ART 222 Illustration Materials and Techniques
Instructor: Laurel Long
Email: laurel.long@csun.edu
Office hours: Monday, Wednesday 5:00-6:30pm Office/Classroom: ACD 506/507
Catalog Description:
Prerequisites: Art 124B. Introduction to the use of materials and techniques used in a variety of art areas
and specifically in the field of Illustration. Emphasis is on understanding media potential and the
development of refined technical skills required for the successful executions of illustrations. Covers wet
and dry media, tools and techniques.
Course Description:
Professional illustrations require a high degree of technical skill, design ability, personal style and
conceptual creativity. Illustration Materials and Techniques emphasizes technical skills, rendering and
design in the use of a variety of media. It is a specialized, introductory course that provides students with
the opportunity to develop strong basic skills in media techniques that are required for the successful
execution of illustrations, graphic design and fine art. There are different and overlapping markets for
illustration. Some markets for illustration include:
• Editorial Illustration: For students interested in contemporary culture who possess a consistent and
distinctive approach and graphic sensibility. Relevant to: advertising, magazine, newspaper and book
publishing.
• Children’s Market Illustration: For students with a love for storytelling, character and design
appropriate to children. Relevant to book and magazine publishing, advertising and licensing.
• Visual Development Illustration: For students whose exceptional skill in drawing, painting, color and
perspective is combined with a love for storytelling, character, atmosphere and narrative
environments. Students prepare for a career in animation or film.
• Illustration for Motion: For students interested in storyboarding and motion design and who can
work collaboratively on motion pieces fit for advertising, music videos, retail environments and public
service announcements.
• Licensing/Merchandising/Packaging: For students who possess a 2D and 3D design sensibility.
Relevant to products: home goods, apparel, toys, gifts, stationary, skateboards etc.
• Fine Art Illustration: For students seeking to adapt their illustration skills to a gallery environment.
Emphasis is on self-direction, concept and originality.
Art Department Program Goals Addressed in this Course:
• Basic Skills: Developing a foundation of art knowledge, theories, skills, craftsmanship and
technologies, where ideas and concepts are communicated in art making.
• Art Knowledge: Broadening knowledge of ancient through contemporary art and to develop an
understanding of art within theoretical, cultural, and historical contexts.
• Interdisciplinary Connections: Exploring and engaging in interdisciplinary forms of art making.
• Professional Preparation: Developing career paths for various art professions and an
understanding of the demands and expectations of those areas.
Student Learning Objectives:
• Recognize and apply practical concepts in the use of a variety of illustration materials and
techniques used by professional illustrators.
• Acquire knowledge of and apply illustration techniques and skills.
• Use illustration knowledge and skills to understand personal preferences and strengths regarding
art materials and techniques.
• Acquire knowledge of contemporary and historical art and illustration techniques and movements.
• Demonstrate knowledge of fundamental illustration materials and techniques for self-expression
and effective visual communication.
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Professional Practice and Plagiarism:
The student code of conduct can be found on page 586 of the University Catalog or on the CSUN
website: http://www.csun.edu/studentaffairs/pdfs/standards_student_conduct.pdf.
Classroom rules
• Cell phones must be turned off or put on vibrate. Phone talking or texting in class is not allowed.
• No headphones. • Laptop use for course assignments only. No laptop use is allowed during
lectures.
Missed Class Policy: Lectures and demos cannot be repeated. Contact a classmate for missed
information.
Name________________________________________phone/email_____________________________
Attendance Policy: Attendance is required. The following will be applied in determining the final grade in
the course.
• Three absences are allowed without penalty. More than three absences will result in a lower final
grade in the course.
The three allowed absences are given for illness and other unavoidable events. A doctor’s note
will not excuse more than three absences. If illness requires more than three absences, a
medical withdrawal from the course is recommended.
• Roll is taken every class. Three late arrivals or early departures will be counted as an absence.
• You may ask at any time for your attendance and grade information.
Grading:
Final Grading is based on: Projects grades, effort and attendance (see above).
Project Grading is based on:
• Projects are graded on the basis of demonstrated knowledge of course content, effective and
ambitious solutions to problems, technique and presentation
• Projects not complete on deadline will be lowered ten points.
• Preliminary drawings not complete on deadline will lower the final project grade by ten points.
• Unpreparedness and projects that are not worked on during class time will lower the final project
grade by ten points.
• Late assignments will not be accepted.
• Assignments that have met all deadline requirements can be revised and resubmitted for a higher
grade.
Grade Point Scale
Grading is in accordance with university policy: A, A-, B+, B, B-, C+, C, C-, D+, D, D-, and F
A= outstanding, B= good, C= average, D= unsatisfactory, F= failure
A = 95 – 100, A- = 90 – 94, B+ = 87 – 89, B = 83 – 86, B- = 80 – 82, C = 73 – 76, C+ = 77 –
79 C- = 70 – 72, D+ = 67 – 69, D = 63 – 66, D- = 60 – 62, F = 0 –
DEADLINES:
Deadlines are indicated on the calendar. Pace yourself accordingly. Some assignments will take longer
than others. If you complete an assignment before a deadline, then start another one. Work on your
research, thumbnails, and final drawings continuously. Do not begin an assignment before the media
demonstration.
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Media, Style, & Design Explorations
LEARNING GOALS
1. To reinforce the most fundamental skill of illustration—drawing.
2. To learn new ways of coming up with ideas and to increase creativity.
3. To experiment with a variety of approaches to design and technique.
4. To strengthen knowledge and application of design principles.
5. To practice using a variety of wet & dry media to create original imagery.
6. To gain a foundation of experience with media, style, and design that can be carried through
to all future illustration assignments.
OVERVIEW
These assignments involve variations on a theme. Your theme will evolve from selecting 2 subjects that
you would love to draw & paint. At least two of the assignments must use a subject that is an object you
can bring to class and work from directly. The second subject can be an object, person, animal, plant,
vehicle, etc. that you can collect photographic reference for. (NO licensed characters, no manga, letters,
numbers, symbols, NO overly familiar imagery or subjects such as bearded wizards, iconic rock star
photos, sexist images…) See last page of syllabus for list of trite imagery. Imagery to consider: Plants,
anatomy, flowers, human, machinery, marine life, insects, birds, fruit, vegetables, animals, architecture…
You will create 7 unique illustrations that will combine 2 subjects in different ways using a variety of
different media techniques, styles, and designs.
*Tip: It will help if you pick 2 subjects that are connected in some way—related or opposite.
•Examples of related items:
1. Famous person and object: Edison & light bulb, Babe Ruth & baseball, Martha Stuart & rolling pin
2. Items that work together: bird & nest/tree/cage/egg, cat &yarn/toy, insect &
flower/sky/plants/fruit/anatomy,
tree & apple/ monkey/snake, water & fish/boat/shell
3. Two subjects from a story: princess & pea, jack & beanstalk, frog & crown, bunny & egg
•Examples of opposites:
1. Animate/In-animate, Man-made/Nature, Alive/Dead, Large/Small, Soft/Rough, Wet/Dry, Fat/Thin
2. Objects symbolizing ideas: Life/Death, Good/Bad, Chaos/Order, Happy/Sad, Old/New, Rich/Poor
INSTRUCTIONS
1. Choose your theme
IMPORTANT: You can use the same theme and 2 subjects for the semester or you can change the
themes and subjects as you like. Select two subjects. Collect at least 10 photos for each of your two
subjects from all different angles. Get as much reference as possible, print it out, and bring to class. If one
of your subjects is an actual object then bring that to class. Remember that at least two of the
assignments must use an actual object. Take your own photographs when possible. This will make your
art more original.
2. Sketchbook practice
Get to know your subjects: sketch each item at least10 times from different angles & points of view.
Review any drawing principles needed to draw these items accurately. At this stage, do not worry about
light and shadow. Use line only and make sure to DRAW THROUGH!
3. Thumbnails
For each assignment do 10 thumbnails combining your 2 items. Vary your format and composition. Refer
to the “Media, Style, Design” chart to guide your idea making—some design themes are required. Make
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media, style and design choices that communicate your theme(s) and subject(s) effectively.
4. Refinements and Final Drawings
Refine the thumbnails that are most exciting to you. Use these drawings as foundations for your
illustration. These drawings can still be in line only, unless the composition calls for tone.
5. Final Art
Complete the final art for each of the 7 variations using different combinations of media, styles, and
designs listed on the chart. Identify on the back of the final art the media, style and design used.
MEDIA, STYLE, AND DESIGN
-•Bulleted, bold, italicized attributes are required—those not bulleted are options.
-Mix and Match 3 attributes together (one from each column) for each of the 9 illustration variations.
-You can use each attribute up to 2 times.
-Starred attributes ***must be combined together at least once.
-These media and techniques will be demonstrated in class.
MEDIA
STYLE
DESIGN
•Graphite***
•Fully Rendered Realism***
•Cropping
•Pen & Ink
•Flat Graphic Shapes
•Scale Reversal
•Acrylic Opaque
•Contour, Expressive,
Thick/Thin, or Hatching
•Substitution
•Oil***
•Favorite Artist Style
Combine, Metamorphosis
Gouache
Historical Art Style
Shape Window
Colored Pencil
Cut Paper or Collage
Scratchboard
Mixed Media
Mixed: Ink Line and Washes
Silhouette
Cartoon
Distortion or Exaggeration
Geometric Shapes, Stylized
Your Choice
Action or Movement
Positive Negative Reversal
Hidden Image
Exaggeration in Amount
Your Choice
PAPER AND BOARDS
Two Strathmore 500 series heavyweight illustration boards: rough (cold pressed). Look for the embossed
logo in the corner of the board.
FORMAT & PRESENTATION OF FINAL ART
Each board must be exactly 10 x 10 inches. (Exception is the scratchboard. It comes in 5x7 and 8x10”).
Boards must be cut square and with straight clean trim edges. Ask Continental to cut the boards for you.
Do not paint or draw up to the trim edges. Leave a minimum ½ inch of margin from each edge. You will
be graded on your presentation. Make it beautiful and clean.
Format
9" x 9” maximum image area 10" x 10" board size
All boards must have a tracing paper cover that is trimmed to the board size. All of your thumbnails,
process sketches, photo reference, media experiments, failed attempts, etc. should be placed in a 12 x
15.5 inch envelope. Put your name on the top right corner of the each envelope. Do not seal the
envelopes.
FINAL GRADING CRITERIA:
Each assignment will be graded using a rubric specific to the media and technique used
1. Evidence of preplanning, media exploration and research 2. Use of art elements and principles
3. Use of art materials and techniques 4. Creativity and initiative 5. Craftsmanship, skill and presentation
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MEDIA GUIDE
Graphite
•Techniques Demonstrated: hatching, using hard, medium and soft pencils
•Draftsmanship: Continuous even tone and gradations. Consistent surface texture. Accurate proportions,
perspective, ellipses, and drawing principles. Obvious light and shadow sides. FULL RANGE of values.
Create depth with hard/soft edges and dark/light tones. Avoid outlines.
•Craftsmanship: Clean rendering, no smudges, fingerprints, etc. Consistent graphite application.
•Communication: Darks, mid-tones, and lights arranged for clarity.
Pen & Ink
•Techniques Demonstrated: Hatching, crosshatching, stippling in a variety of line weights to create
convincing value gradations, textures and three-dimensional rendering. Use of brush, pen, straw to
create calligraphic, flowing, angular, straight, curved lines, splatters to create accidental effects.
•Craftsmanship: Confident, expressive line with variety in thick and thins. No bleeding into paper.
Consistency in style…if using hatching, be consistent with how you apply it throughout the piece.
Contours more bold than less dominant details. Any mistakes must be incorporated into the drawing, no
corrections. Create depth with thick/thin, hard/soft, dark/light lines.
Acrylic Opaque
•Techniques Demonstrated: Brushwork to create rendered textures and gradations, layering, dry
brushing, accidental effects, textures, distressing, flat painting. If brush strokes are visible, let them be
appealing to look at and consistently applied to the whole piece. Create depth with thick/thin, Hard/soft,
Dark/light.
Oil
•Techniques Demonstrated: Surface priming, imprimatura, under layer, glazing, ala prima painting,
blending, palette organization and color mixing. Brushwork to create rendered textures and gradations.
•Craftsmanship: Clean rendering, Clean and harmonious color. If brush strokes are visible, let them be
appealing to look at and consistently applied to the whole piece. Create depth with thick/thin, Hard/soft,
Dark/light. Blended, smooth edges required.
Gouache (opaque watercolor)
•Techniques Demonstrated: Brushwork to create rendered textures and gradations, layering, dry
brushing, stippling, accidental effects
•Craftsmanship: Solid opaque tones—no transparency. If brush strokes are visible, let them be purposeful
and appealing to look at and consistently applied to the whole piece. Crisp clean edges.
Colored Pencil
•Techniques Demonstrated: Hatching and crosshatching to create convincing value gradations, textures
and three-dimensional rendering. Color theory and layering.
•Craftsmanship: AVOID the COLORING BOOK LOOK! Use a consistent application of marks…either
lines, cross-hatching, small circles, etc. Layer multiple colors. Keep a consistent amount of fuzziness or
graininess. Create depth with thick/thin, hard/soft, dark/light.
Cut Paper or Collage
•Techniques Demonstrated: Clean cuts, tearing, adhering, use of x-acto knife.
•Craftsmanship: Clean crisp cut edges. No unintentionally jagged or torn edges. No visible glue, no
fingerprints or smudges. Create depth with thick/thin, hard/soft, dark/light.
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Scratchboard
•Techniques Demonstrated: Applying ink, additive and subtractive lines and tones to produce gradations,
textures, lines and shapes. Clean cuts, tearing, adhering, use of x-acto knife.
•Craftsmanship: Clean, crisp line work. If ink is applied with brush…brush marks and lines flow together
well. Create depth with thick/thin, hard/soft, dark/light line.
Mixed Media
•Techniques Demonstrated: Combinations of any media and techniques learned.
•Craftsmanship: Effective integration and combined use or two or more media.
Mixed Ink Line and Acrylic or Watercolor Wash
•Techniques Demonstrated: Washes: wet-to-wet, wet to dry to create convincing value gradations,
textures and three-dimensional rendering. Brushwork to create rendered textures and gradations,
layering, dry brushing, stippling, accidental effects. Color theory and layering.
•Craftsmanship: Readability; Don't let the washes become so busy that the line drawing is lost. Lost and
found edges are ok, but don't let the drawing disappear completely into the washes. If ink is applied with
brush…brush marks and lines flow together well. Other Pen and Ink craftsmanship criteria apply as well.
Clean, not muddy color. Washes and textures that are interesting to look at.
Create depth with thick/thin, Hard/soft, Dark/light.
STYLE GUIDE
For all styles:
•Composition: Create an interesting arrangement of positive and negative space avoiding uncomfortable
tangents. Repetition with variation in shape and size (big, medium, small), rhythm, focal point and
balance.
•Communication: Clarity and readability.
Fully Rendered Realism
•Draftsmanship: Accurate and precise rendering and realistic representation of three-dimensional shapes,
forms, textures and proportions.
•Craftsmanship: Precise, controlled enough for accurate representation of the subject.
•Communication: Clear, convincing and readable.
Flat Graphic Shapes
•Draftsmanship: Similar to silhouette, except use a variety of values and colors. Realistic, Stylized,
Geometric, Cartoon, or distorted flat shapes informed by strong foundational drawing.
•Craftsmanship: Precise, clean edges.
Contour, Expressive, Thick-Thin and/or Hatching
•Draftsmanship: Use any or all of the following: Linear/tonal/graphic/expressive- hatching, crosshatching,
or stippling to create value gradations, textures, patterns or three-dimensional rendering. In a variety of
thicknesses: flowing, angular, straight, curved marks, accidental marks, straw and splatters to create
designed, graphic and spontaneous effects.
•Craftsmanship: Precise, clean edges
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Historical or Favorite Artist Style
•Draftsmanship, Craftsmanship, Composition, Communication, Creativity: Consistent with the influencing
artist.
Silhouette
•Draftsmanship: Accurate contour edges; flat shape based on a precise structural drawing with correct
circle and ellipse shapes.
•Craftsmanship: Precise, clean edges
Cartoon
•Draftsmanship: Simplification and stylization of reality appealing and fun to look at. Distortions or
stylizations informed by strong drawing foundation.
•Craftsmanship: Clean, consistently rendered throughout.
•Communication: Easily readable with a fun message or story conveyed. Make us laugh.
Distortion or Exaggeration
•Draftsmanship: Distortions or exaggerations informed by accurate foundational drawing.
•Craftsmanship: Clean, consistently rendered throughout.
•Communication: Avoid distorting or exaggerating so much that readability is lost.
Geometric Shapes or Stylization
•Draftsmanship: Use templates and rulers to make curves and lines exact. Circles should be perfect
circles; squares contain perfect right angles, and straight lines straight, etc.
•Craftsmanship: Clean, consistently rendered shapes.
DESIGN GUIDE
For all designs:
•Composition: Create an interesting arrangement of positive and negative space avoiding uncomfortable
tangents. Repetition with variation in shape and size (big, medium, small), rhythm, focal point and
balance.
•Communication: Use your design to communicate something—make a point, tell a story, or intrigue the
viewer.
•Creativity: Something we haven't seen before.
Cropping
•Composition: Instead of just drawing your objects in the middle of the page with white space all the way
around them, trying zooming in and cropping areas.
•Communication: Readability; we still need to be able to identify the items. A step further would be to
convey a message or make a point.
Scale Reversal
•Composition: Make your small object big and your big object small. Better yet….make one HUGE and
one TINY. Be careful that in reversing their scale you don't accidentally make them the same size in your
composition!
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Substitution
•Composition: Make your items switch places. Use one for the other, replace one for the other.
Combine or Metamorphosis
•Composition: Combine your items in some way. One could grow into the other. One could have a few
characteristics of the other. Both items could be contained in one whole. Whichever combination you
choose, try to make one item dominant, and the other subordinate in the combine instead of half and half.
Shape Window
•Composition: One item becomes a silhouette shape that is actually a window that we see the other item
through. Feel free to add more elements than just the two items.
Action or Movement
•Composition: Items can appear in motion themselves OR shapes can be arranged in a way that the eye
moves in a rhythm, speed, or flow.
Positive Negative Reversal
•Composition: Positive and negative spaces reverse, dark and lights reverse, or the positive or negative in
one reverses into the other, or vice versa.
Hidden Image
•Composition: Hide one item within the other, or hide one image within a pattern of the other.
Exaggeration in Amount
•Composition: Exaggerate the amount of one item in proportion to the other
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Supplies
Continental Art Supply (7041 Reseda Blvd, 818-345-1044) has all the supplies you need. If you shop
there tell them you are in Laurel Long’s class and they will know exactly what you need. Many of the
supplies can also be purchased at Michael’s. Register online or download Michael’s app to receive
weekly coupons and discounts. Do not buy new supplies if you already have supplies from other classes.
If you are not sure about your supplies please ask me.
Surfaces:
- Two 20x30” Strathmore 500 Series Heavyweight Illustration Board, cold Pressed.
- Each board cut into 10 x 10” pieces. ($10.99 per 20 x 30 “ board- available at Continental Art Supply,
some Michael’s)
Optional by choice:
Ampersand Scratchboard: black or white, 8 x 10
Brushes:
-Continental: Simply Simmons Studio white nylon acrylic and oil 6 brush set E
-Michael’s: Artist Loft 22 brush set with canvas holder ($7.99) or Artist Loft Necessities white or golden 10
brush set ($10.99) or Artist Loft Fundamentals white brush set (4.99)
- One medium eye shadow brush: Target brand ($2.49)
- 1 or 1 ½” hardware store bristle brush
Paint Media:
• Waterproof black India ink (Winsor Newton or Sumi or Bombay)
• Oil paints:
Continental:
-Gamblin AOS: Alizarin crimson, cadmium red light, cadmium yellow medium, ultramarine blue, pthalo
blue, titanium white, burnt umber
-or Classico: Permanent Madder Deep, cadmium red light, cadmium yellow light, ultramarine blue dark,
pthalo blue, titanium white, burnt umber
• Acrylic paints:
-Continental:
- Daler Rowney System 3: process magenta, process cyan, process yellow, process black
- Liquitex Heavy Body titanium white
Optional by choice:
- Set of watercolors (liquid, tube or pan), inexpensive pan colors okay
- Gouache: Continental: Graham Gouache: ultramarine blue, phthalo blue, alizarin crimson,
napthol red, azo yellow ivory black, titanium white
Painting Mediums:
- Liquitex Acrylic matte medium- small
- Liquitex or Golden gesso- small
- Galkyd Slow Dry or Liquin Fine Detail 2 ounce
- Gamsol- small
Drawing Media:
Continental:
- Pilot G-Tec pen .3
- Crow quill pen and #512/513 nibs
- Graphite pencils 2H, H, HB or F, B, 2B, 4B or .03 or .05 mechanical pencils with 2H, H, HB or F, B, 2B,
4B leads
Optional by choice:
- Prismacolor colored pencils, thick lead, warm and cool primary colors, black
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General Supplies
- Disposable poly-coated palette pad: 9 x 12 inches
- Tracing paper pad 11 x 14 “
- Drawing paper pad 11 x 14 “
- Metal palette knife: 2 1/4”
- Sandpaper 320 grit
- #11 x-acto blade with replacement blades
- Workable fixative spray
Calendar (Dates are subject to change)_______________________________
Mon, Aug 27
Wed, Aug 29
Mon, Sept 3
Wed, Sept 5
Mon, Sept 10
Wed, Sept 12
Introduction to course, supplies, keynote presentation, choose theme/subjects
#1 GRAPHITE Demo and lecture: Pencil, Colored Pencil
Labor Day
Mon, Sept 17
#1 PENCIL ASSIGNMENT DUE
#2 PEN & INK Demo and lecture: Pen & Ink, Ink and Acrylic/Watercolor Washes,
Scratchboard
Wed, Sept 19
Mon, Sept 24
Wed, Sept 26
Mon, Oct 1
#2 PEN & INK ASSIGNMENT DUE
#3 ACRYLIC Demo and lecture: Acrylic, Gouache, Mixed Media, Cut Paper, Collage
Wed, Oct 3
Mon, Oct 8
Wed, Oct 10
Mon, Oct 15
Wed, Oct 17
#3 ACRYLIC ASSIGNMENT DUE
#4 OIL Demo and lecture: Oil
Wed, Oct 22
Wed, Oct 24
Mon, Oct 29
Wed, Oct 31
Mon, Nov 5
#4 OIL ASSIGNMENT DUE
#5 YOUR CHOICE
Wed, Nov 7
Mon, Nov 12
Wed, Nov 14
Mon, Nov 19
#5 YOUR CHOICE ASSIGNMENT DUE
#6 YOUR CHOICE
Wed, Nov 21
Mon, Nov 26
Wed, Nov 28
Mon, Dec 3
#6 YOUR CHOICE ASSIGNMENT DUE
#7 YOUR CHOICE
Wed, Dec 5
Mon, Dec 10
Mon, Dec 17
#7 YOUR CHOICE ASSIGNMENT DUE Exam time 3:00-5:00am
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Trite Imagery
Below is a list of ideas/thoughts that can often be unsuccessful as themes in art. Remember that rules
are made to be broken; however, through experience many of these ideas will not be successful unless
done in an innovative way. This list does not prohibit you from these ideas, but does let you know that
they are often overdone and can lack maturity. If you do decide to tackle one of these ideas, look to the
following to guide you: draw from life, consider unusual perspective, complexity of composition, repetition
and pattern, interesting color, or unique use of media.
Mushrooms
Ying-yangs
Peace signs
Corner suns
Daisies
Famous people
Race cars
Horses
Rock stars
Polka dots
Trucks
Planes
Cars
Ballet
Suns
Moons
Stars
Hearts
Feathers
School mascots
Athletics
Sports illustrated
pictures
General flowers
Cd covers
Copyright materials
Furry animals
Drugs
Alcohol
Cigarettes
Eyes
Tigers and leopards
Snakes
Butterflies
Unicorns
Pegasus
Under the sea
Side fish
Cartoons
Anime
Clothing and shoe
logos
Dolphins
Rainbows
V or M birds
Dragons
Princesses
Balloons
Puff clouds
Stick people
Tears
Monsters
Western themes
Howling wolves
Wizards
Vampires
Aliens
Outer space
Lipstick tubes
Ipods/headphones
Love
Precious moments
Tagging
Seasonal themes
Ladybugs
Crowns
Angels
Mythical themes
Teddy bears
Bows
Simple fireworks
Close ups of
watches
Half faces
Generic houses
Fire
Blood and guts
Pyramids
Deer heads
Tree frogs
National geographic
copies
Makeup girl ads
Smiley faces
Roses with dew
Bats
People kissing
Drama masks
City skylines
Spiders
Spider Webs
Palm trees
Beach scenes
Umbrellas
Seashells
Hearts
Fairies
Scallop waves
Elementary trees
Dripping blood
Knives
Devils
Bubbles
Dollar sign
Disney characters
Eight ball
Lips
Sun with
sunglasses
Swords
Bubble lettering
Flames
Mermaids
Crescent moon
Skulls
Sports equipment
Sports apparel
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