Transcripts
1. Introduction: Hey, you all, I'm looking to do. And today I show you how
I make abstract motifs. So I take like a
normal picture and abstract ally is it or how
ever you want to call that, I prepare a tattoo motifs or I, my little process of
creative process. The little tricks I use, my helping tips might
helping tricks, what stuff? I use. A couple of advantages
on the computer, what you can do on a computer. But most of the things I will do with my markers on paper. So I would say we
directly start. What you will need is a lot
of pens, different things, what you like, and paper, and would be good to have access to a computer with a printer. I know these days a
lot of artists start creating a lot of things on
the iPad, on computer fully. I'm still old school. I'm still like a lot to
use pens and markers. And that is what this
workshop will be about. Because everything,
what is handmade, I value a lot. And I show you how
I do it today. So thank you for signing up into these little workshop and I
hope you can learn all a lot. Let's start.
2. How to choose your motives: The very first thing is we have to choose some motifs
because this is about a motif. So I transform a normal motif
into something abstract. So for me, the most easiest thing is
when I want to paint a pen, I need some references. So we choosing some references. Are we choosing the ideas first? Because before we even know what kind of
reverence for use we need to have the idea when it's a tetrad
customer is example. It's very simply because when he comes and say
I want the elephant, then the fried down elephant, and then we prepare a
motif for elephant. But when we just want
to make some sketches, want to make some paintings, then we don't have this
kind of reference. So then we will have to choose
some motifs we want to do. So I would say we start
with a pen because yeah, like a pen is everywhere. So let's start with a pen. And I made this a
Tibetan art books or I love Tibetan art. I would say we choose
11 seeing from Tibet. And let's take a tara. What else I like? I love dinosaurs. So why not making a dinosaur? And something more traditional, classical title,
classical roles. Let's make a rows. Then let's take something also. Let's take a hint. Hence, because I
hate I hate hands, hands and faces or the
stuff from the body. I just don't like it, but it's good for
practicing our skills. Take something what
we also don't like. So sometimes it can
be very tricky. Sometimes people go all crazy with sinking for
references and so on. But when it comes to
abstract art, for me, abstract art, odd creativeness,
inspiration is everywhere. It's right in front of you. That's why the pen
is always one of the very first things
I tell people too. Yeah. It's right there, your
hands at Penn camera? We could do a camera
or the camera. It's like it's taken
us too much time. We don't think we have I think 55 things are good or right. And I would say we go
directly to the computer. And they cause most of
my research starts on the computer because nothing else easier than to
go to the computer. Costs for everything. There is already
something and we're not reinventing something new. We're not here to like
repaint something fully free because shoe
I can put that down. I am. Let me see what I can do. I can paint the pen on the fly. We all can do stuff like this. But it is going to take me a lot longer to completely
paying something fresh up and not
using references. And we are here to learn
what I do and who I do it. And I use a lot references
and I use a light table. When you don't have
a light table. You also can just take
a vendor, you know, because when I'm
traveling and I paint, I just use Windows. I send someone a window and I use the window as a light table. That also works. So let's start, Let's
hit to the computer. Let's get some references ready, and then we meet back here.
3. Prepair the Motive: So we are on our computer no access to the World Wide Web. And my two main sources for anything is reference pictures. So either way, I use a photo camera and make the
reference pictures myself, or I use a worldwide internet. So let's go quick to Google. And I just show you a
little bit of what we do. So let's look for tattoo
motif as inspiration. Choking lies, tribal like this. What do you all think? That's what we do is we have our five things
we wanted to do. And I would say we start directly with the
pen, just fried pen. And you see there's
a lot of verities. The pen. What I like to do a lot
is going to Settings, going to Search Settings, No, not such setting,
advanced settings. And then we can go here
to like line drawing. Because a lot of times you find like silly stuff
in line drawing. Sometimes also not. I would like to have
a pen wherever, like a little bit
different perspective. But they all look not so good. So I was already assuming
the pen will be not in the line drawing is I want a line drawing can be
very, very useful. Sometimes you'll find
very nice things. In. Would love to find
1 h is not too bad. It's like the old
pen, fountain pen. The old painting pen. I like that. I would like to make depending
on very crazy dynamics. Like when you would make a wide angle shot
from the front. So the pen is like very
big and no VI in a point. I don't have a pen like this here to create
a picture myself. In the worldwide web is you get very
difficult to find this. So we may take one or two different pictures
as reference pictures. We make one folder where
we can save everything in. I would say this is a
nice reference picture. And sometimes you click
on one picture it as like here or from the
same brand photographed. But you see very
declarative front. So I would like to
go go on the front, to go in the the
idea from the front. We don't need too
much reverence. Pictures. Maybe take
just one of the things. Just just take it. It's good to have a few
reference pictures because r that goes the most in
the direction I want like. But it's not a nice
pens of E1 did more like this vintage pin. The vintage pen, what
we had before is a little bit more
vintage look pin. It's also funny
sometimes to look for closer or another idea
here would be the pen, write something, maybe
we keep that in mind. I think writing pen, it maybe sounds silly right now, but that's the most
beautiful thing about going into
something more abstract. Abstract is to avoid too
much about your thinking. Let your thinking like go crazy than this one looks very great. You see here, you
see the dynamic. This is much more
goes into the kind of dynamic I was seeing for a
picture I want to paint. Like very dynamic. Maybe we just take this. And save it as a block with paper mine,
everything is possible. You can do basic, basically everything
because we don't have any rules how we
want to set up our motif. But I would say this one picture with a very small picture, but doesn't matter, It's
only reference pictures. You see, that's the nice
dynamic of the pen. What we wanna do. We save also this better, save a few more pictures here
becoming somewhere you see that maybe even
very bad quality. But you'll see it
looks like a big time. That's was the idea I had
in my mind when we started. So I would say that's
enough for the pen. Let's go to the Tara. Lot of you know that the
beta and Tara, tara t bid. And I mean, what a
lot of you would do is you would go for
this 2D picture. You would find a
picture like this where you just have
the tower looking. You may even can go into
the line work here. Settings, Advanced Search. Go into the line work was type, line drawing. And let's see. And you see, there's like endless
pictures of a tera. A lot of people would take it one-to-one, especially
for tattooing. They would not change much. And this makes me sad because there's a lot
of more creativity. How we can go into
a motif like this. What I usually do them
because especially from this I made the Tibetan art book who is
a lot about Tibetan ads. I made a lot about
stuff like this. And I, and a lot of the things I
paint it in my book are actually from sculptures. I own myself because it's the easiest to get to picture
exactly like you want. But this could be
good reference. And with finding a
reference picture for something like this, it is a little bit more tricky because you won't
have good picture. You wanted to have a
high-quality picture. You want something.
What is nice? I'm seeing where you kind of get everything
out, what you need. Let's see a picture like this. It's very hard to read, so it will not bring you much. Look, I like this one here with the phase from
the side a little bit. I think this will be yes. Probably the Tara we use
also like the cut of it. I don't need a full Tara, especially not to show you
what we do and how I do it for me a little bit
is already enough. Or from this side
also can be nice. Can be nice to take
crops somewhere. Take a look that you have light. You see 800 to 800 and that you have a
little bit of resolution. Because many gods too small, you can do nothing. This would be a notepad picture. We just saved it as where. It's good to have a few
more because when you back in where you want to paint it in your painting
room on your painting, that it's good to
have everything. I like to have everything
in front of me printed out usually have a few references. So in case I'm not so sure
I don't like the I is here. I have a few
different references. And when it comes to a motif, I mean, there's still
a lot of creativity, but you kind of trying
to stick to the roots, stick to some kind
of physical laws, some kind of traditional laws. In that case. You see this, this is also, this could be a nice thing for something very abstract and not for like a clean painting. But let's say I want to have my terror comes out of a Blake. I have already fully black thing here so it can work.
Alright, like this. So we just take it, don't think too much. As next we have a
dinosaur. Dinosaur. A dinosaur. And I already have because
I loved the T-Rex. So we go potatoes
and create one. So let's, let's see. Let's just see, I search
always something with dynamic. But I mean, you see here the, the T-Rex phase directly. I see that I directly like it. I don't plan to make the body. I plan to use only like the head and let it come out of something more
abstract for this, I need this this peak. And yeah, For me, I'm looking for references is already like a
very nice hairpin. A lot of time I have
a rough vision, a rough idea in my mind. But I don't stuck
to it too crazy. Because you want to be open. You want to be open for. Having another idea. Could be I find a picture from, from the back of the dinosaur. Wet and tail. Looks all
crazy and wrinkled up. And I liked that more than this one looks also
really great candle. And it basically doesn't
matter if it's a painted or if it's whatever. I like to use stuff as reverence who is not painted
but like with dinosaurs. It's a little tricky, I guess. You'll get this, but I think we just go with the
very first picture. I like a dinosaur, fish. Maybe a dinosaur fish. Dinosaur, fish. I'm not with goodness dinosaurs, so I don't know any names. I know T-Rex. Isn't that enough? That looks awesome. Not so
much like a dinosaur anymore. Can trust like search
a little bit around. But as you see, we don't find anything more interesting
than what we already got. And we'll work with that. The next is arose. Because you've
gotta be, gotta get something a little
bit more traditional. And I think a rose is a
nice thing to show you. How easy I would attempt this. We go with maybe even a very
first, very first picture. There's another one. This looks very nice. Yeah, I think this
one looks very nice. This is the one we take
and it's all what we need. Needed crazy rows. I choose the rows
because I wanted to make something a little simpler, something to just
show how easy you can just take a normal motif
and just transform it. And then we take the hand. And this hand is like, I really hate to paint hands. And it's very hard to find
nice pictures from hands. So I normally would say, I'd take your hand. Take all our reference pictures
in the same folder. So. Okay, Let's look
for another hand. But as you see, it's not easy to find hands in like
cool perspectives. So whatever you choose, whatever hand you choose. Having, better spend a few
more minutes for the Reverend. Picture, maybe we look
for handling matters. Making the metal, yes. I'll see you see metal signs? They all look very, very cheesy. Yeah, I would do myself. This looks like the most, a little bit in the perspective. I would want it. But it's almost like a painting. Yeah, here I would
400% true ago. Just make a picture from the
hand exactly like I wanted because I know exactly
how I want my hand. Something a little
bit from the side, something a little shifted. And I know it would take
me forever to find it. You take one with a microphone. I not take one. Very bad picture, but who cares? Here we have it a little bit
shifted and then we have the drumstick instead
of the microphone. But we can change that. No problem. So I would say be got
everything what we need. We have here our
reference folder, few large icons, images. So next step is we
dropped this in our graphic program
and we printed out, prepare it for print. And I will show you
what are my next steps. Because that is crucial. That is crucial,
crucial, crucial. Okay, so let's start vista rows because the
rose is very simple. And I don't have to do much. I'm already like, I think, because it is like about
a very traditional roles. We go with some very
traditional roles. We will abstract it later on. So don't make it too small, make it big enough. And I usually go in effects and I take the
contrast and brightness. Know I push the contrast
and brightness. And I tried to, to make it a little bit
better for me to print. This is pretty much
floor. I want. Also. I printed in black, white, so it will look also
a little bit different. But this is only the reference. We don't really have to worry so much can propel
already the next one. So let's take my hand. We have multiple one of my hand. But see I failed. I like this one. So this is what we
take, no experiments. And here we do the same. We just cropping off. But you don't need just
want to print what we want. We want to save our
costs for everything. I mean, we don't want to
bring like how black picture, which we don't need. So this is our hand. I think it's a good size effect. Just preview. That's way too much. And print. And you see here we
have already our row, so we just go over everything
we prepare missing. We take the Tara I
think the terror, I don't wanna be too much. I like this one, so let's see. I just print one out and we
will see what we do with it. If **, we will use this a little bit brighter, blow it out a little bit, and take the other terrorist. Make two different
attempts of cetera. This is a perfect
picture, I would say. Brightness contrast. Usually I make it a
little bit brighter, a little bit more contrasty. That's too much here. Has to have it a little bit
more easy to paint on it. And here we have my hand. And you see already
what is happening, false fooling too dark. But that's the idea I had. So let's just stick with it. Not every picture, I have to
be the most perfect picture. And what else we have
here, this hand? Not true if we will use this, but we will see it's a very bad picture. I don't think we can
make too much because it just doesn't matter. It just print it out. And then we will see
even use it or not. Then we have dinosaur
from a dinosaur statue. But who mind? I'm not. So I would say to take sculpture or something like
this as reverence is fully alright for me. As long as you're not
just like someone else. As long as you're
not see someone else motif or someone
else painting. Everything is pretty
much alright. Because we trying
to create our own, we're trying to create
our own painting. And we won't just
use some reference. And I spent times in my life, I just paint everything
from scratch. But it's not worth
it, especially. Sometimes it's, it's
so much faster you use a reference and then you
abstract ties the reverence, and you spend your
time into this instead of spending
a lot of time. So I would save each has
go with one of two pens. This one. No, we go
a different attempt. I just killed my my picture. I just dropped it
somewhere here. I don't know where. It's no gun. Doesn't
doesn't matter. I guess. Take this three and
they are very simple. They are really like
my reference pictures because this one, we will just paint. This one we just print
out directly normal. And I guess we have a bunch of reference
pictures know with us. They all black-white, they're
all very, very light. And they are very hopefully
good for what we do. A lot of times you're
not fully know it, you know it when you paint, sometimes you start
painting and then you have to go back to the computer, find the different
reverence, but no harm. We said. Let's go over to
the painting table.
4. Make the outlines: We are back at the oxidation
at all painting desk. And I have the motifs here. Some are printed out
Beta's, some are worse. We will see what we
do where we start. First. We have to get some paper. We have to get some pins. I got a lot of pins. So let's see what
we're here for you. Okay, I explain your
idea of references. My idea of references is
pretty, pretty simple. Let's start with what
we have here now. Let's start with the
rows as example. Let's start where we transition. So take all this way and
let's take the rows. So what I do first is I
want to take the outline. As we want to make more
something abstract. We want to abstract
the outlines as well. So I take my light table, I put a roaster and right, No, I only want get the
contour of the motif. And to make this,
it is so simple. I already chose a
very nice reference. And within that nice
reference, let me see. Let's take this rows
and we use a pencil. I use the red is I mentioned that you
guys can see that better. And now I kind of trace
the outlines of the rows. I tried to like,
be very simpler. It doesn't matter how you do it. You all have our own style. And then I don t
see so good because of all the filming
light right now. But it doesn't matter. You just find a way. And yeah, please use
a pencil for this. And sometimes it's also very helpful to have the original
picture next to you, or like your iPad or computer so you actually
can see what's, what you are doing. Okay, That's pretty much pretty
much the outline Zaydan. We can take this click away and see the reference picture. And let me see. I put a few more lines somewhere
and make it maybe here. So I tried to work with as less lines as
possible because we are trying to create like
something more abstract. So abstract means it's not
a detailed version from this abstract version from this within that I would
say that looks like a rose. So that's pretty much is it? I wouldn't say the rows. We make by hand later because we have two
different ways later on. What we can do if we go in a
computer, if you go by hand, when we go by hand, I know I want to play
a little bit with the background and
the foreground. So I will keep that on the side. And let's take maybe
the dinosaur known. Or maybe let's take the tara. Tara we have two versions. One is, one lies by hand. Let's take the terror. And this is a little
bit more complex motif, so you don't want to
shift around with that. So what I basically do, I just take a little bit of normal tape and tape it together. Let me see what Marco reuse message. Maybe almost
two message away, not what's going on in my world of Marcus. Yeah. Let's take a very big one. I will take a really big
one because this piece I will use to show you what
we can do on the computer. So for this, I tried
to make it very abstract, like real abstract. Okay. I not use a pencil
for this. For you. It will be probably
lot more helpful to use a pencil first because
you can erase lines, you can change stuff. And I usually start with everything what is
more from importance? And I tried to symbolize it. I tried to not make two roundish lines and try
to keep it very simple. Because remember, we are
making abstract art. And don't draw it too much
with every line has to be perfect or everything
have to be perfect. Also allowed to depend also on on your reference
picture you, what you got. This was not the best picture. But as I mentioned before, for my output are usually made all the
reference pictures myself. Because it's sometimes
very, very tricky. I usually start with the face, with the ear, and then I see in what direction
my painting goes. And this is all soft. It's very hard to explain. It's just like I tried to keep one flow running for one picture and
don't think so much. I don't overthink it because you want to
create abstract art. We still some sort
of minimalistic. You don't want to sink too much. You trust, don't, you know, they are not much rules
for abstract art. Then. Yeah. Try to break some
lines in directions, in directions which you most likely want to go. So we just trying to
create some some hair, trying to bring out
all the details, but not too much as you see. I really use the picture
under is kind of a reference coming there somewhere already. I kind of going off white with
making these leafy stuff. Maybe we put like, so here's in-between here. Because we put a lot
of Harris down there. So tried to like fade it
in a more simple way here. I'm not sure. I'm also just like improvising
for the motif here. As you see. I usually try to
Don't overthink it. I think that's one thing I, I liked the most
with abstract art. It's not so much about holder. Motif itself looks exactly. It's about what later on you may exist a motif and
how you play with it. Just like some things like this sometimes helps a
lot for the overall painting. Like this. Ring is stuff like
we have on the top. Maybe open it up fully. Costs are not real
rules as you remember, or maybe almost
keep it like this. A few extra lines to give it a teeny bit of whatever it is. And I think it shouldn't be make a little bit more white
extra line somewhere. And I think that's it already. Is our more crazy looking Tara. Two lines there. And usually I try to keep
it as simple as possible. And as you see already, created something
a little bit more abstract out of it with
just very simple lines. And we move on. This will be for the computer. So let's take the
hand in the sticks. And here I had
already the idea of replacing the sticks against
something else later on, legacy crypt or something. So let's, let's make
this fluid here. Give us the references. And yet the more often
you do such a thing, the better you'll get. Very simple as it is. For me, it's always like this. I tried to like not dance
but like play with it in. Remember this is the pencil. You guys can erase it. I'm not. And as you see the already just put the references for this. Because that's how we start first referencing the dinosaur. Dinosaur. Let's take the dinosaur
to the next level. Take the dinosaur, maybe the dinosaur we also
take on the computer. So I will make it directly
with the Blake one. Really massive lines. And I try having the long lines I separated or I like really
put it in long lines. It's a little bit
more tricky here. Yes to I and would be helpful to have no The original picture next to us. Because this picture is like
mod the best reverence. But sometimes a bad reference is much better than to have
no reference at all. It looks already very ceiling. Let's see, or we can
rescue dynasore, make him very easily. Just add a few more t's. Few more lines to make like the smallest, really even looking. Yeah. I absolutely don't like
what I see here right now. But don't worry, sometimes you will not like
what you do. Yeah. I just don't. Sometimes this happened now. But we will see what
we can do later on, on the computer or one year
and just don't like it. That's how far we
go with this one. That's how far we
go with this one. We see if you can
resurrect T-Rex later on. Let's go to my hand. You remember this was the one
we make the picture from. What I've also done a
lot is I printed that. I printed out very,
very grayish. And then I can paint
directly on it. It also works,
sometimes very nice. And let me see how
we do it here. Just take the lines from it. Sometimes. I mean, I
have my hand here. I can like make a few checks. So who the lines of
my hand would look? This one here. You remove this year
we have also long one. We have some folds coming here. Maybe one here. Okay, I'm seeing, but that's
pretty much it for the hint. That was our example
of, you know, exactly in your mind how you wonder motif on
whole perspective. If you want to have to motif, you just have to go for it. And then we come
to this one here. I like this kind of pen saying maybe this one I used
just as a reference. And we will just like see me painted by
hand, see what we do. I liked the very
dynamic of this one. So the dynamic goes very wide. Very wide dynamic. We have like this, silk leasing. Maybe go a little bit. It's wrong. Then I like this vintage holder. You see, we want to make
this vintage holder singing. I don t know. Also for me the very first time I've done something like this. If this tip in the
front comes like to the roundness thing,
rows like this. You come here and
we have two lines here where they come
fancy and blurry. And then we have
some script here. We take this crypt and
just put it somewhere. I think that's roughly we start to have to reference, have some room here
for something else. I'm a little bit in
my paper mess here. And with the dinosaur era, we have this very dark Tara. Maybe we also make
this one more motif. One more thing you guys learn. Learn from me. Yeah, Awesome. Let's take this idea to
come from the one side, from the black and faded
into something else. I really trust. See, I cannot guarantee you. That will later look. But at least we can try. Creating abstract art is trying, I mean, leg. Looks not too bad. Okay. Best of the blacker
can do your right. No. Maybe theory on my line here. Like this. Okay, I like it. It's almost a full abstract
piece in like Trusts from, from this as you see the, the sinking of abstract is take a motif and
we want to transform. It. Doesn't matter if
it's two-dimensional, if it's three-dimensional,
it's just trial and error. Try to use stuff like this and play with it in
a different way. So that was all our, our lines. So I would say we
hit directly in the next chapter, layout in.
5. Layouting on Paper: So let's lay out on paper. So firstly, take, or things
on paper, lay autos. This little thing. Now it's very easy. You want to lay out waste that
you're either you have it on pencil or when you live
somewhere where you wanted, or you anytime can take this. You can make the outlines very nice and then
you trace it over. I maybe show you
that the ones on, on the, on the pen, maybe we start with the pin. The next step for us would
be to make nice outlines. So we use our pencil sing. And we tried to make
Chester outlines. For this. I like to keep
the origin of the motif, but I tried to like break the lines over,
cross the lines. Let's see what we come up with. I mean, that's our
rough ER, rough lines. Know why we have two lines. Nice. This is an example of
how I lay out on paper now. So I take, I take this and
I see I would like to, to play with a line of scripts
that goes very similar. So I have to think
how I want my line, my line, I maybe want like this. Then I want something
written like this. Let's say we don't have
to write something, but let's say we want to make
like like something like this and having this
interacting with our pencil. So that means now
you see I can kind of lay out is on paper. Whoa, I would like to see this where the
connections and know. I just can't trace
it through again. Take our pen and see what we do. See what we do. Let's say, I want to keep
the front lines over. And Tia, I won't have
to sit up front line. Oh, I saw. And I would keep deadlines open. So in all what we have to
do now is taking the lines, what we plan to do, like lines and make them very massive. Kind of like. No constant, nice part. We can put things behind. So that gives a lot of power to allow motif screwed
up a little bit there. And do you see how
extra taste we, we made it in life? Not much moves, not much moves. And let's take some more color. Like gray. That's pretty much what t, If you know which you can
easily use for tattooing, can use for anything. And it was from from, I mean, I just staring at a dependent. This is where we straight
good inspiration from. And you can pretty much play around with
said even more to say, man, maybe we like to add
something the background. I don't know what, but let's think what you can do. See what we can do. Let's see what we can do. Paper lay outing
is lot different than layering on the computer
as you will later see. Because on a computer, you always can correct stuff you can make
again and again. I mean, even on paper
when you don't like it, you pretty much just erase it, you trace it through
and make it new. I've pretty much one motif. Sign it. And you throw it in
your sketch books. The sketch, these motifs, I wanted to get to as example. And as silly as it sounds, can make that visit every swing. So let's move one, Let's take the next thing. Let's take the hand. I take a different color for
the pencil, for a basic. But sometimes I like,
like round elements. Taking, taking eyes in here. I liked the idea of making
the circular thing. I don't know. So plus sin lay all
this is a SOPA. Would maybe like to
have something freedom. But it is like house
behind and how forward. So I make the orientation here. Here it goes behind, behind. Ten years, comes, comes
over and forward again. And then we can make
pretty much the same here. That's what you do, okay? And as I say, I let you most of the things, the lines so you can
actually see what I'm doing in my, in my process. And yeah, that's kind of a
rough idea of the layout. Let's take let's take a color. Let's kind of like
very dark color. I'm very sorry for that. I didn't expect it that dark. I pretty much love and not
to interact both layers, not Megan motif and
make a background, not make a motif and feeling. Just playing with it. That's an abstract way
of playing with a motif. To use the different layers
to play with some motif. As you see, we interact with it to come from the
back to the front. Sorry for the missing finger. But that's my hand. Can change that. That's pretty much
easy and simple. I bid up the rough
layout of a motif, which you can see.
The interacting part. No, let's let's keep that. Let's make this coming later. Lay outing, we're still
at the layout, watching. What else we have here. That's a very nice, easy one. We keep that open. I was already thinking
like when the hand holds, holds like maybe the
script or something. I lost scripts. So
let's play with script, fright, some loss. Let's write law. Of course. We all like la, la, la. I would say it's like loss. You don't take the
crazy color anymore. We take the green, No. Okay. So as you see, we make
some simple script. Take a liner. One. No, no. Create Outlines
again, we're still into very simple layout. Yeah, pretty much already
a very abstract motifs. Let's see. I think that's a few ones
from the layout in, on paper. Side would say we move to the computer where
I can show you. We still have seen on a computer we don't
want to make too much about maybe take this computer, so we just take all this and just create nice lines over it, over the pencil to prepare
also this for scanning it in. And it's a very simple
and easy trick. The more often you paint
something the nice side gets. Usually. This will get a little
tricky on the computer because I know I have to read lines choosing
instead of the pencil lines, which means I cannot erase them. Yeah. I mean, for me, the beauty in abstract work is already the
simplicity of lines. Sometimes, sometimes
you can take a part of a motif and I mean, blow it up to a
two-dimensional size and work with stead or what
we've done here to just use like something
like the script and the hand because
they had never can hold script like this. You know, like playing
with something is almost like my paint. It's like a ring and you know, when you hold the ring, you have it like this. You have to dimension
and that is like what I love to play with, to have like seeing
the lines as object, like as an object in P
is the same as this. This is like a spiral. Spiral is so different and
it's still somewhere in that. Okay, I think that's fair. Lines lay outing
on paper for now. Let's move to the next chapter.
6. Corel Draw Basics: Let's start with
the basic of color. Just to show you a
little bit or interface, show you a little bit some
little hex and shortcuts and let you understand
the program a little bit. Because it is, it may
look a little bit frightening when you
are a first time working with something
like horrid row. These are real graphic
program with vectors. Because first of all, let me explain you a little bit what a vector is for this. Let's take just
like a little word. Let's take love. And some of you may know that I love a lot to play
around with script. So let's take our classical
silence script here. What is Courier New? It's not a big
secret about that. Let's take Courier New. And you see right
now we still work like in every other program. And right now we still
have trusted script. But what I can do no, no is that we convert the script into a vector and I
press on the right, and I'm a convert to course. And what we have
now is a vector. So we can go in the script anymore and change
the script, just typing. So it's not a script anymore, it's not a graphic,
a vector graphic. And a vector graphic is
lines and dots and two, you see already some
not send stuff here, but to show you that
a little bit proper, you go to View and
you go to wireframe. Wireframe view is very
handy because it shows you, it shows you what
is your vector. And you can always switch between wireframe
and then Haynes. And let's say you
change the color, doesn't matter what
color you use. We will use some pink
because I love pink, reddish pink, so silent pink. So you'll see it
looks like a script, but also when I take it
and I move it around, you already can see the
lines of the vector lines. So let's jump back to wireframe and you don't see any color,
anything else anymore. And what No happen when
you like copy paste it. And you'll see you
have like two over it. It looks very messy right now because you
only see the lines. So when you later, you create like a lot
of different elements. As example, just to
give you a rough idea. Then the wireframe always
shows you only the wire. And when you go back to View
and you go to enhanced, then you really actually
see what we have done. So it looks like a credit, but you have the vectors behind. And very beautiful things
about the vectors is, let's go back to our basic law of and I will just play a
little bit around right now because to just play around is a very important step when you
start on a vector program. And it doesn't matter if it's
called RAV is Illustrator. I personally, I've worked with cold Rob because when I was 14, I helped a little bit in a graphic office where I made prints for
cars and big stuff. And they used a lot
of watering and coral is more related
to plotter ring. And most of the graphic world
p-side of plotter ring. They work more with Illustrator. And then I would know, dive back into, and I
would really start again. I would probably start on illustrator because I anyway pay for all my Adobe programs
and I have illustrated, but I basically don't use it. I use this very, very old coral. But absolutely doesn't matter. I'm just rocking two
decades on the program. That's why I'm really like, I know all the shortcuts and I know where everything is and I'm very I'm very
stuck to death. So I don't want to change this. So let's show you some
very beautiful things. What's the different because
of apec and a vector? When I take this as
a JPEG and I like, let's say we export
it as a JPEG. Just to show you
quick what happen. And the export is love. And we export it as an trust
and normal apec and RGB, let's even go to 100 per cent. So like a no, no downsizing or
compromising of the quality. And we export is no. It's like it's why
we are in inch. Doesn't matter. We
are intentional. I know why A4 know
in millimeter. So we're like 15 centimeter
wide in our graphic. And I usually work in the
original size I want to print. So let's go quick and
show you the difference. Because it's very
important that you really, really understand
what's the difference between a apec and the vector. You see this is like a very, very high-quality che, peg. And I don t know why
not can zoom in more, but you already see that the corners get
started blowing out. I don't know why I
cannot zoom in more. Doesn't matter because
what I can do is I can import the apex. So now we have on
the top the apec, and we have on the bottom
we have our vector. And you'll see what happens
when I really zooming in no way zoomed in like 31,000%. And you see it's very pixelated. You'll see what what does shape box-like almost every
format like this in, in pixels, the more
pixels you have, the better the
resolution, and so on. But right now we're in
the graphic program, so we are not
depending on pixels. So that means you
see what happened. I zoom in and I'm soon in
like 260,000 per cent. So like almost, let's
go a little bit higher. Like that's the maximum. So like we were almost ten
per cent more zoomed in, then we are in JPEG and there
is no pixel, no nothing. And it allows us to
really remove node J peg. We don't need it to. Like, let's say I
want to assume this. You'll see two to know
14 m size we have now. And we can export it as a JPEG. We don't, we'll do that, no. Because then we
have to wait a long time because that there'll
be a lot of data. And we can even export
this now in like 10 m and t phi like completely
unconscious compress tiff file. Also not want to do that and not every
computer can do that, but that's like you
really never used it. I never only for the
third dimension tattooed, have one tattoo I made
over ten peoples. But that was the
very first time I was printing out the pattern
on two-and-a-half meters. I'm actually designed
the pattern in original size here and a
printed out in original size. I have some tricks for this, but I will make maybe a
different workshop where I show more hold to use motives in
related for tattoos tensor, who I prepare titles and so on. But right now go back to gets, Let's go back to the basic. Let's go a little
bit smaller again. Let's zoom in. And I show, you know, like a very big
advantage of vectors. So first of all, you have to understand that
it is not phones anymore, it's not a letter. So I can take basically you see, I take all the notes and
I can move the notes up and I can play play with it. I can play with it when I
want to change my letter. I can change my letter and
it doesn't matter if it's a letter or if you
just paint something, you see the chest
pain something. Just take the line
way to make it easiest for you all to
understand and know I can, can wrap it around, you know, whatever
we want to do. And you have to sing,
it's like paper. You have to think it's
almost like paper. You can cut it, you
can not like paper. You can do a lot
less with paper. And you can say, I
want to have a circle. Don't get confused by the line. It does it by default. But let's say we want usually
I like to work a lot with different Carlos just to see my different levels to understand that's like
all different levels. And what we can do is we can
take both of them together. And now we can say, we can take this on
the sides to have you different
examples what to do. And we can now trim it out. So it's like corrupts
it out like a scissor and novae have something
completely different. We also can say we want
it molts it together, it welded together, so
it welds it together. And there's a lot of
different options you can do. There's a lot of things
you can do with vectors. Also. You, anytime you can break
every single pod, right? Notice this one vector. But what we can do is you can
save the breakoffs apart. I know you see it. It looks like a circle,
but when you go No, On few wireframe, you see
it's still all there. And what you can do
know is you could shift actually,
these two things. Let's make it a little
bit more easy for you. We can just change
the color of this. And so now we have two elements and we
can combine it again. And now we have, yeah, we just have to same,
you know, I know. I like a lot to play with the colors and
they are no rules. This is a color
space, the script. So let's say we take it like
this, we welded together. So now in that moment, I show you that the best
in wireframe for you I can recommend just make something like this
and just play around, just like go a little bit
wild and play around. And you will see, right now
it may look like it's one, but then you go in wireframe and you see it's two elements. And in a moment we welded, it becomes one element. This one element. I show you the, the big advantage of that. Because go one bag
and you have no, You see already I move this. And I move this. You'll see it looks different. And the advantage no, is in case we want to
have a line around, like a black line, speak. And we won't have the
same line around here. It's two elements. So that means it looks either this or you're
shifting to the front. This is also something very
important for you to know. You go here on range and then you have
stuff like order to bake off pays two front
of pages basically where you have it because it's almost like layers like papers. So chest. Put it where you want it, you know, and also
line you have a lot. You can line it on the bottom, you align it on
the top for this, you have to put two together. So let's say I want
them and I want them to be on the
bottom together. Then you go to arrange and you go to a line and
you go to Align Bottom B. And for everything is
like shortcuts, you know, because I know when I
want them like in a line, I go to E. When I
want them on the top, I go to T and so on. When you want them like
in one lying you presses, see there's like a
lot of shortcuts. And that's also a
reason why stock so long to get over his career. So let's let's mold
them together like this and remove that
because we trying to build something
little silly today. And let's take this one. We combine that again. There's some difference
between combining and the welding and to crop and a lot of other
stuff you have. And I will not go
too much in depth. I would say put it on the bottom together and nobody
read it altogether. So now we have one
vector and you see, this was chest little
bit playing around, but we got already something
a little bit different, something a little
bit nice maybe. And keep keep going from there. We can keep going from
there are no limits. Let's show you quick. One thing I show a
lot peoples when I showed them the
very first time. Also, how crazy this program is. Let's make this behind. Let's take the outline away. And what you can do. One thing I love a lot
is the intersection. So we take the intersection, we make it in a different
color, pull it up. I know you have very fast
stuff and I know you can do stuff like this in
Photoshop as well, but it's different because we are not related
to pixels still. And we have that advantage. We can take every
thing is own elements. So we can say, we
want a line around this and we want seeker
line around this. And we want to seek a line
in a different color. It's no problem, you know, and we won't have
pseudoplastic line here. But put it behind. Oops. Maybe too sick, maybe too thick. And put it behind and put
it in a different color. You know, that's like we
can do a lot of things and show in case your love
graphic stuff like I do. There's endless opportunity
and I broke sometimes with the newer correlated has
a lot of advantages too. The old one, but it's
also very pricey. So usually when you're not a professional, it's not worth it. But yeah, as you
see it as like you can do a lot of things
with like not much time. So let's go back to this or you see we take
the liner way. We take the liner way. And you see you create
very fast simple things. And it's a vector. So you still let say, Oh, we like it like this. Let's, let's this one, crop out of it. So we actually have one vector and now we can already put another
line around it. You'll see it looks
completely driven again. That's the big
advantage we have. And for us, it doesn't matter if you make this
or if we make a pattern. If we make whatever you know, that's doesn't
matter and we still, we can zoom in. Here, 25,000 presents, its
no pixel, it's nothing. Let's go a little more advanced to show you the endless
possibilities of this. Let's make a thicker line. Sure, right now, some of
the lines are not perfect, like here when I would
really make a logo, create something for print, for graphic related for tattoo. I would spend more effort to
make the connection dots. Like the I here. I would make the
connection gods nice. I would spend some time
with it, whatever, would figure out why
make it as endless ways. What we can do know is we
go to range and we can convert the outline in a
vector. So what are we done? No, you see I go back
once I show you a creek, what we do with the outline, because the outline, It's
only what we visually see, not what is vector and
the back end for this, you check the wireframe
and you see the wireframe. It's just one line. And this line we
see we can make in the outside appearance
the wide as we want. So let's go to enhance. So you see, the
line is very sick, but what we wanna do know we want the line as vector S value. So we can do that. We can do everything
was vectors. So let's go back into wireframe to show you what we've done and you'll
see what we've done. You don't. What we've done is that
this is our outline. Now you see that this is
our outline and this is our thing behind because we created two patterns
to vector graphics, no, two vector graphics. And this gives us another
opportunity because we can outline this again and you'll see it looks
completely different. I mean, you basically
can go on from this, you know, you can say Maine. I want converted to
outlines two curves. And sometimes like
because it wasn't perfect and a little
mistake happen. Like here. Sometimes
there's an easy fix. But I, you see here
somewhere it's broken. And this vectors
when you go very, very graphic, when
you go very crazy. Sometimes it needs some
time to r here it's open to find the broken links. And the more perfect you are working in the
beginning this vectors, the less you will have problems. After all. That's like, I don't know what happened here, but you see they're
not connected. That's like big, big
troublemaker here. You basically can move a certain way and put it back and they have
to be connected. Oops. Two main to make
all of this happen. Yeah, that can happen. Sometimes you want
to show people, you see there's like one more. Still not fully gone
becoming somewhere. I don't know. I think this is from the
bottom under no, I don't know. It's here. Look very tricky. Very tricky. But you see you just have
to find the mistakes. And the earlier, you
correct it better. Here it was. Here it was. N. Must be somewhere. Come on. All connected now, I don't know, I don't know why it
does this right now. But doesn't matter. Doesn't matter for the
purpose I want to show you. Because what I want
to show you is just how far you really can go to create an endless amount
of endless amount of things. And there are no
match limitations. I mean, the SEC No, we made somewhere
a little mistake. Somewhere still. One not with like not connected. I hope I could find
it to prove a point. But you remember when I was saying the beginning
that it's good to make it as perfect as
you can in the beginning. That's what it is. Sometimes it's like very tricky. We set vector stuff. I don't even know
where it is somewhere. It can be somewhere here. Okay. You gotta point. The program is provoking me. Here we go. But nobody like kind of
ruined our, our thing. Let's also not a problem. You can always like, you can like straight
everything up. Like let's say we make
one straight line. Here. We take the line and you see over here are like a
lot of not seeing. The good thing is when
you make mistakes, that is how you learn the best. And now we want to bend it. So which has gone
bending and want to bend that baby and
bended where it belongs. Almost perfect. I would say that's alright
for our sake of showing. But as you can see it as
like a lot of ways or like, let's say I don't like this. I can just like take it
out, erase it fully. Take it out. And it looks
all very much cleaner. There's a lot of
adventures advantage as we have when we're
working with vectors. Let's kill all of this and a lot of things It's
also good to understand. The same is with every else
you have here. Right now. It's just a square. When you press here
on convert to cost, it gets a vector. So you basically can
form it like a vector. You can form everything. And before you make a vector, you have a lot of, it's the
same as with the typing. You know, you have a lot
of things you can say, I wanted like round. So you can make it
round or you can play with it and you can change certain things of two elements. And then you transform it into a vector and know it's
frozen as a vector. So you know, you basically can work with it as
you've seen before. And a lot of things
what I use are helping lines like I just
go to this side. Then I grab this, the left. And then you can grab as much as helping lines
out as you want. Especially let's say you create some stuff and you want
it all on the same thing. You can basically,
you see snapper. The edge and snip it here. So you notice both on the same
or you want snippet here. And that's a very
important thing. What we later we'll need for
when we make our patrons, because even you can put
the center to the center. It's very easy workflow. And this you go to I
think it's in you. Yes. You go in and you make
snap snap to grid, snap to guidelines,
snap to Object. Snap To guideline
is to line here. Snap to everything. Sometimes you don't want a snip, sometimes you're
working, you know, when you have to snip and you
see it's like it it snaps. So there's nothing in-between. There's like it snaps. And sometimes you don't
want that it snaps, then it's good to snip it out. So I would say that's
pretty much a lot of the very basic you like the guidelines you can
trust, like erase them. And I really recommend you for the basic start with
really little things, make them in color. So you understand and learn
a little bit of shortcuts, especially the one for
shifting Toronto and beg, the ones for aligning on
the bottom, on the top, on the right, on
the left they are like on the one I want
to center something. I press G and C and
I have it centered, so it goes very fast. You have a very fast workflow
and play a little bit with the trim tool resistive
well, tours intersection. As I mentioned
before, intersection, I like a lot because you
can make very fast things. Play a little bit
with, with script. Whatever you wanna do, transform the script
to something else. And I mean, just play a
little bit around with it because you will like it. It's very nice. It's it helps you to
understand the process. It helps you to
understand the program. Because when you want to go
a little bit more deeper in it will be very important. A debt you a little bit
understand the program. Also. Some of you may want to use
it to make some nice designs. And I show you like
little things I like a lot to do making
like color shifts. And I always do the
Nautilus transparencies. I do that always with intersections and start playing a little bit around with it. And sure, later on, you will have a lot of things like transparency, drop shadows. You have so much possibilities. If you want the
transparency on something. Oh, you want the
transparency hole. Basically, you have a lot
of Photoshop tools on top. But even that you are like No into Photoshop
related things, you still work in vectors, so you still able to
like whatever change, whatever you want with it. You see what I can do? Easy. I can do it. Like let's say we say lines. I like a lot and then you
have two lines but you want the transparency
only off the inside. We put a transparency
only on the field. We won't put a transparency
only on the outline. It's endless possibilities. You have recess program. But this is already a more advanced than what
we wanna do today. But I think it was still
necessary to dive into the very basic of color that
what we've done.
7. Layouting in Corel Draw: Okay, let's dive a little
bit into code row. This is addition. For everyone wore already. Have a little bit understand men of vector of graphic programs. I'm pretty sure you can do
the same in Photoshop or in any other graphic program I use called raw because I use
my Fool Live called roar. Have a couple of more
cold draw the workshops. So I will scan all of them and SUSE the skins
are like not so perfect. David probably do the job. So I show you one of my very special tricks
and what I like to use, I like to use to open
them in call repaint. I'm pretty old school
when it comes to debt. And I re-save them, show up as a monochrome bitmap. When you make a
monochrome bitmap, really have only
black and white. There's nothing more beautiful
than monochrome bitmap. So we will do that
now with all of them. Here, you could make like
fields completely black, like what we have here. We could like fully
fill it black. But we skipped that. We just keep it as we hit them. We take the bitmaps, drop them into our
graphic program, and put all the other
stuff on the side. And no, Let's start. You already can see the difference of apec
and a monochrome bitmap. Monochrome bitmap is
really black and white, but when you want to
put stuff into vectors, it's a much more simple,
much more clean. And that's what we will do now. Let's start with, start with this one because this
is a pretty simple one. We have here Trace Bitmap. We trace it. I like to use the clip art. First thing what I do, I tried to make out of the bitmap we drink to
trying to make vectors. For this task. It
doesn't matter so much. This is probably something What, Oh no, I think it hanged. This is probably something what is very complex
for computer, what will be much more easy
to do such task in Photoshop? Try it again. Try it
again. Try it again. Say fit, Trace Bitmap,
maybe try logo. Okay. So we remove color
from entire image. That will do the
job that we need to push the details
a little bit up. And as you see, it looks pretty alright. They tell us even more up. Okay, that's how we keep it. Easy peasy, we have a vector. Now. If I save S T rex. So let's, let's just
that very simple. Let's make, let's make a circle because you already
seen I do like circles. I do like circles. Let's make a circle. Let's put a circle in the color, put it behind,
remove the hotlines. And the amine. That's also what I do know. It's something you pretty much
could do by hand as well. I just know like to
use the computer for a couple of them to just
show you what all we can do. And the computer is very nice
to lay out different by by hand because you
actually you can trust like pull it around
and I have an idea, I would like to make
something with a splitter. So the safe debt, we will go over to Google. So we save that. We go over to Google. Envy fried, lead our image. And you see there are some graphic stuff
already for splatters. There's a lot of me
see what we got here. A lot of crazy stuff. A lot of crazy stuff. And you see some splatters. You can even buy a lot
of great stuff for graphic papers is
that you have like vectors torque or like
this Adobe Stock. You have a lot of stock photos
where you can buy them, you can buy some stuff directly as vectors or
it's already sent here. It's a vector, Theorems vector. And then you can
just drop that in. I don't want to buy
it it right now. So we want to make
something more simple. But as you see, you would buy
like something like this. You have already like
something very crazy to work with to make
stuff like this happen. You take this one. Audits like I think
it's a PNG, yes. Very nice. Actual motif, strict. Save. So let's see what we have. Paint splatter become
in here and you see it's a PNG and
it doesn't matter. I mean, it's good to have a PNG. Png are more easy to
convert two vectors, which has converted to a vector the same as we've
done it before. Outline trace, logo. Put here the details up. Remove color from entire image. And today we have made
ourselves splatter. And what we do know, we can put that in the same green and we can
put that behind. And we can like like
experimental little bit. Yes, I liked it. What do you think you
guys like the two? We can take the
splitter somewhere on the side just in case
we needed again. Now we can use this bladder and the color and we
developed it together. So it's actually 11 thing. And maybe we make it read like very accuracy if you guys
like red, I like red. Why not? And we have to place it
a little bit different. I like this. I don't like the white here
in the T's, but no problem. We also can remove this. And here we go. So nobody, I like
different options. I show you a few
different options. First of all, we can say we take this one and we make it bigger, make it also red, shifted a little bit. And we could make like this. You see like this
little illusion behind. We also can make the illusion. Just white men.
What, I don't know, why is this okay? In wide, what we
also can do is we make this way and we take both of them. And we take the intersection the intersection wide
and put it on top. And then we have this. So as you see, it's a very easy way
to make different, different things going on here. I'm not sure which
one I liked the most. What you see in no time. We have our hand painted motif thrown into a graphic program. And especially when we have
it once you in vector, I like to have a little
bit more time afford. But having it in vector
of who allows me things like taking lines and making interior
lines longer. In case I want is making them. They still look like
some sort of handmade. Since I like this one, I think I like
this one the most. Maybe the red is a
little bit too much. Maybe we keep that in orange. You see, even when you would design a piece for a customer, it's an easy going here
to make this happen because you can trust
like it's right around, experiment with colors, see how the different
colors effective piece in a different way. And so on. And it's a very, it's a very easy way
to, to play around. And I would say that's
our motif number one. Just to show you a rough
quick idea and then you interested in learning more about vectors and
a graphic program. I only can recommend you some
of my other courses where I give a lot of bigger
advisors in that. And, um, yeah, that's pretty much we keep the splitter in case we needed. So we keep that. Take this away. So let's try to
vectorize the next one. Crop it a little bit high. This is Tyra save. And let's try. When you try to vectorize it, sometimes you have to
try different options. You have to give you a
computer like time to breathe. I right now have also
the problem that my computer's also screen
recording on top. And also here you have to try out a little bit some stuff that you understand the
right settings. I maybe make one day
in-depth tutorial. Whoa, I bring my hand painted
stuffed into vectors. Like a easy vectorizing
causal or something. But actually just try a little bit around
with their ties, with the smoothing and find the right balance
for what you do. You can push the smoothing up to see exactly what happens. You see that we don't like that. We don't like that. We take the smoothing out. Not getting better. Try a little bit down here. It's trial and error or sometimes Let's
take it like this. It will do the job for
what we plan to do. And take the bitmap of. And you see even
sometimes the vector rising makes already
like a crazy effect. And I show you one of
my favorite effects is a very simple one. You see, I call it the 3D. And it takes like, like no time at all
to make this like, Wow, looks very crazy
with C like no time. And it's not that you don't
can paint this by hand. This you can easily
paint by hand. I maybe show you that later how easy and fast you can paint something like this
by n because it's just tracing it through. And pretty much that's it. And here it gives you the
advantage that you can, that you can actually
try around with colors. I like pink. Let's
go with a pink. Pink. And then you trace it through
is a little bit different. That's like here you can
like shifted a little bit and now depends on how you feel. You can make it look like this. To take one of the
same as similar than what we've done with
the T-Rex in before. You pretty much. You can do like
everything because you have the full thing in a vector. So let's say we want
to make it like house halls or
something like this. These lines rule like this. I would say this
sounds like a plan. I'll make it like this and
keep the intersection. Make it like this. Maybe like this even more. Put it in a little
bit more like this. Intersection. Save it. Why not make the
intersection white and on top? And you'll see, we
have our next motif. Copied it. Maybe make one more of I naught. Maybe make one split up. Because you guys
like to splatter, I guess. Like the splitter. Splatters pretty
much very similar than den to everything else you see you can like
you have such easy, easy thing to play around. Also. I mean, we hit likely splatter
before what we can make. We can ungroup it all. We can take some stuff
from the splitter. Let's say we want to remove
this long ones and Vn vector, we can pretty much do
everything what we want. Remove the long ones, and kind of create a little
bit different splitter. Take this one's over here, take this one down there. And group these altogether. My program is very
weak right now, okay, so safeties and you
see novae create a ligand news pled out of this bladder throat
at here behind. Maybe take the same split, move it a little bit around, make it a little smaller. Put it there in. Put it behind. Yeah. Pretty much. What you got. I don't like it there. I don't like to double
lettering, sorry. But you get the point
the point of four. You can play around with
this kind of stuff. You also, I liked the health
halfway things, you know, like let's say we take this
and this to get welded together and Hotline away. You see, it's very easy to, to make motifs on the computer. Make one more because it's kind of fun to play around like this. Just to show you a few ideas. What do you-all can do? The good old law never
goes Oh, never goes wrong. And so Uh-huh. Okey-dokey. Let's take all of
the laws together, make one vector out of it. Convert to cause,
weld them together. And pretty much we having
the same thing going on. Kind of like that idea. Use this. Now it gets very wild. But while it can
be a good thing. And let's see if
that do the job. We take this, we take this save quick before we
take the intersection, the intersection read
and push it forward. The intersection we make take the intersection and
we make it like this. I like this. And you see, we have a
very abstract motif. This would be a little bit
more tricky for tattooing, but it's not that
it's impossible. And that is the very
beautiful thing. It's not impossible to go in
whatever colors you want. It just makes it more crazy. And there's a very
beautiful thing is to be all crazy. Stuff like this. And just play around. I mean, whatever you feel, you can express it in easy ways when you
have it once in vector. I like it like this. I think that would
be my final piece. And let's take the
Tara and trace, outline, outline,
logo, MapReduce. Don't bother with the
minus eight times. We need to push it
full up the game. Or I already expected
the error for this one. This one. To this one we could also
like easy peasy fill out. I will fill out this one's
laid on the paper anyway, because it's fun and I
give you a little bit of chance to see a little bit more of what to be able to do and how different
they would look like. And Trace Bitmap. Maybe we take this and
make it also much smaller. Trace Bitmap, red, outline,
logo, reduce bitmap. To wait. There's a lot of
waiting time always involved in working
on stuff like this. Move image from full to take a little bit
off to smoothening out. It's not the nicest
vector of additive. It'd be due to shop
for what we wanna do. Just keep it very
simple lens move. And I don't know what I had
in my mind it really do. Let's write loves. Friday in Korea knew in my
one of my favorite fonts. So convert to
curves, break-offs, a part of this old
weld them together. And this 90 degrees, I make it quick in a different
color that I can see it, but I won't have this
in white inside here. I want this in white. I want this little
bit different. They touch here. Yes, I want this null in white. So then we would take
the full thing here, make this in red, push it a little bit out
and push it behind it. You see, we would have
like a really cool design. This would be already a
really cool t-shirt design. Maybe I have to make
something like this. As a T-shirt design. What you guys think. I like it. Yeah, Maybe I have to do this a
little bit better and throw this as a T-shirt design. But, oh, well, I liked it. I would like that as a design. Make the 0 a little bit bigger. And I like this a lot. Actually. Maybe some size grid. Know it's really cool to see the different colors
are what they do. We can also say, Look, we make the, try
something crazy. You could make like this, this mirror seeing would
look also very cool. To have it like leg mirrored. Put it in here and a gray. Let me see how that looks. We can still make
the intersect tool. I like to intersect tool because it makes
like this thing. So now we would have like this, these two layers of stuff. And you see it looks
completely different already. And maybe then even we go
that far to make a third one. Go in here. Keep this green. Keep it neat. And very beautiful. Look already. Maybe the colors a
little too dominant. Maybe it also, we
need to use pink instead of seeing
and maybe like a T. This is just like
not the right color. I go all experimental color. It's not the right thing. Okay. I think we have to stick
with some sort of greenish. Greenish is good. But make it a little darker. Yeah, that could be also like
a motif or shifted more in. Maybe to have it like this. I think that is
seem to do with it, but luckily we go
with the black here. It looks also I'm not so sure. I think I like it the most
the old-fashioned way. And you maybe make the
red a little bit bigger. That is a little bit
over the other stuff. Nothing to lose. Okay? So I think that would be
some sort of my design. Or we can also say we make the black bigger and have
to Black framing this. And then we can
make this as well. Blake. Blake, Sorry, what did I mean, it's all ways to play
around with the same thing. Also this, you can put the
3D matching in every color. You can imagine off. And we have three different
motifs in like no time. In like no time. Yes. I think I make this as a T-shirt designer be
painted nice and new, and print this on a t-shirt. What do you guys think? Yes, you want this on a T-shirt? It's nice stuff. So let's go back in the, in the painting desk and
let's wrap all of this up.
8. Fillings and backgrounds: After we've done the lay outing, the lines and everything, it's finally time to round
up the piece to make some kind of Crohn's backdrops, feelings, layout, play with it. And let's just directly start. Let's take one of our existence
since and see what we do. What we do, trance-like, brainstorm together, you
some colors, some things. Let's go a little
bit wild with that. I may like to fill it. Fill the full scenes. No rules like always. They are actually some rules. We trying to make it look good. And then maybe you just
watch me little bit and then see what you would come up. And I show you a few
different techniques. What I like to do. I
make color fill in here now and try to put already a little
bit changing colors in. But let me see what is another very light color
and know what it's like, what what is going on here. It's like the wrong
color inside. Like pretty intense. Now let's think about
the background. What we do with the background. I always like to play
with the same form. So let's say we have
here this kind of forms, or let's take our pencil and
let's see what we could do. Yeah, maybe something like this. Let's see. I just paint a few
things and I show you what I like and
what I dislike. Just make this you can
all see that better. Very good to have a black. We need to fill up my black because we want make it
fade around with the black. We better keep some distance. Better keep more
distance than you need. Always double the distance. S you need is my
special tip to myself. When I want to have a 1 cm fades doesn't matter if I
painted or invited to it. I just keep double the
amount of distance. Female leg is running out. I think that's a distance
we tried to keep. And then let's see. What do we use for
painting the black fades. So it is pretty much how I create my fades. Paintings like this.
And they're very, very simple way sometimes good to make a little line here. You have some orientation. Start with the light. Then just like darken up
to you really ever fade. Can you see even that
the ride was look a lot. Faith looks pretty nice. So that's it. I would say if he was
given a nice touch. How does bring the script out a little bit, bring another layer. I love to sink in layers. So as you can see, we have the layer of the hair and who is
holding the script. And then the script
reds together with the background layer which
goes behind the hand. So the hand is really on top. And so on. And I liked it. And signing. It's always such a pleasure
feeling to sign something. And yeah, that's
pretty much how I would build up a
piece like this, is a four and the background. Let's go to something different, something simpler
in a different way. Let's think what we can do. Maybe it's time to make
something with black scribbles. I like also a lot to like
use like scribble style to fill out a piece that
can look very abstract. But also not that
kind of technique. I tried to come from one side, make it a little darker and let it flow
just a little bit. We still trying to keep
the distance to our, to our different elements
because we wanted the elements are like very present. Don't worry so much about
the single lines because you want that this looks
kind of style. And also this is really
just practicing. A lot of times looks very
simple when people do that, they just use a few lines, random all over the place. Because at some point you
get really a flow with it. This kind of techniques, It's all about the flow. You just see the
different approach of it, different what we can do. And let say, I tried
to like to use also like like a background and I
like to use the background. Very similar to what we done. No, something very nice. What I always like
a lot to do is playing with the different
forms in different layers. So let's say I use this
as a, as a background. And I shift the
background a little bit. Let's talk a little bit. There we go. Shoot a new design. Could maybe think about putting deadline a
little nicer around. Make, give it a
little sharpness. Here we go. I would say, in comparison to this, you see how differently can look with just filling it
entirely different. It looks so different just
from the approach of it. And I personally, I liked
the Scribble Effect. And then I was like 12, 13, 14. I was allowed into graffiti. I use test Scribble
Effect a lot, a lot all over the place. So it's just something I love to do that we had this
one here before. And maybe just let like green a little bit
more color in y-naught. And with the marker style, some peoples like
the marker style, some people like more. Using our career or
other other things. I, basically, I like it or I paint a lot with all
kinds of different mediums. Sometimes it's nice
to try out both. For me. I usually try to
go into the direction. So let's say first we keep some of the wide and
later we can kill the y. This is same, we said chewing. When once the skin is gone, the skin is Gonzo. It's always good sometimes
when you're not sure, it's better to dry it out in that direction then in
the other way around because just can't you
cannot go backwards. Yeah, here we go. Have a different
effect in the scene. And I'm also seeing what I
really like to do a lot is to Vulcan with two
different lines sizes. So let's say we have this
size what we had before. And then we would
make onetime kind of repaint the full tensor. With a smaller line size, that would basically
look like this. And as you see it,
it's already a big, big difference in
the full piece. Sometimes it's nice to like it, like shades it, but
just like not too much. Can already make
the full PPE is a lot more abstract.
I mean, why not? Let's use this testing
year, what we had before. Let's see what we do. Why not taking it upside down? Why not taking it here? Why not taking it? And making the piece different? I mean, right now it's
just experimenting. Be careful with dark colors. Pretty much we have already
kind of like a design. And I like it sometimes. Simple things can
be very effective. Simplest things
can be very nice. Let's go with a very
light colors again. You see it looks
already different. And that's a very beautiful
thing about abstract. Things like this.
You can say they all like a little bit graffiti
inspired I broadly, there are probably we
could add some scripts, we could add some background. Could make it more
crazy, more colorful. Could say the see what else we have here. Then I should have made a proper scans from
all of this and showed you the direct difference
it makes when you fail. Motifs differently. Something I recommend
all my students. What I recommend all the pupils, I teach this in my life is to make the outlines
of something. And then you scan it. Because in a moment you
outline it and you scan it. You can choose to make the lines as a print
and you can just like reprint and retrained
it till you like it. And it's a very easy
and effective way. What you can do to really
understand what it changed, how we change to make a feeling like this
omega feeling like this. How to make a black background, how you make a pattern
background as example. Because all of this
is changing scenes, a lot, changing
things very much. Let's take this slowly
running out of colors here. I liked the round circle idea. Maybe we go, We said, I'm very minimalistic
here with my tools SEC. And keep doing that. Because I like it. The circle idea. Why my markers are pretty empty. I have to say, I don't paint
so much anymore science. I'm a professional filmmaker, trying to be a
professional filmmaker. But I was a professional artist, I could say for many, many years because I
made my living with it. So in that case, you can call yourself a professional artist. I like pretty much
the idea also to use. I mean, you can see what
I'm trying to do here now, trying to do play
with it so that we try to take a little bit away from the
motive of the rows. Have two rows just
different behind. Very confused by this hollow
see law look so different. To be it looks like this one. Let's take this one
all I'm very sorry. I don't eat, don't fit. Make it like this. It was not my attempt to do, but sometimes things
happen, things change. I just go with it. You may carry a lot. Things was trial and error to make the cell can again. I'm so sorry. But I liked the negativity
of the warm column before. I wanted to keep it like this. Let's look a little. And, um, That's it. Another motif. And
as you see here, I tried to get a little bit both layers somewhere,
most together. So it looks entirely different than the rose
icing on the first few, it don't look like
a rose anymore. It looks like very weird
abstract and ice would say, Yeah, that was the motifs
I'd done fully by hand. And it has endless ways to
experiment and to try out. And I will probably give you a couple of tips
more at the end. But I think, I think no, we already got a couple of nice motifs with
not so much effort. You've seen a couple of
different techniques I use. And this is actually my favorite and this was the one
I just read from the side, so you never know what to do. And when I would take
the same motif and I would paint it five
different times, it would look five times
completely different. And that is how you progressed. And most from your painting.
9. Special tips and hacks: So after we was making, and that's three motifs
on the computer, I will use step three motives to just show you all a
couple of more tricks. The one thing, what we
have done on the computer, you can make easy
on the transport. With this. You can easily copy
this one one-to-one. So a very easy thing. What I do a lot is I
bring this stuff in the computer and get it
out of the computer too, just like scale it a
little bit in the sizes. So as I mentioned
before, very good. When you scan it, you copy it, and then you can like more
easy experimenting because sometimes people are scared
to destroy painting and that's why they are
like experimental much. But when you want to save two lines and you
like copy the lines, then it's very easy. And you remember
I was telling you before that some stuff you can, you can make the effect
easy on the board here. And just to show you that. Because when I would make
this as a design for someone, I don't like when it's
done was to compute the all because under computer, everything looks
pretty the same. Hopes. You see it's
on a computer. And a lot of times, I like when the staff
is a lot more organic. So that means when you
actually see that is made by hand, yeah. I would say we are coming there. That it looks pretty hand made. Make some extras and that's it. And in no time you made this, made this disliked
this crazy effect. So you don't even need
a computer for that. You know, pretty much
just needed this. You can make this
every copy machine. But, um, yeah. Why not? Why not use use copy
machine for us? Why not? This pen is almost done on my paint. I like hurry, hurry. Gun. Could pretty much
throw them off. I'm also not a colorist
or graphic animator. I'm mortar one Bu
like lice to play around with whatever colors. Some people say make crazy
stuff with two markers. I have to say crazy Marco stuff. And I never really got warm. We said you'll see I'm
nowhere expert in this. And yeah. That's what I was saying before. It's not harms you
to just try stuff around because you don't
paint on our original. So it doesn't matter. Also, that is something
I mentioned before. I don't know if you can see that actually print out the stuff. A lot of time. This gray because this
allows you to take any color just
like over painted, you know, when you're not
fully sure what you wanna do, what color you want to, or maybe you want to
change some stuff. Then it's a very, very simple thing to say, like you want scribbled it more. Try something different, odd. I mean, where's the line in? In being abstract,
there is no line, there should not be aligned. You are pretty much
free to do anything. No, no, I lost track. But you get the point. The point in scribbling
around can be, can be. I don't know, I lost track here. We said painting.
You get a point. Using some times something
trust is helping and just like playing around and
it helps me a lot to take paintings and
to play around, especially as you see this. And to make it more abstract, to like play around with it, it's very helpful to
get some time stuffing the computer and just
play around with it. Don't be scared to play
around with it, you know, just grab some stuff and
just play around with it. I mean, That's pretty
much all invented. All my tattoo style. I just played around on the
skin and see what happened. Yeah. That's what we do all day long. We just experimenting, trying
around, practicing around. Yeah, I don't like this. I would take this really back on a back peas
and tattooed it. Awesome, awesome design and
take something in the end, the Blake, I like
it, what to say. And I'm jason, Feel free to
to like, really go crazy. And you see, we probably have created like a lot of
pieces right there in like, in like no time. And you have to see something like this
as a basic animal. And I know this is such
a designer want to do is I would take this and
copy it a few times. I would play around
with it to really have like the last thing, a lot of people's goals, especially into lightest
abstract type to investing. All of this happened
completely freehand on a bag, but it is not to create
effects like this, that the line goes before
and behind the motifs. You have to compose
it as one piece. You notches can paint a script tag to it
and make the lions, because when it's once in, its one's in, it's
like on the paper. When you don't can
do that on a patron, you can do it anywhere. And it's not that
I just like put that line color and then
paint the handover. It's not it's not going
to work like this. And you just try a lot out. You know, that's what
I've done today. That's a very good practicing. Take a list, make five motifs, and make what I
have done with you. Make some other computer, make some by hand, use some Copic marker, use. Wooden markers, use just some
fine liners for scribbling. Use white lines. Mega mix here, three
different lines. Here, two different lines. Practice some fades. Just practice a little bit around and see what
you come up with. Yeah, in that, you'll find a lot of a lot of tips and tricks you will find on a lot of
things who can help you to push the game forward. Then also you will get a
really good feeling of what elements are better and what elements
are not as good. What good reference pictures. And at some point
you will find out, sometimes it makes
a lot of sense to spend a lot of time for
the reference picture, for finding the perfect thing, for making the best
picture by yourself. So on a lot of my
bigger digital art, I was also spend a lot
of time to, most likely, I was shooting the
reference pictures myself because when I have a
really solid vision, I just shoot the reference
pictures by myself. Okay, So you're successfully
survived this course. So I'm very thankful that you're joining me for this
and watching me a little bit. I know it was not a
perfect Eight to be caused when it's really like you have to use this taking
good this technique. This was more supposed
to be a cause who can kind of help you, kind of show you a little bit more
creative process of me when I go into
something like this. And this was by
far only scratched the surface of me
making abstract motifs. It was a very easy, short way. And I hope you have learned
a little bit something. You'll see in some tips, some tricks, some stuff I use, I used in my daily life as a Tetris to bring this
stuff directly on the skin. And I hope you will use
some of that in your life. And I'm very excited and
hopeful that you create some nice pieces with the help of this tutorial if
instead workshop. And in case you do, it would be very nice. You post them, you share them, you linked me in,
so I will see them. Feel free to send me e-mails with sending
the stuff to me, I will throw up a gallery somewhere to show some pictures, what all of my students
have done with it. And I hope I will see a lot of very nice art and nice pieces. And I love this 100% sure. Changed this a little bit
and put that somewhere on a t-shirt because I'm right
now into t-shirt designing. So you guys keep
that as a secret. And thank you for joining
this course. Thank you. In case of you considered to
watch more of my courses, recommend me to
friends and so on. And I hope you had
fun piece out.
Lily Lu, Full Time Artist
