Yoga & Pilates for Creatives | Erica Webb | Skillshare

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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

7 Lessons (17m)
    • 1. Introduction

    • 2. Disclaimer

    • 3. Shoulders

    • 4. Pelvis and Spine

    • 5. Hips

    • 6. Feet and Ankles

    • 7. Final Thoughts and Project

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About This Class

Being a creative can be hard on the body. I get it - I'm an illustrator! But it doesn't have to be hard or time consuming to look after your body and help manage the discomfort that can come from hunching over your work all day.

In this class, I show you some simple movements you can explore throughout the day, without having to change into your gym gear or even leave your desk if you don't want to! 

Learn how to move simply and bring an awareness to your body that carries the same sense of curiosity and wonder you extend out into the world and in your creative pursuits. 

I'll show you movements to address shoulder, hip and back 'stiffness' that are accessible and get you back to your creative musings in no time. 

Meet Your Teacher

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Erica Webb

Yoga & Pilates Teacher, Illustrator


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1. Introduction: Hello. My name's Eric a web, and I'm a yoga teacher. Met Pilates instructor and somatic exercise coach. I'm also an illustrator. And so I really understand how hard being an illustrator or any type of creative entrepreneur can potentially bait on your body, hunched up of your creative work all day. Just letting all of those ideas court act. And so this class is really designed to help you just unwind your body. We're gonna work our way all the way from our shoulders down to the spine and pelvis, hips, feet and ankles. And my intention is to just simply share with you some really simple movements that we can do with a lot of curiosity, that same sense of all and wonder we bring to our creative with tending that in and really noticing our body through these eyes that just in all of what we are, So I hope you enjoy this little movement cough 2. Disclaimer: 3. Shoulders: we're gonna start with a few really simple shoulder rotations. So one of the important things to remember with the shoulders is that when we take the arm out to the side, we could make it look like we're we're rotating by just moving at the wrist. But instead, we're going to see if we can make this rotation happen up at the level of the shoulder. So most of us creative spent a lot of time kind of hunched over something, usually in a fairly fixed place when it comes to the shoulder. And so we're just gonna get a little bit of movement happening in there. But nice and gently we're gonna take our arms out to the sides and then just simply start to rotate from that shoulder joint so that the palms face down towards the floor, maybe even behind you, and then they face up towards the ceiling. And as you go, you're really focusing on making that movement initiate from the shoulder itself. So with the, um, mates that also and just getting really curious about how it feels, you'll notice that I'm not pushing. There's nothing forceful about this movement at all. Just really gentle and which is taking the same curiosity that we bring to our creative work into noticing ourselves, noticing our body. After you've done that a few times we're going toe pause with the hands facing forward and just bring the fingertips in behind the head just ever so gently and we're gonna start to bring the elbows in towards one another. And, as you do, tuck the chin in just a little bit. It's not a big movement. Took the chin just slightly down and start to wrap the elbows towards one another and wrapped the shoulder blades around the outside of the torso. And then we're gonna lift the chin just ever so slightly back toe level and reach the elbows wide. Now, as I keep going with this, I just noticed that the FARC is here. I'm not pulling on my head. The neck is not really my focus for this. My focus is in on those shoulders. So even as I am taking the elbows back behind me, what I'm not doing is coming into a big backbones. I'm keeping my back fairly still and just pulling the elbows back and forth good, and then we're gonna pause with the elbows facing forward and now just slide the hands forward slightly so the fingertips are gonna be on the head, but the palms air just slightly off, and we're gonna keep going by pulling the elbows back. But now the palms are going to sort of face towards the face. And so as I pull my elbows back on, getting a bit of a stretch into my wrists and then I'm gonna pull them together. I'm not squeezing really tightly into my face, because that wouldn't be very nice, but just letting the fingers stretch a little bit of letting the wrist stretch a little bit and then pulling everything back in and just do a couple of those. And then once you've done that, give yourself a second just to pause and notice how your arms of feeling just toe start to get curious about change as it happened. So now I'm gonna take the arms out in front like little Genie arms. They're gonna have them just hovering above each other, sitting up nice and tall, not not coming into a back bend. So my rib cage is just stacked on top of my pelvis and then I'm gonna slide the elbows away from one another and just start to reach them behind me, you feel the shoulder blades squeezed towards each other, Nothing forceful. And then, as I slide the arms back in front, just going to stack the opposite hand on top. Now, it's a little bit of a coordination if it so I'm raging the elbows behind and then sliding them forward. And as you bring them forward, you can start to take the arms further across. So it's almost like you're about to give yourself a great big hug. And each time you come forward with those arms saying, if you can switch which arm is on top, if you can remember good and then we gonna reach both. I'm straight out in front. You're going to imagine that you've almost got, like, a bow and arrow here, and we're going to keep the lift on charities and use the right hand to figuratively and imaginatively hold onto that boat. We're gonna start to pull it back. You can make a fist if you want to. You can just slide the hand back, and we're just going to start pulling back, and as I do, my torso starts to rotate, but just a little bit. So do it from the side and I'll do the opposite hand so you can see I'm pulling back and as I do, and letting my spine start to rotate, and I'm just gonna rotate as far as I'm comfortable with and that I can control without using any external force. So I'm not gonna put my hands down to support me here. I'm just rotating as much as I can under my own steam. And then I'm going to come back and change sides. So as I start to pull that hand back on, bending the elbow and reaching it behind me, but not any more than the torso is rotating and we just do that twice on H sought and again just being really curious about what you're feeling, since where we sort of start toe, just get very interested in our bodies and how they respond to movement because the movement itself doesn't have to be complicated. Sometimes this simple stuff reaps the most reward and then again, pores and take a moment toe notice how what you've done has impacted how you feel 4. Pelvis and Spine: next up, we're gonna work on a little bit of movement through the pelvis and through the spine. So, ideally, for this one, you'll be on a fairly firm chair. And we want to kind of get the feeling that we're up on a suit bones. So sometimes it helps toe just sort of pull the flesh out a little bit and kind of wriggle down so that you can feel those bony bits onto the state. If you can't, it doesn't matter, but it gives you a little bit of feedback. You can even pop your fingertips underneath your seat and see if you can feel that way. And all we're gonna do is start to rock the pelvis really gently. So as you tip the pelvis back, if you're sort of imagining it being this bowl, we're tipping it to the face of the bowl, starts toe face backwards, and then we're tipping it forward so that the face of the bowl of the circle part starts to face forward. So as you tip the pelvis back, you get a little bit of rounding through your lower back. And as you tip the pelvis full, would you get a little bit of extension through the spinal, this sort of sense of back bending. And so we're just doing this little movement. Now. This is a really interesting opportunity to notice whether this movement is smooth will not . We're looking out for any kind of stick kado movement anywhere where the body is kind of not Klay and saying If we can just start to smooth it out really intentionally and then we're going to start to make this movement a little bit bigger so you can kind of notice and allow yourself to Fuller that lengthening through the rest of the spine. So as you tilt the pelvis back, let that be the thing that leads you, and then you're kind of rounding into it and then letting the powers lead you into the opposite direction. Not a very big movement again, but can you make it fluid? Can you make it really smooth, as though you were almost moving a bike chain through this movement and we're not going crazy with the head movement. It's not a huge movement at all, just matching the movement at the head with the rest of the spine, so everything continues along. And then again, when you've done a few of those, see if you can reset yourself toe. Have your pelvis in your rib cage stacked on top of one another, your head stacked on top of the rib cage and again take some time to just check out and notice how you feel. 5. Hips: all right, hips. If we spend a bit of time at our desk during the day, Whatever creative work that you do, we generally are sitting. Maybe you've got a stand up desk, which is awesome. But either way, we need Teoh get a hips moving a little bit to make sure that we're not too stuck in our habits. So if this one we're going to use a little bit of isometric contraction and, um, bit of resistance through the arms into the legs so we'll start with one way, you could start with whichever one you like. We're gonna pop her hands on top of the knee and then imagine that we were trying to push on me into our hands. And our hands are pushing back into Arnie. And what we're kind of looking out for is this sense that those muscles at the front of the hip ah, working and we're gonna save We cannot take that effort up into the shoulders were just say if we confined softness everywhere else and then release and then switch thoughts. So you're pushing into your name. You're pushing your name two hands, and this is not 100% of your capacities. You're not like, really fighting this. There's just this sense of, Well, I'm pushing and I'm resisting and it's easy, okay? And then relates. And then depending on how it feels, you could do the same thing pushing in. You don't need to resist anything that needs resist each other. So you're pushing your needs towards one another again, knotted up maximum capacity. We tend to think we need to go to 100% of what we're capable of. Sit back at 50 and see how that feels. And then it might be possible or not not be to push into your hands as resistance. Pushing the knees away from each other takes a little bit of upper body strength because their legs are a lot strength in our arms. So just be sure that it's not too effortful through the the shoulders. Good. And then, for our next one, we're gonna turn sideways on a chair. Now, if you have got wheels on your chair, you might need to switch your chair because you don't want to go rolling away. So we're gonna come wrought upon to the edge of the chair one me then has the freedom to drop down. And are you going to do is see if you can get that knee more fighting. The floor doesn't have to be completely facing the floor. It could be sort of facing forward and down. And as you pause here, you're gonna push your foot into the floor and imagine that you were sending that leg back in space. It's not moving anywhere, and this might be a sensation of stretch. This might just be a sensation of effort, but just notice how it feels and then release it and take your time to switch over to the other side. So the near drops down towards the floor, and then you're pushing into the tires and imagining that you could send that may back again. I'm not coming into a big back, Ben. When I do this, there's a sense of the pelvis and rib cage still stacking on top of each other so that my focus is on that hip joint. Nowhere else, and then release that and take a second to check in and just notice how you feel 6. Feet and Ankles: a little bit of love for the feet now. So for this we're going Teoh, just a little bit of prancing. So the heel of one foot lifts away from the floor and then we switch. So there's just this little prince, he trotted. He kind of quality to the movement. It's nice and slow. Do this with your shoes off if you can socks off to unless your feet get really cold. We want to really start to get the feet, articulating really well and getting really more bomb. So bare feet is the best Good. Once we've done a few of those, we're going to take the foot a little away from us and just start toe. Imagine that we were trying to pick something off the floor without Atos, so we're spreading the toes out as best we can and then imagining that we could pick something up off the floor, pull it towards us and then let it go. So there's this sense of spreading the toes and then closing the toys and the foot almost like a fist before releasing it. Been again and you're moving through the ankle at the same time and then switch. So there's this spread of the toes grasping like a fist, pulling up and back. And then releasing you'll be may be surprised by how much you feel this further up the line . So don't be surprised if it's not just about toes and ankle, for you might be feeling it into the CAF. Of course, like anything if it's painful or just, you know, uncomfortable, you stop. But just again get curious about the sensation. If it feels OK and then let it go, take a second to check out how the feet feel. 7. Final Thoughts and Project: well done. You made it through the class. I heard that you enjoyed that really simple movement practice. We worked our way all the way from her shoulders down to her tours and hopefully after you feel a little bit more ironed out there, some of those really every day X have partly dissipated a little. Simply taking out joints through the range of motion held so much, Hala. Especially when we bring intention, curiosity on that sense of all with us now for your project, All I really want to see is just a little note on which movement was your favorite. You might notice that your shoulders with the things that really needed the most attention Or maybe it was your feet. Maybe it was your hips. I love you to just simply share which movement all movements where your favorite and which part of your body you notice needed the most kindness from me the most attention. Thank you so much for joining me. And until next time keep being kind to you.