This book is an online rendition of an online workshop that the two authors hold regularly. It's great for people, like me, that don't have a budget for online courses, but want to have the teachings in them accessible. This is the case here and, therefore, a great value for money.THE CORE " In a time when information and imagery from other people’s art is so readily available at our fingertips, we believe mindfully sourcing inspiration from within our own hearts and authentic lived experience is a crucial part of finding a unique voice" (p. 42). The authors depart from this premise. Having skills or knowing techniques isn't enough to have an authentic voice. The authors believe that there are eight key ingredients needed to discover and develop a personal creative style: 1/ Desire, 2/ Self-Inquiry to bring your life experience, cultural background, and passions into your art. 3/ Trust your intuition. 4/ Awareness of your surrounding world and of the present moment. 5/ Expansion through learning new things, exploring new materials and learning from new teachers. 6/ Exploration via giving you the time to learn by making 100 studies. 7/ Gentleness, by disregarding negative self-talk. 8/ Dedication and persistence in a life-long art journey. The book is then structured following all of these elements and philosophy with three major sections,:> Internal Exploration,where we’ll also explore our cultural roots, families of origin, and our chosen families as a way to deepen our connection to our personal history.> External Exploration, where we explore how the external world inspires us. There are exercises to learn to tune our senses to the world and actively engage with it for artistic purposes.> and hands-On Art-Making Practice. Each chapter is organised in subsections that require a hands-on approach: the writing enquiries, the creative exercises, which are complemented with jumping-off points (prompts).THINGS I LIKED--- Most of their philosophy and the emphasis on sourcing our inspiration from the internal, the external and other people, the three of them, to create our unique voice. --- There is a good deal of painting and mixed-media techniques offered in the book. Most exercises are presented as suggestions to contribute to our art skills and inspiration toolkit. --- The insistence on experimentation and playfulness. --- The use of Eastern-religions practices to calm our mind, anchor intuition, and source imagery and ideas from it. So it's a kind of artistic meditation. --- The beautiful playful photos from the authors and their students' artwork. --- The book structure and the fact that is not a directional book, but it gives us freedom to explore what they propose, still giving us some structure. --- The project of 100 paintings, and approaching them as studies so that we don't feel the pressure of producing a masterpiece every time we paint.--- The importance of organisation in your work area.--- The writing inquiries are great as self-knowledge tools whether we are artists or not. It force us to dig into our personal stories, experiences and surroundings and then use this information for creative purposes.--- The jumping off point (prompts). --- Chapter seven is especially good. We live in a mega-visual era, constantly bombarded and/or immersed on imagery. I particularly like Pinterest and Instagram and the number of art images I process a day is embarrassing. It's difficult not to get threatened and inspired by these images, and not copy them either. The issue is how to incorporate the inspiration into our work without copying someone's style or being overly derivative. The tools suggested to help us do that are great.--- Some of the exercises and ideas recommended are great. For example, mark making with veggies (which reminded me of my primary school days crafts), carving rubber stamps and making stencils, the use of textiles and jewellery elements in artwork, the colour pairing exercise, using our family memorabilia and ephemera in our art, the intuitive wandering, the scavenger hunts, and many more. --- Great hyperlinked index.SO-SO > Some of the exercises aren't original or new. I've found them on books that were published before this book. Exercises like blind contour drawing, shadow drawing, drawing with the non-dominant hand, mark making with different brushes and materials, transferring images with graphite or carbon paper.> Although the book aim is to have you do 100 small paintings, the focus wasn't perhaps on the creation of them, on the practical making of them.I DIDN'T LIKE> Having the artistic meditation just written. It would be great having a link to an audio-recording (on the authors' website for example). I cannot meditate when reading a written instruction. I could record it myself, but it doesn't work as well as when someone else recites the meditation for me.> The preaching about cultural appropriation. It's well intentioned, but the authors seem to be lost in their own boho babble, and end mixing apples with bananas. Then, they say that they borrow the word (and not just that) mandalas... If we follow what they say about appropriation, what they do is also cultural appropriation. Somebody could tell the authors that they're appropriating Eastern Philosophy with their Buddhist practices, or that they're appropriating the Brit's language. Most cultures, except for indigenous ones, and not all of them, are the result of culture creole. Western Civilization is just a mash of cultures, that also are varied within each country and each region in the same country. Let me put it in plain language, if you plagiarize, you appropriate. If you are overly derivative you appropriate. But, if you borrow from here and there and create something yours, you're just creating. That's what creation is.Copying dot Aboriginal style and selling it as an Aboriginal painting is not only illegal but also appropriation. Yet, I could use Aboriginal paintings as a source of inspiration, and make a dotty painting because nobody on this planet owns dots.Let's use another analogy. If you aren't Spaniard and cook a Spanish paella, are you appropriating the dish? No!, unless you do something that is not Spanish and sell it as such, or make a paella and then tell the world that this is a new dish that you've created. The same goes for painting.> Some of the recommended artists' insta have totally uninspired art to me.KINDLE EDITIONThe Kindle edition is very good overall. The only issue is, perhaps, the way the students' art is displayed, the photos grouped together within a page without breathing space. I can easy double tap and zoom-in on them, but this isn't the most user friendly way of displaying images.I only noticed a typo, in page 33 (Now, let’s talk about the vibe in "yourart"). Ssome of the links of the recommended artists' Instagram profiles aren't public or existent.