Intuitive Line Drawing: Invite Creative Flow with the Doodle Mindset

1. Welcome to Class!: You know that feeling when you're doodling and your hands moving like it has a mind of its own and that creativity flows effortlessly? What if we could harness that and invite that create flow into our everyday drawing practice? If you're ready to unlock the power of the doodle mindset, welcome to class. The key to unlocking the doodle mindset is in the speed of your hand. Together in class, we're going to explore how to you use speed to open your drawing process and release your creative flow. Hi, everyone. I'm Joe Smigielski. My degree is in art education and I was an art teacher for several years before becoming a full-time artist in 2000. I've been happily creating and selling my artwork ever since. In addition to line art, I'm also an accomplished oil and acrylic painter as well as a digital artist. The magic of line drawing has enchanted me since childhood. I have organically developed my own style using techniques that I'll be sharing in a series of classes here on Skillshare, this being the first. In class, we'll look at how speed impacts our mark making and spontaneity. Next, we'll explore how velocity brings out the natural voice in our line. After that, we'll focus on spontaneous design and creative flow. Finally, we'll put it all together with an intuitive drawing. It takes time, patience, and practice to get a feel for line speed. This class isn't about instant results but we can harness that power over time. Best of all, the approach can be applied to other art forms. Not only do I use it in my line of work, but when creating large paintings as well. This class is geared towards beginners. However, anyone who wants to improve their creative flow can benefit. Are you ready to unlock the creative power of the doodle mindset? If so, grab a pen and join me in class. Let's get started. 2. What You Will Need for Class: [MUSIC] You'll need two things for this class, several sheets of paper and something to draw with. We're making marks and doodles, so keep it simple. Use any ordinary paper. Sometimes we tense up when using better paper, I know I do. The doodle mindset is all about letting go, so inexpensive paper is good for this and use any pen or pencil that you're comfortable with. We'll be making quick motions [NOISE], so make sure it's a pen that doesn't skip. Nothing fancy necessary, and I'll be using a micron with a bold line. Simply because the bold line is easier for you to see. Just keep it simple. [MUSIC] 3. Class Project : [MUSIC] There are two parts to the class project: First, share the final drawing from class. One of the fun things about art school was seeing the endless variety of approaches my fellow classmates took to the same assignment. I'd love to see that same spirit here. The second part is to share the impact that technique has on your own work. Revisit an old drawing and recreate it, applying the techniques learned in class. Come back and share before and after pictures of the drawing. To share your project, go to the Project and Resources tab of the class through a browser and not the Skillshare app. Click the green create project button and upload your images. Make sure they're under two megabytes each. There's a section to add your title as well as your comments. Once you're done, hit "Publish". When it comes time to share additional drawings, click "Edit project", upload your images, and then click "Publish". Remember, sharing your project not only helps future students see what they will learn when they take the class, it also helps more students find the class. I've already gone ahead and shared my project and I can't wait to see yours [MUSIC] Next up, we'll unpack the doodle mindset. Meet me there. [MUSIC] 4. What is the Doodle Mindset?: [MUSIC] You know what that moment when you're doodling, the mind quiets, and the hand almost seems to draw on its own, making the creative process wonderfully fluid. Over the years, whether I'm drawing or painting, I found a way to tap into that state and have come to call it the doodle mindset. When you're doodling, there's no room for overthinking. In fact, there's not much thinking involved at all. You're simply aware of the marks you're making in the moment and one mark flows into the next. But how do we harness that mindset and quiet the mind when we need it the most? By speeding up the hand. The hand and brain work in harmony when we draw. When we adjust the speed of the hand, that dynamic shifts by moving the hand a little faster than the brain, the mind quiets. It's a wonderful way to draw. Overthinking stops and those chattering voices of doubt are silenced. When the mind is quiet, the work can flow in ways that a rational brain would never think of. We're able to be more creative, spontaneous, and intuitive. Another benefit is our hand begins to work more organically, allowing our natural artistic voice to come out. The velocity can help make your voice more dynamic and lines more expressive. However, we can achieve this simply by drawing faster. This isn't a quick fix with time patience and practices though, it becomes second nature. When it comes to speed, there's a sweet spot that pulls her hand and brain into that creative flow together in class through a series of mark-making [MUSIC] exercises, will dial that in together. Up next, let's warm up with a centering exercise. Meet me there. 5. Doodle Writing Meditative Exercise: [MUSIC]. Before I begin drawing or painting, I always start with a quick warm-up. This helps center me, take me out of my own thoughts, and focus on my hands. We'll be using the same technique throughout the class. Let's take a closer look. To create, we need to be present to the process. We need to be centered. We tend to go through the day, lost in our thoughts up in our head, and I find that this exercise quickly grounds me. It calms me and it gently shifts my awareness from those chattering thoughts into my hand, onto the page, and into the present moment. This exercise will put us into a creative headspace. I'll be drawing in this direction today. It's easier to see my left-handed marks. Go in any direction as comfortable. It's a single line of random marks, one continuous line. When we write, we don't think about each letter, we don't think about how to form each word, our hand spontaneously does it. This works much the same way. Our hand spontaneously makes those marks and we just allow it to happen. In fact, I call it doodle writing for that reason. It's a lot like writing. Just a single line of random marks. It might take a few to get into the flow of it. It's a new thing, and anytime we're doing something new, we'll tend to think a lot about it. We have to. But as we do more of this, we'll let go, we'll get used to it, we'll relax, and as you think less, you go with the flow. That's the idea, that flow, that centeredness, that sense of calm. Just let go and let it flow. Let the hand make those marks. I'll break that writing down a little bit. If I make a mark, I instinctively naturally respond to it. My next move was to make a loop crossing that mark. Then I instinctively do that. Somehow, I wanted to make that mark to mirror that one. I didn't plan it, I didn't think about it. I intuitively sensed that that was the move to make. Then this move intuitively makes me want to cross that line and go up again to create that same motion, that same feeling, that same flow. Something like that. Then I dropped down into a zigzag, do one of those, and as I'm doing this, I'm not thinking. I'm just feeling it, I'm sensing it, and I'm being in the moment. That's the whole point. I make a mark in the moment, I react in the moment, I respond. I'm not thinking, I'm reacting. It's very intuitive. It's very organic. One mark leads to the next. I'm not thinking about any of these. Where did the cat's ears come from? Maybe I was tuning into that. Maybe I want to mirror this mark. This one echoes that. It's just a natural sense of design that comes out as we move. The key is to move quickly enough so that it flows. You can even think of it in terms of words. If each mark is a letter, then each group of marks is a word. Try doing it in little clusters and maybe that'll help you get that sense of writing. They're all individually beautiful little moments on their own. One word, leads to the next word. I can pause, reassess, moving to the next one, and just make my way down that page like writing one statement at a time. It will take time. It takes a few of these to get into the flow. But as you start to find that flow, you'll find that you're just watching your hand move. You're just being the awareness of the hand. You're not thinking about the hand, you're not thinking about the marks, you're just aware of the movement, aware of the unfolding limitless line. Just being present to it, allowing it to happen. Let's do a few more of these. You can change the speed that can change the flow. This one I'll slow down. As I slow down, you can see my marks are shifting. I'm sure there's a change in your marks too when you slow down. That's part of the magic of line speed. It changes our mark making. It changes the creative process itself. Line speed is a very powerful tool. As you go slowly, notice also how you feel. Do you feel any shifts inside? I noticed a little more sense of tranquility, peacefulness when it goes slowly. Tune into those things because this is about that groundedness, it's centeredness. Now this next one, I'm going to work from the elbow. I'm not moving my hand and my wrist as much. You can see I'm working from the elbow, working from the arm. That's just a different way to feel your body get out of your head into your body. Let's do that again. This time I'm going to really lean into those graceful curves. Here we go. Working from the arm. Beautiful. Keep experimenting with it. It's very effective. It might take some time and practice. [MUSIC]. The doodle writing grounds us and calms us. It puts us in the present, puts us in the moment, puts us in that creative headspace. Up next, the impact of speed on our marks. Meet me there. 6. Making Marks with Speed: Speed is the key to the Doodle mindset. This exercise will help you understand how speed impacts your mark-making. Let's make some marks. In this exercise, we'll actually see the speed work its way into our mark-making. I call it the castle wall exercise. What we'll do is draw the castle wall across the page three times. The first time will be our normal drawing speed, the second time we'll speed up a little bit, and the third one we'll add a little more speed. Let's begin with our normal drawing speed. It's whatever your regular drawing speed is, just use a comfortable speed. Make your way across that page. That comfortable drawing speed of yours, whatever your drawing speed usually is. Next, we'll add just a little bit of speed to that. Yours might not be the same speed as mine, just add a little more speed to your normal drawing speed, putting just a little speed into those marks. When I do that, there's a rhythm to it. If yours has a rhythm, follow that rhythm across the page. Row Number 3, we'll add a little more speed. There's definitely a rhythm here. Use that rhythm. Let's do that again. Now that we understand what we're doing and we're a little bit warmed up, we'll start with that regular drawing speed. That comfortable drawing speed of yours followed by a little extra speed. Speed up just a little bit. Now, let's add a little more speed. Here we go. Now, for the class, we'll be calling this the slow speed, this will be our medium speed, and our fast. That isn't to say that your normal drawing speed is too slow, it's simply a way to identify our three speeds during the class. Now, compare your marks. Your marks won't look just like mine. We all respond to speed in our own way, but notice how your mark making changes as you go through the different speeds, for example, if we look at my slowest speed, the line is a little bit shaky, just a tiny bit unsteady. In my medium speed, that line tightens up. You can see my corners get more square. When I'm a little bit slow, those corners are just a tiny bit rounded. Look for those very subtle differences between the speeds. It can be extremely subtle. Now, we see quite a bit of change here at my fast speed. My lines begin to dip, they begin to bow. Now, I'm just a little bit out of control at the fast speed. Sometimes being a little bit out of control can be a really good way to draw, and we'll talk more about that later. Now, none of these speeds is good or bad, none None better or worse. Line speed doesn't work that way. A bicycle has different speeds for different situations and there's different line speeds for different drawing. You can choose different speeds depending on what you want to draw and how you want to express yourself. Your intuitive sense and creativity can also flow differently at each speed. It's very exciting and we'll be exploring that later in class. We'll experiment with all these speeds during class and you'll see how each works for you. Compare your marks. As I said, the differences might be very subtle, but notice how that speed makes its way into your marks. Notice how it transforms the mark. Does the energy of the line change? Does the pressure of the pen change? How are you forming the marks? How did the corners look at the slow speed? Do they change at the medium speed? Do they change again when you go fast? Notice your horizontal lines. How do they change? Do your vertical lines change with speed? Notice all those subtle shifts. You've identified your three speeds. Let's go on to the next chapter, and you'll get to know those speeds a little better, and we'll work on how to control them. Up next, let's harness those speeds and dial them in. Meet me there. 7. Harnessing Your Range of Speed: You've identified your slow, medium, and fast speeds. In this exercise, you'll work on dialing them in shifting from one speed to another. The key is, work in small strokes as they're sharp bursts of energy that allow you to focus the speed. Let's get started. Now we'll use those speeds all at the same time. It'll give us more of a feel for those speeds and it'll help us to dial them in. We'll make a zigzag mark across the page, starting with our slow speed, a regular drawing speed, moving into the medium, and then moving into the fast. Here's our slow speed, a regular drawing speed, move into the medium, and moving into the fast. Then what we'll do is break these marks down according to line quality, according to how each speed looks. I said in the beginning chapter that my slow speed has that little bit of shakiness to it and you can see it there. I'd say right about there is where I go into that medium speed and my medium speed has a little bit more of a tight quality to the line. My fast speed has that bend to it, that organic quality. Maybe right about there is where I move into that fast speed. Separate your speeds. Each of your speeds has a distinct look and feel so let's do that again. In the introduction of this chapter, I said that strokes are the key to controlling speed. I'll show you what I mean. If I was just to do a zigzag as a single mark, it becomes sloppy very quickly. But if I break it into strokes, I can control that mark. Each mark within this zigzag has a little pause after it, little tiny pause and that's how I break that into strokes. Let's do it again thinking about strokes, slow, medium, and fast. Here's a little pause. Here's my slow pausing after each up, pause after each down. Shift in the medium. Little bit of a stroke there, a little bit of a pause, move into my fast. My slow ends about there and right about there is where I move into the fast. Let's try that again. Think about strokes. Slow, medium, fast, medium and fast. I'm going to stop my medium a little bit there, but that's okay. This exercise is a little tricky. It takes some time to get a feel for it, but you will. This time we'll change things up. We'll use just two speeds here, we'll go from slow to medium to slow again and use those strokes. There is my slow and there is my medium, there is my slow. Let's see it looks like I start my medium right about there and I start my slow right about there. You notice it's a very subtle shift between speeds. It's not a big jump to go from slow to medium. It's a very subtle shift. I just step into medium, I just tip over that line. I tip into medium and I tip back down into slow. Let's do that again, slow, medium, and slow and focus on that transition between your speeds. It's a shift in energy, a very subtle shift in energy. There is my slow, shift in the medium, gently shift back down into a slow. Notice that subtle shift in energy. Let's do that again. Slow, medium, slow. This is my slow working in strokes, here's my medium, here's my slow again. I just ease back another slow. As you become mindful of your speeds, they'll begin to tell you things. I love a very slow line in other people's work, but it's not a speed I choose. If it appears in my work, it tells me I'm overthinking. I receive commissions where I've been asked to include someone's pet dog in the scene, and without fail, that unsteady line shows up in the drawing because well, commissions make me nervous. What if I draw their dog wrong? That unsteady line is telling me that I'm slowing down, I'm overthinking and worrying way too much. It reminds me to speed up, trust that I've got this, and the dog will turn out great. Listen to your lines. Let's do some more this time, going from medium to fast to medium. This works the same way. It's a subtle shift. You're not jumping into fast, you're just tipping over that line into the fast speed and then tipping again down into the medium. Medium, fast, medium working strokes. Here's my medium, here's fast, here's my medium again. This one gets even trickier because those fast speeds are even harder to control so let's do some more of that medium, fast, medium. Here's my medium, the very subtle shift, there's fast, and there's my medium again. You just ease into your different speeds. Now let's finish where we started by doing the three speeds: slow, medium, and fast. As you transition between speeds, just be aware that it's a subtle shift and use those strokes. There's my slow, regular drawing speed, step in the medium, step into fast. Let's do another, same thing, slow, medium, fast and you just ease into your different speeds. Focus on those strokes. Here is my medium and that's the fast. As I said, this can be a little bit tricky so give it time, give it practice. Try it with different kinds of marks or explore different speeds using simple drawings that you're familiar with and then time. Using these shifting speeds can be second nature. It can become as natural as running a bike. It really does. You don't even think about it after awhile. It just takes practice and experience. Let's put these speeds to use to do some drawing next. Up next, trusting the hand. Meet me there. 8. Trusting the Hand: Drawing Forms: Part of creative flow is drawing without expectation, trusting the hand and the outcome. In this exercise, you'll repeat the same simple drawing of a tree. Don't overthink it. Let the tree draw itself.Part of the doodle mindset is letting go of expectation, letting go of control, and allowing the creative process to unfold. When we doodle, we might have a simple concept in mind, but we don't plan every detail. We start with that simple idea and just let that process flow wherever it takes us. This exercise is all about trusting the hand. The hand is connected to the intuitive self. We'll trust the hand and see how it allows that intuition to open up. We'll be working with a tree, it's a pine tree. We'll draw a thumbnail of that pine tree. This pine tree is symmetrical. It's the same on both sides. Mirror image. If it's not quite a perfect mirror image, that's okay, don't worry about it. We'll draw that pine tree a few times at our different speeds, starting with the regular drawing speed. Here's our slow speed. Then again, if the symmetry isn't perfect, that's okay. If mine leans a little bit, I'm not going to worry about it. It's more or less symmetrical and the branches gets smaller as they go up. Now, I'll go into my medium speed, speed up just a little bit here. As I add a little speed, you can see it becomes a little bit harder to do that symmetry. Symmetry is a very precise thing so takes a slow, careful speed. That regular drawing speed is great for doing precise work. But here where I'm going a little faster in my medium speed, you can see this side's a little lower than the other, but I still have balance. My brain was asking for symmetry. My hand here is going a little faster than my brain. The hand can't do symmetry anymore but it intuitively does balance instead. The weight is more or less the same on both sides and the hand can still draw the branches smaller as it goes towards the top. Let's do another medium. I'll trust the hand to do those two things. I'll trust the hand to do balance, and I'll trust the hand to make the branches go smaller towards the top. Medium speed. Was the hand able to complete the assignment? Yes, it was. Now let's do the fast speed. Again, we'll just let go and trust the hand. The hand will draw balance and the hand will draw those branches going smaller towards the top. Yours might not be as fast as mine, and that's okay. The hand was successful. Even though this branch is much bigger than that one, this one is bigger than that, so we still have that sense of balance. Clearly, the branches get smaller as they go up. Let's do that again. Fast speed, trust the hand. That one, I let go even a little more, creating these really wide branches. But again, the tree worked out. This time, I'll really let go, get very playful with it, and see what happens. Now, even though I let go so much that those branches began to crisscross, it still looks very balanced and it still goes smaller towards the top. It's a very beautiful pattern. Now, I could not have possibly planned that out. In fact, if I tried to draw that with a slower speed, it won't look as delicate. It will look very frost, very contrived. By trusting the hand, it intuitively, instinctively drew this beautiful pattern. Let's try that again. I'm going to completely let go and even let those branches crisscross and I'll see what happens. Again, a very spontaneous intuitive tree, but it completes the assignment. There's a lot of balance and the branches get smaller as they go towards the top. Because I let go and trusted then hand, it also gave me this very organic, spontaneous, intuitive pattern. Now, looking at our whole range of trees, we don't have to go this fast and this lose to begin to get spontaneous intuitive results. Even spinning up just a little bit and trusting that hand begins to give us those intuitive marks. They're just a little bit different than what the rational brain one. When you have those marks that are just a little bit different than what you had in mind over the course of an entire drawing, that whole drawing can begin to transform. You can transform your drawing just a little bit, a little more or quite a lot. It's like magic. The key to that magic is trusting your hand and adjusting your speed. Let's play with those trees a little bit more. This time, the ground is going to be doodle writing. Just get real loose, get a flow going, and then go right into your trees. As you do this, just play. Play is the spirit of the doodle. As I do these, I'm aware of my balance and I'm aware that my marks are getting smaller towards the top but I'm not thinking about the details. I let my hand take care of the details. My hand will play and invent those details as it goes. I didn't plan that. You can't possibly plan something like that, it just happened. I'll add a little bird just for fun. Let's do some more of that. Just the spirit of play. Let it happen. The first side is a call and this side is a response. How do I answer that side? Like that. Let's do that again. Here's my call, there's my response. Uniful little tree. Completely spontaneous, completely intuitive. Now if I slow down to deliberately try to draw a tree with a wonky balance, it will look contrived because the brain is rational. The hand though can be delightfully irrational. I'll do one more like those. There's my call and as I respond, it will naturally come up with some balance. It's not the prettiest tree I ever drew but that's okay. We're just having fun here. Let go and trust that hand. It can take you places that your rational brain could never dream of. In the next chapter, let's take trusting the hand to the next level. We'll trust that hand and speed and draw an entire scene. Up next, trusting the hand, drawing scenes. See you there. 9. Trusting the Hand: Drawing Scenes: The doodle mindset is about letting go. Let go and trust the hand. Your hand is connected to your intuitive self. Let's take trusting the hand to the next level with a mountain scene. But before we draw that scene, let's see how speed and packs our mountain. Let's draw another object. This will be a mountain. Let's do our thumbnail. The mountain is a zigzag and it has three peaks, a short or tall in a medium and there's snow on top of each peak and that's it. Very simple. We'll draw it three times. Slow, medium and fast and we'll see how that speed transforms the mountain. Remember our strokes, strokes control the speed. So here's our slow speed and maltose trust the hand. I won't worry exactly how that mountain is going to turn out. I'll simply allow the hand to draw it. I won't overthink the snow. Mine has little dips to it. Yours can be anything you want and mine will go down the side a little bit. As I did that, I didn't plan on every little bump. I just felt my way through it. That's part of trusting the hand. You're just feeling your way through it. To the medium, work in strokes and again, the snow will be a medium speed. As I go in that medium speed, I certainly can't plan every little move. But I know the general feeling of the snow. I know the general movement. All I wanted to go down the side and that's what I did and it worked out. Now, fast speed. Snow is also fast. Again, I was trusting the hand and it worked out. Each mountain has a very different look and feel and that's because the speed changed. Trusting the hand allowed that speed to work its way into the marks. When I go faster, the lines become more dynamic, loose and fluid. Even my line pressure changes at my highest speed here. Notice how your mountains change with speed. What happens to the shape of the peaks? How does the snow change? How does the line quality itself change with speed? These lines look loose and spontaneous and so as the creativity at that speed. Let's draw a mountain scene now, tapping into these medium and fast speeds and we'll see what happens. We'll see how the creativity itself changes at these higher speeds. We'll start with the doodle writing into a flow. Feel that flow and then we'll go right into our mountains. This is our medium and fast speeds. See how it turns out, we'll see where it goes. Anything can happen. I'm looking for that loose fluid movement in my lines. Just trust them hand, trust the process and have fun with it. That's the spirit of the doodle. Have fun. Let over trees here. We need something right in the middle. So I had no idea where this was going to go. I simply trust that the hand and I trusted that speed. Speed allow that process to open up. Speed leads to spontaneity. The lines are fluid, the process is fluid. For that speed to work, we trusted the hand. The hand is connected to the intuitive self and when we let go and trust the hand, we began to work from that intuitive place. Up next, let's create a spontaneous design. See you there. 10. Spontaneous Design: [MUSIC] When doodling, marks aren't planned. One mark leads to the next and the doodle simply unfolds. Speed makes the process more fluid. In this exercise, we'll take a closer look. This is similar to the doodle writing because it unfolds spontaneously, but it's a little more structured. The way it works is, there's horizontals and verticals. We'll let that line wander the same way. It's a single line with horizontal and vertical marks. What happens is, as we let it wander, it opens up our intuitive sense of design. That is the goal here. In fact, that's the process. It happens naturally. I'm not thinking about any of these. We instinctively, intuitively know what our next move is. For example, right now, I'm getting close to that corner, and intuitively, my inner eye says, I don't like these two corners to get too close together, this line too close to that corner, so I need to move away from it. I don't want to run into it. To me, that is not aesthetically pleasing. Then instantly I say, I want to cross that line because I want to go parallel to this line. That would be pleasing from a design standpoint. It's my natural sense of design. It likes that movement. It likes that rhythm. Then it says go back up. We'll just follow that line around. Follow it up here. This is where the speed comes in. When I get a nice little speed going, I instinctively start to make marks without really thinking them through. One mark leads to the next. I might go out here and then instinctively dial it back in. I want to break that line up. I'm not thinking, I'm just feeling it, and I'm sensing it, and I'm being in the moment. That's the whole point. Now, let's go backup here. Nice big movement again. It's a mix of little corners, little areas, and broader moves. I'm also paying attention, in other words, to the big picture. There's little moments like that. Then there's the overall arc of the piece. My intuitive self is keeping track of both all the time. We do this automatically. The way to do that automatically is to keep moving, keep that speed up. If I slow down, I'll start to think way too much, and thinking gets you into jams. It'll make the drawing look forced. But if I stop thinking and start responding, reacting naturally, the imagination opens up and the drawing becomes more beautiful. Because I'm talking too much, I lost my flow. When you lose your flow, just make any little move and get it started again. Go back down here, just make any little move moving along. Let's go back down here. One mark leads to the next. I'm not thinking about any of these. I make a mark in the moment, I react, in the moment, I respond. I'm not thinking I'm reacting. Let's continue with this line over here. Let's see. Same way. I'm way overthinking right now. I'm starting to actually think little moves through way too thoroughly wondering, how can I work my way down here? Or maybe I'll go back here and trying to actually plan out my moves. Once you start planning, then you lose it. I'll just feel my way around. No big deal. But you get the idea. Very nice. Let's take a look at our designs. Your design has a lot to tell you once you break it down, we'll first look at the overall composition. Is there a movement to yours? Do you see a rhythm? Do you sense any pattern? For example, if you look at just these little squares, they almost look like little music notes that bounce through the composition and your squares have their own balance to it. It's your own music. There's an underlying geometry, a mathematics to this, for example, there's a distance between lines that's repeated. You can see there, it pops up here, here again. That holds the piece together. The same thing with these horizontals. You can see they almost appear like steps moving down the piece. They're the bass notes of that song that holds everything in place. Find that geometry in your piece. That's your geometry, and spot themes that are repeated, for example, these ascending stairs. You can see those same marks flowing through here. It's more subtle, but you can also see it there. That's just something that happens intuitively as I'm flowing in the moment because I sped up a little bit, quieted the mind, and got that flow going. I can't plan that out. That just happened organically. When you're in that flow, that intuition begins to speak and you can see it play out in your design, in your lines, in the way those marks work together. Another thing to look for is interesting little clusters of marks that work together, for example, that's a nice little moment right there. I enjoy that. My favorite one is this moment right here. That's the very last series of marks I made in this entire drawing. It has a beautiful musical flow to it. We talked in that last chapter about if I forced the tree to look wonky, it won't work out. I have to let it happen naturally. Same thing here. I can't try to draw something like that, it won't have that same flow, but if we naturally let go and tune in to that intuition, those moments can open up. Why did this last moment of my drawing turn out the best? Because I knew I was done with the drawing and I completely let go. Letting go allows our design stance to find its way into the composition. A little bit of speed helps us let go. Find those little moments in your drawing. There are many designs inside the greater design. There's your intuition speaking. In the chapter with the mountain, we talked about your line voice and how the speed brought out different aspects of that voice. You also have a design voice. That design sense is as natural as your sense of humor. Working with different speeds can bring out that design sense. Explore this exercise. Try different speeds, try different marks. It's a great way to strengthen the connection to your intuitive self. We use speed to quiet the mind, to let go and tap that intuitive design sense. We trusted the hand to work with that sense. Now, this was a random design, however, we can use that same process when composing [MUSIC] a picture. We'll do that in the next chapter. Up next, we'll create an intuitive drawing. Meet me there. 11. Intuitive Drawing: [MUSIC] You've trusted the hand, and now it's time to trust the drawing process. In this exercise, you'll complete a drawing using all of the techniques we've explored. You'll be creating with minimal planning and without concern for the outcome. Stay in the moment and take it one stroke at a time as one mark will inspire the next. The drawing will emerge and unfold like your doodles. Work in strokes and keep moving. Be mindful of your speed without overthinking. 12. Final Thoughts: [MUSIC] We've reached the end of class. You have the tools you need to trust your hand and quiet your mind, to transform your marks and harness your creative process. Keep working with it. Your entire artistic journey is a process. It's not about finally finding a style, creating the perfect piece or arriving in someplace. It's a continuously unfolding journey, so keep moving and trust the process. Thank you for creating with me. I'll see you in the next class. [MUSIC]