Intro to Abstract Ink Illustration: Create a Unique Artwork | Hattie Linton | Skillshare

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Intro to Abstract Ink Illustration: Create a Unique Artwork

teacher avatar Hattie Linton, Digital Artist and Ink Illustrator

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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

12 Lessons (39m)
    • 1. Introduction

    • 2. The Class Project

    • 3. Materials: Fineliners, Brush Pens, Marker Pens and Other Pens

    • 4. Materials: Papers and Other Surfaces

    • 5. Mark Making Part One: Lines and Shapes

    • 6. Mark Making Part Two: Patterns and Shading

    • 7. Balance

    • 8. Confronting the Blank Page

    • 9. Tips for Larger Illustrations

    • 10. Knowing When to Stop

    • 11. Your Final Project

    • 12. Final Thoughts

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About This Class

Learn to draw beautiful and unique abstract ink illustrations! In this class you'll be working through different tips, tools and techniques to uncover everything you need to know about inks. During each project you'll discover more and gain confidence when drawing with inks!

By the end of this class you'll have created a beautiful abstract ink illustration that's completely personal to you!  


As we complete this class, you will learn: 

  • about different pens and papers
  • line making techniques
  • drawing with confidence
  • creating patterns that mean something
  • shading techniques
  • how to balance an artwork
  • how to draw large illustrations
  • how to start and finish an illustration

This class is for everyone

This class is for all levels, whether you’re a seasoned artist looking to try a new medium, or a complete newbie with no artistic experience. 

As a minimum, to complete this class all you need is

  • White Paper
  • Black Ink Pens

Here are my personal recommendations:

Pens: Black fineliners, in a range of thicknesses, ideally 0.05 - 0.8 at least. I like to use Derwent Graphik Line Makers, Sakura Micron Pigma pens or Staedtler pigment liners.

Paper: Standard or Heavy duty cartridge paper, ideally 160-200gsm


Don’t forget to follow me on Skillshare! Click the “follow” button above the video and you’ll be the first to know as soon as I launch a new course or have a big announcement to share with my students.


Meet Your Teacher

Teacher Profile Image

Hattie Linton

Digital Artist and Ink Illustrator


My name is Hattie Linton and I'm a Digital Artist and Ink Illustrator based in Peterborough, England. 

I've been working professionally in art for the last few years, taking commissions, selling my designs on products and drawing original artworks. 

I love to draw and a lot of my work is very freeing as I enjoy drawing abstract illustrations and patterns - I never know where they're going to end up so it's always really exciting.

I studied art at school and then after university I just working in a completely different field and my pens just began to gather dust in the corner.

Then one day in 2015, on a whim, something drove me to pick up my pens again and start drawing, and I haven't stopped since.

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1. Introduction: Would you like to learn how to make abstract ink illustrations that are completely unique to you? Hi, my name is Hattie Linton. I'm a digital artist and ink illustrator based in England. I've been working professionally in art for the last few years. My work ranges from abstract ink illustrations through figurative pieces, portraits, surface pattern design, and I was even commissioned to put one of my abstract ink illustrations on the wall of an apartment building in London. Today, I want to teach you everything that you need to know about abstracts ink illustration, so you can create your own beautiful abstract ink patterns. We're going to cover inks and ink pens and the different ways that we can use ink. We're going to look at surfaces including all different kinds of papers and boards and which ones work best with inks. I'm also going to be showing you different ways to use inks so that you can make marks on the page with confidence. I'll also be sharing with you some of my own personal tips and tricks, such as how to add balance to an abstract ink illustration, and how to create really large pieces, such as canvases and wall murals. I'll also be giving you some handy advice on how to start a piece and more importantly, knowing when to stop. By the end of this course, you're going to have everything you need to be able to create your own beautiful unique abstract ink illustration. I cannot wait to get started and see what you produce in this class. Let's dive in. 2. The Class Project: The class project for this course is a unique abstract ink illustration. Throughout the following lessons, we're going to be covering everything that you need to know to make this illustration completely personal to you. Your illustration can be any size, from a tiny illustration all the way up to a wall mural. Once you understand about the different kinds of pens and surfaces and how to apply those together, the possibilities are endless. Over the next few lessons, we're going to be covering all of my own personal tips and tricks so that you have everything that you need to create your own beautiful abstract ink illustration. The project itself is going to be broken down into four different stages or mini-projects throughout this course. The first project is all about mark-making, looking at the lines and shapes that you can create using ink. The second project explores more advanced ink techniques, such as patterns and shading. The third project will be looking at balance and depth, looking at the negative space on the page and how we keep our artworks varied and interesting. The fourth project is your final project. This is where you'll take everything that you learned in this class to create your one-off beautiful, unique abstract illustration. 3. Materials: Fineliners, Brush Pens, Marker Pens and Other Pens: In this lesson, I'm going to be talking to you about all different kinds of inks and ink pens that we can use in abstract illustration. We're going to be looking at fineliners, markers, and some other pens that I use for particular pieces. Choosing a pen is a really personal experience. I recommend if you don't already have a favorite pen or pen brand, get down to an art store or somewhere where they'll let you really try out the pens and see which ones work well for you. That being said, I'm going to be talking through some of my personal favorites right now and give you some helpful tips on what to look for when you're choosing pens for your illustrations. Fineliners are my go-to pen when it comes to abstract ink illustration. They're fundamental in the pieces that I create, and I use them practically every day in almost every piece that I draw. The most important thing that you want to consider when picking out a fineliner is the nib size. You're going to want a wide range of nib sizes to make your pieces look varied and interesting. As well as the nib size, the other thing you need to consider is the brand. Now this is much more of a personal choice to you, so I do recommend you going out and having a go to find your perfect brand of pen. That being said, one thing I can recommend is that you don't mix brands. This is purely because different brands have different definitions of black ink. If you work on a piece and particularly if you're shading in a lot of depth and a lot of patterns and you're using different brands, you will start to notice that the shade of a black ink is different from pen to pen. Therefore I recommend you get hold of a brand that you really enjoy. Get as many nip sizes in that brand as possible and use that to create your abstract ink illustration. Another type of pen that I like to use in my illustrations are brush pens. Traditionally, these are used in calligraphy, but they can be used in abstract ink illustration with the right application. The nib, as you would expect, resembles that of a paintbrush. It's much longer than a fineliner and it produces much more flowing strokes, but with less precision than you would with a fineliner pen. The 3rd type of pen that I often use in abstract ink illustrations are marker pens. These are great for creating larger pieces, over shading in large areas within your illustration. As naturally, the nib size is much higher than that of the fineliner. My favorite kinds of marker pens are the double-ended marker pens. First up, I really enjoy using Winsor & Newton Promarkers. At one end, we have a bullet tip nib, which is great for line work and at the other end is a chisel nib, which is good for drawing out very wide, thick strokes of ink. The other double-ended marker I like to use is the Copic Ciao Too. This has a chisel marker at one end same as the Promarker, but at the other end, there is a brush nib. If you were looking at double-ended markers, make sure you get the kind where the nib suit your style of ink illustration. The other kind of marker I like to use are POSCA markers. These have a very rich black ink and these are the exact pens that I used to draw the wall mural in London. The nib sizes on these are very large. They start at 1.8 millimeters and go all the way up to 15 millimeters. This makes them great for drawing very large abstract ink illustrations. Another slightly more unusual pen that I like to use is the paint marker. I love working in paint, but I really miss when I'm painting the ability to draw. A paint marker, for me, is the perfect bridge between those two art styles. These pens are literally filled with paint instead of ink. The brand I particularly like to use is Liquitex and their acrylic paint is fantastic. You can get these in a variety of nibs sizes, the same as the POSCA pens. As well, these also go up to 15 millimeters. These are great for being able to draw on walls and very large canvasses. As you've seen, there are so many different inks and pens available. I'm sure you're going to find one that works really well for you. For the purposes of this class, I'm going to be focusing on showing you demonstrations using fineliners and in a couple of examples, some marker pens for larger illustrations. Don't forget to check out the resources section of this class, where I've included a handy downloadable reference document outlining everything that I've shown here, as well as some recommendations for purchasing your pens. 4. Materials: Papers and Other Surfaces: Different papers and surfaces can have different effects on your inks. In this lesson, I'm going to be going through a few different options. Believe it or not, printed paper is a perfectly good starter paper for just sketching out new ideas and trying out new pen techniques. It's a great economical option for the beginner artist. Regarding pen choice, I wouldn't go heavier than a fine liner on printer paper as it's not very thick. If you were to use a heavier pen, such as a marker or a brush pen, the ink would likely run through the page to the other side or running to the other inks on your drawing. For heavier inks, we're going to be looking at cartridge papers and mixed media boards. Cartridge paper is a staple for most ink artists and is my go-to when working with ink. You can get cartridge paper in different weights. These are represented in gsm. gsm stands for grams per square meter and to put it simply, it means how thick that paper is. The thicker the paper, the heavier ink you can use without risking bleeding, or running, or having the ink come through the page to the other side. For work using only fine liners, I like to use standard cartridge paper. This pad is from Cass Art and it has a gsm of 120. It's great for fine liners and the weight is fantastic. For heavier ink work, I like to use the heavyweight cartridge paper. This particular pad has a 200 gsm. Cartridge paper is traditionally what is made up in sketchbooks and it's worth looking at what your gsm is for your sketchbook before you start working in ink. Watercolor paper is another option for heavier ink work, although you can be left with a passing the background from the page. What this can create interesting effects with your pieces, I personally prefer the clean look of cartridge paper. Regarding gsm as a contrast to the cartridge paper we were looking at before, this is a set of watercolor postcards and a watercolor pad, both from Cass Art again and the gsm for this paper is 300. When it comes to very heavy ink work, mixed media boards are my absolute favorite. These are designed for incredibly thick paints or more intense artworks, but I find them really pleasing to work off my huge color pieces. Mix media boards is what I use as the surface when I create my stained glass in artworks. Regarding gsm, this doesn't have one. It's simply because it's literally a board. You can see from the page here. We have an actual board we're working with here. This isn't paper, this is another surface entirely. As you've seen, there are so many different papers and paper styles available. For the purposes of this class, I'm going to be focusing on showing you demonstrations using both heavyweight cartridge paper and lightweight cartridge paper. Check out the projects and resources tab of this class where you will find a downloadable reference document where I talk more about all these different papers that we've covered today and some other recommendations. 5. Mark Making Part One: Lines and Shapes: Over the next two lessons, we are going to be looking at loads of different mark making techniques using fine liners. In this lesson, we're going to be looking at how lines and shapes create the structure of our abstract ink illustration, and in the second part of this lesson we are going to be looking at how patterns and shading can add depth to a piece. These are the fundamentals on creating abstract ink illustration. Once you understand the versatility of your pen, it makes it a lot easier for you to be able to create more interesting and varied patterns and shapes within your illustrations. As we covered in the pens lesson early on in this class, having a variety of nip sizes is really important for creating varied and interesting abstracting illustrations. This image shows a range of the different sizes available in my own collection and how different the lines look. This thin line to the left was drawn with a 0.05 millimeter fine liner, and the thick line to the right was drawn with a 1.2. The speed in which you use your pens can have an effect on the ink produced, I'm going to draw a line now in normal speed and this is the same line drawn very slowly, and the same line again only drawn quickly. You can see how differently I was able to produce lines using the exact same pen, here's a selection of the different kinds of lines you can draw and include in your abstract ink illustration. As well as straight lines, you can incorporate different versions of wavy lines or zigzags, you can also add little embellishments to your lines to add variety, such as perpendicular lines, squares, crosses, triangles, zigzags, the list is endless. Shapes and lines form the basic structure of your abstract ink illustration, so it's important to understand the different combinations you can create to draw interesting artworks. There are so many different shapes that you can be including all the way from simple shapes, such as squares, circles, triangles, diamonds, teardrops, and so many more. Drawing shapes inside of other shapes is a very interesting way to add variety to your illustration, this is called concentric shapes. They can look really interesting on the page, you can draw them simply like this, where it's just a square with a smaller square and another smaller square. Alternatively, you can vary the thickness of the line within the shape so this circle with a thin pen, and then this happens with a thicker pen, and then the final circle is with another thin pen. I once drew an entire piece comprised solely of circles drawn in different pen thicknesses and concentric to each other. I love how this piece looks and I don't think it would've looked as good if I had used the same size pen throughout the piece. As you see, there are loads of different ways to use your fine liners to create lines and shapes. The next step is combining them to create the structure of your abstract ink illustration. All of my own illustrations are a combination of lines and shapes, sometimes you have to look closely to be able to see them and then other times it's obvious. Understanding how to use your fine liners to create different lines and shapes in different ways will give you more confidence in your odds in the future. It's time for you to create your first class project. For this project, I want you to think back on all the techniques that we've covered in this class and pick out your favorites. I will need you to draw a small collection of lines and shapes to create the outline for an abstract ink illustration. Try and use as many as possible but at least five different techniques to keep your piece interesting and varied. Don't forget to post a picture of your project to the project gallery and checkout my downloadable reference document in the projects and resources tab of this class, it covers everything that we've looked at in this lesson. 6. Mark Making Part Two: Patterns and Shading: In the last lesson, we looked at how lines and shape create the structure of our abstract and illustrations. In this lesson, we're going to be diving a little deeper and we're going to be looking at how patterns and shading can add depth to our illustrations. Stippling is the effect of drawing tiny dots to create shading in an artwork. The closer together the dots are, the darker the shading is. The further apart they are, the lighter it gets. The size of your pen will have an impact in the effect of your stippling as well. Thin pens will look different to mid-size pens, which in turn look different to larger pens. You can use this effect to fill in a particular area, or shaping your drawing, or as a gradient effect by slowly increasing the gap between the dots. Hatching is in effect created by drawing lots of lines close together and crossing over each other. This is another shading technique and I often use it in my illustrations. You can change the effect by drawing the lines close together or far apart. You can also create the same effect by drawing the lines just in one direction instead of crossing them over. One way to add depth to an illustration is by filling in areas of the shape. If you have a pattern like the zigzag, there are many different ways that you could add depth. One way is with hatching lines, or you could fill them in completely, or you could do a combination of the bugs alternating between the triangles. You could even add more elements to it before you started filling in. One particular parts and I left to draw is a swell, not unlike an ammonite. I love fossils and I have several ammonites in my home. I saw by drawing swell, then I close off the center of it, and add lines throughout. Sometimes I will add a concentric shape to the inside of each segment, then I will create other patterns and shading to complete it. Including these patterns in my illustrations are just one of the ways that I make my drawings unique to me. Another pattern that I love to include in my illustrations are checkerboards or chessboards. Sometimes I fill them with ink, they are black and white, and sometimes, I fill in the black squares with the hatching technique. Think about the things in your home and your life that you could translate into a pattern to help keep your illustrations unique to you. I could talk about and demonstrate different pattern and shading techniques for hours. Once you get going in this, there is many different combinations, I'm sure you are finding the same as you have a play around as well. This is why having a sketch book of ideas is so important, seeing patterns out in nature, seeing patterns around your home, keeping the log of those, and being able to refer back to them when you're creating your illustrations is really important. It's time for your second class projects. For this project, I want you to come up with a pattern that means something to you personally that you could incorporate into your final illustration projects. I want you to find something in your life, in your home, but something that means something to you, and find a way to translate that into ink using all of the techniques that we've covered in the last two lessons. Draw it out, take a picture, and post it to the project gallery. 7. Balance: In the last two lessons, we looked at how lines and shapes create the structure of your abstract ink illustration and how shading and patterns add depth. Without depth, you're artwork's going to look very flat. But how much depth is too much? That's where balance comes in. Balance is fundamental in abstract ink illustration. Without balance, your art is literary going to look lopsided. In this lesson, we're going to be covering all kinds of tips and tricks so that you can keep your artworks balanced. It's all about the negative space in your illustration. I want you to be thinking about what you're not drawing as much as what you are drawing to keep your piece balanced. If in doubt, start small. Draw your lines and shapes and get the structure of your piece, and then add your depth progressively. I touched on this briefly in the materials pens lesson earlier on in this class. The size of your piece will dictate the size of the pen that you need, which in turn will dictate how much balance you need. Let's take another look at a 0.05-millimeter fineliner versus a 15-millimeter paint marker. These are extremes. You wouldn't use something this huge in an A4 art piece. Similarly, you wouldn't use a tiny nib for line work on something A2-sized. That's the fundamental of balance. Looking at the size of the artwork will dictate the size of your pen. Same as with everything else, if you're unsure, start out small. Remember, you can always add ink, you can't take it away. The quick check is a great technique for understanding instinctively what's wrong with your piece, especially if you've been staring at it for a really long time. I'm going to show you a drawing very quickly, and I want you, without thinking about it, on an instinctive reaction, to decide if this is a balanced or an unbalanced drawing. Are you ready? Now, that was quick, but that was the purpose of it. How did it look to you? Was your eye drawn to one side of the drawing more than the other? Let's try that one more time. Let's have a look at this picture together more closely. As you can see, this is an abstract ink illustration. It's got lots of different line marking techniques. It's got lots of different patterns, shading, all sorts and lots of depth. But on closer inspection, is it now obvious there is one side of this drawing that has more depth than the other, or rather, the bottom of this drawing? You can see this part here. There's a lot more black and shading going on compared to the negative space around it. All these other areas have got a nice, even balance of white and black, but this one, it sticks out like a sore thumb. I used this technique constantly when I was working on my wall mural, especially something of that scale. Understanding where I was applying not enough ink was really important. I would just take a big step back, turn around, and I could instinctively see where the piece was unbalanced. It's time for your third project of this class. For this project, I want you to take either your drawing from the first project or if you'd rather start something new, but I want you to be really thinking about the balance of the piece. I want you to be thinking about the black from the white, the negative space, and have you been using the correct pens for the size of your illustration? 8. Confronting the Blank Page: Confronting the blank page, it's a real fear. As artists, it's our version of stage fright. Particularly when it comes to an abstract ink illustration, it's hard to know where to begin on that blank page. If you were drawing something figurative, say a cat or a landscape or portrait, there would likely be a really obvious starting point, somewhere in the drawing to say that's where I'm going to begin my pace. What's the starting point for an abstract ink illustration? In this lesson, I'm going to be sharing with you some tips and tricks to get started on your illustration when the fear takes hold, something that I like to call the Just Do It trick is by literally drawing a tick on the page. Taking a pen, any pen at all, it can be flowing or it can be angled. You're literally just going to start. From there, you can start to add more shapes to the pattern. I'd recommend as well starting with something not too thick as you don't want to be overbearing with the very first line that you draw on the page. Once I have marks on that, it suddenly becomes a lot easier to start to see where to add more shapes to your pattern and how it can naturally grow by itself. This was a technique that I used in all of my shattered style drawings. I wanted them to resemble a pane of shattered glass in a window or a mirror. I would always start by drawing a border. I would start with the middle sort of size pen depending on the size of the page we're working on. Here of course, an 8-5 piece of paper. I'm going to use a 0.2 and I would start by drawing a thin border around the edge of the page then what I like to do is take a thicker pen, in this instance, a 0.5. Now I like to make a second border within that border. Already, even though all we're doing is drawing a border, we have interesting depth and variety in our ink thicknesses. There we go, two borders. From here, you can start to fill up the center of the page or as I do with my shattered pieces, I then create shapes on which to build from. This is where the shattered pane of glass idea came from. For these shapes, I'm using the same 0.5 pen that I used for the second border on the page. This doesn't have to be the case though, you can have your border be thicker or thinner than your shapes. We can choose to have very thick shapes. But remember if you're not sure, go thinner, you can always add ink to your page later. But if you put on too much in the beginning, it's very difficult to then balance it out and you cannot take the ink away from the page. So there you have it, an outline with lots of different shapes and size of it, that are now perfect for filling with your line making patterns. Similar to the Just Do It trick, you can start with a shape, absolutely say any shape at all, and you can grow off that. For example, here, using a 0.3 pen, I'm just going to draw a square. This doesn't mean that your drawing is a square. It's just going to mean that it's going to contain a square shape somewhere within it. From here, you can start to build off that and add additional lines and shapes to your drawing. Eventually as you build out and you add more shapes and depth and patterns, you wouldn't even remember that you began with a square to start with. This approach where you start with a simple shape and you grow out without any specific direction is what I like to call organic growth. I actually created an entire series of drawings which I called organica based on this exact approach. Every single one just began with a simple shape in the middle. There you have it. Three tips guaranteed to help you banish any fear of the blank page. Once the page isn't blank anymore, it's not so scary to just draw. If you're still feeling nervous, I recommend you to start small. Start with just a simple line on the page and just build out from there. Remember, the more you work with ink, the more confident you'll become, and the easier you'll find it to just start drawing. 9. Tips for Larger Illustrations: As you start to get more confident working in ink, you might want to start branching into larger illustrations, such as canvases, large sheets of paper like A2 or bigger, or even your own wall mural. Everything we've covered in the lessons up to now is relevant regardless of the size of the piece you're working on. But there are some handy tips and tricks that I've picked up over the years, particularly when working in larger illustrations, that I'm going to be sharing with you now. As I've said before, pen choice when it comes to ink illustration is so important. Whether you're working on something tiny or an entire wall mural, your pen choice is going to dictate how the illustration looks and how easy it is for you to draw it. Thick appends in larger illustrations make your life much easier. If for your small illustrations you've been using fine liners, consider upgrading your pens to something bigger, not just a bigger fine liner but consider whether a marker pen or a paint pen is relevant for the size of the piece you want to draw. In the last lesson, we covered different ways to style illustration. That's relevant regardless of the size of the piece that you're going to be working on. But for me, when I'm working in larger illustrations, as well as thinking about where I'm going to start drawing, I also like to think about where I'm going to end up. This doesn't mean planning out your illustration. One of the great things about abstract ink work is that it's completely free. You're not thinking on planning how exactly it's going to look. So long as you pick the right tools and keep it balanced, there's no need for a plan. However, when you're working on something larger, you do need to have an element of thinking about how you're going to fill the space. When I was working on the wall mural, I didn't know exactly how it was going to look up, but I didn't know three things. I knew that I wanted it to cover the word panel that was behind the desk, I knew that I wanted it to go only so far to the right, and on the left-hand side, I knew I wanted it to cover the top right corner of the door. Beyond that, I didn't know exactly how it was going to look. I hadn't planned exactly which patterns I was going to use up front and I hadn't planned the overall shape of the piece, and that's fine. But if I'd started without having any idea as to how far, high or low, or right or left I was going to go, it would have made my job a lot harder. I'm going to show you three of my shattered drawings in direct comparison, each in a different size. Here is an A5 size. This is taken directly from my sketchbook and that is my drawing in A5 size. The exact same style of drawing but in A4. You can see if I hold them up together, each one is completely balanced. The style is the same, you can see they go together very well, the main difference here is the pen size that I used. As a complete comparison, here's the same drawing, but in A2. Again, it's the exact same style but understandably the pens I used in this piece, are completely different to the ones I used in the A5. The style is the same, the pens are very different. For the A5 piece, the largest pen that I probably used was a 0.5 millimeter. For the thickest lines and for the areas where I was shading in the most, 0.5 would have probably been the largest pen I used. For the A4, it was probably a 0.8. Obviously, I've got very thick lines going around the edges of the shapes in my piece. This would have been done with maybe a slanted chisel marker, but everything for the line work would never have gone higher than 0.8 or possibly a one. As to the A2 piece, the largest I'd have gone here was all the way up to a black marker. You can see for the border around the edge of this page, it's a very thick line and I've got areas where I've shaded in specifically. Again, very thick marker. To keep this balanced, I'd have probably not gone much smaller than 0.5, so my smallest pen on this piece was the largest one that I used on this piece. There we have it, three pieces all from the same series, all in the same style, but using very different pens. In summary, just like every surface you choose, think about the pens that you're going to pick, when you're embarking on a larger illustration. I promise it's going to make your life and your artworks so much easier. 10. Knowing When to Stop: Abstract artworks, by their very nature, are hard to predict. It's one of the things that I love about working in ink. But it's also one of the things that can make it very difficult when deciding when to stop working on a piece, particularly in abstracting, where it's a very subjective and personal experience. You can end up overworking a piece of art without even realizing you're doing it. You can add depth to an area then check the balance, add depth to another area, and you can end up trapped in this loop of adding depth and balancing out over and over again, and that's overworking a piece of artwork. The best thing I can recommend in this instance is take a break. Even if you really feel like you're not finished yet, just do something else. It can be a different piece of art or you can do something completely unrelated. But the important thing is to just step away and come and look at it again later. I'd also recommend revisiting the quick check technique that we covered in the balance lesson of this class. That instinctive gut reaction to your artwork will really help you to determine if a piece is finished or not. It's completely understandable. It's hard to see the end when the art is abstract. All I can say is trust the process and trust your guts. Always take a break, step away, and look at your piece again before deciding that you're absolutely finished. 11. Your Final Project: Congratulations. You've watched all the lessons in this class, and now you're ready to create your final abstract ink illustration for your class project. I want you to take everything we've learnt in the last few lessons, pick out the things that really spoke to you and really meant the most to you personally, and apply them to your illustration. That's how you're going to create something beautiful and completely unique to you. Before you get started, I want you to take a moment, think back on the last few lessons and ask yourself the following questions. What type of paper or surface are you going to draw on? What type and size of pens will you need? How are you going to start? Which line making techniques will you be using? Which methods are you planning on using to add depth? Remember, there are no wrong answers to these questions. This is all about finding a way to create abstract ink illustrations that mean something to you personally. Don't forget about the downloadable reference documents that I created and put in the Projects and Resources tab of this class. You can refer to them anytime you like, if you want reminder of the last few lessons. If you've been following along with your own technique sketchbook as well, I recommend referring to that to remind yourself which patterns and techniques you like the most. I am so excited to see your abstracting illustrations. Don't forget to post them in the project gallery. 12. Final Thoughts: Thank you so much for taking my class on abstract ink illustration. It means so much to me that you were here and I really hope you enjoyed this as much as I did. In this class, we've covered everything that you need to know about abstract ink illustration. We've looked at pens and surfaces. We've looked at how to get started in a piece as well as how to finish one. We've covered line making and balance and everything for you to create your final project. I hope you take these tips and techniques into the world and create more artworks that are completely unique to you. If I was to leave you with one last piece of advice, it would be this. There's no right or wrong when it comes to art. If you're nervous, start small, and remember, less is more. Don't forget to post your projects to the project gallery. Ask any questions you have in the discussion tab and check out all of my downloadable reference documents in the projects and resources section of this class.