Daily Creative Practice: From Sketching, Journaling to Illustrating in Procreate | Yifat Fishman | Skillshare

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Daily Creative Practice: From Sketching, Journaling to Illustrating in Procreate

teacher avatar Yifat Fishman, Art & Illustration

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

11 Lessons (56m)
    • 1. Introduction

      1:47
    • 2. Always Inspired By Coffee

      3:52
    • 3. Exercise 1: Dry Brush Sketch

      5:20
    • 4. Exercise 2: Ink and Watercolor Sketch

      5:25
    • 5. Journaling Fundamentals

      6:57
    • 6. Exercise 3: Creative Journaling

      7:25
    • 7. Exercise 4: Coffee Cup And Ginger Cookie

      10:50
    • 8. Vibrant and Textured Illustration

      7:59
    • 9. Finding Inspiration

      4:38
    • 10. Final Thoughts

      0:48
    • 11. How To Share The Class Project

      0:59
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About This Class

Turn everyday moments to colorful illustrations! In this class we cover strategies for staying creative and finding ideas for art projects. We figure out ways of working around artistic blocks and get inspired to draw our next project. We do that through drawing exercises that build up to a colorful illustration at the end of class. It's all about the creative flow as one work leads to another. Throughout the class we flow from sketching through journaling and paint vibrant finished art in Procreate. I will encourage you to always keep an open eye and draw inspiration from your observations as we illustrate fun exercises that you can easily follow.

Crafting a structure for your artistic workflow is sometimes all that you need to keep on drawing daily and prolifically!

What you’ll learn

  • Sketch in three different techniques with pencil, dry brush, ink & watercolor.
  • Find inspiration everywhere you go capture your every day life.
  • Create journal pages that will inspire you to draw vibrant illustrations.
  • Paint on the iPad in Procreate improve your skills and techniques. 

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I am excited to be sharing my illustration flow with you in this class!

The class is perfect for beginners and intermediate artists. I’ll be drawing on my iPad Pro in Procreate. Students may also choose to follow the class drawing on paper with watercolors, or with any other drawing tablets and apps of their choice. 

Take a sneak peek into some of the illustration exercises we do in class:

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Check out my daily-ish progress and keep in touch!

Meet Your Teacher

Teacher Profile Image

Yifat Fishman

Art & Illustration

Teacher

Hello and welcome! 
I’m an artist and illustrator based in North Texas, an industrial designer by profession and a self taught illustrator. I worked in graphic design, wrote & illustrated children’s books, and am always looking for creative projects to stay motivated. 

I teach advanced drawing techniques on the iPad in Procreate. My illustrations incorporate watercolor textures and ink lines created with digital brushes in vibrant color palettes. I’m loving the flexibility of painting in Procreate. Having all the brushes, colors and textures in one clever device is simply brilliant!
My outlets are: yoga and workout (finding balance between all the elements in a drawing is a bit like yoga), books,... See full profile

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Transcripts

1. Introduction: welcome. My name is Yifat I'm an artist and illustrator. Love to invite you to join me on an illustration field trip. We're going after that elusive muse and we're going to find it In the most common places, creative people are always looking for inspiration. Finding ideas for our next project is essential for creating daily. in this class we will talk about different strategies to help your artistic workflow. One of my most successful designs started from a little statue on my bathroom window. It's inspired by my love of yoga. throughout the class We'll see that to know what you're going to draw. You have to start drawing. Inspiration comes to us as we work. I like to start every day with coffee, so let's have a coffee date. We'll flowing from sketching through journaling to finished art. staring with sketching exercises to explore. Subject we move onto drawing a journal page of my cafe Visit. Journaling is so much more than documenting experiences, it can help us focus and train the hand towards more complicated artwork. Finally, we're going to bring all the elements together in a colorful and texture of illustration. This class is grate for beginners and intermediate artists. All you need is your Sketchbook or your iPod. I love working in Procreate, and will be teaching my illustration techniques and workflow. So grab your pencils and let's get started. 2. Always Inspired By Coffee: So now we're ready to begin and we're gonna be inspired by coffee today. So let's go grab us a good cup of coffee and then that way with seat cup, - but to stop every illustration you want, Teoh, get familiar with our subject. And obviously, the first object I would like to illustrate would be the coffee cup. Let's start by bringing in a photo from the photo gallery. Go now, insert a photo to income our campus, and I'm gonna put it at the very edge of the compass for now because what I would like to show you are two different approaches. Teoh starting our illustration work and the 1st 1 would be to sketch are subject. So we're not gonna work with no definite shape here. What we're trying to do is find the image. And to do that, we're gonna allow ourselves to make lots and lots of lots of little mistakes until things start to make sense. So we're letting yourself be observers when we sketch and we're not trying to make decisions about there are lines go right away. No, nothing. My hand look for the shape. And now the reason we're starting with the sketch is we want to get familiar with our subject. And to do that bested, yes, to sketch it up and figure out where are our most you know, darker areas and where are the lighter areas off the object? So we're figuring out the lighting, and we also want to figure out what kind off what's going on in in the picture. And once we do that, it we can start making more definite lines and capture our object. The first illustration would obviously be my first interest, and that would be the our coffee and the cookie, which was delicious, by the way. So and obviously, in this illustration, I I'll be interested in the trade as well. So maybe I want to move my up and reposition it on the converse and make sure that I leave room in the composition for some background. This will. Then I'm gonna follow shape, and I'm actually interested in the grains. A swell 3. Exercise 1: Dry Brush Sketch: this would be a very, very first rough draft. Since we are working with technology, we can totally take advantage of it and bringing the photo and kind of traces in a way. And I'll show you how to do that. It all is also a great a great way to work if you know you're still beginning painter and you're enjoying a skills are not that good. So we're gonna bringing the photo onto the compass. And the next thing that I'm going to do lower the apostle D so that I'll be able to see my work better. But it still gives me enough of the image to work with so I can still see my subject matter . And I can still see where the dark areas are. The light areas are fine details, and the next thing that I'm gonna do is you know, you want to look for this layer, and I'm just gonna love these two just so that I don't make mistakes because it often happens that when you draw you, actually, you know, by mistake draw on the on the wrong layer. So you want a local? The layers that were knocked working with. I'm gonna other new layer and that's gonna be my sketch layer. And now I can actually work with the photo. So but for this first exercise, I would like for you to work with a dry ink brush technique, and it's more expressive and much more interesting than just catching with pencils. It's also gives you an idea of where we wanna get your illustrations. There's more infinite more, you know, more energy enjoying in that technique rather than using pencils, which are really no more subdued. Now we want to see some expressive painting when we work with this Prussian. This is going to give us a direction for where to take our illustration in the next step. So with this brush, if I don't press, I get a nice soft line Mitchell using the stylist very, very lightly because I don't want to press too much. If I press, I'll get this very strong line. So I want to mention the texture to get, and what I'm aiming for in this first exercise is to get a picture that would inspire my later work. I want to look at this and get inspired to keep on working, And what I mean is that I would like to create a picture that will leave me with the impression that I have something that I want to pursue. So this is basically what I'm doing here now, things I know that I'm gonna be interested in our lines off the cup. I mean the shape. This is something that I would definitely want to represent in my illustration. Another thing that I'd be interested in illustrating is the reflection on the car. But if you look at the coffee car, especially if it's the glass calm, you know that there are those reflections there and I will want to show them in my illustration. So in this way I'm getting familiar with my subject. I'm also creating a memory off my visit to the coffee show through this illustration, and I will always be able to refer to this memory later on when I look in my gallery. Now, when you work with a stylist, you pay attention, Teoh, the way your hand is still taking because with this Prussian with most digital brushes, when the hand when the and so is pointing directly at the converse, you'll get a fine line. And when you tilt it, you be able to get these soft brush lines working with this catch. Really? Use me good sense off where this work is gonna go and it gets me inspired. It helps me connect with my subject. You know, when I sketch is always start with a rough sketch, always okay. And with that, my friends were ready to move on to the next stage. 4. Exercise 2: Ink and Watercolor Sketch: Let's do another quick exercise. And this time around we're gonna use the studio pin. We want to get a sense off the lines that we're gonna work with and the shadows in this illustration. So we're gonna start building layers and volume as we go this time around, we know are subject. We already drew the cop a few times. So we we have a better sense off where we're going with this one. And I love doing this preliminary work as it warms up the hand towards the finished artwork . Of course, after this exercise, we're gonna keep on going to journaling, So we're gonna build on top of the work that we're doing, but this one. So when I'm during the cup, I don't really need to close the lines like when I'm during the rim off the coffee cup. I'm not gonna a draw complete and perfect ellipse because we're trying to create interesting lines and interesting lines are not necessarily the one that are perfect. So I would like for you to pay attention to that when you're drawing. And that's the reason on keeping my lines kind of more open when enjoying the frothy milk phone. I'm keeping the stylus pressure very, very light so that I don't necessarily need to go and scale down my brush to do fine lines . If you're using the Apple pencil stylists, all you need to do when you draw is just to apply very little pressure and you'll get a nice thing lines. And in case you're following this tutorial with actual pencil on paper, I'll make sure you're using sharper pencils to do fine lines and that you're tilting your pencil to create thicker lines because we didn't want to see the diversity in the line that change in the line thickness. When we draw in outline, it just makes the lines more interesting to the I. When her lines are all crazy, we can go ahead and on the new layer to our illustration and peek a nice coloring brush, and I would like you to work with watercolor brush. I love working with a gold rush, so let's go ahead and pick the gosh brush from the brush menu. We're working grayscale and black and white, basically, but we do want to get a sense off where the lights fulls on the cop and the cookie. So we want. Don't pay attention to our subject and see where the light sources are and which directions the shadows full. So when we go over to the cookie, we see the shadows full from both sides, and there's light coming home, that corner, and we want to make sure we show that in our illustration. So we have shadows and we do have crossing shadows in this illustrations, and those are gonna be slightly darker. And that's because we have several light sources that are liking our subjects. Now, working with the gosh brush, I make sure I keep the light pressure when I want the Qatar to come out from very transparent. And if I want more color, I need to put more pressure on my pencil when I work with ah, watercolor brush. I usually scale it up this much as I can, so that will give me wriggle room and I won't be afraid to make mistakes. The sketch might come up more rough, but it also comes out more expressive. I would say always try to work with the largest brush that you can, and just out the details later, it will give you more freedom as painters and and we really want to give ourselves room to explore when we're doing the preliminary work. Great work so far, my friends, if you're following along with me and I think we're ready to move on and draw the journal page based on the cafe visit. 5. Journaling Fundamentals: before we start less quickly, copy and paste our sketch into a new canvas. And now let's talk about journaling. Keeping a creative journal is more than just documenting moments and experiences. I see there's a fun way off getting in the creative flow. It can help us focus and train our hands towards more complicated artwork. We wanna baking observers and go beyond the obvious and what immediately stood out. So let's look for the minor details as well as the big picture items. Write about things that immediately coming in mind about your visit and experience, but also about things that you might not remember afterwards, like feelings and try to capture the experience with pictures and details made your visit to a place really memorable and unique. In this way, the Journal pages really a roadmap to our experience. We can incorporate logos or big titles, anything to make the page look interesting. I created three basic templates for you guys, and in this one we have a big image in the center of the page, and around it I cannot notes and impressions. From my experience, Big Tex and titles really helped make the page book and we can always add a rose with little notes and ideas. Another way to go is to divide the page into sections, maybe diagonally or horizontally, and sketch and write in between those sections. We're visual people were artists. Maybe there was a large sign that caught our attention or logo on a napkin or a print on somebody's T shirt that we want to represent in our journal. Another way to go is to create kind of a road mint. We've arrows between our little sketches. This journal page will have lots off little doodles and illustrations with arrows going between them in a chronological order. We can always frame our page and you know little around the edges, and that's pretty much is. So let's start with our journal page today, and I remember the cafe logo with that wriggly line and maybe get a name off the coffee shop in here someplace, and I want to add all sorts off elements from my visit to my journal entry. To do that, I'm going to work with my photo journal that I created from my visit. I can have it on my computer or I can bring the photos here to the campus, and I actually prefer to work on my converse because I have a big screen. But I mean, if you're working with a smaller iPad or working on in a sketchbook, you might wanna have your pictures on your phone. Let's bring in photos. We're gonna add photos to the canvas. Let's look at their photos. Something I like about this coffee shop is the brickwork and the colors, so we're not gonna use colors now, but we do want to bear them in mind when we're moving on to the color version. Eso we do have a lot of red and we have whites and we have the brickwork and the brickwork is just a beautiful texture that I would like to use ATT's some points. So I want to bring in this photo off the light fixtures because I like their shake and I love the color. Look at the contrast between the greens and the Reds. Another thing that I would like to work with is the name off the coffee place, because I would use it as a contrast to the illustration. I would like to have a large bowl text like the woodcuts letters that form the coffee for the coffee shop name and final thing that I want to bring in is the coffee shop logo that I know that I have a photo off the door. So now I have all the elements. Let's think about how we outline the journal entry, I think, working with diagonals dynamics door illustrations. So I want to do that. Also, there are all sorts of elements in my photos that I want to represent, so I know that I want tohave text here. This is why I need the photos, because I right now I really don't remember exactly how the letters look like. So let's just say that this is something that we want to do here and way want to get it. It's likely smaller. And another thing that we had were the this interesting lines. Think about the logo. It's round and perfect, and so I want to break down the shape a little bit. So I'm gonna chip a little bit off the logo, and I do have my coffee cup here somewhere, just representing away the elements on my journal page, and I'm not really trying to be precise here in it. And I know that there is this guy with the cap. He has dis beard and I like it. I don't know if I want to get into all these details, but I do want him on his phone because everybody are on their phone out. And let's not forget the brickwork, the brickwork. She'll be here somewhere, too. It's so this is a very rough sketch off my journal entry, and when you do the first very, very first sketch, you won't get it very rough, very free. Feel free to make mistakes, to scribble, to making a page that is not pretty, because you just want to place all your elements on the page and then start to refine it. So basically what I'm doing on marking the spots where my nicer illustrations are going on fall on the page. From here we can go over to our next stage, which is drawing with inclines and watercolors and getting really into the details and the textures 6. Exercise 3: Creative Journaling: I would like to start with illustrating the logo because I think it's really interesting. I'll be working on a photo with the studio Ben from the inking brash menu. And once again, I'm going to start by lowering the rapacity off the image so that I'll be able to see what I'm drawing. I'm working directly on the photo because I do want to be precise when creating that logo. This process is going to be more of a demonstration than talk that's I'll jump in and explain my process as I'm drawing every once in a while, I want to give the coffee shop letters kind of a rough look. I'm not tracing the photo. I really want to draw from observation and Mr Letter there, but I'm gonna get back to it afterwards. So I really enjoy just drawing with the ink and adding the lines for kind of representing the wooden texture. And I can always go back and used to transform tool to reposition the text on the page. The next thing that I would love to do is to draw this man who's sitting on the bar with his phone, and I'm trying to create more of a graphic image. So I'm going to make some of the lines straighter and even give them nice angles just to give this image the nice styling. - And I stink did it afterward, there's to pick up the ghoulish brush and on some shading, not too much. We don't want to overwork the image in the journal. We want to still give it some kind of this sketchy look, but adding a little bit of shading really help our character toe the illustration. I really love these light fixtures, and I would love to represent them in my journal page. So I'm during them and they're kind off too low on the page. So I'm gonna transition them, move them upward and added, The images I go. And that's really the plaice of working on the iPad. Rather has been on a sketchbook. When you're using ink, you can always move in shift things around. The final illustration that I would like to after the page is the brickwork, and this one is going on a lot of character through the illustration. It's gonna texture and prevent. I'm using the shale brush, which is a nice textured calligraphy brush. And since I don't want the texture to be to overwhelming, I'm going to lower the A pass ity off the brick wall. This way it blends more nicely with the rest of the images on my page. Now I cannot some text to my images. I can write down things with my ink rush, and another way to do it is to use the text tool Teoh text to the page and really type it in. - When my journal pages ready, I can share it by pressing the share I can and choosing J pig or being G four months to export it and save its to my image gallery. I really enjoyed the process, and I hope that you will to on with this we're ready to move on to the colored illustration next 7. Exercise 4: Coffee Cup And Ginger Cookie: when we start to plan our final illustration, we want to think about what kindof visual language we have created. So we're in the next stage, which is planning our work. And then we were wrong to choosing colors and starting with during the shapes and I think textures to our fun of illustration. We're going to start my illustration on a new campus, and I've already brought in the ink outlines from exercise to The next thing that I would like to do is bringing a few elements from my journal page and and I'm going to go back to the journal page and copy and paste a few elements from that onto my new compass. So that's head back to the gallery and hate the journal page and slide down with three fingers to bring up this pop up menu and top paste to pace the new layer onto this compass . And I'm going to do the same for my ah, break well illustration. Now I have these two elements I'm going to say for later. The next thing that I'm gonna do is very, very roughly draw the elements that I would like to have in my final illustration. So I want to have some kind of backdrop that will enhance my illustration. And that's a circle that you see at the back. And I may want Teoh some phone coffee beans, too. So with that, we can move on to colors. So let's look at my main photo and it's mostly brown. Let's simple the brown and see. I'll wear the collar folds on the color wheel. We can see that the brown is actually coming from the orange, but there was a lot of variations in between on the brown color scales, and we're gonna look into them to set a new color into my color palette. I'm just gonna tap it in, and I like to create different color variations for each color. I would go for a light version in darker version off the Qatar that I'm planning on using. I picked a few different browns, and I'm going to keep the ones that I like. I like the contrast off the complimenting colors red and green in this picture, so I'm going to pick some nice reds for my picture in some greens. Then I will be using later on in my illustration, and once again I'm picking a lighter version and a darker version for each color. And this is my finished color palette that I've created for the illustration. Let's begin by setting up background color for the illustration. Top the layer and just choose a color from your color pal int The next thing I'm gonna pick a painting brush and I'm gonna pick a brush that is heavily textured. It's the Tamar. You can pick the ghoulish brush or any other ones that you enjoy working with pervasive alteration. I'm drawing the backdrop for my illustration, and I picked a shade that is darker than my background shade for that and that helps it kind of blend in with the background rather than be dominant and compete with the coffee cop in the tree, which are my subjects. And I'm using this very wide texture and brush, and I'm drawing very fine layer off color. I'm making sure I'm not pressing my stylist. I'm working very, very lightly with the brush. It is big scaled up for this first layer of color. Let's on the new layer for the tree and make sure that all the Blairs underneath are locked , so we don't accidentally draw on the wrong layer. And I'm gonna pick my greens because the contrast the reds for the tray, even though it's a wooden tray and I'm going to represent the grains off the would later on in my textures. But even though it's would, it doesn't necessarily need to be in a wooden color. We can choose colors more freely when we draw an illustration, and it actually makes it more interesting when we don't actually represent the object as it is. So once again, I'm applying the first coat, which is kind of transparent, and I'm gonna add a new layer off color on top of that one. And this summer on, I want to make sure I represent the direction off the lights. I know that it's coming from above. Oh, that's where more off the lighter green is gonna fall now. If the light falls from the back and above, then the front of my image is gonna be my darkest. So the bottom part of the Drake trade that is facing me is going to be a darker shade off green. I can clean up and define my shape using the eraser. And this is what I'm doing for the edges off the tree. Moving onto the cookie. I'm gonna do pretty much the same, only going to focus more on the details and textures off the colors. When I'm joined the cookie. I want to represent the source of light, which comes from above, and that's where my lighter orange is gonna be. And the front of the cookie is gonna be of darker. And I really like the shape in the colors of typical key. So this time I'm actually trying to follow the real life colors. And I think you can see from up close all the different textures that I get withdrawing with layers of colors. I know that we're gonna cover textures in more detail later on. But for the big, robust brushstrokes textures, this is what we're covering now in this unit and again for the cookie. I can clean up the bottom parts with my eraser to make sure I have nicely defined shape for the co fi cop. I'm gonna pick a very clean round brush because I don't really want to have texture for the cup, since it's a glass and the glass is gonna be highly reflective. So I'm going to start with Dark Brown for the liquid and then work on the textures, swiping right with two fingers on a layer. Locks it in Alfa Log. I'll show it in more details later on, but that enables me to bring in textures with outs going beyond the shape that I've already created. So when I color, I know that I'm colored within the boundaries off the Alfa lock mask. The final shape that I want to draw is the milk in the phone, and I'm using again my texture brush. And that's the Tamar for this illustration with the white ish cream color. When I draw, I try to keep my brush strokes visible. So I'm pressing and I'm pressing on my stylist as I draw So some births strokes are gonna be more intense and some are gonna be like her, and that gives me that's lovely texture. When I'm done putting in the color to the Slayer, I want to clean up and really defined the shape off the froth off the milk froth, and I'm once again I'm going to use my razor to kind of trace my ink outline to create the shape. Finally, I want to bringing shading into this layer and I'm gonna lock it in on Flock. Soto, activate the Alfa Look. We can either quickly swipe right with two fingers on a layer or by talking on a layer. We can choose the Alfa Log Mosque from the layer drop down menu. I love you seeing Alpha. Look, it's a very quickly off drawing, and here we are. We have all the basic shapes of our illustration, and now we can move on to adding details and texture. 8. Vibrant and Textured Illustration: for your finished illustration. You can use the inclines from your second exercise, but I would like to draw new ones in the lighter color, and I would like to make the more stylish kind of rounded. Or maybe I wanted to really give myself time toe work on the lines, and so I create is new line layer for my illustration, and I think the fine lines are nice contrast to the textured color layers that we have underneath. So let's do something similar for the trade. It's a wooden tray, hits has a beautiful wooden texture, and I want to try to represent that in my illustration. Gonna use the studio pin from the inking menu. You can always choose a nice calligraphy brush to create those fine lines, and I'm using the photo because it really helps me to see the direction off the wood grains . I like this layer so much that I left it go beyond and over the block off shape that shows the would trade. I like the play off these layers in the illustration, and I want to really show that. Okay, next, weaken odds and you layer and do some more coloring, and this time around I'm using the colored pencil. I'm using the six B pencil to odd shading and texture to my wouldn't trade. And that's another way. And it's an easy way to draw in texture in your illustration, using colored pencil for the colors and using Ivor my color palette or sampling colors from my canvas. Don't come up with new color inventions A. To this stage, because you wanna be working with the same colors that you already have, anything very new is gonna look very foreign on your illustration. Another way to bringing texture is to use a very interesting brush. I'm going to use this one that I really cannot pronounce. It looks like a rake, and I pick it from the inking menu. You know, you're welcome to find another one and choose one that you really like to work with if you want to. Our texture using an interesting brush, find one that really stand out from what you've been doing so far. So I'm using this new brush in a new layer to add more definitions to my shading, and I can also use this brush to add more definition to the shading underneath my tray, and that's in a leader that falls really underneath the layer of the trade. So to summarize the texture part, we're using a big brush. Strokes and layering are brushwork to help us see the texture, and that's one way of doing it. Another way of doing it is working with lines in trying to create the fine lines. When before we had a very loose shape, with big brushes, fun and very control. The way to bring in textures is by using colored pencils. And the fourth way of doing that is using very interesting brushes, trying to keep the brush work visible so that you have a layer that is more texture, like underneath the coffee cup in the shade. And there is one that is kind of more of a stain of water stain that defines the whole shadow. And the nice thing is to make everything work together in the end, finishing touches well, here we can play a little bit, and I'm just starting, you know, coffee beans, because this is little STA scene is around a coffee and having a nice cop with the cookie, so I'm using a calligraphy brush with a color that I sampled from my cookie Boudreau coffee beans. Next, I want to use my recall texture to onto the back of my illustration. And, of course I don't want to use the black inclines. I want to make them very light color, maybe a light pink or white. I'm bringing in a very subtle texture to the backdrop because I want my subject, which is the coffee cup in the train, the cookie to stand outs. Also layering the A positive E for this texture. Help it with blending in, and I want to bring in my text. And once again, I'm not gonna use the black ink brother like it's in a lighter color. I would like for my text to be bigger so I could maybe remove the third Ward. It's just too much, and I will reposition the text so that it will flow around the tree. Once I have everything sitting where I want them, I can choose a different color for the letters. I don't pretty much like the black for think I'm gonna change it into this creamy white by editing the colors off the layer. A final element that you can add to your illustration is the fancy logo or sign your name in a creative way. So I'm using my initials and of course, I Mental Right Inc gonna change the F two. Okay, later on. So I have wife and a frame and ink footprints. That's my signature. That's it. My illustration is done and ready. And with that, my friends, we have the final illustration next to the photos on I really hope you enjoyed this class. 9. Finding Inspiration: as the creative people. I think one off the thing we love most is to be in the creative flow. I don't know about you guys about a day where I'm not drawing or painting or doing something creative. I'm just not a happy person. So let's see what kind of strategies we can take in order to create a body of work that we enjoy. And I would like to suggest a few ways for us to keep in the creative flu, and I'll give you a few tips to how I do this. One of the things that I love to do is to draw inspiration from nature. I love drawing plans, and if they happen to be sitting around on my desk, I can just grab and drove them. And this is precisely what I did with this little air planned. I have it on my desk and one day I just decided to work with it to draw this plant. I actually use a message that I learned in art school and which I'm we'll be teaching later in this class and that's drawing with the dry ink brush. Sometimes we get created when we want to explore new ideas. For instance, in this illustration, I wanted to explore opposites. I flat shapes, verses three dimensional shapes, so sometimes challenging ourselves to work with ideas, whether they're opposites or contrasts or new colors that we want to explore. We get us to create interesting art. So this elefant figuring waas on my bathroom window, and I just grabbed it one day and started working with it. Now I love doing yoga. It's my preferred exercise. And so I had that in mind when creating an illustration with this elephant, it seems like it's doing a yoga posture. It's an upward dog or cobra and I love layering and I didn't textures. And this is what I did pretty much with this elefant. I started with the shape, and gradually I did more and more. Layer made the illustration more intricate and eventually added hand written text. Calm your mind, and this is actually on illustration. That's going pretty well. And, you know, people really connect with it, and they get this product on pillows and on yoga mats. Another practice of mine is to keep lists. I mean, I keep shopping list and I keep drawing lists because I don't want to forget any idea that I have. And so lists are not just a way for recording. Ready is. There's also a great way for generating idea. When you start writing lists, you'll get lots of for years going because if I can draw a Christmas ornament, maybe I can put this ornament on Earth on a tree. And what if next to this tree there is a snowman? And so here I have an ornament, um, tree and a snowman, and maybe I want to do a Christmas card. What kind of Christmas card there Different ways to draw a Christmas card. So eventually I had a good list, and from this list I developed a few illustrations. Another strategy that I keep regularly ISS writing ideas and developing my ideas in a notebook. So I would suggest keeping a creative diary this way. Your these well keep for a long, long time. Keeping this creative diary or notebook on the table is actually really reassuring because as an artist, you know that you can always fall back to that notebook and find an idea. The most scary thing is sitting now, not knowing what you're going to draw or sitting in front of this a blank converse. And so and that could create an artistic blockage. Well, I would say that artistic blockage is result of not sitting down and working, basically, so to stay created. We just need to keep working and that will get us inspired to create, aren't. 10. Final Thoughts: Hi, everyone. Thanks for joining me today. I really enjoyed our field trade and coffee dates, and I hope you did too. I hope that you learn through this class that you can flow is creatives throughs, catches to ink and watercolors and eventually create beautiful illustrations from just about anything. We did a great work with our coffee. So I'm looking forward to seeing your work to please share in our art gallery and write down your goals for next year in our discussion board. I'm looking forward to having you join me in our next field trip, so thank you and bye bye. 11. How To Share The Class Project: in our class Project page, press the top for creating a new project. Under the add content options, choose to upload an image and pick one of your illustrations. Please write something about your work process or any ideas that you want to share. You may add as many photos as you like to your post the project a nice title and upload a cover image. This image will show in the class gallery. Now you're already to share the illustrations with the class press published to submit, looking forward to seeing your work.