Transcripts
1. Introduction Video: Hi, everybody. I'm Simona, and I'm an illustrator based in London. My passion is to connect with my audience through illustrating feelings, and illustrate topics that people care about, such as mental health, diversity, and equality. I'm originally from Puglia, the heel of Italy, and living in London, I feel a bit nostalgic about the sun and the sea. I think that's why my illustrations are full of these warm relaxing, and yet powerful colors. In this Coursera class, we are going to talk about emotions and illustrations, and how to translate your emotions into an illustration. Sometimes we feel stressed, anxious, or simply restless, and we express it all with the words. We all know that art can be therapeutic. We'll divide the class into different steps. We are going to start by deciding the topic we want to talk about, then we're going to move into some research about the topic. Once we have our concept, our basic idea of our illustration, we are going to move into some sketching. We're going to move into more details about layout, balance, how to build your illustration in the space. We are going to see some color theory, how to choose the right color palette. Then in the last video, I will share with you some tips on how to digitalize your illustration. To follow this class, you don't have to be an experienced illustrator or a professional artist, but you only need to have the basic knowledge of drawing techniques, either digital or traditional. At the end of the class you will have a finished illustration that can be used as a single illustration, for example, for a postcard that you can send to friends and families. Or a poster to share online or print it. Emotions are so personal and yet so common to many of us, and I'm sure by the end of this class, each of you will have your own unique illustration that will connect us all just like a big hug. Please do share your project at the end, and thank you for choosing this class.
2. Project Overview: For this class, we're going to create an illustration for a cause we care about, and then we can use this illustration to create a postcard, for example, to send to our friends and families, or it can be a poster or part of a bigger project like a series of notebook or a calendar, the possibilities are really unlimited. When starting a self-initiated project like this, I find it useful to take as a starting point an event or a commemoration. For example, for this project, I wanted to dedicate my illustration to mental health. I took the occasion of World Mental Health Day which happened on the 10th of October, and I created an illustration that then became a postcard, that I sent to my friends and families and followers. Especially now in this moment, I think that it's important to share and connect with others, and share the feeling and the idea that we are not in this situation alone, we are in it altogether. Everyone is facing a very tough time. It's important especially now to take care of ourselves, take care of our mental health, and share our feelings with one another and feel better. With this class, you will learn the fundamental of visual communication and illustration, and how to create an illustration from scratch, from starting to final artwork. We are going to talk about research, inspiration, build your illustration on your piece of paper, how to use the space. We're going to talk about layout, color, balance, all those fundamental and basic knowledge to build an image and a final illustration. If you want to create a poster or postcards or any other illustration about a cause you care about, and raise awareness on that cause and share your emotions, ideas, and feelings with others, this is the perfect class for you. The first step will be studying the topic we chose. We won't start straight away drawing, but we are going to write a list of all those words that reminds us of the topic we want to represent. For example, in my case, I chose mental health, so I'm going to write down all those words that for me are important about mental health. For me, mental health means taking care of ourselves feel better, trying to be positive, so I'm going to write down all those words that makes me feel better.
3. Choosing The Topic: Let's start writing down all the words related to our topic. As I previously said, I chose the Mental Health topic. I will start by writing down the topic I chose and thinking about all the words related to the topic and how those words make me feel. How I can extranet what I'm feeling in this moment. When writing down all these words in this first step, remember to be really true to yourself and to listen to your own emotions and feelings. I advise you don't go on straight away on the Internet to look what's about the topic you chose. But really connect with yourself and think to what makes you feel better. For example, in my case, I chose mental health. I really want to focus on myself and think for a moment to all those things that makes me feel better. I chose relax, love yourself, and isolation. I want to really focus on isolation. I want to write down all those things that made me feel better in isolation. Because mental health, after all, is thinking about feeling better with yourself, trying to feel better. What doesn't make me feel better being in isolation? What can I do to look after myself or look after and my mental health while I'm in isolation. What mental health means for me, for me mental health mean taking care of yourself. It means relax. It means positivity, staying positive. I think in my list I have a few concepts I like, such as relax, taking care of myself, love. I also like to develop more isolation even though it's in my negative list, let's say. But I want to develop the concept of isolation, which is negative. I want to transform it into a positive concept. How can I represent the concept of isolation, which is a negative, into a positive image that will let people feel better. Will let people and myself feel better. Now I have my concept, my idea of how I want to represent the topic I want to talk about. I want to talk about being in isolation and still be able to look after yourself, your mental health, and be positive. Now hour have to find a concept to represent the idea of isolation that I chose. Isolation, how do I feel good in isolation? By maybe cooking a good meal. Light up some candles. Maybe enjoy a pizza and a film. All the activity that we can do now. Think, it doesn't have to be a real action, it can be up to abstract. We can think about, you are not alone. We can think about the fact that this is not forever. This position, we're not in this position forever, it will get better. I think I have the concept I like. I like the fact that we think this is not forever and it will get better, it will. I want to develop this concept more now. When thinking about isolation and feeling good, trying to feel positive, about positivity, I started to think about blooming, about the concept of spring. I decided to represent my topic with flowers and the concept of blooming again, being positive again. I want to communicate with the people that this is not a situation we are going to be in forever, but it will get better, we have to be positive, and we will bloom again. The main idea, my texts that at the end I want to insert in my postcard as well, is we will bloom again. How do I represent this concept? As you can imagine, the same idea can be represented in so many ways. This is the fun part of illustration, and being an artist, that we can represent common feelings that are common to many of us but in our unique way.
4. Developing The Concept: Before I start my sketch I like to have some visual inputs, and I like to use Pinterest to create mood boards. Pinterest is a digital software. You can create your profile, and create your own mood boards, they can be either public or private. It's a bit like Google Images, you start by typing the word you want to research, and then you have lots of images, and then it goes into related images. You can find things related to that word that you might even think about. I like a lot Pinterest for this, and then you can save it. You can save all the images into your mood board, so you have all your images together. For example, I started by typing blooming flowers. I started to have all these nice images about flowers, and then I found a poppy. I really like the concept of the poppy for my illustration because it has a very bright red color, very powerful, so it's good the illustration I want. I like it because it can be represented into the different stages of the poppy from when it is a little bud, and then going to open, and then finally open. I like it as a concept, as a flower, so I decided to go with the poppy, and created my mood board about the flower. Once I have my idea of the concept I want to represent, now it's time to grab some paper, or our digital software, and start sketching.
5. Sketching: It's finally time to sketch our idea. I will use Adobe Fresco. Again, you're very welcome and free to use any other software or traditional technique. Now, it's time to start some sketch. I don't worry too much about layout. Now, I'm just going to sketch my basic idea and then see after about layout and colors. I want to represent a person. I'm going to take my sketching pencil, bit bigger so you can see. I decided to go with the person in between a person and a flower to represent my blooming idea. I will start sketching some basic human body positions. Because the idea is to represent someone self loving, I like to represent it like she's hugging herself. Maybe in a position which gave me the idea of calm and self-love, self-hug. She's hugging her own legs with one hand on top of the other. She is kind of crossing legs which reminds me like a position, I don't know, it reminds me of protection, she's protecting herself and self-love. We can see her face. This will be the face, so don't worry too much about the details now. I know here there will be a flower on the head and it's just to know the basic shape and position. But don't worry too much, it's going to be quick. This one is facing left. I will try maybe to represent her on her back, like she's sitting maybe on the floor and we can see her back. Because it's a character in-between of flower and a human, I'm saying she, but I don't worry really about the gender or the clothes because he has to be a real person but also not a real person. He has to remind us of a person. But doesn't have to be realistic. Let's say eyes closed, like she's thinking. This could be a good one around here. But I go on, maybe I want to try and draw it on the other side, like facing on the other side. Always on the back. She's facing this side but we can't see really her face. Maybe she's still sitting on the floor. I like this position of sitting on the floor. When talking about emotions and how to represent them, the position will represent the body. It's really important because body language, it's really important to express something. Drawing her on the back, that we cannot see her face give us more sense of private, like we can see her, but she cannot really see us like she is just concentrating on herself. Well, if I want to communicate more, if I want my character to communicate more with the person looking at my illustration, I will definitely put her facing because we can look at her and she can look at us, and we connect. I like the idea not only to have a flower on the head, but because she's blooming, maybe she could be herself the plant. So this spine reminds me of a branch or it can be leaves that end up with the blooming of a flower. I like this idea, don't worry too much about the perfect anatomy as well, we can always adjust later. Now, it has to be something really a quick sketch. I like this idea of the blooming in the leaves. I want to try maybe another position which is facing a bit more down, like she still has to bloom. Here, we have just the leaf, not the flower still. I like this idea of the spine, so I will take it back here. Maybe she's hugging her legs, but she's still kind of squatting on the floor. I have these four different body languages now. Let's analyze a bit these sketches I did, and this different body languages, and see what they communicate in term of feelings and emotions. I can see in my first one. This is a comforting position because it's like a self hug, and she's facing us so we can see her expressions, we can add a bit closed eyes and a little smile, very positive, and she's facing left, but she's going towards left. This one, I think I liked this one because it really exonerates all my idea of, we're not good now in this moment, but we are going to bloom again, so she is still closing herself, closed-up, going towards positivity. This one I like, but maybe is a bit too sad because it reminds me like a kid's crying cuddled up on a chair, crying. Maybe it's a bit too sad. We can see her face but only the eyes so is only sad. It would be weird to put, you see, a smile, it would be very weird. We can only see her back. She's facing left. They are all the elements for representing sadness. If we want to represent something going really bad, depression, anxiety, this one, this position goes all towards sadness. This one even though she's facing right, she's still on the back so we can not see her face. We can't really connect with the character. As I said, I like this idea of the spine transforming in leaves and then ending up in a flower on a head, but still it gives the sense of blooming, but not really connecting, and I want my audience to really connect with the character. This one I would say, is the same problem of this is really sad, is facing left, we can not see her facing back. This position is very good if we want to represent a trauma. This one is really a strong body language position to express something really bad happened on that person, isolation, she doesn't want to talk with anybody, she's facing right. For this particular project, I guess I will go with this position because he has all the elements I want to represent in my illustration.
6. Creating The Layout : Now we have our final sketch, which I already did for time purposes. How am I going to place this character in the right position in the space? It can be centered, it can be here, it can be there, it can be there. But how do I know where to put this in the space with a good composition and balance? Usually, I use the rule of thirds, which is used either in photography, in painting, any visual really technique. To do a good composition is basically dividing the space into nine equal parts using two lines. It doesn't have to be really precise in this case. By the lines intersections, we have four focal points. By placing the image, instead of just centering the image, by placing the subject we want to focus on one of these focal points, we're going to create a composition with much more attention, energy, and interest. If I want to create a really engaging image where the subject really engage with the audience, I'm going to place it here because it's the nearest point to the observatory, to us. If I want to communicate something more afar that the subject is afar from us, I'm going to place it probably here. If I want to create a really balanced composition with not really tension, something really calming, I will use the center space. In this case, I want to use some tension, some energy, my composition, and connect my character with the viewer. So I'm going to place it just here. Another rule to create a good balanced composition used by all painters and artists from Leonardo Da Vinci to even previously and where you can see a short description of the golden ratio in the slides I provided, is indeed to use the golden ratio, which is this. If the focal points, which is this, it falls where I put my character and I'm going to use this curve because if all other elements in the background, so with the golden ratio is basically how the eye is going to look at our illustration following, starting from the focal point and then it will follow these natural curve. So for example, in my illustration, I want to include some text element. I will place my text here. My eye, even without the golden ratio itself, it can still follow this natural curve and going straight to the focal point, we can see it even if it's not there. As you can see, I used a vertical format, a portrait, but you can choose to use either square or landscape. How do I choose the format I want to do my illustrations on? Basically, it depends on the use you're going to do of the illustration. How do I choose if using vertical, landscape, or square? I will give you an example with some of my illustrations. I use vertical in case I want to represent someone flying, like going up. So in this illustration, it's good to use vertical because it gives the sense of the character flying up and up and up towards the sky. While I use also vertical for landscape, but they have more of a vertical elements than horizontal, like this is Berlin illustration and this is really high. It's more important to give importance to these elements than the other. I want you to focus more on these elements, the tall tower rather than the landscape here. I chose a vertical format. While horizontal, for example, if I want to represent more nature and I want to keep the eye of the viewer on a grounds level, I will use more of an horizontal format. If I do something for Instagram purposes, for my social, and I know already that it's going to be on Instagram, I just choose the square format. Then I don't have to cut important elements. I build the image directly on our square format. Going back to our illustration, now, we said I have my character, I know where to place it. Now it's time to fill the background with important elements that are connected to our character. Because this is a flower, I want to put my character into a background with some more flowers, horizontal line, and that gives really stillness to my illustration. Because I want to really be a positive and I want to give the sense of going up and going positive, we'll pull more dynamic instead of stillness in my background. To give more a sense of movement, I will choose a diagonal line instead of an horizontal. It really gives a sense of going up. I will give some leaf to my flower and because I want to keep the sense of going up diagonal, I will put a bigger leaf here and maybe a small one there. Also if I want on the background, I will start small and growing taller. Everything really feels like following this diagonal line. Maybe another one here. Maybe here, another flower that will look more like a poppy, because I said, I want to represent the poppy and maybe hear a poppy which is not really open yet. We have this sense of the time passing in one single image because we have the closed, the almost open and then our open one. We said steak back my golden ratio here. We said that the texts will be here for my postcard, if you included a text. If not, you don't have to worry. Our illustration is starting to get the final look, we have our final sketch. Now I really want to show you the difference of this diagonal going up or going down in terms of expressing the right emotion. As I said, I wanted to be positive, give the sense of growing, time passing by starting with the close poppy going towards its opening, going towards it's really open. I want to show you how it changes the feeling if I flip the whole image. You can see if I flip the whole image, it looks like she's landing down from a mountain. It transforms everything by going towards positivity and going up to going towards down. She's suddenly hugging herself, smiling facing us, but it doesn't give a feel of positivity of going towards blooming. Also because we read from left to right, we are going to read this image like this. We're going to read the like the poppy is or fully open here, then it's closing and then it's closing down. It's going backwards instead of going towards ahead with time. How you position these diagonals lines is really important. If you want to give a sense of time, passes back by passing backwards, going towards something down, as I said, this is the line to use if you want to represent something that I started good and then it's going towards ruin. It's good to use sensor going down. If you want to represent someone going down underneath or going deep in the oceans swimming down, you use the person swimming here with this diagonal going towards down. But in this case, because we want to be positive and we want to put everything going up, blooming, going towards spring, we're going to use this final layout. Also in the background, I put these plants growing and growing to reconnect with the blooming of this character. Also as the main character, also the plants in the background are growing and blooming. This is our final sketch, now we are going to choose some colors.
7. Choosing The Colors: When talking about emotions and how to represent them in an illustration the right choice of the color is really important because every color has its own meaning. It's really important to create a good color palette and trying different ones before going into the final illustration. I suggest to choose a color palette with three, maximum four colors to keep the harmony and a good balance. Sometimes I use some apps to help me choose the color palette, for example I really like this app called Adobe Capture. You can download it for free and it's basically an Adobe app where you can take a picture of some thing. For example sometimes I'm walking in the street and I see a very good window or a car, I like the color and I just take a picture. You can download it also with the phone, you take a picture of something and it creates the color palette based on that picture. So now I took a picture of this box and the app created a color pallet with the yellow, the red, there we go using this image. This is really useful to have new color palettes ideas and it's really good if you want to keep color pallet natural, for example I want to illustrate landscape in autumn. If I'm in the park and just take a picture and I can have that color palette with the right yellow, the right brown, and the right green. It's a really useful app, I will provide the link in the resources or you can just take images, old paintings and pick there the color with the Adobe and Photoshop, there are many different techniques to choose color palette. I would provide also some title of good books about color theory and color palette. When talking about emotions, colors are really important because each color has its own meaning and in the short video, I talked about how to choose a color palette and what software I use, Adobe Capture or just taking inspiration from other paintings or pictures. Try the color palette on the illustration, it's obviously released if you use digital, it's enough to create a new layer underneath the sketch layer. If you use traditional, either a take out very quick sketch of my sketch on my final drawing on different paper and then I try different color palettes with pastels or I scan the final illustration and I print some core base of it on normal paper just to try out with colors and pastels. We're using digital here, so I'm going to create these new layer underneath and try different color palette. I will start with the red of the poppy, because I chose the poppy especially because of the color. Red is a powerful color, it's very strong and I think it's good for our character to have a strong color that communicates energy, fighting, but in this case, fighting in a good way, like fighting to bloom again. I will put here on another level, you can either save the switch color if you're on Photoshop or in the case of fresco, I usually do these on another layer, so then after I can just pick up the color again with the drop tool, so we did this. You can either do all in one layer when you try color or you can use different layers, so after it's easier to change it. I will go with turquoise green, which is one of my favorite colors, I use it a lot in my illustration because it's really more delicate than the green and it gives a sense of calmness. If you think of schools, hospitals, they all have walls with turquoise or light blue because it's a really calming color. You don't have to be, sorry, precise in this stage. I changed the brush. I don't worry about being precise at all. It's just to know which color is going where and if it works together because we can apply theory, but until I don't see something with my eyes, I don't really know if it is working or not, so the only way to know is to try out. Then for the sky, I try to keep three, maximum four-colors in my color palette and then once you have your color, you can go with the same color, but slightly less saturated or less dark like this one, maybe a bit more. Yeah, so I will create another level for my background. I will do this and then I will go straight with the bucket, so saves time. I like it, it's looking good so far. We need a third color for the Earth in here. I wanted a strong color that gives positivity and really catches attention. Yellow is perfect as our bright color. It reminds of the Sun positivity. Imagine a field of poppies in spring with the sun shining. These three colors are very harmonic together. Then for my character, we'll just keep the yellow and go with less saturation and it's working well. Maybe we need to balance more. Hide these ones. We need to balance a bit more. To balance is always good to put an element on the opposite corner. If all our illustration is based on this corner, we need to put a little element to balance the weight is like think of a weight scale. You have to balance put the same way more or less in both. I want to balance on this corner. In my case, I will take the same color of my character and my balance element will be my text. I want to insert. We will bloom again. If you don't have a text. If you are using a landscape where there is some sky, it's usually very nice to balance all with a cloud on the corner that closes up the frame. You can insert some clouds or you can insert another leaf-like of a tree. It can be anything, can be any element that's connected with your illustration, as long as it's not too prominent, uses a color which you used here in this corner. It could either be this color or the yellow. Don't use the red. I mean, don't use the color you used in the center. Use the color that you used closer to this corner of your image. I'll delete this. I put back my text in my case, and then I would play with these. I have these four colors and I will play all my illustrations with these colors. If I want to go on with the plants on the back, I will use the yellow. Don't use any other color, use only these four colors you chose for your color palette. If I want to highlight the lines in the leaf, I will play with the negative space. I will use the color of the background. Maybe this leaf can be actually yellow, so it balances the yellow of this part. It's really like, I think of this step as a chessboard, like you can use the colors like a chessboard. If this is yellow, this is blue, then this is yellow. Don't put too really similar color next to each other, but I tried to alternate the colors. I want to use some more red element to take the red again. Maybe I'll do the cheeks and then I'll try to use also the color of my character to balance with the leaf. I like to play with negative space as well. This is something very personal with my style, but since we're doing it together, I'll show you like to divide an element where there is the line. For example, in this case of my character, the line of my character divides the leaf in two. I like to play with color palette and alternate the colors. If the leaf goes outside my character, I use the color of my character and the leaf that goes inside, I use the color of the background or the third color I used in this case, this green and the same with this leaf. Then at the end, I can add elements, don't worry for the end you want to add elements is fine. Maybe I want to add some little details there at the end. Also at this stage, you don't have to be super perfect with all the details. Like choose the basic color, the general color of the whole composition and at the end, you can add the little details. Just remember it's really important when you draw digital. I draw every little element in a different layer. If I'm not satisfied at the end, I can easily change the color of just one leaf or the color of the cheeks of the color of the inside of the point p very easily.
8. Adding The Final Details: Right? Okay. Okay.
9. Digitizing The Illustration: As I said at the beginning in the last video, I want to show you how I integrate my watercolor textures in many digital drawings or how to digitalize your final illustration if you worked in traditional. I'm going to take as an example, this textures I previously made is a watercolor texture. We're going to scan it, I will show you how to scan it on Photoshop, and how to put it together with the illustration. It's the same process as you want to scan your final illustration, and then clean up and adjusting some exposure and some contrasts on Photoshop. Let's start by putting the illustration into the scanner, and then open Photoshop, and go to File, Import, Support, choose the "Scanner", Start. Remember very important thing to custom the settings by clicking here and then adjust the quality of the scanned picture. Adjust the resolution to 300 DPI, which is the minimum resolution for printing documents and color picture, Okay, and then Scan. Once we have our illustration of texture into Photoshop, I usually take the Crop tool and crop all the edge or the parts we don't need. Then what I do is going to Image, Adjustment, Levels. But even better, we go to Layer, New Adjustment Layer, and then I'm going to play with the Levels. By doing this, we actually applied the adjustment to a new layer and not on the original file. Like this, we can go back to our original file if we don't like the adjustment and make an adjustment without touching the actual original file. I'm going to just adjust slightly the contrast. Now we're going to save it. Save As. I usually save it in TIFF, which gives me the opportunity, texture, to keep the original quality, that original DPI without losing any quality. I can save it as a copy, Save. Here in the option of TIFF Options, tick none so we don't have any compression, and Okay. Now we have saved our texture. Let's open again our original file. We want to insert the texture in and let's go to File, Place, and find the word texture, Place. Let's put it as big as the file. I usually play with Blending mode. As you can see, each of these has a different interaction with the layer underneath. You can play with them, choose the best effect that satisfy you. Let's go for Multiply, and then adjust the Opacity. Adjust Fill until you are happier with the result. You can also duplicate your layer by click hold and go to this little icon with a plus. This will duplicate our layer, and then apply another Blending mode on the second layer, and you will have even more different effects. Once you're happy with it, let's save it, File. We can save different depending on how we're going into use this illustration. If you want to save it for use on web, for example, sharing on social or uploading on your website, we go to File, Export, Save for Web. Then here, we choose "JPEG", and here, we can adjust the size in pixels of our image. If I want to use it on Instagram, for example, I can make this file less big and actually better to upload it on the Internet by changing this number in pixel. Because 3000 pixels is a bit too much, so I will go to 1024, which for Instagram is fine, and save. I'm going to save it on my desktop for now. While if you want to use it for print, remember to save in a different way. Go to File, Save As. I usually use Photoshop PDF when I go for print, and I will put in the name of the file print, so I can remember it's the high-resolution one. As a copy, we can remove the layers because we don't need them, we can save all as a unique layer but keeping the PDF quality. That's our file ready for print. Compression, leave everything as it is because by default, it goes with maximum quality and just Save PDF. That will be our file ready for print. With the same process, if we worked with traditional technique, we can again put our illustration in the scanner, go open our Photoshop, go to file, import, WIA support, start, choose our scanner, Okay. Always remember to custom the settings, adjust the quality, minimum 300 DPI, which is the minimum DPI for high resolution. Print, Okay, scan, there we go. Once I have my illustration, I can again crop the edge right on it. Then I'm going to work again not on adjustment on the image but I will go New Adjustment Layer. I'm going to play with the levels to adjust the contrast. Again, these allow us to make adjustment on a new layer without touching the actual original image. Just a tiny bit, so we want to keep the original colors by just adjusting the contrast and make the color more vibrant. Then it's usually good to zoom to see if there is anything we want to leave. For example, here I have this and I can take my tool, the patch tool. Remember to unlock the original layer. We have to work on the actual image. There we go. With this, I can clean everything I don't like. Usually, the scanner does this dirty effect on the edge so I can work on this. I can clean all the things I don't like once I'm satisfied with the colors. If I want to add more edge, I can actually hold Alt Windows and enlarge the canvas. Now, I have more edge, and then I can add another layer, hold it, shift it behind. Take our eye drop, take the color of the background, bucket fill. If now we have this edge, we can go back on the layer of our image. We can also use the eraser tool, put the hardness at the minimum, zero percent, check the size, and we can delete. This is really just having patience and do it, there are no really other ways to do this. If we want to go straight when we click our eraser, we can hold Shift and it will go just straight down like this obviously. Now I'm not really doing in very precise details. This is just to show you the process. But yeah, I have cleaned all the parts I didn't like. I'd say now it's ready, and then again, as before, we go to save it, export, save for Web if we want to use it as an image to upload online. We can put a smaller number of pixel here to make the image smaller for online publication. Instagram, Facebook, this resolution is fine. Otherwise for print, we go Save As, save as Photoshop PDF, as a copy. You can move the layers with this and save. Remember to not touch anything here because by default it goes maximum quality. Save as PDF. Then always remember to save a copy as an actual PSD if you want to change in future. You can either save Photoshop PSD or TIFF. Save in the layers. I usually do in layers so I can remember is the actual layer. Do not save as a copy but remember to keep layers. You will save in the file every single layers, and in the future if you want to remove this adjustment, we want to put another adjustment layers or we want to change anything, we have all our layers saved.
10. Conclusion: Congratulations, you made the class, you finished your own artwork and illustration, and I want to show you at the end what my illustration became. I printed it out and sent it to my friends, and families, and supporters, and followers. The illustration, you can see can be used in many ways. It can be printed out and sent. It can be just shared as a social post to raise awareness of your cause, or it can be part of a bigger project. You can take, for example, all the words you found at the beginning and next to this illustration, you can illustrate all the other words you found, and create a series of illustrations with the same topic, and then could become a bigger project like a little e-book, or little picture book that you want to produce for example. I personally feel much better when I illustrate something about a cause I care about, or when I connect with my own feelings about a topic such as mental health, and sometimes I find out feelings or emotions I didn't really know, or I wasn't aware of. Because it's a process that really connects me with myself and what I'm feeling in that particular moment in thinking about that topic. I really, really hope you liked the class and please share your project at the end, and thank you again for choosing my class.
Simona De Leo, Freelance illustrator
