Neurographic Art Explorations: From Drawing to Digitising

1. Hello & Welcome!: Heads up people. This class is going to be super addictive. Hi, everyone. My name is Redi Rach Pal, and I'm a filmmaker and a multi disciplinary artist from India. I'm also an art educator and a creative entrepreneur running my own fatter studio by the name of the color body. I love making art that makes you feel relaxed and reinvigorated. And in today's class, I want to show you a wonderful way of getting into a creative flow state by creating vibrant pieces of neurographic art. Neurographic art is like a magical mood booster that will uplift your spirits in no time. The intricate continuous lines and patterns become a mesmerizing gateway to explore and express your deepest emotions, thoughts, and the hidden treasures of your subconscious mind. The best part is that it requires no special skills or training in art. Whether you're a beginner or a pro, you'll find plenty of fresh creative ideas in this class to infuse in your daily art practice. We'll be developing three class projects, each with a unique look and style. And as a bonus, I'll treat you to two additional lessons where I'll reveal the secrets of digitizing your artworks, playing with colors, and creating endless variations using the magic of Photoshop. So in a nutshell, this class is that perfect sweet spot between mindfulness, relaxation and fun. If this sounds like your jam, come meet me in class and we'll dive right in. 2. Class Overview: Okay. Alright, so in this lesson, I want to give you a quick overview of how this class is structured so that you can make the most of your learning experience today. In the lessons ahead, we'll start off by understanding what exactly neurographic art is and how we can make the most of it in our daily art practice. Then we will talk about various supplies and tools that you can use to create stunning neurographic art for yourself. And finally, we'll develop three different artworks which will help you to practice your skills. Each of the projects in this class are designed to get your creative juices flowing and for you to explore the many ways in which you can personalize your neurographic artworks with your own unique artistic voice. As a bonus, I'm also going to give you a sneak peek into how I digitize my artworks and tweak the colors in Photoshop to create more variations of the same design. This extra step is the secret to earning passive income via print on demand websites like Society six and Red Bubble. So if you've been looking for a way to monetize your artworks and get them printed on products like cushion covers, wallpapers, bags, phone cases, and more, then this bonus lesson is definitely going to be a game changer for you. All right, so now that we have that covered, let's move on to our next lesson where we'll talk about tools and supplies that you can use to create stunning neurographic art for yourself. 3. Tools & Materials: All right, so let's discuss all the tools and supplies that we will need for this class. The first thing, of course, that we need is something to draw on. This can be loose sheets of drawing paper or it can even be your sketchbook. Now, because we're going to be working with a bunch of different mediums, you want to make sure that your paper is compatible with the mediums that you're working with. So for example, if you're going to be working with watercolors, then you want to make sure that your paper supports wet media and that it can take watercolors well. So a good choice in that case would be watercolor paper, or you can also opt for mixed media paper. But let's say you're going to be working with color pencils or dry mediums, then you want to make sure that your paper supports that. Now for the projects that I will demo in today's class, I will be using these mixed media sheets, which are from a local paper maker over here in my city. And these are very, very similar to the mixed media sheets that we get from Strathmore. So I have actually cut these down to six by 6 " for the purpose of today's class, but you can work with any size that you like. Now, the good thing about mixed media paper is that it supports wet mediums as well as dry mediums, and this is why these papers are one of my absolute favorites to work with. But as I mentioned, you don't have to use the exact same thing as me. You can buy these from an art supply store, and there are a lot of brands that are very good with making mixed media paper, or you can use whatever else you have easily available with you to get started with today's class. Now, I like to add these washi tapes to the edges of my papers because when you peel these off, they create a nice crisp border, which is very similar to having a mat or a frame around your finished artwork. But this step is totally optional, and if you don't want to have that border, then you can totally skip the washi tape. Next, we will need drawing pens, and I will be using the 01 and the 08 nip sizes from the Sakura micron series, and these are in the color black. If you like, you can also use drawing pens of various different colors as well. Then we will also need some additional supplies specific to each of our projects. For the first project, I will use watercolors and we can use tubes or pans, whatever is easily available. And of course, we will need two jars of water to go along with that. And you'll see later on that one of these will become your dirty jar that will be used to clean your paintbrush, whereas the other jar will be the one from which we pick up clean water. Then we will also need a paint palette, and this can be a ceramic dish, or it can even be the lids of your paint sets which are designed to work as palettes. We will also need a standard round brush to paint with, and anything between sizes four and eight should work well for today's project. Now, for the second project, I will use brush pens. And these are from a brand called O huhu and they give a nice translucent finish, and these are water based markers, but you can also use alcohol based markers if you like. And for the third project, we will be using color pencils. Now, I generally use the prisma color premiere color pencils, which are wax based and have a soft core. But you can use any color pencils that you have available with you. And to blend the color pencils, we will also need a colorless blender pencil, and I use the one which is from the prisma color brand itself. To sharpen the color pencils, we will need a sharpener. And again, minus from the prisma color brand, but you can use any other sharpener that's easily available to you. Additionally, we will also need some tissue papers, as well as round objects of various sizes. The round objects can simply be bottle caps or lids to jars and containers in your house, and we will need these for tracing the outlines in our second project. Now, one thing that I want to mention quickly for all the painting supplies is that you don't really need to have all of them available with you in order to enjoy this class. For example, if you only have watercolors and you don't have brush pens and color pencils, then you can do all the exercises with watercolors itself. I will walk you through a bunch of different techniques that are interchangeable, and they can also be used in various different combinations. So feel free to customize your class projects in any way that you like, and don't let the lack of art supplies stop you from enjoying the process of neurographic art. Okay, so moving on for the digitizing portion of the class, you will also need access to a photo scanner or a smartphone camera. And I will be using this scanner over here, which is the Cannon Light 400. But you can use any other photo scanner of your choice, or as I mentioned, you can also use a smartphone camera. And finally, to make color alterations, you will also need the latest version of Photoshop installed on your computer. Now, for all the supplies that I have mentioned in this video, I have also created a handy checklist for you that I have included as part of the resources for this class. So you can download the document in the projects and the resources section. All right, so that's it for all the supplies. Now let's move on to our next lesson where we'll learn what exactly neurographic art is. 4. What is Neurographic Art?: And Alright. So in this lesson, I'll give you a quick introduction to neurographic art and how we as artists can embrace its wonders. Neurographic art is a relatively new form of art that combines elements of drawing, doodling and meditation. It was developed by Russian psychologist and artist Pavel Piscaev somewhere around 2010. The technique is based on the idea that by creating intricate, continuous lines and patterns, one can explore and express their emotions, thoughts, and subconscious mind. There are three key defining features or characteristics of neurographic art. The first one is continuity. The process of creating neurographic art involves drawing a continuous line or pattern on paper or canvas without lifting the pen or pencil until the artwork is complete. This initial line or pattern is often inspired by a specific emotion, experience, or concept. As the artist continues to draw, they allow their mind to wander and new shapes and patterns emerge, resulting in a complex and interconnected design. Secondly, neurographic art is abstract. It is not about creating a specific image or representation of something, but rather about exploring the process of creation itself and tapping into the subconscious. It is a meditative and reflective practice that can help individuals gain insights, relieve stress, and promote self expression. And finally, neurographic art has a heavy focus on self exploration. The practice of neurographic art encourages creativity, mindfulness, and self discovery, allowing individuals to connect with their inner elves and express their emotions in a visual manner. This is the reason why neurographic art has gained popularity as a therapeutic tool and a form of self care. It is often used in art therapy sessions and workshops. However, you don't need to be in therapy to practice neurographic art. It can be enjoyed as a personal artistic practice or as a form of relaxation and self care. Regardless of your artistic background or skill, you can enjoy the benefits of this versatile and accessible form of art that welcomes both beginners and experienced artists. Now, at this point, I want to give you a quick disclaimer. I'm neither a psychologist nor an art therapist. So I will not be focusing on the traditional flow and process of neurographic art as it is done by licensed professionals. Instead, we'll be taking a different approach. As an artist, my goal is to draw inspiration from this visually mesmerizing art form and infuse it with my own creative voice. Think of it as creating abstract pieces of art that are loosely inspired by neurographic art, focusing more on the mindfulness aspect rather than delving into the scientific side. It's like harnessing the magic of creativity and relaxation together while having lots of fun. So now that we have this speedy crash course out of the way, meet me the next lesson and we'll get drawing. 5. Pr 1 - Neurographic Art with Watercolor Blooms: The Okay, so let's get started with our first project. And to do this, I'm going to start with my 08 size pen, and I'm just going to randomly place some curvy and wavy lines across the page, and I'm also going to look them at some places. And honestly, the best way to do this is to not overthink this step and simply embrace a childlike, playful approach letting your pen go wherever it wants to go. Try to do this in a continuous motion as much as you can without too many breaks or jerks. And keep in mind that the more number of lines you draw, the more dense your artwork will look. Similarly, if you want to go for a more airy, light and minimalistic look, then just a few lines will suffice. So I'm going for a minimalistic diagonal composition over here, which is why I have left some negative space at the top right, as well as the bottom left of my composition. But you can certainly fill up the whole page as well if that's what you prefer. There is no right or wrong way to do this, and you should just go with the flow and do whatever comes to you naturally. Okay. So once we have the basic lines in place, we are going to switch to a thinner pen, which in my case is the 01 size pen, and then we'll start to look for places where the lines intersect or turn. And here we will start to add tiny little curves and the curves will lead to small gaps, which we will then fill with ink. Honestly, this is my most favorite part of the process because while doing this, it almost feels like I'm putting little stars across my page and making this fantasy constellation. Now, from a therapeutic or psychological viewpoint, this process of creating curves is like building new neural connections in our brain, and we're doing a visual representation of that on paper. So this allows us to solve problems effectively or to release any blocking beliefs. And as we start to form more and more of these connections, we start to look at things in different ways, which eventually impacts our thoughts and decisions in a positive way. Now, even if you were not doing this from the point of view of therapy, but just as an art exercise, which is my goal with this class, then you'd still find this process very relaxing because you'll notice that your mind will start to wander away to many, many things, but it'll wander away in a good way. The best part is that the stage of the process, apart from being highly intuitive and improvisational, is also very, very forgiving because there's absolutely no way that you'll go wrong in making these connections. They will turn out to be beautiful regardless of the size and the angle of the curves that you're adding. The goal is to simply let your hand and mind work together in a free flowing manner, allowing the lines to lead you naturally to those intersections. Now, one thing you'll notice me doing is that while adding these curves, I also like to blend them in nicely with the original lines so that there are no obvious jerks in the strokes. This way, they can all look very smooth and continuous. This is precisely the reason why working with a thinner pen is better over here because it helps you to smoothen those lines in a very precise manner. Okay, now that you've got a hang of how to build these curves and connections, I'm going to fast forward the video a little bit so that you can see my progress and get an idea of how this artwork will shape up. And time lapses, indeed, are actually one of the most beautiful gifts of editing technology for us because they're super satisfying to watch. Now if you're wondering how long this process takes, then the answer is that it can vary from person to person, depending on the number of lines you have drawn and the size of your paper. This process can take anywhere between 20 minutes to an hour. So it's best to enjoy the process and do this at your own pace, perhaps with a nice refreshing beverage or your favorite music playing in the background. So you can pause the video here if you like, and then come back to watch the next segment whenever you have finished making all the connections on your drawing. Okay, now I want to show you something that I do with these loops over here. So to enhance their look, I also add some more curves over here and then fill them in with ink like so. And this approach helps to build some more interest in the composition, and I think it makes for a very nice stylish touch. But just keep in mind that this step is optional, and I personally love to do it because it's just a tiny little extra step, but it makes so much of a difference in the overall look of the design. And as you can see, you can just place these anywhere on the periphery of the loop. So for example, on this one, I am going to add it right in the middle over here, like so. And then I'm just going to fill it with ink, and it just makes it look so much more finished and polished than the way it was earlier. Again, we want to blend those in nicely with the original lines, and the best way to do this is to go slow so that you can blend them in a very precise manner and get those curves to look super smooth. Okay. And once again, I'm sure you've got a hang of that. So I'm going to speed up the video slightly to show you some more of these loops in my design. And of course, it will be different for all of us. Maybe you have more number of loops than me or even lesser loops than me in your design. So the amount of time that it will take you to finish these loops will also be dependent on that. And once again, don't overthink this step and do the first few loops that immediately catch your eye. You don't even need to do all of them, just a few obvious ones or a few of the bigger ones, and maybe a few around the outer edges of your composition. And that's pretty much it. So again, work at your own pace, and if you like, you can pause the video and then once you're ready, meet me in the next segment. Okay, now that the base structure of our design is ready, we are going to start with our watercolors. And as you can see in my palette, I have already mixed a couple of yellow shades, as well as a couple of green ones. And so basically, we want to try and work with at least two colors over here because the technique that we are going for looks nicer when it's done with two or three colors. So whichever colors that you pick, try to pick them in different values. So you want to have a couple of light options and a couple of dark options so that it creates an interesting contrast in the design. Now, for the actual placement of these watercolors, we are going to go for a technique which is called watercolor blooms. And to do this, we first start by laying out a lot of clean water in one section of our drawing, and we basically want to create a small puddle or a small pool over here because the technique of creating watercolor blooms requires lots and lots of water and lots and lots of pigment. And so the more saturated the area is with water or the more of a puddle that we can form, the better it is. And once we have the water in place, then we want to start by putting in some pigment and we just tip, tip, tip and wash our brush and then take the second color and dip that in nicely as well. As you can see, I am not blending them too much, and I'm just letting the watercolors float on their own or blend on their own and do their own thing and it creates this water marbling pattern. And I'm just going to give them a slight nudge around the edges, but that's about it. And the rest of the mix or the rest of the blend is best left abstract so that they can do their own thing and form their own abstract patterns. And then same way, we're going to wash our brush and take fresh water and create another pool in another section of the drawing. And this time, we can work with maybe a different shade of yellow and a different shade of green. Basically just mix and match the different colors to create interesting effects and to create interesting blends. The rule of thumb to create watercolor blooms is to have lots of water, lots of pigment, and to not blend them too much. So if we were to go for a more realistic watercolor approach, then we would purposely try to blend those edges, and we would actually try to get rid of them. But in this approach, we are doing the opposite because we intentionally want to create those blooms. After you've added the pigment, you can also add in a couple of extra drops of water, dip dip dip and just give them a slight nudge here and there, and then clean your brush, maybe add a little bit of extra pigment. And then rinse and repeat and then work on the next section. Now, a couple of days back, I was actually working on a project very, very similar to this one, and in fact, I was using the exact same colors, and the lighting on my desk was slightly different that time. So I've got a little bit of the footage from that which I can show you. And in this, you can actually make out how high the puddle is from the surface of the paper. So that just goes to show that there's a lot of water on the paper and it almost looks three dimensional when it's wet because that's the amount of water that we're placing on the paper. Then you start to saturate it with lots and lots of pigment, and again, dip dip dip and let it do its own thing. Then once it dries, then beautiful patterns start to emerge out of it. Coming back to this section over here, once again, I'm going to put lots and lots of water And then just dip the pigment in lightly. Sometimes you can take the lighter yellow with the darker green and other times you can do the darker yellow and the darker green or the lighter green and the lighter yellow. Use them in different permutations and combinations and just have the paints diluted really nicely so that they're absolutely watery and that will create a very beautiful effect. Now I've just finished working on this section, but I'm not going to work on the one immediately next to it, and I'm going to work on a different section instead. And the reason for that is that when you're working on two sections next to each other, then you have very little control because the water from one section will start to trickle in to the next section. So you won't really be able to create those watercolor blooms as effortlessly. And the easier way to do that is to just work on sections which are slightly further apart from each other. And once they are dried, then you can go back in to the empty sections and start working on them again. So just a little tip to control and manage the water well on your paper. Also, the number of sections in which you want to place the watercolor blooms is totally a matter of personal choice. So in my case, I'm going to leave some of the sections white because I think it creates an interesting contrast. But if you want to fill up every loop and every section with different different colors, then that also makes for an interesting design. So go with whatever comes to you intuitively and whatever you find more aesthetic. And sometimes it's natural that when you're using so much water and pigment, then maybe you'll have a couple of blobs or drops like this happening on your paper, which is totally fine because you can just take a tissue and sort of soak that up quickly. And if it leaves a little bit of a stain behind, then there's no need to worry because we're going to learn how to clean this up in one of our lessons later on, where we're going to talk about digitizing and cleaning up our artwork, don't worry about that and just soak up the water as soon as it drops on the paper. This section over here has already started to dry and you can see some of the blooms have started to appear. And now that you've got a hang of the process, I'm just going to speed up the video slightly so that you can see me working on the rest of the sections. So do this at your own pace and don't be in a hurry. Just work on one section at a time. And try to avoid working on sections which are next to each other so that you have better control over the pigment as well as the water. In case you draw up a little bit of paint here and there, don't worry, you can soak that up with a tissue, or you can also use a QTip for that, and that will give you slight more precision. So to make your composition more appealing, I would recommend that you have a nice mix of darker sections as well as lighter sections, and just try to look for interesting ways of building contrast. So maybe you can have a super light section next to a dark one and play with the various densities of your pigment. So sometimes you can have very dense pigment in one of the areas, and you can have some lesser pigmented or more watery sections around it, or you can do the opposite. So basically just do a nice mix of diluted colors as well as saturated colors, and that should give you more interest in your composition overall. So once you're done adding your watercolors and once your painting has completely dried, meet me in the next segment where we'll talk about final touch ups. Okay. After your artwork has completely dried, it's going to look something like this, and you can see the watercolor blooms popping up nicely. I really like this section over here. It's got some interesting detail, and even this one has come out pretty nice. In fact, all of them have little areas of interest, and that goes really well with the complexity of neurographic art. And this is the reason why I wanted to combine these two techniques. And here is the other artwork that I was talking about earlier and I showed you a little video of this. Even this one has some interesting blooms over here, and then you can really see the hard edges and you can see how dramatic they are, especially over here. And so yeah, this is the final look of the project, and now it's time to take off that washy tape. It's a very, very satisfying experience to peel that off. And just make sure that you do this very gently and only after your artwork has completely dried because sometimes these washi tapes have a very plasticy finish and the water tends to stay on them a little longer. So make sure that your artwork is 100% dry before you peel that off. Because you don't want to accidentally stain your painting and talking of stains. For this one over here, as I mentioned, we are going to learn how to fix it later on. But for small things like these ones over here, where it's just a little outside the periphery, you can either let it be the way it is because I think it adds to the handmade feel of the artwork, or you can probably add pen line to some of the bigger ones like this one over here. So in this one over here, for example, you can see that I've added two extra pen lines, and it creates these little bumps outside of the original shape. Similarly, I have one over here in this artwork, and I'm just going to quickly take my 01 pen and just make a tiny outline around like so. And so it really depends on how many of these extra watercolor areas you have in your drawing. If you feel that there are not too many and if you like the look of them trickling out or seeping out like this, then you can just let them be the way they are. But otherwise, if you feel that you want to clean them up and just keep your lines super crisp, then we're going to learn about that in one of the lessons ahead. So yeah, so that's for the final touch ups. And these are both my finished artworks, and you can, of course, choose to do as many as you like, and you can even create a series out of them. And whether you do a single artwork or lots of them, I would love to see them and make sure that you put a picture of your finished project in the project gallery. And once you're ready, meet me in the next lesson where we'll start to work on our second project. 6. Pr 2 - Neurographic Art with Zentangle: All right, so it's time to get started with our second project. And for this, we are going to start by tracing some circles all across our page, and you can draw these circles freehand if you like, but I like to use stencils or round objects of various sizes to get the proper shapes. Now, you want to try and get different sizes over here for a good variety in your composition. So look for some bigger circles, some medium sized ones, and some smaller ones. And for the outlines right now, I'm using a 08 pen, but you can of course use whatever nib size is easily available with you. And if you don't want to do circles, then you can also opt for a different shape. So you can go for squares, rectangles, triangles, clouds, stars, and literally any other shape that you like. And you are totally free to customize and personalize this project in any way that you like. Okay, so now I'm just going to speed this up a little bit to give you an idea of how this composition will shape up. And just like we did with the previous project, you can either fill up your entire page or leave some negative space around. That's totally your call. So I'm going to be leaving some negative space once again on the top right and the bottom left because I want to add some patterns in the background as well. But if you don't want to leave that negative space, then you can still add those patterns inside the circles. Now, once your circles are done, you want to start to connect them using the same principles that we applied in the first project. And this will basically give us interlinked circles, and so it'll appear as if they're all interconnected. And as an option, you can also draw some extra wavy lines on your drawing, which are very similar to what we did on the first project. So I have an example of that on your screen. And again, these wavy lines are just a tiny little extra step which goes above and beyond the circles that we have drawn. So if you want to add these to create a more intricate look, then go ahead and add those, and it'll make your composition look slightly more complex. But if you want to have a slightly more airy and minimalistic composition, then you can skip those wavy lines, and that's exactly what I'm going to be doing in my project as well. I'm just going to be doing the circles. And once again, I'm going to be connecting each of these using my thinner pen, which is the 01 nip size. Again, this will take you some time to finish, you can do this at your own pace, and once you're done, meet me in the next segment, where we'll start to add details into this composition. All right, so now it's time to start adding zentangle patterns into this composition, and I'm using a 01 pen now. Sena starts off with a reverse a stroke and then it has a bulb coming out of it like so, and we color in that bulb. Then we add some line weight to the bottom of the stroke to create some contrast, as well as to add some more interest and drama in the composition. And this line weight is optional, but I personally quite like it because I think it goes with the overall vibe of neurographic art quite well, and I think it complements the composition quite nicely. So yeah, if you want to skip it, that's totally fine, too, but I'm going to be adding this for more interest over here. And once we have that first stroke in place, then we just go around the bulb with another a stroke and land it on the outline. And once again, we will add that line weight and color that in. Now, these strokes basically divide our shape into two parts. So we will start to branch out more curves on the left side of the section first, and they're all going to be branching out from that second stroke, and we will keep adding line weight to each of them as we draw them one by one. And this is the beauty of combining Zentangle with neurographic art because both of them are very meditative and both of them are very relaxing and very therapeutic. So by combining tangles with neurographic art, we are unlocking double the power of meditation and relaxation, I suppose. And yeah, I quite like to use this combination and I hope you enjoy it too. In fact, Sena itself is such a relaxing tangle to draw that I love to fill up pages and pages with just this tangle. And just recently, I used it on a 3.5 inch zentangle tile as well for a different project. And I think it's that rotating a stroke that I quite enjoy. I think that's my most favorite part of this tangle. And then, of course, adding line weight is also something that I enjoy a lot. So yeah, overall, this has got to be one of my most favorite tangles to draw. Okay, so I'm sure you've got a hang of this. I'm going to speed up the video a little bit to show you how you can branch these off one by one and fill up the left side of your composition. Oh, while you're doing that, here's a fun fact. Senna is actually one of the original tangles developed by the Zentangle headquarters, and they have a few tangles which have been developed by the founders of Zentangle itself. Was there are other tangles which are developed by zentangle teachers and zentangle enthusiasts all over the world. So yeah, this is one which was developed by the headquarters itself. And if you are interested to learn more about this entangled method, its origin, its founders, its philosophy, et cetera, then I do have a separate class on that, and maybe you can check that out later and combine your knowledge from this class and that class and create something unique of your own. Okay, so now we are done with the left side of the section, and so we're going to switch over to the right side. And this time, we are going to apply the same principles, which means we're still going to be branching out the S strokes, but we're going to be branching them off from the first stroke that we had drawn instead of the second stroke. Also, just as a quick reminder, you don't have to use black pens for your entire composition. If you like, you can also use colored pens, and we are going to be using brush pens later on for coloring some sections of our drawing. But you can also add in tangles and other details with colored pens. Once again, feel free to customize the project in any way that you like. All right, once you're done with one section, pick two more areas in your composition where you want to add Senna. For example, for me, I will do it maybe here and here or maybe here and here. Just basically pick any two sections according to your preferences depending on how your composition is. And once you are done filling them up, meet me in the next segment where we will add our next tango. All right, so the next tangle that we're adding is called floors, and this one also shares some characteristics with neurographic art. Now, once again, you can draw this free hand if you like, or you can use a ruler for more precision. So over here, I'm going to be using the centimeter side of the ruler to create my guidelines, and we will be adding this tangle in the background. So basically we're adding it in the leftover negative space behind the circles, and in case your composition doesn't have any empty space in the background, then you can fill this tangle inside the interconnected circles as well. So floors basically starts off with a checkered pattern. So we want to start by creating some horizontal and vertical lines, which will create a grid for us, and you can choose the size or the scale of this grid depending on your composition. So for example, over here, I'm keeping these lines 1 centimeter apart. But if you want to create a bigger grid, then you can also keep the lines 2 centimeters apart or even an inch apart. And so it totally depends on how complex and how intricate you want your composition to look. All right, so this next step will feel very familiar. We are basically adding these connections to the intersecting lines, and this is what I meant when I said that the tangle floors shares some characteristics with neurographic art. So we basically add these connections to the entire grid. And same way, we will also be adding floors to the remaining empty areas in the background as well. So for example, in my composition, I have some empty space in the bottom left as well, and maybe yours is different. So depending on where the empty areas are in your composition, take your time to fill them up with floors, and then once you're ready, meet me in the next segment where we'll continue adding more tangles. Okay, so the next tangle that we are adding is called membranat and this tangle has many different variations, but I'm using a very simple version of it today so that we can later on enhance it with color. And as a reminder, if you're interested to know more about the creators of each of these tangles, then don't forget to check out the class resources document, which is available in the projects and the resources section for you to download. So it has all the relevant details about the tangles, the tangle creators, as well as their stepos. Okay, so for membrant, we basically start with these curvy shapes, and when we go around each of them, adding partial line weight, which basically gives it slight more depth. There are no rules when it comes to the number of these curves. You can just basically space them out randomly depending on the size of the section that you're working on. So, again, if you want it to look slightly more dense and intricate, then you can add lots and lots of these curves or if you want it to look airy and minimalistic, then you can add lesser curves. So it's totally your call. And also if some of you don't want to draw this tangle, but you want to experiment with other tangles instead, then I do have a bunch of different classes focused on tangle inspiration from the entangle method, as well as general playful, easy to draw patterns. So if you need some extra inspiration to customize and personalize your neurographic art project, then feel free to check out those classes, and you'll definitely find some interesting patterns over there that you can use as fillers for your current neurographic art composition. So coming back to this one, we are just going to add the line weight partially to those curves, as I was saying, and then we basically repeat it for all the curves. And once again, once we're done with one section, then we're going to pick two more sections in our composition where we're going to be adding membranat. Again, do this at your own pace, and once you're ready, meet me in the next section. Okay, so now I'm not going to be adding another tangle. Instead, I'm going to be adding some simple lines to my composition. So up until now, we have added a lot of curvy and wavy strokes in our design. And I just wanted to bring in some contrast with straight lines in the composition so that these are nicely juxtaposed with all those curvy and wavy lines. And these are just simple filler lines, which I'm going to be adding to different sections once again. I'm going to be adding them to three sections, just like we did with the previous two tangles. Again, depending on how your composition is shaping up, maybe you'd like to do a different pattern or a different tangle, that's totally fine too. Just have fun, play with your project, and there are absolutely no rules over here, so enjoy and just have fun. All right. So now let's start with the coloring process. I have already colored two of my membrane sections just to give you an idea of how this is going to shape up, and now I'm coloring the third one. So I'm using this lighter seglass like color to fill this up, and you can, of course, choose to work with a different color and a color palette of your choice. So these are water based brush pens that I'm using over here, and they have a very nice translucent finish to them, which is something that I absolutely love as a contrast to the opaque black lines that we have drawn so far. So you can also achieve similar results with alcohol based markers or simple sketch pens. So feel free to experiment with the art supplies that you have and just pick whatever you find easy to use or whatever you are most drawn to. And now over here, once I'm done with the base color, I'm just going to go around those curves with a slightly darker shade and add some outlines. And this is not a very, very dark shade. It's just one shade darker than the base color. So once again, I will do it for all the curves in this section, and then I'll repeat the process for the other two sections where I have added membranad and that way, they will all look the same. Next, I'm going to fill up some sections with this slide of blue, and I want to have a nice mix of solid colors and patterns in my composition. So I'm going to place some solid sections like this one randomly. On second thoughts, I think I want to make my membranat a little bit more opaque. So I'm going to add one more layer, and that's the beauty of these brush pens because you can layer them to create a more opaque finish. If you want a slightly translucent finish, then you can just reduce the pressure of your hand and just go with a single layer. That'll give you a more translucent watercolor like finish. I'm going to darken those curves once again just so that they stand out a little bit more. Okay. Next, I'm going to add some dark blue sections, and I'm going to layer this a couple of times just so that there is a more opaque finish to this dark blue that I'm adding. Okay. And now I'm using the thinner nib of my pen to add some tiny dots. These brush pens that I have are dual tipped. On one side is the brush pen tip, and on the other side, the tip works pretty much like a fine liner pen. So I'm using this fine line a side now to add some tiny dots in my composition. Again, this is just to add some color as well as some variety in the overall composition. And depending on how intricate or how busy your composition is looking, maybe you want to skip this step or maybe you want to do more segments with this, feel free to follow along or deviate from what I'm doing, depending on how your artwork is shaping up. You are the best judge and the creator of your artwork, so feel free to do whatever comes to you naturally and whatever you feel like doing intuitively. In fact, if you like, instead of doing small dots, you can probably do some other simple filler patterns as well. Maybe you would like to draw some playful shapes like stars or little clouds or little flowers. So depending on the overall vibe you want your artwork to have, you can choose to do some different shapes and basically, again, have fun with your project. Now, same way, I'm going to continue adding some small details randomly inside all the sections. So in some of the sections, I'm going to add some more tiny dots. Then I'm also going to play with some straight lines, some diagonal lines, and maybe add in a few dashed lines as well. So yeah, basically, just look for simple shapes that you can fill inside some empty areas. And wherever you feel that your composition is lacking contrast or wherever you feel that it's lacking color, you can always go back and forth between the different pens that you have and just add nice blocks of color or pattern. And yeah, just basically have fun and treat this like your personal playground now. And keep adding little details here and there. And once again, it's totally your personal choice on how colorful and how pattern heavy or pattern rich you want your artwork to be. I'm going for a very abstract feel, so I'm going to place most of my elements in a random fashion. There is no major thought over here except for trying to maintain the balance between all the colors and trying to distribute the dark and the light areas nicely across the overall composition. And I'm also trying to do a nice balance of all the strokes. So for example, if I'm doing diagonal strokes, then I'm not leaving them in just one area. I'm also going to fill up at least a couple more areas with the diagonal strokes so that there is a nice balance. And at the same time, I'm also aiming for a little bit of variety because I don't want everything to look just the same. I want to have slight deviations and strokes, maybe play with the spacing, maybe play with the thickness of the strokes. And yeah, just basically keep following your intuition and just keep filling random areas with color and pattern. All right, that's pretty much it for this composition. So go ahead and add those little details to your heart's content. And once you're ready, meet me in the next segment so that we can peel off that washi tape together. All right, so let's get this tape out. I'm actually quite excited to see how this one comes out with the white border because I did go towards the edges to add some pen lines, and I'm not 100% sure that I got them straight. Oh, yeah. They were pretty neat in some sections. Not bad. Okay, so I quite like this, and I'm sure that yours is looking equally beautiful. As a reminder, don't forget to share your project in the project gallery of this class because I love to see what all of you make. It's always a treat for my eyes, and once you're ready, meet me in the next lesson where we'll combine neurographic art with color pencil blends. 7. Pr 3 - Neurographic Art with Color Pencil Blends: Uh All right, so let's go ahead and start working on our third class project. Once again, I'm starting off with my 08 size pen and drawing an abstract frame around the page. This time I'm not touching the washi tape to keep my composition centrally aligned, but you certainly can take it all the way to the edges if that's what you prefer. Now, I'm adding some abstract blobs in the middle and I'm going to turn these into abstract flowers. You can, of course, choose to do other shapes and other composition styles if you have a different idea in mind. Mm hmm. Mm. Then I'm just going to add some simple lines and break these down into smaller sections. So it's like having stripes with smaller sections, some are thick and some are thin. Honestly, there is no real thought over here. It's pretty abstract. All I'm doing is just putting random strokes on paper and creating small sections that I can later on color with color pencils. By now, you already know how to add these lines, so I'm just going to speed this up a little. Okay. Now for the inside shapes, I'm going to do something similar. I'm just going to add more blobs inside the original ones, just following around the outlines, and then I'm just going to break them down into smaller sections once again. And it's pretty abstract. But in my mind, I'm looking at these as representing the petals of a flower, and I'm going to do the same thing on the other two as well. Then just like we did with the previous two projects, I'm going to switch to my 01 size pen, and I'm going to start making the connections. By now, you already know how to do this. I'm just going to show you a little bit of the time laps so that you can get an idea of how this one is going to shape up. And one thing you'll notice me doing in this project is that I'm not just making the connections on the intersecting lines, but I'm also making the lines thicker in some sections because I want them to stand out as separate elements or separate sections when we start to color them in. And this is, of course, optional because if you're already making the lines with a thick pen, then you probably don't need to do this. But in my case, I'm working with a 01 pen, so I'm just going to thicken some sections here and there. And once again, you can take your time and finish making the connections. And once you're ready, meet me in the next segment where we'll start to color these sections. Okay, so I've gone ahead and made my selections for the colors that I'm going to be using for this project. And if you're using Prismacolor and you want to use the exact same colors as me, then I'll put up the color codes on your screen so that you can follow along. And I'll also include these in the class resources document so that you can have them later on as well for your reference. And apart from these colors, we will also need a colorless blender and a white color pencil. So I've got mine from the Prisma color brand itself, but you can of course use a different brand as well. All right, so let's start with the coloring, and I'll start with a lighter yellow over here and color a small patch. Then I'll move on to this lighter green, and I'm just adding the pigment lightly so that we can blend it in nicely. Now I'm moving on to the darker green, which is the apple green in my case. Then we're basically going to add some white to the lighter sections so that we can blend it in with the lightest color, which is yellow in my case. These are the three colors that I just used, and you can see that they're going from dark to light, and that's how we achieve a smooth gradation when we're moving from lighter colors to darker ones or darker colors to lighter ones. And now I'm just going to add my second layer and start to blending those colors for a smooth gradation. And the beauty of Prisma colors is that they blend really well. So they're really light on the fingers and I don't have to apply a lot of pressure. As long as we overlap the colors nicely at those transition points, we'll be able to achieve really nice buttery smooth blends. And in case you're looking for more indepth classes on how to achieve these smooth color pencil blends, then I have detailed tutorials in my other course on color pencil gemstones. So if you like, you can watch that later on to practice your color pencil skills even more. Now, once I'm done adding the second layer, I'm taking my colorless blender and just burnishing the whole area so that the pigment really seeps into the tooth of the paper, and that way the paper tooth gets flattened. So just going into all those corners gently to make sure that it's a smooth blend. For all the color pencil, dust and specks that get accumulated on the paper, I use a paintbrush to get rid of them. I recommend not to do this with your hands because the sweat or oils from your hands can cause the paper to discolor or it can even leave stains. So a paintbrush or a makeup brush is a good way to get rid of these specs. Now we can move on to our next set of colors. We can do these three or these three or these three. We basically want to do a gradient again from dark to light. I'll start with the darker color. And then we just bring in the medium value And then we move on to the light one. Then we blend that lighter value with the white. And we add a little more pigment if required. Now, I'll just clean up my blender pencil because it still has the residue of the previous colors that I was using. So I'll just clean this on a scrap piece of paper, and then we can start to burnish and blend. So now just doing the same thing, cleaning up the dust. And now we can do either these three from dark to light or these three, which will be a combination of green and yellow. Actually, the darker greens going into this yellow can also be a good gradation. So I think I'll go ahead with the dark green, the medium green, and this yellow. Same thing, we start with the darker green. Then I'll move on to the lighter green. And then I will bring in the yellow. And this time, I'm skipping the white and moving straight to the colorless blender. So once again, I'm just going to clean this up, and then we can start to burnish the colors. I'm just going to brighten this up a tad bit with a little more pigment. Okay. Okay, now, same way, I will continue to add the colors randomly all throughout my composition. I'm going to work on each section independently going from Dak to light. And as you work on these sections at your own pace, you'll experience a different kind of relaxation and almost like a Zens state of mind because the experience is very, very satisfying. It's almost as if you'll enter a very peaceful universe or a different kind of peaceful realm in your mind. And that I think perfectly complements the relaxing state we experience when we are making those neurographic lines and connections. So yeah, color pencil blends go really well with neurographic art. Just make sure that you're always cleaning your colorless blender, as well as your white color pencil on a scrap piece of paper each time you switch the colors, because you don't want that residue of the previous color to interfere with the new ones. And that way you can maintain the true hues of every color. And try to switch the direction of the gradients each time. So if you have a dark to light gradient happening from top to bottom in one section, then do the opposite in the neighboring section. That will distribute the dark and light colors nicely all across the page. Of course, don't forget to sharpen your pencils as and when required so that you can go into those corners precisely and blend the colors really well. Also in some of the sections, we can actually add the darker color on both ends. For example, over here, I'm just going to add the dark green on both sides of the section and I will basically keep the highlight or the lighter color in the middle. This just adds more variety and interest in the composition. Now, I'm sure you've got a hang of this, so I'll speed this up a little to show you how I'm alternating the colors and making the gradients. And this is definitely a time consuming project, but it's totally worth the mindfulness and the relaxation that it brings to us. I promise you you're going to have a lot of fun continuing ahead on this composition. And if you're working with many colors, then I'm sure that it would be even more fun and enjoyable to switch between them and create the gradients. For the inside sections, the concept is pretty much the same except that I'm making the gradient sideways instead of top to bottom. And if you like, you can also do these abstract flowers in the shades and tones of one color, while the background can be in the shades and tones of another color. So that's always a possibility. Mm And then we basically continue working on the rest of the sections in the same way. Once you do a few sections, you'll pretty much be on autopilot for the rest of them. And like I said earlier, this is a slightly time consuming activity. So chances are that you won't be able to finish this up in one sitting, and especially if you're working with a larger paper size, then you'll probably need even more time. So don't worry about that and don't worry about how much time it's taking you. And instead focus on enjoying the process and really getting into that Zen state of mind. This is pretty repetitive, so I'll actually jump ahead towards the end of my recording, and here you can see that I have basically played with the placement of the dark and light sections randomly in my composition. Same way when your drawing is ready, come back to this video and we can see the final piece together. This is how my composition turned out, and I'm just going to remove the tape. You can see some discoloration happening over here, and that's because I've constantly removed a lot of pencil, dust, and specs, and because my hand was constantly moving around the paper, of course, some human oils and human sweat tends to interfere with the paper. So there is a little bit of discoloration. But we don't have to worry about that because we can always fix that in Photoshop later on. So once you're ready with all your drawings, meet me in the next lesson where we'll start to digitize them. 8. Digitizing Your Artwork: And Alright, so now that we've made all our beautiful artworks, it's time to start digitizing them. If you want to see your artwork printed on multiple products, then digitizing and prepping your files for printing is absolutely essential. It's literally the first basic step to begin your journey in the world of art licensing or manufacturing your own products. So usually, there are two ways to go about digitizing your artwork. The first one is scanning using a photo scanner, and the second one is to click a high resolution picture using a smartphone or a digital camera. Now, as you start to grow and expand in your art journey and in your business, you will realize that scanning is the preferred way to digitize your images. It eliminates a lot of problems that you encounter usually with photography. But for today's class, if you don't have a scanner right away, don't worry. I will walk you through all the steps of photographing your artwork as well. So let's begin with scanning. First things first, you want to make sure that the scanner that you're using is a photo scanner and not a regular document scanner. This is because photo scanners can scan with very high resolutions, which is absolutely essential if you want to scale up your artworks to be printed on bigger products, such as duvet covers, curtains, or even wall murals. So the scanner that I use is the Cannon light 400 photo scanner, and a few years ago when I purchased this, it seemed to be the best option because of two reasons. One, it was the best fit for the budget that I had at the time. And secondly, because it is pretty lightweight and so I can easily fit it into my backpack. And the second reason was very important for me because I travel a lot and I almost always need my scanner with me. But that being said, there are a bunch of really good scanners that you can buy from the Epsin brand as well. Some of them are slightly heavier and bulkier than the others while some others are more pocket friendly. At the end of the day, you want to find a scanner that can scan up to 2,400 or 4,800 DPI, something that fits in your budget and something that is the right size for you. So in terms of the size, what I mean is that there are some scanners that have a scanning bed that can take documents up to an A four size of paper, whereas there are other scanners that can take A three papers and beyond. And of course, the price varies depending on the size of the scanner. But honestly, the scanning bed is not so much of a concern or an issue because you can always scan a larger artwork in smaller sections and then piece it or fuse it altogether in Photoshop. So in a nutshell, purchasing a scanner is a lot to do with your personal preferences and how you plan on utilizing it. And of course, every scanner and every manufacturer has their own set of features to offer and their own pros and cons as well. But these are the three basic things that you should keep in mind when you're looking to purchase a scanner. Now, before you start scanning, it's important to ensure that your scanner bed is completely clean. I work with a lot of different mediums like acrylics, gouache, watercolors and sometimes even use foil flakes and glitter in my work. And sometimes these artworks leave specks of dried paint or a little residue on the scanner bed. And if you don't clean that up, then it will get scanned with every next piece that you're scanning. And not only does that increase your cleanup work in Photoshop later on, but it also sometimes interferes with the beauty of the original artwork. To an extent that you might have to rescan everything. So long story short, just make it a habit to clean your scanner bed before every scan. And the best way to do that is by using a microfiber cloth, and I usually use the same one which we get with sunglasses. It's really gentle on the glasses. So of course, it's tentle on the scanner bed glass, too. And as a tip, don't make the mistake of cleaning your scanner bed with a tissue because some of them have very harsh texture and they leave scratch marks on the glass, and that may not be so apparent to the naked eye, but you'll see the scratches once your artwork is scanned. Once your scanning bed is clean, you want to place your artwork, face down on the glass, close the lid, and open the scanner software on your computer. Now, every scanner has a different dialogue box with different settings, but I will walk you through some of the basic things to keep in mind regardless of the scanner brand or model that you're using. So first things first, you want to make sure that you're doing a photo scan and not a document scan. And in the cannon interface, it means selecting the color option and not the text or the black and white option. So maybe your scanner has a different name for these settings, but you basically want to pick the one that represents the photo scan or the color scan and not the one that represents the document scan. Next, let's talk about the resolution. So I always recommend starting with a higher resolution file because you never know how much you want to scale up your artwork down the road. If someday you decide to print really large scale wallpapers or a wall mural, then you don't want your artwork to look pixelated or blurry. So the best thing to do is to scan it at a higher resolution in the first place. I usually scan everything at 2,400 DPI, and some people might think that it's an overkill, but trust me, I have scanned stuff at a lower resolution before and then regretted it a lot later on. And if you don't understand the concept of DPI very well, then here's a simple guide. DPI basically stands for dots per inch. Let's say your artwork is six by 6 " and you scan it at 300 DPI, then you can reproduce or reprint your artwork at the same size. That means you can create prints in a six by six size. But let's say you want to print your artwork at 12 by 12 ", which is double the size, then your artwork will come pixelated because the printing happens with that 300 DPI setting. So now the printer has run out of those dots or pixels to print. So instead, if you scan at 600 DPI, then you can double the size because the printer can now use double the amount of pixels or dots to make your print. Same way, 900 DPI will give you three times the size and so on and so forth. So I usually do eight times the size, which is 2,400 DPI, and that means that I can use my 6 " artwork and scale it up to 48 by 48 " without worrying about any loss in quality. Then some scanners give you the option to choose how much of the document or the artwork you actually want to scan. So here you can see that it is giving me some dimensions of 4.83 and 4.91 ", and that's because it's automatically detecting where my artwork is on that white sheet. But I want to scan everything including the paper edges because I want to retain that paper texture. So I'm going to adjust the crop to make sure that I get the paper edges as well. And when you do that, you get a confirmation over here when it's pretty close to the actual paper size. So in this case, it's pretty close to 6 " because that's exactly the size that I was drawing on. And, of course, if you have a different size of paper that you were working on, then you'll have to set the crop according to your paper size. It doesn't really have to be exact, but just try and be as close to the original paper size as you can get. And now the next thing that you see over here is that it's set to detect enclosing box, which basically means that it will scan everything that I have set for the scanner inside that box that I just adjusted. I usually save all my files to the desktop before I move them to their relevant folders. But you can also directly set the destination folder of your scan right here itself, and then you can also rename your file right here. You can also do that later, but I just like to do it right here itself. And then comes the file format. So usually TIF is better quality than JPAG and TIF gives you more room to play with color adjustments later on. But honestly, I scan everything as a JPEG because I'm scanning at super high resolutions to begin with. And so there is barely a difference for me in the TIF version and the JPEG version in terms of quality. But it is a major difference in terms of file size because TIF stores in massive file sizes, and that takes up a lot of space on my computer or hard drives, whereas JPEG saves in a smaller file size. So just to make the storage and access easier, I use JPEG, and they also open up and load up faster on Photoshop. So yes, TIF is better than JPEG, but I personally use JPEG. You can choose to save in whichever format is easier for you. And then the most important thing while scanning is to ensure that you're not applying any kind of filters or image correction tools to your original scan. The enhancements are best done in Photoshop. So just let that be at none as it is right now, and then we go ahead and we scan. Now, the scanning, of course, takes a few minutes. The higher the DBI settings that you have chosen, the larger will be the file size, and so it will take more time for it to scan and save. So while that is happening, let's talk about our second option to digitize our artwork, which is photographing. Now, one of the most important things about clicking photos of your artwork is that you need good lighting. Natural light is the best so that you can photograph your artwork in its true colors. But that being said, sometimes we have to wait for the perfect natural light that doesn't cast any harsh shadows on our artwork. Because if there are shadows, then it's very hard to clean up the work later on. So ideally, you should click the photos in flat natural light, or if it's a particularly sunny day, then you want to click the photo under a shade to eliminate the shadows. The alternate to waiting for good natural light could be to photograph everything in a controlled setting with studio lights. But that being said, you have to learn the additional skill of getting the lighting perfect to photograph your artwork with the correct color temperature, as well as without shadows. And of course, it's important to keep in mind that studio lights are also an investment money wise. So you want to factor that in your budget in the long run. As a side note, you probably already know this, but it's worth mentioning that regardless of the lighting conditions in your environment, do not use flash. The flash ruins the colors of your original artwork and sometimes even causes a glare on the artwork, which can be very hard to fix in Photoshop later on. The other thing to keep in mind is perspective. You want to make sure that you're clicking a straight head on shot of your artwork and not holding your smartphone or digital camera at an angle. And that's kind of obvious because you also want your artwork to be printed out straight. So it can be a little hard to get the angle correct in the beginning, but you will definitely get there with a little bit of trial and error. As a tip, you can switch on the grid lines or the guidelines on your smartphone camera or digital camera to help you get the angle straight. Instead of keeping your artwork flat lay style on a table, you can also just place it or hang it on a plain white wall and then click a picture of it. Now, most smartphones are pretty easy to use, so you can just do a simple click for that. You just have to place your camera straight above the artwork or right in front of it, and then tap the focus button in the middle to ensure that your artwork is completely in focus, and then you're good to click. But if you're doing this with a digital camera, then you'd also have to have some basic photography skills to get the exposure correct. So you'd have to learn a little bit about aperture, shutter speed, focus, et cetera. So you might want to reconsider photographing your artwork if you don't have that kind of time with you. In a nutshell, you've probably understood by now that photographing your artwork is slightly more complicated and it requires a few extra steps. And so, of course, after all these considerations, scanning seems like an easier option. But then again, if you're a professional photographer already and already know how to click good photos, then you probably don't want to invest in a scanner, and you might just want to click photos of your artwork, so that's totally fine, too. And at the end of the day, it's totally your call. Either way, the image enhancement steps stay the same regardless of the route you pick. Whether you click a photo of your artwork or scan it for today's class, all the steps in the next lesson will stay the same. And later on down the road, if you upgrade from a smartphone camera to a scanner for digitizing your artworks, then you would still know how to enhance and color correct all your files. So what we want to do now is scan or click photos of all the artworks that we have made in this class. And if you like, you can also use some of your other artworks. Then we want to save them on our computer. I have already scanned four of my artworks and they're all right here ready for me to work on. Once you're ready with your files, meet me the next lesson where we'll start with the adjustments and colorways. 9. Corrections, Adjustments & Colorways: All right, so I have all my four scans ready with me over here on my desktop, and I'm going to be using a MAC today for the demonstration purpose, but I'll also put up the commands for Windows for you to follow along. So when I right click on one of these and see the file information, I can see that the file size or dimensions are more than 14,000 pixels, and we have been able to achieve this large scale because I scan this at 2,400 DBI. So now I can make really big reproductions of this artwork. Same way, let's check the other one as well. And again, this is more than 14,000 pixels in width and height, which means that we have a very big size to play with. So basically, the higher your DPI setting, the bigger your file size will be and you'll get larger dimensions to play with. And I've done the same for all of my files. Now, let's open these. So I'm just going to right click and open this with Photoshop. And again, it takes a few seconds for the file to open. The larger the file size, the more time it will take to open up. So just be patient while that happens, and maybe you can use this time to click a nice behind the scenes photo of your process to put on social media. So that's a handy little tip for you over there to keep your fan following engaged on your social media pages. And once it opens, this is what it's going to look like. So you will see your artwork over here on the layers panel on the background layer. So the first thing that we're going to do is take this artwork and place it on a fresh file. So I will click on File New, and then create a custom canvas of 10,000 pixels in width and height. You can also go smaller or bigger, but this is pretty much the size that I use for most print on demand websites, and it works very well for me. And for the rest of the settings, we want to keep them the same as what you see over here. So I keep my color profile as RGB, but you can also change it to CMYK if the printer or the manufacturer that you're working with has asked for CMYK files specifically, and then we hit Create. The first thing that we want to do is save our file so that we remember that this is the modified file on which we are doing all the corrections, whereas the file that we had opened earlier is the original file that will stay untouched. So I'm just going to name this as artwork one modified. But you can use whatever nomenclature or naming system is easy for you to understand. And then I'm going to save my file in a large document format, which is a dot PSB file rather than a Photoshop format, which is a dot PSD file. And the reason for that is that dot PSD has a limit of two GB when it comes to the file size. So when we add multiple layers and effects on a particular file, chances are that we will need a bigger file size, which is why dot PSB works better. And this way, you can keep all the layers in one file rather than having multiple small dot PSD files. So I'm just going to hit Large document format and then hit Save. And now the next thing I want to do is go back to my original artwork file, select the layer on the layers panel and hover over to the other tab, and then drop the layer right onto the canvas. Now, you'll see that your image is going outside of the canvas, and that's bound to happen because the canvas that we had created was of 10,000 pixels, but the image scan was slightly bigger. So if you remember, it was around 14,000 pixels. So we're going to use the corner nodes to reposition our artwork in the middle of the canvas. And you can also use the arrow keys on your keyboard to move the artwork slightly pixel by pixel. And in case your scan wasn't completely straight, then you can also let your mouse hover over the corner node, which will give you the option to rotate the artwork slightly. So mine is actually quite straight, so I don't need to rotate at all, but you do have this option in case your scan wasn't perfectly straight. So I can go back to fixing the placement. And again, I'm just going to use the arrow keys over here to move the image slightly so that I have better control over the placement. And then once you're satisfied with the placement, hit Enter, it'll give you a pop up like this that says transform, and then it's going to be set on the canvas. And then you'll see that this is now on a new layer above the background layer. So this is the layer on which we're going to be making all of our adjustments and corrections, and we don't really need the original artwork file now anymore, so I'm going to close that tab, and this working file is all that we need. So the good thing here is that in case you want to start from scratch, your original scan file is safe and stays untouched, and you can access it later anytime you like. Now, we want to do this for all our files. So I'm just going to move my Photoshop window on the side so I can access my desktop as well. And then same thing, I'll open my second artwork. Then I'm going to create a new file over here, and I'm going to save this as artwork to modify. And then I'm going to go to the original file and drag the layer on the canvas. Again, I'm going to readjust the placement. In fact, for this one, I'm going to take the artwork all the way to the edges, and I won't leave the white border. I think it'll look nice without the border when I use it for a cushion cover or something like that. And again, once I'm happy with the placement, I'm going to hit Enter. And then I'm going to close the other tab which had my original file. And then moving on, I'm going to do this for my other two files as well. But I'm going to speed up the video here slightly because you already know this part. Also, for the purpose of the demo today, I'm working on multiple files side by side, but you can definitely do this one file at a time as well. It totally depends on what kind of a workflow you prefer. And for me, this kind of assembly line editing works better. So I have all my four working files now, and you can see that all of the tabs are open over here on the top. And now the first thing that we're going to do is define the white point for each of these files. Now, a white point is basically a set of color values which define the color white for the computer. In our case, we are basically helping the computer understand what exactly is the whitest part of our image or artwork. Then all the other colors are in reference to that particular white. This is very similar to the concept of white balance in photography and videography. And what this basically does is that it helps to bring back the levels of your artwork closer to the original white paper that you had painted or drawn on. Now, this might sound a little crazy, but hear me out for a second over here. There are many kinds of whites available in the world. There's snowy cool white, there's warm white, there's ivory white, and whatnot. What we basically want to do here is tell Photoshop which kind of white best reflects the white of our painted artwork. In other words, the white point specifically refers to the color balance of the brightest or the most accurate white parts of the image. By adjusting the white point, you can make the whites in your image appear warmer or cooler depending on the desired effect. And setting the correct white point is crucial for accurate color reproduction, affecting the overall mood and feel of the image. If you just scanned your image and it looks very dull or warm or cool as compared to the original artwork, then don't worry because defining the white point will fix that for you. One thing that I've noticed with most scanners is that regardless of how good the quality of the scanner is, the color depth and saturation of your actual artwork goes down a little bit. The scanner's light is so strong that it takes away some of the colors and makes them look flat and some of the contrast also goes away. We can manually fix that. The first step to do that is defining the white point. So I'm going to really zoom into my artwork over here and go into the whitest part of my drawing. And since we had used washy tape on this artwork, we already know that the cleanest areas were behind that washy tape, which is why we can see that clear distinction between the original paper white and the discolored areas. So I'm going to zoom in some more. And over here, we can see the paper texture very clearly. And because of the way the scanner's light falls on the paper, you can see that some parts are super white while others are more gray. And that's just the shadows of the paper grain itself. So once we zoom in, we basically just have to find the whitest part in that paper grain, which in this case, is this little white section here that I have spotted. And then on the layers panel, we click on layer one to ensure that all our changes are happening on the right layer. Then I will go to image adjustments levels. In this pop up box, we will see three different eyedropper tools, we go into the third one if you let your mouse hover over there for a bit, you will see that it says sample image to set White point. We're just going to bring that eyedropper to the white point in our artwork and then we're going to click. Now the image has turned a little bit brighter. We're going to click on O and then we'll zoom out. And I'll go to my history panel to show you the before and the after. This is the before, and this is the after. Again, this is before and after. The difference is really, really subtle, but this tiny first step is what makes color correction so much easier in all the following steps. So we want to go ahead and do the same thing for all our artworks. So again, we zoom in to find the paper white. And then we are going to go into image adjustments levels, select the third eye dropper tool and define the white point. Hit Okay. I'm just going to quickly do this for the other two artworks as well. Again, you can choose to do this one file at a time, or you can work on multiple files together the way I'm doing it. So really, it's all about your own preference when it comes to the workflow. Okay. And now I will go back to my first file. And this time, we are going to adjust the levels in our artwork. Okay, so once again, we are going to select the right layer, and then we're going to go into image adjustments levels. And this time, we're going to play with these sliders over here to adjust the levels in our image. So the levels tool in Photoshop basically lets you adjust the tonal range and the exposure of your images or your artwork by playing with the shadows, highlights, and midtones. So for example, over here, when I'm moving the slider to the right, you can see that the shadows are getting more prominent, but on the left, they're getting a little lighter. The same way, this slider over here lets you adjust the highlights in your images, so you can brighten up some of the lighter areas. So there's basically no set formula to this. You have to do this manually for each of the images because each of your artworks will have different colors and a different tonal range. So the goal is to bring it as close to the original artwork as possible, or you can take it up a notch and maybe just enhance it a little bit more than the original if that's what you prefer. And once you're satisfied, hit Okay. And then I'm also going to quickly hit Command S to save my file. You should do this as frequently as possible to avoid disappointments later on. And then we do the same thing for the next one. We go to image adjustments levels and start to move the sliders, and we keep playing till we are completely satisfied with the overall look. So for this one, I am basically just trying to enhance the colors a little bit more so that they don't look as dull as they are right now. And like I said, the adjustments vary from image to image. So you kind of have to do this manually for each of them. And depending on the way your scanner has scanned your images, maybe you don't need to do this. But again, you'll be the best judge of what your image looks like and how you want it to eventually look like. So keep playing with this. And once you're satisfied, hit Okay and save your file and then move on to the next one. And so same way, I'll quickly do the other two as well. And once all your files are done, we will move on to our next step, which is to adjust the saturation of these images. Okay, so once again, I'm going to go back to my first file. And once again, we're going to select the layer, go to image adjustments, hue and saturation. So this time, we will get a pop up box like this. Now the hue and saturation tool in Photoshop changes the hue, saturation and lightness of an image or specific parts of it. So for example, if you want to change the range of colors in a part of an image, or if you want to make a color deeper or more vibrant, then this is the tool that will come to our rescue. So over here, we can play with the saturation slider to increase or decrease the saturation in our artwork and get it as close to our original colors. And of course, again, if you purposely want to enhance the color slightly and take it up a notch, then that's also possible over here. Also, you'll notice that right now, we're just going to be working with the saturation slider and not the hue and the lightness one. I'll show you how to use the hue slider later on in the lesson, and I don't really use the Lightness one so much because we've already adjusted the levels in the previous section with the levels stool. So I prefer to adjust the levels with the levels stool instead of using the Lightness one over here. So I'm just going to take this up slightly and not too much because I don't want it to look very unnatural as well, and I still wanted to maintain that handmade quality of the artwork. In most cases, the level adjustment that we did in the previous step actually gives you a pretty good result. But this saturation play is one step extra than that to really enhance the look of your artwork. And once you're happy, hit Okay, save your file and move on to the next one. Now, I'll do the other ones quickly as well. Again, there is no set formula to this. You have to do this manually for each of your files because each of your artworks is going to have a different look and feel. Really spend time on making these adjustments to make your artwork look the way you really want it to look and you'll soon really start to enjoy the process of making these corrections. And once you're done making the saturation adjustments in all of your files, meet me in the next segment where we will be using the spot healing brush. Okay, so on the left side panel over here, we have the spot healing brush tool that sort of looks like a band aid. And on the top here, we can adjust the size of this tool by moving the slider. So of course, for bigger areas, you can use a larger brush size, and for smaller areas, you can reduce the size of the pixels. To see the live preview of the size, it's actually best to select the layer first. And once the layer is selected, then you can see the size properly. So 5,000 pixels is this big, and you can use it to fix large areas quickly. You can also use the bracket keys on your keyboard, by the way, to make your brush size smaller or bigger. So I'm going to take this down to about this much. And now we will look for areas in our artwork that have paint splatters that we want to fix, like this one over here. So the spot healing rush tool easily removes any unwanted spots, marks, or small impressions or even objects in your image. And Photoshop basically selects the pixels that you want to clean up and blends them with the pixels from another part of your image so that it looks seamless and it looks like it doesn't have any errors. So for example, this is the area that I want to fix right now. So I will basically click here on the paint splatter section and you can see that it is cleaning up quite seamlessly, and it's not affecting the paper texture beneath. So it's almost as if the paint splatter never happened. We can also drag it slightly with our cursor to clean up areas in a single motion instead of doing multiple clicks. And so same way, I will clean up this little bit over here. And again, we can make the brush size smaller to go into smaller areas, and then we continue the same process. So this whole thing actually takes a fair amount of time because we have a lot of areas to cover in our artwork. So for the purpose of demonstration right now, I'll just touch upon some of the key points and some key examples and I will speed this up slightly, as well. But you can actually take your own time to clean up these tins and don't be in a hurry to follow along because you can always pause the video as many times as you like and do this at your own pace. Now, here's an interesting bit. You'll notice that in some sections such as this one over here, the spot healing tool actually does not work very well, and that's because there are not enough reference pixels for Photoshop to understand how to fix something like this where the error is so closely stuck to the actual design. So for areas like this, we'll actually be using a different tool later on, and the spot healing tool actually works best with independent or scattered splatters and marks, such as these ones which are not really connected to the overall design. So again, this pit is actually very close to that original pen line. So Photoshop is not able to understand which spot exactly is the error and which pixels exactly are the problem areas because it's not able to distinguish between the two. And so for something like this, we'll use a different tool later on. And then same thing over here, it's very close to the design. It's very close to the pen lines. So we'll fix this later. But on your second artwork, where we used color pencils, the spot healing brush will actually come in very handy. So over here, as you can see, I can remove all my color pencils, specs, and dust easily. Photoshop can easily identify the spots that are dirty or the ones that look odd as compared to the rest of the pixels around it, and then it will clean those up very quickly for us. So again, I'll just speed up the video slightly to show you some of the other spots that I'm cleaning. Now, to be honest, it's actually very easy to go down this slippery slope of cleaning just about every speck in your artwork. And somewhere in the process, you have to pause and think about how much you want to clean and how much of that natural imperfection you want to retain because cleaning the artwork a lot in Photoshop can take away from its natural handmade beauty, and you do want your artwork to look handmade after all. So I would say that just clean up the bigger spots that are definitely an eyesore for you. Or especially the areas where the specs or the dust of one color are interfering with the other color. But don't aim for extreme perfection or over perfection because that would completely take away from the handmade character of your artwork, and that's something you definitely don't want to do as an artist because you made this with traditional drawing materials. So you want to maintain that quality a little bit. And so yeah, so that would be my tip for you. And again, same way. Let's look at one more example to see how we can use the spot healing brush on that one as well. And so I'm going to zoom out and look for marks and spots like this one and clean it up. These little brush pen stains are not so visible to the naked eye, but you can see them really clearly now in these high resolution scans. And, of course, if you're scaling up your design, then you definitely want to get rid of these imperfections because they can be an eyesore. So again, I'll just go around my entire design and clean up these spots. And so over here, once again, this area is too close to that black line. So Photoshop is not able to differentiate between the error and the actual design. So like I said, for something like this, we'll use a different tool later on. But right now you can just go around looking for isolated or independent specs and smudges and marks in your artwork and clean those up. And again, as I mentioned, this can take a significant amount of time. So feel free to pause the video as many times as you like to finish up the cleaning process at your end. And once you're done with the spot healing in all your artworks, come back for the next segment where we'll be using the clone stamping tool. All right, so it's time to explore one more interesting tool. And on the left side over here, we have this tool called the clone stamp tool, which basically looks like an ink stamp. And if you let your mouse hover over there for a bit, you'll see that the description says paints with pixels from another part of the image. So the clone stamp basically takes the sample from one part of your image and then replicates that into another section of the image. Now, over here, I have one section of the drawing, which is very dirty with all these blue stains, and I also have another section, which is fairly clean. So I'm going to use the clone stamp to take the pixels from the clean area and then replicate those pixels in the dirty area. So I'll come to the clean area first, and I'm going to make my brush size a little smaller using the bracket keys. And then I will hold down the option key and click the area of the image that I want to copy. This basically sets a starting point for the tool, and when you click, you'll see this little target like symbol that will appear. And now I will start to paint on my dirty bit. And you can see that as I'm moving my mouse on the output point, the target source point is also moving along with it. So it's basically replicating the surrounding pixels as well and then painting it on top of the dirty area. Now, if my target point accidentally hovers over the black sections of my design, then it will copy those pixels as well, and it will replicate them at the output point. So depending on which sections of your drawing you are actually trying to replicate, you want to move your cursor in those directions, and you basically want to be careful with your movement over here. So, of course, we can undo that and we can define a new source point. So somewhere at the bottom over here. And now we can move upwards like so. So again, wherever my output point is moving, the target source point is moving along with that and providing it with pixels to Sm. Again, I moved too close to the black line, so I'll undo that and do it again. You can also do this in short sections to avoid going too much back and forth. And now I'm just going to take the source point from here itself from this clean area that I just created, and I will just replicate this around. Okay. And in the same way, we can go around our entire artwork and do all the fixes. So there is no set formula to this because each of us will have a different artwork and a different level of cleanup to do, depending on the stains and the smudges that you have. So as another example, I'll show you the watercolor artwork as well so that you can get an idea of how I fix something like that. So I think you'll remember this area where we had the stain, very close to the black line. So again, I'm just going to do the same thing. I'm going to define my source point in the cleaner section, and then I'm just going to replicate that over here near the black line. So you can notice that every time that I'm going very close to the black line, it's replicating that as well. And we can then do this with a smaller brush so that we are absolutely precise in the areas where we want to go. And you can see over here just how beautifully it is replicating those clean white pixels and removing our stain. So it does take a little bit of trial and error in the beginning, but with practice, it becomes pretty effortless, and soon you will really start to enjoy the process of cleaning up your artworks like this. So just keep zooming in and find clean sections and then clone stamp them to where you have the stain or the smudge or any other mark on your artwork. And again, I'll speed this up slightly so you can see my progress. Now, again, just keep in mind that I'm doing a lot of this right now for demonstration purposes, so I'm leaving some of the tiny stains behind. But if you're a perfectionist and you want to get rid of the tiniest smudge, or if you want to follow along and do everything right now itself, then you can reduce your brush size even more and fix each and every pixel to your heart's content. So again, you can pause the video and take all the time you need to make your fixes. And it's really your personal choice when it comes to how much you want to clean up or how much you want to refine your artworks at this stage. I actually don't mind a tiny stain here and there because I feel it adds to the handmade quality, but it's totally up to you on how much cleanup you want to do. And so for another example, let's also look at the color pencil artwork that we had made. So again, same thing over here, I can see a lot of color pencil stains and extra marks on the white areas, which I don't want to retain obviously. So I will define the source point for the clean pixels and then replicate them here on the dirty bits. So here, as you can see, I'm taking the clean pixels from the edges of the paper, which were the areas that were actually hidden behind the washi tape. And then I'm just replicating them on the dirty bits. I really like this method of fixing my artworks because I can still retain that paper texture while cleaning up all my stains. There is an alternate method as well, where you can completely get rid of the background and then replace it with a fresh background. But I don't use that method on artworks like these because I like to retain as much of the handmade feel as possible. And I use the other method more for my surface pattern designing work, which hopefully I will cover in detail in another class. So for now, I'm just going to keep changing my brush size to fit into the tiniest of areas, and I'm going to keep using the Clonem tool all around my artwork. This color pencil artwork has a lot of work to do. So I think this will probably take me at least an hour to clean everything up. But I'll just speed up some bits over here for you to watch. And then same thing goes for you. You can pause the video and take all the time that you need once you are done, doing all the cleanups in your artworks with the spot healing brush tool as well as the clone stamping tool, then meet me in the next segment where we'll start to make color ways for our artworks. Okay, so now it is time to make some color ways for all the artworks that we have developed. And if you're keen to start adding new designs to your portfolio, then this step is very useful because you can create so many different variations using the same artwork, which means you get more chances to monetize your art. So to get started with this, we are once again going to do some Photoshop magic. First, we're going to click on the right layer on which we have our artwork. And I'm going to rename this as original just so we can avoid any confusion later on. And then I'm going to press Command J on my keyboard, which will duplicate this layer for me. I'm also going to turn off the visibility of the original layer by using this little eye shaped icon over here. Then I will double check that I'm on the right layer, and we should be on the one that says original copy. Then we go to layer, new adjustment layer, hue and saturation. Hit o. Then on the layers panel, it is going to add a layer above your artwork layer where you can make all the adjustments. What this means is that our original artwork layer will stay untouched and the adjustments will be made on a separate layer without affecting the original. And you will see that in the property stab over here, a panel with hue and saturation sliders will open up for you. And over here, we are going to play with this hue slider to see some color variations for our artwork. So you can see that as I'm moving this to the right, it is giving me various color options, and the colors in my artwork are changing accordingly. So same way, I have more color options by moving the slider to the left as well, so we just move the slider along till we find something that we are happy with. So for example, I quite like this red orange version that is happening here. So I will stop there. Then I will go to my layers panel, and with my adjustment layer selected, I will press Shift on the keyboard and select the copy layer as well. And then I will hit Command G, which will put both the layers in a group. And I will rename that group as red orange, and that is how we have one color variation done for our artwork. Then again, I will come back to our very first original artwork layer. I will duplicate it with Command J. Then I will turn on the visibility of that layer. I will go to layer, new adjustment layer, hue saturation, hit Ok, and I will turn off the visibility of that red orange group because that is currently on top of this layer that we're working on. We won't really be able to see what's happening on the layers under it. Then I will come back to my property stab and I will start moving my hue slider again. And this time, I will stop it here at this mark where I will get a pink purple variation. Then same thing, I will group those layers and name this color variation as preppy pink purple. And now we have two color variations of the same artwork. Actually, three, if you count the original as well. So again, I will turn the visibility off and do the same thing all over again. Duplicate the original artwork, and then we add the adjustment layer. And this time, actually, let's experiment with some of the preset options available to us. Here in the preset drop down menu, you will see some options that can sometimes work very well for your artworks. So there's a cyanotype option and options to increase saturation or boost specific colors. So let's play with some of these and see if something can work for us. The CPR version looks interesting, but for my piece, I think it doesn't really go with the vibe of the artwork. So maybe it works well for your piece, so you can experiment and save this setting as well, if you like it. But I'll actually go back to default, and I will play with another option here at the bottom, which says colorize. So what this option does is that it removes the original color from an image, and instead it overlays the image with a tint of a single hue and saturation. And again, you can choose that hue by moving the sliders here on the top. So this is also an interesting option that you can play with to create more variations of your artwork. Again, nothing is working well for me as such over here, but maybe it's working well for you. So play along and just see if you can find something interesting. I actually like the multi colored approach, so I'm probably not going to use this option today. And I will go back to my default settings and use the sliders as they are. Now, there's actually one more trick that I want to show you guys. So when you come to your layers panel and click on the adjustment layer, you also have different kinds of blending modes over here on this drop down menu. So right now we are on the normal blending mode, but we also have dissolve multiply color burn, and so many other blending modes over here, which can give some very interesting results for your artwork. So I encourage you to experiment with these options as well. I'm also going to try and find something that I like and it's not like these options will work for all of your artworks and it's not like they'll work all the time. Sometimes they work, sometimes they don't. So just feel free to play around and see if you like something. It's not like you have to have to use them. So I think I'm going to experiment a bit with the screen mode over here, and I will come back to my properties panel and with that screen mode on, I'm going to play with the hue and the saturation sliders to see if I can find something interesting. I'm actually not quite sure what I'm aiming for over here, so I'm just going to keep an open mind and experiment. Most times I actually don't do this with a set intention. I just play around with the tools and then some idea just comes to me, just screams at me, and then it just works. But you get the gist. It's all about experimenting and finding that sweet spot on the sliders to get a color variation that you absolutely like and love. So nothing is really seeming that impressive to me on the screen mode right now. So I'm probably going to experiment with some other modes now to see if I can make something work with them. The exclusion mode seems interesting. So let's try that. It's definitely not my usual aesthetic, but it's worth giving it a shot because it's totally changing the vibe of my artwork. So let's see where this goes. Again, not something that's working well for me, but maybe it's working well for you. So do give it a shot and see if it works for you. I have a feeling that the exclusion mode or the difference mode would work very well for the color pencil artwork. So I'm actually going to jump onto that file and play with that for a bit now. So once again, we're going to name the layer as original and then make a copy of it. Then once again, we add a new adjustment layer on top of this and we start to move the sliders. Oh, wow. This one is actually giving me some interesting choices. I really like this blue green version that's happening over here. Then let's move this to the other side as well and see what's happening there. Again, some interesting options here as well. Once again, just play with the sliders till you really like something. I definitely like this red and green one for sure. I think it gives a very Christmas like vibe. So I will go to my layers panel and I will group these layers, and I'm going to rename the group as well. Then I'm going to create a copy of the original artwork and do the same steps again. So we will add the adjustment layer and start playing with the sliders once again. And this time, I actually want to try a combination of the hue slider with the blending mode. So let's see what we can do over here. I love this difference blending mode. It gives a very stained glass vibe. So let's try playing with this a little bit more and move the sliders again. I think I will increase the saturation a little bit over here and see how that looks. It's weirdly very satisfying. I didn't expect it to be this satisfying, but it looks very interesting. Again, it's not my usual aesthetic, but that's the fun over here because you can keep experimenting and you can keep trying new things. So yeah, maybe I'll try some more versions like this one. Meanwhile, let's move on to our watercolor artwork as well and see if we can play some more over there. Again, I'm going to rename this layer, create a copy, and add a new adjustment layer. This time, I actually want to show you how you can fix certain specific colors in your artwork using this little drop down menu over here. So I will click on yellows and as I move my slider, you can see that any color that has yellow in it is getting changed slightly. We actually use yellow and green in this artwork and green is made up of yellow and blue. That is the reason why even the green is getting changed over here. But this is a great way to actually create more color variations in Photoshop. It's almost like having a digital paint palette where you can do your color mixing. So you can play with the hues and the undertones to your heart's content. I actually quite like this pink green version that is happening here, but I want to change the greens slightly. So I will now select the greens option and then move my slider again. I want to make them slightly cooler and I also want to decrease the saturati 10. More Examples: And the All right, so let's have a look at all the different color variations that I've created for each of my artworks, as well as how I've used them on different products. So for the watercolor artwork, I, of course, enhanced the original color palette, and then I created five more color variations. And here are some pictures to show you how this artwork looks on various products. So these are mock ups that I've taken from red bubble.com where my designs are now live. And once you upload your designs, then you can also see your artwork on various different products, just like mine. Then this is the second artwork that we created with brush pens, and for this, I created three more color variations apart from the original, and here is a glimpse of how this design looks on various products. Similarly, I created three additional color variations for the color pencil artwork as well, and this is how they look on various different products. And now I'll just show you a few more examples of artworks that I've created in a similar style. So this is one which I've created with a combination of brush pens, as well as watercolor pencils. So it's very similar to the watercolor artwork that we had created in Project one. And I've also used a little bit of gold over here, which is the UIBL Signo gold pen, and I've listed that in the class resources document, so you can check that out over there. Then these two are slightly more airy and minimalistic, and these are again created with brush pens. And in one of these, I've also used the brush pen to create nice neurographic lines on the edges. So that's also something that you can try. Then this one was a slightly more maximalist design that I created as part of a Christmas challenge that I was doing, and I was using this color palette for other drawings during that Christmas challenge, and so I created one additional artwork in the neurographic style as well. And then this one again, is similar to the first project that we created, except that I've taken the lines all the way to the edges, and so you get a full frame effect once you remove the washi tape. Then, of course, as always, you can also play with the various colors of papers that you have. So this is one experiment that I did on a black zentangle tile. So yeah, as I was telling you, the possibilities with neurographic art are simply endless. You can play with mediums, you can play with papers, you can play with so many different techniques and so many different styles, all combined with the base structure of neurographic art. So I encourage you to have fun with your supplies and create some beautiful projects and please do share them with me in the student gallery of the class. And if you have any questions, please don't hesitate to reach out to me. 11. Final Thoughts: Okay, then, congratulations on finishing up this class and making your beautiful projects. I really hope that you enjoyed learning about this technique and continue to practice it further. If you found this class to be useful for you, then may I please request you to drop a review about it under the reviews stab. Your reviews make sure that all my classes and my presence on skill share continues going forward and that I can keep building more valuable content for you. Skill share is truly a student driven platform, and I value your opinions above everything else. So if you've got any ideas or suggestions for future classes, make sure that you drop them in the discussion stab, which is right below this video. The discussion Stab is also open for you to ask me any questions about this class or to exchange ideas in general. I also recommend you to visit my profile on Skillshare and hit the follow button over there, which is right next to my name so that you are subscribe to all my notifications over here. This way, you will be the first to know whenever I launch a new class or a bonus lesson or when I plan a giveaway and have other exciting announcements to make. And in case you haven't already done this, I want to give you a quick reminder to post your projects in the project gallery, which is also right below this video. I reply to all the projects posted over here, and this will be a great way for you to receive personalized feedback. And finally, don't forget to connect with me on social media. I've created a hash tag community on Instagram, where you can find students from all my classes posting their wonderful work. And this way, we can all give and receive inspiration. So thanks a lot for joining me today. And until next time, keep creating.