Intuitive Art Making: Art Supply Relay

1. Introduction: Do you love to create intuitively or you can let your art materials and thoughts guide your creative practice. Doing something like an art supply relay allows you to work with art media in a way that you might not normally gravitate towards. And consider mixed media combinations that might not have otherwise occurred to you. If this sounds like something you'd enjoy, then this is the class for you. Hi, I'm Elizabeth and welcome to my class, intuitive art making, art supply relay. I'm an artist in high school art teacher and a children's book author. In my free time, I enjoy going on in part adventures with my family. In 2020, I began teaching for Skillshare, developing classes that explore a wide range of art materials, techniques, and approaches to art-making. Sometimes I find myself wanting to create, but the act of starting something is a bit overwhelming or I'm not sure where to begin. That's when an art exercise, life, the project for this class comes in and supply relay is a great way to loosen up and use art materials you might not otherwise choose to work with on a regular basis and discover new marks and media combinations that otherwise might have alluded. You will be choosing ten different art mediums to work with. And every 3 min, we'll switch it up as we work with both abstract marks and using a reference image, the benefits to approaching intuitive art-making through an art supply relay. Or that you have some grounding items, like choosing which art materials to use and the time limitations. But otherwise what happens after that is completely up to you. You can sit even further limitations for yourself by working with a specific color scheme. We're gonna be working with a minimum of eight by ten, size up to as large as you want to go. But you could also work smaller and in a series of mini artworks to see what happens when you carry over the art material usage across several mini pages. And then also within the time limitations, will explore this last option limitation and a bonus video at the end of class. By the end of this class, you will have a new creative approach that you could work into your daily art practice when you have a limited amount of time to create, aren't sure where to begin or want to get started without needing a specific project to work on. This class is intended for creatives of all skill levels. It provides a low stakes way to begin creating using whatever art materials you have on hand. And the only thing needed to begin in the class are some basic art supplies and a curiosity about the experience of doing an art supply relay. I hope you'll join me for this fun quick class as we play with a variety of art supplies and a limited amount of time to create and have a lot of fun following her intuition on this creative journey. Let's head on over to the next lesson to learn more about what we'll be doing in class. I'll see you there. 2. Class Project: Thanks for joining me. I love to create intuitively where I let my art materials and thoughts guide my creative practice. Doing something like an art supply relay allows me to work with art media in a way that I might not normally gravitate towards and consider mixed media combinations that might not have otherwise occurred to me. We'll gather up a wide range of drawing or painting supplies and set a timer. And every couple of minutes, we will change which art supply we're working with. Since this art process may be new to you, we're gonna do a mini exercise where we simply focus on mark-making. We're still going to have our tenor, so art supplies, we're still going to have our timer going. But the way you approach how you apply each art material will be a completely open-ended thing. It may go towards the abstract. It may have some representational imagery pop in there. But it's really just going to be a chance to play in warm up and relax and get a little more comfortable with the idea of the time constraints, as well as all of the media that you're going to have to choose from your stash that you're going to put together. Then after we've learned up, we're going to follow the same process. But this time we're going to have a reference image. You can pick any image that you want to work from, whatever inspires you is. Great. But I'll be providing a reference image. You are more than welcome to work from in the class resources section. This is the image that I will be using for the final exercise. So I can show you my approach to working with a reference image and intuitive art-making it through an art supply relay. And art supply relay is a low stakes way to begin creating. It allows you to dive into the creative process without a plan other than gathering your art materials, setting your timer, and getting to it. It can take as little or as long as you like. We're gonna be focusing on 3 min for about 10 h of lies, roughly 30 min to work on something. But you are more than welcome to vary that time limitation because you're gonna be able to either follow along and create alongside me or do it on your own pace at your own time and your own leisure. But we're gonna be studying those timers. So you are, you could do the 3 min, I'm going to demonstrate. You could also speed that up as fast as you want it to, which are really get to the mark making and the application of this exercise to work well and maximize within the minutes that you have available in your schedule. There are many benefits to working intuitively. It allows you to capture a subliminal thoughts and feelings that as you let go of expectations that can be involved in creating an artwork, it is very relaxing as the decisions are made in the moment. And it's often surprising as the outcomes of an intuitive creative session are, might be a masterpiece, art revelation, or inspiration for future art-making sessions. It also falls under mindfulness exercises. As we let the act of creating guide the journey and the artistic outcome and art supply relay is a great way to work intuitively as it eliminates most of the planning involved in creating art is focused on in the moment decisions and uses tie limitations to keep you moving through the exercise. This class is designed for students of all experience levels as a way to warm up their creativity. See what happens when you work fast and with a variety of art materials in unexplored the outcomes of creating intuitively, I often use this strategy to warm up or when I want to create something and have some fun. But it might be in-between projects or inspiration might get a little lacking. But I always walk away from one of these sessions feeling energized and excited and inspired to revisit some of the marks that I made and the colors I worked with and the media combinations. The next time I returned to my art table. This class is very much focused on process. So our artwork might not be something that you love, but I guarantee that you will feel relaxed, warmed up, curious to combine new media and it might inspire your future artworks. It's always so fun to see how everyone approaches and intuitive art-making session, especially when it's an art supply relay. And it's really fun to see what art supplies everyone chose to work with because we're all coming at this from a different point and artistic journey. A different collection of art supplies that we use regularly and some that might need a little dusting off because they've gotten varied in our art storage. So please consider sharing your abstract and reference exercises in the class projects section of our class to the student gallery. I love seeing student work and it's so fun to celebrate the amazing things that come from when we sit down and spend a little time devoted to ourselves and our creative journey. And please feel free to share what art supplies you worked with. Whether that be another photo that you add to your class project or typing it out in the text areas. So the first step is to gather up your art supplies and set up your artistic space. So let's head on over to the next lesson. We'll take a look at some of the art supplies you might consider using in class. I'll see you there. 3. Materials: Welcome back. Now, let's talk about the art supplies that we're going to have on hand for this class will be changing art supplies about every 3 min. So you'll want to have lots of options within arm's reach as you gather up your art supplies. The other thing you can consider is if you want to have a color scheme, I have colors that make me happy. They need joy. And then also whatever was easily accessible in my art studio. So feel free to think of a color scheme and use that as a limitation if you want it to kind of a boundary to set for yourself. If you want to have a little more cohesion in the artworks that we're going to make. But this class is all about process, not about product. So I don't really care if there is cohesion and the color. And I like having that surprise of what happens when I put down unconventional color combinations. But if you want to, you can go ahead and have a color scheme in mind and then use that as a guiding principle for what art materials you're going to choose. Recommend that you choose at least ten or two bys to work with. I've included a list of potential art supplies. The first thing that you'll need is a sheet of paper or sketchbook page. I recommend that you work no smaller than eight by ten. But feel free to go as large as you like. I'm gonna be working on 12 by 16 inch mixed media paper for both the warm-up and the final exercise. So that I have the freedom to use any medium that I feel inspired by or that I happened to dig up for the class project. Some materials you may want to have on hand include graphite pencils, colored pencils, oil pastel, soft pastels, a variety of markers such as fine liners, chisel tips, really large set makers, really large tip markers, and a variety of colors. May also want to get out your watercolor paints, acrylic paints with gouache paints. But that's completely up to you. So think about if we're going to add paint into the mix, what other materials do you need to make sure you are ready to get into your painting? You're also going to want to have maybe some inks and then a tool to apply the ink so you could use paint brushes, skewers, dip pens, whatever you have on hand for working with ink. Charcoal highlighters are really fun. Mark paint markers. Ballpoint pens. Just have fun. Day through your art supplies, find some of those hidden gems that maybe you forgot that you had stored away. Anything that you can make a mark with will work for this class. You are welcome to work along with me or to watch the class and then come back to the exercises on your own time. If you are working on your own time, you're going to want to make sure that you also have a timer so that you can keep track of your time as you go between art media, I'm going to use the timer on my phone and said 3 min and then just keep resetting it as I get ready to go to each new media. For our final exercise, you'll also want to have a reference image. I've provided one in the class resource section that you're welcome to use. But any image that inspires you will be great for us. Feel free to use your smartphone or your tablet, whatever device works best for you. If you are working on a smartphone or a tablet, you're going to need to make sure you go to the Skillshare website, not the app, to download the reference image, then you'll be all set to have the image accessible on the device. For the final exercise, let's take some time to gather our materials and download the reference image or find your own. And I'll meet you in the next lesson, where we're going to set up our creative space and get ready to begin our warm-up. See you there. 4. Preparing Our Art Space: Welcome back. Now that you've gathered everything that you may want to use, Let's set everything up so that we can easily grab it and start drawing. I've got my paper in the center of my table to my left, to my right and above, I've laid out my art supplies. 3 min is going to go very fast and we want to be able to quickly change between art supplies. So make sure you take some time to position your art supplies around you in a way that feels comfortable. If you're gonna be working with paint media or messy drawing media, you may want to have a towel nearby so you can wipe off your fingers between media changes. Now ready to dive into our warm-up exercise? Let's head on over to the next lesson and get started. 5. Art Exercise #1 - Full Length Version: Hello. Now we're ready to set our timer and get started. I'm going to set myself on timer for 3 min and then reset it with each new art supply. Feel free to create along with me or virtual work on your exercise at another time. But do make sure that you have a timer available to you so that you can easily set and reset your time and smoothly move from our Michelle's art material as we go through the exercises. Alright, I'm ready to go. I have everything that I need on hand. And I'm going to quickly decide on my first art media. I think I'm gonna go in with some Sharpie. So I'm going to set my clock, my alarm for 3 min and we're off. I am just creating and playing and having fun. I'm not worrying about what comes out of there. Mark making. And I chose to work with such a large paper because I really wanted space to play. I didn't want to feel like I was too cramped. Just why I recommend you go no smaller than eight by ten. But I think probably 16 is working out to be pretty fine. And 3 min is going to go very fast. And that is time. So I'm in a quick reset it and set that down, grab a new art supply, and keep going. So the intuitive part comes in, in whatever you grabbing the moment, but also letting the marks that come before guide the marks that come after. So a lot of where these red ones are going, all of these vitamins are going is based on the black marks that are already on my paper. If I had approached this with the red first, it would be a very different image. And when we're working abstractly like this, I like to really play with having the marks all over the page. Now, that kind of creates a little bit of cohesion, but it doesn't really matter because it's not about what we're creating. It's about how we're creating. There's 3 min. So at that one down, go ahead and reset it and I'm going to go for a gel pen. There's time. Next, I think I'm going to grab a highlighter. Let's see what this adds to the picture. That's 3 min on the highlighter. Next, hope oil pastel. Yep, I think this one would be the right color. Add some nice contrast. So there'll be a nice bold violet against the lighter pinks and reds that went and down with the county cran and the header. I've got Sharpie Conte crayon, highlighter, gel pen. We'll pass style. I'm up to five from halfway there. It's getting a little crazy, but that's okay. I'm playing with layering and I'm having a lot of fun. That's it for, well, pesto. I'm going to grab some soft vessel now. I kinda go in with reset the timer. I'm going to go in with my light blue soft pastel to further push the contrast of this exercise. Oh, there's my timer. I'm going to reset for another 3 min and go with some dip pen this time. It'll be really interesting to see what happens when I put this. Let me be him down on top of contact CRAN and soft pastel. Now I'm gonna go reset the timer and I'm gonna go with a green sharpie. This is probably going to resist the dryer, check your medium underneath it. But I'm kind of excited to see what happens when they mix together. So go into some lines, tried to add some texture. Just keep working my way around adding some more line detail. But I'm noticing that the pastels can gumming up on the tip, so I'm going to wipe it off my reg helps a little bit. I'm not sure this is a super successful media choice. Carry-on. The lines aren't really working. So I'm going to start filling it in. I'm just kinda make some of those lines sections more salad. Maybe if I move the marker around some more, I'm getting a little bit more, a little better coverage of the color. And I like the green about these other colors. So I'm, I'm turning it around. This is turning into kind of a happy mishap of sorts. Okay. What should I colored pencil? Yep, let's do some colored pencil. Reset the timer. I'm excited to see what happens with this yellow. It should be a nice bold addition to the color scheme. Just going ahead and start filling in some areas. See what happens. All right, I'm gonna stop there. This feels good. I think I'm short of the ten. I've got my sharpie, my Conte crayon, gel pens, soft pastel, ink, oil pastel, marker, the green sharpie and colored pencil. This one, this one I did eight. I think. I love it. I'm really happy with it. I feel loosened up, I feel free, I feel creative. I have some marks here that I'm really inspired to use in future pieces. So I'm gonna go ahead and clean off my workspace, kinda get myself reset, maybe grab a couple of other art supplies to shake things up a bit. And then I'm going to get my reference photo ready. And then I'm going to come back for the final exercise in this class. So I will see you soon. 6. Art Exercise #1 Sped Up: Hello. Now we're ready to set our timer and get started. I'm going to set myself on timer for 3 min and then reset it with each new art supply. Feel free to create along with me or virtual work on your exercise at another time. But do make sure that you have a timer available to you so that you can easily set and reset your time and smoothly move from our Michelle's art material as we go through the exercises. Alright, I'm ready to go. I have everything that I need on hand. And I am going to quickly decide on my first art media. I think I'm gonna go in with some Sharpie. So I'm going to set my clock, my alarm for 3 min and we're off. I am just creating and playing and having fun. I'm not worrying about what comes out of there. I'm just mark making. I chose to work with such a large paper because I really wanted space to play. I didn't want to feel like I was too cramped. Just why I recommend you go no smaller than eight by ten. But I think probably 16 is. Working out to be pretty fine. 3 min is going to go very fast. That is time. I'm in a quick reset it and set that down and grab a new art supply and keep going. So the intuitive part comes in, in whatever you grabbing the moment, but also letting the marks that come before guide the marks that come after. So a lot of where these red ones are going, all of these vitamins are going is because based on the black marks that are already on my paper, if I had approached this with the red first, it would be a very different image. And when we're working abstractly like this, I like to really play with having the marks all over the page. No, that kind of creates a little bit of cohesion, but it doesn't really matter because it's not about what we're creating. It's about how we're creating. There's 3 min and set that one down. Go ahead and reset it and I'm going to go for a gel pen. There's time. Next, I think I'm going to grab a highlighter. Let's see what this adds to the picture. That's 3 min on the highlighter. Next, Hope oil pastel. Yep, I think this one would be the right color. We'll add some nice contrast because it'll be a nice bold violet against the lighter pinks and reds that went and down with the county cran and the head leader. I've got Sharpie Conte crayon highlighter, gel pen. We'll pass style. I'm up to five from halfway there. It's getting a little crazy, but that's okay. I'm playing with layering and I'm having a lot of fun. That's it for, well, pesto. I'm going to grab some soft vessel now. I kind of go in with reset the timer. I'm gonna go in with my light blue soft pastel to further push the contrast of this exercise. Oh, there's my timer. I'm going to reset for another 3 min and go with some dip pen this time. It'll be really interesting to see what happens when I put this. Let me them down on top of conte crayon and soft pastel. Now I'm gonna go reset the timer and I'm gonna go with a green sharpie. This is probably going to resist the dryer, check your medium underneath it. But I'm kind of excited to see what happens when they mix together. So go into some lines, tried to add some texture. Just keep working my way around adding some more line detail. But I'm noticing that the pastels can gumming up on the tip, so I'm going to wipe it off with my rag. Helps a little bit. I'm not sure this is a super successful media choice. Carry-on. The lines aren't really working. So I'm going to start filling it in. I'm just kinda make some of those lines sections more salad. Maybe if I move the marker around some more, I'm getting a little bit more, a little better coverage of the color. And I like the green and all these other colors. So I'm, I'm turning it around. This is turning into kind of a happy mishap of sorts. Hey, what should I colored pencil? Yep, let's do some colored pencil. Reset the timer, excited to see what happens with this yellow. It should be a nice bold addition to the color scheme. And start filling in some areas. What happens? All right, I'm gonna stop there. This feels good. I think I'm short of the ten. I've got my sharpie, my Conte crayon, gel pens, soft pastel, ink, oil pastel, marker, the green sharpie and colored pencil. This one, this one I did eight, I think. And I love it. I'm really happy with it. I feel loosened up, I feel free, I feel creative. I have some marks here that I'm really inspired to use in future pieces. So I'm gonna go ahead and clean up my workspace, kinda get myself reset, maybe grab a couple of other art supplies to shake things up a bit. And then I get my reference photo ready. And then I'm going to come back for the final exercise in this class. So I will see you soon. 7. Art Exercise #2 - Full Length Version: Hello again. We're now ready to work on our final art exercise. Right now I have reset my workspace. I've added a couple of more supplies. I decided to get out a Posca marker. I added another color Sharpie, and then I also got some India ink and then some acrylic ink. Then I'm going to do a paintbrush to apply the India ink. And then I really like unconventional mark-making. So I've got a paperclip to do some stamping and mark-making for the acrylic ink. So I've got my reference image. So I'm gonna go ahead and put this off to the side and set my timer on my watch and get started on my final exercise for this class. Alright, I'm going to start with the sharpie again. I'm not going to go. You could go ahead and draw this first. But I am not I'm not concerned with that. I don't want to get too focused on the specifics of the drawing. I want to focus on what happens with the media. So I'm gonna go ahead and just Go for it this way. First. Draw as I go. Doesn't have to be perfect. It's a loose reference. Like we talked about. Any reference will be great. What I do like about the peppers or something like this is that it gives me a lots of segments to work with. I'm also not following the page orientation or the composition orientation. I'm just building it up. A lot of this first media might be drawing it out. And that's okay. Means that there's room to come back with another media to build in some value and color and have fun with all of that. Screen. Likes to go to sleep, wake that guy up. Let's see some more up here. If you're working with the reference photo that I provided in the class, feel free to edit. How if you just want to focus on a couple of peppers, that is totally great. Whatever makes this a really fun thing for you. Before I get all of this map down, I do want to throw down some color. I really like this yellow sharpie. Not sure if this is yellow highlighter sharpie on the paper. It's not. There's 3 min. Alright. Next up, I'm going to stick in the land, stick in the land of marker before I get into some of the stuff that limited me earlier. So I'm gonna go with my red marker, my red Sharpie. Also get some more of these peppers. This is really only one more over here that I missed. I'm going for a scribbling application, but I won't, I do not have to. I could do some more. A specific technique. I could go hatching. I could go cross hatching. For the reference image version. It's easy to get lost and to get sucked in. And I kinda wanna touch all aspects of the picture with most of the media for some balance. So that's kind of what I'm going for. And why I'm jumping around so much. The other nice thing about the reference image aspect of this exercise for the class is that with the time limitation, you can't really get sucked in into a section and you have to learn quick that you need to just kind of get the gist of something and you can't get there wasn't time to let you get focused in and kind of obsessive about the details. This may be frustrating if you are more of a perfectionist to your art style and your general way of working and how you like things to be aesthetically. But this will be good for you. This will be a really great way to loosen up and kinda breakout that mentality a bit. And really with the timer going, there's not a lot of time to focus on what's happening and let that judgment creeping. Just there isn't time. Just quickly move on to the next bit. So little I stopped. There is 3 min. Alright, I'm gonna go with I'm going to go with my prismacolor marker at three I mean, at time 2 min due 2 s remaining. Want to make sure I didn't accidentally close up my typer. Alright. It's going to keep going with the Prisma color marker. Pretty much just focusing on building up the values, kind of building up from the darks. Just pepper down here, I got a little lost and that's okay. It's also fun because as I layer up the marker, the green going over the red creates a third color. New color comes into the mix. Just fine. There's 3 min. Alright, I'm gonna go ahead and come in where? Some oil pastel, I think. Alright, so I can get some more darks. So I'm gonna go with blue. Use this to kind of build up some more dark areas. We use this to define some things that are getting a little muddled. Because although I don't have it, I don't care how this looks in the end. I do still want to have a sauna, no, it's peppers. So I'm going to do a little bit of defining this round. I'm really enjoying how the overlap is happening here between the red Sharpie, the green posca, and then the blue from the oil pastel. And there's time. Alright. I'm gonna go ahead and go in with some India ink. Actually, no, before I do, I'm gonna go ahead and go in India ink, it's gonna be next. This one I might use a little sparingly because black, it's got such a masking quality to it. I don't want to lose what I've already built up. Although it is working really nice, I like drawing with the paintbrush more than anything to kinda help define the stems where they come out of the pepper. So that's great. At this point, I'm not really looking at my reference image much. No, I feel like it's there as a loose guide. But more than anything, I'm just looking at the picture and kind of seeing where, where more might be needed. As far as Marx and color and. It's true, truly embracing the intuitive side of this exercise. Fill in some of the negative space to find the outer edges a little bit. Funny, this India ink reminds me, the smell reminds me of using tempera paint in elementary school. It's like a whiff of it, put it up, it was transported back to art class. It's really funny. That was time on that. I'm going to just set this on my rag for now. Okay, next up, I want to go in with, I think some colored pencil. Alright, we're gonna go in. Let's put some purple. Now. I have wet down, so I'm probably going to focus this more in my dry areas and try to write in that set my arm down in the India ink. But it happens. Mine. I really like color. If you've taken any of my classes, pick up on that pretty fast. I consider that to be my main subject matter. Regardless of what media I'm using. I don't shy away from it. I really loved playing with different combinations. So when I do exercises like this, if I'm not working with a color limitation intentionally, I do end up with pretty bright pieces. So if this is not something that works with your preferences, just limit your color scheme. Now, we've talked about it before. You can go ahead and really restricts your color choices. I could have stuck with just warms. I could've stuck with cools. I could have stuck with analogous colors, really focusing on the colors next to each other on the color wheel. And often I do, often. I'm naturally drawn to an analogous color scheme. Just doesn't look nice together. Whichever one you choose. Those three to five colors on the wheel are just beautiful. But I often find that when I'm doing exercises like this where I'm really just kinda focusing on gut reactions and intuitive choices. And the way that the colors are a little bit more towards all across the color feel. Sometimes it gets a little chaotic and sometimes it works great. But in these instances it doesn't matter. We're just having fun, we're just playing. That's all. Having a good time. But you really can fine tune this exercise, this process to your, your own preferences as an artist. I'm really enjoying what happens when the colored pencil goes in with the oil pastel. I feel like I was surprised by it, but the same time I probably shouldn't be because the waxy genus of the colored pencil would play well with the oily, waxy genus. An oil pastel. Pretty great. There's time. Okay. Let's see. Markers, highlighters, markers, oil pastels. I'm going to go in with some Conte crayon. I'm going to pop in some more red, I think just to add some more brightness. The nice thing is some of the areas of the anchorage dry. So I can kinda color over them and add a variation of value and define things a bit. Just great. Here is 3 min on my Conte crayons. Okay. Where do I want to go next? I think I want to pop in some whites. And I think I'm gonna go with my white posca. Then I think after that I'm going to go ahead and go in with my, with my yellow acrylic ink. Happens. Some highlights just for fun. Particle is going to get a little weird. With some of these mediums. That's okay. Not liking, it is not happy. That's okay. 3 min goes bass. B. Alright, let's be a little more strategic about where I tried to place it. Kinda dabbing it off on the side. I probably would have had better luck if I'd gone in with oil pastel or even South presto to pop some whites in here. But didn't. That's okay. It's kinda giving me the tube defects. And I'm learning even more media that doesn't really like a posco pen, doesn't really like posca pen does like oil pastel. So that is exciting. I wouldn't have thought that those two would play very well together. They are. That's super great. Pop a little brightness. Thank goodness that 3 min is up. Okay, I'm going to take a pause here and let's see what do we have. We had highlighter. I've lost. We add a highlighter. Color pencil, India ink. Contact crayon or oil pastel, PRISMA color marker, white, posca. Then I think we have them then we have the Sharpie. Yeah, the red Sharpie. Right. 82 more. I know I want to use this, so I'm gonna go ahead and do my yellow acrylic ink next. Again, I'm putting it on with a paperclip. Hold this and just kind of add. You can draw with it. You can stamp with it. It's going to react a little strange to some of these media. This isn't good. Well, go ahead and grab my paintbrush. Sticking with my media. I didn't wash my brush. Now we have this like olive color. That's okay. Against some fun variation. It's also resisting some of what's already down. Let's kinda supply relay role with the results. It's also reactivating, reactivating the, the India ink because it touches it. So that's interesting. But I do really weird way. I do really like the color that was created by putting the dirty paintbrush into into the acrylic ink. Not a color I would have expected to come out of this are lots have ended up in this one. I got my materials prepared. But that's why it's great. And then this is about the process. You have. The product. Sometimes products cheaper, great. Sometimes, sometimes if bus. So it's part of the fun. Really just exploring, having fun, seeing what happens. I was very excited to do some unconventional mark making in this. But I think if I was going to do it, I'd have to do it earlier. So that's really good information to have because I'm going to show mark making. So there's a timer comes into my work a lot. Now I now do it earlier. I am going to call that good. I'm happy with that. I really learned a lot about what media play well with each other and what ones Jones, I do, I really enjoy many pieces within this. I really like, I really liked how the acrylic ink activated the India ink, but then had to be careful so that it didn't spread the black too far. I did also really like drawing with the India ink and using that to define some of the sections for the pepper stocks. Then I also really loved some of the new colors that were created as I layered up, especially with markers. So I hope you had fun with this exercise. And I'm excited to see how they turned out. Had an over to the project section to upload some pictures of your exercises, share the materials that you chose to work with how it went. I would love to hear what discoveries that you made, good or bad or otherwise. This has been so much fun. And I'm thrilled that you decided to join me in this class. Next up is our final lesson where we'll wrap things up. See you there. 8. Art Exercise #2 Sped Up: Hello again. We're now ready to work on our final art exercise. Right now I have reset my workspace. I've added a couple of more supplies. I decided to get out a Posca marker. I added another color Sharpie, and then I also got some India ink and then some acrylic ink. Then I'm going to do a paintbrush to apply the India ink. And then I really like unconventional mark-making. So I've got a paperclip to do some stamping and mark-making for the acrylic ink. So I've got my reference image site. I'm gonna go ahead and put this off to the side and set my timer on my watch and get started on my final exercise for this class. Alright, I'm going to start with the sharpie again. I'm not going to go. You could go ahead and draw this first. But I am not I'm not concerned with that. I don't wanna get too focused on the specifics of the drawing. I want to focus on what happens with the media. So I'm gonna go ahead and just go for it this way. First. Draw as I go. Doesn't have to be perfect. It's a loose reference. Like we talked about. Any reference will be great. What I do like about the peppers or something like this is that it gives me a lots of segments to work with. I'm also not following the page orientation or the, the composition orientation. I'm just kind of building it up. A lot of this first media might be drawing it out, and that's okay. If there's room to come back with another media to build in some value in color and have fun with all of that. Screen links to go to sleep, wake that guy up. If you're working with the reference photo that I provided in the class, feel free to add it. How if you just want to focus on a couple of peppers, that is totally great. Whatever makes this a really fun thing for you. Before I get all of this map down, I do want to throw down some color. I really like this yellow sharpie. Not sure if it is yellow highlighter, left leg sharpie on the paper. It's not. There's 3 min. Alright. Next up, I'm going to stick in the land, stick in the land of marker before I get into some of the stuff that limited me earlier. So I'm gonna go with my red marker, my red Sharpie. Also get some more of these peppers. This is really only one more over here that I missed. I'm kind of going for a scribbling application, but I won't do You don't have to. I could do some more. A specific technique. I could go hatching. I could go cross hatching. For the reference image version. It's easy to get lost and to get sucked in. And I kinda wanna touch all aspects of the picture with most of the media just for some balance. So that's kind of what I'm going for and why I'm jumping around so much. The other nice thing about the reference image aspect of this exercise for the class is that with the time limitation, you can't really get sucked in into a section and you have to learn quick that you need to just kind of get the gist of something you can't get. There wasn't time to let you get focused in and kind of obsessive about the details. This might be frustrating if you are more of a perfectionist to your art style and your general way of working and how you like things to be aesthetically. But this will be good for you. This will be a really great way to loosen up and kinda breakout. You know, that mentality a bit. And really with the timer going, there's not a lot of time to focus on what's happening and let that judgment creeping. There isn't time. Just quickly move on to the next bit. So I'll stop there. It was 3 min. Alright, I'm gonna go I'm gonna go with my prismacolor marker. Just going to keep going with the Prisma color marker. Just focusing on building up the values and then building up from the darks. Just pepper down here, it got a little lost. And it's also fun because as I layer up the marker, the green going over the red, creates a third color. New color comes into the mix. Just fine. There's 3 min. I'm gonna go ahead and come in with some oil pastel. I think. I feel like I need some more darks. So I'm gonna go with blue. Use this to build up some more dark areas. Use this to kinda define some things that are getting a little muddled. Because although I don't have it, I don't care how this looks in the end. I do still want to have, just want to know what's peppers. So I'm going to do a little bit of defining this round. I'm really enjoying how the overlap is happening here between the red Sharpie, the green posca, and then the blue when the oil pastel. And there's time. Alright. I'm gonna go ahead and go in with some India ink. Actually, no. Before I do that, I'm gonna go ahead and go in. Yes. India ink is going to be next. This one I might use a little sparingly because black, it's got such a masking quality to it. I don't want to lose what I've already built up. The way it is working really nice was I'm like drawing with the paintbrush more than anything to kinda help define the stems. Then where they come out of the pepper. So that's pretty great. At this point, I'm not really looking at my reference image much. No, I feel like it's there as a loose guide. But more than anything, I'm just kind of looking at the picture and kind of seeing where we're more might be needed. As far as Marx and color and truly embracing the intuitive side of this exercise. Fill in some of the negative space to find the outer edges a little bit. This India ink reminds me, the smell reminds me of using tempera paint in the elementary school. It's like a whiff of it lit up. It was transported back to art class. It's really funny. Okay. That was time on that. I'm going to just set this on my rag for now. Okay, next up, I want to go in with some colored pencil. Alright, we're gonna go in. Put some purple. Now I have wet down. So I'm probably going to focus this more in my dry areas and try to write it out and set my arm down in the India ink. But it happens buy-in. I really like color. If you've taken any of my classes, pick up on that pretty fast. I consider that to be my main subject matter. Regardless of what media I'm using. I don't shy away from it. I really loved playing with different combinations. So when I do exercises like this, if I'm not working with a color limitation intentionally, I do end up with pretty bright. So if this is not something that works with your preferences, just limit your color scheme. Now, we've talked about it before. You can go ahead and really restricts your color choices. I could have stuck with just warms, I could have stuck with cools, I could have stuck with analogous colors, really focusing on the colors next to each other on the color wheel. And often I do, often just, I'm naturally drawn to an analogous color scheme. Just doesn't look nice together. Whichever one you choose. Those three to five colors on the wheel are just beautiful. But I often find that when I'm doing exercises like this where I'm really just focusing on gut reactions and intuitive choices. And the way that the colors are a little bit more towards all across the color wheel. Sometimes it gets a little chaotic and sometimes it works great. But in these instances it doesn't matter. We're just having fun. We're just playing. That's all. Having a good time. But you really can fine tune this exercise, this process to your, your own preferences as an artist, I'm really enjoying what happens when the colored pencil goes in with oil pastel. I feel like I am surprised by it, but at the same time, I probably shouldn't be because the waxy genus of the colored pencil would play well with the unit like the oily, waxy genus of an oil pastel. There's time. Okay, Let's see. Markers, highlighters, markers, oil pastels. I'm gonna go in with some Conte crayon. I'm going to pop in some more red, I think just to add some more brightness. The nice thing is some of the areas of the anchor dry. So I can kinda color over them and add a variation of value and define things a bit. Here is 3 min on the conte crayon. Okay. Where do I want to go next? I think I want to pop in some whites. I think I'm gonna go with my white posca. Then I think after that I'm gonna go ahead and go in with my, with my yellow acrylic ink. Happened. Some highlights just for fun. Pass was gonna get a little weird with some of these mean. It's not liking, it does not happy. That's okay. 3 min goes bass, right? Alright. Let's be a little more strategic about where I tried to place it. It's kinda dabbing it off on the side. I probably would have had better luck if I'd gone in with whale pasta. Or even South presto to pop some whites in here. That's kinda giving me the tube defect. And I'm learning even more media that doesn't really like the Posca pen, doesn't really like posca pen does like oil pastel. So that is exciting. I wouldn't have thought that those two would play very well together. And they are super great. Alright, thank goodness that 3 min is up. Okay, I'm going to take a pause here and let's see what do we have. We had highlighter. I've lost. We add a highlighter. Color pencil, India ink, Conte crayon or oil pastel, Prisma color marker, white, posca. Then I think we have them. Then we have the Sharpie. Yeah, the red Sharpie. So we're at 82 more. I know I want to use this, so I'm gonna go ahead and do my yellow acrylic ink next. Again, I'm putting it on with a paperclip. Actually going to hold this. And just kind of add. You can draw with it. You can stamp with it. It's going to react a little strange to some of these media. So this isn't going so well. Go ahead and grab my paintbrush, sticking with my media. I didn't wash my brush. Now we have this like olive color. That's okay. It gives some fun variation. It's also resisting some of what's already down. It's kinda funny. Art supply relay, this role with the results. It's also reactivating, reactivating the the India ink as it touches it. So that's interesting. But I do in a really weird way, I do really like the color that was created by putting the dirty paint brush into into the acrylic ink, not a color I would have expected to come out of this are lots of ended up in this one. I got my materials prepared. But that's why it's great that this is about the process. Half the product. Sometimes products super great. Sometimes. Sometimes it's less. So. That's part of the fun. Really just exploring, having fun, seeing what happens. I was very excited to do some unconventional mark-making in this. But I think if I was going to do it, I'd have to do it earlier. So that's really good information to have because you mentioned mark-making, there's a timer comes into my work a lot. Now I know earlier I'm going to call that good. I'm happy with that. I really learned a lot about what media play well with each other and what ones Jones, I really enjoy many pieces within this. I really like. I really liked how the acrylic ink activated the India ink, but then it had to be careful so that it didn't spread the black too far. I did also really like drawing with the India ink and using that to define some of the sections for the pepper stocks. Then I also really loved some of the new colors that were created as I layered up, especially if markers. I hope you had fun with this exercise. I'm excited to see how they turned out. Hadn't over to the project section. To upload some pictures of your exercises, share the materials that you chose to work with how it went. I would love to hear what discoveries that you made, good or bad or otherwise. This has been so much fun and I am thrilled that you decided to join me in this class. Next up is our final lesson where we'll wrap things up. See you there. 9. Final Thoughts: Thank you so much for taking this class and exploiting the intuitive art-making practice with me. I hope you're feeling inspired, relaxed, curious, continue exploring the idea of an art supply relay whenever you want to play and have fun with various art materials and time limitations. If you have any questions at all along the way or are curious, what about this process? Or want to share how your exercises are going, please feel free to post to the discussion section. It is always so enjoyable to interact with students there. And I'm here, I'm here to help. So please reach out anytime I would love to connect through that avenue of class. I'd love to see what you create in this class and what art supplies you chose to work with. So head on over to the projects and resources section and click the Create Project button to upload images of your exercises to the student gallery. I love sharing my adventures in my students work on Instagram. So if you feel comfortable, please include your Instagram name in your project texts so that I can tell you online. And if you post your art to Instagram, please use the hashtag Elizabeth welfare Skillshare or tag me so I can find it online. I also greatly appreciate it if you left her reveal, student's feedback is the best way for me to grow as a teacher. And I really value what my students have to say and share about my classes. I hope you'll consider leaving a review. Just click on leave a review, check anything that applies, and tell me about your experience taking the class. I take all of those reviews to heart as I continue planning, passes future classes and revising earlier ones. So thanks in advance for taking the time to do that. I really appreciate it. And you so so much. And if you want to stay up-to-date on my newest classes, be sure to click the follow button above, and I'll see you next time.