Lea Redmond: Knit the Sky




Hello friends and happy Tuesday! I am back from my trip to Spain and Portugal, and I am so excited today to share an interview with a really amazing artist and maker.

A few years ago when I was still living in San Francisco, I discovered the work of Lea Redmond (pronounced “Lee”). She was setting up one of her World’s Smallest Post Services at a local shop in San Francisco, and I popped in quickly to check it out. Lea became famous for her teeenneeee weeeneee letters (see below), hand scripted and sent through regular mail; periodically she would set up a live letter-making desk where she created the tiny letters specially for folks who passed by. Shortly after seeing Lea’s work for the first time, I got a surprise email from her asking if I wanted to hang out. A few weeks later, we got together to talk about our mutual love for art, crafts and books at a local pie shop. At that first meeting, Lea began telling me about a book she was beginning to concept — a book all about knitting from patterns that guide you through recording your experience (and not from a traditional knitting pattern). Think of it as a journal of your life, not with a pen and paper, but with knitting needles. That book, thousands of hours and hundreds of balls of yarn later, is finally with us! Knit the Sky: Cultivate Your Creativity with a Playful Way of Knitting was released recently by Storey Publishing. And it’s illustrated by one of my favorite illustrators. the amazing Lauren Nassef.

I sat down virtually with Lea recently to ask her all about her background, her new book and her approach to creativity. Lea is one of the cleverest & smartest women  I have ever met. I think you will enjoy her too, and so I present to you Lea Redmond in my Interviews with People I Admire series!


{Lea holding some of her tiny letters, which she creates with her own hands and a magnifying glass!}

Lisa: Lea, tell my readers a little bit you. Who are you? How did you get started as a maker, as a knitter? What are some of the things you have done before Knit the Sky?

Lea: I have loved making things since I was a wee one. As I grew up, the pinch pots and puffy paint t-shirts of elementary school turned into the wheel-thrown teapots and hand-knit sweaters of high school. And then I largely tucked away my art supplies as I fell in love with ideas at my little liberal arts college, and busied myself with books and writing. My mother was a Montessori preschool teacher and my dad a scuba diver. Combine those influences with some clay, yarn, Thoreau, and Heidegger, and I think that sums me up pretty good.

Back in 2008 I did a quirky art project called the World’s Smallest Post Service in which I set up my tiny post office (wooden roll-top doll desk and all!) around town and transcribed letters for passers-by. I would then send the itty-bitty missive to their recipient with a magnifying glass. To my surprise and delight, people really loved it! I wasn’t trying to start a business, but this project quickly turned into my creative studio, Leafcutter Designs, that offers all sorts of thoughtful objects and playful gifts like Seed Money, Recipe Dice, and Letters To My Future Self.


{Lea reading from her book Knit the Sky}

Lisa: Your new book Knit the Sky: Cultivate Creativity with a Playful Way of Knitting is different from any knitting book I’ve ever seen! Describe how this book is different from most (or any) knitting books out there and why it was an important book for you to make & put into the world.

Lea: My book offers a way of knitting that is full of adventure, stories, and personal meaning. It’s not instead of typical knitting patterns; it’s simply a compliment to them. The best way to explain is with examples. In one scarf project, you observe the weather and add one stripe per day in yarns that match the color of the sky out your window. In another project, you collect gumballs from machines around town, and the order in which they dispense determines the order of the stripe colors. In yet another, you knit a cowl in the spirit of the moon, which can then be worn to match the current moon phase.

Typically a knitting pattern provides step-by-step technical instructions, charts, and photographs that guide you to make a particular garment in a particular size. These patterns are wonderful, beautiful, and extremely helpful. Pattern design is tough work and I’m so glad there are great designers providing excellent technical guidance for all of us yarn lovers. Most of the playful concepts in my book work just fine with very simple garments, like garter stitch scarves or simple hats, or you can combine them with more challenging patterns by your favorite designers.


Lisa: How do you hope this book changes people’s experiences with knitting? Or elevates their experience of creativity in general?

Lea: What excites me most is the idea that knitters might read my book and be inspired to knit something that is infused with the unique details of his or her own life. Knitting in this way is almost like keeping a journal. It’s a chance to reflect on life, honor someone important to you, celebrate something, be curious about a place, etc. It’s of course lovely that we end up with a beautiful garment, but that’s almost beside the point for me. In the end, I’m most interested in the experience along the way—the adventure that is the process. (Though I will admit that I truly love that we get to keep a souvenir!)

And even thought Knit The Sky is full of ideas for knitting, I think folks can read it and apply this way of thinking—as well as the particular concepts in the book’s projects—to pretty much any medium of life. Read the book and knit a scarf, or maybe just read the book and plan a dinner party! This way of working goes across medium and—ha ha—the sky is the limit!


Lisa: What is your favorite project or set of exercises in the book and why?

Lea: The “Mood Ring” project is one of my favorites, probably because the mindfulness involved in making it has the potential to be extremely powerful. Inspired by those dime-store mood rings of childhood, you knit yourself a cowl that tracks your emotions for a month. Each color represents a group of emotions and then every day you take some time to reflect on your inner life and add a few colors to the cowl that match how you’ve been feeling that day. Since you can see the colors from previous days and weeks, reflecting on them might inspire you to change how you spend your time or how you react to various situations, thus affecting your future mood and stripe colors.


{The work of Illustrator Lauren Nassef}

Lisa: The illustrations are by Lauren Nassef and they are stunning (I am a huge fan of her work!). Why did you select her as your illustrator? What mood did you hope she would be able to capture?

Lea: I agree! I am overjoyed with Lauren’s illustrations for the book. I feel so lucky and grateful to share the pages with her. I was first drawn to Lauren because of her quirky, whimsical compositions. I want to live inside some of her drawings! She takes everyday objects and phenomena and adds a little twist that sparks curiosity, wonder, and delight. I also love her careful, intentional line work. The knitting projects in Knit The Sky are creative and playful, but they are also extremely thought out and full of intention. To me, Lauren’s work with pencil and brush embodies a similar sort of care.


{Illustration from Knit the Sky}

Lisa: How did you accumulate all the project ideas in the book? Were these ideas you’d been collecting and trying out over the course of years? Or did it happen more recently than that? Did you test them out first (either yourself or with others) to make sure they would work well?

Lea: I first posted my “sky scarf” pattern online back in 2008, so the book is really the slow accumulation of ideas since then, plus a big surge at the end! To dream up these projects, I basically just look around, then maybe read a book, and then look around some more. I find most of my creative inspiration in the details of everyday life—in noticing the extraordinariness of the ordinary. The projects in Knit The Sky are inevitably a reflection of my own life, which is why I included a section at the end about how to invent your own project based on your own life. I can’t wait to see what people dream up!

The projects in the book with trickier elements (like knitting hexagons or the butterfly pattern stitch) were tested by me and the folks at Storey Publishing before the book went to press. There are indeed a few full patterns included (for a basic hat, scarf, cowl, socks, etc.), but this knitting book is vastly less technical than most. My hope is that people mix the concepts with their favorite patterns, or even make up their own!


{from Knit the Sky}

Lisa: If people are interested in getting to know you and what you do better or in sharing or learning from you, where can people find you online or in real life? (this is where you get to talk about your newsletter, any online places, classes, events, etc!)

Lea: For Knit The Sky related news and events, find me at knitthesky.com. There, we have a calendar of book tour events and workshops I’m teaching. You can find yarn kits to go with some of the projects and can also sign up for the Knit The Sky newsletter. I post whatever I’m currently knitting on Instagram: @lea_redmond. You can find my playful goods and other creative studio work at leafcutterdesigns.com, on IG: @Leafcutter and on Facebook: facebook.com/LeafcutterDesigns

Lisa: Thank you Lea for sharing your genius with us!

Hope everyone has a great week.


I’m Off to Portugal and Spain!


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I just wanted to say ¡Adiós! I am leaving for a three week trip to Portugal and Spain! I will return back to regular programming on November 2, 2015. I will be documenting my trip in drawings and photographs over on Instagram and you can follow me there. When I return I’ll post highlights from my trip here.

I am incredibly excited for our adventure. We will visit Lisbon, Porto, Sevilla, Granada, Madrid and Barcelona.

Have a wonderful month and I’ll see you over on Instagram while I’m away from the blog!


Illustration for Joie De Vivre Hotels



As an illustrator, sometimes I get to make art for really cool clients. Recently I did an illustration for the amazing Joie De Vivre Hotels! Let’s call them JDV for short. I love travel and rendering city icons, so this job was a treat for me.

My illustration was focused on four of the most popular JDV locations: California (they have hotels in both SF and LA), Chicago, Miami and Honolulu. The very first JDV hotel was the iconic, super funky Phoenix Hotel in San Francisco, which opened waaaaay back in 1987 (where I actually spent some time sitting by the pool in my 20’s!). I also stayed in a JDV hotel on the final night of the AIDS Lifecycle (which I rode in 2012) and in another JDV hotel on my wedding night! I’m obviously a fan. Today JDV comprises the largest collection of boutique hotels in California, and they also have  locations in Washington D.C., Chicago, Miami, Honolulu and Scottsdale, Arizona.

I loved working with Joie De Vivre on this illustration. They are not only a company with a very cool brand of hotels, they are also company who has their own super cool blog (with fantastic imagery) called Joyride (I also love the name!). You can also follow them on social media for all of their latest info:  Twitter (@JDVhotels) // Instagram  (@JDVhotels) // Facebook

Speaking of a joyride, I am off on Monday to Portugal and Spain for a few weeks. Tomorrow will be one of my last blog posts for awhile! But you can follow along on my adventures on Instagram!

Hope you are having a great Thursday!


Scott Patt // Bigger. Smaller. Funnier.



{Scott Patt in his studio}

You may recall back in January of 2014 I wrote about a new daily year-long project started by artist and designer Scott Patt, called “Bigger. Smaller. Funnier.” Scott started that project in an effort to engage in a more meaningful and deliberate creative experience — one that captured his everyday thoughts and experiences. That project continued for the course of 2014 (he worked very hard not to abandon it, despite its intensity) and it ended up exploding not only into a life-changing experience for Scott but also a massive body of work, a book, a gallery show in New York, a short documentary, among with many other exciting things and new collaborations in the works. I caught up with Scott recently to do an in-depth interview with him about how the project grew and evolved, what he learned, and how it changed his life forever. Scott — and all of the ways he approaches his work — are hugely inspiring to me. I think they will be for you too. I am so honored to have him as my next Interview with People I Admire.

Without further ado, Scott Patt.

BSF original paintings collage

Lisa: Scott, first tell us about the daily project you started in 2014 called “Bigger. Smaller. Funnier.” What is it and how did it come to be? How many pieces did you end up making in the collection? Where did you post them? What was the reaction to the project over time?

Scott: Before “Bigger. Smaller. Funnier.” was bigger, smaller or even funnier the project began as a desire to sketch, ideate and work more consistently. I needed a way to challenge the art that I was making to be more meaningful and have an outlet that would easily allow me to incorporate the everyday thoughts, ironies, emotions, and experiences that I often ignored because I was too busy. I wanted a vehicle that was less perfect and with less pretense to allow the work to become an extension of my natural self. Work that would connect more broadly and deeply to others because of its honesty about the way we live and the things we all experience on any given day.

The result is “Bigger. Smaller. Funnier.” a year-long painting-a-day project that documents our shared life experiences by exploring everyday concepts such as purpose, love, faith, ego, relationships, sex, dependency, and genuine (but hard-earned) happiness. Every day in 2014, I ideated, sketched and painted an original conceptual painting. A new piece was virtually exhibited each morning via social media and 100 Limited Edition archival prints were made available for sale on scottpatt.com. Over the 365 days, 369 paintings were created from a palette of 8 colors and thousands of ideas were conceived in over 800 pages of 7 sketchbooks. Thousands of votes were cast and hundreds of prints were sold. The culmination of this massive body of work was a socially curated physical exhibition at Winston Wächter Fine Art in NYC informed via “likes,” print purchases and favorites from throughout the year-long project.

you waving at me

Lisa: Tell us about your sketches. Did you sketch out every idea in your sketchbook before taking them to final in the project? Or did you just go for it sometimes? What was the ideation process like and how did you decide if something would “work” or not?

Scott: Most of my gallery artwork prior “Bigger. Smaller. Funnier.” had evolved into painstaking Finish Fetish meets Conceptual Art. My work was super-clean, glossy, highly produced and pristine. Out of self-preservation I desired a project and process less precious and raw. I just wanted to make work without the usual layers of production involved. That being said, I’m a thinker (I mean over-thinker). I love to mull things over and explore the relationships between the visual and the verbal of a well-thought-out or even ridiculous idea. The sketchbooks of these explorations became ritualistic visual diaries prospecting daily happenings via spontaneous yet obsessive color studies, compositions, alliterations and notes on their way to becoming paintings.

Every morning I would wake up, and write in my journal documenting events, ideas and feelings from the previous day. I wouldn’t overthink it. I would just write and whatever or wherever it went is what it was. I also began taking obsessive notes about things and observations that would catch my attention. In the afternoon I would come back to my writings and highlight words or phrases that would trigger a mental image or an idea. Then for the next 2-3 hours I would sketch on those concepts playing with images and/or typography until I reached something that really made me smile or things hit a dead-end. I would often draw in public places because working in solitude every day would prove to be a lonely endeavor. More importantly sketching among others was incredibly inspirational and could be highly entertaining. I liked to go down to the harbor, sit outside with my sketchbooks and eavesdrop on the tourists as they talked about their lives. Overhearing the conversations of the recently reinvigorated can lend great perspective to the pettiness, humor and irony within our own lives as well as reinforce the universality of our concerns and struggles. And it wasn’t a bad way to inspire a piece or two.

lover loving lovers love

Having to ideate, sketch, paint, post and commercialize a piece a day was exhilarating and exhausting. Even though I knew there were pieces that “worked”, trying to choose a piece each night to paint, my ego, self doubt and fear of failure would conspire towards safety and indecision. Even at piece #364 I remembered laughing out loud because it never got easier. Every evening after sketching I would take photographs of the concepts I liked best to help me physically edit away from the cacophony of the sketchbooks. This was particularly helpful in sorting through the best of the best ideas as the project progressed and hundreds of pages of sketches piled up. There were many a night that I would send texts of sketches to friends or sit with my wife Lisa to go through the sketches to help me pick a piece for the next day. The repetition and pace of the project would leave me exhausted and paralyze my decision-making. No matter how tired I was though it was always fun to see which sketches would make her laugh out loud or which pieces friends would respond to (or not). I would not have made it through “Bigger. Smaller. Funnier” had it not been for the tireless support of my wife and my good friends.

I also liked to select sketches for paintings based on the day of the week. Having worked in the corporate world for 20+ years, every day has always seemed to have a particular feeling attached to it. Monday’s always felt like a ball buster so I’d post something to give others a good push or laugh to get the week going. Wednesdays were usually about getting over the proverbial “hump”. Fridays required a little something to instill the spirit of the weekend, where as a Saturday and Sunday were more contemplative. I always liked the idea of some random guy in an office flipping through their Instagram and making them laugh or inspiring them to think a little differently about their day.

sun shade shadow

Lisa: Thank you for that description of your process. I think sometimes people assume artists just sit down and draw whatever is on their brain. But it’s usually so much more than that, and you are evidence of that. I love that you share your documentation too. Let’s talk about your background. You are a graphic designer and artist, both. Talk about the intersection of graphic design and your own personal “artistry” & sense of humor in the works in this collection.

Scott: I’ve had a pretty rich experience regarding the intersection between art, design and life. I went to school with the intention of becoming a doctor and became a graphic designer (insert joke here). My career evolved into product design, specifically footwear design while I was at Nike and concurrent to it all I’ve been a visual artist. For me, the long and short of how they all relate (or not) is that Art is not Design and Design is not Art but they share similarities. Design, whether it’s in the form of Advertising, Graphic Design or Product Design is about solving problems. A great Design solution should help make your life better. Similar but different, Art can solve problems by provoking questions and exploring everyday issues from the physical and social to the psychological. In both realms there are many ways to arrive at a solution but that’s where Art and Design part ways. Design needs to work to be successful and for Art what “works” can be relative. That’s the magic.

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{observers interacting with Scott’s larger pieces at his culminating show}

“Bigger. Smaller. Funnier” wasn’t and still isn’t concerned about whether it’s Art or Design but more importantly about connectivity. Life can be a lonely endeavor. What better than to connect to others who are like-minded and share in the experience. At the opening reception for “Bigger. Smaller. Funnier” at Winston Wächter Fine Art in NYC it was amazing to see how the work resonated with so many people, young and old in so many different ways. It simply proved that our stories, experiences, needs, concerns, etc… transcend generations and it’s something we all share. Our similarities are greater than our differences. For me, when the work resonates with others that’s when the world gets smaller, and life gets more purposeful.

Humor also began to play a large part throughout the project. I had always been really insecure about the inclusion of satire into my work because of the fear of it being perceived as sophomoric or unsophisticated. But I quickly realized that humor, irony and wit was my way of processing and presenting subjects that are far more complex than just a surface level quip (and it’s a hell of a lot more fun).

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{observers interacting with Scott’s larger pieces at his culminating show}

Lisa: You mentioned that this project was one of the most transformative things you’ve ever done. First, tell us about what you thought you might get out of the project when you embarked on it. Then, tell us how it was transformative for you.

Scott: For better (and worse) I have an active imagination so of course I thought about all kinds of “what ifs” for the project but I did myself the courtesy of focusing on simply making work every day. My work and my process were feeling rudderless and doing more of the same thing staring at studio walls was not going to get me anywhere new.

bsf_factory photo

One of the early and driving forces for “Bigger. Smaller. Funnier” was revealed when I had started doing 3” x 4” sketches several months before its inception. Like most life changing things it was already there, it was just waiting to be discovered. On a December afternoon in 2013 while searching through 20+ years of photographs to inspire some new ideas I came across an old photo I took on an overseas footwear design development trip. It was of a mural on a factory wall that read “BIGGER. SMALLER. FUNNIER.” It brought me back to the day I had taken the picture and the humor in its lost in translation meaning as an inspirational imperative. As I sat there staring at the photo 14 years later, the message had a profound simplicity in relation to my new quest; Do more of the good stuff, less of the shitty stuff and the joy will follow. So that’s exactly what I did and the project quickly had a name, a mission and I had a new philosophy.

What was most transformational about the project is how the unrelenting daily pace changed my process for making Art. At the beginning of “Bigger. Smaller. Funnier” creating a piece a day was like falling in love with someone. I was gaga for the project and it’s all I could think about. A reservoir of thoughts, ideas and sketches flowed freely fueled by the energy of a renewed sense of purpose. But like many relationships, honeymoons can be short lived and then the real work begins. I distinctly remember laughing to myself after an exhausting first week when I realized I would have to do it again tomorrow and the next day and the day after that for 358 more days. Or the daunting task every time I had to prepare up to a dozen pieces in advance of work consulting trips sometimes even bringing my painting supplies and scanner to paint on the road. The ceaseless appetite of the project combined with outside responsibilities and demands forced me to evolve my creative process. Never before had time seemed to pass so quickly. There was no space for perfection and preciousness as daily deadlines loomed.

#319 self abosorbed (for color)

A little less than half way through the year on piece #144 I had a revelation. Because of the project’s appetite for content, I was forced to source the material closest to me; my own everyday experiences, stories and happenings. I mined years of life-changing personal adventures, photographs, collected ephemera and alliterations that have filled my head, shelves and storage containers for years. Without being conscious of it I had achieved one of the things I had set out to discover. Through the velocity and pressure of the project, my work was being directly informed in real-time by every day life. I was listening better and observing more. The little moments that make life great were the moments that were creating the art. In 2014 these moments showed up for me 369 times; from the California desert, to a barber shop, waiting for the next wave, to the passing of a loved one, from my 4 year old niece, during a never-ending meeting and in a saying on a factory wall. What may sound incomprehensibly obvious to some (especially to creatives) is that I realized that art is not a passive companion—Art is in the living.

BSF insta 1

Lisa: How did the gallery show  and book with Winston Wächter Fine Art in New York come about?

Scott: I had intentionally not projected expectations on the results of “Bigger. Smaller. Funnier.” (O.K., maybe a couple projections). But it wouldn’t be until I had completed almost 100+ pieces in 4 months of work that I saw the potential of what was unfolding for the project. When I called my gallery partners to let them know what I was working on, Winston Wächter Fine Art was really excited. They loved the story, the use of social media, the democratization of the work, and of course the Art. They welcomed the inclusion of the analytics from the social media “likes” to inform the curation of the physical show. Out of 369 original paintings, we curated and framed 166 of the most socially liked and purchased pieces (with a couple personal favorites thrown in). As well, I transformed 14 of the top paintings into larger works accompanied by 2 new sculpture series.

BSF studio shot

Lisa: I remember early on in the project — maybe a few months in — you were struggling a bit and you emailed me to ask for advice about how not to give up on and how to stay engaged with it.  And that’s because drawing or painting something every day for a year is a really huge challenge. How did you approach it when it started to feel tedious or boring or stressful? And what advice would you now give to anyone wanting to do a daily project for an entire year?

#287 - don't worry (for color)

Scott: I’ve always been a fan of your 365 day projects not just because of the amazing work but also because of the stamina and constitution I imagined it must take to complete them. It was day 59 when I contacted you. “Struggling a bit” is an understatement. I’ve undertaken some crazy things in my life but this was on a different mental level than anything I had ever experienced. It’s hard to imagine the magnitude of a project like this and the intensity, will and resolve required to do something well every day let alone create, commercialize and socialize a thoughtful conceptual painting daily and then make an art show about it.

Your email reply was great because it was encouraging but more importantly it was practical. One of the things you mentioned was that during your 365 projects you had to plan pieces in advance of trips to make sure you didn’t miss a day. This helped to shift me into thinking about “Bigger. Smaller. Funnier.” as a job. To finish the project, make it exceptional and ensure some level sanity it required a daily schedule, especially considering I was running a design consultancy simultaneously. As soon as I created a routine, writing in the morning, sketching in the late afternoon, painting in the evening (late evening) and posting in the early morning, all that was left was to create great work.

My advice for anyone who wants to do a daily project for a year is to make sure that whatever it is that they’re doing, it needs to start with themselves. Do it because you love it and do it because you have to in order to survive and grow. There were many times during the project that it felt as if I was working within a vacuum, social media posts were not resonating, newsletters were seemingly being sent into a digital abyss and print orders were non-existent. These are the times that test your resolve and reinforce that it’s about the work and the love that you have for the work.

The other thing you mentioned Lisa is, “you WON’T regret it”.

I don’t. THANK YOU.

#50 - now 600

Lisa: You are most welcome! Where can people buy the book or prints from the project? Where can people find you online?

Scott: The prints continue to be available via my website at scottpatt.com. Each piece is hand signed in a limited edition of 100. They’re digitally printed with archival inks on beautiful 100% Cotton Rag Acid Free Paper. On the site people can also watch the short film we did documenting the project’s half way point as well as a great piece that highlights the sketchbooks.

The “Bigger. Smaller. Funnier.” book documents all 369 paintings as well as the story of the project from beginning to end. We did a very small run of books for the first edition and I only have a handful left. If people are interested in purchasing a copy they can email me direct at info@scottpatt.com.

For the most up to date happenings, shows, sketches and recent musings give a follow at @scottpatt on Instagram.

BSF book mock up

Lisa: What are you working on now?

Scott: In the near term, “Bigger. Smaller. Funnier.” has created some fun opportunities including an upcoming partnership this summer with a great global lifestyle brand (TBA) and potentially exhibiting my work with some new galleries in the U.S. As well, since the show in N.Y.C. I’ve been working on some commissions for bigger works from the series. On my wish list…I’d love to get all 369 pieces into a book of daily postcards and I’d love to do a second edition of the book with a publisher.

Bigger picture, It’s incredibly fitting that one of the last pieces I created for the project was entitled “It’s not me. It’s you.”. There is no greater sentiment to the project and work to summarize the importance and inspiration that so many people played in fulfilling what “Bigger. Smaller. Funnier” became and where it still can go both physically and philosophically.

Thank you Lisa you definitely were and continue to be a part of that!

#368 - it's not me it's you 600

Scott: A couple other amazing partners from “Bigger. Smaller. Funnier.” people should check out:

“Kingspoke” did amazing things throughout the project including the documentary.

“The Happening” created the amazing sketchbooks film and helped make my “Bigger. Smaller. Funnier.” font into a usable digital font.

My creative council and talented wife Lisa DeJohn


Thank you, Scott! You are a huge inspirational force in my life! <3

Have a great Wednesday everyone!



More Sketchbook Explorations // Part Four



Friends! It’s PART FOUR of my latest class with Creativebug launches today! This week we take our pens outside of the sketchbook to create TWO new projects: a beautiful wave pattern with white gel pen on black paper and all-over patterns on the covers of kraft paper Scout Books (also with gel pens).


Join me for this class — the class lives Creativebug in perpetuity and you can take it at your own pace. It’s never too late to start!

Have a great Tuesday! And happy sketchbooking!