Creating A Children’s Book | Beatrice Ajayi | Skillshare
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Creating A Children’s Book

teacher avatar Beatrice Ajayi, Founder of HyssopArts

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

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

    • 1.

      Introduction - Chat style

      1:37

    • 2.

      Book Examples & Tips

      2:23

    • 3.

      Book Results & Requirements

      6:26

    • 4.

      Book Structure

      8:38

    • 5.

      Creating a Book Basic Template

      10:02

    • 6.

      Discussing Template Layout

      8:32

    • 7.

      Storytelling & Colour Pencil Colour Option

      10:19

    • 8.

      Digital Templates intro

      11:12

    • 9.

      Drawing Transfer to Digital Software - Part One

      14:51

    • 10.

      Drawing Transfer to Digital Software - Part Two

      12:00

    • 11.

      Re-drawing Of Character concept on My Template

      4:40

    • 12.

      Final Book Product

      7:58

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About This Class

Welcome to this class entitled ‘Creating a children’s Book’

I will give you step by step information from start to final product and give you a real case study of myself replicating the class project. 

I will create a final book for you to see and understand how within reach the creation of a children’s book is. 

I will provide, step by step templates in class and for you to use. 

It is hands on and will be amazing to share your process or final product. What an achievement!!

Once you have that book in your hands you won’t look back. 

We take it slow and steady, don’t put pressure on yourself, life takes up our time too and that’s good, really good for inspiration and prompts for our creativity. 

Tools:

Bring your ears, hearts and experiences to inspire the chapters of this book making process...

oh! And a paper and pen/pencil.

*** This is a condensed process to get an idea how to simplify the process so that we actually start and finish a project. Each student can use it as a template and do what they feel comfortable in their art practice. ***

Meet Your Teacher

Teacher Profile Image

Beatrice Ajayi

Founder of HyssopArts

Teacher
Level: Intermediate

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Transcripts

1. Introduction - Chat style : hi, everyone. And welcome to today's skill share class. This skill share class is going to be about, um, creating Children's books. Now I have created quiet, um, a handful of Children's books, but being self published. But usually for those who have ideas of stories in their head, they find it hard on how to go about starting to create a Children's book on DSO that can be often and can restrict them from actually getting started and actually created a story that they can have them they can be very happy with. So the I've always had stories in my head as a young person, and I love writing stories and then coming into the stage of being an artist and an illustrator. I'm finally finding my voice because I've kept on with the interest and art on being able to start actually creating characters in the way that I'm viewing them and assessing them if I'm happy with them. So this is this class is just to show you the process I've gone through to provide and produce an actual Children's books, so we're going to get started on that and yes, so we're gonna have fun with that for this class also. I mean, a lot of these stories I've created recently and in the past have bean focused about, you know, from ideas for my kids and kids have been very inspiring as well. So be inspired by things around you, um, in order to feed your innovation and, you know, inspiration for the class as well. So let's get started. 2. Book Examples & Tips: so first off of this class, I wanted to kind of show you some examples of books that I have created showing things different Character is on. We convict deeper into them is the class continues, but it's just to show you some of the covers of, um um or some just some other I don't know. This is probably gonna be backwards on this screen, but this book was called Cape for Rent. A lot of these stories, Sundin assure you, were inspired by me telling stories to my kids of bedtime. So there's a process I went through in telling them to stories which was quite interactive and a lot of fun. I'm probably the wrong time to tell them and to involve them in that process, because if you're trying to get your kids to go to sleep, it's not the time to start telling them to partake in creating a story. But it got them very excited, and it was really good to be able to test how they responded to the ideas you would put across Tooth. Um, so my first tip for you is when you're doing all these kind of still retail and is, um, if you're doing it with your kids or if you don't have kids and you're thinking of all these ideas is to actually record the process. What we're gonna do Well, we're going through. This class is recorded in a process of how we store retail and there's gonna be the rough diamond in that you're going to come up with an idea. It initially it's not going to be perfect. But what I started doing was using my phone and the dutiful on the Dictaphone on my phone. And when I would tell them the stories, I would record the stories because I just had it in my head, even though I hadn't created the book at that point that would love to try and give myself set myself project to create some of these books that were really enjoyable to the kids. The stories I told them and were really inspiring and they partick in that as well. And they fed me information as to what they thought would be exciting for the next scene of the story and things like that. So it was really an awesome way to to see how Children would respond to the story that I was telling, um, to the kids so on And then basically as the fact that their kids, you know, that would then transfer onto other kids as well. So it's just get it was good for me to be able to use my kids as an experimental case study in that sense. So, um yeah, I'm going to show you a group of the books and we're going to talk about, you know, just the basics on the books and start from there. So l c in the next day. 3. Book Results & Requirements : so it's all the same before. This is one of the books that I told the kids at night when there was the time for bed. And so I did this over quite a few nights, and I was able to get quite a few ideas inspiring ideas. So the process for that we'll get onto, But I just wanted to show you a range of the books and just to see the results from the process that we're going to take that you can also have for yourself. So I, um this was one of the books I created, and they were sold. There was so interested in the idea and they helped expand on the idea. So this is a cold K for rent. So when you're creating the books, you have to consider, you know, part of that bookmaking idea would be the front cover on the back as well. So I opened this up. You can see that it's just one piece, and it travels across from one thing to be able to consider. You overlap on his tentacles with his character, um, on the scene where, um, just the different details we can talk about as we go along. I mean, one thing I'll give an example of was for me. I can do the whole bracket of things. So, yes, I love still retailing and story right in. But also the illustration part is part of who I am as well, obviously for yourselves, and might not be that straightforward where you'd have to work with someone else to illustrate your front cover. But why not try actually illustrating as well so I can set up a class so that and where you can enjoy other ways of illustrating. But, oh, I could just probably just as some of that into this class. I think I'll do that. But, um, here you can see that I've got this fish, for example, here this group of fish and there's a group of fish here, and they're basically the same image. And I've just made one larger to show it being, you know, closer on one smaller to show that So this waste of using templates that you can you can use it on more, um, areas on one. So, um Yep. That's one of the things. One of the books. Another big I wanted to show you was also this one. Cold down, down frog. It's probably backwards when you're reading it, but it's called down, down frog and you can see the way did the company. He was a lot more simplistic. This was actually a some of the styles that started with before this one, that this was slightly different from the ones I'm going to show you, cause this was a bit busier and this was a bit more simplistic. So I have a range of these more simplest. That kind of covers would show you the main characters on. And, um, don't really distract too much from the two characters on. So we'll be looking at, As I said, the templates of how you write, you know, Asst my son called it the blurb at the back as well. And your information, you know, is who illustrates it and who writes it. So that's another. But, um, this one is called The lion that lost its role. So this is another cover that I created, and it's the same theme is very simple on the back, but you can see the difference is I was kind of test in different ways. of doing and just being free with each book. That's another thing. Try and be free with each story each book and try and put it across in a way that you think will be actually as clear as possible for whoever is reading that. So Well, look, well, sort of these books inside. But they said some of the illustrations I'm saying that you had to layer them all sorts of things took place to create this, so but they will be afraid of the process. Um, and then I could look this one here in this story, actually, for this one called tongues tungsten and Pip. It was a story I had when I was a lot younger, and I didn't know how to articulate it into a story. But now, with pushing through all the creativity that I kept doing, I didn't stop. I've been able to actually replicate it in a way that I'm quite happy with. So this is called tungsten and Pip, and you concede still the simplistic kind of a simple look for a book. So it's quite I'm trying to make quite collection with these three in their style, so you can see that there. So that's another thing as well. Thinking off if you're gonna make a range of books or you're gonna do one offs and then how you present it and how easier is to know that is possibly from the same author. When you look at the books together as as a group. So this one, like I said, the back is very simple. A swell, um, it's got the blurb of this one on Also in this book. Actually, some of these folks, like, um, this one have actually created stickers for social you that in a minute to try and interact with kids. There's so many ways you can add things to think. So this one I did, I created them cutouts, but the kids could create paper doles from and and they can work with. So that is something I've added to the books in this one of the characters so they can have templates where they can also have some fun plain and interacting and having something at the end that they took part in a swell. So as I was saying, I've created some stickers for this, I'm creating another set of stickers and I decided for the books. I think I'll be creating stickers for them. Just to have is a part of an interaction for the kids. When be come to, you know, reading the book and things like that. Six year. I have some stickers I've already done Cut some out because I just sold a couple of the books on. I'm gonna be putting them in the books So this is like upside down and everywhere. So these are some stickers have created to kind of go with the book. So when you're thinking of creating the Children's books, just think of the interaction and how you can get the kids heavily involved in the story you know that you've created. So I just put these here for you to see alongside the book this to show kind of the playoff of which ways to approach the whole idea of Children's book and then their interaction. You know, I always think that you can write a story and they can read it, but quite forgettable if they don't have an interaction with that book. So there are some things that can help them to remember the process. The story and they can link to. It s So that's what I'm trying to do with my books, to make it more personal for them and to have fun. So the next part we're going to go into is actually set in the stage as an the structural set up for bookmaking on dumb. Yeah, that's gonna be fun. So see in the next segment. 4. Book Structure: So for this part, that's a structure part. Um, I've decided I'm going to use my books as an example. I will give you a template in the actual class to use for yourself and to see because books books sizes are not necessarily limited when you're creating something. But if you focus on something small on a quick project that you go from A to Z and you finish, basically you'll be able to feel like more capable of actually handling the next stages of bookmaking. So So one of the things I wanted to mention in is the structure. Um, I've tried to simplify things for myself. I know that if you're going to big publisher, you know, outside and things they usually take control of all these things. But if you want to be able to just get you still result and to actually share what it is that you have inside of you, I think it's best to just try into self publishing. Um, I haven't put these on any mainstream, um, self publisher. For example, I do have e books which are not these ones, but I love the physical book because it's just something you can have. You can even give us a gift. So, um, for this, Like I was saying, the structure you're gonna need tohave Ah, front cover on the back cover. So, um, I use a lot. I used a lot of digital tools as well. Um, but it's also very good too. But the template that you see you should print it out and cut up or whatever, whatever where Set up and do something physical on that. Use a pen, pencil, whatever is tools that you want passable. Carry on, you know, and and work out your characters and the environment and things because that will make it more physical and more more personal. A swell. And do you feel more in control of it initially? Unless you are a digital artist, then you can still work with this. So if you're really interested in doing that So I've done a lot of these templates on my computer using procreate app on my iPad. So I've set up basically creating with a square format, the front cover, and then it's a square former and using I used There's an app called fun tool that I use for my actual text. So that's kind of what I've used and had to choose what I was doing for my personal area here, which is for my have kind of written here, written and illustrated by Beatrice Ajai and then little copyright sick symbol on the year that I did it. So, like I said, front and back cover. And then we then go to the inner and outer, Um, the kind of in a front page and the inner back peak. So the in a front page usually has a pattern. Now, sometimes I will go over both pages here, but I used the character in the book as a template for creating this patent taken, sees a little frog, and I had to work on creating that template with cemetery and all sorts of things, but making it interesting and relevant to the book. And then this is the introduction page, which is, um, kind of saying you know whose book it belongs to because kids really like that. So I've got here. Um, is it this one? No, no, this is an introduction one just saying, you know, when you say who you did the book for, actually that's what this pages So go for my husband and kids, Um, and then and then of the Bolton is well, I have a another introduction to myself is an illustrator and writer. So get down to design and story as well through this course. And then this is the this book belongs to. So I've got the character here, which I think I used for the yes, the same character used here and here. I've used also here in a different different sizes. And, um, here there's a lot of this multiples here of added, you know, like a lily pad and something on. Then here is this by himself. And then the story begins. So, um, then at the back, the last pages, well, you can have a pattern on the back as well. So when you designed the front, the back, the inner pages, what happens like for the printer is that you have these kind of basically the same, which keeps it simple. And then you have the body off the book, which is where the story begins to get told. And it's just color palettes as well. It's something to think about. I wanted to keep it simple so that I wouldn't forget what colors I was used in going back and forth because that would be quite terrible. I also want to point at this stage that if there's any questions you have about the class, please let me know. I will answer them. I will add them to the class. So this is not a fine that situation of the information I'm giving you. There's always going to be extra things that probably I wouldn't think about that. You might want to add to the conversation. So, um yeah, Then we go through the story and and you see in, um the character, the main character or the hero of the story going through a process of events, which is what your stories should be about. So, yes. So that's what everything is is just still going through page by page, trying to show what the conversation is about in the story and the interactions. And then you have the final site where you get the character at the Louis Point eso you build a story, and then at the end, this the solution is there. So, um yeah, that was a very simple story. It's for kids. It's supposed to be easy to digest, and it's inspirational and was the word again. And it is supposed to boost their confidence and sure, bravery and courage. A lot of things are not to give up on their dreams. That's generally what this book is about. So I love writing, inspiring six for kids, and that's the same format that I've used through every single one of hm. This one was a test. A one, I think so. Um, you can see the inner peach. Here is a look more detailed in tying here. Um and so and I think here it's looking like I missed out on the front page. This is one of the sample once, because that's another thing going to your printers. They conduce samples for your They usually can do samples for you, which you don't charge you for to make sure that everything is correct. So you should set out your template like I'm going to give to you this class and you just just to remind yourself Fortis to go on every page. So that's what I'm going to be doing. Um, that's what you see in the template and things like when they get the first tester. We saw that, for example, here that the years were too far up when they got cut out. So I think it happens again. There's a cow yet the top of the cow's head was chopped off there, so we had to do again and move it down slightly. So and then the font you're gonna use where the fund will go with the front, be at the bottom because this one is through all the bottom. Just see these ones. Yeah, And this story I've got on the opposite page side. So I'll have a picture, and then the text is on the other side. Um, yeah. So that happened through the whole book. So it was trying to see what works and what doesn't work. Um, And this book, I put it at the bottom, still underst set that as a former for the whole thing. So, um yeah, all the way through, Just write another bottom. And the artwork itself is ah, hole of a conversation. So probably for this if your Children book writer or illustrator or whatever, You know how you want to approach this this, I think, can be I mean, people would have already possibly done Children's books before. I'm just interested in seeing what's going on, or I mean, you could be somebody who wants to start out doing that. And this is probably still in okay class for that. Because at the end of the day, unless you're getting someone else to illustrate your stuff, you can do both of this. I mean, you can write your stories and illustrate, um, and I've got It's like different styles. I like pushing myself to see what ways I can create, um, artworks. So what we're going to get started on now is looking at the template. I'll print the template out myself on what we'll do next. After that is go through the template. Andi, seen how I set the actual scene, The stage full, the artwork. So I'll see in the next segment 5. Creating a Book Basic Template: So what I wanted to do was just to show you a simple template. Um, I was gonna make it more complicated, but I think what you should do, actually template wise, is to get your average letter paper on just to fold it into half both ways. On dumb cut out on here, I have actually just 10 sheets. So it's one, 23 or 5678 9 10 And when I went to the printers, what they did is that the count each facing page. So this would be considered one for the price in Onda, and then this would be considered to three, 45 67 So that would count all the way. So if you had 10 physical pages, that's really 20 pages to them, which he would pay per person like image sight. Eso this basically Well, we're looking at it this way. This would be considered the front page, so I don't know if you can see that in the is check there. So yeah, front. And then this is be the back. So what I usually do is I was saying that this is the outer runs and this is a shelter back . So you would be thinking what you'd be puttin on this side here, So good front. And then you would put your image on this front to kind of show what the story's about. And, um, you would put your title as well. So these air two key ingredients, then also, if you're writing a book on illustrating it, you would then put, you know wherever because there's so many designs you know you'd like. I've got here, uh, written and illustrated by so written and illustrated. So written my writing. Sorry, I'm illustrated by And then, like I got my name be eight Beatrice Ajai. Right. So I've been on the back. You can always do a block. So that is like, um, title of the book title of the again. Just to remind people and then a blood That's like, What is the story? A short kind of untrue synopsis or something Off the story. Short taster, maybe taste up off story without obviously town the whole story. Then I've got here, um, again, just like the front slightly designed. I've got the written and illustrated again because on what side you want toe obviously let people know that it's your you yourself that's created this. So our if it's with an illustrator, um, so and then I've got the copyright little symbol and the year, So, um, I think in the front that I have been just on the back just to emphasize it. So that's kind of the intel that you would put front and back. Um, I wanted to use this Sharpie, but not show is going to go through this piece of paper is So I'm saying it out loud as well, so that you can know what I'm saying. So I'll just check this, that it's a bit visible. Yeah, so that the back, the title, the blurb on dumb written, illustrated out her back and this is the outer front. So that's the physical externals off the book. And then you go in And this is where um, you can have the pattern. Basically, Andi, lots of Children's books have. This is get to get some Children's books and you can see what they're templates, so like, cause you could approach it differently. I mean, I'm one of them. My only visit on the back, but you're supposed to be in the front. So, um, so if I take this off, this is just to let you know why I've done it like this. So if I take it both, you can have Patton basically written across here. So, Patton, um, inner back. So this is an inner back, back page in the back stage and in a front page inner front page, because looking at the book and trying to plan that you be like, it can be quite scary to figure that out. So these were the two places with written on This is the outer and the inner. And the reason I'm doing these first is that once you've done it, it's out of the way. Um, on by just looking here what I did then I added some extras which will come through next. So, um, so we've done the inner outer, and it's the pattern. Basically, that's what that is supposed to be for the Pac 10 designed. So we've come to basically have the inner, but what would I call this? The in true? You can always put something if you wanted for to recognize who has inspired you. So lots of different people say for my husband, for my kids, for my man, You know, for my grandma from my mother, different things can be put here. So it's like a recognition page off. Um, yes, because recognition page, like mission page of inspiring people or something. That's if you want to put that that's in the optional thing on day. They can be an illustration on this telestrate situation as well. So these air different elements and then yet again because it is just what needs to happen is I've put here because I looked at different books and this is why I've done this is, well, just for an acknowledgement for people to understand who wrote, um for illustrated the book so written and illustrated and fill the streets. It was very rustic, but, um and then once we've done all this, we're going to different planning of the book as well. So you could add page numbers if you want, But you have to be very careful without because if they don't get the order right off the actual printing and you don't notice it, you're gonna have numbers in the wrong places. So I was very careful with how I added the numbers. Um, so you have to be quite careful with that. But a song this you can keep track with them. I mean, usually when you say when I sent Apprentice and I used, like, a drug box shear off the images, so I kind of have in one file, and then they they look at them. I mean, the way that you header your images can also help them knowing what is first on in that order. But also, um, what else was trying to think? Yes. So you can put the pick images together and you can title front page back in a front, back front, you know? So there's different ways you can do it so that it gets it right straight from the beginning. And if you're not using the numbers on the pages, So that's the 1st 1 I did there. So going by this template because this is exactly the same number of pages. That's why I'm going with that. So, um, and after recognition I have this book belongs to, So I've got it on this side here, so I'm gonna put that here. So this Look. Belongings. Two And this is in regards to kids they tend to like, um and then you can have an image. I tend to, like, you know, this kind of, um, stamping their names on things. Um, so that's kind of what I bean add into them as well. Then you just start the main story, main body, and this is gonna be quite long. So may Body page, Juan, and then you go through the whole book. 6. Discussing Template Layout: you got 10 until you get to the back page. The last thing. So the main body again Did you see what I've written on the back yet? The main body, So main body and crazy. And then this other part is, um let me get that right. This will be on that. That's ending quite awkwardly, so it's not joined a minute. You see here, if I took this off, you're not seeing the main body. So that tells you the way that it's full relapse is very old. So main body page beginning. I should see again in never not to spell this beginning, So yeah, so that's basically And so then your story is in the middle here, off whatever scenes when it comes to lay out on things that's so much involved, it depends on if you wanna have. You know, um, image talk. I'm gonna do some examples here on the words Balu. Um, if you want to do, you could even, um, right the images or do the image and words on a page. Um, I will show you an example. You could do the words down the side on the image it's beside it. So because I've done this here, this, um, could be a circle. You know, this kind of feed out circles you get which, um, are not very strong edges on them. They're not bold edges. And then the words can even have a shape where they form around. Um, the actual image. Uh, it can have words of the top. An image below. Hello? Um, boards inside. I just sit there. It can have even you could have a whole image like image. Um, full bleed. Let's say full lead image across all of the page, and then you have with words so you can have the words on top of that. But sometimes you have to be careful with this because if your words are not very dark, then the color, um, cues end up kind of blurring the actual words. So if you were doing something and it was like a gray background with black right, and it's not as clear invisible as if you had very dark against quite light. So you have to think about that when you create in the book as well, because then it would cause a lot confusion. So there's so many layouts that you can have. You can have, you know, like a big image here with maybe a little character. Little character, huh? Like, you know, just sits in here just like some little guys in there. So you can live around us. It's almost like the actual, um, little character it has becoming. Then the reader. And then you have another image, and then he can have text words here, so you have to think of your layer. Um, and another example of one way of writing stories that, um, will not be too much of a pressure because maybe the layout is more interesting because you can have, um, landscapes. You know, he can use this whole page. I mean, this is a landscape shape, but you can have it square isas well, or a portrait. It doesn't have to be like this, so I can have landscape. You can have, um, square images for For what? You want to know for your images. Square square images, Lansky images. Have you seen this? That's what I'm seeing. A, um Also what else is well, portrait. So portrait. Um, so the kind of books you could have books um, types, Examples. Portrait's landscapes. Uh, square, Um, and this is where, um, you can look at the structure of the book. So that's the whole point of this. And I was going to give an example off like a comic book because I got this for the kids. I wanted them to be able to create um officials as well as, um so you can get these online. There's different kinds this I got from Amazon on dumb. You can get the different because what it is, it's already set stages for you and how to create. You can write your stories in between these and maybe do some little stick figures if you want off what the actual scene is about. So I think comic black comic books are really good for this idea. Off getting, you know, scenes out and filling in the spaces on a different layouts. And templates can be really good to help you with the story telling as well, because look at the breakdown on this so it gives it pushes you to show what you might put in the scene as well. So I mean, if you this long one is reminded me of a tree so I might want to put like a tree that's really, really long up. And then of those branches out, if I used my Sharpie here, that might be better because we'll be a bit clearer. So, um, a tree that's really long and, um and then I'm just thinking of a little squirrel. I think you might need to get a sharp, either yet. Okay, that's cool. So there's a little square here with his hands, and it's like legs. And it's like, not very happy because it's looking up in this wondering what's going on. It has to climb this tree. It's not probably very happy about it. Well, maybe there's a bird on this tree looking down. Um, maybe that bird has its not so something is eaten, one of its, um, acorns. And it's not very happy about that. Still, I mean, that's the scene right there. You can add background Samo Bush's afar, some here, Um, if you go further about okay, if we put a boat see, this is how is just thinking of the ideas. So basically here would probably see that this squirrel is the very limited Smith up. This girl is the villain is the hero. That's just pretended the schools that he wrote here a moment. I have a feeling he's gonna do some revenge tactics in a minute, but anyway, and he wants his nut back because this bird has taken it. Gonna go and get another pan. I have these pens here, and I hardly used them. But for some reason, they seem to be trying to run out. So, um, the squirrel wants to get its That's back, so that could be attention. Moment. There is the boat out to sea. The sun could be set him behind that so we could just add kind of spiral e or reserve sunshine coming out there and already that is a very quick scene. And then you can write what the story is about in any of these boxes again. Admiral illustration. Um so I think comic books are really good for telling stories, and I really I highly recommend to do that. So, um, but this this is just to get through the structure off the actual piece. So I hope that go some of the ideas through to you on layout off an actual book on, then the basics would be getting the story, your characters and everything else Labour. That will be the next stage for, um, bookmaking, so we'll get onto that next. 7. Storytelling & Colour Pencil Colour Option: Here we go. Once upon a time, there was an elephant and the elements loved coconuts. Today he was out and about, looking for a special tree that always had lots and lots of coconut. When he got to the tree, he realized that the tree had grown a little bit sent the last time he saw it because the coconuts only come out at certain times of the year. And this coconut trees, a very special coconut tree. So he realized that his drunk was too short to reach it. He didn't know what he was going to do. He stood on his hind legs and it's still getting stretched on its capitals. Oh, what am I gonna do? Is it? And then he tried to blow the coconuts off with his trump. So it taking a deep breath on a brew of hard as you can trumpet the But the coconuts didn't move an inch. They didn't even shake shaking. He thought how? Shake the tree. And so he put his foot against a tree, both of them, and started pushing against the truck as hard is a good with his back legs, trying to shake the tree trying as hard as a kid. It moved a little bit of a sure of it. She just keep trying. Dreaded No, nothing. Not a single Coconut came down. He looked around and thought if he could throw something up there, Toe actually knocked the coconut death. He saw you are rock and he tried to lift it. Oh, dry these as much of his strength as that was too big a raw cookie. And it's slightly smaller rock. He looked around and he found another rock just a little bit smaller and it tried to lift it out. That one was too heavy to just just then. When he was trying, he heard some laughter coming at him from somewhere. Somebody was laughing. He looked around to see if we could see anybody and he couldn't see anybody up here. He looked up. Wake up where he said a pure over here. And he looked to see a monkey, a cheeky monkey looking down at him from another treat, not too far away. It's like, What do you want? I'm rather busy here is that I saw that you were about to pick up that other rock over there to try and do whatever is that you're trying to do and trying to get the coconuts on the coconut tree. Okay, The too high. The tree has grown since the last time I came for coconuts from the special coconut tree. So I'm trying to get the coconut, and I'm trying to get this rock so that could hit the coconut tree. Well, I wouldn't pick up that rock if I were you. What do you mean, a rocks? A rock I'm about to pick up. Not that, Rupp, I'm telling you. Don't touch that, Rupp. Look, I need to get the coconut, okay? So good that I wouldn't. That that rocket father used at the monkey once again. Why? And he was like, Look, leave me a little. Why should not touch the Rockwell? You should just trust me. I'm being a good citizen. Do not touch Barac like Look, I don't care who you are. What do you think? You know, I'm picking up the rock. And as Elefant reached over to pick up the rock what happened? He screamed on charts. The rock far away. His nose was full of spikes. It has been a Porky pine that was rolled up into a bowl into a bowl and he had tried to pick up the pocket pine. And it has released its spike straight into the struggle. I Yes, I told you. Thank you. That's not the end. No. And he was not happy. He was like elephants sat down on his bum bum and cried. Uh, my drunk. He's gonna help me take these spikes at a truck. Suddenly, the monkey decided to feel sorry for him. Oh, come on, man. Don't be so sad. Look, look, I'll come down there and I'll help you, OK? Is that OK? My poor drug. It's so boom. Theo Monkey climbed down slowly and in tentatively. I walked over to the drug. Come on, let me have a look at that. Just give over. Give over, man. Just give me your truck. So he took the trunk gently in his hands and started to pull the spikes up. Right? Okay, this is gonna hurt. Okay? I'm really, really sorry. This five spikes and they all have to come out. You ready? Okay, I'm gonna count to 31 Do keep buildup three. And I know what's at three I don't know. My hand just took control, man. It just pulled the spike straight out. I'm sorry. I'm sorry. Okay, Let right. Let's cool. Let's go. Right. Let's just go run to write. Gave us full mall spikes. You being counted, right? Keep counter Right foremost. Okay, I'm gonna count to three again. Won t o e and no, I know, but this hands just not listening to me here, man. Okay, let's try this one more time. Warmer time. Come on. This is how many spikes left? Three. Who stands in your way? You can. So is I. Okay, let's get ready. Raw? Are you ready? I'm gonna count to 31 I know, but my hand is just not a patient. I'm so sorry. I've been talking to this hand a lot. It just doesn't listen. It's like you best up doing that, man. You said you're gonna get the three. You make the Kantathi. I know, but it's better to surprise you. OK, we've got two more. Having what I want to to write Lister start. Let's try this again. I'm going again, You know, whatever the number is, right? Right. Ok, ok, Ok, OK, I could take these two out once I could take them out together. You okay with that? I don't know. That sounds really Al cheese. It's OK. Look, I got them in my hands. Can you see I'm being gentle? Right? Okay. Are you ready, friend? Are you ready? This is the best, and the impossible happened. So it's like I'm gonna count to three again. You believe me, right? Ah, come on, man. I'm here happened. You pull the spikes out. Did you want the way you want the fight spikes back? Do you want me to put them back in? No. Don't you think about it? Okay, right. Let's just always Teoh, okay? Come on, buddy. Listen, we can I take a little right? So it's like, Ok, I'm gonna count to three on, then I'm gonna pull these spikes out. So you ready? Right? Come with me to the elephant. Started counting really? Reluctantly started mumbling to get a do and you didn't Can't a three, man. So what happened here? Elvis was so angry with this monkey, he picked him up in his truck and chuck them at the coconut tree just odd at the coconut tree. and then basically just knocked out Ah, lot of coconuts and flew into the distance. Monkey. Fully eight of business. It's not just getting not really so monkey fell straight down on top of all the coconuts that landed on the floor around the coconut trees Enemy So see? So elephants went over rubbing his trunk against his hand and not very happy. He picked up a couple of coconuts and I'm leaving 123 coconuts for you. And I'm out of here with the rest of coconuts headed. So then Elefant walked on into the distance. A monkey just lay there thinking, Well, at least I got something from this little bit of kindness can. Then he picked up his want to three. They're gonna elephant through a coconut from my foster and his head for coconuts. Oh, I gotta go get your freak. Get it? Five coconuts. That's for the five packs he pulled out by truck. Good day to you, monkey. And it just walked out into the distance. A monkey just sat about all the lumps growing out of his head. I wondered what the day was all about. The end, that just get it. All right. Now, like right now. Damn, It could be a 8. Digital Templates intro: everybody. So I wanted to show a template that I created, um, for the actual, you know, book templates that I will have available in the class for you to use. So, uh, here's what you could use instead of, you know, if you don't have this kind of an idea of, like, a comic book that you can use and sketch the story like I did, um, you can actually use, uh, the templates, but you have in front of you anyway. And these air just ordinary plain paper that I printed this out on. So this is a landscape version A four I'll have available. But as I said before, you can always, um, split stages. Um, if you didn't want a landscape format, I just take my Natalie from here. But if you didn't want a landscape kind of former, you can always just take a ruler and do this, and that would become portrait. Actually, I think with these well, you measure and get that right, but, um, yeah, for where you could split. So this actually could be specifically one, um, to page side of your book so you can draw two different illustrations here. or, um, like I said in this, um, when I was setting up another 10 place you can have when it comes to the present present in the pages you can have the words don't decide to be one. You can basically uses templates for anything. So having the image in heaven, the warrants down the side and in heaven no character in here, um, so different ideas on the words. So there's a less cape one or you can look at it like a saying if it's a long this could be single pages. So you could have the words than the illustration on that side or vice versa and work with that or is this had turned? Change worry, but the lettering and everything. The word in on I have also another template I have is this one, which is to do with, um and let's start with this one, actually. So I've got the square formats, which is kind of like just a square book, like the books I showed earlier on in the class on and showing you you know, that the images are mobile reminded reminder off what images are important when you're structuring your book as well. So that's the whole point of this. I mean, I think that's one of the things that scares a lot of people, is actually thinking off the structure, often actual book. So that if once you have this leader and it's spelled out for you, it's a lot easier to get on with the book. So I've kind of put this layout here and just to show you that So, like the recognition page and this book belongs to and the inner outer front layer books and things like that and then the main bility side. Um, just some of the reminders and prompt. What's to be thinking about, um, in the book in general? And what we'll need to kind of stick out for the kids to follow the story. So and then you be thinking as well of color selection, you know? I mean, I started off with that. I should be there off the background. I mean, which I think is too lively. Some still thinking of that. I might make the background for the elephants plane. I mean very plain. We just light shades, differences and shades of greens and of the forests around the elephants. So I'm still digesting what I should do with us because I'm going along in the class because I felt that that was probably too much work for me to do, to show you exactly what the process is. So I'm trying to make sure that each thing I'm showing you is actually, um, cutting down on the time thinking about a necessary thing. So this one I have here where you can basically just print this out multiple times there yourself. So I deliberately tried not to write, um, in the boxes just in between saying print. You can print this double sided as well. So you have, like, you know, just so that you could just turn it over and you just have the page page going as you're writing your story and you can scribble the details on the sides. And thanks for that. So I mean, I had to adjust this again. I realized to be smaller to fit on the A four. So maybe you have that with your computer, you can do that. You could maybe make it a bit smaller to print it onto it because I felt like it was going over the edges of it, but it's not. Your local printer should be able to figure out how to print back a little bit smaller for you. Um, any problems, Let me know because I can adjust. Going, um Also is I'm thinking of adding here. Yes. So today, the main aim is to, um, basically, uh, paint the pages I want to use. And another thing I think I wanted to mention actually, forget that is so yeah, I keep forgetting, um is here. I've got a tip which was really important to me Is one of the main ones that stuck out for me was never to put text across the middle of your page. Um, I did that in one of the books I did originally at the beginning, which I was supposed to show an example of. If I come across again, I will show you that, but basically had written a story where it was called 100 hugs from that or 100 hugs and the word and I'd put across in a pit different things. I've done quite well the numbers across the beach, but had written across the actual text and actual images. And so when it was printed, it was stuck inside the middle of the find in in the middle. So that's one thing I've always remembered that I should not repeat. So I put that there. I just need to be aware of that. But you have to keep the the words I decide and not in the middle. But yeah, I'm going to try and work on this. Um, in this stage, basically is just painting and selected how many pages I want to do. I want to stick with the other books I've created in the past. And so I want to make sure that I have just 20 pages overall. Andi, Everything else in between Sonita federal. What images are important to me and paint those in Ondo. Um, I was going to say also that you don't have Teoh if you don't have a digital, you know, equipment to paint things and with you can use other things you could use coloring pencils . This is if you feel you want to have the adventure off, being creative and, um, color and things. And so, um, it's very straightforward. You discover in and not think about anything else. They're basically just go for it. And, um, hands on is quite good, because then you will start really feeling part of the whole process a lot more. So I found the green. I think they'll be a good idea. It's the forest. I don't know why. A light green. I like my life greens. So whoever you have two hands, you just use that. And, um, yeah, make it really interesting for yourself. The Bushes could be a different color as well. Actually use it and just have it as a fun, fun thing. Nothing to it's stressful. Said we get but cool. So there, yet nothing too stressful. Um, this elephants, we'll see what colors I use. I changed my mind a lot in this process of creating characters. So if you have water colors as well, you could use water colors. It doesn't have to be any of these things. And I know that, um, the substrate he's is really important to draw on. So it would be good if you had that to use watercolor paper as well. Maybe instead, if you have that as something that you wanted to and we're talking about quality of image. I mean, I am very experimental. So if I wanted to and I seriously colored all these ends with the current pencils, I can see myself just taking a picture of snaps short of these cleanup, much as I can and send it off to the printers. I mean, I do know put limitations on myself a toll, because if you don't have certain things that you don't have the digital equipment and it's pencil and pens you have around your pen pens, pens or watercolor or whatever is or past ALS use it. Take is good. The pictures he can in, you know, good light. The lights is good to use and sent out to Prentice and see what it looks like. And you have something in hand, but you can see right. Okay. Um, this is what it looks like. How can I developed from there? You have to experiment. If not, you can actually progress because it's all about trial and error. So, yes, I'm my current situation. Now is the color of these in like a big kid. Lots of color in pages. I really like this. The way these look even pool and no necessarily complete pages. But I think it's just yeah, my mind's going all over the place. I wouldn't even mind just coloring these in the way they are just specifically to show you how, like the physical I am about the whole process and not stressing myself out about it. For me, creating things like there's being a creative person is fun. If you're not having fun, you need to take your hands off and find something else that is fun for you and enjoy it. Because if no, it becomes a sure and it becomes ah, hard slug. Well, things did. It s so I really think this guy's cute. Um, yes. I'm gonna try focus on this as I've been saying and work on it and come back to you with my final pages in the next segment. So I'll see you soon after a lot of color in his taking, please. So, actually, I just realized that these two videos there the other way around, cause I've already called the page. So that took place after this video of explaining that I was going to, um, get on with color in it, so I showed you basically before this with you. The story. But I told my kids the original story, and I did that while just showing myself coloring in these pages that I pointed out before . But I will be showing the digital version next. 9. Drawing Transfer to Digital Software - Part One: for this next stage. I, um, going to be using the color palette I have here just on my right. And so I'm going to be adding colors from this color wheel and, um, just selecting colors I think I might use in the image and on this palette when you choose a color, um, the grey area, all the colors in the middle section, um, are kind of gray or their different values of the same color, basically. So I'm just here selected. Which colors I think I might use every point. Um, these digital images change on the kind of myth, um, emphasize on become something else. So at the stage where I am, you were seeing me try to work with what I've sketched. But, um, there is still what I call Bruin stages. So as the days go on and the length of time you have to develop your image, the images can change quite a lot, which I will show you in some videos from now, some state years from now. But right now, we're focusing on this image that I sketched before you earlier own. We're gonna work on that with, um, these brushes here. So just so like the brush that works with what we're doing so you can start putting the lines on on. As I said before for this stage. It's kind of for those who are already illustrated, you know, their minds air, um, kind of artistically minded already as well for those who don't have the confidence to do this, Um, it's, I mean, if they're interested, it is about taking classes and trying to get that development, to be able to replicate what you have in your mind. But for those who are already very confident in using the artistic skill, this is kind of like going to be a bit more straightforward for them on how they will create their artwork. As I said before, you don't have to use a digital tool, um, or software. You can use pencils, colored pencils. You can use watercolors, gouache, um, acrylics. So many different lease off, producing a final product on in those two dimensional areas. It would be getting a really good photograph in a nice little you know, light area and making sure that you basically can them the planes going by there, but making sure that you can get a very good image that you'd send to your printers to create your book from. So here I am trying to color block into areas that I think certain color to go into. Um, it's very time consuming, and I am trying to get it down to a very quick pro says. I mean, that's partly what this course is about as well. I was looking at how I've been trying to create books previously and trying to find it easier. The easiest way to start to have templates so that I can just the characters in their places a lot quicker and not have to fiddle too much with trying to remember what I've done or not done and to make sure you cover everything. So if there's any other, um, ideas you have on how to approach this in a better way, please let me know. So here I am, added the coconuts to the tree that I've drawn. And as I said before at the state, I am just kind of going with what I have in my head. There is a Bruin stage for me. What happens that sometimes I'll create at work Ah, look at that days later, and I think I don't like what I've done, and I'll have to change it. And that is where I am right now. Even while I'm showing you this, I've already started sketching some other approaches, which you will see. So, um, is fun. A song is you don't have too many things to do it once because it can't be time consuming, but is really interesting to see where you start hope from, and then the end product, They can be so, so different. And, um and I know that some artists find it really uncomfortable to let people know you know what they're actually working on because they know that it will change down the ruled and that this is still my conforming process of the East rising and the idea. So, um, yeah, here. I'm still just going around thinking that maybe the basin trees, but here and just to try and understand what in my brain visually is going on? Obviously, I'm thinking right, it's in the tropical forest or something, or where elephants live on their trees. But I think, um, I can easily over work a page so for me. I will probably need to pull this back, but I still think the process is really necessary to get the ideas. I'll so here I am at in bushes and you can see the template building. And I'm still using the background as a guiding too. But I'm using the layers here, and that's where I can add all these different trees and the different bushes in between each other and create this scene. As I keep saying any point, Please feel free to ask me a question about something. If I've said something, I didn't make sense. Or if you we were wondering about something and you wanted to just ask about it, then please let me know, and I'll try my best to answer it. But this is how I approach making books. If you have quicker, better ways of doing it, then I would full of that. Or if you've heard of advice somewhere else that seems to cut through some of the stuff that I'm doing here. Please do that, because this is just how at the moment I am working through creating, um, books. And also, I mean, this is trying to put this in in a class and to have something for you within my schedule as a mom and a wife and also having a social vocational social cup of tea with someone. Um, while the kids are at school, this is me trying to organized this. So I hope I do this in a good enough time to have a product for you that you can to see you , right? Okay. She's gone from the beginning to the end, and she actually created something of the end. So that's what the purpose of this is for you to be able to break it down to bite herbal chunks. But you can stagger over a set of time and be able to actually achieve something you can hold in your hand. Because for me, I think being able to hold a physical object, um, allows you to break through some of that fear that might be there on how to actually do something that you've always had an interest in. So as you can see, I've kind of covered a lot of the background, and it is quite colorful. I would probably told this down later on, but I'm just picking colors as I'm going just for visibility as well for you to be able to see what I'm doing. So so, um, with a digital work, it's back and forth and, um, on some always it's easier to use. And if you're using, um, kind of the traditional tools and other ways, there's a lots of reasons, you know, learning has been involved in you using these tools as well. So every tool have there ways of approaching that their subjects and also in the you know what process you do first. Um, so this is just going with the layers and trying to find you and everything and see if you like the result. Um, I always use procreate. Well, in recent years of use, procreate full created a lot of my work because it's just easy to take around with me. Wherever I am, I can create something quite quickly, and, um, then work on it later on. So my news thing keeps coming in there, sugars away to switch that off. I never remember that. Um, so at some point, I am going to start trying to actually show you how I create, um, the character in the scene, but we'll just put some rocks in first. And so these are the rocks where the porky pine in the story is hidden. Decide the tree, and then a little elephant picks up these rocks on. And unfortunately, um, has a very difficult experience with one of them. So as I'm saying, I am this picking colors and things that I'm trying to show you what it is I'm doing. I'm not really thinking too much about the colors right now. It's just to show you the process and tohave visibility of of objects on the actual screen . So, in the story, um, elephant actually picks up, I think it's too rocks before it picks up the porky pine. So when I'm drawing the image, I am trying to have a number of rocks, different sizes. Andi, um, trying to represent that. Obviously, there wasn't really a visible way for the elephant to tell the difference off Porky Pine being in the middle of the rocks. But I'd say that the elephant was very distracted with the prospect of eating the coconuts , which was very happy about. As I said before, I did not know if elephants eat coconuts. But, um, for kids and our imagination for kids, we see almost anything. So I'm sure somebody will find that out for me. If they did, or I will Google search that myself. So yet every point I'm always zooming in and zooming out to try and see how the overall picture looks And um, yeah, just trying to think because I'm going along. I'm probably still trying to think for myself what colors I'll bees in and things. So for yourself, colors, you know, something to think about this, obviously clues you can get with, um characters if they have, if they're known for a kind of a look. But also, I think you can still step outside of that. So I have at this moment in time, I'm thinking, if I'm going to make the elephant like a properly gray, so it might have a hint of purple in it. So I've decided to look a bit closer and, um, of the rocks and some disabled. I just implicated the rock there, and I've saved one, um, so that I don't if I mess one up and then I would still have a spare one, So that's what the layers a really good for. It's like helping you to to to try and make us little mistakes as possible. But obviously that means he'd have to understand the tool quite a bit. It isn't as easy, definitely. If you are painting with acrylics, for example, or past ALS or Walter Colors and you make a mistake. No, it is easy to rub out. So I think I'm going to try and start on an example of an elephant, and I'll just go back to when I started before that I try to do regarding this story. But I, um, didn't finish, and my elephants have changed a lot since this time. So this the elephant I am planning to probably do is quite different from them. So even, um, as I was, I'm trying to do this elephant this I'm even now thinking that this is still a just template, but I wanted to see the colors I use and CO p those colors into this next cute elephant. But all I can say is that the elephant is still going to change again, because even as I'm recording his voice over right now, I have completely different character, but I'm actually sketching with a pencil right now, but, um, yes, I'm over Lane. I'm recording the colors, and I'm going to start doing, um, a new elephant on this page here. So just taken a local with this one. Looks like again to happen. Idea. And as I said, I am sorry. For those who are not actually artistically minded. This is still getting idea of what illustrator would have to do when they need to design your book. Except that there would be more interaction and explanations as to what the characters were about. More, more information you would have to give on each subject matter. 10. Drawing Transfer to Digital Software - Part Two: So here I am now drawing the eyes of the elephant and, um, always kind of referring back to get some more detail from the original. And I drew, um, I actually was a said I have drawn another one that you'll see in the next section, Um, off an elephant. I prefer in the kind of style of doing right now, Um, but it was just to show you here with the stages that can happen when you created something . This is the stage that I was at this point, and I like the simple line off my characters also. Another thing is, I like to plan ahead of what I'm drawing. And so originally I started off by talking about this story which I have got for you to listen to with some color, and then I'm doing. Then I've ended up sketching the whole Kalac like most of the comic story, I mean, the comic in the comic book. And then I have gone and looks back at that, and I've picked the pages that I think, um would be relevant to the story that I could represent because I don't necessarily have to do every part of the stories, the visual. So then I'm also well in planning. I'm thinking about, um, the spaces in the areas that I'm going to put the text full. The actual piece of artwork, Um, and for the book. Um, So, um yeah, and then from that, I will take more pictures again. But once I've done the exact number of pages that will be in the from book with the templates, like the templates provided. So I will show you that very person, but also then, after I now take that back into the book and color that in, I will then send those images with the text, um, to the printers. So it's gonna be exciting. Actually, kids, it is really interesting to drive this and to see how it develops. And as I said, the Bruins stage so you can do something in the beginning, and it changes so much. And you see that from what this final book is gonna be about, you're gonna be like while Okay, that looks nothing like I imagined is almost I think of really funny cause and some stages is almost like you're drawing stick man. And then you turn around in this a full figured person there. It's almost that kind of been extreme and the way that we produce work. So, um, I know I like my characters to be very cute. So if I don't feel a character is cute enough, I'm not really happy with it. And so I will keep on working on it until against the injection of queued nous that I'm looking for. So this guy's quite cute, um, and selecting the colors from the other elephant of them before, um, and all the time I'm thinking, until I actually I think this is what I want my character to look like. But you can see the process, and you can see how I've done this on. Um, As I said, you can use other mediums to paint your characters and take very good pictures and just relax. And another thing I want automation, actually. Well, this is going on. Why? I'm filling this in is, um, you know, to have a mind of what kind of papers you want to use to print your actual book. My printers, they have operation of papers and I think the one that we use for the outside of the cover is about 300 gram. Um, it's not thicker than that. And I think it's like a gloss on the outside or mathematical a month kind of finished, Um, the NYPD's. I think of thinner, and then they usually just staple the middle for me, but depends how big your book is going to be. So you can see me here also now placing the elephant, him the environment that I created previously. And as I said, this is old layering. So, um, just trying to adjust. Sort of. The elephant doesn't look like it's floating in the air trying to ground the elephant. And, um, yes, so that's what it looks like. Um, and then also is now thinking about where to put the text, Um, for this page. And that's another reason I've actually done, um, another example of this because, as you'll see, I will show you in a minute how I put the text in this piece. Um, because this quite a few different options, but I didn't like the way that it was, So these air old things that when you look at something, if you don't like it, it's good to change it. So I'll just show you, um, some of the ways you can put text on your page for your book. So if we just take this page and we uhm I'm going to try and insert, um, an image I've saved before. Just look through my photos, right. And what I'm gonna do is adjust this so that you can see what you can do with the space on your page in your book. But I don't really like the stretch in that as an idea, because it cannot warps everything. So, no, I don't really like that. So I'm just gonna reset this in a minute. But there is the option to put right in underneath your image. So, um, also, you can actually put right in on the actual image. So if you um it's just lighten a certain area on your image, and then you can use, um the after I use this frontal, which is a right in app that you can kind of right over images. And, um well, I'm looking here is for a brush I can use too soft in an area that wouldn't impact the era too much will be too visible. But you get so many different textures on, um, procreate app. It's amazing for what you pay for it. It's amazing. So I am just turning down the transparency, and I'm just trying to see the size of Russia want to use to do this. I think that's too small money to look for another one. They use the round brush, and I'm going to come in here on start kind of lightening this area. So what I actually did was use, um, the yellow in the background. I'm just making it more transparent, because if I just because I was very tempted to use the A razor and raise some of it, But I don't like that effect consists, I would be losing color instead of actually, um, sustaining the color and just forming a layer. So this is one way. I mean, it's a really busy background, but if it was a plain background, you would see, um, the difference of how it lightens it a lot more. Maybe. And, you know, you can see that the background is feed and slightly, so I'm just trying to make an area that is light enough to put some text on that will be visible. So, um, I'm not sure if I will be, but what Or black text. But anyway, I saved the images. The PNG I will receive them as p and G's, and I'm going to go into my frontal app. And just to show you what you can do with the image so Von Toe is, I'm not sure if it's available on other, um, software tools like tablets. But on the iPod, you can load up as an app, and you can then basically right on the image. So this is that this is a tool I use for my text. Um, obviously, if you have more kind of complex software, you can do other things with them. But this is working for me right now with what I have here. So I'm just typing a very basic text candid to represent the page a little bit, I will go back and do the details for this. This is just, um, just to get an idea of what it is that I want to do. And it's really small there, so you can adjust in different ways. You can change the phone because I didn't really like the front that was there if you wanted, so I actually changing. Can't remember. No, I don't think I think I go out and I am going to be yes, increasing it on and changing the structure cause it's too long. It's going off the page and then also, um, you could do so many things toe. You can put shadows behind the words. You can tilt the word you can curve the words, the sentences, and it's pretty Olson, So you can see that against the background that I put there. If I put the anywhere else in the picture, it would be darker and it might, and it would still probably stick out. But I wanted. It's kind of in an area that wasn't going to be obstructive off intrusive. So just added more text just to say that it's a bit more visible B to C. Um, but I will put the proper text in when I'm finalized in the book. It's just a just in the first letters here because it's made them all capital just because I've changed the way the sentences later. But, um, you could look for all those details. Another thing is that I know that people always obviously want their stories to be structurally, um, sound, you know, like, if you're talking about their paragraphs and the, um all those details and the formation of his sentences and I know that I have no as confident as I could be with the way that I structure my sentences, but I I don't really let that stop me because I keep my sentences a short, responsible, really. But yeah, you can see the result here of what that looks like. Um, in the next part that we will go into, I will be, um, continuing with my new approach, and we'll work from them. 11. Re-drawing Of Character concept on My Template: so I thought I would show you, Um, the template printed out and I have felt end with the the illustration. I think I prefer the look off, but letters have gone back in and I've tried to get as a character by you can associate myself with with the cute nous a bit more. Um, so I've kind of sketched a little character here from my outer p, which would be like the front cover so won't come back. And then this is the back cover. So this is what you see with the blurb of the back and some of the detail there, then going on for the inner part off the actual page in our patterns, I'm thinking of either uses and coconuts quite design coconuts or the pokey pine and the rocks. Maybe the elephant of flying monkey, I don't know, decide that cycle. And then also, um, yes, I've looked here at you know who's the book inspired by on this, but belongs to and a little illustration maybe the popular pain again there. Then I've gone on to start sketching a new template full to simplify and to think about the words still within that square of the page. I'm thinking, right. I'll just design an area that I think the actual character will be And then the words as well. So I've gone through listening to the story again and trying to actually focus on certain areas. And I think I moved this around a bit because of the way that I had already sketched it. And I got the wrong way around. So, um yeah, so this is when the elephants blowing to try and get the coconut down, and then he's trying to pick up the rocks here, and then we go on to He's now heard the Yeah, it's now hard a voice here, just get that kind of voice here and looks over and sees the monkey in the tree. And, um, he doesn't listen to the monkey, and it picks up basically the pokey pine. And in this this area here I'm little bit the picture of the polka pine that I had previously in my sketch that where it is kind of like home, like I'm gonna put this image because I really like that one. I'm gonna get back in somewhere, maybe in between and then um here is where the monkey comes down and is trying to kind of help the elephants to build the spikes on. It's not going too well because here it's not happy that this at least two spikes left and is being quite a painful experience. And this is a Busby where the elephant throws the monkey into the distance. And then I turned this over because I needed to print another template, really. But then eso the coconut start falling from the tree and a monkey's this kind of down here and the elephants really happy about that to see the coconuts and the monkeys is left in a hot over there, got in a heap, and the elephant decides to give him 11 or 22 more coconuts from afar. And this is kind of the monkey here. I'm not sure if I'm gonna add that, cause there might be a bit too sad for kids on then you to see the elephant. I decided to add a little bit where it's kind of sitting at the sunset or something. Eat, eat in the coconuts. So yeah, and I had some notes here to say that I guess what I would say from this story is about how to help people and this the correct way to help people on a wrong way to do it. I would also encourage you to actually, while I'm here that you shouldn't take yourself too seriously when you create in this book's If it's your 1st 1 and things because books are inspired by different situations and you don't know what somebody else will get from it just by sharing. And I would encourage you also to read Mr Man syriza the little Missile of the Mr Men series of books. I read those to my kids and they are hilarious. I mean, some things are for the times, if you're into politically correct or no, there are some things that I said in there that I think kids would probably find quite delicate today, to be honest, when I read some of the stuff and I'm like, Oh my goodness. But all I know is that I think we shouldn't take ourselves too seriously. And so the next segment I will be showing you will be all of these images finished and I will go through them just just like I just don't just now and then I will show you the result off the actual product back from the printers. So that's gonna be exciting to the seabed next. 12. Final Book Product : Hi, everyone. Welcome back to the class. Um, at the moment, what you can see here is me taking pictures off the final product that has come back from the printers. So, um yeah, The apprentice. Really good case. I'm I've been using them for a while, and so they they are able to do things quite quickly for me, sometimes dependent on their schedule. Well, I really wanted for this class. Waas Um uh, sample books for us to see how basically the result off the project was gone. So I got to sample books, but, uh, I like the way they ended. They changed a little bit again from what I showed in the last section there because that's just what happens. You just keep a Justin and you're trying to simplify. And for the class, I wanted to make sure I go the specific details right. However you make the books of the end today is your own aesthetic pleasure for yourself. So, yes, I change this cover quite a bit because the original template that I printed out, which you will have available for you in the class had this little character with the monkey of the front and some stuff like that. So now I've come up with this elephant, and it's ended up a great little elephant. But obviously you can still change characters on make thm, um, look different. It doesn't have to look like the way I've done things here. There's so many ways to create illustrated eight illustrations for your books. It can be that you use, um, you know, like the different ideas I gave you a watercolors or pastels and things. So, yeah, this is the final book. So what we're gonna do is look through the different parts of this and see the result of the areas that were discussed in the whole thing. So I'm just gonna just my camera here, because I am. I was taking a picture, so just have the best this. I bought it for my son's project, but have been using that for some photography Just now. Turned this carefully on Uh, yeah. So this'll is the book the final one that I created for this class. Eso we can look through the piggy. So as I said, the front cover so you can look at the 10 place on the examples I've given you in the class . Um, Teoh, understand? You know, the process that we went to to get this final product, and I make this is not very thick book. And it's six by six. Um, so ever beginning here, have kept the background plane to try and keep it and keep it with my other books that I've been doing. And also, um So when you get in life, as I said, there's the pattern pages of this this one here, which I did with the little cute elephant patents and is quite complex by the end of the day, you just make something you think it's aesthetically pleasing. So I did the original design and then just kind of over elated and played around with it, Um, to get to this point on, then also, I see, Yes, it was all the different details I've said this, but belongs to. So I actually hand wrote this. This book belongs to I don't usually do that. I'm getting a little bit more confident with my scribble skills. Basically, um, and then what they've done here with these, which you could have a full bleed. I mean, I could have said to them for food bleed, which you can do, but it's still fine. Still fine. Um, so this is the image here, off the illustrated. First of all, when, um, character the elephant comes along and sees the coconuts and things So you just go through from the illustrations. And as I said, I used my iPad for this, but you don't have to use your on iPod. You can use different, um tools to get your results. Um, trying to shake the trees here. I think at this point, um, yeah, and then here's a little character with Porky Pine and its trunk When it's picked up, the rock was there, so there's the monkey that was trying to tell them. Tell him not to do that. So we spent a paper for the pages on, um and it's a tough for people on the outside. So this is when elephants has just had a boo boo on this. The sword trunk. Right now on the monkeys come down to try and help take out the spikes and then could see. So look, I'm looking through this with you for the first time. So this is when you know, elephants is not happy with the behavior of the monkey because he's pulling out the spikes a little bit too aggressively for his like Ken. But there's nothing, really, if you think about it that the monkey can do because it's gonna heart when you pull in, spikes out. But obviously the elephant just doesn't like pain of any level whatsoever and threw them at the tree there. Andi, Then let's see next page and then, yeah, And so then the coconuts come down to that still interpretation there, and monkey ends up in a heap of a Bolton. And yes, oh, elephant goes off and found a quite spots to enjoy his coconuts and they're delicious. They were as delicious as he remembered. So yeah, this is kind of just a simple way just to show you how it it's not. But it's easy, easy. But, um, and I said these were the sample one, so usually with this would probably have gone back and spoken about something, some changes I would have done. For example, I think I'd had the pattern pick in the front here and also at the back. So unless I got that all wrong. Browse short, but two of those pattern pages in and maybe he's just provided one of the times. Maybe I have just sent in this one, but yeah, I had felt originally about the pattern. Pedro go here. But maybe I've done it wrong win. And he's just decided to just put the this of the back, which is still okay, cause some big sand Lila, but yes. Oh, I got to samples of this. And it's just to show you how you can lay out, um, a book and how you can create something that is very cute, um, and straightforward and illustrates your story. I'm so going through selecting the parts of the story, the irrelevant illustrate in those areas and creating something that is cute and is would make a great gift for anybody. And also just to help you to get your confidence that it's possible to do this. So, um, yeah, I hope you've enjoyed the class. Please let me know what you think. And if you have any questions about anything extra that maybe I don't remember to answer, um, please go ahead and ask me even, you know, just sent me a message, but it would be awesome. Awesome. Awesome if I could see a project, but you create from full in this process. Um and yeah, Any questions? Anything in a class, please let me know because I am available for for anything. And thank you for taking a class. It means a lot. And umm, I'm hoping to come back with some more useful, um, classes that will help you to get your practical creative skills on the goal. Because I just I just love creating, um books and different kinds of art. Um, yeah, that's set for the class, and I'll speak to you soon. Bye.