Design for good - Design and visual communications as a tool for social change | Jenny Veguilla-Lezan | Skillshare

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Design for good - Design and visual communications as a tool for social change

teacher avatar Jenny Veguilla-Lezan, Latinx Designer & Illustrator

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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

18 Lessons (1h 25m)
    • 1. Design for Good Intro

      3:51
    • 2. What You Will Learn, Tools Needed + Course Project

      3:00
    • 3. My Story + It's Impact on my Career

      7:53
    • 4. What is Design?

      2:30
    • 5. What is Design for Good?

      4:05
    • 6. Design for Good Applied

      2:37
    • 7. Principles of Human Centered Design

      2:07
    • 8. Case Study 1 - Black Lives Matter

      2:35
    • 9. Case Study 2 - The Sunrise Movement

      3:15
    • 10. Case Study 3 - The Unity Rally

      1:44
    • 11. Case Study 4 - The Power of Choice

      2:38
    • 12. Case Study 5 - The Debt Collective

      4:17
    • 13. How You Can Get Involved

      0:53
    • 14. Tips for Designing

      5:01
    • 15. Setting Up Your File + Poster Design Tips

      13:09
    • 16. Creating Your Poster In Affinity Designer

      21:09
    • 17. Saving, Layer Maintenance + Exporting Your File

      2:44
    • 18. Design for Good Outro

      1:14
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About This Class

Class Description

Hello everyone welcome to my latest class. I’m Jen Lezan and I’ll be  the one guiding you through this creative course. I’m a freelance graphic designer, illustrator and educator based out of the midwest and I run Bella + Sophia Creative studio. If you want to learn more about me, check out my youtube channel: The Freelance Life to get a behind the scenes view of the work I do as a freelancer and the work that goes into making classes like this one. If you want to see more of my work you can visit me online at http://www.bellasophiacreative.com I am a huge advocate for sharing knowledge and education in an accessible ways and I have found that places like Skillshare and Youtube allow for that and allow me to connect to a diverse group of people looking to learn and grow. 

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This month, I wanted to do more than just teach a course, I wanted to inspire each of you to find ways to use your skills, talents and creativity to do some good in this world - even if it is just in sharing art work that supports a cause. Design is often used to solve problems, create beauty, guide direct and inform - it’s only natural that it is and can be used as a tool for social change.

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At their core, designers are essentially problem solvers and and we are in a time in history that showcases the desperate need for change in communities of color and a deep for creative solutions to some very big problems. I see it in my own community as a Latina, I see it in the Black, Brown, Indigenous and Asian communities and I also see it playing out on the world stage. There have been tragedies nationwide, there is a deep rooted dark history in the US and while people don’t like to talk politics, those very politics inform all we do and all we experience and often target marginalized Black, Brown, Indigenous, Asian and other communities of color. Personally, I utilize my design and art as a form of activism as well as a tool to inform and educate. I believe we all can and I believe it is incredibly important to uplift the voices of the most marginalized — specifically the Black Community. As I worked on this class, the video of Adam Toledo - a young 13 year old boy who was gunned down in a community not too far away from where I grew up on the West  Side of Chicago, was released. During this same week protests were erupting once again in Minneapolis due to the shooting of Duante Wright, meanwhile I was watching the court proceedings in the Chauvin Trial. For months prior during this entire past year (and yes I know for much longer than that) the Asian community was targeted due to the terrible rhetoric that was pushed relating to the Corona Virus outbreak. All last summer, I watched on TV and also participated personally through my creative work and as a protestor in some rallies and protests for Black Lives Matter. Our country just reached 1.8 Trillion dollars in student debt. Amazon workers are still fighting to unionize, many essential and fast food workers are still fighting for a $15 minimum wage. And we STILL DON’T HAVE UNIVERSAL HEALTHCARE. I know not all of you may share in my concerns, but I know many do and many wonder, well what can I do? Well, you can create, you can support and you can be an ally if you are not directly impacted. If you are directly impacted, you can channel your energy and emotions into your design work and continue to educate the public, fight for change and design for good. 

What the class is about + Skills You Will Learn

 Now that I have your attention, in this class -  we are going to learn about design for good and go beyond just theory and ideas and find ways to apply it in our every day practice and in our communities. I am going to share some examples from the world of design as well as 3 case study projects I’ve personally worked on through my own community service work and activism. I will then walk you through creating your own cause related project that you can use on social media or as a print asset to take with you to your next protest or rally. 

This class is meant to help you explore the concept of designing for social impact on a deeper level. It is by no means comprehensive, but it is a start. And one step is the beginning to creating a movement. Please notes, this course goes through subjects matter ike social justice and progressive change and may not be for everyone, but I urge you - if you are a designer and the things I mentioned in my intro made you uncomfortable - to take this class and expand on your world view. Sometimes, approaching the things we are scared of or frustrated by or unaware of head on, can allow us to grow and evolve in a beautiful way. 

In this class, we are going to learn the ideas theories and practical application of design for good. Then, we are going to put those ideas to work by creating our own design for social good project. We will also be working in the Affinity Designer software and I will help get you comfortable in the program if it is your first time working in it. If you don’t have access to the software or any design software, you can still take this course and apply it to a more traditional project using art supplies like pencils, paper, paint and poster board - keeping in mind the ideas that we go over. 

ACCESSIBILITY NOTE - If you are someone in BIPOC community or someone struggling financially and can not access Skillshare premium, but want to take this class - Please email: Bellasophiacreative (at) gmail.com with the subject line - Design for Good Class Access - and I will email you a free class link no questions asked! 

CREDITS

Stock Photos and Videos Courtesy of Pexels.com - Additional protest photography and videos by me. Unity Rally Photos by: Lisa Curran Debt Collective Protest photos courtesy of The Debt Collective + me. 

Music: Alone by Emmit Fenn + Subway Dreams by Dan Henig

Meet Your Teacher

Teacher Profile Image

Jenny Veguilla-Lezan

Latinx Designer & Illustrator

Teacher

 I am a Chicago-born Latinxer (I'm a proud Puerto Rican and Mexican American) millennial, an educator, and a freelance creative with experience in graphic design, digital media, illustration and surface pattern design. I am also a mother of two  who is in on a mission to reach all the creative goals I've set for myself while trying my best to be a positive influence on the world.

I have 10+ years of experience in the fashion and creative marketing industry in both the corporate world and teaching as a professor in Higher Education. I am working on building course offerings that bring people a new perspective and opportunity to take your design and art to a new level.  I am pushing for continued growth, running my indi... See full profile

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Transcripts

1. Design for Good Intro: Hi everyone. Welcome to my latest class. I'm gentle done, and I'll be the one guiding you through this creative course. I'm a freelance graphic designer, illustrator, and educator based out of the Midwest. And I run belongs to feel creative studio. If you want to learn more about me, check on my YouTube channel, the freelance life to get a behind the scenes view of the work that I do as a freelancer. And the work that goes into making courses like this one. If you want to see more of my work, you can visit me online at www dot Bella Sophia creative.com. I am a huge advocate for sharing knowledge and education in an accessible way. And I found that places like Skillshare and YouTube allow for that and allow me to connect with a diverse group of people looking to learn and grow. This month, I wanted to do more than just teach your course. I wanted to inspire each of you to find ways to use your skills, talents, and creativity to do some good in this world. Even if it's just in sharing artwork that supports a cause. Design is often used to solve problems, create beauty, guide, direct, and inform. It's only natural that it is and can be used as a tool for social change. At their core, designers are essentially problem-solvers and we're in a time in history that really showcases a desperate need for change in communities of color and a deep need for creative solutions to so very big problems. I see it in my own community as a Latina. I see it in the black brown indigenous and Asian communities. And they also see a playing out on the world stage. There had been tragedies nationwide. There's a deep-rooted dark history in the US. And while people don't like to talk politics, those very politics and form all we do and all we experience. And they often target marginalized black, brown and indigenous, Asian, and other communities of color. Personally, I utilized my design and art background as a form of activism, as well as a tool to inform and educate. I believe we all can, and I believe it is incredibly important to uplift the voices of the most marginalized, specifically the black community. As I worked on this class, the video of Adam to level a young 13 year-old boy who was gunned down in a community not too far away from where I grew up on the west side of Chicago, was released during the same week, protests were erupting once again in Minneapolis due to the shooting of Dante, right? Meanwhile, I was watching the court proceedings and the Shogun trial and four months prior during this entire past year. And yes, I know for much, much longer than that. The Asian community was targeted due to the terrible rhetoric that was pushed due to the coronavirus outbreak all last summer, a watch on TV and also participated personally through my creative work and as a protester and some rallies and protests for blacklivesmatter, our country just reach $1.8 trillion in student debt. Amazon workers are still fighting to unionize. Many essential fast food workers are still fighting for $15 an hour minimum wage. And we still don't have universal health care. And I know what's lot and all the, not all of you may share in my concerns. But I know that many of you do. And many wonder, well, what can I do? Well, you can create, you can support, and you can be an ally if you're not directly impacted. And if you are directly impacted, you can channel your energy and emotions into your design work and continue to educate the public. Fight for change and designed for good. 2. What You Will Learn, Tools Needed + Course Project: Now that I have your attention in this class, we're going to learn about design for good and go beyond just theory and ideas and find ways to apply it in our everyday practice and in our communities. I'm going to share some examples from the world of design, as well as three case study projects that I've personally worked on through my own community service work and activism. I will then walk you through creating your own cause-related project that you can use on social media or as a print asset to take with you to your next protest or rally. This class is meant to help you explore the concept of designing for Social Impact on a deeper level. It's by no means a comprehensive class or overview, but it's a start and one step is the beginning to creating a movement. Please note that this course goes through subject matter like social change and progressive change. And it may not be for everyone. But I urge you if you're a designer. And the things that I mentioned in my introduction made you uncomfortable to take this class and expand on your worldview. Sometimes approaching the things that we are scared of or frustrated by or unaware of head-on can allow us to grow and evolve in a beautiful way. In this class, we're going to learn about the ideas, theories, and practical application of design for good. Then we're going to put all of those ideas to work by creating our own design for social good project. We will also be working in the Affinity Designer software and I will help you get comfortable in the program if this is your first time working in it. And if you don't have access to the software or computer or any type of design software. You can still take this course and apply it to a more traditional project using art supplies like pencils, papers, paint and poster board. Keeping in mind all the idea that we go over and applying it in a more traditional sense. So when it comes to tools, my suggestion would be a computer, whether it be a laptop or a desktop, it doesn't really matter just as long as you have Affinity Designer on it. I would also suggest having some really large-scale paper. My printer prints up to 13 by 19, but some printers print up to 11 by 17. So that's what I would suggest. And then a printer. And if you don't have access any of these tools, like I said before, you can utilize traditional art supplies like paper, pencil pens, markers, paint, and poster boards. So for our class project, I want you to be inspired to take the lead. I'm going to be walking you through how to create a protest poster, essentially in Affinity Designer. But if you don't want to create a poster, you can create something else. You can create a visual that you would like. It could be something for social media visuals that can be shared on Facebook or Instagram, whatever you feel called to do. Make sure though that you share your final project in the class project gallery. I would love to see what you create and what you're inspired by. I'm looking forward to creating and growing with you today. Let's get started. 3. My Story + It's Impact on my Career: So before we begin exploring design for good and looking at the case studies, I think it's important to share my personal story as my journey has influence not only the trajectory of my career and life, but also the service centered volunteering that I've come to do over the years. I am a Mexican and Puerto Rican American, and I was the first in my family to graduate high school and graduate college. I grew up in poverty to a single mother on the west side of Chicago in a neighborhood called Humble Park. I witness abuse. People that I love deeply were impacted by drug addiction and gang violence. And I sell things that people would think most kids should never see, but that's just the reality for most inner city kids. I went to Chicago Public Schools and toes about 12. And the schools and our communities were and still are some of the most segregated schools in the nation with majority black and Latino students. And even today, there's still underfunded and under supported education is an incredibly important part of my journey and purpose. My experience in the CPS taught me early on that inequity is something very commonplace in poor communities. But many who come from places of privilege don't understand that. When I became a professor, I knew I wanted to inspire other people who came from backgrounds like my own to follow their dreams. But I also know the difficulties we face when it comes to overcoming the hurdles of life. So I've made it my purpose to help as many people with upbringings more to my own as I can in my career as an educator, I also made it a point to educate myself on the history behind the racism that is deeply rooted in this country. I've experienced racism as a Latino but and make it a point to that center myself, as I know, far too many in the black communities who have experienced unspeakable things. I've made it a point to educate myself and be a role model for my own children to learn and support organizations like Black Lives Matter so that we may be an ally for communities of all color, not just our own. My mother didn't graduate high school because she was pregnant with me at age 17. She moved us to the suburbs when I was around 12, but our problems still followed. And trauma is a connecting thread throughout my story and many of the stories of troubled youth that we see and hear about in the news. And that trauma led me down a path of depression and anxiety as a teenager and to a mental health crisis. When I was 19, thankfully, I was able to connect with a youth organization that helped me work on healing and taught me healthy coping skills. The very organization is one that I dedicated quite a few of my years to in my adult life as both a volunteer and a youth mentor and as a professional working on their prevention deme, I speak on a journey with mental health from time to time over on YouTube. And even as an adult, it's something that I still have to work on. And that is why a founded, fulfilling and important to support organizations that work with at-risk youth and focus on things like mental health and therapy. Despite the hardships that we face. Mother wanted to do everything in her power to do butter from a younger brother and I, that moves to the suburbs. So the first step, she believed that me going to college and graduating high school would help break the cycle of trauma and poverty that our family experience. And this is actually where my journey leading to working with the debt collective began. The debt collective is a social justice focused others union using its collective power to fight for anti-racist economic policies, better conditions in our financial lives for more equitable society through things like fighting to cancel student loans and access to publicly funded goods like education, health care, housing, and more. So how did I get there? My mother didn't know much about higher ed. She didn't know that it would be cheaper to attend a community college. But as a professional working in higher ed, even community college costs have risen exponentially and are becoming out of reach for many, My mother didn't have savings for college for me. And I think it's important to elaborate that this isn't for lack of trying. This is because we live paycheck to paycheck as she worked as a housekeeper, I even started working at 14 to help her to ensure that our lights and our heat wouldn't be turned off and that we wouldn't get evicted. We had no generational wealth. There was no amount of bootstrapping are saving we could have done to allow me to have for oral afford college. At 17, I had to leave home to live on my own. And at 18, it took in my younger brother for a couple of years due to the domestic violence that my mom was suffering at the hands of her then boyfriend. And despite all of this, I managed to graduate high school or early. Yeah, I had to navigate the process of pursuing higher item my own on top of working and taking care of myself and my brother and had to take out student loans come with the cost of tuition. Was also recruited by a for-profit college, a school that recruited me with some very unethical sales practices and they sold me lies about job placement after graduation salary potential, and they essentially offered me a cut rate, and that cost me a $100 thousand. And then I graduated into the 2008 recession, a pursuit grad school and hopes that it would offer me better opportunities. And despite graduating the top of my MBA class in 2011 and all the hard work that I put in as a woman in a Latin X millennial, my income has not kept up with inflation. I also faced gender wage gaps and I worked in corporate for many years and then I pursued academia. But the reality is that most universities and colleges today don't put people on tenure track anymore. It would rather hire adjuncts at low rates so that they don't have to give them benefits. So here I am often overqualified and underpaid as an adjunct professor. But I make it work. I love what I do, but I won't lie. The career is a struggle due to the very low pay. And personally, I don't think it's just for employees to have to make sacrifices for the opportunity to do what we love. Equitable wages are important and much too often places put profit over people. But like I said, I do what I can work hard to make it work. I'm over a $170 thousand in student debt with no relief in sight as of now. And I worked three jobs, teach in higher add a freelance, and I teach online through platforms just like Skillshare. And I'm also a mother to an eight year-old and a 13 year-old daughter. And I'm fighting for their future and for others like me, and maybe for you if you are in student debt. And my story isn't unique though. I'm one of the many in the working class, poor and BIPOC communities who worked to claw their way out of poverty and warrants that left with insurmountable debt. We are often told we didn't do enough yet. We never had enough to start with. Instead of allowing myself to become a victim of my circumstance, I work to make a difference, to channel my anger, my emotion, my feelings, and my experiences organizing through activism, through my art and design and volunteering with organizations like the duck collective or the US services organizations that I have in the past or supporting things like Black Lives Matter and the unity rally than I was a part of last summer through all of these things, have been able to make a small difference. And when it comes to the deck collective, I'm part of a group of students strikers, and I believe that education is a right and we're fighting for very big changes. I shouldn't have had to mortgage out my life to better it. So I channel my experience. And so the time I give as a volunteer and as a community leader, and my hope is that I will leave this world a little bit better than I found it. 4. What is Design?: So before we even begin to explore what design for good means, we have to take a moment to understand what design is. When we think about the term design. When it comes to things like visual communication, most individuals think along the lines of graphic design, which is the art or profession of visual communication that essentially combines images, words, and ideas to convey information to an audience in hopes of producing a specific outcome or action. Basically getting them to learn something or take an action like make a purchase. But the design world is complex and the industry truly has vast opportunities relating to visual communications. And with that comes a vast number of ways to connect with other humans through design. So according to AIGA, the traditional role of design has been to improve the overall visual appearance and function of messages and information. Designers are problem-solvers that take information, decipher it, and then showcase that information in ways that educate and form, delight and support the interests of the potential viewer. So here are some really good examples of this, where looking at the publishing industries, they typically rely on designers for printed and online books, magazines, and newspapers. Designers help businesses stand out from their competitors in the marketplace through innovative approaches to things like branding. And by helping them to develop the comprehensive design of messages, products, and services that express the character of that company and define its relationships with consumers. What do we look at the advertising world? Advertising design promotes the marketable qualities of commercial products and services through a variety of communication media, from web ads to social media communication, e-mail marketing, and so much more. Information designers translate complicated numerical and textual explanations into visual forms known as infographics. And these help people see patterns in data and relationships among the components of complicated ideas. And all of these practices, designers use typography, photography, illustrations, and graphic elements to construct messages that attract attention. And then those caused us to think about their meaning and stay in our memories over time and then essentially get us to take action. 5. What is Design for Good?: So now that we understand design in general, let's talk more about design for good. So this idea of designed for change design for social impact and human-centered design. Design for good often encompasses a broad set of ideas that all kind of interrelate with one another. These ideas include design for Social Impact, designed for change, and human-centered design. When we're looking at all these ideas behind design and channeling them into social movements that are meant to help spark positive social change. That's what we're talking about when we say designed for good. Whether it's through charity centered design work and campaigns, or a larger scale social movement designed for good takes Design Thinking and human-centered design and focuses it to build creative solutions that make the world a better place designed for social impact or social change is the practice basically of interrogating systems, essentially shaking things up in relation to institutional, economic, social, political, intrapersonal. So that we may define opportunities for change that give voice to those who have been disenfranchised or marginalized by society and even by design. The idea of what happens when design is employed to make a difference is literally brought to life when we're creating in this space. In many cases, we see designed for good looking to help solve social problems and create change. We see a lot of it and social justice causes like Black Lives Matter or the sunrise Movement, or through programs like everyone, every day where designers and East London help communities rebuild connections for people in low socioeconomic communities with simple acts of sharing food skills and making things together, which then lead to opportunities to build microbusinesses designed for good, connects designers and communities and allows for creative problem-solving. This concept is always applying the ideas behind human-centered design, human-centered design mindsets and tools applied to these incredibly social problems that surround us like poverty, homelessness, child abuse, financial exclusion, hunger, racism. And it allows us to creatively problem-solve to help create change. We see this a lot and advocacy and activism, but that's not the only place where this is happening. Design is finding a seat at the table and policy development, traditional non-profit, international development, social impact consulting, corporate social responsibility, and social good Think Tanks and so much more. It's really important to note though, that when we're doing design for social impact or designed for good, designers, are often given a lot of power. Proposing to work on behalf of people who have traditionally been excluded from power. Encountering that vulnerability means that designers have to ask big questions about how they should wield their influence and control. And due to this, we're seeing the development of some newer thinking around equity centered design. These are frameworks from the Stanford Design School and Creative Reaction Lab's that have worked essentially to challenge the status quo. So why is this important? Well, it's important because some people that use design thinking are often separate from the communities that they're trying to understand. That go into the community to observe and to learn, and then they leave to create a solution. On the other hand, equity centered community design focuses on dismantling systemic oppression and creating solutions to achieve equity for all. In these situations, I think it's vital that designers directly come from the communities that they're working in. That designers of color, designers from the BIPOC communities are uplifted in these situations and given a voice and take lead on these projects. 6. Design for Good Applied : So how is designed for good applied when it comes to designing for social change? Solving the very complicated and interconnected problems that we face in this world requires giving people agency access and the ability to actually take action to create that change. Over the course of history muddy in the design industry have looked to create designs that improve the lives of the people who use them. Yet, during this precipice of change in time today, many designers are called to help create change for society as a whole. And I think this is where the concept of design for social change really blossoms. Design at its core is focused on solving a problem. Yeah, historically, some of the greatest problems that face society have only been tackled through systems thinking approaches by policymakers, economists, and civic centered organizations. This approach as it relates to laws, government initiatives, and global non-profits has worked in the past, but often this approach has been undermined by really slow adoption or cultural inappropriateness. Human-centered design and the concept of design for social change can really help alleviate some of these issues. These concepts ensure that the solutions that are created take into account the motivations, the needs, the values of the people that are impacted most by this change. Social change requires not only system redesign and in changes in individual behavior, but it also requires transformative change in cultural and societal norms. And as designers who want to help create social change, we have to recognize the interplay between systems and humans. It's important for designers to realize that we have to ask who holds power and the systems that we're surrounded by or creating four. And what do we do that it becomes quite obvious that the person that we think we're designing for is not always the person we should be designing for. One key thing to designing social change is to have a deep understanding of how the design of experiences needs to drive actual individual actions. And this can then lead to many people taking action. And that in turn helps to create wide-scale societal change. In order to do this and create these affective experiences that lead to positive social change. I believe that we have to get the people involved that we're designing for in the process. 7. Principles of Human Centered Design: Using the human-centered design approach, we can effectively work to create systems and design work that takes those who are most marginalized into account and can allow us to create with their input. There are three principles that are usually utilize when you're using human-centered design approach. And that's agency access, an action. So let's talk about this first-principle agency. Agency is a person's belief in their own capacity to influence their own thoughts and their own behavior, no matter how small their actions are. As designers and creatives, when it comes to design for good, we have to think about whether or not we're providing those that we're creating for agency, especially those who are underserved or from marginalized communities. Human-centered design focuses on the need to start with empathy building, and including the community or the user in the process through things like needs assessments. And this all provides a starting place to understand the individual or the community situation when it comes to agency, the second principle I want to look at is access. When it comes to the designing for access, this means that we're designing experiences that utilize the tools and services that are readily and easily accessible within people's day-to-day life. Basically, we want to make it easy for someone to do something or to take action. It's also helpful to explore what obstacles currently are in the way of access and what opportunities exist where you can help to increase that access. And the final principle I want to discuss is action. No experience or campaign can spark change without individuals and communities taking action. When we create or designed for action, that means we understand how people behave and we take, we make it a point to learn how people behave if we don't have that understanding and then keeping that in mind as we're creating so that people are inspired or driven to take action toward the change that we are working towards. 8. Case Study 1 - Black Lives Matter: Now that we understand these concepts, let's explore some well-known case studies and then some of my own personal projects that show these ideas in action. Case study. One Black Lives Matter problem that we're looking at is racial prejudice and inequity. What is this organization doing? Well, they're fighting for racial justice, freedom, and liberation. They're fighting for a world where black lives are no longer systemically targeted for demise. The organization was founded in 2013 as a reaction to George Zimmerman's acquittal for killing 17 year-old Trayvon Martin and has become a strong voice in the struggle against institutionalized racism. In this context, we're going to look at it as a campaign that strives to impact social change. The campaign in of itself has been incredibly successful in raising and elevating the issues relating to racial justice and getting people to create discourse on the subject that has been far too often swept under the rug or considered taboo in American culture and media, the organization continues to bring nationwide attention to the issues of police reform, building a movement with the creation of over 30 chapters throughout the US and building a tremendous following on social media and through online platforms. The success of a campaign is in part due to the accessibility of the movement, which is ruled through online participation, but also because of the agency and the action that has been integrated within Black Lives Matters since its inception throughout the campaign, people can organize easily through the use of a smartphone. The Movement inspires both in-person protests and actions, as well as developing a community on mine. And this online activity actually reinforces and supports the traditional in-person actions that the organization is known for. Black Lives Matter also helps to avoid the idea of collectivism by promoting the belief that taking control of the content and the stories of injustice that are captured and shared online, that they can be a catalyst for change. The purpose of participating is not just for clicks or likes, but to actually change the narrative of the media by essentially becoming the media. The campaign is easily accessible offline and online materials, toolkits and social media assets are easily accessible through their website. And what I think is really important and vital within these toolkits and promotional materials is that they're created to inform and educate, as well as to inspire organizers to take local action and inspire individuals to grow and fight for change. 9. Case Study 2 - The Sunrise Movement: Case Study 2, the sunrise Movement. The problem the sunrise Movement is attempting to solve is climate change. So what is this organization doing? Sunrises, a movement to stop climate change and create millions of good paying jobs in the process, the organizers who are people from all paths of life, grow their power through talking to their communities. And as a nonviolent movement, their activism in 2019 jump started to focus to build support among a wide array of constituents for Green New Deal, the plan that would essentially transform our economy and society at the scale needed to stop the climate crisis. It is lead and move forward by various youth and people from all walks of life. It's about solutions, halting climate change and creating tens of millions of jobs by upgrading America's outdated energy infrastructure, the organization holds dear the idea that we can enter a new age of prosperity and health and bring forward the people who this country is left behind. They called themselves sunrise because they know that this dark hour in America cannot last. A new day will rise. The sunrise Movement, youth activists use social media to disseminate their messages and to counteract conservative nay-saying. They use the power of the classroom, the living room, and the worship hall to reach out. And they believe that public opinion is already with them. And that belief is backed up by the Yale Program on Climate Change Communication. They talked to everyday people about the climate crisis that gathered for a sit in and answer blows his office. They worked together to make the green new deal or reality with legislators and US citizens, the sunrise movement creates agency and as accessible due to the in-person opportunities available as well as the online options people can choose to take part in. They have local sunrise hubs that people can connect with to learn about what is going on in their direct community. People can also attend virtual welcome calls and throw it on Thursdays, which are basically virtual training events that focus on advocacy skills and ways to take action across the country. Sunrise has something really special called Sunrise creative school. The organizers see sunrise as a creative movement. And sunrise creative school is basically art school for the movement. They focus on things like graphic design skills, tools and strategies for organizing, as well as visual art and video production as an organizing tool. And these opportunities allow people to explore and dig into sunrises visual strategy, the tools that they use to make art market their program in there, events and design. These opportunities allow people to explore and dig into sunrises, visual strategy and the tools that they use to make art and design with a clear message and shows the power of the group's actions that essentially lead to growth in the movement from programming to material. So social media and informational toolkits, the material support the movement and help inform the public and creative ways about the problem of climate change and how we can collectively fight to end it. Brand guides are shared online so that organizers can create and design on their own. But in the accordance with the messaging and visual identity of the sunrise Movement. 10. Case Study 3 - The Unity Rally: Case study three, unity rally the problem, racial prejudice and inequality in a suburban community. The focus to promote solidarity and address ongoing issues for community members of color and the Western Berg's of Illinois. What did the organization do? So in the summer of 2020, I had the opportunity to team up with a group of diverse individuals in my community to organize a unity rally and the community Alliance for diversity and reform. The event was family friendly. It included speeches from prominent organizers and our local community, offered patrons the opportunity to register, to vote and had representatives from our local NWA CP present. The goal of the event was to promote solidarity amongst all communities of color to show support for the Black Lives Matter movement. And it also worked to create discourse and provide information relating to racial issues that many in our community continue to face. I had the opportunity to work with this group to build out a website, branding, messaging, and a promotional suite for the event. Vision of the event was to focus on building bridges, to unite diverse communities, fighting for reform. The goal behind the branding was meant to showcase solidarity, diversity, and inclusivity. The purpose of the materials was to promote the rally and sponsors. And it included large posters, small fires, social media messaging and design, as well as additional elements like stickers for event goers and sponsors. The materials work to inform about the event with the group stood for and support of and allowed the audience to learn more by visiting the website, engaging with the organizers via social media, and to take action in their community by attending the event and connecting with others in the community. 11. Case Study 4 - The Power of Choice: Case study for 36 EU Services, the power of choice campaign, the problem, socioemotional skills and substance use abuse in youth. The focus 360 Youth Services coordinates this highly effective and proven drug and alcohol use prevention campaign for students in two separate school districts, for both the middle schoolers and high schoolers. The power of choice Initiative focuses on correcting misperceptions about the prevalence of substance use and emphasizes that most students are making healthy choices regarding tobacco, alcohol, and drugs. It utilizes classroom presentations, posters, journals located in the schools, bathroom stalls, and many other types of media and communication tools. I had the opportunity to volunteer with 360 use services in their community Alliance for prevention as a board member for multiple years in my late 20s, early 30s. But I was able to put to use the concept of design for good During my time working for the organization on their prevention team, coordinating their middle-school power of choice campaign. This was an incredibly fulfilling opportunity. It allowed me to not only use my skills as an educator, learn about drug prevention and teach students social emotional learning skills that allowed them to continue to make healthy decisions relating to substances. But also it allowed me to incorporate a design background. I help the prevention team rebrand both the middle school and high school power of choice campaigns. Keeping in mind the focus of the campaign, we took a more modern approach to materials for both students and parents. We updated and redesign posters and visuals and materials as well as toolkits for schools. We launched social media campaigns aimed at local parents. And we created an informative e-mail campaigns to add an attack touch opportunity for local community members. When it came to the visuals and focuses of the campaign, keeping in mind feedback from the community, including parents, community members, and especially students. And we coordinated this through surveys that we developed and we were able to have these done in the local middle schools and high schools. After we receive feedback, we were able to push forward with more diverse and inclusive photography, visuals and messaging. All of the campaigns through 360 youth services were trauma informed, educational and focused on social emotional learning for youth that inspire them to take action by making healthy decisions relating to drugs and alcohol. That campaigns also cut parents informed and allowed them to take action by being present, connected, and responsive to their teens. 12. Case Study 5 - The Debt Collective: Case Study 5, the debt collective problem, the unjust, that's an inequality when it comes to access to things like education, housing, and medical care, what the organization is doing, the collective is a debtor's Union fighting to cancel debts and defend millions of households. Your organization invites people to join and build a world where colleges, publicly funded health care is universal and housing is guaranteed for all 1 million new people default on their student loans every year. The debt collective believes that no one should be forced into that for an education, for medical care, or for access to housing. They're the ones organizing behind the fight to hashtag cancel student debt. And when College for All, we use our collective power to fight for better conditions in our financial lives and a more equitable society through the cancellation and renegotiation of debts, access to publicly funded goods like education, health care, housing. We'll also focus on anti-racist economic policies and so much more. I am currently an active volunteer and Dutch trigger for the debt collective. I coordinate a local chapter here in the Midwest, and I am also the art and design work group lead, creating alongside six amazing individuals helping to bring the duck collective vision to life through visual communication and marketing. I am also a part of the Biden Jubilee 100. We are 100 student debt strikers, one for each of the first 100 days of Biden's presidency. As our communities are struggling in the midst of the COVID pandemic, millions of us are facing eviction and food insecurity. All suffering from exploding medical costs, rising tuition, unpayable bills, the perpetual fear of illness. As a collective, we believe that Joe Biden and his administration need to act immediately and cancel student debt through both in-person and online organizing. The duck collective has managed to connect thousands of individuals nationwide and has begun building the first ever debtors Union through virtual trainings, in-person protests and online actions and events, we have empowered people impacted by all forms of debt to come together and organized for systemic change. As a part of the art and design work group. I've had the opportunity to work alongside and lead six amazing creatives to develop branding for arbeiten Jubilee campaign, as well as marketing materials for the national debt clock of campaign, which includes things like visual brand and assets. Brand guides, marketing toolkit, social media designs and posts, animated assets, media kits, and Week of Action assets that included things like flyers, social media stickers and protests posters. I personally developed our marketing toolkit for our Jubilee school events, our Week of Action flyers, Week of Action stickers, as well as assisted with designing general social media posts for the collective, as well as our Week of Action Events. The purpose of the designs were to inform our audience and potential debt union organizers about our campaign, what we're fighting for, and what the issues are. We made it easy for our organizers nationwide to access assets to the use of Google Drive and digital toolkits. Our marketing and promotional materials helped individuals learn how they can take action locally or nationally, whether by joining the union at the national or local level, organizing a protest, signing onto our Action Network campaign, or sharing our campaign online through the use of human-centered design, we incorporated the community of debt strikers into our process. We made it accessible to those beyond the collective and into the communities through the websites and the ease of access through platforms like Google Drive. And the hope is to drive action through individuals joining our debtors Union, informing their community about our fight and what we're doing, signing our petition or organizing their own local action in support of canceling student debt. I'm so glad that I have been able to work alongside talented creatives that continue to inspire me to create for change. 13. How You Can Get Involved: So before we get into our project, I think it's important to share some ways that you can get involved. You can check out the organizations I mentioned, or you can start your own research. I suggest that you think about the things that impact you, your community, people you love, or something that you really care about. And then just Google it. Start researching, learning, and seeing what organizations are out there already that you can volunteer with or give your time and skills to. Another really great place that you can find resources and organizations is through AIGA is designed for good initiative. I'll include the link in our resources. Or you can just visit www.AIGA.org slash design dash or dash. Good. I hope you're inspired to do some good for the world with your talents. 14. Tips for Designing : So for our class project, before we begin designing, I want you to think about what problem you would like to address. Maybe you're already volunteering somewhere and have a concept in mind. Or perhaps you're going to attend a local action or protest in your area. Think about what that action or event is about or focused on, and allow that to inspire the visuals and the messaging that you're creating. Before we jump into designing, I want to share some design tips for you to keep in mind. As we're creating. The elements of graphic design are vital and creating impactful visual communication. The elements of art are the basic units of any visual design that form the design structures and conveys its visual messages. The elements of graphic design are as follows, line, shape, color, typography, texture, and size. When we're looking at line, line is the most basic of the design elements. Lines can be curved, straight, thick, thin, two-dimensional, three-dimensional, whatever really, align is simply an element of design that is defined by a point moving in space. Shape is a two-dimensional defined area created by lines. Different types of shapes include geometric, abstract, inorganic shapes, and all of these are basic elements of design. Color is one element that is especially important in attracting attention because there is psychology behind the fillings that color can evoke. There are three main characteristics to color. Hue, which includes the color family, value, how light or dark that color is, and saturation, the purity of that color. Typography is the art of arranging type. This one is critically important as it can greatly affect the designs messaging different weights, whether you're using bold regular light, combined with fluoride sizing colors and spacing can add power to the concept that designers trying to communicate. Texture and design refers to how things look like they'd feel if there were to be touched. For example, texture can be rough, smooth, glossy, soft, hard, etc. Texture is another element used to draw attention. It can be added to other elements like shapes, colors, images, and type. Size is simply how small or how large something is. Indesign sizes use as an indication of importance. And it can also help to create visual interest in a design by using contrasting sizes. Base refers to the area of design that are left blank. These areas include any distance or areas between, around, below or above other design elements. Designers intentionally play spaces in the design to add emphasis to areas of the design, or also to allow the eye to relax. Now let's talk a bit about the principles of design. The principles of design allow our visual communication to successfully convey our message. These principles suggest how the designer should best arrange the various components of a page layout to ensure that the elements of the overall design are connected to one another. The principles of design include the following. Balanced alignment, proximity, repetition, contrast. So balance is about achieving visual balance in graphic design, and this is done using symmetry and asymmetry. This is achieved by balancing the design in weight, meaning the shapes, line, and other elements are distributed evenly. So even if the two sides of the design aren't the exact same, they have similar elements. Balance is important because it provides structure and stability to an overall design. Alignment is about keeping the design organized. All aspects of the design should be aligned with the top, bottom, center, or sides to create a visual connection between the elements. Proximity creates a visual relationship between the elements of the design, minimizes clutter. It increases viewer comprehension and it provides a focal point for viewers. It doesn't necessarily mean similar elements need to be put right next to each other. It just means that they should be connected visually in some way, repetition. Once you've decided how to use your elements, sometimes it's important to repeat those patterns to establish consistency throughout the design. This repetition ties together individual elements and strengthens the design by creating a feeling of organized movement. Contrasting is used to emphasize certain aspects of the design. Using contrast allows you to stress differences between the elements, ultimately highlighting the key elements of your design that you want to stand out. Not all of these elements have to be included in your layout and design of your poster, but they should be thought about in your work. I would suggest referencing these ideas as we continue to create in the next part of this class. 15. Setting Up Your File + Poster Design Tips: Now that we understand what design for good is and how it can be applied, let's actually work on a project that takes some of those ideas and principles. And let's create our own protest poster. I will be sharing some tips and tricks to keep in mind while you're designing these layouts. But I want you to keep in mind some of the elements of design principles of design that we talked about earlier. And then have them in the back of your mind as you're creating this poster. First things first, let's launch Affinity Designer. I'm going to actually keep my workspace a bit minimized so that we can pull up the concept that I had kind of mapped out over and procreate for what we're going to be working on with this poster. This is the concept that I just kind of threw together in a fit in Procreate. Just this idea of a sunrise and the idea of rising to fight another day, fighting for justice, fighting for change. So this is going to be the base of the concept that we're going to be working on. I always like to kinda of like thumbnail ideas out. So this started off as a thumbnail in my notebook. And then I just quickly did a digital rendering of it in Procreate. And now I'm gonna do the final kind of vector base of this in Affinity Designer. So when we're in Affinity Designer, you'll see options above. For the Affinity Designer menu, you'll see tools on the left-hand side, and then you will see some additional areas here on the right-hand side, which include things that are colored border brushes are character for editing. Things like fonts are Transform tools and our layers once we set up a file. So to get started, Let's go into file and we're going to select New. And we're going to create a new file. Like I said at the beginning of the class, we're going to do something around like 11 by 17 size. And what we'll wanna do is update our layout and our color and just adjust some of these measurements. So what we want to change first is our document units from whatever it is on your screen, two inches. And then we want to keep 300 dpi because this is something that you'll likely want to print out. And I'm going to change my color format from RGB to CMYK. Um, because as I mentioned earlier, if you want to print this out, you're not just working digitally, you'll want to have a color format that will work with printers. So CMYK is the best option for this. And then depending on what kind of printer you have at home, that might impact what your selection is. Or if you're working with a place like, I don't know, Kinko's or FedEx. One of those printer options, a big box store. Ask them what their color formatting is and then just adjust based on that. So I'm going to select CMYK. And I'm going to change my page with To 11 inches and I'm going to change my page height to 17 inches. And then I'm going to select Create. And now you'll see we have this artboard was nice, is you can create multiple artboards. So I'll show you that first really quickly. So on this left-hand side, right underneath the black arrow there is this little kind of looks like an onboard. And when you select your artboard options, you'll get some elements that pop up right underneath your top menu. And this allows you to insert art boards based on different sizes so you can select your document size which just creates an exact duplicate. And then there are some additional sizes that you can create based on the settings in the app. So let's just keep document selected and then hit Insert Artboard, and then it'll give you two are boards that you can work with. We don't need this one though. So what I'm gonna do is just go to my Layers panel here on the right-hand side with that artboard selected, you'll see it's highlighted in blue. And then I'm going to select the little trash can icon at the bottom of these layers options and or remove that layer, it'll remove that artboard. We just need to work with this one today. And so that is what I'm going to do. And I'm actually going to turn off this preview so we can use our full screen and then I'll show you how you can add your image off to the side here. So what I'm gonna do is go into my top menu and select File. And then I'm going to scroll down to Place. And then I'll get this pop up. You can select whatever item you want. I'm going to go into downloads. I'm going to select my Untitled Artwork and then I'm going to hit Open. And then I'm going to tap anywhere onto my screen and it will place it into my art board. And what's nice is if you were say, exporting this final file, it won't export what is not on top of your actual art board. So I'm just going to move this off to the side so we have something to reference. Now before we actually begin rendering this out and designing this layout, a 10, offer some tips to keep in mind. So the one thing that I want you to keep in mind is when we're designing posters, obviously these are meant to be large. So it's really important that we make it easy to read from a distance. So that's why when I was kinda just coming up with concepts that kept in mind the texts that I was going to use. And I just used a really clean, simple bold font. And then of course we can update that in here, but we just want to make it so that it's easier to read from a distance. So the top priority of the posters generally just to obviously expose someone to something, right? So in this case, it's if you're at a protest, it's like a protest sign. You're highlighting your feelings or your thoughts relating to whatever it is that you are in action for. But say you design something for any event, for example. But in this case, a pull in some examples from my unity rally event, the headline is usually the most important. So you're usually going to have three key layers, your headline details and the fine print, right? So the headline is the main and largest text element in the design. And it can be in addition to an art element, or it could be the art element if you're doing something with beautiful typography or hand-drawn fonts. But it's important that you opt for a readable typeface that's interesting and also demands attention, then there's the details part of your poster. So information like in this case with unity rally, what, when, where. So you want to answer these questions in this second level of text. What information to someone needs to do? What is your posts are asking of them? Just provide information here and a really concise manner and ask for sizing. You want to look at your options. You can drop the size to about half of what your main headline is for a very clear hierarchy. Or you can continue to use a larger size and use another technique to contrast when we're talking about contrast in those different principles and elements of design, you could use a different color, outlines, things like that. The choice really just depends on the other elements and the importance of that secondary text. And then the third part you want to keep in mind is the fine print. This basically kind of explains itself. It's usually seen in things like movie posters or event posters. Maybe there's like some sort of website or informational piece that you have. It's not the most important. And usually you just kinda wanna keep it small and out of the way. And it's just something seen as like a second thought. Another fun way to kind of create visual interest is to amp up the contrast. You have really just like one glance to get someone's attention. And high-contrast actually really helps to make your visual stand out. So I was thinking about that as I was trying to figure out color options. Going bold with color and type can really help garner that attention that you're looking for. Also keep in mind size and location. Obviously with what we're doing, we wanted to make this quite large because it's meant to be kind of like a protest poster. But then if you're creating for something beyond this, maybe you're doing some work for a non-profit or an organization that you're really interested in supporting. Think about where those posters might be used. So here's another example with the power of choice posters. These were posters throughout middle schools, in a school district. And keeping in mind where these posters were, allowed me to design based on that news. I was trying to cater to youth. The information, anything that is like the main tagline was a bit larger to catch their attention, but I knew that they would be allowed to go up closer to the poster. So I was able to create a, another level of tax that might be a bit smaller, that would allow them to take the time to actually read it and learn about whatever the concept was when we're talking about social-emotional learning or substance use or substance use or abuse and things like that within this program. So where's your posts are going to be located? This factors in lots of different things, especially. Stuff like size of the poster and possibly aspect ratio. Some of these posters that I made had to be adjusted so that they can be shown on televisions in the lunch room. So I had to adjust the aspect ratio. I would end up making two versions because of this. Think about visual clutter around the poster. Luckily for me, in the schools, there's not much up on the wall other than approve school signage, so we didn't have too much visual clutter to worry about. Keep in mind what your call to action is. So knowing where your design is going to live can really help you make choices about how to create it. And the other. Another great tip is to use one big visual. So in this case, our big visual is obviously the sun. So whether you choose a photo and illustration or text, a dominant image is key. And just like tax, it needs to be readable or seen from a distance. So when designing posters, think tight close-up crabs are faces or elements, single item illustrations, common scene maybe with like a really sharp focal point. Now we'll see typography, things that have high intrigue. And after you select that, visual, be careful about layering elements and remember type and images need to have enough contrast so that they are independently readable from one another. Another great tip that you can utilize is using space when it comes to posters, using exaggerated spacing between elements can be really helpful. It might feel a little strange to do at first, but the extra facing can dramatically increased visual interests and draw a person's eye to a specific area on a poster. And I always tell my students that space, whitespace, quote unquote, you know, it doesn't necessarily have to be whitespace by lakes. Peace within your design elements is actually can. It could actually be a really beneficial thing because it can draw your eyes to key areas and also can give your, your eyes and opportunity to rust as well. Next, I want you to keep in mind a call to action, especially if you're designing a poster, say foreign event or some sort of non-profit thing, then you want to keep in mind the goal of your poster is it to get someone to learn something, visit a website to learn more, things like that. So including things like a call to action might be really helpful. You know, any additional information that you may want the viewer to have, give them a reason to go, move forward with it. And then the final tip I want you to keep in mind when designing posters as creating focus with typography. I'm poster design is one of those places where you can really have fun and be innovative and go crazy with beautiful topography. Of course you want to make sure it's readable. But some of the best posters are made with type and color and no images or illustrations. You see this often too, when it comes to protest signs, some of the strongest ones are really beautifully done type based posters that have a really strong message. But make sure you have fun in an experiment with Boulder wider, bigger typefaces that you might not feel comfortable using otherwise, this is definitely the place in the time to do that. 16. Creating Your Poster In Affinity Designer: Let's get started actually rendering this and getting it laid out. Alright, so the first thing we wanna do is just create some of, some of this line work. You could split your page directly in half, but I think it creates more visual interests if we're looking at this from the rule of thirds perspective. So I'm going to split my page down lower towards the bottom, and I'm going to be utilizing the pen tool for most of this. And then, um, the, the typeface tools that we have here. So if you go down about the sixth option in your left hand toolbar, that is your Pen tool. This is your vector pen tool. If any of you have ever worked in an Illustrator. This is a very similar tool. You can adjust your fill and your stroke. You see this right up top right now the fill is white. I'm going to have no fill here. And then I'm going to keep my shock black for now. And then I'm going to, and I'm going to increase the size of the width of my stroke care. So if you click on the little option to the right of where it says stroke right now it'll say none. And we're going to do is click on that. We'll get this pop up and we can adjust the width of our stroke. So for right now, I'm just gonna do 0.6 just so that it's easy to see. And then I'm going to go into my art board and I'm going to create a straight line. So I'm going to tap on one side of my screen and then I'm gonna hold shift on my keyboard so that I get a perfectly straight line and then I'm going to tap at the other side. And if you're noticing that you cannot see your stroke, you may want to increase it. You can go back to the same place we were before. Or we can also go into our stroke options on the right-hand side and we can increase the size of our strokes. I'm just gonna make this a bit bigger just so that it's easy to see right now and then we can go back in and adjust and revise. You could also adjust the cap of your stroke, whether or not it's rounded or squared, I'm going to have a square cap just so that it hits my edges nicely. And you can see this as we, as we zoom in. There's also a butt cap and then there is a rounded cap. So I'm just going to keep the Squarecap for now. And then I'm going to pull this all the way out to my edge here. And then that kind of creates the first area. I'm going to adjust this by just clicking on it. And I'm going to pull it up a bit so that we have more space at the bottom. And in order to adjust it in and have it go up exactly in line from its original placement. I can just hold shift and then move it upwards. And I think this is good for now. Once I'm done with that, I'm just going to tap out of the artboard and de-select everything. And then the next thing that I'm going to create is kinda like the circle shape of the sun. And what we'll do is we'll utilize our ellipse tool. What's great is that there's all these different options for shape tools that you can utilize. What you can utilize, the ellipse tool, the square tool, the rounded rectangle tool. And then if you click where the heart is, you may have a different shape. But if you click and hold down, you'll see all these additional elements. And actually instead of the ellipse tool, I'm going to utilize this segment tool. And basically we'll just go back to our art board. And we're going to go into our color options on the right-hand side here. And we're going to keep the outline black. And then I'm just going to go in and select a yellow color for the inside here of the sun. You can utilize this traditional color wheel, or you can go into your swatches. And once I have my color selected, I'm going to go onto my art board and I'm just going to drag the shape out. And I know this isn't look exactly the same, but that's the beauty of this shape tool. And what you'll notice is you have these little like red markers here, the top and the bottom. And this basically allows you to adjust the overall shape of your segment, of your circle segments. So I'm going to create it so that it's a half circle. And I'm going to drag it down. And then I'm going to adjust it so that just so that it's centered on my page. So once I'm done with that, then we can go in and begin to build the rays coming out of the sun so we can utilize the pen tool to create the shapes that go around. Or we can create full shapes that actually close so that we may fill it as we're working. The thing to keep in mind though with that is that we need to make sure that there's no issues with the placement and that we don't have any type of overlap. I think that works for this side. What's nice is that you can also copy this by selecting it, hitting Edit Copy, and then Edit Paste. And then we can transform it to flip it around. So we'll right-click with the option still selected. We'll right-click and then we'll select Transform. And then we'll flip horizontal. And then just holding shifts so that everything still stays in line. We'll drag this over to the other side. This just makes it easier to build these shapes. Now we want to repeat this process pretty much for the entirety of these lines here, so we'll make a shape. And what's nice is that we can also just adjust and edit the original shapes and lines as well. So if we click on this little white arrow, this is the node tool. We can adjust the nodes and how they look on this screen. So I'm just gonna go in and adjust these and bring them down a bit on. Then we'll go back now, click outside of our art board, go into our pen tool and basically create the lines for the rest of this. So I'm going to select the original shape. And then I'm going to use that as the basis of my line for this next area. So I'm just going to click on the last top node. And then I'm going to angle upwards and then bring it down to the sun. And then close it here. And then bring it up to my original node and close that there. And what's nice is we can utilize these nodes again to kind of adjust these lines. So obviously we have a straight line on a curve and we want it to be a curved line. So I'm going to select my node tool, go to this, the corner here. And I'm going to adjust it by clicking on the line itself and then using the arm that kind of pops out as my element to adjust the overall curve of this shape. You'll see these little arms kind of come out and you can curve up the bottom line here. And I'm just going to curve it just slightly so that it blends in. Blends in with this original curve of the sun. And it doesn't have to be perfect because what's nice is that the sun is actually, it should be if you're noticing that your lines look a little off, it could be that your son is behind these new lines that we're creating. So what we wanna do is select that sun. And what we'll do is go into our Arrange menu. We can just right-click on this and then we'll scroll down to arrange and we can select move forward. I don't need to do that right now because it's already forward. But if you notice that you have moved to front or moved toward available, select those and it'll pull it to the front. What you'll notice is if you move it back, I'll move it back just so you can see, you'll notice that your lines look a bit off. So we can do is just right-click, select a range and then move to front. And it'll ensure that we have the nice clean curve of this in front. So we're going to select this shape on that. I'm going to copy it and paste it. Then I'm going to right-click it and select Transform. And I'm going to flip it horizontal. And then I'm going to bring it over by holding Shift and dragging it to this side. And then I'm just going to keep doing this same process for the rest of these shapes. And then what we can do is also begin to fill this with color. So we'll select that original shape. Right now we just have a line, a stroke fill. But if we click on this circle with a red line through it, we can select a different color. So I'm just gonna pick this orange for now. This isn't going to be my final color palette. I'm just doing this to kind of have a place holder color for now. With these final lines, you might find it easier to just utilize the pen tool to make a line segment. And then I'll show you another way that we can fill in these colors without having to use this a fully closed shape. So rather than making a shape for these closed lines, all we need to do is just figure out the angle of where we want this point B. And then we will bring it down to the Sun curve. And then again, if we need to, we can adjust this, we can rotate it a bit. We can adjust the line. I'm using the black Move tool or we can use the node tool and just kind of play around with the placement. And then once we're done and we have all of our final lines and we can then begin to fill this. The easiest way to fill in these areas would be to utilize the Pentel only we're going to be filling behind this. So what we'll do is we will turn off our stroke. So we'll go into our color swatches here, turn off the stroke, and then we just want to keep the fill turned on and then we're just going to fill wherever our yellow is going to be. So we're doing every other segment as yellow. So we'll start here, we'll skip one, and then we'll start here. And then we'll just follow the overall shape of this going off screen or off our artboard. And then keeping in mind the placement of the lines here. Then we'll come and close at the bottom here. And you'll know it's ready to close this segment because you'll see this little pop-up with your pen, a little circle popup, tell you no, you're closing your segment on non would just use a fill color. And keep in mind, if you are noticing the lines start to look strange. It's because your color is on top. So we can just go into our layers here. Take that curve, and then just drag it to the bottom so that we know what's behind the black line segments that we've created. So we're going to do that same process here as well. Go into our Pen Tool, follow the overall shape of this segment here. Doesn't have to be perfect because it's going behind our lines, but you do want to make sure you follow the placement. And then we're going to close it. So we get a closed shape. By clicking on that little white area, that little white square, you've got the little circle popup. And then we're going to select and our color swatches a fill. And then if you notice that you are just slightly off, that's okay. We can just click on our Node tool and we can adjust our lines, simple as that. And then what we'll do again is go into our layers over here and then just drag it all the way to the bottom. We know it's behind. And then I'm just going to repeat this process for the rest of the colors. And because we do have kind of like an odd number here, don't stress, I'm going to play around with using some different colors as well. Now we just need to fill in the bottom portion of this. I'm going to pick a blue color here. I'm just going to go into my swatches, update it to find the blue for now. And then utilize the rectangle tool to create the bottom portion. So I'm just going to create a rectangle that goes over this. And then I'm going to drag this down so that it is below, at the very bottom here, so that it's below all of the different line segments that we were working with. Now that we've placed the color, Let's go into our text tool. So if we scroll down all the way at the bottom, there are a few options that we can use here. There's the artistic tool or the tax frame tool, and the Text Frame Tool will keep your text limited to the size of the frame you create. Whereas the Arctic, the Artistic Text tool, gives you free reign of placement. So let's just select Artistic Text tool to start with. And then we can create the size that we think will work. And then, so we just click and drag to resize this. And then at the upper left-hand corner, what you'll notice is the pop-up for all of the different fonts. It really depends on what you have installed in your system. I have a bunch of different fonts. These may not be the same ones that you have in your system. You could utilize a website like the font.com to download Font and installed them. But I'm just going to be working with what I have in my system here. And then instead of using an all-black tax, I think I'm going to utilize a white text to see if it'll pop out better with this color scheme to again create contrast in order to kind of pull attention to the text in addition to the focal point of the visual of the sun. And I'm going to use this Bree Serif to start with and then just kinda see what it looks like when I change and adjust. I liked the Bree Serif because it kinda gives a bit of a retro vibe and kind of going for like a sixties, seventies inspired but a modern take on that when it comes to this. So I just want to make sure I select a font that is easy to read. Bold, and we'll catch your eye from far away. And a kind of like this stencil, I think it kind of gives off a bit of a like a handmade a fact on if you were actually to be creating a large protest poster with stencils. So I think I like this, Oswald's done, so I'm going to use that. So I'm going to copy this. Now that I have this first set of first-line of tax, I'm going to right-click, I'm going to copy it. And then I'm going to paste it. And then I'm just going to drag it down. And I'm going to adjust the size of this to fill the rest to fit the rest of what we're writing here, which is fight another day. And I think we can make this a bit bigger. So we'll just adjust the placement on by clicking on the black arrow tool, the move tool, and then moving it around. And then I think it could make this a little bit bigger. So I'm going to select it. And then I'm going to increase the size and increments here just to see what this is going to look like, increased incrementally. So I think if I go up to 85 points, fit perfectly. And what I'm thinking is, I feel like this kind of blends in a bit too easily so I could select it and then change it to that it's the same yellow as maybe the sun. And I can change the color here. Now we can go in and play around with the color. So I'm going to change my outlines from black to white to just see what this looks like, to see if it helps with contrast against some of these colors. So I'm just going to go in with my node tool or you can select your black Move tool and click on each element and then go into your color swatches here. And if you're not seeing your color swatches, there's little tabs at the top here. And you can just select swatches or you can go into view. And then you can scroll down to the studio. And then it'll give you all of your different options for your tools that your brushes and all the different stroke elements, color things like that. So if you're not seeing the same kind of elements that ICM, my right-hand side. Just make sure you go into View Studio and then select the different elements you need. Specifically layers, color, character, and transform. So once I've selected this, then I'm going to go into my swatches. I'm gonna change my outline from black to white. And I'm just going to do this process for all of my different line segments here. Once I'm done, I can get a better idea of what this looks like and whether or not I like it. I think this allows the colors that I've chosen to not feel muddied. So it's not, it's, it's, it's, it creates more contrast. So it makes it easier to see these color options. So I think I'm going to keep the red, yellow, and orange as my color options with that lighter yellow for the sun area. And then let's play around with the bottom here. I feel like it does hurt my eyes just a little bit. So I'm going to play around with this. Let's see what it looks like when I change the color of the font from white to black. Or any of the other colors that I've used in this layout so far. So like the yellow, the orange. I kind of like the yellow a little bit better than the white. So let's see what that looks like with both of them selected in that color. Yeah, I think I like this yellow a little bit better here. And then I can resize elements if I need to as well. I'm, I can just select the first element, hold Shift, select a second, and then making sure I'm still holding Shift, I can pull out from my corners and it will allow me to re-size the overall shape of this text. All right, so I think I like this. I think this is the end of the layout. With this stencil typeface. It's bold enough that you can see it from far away. And I like the concept of pulling in this idea of the sun rising yet again another day to continue to fight for things like justice. But it kind of plays off of those retro 60s and 70s posters. But it has a bit of a more modern touch to it. And then I just wanted to add in the heart for an inspirational piece. And just another option to kind of play off the blue colors that we're pulling in at the bottom here. 17. Saving, Layer Maintenance + Exporting Your File: So once we're done with this, what we can do is we can export it so we can go into file. And that'll, what we'll do is scroll down to, obviously we want to save it first. And then I'm going to save it on my desktop in a file I already have created. Now before we export this, I would suggest the following. Just as a rule of thumb, you might want to organize your layers. So if you go to the right-hand side, you'll see our board. One is the artboard with all of the layers we've been working on, we can rename this. So if we double-click where it says Artboard 1, you'll be able to rename it. So I'm just going to rename it poster. And then if you select this little drop-down arrow, it'll give you all of your different elements together. So what I like to do is just go in as after I've grouped elements like we did before, is go in and name that group. So in this case, I'll name this bottom text. For this next group. I'm going to rename it top text. And then I'm going to go into the group with the sun and rename it son top. Son poster top. And then I'm going to rename this last element poster bottom. And this is just kind of like a rule of thumb just to keep things organized and easier for you to work with. Especially if you're ever at exporting this for someone else to use. This. A big thing that we do with the, some of the organizations I work with. I like to create easy to maneuver files because other people may be using them in the future. So especially with volunteer work or working with non-profits or organizing work, you want to be able to and give access to your files to others within the organization and keeping them organized as a great way to allow them to be accessible and easy to use. And now we can export this will go up to File and then select Export. And then we can export as a PNG or JPEG or a PDF. And this case I'm going to select PDF and I'm going to select PDF for print, make sure my DPIs 300. And then in the area I'm going to switch from whole document to just my poster, which is that one art board. And then select Export. And then I'm going to save it in the file that I have set aside for my project. And that is it. We're done with this section. Let's jump into the outro. 18. Design for Good Outro : Thank you so much for creating and learning alongside me today. I hope that you found this course inspiring and that it motivated you to look at design from a new perspective. A perspective that can help create change in yourself, your community, and continue to move our world Ford as hard as it is at the world may seem dark and ugly at times. I truly believe that they're good people and greatness and the swirled personally, I know many of them people who are working to create reparative change that will positively impact our world and future. As Rumi said yesterday, I was clever. So wanted to change the world. Today. I am wise, so I'm changing myself. Don't forget to submit your final project deliverables to the class project gallery so we can all see your beautiful creations. And if this is the first time you've seen a class of mine and you want to learn more about me and my work. Visit me online at Delos Sophia creative.com. You can also follow me on social media, FLS Sophia creative on Facebook and Instagram. And if you want to follow more of my activism work, you can do so on Twitter at GenBank via, thank you so much for watching and I will see you in the next one. Bye.