Transcripts
1. Introduction: [MUSIC] Hi. I'm
Marie-Noelle Wurm. My pronouns are she, her, and I'm an Artist Illustrator and top teacher
here on Skillshare. In this class, I'm going to
invite you to join me on an exploratory adventure into textures, colors, and creatures. The materials are
really open to what it is that you have
available at home. If you have a fewer materials or if you have a bunch
of art materials, any and all of
those are welcome. I've been an active
full-time artist and illustrator
for over a decade. You can find my work on Instagram and also
on Patreon and on YouTube where I do vlogs and live sessions
and tons on fun stuff. What I hope you'll take away
from this class is that your sketchbook is
really a playground; a place to land and
have fun and play with your colors and textures and embrace creative growth
and creative freedom. This class was originally
recorded live, where I was able to answer questions and interact
with students. Thank you so much for joining. I'm super excited
to get started. Let's open up our sketchbooks.
2. The Sketchbook Mindset: Hello to everybody here from various countries and states
and places around the world. We're so excited to have you here for this sketchbook
challenge class. Marie-Noelle Wurm is going
to teach us how to draw fun, dynamic creatures
in our sketchbooks, which is very exciting and
we're so happy to have her. Without further ado, let's
go ahead and get into it. I'm going to turn
it over to you. Hi, everybody. Welcome.
I'm glad you joined. Today we're going to
be, like Dylan said, exploring creatures
and textures as well. In terms of the art materials
that you can use today, honestly, you just bring
whatever you want. If you have a few art materials, if you want to work with
a bunch of art materials, I have a few different things. I brought a few
watercolors on my palette. I have some neal colors, I some some markers, a few color pencils,
some pastel. I just brought a few
things to play with today because we're going
to be exploring colors, textures, patterns,
and features. Before we get into
the actual drawing, I wanted to share a few
thoughts that I had on sketchbooks because
obviously this is a sketchbook challenge. One of the things that I've
noticed when I look at sketchbooks on Instagram
or on YouTube, is that a lot of them, a majority of them,
are picture perfect. What I mean by that is
like this sketch book will open and it will be this
beautiful luscious spread. Then the next page is, again, another beautiful
luscious spread. I'm not criticizing
that. That's amazing. It's super inspiring to look at, to take inspiration from. However, sometimes I
feel like the fact that a majority of sketchbooks that I've seen at
least are like this. It has a tendency to perpetrate this myth that sketchbooks are supposed to be perfect and supposed to show the best of
the best of your artwork. It also participates in that idea that
talent is inherent, and that pictures just
happen without any effort, and that being an artist or an illustrator is like
this unattainable pipe dream, especially if you're making art that you don't really like. I fundamentally disagree
with the word talent. If you know any of my classes, then you know that about me. But in this class, I want us to practice a different mindset. I want us to practice
the mindset that our sketchbook is a tool. It's a mean to an end
rather than the end itself. It's one of these places where growth happens, where
learning happens. It's a visual reminder that
the most important thing is the process, at least for me. For me, art, what
matters most about it is what you learn from it, how it makes you grow, and how you feel as you're
drawing or painting. Don't get me wrong,
like everybody, I've moments where I can be more self-critical of my
drawings, and that's fine. It's not about being judgy about those moments where
we're self-critical, but rather about meeting them with a little bit
more compassion and a little bit
more understanding that that's part of the journey. Just for example, when I have
a new sketchbook to start, I used to get the jitters, like, I have these blank pages and what is the art
going to be in it? Is it going to look good? More recently, I've
found that I see my sketchbooks as
just a playground. It's like hours of fun that
are just waiting to happen. That's the mindset
that I want us to take into the exercise that we're going to be doing today, is that a sketchbook
is a place to land with yourself
and for yourself, and it's about those
moments of joy, discovery, curiosity, and playfulness,
and self-compassion when you do something that
you don't particularly like. Anyway, that's really
the thought that I want us to bring into this
sketchbook challenge today. Who knows? Maybe
next time you open your sketchbook as well.
That could be fun.
3. Starting With Textures: Well, I'm going to be using
this bigger sketchbook. You can use whatever
size papers you want. The class is going to be
split up into two parts. The first part we're going to be exploring textures and
colors and patterns, and not thinking at
all about creatures, which is going to
be the second part. Just to start off, I'm going to actually
use one single tool, the most basic tool, a pencil. The reason I'm going
to start out with this one tool is I
want to also show you that having a ton of
art materials is great, but that's not the thing that's going to make you explore
textures or patterns. Even a single tool
can give you hours of play in terms of colors or in terms of
textures and patterns. Maybe not in terms of colors
if you only have one, but at least in
terms of textures. Take one tool that you're
going to start out with. You can just start
making a little mark, and you can do
whatever you want. I'm going to be doing
little squares-ish. It could be little circles
or something like that. If I just make just
this one mark of repeating lines,
that's a texture. Texture is really a
visual representation of how something feels. When we think of texture, we think like it can really
come from your tool itself. So what I mean by that
is that I like to think of each tool as having
a certain personality, and that becoming familiar
with your tools is like getting to know a friend, getting to know someone. What are all the different
little intricacies and complexities that tool offers? Even just here, if you
compare these two, there's a huge
difference in terms of how it feels
when I look at it. You can imagine what the texture would
look like if you were feeling it under your
fingertips. These are just two. But again, we can do so many different things
with our pencils. You can vary the strength with
which you apply pressure, the way that you apply
pressure with your tool, that will give it a
different texture. The marks that you create. I'm going to just speed this up just so you get
a sense of that. The way even you
hold your pencil. If I hold it up high and
I let it go a wobbly. I remember I used to be very critical of my wobbly
lines when I started out, I thought it was like a sign
that my art wasn't good, that I wasn't good
at what I did. But rather than resistant, you can embrace the wobbliness, and there's a lot of beauty and expressiveness that can
come out of wobbly lines. Also, maybe the
direction of your marks, how slow or fast you go. What you'll notice is that
I'm talking here a lot about the sensory aspects, the sensory nature of our tools. That's something that I come back to all the
time in my practice. Drawing is something that is a sensory
physical experience. When you're able
to really connect with that sensory
aspect of your tools, then it really helps you
drop into the moment. It sounds dumb,
but, for example, even just for this class, obviously I was nervous, and maybe you could tell or not. But as I started drawing,
I've become calmer. It's because the sensory
aspect of drawing, it really allows me to
drop into the moment. I think that's
incredibly powerful. I don't think that we
talk about that enough in the art world about how it is this visceral bodily experience and that you can pull on that in order to really enhance
your drawing experience, if that makes sense. Totally it does. It's
also just really wild to see how many different textures you can get from
that one pencil. Actually, I was drawing
with a few friends this morning and we were talking
about the brush pen, which is one of my
favorite tools. I didn't bring it
today actually, but it's one of my
favorite tools. I was talking about
how for two years I drew almost uniquely
with the brush pen. It's just to say that the tools we
use should never be a limitation for our explorations,
if that makes sense.
4. Adding Color: I'm going to move
on and bring in a few other colors and materials just so that you can see a little bit of a range
of different textures. But if you're just using
a single tool or you just want to explore
one, keep doing that. You could literally just fill four pages full of different
types of textures. Do whatever it is that you
feel could be the most fun. The sensory nature of our tools, coming back to the
personality of our tools is the first way that I think you can help
find different textures. Now I'm going to go
into something else. You can also pull inspiration
from your surroundings. I'm saying surroundings because literally if you think about it, we're bombarded all the
time with textures. Even if you just look up
from your desk right now, you'll see that
every single object that surrounds you
has a texture. That's awesome
because that means there's an infinite amount of textures that you can
take inspiration from. I like to take a lot
of inspiration from the natural world because
nature is very important to me. For example, this
could be leaves or scales or some feathers if I went into it a little
bit more in detail. But you can also
take inspiration from something that's
just super concrete. You can see that my
desk has some wood on it [LAUGHTER] and it
has these textures. I could use that as a springboard for a
texture exploration. For example, I have these diagonals and
I'm just going to start trying to explore these
with some colored pencils. Since this is an
organic texture, it's not going to
be super rigid. It's going to have
that flowingness, these diagonal lines is the first thing
that caught my eye. But then if I look in detail, I actually see that there's these very thin lines underneath it. I can go ahead and add those in. When you're using your
surroundings, objects, nature, whatever it is that you see as a starting
point for texture, it's important to not
get too caught up on the realism of it. Actually, I would say that for this entire challenge,
personally, I don't think that realism
it's the be-all, end-all. Even though when I started
out I was like this doesn't look realistic enough
so it means I suck at art. But who cares? [LAUGHTER] If you look
at tons of illustrators, there are tons and tons of illustrators who don't
do realistic things. Anyway, don't get too caught
about the realism or how the fidelity of
the original thing that you're taking
inspiration from, it's really just a
springboard basically. In this one, I've used two different overlapping
textures and that gives me a different texture than
if I just did a single one. In each of these
that I've shown you, I've really done
pretty much only one, but you can do many layers. You can do two,
you can do three. You can do as many as you want. Each buildup of another
layer will give you an added texture. Recently, I have been
obsessed with stripes so that's why I'm going with
some stripes right now. I too love stripes. Something about a stripe is just very soothing to look at. I don't know why. It's just
so fun [LAUGHTER] Isn't it? I think our brains really
like controlled order. Totally. As we continue your
exploration into texture, start to just think about, how do my tools blend, how do they work
together, for example, here I used a colored pencil first and then I used
a neo color second. That makes it
really interesting. I hope you can see
that actually. Yeah, I can definitely
see more of that You can see the
overlap in that sense. You can also play with
fun contrasts of color. This is one of my
favorite pencils. It's a rainbow pencil. Rainbow pencils are
the best. [LAUGHTER] Definitely. Because they just have that
playfulness aspect to it. They were amazingly
fun when I was a kid and they're
amazing fun now. Yeah, totally. That's also something
I love is when a tool brings you back into
that childlike curiosity. That's always something
that I'm always looking for in my practice.
[OVERLAPPING] Sorry. I didn't
mean to interrupt. No worries. For example, here I'm going with something
a little bit more chaotic.
5. Using Adjectives: We went from the
external surroundings and now we can go
also more internal. So you can use adjectives. So the simplest version
of this is like, what would a rough
texture be like? What would a, I don't know, let's say a spiky
texture, be like? That's more like
of a descriptive, literal descriptive
version of a texture. But then you could also go
into the realm of emotions. For example, I want to
make a playful texture. Well, I don't know what
would a playful texture be. Maybe I would have, I'm going to go a little
bigger on this one just because I think that
seems more playful, then maybe make some
big rounded shapes, and then something like that. Because it's neon, I don't know if you can
see that on your screen, but it's like super
bright neon pink. Yes, that is definitely
coming through. Cool. I was honestly just very excited to see you draw
with it because I totally thought it was
a chopstick and then you picked it up and I
was like, oh my God. [LAUGHTER] It's the
best. It's so fun. It looks really fun. So there, that's like
my playful texture. But what if I want to do
something, I don't know, maybe more moody?
I'm going to up. This is like a paint thing. In itself it has an
interesting texture, but I want to look for something
a little bit more moody. So what am I going to do? I don't know, I'm
going to experiment. I'm going to try,
well what if I layer this beigey color on top so that you have
that mix of colors? That really does transform that color into something
totally different. Right, and so it gives you a
completely different feel. What if I did something that was horizontal bricks
but are organic too. I don't know, could just start adding some
lines in there. I guess the thing
that I want to show you with this is that, at least when I used to
think about texture, I used to get caught
up on the idea of, oh, it has to evoke something. But it can literally just be different shapes and
patterns and colors. If they are repeated, then it gives already a texture. That's all you really need. You can take
inspiration even from like the clothes
that you're wearing, there are patterns everywhere. Or what if I take the
same element and I repeat it horizontally and vertically, and I can add a
base behind that. Oh, yeah, I wanted to mention
this as well, markers. I don't know about
you, but me as a kid, markers used to annoy
me because I wanted to have like a flat color
and they were never flat. Always just had
these little marks. Yes. It used to really annoy me. I was like, no, I just want like a flat color I didn't
know gloss existed, I guess like,
good-quality gloss. [LAUGHTER]. So I've remade
my peace with markers, and this is another thing
that I want you to think of. Whenever you have a tool
that you're frustrated with, like you don't like
the way it's working, what if you leaned in to the things that
bug you about it? What if you use that as a way to discover a different
kind of texture? If that makes sense.
I'm going to show this to you closely, you can get a better sense
of what I'm talking about. Where are we here? Here we are. There it is. That's the
highlight you're looking for. Right. So you see how those
are the marks of the marker, which as a kid I
would be like, ah, but if you lean into it than
it actually can give you a really interesting
texture that you could use in order to create visual
interest in your drawing. Like that looks almost like
snake skin, for example.
6. Creating Your First Creature: I'd like you to look at the
different textures that you explored and you can either pick one that you used here or if there's another texture that you want to explore you can use that. But I'm just going to
go with one that I explored here and use that
as my starting point. The one I really like is
actually this orange one. I think that one's really fun. What I'm going to do is
I'm just going to start making a shape of this texture. Obviously, I mean squares here. I could continue to make a different square or I could make a blob or a circle or an oval
it doesn't really matter. But I'm going to try to
do that same texture. That was my favorite one
too, so I'm very excited. Cool. [LAUGHTER] Awesome. It's bricks with I don't
know a line in it of sorts. When I was a kid I lived in
a yellow brick house for awhile, so I definitely
I vibed with that one. That's awesome. I love that. I want us to start out simple. You can really just start
with a simple shape. I'm going to go for an
elongated rectangle. I just broke my Neocolor again. Something I always do. It's easy to do. Yeah, way too simple. [LAUGHTER] Oh, yeah. I just forgot to
mention this as well. Creatures. Why did we decide to call this
class Create a Creature? Because I think creatures
are the coolest. [LAUGHTER] They're
the coolest thing. They allow for so much
creative freedom. Because obviously you
can have it be more of a realistic animal but it
could also just be a blob. I think that's super fun, especially when you're
trying to tap into your own creativity
and connect with your intuition and
your playfulness to have that freedom of, oh, this can be just a blob. If you've made your shape
then you can start thinking about well what creature
is this going to be? Is he or is it going to have
two heads or eight legs? Or where is its
head going to go? I'm actually thinking, oh, this could be a side view
of my creature and I don't know I'm just going to make a triangular head
because, why not? Triangle heads can be fun. Definitely. Oh, that wasn't exactly what
I wanted and that's fine. I'm just going to build on it. Whenever you make
something that's unexpected or a mistake, you can use that as
an opportunity to explore where it's bringing your drawing, if
that makes sense. Yeah, or sure. It's a
good way to look at it. I'm still going to add just a little
eyeball on my head. Even just the size
of your eyes makes a huge difference in terms of what your
creature looks like. You can play around with that. Maybe I'm going to give
him a little tail. It's already extremely cute. That's because of the big eye. If you make big eyes
that always looks cute. [LAUGHTER] That's
one little tip. Should we make some legs? For some reason I
think it would be fun if it had spindly legs. I like that. What's it called? I know
the word in French. You know a millipede?
There we go. Yes. I was going to say say. Millipede. In my family, we call them bajilipedes because they've
got a bajillion legs. That's so cute. [LAUGHTER] I feel this guy is really representing the
bajilipede community. I would say, okay, that sounds a good name
for him. I like it. [LAUGHTER] The fun thing with these creatures is that you can really play
around with this. I purposefully today decided to invite you to explore
creatures without any reference. Because often I remember I used to find
that really scary. Like oh, I don't have
any imagination. I've no idea what
this is going to look like, so I can't do it. This is really an invitation to counter that
self-limiting belief. You can use your textures
as a starting point.
7. Creating Your Second Creature: Now, I'm going to choose
another one of my textures. Maybe I'm going to
go with this one, the kind of snakelike skin. Again, you can just start with the idea of a simple shape. You don't need to know in advance necessarily,
but you can. You can also as you're
building your creature, move away from the texture
that you've created in order to explore
different texture. Now, while you're putting
that texture together, I do have a question
from the audience, [OVERLAPPING] which is just
that Claude is wondering if you could recommend a
good pencil sharpener. Apparently, they rarely use pencils because they
break so often. [OVERLAPPING] if you
have any guidance here? I have to say I love this
pencil sharpener that I have. It's a Staedtler,
S-T-A-E-D-T-L-E-R. I think it's a German brand. I really like this, though I did also recently
have a discussion about pencil sharpeners and how sometimes if your pencils
are often breaking, well, obviously sometimes it can just mean that you've
dropped them too many times on the
ground and then the lead inside is
breaking too much. Or that you're going too hard when you're
trying to sharpen. If you go a little bit softer, you just do one turn or two
turns then that can help. If that makes sense. It absolutely does. I grabbed my little guy. I have the Prismacolor Staedtler and I am a professional artist, but I do not break my
pencils enough anymore because this little
guy. That's a good job. Cool. That's awesome. I'm making a longer, bigger guy. Bigger little creature. You could also decide to mix that like let's say
with another texture. For example, this
pencil texture, what if I made a head? It's a good representation of how I feel in the early morning. Perfect. [LAUGHTER] This
one has a really thin neck, with a really weird
head and weird body. That's cool too. You can also, let's say, accessorize
and add some glasses. This is cloud head. Cloud head. I felt like
it'd be my friend. [LAUGHTER]
[OVERLAPPING] It's got a vibe that I understand. Totally. I think I'm going to just make some super
thin triangle legs. The fun thing is that once you start realizing shapes, they are such an important tool when you're building
characters or creatures. We often think of shapes
as like a square, a circle, a triangle. But then think about that
a little bit even more, with a little bit
more complexity. You can pull them, like these are triangles, they're just supper
elongated triangles. Playing around with those subtleties and
those complexities can really push you
into other spaces.
8. Creating More Creatures + Q&A: I do have somebody wondering if and I think I know
the answer to this, but I thought I
would ask anyway. Yeah. If in final drawings, can you just make texture
without thinking, or do you recommend doing the
exercise that we did at the beginning
before every final work? Well, I think everybody should do what feels
best for them. That's really my belief. I think that we all have different things
that work for us. I know that for me personally, I really like when
drawing surprise me, so the book of my work is
improvisational in nature. It means I'm just
going to play around, figure out a texture like, what texture am I going to
play around with today? Then it'll emerge from that rather than the
other way round. I don't know if that
answered the question. I believe so. Basically, I just think it's super fun to play and so I just try to play
as much as I can. Then sometimes that means that I'll have a
finished drawing when I didn't realize
that I was going to have a finished drawing, and then sometimes it
just means that I've created an experiment
and that's fine, and I've discovered something, but it doesn't mean
that it's a permanent. It's just not a finished piece. But I don't care
that much anymore about finished
pieces are awesome, but for me what is
more important is the process and how I
feel as I'm working. That makes sense.
It's more about the journey than necessarily
the destination. Yes. Exactly. I would
definitely say that. As soon as you want to switch into another creature and just explore another texture, you can go ahead and do that. I'm just having fun
here with a pattern. I really like doing colored pencils and Neo
colors because I like it when it shines through
but not totally. That is a very cool effect. Of course, if you
wanted to use reference and make something that's
slightly more realistic, you can of course do that. Today I really wanted
us to reconnect with just textures and playing around and remembering that it's all just a process. [NOISE] Speaking of which it does look like I have a couple
of people who want to know Anna is asking and then Claude
agrees with this question. Anna is a very
results-oriented person who struggles with focusing
on the joy of the process, and wants to know what
you recommend and how you think that Anna can give more importance to the
process in the growth? That's a great question. The reason that I like this question is because
I think a lot of people can relate to
that myself included. I used to be very
results oriented. The biggest thing
that I would say that helps you learn
that is literally by showing up in front
of your sketchbook regularly because the more
that you end up drawing, obviously the more you're
going to build skills, etc. But every time that you show up in front
of your sketchbook, it's that opportunity to
practice a different mindset. For example, if
you're struggling with a very strong critic, what is it that
you can do to help yourself meet yourself
with a little bit more self-compassion is to, there are a bunch of
different things. But one of them is to
imagine that it's somebody else that's those things that you're saying to
yourself about your drawing. What will you tell that person
if they said those things? That's one way. For sure, sometimes it
can be challenging. If you're in a super
overwhelmed state where the self-critic is so loud that it's
blaring in your ears, that's a very
different ball game, and in that sense, I would either maybe just even completely step away
from my sketchbook and just leave it be
and come back to it when I feel a little bit more able to meet myself
with more compassion. Or this is another
invitation is to use your sketchbook as a place
to work out that emotion. That's something that
I do all the time with my sketchbooks because I think the sketchbooks
are these tools that we can use no matter
how we're feeling. For example, let's say you have a super
loud self-critic. What would that
self-critic look like on the page if you gave it
a visual representation? Maybe it would just be
this huge black scribble. Cool. You know what I mean? Sometimes, it really
helps to make it less daunting when
you take it out of your head and you put
it into visual form, there's something that can be
really soothing about that. Sometimes it's also a
little scarier like wow, I didn't realize that
it was that intense but I don't know. Personally, that's what
art has given me the most. It's a place to land, a place to work through my emotions when I'm
struggling with them, and then a place to play
when I'm able to play. Wow, I love that and it
looks like Anna did as well. Awesome. I'm passing on thanks from everybody in the
chat on that front. Our self-critics
can be pretty evil. Yes, truly. The thing is we're
willing to say to ourselves that we've never
say to another person. I know. I forgot to mention
with our creatures. If you're feeling
stuck with any ideas, you can now also think
about certain animals, imagine what would
a cow look like, but not a real cow, a strange cow, an unrealistic,
illustrative cow. What would a catbird look like? You can use real animals also as an inspiration for
your creature-making. That makes sense. I added antlers onto this
little strange little creature. You can have wings, you can think about
buds, tails, means. There's a lot of
different elements that you can pull from to just continue your exploration
of creatures. I'm also going to invite you
to something else because I realize here that in the few that I've done, they
stayed contained. If you can see what I mean,
my shapes are very clear, defined, okay, that's the body, that's
the body, that the body. But you can go what I am doing here past your outline if
you've made an outline. You don't have to stay within the lines of what
it is that you're doing. I need a tiny little
head on that guy. I don't like his tiny head. It's so small. Why not? I am 100 percent one of
those people who's like, oh my God, it's a
shampoo bottle, but it's two inches tall. It's adorable. [inaudible]
of being small. Exactly, I love tiny things
too, they're so fun. They make me feel like a
giant in the best way. Yes. Totally. I'm just going to show
you another example. A lot of these I was
doing more detailed work. You don't need to be detailed. You can be free, you can be chaotic, you can make a fluff
ball rainbow creature, I wanted to give them long legs, he's going to have long
legs, but he's going to be sitting. There we go. Yes, you are laughing
with rainbow. And he could have
an eyeball up here, and that's it, he's
got one eyeball. Good for him. It's a one-eyeballed creature. He only needs the
one, he's good to go. Yeah, you get to decide where it begins and ends. I guess that's my point. What if I did a bird? I'm just going to
do some weird sort. Oh yeah, sorry and
now I'm forgetting. Because I was
exploring textures, but I could take one of
these cheap textures, what if I use this playful one? Which is a flat texture. That's something else that
I didn't mention yet, but when you're using
textures you can use, I am just going to show
you maybe in detail. This texture which
is these lines, what do you call
them; stripy? No. Zigzag. Zigzag, that's the word I
was looking for, thank you. The zigzags, I made them bend. What that does is that
helps me define a shape. It looks a little bit more
like it has a roundish body. But you can also have very flat textures
like this flat one, the first one that we made and that little creature
has more of a flat texture. You can play around with
that and see like, okay, well what if I take
my pattern and I bend it very slightly? Does it make my
creature change shape and what shape does it give it? Or the other hand, I made shapes here that
give it a form but I'm going to apply my texture
in a very flat manner. That's when you start
really having fun, and I'm actually going to go past the lines that I created. You know how he's talking about, you know your outlines. Who cares about the
outlines that you've done? Well, there you go, when you're a kid,
they say never draw outside of the lines. Well, breaking that belief
too. You don't need that. I don't know that I ever got
anything out of that belief, so I'm perfectly happy to
throw it to the wayside. Totally. I know one thing that I promised I would bring
up here at the end. Folks just want to know the
brand on those big pastels, you said a word for them and I have immediately
forgotten what it was. Was it this one? Yes. This is the Jackson's pastel, the Jackson's art website, and this is part of the set of, let me show you, these
three fluorescent colors, which are just really fun. That is awesome.
The Gouache sticks, I'm definitely
saying that wrong. Gouache sticks, no worries. The brand is Delgreen, but I have to admit
it's a friend of mine who I think is here
who recommended these. I bought them off AliExpress. I don't often do that, but these were just too fun. If you look for Delgreen
Gouache sticks, you should be able to find them. Gouache sticks, I'm going to remember that word forever now. Yeah. It's true. I'm going to use it
now over my pencil. I'm just going to make
a big fluff ball. Wow. I love that.
9. Final Thoughts: Thank you so much for joining
the class and playing with colors and textures and patterns to create your very
own unique features. I had a bunch of fun. I hope you did too. I'd love to see what you made, so, if you want to, you can share on Instagram or wherever else using the hashtag, textures and features, so that we can all
have a look at the fun creations
that you've made.
Marie-Noëlle Wurm, Artist, illustrator, HSP
