Communicate Information Effectively through Illustration | Dan Matutina | Skillshare

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Communicate Information Effectively through Illustration

teacher avatar Dan Matutina, Illustrator and Communication Designer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 24m)
    • 1. Trailer

    • 2. Hello

    • 3. Identifying the Topic and Collecting Information

    • 4. Choosing information & gathering inspiration

    • 5. Ideas and Ugly Sketches

      Ugly Sketch 3.jpeg
      Ugly Sketch 2.jpeg
      Ugly Sketch 1.jpeg
    • 6. Adding Flow to your Ugly Sketches

    • 7. Refining your Sketch

    • 8. Creating the Base Vectors

    • 9. Adding Textures & Color Effect Part 1

    • 10. Adding Textures & Color Effect Part 2

      Layout-Final Illustration-01.jpg
      Layout-Final Illustration-02.jpg
    • 11. More Creative Classes on Skillshare

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About This Class

Information Design is everywhere. It is the stop sign you see on your corner, the evacuation directions in case of emergency on an airplane, or the CPR guide at the pool. It is a visual representation of information or a set of directions for the sole purpose of the viewer's understanding.


 In this class, we are going to look at examples of information design and how it can be communicated effectively through illustration. I am going to walk you through what works and what doesn't, and you are going to learn how to communicate information in new and interesting ways—engaging, effective, and beautiful.


What You'll Learn

You will learn what it means to communicate information effectively — from your perspective while injecting your own creativity and style. We'll cover:

  • Introduction. We will look at examples of information and process design in public spaces, and identify what works and what doesn't.
  • Identifying your Topic & Collecting Inspiration. I prepared a brief for you to work on. You will collect information to organize and design, and I will share with you resources.
  • Generating Ideas & Making Ugly Sketches. Getting ideas from your head on paper.
  • Refining Your Sketches. You will be creating tighter drawings of your ugly sketches. At this stage, the flow and the elements of your illustrations should be clearly defined.
  • Creating the Final Illustration. Digitizing your illustrations into a fully understandable, visually appealing piece of information design. I will share some tips on how I use Illustrator and Photoshop. 


What You'll Do

Airline companies have different airplane safety cards. For this class, we will make our own version. The task is to make your piece more effective in communication and more beautiful through illustration.

Through this process you will understand how to combine form with function, and you will begin to look at communication & information design in your day to day life with a critical eye. This skill is a necessary design skill, and one that will greatly improve your visual communication.

Meet Your Teacher

Teacher Profile Image

Dan Matutina

Illustrator and Communication Designer


I'm Dan Matutina, a designer and illustrator based in the Philippines. I love mixing handmade & digital, clean & dirty, old & modern aesthetics. I combine colors with different textures & shapes to tell a story.

I was recently awarded the Art Directors Club Young Guns Award for 2013 (Year 11).

I am the co-founder of Plus63 Design Co., a design studio that creates brand identities, strategize communications, design and illustrate for print & web.

I was born in Tacloban City, Leyte, an island province south of Manila. My province is rich in stories of epic war battles and traditional folklore. Having been born on July 20 -- sharing the same month and day of the first man on the moon -- I also grew up with a keen interest in reading science encyclopedi... See full profile

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1. Trailer: I'm Dan Matutina. I'm a designer illustrator from the Philippines. I've been doing design illustration work for seven years now. I've worked with different magazines like Wired, and The Little Thing Quarterly, and the Wall Street Journal. I've done work also for other brands like Coca-cola and McDonalds. In this class, we'll be doing illustration for information design. So, we'll make pieces of information more visually interesting, like the airline emergency cards, different airlines have their different takes on it. For this class, we'll go through my process, and I'll help you communicate and present your ideas through your point of view. This class was inspired by one of my previous works for a magazine. So, instead of presenting the How-To's in an expected way, I made it more fun. Through this class, you'll learn how to use illustration to communicate information design more effectively, through your own voice and style. 2. Hello: Hello, I'm Dan. Welcome to my Skillshare class. We'll be talking about using illustration to communicate information more effectively. Information Design is everywhere, well, information is everywhere. You can see it when you, you can see it on airplanes and trains, you see it when you use a map on your mobile phone or when you use actual map, you can see it on signs when you walk around the city, and you can see it on the packaging on your food, you can see it in charts. It's just everywhere. The first part of the class, we'll be looking at different inspiration of Information Design from the old type of Information Design like maps, and to the newer types of Information Design. The first one on your screen is nautical maps, like a navigational map. If you can see around the border, it's very illustrative in a way. It's both functional and aesthetically nice to look at. They've also been using a lot of illustrations on maps. This one is a bit witty in terms of execution. They've also been using comic maps. So, for this California map in 1945, zoom out, you can see the map of California. But on the sidebar and other parts of the map, you can see a lot of illustrations, like a comic book, telling a story. Yeah, it's very interesting. It's also used to plot star charts, but this one's nice. Infographics can also be used to explain topography and explain typeface, the different parts of typeface. If you're looking for a lot of big data and big information, dynamic information, you can see the information is beautiful. They have a lot of nice data visualizations and this one is for the world's biggest data breaches. Another interesting guy is Nicholas Feltron. I'm a big fan of his work. He tells a story about himself through data and information. So, it's like a peek of his life. But using data, you can see what he does every day, the people he meets, the location where he's at. So, it's not just purely data, but it's well visualized as well. The colors are nice, the typeface, typography is nice. I like this diagram by Lokesh Dhakar, which is about coffee, the diagram about different espresso drinks. So, this and this, I made my own. So, this is, "Hello, coffee lover", coffee chart. Apart from diagrams, Information Design can also be used to design the environment, design environmental graphics, the way finding systems. Which would bring us to the next example by, what's his name, Bunpei Ginza, I really like this Tokyo subway posters he made. It's very simple and very illustrative and witty as well. So, I think this could serve as a guide for the project that we'll be doing this class. Lastly, are the aircraft safety cards. For most of the, for the class, we'll be using this as our exercise. We will be designing the different aircraft safety cards of different aircrafts. So, you can pick which aircraft you want, you can pick an Airbus A380 or Boeing triple seven and you can pick which ones you want to execute, if you want to remove one part, it's up to you. Could be part of the process, picking the necessary information you want to hold it in your airline safety card. So, yeah. 3. Identifying the Topic and Collecting Information: Hey. The second part the class is identifying the topic and the aircraft you guys want to work on and collecting information about the aircraft. For most of us, we'll be working on an airline safety card. But for some of those who want to work on their own projects, it's perfectly fine. In the project guide, I actually added links going to It's a website. It's like a disaster preparedness website wherein they list down different ways on how to prepare yourself for disasters. So, if you want to work on that instead, then it's all good. For those working on an airline safety card, you can use other links on the project guide. Those are links going to websites who have collected different aircraft safety cards from different airlines and different models of the airplanes. So, for me, personally, I was choosing between Boeing 777 or the Airbus A380, but I think I'll work on the Boeing 777. So, I usually use Pinterest to collect information and collect inspiration. So, the good thing about Pinterest, it's an online so you can just dump, pin everything there, and then you can access it from your phone or from the website, from different computers. So, for now, it's all here. So, I collected different safety cards of Airbus A380 from Air France and from Emirates, and Boeing 777 from Philippine Airlines. There's even a Hello Kitty Aircraft card. I don't know, doesn't look really cute. It looks the same, it's just the color is different. So, for the class, it's actually like that. You can decide on what information and what part of the safety card you want to work on, you want to highlight, and it's up to you. It's part of the process, and the scientists' things. So, for me, personally, I'm more biased on the exit doors, how people can go out the doors and how to use the different aircraft safety features. I also collected old safety cards just so I can compare the newer ones and the old ones. The old ones were actually quite a bit more nicer looking. They look minimalist and I like the colors more. Yeah. I think it's important if you look at all the different safety cards even those that aren't big planes, even the smaller ones like the Cessna. So, the next part of the class will be actually working on the other sketches. Let's do it. 4. Choosing information & gathering inspiration: So, now, we're going to start generating ideas and ugly sketching, which is my favorite part of the whole illustration process. It is just coming up with ideas and then putting them onto paper. So, for this, I had the B777 safety cards printed outside. I collated my favorite ones. So, this one is a bit complete, that's all the pages, and the other one is, it's a bit incomplete, so, but it's okay. So, just have to print this out and compare all the information, and decide for myself which particular information I want to pursue. So, I had it printed out, then I placed all my notes here, just so, picking the information I'd want to appear on my illustration. So, you can see them all here. So, it's in there. The information that I wanted to include was, the first one was the preparation before the plane departs, so, I included the fasten seat belts, no smoking, and all the prep information. It also includes the use of electronic devices. I mean the theme that the US FAA, revised their rule for electronic devices, and the Philippines have their own. So, we have Civil Aviation Authority of the Philippines or CAAP. So, it's a bit different for us. And I just listed it down. I don't have to read it all. So, I'll just apply it on maybe after the illustration. And after taking that up, I decided I would like to include the emergency landing. So, how it looks when we do an emergency landing on land or on a sea, and preparation for your land using the life vest or bracing yourself for landing, and moving the bags or not bringing your bags or shoes. So, just show you how I take the information and list them all down. The next step of the process is looking for inspiration for our project. So, I have this two folders and most of the images there are from online. I sometimes use Pinterest to gather inspiration, but most of the time, it's just me taking images, downloading them, and saving them on my desktop or on Dropbox. And for this one, I have some images of air travel. I really like the look of old airline ads such as this, and using stylized illustrations for airplanes, and using minimalist graphic, using a lot of space. So this old aircraft safety card really looks nice. The use of space is very refreshing to the eyes. And I can also explore using different views or angles of the aircraft for the safety card, and using parts of the aircraft, like the interiors, particularly the seats of the aircraft, as a visual device for the safety card. The safety card can be as fun as this poof of Pam Ann. So, colors could be fun. The situations could be interesting. It could be lighthearted, doesn't have to be too serious. The next set of inspirational images is the idea of a flight path. I just thought it would look interesting to use the flight path as a flow chart for the different steps in airline safety. So, this looks a bit complicated visually, but I think and I'm pretty sure when we do the actual illustration, it can be simplified. I just like the idea of a flight path because it could guide the user from one step. It could guide the passenger from one step to another, kind of a bit interactive safety card instead of just them reading through it. And this is another visual inspiration. Now, the next step after looking at the inspiration is generating ideas and doing the ugly sketches. 5. Ideas and Ugly Sketches: After looking at inspiration and picking information we want to use for our illustration, we can proceed to doing the ugly sketching, and prior to that, idea generation. I don't usually have a concrete process when I think of ideas or when I doodle. Sometimes I just start doodling and proceed from there, or sometimes I just write things down, and this is one of those times when I wrote things down. So, I thought of three ideas based on the inspiration I showed you guys earlier. So, the first one is, the airline window can act like a frame for the safety card, it can act like a storyboard of sorts. Each situation will happen inside the window or frame, cross-section could work. Second idea is airline flight plan or flight path used like a flow chart, and the third idea is all the situations can happen on the airline seats. The windows and other parts of the airline can serve as the labels or icons. So, those are the three ideas, and I'll show you all the sketches I derived from them. So, the first ugly sketch is this. So, it's two sides of the safety card. Since the Boeing 777 is a long-body, long-haul aircraft, I wanted to showcase the sense of length and size on the safety cards. So, on the front side, you can see the front half of the aircraft, you can even see the door, and the windows are all here. Each window acts like a frame, so we can see passengers inside the window frame doing their thing. So, one guy could be listening to his music on his iPhone or iPod or playing DS, and it could be different in every frame. Between frames, we can put icons, or you see these lines, they could be text that supports the visual inside a frame, so I just wrote here frame-by-frame. The whole situation, I mean the whole illustration, sorry about that, is in the tarmac, so it's before it flies. So, when you flip the safety card over the back side, you can see the rear part of the airline, but the situation is a bit different. It landed on the ocean, so it's like emergency landing. The slides are deployed, and you can see people floating in the water with their life vests, of course. So, inside the window, we can also put different illustrations like people bracing for impact, or a person donning his life jacket, and a person jumping off of the plane. So, I just wanted to show the different steps or the different frames of airline safety into context of the aircraft. The second sketch is, I guess this is self-explanatory. It's a plotted flight-plan, a flight path, and it acts like a flowchart. So, the big idea is flight path, execution flow chart. So, there's an airplane on the tarmac, and you can see some diagrams sprouting up from it, so this could be the prep, like turn off the cell phone, or no smoking, or fasten the seat belts. This could be when it flies, what to do when you fly, and it can also branch out to an emergency situation. So, for example, on this path, it could be people donning life vests, preparing for impact. This can be a sea landing, and it can also deviate from that as well, so it can emergency land on top of land as well. So, it's very interesting and there is a big risk of this being a bit confusing, but I think it could work. The third sketch is using the seats. So, before I proceed explaining this, I think I made a mistake here. All of the, I think it should start from left to right because this looks a bit weird if you start from right to left, but yeah. So, the idea is to show the interior of the airplane, and I use the seats as visual device to explain each step. So, there's a person sitting and listening to his iPod, and this could explain the thing about the electronic devices. On top of the luggage, the luggage bins, you can see some of the objects that are not allowed, or the no smoking sign could be there, and you can see the different passengers inside. We can use the windows or even other parts of the interior of the airline to hold the icons or text. So, the progression is from before it flies, when it flies, and here it's a person bracing for crash or for impact. At the left most part is the door of the aircraft open, and there's someone jumping off the plane through the emergence slide. So, I even placed smoke here to show that the plane is on fire. So, it can be something like this, and right now it's a bit short in terms of length but, I think I can add a lot of things to make this even longer, and like what I said earlier, and maybe flip this around so it starts from the left side. So, those are all the three ugly sketches. I'd like to see the initial sketches or ugly sketches that you will all make, so you can upload it here on Skillshare. I can take a look at it if you're still undecided. If you make a bunch of other sketches, I can help you decide which one you'd want to work on. So, the next part is tightening up the ugly sketch and add flow to the whole thing. 6. Adding Flow to your Ugly Sketches: We have three sketches. I've picked the first sketch to finalize. So now, I'm just finalizing the flow. The first frame is the window frame. The captain was thinking it could function like a welcome frame of sort. The second one is a flight attendant, closing the door for the aircraft. Then the third frame, is a person fastening a seatbelt. The fourth frame is a person using a laptop. This frame can start the discussion, and warning about electronic devices. The fifth frame is songs, an iPhone. This sixth frame shows a person reclining seat, and the seventh fame, it's someone going into the laboratory. This also one can get the warning on, ''No smoking,'' and the rear part of the card, we can see a person donning a mask. Then this is a person bracing for impact. The 10th frame is someone wearing a life vest. While the 11th frame, it's an open door. Someone preparing to go to the slide. The 12th frame, was thinking you can show a group of people on top of a inflated raft. The raft is actually, one of the slides from the aircraft. 7. Refining your Sketch: After finalizing the flow, I refine the sketch I made. I mean, this one's still too refined. Like I said earlier, I don't really do a lot of tight sketches, but this one has a bit of colors. I added color and kind of see how I imagined the final work to be. I'm pretty sure to be honest, this is going to look different in the final illustration. But at least in terms of the composition, this is how I would want it to look in the general field [inaudible]. 8. Creating the Base Vectors: So now we'll start digitizing the sketches in the computer. So, for me personally, I do my base vectors in Adobe Illustrator because I'm just more comfortable using it moving things around and work in vectors and when I do work, I make base color swatch for me to work on. It's not too strict that I don't do work with that color swatch but it's a nice guide. So I can deviate from it for a bit and just service overall Kolberg guide for my illustration work. So right now, try to add that onto the illustration and make the back from the plane just so it makes the airplane pop that I started doing it. The aircraft that I'm going to do is going to be stylized. It's going to base on the actual Boeing 777 but I guess in my own voice and style. For everyone who's part of the class, we can execute those station and in which way you want to. It could be by pen full of ink, pattern brush, crayons, pencil, the computer, up to you. An illustrator is just mostly putting things around and making sure all the elements work well with each other. So, this part I'm just trying to populate the airplane and kind of work on the base vector and plup things around. So I do a lot of tweaks trying to make it look almost alike, sorry, to make it look almost the same as the actual airline. So I put the cockpit and try to make the different windows as frame where I plan to put the different instructions on the different frames for the safety card. So there's just basically one big sin kind of context on aircraft and using that situation as a backdrop for the safety card. That's how I work in vectors and the next part of the class is applying textures in Photoshop and finishing the illustration in Photoshop. Yeay. 9. Adding Textures & Color Effect Part 1: After working on Illustrator, what I usually do is transfer the illustration to Photoshop. Most of the time, I actually do it layer per layer. So, I copy paste the background and then copy and paste the aircraft and copy and paste every element. But it'll take a long time for this class if I do that and the figure will just take a long time. So, what I do is just make two separate layers, maybe three separate layers, a layer for the background, and a whole layer for the whole airline and passengers, and maybe a separate layer for clouds. So, let's start at the front part. Before I start copy pasting this, I'd like to show how my PSD file looks. So, I'll just prep the file, there's a front folder and there's a rear folder. I'm very organized with my layers, I don't know why but I'm just organized I guess, just like organizing things. So, there's a different layer called the color overlay. It's just a combination of different colors and different layers. This adds an effect to the illustration and even if I use base layer or a set swatch color for my factors, it usually changes when I paste it in Photoshop. So, just so you can see what's inside the color overlay, let's just do folders of different colors. There's Kulay and this, just called it group one for some reason. It's just different colors and color effects. We can toggle this on and off. I mean, I can toggle this on and off, depends and I can toggle Kulay on and off or just use this as a base color. It's just a combination of colors that I like. Visually, I'm looking for something, it's just a personal preference I guess. That's how I define my style, so based on different colors and based on the color I like. So, you can do it yourself as well, you can make color overlays, just overlay it on your illustrations. So now, try copy pasting stuff. So, I'll start at the background, so just get to the back. For this one, apart from the normal blue background, I go to the gradient, an orange gradient. So, inside the font folder I'll make a background folder. So I'll just place them inside. This is a bit different from here to here so, it's almost bluish there and there's a greenish tint here, let's put it inside. So, that's the difference. I'll start pasting the airplane. So, just get this tool and paste it. So, it looks very different in terms of color, it have a yellowish tint to it. Then start pasting the other elements, like the clouds and the lines. Just name the new elements as foreground. So again, there you go and the thing is, it looks a bit different. I think I pasted it raw, should be a bit bigger, it's the size. I think this creates a very nice tension in terms of visual design, having a big foreground illustration. What I'll do is just copy this separate layer system is on. So you basically have this and they're all here. The next part this adding textures to the Illustration. If you look at the project guide I added a link and how I generate my texture, it's very, DIY just scan paper then and overlaid on Photoshop, so that's what I'll do now. There's also another option, it's converting your textures do Photoshop brushes and we've been doing that as well. So now, let's apply a black background texture on the background. So, I have a collection of texture here. I've downloaded free to download, free to use textures before like grass and dust. But the thing is, when you try doing illustrations, it makes your illustration unique, if you make your own texture. So this one is what I'll use for this illustrations, some a3 texture it's brush, it's ink over a textured paper, so open it first. I'll open a couple of more texture. This one is, I made this using air brush, so over over spray on an air brush, so I'll just open this one. Just so you can see the various textures I used. I don't have to use everything here, but it's just a nice I guess a peek into some of the things that I use. This one also comes from our canvas. It's my old really old idea sketchbook, I just scanned to canvas, so we'll see how we can mix and match and see and decide for ourselves which texture block to use. So, for the background I was thinking maybe I can use this, so I just copy paste this and see if it works well, if not, then we'll see. So, that's just usually use layer effect in the background, so now, I use soft light. Now, I'll just increase the size, and sometimes I edit the all levels just so it looks very different. So, you cannot fill all the blacks and just let the white pop. So that's send effect I like. This one is an effect I wouldn't like. But the problem with this is, I quite like the original color in the background, this one just a bit too dark for me and doesn't seem so fun in a way but it looks nice. So, I can either lessen the opacity. So now, it's 40 percent, looks a bit better. There's also another option and it's to use the Photoshop brush texture. So now, I've created a new layer and then, I have a brush texture of that same texture in Photoshop, so her this is it. So, what I can do is create a new layer and then just select one of the colors I like here and maybe brush it in. So that one looks nicer, it's the same texture as the other one with just a different way and different application. So, I can do this or do this. Just try to opt for more color coat traditionally. So, the texture is there, so I I'll just delete the other texture, and was thinking of adding another a texture effect to it and this time it's the canvas texture. The thing with the canvas texture is it works well if you copy paste it, but it also works well, so it's a brush, it's a Photoshop brush. So, it's the same application as the last time, just use soft lines and invert it for black and for white. Or you can just use screen just to make the pop, not to make the light pop or pens. You can do allot with the layer effects in Photoshop and do overlay. The thing that this is for me it's just looks to, the texture is too pronounced. We'll that way it can look nice as a night time flight. We can go for a night time flights if you guys want and well, I don't want to look too friendly. Another option to work around that is just use the same texture, as a Photoshop brush. So, I still have that here. Just select the white foreground color. So, if you look at that, works well. I'll just decrease the size. It's there. It'll work well, maybe lessen the opacity a bit. Looks nicer. You can just mix and match the colors for background, all the pieces too. So, just like that. So, that's how I applied textures on the background. To make this scene a bit more fun and brighter, you can add layer effects to it or color effects to it, but right now, what I'll do again is add more textures to the different part of the illustration. So now, we can add textures on the airplane as well, and we can use the same process. So, I'll try and just copy paste this. So for this one, actually doesn't add a lot of texture on the plane just the middle, just maybe on the lower part, but it's all good. What you can do is select the plane and you use the mask to mask it all out. So now, you can see the plane textures, and you can see the people inside the textures. What I do sometimes is create a new layer to the plane element and multiply it just so it becomes a bit dark. Now, the textures pop out a bit more and what I do when I multiply it is select the upper layer and just do some erasures to it. Well, erase is not a good thing, so let's use mask. So, I just made a mask and then select a part, then just use some black brush to brush over the mask. I have my own brushes, so I scan my own brushes and make my own brushes. For this one, I was thinking maybe I'd use one of the building brushes of Photoshop, I guess, so everyone else can use it. Just kind of opacity can change, just brush over it, see how it works visually, to be working. You see distinctly that it erases half of the whole thing and it's really nice. We can do that for the nose of the aircraft, or maybe select this just so it's pretty distinct when you erase it. I mean, this particular execution works for my style, of course, but you guys can have your own take on it. I'm just sharing with the piece. So, the do is if it's too much, just use the white brush over the masks, so I sit back once again. The texturing here is pretty basic, but I actually think it works well and what I do also is sometimes create the highlight of it. Just create a new layer and then you increased the opacity of it, just so it can be seen maybe in a bit more, and then lower the size of the brush, just not too much. They see little line and then I can erase it, and you see the eraser tool, just erase it. Soon, to sensuous hopefully mixing and matching and one can do now is we wanted to see and add a glass effect and the window, let's see if it works and if not, then it's okay. The glass window effect, like the sheen on the glass window, can be cool, but we'll see. I think it might make it too hard for people to read or to see contemplative character inside it, just created one and just erase texture a little bit. Now, we have texture over that. For the sake of workshop we can just copy-paste to the window, and maybe erase it a bit, I want to copy- paste a lot of time say refer recreating every new thing, but take us for to deal with this for effort, plotted on lines. So, there you go, we have the defect there and maybe you can do that too for the captain. Just add layer. Doesn't have to be really perfect there, was still going to erase a lot of things, it's okay, it's not perfect window, the path is not perfect. Just small, it's working fine so far. Sewage system work came here. I have another brush I made from one of the textures, I will show you the texture I think I showed it earlier, this one, this is an over-spray of a airbrush, so there's a different quality to it, and it's been interesting to use. But, I already converted it to Photoshop production. Let's see if we can use it, let's see if it works, it's just one of this series. So, that's the texture produces. So, yeah, if you look at it, it's fairly interesting, just too strong of texture, but I think it could work, it can act like the highlights, an illustration. Soon works and the next step is actually working on the back, the foreground, the clouds. This cloud looks interesting, and doesn't have much texture of it but it's okay, What I'll do about the cloud here is, just to add a bit more facial texture and not really casual texture. The illustrations just made a new layer from it and maybe multiply, just so it's over that. Suddenly, you just use a simple [inaudible]. So, just donors [inaudible] , and then can just [inaudible] erase. Hold on to parts, it's just okay, when it's not too awesome, but it's just okay. For the other part of the foreground also, we can start erasing. Hey, you liked the idea that doesn't look two stark. Just erasing the edges, that's a different texture look illustration. So, that's basically it, that's how working on Photoshop and the last part we can do is add light leaks. I noted Abrams will be proud, but it's simple, it's just put screen lighten, layer effect and then just splash it towards illustration. I was thinking maybe it can be at the top, so it doesn't interfere with the people, somebody up there, you can select different sectors like colors, just so as affecting your lighting and can also erase some parts of it. I think I made a mistake there. Now, looking a little bit different, looks like they are having a nice flight with a turbulence there in destination. So, that's the first part. 10. Adding Textures & Color Effect Part 2: So, now, we'll proceed to the rear part of the airline. So, it's almost the same sort what we did the first one. I'll just copy and paste the background first. Then use the same layer effects, copy the whole thing, backgrounds, over, sky. It's just be like a dark background, I think. What's going on there? Then, copy-paste the whole airline except for the white thing, splashes. So, I'll just paste them here in the same folder. So, see what happened. See what happened to that. Select the whole thing then deselect some parts. Hold on. Just put this here and use this a bit to kind of guide us how to align the second set of illustration [inaudible] parts. Then now, it's here and just included shades on the floor. So, it's just on the way. It's [inaudible] and there you have your plane. So, now, we'll try to include all of the assets that are supposed move there [inaudible]. It's like the white and see then the darker shades, the black and orange. So, we can, the same as the first realization, you can use the texture. So, just copy-paste the texture here, just sort of this [inaudible] background texture, just so it doesn't look too different. But for this one, I think it's best if the background is a bit more gloomy compared to the first, is it crash-landed. Try to multiply this and see if it works better that way, unlike dark. Erase some parts of it just to create some layer effects. So, it's almost like just, not really like painting, but almost such as just to kind of define dark background and sky. Can also use sky. It also burns some parts just so it's sort of darker. Really depends on how you want to execute your backgrounds, For me, I just want to add a bit of turbulence to it by adding brush strokes like this one. Sorry about that. You get to the darker. We use that more. I'm just trying to work in it. Then try and erase a bit. It's there, and here's the other layer effects we had here. Now multiply it. I mean, copy it again. So, let's see. There's water, or if you want, water can be a bit more turbulent like just something like this. Show that there is a bunch of it. There's like a big swell here. So, part of that, we have some, a few that you want. For this, show that one. It's like water coming in. Then maybe add something more. [inaudible] more here. Your screen. You screen just so it's like layer over it, just like erase. [inaudible] erase, erase just because it's like a big swell. Yeah. It's just mostly it. It depends on what you guys want to do, but, well, it's the same. Now, apply same texture on plane just like what you did in the earlier illustration, just like the some illustration. Interesting. What we can do is multiply this as well so it's the darker look. What I'll do is, apart from multiplying it, that cannot be saturated, so split of dark tone to it. Then, just do the same thing like raising or masking over it. Put in some highlights as well even if it's dark. I like creating the mood and tone. I know it looks too depressing, I mean the fuse, trying to put more depressing in this particular scene, but I think- actually, I think it's okay. Okay, it looked better. Maybe open this up a bit so people could see details of people inside the plane, the sky, so they see what it's doing, that there is fire. Show parts of this, this part. We want to show this I think like grind dirt. You can use the brush again, and we use different brush. Show that a plane has the problem. Just put there some amazing things. Seems like the plane has a problem. Doesn't put too nice, getting a bit cracks in the window if you want to. Okay. Just show the glass still and [inaudible] lot of things and the dark in the hole. Still dark in the hole. This thing, so let's use this. Then maybe we can add like rain. I don't know. This might look too scary enough. Pull the- use just the Photoshop brush and make this myself. The thing at this, it's just a lot of detail, so what I do sometimes is I moved all the brushes and just slowly erase all the excesses as long as you can see that there's some rain effects. So, yeah. Generally, that's how it should look. I think that's a bit depressing, but I just wanted to show that we can make two different look and feel for every illustration and this one is the safety card for emergency landing. It looks scary. Just to add a bit more to the mood and tone, you can do something like this, like at this, create new layer and just, oops, sorry, and just flatten it and multiply it over the whole thing. So, it looks incredibly depressing, dark, and just like this to erase a section. I mean, for me, every illustration project is a challenge and making ones look more interesting. So, this time, it looks a bit of depressing. Yeah. It's like wind, rain, some like problems. I can even put this airplane I think emergency lights, and we do that here. So, lights here, here, and here. So, lights in here [inaudible]. So, yeah. Then, if you want to push it further, let's put more rain lines. Rain lines doesn't have to appear in all, other parts but keep it interesting. It's pretty intense now. Looks pretty intense. So, that can be our rear part of illustration. 11. More Creative Classes on Skillshare: