365 Days Of Creativity - Month 2 | Martin Perhiniak | Skillshare

365 Days Of Creativity - Month 2

Martin Perhiniak, Design Your Career

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31 Lessons (2h 22m)
    • 1. Welcome

      2:45
    • 2. About the course

      3:21
    • 3. Day 1 - Custom Brushes (Ai) #32/365

      6:30
    • 4. Day 2 - Animating Floating Object (Ps) #33/365

      6:34
    • 5. Day 3 - Typographic Portrait (Ai) #34/365

      3:14
    • 6. Day 4 - Legibility (Ai) #35/365

      3:10
    • 7. Day 5 - Double Exposure (Ps) #36/365

      5:10
    • 8. Day 6 - Children's Book (Ps/Id) #37/365

      6:15
    • 9. Day 7 - CV Design (Id) #38/365

      5:08
    • 10. Day 8 - Brush Pattern (ProCreate) #39/365

      3:19
    • 11. Day 9 - Drawing with Horizon Line (ProCreate) #40/365

      5:33
    • 12. Day 10 - Repeat Pattern (Ai) #41/365

      3:15
    • 13. Day 11 - CMYK Shift (Ps) #42/365

      2:35
    • 14. Day 12 - Statue Study (Drawing) #43/365

      5:30
    • 15. Day 13 - Kerning (Theory) #44/365

      3:37
    • 16. Day 14 - Valentines Card (Ai) #45/365

      5:57
    • 17. Day 15 - Create Mockups (Ps) #46/365

      6:56
    • 18. Day 16 - Chinese New Year (Ai) #47/365

      4:54
    • 19. Day 17 - Magazine Cover (Id) #48/365

      5:56
    • 20. Day 18 - Drawing in Symmetry (Ai) #49/365

      2:49
    • 21. Day 19 - Fashion Drawing (ProCreate) #50/365

      5:15
    • 22. Day 20 - Out of Bounds (Ps) #51/365

      3:37
    • 23. Day 21 - Character Illustration (ProCreate) #52/365

      6:44
    • 24. Day 22 - Watercolour Effect (Ps) #53/365

      2:40
    • 25. Day 23 - Hand Lettering (Drawing) #54/365

      5:18
    • 26. Day 24 - Flashing GIF (Ps) #55/365

      6:12
    • 27. Day 25 - Gig Poster (Ai) #56/365

      6:09
    • 28. Day 26 - Girl Portrait (ProCreate) #57/365

      5:58
    • 29. Day 27 - Composition with Silhouette (Ps) #58/365

      3:40
    • 30. Day 28 - Floral Illustration (Ai) #59/365

      3:30
    • 31. Conclusion

      0:42

About This Class

Welcome to Your Biggest Creative challenge!

This course will teach you something new every single day for an entire year! The format will provide you with the ultimate creative challenge and a different kind of learning experience. This course is split into 12 months, each available as a separate course here on SkillShare. All videos are in numerical sequence, however you can watch them in any order you like! 

Each day you will take part in graphic design and illustration projects mainly using Adobe Photoshop, Illustrator and InDesign. We will also teach you drawing, mixed media techniques, design theory and mobile apps such as Procreate!

Each video is divided into two sections, starting with a one minute tutorial, that explains the techniques needed, which seamlessly leads into a commentary style video providing further insight into the topic.

Many of these tutorials are accompanied by a downloadable working file. Feel free to download these and practice the techniques you learnt.

Sign up to all the other months and complete the whole series:

  1. Month 01
  2. Month 02
  3. Month 03
  4. Month 04
  5. Month 05
  6. Month 06
  7. Month 07
  8. Month 08
  9. Month 09
  10. Month 10
  11. Month 11
  12. Month 12

So what are you waiting for? Let's start your creative journey today! 

Transcripts

1. Welcome: are you looking for a course that is guaranteed to help you develop your graphic design and illustration skills using Adobe Photo Shop illustrator in design and creative Absa like procreate, a course that gives you creative projects and assignments to work on every single day for an entire year and helps you to build a killer portfolio? Well, look no further. This is the one for you. I am Martin per maniac, certified adobe expert and instructor. Besides working as a professional graphic designer and illustrator for over a decade, I have filled thousands of people in classrooms, webinars, online tutorials, courses, life streams and conferences like that will be Max. Thanks for being truly passionate about both using and teaching design applications. I am proud to say that I was officially voted as one off the top 10 Adobe instructors. Having worked as a designer for clients like Disney, Mattel, Cartoon Network, Nickelodeon and BBC, I have ensured this course will help you start using for the Shope illustrator and in design like a creative professional. This course is perfect for you if you are just starting out or if yourself the wood and aiming to get confident working on graphic design and illustration projects. This is the largest online course on the platform, with over 700 video lessons and creative exercises that will motivate you to study and work on exciting and entertaining projects every day for an entire year. Studying from this course will also help you to accumulate hundreds of designs and illustrations you will be proud to include in your portfolio. If a full year off studying sounds taunting and you prefer to speed up your landing progress, you can easily cover more than one project a day and even skip a few. That doesn't fit your side. This way you can potentially finish discourse within a couple of weeks. It's a unique learning experience that you can adapt to your learning style and lifestyle so you can shape your own path, the words becoming a creative professional. Throughout this course, she will learn from me and two other designers, which ensures you will learn a variety of design administration. Stine's. We have carefully selected each example to make sure you get clear explanations without wasting time, even while we explore complex techniques. Take the next step in your career and roll on this score snail and make today the first day of your 365 days off creativity 2. About the course: through this video, I'm going to walk you through a bit more in detail. How this course is structured each day will have a project. Now, these with yours were very in content. Some off them will be actual technical exercises that you will be able to follow while others might be more theory based. What's common in all of these videos is that they will all start with a one minute introduction. This is just to get you in the mood and to understand what that topic is about. And then the video will move on to the second part where we will be going through the whole process. So it becomes more like a commentary. So you will see us talking through the techniques. What? The theory that we are covering that day, once you watch the video, was you will also be able to download the exercise files. Not all of the videos will have files, only those ones where we are going through creative projects. We recommend that you watch the full video, including the introduction and the commentary, and then download the file. You can follow along and use the same exact file. So you can practice what you've seen in the video if you have time, and if you feel like you want to practice even more, be advised that you also trying out the techniques with your own file. So whether it's an illustration or a photo you took, you can practice the same things that you've learned on those for discourse. It is recommended to have at least a basic understanding off one of the adobe applications . Don't forget to do the creative project at the end of the course. So once you've seen everything, you will find a brief that you can follow along. And based on this, you can work on a more complex project and the final result you can upload, and we will be able to give you a feedback on that so you can improve The very you are working. We have actually 11 other parts off the series so you can find them here on skier share and you can follow the same structure, work through the videos, which you can do daily or even faster if you want. And of course, each of these courses will have a creative project at the end where you can really practice everything that you've learned. This course is based on a YouTube series that we were running for a whole entire year, and we use that Siri's to get feedback from the viewers and see what they think and how each of these projects can be improved. So this course is based on that Siri's. But it's an improved and refined version off that, and obviously we cover a lot more. So while there we were only going through one minute videos. Here you have for each day, the longer extended videos and tutorials, plus including all the exercise files for some off the bays each month we even have extended version videos. So for those more complex techniques, we decided to go into even more death. So I hope this course will be inspiring and you will learn a lot from it. Make sure you go through all the creative projects and assignments to really take the most out of this course. 3. Day 1 - Custom Brushes (Ai) #32/365: - today we will be looking at how to create custom brushes in photo shop. So you probably seen the video off this winter scene that I did using a few custom brushes . But in this commentary video, I'm going to explain and show you in more detail how I actually set up these brushes. So first of all, you need a few shapes that you will use as your brush tips. And these are best if you set them up as black on white. And as you can see, they are all silhouettes. So I have seven different pre shapes here that will work with this wind. The scene. You should always look for something that has a character. So you want them to be different from each other but still work as a set. So once they are applied together and creating this forest, it will work and look nice. So all I'm doing is by commander Control clicking. You can select. I mean, commander control, clicking on each of the thumbnails. You can select each off the layers and then from the edit menu I was using the cost define brush preset option to save them as brushes and you can see I already have them safe here in the brush settings. I can see each of these brush tips saved, but when you need is actually the brush setting spaniel, which are placed on the right side to be set up with the following options Now, first of all, you want to use scattering. That's in the brush dynamics you can increase, and also that was an important one, that spacing I increased, so I don't want them to be too close to each other. When you are using a brush by defore, the spacing is to close. So there's something you can find under the brush tip shapes that things. You increased spacing, and then you need to turn on the shape, dynamics, the scattering and transfer. And you can see me playing around with these values, like whatever Jeter you apply is going to give it. A little bit of randomized behavior like angle jitter with slightly vary the angle off the each of the brush tips. So that's what I just applied. Their transfer is two very the capacity or visibility, or of each of the brush tips violas, shape dynamics can very and randomize their size. So each of these options you can customize their and then when you will need to do is to go into the brushes panel. You can see me doing that right now, and to be able to use these as brushes saved with all these attributes, the best thing to do is to save them as a new brush, because your original brush that you created will only remember that the fourth settings not all of these other settings that you apply. So it's important to save them. And I'm going to show you that in a second. So in the Brushes panel at the moment, you can still see that the brush strokes are solid, so there's no spacing or anything applied while in the brush setting spinal. I can see the preview off that varied randomized look, so that's giving me the preview with the settings while in the Brushes panel. My original brushes don't have those settings, so what I will need to do is for each of them save a new brush, which then will have these settings already applied and the way I make it connected. I mean the settings, so I don't have to repeat them one by one is by using the little look icons in the brush settings panel next to each of the attributes. So if you look them, that means that it will be kept even while you move from brush tip to another brush tip. So that's how I quickly go through each of them. And the only thing you notice I'm changing each time is the spacing is depending on the type of brush. So, for example, those barren trees, the ones that are literally just a trunk, they can be closer to each other. When I'm painting with them while with the more solid pine trees, they can be further wait for the reveille from each other. So once I'm ready with saving these new brushes with all the settings applied on them, you saw me deleting the original ones because I don't want to end up having so many different brushes. Ah, I only need these ones that I actually customize, and I set up now off course. If you are using, um, like the transfer option, that means you will get this randomized transparency setting. But you oversee It still needs to pick a good color that is going to be a base color. And of course, you can also have color dynamics if you want to. Very two different colors. But I'm just working with one color here and the opacity dynamics or the transfer option. And another useful short got here is that if you want to switch between your created brushes so that set that we have that seven brushes, all you have to do is to use the comma and full stop keyboard shortcuts. So when you press them, you can add once to the previous and the next brush tips or brushes saved in your library. And since Sisi 2018 now you can also save this sent off brushes as a group off brushes, so that makes it easier to come back to and use it in the future. 4. Day 2 - Animating Floating Object (Ps) #33/365: - in today's tutorial, I'm going to show you a little bit in more detail what I did for animating the floating pineapple. So you probably saw the time lapse and the time likes explains how to set the basic settings and work with the layers. But now I'm going to show you exactly what I did in the timeline panel. So you sold me order the opening up the timeline panel from the window menu. And here we have three layers. So we have the background layer, the drop shadow cast shadow, which was just a a circle with the Gaussian blur on it. You can see I saved it, is a smart object and then applied the Ghost Himmler on that to make sure that I can go back and make changes to it. Other than there is just a simple elliptical shape of actor shape. But you see me in the time lapse or in the timeline already assigning, um, a key frame on the style. So you use the little stopwatch on the attributes to assign what you wish to any mate. So actually, I decided to use the opacity instead of the style, so I signed capacity key frame on the first frame, and then I am going to also use the transform attributes for the pinafore layer. So once you define your key frames, you will be able to connect. Our photo shop will connect these endpoints together. So once I have the starting point and ah, other point where I wonder pineapple to stop, I can copy these key frames or just simply moved the object back, and it automatically would at the key frame there. So you need the two endpoints and in between, point is where it's in the highest position. And, of course, the pineapple is moving, so that's the transform attributes being animated. But the shadow is fading out, so that's why the opacity attributes is animated. So when I go back and forth between these creaky frames, I will already see the difference. So you will see me scrubbing through the timeline and also pressing space will play the animation, and you can see it's already looping it because there's an option in the pill play settings under the timeline panel, where you can assign how you want the preview to work so you can set it to Lupin and you can see it constantly playing back and forth. Now, this looks so good already. But what I decided here to do is to actually into use a duplicate off the contract earlier . And I am actually calling one off them blur and the other one normal because I realized that when you have an object going further away from the ground, their shadow, the car shadow is getting more diffused because they are further away won't be as clear. So the higher the pineapple gets, the more blurred out. I wanted that shadow to look like now, because in the attributes, I cannot any mate the go Sembler fact, Um, since it is a smart filter I have to use to separately years one which is much more blurred out and another one which is normal or fairly blurred out. And then you see me animating these two. So basically I'm doing a cross fade with me, these two layers from the less blurry layer, which I could normal. I'm feeding into showing the blurred when the pineapple is all the way at the top and then fading back to show again the normal layer. So it's just a simple cross fade. The thing about the time lapse panel Sorry, the timeline panel and for the show is that it's not as professional as complex as if you were in after effects, where literally anything you can have in any made all the attributes that you can think off , and for the show, you are limited. But the advantage in working in Fort the shop is that you're not distracted by all the rest off the interface or all the options that you would have in after effects. So if you are good at using photo shop, then this will be, um, like a simplified version off after effects were keep working with the timeline panel or premiere you can also take Premier is an example. So I highly recommend trying it out and come up with smart ways, like what I did here to be able to work with that limited amount off attributes that you can animate. But you would be surprised how much you can actually achieve. Um, I've done some fairly complex animations just using this simple and attributes, and it can be very successful, of course, since I also use after effects when it comes to more complicated animations. I would end up actually doing it in after effects. But still you will see me now actually having everything in place. I'm still refining here the sizes and checking how the fade looks. But you will see me playing this. Ah, and see how one shed all transitions to with the other. Now, when I'm lifting it up and down, it shows nicely that cross strait and it looks quite realistic, as if there is a strong light source from the top. And then when the pineapple gets further away from the ground, the shadow, the car shadow is getting more diffused on the on that plane. 5. Day 3 - Typographic Portrait (Ai) #34/365: - I'm big Final Buddy Holly and I was inspired to create a poster off him using typography. Typography poster is no easy. You need a lot of time impatient, for example, the type of your poster used for Barak Obama's tooth on a campaign used over 20,000 words, the artist position every single words very carefully to create a silhouette off Barak Obama in himself. Using his famous world, I think, is a very clever use of type and very powerful. Visually, I also love standard home Jay's work. If you check guys be hamper for you can see that he uses a lot of pop color, a lot of texture to create type of off. Your poster is visually very engaging and powerful, another creative that's very inspiring when it comes to using type on. His poster is shown Williams, as you can see from his example. He's inspired by music pop culture and uses lyrics from famous singers to create a silhouette off the artist. For instance, he uses live for Michael Jackson songs to create a silhouette off Michael Jackson himself. I love the way he uses negative space to show the highlight and shutters off the face on. I think he's on a very clever job. In addition to creating type of every poster off celebrities on artists, you can also use typography to create striking visuals for everyday objects. If you check out that, you can also see in many ways art is used typography, for instance, Jennifer be for modern Map Arts uses typography to show maps off cities and towns there. So many ways of using typography and they're all inspired me to create my own type of every poster using silhouettes off body Holly This was one of the most time consuming work I've done. It was so time consuming that I decided to fill in outline off his face, using just a simple strike. So if you have time and patience, why not give type of a few poster ago finding the famous liberty that you like on artists and use cords or lyrics from them and create a type of a few poster Good luck and I will see you guys in the next video 6. Day 4 - Legibility (Ai) #35/365: - I'm sure you probably know veg ability is extremely important in the sense viewers need to understand information that's part on the page. In front of them, Um, lots of design information centers around how legible letter forms are for a viewer like in the example above. It is clear in this editorial spread that is really important for the viewer to be able to read what's going on on understand the text. But what's really cool about legibility is that this idea can actually be completely turned on its head on. It could be used as a design element within a composition, perhaps on a poster, or you see this quite a lot on album are. So let's take a quick look. A few examples I've collected, why it's less important to read and, more important, to understand what the text is actually visually communicating to a viewer. So here in this example, you can actually see how the text has become an illustration in its own right, so there is harder to read the word windows. The text actually acts as an image so you can see what it's trying to communicate. So although the ledge ability is compromised the communication of the messages. A whole isn't, and it's actually really dynamic and interesting to look at. I think I don't know if you guys agree, but I really like this design. Let's have a quick look at another that I found now here the readability is actually very compromised. But again, this isn't necessarily a problem, because once you look at it, you soon realize that it's meant to be. Actually, a depiction of a roadmap or a modern interpretation of one on the letter forms actually make up the Mac itself. So you realize that the designs actually really clever and well fought through, which means the design actually wants to make you work to understand it so is actually really clever. So this is another example of how Ledge ability can actually be used as a competition element, and not just for people to be able to easily read a line of text. If you're really interested in the topic of legibility, check out David Carson's work. He's an extremely famous designer. I'm very well regarded within the industry. He's especially known for experimenting with the ledge ability, and it's place within design. So, yeah, check out his work, read about his opinions, and you're bound to learn low to more 7. Day 5 - Double Exposure (Ps) #36/365: - Today we will be doing a cool fact, the double exposure, which is very trendy, and it's been done in a lot of different ways. But what I'm showing you here and overseeing this commentary video you have a little bit better. Look at what I've actually done is combining these two images both by using masking and also by using bland moat. So the concept is to have this guy, um, thinking about the out, the great outdoors mountains and forests while he's in the dark and gloomy city. So one of the key aspect of choosing the right type of imagery is obviously something that is clever. So in this case, the mountains sort of follow the shape off the guys who they, and that's why it can work together with that. But you can be even smarter than this and and find really nice connotations or connections between the two images. So if you can hide an extra meaning video or connection off these two images, that's the best thing. So it's not all about the technical aspect. It's also about really finding two images that work together and the edit image. If Inc in case of a portray is actually emphasizing. We're telling a story. You can see me trying here, using another image as well are showing like, um, some tense in the foreground. But then I decided that it's a little bit too much. So I just stick to the original three images the city in the background, the mountains and the guy's face. And you will notice me if you keep looking at my layers that I'm combining blend modes. So I'm using different bland modes because I wanted to have a little bit most darker look on him, and especially to get those vivid, strong colors on the mountains and the forest, because the whole point is to get everything else in black and white apart from the scenery and as here's another interesting thing amusing a vector shape, and I set it to have it field not inside but outside. You use the path operations on the options bar for that, and I also, um, use feathering on it, so that helps to create the Vigna ting. It's a quiet, useful technique, and it can help to make the corners darker. It's a photographic effect and ah, it can work really well in some cases here because I wanted to get that gloomy dark look. It worked. So apart from that, I am playing around with all kinds of different the facts like adding more contrast and clarity, using a camera rule filter in the background. And then, ah, at the end, I'm just going to refine my selections because usually what I do is that I don't do a very good selection to begin with that. So I don't spend time on perfectly refining the selection in the mosque. I only do that at the end when I'm 100% sure that I end up using the images that I selected . So that's what you are seeing here refining those selections around the mountains and that I'm tidying up my mosques. And that's the good thing about working with mosques is that you can always go back and make changes in the men's because it's a completely non destructive method off doing your selections. So I also moved at the end, the guy silently to the right, just to use the rule of thirds. So it's not exactly in the middle, and then we have a little bit better look at the city as well on the left side. So that's pretty much it off course. If you slow down this video, you go back, you can see my panels and you can have a little bit better understanding off all the things that I've done here and also my mistakes or things that I was messing around with. So the whole point of these commentary videos is to also show you, um, the actual process. We don't always get things right straight of A. It's about experimentation and seeing what works and what doesn't. 8. Day 6 - Children's Book (Ps/Id) #37/365: - today we will be looking at an example off a kids book illustration. So it's actually a spread that I am putting together in in design. And if you watch the time lapse, you also saw the part where I actually did illustrations in procreate on my iPad pro using the apple pencil Onda. I just tried to show you that, using a few illustrative elements and scattered them around a spread Ah, you can actually create a really nice narrative story. And, ah, just accompanying graphics for your copy. The actual story in this case about the ugly duckling. So it's funny. The actual day today is called the lame Duck Day, and that's why he chose this story. But actually lame duck. I later realized that it actually means something else I wasn't familiar with this term. Um, so it's actually quite a sad thing. Um, question love to being the ugly duckling to be on a so it actually goes well, but yeah, if you're not familiar with a look into it, it's the name official lame duck day. Um, but what you will see me doing really is a simple step by step going through what I would normally do when I'm working on spreads. So getting all my elements first, including the illustrations just quickly put them in, obviously is best to have them individually saved out. That's PNG's. That way you can move them around, overlay them and decide what should be in front and behind. And then, apart from having the graphics prepared and laid out, Ah, I have my copy and the title. And then once I have everything in place, then I start positioning them and deciding what's going to work best as a composition. Now we normally start to look at things from the top left corner, so that's where I place the title. And then immediately below that I have the main character, the ugly duckling, and one off the other dunks or duckling I needed to at least to compare them to each other and to see the difference between them, one off them, the Cappie and cute. The other one is a little bit bigger, a little bit more, I don't know, faded in colors, so I try to come up with a quick way of representing the difference between them in the illustration, and then you will notice that I have the copy all on the right side and that one off those Dragonflies I used a tax rap on, so that pushes the techs away, and that's something. Also, I wanted to mention that, ah, from experience, I can recommend to use tax rap elements like that on always on the opposite side to where your text is a line to. So if you have left the lying tax, then it's probably best to put your tax rap object on the right side not to break up your left edge. You can off course do that as well, but consider that you will have a ragged edge on the right side. You don't want to end up having, um, like broken edge on the left side as well, because it looks a little bit too long, kid. In Um, of course, if you have a justified text, then you pretty much can do either left or right side because you will have straight lines on both ends. But you can see here I'm experimenting with having multiple ducks, but then I feel like it's a little bit too lazy to just duplicate them, especially have them in a row like that. Um, so I feel like for that probably would be best to draw them, Um, and have at least two or three different ones. So even in the smallest size like that, if I have many off them, it still looks too repetitive. So I actually designed not to do that. Ah, Instead, I will have just a copy, mainly on the right side. And I'm still playing with the adjustment where I place it. And also, I'm checking what phone or text color would work better. Um, by the way, the phones that I'm using you can find a reference to. So if you like these funds, we will always include a reference to the elements that we are using. And, of course, you have all these elements to play with, so they are also included, and you can come up with your own spread. And of course, you can also try your own illustrations or maybe add more elements to the ones that I already created. So, um, apart from all of these things that I showed you already, it's really up to personal taste. How you want to set up your spread. And, of course, it's important to keep in mind who is the target audience. So in case off a kids book, maybe this dark background might be a little bit too dark. You might want to increase the color, so that's also something that that is very important. And ah should really affect your composition, including your colors and ah, everything really in the design. 9. Day 7 - CV Design (Id) #38/365: - Today we will be discussing the importance off CV design as a creative myself. I will personally avoid using what document format TV. I will also avoid using multiple pages on the usual traditional corporate C v. Starr format. As a designer, we need to emphasize our creative style, usage of layout and even type of a fix skills. Over the reason years, you probably have noticed a lot of people using infographics as a form off CV, although I love infographics and I think is very important to have visual elements in the C B. I also do think that is also important to make sure that is no overcrowded. When it comes to CV and infographics, you have to think less is more so. Avoid having too many colors, avoid having too many elements and just try and keep it consistent. You don't want your potential employees to feel confused or feel like you're over doing that, I think is very important to tell, Arise See Week, according to the company. For instance, if the company is a bit more corporate, I'll probably avoid using too many infographics or colors, but rather keep your quite simple and clean You also need to bear in mind that most of the series may be printed in black and white format. I also think another important factor when it comes to having a clean C V is to have it consistent. For instance, I will probably avoid using more than two different type faces. I will also avoid using too many different icons and elements to represent your hobbies or style. I think less is more in these example. The designers are using too many colors that went printed. It will look noisy and messy. I also think that it's probably better to stick to a 44 months, Although you want to show creativity and think outside the box, you is probably best to keep your pay size in one a 44 months on. Make sure you export as a PdF. I love these CV examples. I think they've done a really great job in creating a two column grid layout so that you can put in a lot of experience without having to use multiple pages. I think two column system works in these cases. I also love the fact that is very clean and simple on day avoided using too many colors. I love the way they use icons to represent contact details. I also love the timeline system. I think is a great weight again to show your years of experience. And then overall, I think they've done a really good job to show the character. They kept a very teen simple. But when you look at a you can tell that they understand typography. They understand which I can work on, most importantly, is very engaging when you look at it. For this CV example, I also use a to grid system. I have all my employment and internship details on the right side column. On the left side, I have my contact details, the technical skills as one of my education and profile. You can include a picture if you want, depending how confident you feel with that. But it's not necessary. I also designed a CV without using any photos, so to conclude I think, is very important to use a timeline system to show your work. History, I think, is also very important to use I contrary, represent interests and hobbies and perhaps use two or three column system to lay out your CV. Have a go. Create multiple cities. Don't be afraid to change your CVS and alter it depending on the type of job you're applying for. I personally have two or three different types of CV and attention. Televise a tree K depending on the type of job I'm after. Believe me, If you take time and effort to tell a rise in a manual CB for every job there is a higher chance of you getting the interview or getting recognized. I wish you well. Feel free to download the series on, treat them updated and send it to potential employers. Glock and I'll see you guys in the next video. 10. Day 8 - Brush Pattern (ProCreate) #39/365: - on this session, we want to talk about created abstract, pain crossed oryx effects that can be used for your work without using traditional paint. I created thes brushstroke using my iPod Procreate app. You can also use foot shop or illustrator directly to create brushstrokes. Abstract design can be found in so many things, from logo design to Brandon Station Aires on even patterns. But creating abstract pattern is no as easy as it looks. There is a lot of thought prices that goes into these, and you should make sure that you follow the composition rules in design from Rule of Third , making sure there's a focal point symmetry balance. So I think these are very important elements to consider when creating abstract art. But for this case, I want to talk about more about using colors. Using quirky colors can make or break it design, and I think it's very important to understand the mixture off colors what works well together. Andi. Once you get those, why is easier to come up with abstract patterns? One of my go to website for getting inspiration for using color is definitely adobe Kula. I highly recommend for those who are new to color theory or someone who wants to improve the use of color to use adobe color. As a guide, he automatically can create different color values from Try a two, complementary to compound and even costume qualities by simply uploading an image of your choice. I think once you master the use of using colors, you can definitely enhance your work from creating simple brushstrokes to create an abstract pattern. One of my favorite artists that use a lot brush and paint effect for Hawaii is Carline Gardina. How Brian is Huge in the UK and I can see why her placement on use of color is just amazing . It's something that would definitely love to improve on. As you can see from this example, she simply used price strokes on Brushed ought to create amazing composition. If you're no into traditional media and don't castigate in your hands dirty on traditional pain, use brushes and for the show por illustrator or even I Piper great app and create your own custom brushstrokes using different colors 11. Day 9 - Drawing with Horizon Line (ProCreate) #40/365: - I would like to show you this example here where we can see the rise in line and the ellipses above and below constantly increasing in size, where they are getting closer to being like a perfect circle while when you get close to the horizon. So that's like the eye level, it's always going to get narrower, narrower and more like a single lying. So the easiest way to see this is obviously when you look at real objects and either that can on the right or the lamp, the drone lamp would show you exactly what is happening. So where the horizon is above the objects, you will see these circles increasing down if you have an object in perspective. And let's see how I use this in this simple sketch off this Peter. So we have the full pits at the bottom, which, let's say, is the table or the ground. And then from there to be able to get these slices out and to make sure that in perspective and three D, it looks really stick. I use guidelines to guide those points in like along a vertical line, but more importantly, I set up these ellipses to guide me, to be able to tell how the slices will look like if the actual pizza is under the horizon line while the one on the top is already above the horizon line. So I see from below now it's a very simple illustration. But even for simple things like that, if you make sure that it works like things like perspective and proportions, then is already going to look much more professional and realistic. And and of course, um, you can add whatever you wish to it. So the coloring and the details it's completely up to you how you do it. But getting things like the perspective right is very important. So the aim of this tutorial was all about explaining how important it is to know what the horizon line means. So it's actually the level off the viewer seeing this image. So there I line is your horizon line most of the time. So whatever is underneath that is going to be something we look on or from above. You're looking down, and then whatever ever is above the horizon line or the viewer's eye, we will be looking towards. So it's above us, and that's exactly what we see here. So the slice in the middle that is coming out that's almost on the horizon line. So we still see slightly above it, meaning it's under the rise in line, but just about under and then the one above, as obviously because we're seeing the bottom of it, it means we are looking up towards it. So it's above the horizon line. So apart from that is just simple typography and, ah, just the usual compositional techniques that I'm applying here. I'm trying to align this court in a way that it's nicely scattered around, and, ah, because I'm using this more special treatment on the pizza. I am repeating that on the bottom. So it's not just using just one point, but it's also used twice. So there's a little bit of reading that as well, and to fill up space arm, adding these smaller elements, the arrows just indicating the directions off these pizza slices going around and then ah yeah, that's pretty much it. I just changed the phone that as well. I wasn't happy with the original one that I picked, and it became in this nice vertical composition and that could be used for a poster in like a big restaurant, for example, or ah, on the mo cap that we used in the tutorial or the time lapse. It's actually used on the pizza box. Now I hope it was useful. And remember, whenever you draw anything to do with, ah, cylindrical shapes, so anything that would have normally like circle in three D When you look at it, it's going to become an ellipse, Um, and depending on verities compared to the horizon line, it's going to be different so that the lips is going to constantly change. So if you use that guy that I showed in the beginning, that is always going to help you. 12. Day 10 - Repeat Pattern (Ai) #41/365: - as you guys know, were based in England, where it never stops raining. So we are always in need of umbrellas. So I decided to create a quirky, fun, colorful, umbrella inspired repeat pattern. There are several tips that you should consider when creating patterns. I am still learning, and it's something that I still be like. I'm weak at first of all, when creating their pattern is very important to have different motives on your design. In this gaze, I've used an umbrella as my main element, but I decided to create multiple umbrella in different shape, different size, just to give a bit of a variation. Secondly, it's also very important to make sure you use rotation. You flip on, colorize your motives. You want to avoid any directional repeat. So in this case, as you can see, I've used different scale and size and voter Haitian on the umbrellas and rain drops to avoid looking like a obvious repeat. And finally, one of the main things I've learned recently. District curate collection off your pattern as you can see you. My umbrellas in the rain drops in multiple colors is the main pattern, but elements from the main patterns were used to create multiple other repeat patterns. One of the main things Avalon is that pattern are sold as a collection. Usually it consists off 2 to 7 different patterns. They all work together. They all follow the same style as the main pattern. However, when sold independently, it still works very well. As you can see for my pattern, the collection are used in multiple home where a stationary and fashion. So keep your mind to have at least 2 to 7 different patterns in a group that coordinate really well. But know exactly I did to call to each other. If you want to find out more about creating awesome collection, I would definitely recommend checking our Dashwood studio. They have so many collection from different artists all around the world. This is a great way to improve your pattern making skills and understand more about creating really cool collections. I'm still new to pattern making is something that I still want to improve on, so why not give it a go for yourself and see how you guys get on 13. Day 11 - CMYK Shift (Ps) #42/365: - imprinting . We tend to use four different color plate science magenta, yellow and black. And when combined in 40 shop together and using 40 shop column Ben Boys, you can create really cool offset design. Offset printing is when color plays are no aligned on. It's considered a mistake in printing. However. Recently it has become a trend on the graphic. Designers are experimented in using different colors and combining it with different blend most to come up with really cool color effects. So for the best friend design, I simply just duplicated the type. Leah used CNN magenta on each of them, and I use the multiplier effect to come up with this really cool overlay color shift effect . This was a very simple, more cop, and it was a great way to experiment with the color shift style. There are several ways you can apply the color shift effect in graphic design from branding two posters to Station Aires and create really cool compositions. These are some of my inspiration that I collected using Pinterest Onda again. You can see that color shift can be applied on typography and and create really cool rustic look. You can also apply to illustration. Andi. You can make really cool photography effect. I love the way the artists use all four color plays in different images. As you can see from the image in the right, all four images are different, and each of them are using different column boys. There are several ways you can create the color ships effect, and when combined with the 40 show blend modes, you can come up with really cool, edgy graphics. 14. Day 12 - Statue Study (Drawing) #43/365: - This was a sketch or study all the the statue off Paris from the British Museum in London. I went there with my iPad pro and the EPO pencil, and I just sat down on the floor and I was drawing this. It took me around an hour, and I do this as often as I can to improve my skills at drawing, and then it doesn't have to be indoors. It can be outside as well. Sometimes I draw trees or buildings that I really like and the or even animals in the zoo, for example. But doing studies like this will really improve your drawing skills because it urges you to land to get the proportions right, get an general feel off the posture and also like the character or whatever it is, it can be an object. As I said, every object has a character as well, and the first thing is obviously to find a good angle, and the example you see on the left is the actual statute. But I didn't take the picture. I just found it online because I forgot to record the picture myself. Um, so it's always good to take a picture just for the record, Um, and that way you remember exactly what you were drawing, but it's very close to the angle that I was drawing it from. That's why I included it there. So you can see and compare what is happening and them you see me working on the right side . But what I wanted to mention is that the angle is important because based on that, um, you will be able to tell a story differently. So if you are choosing an angle from below, the statue will look very different. It could look a bit more menacing or very like dominant. If you draw it from like, straight from the front, it can look a little bit more approachable and so on and so forth, so you can really decide what type of story one to tell. But always, this is just a study. So instead of focusing on what story you wanted, Taleggio study is more about learning perspective. So practicing perspective more like ah, by maybe drawing studies off the streams statue multiple times so he would droid from an angled and go to another and go and find different angles and try to really find details that is changing when you're changing your angle on DA trying to learn from it. So the more you draw something, the better you will understand it. And essentially drawing is something like scanning an object. So when you when you drawing object from all angles, it's pretty much is going to be in your head. So you will be able to imagine the object rotated around in three D space, and you will be able to render on image of it by just drawing it on the paper, even from your head. I mean from your imagination. So that's essentially will how you should do these studies. It's a way off scanning something that you see and then creating a representation off that on paper or in digital format. Obviously, I'm using the iPad, which I find a great tool for doing studies because I can very quickly and men things and even changed proportions if I'm not happy with them. Um, but I can also very quickly create many sketches and compared them even compared them with the rial one by taking pictures and put them side assigned So But this is obviously just one tool. You can use pencil and paper, and it can be just as effective or sometimes even more effective. So there's definitely nothing wrong with doing things with traditional medium. Um, it's completely after you. Whatever you prefer. The digital medium and tablets are just a tool similar to, let's say, picking watercolor or oil or crayons or cool charcoal y ver. It's really after you. The important thing is to do as much as you can, so keep practicing because practice makes perfect. 15. Day 13 - Kerning (Theory) #44/365: - so I'm not too sure how much you guys know about cunning, but I'm just going to go into a bit more detail about what we showed you in the video. So turning on tracking are both ways off adjusting space between characters on they can easily be mistaken for each other. Tracking is basically the uniforms space between the letters in an entire word or phrase. So this is all increased or decreased at the same time and sets the pace for the whole phrase, whereas Kern ing is how you treat individual spaces between each character. So instead of changing it all at the same time, you were just just the different spaces, depending on what characters are next to each other. So when you learn to Kern, letter forms is no about actually creating scientifically equal space between each letter. It's about the perceived equal space between them, so letter forms are all different shapes and sizes, and they all look really different when they're placed next to one another. Easy letters to Kern are straight letters like I O L. And this is because the space between them is really clear and obvious to you, where is the harder letters to Kern, RK or T, for example. This is because they extend towards each other, so it's harder to look at the space between the character Andi, then one next to it on the relationship isn't quite as obvious. So I thought I would show you an example of some scarily bad curling that actually thousands of people have probably seen. So this is actually the official movie poster for the Hercules film, released in 2014. Notice that Wing Johnson's name is actually really uncomfortable to read. This is actually because off bad Kern ing, so because they've used a serif on, even looks like some of the characters air touching each other because of the Serifis. Generally, there's no visual consistency throughout his name. This is really noticeable on Stop the whole composition from looking professional on. Well, four through, you'll probably notice that the longer you look at the letters the Mawr you start to realize the turning is really off on that. Once you understand what bad Kernan looks like, you'll be able to avoid making the same mistakes in your own work. So when that's about it for today, I hope This has given you a little insight into turning and the do's and Danks. If you fancy mall practice, check out this website. It's a great resource to help you practice the fundamentals of turning before you start applying it in your own work. So check out. I hope you re like it, Andi, I'll see you soon by 16. Day 14 - Valentines Card (Ai) #45/365: - today we will be doing a typographic composition. But we will be creating something unique because we will prepare funds and the type itself in illustrator, which you can already see here happening. Me using the touch type tooling illustrator to create this wonky composition off tax. But then what is going to happen is that I am going to take this final composition that I do in Illustrator and have it as a background or like a tracing paper on the iPad. And I'm going to draw over it manually to give it a bit off that hand drawn quality and make it interesting and just get that style that you will see at the end. So, um, the touch type is getting great, First of all, because you can individually move letters around, you can use the shortcut shifty to get through it quickly. And then when you have your tax, you just select individual letters, you can scale them, rotate them, resize them, move them around, and, ah, the Texas still edit herbal. There's a cool thing. So if you need to make changes, even change the fund, you can do it. That's that's the best thing about it. So you are not turning your text into vector outlines to be able to do this. But you're still keeping it creditable, vile doing over these wonky, um, alignments on the text. So I am trying to get a nice flow and a good composition with my characters and still make sure that taxes legible. So although it's playful, I don't want to lose sense of what is actually written. So you want to make sure that the spacing and turning is still allows you to read the text well, and then this is the point where you can see me starting to drool over each of these characters and the the fact that I have a fund in the background. So something that is an actual fund will give me the consistency droid nicely. And the only thing I actually it apart from just pretty much drawing over it is to have that subtle three the effect that I can just doing myself. But notice that model bill letters I messed up and that the angle is not right on. That is actually the s on the word just although I can decide to change the viewing angle off some of the letters, but because all of them are in the same and go looking from below. Um, I decide here at this point you can see that I redraw the depth on the S character and I'm I'm adding the perspective or the three D depth from the direction in which I have it on the other letters as well. In case you have each of the letters turn in different angles. It could work to have it alternating, but because it was only that one, it just really stood out. Once I looked at appropriately at the end, and then finally here. All I'm doing is to add the field color, and I intentionally won't fill up perfectly the edges because once again, I want to make it look a little bit rough and ah, more just a sketchy, um, graphic or comic style on it. So you will see me adding three different colors, plus using the background color. And I tried to keep it vv than in the exciting and fun and joyful Ah, but also obviously related to Valentine's Day. So that's why the pink color and I am using a special brush that creates this half tone effect on the shadows. This is something you can create yourself If you just save something like that, there's a broad strip shape even in for the shop. Um, using the technique that we already showed you on the first day of February, how to create custom brushes. But you can see that this is pretty much a final result. The only thing that I'm going to add at the very end is that I wanted to add some few simple elements that gives it a little bit more character. So I thought off this splash, um, lines showing, Ah, a bit of more dynamic composition. And also those little lines there that I'm ending now and little stars and then just won This thing element that I decided on always is the heart and a little mouse cursor and actually the cursor itself. And you're typing because it's all about type. Eso added the curse of that at the end, as if it was just written, um, on the computer. And there's the mouse cursor as well 17. Day 15 - Create Mockups (Ps) #46/365: - working with smart objects is one of the crucial skills you need when you're working for the shop. So in this example, we're using smart object to create more cops. And most importantly, if you want to use the same design multiple times but in different formats within the same photo show file, you can use instances of the same smart object but still have their source linked. So that's what I'm going to show you now. So first of all, here I have the final result, and I just wanted to show you that we have that image in the background and this screen also using the same image. But if I double click on one of these smart object thumbnails, it will open up this source off that smart object. And I already prepared here another image on a separately year. So I just turned that on. And if I go to the file menu and save this update, then when I go back to the source or the actual document it was, see both of the smart objects will update accordingly. So even though one off them, like that one in the background has ah stroke around it and drop shadow and inner shadow and all kinds of different even color effects. It's still the same source file, so that's why it cannot day. So if I double click again on the thumbnail and I turned the original layer back on, I saved this. So going to find when you save, then go back to the original file. Then again, it goes back and updates itself. So how to set this up? That's when I wanted to show you The 1st 1 is going to delete these layers completely, and I show you how I didn't done it in time. Lapse. So I'm going to use the pen tal, and I'm going to actually Sorry, it's better if we just used a factor. Shape the rectangular factor shape. So the reason why I'm not going to draw with the pencil and follow the corner points off the screen because the screen is already in perspective. I want to adjust that once I have a smart object, you will see why. So I'm going to draw this rectangle, and I tried to get roughly the size right, and then I'm going to just feel this in with that's a white, and then I'm going to remove the stroke. So that's the shape that we have Now this I'm going to turn into a smart object by right clicking here in the layers panel and then choose convert to smart object Once I have that . Now, I can use the command key when I mean free transport more. So come on T or controlled the first. Then Commander Control dragged the corner points into place to create that, um, distortion. The perspective. Distortion. Yeah, something like that. And then I can also have a duplicate off this layer. My old click and drag. I can set it up as a new layer. And then I can set this back to having the original aspect issue if I want something like that just going to keep it here in a smaller size. All right? Now, if I double click on the layers thumbnail, either off them would take me to the source. And then here whatever I do will update in the main composition. So if I, for example, feel this in weed a color, let's say and then, uh, I'm going to use the type tool, maybe, and just typing something here. Okay, let's make it even smaller like that, and then type in test and place it in the middle. Once I save this document and always being within the smart object you can have multiple layers can even have smart objects video in smart object. But for now, I'm just going to save it. And then when I go back to the source, you can see it updated on both of them, and whatever I would do, it will automatically update. And a good practice or good thing to do is to have the window arrange tile or vertically option selected because with that, you can keep an eye on your mean composition and the source off your smart object at the same time. So if I change something like the color off my vector shape, I can see that straight away. So let's s a like something like that. If I then press command eso controllers to save this, it will immediately update in the actual document. So that's how you set up smart objects and remember to first save the smart object without having any perspective distortions and only applied the distortions on the smart object because that way, whatever you place in the smart objects source file, that can be completely flat. And then once it's saved and updated the distorted version off, the smart object will also update, so it will add those changes in perspective. So that's just the smart way of doing it. And by the way, if you want to create a copy of a smart object without keeping it connected with the source off the other ones, you can right click and choose the new smart object via copy. Okay, so with that one you created duplicate but their source one billing to each other, they will be completely independent from each other. Cool. So that's what I wanted to show you today. I hope you found this useful, and I hope you will join us again tomorrow. 18. Day 16 - Chinese New Year (Ai) #47/365: - Today is the first day off the year off the brown dog according to the Chinese calendar. And to celebrate that, I thought, I'm going to do a funny little illustration and although I'm not 100% sure whether I got the tax right, But this supposed to be the signs off for the year off the dog, I suppose, or the year of the Brown Dog, Um, it might be just simply having new years old. Whoever is watching us from China, maybe you can tell us a bit more about it, but the calligraphy is something that, um, can be done Easiest with a holographic brushing for the show. In this case, I was using procreate, and I was just using appropriate brush to get the brushstrokes similar to a calligraphic brush. Um, and apart from that, obviously, it's all about the characters, which again, I went for this cute, um, poppy character and I decided to have two first. Then I changed my mind, and I have three just to make it a bit more interesting and to have them in different angles and doing different things. So you will see me here at this point, thinking off having a books on and then and the middle one sleeping and then as 1/3 1 just coming out of the books. But then I changed my mind. And I thought, If I have the tax somebody in the middle, then I can have the three poppies sitting around it and then have an additional tax above. Just create a bit more concentric and centralized composition with the actual calligraphic type in the middle. Now, for the happy Chinese New Year text that I'm writing right now, I created the circle just as a guide to help me get that arc for the text. And then you will see me. They're removing that and instead just using like a rebel. But even for the ribbon, I'm going to use that circle as a guide. Ah, here. I originally thought that I'm going to have a son in the background, Um, like rising sun or something like that. But then I wanted to stay away from sterile, typical compositions. So instead I went for just a ribbon and, um, you will see me adding ah colors soon. So my line work is pretty much done at this point, so I'm just adding a little bit off detail here and there. But soon the colorization will start. And then, yeah, I decided to just remove a bit from the ribbon. Make it look like it's a bit older. Thorne on dumb. Then the starting color that I had it is read, Um, but then again, I changed my mind, and I didn't want to make it too obvious again. Ready is usually like because off the flag off course, but in general red, we associate anything to do with China with primary red color. But that's something that I just added as a subtle touch on the head off the puppy on the right. So it doesn't have to be as obvious is that Instead, I used a very different color, and I think it works well with the brown. That's why I decided not to use the red, so it's just lifted more. I think that the blue color the dogs from the background, so I hope you found this useful as well. And ah, fun lethal illustration to celebrate the Chinese New Year. And, ah, if you like this a lot of snow and then we will do more simple illustrations like this 19. Day 17 - Magazine Cover (Id) #48/365: - you see me starting working in foot the shop, but, ah, the process. It really doesn't matter where you start. It's all about combining these three applications in a way that you are using both off them to their best ally. Me using that advantages and one of the things that in for the ship you can do really well is always the manipulating images. So I am actually using a triangle here as, ah, shape that is, like around the person make it look like it's three d. So it's actually reading the photograph. So trying to create that integration between the image and the shape or make it believable that it was actually in the scene. Um, and I just simply use masking on the bit off shaped shading over the triangle to achieve that. And then at this point, you can see me already placing the image into in design. Although I know I'm going to change a couple of additional things, it's already good to place it in and see how it's going to work as a cover because there's no point wasting time if it doesn't actually work. So I'm not 100% sure about the composition just yet. So it's a fictional magazine, obviously. So I came up with the the title or actually, Emily came up with it, so I'm just going to apply it. But I can already see that it will work better. If I have a different color in the wall instead of white. I will probably have a stronger color. And you see me switching back and forth between photo shop and in design. And the way I do that is by using the photo show fire the PSD file in in design and then just simply old or option double clicking on the image to take back to on. Go back to photo shop. I make my changes there. Once I made the changes, I save them. So that's Commander Control ass, and then it automatically updating in design. So you saw me retouching a few things like that label on the bottom right corner. And then I changed the color. So now I feel a little bit more free to adjust typography. So I want to have the title on the top. But I feel like having it all the way on the right side. These three words dream, think and do might be a little bit too unbalanced, especially because the composition is quite balanced anyway. So I am testing it, whether it's going to work there or not. I'm also trying different phones out. Ah, but then eventually, I'm going to end up using assented tax. Then I will have the text on the top, so you will see me getting there soon. You can see me going through lots of different funds, and that's a common thing. I d um No. Always under percent sure which tax would work best, but you see me ending up using, um, the text centered, as I mentioned earlier. And instead of using space between the words, I just change the color off the center. One. That's a very useful technique. Sometimes you can say space or make it a little bit more interesting or engaging just to have a different color. And that gives a pattern between the vert, so it still makes it easy to read, but just makes it a little bit more unique. Okay, so you can see me playing here with the alignment, But then I realize that the problem that I had if you look back, was that the word dream didn't read well, so I actually retouched like a glad or something that was on the screen. Sorry on the window on the left side. So I also retouched it a bit and made it a bit darker just to make sure that the first word really stands out. And it's easier to read it because as long as your taxes ledge abril Andi, easy to read, it's going to work. And it's not a problem if you have shapes like what I have that in the background defining the tax as long as I said it's easy to read. So I hope this was useful and notice subtle things, like the necklace or that chain hanging over the triangle that's again just simple masking technique. I had the triangle on top of the photograph, but then I must have those little bits off the necklace just to make it feel like it's in front. Vile. The triangle goes behind his head and hat and also his shorter. So I wanted to make it feel like it's sort of bent in three D space as well, even though I didn't want to over exaggerate three D aspect of it. I just used the person and how the trying would interact with the person to emphasize the depth and perspective. 20. Day 18 - Drawing in Symmetry (Ai) #49/365: - so I've decided to design a wine label using both illustrator and 40 shop and playing around with symmetry. Cemetery is on the most important compositional technique. Using graphic design as humans. We love cemetery. One of the main reasons why we are so drawn to anything that's symmetrical is because he appears balance and appears normal, for example, everyday things that we see from plants to animals to other humans. Symmetry rule also applies in design. Make sure you have elements in design that appears normal. For example, artist such as Honorable, who mainly works on packaging for wine companies, base her white all around symmetry design on also big agencies. Such a stranger and stranger unknown to you, symmetry in their designs. As you can see. For my example, symmetry is really engaging to the eyes. I love the designs done by stranger and stranger. You can tell that they put really so much effort and time into. They tend to have a focal point, which is either an icon, all the name of the product and they feel in the space we using design elements in a symmetrical way. Cemetery doesn't have to be always so perfect However, you have to make sure that it's still pleasing to the eyes and it doesn't lose any balance . When you look at on a rope ALS work, you can tell that she has a really good I intends to have a really good flow around her design. Both Ford Shop and Illustrator have symmetrical features that can be used to really enhance your work. Feel free to check out the one minute time lapse video if you want to know more on how that's done. In the meantime, study artist that you really admire and see how they use symmetry in the designs. Have a go for yourself and see how you guys get on and good luck. I will see you guys on the next video bye for now. 21. Day 19 - Fashion Drawing (ProCreate) #50/365: - the's time we are going to be a fashion drawing or sketch. The inspiration that you can see on my screen is what I used. I mean, these images I used to start off and to get the inspiration and to come up with a pose and address on the General look for this illustration. It's always good to get your references together and create a mood board. You can even print it out and keep it in front of you while you are drawing. And ah, you can see me starting with D um, pose. Really? That's what I want to get right in the beginning and off course. Also the proportions. Now you will see me using a scale for the proportion. Um, to get this toll, um, sexy ladies proportions, right? I'm using seven head height. Oh, you can go beyond that. 7.5 is also still looking good, especially for these toll characters. So you see that I measure the heads height and then I went down and I have it seven times here. But then I'm going to go even beyond that and make her look even told my even more tour. So what I'm doing here is, um, going through or going over my original sketch. So I'm refining the details and I'm trying to get a very feminine post for both off the hands to really support that, um, pose that she has and a general thing that you can do to make your characters look a little bit more interesting. And, ah, more dynamic is to have them standing, um, on one leg. So their posture would have this unbalanced or uneven proportions off the shoulders, going in one direction. And then the based line going in the other directions, you would have like a V shape, which you can see here as well. So the shoulder goes down one way, and then the race would be the opposite direction. Just notice yourself in front when you're standing from the va. Mira, you can see exactly this happening. So that's that's just the normal way that we move our shoulders according to how we balance up body. So changing your posture and setting that forward for a drawing is very important. So you're not changing your posture. Applying your posture on the drawing. Um, that just makes it more realistic. and you can see me drawing with a very loose ah line, really, and having this watercolor type off field to the illustration, and I'm using very subtle colors for the skin tones. I don't want to overpower the dress. So here, really, the dress is the key element. And what's interesting is that you can see me playing around with different concept for the background. I drew actually a whole bar scene, but then I changed my mind, and I thought, I'm going to keep it more abstract and just have, like, some vertical lines make it look like a curtain or something. But I let that let you decide what that is, actually, and then one last thing here that interesting that I did was to use Puppet Warp and, ah, using Pop it for people. For the shop I pain the few points down, and I wanted to tilt the head slightly and also have the glass that she's holding slightly tilted. So it makes it a little bit more interesting, and it's not so static again. Just gives a bit more rhythm again to the image. So you see the had tilting in one direction, then the shoulder stating another, and then the way Still think again in another. So it creates a nice flow general flow in the illustration. So I'm not a fashion illustrator. I don't do this often, but hopefully this was still interesting to look at and still gives you an idea of how you can achieve something like this. 22. Day 20 - Out of Bounds (Ps) #51/365: - recently at night is on Pinterest that there are so many amazing for two manipulation using camera phone on scenery. I love the way they manipulated the mountain coming out of the camera. I also love the way the waterfall is falling down the fine. I think they're both really Cray examples, and I want to give it a go for myself and see how I get on on my cat Example. So as you can see, I tried to replicate the same thing. I tried to design a way where the cats is still in the frame of the camera by his tail is popping out off it to make it really stand out and unique. When I first started using for the shop, I loved combining several images and manipulating porters on my travels and my family and my friends. It was a really good and fun way to learn 40 shop. However, if you can master for it shop and storytelling, you can create amazing composition that can be used for advertising campaigns, marketing materials and any other graphic design project. I love the way these artists use for the shop to really emphasize a key message for example , the image of the volcano erupting is actually representing the Tabasco sauce. The middle picture off the smoke coming out over a cigarette is also another clever message to emphasize to us that is very important to protect your cigarette to avoid fire. And finally, the vision off Van Gogh on the glasses to show how clearly you can see with the glasses. These are very clever campaign, as the concept is very good on overall, they've done a really good job telling a story and making us. The viewers really think photo manipulation can also be really funny and quirky. For example, I love the way that they've used doughnut to represent headphones. I also love the way that they've used ice cream and ski together. You can find so many amazing examples of photo manipulation using sites like Pinterest or Be Hands, but you can also find really poor examples where they made the images to look too fake or too obvious. That's one of the key rules when it comes to food to manipulation that you don't try and make it to fake photo manipulation, takes time and practice on D. Some people really specialize in this. If you love 40 shop and love experimented with different images, masking overlays and textures, why not give it a go and download stock photos that you really admire and see what stories you can convey? Good luck. Have fun. And most importantly, remember that it takes time and practice to really master for two manipulation. I will see you guys on the next video. Bye for now. 23. Day 21 - Character Illustration (ProCreate) #52/365: - they We will be looking at a character design project. This is actually something that I just came up by drawing people in Ah, restaurant on this guy came in on He reminded me over Mexican bandit. I don't know why. What? He just had that face. So, um, I captured a portrayal of him first. And then based on that, I came up with this sketch. Um, and then I thought I should really develop this. So the original sketch was on paper, and then I took that sketch, put it into procreate on my ipad, and that's what you are seeing right now. I started growing over it, so the refinement off details is important, but you can see that without the sketch to begin with, um, it's not really going to work. I mean, your sketch is probably the most important face off every drawing. Really? Because, ah, if you get that right, then it will be just about adding all the details and refining everything later. But if the sketch doesn't work, if you're not happy with it, then keep on trying, drawing different Posey's different angles until you get it right so you can see little sketches on the side. I was just trying to capture the best pose and the best angle for this character. So I was just doing ready quick doodles to get it right, and only when I was sure that I'm going to get the right angle. That's when I actually started doing doing the sketch. And when I was happy with the sketch, that's when I went ahead and did this version that you will see here. So once I refined my outlines, I add my block colors or flat colors. Um, and I'm going to keep changing them. This is just helping me to get the values in place, so I will know roughly what I'm working with. And once I have these base colors, I am ending slowly, shadows and highlights on to them, and I'm going to also start to eliminate my outlines, so it's either blending them in or drawing over them, and nothing that you will notice I'm doing quite often is flipping my canvas. So I'm looking at it from the other direction just because when you keep looking at a drawing especially fear working on something for hours, you might end up not realizing that the proportions are not right or some details are a bit off. And, ah, at the moment when you're flipping it around, it's almost like having a fresh look at your drawing, and it always helps to identify the issues with it. So that's why I'm doing that. And then you can see that now we're starting to have a lot more detail, and the and the shadows and highlights are starting. Teoh go in where they needed, but I'm still 100% sure with my colors. So I wanted to get this warm, Um, sonny feel to the whole design. But then soon I'm going to change that because I realized that there's not enough contrast . If I have yellows and oranges in the background and also the character is predominantly yellow and orange, Then inches doesn't stand out. So I'm going to have a complementary color in the background, a much brighter blue, and then have the character being contrast in the foreground will stand out much more so you will see that changing. And also I just feel like generally it's a little bit too dark, the whole design. So you see me working on small details like the gun at this point and you can see once I remove my outlines and I refined all the details. Everything looks much cleaner and more three dimensional. Realistic eso If you take a closer look at this part where I'm working on the gun, it's probably the easiest to see that the difference. You can go back and forth and see the timeline, And that's why the way is one of the best way of learning from other time lapses, um, to just simply go back and forth, back and forth and see exactly what's changing. So I'm working on the face off course. There's always going to be focal point. So here the face, of course, is one off them, and probably the hand with the gun is the other one. So that's why I was doing these two really carefully. And this is the point where I changed the background and you can see me, the athlete, that the character just pops so much more from the background. So by doing this and changing the background, I thought I should also just week the colors off the character slightly, so you will see me changing it and adding a little bit off blue tint on it, which just happened there. Um, and it is something if you're working and for the shop you can use with doing a just mentally years in procreate, you have adjustments very similar to for the shop, so it's easy to do that at any point. That's another big advantage of doing digital art. So that's all for today. I hope you found this interesting and inspiring, and if you never try character out before, you should give it a go, because it's great fun. So if you have a character that you come up with, first do some simple sketches and whichever sketch work the best, then develop that further and go through the process that I showed you here. 24. Day 22 - Watercolour Effect (Ps) #53/365: - In today's video, I will be mainly discussing how you can create Han drone water color texture effect in for the show, but without using traditional media at all. So if you are no into traditional arts or if you don't have the time to create Texas yourself, fear not. We will be talking about how you can download them and use them on your artwork. Watercolor have been used in graphic design for such a long time and is still quite dominant. Illustrators and graphic designers are now experimented with traditional medium or so and applying it to Web design station Aires posters and much more. It creates a really fun, soft, playful look and also acts as a really good background texture, as you can see. For my example, I've been inspired by so many beautiful artists on Pinterest's who used water colors on their work. But for my composition, I simply just used it. I come from non project for you Oughta Kala textures from free pick, and I also use watercolor paper texture to give it be over natural organic feel, and finally, you can download many awesome 100 in front that can be applied to your work. I know it seems like you're cheating, but it's a great way to really experiment with using textures and using stock photos and elements in your work. If you don't want to download free textures in 40 shop, you can easily create brushes of your own. And don't forget. Now you can Donald Really awesome organic, realistic 40 shot brushes that can be applied to your work. So why not give it a go for yourself and see what you can come up with? Watercolor textures, Good luck and have fun, and I will see you guys on the next video bye for now. 25. Day 23 - Hand Lettering (Drawing) #54/365: - a few things that I would like to mention. Although we've done another hand lettering last month, there's, Ah, a couple of things in this particular example, I think I can explain a bit better. So whenever I do a hand lettering composition, I always try to keep the baseline straight, which I explained in the previous one as well. So it's either straight or on an angle. That's the first thing that I place. But if I have a longer court, then I also try to mixed different type faces or raise or writing letters. So what you will see here is that in each line I'm going to have a different style. So the one in the middle ideas is the biggest, and the very I organized. My text is to make sure that that's the biggest, and the second biggest one will be time at the bottom because these are the key points that I the court is about. So it's about too many ideas, not enough time, So ideas is definitely the main one. And because it's 3 65 days of creativity, I think ideas is definitely something that the all need to be able to be creative. That's why I wanted to emphasize it even more so. What I did there is to draw them with Sarah riffs and then also include lines as if it's like a construction. So it's almost like constructed building blocks and then to have a very different tax above it. To have a contrast. I thought, I'm going to do a very like script like text, but I ended up using this for a violent. Then you will see me changing it because I felt like it's a little bit overpowering. Um, the third line was probably the easiest one. It's a very simple text. I decided to have double lines on on a few of the vertical lines on it. So it's not really like a three D effect is just as subtle dimension effect and then something that I do in the hand lettering sometimes is this Grady and the fact off having these diagonal lines, um, fading out basically so they are dented the bottom and then they fade out as it goes up. It already gives that Grady in time for the fact. So you see me struggling with top, So I went back revisited that part, and I'm also thinking or reading a bit more dimension on the ideas. I wanted to further strengthen it because I still felt like it was on the strongest one. Even it was the biggest element in the design. I still thought like it wasn't prominent enough. So I added this design off, having dashed lines in the middle instead of, ah, solid line. Then I also wanted to further emphasize time at the bottom. That's why added those lines on the side. And then I realize really that the problem was is not that the ideas is not big enough for prominent enough, but the one on the top, the two money is the one overpowering it. So I decided to redraw that. And, um, I was messing around and trying at quite a lot of different ways of writing this two words . But then I ended up with something very simple and just a very long line on the tea and line at the bottom, just a subtle effect there. And then I decided to include an arrow, because why not so here at the very end, it's all about just refining those subtle details and make sure that it all connects. So like because I wanted the ideas and time to be the most prominent and also maybe to have a little bit of connection between them. I added the same type off three D effect, but ah, it's just a different angle on the two off them hand lettering is something I love to do. So I hope you enjoy this. Let me know. And then I will make sure that in the future months as well, we will have at least one day they're dedicated for him. Lettering. So thanks a lot for watching today, and I will see you guys in the next one. 26. Day 24 - Flashing GIF (Ps) #55/365: - so I'm going to do a quick illustration off some tortilla chips and then create a flashing GIF animation from it. Within photo shop, I started doing the illustration in procreate, so my trusty go to after do these quick sketches. And, um, I'm using layers. So when I bring it into photo shop, it's easy to separate each element and then I can do my little animation. Then if I wanted to do more advanced animation, I would use after facts. But in this case, it was enough to use for the shop, and you will see how quick and easy it is to do these GIF animations. So, first of all, you can see I have three different ones chips, because I wanted to have multiple off them, so at least I have three I can play around with. That will work to make it look less repetitive, and I also really their bit off touches like the crumbs and also the deep, so you will see me making selections off them and separating them onto separately years. So we are all ready for the show, by the way, and that's something you can do easily from procreate or or if you're using Adobe sketch or Ah, that will be Drew, you can also bring in your actual working files of it layers into the death of applications . Another thing you can see me doing is that once I separated each of these chips, I saved them as smart objects is that just makes it easier to work with them so I can rotate them. Scale them. But I can always go back and Amanda Regional file as well. Original source. Part off the smart object. So what I'm doing is using the move tool, old Kilic or option click and drag to duplicate than Commander control T. Teoh. The use the trans free transform, rotate and place in the position where I think it's works best so you can see me putting in a few off them and having this very vibrant background color will help to make it work and have the animation effect that I'm after. Um, so we have them roughly evenly spaced out, but have a bit of randomness to it. And then I grew up all this together and then duplicate the group and on the duplicate, I am going to change the background color. So I want to have something obviously different from the previous one. And then I'm going to also make sure that I move all these chips around so as long as they are showing up in different places, maybe rotated of it, that's going to help to get that affect that I want to achieve. So I still try to get the randomized effect and then place them roughly wherever they look past. And by the way, I'm using commando control CLee key to quickly select layers. That's the auto Select Clears option, and this is important. I select the create frame animation option from the timeline panel. Once I have that, I click on that bottom. And then I sat the amount of each of these frames to whatever I wish, so I can choose 1/2 a second, or even less or more, depending on how much frames I want to work with. But if I've just do two frames, I can do half a second, and you can see on the second frame that I created a switch off my second group and then it shows the first group off tortillas and the original background color. Now the other important thing that I changed out of the bottom is to change. The amount of times is going to play to forever. So when I'm playing it, I can see how it looks. And I'm happy. Read that. Of course, I can always streak it. I can have multiple frames as well if I want to have more color versions. But then, if I want to export this, I should go, and you should go to the edit menu. Also a fireman. You save for Web and devices. So this is, ah, legacy format off the export option that we have to use because this is the one that really works well with gift. I think this is the only way you can actually say Frame animations out, so you will have to use gift. Try to use the 1 28 option, which allows you to have more colors in your ah animation, and then you just double check all the settings here, and when you're happy, you can save your final gift file, which will be, ah, something you can use on websites. And it's going to play that animation with the settings that you applied here in fort the shop. So I hope you found this example useful. And then make sure you test it out and create your first gift if you have never done it before. Otherwise, thanks a lot for watching. And I hope you will join me again or my fellow creatives in the next one tomorrow. So until then, see you guys and have a great day. 27. Day 25 - Gig Poster (Ai) #56/365: - on Archie tour today was all about creating a sense of hierarchy within your designs. I'm just going to go into a little bit more detail about this design theory and why it's so important to understand as a designer hierarchies a technique for structuring information within your design. So at the top of the hierarchy should be the most important information, and then it works its way down to the least important information. So the most important information should always be the most attention grabbing on, then the least important should always take up the least of the view's attention. This means that your view will take away the right part of the information in your composition. That really gives you the ability to put emphasis on pieces of information like location, name, cost and offer anything, really that the brief needs you to draw attention. Teoh is really essential for a designer to understand how to rank the importance of information within design. It means you can communicate the right message to reviewer on. This is especially important for things like event posters or adverts, because people need to know where to find a product or where to find a venue when it's on eso. If this information is lost within the design, people won't end up looking at it and taking away the right information and therefore they might know end up buying a product or going to an event. So really, it is key to successful communication within design. So let's look a on example of where this kind of structure is a little bit lacking. Andi, where I feel like the information is hard to digest, is a viewer, so therefore, you might potentially end up not taking the right message from the design itself. So, as you can see here, this is a very beautiful looking poster. However, it's really hard to pick out. The most important parts of the information is even hot. Teoh kind of decipher what the Post is actually, therefore, and within the text, there is no hierarchy per se. There's it's all the same way. It's all the same type faces all the same size on. It's actually been set quite tight, so generally is quite hard to read on. If I saw this around, I would potentially appreciate as a piece of design, but actually, um, being able to take away useful information that could prompt me to go to the event. It doesn't really function particularly well in that sense. So when is again? This is a great example of a slight lack of hierarchy and how, even if you create a really beautiful design, that's not necessarily gonna be useful for a viewer. So communication really is the most important thing. Obviously, you make something that looks really awesome as well. But, yeah, just bear in mind what the viewer is going to see first. Is that the most important piece of information in your design? Let's have another quick look at another example just so you can see that hierarchy is really important in, like every aspect of design, not just posters and advertisements. But here you can see on this tote bag again. It's a very nice piece of design, and visually, the typefaces Cool is very minimalist. It's very modern and contemporary, however again, it has a little bit more hierarchy, and it plays with, um, the positioning of the if the typefaces on them is got like some subtext. But again, it is difficult to understand exactly where this product was from. Andi, where the owner might might have bought this from again. That could be an issue purely because, really, this this bad kid actors an advertisement in itself on. If I was walking past someone in the street and could see that it was from a gallery and this was the exhibition on, and this is what it offers, I might end up going to that. So if there's a way that you can make something look awesome on communicate to other people quickly, that is a perfect balance. So that's just another really quick example of how hierarchy can be applied to loads of different areas of design. Finally, we're just gonna take quickly, take a look at a design which actually uses hierarchy really well. But it's actually for an exhibition that was on at the Royal Academy of Arts, so he would kind of expect it to be really good on is, you can see that they've used different typefaces, different scale, different weights on all of this works together to communicate exactly the right message that you can see that it's an exhibition straight away, and then because of the difference between the two typefaces, the Royal Academy of Arts and the summer exhibition actually draws your attention to where it is. So that's fantastic. And then a subtext you have when it is when it's on, which is perfect on then, right at the bottom. You have much smaller the website on a little bit of sub ah, information that the view might be interested in, but it's not essential. So what's great about this design is that within a few seconds you have all the information you need to make the decision with if you want to go to this exhibition or no, which is fantastic and makes it more likely for people to actually go along. So I hope you can see what I mean when I say that hierarchy is really important. Andi, I hope this video is help to give you a little bit of insight into how you could use it in your room work. I hope you have a really good day on. I'll see in the next one by 28. Day 26 - Girl Portrait (ProCreate) #57/365: - today , I decided that I am going to draw a portrait of a girl, and I wanted to make this look a little bit more cartoony. So I will have the eyes much bigger than like the normal realistic proportions. And also, I thought, having a nice color theme where the hair is more purposely a bit of pink. Um, so I was experimenting with a few things here. I tried out a couple of brushes and also wanted to concentrate on the hair and the eyes. Really? So first, Like always. I start with my sketch, and when I drew heads, I tried to, like, establish first all the features s so I can see how the character's personality will be like, because once you get the eyes, the nose and the lips in place and obviously just a hint off the hair, you already see roughly how the character is going to look like at the end. So at this point, it's very important to get things right. So until I'm happy, I'm not happy. Ah, I'm going to keep tweaking things, but you can see already here At this point I feel like I have ah, the hair in the way I imagined it and also the eyes. Ah, I'm just tweaking them. But essentially, this is how it's going to look like. And this is something I don't always through the shading in the sketch stage. Ah, but here I decided I'm going to just test it out to see how it's going to come together. Because off the hair, casting shadows on the face, I wanted to make sure that it looks good. And once I add my base colors, I start to see how it's all going toe work. So because I'm happy with it, I decided to already start blending all my outlines and the original sketch into the painting itself. And then there's something that some some illustrations I decided to do to have literally one layer work with everything on one single layer here. That's what I did, so because it was a very quick painting, I probably spend Max an hour, probably less on this. So I wasn't really planning to develop this in great detail, so it was really just a quick one that more like a study, to be honest. So here I just literally worked on one layer, and that's fine. I mean, if it's not the complex illustration, you don't have to work on multiple layers. It's completely up to you. And once again it can be done in for the shop. It can be done in coral painter, or it'll be sketch. I actually use procreate again because that's just I'm really comfortable with for doing this type of work. And the one thing that you can see and one thing to really learn from this example, you will see that the hair really comes together once I have these shines on it like you already have shine around the eyes or on the forehead area, but you will see me adding the shine on the bottom as well. So it's just simply drawing over Vida brighter paint and just end the line off shine. This is where it is going to come, so I did some some shading as well on the hair, and then soon the highlights will be a bit added. And that's when it's really going to look like hair because hair tends to have quite a lot of reflection. So that's something you need to show, and that makes it much more realistic. The subtle things like that's very important. And instead of indicating each individual hair, what I did was to just show at the end, off the hair. Ah, the individual strands. And that's chance simply by using a brush that creates that the fact at the end, you can even use, like, smudge or something like simple a brush effect that indicates the hair. But you don't have to show that throughout the whole hair. Um, of course it's up to you and up to the style that you want to achieve. But here it was more of a stylized version of everything, including the face. So I thought simplifying the hair and just showing very subtle details will be enough, and it will stay of work so you can see side by side my original sketch and the final version. And once again, this is just a quick example off drawing a portrait. And if you like this, maybe this is something you can give it. Give a try by using a photograph of a friend of yours or a relative or yourself, and then try to create a stylized version of yourself or off the person in the picture on dumb. If you practice this, this is actually a very useful technique that you can apply in all kinds of different projects, even for graphic design. 29. Day 27 - Composition with Silhouette (Ps) #58/365: - so I decided to create a graphic using silhouette of a polar bear on using multiple images of mountains to come up with a serial composition. This design has been inspired by artists such as Nathan Cover. Nathan Carver is an awesome designer. I love the way he uses silhouettes off animals and mixes it with landscape images. This soft style has been influenced by double exposure photographs, double exposure. Photography is when two images are exposed on the same film, and it creates a really cool cereal effect. Artists such as Andreas lies again, a really good example of someone that combines real fighters with cigarettes off animals. These designs are few years old, however, is still amazing on, and you can see the rise off designers and illustrators using double exposure in their work over the last few years, you probably notice that artists such as only Morse, who is an amazing illustrator, tends to call my motor illustrations to create a double exposure look. This was also done for the 2016 BAFTA Awards. Double exposure has always been around, and it's definite becoming more on trend if you want to know more on the technical aspect and how to create it Free. A free to watch Our video that was released on the fifth or February called Double Exposure , as I mentioned earlier on double exposure will become more on trend, but it would become more sophisticated and classy. As you can see from my examples, the artists have moved away from using double exposure in nature and animals, but more so in style and photography, it's become more classy and elegant and nothing. They've done a really good job at 10. You will also Seymour double exposure on monochrome colors and do it on colors combined together. This creates a really cool, fun, edgy feel to the design, and I think it's definitely something that I would love to play around with. This is no really double exposure, but also is influenced by it. I love the way that the photographs have multiple cigarettes off the figure, and they've used different colors to emphasize the shape. This is a really cool style, and I think we will see more of that this year. So to conclude we would definitely see a rise in more sophisticated double exposure this year, which will create really beautiful amazing visuals. I am really excited to try out this style. I hope you guys are too. Why not give it a go for yourself and see how you guys get on. I'll see you guys on the next video. Bye for now. 30. Day 28 - Floral Illustration (Ai) #59/365: - on my screen, you can see some floor arrangements I design using my iPad pro que up I wanted to give a bit were hand drawn feel, but I didn't have time to create these using paint on this tutorial. I want to go through some of my favorite illustrators that hand paint their florals. One of the best ways to improve floral design is to observe them yourself, so go out there, look up for your flowers on observing another way to improve your floor design is probably to come out with Imagine flowers. For example. You can see on my screen that Jess Phoenix, who is an amazing illustrator and hand pains everything, uses vivid bright colors to really make her floors pop. Most off her florals and leaves are also based on imagination. So don't be afraid to just go with the flow and come up with anything that comes into your mind. Anirban is one of the most famous illustrations to date. Now she has an amazing brand. She has internationally recognized brand and station collection. Most hover work is inspired using vintage style fraud design. I think he doesn't amazing job in creating imaginative flowers and leaves. Another famous designer is Felicity French. All her work is drawn by hand, and you can tell that she's inspired through nature and the more than flowers. She also uses the imagination to really other playful feel to her design. I love the way she used the teacups as vase and has butterflies flying around. All three illustrators are amazing and unique in their own way, but what they have in common is definitely using imagined flowers and leaves on really using strong color palettes. All three illustrators are amazing, and they've inspired me to really observe flowers. Check out other designers work on. Most importantly, don't be afraid to use my imagination. I, for example, started sketching florals as a guide. I also start experimenting with water colors on, then coming up with my own composition. He's a rough sketches and ideas, but they inspired me to try different mediums from digital traditional watercolor pain to even drawing by a pen and pencil. So don't be afraid to give it a go for yourself. See what you can come up with when you really use your imagination. Good luck and I'll see you guys on the next video. Bye for now, 31. Conclusion: congratulations for reaching the end of this year. Long course. It's a massive achievement and we hope you enjoyed it as much as we enjoyed creating it and have gained planting off useful new skills. Don't forget to do the creative assignments as they will not only help you to practise the techniques you learnt, but also to produce designs and illustrations to be proud off. If you found this course useful, please leave a review on it to help us produce more courses in the future. I hope to speak with you soon, and until then, have fun learning.