're actually, if you're trying to now follow this image and try to practice to weigh their associations I give you end with the associations that I'm working with right now. And maybe you have taken just my association. You borrowed mouse, my association at the moment. Just to practice the way you can do things. Because that's okay. I mean, that is what the lectures are about. You try out how other people think. I mean, basically how I think at the moment, because I've done that for many, many years. To come to this conclusion, I've passed through many experiences. And one, I've 19 grew up and 19 grew up as an artist. That was also the way I did it. I copied artists that I admired or I studied with my teachers. I just wanted to do, I just wanted to know how they did things and just get in their heads and see how things can be done. Before I really started to try things on my own and started to, and to do things on my own and finding my own style. So this is totally okay. But if you're doing something on your own, something that is associated to basically how, how you do things. That's just great. I'm going to add another layer of darkness here of this dark skies. And later on, I'm just going to grab another medium because Walter color. Is tricky. You cannot put too many colors before it gets, it gets noisy and it gets to two months to, the paper gets too tired. So this is the advantage and the disadvantage of watercolor. It keeps the colors fresh as well as you cannot add or withdraw a lot of stuff from it. It special is a different kind of feeling. Now we have the skies and now I'm going to clear the brush well, so it doesn't have a remaining color and I'm going to put a contrast color to it. So every color looks strong in comparison to another color DO has either a different kind of warmth towards or temperature. I, for example, when the blue colors are, are called and the yellow and red colors are warm. So to be able to make the scene look dark, I'm going to use another color. I'm going to yellow, that will bring the pitch to look bright. And I'm going to turn it down with some all chrome because I want the beach also to look slightly colder. Blue color. Yellow color is called, but is not of course a cold color, but compared to or read and lumping, it appears code next to the blue. So I'm just going to make a beach or the yellow. Just to have this person walking on the beach. Again, in association with the words up wind that I started with and what it represents to me, and how you go about to find associations and to find meaning in words and convey them in your illustration and become an illustrate them. Basically. Again, you don't have to be a technically good artists. You don't have to draw a perfect figure and anything to become an illustrator. Because the illustration business basically is very, very wide in range. There is, there are so many different styles there. And you can use all of this, all of these advantage of variety of styles to basically find your own style. And now I'm going to paint here with a smaller brush. I'm going to paint the line of the sea and it's going to be something in between. I'm going to use some kind of ultra marine, more of an intense blue color to paint this C. So maybe something like that. And now what I want is this C to B on its own to be perfect line. So I'm just going to make sure that this C is not messing too much with the sky. So I'm just gonna try to be more careful. I've see it is dry ice. If the sky and the sand have dried, then try pretty much but awaits for a while. If you need to, to have the sky and the sand to dry. So so you have this clean line. I want the C to look as if it's very, very small. It's the sea to me also represents some are, if I put this line very low down, which means that the c is already a very small part of what is happening that embed a very big part of what's left after the summer is just dark blue skies and along the beaches. So if you just place, put it in words, what do you mean in like, what does it mean to you? And just draw exactly what, how you're saying it and flag the summer is gone. The dark blue skies are hanging Over the beach, over the empty beaches. And the sky is dark blue. And the birds are living for the summer. And that's what I'm basically painting. So now we have the basic colors and I'm just going to let it dry a little bit and come back when that's done. 6. From Association To Illustration - Finding the graphic language for each image is different. Here yo: So now that we have the painting a little bit dried out, I'm going to continue with acrylic colors and draw the details of of this painting. I'm just going to start with a white color right now and paint the birds. So why is acrylic painting important here? This is because acrylic painting is water-based. You can use, you can use water to mix it with. You can also use temporary or gouache painting. What I'm looking for here is I want to paint the birds with the mood tick color then was a watercolor is because the white watercolor wants to do good. This is something like basically knowledge of other colors and I'm just going to put a little bit, a little bit of color in one of these pallets. Just a little bit. Acrylic can be very cheap or very expensive depending on what kind of quantity we're looking for. But I wouldn't suggest that you go with very expensive color because it's not really necessary. You can do the same job with less expensive color. And I'm going to take a rather small are acrylic brush. This one is also used for oil paintings. And I'm just going to start finding where the birds are. So here is, I can see the lines underneath. And I'm going to use more color than water because you see that the skies are pretty, pretty thick, pretty pretty dark. So I'm going to use this one to just Marquardt aborts are way too white. And, and, uh, you can, you can use that from the beginning. You can leave the birds white, or you can do it the way I do it. Ylls now try to find where the birds are and paint them with a white color. And what I'm wanting to convey here again is the same, the sense of summer ending of belongingness. And something that to me represents the term or the season ending. This may not mean the same for everyone. For example, many of you may live in different climates or indifferent series and also may represent warm tea or causing less inside. And we like different things. That's why it's so important that you bring something of who you are and how your experience are into your illustration world. That is what's so important that we have different experiences. And different moods. So, so to illustrate, it means that to find your uniqueness and presented to the world, we don't want to see the same painting over and over again. You know, many, many thing. Say that, Oh, well, you know, you know the Rembrandt and you're not a Bangkok or you're not this one on this one. Well, lucky us that we're not because the word already has a Rembrandt and Bangkok and they have maybe has a different kind of teachers that have maybe said, well, I'm not until now door, whoever they have admired that we are here to learn and to learn from our experience to one from our teachers, how they have done things. But also, we are also here, if we are interested in art, we are here to find our own voice and our own unique expression. So someday people will say, Well you're not D's and Taotie know whoever you are here or from our students. And it's never too early or too late to start. And because this is a process that is timeless. And you can, you can do it doesn't matter how old you are and how you draw. You can be even five-year-olds for even if there are some kids here. I'm just congratulating you that you're starting with that and you have a normals creativity. And you're not afraid of, of doing things wrong or right. You can win a lot from that, from just be yourself and just draw or how you associate things with. And, and you see that you already were just simple images. This image, those simple elements, this image, this illustration is giving you an association of summer ending. Even though there is no, a very advanced advanced technique value sim, simple measures. We're campaign the end of the summer and I'm going to paint this person also white because I want them to be part of these silhouettes of the birds. And here, just as I paint, and as I paint the birds white, I come up with a new association while I'm in the process. That is to make the person whites as well as the boards. And here I find an image, another symbolic value of dots of that during the same dissolve, the same color. Because It's, the person is living like the birds. He is like abort and he's leaving for a living this summer for this year and waiting for them other summer. And it also enhances his or his loneliness of summer ending. And now I'm just going to enhance and just his voucher just the way he moves. And later on, I'm going to go with another element, another color, and enhance even more details of his body. And just, just use NORM.DIST using three colors for colors to, to paint. This illustration. And again, illustration is not about being technically correct. It is about conveying an idea, conveying a feeling, and just doing it your way. And now I'm going to make the the ending of his scarfs A1 larger as a part of the park. And you know what? Now, when I see it, it's can be a really cool when I think about it. To make a part of his scarf, of this ending, of his scarf actually becoming births. So I'm just going to make a part of his scarf here, becoming, becoming a board. Because the simplicity of the birds now are allowing Min dot, dot. So it will enhance the feeling of him being as a bird even more, leaving for the summer like the boards do. And they move to a warmer climate. But they're also in one direction because of the wind. Because acrylic color is also water-based, you'll have to use more color than water to be able to enhance the whiteness of whatever your painting up the white. So I can enhance some parts over and over with another layer of color to achieve that. And so, so I'm just going to add these tiny element, even though people will not think about it. Because as an image, it sounds really see this little bird coming out from, from his scarf. But I'm subconscious level, people will associate the birds, the guy leaving, and the wind, something that is a little bit nostalgic and melancholic. The end of summer. And I'm going to just leave him as a figure. Not even make his face or anything just as a single silhouette. Living for the summer because we started with giving him features in the beginning. But now I just don't think it's necessary. So that is also the joy of illustrating because while you are in the process, you can discover new associations. You can discover something that you haven't thought of before. So just added in there now, most strict rules when it comes to illustration and how you can convey your point of view, point of view of reality. Now what I can do is basically I can just add some waves to it. May remember we have the other symbols of ways waves. And I'm going to add that with some brushstrokes of white, like that of stormy sea. In one direction. Not, not too much, but just to associate that it is windy, skies are dark, the summer is over. So this might, you associate may be aware this dormi words, how would that look like them? This is dm is going to be something that is very unique for you. And here I can use if I can enhance that technique even more and outline that's in a different way. Or I can, I can leave it like that. This is up to you how, how you want your image to look like, but already like adults, it is a stronger image. Now, I will choose also to use a pencil slightly to enhance this parts. At some places. This is for going to a technical thing, more rather than something that it's necessary. You can use all kinds of technique. You can use all kinds of elements to it to enhance your drawing. But what do you want? You want you can take into consideration is basically the feeling you convey. And now the space that I've given for this black sky and vertebrates is because I wanted, I wanted the person to walk a really small in the Greek world to enhance the feeling of loneliness. So this is one way of basically painting and designing an illustration to a proton illustration. How this painting, this illustration looks like when it's a little bit dry it and yes, it's a little bit self illustration, but that's what you want to convey. When I started with the association from the word wind. And take it further with what this means to me and my own experience, experience. And I ended up with this image, one the summer is living. And so I hope you have done your own associations and just posted in the Q&A and share your experience. 7. Applying Associations differently - While painting the background I´m sharing some interesting thoug: Hello there and welcome back. Now, let's continue the lectures. We're showing you a couple of different elements and techniques of how you can boost your creativity and become an illustrator. How you can use associations and how you can use symbolism to boost your creativity. So now let's use another word. Let's use the word cat and the word closed. Now, the first thing you can think of is a cat that is closed somewhere. This is one way of thinking. Now, what if we take these two words and apply one word to the cat and another word to the way of drawing. So we basically have a cat that is with closed lines. Let's do that. I mean, why not? You can approach it this way. So in this, in this way, I'm going to use a more decorative kind of drawings. So I'm just going to use lines that kind of represents a cat and they're going to be closed lines. So whatever I do, I'm just going to use elements of a cat like ears, like chunky body. But they're going to be all closed because we've decided that they have, the cats will be within closed lines. So I'm going to draw a symbol of cats, symbolic cats. And these cats who will have maybe patterns like that. What else can I do? I can just draw a cat that is upside down or around that cat. But every shape I draw a cat is going to be a closed shape. And this one is going to have a bigger nose or a mouth and is going to have open eyes. It doesn't matter how you draw the eyes. What you need here is just to draw cats that are contained within the lines. What else can you do? Well, you can draw much longer cat that is within closed lines. So you'll do polls here with Jean cloth lines are something that represents a cat. So we'll have ears and you can even play by doing one straight line and see where it takes you. And now that you have that, you can find also the patterns, the forums to know like we did in the beginning. And I see that this cat may be continues this way. So I'm just going to continue and make a really long cat. And I'm going to make a tail still within the closed lines. And here I'm going to have a cat with a mouse and the mouth. And here I'm going to have the cat with maybe this shape of eyes. I'm going to try to make a different kind of pattern. What else can OAuth other cat can I do? Let's do another kind of cat. Cat that is round. Maybe is going to be a long cat. It doesn't matter what kind of cat you do. You will do a pattern of a cat. That is, we deem closed lines because that is the association that we did. And this one is also maybe going to be with the eyes like that. What else can you do in this gut? You can have the cat also going on this side and having the tail. Why the tail on this side. And you see how you connect, even though you don't see that this is the same cat. Because your brain is designed to connect the patterns and to find patterns everywhere. You will see this cat continuing here. So what you can do here is just also make some kind of Randy, some kind of a cat with the patterns which will enhance the feeling of this beam, the same cat. So you can do some things like that. What else can you do? Do you need more cats? Well, I would say why not? There is no limit to how much you can do. You can do a very long cat like that here, a small anything cat. And you can have the mouth of this cat being alone. And you can have some small ice here on this cat. There are no rules here. You decide the rows. What else can we do? We can do, now that we have a long cat. Let's have a really wide square and fat cat. Now, illustration again is about creating association and also creating some kind of aesthetic feeling to your viewer. And now let's do this IS being like data, different kind of character of cat. And let's do a cat that is from this site. Now that we started with another square cat within the lines, because that's what we've decided. And now let's have the face being over here. And this cat looking at this cat. And let's have this cat's tail beam coming down from here. And let's have another cat in the corner, again with the enclosed lines. Just filling up this corner, the symbol of what a cat is. And this cat will look up a little bit of Angry cat. So now that we started with two words, cat enclosed. And instead of just imagining a cat being close to within one place, we've decided to apply the word closed to the ways we draw the CAPTA, which means that within closed lines, all the lines of the cat should be closed. It doesn't matter where you find the association. Whatever association you find will trigger a creativity process in you. The worst thing you can do it is to say, well, I can't draw, I don't know what to draw. Just whatever you do, just bring up your dictionary or whatever you do. Look up something somewhere around you, look outside and see a symbol or a word. This will trigger on numbers of association in new data will trigger you to start drawing in a certain way, and that will become an illustration. Now, let's take this cat's, this illustration of cats. And I have started this without thinking a really about the process. I haven't really prepared out. So you're all watching what I do straight up online on the spot. And you can see how easy it is. So now let's decorate this gap because this painting, this illustration, has become a little bit like a decorative illustration. What does it mean decorative? Well, it doesn't have perspective. It doesn't apply to the real rows of photo-realistic cats. It's obviously way from photorealistic cats. But this is become a very interesting illustration that will be enhance with color. And now I'm going to use a mixture of techniques of colors to bring up this association of cats and become a habit, become more appealing. And see you in the next lecture. 8. Painting the background and Some Thoughts - While painting the background I´m sharing some interesti: Hello, welcome back. Now I decide to paint the scats, this illustration with acrylic painting. And I'm going to do a ground background color with acrylic paints and that is blown. And because I want this drawing to look more decorative, I'm just going to use one color. And I'm going to be more careful this time. So to not go into the lines of the cat because I want this gets to see it still be within close lines. This is the association that we might. So I'm just going to paint the blue collar around all the cats and just have them white so far within the lines. And just be careful. And I'm using again, a flat brush is a little bigger. And this brush, as for acrylic paint, if you go to your local store, that will basically help you over that. Now you can also use these brushes for oil painting. To tell you the truth. I mean, I I mix brushes with different techniques because usually when I even when I paint oil or anything else, I just do I paint with the brush that does the work for me. I don't go after the role dispersion views for datastore, Fourier, other purpose, whatever does the job done. And usually supplies, art supplies can be pretty expensive and they don't have to be. You can do the same kind of artwork with a very cheap and very affordable art supplies. So don't try to have your local store, guy or girl seller make you feel guilty that you don't buy a brush that costs fortune. Just say I'm fine and just can do good art with that kind of fresh. And in that tip and the pleasure of coloring of doing a decorative art is that part of the process. You can spend it just filling the colors, which is kind of enjoyable. It's a little childish. Also, just painting around the lines. Also very enjoyable. You can do that also with your kids. They will love to do that job for your WebView and draw this, this funny cats. And on. The thing is that every illustration you do, no matter what you want to illustrate for, do you want to have a nice, nicely framed art on your wall? Or do you do at, for a certain kind of purpose? You want to, to illustrate for children's books, or you want to do something for your local paper. Something that means something. There is a story behind us as we did before, there is a feeling behind that. Or you can also use that as a print on your t-shirts or on your bed sheets. Especially this kind of cats can be a really nice pillow and something that you can put online. Or you can give a present to someone, to friend or family member as a birthday, as a birthday gift, as opposed to something that you haven't done. There will also, they will love it. So, so this is also a nice way to think of illustration. Illustration doesn't have to be super difficult to do. And usually when you hear these words in our illustration, It's kind of a scary at first glance. It's like all becoming an illustrate that is something impossible. Of course, when you say that most of the people who say that what they assume is an illustrator is someone that draw, like, for example, like gum, Michelangelo. And or someone, someone else that draws a photo-realistic paintings and drawings. And thus what you think and Illustrator is. But still there are so many different styles of illustration. There is no, only one way of doing illustration. So considering that you are really free to do so many different things and some explore so many different styles. So even though, as you know, even know Picasso, he has started by doing photo realistic drawings. He learned the craft of drawing, the roles of drawing for later on to free himself from this craft and to start drawing really Cubism, as you know, that he's actually famous for right now, is more of the Association of his painting and drawing. What kind of feeling that his dad, he conveys with his painting in the most strong. Images and illustrations are those dot convey something to you, some feeling to you. And this is basically also the basic of an abstract art to basically convey a feeling. And that means something to, that is more interpretable because if you see some image that you know what it is, we'll sell. Okay, well that's nice field or that some nice painting, a nice landscape. But it will end there. You will not try to interpret it. And as people, we really want to recognize ourselves into the artery to wherever we listen or we paint or something we want to we want to get something out of it, something that associates to us something that we find familiar and you find the meaning for or selves. What does it mean to us? And that's why art, that's why books are so important. It's not only that we learned something, but we also, it's like a mirror to us and we recognize or self, somebody gives us some kind of a justification. Yes, I know how it feels. Or at least yes, it's I'm not alone in feeling this way. I am. I can understand this filling and it's nice that someone else does it too. Now how does apply to these cats? I mean, who doesn't love cats? Cats are funny. Bear fluffy. And the image that I have with cats being so, so different. I mean, that's already quite funny. I think. Don't you think? There? Of course there are also people who don't love cats, okay? You can draw a clause, dogs instead of close gaps, and it doesn't matter. So what matters the most is that something that has meaning to you? And sometimes you can also paint something that doesn't have meaning to you. Trying to find the new meaning for you, for something else is also our way of triggering your creativity and trying to find what this is to you. Something that you've never thought about. Everything can trigger your creativity. The one thing you have to do is basically to say, to ask yourself questions, what does it mean? What could it mean to me? And how can I interpret it? And when you ask this question. Brain will immediately present to you images, memories from your past, dreams, our things, from your personal experience that no one else has. And it will give you suggestions what this really means. So just take that word and paint out. Now I'm going to go and use a smaller pencil, a smaller brush. I mean, I'm going to use a smaller brush just to go around these gaps and have them neatly painted it. And already just adding one color to the painting, to the illustration. It has some kind of vol, very graphic expression. It just becomes more interesting with his drone white cats. On paper. You can decide also where to stop. You can have this cat's be completely white. You can give them color. I'm going to do an effort interpretation of the color of this cat's, of how I see it. But what I suggest is that if you do this exercise exactly the same, you may be just break it down, do it a little different, differently. Maybe add a different color and the background at the different color and technique to the cat's seawall, you get done. The thing is that you don't know how you will surprise yourself. That's what illustration is, is a process of discovery. Not only for your viewer about for yourself too, because you don't have to have a clear vision of what you're going to paint to start with. But you need to, you need to start, your need to ask yourself the questions. And if you haven't been discovering something through your painting, while then this is you've lost something. The end Why would have done that is because of the fear for your failing, fear of not doing it right. But there is no such thing as doing it wrong and all right. There is just a process of what you can do and who you are in this process. Because you will continue to evolve, you will continue on grow as an artist. And at each point you will design a new draw, different art. So this will never be the same. You might find one style. You can stick to this style and you can find that a lot more enjoyable. But you can also change styles. And there is no right and wrong way of, of anything in art of how you do things is just through discovery and enjoyable process that you will find the best illustration style for you. You may not be a 2 founder of certain style. And sometimes you will say, well, I don't, I don't like this drawing. And why does it happen that at some point we don't like certain drawing or painting or illustration. Why do we think a certain dating need to be done over and over? Well, there are a couple of things that are playing a role here. And one thing is the composition. Now how will compose things and how this composition appeals to us? And another thing is if you have a certain standard of how you want your drawings and paintings to look like. Like for example, you want to look for a realistic and they don't. And you say, Well, does like a kid's painting. Well, you know what? There is a certain style called nativism. We're really very big. Artists are trying to pay incline kids and the count because when you learn to draw, it's very difficult to go back and to draw a more simple shapes. And sometimes this style is very, is very nice, very relaxing. Like for example, this kind of decorative style of illustration that some funny that is basically conveying a different kind of idea than the one I did in a previous lecture. So now down the background and I'm going to let this drawing, and I'm going to let this painting dry a little bit. And then I'm going to give some of the other calves are different kind of shape and color. I'll see you in the next lecture. 9. Working with Color - How you decide what colors to put? How to trust your gut feeling.: Now that the color has dried, I'm going to use some different paint to to differentiate the different cats. And not only color, but also different techniques. There is no row here. What I'm going to do is just try to make this image more interesting the way I see it. Now, I'm going to use graphic elements and also warm and cold colors. As I talked about before, warm colors are yellow, orange, red, this kind of scale. And the cold colors are blue, green. And this kind of direction and the blue-green kind of on a range. So I'm going to use now again acrylic paint. I'm going to use some okra and some yellow. I'm going to mix it here. And I'm going to mix Yvonne and some watercolor, watercolor or all kinds of different paint to make the other cats look different within. So it's a more decorative kind of drawing. For me. I will also, I'm going to start with one cat here. And this one, I'm going to make orange, orange watercolor. Watercolor counts. Let's give it this texture. See what we've got here. And just paint like that. And I like that. I get this kind of fall. Really different kind of texture than I have with acrylic paint. You can also paint with watercolor around this, this blue, this blue area here. It doesn't matter. It's just that you play around with colors. You play around with shapes. And you just see what you get. And the interesting images you get when you paint out. When you dare to illustrate. Basically, it's going to give you so much freedom to explore with different, with different techniques and different colors because there are no really of roofs. There are specific techniques. If you paint a photorealistic painting, if you paint with watercolor and there are some limitations of the medium, but you can use the limitation of each medium as an advantage for your painting and for your illustration. Like, for example, like for example, a lot of water colored dots. It gives such kind of such kind of texture to the painting, to this, this particular cat. And like that. Now I'm going to make this cat pink. And I'm using just a warm or arrange of the colors to differentiate this gets from the background. I'm starting from different corners because I want to get the feeling of what do I need next to do with the cats? Because as you see, I started this image without knowing how this going to turn out just with an association to draw cats within closed lines. And I'm taking it from here and building up the image one step at a time. Now, let me have this cat being black. Black cat here that is behind this, this first get that I drew with closed eyes. And why do I have a block either? No, it's just how it fails. There is no right and wrong. Again, it's what I want here now. What I'm doing and black is because I want this cat to stick out. Some cats needs to stick out and sum, needs to go to the background. This is how I feel that my, my illustration will be more balanced. And we will convey a sensation of more decorative kind of drawing and painting and illustration and will be more interesting basically to the viewers. You can try out many different approaches and see how your cats, cats are turning out. And you see that even if I paint with black color here, this black color is not as strong as the blue color that from acrylic paintings. The acrylic paint, that is the difference in material. And acrylic paint. Y is a little bit tricky to paint with acrylic paint because you don't really know how the color turns out to be before it dries out. As you see, we started with this acrylic color. It looks much, much darker, but now it's just turned out pretty bright. Brighter than when we started. So this is something that can stress you out. You think you're painting on one color and it turns out to be something different. But just play alone with the material and see what you need to do next. Enhance it with some kind of a different technique. And that's what I'm going to do. And now this one here, I'm going to leave this gatt whites so far. And I'm going to go and make this cat bright blue with some blue color. Different blower Then the one from, from the acrylic, the background. So this cat will be somewhat left in the background and will look slightly as, as if it's standing farther away than this other gets. I mean, that's what also color does. The colors that are behind some that are blue are always Given an impression that they're behind something else behind this gap, for example, even though they are in the same level. So I'm going to repeat some of the brighter cast because I don't want this to be just 11 color. So I'm just going to put some more cats here in yellow or orange to give an Unity for this painting. And I'm going to do even this one like that. And I'm going to do now even this cat in slight orange. And I'm going to give this cat red stripes. These stripes here. I'm going to live it, and it's going to be a red stripes. This coloring of those cats doesn't have to have anything to do with a realistic cats. It just has to do with the feeling you get for this, for this painting, for this illustration, and repeating colors. So somewhere at the same painting, if given some kind of unity dot, this color is not on its own. The other is kind of a system to it. Even know only you know that what guides you are here is only your sense of what needs to be, what needs to be done. Your sense of color, your sense of balance, how you balance out different colors and how you want in these gaps, gum forward. And now I'm going to, I'm going to bend this cat here in violet that is similar to this gatt. And just a hint of pink notice in the background because it is more farther away from us in this image. So that's what I'm going to do. And, and now I'm going to leave this GAD white. And I'm going to use another kind of medium. One, this painting, dry. 10. Adding graphic elements can improve your illustration. Here you will learn how to approach that.: Welcome back. Now the color is somewhat dried out and I'm going to use a felt tip pens, markers to add some more graphic elements. Now, what is a graphic element? Basically, when you add some more details because this painting now is vary. The curative. If you apply more repetitive details or if you enhance some features of this painting like the eyes and, and the contours tell lines around the cats. You get a better illustration basically. So I'm just going to go with a black pencil here. And I'm going to enhance the eyes of this black cat. And their noses. Just go over the pen that I've drawn form before. And it will just define shapes of the cats clearly, as well as every time you use another element, another technique, you make the image more interesting. So you don't have to stick only with one color or one sort of paint. You can mix them up a little bit to create more interesting illustration. And especially if you frame the same image or you scan it, you will get a very interesting textures and as a whole, more interesting image. This is something that in the modern illustrator, illustration world is getting more and more free to use different mediums. As with the digitalization of the illustrations, you can mix the different techniques and you can apply many different tools to convey a better idea of your image and new illustration and, and make the image more appealing. And now I'm going to make even these contours more clear. And I'm going to, Oxford also defined the, the cat's features. So a black. And here the head of the cat. Just go over the lines. Anyone, if somewhere you have thicker lines, that can be a nice impression of just exactly this style for this illustration. And now because I said, I'm going to have red stripes on this cat. And can do those here like that. And over here, some red stripes. You see that immediately it creates a contrast and this cat sticks out as if it's on the front. And now I'm going to have this gatt, have this kind of graphic elements. I'm going to do as if it has a striped hair. Some are symbols of hair on the cat. Of course, you can never see a hair on the cat like that. But what it gives, it, gives another kind of unity of the background of this cat. And it separates this get ball from the background, but also even more from this Get that is upfront. And also it just gives an interesting language, image and language for. Now, for this get, it adds more details, and that is what we call a graphic. A graphic element. The repetitive kind of patterns on an image is a graphic element to that image. It just gives a different texture to it and a different expression. And I'm going to add it everywhere. And I'm going to end until I come to the face as if there are no elements like dots on the face just to separate the body a little bit more and leave for the face. The, as it is. I like that a little bit. This looks like a funny cat. So I'm going to continue and enhance the other cats with black. This one, little sneaky looking cat. And like that, and even this one, the pink cat. Define them better. You can also use of black acrylic paint here. But I find that easier to, to know, do these elements over it with that kind of Panama, the marker, because it gives us some kind of all hidden away. The courtship cartoony look. This is really something that is going to be really a nice-looking in the frame. Or as as a pillow painting like pattern known that to print on your t-shirt or a textile print. It's going to look really nice. And here I'm going to give this cat features. Also. Have a black pencil. But now I'm going to use another kind of time cell to do these two cats just to be a little bit different. And what I'm going to do, I'm going to add another feature, so Gemma, another graphic elements. What kind of graphic elements can you give to your drawings? Paintings. And now I want to have them also undefined by black eyes here, like a belt. So I am going to even use dot. Not only the pink pencil, pink pen, but I'm going to also veins these cats where the pencil with a pen, just to give it another graphic elements, even though I'm going to fill that up with almost the same color, it just add a different element to my painting, to my illustration. Just fine how to make your painting, your illustration more interesting. And now I'm going to add some black stripes with this pencil on these cats. That is a wildcat with black stripes. Just to give it some accents, some more interesting different kind of look. Because as long as sometimes you use a different technique, IO create something more, even more unique to your painting, to your illustration. And if I'm douse here, and every time you enhance, you add something to your illustration. It kind of suggests to you, what else can you use? What else can you do to, to this illustration? And I'm even going to go and continuing on with this cat here and enhance the eyes and these and the pupils with a black pencil. And now I even want to give some more features, do my cat some more graphic elements. So I'm going to make some kind of a Or whiskers, different kinds of whiskers that will make the cats look funny. I want this guy to have maybe a whiskers, wavy kind of whiskers that will make the cats look as if they have different personalities. Different cats. Even though you wouldn't see that in a term. As an illustration. This can give you a quiet, unique look of your illustration. And it can give you a cat. Cats, some kind of a made-up personality so you know who the cats are. And, and this one, I'm going to get straight lines as possible for these gets going right up like that. There is no rule to how you do it. You just create different personalities, just play with it. And also, I am going to give someone, the cats, some more graphic elements. So with another pencil, maybe I'll get this orange pencil. I'm going to give no, that's too bright. So let me choose discernible, red or orange kind of thing. And I'm going to give you run this, get some more Four, Four likes for a light element to it. To enrich, to enrich the scatter, also make it different from this cat that has similar color, but it's going to have different elements. And you can go as far as your wife in this illustration for these different cats and find different expression, different graphic elements. And now let's give this, this gets even some graphic elements in know what, I'm just going to do. Some small circles. You will never see cat in circles like that. But this is because this is an illustration. Everything is possible and you see that these cats immediately starts look differently. And so basically, I will decide that for me, this drawing is complete. I'm happy with it. And why is that? And how can you decide when the drawing is complete? One is also a feeling you get to it. You can continue filling up with a more elements. But what I like about it is that not all the cats are the same. Not all cats have whiskers that there is a tone to it and there is a white area here where the eye can rest in. What does it mean? What does it mean the eye to rest? It means that not everything is the same. Not everything is painted in the same manner, in the same way. And that makes it more interesting. That makes you lead the eye immediately to this GAD for this and this got first. And I'll say it has now a nice combination, a dialogue between a black and a white gap in the background. So people can go around and find this interesting, applying, this pleasant to look like, to look at. So that's how this is another way to approach illustration. You see we started with just having the word cat enclosed. And we decided that instead of trying to have a cat, a clause kept in something, that will be the first thing to think about. We try to put one on association into the way of drawing. And you see that working with that, we've created this nice illustration. And and now you can carefully remove, when the drawing is dry, you can carefully remove this in this tape around you, your painting. I mean, see how it also gets slightly framed because of this tape. And you can frame this painting, you can give it as a present. Or you can find out that, wow, that was an interesting style. Let me explore it more. Let me, let me start and just do a couple of paintings like doubt using this style, but just applied to different animals. Let's do dogs, close dogs, Let's do calls, all OLS. Let's do cause foxes or whatever. And you can create maybe a line of paintings in same way, just during the elements of what you know, the animal represents. What our program anymore represents. Just working with the ER deals with the shape. And you don't really have to make the animal look precisely as it is does the, does the beauty of illustration. So here we have another illustration. I hope you have enjoyed this class, and I hope you've done a similar exercise. And let me move on to another way of triggering your creativity and becoming a god Illustrator. See you there. 11. What is Symbolism and how can you use it to create a meaninful illustrations?: Hi there and welcome back. Now, let's go ahead and give you some more tips and tricks of how to boost your creativity and become a great illustrator. So now let's combine what we've learned where the different symbols and different associations and create a new style of illustration based on symbolism. Now what is symbolism? Symbolism is basically an image that has a hidden, hidden message. Now, this symbolism, I'm in the first illustration that we did. It was a little bit symbolic, but still it represented in a way, an image of real life. Now, here we are going to use what we did with the closed cats with a closed lines here and demonstrate something. Some other style of illustration, basically visualizing a very symbolic thing. Like, now, let me take two words. The word I and think. I think. Now, what do you think about and how do we illustrate thoughts? This is basically a very common way of illustrating thoughts like, you know, having someone with a bubble over their head in illustrating thoughts. And this will open a big door to your creativity when you use your own experience and your own thoughts to visualize what you think. So now, let's draw what we represent. And this is going to be just a symbolic thing of a head, a human head. So I'm just going to draw a rough phase like that. Just a line of a person and with the neck. And it's fairly various schematic. There is nothing to do with a real person, but just what the porcelain represents. Again, here, you don't have to be able to draw just to draw this simple, simple faces. It represents a person. We see that we have a face with a body, and I'm going to symbolically draw the eyes and the eyebrows, just a line to represent the eyebrows and a line to represent the nose. This is nothing photorealistic here. And I'm not going to draw the mouth. I'm just going to draw this person thinking. And maybe with a closed eyes. And now we have already a face. Now, what I'm going to do here is like. I will represent a test, for example, like chattering birds. And I will use the head as the one, as if we see a bubble here of gathering births is like it's a thoughts in this array. Now how, how would you, how would you describe your thoughts? There in this array? Are our day calm and peaceful, and the moments are there like monsters are really scary thoughts. What are your thoughts? So you use this bubble in the same way that we did with the cat. And just draw a symbolic thing of your, of your thoughts. And now I'm going to do these thoughts as chattering birds. And I'm just going to draw symbols of birds. Chattering. Here is one. They're going to be different birds representing my different thoughts as if they are never stopping. And there is a board that is shorter with small big eyes here. And here is around big part with a big beak. And I like that and chartering. Maybe I'll give this one some bigger wings. And a motherboard here. And one here. I'm just going to use every empty space within this bubble to fill it up with birds. And already here, you're getting an impression. While to the wildest own mean, we even without me telling you, you kind of understand what I want to say with this picture. Well, these are because we symbolize a head and the ending of r hat with a way of thinking. And even though without me telling, telling you what it, what it is, you would suggest that these are these are my thoughts and there is something to do with many birds screaming inside my head. And here is another one. And I'm going to fill up this volume as if they're many, many boards. And here the more balls I create, the more noise is going to look like as if you have. And justice part here of small bird. Now, here is already an illustration that is a symbolic illustration. And what you can do from here. It's just use one graphic style. And you don't have to put too many colors. You don't have to use watercolor here and keep it really simple. Really. So just with the black pen and just outline that. And here you can use just the graphic style graphic expression to really draw and visualize this kind of illustration. And I'm going to give this eyebrow here, like a shadow, like shading as if this guy or a girl is shaded from one side. And it will look more mysterious, more thoughtful if it is the other way. So it already has a kind of mystery to it. And just completed over here. Now, let's draw the birds m. Let's use just the graphic language here to differentiate one board for from the other. And what can you do? You can basically use black and white and different shades. You can also use pencils. I'm going to first outline all the bots within them. And these bubble. And, and show you how you can with simple techniques with just black and white, differentiate the different paths from one another and create a very interesting illustration. Now, what is it that you can fill up this bubble web? You can draw leafs. If you're thinking of mater, you can draw, as I say, as I said, monsters. Maybe you dreamed of a nightmare and you have, is filled with this sensation of monsters. Just try to come up with a word with a visualization of what it is that fills up your thoughts and find the right symbol to it to visualize it. How this can look like, and how this image can be. Strong impression of who you are and, and how your thoughts are at the moment. And again, just using your experience to visualize and to find the graphic expression and to tell your story will make your style is unique. That's why you don't have to copy anyone else. I mean, you can use this example. To draw these boards and to practice and draw this simple drawing and illustration. And now that I have this image, I can use some pencils to differentiate these points. And I'm going to use black and white here. And I'm just going to use different graphic elements to make them all look different. So this one, I'm just going to fill up like doubt. That is the board that is behind. And this one I can make like as if it has some kind of offer, the same kind of graphic element that I gave the cat. But I'm going to make it a little bit more closer together. So it creates a shading. Instead. You see, instead of creating this kind of shading, this graphic element creates a different kind of pattern at different kind of shading. So you got, you get a tone. I'll blackness, but it's not the same as this one. That's how you can create different elements and different patterns and make your image look interesting. And the pattern here just turns out in the distance. And this one I can make with this kind of patterns here. So, so it has a different kind of texture. Just find different graphic elements to differentiate and give character two different points. So even though we work with only one pencil and we only one color, we will have different kinds of birds. What kind of texture can you, can you use? You can use dots, you can use squares, you can use. I mean, anything is allowed. In illustration. Just find your own way. And this one is going to be maybe in this way toward Lee, kind of like that. Just to be different from the other one, give the parents some character and some personality as well as if they're representing my different thoughts. One is different from the other, and you see how it just separates this part with the other one. Creating a texture. Usually, if you work in Photoshop, you can do that very easily by creating different brushes. But of course, the, the nice is, what is nice is this the pressure of the pencil and the hand is difficult to simulate in digital world. And many people are actually doing this texture for hands and. Importing it in Photoshop and doing different textures and applying it to their drawing. Now let's add another blackness to one of the birds like that. And let's add maybe dots to one. So it's different from the other one. Like that. And and when you work with one color, it's, this is one way of doing it, of making your drawing very interesting. And it's also very pleasant when you, when you do patents is basically like I left a plaque meeting actually. Because when you have your basic idea in place, putting texture to it, putting, putting salt called color to it. It's very relaxing. And what else can you do it? This one can be maybe shapes like that. And a combination. I've shapes with a little brighter dots. And this one can be again, rather dark. I mean, you can still a repeats the patterns as long as they give you some kind of band, different birds. And you now, what you can do here is like to make a really better impression is one of these birds can be with different colors. So one of the bullets is going to be blue. Now, that's going to give another possibility of thought. Why is this part below? And it gives another way of interpreting. This illustration is Slack maybe of them, all of the judging parts, all of the chattering thoughts that I have. One of them is A's in a way to set me free. Because if these birds are all one color, this one represents perhaps a freedom of mine or a nice thought to be, to be considered. And this one, I'll just have this texture and a little bit broken lines like that just to be a slightly different. Again, and I will leave some words white and textured because they're already sticking out pretty nicely. But I'm going to give this port the same texture as this one as well. Can repeat this texture somewhere like that. And this part, and now the black texture, so this one sticks out even more. And now I have this illustration already that is very clean. There is nothing around it. And it's a very, very strong with just an idea of having, I think and just having the illustration representing what you are thinking about and building up from there and creating some symbolic value. So I hope you are doing these exercises and just put whatever your ideas you've drawn in the Q&A section and show what you've done. So that was it for this one. 12. Working with Contrasts - We will start with how a contrast Big/Small can trigger your creativity and: Hi Ben. Now let's move on to the next technique to show you how to boost your creativity and how to become a great illustrator. So another thing is to play with contrast. Now, what does it mean? I mean, there are many ways to play with contrast. There is like playing with color and playing or Web, different meaning. But here I'm going to take one contrast with big and small. So playing or with contrast in what is big and what is small and reversing them. Let's take, for example, a man walking his dog. Now, we know that the dog is much smaller than the man. But what will happen if we reverse that? And if the dog is bigger than its owner. And for example, the dog wants to do his business because that's what we are walking the dog basically. And let's do an illustration playing with these proportions. So let's make a giant dog. And let's keep the shapes simple. We'll just focus on, on the dog being big and simplify the symbol of the dog and the symbol of a person. So now just let's get the dog like a big giant bowl with very, very tiny tiny legs. Because his legs will just make the dog look even smaller. I mean, even bigger. And let's have the dog just doing his business like that. And let's have this dog has this funny little face. So I'm just going to work with circles here and have this dog having this what is this cult was sort of dogs that have this dark nose and dark Knowles and dark phase wrinkly face with funny big eyes. Like about just doing business, not knowing that it's actually really, really big. Jill symbols with a dog's, with this dog and having this funny little ears like that, just play with the ears. And let's have its color being here, as if this is the neck of the daga, for example. And I have this nice little color, color, color. The shapes like that. And make his legs just simple legs. They don't have to be really looking like the legs of the dog. Just symbols because playing with shapes as also one way of making things look funny. They don't have to be photo realistic to look funny. Maybe quite the contrary, actually, a more on my visit, art can make things look even funnier. And now let's make his owner who are walking the dog. So let's make maybe the color being attached to a person. And let's also use this style and make the person are really, really simple. So just have the person looking like this big blob, but a very, very small and just holding the color of the dog, the lease that is going to be on a chain in here holding the lace. But now, what is going to be interesting with the man walking at giant dog while he needs to be careful where he's standing. So what can be funny? Solving this situation when you play with proportions, or maybe just makes sure that the owner of the dog is not only using the normal things like having a doggy bag and anything, but it's also bringing an umbrella with him. Because while it can be dangerous if your dog is giant and you need to walk your dog. So let's have this person just being tiny little person. And now where do you put his face while maybe he has announced like DAT and ice. Just very simple. Eyes like doubt. And maybe some hair. And let's give him some clouds. And here we can, we can work with patterns. Why haven't checkered shirt or something? And you see what we, what we want to achieve here is not necessarily the complexity of the drawing, but the simplicity of the message being funny. And now let's, for the sake of being maybe more schematic, Let's symbolize the dogs p.sit with just with lines like that. Maybe you want to publish it somewhere and y is going to be censored. But this is a way to solving it. And even to show that if you have a dog like that, while there is the danger, this can be light, informative, informative video. What is the danger of having a giant dog is basically having having the dog walked and creating this situation where you have to watch out if the dog does its business. Now, let's put this illustration in color and see what we get in the next lecture. 13. Big vs. Small - Graphic Language. There is no right and wrong in illustration, there is only a proce: Hello there and welcome back. Now, let's use some color for painting in this dog. And I'm going to use a very, very simple painting, our giraffe and drawing. And I'm going to use watercolor here. And I'm going to use the markers. Just mix up with style and keep it really simple. So what I'm going to do is basically just making the nose of this dog being black, this black areas here. So I'm just going to color is black and water color. Just to make it stick out and does look funny. And a really, really like playfully out. I would like to experiment. Where can I take this, this illustration from here? Can I make it even more interesting? And use this different styles to make it interesting. I'm just going to even paint this mouth. And let's bring some other color, maybe a little brownish to the eyes of the dog. Just mix it on black and brown, reddish, and make the allies of that dog, or around this area a little more brownish just to separate it from the other area and maybe bring some color in that. This is all on experimentation. In the process of painting is an experimentation. And sometimes you discover new things while, while you're painting. So you don't have to stick with the same thing, the same ideas, this can change and thus how also you discover your style. And I'm going to have this eyebrows here. You know, this dog, their local little bit, sad or something very, very cute. So I want to achieve this kind of look by randomly playing with the lines, leaving some spots and painted. And I'm going to paint the ears of this dog awesome, kinda black like that. And I'm also going to paint the legs of this talk. Being awesome, kinda blackish, like it out. And I'm going to bring this element of watercolor even to the umbrella of the guy later on. So just roughly, I'm going to specify those legs later on with another And with another medium with a marker. So I just want them to be distinct and visible. The dog's feet. So I'm going to paint it like that. Justice DO. And let's have also the umbrella of this guy being also black. And why this guy and has black umbrella and y is a guy like that. Well, it just adds more to the absurdity of the image of making it more funny. Because it's much funnier if it's a serious, very responsible guy, walking and John dog and trying to to protect himself from dog doing business with an umbrella is just make the image more search. So this is something using our sarcasm in your images using contrast like that. In another level I'm in and the meaning, and the meaning of the image and who is doing what. Making it even more interesting and even funnier for, for the viewers. Now, here is the dog. I'm also going to paint the eyes of the dog-like, uh, using more color now than water. So because I want to make the dog's eyes a little bit more Clancy and kind of like a realistic eyes moment. They are not realistic, but just as glancing the dog maggots Diaz more fair, more alive basically. And so I'm going to do that. And even in this, I still keeping in more alive, more V with my lines are not very tight. They're rudderless and I'm going to now bring even the nose, a little more of this dog, making it more distinct. And even bringing some wines of his mouth here and just giving some more distinction to his eyes. Anyone here. Now, it looks a really fun in this dog looks kind of surprised what is going on. I mean, it reacts the way that dog would react. And the guy reacts as if the guy was react in a situation, just being careful what he is doing. So I'm also going to give the dog this I'm going to paint the dogs color, also black. So it has a very distinct elements that unify the whole illustration. This disk, you can also experiment with this and already painted with different, different techniques and different colors. Dark can trigger your imagination and trigger your creativity. Because as you know, when you know that there are no specific rules really. And if you've, if you do it through experimentation, it will just give you so many different results. And that's why you see so many illustrations called them. And of course, if you look at, for example, Pinterest illustration on Pinterest, well, there's so many different styles and you wonder, well, how do I go about to illustrate and how have these artists studied? Where have they studied and what they have done to achieve those things. While there is a certain manner in illustration, depending on where you've studied. But this manner is just a way of someone to experiment what they can do and, and just to approach a style and the way they've seen someone else approach it. But later on, when you have experiment with the style, you actually start to become curious of what else can you do with the style and how can you approach it in your own way? And thus why, when your creativity is born. And thus one. And you actually start experimenting and trying out different things. And with this lecture here, we have this course. I hope to trigger that and I hope to give you encouragement that there is so many things you can do. And there's not only one way of triggering your creativity, and not only one way of doing things. And give you a permission to allow yourself to be creative and to try different things. And not to be set in only one way of doing things and not trust voices. And you knew your surroundings, whatever they come from your colleagues or from your family that are going to be an artist now something, just play a deaf ear to this, this kind of talk and ignore it and become creative because they will be surprised when you one-day open your own exhibition in illustration, or just give them a present, just print this on a textile, or give it as a present to them. They're on the realist apprised of what you can do. And they'll say, Wow. Did you do that and how did you do it? Well, there's only one way of doing it, just opening and unlocking your creativity. Now I'm going to give this guy a shirt or a clothing of red, is because he is so small and just giving them a different color, we'll make it more visible. Just draw the eye even more to this little guy in here so the people may see him and and not ignore him. And later on, I'm just going to enhance all that with a pencil, whether pan, and use different techniques to just exaggerate and refine things. So you can also use colored pencils here to do that. Not many people like watercolor. And of course you can use different techniques, but watercolor is something, is something that can give you cost surprising, surprising things. It can surprise you. It is a little scary as well because you see, if you are a beginner ego to find this kind of area, this messiness here. This can be scary to you because humans, we have this perfect color and perfect drawing, but this is what, that is holding you hostage. Holding your creativity hostage because you turn there to just broaden yourself and see what these colors can do for you. And how they can help you achieve unexpected things with your creativity. Now I'm going to get a black pencil and black pen here and enhance this, this illustration, this lines like that, and enhance the dog's face. So we have we have the color and then we can contain it with some lines. And the mouth here. And even the eyes. Just maybe put even more blackness to where the black is to enhance it. And contribute widths, some more graphic elements. And now I can even define the eye a little more, living even the places where the eye a little from the watercolor left. So I can see these clear watercolor spots that will give me a more vivid and more nice picture. And the year is no, I can define those, even give them some warm blackness here like that. And even this funny here, here. And just being hemming and doesn't really look like a year off. Even more interesting. So let's have the dog being around nicely around. Defining even the color attributes here. Like that. Being brave, doing this, don't be too cautious. As you see. The image is already interesting. And whatever we do from now on is just to enhance the image, putting some graphic elements and putting some colors here and there to enhance it and hear, what you have to do is trust your instinct and see where it leads. You. Now, know here we have this dog and we want to have some more graphic elements on this too. So maybe put some kind of our dots on his chain as a graphic element to enhance the language of this image, just differentiated and bring attention the face of the dog even more than what it is now. And just make this one here. And the legs. Very schematic, Lex, you don't need to do to know how to draw a dog to do that. Just to use a watch, you can just use the symbols of drawing a dog and then just enhance them. Your dog can look different from what it is here. You can even have a head of the dog or anything, just make a funny, make it interesting. And I'm going to enhance even this color, this leash here and the feet, this one. And now I can even draw this guy here, enhance his facial features. And you see I don't live on draw a face and it's still looks like it's a guy and he's kind of slightly worried. I mean, how do I handle this situation? Because when you want me to pull things in that situation, then look already. Kind of we expect to see a low-key one if there is no expression and we cannot expect some kind of expression. So let's make these and these dots good. This line being like blue and having a different color. And the color dot we symbolize water width, which is below. So let's do that. And, and, OR here only with a marker to differentiate this, these lines and just color from the guy and everything else. Because, I mean, this is also an important storytelling element of this picture. This here in a giant dog. What do you see during his business and how the guy is actually handling the situation? And so this is basically how we started by playing with contrasts and playing, with playing with absurdities and finding different elements are this contrast. And how, how we can create a funny, interesting illustration by just working with contrasts with creating. And we'll take in a guy with a dog and reversing the roles. We're reversing the sizes of the guy and and the dog. And what kind of situation this can bring us to and how do we solve it? So here we have this simple illustration. That means now so much, that is with a very simple colors. And now I can even use this. The checkered shirt on The guy with black here. Just to bring more details to the garage, to the guy that, that can bring the attention to the main basically character to in this, in this illustration. And hence his arms and his hands here. And but they don't have to be photo-realistic. But already, when you see this guy, you kind of assume, well, he has some kind of a fancy coat, you know, some kind of a Sherlock Holmes kind of coat. So maybe, I don't know, maybe he's British and you know that it's kind of brings up even more smile and fairs because of the sense of humor dot Brits have. I mean, I really, really love a British sense of humor. It, it can be really funny. I really loved that. So this is a very simple illustration that combines opposite starts, work with contrasts. And you see how this is completely a different style than from what we started. So what else can you, can you design? How can you play more with contrast? Think of different examples of what situation can be there. We're using contrast. Make maybe a cat N, N a person, the cat being giants and the person being very tiny. And how would this person and play with a cat and what the situation is going to be there. Or a door? A person, what kind of situation won't be if a door is too small for the person, how would that or can how the person get through the door, work with symbols and worked with simplification or whatever it is there, and work the way you can work. Don't be afraid to explore your own symbolic language in designing door or person or whatever, because the image in itself will lead you to create a very interesting situation with that kind of technique. So I hope you enjoyed this lecture and I'll see you in the next one. 14. Another approach with Big/Small. The world of playing with contrasts is endless and you can come up : Hi there. Now let's do another example or with big and small and use more humor. Now, we can work with big and small and news. Another word, let's say, we say big and small and hello. So what comes first in mind can be pretty absurd, but that's the most interesting ideas you have. Now, what comes to mind to me is basically a frog. I don't know why this comes from, but I'm going to trust my instincts and I'm just going to draw a frog. And I'm going to use this simple technique for being really, really simple. And I'm going to draw a giant frog. A giant frog saying hello. So basically, I'm going to draw the frog. And now with simple measures, where is the frog at the moment when the frog is in the lake? And that means that something, someone, the verb means to say hello to. And what will be interesting now is that the frog saying hello to a very tiny porcelain and how would the for the person go into the lake? Well, maybe it's authorities to swimming in the sea and suddenly gets to this frog. These are absolutely absurd thoughts, of course, but you need to trust your instincts and your, even your absurdity, you crazy mess. These are the keys to your creativity. Now what will happen if you are in the sea and this giant frog comes and tells you hello while, because you are polite, you'd say hello back. And this is where it becomes an interesting situation. So now let's make these stories guy. Whereas simple, laying in some kind of a beat Turing and just going around this frog. And I'm just going to simplify here and just make a guile of like a blob. And so you can do that as well, because you don't need to know human anatomy to be able to draw a person and just drew his legs like that. And another leg here. And we don't need to care about anatomy just seem simplified. And the arms can be something like that. And the other arm can say hello. Just make it like that because that's what we felt first. And let's make the ring looking like the rink. And how could we be able to see the ring Bader? Well, let's make the ring have this, this kind of patterns that are maybe read something that we can paint on later. And now when we have this guy, Let's give him some bathing suit. This is the guy bathing suit. Maybe this is his stomach. This is his now's. And we say our mouth like dots, maybe. A small mouth and eyes like that's sticking out. Let me saying hello. And let's give him some chin, is basically our normal tourist. Just drift it in water and seeing these giant, these giant frog. And the frog is saying, hello. And how would the frog say alarming has this weird fingers and it looks more like it's same. And just peace in on the sign of peace. And while it's saying hello, because it has three fingers and the frog is happy. So we'll have the frog open mouth. And maybe we'll have a two here. Two tf dot will look even funnier. And the frog will be on a leaf. Like God. So we'll draw the leaf and we'll draw the other leg of the frog being very schematic and having these three fingers. So that already looks very interesting. We're just playing with the notion of big and small. Now let's draw. And the frogs feet like that. Somewhere behind and this one being over here. It doesn't have to be anatomically correct. And it can be just schematic and just proving or notion of big and small. So, so here we have the frog and what else can complete our image? While if we do some waves around the guy being like that and also maybe just draw some kind of our environment and just defined the notion of perspective. And do another leaf here and another leaf here. Maybe a flower on this one, lotus flowers. That's our typical for those environments. And also play with the shape being very, very simple. And let's draw another leaf here just to complete this image. And now it feels like this image is strong enough. And we have a center of composition and something interesting here to start to work with. So let me go and paint this image to see how can I define this composition and make it more interesting. And with color. 15. Making Color Decisions: Hello there and welcome back. Now that we have the image, I'm going to put an acrylic color of green to domain the notion of the lake. And just surround that with all these green and leave the leaves and the frog and colored. But also I'm going to pour a little bit of blue as well, just to define these greenish below water. And this is something that you can define in the process of how you want the things to be. And just trust the feeling that you get when your painting. And I know that this color, because it's acrylic paint, it's going to look different when it dries out. So don't worry about it. Just painted. And I'm going to fill this surface with green, leaving all the elements of the image and white. And I will decide how I want them to be later on. But the first instinct that I get for putting color on this image like that, I'm following this instinct. So if you want to do that with watercolor or with, or just leave it be and just color the other elements. You can do that. As we said, there is no right and wrong here. And this is the main thing. Working with scores and working with elements is to actually push you to, to explore, uh, your own creativity and help you trust your inner voice. Now, I started without taping into to the table. So I'm going to live without that. This will be maybe a little bit more bulgy when it dries out. But another thing you can do when you paint and you haven't taped this painting to a surface, you have forgot to do that while you can when it dries out, you can put it between some heavy books for awhile and it will straighten up. Of course you have to wait to dry out because then if you don't your color, we'll just stick to the paper and will ruin your painting or your illustration. So be careful without. But most of all just be brave and play around with different shapes and color. And this is nonetheless painting that you'll do. Even if you do it wrong. And the first time you can always do it again, because when you get your idea and when you start painting your idea, then you can just repeat that. Do it even better next time. Maybe add some other elements, something that you haven't thought the first time. So there is nothing final, there is nothing that will compromise your artistic skills. Don't be scared if you feel something is not painted, right? This is not an ultimate failure for you. It is just something that you have unconsidered for justice. Image is just a matter of repetition. And if you want to repeat the same image, or you want to draw this image in a different kind of way. While you can just do that and don't be afraid of of repeating it. Now you see how with this, with acrylic paint, It's this very different variation of color. And when it dries out, you can see both the green and the blue, and it gives a special kind of texture. Some of, you might think this is too noisy. It becomes as Jen noisy background. While many of these things, just to get the perfect background is done also digitally in Photoshop. There, you can put these things in layers and you can already find on these layers and is different. You can polish this background, giving it a more generic and more calm all look. But again, I really like working also with colors like that too, because he just feels nice. I mean, before we didn't have the notion of working digitally. And we were used to working in this way and kind of dreamed, dreamed of not messing about with color, just being clean. And now it's the other way around. We are dreaming on getting our hands dirty. So to say, there is already an expression for that in this digital era. Getting our hands dirty, endless what it means, just messing with color and filling the pleasure of doing it manually instead of just digitally. So I'm going to feel all this space with color. And I hope you see that. I'm doing in a very broad brush strokes. Why I'm keeping doing that in front of the cameras. You see the difference when the color dries out, dries completely and it leaves these different shades of the color around. Now I'm going to get smaller brush and just paint around this guy. And because I want him I want him to be clean here. I don't want to enter with the color around this guy. And so I'm going to paint the contours around him with a color. I'm going to get out. This is where the work gets to. A little bit tidy. But I'm sure that I'm sure that you'll like that because this is something achievable. I mean, if you, if you have your drawing, there's nothing here to think about. You just have to be neat. So there are some processes in, in the painting and drawing process where where when something is just within your reach, when something you've ZZ, it just gives you a sense of accomplishment and allows you to continue to say, well, this is a process that I can handle on, but other parts of this process can seem scary at the beginning. Like for example, coming up with the idea. And this is something that I want to help you with, that this is, can be combined involve voice. So now here I have this sum. This painting, oh no, I forgot, I forgot here and the frog there is, stays around the frog dot. I need to paint as well. Easy to forget that. I'm just going to paint it and I'll get back to you. So now that the painting has dried, the color has dried. And I'm going to put some other color and some other medium on, on this painting. And I'm going to use watercolor to make the frog and the other materials and the other things in this painting. So I'm going to have this. And this greenish color to work with the frog. And I'm going to have even some yellow. So I'm going to just mix it up like that. And I'm going to try out the color like here. Okay, that's fine. So I'm just going to dot a little bit on the frog. And I want to have this nice greenish transparent color for this frog. And so it sticks out from the background. And why I do that? Well, again, just trust my instincts. What I wanna do is basically I wanted to have this frog as visible as possible. And because the background is so dark, I don't want this frog to be as dark because this is the center of the attention on my painting. But I'm not going to feel the whole frog like that because I want to leave some bright spots on the frog that are not filled with the color. And I want to keep this painting rather transparent on the side of the frog. And I'm going to even paint the frogs arms and legs with this color are more thick one. And I'm going to be careful not to go over the lines because this is the style I've chosen for this one that has more decorative kind of look or a more within the lines kind of look. I want and the frog to be pretty distinct like that. And also I want, I'm now going to color a one, this guy. And what I wanna do here, I'm going to take a smaller brush and paint and paint. The stripes of his water ring red. Because this is going to be a nice accent, a nice point where people can draw their attention. Because now he is very tiny, small and four, for him to be as strong as the frog, which is very big in an image, we need to bring the attention to him with a color that is very strong, which is red color. Red color next to a green color is a very good combination to bring attention. Because if, for example the background was red, well, that wouldn't have the same impact. If the stripes of the ring are also read, or even if the background was orange, that wouldn't have the same effect either. So cold color next to warm color is, gives the strongest effects in the image. Remember the cold colors are blue, greenish colors and warm colors are red, yellowish, orange colors. And so that is why this or this guy, well, just look. We'll draw attention if we put a red color on, on his swimming or in like that. And now is already having a nice kind of contrast and image. And let's also make this GYN guy and little sunburned, so a little orange. So we can see him also nicely and very light. Orange. Now this color will look even less strong when it dries out, because that's what's also is a watercolor. The color pale out as, as the watercolor dries. So don't worry that you put too much color. Long as you put some water is going to look pale and the guy will move. The coloring of the surface will look more smooth. So I'm just going to watch out not to mix it with their end because I want his body to be more distinct and so I can be able to see it. So here is his arm like that and here is the other leg. And I'm going to give the bathing suit. I'm going to wait until it dries and I'm just going to work on something else at the moment. And I'm going to even paint and the lattice here. Maybe I'm going to paint it yellow. So it's a little bit sticks out and combines with this style. But it's, it doesn't bring so much attention as the other things in the composition. Like the guy and the frog. Just a yellow color of the lotus. And now what I can do to make it interesting, I'm going to bring another element to it. And I'm going to color the leaves where it's some pencils. It's just going to give another kind of texture and differentiate the leaves from the background and from the frog that is here. Because the leaves are important, but they're not as important as the main image. So what I'm going to do is actually draw it. Phrygian sporadically because this will create a graphic elements. Remember about the graphic elements, it will create a different cropping element. If I just draw them with this kind of pencil strokes that give me more of a tone, as well as differentiate these surfaces from the main, from the background and the main image and gives me a different graphic element and makes this illustration more interesting. So just sporadically use this, this technique. Okay? And you see that even if I draw really strongly with the pencil, it doesn't have the same strength as it has words, the acrylic paint. And even this one. I can even use another green here to bring this Levy one farther back. They don't have to be the same. And this is a matter of experimentation and taste basically. Do you want to have your lives maybe also with, with watercolor found that's just fine. You can play around with vector. You can play around with different techniques and different mediums. Nothing is for B them in illustration. And it is about aesthetics and about your sense of what you think you wanna do. And trust, and trust your creativity. So what I will do is I will enhance the moused. This guy, this leaf that is closest to us. And what I like to do is I like to jump on different parts of the illustration. Just you have to get the feeling of how it feels like if I add another color here and there. Because I can change my mind that anytime that is allowed, any illustration, you don't have to think of something and then started and then say, well, the dividend, it doesn't logo, that doesn't work well, you can change your mind every time. That is what discovery is about is trying and trying it out, test, testing different techniques and different mediums. And that is what's interesting about. And we already have this nice interesting image. And now I'm going to use this blue color with and with a pen to paint a one the guys bathing suit, like a dot. And now what I'm gonna do is I'm still coming to use a pen to. And define the whole the outlines of this composition. And it will also give me these different, these different elements that I'm looking for, the definition that I'm working or looking for as well as I'm getting different kinds of textures with the acrylic or the watercolor with a pencils. I mean, I'm using everything here as you see. And it, it just contributes to my image looking more interesting, looking batter and giving me a different kind of notion to it. I mean, of course you can choose to really skip this background T1. You don't have to have a background. This is up to you how you do it. And now I'm going to use the same principles here with with the frog's eyes and having them like the dog, a little bit more alive, just giving in some kind of a bright spot as if it's as if they're real. And this frog is a little bit Cross died and these sorts of funny that it doesn't look completely to the guy. And it has this funny look. And I'm going to draw this like that. And even the mouth. I'm going to make it black inside. That will make the character more defined and well and create more contrast from where the mouth is and the teeth and the frog's body. So you will see clearly what a frog is. And I'm also going to define throw a dart frog features with black. Like that. You can also use watercolor or acrylic paint to outline it with black. But what's a color here? If you outline to the water column, it wants to do good because we already have these various strong background. So wild lining into with watercolor, which is much weaker than than a Creel, acrylic paint, is just going to disappear. So either you do it with a thin brush with acrylic or you find and, and different way to outline. And if you want to outline it, maybe you don't want to outline it. It's up to you really to try out different techniques and different things. So this is our frog. And again, we started with a notion of creating contrast. Something, something big or something small and play with the proportions. Exchange the proportions of what is big and what is small. And we also took a word, the word hello. What came to my mind was. Well, what if a frog tells Kylo to a tiny guy? And from there, I took it from there and created this image where the guy is a tourist, drifted from the beach on, on a ring, on a beach ring. And because he is the light and previous surprised to see a giant frog and where he has come. And just being polite, say hello to the frog with this surprise look on his face. And this is already a pretty interesting illustration. As we talk about illustration, not being necessarily just, just the nice drawings, just being able to drive to draw nicely. Illustration is a storytelling, is a symbolic language that makes people think and makes people wonder what is it happening? Or just give them, just give them an impression or put a smile on their face. Now, this is something that can go with a web of talking bubble here. Hello. And it can be very interesting again, this can be printed on a t-shirt and look pretty nicely printed there. And it looks pretty funny as well. Everything that can make it looks interesting. So here is already the image that looks funny. And now I want to do these kind of on a rings on the water with white. And I'm just going to use different paint. I'm going to use white paints now of acrylic to paint these rings on the water. And I'm going to use more paint than water. So, so I can distinct there's rings and let's see. Now this is a water color. This is a water color brush. By mistake. What is the difference is that this brush is very soft, and because acrylic paint is thicker, It's difficult to paint with a softer brush. You will need to grab the color better. And just do this kind of our water splashes of this guy in the water and also creates a nice contrast of these are very thick background and green background. So this is something that you can add, just break, break down. The evenness of something by adding some graphic elements. And if you have a background that is darker or while the graphic elements needs to come in white color because there is not much you can do here to add black color does not gonna do much because it's not going to be seen. So the only thing to do that is adding some black, some white color with white waves. And this is another way of doing it with acrylic white color. That is a well, a plausible on the acrylic color. And now let's give these guys maybe some kind of a direction that he has come from this side that will enhance the feeling of him coming out of nowhere. So just give him some, some slide to waive some traces of where this guy has come from. And, and this way and these frogs saying hello to him. So by extending the white waves here, it just makes it even clearer to us what has happened. Now, let's have another might be in green pencil and give the frog some graphic elements. What can we do here? Well, we can just do some kind of bubbles like Does he know frog has different kinds of patterns and even if they don't have and just give them some, give them some patterns, it will make it look more interesting. And different. Pen here. Just give them this, this green earrings. That will be more interesting. Something, maybe some on the stomach, very small little bubbles. You'll see that immediately the frog becomes more alive. It doesn't have to be all along, all along this frog just a little bit to give us some graphic elements. So here we have a new illustration where we played with contrast and the contrast of size of playing with small and big N small and playing with absurdity. Our situation, starting with something, starting with the word, with the word hello with a fraud and just play around. And how could it look like if the frog was giant and the person was, uh, was small. And where the frog and the frog could be also on the beach suddenly, instead of just doing this kind of situation and we can put them on the beach. And the frog just arrived where this guy is. And there is a giant frog on the beat full of people saying hello to everyone. How would that look like? How would people react? And how would you create that? You can even try this way? There are endless possibilities to play with. So I hope you enjoyed this lecture. I'm just going to go to the next one. See you there. 16. Find the Dragon. Your imagination will be triggered to come up with ideas when you give it a suggest: Hello there and welcome back to another inspiration or lecture of how to boost creativity and become upgrade Illustrator. Now, with this technique, I'm going to use the principles that I started with in this, in this course. Basically how our brain is trying to find m and connect patterns. Now, let's start with just randomly drawing lines on the paper. Just without thinking. Draw lines on a sheet of paper. I'm still using the watercolor paper. So because I want to know, I want to have and the possibility to use watercolor and acrylic painting this, but when I started, I don't really know what I want to use. So now Let's say the word lizard or dragon. So now we are going to push or a brain to see lizard or a dragon in this, in this mess, in this drawing. So I am going to just draw an ally somewhere. I'm just going to draw on, I hear a kind of a dragon by. And I'm going to see how does my brain connect this eye to something that looks like a dragon or like a lizard. So what I see here, you may see something different. But I see here almost a phase where I is. And the thing is that when I see something, I can still connect it to another line. And I see here another feature of something that can be I'll snake or something. And I see something here that can contribute to this shape of a dragon. And another form here. And I'm going to continue here, finding another shape. Just play with what you see basically. And you can enhance that with new lines. You don't have to stick with the same lines. And I'm going to use that to find a kind of a tail. I see a tail here and I see something here of a body of this line. And I'm going to connect this line. The tail because now my brain is looking for to design a shape. And I'm going to even connect this one. And the thing is that you're going to get a very interesting shapes and forms and an animal or Lizard dot, you haven't expected. Now you see that I already have a kind of a shape here. And this one looks like a mouth to me. I want to evolve that and I want to make this lizard actually have the mouth over here. From now on, I can just create and explore the shapes that my brain has led me to n just fine. What kind of creature is hidden in here? What is suggested to me? One night, I just decide this word, lizard or a dragon. And I can make an altro here to define dot. What else can I do? Well, there is some kind of a bulge here. And I want these to be maybe some kind of disgusting kind of back with some I don't know, some kind of a skin problem or maybe it's not a problem, but just the texture using a graphic element. And now this one looks a little bit like a wink to me, like a fin. So I'm just going to use this texture to do that. And now I'm going to add the same elements on this one here as if it is a graphic element on the back of lizard. And I'm going to use even these shapes here to create the stomach. And I'm going to add another one here and another one here. So this one can continue lower down like that. And I can add some on its tail. And you see that my brain automatically connects these these images without me having our direct involvement in that. I started with a completely randomized lines. And you see that I already have kind of a drug unlike creature. So now I'm going to use I'm a black, a black color to, to design or to create the image of this graphic image, maybe a black and a green. So I'm going to make his stomach green, like just using pants. Grantee use this blue bluish green pencil to make it a green? Will I use watercolor one? Maybe not. I don't know. That's the thing. You don't have to use the same medium all the time. But if you design this creature. You can put it in a different context. You will have a design of something that you've never expected. And this is another way to boost your creativity and design something that is brand new, that is completely unexpected and surprising. Just draw random lines and give yourself, give you brain our suggestion of what you want or What do you want to look for. And you will discover basically exactly that. So I'm just going to color it like that. And there are endless possibilities of how you can do that. And if you want to put it a different color on it and design a different graphic element. That's just absolutely fine. So I'm just going to define these circles here, these graphic elements with circling the width with black and A1 surrounding them with black color. So it creates a more audience distinct look for is for this drug on this newly created Dragon that revealed to me from the suggestion I have given my brain. And you can do this exercise as many times as you want. And you will discover a new character, new design each time you do it. This can never be the same because obviously the lines are different. And you can apply this not only to drawing dragons, you can apply this to anything else. You can say any other word. You can say a frog or a human. And you will actually discover the human. And that's shape that you're looking for within this dragon. Within these shapes, I mean, and it will give you an interesting, interesting design. Now, I'm going to even draw the themes here, being like that. That I started with, that it looked like a wing. And the other shape over here. Now it can, it can take a lot of color to do that with the black color. So if you want to change medium belts just fine. Or if you want to continue without, I'm just going to explore so far to see what I get and how long do I need to use? Do I want to use this black color? Maybe I'll just give it some kind of a texture here. Just start with adjusts until some time and explore what else can I do with that? I can even use this lines that are suggested to me to just this Guevara on different character to discover, Can I use this line that I see to design to put another color? Or do I want to continue with this color? Well, so far, I would like to continue actually using the black color here. And now my color, my black here is getting is getting used saw and is this dragon is pretty big. So either R can continue without or just use it until here, and just decide to use another color or just leave it white like that. This is something that my feeling of design and will lead me to my aesthetic feeling. You have to trust this instinct of yours that tells you what to do next. Just trusted. And you will do amazing things. Now, this is shaping up pretty well and It's going to be difficult to put color in it when you start already painting. I mean, drawing with this kind of UPENN because he's going to mess up the drawing. So maybe you can use pencils, you can use crayons to enhance more about this. Drag them if you don't want to use a black color. So I'm just going to enhance dot here. And I will decide on, I would like to use maybe some pens here to define that. And I can see that there are patterns inside this dragon over here that maybe I can use still like these kind of cool patterns to follow with the lines. And what kind of feeling does it gives me. I mean, it's very interesting and can be a part of the skin or something. And I find on maybe I can use those and just enhance them a little bit to create a very interesting look. Yeah, that gives me an interesting look. So I'm going to go with a black pencil. A black pencil here, and just given some different kind of blackness and different kind of texture to what I plan to do because I can see that can be too noisy if I just do it with one color like that. So I'm just going to use IV and this black color to enhance the dragons features. And now because I've planned to do that on a grainy paper, you see that it gives me some kind of a grain in that and greenness of the shades. Do I want to have it like that? Well, maybe I didn't plan to hire at exactly like dots, but You can see that I don't struggle about it and I don't really think, well, dots are huge disaster know, use that as an advantage to create something interesting. To say well, where it can does lead me as, as a process. Again, this suggests to me something, something new, something that I can explore and design. And you see that it's a completely new creature. It is something that is unique and something that is not known before even for me and I'm curious to see what kind of designs will come up out of your head. And where will your brain lead you? And Lasswell you create when you start, when you start designing, when you start using these processes of design and, and following your instincts. Now, I'm just going to use the blackness here and add more definition to this dragon. And just create something interesting, something and something unique. And even these lines here are giving me a nice texture, MIS background. I can go ahead and maybe color Avon background here. And now here not, I see that the pencil is maybe making these graphic elements too noisy. What I decide to do and arrive now, and because the blackness here is not as thick, I will decide to, to draw these elements here in reverse to up the elements are on his head. I'm going to put these elements in black to make them more distinct and more visible because they're kind of two similar right now. This has a decision I'm just making. So whatever you do, you just trust your instincts. That's, that's the process of creation. You start somewhere, you give your brain a suggestion for something. You're given a symbolism, symbolic value. You, and you follow your instincts of what it is. The first thing you think about, it can be something we're really absurd. Do not try to make sense of why it happens. Just use it to create something unique. Don, Don saves a wall, I'm crazy and I'm just designing these things that don't make sense or industrials, the beauty of it that you make, making something completely unique that no one else has done before. And the more you go, you go ahead and do that with your creativity. And the better you will become. Now is written giving him a red eye like that. And maybe I will just put some graphic element even on his stomach, like maybe some kind of our dots in one way. And when I do that, well, that will give me a nice little texture, but it also will give me a sense of volume. Because when you do graphic elements like that, they become, in a way, a tome of that element. And it looks like there is a roundness to the shape of the dragon. It just breaks this evenness of color and creates almost like perspective of, of this shape and give the dragon of volume. It doesn't have to be the same element everywhere. Because illustration gives you the possibility to play with, with perspective and to play with shapes and volumes to create an illusion of something being real. It doesn't have to be photorealistic. And the rules that you create will be perceived by your viewer and there will be accepted as real as they are. They will not question why the artist is decent did this and dot, then we'll just believed in the world you're creating. I mean, all the artists creating this beautiful work to think that they knew what they wanted to create to start with. No, That was just the exploration process. But they trusted in their vision, they trusted in the ability for their imagination and creation. Come up with the solutions during the process. And that's what you should do too. And that's how you become an illustrator, trusting, trusting you inefficient and your instincts and intuition. So here we have created a brand new dragon and a brand new character from scratch, just looking for it in this mass of lines. I'm just giving ourselves or brain suggestion and letting it find that for us. I hope you enjoyed this practice and this lecture. Angels go ahead and do a lot of drawings like dots, give you some suggestion of what do you want to find and look for it. And you'll see the interesting creatures and diggers that you will get an animals. And if you want to share that with you just bolted in the queue and NY and Z, what the other students are saying about it. Just have fun with it and I'm going to continue with the next lecture. See you then. 17. What´s behind the Door - brainstorming session. You can do this exercize as many times as you want a: Hi there and welcome back. I hope you are doing fine and I hope you're having fun with the lecture so far. And your, I hope your creativities posting to the roof and you can't sleep, you can't eat. Well, not that way. But anyway, I hope you are enjoying yourself and enjoying the lectures. And now I'm giving you another thing that is a pretty cool exercise. It's a lot of fun. It's called what's behind the door. So what you do is just grab a sheet of paper. Now, this is just a normal papers, catchy paper. And it's not a watercolor paper. So now what you do is just draw a door in the middle here and just take a knife, like dots or scissors and just cut door so it can be opened is principally coal exercise. I really like that. So now let's have something sticking out. So let's have something online. Like I don't know what it is. So what is it? What's behind the door? Now? This will trigger your creativity to 100 percent because it's so much fun to do. So you basically open the door on the other side and just continue this line and just tried to find out what it is. And want to do is basically you brainstorm. Know what game that p.sit, let's say it's a guy that has something like a really, really long hair. Who is this guy then? Just play with the notion, you don't know what it is while is it some kind of a prince? Princess? So let's make that just play with what it is. While no. Let's not sit now. It doesn't look like a princess. It looks like a ghost. Let's make a ghost. It's a ghost that is actually breaking. It's sheets and thrown the ghost. The ghost is nows kind of like losing the sheath of the Gulf and someone is going to appear, is data real goals? Or is it something else? Just play with whatever suggestion it leads you? So what happens with these goals? Continue the story. What happens when, well, this ghost sees REL, a person with a very long hair. So let's do along here. The symbols for a long hair, like dots. And this guy with the long hair or whatever it is, it's kind of like scared from the ghost. So we just make a guy like down with really long hair. Maybe we high as a pans or whatever with very tiny legs. And he's screaming. Care from the goals and the goals, the screaming. So the guy is, has his arms in the air. And they can be like really, really arms that are not. And atomically correct. Justice, crazy little arms. And what's happening then? And this guy is maybe falling down. Saw because he's scared. He is falling down. But not only because she's heard, he's scared it. There is a banana peel here on the ground. So the guy is care but also stumbling on appeal of banana here. What else is there to be discovered besides this ghost? Where, well, well, is there is this an attic? Are there other ghost in here? While there may be other ghost, other goals that maybe this, that's an antic so let's have an hour to care. A house. Um, maybe just some kind of beams here, an old house. And this one here, and another beam here like that. And there is a little window outside like that. And here the ghost, the other ghosts are having dinner. So Lens have more Gauss here. Some of them are looking at what's happening. And And now let's give them some kind of personality. Maybe drinking wine. And just take each suggestion and just explore it further. And maybe there is a ghost Dog here. Something like a small figure of a dog or something, some kind of an animal gulfs here, walking under the table. What else is there? Another ghosts is maybe already drunk. Drunk at the table. Just have the sheet of this ghost like that and maybe a glass falling down. Just draw with crudely, it doesn't have to be nicely drawn and maybe sprayed like that. So these ghost goals, this out, knocked out, and this one is a really, a goal that is just having fun and laughing. So how about goals, love maybe his malware be a little bit like wavy and like that and pointing to the guy. And having fun eating dinner and these other, how all the other goals be? Well, there is something under the table and something else. Someone else, as a very thin ghost is looking at them. Doesn't know what to do. Here is a table and a chair. Now, this can expand and endlessly, you can find more things to do with it. So let's clean up this one and just put them in outlines. This ghost losing its sheet. The sheet has gone through the other side. Like about the goals to screaming scared because there is a guy that came in, but the guy also stumbles on the sheep on a banana peel. And the guys also scared from the ghost, from falling. And the guy does look like the ghost. It has a really long hair, so we can't see his face. It's like a little bit like this horror movie with long hair kids, you know. When you don't see space, It's pretty scary when you don't see the kid's face. I don't know why it's dots, bodies really scary. I mean. I do like horror films and it gets me all the time. I don't know about you, but maybe there is a subconsciously something in me that why Why did I see this behind the door? Why did I see that the ghost? And then I have explored with this other ghosts here, having dinner. One goal's already fallen asleep with a glass of wine fallen on the table and his arms or arms like stretched on the table. Here. Maybe I'll have a chair here for this ghost that is already out of the picture. Drunken too much wine. And this guy, Nova, humoristic. Yet in a way funny, humoristic, but in a way scary picture. Well, it's not really scary. I must say. Body started with just I had something coming from the door and trying to make an image of what it is behind the door. So I'm going to give you this exercise and just discover. Just see you. What do you discover? Outside and behind the door. Now there is a plate here. Someone is having fun with this other goals. Being scared. Just continue playing with your imagination. Where does it lead you? And what can happen? Maybe you, if you decide something completely different. And here is a dog, maybe I'm going to give him something like that. Like canals. Like you can see that there is a dog behind this sheet and maybe even a tail like that. And I'm personally a whole are these Guess Who are these ghosts? This is something that also you can explore. And let's have another chair. And here you don't really need to care about perspective or anything. Just play with a notion of what this image is giving you, where you're starting. And here, I'm going to also just draw the door as if we know that there is a door. So the opening of the door like that, and maybe it's dark outside. So mango window. And we know that the goals are playing where it's dark outside. And so furnish this and this image, this environment. And you can continue on with that image. Maybe put some kind of our old stuff in here or you kind of came up with a new image. What did you find there and what's behind the door. And you can you can put anything or you can give your friend or family member to, to give you to draw an element outside the door on the other side. And take it from there. And just use the AT, use your imagination to basically design what's outside the door. And now I'm going to give some kind of a scary thing with the wine being only in the wine being read and hear the wine being read. And now this is already a funny illustration. You can continue coloring yet, or you can do another one. We can do another suggestion. And this is something that I just played with. I came, I just let my imagination around. I have no idea I was going to do that. But it's a lot of fonts. So just do this exercise and see what you get there. So I hope to see your ideas in the Q&A section. See you there. 18. Make A Library - dogs. Here we are going to work with different styles of dogs to create a habit of : Hi there and welcome back to one more lecture of how to boost your creativity. Now, what we're going to talk about here is how you create a library of different elements. Because, uh, you can, you can vary your language, your artistic language, in so many ways. That's why it's important that you actually draw a library of the same elements, but just use different styles. So let's say that you want to create a library of dogs. And you can start with using completely different elements. You can have a dog looking like God for example. I'm just nulls. And some legs and a tail with some ears. Now that's a really funny looking dog. And then you can have another dog that is long. You can just choose styles depending on what you want to create. But also you can play around with shape and form and have these tiles are ready when you are about to draw. You can also use, for example, different graphic expressions. Or you can use this one as, as a way to design a dog or to draw a dog. And thus can be like a puddle. And you just put announce and an ice to it and then you got, you get that. And you can use you can design also around dog, the one that we did, around little eyes and and some short legs. You can also create a square dog with long legs and long neck. You know, this kind of our elegance dogs and make it even looking, looking slick like that. And I gave him some other eyes. So basically what you wanna do is create a variety of variation of dogs. You can have a dog with floppy ears upside down. Or how would it look like with his eyes? Just being white? Just play with your creativity. You can create another dog that with big floppy ears. Just create big floppy ears. Forest. You can start from every element that you want. And you can have the dog looking more like a sheep, like maybe has the noise-like here and his eyes being more like that, like a bunny and when does look like a scary dog that can be mistaken for a Bonnie. So I have a tongue over here. And him looking straight forward, it doesn't matter really. What is the metadata you are doing. A lot of, a lot of styles. So once you do now is choose three colors and just play with that. I'm going to choose three pencils, being orange and black. And I'm also going to use some color on some dogs with watercolor. So I'm going to paint this dog with pink, pink back, like doubts and pink ears. And I'm going to let it dry in the same way that we did with the frog. And this one is going to be orange dog. An orange dog. Just his body is going to be orange. And I'm going to leave the rest to to dry. This one. I'm going to give him get a black dots here and black ears, black and Blackfeet just really roughly play around with the shape like that and maybe some legs here. These designs are so simple and they are very, very uncomplicated. So you don't have to have a big education to be able to do these simple, simple shapes. And even if you see that it doesn't get precise while it doesn't matter because later on you can add some interesting things to it. It doesn't matter that you mess it up. And this one is going to be just three dots and legs like that. And I'm also going to give him some kind of a pinkish color, maybe pinkish, maybe pink Papi on here. Like that. And it already looks pretty nice. And this dark here is going to have an orange tail and big black spots. So I'm just going to give him black spots like that randomly. And even the legs. It just looks like a really nice aristocratic dogs dog. When this legs and duster, I'm going to enhance his nose here on with some really quick brushstrokes and his eyes and maybe give him some eyebrows even. And this one here, I'm going to make them like a spooky kind of dog with white eyes and just big black ears. I mean, it's really looks like a beanie, like a scary bunny. But you can play with the notion, and not all the time, your dog will look like a dog. And that's fine because that's an interesting character. You can decide which characters to use and when not to use. So I'm going to draw this one like that. And another one from this one. I'm also going to not draw a nose to this one. And now I can, I can even give this one on nulls. And now I can see what can I do with these pencils while I can just enhance some of the features. Now, this one, is this going to be maybe orange here. Maybe have some ears that are orange and some with some mice ears here. The one that we did with the color, with the one in the illustration. And I'm going to use red to give some of the dogs red tank, like this one. And this one has the rectangle and this one here. And I'm even going to use the black pencil here to enhance these dogs. I this dose I kind of lost in the blackness. But that looks funny because you don't see one eye. And it doesn't matter for this time. You can still create another library of this dog looking like that. And this one here, just define it. With his mouth looking weird and scary. Maybe it has this kind of legs that are also in a way white and chubby. And this is just a puddle. So I'm just going to use conducting Quan here and just enhance the fluffiness of this dog. I guess like fluffy, I can play with the shape, just do it even more like God and have even the black pencil having the fluffiness defined like that. And I can even give these dogs some kind of a shadow. You see that the immediately they become characters. If I give them some kind of a shadow on the ground and this dark now I'm going to draw with this black pencil, give him some eyes. And you can do thousands of illustrations like that. Just playing with shape and form without worrying what, how they will become just to use the symbol that dogs are represents, even not that. And just use shapes, use a US around or square shapes to create these dogs and to create the symbols of dogs, and then define them in a different way. Now this one will have a black tail and this one will have eyes like that. Here is his face and eyes and a little bit of a nose, his nose here and he's playing in the air with his legs in the air. So here also a little shadow on this one. And here we have a library of different dogs that you can use for your illustrations. Now, continue making a library of more dogs and just draw in any style in a new way and see what you get. So I hope you enjoyed that and see you later. 19. Make A Library - houses. This is another playful exercize where you create a library of houses and t: Now, what else? Eugenic Design here is basically different, different houses. And you can even think of the history of the house. It's a village house is our CGI home. So you can start with even directly a wet watercolor and design. A house that is married, maybe in the village. And just play with how many windows it has and how long it is. And just use squares and colors to work with the houses. So here is a house with, but you would describe with with red with a red roof. Just kinda like a village house. And it has this kind of val, ceiling here where there is, hey, and people can go there in the summer and play. The children can go there. And what is it around this house? May wound. Maybe it is some tree around this house. So let's put some green in here with a tree and this is something done you can take from your memory what houses do have you seen in in your, in your childhood? And what is your experience about houses and gels? Joe dot mt, there are also other kinds of houses, their big city houses. So you can just draw big houses and just described as the windows like that. This is a big city halls and just randomly designed dot. So you can have a library of houses when you need them. And to and to have yourself have you sell with different houses? What else do you have while you have an old house? You have a broken house. So how would that look like? Maybe a window like doubt. A house that is not really correctly built. So you can have at our little twisters like doubt and broken windows like that. And maybe a roof that is half of the roof falling falling down and another window here. What else do you have? While you can have maybe. All strange house. How would that look like a strange house on maybe the house for made of cookies. So just starting with the patterns like that. The House of cookies and play around with this house then with this kind of roof, chocolate roof. And design, the shape of these health laid out with a small little window and just patterns of chocolate cookies everywhere on the walls of the house. Like a dot. And you can put some shadows on this house. So you can create, you can create an environment around this Health says, what is there? Whereas on, is there some some trees or is there like a CT around this house? Children playing or maybe cars moving This house hour or where's this house situated? Maybe in some kind of a desert. So you put it kind of like a desert house. You put a Cindi kind of color to it. And what is it near this house? Maybe there are some kind of Wolf's or something, I don't know. And of course there is no walls and the desert of maybe some camels. So kind of like have our silhouette of a camel here walking and just play around with shapes. What else do you have, for example, in this house? Well, everyone is thinking about the fairy tale, about the chocolate house. So let's have a like a nice environment, a walk, like a fairy tale with some flowers around. So who would like a child loosely painted flowers around this house with some dots and some, some blue color. And just explore different techniques and what else can you do to enhance your illustration? And these are now very crudely drawn to start with. And once you can do now, when this data to dry, you can actually work with another medium with maybe some pencils and some pens and enhance this houses the way we did with the previous illustrations. So now you can enhance some of these features may be with a pencil or with these markers here. For example, this housewife, can you do with this? Now, I'm going to get a darker marker here, the old house. You can have a window. This one here. You can have a window or something just to define this house and maybe give it some tone. Just creates a, a library of houses that you want to have for later on for exploring different illustration and different styles. Maybe it has a texture like that. And you can draw them pretty nicely or just simply, we can have this house here. The house in the village on, in the countryside been like very nice with some kind of a roof like that. Without graphic elements like that. And play around with shapes and ideas basically. And this one can have maybe more of an outline. This house. So we can see these elements of this house being from chocolate. Maybe just have the chocolate, the roof like that. Very, very different. And again, you don't have to be a perfect art drawer to be an artist. You just have to start. You can have more color there and very, very nicely and can have more grass here. So create a library of elements and think of other elements. What you can create your library from. Like for example, like for example, trees or flowers or anything you want. Draw different kinds of variations of these things. So you can have them to boost your creativity when you want to have my DEA and you just look at it and it will just give you a suggestion. While for this house, maybe you can come up with situation with memory that you have been in the countryside visiting your grandparents and it has been a very nice, I'm a very nice day. You've seen your friends, you've had a nice dinner or lunch, and there is the smiles or memories that will trigger your creativity to create something very, very interesting. Something that will lead to an illustration. Now, I've either it's this situation or just a fragment of the situation. Maybe you sit and you sat on the grass with a friend and talked about something or plates. And that's already a situation and a snapshot for on a nice illustration. So explore all these things and build up your memory database and have fun with it. So I hope you enjoyed these lectures and I hope to see you at another time. Have fun and stay healthy. Bye.