Easy Relief Printing: Let's Get Digital, Using Procreate to Become Better Printmakers | Jennifer Belair | Skillshare

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Easy Relief Printing: Let's Get Digital, Using Procreate to Become Better Printmakers

teacher avatar Jennifer Belair, Printmaking + beyond

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

16 Lessons (1h 14m)
    • 1. Howdy

      2:51
    • 2. Print Studio Materials

      5:47
    • 3. Digital Materials

      1:46
    • 4. Class Pinterest Board

      2:29
    • 5. How to Find Images

      3:57
    • 6. Inspiration: Liz Kohler Brown

      3:18
    • 7. Digital Part 1

      4:34
    • 8. Digital 2

      11:28
    • 9. Image Transfer

      8:53
    • 10. Test Print

      2:12
    • 11. Cutting Out the Block

      3:18
    • 12. Carving Details

      7:39
    • 13. Print Registration

      3:39
    • 14. Print Studio 1

      4:49
    • 15. Print Studio 2

      4:05
    • 16. Class Project

      2:45
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About This Class

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In this Skillshare class you’ll learn how to develop a digital image to become your very own illustration for a relief print and transfer your new creation to a relief block so you can make a limited-edition print!

Your project will be to find a reference image via the sources below and use Procreate or another digital program to create an image ready for block transfer. We will focus on mimicking the characteristics of the relief print via the digital realm by referencing Liz Kohler’s Class HERE. Although I will be doing a mini demo, I highly recommend you take her class and download the brush set that she provides by taking her class. 

I will be using Procreate to render the image digitally and will use a royalty free image found online. I’ll take you through the process from start to finish. This class is great for the intermediate student. 

Some familiarity with Procreate + Relief Printmaking will aid you greatly in working through this course; I’ve linked to a Beginner’s course to carving in the project resources if you find you need to brush up on fundamentals.

Procreate Intro Classes
Digital Illustration: Learn to Use Procreate
Procreate Fundamentals: Everything You Didn't Realize You Wanted to Know

Some Beginning Relief Printmaking Classes:
Illustration Based Linoleum Block Carving + Printing
Mark Making with Linoleum Blocks

 Pinterest Board: Relief Printing

Meet Your Teacher

Teacher Profile Image

Jennifer Belair

Printmaking + beyond

Teacher

Jennifer Belair Sakarian is an artist, educator, and writer living in Michigan. She received her Master's in Fine Art in 2013 at Wayne State University in Detroit, Michigan. Her primary focus is printmaking and mixed media approaches to art-making. As an avid nature lover, she tries to instill green practices into her studio practice and subsequently into her Skillshare classes. 

She loves working with students and creating projects that are fun, inspiring and approachable. She is transitioning from traditional academia to online platforms such as Skillshare and hopes to keep learning along the way!

During graduate school, she had been designing and silkscreening gig posters for her favorite bands--some of which you can purchase on her Etsy page-cle... See full profile

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Transcripts

1. Howdy: Hi, everyone. It's Jennifer Bell, your Sicari in and today's class is titled Relief Printing. Let's get digital relief printing. Let's get digital is great for the intermediate artist. It's highly desirable if you as a student have experience with relief printing, as I don't go over much of the basic information. It's also great if you do have some digital experience, but I don't think it's 100% unnecessary, since I do a little bit of a tutorial myself and also reference back to some other classes . So I, myself and also a student here on skill share. In addition to teaching numerous classes on printmaking, bookmaking and professional arts, I recently took those cooler Brown's class on creating Lionel Block illustrations using procreate, and I was immediately inspired because essentially, it's a way to use the digital realm to help us become better printmakers. I highly recommend that you check it out because it will help you develop and understand more analog approached printmaking right that we do with carving and cutting and things like that s o her classes really wonderful for that. After taking her class, I was so excited and just knew that I had to put this into my own practice. I knew I had to show my students how to transfer that digital image onto an actual block to create a limited edition relief print. By the end of this class, you will know how to research royalty free images that you can find online and use for your own creative purposes. You'll also learn how to create a digital illustration that has a very strong linoleum block kind of future to it. We do this by referencing back to lose cooler Brown's class, but also a mini sort of demo that I do kind of complementing the knowledge that she has the share. After that, we'll learn how to transfer that image onto an actual linoleum block, how to end it up and some basics of printmaking and essentially just learning how to become better printmakers, better creative, better artists and using the tools of the trade to really enhance our practice and create things that we really love. In addition, this class will essentially help you to better understand the relief printmaking process, which can be a little daunting at times if we start things in the digital sphere in a digital Rome. We can go back, erase our mistakes and start fresh. Whereas we can't always do that in the actual relief printmaking realm, there's not a lot of ways to erase or go back. So essentially, this is a way to supplement that practice. Make it stronger on essentially, create more polished images that you'll be super proud of. Now that you have an idea of what to expect, let's go ahead and check out the materials we're gonna need. 2. Print Studio Materials: So let's take some time to go over the printmaking based materials that you're going to need for this class. If you're taken any of my printmaking classes in the past, you should know most of the materials. But let's just take a couple of minutes to go over them. So for the first thing you'll need is a piece of linoleum black. This is, I believe, easy cut or a flex cut made by speedball minds about 1/2 inch thick, which is pretty good. You can also use the battleship grey linoleum. That's the kind that has the burlap on the back. It's harder to car, so I do recommend this. If you can get your hands on it. It comes in about nine by 11 inches and, like two packs, maybe for like, 10 bucks or something like that. But this is my go to because it is super easy to carve. And if you have any issues with your hands or risk, it could be super helpful in that way, and it also pulled to really fine detail quite well. So that's my preference. You can pick and chooses you like a so faras the size goes, I would make sure it's at least like an 8/2 by 11 or smaller. I'm gonna be using a full size for actual demo, but something like this would work just as well. Next thing we'll need are some different carving tools. Eso I have two different types. I have my speedball kind of easy gouge set on. Essentially, this one is under $10. It's kind of a great beginner tool set, and it has a bunch of different gouges that are essentially stored in the top of the actual device, which is really great. So minor, all kind of spread out all over the place. But it comes with very fine detail. Also deeper you gouges gouges on like so this is a really great investment, and I go more into details about carving in some of my other skill share for making classes . So as mentioned, this is for more intermediate students. So if you do need a little bit of a brush up, or just to learn how to use these tools, make sure you check out some of my classes that link to below. Additionally, I also have the flex cut micro palm set. This is more of an upgraded version. It's a little bit nicer, a little bit more fine detail. And, uh, it's just a really great investment Teoh get into if you see yourself doing a lot of printmaking in the future, I think mine was under $100 maybe like 80 U. S. Dollars, but essentially, it comes in a set of four for the micro palm. It has a super ergonomic handle, so it's actually quite comfortable to carve with, and they all have different preset gouges. So since this is the micro palm, it has super tiny to like a relatively thick one. But for me, I like these a lot. I kind of intermingle between the Speed Bob and the Flex carved our flex cut, and other than that for carving tools. What's also useful is a utility blade. So I have one of these. Make sure the blades nice and sharp and also a Exacto blade. Exacto blade is important, and so is the utility. But if you have one or the other, you should be in good shape. I like to protect mine with a little wine quirk. And just to be sure, that I don't accidentally hurt myself. Um, after that you also need, of course, some relief. Printmaking Inc. I like to use Cranfield. Call ego safe wash Relief thinks I like them because they are oil based and washable, so it still has that really nice, juicy, oil based look to it. But it's also super easy to clean up just with, like soapy water. Our water itself works really well, and other than X, you'll need prayers. Of course, I have two of them I have about I think this is like a Ford and 1/2 inch one, and then I also have a smaller one because I am doing some things with some smaller modular pieces. The's air, my favorites, a soft rubber. But it's great to try out different styles and see how you like the way it lays the down for you. So I have a couple of them just because I am printing in two different colors. Um, we're also going to need some printing tools, so things like a wooden spoon metal spoons also work really well in kind of contrast. I also like to use a bone folder, so this gets really into some nice, tight, detailed areas, and you can apply a lot of pressure without ripping into your paper so you can use a a metal spoon in place of something like a bone folder. Besides, the wooden spoon and the bone folder, also a barren is really great if you don't have one of these there under $10 again, pretty reasonable price. But it's a traditional Japanese bamboo barren. So again, this is just a way to transfer your image off the black. Other than that, some other really useful things are pencil. Everybody has one of those hope. A permanent marker, straight ruler, straight a ruler. You're also going to need some newsprint, your printing paper. In addition, Teoh, a piece of plexi or glass. I have mine kind of hanging out behind me here, but essentially I'll put this entire piece of Plexi, which is pretty big, is almost as big as my printing area, and I'll cover the entire space. That way, if I get ink in places it's not supposed to be, I can wipe it up, and it's also super useful for registration. Eso The list of all these materials can be found in the class description. So if there's any confusion, feel free to click through these and again watch some of my other skill share classes for beginners to maybe get a handle on some of these tools and techniques. Let's go ahead and check out our digital tools now. 3. Digital Materials: So let's go over our digital materials for this class, since we are referencing was cooler Brown's class on Lionel cut illustrations and procreate . My first recommendation would be to have access to procreate. If you haven't used it yet, I would highly recommend it. It's super intuitive and so much fun to use other than procreate. A secondary option could be something like photo shop, which functions in a very similar way. Having layers. So that way you can build your image up from your initial reference image. So either procreate or Photoshopped. Um, if you're using procreate, something like an iPad would be ideal in addition to the eye pencil. If you're using photo shop, something more like a desktop PC or a laptop would work really great as well. Um, in both those options, If you did have a tablet or a stylist, it just makes it really so much more intuitive and so much more hand drawn. But if you don't and that's totally fine, if you do not, you can use your finger on the actual iPad and then to the mouth or the touch pad on the computer. So those are just a couple couple materials in the digital world that you're going to need . Additionally, access to the Internet is preferable, especially when getting here reference image. So we're going to go over a couple different royalty free websites where essentially going to be scrolling through, looking for an image of an animal that peaks your interest for your class project. So just having access to the Internet on that's pretty much it for the digital world. So let's go ahead and get started. 4. Class Pinterest Board: it's always a good idea to familiarize yourself with the aesthetic or the look of a particular art process. Relief Printmaking is unique in that its essentially taking a material such as linoleum block and carving into it. I have a Pinterest board that's available where you can kind of see some references to what relief, printmaking or line? Oh, cut printing, as it's often called, can look like. Essentially, we're using the power of line and the power of mark making to create an impression of texture to show the movement shaped the form to kind of give suggestion, Teoh things that are out there in the physical world. So this relief print Pinterest sport is really great, because not only are there tons of different styles toe look at, but there are many different subject matter anything from figurative, illustrative, even things like printing on T shirts. So just keep that in mind as you are working on this project. It can take a little bit of time, but it's always worth it, because this block that you create can be printed many, many, many times, eso with this pinchers for to try to update on a weekly basis at new images at new styles just because not only does it help myself, but I realized it helps my students as well both in and out of the skill share platform. Eso pay attention to things like Mark making. How is texture in service detail being described? How do we tell and all has feathers or a loon has read I Things like that. Oh, are this hawk really beautiful image? Really simple lines, and we'll go in more depth about this line. Okay, Relief, printmaking process in case you are unfamiliar. But I do have some other skill share classes that go over in a more foundational way. So just keep that in mind as you're building this your image and thinking about it. I actually have my image that I created from list cooler Brown's class of the populated woodpecker that you see on the screen here. So this was originally created in the digital realm, printed out, transferred to a block and then printed to create a really beautiful union condition. Eso lots of different styles, lots of things to take in minimalism detail, and I hope this was helpful for 5. How to Find Images: Let's go ahead and check out some royalty free imagery that we can use for a project. Some of my favorite resource is our picks. Obey pixels and on Splash. This is picks obey, and it's really easy. Teoh Maneuver through. You can search by the orientation of the image so landscape horizontal. You can search by subject matter, size, predominant color. You can even search by popularity, Editor's choice and things like that. Essentially these air, all photos that have been taken by creatives and by artists and that are available for you to use for your creative projects. Sometimes they will ask that you referenced the original creator, but we're going to be changing. Our image is enough that it will won't really apply, but it's always good to check to double check and make sure that you're not violating any copyright. But for the most part, and what I know myself is a creator and an artist that these images are available for any kind of use, whether it be commercial or personal creative endeavors. Some of them even have things like illustration like you're seeing on the screen right now , which I'd steer away from just because we do want to focus on more photographic based imagery. At the second site is called pixels and again a really great A search engine. You might find some overlap in imagery between these three different sites, which is quite common. But you can go ahead and start saving the ones that are your favorites, or that you feel are something you might be interested in making a digital impression and then a relief print from So I just saved this one of this wildcat. I might not use it for this project, but it could come and useful for another time. Ah, good ideas. Just Teoh. Give yourself like as much as you can. Actually, I'm wanting to dedicate, at least in our now just looking through the sites because they're so useful. And it's a lot of really beautiful imagery that we can adapt into our own message. Meaning so right now in pixels. If I go to the three dots and then the about section, it's gonna give me some information on their copyrights. So they're saying that essentially these air, all images that you are available to use its open source, they're mostly free images for free imagery. What is their mission? What kind of resource is did they have, where the images look like high quality making, making things available for creative, through writers, designers, artists, etcetera So we can have access to really beautiful photos. The next site is quite similar. It's called on Splash, and this one is really nice, because it is organized in such a way where it has wallpapers, textures, patterns, nature, current events, architectures, film, animals, etcetera. So you can search just by the broad category. Or you can even type something into the search bar top if you're looking for something more specific, Uh, there's many other sources that you can use that are out there. But these are kind of the three most popular ones that I often recommend to my students, and they seem to enjoy them quite well. So what? That being said, I would go ahead and give yourself at least 2 to 3, maybe four images, preferably oven animal, because that will be what are kind of, ah, subject matter will be for your class project. So just keep that in mind. Maybe three animals that kind of speak to you. Look for images that have a strong contrast. So that way it will be easy for you to bring it forward. You know, being able to see where the beginning of the animal is in the background is so it's a little bit separated. So just keep that in mind only because it will make the process easier for you. Now before we get started. Let's go ahead and check out Liz Cooler Brown's class online. I'll cut illustrations. 6. Inspiration: Liz Kohler Brown: I want to go ahead and introduce to you list cooler Brown, who is a fellow skill share instructor and teacher who has many, many wonderful classes on not only Procreate an illustration but on textures on society. Six on on so many different things. So she's really a force to be reckoned with. And that's actually how I found out about her class black Prince style illustrations on your iPad. Ah, where essentially you take the class, you learn how to make something look like a relief print through the digital sphere, and she allows you to use her brushes, which really do a great job of creating this relief print aesthetic. Eso I highly recommend and actually suggest taking her class before you take mine. And that way you can get a better idea of how to use procreate. I will be doing a very quick kind of demonstration over that, so just keep that in mind. It's in her about section. You can go Teoh her class downloads page, and then you'll see an area for a password, and that's were after taking the class. You can go ahead and punch that in, and then she will allow you to use a set of brushes specifically for procreate eso If you don't have procreate, I wouldn't worry about it too much. There should be some good ones for Photoshopped as well. You can do this without her brushes, but it's it's really helpful, and it does. A really great job is you can see from some of these class examples. Um, so again looks just like a relief print. It's really beautiful work that a lot of these students air creating and, uh, able to let their styles come through to kind of get that carving aesthetic going so naturally for me as a first, a printmaker and then a digital artist. I was really excited because I was able to create my relief prints on the computer or on a digital realm and then transferred to a block and just have a better overall understanding of how to approach relief printmaking, which is what this class is all about. So I wanted to go ahead and quickly. Highlight was cooler Brown's brush sets so she gets instructions on how to install them how to download them. But you'll see that she has a couple different options The one I'm drawing with now is the decline. Oh, cut. You can adjust the size again by toddling on the left. She also has a Lionel cut thin and this one again, a super nice, great detail. You can adjust the size and get some really, really thin lines. Another option is to use a calligraphy based brush that's already in procreate. But again, these air really great brushes another one. She has our spots. So here's an example of what that could look like. And she gives a really nice demo of how to use them to get digital images to look like a relief prints. The last one are stamped texture, so this one also has kind of the spot effect to it. But it's used really well and adds kind of a great textural element that can pair really nicely with these line. Oh, block based illustrations. So that's kind of a rundown of what she offers. Let's go ahead and meet up in the next video here 7. Digital Part 1: First, we're going to create a new canvas and procreate by clicking the plus sign and clicking the paper option that's towards the bottom. It should be an 8.5 by 11 landscape, but you can always rotate it with a twist of your finger. The next thing we want to do is to add her image into our procreate document. To do this, we're going to go ahead and click on the wrench icon, then the add button and then insert photo. From there, you can click on your chosen image, and once it gets into the document, you'll see it has dancing ants so which you can adjust the corners and re size your image as you see fit. From there. We're going. Teoh, go ahead and check out our layers panel, which is on the right hand side and looks like two pieces of paper next to each other. I like to rename my layers, but you don't have to. To do that, just click on the image, and then it will say Rename. This is going to be essentially are working area or a reference, so we want it to not be a strong So we're gonna change the opacity. I change mine down to about 70. We're going to go ahead and click a new layer and then we're going to designate this as our black layer. Ah, few click on the paintbrush icon. You can go ahead and choose your paintbrush that you would like to use. I'm using Liz Cooler Browns line Oh, cut thick and essentially, What I'm going to do is go ahead and trace an outline of my kookaburra all the way around and trying to match all the kind of nuances with his feathers on things like that, you can change your brush size. So on the left hand side you see these two very kind of minimalistic set up here and procreate, but essentially on the top side, you can adjust it by moving the button up and down. I have mine all the way down because it's actually quite big, so it doesn't need to be adjusted and essentially just going to go ahead and create an outline of our bird here. I'm going to go ahead and switch to the line. I'll cut thin brush just because I feel like the larger one is a little bit too big, Um, but you can go ahead and a justice size by shifting the button upwards for an increase brush size, and you can see him able to get a lot of detail just by using the smaller brush. That doesn't have quite a big kind of angle to it, which you can also adjust once you get more, um, skilled with procreate. But essentially here just doing an outline, a tracing of our image Once you have your shape completed or your outline, you can go ahead and fill that shape in just by simply clicking on your color palette, which is black in our case, and clicking and dragging it into your enclosed space. Once you do that, it should completely fill in the outline that you have created, and you can go back by using your paint, brush land going back in and adding some of those details that you might have missed. So I'm just kind of touching up his big some of the feathers on the back of the head, kind of adjusting the shape so it's not as perfect and has a little bit more character. Some of his his feathers on top of his head or a little more chaotic and funky on. Then you can kind of adjust things as you see fit. If you want to erase, you can use the eraser tool, which is the on the right hand toolbar. We have the paintbrush, this smudge tool and then our eraser. So I didn't really have to erase much, I don't think, but just something to be aware of. And you can see at the bottom left of the screen that I'm using. A very small brush, the small, thin Lionel brush one. And I'm trying Teoh feel in his feet as best as I can. They do have some funky shapes to them, but it won't look quite done unless that's there. So I'm just kind of doing a nice little outline of that area to which I am going to fill in by clicking and dragging the color into that area. Remember, it has to be a full circle Teoh work, and it looks like it worked pretty well. But I can go ahead and touch it up some more, just by adding more of the paint in certain areas by erasing certain areas and things like that, deciding what's going to look best for my image. It's great with procreate cause you can pinch the screen. Zoom in, zoom out on here. I'm just going ahead and naming the layer black. So that way it's separate from my other layers. And from here, I'm gonna go ahead and create a new layer by clicking the plus sign, and I'm going to name that one my white layer. 8. Digital 2: So now I'm just creating a new layer by clicking in the layers panel, clicking the plus sign and making my layer. So with this one, I'm going to need to change the palate from black to white. So just clicking on the colors and then my brush, I want to start with a line of cuts in, and since we can't see anything, we want to change the opacity of the black layer down to about 70 65 adjusted from there from here. I'm going to take my paintbrush and maybe adjust the size first, but just kind of giving it some variety, giving it some mark making adjustments. So it looks very typical to that relief style. If you remember, with the relief printmaking Pinterest board, we saw all sorts of different styles and methods of handling this kind of white black Carven unq Arbed surface. So since this image will be transferred onto a block, we want to try to replicate what are gouges are capable of doing so. If you're familiar with the printmaking gouges, you know that there's some big ones or small ones. There's some that are more u shaped. Some that are more V shaped but essentially creating an impression of guideline on understanding of how we're going to approach this project. So right now, I'm just kind of using a variety of lines to describe certain areas of our kookaburra. So the most important areas are, especially the I and some of the details as to where the beak starts and things like that. So what? I am really trying Teoh play with it to finesse with it, to see what's going to work and adjust it from there. One thing you'll notice with this process, and especially with this image, eyes that by creating the white marks, that's essentially where we're going to be carving our block. So we're creating more of a lighter tone, a lighter value. So my bird is mostly white. So that's why I'm kind of trying to describe it the best I can buy, accentuating his plumage, kind of the direction that it might be going getting details like the I correct as well as the overall shape of the bird. By defining the white areas of your image, you're also giving a new life to it. You're sort of creating your own impression your own take on this image that you were able Teoh find from royalty free websites. So it's a great way to kind of reinvent the wheel. In some respects, we have this great quality. Imagine so. That's great itself. That's a work of art. But how can we make it truly our own? So my mark making that I do is not going to be the same that you do pretty much not the same as anybody else. That's the most beautiful thing about their relief printmaking process. There's so much variety in so many different ways of approaching it. Another thing you can do to kind of give more variety is to change the size of the brush, so you'll notice I sort of switched to this larger size brush. Um, it's okay to go outside the lines a little bit so you can keep it neat and tidy. And this part two is more or less like planning. When we carve, it's not going to be on 100% the same. It's more or less going to give us on idea or an impression of how to approach this kind of daunting carving process while still having a really great image as you're not meant to spend a ton of time in this particular part. It's more or less you're planning. So I feel like I might have spent 15 to 25 minutes total, and I do have experience so it might take you a little bit longer or it might take you a little bit less. And that's fine, too. As mentioned, it's always really great. Teoh kind of adjust and give some variable line quality to your work so you'll notice that I'm starting to have more longer lines, kind of more curved lines so we can show the dimension of our bird and show where it has, like some weight in some girth to it, kind of molding it into space to make it feel more three dimensional. In some ways, you can also make thinner lines, and sometimes that can help us well. But I think it's starting to take a really nice look to it. I've done quite a few of these now after taking lose cooler Brown's class and it's just such a a world changer for me as a printmaker and as an image maker, and I feel like It's a very fun and intuitive way. Um, so something else you can do is you can adjust the opacity layer on your black layer just to see what it's starting to look like. And I just did that, and it seems to be going quite well. So I'm gonna go ahead and do a little bit of a time lapse and see how far I can sort of push the limits on one thing to remember to. What you do here is not permanent. It doesn't mean this is exactly what you're Black will look like. It's just sort of planning, playing around understanding. So let's do a quick time lapse and wrap this image up. Another thing to think about is Addie in detail in areas that kind of make it more recognizable. So if you're working on a cheetah or a draft, you might want to highlight things like the spots, right? So with my kookaburra here, I'm just trying to highlight some of the plumage on his wings, so they're kind of tucked behind him a bit, so it's hard to see. But I went ahead and made my brush a little bit smaller, and I'm just trying to add these more circular soft shapes to imply that, yes, this is a bird. And yes, he has wings on him. So it seems to be working quite well. And as you're making your white marks, it's never a bad idea to go into your black layer, increase opacity and just going to see what's going on here. How does it look? And I'm feeling pretty happy with how this is turning out. Another thing that's always a good idea is to zoom in on some very detailed and important areas for my Kucha borough. That's definitely going to be the I. Uh, there's a few things I wasn't quite so happy with, so I wanted to erase this little arch above his eye. It made him look sort of angry, and I didn't like that look so much so again. That's kind of what the image looked like. But you are the second creator of this image, so you can add your style. You can adjust it. You can make his, um, plumage bigger. Is I bigger, his eye smaller. You know what have you It's not set in stone that it has to look exactly like this, so it's really your chance to embrace your style. Make it fun, make it unique, play with it, see what you can do. What makes the image very satisfying for you. So again, talking about lying quality just going in and kind of adding detail where it needs to be zooming in, zooming out rotating. That's a great thing with procreate, it's super intuitive to use. I can't stress that enough, but thinking about your imagine, especially because it is going to be an animal image like what makes it recognisable. What makes the kookaburra such a recognisable animal? And for me, it's It's enormous beak and the kind of plumage coming off the back of its head, but the biggest, so well known because it actually catches all these tiny mammals like mice and things like that and small birds. So I wanted to make sure these details air really getting recognized on. I'm just about wrapping up, so I think I'll go ahead and do a little bit of a time lapse here. - Once you feel good about the image that you have, it's a good idea to check out your black layer, increase the opacity to 100% just so you can get an idea of what your full image is going to look like from there. I went ahead and took my main kookaburra layer, and I unchecked it. So it's not visible, and now I can kind of see the image for what it is. I don't need the image underneath as reference. I can work directly on the black layer, so I'm just going toe had in adding a few more lines and details or carve marks so I can see exactly how I want to approach this. What looks good and I'm thinking it looks really sharp, actually. Now I just want to add a little bit more detailed to it. So I'm making a new layer, and I'm going to rename it Splatter. I already have my splatter blood brush selected, which is part of Liz Cooler Brown's class set. So there's a couple different ones or spots and spots texture. I have my white selected in the palate, and from here I'm just sort of tapping into it and deciding what's gonna look good. This more or less gives the impression the textural impression of a relief print And to be honest, I just like doing this just to see what it looks like. So once I turn on the visibility of the kookaburra original layer, you can kind of see what we're working with. Now I'm going to finish off the details by Addi and the little branch that he's sitting on just to give me a guide. I'm not going to get really detailed with this. I just have a thin line. I'll cut Paintbrush and making that visible are images all set and ready to go. We just need to save it as a J. Bacon print. To do this and procreate, we simply click on the Wrench icon in the upper left hand corner. From there you click share and directly under it says share image. And as a bunch of different file types, we're just gonna go ahead and click J peg. Once you click JPEG, you'll notice that a new dialog box will pop up from there. You're gonna click the third option down, which is save image. This image will now be saved in your photo library. Last thing you need to do is simply print out your raided image on a standard 8.5 by 11 inch piece of paper making sure it's the right orientation, and now we're all ready to transfer image to our line of block. 9. Image Transfer: now onto our image transfer To do an image transfer, you simply need your computer print out of your digital illustration. Your line. Oh, block, Ah, bone folder or something similarly hard and blunt. Also, a pencil and even a charcoal pencil could be useful for this To get started, you're simply going to be tracing the most important elements of your actual illustration. I'm just drawing directly on the computer print out as an alternative. You could also put a piece of tracing paper directly on top of your image and trace through it. That way, what you wanna aim to do here is essentially trace all the most important information of your illustration. So for me to get started, what I like to do is trace kind of the key subject matter, which is the kookaburra. I'm trying to get all the nuances in his shape and form, such as his funky little talents. In addition to some of the flu image that kind of creates the iconic sort of silhouette of the Kucha borough. Once you have your general outline, you want to focus on some of the more defining features of your subject matter for the cook uber in particular. It's things like his beak and kind of capturing the line that defines it. And some of these interior details additionally things like the i R. Super important to make sure that they transfer correctly. So that way the image looks as close as possible to the digital illustration that we had created through procreate. You could also try to transfer different materials. I'm going to check out the charcoal pencil and see how that works. And essentially, I'm just tracing some of the line quality that I had created through procreate to try to capture that it's going to seem a little counterintuitive. And I say that just because those are white marks on her actual digital illustration and I'm covering them with a black charcoal pencil. The only reason I'm doing that's just so. That way, when we transfer, I'll have these nice black lines that I can go ahead and just start carving at which will produce the same effect. Right now, we have a digital illustration on a piece of paper where there's white marks in black areas . When we start working on their Lionel block anywhere that we carved with our tool will be the white of the paper. So that's just something to keep in mind as we work on this as we work on our transfer, tracing its OK to decide that you want to do things a little bit differently. I really like some of my approaches with some of my other projects. So that might be something that I want to integrate into this new image. So you can feel free to trace what you feel is relevant and what you feel will be helpful in kind of deciding how to curve your your black image. Another thing I like to do is essentially just trace sections of carving details. So anywhere where I have kind of a uniform kind of carving approach. Sometimes I'll just sort of trace the shape that that makes. So that way I can kind of go back at it Ah, and reinterpret it in a new way. Your digital illustration is more or less a guide for how you're going to be carving. The marks that you make on your tracing for your transfer can help you decide how far apart you want your carved marks to be. What's the thickness of the line that you will be carving and essentially thinking about where are the lights and darks of your actual image? At this point, you could even decide to add additional elements to transfer onto your computer printed piece of paper or a piece of tracing paper. I'm just setting a high biscuits flower to to kind of see what I like about it. And if it's gonna work for my my imagery and my transfer. Now we're ready to transfer image to our clean Lionel block. Essentially, we're gonna put the image face down on a clean piece of linoleum, and we're going to go ahead and tape it down and at least a couple spots. So I only do one for the video, but I would recommend to, especially if this is a new process for you, just so that way it doesn't move or budge now that your images secure, essentially, you're going to be applying pressure through the back side of the paper. That way, the charcoal and graphite that we used to trace her image will transfer onto our Lionel block. I'm using a bone folder for my transfer, but essentially, you just need something that's very hard surface that doesn't have too many sharp edges to it. So that way you don't cut into your actual image. I'd even use my fingernail pressed against it, something like a ballpoint pen with a lid on it. Something that's kind of rounded and hard should work fine. But essentially, we're just supplying pressure, getting our marks to transfer. And that way we have a better idea of where we should start our carving. Make sure you focus on your image area and try to apply pressure on all the little details . Additionally, working in different directions really re ensuring that the image is transferring properly . It just takes a little bit of time and patients. But remember, you can keep peeking at your image to see how it looks. Soon you'll find you're images almost completely transferred onto your linoleum black. From here, you can decide how you want approach carving your actual image Carving is very much a personal journey. How you decide to divine your image is completely unique to you and your approach to art making. One thing that you can count on is that you do have your image transferred on your line a block. You also have your direct reference material and image that you build up in procreate. I personally like to start off with some of the key elements such as the I, the beak, things like that. I also like to look back to different references of images that I've created besides the one that I'm working on. That way I have an idea of how to shape and form the figure or the subject matter of the print. Even during this part of the process, it's never a bad idea to look at your reference material, either through the Pinterest board or through other works that you have created. I don't focus too much on the fundamentals of carving in this actual course, but I would highly recommend that you check out some of my other classes that are more geared towards beginners. Essentially, you want to keep in mind that anywhere that you carve will be white, the white of the paper and anywhere that you leave raised will be holding Inc. So with that basic principle in mind, you can go ahead and decide how you want approach carving your image. I like to work slowly, so that way I don't make any mistakes along the way. One thing to remember with relief printmaking is that you can you can't always go back. There's not a way to click erase or anything like that, so make sure you work in a way that's comfortable to you. Some key things to remember while you're carving is to always be aware of the size of gouge that you choose. It's never a bad idea to have a scrap piece of linoleum off to your sides. You can kind of test what the actual gouge or carving details going to look like. Also always carved in a direction away from your hands and away from your body. Remember, you can rotate your line, Oh, block to whatever way is going to suit you Best to carve in the direction that you need to carve. Try to keep a clean work. Space is always something I recommend to, as it can get a little bit messy as you go. And remember, as you carve, if you want Teoh kind of see what your images looking like. You can always do a test print, which we're going to set up in the next video, so I'm gonna keep carving and hopefully you can find the time to check out some of my other skill. Share classes geared more towards beginner printmakers and relief printers, so let's go ahead and check out our test printing. 10. Test Print: a test sprint is always a good idea when you have a good amount of carving done and you're not sure where you want to take the image next. It just gives you an idea of exactly what you have and where it can go from there. So I'm just getting out some of my standard relief black printing ink, and I'm going to go ahead and think it up. Just by using my Breyer on a piece of plexiglass and charging the Breyer up, you'll notice I have quite a bit of ink on my Breyer for this part, and that's only because the block is very absorbent at this stage. So usually I would not put quite that much on there. But you can see the images filling up quite nice. I can see my carved marks and just trying to fill it in asbestos possible. This is our test print, so it's essentially it's very important, but it's not, um, doesn't have to be done perfectly. So just getting the image, getting the long linoleum nice and filled up that way we can go ahead and run a print and see exactly what we're working with and how we want to move forward next. He'll wanna actually print this. So I'm taking a piece of scrap rice paper and I'm just positioning the paper right on top of it. And I'm gonna go ahead and kiss the paper with my hands, just applying pressure to make sure the ink is going to stick. And then I'll go ahead and take my barren and apply pressure throughout the back of the piece of paper in a circular motion, trying to work in all the details and picking up much Pincus possible. Once you've worked at the back surface of the paper enough, you can go ahead and pull your test print. I actually wanna had ended a second test print after this with a little bit more ink. So that way I can decide exactly where I need to make some changes. This gives me a great idea where I can adjust it and make it look a little bit more polished and closer to the image that I intended. My first step is actually going to be cutting the Kookaburra out from the background, so that way I can have more of a jigsaw approach to my piece. Now let's move on to the next video 11. Cutting Out the Block: So now we have our test print and our digital image and our black all sort of lined up. Looking at the examples, I know that I'm going to want to cut my subject matter the Kookaburra out of the block itself. So I'm just using a utility blade. Teoh get as close as I can to the edges of my main image without cutting into it are ruining it so it can take a little bit of pressure, but it helps to get it as close as you can. If you're a little nervous, you can go about a couple centimeters away. Um, some parts. I do decide to do that here, but essentially just being more controlled as you cut. Um, I like this more kind of jigsaw approach to relief. Printmaking. It's often what I do in my prints, and it often lends for a better hand pulled print quality because there is a lot of surface area. Sometimes it can be hard Teoh. I think things up properly and get a solid impression, especially when you do hand printing. So um not to discourage against it, but that's kind of my own temperament, as's faras. It goes, but it looks like we have a nice, clear cut. Those larger scraps can be used for other print projects, so I would hold on to them. You never know when you might need him. The next thing you want to do is clean up the edges a bit. So I like to use a larger U gouge or even the square God's just to kind of hack away at some of the edge area, so it looks very controlled. It has that very print early aesthetic. I don't have to worry about getting the exact oblique too close to the image, so just kind of using the best and most patient ability that I can Teoh clean up the edges on. Later, I'm going to add some more detail in kind of the the Kookaburras plumage, but especially paying attention. Teoh areas around the big in the neck and things like that as well. Every mark you make makes an impression and kind of gives the overall feeling or quality to the image. So you want to be as controlled as you can but also is experimental. That's the best thing in my opinion, about relief. Printmaking is there so many possibilities in so many different ways to approach it. So you should probably know by now that anywhere you carve will be white anywhere that you're not carving will be the color of ink that you're going to be using. So I like to give my edges of really nice clean look by using even the Exacto blade and kind of cutting at an angle 45 degree angle. But now it's time to move on to some of the fine detail. So I like to use the smallest gouge that I have one of the V gouges and I like to get into areas like the plumage of the Cocoa Borough and kind of accentuating some of the subtleties in his overall appearance. So we know the bird is not, you know, the strict beautiful outline, but that it has these little nuances. It has feathers, has ruffled feathers. It has funky plumage and things like that. So just doing what I can to kind of bring this animal, this creature toe life, and I think that looks pretty good. So let's go ahead and move on to the next part 12. Carving Details: way have a clean cut out surface to work with. I want to go ahead and start working on some of the interior elements of our kookaburra. When I did my test print, I noticed that a lot of the image was very dark and so I wanted to highlight some of the lighter areas of the chest plumage. Ah, that was something I thought I wanted to avoid initially. But as I was able to do the test print, which is, as you can see, very important. I could tell that something was missing and it wasn't quite giving me Thea the essence of the kookaburra Just look too dark. So I'm gonna go ahead and start sort of manipulating areas in the chest. Um, using one of my you go just to kind of define and develop the overall form or the shape, um, kind of going with the directional line to decide where the bulk of the animal is and how I can kind of create this illusion that it is a three dimensional creature. So a great tip for this is to look into that Pinterest board that we have for a class and kind of look at how do other relief printmaking artists approach this? What air? Their methods of mark making, of taking away, what's working for for their images, maybe even looking at relief prints of the same animal or of a bird. You are doing a bird for your class project, but deciding how did they do it? And what can you kind of learn from that method or that approach? I'm really liking how this is looking, so we're gonna go ahead and do a bit of a time lapse and see what we can gather here. - So something you'll notice as I'm working is that I'm constantly cleaning up my surface area as best as I can, just by wiping and brushing away the left over linoleum as I'm carving. Ah, so it's really important to keep a nice, clean work space because I'm going to be using the same area to do my thinking, and I don't want to risk getting any linoleum boogers in my ink. Another thing that you'll notice is that I'm constantly rotating my block, my my line Oh, cut block because it's always important to carve in one direction, right? You don't want to be twisting and curving around, kind of haphazard that you want to make sure you're always cutting away from your body on. I can't stress that enough. It might seem kind of beginner, and sometimes it is hard to carve. You know, you think, Oh, I can do easier this way. But the fact is, if you want it, remain safe and nick your skin or anything like that, you should rotate if you can, or adjust your body on the direction of your body to the black. Um, so now I'm just going in it with a really, really fine V shaped gouge and really adding this visual variety that we talked about earlier. That's something I really admire and other relief printmakers Work is their ability to kind of create and describe a surface by having small cutaways next to larger ones. And I just think it adds, is overall very sophisticated. Look, all the materials we kind of talked about earlier, but I use a couple different sets of gouges. You seem each switching between, um, this kind of wouldn't handled one, and then my standards speedball. I'll put some links up for both of those, so you can have an idea of what's what's out there. And honestly, I love both of them. The only pain with the speed balls that you constantly have Teoh sort of switch your gouges in and out so it can become a hassle can kind of slow things down. But the other, the wooden handle said that I have is called the Flex Cut Micro Palm said. Just a four piece set, and I think I got it around 50 to $60 perhaps maybe a tiny bit more. But again, I'll link to those because they're they're incredible. I love them and they work really, really well. So, um, here, just continuing to carve in the details, especially in my wooden log. I wanted to kind of match the textural details that are happening in the rest of my birds, so I'll go ahead and do a little bit of a time lapse here. So he haven't noticed already. A big part of linoleum, black or relief printing eyes thinking about areas of light and dark. Where are the most concentrated areas of white or lightness and opposed to areas of darkness? If you want to check out some more information on how to kind of achieve that. I would check out some of my other skill share classes where I go in a little bit more depth and detail on how you can do some different mark making. Um, but it's great to add variety and to kind of think about things literally in black and white, especially if you're doing a one color print. And this one. It's kind of about looking back to my original digital image, the print, the first proof that I had pulled and also kind of my own vision on then less. But at least we're gonna go ahead and carve out some of these hibiscus flowers because I do want to add those as an element into the final print itself and kind of play around with these more modular forms. So just carving on the edges, using a larger gouge and kind of keeping the simplicity of the form, I want the bird to kind of be the main focus. So the flowers, although they're beautiful, I don't want them to kind of steal the show too much. So very graphic looking here, okay, and then just a couple things similar to how we approach the main image. Just using the Exacto blade to kind of cut AnAnd Khaled beveled edge onto our line of black , making sure that those hard square rectilinear at edges don't pick up too much of our ink. So just cutting it at a nice angle and making them nice and clean and as close to the actual ah, shape of my flowers as possible. So that way it's really easy for me to register. S. I'm gonna go ahead and chip away at the second hibiscus flower, and in the process, I want to add a little bit more kind of interest and detailed to it by playing around with some parallel lines. So to add the parallel lines, what I'm using is a quirk backed stainless steel ruler, and I'm just flipping it over. So it's very flush with actual Lionel black, and you'll have to excuse my hair for kind of getting in the way here. But hopefully you can see all right, eso just using the ruler to go ahead and guide the V gouge. I'm using a really, really shallow 11 of my finer detail, ones from the micro Palm Flex cut set, and I'm barely creating any pressure. I'm just kind of skimming the surface. It's something that I had seen in another video, and I just kind of wanted to try it out. So just kind of playing around here. But But I think we're all set, so let's move on to our next video. 13. Print Registration: So now I'm going to create my registration set up. I'm just using a piece of newsprint and then my actual printing paper. And I'm Tracy Anthee Outline or perimeter of that piece of paper. So I'm just using a gun. My straight straight head ruler and I'm using a pencil. So that way, I do not get any marker or anything on my nice, um, nice rice paper that I have here. So just creating a quick little outline, which I'm going to then go over and permanent marker. That way I can see it s o registration essentially means how you can continually get the same print over and over, right? We have movable modular parts. We want to make sure everything is exactly as it should be. Every time we print and it has a space, the size of the paper makes sense. So it's just kind of to ensure that this print can be additional. So I'm going ahead and kind of drawing over it again with the permanent marker. That way I can see it now that we have the perimeter of her paper outlined in permanent marker, we're going to go ahead and decide exactly where we want our actual block images. To be a good idea. To understand this kind of compositional layout would be to make some thumbnail sketches. Since I've already done that, I kind of have a vision in an idea of exactly where I want these blocks to be. So essentially I'm just picking my spot in relation and kind of making a template which were actually going Teoh reverse, hold up to a window and trace on the opposite side. So when we print the actual relief block prints, they're facing upwards so it can get a little bit confusing. But just try to follow along. Eso. I'm doing the same thing that I did for the piece of paper. I'm just outlining first and pencil, and then I'm going to go over and permanent marker. That way I can see it when I kind of trace the rivers. I'm going to do a couple different options, but this is kind of going to be one of my my initial tests, so I'm marking T and B for top and bottom hibiscus. So now I have a pretty nice Tracy. Let's go ahead and fast forward the tracing here. So now that I have my composition traced on the wrong side, I'm gonna go ahead and flip it over and put it against a window or a light table, and I'm going to use a permanent marker to trace over those same areas. So again, I'm using TheStreet ID Ruler, and I'm marking the four edges of my initial printing paper and then doing a quick trace over of my blocks of the kookaburra and the hibiscus images. So that way, when I go to print my blocks, consider face up on top of this kind of registration, and I'll know exactly where they go. So hopefully you're not too confused. I know it's It's kind of challenging, desperate makings always in reverse. So just try to follow along with me, and you'll kind of understand exactly why did this in the next video lesson here. So let's go ahead and get prepared for our printing and registration 14. Print Studio 1: So here I wanted to show you the initial tracing that we had done. When we first later blocks down on the piece of newsprint, you'll notice that the registration drawing a newsprint is directly underneath a piece of plexiglass. So now this is me taking it off of the window, removing the tape and having the proper side facing up. So that way it matches the exact shape of my blocks as they're facing upwards. So here I have my inks all set up. I'm using Ah, Cray Field klieg. Oh, safe wash relief inks these Airil oil based, but they clean up with water, their water soluble. So I have Rubin red, they low blue and black. And for our kookaburra, I'm gonna go ahead and do what's called a blended role. This is getting a little bit fancy, but you'll have to stick with me. What essentially you're doing is choosing to colors. I chose black and say low and I'm gonna go ahead and put a really small then beat of ink kind of the width of my Breyer if I can help it. Minds About five inches so half is black and half is blue and essentially, we're going to go ahead and use our Breyer Teoh, pull the ink down and blend as best as we can. So I'm just kind of picking some up with the Breyer here and not rolling into it completely , but bringing some of that ink down. And essentially, I'm just kind of pivoting the Breyer back and forth very subtly so that way it creates this nice, beautiful blend on the blue and black might be a little hard to tell, but it shows up really nicely in the prince, and you can only imagine if you use two colors, like yellow and red. So I'm just kind of approaching it the same way that I apply the ink to my Breyer. Just trying to go in one direction of possible and that looks pretty good. So let's go ahead and add some color to the other blocks here. I decided to use the Reuben red, and I am just going at it, gradually adding some color as I go, making sure it's nice and evenly coated on Dink doesn't look too thick. If it's too thick, you lose out on your details. So here I have my registration. And now I'm just going ahead and putting my kookaburra in its place and then adjusting it as needed. You'll notice I have gloves on. I usually don't wear gloves, but today seemed like a good day to do it, and you'll notice I have my Teoh hibiscus flowers. I'm just adding a little bit more because I noticed that the surface was dry. If you're printing the black for the first time, it can be very absorbent, and you might need to add a little bit more than you expect. So I brought out my printing tools. I'm using a Japanese baron and also a flat would and spoon. I have my rice paper, which I am carefully lining up to my perimeter outline that we made earlier on a registration and just using my fingers to kind of help the paper kiss to the actual image itself. Even by just using your fingers, you'll notice that the image is starting to come through. So sometimes what I like to do is just use a piece of tracing paper, vellum, newsprint, something to kind of protect the barren my hands and to avoid from rubbing too hard. So that the paper itself kind of terror, So just using some extra caution. I don't always do this, but I kind of wanted to see how it can help the process. So just using the wooden spoon and using the flat side of it to really rub into the actual pieces the Lionel Lionel blocks themselves and making sure I get the best impression possible. So noticing areas where there's a lot of detail and you can go ahead and lift and kind of peek at what you have. I'm kind of taking my turn at lifting up the tracing paper that I was using as a barrier and going back at it with the actual rice paper that I'm using. So just kind of taking your time being prey, being patient, getting into kind of this nice, meditative state as you're preparing to pull your addition. Hand printings. Never easy. It takes a lot of time, but the ink is really sticky, so essentially you can start to peek away at different parts of your image while holding it down, Um, and then going back at it. Sometimes I'll use the wooden barren and I'm sorry, the wooden spoon and continue to kind of see areas where it needs some help. And I'm thinking that actually looks pretty good. So I'm gonna go ahead and pull this print. I feel really happy with how this one turned out, but I'm actually gonna go ahead and play around a bit, so catch up with me in the next video. 15. Print Studio 2: being able to play in the print studio or the home studio or the kitchen table is always really important to me as an artist. So for this second print, I'm going to go ahead and ink the kookaburra up in the same way that I had done the previous registered print. And because this piece is not stuck together on the same linoleum block things air modular right, the hibiscus flowers can be moved. I'm gonna go ahead and print my kookaburra first, making sure that he's kind of in register. And then we'll have some fun with printing the I biscuits flowers around the actual image. So this print is looking pretty good. But I want to go ahead and use kind of a different tool, which is actually a bookbinding tool called a bone folder. And you can also use things like a metal spoon, the edge of a pen, maybe thing that's soft and blunt and is not too sharp s Oh, this is great for really getting some nice pressure and also a lot of detail. But again, I think a wooden or metal spoon both work really well in place of the Bone folder but you can go ahead as usual and you get the print. If it looks good, poulet. And now let's go ahead and start adding some of our red hibiscus so these ones look like they're inked up. But I'm going to go ahead and add a little bit more just because, like I mentioned, the Ah, linoleum is pretty absorbent, so sometimes it can take a little bit more ink than you think. But it's best to add it in kind of thin layers instead of steak of goopy ones. Now that everything looks good, I'm going to go ahead and put my stamps in the desired place. Notice I said stamps because they really do act like stamp. And I'm just actually putting on top, applying pressure and then doing a very careful flip. But while holding the actual vinyl block, sometimes you can just use your hand pressure to get that exact effect. But I like to flip it and then use my barren or wooden spoon to kind of make sure the impression is exactly as I would like it to be, and adding a little bit more additional pressure by using the Bone folder is always helpful , but maybe not necessary. It might just be a habit of mine. So I'm gonna go ahead and keep adding these flowers because I really like the way the red contrast with the black and white of the kookaburra sitting on the log. And then it kind of places him in this really cool kind of tropical atmosphere, which is essentially where Cooper boroughs are from. I've seen them in Australia, and I believe they're part of the Kingfisher family. So giving some context to your piece and again just adding more, doing the flip and holding it down so it doesn't move. And then again applying pressure and let's go ahead and speed this up and get to our final image, which will essentially be our cute little Kuka borough surrounded by high, viscous something to take note of. If you want some of your modular items to come off the page, I would suggest having a scrap of paper and using it to protect not only your spoon but your hands and your whole work surface area. So it's always good to have scraps of newsprint or even of your printmaking paper, which is what I used. So that way it has this really nice and continual effect instead of feeling to boxed in. So let's go ahead and speak. Do this and see what our final image is gonna look like. Here we have our final print. I went ahead and added a bunch more of the hibiscus flowers. I'm feeling really great about this print. 16. Class Project: Now, let's go ahead and talk about your class project for the first part of your project. When I'm going to ask you to do is to find an animal or nature based image from one of the three royalty free websites that we talked about earlier. These images can be of your favorite animal on animal that you've always wanted to see, or just something that looks visually striking and interesting. Keep in mind that you will be working with this image for quite some time, so make sure it really is an image that you love. I do recommend creating at least 2 to 3 different digital illustrations just so you can decide which one works best for you, and that will translate the best to your relief block. After you transfer the image to the black, you're going to decide how you want to go about carving your image. You can stick to exactly how you did in your digital illustration, or you can have fun and be continually surprised by it, just like we did for are classed. If you remember the original image that I sourced of the kookaburra, then going on to our digital image, right? The digital illustration and then on to the final print. You can really say that it changed quite a bit. And look how fun and creative it feels. It looks so much different than the actual original piece. So for your class project, I'm I'm asking you to dio pretty much the same thing. Find something that really inspires you something that's visually striking and fun. You can have fun with it. You can approach it exactly in the same way that I did. Um, for example, having your main image have it cut out and then having some kind of element that's modular are movable like I did with my high biscuits flower. This could be a lot of fun, and it's super intuited, but don't feel by any means that you have to stick to exactly how I did it. You need the colors that I used the marks that I had used through my digital illustration and then on to my actual relief block, feel free to experiment, but also to research and see how people are approaching relief Printmaking. We talk about it a little bit in our Pinterest board, A class lessons so feel free to check that out. I'm really looking forward to see what inspires you and what you decide to use for your animal reference. And then how you threw your own creative, unique lens. Transfer that into your own style. You can also find me on social media via instagram at Bel Air, fresh prints and use the hashtag happy printing with Jen like you see on the screen. I'm so looking forward to seeing your projects and your process along the way and feel free . Teoh share this video with other fellow printmakers and artists on. Also leave me a review so I can see how to improve my classes to better fit your needs. Thank you so much and happy printing.