Easy Watercolor Art Journaling: No Effort Drawing

1. Introduction to No Effort Sketch Journaling: You can draw. I know you can, because if you try continuous contro drawings, I'm sure you'll be surprised with the results. Maybe it wouldn't be what you'd expect, but we don't always know the things we need until we see them. Jack, this got cold like your sense of humor. Hi. My name is Fati, and I identify as a drawer. If you know me, if you watch my classes, you know my love for No for ticket journaling and my mission to get everyone to start drawing immediately. And I think perfect way to do this is continuous Co drawing. This all started with my class. Everyone can draw. One of the exercises in that class was continuous Co drawing, and I kind of fell in love with students drawings. People who claimed that they couldn't draw were turning in these crazy looking, interesting, captivating lines. And one day at a coffee shop, instead of drawing like I always do, I did a continuous contra drawing, and it all clicked. It was done in moments, and it had everything I wanted. No planning, no pencil sketching. It was a representation of my subject, but not entirely. It was also something different, something expressive. And it looked very stylish when combined with a bit of watercolors. So in this class, we will dive into continuous contro drawing. We will talk about stress free art practice, making expressive art, and getting better at drawing altogether. In the process, you will learn the difference between looking and seeing, strengthen your hand eye coordination, and of course, I will demonstrate lots of examples. This class is for anyone looking to start art journaling and who wants to get more confident at drawing. All you need to take this class is pen and paper. It doesn't even have to be watercolor paper, but no pencils or erasers. We won't make any mistakes, so we don't need them. Looking forward to doing this with you. Let's go. 2. Your Class Project: Your class project is drawing. Just pick up the pen and put it on paper. Specifically, continuous control drawing. Jack, your project is to get me a fresh cup of coffee, and by fresh, I also mean hot. Throughout the class, I will draw lots of things interior of a cafe, a portrait, among a tree, stuff on the table, and a building. I try to pick things that will be likely your subjects when you start your own noi for Sket journals. You can draw them with me during the class. You can also find each photo in the class resource section. Feel free to download them, zoom in, look closely to see the details. And then this is the key draw them in continuous contour style without lifting your pen. Later on, take a photo and share it with us so we can appreciate your art. By completing your class project, you will strengthen your hand eye coordination and learn the difference between looking and seeing. Thanks to these two skills, you will be a better drawer, the person who draws, but you will also illustrate your subject expressively, which can be super satisfy. Now if you don't mind, I will get to the class. Oh, here's my coffee. Thanks, Jack. Thanks. 3. Why Do I Use Continuous Contour Drawing p1: Sorry, I'm looking at my notes. Everyone is recording. You are recording. You are recording. Jack, are you recording? Okay. Jack, where was I? Oh, yes. The students drawings who took my class made me fall in love with what I was teaching to them. Continuous control drawing. I guess before I was looking at continuous Control drawing only as a practice tool, but using the restrictions that come with continuous contro drawing to create helped me come up with noorsket journaling. So this is why I use continuous Cro drawing for no for sketch journaling, for the speed and for the chance of ending up with something new, something unexpected. But this is not all the benefit. Continuous control drawing is a great exercise to teach yourself that hand eye coordination, which is crucial for getting better at drawing. Seeing versus looking. To be able to draw, you have to see your subject, see the details, see the lines, see the differences, see the textures. Just looking is not enough. When you do continuous contour, you are combining the scene with the movement of your hand. You move your hand at the same speed and direction as your eyes. Your eyes are tracking the lines of your subject and your hands move the pen on the paper, the same way to trace out your subject on the paper. Now let's try to do that with this example. Okay. Now, what I'm going to do I have this image. Let's imagine I'm out in a coffee shop. This one of my favorite coffee shops. It's called Payosup and I will as I was there, and I actually did this drawing. So I want to repeat the real life situation with you. This was the photo I took. I'm doing a series from the coffee shops I visit called Cafe Portraits. So I'm trying to capture that kind of portrait photo of a cafe, whatever that might be. Sometimes it's a corner, sometimes it's where they make coffee. Sometimes it's from outside. Sometimes they have very nice shop fronts. So in that series, when I go to coffee shops, I did this I think last Friday or the Friday before, and I will be doing continuous country drawing of this m. Okay, let's start. I'm choosing this table. It's quite in the center as my starting point. And I don't worry too much about where I'm going to end up. I will write date and place on the top left and I will leave space here for some writing for the title. So I'm starting from here. I put my pen down, and now I'm tracing the table with my eyes. I'm not lifting my pen. I see the leg is going down like that. And in the meantime, it's touching here too to the chair hair is going further down because it's closer to me. And this leg is also closer to me. There's this kind of shape here. Or there's something, but I'm not bothered with that. I can see the cushion on another chair, I think. And by the way, I'm doing a little bit slower than usual because I'm trying to narrate what I'm doing for you. But normally this should be done quickly. Like I said, don't think too much. This is not supposed to look like anything. This scene gives us a starting point and with that, we end up with something else. Okay, and this part is done. And from here, as you can see, I haven't lift up my pen yet. Over here, there is a wall. And next to the wall over here, I see nice looking lamp. Sorry, I had to lift my pen up because my watch was buzzing. My jump was over. If you don't know what jump is, check out my jump class. And I will focus on this right hand side now. This goes all the way to the same level. I will just focus on this code hanger here. I'll bring it all the way. Don't worry about making all the details. Try to do them quickly. 4. Why Do I Use Continuous Contour Drawing p2: There's a kind. In this photograph, and I'm going back to the wall and from here, just above the round table, I can see in the distance the coffee bar. I will now focus on that. There's a cake display here inside there are some cakes and just a little bit above there are these lamps. That look, I'm doing this quickly. The proportions might not be the same, don't worry about that. I mean, I can see that there are some stuff here. There's a little cup. There's a kind of a piece of paper, maybe it's a WiFi code, and there's a tablet behind it. And so I represented those, and beyond them, there is this probably Barista Okay. And then behind her, there's a shelf. You see, I don't worry about going over the same lines, but in the meantime, if it's her face where it's supposed to be, I try to go around it, and then this line becomes more pronounced. And these are the decisions you will have to make when you do this that sometimes it's okay to go across. For example, there's another wall here that there's a shelf in this thing, and that sometimes to from the edge of the wall to the coat hanger, it's okay to go like this. There's nothing here on the wall to draw, but this gives more texture and character to drawing, and that's okay. But in the meantime, when I'm drawing her or when I'm drawing the table, I like to go around it if I can. Now, there's also the lack of the table as well. And I think this is pretty much it for me that I don't have to do everything. Normally, what I would do after this, I would add colors, and over here, I would add the title. That's what I do at the date and the place I was in name of the coffee shop, and then I write what I eat and drink at that coffee shop. And I think I can show you here This is how I drew it on that day that I put the data in place here, brownie and filter coffee. That's what I had. And this is how I drew it today. As you can see, I was much more focused on the table and chairs. That's maybe I zoomed in more to the picture to draw from. And now I took a wider approach on this one. And they are both the same place. They are both from the same picture, but different. This is the beauty of it. Every time it comes out a little bit different. And this is the surprise element. But I was telling you about this this is another one I started. This one I started actually on holiday in Turkey. And you can find these drawings on my YouTube channel, skipping that part quickly. And then when I came back to Warsaw, that I went back to my coffe shop drawings. This one is not painted yet. From moose. From Cap and Nero. This was Cavalerka and this one. And then when I had some time, I took an abstract in between, and this was last time. And you can see how I colored it as well. This chair was blue. This chair was green. It's not really painting the thing, but taking whatever color they are as a starting point. And I also let them bleed into each other and make these watercolor washes. And I like how they turn out loose way of sketching. So this goes right. So if you were able to do this perfectly, that you saw I was tracing a with my eye, the picture and drawing at the same time. If I was able to do this perfectly, I would end up with the exact copy of my subject like a printer. But the unexpected beauty, this surprising part I was telling you, comes out of a result of the difference between your eyes moments or in this case, my eyes moments and my hands. Because I'm not able to do exactly what my eyes say, I end up with these fun looking lines which is really good for creating. Nevertheless, by doing this, you train both your eyes and your hands and now you are better at drawing. In time, you will be quicker and more confident with your continuous control drawings and more accurate too. At that moment, if you still want to keep the abstract feeling, you will speed up your process to throw yourself off a little. And that's what I do with myself. I try to really under 1 minute, under 2 minutes, try to complete it as quickly as I can. Having said that, when I have a scene like this, it usually takes longer because it's a coffee shop, there is a foreground background, lots of objects to draw, and sometimes I spent longer. But still, I try to do it quickly. So this is why I use continuous Co drawing for no effort sketch journaling, and I highly recommend you do the same. In the next lesson, we will talk about no stress art practice side of no effort sketch journaling and continuous cotter drawing. So see you next lesson. Check. Next. Oh 5. No Stress Art Practice: There Are No Wrong Drawings: One of the reasons why I recommend continuous contour drawing and no effort sketch journaling is because it provides no stress environment for practicing art. What do I mean by that? Check. What do I mean? First of all, there is no bed drawing. I say that a lot. There is drawing, then there is no drawing. That's all there is. But let's forget that for a moment and imagine that you made a bad drawing. I mean, it is so bad, you can't stand the side of it. The worst case scenario. Oh, my God. What will we do? In no effort sketch journaling, you are working on a nine by 910 by ten centimeter square. Just throw it away. That's it. Problem solved. This is the worst case scenario. That's what I mean by no stress environment. Burn it if you want to be dramatical about it. Jack I told you this wasn't safe. Because if you are working on a big page like A four or a three watercolor paper, this gives you stress. I do feel it every time. This sugar isn't for free. That's a cause for stress. Or if you are working on a binds sketchbook, you can't just rip the page off. Even if you cut the page careful with a knife, you will still see it was taken from there. Or even worse, you've been using this sketchbook for a while and you already have beautiful drawings and paintings on them. So the page you are going to draw is already attached to something very valuable to you. This is a cause for stress. But if you are working on a tiny individual square, fudge it. I can afford to throw away one tiny square. Having said that, I didn't throw away even one square. I love them all for different reasons. And this brings me to embracing your mistakes. And what does that mean? We do continuous contra drawing. We put our pen down and don't lift it up until the drawing is done. You go over the lines you drew before or you go across your subject where no line supposed to be. So this is already pretty abstract. And do you know the best thing about abstract drawings? They are made up. There is no wrong answer here. How can you fail when there is no wrong answer? That's right. You can't. So what should you do? Put your pen down and hope for the best. Remember that every drawing is a practice. Every time you do this, you are getting better at drawing. What if you really made a mistake? Like you were drawing a mug, but it's too short. Oh, my God, too short. You go over your mug and make it taller and leave the first line there. That's now part of your drawing. This is that unexpected beauty. Oh So this is what I mean by no stress environment for art practice. In the worst case, you know what to do. In the next video, we will talk about what is the difference between looking and seeing. See you in the next video. Oh, let me take a zip from my coffee. Thank. Jesus. Thank you, Jack. Bless you too. Oh, perfect cold. 6. Don’t Draw From Your Head: Hand-Eye Coordination p1: Welcome back. Check, are we rolling? The usual problem people have with droving is that they find their drawings childish. That's usually because they draw from their head instead of seeing their subject. We all have this. This is actually not a problem but a blessing. Our brains have to handle so much information in such a short time all day, every day, so it makes shortcuts. Waiting for the plane to pass. Let's say you are out on a walk on the street, you literally receive thousands of pieces of information just by looking around. Cars, cars, more cars, street, people, sky, trees, leaves, bike, pigeons. Your brain can't hold onto all this data, so it labels things. And this makes our life easy. But unless you have photographic memory, as long as you don't pay attention to the subject in front of you, you won't be able to draw it as it is. Because what color were those cars? What was the shape of the logo like? What color were the leaves? How about the pigeon? Can you draw the helmet at the back of the bike just from that first look? What was the writing on the bike? How about the texture on the tree? Or the shapes of the leaves. If you don't see these details, what you end up drawing is probably a brown trunk with a green ball on the top of it. Jesus, how many planes? Come on, pass. I'm going to show you how I would draw this scene I took a video of I took a photo of on that beautiful autumn afternoon while the sun was setting. Not like the one I just threw and threw it away. Like I feel way. Instead, I would just look at the details. I was telling you that this is a good exercise for your hand eye coordination and you learn how to see. But in the meantime, you are paying attention to all the details, but you are not taking all the details. On your page. This is where the time management comes from because it doesn't take that long. I look at the I showed you close up of this scene, and you saw the shape of the leaves, the texture on the tree. They were all visible. And we know that they are there. But from this kind of a distance, I want to draw the general shape and the feeling. I want to capture the general feeling of the place, but I'm not going to go into every details, but knowing some of those details will help and you'll see in a second how. So I'm looking at my tree. This is not a very regular tree. I could have picked an easier tree for myself. Let's start from here. It branches like three, four different directions. This tree. There is one going across like that, and then I will bring it back here. And because I know that this tree has textures, while I'm drawing, that there are these leaves here. I will just make some squiggly lines here, these leaves for the leaves, and I'm now following this branch climbing down like this. And then here I see there is a bike. It's something like that, I think that I'm trying not to think too much how a bike looks like, but I'm trying to just let my hand led by my eyes, that I'm trying to deliver just what I see. That's why continuous contra drawing is a good practice to train your hand eye coordination. Your eyes trace the details of your subject and your hand follows the lead. And like we talked earlier, because you can't do this perfectly, we end up with your interpretation of that tree, which is much more valuable than a perfect representation of it because now it's something else, something new. It has a layer of your experience on it. You bended reality and made your expressive art out of it. The weirder it looks, the more interesting it gets. This is the part, for example, I don't pay too much attention to all the details I see. That's a conscious decision. I drew the metal parts of this tire and I just did quickly to give the feeling of how it's supposed to look as a shortcut. So in there, I'm not doing exactly like how I saw, but make an approximation of what it is. That, for example, we looked at it in here, there was a writing, but I won't be able to add this detail with this tick of a pen and from this distance. So I'm letting go of those details that I'm making this decision to let that go. Okay, I'm putting my pen back normally. Since I do this quietly, that I don't I can focus and do the drawing. And behind the tree, there's a car and the car here's the handle I see. And the car actually is visible on the other hand of the tree as well, and I will get there. I don't want to go across like that. Now I was telling you that we know that this tree has a texture, but we are not really able to pick up on that. So for these kind of things, I try to use these lines to give the feeling of this texture. Actually here there is another branch coming from behind it. And did you see, to be able to get from here to there, I kind of went around it because I didn't want to lose this feeling that this branch is behind. To me, this is an important detail. Now, you can't see this branch any further because of the leaves over there. Here's another small branches going away from the main branch. And I will add some texture here as well. 7. Don’t Draw From Your Head: Hand-Eye Coordination p2: Again, because the bike is in front of the tree and this is important, I don't go over the handlebar, but in other parts, when it's not so important, I can go across now, I will try to complete the car here. That is the bumpers. I see stoplights and there's another line going through here. I'm able to see one of the back wheels, and under the back wheel, I see kind of a payment going like that or payment stone should I say? So I'm going to draw that and that actually is coming from here as well. I usually do these few lines because it's never one line. That's when you have stones, pavement stones next to the road, you can actually always see with t angles. The one is touching to the street, the one above and the one going further away from you. So that few lines, it represents how it's supposed to be. And a bit further from the bike here actually, this is the footpath it's visible. So I'm going to this footpath, and I'm going to go to the other side and continue this footpath to the here I see, I think, Ben and it's something like that. It's getting kind of narrower into the distance. And over here, there is one more car. I want to add this as well. That's the bumper of the car and then to the stoplight you can see the back window like this and the line is going like that. Small window on the side. Here's the handle and And then there's even a bigger car behind it. And I will leave it there. And from there, I want to there are some more lines visible. As it goes towards the distance, these lines get closer and closer. Here, I'm making them with more distance and dip as well. This is also I'm paying attention that there is a paved road here, but I'm not trying to take all the details. That's what I'm trying to say. And in here, there are some leaves, so I will just make some texture here because this is not a flat surface, and I want to give that. And in here, this payment continues and from the car, maybe I can offset this tree here only that much. I don't have to draw the whole thing. And I came back to the tree because over here, there are some leaves. I want to include Again, I'm paying attention where the leaves are, but I'm not trying to draw every single individual leaf. This branch actually continues like this, and about this branch, there are also this orange yellow looking autumn leaves I want to definitely add and for the rest, I will because this array is all covered with leaves, I want to leave some texture here as well. And And going into the distance that there is another another tree. I brought that one to close, I think. But it doesn't matter. This one kind of separates into three. And then starting next to the pin, there is another one. And in the distance, I see a person and there's another person next to it, they're walking away and there are more trees here. And there is one more tree coming out from there. So as you can see, I paid more attention to the front and at the back, I just did some squig lines based on the details. Still, I am looking and seeing what's there, but I'm choosing which details to include. I just see something. I left a bit too empty here in this triangle. I will add the car. I think I'm done. So I think this is a good example of not just looking but seeing the details of your subject and then deciding what to take from there and knowing this texture is there is actually helping you guide your pen. And this way, you can bring more of a feeling of the place. And this could make a very nice addition to your art journal. That's a bit of a title here. I know I didn't leave much space here because I didn't think about it. But you could just write here beautiful autumn day or nice autumn walk, something like that, and then date and the place, and we would be done. And if you were to add a bit of a color because this whole thing is very green. It's a beautiful street we have covered with trees on both sides. It's green here, green here, green here. And then there are those autumn leaves. You don't want to leave them that they are here. They are here and some other places as well. This is a good moment to splash as well, and the autumn leaves are definitely on the ground as well. And knowing that we have lots of tree trunks visible. Very roughly to signify what we are looking at. You don't even have to do the whole thing that these whites also help to the texture you are working on, and that's it for me. I think that painting is I'm not going into the painting much here. I just how it as an example. There will be another class about how I just focus on the painting part. But you could definitely have a journal entry, something like this. And when you compare to this to this, you can see the difference between looking and drawing from your head and seeing. So that's what I mean when I say don't draw from your head. To be able to draw your subjects accurately, you have to see them first. In the next lesson, we will talk about how to have bold crisp, confident lines for your drawings. See you in excess. Jack, when I say crisp, I'm talking about the lines being very high contrast. I'm not talking about crisps. It's not time for snacks. 8. Keep It Moving: Bold Crisp Confident Lines p1: Waiting for the plane to pass. Welcome back. When you are doing continuous control drawing, make sure that your lines are confident. Now, what do I mean by that? When you stop to think, it shows on paper. That hesitation makes your lines uncertain. It almost feels like you didn't know where you were going with that pen, and you probably didn't. But I'm asking you to pretend that you do. We want bold, crisp, confident lines. Use a ticker pen. When I do traditional sketch journaling, I always use 0.1 or 0.2. This gives me space and agility to draw fine details. But when I do continuous control, I use 0.5 minimum, sometimes 0.7 or 0.8. Why? Because it has much more weight on the page. This also helps with finishing the drawing faster because with less lines, you have a bigger impact on the page. You are simply deploying more ink on the page per second. Once you start, don't stop to think. Don't think about the end result or the total image you are drawing. Keep it moving. Don't worry about the line you just drew or the next line you are going to draw. Just be in that moment. Let's now try to draw this image that this was a cafe. We visited in Copenhagen. I think it was called sex Cafe, and Yeah, I was thinking something funny to say. No sex was involved. Basically, it was just name of the cafe. And they did some funny naming in the menus, I think. It was a nice place, and we had this breakfast over there, and I have this photo from it, it's a lovely memory to add to a sketch journal, easy watercolor art journal. And so that's what we can do and try to I will try to make this point, I was telling you not to stop to think, keep it going. Don't worry too much. Stay in the moment. I, I think, start from the I will start from the coffee. I'm using my 0.5 pen. I always go twice around the rim of the coffee mug because it's never a single lines because it is thicker. It's not like a paper thin, that it always has this feeling. Okay, I'm stopping because I'm talking now. Normally, I'm telling you not to stop. And here I see the handle. This is a very steep angle and I see a bit of a shine here. So I went over this and here I'm jumping. Look, I didn't lift my pant, just jumping to the plate here. There's a plate. And again, I go a second time because it's never a single line. And this actually has something going around the rim of the plate. So for this, I will go one extra time. And then jumping into the inner section of the plate. And then in here, I have some potatoes, cheese, another potato, another potato, other bigger potato, smaller potato. I think there are also eggs in there. That these kind of things gets much better. There are some cheese here. Cheese has more texture, so I'm going over a few more times. And I can see that I want to give this depth of it because we are seeing it from an angle. And then I will just jump over here and there's another plate, and I will just hop jump over there as well. You see the first line wasn't perfect, but I didn't worry about it. I don't worry about going across the places. I'm stopping now only to talk to you. Normally don't stop. I go across, and I don't have a problem with that. I try not to go across if I want to make sure that if a subject in is in front of another one and I don't want to break this feeling, I don't do it. But even if you do, it's not a big deal. Like, for example, let's do there's a butter and butter knife there. And let's say I drew this tiny plate for butter and butters is kind of a shape. And then let's say, I forgot the knife, doesn't matter. You just draw the knife and this will be also fine. I guess it also depends a lot how you prefer. In here, there was a jam and from here, I will jump to the egg. For example, this egg holder is sticking almost outside the plate. Not almost, it does. And then the egg on it, and look, I went across this egg holder because it's dark. I want to give more texture to it. In here, I see a spoon and here there is a loaf not loaf, but a roll of bread. Again, to give the texture, I'm going over it a bit. There are slice of cheese. I just noticed there is, I think, a napkin under the bread. So I'm also adding that after the fact that I already drew. I want to go around the plate one more time. Look, this time, I don't want to go over the deck because we already did that and now I'm emphasizing the plate but not going over the deck. So the extends out even though in the first place here, there's nothing on the table. I don't have a problem to jump to the little dish with the cutlery. I will just do that and it's standing diagonally. And I love drawing forks. They always look so weird. And next to it, there's a knife sticking out. I will go around this ceramic dish one more time, and I will show the depth of it. And here also should be shown like that. And if you want to include the table as well, it's always a good idea. And here's the second table going. Look here, I'm going around because this is underneath and I want this to stay. And I'm going around the This is the second table like this. And that's pretty much it. 9. Keep It Moving: Bold Crisp Confident Lines p2: To draw this scene. And this satisfies my needs, and I'm happy with it. As you can see, don't lift your pen up. You can go across things. It doesn't matter that these lines I actually like how they look in a painting and drew the plate first and the knife later. This is also okay. But later, as I'm kind of laying the feeling of the place, there was a table there. This is a table set up. I didn't make this line go across the plate. I went I used the existing lines to go around it and continue where the table was. So you need to use this restriction of not lifting your pen to your advantage and also, you can make it your style. You can make everything go on top of each other and that will be also fine. Yeah. This was my advice for you. Keep it going. Don't stop and all that. I don't know if I will keep this part, but if I were to paint this, I'm trying to just get a nice green color over here because this coffee mic and a dark green and then inside it, there is my black coffee. Just like that. This yellow is a good idea. There is cheese there. And here, there was the there were the eggs. These potatoes. There's also the butter over here and also we shouldn't forget the bread. For these kind of situations, it's kind of good to do the background and leave the plates nice and white. You can do the same. That's how I would I think I have the sage. But it's not a painting class, so I'm not going into that. And let's go. One more time. I splash paint on my background. No. At least it's very similar color, so it's not very visible. I fixed it. So that's what I mean when I say what? Jack, what was I talking about? So that's what I mean when I say bold crisp, confident lines. I hope it's more clear now. Just stop eating those crisps. I can hear all the way from here. In the next ss and we will talk about not hesitating before starting your drawing and what you can do to help them. See you in excess. Jack, bring my chronometer. 10. Do Not Hesitate: Use a Timer to Speed Up p1: I know the plane is coming. Come on. Can we give you the rest? Or so. Why so easy? Well, come back. We was. Don't wait before starting to draw. You know me. I'm obsessed with making people start drawing as soon as possible. And that doesn't happen if you dub yourself. You just need practice, and the more you do it, the easier it gets. So just start. I recommend you use a timer. Tir has two purposes. You have to start before it hits 5 seconds, and you have to finish before it hits 5 minutes. Pick a spot, put your pen down and start figuring your subject out on the go. I give myself 5 minutes because everything has to be done in 10 minutes in noIFsket journaling and we still have the title and painting to do. Also, don't overdo it. It's difficult to give a concrete example for this one, but not every line has to be drawn across multiple times. Leave something to the imagination. You don't have to draw everything either. You don't have to draw a building completely from ground to the roof. Take what's interesting. If a tree is creeping into the canvas, it could be just some squiggly lines with some green paint on it later. If you are drawing multiple subjects and you need to move from one subject to the other, don't lift your pen up. Just go across that empty space. In fact, I encourage it. This gives your subject so much more character and sometimes it feels like texture or even glow or shadow. The same way, you can go over existing lines too. Let's say you need to go across the page or across the subject. You can trace back the lines you already drew to avoid going across. This way, those lines become heavier and more emphasized. Like I said, there are no wrong answers. Go nuts. So this image is also from Copenhagen. I'm going to make a class with the actually blogs and recordings I have from there. And now, I'm not able to tell you where this was exactly this building, but it was impressive when I make the class that I will make sure that You have all the data because it will be a different class. I will just traditional sketch journaling from there and it will be sketch journaling in retrospect. 3.5 minutes. Here I see a sign. I want to include. This building comes a little bit further. I see there are some more windows on the side of the building. And here actually, we can see a bit of a dome. And and in this last minute, I actually want to include these lines which has a light and also they go this way and one of them goes this way. And I think with all these, that I can maybe put some more details to the roof. And this gives me space to write time and place. I'm done. So let's stop the timer. I tried to capture this round addition to the building, provide that for the church, and in retrospect, it could have been taller, but it doesn't matter because this is my first sketch journey. And as you can see, the building is there, but I didn't do all the windows. I didn't do the payment. Instead, I chose this lamp that it looked interesting in there, hanging in the midair. I liked it and so this is totally doable in 5 minutes. Later, when I'm I still have nice space for title and date and place. Date and place totally could be here as well or here and, like, leave the space completely for the title that's possible, or just for blue sky. And later when I add a bit of green here, it will pop nicely as a tree. Again, I paid attention to and saw what was on this picture. There is a tree here, but I didn't try to draw every single thing that this is a quick study. This is you working with these restrictions of not lifting your pen and under 5 minutes trying to do. And later you have time to do the title and the colors, and then under 10 minutes. This is what knife or skit joining is all about. That's why I came up with it for people who are short of time or they need a sometimes quick fix of creativity and accomplishment. Yeah. 11. Do Not Hesitate: Use a Timer to Speed Up p2: So I think I want to as I came this far, I just want to splash a bit of paint here. Sorry. A bit of green. We went there in June, so there is no sign of autumn at all. And a bit of this orange Looking, how can I say Roof. I forgot the word roof. And this building, is it brown, would you say? That's too strong. I think I want to Sorry, I need to get blue here. Which one is this? Ultramarine. Okay, that should do. A bit of. I'm picking blue for this beautiful sky. And I think I'm done with it. Let me hold down like this, suckling the paper and maybe let this color come in a bit here. You can always use behind your back of your brush to give a bit more texture to your paint. And so this was it. This is another memory captured from Copenhagen. And you saw even with the painting, this wasn't 10 minutes. So I'm happy with this. And this is how you can use a timer to help yourself. Go over this first difficult step, press the timer and then in 5 seconds, make sure to put your pen down and just keep it going. And when it says 5 minutes, you have to stop and so that you won't be fiddling too much. What do I mean by too much? We don't want to end up with here's a scrap paper. Let's put this over here. We don't want to end up with something like this. Let's say you are drawing a C and we don't want to end up with a drawing like this, not every line over emphasize like this and this is not the goal here, sometimes we go over the same lines and they are becoming more pronounced for sure. But this is not what we are trying to do here. When you do this kind of drawing, yes, the average of all these lines create one unified look and it evens out that it is definitely more even than just doing this. But this is not what I'm trying to teach you here, this way that you end up with more interesting lines and this when you add a bit of color to it, it's much more interesting. That in my opinion, this is now, actually, when I pick up some of the paint, I like how it looks. This looks to me much more artsy. That's something you could see at the edge of a magazine to illustrate a topic or at the edge of a cafe menu, these kind of drawings could be. This looks like I'm trying to draw I'm new. What do you think? This one feels much more confident. It looks like you know what you're doing. It feels expressive. This not so much. So that's what I meant by not overdoing the lines. It's just do as much as you need and leave the rest. And keeping a timer will definitely help with trying to do your subject under 5 minutes. So that's how we can use a timer to start faster and finish faster, too. Stop doubting yourself and just start drawing. Remember, what were we going to do in the worst case scenario? Just throw it away or burn it if you have to. This was it for this class. This was the last lesson after this one. There will be the conclusion video, and I will see you on the next one, but first on the conclusion video. And another plane is passing. Jack, I feel like you had a finger in this. So many planes passing today, just over my head. 12. Conclusion: Welcome back. Thank you very much for joining me in this class. This was the part two of Easy watercolor art journaling series. If you haven't checked out the first part, make sure to do so. We went through lots of benefits of continuous control drawing and no effort sketch journaling. I hope that you are already on your way out to buy a tiny sketchbook. Jack, do you have a tiny sketchbook? If there is one thing, I want you to remember when you start drawing in your tiny sketchbook, it would be this thought. If there is no wrong answer, how can I fail? And then start your clock, put your pen down, and off you go. Never look back. And the usual follow me here, here, here, and here. Leave a review because, blah, blah, blah, it helps me, blah, blah, blah, better teacher. Share your class project because you know what? Just because. Do it just because you shouldn't need a reason to share your art. Right, Jack. This was it for this class. I will see you on the next one, go get your tiny sketchbooks and start the clock and start drawing right now. See you on next one. Stay creative. Bye, Jack. Give me some of those crisps. Hi, my name is Fati. And identify again, my name is Fati. And I identify I identify. Another plane is passing Jack. You kidding me. Come down. Jesus another plane. Go. Could you stop? There's a bird on the roof. I'm probably trying to crack a nut. A portrait, a mug, a tree. What else? Jack, what else will I throw? Waiting for the plane to pass. Almost there. Look closely to see the dit dit dit ti details. Thanks, Jack. Oh. I don't know if this is believable. Let's start from lesson one. I can't do intro straightaway. Intro is always last. I need to warm up first. The students drawings, drawings, not drawings. Drawings is past continuous dance because Trow drew drawings. The students See you in the next lesson. I think next lesson is this side. I I need a lighter. I need a lighter. Because I will do something dramatical. One of the reasons why I recommend no for sketch journaling and continues control o Even if you cut it carefully with it again. So that's why I am I saying? You have to start seeing. Okay, let's not go in there. What am I talking about? High contrast, high contrast. I'll come back. Say, welcome back, but I don't know what I'm welcoming you into. So that's how you use a chronometers for your advantage. I mean, how could you use a chronometer for your disadvantage? I don't know. No for sketch turning and continues con travel and a plane is passing, and I'm waiting again. I'm gonna go crazy. I want a coffee, but I want to finish my work first, but then it will be too late. It will be dinnertime, but I will still want coffee and something sweet. I don't know what to do. Let's finish the work first. Jack, let's finish it, and then we will go for coffee, okay? You have a tiny something.