Beginners Colour, Contrast & Pattern, Part 2; Learn how to add printed & hand drawn patterns. | Dawn Cawthra | Skillshare

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Beginners Colour, Contrast & Pattern, Part 2; Learn how to add printed & hand drawn patterns.

teacher avatar Dawn Cawthra, Artist, Designer, Holistic Educator

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Exploring Colour, Contrast & Pattern Part 2


    • 2.

      Project Overview


    • 3.



    • 4.

      Drawing the background design


    • 5.

      Adding colour


    • 6.

      Creating pattern with small printing blocks


    • 7.

      Adding extra detail


    • 8.

      Decorating a journal or notebook


    • 9.

      Creating hand drawn patterns


    • 10.

      Wrapping it up


    • 11.

      A little extra


    • 12.

      A few final thoughts


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About This Class

Following on nicely from exploring colour, contrast & pattern in part one, we take the next step in this class as we explore pattern making in more depth.

We learn how to design and create decorative patterned papers using two different methods: block printing & hand colouring.

You can use any art supplies eg. pens, crayons, paints, inks etc. to create the hand-drawn papers. If you'd like to have a go at the block printing, you will need at least one ink pad in a dark colour and a few stamping or printing blocks.

You'll also need either copier paper, bleedproof or cartridge paper, depending on which art supplies you choose to work with.

This is art for well-being, a wonderful way to take time out for yourself, relax and bring your body system back into a calm and peaceful balance.

As well as showing examples of how you could use your decorative papers, I've shared a little extra suggestion - using them to make affirmation cards, as part of creating a personal mindful, and uplifting space for yourself.

Easy and fun, this is completely suitable for beginners, AND you don’t need to have taken part one to be able to enjoy this class.

Meet Your Teacher

Teacher Profile Image

Dawn Cawthra

Artist, Designer, Holistic Educator


A Little bit about me....

I am an artist, designer and holistic health educator based in the beautiful Scottish Highlands and it's a joy to share my skills and ideas with you.

I'm a great advocate of creative playing - always for the fun of it, as it supports our wellbeing in many different ways and you'll hear my mantra throughout the classes 'just give it a go'. It's a lovely way to slow life down for a while, and I'm all for that, as often as possible!

When we allow ourselves time to play it can have a profound effec... See full profile

Level: Beginner

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1. Exploring Colour, Contrast & Pattern Part 2: Hello and welcome back to part two of exploring color, contrast and pattern. I'm done. I'm an artist and a designer. And for over 25 years I've been teaching others and helping them to unlock their own creative potential. It doesn't matter if you didn't do part one. You can still just come in and do this class straightaway. But it might be useful for you to just going to take a peek and see what we actually did. In part one, we covered a lot about color. We looked at the different color combinations and how they work well together in today's class In this part two, what we're going to be focusing a lot more on pattern and how we can use that pattern and the color together to make decorative papers. We're going to look at how to create the background color as the basis for your decorative papers. And then look at two different techniques for adding pattern. One is using block printing and the other is hand-drawn or hand painted. Giving you two very different results as you can see. So let's have a look in the project to overview, to see the different processes. I'll see you in the next session. 2. Project Overview : The project for today's class is to make decorative papers. And you can then use them in whatever way you like. Here you can see that I've used them to cover journals and sketchbooks using the block printed sheets. And I've also used the hand painted sheets for turning into wrapping paper. We'll look at how to build up the design using your block prints, whichever you decide to go with silicon or handmade, and the printing inks to get your overall design. I'll show you the process of how to look at each segment to see what you want to fill in with it. And to make sure that you're happy with the overall design, whether you feel you've got enough contrast in it or not. We'll then look at adding extra details with the posca pens. Building that up until you're happy with the final composition. We'll then take a look at how to start the hand decorated paper using the posca pens and the fine liners. We go with each segment again and give it a different pattern in much the same way that we did with the block printing. We keep adding extra detail as we go along. Again in the same way, building up the different areas. We also take a look at when you get a bit stuck, maybe because you're not sure what pattern to put on there. It's good to have your resource book at hand or any of your old patterns that you may have done in part one, which you can then use as a reference and just keep building up the detail more and more and more until you're happy with the final result. So let's have a look at what materials you're going to need. 3. Materials : Because we're using pens that can bleed through paper, it's a good idea to put some kind of protective layer on top of the surface that you're working on. I use a small piece of plastic sheeting here. And I'm also going to be using just a couple of pieces of A4 paper, um, sell at it together here. Because when I'm working with such colorful things, I like to have a white background to it. The paper that I've used for this, this is the original design for drawing the original background design on. I actually used lettre set, which is a bleed proof marker pad paper. It's very thin. It's only 70 g, but it doesn't actually bleed through to the surface underneath. Although when you look at it, it looks as if it has bled through it, it hasn't. Um, so you don't end up Mark in the paper. If you don't have that, It's fine. You can just use copy paper. This one here that I've got a slightly better quality at 120 g. You will find though that it will bleed through. So it is best to put some kind of protective layer down over the surface that you're working on. What do we need to create the lovely hand painted papers? Well, these were created using the posca pens, which is the acrylic paint. I've got a gold here in the size 5M. I've got an ivory in 5M. I've got a black one in a 3M. And then I've got a white fine one and a gold find one. And they are the size of those is one. Mr. I've got my two trustee black fine liners, and then I've got five of the PRO marker ink pens in varying colors. Now, I'm also thinking out of the box. And if you didn't join us for part one, the chances are that you might not even have these materials in your box. I would say just go with Go for it with whatever you've got in your art supplies. You can use acrylic paint, watercolor, pen, go Ashe, wax, crayons, pencil cranes. And if you've got felt-tip pens to add some extra detail on top, then that's great. So don't be put off if you don't have these particular supplies because you can still create some really lovely, gorgeous peppers, probably with whatever art supplies you've got in your kit. Just go for it. If you'd like to have a go at making decorative papers using the block printing. Then you're going to need something in addition to your posca pens and your, um, pro markers, you're going to need some little ink pads. These come in all sorts of different colors, although I would recommend that you go with dark ones. Otherwise they wouldn't really show up on your patterns. And you'll need some kind of PAD thinking. Now, you can either use a ready-made 11 that you've created yourself, that you've carved yourself from lineup cut material. You can buy them readymade as little silicone stamps that you usually get in a pack. If you're going to go with the silicon stamps, you also need a little clear acrylic block to mount them onto. You can easily buy these printing supplies that you local hobby craft shop, or perhaps your art supply shop. And of course, many suppliers sell them online. It doesn't matter which brand of ink you go with. The all give a similar result. I'll see you in the next session where we look at how to create the background design. 4. Drawing the background design: So I've looked through my book and the colors that I've decided to go with a based on this one here, they're not exactly the same. But as you can see, then really not far off. So the colors I'm choosing here are maroon, turquoise, leaf green, and molten red. Put that to one side a moment. So I like to draw freehand. I just think it gives a, I don't know, I think it gives a kind of more organic feel to it if you like, but if you don't feel confident drawing free hand, it's absolutely fine. You can use a plate to draw around the edges of a plate. I am going to use this as well to draw some little circles into it. But to start with, I'm just going to draw some lines. I'm not overthinking it. I'm just going with what comes to me in that moment. Now what I'm going to do here is turn that little candle out and just draw around that very lightly. I'm probably another one just there, that looks quite nice. Then I'm going to take the big one. Oops. Didn't expect that. We're going to take the big one and just draw around there. And where else might I want to do? I think I'd like another circle actually overlapping that one. There we go. What I'm gonna do here is just where the circles overlap. I'm just going to rub that. Oh, no, actually, no, I'll leave that. I'll leave that I'll just rub it out there where it, uh, it went over the edge. Now that's going to create quite a nice pattern actually. So I will, I will in fact leave that didn't really draw around them very well, did I actually? Anyway, let's see. I'll pop that back on there. Just to draw around there a little bit more. There we go. That's fine. About those extra bits. Pencil lines will show through the ink markers. But that's okay because, um, we will be covering the edges up with lots of other things anyway. So you don't have to worry about that. I'm going to start now. And using these four colors, begin just coloring in some of these areas. And let's see what happens with it. Actually, I want to just take off a little bit of that. And I want to just take a bit more off of that there. And I'm quite happy with that. Although actually that's beginning to look a little bit messy. So now I'm going to move that one out and just think what else. But basically, these shapes here are a little bit too big. I want smaller shapes in it. So I'm just wondering how I just divide that up a little bit and that's all I needed to do. So now we're ready to start adding the color. So I'll see you in the next session. 5. Adding colour: So I'm going to start off with the green. I'm going from light to dark. Not that that makes any difference at all. It really doesn't. And again, I've got no design here in mind. I'm just choosing a shape. Drawing around the outside. I really don't want you to worry about going over the edges because all the edges get covered up with something else. So I'm using the fine tip there just to outline that. And then I'm going in with the thicker nib. I'm going to choose another piece to color. Again. I'm not thinking it through particularly. I'm just doing it randomly. I'm coloring in about having fun. Remember, whoops, see, I've even gone over the edge there. That's okay. It really doesn't matter. Let's do, let's do this one down here. I do like to do the colors in odd numbers if I can. It visually makes it more appealing. I mentioned that in part one. You know, it's a rule that florists have as well. They always put an and gardeners the plant in odd numbers rather than even numbers. Now again, can you see here is creating a little bit of texture. That's absolutely fine because it will just add to what's going on. So don't try and make it a particularly flat matte color. You don't have to. Whoops, there we go. See how quickly I'm doing this. And I think we'll have that right up in the corner. We'll have that green as well. It might be that I do green again, but just for the moment, I'm just going to keep it to these five shapes I've chosen. And we'll just see how the piece develops. Next, I'm going to use this gorgeous maroon color. It's so yummy. So let's go with this one here. Now, when the ink marker comes into contact with the other color, as it inevitably will, as you're coloring in, you'll get a different color happening as well as the two colors mix. And again, please don't worry about that because it all just adds to the mix. I really like this combination of the pink and green together. I think it just really pops. I'm going to carry on doing it in the corner down here and then continue to color in until I've got five shapes or colored in. And then you can see what it looks like. When the five shapes are done. That's five shapes colored in with the lovely maroon color. I'm going to go with this gorgeous and molten red now and do five more again. And then use the turquoise and see where we end up with that. Again, rather than you having to watch me color all these in. I'll just do it. And then show you where I've got with it. As you can see, that's the red added there as well. And now I'm going to bring in this gorgeous turquoise. Just taking each shape as I come, not having an overall plan, but just going with my instincts and intuition. And again, I'll do five more fill-ins with this. And then we'll stop and have a look at the overall design to see where else I need to add the color. This is the stage where it's worth looking to see if you want to introduce another color or not. And I've decided to bring in another green. This is a slightly more subdued green because we've got a fairly bright one going on here. And of course, the turquoise is fairly bright. The reason that you would bring another coloring at this point is we've just done the overall color scheme there with those four colors. So e.g. if I look at this square here or this shape here, I can't use that color. I could use the turquoise again. I can't use that Colonna, can't use that color. So by introducing a fifth color there, that gets away with that problem. So that's what we're going to do. We're going to bring in this green right here. And it's contrasting enough with the green that's already there. For it to work. It's not, it's not so similar that it won't work with it. And that's rather lovely actually. That kind of gives the whole color scheme a bit more gravitas. Don't you love that word gravitas? Yes, that's nice. I'm going to introduce that again in another five places and then see what I've got left and what colors we'll add to it then. I want to add something here, but I don't want to put all of that into green. So this is where it's useful if you need to just add another shape. So I'm going to add that to there like that. And then I'm going to call this bit with the green. I think by not planning it out to carefully. That's what brings the fun element to it in a way because you sort of look at it and think, goodness, I've run out of shapes here or I can't put two colors together because they're already together. So you have to get inventive then and decide what else you can do instead. So I'm gonna finish this off now in terms of coloring it in. So those are the five colors that I've chosen. And I obviously want to fill in the rest of it. If I find that I've got I can't put some colors together because it's like I can't put the red next to that one, but I can put it there. So then I can put the purple back there. I'll just keep working my way around that. And if I need to add in a little circle or something like that to give me an extra shapes. So I've still got enough colors. I'll do so what I'm gonna do here though, is do them now into threes. So I've started off with fives, five shapes, call it in one color. Now I'm going to go down to 3s and eventually I'll obviously get down to one. So here we have the finished piece with all the different colors in it. As you can see, I have gone over the edges in certain parts as it's gonna get covered over. Like I said earlier, it really isn't an issue at all. So I'm going to show you how we go from that to this. This is one technique we're going to be using, which is all hand done. You can see the difference there. And then we're going to have a look at another technique whereby we start to use some printing blocks. This is the original pattern that I did using the marker pens and the bleed proof paper. But I'm not going to put the pattern onto that. I've actually taken photocopies here, as you can see. And I'm gonna do my patterning on top of the photocopies. Now, the great thing about this is that you can take as many photocopies of your original as you like and then do completely different designs in terms of the patterns on top of it. So that's what we're gonna do here. I'm going to photocopied it. And these photocopies are gonna be what I work on doing the hand painted, the hand-drawn version, and also using the block prints. So let's get started. 6. Creating pattern with small printing blocks: We're going to have a look at how we use the printing blocks and the printing inks on this. But I'm going to follow this into first of all, and just cutting out the middle. Partly because it's quite a complex way to add pattern. And doing the whole sheet might just feel a bit overwhelming. I'm going to put that to one side for the moment. And we'll just have to work on this one here. So I've got three different colors here and they're all quite dark ones. I'm using diversifying Claire range of the Sue Nicole suit clinical sorry. A range here. And this one's warm breeze shady lane. And then I've got black. And the reason that I'm choosing those dark colors is because you need something fairly dark to be able to see on this very colorful pattern. This is one sheet, if you like, of silicon stamps that I've bought. So I'm just going to use the ones on that sheet. I use different ones. I use lots of different ones on here when I was doing this one for a bit of fun, just because I wanted to see what it turned out like. So we're going to see now what happens when we just use the one here. So I'm going to start off by putting that onto my little acrylic block. That's all it is. An acrylic block. You don't need any glue or anything. It just sticks on rather nicely like that. And I'm going to use the warm breeze. Now, what I find easier is to put the income top like this so that you can see that it's getting an even coverage. You can do it that way as well. But it's just my preference to do it this way. There's no right or wrong way, so just go with it wherever. And I'm going to choose this little circle here and pop that into there. Isn't that magic. I just love it. I really love it. I get really excited about things like that. I don't whether that's a good thing or a bad thing, but it doesn't really matter, does it? So that's really sweet. I'm gonna do that one there. I'm going to choose one of the leaves now. I'm still sticking with this color here. Turn that around minute. Just still sticking with that color. I'm going to follow that curve that's going on there. So which way shall we do it? Let's do it this way round. So I'm going to start that one like that. And just follow that one. Follow that curve all the way around. With these. Now, I end up going over the edge of the curve and that's okay. It doesn't matter. I know I say this a lot, but I really, really want you to just have fun and play with it. Don't get too uptight. And thinking that it's got to be absolutely perfect because truly it does not have to be absolutely perfect at all. And I'm just going to, whoops, I can see there that I didn't have enough incarnate. I'm just going to follow that one through to the edge there. And it'll come off the edge of the pattern. When you're not using your ink, put your lid back on because then that stops it from drying out an in-between stamping. I like to get a piece of kitchen roll, just take off any excess. And that's really the easiest way to clean it. So let's have a look. What next? Let's go for that little one there. No. Yeah, let's let's go for that one there. Now, if you're not sure which one you want to use, then just do a quick test on your paper and see what it looks like. You might like the look of it when it's on the sheet, but you might decide that actually you want something a bit different. Note that's quite nice is that so I'm going to stick with that. I'm going to bring that one all the way around here. Excuse me. I keep thinking in-between as you can see. I'm stein that in the middle, that well, not quite in the middle, but not at the edge as it were, because I'm just going to now that's going to go into that one there if you can see by the time I get around there. And that's absolutely fine. Don't mind a bit of crossover. Or if I don't want it to cross over, Let's try something different actually. Let's instead take that to there. And we'll do another one that's fairly well spaced apart. Round here so that I do in fact end up crossing over with that. You see, I'm moving the paper around as I need to. Then I think we'll do is let's just clean that off a little bit. I'm going to put that one back. I'm going to take this lovely pattern here. Can get the black one. And I'm just going to push that in-between those like that. Well, that's rather nice. Now obviously, you don't need to keep stamping it every time, um, when you're doing it, but just let me demonstrate on here. So that's it with the full black on. And that's it with less. So obviously you can get different shades. Just depends what a result you want. So I'm going to do that to get a different shade. I'm going to add that one there. And I'm just making this up as I'm going along, literally just seeing what I like the look of. And then I'm going to go over that middle bit there with the paella one with the, you know, it'll come out gray if you like. There we go. So it gives me a little bit of pattern. Now, I'd like to do the same around here as well, so I'm going to just use that somewhere else. Let's just use it all. I've used it on this one actually. Let's do it over that circle there. Then that gives me another gray bit. So we'll just put the gray bit there. And then I'll do a test on here. And then use the extra grab it there. So you're getting a sense now of how this is beginning to shape up. Actually, I want to do a darker one on there as well. So let's just give that one more before I take that off the block. That's good. I'm just going to carry on playing with this, with these stamps that I've got here. I do actually want a smaller one to come in there. So I am going to pinch a couple of little stamps from a different collection that I've got that just like some smaller circles to go with this as well. And I'm keeping it with circles and leaves because I'm just keeping it as one kind of theme going on on this one. Whereas as you can see on here, well, it was mainly circles and leaves and a couple of flowers as well. So let's just see how this one turned out. So that's as much printing as I want to do on top of this now, I needed to create some contrast back to that contrast like we discussed in part one, with these other circles here that are a lot darker and bolder, bolder shape. This slot here is quite delicate as you can see. So I needed something that would bring in a bolder, more contrasting element to it. I've also added these circles here, which because I know that we're going to be adding posca pen to it. I know that these will work well with what I want to do with the Posca pen. So that's it for the printing. So now we want to be going on to adding extra detail with the posca pens. 7. Adding extra detail: I'm going to start off by looking at the patterns that I've already created in it and just deciding what I want to add to those. Now, earlier on, I did actually use a black Posca pen just to add some little black dots to these. But I'm going to use a really fine white liner now to add some detail to these leaves. Now, if you remember in part one that we did, um, I'm just going to remind you again to always test your posca pen out on a piece of paper. Otherwise you might end up with blobs. So I'm just going to go down the left-hand side of these leaves and just add a little bit of detail onto some of the veins if you like. And then again on the right-hand side. And of course, depending on what color they've been printed on. So this is on the pink. Although it's all in white, it just give a slightly different effect. Now you don't have to do exactly the same on each leaf. You can decide which firms you want to go through to make it more interesting. Then the last one. I also feel that I want to add little white dots into this here, where it's naturally got some dots. And I want to give this a little bit more definition around the outside here as well. Now you can see that scenario there where the pens, the different marker pens crossed over. And so they produced a very different color. And this is what I mean by not worrying about, you know, getting the lines not crossing over each other because they get covered up with something else. So slowly but surely, I'm going to be using these four different pens. The black, the gold. I've got an ivory one there. I've got my usual Trustee fine liner that you can see there and in in black that is. And then I've got my fine liner in white. And I'm going to be using all of those to add detail here and there. So using the thicker ivory posca pen, this is a PC 5M size. It's got quiet a thick nib on it. As you can see. I've added some details into the black circles as you can see. And I've added some details into these leaves here as well. So I've got the fine liner on those leaves, but then I've added the ivory thicker one onto these. Now, I don't want to put too much black into this one. I'd quite like to leave this slightly more white looking. So I'm gonna go back to this fine liner, the white fine liner. And again, I kinda wanna keep it in circles and dots with that kind of flavor to it on this one. So I'm just going to do some tiny dots now around the edges of these little cogwheel and leaf shapes on here. And partly that's because as I photocopied this, the color has come out slightly duller than what it did on the original. So I just want to brighten that up a little bit. And again, I guess depending on what kind of printing you've got. Um, it might well affect how your color comes out as well. And you might decide not to do a photocopy of it, but just do this straight onto your original, which is also absolutely fine. Just means you don't have the same flexibility of playing around with it. To change your mind, do different patterns, try out different different things. And I'll, Because of the class project that we're going to do as well. I actually want to do more than one. Well, I'll start again. I'll do photocopies, even of the photocopies. And I'll explain that to you why later. I'm going to do a similar thing to what I've done there and just add some white into these little stripy bits here. Because I think they just lift that whole delicate silicon stamp shape. I think we lift it up and just make it a bit more varied and gives it more depth. And again, we can see back to that contrast. It creates the contrast again. So as you can see, I've completed the little white circles that I said going around the edges. I've added some gold in the middle of it, and I've also added some gold dots around here as well. Because I feel that it sort of brings in this lovely mustard, a yellowy green color on the photocopied version. So that's quite nice and I'm going to do just the same as well. Let's test that out. I'm going to do that also on this bit up here and just add that so that it starts making the whole thing a little bit more cohesive and connected. I do love dots, as you will remember from part one. I really, really do love with love dots. Let's take it all the way up there. And through here. And finish off around there. I'll carry on working with this and take it to its conclusion. And then you can see what else I've added to it. And hopefully this has given you an idea now as to how you get these lovely patterns with the printing blocks. And how by adding the posca pens, you can get even more detail. Unlike the other two, I actually did put a little bit of gold outlining just around some of these areas, just to give it a tiny bit more definition. And that's how to add lovely pattern to your basic colorway that you did using the printing stamps and the printing inks. In the next session, I'll show you how I used one of these papers to cover a journal. 8. Decorating a journal or notebook: So now I'm going to cut this piece down to size and using a Pritt Stick. I'm going to glue it to my sketchbook Stroke Journal and then bind to the edges with washi tape. So that's it glued onto the journal. And I'm just putting two layers of washi tape around the edge just to finish it off and give it a bit of a border. Just neaten that up a little bit. A tiny bit too much on there. Let's take it off and start again. So I put a darker one to start with. And now I'm just following it through with a bit more of a kind of would you call this a mulberry color? Perhaps. Let's go right off and then I can pick it up. Bit tricky to do with this, but you'll get the, you'll get the gist of it as you go along. We go that's better. And could to that side. Then along the bottom edge. And there we have the finished covered journal. And it's so nice to be able to put your own patent paper onto you, onto your sketchbooks. This is one of my patent books. So it feels really appropriate to be able to cover it with my design as well. I really like that. I'm really pleased with that. And I think just putting the washi tape around the edge of it just finishes it off really nicely as well. And also, because I'll be using this sketch book a lot, it'll get a lot of wear and tear being open and shut like this all the time. So it's good because it will just keep it nicely binded. I'm nicely bound onto the edge of the, almost onto the edge of the sketchbook. And there we have it. Let's take a look now at how we create the hand-drawn pen and paper. 9. Creating hand drawn patterns: So here you can see the hand decorated one where I've added the pattern using the pro markers and the gold pen, the posca pens, and the fine liner. I'm going to take another photocopied version of the original colors and do a slightly different pattern on this one here so that you can see the process. I'm sure you've worked it out by now, how we get to that stage anyway. But let me share with you the process. I'll keep doing what I did before. Show you a little bit. Stop the video, fill in a little bit more. Show you again. Otherwise you'll be here watching me for hours. What I'm actually going to do with this one though, is work on it that way around. And we'll just see if that inspires me to do it in a different way. As always. I'm not thinking this through. I'm just going with the flow with it. Adding some detail. Starting off, as you can see, very simply by just doing some stripes. Now I may go back into that and work on it with some extra detail, but I'm just going to leave it like that just for the time being. I'm going to come down to this corner now. And I'm going to swap my pen actually go with a fine white liner, testing it out again. And what I noticed in the other the other design that I did was that because the photocopy came out slightly duller than the original. It needs this white pen really, to give this a little bit more detail on this color here. So I'm going to do what we would call in our textile world. If we were doing this on a sewing machine, I'm going to do what's called a vermicelli stitch on here. I'm basically it's like wiggly spaghetti. And you just keep wiggling your pen around and around until you've covered most of the surface. Just keep going backwards and forwards with it. Until you really covered all the space that you wanted. Try not to do it just up and down. Try and be a bit more creative and going from side-to-side, up and down, so that it really looks like vermicelli spaghetti. Here you can see I've already done some more detail on that section up there. I've done very, very bold with that big circle in the middle. And I'm probably going to do something very similar here. And at the moment, I'm just working on the circles. And this small curved down here. I've done a spiral in this one here using the same color as what was originally used for the background. It gives it a little bit of detail and then I've added more detail by using the black Posca pen and going back in and using the ivory one again. And I just want to show you how this is, how I add detail on detail on detail. Now, as you can see here in this section here, this was greened. Start off with that green color there. I've used the maroon pen to then give me these stripes here. I've added some black dots. And now I'm going to go in even more and add some stripes here. So this is how it becomes very rich because you just keep adding detail onto detail, onto detail. And that's what makes the pattern very, very rich and very complex. Of course, you can decide how rich and complex you want to go. You might not want to do it just as much as I do. You might feel that that is a little bit too much for you as I said earlier on. Or you might like to just go for it and see how it feels for you. No right or wrong. I'm always saying that until no right or wrong way. Just your way. And in this case just my way. So this shows you again how we're adding that extra, extra detail to that. And I'm going to also just turn that around there because I'm going to add some little white dots in-between these black ones as well. Just to make that circle really show up. I'm going to carry on working on the circles and then I'll bring you back in again. Don't be too nervous about outlining something and using black because black can really give definitions something. Now this is a big curve to outline here. So I'm turning the page round as I go. And then I'm gonna stop, uh, two loops. I'm going to stop at a junction and carry on a bit further. Stop at the next junction. When I said junction, I mean the meeting of the colors. And take that round to there. It's a bit of a balance between not going so slow that you wobble like I did there, but not going so fast that you end up not being in control of it. I'm also going to give this one here, definition like that because that's just the way the pieces going right now. And I'm rather enjoying it. It's, as I said, very different. So the last one that I did, always make sure when you've got a pen like this that you can see in front of where you're going. Otherwise you'll end up taking the pen somewhere else. What do I mean by that? Well, let's have a look here. If I was to outline that e.g. I. Reach a stage here now where the pen is actually in front of my eye vision. So I'm having to guess now and I've already got I've already made the mistake there. Look where I couldn't see where I was going. So it's always worth turning your piece around so that you can you can see whereabouts you're out with it. If you're not sure about the marks that you're making, you can just try it out on the spare bit of paper that you've got there and see whether or not that's the kind of shape that you're after. Don't be afraid to experiment. That's what this is all about. Always about experimenting and seeing where your creativity takes. You. Mean that so simple, but it's so effective. I'll go into that in a little while with some white pen just to highlight those areas as well. But let's take a look in the next session at the final stages. 10. Wrapping it up: I've gone to one of my pattern books here. And as you well know, I've got lots of different pattern books. This one here is largely to do with flowers and circles. So I'm coming back into this just to remind myself of what are the patterns I've done in the past. And here I've got lots of different things which I can now start using for here. This one now I've just done this line here because of course I've, I've picked that one up there, which is great. You know, there's all sorts here that I can refer to. So I'm going to use this one here, particularly in this bit. So I'm going to add another color in the middle there. In fact, I'm going to add the pink. No, I'm not going to add the green pro-market to that. And I'm just going to go in like that. And then color the middle of that. Which changes that circled completely. And then I'm going to get my black plural marker. And I'm going to copy this pattern that I've got here in my reference book. And so this is where it really helps again, that if you've got your reference book Ni, if you've got your pattern resource book knee, then you can dip into it when you have a bit of a block and you think, I'm not really sure what I want to do here. So there we have a new pattern made. That, to be honest, I wouldn't have thought of today. But going into my resource book there, I can see it. I might do it slightly differently to what's in the resource book, e.g. I'm just going to outline that in white. There we go. That's better. And I think I'm going to outline this bit in white as well, or little dashes around the edge of it. When you've only got a few minutes to play each day, get your little sketchbook out, your little pattern book or whatever it is that you've created. And even if you wanna do a couple of circles are a couple of shapes. In 10 min. It's there and it's there for you to use as a reference at a later date, which is really great. I'm just going to keep going with this. I've already added some spokes of the wheel into this one here. So actually let's get that lovely big thick pen there and bring that into that one as well. So you can see here that I'm treating this patent paper quite a bit differently to the first one I did. That was hand done in the sense that instead of giving each shape a completely different pattern, I'm actually repeating some of the patterns. And that's really my attempt to keep it a bit simpler. But when I looked it actually it's probably not no simpler tool really, is it? That's probably just my wishful thinking because it's still is quiet, a complex pattern when I look at it. And that's how it's ended up. As I said earlier, I didn't have any idea in mind as to how this was going to be. And this is what's always the fun element for me to just let go and see what's going to come out of it. So I'm almost done here. The question now is, do I want to give these black outlines as well? I think I probably do actually, because I think that will just finish it off nicely. And then we can compare this version to the original version that I did and see how much they differ in whether they differ enough in the sense that that was my intention to try and make it a little bit different from the first one. So here you can see the two finished designs. And although they have the same original colors, before we start putting any any patent on it. I think the fact that I've treated it differently, I've defined the areas in quite a different way, I think does show a fair bit of difference in the two papers there. If I take that section there, which is the same section there, you can see that it's been treated in a very different way. If I put it together, that gives you an even better idea. So it's possible to get quite a few different looks from the same base color pattern. Um, once you've started putting in your extra details, I like them both as much. They're quite different. And obviously, I've used this one here. I'm as wrapping paper and wrapped up this small little book. I think it looks really nice. And to be able to add a little gift card and a bit of ribbon and give that to somebody knowing that you've created that wrapping paper. You've actually designed it and you've done it for somebody, I think is really rather nice. I mean, it's only an A4 size, so you could only perhaps get a small book or a CD in that size. But nevertheless, you know, you might even have a printer that prints up to where three sides, in which case you could print it bigger. Or you could even get in touch with your local printer and see if they would be able to print it a bit, a bit bigger for you if you so wish. So that's what I've used these for here, these these wrapping paper CFO. Just to show you a different colorway as well. On this one. What I did here was I took a photo of that sheet there on my iPad. It's linked to my MacBook, so it automatically comes up onto my photo feed. And my photo, I'm program on the Mac has an editing section to it and editing ability to it. So to be able to go into the editing software and just change the color. I'm by just playing around with the saturation and the hue is, I could come up with this colorway as well. So again, that's another way in which you can play with the same design. So one design, couple of photocopies, try different patterns on it. Go back into your design software if you've got any on your PC or your laptop and see what else you can come up and play with. I'd like to show you one more thing that I have also done with this paper here. Just as a little extra. 11. A little extra: At different points in the year, a friend and I get together to create well-being workshops. The day usually consists of some kind of body movement in the morning. Whether it'd be yoga or sacred dance or a combination of the two, which we then follow with a really lovely, nutritious lunch and show people how they can make really, really nutritious recipes. And then we follow that through in the afternoon by having this really nice art activity where people make their own card deck. And it's a card deck that is for affirmations. Now, because it would take too long for the participants to create their own decorative papers in the time that we have, we give them ready-made papers. But this is what I like to use my purpose for. So I've got quite a few of these card decks in one form or another. And it's just become a part of my weekly practice. I don't necessarily do it every day, but I specifically like to do it at the end of a busy day or at the beginning of a day when I know I've got some time to do it, to just set the tone for the day. And I like to put my affirmation cards around the candle that I've just lit and just be still for a moment. Come into my on-center, feel balanced and then intuitively draw one of the cards. Here. This one says, I am open to new experiences that will enrich my life. This is such a lovely thing to bring into your week, to have because it's your space and your time for you. Which is really important actually because we often are giving so much of ourselves to those around, is that it's really important that we give ourselves some time for us as well to feel nourished and to also increase our own levels of well-being. If this is something that you're interested in learning a little bit more about how to make them and also what kind of affirmations to use. Then watch out in the next few weeks for a short class that I'm gonna be running on this. In the meantime, I'd like to leave you with just a few final thoughts. 12. A few final thoughts: So why am I so fascinated with pattern? There's something about pattern that really touches me deeply. It connects me to something that's larger than myself. I've only got to look at this gorgeous book by Lori barely Cunningham patents of the universe to just see how abundantly nature provides us with pattern. If only we can stop and take the moment to have a look. This is what I mean about feeling connected to something greater than myself. I think that's it in a nutshell. That's why I love patents so much, because it just shows me when I look at these photos, e.g. how connected everything is. You might already know this for those of you that don't, color has its own frequency and vibration, just like a musical note does. So in the same way that you can listen to a piece of music and find it either uplifting or jolly well, irritating. Color can also have the same effect on here. Some colors at the higher end of the spectrum vibrate faster than colors at the lower end of the spectrum. So reds and oranges, e.g. they vibrate at a much slower rate. And the colors up at the higher end of the spectrum, such as violent and indigo, they vibrate at a higher frequency. Now, depending on what mood you're in any given time, these will have a different effect on you. E.g. if you're not feeling great or you're feeling already irritated, and you end up immersing yourself in the color red. That will just make you feel even more irritated and possibly even angry. On the other hand, if you're feeling very low in energy, very tired and sluggish, then wearing something red, e.g. are playing with the color red can actually have an energizing effect on you. This is how important color is in our lives, whether we're conscious of it or not. So I hope that's given you a little bit of food for thought. You know what? Because I don't get to see you in person and really be there with you, encouraging you. All along the way. I'd love to see your class projects because that's the way that I get to see how you're doing. Please leave me any comments or any discussion do you want to have? Because I will answer them. And i'd, I'd just really like to see how you play with color and pattern yourself. Do press the Follow button at the top if you want to just keep up to date with it which classes is coming up next. And until then, I hope you stay well. And I'll see you soon.