Problem Solving in Your Sketchbook | Jill Gustavis | Skillshare

Problem Solving in Your Sketchbook

Jill Gustavis, Art Explorer

Problem Solving in Your Sketchbook

Jill Gustavis, Art Explorer

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11 Lessons (1h 28m)
    • 1. Introduction

    • 2. Getting Setup

    • 3. Concepts

    • 4. Notes on Notes

    • 5. Demo: Warmup

    • 6. Demo: Composition

    • 7. Demo: Light,Color, & Mood

    • 8. Demo: Specific Details

    • 9. Demo: Reflective Notes

    • 10. Class Project

    • 11. Closing Thoughts

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About This Class

Taking on new concepts in your art can be challenging. Join artist and Art Director Jill Gustavis behind the scenes in her personal sketchbook process! In this inquiry-based class, you will learn how to create various types of sketchbook page layouts using thumbnails in combination with notes to breakdown and improve your art.  

  • Students of all levels and medias can experience how observing and reflecting on related sketches supports growth and creates ideas.
  • Learn how to record your thoughts in the moment and reflect afterwards, to lock in what you’ve learned and build on your progress with more consistency
  • Watch demos on how to apply this method to warmups, composition arrangement, color & value exploration, and some specific details I focus on from my own project.
  • Independent exploration improves Problem Solving, grows Artistic Skills, and creates more Authentic Work over time. 
  • For your Class Project, you’ll use the sketch and note taking process to create and share your own study page exploring a concept of your own!

Are you ready to take your art into your own hands?


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Jill Gustavis

Art Explorer


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1. Introduction: taking on new concepts in your work, be challenging. But in my first class here and still share, I want to take you behind the scenes and show you how we work through new concepts in my situation. My name is Jill Chris Davis on I Am an independent artist as well as an art director. Full time and I use my sketchbook to work through are unclear complex or just new ideas. I use a very simple but flexible thong Ellen notes layout to explore and record new concepts. I use this to either work through a current problem. I haven't applied immediately or taking notes. I get to say that for future use, either as reference for his inspiration, we're gonna be covering concepts that they most often uses for including composition, color and Larry. But I'm gonna show you how you can apply to set up to basically any design principle problem solving like this on your own produces really original results in increases your independence. As an artist, I'm gonna be showing you water cooler, but you can use whatever you currently work with. It's also approachable from all skill levels. Beginners may get the most out of it because it's a great way to break down material and make it more manageable in a little less overwhelming. It's good with your existing materials, so there's no need to get new materials for this class, and it fits into whatever time you already have your our practice. So whether you have 1/2 a Knauer every two weeks or three hours every day, you could find the lay out. That kind of works for current schedule. At the end of all the lessons, we're gonna be doing a project. So you're going to create a sketchbook page of your own with thumbnails and notes and address an idea from your own work, something you're interested in and something that really resonates with you when you're done with your page. I encourage you to share to the Project gallery along with any thoughts you have about process itself. I can't wait to see everyone's work, and I really hope this process helps you work your problems in your practice, excited to get started, and I'll see you in the next session. 2. Getting Setup: in the session. We're going to talk about the basic set up off one of these sketchbook pages that I dio and I'm just going to reiterate what I said in the introduction. You do not need any new materials for this class. If you don't have a sketchbook, there's you don't need a specific sketchbook. Um, I'm just going to use that term as a general term for your surface. You could use a canvas that split up with, you know, into sections you could use. Um, Lucien's of paper. I frequently keep ah, folder of Lucien's of paper to kind of just whip out and work on without feeling like I'm committing to a body of work. Um, I do use a sketchbook for most of my thumbnails, though, so I use a like a wire bound sketchbook that also has no paper in between sheets of watercolor paper. So this is what i'll be using. Um, you can use any great of materials, but I would I suggest that you use the same great of materials that you use for your finished work. So if you do all of your work Mr Degree materials, I would encourage you to do good practice with that. If you use artist grade materials for your finished work, I do encourage you to do the sketch book pages in those same materials because you're not going to get the same results on one and the other, and it doesnt translate as well as a learning tool when that happens. So I do encourage you to just use the same materials. Um, you do need a pencil or a pen. I do like to draw out my thumbnails with pencil just cause it gives you the chance to erase it. Should I want experiment with more loose edges and loss loss edges loose lines Or if I need to erase something, um, like a note that I'm making on the page? And I do like to do lots of mine notes in pencil when they're on the watercolor paper. If they're on a separate sheet of paper, I do like to use punches because I don't have it to use that on my art, Um, in addition to your pencil or pen and sketchbook, this is not required, but I like to use templates to make the set up off the emails a little quicker. And by templates, they're very rudimentary Eso I have for larger ones. Anything from just like the back the sketchbook that's been cut up in chooses a five by seven template. Um, my favorite are to use coasters, So I have a variety off coaster sizes. Um, and if you want to go very small and fit a lot, you could use business cars. These are my business cards or expired, you know, used up gift certificate cards off. All of those are free options when it comes to study up the, um, the page. So you're gonna take your couple of choice and just simply provide yourself with enough panels to explore your idea and question um, you see, on these ones here I didn't even finish filling out the thing. I just traced the top of each template. Um, but you can see also, see, I've lost left a lot of room from notes, and I learned that through trial and error that I like to write a good amount of notes and then draw my arrows straight to what I'm talking about. And there have been pages in the past, but I did not and I'm literally writing in the tiniest sections, barely legible notes. So that is the very basic set up off a sketch of pinching I used to work through. One of these ideas were going to go over specific examples later, but that is the basic way to set one up in the next section. We're going to talk about the text of ideas that I usually explore and have a suitable page for almost any design idea. 3. Concepts: in this lesson, we're gonna talk about the kinds of ideas that you can explore working through them in your sketchbook. So, as I said in the intro, the once that I'm most often used this process for his composition, which I think a lot of it will be very familiar with. The way. Use thumbnails for composition, color palettes and layering, which is a little specific for watercolor. But it's definitely translatable toe other mediums. And there's also a concept that isn't really designed concept. But it's the focus of my work, and focus can be drawn to with any of those design principles. Basically, they all work to focus your attention to what you want to see in your piece so it could be valued detail, contrast, color or composition, which we've already mentioned. This layout company done with any principle design. I believe there's a sculpture class or two that cover the fundamentals of those elements of design and what is aesthetic principles of design So often? I use this for composition, especially when I'm working through a new subject matter or a reference photo, and it's really quite fresh for me, and there may be many things I like about a scene, and this really helps me to kind of hone in on what I actually like. So it might be a really good idea, and then I get it on paper and it's it's not a great idea. So by working through a couple thumbnails, I kind of get the best line of sight as to where I want to go with the larger piece. When it comes to a color palette, this really shines is a great warm up as well, whether it's just color swatches, making sure you know all of your colors because I have lost track of colors in the past. And it's a sad day when I realized I broke the combination. I don't know what it waas, but it's also a really good way to use color palette exploration. If you do a scene you'd like to paint and do a quick thumbnail of it in different color palettes, and it's really quite interesting to see how the mood changes when you just change up your colors. It's a really good way to get a better handle on how you want to go with your piece before you invest in a larger piece of paper. And both of those are really good ways to phone and on the focus. And that's where I kind of I feel like I use this most. So I'll take a very complex scene, say, like a bunch of trees and, you know, in real life you're I has a easier time. I'm focusing cause it's really only focusing on one thing at a time on. So I use this to break down the scene in different ways to see how different layering techniques bring the element that I'm most interested to the front, so to speak of your your eye throughout the phone nails I do explore. How do I do this to color? How do I do this through, you know, change the composition? If I pay better attention to the values I'm getting with my colors, does it appear more prominent if I only put detail in that area, does that pure more prominent? So I go through all of these options in a series of long nails and just keep track of anything I'm doing differently between thumbnails and what I like don't like any new techniques that I might have figured out suddenly either for that purpose or for a different unrelated purpose. It's always good to take notes, because you never know when you're gonna need that information. Other ways to use it is exploring your media, and that could be, you know, a new technique. Layering content technically qualifies also as like a media experiment. But you could be playing war with the opacity of new paints, noting your reaction time in how far things bleed safer using watercolor or, um, successful nous in the order in which you apply different details or layers. If you're using a different media, say, like acrylic or oil, you may know glazing techniques or um, texture techniques. If you're using a more stiff, um, mix of pain and then that kind of blends in a little bit with brushstrokes. Mark making is a great way. Two deuces as a warm up or two, you know, use it in conjunction with a color study. You can mix and match, but sometimes it's best explore only one thing at a time because it makes it more manageable to keep track off what you did and did not like about each attempt. But mark making is a good way to take brushes that you don't maybe normally reach for and just really play around and see what they could do. Taking notes, you know what direction, water content, using watercolor or any variance that kind of went into that brushstroke that make it different from, maybe and the others you've done before. So using it to explore all the different elements of your media, say, for use in a new piece of paper, you could do lose sheets of paper to explore. You know, maybe if you want to switch up with you, normally use different types of canvas, different types of coatings that you mean he was on that is to prime that I use some nails to kind of work through designing a collection, and I'm was recently used. This last year was doing one based on gardens, and I knew I had a lot of reference photos, and I worked through ah, small, some nail of all the ones I thought might be a great candidate. And then you go through the phone deals and kind of pick out the ones that go bust together and you may see through the short experiment. That may be one that you thought you'd love to have in a collection doesn't fit or that you truly do, you know, like it. And you like to revise the entire collection. Two more center on this piece that you love and the time that you invest in pages like this really comes back tenfold. Because the piece that you go on to do after this or so much more focused and definitely more powerful and show what you were thinking and have a clearer light line of thought. The benefits of problem solving on your own are immense because it really lets you work through your own preferences, and it increases independence as an artist. Awesome benefits you can see from this over time is a sense of freedom because you're working through problems on your own confidence that your understanding new skills, because you're working for vote via trial and error and the authenticity that be as a show up in your work is because you're basing your next step off of things you've learned from your own work. And you know that the result is all you. You see the results exponentially. The more. You do it too. And you can use this for any question. If you're doing a project or a piece and you're like, I wonder how to approach dot at the blank space, anything really can be, um, done with us. It's just a matter of trying to ask the right questions while you approach it, and I'll show you some specific examples later around of how I've done it for something that isn't quite a clear and cut design principle. But we'll go on to the next lesson, which is gonna be more on the notes that I keep talking about. 4. Notes on Notes: like now I keep talking about notes that go in your sketchbook, and it's really nothing too strenuous. So I don't want anyone to get really, um, thinking that they have homework or anything like that. Um, basically, as you do thumb mammals, the main one is just write down what you do differently from thumbnail to fund new. And that could be just watching out the colors or using and jotting down which paint they were. It could be running down the tools you're using if they're changing or even writing on the baseline. If the tools not changing, Um, and I tend to use a mix of two different kinds of notes, and it's about how you approach them. So active notes are the notes in them taking while I'm doing the thumbnails, and that includes those watches. It includes tools. It includes layering techniques and timing. So for me as a watercolorist, if I you know, say I waited until the paper wasn't shiny anymore and then added in something to get a certain effect, that's something that I want to make sure you know, as I'm doing it. So I don't forget it, um, work that changes. That's a that's something that's very important between those slow meals. Um, other things that I write down as active notes could be what I'm trying to achieve if I enjoyed something or something with a lot of fun. It something, you know, destroyed the paper. You know, if I was scratching out a detail, the paper was to what? I want to make sure I know that, like, don't do this. That is a guy, Um, and then afterwards I do what I come Reflective notes. So those are more like, How did this all come together? Did I have a favorite thumbnail? Did I learn something especially interesting in any of the thong meals? That maybe not might not be a pliable now, but it is definitely something I want to pursue in the future. I've got many ideas just from trying to solve something and come up with something completely different. Andi either saved it for a future day or just decided to roll with that. I also like to review all these notes from time to time because sometimes I forget what was in there or it wasn't apply will then, but it's definitely something I want to see now and the main point of writing out your notes versus just sitting and reflecting on your piece. We just still helpful, Um, is having to put words to your reactions, solidifies them in a more solid sense. Yes, solidifies them in the more solid sense in your brain on, and it makes them a little bit more fluid to recall. It's kind of like where they tell you to doodle while you're on the phone. Are you remember the conversation were clearly It definitely gets your brain to focus and between putting your actions into words, which just clearly defines the more, um, it also increases the chance that you will remember what you're writing. And I definitely felt that, um, things were easy to recall when I go to apply them during a painting. 5. Demo: Warmup: In this first induct example, I'm gonna show you how I use this as a warm up and there many, many, many different ways to use this in any of these examples. But this is just one that I've used in this lesson. We're gonna go through a warm up that is not, um, just putting now colors, which you certainly do if you're using this, But we're gonna basis all on a reference photo, but you can see and I'm going to do three different examples of how I could use this warm up kind of like ease into doing this picture. Askew said I have my sketchbook set up, Um, and this is a means portrait because I already kind of have an idea of how I want Orient my little squares. Um, I have my tools pencils, pen, fountain pen and a ruler. And I have some templates that we're gonna use, Uh, so we're going to start off by drawing are squares, and I'm going to use this coaster and these are pencil cause you can always erase it later . If you really kind of like the way it looks where you wanna experiment and see how your study looks without a bordering line. So we're gonna draw three squares down, and I am drawing these off center so that I have room for notes. Um, this is just something I have come to prefer is to, you know, maybe not have a full sheet of, um, squares, which I'm sure I'm probably showed an example of where the notes are kind of smushed in. Um, so these are how I'm gonna set these up, and they don't even need to be exactly the orientation you're gonna be drawing. You can, you know, only drawn this much of it. You know, you don't have to fill up the whole square. This is just the designation of where to draw that. Were you kind of, like, break up the white space and you don't feel quite as intimidated. Um, so we're going to do that. And looking at the reference photo, there's a couple of moments that I kind of like, like to practice their not ask, comfortable doing like you know what? I don't know exactly how I want to paint it. Um, So I'm going to grab a brush. Just a standard round this one is a size eight. I'm skating at what? And I am using just ah, doesn't really matter of colors amusing for this particular warm up. I'm just gonna dive in, and I'm gonna practice those leaves because there's a lot of small leaves and I don't really want to get stuck, um, dealing with the, um, details in every single one of them. So that's something that I want to practice and kind of ease into. And I'm not trying to meet finish pictures. I am seeing how maybe techniques might look, get some ideas, uh, cool sketch. And even before I move on to the next sketch, I may actually stop. You know, ask myself, What did I love about that? What did I hate? What I learned, And I can you know, no out. And I'm gonna go right on it. Um, you know, adding clean water edge. Um, no gay of illusion of like, hitting leaves, or more distantly, it could go either way. It kind of gives the viewer, you know, a little bit of that freedom to judge it. And I come up with an idea for themselves. So the next thing I kind of want experiment with is looking across the marsh There's used, like, repeating lines of really bright green, the darker green like a birth burnt sienna. So I'm just gonna like practice and I kind of wonder this wedding, but see has a fun, - Uh , - and so what I kind of did here is this was in what? And I'm also gonna you know, se try edge. It's great grass detail. So that's our second study. Thank you. Already. See, we've kind of, like started to, like, think about the composition, but without all the stress of having dive Diovan into the composition. And now the third, like I kind of want to do, is if we do want to include that, um, that wouldn't palette. I kind of want to play with textures. - I'm not paid attention to proportions not paying attention to anything like that. That is just just the base. Um, I might not even enough. Including this. It's just more about playing with it, trying to see if I like anything that isn't composition based. So this is more details or like the colors just kind of warming up, warming up to the picture. - So there's I think better by doing so. Some of these lessons I have taught through specifically in order to make sure show you things. How did set them up? Police confusing way. But some of them I'm going to do as we go doing this is sometimes are actually really good memory exercise to because you have to go through. Remember what use? Watched. Um, so these are all from that, which is this base. Now you can go through and, you know, pinpoint. You know, this was screen Gould. This was the prince. But, Sana, um, for these, I can kind of tell, you know, there was only one bright creek. There was only one reddish brown, yellowish brown. If you're trying out different colors, you may want to Hello and be like, Well, up here in this corner, I use this or in this corner. I use this. Um, So we've completed at least one layer here. Are, um, on our warm up you can, You know, if you're feeling a little too, May go back in and add, you know, and you can even use this later on it. Say, like you're going into the leaves. If you choose to include them. Do you like, How am I gonna add How am I gonna add, uh, the next layer and, you know, start start tinkering in here again. No, but remember, if you include a new color, and she noted, this is in to go. That was partly created. So I don't need to note that, though, cause that's already in there. Um, so that's, you know, a good warm up. Well, we just filled a page that didn't take very long. Um, and we've kind of artist aren't, you know, thinking about this, this picture that we may wanna We may wanna paint. I'm you decide that. You know, I was really that interesting after all. I don't really like pity, You know that would they really didn't catch my attention. You know, the paint moved and catch my attention The way that you know, you may decide you don't want to use a brush like this. You know, we tried different brushes, um, but often that it's really just to get everything flowing. Um, so let's move on 6. Demo: Composition: welcome to the next lesson, and we're going to move on from our warm up where we kind of liked this picture. And we kind of played around with some of the elements to kind of loosen everything up and get into, um, the environment of this picture. Pretty much so. We're going on a composition. Oh, I would break down this picture, maybe a couple different ways on DSI if it is a picture I want to use. So I've already drawn a couple of different size squares on my notebook page here. I've done on this here from this coaster, and then I've got to smaller landscape ones, and I'm kind of looking at this picture, and I see a few different elements in areas that I would want to focus on, Um, for this one here. You know, obviously I'm looking at a vertical, and I think the strongest vertical element in this picture, um, is the palate with the tree behind it. It's kind of grungy. It's kind of every day on a faster your you know, your jam, You know, you may want to focus on, so they like that. So I'm just gonna and was it? We're not making these final pictures, um, for just kind of blocking in shapes. And I am gonna throw some paint on this, and you can even dio a waterproof ink. So a sketch and wash on Ben. That way you have a bit more off your details. The pencil, you know, may not show through, but you want to race it Definitely go for the pencil. And I'm kind of also looking at There is this lines. So there is a tree that's gonna come down like this. But then there's also this grass line that comes up to this way, so I may want to embrace that were even exaggerated. You know, there's couple weedy looking grasses. Um, they come down in Bunches, and then there is a smaller grass area here. You're also going to get this very strong shadow on the side of this box. So the light is coming from this direction. And so you just want to make sure sometimes focusing on the light gives you the most believable composition. Um and then this is kind of how we severe and it is went through. This in the warm up, is the leaves. You want to make it look like there's a lot of small leaves without drawing a lot of small leaves? Um, so that's the sketch I'm gonna do. Um, I'm droppin color in a minute. I'm gonna move on to the next pencil portion. And so the next thing that I think is really strong in this picture is that back? Um, like Marsh. I think it's like a bridge. I'm not quite sure we went over there while we were up. Um, but since I do kind of want to focus on the thirds and the point of interest is the land, I'm actually gonna make my horizon up here. I was doing very squiggly lines, Um, and then I don't want to come down too far. So I want I want the bridge to be kind up here, but it's kind of suggested because not in focus. Um, and then you have, you know, a couple buildings is that building right at the edge? Um and then and I wanna watch what exactly is going off the edge? Because sometimes you cooked the wrong element. It looks a little wonky. I'm just gonna draw in some squiggles on and there is some stuff over here behind the tree . And I'm not sure I would include the tree in this competition if I was focusing on this portion of the picture. So I'm actually going to draw as if the road kind of goes off and this is the marsh. I'm not sure if I would put too much detail in this market. I was focusing on this, Um, but we'll just put in some squiggles. Schools are good. Um, it's not too much as I want to pull out at the moment there. And then the other thing that you could focus on its kind of the same competition is but focusing on the grass in front of the marsh. So you may even include that same skyline. Um, you may include that seem suggested bridge Marsh. You may generalize those buildings a bit more than that. You meet blobs when we come to paint them. Um, but then we want to focus on this marsh, and I'm just drawing pins and I'm getting a little fuzzier towards the front cause I also now want to focus on that grass line, and I'm going to give it emphasize that upward the upper direction because that's going to give it a more dynamic line. Um and so that's kind of the gist of the three compositions that I would pull out of this. So I'm going to take my brush and kind of throw some Colorado you can use quashes well and wash will dry much, much faster. - Maybe prefer this composition is for, like, the change in textures that you're getting between the dirty let dirty blacktop the palate . Um, you're getting a little bit of unnatural in natural that and says this one is about this outcropping of buildings appear I am trying to pay a little bit more attention to my shapes. Maybe not getting them exact, because not accept always what the focus of opinion is about making sure I give them some emphasis. Like when you get to the point words, you know, that's not what the photo is about. You could make it up. Not kind of like this house. You kind of like this palette. Um, and since that's something that I like about it, um, I'm gonna write it down. - Okay , that's a great reference that, you know, I may not even use it on this photo, but I may use it, you know, moving forward to terrible shadow in there, keep picking at things and maybe self a new photo? No, thank you. We are going to focus on the marsh. - Sometimes you don't see a color combination like, Oh, I really fell in love with fact, this yellow is now 1/3. The page bounces out with it at the bottom, makes it really grounded and this whole grass area kind of ground subpoena. But then you kind of get drawn up here and then, you know, on your second layer, you started get ideas, like maybe I'd want a like, you know, put a little bit more detail in these buildings, and then you're I will go here, and then you're I will go over here and maybe, you know, maybe you're gonna put in some detail in the marsh at that point. And that will bring your eye right back down and your eye stays in the photo. And this is what you're you're analyzing. You know, when you do these studies. You know, when I did this when I really didn't, I didn't jump in any of that. It may need, you know, a second, a second layer to do that. Um, but I'm gonna make some notes and we'll come back and review them. So what I've done was take some notes on the final composition and I went back and kind of jotted down some I some thoughts as well. Um, on the 1st 1 eyed added a second layer and same colors that we use in the first time. Just you, Adam. You had your shadows into less of a near So let's percentage each layer your your painting too deep in your values. Um, so I focused on the contrast of light and shadow, So this contrast is really nice. And you get a nice mix of organic edges and hard man made edges. The contrast here between that sap green I applied almost like full strength over this nice pale wash of the green gold into the stroller and blue. Because a really great contrast was gives a good indication off light striking the edge of this object, um, and then the transition off applying things, but in what it gives a good, um, smooth transition to slowly becoming more in shadow. Um, in the same with this, these hard edges, you get to see what the light's hitting, what is not. And it gives it more form and born shape makes it unbelievable. That white space here we did not color in all of the water. And it really gives that look of sparkle Teoh to the water and makes you look like you're looking across. There really is a greater sense of space than you think it is. Um, and so far, I really do enjoy the space off this of this thumb. Now and then the notes and swatches I put here, um, kind of you, Mandy off how I layered it. So, you know, I came down and then I faded this out. Um, And then we added in this with the two different greens and then the raw sienna. And then we did with water. We drew up afterwards, and you can see one of those marks right there. And so I kind of highlights later on a come back. And I know what I was talking about. Sometimes I do go back and my notes don't make sense. Um, and then the next time I read them, they will make sense again. So that's why the more notes you can make in, the more clear you could be, um the faster you're gonna learn. What you what you picked up in your sketches. Um, and so that was just giving it words automatically makes you remember, Um, and then this year is the tips off the grass, and I put that I put it on thick. I'm so would not bleed out too much. Um, other classes cover that more in depth butts. How far your paints, friends depends on how much water is in it on by putting on a thick paint, it's not going to go as far if I put on a loose Ah, a lot. Really? Water concentration of what it is. Took it over the sketch. You would have blooms everywhere. Kind of like where you get a little bloom there. Um, so although I do like this one, I think this 1 may be my favorite. Um, and I'm gonna just star that I think moving forward as we kind of like approach bleeder. Step to this for many years, this one as our example. But, you know, you may prefer this kind of composition. Um, with the layers. Um, but this one, I think, is gonna be the easiest to showcase our later examples. 7. Demo: Light,Color, & Mood: like color is definitely a theory principle that a lovable love to play with. I think a lot of our familiar with just doing swatches and playing around and writing things down. And in this example, I'm going to show a little bit more structured way to do. Ah, color exploration, using the thumbnails and the notes, Um, and use it to move forward. My my thoughts on this reference photo in this video, I'm going to talk about light, color and mood. Um, and as you can see, I have set up my page a little differently. Um, and this is in threes. So on export freedom and color palettes. Um and so I have a section for each of my sketches and a section for each of my my primaries. And I started putting in, um, probably common primary. Um, set that a lot of people start out with, and it's based on the science. Um, kills magenta as eso have quinacrine rose. This is stale blue green shade and that I'm gonna dio I have What you going to use? A lemon yellow? I do have hand hansa yellow medium, but I'm gonna use lemon yellow for this cause it gets a lot brighter. I'm actually gonna immediately write down just because I had some thoughts about what I wanted to do. And this is Dale Smith's, um and this is stale of blue green shade and this is the lemon yellow. And then I'm gonna do so. I'm gonna kind of approach that landscape We did and just see how when I change the colors , it's clearing kind of a space you didn't readyto not mixed with some greens home. So we'll see how these colors kind of effect that overall, overall tomb. No, I won't say if you want to get everything exact, this is still just a sketch. We're just exploring color in this sketch versus the other ones were for composition or for technique. I'm actually really liking how this water is actually driving back and actually might trying to replicate that here. So I'm just taking a wet brush, and so this may be more of a technique base, but remember each color, each pigment racks differently. Teoh being disturbed, Some left easier, some so do not bloom. Some do not, um, we really might bloom, but with more more water than less. So we have our first study, and then the next one, the next Siri's I'm gonna do is, um it's the color called organic for 1,000,000. Kind of lining these up for in our next primary. I started here where they were getting for 1,000,000 and then I'm going to add in to go. And, um, this is New Gambo. I think my cat is a sitting jumped on the desk. See, pinky boy. Um and so, as you have seen these air, much less break. Um, so we're gonna dive into our indigo, and that's a much darker color. And so it's just naturally going to look more like a best, uh, going to look more, um, more stormy. So where if you have been a little bit of, um, see, you have pain touch into my cat and, uh, Moncler. So what about the organic familiar 1,000,000 innocents? Because this and this is gonna produce, um, a very murky purple, Um, - And then for this last one, we're going to go very, very dark. Um, and I'm good to pair Lima room and then for my blue, we're gonna do, um, blue appetite. Genuine, which isn't actually all that dark value of a blue, you can see it's not quite as dark CNN ago, but a definitely more neutral. And then for our yellow, I'm going to do a form off yellow Oakar. You're gonna really notice that this is gonna look very stormy even more so than they candy . I'm indigo and even see my pattern and doing the marshes Not same every time. Because we're just looking at color were not looking at the composition. And so you could mark out that those were those that's plus nuke Ambos, you mark out all your swatches? Um, our end. That's how you kind of get the collar boots on when it comes to the light, Um, you'll start to want to pay attention to, um, the value. So this one right here has, I would say, the most value, um, in scale so I can get much darker. And I could give these forms once I had in my second layer. Um, much, much more definition. Um, it's we'll do that Assumes destroys. Okay, this has dried about. I've also added, um, some darker values to my swatches here, so you can kind of see that that's full strength. The clinic room rose the little blue, lemon, yellow and some really do not get all that dark. Lots of the yellows or very light valued, um, some darker values. You tried her? That the green gold on Nicholas a yellow, Um, I think usually Quinn gold a little use in mixed. Now they can get a little darker if you're going for deeper values, the blues or tend to tend to be the darker ones. Actually, the my neutral set here is the latest valuable that I have in this page. Um, where this is about as dark as it goes. Um, so if you build on top of that because maybe like right here is about as dark as it goes Ah , the end ago, that's close to black. Um, and the family blue could get fairly dark as well, but it takes a lot of layers, and then it tends to look a little bit of murky. So the fact the indigo can get quite dark on just initial wash is a good sign if you're looking for higher value. Um, so we're going to start adding a second layer onto these, and I'm going to be talking about. You know what I'm looking for? If I'm looking for what colors are best to depict the light, um, in which may, you know, produced. So in this one, I'm not anticipating that it will be all that much darker. And it may give it a sense off. Murky, overcast day, maybe some mist in the air. Um, she will start with that one. - So remember, for our composition what you want it focus on this. We're not trying to put in all the details, but do you want the most contrast in the most involvement to be in this area? So I think is good. Um, so we're gonna move up to this next form. I think that gives a good sense off getting that value in tow, understand that it's the backside this shadow side of these buildings that were kind of drawing our attention to, um it has the most contrast. And then it's also important to be whatever I'd let along by the by the marsh. Um, for this top one, let's see, can actually get pretty dark with fellow and the queen rose here. And sometimes, even though these cars make it as dark. Is this? Um, so that is not a good example. Say, like you. You know, you brush too much of one area in the kind of blood together you lose some of the contrast you can wait, too, when you try lifting to get back. Some of the contrast to see, Really, If the colors were the problem of your own euro brush, Mark may have been problem like this one. I think they blended together a bit more because these air 10 times a bit brighter, um, in color value, and they got to get a little bit money. Um, so I was probably my fault. Um, issuing kind of note that if you wanted to or you could take, you know, you know, your pencil and do another section as, like, a re trucks. I do like how these buildings came out. Um, I don't like how the marsh came out. - You might just be the cause. I'm not really loving the, um makes your I may also need more. You know, these are more my my color palace that I normally go do. I don't usually go with us, so it could be my own, um, experience with it, but we're gonna leave them alone, and I'm gonna say I like that one the most. So we may move forward with that, Or I could always used the original palette, which was all individual colors. So, you know, our sky was this truly and blue limited the cascade green. Um, And then, um, we had our buildings. So that was a mix of, um, lavender. And, um, I remember in a minute on then, uh, we had our sap green and green gold, and then a mix of burnt sienna and Rosita. And so what I want to quickly dio is drop that end and it's okay. These are lighter. Just tryingto bring back the memory of that pallet. Not right. This looks much more coastal than this. Then this does this What's more light and airy, especially since that strolling in blue is much lighter than that indigo. Um, I do know that I used, um samen Dan Teran. I think up here to get that or there might have also been I was in debt thrown and burn. CMA could have been that, but that's kind of where where I am at the end of this study. No, no, no. 8. Demo: Specific Details: in this example. I'm gonna show you how I worked through a specific detail or to that kind of cropped up in my addressing this reference photo. Um, it's definitely something that is there because of the specific photo, but you can use this technique. Um, anything you find challenging in a in a piece, this section here on the left. Um, the specific detail that I don't I experience that I was having issues with was keeping that marsh area clean. So not buddy, unless what works is our, um So I'm gonna try a couple different details to try and keep my colors. Well, could try and prevent myself from overworking. Um, so I'm gonna try a wet and wet wash and see if that helps me create the structure. Um, with some of the blending cars without actually having to blend the colors. Does this one thought that, um, I have and the colors I'm gonna use I think I'm gonna use the original colors. No. Going back into this study on the specific details, um, you say it added a lot of notes and I've also tried a couple second layers. Um, and what that served to do was to see if, because now all the end results are equal. So, like, this was a wet and what, which the first wash is going to be, Um, we've lost definition, so I added a second layer. So it's comparable to this. We're on dry stroke study. So you see, between the two of these initially, um, I wasn't really a big fan of the but. And what? Because it lost the whites like sparkle in the marsh water. Um, but once I added that second layer Ah, the colors actually tended. Look a little more pra he sieve having that underlying wash, That may be a contender. Should I ever want to paint this? Um, And then for this version of the marsh, the Martians here, um, I initially preferred it because the strokes a lot more definition. Um, the colors were a lot more clear. Eso where where one was and where the others were. But I did add a little bit of a second wash, but it looks extra sketchy. Um, which is not a bad look. Um, but if I wanted a more refined, um, painting that was evoking like the calmness of the afternoon. You know, I may not. I may not want that effect. This choppiness in my strokes, I may prefer this wet and wet because there looks much smoother going into the picture. Um, when it came to doing the study for the houses, Um, initially, this one here, I really didn't have a shadow color. Um, as you probably saw in in the actual video, I'm going back and adding this extra layer of shadows, which I learned from this one. I'd like to the Indian three in blue as a shadow over this son. I used chains Gray and I just didn't have enough color saturation for me to really stand out as, like, a deep shadow. Um, And then I also learned from the difference between these two, Um, because they always really have the same colors he's for. This one has the James Gray instead of the Indiana three in, um, but the difference between this one and this one is that all this was added in the same layer. Um, so everything was well on dry, but all these colors are wet and wet. So you see, these edges are a little bit more organic. They kind of chose to flow where they wanted to, which makes the village of a little bit more natural. Um, versus these edges are a little harder because it was a layer on top. I could have added a layer of water and then added those colors in, Um but I did want to see how it would look if I got these hard edges for the buildings. And it may come to that. I prefer a mix of the two because I do think this one would actually benefit from having maybe one or two shadow edges where the roof lines are. And that would be about it. I wouldn't want the edges on the foliage. I like this that give since he notes how distance nous in the in, the in the picture. Um, so I do think that out of all of them, I like this on the most, and I do like, um, some of these edges. So we'll say, like, could use he hard edge and right, Hard edge or two. So, like, I think this one is a roof like that weren't there. And then this one has a roof there. So actually, since the painter right here, we'll just take a quick and see if that conjecture right? And so that's that. And then the roof is actually darker. Then, um, in the buildings were going to do that. And then over here, our darkest winter here, and it goes straight down the edge of the building and, uh, a little bit of shape on that one. And I don't want this one to be too dark and do want that the some roof to kind of show. It's got that weird ankle, so I'm still not sure I love it. Um, but each time in practice it you get a little bit better at it, and you kind of will add to your repertoire of your preferences, which is almost as important repertoire skills. Um, because you already know what what you prefer in terms of balance and what you prefer in terms off edges and such. Um, and I'm just tinkering here, um, with defining just some of these ruse. It's really kind of like that. So leave it without 9. Demo: Reflective Notes: So I thought a great page to show you an example off my reflective notes process would be for this specific details page, because this is, um, sometimes might go to type of way to use study pages is I'm trying to work out a specific part of a picture that I want to paint. Um, so I have the notes for the left side and the right side split. I did. You draw a line down the middle just so I can write in smaller paragraphs or make bullet notes without going across the entire page. Um, and a lot of times the notes may not be too much more than a somewhat meter rewrite of what I wrote on the actual study page. I tend to rewrite things, and then sometimes I come up with new ideas as I'm ready, and I add those on afterwards, or I may already have an idea of thought. Um, they have come up with what reflecting on it, and that will be in the mix as well. But you'll see that. So on the left side, I wrote down how I did. It's one was wet, wet, one was on dry and then my thoughts on, um, you know, I originally thought, what what would kind of wishy washy but that secondly, or really kind it up in the underlying bass player may look much more competive versus the weather. Indra I was kind of the other way around. It started off looking very, um distinct and cohesive and then with that second layer, since that doesn't always match up perfectly, there was a lot of jacket edges, a lot of choppiness in destroyed, two colors on end up, preferring that wet and wet one. If I was doing one layer only that I would probably actually go with that wet on dry because that looked the best in the one layer. Tom and it also write down that both could use 1/3 layer just for a few small details in that focus area to draw your I, um and then on the other side, you know, I was writing down, you know, if it was what on what? Um, you know, there's more time between drawing shapes. You know which ones I preferred on that note that I had also written down that the genes for really wasn't that deep of a color. It was not a saturated is as Detroit in within Dan thrown Um, And then you could see on the note for the 3rd 1 that the Indy answering what I really liked about it as a more lively shadows that give it a greater sense of death. And that's definitely something that makes you work a little bit more believable, really catches your eye and bring severe in So that my underlining and I'm gonna try and remember that I may not want to reach for a convenience Stark. And they want to make something with more blue, um, or a mix of the color that having my painting to get that greater saturation that will really push back the area in shadow. Um, I also wrote down that that second layer of roof shapes that I added to the third study, which was my preferred study, I'm not sure I prefer adding in those extra shapes. Having the video to go back on and see what it looked like before I had of those you know, prompted me to write down the note that maybe I should be taking more process photos for myself. to go back and see if maybe I'm adding too much detail. Do I like things before? Because that's really the only way you kind of learn that is by going too far and then the next time you kind of reel it back. But you don't make that extra brushstroke. Let's see if you like. The outcome on the final note I need was just writing down a couple mixes of color said I liked how they came out, Um, the foliage color, which was a mix of permit screens in the bathroom and then the colors that I mixed for the white and neutral buildings ever in shape. So it used lavender, which is a great color for shaded white Um, and then the Indy answering and the burnt Sienna, which made a great control. Um, so that's kind of a good example of how I'm going to go through my reflective note. So in this particular example, there wasn't any, like, you know, groundbreaking discoveries. Except for that, maybe I should be taking more process photos and reflecting if looking through those after I'm done to be like, no, I should I should have saved it at this stage and things like that. Um, but having we broke them down the second time, even if I already Britain them down on my page, definitely cement any of these thoughts in my brain a bit more. And I'm going to remember, you know, next time to mix my blues for shadows even though you think I already know that. But sometimes you don't do that the next time you paint this because your brains already has, ah, path that it likes to go on. Um, so that's what one of my reflective study pages looks like. 10. Class Project: Now it's time for your term for your class project. I encourage you to do your own sketchbook page and create a Siri's off thumbnails and take some notes and address I something you're curious about and resident with from your own work. It definitely is the most interesting when you do something that matters to you. And so I want you to take a sushi or a sketch with Page for canvas. Whichever substrate Giulani use and create a series of thumbnails and work through your experience with them in notes jotting down swatches techniques, layering anything that comes to mind that you're doing differently. Learning from thumbnail to thumb, You could do any of the different examples that I showed you from concepts or come up with your own. I'll also provide a bunch of examples down in the project description, so check those out. If you're feeling a little stuck, I'm also welcome to use it as a warm up, so play around with that. You never know. You may suddenly find inspiration why you're doing um, I definitely remember to take the active notes so taking notes while you're doing your thumbnails as well as job down some reflective notes afterwards, you could do them on a separate piece of paper. You could do them if you have extra room on the page that you were painting on or you can even in this instance, include them in your project description in your project description. Also make you know if you enjoy the process, anything you did change or would want to change the next time. And if you really see at this, you think you could use this to help you work through some stuff. I love to hear everyone's feet back on process. And if if they liked it or it was helpful for them, I can't wait to see everyone's projects in the gallery. I'll definitely be there checking the mouth and, uh, offering few Bakri answering questions, so I will see you there. 11. Closing Thoughts: that concludes my first class here on still share. And I cannot thank you enough for going through this with me. I really, really hope that it helps a lot of you with working through problems on your own, using your sketchbook to really energize your processes. It definitely know has made a human shipments for me this year, as I've spent more time in it and I can't wait to see how much it helps you in your projects in the gallery, so don't have to share your project. And if you enjoy the class or you want to leave me some feedback on, definitely review the class. And if you want to see when I'm going to be wasting any new classes, if you hit the ball a ball in underneath my teacher mean discretion school, sure, we'll let you know as soon as I publish in your class. I can't wait to see you guys in the future, and I can't wait to check out your projects in the gallery. Until then, I will see you later. Thank you.