Confident Henna from Start to Finish | Laura Pennock | Skillshare

Confident Henna from Start to Finish

Laura Pennock, Face Artist & Instructor: FAI

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11 Lessons (56m)
    • 1. Confident Henna

      1:41
    • 2. Recipe

      3:48
    • 3. Preparation

      6:01
    • 4. Finishing Paste

      3:57
    • 5. Rolling Cones

      7:39
    • 6. Time Table

      5:11
    • 7. Placement

      3:30
    • 8. Elements

      10:31
    • 9. Designs

      8:27
    • 10. Thoughts

      3:42
    • 11. Project

      1:34

About This Class

Dive right into this ancient art form with me! I am Laura Pennock and in this class we take a journey through each step along the Henna pathway. Discover why so many people across the world and across time have learned to adorn the human body with this simple plant. In this class you will learn all you need to know to start your own henna journey today. 

Transcripts

1. Confident Henna: Hi, My name is Laura, and I'm coming to you today from very Fox Design. I have been a professional hand artist for over five years, but Hannah has been used by artists for over 5000 years, and these traditions weave together almost like folklore. And the designs that have also become tradition and are being called Hannah are now used in all kinds of textiles and journaling. And I mean, it's everywhere. Now you add to that that people wear this heart. It isn't something that is just there on a wall, this art, it walks around. I've used 10 in my own life. When I'm struggling with something toe, add a word or phrase or a picture I can carry with me everywhere I go. Or you might be looking for something to do for your teenage daughter's birthday, and this class is the perfect place to learn from the very beginning. What you need to know about Hannah Hannah is one of the art forms that mixes science with art. There is a lot of chemical reactions that are going on in this process, and because of that, it can be really intimidating. This class will take you step by step through the very beginning of mixing your own paste. Then how to roll your cones, fill your cones and how to get comfortable using them. Finding the method that's going to work best for you. I really hope that those of you that have never done Hannah can take this class and feel confident to start. And for those of you that are very familiar with Hannah, you can learn some of the things that have really helped me, as I have done Hannah professionally over the last five years. 2. Recipe: In order to do Hannah, we need to make some henna paste, so I want to give you a few different options. The 1st 1 is is You can find a reliable, had a distributor online that you come by ready made paste, all set to go. If you want to do with a little bit more by yourself. You can also buy a Henoch it from any of a number of distributors, and I'll provide you with a list. The's headache. It's common pre measured amounts, so all you have to do is dump it together, stir and then you're ready to go. But the third option is to make your own paste, and that's what this video is going to show you how to dio. So Hannah is made up of four ingredients. You need some type of Hannah. You need some kind of liquid to mix it together. You need a binder or a sweetener. We'll go into that and then you need an oil or attar ping to bring out the die. Let me walk you through each one. There are many different brands of henna powder out there, the two most popular that I use are the Djamila brand or a type of henna called Rogers Sani Hannah. The different brands of Hannah will bring different qualities to your henna. Something a little more brown, something a little more red summer, a little creamier. Some are a little stringy er, and this really is for somebody who's developing a relationship with their henna paste. In the beginning, you can use any henna paste you want, and you'll do okay. Ah, but as you become more familiar, it's nice to know that there are options out there to help you get exactly what you want. Next, we need a liquid. Some people use water. Other people use lemon juice. When I do Hannah for the Harry, I use orange juice so that the lemon is in his harsh or they're even vinegar. Some people used T each different. One will bring about a few different aspects to the head up, but the one we're using today is lemon juice. It's kind of the standard of really good place to start. The next thing we want is we want some kind of sugar. You can use sugar or some people have had success with brown sugar or molasses or even honey. And what the sugar is going to do is it's going to bring your henna paste together and make it a little bit sticky, which is really good for it to initially go onto the skin. It absorbs the moisture out of the air. And so if you're in a very humid place, you probably want to knock back how much sugar you're mixing in your paste. If you're in a very dry pet place, you want to add a little extra sugar. And that's something that just takes kind of trial and error to get to know for the essential oil. What we're using in there is it's called a terp or a Turpin, and it's something that helps the stain develop. It helps it get darker now. Oil has been huge, at least here in the United States in the last several years, and you will find all kinds of different oils and some oils. You come by like a gallon for 10 bucks and then some. You get like 1/2 ounce for like, 30 and it's hard to understand what is the price difference? What's going on. And so you just want to be aware that you're not buying an oil that's meant to be used, um, for aromatherapy in a lamp or something that you're buying therapeutic grade essential oil that is made to be used on the human skin. Do you want to be careful with your oil? I find, um, that I don't want to pay top dollar for the very best oil possible, and so I can go for the second tier where I get a decent amount of oil. But I'm still, you know, making sure that that I'm putting some money there now for the recipe will be using in this class, we're going to use 1/4 cup of henna powder. Ah, quarter cup of lemon juice. 1.5 teaspoons of sugar. Just table sugars. Great. And 1.5 teaspoons of melaleuca. Essential oil. That is my base recipe. I got it from Hannah Caravan, which is a wonderful resource. So we're gonna take those ingredients and I'm gonna show you how to mix them together. 3. Preparation: even the products that we're going to be using during this class you have your measuring cups and a bowl in a spoon also show you how to mix it in zip locks. You have your henna powder, lemon juice, essential oil, which I like to use a tea tree, essential oil and just some table sugar. Then we're going to need to make some cones. So for those cones we just have squares of cellophane, a pair of scissors and some tape. Then, in order to fill what we mix the henna in, we're going to need a carrot bag. So this is just a Wilton brand pastry bag, and then I also have a nylon. I don't like to reuse them, so get a cheap one. You just want to make sure that the toe is not reinforced. That's all you need to make your henna. But you also want to think about what are you going to practice your hen on? So you can use just some regular paper Or they make these really awesome Hannah practice tools where you can head on here and then just scrape it off and start over and they make them in all kinds of different shapes and sizes. All right, so we're ready to mix our first batch of Henault inside of the Djamila box. You'll find a Mylar bag used. Want to cut a corner of that open? And we want 1/4 cup of henna powder, so just kind of shake n As you can see, little bits are going to fall on your workstation. You want to be working somewhere that it's okay. Forget stained or just put down a towel or something underneath you. So we pour the henna powder and horrible. So we get our lemon juice stirred up a little, and then I'm using a liquid measuring. We want 1/4 cup of that as well. Okay, now, when you first start mixing these two together, they're not gonna mix very well. As you stir, the henna powder is going to start absorbing that lemon juice, and it's gonna get really thick and lumpy. So there you can see this is about the consistency of mashed potatoes. Perfect. Okay, now we need a teaspoon and 1/2 of sugar, so we're gonna take three of these one to three, and then we're going to put the same 1.5 teaspoons of oil to three, so you just have to keep working it on. You can do this with a spatula as well. You can see that this is getting quite a bit thinner than it was before we put boiling. Now, if you pull the spoon up, you can see that it's getting a really nice thin line. So this henna looks really nice and mixed, and we have to wait for the diet to release. And that can take anywhere from 12 to 24 even 36 hours. So I'll set that aside and let me show you one other way to mix it for method to We just want to take a regular Ziploc bag on with a copper vase, just kind of find something toe profit open for you. We're gonna use exactly the same measurements to our quarter cup of powder and then our quarter cup of lemon juice. Now, instead of stirring, what we do is we just lift it out and we just squish it together. It's a little harder to tell the consistency, but sometimes I'm camping when I'm making Hannah for a festival or something. And for me, this is just a lot less of a mess. To do it in a bag and to not have to have dishes to wash later. So once you can feel like that, lemon juice is pretty well mixed in. We just put back into our bodies, one to you. See, we have the sugar all right here in the oil, maybe makes. And then I like to squish out any extra air before I seal at this time. And you can also feel the grittiness of the sugar. And we want to keep going until that grit is all gone. Okay, at this stage, what I usually like to do is that kind of squish it all down and then I'll roll the top and I bring my second bag and just slip it inside. The reason I do this is for peace of mind. We are making a highly diable substance. So then, if you go with method One at this stage, you want to cover it with Saran wrap and touch it down. But this one, obviously it's already protected from the air. So it's ready to go. If we look at this one that has already been done a while back. This is where the die has been released, and this is where the dye hasn't been released yet. If you look with this, it's all the same color. If we scrape off the top, you can see there's more of the similar color underneath, and that's totally fine. That's what you want to have happen. But when you're checking your Hannah to see if die release has happened, this top film is where it's interacted with the air a little bit, and you know where the dye release gathers the most. But this is perfect. This is just the stage we wanted up for what comes next. 4. Finishing Paste: henna designs her iconic for their really fine little tiny details. And that's only possible to do if we have a very small tip. And as you know, little tips can easily get clogged. So the next stage in developing our henna paste is we want to be able to take out all of the impurities possible. And we do that by using a nylon as a sieve. There are a couple of tricks to this, so I'm going to slowly walk you through how to do that. Once you've checked your henna and you're able to see that the die has been released, you want to take a spoon and just kind of gather the edges. Anything that's up here that you can tell has dried. We don't really want that in our Hannah on. Then just give it a nice stir. All that time. Sitting will have help. Don't really get it nice together. You can see how creamy this Hannah is. Oh, it looks crap. We're gonna take our pastry bag and we're gonna fold it down over the lip of the jar. Make some room inside. Next. You want to take the nylon, give it a nice stretch. Maybe even run your hand inside. Then we just feed that down into the base and take that top about two inches and just stretch it over the top of the vase and open it up again so you can see we have a nice little hole ready for our Hannah. Then you don't want to scrape this outer ring because it's kind of dry and yucky, but you want to get all the rest of that henna paste right down into that hole. Now it got her head in the hole. We're gonna just take this off. Really? Careful, not toe. Drop it into that, Hannah, and we're gonna set it over here on the side. Then we're gonna bring up the rest of the back. As you can see, the body of our henna is right here. We have all of this nylon here that has nothing in it. And then this nylon up here What? We're gonna dio this? We're gonna pinch it up here, kind of gather, maybe give it one little tiny twist and we're going to squeeze this henna clear through the nylon and into the bottom of this cone, just like this one. We're gonna do a little twist as you pinch here. Pinch light enough that this can pull but tight enough that the hen is going to be forced to not come with it and then just pull nice and slow and you can see that the henna is being forced down to the bottom of the nylon. Now, once all your extra nylon is gone, it's going to be a little harder to pull, so you're gonna have to put a little bit of effort into it. And you can even squeeze with this hand to kind of help that go through. So go ahead and squeeze again and pull. And once your thumb and your finger start to feel the irregularities of that last little bump, you want to pull really slow so you don't paint your walls with Hannah s. So I'm getting right there. So now I'm going to real slow and there's the little jump. You can wash thes and reuse them, or you can be like me and say thank you for your service. Goodbye. Now we can pull these edges up and you said I've got a lot of air here. Squeeze that and it will find its way out. Then you want to take just a little tiny hair, rubber band or regular rubber band. If you don't mind twisting a whole bunch of times and just seal this off now, henna can be stored, um, for a long time, and this is how I store. My Hannah is just in these backs because then it's right ready for a final squish and ready to be used. 5. Rolling Cones: Now we've mixed some wonderful Hannah, and we received it, but we're still a little bit stuck because we're not ready to use the henna. So how do you go from here to here in this section of the class? We're gonna go through three different methods of rolling your cones And how doe then fill them So they are ready for you to Hannah. So you want to go ahead and just pull off a bunch of lengths and you can see right here? I have them waiting for us. Now there are two options. The first is to roll a cone from a triangle. I don't know if you can see it, but this is about the shape I look for about, ah, five inch square and then just cut it down the middle. We want to go to the middle point of the longest side, hold this side in place. They were going to turn this as we roll, so it's completely around. We can then hold it and it won't really unroll. And we just roll a couple times. Once we've reached the center, we can then pick it up. You want to be able to fit two fingers in here and just roll as you roll. Thes fingers can pull backwards in this direction and by pulling it lets you get this tip Super Needle sharp. These cones could be sharp enough that when I pulled him out of the freezer, it actually punctured skin. So be careful, then. The line is right here along the middle, and that's where you want to. Just grab this piece of tape and we want to just lay it down on that line. You don't wanna have taped down on the very end because it will make the end thick. But you can come as close is like right there. Just don't do it on the last maybe millimeter of your comb. And that is how to roll a henna cone. Now you can see that henna cones can come in all different shapes and sizes. Now, another option is to roll a cone from a square of cellophane. That's the exact same process. But instead of starting in the middle of a side, you start 2/3 down and you do exactly the same move and then by picking it up and hold that point in the center and then two fingers going to side. If you can just wet your fingers, you get the traction better and just pull that tip tight. And here you can see I'm spreading my fingers apart and this one is just pulling back. And that was just being used to stabilize. One other thing I like to do when I'm rolling from a square is I stopped when I still have an edge that isn't adhered yet. And I go ahead and I add my piece of tape to the outer edge and then I go back toe where I'm pulling it tight and I just continue to roll as if that tape was a piece of the cellophane. And I find that that helps the tip be really snug. So I don't get any little bubbles or anything down on my test. I like to go ahead and add a second piece of tape down along up here just to make sure that this cone is really nice and secure. But I'm gonna show you one extra little thing. So we go 2/3 down and we're gonna roll just like we did. But then once we get to hear we pick it up, You can see the tip isn't rolled very tight yet. And that's perfect, because we're gonna pick up a sewing pin and this pin is gonna just fit snug right in there . And this is a size 24 pin, and I'm still just pulling around as normal. Put my little piece of tape or my cellophane there and you can see it's snug enough that that pins not gonna fall out on its own, but you can still slide it back and forth Nice. The reason that the pen is awesome is now. When I am ready to henna, I can pull the pin out, and my whole is going to be standard every single time. And I don't need a pair of scissors to cut that whole. So it's a little bit harder to dio than to roll without a pin. But if you can get the trick down, it's actually really nice. We need to take a quick break and and he did introduce you to the rule of 10. Whenever you're doing something artistic for the first time, you never judge your first attempt. You always judge your 10th so you have nine tries to just kind of get familiar with what's going on before you look and say, Can I do this? So your first cone don't even say, How does this look? Do your second coma and your third cone in your fourth coat? Cellophane is not very expensive. Don't worry about it. And then once you've rolled your 10th cone, then look at it and say, Is this a good comb? One of the tricks you can use a win it judging whether it's a good cone, you pick up your cone and you take that edge and you blow like a trumpet and see nothing happened because this is a sealed coat. So we want to take our Hannah that's ready to go, and we're going to cut off the tip and you want to cut off enough that you're not gonna have to squeeze real hard. But you want it small enough that it can still fit into our cones and we're gonna take our cone that we just rolled and we're gonna slip this carrot bag into the cone as far as it will comfortably go. Now we're gonna squeeze and see this little bit of henna that comes out once you have about that much henna, You want to go ahead and pinch now, I'm not squeezing up here anymore, but I am pinching the comb and my fingers air up here to support that so it's not gonna fall over. We just take it out, squeeze this all the way down so that we're filling our entire cone. We don't have a big air bubble, so you can just squeeze here. You can watch, the henna layer will go up. You always want to make sure that you're leaving plenty of space up here at the top. Now, in between cones, we do need to set this back down. So it's that's what this papers here for now there are a couple of different ways that we can seal off the top. The 1st 1 is that we just flatten it out like this, and then we're going to pretend like we're wrapping a package and we took the left side over on the right side, over on this side down, and then we just kind of full doing a rolling full down until you get there, pull one of your pieces of tape that you've got waiting for you and you're good to go. So that's my typical fold is what I do. But let me show you a couple others. Now, this time we're going to do the same beginning folds, and we're even gonna do the initial rolling fold, but we want to keep it a little looser. Then, instead of taping, we're going to fold the two sides in, and then we'll take a second piece of tape across, and you can see that this one has a little area that the henna may tend to try and spread out. As we're squeezing on this one, you squeeze and it's just it'll hit that top part and be forced back the other direction. So two options there let me show you one more option. So what you can do here is kind of accordion fooled like this and then spin. Now again, it's really important that you have enough empty space up here that the henna isn't like squirting out. But then you can take one or two elastics. You can even snip off that extra if you don't like, so there's your little carrot cone or this other Cohn. One of the nice things about doing it with a rubber band is as you deplete the Hannah in your cone. You can put a new rubber band in it and in and in it, and it keeps the pressure really nice and tight. So now we have three beautiful cones ready for the rest of the class. 6. Time Table: One of the things that could make henna a little finicky to work with is that there's so many different blocks of time. First you have the dye release and then you have the staining process and then you have the after care. So I'm not a walk you through each of these different steps and the times involved with each so that you can go into doing a henna design and know exactly what to expect. So we start at an origin point of wanting to do Hannah, so this is kind of our time zero on this timeline. So we mix our paste, which takes only about 10 minutes, and then it takes our first amount of waiting, and that waiting time can be anywhere from 12 hours to 48 hours. This waiting period is because henna dye release happens on kind of a curve shape. So let me show you. So when you first makes your henna paste, it doesn't stain very well, and then as you go along, it'll stain better and better and better, and then it will hit this peak and then it'll stain worse and worse and worse. And then the henna that has been around for a while. Can it be a kind of expired? And so this won't stain very well either. So finding this perfect peak time in there to use your henna paste is the first major hurdle for an artist. Somewhere in that 12 to 48 hours is when that peak will happen. Now, once your henna is at its peak, it will last in that little window for about two days. And this is at room temperature if you're outside and it's really hot that two days goes down to maybe six hours. Now, if you put it in the fridge, your gorgeous henna paste peak can last for up to a week. If you put it in the freezer, that amazing peak can last anywhere from like 3 to 6 months. Okay, let's assume that you have amazing henna paste in its peak and go on to our next time. Me that is doing a design, depending on how elaborate your design is and how still the person you're doing henna on is and everything doing ahead of design can last anywhere from five minutes up to multiple hours. Once your design is finished, it is wet on the skin. It's just like frosting like you touch it. It's going to smear, so we have an initial 30 minutes of drying time. Once your design is dry, you have the opportunity to seal the design. This could be done with a sugar sealant that you can buy from the same stores that you by your head of powder. From once you've sealed the design. You want to keep it on for, ideally at least four hours upto about eight hours. The dye molecules in the henna are actually going to bind with the carrot in molecules in your skin. And so as that's happening, the longer you can leave them to bind together, the darker the stain is going to be. But when that paste initially comes off, although the stain is there, it won't be very dark. It'll be a light yellowy orange color during the next 24 to 48 hours, though that stain is going to then oxidize with the oxygen in the air. And that is what is going to create the lasting beautiful stain. After those first initial two days, you get your premium stain, and that is as dark as it's gonna get. This premium stain will typically last about 5 to 7 days for most people if they are very careful not to rub it and to maybe put a little bit of oil on it before and after they shower or if they're going to go swimming and they very baby their skin so that it doesn't exfoliate quickly. This design can go all the way up to maybe like, three weeks, and then it will slowly fade over the next couple of days. So, as you can see, there is a lot of little timepieces, and you get to know him. You get to wear it like you've totally got this. Know that it is not important that you follow every single step perfectly, but understanding this timing can help us take a good stain into a great stain. One little bonus trick. Sometimes you find out that you want to make some henna, and you're going to need to use the pace soon. It's hard to wait 48 hours, and the thing that causes this time to fluctuate is temperature, and so do not put your hand into my grief, but do you remember when I taught you guys how to mix it in a bag? If you take this bag at room temperature, it will take 12 to more 24 hours for the dieter release. But if you wrap it up and put it like in the pocket of a hoodie and you keep it with you instead of 75 degrees, it's now around 90 degrees, and that die release can happen in a short is like eight hours. So sometimes when you're in a pinch and you need to speed things along, that's one of the tricks that I use. 7. Placement: every henna is made up of three important parts that it's great to be aware of. Each one has a dis unique design, placement and pressure or line variation, and I want to look at these each in turn. So first we're gonna do placement. Ah, lot of henna is done on the hands or on the feet, because that's where our skin is the thickest, and so you get the best stain. And so as we look at where to place a design on the hand, often we will see things that are done across the wrist or maybe a loop here because it looks like a bracelet, and it's something that we're all very familiar with. Another place that's very simple and done is when we go straight down onto the middle finger and up onto the arm, it elongates the hand. Often they'll be a big, bold thing right here, or there'll be a nice band right here across the middle. And then that placement gives us Ah, here. This is where we're working. Another one that is beautiful is to come at a diagonal. This is something that is very pleasing toe look at it gives us this wispy kind of feeling that diagonal could go in either direction and you'll notice of the last three placements. Each of them have chosen a single finger to travel down, and that is very common in henna. To include just a finger or what can also happen is if you choose this placement that comes down this finger, you can also come up the other fingers, and that feels really nice. Also, if we have a middle piece right here and we're traveling down, we can also travel up in this kind of spreading feeling. Another one that's nice is if we do something off this side and something off the side kind of a basketball or baseball stitching. But then, as you add all the design work, um, and then maybe a little ring, you know, it can be a very pleasing placement as well, or sometimes we'll want to just keep it simple and do a henna that's just right there so it can be overwhelming to choose which placements gonna look best or whatever. But one thing that I want you to dio real quick is just take a look at these next three pictures see if you can identify the type of placement shown in each of these pictures. When you're choosing your placement on a human hand, it's important to be aware of a couple of things. The first thing is that this hand is going to move around when somebody gives you their hand. This is the orientation that they will give it to you in. This is a human's hand at rest. But if you draw a straight line down this hand, when they pick it up toe, look at it. This is what's going to happen, and it's going to bend your design. So what you want to do is when they put their hand before you just take it and straighten their wrist, and then you will have a very nice clean line that you can build off of. And whatever you end up doing, you won't end up with something crooked. 8. Elements: Now that we have our henna cones and they're all full and they're ready to go, I want to take you through a couple of practice techniques so you can feel confident when you do your 1st 10 A design. The first worksheet that you confined in the project section is just the basic elements. And then the second sheet takes those basic elements and builds them into full designs. Practicing is so important. But remember our 10 part rule before you judge yourself whether or not you can do something , do it 10 times and make sure that you leave your first few attempts so that as you feel like Oh, I'm not very good. Look at how you've already gotten better from the very first time that you tried. So each one of these lines represents a different hand element. Now what I want you to do is go to the project section and you can find this worksheet printed out, and you can do it along with me. I'm gonna go through each one and kind of show you some of the tips and tricks in order to get a good element for that one. Now you can see. I am bracing myself with this hand and with my wrist you wanna have the henna straight up and down perpendicular to the design that you're doing and you want to just go nice and slow. Now you want to squeeze and then lift with each dot we starts everywhere in henna, and it's really important to be able to get them to be consistently sized. But one other trick that you can use is if you don't squeeze very much at all. But you just drag your cone. You can do an incredibly light and thin line, and this holds stained very much. And then, if you do your dots or whatever design you're trying to do, right on top of that, it can give you that aid that you need now with this line where we're trying to go small and then big and then small again, all that you need to do to change the size is just stay in the same place and squeeze for longer. Take your time toe. Let there be ingredient. Let those medium dots be just as important as the little ones and the big ones, and you can see that already with two different approaches. Look what a different feeling this first line creates to the second line. It's incredible. Lines are the second element that I want to introduce you to, and you want to start here and then you want toe either drag along the skin to create that line. One thing that had artists will do is called draping a line where you start a line and then instead you lift and you pull this line and it gives you. You can see a very clean, nice line. That's nice and even if it takes a little bit of practice to get to where you can comfortably drape. But there's no better way, especially when you're wanting toe lay down lines close to each other. So the next one is to be ableto lay down lines very close to each other. If you're laying down a line and you get too close, Henault will try and suck itself together, and you'll end up touching. But one nice thing is that the henna cone itself becomes your eraser, so don't squeeze at all. But just put your hand a cone down and draw, and you can just pick up that Hannah that went in between. So instead, we want to just make sure that we're keeping it just far enough away from that other line that we're not going to have that touching problem. Now, down on the next set of lines, I want you to practice your line with again the pressure or the line variation. The weight of your lines makes such a big difference in henna designs, so this 1st 1 is going to be just as thin as the others that we've practiced. The next one is thicker, and the way that we get a thicker line is just by squeezing a little harder. Now, if you're not moving fast enough in your squeezing too much, it gets this wiggly look. That's because the henna is coming out faster than you're giving it a place to go. So for this next one will want to just squeeze even harder, and we'll get that nice, thick line. If you want, you can lay down a thin line, and then you can lay down a second thin line directly next to it, and then you Kenly down another thin line and you will eventually get a thick line. One last way you can get a thick line is you lean one thin line and another thin line, and these become your borders. Then you can come in and you can just wiggle and squiggle and just fill that in between. It's called flooding. You can do this in cookie decorating as well, and that gives you a very thick line, but that has perfectly crisp edges. The next line you see here is one where we start toe wave a little bit. You always want to be pulling your line and not pushing it. So you never want to get to the point where your tip is ahead of your hand because you'll be more likely to squirt out and end up with these little hills trying to keep your peaks as high as each other and your dips is close each other and one wave the same width as each of the others. You also want to know that your weight variation is important. So being able to do a thick and then it's thin and then a thick and then it's thin, so you have another option there just by varying the pressure now shapes are a big part of Hannah, and we do a lot of circles in henna. Being able to draw a good circle is really important, and what I find helps with that is if you can choose a center point and try and stay equally away from that center point. So the leaf shape you usually want to dio it in the same direction every time to kind of get your hand used to it. You can do this way, bringing one down and then to down. Or you can do this way, doing one up and then to up whatever you want, whatever feels the most comfortable for you. But you want to be able to just get to where you have a uniform shape. Now that shape can change, so this is a very basic leaf. But if you want to have a nice slope, gradual and then a little bit of a tuck, or if you wanna have that little bit of a tuck in both directions and you can see the possibilities really are endless. But what we're doing is just repeating shapes. This next thing is one of the things you will see in almost any Hannah design you ever see . So you start with this nice, thin line, and then we're doing just this nice little loop go to the same point every time. What I'm doing here is I'm putting a light pressure and then I come down and then when I go back up, I'm not doing any pressure at all until I reached a place where I need more. But one of my favorite things to do when you have this is you squeeze a little bit of pressure and then lighten up, then light and squeeze and light in light and squeeze in life so any element can be mixed with other elements to create designs. And we'll do that on the next worksheet. The next element is a simple teardrop. You can do that in two different directions. You can squeeze a circle and then pick up, or you can squeeze a circle, stop using pressure and just drag. Now for these ones, you can either do a nice little line and then stop and build a docked. Or you can build a dot and then do a line. Or, if you have a lot of these in a row. What you can dio is just draw a bunch of thin lines and then come back through and add dots . But being able to do them consistently sized and spaced is like a multi year quest, so don't get frustrated with yourself. Remember the rule of 10 do 10 lines of just one shape and then judge here we have a nice thin line that were pulling three dio a dot and drag a dot and drag a dot and drag and then we angle are wrist the other way to do the dot and drag in the other direction. Or we can just take this and draw line and then slowly get thicker and thicker with the pressure. And you can see you can bend thes as much as you want so you can have it super bent into almost a curl. You can bend it a little, you can bend it not at all. You can bend it forward. Okay, so for this next one, I wanted to show you a little bit of variations. So first we pull our line that just goes up and down. Really nice. Then here, we're gonna pull line and often if you lift, you'll get that nice little peek and then make a leaf. Then on the bottom here will do a swirl. Then we'll do an open leaf. Then here we pull a line and a dot and then we use drag the dot toe appoint the next one here. I want to show you that dots don't just have to be on their own or at the end of lines. We can actually put dots right on top of lines and it looks awesome. It gives you a guide, so you don't have to be worried that you're gonna very year straight too much. This especially looks nice once we start doing things with, like, a curved line and you can see that this will look like jewelry. The last element on this worksheet is going to be these awesome swirls. So the way we do this is we want to drag our two lines first, making sure that we keep the distance between the lines consistent all the way along. Then we want to touch the top and the bottom line in the same place to make a really round swirl down touch, go straight up touch and curve around, or we can do some all in a row that will look more like waves. We can also add weight, So from here we go thin, then thick, and you can see that each change we make completely changes. The look. Now, when you're practicing, I would say Choose one and do a whole line of that, then choose something else and do a whole line of that and really get used. TV's repeating patterns because in henna that is what it's all about are the repeating patterns. 9. Designs: this worksheet is a combination of elements that is more of a finished design. Look, the 1st 1 I have is a band. Then I have some pedals which actually is more of an element. But I prop them and to be able to show you a Mandela and a floral look. And then we also have the paisley and flourish. So you want to be able to go from top to bottom and left to right. And the reason for that is so that you don't smear your work. You can actually take these worksheets or any others that you get and put him in page protectors and then Hannah right on top, over and over and over again. Muscle memory is key here. I'm just using my fingers to make sure that our spacing is good and our pressure is good. We want these all toe look exactly the same size and exactly the same space. Don't want to squeeze too hard at the beginning or we're going to get a dot there. So try and keep your pressure really nice and even, and don't linger in any place. Now you can put dots on every line or here we've alternated lines. Now chances are you'll mess up at some point, you'll be like, Oh, no, I forgot to leave a blink one. The beautiful thing about henna designs is they're big enough to just pretend like there's a line there. Don't try and fit one in there, so that is perfect. And it will just blend as the beautiful design that it is. Then we're gonna drop in another thin line. We're gonna bring in our swirls that were doing as you're doing Henna. You're going to get a buildup of henna on the tip of your cone. You want to be able to have a wet wipe or a paper towel where you can just clean your tip off or some people do it between their fingers. So you want to keep a clean tip? Do you see that empty space we want to create and preserve that empty space? So here comes another line, and then another line under that. And what we're doing next is we're drawing these leaves, so we're going to go up and down and across the center. This is called a reverse Phil. So we've drawn our shapes. Then whatever is in the negative space. We're gonna accentuate that negative space by coloring it in, and it's really going to make those leaves. Pop. It's so beautiful. Now we're going to do another line, and now we get to do our little bums, and then we're just gonna pull thick to thin, and that is the look of a band. When you're doing a flower, it's a lot easier to think of it as a clock or a compass. So you have the center, but notice these different spaces around the circle. If we keep each one of those as the center of a pedal, we're gonna end up with four pedals. If we add one more, we're gonna end up with eight pedals. You can do this on the inside of your flower or just do it mentally. But then what you're able to dio is your ableto have perfectly spaced pedals, and you won't run out of room and have that feeling like okay, that doesn't look even now. These pedals are the same. These 1st 5 in these five. I just wanted to show you the different places you can add the weight you can add little weight in 1/2 of the pedal on a lot in the other. Or you could add weight on the top and on the bottom, and you can see the difference that these pedals have from these ones. You have a lot of options for filling, so you can dio a single strike. You can do thin strikes. You can dio a dot now you can draw your circle and we add that pedal and then that pedal and that Pittle and that piddle. And then instead of doing more of those pedals, maybe we want to do one of these in each place and we're taking the elements and we are building these designs. And now you're like, Okay, I love it, But there's not enough variation. So lets out a dot t each of these and then maybe a nice little line to make those look a little more like a leaf instead of a pedal. And all of a sudden we have just created a flower. Here's a mandala when you're creating a mandala, what you're doing is you're adding layer on layer as you go concentric lee around Adult coloring books are an excellent place to find really intricate man dollars and identify the elements you like and add them to your head. A journal. But as you can see, we start with a dot in the middle. Then we do a nice little circle around. Then we're adding our little bumps. We're gonna go down at a a dot and then pull the doctor. They were going to come up at a dot and pull the dot. We want to come like 1/3. Then we have another third. And what you want to make sure is that the lines on these tips are always pointing out. Now the next part, we can come up and curl and do a dot or we can do a dot and curl and come down either way is totally fine. So whatever works better for you. Next thing we're doing is we're adding a dot to the middle of each point. Then we're going to pull a line from this dot out to a new dot so we can even just do the dots if we want, so that they're all where we want him to be. Then we'll just touch one dot and drag Aled thin line down to the next stuff. So Mondal is you will feel like you're getting dizzy because you're going around in around . But we want to just take and draw a leaf shape around each of these dots. The next thing you can see as we've just got this really nice outline that's going to be able to give us the look of a circle coming back. And if there's one place like this one that was too close together, you can try and even that out in the overall design. Then we can go around again. So I'm just gonna add my bigger dots in each of the corners, and then I'm gonna add to smaller dots on either side of that point and then one little one and you can see we could continue to just build on and on and on and on. The last design I want to go through with you guys is a paisley with a flourish. Now, Paisley's for me were really hard when I first started. But what I've learned is that if you just do a teardrop with a little bit of a bent, so just the leaf shape, we can come an outline that shape and curl around. And then from here, come back around and touch. And now you have a paisley. So a really popular Phil is just to use some of your floral elements, a double line and then some bumps. And then we'll do some dots sick, thin, thin, thick and then do it again. And fills don't need to be as precise because they're not the biggest part of the design. They're just taking up space. But it's kind of like the pattern on a woman's dress, and they were sending with a nice little DUP. So there's are filled paisley, and now let's look at the flourish by adding the second line coming up and out. Now it looks like a flower opening. So do a dot and then we're gonna come out and down. We'll do it dot and come down, and you can see I'm repeating this shape. There are lots of different shapes you can do here. You can do simple pedals, and in the open space we could start another flower. Or we can just keep it simple and bring a few long teardrops or these air kind of dotted lines So if you are a manic doodler like I am, Anna is the perfect place to be able to just let your hand go and and see what happens. 10. Thoughts: any time I teach somebody how to do Hannah. It's really important to me that we take a moment and we talk about the special amount of respect that it takes to do this art form when you're in a studio and you have the time to do art that you then present to somebody. It's a very different experience than when you are creating live. And henna is always created life because the person receiving the henna is there, and often if it's on their hands or feet, they will watch you every step of the way. That can be pretty intimidating for you. Also, sharing somebody's personal space can be a pretty intense experience. So it's something that you want to put some thought into. What are things that you can do to feel comfortable? And what are things you can do to help that person feel comfortable? One of the simplest is called a henna pillow. Ah, lot of us Hannah artists will keep a special pillow that we just place on the client's lap that allows us to elevate their hands or their arm, and so there's something that we can brace on that isn't their upper fi and things like that to again be able to create a comfortable, confident environment. Also, as you are working on Children, sometimes with henna, you want to make sure that they're comfortable that you're talking to them while you're doing the henna. The other thing we want to do is we want to take a moment at some point to reflect on the thousands of years of tradition that has gone into bringing this into our lives. We can take inspiration from architecture. We can take inspiration from any culture from ones in Africa or, you know, early European history or South America anywhere. They're going to be artistic traditions. And as we bring those traditions into henna, and as we bring the henna traditions or the Mendi traditions into other art forms, it creates something even more beautiful. But let's make sure that we're taking the time to reverence the culture that it's coming from and not just, you know, kind of being a thief in the night and sneaking in and stealing things. But understand that what we're using has been developed by somebody, and it means something and and know what the symbols are that we're using. Know what they mean to that culture? Um, and make sure that we're using them in appropriate ways. If you're loving this and you're wondering, what can I do to bring more headed into my life? I have a couple of suggestions for you. One of the best ways to stay inspired by henna is to grow your hand a community. Find other people that are interested in henna, whether it's having you do Hannah on them or whether they're Hannah artists with social media, it's never been easier to broaden your horizons in the project section. I'll go ahead and upload some of my favorite and artists so you can see who inspires me. The next thing I want to talk to you about is this amazing opportunity for cross training. So because henna is a medium as well as an art form, we can dio kind of reverse practice, which is really awesome. I've spent some time using Hannah inspired designs in my illustrating, and it's really fun to Dio. I've also taken my henna cones to the studio with me when I do my ceramics work and by using the same techniques that we've practiced in this class and a slip trailing method, I'm able to make some really fun pottery. Now, instead of using the art form in a different medium, think about using a different art form in the medium of Hannah, and I think that both of these directions can really give you the chance to grow your visual vocabulary, learn more designs, get more familiar with the shapes and with the structure, and really just grow your love of this. 11. Project: it is so much fun for me to give you guys the chance, actually use the information. So for this class project, I want you to do a couple of things. I've realized that you might have some shopping ahead of you before you're ready to do Hannah. So I want you to do your first design, use the elements that I've shown you, and then you can come up with a Z, many others as you want. But I want you to do Ah, Hannah design on paper with ink. Use pencil paper, Penn, whatever you want. And I want you to do a hand of design. So that's the first half of the project. The second half of the project is when you get the chance to actually do Hannah. So I want you to, you know, Rolla Cone, or order some henna in a bottle, whatever makes you comfortable. And then henna, the design that you designed either on yourself or on paper or on your kid. You know, whatever skin you combined that will hold still long enough to get the center out there. As you continue your journey, feel free to reach out. If there are questions that you have that I didn't cover in this class. Go ahead and start a discussion and I am here, and I would love to see what you dio. This head of tradition has been around for so long, and it isn't going anywhere. And this is something that it welcomes more people to be involved. So please get involved in the header tradition at your own chapter to this amazing book, and it will only make us all better. It's wonderful to have the opportunity to share my love of henna with you, and I hope that it's something that can change your life the way that it's changed mine.