Grow Your Creative Practice with Sketchbooks! | Suzanne Allard | Skillshare

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Grow Your Creative Practice with Sketchbooks!

teacher avatar Suzanne Allard, Color, Painting and Creativity Teacher

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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

18 Lessons (3h 12m)
    • 1. Intro to class

    • 2. My Sketchbook Philosophy

    • 3. Supplies For Creating

    • 4. Which Sketchbook Is For You?

    • 5. Favorite Sketchbook Walk Through

    • 6. More Sketchbooks to See!

    • 7. Painting Demonstrations Part 1

    • 8. Let's Paint Together!

    • 9. Painting Demonstrations Part 2

    • 10. New Arteza Sketchbook

    • 11. Working Through the Ugly Stage, Part 1

    • 12. Working Through the Ugly Stage, Part 2

    • 13. Dueling Floral Spreads!

    • 14. Water Mixable Oil Paint

    • 15. Let's Go to Mexico

    • 16. When You Just Don't Feel Good

    • 17. Taking Care of Your Sketchbook

    • 18. New Favorite DIY Palette

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About This Class

Hi there, my name is Suzanne Allard, I’m a floral/abstract painter and creativity teacher. When I first started painting a few years ago I wasn’t a big sketchbook user.  I would dabble here and there but didn’t really have a relationship with my sketchbooks the way I do now.  I would see all those pretty sketchbooks online and think what is the point, why go to all that trouble just to make a small version of something? 

Then I started really being brave in the sketchbook, trying new things, going back over things.  Somehow, I had permission to be more free in the sketchbook than I did on a regular-sized painting.  It gave me more freedom to fully flesh out ideas and then it became fun to see if I could make each spread something I liked.

This process of growing and falling in love with your sketchbook is what I’m aiming to teach you in this class.  The by-product is that you grow as a creative person because I believe we all have a creative spirit that wants to express itself.

  • We will paint together on some spreads, both floral and abstract, I will also narrate lots of time-lapses of me painting in my sketchbooks.
  • If you find that you are tight or feel constricted in your creativity, this will help loosen you up.
  • We will learn what to do on days where we are just not feeling it.
  • The goal is to enjoy, experiment, have fun and fall in love with being creative in a sketchbook.
  • Join a friend or two and turn this into virtual painting party with family or friends if you so desire. Or do it by yourself.  Either way, you’ll enjoy growing creatively.
  • I’ve also included some digital downloads of some of the pieces we create. You are free to enjoy these downloads for yourself but not to sell the artwork.

Packed with all the techniques and approaches in Suzanne’s work, key lessons will cover:

  • Supplies and tools, sketchbook show and tell
  • How to develop a sketchbook practice
  • Lots of sketchbook inspiration, Suzanne shows and talks through her favorite sketchbooks.
  • Lots of time-lapse sketchbook painting demonstrations
  • Experimenting with different supplies and sketchbooks
  • Paint along with Suzanne in your sketchbook creating several different spreads, both floral and abstract
  • Taking care of your journal

Maybe you’ve been painting and would like to learn how to use a sketchbook or art journal to grow your creative practice, or maybe you’ve never painted.  Either way, come along and be inspired and supported while you learn to create in a free and fun way that helps you grow.

Resources and Goodies:

Check out Suzanne’s recommended books and supplies on her website where you can also subscribe to her "Your Creative Adventure" email newsletter with creative inspiration, tools and tips and free artwork downloads, all at:

Be sure to download all the goodies in the resources section! Of course, these items are for your use only, not for sale.

Find Suzanne on her blogFacebook and Instagram.  She also has a Youtube channel!  Join her on Pinterest for inspiration.

Follow Suzanne here on Skillshare and look for her next class, she'll be adding them every couple of months!


Meet Your Teacher

Teacher Profile Image

Suzanne Allard

Color, Painting and Creativity Teacher



I'm Suzanne, a self-taught gouache, watercolor, acrylic painter with an addiction to color and joyful abstracts and florals.  I know how hard it was for me to pursue my art dreams, I was scared, inconsistent, and not sure how to get there.  That's why I'm passionate about encouraging and guiding you!  I'm the teacher I wish I'd had.

My hope is that I can help keep you going on your journey so that you can realize your creative dreams.

There are more resources and inspiration for you on my website Suzanne Allard.  I'd love for you to sign up there for my Creative Adventure twice-monthly email so I can share weekly tips, updates, and inspiration with you.

Come join&... See full profile

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1. Intro to class: Okay guys, it's finally sketchbook time. I've been promising this class for so long, but we moved anyway. We're going to do it. And this little thing like if my house burned down, I well, I would get the dog and the cat and my family of course, but then I would grab most because I have fallen so in love with it. And I was such an ad like resistant to the whole sketch book thing. I just didn't get it. I didn't get it. Why you would spend the time and a little tiny piece or why wouldn't you just paint a painting? And I clearly didn't get it. It grows confidence. It stimulates creativity, it's fun. It makes art more approachable because you want to have to have, be looking at doing it. Big piece that's intimidating. And you grow. This has helped my creative practice grow more than anything I've ever done. So we'll go through this yummy thing that's almost see how fat it's gotten. It's, it's I would say two-thirds fold. And we'll sketch booking. I'll show you the different layers I build up in it and how I go back and work on different spreads after they've dried and after I've made changes. And we'll go all through this and the learning and the richness that you can develop with this particular approach. I do have other sketch books that I've done over the years, watercolor and pattern and even a collage. So we'll, we'll kinda do a walk-through of my different sketchbooks. And, but the whole point of this class is to get you turn down to the idea that for very little investment in, in materials, because it's really what you have. Of course, you always want to grow your supplies like candy because that's what we do. But how you can grow your creative practice with the practice of a sketchbook. And without judging us, without that fear that comes with the creative process or less of it anyway. And really have fun and grow and not to mention the therapeutic benefits of creating this wonderful little treasure trove. And he continued to change it to. So like I'll show you what I've done if there's a spread I didn't like, and I just went back and worked and worked it. So anyway, this class is going to be so much fun. I promise you're going to grow creatively and we're going to have fun. Join me. 2. My Sketchbook Philosophy: I wanted to talk a little bit about my philosophy that's developing with the sketchbook. And I used to dabble, I used to do a flower or a leaf or just, I don't know, Min Pin, That's perfectly fine. There's nothing wrong with that. But at some point and then I would put them away and I didn't really get the sketch. But seeing as I've said, but then somehow develop this idea of that. Let me create a little mini piece of art in this. And, but let me be freer than I would be if I was using that piece of paper. It doesn't really make sense because it could be just as free on a piece of paper. But for some reason the sketchbook allowed me to feel more free and more adventurous. And then I would go backwards and forwards in it, like I've talked about and think of it more of a living thing that, that I revisit. And as I learned something new, I go back and put it in. And so now I've got what I would call a relationship with the sketch books, and especially the favorite one that I mentioned. But it's developing with some of the others too. Because I think what's happening is I'm creating a body of work in there from going back and fixing problems and things and learning. And then when I need inspiration or I want an idea for something to do in a painting, I can now flip through my own sketchbook and get inspiration. And that's, you know, that's exciting as a, as a beginning artist, something like that to refer to. I don't have I mean, at this point, I guess I do have quite a body of work. But when I started, I didn't. So I think that the what am, what I am trying to impart and share with you is this idea that you grow a relationship. Now you have the watch back to because if it becomes too precious, then you know, the whole bene because the same pressures as a piece of art. Oh my God, I have to do something good and a sketchbook. And I do notice that has creeped in this favorite one. But because I go back and forth and it pan, pad and learn, I feel like I've I'm managing that, maybe I'm getting myself. But if I really just wanted to scribble something, then I just do that on scrap piece of paper if I want to see how does this line, who shaped work? So think about the sketchbook is something that is living and that grows with you. And that you start to feel something for. And that's why I'm going to do a module on what to do when you're just not feeling well. I mean, if just not feeling it and there's always something you can do them in a sketch book. And I'll show you some of the things that I do when I have days like that. Okay. Let's get to it. 3. Supplies For Creating: All right, Let's talk supplies now my supply philosophy is use what you have. You know, we all want more than we have and so forth. But I don't want a lack of supplies to keep you from, from getting creative. You don't even have to buy this particular sketchbook. I am going to show you all my favorite supplies and my favorite sketchbooks. But just know that you can literally grab a notebook. Or I've seen people go to a goodwill and get a book like an old dictionary. And you know, well dictionary papers are thin, but something with thicker paper just saw them and use that as a sketch book. So I don't want a lack of supplies to get in your way. But I am going to show you some of my favorites. So my gotos, my posca collection is, this is how, so this is how I flip this. This is a big collection. It's taken me a long time. But what I do is I say, okay, you know, it's about, one of these is about the price of a fancy Starbucks coffee. And so, you know, whenever my husband IRL about and he stops for our coffee, I just don't have one because I, I would much rather have a Posca pen. And so I just think it's kinda funny, those are lots of cups of coffee in there and the coffee is gone and like 1015 minutes, you kidding me? No comparison. Okay, anyway, so let's talk about some of my favorite supplies. But again, use what you have. Any acrylics work in a gouache, watercolor, acro wash in pens, markers. You could borrow your kids Kranz and pens and start a sketch book, okay? So do not think that you have to go out and buy all these things. I'm going to show you and I'll list them in case you're interested in any of them. But please hear that it's about what you have and not using necessarily this. Okay. Let's look at supplies. Anything goes for supplies you can use your kids, crayons, whatever paints you have of any kind. You'll learn no matter what. So this is just, I'll show you some of the fun things I have that I've gotten to use pretty heavily. But again, use what you have. So these are the woody 3M ones. I can think they come in like 16 colors and they can't remember whether courtroom ones except that they are water-soluble and also kinda creamy, not like an oil pastel which is not water-soluble. But they have a really nice thick kind of touched her to him and creaminess, the vibrance, vibrancy of the color. So let me show you real quick demo. These bright colors are great to paint over or have even rub them. You can paint over and then scratch the paint off and those show underneath. Or you could do these on top of paints. These are probably the best thing for growing on top of things in the sense that they don't I've never had them not show up. Even if I've got layers of oil, pastels and acrylic paint, and no matter what I've got going on though, they will still sit there on top for me. So very reliable. These are the new color tubes. They are water-soluble. So as well. Much more so than those I think you can title of water to them and they blend pretty quickly, really bright colors. So if you've taken my other classes where I do more with this, with these, I own. I do my abstract garden class where I do a lot of background on this and then come through with white like this pan because it's just so I'm using but and it kind of blends and makes another color. So those are just a really vibrant, really fun it. And these guys will do the same thing. Let me get rid of crush. They're just a little bit more waxy, I guess. See how the woody stayed. You can still see the crayon marks, which is kinda cool. So it just depends on what you want. Whereas here at them, crayon marks are completely gone. So many fun tool to do so many different things with. I use a lot of squash, squash and regular brush agro gosh, just means that once you paint it there and it dries, it's done, you're not going to reconstitute it with water, glass like this. Once we paint it and it dries, we can reconstitute with water. Come back and show you both of those. We'll let them dry. All right, also use acrylic paints of various kinds. I have some novel colors which I learned about from Betty Krauss. I have golden. I also have some GPS that you can get. Like the art, this is like a Michaels. I use these for backgrounds sometimes when I'm painting a little background, I just pick up stuff. You know, if I see something that looks interesting, like this was currently is essentially a hamster or acrylic. And I have some Sennelier watercolors which are really good. So I thought I'd try this. And this is, you know, basically allows you to make like a 3D thing which is kind of goal. Maybe we should try that. I went to my spreads. Just that was recently. I also have these guys, these are the new pastels, Prismacolor, and their powdery whatnot as pottery is some fast titles, but they're definitely powdery. You can rub it and then there's powder there. There really, for me, I tend to use them on the top layers of abstracts or flowers because otherwise it's pretty much gets buried and covered because it's soft. So I might use it around the flower to highlight or to add a pop of color, or to add like something like this. And I get this. You could do. Let's say I wanted to bring in. This color here, something like this. You just have to, you know, it's going to the colors really intense, which is beautiful. But it's going to spread, which I don't care to over here until I spray it. Yeah, something like that. Alright. So I talked about the two main brands of goulash. The whole name, which, you know, for a while I had a look at where it is or you can say hold vein boats, acrylic wash down here as the whole beam because I have Holbein watercolors. And then the Turner. And these are both acrylic wash, but I also use the turn our design wash, which is not the acrylic. So now that these have dried, remember this was the arrow gosh, this one. So if I try to get it wet, assuming it's completely dry. Well, I guess it's not completely dry. I can get it to come back to life, but I won't once it's completely, there are ways where there's this, this is the Galatia can literally pick it right back up and keep painting. And so just depends on what you're doing. The wash. If you want to be able to come back in later and do something and you want it to respond to water, then that's what you want to use. If you want permanent like a background that you don't want to disturb and you would use acrylic or aqua brush? Brushes. Okay, So it just depends on what I'm doing for the abstract. Look at this messed up rush. For the abstract scrubbing. I use something like this. Paints all peeled off it. You know, it's a mess, but it was perfect for scrubbing for my laurels and where I want to be able to have, to be able to two shapes and things. This is still not a fancy brush, Creative Mark. I just got it, it jury's out aroma, but my favorites are Princeton velvet touch for that kind of work. We have such a nice point on him. And sizes, just berries we're using we're using sketchbooks. So I'm not using, unless I'm doing a background about using a big brush. Although that's a really good exercise to take a large brush larger than you're comfortable using. I'm working on it now because I tend to use smaller brushes and trying to paint something with a big old brush, even a little sketchbooks that be good for us. Basically the sketch book as a place to try anything and everything. The oil pastels are just like they sound oily, really intense color. You can leave it like that or you can rub it in. They can go underneath, over and between layers, whatever you want. These are really old and they still work fine. Then there's a whole host of different types of pencils. And. Gosh state, and they behave very similarly like this. These are the great tips, the stubby low carb Othello. And so they are water, so they sound. And if you can hear that passed early cave and Rabban Pass Delhi. And they can blend with water, but not as well as some of these other things. Because you can end up seeing that texture underneath which is kinda cool. And didn't, it didn't pick up, the water, didn't pick up a lot of pigment. Then there are these super color too soft. Karen, the dash, Switzerland. I'm sure I'm saying it wrong. And those are kind of funny is like I just did on a wet piece of paper or on dry and then taking some water and dissolving. So where that can be kinda fun is with leaves and you can do that list. We're going to do, we're just gonna do it because I show you the various ways in the sketchbook that you can make. Leaves with some of these watercolor. You're getting a sneak peek. Her water-soluble things. All right, let's show what we can do with something like this. Just a quick demonstration. And this is my moles going to art journal. So not the watercolor paper. And you can see I'm going to use water. It's going to be fine. And then these are the Tombow markers. They're basically watercolor markers. And what you can do, which is fine, it is, put a couple of different colors in there. And then when you what your wet brush on and it'll blend. Let's do that here. Okay, so now we take fresh water on it. And you can just kind of paint over. Would you just created? So this can be just a sketch if you want to do one like this with nothing much else on the background or you can paint something else around it. Or you can you can't do this on top of something else as long as what you've done is acrylic or equal guage or you sprayed it with a fixative because otherwise the water will blend with whatever you just did. Let's see that you can just, the combos blend more. The pencils leave a little bit of pencil a mark, but you can do this kind of thing with the new colors as well. And the more you scrub it with your brush and more of the pigment will pick up and move around. So just kind of things to experiment with. Various pencils, markers. Anything that makes a color or a line is game. I happen to love this navy micron. So we'll do a lot of detail with the micron pen and different compositions. You can even take one pen, one color. And speaking appends, let's talk about the posca collection. So these are the paint pens that I use on top. So for example, used on here on these pink, I use the gray one here. This is my fat white women miscarry. I just use, like you can see, I use the teal color on the flowers and the gold golden marker I like is the Craft Smart is a GP, but it has a really nice gold texture, gold color to it. Here it is. It's the most metallic kind of rich gold marker that I've found. Much more so than the posca. I can use pasco for doing something. Even though this has all kinds of stuff on it. This has acrylic, has been scribbled. It has oil pastels and squash, squash. But I can still come in here with Posca if I want and do something like this right on top of everything. And it's works just fine. The worst that can happen is that you get a really gross page and so you just paint over it. It's not bad, right? I'm the only thing I've seen supplies wise that doesn't work too well is trying to make this is done with oil, water soluble oil, so it's kinda creamy. And then trying to do say, Pencil tool, that pencil's working. But some pencils or pens won't go on top of the of the oil. Very well. Like batch, it's going to work now. It's working, but you can see it's not really adhering. And then homelands working for you, but sometimes it won't. So anyway, have fun, experiment play. Pretend you're five years old. 4. Which Sketchbook Is For You?: So I've become a serious sketchbook addict. I have a lot of them. So now my goal is to fill them up, right? And so what I wanna do is walk you through, I picked, I think nine different types that I have. I probably have more than that, but I just picked these nine just to kinda give you a show-and-tell of each one so that you can decide which one you want to buy. You do not need to buy these glass. You just need a sketchbook. You can even Get a book, take an old book and just all the pages and use that unless you're going to use watercolor. But anyway, we'll go through these and that way you can decide which one you like the most that you want to use for this class or in your art practice. So I've separated the journals into two piles. I've got the non watercolor paper once here, and then the watercolor paper ones that we'll do next. So let's look at this is the mole skin art journal. And it has basically, I would describe it as like a mixed media paper. So it's thick, very big, but not like a card stock or anything and not watercolor paper. You can do water on it. I've done it. But if you want to use mostly water and that kind of technique, then you probably should do a watercolor, sorry, watercolor journal. Because this was mostly water and it gets fine but it buckled a little bit. And it's just if that's what mostly what you wanna do, then I would go with one of the watercolor paper journals. Okay, This is the reflections. Now this is the one that I use as an example of something really inexpensive. I think this was five or $6, but it's just basic sketch paper, like for drawing with pencil. It is not watercolor paper. It's nice and mixed media paper. But I really liked the size and I was impulsive and didn't want to wait to order something I was at juries are to Rama. And so for this kind of thing, it was fine. You know, there's no there was a little, you know, little bit of moisture here but not using a lot of water. And but as I got into more about, it just didn't behave well. So then I said, well, let me paint the background or just 0. And then I had fun doing that. So once I just so this paper, it became really nice and thick. And so then I went crazy. And now I'm just showing basically the whole book for painting or mixing Djoser with paint to get backgrounds in it. So you can do that technique with a container of Joseph and or pain, or pain and also and turn anything really endo sketchbook. I just liked the size. And then we have a Canson mixed media. This is a spiral. And it is, yeah, it's fine. It's mixed media paper. You can do some watery stuff on it. Some not so watery but it's fairly quick. Yeah. I don't know. I just didn't find that this book was something I could really fall in love with. Okay, this is brand new. This is the moles scan, large Heart Journal. And I've listed all of these and their sizes in the supplies list. It's huge. And I've only done a couple of things in it. One is some background, but what's going to be just doing some texture for background. And then I did an abstract here. But you can see, see that little bit of buckling. There's just a lot of stuff here. But this is the same paper is my small art journal, so it'll be fine. And if I paint on this side, this was more water can be seen, more buckling. I've already just said this side. So this kind of thing ideally should have been done on watercolor paper. I just kinda wanted to try it in here. Now to the watercolor journals. This is the Strathmore visual journal. When you get it, it has a little label on it that says that. What I like about this is it is very heavy. Card like paper. And so you can easily do both sides. I like that it lays flat. It is really small, but and a little bit narrow. It feels like to me. But I've definitely had some fun in this one another. This is the mole skin watercolor journal. So it's kinda goes this way. And I've been doing really lots of layered paint abstracts in here. But I think I've also got probably in here some where it just yet we're just add some watercolor E type or go wash stuff. Here. This was squash. And of course, since it is watercolor paper, it behaves really well, no buckling. And very nice. I mean, a mole skin products are top quality. This one is brand new. I have not even I haven't even opened it. It's called the handbook journal and the art store recommended it. It's a little more pricey, so I'm not really necessary. I guess it's me by speed ball, but it's watercolor paper. Nice, heavy. I do like that. It can lay flat. Because I'll show you one that I've been having trouble with. That beautiful paper, beautiful cover. A very nice, tight elastic which helps as you start building up pages, has a nice ribbon. This is another new one that will do a spread on in the class. And it is watercolor paper but not super thick. Buckled a little bit. This is the Artesia hits eight by eight. And RTs, I was a brand that's kind of an off quality brand, but this was performed pretty well, I thought for being a good size sheet of paper laying flat issue might it looks like it'll be okay. Yeah, it looks like it will be okay. So this was a good price. I think I got a two pack of these on Amazon for 2006 dollars and I'll put that link in my website. Alright, this is a beautiful paper. It's Strathmore 400 series soft cover watercolor paper. And I do love this book. And the problem with it is that it doesn't really late for me. I don't know. The flat laying flat part is a little tough because the stitching but I guess if you really push on it, this was back when I was doing patterns, but it is very nice. Papers just I struggled with that. So those are there are many other options too, but I just thought I'd walk you through some of the ones that I have. 5. Favorite Sketchbook Walk Through: Okay. So let's walk through my I call it, I don't know. It's my favorite journal, the Star journal maybe because it's what got me started in believing and journaling. But first let me talk about the book itself. So this is the Moleskine brand. And this is, they call this the art sketchbook. So this paper is not watercolor paper, but it is thicker, really like a mixed media paper. And I have one here that I have not filled in yet. So you can see kinda what it starts like. And I have a link to this on my supplies tab on my website, Suzanne because some people have trouble finding art sketchbook. So nice thick paper and you'll see when we look through here how well it holds onto paint. It just the paper is really, really good. Okay, So this is one that has not been filled. But it is also different where it gets confusing is this is a mole skin journal, just not the art journal, just a journal, journal. So this is where I do journaling and the paper is much thinner. You see that? That would not hold up. It's just for writing anything like this paper. Okay. Even though they look literally identical and you can't even see anything on the outside. They both have a hard cover. So you want the art sketchbook. And to make it even more variety, molecule makes a watercolor sketch book. So this is watercolor paper, actual watercolor paper. And you can certainly use this if this is what you have, it would be fine to do what we're doing. There's just something I like about all the pages that I get in this one. I don't know how many pages compared to here, but it's a lot more because the watercolor papers is thicker. Okay. So let's walk through this. I started this. You can see really not knowing what I was gonna do. I just wanted to play probably about a year ago. And then I started saying, what if I just really experimented with everything I was curious about in here and didn't worry about how pretty it was. And then what happened was it started getting pretty and especially because I would go back and do things to it. So I would start with layers. So a lot of these pieces, I have layers of stuff underneath and when will obviously paint some spreads together. And I would not even really have an idea of some times where I was going with it. But I would start with color and, or you'd see something that another artist did. I think this was inspired by Cary Schmidt, but I would say, well, let me just try that sort of thing. And then, and then I started thinking what if I made the opposite spread similar colors and that kind of evolved over time. And this spread actually was done on an airplane. I was on a flight and I brought a few supplies with me on the flight. And that's how this one came to be. Again, layers. There's some metallic pen here, and if you can see that she's there. Outlining, I mean, even now, like going back to this, I could see some things that, I mean, this has a lot going on. There's no need to do much. But what's fun about this as I can reference back. And i'll, I'll remember like, oh, I really like how I left these white-space, white circles or really like how I took probably Tombow marker here and outline the different watercolor or gouache shapes there that helped to flip through here my own sketchbook and get ideas. So it's really become a resource as well as a source of enjoyment and creating. This looks like a background that I started with, the water-soluble oil, the Winston Newton. They make a really creamy background. And then I've layered, this is ink marker. This is squash. So you get that since it's on top of oil, you get that kind of look that's most broken up and watery. And I played with words. This is encouraging words. I don't know if you've ever read that book. It's a little book called I love myself where this guy just started saying that to himself. Really all throughout the day and anytime he had negative chatter and his life over time transform completely. So sometimes I put in here I love myself, Don't give up, things like that. Some of it's kinda cheesy, just keep going. Which is sometimes a tough day. All you can do, right? And then this texture here, I wish you could, won't make, you can hear it. It just feels so good. I know. I'm weird, right? And again, some metallic pen, there is oil pastel in here through squash, there's ink pen. Sometimes I lose track of what's underneath it all. This was mostly just wash, not a lot of layering here. Little messages in there and squiggles. And I think this is one that I came back later and added the words in the gold pen here. And we'll do some of that too. We'll go back through it and make changes. Here's some more texture again. This one actually, I ended up turning into a print and it's for sale. So you end up there. There are lots of these that I could do that with two, I just haven't taken the time because you end up if you learn how to scan this and clean it up and turn it into a print, then it can be a friend. I think that bout here maybe. Yeah, I'd say it's about here where he started saying, okay, what if I do one piece on this side and I did not even know this was going to be 40 until I sort of just throw vase and went from there. And then I make the opposite spread. A complimentary or similar colors but, but a different type of painting. And that became, started to become a theme in the sketchbook which I really liked. I still like doing and now I'm kinda getting in the habit of that. So we'll have probably have to change it up. But here's one where we could come back through and put a little more detail in there. Even though it's really fun the way it is. So yeah, you can see that I started to do color and texture in here. This is one that I worked and worked and worked and I still don't love it. But I guess what I'm doing when I come back is trying to get each spreads so that when I open it, it just takes my breath away so that it helps me to learn and go. Okay. What don't I like about here? And there's still some things I don't like in here. Not sure why. But that's what I'll come back and try to address. And then this is a great place to try a completely different things like this. I call this the throwing up flower. And then I did similar colors here. And you know, you can see that I'm painting on both sides of the paper in this. Some people don't like doing that. And it definitely, you can see some gold foil got on here. I don't care, like some of the green here rubbed off here. If I have a really past deli paper page, then I will spray some fixative on it so that it doesn't keep rubbing off. But even me going through those you can see that I have. But for this kind of what I love, these are not. If I ever do want to skim, wanted to print, I can clean it up in Photoshop so I don't care, but you could certainly preserve them better. I do use if I want to spray them, I use the workable fixative so that I can still come back and alter them. I'll put that in that supply in my supplies list. It's a handy tool. So you can see the combining the continued theme of kind of similar colors. With here I was playing with what have you stay in one general color family. But then you have these pops of something that draws your eye and says, whoa, that's unexpected. So That's what I was doing here with this pop of pink heroes playing with, and here you can really see some of this purple that came off of this squash here. I probably didn't let it dry all the way. And I have used parchment paper before to, to let it dry more. I probably could do a better job of that. But anyway, I was playing with geometric shapes and colors here and patterns. Sometimes I'll do this kind of thing, especially the details at night when my husband and I are watching Netflix. And then I also use the sketchbook to play with colors that I just normally would not like this sort of. And olivine, dark green, but I ended up really liking it. I still think something needs to pop here. I think there's something that I could come back and do to make, you know, maybe what we'll do in this class is come back and put some pops of this really bright green in here. I think that would bring it to life. And here you'll see I do like squiggles and experimenting with marks. I, when I remember, I do like to put in some black and white not on all pieces, but I do a variety of like I tried to think about a variety of sizes, shapes. So here are some tiny silver dots. This is a silver metallic pen. Cbo. And then some lines and some larger shapes. Variety. You know, it's, it's so hard to know how much is too much and how much is enough. Again here, choosing colors that just, I don't normally choose. Dark purple. I do like a dark plum, but I don't really use much purple. But had a lot of fun with this. I really like what's fun about your sketch book as you'll find peace parts you really like for some reason you don't even know why I like I love this squiggly gold line on this purple. Can't really tell you why. I like how these line these I think this was Posca marker on top of passed. Oh, this was a bit quieter. And I also used a metallic copper pin or color here. So this is again, and you can tell by that kinda muted creamy background, a background with the oil colors, the water-soluble ones, and they do take a little bit longer to dry. We'll play with that in this class. But they give this nice, It's almost like you're moisturizing the paper when you rub it in, I just use my fingers and rub it in. And then once it dries, this is probably there's some quash on top of this, some ink. You could do acrylic. You're just going to get an I liked this, so this is on top of the oil. See how it dried with kind of a chalk wall. Look there, I like that. This is this botanical, again with the will background gives, gives a lot of depth. But you can see how demoed the oil I was able to scratch in some leaves and then paint. Now you might need a couple of coats of something over the oil, like, but see then that you get that effect that I really like. And again, these are colors that are not typical for me, but it's really branched out my use of color to challenge myself to not just use my favorites I every time. And then I started playing with sometimes I just leaves. I don't know what it is, but it's lethal. Really do it for me. So you can see here I experimented with just painting. I think I definitely have. You can see texture in the background should probably just marks in the background of this. Then I painted over it with this coral pain than I did leaves. And a lot of guys, a lot of my pages get started with brush cleanings. So let's say I'm working on something else. I'll skip ahead and I'll just clean my brush on the page because that can end up being texture and I just hate wasting paint. So if I have gotten some paint out and I don't use it all, I'll go through and just put it on one of these pages. Yeah, here's where I was like, Okay, what about just simple leaves that kind of, and I put this on Instagram and it was fun. I said, Which one do you like better and people enjoy doing that. I think I don't know. I think it was about even I was gonna say I think that pink 11, but I do think a lot of people like this one too. And then someone said, Wouldn't it be great prints that you could put side-by-side? And I thought that's a good idea. But here you can see where I took posca pen. My, one of my favorite colors, I'll show it to you, but it's the ivory posca pen and ended up going over certain things and making lines and these dots to kind of unify these two. This was, this background is really interesting. Actually my son, who's artsy, took my, took this journal and he took all my goodies and basically colored and color and colored and got this background. And then I took metallic gold and said, Okay, what am I gonna do with this? Because it's in my journal, which he didn't really ask. And that I love his I love what he creates, so I knew I could do something with it, but I didn't know what to do. So let's sat there for a few weeks. And then finally I came up with these ideas. Then I made this page to conic, compliment it. Then I said, You know, let's do some florals at the same time. So I went back and forth. I think I have a process video this that I'll put in the class, kind of a timelapse and back and forth and just made these, both these bouquets on, on a spread that had brush cleanings and marks and all kinds of things. And you can see this has a bit of machine because I did spray this bread with fixative just because there was a lot going on in here and I didn't want it to get dirty and yucky. Okay, so you see the theme here of the colors. And I think here I got some new, this green color and I wanted to play with it. I also really love the sort of the gold line work here. And then I like how I trace those here. So again, I'll come through and pick out inspiration was feeling botanicals bring his coming. And I did that here and I thought, let me just do that here. And I had a lot of fun with this one. And then look at back. Oh my goodness. So I wanted to experiment with just super bold color. This is an orange background, and we'll do something like those here in the class. And you can see I'm getting into a theme where I start with some sort of background and then paint from there. But this was a lot of fun. And then this one I think I just finished or I don't know if it's finished yet, but I worked on it yesterday. Again, botanical, different color scheme, lots of texture on this page. I built this up with all kinds of jamminess. And then I was playing with completely different style, abstract with watercolor. And I don't think I'm done with the US, but they were fun. And now you're going to start to see where I'm getting to just backgrounds which we will build together. But as you go further or there's less and less because I haven't come through and put the layers. So here's just a background, for example, of the oils. And I rubbed those in. And I think that's it. So we will build on this and I'll show you the process for adding and coming back and adding and coming back, which is kinda the way I work. Yeah, So that is the star sketchbook. And the next module, I'll just walk you through the other sketchbooks I have, because it's just fun to look at them and get ideas. 6. More Sketchbooks to See!: This is the Strathmore visual journal. It's got a hard back, which is nice if you're just going to paint sitting in a chair in front of the TV really hard. And it's watercolor paper. So I've played with this one as well. When I want to really heavy stock watercolor paper. And I love this journal, I do. I just, I don't know why. I'm not as emotionally attached to it. My Star journal. But I've done the same kind of thing here, playing with layers. And this one I did turn into a print. I just love certain aspects of it. And again, experimenting with different techniques. So here you would, with watercolor, you can get that dripping and soaking in on the watercolor paper that you don't get on the, on the other paper, that mixed media paper. But then I found I was really drawn to building layers of texture. So I did the same idea here of playing with similar colors that would do because abstract and then something more simple and quiet like this. And then I got onto that kick and did a few here like this with a trapeze. So here's where if I want to play with what watercolor and really it squashes when I call watercolor a really almost always use, gosh, I just like the pigment. The pigmentation for those of you that don't know, watercolor is translucent and guage is opaque. They're both water-based. But with the gouache, you can get this heavier pigment now, if you use certain water colors and add white to it and you can get that similar thing if you don't have any quash. I liked how I left this little white surprise here. And these are a lot of fun. I have a class actually, my abstract. I think it's just called abstracts, where we do stuff like this. Here I ended up with lots of texture. I was trying a dry brush technique. These, I don't know, have done. There's just, they're just not done. So I've gotta come back and maybe we'll do that. Figure out what we can do to make these more interesting. I do like these. I just went in this funny direction and I got obsessed with these little leaves everywhere. And then you can see this is just the next experiment. And we're empty. That's going to be covered with something or just adopt around pants day. This was an experiment to see actually what this, this is an LEA innovative acrylic. Basically it's gives you this 3D effect. So I thought we might play with that and that's how I do it. I'll just start with something and then build on it and see what happens next. Okay, so that's the watercolor Strathmore. Now. So I want to show you at 1, this is older, but at 1, I said, how about just a little sketch book for collage so I can experiment with that. And I just picked up one of these cheap, really supposed to be a journal, you know, with a good quote about imagination is more important than knowledge by Einstein. And then I did some collage. I had fun with this. I didn't take it very far. You'll see. But A nice thick sticky, you put enough glue on these pages and they hold up. I had made different tissue prints from, gosh, I don't even remember. I think I painted tissue paper and then cut them out and then put a finished spray or burnish over all of it with some ink and different detailing. Torn paper, circles, shapes. But experimenting with this list looks like this one's more stamps and things rather than collaged. Going back to the collage here, playing with like this is just something I never do these colors. And so again, challenging myself. And then that's it. No, the rest of it's empty because I just moved on but maybe down the road. So that was the collage. And then this is a larger Strathmore watercolor notebook. And I started just playing with this one's older leaves and what, how colors bleed with the garage and the watercolor. And I think this was when I was into patterns. And so I was thinking of taking some of these elements and doing a pattern. I still think I might, because these are so pretty. And then more recently I thought, let me try the, this is the acro. Gosh, I love that chalky Pino. I don't know. Opaque. Look. My son had drawn something here, so I just I'm just going off of that and then as well that I will end up being, then I went back to the abstract here, starting something who knows where that'll go. And that's it. This one's also empty. But that's because I spend all the time on my star one. And then this one is a water for watercolor mole skin, which I did. First, I did some color charts. Again probably a year or two ago, just playing with all the yellows and greens that I had in my box, purples, and then I wasn't really into patterns. So I started filling this one with patterns of all kinds. Pattern elements, pattern ideas. And you know, I just, I'm not that into patterns anymore. But it's kinda fun to look through those now and see elements of what led to my, what I'm doing now. Experimenting with color, shape, and so forth. This one that I did not I don't know if didn't have the habit of going back and trying to create a painting like I am in my sketchbook now this is more just random patterns and things, but that watercolor book is nice. And then the shortest sketchbook out of this was another art journal. And I got it all got all inspired. I don't know if you've ever seen Missy Dunaway on Instagram, but she uses ink, acrylic ink to paint landscapes. So this was like, I don't know, maybe two years ago I got all inspired and I did the ink chart here and follow the mixing, color mixing and how you can get all these great colors and had fun with that. And then I said, okay, I'm gonna felt like she does with landscapes. And I went out hiking and I took some pictures of open area called Cold Mountain and Virginia and took the time, you know, you'll never see this kinda work for me and I painted this. And then I was going to just keep doing these kinds of things and look one, Let's see what the data is. Oh my gosh. 1118. Yeah. So I haven't paid it anymore in this because I keep thinking maybe I will get back to that. I mean, that was kinda cool and wouldn't it be great like she has to have the whole book full of these landscapes. So that's why I keep this one saved. We'll see if I overdo it. 7. Painting Demonstrations Part 1: So for these painting demo modules, what I've done is over the last several months when I'm painting in my sketchbook, most of the time I have the camera overhead and I'm doing a time-lapse video. And those are really instructive for me, but also people enjoy seeing these things come to fruition. We all seem to love watching time-lapse creations, Instagram. So most of them are recorded. There were several, so many that I had to break it into two modules. But I will voiceover talk you through the creation and some of these and what I was thinking and hopefully give you some inspiration and ideas for your own sketchbook. So here I'm going to show you the finished spread before the little time-lapse with demo, where I'll talk you through it. So on this one, I was doing that thing that I started doing a few months ago where he said, what if I did something similar on the other side of the spread? Well, similar colors. It doesn't have to be as similar composition. But I wanted to challenge myself to pick up those colors and do something different on the other side. So that's what you see me doing here is picking up the pink. So I've got yellows in there, some white I'm using pretty much every you see that Turner hybrid gosh, I'm using my stubby brush because I literally pin-ups scrubbing the paint in. And this is the mole skin art journal. That's not the watercolor paper, but it's a mixed media paper and it can take the abuse I give it and got my little paper plate. I've got some Neil colors out and I am going through using, it looks like I've got white. Sometimes I use JSR for white and that might even be Joe. So, but I am paying attention to blending a little bit so that I get to the other one. The one across from it is not that kind of composition, and I really love that one. I love all the little dots in it and things, but I wanted to challenge myself to do something different here. So that's why you see a different approach and more blended and softer. Yeah, I would say softer, not hard edges. Soft edges and little more subtle. And just playing with some of those colors. Now I'm working in some more Neo colors and getting some pencil details. Some of that. I don't know why I like that line that does fat, but I do. And the big thing is at this point to not think too much and just not judge, because you'll hit. And we're gonna do in another module working through the ugly stage. And some paintings go through less of an ugly stage than others. But they all have an awkward stage. But I think of that as different than, than ugly. So now I'm letting that dry. I put a piece of actually it was it's the paper that you gosh. I'll put it in the I'll put it in the notes, but do you cook with it or you bake with it? That's like wax paper, parchment paper. That's what I put in there. But you can use wax paper or whatever and it's letting that dry because of course I want to move on. And I'm doing the same thing here. I'm picking a spread that I've already done, a background that's similar, that I picked up one of the colors on the right side. And then I'm going through and making various scribbles and marks. With pencil would ease paint, of course. And I often do this if I've got the paints out there on the paper plane, I just TO thing about wasting paint. So I'll use up I'll even just open up a blank spread. And those are, those are the super color water-soluble pencils there. But I'll, I'll just clean my brush on a brand new page. And that way, by the time I get ready to work on it, It's already got some stuff in there that will end up showing through as texture somehow. And I'll just play, that's a Tombow marker there. Sometimes I use those, the watercolor markers and sometimes I don't. I go through phases. But what I do like about them is they will blend like if I'm coming through with white or like appeal TO like this, which I do a lot of them. It'll pick up the polar water-soluble things, whether it's the Neo colors that would ease or the Tombow markers, anything like that. It'll pick it up and so you end up color mixing right on your piece. Well, it picks those things up. So here I'm kinda doing a unifying, adding texture but also bringing it together. And I don't often go through a whole piece like this with the weight. But it looks like that's what I wanted to do on this one. By the way, if you don't time-lapse here. So working, I recommend it. It's just I'm using my iPhone and an arm that I got that holds my phone that I got on Amazon. I can put the link in the supplies list. It's a good idea, I should do that. And it's instructive to kind of watch yourself. You can even see sometimes where you go. Now you shouldn't have done that. Why do you do that? It was better before. The whole idea here is to have fun and be loose. It is a sketchbook. So there I am putting another piece. All right, this is another spread that ended up being a dueling leaves spread. And I had already done the one on the left. So I said, well, rather than do a completely different kind of composition like an abstract or something, let me try making a leaf spread with similar, with the same colors but in different, just completely different. And I really ended up liking. This. Looks like I got my head in the time-lapse. Sometimes I get so intense. So this is very similar to the, let's go to Mexico module here. I create another one of these with you. This was, you know, I grew up in Latin America and I just especially Guatemala, Ecuador, the fabrics there, the colors have always been drawn to. My heart is in South and Central America. So I thought, let's start with a bright orange background. And I really have no plan of event 2. Use bright colors and shapes and some botanical elements. And just see where it went. And then as it evolved, you know, those little round shapes at the top or the bottom started looking like a place that a plant should come out of. A plant can come out of anywhere, right? And then you see that I am using different brushes to make different textures. Flat brushes, round brushes. And then the back of the brush to make a squiggly in the paint before it dries. You can do that for texture. And I'm really choosing about five colors because there's enough going on in this. I don't really need 12 colors. I think that would be overwhelming. And then I'm taking the posca pens and the Micron pens. Both. And I think that one's black. And then my passcode go to as the ivory color. And I'm doing details and just going hopefully just the mouth without it being too much. That is the trick, right? It's hard to know sometimes when to stop. But generally the painting tells me this is another botanical leave spread where I, this one I had already done the background with some crayons and then I painted over it with like a white. So it was already kind of interesting. And then this one I did obviously plan to do both at once, kind of a dueling leaf. This is, this takes a lot of time to do leaves behind leaves. I was after the fact, I should have just done the Navy ones and then the green ones on top because you can do that with wash. But by the time I decided I wanted to do it, I already have the Greenland there, so I just had to go for it. And I'm doing again only really three colors at this point. Keeping the color scheme simple to challenge myself. Okay, There's another color to a darker green. And doing botanical elements almost looks like it could be under the water. Again, going through with a liner brush, adding some detail. And my posca pens at the end seems to be kind of a theme those men. And here I had seen, I've seen, admired some just wackier abstract work. And so since that's what the sketchbook is for, i, what I'll do sometimes is all fine. I'll see an artist whose work I like AND, or a combination of them. And I'll just experiment with the materials I have and see if I can create something or learn something. No. So here I, I made shapes with the neo color and put dabs of color and it's just completely random. I am trying to stay with the colors that I used on the other spread. So that I don't know. I just like the way that looks when I'm flipping through my sketchbook. It didn't use to do that and you certainly don't have to. But you can see what happens when you add water to those Neo colors. They are very vibrant. You really like painter in a crayon stick. Here, I'm using the micron to just do little squigglies. Using some of my gosh, that's the Winsor and Newton, cobalt, turquoise, which is one of my go-to colors. And I even started adding some backup into that other spread because that one's not done. I'm not sure. I mean, there are a few paintings in my sketchbook that I would say are done, meaning I don't should not, don't want to tinker with them anymore. But I think of it is kind of a living learning space. So if I could flip through at anytime and add a little something somewhere, it's just I think for me that helps me keep it alive and that helps me continue to learn and go back and make things that I like more and more and learn about things that I don't like and then how to fix them. So that's really valuable to. And then that in a way it can be a testament to your exploration, which is really kind of the point. 8. Let's Paint Together! : Hey, beautiful people. Okay, In this module I'm going to paint along with you. We'll work on this side of this bread and take it further than it is now at more detail. And then we will start with a brand new spread, make some marks, and then who knows what that is going to end that theme because it can be fun. Join me. So I've got some things out to play with sense. I'm going to start to use this color palette for at least to start over here, I picked out my stubby low woody 3 and ones that are in these colors. And these are great. I have actually a review of my YouTube channel under supply show and tells their great little pencils. And then I just have some of my old oil pastels. I tend to use my, if I have two versions of suppliers, my mat is nice ones. Like I have some nicer oil pastels that, and I hope that I also reviewed on the YouTube channel. So I sort of say those four. Well, I can say real artwork that goes to this set, which I love because those colors. But I do use it more for my like art pieces because these oil pastels are prime for the sketchbook can give me that same idea. So, and then I've got some acro quash here in my air-tight palette, which again, I review, I love, keeps my paints wet and ready to use so that I can do. If I just have a few minutes, I can come down and do one page and at least get started and do a maybe some Jessica waiting or first layer paint on another page. So I'll show you that too. But let's get started with playing with just some little sayings and we're not going to finish this because the way that I do these as in layers, so I'll come in and do a few things and then it dries. And then I come back another day or another time and see what happens then. So if it's just I just come in here and play. And Heidi don't know if you're like this, but for some reason when I'm either talking like I don't know, for listening to a podcast. I work better. And it just kinda keeps my mind occupied so I don't overthink what I'm doing and I think that might be part of it. And so I typically, when I'm doing this alone in my studio or wherever I am, I use a podcast or I go to Skillshare where I had my classes and I doubtless my classes that would be too weird if I do listen to, I take other people's classes and kinda watch what they're doing. Well, I'm doing this and it just gives my mind something to work on. And you never know some of their ideas might end up in my, in my piece, or at least learn something by watching them. That's kind of my process. And I used to not believe in sketchbooks, right? Well, I shouldn't say it's a little strong. I used to think they were basically kind of a waste of time. Like why would I spend that effort in putting something that's not going to be an actual piece of art. And like, why would I put all that time in? And I've changed my mind on that. And I mean, that was just my own ignorance. But I love, especially for someone like me who tends to feel pressured to make something wonderful every time, it really helps me just play and not worry about the outcome and get good ideas. So I like it for all those reasons. And a lot of this process, I am adding layers. So when I do these early layers, I'm not thinking about too much anyway and just adding layers with different tools and different brushes. Let's try this chopstick Experiments and I want to show another fun tool. Where is my little mascara stick? That's pretty funny rate. So it's a little playful process and freeing very frame. And I'll just go on one page until I don't know. I just don't want to do it anymore than that 14, I feel like I'm kinda done all of the things I can think of. And then I'll either go start painting something else or like a completely different thing, or I'll just paint another page in my, in my journal. I'm really looking forward to when I have this whole thing. It's all because it's just going to be such an interesting body of work and app. And especially because I, I'm going back through them and, you know, working on each one until I like it. So that's my thought is I'm not just I mean, I'm starting with whatever, but I am going back through and if I don't like it, I'm going to keep working on it so that I at least sort of like everything in this book rather than not her only liking certain pages. And even if that means I'd go back through and completely paint over it because I've decided it's a loss. That's okay. I just want I want when I'm done for me on this book, I want to find. It's really pretty and that I, that I love looking at it. And this is a Posca marker. I don't know if I've done a show and toe of these on my YouTube, if I haven't shame on me because they are something I use a ton of paint pens. And I think I've probably used it. Now let's paint. But this is one of my favorite colors. It's the coral pink color. They come in different thicknesses. Superfund. So I guess my attitude about these is you can't make a mistake because you're, you're going to learn. So it's either, it's really not about mistakes and mistakes. That's about like and don't like. What if I decide I like that I've done what I decide I don't like. And then it's within my control to go in and change or they don't like. So all of this dries fairly quickly. I like the outgrow quash or acrylic, just N guage. They all dry quickly. So they really lend themselves to this. The paint pen is still wet. But I think when this dries, I'll probably come in. And I'm feeling like I want to put some yellow around these guys. So yeah, that's a good start. I decide later if it's done, but it's always good to stop. And you can always come back. And then what I would do before I end this kinda sketchbooks session is I would, I might add some things to this, or depending on which time I have, I might just take some just I want to color and get this. Put a layer on there so that it's ready for next time. So, yeah, I hope you have fun. All right. So let's see what else. We can come back and do. I mean, it's fine the way it is, but I love tinkering and I did just get these. I've talked about Navy and which I love Navy. So I just ordered these Navy Sharpies. And so I thought they'd be fun to come back in and do a little bit of something. I've also been playing more further on with lines. So maybe coming in here with some lines would be fun. Maybe adding something botanical. This also gives me a chance to see how well this Sharpie goes over the oil pastels and acrylics and everything else. Wash that I have on here. It's doing pretty well. The thing that most mediums don't like going over are the oil pastels. So if we can go over that and that's pretty good. What else might be fun? Like? This is probably getting to too much theory. But it is a sketchbook, not have finished work of art. So it's okay to play with things and see now that's where the Sharpie is. Not wanting to. So I just scribbled on a piece of paper to get it to come back. And maybe go a little bit scribbling around some of these I want Sharpie thing in there. It definitely does not like the oil pastel, but it does fine on top of the acrylic wash. And then maybe we'll come over here. Since I seem to like to have some of the same things going on, on the opposite spread. But you know, sketchbooks are so individual, you know, you may like just having really simple and quieter things going on. And sometimes I do to, you know, if I'm in a certain mood, more contemplative, quiet. I might do less. Grp's struggling here. Every time I hit that oil pesto, which is normal. That's why I usually save the whales for last. Because I think that's enough. Messing around in this. Yeah. I think it's done for now. That's the way it is. It's kinda of a living journal. It's living pride like that because I might go back at any point and add something to it to any one of these. I love doing that actually during travel because I can take this on the airplane with me or in the car and just grab a few markers and things that are easy for detail and then come back through and do anything. But I think I wanna do. 9. Painting Demonstrations Part 2: Delicate, these spreads. This is when the Strathmore, a visual journal, which is really heavy watercolor paper. So I don't really like a card, heavy, heavy card stock. I can't remember the pound, but it's probably at least 300. And so if you want something more sturdy and substantial and you, you know, you really want to, or you want to do watercolor. Have the watercolor process. The way that it bleeds into the paper, then you would want to use those book. Probably. You can see that a lot of pages on this I've just painted over. So here I had I had some backgrounds that I was just experimenting with. And then I pretty much painted over them. You can barely see them. And let no page go wasted, right? And the sketchbook. So that's what I did here is I said, well, what will happen if I just paint over these and do some random flowers and leaves and take this Navy back and forth and just play in the sketchbook. And then I got really into this leaves on this little guy. And I ended up doing Lama on the top as well. And then doing some details on the other side. Just having fun and playing in this sketch book. This is a different type of spread and the same sketchbook where I had an abstract already on the right side. And I said, Well, would take the same colors and do one of the kind of Derby florals on the left, abstract florals on the left. And I was doing these drippy florals when I created my last class, which is around whitespace abstracts, basically leaving a lot of whitespace, which I do in this one. We do something like this in that class. Specifically with the details and the clean look with the white background. Here I'm using a fan brush, which I'm a big fan of, ha ha ha. I actually want to buy a smaller one. I love what it does. I love the texture creates and the various things you can do with it. I just want to find, looking for a set of smaller runs. And you can see that the watercolor here is bleeding. So in this case I am using, I'm taking advantage of the watercolor paper. You could do this and then moles skin art journal, but it wouldn't I wouldn't because it's just going to kind of watery. The paper will be watery and it doesn't bleed the way that. Hey, does on those paper. So for this kind of painting, you do it here on the painting on the right on this bread. You could definitely do in the art journal because it's just layers of paint. Here. I'm just using light colors in the background, kinda trying to pick up that gray green I have on the right side. And then this is back to the mole skin art journal, my favorite sketchbook. And this is where I had some abstract stuff in the background. No plan and decided that I could make gold bases. I took my acro goulash, metallic gold and put the vases. And then once I put the vase is I'm, I could kind of see where the bouquets wanted to be. And this one, I was kinda interesting. I did use the same kind of flowers with the same colors. Now I put the same elements on both. I was just curious how they would emerge differently or if they would. It was a fun exercise. So like on my other spread, I took the same colors, but I did different things with them. And this one, I pretty much went from one to the other, but leaves, flowers. The only thing that is different, even a vase or both goal. The only thing that's different is the background. But I ended up liking the result and the background change enough. Here's an abstract spread where I'd already done the one on the right. And I forced myself to use a color that I don't normally use this. You know, what would be my go-to on the left for background would be one of these T-cells for bright greens. But I used the dark olive to challenge myself and see what would happen. And then I'm working, I'm picking up some of those other colors to bring in to this one. So just remember whatever your background color is. You want to make sure that it is either acrylic or apro goulash. Or if you use guage for watercolor, that's fine. Just spray it with a fixative, workable fixative. And I'll put that in my supplies list, but it's a spray that allows you to kind of preserve what you've done and then continue to work. It's really used for pupil use pastels and things like that that get powdery and come off. But you can use it in this way as long as you spray enough of it. And it can create some interesting effects too. In the sense that where you don't have it sprayed on, you can move the paint underneath. And so that's kind of interesting. But you can save yourself a lot of trouble by just using something more permanent in the background. Acrylic, with acrylic in it. Some of my backgrounds are oil. And that's in the water mixable oil. And that, that sends out his water mixable. You can pick it up, but it takes more work to pick it up. So it's okay if you want to use that. So you can see that in this composition I'm struggling for enough contrast. It just all looks a bit muddy. This is a halt where I did the whole background of the whole spread and the Navy Africa wash. And they wanted to play with the idea of something dark. So I did the dark background and then just see what happened if I just did flowers and the way they might be early morning or late at night and not, not in a vase. And going back and forth with similar colors, but more creating a composition with the spread rather than two separate compositions with each other, although they could be. So I was trying to create both one composition would look good on either side. Now the oil pastels really added. This was a very much quieter, again, trying to use colors that seem different than like not something I'd put together and challenging myself with just the two colors. You just took the background of one and the leaves on the other. And then I did add a third color because it needed something. I put some orange details on there. But I kinda left it there. I haven't done anything and you never know, remember in my journal is alive. So you never know, I might go back in and do something. I ended up leaving. Even the orange. The choice of orange was unusual. And so really challenge yourself with color. Can always paint over it. So this is the mole skin watercolor journal, the long beat by 51. And I was just playing with, again, like I said, see something and artist does. And you'd like then you want to try similar style. These are the pencils, the water solubles, along with some gouache brush. Watercolor works fine here to even acrylic water down would be fine. And just playing with little details and wetting the neo color. The paper in this journalist beautiful, behaves beautifully. Makes it a pleasure to work in. And I wanted to leave whitespace in this one to, this one is a sketchbook reflection six by six. I can't really recommend it unless because it's really just for sketching, doesn't handle the papers then. But what I did is I just sewed not this piece because I wasn't using a lot of liquid on it. But after this, I started just sewing, gym, each page or painting a background color. And it's holding up much better. But if you want to do something light like this, you can in it. I like the size. That's why I bought it. And I know there are better sketch books, but now that I have it, I'm determined to fill it up and painting the background page or just doing things like this. Little encouraging words to myself. I think it says, you know what you need to do. Be brave. So that's always a fun exercise. Sometimes I paint over the words to. Here's another spread in there with that same little reflections with Neil colors, water-soluble pencils. Just playing around with this style of abstract pencil, posca. The whole concept is having whitespace and playing. Hi, Just like the square size. So here's the same book and you can see here's where I painted the background. I started with the painted green on there. And then did some ERPO squash flowers on top of it. And it's funny, I did the paint background on a necessity, but I like the look. So have fun. 10. New Arteza Sketchbook: Okay, Well, I thought I would unbox this in paintings with you. I just got these on Amazon. I'll put the link on my website and Suzanne, there's a two pack and I think that Tupac was 26, which isn't bad. And I liked the size. I like. This brand isn't hasn't been the best. I've tried their paints before. I think it's, you know, I think it's kind of like what are those shoes that there's a brand that copies, they're really good brands at an off-price and it's not quite as good, but let's see if it's good enough. Steve Mann, how they copy designers and so, but two good sized eight and a quarter by quarter and a 110 pound paper. And I like that. I'll see how it feels because sometimes the watercolor paper in these journals is too thick for what I'm doing. I really need super slick. It has a nice fabric linen cover. Oh yeah. This is nice, nice thick Mass Mat card stock but nice and thick. Remember how many sheets it has? Well, let's let's break this baby. I shall we I thought I would get the washout and just do a simple and just see how this paper works. I've been in the Navy bases lately. And when you work this way, it naturally lens of shading to my left because that's how my brush is pointed. So I just kinda went with that. And so I end up having on my light come from the right. Let's see here we can do some smaller leaving things out here first. And sometimes I don't know if you taken my classes, but sometimes I start with some leaves and sometimes we start with blooms. I'm not sure there's any right way. I think what I've come to is putting somebody leaves in the beginning, but are there out further kind of in the background who's helpful and then adding those. My gosh, it's kind of thinking ahead and I had to reconstitute it so I don't think I started it enough. It's got some lumps in it, which sometimes, uh, kinda lake and adds texture. New leaves come in so many different shapes, sizes, colors. And this is guage, not agro gouache. So I have to be a little, think about where my flowers are going to go with because it's harder to paint on top of the squash. It'll pick and blend. The colors are nice. Can blend if you like. That's okay. I put that in the Navy, but if you fuss with it too much. You might end up with some blending that you don't want. Although sometimes I can pretty, pretty unexpected and fun to be taken. I'm okay classes. You know that I am thinking about which way the flower's facing and putting the center so that it helps direct it. I will select to have things kind of cascading down. So far this paper is pulling up really nicely. I like what it's doing here. Nothing explained through the back. And to be careful that many plumes are not all the same size. We just kinda happening right now. Kinda purply color. Let me get my book pretty one here. Griping about crashes. You can paint over it. So I can see I'll need to do that without one once it dries. Think of this as the first layer. Has it. When it dries, I'll come back to it and decide what more I want in it. I can go over the gouache while it's wet. I can also go over honest dry are usually go over it at least to put highlights. So I might take some light where the light's coming and then some darker. I like how this leaf is bleeding into that flower layer. And also try to incorporate multiple colors into each flower. Personally, I don't like my bouquets to be perfectly round and symmetrical. I always think that's too much like a funeral arrangement in India, you know, flower arrangements these days are so creative and kinda all over. The, you know, that's what I'm going for is this beautiful designers that have the blooms kind of cascading down, doing interesting things. I might try to play with a really light colored this is my acrylic palate, so it's okay for them really light color TO sometimes you see flowers that color. And that might make it a bit of a different flower. Try not to be overly fuzzy because remember this was supposed to be just a quick bouquets to see you how I liked this sketch book. So far. Really liking it. Glad it was a two pack. My cousin, my wrapper. The wrapper. So I'm going to bring something to cascade down here and maybe grab my green. Still acting on B. I am liking this teal color. I might go even lighter. Try to make a weight. Flour is really difficult. And so I shouldn't say that it's not really difficult, it's challenging is you end up using a really light gray, which is what I'm doing here. And put it's kinda fun, challenging and it can come back through with some color and add to it. So I'm definitely needing more darks and contrast and this. So we'll keep working on it. I'm really liking this white slash gray flower to another one next to it. Maybe it's a bit more open. And I'm missing some little bits, little flowers. This is turned into a little mini class. And that's what this sketchbook class ended up being, is a lot of little mini. We're varying color or size. Trying to think of how bouquets. Again, that moving out and down below is what I'm going for. I'm using a limited number of colors here because I just wanted to do a quick sketch. But I'm sure I'll come back in here because I I need a couple of Rights. Probably need some yellow for sure. Yeah, I'm very happy with this paper. And I've seen sketch books like this that are about twice the price. When these flowers dry, I'll go back in and put some leaves that are in between the flowers. After I finish doing the details on the flowers, I'll probably use my go to dark. When I do the centers of the flowers, which is usually like an integral color washes for giving. So I've done this. I don't really like it. We'll see what it does when it dries, but I can just go back over it with a click, a similar color if I don't like it any better. In fact, what I can do, and let's do this now. It's just lift that. Now it's going to lift the wash underneath. But that's okay because I can put some of that back. They've already got it mixed. And then I will let it dry and come back and do something else with that flower. Or maybe like the way it dries. It's going to take some of this indigo, which turned out to be more of a blue. It said indigo, but it is pretty just dark blue. And I tend to like a little bit more of a dark blue. So when I do sometimes is I mix black with it. And you can just use it more concentrated like I did right there where it appears quite dark. But I'm gonna go ahead and put a little bit, just a little bit of black in there. I do usually do some sort of dark center and then come through with a yellow or something else. And then I like to have some of these hexagons and dark. Sometimes I'll put berries. Maybe lines. Yellow is speaking to me. So now I'm grabbing some Apple glasses because my main, I could have used gouache too. But back rolls handy. And this is a really bright yellow, so I might have to tone it down a little bit much. That might well use paper towel. Really, really concentrated. And so I'm just going to water it down. It's funny too though you'll do something and then it dries and you can't even see it. So some of it is learning how it looks after it dries a little bit. Yo this brings things to life. Note that much mixing the white with some yellow to, to kinda of some little, I call these little sweet flowers. Maybe they're a little daisies. Or they could be out, gosh, what's the ones that down bloom first thing in the spring. Bright yellow to shrub grows. At this moment, I can't think of him. Well, I think that'll do for now. I'm going to let this dry and then we'll come back in and put some inner leaves in it. And then we'll take a look at how the sketchbook performed dry. Well, of course this is turned into not just a quick sketch, but what I did is after it dried, I added some interiorly leaves. I did some texturing on the vase and just some details and I was getting to round like I was talking about. So I brought this down more and this kinda up more. And I'm not done tinkering with it because that's what we do, right? So I thought I'd get some of these oil pastels and just get a little bit more fun there. Some more texture, just a feeling of dimension and depth that sometimes these give me, you can leave it that way or you can rub it in. But, you know, I'm probably going to stop tinkering soon. How many times do I say that right? Especially here where the blue base is coming through, the oil pastels can really help with that. I could just continue doing lots of codes of wash. But this gives me the different dimension look and helps cover that up. Just like everything you have to watch, overdoing it. Just looking for some pops of color is already I think, more vibrant color I really like here. This is my I got dark. I don't think that's a certain colors we get obsessed with. Well, let's try it out. Maybe it'll, maybe that is, it just helps bring some of the blooms forward. And let's other ones kinda go to the back. To my, everything can be a star in the show rate. And I just like what teal does. I always have a little teal. Seems like always around each her near each bloom. But I don't think I'm probably done tinkering. Anyway. That was fun. And the sketchbook, yeah, that's what this is supposed to be about. His really nice like it that nothing going through a great first page and the new block. 11. Working Through the Ugly Stage, Part 1: Okay, let's start with a brand new clean spread. And I thought what we do with this one is work on making some texture and variety in the background. So I've got some oil pastels and cramps here. I've got a three and ones and some various pens and we'll just make some marks. And then we'll paint over it and see what we end up with. So what I might do is I'm going to paint over it. I think in this color I'm kind of obsessed with lately, I pick this up at Jerry's art aroma. It's a German type of paint. And I have so far been pretty happy with I got a few colors. This is our deck. But pick any color that speaking to you right now is your top color. But underneath. Then, to see what happens, Let's not put every color under the sun underneath. I'm going to choose just a few. I'm going to choose the maybe some blues and yellows and pinks. So we have a dark and a light and let's just see what happens. So we're just gonna make some marks and have fun. If you've taken my other classes, you've seen where we do this kind of thing, but there's no real magic to it. Various supplies and going back and forth, adding a little black. It's close enough to the blue or pink. This is the woody. So might act differently. My yellow one time deciding if I want to play with some ink or why not? We'll see what it does. Here's some yellow because it actually yellow metallic ink. And let's see if I have any no, no, I have dark blue but I did a blue ink. That'll just take a little bit to let dry, but it will give us something else. We'll see, we'll see what it does is as a background. I just use the dropper because my brush a lot with ink and I like what it does. And there's no real formula as to why I'm picking these colors underneath the Arctic. Sometimes I just like to see if I limit myself what I learn in terms of colors. I'm liking this dark blue. We're going to use this enough. This is but Taylor, Ronnie, acrylic ink, and indigo. Okay. Where have you been hiding? And the dropper works like I can make almost like I'm writing with those like a bad. We're going to have to keep that out. All right. We're going to let that dry ink right now that this is dry. Let's go ahead and come in with the Arctic paint that we talked about doing over everything. And see what happens. Some of this is going to mix. Unlike the black, the water-soluble ones that we used. Since I'd like texture, I'm always kind of going every which way with the brush not being methodical about this way or that way, That's obviously totally up to you and what you like. But it reminds me of for a while I was doing furniture painting with chalk paints. And to get that kind of cool texture you would the creator of a Handy songs, her name of the creator of those. That one brand, chalk paint, to paint a piece of furniture. Just kinda go every which way. Don't be fuzzy because then you get that nice texture. And I kinda broke that into painting on paper. Now here in my sketchbook when I'm getting close to the edge and I'm going to ruin another page if I keep going like that because it'll go behind it. If I take a sheet of paper, just a scrap sheet and put it in there like that so that they don't get to definitely messed up some of my pages. Let me address which is okay. It is just a sketch book. But this is an easy thing to do if keep it from getting too messed up. Your crime. So that's that page. On that page, it's almost dry. Another color. Thank you. Think back. So you can see that I started with a darker green. I'm going to probably goes too dark. It was covering up everything and then it started to dry so fast. I don't know if it's just because of the weather today, but make sure I didn't ruin that one. Anyway. I then tried to scrape some of it off and I've had this happen before. My paper is upset there. It didn't go through. So okay, that's what I like about this paper, but we won't scrape that spot anymore, but I do like how some of the colors creeped up. So at this point in my spreads, I decide, am I gonna go the floral direction, like bouquets or am I going to do leaves? Or am I just gonna do abstract? Or am I going to do one or the other? And that's kinda what I'm thinking of here. I'm thinking of Bricktown, okay, might be front over here. And then an abstract over here. Because I've already got such good textures, but pick a go either way. So we'll let this dry completely and figure that out. All right, let's get messy. I decided that since I had just received this black just so from Nova color that I ordered that we should do some of that next, which usually height. Don't do that. I don't know if I do usually anything. I was going to say usually I put a cover over but we don't go back over and more color and then I can repair that spot, which also so you don't need a palette knife for this, I just thought it might add some interesting marks that you can use. You can use it like a kebab stick. You can use a popsicle stick, paper clip, pretty much anything you can think of. So this is drying fast and it'll just be kind of fun to see how this black just so behaves. Striking, nice and Matt. And so we'll probably add color on top of us. Who knows where this one's going, right? I don't know. Sometimes you just do stuff until an idea comes comes out. Let's let that dry. Okay, we're just gonna make a big mess here. So now I'm thinking I'm going to put some acrylic paint quarter down. I picked up the teal maybe for this side and this fern for this side. But I'm going to water down so that you can see some of the other stuff that we made underneath. And maybe I won't even cover all of us. Could definitely going to need some colors in here that are different. Yeah, just kinda like this. And you have to scratch quickly without back of the brush because it drives fast. So at this point, I want to say, this is that place I talk about the ugly stage or a you sit there and go, What have I done? And this is where you really have to push through, even if you walk away and come back another day and add some more color and just do some more things. But it would be really easy to walk away at this point and go, Okay, this is really ugly. I am, I don't even know where it's going. So those are the voices that I've just learned to put aside. And if we, if we keep at it and we're still not happy then the time, but we're not gonna give up. At the ugly stage. You can't get off with the ugly stage. You can give up. If you've worked for early-stage a lot. And you just can't get it passed. What feels like the ugly stage. But we're gonna keep at this one. 12. Working Through the Ugly Stage, Part 2: All right, let's see if we can get this to something that we like. Now, what I thought I'd do is put in some oil pastels and just see, for some reason I'm thinking I need orange and pink and this. So we'll just do some of that. And kinda random. Well, I think it already looks better. I'm easy to please. I'm just taking these Pentel. Any kind of, if you don't have oil pastels, try Ukrainian or marker. Kinda just playing around here and seeing if something happens that makes us like this a little better. Pushing through the ugly stage. I think I should name that. Name this module that I'm liking that this yellow is looking like. You can also use really, you can use anything here, but if you have these guys can also use your colors. I don't really know where I'm going or still don't. Just seeing if something starts to emerge, that makes me get an idea. From, I think the pink helped a lot. That pink. And I'd like these pops of blue hustle feel like I'm covering up the Blackmore which maybe that's what I ended up needing to do. Some yellow. I'll go back to the paint. What I did is I just grab some of my colors that I like. Panda lined up mixing with what's on here. I grabbed a couple of the new colors that I got to Nova Color. So acrylic paint. I've got an ACO, gosh, fresh green here by Turner. We'll see, we'll see what I'm working or not working. And then for white. I use various whites, but I also put some Jesu in my little pesto jar because I have a Bigtable JSON messages more portable. So then I can mix, it's too much. Mixed the gesso with what's on here. What's on my brush and which page? Scribble through it. When you use JSR, white. Same with black. I like how it mixes with what you already have on there. That's why I like using things besides acrylic. Acrylic won't mix if it's dry. I like to use goulash or even the oil pastels will blend a little bit. See that? Mostly because I'm using a stubby, crappy brush, which is my favorite kind of brush for this kind of painting anyway. It a tiny bit of gel, so on they're just kinda mixing with what's there. Now, there is some need. For some reason. Hi. Hi. Okay, So I'm liking it better is kind of some interesting abstract. You get the light better for you here. Compositions. I like them both in their way. I'm feeling like they need a little bit of dark. Something might go too dark is navi doesn't have to be. But let's just play with that a little bit. So that, you know, I would say at this point, if I'm playing in my sketchbook, that, that, that's done in the sense that it gets as far as I want to take it, I like it better. That was the goal, right? To make it something that I like and I definitely like where it's going. I think this is one of those that I would close and take back out maybe next week, maybe tomorrow, who knows? And it'll jump me. Oh, I think this is what that means. So I end up with having a lot of that kind of thing in the sketchbook. Mean here's one that I don't know if I'll do anymore because I just like kinda how crazy they both are right now. So that's that process of going back through. And this one I haven't even started yet, but I'm working on something until I like it. So we definitely got closer on this goal accomplished for today. Coming back to this to see what we can do. Sounds that seems kind of muddled, but interesting. I'm going to try some really bright things and see what happens. This is Turner, basically fluorescent pink. All right, so you can see that I have gotten closer to a more unified and what I did is I had a, uh, pops of color. The goal, the metallic gold, which pretty much everything improves when I don't overdo it. And his sight craft smart PAN from my goals, I did some oil pastels. I chose this as the main colored county unify over here. And then these two lending him to unify over here. Then I went through to darken the TL. I did some of the indigo here and here. And it's starting to make me more happy. Sometimes working through the ugly phase takes awhile. Just can't give up. 13. Dueling Floral Spreads!: So this becomes a double floral spread. And I started with this abstract background. Just a lot of stuff I think I wrote messages on there like I have of myself and keep going. So now I'm taking of course I had let that dry, coming back with some lighter. I'm mixing just so with color. Some very faint color, a little bit of yellow. And you can see it put too much on there and wiped it off. I'm just looking to blend a little bit so that maybe something starts to come together. And at this point, I don't think I've even decided that it's going to be a floral spread. Sometimes when I start these, I do decide in advance, but in this one, I think I was maybe going for abstract. And then at some point, the shapes at the bottom migrate their started to look like vases to me. And I thought, okay, well, why not do a vase here on the left and turn that other shape into a vase on the right. And I like to play with similar colors. So you'll see me taking that lavender from the re, doing Bloom's with it on the left. It's basically like creating two complimentary paintings at once. You know, you, you're, you're, you're getting your brush into the paint or you're getting your materials out, and then you're just using it in two places. And so this is good practice for being able to work on more than one thing at a time. Which I think ends up forcing you to be a looser and not over a sink. I'll have three or four pieces going at a time and just kinda move from one to the other. And I used to worry that the second amine that they all look the same and they do end up with similar colors, but they don't end up the same. So it's a really good exercise. I think whether you do an abstract or what do you do flora like this is kind of going back and forth. So now I'm putting in that opera pink that you see there in the screen. That's, that's the Turner opera pink. Most brands have an opera pink and it just, it's basically fluorescent pink. But it's great to blend mode things. Also, I find that lighter blooms, even if I don't want them to be white. If I put white down like I did there and let it dry, it'll help whatever color I put on top, pop off the page, especially a page like this that is busy. It's not a white background. So I'm throwing in a few leaves here now is my kind of greens that I like. I tend to like a yellowy green. And it just, I think bringing such a pop to composition when you've got those. Greens. And you'll see that I already did the Navy centers of the flowers, but I'm coming in with some darks. Now, just for contrast, gotta add contrast. And obviously this is a sped up time-lapse. I'm not working this fast, but I am working pretty quickly and not overthinking like for example, that when we yellow flower that I just did at the bottom, that's really not a traditional shape of a flower, but I ended up really liking it. And so this was how it was kinda thing loose helps me loosen up and think, Get out of my mind that things have to look a certain way. You can see that I drew in some basic circle shapes with a pencil. You can use really anything or a paintbrush. Actually, you can take just maybe white or light gray or any soft color and dry and some shapes. I'm going around the leaves again, giving them a pop, putting in some more that we've added more yellow to yellow green and make it even more, I guess, more saturated, more brilliant. And so at this point I'm looking and saying, okay, where it is something need some dark. Where it is, it needs some light. Flowers need more dabs added to them. I might be thinking also about the light coming from any certain way and the composition. So, and I might put some light at the top, a little boom. And here I took a navy pencil and just add in a little bit of something, something similar, maybe marker. I like the way in different media allow me to get different textures, different line work. Like this. Stubby little pencil over the leaves just adds a little bit of a textured look. And here is a neo color crayon and teal, which is having a different type of wave. Now notice in my blooms I do put a little bit of teal in them somewhere. I just feel like it gives them something. Some lemons. So I'm going to as a moral pastels now. Sorry about my head. Their oil pastels really bring things to life. It's probably hard to see that in this way, you can start to see the blooms and things get a little bit more adepts when I add in that oil pastels and going back and forth between the Neo colors and oil pastels, not got the arrow. And that gives a much more, well, it's not fuzzy the way brushwork and even the pastels are, it's very clear. So it just, I use it sparingly in a painting so that it doesn't look too artificial. But it does give me the highlights Taiwan in those little places. Now I'm just touching up to mace. And pretty much done at this point. 14. Water Mixable Oil Paint : I've just begun exploring the water-soluble mixable oils. I have mostly the Winsor Newton that I picked up a couple of other brands. And so far, what I'm finding in the sketchbook is that I liked them as a background and I kind of wrote them in by hand. They're creamy, they smell good. They feel like a kind of a greasy handled. So it's a pleasant experience. I have found that certain things don't go well on top of them, but to get in there and get a pretty background and Zhuangzi up time for them to dry you can use among upper layers too. So let's see what they do. Let's try the water mixable oils to kind of unify and push back some of this stuff that's making this too noisy. See what happens. I'm going to try this color over here, since I was starting kind of a creamy yellow. And then over here, I'm going to mix some white with the turquoise to get this kinda color and just see what happens using probably my fingers and maybe a brush to scrub it in. I do think that push things back nicely and brought some clarity maybe. And I want to show you something that's fun to do when you put the oils on over. So they added a layer of really the hand cream is what I keep thinking of. So you can take your pay-per-click or something and scratched through and get this kind of interest here or here in the oil. So I like that. Now I thought I'd finish it off with a little bit of China marker, which is a wax pencil. Basically. See how that goes over C. I'll see this is what I was saying about some things don't go over the oils are a well because it's wax on oil. So wherever I put the oil, I can use a China marker. That's why oil I think for me so far I found has to be either on the bottom layer or when you're pretty much done. I can go Let's see. I think I've done it before where I've been able to use my Posca. Posca is the only thing or another paint them doesn't have to be this brand that will go on top of the oil. But I wanted to come in here and make these white lines stronger, that kinda got buried and I can't do it with the China marker. If I can do it from my white posca. Doesn't want to go on now. That was fun. 15. Let's Go to Mexico: Okay, So remember this super colorful spread here. What I did here is I did the background. Acrylic orange, basically using it like a job also, you know, just coding the paper. And then I just started I picked a few colors and he started having shapes, some marks. So this one, I did two different bright colors. This is a fluorescent Liquitex. It's basically vertically techs fluid soft body acrylic right here. I think it's yeah, fluorescent pink. And then I did that with the texts. I'm Joe deep here. But you can use any bright colors that you have of any kind of paint. But I would say since it's an undercoat, that it shouldn't be guage or squash or watercolor. Just spray out workable, fixative over it so that you can continue to work without dissolving your colors. This is acrylic so it won't dissolve. And I have picked out a few more bright colors. I could use acro goulash, and we might as we go along. But I picked out the Liquitex just because I haven't handy. I have a vivid lime green. And some of these are acro gouache like this one, acrylic wash versus acrylic. There's some difference in the sense that the, that's why it has a black top. The acrylic wash is going to be a water-based paint that's opaque and it's got acrylic on it. So once we dry, it's done just like acrylic, but it's not going to have, it's going to have a more opaque finish to it map like this kind of, sort of not really glossy, but acrylic can be kinda glossy. And I picked up a peach, has new. And then I'm always cold pub couple colors I'm obsessed with. And this is a, says prism violet. But I might darken it. I like a really dark plum, so we might add some black to that. So let's just start with some shapes. Generally I go from I put, if I have any rules, it would be that this is just I I think I got these are casket long time ago and sometimes they get really thick with pain, especially if it's acrylics. But if I have any rule, it would be to try to think in terms of odd numbers for my shapes and color placements. So I would think I would want to place three or five of something. And I'm gonna go ahead just like I did on this one, and go back and forth. Even though I have two different colors on each breath, unlike this one, let's just see what happens if we go back and forth with shapes and things. Okay, So let's start playing. Okay. So just a couple of things I want to mention before we keep going. I took the green, obviously the same green, even though it looks different because it's on different colors and the leaves on both. But I did differently. That's you don't have to do it that way, but I just like to put a little variety. And you can see that I have to do two coats here to get the color I want I might come back. We might come back and put a little yeah, I think I want otherwise it kind of looks a little bit brown because it's on top of pink. So I'm gonna put a little more, little touch of the green and then dab, dab, okay. Then the other thing is that I like a surprise somewhere. And so you can see that here I was doing these leaves like this, and then here I went off a little bit. And so I look for opportunities to do to create surprises in these. Okay, So the great thing about acrylic or acro gosh, is it dries really quickly and you can keep working. So some of this is already dry and we will go on to the next color and try some more things. All right, I'm going to try this prism violet acro acrylic wash next. And if we'll see how the purple looks on top of these colors, and if it doesn't, it's not as dark as I wanted it to be. Then I will add some Payne's gray or some black. And I like that. I probably only two gametes. Okay, so now this is dry it and I think I'm going to take the color that I used here and do some things with it over here. And then the color that I used here and do some things over here. And I might do, you see how right here and here, basically you just paint a section and then take the back of your brush and squiggles through it or make marks through it before it dries and then you get the color underneath. So I think I might do that with these. Okay. Hello. The next step. Okay, now let's try something that seems like it doesn't belong, which is a pastel, a peach. Just because this is incredibly bright and loud. This side actually hurting my eyes because of the pink. And I just like to try things that seem like they don't belong because I often find out that I was wrong thinking that. So let's see what this does. Hello. Okay, so couple of interesting things. I like what's happening here where I'm putting a color over a color and then getting a third color. See here and here. And I don't know if you saw, but I had this bent paperclip here and I like into thickness of what that cleared there. So I did it here too. And we'll let this dry and keep going. Let's see now that that is dry. We can add some line work. Going back to this again, you can see some of this. This was the off white Posca marker. I really love. I think it's called ivory. And this is beige, but they're pretty close. There's also white. But for some reason I tend to go to this. We'll see if this shows up on our for what I'm looking for. If not, we can always go over it with white. So you can see I'm not doing every shape that's part of my desire for surprises and the unexpected. And I'm doing odd numbers. Okay. Okay, so here what I'm doing is I've picked up my ink pens. Posca is usually what I use, but I found this other one at the art supply store. I don't recommend it. It gets stuck and watery. So and I'm just looking for where can I add some details? The details kinda bring these things home for me. You know, they they bring it to a place that just makes me happy. I've gone back in fact, to pages that I didn't add many details on and completely changed what it looked like once I added details. And of course, you run the danger of too many, too much, as Helen guarded calls it too much worry. I always flirt with that pretty much every painting. So it might be my mood that I might do less and stop, but that's what I'm doing here is taking those teal pan and thinking about where I might want to add. It's also adding some contrast because it's a darker color. And you know, on these compositions we want to make sure we have our darks and lights so that we, and have life in the composition. And I know that what's bothering me there is how much pink there is because as I said earlier, it kinda hurts my eyes. So I think what I'm trying to do there is figure out how to cover up some of that pink. And I've switched to my thicker Posca marker. And realize that ended up looking like a cute little flowerpot for that squiggly thing. And then using various tools or scratching. Sometimes I use a palette knife. I've got my paperclip, sometimes the back of the brush. It depending on how many layers there are, doesn't quite do it. And then I thought, well, why not turn these three circles into a plant sort of thing? So it's just intuitive. I'm looking for contrast, I'm looking for interests. I want it to be interesting, but I don't want it to be overwhelming. And that's that imbalance that you just have to play with. And I but I do love my teal marker if I got, if I recommended any. If you could only buy one color, posca, if you like teal course, if you don't, then obviously not. This would be the one to get. So right about here is where I'm going. Okay. Is this done? It seems pretty none. So what I did is I when I looked at it again and I decided it was in fact on if I did anymore, it would be too much. 16. When You Just Don't Feel Good: So there are times when we don't feel great or we don't have a lot of time or retired. I personally deal with chronic Lyme. So there are some days where I just really want to sleep all day and, or part of a day. But what I love about this sketch book is that I can, even if I'm not feeling creative juices or Inspired, there's something that I can do in it and it makes me feel good to do something. So I'm going to show you some of the, some things that I do in my sketchbooks when I'm not feeling inspired and they lay the foundation these things do for when I am feeling inspired and when I'm feeling better. So kinda rainy day, things to do or things to do when you're just not feeling inspired. One of the things that I love to do when I'm Low Energy is to just paint my backgrounds, come into one of my sketchbooks. I've got all kinds of pages haven't been just idea here. So okay. That typically use some sort of paint color, combination paint colors. Grab my just oh, I have a white gel, so on. I also have I just got this a black Jessup, which is incredibly opaque and does turn the page black. Really black. So I've been experimenting with that kinda as a bottom layer. I think I got a page. Let's see. I think I did one of the I here they are. And then I put some white gel so on top. So but for today or something just simple, I might go through my sketchbook and add some backgrounds. That way. They're ready to go when I am feeling more creative or more energetic. Of course, another to-do not related to sketch books directly is to kinda clean your studio up or your table or your supplies, help sharpen your pencils. I've done that before. Basically, it's things that don't require a lot of energy or time and can be stopped at any point. I use junk mail cards for putting underneath so that you can get a good grip on the page without spilling over to the next to the other pages. You can just use paint on the page too. You don't have to use just some kinda like the crunchy texture of the torso on the paper. If I want to do something smoother, then I just use paint. Then I can go every which way. So I have kind of an interesting variety of color and Brush stroke shape. Yeah. So something as simple as that. Thank God. It also I might just typically what I'll do is I'll put that one aside and grab another one. Something else you can do when you're low energy is just simple. Leaves and flowers. You can experiment with a new tool and see what it does. So for example, if we wanted to do something like with water-soluble colorism and things on here. And I already have sort of greens and blues. So what if I grab some blue and green? Your colors? And Tom bows and just made blobs of color and added water. That's not going to take too much energy, right? Kinda go like this. Now, since I picked up my mole skin non watercolor paper journal here, I don't want to have a ton of water. This particular activity is probably best done. Any other watercolor sketch book actually. But we can see what the water does. Can add some cranium. It doesn't really matter what happens because I may end up completely painting over this depending on what emerges or painting over most of it. But if I'm just playing because I'm not feeling energetic or inspired or a cheerful or whatever. That's okay. Who cares? It allows me to continue to work in a sketchbook. Because if I get, if I get into a place where I only work in the sketchbook, if I'm feeling creative and excited and all those things well, then it limits the number of days that I would do it. All right. Another term. And just kinda mess around like this. I could throw in another color. I could throw in some oil pastel, even basically just making marks and having fun and not. That might be, oh, I feel like doing great there. And then sometimes I'll, you know, I'll even start to feel like maybe I have a little more energy. And then I'll go back in to a third sketch work by rotate and see if there's anything I want to do in it. Do I want to make some marks somewhere? I've got some greens and blues going here so I could, I could come in here and just do some leaves. So I don't, when I work in the sketch will go home necessarily have to come in with, oh, let's create an entire composition. I might just traveled from page to page and book to book and throw in an element just like we're doing today. And that takes the pressure off. And it's kinda fun because you'll come in, you know, could be a week, it could be a month later, or to a page that were like this one for example. And then I'll have another idea on what to add to it. So that's what I guess I mean by the idea of a living sketch book or journal. And that's pretty much already dry and I don't care if it goes from one page to the other so I can come over here and just so on. I've already just out of these pages. I actually just out over some of the patterns that I had in here from before when I was in the patterns. I'll probably just over these two these two, I'll probably keep these I just said over and now I'm working on couple of okay, so even bad sampling, I could come in here and do something really minor here, like this. Or come in here and do some simple leaves coming out here on these. And then somehow often what happens is I find that I am maybe have a little more energy than that creative energy than I saw. Or that it starts to be fun. Where it, where it might have started out feeling like I was forcing myself to get into the sketch book. And then this catch what kinda takes over. And in a good way. So hope I gave you ideas of how what you can do on a day that you don't feel your best can always do something, could come in here through with some cold marker. Let my smart but holy cow, getting that top off, come in here with some gold. Why not? Anything can be painted over. Everything is renewable. Almost. Everything is. Yeah. And then I would let that if I wanted to keep going and I let that dry. Come back to this one. Maybe do some more here, and maybe do some here. I could even because this is probably almost dry. Flip over and just on another page. So it's a way to just keep going even when you don't feel like it. 17. Taking Care of Your Sketchbook: So how to take care of your journal? I haven't probably done the best job at that. Kind of actually have a couple spreads where something got on the other side. But, you know, I don't care in this kind of work. It just depends on what you're doing within this. I don't care. So once I did that and there were a couple of pieces that it did bother me. I started either if I'm sending, you know, I've I've talked about the living journal. So if it's not done with a spread or I don't know if I'm done. My spray, it was workable, fixative, and there's a link to my website. If you haven't done like the floral straight here, that was getting, I had used some pastels. And so I went ahead and varnished this spells of these pages. So you can see there's a little bit, even though I used a map varnish. That way, don't worry about the pastel rubbing off and cry law makes a good map varnish, but I've switched to this one. I just like it better. It's a little bit more expensive, but this Liquitex matte varnish, of course, if you want glottis, you can use glass. I just have a math person myself. So yeah, it just depends. Most of these pages I have not sprayed with any second. And they do okay. Probably because they're protected inside the book. So that helps a lot. And then I use this elastic on here to keep it, you know, it's getting fat, but to keep it, keep the pages street. So that's that's the other thing that keeps him flax when I'm trying to say. So it just depends on what you what kind of paper you have and what kind of surface you've done. But those are a couple options for you. So the main thing is to enjoy it, have fun to experiment and to keep growing in your art practice with these journals. 18. New Favorite DIY Palette: So I'm always looking for ways to make things easier and just work better. And I kinda stumbled on this one because palettes are kind of, I don't know, sometimes frustrating. I've tried paper plates and plastic plates and purchased palettes and then they just get filled with pain. So I came up with this idea and it's in my little one is in my travel kit. I took cardboard that just comes from stuff that you get in the mail. White. I like because I can see the colors better. And then I take that sticky paper that present seal. So let's, and then I wrap it. And so let's do one. And that's going to show you what I think the best part. So there's a lot of good parts to this, but I also like kind of obsessed with textures. And you see the little pockets that are in this plastic. So I think it helps to hold the paint on the palette. But it's simple. Go like this kinda reminds me when you have to put a new screen protector on your phone. And you don't want the bubbles in it. And you start from the middle and go out. Hello. Bubbles and wrinkles would not be a big deal, but I smooth it out and then flip it over and up, fold it like present that are wrapping paper maybe. And so far they have stayed and not not been an issue. I'm good. I also like about this is I can make them any size I want, like this narrow size I can have right next to me painting. Want I like to be able make my own custom sizes. So then I thought, well gosh, these are really pretty. I mean, look at that. I think that's really pretty. So then I thought, what if I was thinking I would just peel this off and throw it out and put on a new one when it got to gummed up. But then I realized that the PO is lovely. So I've been using, I use this on a color as a collage piece and the bonuses, It's sticky already of course I still used a matte medium to attach it. But look at this yummy mass that I could use just somewhere on. And even the vaccine is pretty. So I'm pretty excited about this little thing that has given me a way to make custom size pallets cheaply, easily and then given me a pretty product to use on something else. So that's my present seal palettes, go forth and make them.