Lessons from February: How to Build an Art Process From Idea to Finished Illustration

Have you ever been curious what goes on behind the scenes of an illustration? Ever wondered how the subject matter is chosen, or what tools should be used? Is there strategy and precision, or creating with an unpredictable freedom? From the initial idea to the satisfying final brushstroke, the art process is a unique experience for everyone who attempts it. It is a journey filled with creativity, problem-solving, perseverance, and a little bit of magic. Whether you’re an aspiring artist or illustrator, or simply curious about how an art piece come to life, understanding the process can provide some insight and inspiration.

Why Having an Art Process Matters

Every artist and illustrator works a little differently, but having a clear process can make the difference between a chaotic creative experience and one that flows smoothly. A defined process helps to bring ideas to life, save time and frustration, and maintain consistency. Turning a vague concept into a tangible illustration takes structure and planning, and following a set clear of rules prevents you from getting stuck. Whether you’re creating a standalone piece or an entire book, a reliable workflow ensures your style and vision stay cohesive.

Each stage of the art process could be a blog post in itself, but here is a quick look at the steps I follow when creating an art piece:

1. Idea Generation: Everything starts with a glimmer of the imagination—an image, a story, or even a simple feeling. The next step is to gather inspiration: books, art, design, photographs, libraries, museums, coffee shops, gardens, nature, evening dog walks—the list of possible sources goes on and on. Pull them together into one place or mood board, and begin to brainstorm concepts to bring to life.
2. Sketching and Composition: This is where the magic begins to take shape. I start with loose, rough sketches to explore composition and layout, not worrying about detail or perfection.
3. Refining the Sketch: Once I’m happy with the basic structure, I clean up and refine the sketch to create a solid foundation for the final piece, focusing on simple shapes you see in your reference, and letting the detail come in to play later. One method for ensuring accurate proportions when sketching is to use a grid system. Break your reference image into a grid of 9 or so boxes and draw the same grid on your blank canvas or paper. The lines of the grid become reference lines helping to translate the subject matter onto your paper.
4. Choosing Colors and Mood: Color plays a powerful role in storytelling—this topic especially could be an entire blog post in itself. There are many different strategies for choosing a color palette. I recently saw an artist on Instagram who had a stack of scrap pieces of paper with a mix of 3-5 colors on each that she randomly chose from in order to create her illustration. Choosing a random color palette out of a pile could be a fun way to come away with an unexpected piece, but a basic knowledge of color theory is important in coming up with those color combinations in the first place, as well as applying them in the art piece. That’s where the color wheel comes in. In lieu of everyone taking my freshman year color theory class, a color wheel is a useful tool in understanding color and how it goes together. There are many different types of palettes that the color wheel could assist with: monogamous, analogous, or complimentary, working with primary, secondary, or tertiary colors to name a few. Learning these terms, referencing the color wheel, and gathering outside color inspiration is the best advice I could give in choosing a palette and creating an overall mood in a piece. There is a subtle art to it and it takes practice. Starting a color journal (a journal to paint or collage different combinations of color that I might happen across) is on my to-do list!
5. Adding Details and Texture: This is where the illustration really comes to life and is also unique to each artist, depending on the medium and tools that are used. After choosing the color palette, I first work on the large simple shapes of my reference. Working in gouache, I build the base image with layers until I am happy with it. I then layer in textures, refine lines, and add the small details in with mixed media crayons and color pencils to make the piece feel finished.
6. Reviewing and Revising: Every illustration benefits from a fresh perspective. I step back to identify areas for improvement and make necessary adjustments. I even walk away for an hour or a day, and come back with a clear head to find exactly what my next step should be. If illustrating for a client, establishing a certain number of revisions would be wise.
7. Finalizing and Sharing: The last step is preparing the artwork for its final form—whether that’s a print, digital file, or portfolio piece—and sharing it with the world.

Having a repeatable process and workflow not only boosts my confidence but also allows me to enjoy the artistic journey more fully. When working with creativity, I have found it helpful to set rules for myself. They are usually arbitrary and completely in my head, but something about the establishment of parameters allows my brain the safe space to create. So, take the time to play with different styles and techniques in your sketchbook, and create your own set of rules.

Lessons from February + How I Choose my Projects

This month, since we last chatted, I have been exploring two different creative projects: I am participating in the #100dayproject on Instagram, in an effort to develop my my illustration character style and self-imposed “rules” before really settling into the book I’m illustrating. Follow along on Instagram for 100-ish days of me wandering through characters and styles, trying to find my voice.

The second project I’ve been working on since we last chatted is a new Big Bend National Park painting series. I have finished the first of a series of 5 paintings, 16x20 on canvas, of which I will be selling the originals and large prints from. I grew up camping in Big Bend every summer, it holds a very special place in my heart, and I don’t like to see it struggling to make ends meet. This series is inspired by the community rallying around our public lands due to the federal layoffs that have been happening. According to NPR, “National parks across the U.S. are bearing down on an uncertain season, as federal layoffs and staffing shortages threaten many of the services they provide for their millions of annual visitors, from reservations to cleanup to education.” I am hoping to donate proceeds of each painting collection I complete in the future to a National Park chosen as my muse for said future collections. This first series is dedicated to my love of Big Bend.

First pass, getting shapes down vs. final version, with all the finishing touches

I can’t wait to dive deeper with you. If you have any questions or areas you’d love me to cover, drop a comment below—I’d love to hear from you!