A Travel Sketchbook for At Home Adventures

1. Introduction: the way, one of the most popular uses of sketchbooks is to make travel journals travel sketchbooks, and they're great fun. You go on an exciting trip from here. There. You map it out if you want. You get little pictures, little drawings from all the adventures that you have And this one. I took my Siberian husky with me. So she's on the adventures. You make sketches of the places that you stop for adventure, uh, weird or were not so weird. Um, that you can put a lot of writing. You don't necessarily have to put a lot of writing, but you can intersperse your writing with your adventurers and sometimes they're big adventures. And sometimes they're not like if it's a stretch of highway, that's very boring. Your sandwich at your lunch might have been the biggest thing you saw or, in this case, a little handmade room that was hanging in a McDonald's bathroom, and we couldn't figure out why that would be. But, um, yeah, travel journals convey about very exciting places that you go on the trip. This is the Northern California coast where I used to live before I moved to Santa Fe. and my family is still there and I go back to visit. This one is, Ah, whole shopping trip in Sutter Creek, California, where my brother lives, and it's a mix of photographs and drawings, sketching and writing and memories. And some days of a trip are just, you know, a little more mundane if you have. Ah, I I wrote. I take road trips a lot, so I have days, which is mostly driving, and nothing too exciting happens. And I have to reach for things to sketch and things to put in my travel journal after Look at Monday and things a little differently and so, like I might get. I might even start Teoh to sketch motel lamps because they're different in different places . Or you know where the sun was when I was driving, where what I had for dinner or lunch, etcetera. But here's the thing right now. As I am talking Teoh, over 300 million people in the world cannot take a trip. We are under lock down, stay at home orders and were to protect ourselves from a very mysterious and evil virus. And so when I was thinking about that, I thought, What if we took that approach of finding the interesting in the more everyday things? And what if we made travel journals or a travel journal of our stay at home experience? It certainly can be considered a trip because it's not something that's ever happened in anyone's memory. My mother is 95 she has said several times that she could have never even dreamed up an experience like this. But we have to make the best of it. And I thought one of the ways to make the best of it would be to stay busy and to stay entertained and to stay creative and maybe learn to see the inside of our lives inside of our homes as a trip of sorts, an adventure of sorts, as the least will be recording what we what we learn and discover during this very, very strange time in our history. I hope to be able to complete several of these classes. I'm skill share during the month of April, which is as long as we're told right now that we have to stay house bound but that you know , you can't really know if that's gonna be true either. And so I hope you will join me in taking the concept of travel journal and taking it home and looking in a whole new way at what is in our life and what we are learning and what we confined to do and what's exciting enough to put into a trip journal. Your project for all of these classes will be to complete some pages with me and put into our historical record what our experiences of these times now, at other times, this habit may just stick with you, and it will be really great. You don't have to stay home, but maybe you're choosing to stay home for a staycation, as they call it in the future. And this is a wonderful way to track what you do with that type of vacation. So let's find out about our supplies and let's get started 2. Supplies: Let's talk about our supplies for this travel journal. And if you're taking my other to sketch booking classes, you have most everything we're going to talk about. Um, with a couple of additions, we start with the journal. My favorite is a Stillman and burn Beta. On the other classes, I had one of the black hardcover. Same book, same paper, same size, about 5.5 by 8.5. You can use any sketchbook that will take watercolor. So the paper has to be £140. Um, and otherwise, you're gonna get a lot of disappointment. And some of the things that we dio the second most important thing is a pencil for drawing . I use ah harder lead than a normal pencil. Isa three h. It's a harder lead. It makes a later line entity races more cleanly, and those are the reasons for using. And I can just draw like a crazy person and not care, because I know I can get rid of all of my exploratory, um, marks that I make with that I have any racer on the end of it, just for convenience. And I have another soft waiting racer for larger areas. I do a lot of erasing. It's part of my creative process. We have a pit pin here by Faber Castell. It's a pigment ink. It's a permanent ink. We use it to clean up our cancel lines, and then we can erase them and weaken watercolor over the marks made by this pin. Because it is, what a proof. I have a water brush, one of my favorite tools for lots of reasons, which we find out in our lessons. This is a brush made by current Taki. The brand is needy, and it's my favorite brand. It does. The water brush works by wicking moisture from here through the bristles, and this one does a fabulous job of keeping that as a as a nice even thing. No droplets coming out leaking and all of that. So my favorite brand of water brush the water is in the handle, so if you're out sketching, you don't have to have a water juror with you. I have a couple of appointed round watercolor brushes here, these air synthetic there, every high end synthetic by a Skoda, they're called versa. Teal a Skoda is one of the top red sable brush makers in the world, and they made this synthetic to be a close as possible during a shortage of Red Sable a few years ago. And I love animals, and I don't want to paint with their hair. So these are my favorite brush. I have ah size to in a size, for there are a lot of good synthetic brushes, however, so take your pick. Pointed round holds a lot of pain in the fat part, and we'll draw a tiny line with the point. So good, versatile brush. And that's why they're called versatile. Okay, oversaw teal, I guess. What is extra here This time there are a few things I have a prisma color color the race. Erase a ble colored pencil in black. I have it because makes a great alternative. If you're intimidated by bank, once you put an incline down over your pencil drawing, it's down there. It's staying there and that it can be really intimidating, and so if it is, then this makes a great substitute because it makes not as strong of a black line. But it makes a nice, strong black line and it can be somewhat erased and corrected. It won't. He raced away toe white, but it's a whole lot less permanent, more forgiving than this guy. I have to, and you can have as many as you want, but I have to. Watercolor pencils. Water soluble pencils is a better way to put it, because what? It's a water media, but it doesn't behave just like water color. And that's why make that differentiation. My favorite brand is by Koran dosh. It's a Swiss company. Um, it's called Super color too soft and they're expensive. They're about $2 something apiece, but their fabulous you can use them dryer you can. You'll see wet them for some real magic. And they're good for a couple of techniques that we do that nothing else will really do him that well. I have a clean color by Isaac. This is a colored brush tip pen, soft tip, and this is ah, a better brand of these are a lot of brands, and they'll all work a little bit or a lot. And this is for a special technique that will have in this workshop is well, we have a pan of water colors. This the variety is infinite. This happens to be Windsor Newton Cotman, which is a student brand, which I think is the best student brand cause. Windsor Newton knows what they're doing when it comes to pain, and so if this is what you have, you're in good shape. If you have better more, you're in better shape and a palette of some kind for mixing washes. This happens to be a glass palate. It's a very rare thing because I make them. If you want to see more of them, you can look on my website. Um, I made them for me because I wanted a palette that I could set over my work and see the color. I'm next in place and I happen to work with killing glass. And so I just made it up one day, and I made myself someone that my friend some and they wanted him, and the rest is history. But this any any palate will do that. You can mix a washing, and most paint sets actually come with at least a few palette wells for mixing. You can use a plate, but it's not as good because of water. If it beats up, it gets out of control. They make a lot of talents in plastic to so anything in which you can mix the wash is going to dio and that's it. 3. Draw Precious Things: its historical, and it's also a little hysterical on an ordinary day when when our topic was going to be most precious things that we find in our home, these things probably would not be on it. But things that I'm gonna draw on this page and you're going to draw with me are things that have become precious because people have gone crazy and bottom all up hoarded them. And you know where we're going to start going to start with a roll of toilet paper. And I'm not gonna kid you about ovals being an easy thing to draw because they're not. But we're gonna use them so much in in this particular journal because they're just involved in drawing so many things. So let's just get that over with right now. And the best way to go at drawing an oval is that you're gonna move, not just like when you draw you move your hand with your pencil. You're going to take it from your arm because your arm knows how to do this and how to drawn over. And if you put a light pencil down and you'd move your hand from your arm and just keep going like that's like, are sketchy drawing. You're going to end up with an oval. That's pretty good. Did you just have to clean up a little bit? And the reason for that is that your elbow, your arm going around they get a mo mentum going on like when you have a pendulum, and eventually, if they have a pencil at the end of them, they're going to make you a nice level. And so give that a shot. And if it's a little too flat, then make it a little fatter and just clean it up with a little bit of a, uh, heavier pencil line, because we can get rid of, as you know, Oliver sketching lines later. So step number two on the toilet paper is that we're going to put two parallel lines and coming down the side like that. And here is a big art lesson. Okay, a lot of this is being a top of a can or a glass or ah, pot or so many things. And here is what he of the mistake people make when they don't know about it, and it makes a drying look really kind of weird. They put a straight line at the bottom and unless you were looking at that at the toilet paper from the side and, uh, this oval wouldn't be there, the toilet paper from a side would be like square or a rectangle, depending on the size of the role. But you lying at the top. Since we know that line, it's a tough be parallel to the line at the bottom. But now we're looking down a little bit on the toilet paper roll. And so we are seeing not a straight line anymore. But the circle that is the top of the toilet paper roll we're seeing at an angle. And so, But that did not change the fact that the top in the bottom of the rule are parallel to each other. So what do we have to do? We have to make that bottom the same curve as the top. Okay? No, I'm gonna put another little oval, and this time I'm not moving my whole arm because I can handle it better if it's tiny and I'm gonna put it very, very light. Little dividing line here, A little dotted line. And we have one of the most precious things in our homes right now, which is a roll of toilet paper. If you go to the store and try to get one of these, you can't. So the only choice we get is to draw one. Yeah, there ISS. Let's make a toilet paper roll just a little more interesting by just unwrapping just a little tiny bit of it. So how do you draw that going to take this curve that's happening at the top and we're going to just extend it, same curve going at the same rate of curving, and we're going to just go out about that far and then from here, which is where the bottom of that sheet would be, we're going to draw another curve that is parallel to this line. Why's a parallel? Because the blind at the top in the bottom of a sheet of toilet paper parallel and they still are, even if they're making some kind of curve. And so to get our vertical line to be right, we're going to make that one a little bit longer, and then we're going to put a vertical line to end off that hurt That's a new rolling an and get rid of the excess long line that we had. Good. We don't need it. I'm also noticing that I'm not very parallel here. I'm gonna curve a little more to make that right. And then the dotted line. I report it right about here because it's kind of indicative of the perforation as that she would come around. It's kind of arbitrary, but you want this to look like a square that's left. The second thing that's really precious in my house is also a paper product. Um, I have a lot of clean up that I do after two dogs and two cats and and dusty, dusty, uh, environment here. And I work with killing glass, and I had to clean it really well before it could be fired. So my second thing is a roll of paper towels. Drumming, the paper tells, is going to be very easy because it's going to be just like this, Uh, but taller. So the only difference really is gonna be we're gonna be making those vertical lines about twice as tall. Also just going to make it a little larger. So I'm gonna have to start out here with my move. My arm float depends one there until it gets him a kind of a good mobile that I can fix up a little Louisville in the middle and then my parallel lines that were going to come down until it looks proportionately more like a roll of paper tells would look like next to a road toilet paper. To me, that looks about right. Bottom line has to parallel that one, so we gotta make the curve. It looks about like the curve on the top and take off any square corners. And then I want this one to look like it's a little bit papers coming off of it a little bit and is probably curving this way, and that makes it kind of balance or toilet paper roll to, because I'm gonna have the corner turn up look just cause it looks cooler and again the little perforated lines and I really prefer white paper towels. But if your paper tells at your house, have a pattern or some flowers or whatever, go right ahead and add that because it's kind of fun. Nothing. Number three that is really precious around here. So for hand washing, and this one is easy as well to draw. So we're starting with the capital. You. I remember every time I can I try to start you with an alphabet letter because it's my belief that we all know how to draw if we know how. Toe print the alphabet. And I'm making this capital you first of all, upside down in secondly, pretty tall for a capital you, but not bad for a soap dispenser. And then the bottom of that did you think about it? The shape of this, if you don't count the top, is the very same shape that informed that we're dealing with in these to us. In other words, it's a cylinder, and because it's a cylinder, we're going to have around its bottom. In this case, if if this was made this way, it would have a line up here that we would be matching. But sometimes when there don't, you don't get that line, and you don't have it for a reference. But you can stick it in there just temporarily, just to be a reference, and then make your bottom a nice curved line, just like our other two. Okay? And we're going to take this out of here, and we're going to put a little top for a little dispenser kind of idea here. Now, that would be screwed on. And that would mean that top really is a little roll of toilet paper. A little, uh, cylinder sitting on the top of this glass sitting right in the center. And so if we make it a baby roll of toilet paper and we erase that little back line of the glass Now we have the part that holds the dispenser. ERM and yes, I do need I need a little cleaning up a little cemetery here. True. But right now, I'm just gonna put too little parallel lines coming right out of the middle of that, and then I'm going to make myself a lever thing, and I I want to be pretty simple with this, so I'm going to not get carried away. Just has a place that you push, and it has a kind of a ferocity deal for the whole, so that it can come out when you push it. I just need to pick up my hand. Let my arm do the moving. They end up with a pretty good overall, which is going to be the top surface of our soap. Our next step is going to be to clean this up with think, um, as I mentioned in one of my earlier classes, If Inc intimidate you and I don't blame you for that all a perfect substitute is an erase herbal colored pencil in black. Um, this one iss a Prisma color color race, which is a little higher quality than Cray ola. But they both do the same thing to make a nice, strong black line that really race if you screw up, but it will be I'm waterproof. So we go back and we add our our color or indication of color hair. Um, it wouldn't run when you hit it with the brush. 4. Paint Precious Things: I'm back. I used instead of black I used a kind of gray, blue permanent ink pen that I had to finish up my letter rings. I mixed a couple of washes here that I'm gonna be using for the very light edge painting that we're going to be doing on these paper products because they're white. We just think they're kind of boring sitting there being all white. But our treatment is very lightweight and subtle, and it's like we did the clouds and the white things that a clock face and the things that we had in our Save the Day Journal page. For those of you who weren't in the other class with this, we start with clear water. I'm dipping a clean brush into clear water, and I have made a wash at this end here. That was Gray did that by mixing a little bit of black into water. And then I made a blue wash so that I could add the blue to here and have a little more of a bluish gray to work with. And it's gonna be subtle. Anyway, let's start with a really simple shape just so that we can do this and show this without any complications. So I have clear water on my brush. I am going to paint the entire shape of this little flap of paper. Toll in watercolor is a really good thing to go section by section when you can, because in you don't have everything running into everything. So I have that wet and you can tell by tipping your book. You can see, um, even though it's clear water where you put it, and then I'm going to get just a tiny bit of my wash, and I'm going to go into where the shadow area would be right here. Now that's too much. So I'm gonna wash off my brush, and I'm going to come back and pick up that that excess there. I don't run a big stripe of graduates want a hint of shadow. The next area I'm going to paint is this one right here because it isn't touching that one while it's still wet. So clear water over that entire area in just a tiny bit of wash down the shadow side here just to define it a little bit, and across the bottom there would be a tiny bit and right there in the corner. And then what the brush again in do your blending away. Sometimes it's easier to do this with water brush. And since you have one, give that a try instead and I'll switch to that on the next section to show you the difference. This time I'm going to use a lot of Russia, show you the difference. I'm gonna do the top of the bottle here and Onley squeeze water brush ever over a paper towel and not over your work. And then moisture will be wicking to the bristles. As you go, you know I have to do anymore squeezing. So I am wedding the area just like I did with the other brush. And then I'm and I'm not going down in here because I'm gonna make that colored, and I'm gonna dip into my my gray wash and just along the sides, that's all. And I'm gonna clean off the water brush over here on a paper towel. Come back, do that pick up in that blending. So you may like this technique a lot better using the water brush because it it does pick up better it doesn't spread as much color as far. It's because it's adding water from his tip all the time. At this point, my rolls of paper have some body and formed to them just because of the introduction of a little bit of shadow. There are a couple areas that are going to be darker, and I am going to use just straight wash on my my regular brush hair and blotted off so they won't run all over, and I'm just painting the interior of the whole on the roll. I'm also going to use a full great wash for the parts of my dispenser here at the top, because I want that to look like it's probably a silver medal. So there's the darker wash, and I usually pick a light source coming from the left just because I do. And so I'm just going to lift it there. We've been a little bit darker to the right side and a little bit later right there. This is not next to that so I can use the dark wash to paint that handle. Those were all, you know, lift a little bit of that just to give it so variety. And when that's dry, the next thing would be to paint the stem and the calf top and, uh, have that be a little darker than these two. So the final thing I'm gonna do Well, maybe not the final. I don't know. We might put little shadow underneath this, but I'm going to do my dish detergent and I used on. And this is a good color for Don that I pulled out of my paint box, kind of, Ah, fellow blue And I'm making like we did in our other classes. I am making kind of a milky consistency and I'm gonna painted on Dirk and I'm gonna tranq it all on smoothly before any part of it dries. Okay, so the pickup method is that you launched the brush off you Damn, But also it's not too wet. You go in your ad for Easter. If you do things like screw up the edge there, you don't stop and worry about that because that could be fixed later on. And the most important thing is that you get this work done while the getting is good and let this bland back. I'm not going to pay the top yet because I want to wait for this to dry. So here's what happened since you saw my page last. I fixed this run. I redid the incline on it, made it dark grey I painted in the stem here and the top of the calf in dark gray. I realize this is what is so fun about drawing. I realized that something was wrong here, and I I didn't know what it waas until I figured out how I was. I figured out I was going to get cute and put a drop falling. And then at that point, it hit my brain, right. Like, how did it get there? Because it needs that tube in the middle. Now you want to do that and either leave it in pencil or if you have a gray Pinar, it wouldn't be as dark as your outer, um, lines because it's behind glass. And so I just I drew it in black first, and I didn't like it, so I went over it with a little white gel pin, and I liked it better 5. Create Vignettes: how to create a vignette effect. I always use water brush to do it. And if you recall the clouds we made in our first lesson, then you know why. Because water brushes continually wicking water to tip. And because it's doing that, it allows you to thin paint out until it disappears. Different pigments act differently in this process. So I am going to show you three different things that I use. And you can do that. I'm at the back door of our book. You can try them all. And then, uh, do what you like. I know you're gonna have at least one of these things, which is a watercolor pan. This is a watercolor pencil. This one is a car on dosh. It's the most fabulous brand, I think a creamy, and they're amazing and highly pigmented. The pigment and a watercolor Pencils different. Excuse me, acts differently, and then it does in, ah, watercolor pan because the binder is different and the pigment particles are larger. And so the whole movement on the page is different. And that's why you'll see a difference when we do the very same thing with this, Um, as we do with the pan color. And then the third thing I have is there are a lot of brands. This this is ah, brush tip in. That is a water soluble, I think die based, probably made by current Taki the same people that make the needy water brush. And it's real high quality one. But anyway, I'm gonna show you these three methods and you just try them if you have these things and if not used the one that you have. But if you have all three choices, then go ahead and make a choice. So water brush squeeze over a paper towel just so that you know that the end of it is wet. Pick up a little bit of paint from a paint pan and just start and pretend that we're underneath the bottom of one of our objects here. But just start like this, create a little area and wash it out like we did with our clowns. Wash it out to like nothing. You may, um, at some point depends on the color that you're using, but you may want to go and blot again on your brush just to get excess color off so that you can come back and make it more easily fade this out toe white. Let's go all the way to white, but you just don't want a ah hardline happening at the edge because that would look kind of dumb. It's supposed to be sort of a suggestion of a surface, and it would be darker up underneath your object because it's a shadow at that point. So that is with watercolor pan colors. That's how it works. I'm cleaning the brush off and I'm going to pick up the watercolor pencil. I'm going to use the lead of the watercolor pencil as a palate, so I'm gonna wet it enough to get pigment from that onto my brush. And we do the same thing that I did go up under whatever our object is. And then this is a different color to obviously, but I want you to not notice that I want you to notice the behavior, and you see how much less blotchy it is in the water color. And the reason is, as I said, the pigment particles air heavier there in a more dense even when it's melted. Whatever dissolve is a more dense binder. And so these air not moving around the page is quickly you'll notice over in here where we use the panel water car. I'm leaving it that way so that you can know it gonna have some blooming and some unevenness due to the fact that the whole thing is just looser traveling more behind here. I have something that's actually made by the car in dash Manufacturer for doing this trick . You can't do the same thing by taking any piece of plastic, like from one of those horrible blister wrap things blister packs and taking sandpaper to it. What this is is plastic and get a tooth. And with the watercolor pencil, you can deposit on it as you would a pau it. And then you pick up the paint that way as well. So you take your water brush to that, and then we're going to do it right under here so you can see that there's not a lot of difference. It's lighter is the main difference. It's more it starts out more smoothly and lighter because you pre melted it. This is, like very similar to the difference of, you know, picking up pain out of, ah, watercolor pan and making a wash. One of them your You're melting it. You're making it more running in smooth. Well, we did the same thing. Really? Because instead of just picking up from the lead, we put the lead down and we kind of pre melted it. They're pretty is all dead, so that when we start our little thing here, it just is a very smooth application. So you might really like that these air only, like $11 or something at, um Amazon. So both of these then are done with the Marsal Ubell colored pencil. The other thing that's great about the water soluble colored pencil is that you can come back in, uh, after it's dry or even when it's semi dry. Let me show you this. Here's a darker color, and this is like this is pretty dry. I can do this same thing over again with a darker color and create even more interesting background. Only put it up there, clean the brush off and then wash it into the other color. Wash it back, and that's pretty dramatic. You can't really do that with watercolor. You get a whole bunch of blooming and weirdness happening there. So the third medium that is usable for this is a water soluble marker. This you would use this with the palate like this is, well, same kind of palate. And you would put a scribble of the marker on their to use as paint with the top back on us , and you would pick it up and to our same thing. This is die now, so it's going to It works like, I think, somewhere between these two, it's not as bad as a runner color. You have a little bit of time of workability with it, and you can wash it out pretty well to nothing but you were. You will get in an impact when you go back in, you'll get more of what you get from a watercolor pan, where you're gonna have a lot more texture happened. And this one you can keep going in and smoothing out without making too much trouble in these two not so much. Once you give back to your page to work, there's 1/4 choice. If you are nervous about getting up too close to color, and that is to put dry, put a little dry pencil on and then take the water brush and do the same thing. Now I'm the two rolls of paper. I wouldn't be very worried about it because I have nothing to bump into and re wet here, which would cause flow out into my venue got. But on that where the dish soap is here, it's a different story. If I get something went up against that, that blue is going to flow into it because it's it's a heavy pigment load there and it will re wet and flow. So in this case, I would take the watercolor pencil dry, and I would just lay down lightest layer around the dried watercolor pain. And that way I'm gonna be able to come in with my water brush and wash away from this and not be concerned so much with going up to it with a wet water brush. So, just like about this much and not don't push hurt on the pencil. If you've got a good tensile like this because a little bit goes a long way, let me show you what happens when that gets activated. So I'm not really touching my blue, but I'm running this pencil up enough against it to liquefy the pigment and again the dry pencils doing a little protecting for me. They're up against the blue pain because it's not totally wet there and wash this. Nobody would have. I like this. Look, I like the look rough. I sometimes go up the edge a little bit, just kind of a little surround, trying not to define a specific area, but just to just put some context for the item. And here is my finished page of precious things, and you can see that instead of just three things floating in the error that didn't have any relationship to each other, even though they're not still physically connected, they're related. They're related because this color and not only gave them a place to sit and grounded them , but it also connected the three with some harmony. There are a lot of times in travel journals where a page will consist of many little then yet of things that might not just be one thing. It might be a little stool life on you'll set. You put several things on a page in order to get your whole trip into a book, and those things need some kind of unification, and so this is a perfect solution for doing that. 6. Water Rough Sketch: When you get the sketch booking, ham it for a while, you're going to start to understand that the idea is where you start and then you have to plan. Ah, how it's gonna work on the page. And we did that in our second sketchbook stories works up. We learned how to use a grid to do it, but when we don't have a grid for guidance, we kind of feel it out. And this is why I love a pencil and an eraser. I am showing you the roughest stage that I work at, and I've already erased and moved a bunch of pieces here. So we start with the idea. The idea is water. It's another thing about this period of time that they are just telling us all the time is drink water, drink it every I don't know every some many seconds or minutes, and so I have to look that up. But meanwhile, I'm not going to stop and wait and go look it up and then come back. I'm going to plan this page out. So the pages about water, I wanted to do it in a not very realistic way. Lot sketch your way. I wanted to have the import of water into my house into my life. I don't want to get crazy about really making the sink look like everything it should look like. So I took my iPad and I took a picture of my faucet. Um, in my I guess the whole thing's a faucet. I don't know how water gets to my kitchen sink, and then I just rushed, Sketched it these air fancier on my sink, but I don't care. Broke it down to basics. Um, and I want a riel, a sketchy, cartoony fund kind of treatment of the water. I know that I know that I wanted Teoh draw a glass of water now that we have the principles that we need to be able to do something that cylindrical, even though this is a little bit cylinder and cone. But we're not gonna worry about that either. And where are they going to go on the page? At first I have water, water everywhere, and I headed up here water, water, and then everywhere. They didn't look right. And so I raised it, and I brought it down here. I had already sketched the glass lower on the page and that wasn't gonna work out. And so I erased it, and I raised the glass. And then down here, if you remember in our first workshop that I did for skill share, um, we did headline placement. We learned the trick for that. And what this is is the rough writing of it. I know I wanted on caps, and so I write it over here, and whatever I find out, I find out that I run out of room, It's not centered. And if you remember, the fix for that is to not erase it completely, because you are going to be able to see how far you have to move over, which is about I don't want that running off the edge there. And I also don't want the Are that close? I'm going to say boat that first is how far I'm gonna have to move over, which is about 1/2 an inch, which means that I'm going to have to start my first w there. I don't have my baselines. And to make my lettering straight. Yeah, I havent fixed up my my ellipses. I'm calling him ovals. and stuff. But I mean, when they're even like that, there any lips subject for another time. And so I am going to go now to face two of this page, and I'm going to start repairing my shapes, aligning my shapes, fixing up my shapes. And what I would like you to dio is to take this concept. Go get a picture of your of your sink that you can abstract. We'll talk about how to draw the the glass of water. When I when I return, you can put your headline whatever you want yours to be. If it's something different in this, that's OK on and make your guidelines and get as much mileage going on as you can into your rough sketch and then come back. And I will point out some of the ways that I fixed this into a better piece of our or better sketch. Who's phase two of my sketch cleaned up a lot but not finalized at all. Making the top part easy is about taking a debt on perspective on it, so we're not looking above or below her from the side at any of this, and it always makes something simpler. If you want to draw something and you just can't figure it out from different angles, you can always drop dead on. If you draw it dead on, it's always gonna be made out of shapes that you recognize. And so, with the faucet, I'm not shown the curve in the back and all that kind of stuff. I'm just drawing the important part that comes down. These lines are parallel. I made a kind of ah artistic change to my into my faucet outlet. I made sure that these two lines were horizontal and they ended about the same place in relation to the faucets. Drying the two faucets flipped and looking like each other is tricky is tricky, for everybody can take a really long time. This is where pieces of tracing paper are just a gift. Um, if you work on one side and you get it so you like it, then you can repeat the other side by simply using a piece of tracing paper and putting it over the one that's good. Using a heavy pencil lead like a number two or something more smeary than the one that we're using to draw with and trace over your good drawing and then come over to the other side, flip it and trace again with, like, a ballpoint pen, and that will imprint the pencil line onto the page. And then from there, it's like, you just beef it up. I want my water to be surrealistic. I don't want to get all you know right about it, because this page to me is about two things, a lot of hand washing and, um, a lot of drinking water because as I looked up about this drink every Howard many minutes. Of course, you find out that there are myths out there being debunked. But it is not a myth that staying hydrated really helps your immune system and all your other systems operate very well. So I changed that. Now you're water page could be saying anything. You don't have to pay any attention to what I'm doing. It all just a suggestion. The glass itself is a lot like a roll of toilet paper. On Lee, the sides, instead of being parallel, come in at the bottle. Not at all glasses. I mean, if this is too intimidating, make your glass street And then you don't have your just like this either one of these. But I thought I challenged myself a little bit. The trick is that they have to come in at the same angle. And so for that reason, I made a a straight up and down vertical right in the middle of my top ellipse that I drew . I found the center of it by actually measuring with my little black ruler, and I and I dropped a line right down the center because my I wants a reference. So I first put in this slanted line coming over to the bottom. And then as I put in this one, I watched the the distance relationship between my guideline in that side. And it's just I don't know why, but it's easier for us to judge the size of spate of empty space than it is to judge where line actually us. And so this is this guideline business like this is really, really helpful, and I think I have it pretty well done. And then I put a smaller ellipse down here because the glass is smaller at the bottom, but the line still have to be parallel to the top edge because if you looked at this glass from the side, you'd still see a straight edge at the top in the street edge at the bottom, and they would be equal distant from each other. So parallel lines and therefore they're going to stay, take the same dip. I put in the back of this one because this is a clear glass and it's gonna be clear water in it. Unlike my lotion dispenser that you can't see through, you can see through the clear water. So from this point, it's about cleaning up with ink. And then we'll talk about using our same painting methods over here toe add color to this watery page. 7. Water Final: I'm back to talk about my water page. I went ahead and I did all of the painting so I could point it out, Teoh, and not take all day doing it in front of you because I haven't done anything different than what we've already talked about. I did finalize where I wanted things. I moved him around and made lines. I checked out the facts, which were not that drinking water every 15 minutes, Help says. It turns out, however, drinking water helps everything, so staying hydrated helps all body systems. So I used the same method on the faucet as I used on the top of the lotion dispenser. But I did she because I do own a gray that looks like metal that I really like, and I use it a lot and I'll tell you what it iss here. It's, um, light gray, and it's ah ah Carell by Cinelli A. I'm not. I don't pronounce things very well, but anyway, it's the French watercolor, and it's a really good when it's honey based. This is number 707 and it's just a lovely gray. It picks up and highlights really nicely. It can go from very dark. Two very light. If you put it into a wash, it's just got a lot of range. So if you were in the mood to buy a great paint rather than make washes with black, this one is my favorite. All right, So one thing that I did differently here was on the glass. I did my shading with my great wash. Same one. Nice thing about these. If you don't need to palette for something else, right, then they'll dry up. And you just put a couple drops of water in the next day and you're all set. Anyway, I did the very same thing and used that wash. I went the entire glass. The blue was not there yet. I went the entire glass and I put our shading it like we did on our tunnels with my grey wash along edge along this edge. Uh, those two corners up there in this bottom, which is is basically a base of solid plastic of water doesn't sit that far as a secondary layer. Once that was completely dry. I went in with a very light wash of a greenish blue for the water and the gray that was already there provided the shading any kind of depth that I needed. I used the same blue green for a wash for my water coming out of the tap. This is not realistic. I don't care. I like it anyway. It's kind of cute. Um, it's just a bunch of little lines with little letter sees everywhere. Some are almost a complete circle, but I really didn't make any into real bubbles there. I kind of left it all suggested, and I thought I would add washing hands and drinking. Drink a lot of water up here. As to balancing parts, I put a vignette under my glass to do what? To tie this page to this page and create some color harmony. And I labeled my glass half full. It's just sort of a statement of hopefulness that this gets over pretty soon, and if that's not the case, that we are optimistic that we're going to come out of this experience, having learned a lot of things and having made our lives better for it. So that's it for my resource, my water page. Another precious thing, of course, that ties together as well 8. Insights Spread 1: the next page in our stay home Travel Journal is going to be one that we're not going to finish in one sitting. We're going to set it up to come back to as we go along through our experience and easiest way to go about this. The concept is that I want it to be a number of note cards, and we're gonna put beautiful wash color on them, and then you are going to come back as you think of insights. And maybe we will title this insights. As you think of those profound things that you learn from this experience, you'll come back and you'll writeth um on these giant Post it notes. I guess we could call them. And so they're saved. Or if you, if you read a wonderful quote, that has to do with what's going on, and that shares you up all of that kind of thing. So the easiest way to go about this and have some uniformity use to take a piece of cardboard, the kind that's on the back of pads of paper and cut a square. And I cut my square 123 inch square because I thought that maybe I could overlap three of them on the page, and I think that's gonna work out. I'm gonna put three more over here, and then we have room We could put little ones in if we want to, but just doesn't start. So I put this on here at a little angle, and I traced around it with my number three h pencil. And then I'm gonna overlap this 2nd 1 because you want the page interesting. The color is gonna make it interesting anyway, but there's no point lining things up like soldiers because it's a more of a static Look, Now you notice that we have these overlapping each other here, and a lot of perspective says that what's in front of something, unless it's clear, it hides what's behind it. So we'll have a decision to make their about which one shows whole, in which one shows as a partial. Then we're gonna place our final one, and we don't want it to be the same as that one. And so what I'm gonna do, so I'm gonna have this one be kind of street on the page, and that kind of anchors the whole threesome, actually, because this one's standing on its feet. And over here, I think I'm going to leave this face for for notes that you know of a title and any other kind of of note like that. And I'm not matching up what happened on the other side. But I am going to start from that angle and about one. And this time I'm going to put the middle one straight so that it's not the same as that and trace it Distressing. A template thing is a godsend, by the way, be sitting here sketching these bosses forever. And this time I am going to slant this one, and I'm deciding, you know, more of a slant, less of a slam or in the corner. I think I'm going to do that now. These decisions are completely up to you. It's about what you feel is the right angle in the right overlap just so long as we leave some of the surface to be written on. So I I'm coming over here to make my decision about erasing, and I think I'm gonna choose my middle one to be the foremost one here. This is arbitrary. You do it the way you want to do it. Eso This one is now fighting of her of the two behind it. That was pretty good. And then over here, just how I feel about you. Just you can't just sit down and you wonder how you feel about it. I feel like I want this one totally forward on. Uh, that's gonna hide part of this one, and I've got more room up here, so I am going to allow this one to be behind in this one to be ahead of it. This is almost a stack here thing number two. Step number two is to use either your ink pen or the, uh, irritable colored pencil. And to put in your good lines, I chose the black erase a ball colored pencil this time for a couple of reasons because I am going to have soft washes past all washes on these kind of like, you know, the colored post it notes, and I don't want a very heavy, dark line on them. It just doesn't feel good. And so this is a softer line, and you can see that here, but it suffices as an incline is just that your overall look is gonna be less harsh as less contrast to learn the lines. The next thing that we're going to do is we are going to mix while wash of our favorite colors of past awash, and we're going to lay it down evenly in each square. 9. Insights Spread 2: what I have here are the ingredients to make a watercolor wash. I have water. I usually keep a, um, a bottle of water that will put out drops. So don't overdo it, because for for a single square back that I'm not gonna need a large wash. You start with clear water and then I've got my pointed round brush and I've got water here to wet it. And I am going to go into my paint box and wet one of the pans of pain. I'm choosing my sap green here is one of my favorite comment colors. And I'm gonna mix that into the washing my palate and you keep going back and forth like this for a little while until you think you might be approaching that the value of this that you might want. We don't want thes very dark. We're going to draw over them and we're going to write over them. And so we're not going for dark color. Here we are going for a nice pastel. Now, this is important. If I go over here and I test my wash, there's extra paint in here from having done this mixing. And so I'm not getting a true test. So for a true test, I need to wash my brush off completely. I need to dry it on a paper towel and then pick up on Lee from my little wash basin here if you're on and that gives me the true color of my wash. I'm at the back door of her journal hair testing it out. And you see how this one is darker now It's because of Rush was carrying more pain. I think I would like to go just a little bit darker. I'm a little more nuts about that than I am about this. So again want the brush back into my paint? Stir that into here. I'm only gonna go, like, twice because I don't want to overdo it. I haven't got any room to add any more water here in this particular little felt department . All right, Now wash the brush off and test it and I like, Okay, now we're going to put that away and not go near it again because the secret to putting a smooth wash on a page is that you have mixed the wash paint here and stirred up Really really well. And if you don't go anywhere else, like in the water or in this paint pan, you are not gonna alter the color of what you keep picking up from the washes. You're going over an area, and that's the secret. What you have really is water with little teeny weeny pigment particles floating in it, and you keep it stirred up so that they're floating evenly. And if you will get this laid down on an area quickly, those little particles, they're gonna lay down evenly in the tooth of the paper. And if we leave it alone, they're going to dry into a nice see how smooth those are pretty there is going to drive that way instead of full of those streaks in those blooms that usually get when you're trying to watercolor wash by going from a pan. I've got my wash all mixed perfectly. I have I got a bigger brush from my collection. If you have a bigger brush, you might want to do that. This is a number six. I could even have gone and gotten in eight or something, but we'll make this work. I have my wash here and in the brush is dry and the washes close to where I'm gonna work because I'm going to make this one my green square. And so I go into my wash and I know that and I'm stirring around and I know that I have a very consistent color, and then I'm going to move very quickly, especially here, because it's dry. If it's not dry at your house, you have more permission and more room. But I not only have dry conditions have a big wind going on right now, to which does not help with this kind of thing. Nowhere but back into the same wash. So I don't have any dark And like, I know that every time I pick up paint, I am picking up the same color of pain. And I'm just gonna move that on there as quickly as we can and keep anything that's wet moving till I get to the other edge. This is where you get in trouble if you don't have good heavy water car paper, cause this would be bubbling up, and when it does that, when paper bubbles up the wash paint settles into little holes, I'm putting a lot of pressure with my fingers right here, and I'm holding the paper as flat as I can so that it doesn't want to buckle attempts that wash. I can see if I look sideways. This is already drying over here. If I were to come back in touch that area, I would be in so much trouble because the new moisture would just bloom in and ruined my whole beautiful, smooth wash that I've got going. So what I do now is I just get out and stay out and let it dry, and I'm going to hang around just a bit, holding the page down until I'm pretty sure it's not going to buckle up and cause my wash to run. I always like it. I hate to say it like it because, um, I don't like when something turns up yucky on my pages. But when it's during a class lesson, I like when something happens. It might happen to you and I can I can talk about it with you. The blue that I mix was Othello blue, and it's a difficult color because it is. It gets really deep, really fast, and it doesn't hold its mix in a wash for his lines. It should, and I knew better. But I did it anyway, and I also had to dark of a wash. I also didn't wait long enough for this to dry thoroughly up here. So the page had all kinds of tension going on in all kinds of directions, and I was fighting of puddle places down here. And so I did go in and try and fight him because you'd think after all the years I've been working with watercolor, I would be able to win a battle now and then. And it's not horrible, but it's not wonderful. I would not say that I won on that one. So I'm going on the rest of right. I'm I'm sticking toe lighter pastel colors because and when you get in trouble, it isn't as obvious. So this page will be finished with these notes in six different colors, and it won't be waiting for. You can title it however you like in science or, uh, things I learned, you know, and you'll be coming back to this to add notes. Little sketches, you know, little flowers, little whatever comes up. You just don't know what this is gonna be until it becomes what is going to be as a part of the of the life of your at home Travel Journal. 10. Wrap Up: It's my sincere hope that this class has brought some fun, some creativity, maybe some laughter into your home this week, and I invite you between now in the next class, which will be a week away to expand upon what we've talked about here. This book will take on a life of its own, and it will be a lifetime treasure because we're going through something so unusual right now, and I'm absolutely sure that we're going to learn from it. In addition to learning things like how to draw on pain, certain objects, learning to appreciate what we have and who we are, and maybe that we need to slow down a little bit and smell the roses and so I will see you next time. In the meantime, feel free to go Ast's faras. You'd like to go and develop a Z many ideas, as you would like to, and then we'll be adding more next time