Drawing Is Important: Develop a Sketchbook Habit in 30 Days | Tom Froese | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Drawing Is Important: Develop a Sketchbook Habit in 30 Days

teacher avatar Tom Froese, Illustrator and Designer

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

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.



    • 2.

      About the Class and Project


    • 3.

      Lesson: 4 Reasons to Draw Every Day


    • 4.

      Lesson: 3 Pain Points of Daily Drawing


    • 5.

      Lesson: The Power of The Plan


    • 6.

      Lesson: Some Starting Points for Beginners


    • 7.

      Project Step 1: Make a Plan


    • 8.

      Project Step 2: Do the Drawings


    • 9.

      Project Step 3: Share Your Work!


    • 10.

      Wrap Up and Thank You!


  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Drawing is Important! Whether you are an illustrator, artist, or just looking to tap more into your creative voice, this class will give you unique tools to start drawing every day. Join Top Teacher, Mr. Tom Froese, as he guides you through setting yourself up for success in a 30-day daily sketchbook challenge. Along the way, you’ll learn strategies for staying motivated, as well as some practical tips for including sharing your work on social media.

The Purpose of this Class

To help you kickstart your own daily drawing habit

What You Will Learn

  • Strategies and starting points for keeping a daily drawing habit
  • Discover how YOU draw
  • Breaking through creative block and self doubt in your drawing
  • How to Plan your drawing habit around what inspires and works best for you
  • How to capture and share your drawings so they shine online and on Social Media
  • See Tom's current sketchbooking process, using Uglybooks and Posca Paint Pens, from start to Finish!

Who This Class Is For

  • Anyone who wants to start drawing every day, from very beginners to seasoned professional creatives and artists
  • No drawing experience or special talent is necessary
  • Come as you are with what you have — and you will grow!

Class Materials

  • No special materials are required to START this class
  • You will have a chance to define what YOU want to use as part of the class project

Materials I Used in This Class

What's with The Awkward Shirt?

You can join my army of Awkwardians. Buy the shirt over at Cotton Bureau. Available in many shapes and sizes.



Uglybooks features heavily in this class. It is because of Uglybooks that my daily drawing habit really blasted off again. Drawing in Uglybooks has been a huge inspiration for this class! Andreas and Jon at Uglybooks have been kind enough to supply me with a bunch of sketchbooks to give to some of you. Stay tuned for upcoming promotions. 


Title Stock Video Credits

  • Rodnae Productions (Man with glasses drawing at table)
  • Deeanna Arts (Colourful sketchbook in urban setting)
  • Arthouse Studio (Woman sketching flowers)

Meet Your Teacher

Teacher Profile Image

Tom Froese

Illustrator and Designer

Top Teacher

Tom Froese is an award winning illustrator, teacher, and speaker. He loves making images that make people happy. In his work, you will experience a flurry of joyful colours, spontaneous textures, and quirky shapes. Freelancing since 2013, Tom has worked for brands and businesses all over the world. Esteemed clients include Yahoo!, Airbnb, GQ France, and Abrams Publishing. His creative and diverse body of work includes maps, murals, picture books, packaging, editorial, and advertising. Tom graduated from the Nova Scotia College of Art & Design with a B.Des (honours) in 2009.

As a teacher, Tom loves to inspire fellow creatives to become better at what they do. He is dedicated to the Skillshare community, where he has taught tens of thousands of students his unique approache... See full profile

Level: All Levels

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Trailer: Drawing is important. [MUSIC] Whether you're an aspiring illustrator or artist, or you're just trying to tap more deeply into your personal creativity, this class will give you unique tools to start drawing every day. My name is Mr. Tom Froese. I'm an illustrator and top teacher on Skillshare where I've helped over a 100,000 students on hustle world of commercial illustration. Over the last decade or so, I've worked for hundreds of clients around the world, including Amazon, Yahoo, and Airbnb. I don't think I could have gotten to this point without having first built a habit of drawing and sharing that drawing every day. What if there was a way that made it easy to draw every day and not just doodle here and there but really draw intentionally and thoughtfully every day. In this class, I'll show you how keeping a daily drawing habit can be far easier than you might think. The secret is in making sure you have a plan before you start. In this class, I'll guide you through setting up a plan that's perfect for you and share some tips and tricks for how to keep your drawing habit going. You'll also learn how to include sharing your work as part of your practice so that you can start building an audience of fans and friends and really open up a world of possibility. For me, drawing every day and sharing it with my growing audience has always been a huge part of my creative practice. It's been how I've developed my creative voice and it's been a way to connect to others in a meaningful way over our shared love of art. Whether you're a professional artist or trying to grow in your creativity, daily drawing is so important. I hope you can join me as I show you how to develop this powerful habit in your own life. I'll see you in class. 2. About the Class and Project: [MUSIC] This video outlines everything you need to know about the class before we begin. The purpose of this class is to help you kickstart your own daily drawing habit. In this class, you're going to learn strategies and starting points for how to start and keep up a daily drawing habit. This is not a drawing class, it's not to show you how I draw or anything like that, but to help you discover how you draw. The most important part of this class is really coming up with a plan based on what inspires you and what works best for you. This class is for anyone who wants to draw every day, but needs a little extra motivation and perhaps some inspiration. Now, I typically teach aspiring and professional illustrators, but this class is for all levels. There's no drawing experience necessary, this is about showing up no matter how good we think we are. This class is divided into two main parts, the lessons and the project. The lessons are designed to help build an understanding of how I approach sketchbooking or daily drawing in this class, and also in my own practice. The project is where you get to put what you learned in the lessons into practice. I'm going to walk you through making a 30-day plan that's perfect for you. I'll also give you a demo of my current daily drawing process, which is drawing obscure, retro objects using ugly books and Posca paint pens. I'll also show you how I go about sharing my daily drawings on social media. In terms of equipment, the most basic supplies are going to be some physical sketchbook and something to draw with, it doesn't have to be fancy. It can be as simple as a sketchbook or a stack of plain paper and whatever pencil you have on hand. If you're interested in doing something different, perhaps using a different sketch book or different drawing tools, you're going to get a chance to determine that in the planning stage of the class project. I do recommend using a physical sketchbook and physical drawing materials because this class is about getting your hands dirty and trying new things and maybe getting a bit out of your comfort zone, but also finding it again in surprising ways. For sharing your drawings on the class projects page and on social media, all you need is a smartphone to shoot, edit, and post photos of your sketches. Again, in my demos, I'm going to be using a scanner to capture my drawing and Photoshop on my Mac to make some edits. By the end of this class, you'll have learned how to think about daily drawing in ways that help you overcome doubts, discouragement, and lack of motivation. When you finish your project, you'll have 30 days worth of drawings that focus on working out one specific subject matter and one specific technique. At the end of the 30-day project, my hope is that you're going to find it hard to stop, and that you're just going to want to keep drawing every day. Of course, as we go, be sure to share your process and your project on the class project's page from writing your plan right through to the last drawing of this 30-day challenge. As you go, be sure to use the discussions page to ask any questions or share any discoveries or insights that you have along the way with the rest of the class. Now, it's time to move onto the lessons. [MUSIC] 3. Lesson: 4 Reasons to Draw Every Day: In this lesson, we're going to talk about four key reasons to have a daily drawing habit. Now, you may already be convinced, but keep these things in mind as you embark on the project. The first really good reason to have a daily drawing habit is that making it a [NOISE] part of your routine ensures you'll actually do it. You'll actually draw more. Last year, my daughter wanted me to teach her how to draw, and as we got going, I really felt out of shape. I was really rustier just drawing from life. I had this sense that she wasn't super impressed by my drawing ability given that I'm a professional illustrator, maybe she expects more from me. As a commercial artist, I hang my hat on being a bad drawer who can illustrate anyway, but I also know that there's more to my talent than I give myself credit for. I wanted to be more inspiring to her, so I decided to go back to drawing every day and sharing on my then neglected drawing is important account on Instagram. I set an easy goal of drawing for five minutes from life each day. That was about as much as I thought I could commit each day given other responsibilities that I have. My daily drawing goals and processes have evolved over the past year. For instance, it's moved from a five-minute feeling of obligation like I should draw, I need to do this to something that I'm really excited to do every day, it's more of a sacred ritual for me. The second really good reason is that you're going to grow [NOISE] creatively. As I rebooted my daily drawing habit this year, part of my goal was just to get better at drawing realistically from life. In terms of growing creatively, it was more on the technical side of things. That's the goal that got me into drawing every day, but after a few months, I was invited by ugly books to try drawing in their colored paper sketchbooks and to share some of that online. Pencil didn't show up so well on the colored paper, but I did have some paint pens lying around, and those work to great. I'd seen others doing this drawing on colored paper with paint pens, and as I started to do this, my technical goals of drawing realistically from life just fell by the wayside. Now, in my journey this year, I've gone through a few phases like drawing from life, and then I did these things called word salad, but at a certain point, I ended up withdrawing from this old catalog I have lying around, and I've always seem to find inspiration from this thing. It's weird, but this became my music, became my source of inspiration for what to draw every day. That's just a little snapshot of how I've grown creatively just from thinking, I wanted to draw more realistically to this point where I'm drawing in a totally different way now and I'm loving it. By drawing every day, I've been on this constant path of trying new things, landing on them for a while, and then moving on to new things. Lately, like I said, I've been dwelling on this current theme of mostly drawing objects from my catalog and using Posca paint pens, but who knows what's next? As long as I'm drawing every day, I'll constantly run into new things I wouldn't have otherwise, I'm going to be constantly growing. The third really good reason to keep a daily drawing habit is that you're [NOISE] going to discover your voice. Although it's been on and off over the years, my practice of drawing and sharing started a long time ago. It started while I was in art school, that was over 10 years ago. When I was inspired by daily drawing artists like Lauren Nassef, Wagonized, and put my own unofficial mentors at the time, Kate O'Connor and Ray Fenwick. I had already been journaling a lot using more scheme, plain paper notebooks, and a mechanical pencil, so I just went with these tools as I embarked on my little daily drawing and sharing habit for the first time. At that time, like many new illustrators, I was trying to figure out my style and my technique of illustrating. I was inspired by Lauren Nassef's blog drawing a day to digitally combined color into my drawings. I pretty much imitated her blog, I imitated her style in a sense. It didn't matter, I was learning and growing, and through this practice of imitation and just doing it every day, I developed techniques that became my own. Over time, these became part of my early illustration style, and to this day, I still use many of those techniques that I developed then. Now, the fourth really good reason to draw every day and share is that you [NOISE] become discoverable. Well, drawing every day for all of the aforementioned reasons is enough. If you want to become discovered by others, it's hard to imagine a better way than sharing what you draw every day. One observation I've made is that almost all known illustrators working today started by making [NOISE] and sharing in a daily project. This is certainly true for me. Some of my first paid illustration jobs came from others finding my drawings online. It wasn't enough that I was drawing every day or learning to do this in a more consistent and focused way, those things are really important, but I had to put it out there, I had to share. If you feel you're too early on in your development to share another observation I've made is that many illustrators who later became successful started sharing before they were ready. If you look at their earlier work that they shared, it probably looked more raw and [MUSIC] less confident, but over time, their work shows this clear progression toward something more confident and well-crafted and unmistakably theirs. Sharing your work, especially online does make you vulnerable, but it's only by standing up on a stage and singing out loud that you'll have any idea of what you're really capable of. Sharing, whether on social media or just in a class project can be hard for some of us, but it's one of the best ways to grow. 4. Lesson: 3 Pain Points of Daily Drawing: In this lesson, we're going to look at three challenges of drawing every day and three antidotes to help overcome them. The first challenge is not knowing what to draw. There's this thing that I call the inspiration gap. This is where we feel this huge surge of creative inspiration but then when we sit down to actually make something, we come up blank, we have no ideas. With our pencil on our hand we ask, what should I even draw today? When it comes to daily drawing, the antidote to this challenge is to know what you're going to draw ahead of time. As part of your project plan later in the class, you're going to have a chance to choose a source of subject matter for each day. That might be a list of prompts based on a topic you're interested in, such as maybe 30 days of Halloween and then each day you can have a list that you've already written with different Halloween inspired objects. As an alternative to a list of pre-written prompts, would be what I call a go-to source of inspiration. This will be a collection of reference images, or a magazine, or an old family photo album, or maybe something you make up, like objects in my home that could fit in a shoe box. When you determine ahead of time, in your plan, what your source of ideas for each day's drawing will be, you'll spend a lot less time worrying about what to draw each day and more time drawing. The second challenge of a daily drawing habit is not liking what you draw. This is a hard one because it's bigger than a daily drawing habit, this strikes at the heart of our confidence as artists. Many of us feel insecure about our ability to draw or to make images that we like to look at and think other people will like to look at. Of course, daily drawing is a great way to start overcoming this lack of confidence head-on, we get better by drawing every day. But along the way, it can still be discouraging. How can you enjoy the process of getting better even as you struggle to see the growth you're hoping for? Well, the antidote to this one is to change what your goal is for each day's drawing. Rather than making it about the quality of the drawing, about whether you like it or not, set what I call a quantity-based goal. This is something you know you can meet each day. A quantity-based goal is usually time-based, but it could also be about filling a page. You might choose to draw for five minutes and if you've drawn for five minutes, you can say you did the drawing for the day, or if you filled a page of your sketchbook with whatever it is you're trying to draw, you did your quantity for the day. If you said you'd draw one object and you draw that one object, however you feel about your drawing, you can feel satisfied that you spent the amount of time trying to do it. That really counts, every time you get to the page and draw something with effort, that counts and you will grow from that. The best thing about a daily practice is that, you're going to have another chance at bat tomorrow. You may not like what you drew today, but you know you're going to get another chance tomorrow to do better and so on. The third challenge to drawing every day is losing motivation. We all start off with good intentions, but it's really hard to start a new habit if it's not part of your usual routine. I think we can all relate to this experience. We begin inspired and excited, but this quickly fades as it starts to feel like work. When we don't see the outcome or progress we're hoping for in our daily drawing, we'll get really discouraged and as life gets really busy as it does, drawing won't seem like it's a big priority. For this motivation challenge, I have three antidotes and surprise, they also really come down to just having a plan. The first antidote is to have a bigger purpose or goal in mind and to know how drawing, specifically, is going to help you fulfill that goal or that purpose. The second antidote is to set a sustainable schedule. This means planning how long you're going to draw for, how often, and as with this project, how many days you're going to do it for? The third antidote to the motivation problem is to include sharing as a part of your habit, sharing as a way of declaring to the world your intentions and that's going to make you feel more accountable to actually go and do it. I understand that standing up on a stage and feeling like you're going to make a fool out of yourself isn't everybody's favorite thing to do, it's not for everyone. But personally, I've always been driven to make things by imagining I have some audience, I'm communicating to specific people and I also imagine that they're waiting for my next host, they are waiting for my next piece to show up. Sharing my work online makes this imaginary audience, a little less imaginary. 5. Lesson: The Power of The Plan: The most powerful idea in this class is the plan. A plan gives us a starting point and a strong sense of direction as we show up to draw every day. Without a plan, [LAUGHTER] many of us are going to struggle to know what to do each day. In the class project, you're going to get a chance to design your own plan and that's going to serve as your guide for the remainder of the 30 days. In this lesson, we're going to go through the five key elements that go into this plan. The first element is your purpose. We're more likely to keep up with a habit if we tie it to a higher purpose. Ask yourself, why do you want to draw every day? Abstractly, we know drawing every day is going to help us improve our technique and find our voice and stuff like that. But can you be more specific about any of these things? Which specific techniques do you want to improve on? When it comes to expressing yourself or drawing in your art or finding your voice, what do you wish you were better at? Some examples of purposes you might have if you're drawing every day might be to practice drawing from life or to practice being more spontaneous and free in your drawing style, or maybe it's to document a recent trip through drawing that could be a really cool purpose. Another purpose might be drawing from memory. By setting a purpose in your plan, you have a reason to show up every day. You know why you need to draw every day. It's because if you don't, you won't be able to do X, Y, or Z that is important to you. The second element in the plan is media. Your media includes the tools you'll be drawing with and your chosen sketchbook. Now for this class project, you may already know exactly what you'd like to work with, but maybe you don't, maybe you're still wondering what you should choose to actually sketchbook with. You might be wondering if there's a right or wrong type of media for daily drawing or for sketch booking, and of course, the answer is no. It's merely up to you what you draw with, whatever works best for you. But of course, the next question is, if there is no right or wrong and it's totally up to me, how do I choose? How do I know what sketchbook or tools to even start with? When it comes to actually choosing your sketchbook or your drawing tools or whatever those are, I think you can really approach it from one of two angles or a mix of the two. The first is technique based and the other is subject based. You can choose the tools or technique that you want to develop and then buy your tools accordingly. Or you can choose a subject that you are interested in and want to explore more and study more, and then choose tools that might be really good for that subject. Just a quick example of each. Let's just say you want to get better at using watercolor. This is a technique you want to explore. Then you would get watercolor paints, of course, and then a sketchbook that can handle watercolor like all that wet on the page and stuff like that. That might be a mixed media sketchbook or an actual watercolor sketchbook. Now on the other hand, if you want to explore subjects, say like urban sketching, I think a popular media type for urban sketching is pen and ink because it's flowy, you can get a lot of interesting lines. This would also be the same for if you were interested in doing life drawing or figure studies in your sketchbook every day, then pen and ink is great for that. In this case, your subject really drives the tools and techniques and of course, the sketchbook that you're going to need in your daily drawing practice. If you're stuck on the media element of your plan, set it aside and come back to it later when you have other parts of your plan filled in, especially purpose and subject. The third element of your plan is schedule. Within schedule, we're going to be setting these three parameters that I call scale, frequency, and period. Scale is about how big your effort will be every day. That usually comes down to something that's time-based. But it could also be about how many pages you fill in a session or how many objects you want to draw in a session. I would say for this one, don't be overambitious. Set a scale that you know you can manage even on a really busy day. Maybe that just means keeping it to 5-10 minutes a day or you plan on drawing on one page of your sketchbook. Small, consistent efforts will always outpace well-meaning but overly grandiose intentions. The next element of your schedule is frequency. How often are you going to show up to draw? For the class project, I'm challenging you to a period of 30 days because a month is long enough to be challenging, but there's definitely an end in sight. Folk wisdom says that it takes 30 days to establish a habit. There's a really good chance that after 30 days, you'll actually want to keep going, and will be easier. [MUSIC] My hope is that ultimately, you will want to draw every day for the rest of your life. You'll set the period of your daily drawing habit to forever. But like New Year's resolutions, if we over-commit, we may just stop at the first sign of difficulty. I'd say prove to yourself you can do it for 30 days first and then when you get to that 30th day, you can assess whether you want to keep going. Just one more thing while we're talking about setting a sustainable schedule, I find it helps to dedicate a specific time of day to your drawings, like maybe just before you start work or during your lunch break. It may also help to draw in the same setting as well to get you into that specific frame of mind. Maybe that's in your workspace or at the breakfast table, or on the subway on the way to work. The fourth element in your plan is the subject. The subject is your source of inspiration for what to draw every day. Choosing a subject ahead of time is one of the most important parts of this plan. You want to avoid spending too much time just trying to decide what to draw each time you show up to draw. In this class project, I'm suggesting that you draw only from observation or what I call O-mode. That means drawing from references or from life, and it also means drawing things, nouns, these are things that you can see with your eyes and touch with your hands from photos or from real life. While I would never want to discourage creativity, for this exercise, I am recommending that you avoid purely imaginational drawings just stuff from your head because part of the problem this class and this plan is trying to overcome is creative block or that inspiration gap that I talked about. It's that I don't know what to draw. When you have an externalized source of inspiration, something like tangible, something that's out there, there's no idea to come up with, you just draw the thing. When it comes to choosing your subject for your daily drawings, there are really two possible approaches, and these really come down to prompts and what I call a go-to inspiration source. If you're going with prompts, you would choose a theme or a subject and then list 30 things about that theme that you can draw. If your theme is downhill skiing, you're going to make a list of 30 prompts of objects like hat, boots, skis, chalet, snowman, and stuff like that. If you don't want to do pre-written prompts, you can use a go-to inspiration source. That means just choosing a specific source of inspiration such as objects from your home and you can be really specific. You can say objects from home that fit in a shoe box, or maybe a book with pictures of different species of trees. Or in my case, my go-to source of inspiration is an obscure Canadian mail in order catalog from 1974. Creative block really comes down to not knowing what to draw in a given moment. When you draw things and you know ahead of time what those things will be, you're going to be way less likely to experience creative block. By the way, drawing from references doesn't mean you have to draw realistically. If your goal is to draw in a more stylized and less realistic way, then give yourself lots of room and permission to really push the limits here. Lastly, the fifth element of your plan is sharing. This is how your work gets seen. Whether you're an aspiring illustrator trying to be discovered, or you're in this more just for the personal and creative growth side of things, I think we all crave an audience of some kind. Sharing includes getting your drawing into a digital image and then having a consistent place where you share it. Being consistent in both how you capture your work and where you share it is key to building an audience. In my life, daily drawing and sharing go hand in hand. I'm way more motivated when I imagine an audience. This makes me feel like people are expecting the next thing for me. [NOISE] Sharing also makes me think more about how what I'm drawing might be understood or related to you by others, which as a visual communicator, is very important. If sharing motivates you in any of these ways you're going to want to think about where you want to share and what might be involved in getting it up on that platform. When planning for sharing online, you want to consider what will look best for your chosen platform. You can ask yourself things like how you want to capture your work. How you are going to get that physical drawing or sketch into digital form? Then what formats does your chosen platform prefer, like what shape should the image be for instance? So far I've found that Instagram is the most obvious place to start. That means we're probably going to be working with a square format. Now, like I said, Instagram is just an obvious starting point for a lot of us, especially if we have an account and we have some kind of an audience there already. But there are other options such as newsletters, blogs, or maybe even just sharing on a closed Facebook group. If you're interested in sharing somewhere other than Instagram, I'm going to leave a list of alternatives in the Class Projects and Resources page. 6. Lesson: Some Starting Points for Beginners: [MUSIC] For those who might not have very much experience in drawing, I wanted to fit this quick lesson in to help give you some more ideas as you go into the project. These are technique-based starting points, and I welcome you to start with these and customize them however you'd like. As am been through these starting points, I'm going to do my best to relate them to four of the five elements of the plan, including purpose, media, schedule, and subject. As for the schedule part, of course, the frequency is assumed to be every day and the period will be assumed to be 30 days. But you can set the scale, frequency and period to whatever works best for you. Just a note about subject, whatever you're going to choose, keep it to simple, tangible objects like pineapples and cats, rather than abstract ideas like words like happiness or whining. When you're already having trouble coming up with ideas, you're probably not doing yourself any favors by having to think of a way to visualize invisible concepts. If you're interested in using one of these starting points for your project, I'm going to leave them as a downloadable PDF in the class projects and resources page. [MUSIC] This one is called draw what you see with a good old HB. In this one, you just draw for five minutes. Well, this is an HB, it is a mechanical pencil. But if you just have a wooden pencil that works as well. The point is you're using a basic plain paper sketchbook and a regular pencil, and you're drawing something that you see in real life or in a photo. I've chosen these scissors from my [NOISE] stationary here. I'm just going to draw these. I'm going to set my timer to five-minutes and see how far I can get. For me, the point or maybe a purpose of drawing what I see, drawing from life in this way would be to be able to draw more realistically. I think that's a good purpose for this kind of drawing. But along the way, I just enjoy this kind of drawing because it forces me to pay more attention to things, objects that usually are just part of the background. I don't really have to look at them. Even if I'm using them, I don't really observe and notice, and appreciate the details of what they are. Yeah, just going with drawing in this way can be a meditation, I suppose. It does feel meditative for sure. This drawing where I'm tracing, almost tracing the contours of the object is literally called contour drawing. I'm drawing the contours. I'm not really expressing the object in terms of shading, certainly no color. It's tempting sometimes to just get right into filling something in, and shading because it's so satisfying. But I've gotten in the habit especially when I draw from life of almost tracing the contours of what I'm seeing. If you're interested in learning to draw more from life, drawing realistically, drawing proportionally, drawing complex objects, perhaps even like hands in a more representational way, a book that changed my life early on was called Drawing on the Right Side of the Brain. I talk about this book a lot, it's by Betty Edwards. The premise of the book really is that you have these two sides of the brain, you have the left side, which is analytical and symbol based and word-based, and the right side of the brain is more spatial. Whereas your left brain wants to use symbols like handles, blades, scissors than the more spatially aware right side of the brain is going to be better at just describing forms that you see, not what you think you should see or what you think the symbol of that thing is. One of the ideas in the book is that in our culture we're really left brain dominant, very analytical, very rational, very logical. We haven't trained our brains to use the other side, which is a little bit more, being able to actually look at things and describe shapes. That book really helped me understand how to get into a mindset where I could draw something and get away from trying to draw what I know it is and just drawing the more abstract shapes that a thing is. I mean, scissors is actually a good example of that, especially when they're open. Because we tend to just feel like we understand what open scissors look like. But when you actually go to draw it, you realize that there's lots of details and angles that you'd never had noticed before. My drawing is far from perfect, but I wouldn't be able to draw any of this from memory very well or from my imagination just by deducting, just by using logic to say this is what it would look like. There is quite a lot going on here that I am not usually aware of. My timer is going off and I can just say I'm done. I did my five minutes of drawing, and if I was in a hurry, I'd be like, good, it's over. I just want to move on to the next thing or if I had another few minutes, I might just try and finish this a little bit more, add some extra details, whatever it is. But for today, I'm just going to put the date on it and how long I spent doing it. Like I said, this is called [LAUGHTER] draw what you see with a good old HB. [MUSIC] This one's called Posca plus Uglybook. In this one, you're going to draw a simple object on one page, or spread of your Uglybook. This sketch book is called an Uglybook. It's the one that I've been using a lot lately. It's the one that I do in my demo of this class. I just wanted to offer this as just one possible starting kit. If you're looking for some new media to try in your daily drawing exercise. We've covered the Uglybook. Posca paint pens. These are basically markers, but instead of ink, they actually have literal paint in them. Paint is opaque. It goes over other colors in a solid way. Colors don't really bleed through them very well. For this, I'm going to draw the scissors again. Maybe this time I'll do them open. I'm going to set my timer and try and just do five it in minutes. I'm going to try it before I use the paint pens just to add a little bit of a under sketch with my pencil. That will just help me be more confident when I'm going to put in the more permanent paint pen. Now in this one, because realistically my goal is actually to draw not realistically, I'm letting myself be a little bit more wonky here than I was when I was just drawing with my pencil in my plain paper notebook. I'm doing some weird stuff here. Yeah, I'm just [inaudible] some crazy things are happening here. [LAUGHTER] But I'm just going with it. If I don't like my pencil sketch, I don't have to worry too much about that. I can go right over with my paint pen. Now, it's going on a little bit too transparent, that means I haven't [NOISE] shaken yet. Paint pens, you really want to shake these out first. If you can dab it, gets it pumping down from here into the nib too. Now with Posca paint pens, you don't want to color over, over and over again in layers as it's still wet because it will start building up gunk and shredding up the paper too. I'm already shredding up the paper and building up gunk as I'm doing this, I try to just go over once and almost like a printer fill it in without going over past lines. Drawing with these markers does take actually quite a bit more time than five minutes, usually just because of the drying time and because in my case, I'm drawing a sketch and then I'm going over with the marker or the paint pen. I'm going to now jump into using a different color. I would normally want to wait for that white to dry before going over it. But within this five-minutes, I might not have the luxury of time there. Yeah. You can see it's really picking up the white turning into pink. In the actual demo for the project, you'll see me waiting for this to dry a little bit more patiently. This white got a bit more of a chance to dry. It's not bleeding quite as much. Maybe for this, let's just that, we have about 40 seconds left. I guess for this part here, I'll just add a white dot and there are some scissors. You can obviously spend as long or short of a time as you want making your drawings. I actually spend up to an hour doing my drawings in this style most mornings. That's just a little bit more of a relaxed pace and more satisfying for me. But, this is also a fun challenge just to see how far you can get within a very limited time. Another thing about when you draw over color that hasn't dried, that bottom color will get onto the nib and then affect the color negatively. Anyway, this was five minutes. Whether he put a date or how long you spent on your drawing each day, that's your call. [MUSIC] [MUSIC] This one is called expressive cutouts. If you've taken my odd bodies class, you're going to be familiar with this exercise. Without using a pencil first, using scissors, draw simple objects by cutting them out of colored paper. It's funny that I've been drawing these scissors with my pencil and my Posca paint pens, but now I'm going to be drawing with the scissors. It's the same rules here, but we'll just do a different subject. Maybe my subject here will be something observational. Is it a jar with pens in it? I'm going to draw my mason jar [NOISE] just by cutting it out of paper. It's basically a collage exercise. Again, I just set my timer to five minutes. Now I need to add another element to this. If you have different colored paper that works, I didn't have [LAUGHTER] a whole bunch of different colored paper where I'm right now. But I do have this type specimen book. I wouldn't be cutting this beautiful thing up if I hadn't already started cutting it up sometime ago. I'm just going to [NOISE] use it and pretend that it's not breaking my heart to do this because it's very lovely little book. In this case I'm not trying to cut out shapes of [NOISE] what I see here and use these as my drawing, I'm just using it for the color, and the texture maybe. For this, I'll draw a pen that work. You definitely can use the whatever's on the printed paper. If you're using something that's already been printed on, in a clever way. I'm challenging myself to just use the paper as color and texture, and see what I can do with that. [NOISE] This one will be a pencil. Again, I'm not planning how I'm drawing these right away. It's a nice little constraint. I am not doing any sketching ahead of time and assembling this all physical materials [NOISE]. There's a pencil. Now I hope you can forgive the fact that I actually don't have glue on hand here. But a simple glue stick or school glue would be perfect for this. You don't need anything fancy. [NOISE] Little eraser bit there. I'm actually really loving this exercise right now and it's going to be hard to stop. [NOISE] I might go back in, and edit this pencil. This reminds me so much of how I started illustrating way back in the day using Photoshop. I would basically do cutouts like this, but just using the pen tool [NOISE] and it was a huge proud of myself for a long time before I started getting more comfortable using like the iPad Pro as a tablet, and stuff like that [NOISE] this is fun. You can see you can actually get quite a bit done in about five minutes or less even in this technique. I think the reason for that is that we're not planning a lot. We're just improvising and going along, and not being too fussy. Now, [NOISE] you could probably spend hours doing this depending on how meticulous you're going to be [NOISE]. I'll be done after this cut [NOISE] there we are. A pen like this and a pencil like this. Did that in about five minutes, not including gluing time. Again, when you're done, you could write down the date. How long have you spent on it or whatever else you want to [NOISE] add to your page. I really liked that one. I wish that this whole class is based on this now. But moving on. The purpose here is to be more spontaneous, to really get outside of being careful with the pencil and to just see what happens and have a lot of fun. I really did find this one to be my favorite in terms of just getting out of my head and trying something new. It all depends on your subject to if you were trying to draw what I'm drawing in my silly catalog with my own drawing practice using just cutouts, I think that's going to be a challenging match. I don t think it'd be a very good match for me to say, try and draw a toaster, or a patio umbrella, or a fishing rod or something like that that I've seen in this [NOISE] catalog. The details of those things and the nostalgia of most of those things may not translate well in this particular technique. I think that's really just one of the many benefits of picking a technique to focus on in your daily drawing and really get a sense of what are the limits? How can you push them? What are they good at? What are they bad at? Then after a time, you can try a different technique and see how that [MUSIC] handles the same or different subject matter. This one is called contours with a Sharpie. In this one, you're going to draw your hand. Your probably your non-dominant hand or one of your bare feet 30 times in a simple contour style. Now, I actually would recommend that you use a paint pen rather than a Sharpie. Because when you draw on [NOISE] most kinds of paper with a Posca paint pen, it doesn't really bleed through. You can see it's come through a little bit there, but that is not bleeding through. Just you can see the black feudal lighter page. Sharpies, as you probably know, would bleed right through this very thin paper. But the point, I'm using a sharpie or a Posca in this exercise is that you have a pretty broad point when you compare it to something like a mechanical pencil or even a regular pencil. That just helps you not get caught up in details. You really can't get too detailed. Why don't we just set the timer to five minutes and I'll start drawing my hand in a loose fist here. This is a lot like the first drawing exercise I showed you with my pencil in this notebook here. But this time it's just a much more rudimentary tool. This drawing is called contour drawing, just like we're doing with the pencil. What you're doing is describing [LAUGHTER] your subject just by its contours and a few extra little details. Try not to go back over or loosely sketch things in you might if you were doing an under sketch for a more elaborate [NOISE] scene or a character sketch, or something like that. You really just want to keep the pen moving. Now I have to move my arm here to make room so I can see this. The purpose of this drawing exercise would be to be less detailed in my drawings, to describe more with less, and of course, to practice a little bit more spontaneity in my drawings, and not being as tentative. I'm trying to be more confident in how I draw. Because a part of me that's really wanted to correct things about this that I think are awkward. But I also love how naive and awkward [LAUGHTER] drawings like this can look. There's an expressive look to it, but there's also just a lot of character and I love that. This is where as we have well over a minute left, I could probably ruin this. Not that this is precious, but in itself it's actually fine. I don't think I'd want to add much more to it. Otherwise, it's going to start looking tortured [LAUGHTER] and overworked. But what I might do is just add something a little detail like my bracelet. Do I add my watch? If you overwork it, if you regret what you did, if you made a mistake, if you have time, do another drawing, but if you don't have time, just just leave it the next day you can try to avoid whatever mistake you thought you made today. I'm going to say that's done. I have a minute left, but I don't want to do anything more here. Let's give it a date. That was actually like 3.5 minutes. Voila. In five minutes with the drawing contrasts with a Sharpie exercise, [MUSIC] I could have filled the whole spread, but I ended up just filling one page. This time my quantity goal was very much time based. What can I do within five minutes? Of course, these are just a few possibilities. For inspiration. I recommend you look up the hashtag, [NOISE] Sketchbook or [NOISE] daily drawings on Instagram for more inspiration of just what people out in the world are doing, or look to the growing number of student projects in this class. 7. Project Step 1: Make a Plan: [MUSIC] It's time to start your 30-day illustration habit, but not so fast, we have to start with a solid plan. In a sketchbook or on your device, fill out your own plan based on the power of the plan lesson we went through earlier. I just want to remind you that, you are coming up with the sketchbook and drawing tools and stuff you're going to be using now. That's going to be part of your plan, you don't have to have those things right away. You may end up choosing different media than you actually have on hand right now, for your actual project and that includes your sketchbook and your drawing tools. Again, don't worry about having the right tools to start at this point. For my class project plan, I wrote it out on my iPad, now, I won't be doing my class project on my iPad, I'll be using my ugly books. This is what I'm using for the demo and have been using for a long time. But it really doesn't matter where you write your plan to start. You could write it in a sketch book that you already have, you could write it on your iPad, you could write it on a sheet of paper, you can write it on a napkin. The important thing is that you write down your plan, you think about it and you keep it. You keep that handy so that whenever you feel like you've lost your sense of direction, you can always refer back to it and that will keep you on track. For my 30-day plan, I just went into Procreate and I drew right at the top, My 30-day drawing plan and then I wrote the five elements here, purpose, media, schedule, subject and sharing. For purpose, I wrote, to explore new drawing techniques and as a secondary purpose, I wrote, to stay inspired as an illustrator. For media, I just wrote down the sketchbook I plan on using, which is a 4 by 5 and 3/4 inch ugly book and Posca paint pens and some pencil. You can fill in that as much as you know, and if you don't know, you can be more general like just a plain paper sketchbook, and pencil or whatever it is that you think you'll be using. For schedule, I just wrote down what I think is a sustainable schedule and that includes of course, my scale, my frequency and the period. Scale is one spread, so by that, I just mean, when I opened my sketchbook, this is a spread. You could do one-page. I've decided to fill a whole spread. I really like sprawling a sketch across two pages. There's something very satisfying about that. For frequency, I'm already doing it for five days a week, so almost every day, so I just wrote down every day Monday to Friday. Then for period, well, I'm cheating because I'm already doing this project. It's ongoing, so I just wrote a little infinity symbol there because it's ongoing and I don't plan on stopping anytime soon. But in your schedule, if you're doing just the 30 days and I do recommend that for this class you just keep it to 30 days, just write 30 days in there. If you ever want to make a plan in the future though, then of course these numbers are going to change. Now, as far as the subject goes, I've decided instead of doing 30 prompts that I write ahead of time, I just have a go-to source of inspiration and then I figure out each day from that source of inspiration what I'm going to draw. I have a little picture of it that I copied and pasted right into my class plan, something I can do is since I'm using the iPad here. This is the actual physical catalog that I draw from this is. What I use in my daily drawing habit every day. My sister Cat gave this to me a number of years ago, and for some reason it's always just been around and I've always found inspiration in it for some reason. Now, there's nothing inherently inspiring about this, but it's very nostalgic for me. It just speaks to this era that it's just before I was born, so a lot of the objects we're in my life growing up. I recognize the tense, the barbecues, the sports equipment, all these things like I would recognize these objects in my everyday experience, so maybe that's why I find this acme merchandise distributed spring and summer catalog from 1974 so interesting. Finally for sharing, I just wrote like, I mean, you could write as simple as I'm going to share this on Instagram or on Vero or wherever you want to share it. I put scan and edit on my Mac and share on Instagram, and then I even have my little Instagram account here, Drawing is important. Now, I wanted to just make a note here. I've decided to share on an account that's separate from my professional account. My main account is at Mr. Tomfros and that's where I post illustrations and things more related to my professional practice as an illustrator. When I started drawing is important, I wanted it to be something that was safe from that where I felt like I could just show up and make mistakes and be different, not worried about my style as much. If you look on that account at drawing is important, you'll notice that it's like if you keep going back. The styles changed the way I'm sketch booking change and that's okay in this context [MUSIC] That's just a little note that I added on there, but there it is my 30 day drawing plan. This is something that you are more than welcome to reference. I'll leave this as a downloadable file in the Class Projects and Resources page. After you make your plan, that can be the first thing you share in the class project. When you do that, feel free to include some samples of your references or your go-to inspiration source [MUSIC] 8. Project Step 2: Do the Drawings: [MUSIC] Now, if your plan in hand, it's time to get drawing. Now, perhaps you're starting a brand new sketch book and you're nervous about that first page. You don't want to start off on the wrong foot and mess up your nice clean sketch book. I sometimes find it helps just the mess that first page up on purpose, just to prove to myself that it's not precious. From my uglybooks I've taken to drawing on the cover. My running theme is just the number of whatever uglybook I'm currently on, this is one, this is seven, and I'm currently on Number 8. Remember you have a plan and now you can just cruise into it and not overthink things. Whatever you're feeling good or bad, push through and do the drawing. When the timer goes off or when you fill in the page that you said you'd fill in, you have permission to stop. If you're not happy with what you made you can always try again the next day. Remember, it's not about being happy with what you drew, it's being satisfied that you showed up and did what you said you were going to do. Now, just one tip that might make your sketch book more meaningful to you, if I'm really struggling I'll write my thoughts down like right on the page, treating it like a journal and a sketchbook at the same time. I really think this enriches the sketchbook experience both in the act, like you actually get a chance to put some words down of how you're feeling about what you drew, but then in the future and you look at it, it's like a record. It's like a snapshot, not just of the drawing but of how you felt. It also looks interesting just to look through your sketchbook that includes personal reflections and stuff like that. As you're accumulating drawings in this project, you can constantly be reflecting on how you're growing or areas you'd like to improve on. You can write about this as part of your project, like writing your sketch book or as part of the caption in what you share every day, either on the class project or in social media. Now, without further ado, let's move into my demo. [MUSIC] For my demo today, I'm going to be drawing in my current uglybook which has yellow paper. For drawing tools, I'll be using just a basic pencil and a smaller size of posca paint pen which has a 0.7 millimeter tip and my larger sized posca paint pens which have a 1.8-2.5 millimeter tip. It's a bit more round on the end. Of course, my trusty little eraser which actually comes in handy with this kind of drawing that I've been doing. [NOISE] Let's go. Now, I can't forget about my trusty catalog. This is my go-to source of inspiration in my daily drawing right now and it's going to be my source of inspiration in today's demo. I'm going to look for something to draw out of here. It has to be something I haven't drawn before and other than that, there's no real criteria. It's usually just something that I look at and I think I'll draw that. Sometimes I choose something based on how interesting it is to me and then other times if I really can't find anything interesting, I challenge myself just to draw something a little bit more boring and just see what happens. Today I'm going to draw a fishing net and maybe some of this fishing tackle to go along with it. The first thing I do is just lay down a preliminary sketch with my pencil. This just gives me a bit of structure to go over with more confidence with the less forgiving pink patents. Sometimes I'm looser and sometimes I'm actually a lot more careful and try and be super tight about things but I don't put pressure on myself to be totally loose or totally strict one way or the other, so the nets here are going to be an interesting study and how do I capture all the little intricacies there. If my brain gets stuck on that I'll just move on and draw something else that I see like this odd anchor. You can see in the picture that it's shown in three-dimensions and I'm really partial to drawing things like on straight on view so that there's less perspective which just makes for a more graphic picture, so that's why I'm doing that. Now, I see that there's something on the bottom there but I have no idea what that is. It could just be a little tiny plinth that they put that on for the photo and so my theme I guess today is fishing. One thing I really like is lettering, and so I love the little lettering on these fishing line spools. Now, as I'm drawing these circles, I'm being pretty loosey-goosey today but I do notice that I actually have a little bit of a diagonal. It's either in my hand or in the way I see with my actual eyes, so I find that if I've drawn something and it looks right to me this way, if I rotate it, it looks totally off kilter, so that's what I'm doing here. Besides, moving things around actually just helps draw circles more easily. I told you this isn't a drawing class. Now, I'm getting all my centering of my texts like way off, but with the pencil I can work that out easily and then when I go over it with my paint pens I will be able to know better how to start and where to place things. I'm just trying to see what's going on in the graphics here. In cases that I actually can't see, that's maybe a good thing and I can just use my imagination. Part of what I'm doing in these books with these paint pens is learning how to be simpler and not to indulge myself in too many details in what I'm drawing. This is an interesting thing here, trolling motor. This one I think in order to capture it I need to draw it in 3D somewhat. I'm already confused trying to draw 3D. Again, I don't need to be super precious about my sketch. I know I'm getting some things in the perspective wrong but if I rough it in with my pencil and just go over with the paint pen, something will work out and if it doesn't, I'll try again tomorrow. The controls on this motor are hilarious. They look like they're for an old radio or something, giant rocker switch. I think I've got this netting wrong. Let me just try and get that little more. What I see, I'm really impatient with details like this, so my brain is just saying take shortcuts, you've got a class to record. I think even if I just do it more diagonal like this, like it actually comes off here, the result will be better. They sag down like that. I think that's more nitty, maybe just one more little element here. Now, that I have a sketch that I'm fairly happy with, I can go in and start filling it in with color. Now, often what I'll do is I'll start with the edges of everything with a thinner paint pen and that gives me an edge to work within and then I can get the broader one and just fill it in more quickly. If you're using paint pens you always got to remember to shake them up and dab to get that ink flowing. As I'm filling these in, I'm very linear like this, almost like a printer because if I'm too scribbly and scratchy, if I go like this and we're just one little spot, it starts to shred up the paper and gunk gets all on the tip of the paint pen, so this prevents that from happening too much. For the net, I don't think I need to edge and I can just use the thickness of the pen itself to go and define this shape. You can see I'm being a lot more confident with my strokes with the paint pen than I was with the pencil. Now, this was yellow [LAUGHTER] in the picture but yellow on the yellow paper is not the most visible, so I'm going to choose a different color. I'm going to go with blue. [NOISE] I'm filling in smaller areas and these little tight corners, I find that it helps to just fill in the corners with a finer tip before going the broader tip. I'm going to go on to this guy here. It doesn't really matter if I go over with one color and have to go over with say black here. These colors are opaque so they cover over one another. One thing I really like about drawing in a sketch book versus illustrating is that I'm allowed to leave some of my process behind more than I would in my commercial work. It's okay to leave my really bad, rough sketch beneath, it adds to the story and really looks good in a sketchbook. I think sketchbooks look great when they're a bit on the rough side. That's what they should be. I do need to wait for that to dry, otherwise it's going to be a mess. But this over here is probably dry a lot. I'm going to use green for the netting. We'll see how this goes. Now, one thing if I want to have these lines continue, I forgot to shake this up, is I could just draw right over the frame of the net and then go back over white later. I'm going to wait for that to dry and then return over to here and in the picture it's blue but I think I'm going to go with red on this one. No, I changed my mind, I'm going to go with blue. I'm going to use this finer tip to start just to edge in the inside of this graphic. Now, this darker blue is dark enough that it may cover over my sketch. We'll see what happens. Now, we'll return to the trolling motor edging in with my finer point pen first. I am getting rough around the edges here, but I can correct those later by going back over here with the white and on the edges, with the yellow, actually using it as a white out. Now, while I'm waiting for things over here to dry, I'm going to come back to my net. I've given myself quite a mess to clean up. I have mixed feelings about what I did here, but I can definitely cover over that and that and that. Then I just need to figure out what's going on here. I think what I'm going to do is just cover over all of it again because I want to get some of how the net hangs off the hoop of the net, the netting hangs off the hoop or the frame part a little bit more thoughtfully. While I'm waiting for that to dry, I can work on some other part, such as the hook part of this anchor. Maybe here I'll just give it a little line to show that this part is separate from that. Now, I totally covered over my sketch with this darker blue on the fishing line, but it's okay. I'm just going to go in and do my best. Touch up some of these spots I missed while I'm at it. Now, over here I can get some of those ridge lines of the little handle there, and they'll be better if I can make them imply a circle shape over there. I can go back over the black to make those look even sharper. Now, I have the white of the net frame here and the handle. Then I have this white oval. I just wonder if I do a white oval there if that's going to work out so well. Maybe what I'll use for that color is something a little different. If I have a color theme here, I could go with a blue. Pink is always such a jazzy color. I'm going to use it even though I feel like I have mixed feelings about it, [NOISE] but we'll see how this goes. I didn't edge that one in carefully with my little one. [NOISE] Not a big deal, but what I'm thinking of doing is edging in the actual shape of this little torpedo motor, and filling all those little hard to get places. While I'm waiting for that to dry, I can come over here, and do the inside details of this. Now, I don't have brown, which that wood panel thing is. I'm just going to go with red. It's a very tacky looking motor anyway, so I might as well just go with red beside the green. I'm hoping this doesn't totally cover over my under sketch. I see the sketch poking through, so that's a good thing. I'm doing things a bit in reverse order here. Doing my fine point last and usually I do that first. Now, while I'm waiting for that to dry, I go back over this, and just create a more circular end there and there. That red is definitely not dry enough yet to draw over. I can, however, go and do this writing just straightforward, extended type face. Now, in these boxes there's some number that indicates the strength of the fishing line. I don't know what those numbers are or what they would be, something about £5 or £50 or something like that. I can now fill in my little torpedo motor here. I have a shaft, goes down. The pink is taking a little bit longer to dry than I would expect. The reason I edged around this in the pink and just didn't go over and then let it dry and go over with the white is because I was going to let the yellow of the page come through, but now I'm doing [LAUGHTER] this. Now, while I'm waiting for that to dry, I'm going to come back to my net once and for all, and only these guys are going to come down. I'm being too hasty with those. They look rushed. I always try and go for a steady stroke, nothing too expressive in the line quality itself. For me, I like to express most of my feeling through the shapes, and the overall composition versus individual line wisps. Well, it's not my favorite, but it's better like this than it was before. I think once I erase the sketch beneath, it will look neat. As for this part here, a little connection there, and then a rivet. There's actually a little logo here and then another connection. As for this, I have black here and nowhere else, so I'm going to use black just like it shows in the picture. That's not really dry yet. I'm going to see if I can push it. [NOISE] Now for most of the line work details, I'm going to be using either white or blue ink there where these connections are. I find these lines are a bit on the thick side, so I'm just going to edit them down a bit using a thin stroke over top. Got to be careful when you're scraping these across the page like this. I don't know if you can hear the scraping sound, but when that happens, it's splats since there's these tiny little spatters which may or may not work out to your advantage. Right now. I don't want that. Time to add some buttons/ I can go down with the white first. I find that the black can be a bit heavy. I'm even going to just draw the box for this black switch here and wait, and same with this here. While I'm waiting for that to dry, I'll come back over here. I want to make an edit. At this point as things are coming close to the finish, it's really like a game of how many more details do I add or how much do I refrain from adding more details because once I get going, it's hard to stop, and this is when it's good to have a time limit, especially for a sketching habit. This one, I went over when it was still too wet, and it murkied it up. I'm maybe even murking it up more now. I'm going to leave that as is. This one, I just wanted it rounded like that. That's how the connection looks here and I like that detail. Now, going back to the monofilament, I really don't know what that says, made in somewhere maybe. I'll just make it up, made in, say, USA. I'm going to make up what's in these boxes too. This one is going to say £8 and it's going to be, how about 1,000 yards? Probably exactly what it is. Just some finishing touches on this here with the rocker switch. [NOISE] The air might be more damp than it normally is because these are taking a lot longer to dry than usual. My temptation is to draw a box around that, but I know it's going to look too heavy, so I am going to refrain. For this little flips switch or toggle switch, I think I'll just draw it in. Are they even labeled? [NOISE] It's says black on it still from when I drew there. I like that there's a serial number on here. While I'm waiting for that to dry, I'm going to just edge off some of these rougher edges with yellow and then whiting them out. It's not 100 percent perfect, but I like how it looks a little bit obvious, again, giving that rougher sketchbook look. Now, sometimes I try and go in, and see if I can imitate the metallic look or the chrome look on some of these, but today I think I'm not. It would end up just looking too busy. There's a few things here that need to dry, but on this side, I can start erasing. This is really the satisfying part, [NOISE] is when you clean it up just a bit. [NOISE] I'm going to be careful not to erase in here because it's probably still drying because it's so thick. [NOISE] It was still wet there a bit. I can block those out here also. Even here, got smudgy. I'm no longer looking at my references. I'm just adding some finishing details that I just feel would look better. Sometimes I'm wrong, like there it got a little bit too detailed, but I'm going to leave it. For the button, that. I do remember that Shakespeare was red. I put that weight down just to let the red pop a little bit more. I think I'm ready to put my date down here and call it a day, but I still have to erase around these carefully because some of this is not yet dry. It doesn't really make sense to erase anything under the paint pen because it's locked under there. It's not going away and you end up just rubbing away the paint pen a bit, but anything around the edges or on the inside here is fair game. I have done my drawing for the day and now I just have to scan it, get it on my computer, make a few edits, and then share it on Instagram. 9. Project Step 3: Share Your Work!: I have my beautiful drawing and I want to share it with the world. Of course, I need to get this physical drawing into some digital file to do that. I also want to make a few edits just to make sure the image is looking at its best when I get it up. I'm also thinking about how consistent it's going to look with all my other drawings as a series when you look at my Instagram profile. When you go and you see that grid of all the different drawings that I've made over time. I like to make sure that has a level of thought to it. For me, my workflow of getting this into digital form involves a scanner to capture the image and then I get it onto my computer, open it in Photoshop, make a couple of edits, and then I move on to sharing it. In this video, I'm going to show you my own workflow using my scanner and using Photoshop. But I'm also going to show you a process that doesn't require a computer, and especially it doesn't require Photoshop. You really don't need any special software. If you have a smartphone, you have everything you need. But first I'm going to show you how I do what I do. [MUSIC] The first thing that I do is I get this onto my scanner. I'm trying to get it in the middle of the bed so that when I end up cropping it to a square, I have room at the top and the bottom for that. Otherwise, if I get it too far over here, I won't be able to get this in the center of my square, so I just make sure that's centered as possible. The next thing that I do is I have just this black Bristol board and that's just nicer to me than the underside of this lid here, which is just white, but it also has lots of stains and grime and stuff on it. The other thing is black really lights this yellow paper powerful and I like that a lot. I'm going to just get this nice and centered here on my platon, put my black Bristol board on top and close that and I'll go into scan on the computer. [NOISE] Of course, when you're scanning something into your computer, you'll be asked what resolution do you want to have. I have it set to 600 here normally for most of my projects. But honestly, when I'm scanning these things in for social media, 300 dots per inch is plenty. I'm just going to scan that and then open that up in Photoshop. Right right the bat, there's a few things I want to do. Of course, I want to rotate my image. The next thing I'm going to want to do is crop it, I just use the crop tool here and nudge it over my arrow key. As you can see, I have just enough edge around my sketchbook to let it fit into the square. Otherwise, if my sketchbook was a little bit bigger or my platon a little bit smaller it would crop it off in an awkward way. This is good. I'm just going to commit that change. Now there's a few other things going on here. One thing I just want to acknowledge there is a streak across the scan that is coming from my scanner. I tried cleaning my scanner the other day with Windex and I think some of the Windex actually got onto the light sensor and damaged it so boo for me. But another thing that I can change is if you look at the top here, there is a shadow and that's just coming from light bouncing around doing stuff. My little trick is just duplicating the layer and then bringing the top duplicate up here. If I just use a very soft round brush with a very soft edge and large and I just feather that off, erase off that edge of the copy. It just blends in enough at the top there that when it's on Instagram, you don't notice that shadow and that's just a little picky thing I do. There's two basic edits I want to make after cropping the image, and that's contrast and saturation. I'm going to just go down here and hit "Brightness/contrast" and this just creates what's called an adjustment layer over top my scan. There's two sliders here, brightness and contrast. I'm going to just adjust the contrast here. What I want is the darks to get darker and the lights to get lighter. Basically, contrast just makes those two extremes even more extreme. Now, I don't want to go all the way up to like 100 because it's going to be overkill and it's going to be super obvious that I tweaked the contrast a lot there. Really, I just want it to be a richer, more dynamic image and I find just by adjusting contrast a little bit like that it's enough and you can see the difference. It just helps that yellow pop-up from the black a little more and some of the colors in here to be more dynamic. I might just nudge it up to add more. The second edit that I want to make, as I said, is saturation. I'm going to go back to make another adjustment layer, but this time it's going to be a hue and saturation adjustment layer. Now, I don't want to change any of the sliders here except saturation. Again, it's going to be subtle. I don't want to be obvious the fact that I'm making these adjustments, someone shouldn't be able to look at my image and say, he really made this image supersaturated or he really pop that contrast. It's really got to be subtle. It's really just about bringing out the best of the image. I think if I just adjust the saturation a little bit, it really helps. If I go all the way to 100, obviously it's like crazy, it looks artificial. If I go all the way down, it's going to look basically black and white. The question is, do I want to desaturate it or saturate it, or is it enough on its own? The colors are pretty nice on their own, but I just want to nudge them up a little bit. With these two adjustments made, I really think that the overall image is a lot more rich. Just to see the difference here, I'm going to just hide the adjustments that I made. You can see that the image that came out of the scanner is a little bit dull when you compare it to the adjustments that I made. The adjustments aren't super noticeable, but they're enough just to let this really pop. I'm now going to save the file. I can save a copy of the layered file with today's date. That's just for my own [NOISE] archives, if I need to make an edit or something down the road, I have it. But the image that I really need right now is a JPEG, so I can share that on social media. [NOISE] I just save that as JPEG and I'm good to go. This is a little bit of a bonus tip. The good thing about having my original file with these layers, especially these adjustment layers, is every time I have a new drawing and I scan it in, I can just place it into this file. As long as it's beneath the adjustment layers here, it will take on the same edits and that includes, of course, contrasts, and saturation, and that will basically automate my process moving forward. Another bonus tip here is that if you are really picky and you wanted some of these speckles to go away or there's some dirt on the platin of the scanner, or you forgot to blow away some of the eraser bits, you can use the healing tool just by [NOISE] doing something like this. It's drawing [NOISE] little circles around the specs and then they go away. Now, I choose not to do this every time because I really just want to focus on drawing and then getting the thing up on social media. The fact that it's a daily drawing project, it's a sketchbook, it's okay for it to be messy and a little bit unfiltered. Is just that, giving it a little bit of extra contrast and saturation is it just a little bit of extra umph that goes beyond just taking a picture with your phone. Now that I've planned, captured, and made my edits to my image, it's time to share it on Instagram. Of course I need to get that onto my phone. [NOISE] I just use AirDrop. I drag it from my computer onto my phone and it magically appears over here, and then from here [MUSIC] I can do my thing. [MUSIC] If all you have is a smart phone, you don't have a scanner, you don't have a computer, or you don't have Photoshop, you still have everything you need to make a good-quality image of your sketch for sharing on social media. [MUSIC] You just want to plan it out a little bit. [MUSIC] You want to at least have two [NOISE] things that you've considered. The first of course, is having [NOISE] some background that's consistent in that's not distracting, and that will work well for your sketchbook. The other thing you want to consider is what your lighting source [NOISE] is going to be. I have a pretty even and consistent lighting source here, so I know that if this was going to be my setup and I was going to take a photo every time I drew to get it [LAUGHTER] into digital format, then this would work. Of course, another good option is to use natural daylight coming [NOISE] out of a window. As long as that's a predictable source of light, it's not direct, and it's not casting a harsh shadows or anything like that, then that will work as well. There is one extra challenge where you're not scanning besides lighting and having a consistent background, and that's getting your sketchbook to lay flat. Depending on the sketchbook you have, you might find your pages really just want to bend up like that, and so you're going to need a way to get that to lay flat somehow or just be okay with it coming up a little bit. Some people just use their hands. If they can just use the hand that they're not taking their photo with, they can do that. Another idea would be to use clips or some tape or something like that. That's a creative challenge. I know some people would just decide to hold their book up and whatever ends up in the background, that just becomes a part of their styles. It's just like, as long as the book is filling the frame, whatever is in the background [NOISE] just becomes part of the story, I suppose. But [NOISE] for me, I'm going to just place this on my black papers, the same [NOISE] black paper I used in my scanner. I'm just going make sure it's centered, and I hope that those [NOISE] pages can lay flat. Right now it's not looking promising and because of the distortion of the lens on the phone, it's looking even worse. So I need to think of a different approach here. [NOISE] I'm going to have to figure out a way to hold my book flat. [NOISE] Maybe my thing will just be to hold it down with my hand and that will be part of my story. While I'm taking this picture, you might be wondering, why wouldn't I just turn the camera around and go into horizontal orientation and just have only the black background and none of the table? The reason for this is just that if I try to crop this [NOISE] into a square, it's not going to work out for me. I'm going to get no information above and below the sketchbook. So I need to take it in vertical mode just to make sure I'm giving it room at the top and bottom for cropping. You'll see what I mean when I actually go to do the crop. I'm also trying to align the phone parallel to the ground. I'm using the little target in the middle of my phone screen to make sure it's level like that. Once I've taken the photo, I can open it in just my iOS native photo editor and make the changes here. The first thing I want to do is just make my crop. The iOS camera app has [MUSIC] [NOISE] different sizes as presets, [NOISE] so I'm just going to choose the square, get my image in there. [MUSIC] Once I'm happy with the crop, I'm going to go back to the editing mode here and just swipe over to contrast and use the little slider here to increase the contrast. [MUSIC] Make those darks darker and those lights brighter without it being too obvious. [MUSIC] Finally, [LAUGHTER] I'm going to go over to saturation and see if I can [MUSIC] increase the saturation, just a tad. [MUSIC] It doesn't need much. [MUSIC] Once you're happy with your contrast and saturation edits, you can hit ''Done'' [NOISE] and then share your photo on social media. [MUSIC] Whether you choose to do this step and share it to social media, I do highly encourage you to share to the class projects page. [MUSIC] When you share on social media, please be sure to use the hashtag drawingisimportantclass and tag me @mrtomfroese so I can find your work in the wild. [MUSIC] 10. Wrap Up and Thank You!: [MUSIC] That wraps up this class. Just a quick recap. First, we learned some good reasons why we should draw every day. Next, we learned how to overcome three challenges of daily drawing. Then we learned how making a solid plan can help us build a successful drawing project that can last 30 days and beyond. After giving some quick technique based starting points, we jumped into the three steps of the actual project, not included planning, drawing, and sharing. Thank you so much for taking this class. My hope is that by watching through this class without even having lifted a pencil, you'll have a much stronger sense of purpose and direction in your own daily drawing goals. I also hope and I strongly believe you will make huge breakthroughs in your own creative growth if you can push through this 30 day drawing challenge all the way to the end. As you go through your project, please let me know how it's going. If this class is really helping you, a great way to let me know, and others as well, is by leaving a review. That's another class in the bag. I'll see you in the next one. Again, thank you so much for spending time with me.